Rehearsal for Murder (1982) - full transcript

-Who's there?

Who's out there?

That you, Mr. Dennison?

-Hello, Ernie, how you been?

-(CHUCKLING) Fine.

Just fine, sir.

You have any trouble getting in?

-No problems.

-Well, you gotta be
careful, you know.

Some of those junkies
and winos from Broadway,

they try to bed down
in the lobby overnight.



-Encourage them, Ernie.

The theater was meant
for the common man.

-Anything I can
get for you, sir?

-Just some food.

I'm expecting a few people.

Do you mind going across the
street for coffee and dish?

And get something for yourself.

-What are you having?

A rehearsal?

-Only a reading.

I'm working on a new play.

-That's where it
all starts, right?

With the words.

-Yep, the words.



-Um, Mr. Dennison, I didn't get
to talk to you at the funeral.

I just wanted to tell
you how sorry I was.

-That's very kind of you, Ernie.

-Seems like such
a long time ago.

Was only about a
year, wasn't it?

-A year this week.

ERNIE (VOICEOVER):
I'll-- I'll be

right back with
those sweet rolls.

-Oh, Alex, Alex, I'm practically
getting palpitations.

Oh, Alex, I'm going to
come down with amnesia.

I never get this way
when I'm making a film.

-Now, I've told you,
movies are for children.

The theater is a whole
different animal.

-Yes, well, as long
as it doesn't bite.

Oh, Alex, I want to be good.

I want to make you proud of me.

-You will.

-Well, at least we don't have
to keep this a secret anymore.

You saw this?

ALEX: Heard about it.

-Cat out of the bag department.

Actress Monica Welles,
playwright Alex Dennison

have a major announcement
to make tonight.

The couple began their
hush hush love affair

during the rehearsals of
the broadway comedy "Chamber

Music," and hit
or flop, they plan

to marry tomorrow in a
quiet civil ceremony.

Congratulations, fellas,
sorry to spoil the surprise.

-She has a certain way
with words, doesn't she?

-I'll ring her neck.

How did she know?

-Well, we took out a license,
we got ourselves a judge,

and somebody had a big mouth.

-If I ever run into her.

-Oh, you'll be
perfectly charming.

Gossip's gossip.

That's their job.

[KNOCKING]

STAGEHAND (VOICEOVER):
Half hour, Miss Welles.

-Oh, my makeup's not finished
and my hair's a mess.

ALEX: I'll get out of here
before you break into hives.

-Alex, I'm scared to death.

-If it helps, I love you.

-It does.

Right.

No more butterflies.

I'm gonna be wonderful.

-I never doubted it.

-Alex, a foolish question.

-Hm-huh.

-You have a lot of power.

I mean, people in
the theater, they

do pretty much what you
say, isn't that right?

-So I keep telling me.

Now you're not asking
me to bribe the critics?

-No, nothing like that.

But I suppose you could stop
somebody working if you wanted?

-I suppose, if I was
vindictive instead of being

the tender-hearted creature
you've come to adore.

What is all this?

-Look at-- look at the time.

Come on, get out of here.

I've gotta pull myself together.

Love you.

Break a leg.

-Alex, last hour to blast off.

How's Monica?

-Traditional response,
she's terrified.

-I just talked to
our leading man,

he's making room on
his shelf for a Tony.

-Good.

Let him keep on
thinking he's the star.

-I just hope you all do
justice to the words.

-Lloyd, it's a nice
little commercial comedy,

nothing cosmic.

If it's a hit, fine.

If not, we'll survive.

-Either way, I'm grateful
for the directing shot.

-Don't go maudlin on
me, you did a good job.

-Where you gonna watch?

The back of the house?

The wings?

-Watch?

You've got to be kidding.

That's cruel and
unusual punishment.

-Well, that's
another one for you,

Mr. D. Hey, I must owe you
three drinks by now, huh?

-Five.

I should be saving my
luck for the critics.

-Ah.

You're gonna have another hit.

We Irish are psychic.

Believe me, it's
gonna be a smash.

-Damon, you're superstitious,
you're irrational,

and if you're right, I
won't tell the sanitation

department about your kitchen.

Hey.

-How can you just sit
here when your baby is

being delivered
across the street?

-What do you want
me to do, Walter?

Pace the aisle?

Reacquaint myself
with my dinner?

Believe me, on opening
night, the best place to be

is a saloon.

-Why do you let him in here?

The man is obviously
bereft of human emotion.

-Would you like a
drink, Mr. Lamb?

-No.

Well, yes.

Something out of a bottle with
a skull and crossbones on it.

Can you believe this?

I have $600,000 riding
on this man's show,

and he sits here tossing dice.

-It's therapy, Walter.

You outta try it.

-No thanks.

I'm taking enough
of a gamble tonight.

Speaking of gambling,
what is this I

heard about you and Monica?

Is it true?

-Would the newspapers lie?

-Amazing.

I've been to every rehearsal
and I didn't know you

two were even, uh,
what's the words?

-Keeping company.

No, we were discrete.

We didn't want to
upset any apple carts.

-Well, skal.

-Salute.

-It's about time you
became a domestic animal.

Damon, is that the right time?

-Right on the button.

Right on the button.

-Curtain comes
down in 10 minutes.

Let's go.

Thanks for the drink.

Coming?

-In due time.

Well, what do you say, Damon?

Double or nothing?

-Sure.

-Whoops.

-Nice of you to drop by.

-Where's the
lighting man tonight?

In Yonkers?

-Now he claps.

-Brava.

-Isn't this wonderful?

I keep bumping into
some very famous people.

-They're all rented
for the evening.

And they all disappear if
the notices are negative.

-But we're going to be a hit.

The audience loved it.

-You're new to the
theater, Karen.

Lesson one, never confuse the
audience with the critics.

-Alex, Lloyd and
Mr. Lamb, they're

still standing by
that phone in there.

They haven't even eaten yet.

-The death watch.

It's better on an empty stomach.

They're clamoring for you.

-Give me a minute.

I'm girding my loins.

-You look fine to me.

Well, actors do strange
things after an opening,

but counting money?

I got this from the bank today.

Would you believe with
all the excitement,

I just ran out of cash.

Here, darling, can you
put it over there for me?

I don't want to leave
it lying around.

[THUNDER]

-Signs and portents.

Let's hope it's not an omen.

Hey, what's all this?

-There's still a few things
you don't know about me.

That's my junk heap.

-This?

-Monocle, doesn't
everyone have one?

-And?

-Girl Scout knife.

No, no, that's a necessity.

I got that this morning.

You know there was a
power failure last night?

20 minutes without lights.

-Living with you is
going to be an adventure.

Which reminds me, when
we collapse tonight,

in Shakespeare's immortal
words, you're place or mine?

-Well, Alex, if it's
all the same to you,

I'd rather stay here tonight.

I mean, by myself.

-Oh?

-Well, it's been so
hectic, you know,

I need to be alone
just for a few hours.

Do you mind?

-Yes.

-I'll make it up
to you, I promise.

-Oh, that's a good start,
but if we don't stop,

we'll never get downstairs.

Drink up.

Now, let's show them
what a star looks like.

-Where's Monica?

Nice of them to
throw this party,

but at least she could
put in an appearance.

-She wants to make an entrance.

-Obviously but it's a
little overdue, isn't it?

-Maybe we can use
the second paragraph?

No, I don't want
to hear it again.

I'll talk to you later.

Gentlemen, I think I'm
going to have a drink.

Several drinks.

I suggest you do the same.

-It's that bad, huh?

-Well, bad is a relative term.

They were mixed.

But "The Times" was a knock,
and without "The Times."

I'm sorry, Alex.

-What'd they say about Monica?

-They, uh, they liked her.

I mean, nothing ecstatic.

"The Post" thought she
was a little stiff.

-I don't want her
to see that one.

-Can't we try for a run?

Monica's name means something.

