Original subtitles

[Music]

I'll kill you.

Is dear Norma in trouble? I think her

life is in danger.

[Music]

[Music]

[Applause]

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Heat.

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[Applause]

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Heat.

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Heat. Heat.

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[Applause]

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[Applause]

[Music]

You might feel better if we get out of

the house. What do you say to dinner in

a movie?

What do you say to just dinner?

A movie. Look, say something before this

turns into a saliloquy.

>> All right, let's go to dinner. Come on.

>> Maybe we can talk.

It would help me if I knew what's

bothering you. I I don't want to pry.

>> Well, then don't. Dear,

>> you wait here. I'll go get the car.

[Music]

Mother,

[Music]

I'll kill you.

If you come any closer, I'll kill you.

Howard, listen to me.

The man I saw this morning was not from

the police.

Don't make me hurt you.

You're my brother.

Howard,

stay away.

Madeline, thrust the knife into the burl

walnut desk. Oh, I did, too. Oops.

>> I would say so.

>> Shattering the veneer

into glistening fragments. Her bluff

worked. Howard stopped. Bewilderment

replaced his rage and fear.

Suddenly she felt the familiar pity for

those faded blue eyes that could so

rarely look into hers directly. I think,

dear, that Howard's eyes were brown in

the last chapter.

>> Oh, well, blue eyes fade better than

brown. Leave them blue.

>> Where was I? Let me see. This is your

best chapter yet. It's masterful.

>> Thank you. Uh,

Meline's eyes were drawn against her

will to the couch where Gertrude lay

sprawled on her back. Blood

>> sprawled, dear. sprawled.

Blood spurted from the slashed breast.

Blood also stained the exposed thigh,

and the gossamer yellow hair was a

wildly disheveled mass over the staring

blank eyes.

Was it possible, Maline wondered, that

Howard could be capable of such violence

of murder?

Well, that wraps up chapter 8.

>> Poor Howard. I don't think I'm going to

like his being killed.

>> Why do you think he'll be killed?

>> Cuz he's related to your leading

character. And in all your works, you

make a point of killing off very close

relatives. Oh, now Gee, let's not get

into that invalid,

tiresome, laborious discussion again.

I'm not killing you. Howard will be

killed. Yes, but ingeniously.

>> Oh, of course. Shall we go on?

>> No, that's enough for tonight. Shall we

have a little tipple? But first, let me

read back this. Make sure I got it right

before we stop. Uh, Meline's eyes were

drawn against her will to the couch

where Gertrude still lay sprawled on her

back. Blood spurted from the slash

breast. Blood too stained the exposed

thigh and the go.

>> That's enough. I don't want to hear

anymore. That's horrid.

Norma, why was he trying to kill you?

You You didn't want to go out tonight.

You were frightened.

You've been warned,

>> dear. Will you go home?

>> It's that book. It's something to do

with that. For heaven's sakes, will you

go home?

>> Oh, you're impossible.

>> How tall are you anyway?

I always gave the illusion of height on

the screen. Films make most actresses

seem heavier, but somehow I always seem

to be taller.

>> Norma, you're not answering me.

>> I have answered you. I said go home.

>> You want me to call you when I get home?

>> Not unless you want to wait me.

>> You make me feel so helpless. Well,

baby, what's a mother for?

Mariskino cherries.

Now for the fernum.

>> Oh, gee, let me fix it. You make such a

to-do about it. But that nice waitress

in trs insists it's the touch of fernum.

That's enough of a touch. And the hell

with the marisina cherries.

Who could that be at this hour? Dear,

it's not your killer.

It's a woman.

A woman? How do you know?

>> Because women ring once, men ring twice.

>> Why? I'm impressed.

>> Thank you.

>> It could be a couple.

>> Be careful. And don't take the chain off

the door.

>> Dear, we don't have a chain on the door.

I don't think we have time to put one

on.

>> I'm just never going to write again

after dark.

Yes. Oh, I'm I'm sorry. It's the wrong

apartment.

>> We like it.

>> May I help you?

