All language subtitles for The.Alfred.Hitchcock.Hour.S02E21.Beast.in.View.1080p.PCOK.WEBRip.AAC.2.0.H.265.-EDGE2020_track3_[eng]

("Alfred Hitchcock" theme music)

- Good evening.

The prevalence of mashes in our
streets

and parks has brought
about this charming device.

It looks like a ladies compact,

but it is really much more than
that.

When milady is accosted
by some undesirable party

she simply takes this out,
as though to powder her nose.

However, when she opens it...

(air hissing)

before you can say "Jack
the Ripper" a cloud

of tear gas is sprayed
in the villain's face.

Perhaps this lacks some of the
excitement

that went with wielding
the old-fashion hat pin,

but it is most effective.

Furthermore, it actually
contained a mirror and powder

so that you could freshen
up before the police arrive.

That's odd, I should be weeping
by now.

No wonder, it wasn't tear gas
after all.

This one uses mustard gas.

While we wait for developments,

you may pass the time by
watching tonight's narrative.

It is about a young woman
named Helen Clarvoe,

who is the object of
some mysterious threats.

But first we have another
device which can bring tears

to the eyes of the more
fastidious,
a television commercial.

- Yes.

Yes, of course I know who this
is.

Dorothy, stop bothering me!

Yes, Dorothy.

Please leave me alone.

Now what would compel you
to say a thing like that?

That's not true, you
know better than that!

Yes, of course I received it.

It was waiting for me when I got
in.

Yes, I read it.

Yes.

Yes.

Listen, Dorothy, don't
threaten me, please.

Hello?

Hello?

(tense music)

- You certainly should have
called me long before this.

- Probably, I just didn't
think it was very serious

until she phoned today and
started to threaten me.

- What time did she call?

- A little after I got in from
the office.

I couldn't hear anything on
the other end of the phone

for a while, and then I
could hear her breathing.

And then she said, "Hello,
Helen?

"Do you know who this is?"

Of course I knew who it was.

Dorothy has been cultivating
that accent

until it's as sweet as that
sugar there.

- Wanna try one, fast energy?

- No, thank you.

She said that she read that
article about by father dying

and my gaining all of the
inheritance.

If I didn't share it with her

something bad was gonna happen
to me.

I don't know how she got a hold
of my private phone number.

I'm gonna change it though
first thing in the morning.

And oh, there's the letter.

- Dear Helen, had a dream
about you last night.

You were dying--
- Paul,

I've read it, many times.

Oh, came in this envelope?
- Yep!

- Jack Terola, Photographer.

- Well, Dorothy used to model
when we were in high school.

My father always thought
she was pretty enough

to have been a professional
model.

I don't know whether she
ever did anything about that.

She may have though, she
was rather unpredictable.

- In what way?

- Her behavior was always
unexpected,

very erratic, almost psychotic.

Like that nursery rhyme.

You know the one with
schizophrenic on the line,

"When she was good, she was very
good.

"And when she was bad, she was
horrid."

She had an undercurrent of
violence.

Always had fits of rage.

The last time I saw her she was
in a rage.

- When was that?

- You remember that she was
gonna marry my brother, Douglas?

- Oh, yes, what happened there?

- I never really wanted
to go into it before,

but the date was all set and
then a day before the wedding

I discovered that she had taken

what amounted to a great
deal of money from my family.

So I told my father and I told
Douglas.

Of course she denied it.

She said that I lied and she
screamed

and yelled and she threw things.

She picked up a letter opener,

I could have sworn she
was going to stab me.

And then she did this entire
reversal in her behavior.

She broke down and she cried.

It's really very interesting.

I told a friend of mine
about it at the time,

a psychiatrist, she said that
she had all

of the symptoms of of a real
psychosis.

- (coughs) Excuse me.

And you want me to find her?

- Well, yes.

- I think it's a good idea,

I think somebody should speak to
her.

She should be warned.

- I don't want to open up a
whole thing with the police.

I just want you to find her
and tell her to leave me alone.

I have an old address on her.

I don't know whether she'd
still be living there or not.

- I'll take it and check.

I might find a forwarding
address or something.

Oh and while you're at
it, put down the number

of your private phone, will ya?

I wouldn't have it changed if I
were you.

Just don't answer it, and
if I want you I'll ring once

and hang up and then I'll ring
again.

First thing tomorrow morning

I'll go down to Terola's studio.