So does yours, Alex.

-Up to the producer.

-Walter.

-Yeah, yeah, I'll sleep on it.

I'll go into the office
tomorrow and assess the damage.

-If we could just stay
open for a few weeks,

get some word of mouth going,
come on, Walter, please.

-We'll see.

-It's starting to rain.

It's appropriate, isn't it?

-Yeah.

-Goodnight.

-Goodnight, Alex.

-I'll talk to you
in the morning.

-Please.

-Well, you're right.

I never saw people leave
a party so quickly.

-Departing the sinking ship.

How are you?

Bearing up?

-I don't know.

It hasn't hit me yet.

Good night.

-Bye, Alex.

Look, I don't care
about the reviews.

It's a terrific play.

-Thank you.

-Goodnight.

-I'll see you soon.

Night, all.

-It's what in London
we'd call a wet night.

-Can't you get a cab?

-There's one parked
across the street,

and that idiot's got
his off duty sign on.

That's what I love
about New York.

Alex, does Monica
have an umbrella?

-Already gave it to somebody.

-Wonderful.

Broadway's favorite
actor gets pneumonia.

Oh, well, after those
notices, I suppose

I could use a cold shower.

Don't get depressed
then, Alex, you've

got worse things
coming, like marriage.

-You're amazing.

I've had a few hits so
I can be philosophic,

but it's your first time out.

You're being very British.

-Well, I wanted a
success, but I care more

about the playwright
than the play.

-Are you sure you
want me to leave?

-No, I don't want you to
leave, but I want you to leave.

An actress has to prepare
herself and so does a wife.

So I'm going to make
myself a cup of tea,

and I'm going to bed.

-All right.

I'll call you first
thing in the morning.

-Alex, you do love me?

-Very much.

Why?

-Oh, I was such an
idiot last week.

-You were angry.

-Not much of an excuse.

Missing a performance
and stranding everybody,

and that isn't even
the worst part.

-Monica, is something wrong?

-Not if you love me.

-Get some rest.

-Yeah.

[PHONE RINGING]

-Hello?

Monica, do you know
what time it is?

I thought you
wanted to be alone?

Hello?

Monica?

-Yeah, Welles, Monica.

That's right.

No, no, no.

She was dead when we got here.

Well, uh, as far
as we could tell,

it looks like it was suicide.

Yeah, well, we found
her on the sidewalk

in front of her townhouse.

Looks like she jumped
from a bedroom window.

Hm-huh.

-Better take it, sir,
you've had quite a shock.

-No.

-No, no, we're here
with the fiance now.

Apparently, she called him.

-She always made herself a cup
of tea before she went to bed.

-Better not touch it, sir.

Maybe we should go
into the living room.

FIRST OFFICER: No,
no, it was a 9-11.

No, no, some neighbor.

Some old guy walking
his dog saw her.

-A party, and you were here?

-Yes.

-How was she when you left her?

-What?

-I was just wondering
if she was depressed?

-She wasn't depressed.

-I guess you were the
last one to see her alive?

-Catering people were
here after I left.

They were cleaning up.

-Didn't do a very good job.

-What?

-You let us in so
you must have a key.

Does anyone else have one?

That is, besides the deceased?

-I don't know.

The maid, probably.

-Hey, Jim.

-Yeah.

-Jim, the lieutenant
is on the phone.

He wants to talk to you.

-Excuse me.

And, sir, don't
touch anything, OK?

-Alex, you do love me?

I'm scared to death.

-Oh, it looks good,
Ernie, thanks.

-Is there anything
else you need?

-No, as a matter of
fact, why don't you

take the rest of the day off?

-Really?

Well, I don't know.

If anything should
go wrong here--

-Like what?

Plague?

Pestilence?

Trust me, if I smell smoke,
I'll send for the Marines.

-Yeah, but--

-Go home.

Open a beer, soak your feet.

I'll take full responsibility.

-Somebody out there?

-Ernie, leave your number
on the bulletin board,

and I'll call you to lock up.

-All right.

-Who's there?

-Me.

-When they get here,
stay in the shadows.

I don't want them to
see you from the stage.

-If anybody tries to leave,
I'll come down and talk to them.

-Fine.

It's essential they stay here.

All of them.

If even one of them
walks out, it won't work.

-It may not work anyway.

-You still think this
is a mistake, don't ya?

-Like I said before, Mr.
Dennison, this is your show.

I'm just here to watch.

-Alex?

-Karen, my love, come here and
let me get a good look at you.

-My wonderful Alex.

Oh, it's been too long.

I want you to know I got up at
the crack of noon today, just

for you.

-You've changed, much
more provocative.

-New image.

It was time to bury the ingenue.

-Is it working?

-I'll know in a week.

I'm up for the
lead in a new play.

It's between me
and one other girl.

-Good luck.

-I think I'll steal one of her
pictures and stick pins in it.

Well, why not?

After all, you always
said I was ambitious.

-Oh, so I did.

Let me get you a cup of coffee.

How's Leo?

-Fine.

I suppose.

I haven't seen him for a while.

-I thought you two were an item?

-Things change.

-Well, he'll be here today, if
that's going to be a problem?

-No.

We're not enemies or anything.

Alex, what's all this about?

When you called, you
mentioned a new play.

WALTER: Hello?

Anybody home?

-Who's that?

WALTER: Tweedle Dum
and Tweedle Dee.

Bumped into each other outside.

LLOYD: The difference is
that Walter came in a limo

and I had to take a bus.

WALTER: Is that Karen?

-Hello, Mr. Lamb, how are you?

Hi, Lloyd.

-Hi.

What is this?

Remembrance of things past?

-Reunions are good for the soul.

Come on up.

-Oh, I really hate this place.

Too many memories.

It's only because of my
affection for you, Alex,

I even step foot in it.

-Noted and appreciated.

-It's been a long time.

How have you been?

Writing, I hope?

-Off and on.

-What's going on?

These scripts I see?

-Ah, ah, ah.

Mustn't touch, Lloyd.

Have to wait for the
rest of the cast.

-Cast?

-Ah, he's being mysterious.

Well, it's the playwright's
prerogative, and it's the, uh,

producer's prerogative
to have a sweet roll.

[TELEPHONE RINGING]

-Oh, what an odd sound.

Somebody calling
and empty theater.

-I'll get it.

Why don't you two
have something to eat.

[TELEPHONE RINGING]

-Hello?

Yes, speaking.

No, that's all right.

Good.

How soon can they get here?

All right, thanks.

Tell them to park the
truck by the stage door.

Yeah.

That's right.

All right.

Thanks again.

Goodbye.

Ernie, I thought you went home?

-I don't feel right about
leaving, Mr. Dennison.

I mean, it's my job to
look after this place.

-It isn't necessary.

I won't get in anybody's way.

-Ernie, I don't want you here.

Is that understood?

-But I--

Go home.

You're not needed.

-OK.

Whatever you say.

-Ernie, I'm sorry.

I don't know what's the
matter with me today.

Here, for your trouble.

-Thank you, that's-- that's
very nice of you, sir.

-Now, don't forget
to leave your number,

and I'll call you when
we're finished, all right?

-Thank you, sir.

-Thank you.

-See, this is why
I became an actor.

When I enter a room, I seem to
command immediate attention.

-Hello, Leo.

Welcome.

-To what?

-Now, that's a good question.

-I know, it's all a plan to
get me and Karen back together.

-Don't be ridiculous.

-Well, nobody told me you
were going to be here.

-Does that mean you
wouldn't have come?

-Hey, Alex says
he wants me here,

that's good enough for me.

-You're being obsequious, Leo.

-OK, I'll stop if you
tell me what it means.

-Good to see you, Leo.

-Good to see you.

-Alex, whatever you had in
mind, shouldn't we get started?

-Still one more to come, right?

And unless I miss
my guess, it's--

DAVID: Sorry I'm late.

