Murder, She Wrote (1984–1996): Season 9, Episode 1 - Murder in Milan - full transcript

How long will you be
in Milan, Mrs. Fletcher?

Well, through awards night.

Have you seen All the Murderers?

Well, not yet, but if it's as
strong as Jim Randall's script,

I think we may have a winner.

Catherine Wayne is the one
person standing between us

and one of the greatest
films ever made.

Whatever you have to do, man,
whatever. Throw her off the roof.

Are you expecting
the Best Actor award?

Well, one never
expects, one hopes.

If you think I'm gonna let
you direct for anyone else



but Catherine Wayne
Productions, you're out of your mind.

JIM: Louise and I are
going to be married.

(ALL EXCLAIMING)

CRENSHAW: Here's to all
the little Randalls to come.

To making love every
night of your lives.

Isn't that Mel Gibson
over there? Mel Gibson!

That woman is evil.
She's a manipulator...

(WOMAN SCREAMING)

(INDISTINCT CHATTERING)

REPORTER: Here we are, telecasting
live by satellite, in Milan, Italy,

the site this week
of one of the newest,

yet already one of the world's most
glamorous and exciting film festivals.

Hub of activities this week is the
famed super-luxurious Paradisio Hotel.

You may think
that a film festival



is just about choosing
the best picture and talent,

but trust me when I tell you
that is just a small part of it.

Here, movie deals
are made and broken,

careers are shattered
and resurrected,

celebrities and moguls
mingle with phonies.

And it's all part of this always
fascinating festival game

carried on 24 hours a day for
business or pleasure or both.

Now, the crowd is just returning
from morning screenings

of two of the front running films, All
the Murderers from Wayne Productions,

and Day of Heroes
from Morrison Films.

Ah! Jim Randall, hot,

and I do mean hot, young
director of All the Murderers,

accompanied by his beautiful
ingénue lead, Louise Thayer.

Jim, congratulations!

Everyone is saying that
Murderers is the best thriller in years.

Well, it's a damn good film.

What's this deal we hear about
between you and Steve Morrison?

No comment.

I promised to have a drink with
Steve Morrison. Will you join us?

I can't. I'm going with
Dad to the Galleria.

Oh, you're going to
love it. I'll see you later.

Bye. Bye-bye.

CRENSHAW: Now, look,
I'm gonna be honest with you.

Mike Douglas is
crazy about the script.

Hi, Paul, how's it going?

Great. I talked to Jody this
morning. She said to say hello.

Great, I'll see you. Okay.

We've got all the
elements in place.

We got top-notch people,
needs a little more finance,

get a first-class distribution.

(PEOPLE CHATTERING)

Oh, Contessa,
it's been too long.

You received my
invitation, Marcello?

I'll be there, on condition that I
have the honor of your first dance.

(LAUGHING) Oh,
happily granted, Marcello!

Whoever voted Nick Nolte
to be the sexiest man alive

never met Marcello Arbruzzi.

(GASPING)

Jim Randall, you
come to my party?

I wouldn't miss
it, Countess. Oh!

You're so sweet.
Thank you so much.

Hey, no, obviously, Day of
Heroes, I'm very proud of.

Now, listen, are you
gonna be in the bar later?

Yes? I'm gonna
speak to you, all right?

Morning, Steve.

Jimmy. It's a great morning
for both of us, believe me.

According to the Morrison
straw poll, All the Murderers,

Day of Heroes, are
both front runners.

What are you drinking?
Nothing, thanks.

What about Bella Femina?

Nope, it's slipping. I
mean, it's still dangerous,

but so is La nuit des chiens and
Wheel of Life out of Bombay Films.

But, believe me, it's gonna be one
of our two pictures, pal. Automatic.

You talked to Angelica?

Yes, yes!

She is dying to do Arc of
Steel, if I produce and you direct.

I'm on my way to
talk to Catherine.

Jimmy, make it happen, please.

Whatever you have to do, man,
whatever. Throw her off the roof.

You know, Catherine Wayne is
the one person standing between us

and one of the greatest
films ever made.

I'll do what I can.

Thank you, Jimmy.

