Who's there? Who's out there? That's you, Mr. Dennison? Hello, Ernie, how've you been? I'm just fine, sir. -Did you have any trouble getting in?
-No problems. Well, you got to be careful. Some of those junkies
and winos from Broadway try to bed down in the lobby overnight. Encourage them, Ernie. The theater was meant for the common man. -Anything I can get for you, sir?
-Just some food. I'm expecting a few people. Do you mind going
across the street for coffee and Danish and get something for yourself? -Are you having a rehearsal?
-Only a reading. -I'm working on a new play.
-That's where it all starts, right? With the words. Yes. With the words. Mr. Dennison, I didn't get to talk
to you at the funeral. I just wanted to tell you how sorry I was. That's kind of you, Ernie. Seems like such a long time ago. It was only about a year, wasn't it? A year this week. I'll be right back with those sweet rolls. Alex,
I'm practically getting palpitations. Alex, I'm going to come down with amnesia. I'm never like this
when I'm making a film. Movies are for children.
The theater's a whole different animal. Yes, as long as it doesn't bite. Alex, I want to be good. -I want to make you proud of me.
-You will. At least we won't have to keep
this a secret anymore. -You saw this?
-Heard about it. Cat out of the bag department. Actress Monica Welles
and playwright Alex Dennison have a major announcement to make tonight. The couple began
their hush-hush love affair during the rehearsals
of the Broadway comedy, Chamber Music, and hit or flop, they plan to marry tomorrow
in a quiet civil ceremony. Congratulations, fellas. Sorry to spoil the surprise. -She has a way with words, right?
-I'll wring her neck. How did she know? We took out a license, got ourselves a judge,
and somebody had a big mouth. -If I ever run into her…
-You'll be perfectly charming. Gossip's gossip. That's their job. Half hour, Miss Welles. My makeup's not finished,
and my hair's a mess. I'll get out before you break into hives. Alex, I'm scared to death. If it helps, I love you. It does. All right, no more butterflies. -I'm going to be wonderful.
-I never doubted it. Alex. -A foolish question.
-Yes? You have a lot of power. People in the theater
do pretty much what you say, right? So I keep telling them. -Are you asking me to bribe the critics?
-No, nothing like that. I suppose you could stop
somebody from working if you wanted. I suppose if I were vindictive instead of the tender-hearted
creature you've come to adore. -So what is all this?
-Look at the time, come on. Get out of here.
I've got to pull myself together. Love you, break a leg. Alex, last hour to blast off. -How's Monica?
-Traditional response, she's terrified. I talked to our leading man.
He's making room on his shelf for a Tony. Good, let him keep
on thinking he's the star. I just hope you all do
justice to the words. Lloyd, it's a nice little
commercial comedy, nothing cosmic. If it's a hit, fine. If not, we'll survive. Either way,
I appreciate the director shot. Don't go maudlin on me,
you did a good job. Will you watch
from the back of the house or wings? Watch? You've got to be kidding. That's a cruel and unusual punishment. That's another one for you, Mr. D. -I must owe you three drinks by now.
-Five. I should be saving
my luck for the critics. You're going to have another hit. We Irish are psychic. Believe me, it's going to be a smash. Damon, you're superstitious,
you're irrational, and if you're right, I won't tell the sanitation department
about your kitchen. Hey. How can you just sit here when your baby
is being delivered across the street? What do you want me to do? Pace the aisle? Reacquaint myself with my dinner? Believe me, on opening night,
the best place to be is a saloon. Why do you let him in here? The man is obviously
bereft of human emotion. -Would you like a drink, Mr. Lamb?
-No. Yes, something out of a bottle
with a skull and crossbones on it. Can you believe this? I have $600,000 riding on this man's show,
and he sits here tossing dice. -It's therapy, you need to try it.
-No, thanks. I'm taking enough of a gamble tonight. Speaking of gambling, what is this I read about you and Monica? -Is it true?
-Would the newspapers lie? Amazing. I've been to every rehearsal,
and I didn't know you two were even… -What's the word?
-Keeping company. No, we were discreet.
We didn't want to upset any apple carts. -Skål.
-Salute. It's about time
you became a domestic animal. -Damon, is that the right time?
-Right on the button, Mr. Lamb. Curtain comes down in ten minutes. Let's go, thanks for the drink. -Are you coming?
-In due time. What do you say, Damon? -Double or nothing.
-Sure. Whoops. Nice of you to drop by. Where's the lighting man tonight?
In Yonkers? Now he claps. Brava! We can drink to that. Isn't this wonderful? -I keep bumping into very famous people.
-They're all rented for the evening. They all disappear
if the notices are negative. But we're going to be a hit. The audience loved it. You're new to the theater, Karen. Lesson one: never confuse
the audience with the critics. Alex. Lloyd and Mr. Lamb
are still standing by that phone there. -They haven't even eaten yet.
-The death watch. It's better on an empty stomach. They're clamoring for you. Give me a minute, I'm girding my loins. You look fine to me. Actors do strange things after an opening,
but counting money? I got this from the bank today.
Would you believe I ran out of cash? Darling, can you put it there?
I don't want it to be lying around. -Signs and portents.
-Yes. Let's hope it's not an omen. What's all this? There's still a few things
you don't know about me. That's my junk heap. -This?
-Monocle. Doesn't everyone have one? -And?
-Girl Scout knife. No, that's a necessity.
I got it this morning. There was a power failure last night.
Twenty minutes without lights. Living with you
is going to be an adventure. Which reminds me, where do we collapse tonight? In Shakespeare's immortal words,
your place or mine? Alex, if it's all the same to you,
I'd rather stay here tonight. I mean, by myself. -Oh.
-It's been so hectic, you know. I need to be alone just for a few hours. -Do you mind?
-Yes. I'll make it up to you, I promise. That's a good start, but if we don't stop,
we'll never get downstairs. Drink up. Now, let's show them what a star looks like. The whole thing, is it? Where's Monica? Nice of her to throw this party,
but at least she could show up. -She wants to make an entrance.
-It's a little overdue, isn't it? Maybe we can use the second paragraph. No, I don't want to hear it again.
I'll talk to you later. Gentlemen. I think I'm going to have a drink.
Several drinks. -I suggest you do the same.
-It's that bad? Bad is a relative term. They were mixed. But The Times was a knock
and without The Times… -I'm sorry, Alex.
-What'd they say about Monica? They liked her. I mean, nothing ecstatic. -The Post thought she was a bit stiff.
-I don't want her to see that. Can't we try for a run?
Monica's name means something. So does yours, Alex. -It's up to the producer.
-Walter? Yes, I'll sleep on it. I'll go to the office tomorrow
and assess the damage. If we could stay open for a few weeks. Get some word of mouth going.
