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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Short filmTranscript
00:00:00I don't know.
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00:00:59Who's there?
00:01:02Who's out there?
00:01:09That you, Mr. Denison?
00:01:11Hello, Ernie. How you been?
00:01:13Fine.
00:01:14Just fine, sir.
00:01:16You have any trouble getting in?
00:01:18No problems.
00:01:20Well, you gotta be careful, you know.
00:01:21Some of those junkies and winos from Broadway,
00:01:24they try to bed down in the lobby overnight.
00:01:28Encourage them, Ernie.
00:01:29The theater was meant for the common man.
00:01:32Anything I can get for you, sir?
00:01:34Just some food.
00:01:35I'm expecting a few people.
00:01:37You mind going across the street for coffee and Danish?
00:01:39And get something for yourself.
00:01:41What are you having, a rehearsal?
00:01:42Only a reading.
00:01:43I'm working on a new play.
00:01:45That's where it all starts, right?
00:01:47With the words.
00:01:49Yep.
00:01:52With the words.
00:01:55Oh, uh...
00:01:57Mr. Denison.
00:01:59I didn't get to talk to you at the funeral.
00:02:03I just wanted to tell you how sorry I was.
00:02:06That's very kind of you, Ernie.
00:02:09Seems like such a long time ago.
00:02:12Well, it was only about a year, wasn't it?
00:02:16A year this week.
00:02:18I'll be right back with those sweet rolls.
00:02:26Thank you.
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00:05:19Oh, Alex, I'm practically getting palpitations.
00:05:23Oh, Alex, I'm going to come down with amnesia.
00:05:26I never get this way when I'm making a film.
00:05:28Oh, darling, I've told you, movies are for children.
00:05:30The theatre's a whole different animal.
00:05:32Yeah, as long as it doesn't bite.
00:05:34Oh, Alex, I want to be good.
00:05:36I want to make you proud of me.
00:05:38You will.
00:05:40Well, at least we don't have to think about
00:05:43how we're going to get out of here.
00:05:47Well, at least we don't have to keep this a secret anymore.
00:05:50You saw this?
00:05:51Heard about it.
00:05:53Can't out of the bag, department.
00:05:55Actress Monica Wells, playwright Alex Tennyson
00:05:59have a major announcement to make tonight.
00:06:01The couple began their hush-hush love affair
00:06:04during the rehearsals of the Broadway comedy
00:06:07Chamber Music and Hit or Flop.
00:06:10They plan to marry tomorrow in a quiet civil ceremony.
00:06:14Congratulations, fellas.
00:06:16Sorry to spoil the surprise.
00:06:19She has a certain way with words, hasn't she?
00:06:21I'll wring her neck. How did she know?
00:06:23We took out a license, we got ourselves a judge,
00:06:26and somebody had a big mouth.
00:06:28If ever I run into her...
00:06:29Oh, you'll be perfectly charming.
00:06:31Gossip's gossip, that's their job.
00:06:33Half hour, Miss Wells.
00:06:35My makeup's not finished and my hair's a mess.
00:06:37Now get out of here before you break into hives.
00:06:40Alex, I'm scared to death.
00:06:44If it helps, I love you.
00:06:47It does.
00:06:55All right, no more butterflies.
00:06:58I'm gonna be wonderful.
00:06:59I never doubted it.
00:07:04Alex, foolish question.
00:07:08You have a lot of power.
00:07:10I mean, people in the theater,
00:07:11they do pretty much what you say, isn't that right?
00:07:13So I keep telling them.
00:07:15You're not asking me to bribe the critics?
00:07:17No, nothing like that.
00:07:19But I suppose you could stop somebody working if you wanted to.
00:07:22I suppose.
00:07:23If I was vindictive,
00:07:25instead of being the tender-hearted creature you've come to adore.
00:07:28So what is all this?
00:07:29Look at the time.
00:07:30Come on, get out of here.
00:07:31Come on, I've got to pull myself together.
00:07:33Love you.
00:07:34Break a leg.
00:07:40Alex.
00:07:41That's our blast off.
00:07:42How's Monica?
00:07:43Traditional response.
00:07:44She's terrified.
00:07:45I just talked to our leading man.
00:07:46He's making room on his shelf for a Tony.
00:07:48Good, let him keep on thinking he's the star.
00:07:50I just hope we all do justice to the words.
00:07:53Boy, it's a nice little commercial comedy.
00:07:55Nothing cosmic.
00:07:56If it's a hit, fine.
00:07:58If not, we'll survive.
00:08:00Either way, I'm grateful to the director of shop.
00:08:02Don't go mobbing on me.
00:08:03You did a good job.
00:08:04Where are you gonna watch?
00:08:05The back of the house, the wigs.
00:08:07Watch? You've got to be kidding.
00:08:08That's cruel and unusual punishment.
00:08:11Well, that's another one for you, Mr. D.
00:08:13Hey, I must owe you three drinks by now, huh?
00:08:15Five.
00:08:16I should be saving my luck for the critics.
00:08:18Ah, you're gonna have another hit.
00:08:21We Irish are psychic.
00:08:23Believe me, it's gonna be a smash.
00:08:26Damon, you're superstitious, you're irrational,
00:08:29and if you're right, I won't tell the sanitation department
00:08:32about your kitchen.
00:08:34Hey.
00:08:36How can you just sit here
00:08:38when your baby is being delivered across the street?
00:08:41What do you want me to do, Walter?
00:08:43Pace the aisle?
00:08:44Reacquaint myself with my dinner?
00:08:47Believe me, on opening night,
00:08:49the best place to be is a saloon.
00:08:52Why do you let him in here?
00:08:54The man is obviously mad.
00:08:56I'm not mad.
00:08:57I'm not mad.
00:08:58I'm not mad.
00:08:59I'm not mad.
00:09:00Why do you let him in here?
00:09:02The man is obviously bereft of human emotion.
00:09:05Would you like a drink, Mr. Lampert?
00:09:06No.
00:09:07Well, yes, something out of a bottle
00:09:09with a skull and crossbone on it.
00:09:13Can you believe this?
00:09:14I have 600,000 riding on this man's show,
00:09:18and he sits here tossing dice.
00:09:21It's therapy, Walter.
00:09:22You ought to try it.
00:09:23No, thanks.
00:09:24I'm taking enough of a gamble tonight.
00:09:25Speaking of gambling,
00:09:27what is this I read about you and Monica?
00:09:29Is it true?
00:09:30Would the newspapers lie?
00:09:32Amazing.
00:09:33I've been to every rehearsal,
00:09:35and I didn't know you two were even...
00:09:37What's the word?
00:09:38Keeping company.
00:09:41No, we were discreet.
00:09:42We didn't want to upset any apple carts.
00:09:44Well, skull.
00:09:47It's about time you became a domestic animal.
00:09:51Damon, is that the right time?
00:09:53Right on the button, Estelle.
00:09:54Right on the button.
00:09:55Curtain comes down in 10 minutes.
00:09:58Let's go.
00:09:59Thanks for the drink.
00:10:01You coming?
00:10:02In due time.
00:10:05Well, what do you say, Damon?
00:10:06Double or nothing?
00:10:07Sure.
00:10:11Oops.
00:10:28Nice of you to drop by.
00:10:41Where is the lighting man tonight?
00:10:42In Yonkers?
00:10:50Now he claps.
00:10:53Brother!
00:10:57Please, brother.
00:11:20Isn't this wonderful?
00:11:22I keep bumping into some very famous people.
00:11:25And they all disappear if the notices are negative.
00:11:28But we're going to be a hit.
00:11:30The audience loved it.
00:11:32You're new to the theater, Karen.
00:11:34Lesson one.
00:11:35Never confuse the audience with the critics.
00:11:38Alex.
00:11:40Boy, did Mr. Lamb, they're still standing by that phone in there.
00:11:43I haven't even eaten yet.
00:11:45The death watch.
00:11:47It's better on an empty stomach.
00:11:56They're clamoring for you.
00:11:58Oh, um, give me a minute.
00:12:00I'm girding my loins.
00:12:02They look fine to me.
00:12:04Well, actors do strange things after an opening.
00:12:08But counting money...
00:12:09I got this from the bank today.
00:12:11I mean, would you believe, with all the excitement, I just ran out of cash.
00:12:13Here, darling, can you put it over there for me?
00:12:15I don't want to leave it lying around.
00:12:18Signs and fortunes.
00:12:20Let's hope it's not an omen.
00:12:25What's all this?
00:12:26There's still a few things you don't know about me.
00:12:29That's my junk heap.
00:12:31This?
00:12:33Monocle. Doesn't everyone have one?
00:12:37And?
00:12:38Girl scout knife.
00:12:43Oh, no, that's a necessity. I got that this morning.
00:12:45You know, there was the power failure last night.
00:12:4720 minutes without lights.
00:12:49Living with you is going to be an adventure.
00:12:51Which reminds me.
00:12:53Why don't we collapse tonight?
00:12:55In Shakespeare's immortal words, your place or mine.
00:12:58Well, Alex, if it's all the same to you, I'd rather stay here tonight.
00:13:02I mean, by myself.
00:13:04Oh?
00:13:05It's been so hectic, you know.
00:13:07I need to be alone just for a few hours.
00:13:09Do you mind?
00:13:10Yes.
00:13:12I'll make it up to you, I promise.
00:13:15Oh, that's a good start.
00:13:17But if we don't stop, we'll never get downstairs.
00:13:21Drink up.
00:13:28Now.
00:13:31Let's show them what a star looks like.
00:13:36Oh, thank goodness.
00:13:38Where's Martin?
00:13:39He's gone to bed.
00:13:42Oh, thank goodness.
00:13:43Where's Monica?
00:13:45Nice of her to throw this party, but at least she can put on an appearance.
00:13:48I guess she wants to make an entrance.
00:13:50Obviously, it's a little overdue, isn't it?
00:14:12Maybe we can use a second paragraph.
00:14:14No, I don't want to hear that again.
00:14:16I'll talk to you later.
00:14:22Gentlemen.
00:14:24I think I'm going to have a drink.
00:14:26Several drinks.
00:14:28I suggest you do the same.