(INDISTINCT CHATTERING)

(MAN ON P.A. SPEAKING ITALIAN)

(MEDIA MURMURING)

GIORGIO: Miss Fletcher.

REPORTER: Miss Fletcher.

Jessica Fletcher!

(SPEAKING ITALIAN)

How long will you be
in Milan, Mrs. Fletcher?

Well, through awards night.

Have you seen All
the Murderers yet?

Not yet, but if it's as strong
as Jim Randall's screenplay,

I think we may have a winner!

Jessica. You made it.

I wouldn't have
missed it for the world.

Ah, you two are old friends?

Oh, we certainly are. Jim's
father lives in Cabot Cove,

and Jim used to come up
every summer with his camera.

In fact, he shot his first
16mm film right there.

Thanks. Let's get
you to some elevators.

Thank you. Thank you.

You're pre-registered. You have a
non-smoking suite, like you wanted.

(SPEAKING ITALIAN)

Jessica Fletcher.
Big smile, per favore.

(MEDIA CLAMORING)

(GIGGLING)

Isn't that Mel
Gibson over there?

Mel Gibson? Sì, Mel
Gibson. Andiamo.

Very good, Jessica!

Well, it's the old red
herring ploy, you know.

There's somebody I want
you to meet. Paul Crenshaw.

Oh, I recall my agent
mentioning a Paul Crenshaw.

He wanted to be
involved in the Murderers,

but Catherine
Wayne beat him to it.

No, that is absolutely untrue.

Look, you've read the script.

Jay Stanley is set
to direct. Douglas is...

What the hell do you mean, you've
changed your mind? You can't...

Damn it!

(SIGHS)

Henri Montelier. Do you
believe it? We had a deal.

I'm sorry, Paul. Paul
Crenshaw, Jessica Fletcher.

Oh, forgive me, Mrs. Fletcher.

Mr. Crenshaw.

But, I thought I
had a picture sold,

and everything just
went out the window.

Here, let me buy you a drink.

Oh, no, no, thank you.

Obviously we came
along at a bad time.

No, we'll talk
in a little while.

All right. Bye. Bye.

(ANNOUNCER ON P.A.)

(ELEVATOR BELL DINGS)

There's a black tie screening
of All the Murderers tonight,

and that's followed by...

I know, the annual ball given
by the Countess Di Mondi

in her magnificent palazzo!

I did my homework on the plane.

Well, you get an A.

Meanwhile, the
terrace in an hour

to see an old friend,
meet a new one?

Oh, I'll be there. Okay.

(ELEVATOR BELL DINGS)

Damn!

Come in.

Good morning, Catherine.

Morning. Please sit down.

I've been hearing
rumors, Jim, ugly rumors,

about Steve Morrison
and Arc of Steel.

Do you want to fill me in?

It's simple. Steve's
got the rights,

he's got Angelica,
he's got financing,

and he wants me to direct.

I'm sure you told him you have an
ironclad personal service contract with me.

Yes, I did.

That binds you to
direct my next picture.

I also told him that I
thought you'd be reasonable.

Look, Arc won't be
just another picture.

It's one of the great
novels of the century.

This could be one of
the finest films ever made.

Hold it. There are
certain realities here.

You're hot. But
that's thanks to me.

Before I picked you up, you'd
shot three little underground films

you'd financed
on your Visa card.

Now, if you want
to play that game...

If I hadn't stepped in and
saved your last picture,

you never could have
financed Murderers. Jim.

Jim, there's nothing
to fight about.

The lawyers settled
that a long time ago.

I have two years to come up
with another property for you.

Two years? You're not
gonna actually hold me to that?

Why the hell shouldn't I?

Look, I don't care if it's Arc of
Steel or another Gone with the Wind.

If you think I'm gonna let
you direct for Steve Morrison

or anyone else but
Catherine Wayne productions,

you're out of your mind!

WOMAN: Catherine Wayne
Productions. We have...

Tom, can I talk to
you for a moment?

Sure.

(SIGHING) I give up.

I've been at the
computer all morning.

I still don't understand
what's going on.

What's wrong?

I got a very disturbing
call from New York.

We finished postproduction
six months ago, on time,

and I thought, on budget.