Come on, Walter, please. -We'll see.
-It's starting to rain. It's appropriate, isn't it? -Goodnight.
-Goodnight. Good night, Alex. -Isn't rain supposed to be good luck?
-Yes. Three hours is too late. You were right, I never saw people
leave a party so quickly. Departing the sinking ship. How are you? Bearing up? I don't know, it hasn't hit me yet. -Goodnight.
-Bye, Alex. I don't care about the reviews. -It's a terrific play.
-Thank you. I'll see you soon, bye. Goodnight, all. It's what I laughingly call a wet night. Can't you get a cab? There's one parked across the street, but naturally,
the idiot's got his off-duty sign on. That's what I love about New York. -Does Monica have an umbrella?
-Already gave it to somebody. Wonderful! Broadway's favorite actor gets pneumonia. After those notices,
I suppose I could use a cold shower. Don't be depressed, Alex. You've got worse things coming,
like marriage. You're amazing. I've had a few hits,
so I can be philosophical. -Yes.
-But it's your first time out. You're being very British. I wanted a success, but I care more
about the playwright than the play. Are you sure you want me to leave? No, I don't want you to leave. But I want you to leave. An actress has to prepare herself,
and so does a wife. I'm going to make myself a cup of tea,
and then I'm going to bed. All right. I'll call you tomorrow morning. Alex. You do love me? Very much. Why? I was such an idiot last week. -You were angry.
-Not much of an excuse. Missing a performance
and stranding everybody. And that isn't even the worst part. Monica, is something wrong? Not if you love me. -Get some rest.
-Yes. Hello. Monica, you know what time it is? I thought you wanted to be alone. Hello? Monica? Yes, Welles, Monica. That's right. No, she was dead when we got here. As far as we can tell,
it looks like a suicide. Yes, we found her
on the sidewalk in front of a townhouse. Looks like she jumped
from a bedroom window. Better take it, sir.
You've had quite a shock. -No.
-Yes. Yes, no, we're here with the fiancée now. Apparently, she called him. Yes. She always drank
a cup of tea before going to bed. You better not touch it, sir. Maybe we should go into the living room. No, it was a 9-11. No, some neighbor,
some old guy walking his dog, saw her. A party, and you were here? Yes. -How was she when you left her?
-What? I was just wondering if she was depressed. She wasn't depressed. I guess you were
the last one to see her alive. Catering people were here after I left. They were cleaning up. -Didn't do a very good job.
-What? You let us in, so you must have a key. Does anyone else have one? That is, besides the deceased? I don't know. -Maid, probably.
-Hey, Jim. -Yes?
-The lieutenant wants to talk to you. Excuse me. Sir, don't touch anything, okay? Alex. You do love me? I'm scared to death. It looks good, Ernie, thanks. -Anything else you need?
-No. Why don't you take
the rest of the day off? -Really?
-Yes. I don't know. -If anything should go wrong here, l--
-Like what? Plague? Pestilence? Trust me, if I smell smoke,
I'll send for the Marines. -Yes, but--
-Go home. Open a beer, soak your feet. I'll take full responsibility. Somebody out there? Leave your number on the bulletin board,
and I'll call you to lock up. All right. Who's there? Me. When they get here, stay in the shadows. I don't want them to see you from there. If anybody tries to leave,
I'll come down and talk to them. Fine, it's essential that they stay here,
all of them. -If one of them walks out, it won't work.
-It may not work anyway. You still think this is a mistake? Like I said before,
Mr. Dennison, this is your show. I'm just here to watch. -Alex?
-Karen, my love. Come here
and let me get a good look at you. My wonderful Alex. It's been too long. I want you to know I got up
at the crack of noon today, just for you. You've changed. -Much more provocative.
-New image. It was time to bury the ingénue. -Is it working?
-I'll know in a week. I'm up for the lead in a new play. -It's between me and one other girl.
-Good luck. I'll steal one of her pictures
and stick pins in it. Why not? After all,
you always said I was ambitious. So I did. Let me get you a coffee. How's Leo? Fine, I suppose. I haven't seen him for a while. I thought you two were an item. Things change. -He'll be here today if that's a problem.
-No. We're not enemies or anything. Alex, what's all this about? -You mentioned a new play when you called.
-Hello? Anybody home? Who's that? Tweedledum and Tweedledee
bumped into each other outside. The difference is that Walter
came in a limo and I in a bus. Is that Karen? Hello, Mr. Lamb, how are you? -Hi, Lloyd.
-Hi. What is this? Remembrance of things past? Reunions are good for the soul. -Come on up.
-I really hate this place. Too many memories. It's only because of my affection for you,
Alex, that I even stepped foot in it. Noted and appreciated. It's been a long time. How've you been? Writing, I hope. -Off and on.
-What's going on? -These scripts I see?
-Mustn't touch, Lloyd. -I have to wait for the rest of the cast.
-Cast? He's being mysterious. It's the playwright's prerogative, and it's the producer's prerogative
to have a sweet roll. What an odd sound. -Somebody calling an empty theater.
-I'll get it. Why don't you two eat something? Hello? Yes, speaking. No, that's all right. Good. How soon can they get here? All right, thanks. Tell them to park by the stage door. Yes, that's right. All right. All right, thanks again. Goodbye. -Ernie, I thought you went home.
-I don't feel right about leaving. -It's my job to look after this place.
-It isn't necessary. -I won't get in anybody's way.
-Ernie, I don't want you here. Is that understood? Go home, you're not needed! Okay, whatever you say. Ernie, I'm sorry. I don't know what's wrong with me today. Here. For your trouble. Thank you, that's very nice of you, sir. Don't forget to leave your number.
I'll call you when we're done. -Thank you, sir.
-Thank you. You see, this is why I became an actor. When I enter a room,
I seem to command immediate attention. -Hello, Leo, welcome.
-To what? That's a good question. I know it's all a plan
to get me and Karen back together. Don't be ridiculous. -Nobody told me you'd be here.
-So you wouldn't have come? Alex said he wants me here.
That's sufficient for me. You're being obsequious, Leo. Okay,
I'll stop if you tell me what it means. -Good to see you.
-Good to see you, Leo. Whatever you had in mind,
shouldn't we get started? Still one more to come, right? -And unless I miss my guess, it's--
-Sorry I'm late. Someone left a car in the middle
of 46th Street and just went home. Speak of the devil. Lord, it's a Rhodes gallery up there. Are we having a class reunion? -Alex, good to see you again.
-Good to see you too, dear boy. Walter has tricks. Didn't we once act together? David, get yourself some coffee
and we'll begin. -I will, indeed.
