The Hardy Boys/Nancy Drew Mysteries (1977–1979): Season 1, Episode 8 - A Haunting We Will Go - full transcript

(male narrator) Tonight, Nancy
Drew in A Haunting We Will Go.

I've had all the interference

I'm going to
take from you, girl.

I haven't been
trying to interfere.

You're lying.

You're just like
all the others.

Your father, Dr. Robinson...

No, there's no place to run,
no place to hide.

You know who
wrote that letter.

You know what I must do.

[screams]



[grunting]

[people applauding]

That was terrific.

Oh.

Are you all right?

Yes, I'm fine. I'm fine.
Thank you.

Oh, dear.
Oh, my.

You know, you-

you take a retired actress
and put her back-

(Ned)
Thelma March!

Thelma March is
going to be in our show.

In our show?

You mean she's
agreed to attend.

I can't believe it.



She's volunteering to recreate her
role in Murder in the Fourth Act.

Well, listen to this.

[clearing throat]

"Will be delighted to perform

"in your production
of Murder in the Fourth Act.

Arriving Thursday,
4:00 p. m."

Signed, Thelma March.

(George)
Thursday. That's today.

Mr. Producer, if rehearsals
are over for the day,

I best get back
to my hotel.

They'll be needing me there.

Oh, yeah, sure, but, uh,
be back here by 4:00.

Oh, I wouldn't miss Thelma
March's homecoming for the world.

Not for the world.

Do you know what
this means, Nancy?

We can sell tickets
at high prices.

And bring them in
from all over the state.

Maybe we could get
a-a television deal.

No, no, a network deal.

No, Ned,
don't stop there.

Uh, think of
the television series,

the syndication rights-

I think what George
is trying to say is,

all we need is enough money
to get the theater torn down,

and the
youth center started.

And then donations
should start coming in.

Thelma March could
get that off the ground.

George, will you
bring the car around? I, uh,

I want to call
the Clarion,

and let them know who I have
arriving today at 4:00.

Oh, uh,
of course, CB.

[laughing]

He's really
getting into it.

He really is.

Go ahead,
I'll turn off the lights.

Okay.

[chandelier tinkling]

[chandelier tinkling]

[screams]

(Carson) How could such an
accident have happened, Nancy?

Didn't anybody
check the rigging?

I'm fine, Dad.

Look, I just wish
everybody

would stop making such
a big deal out of it.

I'm sure there's a reasonable
explanation for it.

Janet Musante says
it's a phantom.

You're kidding.
When did she say that?

Huh.

The old legend
of the Rialto.

I don't know how
it got started, George,

but it's the kind of story

that's nurtured by people
like Janet Musante.

Living alone in that hotel

right across the alley
from the crumbling remains

of a famous theater
where she used to play.

You look into those
darkened windows

every night for enough years,
you'll see phantoms, too.

I don't believe it!
I don't believe it!

I don't believe it
either, Ned,

but there's no reason to
get hysterical about it.

I got telegrams
from Alex Richmond.

Alex? You mean
the newscaster.

That's right.
Danny Day.

[stuttering]
Who's he?

He hosts TV game shows.

And Seth Taylor.

They're all coming
to River Heights.

They'll all gonna
be here today.

And they're all gonna perform in
our show. These people are giants.

I just can't understand why all
these people are coming to help us.

(Nancy) With all these
famous people coming,

we better
check this place out.

No clean cut,
no fraying edges.

What does that mean?

I'm not sure.
Let's go up there.

Okay.

Look, the cleat isn't broken.

[sighing]

Those ropes didn't
just come untied.

It's impossible.

Are you saying someone
deliberately untied them?

I'm saying it's
highly unlikely

to come untied
on its own. Come on.

George, could you check
the dressing rooms?

I want to take
a look at the prop room.

1957.

Thelma March,
Janet Musante,

Seth Taylor, Danny Day,
Alex Richmond.

That's why
they're all here.

(Thelma)
Danny!

Ah, Thelma!

How good to see you again.
Yeah.

You haven't
changed a bit.

Pity.

Uh, pay the cab,
would you, darling?

Uh, yeah.
I'm a little short myself.

Hi, I'm Ned Nickerson,
the producer.

Oh, good, good.
Then you pay the two cabs

and take care
of the luggage.

Pay the cab?

Don't look at me.
You're the producer.