Now, all of a sudden, they've
come up with a new bottom line

and we're a million over!

A million?

Yeah, that's right. In billings
against certain new account numbers

I don't even recognize.

Are these the new accounts?

Yeah.

Let me worry about it. I'll
get back to you right away.

Okay. Thanks.

(PEOPLE CHATTERING)

Jessica. Beautiful as ever.
Oh, it's so good to see you again.

You know, I heard
you were here, Andrew.

Oh, Jessica, this is
my daughter, Louise.

Oh, of course,
our lovely new star.

I've seen the most beautiful pictures
of you, Louise, all over the place.

You know, when I
was out in California,

your mom and dad used
to talk about you all the time,

but you were never there.

Well, I was in school, mostly, but
Mom and Dad told me all about you.

Jessica, this is Steve Morrison.

Hello. It's a pleasure to
meet you, Mrs. Fletcher.

You're in contention
with Day of Heroes.

I've read some
excellent things about it.

Sounds very good!

Would you care for something?

Oh, yes. Pellegrino
with lemon, per favore.

Tell me, Andrew, do you have
a screenplay in the competition?

No. No, actually, I don't.

The truth is I'm here
because these two asked me.

Tom, join us.

Oh, Jim, thanks. I only have a
moment. I'm taking a breather.

Hi. Hi, Andrew, Louise.

Mrs. Fletcher,
isn't it? Yes, it is.

Tom Hiller.

Hiller is Catherine
Wayne's money cruncher.

Ah, more and less than that,
depending on how you look at it.

I try to keep things
running smoothly.

So, if you have any problems while
you're in Milan, I'm at your service.

Well, that's very kind,
Mr. Hiller. Thank you.

(CELL PHONE
RINGING) "Tom," please.

Oh. Excuse me.

Hello?

I'll be right up,
yeah. Well, duty calls.

Why all the pressure, Hiller?

You got your picture made. It's
in the can. It's gonna be released.

Don't pretend you haven't heard.

Seems there've been some
unexplained late charges

on All the Murderers.

Or you might say,
alarming cash leaks.

Well, you can say it any
way you like, Morrison,

but I'll get to the bottom
of this. Don't worry about it.

Well, good luck.

And do tell Catherine
that I'm looking forward

to seeing her at the
screening tonight.

I sure will.

He's been with
Catherine for years.

Roughly the equivalent
of a stay on Devil's Island.

He was in love with her
once, and may still be.

It's still wrong.

I can't remember
authorizing these purchases.

I've got a hard copy on the
way, so we can cross check.

TOM: There could be
some kind of clerical error.

CATHERINE: We
should talk to Jim.

TOM: I'm for that.

And bring in accounting
help from New York.

I'm gonna get to the bottom of
this damn thing, whatever it takes.

(PEOPLE CHATTERING)

JESSICA: I can't
believe you, Andrew.

(BOTH LAUGHING)

ANDREW: Unbelievable.
JESSICA: Oh, this is exciting.

JESSICA: You know, Jim, people
kept telling me how great it was,

but I really wasn't
prepared for it.

JESSICA: It is
truly a great movie.

JESSICA: And, Louise, you
know, you were simply lovely.

LOUISE: Oh, thank you, Jessica.

We'll see you at the party. Yes.

We'll see you later. Absolutely.

I'll go get the car.
I'll meet you out front.

MARCELLO: Thank
you. Thank you very much.

Marcello, are you expecting
the Best Actor award?

Well, one never
expects, one hopes.

Marcello, excuse me a
moment. I'll be right back.

Yes, of course.

(PEOPLE CHATTERING)

Jessica. Jessica, it's so
good to see you again.

Catherine, many congratulations
on a really superb movie.

Oh, well, thank you. We couldn't
have done it without your book.

I hope you and Jim and I can
work together again soon, okay?

Well, I hope so.

All right. Well, I'll
see you at the ball.

Yes.

You badmouthed me with
Henri Montelier, didn't you?

What are you talking about?

You've been doing it the
whole damned festival.

You stole Murderers from me.

We were supposed to be partners.
Now you're trying to ruin me!

No, I am merely
setting people straight.

We were never partners on
Murderers, except in your imagination.