Someone left a car in
the middle of 46th Street

and just went home.

-Speak of the devil.

-Lord, it's a Rhoads
gallery up there.

Are we having a class reunion?

Alex, good to see you again.

-Good to see you too, dear boy.

-Walter.

Didn't we once act together?

-Good point.

-Get yourself some
coffee and we'll begin.

-I will indeed.

-The rest of you
take your seats.

Just make yourselves
comfortable.

-You been directing
lately, Lloyd.

-Leo, old friend,
didn't you once tell

me you went to medical school?

-You mean, before I went
wrong and became an actor?

Yeah.

Why?

-Because I have the
king of all hangovers,

what do you prescribe?

-You're just dehydrated.

Have some water.

-Only if it's a good year.

Right, let's--

-Do you two want
to join the party?

Alex, you have the floor.

-I want to thank
you all for coming.

I'm very grateful.

I know I haven't been in
touch during the past year,

but I'm sure you'll understand
it was a difficult time for me.

-Where were you
keeping yourself?

I tried calling.

-I rented a house in the woods,
took the phone off the hook,

and brooded.

For six months, I never
even looked at a typewriter.

The problem, of
course, was guilt.

Guilt because I
failed all of you,

but guilt mostly
over Monica's death.

-Alex, it wasn't your fault.

-She was depending on me
to give her a success.

She needed one, and
when it didn't happen

she went into a depression and--

-Look, Alex, we all
feel a little guilty.

But there was no way to
predict a reaction like that.

It was so extreme.

-Well, anyway.

That's over and done with.

The point is that I finally
starting a new play.

-Oh, terrific move.

-It's just bits and pieces
but it's taking shape.

-That's why we're here.

-I want to try it our.

See how it looks on its
feet, and naturally, I

want your input.

-Why us?

-Oh, let's say, to make amends.

I've written parts
for several of you.

-Oh, that's interesting.

-Lloyd, I'd like
you to directly.

-Great.

-Walter, you get first
option, assuming you like it,

of course.

-Of course, I'll like it.

-Of course, you would.

Well, I've rented the
theater for the afternoon, so

why don't we read
some of the scenes,

talk them over and
see what we've got?

Oh, and by the way,
it's something new

for me, a mystery.

-Good.

They do well.

-Wow.

-Unusual form, a mystery.

You take the
audience by the hand,

and you lead them in
the wrong direction.

They trust you and
you betray them.

All in the name of surprise.

-Sort of turns us into
chess pieces, doesn't it?

-That bothers you, David?

-Ah, in a way all those
characters are cardboard.

I like-- I like roles
with flesh and blood.

-I don't know about
the flesh, David,

but I can guarantee
you the blood.

-What's it called?

-"Killing Jessica."

-I like it.

Who's playing Jessica?

Sine I seem to be
the only woman here--

-I'm sorry to
disappoint you, Karen,

but you're playing
somebody else.

-Oh.

-Now, don't worry.

It's a good part.

You'll have fun with it.

-Alex, you said those
aren't full scripts.

-I said bits and pieces.

That's why I need your help.

-Well, can you give
us an overview?

-Well, it's a play
about another play.

One that's in rehearsal.

-And Jessica?

-Jessica is the star.

A rather complex character.

She's made several
films, mostly fluff.

And she was embarrassed by
them, so she just walked away.

She hibernated, travelled.

Finally, she decided to take
a chance in the theater.

She got the leading role
in a Broadway production,

moved to New York, and committed
herself to a new career.

-She sounds very familiar.

-Does she?

Well, I always start
from what I know.

-Alex, this character, Jessica,
if we can believe your title,

someone kills here?

-Oh, yes.

Well, it's made to look
like something else,

but it's murder.

David, would you
mind reading a scene?

-Why not?

You're the leading man.

Handsome, attractive to women.

-Type casting.

-Yeah.

Now, this takes place at the
beginning of the third scene.

The setting is your apartment.

-Am I married?

-Many times, but not currently.

You invited Jessica
to your apartment

for a private rehearsal.

You've told her that it's
common practice in the theater.

DAVID: And she believed me?

-She must have
because she comes.

-If Karen isn't going to play
the part, who do I read with?

-Me, I'm afraid.

-You?

-You're in the imagination
business, David, give it a try.

If it helps try to picture,
oh, Monica playing the role.

-Monica?

-Actually, that's
not a bad idea.

Just pretend I'm Monica.

-But, uh--

-Now, let's get started.

At the curtain,
the doorbell rings.

You're offstage.

It rings again.

You enter.

-Coming.

-You reach the door,
and you open it.

-Hi.

Am I early or late?

-Right on time.

Come in.

Sorry about not doing
this at your place,

but I'm a bit under the weather.
-Oh, well, if you'd rather wait.

but I'm a bit under the weather.
-Oh, well, if you'd rather wait.
-Oh no, no, no.

-Oh no, no, no.

It's too important.

We have to protect ourselves.

-I hope you're exaggerating.

-My dear, the director isn't
up there with egg on his face,

we are.

So when something
isn't working--

-Oh, like act two, scene one.

-Among other pitfalls,
it's up to us

to provide corrective surgery.

-Shouldn't we have told
them we're rehearsing?

-Why?

He's the problem not the cure.

-Hasn't helped me
much with my blocking.

I keep getting tangled
up in the furniture.

-We'll work it out.

We'll show them tomorrow.

Please, sit down.

Drink?

-No thanks.

I'm having such trouble with
some of these transitions.

-You're very involved in this.

-I guess I'm a bit too intense.

-Not at all.

You have a genuine
sense of dedication.

It's refreshing.

-Thank you.

-That's why I'm glad
we get this chance

to get to know
each other better.

Strangely enough, it can
help the performance.

I suppose that's why so many
leading men and leading ladies

try to establish a
very close rapport.

What do you think?

-I think we should work
on the scene, really.

-There's plenty of time.

-Please, we're supposed
to be rehearsing.

-Oh.

-This was a bad idea.

I think I better leave.

-Why so fast?

It's perfectly natural.

We work together every day.

We play love scenes.

-Let go of me.

Let go.

Let go.

-What the hell was that for?
-You just leave me alone.

-Listen, lady, slaps in the
face without the bustle.

Who do you think you are?

-Would you get out
of my way, please?

-You agreed to come here.

I didn't force you.

-Maybe I was naive,
I thought we were

actually going to rehearse.

Now, may I go home?

-I don't like to be turned down.

-Maybe there's something
you should know.

When I'm attracted to a man,
I don't need an invitation.

You don't attract me.

As far as I know, you
don't attract anyone.

In fact, rumor has it
that if I were to say yes,

you wouldn't know what to do.

All right, now we're even.

Hope you feel better.

Goodnight.

-Alex, I'm sorry.

I just don't like it.

-Why's that, David?

-Well, the man's
totally unsympathetic.

He's got no sophistication,
no technique.

Now, if I was going to seduce
one of my leading ladies,

I'd, uh--

-Yes?

-I certainly wouldn't
come on like that.

-Well, how would you come on?

-Privileged information.

-No, I'm serious.

Now, let's say just for
the sake of argument

that you wanted to seduce,
I don't know, Monica.

-Monica?

Why do you keep mentioning her?

-She was one of
your leading ladies,

and you do have a
certain reputation.

-What is this, Alex?

Monica and I were
friends, coworkers.

-Rehearsals can be
an intimate process.

I got the impression you
were attracted to her.

-You were wrong.

-If you say so.

But it's academic anyway, as we
were talking about the scene.

And I thought you
were excellent, David.

Very convincing.

Any comments?

Don't be shy.

-Question?

-Yeah?

-What are you going for?

What's the point of the scene?

-Well, the point, Lloyd,
is that in a mystery

everyone must have a motive.

-You mean, he kills her
because she turns him down?

-I didn't say he was
the culprit, Leo.

But vanity can be
a powerful force.