I'll meet you inside.

Welcome to River Heights,
Miss March.

I can't tell you what your
arrival means to this town.

Oh, yes, you can.

Tell me, Miss March,
what is it that brings you

all the way to River Heights
for an amateur play?

This theater holds
such fond memories for me.

If it is to be sacrificed to
the vagaries of modernization,

I wanted a chance to play
on its stage one last time.

[people applauding]

Alex.

I feel as if we've
never been apart,

seeing your face on that
7:00 news every night.

How can you manage to
tell us such dreadful things

with a straight face?

Sometimes it isn't easy.

To be honest,
I switch to Channel 3.

It's a better class
of news.

Oh.
Thelma, this is Nancy Drew.

She's leading
the charity drive

for the new youth center.

And this is Ned Nickerson,
our producer.

It's a real honor.

I'm always happy to come to the
country to meet the little people

and help them with their
little drives, uh-uh- causes.

You have another reason
for being here, don't you?

Another reason?

Oh, you've discovered
our nostalgic reason.

We were all
in the play together.

20 years ago.

(Thelma)
Hello, Janet.

Hello, Thelma.

How lovely to see you again.
I knew I would.

[laughing]

Well, the only person
we need

to complete the cast
is Seth Taylor.

But then
he was always late.

Maligned before I can
make an entrance.

People don't grow older,
just meaner.

Hello, Seth,
you haven't changed a pound.

Janet, you look
so usual.

Yes, now how would
all of you like to

try to win some of those
fabulous prizes behind Door B?

What is the name of that
dreadful show he does?

Any show he does
is dreadful, love.

You know, I'd love to use
all of you on the show,

but unfortunately,
they only hire stars.

(Seth) They made an
exception in your case.

(Danny) Oh, yes, because I had to bring

greed and humor to America.
Remember that.

Well,

I hoped I'd never
see your face again.

Unless it was on television
where I could turn it off.

If I see one of your pictures
in a flight in first class,

I move to economy.

[chuckles]

Let's get this over with
as quickly as possible

and get out of here.

You better believe it.

Miss March.
Mr. Taylor. Please.

I'm not letting you
out of my sight.

Don't worry. If you
turn around, I'll be there.

[whispering] That didn't
sound very friendly.

Maybe they're rehearsing.

If that's a scene
from the play,

I don't remember it.

Your presence here
has sparked interest

all across the country.
And so we've made arrangements

for our local television
station to tape opening night

for broadcast on television.

Television. Wonderful.

(Carson) And, uh, we also
have suites for each you

at the Barkley Hotel.

We'd rather stay at the
Excelsior across the alley.

My hotel? Oh, you'll not
be comfortable there.

That's a wonderful
idea, Seth.

That way
we'll all be together

just across the alley
from the theater,

like one big,
happy family.

Yes, yes,
I'd like that very much,

if, uh,
you have the room.

Well, yes,
of course, but I...

Well, whatever
accommodations you wish.

[sighing]
Well, let's get settled.

Right this way.

[panting]

I trust you found
your room satisfactory.

I expected to find it
lined with mink.

What?

Someone's been making a very
good living out of this nightmare.

You think it's me?

Would I stay on in this town,
in this run-down mausoleum?

Where else would you
fit in so well?

[exclaiming]

Besides, it would
make a very good cover

for a growing
Swiss bank account.

Well, you're insane.

One of us is.

Miss Musante.

I think that's enough
rehearsal for the moment, Janet.

Yes, I-I found
that scene most stimulating.

Hello, Nancy.
What do you want?

I just wanted
to tell you

that rehearsal has been
called for 7:00 tonight.

That's just fine.
See you then.

See you later.

[door closing]

What happened?

Nothing to worry about.

Did she say anything?

Said she didn't know
what I was talking about.

What did that
Drew girl want?

Just to give us
the rehearsal call.

She was watching all of us
pretty closely at the theater.

We may have to do
something about that girl.

(Thelma)
"There's no mistake.

"We know who she is,

and we know
who her father is. "

"Yeah, imagine being
served champagne

by the Governor's daughter. "

Did you notice
Alex Richmond's luggage?

What about it?

Oh, it's really old
and worn out.

He's a world traveler.
He goes everywhere.

By bus?

Bus?

He came here by bus.

So he's frugal.

What do you think it means?

Why are you always
playing detective

even when there's no crime?