We were never
partners in anything

but those two miserable
cheapies I wish I'd never gone near!

Oh, so, you're
a liar and a thief!

I'm warning you, Paul.

You keep harassing me,

and I'll file a lawsuit that'll keep
you broke the rest of your life!

You're not going to sue
anybody, sweetheart!

(MUSIC PLAYING)

(PEOPLE CHATTERING)

(SPEAKING ITALIAN)

Catherine, you're a damned fool

if you think you can hold onto
Jim Randall against his will.

Really? That's right.

Now, I want this young man
to direct my film, Arc of Steel,

and he wants to do it.

Now, believe me,
one way or another,

he's going to direct this film.

Why don't you just play like a
magnanimous lady and back off?

What do you take me for?

Nobody steals from
Catherine Wayne! Nobody!

Get out of my way!

Save your squabbles for another
day, and no long faces tonight, please?

Yeah, thank you, Countess.
This is a lovely party.

Hmm.

I can't ever imagine enjoying a
role more than Inspector Corelli.

Brilliantly conceived.

Oh. And brilliantly
acted by you.

But I must say I've grown so
used to seeing you in American films

that I'd forgotten that this
is where you came from.

I was born here in Milan.

Perhaps you'll allow me to show it
to you through the eyes of a native.

Oh, I'd be delighted.

(BOTH LAUGHING)

(ALL CLAPPING)

Catherine's watching us.

You know, that lady wants
more than work from you.

(GASPS)

Are you having a good time?

Enjoying those two.

How serious are they?

Very. Jim's helped me a great
deal, you know. Psychologically.

And not just because of
Louise. He believes in me.

He's invited me to collaborate

on the screenplay
of Arc of Steel.

Oh, that's wonderful.

It's been tough for me
the last few years, Jessica.

I fell out after my wife died,

and I haven't been
able to get back in.

This could do it for me, though,

if he can only get away
from Catherine Wayne.

Oh, Andrew, you're wrong

if you think that your fate
depends on Catherine Wayne.

I mean, Jim tells me that
you're writing really well,

and Andrew Thayer at his best
doesn't need help from anyone.

(BARTENDER SPEAKING ITALIAN)

Thank you.

Catherine and I have some
problems about production costs.

I'd like to talk to you
about some figures.

Can you stop by my
office tomorrow morning?

Sure. Great. I'll see you then.

Okay.

Good morning.

Good morning, Louise.

You wanted to talk to me?

Yes.

First, I want to make it clear
that for you or anybody else

to press me to release
Jim from his contract

would be a waste of time.

I wasn't even considering it.

Good.

However, there may be
a deal you and I can make

that will benefit us both.

Go on.

On my part, I'm willing to guarantee
you the lead in my next picture,

and I'll give your father a mutually
acceptable screenplay assignment.

I see.

And on my part, I'm
to try and persuade Jim

to forget Steve Morrison's film?

Try? No. No, either it
happens or there's no deal.

For anybody. Talk to your
father. See what he thinks.

Go to hell.

Good morning, Catherine.

Oh, Jessica, right on time.

Great. I'll be with
you in one moment.

But meanwhile, Jim's
here. He's in with Tom Hiller.

He asked if you'd just
poke your head in for a sec.

Oh, yes, of course.

(PHONE RINGING)

(SPEAKING ITALIAN)

Jim, ashtray.

Yeah, yeah, sì, sì.

(SPEAKING ITALIAN)

Jessica, Louise and
I were wondering,

could you join us at the
terrace for lunch about 1:00?

Oh, yes, of course.
I'd love to. Thanks.

(SPEAKING ITALIAN)

I'm sure you're aware by now

of the disagreement
between Jim and myself.

Oh, yes.

How do you feel about it?

That it's between the two
of you. I'm for both of you.

You're both bright and talented,

and I'm sure that some sort of
compromise can be worked out.

It won't be easy,
I can tell you that.

Nowadays the
director's everything.

A hot director and a hot script

mean easy financing
and distribution.

But even with a rotten
script and a hot director,

you still get your
financing and distribution.

Jim's hot and he knows it.
And he wants things his way.

You know, Jim has always
had good values, Catherine.