-You don't commit a
murder because someone

won't go to bed with you.

-No, but people had
no trouble believing

Monica took her life just
because she was in a flop.

-That was different.

-Yes, of course, it was.

Forgive me.

Walter's right, there are too
many memories in this place.

Let's go on to the next scene.

It takes place on the afternoon
of Jessica's opening night.

She's in an art gallery.

-Another set?

This is getting expensive.

-It's all in the
lighting, Walter.

Lloyd, would you mind reading
this next scene with me.

-What about Leo?

-I'm saving him
for his own scene.

Do you mind?

-Well.

-It comes very close
to the top of the show.

-OK.

Who do I play?

-A director.

More type casting?

-No.

It helps give me a
fix on the characters.

Now, I'll read Monica again.

Did I say Monica?

Excuse me, I meant Jessica.

Oh here.

You'll need this.

-What?

-A prop.

A Madison Avenue
art gallery, Jessica

has come more or
less as an escape.

She needs a few
moments of solitude

before the rigors
of an opening night.

She's completely
unaware that someone

has entered the gallery.

-Not my taste.

-You startled me.

-Next time, I'll
clear my throat.

Is this true?

-You mean the gossip column?

-That's exactly what I mean.

Is it true?

-Yes.

-Congratulations.

Things are looking up.

The actress marries
the playwright,

and they live happily ever
after with him writing

star vehicles for
her, of course.

-That's a hostile thing to say.

-I'm in a hostile mood.

Comes to the
impression the actress

had an understanding
with the director.

-Oh, really, what kind of
understanding was that?

-Promises of things to come.

All the side long glances,
the body language,

the request for
help with your part.

-Correct me if I'm wrong,
isn't that standard procedure?

-Not the way you did it,
and it served its purpose.

Special attention from the
director, tender loving care.

-I think that's enough.

-Monica, listen to me.

You and I really
never had a go at it.

Why don't we at
least give it a try?

-You're serious?

-I could be.

-Why on earth would I tie
myself down to someone like you?

No talent, no money, no future.

What's in it for me?

-What a minute, Alex.

You've got a major
contradiction here.

-In what way?

-Well, look at her character.

In one scene, she's
trusting and innocent,

here she's cold as ice.

-The many faces of Jessica.

Besides, maybe that's
just the way he sees her.

-It's not clear.

Did she use him or didn't she?

-Well, the important thing
is that he thinks she did.

-At least it's a better motive
than he gave to my character.

-I don't agree.

-All right, Lloyd.

When in doubt, touch
base with reality.

Let's take the case
of you and Monica.

-What case?

-You were concentrating on her,
giving her extra attention.

-She needed it.

It was her first time on stage.

-Granted.

But there was talk
that you were going

above and beyond
the call of duty.

-That's not true.

-But suppose it was.

Suppose you misinterpreted
her professional needs

for something more personal,
and then suddenly to discover

that she's going to
marry another man--

-Alex, what are you getting at?

-I beg your pardon?

-Are we talking about the scene
or are we talking about Monica?

WALTER: Good question.

Alex, we've known each
other for a long time,

so I'm entitled to be blunt.

Why are we here?

-You know why, Walter,
to read my new play.

-It's not a play.

It's just a bunch
of unrelated scenes.

All of them uncomfortably
close to the truth.

-By hell they are.

She never came to my apartment.

-Who didn't?

Jessica or Monica?

-There isn't any Jessica.

And as for Monica.

-Yes.

-All we had was a
professional relationship.

-Just like Lloyd's.

-Well, I don't know
anything about that.

I just speak for myself.

-Are you suggesting that Monica
and I had some kind of thing

behind Alex's back?

-Hold it.

Hold it.

We're all friends here.

-I'm not so sure.

-Will somebody please
tell me what's going on?

-My sentiments exactly.

Alex you owe us an explanation.

Now, if not, I'll be on my way.

Well?

-As you wish, Walter.

Sit down and finish your coffee.

All of you, sit down.

Well, the truth, if
you really want it,

is that I am working on a
new play, a murder mystery.

Five suspects and
an unknown killer.

-I hope it's me, makes
for a better part.

-Shut up, Leo.

-Well, things change.

A year ago you two
were roommates.

-None of your business.

-But it is mine.

As a matter of fact, I've
got a scene about that.

-You do?

-Alex, you're digressing.

-Clever of you to
notice, Walter.

Always business, that's what
your scene's about, by the way.

But you're right.

Might as well get to the point.

Well, it's really very
simple, when we finish here,

we'll know something that
we didn't know before.

-And what's that?

-Which one of you
killed Monica Welles.

-What are you talking about?

Monica wasn't murdered.

She committed suicide.

And to suggest that
one of us is involved--

-It isn't a suggestion.

It's a statement of fact.

-They investigated, the police.

-The police were wrong.

-Alex, we all know you
suffered a terrible loss.

We understand your grief,
but what you're doing here,

it won't change anything.

It won't bring her back.

-Then you have nothing
to lose by indulging me.

-I'll tell what we've
got to lose, our privacy.

I'm sorry, Alex, if you're
going to be making accusations

and digging into
our personal lives,

I'd rather be somewhere else.

-Karen, all I'm asking--

-I know what you're asking.

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

-Well, I suppose that's it.

Class dismissed.

-Excuse me, Miss Daniels,
but shouldn't you reconsider?

Who are you?

-We met last year after
the suicide of Miss Welles.

I took a statement from you.

-Karen, you remember
Lieutenant McElroy.

-McElroy?

-Yeah.

-He was the
investigating officer.

I spoke to him myself.

-What's he doing here?

-I asked him to come.

-Karen, would you do
me a favor, please?

Would you come back on stage?

Uh, you too, lieutenant.

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

-If you wouldn't mind, it
might be helpful, ma'am.

-Care to explain all this?

-Lieutenant, Mr. Lamb
requires an explanation.

-Well, not much to explain, sir.

Mr. Dennison called,
asked me to be here today.

Said he has some new
information pertaining

to the death of Monica Welles.

-Well, now, a moment ago,
you said suicide, not death.

-Yes, it was suicide.

That's my view, and the
official determination

of the medical examiner.

-Then the case is closed.

Why are we wasting our time?

-Because the lieutenant's
willing to give me a hearing.

It's an admirable
trait, don't you think?

-I'll tell you what's
not so admirable.

We didn't know he was here.

-Well, Mr. Dennison asked
me to keep out of sight,

thought it might,
um, inhibit you.

-I wonder why.

-He agreed to intervene if
any of you tried to leave.

-But you can't keep us
here against our will.

-Um, no, ma'am, I can't.

This is strictly unofficial.

You're perfectly
free to go, but I

would have to wonder why you
would be so anxious to leave.

-Ah, so we're back to
what have we got to lose?

-Frankly, I think Mr. Dennison's
on a wild goose chase.

I've told him that, but I'm
willing to keep an open mind.

-It's up to you, Karen.

-Where's my scene?

-Welcome back.

But if you don't mind,
Walter goes next.

Walter?

-I'm not an actor, Alex.

-All producers are actors.

Now, if you'll
just in this chair.

Come on, Walter, it's
a simple phone call.

You're the producer
of a play that

just opened to mixed reviews.

The opening night party
is over and you're home.

The man on the other end of
the line is your accountant.

It's all yours, Walter.

-Hello, Harry, this is--
what name shall I use?

-What's the matter
with your own?

-This is Walter Lamb.

Sorry to drag you out of bed,
but I assume you've heard?

Yes, well, the
patient isn't terminal

but the vital signs
are fading fast.

Harry, I know the paperwork
is at your office,

but do you remember offhand
the insurance situation?

No, specifically the
non-appearance clause.

I'm not sure I like this, Alex.

-What's the problem?

It's only a play.

-Harry, I was wondering
about the amount of coverage.

No, no particular reason, just
give me a ballpark figure.

Uh-huh.