00:14:30That bad, huh?
00:14:31Well, bad is a relative term.
00:14:36They were mixed.
00:14:38But the times was a knock, and without the times.
00:14:41I'm sorry, Alex.
00:14:43What did they say about Monica?
00:14:45They, uh, they liked her.
00:14:47I mean, nothing ecstatic.
00:14:50The post thought she was a little stiff.
00:14:52I don't want her to see that one.
00:14:54Can't we try for a run?
00:14:55Monica's name means something.
00:14:57So does yours, Alex.
00:14:58Up to the producer.
00:15:00Walter.
00:15:01Yeah, yeah, I'll sleep on it.
00:15:03I'll go into the office tomorrow, and we'll see.
00:15:05If we could just stay open for a few weeks.
00:15:07Get some word of mouth going.
00:15:08Come on, Walter, please.
00:15:11We'll see.
00:15:12It's starting to rain.
00:15:16It's appropriate, isn't it?
00:15:21Night.
00:15:22Good night.
00:15:23Good night, darling.
00:15:24Oh, boy, isn't rain supposed to be good luck?
00:15:26Yeah, three hours too late.
00:15:28Well, you were right.
00:15:29I never saw people leave the party so quickly.
00:15:32Departing the sinking ship.
00:15:33How are you?
00:15:34Bearing up?
00:15:35I don't know.
00:15:36It hasn't hit me yet.
00:15:37Night.
00:15:38Bye, Alex.
00:15:39Listen, I don't care about the reviews.
00:15:40It's a terrific party.
00:15:41Thank you.
00:15:42I'll see you soon.
00:15:43Bye-bye.
00:15:44Night, all.
00:15:59It's wonderful.
00:16:01It's what I'd laughingly call a wet night.
00:16:03Can't you get a cab?
00:16:05There's one parked across the street.
00:16:07But naturally, the idiot's got his off-duty sign on.
00:16:11That's what I love about New York.
00:16:13Alex, does Monica have an umbrella?
00:16:15Already gave it to somebody.
00:16:17Wonderful.
00:16:18Broadway's favorite actor gets pneumonia.
00:16:22Oh, well, after those notices, I suppose I could use a cold shower.
00:16:25Don't be depressed there now, Alex.
00:16:28You got worse things coming, like marriage.
00:16:32You're amazing.
00:16:34I've had a few hits, so I can be philosophical.
00:16:37But it's your first time out.
00:16:40You're being very British.
00:16:42Well, I wanted a success, but I care more about the playwright than the play.
00:16:49Are you sure you want me to leave?
00:16:52No, I don't want you to leave.
00:16:56But I want you to leave.
00:17:00An actress has to prepare herself, and so does a wife.
00:17:04So I'm going to make myself a cup of tea, and then I'm going to bed.
00:17:08All right.
00:17:11I'll call you first thing in the morning.
00:17:16Alex, you do love me.
00:17:19Very much.
00:17:21Why?
00:17:22Oh, I was such an idiot last week.
00:17:25You were angry.
00:17:26Not much of an excuse.
00:17:28Missing a performance and stranding everybody.
00:17:31And that isn't even the worst part.
00:17:34Monica?
00:17:37Is something wrong?
00:17:39Not if you love me.
00:17:49Get some rest.
00:17:50Yeah.
00:17:55Good night.
00:18:21Hello.
00:18:26Monica, you know what time it is.
00:18:31I thought you wanted to be alone.
00:18:36Hello?
00:18:39Monica?
00:18:56Monica?
00:18:57Monica?
00:18:58Monica?
00:18:59Monica?
00:19:00Monica?
00:19:01Monica?
00:19:02Monica?
00:19:03Monica?
00:19:04Monica?
00:19:05Monica?
00:19:06Monica?
00:19:07Monica?
00:19:08Monica?
00:19:09Monica?
00:19:10Monica?
00:19:11Monica?
00:19:12Monica?
00:19:13Monica?
00:19:14Monica?
00:19:15Monica?
00:19:16Monica?
00:19:17Monica?
00:19:18Monica?
00:19:19Monica?
00:19:20Monica?
00:19:21Monica?
00:19:22Monica?
00:19:24You ready, cop?
00:19:39Yeah.
00:19:40Wells.
00:19:41Monica.
00:19:42That's right.
00:19:43No, no, no.
00:19:44She was dead when we got here.
00:19:46Well, as far as we can tell, it looks like a suicide.
00:19:50Yeah.
00:19:51Yeah.
00:19:52Well, we found her on the sidewalk in front of a townhouse.
00:19:54Looks like she jumped from a bedroom window.
00:19:56Mm-hmm.
00:19:57Better take it, sir.
00:19:58You've had quite a shock.
00:20:00No.
00:20:01Yeah.
00:20:02Yeah.
00:20:03Yeah.
00:20:04Yeah.
00:20:05No, no.
00:20:06We're here with a fiancee now.
00:20:07Apparently, she called, and yeah.
00:20:09Uh-huh.
00:20:10She always made herself a cup of tea before she went to bed.
00:20:14Better not touch it, sir.
00:20:17Maybe we should go into the living room.
00:20:20No, no.
00:20:21Who's in 9-11?
00:20:23No, no.
00:20:24Some neighbor.
00:20:25Some old guy walking his dog.
00:20:26I'm sorry.
00:20:30Barty.
00:20:32And you were here.
00:20:34Yes.
00:20:35How was she when you left her?
00:20:37What?
00:20:38I was just wondering if she was depressed.
00:20:40She wasn't depressed.
00:20:42I guess you were the last one to see her alive.
00:20:45Catering people were here after I left.
00:20:47They were cleaning up.
00:20:49Didn't do a very good job.
00:20:51What?
00:20:53You let us in, so you must have a key.
00:20:55Does anyone else have one?
00:20:57That is, besides the deceased.
00:21:00I don't know.
00:21:02Maid, probably.
00:21:03Hey, Jim.
00:21:04Yeah.
00:21:05Jim, the lieutenant's on the phone.
00:21:06He wants to talk to you.
00:21:08Excuse me.
00:21:09And sir, don't touch anything, OK?
00:21:20Oh, my God.
00:21:22Oh, my God.
00:21:24Oh, my God.
00:21:25Oh, my God.
00:21:26Oh, my God.
00:21:27Oh, my God.
00:21:28Oh, my God.
00:21:29Oh, my God.
00:21:30Oh, my God.
00:21:31Oh, my God.
00:21:32Oh, my God.
00:21:33Oh, my God.
00:21:34Oh, my God.
00:21:35Oh, my God.
00:21:36Oh, my God.
00:21:37Oh, my God.
00:21:38Oh, my God.
00:21:39Oh, my God.
00:21:40Oh, my God.
00:21:41Oh, my God.
00:21:42Oh, my God.
00:21:43Oh, my God.
00:21:44Oh, my God.
00:21:45Oh, my God.
00:21:46Oh, my God.
00:21:47Oh, my God.
00:21:48Oh, my God.
00:21:49Oh, my God.
00:21:50Oh, my God.
00:21:51Oh, my God.
00:21:52Oh, my God.
00:21:53Oh, my God.
00:21:54Oh, my God.
00:21:55Oh, my God.
00:21:56Oh, my God.
00:21:57Oh, my God.
00:21:58Oh, my God.
00:21:59Oh, my God.
00:22:00Oh, my God.
00:22:01Oh, my God.
00:22:02Oh, my God.
00:22:03Oh, my God.
00:22:04Oh, my God.
00:22:05Oh, my God.
00:22:06Oh, my God.
00:22:07Oh, my God.
00:22:08Oh, my God.
00:22:09Oh, my God.
00:22:10Oh, my God.
00:22:11Oh, my God.
00:22:12Oh, my God.
00:22:13Oh, my God.
00:22:14Oh, my God.
00:22:15Oh, my God.
00:22:16Oh, my God.
00:22:17Oh, my God.
00:22:18Oh, my God.
00:22:19Oh, my God.
00:22:20Oh, my God.
00:22:21Oh, my God.
00:22:37Alex...
00:22:39you do love me.
00:22:45I'm scared to death.
00:23:15Oh, it looks good, Ernie. Thanks.
00:23:35Uh, anything else you need?
00:23:36No. As a matter of fact, why don't you take the rest of the day off?
00:23:39Really?
00:23:40Mm-hmm.
00:23:41Well, I don't know. If anything should go wrong here, I...
00:23:43Like what? Plague? Pestilence?
00:23:46Look, trust me. If I smell smoke, I'll send for the Marines.
00:23:49Yeah, but I...
00:23:50Go home. Open a beer. Soak your feet. I'll take full responsibility.
00:23:58Somebody out there?
00:24:03Ernie, leave your number on the bulletin board and I'll call you to lock up.
00:24:08All right.
00:24:17Who's there?
00:24:20Me.
00:24:23When they get here, stay in the shadows. I don't want them to see you from the stage.
00:24:27If anybody tries to leave, I'll come down and talk to them.
00:24:30Fine. It's essential they stay here, all of them. If even one of them walks out, it won't work.
00:24:35It may not work anyway.
00:24:37You still think this is a mistake, don't you?
00:24:39Like I said before, Mr. Denison, this is your show. I'm just here to watch.
00:24:56Alex?
00:24:57Karen, my love. Come here and let me get a good look at you.
00:25:02My wonderful Alex.
00:25:05Oh, it's been too long.
00:25:11I want you to know I got up at the crack of noon today, just for you.
00:25:15You've changed. Much more provocative.
00:25:18New image. It was time to bury the ingenue.
00:25:21Is it working?
00:25:22I'll know in a week. I'm up for the lead in a new play.
00:25:28It's between me and one other girl.
00:25:30Good luck.
00:25:32I'll steal one of her pictures and stick pins in it.
00:25:36Well, why not?
00:25:40After all, you always said I was ambitious.
00:25:43Oh, so I did.
00:25:46Let me get you a cup of coffee.
00:25:49How's Leo?
00:25:50Fine, I suppose. I haven't seen him for a while.
00:25:54Oh, I thought you two were an item.
00:25:56Things change.
00:25:58Well, he'll be here today if that's going to be a problem.
00:26:01We're not enemies or anything.
