Rehearsal for Murder (1982) Robert Preston, Lynn Redgrave, Patrick Macnee | Hollywood Classics movie - video Dailymotion

Hollywood Classics

A year after his fiancée's death, a playwright schedules a rehearsal for his new play, which proves to be a trap for her killer. #hollywoodclassics #classichollywood #hollywoodclassicmovies #oldhollywoodclassicfilms #classichollywoodmovies #hollywood #classic

Transcript

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00:15:39to get you out of here, I'm going to get you out of here, I'm going to get you out of here,

00:15:40I'm going to get you out of here, I'm going to get you out of here, I'm going to get you

00:15:41out of here, I'm going to get you out of here, I'm going to get you out of here, I'm going

00:15:42to get you out of here, I'm going to get you out of here, I'm going to get you out of here,

00:15:43I'm going to get you out of here, I'm going to get you out of here, I'm going to get you

00:15:45out of here, I'm going to get you out of here, I'm going to get you out of here, I'm going

00:15:46to get you out of here, I'm going to get you out of here, I'm going to get you out of here,

00:15:47I'm going to get you out of here, I'm going to get you out of here, I'm going to get you

00:15:48out of here, I'm going to get you out of here, I'm going to get you out of here, I'm going

00:15:49to get you out of here, I'm going to get you out of here, I'm going to get you out of here,

00:15:50I'm going to get you out of here, I'm going to get you out of here, I'm going to get you

00:15:51out of here, I'm going to get you out of here, I'm going to get you out of here, I'm going

00:15:52to get you out of here, I'm going to get you out of here, I'm going to get you out of here,

00:16:03I'm going to get you out of here, I'm going to get you out of here, I'm going to get you

00:16:04out of here, I'm going to get you out of here, I'm going to get you out of here, I'm going

00:16:05to get you out of here, I'm going to get you out of here, I'm going to get you out of here,

00:16:06I'm going to get you out of here, I'm going to get you out of here, I'm going to get you

00:16:07out of here, I'm going to get you out of here, I'm going to get you out of here, I'm going

00:16:08to get you out of here, I'm going to get you out of here, I'm going to get you out of here,

00:16:09I'm going to get you out of here, I'm going to get you out of here, I'm going to get you

00:16:29out of here, I'm going to get you out of here, I'm going to get you out of here, I'm going

00:16:30to get you out of here, I'm going to get you out of here, I'm going to get you out of here,

00:16:31I'm going to get you out of here, I'm going to get you out of here, I'm going to get you

00:16:32out of here, I'm going to get you out of here, I'm going to get you out of here, I'm going

00:16:33to get you out of here, I'm going to get you out of here, I'm going to get you out of here,

00:16:34I'm going to get you out of here, I'm going to get you out of here, I'm going to get you

00:16:35out of here, I'm going to get you out of here, I'm going to get you out of here, I'm going

00:16:37to get you out of here, I'm going to get you out of here, I'm going to get you out of here,

00:16:38I'm going to get you out of here, I'm going to get you out of here, I'm going to get you

00:16:39out of here, I'm going to get you out of here, I'm going to get you out of here, I'm going

00:16:40to get you out of here, I'm going to get you out of here, I'm going to get you out of here,

00:16:41I'm going to get you out of here, I'm going to get you out of here, I'm going to get you

00:16:42out of here, I'm going to get you out of here, I'm going to get you out of here, I'm going

00:16:43to get you out of here, I'm going to get you out of here, I'm going to get you out of here,

00:16:44I'm going to get you out of here, I'm going to get you out of here, I'm going to get you

00:16:55out of here, I'm going to get you out of here, I'm going to get you out of here, I'm going

00:17:07to get you out of here, I'm going to get you out of here, I'm going to get you out of here,

00:17:16I'm going to get you out of here, I'm going to get you out of here, I'm going to get you

00:17:25out of here, I'm going to get you out of here, I'm going to get you out of here, I'm going

00:17:32to get you out of here, I'm going to get you out of here, I'm going to get you out of here,

00:17:39I'm going to get you out of here, I'm going to get you out of here, I'm going to get you

00:17:46out of here, I'm going to get you out of here, I'm going to get you out of here, I'm going

00:17:53to get you out of here, I'm going to get you out of here, I'm going to get you out of here,

00:18:01I'm going to get you out of here, I'm going to get you out of here, I'm going to get you

00:18:14Hello.

00:18:15Monica, you know what time it is.

00:18:30I thought you wanted to be alone.

00:18:35Hello?

00:18:38Monica?

00:18:41Hello?

00:19:11Hello?

00:19:14Hello?

00:19:17No, I got my...

00:19:26Yeah.

00:19:29Wells.

00:19:32Monica.

00:19:35Yeah. Welles. Monica. That's right. No, no, no. She was dead when we got here.

00:19:45Well, as far as we can tell, it looks like a suicide. Yeah. Well, we found her on the sidewalk in front of a townhouse.

00:19:53Looks like she jumped from a bedroom window.

00:19:56Better take it, sir. You've had quite a shock.

00:19:59No. Yeah, yeah. Yeah, yeah. No, no. We're here with her fiancé now. Apparently she called him. Yeah.

00:20:09She always made herself a cup of tea before she went to bed.

00:20:13Better not touch it, sir.

00:20:16Maybe we should go into the living room.

00:20:19No, no. Who's in my living room?

00:20:22No, no. Some neighbor. Some old guy walking his dog.

00:20:29Barty. And you were here.

00:20:33Yes.

00:20:34How was she when you left her?

00:20:36What?

00:20:37I was just wondering if she was depressed.

00:20:39She wasn't depressed.

00:20:41I guess you were the last one to see her alive.

00:20:44Catering people were here after I left.

00:20:47They were cleaning up.

00:20:48Didn't do a very good job.

00:20:50What?

00:20:52You let us in, so you must have a key.

00:20:54Does anyone else have one?

00:20:56That is, besides the deceased.

00:20:59I don't know.

00:21:02Me, probably.

00:21:03Hey, Jim. Yeah.

00:21:04Jim, the lieutenant's on the phone. He wants to talk to you.

00:21:07Excuse me.

00:21:08And, sir, don't touch anything, okay?

00:22:21Alex.

00:22:24You do love me.

00:22:29I'm scared to death.

00:22:50I love you.

00:23:20Oh, it looks good, Ernie. Thanks.

00:23:34Anything else you need?

00:23:35No. As a matter of fact, why don't you take the rest of the day off?

00:23:38Really?

00:23:39Well, I don't know. If anything should go wrong here, I...

00:23:42Like what?

00:23:43Clay, pestilence?

00:23:45Look, trust me. If I smell smoke, I'll send for the Marines.

00:23:48Yeah, but I...

00:23:49Boom. Open a beer, soak your feet.

00:23:51I'll take full responsibility.

00:23:56Somebody out there?

00:24:01Ernie, leave your number on the bulletin board, and I'll call you to lock up.

00:24:07All right.

00:24:16Who's there?

00:24:19Me.

00:24:22When they get here, stay in the shadows. I don't want them to see you from the stage.

00:24:26If anybody tries to leave, I'll come down and talk to them.

00:24:29Fine. It's essential they stay here, all of them.

00:24:32If even one of them walks out, it won't work.

00:24:34It may not work anyway.

00:24:36You still think this is a mistake, don't you?

00:24:38Like I said before, Mr. Denison, this is your show.

00:24:41I'm just here to watch.

00:24:55Alex?

00:24:56Karen, my love.

00:24:58Come here and let me get a good look at you.

00:25:01My wonderful Alex.

00:25:04Oh, it's been too long.

00:25:10I want you to know I got up at the crack of noon today, just for you.

00:25:14You've changed. Much more provocative.

00:25:17New image. It was time to bury the ingenue.

00:25:20Is it working?

00:25:21I'll know in a week.

00:25:23I'm up for the lead in a new play.

00:25:27It's between me and one other girl.

00:25:29Good luck.

00:25:30I think I'll steal one of her pictures and stick pins in it.

00:25:35Well, why not?

00:25:39After all, you always said I was ambitious.

00:25:42Oh, so I did.

00:25:45Let me get you a cup of coffee.

00:25:48How's Leo?

00:25:49Fine, I suppose.

00:25:52I haven't seen him for a while.

00:25:53Oh, I thought you two were an item.

00:25:55Things change.

00:25:57Well, he'll be here today if that's gonna be a problem.

00:25:59No.

00:26:00We're not enemies or anything.

00:26:03Alex, look.

00:26:04What's all this about?

00:26:06When you called, you mentioned a new play.

00:26:08Anybody home?

00:26:10Who's there?

00:26:11Tweedledum and Tweedledee.

00:26:13Bumped into each other outside.

00:26:15The difference is that Walter came in a limo and I had to take a bus.

00:26:18Is that Karen?

00:26:20Hello, Mr. Lamb. How are you?

00:26:22Hi, Lloyd.

00:26:23Hi.

00:26:24What is this?

00:26:25Remembrance of things past?

00:26:27Reunions are good for the soul.

00:26:29Come on up.

00:26:30Oh, I really hate this place.

00:26:32Too many memories.

00:26:33It's only because of my affection for you, Alex, that I even stepped foot in it.

00:26:37Noted and appreciated.

00:26:39It's been a long time.

00:26:41How have you been? Writing, I hope?

00:26:43Off and on.

00:26:44Mostly on.

00:26:45These scripts I see?