See if I can find if
there's some connection

between him and Dorothy Johnson.

Then I'll check this old address

and I'll call you right after.

All right?
- All right.

Thank you, goodnight.
- Goodnight.

- How's the wife?

- Oh, she's as sassy as ever!

- And the kids?

- They're all three down with
the mumps.

Oh boy, I don't know, I
don't think I should be here,

it may be contagious.

- It's all right, I've had them.

Send them my love.
- Good, I will.

Goodnight.

Are you gonna be all right?
- Oh, yes.

- Don't worry, I'll find her.

Everything will be taken care
of.

- Thank you, Paul.

- Oh, and keep the chain on the
door.

- Okay, goodnight.
- Goodnight.

(eerie music)

- That is nice, that is nice!

In fact that is perfect!

Just one little tiny adjustment.

Just let me know when it's
(grunting)...

oh, is that nice!

Okay, now let's try one, baby.

Wanna try one?

Let's try another one,
you just hold there.

Let me get ready, don't lose it!

Don't lose it, keep what
ya got going for ya.

That's it, oh that's nice.

Now watch the cat, look at me,
baby.

Look at me, now lower your
shoulder just a little bit.

Look the other way, oh that's
nice.

Hold it, hold it!

Oh, that ones lovely!

(doorbell buzzing loudly)

Tommy, will you get that?

Tommy, will you get that!

Okay, let's try one more,
you wanna try one more?

One more nice one, come on.

- Mr. Terola?
- No.

- [Jack] Tell whoever it
is I'm busy right now.

- He's busy right now, want to
wait?

- [Jack] Ask him if he wants to
wait.

- I'll wait.

- How about some coffee?

- [Jack] - No, thanks.e coffee.

- Okay, baby, relax now.

I think we got it.

You ready, Tommy?
- Yeah.

- All right, you're
next right after coffee.

- Well, offer me coffee!

- How about some coffee, Robin?

- What's this coffee routine?

If she wants some coffee,
I'll offer her a coffee.

Faster, baby, faster.

- You go and I'll get there
in the spring, won't we Snow?

- Now, Mr. Terola, I'm Paul
Blackshear.

- Oh yeah, you're a good type!

Have you got any pictures?

- I'm a lawyer.
- Oh, I'm sorry.

- I'd like to ask ya a couple
of questions if it's okay.

- Come on, Robin, come on.

- You've heard of the
tortoise and the hare?

- Yeah, that's okay.

- Do you know a Dorothy Johnson?

- Boing!
- Dorothy Johnson?

- Obviously I've rung a bell.

- Is she a friend of yours?

- I don't know her, I'm
just trying to find her.

- Well if you do find her
will you tell Miss Johnson

to leave me alone?

- Whew, plum tuckered out.

Hi.
- Hi, how are ya?

- Robin Rath.
- Paul Blackshear.

- And this is Snow.
- Hello, Snow.

- Tommy Thompson, here.
- Hi.

- If someone would unpin me
I'd get out of the merchandise.

- You mean me?
- Mm hmm.

- Oh, here, I'll do it.

Just turn around.

- Do you know where I can
find this Dorothy Johnson?

- Well, I know where she
outta be, on the funny farm!

She came in here first,
last Wednesday, right?

- Right, ow!
- Oh, I'm sorry!

- I mean she didn't the bell,
she barged right in here

and she demanded that I take her
picture.

So I told her she'd have to
wait.

Then the next thing I know
she had her lipstick out

and she was drawing all over the
wall!

- Really?
- So I yelled at her.

And then she started throwing
things.

She threw a pot, there
was dirt everywhere.

She may have broken my
second and third toe,

I don't know I haven't had the
chance

to go to the doctor yet.

Hey, by the way, if you find
her and I decide to sue,

will you handle my case?

- You didn't happen to
take her picture, did ya?

- I did not, I certainly did
not!

I told her that in the first
place

she didn't have enough money
to get me to photograph her

and then she said oh no,
she knew somebody very rich

who was gonna give her
all the money she wanted.

So she wouldn't leave.

So finally I told her I
was gonna call the police.

And then, for no reason at
all, she goes over to my desk

and she starts taking my
stationary out

and stuffing it in her purse.

So I just chased her out.

- With a broom and shaking his
fists.

- Hey, where was I?

- You went for pizza or
something.

You know how you are.

