Matlock (1986–1995): Season 4, Episode 7 - The Star - full transcript

♪ ♪

♪ ♪

♪ ♪

You're late, darling.

Don't be afraid.

You've wanted
this for a long time.

I know your secret.

I know your secret desire.

You desire...

death!

And cut.



Okay, people, back to one

We're gonna do it again.

What do you mean "again"?

What was wrong with that?

Let's just say that
it wasn't perfect.

Oh! Now, there is a
helpful bit of direction.

"It wasn't perfect."

Look, in this scene, your
character is almost possessed.

You weren't giving me possessed.

You were giving me,
uh, a walk in the park.

Let me tell you
something, junior,

I was playing this part
when you were in diapers,

and I can still play this part
better than anybody else around.

The problem here is you
don't know what you're doing.



Oh, well, the studio
thinks that I do.

In fact, they've got millions
riding on my track record.

A couple of music videos,

and a movie starring a robot

with enough explosives
to blow up China.

Well, hell, we don't
have a director here.

What we have

is a glorified fire marshal.

All this from a woman
whose thespian artistry

has included such film
classics as S is for Satan,

Dance of the Dead and
Terror Town Part 1,2,3,4

and 5.

A woman who has
based her entire film career

on her ability to scream while
running around in her underwear.

I have a bit of helpful
direction for you, Ms. McKay...

learn how to act.

Unforgivable!

Exits have always
been Mom's forte.

Look, Susan, go after her
and try and calm her down,

would you please?

Sorry, not my department.

Hey, do anything, just
get her back on the set.

Mm. Does she have to be alive?

Ms. McKay, understand
the crew hates him

just at much as you do, I swear.

We're on your side.

Please go back.

If you don't, it
could mean our jobs.

Would you stop bothering me?

I'm sorry.

Guess who is going to
interview you on Saturday?

Not now, Jack.

A reporter from the Journal,
with a possible cover story.

Who cares?

Now what happened?

Noel.

I told you and the
other studio executives

that she's an over-the-hill,
washed-up hack, didn't I?

Didn't I?

You mentioned you're
not her biggest fan.

Now will you let me replace her?

Are you out of your mind?

She's ruining my movie.

This is not a
horror film anymore.

This is turning into a
Saturday morning cartoon show.

She has two days of work left.

It is too late to replace her.

Well, she walked off the set.

What if she doesn't come back?

Time and money, Mr. Bishop.

Now if we have to
replace somebody,

it's not going to be her.

You're joking.

Catherine, tell
me you're joking.

I mean it, Jack.

Noel can take his
picture and stick it.

Catherine, before
I got you this part,

you hadn't had a
job for nine years.

I'm aware of that.

If you walk out on this part,

you are not going to
be hurting Noel Bishop,

you are going to be
hurting the studios,

and they are not going
to like that very much,

and it may very well be

that you don't work
for another nine years.

Oh, God, what have I done?

You really kicked
some tail today, Mom.

What did they do
on set after I left?

We wrapped.

And then Noel

had a very long talk
with that studio exec.

About me?

Who else?

Excuse me.

Mr. Bishop is here
to see you, Catherine.

Show him in to the library.

How interesting.

What is with you, Mom?

I mean, for all you know,

you're about to
get the axe here.

If they were going to fire me,

the studio would have sent
some lackey to do the job.

Unlike the great auteur in
there, I wasn't born yesterday.

This is from S is
for Satan, right?

I mean, this is the knife
from the bathtub scene.

Well, you've actually seen
one of my little film classics.

I've seen them all.

I've learned a lot by
watching old horror films.

They were so dependent
upon the basics...

Lighting, sound, camera
placement, pacing...

And the acting
ability of their stars?

Of course.

I'm sorry about what I said to
you on the set today, Catherine.

I didn't mean it.

Liar.

No, really. I...

We're behind schedule,
time and money.

I'm just stressed.

I had no right to blame you.

Maybe I was to blame.

Maybe you should just fire me.

Catherine, I can't make
this picture without you.

You are its centerpiece,
it's raison d'être.

But how can that be, Noel,

when all I can do is run around
screaming in my underwear?

I apologize for that.

I humbly apologize.

You have my deepest respect.

And from here on
out, my total support.

What time is my call?

6:00 a.m.

We start with your death scene.

You know, we only see that
knife of yours once up-close.

Wait.

I have a vision.