Yes.

That's what I thought.

All right, Harry, thank you.

Go back to sleep.

You satisfied?

-Yes, Walter.

Very realistic.

-Well, I guess
I'm a little slow,

but I haven't the foggiest
idea what that was about.

-Yes, well, let
me enlighten you.

What Alex was trying
to say is that I

was the sole investor
in "Chamber Music."

-So?

-So, Walter stood to lose
a small fortune, unless--

-Unless, like the
producer in the scene,

I was covered by insurance.

So if I kept the show
open, and one of the actors

failed to appear--

-The leading lady, for example.

-Then, I would collect
the insurance money.

Is that your drift, Alex?

-Only if you had that
kind of coverage.

-Yeah, well you know it's
standard, so that I did.

-Then Monica's death came at a
very convenient time for you.

-The woman killed herself.

Do you understand?

Whether you want to believe
it or not, she was depressed

and she jumped out of
her bedroom window.

-How can you be so
certain, Walter?

Were you there?

-Excuse me.

I'm looking for Mr. Dennison.

Alex Dennison.

-Right here.

-Santorum Moving and Storage,
we've got your shipment.

-Where's your truck?

-Right outside.

Want us to unload?

-In a minute.

Excuse me, I want to
check the bill of lading.

And by now, you all
deserve an intermission.

-What's this?

Moving day?

-They're bringing in a
set for the last scene.

-What kind of set?

-Permit me my element
of surprise, Lloyd.

In a mystery, the
audience should

never know what's coming next.

I'll be right back.

-Now what?

-Apparently, we just wait.

The puppets without a puppeteer.

-If we had any
sense, we'd go home.

And that doesn't mean
we're guilty of anything.

-Easy, Karen.

-Well, I don't like it.

I mean, what is wrong with him?

A year ago, even at the
funeral, he was fine.

But now, I--

-A year is a long time.

He's obsessed.

-No, no.

There's a method to all this.

He knows what he's doing.

-That's a charitable
interpretation.

He certainly raked
you over the coals.

-Well, that makes two of us.

-Three.

-Great.

Marvelous.

Wonderful.

We're next.

-What could he accuse me of?

Monica and I were friends.

-He'll think of something.

-If you're both so
worried, read the play.

-What?

-Your scenes, they should
be about somewhere.

Forewarned is forearmed.

That's right.

We can check the pages,
and see what he's up to.

Lloyd.

Lloyd.

-Nothing with your
name's on them?

-No.

David.

-Let me see.

-David.

-Try the attache case.

-No.

-Oh, it's empty.

-Maybe, maybe, maybe, we're
not going to do anything.

-Then why did he invite us?

-Take my word for it,
You won't be overlooked.

The papers are probably hidden.

-What do you mean?

-Well, he knew he'd
be interrupted.

Didn't want to give
you an advantage.

It's all part of
keeping us off balance.

He may be obsesses,
David, but he's thorough.

Very thorough.

-Somehow that
doesn't comfort me.

-Did you check
the load yourself?

-Yes, sir.

It's all right here.

-How long will it take
you to set up on stage?

-Half an hour.

-Oh, make it sooner.

-Like I said, 15 minutes.

-Do you have the floor
plan for the arrangement?

-Oh yeah.

This it?

-Now, I want every piece
put in the position

where it's marked, understood?

-Sure.

-Switch on the stage
lights so you can see,

and if you need us,
we'll be downstairs.

-All right.

I though you people always
had your sets built.

his stuff's all real.

-We're trying something new,
keeps the actors on their toes.

Intermission over.

I'm sorry to keep you waiting.

Why don't we all go downstairs
where we won't be distracted?

I promise you, we're
almost finished.

Surely you don't want
to miss the ending?

-Well, I've had my turn
in the dentist's chair.

Karen, Leo, why should you
miss out on all the fun?

-Hard to play a scene
that doesn't exist.

-Oh, were you looking
for your pages?

Right here.

There's an interior compartment.

I think they make these
things spies and smugglers.

I should have talk you.

You could have rehearsed.

Shall we?

You said it was empty.

-It was.

-Lieutenant, why are you going
along with this nonsense?

-Is it nonsense, Mr. Matthews?

-You know it is.
-Well, the department

likes to be cooperative.

-Particularly when a
celebrity is involved.

You're humoring him, aren't you?

-You said it, sir.

I didn't.

-What's he getting at?

Does he actually
suspect one of us?

-We should catch up
with the others, sir.

-I'll be right along.

-So who's the next victim, Alex?

Me?

-Well, actually,
Karen, I'd like you

and Leo to play
a scene together.

-You mean, I have to
share the spotlight?

-You should be used to that.

-Isn't she wonderful?

Right between the
shoulder blades.

-It's easy, there's no
backbone to get in the way.

You'd like to.

I know you'd like to.

-Lieutenant, will you sit
here a minute, please?

KAREN: Shut up.

LEO: Oh, you shut up.

-Now I get it.

Don't you see what he's doing?

-Now that you mention it, no.

No.

-Hamlet, act two, scene two.

Play within a play to
catch his father's killer.

I have heard that guilty
creatures sitting at a plane

play, by the very cunning
of the scene, been struck so

to the soul that
presently they have

proclaimed their malefactions.

-The play is the
thing in where I'll

catch the conscience
of the king.

Right?

-That's all very interesting,
but why isn't David here?

-Last time I saw
him, he was upstairs.

-You think he went home?

-I need him here, he knows that.

If he walked out--

-David!

David!

-Not so fast, maybe the
guy went to the bathroom.

-Ah, there you are.

-Hey, Dave, thought
you bailed out.

-Who are you?

-I don't get it.

You know who I am.

-I know who you say you are.

Suppose you give me
some identification?

-What's this all about?

-Whoever this man is, he's
not Lieutenant McElroy.

-What?

-But I remember him.

-You only think you do.

There's a resemblance,
the age, the build,

but I'm pretty good on faces,
and our friend here is not

the man who spoke to me
after Monica's death.

-Are you sure?

-I've just called the police.

Lieutenant Henry McElroy was
killed in the line of duty

six months ago.

Now, unless you're
a ghost, I think

you better tell us who you are.

-Well, I tried.

-Karen, gentlemen,
may I introduce

a fellow professional,
Mr. Frank Heller.

-He's an actor?

-And a very good one.

-Maybe not, Mr. Dennison.

They nailed me.

-Nothing to do with
your performance.

Unfortunately, David
has too good a memory.

-Are you saying Alex
hired you to impersonate

Lieutenant McElroy?

-Yes, sir.

-Why?

-Very simple, Walter, for my
little psychodrama to work,

I had to keep you all here.

Well, given the nature
of the situation,

I knew someone would try to
leave so I needed a-- what

shall I call it,
official leverage.

-Of course.

We might walk out on
you but not a cop.

-That was the idea.

And since Lieutenant McElroy
was no longer among the living--

-And since a real police
officer would never cooperate.

-Exactly.

I decided to hire a lookalike.

Oh, excuse me, David,
an almost lookalike.

-Does he know how
much trouble he's in?

-What do you mean?

What kind of trouble?

-Impersonating a police
officer is a felony.

-I said he was a police
officer, he didn't.

-That's a technicality.

-If you're going to be
angry, David, blame me.

Mr. Heller was just
following instructions.

-Now, wait a minute.

Wait a minute.

I want to know something here.

How did, um, well, how
did you get into this?

Well, you may not believe this,
but I went to an audition.

LEO: An audition?

-Yeah, my agent said
that Alex Dennison

was looking for an actor.

Who am I to say no to that.

-Go on.

-Well, I went to
this rehearsal hall,

and there were about
10 other guys there.

We all looked the same.

Mr. Dennison interviewed
me and that was that.

And about a week later,
he called me back.

Now there was only three guys.

Finally, there was just me.

-Well, what happened when
he told you what he wanted?

-I thought he was crazy.

