Murder, She Wrote (1984–1996): Season 8, Episode 13 - Incident in Lot #7 - full transcript

Universal Studio bosses invite Jessica to plan a movie adaptation of her recent novel Messengers at Midnight, to be adapted for the screen by John Cavershaw. Producer Darryl Heyward accepts her objections to mutilating a true story, dumps John, actress mistress Monica Chase and most of the production team. Then he's clobbered to death in the Hitchcock Psycho house, where Jessica noticed someone hiding earlier after Willy Montego showed her around speculating general belief can make something evil. Jessica works out potentially motivating Hollywood interests. She finds weird fan Oliver Thissle, who claims he hid on the murder night in the Bates house and snoops there to set a trap.

MAN: Do you believe
in evil, Mrs. Fletcher?

FEMALE NARRATOR:
Tonight on Murder, She Wrote.

Can you tell us what did happen?

The house started talking to me.

Your husband around?

No, he's out of town.

Damn it, Darryl, how
could you do this to me?

I need to streamline things.

You just streamlined me right
into the unemployment line.

MAN: I heard she's going
back to the Bates House tonight.

Now you know that
place isn't very healthy,



and we both know
it isn't very safe.

(HITCHCOCK THEME PLAYING)

Mrs. Fletcher Yes.

Caroline Pryce.

Oh, yes, of course.
We spoke on the phone.

Yes, how nice to
meet you at last.

Darryl's tied up in
a meeting just now.

But he did ask me to escort
you to the office, and it's this way.

You know, everyone in
the whole studio is so thrilled

about doing a movie based on
your novel. It's such a wonderful read.

Well, that's very
kind of you to say so.

Actually, I was surprised
that you moved so fast on it

because the book
has only just come out.

Oh, but Darryl
doesn't waste time.



That's why he insisted you stop by
even before you check into your hotel.

He's so excited about meeting
you, even if it's just for a minute.

Is this your first
visit to Universal?

Yes, actually, it is. But I'm
hoping to do a bit of exploring.

Then you're in for a treat

because, around here, you
never know what will happen.

Ah, Mrs. Fletcher.
J.B., welcome.

Thank you. How was your flight?

Well, it was fine. It was quiet and
uneventful, which is the way I like it.

Terrific.

Allow me to introduce
my agent, Willy Montego.

A pleasure. I enjoy
your books. Thank you.

DARRYL: And this
is John Cavershaw,

the young writer we've hired to
adapt your novel to the screen.

Oh, Mr. Cavershaw.

Hi.

Please, have a seat.

Thank you.

Can I get you
some coffee, a tea?

Oh, no, no. I'm fine, thanks.

Oh, it's so nice to meet you all after
all those long-distance phone calls.

I must say that my publisher was
very impressed with your persistence.

That's Darryl. This project's all he's
been able to talk about for weeks.

Well, now that the legal
formalities are behind us,

do you see any creative
problems in adapting the novel?

Uh, that's really
John's purview.

But I do know that he has
some fantastic fixes on your book.

Uh, fixes?

Just an expression.

There's a big difference
between what works on the page

and what works on the stage.

A fix just means
taking what's there

and making it more
visual, not changing it.

(WATCH BEEPING)

I have to be somewhere
in 20 minutes.

But I've taken the liberty of setting up
a lunch for you and Johnny later today.

You can discuss the
story in more detail.

Oh, well, that'll be fine.

That'll give me just enough time
to go and check in at the hotel.

Well, it's been so
nice meeting you all.

Glad to have you aboard, Mrs. Fletcher.
I think you're gonna have a good time.

It may sound like a cliché, but, around
here, we're just one big happy family.

Damn it, Darryl, how
could you do this to me?

Leonora, you want to listen
to me for a minute, please?

The only thing I want to
listen to is the glorious sound

of something very heavy hitting
you right between the eyes.

I didn't do anything.

No? Check today's trades.

"Kevin Maxwell slated
to co-star in filmpic

"of J.B. Fletcher's The
Messengers of Midnight."

You know I can't stand that man.

Well, I know he
wasn't on your A-list.

You promised I'd never
have to work with him again

after what happened
last time. He's a... A...

A creep, a creep.
I know. Exactly.

I don't know where
this article came from.

I swear I had
nothing to do with it.

Maxwell probably fed
it to the papers himself

to drum up enough publicity
to get the part, that's all.

Then he won't be in the movie?