>> Oh, I'm looking for Lieutenant Steven

Ostrovski. They told me at the police

station he'd be here. It's the right

apartment.

>> He lives here.

>> No, he visits here

>> and not as often as he should. I'm his

aunt, Gwendelyn.

>> Oh, how do you do? I'm Mary Nero.

>> Please come in. And this is Steven's

aunt Ernesa.

>> Hello. Don't I know you?

>> I don't think so, but I do know you. I

I've read all your books. And I saw you

on the Carson show the other night. You

have great legs.

>> Oh, thank you. Come in.

Steven isn't here. Could we help?

>> I don't think so.

>> He often confides in us. Is it a police

matter?

>> No, not

not yet.

This doesn't make much sense.

>> You're apprehensive.

You sense that someone you know is in

trouble.

>> How did you know?

>> Oh, Ernesta, superbly observant.

>> True. Now, who is it that you please sit

down? Your mother.

>> Yes. How did you know?

>> Oh, no, dear. I'm not that clairvoyant.

You resemble your mother. Your Norma

treats daughter. The likeness is

uncanny.

>> Oh, do you know her?

>> Know her? She was in our play.

>> Is dear Norma in trouble?

>> I think her life is in danger.

That's something you read in a

melodrama, not something you say. Her

life is in danger.

>> Has she been threatened?

>> Well, someone tried to run her down

tonight and then threatened her on the

phone, I think.

>> Did you hear what was said?

>> No, but I saw her reaction.

And the other night at a restaurant,

mother was on the wrong side of several

martinis and started talking about her

book.

>> Her book?

>> Yes. She's about to publish her

autobiography. I haven't seen it, but I

I think she was indiscreetly explicit

about her past. And if you know, mother.

>> Oh, the five divorces, all those leading

men, and the political scandal.

>> You know, mother,

>> my sister hasn't missed an issue of

Photoplay magazine since it first came

out in 1923. Go on with your story,

dear.

>> Oh, well, the owner, Alexander.

>> Alexander Scalamandry?

>> Yes. A superb chef. What about

Alexander?

>> Well, he was at our table and he said to

mother that it was his healthy

conjecture that she would be ill advised

to publish such a book.

>> Oh, that sounds like dear Alexander. He

does love to play with words and so

often loses. Where's your mother now?

>> At home.

>> Would you feel better if we got her out

of the house? She won't leave.

>> Well, call her and ask her to dinner.

It's something we've been meaning to do

for a long time. Anyway,

>> when did you last see mother? U 1946.

What's the number, dear?

>> 5554721.

[Music]

She doesn't answer.

That's impossible. She's compulsive. She

She answers payones.

[Music]

[Music]

[Music]

Just just a minute, ladies and girls.

Miss E, Miss G, we don't go out at

night. We stay home at night. It looks

like snow, ladies. It may be one of the

worst nights of the year.

>> We're not going, are we?

>> We're going.

[Music]

This is wrong.

Very wrong.

I shouldn't be here. You shouldn't be

here. We shouldn't be here.

>> That's a very natural progression,

Barney.

>> It's wrong.

>> It's shorter if you turn down.

>> He knows that.

>> You know that. He's very proud. He was a

patrolman for 20 years. He has a grid

map of the city for a nervous system.

>> We should have waited for the lieutenant

to call the police.

>> And tell them what, Barney? That

somebody didn't answer their telephone.

>> Then you call the phone company.

>> Well, they're less interested than

anyone in whose phone isn't working.

>> Especially at this hour of the night.

>> It's wrong.

>> Beneath that rough exterior is an

impossible interior.

But beneath that is something well worth

discovering.

He's supposed to spy on us for our

nephew. Keep us out of trouble. And he

hates it. So the less he knows, the less

guilty he feels.

>> And the less his ulcer acts up.

>> Oh, it's the next street on

>> I know that

[Music]

[Music]

[Applause]

[Music]

There's nobody home,

>> but the Lights are on.

>> Well, I got a watch on, too. But that

doesn't mean it's working. She probably

went to bed. That's why she didn't

answer the phone. Should we go home?

>> Bunny,

>> watch your step. That's it, ladies.

