Matlock (1986–1995): Season 6, Episode 11 - The Picture: Part 1 - full transcript

♪♪ [theme]

♪ Now I'm hoping tonight
you'll go, go to the right window ♪

♪ Scatter your light, say
I'm all right, please do ♪

♪ Tell her that I'm
blue and lonely ♪

♪ Dreamy Carolina moon ♪

Ben?

- Ben, will you please answer that door?
- Who could that be?

- I don't know. It's almost 9:00.
- Ben!

Ben! Ben!

I guess I'd better go answer it.

Ben, answer this door!



- Ben!
- Oh, no, it's my cousin. It's Diana.

Open the door!
Let me in the house!

Thank goodness you're
home. We have to talk.

All right. What would
you like to talk about?

So, Diana, what brings you
over here at 9:00 at night?

Ben, Ben, Jack left
me for another woman.

Jack left me for another woman!

Diana, quit it!

Ben... Here. Sit down.
Come on, sit down.

Now, when did this happen?

Two weeks ago.

I came home from the
hairdresser's, and he was gone.

All his things were gone, too,
and I haven't heard from him since!

There, there.



Ben, I'd love to stay
and chat with you folks,

but it's getting on
toward my bedtime, so...

But like I said,
I'd love to chat.

Go! Just go.

There, there, now.

What makes you think
it's another woman?

Because he left a note saying
he was going to start over with Lisa

and that his attorneys
would be in touch.

Ohh...

Who's Lisa?

Some would-be artist that he met
at this gallery he always patronized.

I met her once.

Oh. Talk about space cadets.

And young... She could
be doing Clearasil ads.

Look, I know he's rich, but...

I could understand an
affair with a Hollywood starlet

or a professional tennis player,

but some witless bimbo?

He must be out of his mind.

Well, maybe it's just temporary.

I mean, after all, you
were having problems.

No, we weren't!

Diana, I'm the last
person you can lie to.

I've known you
since you were born.

The first time I ever
laid eyes on you,

you were laying there screaming your
head off, waving your fists in the air.

Your poor, beloved, sainted
mother... God rest her soul...

Said that all babies do
that, but you never stopped.

Jack was used to it.

We were married for
18 years, for God's sake.

Well, maybe he got tired of it.

So he leaves me for some
brain-dead finger painter?

Diana, you've got
to face the facts.

I know, I know, Ben. I'm trying.

Maybe it was my temper,
maybe it wasn't. Oh, I don't know.

All I know is I want him back!

- Did you tell him that?
- I don't know where he is!

His attorneys do, but he told
them he'd fire them if they told me...

And his accountants, too.

- How about his friends?
- Nobody has seen him.

Apparently, the only person
he socializes with now is Lisa.

Oh, you've got to help me.

Oh, no. No, Diana.

Ben, please, tell him I'm
sorry. Tell him I'll change.

Tell him things will be different.
Tell him he's got to talk to me again!

You say he met this
Lisa at an art gallery?

Yeah, the Westlake Art
Gallery on Ninth and Pine.

She works there.

Her full name is Lisa Sullivan.

You go in there,
and you tell them...

I... They won't talk to me.

Diana...

Uh, Diana, I don't want to get
involved in your personal affairs.

Oh, Ben.

Please, Ben.

Please.

I know I'm not exactly your
favorite cousin, but my mother was.

For her sake, Ben, please.

Please, please, please.

Oh, Diana.

I can't. I...

Well...

I'll do what I can.

Oh, thank you.

[kissing] Mm-mm-mm-mm-mm-mm.

Thank you. Thank you.

Oh, thank you, Ben dear.

You're an absolute saint.

But find him.

Thank you, Mrs. Nichols.

- Enjoy.
- Thank you. We will.

Boys. Joey... - [gasp] - Joey!

- Ha ha!
- Whew.

Oh, my gosh, thank you.

You're welcome. You should probably
get it out of the flight path, though.

Yeah, well, I think they ought to forget
about dogs and start a leash law for kids.

- Yeah.
- What do you think?

Oh, can I help you
find something?

Actually, I'm looking
for someone...

- Oh.
- Lisa Sullivan.

Somebody said she works here.