00:26:46Mustn't touch, Lloyd.

00:26:48Have to wait for the rest of the cast.

00:26:50Cast?

00:26:51Ah, he's being mysterious.

00:26:53Well, it's the playwright's prerogative.

00:26:56And it's the producer's prerogative to have a sweet role.

00:27:02Oh, what an odd sound.

00:27:04Somebody calling an empty theater.

00:27:06Why don't you two have something to eat?

00:27:19Hello?

00:27:21Yes, speaking.

00:27:24No, that's all right.

00:27:27Good.

00:27:29How soon can they get here?

00:27:33All right, thanks.

00:27:35Tell them to park the truck by the stage door.

00:27:39Yeah, that's right.

00:27:42All right.

00:27:43All right, thanks again.

00:27:47Goodbye.

00:27:52Ernie, I thought you went home.

00:27:53I don't feel right about leaving, Mr. Denison.

00:27:56I mean, it's my job to look after this place.

00:27:58It isn't necessary.

00:27:59I won't get in anybody's way.

00:28:01Ernie, I don't want you here. Is that understood?

00:28:03Go home! You're not needed!

00:28:06Okay.

00:28:07Whatever you say.

00:28:12Ernie, I'm sorry.

00:28:15I don't know what's the matter with me today.

00:28:17Here.

00:28:18For your trouble.

00:28:20Thank you. That's very nice of you, sir.

00:28:23Don't forget to leave your number, and I'll call you when we're finished, all right?

00:28:26Thank you, sir.

00:28:27Thank you.

00:28:29You see, this is why I became an actor.

00:28:31When I enter a room, I seem to command immediate attention.

00:28:34Hello, Leo. Welcome.

00:28:36To what?

00:28:37Now, that's a good question.

00:28:39I know. It's all a plan to get me and Karen back together.

00:28:42Don't be ridiculous.

00:28:44Well, nobody told me you were going to be here.

00:28:46Does that mean you wouldn't have come?

00:28:47Hey, Alex says he wants me here. That's good enough for me.

00:28:49You're being sequel, Leo.

00:28:51Okay, I'll stop if you tell me what it means.

00:28:55Good to see you, Leo.

00:28:57Good to see you, Leo.

00:28:58Alex, whatever you had in mind, shouldn't we get started?

00:29:01Still one more to come, right?

00:29:03And unless I missed my guess, it's...

00:29:04Sorry I'm late.

00:29:06Someone left a car in the middle of 46th Street and just went home.

00:29:11Speak of the devil.

00:29:12Lord, it's a rogue's gallery up there.

00:29:15Are we having a class reunion?

00:29:18Alex, good to see you again.

00:29:20Good to see you too.

00:29:22Alex, good to see you again.

00:29:24Good to see you too, dear boy.

00:29:25Water, us drinks.

00:29:27Give me one sec.

00:29:28David, get yourself some coffee and we'll begin.

00:29:31I will indeed, Alex.

00:29:32The rest of you take seats.

00:29:34Just make yourselves comfortable.

00:29:37Leo, old friend.

00:29:38Didn't you once tell me that you went to medical school?

00:29:41You mean before I went wrong and became an actor?

00:29:43Yeah, why?

00:29:44Because I am the king of all hangovers.

00:29:45What do you prescribe?

00:29:46Just dehydrated.

00:29:48Have some water.

00:29:49Only if it's a good year.

00:29:53Right.

00:29:54Do you two want to join the party?

00:29:56We'll wait.

00:30:03Alex, you have the floor.

00:30:14I want to thank you all for coming.

00:30:16I'm very grateful.

00:30:19I know I haven't been in touch during the past year.

00:30:24But I'm sure you'll understand it was a difficult time for me.

00:30:27Where were you keeping yourself?

00:30:29I tried calling.

00:30:30I rented a house in the woods, took the phone off the hook and brooded.

00:30:36For six months, I never even looked at a typewriter.

00:30:39The problem, of course, was guilt.

00:30:42Guilt because I'd failed all of you.

00:30:45But guilt mostly over Monica's death.

00:30:49Alex, it wasn't your fault.

00:30:51She was depending on me to give her a success.

00:30:54She needed one.

00:30:57And when it didn't happen, she went into a depression.

00:31:04Look, Alex, we all feel a little guilty.

00:31:08But there was no way to predict a reaction like that.

00:31:12It was so... extreme.

00:31:19Well, anyway, that's over and done with.

00:31:23The point is that I finally started a new play.

00:31:28It's just bits and pieces, but it's taking shape.

00:31:31That's why we're here.

00:31:32I want to try it out, see how it looks on its feet.

00:31:35And naturally, I want your input.

00:31:37Why us?

00:31:38Oh, let's say, to make amends.

00:31:40I've written parts for several of you.

00:31:42Oh, that's interesting.

00:31:43Lloyd, I'd like you to direct.

00:31:45Great.

00:31:46Walter, you get first option.

00:31:48Assuming you'll like it, of course.

00:31:50Of course I'll like it.

00:31:51Of course you will.

00:31:52Well, I've rented the theater for the afternoon,

00:31:54so why don't we read some of the scenes,

00:31:56talk them over and see what we've got.

00:31:58Oh, and by the way,

00:32:00it's something new for me.

00:32:03A mystery.

00:32:05Good.

00:32:06They do well.

00:32:07Unusual form.

00:32:08A mystery.

00:32:11You take the audience by the hand.

00:32:14And you lead them in the wrong direction.

00:32:19They trust you, and you betray them.

00:32:22All in the name of surprise.

00:32:24Sort of turns us into chess pieces, doesn't it?

00:32:26That bothers you, David?

00:32:28Ah, in a way, all those characters are cardboard.

00:32:31I like roles with flesh and blood.

00:32:34I don't know about the flesh, David.

00:32:36But I can guarantee you the blood.

00:32:42What are they called?

00:32:43Killing Jessica.

00:32:44I like it.

00:32:45Who's playing Jessica?

00:32:46Since I seem to be the only woman here.

00:32:48I'm sorry to disappoint you, Karen.

00:32:50But you're playing somebody else.

00:32:52Oh.

00:32:53No, no, don't worry. It's a good part.

00:32:54You'll have fun with it.

00:32:55Alex, you said those aren't full scripts.

00:32:57Hmm.

00:32:58I said bits and pieces.

00:32:59That's why I need your help.

00:33:01Can you give us an overview?

00:33:03Well, it's a play.

00:33:04Well, it's a play.

00:33:06About another play.

00:33:08One that's in rehearsal.

00:33:09And Jessica?

00:33:12Jessica is the star.

00:33:16A rather complex character.

00:33:19She's made several films.

00:33:21Mostly fluff.

00:33:23And she was embarrassed by them.

00:33:26So she just...

00:33:28walked away.

00:33:30She hibernated.

00:33:31Traveled.

00:33:32And finally she decided to take a chance in the theater.

00:33:36She got the leading role in a Broadway production.

00:33:38Moved to New York.

00:33:41And committed herself to a new career.

00:33:43She sounds...

00:33:45very familiar.

00:33:46Does she?

00:33:48Well, I always start from what I know.

00:33:51Alex, this character, Jessica...

00:33:54If we can believe your title, someone...

00:33:56kills her?

00:33:57Oh, yes.

00:33:58Well, it's made to look like something else.

00:34:01But it's murder.

00:34:06David, would you mind reading a scene?

00:34:10Why not?

00:34:12You're the leading man.

00:34:13Handsome, attractive to women.

00:34:15Side casting.

00:34:17Now, this takes place at the beginning of the third scene.

00:34:20The setting is your apartment.

00:34:21Am I married?

00:34:23Many times.

00:34:24But not currently.

00:34:25You've invited Jessica to your apartment for a private rehearsal.

00:34:30You've told her that it's common practice in the theater.

00:34:33And she believed me?

00:34:35She must have, because she comes.

00:34:50If Karen isn't going to play the part, who do I read with?

00:34:53Me, I'm afraid.

00:34:54You?

00:34:55You're in the imagination business, David.

00:34:56Give it a try.

00:34:57If it helps, try to picture Monica playing the role.

00:35:00Monica?

00:35:01Actually, that's not a bad idea.

00:35:02Just pretend I'm Monica.

00:35:03But...

00:35:04Let's get started.

00:35:06At the curtain, the doorbell rings.

00:35:08You're offstage.

00:35:12It rings again.

00:35:15You enter.

00:35:16Coming.

00:35:19You reach the door.

00:35:22And you open it.

00:35:27Hi.

00:35:28Am I early or late?

00:35:29Right on time.

00:35:30Come in.

00:35:35Sorry about not doing this at your place.

00:35:37I'm a bit under the weather.

00:35:38Oh, well, you'd rather wait.

00:35:39I know.

00:35:40It's too important.

00:35:41We have to protect ourselves.

00:35:42I hope you're exaggerating.

00:35:43My dear, the director isn't up there with egg on his face.

00:35:46We are.

00:35:47And when something isn't working...

00:35:48Oh, like act two scene one.

00:35:49Among other pitfalls, it's up to us to provide corrective surgery.

00:35:58Shouldn't we have told him we're rehearsing?

00:36:00Why?

00:36:01He's the problem, not the cure.

00:36:03Hasn't helped me much with my blocking.

00:36:05I keep getting tangled up in the furniture.

00:36:08We'll work it out.

00:36:10We shall have tomorrow.

00:36:12Please sit down.

00:36:14Drink?