00:26:04Alex, what's all this about?
00:26:06When you called, you mentioned a new play.
00:26:08Hello? Anybody home?
00:26:11Who's there?
00:26:12Tweedledum and Tweedledee bumped into each other outside.
00:26:16The difference is that Walter came in a limo and I had to take a bus.
00:26:19Is that Karen?
00:26:21Hello, Mr. Lamb. How are you?
00:26:23Hi, Lloyd.
00:26:24Hi. What is this? Remembrance of things past?
00:26:28Reunions are good for the soul. Come on up.
00:26:31Oh, I really hate this place. Too many memories.
00:26:34It's only because of my affection for you, Alex, that I even stepped foot in it.
00:26:38Noted and appreciated.
00:26:40It's been a long time. How have you been? Writing, I hope?
00:26:43Off and on.
00:26:44Mostly on.
00:26:46These scripts I see?
00:26:47Mustn't touch, Lloyd. Have to wait for the rest of the cast.
00:26:51Cast?
00:26:52Ah, he's being mysterious.
00:26:54Well, 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.
00:27:06I'll get it. Why don't you two have something to eat?
00:27:19Hello?
00:27:21Yes, speaking.
00:27:24No, that's all right.
00:27:28Good.
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.
00:27:44All right, thanks again.
00:27:47Goodbye.
00:27:53Ernie, I thought you went home.
00:27:55I don't feel right about leaving, Mr. Denison.
00:27:57I mean, it's my job to look after this place.
00:27:59It isn't necessary.
00:28:00I won't get in anybody's way.
00:28:02Ernie, I don't want you here. Is that understood?
00:28:04But I...
00:28:05Go home! You're not needed!
00:28:07Okay. Whatever you say.
00:28:14Ernie, I'm sorry.
00:28:16I don't know what's the matter with me today.
00:28:18Here.
00:28:20For your trouble.
00:28:22Thank you. That's very nice of you, sir.
00:28:24Don't forget to leave your number, and I'll call you when we're finished, all right?
00:28:27Thank you, sir.
00:28:28Thank you.
00:28:30You see, this is why I became an actor.
00:28:33When I enter a room, I seem to command immediate attention.
00:28:36Hello, Leo. Welcome.
00:28:38To what?
00:28:39Now, that's a good question.
00:28:40I know. It's all a plan to get me and Karen back together.
00:28:43Don't be ridiculous.
00:28:45Well, nobody told me you were gonna be here.
00:28:47Does that mean you wouldn't have come?
00:28:48Hey, Alex says he wants me here. That's good enough for me.
00:28:50You're being obsequious, Leo.
00:28:52Okay, I'll stop if you tell me what it means.
00:29:00Good to see you, Leo.
00:29:01Good to see you. Good to see you, Leo.
00:29:03Alex, whatever you had in mind, shouldn't we get started?
00:29:06Still one more to come, right?
00:29:07And unless I missed my guess, it's...
00:29:09Sorry I'm late.
00:29:11Someone left a car on the middle of 46th Street and just went home.
00:29:15Speak of the devil.
00:29:17Lord, it's a rogues gallery up there.
00:29:19Are we having a class reunion?
00:29:22Alex, good to see you again.
00:29:24Good to see you, too, dear boy.
00:29:25Water, us drinks.
00:29:27Didn't we once act together?
00:29:29David, get yourself some coffee and we'll begin.
00:29:31I will indeed, Alex.
00:29:33The rest of you take seats.
00:29:34Just make yourselves comfortable.
00:29:36Leo, 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? Yeah, why?
00:29:44As I am the king of all hangovers, what do you prescribe?
00:29:46Just dehydrated.
00:29:48Have some water.
00:29:49Only if it's a good year.
00:29:53Right, let's sit down.
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.
00:30:44But guilt mostly over Monica's death.
00:30:48Alex, it wasn't your fault.
00:30:50She was depending on me to give her a success.
00:30:53She needed one.
00:30:56And when it didn't happen, she went into a depression.
00:31:03Look, Alex, we all feel a little guilty.
00:31:07But there was no way to predict a reaction like that.
00:31:10There was no way to predict a reaction like that.
00:31:13It was so...
00:31:15extreme.
00:31:20Well, anyway, that's over and done with.
00:31:24The point is that I finally started a new play.
00:31:28Oh, Trotman.
00:31:29No, it's just bits and pieces, but it's taking shape.
00:31:32That's why we're here.
00:31:33I want to try it out, see how it looks on its feet.
00:31:36And naturally, I want your input.
00:31:38Why us?
00:31:39Oh, let's say, to make amends.
00:31:41I've written parts for several of you.
00:31:43Oh, that's interesting.
00:31:44Lloyd, I'd like you to direct.
00:31:46Great.
00:31:47Walter, you get first option.
00:31:49Assuming you'll like it, of course.
00:31:51Of course I'll like it.
00:31:52Of course you will.
00:31:53Well, I've rented the theater for the afternoon,
00:31:55so why don't we read some of the scenes,
00:31:57talk them over and see what we've got.
00:31:59Oh, and by the way,
00:32:02it's something new for me.
00:32:04A mystery.
00:32:06Good.
00:32:07They do well.
00:32:09Unusual form.
00:32:10A mystery.
00:32:13You take the audience by the hand.
00:32:16And you lead them in the wrong direction.
00:32:21They trust you, and you betray them.
00:32:24All in the name of surprise.
00:32:26Sort of turns us into chess pieces, doesn't it?
00:32:29That bothers you, David?
00:32:31In a way, all those characters are cardboard.
00:32:33I like roles with flesh and blood.
00:32:36I don't know about the flesh, David,
00:32:38but I can guarantee you the blood.
00:32:44What's it called?
00:32:45Killing Jessica.
00:32:47I like it.
00:32:48Who's playing Jessica?
00:32:49Since I seem to be the only woman here.
00:32:51Sorry to disappoint you, Karen,
00:32:52but you're playing somebody else.
00:32:54Oh.
00:32:55No, no, don't worry. It's a good part.
00:32:56You'll have fun with it.
00:32:57Alex, you said those aren't full scripts.
00:33:00I said bits and pieces.
00:33:02That's why I need your help.
00:33:03Can you give us an overview?
00:33:05Well, 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.
00:33:32Finally, she decided to take a chance in the theater.
00:33:37She got the leading role in a Broadway production.
00:33:39Moved to New York.
00:33:42And committed herself to a new career.
00:33:44She sounds...
00:33:46very familiar.
00:33:47Does she?
00:33:49Well, I always start from what I know.
00:33:52Alex, this character, Jessica...
00:33:55If we can believe your title, someone kills her?
00:33:58Oh, yes.
00:33:59It's made to look like something else.
00:34:02But it's murder.
00:34:07David, would you mind reading a scene?
00:34:11Why not?
00:34:13You're the leading man.
00:34:14Handsome, attractive to women.
00:34:16Tight casting.
00:34:18Now, this takes place at the beginning of the third scene.
00:34:21The setting is your apartment.
00:34:22Am I married?
00:34:24Many times.
00:34:25But not currently.
00:34:27You've invited Jessica to your apartment for a private rehearsal.
00:34:31You've told her that it's common practice in the theater.
00:34:34Did she believe me?
00:34:36She must have, because she's coming.
00:34:51If Karen doesn't play the part, who do I read with?
00:34:54Me, I'm afraid.
00:34:55You?
00:34:56You're in the imagination business, David.
00:34:57Give it a try.
00:34:59If it helps, try to picture Monica playing the role.
00:35:01Monica?
00:35:02Actually, that's not a bad idea.
00:35:03Just pretend I'm Monica.
00:35:04But...
00:35:05Let's get started.
00:35:07At the curtain, the doorbell rings.
00:35:09You're offstage.
00:35:13It rings again.
00:35:16You enter.
00:35:17Coming.
00:35:20You reach the door.
00:35:23And you open it.
00:35:27Hi.
00:35:28Am I early or late?
00:35:30Right on time.
00:35:31Come in.
00:35:34I'm sorry I can't do this at your place.
00:35:36I'm a little under the weather.
00:35:37You'd rather wait.
00:35:38No, it's too important.
00:35:39We have to protect ourselves.
00:35:41I hope you're exaggerating.
00:35:42My dear, the director isn't up there with egg on his face.
00:35:45We are.
00:35:46And when something isn't working...
00:35:47Oh, like act two scene one.
00:35:49Among other pitfalls, it's up to us to provide corrective surgery.
00:35:59Shouldn't we have told him we're rehearsing?
00:36:01Why?
00:36:02He's the problem, not the cure.
00:36:04It hasn't helped me much with my blocking.
00:36:06I keep getting tangled up in the furniture.
00:36:09We'll work it out.
00:36:11We'll show him tomorrow.
00:36:13Please sit down.
00:36:15Drink?
00:36:16No, thanks.
00:36:18I'm having such trouble with some of these transitions.
00:36:26You're very involved in this.
00:36:28I guess I'm a little bit.
00:36:29Not at all.
00:36:30You have a genuine sense of dedication.
00:36:31It's refreshing.
00:36:32Thank you.
00:36:34That's why I'm glad we had this chance
00:36:35to get to know each other better.
00:36:37Strangely enough, it can help the performance.
00:36:41I suppose that's why so many leading men,
00:36:43leading ladies try to establish a very close rapport.
00:36:49What do you think?
00:36:51I think we should work on the scene, really.
00:36:54There's plenty of time.
00:36:56I'm sure you'll find it.
00:36:57There's plenty of time.
00:36:59Please, we're supposed to be rehearsing.
00:37:05This was a bad idea.
00:37:06I think I'd better leave.
00:37:07Well, of course.
00:37:08It's perfectly natural.
00:37:09We work together every day.
00:37:11We play, love, sing.
00:37:12Let go of me.
00:37:13Let go.
00:37:14Let go!
00:37:15What the hell was that for?
00:37:16Just leave me alone.
00:37:22Listen, lady.
00:37:23Slaps in the face went out with a bustle.
00:37:24Who do you think you are?
00:37:25Will you get out of my way, please?
00:37:26You agreed to come here.
00:37:27All right.
00:37:28I didn't force you.