-The rest of you take seats. -Make yourselves comfortable.
-Did you direct lately, Lloyd? Leo, old friend, didn't you once tell me
that you went to medical school? You mean before I went wrong
and became an actor, yes, why? I have the king of all hangovers.
What do you prescribe? You're just dehydrated. -Have some water.
-Only if it's a good year. Right, let's sit down. -Do you two want to join the party?
-We're late. All right, Alex, you have the floor. I want to thank you all for coming, I'm very grateful. I know I haven't been
in touch during the past year, but I'm sure you'll understand
it was a difficult time for me. Where were you keeping yourself?
I tried calling. I rented a house in the woods,
took the phone off the hook, and brooded. For six months,
I never even looked at a typewriter. The problem, of course, was guilt. Guilt because I'd failed all of you, but… guilt mostly over Monica's death. Alex, it wasn't your fault. She was depending on me
to give her a success. She needed one, and when it didn't happen, she went into a depression. Look, Alex, we all feel a little guilty, but there was no way
to predict a reaction like that. It was so… extreme. Anyway, that's over and done with. The point is that I finally… started a new play. Terrific move. It's just bits and pieces,
but it's taking shape. That's why we're here. I want to try it out, see how it looks on its feet,
and naturally, I want your input. -Why us?
-Let's say, to make amends. -I've written parts for several of you.
-That's interesting. -Lloyd, I'd like you to direct.
-Great. Walter, you get first option,
assuming you like it, of course. -Of course, I'll like it.
-Of course, you would. I've rented the theater for the afternoon. Why don't we read some scenes,
talk them over, and see what we've got? By the way, it's something new for me. A mystery. Good, they do well. Unusual form. A mystery. You take the audience by the hand, and you lead them… in the wrong direction. They trust you and you betray them. All in the name of surprise. Sort of turns us into chess pieces,
doesn't it? That bothers you, David? In a way.
All those characters are cardboard. I like roles with flesh and blood. I don't know about the flesh, David,
but I can guarantee you the blood. -What's it called?
-Killing Jessica. I like it. Who's playing Jessica
since I seem to be the only woman here? Sorry to disappoint you, Karen,
but you're playing somebody else. No, don't worry, it's a good part. -You'll have fun with it.
-You said those aren't full scripts. I said bits and pieces. -That's why I need your help.
-Can you give us an overview? It's a play… about another play. -One that's in rehearsal.
-And Jessica? Jessica is the star. A rather complex character. She's made several films, mostly fluff, and she was embarrassed by them, so she just… walked away. She hibernated. Traveled. Finally, she decided
to take a chance in the theater. She got the leading role in a Broadway
production, moved to New York, and committed herself to a new career. She sounds… very familiar. Does she? I always start from what I know. Alex, this character, Jessica. If we can believe your title,
someone kills her? Yes. It's made to look like something else, but it's murder. David, would you mind reading a scene? Why not? You're the leading man. Handsome and attractive to women. -Type casting.
-Yes. Now, this takes place
at the beginning of the third scene. -The setting is your apartment.
-Am I married? Many times, but not currently. You've invited Jessica
to your apartment for a private rehearsal. You've told her
that it's common practice in the theater. And she believed me? She must have because she comes. If Karen won't play the part,
who do I read with? -Me, I'm afraid.
-You? You're in the imagination business, David.
Give it a try. If it helps,
try to picture Monica playing the role. -Monica?
-Actually, that's not a bad idea. Just pretend I'm Monica. -But--
-Now, let's get started. At the curtain, the doorbell rings. You're offstage. It rings again. You enter. Coming. Reach the door. You open it. Hi, am I early or late? Right on time. Come in. Sorry for not doing this at your place,
but I'm sick. -You'd rather wait.
-No, this is too important. -We have to protect ourselves.
-I hope you're exaggerating. My dear, the director isn't up there
with an egg on his face, we are. -When something isn't working--
-Like act two, scene one. Among other pitfalls, it's up to us
to provide corrective surgery. -Shouldn't we tell him we're rehearsing?
-Why? He's the problem, not the cure. Hasn't helped me much with my blocking. I keep getting tangled up
in the furniture. We'll work it out. We'll show him tomorrow. Please, sit down. -Drink?
-No, thanks. I'm having such trouble
with some of these transitions. You're very involved in this. -I guess I'm a bit too intense.
-Not at all. You have a genuine dedication.
It's refreshing. Thank you. I'm glad we had
this chance to know each other better. Strangely enough,
it can help the performance. I suppose that's why so many
leading men and ladies try to establish a… very close rapport. What do you think? I think we should work
on the scene, really. There's plenty of time. Please, we're supposed to be rehearsing. This was a bad idea.
I think I better leave. Why all the fuss? It's natural. We work together every day. We play love scenes. Let go of me. Let go! -What was that for?
-You just leave me alone. Listen, slaps in the face
without the bustle. -Who do you think you are?
-Get out of my way. You agreed to come here,
I didn't force you. Maybe I was naive,
I thought we were going to rehearse. Now, may I go home? I don't like to be turned down. There's something you should know. When I'm attracted to a man,
I don't need an invitation. You don't attract me or anyone else,
as far as I know. In fact, rumor has it
that if I were to say yes, you wouldn't know what to do. All right, now we're even. Hope you feel better. Good night. Alex, I'm sorry, I just don't like it. Why is that, David? The man's totally unsympathetic. He's got no sophistication, no technique. Now, if I were going to seduce
one of my leading ladies, I'd… Yes? -I certainly wouldn't come on like that.
-How would you come on? Privileged information. No, I'm serious. Let's say, for the sake
of argument that you wanted to seduce… I don't know. Monica. Monica? Why keep mentioning her? She was one of your leading ladies,
and you do have a certain reputation. What is this, Alex? Monica and I were friends, co-workers. Rehearsals can be an intimate process. I got the impression
you were attracted to her. You were wrong. If you say so, but it's academic anyway. We were talking about the scene,
and I thought you were excellent. Very convincing. Any comments? Don't be shy. -Question?
-Yes. What are you going for? What's the point of the scene? The point, Lloyd, is that in a mystery,
everyone must have a motive. You mean he kills her
because she turns him down? I didn't say he was the culprit, Leo,
but vanity can be a powerful force. You don't commit a murder
because someone won't go to bed with you. No, but people had no trouble
believing Monica took her life just because she was in a flop. That was different. Yes, of course, it was. Forgive me. Walter's right. There are too many memories in this place. Let's go on to the next scene. It takes place on the afternoon
of Jessica's opening night. She's in an art gallery. Another set? -This is getting expensive.
-It's all in the lighting, Walter. Lloyd, do you mind
reading this next scene with me? -Why not, Leo?