I can't believe a little heat
will make that much difference.

I hope you're right.

Now, let's see what
Jessica Fletcher can do

to help All the
Murderers win first prize.

Key judges, whom we
believe are still undecided.

They're not all movie
people, as you can see.

I thought you might know
some of them. Do you?

One or two, yes,
slightly. Well, great.

Let's see if we can get you
together to do a little arm twisting.

Oh, no, Catherine. Coercing
a jury is not my style.

If All the Murderers
is the best film, it'll win.

Otherwise,
another fine film will.

Fair enough.

Your itinerary. Conferences,
talks, luncheons.

Any problems with that?

That's what I'm here
for. I'll see you later.

Great. So long.

(DOOR CLOSING)

Hi. Hi.

You get a picture in
contention for a big award,

you start hearing from people

who wouldn't return
your calls two years ago.

(GIGGLING)

Jim, you have to
direct Arc of Steel.

I know.

And Steve Morrison wants
your father to do the script.

Oh, it would be so good for
him. Get him back on his feet.

Catherine's not going to budge.

That woman is evil.

But she happens to
be a good producer.

She's a manipulator and
without you she is nothing.

You know that she offered
me a lead in her next film?

Well, she has an eye for talent.

On condition that I persuade
you not to do Arc of Steel.

And she plays hardball.

Jim, you do not understand.

This isn't about
business anymore.

She wants you.

Well, that's crazy.

And she'll do absolutely
anything to get what she wants.

(SIGHS)

You know, for a little
girl, you sure are tough.

Well, I know how to
fight for what I want, too.

(PEOPLE LAUGHING)

JIM: I have an announcement
to make. Darling.

Louise and I are going to
be married after the festival.

Oh, congratulations to the
both of you. I love you both.

Here's to a happy
life to both of you.

Here's to all the little
Randalls to come.

To making love every
night of your lives.

STEVE: On this
very happy occasion,

I would like to make a
toast to Catherine Wayne,

may she see the light.

Hear, hear.

(PHONE RINGING)

Hello.

It's Catherine.

Now, that's quick service!

Yes.

JIM: Yeah, that'll be
fine. Your suite in an hour.

Good or bad?

She wants to talk.

More champagne.

(KNOCKING ON DOOR)

(KNOCKING ON DOOR)

Jim, come in.

Look, Jim, I've been doing
some thinking, and I thought...

Look, don't come at me again,
Catherine. I want my release.

I want to make Arc of Steel.

No. No, that isn't what I want
to talk to you about. Come here.

I've got another problem.

Some late costs have
come in on Murderers.

They have put us
way over budget.

And there are some new account
numbers involved I never saw before.

(PHONE RINGING)

Hello? What is
it? Can't it wait?

Fine. It's Tom Hiller for you.

Hi, Tom. Yeah.

Yeah, okay. Sure.

Listen, I got to
make a personal call.

Can I use the phone
in the bedroom?

Yeah, sure, go ahead.

(DOOR CLOSING)

(MEDIA CHATTERING)

MAN: Come on. Jessica Fletcher.

All right.

(SPEAKING ITALIAN)

All the Murderers!

(SPEAKING ITALIAN)

Big smile.

Well, thank you, Giorgio.

(SPEAKING ITALIAN)

You did splendidly,
Jessica, splendidly.

Well, thank you. You know, it
was my very first press conference.

Half in Italian.

You're having tea with
the London Times critic,

and breakfast tomorrow
with Paris Match.

And then there's the
symposium with Oliver

on crime and
conspiracy in high places

as the subject for fiction
and motion pictures...

I'll get back to you.

MAN: No. WOMAN: No.

Mrs. Fletcher, one last look.

Excuse me. I want to leave
something for my friend.

No.

(SPEAKING ITALIAN)

(SPEAKING ITALIAN)

Could you open the door? Sì, sì.

(ELEVATOR BELL DINGS)

(WOMAN SCREAMING)

(GASPS)

Jessica. She's dead.

I was in the bedroom. I came
out and I found her this way.

(SPEAKING ITALIAN)

Signora Fletcher,
one more question.

When you came around
the corner of the corridor,

did you see anyone else
besides the chamber maid?

No.