Well, she used to work here.

I took her place when she quit.

Uh, do you have a
forwarding address for her?

Why do you want
to find Lisa so bad?

Actually, it's a long story.

My wife, her name
is Lisa Sullivan, too,

and earlier this year we got this
huge refund on our state income tax.

The only thing is
we just moved here.

We didn't pay any state
income tax last year,

so we keep trying to tell them

that they've got the wrong
Lisa Sullivan on their computer.

But every time we send them the check,
they keep sending it right back to us.

Yeah, well, you know, I
haven't met a computer yet

- that can handle rejection.
- Exactly.

So the other night
we were at this party,

and we heard that Lisa
Sullivan worked here,

so here I am trying
to be a good guy.

Well, what do you
know. An honest man.

Come with me.

Boy, I tell you, Lisa's
going to love you for this.

Here it is: 1242
South Barrington.

Know where that is?

- Yeah.
- Okay.

30334.

Oh, great. Thank you.
I really appreciate this.

My pleasure.

Uh, do you know
what she looks like?

Well, yeah, you know, I think
I have a picture right here.

Yeah.

Now, this picture was taken
at the Lipscomb opening,

which was about a year
ago, so it's pretty recent.

And that is Lisa right there.

Yes?

Hi, Lisa. I'm looking
for Jack Huntington.

Wrong address.

Wait. Wait.

My name is Conrad McMasters.
I work for Ben Matlock.

I just want to talk to him.

Go away.

[Jack] It's okay,
Lisa, let him in.

Thank you.

Conrad?

Jack, it's good
to see you again.

Lisa Sullivan, Conrad McMasters.

Now, what's this about?

Well, Ben had me track you down.

Apparently, your wife's
pretty anxious to talk to you.

- Diana!
- Just walk away from me, huh, Jack?

Thought I'd just dry up and blow
away like some old newspaper?

For heaven's sake,
put that down, Diana!

This time you really
made me mad, Jack!

Let go of me. Let go of me!

I'm sorry about this,
Jack. I didn't mean it.

You're nuts, Diana!

Me? Oh, look at you.

You're a bum... a
bum with a bimbo.

Get out!

If you come back, so help
me I'll have you thrown in jail!

I'd like to see that.

I'd like to see you try that,
Mr... Mr... Mr. Young at Heart!

- Come on! Diana, come on.
- God damn him!

- God damn him!
- Come on.

[both shouting]

Jack, your wife
needs serious help.

You think I don't know that?

[phone rings]

[grunt]

Hello.

Oh, Jack, I was just try...

She what?

[McMasters] Ben?

They just got here.

Oh, I can't tell
you how sorry I am.

Yes.

Yeah, sure. I'll be there.

Okay, Diana, you used me.

Look, I was afraid that
even if you found him,

- he still wouldn't talk to me.
- Well, who could blame him?

You just went
after him with a gun.

It wasn't loaded.

For God's sake, do
you think I'm crazy?

[chatter]

[Female singer] ♪ Get
back into your room ♪

♪ Let me see where you've been ♪

♪ I don't want to know ♪

♪ The story of your life ♪

♪ Only tell me how you feel ♪

♪ Would you like
to feel my lips ♪

♪ Caress your shoulder? ♪

Ben, how are you?
Good to see you.

- Sit down.
- Yeah.

Ahem.

What kind of place is this?

It's an old-fashioned, Greenwich
Village-type coffee house.

A big hang-out for artists.

Lisa turned me on to it.

What'll you have?

Just bring one of these.

Lisa wanted to come along,

but she scored some kiln
time over at the college,

so she decided to spend
the afternoon throwing pots.

Oh, that's good. That's
good. Throwing pots is good.

What's the deal with your hair?

Letting it grow.

Lisa's idea.

Says I should flaunt
it while I've still got it.

She has changed my life, Ben.

Yeah, I see that. I...

You know, she's
Beatrice to my Dante,

my guide through a
universe I never knew existed.

Before I met her, I thought art was
just something you invested money in.

But I realize now it's an
investment of the soul.

[Waiter] Here you go.

That's double
mocha... Lisa's favorite.

[cough]

Boy, that's strong.

Listen, I can't stay.