-An accurate impression.

-Tell them the rest, Frank.

-Well, first I told him no.

I mean, I never
met Monica Welles,

but like everybody else,
I read in the paper

that she committed suicide.

But then he explained
some things to me,

told me why she was murdered,
and who murdered her.

-Did he now?

-And, of course, he
offered you money.

-Yes, sir.

-How much?

-$10,000.

-Oh, oh, for a one day part.

If I'd have know that, I would
have been plastic surgeried.

-OK, look, I admit the
money was important,

but you people know
what it's like.

Actors have to
scramble for jobs.

I've tended bar,
I've been a hard hat,

even drove a cab for a while.

It's not much of a life.

So when this came along--

-You don't have to
apologize, Frank.

-Anyway, no hard
feelings, I hope.

You won't be needing me now,
so I guess I better be going.

-No, not quite yet.

No one leaves until
we're finished.

-How can you keep us here?

You don't have your
phony cop anymore.

-OK, I pretty much had
a belly full of this.

-We all have, Lloyd, but I
suggest we put up with it

a few more minutes.

-What?

-On one condition,
Alex tells us why

he's so all fired positive
that Monica was murdered.

-I think that's your cue, Alex.

-Frank, I'll need your help.

-What do you want me to do?

-Be Lieutenant McElroy again.

Now, we've done over this.

Give them the case for suicide.

-Well, for one thing,
there's no signs

of forced entry
into her townhouse.

-Correct.

If she was killed
by an intruder,

how did he get in, and why
wasn't anything stolen.

The police found $1,000
in cash on the premises.

A thief would have taken it.

-She knew her play was a flop.

-So she was despondent.

-She left a suicide note.

-Concrete proof
of her intentions.

-After everybody left,
she went upstairs,

opened her bedroom window, and--

-Say it.

-She jumped.

-In the words of the
medical examiner's report,

fallen from a height.

Case closed.

-But not for you.

-Nobody commits suicide
because of bad notices.

-It wasn't the notices.

It was the end of
a dream for her.

-Alex.

You have to admit that sometimes
she was, well, erratic.

I mean, she walked out on
a performance one night.

I had to go on for her.

Don't you remember?

-Oh, the police made
quite a point of that.

Monica Welles gets into an
argument with the playwright

just before a preview.

She bolts from the theater,
hails a cab and goes home.

She refuses to answer
the phone so we're

forced to give a
performance without her.

She comes back to the theater
in a few hours and apologizes.

Obviously, proof
of an unsound mind.

-It's certainly
proof of something.

-David, she was in love.

She was struggling over whether
or not to make a commitment.

The tension was
too much for her.

We fought, she ran
away, she came back.

Unprofessional, yes,
she admitted that,

but it was not abnormal.

-Alex, I have listened
very carefully,

and I have heard
nothing about murder.

-She called me that night.

She asked me to come over.

Is that the behavior
of a suicide?

-Maybe it was a cry for help.

-Then why did the phone go dead
in the middle of a sentence?

-Because she changed
her mind and hung up.

The woman was under stress.

She wasn't rational.

-She was rational enough to
make herself a cup of tea.

I saw it on her
desk in the study.

-Is that your evidence?

A cup of tea?

-She was starting a new life.

She had everything to live for.

You saw her at the party.

Was that a woman in despair?

-Nobody can get into
someone else's mind, Alex.

Not even people we care about.

Who knows what she was
thinking that night.

-I know.

She was thinking
about our future.

-Alex, Alex, don't you see?

Monica did a terrible thing.

She not only took her own
life, but she rejected you.

I mean, that's hard to accept.

So you've come up with this
fantasy about a murder.

In a strange way, it's
easier to live with.

-I take it that means
you're not going to help?

-I just don't see
what else we can do.

-Karen, Leo, would you
play the last scene for me?

-Alex, Walter's right,
we're all friends here,

but we're not getting
anywhere with this.

Excuse me.

-Leo, just a few pages?

-No, I'm sorry.

DAVID: Well, who'll share
a ride with me uptown?

LLOYD: Well, you can
drop me at 75th Street.

-Alex.

-For heaven's sake.

Get back in there.

-All right.

-You don't need that.

-It seems I do.

-Alex, give me the gun,
then no one will get hurt.

-David, don't.

-He's bluffing.

-I wouldn't count on it.

-Alex, let's just a prop, right?

Or it's not loaded.

-We'll cooperate,
just put it down, huh?

-This is ridiculous.

-Probably.

Karen, Leo, pick up those pages.

-Yes, sir.

-You expect us to act?

-That's exactly what I expect.

The scene takes place in
your dressing room, Karen.

Get back there.

It's opening night.

Sit on the couch.

Leo, you make your entrance
in a couple of moments.

Are you ready?

-No.

-But you'll try, won't you?

I'll read Monica again.

Now, the scene starts
with a knock on the door.

[KNOCKING]

-Yes.

Monica.

-May I come in?

-Yes, of course.

Oh, we're not in makeup yet.

-Oh, I won't do my
makeup for another or so.

I just wanted to sit in here
and soak up the atmosphere.

-And you're not quite sure
which makeup to use, are you?

-Pardon?

-I mean, if I were to get
sick at the last minute,

you'd have to play
my part for me again.

-Never even crossed my mind.

Nobody gets sick
on opening night.

-No, I suppose not.

-I heard you were quite
good when you went on for me

last week.

-The audience was disappointed.

I did my best, but
there's no comparison.

-No, you're being modest.

-Well, it doesn't
much matter, does it?

I mean-- you're here.

-That seems to surprise you.

-Why would I be surprised?

-I brought your tea back.

You know, the
special blend of tea

leaves that your
grandmother whips

up in her country kitchen.

-Didn't you like it?

I mean, it really calms me down.

-And so you said, take
some before opening

night, wonderful for the nerves.

-It is.

-Yeah, maybe so.

Not quite so good for
the rest of the body.

-I don't know what you mean.

-Let me see if I can make
myself perfectly clear.

Since you practically
forced that tea

on me, and since your
motives are so transparent,

I took some to my doctor and had
him send a sample to the lab.

-A lab?

-I learned a marvelous new
word, cyclophosphamide.

It's an alkylating agent.

That's an odd to find in
your grandmother's recipe.

-That must be some mistake.

-This causes
dizziness and nausea.

A few sips of this and
I'd be home right now

and you'd know
which makeup to use.

-Monica.

-Weren't even willing to
pay your dues, were ya?

[KNOCKING]

-Karen, I-- oh, I didn't
know you had company.

Hi, Mon.

-Hi.

-This is private, Leo.
-No, come on in, Leo.

The three of us can
have a little talk.

-About what?

-Oh, pick a subject.

Opening nights, doing a
favor for an intimate friend.

-What?

-Going to medical school.

You did go, didn't
you, for a few years?

I imagine you had
courses in chemistry.

-Well, that was a long time ago.

Why?

What's this all about?

-She knows.

-Knows what?

-About that.

She had it analyzed.

-Oh brother.

-OK, we spiked your tea, but
it wouldn't have harmed you.

It just would have slowed
you down for tonight.

The question is what
are you going to do?

-I told you it was crazy.
You wouldn't listen.

-Be quiet, Leo.

-They throw people in jail
for something like this.

-Be quiet.

[KNOCKING]

-Excuse me, I--

-Oh, ah, yes, that was a
very good rehearsal, Karen.

Leo.

We'll do that scene again later.

-I'm sorry, Mr. Dennison.

I didn't mean to interrupt.

We're finished.

-Oh.

Thank you.

-I just need you to
sign this for me.

-Thanks.

-Oh, thank you.

-Thank you.

-We'll, uh, we'll be back
tomorrow to pick up the stuff.

-Fine.

Thanks again.

-Alex, I hope you know
that scene we just played

was nothing but lies.

-You did bring her tea.

She told me.

-It was a gift.

