1
00:00:01,000 --> 00:00:04,074
Subtitles downloaded from Podnapisi.NET
2
00:02:01,418 --> 00:02:03,519
[HUSHED VOICES
IN THE BACKGROUND]
3
00:02:19,937 --> 00:02:21,171
[GRUNTS]
4
00:02:22,940 --> 00:02:24,207
AAH.
5
00:02:25,776 --> 00:02:27,677
COOPERATIVE AS EVER,
ABIGAIL.
6
00:02:27,745 --> 00:02:30,213
Woman, whispering: It's
the worst play I've ever seen.
7
00:02:30,281 --> 00:02:31,882
Man, whispering:
I can't believe
8
00:02:31,949 --> 00:02:34,017
Sidney Bruhl wrote it.
9
00:02:51,835 --> 00:02:53,336
GOOD EVENING,
MR. BRUHL.
10
00:02:53,404 --> 00:02:54,404
HOW'D IT GO?
11
00:02:54,471 --> 00:02:57,340
Man on TV:
YOU WANT TO BE ALONE.
12
00:02:57,408 --> 00:02:59,609
[AUDIENCE LAUGHING
AND APPLAUDING]
13
00:03:01,979 --> 00:03:04,014
Man on TV:
THE LINES ARE TROUBLE.
14
00:03:05,049 --> 00:03:07,417
BUT YOU DON'T
HAVE TO LOOK YOUR BEST.
15
00:03:07,484 --> 00:03:08,418
[AUDIENCE LAUGHING]
16
00:03:08,485 --> 00:03:09,886
OHH.
17
00:03:09,954 --> 00:03:10,887
[TELEPHONE RINGS]
18
00:03:10,955 --> 00:03:11,888
AAH!
19
00:03:11,956 --> 00:03:13,423
OHH. SIDNEY?
20
00:03:13,490 --> 00:03:14,925
DARLING?
21
00:03:14,992 --> 00:03:17,427
OH, DARLING,
I'VE BEEN SO ANXIOUS!
22
00:03:17,494 --> 00:03:18,929
HOW'S IT GOING?
23
00:03:18,996 --> 00:03:20,931
WHAT DO YOU MEAN
IT'S A DISASTER?
24
00:03:20,998 --> 00:03:23,433
OH, SIDNEY, YOU ALWAYS
THINK THAT ON OPENING NIGHT.
25
00:03:23,500 --> 00:03:25,435
OF COURSE
IT'S NOT A DISASTER.
26
00:03:25,502 --> 00:03:26,937
THEY'RE LAUGHING,
AREN'T THEY?
27
00:03:27,004 --> 00:03:28,438
SIDNEY...
28
00:03:28,505 --> 00:03:30,606
ARE THEY LAUGHING?
29
00:03:30,674 --> 00:03:32,608
SWEETHEART...
30
00:03:32,676 --> 00:03:34,577
SIDNEY...
31
00:03:34,645 --> 00:03:36,746
THEY'RE NOT LAUGHING
AT ALL?
32
00:03:37,748 --> 00:03:38,748
[CLACK]
33
00:03:38,816 --> 00:03:41,251
MY GOD. WHO COULD
EVER HAVE BELIEVED
34
00:03:41,319 --> 00:03:42,919
IT WOULD
END THIS WAY?
35
00:03:42,987 --> 00:03:43,920
WHO?
36
00:03:43,988 --> 00:03:45,388
WHO?!
37
00:03:46,324 --> 00:03:47,457
[APPLAUSE]
38
00:03:47,524 --> 00:03:49,926
WELL, BRUHL,
YOU WANT TO KNOW WHO?
39
00:03:49,994 --> 00:03:51,494
I'LL TELL YOU WHO.
40
00:03:51,562 --> 00:03:52,762
MY LAWYER,
41
00:03:52,830 --> 00:03:53,930
MY ACCOUNTANT,
42
00:03:53,998 --> 00:03:55,765
MY PROCTOLOGIST,
43
00:03:55,833 --> 00:03:57,100
EVEN MY GODDAMN WIFE.
44
00:03:57,168 --> 00:03:59,469
YEAH, SHE TOLD ME,
SHE SAID, "YOU PRODUCE
45
00:03:59,536 --> 00:04:01,972
"ANOTHER CROCK BY
THAT PUTZ SIDNEY,
46
00:04:02,039 --> 00:04:03,940
YOU DESERVE
TO GO BROKE."
47
00:04:04,008 --> 00:04:05,442
EVEN MY GODDAMN WIFE!
48
00:04:05,509 --> 00:04:07,577
SHE SHOULD KNOW, SEYMOUR.
IT'S HER MONEY.
49
00:04:07,644 --> 00:04:08,979
PUTZ!
50
00:04:09,046 --> 00:04:10,313
LISTEN, PAL,
YOU AND ME
51
00:04:10,381 --> 00:04:12,682
BEEN IN THIS BUSINESS
A LONG TIME, RIGHT?
52
00:04:12,750 --> 00:04:15,084
LONG ENOUGH TO KNOW IT AIN'T
YOUR OPENING NIGHT CROWD
53
00:04:15,152 --> 00:04:16,720
THAT HANDS DOWN
THE VERDICT.
54
00:04:16,787 --> 00:04:18,121
SO JUST RELAX, KID.
55
00:04:18,188 --> 00:04:19,422
COUNT YOUR LOOT,
56
00:04:19,490 --> 00:04:21,290
AND DRINK
YOUR ORANGE BLOSSOM.
57
00:04:21,358 --> 00:04:22,425
THANKS, BURT.
58
00:04:22,493 --> 00:04:24,427
THE CRITICS ARE GONNA
LOVE YOU, MR. BRUHL.
59
00:04:24,495 --> 00:04:25,929
YOU GOT MY PROMISE, OK?
60
00:04:25,997 --> 00:04:27,263
HERE WE GO.
61
00:04:27,331 --> 00:04:28,264
[TURNS ON TV]
62
00:04:28,332 --> 00:04:29,966
Man: OUR DRAMA CRITIC,
STEWART KLEIN.
63
00:04:30,034 --> 00:04:31,300
SIDNEY BRUHL'S NEW PLAY,
64
00:04:31,368 --> 00:04:33,236
WHICH OPENED TONIGHT
AT THE MUSIC BOX,
65
00:04:33,303 --> 00:04:35,639
IS BILLED
AS A COMEDY-THRILLER.
66
00:04:35,706 --> 00:04:38,141
SO MUCH FOR TRUTH
IN ADVERTISING.
67
00:04:38,208 --> 00:04:39,709
[TV KNOB CLICKING]
68
00:04:39,777 --> 00:04:42,412
WELL, THEATER LOVERS,
THERE IS BAD NEWS TONIGHT.
69
00:04:42,479 --> 00:04:45,916
BAD SETS, BAD COSTUMES,
BAD DIRECTION, BAD ACTORS,
70
00:04:45,983 --> 00:04:48,151
AND FROM PLAYWRIGHT
SIDNEY BRUHL,
71
00:04:48,218 --> 00:04:51,087
A SPECTACULARLY
BAD PLAY.
72
00:04:51,155 --> 00:04:54,057
WELL, SIDNEY BRUHL'S
NEW WHODUNIT MURDER MOST FAIR
73
00:04:54,124 --> 00:04:56,560
OPENED TONIGHT
AT THE MUSIC BOX.
74
00:04:56,627 --> 00:04:58,929
BUT THERE'S NO POINT
IN YOU FOLKS GOING THERE,
75
00:04:58,996 --> 00:05:00,931
'CAUSE I'M GONNA TELL YOU
WHO DONE IT.
76
00:05:00,998 --> 00:05:02,933
SIDNEY BRUHL DONE IT.
77
00:05:03,000 --> 00:05:06,335
AND WHAT'S INEXCUSABLE
IS HE DONE IT IN PUBLIC.
78
00:05:06,403 --> 00:05:08,104
WELL, THEY WEREN'T
REAL RAVES, SIDNEY,
79
00:05:08,172 --> 00:05:10,040
BUT THEY CERTAINLY
WEREN'T WHAT I CALL BAD.
80
00:05:10,107 --> 00:05:11,975
I'M DOING THE ONLY
SENSIBLE THING!
81
00:05:12,043 --> 00:05:13,710
I'M GETTING PISSED!
82
00:05:13,778 --> 00:05:16,279
AND I'LL SEE YOU
IN EASTHAMPTON IN THE MORNING.
83
00:05:41,505 --> 00:05:42,939
Conductor: EASTHAMPTON.
84
00:05:43,007 --> 00:05:44,574
EASTHAMPTON.
85
00:06:28,736 --> 00:06:31,771
Cabby: THAT'LL BE $52.
86
00:07:00,500 --> 00:07:01,568
AAH!
87
00:07:01,635 --> 00:07:02,569
OH!
88
00:07:02,636 --> 00:07:04,871
EVERY TIME I COME IN
THIS BLOODY HOUSE,
89
00:07:04,939 --> 00:07:06,005
YOU SCREAM!
90
00:07:06,073 --> 00:07:08,975
I HAVE JUST BEEN TO
THE WORST OPENING NIGHT
91
00:07:09,043 --> 00:07:10,142
OF MY BLOODY LIFE--
92
00:07:10,210 --> 00:07:11,945
AND THAT IS
NO SMALL BOAST--
93
00:07:12,012 --> 00:07:14,447
I WAS CALLED A PUTZ
BY SEYMOUR STARGER,
94
00:07:14,514 --> 00:07:16,950
AND I HAD TO COME BACK HOME
ON THE BLOODY TRAIN!
95
00:07:17,017 --> 00:07:18,952
WHY DIDN'T YOU TAKE
A LIMOUSINE?
96
00:07:19,019 --> 00:07:20,954
BECAUSE I CAN NO LONGER
AFFORD A BLOODY LIMOUSINE!
97
00:07:21,021 --> 00:07:23,522
OF COURSE YOU CAN. I CAN,
AND EVERYTHING I HAVE IS YOURS.
98
00:07:23,591 --> 00:07:24,591
DON'T YOU UNDERSTAND?!
99
00:07:24,658 --> 00:07:27,426
I WANT TO PAY FOR MY OWN
BLOODY LIMOUSINES!
100
00:07:27,494 --> 00:07:29,929
MYRA, I HAVE HAD 4 BOMBS
IN A ROW!
101
00:07:29,997 --> 00:07:32,431
AND YOU KNOW, THEY DESERVED
TO BOMB, BECAUSE THEY STANK!
102
00:07:32,499 --> 00:07:34,433
MURDER MOST FAIR
WAS TOTAL SHIT!
103
00:07:34,501 --> 00:07:36,435
BECAUSE I'M WRITTEN OUT.
104
00:07:36,503 --> 00:07:37,436
OUT!
105
00:07:37,504 --> 00:07:39,939
I CAN NO LONGER CUT IT,
MY DARLING.
106
00:07:40,007 --> 00:07:42,441
DO YOU KNOW WHAT HAPPENED
TO ME TONIGHT?
107
00:07:42,509 --> 00:07:44,443
I PASSED OUT
IN THE TRAIN,
108
00:07:44,511 --> 00:07:46,946
AND I CAME TO IN
THE TERMINUS AT MONTAUK!
109
00:07:47,014 --> 00:07:48,447
END OF THE LINE!
110
00:07:48,515 --> 00:07:49,949
BLOODY SYMBOLIC.
111
00:07:50,017 --> 00:07:51,951
MY CHRIST...
112
00:07:52,019 --> 00:07:55,354
THIS HAS BEEN SOME KIND
OF WALPURGHISNACHT.
113
00:07:55,422 --> 00:07:56,355
OH, DARLING.
114
00:07:56,423 --> 00:07:57,423
OH.
115
00:07:57,491 --> 00:07:59,425
DARLING, I WON'T LET YOU
DO THIS TO YOURSELF.
116
00:07:59,493 --> 00:08:00,927
DARLING, LISTEN TO ME.
117
00:08:00,995 --> 00:08:02,929
DARLING, YOU'RE A WONDERFUL,
WONDERFUL WRITER!
118
00:08:02,997 --> 00:08:05,431
YOU ARE JUST GOING THROUGH
A STREAK OF BAD LUCK!
119
00:08:05,499 --> 00:08:08,434
AND! AND TO ADD BLOODY
INSULT TO INJURY,
120
00:08:08,502 --> 00:08:11,437
THIS CAME TO THE THEATER
TONIGHT. TONIGHT!
121
00:08:11,505 --> 00:08:12,939
WHAT, DARLING? WHAT?
122
00:08:13,007 --> 00:08:14,440
THIS IS WHAT.
123
00:08:14,508 --> 00:08:17,443
A THRILLER IN 2 ACTS.
ONE SET, 5 CHARACTERS.
124
00:08:17,511 --> 00:08:19,946
A JUICY MURDER IN ACT ONE,
TERROR IN ACT TWO.
125
00:08:20,014 --> 00:08:21,948
AN IRONIC AND
ASTONISHING RESOLUTION,
126
00:08:22,016 --> 00:08:24,450
GOOD DIALOGUE, LAUGHS
IN ALL THE RIGHT PLACES,
127
00:08:24,518 --> 00:08:26,953
VERY, VERY COMMERCIAL,
AND EASY TO CAST!
128
00:08:27,021 --> 00:08:28,454
HA HA HA HA HA!
129
00:08:28,522 --> 00:08:29,922
DARLING, WHAT'S FUNNY?
130
00:08:29,990 --> 00:08:30,923
WHAT'S FUNNY?
131
00:08:30,991 --> 00:08:32,424
I'LL TELL YOU
WHAT'S BLOODY FUNNY!
132
00:08:32,492 --> 00:08:34,426
IT WAS WRITTEN BY SOME
IGNORANT, INFANT ASSHOLE
133
00:08:34,494 --> 00:08:36,428
IN THE SEMINAR I GAVE
LAST YEAR AT COLLEGE,
134
00:08:36,496 --> 00:08:37,930
NAME OF...
135
00:08:37,998 --> 00:08:39,431
CLIFFORD ANDERSON.
136
00:08:39,499 --> 00:08:41,433
OH, LI-LISTEN TO THIS.
137
00:08:41,501 --> 00:08:42,935
LISTEN TO THIS.
138
00:08:43,003 --> 00:08:44,937
UH, BLAH BLAH BLAH,
139
00:08:45,005 --> 00:08:47,439
"...WITHOUT YOUR GUIDANCE
AND INSPIRATION..."
140
00:08:47,507 --> 00:08:48,941
UH, BLAH BLAH BLAH,
141
00:08:49,009 --> 00:08:50,943
"...THEREFORE,
IT IS ONLY FITTING
142
00:08:51,011 --> 00:08:53,946
"THAT YOU SHOULD BE
THE FIRST PERSON TO READ IT.
143
00:08:54,014 --> 00:08:55,447
"IF YOU FIND IT..."
144
00:08:55,515 --> 00:08:56,949
BLAH BLAH BLAH,
145
00:08:57,017 --> 00:08:59,451
"...YOUR OWN GREAT WORK, I'LL
CONSIDER MY TIME WELL SPENT,
146
00:08:59,519 --> 00:09:01,921
"AND THE FEE
FOR THE SEMINAR
147
00:09:01,989 --> 00:09:03,422
MORE THAN ADEQUATELY
REWARDED."
148
00:09:03,490 --> 00:09:05,925
OH, MY DARLING, THAT'S
VERY NICE. TOUCHING.
149
00:09:05,993 --> 00:09:06,926
"P.S.
150
00:09:06,994 --> 00:09:09,428
"P.S. PLEASE EXCUSE
THE CARBON COPY.
151
00:09:09,496 --> 00:09:12,131
"THE LOCAL XEROX MACHINE
IS ON THE FRITZ,
152
00:09:12,199 --> 00:09:14,133
"AND I COULDN'T STAND
THE THOUGHT
153
00:09:14,201 --> 00:09:17,436
"OF WAITING A FEW DAYS
TO SEND MY FIRSTBORN CHILD
154
00:09:17,504 --> 00:09:19,939
OFF TO ITS SPIRITUAL
FATHER."
155
00:09:20,007 --> 00:09:21,440
OHH.
156
00:09:21,508 --> 00:09:23,442
WOULD 'EMS WIKE
TO FROW UP?
157
00:09:23,510 --> 00:09:24,443
OH.
158
00:09:24,511 --> 00:09:27,446
LITTLE SON OF A BITCH
EVEN TYPES WELL.
159
00:09:27,514 --> 00:09:29,448
[BREATHING HEAVILY]
160
00:09:29,516 --> 00:09:30,950
WAIT A MINUTE.
161
00:09:31,018 --> 00:09:32,952
NOT SO LITTLE.
162
00:09:33,020 --> 00:09:35,421
I THINK
I REMEMBER HIM.
163
00:09:35,488 --> 00:09:37,423
OBESE.
164
00:09:37,490 --> 00:09:40,927
YES, I DO
REMEMBER HIM.
165
00:09:40,994 --> 00:09:43,930
HE WAS THE GLANDULAR CASE
THAT SAT IN THE FRONT
166
00:09:43,997 --> 00:09:46,933
AND NEVER TOOK HIS PIGGY
LITTLE EYES OFF ME.
167
00:09:48,001 --> 00:09:50,436
DARLING, IS IT
REALLY THAT GOOD?
168
00:09:50,503 --> 00:09:52,438
IS--IS IT REALLY
THAT GOOD?
169
00:09:52,505 --> 00:09:54,440
IT COULDN'T BE,
COULD IT?
170
00:09:54,507 --> 00:09:56,943
I MEAN, A FIRST ATTEMPT
BY A TOTAL AMATEUR?
171
00:09:57,010 --> 00:09:59,445
I'LL TELL YOU
HOW GOOD THAT IS.
172
00:09:59,512 --> 00:10:02,048
EVEN A GIFTED DIRECTOR
COULDN'T HURT IT.
173
00:10:12,993 --> 00:10:14,193
MYRA?
174
00:10:16,429 --> 00:10:17,696
DARLING, THIS IS JUST--
175
00:10:17,765 --> 00:10:19,766
DO YOU REALIZE THIS IS
THE FIRST OPENING NIGHT EVER
176
00:10:19,833 --> 00:10:20,933
THAT I COULDN'T BE WITH YOU?
177
00:10:21,001 --> 00:10:22,434
DARLING, I FELT SO BAD.
178
00:10:22,502 --> 00:10:23,936
DARLING,
I WAS SO ANXIOUS.
179
00:10:24,004 --> 00:10:25,437
I KNOW, DARLING.
180
00:10:25,505 --> 00:10:27,439
I SHOULD HAVE GIVEN
MORE THOUGHT
181
00:10:27,507 --> 00:10:29,441
ABOUT YOU
BEING LEFT AT HOME.
182
00:10:29,509 --> 00:10:30,442
MYRA?
183
00:10:30,510 --> 00:10:31,443
YES, DARLING?
184
00:10:31,511 --> 00:10:32,945
MYRA. MYRA.
185
00:10:33,013 --> 00:10:34,446
YES?
186
00:10:34,514 --> 00:10:36,949
I MUST BE ABLE
TO TRUST YOU, DARLING.
187
00:10:37,017 --> 00:10:37,950
OH.
188
00:10:38,018 --> 00:10:39,451
YOU CANNOT SMOKE.
189
00:10:39,519 --> 00:10:40,920
YOU KNOW THAT,
DON'T YOU?
190
00:10:40,988 --> 00:10:42,421
YOU TAKING YOUR PILLS?
191
00:10:42,489 --> 00:10:43,923
NO.
192
00:10:43,991 --> 00:10:46,926
NOW, EVERYTHING'S
GOING TO BE ALL RIGHT
193
00:10:46,994 --> 00:10:49,929
PROVIDED YOU TAKE
REASONABLE PRECAUTIONS.
194
00:10:49,997 --> 00:10:51,931
DON'T MAKE ME
WORRY ABOUT YOU
195
00:10:51,999 --> 00:10:54,433
EVERY TIME YOU'RE
OUT OF MY SIGHT.
196
00:10:54,501 --> 00:10:56,435
OH, DARLING,
I AM SO SORRY,
197
00:10:56,503 --> 00:10:57,937
BUT I WAS SO ANXIOUS.
198
00:10:58,005 --> 00:10:59,939
THAT'S NOT
YOUR JOB, ANXIETY.
199
00:11:00,007 --> 00:11:02,942
ANXIETY'S MY JOB,
YOU GOT THAT?
200
00:11:03,010 --> 00:11:05,111
I'VE GOT THAT, DARLING.
201
00:11:42,500 --> 00:11:45,435
Myra: HOW DOES MR. ANDERSON'S
PLAY READ WHEN YOU'RE SOBER?
202
00:11:45,503 --> 00:11:47,403
IT'S WORSE
THAN I THOUGHT.
203
00:11:47,471 --> 00:11:48,904
IT'S FLAWLESS.
204
00:11:48,972 --> 00:11:52,275
SO...SO MAYBE YOU SHOULD
DO SOMETHING ABOUT IT.
205
00:11:52,343 --> 00:11:54,677
WHAT I SHOULD DO
IS BEAT THE FAT BASTARD
206
00:11:54,745 --> 00:11:57,280
OVER THE HEAD WITH
THAT MACE OVER THERE,
207
00:11:57,348 --> 00:11:58,881
BURY HIM IN A HOLE
208
00:11:58,949 --> 00:12:00,916
BIG ENOUGH TO
ACCOMMODATE HIS BLOAT,
209
00:12:00,984 --> 00:12:02,918
AND THEN SEND HIS
LITTLE MASTERPIECE OFF
210
00:12:02,986 --> 00:12:04,420
UNDER MY OWN NAME.
211
00:12:04,488 --> 00:12:07,557
THERE'S THE BEST IDEA
I'VE HAD IN 10 YEARS.
212
00:12:07,625 --> 00:12:08,724
YES, DARLING,
213
00:12:08,792 --> 00:12:10,426
IT'S SO UNFAIR,
ISN'T IT?
214
00:12:10,494 --> 00:12:11,761
HMM?
215
00:12:11,828 --> 00:12:14,264
I MEAN, WHAT'S THE POINT
IN OWNING A MACE
216
00:12:14,331 --> 00:12:15,831
IF YOU DON'T USE IT?
217
00:12:15,899 --> 00:12:17,099
[LAUGHS]
218
00:12:17,168 --> 00:12:19,135
DARLING, DO YOU KNOW WHAT
I WAS THINKING LAST NIGHT?
219
00:12:19,203 --> 00:12:20,903
WHY DON'T YOU
PRODUCE THE PLAY?
220
00:12:20,971 --> 00:12:23,640
I MEAN, YOU'VE BEEN INVOLVED
IN PRODUCTION FOR OVER 20 YEARS.
221
00:12:23,707 --> 00:12:25,441
YOU CERTAINLY KNOW
AS MUCH ABOUT IT
222
00:12:25,509 --> 00:12:26,809
AS SOMEONE
LIKE SEYMOUR STARGER.
223
00:12:26,877 --> 00:12:28,278
DARLING, THOUGH
I MIGHT BE CAPABLE
224
00:12:28,345 --> 00:12:29,612
OF KILLING
CLIFFORD ANDERSON,
225
00:12:29,680 --> 00:12:31,481
I AM NOT UP
TO THE CRIMINAL BEHAVIOR
226
00:12:31,549 --> 00:12:33,115
OF A BROADWAY PRODUCER.
227
00:12:33,184 --> 00:12:34,684
I DARESAY NOT.
228
00:12:34,751 --> 00:12:36,419
WELL, HAVE YOU THOUGHT
ABOUT COLLABORATION?
229
00:12:36,487 --> 00:12:39,422
I DON'T WANT ANY HELP IN
KILLING CLIFFORD ANDERSON.
230
00:12:39,490 --> 00:12:41,424
I WANT TO STRIKE
THE BLOW MYSELF.
231
00:12:41,492 --> 00:12:42,625
DARLING, SERIOUSLY.
232
00:12:42,693 --> 00:12:44,594
HAVE YOU THOUGHT ABOUT
COLLABORATING ON THE PLAY?
233
00:12:44,662 --> 00:12:45,628
ON DEATHTRAP?
234
00:12:45,696 --> 00:12:47,430
SURELY, IF IT'S AS GOOD
AS YOU SAY IT IS,
235
00:12:47,498 --> 00:12:49,265
IT WOULDN'T HURT
IF IT GOT A LITTLE BIT
236
00:12:49,333 --> 00:12:51,234
OF THE OLD SIDNEY BRUHL
POLISH AND PIZAZZ.
237
00:12:51,302 --> 00:12:53,135
WHAT DO YOU THINK,
MY DARLING DARLING?
238
00:12:53,204 --> 00:12:55,305
AND DON'T TELL ME
THAT AN ABSOLUTE AMATEUR
239
00:12:55,372 --> 00:12:57,907
WOULDN'T BE THRILLED AT
THE CHANCE OF WORKING WITH YOU.
240
00:12:57,974 --> 00:12:59,909
YOU MEAN,
I SEX IT UP A LITTLE
241
00:12:59,976 --> 00:13:01,911
AND THEN SPLIT
50-50, HUH?
242
00:13:01,978 --> 00:13:03,913
BUT OF COURSE
I'D GET TOP BILLING.
243
00:13:03,980 --> 00:13:06,416
WHY NOT? ON THE BASIS
OF WHO YOU ARE.
244
00:13:06,483 --> 00:13:09,419
YOU SURE YOU DON'T
MEAN WHO I WAS?
245
00:13:09,486 --> 00:13:10,920
SIDNEY!
246
00:13:10,987 --> 00:13:12,922
YOU WERE AND ARE...
247
00:13:12,989 --> 00:13:14,924
THE AUTHOR
OF THE MURDER GAME,
248
00:13:14,991 --> 00:13:16,926
THE LONGEST-RUNNING
THRILLER
249
00:13:16,993 --> 00:13:19,395
IN THE HISTORY
OF BROADWAY.
250
00:13:19,463 --> 00:13:20,930
GOD.
251
00:13:20,997 --> 00:13:22,932
I HADN'T REALIZED.
252
00:13:22,999 --> 00:13:25,901
YOU MIND THE FAILURE
AS MUCH AS I DO,
253
00:13:25,969 --> 00:13:27,403
DON'T YOU, MYRA?
254
00:13:27,471 --> 00:13:29,405
I EXPECT
IT WAS RATHER FUN
255
00:13:29,473 --> 00:13:31,574
BEING MARRIED TO
THAT SIDNEY BRUHL.
256
00:13:33,644 --> 00:13:35,411
AH, WELL.
257
00:13:35,479 --> 00:13:38,248
NOTHING RECEDES
LIKE SUCCESS.
258
00:13:44,988 --> 00:13:46,922
OH, DARLING, CALL HIM.
259
00:13:46,990 --> 00:13:48,924
CALL HIM NOW.
WHERE DOES HE LIVE?
260
00:13:48,992 --> 00:13:49,925
UP IN QUOGUE.
261
00:13:49,993 --> 00:13:51,927
YOU DON'T LIKE
THE MACE?
262
00:13:51,995 --> 00:13:53,429
NO, DEFINITELY NOT.
263
00:13:53,497 --> 00:13:54,930
BLOOD ON THE CARPET.
264
00:13:54,998 --> 00:13:57,400
THEN THE NEXT DAY
HELGA TEN DORP'S OUT THERE
265
00:13:57,468 --> 00:13:58,901
PICKING UP
PSYCHIC VIBRATIONS.
266
00:13:58,969 --> 00:14:00,403
HELGA TEN DORP
FROM HOLLAND?
267
00:14:00,471 --> 00:14:01,904
I HARDLY THINK
THAT'S LIKELY.
268
00:14:01,972 --> 00:14:04,474
OH, I KNEW IT! I KNEW
YOU'D GONE BLANK WITH BOREDOM
269
00:14:04,541 --> 00:14:05,908
THE OTHER NIGHT AT NAN'S.
270
00:14:05,976 --> 00:14:07,910
THEY NEVER STOPPED
TALKING ABOUT IT.
271
00:14:07,978 --> 00:14:10,413
HELGA TEN DORP, SHE'S TAKING
THE PRISKY COTTAGE FOR 6 MONTHS.
272
00:14:10,481 --> 00:14:11,914
PAUL WYMAN'S
REPRESENTING HER.
273
00:14:11,982 --> 00:14:13,916
A BIG BOOK
AND U.S. PROMOTION.
274
00:14:13,984 --> 00:14:16,419
MY GOD, DARLING, PAUL
WAS IMPERSONATING HER
275
00:14:16,487 --> 00:14:18,053
FOR 20 MINUTES
THE OTHER NIGHT.
276
00:14:18,121 --> 00:14:19,922
OH, IS THAT
WHAT HE WAS DOING?
277
00:14:19,990 --> 00:14:21,957
I THOUGHT HE WAS FINALLY
COMING OUT OF THE CLOSET.
278
00:14:22,025 --> 00:14:23,426
HA HA HA HA.
279
00:14:23,494 --> 00:14:25,428
ANYWAY,
ABOUT MISS TEN DORP,
280
00:14:25,496 --> 00:14:27,597
I DON'T THINK PAUL'S AGENCY
WOULD HANDLE HER, DARLING,
281
00:14:27,665 --> 00:14:28,931
IF SHE WEREN'T GENUINE.
282
00:14:28,999 --> 00:14:31,901
OH, LISTEN, NAN AND TOM HAD HER
OVER FOR DINNER LAST WEEK.
283
00:14:31,968 --> 00:14:34,404
SHE TOLD TOM
ALL ABOUT HIS BACKACHES,
284
00:14:34,471 --> 00:14:37,407
ALL ABOUT THE MONEY
HE LOST IN SILVER FUTURES,
285
00:14:37,474 --> 00:14:39,409
AND ALL ABOUT HIS FATHER'S
THING FOR TALL WOMEN.
286
00:14:39,476 --> 00:14:41,911
OH, AND SHE FOUND
A SET OF KEYS
287
00:14:41,978 --> 00:14:44,414
THAT NAN LOST IN 1969,
DARLING.
288
00:14:44,481 --> 00:14:46,916
THEY WERE RIGHT THERE
UNDER THE CLOTHES DRYER.
289
00:14:46,983 --> 00:14:48,418
YOU KNOW,
RIGHT THIS MINUTE,
290
00:14:48,485 --> 00:14:50,920
SHE'S PROBABLY DOWN
THERE WITH HER RADAR
291
00:14:50,987 --> 00:14:52,922
PICKING UP YOUR BLIPS.
292
00:14:52,989 --> 00:14:54,557
MY WORD.
293
00:14:55,992 --> 00:14:57,927
THAT DOES
GIVE ONE PAUSE.
294
00:14:57,994 --> 00:14:59,529
SHE'S REALLY FANTASTIC.
295
00:14:59,596 --> 00:15:00,797
THE EUROPEAN POLICE
296
00:15:00,864 --> 00:15:02,465
BELIEVE IMPLICITLY
IN HER, DARLING.