[exclaims]

That was your cue
you just missed.

Champagne, madam.

Thank you.
At last.

Well, this calls
for a toast.

Yeah, sure.

And you shall join us.

Let us all drink to this
happy, joyous occasion.

A toast.

Thank you.

I don't trust
anyone that courteous.

You don't trust anybody.

Hmm.

I am very
uncomfortable in this.

I need a p...
I need a pipe.

Oh, come on.
I used to use a pipe.

Work on Act 1.
I'm gonna get a pipe.

[Thelma sighing]

(Alex)
I'm gonna go read the trades.

[crashing]

[footsteps pattering]

There he is, over there.

(Nancy)
No!

What's hit him?

My God,
he's dead.

(Alex) All right, don't
jump to conclusions.

Mr. Taylor.

All right.
Everybody stand aside.

I can handle this.
I've had medical experience.

He once played a psychopath
on Marcus Welby.

Well, don't move him
until you know

if he's got
a neck or back injury.

You're right.
I saw that episode myself.

Ned, call a paramedic unit.

Also call a forklift.

[sighing]
Don't alarm anyone.

It'll be bad for the show.

Help me up.

Mr. Taylor,
you might be hurt.

She's right.

We want to be sure
no bones are broken.

The only thing broken
is that statue.

It fell on me.

Fell, or was pushed.

Mr. Taylor, did you
see anyone or-or anything?

Nothing. I was
looking for a light.

The one up there
is burnt out.

That's funny. It wasn't
burned out last night.

Oh, wait a minute.

It was just
improperly screwed in.

You probably
backed into an old prop

and brought it down
on you.

(Janet)
It's the Goddess Minerva.

She used to stand sentinel

on top of the theater marquis
for years.

She was its good luck charm.

Well, considering what
this theater's been through,

they should've
left her there.

Well, you see, the ghost
is a jealous one.

He doesn't
want her out there.

One spirit is enough.

(Nancy) Well, apparently
our spirit uses this window

to get in and out
of the theater.

It's been unlocked.

(Ned)
Well, it can't be unlocked.

I checked it myself after
this morning's accident.

It has to be the ghost
of a Barbie doll

to have gotten
through there.

It won't open any further.

(Ned)
Well, that's that.

This is one time
you're wrong, Nancy.

I guess you're right.

I think we should pick it right
up first thing in the morning.

My game show's on
first thing in the morning.

I can't miss that.

Of course you can.
Everybody else does.

Uh, why don't we
just call it a day then?

Why don't we call it a night?
A very special night

marking a very special reunion
of very special people.

Our first night
back in River Heights.

A community I can remember
as being one of the most

restful places
on the face of the earth.

You've been gone
a long time.

The lock on the window
had been opened recently.

Rust particles had fallen
down onto the window ledge,

and you could see where
the latch had been twisted.

Sure.

Ned said he checked that
window after the accident.

You know, when you
check a latch,

you often turn it
to make sure it's secure.

The statue,
and the chandelier.

Nancy, Seth Taylor
was stumbling around

in a dark prop room
cluttered with debris.

It's a wonder he didn't
back into an old sword.

As for the chandelier,

well, it was attached
to ropes and batons

that hadn't been used
in 50 years.

You know,

you're gonna have to
be very careful

of everything you do in
that old relic of a theater.

I wonder if it wasn't
a mistake

to try and stage this play.

No, no, it's a
- it's a brilliant way to raise some money.

Now, come on, Nance.

You're supposed to be
having the time of your life.

After all, you're working with
some of the most respected people

in the entertainment world.

Oh, but, Dad, there's something
odd about every single one of them.

They all seem hostile.

Hostile?

Well, yes, I haven't seen
a trace of genuine affection,

or even concern
between any of them.

Well, people don't have
to like each other

to respect each other.

Respect is the least of
what I've seen.

I'm picking up on feelings
that come as close to hatred

as I've ever experienced
in my whole life.

Nancy, I think what you're
sensing is jealousy.

That's a very common emotion
at reunions of any kind.

College. Military.

Even old lawyers,
when they get together.

See, you shouldn't be surprised
to find it in this cast.

I mean, after all,

people in show business
are just like anybody else.

Okay, fellow has-beens. Come
on, old man, give me a hand here.

[grunting]

This is tougher
than I thought.