00:37:29Maybe I was naive.
00:37:30I thought we were actually going to rehearse.
00:37:31Now, may I go?
00:37:34I don't like to be turned down.
00:37:36Maybe there's something you should know.
00:37:38When I'm attracted to a man, I don't need an invitation.
00:37:41You don't attract me.
00:37:42As far as I know, you don't attract anyone.
00:37:43In fact, rumor has it that if I were to say yes,
00:37:46you wouldn't know what to do.
00:37:50All right, now we're even.
00:37:51Hope you feel better.
00:37:53Good night.
00:37:56Good night.
00:38:06Alex, I'm sorry.
00:38:07I just don't like it.
00:38:08Why is that, David?
00:38:09Well, the man's totally unsympathetic.
00:38:11He's got no sophistication, no technique.
00:38:14Now, if I was going to seduce one of my leading ladies,
00:38:16I'd, uh...
00:38:17Yes?
00:38:21I certainly wouldn't come on like that.
00:38:23Well, how would you come on?
00:38:24Privileged information.
00:38:26No, I'm serious.
00:38:28Now, let's say just for the sake of argument
00:38:29that 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,
00:38:39and 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.
00:38:52If you say so.
00:38:54But it's academic anyway, isn't it?
00:38:56We were talking about the scene.
00:38:58And I thought you were excellent, David.
00:38:59Very convincing.
00:39:03Any comments?
00:39:06Don't be shy.
00:39:08Question.
00:39:09Yeah?
00:39:10What are you going for?
00:39:11What's the point of the scene?
00:39:12Well, the point, Lloyd, is that in a mystery,
00:39:14everyone must have a motive.
00:39:16You mean he, uh, kills her because she turns him down?
00:39:20I didn't say he was the culprit, Leo.
00:39:22But vanity can be a powerful force.
00:39:26You don't commit a murder
00:39:27because someone won't go to bed with you.
00:39:30No.
00:39:32But people had no trouble believing
00:39:33Monica took her life just because she was in a flop.
00:39:37That was different.
00:39:39Yes, of course it was.
00:39:41Forgive me.
00:39:43Walter's right.
00:39:44There are too many memories in this place.
00:39:46Let's go on to the next scene.
00:39:49It takes place on the afternoon of Jessica's opening night.
00:39:54She's in an art gallery.
00:39:56Another set?
00:39:57This is getting expensive.
00:39:59It's all in the lighting, Walter.
00:40:01Lloyd, would you mind reading this next scene with me?
00:40:04Why not Leo?
00:40:05I'm saving him for his own scene.
00:40:07Do you mind?
00:40:08Well...
00:40:09It comes very close to the top of the show.
00:40:12Okay.
00:40:13Who do I play?
00:40:14A director.
00:40:16More typecasting?
00:40:17No, it helps give me a fix on the characters.
00:40:20Now, I'll read Monica again.
00:40:24Did I say Monica? Excuse me.
00:40:25I meant Jessica.
00:40:27Oh, here, you'll need this.
00:40:29What?
00:40:30A prop.
00:40:33A Madison Avenue art gallery.
00:40:36Jessica's come more or less as an escape.
00:40:38She needs a few moments of solitude before the rigors of an opening night.
00:40:43She's completely unaware that someone has entered the gallery.
00:40:53Not my taste.
00:40:55You startled me.
00:40:56Next time, I'll clear my throat.
00:40:58Is this true?
00:41:00You mean the gossip column?
00:41:01That's exactly what I mean.
00:41:03It's not my taste.
00:41:05It's not my taste.
00:41:06That's exactly what I mean.
00:41:08Is it true?
00:41:10Yes.
00:41:14Congratulations.
00:41:18Things are looking up.
00:41:22The actress marries the playwright,
00:41:24and they live happily ever after.
00:41:26With him writing star vehicles for her, of course.
00:41:29That's a hostile thing to say.
00:41:30I'm in a hostile mood.
00:41:31It comes to the impression
00:41:32that the actress had an understanding with the director.
00:41:34Oh, really?
00:41:35What kind of an understanding was that?
00:41:36Promises of things to come.
00:41:38All the sidelong glances.
00:41:40The body language.
00:41:41The requests for help with your part.
00:41:42Correct me if I'm wrong.
00:41:43Isn't that standard procedure?
00:41:44Not the way you did it.
00:41:46And it served its purpose.
00:41:48Special attention from the director.
00:41:50Tender, loving care.
00:41:51I think that's enough.
00:41:58Maya, listen to me.
00:42:00You and I really never had a go at it.
00:42:03Why don't we at least give it a try?
00:42:05You're serious?
00:42:06I could be.
00:42:08Why on earth would I tie myself down to someone like you?
00:42:11No talent, no money, no future.
00:42:13What's in it for me?
00:42:18Wait a minute, Alex.
00:42:20You've got a major contradiction here.
00:42:22In what way?
00:42:23Well, look at her character.
00:42:25In one scene, she's trusting an innocent man.
00:42:27In one scene, she's trusting an innocent man.
00:42:29Here, she's cold as ice.
00:42:30The many faces of Jessica.
00:42:32Besides, maybe that's just the way he sees her.
00:42:35It's not clear.
00:42:36Did she use him or didn't she?
00:42:38Well, the important thing is that he thinks she did.
00:42:42At least it's a better motive than he gave to my character.
00:42:45I don't agree.
00:42:46All right, Lloyd.
00:42:48When in doubt, touch base with reality.
00:42:50Let's take the case of you and Monica.
00:42:52What case?
00:42:54You were concentrating on her, giving her extra attention.
00:42:56She needed it.
00:42:57It was her first time on stage.
00:42:58Granted.
00:43:00But there was talk that you were going above and beyond the call of duty.
00:43:03That's not true.
00:43:04But suppose it was.
00:43:06Suppose you misinterpreted her professional needs
00:43:09for something more personal.
00:43:11And then suddenly you discover that she's going to marry another man.
00:43:14Alex, what are you getting at?
00:43:15I beg your pardon?
00:43:16Are we talking about the scene or are we talking about Monica?
00:43:18Good question.
00:43:22Alex,
00:43:23we've known each other for a long time,
00:43:25so I'm entitled to be blunt.
00:43:27Why are we here?
00:43:29You know why, Walter.
00:43:30To read my new play.
00:43:31It's not a play.
00:43:32It's just a bunch of unrelated scenes.
00:43:34All of them uncomfortably close to the truth.
00:43:37The hell they are.
00:43:39She never came to my apartment.
00:43:41Who, David?
00:43:42Jessica or Monica?
00:43:44There isn't any Jessica.
00:43:45And as for Monica...
00:43:47Yes?
00:43:48All we had was a professional relationship.
00:43:50Just like Lloyd's.
00:43:51I don't know anything about that.
00:43:52I just speak for myself.
00:43:53Are you suggesting that Monica and I
00:43:55had some kind of thing behind Alex's death?
00:43:57Hold it!
00:43:58Now, we're all friends here.
00:44:00I'm not so sure.
00:44:01Will somebody please tell me what's going on?
00:44:03My sentiments exactly.
00:44:04Alex, you owe us an explanation.
00:44:07Now, if not, I'll be on my way.
00:44:09Well?
00:44:11As you wish, Walter.
00:44:12Sit down and finish your coffee.
00:44:14All of you, sit down.
00:44:22Ah.
00:44:32Well, the truth,
00:44:34if you really want it,
00:44:38is that I am working on a new play.
00:44:40A murder mystery.
00:44:42Five suspects and an unknown killer.
00:44:45I hope it's me.
00:44:46Makes for a better part.
00:44:47Shut up, Leo.
00:44:48Well, things change.
00:44:49A year ago, you two were roommates.
00:44:51It's none of your business.
00:44:52But it is mine.
00:44:54As a matter of fact, I've got a scene about that.
00:44:56You do?
00:44:57Alex, you're digressing.
00:45:00Clever of you to notice, Walter.
00:45:02Always business.
00:45:04That's what your scene's about, by the way.
00:45:07But you're right.
00:45:09Might as well get to the point.
00:45:11Well, it's really very simple.
00:45:12When we finish here,
00:45:14we'll know something that we didn't know before.
00:45:16And what's that?
00:45:17Which one of you killed Monica Wells?
00:45:37What are you talking about?
00:45:40Monica wasn't murdered.
00:45:42She committed suicide.
00:45:44And to suggest that one of us
00:45:45is involved...
00:45:46It isn't a suggestion.
00:45:47It's a statement of fact.
00:45:48They investigated.
00:45:49The police...
00:45:50The police were wrong.
00:45:51Alex!
00:45:53We all know you suffered a terrible loss.
00:45:55We understand your grief.
00:45:57But what you're doing here,
00:45:59it won't change anything.
00:46:01It won't bring her back.
00:46:03Then you've nothing to lose by indulging me.
00:46:05I'll tell you what we've got to lose.
00:46:07Our privacy.
00:46:08I'm sorry, Alex,
00:46:09but if you're going to be making accusations
00:46:11and digging into our personal lives,
00:46:12I'd rather be somewhere else.
00:46:13Karen, all I'm asking...
00:46:14I know what you're asking!
00:46:16At least I think I do,
00:46:17and I'm sorry, I just don't like it.
00:46:22Well, I suppose that's it.
00:46:24Class dismissed.
00:46:31Excuse me, Miss Daniels,
00:46:32but shouldn't you reconsider?
00:46:34Who are you?
00:46:36We met last year after the suicide of Miss Wells.
00:46:38I took a statement from you.
00:46:40Karen?
00:46:41You remember Lieutenant McElroy?
00:46:44McElroy?
00:46:46Yeah.
00:46:47He was the investigating officer.
00:46:48I spoke to him myself.
00:46:50What's he doing here?
00:46:51I asked him to come.
00:46:53Karen, would you do me a favor, please?
00:46:55Would you come back on stage?
00:46:57You too, Lieutenant.
00:46:59I'd very much like to get to the bottom of this.
00:47:02If you wouldn't mind,
00:47:04it might be helpful, then.
00:47:06Care to explain all this?
00:47:09Lieutenant, Mr. Lamb requires an explanation.