We're going to use that knife.

Slice and dice film freaks
will recognize it instantly.

They'll go nuts.

If we can get special
effects to dummy up

a replica by tomorrow.

Susan is special
effects on this picture.

Susan, Susan, come in
here a moment, please.

And Jack, you, too.

Come on.

Noel has finally had
an idea that I like.

He thinks we should use
the S is for Satan knife

in the death scene tomorrow.

You know, as kind
of an inside joke.

Just a dummy with a
curved handle like this

and an "S" like this.

And we need it by 6:00 a.m.

No problem.

You know, I bet I can
get some press out of this.

You mind if a couple reporters
come by the set tomorrow?

As long as they're quiet
and they stay out of the way.

When's she coming out?

Just a second, now listen.

Quiet down!

Where's Ms. McKay?

You will be able to
interview Ms. McKay

and take some pictures
after the scene is over.

So please, if you'll
just bear with us.

Be quiet.

Please. Stop.

Please, please,
let's have some quiet.

Just till this is finished.

Now, this hand up
here, this one here.

Keep it half closed, all right?

Excellent. Excellent.

All right, darling?

Knife, please.

Excellent.

Excellent. Thank you.

Okay, now attach
it to Catherine.

Everybody, I want
you to clear the set.

I want to get this shot,
and I want to get it now.

Come on, out. Let's go.

Susan, hurry it up, please.

S is for Satan was 20 years ago.

You were what, two?

Five, Mother.

But don't worry...
I'll never tell.

I keep all your secrets.

Have fun.

Ready, Catherine?

For hours, Noel.

Uh, I-I'll cue you before
we come through the door.

Sometime today, I hope?

Look, what I really
came up here to say was,

I hope we can put what's
happened behind us

and make this the best damn
film either one of us has ever done.

Deal?

Deal.

Knock 'em dead.

You got it.

Noel.

Noel, we're ready for the shot.

Got the Steadicam set.

And we are rolling.

And... action.

All right, in we go.

Take your time!

Slow.

Slow and easy.

Easy...

Easy. That's the way.

That's it. That's it.

Take your time.

Take your time. Slow and easy.

That's the way.

That's it. That's...

That's it.

Slow. That's it.

Take your time.

That's it.

Here we are, Catherine.

Here we are.

On you now.

That's it.

Take your time.

Take your time.

Cut. Print.

That was terrific, Don.
You can relax now.

Randy, I want to do it again.

Only this time, I want
to try something else.

Catherine?

I guess that's when
I get to the stairs...

Catherine?

When I make that turn... Uh-huh?

What is it?

Oh, my God.

Get an ambulance! Hurry!

Hurry! Get an ambulance.

Get some help!

Bill!

Get the... Get to the phone
and call the paramedics.

Catherine's been stabbed.

What?

I think she's dead.

And she was.

She was dead!

But when Bill told the
police that he saw me

walking out of the back of the
house before we did the shot,

well, that was it!

I was their prime suspect.

Oh. Mm-hmm.

Now, according
to the police report,

uh, you had a loud,
violent argument

with the victim the day
before she was killed.

Yeah, well, that was
artistic differences,

which we later settled.

Do you always dress like that?

Yeah.

Why?

Well, I...

What the hell does
that have to do...

No. Never mind. All right.

Uh...

Um...

Did you tell the studio

that, uh, you wanted
her off the picture?

Yeah. Mm-hmm?

What happened?

They said forget it.

Well, you got what you wanted.

She's definitely
off the picture.

Yeah. And you're in jail.

I know!

I know.

You need a haircut.

Yeah, well, I'm letting
my perm grow out.

How's that?

I am letting my perm grow out!

Uh, the police believe

that you stole the murder weapon

from Ms. McKay's house
the day before she was killed.

That's ridiculous.

I didn't do it.

You were in the house.

Yeah, well, so was
Catherine's daughter Susan.

Her, uh, chauffer... butler...
Aaron, whatever his name is,

and her manager and
live-in lover Jack Burns.

All of them were there, too.

Th-They had access to the knife?

They live there!

Well, you were the last
person to see her alive.

I didn't kill her.

You're wearing an earring.

No, I am wearing two earrings.

Are you going to
be my lawyer or not?

Uh, well...

I, um...

I gotta, I gotta tell
you-tell you the truth.

I ordinarily go by instinct

on these things.

But, um...