[grunts]

Don't break it,
you half-witted clod.

If we don't get
this thing over with,

you'll be doing your idiot game
show from an electric chair.

It'd get the highest rating
since Roots.

Oh, stop it,
all of you.

Now, look,
either we pull together

or we take our chances
with the police.

And I don't mind telling you
that I'm the only one of you

who'd have a chance
with the jury.

Not if they've seen
any of your recent pictures.

There aren't any.

Well, I'll go next.

I don't want to stand
and wait while Seth tries to

maneuver his awesome talent
through this opening.

You know, you're taking this
theater business awfully seriously.

So-so.

Really, I don't think I've
ever seen you so charged up.

Here I thought you'd made up
your mind to become a lawyer.

There's no reason why a lawyer
can't be a theatrical genius.

Did you say genius?

Well, genius is
a strong word. I know that.

And I don't
use it capriciously.

But sometimes fate
moves in mysterious ways.

Fate?

The unseen hand that-
that reaches down

and tells us that we are men
chosen from above others to lead.

Lead what?

Uh, it came to me today,
Nancy.

(Nancy)
Yeah?

I felt the rush.

There's a lot of flu
going around.

Inspiration comes in waves.

And I'm riding on a crest
that's been shared by few others.

DeMille, Norman Lear,
Ziegfield, Zanuck, Brown.

Oh, man.

You don't think
it took finesse,

a Mike Todd kind of flair,

to bring all those important
people to River Heights?

It took old Miss Musante's
suggestion,

and four telegrams.

Yeah, well,
I handled the publicity.

That's true.
What's your next big move, CB?

I'm going back to
the theater tonight

and check my lighting plot
for tomorrow.

You know something, Ned?

Yeah, what?

I want you to know

that we all appreciate
how hard you've been working

to make this youth center
something worthwhile.

Really.
And when it's all over,

I want you to do
something for yourself.

What's that?

See a psychiatrist.

See you in the morning.

It's all this pressure
that's getting to her.

Working with
all these giants.

Whose idea was it to make
this wall four bricks thick?

Alex didn't want it
to sound hollow, remember?

Yeah, well, it's gonna take us at
least a week to tunnel through it.

Well, this is ghastly.
We're going to get caught.

Oh, would you all
stop jabbering and dig?

We won't get caught
if we keep the hole covered up

and get rid of the bricks.

Come on, Alex, let's get
out of here and unload.

Oh.

Uh, hello, Ted.

It's, uh, Ned.

Ned.

I, uh, suppose
you're wondering

why I'm carrying
all these bricks.

Oh, no. No, uh,

well...

Yeah.

It-It's Alex's back.

His back?

Yes, yes, in my, uh,
Greenwich Village apartment

I was sleeping on
a solid brick floor.

Well, my-my father
sleeps on a board.

A board wouldn't work.
I need bricks.

If you're all set,
I was just gonna

check the lighting plot
for tomorrow.

You folks
deserve a good crew.

Uh, what we deserve,
young man, is a rested crew.

Now, I suggest that you turn
right around and go home.

Oh, I feel great.

After all,
I'm young and, uh-

Young man.

Are you suggesting
that I'm old?

Miss March, no, I...

Unless you want to
offend Miss March

even more
than you already have, uh,

it'd be a good idea if you just
turn right around as she suggested.

Yeah, well,
I-I-I didn't mean any-

We'll see you
in the morning.

Yes, ma'am.

[sighing]

What do you think, Alex?

I think my back is broken.

[snoring]

That's the way
they were when I came in.

You, uh,

you don't suppose they got here
early to brush up on their lines?

How early could
they have gotten up?

Yeah.

[Seth snoring]

I hate to do it,

but, uh, we have a lot of
ground to cover today.

Good morning!

How is everybody today?

Ted.

Go away.

[exclaiming]

Is it 10:00 already?

Oh, we were just
running our lines.

Yeah, we've been
working so hard,

we decided to take a break.

Alex is getting on
in years, you know.

One more crack
about my age...

[coughing]

Is your back
bothering you, Mr. Richmond?

I'm fine.

Well, whenever
you're ready, uh,

we'll meet on stage
for rehearsal.

[grunts]

[sighing]

Has a bad back.
Sleeps on bricks.

What?

It's a long story.

Oh, I've got time.

Well, I guess, I might as well
tell you now as later.