00:47:12Well, not much to explain, sir.
00:47:14Mr. Dennison called,
00:47:16asked me to be here today.
00:47:18Said he had some new information
00:47:19pertaining to the death of Monica Wells.
00:47:21Well, now, a moment ago,
00:47:22you said suicide, not death.
00:47:24Yes, it was suicide.
00:47:26Well, it was suicide.
00:47:28It was suicide.
00:47:30It was suicide.
00:47:32It was suicide.
00:47:33Yes, it was suicide.
00:47:35That's my view
00:47:37and the official determination of the medical examiner.
00:47:39Then the case is closed.
00:47:41Why are we wasting our time?
00:47:43Because the lieutenant's willing to give me a hearing.
00:47:45It's an admirable trait, don't you think?
00:47:47I'll tell you what's not so admirable.
00:47:49We didn't know he was here.
00:47:51Well, Mr. Dennison asked me to keep out of sight.
00:47:53Thought it might, um, inhibit you.
00:47:55I wonder why.
00:47:57He agreed to intervene if any of you tried to leave.
00:48:00But you can't keep us here against our will.
00:48:03Uh, no, ma'am, I can't.
00:48:05This is strictly unofficial.
00:48:07You're perfectly free to go.
00:48:09But I would have to wonder why
00:48:11you'd be so anxious to leave.
00:48:13Ah, so we're back to what have we got to lose, hmm?
00:48:15Frankly, I think Mr. Dennison's on a wild goose chase.
00:48:18I've told him that.
00:48:20But I'm willing to keep an open mind.
00:48:22It's up to you, Carrie.
00:48:30Where's my scene?
00:48:31Welcome back.
00:48:33But 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.
00:48:45Now, you just sit in this chair.
00:48:49Come on, Walter, it's a simple phone call.
00:48:52Back, fellas, back.
00:49:02You're the producer of a play
00:49:04that's just opened to mixed reviews.
00:49:06The opening night party is over, and you're home.
00:49:08The man on the other end of the line is your accountant.
00:49:10It's all yours, Walter.
00:49:17Hello, Mr. Dennison.
00:49:19It's a pleasure to meet you.
00:49:21It's a pleasure to meet you, too, Walter.
00:49:23It's a pleasure to meet you, too.
00:49:25It's a pleasure to meet you, Walter.
00:49:27It's a pleasure to meet you, too, Walter.
00:49:29It's a pleasure to meet you, too, Walter.
00:49:31Hello, Harry, this is...
00:49:33What name shall I use?
00:49:35What's the matter with your own?
00:49:39This is Walter Lamb.
00:49:42Sorry to drag you out of bed, but I assume you've heard, hmm?
00:49:46Yes, well, the patient is in terminal,
00:49:48but the vital signs are fading fast.
00:49:51Harry, I 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, just give me a ballpark figure.
00:50:27Uh-huh, yes, that's what I thought.
00:50:32All right, Harry, thank you, go back to sleep.
00:50:37Are you satisfied?
00:50:39Yes, Walter, very realistic.
00:50:42Well, I guess I'm a little slow,
00:50:44but I've 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...
00:50:57Unless, like the producer in this scene,
00:51:00I was covered by insurance.
00:51:02So if I kept the show open
00:51:04and one of the actors failed to appear...
00:51:06The leading lady, for example.
00:51:08Then I would collect the insurance money.
00:51:10Is that your drift, Alex?
00:51:12Only if you had that kind of coverage.
00:51:14Yes, well, you know it's standard, so that I did.
00:51:17Then Monica's death came at a very convenient time for you.
00:51:20The woman killed herself!
00:51:22Do you understand?
00:51:24Whether you want to believe it or not,
00:51:25she was depressed,
00:51:27and she jumped out of her bedroom window!
00:51:29How can you be so certain, Walter?
00:51:31Were you there?
00:51:34Excuse me.
00:51:37I'm looking for Mr. Denison, Alex Denison.
00:51:41Right here.
00:51:48Santoro moving in storage.
00:51:50You got your shipment.
00:51:52Where's your truck?
00:51:53Right outside.
00:51:55You want us to unload?
00:51:57In a minute.
00:51:59Excuse me, I want to check a bill of lading.
00:52:01And by now, you all deserve an intermission.
00:52:04What's this, moving day?
00:52:06They're bringing in a set for the last scene.
00:52:08What kind of set?
00:52:10Permit me my element of surprise, Lloyd.
00:52:12In a mystery, the audience should never know
00:52:14what's coming next.
00:52:16I'll be right back.
00:52:21Now what?
00:52:23Apparently, we just wait.
00:52:25The puppets without the puppeteer.
00:52:28If we had any sense, we'd go home.
00:52:35And that doesn't mean we're guilty of anything.
00:52:39Easy, Karen.
00:52:41Well, I don't like it.
00:52:43I mean, what is wrong with him?
00:52:45A year ago, even at the funeral, he was fine.
00:52:48But now...
00:52:50A year is a long time.
00:52:52He's obsessed.
00:52:54No, no.
00:52:56There's a method to all this.
00:52:58He knows what he's doing.
00:53:00That's a charitable interpretation.
00:53:02He certainly raked you over the coals.
00:53:05Well, that makes two of us.
00:53:07Three?
00:53:09Great.
00:53:11Marvelous.
00:53:13Wonderful.
00:53:15We're next.
00:53:17What could he accuse me of?
00:53:19Nothing.
00:53:21If you're both so worried, read the play.
00:53:23What?
00:53:25Your scenes, they should be about somewhere.
00:53:27Forewarned is forearmed.
00:53:31That's right, we can check the pages and see what he's up to.
00:53:39Lloyd.
00:53:41Lloyd.
00:53:43Nothing with your names on it?
00:53:45No, David.
00:53:47Let me see.
00:53:50No, it's empty.
00:53:52Maybe, maybe, maybe we're not going to do anything.
00:53:56Then why did he invite us?
00:53:58Take my word for it, you won't be overlooked.
00:54:01The papers are probably hidden.
00:54:03What do you mean?
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, but he's thorough.
00:54:14Very thorough.
00:54:16Somehow that doesn't comfort me.
00:54:18Did you check the load yourself?
00:54:20Sir, it's all right here.
00:54:22How long will it take you to set up on stage?
00:54:24Half an hour.
00:54:26Oh, make it sooner.
00:54:28Like I said, 15 minutes.
00:54:30Do you have the floor plan for the arrangement?
00:54:32Oh, yeah.
00:54:34Is this it?
00:54:36I want every piece put in the position where it's marked.
00:54:38Understood?
00:54:40Sure.
00:54:42Switch on the stage lights so you can see.
00:54:44And if you need us, we'll be downstairs.
00:54:46I thought you people always had your sets built.
00:54:48This stuff's all real.
00:54:50We're trying something new.
00:54:52Keeps the actors on their toes.
00:54:56Intermission over.
00:54:58I'm sorry to keep you waiting.
00:55:00Why don't we all go downstairs where we won't be distracted?
00:55:05I promise you, we're almost finished.
00:55:10Surely you don't want to miss the ending.
00:55:16Well, I've had my turn in the dentist chair.
00:55:19Karen, Leo,
00:55:21why should you miss out on all the fun?
00:55:23Hard to play a scene that doesn't exist.
00:55:25Oh, were you looking for your pages?
00:55:33Right here.
00:55:36There's an interior compartment.
00:55:38I think they make these things for spies and smugglers.
00:55:41I should have told you.
00:55:43You could have read it.
00:55:45It was rehearsed.
00:55:47Shall we?
00:55:50You said it was empty.
00:55:52It was.
00:56:10Lieutenant,
00:56:12why are you going along with this nonsense?
00:56:13Is it nonsense, Mr. Matthews?
00:56:15You know it is.
00:56:17Well, the department likes to be cooperative.
00:56:19Particularly when a celebrity is involved.
00:56:21You're humoring him, aren't you?
00:56:23You said it, sir. I didn't.
00:56:30Oh.
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.
00:56:40I'll be right along.
00:57:03So who's the next victim, Alex?
00:57:05Me?
00:57:07Actually, Karen, I'd like you and Leo to play a scene together.
00:57:08You mean I have to share the spotlight?
00:57:10You should be used to that.
00:57:13Isn't she wonderful, right between the shoulder blades?
00:57:15Oh, it's easy.
00:57:17There's no backbone to get in the way.
00:57:19Oh, come on, you do it.
00:57:21You'd like to. I know you'd like to.
00:57:23Lieutenant, could you sit here a minute, please?
00:57:25Shut up!
00:57:27Oh, you shut up!
00:57:33Now I get it.
00:57:35Don't you see what he's doing?
00:57:36Now that you mention it, no, no.
00:57:38Hamlet, act two, scene two.
00:57:41A play within a play to catch his father's killer.
00:57:45I have heard that guilty creatures sitting at a play
00:57:49have, by the very cunning of the scene,
00:57:52been struck so to the soul
00:57:55that presently they have proclaimed their malefactions.
00:57:58The play's the thing.
00:58:00Wherein I'll catch the conscience of the king.
00:58:02Right.
00:58:03That's all very interesting, but 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.
00:58:13Now, if he walked out...
00:58:15David! David!
00:58:17The bus. Maybe the guy went to the bathroom.
00:58:19Ah, there you are.
00:58:23Hey, Dave, they thought you bailed out.
00:58:25Hey, Dave, they thought you bailed out.
00:58:35Who are you?
00:58:38I don't get it.
00:58:42You know who I am.
00:58:44I know who you say you are.
00:58:46Suppose you give me some identification.
00:58:48What's this all about?
00:58:50Whoever this man is, he's not Lieutenant McElroy.
00:58:52What?
00:58:54But I remember him.
00:58:56You only think you do.
00:58:58There's a resemblance, the age, the build,
00:59:00but I'm pretty good on faces,
00:59:02and our friend here is not the man
00:59:04who spoke to me after Monica's death.
00:59:06Are you sure?
00:59:08I've just called the police.
00:59:10Lieutenant Henry McElroy
00:59:12was killed in the line of duty six months ago.
00:59:15Now, unless you're a ghost,
00:59:18I think you'd better tell us who you are.