- Oh, and then the phone calls
started.

The phone would ring,
I'd pick it up, "Hello?"

There'd be nobody there, hang
up.

Phone would ring again,
I'd pick it up, "Hello?"

Nobody there, I'd hang up.

This went on, I can't
tell ya how many times.

And finally, the phone rang
and I picked it up, "Hello?"

And then this voice, "Hello,
Mr. Terola, you are,"

and then she began with the
most unbelievable series

of names that you ever heard in
your life.

Then, to top it all off,
she threatens to come back

just as soon as she gets enough
money.

Now if you find this girl, will
you tell her to stop calling

and to leave me alone?
- Absolutely!

Say, do you mind if I use
your phone before I go?

- Well, is it a local call?

- You can be sure it is.

- Well, yeah, go ahead.

Come on, Tommy, we gotta get to
work!

- Okay, off to the islands!

(phone ringing)

(phone ringing)

- Paul?
- Yes.

How are you?
- Where are you?

- Still at Terola's studio.

- Did you find out anything?

Do you know where she is?

- No, any calls?

There was one.

Rang about a half an hour,
I didn't answer it though.

(tense music)

Paul, somebody's...

- What is it, Helen?

- slipped something under my
door.

I was lying down, just a
moment, let me open it up.

(tense music)

(paper crunching)

(tense music)

- Helen, what is it?

- It's a drawing.

Paul, it's a bad drawing of me,
dead.

Who is there?
- Helen, what is it?

- There's someone outside my
door.

Somebody standing there.

Who's there?

Hello?
- Don't let them in, Helen.

- Paul, it's Dorothy.

- Don't let her in.

- Go away, Dorothy!

Leave me alone!

- [Dorothy] I don't
want to go away, Helen.

I came clear over here to visit
you.

Now you let me in!

I want to visit, let me in!

(tense music)

(tense music)

- Helen Clarvoe is a liar!

I have not been phoning
her at the Vicente Hotel.

And I have not been pussy
footing it around there!

She has always hated me
with such a vengeance!

Doesn't she have anything better
to do

than to sit around weaving
webs and making up lies?

Have you got a cigarette?

My Mama don't keep any around.

You know what Helen's label is?

Spoiled rich!

I wish I did have her money.

Spoiled rich!

- Have you ever heard of Jack
Terola?

- Why, has he ever heard of me?

- He said you were in his
studio last Wednesday.

- And?

- And have been phoning him ever
since.

- It's the last one.

I'm sorry I can't offer you any,

but hair of the dog, know what I
mean?

Bow wow, ruff ruff, Mr.
Blacksheep.

- Blackshear.

- I know.

Jack Terola is a very good
photographer

and I did phone him several
years ago.

I wanted him to take my wedding
picture,

but I never phoned him back
'cause there was nothing

to take a picture of thanks to
Helen.

Would you like to see something
Mr. Baa Baa Blacksheep?

Zip!

You know this thing cost my
mama almost four months salary?

Turned her hair gray.

Some mornings I just put
it on for the fun of it.

Stumble around.

Helen Clarvoe is the reason why
this dress

never walked down the isle with
me in it.

She couldn't stand it,

that I was gonna be Mrs. Douglas
Clarvoe!

So she went to work,
lady spotter that she is,

and she manufactured a
lie that killed his love.

Though I could have been
caught with another man,

Douglas would have forgiven me
that.

But the fact that I stole money,

oh money is so important
to those Clarvoes!

I hate Helen Clarvoe and I hate
her mother

and I hate her brother!

I liked their father 'cause
he was always nice to me.

That added fuel to the
fire, let me tell you.

I'm not feeling very well
this morning, Mr. Blacksheep.

I have what is commonly
known as a hangover.

And all of these questions,
these lies

with the question marks
at the end of them,

are making my head hurt awful.

I just don't wanna talk about it
anymore.

- There won't be any
trouble, Miss Johnson,

if you'll just leave my client
alone.

(laughing)

Oh there won't?
- No.

- You get outta here, Mr.
Blacksheep,

Before I lose my temper!

And you tell Helen Clarvoe she
better stop telling them lies

about me or I'll give her
something to lie about!

You hear me?

Get out!

(door slamming)

(eerie music)

(tense music)

(doorbell buzzing)

- Margie!

It's all right Margie, come on
in, Paul.

- Good afternoon, thank you,
Margie.