00:36:15No, thanks.

00:36:17I'm having such trouble with some of these transitions.

00:36:27You're very involved in this.

00:36:29I guess I'm a bit too intense.

00:36:31Not at all.

00:36:32You have a genuine sense of dedication.

00:36:34It's refreshing.

00:36:35Thank you.

00:36:36That's why I'm glad we had this chance to get to know each other better.

00:36:39Strangely enough, it can help the performance.

00:36:43I suppose that's why so many leading men and leading ladies try to establish a very close rapport.

00:36:51What do you think?

00:36:53I think we should work on the scene.

00:36:55Really.

00:36:56There's plenty of time.

00:36:58Please, we're supposed to be rehearsing.

00:37:00Oh.

00:37:02Oh.

00:37:04This was a bad idea. I think I'd better leave.

00:37:06Why all the fuss? It's perfectly natural.

00:37:08We work together every day.

00:37:10We play, love scenes.

00:37:11Let go of me.

00:37:12Let go.

00:37:13Let go!

00:37:14What the hell was that for?

00:37:15Just leave me alone.

00:37:21Listen, lady, slaps in the face went out of the bustle.

00:37:23Who do you think you are?

00:37:24Will you get out of my way, please?

00:37:25You agreed to come here.

00:37:26I didn't force you.

00:37:27Maybe I was naive.

00:37:28I thought we were actually going to rehearse.

00:37:30Now, may I go?

00:37:32I don't like to be turned down.

00:37:34Maybe there's something you should know.

00:37:36When I'm attracted to a man, I don't need an invitation.

00:37:39You don't attract me, as far as I know.

00:37:41You don't attract anyone.

00:37:42In fact, rumor has it that if I were to say yes, you wouldn't know what to do.

00:37:48All right, now we're even.

00:37:49Hope you feel better.

00:37:51Good night.

00:37:56Good night.

00:38:05Alex, I'm sorry.

00:38:06I just don't like it.

00:38:07Why is that, David?

00:38:08Well, the man's totally unsympathetic.

00:38:10He's got no sophistication, no technique.

00:38:13Now, if I was going to seduce one of my leading ladies, I'd...

00:38:16Yes?

00:38:20I certainly wouldn't come on like that.

00:38:22Well, how would you come on?

00:38:24That's privileged information.

00:38:26No, I'm serious.

00:38:27Now, let's say just for the sake of argument that you wanted to seduce, I don't know, Monica.

00:38:34Monica?

00:38:36Why do you keep mentioning her?

00:38:38She was one of your leading ladies, and you do have a certain reputation.

00:38:41What is this, Alex?

00:38:43Monica and I were friends, co-workers.

00:38:45Rehearsals can be an intimate process.

00:38:48I got the impression you were attracted to her.

00:38:51You were wrong.

00:38:53If you say so.

00:38:55But it's academic anyway, isn't it?

00:38:57We were talking about the scene.

00:38:58And I thought you were excellent, David.

00:39:00Very convincing.

00:39:04Any comments?

00:39:07Don't be shy.

00:39:09Question.

00:39:10Yeah?

00:39:11What are you going for?

00:39:12What's the point of the scene?

00:39:13Well, the point, Lloyd, is that in a mystery, everyone must have a motive.

00:39:17You mean he kills her because she turns him down?

00:39:21I didn't say he was the culprit, Leo.

00:39:23But vanity can be a powerful force.

00:39:27You don't commit a murder because someone won't go to bed with you.

00:39:32No.

00:39:33But people had no trouble believing Monica took her life just because she was in a flop.

00:39:39That was different.

00:39:40Yes, of course it was.

00:39:43Forgive me.

00:39:44Walter's right.

00:39:45There are too many memories in this place.

00:39:47Let's go on to the next scene.

00:39:50It takes place on the afternoon of Jessica's opening night.

00:39:55She's in an art gallery.

00:39:57Another set?

00:39:58This is getting expensive.

00:40:00It's all in the lighting, Walter.

00:40:02Lloyd, would you mind reading this next scene with me?

00:40:05Why not Leo?

00:40:06I'm saving him for his own scene.

00:40:08Do you mind?

00:40:09It comes very close to the top of the show.

00:40:12Okay.

00:40:14Who do I play?

00:40:15Hey!

00:40:16Who do I play?

00:40:17A director.

00:40:19More typecasting?

00:40:20No, it helps give me a fix on the characters.

00:40:23Now, I'll read Monica again.

00:40:27Did I say Monica?

00:40:28Excuse me.

00:40:29I meant Jessica.

00:40:30Oh, here, you'll need this.

00:40:32What?

00:40:33A prop.

00:40:35A Madison Avenue art gallery.

00:40:38Jessica's come more or less as an escape.

00:40:40She needs a few moments of solitude before the rigors of an opening night.

00:40:45She's completely unaware that someone has entered the gallery.

00:40:55Not my taste.

00:40:56You startled me.

00:40:58Next time I'll clear my throat.

00:41:00Is this true?

00:41:02You mean the gossip column?

00:41:03That's exactly what I mean.

00:41:05Is it true?

00:41:07Yes.

00:41:09Congratulations.

00:41:13Things are looking up.

00:41:17The actress marries the playwright.

00:41:19And they live happily ever after.

00:41:21With him riding star vehicles for her, of course.

00:41:24That's a hostile thing to say.

00:41:25I'm in a hostile mood.

00:41:28It comes from the impression that the actress had an understanding of the director.

00:41:31For real?

00:41:32What kind of an understanding was that?

00:41:33Promises.

00:41:34A promise.

00:41:35All the sidelong glances.

00:41:36The body language.

00:41:37The request for help with your partner.

00:41:39Correct me if I'm wrong.

00:41:40Isn't that standard procedure?

00:41:41Not the way you did it.

00:41:43And it served its purpose.

00:41:45Special attention from the director.

00:41:47Tender and loving care.

00:41:48I think that's enough.

00:41:55Maya, listen to me.

00:41:58You and I really never had a go at it.

00:42:01You and I never had a go at it.

00:42:02You and I really never had a go at it.

00:42:05Why don't we at least give it a try?

00:42:07You're serious?

00:42:08I could be.

00:42:10Why on earth would I tie myself down to someone like you?

00:42:13No talent.

00:42:14No money.

00:42:15No future.

00:42:16What's in it for me?

00:42:20Wait a minute, Alex.

00:42:22You've got a major contradiction here.

00:42:24In what way?

00:42:25Well, look at her character.

00:42:27In one scene she's trusting and innocent.

00:42:28And here she's cold as ice.

00:42:30The many faces of Jessica.

00:42:31Besides, maybe that's just the way he sees her.

00:42:34It's not clear.

00:42:35Did she use him or didn't she?

00:42:37Well, the important thing is that he thinks she did.

00:42:41At least it's a better motive than he gave to my character.

00:42:44I don't agree.

00:42:45All right, Lloyd.

00:42:47When in doubt, touch base with reality.

00:42:49Let's take the case of you and Monica.

00:42:52What case?

00:42:53You were concentrating on her, giving her extra attention.

00:42:55She needed it.

00:42:56It was her first time on stage.

00:42:58Granted.

00:42:59You talked that you were going above and beyond the call of duty.

00:43:02That's not true.

00:43:03But suppose it was.

00:43:05Suppose you misinterpreted her professional needs

00:43:08for something more personal.

00:43:10And then suddenly you discover that she's going to marry another man.

00:43:13Alex, what are you getting at?

00:43:14I beg your pardon?

00:43:15Are we talking about the scene?

00:43:16Are we talking about Monica?

00:43:18Good question.

00:43:22Alex, we've known each other for a long time.

00:43:25So I'm entitled to be blunt.

00:43:26Why are we here?

00:43:27You know why, Walter.

00:43:28To read my new play.

00:43:29It's not a play.

00:43:30It's just a bunch of unrelated scenes.

00:43:32All of them uncomfortably close to the truth.

00:43:34The hell they are.

00:43:36She never came to my apartment.

00:43:38Who, David?

00:43:40Jessica or Monica?

00:43:41There isn't any Jessica.

00:43:43And as for Monica...

00:43:44Yes?

00:43:45All we had was a professional relationship.

00:43:47Just like Lloyd's.

00:43:49Well, I don't know anything about that.

00:43:50I just speak for myself.

00:43:52Are you suggesting that Monica and I

00:43:53had some kind of thing behind Alex's death?

00:43:55Hold it, hold it.

00:43:56Now, we're all friends here.

00:43:58I'm not so sure.

00:43:59Will somebody please tell me what's going on?

00:44:01My sentiments exactly.

00:44:03Alex, you owe us an explanation.

00:44:05Now, if not, I'll be on my way.

00:44:07Well?

00:44:09As you wish, Walter.

00:44:10Sit down and finish your coffee.

00:44:12All of you, sit down.

00:44:13Well, the truth,

00:44:15if you really want it,

00:44:19is that I am working on a new play.

00:44:21A murder mystery.

00:44:23The murder mystery of what?

00:44:25Oh, I'm sorry, I...

00:44:27I forgot.

00:44:29I forgot.

00:44:31I'm sorry.

00:44:33I don't remember.

00:44:34I didn't remember.

00:44:35I don't remember.

00:44:37I don't remember.

00:44:39I don't remember.

00:44:41I don't remember.

00:44:43Five suspects and an unknown killer.

00:44:46I hope it's me. Makes for a better party.