Tread lightly. Whoops. Train's about to

leave the station.

There we go.

>> Do you have a key, dear?

>> No, I don't.

>> She could have gone out.

She hasn't been out of the house alone

for months. Ernesta,

how do we get in?

>> I don't know. G.

>> No, no, no, no. That's breaking an

entry. A violation of the New York Penal

Code.

>> Please. It's It's not like her not to

answer the phone and the door. I know

she's home.

>> All right, but it's wrong. It's wrong.

It's dead wrong.

[Music]

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Mother.

Mother,

are you there?

She couldn't possibly have fallen in

that position without knocking over one

of those hands.

>> Trying to fake a suicide.

>> Pretty feeble attempt. No powder burns

in the body. The gun still in her hand?

>> Uh, we'll run the gun through for

fingerprints.

>> You won't find any, but run it through

anyway. When get a ballistics test at

the lab call me as soon as they have

anything.

>> Right.

>> Will this do?

>> Oh, that's perfect. Where's Miss Nero?

>> Uh, in the library. Uh, how about your

aunts?

>> They look reasonably comfortable. Have

them wait. I want to speak to Miss Nero

first.

It's Nero.

This may help

>> help

won't be any delayed reaction. I'm

feeling what I can feel.

>> Mhm.

>> Considering you didn't know your mother

very well.

research

>> observation.

>> You're right. I didn't know her was a

birth certificate relationship.

She left my father and me shortly after

I was born.

Cleared out the joint savings account,

headed for Hollywood.

>> How did you and your mother

rediscover each other? was a tender

reunion in a taxi.

I uh

I began seeing her on and off. I don't

know why.

We we had dinner once, twice a week.

Didn't make much sense. We

fought more than we talked.

I regret the absence of tears tonight.

They were used up more than 20 years

ago. Think

I could use this now?

>> Well, if there are any more questions,

I'd like to go upstairs.

>> No more. Not just now.

Well, Miss Nero, there is one

one more question.

>> Do you have any idea who might have

threatened your mother?

>> No.

Okay.

>> See that note now?

>> Uh, in a minute, Lieutenant. We're

almost finished with it.

>> Okay.

I'll visit my ass.

Well,

I think I owed a simple explanation,

although I don't expect to get one. But

how did you get into this house?

Did the killer leave the door open, or

did I just leave the door open by

suggesting that the door was left open?

>> I let him in.

>> Well, that explains them. How did you

get in?

>> Oh, Lieutenant, you know how I got in. I

It was wrong.

Now, if you need me, I'll be in the car.

My My plugs are acting up

now. I Hey, you getting a cold?

>> No, it's just such an unusual scent.

Said, did Norma use it?

>> No, she always wore Norma. It was

specially made for her in Paris. She

wouldn't touch anything else.

>> Lieutenant.

>> Yes. They finished with a note.

>> Oh. Uh, Miss Nero,

>> is this your mother's handwriting?

>> Yes, I think it is.

>> Would you mind reading it, please? I uh

I can't find my glasses.

>> Dear Mary, don't forget to see Mr. Largo

as soon as possible. Mother,

>> what does that mean to you?

Nothing. I I don't know anyone named

Largo.

>> Check out all the Largos in Manhattan,

Bronx, the Queens, Brooklyn, and uh the

entire country if necessary.

>> I'll get right on it,

>> right,

>> Lieutenant?

We're finished with that room now. You

can bring the ladies in if you want it.

>> Well, as long as you're here, you might

as well be comfortable.

>> Thank you, Stephen.

>> Gino, check out the neighborhood. Find

out if anyone saw a car or a taxi coming

or going.

It was a car. A white car.

>> Look for a white car, Gino. Look, no

offense, Lieutenant, but don't you think

we should get that confirmed?

>> When we drove up, there were three cars

parked at the curb. Green, white, and

red. In that order, one thought

inevitably of the flag of the Irish

Republic.

>> But, Lieutenant,

>> look out of the front door. You'll see

the white one is gone.

>> Uh, look for a white car. Gio, it

doesn't necessarily follow that the

killer took off in that car. A dozen

people could have.