- Bring us some ice, dear.

- Well, how are ya?
- Fine.

- Helen here?
- Not yet.

But I've never known
that girl to be on time.

Can't depend on cads like
she does and ever be on time.

Did you see the Johnson girls
mother?

- Yes I did and I also
saw the Johnson girl.

- You found her?

How clever!

I hope you made it very clear to
her

that she is to leave Helen
alone.

- I made it very clear.

- It's out of the question,
that kind of behavior!

- She denied everything.

- Of course she denied
everything.

- I think Helen may be
right, the girl is disturbed.

- I could have told you that

when she spent the weekends
here as Helen's guest,

when Douglas started courting
her.

I did tell Douglas' father,
but he said it was all

in my imagination, that
she was a good girl.

How's the Johnson girl looking?

- Not well.

- I always said that wouldn't
last.

Beauty is only skin deep.

Pretty is as pretty does.

(phone ringing)

Hello?

Wait a minute till I
put you on the speaker.

It's Helen.

You're late!

- [Helen] I'm sorry, I
feel asleep reading Balzac.

Is Paul there yet?
- Hello!

You know, I don't think
I've spoken on the phone

without speaking on the phone
before.

- I just got it the other day!

- I saw Dorothy Johnson, Helen.

I went to that old address you
gave me

and there was a forwarding
address downtown,

then another one out to the
beach,

and then another one back into
town,

and I eventually found her.

She's living with her mother.

- [Helen] What did she have to
say?

- She denied everything.

She said that you're lying.

- To be expected, wasn't it?

- I can't be sure that I
really got through to her.

She was paralyzed with a
hangover.

She was unpleasant, hysterical,
ordered me out of the house.

- Just put it on the
bar, we'll make our own.

- [Helen] What?

- I was talking to Margie, dear.

If you hurry you'll have time
for a drink.

- [Helen] Are you gonna
stay for dinner, Paul?

- [Mrs. Clarvoe] Of course he
is.

- Well I'm gonna have to if you
hang me up here much longer.

- Well, I'll just have to put on
my shoes

and I'll get a cab.

I'll be right over, bye.

- [Mrs. Clarvoe] Bye!

Ding! Busted!
- What's the matter?

- Turn your head, Paul,
I'm about to cheat.

Go make us a drink.

- The usual?

- Look what I've done!

I've won again!

Three in a row!

(phone ringing)

- How did you manage to do that?

- Hello?

Hello?

- [Dorothy] Mrs. Clarvoe?

This is Dorothy Johnson.

Remember me?
- What do you want?

- [Dorothy] You've been talking

to lovely Helen, haven't you?

I tried to phone you both
but your lines were busy.

Now, Helen's not in her room,
I just wanted to tell Helen,

and you can tell her for me.

I don't appreciate you sending

your lawyer around asking me
questions!

Helen tells terrible lies, Mrs.
Clarvoe!

If it don't stop, she's gonna be
sorry.

Now you tell her that, you hear
me?

- I hear you.

- [Dorothy] Tell her I had
another dream about her.

Tell her--
- What do you want?

- Well, we could start with
money.

tell her I want my picture made,
say $343.

The amount Helen said I stole
from Mr. Clarvoe's wallet

that just happened to lying
on the table in the den.

That was a lie, Mrs. Clarvoe!

I hate Helen for telling that
lie.

You tell her, I hate her and
that I intend

to make her pay for what she
did!

(phone clicking)
(dramatic music)

- Hello?

Hello?

(dramatic music)

(tense music)

- Helen!

I want to talk to you!

- Go on!

- Helen, I have to talk to you!

- Go on!
- Lady, I can't go!

That's a stop light!

- Helen!

(dramatic music)

- [Jack] That is wrong!

That is the third time
you've been absolutely wrong.

Now, try to get it right!

- Now look, I've got it right
here.

Two cheeseburgers with
everything, an order of fries,

beer, and a kosher pickle,
right?

- Right, now that is right!

- You're making an awful
lot of noise, Tommy.

- Are you coming with me?

- I'm going with Tommy, Jack.

- [Jack] You need two people

to carry two cheeseburgers
with everything--

- We'll be back in about half an
hour.

- Last one to Dilly's is a
rotten egg!

- Maybe I should have gone
along to carry the french fries.

Never heard of such a
thing in my entire life.

Two people.