00:44:48Shut up, Leo.

00:44:49Well, things changed. A year ago, you two were roommates.

00:44:52None of your business.

00:44:53But it is mine.

00:44:55As a matter of fact, I've got a scene about that.

00:44:57You do?

00:44:58Alex, you're digressing.

00:45:01Clever of you to notice, Walter.

00:45:03Always business.

00:45:05That's what your scene's about, by the way.

00:45:08But you're right.

00:45:10Might as well get to the point.

00:45:11Well, it's really very simple.

00:45:13When we finish here, we'll know something that we didn't know before.

00:45:17And what's that?

00:45:19Which one of you killed Monica Wells?

00:45:39What are you talking about?

00:45:42Monica wasn't murdered. She committed suicide.

00:45:45And to suggest that one of us is involved...

00:45:47It isn't a suggestion. It's a statement of fact.

00:45:49They investigated. The police...

00:45:51The police were wrong.

00:45:52Alex!

00:45:54We all know you suffered a terrible loss.

00:45:57We understand your grief.

00:45:59But what you're doing here, it won't change anything.

00:46:02It won't bring her back.

00:46:03Then you've nothing to lose by indulging me.

00:46:06I'll tell you what we've got to lose. Our privacy.

00:46:09I'm sorry, Alex, but if you're going to be making accusations

00:46:11and digging into our personal lives, I'd rather be somewhere else.

00:46:14Karen, all I'm asking...

00:46:15I know what you're asking.

00:46:17At least I think I do, and I'm sorry. I just don't like it.

00:46:23Well, I suppose that's it.

00:46:25Class dismissed.

00:46:33Excuse me, Miss Daniels, but shouldn't you reconsider?

00:46:36Who are you?

00:46:37We met last year after the suicide of Miss Wells.

00:46:40I took a statement from you.

00:46:42Karen?

00:46:44You remember Lieutenant McElroy?

00:46:47McElroy?

00:46:48Yeah.

00:46:49He was the investigating officer. I spoke to him myself.

00:46:52What's he doing here?

00:46:53I asked him to come.

00:46:55Karen, would you do me a favor, please? Would you come back on stage?

00:46:58You too, Lieutenant.

00:47:00I'd very much like to get to the bottom of this.

00:47:04If you wouldn't mind, it might be helpful, then.

00:47:11Care to explain all this?

00:47:13Lieutenant, Mr. Lamb requires an explanation.

00:47:16Well, not much to explain, sir.

00:47:19Mr. Dennison called, asked me to be here today.

00:47:22Said he has some new information pertaining to the death of Monica Wells.

00:47:25Well, now, a moment ago you said suicide, not death.

00:47:29Yes, it was suicide.

00:47:31That's my view, and the official determination of the medical examiner.

00:47:35Then the case is closed.

00:47:37Because the lieutenant's willing to give me a hearing?

00:47:39It's an admirable trait, don't you think?

00:47:41I'll tell you what's not so admirable.

00:47:43We didn't know he was here.

00:47:45Well, Mr. Dennison asked me to keep out of sight.

00:47:47Thought it might, um, inhibit you.

00:47:50I wonder why.

00:47:51He agreed to intervene if any of you tried to leave.

00:47:54But you can't keep us here against our will.

00:47:57Uh, no, ma'am, I can't.

00:48:00This is strictly unofficial.

00:48:02You're perfectly free to leave.

00:48:04But I would have to wonder why you'd be so anxious to leave.

00:48:07Uh, so we're back to what have we got to lose, hmm?

00:48:10Frankly, I think Mr. Dennison's on a wild goose chase.

00:48:13I've told him that.

00:48:15But I'm willing to keep an open mind.

00:48:17It's up to you, Kerry.

00:48:25Where's my scene?

00:48:27Welcome back.

00:48:29But if you don't mind, I'd like to ask you a few questions.

00:48:32Welcome back.

00:48:34But if you don't mind, Walter goes next.

00:48:37Walter?

00:48:39I'm not an actor, Alex.

00:48:41All producers are actors.

00:48:46Now, you just sit in this chair.

00:48:50Come on, Walter, it's a simple phone call.

00:48:53Back, fellas, back.

00:49:02Come on.

00:49:14You're the producer of a play that's just opened to mixed reviews.

00:49:17The opening night party is over in your home.

00:49:20The man on the other end of the line is your accountant.

00:49:23It's all yours, Walter.

00:49:25Hello, Harry, this is, uh...

00:49:28What name shall I use?

00:49:30What's the matter with your own?

00:49:34This is Walter Lamb.

00:49:36Sorry to drag you out of bed, but I assume you've heard, hmm?

00:49:40Yes, well, the patient is in terminal,

00:49:43but the vital signs are fading fast.

00:49:46Harry, I know the paperwork is at your office,

00:49:49but could you please come to my office?

00:49:52I know the paperwork is at your office,

00:49:55but do you remember offhand the insurance situation?

00:50:01No, uh, specifically the non-appearance clause.

00:50:07I'm not sure I like this, Alex.

00:50:09What's the problem? It's only a play.

00:50:15Harry, I was wondering about the amount of coverage.

00:50:22No, no particular reason.

00:50:24Just give me a ballpark figure.

00:50:27Uh-huh, yes.

00:50:29That's what I thought.

00:50:31All right, Harry.

00:50:33Thank you. Go back to sleep.

00:50:37You satisfied?

00:50:39Yes, Walter. Very realistic.

00:50:41Well, I guess I'm a little slow,

00:50:43but I have the foggiest idea what that was about.

00:50:46Yes, well, let me enlighten you.

00:50:48What Alex was trying to say

00:50:50is that I was the sole investor in Chamber Music.

00:50:53So?

00:50:55So Walter stood to lose a small fortune, unless...

00:50:58Unless, like the producer in this scene,

00:51:01I was covered by insurance.

00:51:03So if I kept the show open

00:51:05and one of the actors failed to appear...

00:51:07The leading lady, for example.

00:51:09Then I would collect the insurance money.

00:51:12Is that your drift, Alex?

00:51:14Only if you had that kind of coverage.

00:51:16Well, I planned it so that I did.

00:51:18Then Monica's death came at a very convenient time for you.

00:51:21The woman killed herself.

00:51:23Do you understand?

00:51:25Whether you want to believe it or not,

00:51:27she was depressed,

00:51:29and she jumped out of her bedroom window.

00:51:31How can you be so certain, Walter?

00:51:33Were you there?

00:51:35Excuse me.

00:51:39I'm looking for Mr. Denison.

00:51:41Alex Denison.

00:51:43Right here.

00:51:46Hi.

00:51:48Santoro moving in storage.

00:51:50We got your shipment.

00:51:52Where's your truck?

00:51:54Right outside.

00:51:56Want us to unload?

00:51:58In a minute.

00:52:00Excuse me.

00:52:02I want to check a bill of lading.

00:52:04And by now, you all deserve an intermission.

00:52:06What's this, moving day?

00:52:08They're bringing in a set for the last scene.

00:52:10What kind of set?

00:52:12Permit me my element of surprise, Lloyd.

00:52:14I'll be right back.

00:52:20Now what?

00:52:22Apparently, we just wait.

00:52:24The puppets without the puppeteer.

00:52:26If we had any sense, we'd go home.

00:52:34And that doesn't mean we're guilty of anything.

00:52:38Easy, Karen.

00:52:40Well, I don't like it.

00:52:42I mean, what is wrong with him?

00:52:44A year ago, even at the funeral, he was fine.

00:52:46But now...

00:52:52A year is a long time.

00:52:54He's obsessed.

00:52:56No, no.

00:52:58There's a method to all this.

00:53:00He knows what he's doing.

00:53:02That's a charitable interpretation.

00:53:04He certainly raked you over the coals.

00:53:06Well, that makes two of us.

00:53:08Three?

00:53:11Marvelous.

00:53:13Wonderful.

00:53:15We're next.

00:53:17What can he accuse me of?

00:53:19Monica and I were friends.

00:53:21He'll think of something.

00:53:23If you're both so worried, read the play.

00:53:25What?

00:53:27Your scenes.

00:53:29They should be about somewhere.

00:53:31Forewarned is forearmed.

00:53:33That's right.

00:53:35We can check the pages and see what he's up to.

00:53:37Ward.

00:53:39Ward.

00:53:41Nothing with your names on it?

00:53:43No, David.

00:53:45David.

00:53:47Try the attaché case.

00:53:51No, it's empty.

00:53:53Maybe, maybe, maybe we're not going to do anything.

00:53:57Then why did he invite us?

00:53:59Take my word for it.

00:54:01You won't be overlooked.

00:54:03The papers are probably hidden.

00:54:05Well, he knew he'd be interrupted.

00:54:07He didn't want to give you an advantage.

00:54:09It's all part of keeping us all off balance.

00:54:11He may be obsessed, David,

00:54:13but he's thorough.

00:54:15Very thorough.

00:54:17Somehow that doesn't comfort me.

00:54:21Did you check the loads yourself?

00:54:23Sir, it's all right here.

00:54:25How long will it take you to set up on stage?

00:54:27Half an hour.

00:54:29Make it sooner.

00:54:31Like I said, 15 minutes.

00:54:33Is this it?

00:54:35I want every piece put in the position

00:54:37where it's marked, understood?

00:54:39Sure.

00:54:41Switch on the stage lights so you can see.

00:54:43And if you need us, we'll be downstairs.

00:54:45I thought you people always had your sets built.