>> Soon after we entered the house, a car

drove off.

The speed of acceleration indicated

escape and at least 400 horsepower. I

would say that the shifting

characteristics were those of a foreign

sports car.

>> Gino, look for a white foreign sports

car.

>> Lieutenant,

all the drawers up there are open. You

got any idea why?

>> No, I don't. I think I do.

>> We think it was a manuscript.

>> A manuscript.

>> Norma's autobiography.

>> Thank you.

Uh, would it have been handwritten or

typed?

>> Probably longhand. I don't think she

could type.

>> A longhand manuscript. We may have found

it in the bedroom.

[Music]

Okay. Where is it, Raymond? It's in the

drawer here, Lieutenant.

>> No, they're they're my poems. I left

them here. Norma wanted to read them.

>> We'll see that you get these back. What

we're looking for is probably much

thicker. Rain.

>> Would you know if she kept the

manuscript in a loose leaf book, um, a

notebook?

>> Well, would anyone else have a copy of

it?

>> Not to my knowledge. The killer mighty

could have found it and taken him home.

>> He was still looking for it when my

aunts and company arrived. If it was

ever here, it's still here.

>> It had to be here. Norma said she was

working on it.

>> Raymond, go over this place thoroughly.

Turn everything upside down

or uh right side up.

>> Make a note to check all the publishers

in the morning. Find out who's bringing

out the book and more important who's in

it. Better make another note to pick up

my notebook, my glasses, and my pen. The

plugs are pinging.

>> Good. Well, it's time to say good night

to the ladies.

>> They're snooping again.

>> And Esther, did you say good night?

>> Good night.

>> Good night.

>> This is illegal.

>> That's right. And final Barney, straight

home. No field trips. Gotcha. I'll see

that Miss Nero gets home. If you can't

sleep, dear, or you want to talk, just

call us. No matter what the hour, we

never close.

>> Thank you. You've both been very kind.

>> We ready now, ladies? Ciao.

[Music]

>> They are very kind and very dear.

>> Yeah, that they are.

>> It is. Oh, it's a little chilly out

there. Dear Barney, would you mind

warming the car before we go?

>> Oh, not at all. Ladies, promise me one

thing. Stay right here. Don't move.

[Music]

>> I said don't move.

[Music]

[Music]

[Music]

You can learn a lot about a person by

the books he owns. Norma always loved

green. These books must have come with

the house.

>> If I remember her correctly. Of

>> course you do, dear. Without her, your

play would have been a smash. She was

never much of a reader.

>> Certainly not nature schopenhau

and Charles Schulz and gee look

12 books by Melvin.

>> Melvin Douglas.

>> Is there only one Melvin for you?

>> It's just that Melvin Douglas reminds me

of Dear George so much.

>> Your late husband bore as much

resemblance to Melvin Douglas as my

books do to classical literature. The

Melvin that I was referring to is Melvin

Kaplan. There are 12 books as told to

Melvin Kaplan here. Doesn't that strike

you as curious?

>> Curious.

>> Curious. Yes. Even Melvin Kaplan doesn't

own 12 Melvin Kaplan books.

>> Have there been any announcements of the

book in newspapers or columns?

>> There must have been. And she must have

had a public relations man. I better

make a note to check on that.

Excuse me.

You know, you you bear a striking

resemblance to my two aunts.

>> So we've been told.

>> It's too bad they left. You might have

enjoyed meeting them. As a matter of

fact, you might still be able to catch

up with them

>> if you leave right now.

>> Are we being thrown out?

>> Thrown out? That's a very inadequate

description for someone of your

acquaintance with words.

>> Are we being thrown out?

>> Of course, and officially escorted.

>> All right, let Barney.

>> Oh, boy.

>> Barney, you moved. Don't let him out of

your sight till you tuck him in bed.

Ladies, our relationship is

deteriorating.

All right, ladies. Out. Out. Out.

There go my two best men.

Wonder what they were doing in there.

They are brilliant, you know, in their

own way.

>> Do you know what has suddenly occurred

to me?

>> Yes, dear.