In the movie? He won't even
be allowed on the set. Honestly.

Would I lie to you?

For your sake, I'll treat
that as a rhetorical question.

When I bought the rights to J.B.'s
novel, I knew it was right for you.

I'm not gonna let anything
get in the way of that.

Particularly not Kevin Maxwell.

I'm sorry.

I feel like such a
fool. Shh. It's all right.

It's just that when I
saw that article, I...

Forgiven, forgotten, gone.

Now, finish getting dressed. I want
you over at the studio later to meet J.B.

You two guys are gonna
get along famously. All right?

All right? Okay?

Okay.

See you later.

DARRYL: Caroline, it's me.

Get Kevin Maxwell's
agent on the phone

and remind him that I
offered Kevin the role

on the condition that we keep
the deal quiet till I say otherwise.

If he opens his mouth again, I'll rip off
his eyelids and use them for bookmarks.

What?

No, I won't be back to the
office for a couple of hours yet.

I have an important
errand to run.

JOHN: And I got this gig
practically the day I got out of college.

Darryl read a sample, he
decided he liked it and here I am.

Well, it's certainly a
wonderful opportunity.

Speaking of which, Darryl tells me that
you have some ideas about the novel?

Right. Offhand, I don't see any
need to change the structure,

just open it up a little.

Open it up?

Sure. You know, liven it up.

Like the part where the two guys
go over the cliff when the brakes fail.

I think if we made it a car chase,
the audience would get into it more.

What else do you have in mind?

I thought we'd add the usual
ingredients, a steamy romance,

another car chase, maybe
two or three more murders.

Oh, and we have to
change the ending.

Nobody's gonna believe that the
killer was the victim's own brother.

Mr. Cavershaw, this novel
is based on a true story.

You can't go around
changing the ending.

Why not?

Because that's not the
way it was in the book.

Absolutely. That's my point.

If the killer in the book is the
same one as the killer in the movie,

who's gonna pay $5 to go see the
movie? They already know the ending.

So we give them a new
killer, make it a surprise.

You see? Makes perfect sense.

DARRYL: Miss Chase Mr. Heyward.

Your husband around?

No. He's out of town.
Won't be back till Tuesday.

That's a shame.

(GUARD CHUCKLING)

Mrs. Fletcher? Ben Miller,
Darryl's head of production.

Caroline told me I
could find you here.

Oh, how nice to
meet you. Thank you.

Hello, John. Ben.

Well, I'd better be getting back to
the office. See you later, Mrs. Fletcher.

I'm really looking forward to
working on Messengers of Midnight.

A heck of a read. Thank you.

Caroline tells me that this
is your first time on the lot.

Mm-hmm.

So I had an idea.

You see, before working
exclusively for Darryl,

I worked here 40 years,
good times and bad times.

I haven't been back on
the lot in a couple of years.

So I figured that I'd, well,
I'd take a look around.

You're welcome to
join me, if you like.

Well, that's very kind,
but I don't want to impose.

Oh, nonsense. I'd love it.

Besides, if you really want
to do it up right, I'm your man.

Well, all right. You
talked me into it.

MAN 1: Marker. MAN 2: Action.

(SCREAMING)

(SCREAMING)

BEN: You know how
many films were made here

from 1913 to 1982, before
I went to work for Darryl?

2,641.

Oh, that's amazing. Mm-hmm.

And right down the street
here is where we made that film,

Winchester '73,
with Jimmy Stewart.

Mm-hmm.

Now they're making films about
guys in Mohawks. Go figure, huh?

Something down here
that might interest you,

what with you writing
murder mysteries and all.

Do you believe in
evil, Mrs. Fletcher?

I mean, almost like
a force of nature,

invisible, intangible,
but aware?

Well, I'm afraid that is a question
that has baffled philosophers

down through the centuries. Why?

Well, I was thinking,

what happens, Mrs. Fletcher,
when you build a house

and you spend dozens of years and
millions of dollars convincing people

that it's the most
evil place on earth?

That there's something
not right about it?

Now, if you do a good enough job
of really convincing people it's evil,

does it become evil?

I don't know. I suppose it
would depend on what "it" is.

That. The Psycho House.

(PSYCHO THEME PLAYING)

You know, if you really want to take
a look around inside, I can get the key.

Oh, you don't have to.

Oh, no trouble at all.

I'll set it up for
tomorrow afternoon.

I must say, it's much more impressive
up close than it is on the screen.

Well, that's a word for it.