Okay. Thank you very much.

You have been most helpful.

I'm sure you have many other
obligations, so, please feel free to go.

Inspector, is there
anything else I can do?

Oh, no, no, no. I would
not impose on you anymore.

And besides, I believe we
have things pretty much in hand.

You certainly do.

But there's something
so compelling

about really fine
European police work.

I mean, if I could
just, well, observe...

Somehow, Mrs. Fletcher, I do
not believe you for one second.

But I admire your tenacity.

You may stay here
as long as you wish.

Thank you, Inspector.

Sì.

Signor Randall,

the telephone call you
received from Mr. Hiller.

What exactly did he want?

Uh, he told me to call him back
from the bedroom on his private line.

He didn't want me to
talk in front of Catherine.

Why?

You have to ask him. I
mean, we never did connect.

I called him back,
and he didn't answer.

I tried twice,

and that's when I came back into
the room and I saw Catherine's body.

The chamber maid says
she saw you enter this suite,

then Miss Thayer, and then Mrs.
Fletcher. No one else entered or left.

Signor, I would like to invite
you down to the stazione polizia

where we could
talk a little easier.

Suppose I refuse?

Then I will be forced to arrest
you, which I do not want to do.

(SPEAKING ITALIAN)

He'll take you out the
service exit. No paparazzi.

Jim... I'll be all right.

Miss Thayer, why did you
come up here this afternoon?

Jim forgot his
notebook on the terrace.

He and his notebook are usually
inseparable. I thought he might need it.

(CAMERA CLICKING)

(SPEAKING ITALIAN)

(SPEAKING ITALIAN)

Ah, Signora Fletcher.

(SPEAKING ITALIAN)

Thank you. Thank you.

Mrs. Fletcher, you've
just proved to me

the only way into this
suite is from the corridor.

(SPEAKING ITALIAN)

Jessica, I don't like this.

It's as if they already
convicted him.

You've got to help him, please!

I can't guarantee anything,
but I'll see what I can do.

(SIGHS)

STEVE: Look, I promised you Jim
Randall to direct, now we've got him!

No, no, no, no, don't
even worry about that.

Hey, Jim didn't kill anybody.

Listen, everything they
got is circumstantial.

I'm lining up some of
the best lawyers in Italy.

They'll have him out
before you know it,

and we're gonna begin thinking
about a start date, hon. Okay?

Talk to you. Bye.

Well, Mr. Morrison, Catherine's
death does seem to have eliminated

one of your major
obstacles, doesn't it?

Well, a lot of people had reason to
want Catherine dead, Mrs. Fletcher,

and I suppose
you can include me.

But I couldn't have done it.

I was at a screening
when she was killed.

Well, I'm sure that Inspector
Lombardo will be pleased to hear that.

It was nice to see
you, Mrs. Fletcher.

Thank you.

(PEOPLE CHATTERING)

Louise, it sounds to me like
you're not sure of anything.

Well, one thing I am sure of

is that Jim is incapable
of murdering anyone.

I'm not sure anybody
is incapable, darling,

given the right circumstances.

That's the writer talking, Dad.

Yes, the writer to whom
Jim promised a script

that would mean a
whole new career,

if he could just get
free of Catherine.

You're not saying
that you killed her?

And I don't believe
that Jim did, either.

But not everybody
would agree with us.

Damn you! Get out of here!

I know you're
trying to help Jim,

so if there's anything I
can do to help you, please...

Thank you, Tom.

There were business problems
between Jim and Catherine, weren't there?

Movie business problems.

But we're an industry full
of people with problems.

Jim's young, but
he's been around.

It's hard to believe
he'd have lost control.

Maybe if I hadn't
made the phone call.

Why did you make it?

After the engagement party,

I came back here to go
over production costs again.

I wanted to tell Jim that I didn't think
he should make any commitments.

I didn't think it was either
in his interest or Catherine's.

And you made the call
from this office, then?

From my private line,
but I wish he'd called back.

He told the police that he did.

Well, I suppose he
could have misdialed.

Or maybe he didn't remember the private
number right. He hadn't used it very much.

(PHONE RINGING)

Excuse me. Yeah?

It's Inspector Lombardo.