00:54:47Your stuff's all real.

00:54:49We're trying something new.

00:54:51Keeps the actors on their toes.

00:54:55Intermission over.

00:54:57I'm sorry to keep you waiting.

00:54:59Why don't we all go downstairs

00:55:01where we won't be distracted?

00:55:05I promise you, we're almost finished.

00:55:09Surely you don't want to miss the ending.

00:55:17Well, I've had my turn in the dentist's chair.

00:55:20Karen, Leo,

00:55:22why should you miss out on all the fun?

00:55:24Hard to play a scene that doesn't exist.

00:55:26Oh, well, you're looking for your pages.

00:55:31Right here.

00:55:35There's an interior compartment.

00:55:37I think they make these things

00:55:39for spies and smugglers.

00:55:41I should have told you.

00:55:43You could have rehearsed.

00:55:45Shall we?

00:55:49You said it was empty.

00:55:51It was.

00:56:01Lieutenant,

00:56:03why are you going along with this nonsense?

00:56:05Is it nonsense, Mr. Matthews?

00:56:07You know it is.

00:56:09Well, the department likes to be cooperative.

00:56:11Particularly when a celebrity is involved.

00:56:13You're humoring him, aren't you?

00:56:15You said it, sir.

00:56:17I didn't.

00:56:25Oh.

00:56:27I'm sorry.

00:56:29Oh.

00:56:33What's he getting at?

00:56:35Does he actually suspect one of us?

00:56:39We should catch up with the others, sir.

00:56:41I'll be right along.

00:56:59So, who's the next victim, Alex?

00:57:01Me?

00:57:03Actually, Karen, I'd like you and Leo

00:57:05to play a scene together.

00:57:07You mean I have to share the spotlight?

00:57:09You should be used to that.

00:57:11Isn't she wonderful?

00:57:13Right between the shoulder blades.

00:57:15It's easy.

00:57:17There's no backbone to get in the way.

00:57:19You'd like to.

00:57:21I know you'd like to.

00:57:23Lieutenant?

00:57:25Shut up!

00:57:27Now I get it.

00:57:29Don't you see what he's doing?

00:57:31Not that you mention it.

00:57:33No, no.

00:57:35Hamlet, Act 2, Scene 2.

00:57:37A play within a play

00:57:39to catch his father's killer.

00:57:41I have heard

00:57:43that guilty creatures

00:57:45sitting at a play

00:57:47have, by the very cunning

00:57:49of the scene,

00:57:51been struck so to the soul

00:57:53that presently they are

00:57:55proclaimed their malefactions.

00:57:57The play's the thing.

00:57:59Wherein I'll catch the conscience of the king.

00:58:01Right.

00:58:03That's all very interesting,

00:58:05but why isn't David here?

00:58:07The last time I saw him, he was upstairs.

00:58:09You think he went home?

00:58:11I need him here. He knows that.

00:58:13David!

00:58:15David!

00:58:17The bus. Maybe the guy went to the bathroom.

00:58:19Ah, there you are.

00:58:21Hey, David, I thought you bailed out.

00:58:31Who are you?

00:58:35I don't get it.

00:58:39You know who I am.

00:58:41I know who you say you are.

00:58:43Suppose you give me some identification.

00:58:45What's this all about?

00:58:47Whoever this man is,

00:58:49he's not Lieutenant McElroy.

00:58:51What?

00:58:53But I remember him.

00:58:55You only think you do.

00:58:57There's a resemblance. The age, the build.

00:58:59But I'm pretty good on faces.

00:59:01And our friend here is not the man who spoke to me

00:59:03after Monica's death.

00:59:05Are you sure?

00:59:07I've just called the police.

00:59:09Lieutenant Henry McElroy

00:59:11was killed in the line of duty

00:59:13six months ago.

00:59:15Now, unless you're a ghost,

00:59:18I think you'd better tell us who you are.

00:59:26Well, I tried.

00:59:30Karen.

00:59:32Gentlemen.

00:59:34May I introduce a fellow professional,

00:59:36Mr. Frank Heller.

00:59:38He's an actor?

00:59:40And a very good one.

00:59:42Maybe not, Mr. Denison. They nailed me.

00:59:44Nothing to do with your performance.

00:59:46Are you saying Alex hired you

00:59:48to impersonate Lieutenant McElroy?

00:59:50Yes, sir.

00:59:52Why?

00:59:54Very simple, Walter.

00:59:56For my little psychodrama to work,

00:59:58I had to keep you all here.

01:00:00Given the nature of the situation,

01:00:02I knew someone would try to leave.

01:00:04So I needed, what shall I call it,

01:00:06official leverage.

01:00:08Of course.

01:00:10We might walk out on you, but not a cop.

01:00:12That was the idea.

01:00:14So we'd never cooperate.

01:00:16Exactly.

01:00:18I decided to hire a look-alike.

01:00:20Oh, excuse me, David.

01:00:22An almost look-alike.

01:00:24Does he know how much trouble he's in?

01:00:26What do you mean?

01:00:28What kind of trouble?

01:00:30Impersonating a police officer is a felony.

01:00:32I said he was a police officer.

01:00:34He didn't.

01:00:36That's a technicality.

01:00:38If you're going to be angry, David, blame me.

01:00:40Mr. Heller was just following instructions.

01:00:42Well, how'd you get into this?

01:00:52You may not believe this,

01:00:54but I went to an audition.

01:00:56An audition?

01:00:58My agent said Alex Dennison was looking for an actor.

01:01:00Who am I to say no to that?

01:01:02Go on.

01:01:06I went to this rehearsal hall.

01:01:08There were about ten other guys there.

01:01:10I did the same.

01:01:12Mr. Dennison interviewed me, and that was that.

01:01:14Then about a week later, he called me back.

01:01:16Now there was only three guys.

01:01:18Finally, there was just me.

01:01:20Well, what happened when he told you what he wanted?

01:01:24I thought he was crazy.

01:01:26An accurate impression.

01:01:28Tell him to rest, Frank.

01:01:30Well, first I told him no.

01:01:32I mean, I never met Monica Wells,

01:01:34but like everybody else, I read in the paper

01:01:36that she committed suicide.

01:01:38But then he explained some things to me,

01:01:40told me why she was murdered,

01:01:42and who murdered her.

01:01:45Did he now?

01:01:47And of course, he offered you money.

01:01:49Yes, sir.

01:01:51How much?

01:01:55Ten thousand dollars.

01:01:57Oh, for a one-day part,

01:01:59if I'd known that, it would have been plastic surgery.

01:02:01Okay, look, I admit the money was important.

01:02:03I mean, you people know what it's like.

01:02:05Actors have to scramble for jobs.

01:02:07I've tended bar.

01:02:09I've been a hard hat.

01:02:11Even drove a cab for a while.

01:02:13It's not much of a life.

01:02:15So when this came along...

01:02:17You don't have to apologize, Frank.

01:02:19Anyway, no hard feelings, I hope.

01:02:21You won't be needing me now,

01:02:23so I guess I'd better be going.

01:02:25Not quite yet.

01:02:27No one leaves until we're finished.

01:02:29How can you keep us here?

01:02:31You don't have your phony cop anymore.

01:02:33Okay, I pretty much had a belly full of this.

01:02:35I'm sorry, Lloyd, but I suggest

01:02:37we put up with it a few more minutes.

01:02:39What?

01:02:41On one condition.

01:02:43Alex tells us why he's so all-fired positive

01:02:45that Monica was murdered.

01:02:47I think that's your cue, Alex.

01:02:49Frank, I'll need your help.

01:02:51What do you want me to do?

01:02:53Be Lieutenant McElroy again.

01:02:55Now, we've been over this.

01:02:57Give them the case for suicide.

01:03:01Well, for one thing,

01:03:03there's no signs of any forced entry

01:03:05into her townhouse.

01:03:07Correct.

01:03:09If she was killed by an intruder, how did he get in?

01:03:11And why wasn't anything stolen?

01:03:13The police found $1,000 in cash on the premises.

01:03:15A thief would have taken it.

01:03:17She knew her play was a flop.

01:03:19So she was despondent.

01:03:21She left a suicide note.

01:03:23Concrete proof of her intentions.

01:03:25After everybody left,

01:03:27she went upstairs,

01:03:29opened her bedroom window,

01:03:31say it.

01:03:33She jumped.

01:03:35In the words of the medical examiner's report,

01:03:37fall from a height.

01:03:39Case closed.

01:03:41But not for you.

01:03:43Nobody commits suicide because of bad notices.

01:03:45It wasn't the notices.

01:03:47It was the end of a dream for her.

01:03:49Alex, you have to admit

01:03:51that sometimes she was,

01:03:53well, erratic.

01:03:55I mean, she walked out on a performance one night.

01:03:57I had to go on for it. Don't you remember?

01:04:00Oh, the police made quite a point of that.

01:04:02Monica Wells gets into an argument

01:04:04with the playwright just before a preview.

01:04:06She bolts from the theater,

01:04:08hails a cab, and goes home.

01:04:10She refuses to answer the phone,

01:04:12so we're forced to give a performance without her.

01:04:14She comes back to the theater

01:04:16in a few hours and apologizes.

01:04:18Obviously proof of an unsound mind.

01:04:20It's certainly proof of something.

01:04:22David, she was in love.

01:04:24She was struggling over whether or not

01:04:26to make a commitment.

01:04:28The tension was too much for her.