I just stopped by to tell you how
sorry I am about what happened.

Well, we both know
Diana's a little nuts.

We had to put a double-lock
on the door and a bolt.

Maybe she'll calm down
or move away or something.

Conrad dropped this
picture up at Lisa's place.

Do you happen to
know where he got it?

Yeah, somebody at Westlake
Art Gallery gave it to him

so he'd know what
Lisa looked like.

Well, if you look close, you
can see that this guy here is me.

But when this picture
was taken, I wasn't there.

Say again?

Okay.

This guy here Lisa's with,
that's Howard Lipscomb.

He's an artist.

This picture was
taken last year,

when his work was
on exhibit at the gallery.

Howard Lipscomb attended the
VIP showing which opened the exhibit

and then flew back to New York,

and I came the night after,

which was the grand
opening for the general public.

And by then, Howard
Lipscomb was in New York.

You see?

There's no way we could have
been in the same photograph.

- You're saying this is a fake?
- It has to be.

Part of this picture was
taken on the first night,

and part of it was taken
on the second night.

It's a composite.

Well, why would
anybody want to do that?

That's what I want
you to find out.

- Me?
- You owe me, Ben.

What if Diana had shot me?

This is just a picture.

What if you had found out somebody
had faked a picture with you in it, huh?

You'd bust your butt trying to find
out what was going on, and you know it.

Well...

You could be going to
my funeral today, Ben.

Oh, come on, Jack.

If it hadn't been for you, I never
would have even seen this damn picture.

[chatter]

[Woman] Sorry. Not interested.

Because his work
stinks, that's why.

If you want to get him a
showing, try the animal shelter.

Well, you have a nice day, too.

Excuse me.

Uh, are you in charge?

Supposedly. I'm the
owner, Caroline Westlake.

Ben Matlock.

- Ben Matlock? The lawyer?
- Oh, well...

What a pleasure.

And welcome to our new exhibit.

- We're very excited about it.
- Oh.

I've never seen
anything quite like this.

Yes, these artists are
expressing the dramatic clash

between freedom of form
and immutability of function.

Oh, they are? Uh-huh.

Oh, you like it?

Oh, yeah. Yeah.

It's called "War and
Peace" by Clifford Alexander.

Twenty-eight thousand dollars.

You have excellent taste.

Twenty-eight thousand?

Well, that's a fair...

Actually, I don't
know where I'd put it.

Uh, could I...

I came down here to ask
you about this photograph.

I understand it was taken...

Uh, I understand it was taken

during a showing you had
for Howard Lipscomb last year.

- That's right.
- Uh-huh.

- Who took it? Do you remember?
- Gus Steinway.

- He used to photograph all our events.
- Used to?

He pulled up stakes and
moved to the Greek Isles.

Midlife crisis.

[Matlock chuckles]

Is there a problem?

- Do you know Jack Huntington?
- Very well.

Well, he says that's a fake.

A fake?

Yeah. He says this side
of the picture was taken

at the VIP showing when
Howard Lipscomb was here

and this side was taken the next night
when Howard Lipscomb was not here.

I'm not expert, but this picture
sure looks like the real McCoy to me.

[phone rings]

Could I?

- Oh. Of course.
- Thank you.

Westlake Art Gallery.

Uh, Lou, I'm going to
have to call you right back.

[dialing]

It's me.

We have a major problem.

Somebody got that photograph.

The photograph.

Well, someone already
has been asking questions.

That lawyer, Ben Matlock.

[Jack] I don't care
what Caroline thinks.

I know that picture's a
fake. I wasn't there that night.

Tell him, sweetheart.

He wasn't there,
Mr. Matlock. I remember.

You see, to me, Howard
Lipscomb is a hero.

Look, his work is bold and
brave and intellectually thrilling.

I will never forget how excited
I was to finally get to meet him

and how disappointed I was that
Jack couldn't share the experience.

You sure you don't
want to have one?

No, the buzz I got from the
other one lasted till 4 this morning.

So what's your next move?

I don't know, Jack.

This is just a picture, and
I've got a law firm to run.

It's a fabrication, Ben, and
whoever fabricated it had a reason.