There was nothing in it.

I mean, what good
would it do me?

Walter would never
open with an unknown.

-Would you, Walter,
or would you send

everyone home at
the last minute?

The critics?

The press?

I wonder.

-Alex, use your head, even
if Karen was nuts, I'm not.

I'd never help her with
something like that.

-You were living with her then.

You'd do anything she wanted.

-No way.

-Well, shall we go
upstairs and see the set?

-No, I don't think
it's a good idea.

-I have a great idea, shall we
go upstairs and see the set?

-The voice of reason.

-At least one of us is rational.

Come on, let's get
this over with.

-Take it easy.

I'm right behind you.

You too, Leo.

Come on.

[VOICES APPROACHING]

-What is it?

-It's some kind of bedroom set.

-Another seduction scene, Alex?

-Well, as a matter of fact,
it's the scene of the crime.

-Oh lord.

-What?

-I think I know what this is.

This is Monica's
bedroom, isn't it?

-Very good, Karen.

-But, how did--

-Her furniture was in storage.

I have it brought here today
in the interest of realism.

-Is this--

-The original?

No, the police have
that in their files.

But everything else
is exactly as it was.

The bed clothes, the
contents of the drawers,

even our champagne glasses.

Oh, I wouldn't, David.

Monica didn't smoke.

There are no ashtrays.

Lloyd, would you turn out
the house lights, please?

Oh and, Karen, that
chair's out of position.

Move it a little more
center, would ya?

-Ah.

-Thank you, Leo.

-Well, now what?

-Alibis, Walter.

-I was wondering when you were
going to get around to that.

-I've established that
you've all had motives.

-Like hell we had.

-But motives are nullified
by a legitimate alibi.

-Then cross me off your list.

I was in an after hours bar
drinking until 4 o'clock

in the morning.

There must have
been 20 witnesses.

-And I was with friends.

We went back to my place after
the party and commiserated.

-Walter?

-Fortunately for me, I went
home with our company manager.

I sat around with
his wife and kids.

-Karen, that leaves you and Leo.

-It's easy.

As you keep reminding us,
we were living together.

We spent the night
in Leo's apartment.

-Seems like everyone's
accounted for.

-Then who was Monica planning
to meet after the party?

-Who said she was
meeting anyone?

-She sent me home, Lloyd.

On the one night we
should have been together,

and she got rid of the caterers.

Didn't even give them
a chance to clean up.

No, she was expecting someone.

-Maybe she wanted to be alone.

-Then why didn't she
lock the front door?

-I don't understand.

What do you mean?

-She didn't throw the bolt.

I was able to let the
police in with my key.

-You're saying she
didn't want you

to stay because
someone was coming?

-It explains the
circumstances, doesn't it?

When I left, she let him in.

-Him?

-Or her.

They had some kind of argument.

She called me, he grabbed
the phone and hung up.

I think there was a struggle.

She was struck and killed.

-Where did this happen?

-In the study.

It's the only downstairs phone.

-Why not up here?

-The tea, Walter.

She didn't bring it upstairs.

-We're back to that again.

Maybe she forgot.

She was upset.

-Won't wash, David.

Not too upset to make a up of
tea, but too upset to drink it?

And then, of course, she didn't
turn off the downstairs lights.

They were on when I came in,
and the bedroom door was open.

-Meaning?

-Suicide is a private act.

She called me.

I might come over and stop her.

She knew I had the key.

First, throw the bolt
on the front door,

then close and lock
the bedroom door.

But she didn't.

She was never upstairs
that night alive.

-So your imaginary murderer
carries her upstairs

and throws her
out of the window.

-Why not?

Instead of an unexplained
corpse, he creates a suicide.

-And the note?

-He searches, finds a
piece of stationary here.

-What about fingerprints?

-Ah-ha.

Takes the stationary,
presses her fingers to it,

rolls it in the typewriter, her
prints are on it, his aren't.

-Well, that's very
ingenious, Alex.

But even if you're right,
even if somebody did kill her,

it wasn't one of us.

Unless you don't
believe our alibis.

-Oh, on the contrary, I hired
a firm of private detectives

to check them out.

Most of them held up.

-Most of them?

-Three of you were with multiple
witnesses when Monica died.

David, you were at a club.

Lloyd with friends.

Walter with your company
manager's family.

But you and Leo, Karen, you
two only alibi each other.

-We were together.

-We only have your
word for that.

-What do you mean?

-There are five motives
here, all hypothetical,

but one of them is real.

It's a matter of record.

Read it.

-This is a laboratory report.

Chemical analysis
of a tea sample

submitted by Monica Welles
in April of last year.

-What does it say?

-The sample was saturated with--
I can't even pronounce it,

but it can cause illness
and incapacitation.

-I found that among her effects.

-It's a fake.

WALTER: Looks
genuine to me, Leo.

Easy enough to check.

-One legitimate motive and
two unsupported alibis.

-I am not going
to listen to this.

-She found out what
you were doing.

You both pleaded with her.

You asked her to meet
you after the party.

-No.

-You're the lady who would
stick pins in a photograph,

and Monica was a threat.

-I never went back there.

-Then who did?

-I don't know.

Maybe Leo.

-But you were with Leo.

-Not all the time.

He went out for awhile.

-That's all I wanted to know.

-What are you doing to me?

-Well, you did.

You said you couldn't sleep.

You wanted to take a walk.

-How long was he gone, Karen?

-I don't remember.

20 minutes, an hour.

-No alibi, Leo, and a motive.

-Hey, hey, this is crazy.

Don't tell me any
of you believe this.

All right, I took a walk.

Is that some kind of crime?

And what about her?

If I don't have an
alibi, neither does she.

-That doesn't matter, Leo.

-Why the hell doesn't it?

-Because Monica was
killed downstairs.

Her murderer had to
carry her up here.

As we all saw, Karen couldn't
even move that chair.

-I'm getting out of here.
Nobody's gonna hang this on me.

You killed her.

-She killed herself.

-Her whole life ahead of
her and you killed her.

-Alex, take it easy.
-Come back here, Leo.

-Nobody's going to railroad me.

-I'm warning you.

DAVID: Listen to him, Leo.

-I've done enough listening.

-Give me the gun.

[GUNSHOTS]

WALTER: Give me the gun, Alex.

[SCREAMING]

WALTER: Lloyd, where are you?

Lloyd, put the lights on.

LLOYD: I can't do it.

[GUNSHOTS]
WALTER: You'll kill somebody.

Put the lights on.

-I can't.

It won't work.

FRANK: I gotta flashlight.

Where is he?

Somebody say something.

Tell me where he is.

Talk to me.

Where is he?

-Lights, Lloyd.

-What is this?

What's going on?

-Where'd you get the
flashlight, Frank?

-What?

-The flashlight,
where'd you get it?

-Oh, right there, in the drawer.

-How did you know it was there?

-Well, I didn't.

I was just looking,
you know, for matches.

-Monica didn't smoke.

I made that clear.

Why would she keep
matches in her bedroom?

-What the hell is this?

-Why did you open that
particular drawer?

-It was dark.

I opened up a lot of drawers.

-No, you didn't.

Try them.

I had every drawer
sealed, all except one.

That's the one you opened.

-So what?

What difference does it make?

-You went to that
drawer because you

knew you'd find a flashlight.

-What's he talking about?

How would I know that?

-You saw it the night
you killed Monica.

When you took out the piece
of stationary for her suicide

note.

-You're out of your mind.

-Nobody else knew there
was a flashlight in there.

She just bought it that morning.
-He could have been in her room.

He could have carried her
upstairs, you said so yourself.

-He doesn't get it yet.

-Get what?

-Leo wasn't there at all.

After the party, he went
home to his two children.

-What?

-The nearest he got
to medical school

was playing a male
nurse off Broadway.

-Not one of my better parts.

-But you said--

-We all said a lot of things.

None of them were true.