Oh, thank you. Yes, Inspector?

Signora Fletcher, I know
you are very close to this case.

I thought you should know.

We found Signor Randall's
fingerprints all over the ashtray.

Thank you, Inspector.

They're filing murder
charges against Jim.

(DOOR OPENING)

(SPEAKING ITALIAN)

Thanks for coming.

Are you all right?

Jessica, I'm worried.

Nothing makes any sense.

Those fingerprints
can't possibly be mine.

I didn't touch that ashtray.

Is it possible they're
trying to frame me?

A quick and easy scapegoat.

But Inspector Lombardo
seems to have more sense.

(SIGHS)

Catherine Wayne's suite
at the hotel had a door

that opened to an
outside balcony.

When you first got there, do you
remember if the door was open or closed?

Uh...

No, I can't remember.

Catherine Wayne had a reputation
for astute financial management.

Right.

Is there any reason why she might
have gotten careless on All the Murderers?

Well, yeah, I suppose
there were a lot of reasons.

We were back and forth
across the Atlantic four times.

And couple of our backers
had pulled out early on,

and some of our usual
suppliers had gone belly up,

and she had to find new ones.

I was rewriting every night as we
went, and she was into that, too.

I mean, there was just so much.
She couldn't stay on top of it all.

But as your producer, I mean,
she must have talked to you often

about financial problems.

There wasn't much to talk about. I
was always on time and on budget.

No. Wait a second.

When I went in to talk to her,

I thought it was to settle this
Morrison thing once and for all,

but that wasn't what
she wanted to talk about.

She said that some late costs
had come in on Murderers,

that had put it way over budget.

That, and she mentioned some new
account numbers that she didn't recognize.

Did she mention the
account numbers?

No, that's when the phone rang.

(PEOPLE CHATTERING)

Jessica! Did you see Jim?

Yes, I did. And he's doing very
well, under the circumstances.

They can't believe that Jim
murdered anyone, can they?

Well, I'm afraid they do.

But it's all based on
preliminary evidence.

Can I see him?

Yes, if you call ahead. But he's
going to need some cheering up.

Sure.

So, keep your chin up.

I have something I have
to do, but I'll see you later.

(SPEAKING ITALIAN)

I left my glasses in
Signora Wayne's office.

MAN ON PHONE:
Hampton and Davenport.

Yes, this is Jessica Fletcher.

May I speak to Sir
Jonathan, please?

MAN ON PHONE:
Just one minute, please.

Thank you.

JONATHAN: Jessica?
Hello, Jonathan.

JONATHAN: Are you in London?

No, no, I'm still in Milan.

But I'll be in London next week.
I'm looking forward to our lunch.

JONATHAN: Oh, capital.
We'll meet at the club.

Meanwhile, I wonder if you could
check on some companies for me.

JONATHAN: I'll be glad to.
You know, their financial status,

background, reputation,
that sort of thing.

JONATHAN: Absolutely.

Wonderful. Now, listen,
the first one is... Hang on.

Kronstadt Limited, Geneva.

JONATHAN: Kronstadt
Limited, Geneva. Right.

Then, Service General, De Berne.

JONATHAN: Service
General, De Berne.

Right.

Good evening,
Jessica. Hello, Marcello.

The restaurant chef and
I had a small conference,

the result of which undoubtedly
will be the finest dinner served

anywhere in Italy tonight.

Oh, I can't wait. I'll
just get my purse.

Shame on you, Marcello. You'll
spoil that magnificent dinner.

What? Oh, my cigarette.
How thoughtless of me!

A reflex. I'm trying
to give them up.

I'm afraid I don't have an ashtray.
This is a non-smoking suite.

My goodness! Of
course. Marcello, I'm sorry,

I won't be able to have
dinner with you tonight.

Why, what is it?

Excuse me. But...

Inspector Lombardo, please.
This is Jessica Fletcher.

Hello, Inspector. Listen,
I've just had an idea.

Would it be difficult for you to
get hold of telephone records?

(PEOPLE CHATTERING)

Good morning, Inspector.

(SPEAKING ITALIAN)

I do not know what
this is all about,

but here is the
information you asked for.

Well, I appreciate your trouble.

