Hermanos y detectives (2006–…): Season 1, Episode 7 - Muerte en escena - full transcript
Brothers and detectives
Brothers be united.
- Count it, if you want.
- Did you like it? Will you call me again?
- Of course.
- See you.
- Bye.
Today we present
Death on Stage
Don't be afraid. I'm a cop. Easy.
- Is he alone?
- Yes.
- Is he armed?
- Yes.
Kamijo, take her.
Shall we go in?
Stop, police!
- Freeze.
- Is that him?
- I got a 38 five-inch and the loot.
- You're under arrest for robbery
and first-degree murder
on the robbery you pulled at the money
exchange at Libertad and Tucumán.
Anything you say will be used against you.
Take him away.
- Strike!
- Wait. How did you find me?
- You stepped on a fresh paint bucket in the
site next door and we tracked you here.
- Take him away, boys.
- Hold it.
- Everything all right here?
- Everything's fine.
- Very well organized robbery.
A beauty!
- Fucking hell! What are you doing?
- I didn't notice!
- If people realize who's in charge of security
they'll do pot banging every day.
And we rightly deserve it.
- Corrientes Street.
Theater lights give me goose bumps.
- Why?
- My mom used to clean the Lola Membrives.
She saw all the plays for free.
From the front, from the back...
Do you go to the theater?
- No.
- It's logical. You know why?
Because you have no one to go with.
You can go to the movies alone. It's fine.
You go one afternoon and watch a movie.
But going to the theater is an outing.
You have to go with someone.
Nobody goes to the theater alone.
- Will Marcela like going to the theater?
- Are you going to ask Marcela out?
- If it comes up by chance.
- With that attitude you'll get nowhere.
Women like it when you take the initiative.
Let's not go to a premiere, it's much cheaper.
We find out which play is good. We get
four tickets and you take it for granted.
"Marcela, tonight we're going to the theater."
- I don't understand why four tickets.
- The two of us, Marcela, and a friend.
Then we see who's cool with who.
So?
- Wait for me to finish the sandwich.
- You've been dealing
with that sandwich for 20 minutes.
- I answer and say "Hello" as if everything’s OK.
But I knew it was him because
I could see him on the little screen.
- And he says to me: "Hello, Esther.
How are you? It's been a long time!"
"It's been a long time!" You were the one
who was supposed to call, asshole.
- What did he want, to go out? What did he say?
- Not even that.
He was calling to tell me that the restaurant
where I got him a job fired him.
To see if I had any other contacts.
Extra humiliating.
- Hi, Esther. How are you?
- I'm fine. -Tasty, the toast sandwich?
- Yes, it was very good, very well done.
You make them yourself.
- No, Raul. The bar. The kitchen.
- She brings it.
- Well, yes.
- Excuse me.
- Thank you.
- Would you like to go to the theater with me?
- To the theater?
- To the theater.
No? Well, it doesn't matter. It's all right.
You don't like the theater.
- It's not that I don't like it; I do like it.
- You don't like theater.
- Yes, I do!
- I don't like it much either.
I went to the theater once myself.
I went to see a strange play: Titanic.
The guys in the brigade took me.
But they say that if you see
a nice play and it's well acted,
they say it's nice to go.
- I love the theater. Thank you.
Thank you very much for your intention, too.
The thing is that I'm kind of seeing someone.
- Sure, yes. You told me.
But since we never see you with him
and he doesn't pick you up, you're here alone,
I thought that maybe...
- Yes, it's a bit weird.
We're together but we aren't.
It's a bit complicated.
- Aren't you?
- Yes, we are.
- But? What's the matter?
Is he married...?
- Yes.
He's married. He's about to separate anyway.
He isn't well with the wife
and it's a little hard for him, but...
but that's it.
- Aren't you uncomfortable with that?
- Yes, of course I'm uncomfortable.
I try not to be, but I don't like it.
- Let's go to the theater.
- Good morning, Marcela.
- Good morning.
- Shall I bring you the water?
- What's up, Montero?
Are we trying to bring the jack closer?
- What's up, commissioner? Is the family well?
- Great, better than ever.
They went to Bolivar for 15 days.
- I'll bring you the water.
- Everything all right?
- Yes.
- Are you sure?
- I'm sure.
- So? What happened?
- Marcela's going out with Serrano.
- Don't say!
- How can she go out with someone like that?
- Power seduces, man.
Where there's a captain, there's no sailor.
I don't know if I'm clear.
On top of that, we have another problem, now.
- What's that?
- What do we do with the four tickets?
- Toni, it's 12 o'clock.
- I'll go get him.
- At least we got good locations.
- I don't like this at all, Tom.
He's taking too long.
Would you like a brandy?
You're not listening to me, Tom.
Frank's taking too long.
Things aren't going well.
Frank! I was so scared!
For a moment I thought...
- Guiduchi is dead.
- Which one was Guiduchi?
- The banker.
- And Toni?
- He never arrived.
- How can that be, since he just...?
What are we going to do now?
- The same as always: go all the way.
Come here.
Come here.
I want you here.
Guiduchi is dead. Toni never arrived.
What are you playing at, Roger?
Does anyone else know of this place?
- Seems like proud Frank missed a detail.
- You don't think I'm serious?
- I don't think you're going to use it.
You taught me that. Remember?
If you want to kill a man
you don't think about it too much.
You either do it or you don't.
- Frank. Let's go. Toni must be dead by now.
- Shut up!
Toni's not dead.
Don't ever say my brother is dead.
Even if you see him in the street
with six bullets in his head.
- Molly, how long do you think
you'll last with him?
- Go to the car.
Wait for us with the engine running.
Tom and I still have something to do.
- Molly, when the money runs out,
you're gonna regret it.
And by then you're going to be
old and your charms
won't work the way they've been working so far.
Molly, Molly!
- Molly, Molly...
- I think she's going to make a lovely old lady.
- No, no!
- Claudio, Claudio! Stop it, fool!
- Claudio... Fucking hell.
- What happened?
- Claudio... A doctor!
- That was a real shot, fool. -A doctor
in the room? There was an accident.
Please, I'm serious! A doctor!
A gun went off, for real!
- Excuse me, gentlemen.
- What do you mean, "it went off"? No way!
Someone messed with the gun!
- Are you a doctor?
- No, I'm a policeman.
Kamijo, close the doors of the theater.
No one goes in or out. Okay?
- Yes.
- An ambulance is urgently needed.
He's been shot for real.
- No way!
Someone messed with the gun!
Director, someone touched the gun!
- Please be patient.
You're all eyewitnesses to a murder.
I need you to calm down.
- I can't stay here all night.
- When the situation clears up,
you'll be able to go home.
- Excuse me, sir.
Who's going to pay for my parking?
- Kamijo, go inside. I'll take care of it.
Sir, please show up with the ticket
at the police department.
We'll reimburse you.
- Fuck off! Are you kidding me?
- We're trying to solve the situation.
Please.
- We arrived, we set up the scenery,
we checked the wardrobe...
I don't know, it was like every day.
There were a lot of people today.
It was going to be a very good show.
I didn't see anything strange.
It was going to be a good weekend.
No!
- A split second.
I don't know... When I fired
I saw the body collapse...
- It wasn't your fault.
- I always said not to use real guns.
Nobody listened to me.
- It's not the gun's fault,
it's the asshole who loads it.
There's that son of a bitch Maldonado.
- I did it just like every day.
- Now you'll never work again in your life.
Asshole!
Are you aware of what happened?
Neither you nor Piñez nor Cisneros will work
again. All three of you will go to jail.
- But stop it, guys.
I did it just like every day.
- You ruined my life.
- Sir, calm down.
I understand it's a stressful situation, but
let's see if we can't clear up what happened.
Let's keep it from being more traumatic
than it is. Please.
- Did I or didn't I you not to use real guns?
Did I or didn't I tell you?
- Kamijo, tell Mansilla to come with the
evidence and send in the photographer.
- Tell the police what happened
to you in the film. Murderer!
- I don't understand what happened.
All my bullets are blanks.
There's no way a real bullet could leak out.