297
00:15:02,533 --> 00:15:04,434
THAT'S HALF
OF WHY SHE'S HERE.
298
00:15:04,501 --> 00:15:06,636
SHE'S SUPPOSED
TO BE RESTING UP
299
00:15:06,704 --> 00:15:08,538
FROM POINTING
AT MURDERERS.
300
00:15:08,605 --> 00:15:11,541
IS THE LARDER
UP TO ANOTHER POT OF TEA?
301
00:15:11,608 --> 00:15:12,675
HMM.
302
00:15:20,483 --> 00:15:22,451
LOOK, THE SAME
BLOODY KEY RING
303
00:15:22,519 --> 00:15:24,453
FROM BOTH MILLIE
AND TOM.
304
00:15:24,521 --> 00:15:26,088
[LAUGHING]
305
00:15:27,858 --> 00:15:30,292
DARLING, YOU KNOW,
I REALLY DO THINK
306
00:15:30,360 --> 00:15:32,962
THAT YOU SHOULD CALL
MR. ANDERSON.
307
00:15:33,030 --> 00:15:34,964
WAIT A MINUTE.
308
00:15:35,032 --> 00:15:38,934
THE FAT ONE DIDN'T
STAY THE FULL WEEK,
309
00:15:39,002 --> 00:15:41,436
AND HIS NAME WAS QUEN--
QUINCY?
310
00:15:41,504 --> 00:15:43,939
SOMETHING BEGINNING
WITH A "Q."
311
00:15:44,007 --> 00:15:45,941
ANDERSON. ANDERSON.
312
00:15:47,110 --> 00:15:49,378
I WONDER IF ANDERSON WAS
THE ONE WITH THE STAMMER.
313
00:15:49,445 --> 00:15:50,479
[LAUGHING]
314
00:15:50,547 --> 00:15:53,448
MY GOD, THEY ALL SEEMED
SO DIM AND UNDERDONE.
315
00:15:53,516 --> 00:15:54,950
WOULD YOU
LISTEN TO ME?
316
00:15:55,018 --> 00:15:56,952
DID YOU HEAR
WHAT I SAID?
317
00:15:57,020 --> 00:15:58,954
I THINK YOU SHOULD
CALL MR. ANDERSON.
318
00:15:59,022 --> 00:16:01,456
YOU HAVE NOT GOT
A THING TO LOSE.
319
00:16:01,524 --> 00:16:02,457
MYRA.
320
00:16:02,525 --> 00:16:03,959
WHAT?
321
00:16:04,027 --> 00:16:05,928
HAVE I GONE THROUGH
EVERYTHING?
322
00:16:05,996 --> 00:16:08,397
YOURS AND MINE?
323
00:16:08,464 --> 00:16:10,666
IS THAT WHY YOU WANT ME
TO PHONE THIS GUY?
324
00:16:10,734 --> 00:16:12,935
NO, DARLING,
IT'S NOT THE MONEY.
325
00:16:13,003 --> 00:16:15,938
I'M OK, WHICH MEANS
YOU'RE OK, DOPEY.
326
00:16:16,006 --> 00:16:17,940
DARLING,
YOU'RE A WRITER.
327
00:16:18,008 --> 00:16:19,942
ALL WRITERS GO THROUGH
PERIODS LIKE THIS.
328
00:16:20,010 --> 00:16:21,944
ALL YOU NEED
IS A CHANGE OF PACE.
329
00:16:22,012 --> 00:16:22,945
ANYTHING.
330
00:16:23,013 --> 00:16:24,446
A COLLABORATION.
331
00:16:24,514 --> 00:16:25,948
TO WORK WITH
SOMEONE YOUNG.
332
00:16:26,016 --> 00:16:26,949
YOUNGER.
333
00:16:27,017 --> 00:16:27,950
DON'T YOU SEE?
334
00:16:28,018 --> 00:16:29,451
BY TEACHING
MR. ANDERSON,
335
00:16:29,519 --> 00:16:30,953
YOU'LL GET YOURSELF
STARTED AGAIN.
336
00:16:31,021 --> 00:16:31,954
DARLING, REALLY,
337
00:16:32,022 --> 00:16:33,622
I THINK IT IS A GOD-SENT
OPPORTUNITY.
338
00:16:33,690 --> 00:16:35,124
I REALLY DO.
339
00:16:35,192 --> 00:16:36,959
CALL HIM.
340
00:16:37,027 --> 00:16:38,761
THE MACE
WOULD BE QUICKER.
341
00:16:38,829 --> 00:16:41,130
OH, SIDNEY, BE SERIOUS.
342
00:16:44,500 --> 00:16:46,501
SIDNEY, WHAT'S
THE MATTER WITH YOU?
343
00:16:48,271 --> 00:16:52,141
OH, MY GOD.
344
00:16:56,012 --> 00:16:58,948
OH, MY GOD. YOU DID HAVE
A BAD NIGHT, DIDN'T YOU?
345
00:16:59,015 --> 00:17:00,950
[LAUGHS]
346
00:17:01,017 --> 00:17:03,452
I THINK THAT YOU'RE THINKING
THAT AFTER LAST NIGHT
347
00:17:03,519 --> 00:17:06,455
YOU ACTUALLY WOULD KILL
TO HAVE ANOTHER HIT PLAY.
348
00:17:08,024 --> 00:17:10,960
DO YOU KNOW WHAT THIS PLAY
WOULD NET ITS AUTHOR
349
00:17:11,027 --> 00:17:12,962
IN TODAY'S MARKET?
350
00:17:13,029 --> 00:17:16,065
BETWEEN
$3 AND $5 MILLION.
351
00:17:16,133 --> 00:17:19,835
AND THAT IS WITHOUT
THE DEATHTRAP T-SHIRTS.
352
00:17:19,903 --> 00:17:24,039
NOW, IF THAT ISN'T A THINKING
MAN'S MOTIVE FOR MURDER,
353
00:17:24,107 --> 00:17:26,242
I DON'T KNOW WHAT IS.
354
00:17:32,348 --> 00:17:35,117
"362-1894."
355
00:17:47,497 --> 00:17:49,064
[DIALING PHONE]
356
00:17:53,003 --> 00:17:54,436
HELLO.
357
00:17:54,504 --> 00:17:57,106
IS THIS, UH,
CLIFFORD ANDERSON?
358
00:17:58,008 --> 00:17:59,074
SIDNEY BRUHL.
359
00:18:00,010 --> 00:18:01,443
YES, I HAVE,
360
00:18:01,511 --> 00:18:03,946
AND I MUST SAY,
IN ALL SINCERITY,
361
00:18:04,014 --> 00:18:06,949
THIS IS A VERY PROMISING
FIRST DRAFT.
362
00:18:07,017 --> 00:18:09,451
A TRIFLE UNSTEADY
AT THE ODD MOMENT,
363
00:18:09,519 --> 00:18:11,954
BUT IT HAS
ALL THE MAKINGS.
364
00:18:12,022 --> 00:18:13,455
OH, YES.
365
00:18:13,523 --> 00:18:15,457
I KNOW THAT FEELING
SO WELL.
366
00:18:15,525 --> 00:18:17,459
I THOUGHT THE MURDER GAME
WAS FINISHED
367
00:18:17,527 --> 00:18:18,961
THE FIRST TIME ROUND,
368
00:18:19,029 --> 00:18:20,930
BUT THEN I GAVE IT
TO SOMEONE
369
00:18:20,997 --> 00:18:22,431
WITH REAL THEATER
EXPERIENCE.
370
00:18:22,498 --> 00:18:24,433
THEY TOOK IT IN HAND
AND HELPED ME REVISE IT.
371
00:18:24,500 --> 00:18:26,435
I HATE TO THINK
WHAT WOULD HAVE HAPPENED
372
00:18:26,502 --> 00:18:28,938
IF I HAD SENT IT OUT
IN ITS ORIGINAL FORM.
373
00:18:29,005 --> 00:18:31,207
WELL, ACTUALLY,
IT WAS GEORGE S. KAUFMAN.
374
00:18:31,274 --> 00:18:33,442
YES, BUT HE WOULDN'T
TAKE ANY CREDIT,
375
00:18:33,509 --> 00:18:35,444
THOUGH
I URGED HIM TO.
376
00:18:35,511 --> 00:18:37,512
BUT, UM, LISTEN,
377
00:18:37,580 --> 00:18:40,515
WHAT SORT OF REACTION
HAVE YOU HAD FROM OTHER PEOPLE?
378
00:18:40,583 --> 00:18:41,951
OH.
379
00:18:42,018 --> 00:18:43,452
NO ONE AT ALL?
380
00:18:43,519 --> 00:18:46,455
WELL, UH, THAT'S, UH,
THAT'S VERY FLATTERING.
381
00:18:46,522 --> 00:18:49,458
I MEAN, BUT YOU MUST'VE
SHOWN IT TO SOMEONE.
382
00:18:49,525 --> 00:18:51,961
I MEAN, UH, YOUR WIFE,
YOUR FRIENDS,
383
00:18:52,028 --> 00:18:54,930
UM, OTHER PEOPLE
AT THE SEMINAR?
384
00:18:54,998 --> 00:18:56,431
OH, I SEE.
385
00:18:56,499 --> 00:18:59,434
WELL, THAT SOUNDS LIKE
AN IDEAL SITUATION FOR A WRITER.
386
00:18:59,502 --> 00:19:00,936
YEAH.
387
00:19:01,004 --> 00:19:02,938
OH, YES, OF COURSE.
388
00:19:03,006 --> 00:19:04,439
YES, ANOTHER THRILLER.
389
00:19:04,507 --> 00:19:06,441
IT'S ABOUT A WOMAN
WITH ESP.
390
00:19:06,509 --> 00:19:08,944
IT'S BASED ON--ON, UH,
HELGA TEN DORP.
391
00:19:09,012 --> 00:19:10,445
YOU KNOW,
THE DUTCH PSYCHIC?
392
00:19:10,513 --> 00:19:12,447
SHE'S A NEIGHBOR
OF OURS.
393
00:19:12,515 --> 00:19:14,950
IT'S CALLED
THE FROWNING WIFE.
394
00:19:15,018 --> 00:19:17,953
YES, WELL, THAT'S
JUST A WORKING TITLE.
395
00:19:18,021 --> 00:19:19,955
I LOVED DEATHTRAP,
INCIDENTALLY.
396
00:19:20,023 --> 00:19:21,690
BOTH THE TITLE
AND THE PLAY.
397
00:19:21,758 --> 00:19:23,959
WELL, YES, I HAVE,
398
00:19:24,027 --> 00:19:27,263
BUT I MEAN TOO MANY
TO GO OVER ON THE PHONE.
399
00:19:27,330 --> 00:19:29,932
AS A MATTER OF FACT,
I'M FREE THIS EVENING.
400
00:19:30,000 --> 00:19:31,267
YES.
401
00:19:31,334 --> 00:19:33,269
WHY DON'T YOU DRIVE OVER?
402
00:19:33,336 --> 00:19:34,937
IT'S NOT VERY FAR.
403
00:19:35,005 --> 00:19:36,438
OH. HMM.
404
00:19:36,506 --> 00:19:38,941
WELL, I TELL YOU WHAT,
YOU GET A TRAIN,
405
00:19:39,009 --> 00:19:40,943
AND I'LL COME
AND PICK YOU UP
406
00:19:41,011 --> 00:19:42,945
AT THE EASTHAMPTON
STATION.
407
00:19:43,013 --> 00:19:43,946
ALL RIGHT?
408
00:19:44,014 --> 00:19:45,948
THE WHAT?
409
00:19:46,016 --> 00:19:47,449
THE 7:29.
410
00:19:47,517 --> 00:19:49,451
OH, THAT'LL BE FINE.
411
00:19:49,519 --> 00:19:54,456
OH, UH, UM, AND WOULD YOU BRING
THE ORIGINAL COPY WITH YOU?
412
00:19:54,524 --> 00:19:55,958
YES.
413
00:19:56,026 --> 00:19:58,928
I--I THINK IT'S BEST THAT WE
HAVE 2 COPIES TO READ FROM.
414
00:19:58,995 --> 00:20:01,931
AND THE CARBON'S
A LITTLE BIT HARD
415
00:20:01,998 --> 00:20:03,933
ON THESE WEARY
OLD EYES.
416
00:20:04,000 --> 00:20:06,936
YES, WELL,
WE'LL MAKE THAT 7:29.
417
00:20:07,003 --> 00:20:08,938
UM, YES.
418
00:20:09,005 --> 00:20:10,940
WELL, I'LL SEE YOU THEN.
419
00:20:11,007 --> 00:20:13,442
OH, AND, UM, CLIFFORD,
420
00:20:13,509 --> 00:20:15,444
UM, I MAY BE
A FEW MINUTES LATE,
421
00:20:15,511 --> 00:20:17,446
I HAVE SOME ERRANDS
TO RUN. YES.
422
00:20:17,513 --> 00:20:19,949
SO WAIT FOR ME
BY THE STATION,
423
00:20:20,016 --> 00:20:21,951
AND I'LL BE ALONG
EVENTUALLY.
424
00:20:22,018 --> 00:20:23,953
I'LL BE IN
A BROWN MERCEDES.
425
00:20:24,020 --> 00:20:25,454
YES. ALL RIGHT.
426
00:20:25,521 --> 00:20:28,123
WELL, BYE-BYE, THEN.
I'LL SEE YOU LATER.
427
00:20:33,997 --> 00:20:36,265
WHAT ERRANDS
DO YOU HAVE TO RUN?
428
00:20:36,333 --> 00:20:39,701
OH, I THOUGHT YOU SAID
SOMETHING ABOUT LIBRARY BOOKS.
429
00:20:39,769 --> 00:20:41,636
PICKING THEM UP,
TAKING THEM BACK.
430
00:20:41,704 --> 00:20:43,439
NO, I DIDN'T.
431
00:20:46,009 --> 00:20:49,811
I--I DON'T THINK I--
I DON'T THINK I DID.
432
00:20:49,879 --> 00:20:51,880
WELL, I THOUGHT YOU DID.
433
00:20:51,948 --> 00:20:53,048
I DID?
434
00:20:54,117 --> 00:20:56,051
THE XEROX
HAS BEEN MENDED.
435
00:20:56,119 --> 00:20:59,455
BUT HE WANTS TO WAIT
A COUPLE OF DAYS
436
00:20:59,522 --> 00:21:01,756
IN CASE I HAVE
ANY SMALL SUGGESTIONS.
437
00:21:03,026 --> 00:21:05,427
NO ONE ELSE
HAS READ IT.
438
00:21:05,495 --> 00:21:08,297
NO ONE ELSE EVEN KNOWS
HE'S WORKING ON IT.
439
00:21:09,466 --> 00:21:12,067
HE'S HOUSE-SITTING FOR
A COUPLE WHO ARE IN EUROPE,
440
00:21:12,135 --> 00:21:15,270
AND HE'S UNMARRIED.
441
00:21:18,008 --> 00:21:19,441
HIS CAR...
442
00:21:19,509 --> 00:21:22,177
IS IN THE GARAGE
FOR REPAIRS.
443
00:21:22,245 --> 00:21:23,945
[LAUGHS]
444
00:21:24,014 --> 00:21:27,216
SO, NO ONE WILL SEE YOU
PICKING HIM UP.
445
00:21:27,283 --> 00:21:29,051
THAT'S RIGHT.
446
00:21:31,021 --> 00:21:34,656
WHY DID YOU ASK HIM
TO BRING THE ORIGINAL?
447
00:21:34,724 --> 00:21:36,925
BECAUSE WE NEED 2 COPIES.
448
00:21:36,993 --> 00:21:38,427
I DON'T WANT HIM
449
00:21:38,495 --> 00:21:40,429
LEANING OVER MY SHOULDER
ALL EVENING,
450
00:21:40,497 --> 00:21:42,764
JEERING AT MY RING-
AROUND-THE-COLLAR, DO I?
451
00:21:42,832 --> 00:21:44,766
YES, BUT WON'T HE HAVE
ANOTHER CARBON COPY
452
00:21:44,834 --> 00:21:45,767
LYING AROUND SOMEWHERE?
453
00:21:45,835 --> 00:21:47,936
AND NOTES AND ROUGH DRAFTS
AND OUTLINES.
454
00:21:48,004 --> 00:21:49,938
AND ON OPENING NIGHT
OF MY DAZZLING TRIUMPH,
455
00:21:50,006 --> 00:21:51,440
HIS GRAY-HAIRED
OLD MOTHER
456
00:21:51,508 --> 00:21:54,443
WILL COME TEARING
DOWN THE AISLE SCREAMING,
457
00:21:54,511 --> 00:21:56,078
CLOSELY FOLLOWED BY
458
00:21:56,146 --> 00:21:58,680
THE QUOGUE AND EASTHAMPTON
POLICE DEPARTMENTS.
459
00:22:06,022 --> 00:22:08,290
[FLIPS TURN SIGNAL]
460
00:22:31,514 --> 00:22:32,914
HI, MR. BRUHL.
461
00:22:37,019 --> 00:22:38,454
OHH.
462
00:22:38,521 --> 00:22:39,455
WOW.
463
00:22:39,522 --> 00:22:41,457
THIS IS BEAUTIFUL.
464
00:22:41,524 --> 00:22:43,925
I FREQUENTLY FANTASIZE
ABOUT HIGH-TECH--
465
00:22:43,993 --> 00:22:45,927
SOMETHING
YOU JUST HOSE DOWN.
466
00:22:45,995 --> 00:22:46,928
HELLO.
467
00:22:46,996 --> 00:22:47,929
OH, THANK YOU.
468
00:22:47,997 --> 00:22:49,431
HERE WE ARE,
DARLING.
469
00:22:49,499 --> 00:22:51,433
THIS IS CLIFFORD ANDERSON.
MY WIFE MYRA.
470
00:22:51,501 --> 00:22:52,934
HI. PLEASURE
TO MEET YOU.
471
00:22:53,002 --> 00:22:54,936
SO NICE OF YOU TO COME,
MR. ANDERSON.
472
00:22:55,004 --> 00:22:58,106
NO, NO. I AM VERY PROUD
TO BE ASKED.
473
00:22:59,175 --> 00:23:01,109
OH, BOY!
474
00:23:03,513 --> 00:23:05,447
[CLIFFORD WHISTLES
IN AMAZEMENT]
475
00:23:05,515 --> 00:23:07,783
Clifford:
IS--IS THIS THE MACE
476
00:23:07,850 --> 00:23:09,818
THAT WAS USED
IN MURDEROUS CHILD?
477
00:23:09,886 --> 00:23:10,952
Sidney: YES.
478
00:23:11,020 --> 00:23:12,954
AND THIS HERE--
SEE THIS SMALL ONE HERE?
479
00:23:13,022 --> 00:23:15,591
THAT'S THE DAGGER
FROM THE MURDER GAME.
480
00:23:15,659 --> 00:23:16,592
WOW.
481
00:23:16,660 --> 00:23:17,926
BE CAREFUL.
IT'S SHARP.
482
00:23:17,994 --> 00:23:21,096
THE PROP ONE WAS SUBSTITUTED
IN THE SECOND ACT.
483
00:23:21,998 --> 00:23:23,231
MMM.
484
00:23:25,001 --> 00:23:26,935
OH, G--
485
00:23:27,003 --> 00:23:28,771
IN FOR THE KILL,
RIGHT?
486
00:23:28,838 --> 00:23:29,772
YES.
487
00:23:29,839 --> 00:23:31,740
Myra: THE TRAIN
MUST'VE BEEN LATE.
488
00:23:33,242 --> 00:23:34,209
WAS IT?
489
00:23:34,277 --> 00:23:35,944
UH, NO,
MR. BRUHL WAS.
490
00:23:36,012 --> 00:23:37,680
TRAIN
WAS ON TIME.
491
00:23:37,747 --> 00:23:39,615
I HAD TO GET
SOME GAS,
492
00:23:39,683 --> 00:23:41,550
AND FRANK INSISTED
ON POKING AROUND
493
00:23:41,618 --> 00:23:43,452
UNDER THE HOOD
FOR 10 MINUTES.
494
00:23:43,520 --> 00:23:45,821
OH, MY GOD.
495
00:23:45,888 --> 00:23:46,955
GUNPOI--
496
00:23:47,023 --> 00:23:48,424
DO YOU KNOW
THAT GUNPOINT
497
00:23:48,491 --> 00:23:50,158
IS THE FIRST PLAY
THAT I EVER SAW?
498
00:23:50,226 --> 00:23:51,627
I WAS 12 YEARS OLD.
499
00:23:51,695 --> 00:23:53,495
YOUNG MAN, IF YOU'RE
TRYING TO DEPRESS ME,
500
00:23:53,563 --> 00:23:54,797
YOU'RE RIGHT
ON TARGET.
501
00:23:54,864 --> 00:23:55,931
OH, I'M SORRY.
502
00:23:55,998 --> 00:23:58,099
BUT REALLY, THAT'S HOW
I GOT HOOKED ON THRILLERS.
503
00:23:58,167 --> 00:23:59,535
ANGEL STREET
DID IT TO ME.
504
00:23:59,602 --> 00:24:01,403
"BELLA, WHERE IS
THAT GROCERY BILL?
505
00:24:01,471 --> 00:24:03,004
"WHAT HAVE YOU DONE
WITH IT...
506
00:24:03,072 --> 00:24:04,340
YOU POOR, WRETCHED
CREATURE?"
507
00:24:04,407 --> 00:24:05,841
I WAS 15.
508
00:24:05,908 --> 00:24:07,509
SOUNDS LIKE
SOME AWFUL DISEASE
509
00:24:07,577 --> 00:24:08,610
THAT'S PASSED DOWN
510
00:24:08,678 --> 00:24:11,447
FROM GENERATION TO
GENERATION, DOESN'T IT?
511
00:24:11,514 --> 00:24:13,949
YES, IT'S CALLED
THRILLERITIS MALIGNUS.
512
00:24:14,016 --> 00:24:15,951
THE FEVERED PURSUIT
OF THE ONE SET,
513
00:24:16,018 --> 00:24:17,453
5-CHARACTER MONEYMAKER.
514
00:24:17,520 --> 00:24:19,955
OH, HMMPH. I'M NOT PURSUING
MONEY, MR. BRUHL.
515
00:24:20,022 --> 00:24:21,923
WELL, I MEAN, I MIGHT
LIKE TO HAVE SOME
516
00:24:21,991 --> 00:24:23,925
IF I COULD HAVE A PLACE
LIKE THIS TO WORK IN,
517
00:24:23,993 --> 00:24:26,428
BUT THAT ISN'T THE REASON
THAT I WROTE DEATHTRAP.
518
00:24:26,496 --> 00:24:27,929
YOU'RE INFECTED,
ALL RIGHT.
519
00:24:27,997 --> 00:24:29,931
BUT YOU'RE STILL
IN THE EARLY STAGES.
520
00:24:29,999 --> 00:24:31,933
WOULD YOU LIKE SOMETHING?
WOULD YOU LIKE A DRINK?
521
00:24:32,001 --> 00:24:33,935
YES, PLEASE. CAN I
HAVE SOME GINGER ALE?
522
00:24:34,003 --> 00:24:34,936
OF COURSE.
523
00:24:35,004 --> 00:24:36,705
SIDNEY, WOULD YOU
LIKE A SCOTCH?
524
00:24:36,773 --> 00:24:40,175
I BELIEVE I'LL HAVE
A GINGER ALE, TOO, DARLING.
525
00:24:40,243 --> 00:24:42,444
THESE AREN'T ALL
FROM YOUR PLAYS, ARE THEY?
526
00:24:42,512 --> 00:24:43,945
GOOD GOD, NO.
527
00:24:44,013 --> 00:24:45,947
I HAVEN'T WRITTEN
THAT MANY.
528
00:24:46,015 --> 00:24:48,450
FRIENDS GIVE ME THINGS,
YOU KNOW,
529
00:24:48,518 --> 00:24:50,452
AND I, UM, PROWL
THE ANTIQUE SHOPS.
530
00:24:50,520 --> 00:24:52,087
NOW THERE'S
A DISEASE.
531
00:24:53,022 --> 00:24:54,923
I FOUND THAT ONE
THE OTHER DAY
532
00:24:54,991 --> 00:24:56,925
IN, UH, SAG HARBOR.
533
00:24:56,993 --> 00:24:58,427
18th CENTURY BURMA.
534
00:24:58,495 --> 00:25:00,429
OH, BOY,
THAT IS BEAUTIFUL.
535
00:25:00,497 --> 00:25:01,430
AS YOU CAN SEE,
536
00:25:01,498 --> 00:25:02,931
I'M TAKING
VERY GOOD CARE
537
00:25:02,999 --> 00:25:04,433
OF MY SPIRITUAL CHILD.
538
00:25:04,501 --> 00:25:05,934
LOCK AND KEY.
539
00:25:06,002 --> 00:25:07,436
OH, I'VE GOT
THE ORIGINAL.
540
00:25:07,504 --> 00:25:09,438
IT'S NOT IN A BINDER,
THOUGH--FOR THE XEROXING.
541
00:25:09,506 --> 00:25:10,773
MAKES NO NEVERMIND.
542
00:25:10,840 --> 00:25:11,774
THANK YOU.
543
00:25:11,841 --> 00:25:13,609
I'VE GOT THE FIRST DRAFT
HERE, TOO.
544
00:25:13,676 --> 00:25:15,043
HOW MANY DID YOU DO?
545
00:25:15,111 --> 00:25:16,244
UH, JUST THE ONE.
546
00:25:16,312 --> 00:25:19,448
IT'S KIND OF A MESS,
BUT I THINK YOU CAN DECIPHER IT.
547
00:25:19,516 --> 00:25:21,450
THERE ARE SOME SCENES
I'VE CUT.
548
00:25:21,518 --> 00:25:24,453
I HAD A FEELING THERE WAS
A DIANE AND CARLO SCENE
549
00:25:24,521 --> 00:25:26,388
I WASN'T SEEING
BEFORE THE MURDER.
550
00:25:26,456 --> 00:25:27,423
THAT'S RIGHT!
551
00:25:27,490 --> 00:25:28,924
SEE, I THOUGHT THE ACT
MIGHT RUN TOO LONG.
552
00:25:28,991 --> 00:25:29,925
GOOD INSTINCT.
553
00:25:29,992 --> 00:25:31,927
WHAT HAVE YOU GOT
IN THERE?
554
00:25:31,994 --> 00:25:33,929
UH, LET'S SEE,
I'VE GOT THE OUTLINE,
555
00:25:33,996 --> 00:25:35,931
FROM WHICH I'VE DEPARTED
CONSIDERABLY, THOUGH.
556
00:25:35,998 --> 00:25:37,933
I MADE IT THE WAY
THAT YOU SUGGESTED,
557
00:25:38,000 --> 00:25:39,935
PAGE PER SCENE,
LOOSE LEAF.
558
00:25:40,002 --> 00:25:41,036
THANK YOU.
559
00:25:41,103 --> 00:25:42,938
AND I'VE GOT SOME NOTES
THAT I'VE JOTTED DOWN
560
00:25:43,005 --> 00:25:44,440
BUT NEVER GOT TO USE.
561
00:25:44,507 --> 00:25:46,442
EVERYTHING WAS JUST
IN ONE ENVELOPE,
562
00:25:46,509 --> 00:25:47,943
SO I JUST GRABBED IT.
563
00:25:48,010 --> 00:25:50,011
IT'S A 2-HOUR WALK
TO THE TRAIN STATION,
564
00:25:50,079 --> 00:25:52,113
SO I HAD TO LEAVE
RIGHT AFTER WE TALKED.
565
00:25:52,181 --> 00:25:53,615
2 HOURS? MMM.
566
00:25:53,683 --> 00:25:55,083
TO DEATHTRAP.
567
00:25:55,151 --> 00:25:56,117
DEATHTRAP.
568
00:25:56,185 --> 00:25:57,352
DEATHTRAP!
569
00:25:57,420 --> 00:25:59,922
AND IT'LL BE TOASTED WITH
MORE THAN GINGER ALE SOMEDAY
570
00:25:59,989 --> 00:26:03,058
IF SIDNEY'S RIGHT ABOUT IT,
AND I'M SURE THAT HE IS.
571
00:26:03,125 --> 00:26:05,193
I'LL BE QUIET.
572
00:26:06,996 --> 00:26:07,930
DARLING,
573
00:26:07,997 --> 00:26:09,431
THIS IS CLIFFORD'S
FIRST PLAY,
574
00:26:09,499 --> 00:26:10,933
AND I AM
ITS FIRST READER.
575
00:26:11,000 --> 00:26:14,937
I WONDER IF HE WOULDN'T RATHER
THIS DISCUSSION WAS JUST...
576
00:26:15,004 --> 00:26:17,940
BETWEEN US TWO HACKS.
577
00:26:18,007 --> 00:26:19,942
OF COURSE.
578
00:26:25,014 --> 00:26:26,314
THIS OK?
579
00:26:26,382 --> 00:26:29,317
DON'T BE EMBARRASSED
TO SAY SO, CLIFFORD.
580
00:26:29,385 --> 00:26:31,954
NO. NO, I DON'T MIND
MRS. BRUHL BEING HERE.
581
00:26:32,021 --> 00:26:33,922
IN FACT, I LIKE IT.
582
00:26:33,990 --> 00:26:35,924
MAKES ME FEEL
A LITTLE BIT LESS
583
00:26:35,992 --> 00:26:37,960
AS THOUGH I'VE BEEN SUMMONED
TO THE PRINCIPAL'S OFFICE.
584
00:26:38,027 --> 00:26:40,095
UH, YOU'RE WELCOME TO READ
THE PLAY, TOO, MRS. BRUHL,
585
00:26:40,162 --> 00:26:41,229
IF YOU'D LIKE TO.
586
00:26:41,297 --> 00:26:42,931
I'D LIKE TO.
THANK YOU.
587
00:26:42,999 --> 00:26:44,933
I WISH YOU'D MENTIONED
ON THE PHONE
588
00:26:45,001 --> 00:26:47,335
THAT YOU WANTED MYRA
TO READ IT.
589
00:26:47,403 --> 00:26:48,837
I'D HAVE ASKED YOU
TO BRING ANOTHER CARBON.
590
00:26:48,905 --> 00:26:51,640
I DON'T HAVE ANOTHER ONE,
BUT SHE CAN READ THIS ONE,
591
00:26:51,708 --> 00:26:53,174
AND WE COULD PASS THE PAGES
BACK AND FORTH.
592
00:26:53,242 --> 00:26:55,276
I CAN MOVE OVER HERE
NEXT TO YOU.
593
00:26:55,344 --> 00:26:57,012
YOU DON'T HAVE
ANOTHER CARBON?
594
00:26:57,079 --> 00:26:58,413
NO, I JUST HAVE THE ONE.