(door opening)

Did ya forget something?

(door closing)

Did you forget part of the
order?

(footsteps approaching)

Robin, is that you?

Who is it?

- It's Dorothy Johnson.

- It's who?

- Dorothy Johnson.

I have the money now, Mr.
Terola.

- Now look, Miss Johnson, I'm
not gonna take your picture.

Will you please just be a good
girl

and go away before I call the
police?

(door opening)

What's the matter with
you, can't you read?

Get out of here!

Will ya get out--

(gunshots blasting)
(dramatic music)

(clattering)

(dramatic music)

- A few of our viewers wrote in
telling us

that they feel the station
break is the high point

of the evening.

We shall now hear from
one of those viewers.

(eerie music)

- Here you are.

- That's all right, I've got it.

It only takes 30, 40
minutes, Paul, to get here,

even in the five o'clock
traffic.

Helen's always late but
she's never this late.

- Well let's give her another 15
minutes.

She may have stopped to get you
a bouquet

of flowers, who knows.

- Helen's never brought
me flowers in her life.

- I'll tell you what, I
think I better phone Molly,

tell her I'm gonna be even
later and see how the kids are.

- Use the phone in the hall.

(phone ringing)

Hello?

Yes, yes.

- [Dorothy] Into the park,
she thought she could lose me

in the park, in the trees.

But Helen's forgotten how clever
I am

at playing hide and seek.

There I was, just waiting
for her cool as a cucumber

on the other side at the end of
the path.

You should have seen her
ugly face when she saw me.

- Where is Helen?

- [Dorothy] Is that you, Mr.
Blackshear?

- Yes, where is she?

- [Dorothy] Would you care to
repeat

that question again please?

- Where is she?

- [Dorothy] That's the
third time you've asked me

that question (laughs).

You know, she's not as bright

as you thinks she is, Mrs.
Clarvoe.

- Where are you, Dorothy?

- [Dorothy] Not as bright as
you've

always bragged her to be.

- She had almost $200 in her
purse.

Now I don't call that smart.

But that still wasn't enough
to have my picture taken.

I gave every penny of it to Mr.
Terola.

He wanted to know if I could
read.

Of course I can read.

And I can add and subtract
and multiply and divide.

Two times two is four.

Four times four is 16.

16 times 16--
(phone clicking)

- Paul!

- I'm going to phone Terola's
studio

and see what I can find out.

- I'll use the hall phone
and try the hotel again.

- Right.

(phone ringing)

- [Operator] Terola's Studio.

- Hello, is Mr. Terola there?

- [Operator] This is the
answering service, Mr. Terola is

in the dark room and has
asked not to be disturbed.

May I take a message?

- Nevermind.

I'm going over there.

(laughing)

- Here's your dinner, Jackie!
- Here's your dinner, Jackie!

- Stop it!
- Stop it!

- Robin!
- Robin!

- Hey, something's burning.
- Hey, something's burning.

- Stop it, no fooling.

The coffee pot.

Bone dry!

Hey Terloa!

Coffee boiled is coffee spoiled!

- Come on, we're not waiting.

- Yeah, we're gonna eat.

- What is it?

- It's a twenty dollar bill.

- What's that?
- It's blood.

Hey, Jack?
- Jack?

- Hey, Jack?

(tense music)

(dramatic music)

(screaming)
(glass shattering)

(tense music)

- [Paul] What's going on?

- Where are you going?

- I'm going up to Terola's
studio, to see Jack Terola.

What's happened?

- Take him upstairs.

(crowd murmuring)

- How long were you away from
the studio?

- It wasn't very long, I
don't know how long was it?

- 15 or 20 minutes.

- There's the man who was asking
for him.

- What's happened?

- Your name, please?
- Paul Blackshear.

- I told you it was something
like that.

- You have business here Mr.
Blackshear?

- Yes, I want to see Jack
Terola.

- I'm afraid that's impossible.

Jack Terola is dead.
- What?

- You know anything about this?

- No.

- Shot through the heart
about two hours ago.

You were here this
morning, Mr. Blackshear,

asking about a woman
named Dorothy Johnson.

- That's right.
- You know where she is?

- I'm trying to find her.

I have a client named Helen
Clarvoe.

She was threatened by this
Johnson woman.

- Like Terola.
- And Helen is missing.

- What?
- That's right,

she was supposed to show
up at her mother apartment

this afternoon and never
made it, just disappeared.