-You had motives.

-Afraid not.

-You-- you wanted
her out of the way.

-You mean, grandma's
homemade tea?

No such concoction.

It was just part of the script.

-Script?

-Now, listen closely, Frank.

Nothing here today was real.

Nothing.

The scenes we played,
the arguments, they all

came out of my typewriter
with a little improvisation

from my friends.
-I thought we were terrific.

-This is crazy.

-As for motives,
we invented them.

Karen and Leo never
had an affair.

-Missed opportunity, Leo.

-Catch me when my
kids are grown.

-David and Monica
were close friends,

and her relationship with Lloyd
was strictly professional.

-And I never put my
own money in a play.

-Oh, I almost forgot.

Here's your lighter back.

You kept it.

-Wouldn't do for you to have a
lighter in your pocket, Frank.

You might not have gone
for the flashlight.

-This whole thing was staged?

-For an audience of one.

-A gun.

Blanks?

And the audition hiring
me to play a cop.

-Just an excuse to get you here.

We had to make
you a participant.

We even recreated
her bedroom so you'd

be back where you
were a year ago.

-And then we arranged
for the lights to go out.

-How'd you know
about Monica and me?

-Well, I didn't at
first, but it was

obvious she was expecting
someone that night.

I me?

Out of all the people
in New York, why me?

-In her dressing
room, she asked me

if I could stop
someone from working.

I thought that was a
strange thing to say.

Then later she was
counting money, $1,000.

-So?

-It suddenly occurred to me
it might be blackmail money.

Maybe she was
paying someone off.

-But that doesn't explain--

-$1,000 isn't much.

Who would she think she could
buy for that kind of money?

And who could Alex Dennison,
a successful playwright,

keep from working.

-An actor, naturally.

-If it was a blackmailer and
he was coming for a payoff,

he'd probably wait outside
until our party was over,

and it was raining that night.

-Alex remembered
there was a cab parked

across the street with
the off-duty sign on.

I was complaining about it.

-I also remember
the day Monica ran

out of here during previews.

She took a cab home.

-And we all know the cliche
about out of work actors

driving taxis.

-In fact, Mr.
Heller, you yourself

had said you had
driven one for awhile.

-Every cab company keeps records
of pickups and deliveries.

It seems a Frank Heller
took a fare from here

to Monica's townhouse the
afternoon of our fight.

He also had his
cab out the night

of the murder with
no recorded fares.

-Well, why didn't
you go to the police?

-With what?

Suspicions?

No, we had to prove you were
in her bedroom that night,

and since we're all
creatures of the theater--

-Yeah, yeah, yeah.

You decided to do
a number on me.

You were good.

You're all very good.

Bravo!

-What happened
that night, Frank?

-That's right, without me, you
don't have a third act, do you?

It was raining.

I was parked across the
street waiting for all of you

to go home.

The party broke up
early, some of the guests

even tried to get me to take
them in my cab in the rain.

I was rather tense.

I'd been drinking.

I was going crazy
sitting in that cab.

Finally, she let the
caterers go home.

I walked across the street.

I knocked, she was expecting me.

Hi.

Not even a hello?

-Come with me.

-How are the reviews?

-You don't give a damn
about the reviews.

-OK, no polite conversation.

You wanna talk business,
we'll talk business.

You were a lot friendlier
the last time I was here.

-This isn't the last time.

Now, listen, Frank, I
was very angry with Alex

and he opened up a
lot of emotions in me

that I guess I didn't know I
had and I wanted to punish him,

so when I got in your
cab the other day--

-I couldn't believe it.

Monica Welles coming onto me,
inviting me in for a drink.

-I was using you.

Just playing my old seduction
game, but I came to my senses.

I asked you to leave,
nothing happened.

-But he doesn't know that.

We spent hours together.

You even missed a performance.

-You really think that he's
going to believe that I would

pick up a cab driver and
let him make love to me?

-Maybe, maybe not.

But I'm betting you'd
rather pay a few bucks

and just forget the whole thing.

-Useless value.

-Call it whatever you like.

Look, I don't enjoy
doing this, but I've

been an actor for 15 years,
and I'm driving a cab.

No, I need a stake.

I need something
to get me moving.

I read in the paper
this morning--

-That Alex and I
were getting married.

-Well, I figured
he was a lucky man

so why shouldn't I be lucky too?

-Now, listen to me, Frank.

I got you into this and
I do owe you something

so if you just forget
the whole thing,

I promise I will never
mention your name to anyone.

-Sorry.

What are you doing?

-I was going to pay you.

I actually went to the bank this
morning and I took out $1,000.

-Hey, hey, we're talking
about a lot more money that.

-It doesn't matter
Frank, because you're

not getting anything now.
-Oh?

-I decided this evening
that even if you called

this whole thing off, I was
going to tell Alex the truth.

-Hey, hey, that's
not very smart.

You know, especially
right before the wedding.

-It's time I was
honest with him.

As you said, maybe
he'll forgive me.

Maybe he won't, but
either way, he's

never gonna forgive
a blackmailer.

-Now wait.

-I wouldn't be in
your shoes, Frank.

He's got a lot of friends.

Hi, Alex?

I know it's the middle of night.

Can you come over
here right away?

Please?

It's important.

I know I did, but--

-You know what you're doing?

-I think so.

-You're just gonna
ruin it for yourself.

-Well, we'll wait
and see, don't we?

You're welcome to just
stay around, Frank.

I'm sure he'd like to meet you.

[PHONE RINGING]

-Don't answer it.

Don't answer it.

Don't answer it.

Monica.

Monica.

I called her name.

I tried to revive her.

I even felt her pulse.

I felt it flicker for like a
second and then it stopped.

When I realized she was dead,
I didn't know what to do.

-So you're
manufactured a suicide.

-I didn't want a
murder investigation.

So I wiped the blood from
the corner of the bookcase.

I picked her up.

I carried her upstairs,
and I-- you know the rest.

Look, I've lived with
this a long time.

I did what I did, but
it was an accident.

For whatever it's worth,
I didn't mean to kill her.

-Lieutenant.

-Yes, sir.

-You heard?

-I heard.

-Who's this?

-Frank, meet the man
you impersonated,

Lieutenant McElroy.

-You said--

-Killed in the line of duty.

I believe that was the
dialog delivered as always

with my well-known credibility.

-Thanks for coming, lieutenant.

-Good thing I did.

Looks like I owe you an apology.

-Not really.

I didn't have any proof.

-Well, you've made me a convert.

You've done our job for us.

-Oh.

I don't look anything
like this guy.

-Had to give you a reason
for being here, Frank,

one you'd believe.

-Come along, Mr. Heller.

-If you ever write a
play about this, at least

I gave you an ending, huh?

Thank you.

All of you.

-Oh, Alex.

-I thought it would never work.

-Yes, especially with me.

I was worried about
blowing my lines.

-I don't know, Walter, I
thought you weren't half

bad, particularly for a non-pro.

-Thank you.

-You know, the one
thing I don't understand

is why he went along with it.

-Heller.

-You promise him a
lot of money and you

told him it was a trap for Leo.

That made him feel safe.

You pin it on the wrong
man and stop looking.

But even so, he knew
he killed Monica.

Why get involved at all?

-For one reason,
Lloyd, he's an actor,

and I was offering
him a wonderful part.

-Exactly.

-Listen, why don't we
all go across the street

and have a drink?

-Who's buying?

-Well, since it's
a special occasion.

-No, no, no.

He's spending his own money.

-Come along.

You know, there just might
be a play in all that.

-Well, why don't we have dinner
next week and talk about it?

-I'm buying you a drink,
now you want dinner?

-You know, if I had
it all to do again,

I could be a little more
convincing in certain areas.

I liked your--

-I agree with you there.

Why don't we go to the place
across the street and save--

-Alex, aren't you coming?

-Save me a place.

[MUSIC PLAYING]