Well, Ben, you
said it, it's only a set.

I know it's a set. Heck, I
helped build it back in 1960.

But that was 32
years since then.

Thirty-two years
times millions of people

seeing this house in their
nightmares and screaming.

And after a while, you know, a
house like that takes on a life of its own.

Well, it's an intriguing
theory, but I can't accept it.

I mean, certainly it's a
fascinating piece of movie history.

I mean, the central icon

and probably the most famous
movie murder mystery ever made.

Ben. Yes?

I thought I saw something.

What?

Oh, nothing. Probably
my imagination.

Can I make you some coffee?

Oh, no, thanks.

I gotta get back to the studio.

So soon?

Devon's hardly ever out
of town for a whole day.

Yeah, I know. But then,
as one of my investors,

I'm sure he'd prefer to
see me making movies

rather than enjoying myself.

Not this way, that's for sure.

Which reminds me.

You know, these last few months
have really been very special, huh?

We both had our share of fun.

But I'm afraid this
is the end of the line.

You mean, for us?

Just like that, boom, it's over?

I think it's for the best. I need to
make some changes in my life,

get rid of complications.

Sweetheart, come on, this is a
major complication. Listen to me.

You've got Devon,
you've got your kids.

I don't feel I can deal
with all of that anymore.

You didn't seem to have
a problem dealing with it

when we were together
all these months.

Or when I convinced Devon
to invest in your company

just in time to save your neck.

Hey, I'm grateful, believe
me, but things change.

You know Darwin. Evolve or die.

We've had our fun, now
we emerge from the sea.

We lose our gills, grow opposing
thumbs, get on with our lives.

It's for the best, believe me.

We'll run into each other. Hey,
we'll have lunch. Soon. My treat.

Later, sweetheart.

Oh, good, you're here.

Jessica, I'd like you
to meet Leonora Holt.

She's our star for The
Messengers of Midnight.

Oh, what a great pleasure, Miss Holt.
I enjoyed your last movie enormously.

Thank you.

You know, I read
your book in one sitting.

Absolutely gripping.

I have just one question.
The part I'm supposed to play,

the woman investigator who's asked by
her old friend to investigate the murder,

she wouldn't, by any chance,
be based on you, would she?

Well, actually, yes.

The book is based
on a true story, and in

this particular case, I
was the investigator.

I knew it. I just knew
it. This is wonderful.

Not only do we have the author,

but the heroine of
the story right here.

Well, I wouldn't go that far.

We're going to have to
spend lots of time together.

I want to pick your brain,
learn everything I can from you.

Your life, your work, how you
investigate murders, how you dress.

I wanna make the role
as true to life as I can.

Well, that's very nice, but I...

I'll have to take
karate, of course.

And all those terms, "moxie,"
"moll," "hood," "heaters."

How to put somebody on ice,
and get a piece of the action.

(LAUGHS)

Ooh, it's gonna be such fun.

I wonder if this means
I'll have to learn to type.

So, you're saying you don't
like John's take on the script?

Oh, it isn't that I
don't like it, it's...

Look, I'm sure it would be perfect
for another movie. It's just that,

well, my novels have
never been about car chases

and explosions,
that sort of thing.

And if you suddenly insert them,

well, it compromises
the integrity of the book.

And since, in this particular
case, it was based on a true story,

well, you start suddenly
changing the ending and...

Well, given the chance,
I really would prefer

to withdraw the book
than see it eviscerated.

Say no more. I agree 100%.

I thought you liked him.

Truth is, I never wanted him. The
studio forced him down my throat.

All that matters to me is that you
are comfortable with the movie.

Which is why I've been thinking
maybe you should write the script.

Darryl, I'm really
very flattered, but...

I'm not gonna take
no for an answer.

I know you've adapted some
of your stories into stage plays,

a movie is no different. It's just
bigger, that's all. What do you say?

Well, let me think about it.

Please do. In fact, I
just had a great idea.

Why don't we set up a
little brain trust for you

to sort of help you
over the learning curve,

and Leonora can get a
leg up on her character?

In fact, while you're in LA,

I think the two of you should spend
as much time together as possible.

Oh, no. I couldn't
possibly dream of imposing.

Oh, it wouldn't be an
imposition at all, Jessica.

It's a wonderful idea.

LEONORA: I have just a million
questions I want to ask you.

Good night. See
you tomorrow, honey.

Monica, what are you doing here?