Uh, they didn't go
right to bed last night.

Well, I can see that.

It doesn't look like
they went to bed at all.

What was it, a reunion party?

If it was, they had
a scavenger hunt.

They sent Mr. Richmond
and Miss March

out to find bricks,

at 1:00 in the morning.

Ned, I want you to tell me
everything you know.

This is all a bad dream.

At least have the presence
of mind to act civilized.

That girl is
watching us very closely.

These little digs and jibes

are liable to
give us all away.

It's difficult to be civil
when I know I'm sharing a room

with someone who has
bled me for every dime

and every comfort I've earned
over the past 20 years.

We're all in
the same boat, darling.

Not all.

One of us is a blackmailer,

a bloodsucker,
who has made the rest of us

penniless paupers
begging for subsistence.

Why does it have
to be one of us?

Why can't it be
that old crow out there?

If she has our money,
she's buried it.

She lives like a cockroach.

I'd sooner spend
the night in a grave

than live in that
rooming house of hers.

Dear Thelma, it'll take us
at least two more nights

to dig through that wall
at the rate we're going.

I say we get some dynamite
and blast our way through.

Yeah.

And bring this crumbling old
barn down on top of us.

You watch
too much television.

I'm on television.

You should watch it more.

[exclaims]

Now, now, Alex is right.

We have to keep on
the way we're going.

Now, let's go in and get
this rehearsal over with

as quickly as possible.

(Nancy) But I have
excellent references, sir.

(Seth) Why not give
her a chance, my dear?

Wait.

[grunting]

Yeah, we could
use a cheerful face

around this dreary dungeon
we call home.

(Seth)
Then it's agreed.

As your director as well
as your fellow actor,

I think that's quite
enough for one day.

Well, it's not enough.

I mean, we've only
rehearsed the first act.

(Seth) We don't want to
get stale on it, my dear.

We've rehearsed
this thing many times.

But I haven't.

I'm afraid if you don't
give me more time,

I'm gonna let you all down.

Honey, you're letter perfect.
Don't worry.

Let's call it a day.

Besides I read
something in the trades,

and I have to call my agent.

(Nancy)
Watch out!

[all gasping]

It wasn't an accident.

Of course
it was an accident.

Who on earth would
deliberately sabotage

a fund-raising show
in a small town?

What about the phantom
you're always talking about.

Nobody takes that seriously.

Although, there are
some people here

who should be
taking it seriously.

What on earth is
she talking about I wonder.

Time has not been kind
to dear Janet.

We were going to break
as I recall.

(Carson) I think we have
to consider whether or not

that theater is really safe
for a public performance.

It's not the theater
that needs to be inspected.

It's the people
inside of it.

Nancy, we are talking
about respected talents.

People of means and stature.

Hardly think we can suspect
them of being conspirators.

Or even targets of
a conspiracy

to stop production of a play.

And who would have
anything to gain?

I checked the brackets on the piece
of equipment that fell last night.

I think it just fell.

I mean that stuff
is old and rotten.

Ned, you did say that you
heard a door click shut

right after the accident.

Yeah and I ran outside and didn't
see anyone in any direction.

Now, where could he
have disappeared?

How about back
inside of the theater?

[sighing]

I hadn't thought of that.

Well, I did.

And I have a plan to expose
who's behind this phantom hoax...

Whatever it is.

A safe plan?

How could it not be?

Nobody believes anything is going
on around here except for me.

I wonder if Nancy isn't just a
little emotionally overcharged

because she's in a play
with all these stars.

I'm sure that's it.

I'll, uh, take her aside
and work with her.

Build up her confidence.

Oh, terrific.

What is that?

Uh, you know the stuff they stamp
on your hand at school dances?

Well, yeah, it shows up
under ultraviolet light.

In the theater,
they call it black light.

Sometimes they use it
on scenery.

What are we
going to use it for?

To set a trap.

For the phantom.

For whoever it is
who has something to hide.

(George) Maybe we should put
some here, in case they touch it.

Good idea.

Yeah, really cover it.

George, look at this.

Nancy, it's broken.

That's how the phantom...

The person.

That's how the person's been
coming in and out of the theatre.

Should we lock it?

No, I'm going to paint it.

Oh.

Well, I'll bring
the car around front.

[rustling]

(Ned)
Good morning.

Well. Here we are,
ready to rehearse.