Besides, I take every precaution
so that there's no accident on the show.
- I spoke with the experts.
It is undoubtedly the murder weapon.
Inside there is a spent casing
with traces of lead.
It's from the bullet that we saw fired.
The remaining five have
only the gunpowder and no lead.
So they're blanks, they're props.
- Of course, like the ones I use!
The bullets are here, in this little box.
They are locked with a padlock in the closet
and the only one who has the key is me.
- Where do you keep the gun?
- The gun, after the show, I take out
the used up casing, I throw it away.
I put the spare bullets back in here.
I lock the door with a key and padlock,
I lock up there too, and I take the gun home.
The next day I bring it back. I call the actors.
I show them that the drum is empty.
I grab the bullets one by one and put them in.
I close it.
I go to the light table on the stage,
I put the gun in the drawer,
and the show begins.
- You said that you fill the drum of the gun.
Is that so? -Yes.
- And why do you fill it
if you only need one shot?
- Because the director
is afraid that it could fail.
And one fails, there are
more bullets to make it work
because the gun is very important to set
the mood of the play. And he's right.
- Go ahead. The revolver.
- The revolver scene is very important
to the mood of the play.
Do you understand?
- I understand.
- What does this guy do?
- He takes pictures. He's working.
- From the press?
- No, he works with us. He's from the police.
Why don't you show me the bullets?
- All blanks. Try them all.
Do me a favor. Try them all.
- Yes, I must try them.
Alert that there'll be blanks shot.
- Gentlemen, blanks are coming.
Don't be alarmed.
- Anything else, guys?
- No, that's all. You can leave, Rivarola.
An actor called you a delinquent
just a moment ago
and mentioned an episode in a film.
What did he mean?
- I'm not a delinquent.
That happened more than 10 years ago.
It was an ad
shoot for an insurance company.
I was a prop man and I had to put
some pyrotechnics on a car.
An actor would get in and
it would look like the car exploded.
Maybe it was my mistake. I don't know.
One of the pyrotechnics was
very close to the tank, and it exploded.
It blew up the car
and the actor died on the spot.
But I said, a thousand times, I said!:
don't pour gas in the tank!
Don't pour gas in the tank!
And the producer forgot,
or I don't know what happened...
I don't know how it happened.
I have no idea.
- Sir, you'll be under arrest.
Please understand me. I have no choice.
You're under arrest.
We'll carry out the expert's reports
to see how this accident happened.
But you are under arrest.
Mansilla, can you take Lorenzo home?
It's two in the morning. He has to sleep.
- Yes.
- I don't think it was the props guy's fault
because after what
happened on the ad
he must have become much more
careful with those things.
- You are too young
to understand the human mind, Lorenzo.
There are thieves who get out of jail
and go back to stealing.
There are murderers
who kill again after many years,
rapists who reoffend... That's how it is.
These things happen
much more often than you imagine.
They are usual.
- We talked about what
we were going to do after the show.
I didn't see anything strange.
I rehearsed the script with him
in my dressing room.
- Seriously, go home, Lorenzo.
Go to sleep. Please.
- Inspector, come here.
- All things were in place, weren't they?
- They tell me you're
in charge of the investigation.
- Yes, I'm Franco Montero. How are you?
- José Cisneros, the producer of the play.
Come here, please.
Excuse me, but if the actors see me,
there'll be a terrible commotion.
I don't even want to imagine. You don't know.
Outside were the relatives of the dead actor
and those of the actors' union, the comrades,
they threw anything at me:
stones, eggs, bottles...
This is a tragedy, but....
He's the director of the play: Sergio Piñez.
- It's terrible what happened. Poor Claudio.
I can't believe what has happened.
Just last night we had lunch together.
- Go, Lorenzo.
- Did you hire the prop man, Mr. Cisneros?
Because something like this
had already happened to him.
- Maldonado is a good man
who once had an accident,
as anyone can have.
What's more, I have been working
with him since my first shows.
After '96 nobody would hire him
because of the accident. I did.
From then on he became hyper obsessive.
He was terribly careful with the elements.
I can't believe he was responsible for all this.
- There was one of the actors...
The one who played Roger, I think,
who told me that
you didn't need a real gun to...
- Pinsauer. Gabriel Pinsauer.
That actor is a nightmare for me.
I can't tell you how sorry I am
that this fact proved him right.
The problem is that he comes from image theater.
He still believes that theater is a game.
Just mind that he wanted us to shoot
by pricking a balloon with a pin.
And I needed the flash.
I wanted it to look real.
That can only be achieved with blanks.
- Real, it looked real.
- You two sons of bitches, show your faces.
- There's your realistic shot, Piñez.
You like the sound of that?
- Take it easy, sir, please. Calm down.
Officers, please, take them away, delayed.
They're going to make a full statement.
- I ask you please, Montero, be discreet
with the information you give to the press.
A thing like this could ruin me forever.
I beg you.
- Take them away, please.
- Do you know anything about the crime yet?
- There was no crime here, Kamijo.
This was an accident.
- What if it wasn't?
What if someone switched the bullet?
Kamijo is right.
- It's a possibility we can't rule out either.
Now the prop man is being arrested.
We have check that he wasn't drunk, the guy.
We have to get him tested, a full statement...
Let's search his house, see what we can find.
We must reconstruct the trajectory of the weapon
from the last show to today's,
see if there are no fingerprints
on the used up casing.
If it was an accident, we'll know right away.
- I'll take care of it.
- What if the prop guy was right?
What if the guy put
the six blanks in the gun barrel,
kept it on the bedside table in plain sight...
What if it was a premeditated,
coldly calculated homicide?
- We have four suspects.
Are we going to let them go
when they're the only ones
who had access to the gun
after the props guy put it in the drawer?
Anybody could have switched the bullet.
Brothers and detectives.
- Excuse me, gentlemen. Please, let us through.
- Stand back. Shall we subdue by force, boss?
Are you crazy? What's
wrong with you, subdue?
Hold the people back.
Put those sticks away.
- He's clear.
- It's unbelievable what these guys are doing.
After the tragedy we've lived through,
a Japanese comes and touches your ass.
Please, what a country!
- Sir, could you go in for a search, please?
Your last name was?
- Paladino.
- You played the role of...?
- Toni.
- Go in, please.
- Sir, please, you shouldn't search us all.
It's disrespectful. What are you looking for?
- I understand you, miss,
but if this job taught me anything
is that there's always room for surprise.
You think you know each other very well,
very deeply,
but I assure you, you can't
put your hands in the fire for anyone.
If someone changed the bullet
during the performance
the blanks have to be around here somewhere.
We'll work on finding it.
- Done. All three men are clear.
- Officer Gumbolt, please search the lady.
- My God, what an imagination, sir!
- Excuse me, but I don't know what
you're looking for. This is much simpler.
There's a producer here who's mean.
Who, in order to save $2.50,
hires a prop man who's a drunk.
The poor guy has the misfortune
of letting a bullet inside the drum.
It's as simple as that.
That's all there is to it.
- I'll try to take up
as little of your time as possible.
I ask you to collaborate with me.
Let's rule out together
the possibility of murder.
I understand the traumatic situation
you're going through
but please, I ask you to understand me as well.
I need to rule out this possibility.
- What do you understand?
You know what it's like to come here to
perform and end up shooting a colleague?
- I understand you.
- You don't understand anything.
None of you understand what I feel.
- You don't mind my smoking, do you?
- No, not at all.
- Let's get down to motives.
Did you have some kind of
conflicting relationship with...?
- Claudio. Claudio Torales.
- It's clear that the gentleman
hasn't watched television for a long time.
- No, I don't watch television.
- We were all good companions.
Maybe not friends, but we were good companions.
- Don't be hypocritical. Tell it like it is.
- Raúl, you may be nervous, but I'm nervous too,
so don't talk to me like that.
- Gabriel is right, buddy. Your bad
mood is unbearable. You're resentful.
- What do you mean?
- Stop it.
- Let's relax a little, people. Please.
- Why do you say he's a hypocrite?
- Because we weren't all so very buddies.
Claudio and Gabriel fought
all the time in rehearsals.