All afternoon I've been running
our little talk through my head.

You know, at first I
wasn't going to fight it.

"Let it go," I
thought. "Be mature."

But, damn it, I am not going to let you
use me and just throw me aside like this!

I didn't have much choice.

I've got this huge deal pending
with the studio, and they felt

that an involvement with an
investor was inappropriate.

Come on, will you? This is neither
the time nor the place to discuss this.

No? Then why don't we
reconvene at your house?

How do you think your wife would react if
she found out what went on between us?

I see no reason for her to know.

Well, I do. I see
plenty of reason.

Like hurting you as much
as you hurt me, for starters.

And I'll do it, too!

Over my dead body.

Suits me right
down to the ground.

(CAR ENGINE STARTING)

DARRYL: Hey, guys, you want
to give me a break here, please?

We shoot the promo
in two days, remember?

Come on, come on, come on!

I gotta do everything
myself here?

Darryl, you wanted to see me?

Yeah, I did.

You look bushed.

I had a bad night.

Ben, I've been looking
over our operation

and I've decided it
needs some streamlining.

New blood, fresh
faces, enthusiasm.

I want to bring in a whole
new production team.

That's gonna be tough on
some of our regular guys.

I don't think
you're doing right.

But if that's what you want, I
suppose I can work with a new team.

Actually, Ben, I'm afraid you're one
of those who'll have to be replaced.

But why?

That's really none
of your concern.

You promised me that I could have
this job for as long as I wanted it.

Now you're trying
to pull this on me.

I'm sorry. There's no other
way. I need to streamline things.

You just streamlined me right
into the unemployment line.

I'm sure things will
work out for you, kid.

No chance. I'm not going.

No, this is my job, this is
my life and I intend to stay.

Look, Ben, you can either leave here
with dignity and a month's severance pay

or I can call security
and have you removed.

It's your choice.

Hey, Darryl, this is not
over yet, not by a long shot.

Jessica, over here.

Hi. Why don't you join us?

You know my agent, Willy.

Oh, yes. We met the other day.

Mrs. Fletcher.

We were just finishing. Why
don't you join us for a cup of coffee?

Oh, no, no, that's alright. I
was supposed to meet Ben.

Ben? Not available just now.

Oh, I see. Oh, that's too bad.

He promised me a tour of the
Bates House the other day and...

No problem. I'll get the keys.
I'll finish your tour myself.

Darryl, I wish you'd reconsider.

I don't think there's anything
to reconsider, Willy. I'm sorry.

I have a few quick
errands to run.

Why don't you take the shuttle?
I'll meet you there at 3:30?

Done. I'll see you then. Great.

JESSICA: Thanks.

(CROW CAWING)

Darryl?

(PSYCHO THEME PLAYING)

MAN: And you didn't see anyone
leaving the house as you arrived?

No, Lieutenant.

But as I was coming up the steps,
I thought I saw a flash of movement

behind one of the windows.

Now, my guess is
that someone was here,

and that they slipped
out after I came in.

All right. Anything else?

Just one other thing.

Over there.

You did notice the blood smear,
narrow at one end, wide at the other?

Yeah. I saw it when I came in.

Looks like something was
dragged through the blood.

Oh, well... Or the
body was moved.

Well, I'm not so
sure. Oh, my God!

I just saw them leaving
and I just don't believe it.

Is it true? I'm afraid so.

Ma'am?

This is Caroline Pryce. She
was Darryl's personal assistant.

I'm sorry about your
loss, Miss Pryce.

This may not be the best time,

but I'm going to have to
ask you a few questions.

Oh, no. I understand.

Is there anyplace we
can go, away from here?

Maybe get the
whole staff together?

Yes, the office.

There's just one
thing, Lieutenant.

I have a feeling I
might know of someone

who wanted to hurt Darryl.

I just would rather discuss it
with you privately, if I could.

Well, I'm fine. I'll see
you both in a few minutes.

I'm sorry I'm late,

but I ran into Willy
at the parking lot

and I figured I had to tell him.

Oh, Willy. Are you all right?

I was just on my way
to meet Darryl. Is it true?

I'm afraid so, Willy.

Oh, God.

And at that house.

See? I told you there was
something wrong with that place.

Is there anywhere I can lie down
for a moment? I don't feel well.

Yeah, Willy. Why don't you
lie down out here on the sofa?

Thank you.

Poor Willy. Darryl was
his number-one client.