Maybe I was matted
into that picture in order

to cover up something
in the background.

Well, you were there that night.

Does anything look wrong or out of place
in this picture... I mean, besides Jack?

No.

Who are these two fellows?

Well, the big guy
is Dick Lerner.

He owns some medical supply
company... Collects Pollocks.

What about this guy?

No. No, him I don't recognize.

Hello, Ben.

Lisa.

Hello, Jack.

[sigh]

[snoring]

[glass shatters]

- Hey!
- What?

Uh, good morning.

Good morning.

Get the meaning?

Uh, crazy, mixed-up world.

No. It's called "Eggbeater."

Oh.

How can I help you?

Do you remember that photograph
I brought in here yesterday?

The one from the
Lipscomb exhibit?

Yeah. It was stolen last night.

You're kidding.

Somebody broke in my house
and took it right off my desk.

It's the only thing he stole.

How strange.

The thing is the only person outside
Jack Huntington and Lisa Sullivan

who knew I had
the picture was you.

Are you suggesting
that I stole it?

No. I know I was knocked
over by a man last night.

I just wonder if you told anybody
about the picture after I left.

No.

Wait, wait... I told
Randy about it.

She gave it away,

and I told her not to give anything
away again without checking with me.

[clatter]

Ted, easy.

I'm going to have to keep
an eye on these guys.

Oh, yeah. Okay.

I'll tell him. As a matter of
fact, he's sitting right here.

I'll talk to you later.

It was Caroline.

Matlock's been in
asking more questions.

She's mad, and
I don't blame her.

Well, he's shooting
blanks. Just relax.

You had to go and
steal that photograph.

This is a million dollar deal we've got
on the line here, don't you know that?

Hey, my neck is on
the line here, fat boy.

Look, maybe you can afford
to take chances, but I can't.

I want you to shut up
and get off my back.

What did you do with
the photograph, John?

I burned it. End of problem.

Yeah? Not necessarily.

[ring]

[ring]

Hi. I'm looking for the person who
used to be Gus Steinway's partner.

Yeah. That's me... Leon
Rousseau. What do you want?

Well, I'm doing this book on Howard
Lipscomb... you know, the artist...

And I understand that Gus
did some pictures of the exhibit

that Howard had at
the Westlake Gallery.

Could we get to the
bottom line? I'm kind of busy.

Sure, well, if any
of the negatives are

around, I'd like to take
a look through them.

What, does this look
like a library to you?

I'll pay you just
to look at them.

And if I find something
I like, I'll pay you more.

How does that sound?

Wipe your feet.

There.

Knock yourself out.

Is this stuff in
any kind of order?

No.

If you need me, I'll be across
the hall in the darkroom.

Whatever you do,
knock first, okay?

Gotcha.

Ahh!

That will be 50 bucks up front and
50 for each negative that you pull.

[Woman] Mr. Matlock, sir.

Richard T. Lerner at
your service, Mr. Matlock...

Unless, of course,
you've come to sue me.

Oh, no, nothing like that.

Can I get you something
to drink? Coffee? Juice?

No, thank you.

- Have a seat.
- Okay.

Well, you look fit as a fiddle,
so I know you're not a customer.

No.

What is it that you
sell, Mr. Lerner?

Medical equipment.

Oh. Well, you must
be doing pretty well.

I see you collect art.

Well, of sorts.

I'm kind of partial to abstract
expressionism, as you see.

Yeah.

I hear that you
were at a showing

that Westlake Galleries had
for Howard Lipscomb last year.

Yes. I like Howard
Lipscomb's work.

Actually, there
were two showings.

There was one for the VIPs
and then one for the public.

Which one did you go
to? Do you remember?

Well, the VIP, naturally.

[chuckling]

But it was a year ago, as
you said. I could be mistaken.

Do you remember whether you met
Howard Lipscomb when you were there?

Oh, I've met Howard
half a dozen times.

Maybe it was at the
opening, maybe not.

Well... Again, these are
really, really very nice.

Thank you for your time.

Come in again.

I always like it when famous people drop
in on me... not that they ever really do.

Oh.

Here, would you like a
malt ball for the road?

Oh, no, I shouldn't.