They had very different acting backgrounds.
- It was not a matter of acting backgrounds
but a matter of manners.
And that is something
you learn at home from your parents.
What I want is to be respected as a person.
That's all.
- Did your ex-partner Torales
not respect you much?
- Yes, he did.
The thing is that Torales is...
was... very difficult.
- Why was he very difficult?
- He was a bit of a star, egocentric.
He said the texts he wanted and when he wanted.
He didn't give proper cues.
He was late for rehearsals.
He liked to be waited for.
That didn't affect me much because
I had few scenes with him.
But with Pinsauer he clashed a lot.
- We didn't clash that much. We clashed.
Once in a while, that's all.
- Sorry, they clashed a little.
- What do you write down there,
so much, if I may ask?
- It's a memory aid.
- Mr. Villafañe, your partner here
says that you had
some kind of resentment with Torales. Why?
- He's not resentful. He's hot-tempered.
- And I tell things like they are.
- And how are they?
- Frank's character
was going to be played by me, not him.
At least that's what the director told me
when he hired me.
and that's how we started rehearsals.
Afterwards, I don't know.
He must have disliked the way I played Frank,
Claudio began to work in television,
he became famous,
and evidently they decided to make a change:
I became Tom's character
and he became the main character.
That's what happened. No mystery.
- Let's say that Tom's character
isn't a very important challenge for you,
it's something minor.
- Please, Tom's character is pivotal.
- Yes, he says five words in the whole play.
- Yes, he says five words and he shoots.
- Well, you already fed me up. I'm out of here.
Arrest me if you want, but I'm leaving.
- Raul, stop a little.
- He's rude. What is he trying to mean?
- I'm not trying to mean anything, sir.
Please calm down.
I'm not trying to mean anything.
I don't think you had the time or the place
to change that bullet yourself.
During the hotel scene
you don't leave the stage at any time.
What I do think is that maybe someone else
may have switched that bullet and used you
as the instrument of that crime.
- Too bad I wasn't warned!
I might have enjoyed the shot.
- You two, did you have problems with Torales?
- No, not at all. No.
I had no problems.
And you, miss?
Did you have
any kind of relationship with Torales?
- Yes. For a very short time.
- And why did the relationship end?
- Because. Because of life, because
there was no more vibe. I don't know.
What always happens.
- It's ok.
Excuse me for being indiscreet, but
do you have or did you have relations
with any other member of the cast?
May I know with whom?
- With him.
- It lasted a short time.
It was at the beginning of rehearsals.
For a short time.
And another one a month ago. A short time.
- Okay.
- Excuse me:
it seems to me that
all this research is a bit sterile.
What do you want to prove with all this?
- I know you must not be
in the mood right now for this,
but I'd need, if you'd be so kind,
reenact the scene at the hotel
so that my colleagues and I can see
who had the actual possibility
of changing that bullet.
- Are you kidding us?
- No, miss.
- You're way out of line, skinny.
- Kamijo can play Frank's role.
Kamijo, here's the script, in my hand.
- Thanks, Lorenzo.
- The only one missing is the dead actor!
The others are all here.
- I studied acting.
- Excuse me, who is this child?
- He's my brother.
He has a much higher intelligence than normal
and also witnessed the death of your partner.
- And you think we're going to listen to him?
- No, but you'll listen to me.
- That's fine, Gumbolt. Thank you.
- OK.
- How did it go?
- Now I say: "Toni, it's 12 o'clock."
- Toni, were you there?
- No, I was there.
- Go, please.
- And I was going out.
- Go out, please.
- And now I grab my things and say
"I'll go get him."
- And he left.
- I leave.
- He never touched the gun.
- No. He never touched the gun.
- He never touched the gun. Okay. Go ahead.
- Then, uh...
- Here. I throw down the magazine
and say, "Tom, I don't like this.
He's taking too long."
Shall I pour me the brandy?
- Yes, please, do everything you did
during the show. Thank you.
- "Would you like some brandy"?
- This is surreal.
I want to see my lawyer.
- We're doing it for you too, sir.
Please.
Go ahead.
- I say, "Tom, you're not listening to me.
"Frank is taking too long.
"Things aren't going well."
And I reach for the gun.
- You grab the gun.
Okay. What now?
- I go to the bathroom.
- Go to the bathroom, please.
- Here.
- Is that your position? -Yes.
- Wasn't it further in?
- No, here's the mark on the plint.
That's my interest.
- Well, here you obviously
didn't have time to change the bullet.
- No, not there. Let them continue.
- Keep on.
- I got put the gun away.
- Put the gun away...
and then?
- And then Claudio enters.
- "Guiduchi is dead".
- Excuse me.
- Come in.
- Okay. I tell him: "Frank, I was so scared.
"For a moment I thought..."
and he interrupts me and we kiss.
- All right. No problem.
- What do you mean, "No problem," Kamijo?
Please, let's go ahead.
You're not going to kiss.
- "What about Toni?"
- "He never came."
- "Then what do we do?
- "As usual, Molly,
keep going all the way to the end".
- Here Toshiro Mifune
has to get the gun
and look for Pinsauer in the bathroom.
- I go over to the little table,
take out the gun,
go to the bathroom...
- Just a moment.
That's when the actor playing
Frank leaves everyone's sight with the gun.
It's the first time
we lose it in the whole play.
- True.
It's the first time we all
lose sight of the gun in the play.
- Not all of us.
I'm here in the bathroom, locked up.
I see it, the gun.
- Yes, but he may be in cahoots with him.
The murderer could be one
or two or it could be all of them.
There are many combinations.
- Listen to me, child,
what do you mean, in cahoots with him?
Torales is dead. He's the only victim.
Why would he change the bullet?
- Maybe it's time we cut it here.
- "Guiduchi is dead and Toni never arrived.
"What are we playing, Roger?"
- If you have any doubts,
I'm gagged here and I'm tied up.
I'm really tied up.
It wasn't my idea but the director's.
I'd act it, because theater is artifice.
- Enough, Gabriel. Not now.
- "Does anyone else know
about this place, Roger?"
- I say,
"Looks like proud Frank missed a detail.
- "Have I not made myself clear, Roger?"
- Do me a favor.
Get this thing out of my head, will you?
Even if it's a hair dryer, it makes me nervous.
- Well, here's a couple of texts,
and Barbara wraps herself to Frank's neck.
- You gave up?
- I don't. We're not leaving here
any time soon, guys. Let's leave.
- Well, then I say,
"Frank, your brother must be dead."
"Let's leave." And he hits me
and throws me to the floor.
- Sorry, it's just that at this point
in the play I'd fallen asleep.
- Okay, let's avoid the punching part.
Please position yourself where you were falling.
Okay.
- "Shut up at once, woman! Roger isn't dead!"
- Kamijo, stop it, please be quiet.
There's no audience, you're not an actor.
Let's find out where the gun is and that's it.
- Claudio leaves the gun on top of the cabinet.
- Okay. Let's go ahead. Thank you, Kamijo.
- And then I say to Barbara: "Molly, how long
do you think you'll last with him?"
And Claudio says: "Wait for me in the car
with the engine running."
- Then Paladino gets ready to change
the scenery for the scene to come,
Claudio says:
"I have something to arrange with Tom",
I say to Barbara: "Molly, when the money
runs out you're going to regret it.
"and by then you'll be old and ugly."
- I'm sitting here, I finish counting the money,
I go over to the cabinet, grab the gun,
I walk up to Roger
and point at him with the text:
"I think she's going to be a lovely old lady."
Then I look at Claudio....
Oh, God!
- Well, well.
- Oh, my God!
Why?
Why?
- Listen to me, skinny, I think that's enough.
- Yes.
- All right, guys.
Franco.
Good evening.
You're gonna like this. We're going home.
- What are you doing here at this hour,
Zambonini?
- Good evening, everybody.
- We did a breathalyzer test on the prop guy
and the result was 0.7.
That's three glasses of wine, two glasses
of whiskey, or two bottles of beer.
He confessed that he uses the gun of the play
at the Federal shooting range
and that he doesn't remember
if he went to practice yesterday or not.