00:59:20Well, I tried.
00:59:25Karen.
00:59:27Gentlemen.
00:59:29May I introduce a fellow professional,
00:59:31Mr. Frank Heller.
00:59:33He's an actor?
00:59:35And a very good one.
00:59:37Maybe not, Mr. Denison.
00:59:39They nailed me.
00:59:41Nothing to do with your performance.
00:59:43Unfortunately, David has too good a memory.
00:59:45Are you saying Alex hired you to impersonate him?
00:59:47Yes, sir.
00:59:49Why?
00:59:51Very simple, Walter.
00:59:53For my little psychodrama to work,
00:59:55I had to keep you all here.
00:59:57Given the nature of the situation,
00:59:59I knew someone would try to leave,
01:00:01so I needed, what shall I call it,
01:00:03official leverage.
01:00:05Of course.
01:00:07We might walk out on you, but not a cop.
01:00:09That was the idea.
01:00:11And since Lieutenant McElroy
01:00:13was no longer among the living...
01:00:15And since a real police officer
01:00:17was no longer among the living,
01:00:19I decided to hire a lookalike.
01:00:21Oh, excuse me, David.
01:00:23An almost lookalike.
01:00:25Does he know how much trouble he's in?
01:00:27What do you mean?
01:00:29What kind of trouble?
01:00:31Impersonating a police officer is a felony.
01:00:33I said he was a police officer.
01:00:35He didn't.
01:00:37That's a technicality.
01:00:39If you're going to be angry, David, blame me.
01:00:41Mr. Heller was just following instructions.
01:00:43Now, wait a minute, wait a minute.
01:00:45I want to know something here.
01:00:48Well, you may not believe this,
01:00:50but I went to an audition.
01:00:52An audition?
01:00:54My agent said Alex Dennison
01:00:56was looking for an actor.
01:00:58Who am I to say no to that?
01:01:00Go on.
01:01:02Well, I went to this rehearsal hall
01:01:04and there were about 10 other guys there.
01:01:06We all looked the same.
01:01:08Mr. Dennison interviewed me
01:01:10and that was that.
01:01:12Then about a week later,
01:01:14he called me back.
01:01:15Now there was only three guys.
01:01:17Finally, there was just me.
01:01:19Well, what happened when he told you
01:01:21what he wanted?
01:01:23I thought he was crazy.
01:01:25An accurate impression.
01:01:28Tell him the 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,
01:01:36I read in the paper that 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.
01:01:43Did he know?
01:01:45And of course, he offered you money.
01:01:47Yes, sir.
01:01:49How much?
01:01:53$10,000?
01:01:55Oh, for a one-day part?
01:01:57If I'd known that,
01:01:59it 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.
01:02:13But not for a while.
01:02:15It's not much of a life,
01:02:17so when this came along...
01:02:19You don't have to apologize, Frank.
01:02:21Anyway, no hard feelings, I hope.
01:02:23You won't be needing me now,
01:02:25so I guess I better be going.
01:02:27No, not quite yet.
01:02:29No one leaves until we're finished.
01:02:31How can you keep us here?
01:02:33You don't have your phony cop anymore.
01:02:35Okay, I've pretty much had a belly full of this.
01:02:37We all have, Lloyd,
01:02:39but I suggest we put up with it a few more minutes.
01:02:41What?
01:02:43I think you should be satisfied, positive,
01:02:45that Monica was murdered.
01:02:48I think that's your cue, Alex.
01:02:50Frank, I'll need your help.
01:02:52What do you want me to do?
01:02:54Be Lieutenant McElroy again,
01:02:56and we've been over this.
01:02:58Give them the case for suicide.
01:03:01Well,
01:03:03one thing,
01:03:05there's no signs of any forced entry
01:03:07into her townhouse.
01:03:09Correct.
01:03:11If she was killed by an intruder, how did he get in?
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,
01:03:31and...
01:03:33Say it.
01:03:35She jumped.
01:03:37In the words of the medical examiner's report,
01:03:39fall from a height.
01:03:41Case closed.
01:03:43But not for you.
01:03:45Nobody commits suicide because of bad notices.
01:03:47It wasn't the notices.
01:03:49It was the end of a dream for her.
01:03:51Alex,
01:03:53you have to admit that sometimes she was,
01:03:55well, erratic.
01:03:57I mean, she walked out on a performance one night.
01:03:59I had to go on for it.
01:04:01Don't you remember?
01:04:03Oh, the police made quite a point of that.
01:04:05Monica Wells gets into an argument with the playwright
01:04:07just before a preview.
01:04:09She bolts from the theater,
01:04:11hails a cab, and goes home.
01:04:13She doesn't answer the phone,
01:04:15so we're forced to give a performance without her.
01:04:17She comes back to the theater in a few hours
01:04:19and apologizes.
01:04:21Obviously proof of an unsound mind.
01:04:23It's certainly proof of something.
01:04:25David, she was in love!
01:04:27She was struggling over whether or not
01:04:29to make a commitment.
01:04:31The tension was too much for her.
01:04:33We fought, she ran away, she came back.
01:04:35Unprofessional, yes, she admitted that.
01:04:37But it was not abnormal.
01:04:40Alex,
01:04:41I have listened very carefully
01:04:43and I have heard nothing 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
01:04:56in the middle of a sentence?
01:04:58Because she changed her mind and hung up.
01:05:00The woman was under stress.
01:05:02She wasn't rational.
01:05:04She was rational enough to make herself a cup of tea.
01:05:06I saw it on her desk in the study.
01:05:08Is that your evidence, a cup of tea?
01:05:09She was starting a new life.
01:05:11She had everything to live for.
01:05:13You saw her at the party.
01:05:15Was that a woman in despair?
01:05:17Nobody 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.
01:05:29Alex, Alex, don't you see?
01:05:33Monica did a terrible thing.
01:05:35She not only took her own life,
01:05:37but she rejected you.
01:05:39I mean, that's hard to accept.
01:05:41So you've come up with this fantasy about a murder
01:05:45in a strange way it's easier to live with.
01:05:48I take it that means you're not going to help.
01:05:52I just don't see what else we can do.
01:05:57Karen, Leo, would you play the last scene for me?
01:06:00Alex, Walter's right.
01:06:02We're all friends here,
01:06:04but we're not getting anywhere with this.
01:06:06Excuse me.
01:06:07You know, just a few pages.
01:06:09No, I'm sorry.
01:06:11Well, who'll share a ride with me uptown?
01:06:14Oh, well, you can drop me at 75th Street.
01:06:16You know, I'd really like to drop you home.
01:06:21Alex, Alex, please!
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.
01:06:45We'll cooperate. Just put 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.
01:07:04Get back there.
01:07:08It's opening night.
01:07:10Sit on the couch.
01:07:12Leo, you make your entrance in a couple of moments.
01:07:16Are you ready?
01:07:18No.
01:07:20But you'll try, won't you?
01:07:22I'll read Monica again.
01:07:26The scene starts with a knock on the door.
01:07:32Yes?
01:07:35Monica!
01:07:37Yes, of course.
01:07:40Oh, not in makeup yet.
01:07:42Oh, I'll do my makeup for another hour or so.
01:07:45I just wanted to sit in here and soak up the atmosphere.
01:07:49And you're not quite sure which makeup to use, are you?
01:07:52Pardon?
01:07:54I mean, if I were to get sick at the last minute,
01:07:56you'd have to play my part for me again.
01:07:58Never even crossed my mind.
01:08:02Nobody gets sick on opening night.
01:08:04No, I suppose not.
01:08:06I heard you were quite good when you went on for me last week.
01:08:09The audience was disappointed.
01:08:11I did my best, but there's no comparison.
01:08:14No, you're being modest.
01:08:16Well, it doesn't much matter, does it?
01:08:18I mean, you're here.
01:08:20That seems to surprise you.
01:08:22Why would I be surprised?
01:08:24I brought you tea back.
01:08:26You know, a special blend of tea leaves
01:08:28that your grandmother whips up in her country kitchen?
01:08:30Didn't you like it?
01:08:32I mean, it really calms me down.
01:08:33So you said.
01:08:35Take some before opening night.
01:08:37Wonderful for the nerves.
01:08:39Oh, it is?
01:08:40Yeah, maybe so.
01:08:42Not quite so good for the rest of the body.
01:08:44I don't know what you mean.
01:08:46Let me see if I can make myself perfectly clear.
01:08:48Since you practically forced that tea on me,
01:08:50and since your motives are so transparent,
01:08:52I took some to my doctor
01:08:54and had him send a sample to the lab.
01:08:56A lab?
01:08:58I learned a marvelous new word.
01:09:00Cyclophosphamide.
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.
01:09:07A few sips of this and I'd be home right now
01:09:09and you'd know which makeup to use.
01:09:11Monica.
01:09:13You weren't even willing to pay your dues, were you?
01:09:16Karen, I...
01:09:18Oh, I didn't know you had company.
01:09:20Hi, Monica.
01:09:22This is private, Leo.
01:09:24No, come on in, Leo.
01:09:26The three of us have had a little talk.
01:09:28About what?
01:09:29Pick a subject.
01:09:31Opening nights, doing a favor for an intimate friend.
01:09:33What?
01:09:35Going to medical school.
01:09:37You did go, didn't you, for a few years?
01:09:39I imagine you had courses in chemistry.
01:09:41Well, that was a long time ago.
01:09:43Why? What's this all about?
01:09:45She knows.
01:09:47About what?
01:09:49About that. She had it analyzed.
01:09:51Brother.
01:09:53Okay, look, we spiked your tea,
01:09:55but it wouldn't have harmed you.
01:09:57It just would have slowed you down for tonight.
01:09:59I don't want to put people in jail for something like this.
01:10:01Be quiet.
01:10:03Excuse me, I...
01:10:05Well, yes, that was a very good rehearsal, Karen, Leo.
01:10:07We'll do that scene again later.
01:10:09I'm sorry, Mr. Dennison, I didn't mean to interrupt.
01:10:11We're finished.
01:10:13Oh, thank you.
01:10:15I just need you to sign this for me.
01:10:19Thanks.
01:10:24Thank you.
01:10:26Thank you.