However, the Johnson woman
phoned there,

said she had seen Helen and
had evidently taken some money

from her or something like that.

That's about all she
said except for the fact

that she said she had been here
to the Terola Studio again.

- She killed him?

- I don't know what to make of
it,

but I thought the best
thing would be to come here.

- Now obviously, my
client is in great danger.

- Where does she live?

- At the Vicente Hotel.

- Call her and see if she's in.

- I called just before I came
down here.

- Call again.
- I'll tell what,

I'll try the hotel desk,
maybe they've heard from her.

(phone ringing)

- Front Desk.

- No, no, Mr. Blackshear,
Miss Clarvoe has not returned.

Well, I certainly will take a
message.

No, I have it, sir.

Well yes, I understand that it's
urgent.

I will, sir.

Goodbye.

- Oh, Miss Clarvoe.

I have several messages for you.

Your mother called three times

and she wants you to
phone her immediately.

You're lawyer called four
times and says it's urgent

that you reach him at this
number.

- Thank you very much.
- You're welcome, Miss.

(tense music)

(phone ringing)

- Hello?

- [Dorothy] Mrs. Clarvoe?

- Yes.
- You know who this is?

- Yes.
- Guess where I am.

You guess.
- I don't know.

- [Dorothy] I'm with your
brilliant, ugly daughter, Helen,

at her hotel, room 425.

- Let me talk to Helen.

- [Dorothy] Helen has something
to say to you Mrs. Clarvoe.

Something she should have
said a long time ago.

Helen, this is your mama on
the phone, I dialed for you.

Now you come on, you tell
her what you told me here.

Now you talk!

- Mother?
- Helen!

- [Helen] Mother, Dorothy
didn't steal that money

from father's wallet, I lied
about that.

I couldn't stand for her to
marry Douglas.

I hated her because Daddy
loved her better than me.

I stole that money and
I put it in her purse.

Can you forgive me, mama?

Mama, she's got a gun.

- [Dorothy] Did you
hear that, Mrs. Clarvoe?

Ain't she a bad girl to
tell such terrible lies.

Terrible, terrible lies!

You can't forgive her for that.

- Yes?

Yes, Mrs. Clarvoe.

Yes, yes.

Dorothy Johnson has Helen

at the Vicente Hotel and she's
got a gun.

- Let's go!

(dramatic music)

(tires squealing)
(dramatic music)

- Helen?

Helen?

- [Dorothy] I'm sorry, Helen's
busy.

She can't see anyone right now.

She has a visitor.

- Miss Johnson, this is Paul
Blackshear.

- [Dorothy] Please go
away and leave us alone.

This is none of your business.

That's not your beau, is it
Helen?

I didn't know anyone that cute
would ever pay any attention

to anyone as ugly as you.

Now you just stay right there,
you're not going anywhere.

You're a bad girl, Helen.

- Open up, Miss Johnson.

This is the police!

(gunshot blasting)

Get back, get those people back!

- Helen!
- Leave us alone!

- [Helen] Paul, go away please.

- [Dorothy] It's all your fault!

You've always been jealous of
me!

- [Helen] Paul, she killed
Terola.

- [Dorothy] Shut up!!

Wouldn't take my picture,
I wasn't pretty enough.

Terola's just a shadow now.

- Miss Johnson--
(gunshot blasting)

- [Dorothy] Leave us alone!

Tell them to leave us
alone or I'll kill you!

Tell them, leave us alone!

- Please, I called the hospital
if

that's any help Mr.--.

- Who is this?
- This is Dorothy Johnson.

- What?
- She is in there, alone.

- [Paul] Alone.

- I came up in the elevator
with her and I wanted to talk

to her and then she took
out that gun and she told me

to wait at the end of the hall.

She went inside and locked the
door.

And then I heard my voice.

Her using my voice.

I don't understand.

- Some sort of split
personality.

- Yes.
- But my voice?

- It's possible in rare
cases of schizophrenia,

where people who imitate other
voices.

- Particularly the voice of
someone

that they always wanted to be.

- Poor Helen.

All this time you thought
I was calling her,

but it was herself.

- Who is that out there?

- Helen?

- Who is that out there?

- [Paul] It's Paul.

(tense music)

- Who?
- Paul.

(tense music)

- Paul, help me.

- Open the door Helen.
- I can't.