He says that he keeps the real bullets
very apart from the other ones
but that even so he could have been confused.
The trial for the explosives incident
is still ongoing
and the judge has banned him
from working with firearms.
- What's your name?
- Zambonini, Luis. Can you dedicate it to me?
Terrible what happened here, isn't it?
Unbelievable. I can't believe it.
- What's wrong with Zambonini?
- He's asking for an autograph.
He heard about it on Crónica TV
and came here exclusively for this.
He was combing his hair
in the police station for 15 minutes.
- Unheard of.
- It's four in the morning.
Shall we go to sleep?
- Yes.
People, I want to apologize for the delay
and to thank you very much
for the good predisposition you had
to collaborate with us.
- We won't keep you any longer.
Just to tell you that maybe
my colleagues or I myself may call you
to continue with the investigation,
so thank you very much.
- Just a moment, Franco.
- What's up?
- How does the play end?
- What?
- How does it end? Can't you act it to
the end? I can think of something.
- Stop screwing around, please!
- What a great country this is, my God!
Brothers and detectives
- This is enough for another play, guys.
I confess I never thought
I'd be in a situation like this.
- If I didn't know my brother
I'd be sleeping now.
He sees things in a very unique way
and his opinion so far has helped us a lot
and we solved several cases.
- Am I getting paid for this show, at least?
- Detective, there are three
lines left in this play.
What do you want to prove?
- Give him the real gun. Can you?
- Is the expertise done?
- Yes.
- Bring it, please.
- Thank you, Kamijo.
No bullets.
- Raul, will you be able to go on with this?
- It's OK, Gaby, it's OK.
Now I want to see how all this nonsense ends.
- I agree with you.
If we're in the majority we'll go home.
Let a judge force us
to continue with the show, sir.
- "Majority"? What are they afraid of?
I'm not here to vote.
You do as you want.
- "Wait for us in the car
with the engine running
"because Tom and I still have something to do."
- Oh, my God!
- "When the money runs out, Molly,
you're gonna regret it,
"and by then you'll be old and ugly
"and your charms won't work
like they have so far."
- And then I go out. I walk out.
- You didn't grab the gun.
- No, I didn't grab the gun.
- "I think she's going to make
a lovely old lady."
- You lay there, darling, you.
After the shot the hotel scenery goes out
and the street scenery comes down.
- Can we see it?
- Shall I lower the car scenery?
- Please.
- And now I come in.
Looking at the time, and he... come, come in.
And now on this side, he stands still
with the gun in his hands,
and the only thing that changes is this,
the context.
- And how does it go on?
- It ends here.
- I say one last sentence, I hug him, and I say:
"Mom told me: Molly, beware of red tears,
"beware of red tears, beware of red tears."
And it's done. It's over.
- Did you like it? I hope so because
you don't get your ticket money back.
- And the gun?
- The props guy grabs it, kiddo.
Anything else?
- In front of everyone?
- Yes, my love, but nobody sees us.
The play ends, the lights go out,
there's a blackout,
and just then Maldonado, the props man,
with the lights off,
removes the gun and takes it away.
And then Claudio and Pinsauer come...
Come, guys.
They come, we hug each other,
the light comes on again,
and we salute.
- That's when he changed the bullet.
During the blackout.
- How long are you going to let us
continue standing here
listening to the incoherence of a brat?
- Lorenzo, the blackout never came.
The actor also dies before.
We were there watching it.
The show was stopped, Lorenzo.
What are you saying?
- Don't you understand?
He didn't change it today.
He changed it another day.
Any day after a show.
The props guy was very clear:
after each show he threw away
the blank bullet that exploded
and puts the other five back in the box.
He, during the blackout, before
giving the gun to the props guy,
could have exchanged a real bullet
for an unused blank bullet
and the props guy inadvertently
put the real one in his prop box.
Sooner or later, if the play was still on
he would put it back in the drum
and he knew that someday at some performance
it could kill him.
- Well, lotto card full. People, good evening.
- What? You don't really think
that this load of nonsense
has any real basis. Do you?
- Let's agree that it could have happened.
- Please, sir.
- Torales took the lead role away from you.
- What's that got to do with it?
It happens every day.
- Yes, but he was a pedant.
Every day, every rehearsal, every performance,
you had to put up with him playing your part
and taking all the credit for it, too.
- Please!
- Not only that. His very existence
was a constant reminder to you
that neither the director of the play
nor the producer liked your work very much.
- Don't mention the director and the producer.
They're both mediocre.
Why don't you go question them?
- You knew the prop man's background.
- "Beware of red tears.
"Beware of red tears."
- You removed one bullet,
put the other one in.
- Give me, darling. Give it to me.
- And you got rid of your enemy.
- "Enemy"? What are you saying?
Claudio is my friend.
- You got rid of him with a long-term check.
Isn't that right?
- Why do I have to listen to all this bullshit?
My God!
- A long-term check that you cashed today.
- But then again, even if it were true,
that's impossible to prove.
How can you prove such a thing?
- I'm asking you to please tell me
that all this isn't happening.
- Please, what are you talking about, Bárbara?
- I ask you to calm down
and come with us to the police station.
- Officer, wait.
- I'll wait as long as you want.
- I'm just not feeling well.
You're talking and I'm not feeling well.
- Please, calm down, sir.
- Stop!
- Sir, you can't go out there.
- Stop him.
- Give me the car.
- No, I'm not giving you the car.
It's my work tool.
You want the car?
- Let go of the gun, kid.
- What do you mean "Drop the gun"?
Can't you see he's robbing me?
Grab this scumbag, not me.
- Take it easy. -What do you mean
"Take it easy"? I'm fucked!
Arrest him instead, man.
- I'm arresting you for attempted murder.
You were going to kill that guy.
This country is like this because of people like
you. All these people should be shot down.
- Shut up you, "Shot down".
- How strange is the world of actors.
You watch those gossip shows and you think
they are always at parties,
surrounded by women,
but the truth is that it's quite sordid.
- Every world has its miseries.
What time did the show start?
- At 10:00.
- Guys, don't go crazy with that printer
that hasn't worked for four years.
- No, Kamijo, there goes the negative pole.
- Between the two of us, we're doing our best.
- What are you guys still doing here?
- Nothing, we're working.
We're very efficient. Did you see?
Were you looking for us?
- No, I wanted to see if there were
any cups left, something to take...
- No.
- Hi, my love.
- Hi, Marcela.
We finished fixing the printer.
- So you were there as spectators
right when that guy was killed?
- Unbelievable, isn't it?
- Mansilla, you wouldn't happen to be
a bad omen, would you?
- Thank you, deputy commissioner.
Your compliments are more and more surprising.
- How are you doing, little Montero?
- Very well. And you?
- I'm fine. Great.
Kamijo, if my wife calls from Bolívar, tell her
I'm busy with the Benítez case.
- Isn't the Benítez case already solved?
- But my wife, what the fuck does she know?
Good evening.
- Good night.
- Maybe actor's world is weird
but at least they're more surrounded
by women than we are.
- What can you do about it, buddy?
Maybe we have the destiny of the lonely hero.
- Hello. Hi.
Excuse me. To report a collision, is it here?
- No, you got it wrong. Here's Homicides.
Second floor.
- But we can help you.
Did something happen? Were you hurt?
- No, luckily nothing happened.
- Is it here?
- It's not here. We got in anywhere.
Where's your sister?
- Orelle, come here.
- What's the matter?
- Nothing. Just behave yourself.
Don't go anywhere.
These gentlemen are helping us here.
- # I don't know
# if you'll ever have in your life
# who will give you affection as I did.
# I don't know if anyone
# will want to embrace you
# after making love, like I did.
# I don't know if you'll have
# someone to wait for you
# or who despairs as I did.
# I don't know if you'll have someone so jealous
# or to scold you as I did.
# Will you have anyone to bring you roses
# every morning as I did?
# Will you have someone to fill you with kisses
# at every return, like I did?
# I don't know if you'll have another bonfire
# that burns you as much as I did,
# but you'll never have anyone to love you
# like I did. I swear on this.
# But you'll never have anyone to love you
# like I did. I swear on this. #
Brothers be united.