595
00:26:58,481 --> 00:26:59,848
SEE, I THOUGHT I'D BE
XEROXING THE ORIGINALS--
596
00:26:59,916 --> 00:27:03,018
WAIT A SECOND.
I WANT TO THINK.
597
00:27:03,085 --> 00:27:05,120
LET ME THINK
FOR A MOMENT.
598
00:27:07,356 --> 00:27:10,926
MR. ANDERSON,
SIDNEY IS SIMPLY BURSTING
599
00:27:10,994 --> 00:27:12,427
WITH CREATIVE IDEAS
ABOUT YOUR PLAY.
600
00:27:12,495 --> 00:27:14,429
I'VE NEVER SEEN HIM
SO ENTHUSIASTIC.
601
00:27:14,497 --> 00:27:17,432
HE GETS SO MANY PLAYS
FROM ASPIRING PLAYWRIGHTS,
602
00:27:17,500 --> 00:27:19,434
PLAYS THAT ARE SUPPOSEDLY
READY FOR PRODUCTION,
603
00:27:19,502 --> 00:27:20,936
AND USUALLY
HE JUST LAUGHS
604
00:27:21,004 --> 00:27:22,938
AND SAYS THE MOST
DISPARAGING THINGS.
605
00:27:23,006 --> 00:27:25,340
I KNOW HE COULD IMPROVE
YOUR PLAY TREMENDOUSLY.
606
00:27:25,408 --> 00:27:26,841
HE COULD TURN IT
INTO A HIT
607
00:27:26,910 --> 00:27:28,443
THAT WOULD RUN
FOR YEARS AND YEARS
608
00:27:28,511 --> 00:27:30,946
AND MAKE MORE
THAN ENOUGH MONEY
609
00:27:31,014 --> 00:27:32,447
FOR EVERYONE CONCERNED.
610
00:27:32,515 --> 00:27:34,482
IS THIS WHAT YOU MEANT
BY "I'LL BE QUIET"?
611
00:27:34,550 --> 00:27:36,484
NO, I WON'T BE.
I WILL NOT BE QUIET.
612
00:27:36,552 --> 00:27:38,886
I'M GONNA SAY SOMETHING
THAT'S BEEN ON MY MIND
613
00:27:38,954 --> 00:27:40,387
EVER SINCE YOUR
TELEPHONE CONVERSATION.
614
00:27:40,456 --> 00:27:42,389
IT IS VERY WRONG OF YOU
TO EXPECT SIDNEY
615
00:27:42,458 --> 00:27:44,892
TO GIVE YOU THE FRUIT OF
HIS YEARS OF EXPERIENCE,
616
00:27:44,960 --> 00:27:46,894
HIS HARD-EARNED KNOWLEDGE,
WITHOUT ANY QUID PRO QUO,
617
00:27:46,962 --> 00:27:48,896
AS IF THAT STUPID SEMINAR
WERE STILL IN SESSION.
618
00:27:48,964 --> 00:27:50,397
BUT HE OFFERED--
619
00:27:50,466 --> 00:27:52,399
IT'S WRONG OF YOU TO HAVE
MADE THAT OFFER, SIDNEY!
620
00:27:52,468 --> 00:27:54,401
I AM THE ONE
IN THIS HOUSEHOLD
621
00:27:54,470 --> 00:27:55,903
WHOSE FEET
ARE ON THE GROUND,
622
00:27:55,971 --> 00:27:57,905
WHOSE EYES
ARE ON THE CHECKBOOK.
623
00:27:57,973 --> 00:27:59,907
I'M GONNA MAKE A SUGGESTION
TO YOU, SIDNEY,
624
00:27:59,975 --> 00:28:01,909
AND IT'S GONNA COME
AS A BIG SHOCK TO YOU,
625
00:28:01,977 --> 00:28:03,911
AND I WANT YOU TO GIVE IT
YOUR GRAVE AND YOUR EARNEST
626
00:28:03,979 --> 00:28:05,412
AND YOUR THOUGHTFUL
CONSIDERATION.
627
00:28:05,481 --> 00:28:07,414
SIDNEY, WILL YOU
DO THAT FOR ME?
628
00:28:07,483 --> 00:28:09,584
WILL YOU PROMISE THAT YOU'LL
DO IT FOR ME, SIDNEY?
629
00:28:09,651 --> 00:28:11,385
[EXHALES]
630
00:28:11,453 --> 00:28:14,388
PUT ASIDE THE PLAY
YOU'RE WORKING ON.
631
00:28:14,456 --> 00:28:15,389
YES.
632
00:28:15,457 --> 00:28:16,924
YES,
633
00:28:16,992 --> 00:28:19,727
PUT ASIDE THE PLAY
ABOUT HELGA TEN DORP
634
00:28:19,795 --> 00:28:21,428
AND HOW SHE FINDS KEYS
635
00:28:21,497 --> 00:28:22,930
UNDER CLOTHES DRYERS
AND MURDERERS.
636
00:28:22,998 --> 00:28:24,431
JUST PUT IT ASIDE.
637
00:28:24,500 --> 00:28:25,933
PUT IT ASIDE
638
00:28:26,001 --> 00:28:27,935
AND WORK WITH MR. ANDERSON
ON HIS PLAY.
639
00:28:28,003 --> 00:28:29,436
COLLABORATE WITH HIM.
640
00:28:29,505 --> 00:28:31,438
THAT'S THE SUGGESTION
I'M MAKING, SIDNEY.
641
00:28:31,507 --> 00:28:33,440
THAT'S WHAT I THINK
IS THE FAIR,
642
00:28:33,509 --> 00:28:36,443
THE SENSIBLE,
THE RATIONAL THING TO DO.
643
00:28:36,512 --> 00:28:40,114
DEATHTRAP BY CLIFFORD ANDERSON
AND SIDNEY BRUHL.
644
00:28:40,181 --> 00:28:42,082
PUT ASIDE
THE DROWNING WIFE?
645
00:28:42,150 --> 00:28:43,584
I THOUGHT
IT WAS "FROWNING."
646
00:28:43,652 --> 00:28:45,653
FROWNING? WHAT SORT OF TITLE
WOULD THAT BE?
647
00:28:45,721 --> 00:28:47,087
THE DROWNING WIFE.
648
00:28:47,155 --> 00:28:49,089
NO, SIDNEY,
IT WILL KEEP.
649
00:28:49,157 --> 00:28:51,091
SIDNEY, PEOPLE ARE
ALWAYS INTERESTED
650
00:28:51,159 --> 00:28:52,927
IN PSYCHICS WHO CAN
POINT AT SOMEONE
651
00:28:52,995 --> 00:28:55,429
AND SAY, "THAT MAN
MURDERED THAT MAN!"
652
00:28:55,497 --> 00:28:56,931
[BREATHING HEAVILY]
653
00:28:56,999 --> 00:28:59,934
ANYWAY, SIDNEY, PLEASE,
PUT IT ASIDE.
654
00:29:00,002 --> 00:29:01,435
PLEASE, SIDNEY.
655
00:29:01,503 --> 00:29:03,938
DO FOR MR. ANDERSON
WHAT...
656
00:29:04,006 --> 00:29:07,107
WHAT GEORGE S. KAUFMAN
DID FOR YOU.
657
00:29:08,744 --> 00:29:11,145
THAT WAS A VERY
PERSUASIVE SPEECH,
658
00:29:11,212 --> 00:29:12,479
AND OBVIOUSLY
SINCERELY FELT.
659
00:29:12,548 --> 00:29:14,515
ALTHOUGH HOW IT
MUST HAVE SOUNDED
660
00:29:14,583 --> 00:29:15,716
TO CLIFFORD--
661
00:29:15,784 --> 00:29:18,152
WELL, I SORT OF FEEL AS THOUGH
I'M ON THE SPOT HERE.
662
00:29:18,219 --> 00:29:20,387
YES, YOU ARE, REALLY.
663
00:29:20,455 --> 00:29:22,657
MYRA HAS PUT YOU THERE.
664
00:29:22,724 --> 00:29:26,260
AS A MATTER OF FACT,
SHE HAS PUT US BOTH THERE.
665
00:29:26,327 --> 00:29:28,462
I JUST THOUGHT I SHOULD
BRING IT UP NOW.
666
00:29:28,530 --> 00:29:29,797
RIGHT NOW
BEFORE ANYTHING--
667
00:29:29,865 --> 00:29:31,098
UM, MAY I JUST SAY,
668
00:29:31,166 --> 00:29:37,038
UM, FIRST OF ALL,
I'M OVERWHELMED.
669
00:29:37,105 --> 00:29:39,640
I MEAN, I'M REALLY
HONORED AND STAGGERED
670
00:29:39,708 --> 00:29:42,877
THAT SIDNEY BRUHL WOULD
ACTUALLY CONSIDER THE--
671
00:29:42,945 --> 00:29:44,712
YOU KNOW, THERE I WAS,
I WAS 12 YEARS OLD.
672
00:29:44,780 --> 00:29:46,380
I WAS SITTING IN THAT
THEATER AND NOW I'M HERE--
673
00:29:46,448 --> 00:29:50,685
WE GET--WE GET THE GIST
OF THE MESSAGE, CLIFFORD.
674
00:29:50,752 --> 00:29:55,522
BUT, UM, YOU SEE,
THE THING IS, UH, LOOK.
675
00:29:55,591 --> 00:29:58,693
IT'S AS IF
I WENT TO A DOCTOR,
676
00:29:58,760 --> 00:30:00,527
ONE OF THE WORLD'S
LEADING SPECIALISTS,
677
00:30:00,596 --> 00:30:02,063
AND HE RECOMMENDED
SURGERY.
678
00:30:02,130 --> 00:30:04,531
WELL, EVEN--EVEN
WITH ALL MY RESPECT
679
00:30:04,600 --> 00:30:07,835
FOR HIS EMINENCE,
HIS EXPERIENCE,
680
00:30:07,903 --> 00:30:10,771
I STILL WANT TO GET
A SECOND OPINION, WOULDN'T I?
681
00:30:10,839 --> 00:30:13,240
OH, I MEAN, I'M SURE
THAT YOUR IDEAS ARE TERRIFIC.
682
00:30:13,308 --> 00:30:14,274
WHEN I HEAR THEM,
683
00:30:14,342 --> 00:30:15,910
I'M PROBABLY GOING TO
HIT MY HEAD AND SAY,
684
00:30:15,978 --> 00:30:18,412
"WOW, WHY DIDN'T I THINK
OF DOING IT THAT WAY?"
685
00:30:18,480 --> 00:30:21,082
BUT, UH, I THINK
YOU'RE RIGHT, MRS. BRUHL.
686
00:30:21,149 --> 00:30:23,484
I DON'T THINK IT WOULD BE FAIR
FOR ME TO HEAR THEM NOW
687
00:30:23,551 --> 00:30:27,488
WITHOUT SOME SORT OF
AN UNDERSTANDING OR ARRANGEMENT.
688
00:30:27,555 --> 00:30:30,157
AND, UH, TO BE
PERFECTLY HONEST WITH YOU,
689
00:30:30,225 --> 00:30:32,827
WITHOUT HAVING HEARD THEM,
690
00:30:32,894 --> 00:30:37,865
I REALLY FEEL THAT DEATHTRAP
IS PRETTY GOOD AS IT IS.
691
00:30:37,933 --> 00:30:41,002
WHAT I OUGHT TO DO, I THINK,
IS JUST XEROX A FEW COPIES
692
00:30:41,069 --> 00:30:44,005
AND SEND THEM OFF
TO THOSE AGENTS
693
00:30:44,072 --> 00:30:45,973
THAT YOU RECOMMENDED
IN THE SEMINAR.
694
00:30:46,041 --> 00:30:49,010
AND, UH, WELL, IF THEY SAY
IT NEEDS MAJOR REWRITING,
695
00:30:49,077 --> 00:30:51,512
I'LL BE BACK HERE BEGGING YOU
TO DO WHAT MRS. BRUHL SUGGESTED.
696
00:30:51,579 --> 00:30:54,782
WE CAN MAKE WHATEVER ARRANGEMENT
YOU THINK IS FAIR AT THAT TIME.
697
00:30:54,850 --> 00:30:57,785
MAYBE THE SAME ONE
YOU HAD WITH MR. KAUFMAN.
698
00:30:57,853 --> 00:31:00,888
UM, I REALLY HOPE
I HAVEN'T OFFENDED YOU.
699
00:31:00,956 --> 00:31:02,289
NOT AT ALL.
700
00:31:02,357 --> 00:31:04,592
OH, MR. ANDERSON,
PLEASE.
701
00:31:04,659 --> 00:31:05,893
AGENTS ONLY KNOW
ABOUT CONTRACTS.
702
00:31:05,961 --> 00:31:07,160
THEY DON'T KNOW
ABOUT CREATIVE...
703
00:31:07,228 --> 00:31:08,662
DON'T, MYRA!
704
00:31:08,730 --> 00:31:10,263
DON'T BEG!
705
00:31:11,666 --> 00:31:13,300
HE'LL THINK HE HAS THE WEALTH
OF THE INDIES IN THERE
706
00:31:13,368 --> 00:31:15,636
AND WE'RE MR. AND MRS.
LONG JOHN SILVER.
707
00:31:15,704 --> 00:31:18,438
I WOULD NEVER THINK
ANYTHING LIKE THAT.
708
00:31:18,507 --> 00:31:19,807
REALLY, I AM
VERY GRATEFUL TO YOU
709
00:31:19,875 --> 00:31:21,509
FOR GOING OUT OF
YOUR WAY TO HELP ME.
710
00:31:21,576 --> 00:31:23,477
BUT THE TRUTH IS
I'M NOT REALLY.
711
00:31:23,545 --> 00:31:26,847
MYRA HERE HAS JUST BEEN
RATTLING ON FOR A MOMENT.
712
00:31:26,915 --> 00:31:28,749
THE FACT IS, I DO
NOT WISH TO SET ASIDE
713
00:31:28,817 --> 00:31:30,684
A PLAY AS TIMELY
AND INVENTIVE
714
00:31:30,752 --> 00:31:31,819
AS
THE DROWNING WIFE
715
00:31:31,887 --> 00:31:33,754
IN ORDER TO DO
WET-NURSE WORK
716
00:31:33,822 --> 00:31:35,088
ON SOMETHING
AS SPECULATIVE
717
00:31:35,156 --> 00:31:36,390
AS DEATHTRAP.
718
00:31:36,457 --> 00:31:41,361
WHY--MYRA, SIT DOWN.
DON'T HOVER!
719
00:31:41,429 --> 00:31:43,430
SIT DOWN!
720
00:31:47,368 --> 00:31:49,970
DO AS YOU SAID. SHOW
IT TO SOME AGENTS,
721
00:31:50,038 --> 00:31:52,372
AND THEN, IF YOU DECIDE
THAT A MAJOR REWRITE
722
00:31:52,440 --> 00:31:53,974
IS IN ORDER,
GET IN TOUCH.
723
00:31:54,042 --> 00:31:55,809
WHO KNOWS,
I MIGHT HIT A SNAG.
724
00:31:55,877 --> 00:31:57,011
IT'S HAPPENED
BEFORE.
725
00:31:57,078 --> 00:31:58,412
THANK YOU VERY MUCH,
I WILL.
726
00:31:58,479 --> 00:32:01,181
THOUGH I DOUBT THAT
I SHALL THIS TIME.
727
00:32:01,249 --> 00:32:02,783
I ALREADY HAVE
THE DROWNING WIFE
728
00:32:02,851 --> 00:32:03,851
COMPLETELY OUTLINED
729
00:32:03,919 --> 00:32:05,385
AND I'M HALFWAY
THROUGH IT.
730
00:32:05,453 --> 00:32:09,256
AND I HAVE A PLAY
READY TO GO NEXT.
731
00:32:09,323 --> 00:32:10,858
BASED ON THE LIFE
OF HARRY HOUDINI.
732
00:32:10,926 --> 00:32:14,294
JEEZ, THERE'S BEEN SO MUCH
TELEVISION STUFF ON HOUDINI.
733
00:32:14,362 --> 00:32:16,797
OH, YES, LOUSY STUFF.
PHONY AND PATHETIC.
734
00:32:16,865 --> 00:32:17,865
IN REALITY,
735
00:32:17,933 --> 00:32:19,934
HOUDINI'S LIFE WAS
EXTRAORDINARILY DRAMATIC.
736
00:32:20,001 --> 00:32:22,069
HE'S ALWAYS BEEN
AN IDOL OF MINE.
737
00:32:22,136 --> 00:32:23,537
THESE ARE A PAIR
OF HIS HANDCUFFS.
738
00:32:23,605 --> 00:32:25,138
SIDNEY.
739
00:32:25,206 --> 00:32:26,907
HE ALWAYS MADE HIS OWN
MAGICAL APPARATUS,
740
00:32:26,975 --> 00:32:28,676
DID YOU KNOW THAT?
741
00:32:28,743 --> 00:32:30,310
EXTRAORDINARY
CRAFTSMANSHIP.
742
00:32:30,378 --> 00:32:32,412
TAKE A LOOK.
743
00:32:32,480 --> 00:32:33,547
SIDNEY.
WOW!
744
00:32:33,615 --> 00:32:35,883
SIT DOWN, MYRA.
745
00:32:35,951 --> 00:32:38,619
MY GOD, SIDNEY,
FOR GOD'S SAKES,
746
00:32:38,687 --> 00:32:40,487
I DON'T EVEN BELIEVE
WHAT YOU'RE THINKING.
747
00:32:40,555 --> 00:32:43,090
I MUST APOLOGIZE FOR MYRA'S
SUSPICIONS, CLIFFORD.
748
00:32:43,157 --> 00:32:45,425
BUT A FEW YEARS BACK,
WE HAD A NASTY EXPERIENCE
749
00:32:45,493 --> 00:32:47,027
WITH A PLAGIARISTIC
PLAYWRIGHT,
750
00:32:47,095 --> 00:32:49,162
WHOSE NAME
WE WILL NOT MENTION.
751
00:32:49,230 --> 00:32:51,799
SO NOW SHE GETS ALARMED IF I
SO MUCH AS TELL A FELLOW WRITER
752
00:32:51,866 --> 00:32:54,935
WHAT LANGUAGE I'M WRITING IN.
753
00:32:55,003 --> 00:32:56,070
DON'T TAKE IT PERSONALLY.
754
00:32:56,137 --> 00:32:58,271
OH, HAVE A--
HAVE A GOOD LOOK AT THOSE.
755
00:32:58,339 --> 00:32:59,473
THEY'RE QUITE REMARKABLE.
756
00:32:59,540 --> 00:33:01,308
JEEZ, THEY REALLY SEEM
LIKE VERY SOLID,
757
00:33:01,375 --> 00:33:02,542
ESCAPE-PROOF CUFFS.
758
00:33:02,611 --> 00:33:03,744
GIVE THEM A TRY.
759
00:33:03,812 --> 00:33:06,680
HUH! WELL, YOU MEAN
PUT THEM ON?
760
00:33:06,748 --> 00:33:08,816
THEY COST ME $1,300.
761
00:33:08,883 --> 00:33:12,052
WOW! LET'S SEE.
762
00:33:20,629 --> 00:33:21,795
FIRMLY MANACLED?
763
00:33:21,863 --> 00:33:23,964
YEAH, IT SURE
SEEMS THAT WAY.
764
00:33:24,032 --> 00:33:27,601
NOW TURN YOUR WRISTS
LIKE THIS,
765
00:33:27,669 --> 00:33:29,903
NOW, TURN, PRESS, PULL.
766
00:33:31,239 --> 00:33:32,572
NO, YOU'RE NOT
DOING IT RIGHT.
767
00:33:32,641 --> 00:33:35,042
IT'S GOT TO BE ALL
IN ONE SINGLE MOMENT.
768
00:33:35,110 --> 00:33:36,409
TURN, PRESS, PULL.
769
00:33:36,477 --> 00:33:39,046
Both:
TURN, PRESS, PULL.
770
00:33:42,083 --> 00:33:44,317
I GUESS I'M JUST
NOT HOUDINI.
771
00:33:44,385 --> 00:33:47,621
IT'S ALL RIGHT.
I HAVE THE KEYS HERE.
772
00:33:50,591 --> 00:33:52,159
SOMEWHERE.
773
00:33:53,594 --> 00:33:55,529
DON'T FUSS WITH THEM,
CLIFFORD, YOU'LL RUIN THEM.
774
00:33:55,596 --> 00:33:56,697
SORRY.
775
00:33:56,765 --> 00:34:00,901
KEY, KEY, KEY. WHERE ARE YOU,
LITTLE BRASS KEY?
776
00:34:04,472 --> 00:34:07,240
I WONDER IF I PUT IT
UP THERE SOMEWHERE.
777
00:34:12,080 --> 00:34:14,848
[WHISTLING]
778
00:34:26,194 --> 00:34:27,360
UM...
779
00:34:29,397 --> 00:34:31,464
I FORGOT TO MENTION
THAT I SHOULD BE GETTING
780
00:34:31,532 --> 00:34:33,433
A PHONE CALL
ANY MINUTE NOW.
781
00:34:35,403 --> 00:34:38,906
THERE'S A GIRL THAT'S COMING
TO SEE ME AT, UH, AT 8:30.
782
00:34:38,973 --> 00:34:40,507
IT'S ABOUT WHAT TIME
IT IS NOW, ISN'T IT?
783
00:34:44,445 --> 00:34:46,479
YOU SEE, I--I COULDN'T
REACH HER BEFORE I TOOK OFF,
784
00:34:46,547 --> 00:34:50,884
SO I JUST LEFT HER A NOTE
IN THE HALL MIRROR,
785
00:34:50,952 --> 00:34:54,188
TELLING HER WHERE I AM
AND GIVING HER THIS NUMBER.
786
00:34:54,255 --> 00:34:56,489
UH, SO SHE CAN CALL
AND FIND OUT
787
00:34:56,557 --> 00:34:58,592
WHAT TRAIN I'LL
BE TAKING BACK,
788
00:34:58,659 --> 00:35:01,929
SO SHE CAN PICK ME UP
AT THE STATION.
789
00:35:01,996 --> 00:35:04,064
I MEAN,
ONE 2-HOUR WALK A DAY
790
00:35:04,132 --> 00:35:05,866
IS JUST ABOUT ENOUGH
FOR ME.
791
00:35:05,934 --> 00:35:09,036
SO I HOPE YOU FIND
THE KEY PRETTY SOON,
792
00:35:09,104 --> 00:35:11,571
OTHERWISE, YOU'LL HAVE
TO HOLD THE PHONE FOR ME.
793
00:35:19,614 --> 00:35:22,182
HOW'S SHE GOING TO GET IN
TO READ THE NOTE?
794
00:35:22,250 --> 00:35:24,618
OH, SHE HAS A KEY.
795
00:35:24,685 --> 00:35:28,722
AH. YOU SAID IN THE CAR YOU
DIDN'T KNOW ANYONE IN QUOGUE,
796
00:35:28,790 --> 00:35:30,224
EXCEPT A FEW TRADESPEOPLE.
797
00:35:30,291 --> 00:35:31,792
NO, YOU SEE,
SHE'S FROM ISLIP.
798
00:35:31,860 --> 00:35:33,060
HER NAME IS
MARIETTA KELNOFSKI.
799
00:35:33,128 --> 00:35:35,896
SHE TEACHES AT
STONEY BROOK. PHYS. ED.
800
00:35:35,964 --> 00:35:38,298
HOW'D YOU GET THIS NUMBER?
IT'S NOT LISTED.
801
00:35:38,366 --> 00:35:39,532
I'VE HAD IT
FOR A LONG TIME.
802
00:35:39,600 --> 00:35:42,169
I GOT IT FROM MRS. BEECHAM
AT THE UNIVERSITY.
803
00:35:42,237 --> 00:35:43,837
I'M VERY FRIENDLY
WITH HER.
804
00:35:43,905 --> 00:35:45,906
THAT'S BEFORE I DECIDED
TO SEND DEATHTRAP
805
00:35:45,974 --> 00:35:47,241
TO THE MUSIC BOX.
806
00:35:47,308 --> 00:35:48,441
BEECHAM?
807
00:35:48,509 --> 00:35:50,477
YES. THE SHORT
RED-HAIRED LADY
808
00:35:50,544 --> 00:35:52,112
WITH THE HEARING AID.
809
00:35:52,180 --> 00:35:54,915
I HOPE SHE GAVE YOU
THE RIGHT NUMBER
810
00:35:54,983 --> 00:35:58,351
BECAUSE WE CHANGED IT
A FEW WEEKS AGO.
811
00:35:58,419 --> 00:35:59,887
AN OBSCENE CALLER
WAS BORING US,
812
00:35:59,954 --> 00:36:04,792
AND I DON'T REMEMBER NOTIFYING
OLD SOUTHAMPTON COLLEGE.
813
00:36:04,859 --> 00:36:09,229
WHAT NUMBER DID YOU
GIVE MS. KELNOFSKI?
814
00:36:11,699 --> 00:36:14,001
WELL,
I DON'T REMEMBER.
815
00:36:14,068 --> 00:36:18,305
324-3049
816
00:36:18,372 --> 00:36:21,341
OR 324-5457?
817
00:36:21,409 --> 00:36:23,310
UH, THE FIRST ONE,
IT WAS 3049.
818
00:36:23,377 --> 00:36:25,578
AH, THE NEW ONE.
819
00:36:27,882 --> 00:36:29,917
I MUST HAVE NOTIFIED
THE UNIVERSITY
820
00:36:29,984 --> 00:36:32,119
AND COMPLETELY
FORGOT ABOUT IT.
821
00:36:32,187 --> 00:36:35,622
HOW STRANGE AND
HOW UNTYPICAL OF ME.
822
00:36:35,690 --> 00:36:37,757
WELL, UH, COULD YOU GO ON
LOOKING FOR THE KEY, PLEASE?
823
00:36:37,826 --> 00:36:38,826
CERTAINLY.
824
00:36:38,893 --> 00:36:40,427
SIDNEY!
825
00:36:40,494 --> 00:36:41,428
WHAT?
826
00:36:41,495 --> 00:36:42,863
MY HEART WON'T TAKE IT.
827
00:36:42,931 --> 00:36:44,264
DID YOU TAKE YOUR PILL?
828
00:36:44,332 --> 00:36:45,632
UH-UH.
829
00:36:45,700 --> 00:36:47,201
WHY ARE YOU SO ANXIOUS?
830
00:36:47,268 --> 00:36:50,337
YOU MUST KNOW THAT I'LL
FIND THE KEY HERE SOMEWHERE.
831
00:37:00,014 --> 00:37:01,915
OH, SIDNEY!
832
00:37:01,983 --> 00:37:07,020
EGADS, I DO BELIEVE
THAT YOU TWO THOUGHT
833
00:37:07,088 --> 00:37:08,455
I WAS GOING
TO TAKE THAT MACE
834
00:37:08,522 --> 00:37:11,158
AND DO A VINCENT PRICE,
DIDN'T YOU?
835
00:37:11,226 --> 00:37:12,425
YOU CAN'T WRITE
A PLAY LIKE THAT
836
00:37:12,493 --> 00:37:14,194
AND NOT HAVE A MIND THAT
ENVISIONS POSSIBILITIES.
837
00:37:14,262 --> 00:37:17,030
TRUE, VERY TRUE.
I'M PARANOID MYSELF.
838
00:37:17,098 --> 00:37:19,632
WHAT'S YOUR EXCUSE,
O LOYAL AND LOVING WIFE?
839
00:37:19,700 --> 00:37:22,336
11 YEARS OF TENDER
MARITAL RELATIONS,
840
00:37:22,403 --> 00:37:25,105
AND SHE APPARENTLY BELIEVES ME
CAPABLE OF, WELL...
841
00:37:25,173 --> 00:37:28,441
THERE'S A LESSON IN THERE
SOMEWHERE, ISN'T THERE? HMM?
842
00:37:29,677 --> 00:37:30,744
AHEM.
843
00:37:30,812 --> 00:37:32,645
HERE WE ARE, CLIFFORD.
UNCUFF YOURSELF.
844
00:37:32,714 --> 00:37:35,082
DEATHTRAP IS PROMISING,
BUT IT'S NOT THAT PROMISING.
845
00:37:35,149 --> 00:37:36,149
GOOD.
846
00:37:36,217 --> 00:37:37,818
I THINK YOUR BEST
INVENTION SO FAR
847
00:37:37,885 --> 00:37:39,586
IS THE NAME
MARIETTA KLENOFSKI.
848
00:37:39,653 --> 00:37:40,921
IT'S LOVELY.
CONGRATULATIONS.
849
00:37:40,988 --> 00:37:41,988
WELL, THANKS.
850
00:37:42,056 --> 00:37:43,857
MRS. BEECHAM'S
HEARING AID HOWEVER,
851
00:37:43,925 --> 00:37:44,958
THAT WAS A BIT HEAVY.
852
00:37:45,026 --> 00:37:47,527
OH, I HOPED IT WAS
THE KIND OF FINE DETAIL
853
00:37:47,595 --> 00:37:49,429
THAT YOU ALWAYS
TOLD US TO TRY FOR.
854
00:37:50,664 --> 00:37:51,965
ARE YOU SURE THIS
IS THE RIGHT KEY?
855
00:37:52,033 --> 00:37:54,334
EGADS, HOUDINI
OPENED THEM IN A MILK CAN
856
00:37:54,401 --> 00:37:56,203
10 FEET UNDER WATER,
AND YOU--
857
00:37:59,673 --> 00:38:01,908
AAH!
858
00:38:04,445 --> 00:38:06,780
AAAH!
859
00:38:10,684 --> 00:38:14,955
[MYRA SCREAMING]
860
00:38:15,022 --> 00:38:16,522
SHUT UP, MYRA!
861
00:38:28,936 --> 00:38:30,336
RIGHT ON THE RUG.
862
00:38:30,404 --> 00:38:31,938
ONE POINT FOR NEATNESS.
863
00:38:39,613 --> 00:38:41,648
WELL, MY DARLING,
864
00:38:41,715 --> 00:38:44,818
YOUR HEART SEEMS TO HAVE
HELD UP QUITE WELL.
865
00:38:47,521 --> 00:38:50,857
IT CAN CONVALESCE
ON THE RIVIERA.
866
00:38:53,060 --> 00:38:55,561
AFTER THE OPENING
OF DEATHTRAP.
867
00:38:55,629 --> 00:38:57,430
WE'LL GO TO PRISON
FOR LIFE.
868
00:38:57,498 --> 00:38:58,865
NO, WE WILL NOT.
869
00:38:58,933 --> 00:39:02,202
A YOUNG WOULD-BE
PLAYWRIGHT...
870
00:39:03,537 --> 00:39:06,239
WALKS AWAY FROM HIS
HOUSE-SITTING JOB.