01:10:27Now, we'll be back tomorrow to pick up the stuff.
01:10:29Fine, thanks again.
01:10:33Alex, I hope you know
01:10:35that scene we just played was nothing but lies.
01:10:37You did bring her tea, she told me.
01:10:39It was a gift.
01:10:41There was nothing in it.
01:10:43I mean, what good would it do me?
01:10:45Walter would never open with an unknown.
01:10:47Would you, Walter?
01:10:49Or would you send everyone home at the last minute?
01:10:51The critics, the press?
01:10:53I wonder.
01:10:55Alex, use your head.
01:10:57Yes, I'm not.
01:10:59I'd never help her with something like that.
01:11:01You were living with her then.
01:11:03You'd do anything she wanted.
01:11:05No way.
01:11:07Well, shall we go upstairs and see the set?
01:11:09No, I don't think it's a good idea.
01:11:11I have a great idea.
01:11:13Shall we go upstairs and see the set?
01:11:15The voice of reason.
01:11:17At least one of us is rational.
01:11:19Come on, let's get this over with.
01:11:21Take it easy.
01:11:23I'm right behind you.
01:11:24You too, Leo, come on.
01:11:55Cut it out.
01:11:58Take it easy now.
01:12:00Alex, please.
01:12:02Cut it out.
01:12:04I wish we knew what we were doing.
01:12:06You'll find out.
01:12:24What is it?
01:12:26It's some kind of bedroom set.
01:12:28Another seduction scene, Alex?
01:12:30Well, as a matter of fact,
01:12:33it's the scene of the crime.
01:12:35Oh, Lord.
01:12:37What?
01:12:39I think I know what this is.
01:12:42This is Monica's bedroom, isn't it?
01:12:44Very good, Karen.
01:12:46But...
01:12:48Her furniture was in storage.
01:12:50I had it with me.
01:12:51In the interest of realism.
01:12:53Is this the original?
01:12:55No, the police have it in their files.
01:12:57But everything else is exactly as it was.
01:12:59The bedclothes,
01:13:01the contents of the drawers,
01:13:03even our champagne glasses.
01:13:06Oh, I wouldn't, David.
01:13:08Monica didn't smoke.
01:13:10There are no ashtrays.
01:13:12Lloyd, would you turn off the house lights, please?
01:13:14Oh, and Karen,
01:13:16that chair over there,
01:13:18is that yours?
01:13:19Karen,
01:13:21that chair is out of position.
01:13:23Move it a little more to the center, would you?
01:13:30Thank you, Leo.
01:13:33Well, now what?
01:13:35Alibis, Walter.
01:13:37I was wondering when you were going to get around to that.
01:13:39I've established that you all had motives.
01:13:41Like hell we have.
01:13:43But motives are nullified by a legitimate alibi.
01:13:46Then cross me off your list.
01:13:47I was in an after-hours bar
01:13:49drinking till 4 o'clock in the morning
01:13:51and there must have been 20 witnesses.
01:13:53And I was with friends.
01:13:55We went back to my place after the party and commiserated.
01:13:57Walter?
01:13:59Fortunately for me, I went home with our company manager.
01:14:01I sat around with his wife and kids.
01:14:03Now, Karen, that leaves you and Leo.
01:14:05It's easy.
01:14:07As you keep reminding us,
01:14:09we were living together.
01:14:11We spent the night in Leo's apartment.
01:14:13Seems like everyone's accounted for.
01:14:15Then who was Monica planning to meet
01:14:17after the party?
01:14:19Who said she was meeting anyone?
01:14:22She sent me home, Lloyd.
01:14:24On the one night we should have been together.
01:14:27And she got rid of the caterers.
01:14:29Didn't even give them a chance to clean up.
01:14:31No, she was expecting someone.
01:14:34Maybe she wanted to be alone.
01:14:37Then why didn't she lock the front door?
01:14:39I don't understand.
01:14:41What do you mean?
01:14:43She didn't throw the bolt.
01:14:45I was able to let the police in with my key.
01:14:47Are you saying she didn't want you to stay
01:14:49because someone was coming?
01:14:51It explains the circumstances, doesn't it?
01:14:53When I left,
01:14:55she let him in.
01:14:57Him?
01:14:59Or her.
01:15:01They had some kind of argument.
01:15:03She called me.
01:15:05He grabbed the phone and hung up.
01:15:07I think there was a struggle.
01:15:09She was struck
01:15:11and killed.
01:15:13Where did this happen?
01:15:15In the study.
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.
01:15:25She was upset.
01:15:27Won't wash, David.
01:15:29Not too upset to make a cup of tea,
01:15:31but too upset to drink it.
01:15:33And then, of course,
01:15:35she didn't turn off the downstairs lights.
01:15:37They were on when I came in.
01:15:39And the bedroom door was open.
01:15:41Meaning?
01:15:43Suicide is a private act.
01:15:45She'd called me.
01:15:47First, throw the bolt on the front door,
01:15:49then close and lock the bedroom door.
01:15:51But she didn't.
01:15:54She 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,
01:16:13finds a piece of stationery.
01:16:15Here.
01:16:17Takes the stationery,
01:16:20presses her fingers to it,
01:16:22rolls it in the typewriter.
01:16:25Her prints are on it.
01:16:27His aren't.
01:16:29Well, that's very ingenious, Alex.
01:16:31But even if you're right,
01:16:33even if somebody did kill her,
01:16:35it wasn't one of us.
01:16:37Unless you don't believe our alibis.
01:16:39Oh, on the contrary.
01:16:41I hired a firm of private detectives
01:16:43to check them out.
01:16:45Most of them held up.
01:16:47Three of you were with multiple witnesses
01:16:49when Monica died.
01:16:51David, you were at a club.
01:16:53Lloyd with friends.
01:16:55Walter with your company manager's family.
01:17:00But you and Leo, Karen,
01:17:02you two only alibi each other.
01:17:04We were together.
01:17:06We only have your word for that.
01:17:08What do you mean?
01:17:10There are five motives here,
01:17:12all hypothetical.
01:17:14But one of them is real.
01:17:15It's a matter of record.
01:17:17Read it.
01:17:22This is a laboratory report.
01:17:24Chemical analysis of a tea sample
01:17:26submitted by Monica Wells
01:17:28in April of last year.
01:17:30What does it say?
01:17:32The sample was saturated with,
01:17:34I can't even pronounce it,
01:17:36but it can cause illness
01:17:38and incapacitation.
01:17:40I found that among her effects.
01:17:42It's a fake.
01:17:43Believe me, Leo, easy enough to check.
01:17:45One legitimate motive
01:17:47and two unsupported alibis.
01:17:49I'm not going to listen to this.
01:17:51She found out what you were doing.
01:17:53You both pleaded with her.
01:17:55You asked her to meet you after the party.
01:17:57No.
01:17:59You're the lady who would stick pins in a photograph
01:18:01and Monica was a threat.
01:18:03I never went back there.
01:18:05Then who did?
01:18:07I don't know. Maybe Leo.
01:18:09But you were with Leo.
01:18:11Not all the time.
01:18:13And you said you couldn't sleep.
01:18:15You wanted to take a walk.
01:18:17How long was he gone, Karen?
01:18:19I don't remember. 20 minutes? An hour?
01:18:21No alibi, Leo, and 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 and what about her?
01:18:31If I don't have an alibi, neither does she.
01:18:33That doesn't matter, Leo.
01:18:35Why the hell doesn't it?
01:18:37Because Monica was killed downstairs.
01:18:39Her murder had to carry her up here.
01:18:41As we all saw,
01:18:43I'm getting out of here.
01:18:45Nobody's going to hang this on me.
01:18:47You killed her.
01:18:49She killed herself.
01:18:51Her whole life ahead of her and you killed her.
01:18:53Alex, take it easy.
01:18:55Come back here, Leo.
01:18:57Nobody's going to railroad me.
01:18:59I'm warning you.
01:19:01Listen to him, Leo.
01:19:03I've done enough listening.
01:19:05That's not Alex.
01:19:07Alex.
01:19:09Give me that gun.
01:19:11I've got it.
01:19:14I'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.
01:19:31He'll kill somebody.
01:19:33Put the lights on.
01:19:35I can't. It won't work.
01:19:37I got a flashlight.
01:19:39Where is he?
01:19:43Somebody say something.
01:19:45Tell me where he is.
01:19:48Talk to me.
01:19:50Where is he?
01:20:08Lights, Lloyd.
01:20:14Come on.
01:20:23What is this?
01:20:25What's going on?
01:20:27Where'd you get the flashlight, Frank?
01:20:29What?
01:20:31The flashlight, where'd you get it?
01:20:33Right there, in the drawer.
01:20:35How did you know it was there?
01:20:37I didn't. I was just looking, you know, for matches.
01:20:40Monica didn't smoke. I made that clear.
01:20:43Why would she keep matches in her bedroom?
01:20:46What the hell is this?
01:20:48Why did you open that particular drawer?
01:20:51It was dark. I opened up a lot of drawers.
01:20:53No, you didn't.
01:20:55Try them.
01:21:14I had every drawer sealed.
01:21:16All except one.
01:21:18That's the one you opened.
01:21:23So what?
01:21:25What difference does it make?
01:21:27You went to that drawer because you knew
01:21:29you'd find a flashlight.
01:21:31What's he talking about?
01:21:33I don't know.
01:21:35I don't know.
01:21:37I don't know.
01:21:39I don't know.
01:21:41I don't know.
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
01:21:49for her suicide note.
01:21:57You're out of your mind.
01:21:59Nobody else knew there was a flashlight in there.
01:22:02She just bought it that morning.
01:22:05He could have been in her room.
01:22:07He carried her upstairs. You said so yourself.
01:22:09He doesn't get it yet.
01:22:11Get what?
01:22:13Leo wasn't there at all.
01:22:15After the party, he went home
01:22:17to his two children.
01:22:19What?
01:22:21The nearest he got to medical school
01:22:23was playing a male nurse off-Broadway.
01:22:25Not one of my better parts.
01:22:27But you said...
01:22:29We all said a lot of things.
01:22:31None of them were true.
01:22:33You had motives.