-I'm saving him for his own scene. -Do you mind?
-No. It comes very close
to the top of the show. Okay. -Who do I play?
-A director. More type casting? No, it helps give me
a fix on the characters. Now, I'll read Monica again. Did I say Monica, excuse me. I meant Jessica. Here, you'll need this. -What?
-A prop. At the Madison Avenue art gallery, Jessica has come
more or less as an escape. She needs a few moments of solitude
before the rigors of an opening night. She's completely unaware
that someone has entered the gallery. Not my taste. You startled me. Next time, I'll clear my throat. Is this true? -You mean the gossip column?
-That's exactly what I mean. Is it true? Yes. Congratulations. Things are looking up. The actress marries the playwright, and they live happily ever after,
with him writing star vehicles for her. -That's a hostile thing to say.
-I'm in a hostile mood. It appears that the actress
had an understanding of the director. -What kind of an understanding was that?
-Promises of things to come. All the sidelong glances
and the body language. -The request for help with your partner.
-Isn't that standard procedure? Not the way you did it,
and it served its purpose. Special attention from the director. -Tender, loving care.
-I think that's enough. Monica, listen to me. You and I really never had a go at it. Why don't we at least give it a try? -You're serious?
-I could be. Why on earth would I tie
myself down to someone like you? No talent, no money, and no future. What's in it for me? Wait a minute, Alex. -You've got a major contradiction here.
-In what way? Look at her character. She's trusting and innocent in one scene,
and cold as ice in another. The many faces of Jessica. Besides, maybe that's
just the way he sees her. It's not clear. Did she use him or didn't she? The important thing
is that he thinks she did. At least it's a better motive
than he gave to my character. -I don't agree.
-All right, Lloyd. When in doubt, touch base with reality. -Let's take the case of you and Monica.
-What case? You concentrated on her
and gave her extra attention. She needed it.
It was her first time on stage. Granted, but there was talk
that you were going above and beyond the call of duty. -That's not true.
-But suppose it was. Suppose you misinterpreted
her professional needs for something more personal, and then discover
she's going to marry another man. -What are you getting at?
-Beg your pardon? Are we talking about the scene
or about Monica? Good question. Alex, we've known
each other for a long time, so I'm entitled to be blunt. -Why are we here?
-You know why. -To read my new play.
-It's not a play. It's just a bunch of unrelated scenes. All of them
uncomfortably close to the truth. By hell they are. She never came to my apartment. Who, David? Jessica or Monica? There isn't any Jessica. -As for Monica--
-Yes. All we had
was a professional relationship. Just like Lloyd's. I don't know about that.
I speak for myself. Are you suggesting that Monica
and I had a thing behind Alex? Lloyd! Hold it now, we're all friends here. I'm not so sure. Will somebody tell me what's going on? My sentiments exactly. Alex. You owe us an explanation.
Now, if not, I'll be on my way. As you wish, Walter.
Sit down and finish your coffee. All of you, sit down. The truth, if you really want it, is that I am working on a new play. A murder mystery. Five suspects and an unknown killer. I hope it's me. -Makes for a better part.
-Shut up, Leo. How things change. -You two were roommates a year ago.
-None of your business. But it is mine. -In fact, I've got a scene about that.
-You do? Alex, you're digressing. Clever of you to notice, Walter. Always business. That's what your scene's about,
by the way. But you're right. I'd better get to the point.
It's very simple. When we finish here, we'll know something we didn't before. And what's that? Which one of you killed Monica Welles? What are you talking about? Monica wasn't murdered. She committed suicide,
and to suggest that one of us is involved… It isn't a suggestion,
it's a statement of fact. -The police investigated.
-The police were wrong. Alex! We all know you suffered a terrible loss. We understand your grief, but what you're doing
here won't change anything. It won't bring her back. So you've nothing to lose by indulging me. I'll tell you what we've got to lose.
Our privacy. I'm sorry, Alex,
but if you're going to make accusations and dig into our personal lives,
I'd rather be somewhere else. -Karen, all I'm asking--
-I know what you're asking. I think I do,
and I'm sorry, I don't like it. I suppose that's it. Class dismissed. Excuse me, Miss Daniels,
but shouldn't you reconsider? Who are you? We met last year
after the suicide of Miss Welles. I took a statement from you. Karen. You remember Lieutenant McElroy. -McElroy?
-Yes. He was the investigating officer.
I spoke to him myself. What's he doing here? I asked him to come. Karen, would you do me a favor, please? Would you come back on stage?
You too, Lieutenant. I'd very much like
to get to the bottom of this. If you wouldn't mind
it might be helpful, ma'am. Care to explain all this? Lieutenant, Mr. Lamb
requires an explanation. Not much to explain, sir. Mr. Dennison called
and asked me to be here today. Said he had new information
on the death of Monica Welles. Now, a moment ago,
you said suicide, not death. Yes, it was suicide. That's my view
and the official determination of the medical examiner. Then the case is closed. Why are we wasting our time? Because the lieutenant
is willing to hear me. -It's an admirable trait.
-I'll tell you what's not so admirable. We didn't know he was here. Mr. Dennison
asked me to keep out of sight. Thought it might… inhibit you. I wonder why? He agreed to intervene
if any of you tried to leave. But you can't keep
us here against our will. No, ma'am, I can't. This is strictly unofficial. You're perfectly free to go, but I'd have to wonder
why you'd be so anxious to leave. So we're back to what have we got to lose? Frankly, I think Mr. Dennison
is on a wild goose chase. I've told him that, but I'm willing to keep an open mind. It's up to you, Karen. Where's my scene? Welcome back. But if you don't mind, Walter goes next. -Walter.
-I'm not an actor, Alex. All producers are actors. Now, you just sit in this chair. Come on, Walter, it's a simple phone call. Back, fellows, back. You're the producer of a play
that's just opened to mixed reviews. The opening-night party
is over and you're home. The man
on the other end is your accountant. It's all yours, Walter. Hello, Harry, this is… What name shall I use? What's the matter with yours? This is Walter Lamb. Sorry to drag you out of bed,
but I assume you've heard? Yes, the patient isn't terminal,
but the vital signs are fading fast. Harry, I know the paperwork is at your office, but do you remember,
offhand, the insurance situation? No, specifically
the non-appearance clause. I'm not sure I like this, Alex. What's the problem? It's only a play. Harry, I was wondering
about the amount of coverage. No, no particular reason.