871
00:39:07,942 --> 00:39:13,013
NO. THE POLICE
WON'T EVEN YAWN.
872
00:39:13,080 --> 00:39:15,982
LEAVING HIS CLOTHES
AND HIS TYPEWRITER.
873
00:39:16,050 --> 00:39:18,751
WHY NOT? WHO CAN
FIGURE KIDS THESE DAYS?
874
00:39:18,820 --> 00:39:20,987
ESPECIALLY
WOULD-BE ARTISTES.
875
00:39:21,055 --> 00:39:23,656
MAYBE HE REALIZED
HE WASN'T GOING TO MAKE IT,
876
00:39:23,724 --> 00:39:25,926
SO HE RAN OFF
TO PREACH ECOLOGY
877
00:39:25,993 --> 00:39:29,329
OR JOIN THE REVEREND MOON.
WHO KNOWS?
878
00:39:30,965 --> 00:39:32,999
WHAT ARE YOU GOING
TO DO WITH HIM?
879
00:39:33,067 --> 00:39:35,501
BURY HIM
BEHIND THE GARAGE.
880
00:39:35,569 --> 00:39:38,471
NO. IN THE
VEGETABLE PATCH.
881
00:39:38,539 --> 00:39:39,940
EASIER DIGGING.
882
00:39:41,475 --> 00:39:44,110
WHY DON'T YOU TAKE A BRANDY
OR SOMETHING, DARLING?
883
00:39:46,613 --> 00:39:49,182
I AM GOING TO BE
A WINNER AGAIN.
884
00:39:49,250 --> 00:39:52,886
I'M GOING TO BE THE ENVY
OF ALL THE PEOPLE I ENVY.
885
00:39:52,954 --> 00:39:56,823
ALL YOUR DEAR FRIENDS
886
00:39:56,891 --> 00:40:01,427
ARE GOING TO SEE YOU
LIVING ON MY MONEY.
887
00:40:09,470 --> 00:40:12,038
MYRA, WOULD YOU
MIND HELPING ME
888
00:40:12,106 --> 00:40:13,506
CARRY THE BODY, PLEASE?
889
00:40:14,641 --> 00:40:16,809
MYRA, IT'S DONE.
890
00:40:16,878 --> 00:40:19,880
THERE'S NO POINT IN
MY GETTING A HERNIA.
891
00:40:19,947 --> 00:40:22,015
MYRA, COME AND HELP ME
CARRY THE BLOODY BODY!
892
00:40:22,083 --> 00:40:24,484
HURRY UP!
893
00:40:25,686 --> 00:40:27,420
TAKE THIS OTHER END.
894
00:40:30,691 --> 00:40:32,025
QUICKLY!
895
00:40:34,161 --> 00:40:35,929
COME ON!
896
00:40:36,830 --> 00:40:37,898
AAH!
897
00:40:37,965 --> 00:40:40,400
DON'T DO THAT.
898
00:40:40,467 --> 00:40:41,667
COME ON, NOW.
899
00:40:43,070 --> 00:40:45,071
THANK GOD
HE WASN'T THE FAT ONE.
900
00:40:49,210 --> 00:40:52,312
DID YOU SCRAPE YOUR SHOES OFF
BEFORE YOU CAME IN?
901
00:40:52,380 --> 00:40:54,114
WE'RE OUT ONE RUG,
BUT I SAW SOME LOVELY ONES
902
00:40:54,181 --> 00:40:56,349
AT BLOOMINGDALE'S
THE OTHER DAY.
903
00:40:56,417 --> 00:40:58,484
I'VE TIDIED UP
THE STUDY, DARLING.
904
00:40:58,552 --> 00:41:00,353
ALL THE PROPS ARE BACK--
905
00:41:03,490 --> 00:41:06,759
I HAVE A FEELING YOU'RE
ABOUT TO DELIVER A SPEECH.
906
00:41:08,862 --> 00:41:11,497
OH, I'VE JUST BEEN
TRYING TO UNDERSTAND
907
00:41:11,565 --> 00:41:15,035
HOW YOU COULD DO IT,
SIDNEY.
908
00:41:15,102 --> 00:41:18,905
BEARING IN MIND YOUR
DISAPPOINTMENTS,
909
00:41:18,973 --> 00:41:23,243
YOUR EMBARRASSMENT AT
OUR FINANCIAL SITUATION,
910
00:41:23,311 --> 00:41:26,112
BUT I CAN'T.
911
00:41:28,149 --> 00:41:31,117
AND I DON'T KNOW HOW
YOU'RE GOING TO BE ABLE
912
00:41:31,185 --> 00:41:32,485
TO FEEL LIKE A WINNER
913
00:41:32,553 --> 00:41:35,055
WHEN WE'LL BOTH KNOW
THAT IT'S HIS PLAY.
914
00:41:35,122 --> 00:41:37,357
I CAN'T UNDERSTAND
THAT EITHER.
915
00:41:40,328 --> 00:41:42,728
I MEAN, YOU ARE...
916
00:41:42,796 --> 00:41:46,099
COMPLETELY ALIEN
TO ME, SIDNEY.
917
00:41:46,167 --> 00:41:49,802
AND THAT JUST CAN'T
BE SINCE 5:00.
918
00:41:49,870 --> 00:41:52,472
I MEAN, YOU MUST ALWAYS
HAVE BEEN VERY DIFFERENT
919
00:41:52,539 --> 00:41:54,607
FROM THE MAN
I THOUGHT YOU WERE.
920
00:41:58,612 --> 00:41:59,980
I DON'T THINK THE POLICE
ARE GOING TO BE
921
00:42:00,047 --> 00:42:01,314
AS DISINTERESTED
AS YOU DO EITHER,
922
00:42:01,382 --> 00:42:03,916
SO I WOULDN'T WANT
ANYTHING TO HAPPEN
923
00:42:03,985 --> 00:42:06,119
THAT WOULD EMBARRASS YOU
OR BE--
924
00:42:06,187 --> 00:42:08,121
LOOK LIKE
WE WERE BEING SUSPICIOUS
925
00:42:08,189 --> 00:42:10,123
IF THEY CAME
TO QUESTION US.
926
00:42:10,191 --> 00:42:13,126
WELL, HOW COULD THEY?
HE DISAPPEARED IN QUOGUE.
927
00:42:13,194 --> 00:42:14,760
THIS IS EASTHAMPTON.
928
00:42:14,828 --> 00:42:17,063
MM-HMM.
929
00:42:17,131 --> 00:42:19,132
BY CHECKING INTO
HIS PAST ASSOCIATIONS.
930
00:42:19,200 --> 00:42:20,300
I MEAN,
HIS NAME AND ADDRESS
931
00:42:20,368 --> 00:42:25,171
WERE ON THE RETURN ENVELOPE,
WEREN'T THEY, HONEY?
932
00:42:25,239 --> 00:42:27,273
ANYBODY AT THE THEATER
LAST NIGHT COULD HAVE SEEN IT,
933
00:42:27,341 --> 00:42:28,875
THEY COULD HAVE
REMEMBERED IT, RIGHT?
934
00:42:28,942 --> 00:42:30,043
IF THEY DO COME,
935
00:42:30,111 --> 00:42:31,911
I'LL SIMPLY SAY
THAT HE DID WRITE TO ME,
936
00:42:31,979 --> 00:42:33,513
ASKING FOR
A SECRETARIAL POSITION.
937
00:42:33,580 --> 00:42:36,149
HE SENT ME HIS R�SUM�,
AND I THREW IT AWAY,
938
00:42:36,217 --> 00:42:37,984
WHICH I KNOW I SHOULDN'T
HAVE DONE, CONSTABLE,
939
00:42:38,052 --> 00:42:40,086
BUT THEN I'VE BEEN
SO BUSY NIGHT AND DAY
940
00:42:40,154 --> 00:42:41,321
WRITING THIS PLAY.
941
00:42:41,389 --> 00:42:42,389
NOW, WHICH ONE WAS HE?
942
00:42:42,456 --> 00:42:44,457
WAS HE THE FAT ONE?
THE THIN ONE?
943
00:42:44,525 --> 00:42:46,259
OR WAS HE THIS ONE?
944
00:42:46,327 --> 00:42:47,360
THIS ONE?
945
00:42:47,428 --> 00:42:50,063
AH, YES, THE ONE
WHO IS SO INTERESTED
946
00:42:50,131 --> 00:42:51,831
IN THE HARE KRISHNA
MOVEMENT.
947
00:42:51,899 --> 00:42:54,967
SIDNEY?
948
00:42:55,036 --> 00:42:57,837
IN A MONTH OR SO,
IF WE HAVEN'T BEEN ARRESTED...
949
00:42:59,573 --> 00:43:01,741
SIDNEY!
950
00:43:01,808 --> 00:43:03,043
WHAT?
951
00:43:03,110 --> 00:43:04,877
I WANT YOU TO LEAVE.
952
00:43:06,547 --> 00:43:09,516
I WANT YOU TO LEAVE.
953
00:43:09,583 --> 00:43:11,717
WE'LL HAVE A FEW ARGUMENTS
IN PEOPLE'S LIVING ROOMS.
954
00:43:11,785 --> 00:43:14,454
YOU CAN WRITE THEM FOR US,
LITTLE TIFFS ABOUT MONEY
955
00:43:14,522 --> 00:43:16,989
OR YOU OGLING
NAN WESSON.
956
00:43:17,058 --> 00:43:20,293
OH, I WISH YOU COULD TAKE
THE VEGETABLE PATCH WITH YOU,
957
00:43:20,361 --> 00:43:22,862
BUT SINCE YOU CAN'T,
YOU'LL BUY IT FROM ME, OK?
958
00:43:22,930 --> 00:43:24,230
AS SOON AS THE MONEY
STARTS ROLLING IN
959
00:43:24,298 --> 00:43:27,600
BEFORE YOU GO
TO THE RIVIERA.
960
00:43:27,668 --> 00:43:29,702
YOU'LL BUY THE GODDAMN
VEGETABLE PATCH,
961
00:43:29,770 --> 00:43:33,173
YOU'LL BUY THE HOUSE,
YOU'LL BUY THE WHOLE 9.3 ACRES.
962
00:43:33,240 --> 00:43:36,142
WE COULD GET BUCK RAYMOND
OR MAURY ESCHER
963
00:43:36,210 --> 00:43:37,810
TO SET A FAIR PRICE.
964
00:43:37,878 --> 00:43:40,246
[LAUGHS] DARLING, YOU'VE
HAD SUCH A PAINFUL--
965
00:43:40,314 --> 00:43:41,414
AAH!
966
00:43:41,482 --> 00:43:42,848
DON'T TOUCH ME!
967
00:43:42,916 --> 00:43:46,018
MYRA,
YOU HAVE BEEN THROUGH
968
00:43:46,087 --> 00:43:48,088
A SHOCKING
AND PAINFUL EXPERIENCE
969
00:43:48,155 --> 00:43:50,490
AND YOU ARE
NOT YOURSELF.
970
00:43:50,558 --> 00:43:51,757
NEITHER AM I.
971
00:43:51,825 --> 00:43:54,060
BEHIND ALL
THE SIDNEY BRUHL DIALOGUE
972
00:43:54,128 --> 00:43:57,497
I AM PEEING
THE SIDNEY BRUHL PANTS.
973
00:43:57,565 --> 00:43:58,931
I'M TERRIFIED
OF BEING CAUGHT
974
00:43:58,999 --> 00:44:00,500
AND ABSOLUTELY
GUILT-RIDDEN
975
00:44:00,568 --> 00:44:03,203
ABOUT HAVING BEEN
INSANE ENOUGH TO DO IT.
976
00:44:03,270 --> 00:44:04,437
I'M GOING
TO GIVE HALF THE MONEY
977
00:44:04,505 --> 00:44:06,106
TO THE NEW
DRAMATISTS LEAGUE.
978
00:44:06,173 --> 00:44:07,707
I SWEAR IT.
979
00:44:07,774 --> 00:44:11,777
NOW IS NO TIME TO TALK
ABOUT IT. ANYTHING.
980
00:44:11,845 --> 00:44:13,446
I MEAN,
IN A WEEK OR SO,
981
00:44:13,514 --> 00:44:14,814
WHEN WE'RE BOTH
OURSELVES AGAIN,
982
00:44:14,881 --> 00:44:16,349
EVERYTHING WILL LOOK
A LOT CHEERIER.
983
00:44:16,417 --> 00:44:18,818
YOU ARE YOURSELF.
RIGHT NOW. AND SO AM I.
984
00:44:18,885 --> 00:44:21,421
[DOORBELL RINGS]
985
00:44:25,259 --> 00:44:30,997
GO AHEAD. HE SENT ME
A R�SUM�, OFFICER.
986
00:44:34,868 --> 00:44:38,104
IT'S LOTTIE AND RALPH, COME
TO YAMMER ABOUT THE PARTY.
987
00:44:38,172 --> 00:44:39,539
IT'S PROBABLY
HELGA TEN DORP
988
00:44:39,607 --> 00:44:43,410
AND HER FAMOUS
POINTING FINGER.
989
00:44:43,477 --> 00:44:44,678
[DOORBELL RINGS]
990
00:44:44,745 --> 00:44:46,613
IT IS LOTTIE AND RALPH.
DAMN THEM.
991
00:44:46,681 --> 00:44:48,348
I'VE GOT TO LET THEM IN.
992
00:44:48,416 --> 00:44:49,549
ARE YOU UP
TO FACING THEM?
993
00:44:49,617 --> 00:44:51,117
NO. YOU GO--
YOU GO UPSTAIRS.
994
00:44:51,185 --> 00:44:52,251
ALONE?
995
00:44:52,320 --> 00:44:54,754
JESUS CHRIST.
996
00:45:02,896 --> 00:45:04,297
DEAR LADY--
AAAH!
997
00:45:04,365 --> 00:45:06,433
[GERMAN ACCENT]
IT'S ONLY ME.
998
00:45:06,500 --> 00:45:08,535
I AM YOUR NEIGHBOR
FROM THE HOUSE OF PRISKY.
999
00:45:08,602 --> 00:45:11,037
UH, PLEASE,
WILL YOU LET ME COME IN?
1000
00:45:12,440 --> 00:45:14,240
HELLO.
HELLO.
1001
00:45:14,308 --> 00:45:17,410
I'M HELGA TEN DORP,
MR. BRUHL.
1002
00:45:17,478 --> 00:45:19,813
IT'S MOST URGENT
I SPEAK TO YOU.
1003
00:45:19,880 --> 00:45:20,980
I CALLED INFORMATION,
1004
00:45:21,048 --> 00:45:23,650
BUT THAT LADY
WILL NOT TELL YOUR NUMBER.
1005
00:45:23,718 --> 00:45:26,653
PLEASE, WILL YOU
LET ME COME IN?
1006
00:45:26,721 --> 00:45:28,988
YES, YES. PLEASE.
1007
00:45:30,190 --> 00:45:33,860
I AM FRIEND AND CLIENT
OF PAUL WYMAN.
1008
00:45:33,927 --> 00:45:35,795
I APOLOGIZE FOR SO LATE
I'M COMING,
1009
00:45:35,863 --> 00:45:38,732
BUT YOU WILL FORGIVE
WHEN I MAKES THE EXPLAINING.
1010
00:45:38,799 --> 00:45:40,567
OH, YOU FORGIVE
MY COSTUME!
1011
00:45:40,634 --> 00:45:43,370
I DO RUNNING
MORNING AND NIGHT.
1012
00:45:43,437 --> 00:45:45,505
UH, THIS SHINES IN DARK.
1013
00:45:45,573 --> 00:45:47,340
I DON'T GET HIT
BY TRAFFIC, YEAH.
1014
00:45:47,408 --> 00:45:48,708
YEAH.
1015
00:45:50,344 --> 00:45:52,445
THERE'S A ROOM
WITH PAIN.
1016
00:45:55,549 --> 00:45:57,917
NO, NOT KITCHEN, NO.
1017
00:45:57,985 --> 00:45:59,853
Sidney: EXCUSE ME,
MISS TEN DORP.
1018
00:46:03,223 --> 00:46:04,591
PAIN.
1019
00:46:07,528 --> 00:46:09,061
PAIN.
1020
00:46:23,911 --> 00:46:25,745
PAIN.
1021
00:46:25,813 --> 00:46:28,882
[GASPS]
JUST LIKE I SEES THEM.
1022
00:46:40,861 --> 00:46:42,762
PAIN.
1023
00:46:45,433 --> 00:46:47,400
PAIN, PAIN, PAIN!
1024
00:46:47,468 --> 00:46:48,735
NEITHER OF US--
1025
00:46:48,803 --> 00:46:51,203
WHY KEEP YOU SUCH
PAIN-COVERED THINGS?
1026
00:46:51,271 --> 00:46:52,305
THOSE?
1027
00:46:52,372 --> 00:46:54,641
THEY'RE ANTIQUES AND
SOUVENIRS FROM MY PLAYS.
1028
00:46:54,708 --> 00:46:55,775
I'M A PLAYWRIGHT.
1029
00:46:55,843 --> 00:46:58,678
JA, SIDNEY BRUHL.
1030
00:46:58,746 --> 00:47:00,413
PAUL WYMAN TELLS ME.
1031
00:47:00,481 --> 00:47:02,816
PAUL SELLS MY BOOK
WHEN FINISHED.
1032
00:47:08,088 --> 00:47:09,355
THIS IS
MY WIFE MYRA.
1033
00:47:10,491 --> 00:47:11,991
HOW DO YOU DO?
1034
00:47:17,765 --> 00:47:20,900
MY DEAR, WHAT GIVES YOU
SUCH PAIN, DEAR LADY?
1035
00:47:20,968 --> 00:47:23,269
OH, WELL, NOTHING.
REALLY.
1036
00:47:23,337 --> 00:47:27,173
OH, NO, NO.
SOMETHING PAINS YOU.
1037
00:47:27,240 --> 00:47:29,442
PAUL TELLS YOU OF ME?
1038
00:47:29,510 --> 00:47:32,679
I AM HELGA TEN DORP.
I AM PSYCHIC.
1039
00:47:32,746 --> 00:47:34,013
YES, HE TOLD US.
1040
00:47:34,081 --> 00:47:35,548
I WANTED TO TALK
TO YOU--
1041
00:47:35,616 --> 00:47:38,150
I ALWAYS KNOW I FEELS
THE PAIN FROM HERE.
1042
00:47:38,218 --> 00:47:39,919
AND MORE THAN PAIN.
1043
00:47:39,987 --> 00:47:45,124
SINCE 8:30, WHEN BEGINS
THE MERV GRIFFIN SHOW.
1044
00:47:45,192 --> 00:47:47,627
I'M ON NEXT WEEK,
YOU WILL WATCH.
1045
00:47:47,695 --> 00:47:49,228
OH, YES, YES,
CERTAINLY.
1046
00:47:49,296 --> 00:47:50,897
WILL YOU MAKE A NOTE
OF THAT, MYRA?
1047
00:47:50,965 --> 00:47:53,366
THURSDAY NIGHT.
I CALL THE INFORMATION,
1048
00:47:53,433 --> 00:47:55,334
BUT THE LADY WILL
NOT TELL ME NUMBER.
1049
00:47:55,402 --> 00:47:57,136
I SAY, "IT'S URGENT,
YOU MUST TELL ME NUMBER.
1050
00:47:57,204 --> 00:47:58,872
I'M HELGA TEN DORP.
I'M PSYCHIC."
1051
00:47:58,939 --> 00:48:00,507
SHE SAYS,
"GUESS THE NUMBER."
1052
00:48:00,574 --> 00:48:02,141
WELL, I TRY,
1053
00:48:02,209 --> 00:48:05,845
BUT I SEE ONLY THE 324,
WHICH IS EVERYBODY.
1054
00:48:05,913 --> 00:48:09,281
BECAUSE THE PAIN
GETS WORSE.
1055
00:48:09,349 --> 00:48:11,384
AND MORE THAN PAIN.
1056
00:48:11,451 --> 00:48:12,519
MORE THAN PAIN?
1057
00:48:12,586 --> 00:48:15,454
JA, SOMETHING ELSE
HERE.
1058
00:48:15,523 --> 00:48:18,124
SOMETHING FRIGHTENING.
1059
00:48:18,191 --> 00:48:20,527
NO, NO, NO, THANK YOU,
IT WILL INTERFERE.
1060
00:48:20,594 --> 00:48:22,128
WHAT WILL?
1061
00:48:22,195 --> 00:48:24,230
UH, THE DRINK YOU WERE
ABOUT TO OFFER ME.
1062
00:48:24,297 --> 00:48:26,966
MUST KEEP UNCLOUDED
THE HEAD. NEVER DRINK.
1063
00:48:28,903 --> 00:48:29,869
WERE YOU GOING TO
OFFER HER A DRINK?
1064
00:48:29,937 --> 00:48:32,505
YEAH.
1065
00:48:37,595 --> 00:48:40,997
WAS USED MANY TIMES
BY BEAUTIFUL WOMAN,
1066
00:48:41,065 --> 00:48:43,032
BUT ONLY PRETENDING.
1067
00:48:44,301 --> 00:48:46,603
THAT'S FANTASTIC.
1068
00:48:46,670 --> 00:48:48,004
THAT WAS USED
EVERY NIGHT
1069
00:48:48,072 --> 00:48:49,572
IN MY PLAY
THE MURDER GAME
1070
00:48:49,640 --> 00:48:51,474
BY TALLULAH,
A BEAUTIFUL ACTRESS.
1071
00:48:51,541 --> 00:48:53,943
WILL BE USED AGAIN
BY ANOTHER WOMAN.
1072
00:48:54,011 --> 00:48:58,748
NOT IN PLAY,
BUT BECAUSE OF PLAY...
1073
00:48:58,816 --> 00:49:04,553
BECAUSE OF PLAY,
ANOTHER WOMAN USES THIS KNIFE.
1074
00:49:04,622 --> 00:49:07,957
YOU MUST PUT AWAY
THESE THINGS.
1075
00:49:08,025 --> 00:49:10,192
YES, YES, I WILL.
1076
00:49:10,260 --> 00:49:13,229
IN A MONTH OR SO, I'M GOING
TO SELL THE WHOLE COLLECTION.
1077
00:49:13,296 --> 00:49:14,463
I'M FED UP
WITH THEM ANYWAY.
1078
00:49:14,531 --> 00:49:16,165
MAY BE TOO LATE.
1079
00:49:16,233 --> 00:49:17,500
LISTEN, MY DEARS,
1080
00:49:17,567 --> 00:49:19,836
I DO NOT ENJOY
TO MAKE UNHAPPY PEOPLE,
1081
00:49:19,903 --> 00:49:22,071
BUT I MUST SPEAKS WHEN
I SEE SOMETHING, JA?
1082
00:49:22,139 --> 00:49:24,306
YEAH.
1083
00:49:24,374 --> 00:49:25,574
THERE'S DANGER HERE.
1084
00:49:25,643 --> 00:49:28,645
MUCH DANGER TO YOU
AND TO YOU.
1085
00:49:30,080 --> 00:49:31,814
THERE'S DEATH
IN THIS ROOM.
1086
00:49:31,882 --> 00:49:33,549
SOMETHING
THAT INVITES DEATH,
1087
00:49:33,617 --> 00:49:36,152
THAT--THAT
CARRIES DEATH.
1088
00:49:36,219 --> 00:49:39,522
IT'S A DEATHTRAP.
1089
00:49:39,589 --> 00:49:42,558
ONE SAYS THIS IN ENGLISH,
THE DEATHTRAP?
1090
00:49:42,626 --> 00:49:46,262
YES, YES, THAT'S THE
TITLE OF MY NEW PLAY.
1091
00:49:46,329 --> 00:49:47,830
THAT'S WHERE YOU'RE
GETTING IT FROM.
1092
00:49:47,898 --> 00:49:49,465
THERE IS A DEATH
IN THE PLAY.
1093
00:49:49,533 --> 00:49:50,533
THAT'S WHAT YOU'RE
RESPONDING TO.
1094
00:49:50,600 --> 00:49:52,168
I WORK AT THAT DESK
OVER THERE.
1095
00:49:55,272 --> 00:49:57,006
PERHAPS. PERHAPS NOT.
1096
00:50:03,714 --> 00:50:05,214
YEAH.
1097
00:50:07,017 --> 00:50:08,651
IT FEELS LIKE
REAL DEATH.
1098
00:50:08,719 --> 00:50:09,986
I TRY TO BE CONVINCING.
1099
00:50:10,054 --> 00:50:13,556
I ACT EVERYTHING OUT
AS I WRITE IT.
1100
00:50:14,792 --> 00:50:19,162
MAN...IN BOOTS...
YOUNG MAN.
1101
00:50:19,229 --> 00:50:21,798
WATCH OUT FOR HIM. HERE
IN THIS ROOM HE ATTACKS YOU.
1102
00:50:21,865 --> 00:50:22,932
HE ATTACKS ME?
1103
00:50:23,000 --> 00:50:24,000
JA, WITH ONE OF THOSE.
1104
00:50:24,068 --> 00:50:26,703
COMES AS FRIEND
TO HELP YOU. TO--
1105
00:50:29,639 --> 00:50:33,109
TO WORK WITH YOU,
BUT ATTACKS.
1106
00:50:35,112 --> 00:50:38,915
IS CONFUSION HERE.
YOUNG MAN IN BOOTS.
1107
00:50:38,982 --> 00:50:43,853
HE SITS IN THIS CHAIR
AND HE TALKS OF 2 PEOPLE.
1108
00:50:43,921 --> 00:50:48,390
SMITH AND COLONNA?
NO, ONE PERSON.
1109
00:50:48,458 --> 00:50:53,830
SMALL, BLACK, BUNS
OVER EARS, NO, RIBBON?
1110
00:50:56,266 --> 00:50:57,533
IS IN YOUR PLAY,
1111
00:50:57,601 --> 00:51:00,402
IS SUCH A BLACK MAN,
THIS SMITH COLONNA?
1112
00:51:00,470 --> 00:51:02,404
NO, I DON'T KNOW
THAT NAME.
1113
00:51:02,472 --> 00:51:04,907
DO YOU KNOW THAT NAME,
DARLING? COLONNA?
1114
00:51:04,975 --> 00:51:06,475
NO, I DON'T KNOW
THAT NAME.
1115
00:51:06,543 --> 00:51:08,945
REMEMBER WHAT ELSE
I TELL YOU.
1116
00:51:09,012 --> 00:51:12,849
DAGGER IS USED AGAIN
BY WOMAN BECAUSE OF PLAY.
1117
00:51:12,916 --> 00:51:14,784
AND THE MAN IN BOOTS
ATTACKS YOU.
1118
00:51:14,852 --> 00:51:18,087
OF THESE 2 THINGS
I'M CERTAIN.
1119
00:51:18,155 --> 00:51:21,090
ALL ELSE IS CONFUSING.
1120
00:51:21,158 --> 00:51:24,894
OH, BUT THE PAIN
IS LESS NOW, JA?
1121
00:51:24,962 --> 00:51:26,929
JA. NO--YES!
1122
00:51:26,997 --> 00:51:29,899
I MEAN, NO. I NEVER HAD ANY PAIN
TO BEGIN WITH, REALLY.
1123
00:51:34,471 --> 00:51:37,240
WHAT AN EXTRAORDINARY
GIFT. I'VE--
1124
00:51:38,541 --> 00:51:40,743
I'VE ALWAYS BEEN
SKEPTICAL ABOUT ESP,
1125
00:51:40,811 --> 00:51:43,679
BUT, WELL, AFTER THIS...
1126
00:51:45,916 --> 00:51:47,750
WHOO! TONIGHT,
1127
00:51:47,818 --> 00:51:51,087
NOT IN MANY YEARS
HAVE I HAD SUCH A FEELING.
1128
00:51:51,155 --> 00:51:53,555
LIKE I WAS 20 AGAIN.
1129
00:51:53,623 --> 00:51:55,958
HAVE YOU ALWAYS
HAD THIS GIFT?
1130
00:51:56,026 --> 00:51:56,959
EVER SINCE CHILDHOOD?
1131
00:51:57,027 --> 00:51:59,128
OH, ESPECIALLY
IN CHILDHOOD.
1132
00:51:59,196 --> 00:52:01,530
MY PARENTS DIDN'T WRAP
CHRISTMAS PRESENTS.
1133
00:52:01,598 --> 00:52:04,066
WHY WASTING PAPER?
1134
00:52:04,134 --> 00:52:05,768
AND THEN LATER, YOU KNOW,
1135
00:52:05,836 --> 00:52:08,337
IN MY TEENS AGES
WALKING WITH BOYS.
1136
00:52:08,405 --> 00:52:10,940
UGH, SUCH IMAGES.
1137
00:52:11,008 --> 00:52:12,809
WOULD YOU LIKE
THAT DRINK NOW?
1138
00:52:12,876 --> 00:52:15,178
I'D VERY MUCH
LIKE TO TALK TO YOU.
1139
00:52:16,313 --> 00:52:19,581
THANK YOU, YOU KNOW,
BUT I MUST GO TO HOUSE.
1140
00:52:19,649 --> 00:52:21,217
I AM VERY TIRED.
1141
00:52:21,285 --> 00:52:24,586
BUT YOU WILL COME AND TAKE
DINNER WITH ME SOMETIME? JA?
1142
00:52:24,654 --> 00:52:27,156
I WILL TELL YOU
ALL MY LIFE.
1143
00:52:27,224 --> 00:52:29,158
IS VERY INTERESTING.
1144
00:52:29,226 --> 00:52:30,860
IT WOULD MAKE GOOD PLAY,
1145
00:52:30,928 --> 00:52:32,728
BUT FIRST BOOK.
1146
00:52:39,136 --> 00:52:40,803
WHEN YOU WERE A CHILD,
1147
00:52:40,871 --> 00:52:43,072
YOU LIVED IN LARGE HOUSE
WITH YELLOW SHUTTERS.
1148
00:52:43,140 --> 00:52:44,573
EH?
1149
00:52:44,641 --> 00:52:46,275
YES!
1150
00:52:46,343 --> 00:52:48,544
GOOD NIGHT.
1151
00:52:48,611 --> 00:52:50,813
OH, MY DEAR,
BE CAREFUL.
1152
00:52:55,185 --> 00:52:58,821
RIGHT. NO BOOTS.
GOOD NIGHT.
1153
00:52:59,890 --> 00:53:01,057
GOOD NIGHT.
1154
00:53:01,124 --> 00:53:03,792
OH, REMEMBER
THURSDAY NIGHT.
1155
00:53:03,861 --> 00:53:05,627
MERV GRIFFIN.
1156
00:53:12,602 --> 00:53:15,004
Sidney: WOULD YOU OPEN
THE WINDOW, DARLING?
1157
00:53:18,509 --> 00:53:20,809
[SIGHS]
1158
00:53:20,877 --> 00:53:22,811
WHY DON'T YOU
TAKE A PILL?