I got to be honest with you.

I'm, uh... having a problem.

I'm innocent.

Well, I hope. I hope.

How can I best put this?

Um...

You're, um...

Um... strange.

Well...

welcome to Hollywood.

Help me! Help...

End slate. Cut it.

Print that.

Thanks. MAN: Up ahead, boys.

Crane coming down. - Cut.

Terrific, you
guys. You all right?

Yeah, great.

Everybody, listen up!

Okay, you guys! Quiet!

I got something I
want to say to you.

Let's go, people! Come on!

As you well know,

Catherine McKay and I
have had our differences,

but that doesn't change
the fact that she was a star.

She'll be remembered
for a long, long time,

and so will our picture.

Now, no matter
what you've heard,

I had nothing to
do with her death.

You may have read in the
paper that I'm out on bail,

but I have an attorney
to prove that I'm innocent.

He's going to need
some information,

which means he's going to
be questioning some of you.

Oh, there he is now.

Everybody, Ben Matlock,
the world's greatest lawyer.

Welcome.

Yeah! Yeah!

Yeah!

Oh, uh, uh, this is, uh, Con...

Conrad McMasters.

Uh, we work together.

He's an investigator.

How you doing, Conrad? Conrad!

I'd appreciate it

if you'd give them both
your total cooperation.

Now, what are we waiting
for, ladies and gentlemen?

Let's get back to work, okay?

And think blockbuster!

Yeah!

Keep working, men.

Let's set up for the next shot.

Would you look at the
way that guy's dressed?

What... He's wearing a ponytail,

and he's got two earrings on.

Wait... Is there something
you want to tell me?

I mean, this is not like you.

Let me put it this way.

The studio...

is spending...

$10 million on this picture.

They can't afford
not to finish it,

and they can't
finish it without him,

so they made me my
favorite kind of deal.

Get out.

They let you write
your own ticket?

I learned to like ponytails
and earrings real fast.

Yeah. I'll get it.

Wow, that's a big one, isn't it?

Really big thing.

Oh, Mr. Burns, uh, Ben Matlock.

Oh, you... Oh, hey.

Uh, look, I got to...

I got to get this
stuff to my car.

They want everything
out of Catherine's bus

by the end of the day.

Oh, yeah, I'll help you.

Yeah.

They don't waste
any time, do they?

The creeps. Yeah.

They're gonna make a
fortune on Catherine's picture,

and they worried about
one lousy extra day's rent.

Yeah, yeah.

This was gonna be her comeback,

and yours, too,
as a matter of fact.

Boy, a manager's dream.

Well, Catherine's
and my relationship

went beyond business.

Oh, oh, is this, uh...

Wait a second... Yeah.

Oh, look.

Was Susan your... your daughter?

No, no. From a
previous marriage.

Long before I met her.

Oh, oh. When was that?

15 years ago.

I... I managed her when
I negotiated the first lead

in the Terror Town film.

Oh, yeah, and after that,

her career took
a dive, didn't it?

Dive?!

Well, slide.

Hardly! She did four sequels.

But you're right.

After that, the offers
did start drying up.

As a matter of fact, the
only way I got her in this film

was by taking points and
getting down on my knees

and just plain begging.

Yeah?

Noel Bishop told me
that he heard Catherine,

on several occasions,
threaten to fire you.

Fire me? Are you kidding?

Well...

Well, listen, Catherine
was a very theatrical woman.

I mean, she, she loved
scenes and high drama.

She was always
threatening to fire everybody.

But never did?

No. She was just acting.

When she was in that room
by herself, where were you?

I was downstairs standing
with some reporters.

Uh-huh.

And-And when the
camera went up the stairs?

I was right behind it.

You know, after Catherine
and Noel had their fight,

she demanded that I be on
the set at all times, and I was.

As a matter of fact,

I was the one that
discovered she was dead.

Oh. Hmm.

She always said

I was never there when
she needed me and...

God help me, she was right.

Oh.

Well...

Ready?

You ready?

Yeah, I'm all... I'm all set.

Hey, guys, when you
get the stuff unloaded,

I want it in the shade pronto.

All right, now the question
was, who didn't I see?

Yeah, just before the... no...

Or even during the
what-do-you-call-it,

when the-the camera guy...

Operator? Yeah,
the camera operator.

When he's-he's... he's
just holding the camera.

The Steadicam shot.