- Count it, if you want.
- Did you like it? Will you call me again?
- Of course.
- See you.
- Bye.
Today we present
Death on Stage
Don't be afraid. I'm a cop. Easy.
- Is he alone?
- Yes.
- Is he armed?
- Yes.
Kamijo, take her.
Shall we go in?
Stop, police!
- Freeze.
- Is that him?
- I got a 38 five-inch and the loot.
- You're under arrest for robbery
and first-degree murder
on the robbery you pulled at the money
exchange at Libertad and Tucumán.
Anything you say will be used against you.
Take him away.
- Strike!
- Wait. How did you find me?
- You stepped on a fresh paint bucket in the
site next door and we tracked you here.
- Take him away, boys.
- Hold it.
- Everything all right here?
- Everything's fine.
- Very well organized robbery.
A beauty!
- Fucking hell! What are you doing?
- I didn't notice!
- If people realize who's in charge of security
they'll do pot banging every day.
And we rightly deserve it.
- Corrientes Street.
Theater lights give me goose bumps.
- Why?
- My mom used to clean the Lola Membrives.
She saw all the plays for free.
From the front, from the back...
Do you go to the theater?
- No.
- It's logical. You know why?
Because you have no one to go with.
You can go to the movies alone. It's fine.
You go one afternoon and watch a movie.
But going to the theater is an outing.
You have to go with someone.
Nobody goes to the theater alone.
- Will Marcela like going to the theater?
- Are you going to ask Marcela out?
- If it comes up by chance.
- With that attitude you'll get nowhere.
Women like it when you take the initiative.
Let's not go to a premiere, it's much cheaper.
We find out which play is good. We get
four tickets and you take it for granted.
"Marcela, tonight we're going to the theater."
- I don't understand why four tickets.
- The two of us, Marcela, and a friend.
Then we see who's cool with who.
So?
- Wait for me to finish the sandwich.
- You've been dealing
with that sandwich for 20 minutes.
- I answer and say "Hello" as if everything’s OK.
But I knew it was him because
I could see him on the little screen.
- And he says to me: "Hello, Esther.
How are you? It's been a long time!"
"It's been a long time!" You were the one
who was supposed to call, asshole.
- What did he want, to go out? What did he say?
- Not even that.
He was calling to tell me that the restaurant
where I got him a job fired him.
To see if I had any other contacts.
Extra humiliating.
- Hi, Esther. How are you?
- I'm fine. -Tasty, the toast sandwich?
- Yes, it was very good, very well done.
You make them yourself.
- No, Raul. The bar. The kitchen.
- She brings it.
- Well, yes.
- Excuse me.
- Thank you.
- Would you like to go to the theater with me?
- To the theater?
- To the theater.
No? Well, it doesn't matter. It's all right.
You don't like the theater.
- It's not that I don't like it; I do like it.
- You don't like theater.
- Yes, I do!
- I don't like it much either.
I went to the theater once myself.
I went to see a strange play: Titanic.
The guys in the brigade took me.
But they say that if you see
a nice play and it's well acted,
they say it's nice to go.
- I love the theater. Thank you.
Thank you very much for your intention, too.
The thing is that I'm kind of seeing someone.
- Sure, yes. You told me.
But since we never see you with him
and he doesn't pick you up, you're here alone,
I thought that maybe...
- Yes, it's a bit weird.
We're together but we aren't.
It's a bit complicated.
- Aren't you?
- Yes, we are.
- But? What's the matter?
Is he married...?
- Yes.
He's married. He's about to separate anyway.
He isn't well with the wife
and it's a little hard for him, but...
but that's it.
- Aren't you uncomfortable with that?
- Yes, of course I'm uncomfortable.
I try not to be, but I don't like it.
- Let's go to the theater.
- Good morning, Marcela.
- Good morning.
- Shall I bring you the water?
- What's up, Montero?
Are we trying to bring the jack closer?
- What's up, commissioner? Is the family well?
- Great, better than ever.
They went to Bolivar for 15 days.
- I'll bring you the water.
- Everything all right?
- Yes.
- Are you sure?
- I'm sure.
- So? What happened?
- Marcela's going out with Serrano.
- Don't say!
- How can she go out with someone like that?
- Power seduces, man.
Where there's a captain, there's no sailor.
I don't know if I'm clear.
On top of that, we have another problem, now.
- What's that?
- What do we do with the four tickets?
- Toni, it's 12 o'clock.
- I'll go get him.
- At least we got good locations.
- I don't like this at all, Tom.
He's taking too long.
Would you like a brandy?
You're not listening to me, Tom.
Frank's taking too long.
Things aren't going well.
Frank! I was so scared!
For a moment I thought...
- Guiduchi is dead.
- Which one was Guiduchi?
- The banker.
- And Toni?
- He never arrived.
- How can that be, since he just...?
What are we going to do now?
- The same as always: go all the way.
Come here.
Come here.
I want you here.
Guiduchi is dead. Toni never arrived.
What are you playing at, Roger?
Does anyone else know of this place?
- Seems like proud Frank missed a detail.
- You don't think I'm serious?
- I don't think you're going to use it.
You taught me that. Remember?
If you want to kill a man
you don't think about it too much.
You either do it or you don't.
- Frank. Let's go. Toni must be dead by now.
- Shut up!
Toni's not dead.
Don't ever say my brother is dead.
Even if you see him in the street
with six bullets in his head.
- Molly, how long do you think
you'll last with him?
- Go to the car.
Wait for us with the engine running.
Tom and I still have something to do.
- Molly, when the money runs out,
you're gonna regret it.
And by then you're going to be
old and your charms
won't work the way they've been working so far.
Molly, Molly!
- Molly, Molly...
- I think she's going to make a lovely old lady.
- No, no!
- Claudio, Claudio! Stop it, fool!
- Claudio... Fucking hell.
- What happened?
- Claudio... A doctor!
- That was a real shot, fool. -A doctor
in the room? There was an accident.
Please, I'm serious! A doctor!
A gun went off, for real!
- Excuse me, gentlemen.
- What do you mean, "it went off"? No way!
Someone messed with the gun!
- Are you a doctor?
- No, I'm a policeman.
Kamijo, close the doors of the theater.
No one goes in or out. Okay?
- Yes.
- An ambulance is urgently needed.
He's been shot for real.
- No way!
Someone messed with the gun!
Director, someone touched the gun!
- Please be patient.
You're all eyewitnesses to a murder.
I need you to calm down.
- I can't stay here all night.
- When the situation clears up,
you'll be able to go home.
- Excuse me, sir.
Who's going to pay for my parking?
- Kamijo, go inside. I'll take care of it.
Sir, please show up with the ticket
at the police department.
We'll reimburse you.
- Fuck off! Are you kidding me?
- We're trying to solve the situation.
Please.
- We arrived, we set up the scenery,
we checked the wardrobe...
I don't know, it was like every day.
There were a lot of people today.
It was going to be a very good show.
I didn't see anything strange.
It was going to be a good weekend.
No!
- A split second.
I don't know... When I fired
I saw the body collapse...
- It wasn't your fault.
- I always said not to use real guns.
Nobody listened to me.
- It's not the gun's fault,
it's the asshole who loads it.
There's that son of a bitch Maldonado.
- I did it just like every day.
- Now you'll never work again in your life.
Asshole!
Are you aware of what happened?
Neither you nor Piñez nor Cisneros will work
again. All three of you will go to jail.
- But stop it, guys.
I did it just like every day.
- You ruined my life.
- Sir, calm down.
I understand it's a stressful situation, but
let's see if we can't clear up what happened.
Let's keep it from being more traumatic
than it is. Please.
- Did I or didn't I you not to use real guns?
Did I or didn't I tell you?
- Kamijo, tell Mansilla to come with the
evidence and send in the photographer.
- Tell the police what happened
to you in the film. Murderer!
- I don't understand what happened.
All my bullets are blanks.
There's no way a real bullet could leak out.
Besides, I take every precaution
so that there's no accident on the show.
- I spoke with the experts.