01:04:30We fought, she ran away,

01:04:32she came back.

01:04:34Unprofessional, yes, she admitted that.

01:04:36But it was not abnormal.

01:04:38Alex,

01:04:40I have listened very carefully

01:04:42and I have heard

01:04:44nothing about murder.

01:04:46She called me that night.

01:04:48She asked me to come over.

01:04:50Is that the behavior of a suicide?

01:04:52Maybe it was a cry for help.

01:04:54Then why did the phone go dead in the middle of a sentence?

01:04:56Because she changed her mind and hung up.

01:04:58The woman was under stress.

01:05:00She wasn't rational.

01:05:02She was rational enough to make herself a cup of tea.

01:05:04I saw it on her desk in the study.

01:05:06Is that your evidence?

01:05:08A cup of tea?

01:05:10She was starting a new life.

01:05:12She had everything to live for.

01:05:14You saw her at the party.

01:05:16Was that a woman in despair?

01:05:18Nobody can get into someone else's mind, Alex.

01:05:20Not even people we care about.

01:05:22Who knows what she was thinking that night.

01:05:24I know.

01:05:26She was thinking about our future.

01:05:28Alex.

01:05:30Alex, don't you see?

01:05:32Monica did a terrible thing.

01:05:34She not only took her own life,

01:05:36but she rejected you.

01:05:38I mean, that's hard to accept.

01:05:40So you've come up with this

01:05:42fantasy about a murder

01:05:44in a strange way

01:05:46it's easier to live with.

01:05:48I take it that means you're not going to help.

01:05:50I just don't see what else we can do.

01:05:55Karen, Leo,

01:05:57would you play the last scene for me?

01:05:59Alex, Walter's right.

01:06:01We're all friends here,

01:06:03but we're not getting anywhere with this.

01:06:05Excuse me.

01:06:07Leo, just a few pages.

01:06:09No, I'm sorry.

01:06:11Well, who'll share a ride with me uptown?

01:06:13Well, you can drop me in 75th Street.

01:06:15You know, I've waited a long time for you.

01:06:17Take it easy.

01:06:19Alex.

01:06:21Alex, please.

01:06:23Fine, but you don't need that.

01:06:25Listen.

01:06:27You don't need that.

01:06:29Seems I do.

01:06:31Alex, give me the gun.

01:06:33Then no one will get hurt.

01:06:35David, don't.

01:06:37He's bluffing.

01:06:39I wouldn't count on it.

01:06:41Alex, that's just a prop, right?

01:06:43Or it's not loaded.

01:06:45Put it down.

01:06:47This is ridiculous.

01:06:49Probably.

01:06:51Karen, Leo, pick up those pages.

01:06:53Yes, sir.

01:06:55You expect us to act?

01:06:57That's exactly what I expect.

01:07:01The scene takes place in your dressing room, Karen.

01:07:03Get back there.

01:07:07It's opening night.

01:07:09Sit on the couch.

01:07:11Leo, you make your entrance in a couple of moments.

01:07:15Are you ready?

01:07:17No.

01:07:19But you'll try, won't you?

01:07:21I'll read Monica again.

01:07:25The scene starts

01:07:27with a knock on the door.

01:07:31Yes?

01:07:33Monica!

01:07:35May I come in?

01:07:37Yes, of course.

01:07:39Oh, not in makeup yet.

01:07:41Oh.

01:07:43I'll do my makeup for another hour or so.

01:07:45I just wanted to sit in here

01:07:47and soak up the atmosphere.

01:07:49And you're not quite sure which makeup to use, are you?

01:07:51Pardon?

01:07:53I mean, if I were to get sick at the last minute,

01:07:55you'd have to play my part for me again.

01:07:57Never even crossed my mind.

01:08:01Nobody gets sick on opening night.

01:08:03No, I suppose not.

01:08:07I heard you were quite good

01:08:09when you went on for me last week.

01:08:11The audience was disappointed.

01:08:13I did my best, but...

01:08:15There's no comparison.

01:08:17No, you're being modest.

01:08:19Well, it doesn't much matter, does it?

01:08:21I mean, you're here.

01:08:23That seems to surprise you.

01:08:25Why would I be surprised?

01:08:27I brought your tea back.

01:08:29You know, a special blend of tea leaves

01:08:31that your grandmother whips up in her country kitchen?

01:08:33Didn't you like it?

01:08:35I mean, it really calms me down.

01:08:37So you said.

01:08:39It's so good for the rest of the body.

01:08:41I don't know what you mean.

01:08:43Let me see if I can make myself

01:08:45perfectly clear.

01:08:47Since you practically forced that tea on me

01:08:49and since your motives are so transparent,

01:08:51I took some to my doctor and had him send a sample

01:08:53to the lab.

01:08:55A lab?

01:08:57A marvelous new word. Cyclophosphamide.

01:08:59It's an alkylating agent.

01:09:01That's an odd thing to find in your grandmother's recipe.

01:09:03There must be some mistake.

01:09:05It causes dizziness and nausea.

01:09:08A few sips of this and I'd be home right now

01:09:10and you'd know which makeup to use.

01:09:12Monica.

01:09:14You weren't even willing to pay your dues, were you?

01:09:18Karen, I thought

01:09:20I didn't know you had company. Hi, Margaret.

01:09:22It's private, Leo.

01:09:24No, come on in, Leo. The three of us

01:09:26were having a little talk. About what?

01:09:28Oh, pick a subject.

01:09:30Opening night, doing a favor for an intimate friend.

01:09:32What?

01:09:34Going to medical school?

01:09:36You did go, didn't you, for a few years?

01:09:38I imagine you had courses in chemistry.

01:09:40Well, that was a long time ago.

01:09:42Why? What's this all about?

01:09:44She knows. Knows what?

01:09:46About that. She had it analyzed.

01:09:48Oh, brother.

01:09:50Okay, look, we spiked your tea,

01:09:52but it wouldn't have harmed you.

01:09:54It just would have slowed you down for tonight.

01:09:56The question is, what are you going to do?

01:09:58I told you it was crazy. You wouldn't listen. Be quiet, Leo.

01:10:00They put people in jail for something like this. Be quiet.

01:10:02Excuse me, I, uh...

01:10:04Well, yes, that was a very good rehearsal, Karen, Leo.

01:10:06We'll do that scene again later.

01:10:08I'm sorry, Mr. Dennison.

01:10:10I didn't mean to interrupt.

01:10:12We're finished.

01:10:14Oh, thank you.

01:10:16I just need you to sign this for me.

01:10:18Thanks.

01:10:24Thank you.

01:10:26Thank you.

01:10:28We'll be back tomorrow to pick up the stuff.

01:10:30Right. Thanks again.

01:10:34Alex, I hope you know

01:10:36that scene we just played was nothing but lies.

01:10:38You did bring her tea. She told me.

01:10:40It was a gift.

01:10:42There was nothing in it.

01:10:44I mean, what good would it do me?

01:10:46Walter would never open with an unknown.

01:10:48Would you, Walter?

01:10:50Or would you send everyone home at the last minute?

01:10:52The critics, the press?

01:10:54I wonder. Alex, use your head.

01:10:56Even if Karen was nuts, I'm not.

01:10:58I'd never help her with something like that.

01:11:00You were living with her then. You'd do anything she wanted.

01:11:02Well, shall we go upstairs

01:11:04and see the set?

01:11:06No, I don't think it's a good idea.

01:11:08I have a great idea.

01:11:10Shall we go upstairs and see the set?

01:11:12The voice of reason.

01:11:14At least one of us is rational.

01:11:16Come on, let's get this over with.

01:11:18Take it easy. I'm right behind you.

01:11:24You too, Leo. Come on.

01:11:32♪♪

01:11:47♪♪

01:11:59Alex, please. Cut it out.

01:12:03At least we knew what we were doing.

01:12:05You'll find out.

01:12:07I know.

01:12:09♪♪

01:12:28What is it?

01:12:30It's some kind of bedroom set.

01:12:32Another seduction scene, Alex?

01:12:34Well, as a matter of fact,

01:12:36it's the scene of the crime.

01:12:38Oh, Lord. What?

01:12:40I think I know what this is.

01:12:44This is Monica's bedroom, isn't it?

01:12:46Very good, Karen.

01:12:48But...

01:12:50Her furniture was in storage.

01:12:52I had it brought here today

01:12:54in the interest of realism.

01:12:56Is this... The original?

01:12:58No. The police have that in their files.

01:13:00But everything else is exactly as it was.

01:13:02The bedclothes,

01:13:04contents of the drawers,

01:13:06and our champagne glasses.

01:13:08Oh...

01:13:10I wouldn't, David.

01:13:12Monica didn't smoke. There are no ashtrays.

01:13:14Lloyd, would you turn out

01:13:16the house lights, please?

01:13:18Oh, and Karen,

01:13:20that chair's out of position.

01:13:22Move it a little more center, would you?

01:13:28Thank you, Leo.

01:13:32Well, now what?

01:13:34I was wondering

01:13:36when you were gonna get around to that.

01:13:38I've established that you all had motives.

01:13:40Like hell we have.

01:13:42But motives are nullified by a legitimate alibi.

01:13:44Then cross me off your list.

01:13:46I was in an after-hours bar

01:13:48drinking till 4 o'clock in the morning

01:13:50and there must have been 20 witnesses.

01:13:52And I was with friends.

01:13:54We went back to my place after the party and commiserated.