Just give me a ballpark figure. Yes, that's what I thought. All right, Harry. Thank you, go back to sleep. Are you satisfied? Yes, Walter, very realistic. I'm a little slow, but I haven't the foggiest idea
what that was about. Yes, let me enlighten you. What Alex was trying to say is that
I was the sole investor in Chamber Music. So? Walter stood
to lose a small fortune unless… Unless, like the producer in this scene,
I was covered by insurance, so if I kept the show open
and one of the actors failed to appear… The leading lady, for example. Then I would collect the insurance money. -Is that your drift, Alex?
-Only if you have that kind of coverage. Yes, you know it's standard, so I did. Then Monica's death came
at a very convenient time for you. The woman killed herself. Do you understand? Whether you want to believe it or not,
she was depressed, and she jumped out of her bedroom window. How can you be so certain, Walter? Were you there? Excuse me. I'm looking for Mr. Alex Dennison. Right here. Hi, Santoro Moving and Storage. We've got your shipment. -Where's your truck?
-Right outside. -You want us to unload?
-In a minute. Excuse me,
I want to check the bill of lading, and by now,
you all deserve an intermission. What's this, moving day? -They'll bring a set for the last scene.
-What kind of set? Permit me my element of surprise, Lloyd. In a mystery, the audience
should never know what's coming next. I'll be right back. Now what? Apparently, we just wait. The puppets without the puppeteer. If we had any sense, we'd go home. That doesn't mean
we're guilty of anything. -Easy, Karen.
-I don't like it. I mean, what is wrong with him? A year ago, even at the funeral,
he was fine, but now… A year is a long time. He's obsessed. No, there's a method to all this. -He knows what he's doing.
-That's a charitable interpretation. He certainly raked you over the coals. -That makes two of us.
-Three. Great. Marvelous. Wonderful. We're next. What could he accuse me of? -Monica and I were friends.
-He'll think of something. If you're both so worried, read the play. -What?
-Your scenes should be about somewhere. Forewarned is forearmed. We can check the pages
and see what he's up to. Lloyd. Lloyd. -Nothing with your names on it?
-No. -Let me see.
-David. -Try the attaché case.
-No. No, it's empty. Maybe we're not going to do anything. Then why did he invite us? Take my word for it. You won't be overlooked. The papers are probably hidden. What do you mean? He knew he'd be interrupted. He won't give you an advantage. It's all part
of keeping us all off balance. He may be obsessed, David,
but he's thorough, very thorough. Somehow that doesn't comfort me. -Did you check the load?
-Yes, it's all right here. How long will it take you to set up? -Half an hour.
-Make it sooner. Like I said, 15 minutes. Do you have
the floor plan for the arrangement? Yes, that's it. I want every piece put in the position
where it's marked, understood? Sure. Switch on the stage light so you can see,
and if you need us, we'll be downstairs. All right, I thought you people
always had your sets built. This stuff's all real. We're trying something new.
Keeps the actors on their toes. Intermission over. I'm sorry to keep you waiting. Why don't we go downstairs,
where we won't be distracted? I promise you, we're almost finished. Surely you don't want to miss the ending. I've had my turn in the dentist's chair. Karen, Leo,
why should you miss out on all the fun? Hard to play a scene that doesn't exist. Were you looking for your pages? Right here. There's an interior compartment. I think they make these things
for spies and smugglers. I should've told you. You could've rehearsed. Shall we? -You said it was empty.
-It was. Lieutenant, why are you going along
with this nonsense? -Is it nonsense, Mr. Mathews?
-You know it is. The department likes to be cooperative. Particularly when a celebrity is involved. You're humoring him, aren't you? You said it, sir, I didn't. What's he getting at? Does he actually suspect one of us? We should catch up with the others. I'll be right along. So who's the next victim, Alex? Me? I'd like you
and Leo to play a scene together. -You mean I have to share the spotlight?
-You should be used to that. Isn't she wonderful?
Between the shoulder blades. It's easy. There's no backbone to get in the way. Come on, you two. You'd like to. I know you'd like to. Lieutenant, will you sit here a minute? -Shut up!
-You shut up! Now I get it. -Don't you see what he's doing?
-Now that you mention it, no. Hamlet, act two, scene two. A play within a play
to catch his father's killer. I have heard that guilty creatures
sitting at a play have, by the very cunning of the scene,
been struck so to the soul that presently they have
proclaimed their malefactions. The play is the thing wherein
I'll catch the conscience of the king. Right? That's all very interesting,
but why isn't David here? -Last I saw him, he was upstairs.
-You think he went home? I need him here. He knows that. -If he walked out--
-David. -David!
-Not so fast. Maybe the guy went to the bathroom. There you are. Hey, Dave, I thought you bailed out. Who are you? I don't get it. You know who I am. I know who you say you are. Suppose you give me some identification? What's this all about? Whoever this man is,
he's not Lieutenant McElroy. What? But I remember him. You only think you do. There's a resemblance. The age, the bill,
but I'm pretty good on faces, and our friend here is not the man
who spoke to me after Monica's death. Are you sure? I've just called the police. Lieutenant Henry McElroy was killed
in the line of duty six months ago. Unless you're a ghost, I think you better tell us who you are. I tried. Karen, gentlemen, may I introduce
a fellow professional, Mr. Frank Heller? -He's an actor.
-And a very good one. -Maybe not, Mr. Dennison, they nailed me.
-Nothing to do with your performance. Unfortunately,
David has too good a memory. Are you saying Alex hired you
to impersonate Lieutenant McElroy? Yes, sir. -Why?
-Very simple, Walter. For my psychodrama to work,
I had to keep you all here. Given the nature of the situation,
I knew someone would try to leave, so I needed… What shall I call it? Official leverage. Of course, we might walk out on you,
but not a cop. That was the idea. Since Lieutenant McElroy
was no longer among the living… And since a real police officer
would never cooperate. Exactly. I decided to hire a lookalike. Excuse me, David, an almost lookalike. Does he know how much trouble he's in? What do you mean? What kind of trouble? Impersonating
a police officer is a felony. I said he was a police officer, he didn't. That's a technicality. If you're going to be angry,
David, blame me. Mr. Heller was following instructions. Wait a minute. I want to know something here. How did… How did you get into this? You may not… believe this, but I went to an audition. An audition? Yes, my agent said that
Alex Dennison was looking for an actor. Who am I to say no to that? Go on. I went to a rehearsal hall,
and there were about ten other guys there. We all looked the same. Mr. Denison interviewed me,
and that was that. Then about a week later,
he called me back. Now there were only three guys. Finally, there was just me. What happened
when he told you what he wanted? I thought he was crazy. An accurate impression. Tell them the rest, Frank. First, I told him no. I never met Monica Welles,
but like everybody else, I read in the paper
that she committed suicide. But then he explained some things to me. Told me why she was murdered and… who murdered her. Did he know? Of course, he offered you money. Yes, sir. How much? Ten thousand dollars. For a one-day part. If I'd known,
I would've gotten plastic surgery. Okay, look,
I admit the money was important. You people know what it's like.