It is undoubtedly the murder weapon.
Inside there is a spent casing
with traces of lead.
It's from the bullet that we saw fired.
The remaining five have
only the gunpowder and no lead.
So they're blanks, they're props.
- Of course, like the ones I use!
The bullets are here, in this little box.
They are locked with a padlock in the closet
and the only one who has the key is me.
- Where do you keep the gun?
- The gun, after the show, I take out
the used up casing, I throw it away.
I put the spare bullets back in here.
I lock the door with a key and padlock,
I lock up there too, and I take the gun home.
The next day I bring it back. I call the actors.
I show them that the drum is empty.
I grab the bullets one by one and put them in.
I close it.
I go to the light table on the stage,
I put the gun in the drawer,
and the show begins.
- You said that you fill the drum of the gun.
Is that so? -Yes.
- And why do you fill it
if you only need one shot?
- Because the director
is afraid that it could fail.
And one fails, there are
more bullets to make it work
because the gun is very important to set
the mood of the play. And he's right.
- Go ahead. The revolver.
- The revolver scene is very important
to the mood of the play.
Do you understand?
- I understand.
- What does this guy do?
- He takes pictures. He's working.
- From the press?
- No, he works with us. He's from the police.
Why don't you show me the bullets?
- All blanks. Try them all.
Do me a favor. Try them all.
- Yes, I must try them.
Alert that there'll be blanks shot.
- Gentlemen, blanks are coming.
Don't be alarmed.
- Anything else, guys?
- No, that's all. You can leave, Rivarola.
An actor called you a delinquent
just a moment ago
and mentioned an episode in a film.
What did he mean?
- I'm not a delinquent.
That happened more than 10 years ago.
It was an ad
shoot for an insurance company.
I was a prop man and I had to put
some pyrotechnics on a car.
An actor would get in and
it would look like the car exploded.
Maybe it was my mistake. I don't know.
One of the pyrotechnics was
very close to the tank, and it exploded.
It blew up the car
and the actor died on the spot.
But I said, a thousand times, I said!:
don't pour gas in the tank!
Don't pour gas in the tank!
And the producer forgot,
or I don't know what happened...
I don't know how it happened.
I have no idea.
- Sir, you'll be under arrest.
Please understand me. I have no choice.
You're under arrest.
We'll carry out the expert's reports
to see how this accident happened.
But you are under arrest.
Mansilla, can you take Lorenzo home?
It's two in the morning. He has to sleep.
- Yes.
- I don't think it was the props guy's fault
because after what
happened on the ad
he must have become much more
careful with those things.
- You are too young
to understand the human mind, Lorenzo.
There are thieves who get out of jail
and go back to stealing.
There are murderers
who kill again after many years,
rapists who reoffend... That's how it is.
These things happen
much more often than you imagine.
They are usual.
- We talked about what
we were going to do after the show.
I didn't see anything strange.
I rehearsed the script with him
in my dressing room.
- Seriously, go home, Lorenzo.
Go to sleep. Please.
- Inspector, come here.
- All things were in place, weren't they?
- They tell me you're
in charge of the investigation.
- Yes, I'm Franco Montero. How are you?
- José Cisneros, the producer of the play.
Come here, please.
Excuse me, but if the actors see me,
there'll be a terrible commotion.
I don't even want to imagine. You don't know.
Outside were the relatives of the dead actor
and those of the actors' union, the comrades,
they threw anything at me:
stones, eggs, bottles...
This is a tragedy, but....
He's the director of the play: Sergio Piñez.
- It's terrible what happened. Poor Claudio.
I can't believe what has happened.
Just last night we had lunch together.
- Go, Lorenzo.
- Did you hire the prop man, Mr. Cisneros?
Because something like this
had already happened to him.
- Maldonado is a good man
who once had an accident,
as anyone can have.
What's more, I have been working
with him since my first shows.
After '96 nobody would hire him
because of the accident. I did.
From then on he became hyper obsessive.
He was terribly careful with the elements.
I can't believe he was responsible for all this.
- There was one of the actors...
The one who played Roger, I think,
who told me that
you didn't need a real gun to...
- Pinsauer. Gabriel Pinsauer.
That actor is a nightmare for me.
I can't tell you how sorry I am
that this fact proved him right.
The problem is that he comes from image theater.
He still believes that theater is a game.
Just mind that he wanted us to shoot
by pricking a balloon with a pin.
And I needed the flash.
I wanted it to look real.
That can only be achieved with blanks.
- Real, it looked real.
- You two sons of bitches, show your faces.
- There's your realistic shot, Piñez.
You like the sound of that?
- Take it easy, sir, please. Calm down.
Officers, please, take them away, delayed.
They're going to make a full statement.
- I ask you please, Montero, be discreet
with the information you give to the press.
A thing like this could ruin me forever.
I beg you.
- Take them away, please.
- Do you know anything about the crime yet?
- There was no crime here, Kamijo.
This was an accident.
- What if it wasn't?
What if someone switched the bullet?
Kamijo is right.
- It's a possibility we can't rule out either.
Now the prop man is being arrested.
We have check that he wasn't drunk, the guy.
We have to get him tested, a full statement...
Let's search his house, see what we can find.
We must reconstruct the trajectory of the weapon
from the last show to today's,
see if there are no fingerprints
on the used up casing.
If it was an accident, we'll know right away.
- I'll take care of it.
- What if the prop guy was right?
What if the guy put
the six blanks in the gun barrel,
kept it on the bedside table in plain sight...
What if it was a premeditated,
coldly calculated homicide?
- We have four suspects.
Are we going to let them go
when they're the only ones
who had access to the gun
after the props guy put it in the drawer?
Anybody could have switched the bullet.
Brothers and detectives.
- Excuse me, gentlemen. Please, let us through.
- Stand back. Shall we subdue by force, boss?
Are you crazy? What's
wrong with you, subdue?
Hold the people back.
Put those sticks away.
- He's clear.
- It's unbelievable what these guys are doing.
After the tragedy we've lived through,
a Japanese comes and touches your ass.
Please, what a country!
- Sir, could you go in for a search, please?
Your last name was?
- Paladino.
- You played the role of...?
- Toni.
- Go in, please.
- Sir, please, you shouldn't search us all.
It's disrespectful. What are you looking for?
- I understand you, miss,
but if this job taught me anything
is that there's always room for surprise.
You think you know each other very well,
very deeply,
but I assure you, you can't
put your hands in the fire for anyone.
If someone changed the bullet
during the performance
the blanks have to be around here somewhere.
We'll work on finding it.
- Done. All three men are clear.
- Officer Gumbolt, please search the lady.
- My God, what an imagination, sir!
- Excuse me, but I don't know what
you're looking for. This is much simpler.
There's a producer here who's mean.
Who, in order to save $2.50,
hires a prop man who's a drunk.
The poor guy has the misfortune
of letting a bullet inside the drum.
It's as simple as that.
That's all there is to it.
- I'll try to take up
as little of your time as possible.
I ask you to collaborate with me.
Let's rule out together
the possibility of murder.
I understand the traumatic situation
you're going through
but please, I ask you to understand me as well.
I need to rule out this possibility.
- What do you understand?
You know what it's like to come here to
perform and end up shooting a colleague?
- I understand you.
- You don't understand anything.
None of you understand what I feel.
- You don't mind my smoking, do you?
- No, not at all.
- Let's get down to motives.
Did you have some kind of
conflicting relationship with...?
- Claudio. Claudio Torales.
- It's clear that the gentleman
hasn't watched television for a long time.
- No, I don't watch television.
- We were all good companions.
Maybe not friends, but we were good companions.
- Don't be hypocritical. Tell it like it is.
- Raúl, you may be nervous, but I'm nervous too,
so don't talk to me like that.
- Gabriel is right, buddy. Your bad
mood is unbearable. You're resentful.
- What do you mean?
- Stop it.
- Let's relax a little, people. Please.
- Why do you say he's a hypocrite?
- Because we weren't all so very buddies.
Claudio and Gabriel fought
all the time in rehearsals.
They had very different acting backgrounds.