01:13:56Walter?

01:13:58Fortunately for me, I went home with our company manager.

01:14:00I sat around with his wife and kids.

01:14:02Oh, Karen, that leaves you and Leo.

01:14:04It's easy.

01:14:06As you keep reminding us,

01:14:08we were living together.

01:14:10We spent the night in Leo's apartment.

01:14:12Seems like everyone's accounted for.

01:14:14Then who was Monica planning to meet

01:14:16after the party?

01:14:18Who said she was meeting anyone?

01:14:22She sent me home, Lloyd.

01:14:24On the one night we should have been together.

01:14:26And she got rid of the caterers.

01:14:28Didn't even give them a chance to clean up.

01:14:31No, she was expecting someone.

01:14:33Maybe she wanted to be alone.

01:14:35Then why didn't she lock the front door?

01:14:37I don't understand.

01:14:39What do you mean?

01:14:41She didn't throw the bolt.

01:14:43I was able to let the police in with my key.

01:14:45You're saying she didn't want you to stay

01:14:47because someone was coming?

01:14:49It explains the circumstances, doesn't it?

01:14:51When I left,

01:14:53she let him in.

01:14:55Him?

01:14:57Or her.

01:14:59They had some kind of argument.

01:15:01She called me.

01:15:03He grabbed the phone and hung up.

01:15:05I think there was a struggle.

01:15:07She was struck

01:15:09and killed.

01:15:11Where did this happen?

01:15:13In the study. It's the only downstairs phone.

01:15:15Why not up here?

01:15:17The tea, Walter.

01:15:19She didn't bring it upstairs.

01:15:21We're back to that again.

01:15:23Maybe she forgot. She was upset.

01:15:25Won't wash, David.

01:15:27Too upset to make a cup of tea,

01:15:29but too upset to drink it?

01:15:31Then, of course, she didn't turn off

01:15:33the downstairs lights.

01:15:35They were on when I came in.

01:15:37And the bedroom door was open.

01:15:39Maybe.

01:15:41Suicide is a private act.

01:15:43She'd called me.

01:15:45I might come over and stop her.

01:15:47She knew I had the key.

01:15:49First, throw the bolt on the front door.

01:15:51Then close and lock the bedroom door.

01:15:53But she didn't.

01:15:55She was never upstairs that night alive.

01:15:57So your imaginary murderer

01:15:59carries her upstairs

01:16:01and throws her out of the window.

01:16:03Why not?

01:16:05Instead of an unexplained corpse,

01:16:07he creates a suicide.

01:16:09And the note?

01:16:11He searches, finds a piece of stationary.

01:16:13Here.

01:16:15What about fingerprints?

01:16:17Uh-huh.

01:16:19Takes the stationary,

01:16:21presses her fingers to it,

01:16:23her prints are on it.

01:16:25His aren't.

01:16:27Well, that's very ingenious, Alex.

01:16:29But even if you're right,

01:16:31even if somebody did kill her,

01:16:33it wasn't one of us.

01:16:35Unless you don't believe our alibis.

01:16:37Oh, on the contrary.

01:16:39I hired a firm of private detectives

01:16:41to check them out.

01:16:43Most of them held up.

01:16:45Most of them?

01:16:47Three of you were with multiple witnesses

01:16:49when Monica died.

01:16:51You were at a club,

01:16:53Lloyd with friends,

01:16:55and Walter with your company manager's family.

01:17:01But you and Leo, Karen,

01:17:03you two only alibi each other.

01:17:05We were together.

01:17:07We only have your word for that.

01:17:09What do you mean?

01:17:11There are five motives here,

01:17:13all hypothetical,

01:17:15but one of them is real.

01:17:17It's a matter of record.

01:17:19This is a laboratory report.

01:17:21Chemical analysis of a tea sample

01:17:23submitted by Monica Wells

01:17:25in April of last year.

01:17:27What does it say?

01:17:29The sample was saturated with,

01:17:31I can't even pronounce it,

01:17:33but it can cause illness

01:17:35and incapacitation.

01:17:37I found that among her effects.

01:17:39It's a fake.

01:17:41Looks genuine to me, Leo.

01:17:43Easy enough to check.

01:17:45One legitimate motive and two unsupported alibis.

01:17:47I am not going to listen to this.

01:17:49She found out what you were doing.

01:17:51You both tweeted with her.

01:17:53You asked her to meet you after the party.

01:17:55No.

01:17:57You're the lady who would stick pins in a photograph

01:17:59and Monica was a threat.

01:18:01I never went back there.

01:18:03Then who did?

01:18:05I don't know. Maybe Leo.

01:18:07But you were with Leo.

01:18:09Not all the time.

01:18:11He went out for a while.

01:18:13That's all I wanted to know.

01:18:15How long was he gone, Karen?

01:18:17I don't remember. 20 minutes? An hour?

01:18:19No alibi, Leo.

01:18:21And a motive.

01:18:23Hey, hey, hey, this is crazy.

01:18:25Don't tell me any of you believe this.

01:18:27All right, I took a walk.

01:18:29Is that some kind of crime?

01:18:31And what about her?

01:18:33If I don't have an alibi, neither does she.

01:18:35That doesn't matter, Leo.

01:18:37Why the hell doesn't it?

01:18:39Because Monica was killed downstairs.

01:18:41Her murder had to carry her up here.

01:18:43I'm getting out of here. Nobody's going to hang this on me.

01:18:45You killed her.

01:18:47She killed herself.

01:18:49Her whole life ahead of her and you killed her.

01:18:51Alex, take it easy.

01:18:53Come back here, Leo.

01:18:55Nobody's going to railroad me.

01:18:57I'm warning you.

01:18:59Listen to him, Leo.

01:19:01I've done enough listening.

01:19:03That's it.

01:19:05Alex.

01:19:07Keep it coming.

01:19:09I've got it.

01:19:12I've got it.

01:19:16Alex.

01:19:18Alex.

01:19:20Give me the gun, Alex.

01:19:22Alex.

01:19:24Lloyd, where are you?

01:19:26Lloyd, put the lights on.

01:19:28I can't do it.

01:19:32You killed somebody. Put the lights on.

01:19:34I can't. It won't work.

01:19:38I got a flashlight.

01:19:40Somebody say something.

01:19:42Tell me where he is.

01:19:46Talk to me. Where is he?

01:20:06Lights, Lloyd.

01:20:10Lights.

01:20:24What is this?

01:20:26What's going on?

01:20:28Where'd you get the flashlight, Frank?

01:20:30What?

01:20:32The flashlight. Where'd you get it?

01:20:34Right there. In the drawer.

01:20:36How did you know it was there?

01:20:38Just looking, you know, for matches.

01:20:40Monica didn't smoke. I made that clear.

01:20:42Why would she keep matches in her bedroom?

01:20:46What the hell is this?

01:20:48Why did you open that particular drawer?

01:20:50It was dark. I opened up a lot of drawers.

01:20:52No, you didn't.

01:20:54Try them.

01:21:08Try them.

01:21:24I had every drawer sealed.

01:21:26All except one.

01:21:28That's the one you opened.

01:21:33So what?

01:21:35What difference does it make?

01:21:37You went to that drawer because you knew you'd find a flashlight.

01:21:41What's he talking about?

01:21:43How would I know that?

01:21:45You saw it the night you killed Monica.

01:21:47When you took out the piece of stationery for her suicide note.

01:21:57You're out of your mind.

01:21:59Nobody else knew there was a flashlight in there.

01:22:01She just bought it that morning.

01:22:03He could have been in her room.

01:22:05He carried her upstairs. You said so yourself.

01:22:07He doesn't get it yet.

01:22:09Get what?

01:22:11Leo wasn't there at all.

01:22:13After the party, he went home.

01:22:15To his two children.

01:22:17What?

01:22:19The nearest he got to medical school was playing a male nurse.

01:22:21Off-Broadway.

01:22:23Not one of my better parts.

01:22:25But you said...

01:22:27We all said a lot of things.

01:22:29None of them were true.

01:22:31You had motives.

01:22:33I'm afraid not.

01:22:35You.

01:22:37You wanted her out of the way.

01:22:39You mean Grandma's homemade tea?

01:22:41No such concoction.

01:22:43It was just part of the script.

01:22:45Script?

01:22:47Now listen closely, Frank.

01:22:49Nothing here today was real. Nothing.

01:22:51The scenes we played, the arguments...

01:22:53They all came out of my typewriter.

01:22:55With a little improvisation from my friends.

01:22:57I thought we were terrific.

01:23:01This is crazy.

01:23:03As for motives, we invented them.

01:23:05Karen and Leo never had an affair.

01:23:07Missed opportunity, Leo.

01:23:09Catch me when my kids are grown.

01:23:11David and Monica were close friends.

01:23:13And her relationship with Lloyd was strictly professional.

01:23:17And I never put my own money in a play.

01:23:19Oh, I almost forgot.

01:23:23Here's your lighter back.

01:23:27You kept it.

01:23:29Wouldn't do for you to have a lighter in your pocket, Frank.

01:23:31You might not have gone for the flashlight.

01:23:35This whole thing was staged?

01:23:37For an audience of one.

01:23:39A gun?

01:23:41Flanks?

01:23:43And the audition?

01:23:45Hiring me to play a cop?

01:23:47Just an excuse to get you here.

01:23:49We had to make you a participant.

01:23:51We even recreated her bedroom

01:23:53so you'd be back where you were a year ago.