1159
00:53:22,879 --> 00:53:25,448
I DON'T WANT A PILL.
1160
00:53:25,516 --> 00:53:30,453
I WANT A DRINK.
I WANT A BRANDY.
1161
00:53:30,521 --> 00:53:33,122
[SIGHS]
NO, I'LL GET IT.
1162
00:53:33,190 --> 00:53:35,224
SHALL I BRING ONE
FOR YOU?
1163
00:53:35,292 --> 00:53:36,926
BRING THE BOTTLE.
1164
00:53:48,338 --> 00:53:50,339
[CREAKING]
1165
00:53:52,509 --> 00:53:53,443
SIDNEY?
1166
00:53:53,510 --> 00:53:56,446
[CREAKING]
1167
00:54:03,387 --> 00:54:04,653
SIDNEY!
1168
00:54:04,721 --> 00:54:05,888
SIDNEY!
1169
00:54:05,956 --> 00:54:07,957
SIDNEY!
1170
00:54:14,498 --> 00:54:15,898
THERE'S SOMETHING
OUT THERE.
1171
00:54:15,966 --> 00:54:17,567
WHAT?
1172
00:54:18,835 --> 00:54:21,003
THERE'S SOMETHING
OUT THERE.
1173
00:54:21,071 --> 00:54:23,439
MYRA, NOW,
COME ON.
1174
00:54:23,507 --> 00:54:25,908
I HEARD IT.
SIDNEY, DON'T LEAVE ME!
1175
00:54:25,976 --> 00:54:27,343
DON'T LEAVE ME, SIDNEY.
1176
00:54:27,411 --> 00:54:29,145
SIDNEY, DON'T LEAVE ME,
PLEASE!
1177
00:54:29,213 --> 00:54:31,314
OH, SIDNEY, PLEASE!
1178
00:54:31,381 --> 00:54:33,483
THERE'S NOTHING
DOWN THERE.
1179
00:54:33,550 --> 00:54:36,586
I HEARD IT, SIDNEY.
I HEARD IT.
1180
00:54:36,653 --> 00:54:38,087
MYRA.
I HEARD IT!
1181
00:54:38,155 --> 00:54:39,088
NO, SIDNEY!
MYRA!
1182
00:54:39,156 --> 00:54:40,789
MYRA! SIDNEY,
I HEARD IT.
1183
00:54:40,857 --> 00:54:43,593
MYRA, YOU'RE COMING
DOWNSTAIRS. SIDNEY!
1184
00:54:43,660 --> 00:54:44,727
WE'VE GOT TO GO...
1185
00:54:44,794 --> 00:54:45,828
I DON'T WANT TO GO.
1186
00:54:45,895 --> 00:54:48,664
AND GET THE BRANDY.
1187
00:54:48,732 --> 00:54:50,899
I'D RATHER NOT GO.
1188
00:54:50,967 --> 00:54:52,468
THERE IS NOTHING THERE.
1189
00:54:52,536 --> 00:54:56,506
YOU GOT TO GO DOWN THERE ONCE
AND FOR ALL AND SATISFY ME...
1190
00:54:56,573 --> 00:54:57,607
NO!
1191
00:54:57,674 --> 00:54:58,907
AND SATISFY YOURSELF.
1192
00:54:58,975 --> 00:55:00,009
THERE IS NOTHING
DOWN THERE.
1193
00:55:00,076 --> 00:55:01,511
THERE IS SOMETHING.
I SAW IT.
1194
00:55:01,578 --> 00:55:03,646
IT'S JUST THE WIND.
1195
00:55:03,713 --> 00:55:05,047
IT'S JUST THE WIND.
1196
00:55:05,115 --> 00:55:06,915
AND IT'S
BLOWING THE LEAVES--
1197
00:55:06,983 --> 00:55:09,218
SIDNEY, I DON'T
WANT TO DO THIS.
1198
00:55:09,286 --> 00:55:11,387
BLOWING THE LEAVES
AGAINST THE WINDOWS.
1199
00:55:11,455 --> 00:55:12,588
IT'S RIGHT HERE.
I HEARD IT.
1200
00:55:12,656 --> 00:55:14,957
LISTEN, LUV,
YOU'RE OVERWROUGHT
1201
00:55:15,025 --> 00:55:18,694
AND NO WONDER IN THE CONDITION
YOU'RE IN. COME ON!
1202
00:55:18,762 --> 00:55:19,962
I DON'T WANT
TO DO THIS.
1203
00:55:20,030 --> 00:55:21,997
I CANNOT
LET YOU DO THIS--
1204
00:55:22,065 --> 00:55:24,033
HONEY, I'M NOT
GOING TO LOOK.
1205
00:55:24,100 --> 00:55:28,671
YOU'VE GOT TO LOOK.
LOOK! LOOK!
1206
00:55:30,174 --> 00:55:31,840
AAAH!
1207
00:55:31,908 --> 00:55:33,108
NOTHING THERE.
1208
00:55:34,077 --> 00:55:37,613
SEE, IT'S NOTHING.
1209
00:55:37,681 --> 00:55:39,248
LET'S HAVE
THAT DRINK.
1210
00:55:49,492 --> 00:55:51,026
IT WASN'T LOCKED.
1211
00:55:51,094 --> 00:55:54,296
WELL, THAT'S HARDLY SURPRISING,
EVERYTHING CONSIDERED.
1212
00:56:00,503 --> 00:56:03,138
OH, YES.
1213
00:56:04,541 --> 00:56:05,608
[SIGHS]
1214
00:56:09,011 --> 00:56:10,846
I SUGGEST YOU
SIP THIS ONE.
1215
00:56:10,913 --> 00:56:12,348
OH, THANK YOU.
1216
00:56:23,360 --> 00:56:25,294
I'M SORRY.
1217
00:56:25,362 --> 00:56:26,662
I'M SORRY.
1218
00:56:26,730 --> 00:56:28,096
SIDNEY?
1219
00:56:28,164 --> 00:56:31,467
WHAT?
WHAT IS IT?
1220
00:56:31,534 --> 00:56:33,302
I HAVE TO SAY
SOMETHING.
1221
00:56:34,937 --> 00:56:36,138
SIDNEY?
1222
00:56:36,205 --> 00:56:37,406
YEAH?
1223
00:56:37,474 --> 00:56:41,477
PART OF ME TONIGHT--
OH, SIDNEY--
1224
00:56:41,544 --> 00:56:45,046
SOME TERRIBLE,
UNKNOWN PART OF ME--AAH!
1225
00:56:46,883 --> 00:56:52,888
OH, GOD...WAS HOPING
THAT YOU WOULD DO IT.
1226
00:56:52,955 --> 00:56:55,691
AT THE SAME TIME THAT I WAS
TERRIFIED THAT YOU WOULD,
1227
00:56:55,759 --> 00:56:57,459
PART OF ME WAS REALLY HOPING.
1228
00:56:57,527 --> 00:57:00,962
I SAW YOUR MONEY.
I SAW THE NAME AND...
1229
00:57:01,030 --> 00:57:03,399
YOU TRIED
TO STOP ME.
1230
00:57:03,466 --> 00:57:05,401
I DID?
1231
00:57:05,468 --> 00:57:08,504
YES, YOU DID
YOUR BEST.
1232
00:57:08,571 --> 00:57:10,406
NOW...
1233
00:57:10,473 --> 00:57:12,775
DARLING...
1234
00:57:12,842 --> 00:57:15,811
THIS WAS MY DOING
AND MY DOING ALONE.
1235
00:57:15,878 --> 00:57:17,479
DO YOU UNDERSTAND?
1236
00:57:17,547 --> 00:57:18,480
MM-HMM.
1237
00:57:18,548 --> 00:57:20,282
IF ANYTHING GOES WRONG,
1238
00:57:20,350 --> 00:57:22,017
I DON'T WANT
ANY CONFUSION
1239
00:57:22,084 --> 00:57:23,319
ON THAT POINT...
1240
00:57:23,386 --> 00:57:24,320
MM-MMM.
1241
00:57:24,387 --> 00:57:26,789
WHATSOEVER,
DARLING.
1242
00:57:26,856 --> 00:57:28,357
NONE AT ALL.
1243
00:57:33,530 --> 00:57:36,365
BUT NOTHING
WILL GO WRONG.
1244
00:57:36,433 --> 00:57:37,999
I PROMISE YOU.
1245
00:57:39,569 --> 00:57:42,304
JUST BELIEVE
IN ME, MYRA.
1246
00:57:42,372 --> 00:57:45,341
PLEASE. PLEASE
BELIEVE IN ME.
1247
00:57:45,408 --> 00:57:46,475
MMM.
1248
00:57:47,877 --> 00:57:48,944
BELIEVE.
1249
00:57:51,113 --> 00:57:54,383
DO YOU THINK
IT'S POSSIBLE...
1250
00:57:56,152 --> 00:57:58,587
THAT MURDER
IS AN APHRODISIAC?
1251
00:57:58,655 --> 00:58:01,022
MMM. HA HA HA.
1252
00:58:02,124 --> 00:58:03,759
UP WE GO.
1253
00:58:03,827 --> 00:58:06,829
HA HA HA.
1254
00:58:06,896 --> 00:58:08,831
LOOK AT THAT MOON,
DARLING.
1255
00:58:08,898 --> 00:58:12,334
ISN'T THAT MOON
BEAUTIFUL?
1256
00:58:27,533 --> 00:58:30,202
OPEN THE WINDOW,
DARLING.
1257
00:58:40,346 --> 00:58:41,413
AAAH!
1258
00:58:44,384 --> 00:58:45,450
AAAH!
1259
00:58:47,453 --> 00:58:48,887
AAAH!
1260
00:58:48,954 --> 00:58:50,555
SIDNEY!
1261
00:58:50,623 --> 00:58:52,790
AAAAH!
1262
00:58:52,858 --> 00:58:54,926
AAAAH!
1263
00:58:58,297 --> 00:59:02,067
LISTEN, ALL I DID
WAS HELP CARRY YOU.
1264
00:59:11,077 --> 00:59:12,744
OH, NO.
1265
00:59:18,284 --> 00:59:19,584
OHHH!
1266
00:59:21,887 --> 00:59:24,122
[GASPING]
1267
01:00:13,906 --> 01:00:17,542
IT WORKED.
SHE'S DEAD.
1268
01:00:17,610 --> 01:00:20,044
YES, OF COURSE.
1269
01:00:20,113 --> 01:00:23,781
SHE'S HAD MINOR HEART
ATTACKS OVER MUCH LESS.
1270
01:00:23,849 --> 01:00:26,351
FOR FUTURE REFERENCE,
CLIFFORD...
1271
01:00:26,419 --> 01:00:29,421
THAT STYROFOAM LOG
HURTS.
1272
01:00:29,489 --> 01:00:30,922
SORRY.
1273
01:00:30,990 --> 01:00:32,557
YOU DID IT MUCH HARDER
1274
01:00:32,625 --> 01:00:34,058
THAN YOU DID
IN THE MOTEL ROOM.
1275
01:00:34,127 --> 01:00:36,194
WELL, CHRIST, WHAT ABOUT
THAT HELGA TEN DORP LADY?
1276
01:00:36,262 --> 01:00:37,695
I ALMOST HAD A HEART ATTACK
OUT THERE MYSELF
1277
01:00:37,763 --> 01:00:40,031
WHEN SHE SAYS I WAS
GOING TO ATTACK YOU.
1278
01:00:40,099 --> 01:00:41,299
GOD!
1279
01:00:41,367 --> 01:00:44,436
"JA. IS A VERY
CONFUSING IMAGE."
1280
01:00:44,504 --> 01:00:45,437
THANK GOD FOR THAT.
1281
01:00:45,505 --> 01:00:48,440
PERHAPS IT'S
A GOOD JOB SHE CAME.
1282
01:00:48,508 --> 01:00:50,442
NOW SHE'LL BE
TELLING EVERYBODY
1283
01:00:50,510 --> 01:00:52,910
THAT SHE FELT THE PHYSICAL
PAIN OF THE ONCOMING ATTACK.
1284
01:00:52,978 --> 01:00:54,879
EVERY LITTLE BIT HELPS.
1285
01:00:54,947 --> 01:00:57,315
I'VE BEEN TELLING
PEOPLE FOR DAYS
1286
01:00:57,383 --> 01:01:00,151
THAT MYRA WAS A BIT
UNDER THE WEATHER.
1287
01:01:04,323 --> 01:01:07,492
OH, CHRIST.
1288
01:01:10,429 --> 01:01:12,864
IF ONLY THAT GODDAMNED
LOUSY PRODUCTION
1289
01:01:12,931 --> 01:01:15,266
HAD WORKED...
1290
01:01:15,334 --> 01:01:17,735
EVEN HALFWAY.
1291
01:01:17,803 --> 01:01:20,771
I'D HAVE HAD
A MOVIE SALE.
1292
01:01:20,839 --> 01:01:22,507
THERE WOULD
HAVE BEEN ENOUGH.
1293
01:01:22,574 --> 01:01:24,976
WE COULD HAVE
JUST TAKEN OFF.
1294
01:01:30,649 --> 01:01:31,983
IT DIDN'T WORK,
SIDNEY.
1295
01:01:32,051 --> 01:01:33,818
AND YOU KNEW
IT WASN'T GOING TO
1296
01:01:33,886 --> 01:01:35,053
FROM THE SECOND WEEK
OF REHEARSAL.
1297
01:01:35,121 --> 01:01:38,523
I DIDN'T WANT
TO KILL HER.
1298
01:01:38,590 --> 01:01:39,790
I DIDN'T.
1299
01:01:39,858 --> 01:01:42,727
WELL, THIS IS NOT
EXACTLY WHAT THEY CALL
1300
01:01:42,794 --> 01:01:44,462
INVOLUNTARY HOMICIDE.
1301
01:01:46,198 --> 01:01:48,733
I'LL GET MY THINGS.
1302
01:01:48,800 --> 01:01:49,934
THERE'S NO HURRY.
1303
01:01:50,002 --> 01:01:52,270
I'M GOING TO WAIT
A FEW MINUTES
1304
01:01:52,338 --> 01:01:54,005
BEFORE I CALL
THE AMBULANCE.
1305
01:01:55,574 --> 01:01:58,209
ALSO,
WE DON'T WANT ANYONE
1306
01:01:58,277 --> 01:02:00,811
WORKING MIRACLES OF
RESUSCITATION, DO WE?
1307
01:02:00,879 --> 01:02:03,581
COME AND CLEAN YOURSELF
UP AND GIVE ME A HAND.
1308
01:02:06,352 --> 01:02:07,919
WHAT IF THAT MADAME
TEN DORP COMES BACK?
1309
01:02:07,986 --> 01:02:09,554
I DON'T SEE
WHY SHE SHOULD.
1310
01:02:09,621 --> 01:02:12,823
THE PAIN HAS STOPPED,
HASN'T IT?
1311
01:02:12,891 --> 01:02:14,892
CRIPES!
1312
01:02:26,738 --> 01:02:29,907
WHY YOU BURNING IT?
THERE'S NOTHING INCRIMINATING.
1313
01:02:29,975 --> 01:02:32,310
STILL, I'LL SAY I WAS
GETTING RID OF MANUSCRIPTS
1314
01:02:32,378 --> 01:02:34,145
AS THE GRIM REAPER STRUCK.
1315
01:02:34,213 --> 01:02:36,181
THE CLOSER YOU STAY
TO THE TRUTH THE BETTER.
1316
01:02:36,248 --> 01:02:39,717
FAREWELL, DEATHTRAP.
1317
01:02:39,785 --> 01:02:42,753
WOULD THAT YOU WERE
THE GENUINE ARTICLE.
1318
01:02:42,821 --> 01:02:45,590
I REALLY AM GOING TO
TRY SOMETHING ON ESP.
1319
01:02:45,657 --> 01:02:48,025
THAT WAS AN AWFULLY IMPRESSIVE
DEMONSTRATION THE LADY GAVE,
1320
01:02:48,094 --> 01:02:49,227
DESPITE THE MISTAKES.
1321
01:02:49,295 --> 01:02:50,695
NOW, I'M GOING
TO MAKE THE CALL NOW,
1322
01:02:50,762 --> 01:02:51,896
SO YOU GO
AND GET YOUR THINGS.
1323
01:02:51,964 --> 01:02:53,131
WELL, HOW LONG YOU THINK
YOU'RE GOING TO BE?
1324
01:02:53,199 --> 01:02:54,566
WELL,
AT LEAST 2 HOURS.
1325
01:02:54,633 --> 01:02:56,201
I MAY HAVE TO GO
WITH HER. I DON'T KNOW.
1326
01:02:56,268 --> 01:02:57,702
WELL, CIAO.
1327
01:02:57,769 --> 01:02:59,370
CIAO. OH, CLIFF.
1328
01:02:59,438 --> 01:03:01,739
THE FLOORBOARDS UPSTAIRS
CREAK,
1329
01:03:01,807 --> 01:03:04,309
SO, DO A QUICK WASHUP,
1330
01:03:04,376 --> 01:03:06,277
GET INTO BED,
1331
01:03:06,345 --> 01:03:08,012
AND STAY THERE.
1332
01:03:08,080 --> 01:03:10,515
I'LL BUY THAT.
1333
01:03:38,677 --> 01:03:43,314
HELLO?
TH-THIS IS SIDNEY BRUHL.
1334
01:03:43,382 --> 01:03:46,083
I-I'M AT 10 HOOKPONT LANE.
1335
01:03:46,152 --> 01:03:48,253
COULD YOU PLEASE
SEND AN AMBULANCE
1336
01:03:48,320 --> 01:03:50,755
AS QUICKLY AS POSSIBLE?
1337
01:03:50,822 --> 01:03:52,257
MY WIFE HAS HAD A CORONARY.
1338
01:03:52,324 --> 01:03:54,159
PLEASE, COME IMMEDIATELY.
1339
01:03:54,226 --> 01:03:56,528
THANK YOU.
1340
01:03:56,595 --> 01:03:57,795
GOOD-BYE.
1341
01:04:03,735 --> 01:04:07,438
Minister: ACCEPT
THE SOUL OF OUR SISTER
1342
01:04:07,506 --> 01:04:12,443
MYRA ELIZABETH
MAXWELL BRUHL
1343
01:04:12,511 --> 01:04:14,812
IN THE NAME
OF THE FATHER
1344
01:04:14,880 --> 01:04:16,080
AND OF THE SON
1345
01:04:16,148 --> 01:04:20,218
AND OF THE HOLY GHOST.
AMEN.
1346
01:04:20,286 --> 01:04:23,555
[TYPING]
1347
01:04:38,003 --> 01:04:41,138
THAT MUST HAVE BEEN
QUITE A WELFARE OFFICE.
1348
01:04:41,207 --> 01:04:42,807
OH, IT WAS.
1349
01:04:42,874 --> 01:04:45,577
YOU KNOW, EVERYBODY HAD
A REALLY POIGNANT STORY.
1350
01:04:45,644 --> 01:04:47,978
WELL, THEY'RE CREATING
THE PLAY, REALLY.
1351
01:04:48,046 --> 01:04:49,214
THEY'RE JUST
DOING IT FOR ME.
1352
01:04:49,281 --> 01:04:50,915
IT JUST
WRITES ITSELF OUT?
1353
01:04:50,982 --> 01:04:52,016
YEAH, THAT'S RIGHT.
1354
01:04:52,084 --> 01:04:53,984
NO NOTES?
NO OUTLINES?
1355
01:04:54,052 --> 01:04:55,620
WELL, THIS ISN'T
A THRILLER, SIDNEY.
1356
01:04:55,688 --> 01:04:57,522
IT'S NOT DEPENDENT ON
INTRICATE PLOTTING
1357
01:04:57,590 --> 01:04:58,856
AND CONTRIVED THEATRICS.
1358
01:04:58,924 --> 01:05:00,791
I MEAN...
1359
01:05:00,859 --> 01:05:03,261
SEE,
THESE ARE REAL PEOPLE.
1360
01:05:03,329 --> 01:05:05,496
AND ALL I'M DOING IS
JUST BRINGING THEM ON,
1361
01:05:05,564 --> 01:05:07,198
LETTING THEM POUR OUT THEIR
DREAMS AND FRUSTRATIONS.
1362
01:05:07,266 --> 01:05:09,133
YOU KNOW,
LIKE THE CLERKS
1363
01:05:09,201 --> 01:05:10,968
WITH THEIR PETTINESS
AND FRUSTRATION.
1364
01:05:11,036 --> 01:05:13,738
AND THE CLIENTS
WITH THEIR BITTERNESS
1365
01:05:13,805 --> 01:05:15,373
AND THEIR BATTERED
SELF-ESTEEM.
1366
01:05:15,441 --> 01:05:17,875
I'VE REALLY LOST INTEREST
IN THRILLERS, SIDNEY.
1367
01:05:17,943 --> 01:05:19,677
WHAT I'M DOING HERE
IS RELEVANT.
1368
01:05:19,745 --> 01:05:23,681
EVEN THOUGH
YOU SAID THAT WORD,
1369
01:05:23,749 --> 01:05:25,283
I AM STILL GOING
TO LET YOU STAY HERE.
1370
01:05:25,351 --> 01:05:26,484
LET ME SEE A FEW PAGES.
1371
01:05:26,552 --> 01:05:30,020
AH, I'D RATHER WAIT TILL
THE WHOLE THING'S DONE.
1372
01:05:30,088 --> 01:05:32,290
I'LL JUST GIVE IT TO YOU
IN ONE GLORIOUS BUNDLE.
1373
01:05:32,358 --> 01:05:33,291
DO YOU MIND?
1374
01:05:33,359 --> 01:05:35,793
OF COURSE,
WHAT'S ANOTHER HALF HOUR?
1375
01:05:48,940 --> 01:05:51,041
NOTHING DOING?
1376
01:05:52,678 --> 01:05:55,112
WHY DON'T YOU HAVE
HELGA TEN DORP OVER?
1377
01:05:55,180 --> 01:05:56,180
I DON'T KNOW,
1378
01:05:56,248 --> 01:05:58,082
MAYBE TALKING WITH HER
MIGHT SPARK SOMETHING.
1379
01:05:58,150 --> 01:06:00,652
YOU DO LIKE TO LIVE
DANGEROUSLY, DON'T YOU?
1380
01:06:00,719 --> 01:06:03,254
NO WAY. I DO NOT WANT HER
ON THE PREMISES.
1381
01:06:03,322 --> 01:06:05,990
NEVER AGAIN, THANK YOU.
1382
01:06:06,057 --> 01:06:07,191
OH, I DON'T KNOW.
1383
01:06:07,259 --> 01:06:09,026
MAYBE NOT
WHEN THE MOON IS FULL,
1384
01:06:09,094 --> 01:06:10,395
BUT ANY OTHER TIME,
WHY NOT?
1385
01:06:10,462 --> 01:06:11,962
I MEAN, CHRIST,
LOOK AT THE EGG SHE LAID
1386
01:06:12,030 --> 01:06:13,264
ON THE GRIFFIN SHOW.
THAT WAS PATHETIC.
1387
01:06:13,332 --> 01:06:16,033
YES. SHE WAS
PRETTY RATTLED.
1388
01:06:17,836 --> 01:06:19,804
[DOORBELL RINGS]
1389
01:06:19,871 --> 01:06:22,072
I'LL GO.
1390
01:06:23,141 --> 01:06:26,110
WE DON'T WANT TO BREAK
THE FLOW, DO WE, DEAR?
1391
01:06:29,881 --> 01:06:31,916
PORTER.
1392
01:06:31,983 --> 01:06:32,983
HOW ARE YOU,
SIDNEY?
1393
01:06:33,051 --> 01:06:34,686
OH, I'M NOT
TOO BAD, THANKS.
1394
01:06:34,753 --> 01:06:36,621
THERE ARE A COUPLE
OF THINGS--
1395
01:06:36,689 --> 01:06:37,988
I HAD TO BE IN THE AREA
1396
01:06:38,056 --> 01:06:40,024
AND I JUST DECIDED
TO TAKE A CHANCE--
1397
01:06:40,091 --> 01:06:41,559
UH, THANK YOU.
1398
01:06:41,627 --> 01:06:44,128
YOU FEEL UP
TO A FEW PAPERS?
1399
01:06:44,196 --> 01:06:45,363
WHY NOT? I'D BE GLAD
OF THE BREAK.
1400
01:06:45,431 --> 01:06:46,364
WOULD YOU LIKE
SOME COFFEE?
1401
01:06:46,432 --> 01:06:47,532
OF COURSE I WOULD.
1402
01:06:47,599 --> 01:06:49,967
Sidney: THIS IS CLIFFORD
ANDERSON, MY SECRETARY.
1403
01:06:50,035 --> 01:06:51,035
MY FRIEND, PORTER MILGRIM.
1404
01:06:51,102 --> 01:06:52,036
HOW DO YOU DO, SIR?
1405
01:06:52,103 --> 01:06:53,270
HOW DO YOU DO?
1406
01:06:53,339 --> 01:06:55,473
Sidney: I WOULD SAY MY ATTORNEY,
BUT HE'D BILL ME.
1407
01:06:55,541 --> 01:06:58,509
AH, WELL, I'M GOING
TO BILL YOU ANYWAYS.
1408
01:06:58,577 --> 01:07:00,645
IT'S A BUSINESS CALL.
1409
01:07:00,713 --> 01:07:02,179
LOOK AT THAT.
1410
01:07:02,247 --> 01:07:04,215
ISN'T THAT A BEAUTY?
1411
01:07:04,282 --> 01:07:05,450
PARTNER'S DESK.
1412
01:07:05,517 --> 01:07:07,284
MMM. WHERE DID YOU
FIND IT?
1413
01:07:07,353 --> 01:07:08,986
I HAPPENED ON IT
LAST WEEK.
1414
01:07:09,054 --> 01:07:10,187
IT MAKES MORE SENSE
1415
01:07:10,255 --> 01:07:11,255
THAN CLUTTERING
UP THE PLACE
1416
01:07:11,323 --> 01:07:12,289
WITH 2 SINGLE ONES.
1417
01:07:12,358 --> 01:07:13,991
AND IT IS
DEDUCTIBLE, PORTER.
1418
01:07:14,059 --> 01:07:16,494
WELL, UH, SHOULDN'T
I GO GET THE GROCERIES NOW?
1419
01:07:16,562 --> 01:07:17,962
AND YOU AND MR. MILGRIM
CAN TALK IN PRIVATE.
1420
01:07:18,029 --> 01:07:19,163
WOULD YOU MIND?
1421
01:07:19,231 --> 01:07:20,765
NO. I HAVE TO DO IT SOMETIME.
MIGHT AS WELL GO NOW.
1422
01:07:20,833 --> 01:07:22,867
OH, WAIT A SECOND,
PORTER.
1423
01:07:22,934 --> 01:07:23,868
HOLD ON, CLIFFORD.
1424
01:07:23,935 --> 01:07:26,237
Porter: TAKE YOUR TIME,
SIDNEY.
1425
01:07:26,304 --> 01:07:29,974
I HAVEN'T STARTED
THE CLOCK YET.
1426
01:07:33,278 --> 01:07:36,681
I LIKE THIS ROOM--
HAS CHARACTER.
1427
01:07:36,749 --> 01:07:39,116
IT'S A PLEASURE
TO BE WORKING HERE.
1428
01:07:41,286 --> 01:07:42,487
HE'S LOOKING WELL.
1429
01:07:42,554 --> 01:07:45,256
WELL, JUST IN THE LAST
FEW DAYS, REALLY.
1430
01:07:45,323 --> 01:07:47,358
YOU KNOW, IT WAS
PRETTY BAD LAST WEEK.
1431
01:07:47,426 --> 01:07:48,459
HE WAS CRYING
EVERY NIGHT.
1432
01:07:48,527 --> 01:07:50,294
YOU COULD HEAR HIM
RIGHT THROUGH THE WALLS.
1433
01:07:50,362 --> 01:07:51,562
HE WAS DRINKING, TOO.
1434
01:07:51,630 --> 01:07:52,563
AHH.
1435
01:07:52,631 --> 01:07:53,898
BUT HE'LL BE ALL RIGHT.
1436
01:07:53,965 --> 01:07:55,900
YOU KNOW, HIS WORK'S
A GREAT SOLACE TO HIM.
1437
01:07:55,967 --> 01:07:57,568
20 DO IT?
1438
01:07:57,636 --> 01:07:58,736
OH, IT SHOULD DO.
1439
01:07:58,804 --> 01:08:00,471
WE JUST NEED SALAD THINGS,
MILK, PAPER NAPKINS.
1440
01:08:00,539 --> 01:08:01,472
I'M GOING TO GIBSON'S.
1441
01:08:01,540 --> 01:08:03,073
GOT THE KEYS
TO THE CAR? YEAH.
1442
01:08:03,141 --> 01:08:06,711
OH, AND YOGURT.
ANY FLAVOR BUT PRUNE.
1443
01:08:06,779 --> 01:08:08,646
WELL, IT'S VERY NICE
MEETING YOU
1444
01:08:08,714 --> 01:08:09,980
OR SEE YOU LATER,
1445
01:08:10,048 --> 01:08:11,949
WHICHEVER
IT TURNS OUT TO BE.
1446
01:08:12,017 --> 01:08:14,419
PLEASANT
YOUNG FELLOW.
1447
01:08:14,486 --> 01:08:16,421
GOOD-LOOKING,
TOO.
1448
01:08:16,488 --> 01:08:17,855
I GUESS.
1449
01:08:17,923 --> 01:08:20,124
DO YOU THINK
HE'S GAY?
1450
01:08:20,191 --> 01:08:24,128
OH, DIDN'T STRIKE ME
THAT WAY.
1451
01:08:24,195 --> 01:08:27,131
I HAVE A SNEAKING SUSPICION
HE MIGHT BE.
1452
01:08:27,198 --> 01:08:29,333
STILL, SO LONG
AS HE DOES HIS JOB
1453
01:08:29,401 --> 01:08:32,269
AND DOESN'T FLY ON LITTLE
FAIRY WINGS INTO MY CHAMBER,
1454
01:08:32,337 --> 01:08:34,472
I SUPPOSE IT'S
NONE OF MY BUSINESS.
1455
01:08:34,540 --> 01:08:35,873
BESIDES,
HOW PEOPLE WOULD TALK
1456
01:08:35,941 --> 01:08:38,042
IF I'D TAKEN ON A FEMALE
SECRETARY, RIGHT?
1457
01:08:38,109 --> 01:08:39,243
IF SHE WERE UNDER 80.
1458
01:08:39,311 --> 01:08:41,278
THAT'S WHY I CALLED
CLIFFORD.
1459
01:08:41,346 --> 01:08:43,614
GOOD TO SEE YOU LOOKING
SO WELL, SIDNEY.
1460
01:08:43,682 --> 01:08:46,016
THAT'S THE MAIN REASON
I'VE COME.