- It was not a matter of acting backgrounds
but a matter of manners.
And that is something
you learn at home from your parents.
What I want is to be respected as a person.
That's all.
- Did your ex-partner Torales
not respect you much?
- Yes, he did.
The thing is that Torales is...
was... very difficult.
- Why was he very difficult?
- He was a bit of a star, egocentric.
He said the texts he wanted and when he wanted.
He didn't give proper cues.
He was late for rehearsals.
He liked to be waited for.
That didn't affect me much because
I had few scenes with him.
But with Pinsauer he clashed a lot.
- We didn't clash that much. We clashed.
Once in a while, that's all.
- Sorry, they clashed a little.
- What do you write down there,
so much, if I may ask?
- It's a memory aid.
- Mr. Villafañe, your partner here
says that you had
some kind of resentment with Torales. Why?
- He's not resentful. He's hot-tempered.
- And I tell things like they are.
- And how are they?
- Frank's character
was going to be played by me, not him.
At least that's what the director told me
when he hired me.
and that's how we started rehearsals.
Afterwards, I don't know.
He must have disliked the way I played Frank,
Claudio began to work in television,
he became famous,
and evidently they decided to make a change:
I became Tom's character
and he became the main character.
That's what happened. No mystery.
- Let's say that Tom's character
isn't a very important challenge for you,
it's something minor.
- Please, Tom's character is pivotal.
- Yes, he says five words in the whole play.
- Yes, he says five words and he shoots.
- Well, you already fed me up. I'm out of here.
Arrest me if you want, but I'm leaving.
- Raul, stop a little.
- He's rude. What is he trying to mean?
- I'm not trying to mean anything, sir.
Please calm down.
I'm not trying to mean anything.
I don't think you had the time or the place
to change that bullet yourself.
During the hotel scene
you don't leave the stage at any time.
What I do think is that maybe someone else
may have switched that bullet and used you
as the instrument of that crime.
- Too bad I wasn't warned!
I might have enjoyed the shot.
- You two, did you have problems with Torales?
- No, not at all. No.
I had no problems.
And you, miss?
Did you have
any kind of relationship with Torales?
- Yes. For a very short time.
- And why did the relationship end?
- Because. Because of life, because
there was no more vibe. I don't know.
What always happens.
- It's ok.
Excuse me for being indiscreet, but
do you have or did you have relations
with any other member of the cast?
May I know with whom?
- With him.
- It lasted a short time.
It was at the beginning of rehearsals.
For a short time.
And another one a month ago. A short time.
- Okay.
- Excuse me:
it seems to me that
all this research is a bit sterile.
What do you want to prove with all this?
- I know you must not be
in the mood right now for this,
but I'd need, if you'd be so kind,
reenact the scene at the hotel
so that my colleagues and I can see
who had the actual possibility
of changing that bullet.
- Are you kidding us?
- No, miss.
- You're way out of line, skinny.
- Kamijo can play Frank's role.
Kamijo, here's the script, in my hand.
- Thanks, Lorenzo.
- The only one missing is the dead actor!
The others are all here.
- I studied acting.
- Excuse me, who is this child?
- He's my brother.
He has a much higher intelligence than normal
and also witnessed the death of your partner.
- And you think we're going to listen to him?
- No, but you'll listen to me.
- That's fine, Gumbolt. Thank you.
- OK.
- How did it go?
- Now I say: "Toni, it's 12 o'clock."
- Toni, were you there?
- No, I was there.
- Go, please.
- And I was going out.
- Go out, please.
- And now I grab my things and say
"I'll go get him."
- And he left.
- I leave.
- He never touched the gun.
- No. He never touched the gun.
- He never touched the gun. Okay. Go ahead.
- Then, uh...
- Here. I throw down the magazine
and say, "Tom, I don't like this.
He's taking too long."
Shall I pour me the brandy?
- Yes, please, do everything you did
during the show. Thank you.
- "Would you like some brandy"?
- This is surreal.
I want to see my lawyer.
- We're doing it for you too, sir.
Please.
Go ahead.
- I say, "Tom, you're not listening to me.
"Frank is taking too long.
"Things aren't going well."
And I reach for the gun.
- You grab the gun.
Okay. What now?
- I go to the bathroom.
- Go to the bathroom, please.
- Here.
- Is that your position? -Yes.
- Wasn't it further in?
- No, here's the mark on the plint.
That's my interest.
- Well, here you obviously
didn't have time to change the bullet.
- No, not there. Let them continue.
- Keep on.
- I got put the gun away.
- Put the gun away...
and then?
- And then Claudio enters.
- "Guiduchi is dead".
- Excuse me.
- Come in.
- Okay. I tell him: "Frank, I was so scared.
"For a moment I thought..."
and he interrupts me and we kiss.
- All right. No problem.
- What do you mean, "No problem," Kamijo?
Please, let's go ahead.
You're not going to kiss.
- "What about Toni?"
- "He never came."
- "Then what do we do?
- "As usual, Molly,
keep going all the way to the end".
- Here Toshiro Mifune
has to get the gun
and look for Pinsauer in the bathroom.
- I go over to the little table,
take out the gun,
go to the bathroom...
- Just a moment.
That's when the actor playing
Frank leaves everyone's sight with the gun.
It's the first time
we lose it in the whole play.
- True.
It's the first time we all
lose sight of the gun in the play.
- Not all of us.
I'm here in the bathroom, locked up.
I see it, the gun.
- Yes, but he may be in cahoots with him.
The murderer could be one
or two or it could be all of them.
There are many combinations.
- Listen to me, child,
what do you mean, in cahoots with him?
Torales is dead. He's the only victim.
Why would he change the bullet?
- Maybe it's time we cut it here.
- "Guiduchi is dead and Toni never arrived.
"What are we playing, Roger?"
- If you have any doubts,
I'm gagged here and I'm tied up.
I'm really tied up.
It wasn't my idea but the director's.
I'd act it, because theater is artifice.
- Enough, Gabriel. Not now.
- "Does anyone else know
about this place, Roger?"
- I say,
"Looks like proud Frank missed a detail.
- "Have I not made myself clear, Roger?"
- Do me a favor.
Get this thing out of my head, will you?
Even if it's a hair dryer, it makes me nervous.
- Well, here's a couple of texts,
and Barbara wraps herself to Frank's neck.
- You gave up?
- I don't. We're not leaving here
any time soon, guys. Let's leave.
- Well, then I say,
"Frank, your brother must be dead."
"Let's leave." And he hits me
and throws me to the floor.
- Sorry, it's just that at this point
in the play I'd fallen asleep.
- Okay, let's avoid the punching part.
Please position yourself where you were falling.
Okay.
- "Shut up at once, woman! Roger isn't dead!"
- Kamijo, stop it, please be quiet.
There's no audience, you're not an actor.
Let's find out where the gun is and that's it.
- Claudio leaves the gun on top of the cabinet.
- Okay. Let's go ahead. Thank you, Kamijo.
- And then I say to Barbara: "Molly, how long
do you think you'll last with him?"
And Claudio says: "Wait for me in the car
with the engine running."
- Then Paladino gets ready to change
the scenery for the scene to come,
Claudio says:
"I have something to arrange with Tom",
I say to Barbara: "Molly, when the money
runs out you're going to regret it.
"and by then you'll be old and ugly."
- I'm sitting here, I finish counting the money,
I go over to the cabinet, grab the gun,
I walk up to Roger
and point at him with the text:
"I think she's going to be a lovely old lady."
Then I look at Claudio....
Oh, God!
- Well, well.
- Oh, my God!
Why?
Why?
- Listen to me, skinny, I think that's enough.
- Yes.
- All right, guys.
Franco.
Good evening.
You're gonna like this. We're going home.
- What are you doing here at this hour,
Zambonini?
- Good evening, everybody.
- We did a breathalyzer test on the prop guy
and the result was 0.7.
That's three glasses of wine, two glasses
of whiskey, or two bottles of beer.
He confessed that he uses the gun of the play
at the Federal shooting range
and that he doesn't remember
if he went to practice yesterday or not.
He says that he keeps the real bullets
very apart from the other ones
but that even so he could have been confused.