Actors have to scramble for jobs. I've tended bars, I've been a hard hat. I even drove a cab for a while. It's not much of a life,
so when this came along… You don't have to apologize, Frank. Anyway, no hard feelings, I hope. You won't need me now,
so I better be going. No, not quite yet. No one leaves until we're finished. How can you keep us here? You don't have your phony cop anymore. I pretty much had a belly full of this. We all have, Lloyd, but I suggest we put up
with it a few more minutes. -What?
-On one condition. That Alex tells us why he's so all-fired
positive that Monica was murdered. I think that's your cue, Alex. Frank, I'll need your help. -What do you want me to do?
-Be Lieutenant McElroy again. We've been over this. Give them the case for suicide. For one thing, there are no signs
of any forced entry into her townhouse. Correct. If she was killed by an intruder,
how did he get in, and why wasn't anything stolen? The police found $1,000
in cash on the premises. A thief would've taken it. -She knew her play was a flop.
-So she was despondent. She left a suicide note. Concrete proof of her intentions. After everybody left, she went upstairs, opened her bedroom window, and… Say it. She jumped. In the words of the medical
examiner's report, ”fallen from a height.” Case closed. But not for you. Nobody commits suicide
because of bad notices. It wasn't the notices,
it was the end of a dream for her. Alex, you have to admit
that sometimes she was erratic. I mean, she walked out
on a performance one night. I had to go on for her.
Don't you remember? The police made quite a point of that. Monica Welles gets into an argument
with the playwright just before a preview. She bolts from the theater,
hails a cab, and goes home. She doesn't answer the phone, so we're forced
to give a performance without her. She comes back to the theater
in a few hours and apologizes. Obviously, a proof of an unsound mind. -It's certainly proof of something.
-David, she was in love! She was struggling over whether
or not to make a commitment. The tension was too much for her. We fought, she ran away. She came back. Unprofessional, yes, she admitted that,
but it was not abnormal. Alex, I have listened very carefully,
and I have heard nothing about murder. She called me that night. She asked me to come over. -Is that the behavior of a suicide?
-Maybe it was a cry for help. Why did the phone go dead
in the middle of a sentence? Because she changed her mind and hung up. The woman was under stress. She wasn't rational. She was rational enough
to make herself a cup of tea. I saw it on her desk in the study. Is that your evidence? A cup of tea? She was starting a new life. She had everything to live for. You saw her at the party.
Was that a woman in despair? Nobody can get
into someone else's mind, Alex. Not even people we care about. Who knows what
she was thinking that night? I know. She was thinking about our future. Alex. Alex, don't you see? Monica did a terrible thing. She not only took her own life,
but she rejected you. I mean, that's hard to accept, so you've come up
with this fantasy about a murder. In a strange way,
it's easier to live with. I take it that means
you're not going to help? I just don't see what else we can do. Karen, Leo,
would you play the last scene for me? Alex, Walter is right. We're all friends,
but we're not getting anywhere with this. -Excuse me.
-Excuse me. Leo, just a few pages. No, I'm sorry. -Who'll share a ride with me uptown?
-I would. You can drop me at 75th Street. You know, I'd really love to… Alex, for God's sake, please. Get back in there. All right, but you don't have to. This is real. -You don't need that.
-It seems I do. Alex, give me the gun. Then no one will get hurt. David, don't. He's bluffing. I wouldn't count on it. Alex, that's just a prop,
or it's not loaded, right? We'll cooperate, just put it down, okay? This is ridiculous! Probably. -Karen, Leo, pick up those pages.
-Yes, sir. You expect us to act? That's exactly what I expect. The scene takes place
in your dressing room, Karen. Get back there. It's opening night. Sit on the couch. Leo, you make
your entrance in a couple of moments. -Are you ready?
-No. But you'll try, won't you? I'll read Monica again. Now, the scene starts with a knock on the door. Yes? -Monica!
-May I come in? Yes, of course. You're not in makeup yet. I won't do my makeup
for another hour or so. I just wanted to sit in here
and soak up the atmosphere. You're not sure
which makeup to use, are you? Pardon? If I were to get sick at the last minute,
you'd have to play my part for me again. Never even crossed my mind. -Nobody gets sick on opening night.
-No, I suppose not. I heard you were good
when you went on for me last week. The audience was disappointed. -I did my best, but there's no comparison.
-No, you're being modest. It doesn't matter much.
I mean, you're here. -That seems to surprise you.
-Why would I be surprised? I brought your tea back. You know, the special blend of tea leaves that your grandmother
whips up in her country kitchen. Didn't you like it? -It calms me down.
-So you said. Take some before opening night.
Wonderful for the nerves. -It is.
-Yes, maybe so. Not quite so good
for the rest of the body. I don't know what you mean. Let me see
if I can make myself perfectly clear. Since you forced that tea on me
and since your motives are so transparent, I took some to my doctor
and had him send a sample to the lab. -A lab?
-I learned a marvelous new word. Cyclophosphamide. It's an alkylating agent. That's an odd thing
to find in your grandma's recipe. There must be some mistake. This causes dizziness and nausea. A few sips of this, and I'd be home now,
and you'd know which makeup to use. Monica? You weren't even willing
to pay your dues, were you? Karen, I… didn't know you had company. -Hi, Mon.
-Hi. -This is private, Leo.
-No, come on in. The three of us can have a little talk. About what? Pick a subject. Opening nights,
doing a favor for an intimate friend. What? Going to medical school. You did go, didn't you, for a few years? I imagine you had courses in chemistry. That was a long time ago. Why, what's this about? -She knows.
-Knows what? About that. She had it analyzed. Oh, brother! We spiked your tea,
but it wouldn't have harmed you. It would've slowed you down tonight,
so what are you going to do? -I told you it was crazy.
-Quiet, Leo. -They imprison people for such things.
-Be quiet. Excuse me, I… Yes, that was
a very good rehearsal, Karen, Leo. We'll do that scene again later. I'm sorry, I didn't mean to interrupt. -We're finished.
-Thank you. Now, I just need you to sign this for me. Thanks. -Thank you.
-Thank you. We'll be back tomorrow
to pick up the stuff. All right, thanks again. Alex, I hope you know that the scene
we just played was nothing but lies. You did bring her tea, she told me. It was a gift. There was nothing in it. I mean, what good would it do me? Walter would never open with an unknown. Would you, Walter? Or would you send everyone home
at the last minute? The critics, the press, I wonder. Alex, use your head.
Even if she was nuts, I'm not. -I'd never help her with that.