1461
01:08:46,084 --> 01:08:48,953
I WAS DELEGATED BY
THE WESSONS AND THE HARVEYS.
1462
01:08:49,020 --> 01:08:52,056
THAT YOUNG MAN'S BEEN
DISCOURAGING ALL CALLERS,
1463
01:08:52,123 --> 01:08:54,224
AND WE WERE AFRAID
YOU MIGHT BE
1464
01:08:54,292 --> 01:08:55,827
IN WORSE SHAPE
THAN HE WAS LETTING ON.
1465
01:08:55,894 --> 01:08:59,129
OBVIOUSLY
THAT'S NOT THE CASE.
1466
01:08:59,197 --> 01:09:03,334
NO, BUT I'M NOT UP
TO SOCIALIZING YET.
1467
01:09:03,401 --> 01:09:04,635
BUT I'M COMING THROUGH.
1468
01:09:04,703 --> 01:09:06,303
THE WORK IS
A GREAT SOLACE.
1469
01:09:06,371 --> 01:09:09,774
THAT'S WHAT HE SAID.
1470
01:09:09,842 --> 01:09:12,276
BRING THAT DAMN THING
OUT ON THE PORCH.
1471
01:09:12,344 --> 01:09:14,512
LET'S AT LEAST DEAL
WITH IT IN THE SUNLIGHT.
1472
01:09:14,580 --> 01:09:15,613
RIGHT.
1473
01:09:15,681 --> 01:09:19,017
AND THE NEXT ITEM ON
THE AGENDA IS YOUR WILL.
1474
01:09:19,084 --> 01:09:21,352
NOW THAT MYRA'S GONE,
YOU OUGHT TO LOOK IT OVER.
1475
01:09:21,419 --> 01:09:24,555
AS IT STANDS, IF ANYTHING
SHOULD HAPPEN TO YOU,
1476
01:09:24,623 --> 01:09:26,223
YOUR COUSINS IN ENGLAND
WOULD INHERIT.
1477
01:09:26,291 --> 01:09:27,458
DO YOU WANT TO
LEAVE IT THAT WAY?
1478
01:09:27,526 --> 01:09:28,492
I'LL DEAL WITH IT
LATER.
1479
01:09:28,560 --> 01:09:29,493
YOU HANG ON TO IT,
PORTER.
1480
01:09:29,561 --> 01:09:30,995
WELL,
DON'T PUT IT OFF.
1481
01:09:31,063 --> 01:09:32,997
THIS IS THE THIRD ITEM:
1482
01:09:33,065 --> 01:09:34,465
THIS IS
ONLY APPROXIMATE
1483
01:09:34,533 --> 01:09:36,467
BECAUSE I DON'T HAVE
UP-TO-DATE APPRAISAL
1484
01:09:36,535 --> 01:09:37,969
ON THE REAL ESTATE YET,
1485
01:09:38,037 --> 01:09:41,338
BUT THIS IS WHAT
YOU CAN ANTICIPATE...
1486
01:09:41,406 --> 01:09:45,109
ROUGHLY...GIVE OR TAKE
A FEW THOUSAND DOLLARS.
1487
01:09:53,686 --> 01:09:57,655
I HAD NO IDEA
THERE WAS THIS MUCH.
1488
01:09:57,723 --> 01:10:00,491
Porter: WELL, OLD MAN...
1489
01:10:00,559 --> 01:10:03,294
YOU'VE GOTTEN OFF CHEAP.
1490
01:10:03,361 --> 01:10:05,763
Sidney:
YES, I'M AWARE OF THAT.
1491
01:10:05,831 --> 01:10:07,899
WHAT'S THE PROCEDURE?
1492
01:10:07,966 --> 01:10:10,735
YOU DICTATE AND HE TYPES?
1493
01:10:10,803 --> 01:10:12,469
OH, NO, I TYPE
THE FIRST DRAFT
1494
01:10:12,537 --> 01:10:15,907
AND THEN HE TYPES...
AND TYPES AND TYPES.
1495
01:10:15,974 --> 01:10:17,441
HE ALSO
DOES THE LETTERS.
1496
01:10:17,509 --> 01:10:20,712
THAT WHAT HE WAS DOING
BEFORE--LETTERS?
1497
01:10:20,779 --> 01:10:23,781
OH, NO. HE'S TRYING
TO WRITE HIS OWN PLAY.
1498
01:10:23,849 --> 01:10:25,850
OH, THE SEMINAR,
OF COURSE.
1499
01:10:25,918 --> 01:10:27,484
YES,
HE STARTED YESTERDAY,
1500
01:10:27,552 --> 01:10:29,687
WILL PROBABLY FINISH
TOMORROW.
1501
01:10:29,755 --> 01:10:33,624
WELL, I HOPE HE'S NOT
STEALING YOUR ESP IDEA.
1502
01:10:33,692 --> 01:10:35,693
HAVE YOU DISCUSSED IT
WITH HIM?
1503
01:10:35,761 --> 01:10:38,529
WHAT IN THE WORLD
MAKES YOU SAY THAT?
1504
01:10:38,597 --> 01:10:41,199
WELL, WHATEVER
HE WAS WORKING ON,
1505
01:10:41,266 --> 01:10:43,034
HE LOCKED IT UP
IN THIS DRAWER.
1506
01:10:43,102 --> 01:10:46,904
UNOBTRUSIVELY,
BUT I NOTICED.
1507
01:10:48,207 --> 01:10:53,310
NO, NOT UNOBTRUSIVELY.
SLYLY.
1508
01:10:53,378 --> 01:10:56,748
THEN AGAIN, MAYBE HE WAS
AFRAID YOU'D STEAL HIS IDEA.
1509
01:10:56,815 --> 01:10:58,649
OH, THE DREAMS
AND FRUSTRATIONS
1510
01:10:58,717 --> 01:10:59,817
OF WELFARE WORKERS?
1511
01:10:59,885 --> 01:11:01,485
HE WORKED
IN A WELFARE OFFICE?
1512
01:11:01,553 --> 01:11:03,121
YEAH, THAT'S WHERE
HE WAS BEFORE.
1513
01:11:03,188 --> 01:11:05,522
OH, WELL, THEN IT WAS
ONLY FORCE OF HABIT.
1514
01:11:05,590 --> 01:11:08,692
PEOPLE IN LARGE OFFICES
OFTEN LOCK THEIR DESKS.
1515
01:11:09,928 --> 01:11:11,763
I'M SORRY
IF I WORRIED YOU, SIDNEY.
1516
01:11:11,830 --> 01:11:14,398
SUSPICIOUS LEGAL MIND.
1517
01:11:14,466 --> 01:11:17,468
HE'S PROBABLY EXACTLY
WHAT HE SEEMS--
1518
01:11:17,535 --> 01:11:19,403
AN HONEST AND HELPFUL
YOUNG MAN.
1519
01:11:19,471 --> 01:11:21,172
COMPLETELY TRUSTWORTHY.
1520
01:11:21,240 --> 01:11:22,306
NO DOUBT.
1521
01:11:22,374 --> 01:11:24,809
OH, THAT, UH, CHECK
FROM THE INSURANCE COMPANY--
1522
01:11:24,877 --> 01:11:25,810
HAS IT COME YET?
1523
01:11:25,878 --> 01:11:27,145
NO.
1524
01:11:27,212 --> 01:11:30,081
WELL, I'M SURE IT'S SOMETHING
YOU'D RATHER NOT DO YOURSELF.
1525
01:11:30,149 --> 01:11:31,783
WOULD YOU LIKE ME
TO GET AFTER THEM?
1526
01:11:31,850 --> 01:11:33,251
WOULD YOU MIND?
1527
01:11:33,318 --> 01:11:34,886
I'LL WRITE THEM
FIRST THING IN THE MORNING.
1528
01:11:34,953 --> 01:11:36,187
I'D APPRECIATE THAT,
PORTER.
1529
01:11:36,255 --> 01:11:38,322
WHEN ARE YOU COMING
TO TOWN TO HAVE DINNER?
1530
01:11:38,390 --> 01:11:39,590
OH, IN A WEEK OR TWO,
1531
01:11:39,658 --> 01:11:41,926
I'LL BE READY TO FACE
THE WORLD AGAIN.
1532
01:11:41,994 --> 01:11:43,127
GOOD.
1533
01:11:43,195 --> 01:11:44,262
GOOD.
1534
01:11:46,731 --> 01:11:47,899
GOOD-BYE, PORTER.
1535
01:11:49,768 --> 01:11:52,069
I'M PROUD OF YOU,
SIDNEY.
1536
01:12:25,187 --> 01:12:27,455
SHIT.
1537
01:13:08,364 --> 01:13:11,399
BLOODY
OLD-WORLD CRAFTSMEN.
1538
01:13:23,445 --> 01:13:26,914
[CAR ENGINE,
SCREECHING TIRES]
1539
01:13:54,376 --> 01:13:55,976
WHERE HAVE YOU BEEN?
1540
01:13:56,044 --> 01:13:57,011
GIBSON'S.
1541
01:13:57,078 --> 01:13:58,979
THEN I STOPPED BY
THE JEANS SHOP.
1542
01:13:59,047 --> 01:14:01,148
GOT MAULED BY
THAT BITCH NAN WESSON.
1543
01:14:01,216 --> 01:14:03,117
SHE THINKS I'M STANDING
BETWEEN YOU TWO.
1544
01:14:03,185 --> 01:14:04,619
AND SO YOU ARE,
LUV.
1545
01:14:04,687 --> 01:14:05,886
I'LL PUT AWAY.
1546
01:14:05,954 --> 01:14:07,355
Clifford: NO, THAT'S
ALL RIGHT. I'LL DO IT.
1547
01:14:07,423 --> 01:14:09,089
YOU SHOPPED.
I'LL PUT AWAY.
1548
01:14:09,157 --> 01:14:11,426
I KNOW YOU WANT TO GET BACK
TO YOUR WELFARE OFFICE.
1549
01:14:11,493 --> 01:14:13,795
WELL,
ONLY LITERARILY.
1550
01:14:13,862 --> 01:14:14,796
[COINS CLANK]
1551
01:14:14,863 --> 01:14:16,631
CHANGE IS
IN THE BOWL.
1552
01:14:29,044 --> 01:14:32,947
[TYPING]
1553
01:14:34,216 --> 01:14:36,617
CLIFF, CAN YOU
COME IN HERE A SEC?
1554
01:14:48,397 --> 01:14:49,864
WHERE ARE YOU?
1555
01:14:59,475 --> 01:15:02,677
WHAT'S GOING ON?
HELLO?
1556
01:15:02,745 --> 01:15:04,645
WHERE THE HELL
WERE YOU?
1557
01:15:04,713 --> 01:15:05,646
WHERE THE HELL
WERE YOU?
1558
01:15:05,714 --> 01:15:07,682
I--I THOUGHT YOU
HADN'T HEARD ME,
1559
01:15:07,750 --> 01:15:10,317
SO I--I AMBLED ROUND
THROUGH THE DAPPLED DAY.
1560
01:15:10,386 --> 01:15:12,620
I THOUGHT YOU MIGHT
LIKE ONE OF THESE.
1561
01:15:12,688 --> 01:15:16,807
I HAD A SUDDEN CRAVING
AS IN THE COMMERCIALS.
1562
01:15:58,584 --> 01:16:04,288
SO, YOU'VE LOST YOUR
INTEREST IN THRILLERS?
1563
01:16:04,356 --> 01:16:05,656
MM-HMM.
1564
01:16:05,724 --> 01:16:09,159
NO TASTE FOR
THE INTRICATE PLOTTING,
1565
01:16:09,228 --> 01:16:12,162
THE 2-DIMENSIONAL
CHARACTERS.
1566
01:16:12,231 --> 01:16:15,132
YOU WANT TO DO
SOMETHING REAL...
1567
01:16:15,200 --> 01:16:18,035
AND MEANINGFUL...
SOCIALLY RELEVANT.
1568
01:16:18,103 --> 01:16:20,104
HEY, GIVE ME A BREAK,
WILL YOU?
1569
01:16:20,171 --> 01:16:22,573
I MEAN, YOUR IDEA WILL
START COMING IN A MINUTE.
1570
01:16:22,641 --> 01:16:25,643
"DEATHTRAP.
1571
01:16:25,711 --> 01:16:30,448
"A THRILLER IN 2 ACTS
BY CLIFFORD ANDERSON.
1572
01:16:30,515 --> 01:16:33,684
"CHARACTERS.
JULIAN CRANE,
1573
01:16:33,752 --> 01:16:36,920
"A PLAYWRIGHT.
DORIS CRANE, HIS WIFE.
1574
01:16:36,988 --> 01:16:39,657
"VICTOR MADISON,
CRANE'S PROT�G�.
1575
01:16:39,725 --> 01:16:42,593
"INGA VAN BRONK,
A PSYCHIC.
1576
01:16:42,661 --> 01:16:46,096
"THE ACTION TAKES PLACE
IN JULIAN CRANE'S STUDY
1577
01:16:46,164 --> 01:16:48,733
IN THE CRANE HOME IN
EASTHAMPTON, NEW YORK."
1578
01:16:48,800 --> 01:16:49,734
HOW THE HELL DID YOU--
1579
01:16:49,801 --> 01:16:53,003
"STAGE LEFT.
A BRICK FIREPLACE,
1580
01:16:53,071 --> 01:16:54,372
"PRACTICAL
TO THE EXTENT
1581
01:16:54,439 --> 01:16:56,707
"THAT PAPER
CAN BE BURNED IN IT.
1582
01:16:56,775 --> 01:16:59,209
"CENTER STAGE,
FRENCH DOORS,
1583
01:16:59,278 --> 01:17:01,211
"A POST-COLONIAL
MODIFICATION,
1584
01:17:01,280 --> 01:17:04,148
"OPENING OUT TO
A SHRUBBERY-FLANKED PATIO.
1585
01:17:04,215 --> 01:17:06,950
"THE ROOM IS DECORATED
WITH A COLLECTION
1586
01:17:07,018 --> 01:17:09,019
OF ANTIQUE WEAPONS
AND SHACKLES."
1587
01:17:09,087 --> 01:17:10,821
A NICE SELECTION
OF WHICH
1588
01:17:10,889 --> 01:17:13,223
I'M ABOUT TO USE
ANY MINUTE, CLIFFORD.
1589
01:17:13,292 --> 01:17:14,392
WOULD YOU LIKE ME
TO EXPLAIN?
1590
01:17:14,459 --> 01:17:16,360
WHAT? THAT YOU'RE A LUNATIC
WITH A DEATH WISH?
1591
01:17:16,428 --> 01:17:17,361
HA HA HA.
1592
01:17:17,429 --> 01:17:19,129
I'VE GOT THE SAME WISH
YOU HAVE, SIDNEY.
1593
01:17:19,197 --> 01:17:20,164
A SUCCESS WISH!
1594
01:17:20,231 --> 01:17:22,333
THIS IS NOT GOING
TO BRING YOU SUCCESS!
1595
01:17:22,401 --> 01:17:23,534
THIS, YOU ASSHOLE,
1596
01:17:23,602 --> 01:17:26,203
IS GOING TO BRING YOU 20 TO LIFE
IN MAXIMUM SECURITY!
1597
01:17:26,271 --> 01:17:27,571
LISTEN TO ME.
COME ON.
1598
01:17:27,639 --> 01:17:28,572
IT HIT ME THAT NIGHT
1599
01:17:28,640 --> 01:17:30,007
WHEN YOU WERE
LOOKING FOR THE KEY.
1600
01:17:30,074 --> 01:17:32,476
THIS CAN MAKE
A TERRIFIC THRILLER.
1601
01:17:32,544 --> 01:17:34,612
IT WILL MAKE A
TERRIFIC THRILLER.
1602
01:17:34,680 --> 01:17:37,348
IN WHICH SOMEONE LIKE ME
AND SOMEONE LIKE YOU
1603
01:17:37,416 --> 01:17:39,583
GIVE SOMEONE LIKE MYRA
A FATAL HEART ATTACK?!
1604
01:17:39,651 --> 01:17:41,985
ABSOLUTELY RIGHT.
AT THE END OF ACT ONE.
1605
01:17:42,053 --> 01:17:43,487
CLIFFORD,
I HATE TO ASK THIS,
1606
01:17:43,555 --> 01:17:45,055
BUT COULD YOU GIVE ME
1607
01:17:45,123 --> 01:17:47,525
YOUR OWN SPECIAL
DEFINITION OF SUCCESS?!
1608
01:17:47,592 --> 01:17:51,028
BEING GANGBANGED IN A SHOWER
IN THE STATE PENITENTIARY?!
1609
01:17:51,095 --> 01:17:52,196
OH, JEEZ, I KNEW
1610
01:17:52,263 --> 01:17:53,497
YOU WERE GOING TO HAVE
RESERVATIONS ABOUT IT.
1611
01:17:53,565 --> 01:17:55,199
RESERVATIONS?!
1612
01:17:55,266 --> 01:17:59,303
I AM STANDING HERE PETRIFIED,
STUPEFIED, HORRIFIED!
1613
01:17:59,371 --> 01:18:01,138
HOW'S THAT FOR
BLOODY RESERVATIONS?!
1614
01:18:01,206 --> 01:18:02,940
COME ON, SIDNEY, LISTEN.
1615
01:18:03,007 --> 01:18:05,976
LOOK, THERE IS NO WAY
FOR ANYBODY TO PROVE
1616
01:18:06,044 --> 01:18:08,479
WHAT DID OR DID NOT CAUSE
MYRA TO HAVE A HEART ATTACK.
1617
01:18:08,547 --> 01:18:09,480
HA HA!
1618
01:18:09,548 --> 01:18:11,449
A--A PLAYWRIGHT,
1619
01:18:11,516 --> 01:18:13,917
A WRITER OF THRILLERS,
1620
01:18:13,985 --> 01:18:15,519
AND LIVING
IN LONG ISLAND!
1621
01:18:15,587 --> 01:18:17,321
SIDNEY, COME ON,
BABE, BABE, BABE,
1622
01:18:17,389 --> 01:18:19,923
IF I COULD CHANGE THINGS,
I WOULD, BUT I CAN'T.
1623
01:18:19,991 --> 01:18:22,159
NOW, LOOK, IT'S GOT
TO BE A PLAYWRIGHT.
1624
01:18:22,227 --> 01:18:24,395
WHO ELSE CAN PRETEND
TO BE ABOUT TO RECEIVE
1625
01:18:24,463 --> 01:18:26,530
A FINISHED WORK THAT
CAN MAKE A TON OF MONEY?
1626
01:18:26,598 --> 01:18:27,998
UH, A COMPOSER,
A NOVEL--
1627
01:18:28,066 --> 01:18:29,467
WHY AM I
DISCUSSING THIS?!
1628
01:18:29,534 --> 01:18:30,601
OH, CHECK.
1629
01:18:30,669 --> 01:18:33,571
A SUREFIRE, SMASH-HIT
SYMPHONY. UH-HUH.
1630
01:18:33,638 --> 01:18:35,939
AND DOES A NOVELIST
OR A COMPOSER KNOW
1631
01:18:36,007 --> 01:18:37,675
WHERE TO GET A CHAIN
THAT SQUIRTS BLOOD
1632
01:18:37,743 --> 01:18:39,610
OR HOW TO STAGE
A CONVINCING MURDER?
1633
01:18:39,678 --> 01:18:41,579
IT'S GOT TO BE A PLAYWRIGHT
WHO WRITES THRILLERS,
1634
01:18:41,646 --> 01:18:43,013
'CAUSE, I MEAN,
I DON'T KNOW,
1635
01:18:43,081 --> 01:18:45,015
ARTHUR MILLER PROBABLY
HAS OLD SAMPLE CASES
1636
01:18:45,083 --> 01:18:46,751
HANGING ON THE WALL.
UH...
1637
01:18:46,818 --> 01:18:48,652
I CAN MAKE IT BRIDGEHAMPTON,
NOT EASTHAMPTON.
1638
01:18:48,720 --> 01:18:50,020
WHY MAKE IT ANYWHERE?!
1639
01:18:50,088 --> 01:18:51,522
WHY MAKE IT?!
1640
01:18:51,590 --> 01:18:53,123
HA HA! BECAUSE
IT'S THERE, SIDNEY.
1641
01:18:53,191 --> 01:18:55,192
THAT'S MOUNTAINS,
NOT PLAYS!
1642
01:18:55,260 --> 01:18:58,228
PLAYS ARE NOT THERE UNTIL
SOME ASSHOLE WRITES THEM!
1643
01:18:58,296 --> 01:19:01,198
OH, OH, COME ON.
OH, HEY, HEY, COME ON.
1644
01:19:01,266 --> 01:19:03,768
IT'S ALL RIGHT. SH-SHH.
JUST SIT DOWN. SIT DOWN.
1645
01:19:03,835 --> 01:19:06,303
COME ON, SIT DOWN.
COME ON.
1646
01:19:06,371 --> 01:19:08,572
IT'S ALL RIGHT.
1647
01:19:08,640 --> 01:19:11,575
HEY, SH-SHH.
LISTEN TO ME.
1648
01:19:11,643 --> 01:19:16,447
SH-SHH. OK? NOW, THINK
FOR A MINUTE, ALL RIGHT?
1649
01:19:16,515 --> 01:19:18,081
JUST THINK
ABOUT EVERYTHING
1650
01:19:18,149 --> 01:19:20,250
THAT HAPPENED
THAT NIGHT.
1651
01:19:20,318 --> 01:19:22,520
NOW, TRY TO SEE IT
1652
01:19:22,587 --> 01:19:26,590
FROM AN AUDIENCE'S
POINT OF VIEW.
1653
01:19:26,658 --> 01:19:29,993
SEE, EVERYTHING THAT
WE DID TO CONVINCE MYRA
1654
01:19:30,061 --> 01:19:31,896
THAT SHE WAS SEEING
A REAL MURDER
1655
01:19:31,963 --> 01:19:33,898
WOULD HAVE EXACTLY
THE SAME EFFECT
1656
01:19:33,965 --> 01:19:35,733
ON AN AUDIENCE,
WOULDN'T IT?
1657
01:19:35,801 --> 01:19:37,935
DIDN'T WE WRITE A PLAY?
DIDN'T WE REHEARSE A PLAY?
1658
01:19:38,002 --> 01:19:39,937
DIDN'T WE PLAN IT?
DIDN'T WE EXECUTE IT?
1659
01:19:40,004 --> 01:19:41,305
WASN'T SHE THE AUDIENCE?
1660
01:19:41,372 --> 01:19:43,474
WE DID IT!
AND IT WORKED.
1661
01:19:43,542 --> 01:19:44,909
IT WORKED PERFECTLY,
1662
01:19:44,976 --> 01:19:46,243
AND NOBODY CAN PROVE
1663
01:19:46,311 --> 01:19:47,945
WHAT REALLY HAPPENED
HERE, NOBODY!
1664
01:19:48,012 --> 01:19:49,747
AND WHAT ARE YOU
GOING TO SAY
1665
01:19:49,815 --> 01:19:52,249
TO THE MEN FROM THE TIMES
WHEN THEY ASK YOU,
1666
01:19:52,317 --> 01:19:54,217
"DIDN'T YOU WORK
FOR SIDNEY BRUHL,
1667
01:19:54,285 --> 01:19:56,153
"AND DIDN'T HIS WIFE
HAVE A HEART ATTACK
1668
01:19:56,220 --> 01:19:58,622
AT ABOUT THE SAME TIME
YOU CAME HERE?"
1669
01:20:01,660 --> 01:20:04,194
UH...NO COMMENT.
1670
01:20:04,262 --> 01:20:06,797
WELL, I HAVE A COMMENT.
1671
01:20:06,864 --> 01:20:11,034
NO! ABSOLUTELY
AND DEFINITELY NO!
1672
01:20:11,102 --> 01:20:13,304
I HAVE A NAME
AND A REPUTATION.
1673
01:20:13,371 --> 01:20:15,038
SOMEWHAT TATTERED,
PERHAPS,
1674
01:20:15,106 --> 01:20:17,040
BUT STILL GOOD
FOR DINNER INVITATIONS
1675
01:20:17,108 --> 01:20:18,776
AND SUMMER SEMINARS.
1676
01:20:18,843 --> 01:20:21,111
AND I WISH
TO LIVE OUT MY YEARS
1677
01:20:21,179 --> 01:20:23,880
AS THE MAN WHO WROTE
THE MURDER GAME,
1678
01:20:23,948 --> 01:20:27,618
NOT AS THE FAGGOT
WHO KNOCKED OFF HIS WIFE.
1679
01:20:27,686 --> 01:20:30,287
WHY, LOOK!
A BRICK FIREPLACE!
1680
01:20:30,355 --> 01:20:32,255
I WONDER
IF IT IS PRACTICAL
1681
01:20:32,324 --> 01:20:35,225
TO THE EXTENT THAT
PAPER CAN BURN IN IT.
1682
01:20:35,293 --> 01:20:37,394
STOP RIGHT WHERE
YOU ARE, FELLA.
1683
01:20:41,499 --> 01:20:43,734
YOU BURN THAT AND I'LL
GO RIGHT OUT OF HERE
1684
01:20:43,802 --> 01:20:46,570
AND WRITE IT
SOMEPLACE ELSE.
1685
01:20:46,638 --> 01:20:48,171
NOW, YOU GIVE IT TO ME.
1686
01:20:51,309 --> 01:20:54,077
GIVE IT TO ME!
1687
01:21:06,758 --> 01:21:08,158
THANK YOU.
1688
01:21:15,032 --> 01:21:17,334
YOU KNOW, WE REALLY,
1689
01:21:17,402 --> 01:21:19,370
REALLY SHOULDN'T GET ANGRY
WITH EACH OTHER, SIDNEY.
1690
01:21:19,437 --> 01:21:22,773
YOU SEE, THAT'S--THAT'S
NOT WHAT I WANT.
1691
01:21:22,841 --> 01:21:24,775
OF COURSE NOT.
1692
01:21:24,843 --> 01:21:28,278
LET'S, UH...TALK ABOUT
EXACTLY WHAT IT IS...
1693
01:21:28,346 --> 01:21:29,913
YOU DO WANT.
1694
01:21:29,981 --> 01:21:31,515
CERTAINLY.
1695
01:21:37,589 --> 01:21:40,524
I WANT A SHORTCUT, AND I
REALLY DON'T GIVE A SHIT
1696
01:21:40,592 --> 01:21:41,792
WHOSE PROPERTY
IT CUTS THROUGH,
1697
01:21:41,860 --> 01:21:43,994
IF YOU UNDERSTAND ME.
1698
01:21:45,497 --> 01:21:48,499
AND YOU THINK THAT THAT PLAY,
THAT WILD CONCOCTION OF...
1699
01:21:48,566 --> 01:21:50,634
OF TRUTH, OF FACT.
1700
01:21:50,702 --> 01:21:51,968
CLIFFORD, MY DEAR,
1701
01:21:52,036 --> 01:21:54,337
THOSE FACTS ARE THE MOST
OUTLANDISH AND PREPOSTEROUS...
1702
01:21:54,406 --> 01:21:56,540
SET OF CIRCUMSTANCES
ENTERTAINING ENOUGH
1703
01:21:56,608 --> 01:21:59,610
TO PERSUADE AN AUDIENCE
TO SUSPEND ITS DISBELIEF.
1704
01:21:59,677 --> 01:22:01,412
OPENING LECTURE.
1705
01:22:02,747 --> 01:22:04,281
YOU'RE AN EXCELLENT
STUDENT, CLIFFORD.
1706
01:22:10,321 --> 01:22:13,089
STUDENT, COMPANION,
1707
01:22:13,157 --> 01:22:15,124
LOVER...
COLLABORATOR.
1708
01:22:15,192 --> 01:22:17,861
WE'RE GOING TO WRITE
DEATHTRAP, SIDNEY,
1709
01:22:17,929 --> 01:22:21,431
YOU AND ME. I MEAN,
IT'S PERFECT.
1710
01:22:21,499 --> 01:22:24,000
HA! OH, CHRIST, WHAT
THE HELL DO YOU CARE
1711
01:22:24,068 --> 01:22:25,502
IF THE PUBLICITY
GETS A LITTLE STICKY?
1712
01:22:25,570 --> 01:22:28,638
COME ON, DON'T BE
SUCH AN OLD NELLIE.
1713
01:22:28,706 --> 01:22:31,040
I MEAN, JUST LOOK AROUND
YOU! JESUS CHRIST,
1714
01:22:31,108 --> 01:22:32,809
YOU DON'T HAVE TO READ
HUSTLER. YOU KNOW?
1715
01:22:32,877 --> 01:22:34,143
JUST READ, UH...
1716
01:22:34,211 --> 01:22:36,446
VILLAGE VOICE,
PEOPLE MAGAZINE.
1717
01:22:36,514 --> 01:22:39,182
SIDNEY, I'LL
TELL YOU SOMETHING.
1718
01:22:39,249 --> 01:22:42,051
EVERYTHING THAT YOU
HAVE EVER THOUGHT OF
1719
01:22:42,119 --> 01:22:43,820
AND A HELL OF A LOT
THAT YOU HAVEN'T
1720
01:22:43,888 --> 01:22:45,489
IS IN PRINT
AND ON THE SCREEN.
1721
01:22:45,556 --> 01:22:47,691
I MEAN, BABE,
IT IS A TIDAL WAVE.
1722
01:22:47,758 --> 01:22:49,893
ALL THE NEWS IS FIT
TO PRINT AND SHOW.
1723
01:22:49,961 --> 01:22:52,195
SIDNEY,
NOBODY GIVES A SHIT
1724
01:22:52,262 --> 01:22:54,931
WHO DID WHAT OR
WHO THEY DID IT TO.
1725
01:22:54,999 --> 01:22:56,700
ALL THEY WANT
IS TO BE IN ON IT.
1726
01:22:56,767 --> 01:22:58,167
I MEAN, YOU
KILLED YOUR WIFE?
1727
01:22:58,235 --> 01:23:00,670
THAT'S OK. WHY DON'T YOU
ABUSE YOUR KIDS,
1728
01:23:00,738 --> 01:23:03,006
POISON THE WELL,
FLOG BATS?
1729
01:23:03,073 --> 01:23:04,173
AS LONG AS YOU
GET ON TELEVISION,
1730
01:23:04,241 --> 01:23:05,775
TALK ABOUT IT
AFTERWARDS.
1731
01:23:05,843 --> 01:23:07,577
YOU KNOW I'M RIGHT,
DON'T YOU?
1732
01:23:07,645 --> 01:23:09,445
SIDNEY, YOU EVER
HEAR OF SOMEBODY
1733
01:23:09,514 --> 01:23:10,614
TURNING DOWN A PARTY
1734
01:23:10,681 --> 01:23:13,349
WHERE THEY THINK THEY
CAN MEET NIXON OR VESCO
1735
01:23:13,417 --> 01:23:16,887
OR ANY ONE OF THOSE BIG GUYS
THAT GOT AWAY WITH IT?