Fine, fine. We'll take it
from the maid's entrance.

Good morning.
All right.

We're taking it from
your entrance, Nancy.

Now we'll find out
who your phantom is.

Got your cue?

I wouldn't miss it.

(Nancy)
Champagne, madam.

Honey, where are
the glasses?

Oh, Ned's getting them.

We can work
without glasses.

We always
rehearse with props.

At last...

This calls for a toast.

George.

Wait a minute. What...

Turn the lights on.

What is this?

Hey. What's on your forehead?

It's all over your face.
It's on...

What's on your hands?
What is this?

(Thelma)
What is this stuff?

I don't believe it,
they are all the phantom.

What's going on?

I'll explain to you later.

(Thelma) There's something
very odd going on here.

(Thelma) It takes a woman
to know another woman.

That one is not
to be dismissed.

She knows.

Of course she knows.

And we know
what we have to do.

Oh, no.

[chuckling]
No, no.

I can't do that again.

Can't do what?
You little weasel.

Can't do away
with that lovely,

sweet, innocent girl.

Who said anything
about doing away with her?

She's talking about him.
In the cellar.

Tonight. Before he
does away with us.

So we're all agreed.

(George) Just what is
it we're looking for?

Now, we know they were all
in that play together, right?

Yeah. Something happened to
force them to all come back here,

and stay in one another's
company constantly.

Have you ever seen
any of them alone?

It's as though they don't trust
one another out of their sight.

[exhaling]

Ah, look at this.

Look at their pictures,
they were so young.

"Jason Hall, director
and producer of the play,

"a well-known
Broadway entrepreneur

"calls this thriller a gem that
will shine on the New York stage.

"He is bringing down
all the New York critics

"for the opening night
tomorrow.

"Which is good news
for his investors.

"All of the money for the play

has been raised
in River Heights. "

Look, Nancy.
Here's a later edition.

"The failure of
Murder in the Fourth Act,

"to even play out its
engagement in River Heights

"has stunned many of the
town's prominent businessmen

"who have sunk large
investments into the show.

"Sources all blame the collapse
on too little rehearsal time,

"and personal difficulties
among the cast.

"No New York critics
showed up.

"Jason Hall, it appears,

having left River Heights
after the first night. "

It sounds to me like this town was
taken for a very expensive ride.

Where's Jason Hall?

There he is.

Did you expect him
to get up and walk away?

Well, I've had it.

Well, now, now, don't pull
the old man act, lift.

Come on. Let's get him
out of there.

Oh, I can't bear
to look.

[grunting]

Be careful, be careful.

As careful as I can be.

[groaning]

Get the door later.

The heck with the door.

I think Jason's
gaining weight.

[Ned clearing throat]

[laughing]

Hello, Ned.
Beautiful night, isn't it?

[sighing]
Yeah.

Tsk.

That, uh, looks like
a sarcophagus.

That's exactly what it is.

A sarcophagus.

We're just taking it up
to the hotel room.

Oh, uh, you're going to
put it next to the bricks?

For now.

[laughing]

I guess this seems
kind of odd, doesn't it?

Yeah, well.

Let me explain.

Mr. Drew kindly said

that if there were any of the
old props we might like to have

before they go
on the auction block,

we should just
help ourselves.

Most of them are
in very bad shape.

But this has
sentimental value to me.

Oh, it does?

Yep, I collect them.

You do?

I've nine of them.

I've just the spot for this
one in my Hollywood apartment.

It's a beauty.

[grunting]

It's also very heavy.

Oh, well, I-I didn't
mean to hold you up.

I'll see you at the rehearsal
tomorrow at 10:00.

Bye.
Bye-bye.

Good night,
good night.

You think
he's suspicious of anything?

What's suspicious about
two men carrying

a sarcophagus down an alley
at midnight?

You're right, good.

[both grunting]

You were right, Nancy.

We've got to find out
what's in that sarcophagus.

Do you have any idea?

I'm afraid I do.

I'm sorry, Nancy,

I just can't believe
what you're telling me.

I know
how bizarre it sounds-

I mean, these are four of
the most respected

show business personalities
in the world.

People who make
$1 million a year.

He's right, Nancy.

Maybe they never got a chance
to spend all that money.

Well, Nan, now what's that
supposed to mean?

Something must have gone on

inside that theater
all of those years ago

that bound those
people together,

in spite of their
hatred for one another.