The rest of his stable, well,

let's just say their
combined wattage

couldn't light a
very small light bulb.

JOHN: He was riding Darryl's
coattails to an early retirement.

Willy, can I get you anything?

No, I'm fine.

BEN: Darryl was the
worst, and you know it, John.

This is not the time
or the place for this.

What, the truth? Come on,
he turned out to be a sleaze.

If I stood here and told
you I was sorry he was dead,

I'd be struck by a bolt of
lightning the size of Rhode Island.

No, no, he got what
was coming to him.

Did he, really?

Would you like to explain that
in a little more detail, Mr. Miller?

Or would you prefer to
have your lawyer present?

MONICA: I'm afraid I don't know
what you're talking about, Lieutenant.

But we have a witness who says
that you threatened Darryl Heyward

shortly before he was murdered.

His secretary Caroline, right?

Well, I'm afraid I
can't tell you that.

Uh-huh.

Well, if it is, Lieutenant,

I wouldn't believe
a word she said.

Darryl told me all about how
she wormed her boyfriend,

John Cavershaw,
in to write his movie.

She was working both sides of
the bed, if you know what I mean.

I wouldn't even be surprised
to find out that she killed Darryl.

What would she
gain by doing that?

Or by lying about your threat?

Maybe you should
ask her that question.

Of course. Thank you.

One thing.

Where were you yesterday
afternoon, between 3:00 and 4:00 pm?

I went for a drive. By myself.

Didn't get back till about 6:00.

If you want, I'm sure I
can produce a witness.

I'm sure you could,
too, Mrs. Chase.

Be seeing you.

WILLY: I understand your
concern, Mrs. Fletcher.

But I don't see what I can do.

Willy, if Darryl's death was an attempt
to keep the movie from being made,

we need to find that out now,
before anyone else is harmed.

I agree.

But I don't know of any threats made
against either Darryl or the movie.

There's nothing that I can...

Come on, Willy. Stop running a
number and give us the straight skinny.

LEONORA: Somebody must
have wanted to finger Darryl,

and if anybody'd know who
the triggerman was, it's you.

Are you sure there isn't anyone else
who might have wanted to harm Darryl?

I already gave that list of
names to Lieutenant Hanrahan,

who asked me not to tell anyone
else. It's strictly confidential.

All right, then. Fine.
We'll play it your way.

But stay local, Willy.

We may need to
talk to you again.

(DOOR CLOSING)

Thank you for your help, Willy.

It's a tragedy, to be sure.

But at least you had the
chance to see him just before...

Well, before.

In fact, if I'm not mistaken,

weren't you the last
person to see Darryl alive?

Yes, at the commissary,
same as you.

Darryl and I were
having lunch to celebrate

renewing our agent-client
contract for another two years.

He had great plans.

He could have been
another Spielberg or Lucas.

Now...

Well, thank you
again, Willy. Pleasure.

(PHONE RINGING)

Balrog Productions.

No, I'm afraid...

No, well, I don't know what will
happen with pending invoices.

You'll have to take
that up with accounting.

Thank you.

I'm sorry, what is
it that you needed?

I was wondering if you would
know when Leonora Holt would be in.

Miss Holt isn't expected
back until later this afternoon,

(PHONE RINGING) but I'd be
happy to give her a message.

Balrog Productions.

I just have
something to give her.

But it can wait. I can wait.

Yes, we're all very upset
about what happened.

No, I'm sorry, I just...

The news.

MAN ON TV: And a short
time ago, we had a conversation

with a spokesman for the Los
Angeles Police Department,

who said that the investigation
into the apparent murder

of film producer Darryl
Heyward will continue

to have the highest priority.

I'm Larry Carroll, reporting
live from Universal Studios.

Oh, darn.

(PSYCHO THEME PLAYING)

(KNOCKING ON DOOR)

(MAN SCREAMING ON TV)

John, please come in.

I was just in the neighborhood,
so I thought I'd drop these off.

After our conversation the other
day, I decided you were right.

So I wrote up some new
approaches to adapting the book.

I think you'll approve.

Oh, well, thank
you. I appreciate it.

Though I still find it
very hard to believe

that the studio is prepared
to go ahead with the project.

Well, I guess they have a
lot of money invested in it.

It was a big deal
from the very start.

Oh, how so?

Well, now that Darryl's
gone, I suppose I can tell you.

You see, he asked
me to keep it quiet,

but Messengers of Midnight
was the first of a five-picture deal

Darryl made with the studio.