1736
01:23:16,954 --> 01:23:18,588
NOW, LISTEN.
1737
01:23:18,656 --> 01:23:21,124
I'VE GIVEN THIS A LOT
OF SERIOUS THOUGHT,
1738
01:23:21,191 --> 01:23:24,528
AND I REALLY THINK IF
THERE'S SOME TALK ABOUT US
1739
01:23:24,595 --> 01:23:27,096
AND ABOUT MYRA,
IT CAN HELP THE PLAY.
1740
01:23:31,268 --> 01:23:33,236
WELL...
1741
01:23:33,303 --> 01:23:36,873
YOU REALLY HAVE GIVEN IT
SOME THOUGHT, HAVEN'T YOU?
1742
01:23:36,941 --> 01:23:39,876
WHO KNOWS? YOU, UH,
YOU MAY BE RIGHT, BUT, UH...
1743
01:23:39,944 --> 01:23:41,578
BUT WHAT?
1744
01:23:43,548 --> 01:23:46,416
LET'S BE HONEST,
CLIFFORD, AND I MEAN...
1745
01:23:46,483 --> 01:23:48,752
REALLY HONEST.
1746
01:23:48,819 --> 01:23:52,255
IF YOU HAD THE CHOICE BETWEEN
TURNING OUT JUST A HIT PLAY
1747
01:23:52,322 --> 01:23:55,191
AND TURNING OUT A HIT PLAY
WITH DANGEROUS ORIGINS,
1748
01:23:55,259 --> 01:23:57,460
YOU'D CHOOSE
THE LATTER, RIGHT?
1749
01:24:00,230 --> 01:24:01,598
CLEVER OLD SID.
1750
01:24:01,666 --> 01:24:04,233
NOW, LEVEL WITH ME,
LUV.
1751
01:24:04,301 --> 01:24:06,202
THOSE LITTLE BRUSHES
WITH THE AUTHORITIES--
1752
01:24:06,270 --> 01:24:09,005
IN YOUR INFANCY,
AS IT WERE,
1753
01:24:09,073 --> 01:24:11,675
BEFORE YOU MATURED AND
SETTLED DOWN, SO TO SPEAK--
1754
01:24:11,742 --> 01:24:15,712
DID ANY OF
THE--THE COURTS
1755
01:24:15,780 --> 01:24:18,281
OR THE SOCIAL WORKERS
OR THE SHRINKS...
1756
01:24:20,417 --> 01:24:24,153
DID ANYBODY
EVER USE THE WORD...
1757
01:24:25,289 --> 01:24:26,856
WHAT WORD, LUV?
1758
01:24:30,828 --> 01:24:33,663
"SOCIOPATH."
1759
01:24:33,731 --> 01:24:35,465
I-ISN'T THAT
WHAT IT'S CALLED?
1760
01:24:35,532 --> 01:24:37,901
THAT'S WHAT IT'S CALLED.
1761
01:24:37,969 --> 01:24:40,804
DOES THAT WORD...
FRIGHTEN YOU, SIDNEY?
1762
01:24:40,871 --> 01:24:42,538
OH, NO, IT DOESN'T
FRIGHTEN ME.
1763
01:24:42,607 --> 01:24:44,507
IT DOES, HOWEVER...
1764
01:24:44,575 --> 01:24:46,209
GIVE ME PAUSE.
1765
01:24:46,276 --> 01:24:49,746
CLINICALLY, IT MEANS,
AS I'M SURE YOU KNOW,
1766
01:24:49,814 --> 01:24:55,418
IT MEANS ONE WHO HAS NO SENSE
OF MORAL OBLIGATION WHATSOEVER.
1767
01:24:55,486 --> 01:24:59,288
NOW, IF, AND I REPEAT, IF
1768
01:24:59,356 --> 01:25:01,825
I DECIDE TO KICK
OVER THE TRACES
1769
01:25:01,892 --> 01:25:03,693
AND ACTUALLY WRITE
DEATHTRAP...
1770
01:25:03,761 --> 01:25:05,461
WITH ME.
1771
01:25:05,529 --> 01:25:06,963
OH, YES, OF COURSE,
WITH YOU.
1772
01:25:07,031 --> 01:25:08,665
IF I DECIDED TO ENTER
1773
01:25:08,733 --> 01:25:12,002
INTO SUCH A RISKY
AND EXCITING COLLABORATION,
1774
01:25:12,069 --> 01:25:14,004
I WONDER IF, UM...
1775
01:25:14,071 --> 01:25:15,271
IF WHAT?
1776
01:25:15,339 --> 01:25:16,840
I WONDER IF
IT WOULD NOT BE--
1777
01:25:16,907 --> 01:25:21,244
WELL, JUST A TRIFLE
STARRY-EYED OF ME
1778
01:25:21,311 --> 01:25:23,647
TO CONTEMPLATE A PARTNERSHIP
1779
01:25:23,714 --> 01:25:28,018
WHERE I COULD COUNT ON NO SENSE
OF MORAL OBLIGATION WHATSOEVER.
1780
01:25:30,287 --> 01:25:31,855
ARE YOU TRYING TO SAY
1781
01:25:31,922 --> 01:25:33,657
THAT YOU DON'T THINK
THAT YOU CAN TRUST ME?
1782
01:25:33,724 --> 01:25:35,659
HOW CLEARLY YOU PUT IT.
1783
01:25:35,726 --> 01:25:37,661
THAT'S UP TO YOU,
SIDNEY.
1784
01:25:37,728 --> 01:25:40,563
YOU CAN TRUST ME.
1785
01:25:40,631 --> 01:25:42,799
YOU CAN ALWAYS TRUST ME.
1786
01:25:42,867 --> 01:25:45,201
YOU JUST HAVE TO BE SURE
ABOUT ONE LITTLE THING.
1787
01:25:45,269 --> 01:25:46,836
AND THAT IS?
1788
01:25:46,904 --> 01:25:48,838
YOU JUST HAVE TO BE SURE
1789
01:25:48,906 --> 01:25:51,007
THAT WHATEVER HAPPENS,
I NEED YOU.
1790
01:25:51,075 --> 01:25:52,742
FOR INSTANCE,
1791
01:25:52,810 --> 01:25:54,644
LIKE I NEED YOU NOW.
1792
01:25:54,712 --> 01:25:56,980
WOULD YOU
COUNT THE WAYS?
1793
01:25:57,048 --> 01:25:58,381
SURE.
1794
01:25:58,448 --> 01:26:01,384
ONE--IT'S A LITTLE ACADEMIC,
PERHAPS, BUT NEVERTHELESS,
1795
01:26:01,451 --> 01:26:03,452
I KNOW THAT SCENE ONE
IS STILL COMING OUT
1796
01:26:03,520 --> 01:26:05,155
A LITTLE STILTED
AND HEAVY-HANDED.
1797
01:26:05,222 --> 01:26:07,356
OF COURSE I COULD
HELP YOU FIX THAT.
1798
01:26:09,026 --> 01:26:10,560
THEN DO IT.
1799
01:26:16,500 --> 01:26:19,536
GOD KNOWS I COULD DO
WITH HALF THE ROYALTIES
1800
01:26:19,603 --> 01:26:21,571
OF A GOOD, SOLID HIT.
1801
01:26:21,639 --> 01:26:23,973
PORTER JUST GAVE ME
THE FIGURES
1802
01:26:24,041 --> 01:26:25,775
ON MYRA'S ESTATE.
1803
01:26:25,842 --> 01:26:27,977
IT WAS A BIT
OF A SHOCK.
1804
01:26:28,045 --> 01:26:30,446
EVEN SMALLER
THAN I THOUGHT.
1805
01:26:30,514 --> 01:26:32,815
42,000 LOUSY BUCKS.
1806
01:26:32,883 --> 01:26:34,850
THERE'S THE HOUSE
AND LAND, OF COURSE,
1807
01:26:34,918 --> 01:26:36,553
BUT I CAN'T
EVEN SELL ANY ACREAGE
1808
01:26:36,620 --> 01:26:39,489
UNTIL THE WILL
GOES THROUGH PROBATE,
1809
01:26:39,557 --> 01:26:42,458
AND HE SAYS THAT WILL
TAKE NEARLY 2 YEARS.
1810
01:26:42,526 --> 01:26:44,827
YOU'RE NOT GOING TO
LIVE LONG ON THAT MUCH.
1811
01:26:44,895 --> 01:26:46,496
WHAT ABOUT THE INSURANCE?
1812
01:26:46,564 --> 01:26:47,664
MINIMAL.
1813
01:26:47,731 --> 01:26:49,499
MY OFFER'S OPEN,
SIDNEY.
1814
01:26:52,869 --> 01:26:55,071
I'LL DO IT!
1815
01:26:55,138 --> 01:26:56,706
THEY CAN WAG
THEIR DAMN TONGUES OFF.
1816
01:26:56,773 --> 01:26:58,775
I'LL BLUSH ALL THE WAY
TO THE BANK.
1817
01:26:58,842 --> 01:27:01,243
AH! YOU MEAN IT?
1818
01:27:01,311 --> 01:27:03,279
TA-DA!
1819
01:27:03,346 --> 01:27:05,081
BRUHL AND ANDERSON.
1820
01:27:05,149 --> 01:27:06,716
BRUHL AND ANDERSON.
1821
01:27:08,552 --> 01:27:10,386
WE'LL MAKE IT BRIDGEHAMPTON,
NOT EASTHAMPTON.
1822
01:27:10,453 --> 01:27:12,088
OH, WHAT THE HELL,
WHO CARES?
1823
01:27:12,156 --> 01:27:14,290
I DON'T BELIEVE IT.
ME, CLIFFORD ANDERSON,
1824
01:27:14,357 --> 01:27:17,026
ACTUALLY COLLABORATING
WITH SIDNEY BRUHL!
1825
01:27:17,094 --> 01:27:19,562
DON'T KID A KIDDER, CLIFF.
THAT'S FROM ACT ONE.
1826
01:27:19,629 --> 01:27:20,563
HERE YOU GO.
1827
01:27:20,630 --> 01:27:21,931
HAPPY NEW YEAR.
1828
01:27:27,270 --> 01:27:28,705
DEATHTRAP.
1829
01:27:28,772 --> 01:27:29,839
DEATHTRAP.
1830
01:27:34,712 --> 01:27:37,680
I THINK WE MIGHT HAVE A PROBLEM
WITH ACT TWO, 'CAUSE...
1831
01:27:37,748 --> 01:27:39,281
UH-OH. HOW SO?
1832
01:27:39,349 --> 01:27:40,783
WELL, WE'VE GOT A MURDER
IN THE FIRST ACT.
1833
01:27:40,851 --> 01:27:42,351
WE GOT 2 MURDERS,
AS A MATTER OF FACT.
1834
01:27:42,419 --> 01:27:44,353
I THINK THAT ACT TWO
MIGHT BE A LETDOWN.
1835
01:27:44,421 --> 01:27:45,554
NOT NECESSARILY.
1836
01:27:45,622 --> 01:27:47,123
MAYBE WE SHOULD BRING IN
A FIFTH CHARACTER.
1837
01:27:47,191 --> 01:27:48,758
A DETECTIVE
LIKE A LONG ISLAND VERSION
1838
01:27:48,826 --> 01:27:50,359
OF THE ONE THEY HAD
IN DIAL M, HUH?
1839
01:27:50,427 --> 01:27:51,660
INSPECTOR HUBBARD.
1840
01:27:51,729 --> 01:27:53,362
YEAH, I THINK
INGA VAN BRONK
1841
01:27:53,430 --> 01:27:54,797
SHOULD COME IN
AGAIN, TOO.
1842
01:27:54,865 --> 01:27:57,266
GOOD. NOW, YOU GO ON
DRAFTING ACT ONE, CLIFFORD,
1843
01:27:57,334 --> 01:28:00,002
AND LET ME DO THE THINKING
ABOUT ACT TWO.
1844
01:28:12,582 --> 01:28:14,683
[THUNDER]
1845
01:29:05,635 --> 01:29:07,736
[THUNDER]
1846
01:29:33,864 --> 01:29:35,965
[KNOCK ON WINDOW]
1847
01:29:41,571 --> 01:29:42,504
IT'S HELGA.
1848
01:29:42,572 --> 01:29:44,673
IT'S ONLY HELGA,
MR. BRUHL.
1849
01:29:47,077 --> 01:29:48,510
YOU'RE NOT
MR. BRUHL.
1850
01:29:48,578 --> 01:29:50,980
UH, MR. BRUHL
ISN'T HERE.
1851
01:29:52,316 --> 01:29:53,649
OH.
1852
01:29:55,018 --> 01:29:56,819
IS VERY WET.
1853
01:29:56,887 --> 01:29:57,820
OH, SORRY.
1854
01:29:57,888 --> 01:30:00,189
UH, WHY DON'T
YOU COME IN?
1855
01:30:00,257 --> 01:30:01,324
OK.
1856
01:30:06,496 --> 01:30:07,563
WHOO.
1857
01:30:09,066 --> 01:30:12,835
UH, MR. BRUHL SHOULD
BE BACK IN A MINUTE.
1858
01:30:12,903 --> 01:30:14,337
YOU ARE, UH...
1859
01:30:14,404 --> 01:30:15,504
I'M CLIFFORD ANDERSON.
1860
01:30:15,572 --> 01:30:16,638
I'M HIS SECRETARY.
1861
01:30:16,706 --> 01:30:18,674
I'M HELGA TEN DORP.
1862
01:30:23,013 --> 01:30:24,013
I'M PSYCHIC.
1863
01:30:24,081 --> 01:30:25,014
UH, YES, I KNOW.
1864
01:30:25,082 --> 01:30:27,016
IN FACT, MR. BRUHL
TOLD ME ABOUT YOU.
1865
01:30:27,084 --> 01:30:29,518
HE SAID YOU WERE ACTUALLY ABLE
TO PREDICT HIS WIFE'S DEATH.
1866
01:30:29,586 --> 01:30:34,757
JA. JA, WAS MUCH PAIN
RIGHT HERE.
1867
01:30:36,593 --> 01:30:37,526
HMM.
1868
01:30:37,594 --> 01:30:39,962
VERY SAD.
SUCH A NICE LADY.
1869
01:30:40,030 --> 01:30:41,630
AY, THIS ROOM.
1870
01:30:43,033 --> 01:30:44,500
HE IS WELL,
MR. BRUHL?
1871
01:30:44,567 --> 01:30:46,269
OH, YES, MA'AM,
HE'S JUST FINE.
1872
01:30:46,336 --> 01:30:48,271
IN FACT, HE'S GONE OUT TO DINNER
FOR THE FIRST TIME SINCE--
1873
01:30:48,338 --> 01:30:50,006
HE SAID HE'D BE BACK
AROUND 10:00.
1874
01:30:50,073 --> 01:30:51,207
SHOULD BE ABOUT THAT NOW.
1875
01:30:51,275 --> 01:30:52,508
IT WILL BE
BIG STORM.
1876
01:30:52,575 --> 01:30:53,842
MUCH WIND
AND RAIN,
1877
01:30:53,911 --> 01:30:55,244
LIGHTNING
AND THUNDER.
1878
01:30:55,312 --> 01:30:56,913
AGAIN TREES
WILL FALL.
1879
01:30:56,980 --> 01:30:58,014
ARE YOU SURE?
1880
01:30:58,081 --> 01:30:59,648
JA,
WAS ON RADIO.
1881
01:30:59,716 --> 01:31:01,951
I COME TO BORROW
CANDLES.
1882
01:31:02,019 --> 01:31:04,253
ARE NONE
IN COTTAGE.
1883
01:31:04,321 --> 01:31:06,188
YOU HAVE?
1884
01:31:06,256 --> 01:31:08,024
WELL, I'M SURE
HE MUST HAVE SOME.
1885
01:31:08,091 --> 01:31:10,359
WHY DON'T YOU
SIT DOWN, MA'AM?
1886
01:31:10,427 --> 01:31:11,660
THANK YOU.
1887
01:31:16,433 --> 01:31:17,866
BOOTS?
1888
01:31:19,920 --> 01:31:21,387
YOU WEAR BOOTS?
1889
01:31:21,455 --> 01:31:22,722
OH, YES, MA'AM.
1890
01:31:22,790 --> 01:31:23,956
PRACTICALLY EVERYBODY
DOES THESE DAYS.
1891
01:31:24,024 --> 01:31:25,124
THEY'RE
VERY COMFORTABLE.
1892
01:31:25,191 --> 01:31:29,862
UH, YOU ARE FOR LONG TIME
SECRETARY TO MR. BRUHL?
1893
01:31:29,930 --> 01:31:30,863
UH, NO.
1894
01:31:30,931 --> 01:31:33,032
ACTUALLY I CAME HERE
ABOUT 3 WEEKS AGO
1895
01:31:33,099 --> 01:31:34,534
AFTER HIS WIFE DIED.
1896
01:31:34,601 --> 01:31:37,303
[CAR PULLS UP]
1897
01:31:37,370 --> 01:31:38,671
EXCUSE ME.
1898
01:31:42,375 --> 01:31:43,843
AH, MR. BRUHL.
1899
01:31:43,911 --> 01:31:45,210
BLOODY BORE PORTER IS.
1900
01:31:45,278 --> 01:31:47,012
GLAD YOU'RE BACK.
MRS. TEN DORP IS HERE.
1901
01:31:47,080 --> 01:31:48,113
OH, HELGA,
HOW NICE TO SEE YOU.
1902
01:31:48,181 --> 01:31:49,515
HOW GOOD YOU GET
HOME BEFORE STORM.
1903
01:31:49,583 --> 01:31:51,517
MISS TEN DORP SAYS
WE'RE IN FOR A BAD ONE.
1904
01:31:51,585 --> 01:31:53,018
SHE CAME TO BORROW
SOME CANDLES.
1905
01:31:53,086 --> 01:31:54,119
DO WE HAVE ANY?
1906
01:31:54,187 --> 01:31:56,388
YES, THERE'S
SOME UPSTAIRS.
1907
01:31:56,457 --> 01:31:58,357
I SAW YOU ON
THE MERV GRIFFIN SHOW.
1908
01:31:58,425 --> 01:32:00,025
IT WASN'T A VERY GOOD
NIGHT, WAS IT?
1909
01:32:00,093 --> 01:32:01,026
WHAT IS IT?
1910
01:32:01,094 --> 01:32:02,528
IS MAN
I WARN YOU OF.
1911
01:32:02,596 --> 01:32:04,029
MAN IN BOOTS
WHO ATTACKS YOU.
1912
01:32:04,097 --> 01:32:05,130
WARN ME?
1913
01:32:05,198 --> 01:32:07,667
OH, YES. IN THE TURMOIL
OF MYRA'S DEATH--
1914
01:32:07,734 --> 01:32:08,668
IS HE.
1915
01:32:08,735 --> 01:32:11,136
CANDLES ARE NOT
WHY I COME.
1916
01:32:11,204 --> 01:32:13,238
I HAVE MANY CANDLES.
BUT AGAIN TONIGHT,
1917
01:32:13,306 --> 01:32:15,274
I FEEL DANGER HERE
IN THIS ROOM.
1918
01:32:15,342 --> 01:32:17,242
THE FEELING,
VERY STRONG.
1919
01:32:17,310 --> 01:32:19,345
YOU SHOULD NOT
HAVE HIM HERE.
1920
01:32:19,412 --> 01:32:21,481
OH, THIS IS WEIRD.
1921
01:32:21,548 --> 01:32:24,016
THIS IS
ABSOLUTELY AMAZING.
1922
01:32:24,084 --> 01:32:25,518
DO YOU KNOW,
1923
01:32:25,586 --> 01:32:29,121
I DECIDED JUST TONIGHT
TO DISMISS HIM?
1924
01:32:29,189 --> 01:32:31,791
I WAS DISCUSSING THIS
WITH MY LAWYER.
1925
01:32:31,859 --> 01:32:34,026
NOW, I FELT UNEASY
ABOUT HIM LAST WEEK,
1926
01:32:34,094 --> 01:32:35,795
AND I ASKED MY LAWYER
TO CHECK ON HIM.
1927
01:32:35,863 --> 01:32:36,829
[GASPS]
1928
01:32:36,897 --> 01:32:38,731
SMITH-CORONA?
1929
01:32:40,200 --> 01:32:41,133
IS HIS?
1930
01:32:41,201 --> 01:32:42,935
WHY, UH, YES.
1931
01:32:43,003 --> 01:32:45,738
CORONA, NOT COLONNA.
1932
01:32:45,806 --> 01:32:48,040
YOU MUST SEND AWAY
THIS MAN AT ONCE.
1933
01:32:48,108 --> 01:32:49,542
OH, I WAS GOING TO.
1934
01:32:49,610 --> 01:32:51,243
WELL, GIVE HIM
HIS NOTICE, AT LEAST.
1935
01:32:51,311 --> 01:32:53,245
AND I SHAN'T PUT IT OFF
NOW THAT YOU'VE WARNED ME.
1936
01:32:53,313 --> 01:32:54,714
BUT TELL ME,
1937
01:32:54,781 --> 01:32:59,218
ARE YOU POSITIVE THAT
YOU SAW HIM ATTACKING ME?
1938
01:32:59,285 --> 01:33:01,854
VERY SHARP,
VERY CLEAR.
1939
01:33:01,922 --> 01:33:04,189
LIKE TV WITH CABLE.
1940
01:33:04,257 --> 01:33:06,025
AH, THANK YOU.
1941
01:33:06,092 --> 01:33:07,527
JA, I TAKE 2.
1942
01:33:07,594 --> 01:33:08,528
THERE'S
PLENTY MORE.
1943
01:33:08,595 --> 01:33:10,396
OH, NO, NO,
2 IS ENOUGH.
1944
01:33:10,463 --> 01:33:12,164
Clifford: IT'S REALLY
BLOWING UP OUT THERE.
1945
01:33:12,232 --> 01:33:15,334
JA, SOMETIMES THEY GET IT
RIGHT, THESE WEATHERMEN.
1946
01:33:17,604 --> 01:33:19,539
YOU WANT I SHOULD STAY?
1947
01:33:19,606 --> 01:33:20,873
NO, THERE'S NO NEED.
1948
01:33:20,941 --> 01:33:23,042
YOU'RE GOING TO GET VERY
WET OUT THERE, YOU KNOW?
1949
01:33:23,109 --> 01:33:25,011
I'M NOT AFRAID OF RAIN.
1950
01:33:25,078 --> 01:33:26,045
GOOD NIGHT.
1951
01:33:26,112 --> 01:33:27,780
IT WAS VERY NICE
MEETING YOU.
1952
01:33:27,848 --> 01:33:29,281
SHE TOLD YOU
1953
01:33:29,349 --> 01:33:31,483
I'M MAN IN BOOTS
WHO ATTACKS YOU, JA?
1954
01:33:31,551 --> 01:33:32,551
JA.
1955
01:33:32,618 --> 01:33:34,519
SHE NOTICED THEM JUST
BEFORE YOU CAME IN.
1956
01:33:34,587 --> 01:33:36,521
I TOLD HER YOU WERE
GIVING ME KARATE LESSONS
1957
01:33:36,589 --> 01:33:39,024
AND WE WERE ATTACKING EACH OTHER
ALL OVER THE PLACE.
1958
01:33:39,092 --> 01:33:41,526
THE CLOSER YOU STICK
TO THE TRUTH, THE BETTER.
1959
01:33:41,594 --> 01:33:42,527
OLD BAT.
1960
01:33:42,595 --> 01:33:44,529
LISTEN,
I FINISHED ACT ONE.
1961
01:33:44,597 --> 01:33:46,498
WELL, YOUR EVENING WAS
BETTER SPENT THAN MINE.
1962
01:33:46,566 --> 01:33:48,968
I'VE ENDED IT WITH
JULIAN ON THE PHONE.
1963
01:33:49,035 --> 01:33:51,536
"OH, GOD, HOW CAN
I GO ON WITHOUT HER?"
1964
01:33:51,604 --> 01:33:54,039
YEAH, HE WANTS THE DOCTOR
TO THINK HE'S UPSET, RIGHT?
1965
01:33:54,107 --> 01:33:55,540
THE DIALOGUE'S
A BIT TIN PAN ALLEY,
1966
01:33:55,608 --> 01:33:57,042
BUT YOUR TIMING
COULDN'T BE BETTER.
1967
01:33:57,110 --> 01:33:58,610
I'VE GOT ACT TWO
READY TO GO.
1968
01:33:58,678 --> 01:33:59,611
TERRIFIC.
1969
01:33:59,679 --> 01:34:01,013
WELL, AT LEAST
I THINK I HAVE.
1970
01:34:01,081 --> 01:34:03,749
THERE ARE 2 BITS OF BUSINESS
I'M NOT SURE WILL WORK.
1971
01:34:03,816 --> 01:34:04,917
MM-HMM.
1972
01:34:04,985 --> 01:34:06,919
WE'LL TRY THEM,
AND IF THEY DO,
1973
01:34:06,987 --> 01:34:08,921
WE'LL GO THROUGH
THE WHOLE THING SCENE BY SCENE.
1974
01:34:08,989 --> 01:34:10,289
IT'S REALLY
FULL OF SURPRISES.
1975
01:34:10,357 --> 01:34:13,025
AH. LET'S HEAR THEM.
1976
01:34:13,093 --> 01:34:15,995
OH, SHIT, I'M FED UP
WITH THIS WEATHER.
1977
01:34:16,062 --> 01:34:19,198
CLIFF, CHECK THE UPSTAIRS
WINDOWS, WILL YOU?
1978
01:34:39,920 --> 01:34:41,353
JUST MADE IT.
1979
01:34:41,421 --> 01:34:43,822
IT'S REALLY GOING
TO BE A BITCH.
1980
01:34:43,890 --> 01:34:46,392
SO, WHAT'S THE BITS,
THE BUSINESS?
1981
01:34:46,459 --> 01:34:48,227
UH, THEY'RE IN
THE FINAL SCENE.
1982
01:34:48,295 --> 01:34:49,228
YEAH?
1983
01:34:49,296 --> 01:34:51,196
UH, VICTOR HAS
SPILLED THE BEANS,
1984
01:34:51,264 --> 01:34:55,134
AND OUR DETECTIVE HAS COME
TO BEARD JULIAN IN HIS DEN.
1985
01:34:55,201 --> 01:34:56,135
RIGHT?
1986
01:34:56,202 --> 01:34:58,037
JULIAN GOES BERSERK,
1987
01:34:58,104 --> 01:35:00,239
SHOOTS THE DETECTIVE
IN THE LEFT ARM.
1988
01:35:00,307 --> 01:35:01,240
LEFT.
1989
01:35:01,308 --> 01:35:03,542
BUT THERE'S ONLY
ONE BULLET IN THE GUN.
1990
01:35:03,609 --> 01:35:05,044
I'LL EXPLAIN THAT LATER.
1991
01:35:05,111 --> 01:35:10,282
NOW, HE'S GOT TO GET
TO THE UPSTAGE WALL,
1992
01:35:10,350 --> 01:35:12,985
GRAB A WEAPON,
AND FINISH HIM OFF.
1993
01:35:13,053 --> 01:35:15,520
NOW, THE FIRST
QUESTION IS,
1994
01:35:15,588 --> 01:35:19,158
CAN A ONE-ARMED INSPECTOR
IN VERY GOOD PHYSICAL CONDITION
1995
01:35:19,225 --> 01:35:21,693
STOP A TWO-ARMED,
MIDDLE-AGED PLAYWRIGHT?
1996
01:35:21,761 --> 01:35:24,396
AND THE ANSWER
HAS TO BE NO.
1997
01:35:24,464 --> 01:35:25,730
SO LET'S TRY IT.
1998
01:35:25,798 --> 01:35:28,033
UH, ME JULIAN,
YOU DETECTIVE.
1999
01:35:28,101 --> 01:35:29,301
RIGHT OVER HERE.
2000
01:35:29,369 --> 01:35:30,302
WHY?
2001
01:35:30,370 --> 01:35:32,304
DON'T YOU REMEMBER
THE SEMINAR?
2002
01:35:32,372 --> 01:35:33,538
WHEN IN DOUBT,
2003
01:35:33,606 --> 01:35:34,806
PHYSICALIZE.
PHYSICALIZE.
2004
01:35:34,874 --> 01:35:35,807
COME ON.
2005
01:35:35,875 --> 01:35:36,942
OK.
2006
01:35:38,111 --> 01:35:41,513
ALL RIGHT, SO MY LEFT ARM
IS OUT OF COMMISSION.
2007
01:35:41,581 --> 01:35:42,514
YES.
2008
01:35:42,582 --> 01:35:43,515
UH-HUH.
2009
01:35:43,583 --> 01:35:44,516
YOU READY?
YEAH.
2010
01:35:44,584 --> 01:35:45,985
GO!
2011
01:35:48,588 --> 01:35:50,689
[THUNDER]
2012
01:35:57,930 --> 01:35:59,531
VOILA.
2013
01:35:59,599 --> 01:36:00,532
IT WORKS.
2014
01:36:00,600 --> 01:36:03,035
I SCRATCHED
YOUR NECK.
2015
01:36:03,103 --> 01:36:04,503
OH, I'LL SURVIVE.
2016
01:36:04,570 --> 01:36:07,873
NOW, THE NEXT BIT
IS LESS STRENUOUS
2017
01:36:07,940 --> 01:36:09,208
AND VERY BRIEF.
2018
01:36:09,275 --> 01:36:10,542
GLAD TO HEAR IT.
2019
01:36:10,610 --> 01:36:12,711
UH, COME UP HERE.
2020
01:36:12,778 --> 01:36:15,514
NOW
I'M THE DETECTIVE...
2021
01:36:15,581 --> 01:36:17,782
AND YOU'RE JULIAN.
2022
01:36:17,850 --> 01:36:18,783
OK.
2023
01:36:18,851 --> 01:36:21,320
NOW TAKE THE AX
OFF THE WALL.
2024
01:36:24,090 --> 01:36:25,524
UH, THIS ONE?
2025
01:36:25,591 --> 01:36:26,525
YEAH.
2026
01:36:26,592 --> 01:36:27,659
OK.
2027
01:36:31,564 --> 01:36:34,666
NO, IT DOESN'T LOOK
NATURAL THAT WAY.
2028
01:36:34,734 --> 01:36:37,403
WELL, IT FEELS
NATURAL THIS WAY.
2029
01:36:37,470 --> 01:36:38,837
UH, TRY IT THE OTHER WAY.
2030
01:36:38,905 --> 01:36:40,705
THE OTHER WAY.
2031
01:36:42,375 --> 01:36:45,310
NO, IT REALLY DOESN'T
FEEL NATURAL THIS WAY.