Nancy, now you're saying
there's a conspiracy.

That's exactly
what I'm saying.

There's a body
inside that sarcophagus.

I just know it.

A body? Whose body?

Well, there was
a flamboyant producer.

He put on the original production
of Murder in the Fourth Act.

He raised a lot of money from
investors in River Heights.

I remember hearing
something about it.

His name is Jason Hall.

That's whose body
is inside the sarcophagus.

What?

We've got to get the
sarcophagus opened up.

But that requires
a search warrant, Nancy,

and you don't have
one shred of real evidence.

Dad, you've got to
trust my instincts on this.

Those show business giants have
been up for the last two nights

trying to break through
a brick wall,

desperately trying to get that
sarcophagus out of the theater.

Maybe that's why they
came back to River Heights.

Of course. Cause if we
succeeded with our youth center

and tore the theater down,
the coffin would be found.

[sighs]

All right, I'll-
I'll call the Sheriff.

He'll get in touch
with Judge Stevinson

and have a search warrant
issued by 9:00.

We've got to get
that body out of here.

What do you
propose on doing?

Going over to
the local cemetery

and telling we want
to park our mummy?

I can't step 2 feet
outside my hotel room door

without reporters
dogging my heels.

We'll do it tonight
after the performance.

It's so strange
to think of Jason...

What's left of Jason

in there.

I'm afraid there's
quite a bit left.

A body can mummify very
quickly under those conditions.

That something else
you picked up from Welby?

Dr. Kildare.

Yeah, I forgot
you went back that far.

You've been living this
nightmare at a distance.

But I've had to live
across the alley from it.

All these years,

with poor Jason
buried in that theater.

Do you have any idea
what that's been like for me?

[knocking on door]

Sheriff.

(Sheriff}
Mr. Taylor.

Sheriff, come right in.
What can we do for you?

You can open that, uh,
sarcophagus for me.

Why?

I beg your pardon.

That's a very
delicate antique, Sheriff,

I'd rather not
tamper with it.

(Sheriff} I have a search
warrant here, Mr. Taylor.

You'll have to open it.

Are you condoning this
type of treatment, Mr. Drew?

Is this how you repay
our generosity

that you so much
appreciated?

We'd like to see
what's inside it.

Right now.

Right now, gentlemen.

[sarcophagus lid creaking]

(Ned) More bricks for
Mr. Richmond's back.

What?

(Seth)
Just what did you expect

to find in there,
Mr. Drew?

What did your daughter
expect to find?

All I wanted was
a-a prop

from the Rialto, just a
piece of theatrical history

that I could perpetuate.
But it's sullied now,

I don't want it.
Take it away.

Uh, look, I'm-I'm sorry
I disturbed you folks.

Uh, Mr. Drew, could I see you
outside a moment?

You, too, Nancy.

Uh, We're really-

Good-bye.

Where is he?

If he's not in here,
where is he?

Well, I'd say
it was obvious.

One of us moved the body
at some time over the years.

The blackmailer,

who only returned with us
this time

for appearance's sake
knowing what we would find.

Well, whichever one of you
it is,

I want to go on record.

I've been bled dry. Open a
vein and you'll find poverty.

We'll play the show tonight
and then I'm going home.

I'm through paying for a mistake
that's lasted for 20 years.

I think you echo
all our feelings, Alex.

That was
a beautifully read speech.

Especially if you're
the blackmailer.

(Alex)
So what's the big emergency?

Sharpen that picture,
Jerry.

(Seth) A dinner engagement in town.

(Janet) That's not important
now, there's trouble.

You see, our maid-

(Thelma) Our maid is not a maid at all.

Really?

Well,

it comes as
no surprise to me.

(Seth) I remember the day she arrived.

Relax, Nancy the stage
fright will disappear

when you step into
the footlights.

It's not the acting
that's getting to me.

It's this whole situation.

One of those people out there
has got to be the blackmailer,

that's why
they're all so broke.

(Ned) Nancy, I've got
a theory about that.

Ned, we don't need theories,
we need facts.

But, Nancy...

But if there was no body
in the sarcophagus,

it means that one of them
had to remove it.

Unless...

You've got a cue
coming up, Nancy.

Unless the man
isn't dead.

That's got to be it.

He's been blackmailing them for 20 years

for a crime they thought
they committed.

