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.
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#hollywoodclassics #classichollywood #hollywoodclassicmovies #oldhollywoodclassicfilms #classichollywoodmovies #hollywood #classic
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Short filmTranscript
00:00:00I'm going to get you out of here, I'm going to get you out of here, I'm going to get you out of here, I'm going to get you out of here, I'm going to get you out of here, I'm going to get you out of here, I'm going to get you out of here, I'm going to get you out of here, I'm going to get you out of here, I'm going to get you out of here, I'm going to get you out of here, I'm going to get you out of here, I'm going to get you out of here, I'm going to get you out of here, I'm going to get you out of here, I'm going to get you out of here, I'm going to get you out of here, I'm going to get you out of here, I'm going to get you out of here, I'm going to get you out of here, I'm going to get you out of here, I'm going to get you out of here, I'm
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00:15:38out of here, I'm going to get you out of here, I'm going to get you out of here, I'm going
00:15:39to 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.
01:35:57© BF-WATCH TV 2021
01:36:27© BF-WATCH TV 2021