Neither should I, but I
mean, they're sitting right here.

What the hell?

Thank you.

Hey, hey, hey.

[glass breaks]

Aah!

Hey! Hey! Hey! Hey!

Hey!

Come on, man, that's
all my stuff. What the...

[knock on door]

Uh, coming.

Coming.

- Oh, Les.
- Ben.

Want a sandwich?

No time. Ben, I've got
some big news... big news.

You'll never guess what it is.

You won the lottery.

No, no, this is big. Big-big.

I mean really big.

Um, you're going
around the world?

No, no, no.

This involves a person of the opposite
sex and a plan the two of us have.

You're getting married.

Who told you?

Well, I think that's wonderful
news, Les. Congratulations.

Sit down. What's the lucky lady's
name and how did you meet her?

Her name is Mildred...
Mildred Novotny...

And we met in the produce
section of the supermarket.

She was trying to pick out a ripe
melon... You know, one of those Casabas?

So she handed me one and
asked me if I thought it was ripe.

So I gave it a squeeze and
told her I thought it was okay.

Oh. So it all really
started over a melon, huh?

Well, actually, it
started before that.

You see, we were both
backing up our carts,

you know, looking
at the produce,

and the next thing you know,
we backed into each other.

- Backed right into each other?
- Yeah.

And neither one of us moved for, I
don't know, it must have been 19 minutes.

- Back to back?
- Back to back.

What is she, a widow?

Yeah. Oh, and she
used to be a nurse.

You know, when I was
young and used to date,

I always felt safe with a nurse.

[Matlock muttering]

Well, they know so much
about the body, you know.

Yes. Yes. Yeah.

Where are you going to
go on your honeymoon?

Oh, Mildred wants to go
someplace she's never been before.

Oh, someplace romantic
like Paris or Mexico?

No, the Mayo Clinic.

The Mayo Clinic?

Well, yeah. I told you
she used to be a nurse.

She wants to look around. You
know, watch a few operations.

Gosh, I've got to go.

I promised Mildred I'd meet her.

- At the market?
- Yeah, to help her with her shopping.

Les, you really
are a fast mover.

Well, Ben, time
waits for no man.

[McMasters] Hey, Ben?

In here.

What happened to you face?

Somebody jumped me
at the Steinway studio.

They were after these.

Proof sheets and negatives

of the pictures Steinway shot at
the two Howard Lipscomb showings.

Somebody jumped you?

Yeah.

Well, I got his license number.

I get burglarized,
you get assaulted.

Jack's right. Something
serious is going on here.

No kidding.

Lieutenant Brooks, please.

I didn't expect you to
handle this personally, Bob.

When I saw the list of priors on
this guy, I couldn't help myself.

If he was wearing a ski mask, how
do you all know it's the same fellow?

I'll know.

This whole thing started
because Jack got a roving eye.

If I was married to Diana,
I'd get a roving eye, too.

My eye would fly
all over the place.

Open up, Mr. Resnick.
It's the police.

Mr. Resnick?

That's the guy that
jumped me, Ben.

Same clothes, same build.

- I know.
- How do you know?

You know that third guy in the
picture that nobody recognized?

That's him.

There's one.

Yeah, and there's the other.

Those are the pictures that
were used to make the composite.

You see? I wasn't at that
opening with Howard Lipscomb,

and neither was Lerner.

He lied to you, Ben.

Whatever's going on here,
Lerner's in on it, I know it.

I wish we had some proof.

Proof? Somebody
steals the picture from you

and then tries to steal the
negatives and then gets murdered.

Now, what more
proof do you need?

Well, something's going on, all
right, but dag-gone if I can figure it out.

Somebody better
figure out something.

I could wind up with
a bullet in my head.

[car tires screech]

Oh, no.

Jack? Jack.

Jack, Jack, we have to talk.

There's nothing to say.

Oh, now, Jack,
you don't mean that.

- You don't get it. I want a new life.
- Go home, Diana.

You can't abandon me
like some rusted old car!

- Diana, go home.
- Stop this, will you, please?

- I hate you! I hate you! I hate you!
- Diana. Diana...

Get her off my back!
I want her arrested!

- Oh!
- Jack!