That's got to be
the answer.

You see?

Why would they
all come back here?

Because when the theatre
was torn down

the empty sarcophagus
would be found,

and the blackmail
would have ended.

20 seconds, Nancy.

He tried to scare us out of
this theater with that phantom.

Well, that's it.

So now he knows they all
know he's still alive.

And the blackmail is over.

But, George, worse than that,

he's got 5 victims out there
who hated him enough

20 years ago
to want him dead.

Can you imagine
how they feel about him now?

It's going to be a race
to see who gets who first.

Now, quiet,
all of you.

The only important thing

is to make her believe
that we believe

that she's really a maid

and this is a happy,
joyous occasion.

Here she comes now.

Hey, that was your cue,
Nancy, you're on.

Here she comes now.

I knew she'd miss that cue.

Camera two and go.

(Nancy)
Champagne, madam.

(Alex)
At last.

(Seth)
Thank you.

Nancy's been looking forward
to this moment for a long time.

This calls
for a toast.

And you must join us,
my dear.

Have a drink with us.

We must drink to everyone's
health and happiness.

(Thelma)
Pick up your glass, dear.

We must drink a toast
to our health and happiness.

There's no time
for that now.

There isn't?

(Seth)
What's she doing?

You're all in danger. (Janet) What?

(Thelma)
Uh, let's drink a toast now.

(Seth)
What is she doing?

Let's all drink up.

No, don't drink any that.
It's poisoned.

I can't seem to find
this dialogue.

That's because
it isn't in the play.

Ned, turn off
all the lights.

(Nancy)
Turn on the ultraviolet.

Now.

[actors chattering]

Pick this up on three,
Jerry.

(Jerry) Who do you want me to follow?

I don't know
what's going on.

Follow whoever moves.

Okay, hey, what-what's
happening here?

Hey, what is-

(Nancy) There's your
phantom, in the audience.

[people chattering]

(man)
What's going on?

[audience chattering]

All right, hold it.

(Alex)
Stop him! Stop him!

[man grunting]

(Danny) All right. All right. All right.

All right.

Just a minute. Hold it.

It's Jason.

It is Jason Hall.

How dare you
not be dead?

20 years of poverty.

And he's wearing $400 suits.
I paid for that.

Those shoes that came out
of my second mortgage.

And-and look at that
Countess Freya tie.

(Thelma)
It's $75.

This ought to get us
a 40 share.

"Murder in the Fourth Act. "

That was your poetic justice,
wasn't it, Mr. Hall?

(Nancy) I think when that forensic lab

gets finished
with the champagne,

they'll find it was loaded
with rat poison.

Oh, no.

I recognize the odor.

Was it revenge
or fear

that made him
poison the wine?

Both.

You all paid dearly for what went
on in that theater 20 years ago.

Tonight you almost paid
with your lives.

I'd like to know
what really happened.

[actors chattering]

Jason was
an entrepreneur,

a charismatic hustler.

He conned people
in one town after another

into thinking that
Murder in the Fourth Act

would be a big,
prestigious production.

It wasn't until
he came to this theater,

that we found
we'd been had.

He was ready
to leave River Heights.

He'd already wired the money
he'd collected

from his investors
to some bank.

And he was going to
leave us holding the bag.

Destitute.

Humiliated.

(Danny)
Maybe even jailed.

There was
a violent argument.

And he fell,
and hit his head.

We thought
we'd killed him.

We panicked and put his
body in the sarcophagus.

At some time, he must have
recovered consciousness

and gotten out
of the sarcophagus,

weighed it down
with bricks.

Not realizing that when
we returned to the theater,

we bricked it up.

And then they all went away and
left me here with the secret.

You gave Jason Hall the
opportunity of a con man's lifetime.

He blackmailed all of you
for 20 years.

And each of you thought
it was one of the others.

Well, tonight's lifted
a great burden from all of us,

made us look into ourselves and
re-examine what we're seeing there.

Murder in the Fourth Act will go
on at this stage tomorrow night.

We'll play it until you have enough
money to build your youth center.

I think I speak for everyone,
for once.

You do, my dear.

[chuckles]

If it weren't for you,
we'd all be dead.

You're beautiful.
Quite a detective.

She sure is.

Well, thanks, CB.

[chuckles]

And my dear, you have a
long career ahead of you.

And not however
as an actress.