What exactly are
you looking for?

This.

I'm Tom Hiller.

Signor Hiller.

Inspector. Mrs. Fletcher.

Tom. What can I do for you?

Please, sit down.

This is a fax that I received a little
while ago, from my lawyers in London.

It's in response to some
inquiries that I made yesterday

about certain Swiss-based
production service companies,

which Wayne Productions
was dealing, six in all.

What about them?

Well, they all had
new account numbers,

and Catherine was concerned about
the late billings that they had submitted.

Well, how did you
know about that?

She started to tell
Jim about them,

and I found a separate list of
the account numbers on her desk.

I matched them up with the
company names on the computer.

My lawyers investigated
and found that

these are apparently
sophisticated shell companies,

set up for the sole
purpose of collecting funds

from Wayne Productions
for services never rendered.

All right, if Wayne
Productions was being bilked,

I'm certainly glad
to know about it.

But you should have come to
me before you made inquiries.

Perhaps, but we thought
that under the circumstances

we'd best go ahead on our own.

What circumstances?

Those surrounding
Catherine Wayne's murder.

You see, it wasn't until
Marcello lit a cigarette in my suite

and I couldn't find an ashtray

that I realized that Catherine
was a non-smoker, too,

and had a non-smoking suite.

So there wouldn't have been
any ashtray in her living room,

unless someone
had brought it there.

Then I remembered where
I had seen a hotel ashtray

j just like the one that
Catherine was murdered with.

Jim, ashtray, please.

JESSICA: You decided
that you had to kill Catherine

to prevent her from
exposing you as an embezzler.

And you wanted to get Jim's
fingerprints on the murder weapon.

Inspector, I can't believe you're
allowing these wild accusations. I...

Signor Hiller, perhaps you'd
better listen. For your own good.

Okay.

When you learned Catherine would be
alone with Jim in her suite that afternoon,

you went ahead with your plan.

JESSICA: It required a cellular
phone, and you already had one.

Hello?

JESSICA: Yesterday,
after the murder,

when I saw the paparazzo
on Catherine's balcony,

I realized that the killer could have
gotten into the living room from there.

JESSICA: The Inspector
thought that I had proven

the balcony door could not
be opened from the outside.

What I actually had proven was
that it could be locked from the outside.

Well, I don't see what any
of this has to do with me.

I was in my office when
Catherine was murdered.

No, you left your
office by the patio door,

went around to
the side of the hotel,

Climbed up to
Catherine's balcony...

I wondered how until yesterday
afternoon when I saw the outside trellis.

From there, not your office,

you called Catherine's
suite. You spoke to Jim,

and got him out of the
living room to return your call.

(GASPING)

All right, you're very inventive.
I mean, that's your bag.

You've got a theory,

but no proof that any of
it ever actually happened.

I think I do.

A record of a call made
from your cellular phone

to the hotel switchboard
at 2:57 p.m. yesterday.

Approximately the
time of the murder.

It must be a mistake.

Signor Hiller.

All right, well, maybe
when I made the call

from my office I did
use the cellular phone.

But that would have made
no sense whatsoever, would it?

On top of that, you showed
me the phone in your office,

your private line, a
conventional phone,

that you told me you used
to call Catherine's suite.

Signor Hiller, when someone
kills someone else in Italy,

it almost always
amounts to a life sentence.

Perhaps you should think about
that and make a full confession.

Congratulations,
Jim, on best picture.

Four weeks and I'll see you in New
York for pre-production on Arc of Steel.

Whoa, that doesn't give you much
time to finish the script, Andrew.

Can we make it
six weeks, fellas?

It's Giorgio. Unbelievable.

Should we let him in? Paparazzi.

No, I say call the cops.

Hop in here,
signor. How are you?

(SPEAKING ITALIAN)

Signor Fletcher, everyone,
can we make una foto di tutti?

Oh, why not? Come on, everybody.

I always wanted
a photo di tutti.

May I propose a toast?

To Jim, and All the Murderers.

And to Louise,
for giving it beauty.

And to the words given me.
And those to come, Father!

To second chances, and with
great thanks to Jessica Fletcher.

(SPEAKING ITALIAN)