Yeah, the Steadicam.

Um, I didn't see Susan
McKay, that's who I didn't see.

Catherine's daughter. Yeah.

Yeah, I remember. As I
was calling the paramedics,

I'm thinking, geez, I hope
they get Susan away from there,

you know, so she doesn't
see her mom like that.

But then I remember thinking,
wait a minute, wait a minute...

Just where the hell
is Susan anyway?

She wasn't on the set?

I didn't see her.

Do you know if
she's on the set now?

She was here earlier,
but she went home.

We're just shooting pig
guts the rest of the day.

Pig guts?

Thank you.

Boy!

This yard could
use a little care.

So could the house.

Well, I guess the butler's
too elegant to do yardwork.

The maid's going nuts.

Yeah... well, she's
cleaning up a stor...

That's not the
maid. That's Susan.

Hi, Susan.

Hey, go. Go...

She was rifling through
Catherine's desk?

Uh, yeah. Susan?!

Uh, I think she was kind
of upset when she saw us.

I think she's gone.

How strange.

I wonder what she was up to.

Uh, she took some
letters out of this drawer.

You-You have any
idea what was in them?

Could be anything
from three-year-old bills

to 20-year-old fan mail.

Uh-huh. Never got
rid of anything, huh?

Never.

Uh, where did she keep
the knife that killed her?

Oh. Over here.

Mm-hmm.

Uh...

They're supposed
to use a replica.

Yeah. Mm-hmm.

You know anything
about her scrapbooks?

Pardon? Scrapbooks.

Uh, 1977 and 1979 are missing.

She must have lent
them to someone.

♪ ♪

♪ ♪

Boo!

McMASTERS: Ben?

Oh, oh.

Oh, hi, Susan. I'm Ben Matlock.

Oh, well, why don't you
make yourselves at home.

Well, as soon as
this will is over,

I won't have to deal
with this anymore.

She scares people
for a living. Oh?

Good at it, too. Oh.

Got the goose bumps to prove
it. You said you wanted to ask me

some questions... so ask;
I've got nothing to hide.

Okay. Why were you rifling
through your mother's desk?

That's none of your business.

Ha! Like mother, like daughter.

Uh, Susan, I know
this is a difficult time

for you, and I'm sorry that
we have to make it any worse,

but you're gonna
have to tell us...

and the police.

I was doing
research for my book.

Uh, how's that?

My book.

The book that's
gonna tell the world

what a vain, selfish and evil
person my mother really was.

Susan! Oh, Jack.

You're just mad because
you didn't think of it first.

Uh, Susan, uh, what was, uh,

was in the-the letters that you
took from your mother's desk?

I don't know, I
haven't read them yet.

What about the scrapbooks?

I didn't take any scrapbooks.

Well, two... two
books are missing...

A 1977 and 1979.

That's fan magazine garbage.

See, my mother only
kept the-the nice things

that people said about
her, the made-up stuff.

I'm gonna write the truth.
- Like hell!

You hated your mother,

and now you're gonna
exploit her memory for money.

It's a great idea, isn't it?

Uh, Susan,

nobody remembers seeing
you on the set after you attached

that, uh, phony knife to
your mother... why is that?

I was in her bus.

Oh, oh, now.

So that's why Catherine's things

were scattered
all over the trailer.

You rifled through them.

You thief! Oh, as if you

haven't been stealing from her

since the day you
walked in the door.

What are you gonna do now,
anyway, huh, you parasite?

Maybe I'll write
a book about you.

Daughter From Hell.

Jack, you're gonna love my book.

See, when it comes
out, everyone will know

you and my mother for
the snakes you really were.

You write one word about me,

and I will sue you
into the ground.

Of course I knew
Larry... He was always

right there holding
Catherine's robe.

She was always cold.

Of course, she did most of her
scenes in her underwear... real pro.

Could she really
scream in three octaves?

I-I saw one of her
pictures one time.

Absolutely. That's amazing.

Okay, so he was on the set the
day she was murdered? Yes and no.

What do you mean? Well,

I was sitting at the
makeup table as usual.

You know how long it
takes to put this stuff on?

Right. I know

he went into the
house with Catherine

but I don't remember
seeing him come out.

He says he went for a walk.

He didn't go past me.

So, what do you think?

Could he have been in the house

without anybody
knowing about it?

Sure.

Sometimes I used to find
him sitting in a dark corner.