- Diana!
- Get her off my back!

- Get her out of here!
- [Diana shouting]

Oh, Les.

Hi, Ben.

Sorry to barge in on you
like this, but I need your help.

- Yeah?
- Yeah.

Mildred wants a church wedding,

and, well, we're trying to decide
what kind of music to have.

Now, I suggested an
organ playing a medley...

You know, "O Promise
Me," "I Love You Truly,"

"There'll Be a Hot Time
in the Old Town Tonight."

I'd go for "Hot Time in
the Old Town Tonight."

Yeah, but Mildred wants something
different, something more personal.

Oh, personal.

Boy, you're... you're really...

You're really stuck
on Mildred, aren't you?

Well...

So something personal.

Personal.

Personal. Um, um...

Why don't we sing her a
duet and dedicate it to her?

- You think so?
- Oh, yeah.

What could we sing?

Didn't you say she spent
time in South Carolina?

- Yeah, she loved it there.
- Yeah?

Well, how about "Carolina Moon?"

Think she'll like it?

- Oh, she'd love it. I bet she'd cry.
- Yeah.

Of course, I don't know.

I don't know. You're so
sensitive, you might cry yourself.

Oh, come on.

Okay. Okay, let's
give it a try, want to?

Okay.

♪ [vocalizing] ♪

♪ Carolina moon ♪

♪ Keeps shining ♪

♪ Shining on the one
who waits for me ♪

♪ Oh, Mildred ♪

- ♪ Carolina moon, I'm pining ♪
- [sniffling]

♪ Pining for the... ♪

Are you all right?

I'm fine. I'm fine.

Are you crying?

No, no, it's my sinuses.

I've got to go home
and use my nasal spray.

♪♪ [guitar]

You know?

I'll bet you anything that
photographer dummied up the picture

and then left for Greece because
John Resnick paid him to go.

But where did he get the money?

You think he was
blackmailing someone?

This is making me crazy.

You make me crazy, too.

I'm trying to work.

I like it.

- It's terrible.
- Mm-mm.

Oh, Jack.

You know Randy McGowan, that
girl that took my place at the gallery?

She called me today,

and apparently all this
fake photograph stuff

has gotten Caroline
real ticked off.

You know how Caroline is.
She's been giving me a bad rap.

- To whom?
- To everybody.

Why is she badmouthing you?

Because I'm what started it
all... At least in her mind I am.

Jack, art is my whole life.

People listen to Caroline.

She's going to ruin my
career before I even have one.

No, she's not.

I promise.

Keep painting.

I'll pick up dinner
on my way home.

And I hope to hell I
don't run into Diana.

- Home from where?
- The gallery.

I'm going to
apologize to Caroline.

I'll tell her from now on if anybody
asks her about this damn photograph,

I'll personally punch
them in the nose.

How good are you at seascapes?

I don't know. I never tried it.

Then pack your paints.

Tomorrow we'll leave
for the Caribbean.

Hi, Randy.

Hi, Jack. I'm sorry.
We just closed.

Is Caroline still here?

Yeah, but she's meeting
some people in her office.

I'll just stick my
head in for a minute.

Can't this wait until tomorrow?

Well, we're leaving town, and I've
got to clear the air about Lisa, okay?

[knock on door]

- Jack.
- Hi, Caroline.

This will just take a minute.

You like Andy Warhol?

Not particularly.

Look, it's my fault

Ben Matlock's been hassling you
about this photograph, not Lisa's.

I was curious about it, and
he was doing me a favor.

So if you're upset, I'm sorry.

I'm dropping the whole matter.

And if you're carrying a
grudge, I'm your target, not Lisa.

Okay?

If you say it's over, it's over.

I don't hold grudges.
I don't have time.

Thanks, Caroline.

Sorry to interrupt.

Bye.

I can't stand his work.

Whose?

Warhol's.

Well, this isn't a Warhol.

The one they're
looking at in there.

Good night, Randy.

Good night, Jack.

Ben.

I just uncovered some
information about John Resnick

I thought you'd
be interested in.

Are you in the mood to hear it?

No, but tell me anyway.

I'm so jittery, I
can't stand still.

Time for my run anyway.
Maybe that will help.