It was going to
mean millions for him.

I see. Please, sit down.

Ben mentioned that Darryl
was streamlining the company,

letting people go. Was
that part of the deal?

Yes. The studio was going
to underwrite everything,

and that meant getting
rid of dead wood,

replacing others with some of the studio's
people to pay off prior commitments.

And Darryl didn't like
sharing the wealth.

John, before Darryl was killed,

did he mention anything
to you about the script?

Only that he was very
happy with my work.

Why? No reason. Just curious.

Well, I better get going if
I'm going to meet Leonora

for phase two of her internship.

Good luck. At least
now it won't be wasted.

Wasted? In what way?

Well, Darryl never really wanted
Leonora on the project in the first place.

He only took her on
the studio's insistence.

So then he hired an actor named
Kevin Maxwell to play opposite her.

She hates Kevin,

and Darryl knew that she would
rather quit than work with him.

I guess, now that Darryl's
gone, she's back on track again.

So it seems.

Then you never really knew
about Darryl wanting to replace you?

Absolutely.

That was only a rumor
about Kevin Maxwell.

And even if it were
true, I'm a professional.

If they'd wanted to hire Kevin,

I wouldn't have a problem
in the world with that.

I'm a big fan of his movies.

(KNOCKING ON DOOR)

Excuse me. Mrs. Fletcher,
you have a call on line two.

It's a Doctor Seth Hazlitt?

Oh, that's right.

Guess I have to give him
the new flight schedule,

so that he can meet
me at the airport.

Please excuse me.

Leonora!

Oh, I went to a lot
of trouble to find you.

But I'd do it again in a minute.

I did everything
for you, Leonora.

I did it all for you.

And this, Leonora,
this is for you, too.

I saw Mrs. Fletcher
over at that house,

and I waited for you to come,

but you didn't.
Oh, but that's okay.

I knew I'd find
you, sooner or later.

Leonora, call security.

Leonora, now.

I didn't mean her any harm.

I'm her number-one fan.

JESSICA: Are you telling
me that the gun was a prop?

HANRAHAN: Yes, ma'am.

From Leonora's first film,
The Lady Takes a Dive.

Oliver says that he found it at a
memorabilia sale in Wisconsin.

Oh. That's right.

And I thought she'd
be glad to get it back.

In fact, I thought
she'd even be grateful,

maybe take me to dinner.

You told Leonora that
you saw Mrs. Fletcher

over by "that house,"
and you waited.

Meaning the Bates House?

The Bates House, that's right.

So you were there waiting
when Darryl showed up?

He tried to throw you out,
there was a struggle and...

Oh, no! No, it
wasn't that way at all.

Why, I swear, I couldn't hurt
anyone. I wouldn't hurt a fly.

Well, then, can you
tell us what did happen?

All I wanted was
to see Leonora Holt.

I'd heard about the movie,

and I figured, since
you were here, well,

Leonora couldn't be far behind.

So I waited.

I even spent the
night up in that house,

and it's a pretty creepy place,
too, I don't mind telling you.

Just get to the
point, all right?

Well, I got hungry,

so I went over to
the commissary,

and I ate and then I came back

and then, when I got back,

there was this
body on the floor.

Dead.

And then I... Then you what?

I heard you and that
man talk about the house

and how maybe there was evil
inside it, and I didn't believe that,

but then, when I came back

and I saw the body
and the house and...

The house, the house
started talking to me.

It made this low,
mournful sound.

(EERIE MOANING)

(GASPING)

One last question, Oliver.

When you found Darryl's body,

did you see anything
in the pockets?

Paper. Blue paper.

I remember 'cause
it was sticking out.

Mrs. Fletcher, we did
not find any papers.

Yes, yes, I know.

So, are you finished
then, Mrs. Fletcher?

Because, if so, I've gotta
get this guy downtown.

Oh, yes, of course. But,

before you book him, I suggest
that you omit the charge of murder.

Why?

Because Mr. Thistle
didn't do it.

Lieutenant, we have
to find Ben Miller.

I'll explain
everything on the way.

Wait.

If you ask me, I think she
may be onto something.

Ben, there you are.

The office just called.
They're looking for you.

Yeah, I know it.

And I'd prefer it if you
didn't tell them you saw me.

Willy, I'm gonna need your help.

With Darryl gone, you
more or less speak for him,

and Jessica Fletcher's
bound to listen to you.