01:23:55And then we arranged for the lights to go out.

01:23:59How'd you know about Monica and me?

01:24:09Well, I didn't at first.

01:24:11But it was obvious

01:24:13she was expecting someone that night.

01:24:15Why me?

01:24:17I mean,

01:24:19you're a cop.

01:24:21You're a cop.

01:24:23You're a cop.

01:24:25You're a cop.

01:24:27Why me?

01:24:29Out of all the people in New York,

01:24:31why me?

01:24:33In her dressing room, she asked me if I could stop someone from working.

01:24:35I thought that was a strange thing to say.

01:24:37Then later she was counting money.

01:24:39A thousand dollars.

01:24:41So?

01:24:43It suddenly occurred to me it might be blackmail money.

01:24:45Maybe she was paying someone off.

01:24:47But that doesn't explain...

01:24:49A thousand isn't much.

01:24:51Who would she think she could buy for that kind of money?

01:24:53And who could Alex Dennison

01:24:55a successful playwright

01:24:57keep from working?

01:24:59An actor, naturally.

01:25:01If there was a blackmailer

01:25:03and he was coming for a payoff,

01:25:05he'd probably wait outside until our party was over.

01:25:07And it was raining that night.

01:25:11Alex remembered there was a cab parked across the street

01:25:13with the off-duty sign on.

01:25:15I was complaining about it.

01:25:17I also remember the day Monica ran out of here during previews.

01:25:21She took a cab home.

01:25:23And we all know the cliche about out-of-work actors driving taxis.

01:25:27In fact, Mr. Heller,

01:25:29you yourself had said that you had driven one for a while.

01:25:31Every cab company

01:25:33keeps records of pickups and deliveries.

01:25:35It seems a Frank Heller took a fare

01:25:37from here to Monica's townhouse

01:25:39the afternoon of our fight.

01:25:41He also had his cab out the night of the murder.

01:25:43With no recorded fares.

01:25:45Well, why didn't you go to the police?

01:25:47With what?

01:25:49Suspicions?

01:25:52No.

01:25:54We had to prove that you were in her bedroom that night.

01:25:56And since we're all creatures of the theater...

01:25:58Yeah, yeah, yeah.

01:26:02You decided

01:26:04to do a number on me.

01:26:08You were good.

01:26:10You're all very good.

01:26:16Bravo!

01:26:22What happened that night, Frank?

01:26:28That's right.

01:26:30Without me, you don't have a third act.

01:26:32Do you?

01:26:40It was raining.

01:26:44I was parked across the street

01:26:46waiting for all of you

01:26:48to go home.

01:26:50The party broke up early.

01:26:52Some of the guests even tried to get me

01:26:54to take them in my cab in the rain.

01:26:58I was rather tense. I'd been drinking.

01:27:00I was going crazy sitting in that cab.

01:27:02Finally,

01:27:04she let the caterers go home.

01:27:06I walked across the street.

01:27:08I knocked.

01:27:12She was expecting me.

01:27:20Hi.

01:27:22Not even a hello?

01:27:24Come with me.

01:27:26How are the reviews?

01:27:28You don't give a damn about the reviews.

01:27:30Okay.

01:27:32No polite conversation.

01:27:34You want to talk business?

01:27:36We'll talk business.

01:27:38You were a lot friendlier the last time I was here.

01:27:40This isn't the last time.

01:27:42Now, listen, Frank.

01:27:44I was very angry with Alex,

01:27:46and he opened up a lot of issues.

01:27:48I guess I didn't know I had.

01:27:50I wanted to punish him.

01:27:52So when I got in your cab the other day...

01:27:54I couldn't believe it.

01:27:56Monica Wells coming on to me,

01:27:58inviting me in for a drink.

01:28:00I was using you,

01:28:02just playing my old seduction game.

01:28:04I came to my senses.

01:28:06I asked you to leave. Nothing happened.

01:28:08But he doesn't know that.

01:28:10We spent hours together.

01:28:12You even missed a performance.

01:28:14You really think that he's going to believe

01:28:16that I would pick up a cab driver

01:28:18and let him make love to me?

01:28:20Maybe, maybe not.

01:28:22But I'm betting you'd rather pay a few bucks

01:28:24than just forget the whole thing.

01:28:26Nuisance value.

01:28:28Call it whatever you like.

01:28:30Look, I don't enjoy doing this,

01:28:32but I've been an actor for 15 years

01:28:34and I'm driving a cab.

01:28:36Now, I need a stake.

01:28:38I need something to get me moving.

01:28:40So I read in the paper this morning...

01:28:42That Alex and I were getting married.

01:28:44Now listen to me, Frank.

01:28:46I got you into this

01:28:48and I do owe you something, so...

01:28:50If you just forget the whole thing,

01:28:52I promise you I will never mention your name to anyone.

01:28:58Sorry.

01:29:06What are you doing?

01:29:08I was going to pay you.

01:29:10I actually went to the bank this morning

01:29:12and you were talking about a lot more money than that.

01:29:14It doesn't matter, Frank, because you're not getting into it now.

01:29:16I've decided this evening

01:29:18that even if you call this whole thing off,

01:29:20I was going to tell Alex the truth.

01:29:22That's not very smart,

01:29:24especially right before the wedding.

01:29:26The time I was honest with him.

01:29:28As you said, maybe he'll forgive me.

01:29:30Maybe he won't, but either way

01:29:32he's never going to forgive a blackmailer.

01:29:34Now wait.

01:29:36I wouldn't be in your shoes, Frank.

01:29:38He's got a lot of friends.

01:29:40Anyway,

01:29:42please, it's important.

01:29:44I know I did, but...

01:29:46You know what you're doing?

01:29:48I think so.

01:29:50You're just going to ruin it for yourself.

01:29:56I'll wait and see.

01:30:00You're welcome to just stay around, Frank.

01:30:02I'm sure he'd like to meet you.

01:30:06Don't answer it.

01:30:08Don't answer it.

01:30:10Don't answer it!

01:30:12Don't!

01:30:25Monica!

01:30:27Monica!

01:30:35Called her name?

01:30:37I tried to revive her.

01:30:39I even felt her pulse.

01:30:41I felt it flicker for like a second

01:30:43and then it stopped.

01:30:47When I realized she was dead,

01:30:49I didn't know what to do.

01:30:51So you manufactured a suicide.

01:30:53I didn't want a murder investigation.

01:30:57So I wiped the blood

01:30:59from the corner of the bookcase.

01:31:01I picked her up.

01:31:03I carried her upstairs

01:31:05and I...

01:31:20You know the rest.

01:31:26Look, I've lived with this

01:31:28a long time.

01:31:30I did what I did

01:31:33but it was an accident.

01:31:35For whatever it's worth,

01:31:37I didn't mean the killer.

01:31:45Lieutenant!

01:31:47Yes, sir.

01:31:53You heard?

01:31:55I heard.

01:31:57Who's this?

01:31:59Frank, meet the man you impersonated.

01:32:01Lieutenant McElroy.

01:32:03You said...

01:32:05Killed in the line of duty.

01:32:07I believe that was the dialogue

01:32:09delivered as always

01:32:11with my well-known credibility.

01:32:13Thanks for coming, Lieutenant.

01:32:15Good thing I did.

01:32:17Looks like I owe you an apology.

01:32:19Not really.

01:32:21I didn't have any proof.

01:32:23Well, you've made me a convert.

01:32:25You've done our job for us.

01:32:31I don't look anything like this guy.

01:32:33Had to give you a reason for being here, Frank.

01:32:35One you'd believe.

01:32:37Come along, Mr. Heller.

01:32:41If you ever write a play about this,

01:32:43at least I gave you an ending, huh?

01:32:52Thank you.

01:32:54Aldo.

01:32:56Alex.

01:33:01I thought it would never work.

01:33:03Yes, especially with me.

01:33:05I was worried about blowing my lines.

01:33:07Oh, I don't know, Walter.

01:33:09I thought you weren't half bad,

01:33:11particularly for a non-pro.

01:33:13You know, the one thing I don't understand

01:33:15is why you went along with it.

01:33:17Heller,

01:33:19you promised him a lot of money

01:33:21and you told him it was a trap for Leo.

01:33:23That made him feel safe.

01:33:25You'd pin it on the wrong man and stop looking.

01:33:27But even so, he knew he killed Monica.

01:33:29Why get involved at all?

01:33:31For one reason, Lloyd.

01:33:33He's an actor.

01:33:35And I was offering him

01:33:37a wonderful part.

01:33:39Exactly.

01:33:41Listen, why don't we all go across the street

01:33:43and have a drink?

01:33:45Who's buying?

01:33:47Well, since it's a special occasion.

01:33:49No, no, no. He's busy.

01:33:51We're spending his own money.

01:33:53Come along.

01:33:55You know, there just might be a play about that.

01:33:57I'm buying you a drink. Now you want dinner?

01:33:59You know, if I had it all to do again,

01:34:01I could be a little more convincing.

01:34:03In certain areas, I like your...

01:34:05I agree with you, David.

01:34:07Why don't we go to a place across the street

01:34:09and see Walter sometime?

01:34:13Alex! Aren't you coming?

01:34:15Save me a place.

01:34:27I love you.

01:34:37I love you.

01:34:57I love you.

01:35:27I love you.

Rehearsal for Murder (1982) Robert Preston, Lynn Redgrave, Patrick Macnee | Hollywood Classics movie

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