2032
01:36:45,378 --> 01:36:47,279
PUT IT BACK THE WAY
YOU HAD IT, THEN.
2033
01:36:47,347 --> 01:36:48,647
OK.
2034
01:36:50,583 --> 01:36:51,517
YEAH, FEELS--
2035
01:36:51,584 --> 01:36:53,919
FEELS BETTER
THIS WAY.
2036
01:36:54,070 --> 01:36:54,903
GOOD.
2037
01:36:54,971 --> 01:36:56,705
UH, I'LL TELL YOU
WHAT, CLIFF,
2038
01:36:56,772 --> 01:36:58,874
PUT THE AX
DOWN ON THE FLOOR.
2039
01:37:09,052 --> 01:37:11,353
STAND VERY STILL,
CLIFFORD.
2040
01:37:12,588 --> 01:37:15,257
WE'RE GOING
TO SAY GOOD-BYE.
2041
01:37:17,227 --> 01:37:20,996
THIS WEAPON
FROM GUNPOINT...
2042
01:37:21,064 --> 01:37:24,666
IS NOW FULL OF
LIVE BULLETS, LUV.
2043
01:37:25,735 --> 01:37:28,303
I LOADED IT MYSELF
LAST NIGHT.
2044
01:37:34,077 --> 01:37:37,913
I JUST CAN'T HAVE
THE PLAY WRITTEN, CLIFF.
2045
01:37:39,082 --> 01:37:43,018
AND I HONESTLY
CANNOT THINK
2046
01:37:43,086 --> 01:37:46,688
OF ANY OTHER WAY
TO STOP YOU BUT THIS.
2047
01:37:48,091 --> 01:37:51,026
AND I DO NOT WISH TO JOIN
2048
01:37:51,094 --> 01:37:53,995
ALL THE EX-MISTRESSES
OF EX-PRESIDENTS
2049
01:37:54,064 --> 01:37:56,998
AND FORMER CIA ASSASSINS
2050
01:37:57,067 --> 01:37:59,501
AND HAPPY HOOKERS
2051
01:37:59,569 --> 01:38:02,904
LINING UP TO--
TO TELL TOM SNYDER
2052
01:38:02,972 --> 01:38:06,508
AND PHIL DONAHUE
HOW IT WAS.
2053
01:38:07,577 --> 01:38:09,144
THAT'S NOT MY STYLE.
2054
01:38:09,212 --> 01:38:12,147
IT'S JUST NOT ME,
IS IT, LUV?
2055
01:38:12,215 --> 01:38:15,016
IT'S NOT GOING TO BE
YOU EITHER, LUV,
2056
01:38:15,085 --> 01:38:17,018
SPENDING THE NEXT
25 YEARS SLAVING AWAY
2057
01:38:17,087 --> 01:38:18,687
AT CRAPPY JOBS
FOR NO MONEY.
2058
01:38:18,754 --> 01:38:20,689
YOU HAVE GOT A VERY FIRM
GRIP ON UNREALITY, SID.
2059
01:38:20,756 --> 01:38:22,524
46 YEARS OLD,
YOU'RE WRITTEN OUT,
2060
01:38:22,592 --> 01:38:24,059
YOU'RE
PRACTICALLY BROKE.
2061
01:38:26,929 --> 01:38:29,331
I'M AFRAID I TOLD YOU
A LITTLE FIB.
2062
01:38:29,399 --> 01:38:34,436
BETWEEN THE INSURANCE
WHICH ARRIVED A FEW DAYS AGO,
2063
01:38:34,504 --> 01:38:37,106
AND WHAT MYRA REALLY LEFT,
2064
01:38:37,173 --> 01:38:39,941
I'LL HAVE ABOUT
A MILLION DOLLARS.
2065
01:38:40,009 --> 01:38:41,443
PLUS, OF COURSE,
2066
01:38:41,511 --> 01:38:44,213
THIS QUITE
VALUABLE PROPERTY.
2067
01:38:44,280 --> 01:38:47,716
AND I DO HOPE TO HAVE
ANOTHER HIT PLAY SOMEDAY.
2068
01:38:47,783 --> 01:38:50,719
HOPE SPRINGS ETERNAL.
2069
01:38:50,786 --> 01:38:52,354
YOU SHIT! YOU'LL NEVER
GET AWAY WITH THIS.
2070
01:38:52,422 --> 01:38:53,388
WHY NOT?
2071
01:38:53,456 --> 01:38:56,858
SUCH WILDLY EXTENUATING
CIRCUMSTANCES.
2072
01:38:58,595 --> 01:39:01,563
I ASKED PORTER TO HAVE YOU
CHECKED OUT IN RIVERHEAD,
2073
01:39:01,631 --> 01:39:03,965
DO A SERIOUS RUNDOWN.
2074
01:39:04,033 --> 01:39:08,504
AND I SPENT THIS EVENING
LISTENING TO HIS REPORT.
2075
01:39:08,571 --> 01:39:10,506
PORTER WAS SHOCKED,
2076
01:39:10,573 --> 01:39:14,075
VERY DISTURBED AT THIS POSSIBLY
QUITE DANGEROUS YOUNG MAN
2077
01:39:14,144 --> 01:39:18,147
I HAD INNOCENTLY
TAKEN INTO MY PLACE.
2078
01:39:18,214 --> 01:39:21,483
PORTER INSISTS THAT THE SOONER
I SEND YOU PACKING,
2079
01:39:21,551 --> 01:39:22,484
THE BETTER.
2080
01:39:22,552 --> 01:39:24,953
SO I COME HOME,
2081
01:39:25,021 --> 01:39:27,022
AND I GIVE YOU YOUR NOTICE.
2082
01:39:27,089 --> 01:39:29,424
BUT YOU BECOME
ABUSIVE AND VIOLENT.
2083
01:39:29,492 --> 01:39:33,094
LUCKILY,
I GET TO THE GUN.
2084
01:39:35,565 --> 01:39:37,533
I'M TRULY SORRY, CLIFF.
2085
01:39:39,068 --> 01:39:40,636
I SHALL MISS YOU.
2086
01:39:41,571 --> 01:39:45,507
YOU OPENED UP
CERTAIN DOORS FOR ME,
2087
01:39:45,575 --> 01:39:48,677
AND FOR THAT I'M GRATEFUL.
2088
01:39:53,916 --> 01:39:55,517
OH, GOD.
2089
01:39:55,585 --> 01:39:59,688
THIS IS GOING TO BE EVEN
HARDER THAN I EXPECTED.
2090
01:40:01,424 --> 01:40:02,992
GOOD-BYE, CLIFFORD.
2091
01:40:06,329 --> 01:40:08,364
BYE, SIDNEY.
2092
01:40:11,368 --> 01:40:12,434
[CLICK]
2093
01:40:14,371 --> 01:40:15,437
[CLICK]
2094
01:40:18,975 --> 01:40:20,075
[CLICK]
2095
01:40:21,277 --> 01:40:23,112
BANG BANG.
2096
01:40:23,179 --> 01:40:25,447
SORRY THE CLICK IS SO
ANTICLIMACTIC, SIDNEY,
2097
01:40:25,515 --> 01:40:28,283
BUT I NEEDED THE BULLETS
FROM THAT GUN...
2098
01:40:29,919 --> 01:40:32,221
FOR THIS ONE.
2099
01:40:32,288 --> 01:40:34,556
NOW SIT DOWN,
DUM-DUM. SIT DOWN!
2100
01:40:34,624 --> 01:40:37,092
RIGHT IN THAT CHAIR,
THANK YOU.
2101
01:40:38,395 --> 01:40:40,429
REVERSAL, SIDNEY.
2102
01:40:40,497 --> 01:40:41,897
REMEMBER?
2103
01:40:41,964 --> 01:40:44,566
YOU STRESSED IT IN
THE SEMINAR, FIRST DAY.
2104
01:40:44,634 --> 01:40:46,668
BUT YOU SEE,
THE PROBLEM WAS,
2105
01:40:46,736 --> 01:40:48,703
I HAD THIS TERRIFIC
FIRST ACT--
2106
01:40:48,771 --> 01:40:50,839
I JUST COULDN'T THINK
OF WHAT CAME NEXT.
2107
01:40:50,907 --> 01:40:52,607
YOU SEE, DIALOGUE'S
A SNAP FOR ME,
2108
01:40:52,675 --> 01:40:55,077
BUT I STILL HAVE LITTLE
PROBLEMS WITH PLOTTING.
2109
01:40:55,145 --> 01:40:56,945
AND THAT WAS
VERY FRUSTRATING,
2110
01:40:57,013 --> 01:40:59,081
PARTICULARLY BECAUSE I'M
SHARING BED AND BOARD
2111
01:40:59,149 --> 01:41:02,717
WITH THE OLD
MASTER PLOTTER HIMSELF.
2112
01:41:02,785 --> 01:41:04,086
LET'S SEE.
2113
01:41:04,154 --> 01:41:07,022
I THINK YOU'RE
ABOUT A 42 REGULAR.
2114
01:41:12,628 --> 01:41:15,030
YOU CAN PUT YOUR GUN
DOWN, SIDNEY.
2115
01:41:17,600 --> 01:41:18,800
UNLOCK THEM, PLEASE.
2116
01:41:18,868 --> 01:41:20,001
[THUNDER]
2117
01:41:20,070 --> 01:41:21,403
HA.
2118
01:41:21,471 --> 01:41:23,505
IT'S CORNY
BUT EFFECTIVE.
2119
01:41:23,573 --> 01:41:26,141
WELL, THERE I AM
WITH MY PROBLEM.
2120
01:41:26,209 --> 01:41:28,377
SEE, SIDNEY'S NOT
GOING TO HELP ME--
2121
01:41:28,445 --> 01:41:29,945
WELL, NOT VOLUNTARILY.
2122
01:41:30,012 --> 01:41:31,947
THIS--I KNOW THAT
FROM SQUARE ONE,
2123
01:41:32,014 --> 01:41:34,049
'CAUSE SIDNEY USES
3 KINDS OF MOUTHWASH
2124
01:41:34,117 --> 01:41:35,784
AND 4 KINDS
OF DEODORANT--
2125
01:41:35,851 --> 01:41:39,088
NOT FOR HIM THE WHIFF
OF SCANDAL.
2126
01:41:39,155 --> 01:41:40,689
BUT I THINK TO MYSELF,
2127
01:41:40,756 --> 01:41:43,192
IS THERE A WAY THAT
MAYBE I CAN HARNESS
2128
01:41:43,259 --> 01:41:44,460
THAT 17-JEWEL BRAIN
2129
01:41:44,527 --> 01:41:46,728
AND GET IT TO WORK
FOR ME ALL UNWITTINGLY?
2130
01:41:46,796 --> 01:41:48,530
SO I GO ON
DRAFTING ACT ONE,
2131
01:41:48,598 --> 01:41:50,365
AND EVERY TIME
I LEAVE THE ROOM,
2132
01:41:50,433 --> 01:41:53,768
I PUT IT INCONSPICUOUSLY
IN THE DRAWER. HA HA.
2133
01:41:53,836 --> 01:41:55,036
SO INCONSPICUOUSLY
IN FACT,
2134
01:41:55,105 --> 01:41:56,505
THAT FOR A DAY
AND A HALF,
2135
01:41:56,573 --> 01:41:58,507
SMART OLD SIDNEY
DOESN'T EVEN NOTICE.
2136
01:41:58,575 --> 01:42:00,709
AND THEN DULL OLD PORTER
COMES IN
2137
01:42:00,776 --> 01:42:02,043
AND TWIGS RIGHT AWAY.
2138
01:42:02,112 --> 01:42:03,512
OH, WHAT A RELIEF.
2139
01:42:03,580 --> 01:42:05,414
SO, ON WE GO
WITH MY SCENARIO.
2140
01:42:05,482 --> 01:42:06,715
YOU RIFLING MY DESK,
2141
01:42:06,782 --> 01:42:08,417
CONFRONTING ME
WITH THE EVIDENCE,
2142
01:42:08,485 --> 01:42:10,652
ET CETERA, ET CETERA,
ET CETERA.
2143
01:42:10,720 --> 01:42:11,953
YOU'RE A PRICK,
YOU KNOW THAT?
2144
01:42:12,021 --> 01:42:14,055
DUH, STICKS
AND STONES, SIDNEY.
2145
01:42:14,124 --> 01:42:17,359
HA. HEY, SIDNEY,
HERE WE ARE, HUH?
2146
01:42:17,427 --> 01:42:19,094
BRUHL AND ANDERSON.
2147
01:42:19,162 --> 01:42:21,363
NOW, I WRITE,
AND SIDNEY THINKS.
2148
01:42:21,431 --> 01:42:22,397
HMM.
2149
01:42:22,465 --> 01:42:24,399
AND I REALLY
DON'T SLEEP MUCH.
2150
01:42:24,467 --> 01:42:26,135
UH, LAST NIGHT,
FOR EXAMPLE,
2151
01:42:26,202 --> 01:42:27,802
I HARDLY GOT A WINK
2152
01:42:27,870 --> 01:42:31,072
WITH ALL YOUR ELEPHANTINE
TIPTOEING AROUND.
2153
01:42:31,141 --> 01:42:32,608
TIN PAN ALLEY
DIALOGUE?
2154
01:42:32,675 --> 01:42:34,376
GOD, DO YOU THINK
I'M STUPID?
2155
01:42:34,444 --> 01:42:36,044
THAT WAS
DUMMY DIALOGUE, DUMMY!
2156
01:42:36,112 --> 01:42:38,046
TO KEEP YOU COMFY
WHILE YOU'RE PLOTTING.
2157
01:42:38,114 --> 01:42:40,015
FOR EVERY WOODEN LINE
I WROTE THERE,
2158
01:42:40,082 --> 01:42:41,683
THERE'S AN AERIAL ONE
UP HERE.
2159
01:42:41,751 --> 01:42:45,354
I AM GOING TO BURN THIS SHIT
MYSELF WHEN I LEAVE HERE.
2160
01:42:45,421 --> 01:42:48,023
NOW YOU GIVE ME
THE KEY, PLEASE.
2161
01:42:48,090 --> 01:42:49,858
AND YOU PUT THEM ON.
2162
01:42:51,894 --> 01:42:55,264
OH, AND I DO THANK YOU
FOR ACT TWO, SIDNEY,
2163
01:42:55,331 --> 01:42:58,300
BUT WE'RE NOT GOING TO HAVE
A LONG ISLAND DETECTIVE.
2164
01:42:58,368 --> 01:43:01,136
JULIAN'S LAWYER
IS THE FIFTH CHARACTER.
2165
01:43:01,204 --> 01:43:03,505
JULIAN FINDS OUT
IN SCENE ONE
2166
01:43:03,573 --> 01:43:05,974
THAT VICTOR IS ACTUALLY
WRITING THE REAL DEATHTRAP
2167
01:43:06,042 --> 01:43:07,176
ABOUT DORIS' MURDER.
2168
01:43:07,243 --> 01:43:09,144
HE PRETENDS THAT HE
WILL COLLABORATE--
2169
01:43:09,212 --> 01:43:11,446
THROUGH THE ARM
OF THE CHAIR.
2170
01:43:11,514 --> 01:43:13,382
DON'T BE STUPID.
2171
01:43:13,449 --> 01:43:15,884
PUT THE HANDCUFFS THROUGH
THE ARM OF THE CHAIR.
2172
01:43:19,389 --> 01:43:21,456
THANK YOU.
2173
01:43:21,524 --> 01:43:24,426
YES. OLD JULIAN PRETENDS
THAT HE WILL COLLABORATE.
2174
01:43:24,494 --> 01:43:26,094
MEANWHILE,
HE HAS HIS LAWYER
2175
01:43:26,162 --> 01:43:28,096
DO SOME CHECKING UP
ON VICTOR,
2176
01:43:28,164 --> 01:43:31,300
KNOWING THAT THERE ARE
SOME CHARGES TO BE FOUND...
2177
01:43:31,367 --> 01:43:33,902
MOST OF THEM
VERY, VERY UNFAIR.
2178
01:43:35,971 --> 01:43:37,472
SCENE 2...
2179
01:43:39,141 --> 01:43:40,375
JULIAN SETS VICTOR UP
2180
01:43:40,443 --> 01:43:43,345
FOR WHAT WILL LOOK LIKE
A MURDER IN SELF-DEFENSE
2181
01:43:43,413 --> 01:43:46,582
BY GETTING HIM TO
ACT OUT BITS OF BUSINESS
2182
01:43:46,649 --> 01:43:47,749
FROM THE PLAY.
2183
01:43:47,817 --> 01:43:49,918
UNH! UNH! UHH!
2184
01:43:49,985 --> 01:43:51,253
GOD, THAT'S NICE,
SIDNEY!
2185
01:43:51,321 --> 01:43:52,454
I MEAN, WOW!
2186
01:43:52,522 --> 01:43:54,823
THAT IS SIMPLE.
IT IS WORKABLE.
2187
01:43:54,890 --> 01:43:56,157
IT'S GONNA PLAY.
2188
01:43:56,226 --> 01:43:57,959
I'M REALLY
IN YOUR DEBT.
2189
01:43:58,027 --> 01:44:01,630
SO, JULIAN
SHOOTS VICTOR,
2190
01:44:01,698 --> 01:44:04,299
WHO'S A HANDSOME,
CHARMING, WONDERFUL KID
2191
01:44:04,367 --> 01:44:07,769
THAT JULIAN HAS
LED ASTRAY, SEDUCED--
2192
01:44:07,837 --> 01:44:08,937
YOU BIG CREEP.
2193
01:44:09,004 --> 01:44:10,239
AH-AH-AH-AH.
2194
01:44:10,306 --> 01:44:11,806
BUT AT THE VERY
NEXT MOMENT,
2195
01:44:11,874 --> 01:44:13,609
INGA VAN BRONK
AND THE LAWYER COME IN.
2196
01:44:13,676 --> 01:44:14,943
SEE, SHE'S CALLED HIM
2197
01:44:15,010 --> 01:44:17,379
BECAUSE SHE'S BEEN GETTING
BAD VIBES ALL NIGHT.
2198
01:44:17,447 --> 01:44:19,381
THEY MET
AT DORIS' FUNERAL.
2199
01:44:19,449 --> 01:44:21,416
NOW, VICTOR LIVES
JUST LONG ENOUGH
2200
01:44:21,484 --> 01:44:24,353
TO TELL THE TRUTH
ABOUT HIMSELF AND JULIAN...
2201
01:44:24,420 --> 01:44:27,556
AND ABOUT DORIS' FUNERAL.
2202
01:44:27,624 --> 01:44:29,858
AND THEN...
2203
01:44:29,925 --> 01:44:33,262
JULIAN SHOOTS HIMSELF...
2204
01:44:33,329 --> 01:44:34,896
CURTAIN.
2205
01:44:36,499 --> 01:44:37,733
IS THAT IT?
2206
01:44:37,800 --> 01:44:39,701
WHAT DO YOU MEAN,
"IS THAT IT"?
2207
01:44:39,769 --> 01:44:42,036
THEY'RE BOTH DEAD, DUMMY.
THE PLAY IS OVER.
2208
01:44:42,104 --> 01:44:44,773
JULIAN SHOOTS HIMSELF?
2209
01:44:44,840 --> 01:44:47,409
THAT'S EXCEEDINGLY
FEEBLE, CLIFFORD.
2210
01:44:48,511 --> 01:44:50,211
I'D BE GLAD TO THINK
ABOUT IT SOME MORE.
2211
01:44:50,280 --> 01:44:53,014
NO, NO. THAT'S OK.
I CAN FILL IN THE HOLES.
2212
01:44:53,082 --> 01:44:54,783
NOW, HERE'S
THE BIG SURPRISE, SIDNEY.
2213
01:44:54,850 --> 01:44:56,818
ARE YOU READY?
2214
01:44:56,886 --> 01:44:58,019
[GASPS]
2215
01:45:00,590 --> 01:45:02,190
I'M NOT GONNA KILL YOU.
2216
01:45:02,258 --> 01:45:04,159
HA.
2217
01:45:04,226 --> 01:45:06,961
HEY, I JUST WANTED
A HIT PLAY. HA HA.
2218
01:45:07,029 --> 01:45:08,697
AND I'M REALLY NOT
THE TOTAL SOCIOPATH
2219
01:45:08,765 --> 01:45:10,165
THAT YOU'D LIKE TO THINK.
2220
01:45:10,232 --> 01:45:13,001
SIDNEY, I'M GONNA PACK,
I'M GONNA CALL A CAB,
2221
01:45:13,068 --> 01:45:15,537
AND I REALLY HOPE THAT
I CAN GET ONE IN THIS STORM
2222
01:45:15,605 --> 01:45:18,573
BECAUSE OTHERWISE YOU'RE GOING
TO HAVE TO SIT THERE ALL NIGHT.
2223
01:45:18,641 --> 01:45:22,277
WHEN THE CAB IS SAFELY
AT THE DOOR...
2224
01:45:23,346 --> 01:45:25,614
I'M GOING TO
GIVE YOU THE KEY
2225
01:45:25,682 --> 01:45:28,082
AND UNLOCK ONE WRIST.
2226
01:45:29,885 --> 01:45:33,054
YOU WILL TELL PEOPLE
THAT YOU GAVE ME MY NOTICE.
2227
01:45:33,122 --> 01:45:35,724
I ACCEPTED IT WITH GRACE.
2228
01:45:35,792 --> 01:45:37,926
BUT IF YOU HASSLE ME
IN ANY WAY,
2229
01:45:37,993 --> 01:45:41,029
YOU WILL BE OPENING UP
A VERY MESSY CAN OF WORMS.
2230
01:45:41,096 --> 01:45:42,431
IF YOU DON'T BOTHER ME
2231
01:45:42,498 --> 01:45:43,998
BETWEEN NOW AND THE OPENING
OF DEATHTRAP,
2232
01:45:44,066 --> 01:45:46,635
I'LL SAY, "WELL, YES,
I GOT THE IDEA YEARS AGO.
2233
01:45:46,703 --> 01:45:50,305
"I WORKED FOR SIDNEY BRUHL
FOR A FEW WEEKS, BUT I LEFT...
2234
01:45:50,373 --> 01:45:51,773
"'CAUSE I WAS SO DEPRESSED
2235
01:45:51,841 --> 01:45:53,975
"AT THE WAY HE KEPT HUMPING
BEAUTIFUL WOMEN...
2236
01:45:54,043 --> 01:45:56,311
OUT OF GRIEF
FOR HIS WIFE."
2237
01:45:56,379 --> 01:45:58,480
[THUNDER]
2238
01:45:59,716 --> 01:46:02,451
ELECTRICAL EFFECTS
BY GOD HIMSELF.
2239
01:46:07,256 --> 01:46:09,057
SO LONG, SIDNEY.
2240
01:46:09,124 --> 01:46:11,493
IT'S REALLY BEEN
EDUCATIONAL.
2241
01:46:35,484 --> 01:46:36,818
Sidney: CLIFF?
2242
01:46:38,520 --> 01:46:39,955
CLIFF?
2243
01:46:40,022 --> 01:46:42,490
YOU CAN COME DOWN.
2244
01:46:42,558 --> 01:46:44,626
THOSE WERE
HOUDINI'S HANDCUFFS.
2245
01:47:01,811 --> 01:47:03,912
[THUNDER]
2246
01:47:14,623 --> 01:47:16,124
[CREAK]
2247
01:47:17,160 --> 01:47:18,693
[CREAK]
2248
01:47:26,702 --> 01:47:28,036
[CREAK]
2249
01:47:31,040 --> 01:47:33,308
[CREAKING]
2250
01:48:00,369 --> 01:48:01,569
[CREAK]
2251
01:48:08,878 --> 01:48:09,878
[CREAK]
2252
01:48:09,946 --> 01:48:11,546
[THUNDER]
2253
01:48:43,246 --> 01:48:45,347
[THUNDER]
2254
01:48:47,350 --> 01:48:49,717
HANG IN THERE,
LONG ISLAND LIGHT.
2255
01:49:02,031 --> 01:49:04,299
[THUNDER]
2256
01:49:05,467 --> 01:49:06,868
JESUS!
2257
01:49:28,490 --> 01:49:30,959
[THUNDER]
2258
01:49:31,027 --> 01:49:32,560
THEY'RE GONE.
2259
01:49:37,433 --> 01:49:39,301
[THUNDER]
2260
01:49:39,368 --> 01:49:40,868
OH, SHIT!
2261
01:49:40,937 --> 01:49:43,004
SHIT! SHIT!
2262
01:49:43,072 --> 01:49:44,973
CANDLES.
AH, CANDLES.
2263
01:49:45,041 --> 01:49:47,175
MATCHES, MATCHES,
MATCHES.
2264
01:49:47,243 --> 01:49:49,311
OH, SHIT!
MATCHES.
2265
01:49:49,378 --> 01:49:51,313
MATCHES, MATCHES.
2266
01:49:52,414 --> 01:49:53,898
Helga: MATCHES.
2267
01:49:55,467 --> 01:49:57,135
CANDLE.
2268
01:50:03,275 --> 01:50:05,009
I CAME TO HELP.
2269
01:50:05,077 --> 01:50:07,278
SUCH TROUBLES.
2270
01:50:07,346 --> 01:50:09,613
BUT NOT TROUBLE
FOR YOU.
2271
01:50:09,681 --> 01:50:11,015
TROUBLE FROM YOU!
2272
01:50:11,083 --> 01:50:13,751
WELL, STRICTLY
SPEAKING, HELGA,
2273
01:50:13,819 --> 01:50:17,788
I'D SAY WE'RE BOTH
IN A SPOT OF TROUBLE.
2274
01:50:17,857 --> 01:50:21,792
NOW YOU WILL WANT
TO KILL ME, JA?
2275
01:50:21,861 --> 01:50:24,863
FIRST MRS. BRUHL--
SOMEHOW YOU DO THAT.
2276
01:50:24,930 --> 01:50:27,431
I'M RIGHT, JA?
THEN THE BOY...
2277
01:50:27,499 --> 01:50:29,900
NO.
YOU'VE GOT IT WRONG.
2278
01:50:29,967 --> 01:50:31,702
HE KILLED MYRA.
2279
01:50:31,770 --> 01:50:34,004
AND TONIGHT,
HE TRIED TO KILL ME.
2280
01:50:34,071 --> 01:50:36,039
THEN WHY YOU NEED
BURN EVIDENCE
2281
01:50:36,107 --> 01:50:38,074
IF EVIDENCE
PROVE HE DID IT?
2282
01:50:38,142 --> 01:50:40,010
JA, I DON'T THINK.
2283
01:50:40,077 --> 01:50:41,011
[THUNDER]
2284
01:50:41,078 --> 01:50:42,713
THAT'S NOT EVIDENCE,
HELGA.
2285
01:50:42,781 --> 01:50:44,381
IT'S A MANUSCRIPT,
A PLAY.
2286
01:50:44,449 --> 01:50:47,618
A PLAY? ABOUT DEATH?
2287
01:50:47,685 --> 01:50:49,119
I WILL READ.
2288
01:50:49,186 --> 01:50:51,422
[THUNDER]
2289
01:50:53,224 --> 01:50:56,259
YOU WILL NOT KILL ME WITH
BEAUTIFUL WOMAN'S DAGGER!
2290
01:50:56,327 --> 01:50:58,995
I WILL NOT ALLOW THAT!
2291
01:50:59,063 --> 01:51:01,998
I DON'T WISH TO MAKE
VIOLENCE, MR. BRUHL, BUT--
2292
01:51:02,066 --> 01:51:04,501
THERE ARE NO BULLETS
IN THAT GUN, HELGA.
2293
01:51:04,569 --> 01:51:06,837
IT'S A STAGE PROP.
2294
01:51:06,905 --> 01:51:08,939
IF YOU DON'T BELIEVE ME,
CHECK IT OUT.
2295
01:51:09,006 --> 01:51:12,509
JA, MAYBE I CHECK IT
BY PULLING TRIGGER.
2296
01:51:12,577 --> 01:51:14,478
SUIT YOURSELF.
2297
01:51:14,546 --> 01:51:16,480
BUT IT'S JUST AS EASY
TO CHECK IT BY--
2298
01:51:16,548 --> 01:51:18,148
IF NO BULLETS IN GUN,
2299
01:51:18,215 --> 01:51:22,486
THEN YOU DON'T LET ME
CROSS ROOM TO FIREPLACE.
2300
01:51:22,554 --> 01:51:25,304
[THUNDER]
2301
01:51:27,041 --> 01:51:30,143
[THUNDER]
2302
01:51:35,816 --> 01:51:37,517
AAH!
2303
01:51:37,585 --> 01:51:38,985
[GUN DROPS]
2304
01:51:42,456 --> 01:51:45,859
Sidney: I THOUGHT
I HEARD THE GUN DROP.
2305
01:51:45,927 --> 01:51:49,663
HEH. YOU DROPPED IT,
DIDN'T YOU, HELGA?
2306
01:51:52,600 --> 01:51:54,167
[THUNDER]
2307
01:51:55,269 --> 01:51:56,836
[THUNDER]
2308
01:52:08,983 --> 01:52:11,084
[THUNDER]
2309
01:52:16,223 --> 01:52:18,091
[THUNDER]
2310
01:52:20,427 --> 01:52:22,629
[THUNDER]
2311
01:52:29,269 --> 01:52:31,605
LET GO OF
THE KNIFE, HELGA.
2312
01:52:31,672 --> 01:52:33,272
GET BACK, HELGA!
GET BACK!
2313
01:52:33,340 --> 01:52:35,008
GET BACK!
2314
01:52:35,076 --> 01:52:36,543
[THUNDER]
2315
01:52:46,687 --> 01:52:48,121
[GASPS]
2316
01:52:48,189 --> 01:52:49,656
[AUDIENCE GASPS]
2317
01:52:52,426 --> 01:52:54,261
AHH!
2318
01:52:54,328 --> 01:52:57,097
Actress: INGA,
YOU'RE WELL OUT OF THIS!
2319
01:52:57,165 --> 01:52:58,464
[LAUGHTER, APPLAUSE]
2320
01:52:58,532 --> 01:53:00,667
BRAVO!
2321
01:53:00,734 --> 01:53:02,002
BRAVO!
2322
01:53:02,069 --> 01:53:04,171
BRAVO!
2323
01:53:18,052 --> 01:53:20,053
HA HA HA!
HELGA, BABY,
2324
01:53:20,121 --> 01:53:23,023
WE'VE GOT OURSELVES
A SMASH!
2325
01:53:23,090 --> 01:53:24,724
WHAT A PLAY YOU WROTE!
2326
01:53:24,792 --> 01:53:27,160
WE'RE GONNA MAKE OURSELVES
A FORTUNE HERE, HELGA!
2327
01:53:27,228 --> 01:53:30,330
WASTE NOT, WANT NOT!
2328
01:53:31,000 --> 01:53:34,111