What's this all about?

I heard she's going back
to the Bates House tonight.

Now, you know that
place isn't very healthy,

and we both know
it isn't very safe.

You gotta talk her out of it.

Tell her to let the
police handle this.

I tried to warn her, but
she won't listen to me.

Did she say why
she was going there?

Well, that's what
worries me. She says...

Well, she says she wants
to make the house talk to her.

The house talk to her?

(DOOR CREAKING)

(CREAKING)

(RUMBLING)

(RATTLING)

Hello, Willy.

This is the last place you
wanted me to come, isn't it?

How did you know?

The house told me.

And this.

It's your contract with Darryl,

the one that you said had been
renewed the day the two of you had lunch.

I took the liberty of removing
this from Darryl's files.

It's a copy of the same contract
I saw on the table that day.

As Darryl folded it
and put it in his pocket,

I noticed your unhappy expression
when you asked him to reconsider.

I wondered at the
time what was going on,

but decided that it
wasn't my concern.

Later, when we found the body, I
noticed that the papers were gone.

Since Darryl said he had to run
some errands before meeting me,

I assumed that he had
dropped it by his office.

But he didn't. He had
it with him at the house.

Before the police
arrived, you removed it

and forged Darryl's signature

to conceal the fact that
he intended to fire you.

That's what you were
asking him to reconsider.

It's a very good forgery.

But to the trained eye, the
differences are substantial.

But not murder. At best,
it's circumstantial evidence.

You're right.

It was, until the
house talked to me.

The same way it did the afternoon
that you confronted Darryl Heyward.

At lunch, you heard him arrange
to meet me at the Bates House.

With a five-picture deal
worth millions of dollars,

you went there to convince
him to renew your contract.

You argued, there was a struggle

and you reached for the nearest
object at hand and struck him.

The blow was fatal. As you
left, you slipped on Darryl's blood,

covering the sole of
your shoe with his blood.

When you left the room
to wash off the blood,

a studio gate-crasher
stumbled upon the body

and was frightened by
a sound like moaning.

Now, I recognized
his description.

It's the same sound that
I've heard in my own house

when the water's been turned off
for some time and I turn on the spigot.

When you tried to wash
the blood off your shoe,

you found that the
water had been turned off.

(RATTLING) The pipes rattled and
moaned with the unequal air pressure.

Then you remembered
the motel set below.

You went below
and washed the shoe,

and in the process,
thoroughly soaked the leather.

When you arrived
at the office later,

I noticed that one sole of one
shoe was darker than the other,

as though wet. But I
thought nothing of it until later.

Now, I'm willing to bet

that a fingerprint check here and
in the bathroom at the Bates House

will confirm my theory.

And however thoroughly you
may have washed the shoe,

there's probably still enough
blood remaining for a comparison.

It was an accident.
I never meant to.

I stuck with him through all
the years he couldn't get a job,

putting off my own retirement,
waiting for the big break.

And when it came, he was
ready to throw me away.

Why should he pay me, or any
agent, 10% of what he had coming

when he can hire a lawyer to do the
paperwork for a fraction of that amount?

A man pays his dues

and sticks with a client
through good days and bad,

he deserves more
than a kick in the pants.

It wasn't fair, Mrs. Fletcher.
Damn it, it just wasn't fair.

No. No, Willy, it wasn't.

Ever since it happened,
I can't eat, can't sleep,

waiting for a knock on the
door, terrified of being caught,

frightened by every sound.

I can't live that way.

You don't have to, Willy.

Not anymore.

It's over.

Aha! I knew I'd find you here.

Now, don't forget, we've got
to get you to the airport by 2:00.

Yeah. Well, I just wanted
to have one more look.

I just talked to the police.
Willy gave a full confession.

The poor man walked
around with a lot of pain.

Well, they do say that
confession is good for the soul.

There is nothing harder to bear for
an ordinarily decent man than murder.

I hope he finds some peace.

So what do you think about this
place now? I was right, wasn't I?

Of all places for a murder to
take place, it would happen here.

I disagree. Pain, anger, murder,
they have no borders, no geography.

What happened here
was simply another chapter

in the sad tragedy of human affairs. I
mean, it could've happened anywhere.

No, Ben, there's nothing
wrong with that house.

It isn't evil or
strange. It's just a set.

Maybe so.

Ben, is anyone supposed
to be inside there?

BEN: No. We locked it
up good and tight. Why?

Never mind.