- She has a gun, she may hurt
me.

She told me to stand still.

- [Paul] Fight back, Helen.

Stand up to her.

(tense music)

- Don't listen to them.

Tell them to go away.

- Go away.

- Miss Clarvoe?

Who are you?

I don't know you!

- Let me talk to her.

Helen?
- Paul?

- Yes, Helen listen to me.

Dorothy Johnson is out here with
me.

You understand?

Dorothy Johnson is out here in
the hall.

(laughing)

- How can I be out there when
I'm in here?

You're boyfriend is so silly,
Helen.

- [Paul] You are not
Dorothy, you're Helen.

- You're boyfriend is crazy,
Helen.

He'd have to be, to like you.

(laughing)

Don't say that!

Paul?

You like me, don't you?

- Yes, I like you very much,
Helen.

- You see?

- Miss Johnson, say something to
her.

- Helen?

Helen, guess who this is.

It's Dottie, Helen.

Dumb Dottie, you taught
her how to multiply.

Two times two is four,
four times four is 16.

- Dorothy?

Dottie?

I told a terrible lie.

I'm sorry.

I'm sorry, can you forgive me?

You can't forgive me, nobody
can forgive me, never.

Never.

- I forgive you Helen.

I understand.

I forgive you, do you hear me?

I forgive you, please
Helen, open that door!

Open the door for Dottie, Helen!

- All right.

All right, I'll open the door.

Where's Dorothy?

- Here I am.

(laughing)

- No, you're not Dorothy.

Dorothy's pretty, Dorothy
Johnson was the prettiest girl

my Daddy ever saw.

He liked her hair in a ponytail.

See my ponytail?

- Helen.
- No!

Don't call me that, I'm not her!

- Yes.
- No!

I hate her!

I'm Dorothy.

(dramatic music)

I'm Dorothy.

Dottie, Dottie, Dottie.

Dorothy, leave me alone.

(tense music)

Shh, it's not your turn, Helen.

Just 'cause you're rich you
think you can take extra turns.

Money doesn't buy everything,
Helen.

Money can't buy you a pretty
face

or pretty hair, like mine is.

Or pretty ears or pretty
noses or toes's or roses.

Pretty is as pretty does,
and look at you, Helen!

You're a mess!

(tense music)

- [Dorothy] Well, here we are!

- Don't they look beautiful!

- Oh, you really are lovely,
Dorothy!

Well, thank you, sir.

Why don't you fix your hair
like Dorothy fixes hers, Helen?

Doesn't it look nice?

- Daddy likes your ponytail.

- (giggles) It's nice.

- [Mr. Clarvoe] I wish she
could be more like Dottie.

I wish she could be more like
Dottie.

(giggles)

- Come on, Dorothy, concentrate.

Start again.

- Two times two is four, four
times four is... (giggling)

- No doubt about it,

Dorothy Johnson could
be a professional model.

Don't bother me now, Helen.

- I'm sorry Miss Johnson,
I am very busy right now.

You'll just have to wait.

(tense music)

Hey!

(crashing)

- Helen, do you know who this
is?

Of course I know who this is,
Dorothy!

Helen, I need some money.

That was a lie Mrs. Clarvoe!

I hate Helen for telling that
lie!

You tell her I hate her

and that I intend to make
her pay for what she did!

Thought you could get away
from me this time, didn't you?

- [Jack] Will ya just please
be a good girl and go away?

- Two times two is...

(tense music)

I just want--

- [Jack] Will ya get out!
(gunshot blasting)

- Is four.

I'm Dorothy.

(gunshot blasting)

Two times two is four.

So I can have my picture made.

(talking overlapping)
(eerie music)

You lied, you deserve to die!

(gunshot blasting)

(thudding)

(tense music)

Go away!

She won't go away!

Make her go away!

She shot at me!

(tense music)

She shot at me!
(tense music)

She shot at me!
(tense music)

for you to see scenes
from our next production.

They follow in a few moments.

Our new compacts have
been taken off the market.

In the test areas, Los Angeles,
Pittsburgh, and London,

the gas did not prove to be a
deterrent.

In fact, the muggers, long
accustomed to the atmosphere

in these cities regarded the
gas as distinct improvement.

Perhaps next week when I return,

I shall have another device.

Until then, I'm sure
that heaven will protect

the working girl.

("Funeral March of a
Marionette")

(inspiring music)