Just holding Catherine's
robe and staring off into space.

The guy is very weird.

Okay. Thank you.

Thank you.

Do you know where I
can find a telephone?

Oh, sure. Right over there.

Thank you.

Mr. Mitchell, could
we step outside

and-and talk for a minute?

Mr. Matlock, this is neither
the time nor the place.

It's either here or in court.

Okay.

After that big fight
between Susan and Jack,

I started wondering what
was gonna come of all this.

I read the will.

Guess who gets the house?

You've seen it.

It's hardly worth
killing someone for.

The property.

Prime location.

One developer said
that he would gladly,

gladly pay three
quarters of a million

just for the land.

Tear down the old
house, put up a new one.

A lot of people have been killed

for under three quarters
of a million dollars.

I am the last person on earth

who would've killed Catherine.

Why's that?

I was her husband.

I don't know why she
mentioned the house in the will.

She... I get it anyway.

Community property.

Seems a little bit
strange, you know.

She lived in that house

with Jack Burns for 15 years.

Ours was an unorthodox marriage.

Catherine and I met in 1968.

Susan was barely two

and Catherine was
still an unknown.

We fell in love.

And at my insistence
we drove to Las Vegas

and got married.

But there was one condition.

I was to tell no one.

Why?

She claimed that marriage
was a bad career move.

Anyhow, within a few
years, our marriage was over.

At least as far as
she was concerned.

But she never
demanded a divorce.

And she agreed to let me
stay as her chauffer-butler.

And you wanted to stay?

How could you stand it?

Not only did Jack
Burns live in your house,

he slept with your wife!

I loved her...

and I couldn't help but think

that the reason she
never divorced me,

never sent me away...

was because deep down inside...

she loved me, too.

♪ ♪

♪ ♪

♪ ♪

♪ ♪

Oh, Conrad.

Conrad, you're good.

I'm talkin' good.
You're good-lookin',

you're a good dresser

you're a good yodeler,

you're a good snoop,
you're a super snoop.

What are you two You really
think I'm a good yodeler?

Talking about? Get your
hands hands off of me.

Oh, hi, Jack.

Why were you following me?

You knew I was following you?

Oh, yeah. Remember
when I left the mortuary

and I stopped and made
a phone call? I called him.

See, you were following
me and he was following you.

Why were you
following me? Well, I-I...

I just...

Just what? I-I...

I was just curious. I...

Oh, curious to see how
close we were coming?

Close? Yeah.

How close we
were coming to, uh...

the killer... to you.

To me?! Yeah.

Well, see...

it couldn't have been
Catherine's daughter,

and, uh, it couldn't
have been my client.

And it couldn't have
been, uh, the butler.

So, uh... couldn't have
been either one of us.

So, as the song
says, it had to be you.

You'll never prove it.

Easy. That's the way.

That's it.

That's it. Take your time.

- Take your time.
- I love this shot.

Hitchcock had one like this

in practically every
one of his pictures.

A tracking shot so
long and complex,

it boggles the mind. Hmm.

Great, huh?

Makes me a little dizzy.

Here we are, Catherine.

Here we are.

On you now.

That's it.

Take your time. Take your time.

Cut. Print.

That was terrific,
Don. You can relax.

Could I see the... the last, oh,

few seconds over again?

Sure.

Could I have the
last two feet, please?

PROJECTIONIST: Okay, fine.

Take your time.

Hold it right there.

Freeze it, please.

Could I see, uh, uh,

one of those copies of
the police photograph?

Mr. Burns.

How did you get
into the business?

I mean... I mean, what...

what were you
before you teamed up

with Catherine
McKay 15 years ago?

I was a publicist.

Then I went into business
for myself as a talent manager.

Oh, I-I see.

So, you-you managed

other actors' and
actresses' careers?

That's correct.

Well, what happened
to those clients

when Catherine signed with you?

I dropped them.

Why?

Catherine wanted me to
manage her career and hers alone,

which was fine with
me, she was a big star.

I could make more
money representing her

than representing all my
other clients combined.

Yeah, well... yeah,
I guess so, but...

seems to me the problem,

uh, with a situation like that

is that you put all your
eggs in one basket,

so if-if her career,
uh, dropped,

then your career
would drop, too.

And that's exactly
what happened, isn't it?

We shared some
rough times, yes. Yeah.