-You were living with her then. -You'd do anything she wanted.
-No way. Shall we go upstairs and see the set? -No, I don't think it's a good idea.
-I have a great idea. Shall we go upstairs and see the set? The voice of reason. At least one of us is rational. -Let's get this over with.
-Take it easy, I'm right behind you. You too, Leo, come on. -Alex, please.
-Cut it out, Leo. -I wish we knew what we were doing.
-You'll find out. What is it? It's some kind of bedroom set. Another seduction scene, Alex? As a matter of fact, it's the scene of the crime. -Oh, Lord!
-What? I think I know what this is. This is Monica's bedroom, isn't it? Very good, Karen. -But how did--
-Her furniture was in storage. I had it brought here today
in the interest of realism. -Is this--
-The original, no. The police have that in their files,
but everything else is exactly as it was. The bedclothes, contents of the drawers,
even our champagne glasses. I wouldn't, David. Monica didn't smoke,
so there are no ashtrays. Lloyd,
would you turn out the house lights? Karen, that chair is out of position. Move it a little more center. Thank you, Leo. Now, what? Alibis, Walter? I was wondering
when you would get around to that. -I established that you all had motives.
-Like hell we had. Motives are nullified
by a legitimate alibi. Then cross me off your list. I was in an after-hours bar,
drinking till four o'clock in the morning, and there must have been 20 witnesses. I was with friends. We went back to my place
after the party and commiserated. Walter? Fortunately for me,
I went home with our company manager. I sat around with his wife and kids. Karen, that leaves you and Leo. It's easy. As you keep reminding us,
we were living together. -We spent the night in Leo's apartment.
-Seems like everyone's accounted for. Then, who was Monica
planning to meet after the party? Who said she was meeting anyone? She sent me home, Lloyd, on the night we should've been together,
and she got rid of the caterers. Didn't even give them
a chance to clean up. No, she was expecting someone. Maybe she wanted to be alone. Why didn't she lock the front door? -I don't understand, what do you mean?
-She didn't throw the bolt? I was able to let
the police in with my key. You're saying she didn't want you
to stay because someone was coming? It explains the circumstances, doesn't it? When I left, she let him in. -Him?
-Or her. They had some kind of argument. She called me. He grabbed the phone and hung up. I think there was a struggle. She was struck… and killed. -Where did this happen?
-In the study. -It has the only downstairs phone.
-Why not up here? The tea, Walter. She didn't bring it upstairs. We're back to that again.
Maybe she forgot. -She was upset.
-Won't wash, David. Not too upset to make a cup of tea,
but too upset to drink it? Then, she didn't turn off
the downstairs lights. They were on when I came in,
and the bedroom door was open. Meaning? Suicide is a private act. She called me.
I might've come and stopped her. She knew I had the key. First, throw the bolt on the front door,
then close and lock the bedroom door, but she didn't. She was never upstairs that night alive. So your imaginary murderer carries her upstairs
and throws her out of the window. Why not? Instead of an unexplained corpse,
he creates a suicide. -And the note?
-He searches. Finds a piece of stationery. -Here.
-What about fingerprints? Takes the stationery, presses her fingers on it,
and rolls it in the typewriter. Her prints are on it. His aren't. That's very ingenious, Alex,
but even if you're right, even if somebody did kill her,
it wasn't one of us. -Unless you don't believe our alibis.
-On the contrary. I hired a firm
of private detectives to check them out. Most of them held up. Most of them? Three of you were
with multiple witnesses when Monica died. David, you were at a club. Lloyd was with friends, and Walter was
with his company manager's family, But you and Leo, Karen. You two only alibi each other. -We were together.
-We only have your word for that. What do you mean? There are five motives here,
all hypothetical, but one of them is real. It's a matter of record. Read it. This is a laboratory report. Chemical analysis of a tea sample submitted by Monica Welles
in April of last year. What does it say? The sample was saturated with… I can't even pronounce it, but it can cause illness
and incapacitation. -I found that among her effects.
-It's a fake. Looks genuine to me, Leo. Easy enough to check. One legitimate motive
and two unsupported alibis. I am not going to listen to this. She found out what you were doing.
You both pleaded with her. -You asked to meet her after the party.
-No. You're the lady who would stick pins
in a photograph, and Monica was a threat. I never went back there. -Then who did?
-I don't know. -Maybe Leo.
-But you were with Leo? Not all the time. He went out for a while. -That's all I wanted to know.
-What are you doing to me? You did. You said you couldn't sleep
and wanted to take a walk. -How long was he gone?
-I don't remember. Twenty minutes or an hour. -No alibi, Leo, and a motive.
-Hey, this is crazy. Don't tell me you believe this. All right, I took a walk. Is that a crime, and what about her? She doesn't have an alibi if I don't. -That doesn't matter, Leo.
-Why doesn't it? Because Monica was killed downstairs. Her murderer had to carry her up here, and as we all saw,
Karen couldn't even move that chair. I'm leaving,
nobody's going to hang this on me. -You killed her.
-She killed herself. -Her whole life ahead and you killed her.
-Alex, relax. -Come back!
-Nobody's going to railroad me. -I'm warning you.
-Listen to him, Leo. I've done enough listening. -Alex!
-No, Alex. Give me that gun, Alex. I've got it, hold on! Hold on. -I've got him.
-Alex! -Alex!
-Give me the gun, Alex. -Give me.
-Alex! Lloyd, where are you? Lloyd, put the lights on. I can't do it. He'll kill somebody. Put the lights on. I can't, it won't work. I got a flashlight. Where is he? Somebody say something.
Tell me where he is. Talk to me, where is he? Lights, Lloyd. What is this? What's going on? -Where'd you get the flashlight, Frank?
-What? Where did you get the flashlight? Right there in the drawer. How did you know it was there? I didn't, I was just looking for matches. Monica didn't smoke, I made that clear. Why would she keep matches in her bedroom? What the hell is this? Why did you open that particular drawer? It was dark, I opened up a lot of drawers. No, you didn't. Try them. I had every drawer sealed. All except one the one you opened. So what? What difference does it make? You went to that drawer
knowing you'd find a flashlight. What's he talking about? How would I know that? You saw it the night you killed Monica. When you took out the piece
of stationery for her suicide note. You're out of your mind. Nobody else knew
there was a flashlight there. She bought it that morning. He could've been in her room. He carried her upstairs,
you said so yourself. He doesn't get it yet. Get what? Leo wasn't there at all. After the party, he went home to his two children. What? The nearest he got to medical school
was playing a male nurse off Broadway. Not one of my better parts. -But you said--
-We all said a lot of things. None of them were true. You had motives. I'm afraid not. You wanted her out of the way. You mean Grandma's homemade tea? No such concoction. It was just part of the script. Script? Now, listen closely, Frank,
nothing here today was real, nothing. The scenes we played and the arguments
all came out of my typewriter with a little improvisation
from my friends. I thought we were terrific. This is crazy. As for motives, we invented them. Karen and Leo never had an affair. -Missed opportunity, Leo.