- I'll be back in 40 minutes.
- Oh, I don't know what to pack.

Hmm.

You're packed.

His name was Hugo
Wyckoff, a local artist,

a lithographer who died about
a year ago in a hit-and-run.

What's he got to do
with John Resnick?

Well, when the police
questioned Wyckoff's widow,

she said that he told her
he was afraid for his life.

Now, he didn't say why he was afraid,
but he did say of whom... John Resnick.

But as it turns out,
John Resnick had an

alibi for the night Hugo
Wyckoff was killed.

He was at the opening of an art
exhibit at the Westlake Gallery.

The Howard Lipscomb Exhibit?

Uh-huh. And when the
police checked out the gallery,

they were shown a photograph

that proved John Resnick was
there at the time of the hit-and-run,

so Resnick was
dropped as a suspect.

They dummied up that photograph
to give John Resnick an alibi?

Probably.

Oh, one more thing.

John Resnick's two best friends were
Caroline Westlake and Dick Lerner.

On the night before he died, he made
a series of phone calls after 1 a.m.:

two to Miss Westlake, one to Dick Lerner,
and two to somebody named Carl Shepley.

So all of them are in on this
photograph fraud business.

They hired John
Resnick to kill that artist

and then killed John Resnick
because he knew too much.

But knew too much about what?

I don't know, but I'll tell
you what I'm not going to do.

What's that?

Tell Jack Huntington.

It would put him
right over the edge.

- Short cut.
- Okay.

The license plate
you saw was ESV...

Excuse me, Miss Sullivan.

I'm very sorry, and I
know this is painful,

but if you could
answer some questions,

it might help us to find
the person who did this.

I'll try.

According to the skid
marks and an eyewitness,

this wasn't just an accident.

Now, somebody meant to kill him.

Did he always run at this time?

Yes.

Well, last night, did
he make any calls

or maybe have an argument
with somebody over the phone?

No.

He did go out for about an hour.

Do you know where he went?

To the art gallery to
talk to Caroline Westlake.

- [police officer] Lieutenant?
- Excuse me for just a minute.

We have a make on that car.

If only he hadn't gone
running this morning.

- I know, I know.
- [police officer] ESV 571...

Why did Jack want to
talk to Caroline Westlake?

So he could apologize for all the
trouble the picture of him had caused.

Say, I'd better get going.

Um, I'll be in
touch, Miss Sullivan.

Have you got something?

Yeah, the eyewitness says that the car
that hit Jack was a blue Lincoln Mark VII.

[Diana] Jack's dead?

- Yeah.
- I can't believe it.

- Jack's dead.
- Here.

What did you want to see my car?

When did you last drive it?

Yesterday.

You didn't drive
it this morning?

I just told you no.

Oh, my God.

Did it look like this yesterday?

What happened to it?

I'm afraid I'm going to have
to place you under arrest.

I can't believe it, my
beloved Jack dead.

I'm shocked. Shocked!

How can anyone
think I'd kill him?

Maybe because you assaulted
him twice... Once with a gun.

But I told you the
gun wasn't loaded.

- Once in front of a police lieutenant.
- I wasn't trying to kill him.

Diana, when people see a woman
waving a gun around, making threats,

they tend to take
that seriously.

Unless she said, "Just kidding,"

or she fires it and a little sign
comes out and says "Bang,"

people tend to believe
what they see and hear.

But anyone who knows me...

Knows that your life has
been one long temper tantrum.

- Where the hell do you think you're going?
- Home.

- Are you going to defend me?
- No.

You've got to defend me.

Give me one good reason why.

I'm innocent.

Then any lawyer can handle
it, and you don't need me.

- Ben.
- What?

If my mother was asking,
would that be your answer?

Ben, at the end, I took good
care of her, and you know it.

You're going to
defend this woman?

Yeah.

She's a nut case.

I know it, but she's family.

Well, how about the gun?

It wasn't loaded.

What about the little
incident outside the house?

Well, she just beat
him up with her purse.

You must be as nutty as she is.

Diana is not the kind
of woman that kills men.

She just makes them
wish they were dead.

Right. So you're going to defend her
so she can do the same thing to you.