01:22:35Afraid not.
01:22:37You. You wanted her out of the way.
01:22:40You mean Grandma's homemade tea?
01:22:42No such concoction.
01:22:44It was just part of the script.
01:22:46Script?
01:22:48Now listen closely, Frank.
01:22:50Nothing here today was real. Nothing.
01:22:52The scenes we played, the arguments,
01:22:54they all came out of my typewriter,
01:22:56with a little improvisation from my friends.
01:22:59I thought we were terrific.
01:23:03This is crazy.
01:23:05As for motives, we invented them.
01:23:07Karen and Leo never had an affair.
01:23:09Missed opportunity, Leo.
01:23:11Catch me when my kids are grown.
01:23:13David and Monica were close friends,
01:23:15and her relationship with Lloyd
01:23:17was strictly professional.
01:23:19And I never put my own money in a play.
01:23:22Oh, I almost forgot.
01:23:25Here's your lighter, Pat.
01:23:28You kept it.
01:23:30Wouldn't do for you to have a lighter
01:23:32in your pocket, Frank.
01:23:34You might not have gone for the flashlight.
01:23:36This whole thing was staged.
01:23:37For an audience of one.
01:23:39A gun.
01:23:42Flanks.
01:23:44And the audition, hiring 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.
01:24:08How'd you know about Monica and me?
01:24:14Well, I didn't at first.
01:24:17But it was obvious she was expecting someone that night.
01:24:21Why me?
01:24:23And all the people in New York.
01:24:25Why me?
01:24:27In her dressing room, she asked me
01:24:29if I could stop someone from working.
01:24:31I said, no, I can't.
01:24:33I can't.
01:24:34In her dressing room, she asked me
01:24:36if I could stop someone from working.
01:24:38I thought that was a strange thing to say.
01:24:40Then later she was counting money.
01:24:42A thousand dollars.
01:24:44So?
01:24:46It suddenly occurred to me it might be blackmail money.
01:24:48Maybe she was paying someone off.
01:24:50But that doesn't explain...
01:24:52A thousand isn't much.
01:24:54Who would she think she could buy for that kind of money?
01:24:56And who could Alex Dennison,
01:24:58a successful playwright,
01:25:00keep from working?
01:25:02An actor, naturally.
01:25:04An actor?
01:25:06And he was coming for a payoff.
01:25:08He'd probably wait outside until our party was over.
01:25:10And it was raining that night.
01:25:14Alex remembered there was a cab
01:25:16parked across the street with the off-duty sign on.
01:25:18I was complaining about it.
01:25:20I also remember the day
01:25:22Monica ran out of here during previews.
01:25:24She took a cab home.
01:25:26And we all know the cliche
01:25:28about out-of-work actors driving taxis.
01:25:31In fact, Mr. Heller,
01:25:32you yourself had said that you had driven one for a while.
01:25:34Every cab company
01:25:36keeps records of pickups and deliveries.
01:25:38It seems a Frank Heller took a fare from here
01:25:40to Monica's townhouse
01:25:42the afternoon of our fight.
01:25:44He also had his cab out the night of the murder
01:25:46with no recorded fares.
01:25:48Well, why didn't you go to the police?
01:25:50With what?
01:25:52Suspicions? No.
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.
01:25:59Yeah, yeah, yeah.
01:26:02You decided to do a number on me.
01:26:07You were good.
01:26:09You're all very good.
01:26:16Bravo!
01:26:21What happened that night, Frank?
01:26:26That's right.
01:26:27Without me,
01:26:29you don't have a third act, do you?
01:26:39It was raining.
01:26:42I was parked across the street
01:26:45waiting for all of you to go home.
01:26:49The party broke up early.
01:26:51Some of the guests even tried to get me
01:26:53to take them in my cab in the rain.
01:26:55I was rather tense.
01:26:57I'd been drinking.
01:26:59I was going crazy sitting in that cab.
01:27:01Finally, she let the caterers go home.
01:27:03I walked across the street.
01:27:06I knocked.
01:27:09She was expecting me.
01:27:10Hi.
01:27:12Not even a hello?
01:27:14Come with me.
01:27:16Out of reviews?
01:27:18You don't give a damn about the reviews.
01:27:20Okay.
01:27:22No polite conversation.
01:27:24You want to talk business?
01:27:26We'll talk business.
01:27:28We'll talk business.
01:27:30We'll talk business.
01:27:32We'll talk business.
01:27:34We'll talk business.
01:27:36We'll talk business.
01:27:38We'll talk business.
01:27:40You were a lot friendlier the last time I was here.
01:27:42This isn't the last time.
01:27:44Now, listen, Frank.
01:27:46I was very angry with Alex
01:27:48and he opened up a lot of emotions in me
01:27:50that I guess I didn't know I had
01:27:52and I wanted to punish him.
01:27:54So when I got in your cab the other day...
01:27:56I couldn't believe it.
01:27:58Monica Wells coming on to me,
01:28:00inviting me in for a drink.
01:28:02I was using you,
01:28:04just playing my old seduction game.
01:28:06I came to my senses.
01:28:08I asked you to leave, nothing happened.
01:28:10What?
01:28:12We spent hours together.
01:28:14You even missed a performance.
01:28:16You really think that he's going to believe
01:28:18that I would pick up a cab driver
01:28:20and let him make love to me?
01:28:22Maybe, maybe not.
01:28:24But I'm betting you'd rather pay a few bucks
01:28:26and just forget the whole thing.
01:28:28Nuisance value.
01:28:30Call it whatever you like.
01:28:32Look, I don't enjoy doing this,
01:28:34but I've been an actor for 15 years
01:28:36and I'm driving a cab.
01:28:38Now, I need a stake.
01:28:40I saw you this morning...
01:28:42And Alex and I were getting married.
01:28:44Well, I figured he was a lucky man,
01:28:46so why shouldn't I be lucky too?
01:28:48Listen to me, Frank.
01:28:50I got you into this and I do owe you something,
01:28:52so if you just forget the whole thing,
01:28:54I promise you I will never
01:28:56mention your name to anyone.
01:28:59Sorry.
01:29:07What are you doing?
01:29:08I was going to pay you.
01:29:10I actually went to the bank this morning
01:29:12and I took out $1,000.
01:29:14Hey, hey, we're talking about a lot more money than that.
01:29:16It doesn't matter, Frank,
01:29:18because you're not getting anything now.
01:29:20Oh?
01:29:22I decided this evening that even if you called
01:29:24this whole thing off,
01:29:26I was going to tell Alex the truth.
01:29:28Hey, hey, that's not very smart, you know,
01:29:30especially right before the wedding.
01:29:32Tom, I was honest with him.
01:29:34As you said, maybe he'll forgive me.
01:29:36Maybe he won't, but either way,
01:29:38I know it's the middle of the night.
01:29:40Can you come over here right away?
01:29:42Please, it's important.
01:29:44I know I did.
01:29:47You know what you're doing?
01:29:49I think so.
01:29:51You're just going to ruin it for yourself.
01:29:56I'll have to wait and see.
01:30:00You're welcome to.
01:30:02Just stay around, Frank.
01:30:04I'm sure he'd like to meet you.
01:30:06Go to Angela.
01:30:08Don't answer it.
01:30:10Don't answer it!
01:30:13Don't!
01:30:26Monica!
01:30:28Monica!
01:30:36I called her name.
01:30:38I tried to revive her.
01:30:40I even felt her pulse.
01:30:42I felt it flicker for like a second,
01:30:44and then it stopped.
01:30:49When I realized she was dead,
01:30:51I didn't know what to do.
01:30:53So you manufactured a suicide.
01:30:55I didn't want a murder investigation.
01:30:59So I wiped the blood
01:31:01from the corner of the bookcase.
01:31:04I picked her up.
01:31:06I carried her upstairs.
01:31:08And I...
01:31:23You know the rest.
01:31:30Look, I've lived with this a long time.
01:31:33I did what I did.
01:31:36But it was an accident
01:31:38and for whatever it's worth,
01:31:40I didn't mean to kill her.
01:31:48Lieutenant!
01:31:50Yes, sir.
01:31:55You heard?
01:31:57I heard.
01:31:59Who's this?
01:32:01Frank, meet the man you impersonated.
01:32:03Lieutenant McElroy.
01:32:05You said...
01:32:06Killed in the line of duty.
01:32:08I believe that was the dialogue
01:32:10that lived as always with my
01:32:12well-known credibility.
01:32:14Thanks for coming, Lieutenant.
01:32:16Good thing I did.
01:32:18Looks like I owe you an apology.
01:32:20Not really. I didn't have any proof.
01:32:22Well, 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.
01:32:34Had to give you a reason for being here, Frank.
01:32:36One you'd believe.
01:32:38Come 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.
01:32:54All of you.
01:32:56Alex.
01:33:02I thought it would never work.
01:33:04Yes, especially with me.
01:33:06I was worried about blowing my lines.
01:33:08I don't know, Walter.
01:33:10I thought you weren't half bad,
01:33:12particularly for a non-pro.
01:33:14Thank you.
01:33:16You know, the one thing I don't understand
01:33:18is why he went along with it.
01:33:20Heller, you promised him a lot of money
01:33:22and you told him it was a trap for Leo.
01:33:24That made him feel safe.
01:33:26You'd pin it on the wrong man and stop looking.
01:33:28But even so, he knew he killed Monica.
01:33:30Why get involved at all?
01:33:32For one reason, Lloyd.
01:33:34He's an actor.
01:33:36And I was offering him a 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, he's, he's,
01:33:51he's spending his own money.
01:33:53Come along, Heller.
01:33:55You know, there just might be a play on all that.
01:33:57Well, why don't we have dinner next week
01:33:59and talk about it?
01:34:01I'm buying you a drink, now you want dinner?
01:34:03You know, if I had it all to do again,
01:34:04I'd be in certain areas, I'd like to...
01:34:06I agree with you, David.
01:34:08Why don't we go to a place across the street
01:34:10and save Walter some money?
01:34:14Alex!
01:34:16Aren't you coming?
01:34:18Save me a place.
01:34:34Come on.
01:35:04Come on, let's go.
01:35:34Come on, let's go.
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