-Catch me when my kids are grown. David and Monica were close friends, and her relationship
with Lloyd was strictly professional. And I never put my own money in a play. I almost forgot, here's your lighter back. You kept it. It wouldn't do
to have your lighter, Frank. You might've not gone for the flashlight. This whole thing was staged? For an audience of one. That gun. Blanks? And the audition? Hiring me to play a cop? Just an excuse to get you here. We had to make you a participant. We even recreated her bedroom, so you'd be back
where you were a year ago. Then we arranged for the lights to go out. How'd you know about Monica and me? I didn't at first, but it was obvious
she was expecting someone that night. Why me out all the people in New York? Why me? In her dressing room, she asked me
if I could stop someone from working. I thought that was a strange thing. Then later, she was counting money. -A thousand dollars.
-So? It occurred to me
that it might be blackmail money. Maybe she was paying someone off. -But that doesn't explain--
-A thousand isn't much. Who would she think
she could buy for that money, and who could Alex Dennison, a successful playwright,
keep from working? An actor, naturally. If there was a blackmailer
and he was coming for a payoff, he'd probably wait outside
until our party was over, and it was raining that night. Alex, remember the cab
parked across the street with the off-duty sign on? I was complaining about it. I also remember the day
Monica ran out of here during previews. She took a cab home. We all know the cliché
about out-of-work actors driving taxis. In fact, Mr. Heller, you yourself had said
that you had driven one for a while. Every cab company keeps
records of pickups and deliveries. It seems a Frank Heller took a fare
from here to Monica's townhouse the afternoon of our fight. He also had his cab out
the night of the murder with no recorded fares. Why didn't you go to the police? With what? Suspicions? No, we had to prove
that you were in her bedroom that night, and since we're
all creatures of the theater… Yes, yes. You decided to do a number on me. You were good. You're all very good. Bravo! What happened that night, Frank? That's right. Without me,
you don't have a third act, do you? It was raining. I was parked across the street, waiting for all of you to go home. The party broke up early. Some of the guests even tried to get me
to take them in my cab in the rain. I was rather tense, I'd been drinking. I was going crazy sitting in that cab. Finally, she let the caterers go home. I walked across the street, I knocked. She was expecting me. Hi. Not even a hello? Come with me. How are the reviews? You don't give a damn about the reviews. Okay, no polite conversation. You want to talk business,
we'll talk business. You were a lot friendlier
the last time I was here. This isn't the last time. Now, listen, Frank,
I was very angry with Alex, and he opened up a lot of emotions
in me that I guess I didn't know I had, and I wanted to punish him,
so when I got in your cab the other day… I couldn't believe it. Monica Welles coming on to me,
inviting me in for a drink. I was using you,
just playing my old seduction game, but I came to my senses. -I asked you to leave, nothing happened.
-But he doesn't know that. We spent hours together.
You even missed a performance. You really think
that he's going to believe that I would pick up a cab driver
and let him make love to me? Maybe, maybe not, but I'm betting
you'd rather pay a few bucks and just forget the whole thing. Useless value. Call it whatever you like. Look, I don't enjoy doing this, but I've been an actor for 15 years,
and I'm driving a cab. No, I need a stake
or something to get me moving. -I read in the paper--
-That Alex and I are getting married. I figured he was a lucky man,
so why shouldn't I be lucky, too? Now, listen to me, Frank. I got you into this,
and I do owe you something, so… you just forget the whole thing. I promise you,
I will never mention your name to anyone. Sorry. -What are you doing?
-I wanted to pay you. I actually went to the bank this morning
and took out $1,000. We're talking about more money than that. It doesn't matter,
you're not getting anything now. I decided this evening that
even if you call this whole thing off, I was going to tell Alex the truth. That's not very smart,
especially right before the wedding. It's time I was honest with him. As you said,
maybe he'll forgive me, maybe not, but he's never going
to forgive a blackmailer. -No, wait!
-I wouldn't be in your shoes. He's got a lot of friends. Hi, Alex. I know it's the middle of the night,
but can you come over now? Please, it's important. I know I did, but… You know what you're doing? I think so. You're just going to ruin it for yourself. We'll wait and see. You're welcome to just stay around, Frank.
I'm sure he'd like to meet you. Don't answer it. Don't answer it. Don't answer it! Don't… Monica! Monica! I called her name. I tried to revive her,
I even felt her pulse. I felt it flicker for, like a second,
and then it… stopped. When I realized she was dead,
I didn't know what to do. So you manufactured a suicide? I didn't want a murder investigation, so I wiped the blood
from the corner of the bookcase. I picked her up. I carried her upstairs, and I… You know the rest. Look, I lived with this for a long time. I did what I did, but it was an accident. For whatever it's worth,
I didn't mean to kill her. Lieutenant? Yes, sir. You heard? I heard. Who's this? Frank, meet the man you impersonated. Lieutenant McElroy. -You said--
-Killed in the line of duty. I believe that was the dialogue delivered
as always with my well-known credibility. -Thanks for coming, Lieutenant.
-Good thing I did. Looks like I owe you an apology. Not really, I didn't have any proof. You've made me a convert. You've done our job for us. I don't look anything like this guy. I had to give you a reason
for being here, Frank, one you'd believe. Come along, Mr. Heller. If you ever write a play about this,
at least I gave you an ending. Thank you, all of you. Alex. I thought it would never work. Yes, especially with me. I was worried about blowing my lines. I don't know, Walter. I thought you weren't half bad,
particularly for a non-pro. -Thank you.
-You know. The thing I don't understand
is why he went along with it. Heller? You promised him a lot of money
and told him it was a trap for Leo. That made him feel safe. You pin it on the wrong man
and stop looking, but even so, he knew he killed Monica. Why get involved at all? For one reason, Lloyd. He's an actor, and I was offering him a wonderful part. Exactly. Why don't we all go across
the street and have a drink? Who's buying? -Since it's a special occasion--
-No, he's spending his own money. -Come along.
-Yes, we'll see. You know,
there just might be a play on all that. Let's have dinner next week
and talk about it? I'm buying you a drink.
Now you want dinner? You know, if I had it all to do again, I could be a little more convincing
in certain areas. -I liked your--
-I agree with you. Why don't we go across the street
and save Walter some money? Alex, aren't you coming? Save me a place.