So, this picture
was your comeback,

as well as hers, wasn't it?

And-And once she started
raking in the big money,

why, you would, too.

Or, uh, would you?

A few weeks, uh...

uh, before Catherine died,

uh, you started, uh, talking
to other actors and actresses

about handling their
careers, didn't you?

So I talked to a few kids

about managing their
career... So what?

Well, for one thing,

it might indicate that, uh,

Catherine was not planning

to share her fame
and fortune with you.

As a matter of fact, she was
going to fire you, wasn't she?

No.

Catherine wouldn't
have done that.

We were in love.

Well...

yeah, well, there's
still no reason

not to hedge your bets and
protect yourself, is there?

But, you know, you had...

you had another problem there.

I mean...

you had been out of
circulation for 15 years.

Uh, I mean, how did these
people that you approached react

to the idea of your
handling their careers?

They weren't interested.

Not interested.

So, if Catherine had fired you,

you would have had
a rough row to hoe

to get back on your
feet, wouldn't you?

I mean,

here she had her
comeback, thanks to you,

and what did you get out of it?

I mean, nothing.

Make you mad?

That is not the way it was.

Oh, I think it was.

I think it made you mad,
and I think you killed her.

I have an alibi for the time
of the murder and you know it.

One of your jobs was to

generate publicity
for her, wasn't it?

Yes.

Did you ever stage any...

publicity stunts?

I staged press
conferences and photo ops.

Things like that.

No, no, I'm not
talking about that.

I'm talking about old-fashioned,

headline-grabbing,

no-holds-barred stunts.

Like 1977, '79, when-when...

when Catherine's career
was really dragging bottom

and she needed every
inch of press she could get.

I don't know what
you're talking about.

Of course you do.

Like in '77.

You got the press to believe
and the public to believe

that she was being held hostage
in a hotel room by a crazed fan.

She was held hostage.

The police ruled it a hoax.

No man was ever
found or arrested.

And in '79, at a famous
producer's house,

at a well-attended party,

you had her fall into the pool
and pretend to be drowning

so you could jump
in, drag her out,

give her mouth-to-mouth
resuscitation,

pretend to save her life.

That was no stunt!
She almost drowned!

And so that's why...

you took those two scrapbooks...

1977 and '79...

Out of Catherine's library,

so that nobody would read them

and remember the kinds
of stunts you used to pull

and start drawing parallels

between them and
Catherine's death.

What in the world
are you talking about?

Okay.

You told her to pretend to
be dead that day, didn't you?

You told her not
to move a muscle

when Noel yelled, "Cut."

You told her to let
everybody believe

that she was already dead,

so that when the paramedics,
the police and the press

all stormed into that
room, she could sit up

and scare the hell
out of everybody.

You convinced her
it was a good stunt,

and she believed you.

Only, when you sounded the alarm

and everybody left
the room to get help,

you stayed and you
killed her, didn't you?

I did no such thing.

You can't prove a word of this.

Not one word.

I can.

And if the court will permit
a short demonstration, I will.

Proceed. Okay.

Now, these...

copies...

of the police photograph...

of the body.

It's been marked
"People's Exhibit 2."

Pass them along, please.

Uh, it's not a very...

pretty picture... And
I apologize for that...

But it's important
that you look closely

at the position of
the knife handle.

Roll the film.

Now, this strip of film

has been marked
"People's Exhibit #1."

This few feet is the last scene

in Catherine McKay's life.

There, the camera's moving up.

There she is, as still as death.

Freeze the frame.

All right.

Now, she looks like she's dead,

but she's not dead.

You have to remember,
Catherine was an actress,

and she had played this
death scene dozens of times.

She knew how to not
move a muscle, not breathe.

We know she's alive

because of the position
of the knife handle.

See, the knife handle here

is facing her feet.

But the knife handle
here, in the photograph,

is facing her head.

This one is fake.

This one is real.

She was going to drop you.

I mean, just like that.

After... After all those
years of devotion.

Just drop you.

And it made you mad.

And you thought of this...

marvelous stunt,

and while everybody
was out of the room

except you and she,

before she knew
what you were doing...

you removed the prop
knife from her chest...

and plunged the real
one through her heart,

which explains

how the handles

got reversed.

She deceived you.

And you killed her.

Nothing further.

Thank you, ladies and gentlemen.

Case dismissed.

You were terrific.

Oh!

Yeah. You, too.