The trial for the explosives incident
is still ongoing
and the judge has banned him
from working with firearms.
- What's your name?
- Zambonini, Luis. Can you dedicate it to me?
Terrible what happened here, isn't it?
Unbelievable. I can't believe it.
- What's wrong with Zambonini?
- He's asking for an autograph.
He heard about it on Crónica TV
and came here exclusively for this.
He was combing his hair
in the police station for 15 minutes.
- Unheard of.
- It's four in the morning.
Shall we go to sleep?
- Yes.
People, I want to apologize for the delay
and to thank you very much
for the good predisposition you had
to collaborate with us.
- We won't keep you any longer.
Just to tell you that maybe
my colleagues or I myself may call you
to continue with the investigation,
so thank you very much.
- Just a moment, Franco.
- What's up?
- How does the play end?
- What?
- How does it end? Can't you act it to
the end? I can think of something.
- Stop screwing around, please!
- What a great country this is, my God!
Brothers and detectives
- This is enough for another play, guys.
I confess I never thought
I'd be in a situation like this.
- If I didn't know my brother
I'd be sleeping now.
He sees things in a very unique way
and his opinion so far has helped us a lot
and we solved several cases.
- Am I getting paid for this show, at least?
- Detective, there are three
lines left in this play.
What do you want to prove?
- Give him the real gun. Can you?
- Is the expertise done?
- Yes.
- Bring it, please.
- Thank you, Kamijo.
No bullets.
- Raul, will you be able to go on with this?
- It's OK, Gaby, it's OK.
Now I want to see how all this nonsense ends.
- I agree with you.
If we're in the majority we'll go home.
Let a judge force us
to continue with the show, sir.
- "Majority"? What are they afraid of?
I'm not here to vote.
You do as you want.
- "Wait for us in the car
with the engine running
"because Tom and I still have something to do."
- Oh, my God!
- "When the money runs out, Molly,
you're gonna regret it,
"and by then you'll be old and ugly
"and your charms won't work
like they have so far."
- And then I go out. I walk out.
- You didn't grab the gun.
- No, I didn't grab the gun.
- "I think she's going to make
a lovely old lady."
- You lay there, darling, you.
After the shot the hotel scenery goes out
and the street scenery comes down.
- Can we see it?
- Shall I lower the car scenery?
- Please.
- And now I come in.
Looking at the time, and he... come, come in.
And now on this side, he stands still
with the gun in his hands,
and the only thing that changes is this,
the context.
- And how does it go on?
- It ends here.
- I say one last sentence, I hug him, and I say:
"Mom told me: Molly, beware of red tears,
"beware of red tears, beware of red tears."
And it's done. It's over.
- Did you like it? I hope so because
you don't get your ticket money back.
- And the gun?
- The props guy grabs it, kiddo.
Anything else?
- In front of everyone?
- Yes, my love, but nobody sees us.
The play ends, the lights go out,
there's a blackout,
and just then Maldonado, the props man,
with the lights off,
removes the gun and takes it away.
And then Claudio and Pinsauer come...
Come, guys.
They come, we hug each other,
the light comes on again,
and we salute.
- That's when he changed the bullet.
During the blackout.
- How long are you going to let us
continue standing here
listening to the incoherence of a brat?
- Lorenzo, the blackout never came.
The actor also dies before.
We were there watching it.
The show was stopped, Lorenzo.
What are you saying?
- Don't you understand?
He didn't change it today.
He changed it another day.
Any day after a show.
The props guy was very clear:
after each show he threw away
the blank bullet that exploded
and puts the other five back in the box.
He, during the blackout, before
giving the gun to the props guy,
could have exchanged a real bullet
for an unused blank bullet
and the props guy inadvertently
put the real one in his prop box.
Sooner or later, if the play was still on
he would put it back in the drum
and he knew that someday at some performance
it could kill him.
- Well, lotto card full. People, good evening.
- What? You don't really think
that this load of nonsense
has any real basis. Do you?
- Let's agree that it could have happened.
- Please, sir.
- Torales took the lead role away from you.
- What's that got to do with it?
It happens every day.
- Yes, but he was a pedant.
Every day, every rehearsal, every performance,
you had to put up with him playing your part
and taking all the credit for it, too.
- Please!
- Not only that. His very existence
was a constant reminder to you
that neither the director of the play
nor the producer liked your work very much.
- Don't mention the director and the producer.
They're both mediocre.
Why don't you go question them?
- You knew the prop man's background.
- "Beware of red tears.
"Beware of red tears."
- You removed one bullet,
put the other one in.
- Give me, darling. Give it to me.
- And you got rid of your enemy.
- "Enemy"? What are you saying?
Claudio is my friend.
- You got rid of him with a long-term check.
Isn't that right?
- Why do I have to listen to all this bullshit?
My God!
- A long-term check that you cashed today.
- But then again, even if it were true,
that's impossible to prove.
How can you prove such a thing?
- I'm asking you to please tell me
that all this isn't happening.
- Please, what are you talking about, Bárbara?
- I ask you to calm down
and come with us to the police station.
- Officer, wait.
- I'll wait as long as you want.
- I'm just not feeling well.
You're talking and I'm not feeling well.
- Please, calm down, sir.
- Stop!
- Sir, you can't go out there.
- Stop him.
- Give me the car.
- No, I'm not giving you the car.
It's my work tool.
You want the car?
- Let go of the gun, kid.
- What do you mean "Drop the gun"?
Can't you see he's robbing me?
Grab this scumbag, not me.
- Take it easy. -What do you mean
"Take it easy"? I'm fucked!
Arrest him instead, man.
- I'm arresting you for attempted murder.
You were going to kill that guy.
This country is like this because of people like
you. All these people should be shot down.
- Shut up you, "Shot down".
- How strange is the world of actors.
You watch those gossip shows and you think
they are always at parties,
surrounded by women,
but the truth is that it's quite sordid.
- Every world has its miseries.
What time did the show start?
- At 10:00.
- Guys, don't go crazy with that printer
that hasn't worked for four years.
- No, Kamijo, there goes the negative pole.
- Between the two of us, we're doing our best.
- What are you guys still doing here?
- Nothing, we're working.
We're very efficient. Did you see?
Were you looking for us?
- No, I wanted to see if there were
any cups left, something to take...
- No.
- Hi, my love.
- Hi, Marcela.
We finished fixing the printer.
- So you were there as spectators
right when that guy was killed?
- Unbelievable, isn't it?
- Mansilla, you wouldn't happen to be
a bad omen, would you?
- Thank you, deputy commissioner.
Your compliments are more and more surprising.
- How are you doing, little Montero?
- Very well. And you?
- I'm fine. Great.
Kamijo, if my wife calls from Bolívar, tell her
I'm busy with the Benítez case.
- Isn't the Benítez case already solved?
- But my wife, what the fuck does she know?
Good evening.
- Good night.
- Maybe actor's world is weird
but at least they're more surrounded
by women than we are.
- What can you do about it, buddy?
Maybe we have the destiny of the lonely hero.
- Hello. Hi.
Excuse me. To report a collision, is it here?
- No, you got it wrong. Here's Homicides.
Second floor.
- But we can help you.
Did something happen? Were you hurt?
- No, luckily nothing happened.
- Is it here?
- It's not here. We got in anywhere.
Where's your sister?
- Orelle, come here.
- What's the matter?
- Nothing. Just behave yourself.
Don't go anywhere.
These gentlemen are helping us here.
- # I don't know
# if you'll ever have in your life
# who will give you affection as I did.
# I don't know if anyone
# will want to embrace you
# after making love, like I did.
# I don't know if you'll have
# someone to wait for you
# or who despairs as I did.
# I don't know if you'll have someone so jealous
# or to scold you as I did.
# Will you have anyone to bring you roses
# every morning as I did?
# Will you have someone to fill you with kisses
# at every return, like I did?
# I don't know if you'll have another bonfire
# that burns you as much as I did,
# but you'll never have anyone to love you
# like I did. I swear on this.
# But you'll never have anyone to love you
# like I did. I swear on this. #