>> What do you think?

>> You're right. Melvin Kaplan must have

been collaborating with Norma on the

book. Shouldn't we tell Steven? Oh,

Melvin would never cooperate with the

police. You remember that time he was

subpoenaed? He went to jail for 5 days

rather than reveal his source.

>> You're all right, dear. Melvin would

never betray a confidence except on

paper. As long as we're in the

neighborhood, Barney, we would like to

call on the son of an old friend of

ours. Please take us to um 563 East

53rd.

>> I promise the lieutenant I'd take you

straight home. I don't want to go back

on my word. We wouldn't want you to take

us home.

>> Thank you.

>> And then take us to 563 East 53rd.

>> How long were you in the house before we

got here?

>> Oh, 45 minutes.

>> Not good.

>> Why?

>> Well, the killers may think my aunts

found the manuscript.

>> Oh, then they're in danger.

>> Yeah,

and so are you.

Now

>> then, how long do you intend to be?

>> We don't know.

>> That's too long. I could get into

trouble.

>> We'll rush.

[Music]

>> Good girls.

>> No, dear. It's 218.

>> Oh.

Over and over, I tried to slash my

wrists.

>> Go on.

>> Slash my wrists?

>> No. No. Go on with the story.

>> Wasn't that filthy mattress riddled with

lies?

>> Hello, Melvin. I don't know if you

remember us.

Tinker Toys, erectusets, the Snoop

Sisters.

a part of my remembered and revered

past. And every Christmas, a uniquely

joyous card.

>> Melvin, we have something to tell you.

>> The British are coming. I mean, why else

would you be here so close to midnight?

>> May we come in?

>> Yeah, come on in. Uh, listen, forgive

the mess, William. My maid walked,

stumbled out of here with my last bottle

of sliver of its half a leg of lamb.

Make yourself comfortable. Just sit any

place.

We'll stand, dear. The last time we saw

you, you were seven, and you had just

received your first fish tank.

>> I remember that. Yep. I have more now.

>> I would say so.

>> Feeding time.

>> After listening to people talk all day

long, purge themselves, the silence of

fish must be very welcome.

>> Yes. and infinitely more interesting.

>> You know, I'm fascinated by these. What

do you call them?

>> I call them piranha. It's good for their

inferiority complex.

Uh, do you want to ask me something?

>> I'm afraid it's going to be difficult

and unpleasant.

Melvin

Norreat is dead.

>> Now, tell me what's difficult and

unpleasant. She kill herself. Do you

think she would?

>> She seemed a type.

>> No, Melbourne.

It was murder.

The police are convinced that the killer

was after the manuscript of her

autobiography. And of course, that's why

we thought of you. We noticed all of

your books displayed in her library. And

of course, then we realized that you had

been the one who wrote the book for her.

And the library was the only room in the

house that wasn't turned upside down in

the search. We thought perhaps the

killer had come to the same conclusion

as we have. In which case, it was

absolutely imperative that you be

warned.

>> Well, thank you. Oh, it's uh very much

but really completely unnecessary.

I only met with her once. Look, uh I

have a certain reputation, if I may say

so, in my field. And what's it based on?

Human appeal.

Sex, yes. Degeneracy a must. I mean, you

name it. There's one essential

ingredient. The women I write about must

want to find themselves. Want to be

redeemed. Redemption is the key word. I

found out that Norma Treat was

completely uninterested in being reborn.

So, we had a drink and a snack and that

was it. I passed.

>> You mean you turned her down?

>> Yes. And I believe that ends our

conversation. I'm not really set up for

entertaining, but uh is there something

I could serve you? No, thank you. I

>> think I've got a sandwich around here

someplace.

>> As you so observantly pointed out

before, Melvin, it is late. Thank you

for seeing us

>> and uh thank you for your concern. Good

night, Anesta. Good night, G.

>> Good night,

>> Melvin.

>> Possibly you couldn't see from where you

were standing, dear. The tapes with No

Mati on them.

>> There were five of them. Eminently worth

investigating, don't you think?

>> Indeed. Are you hungry?

>> Hungry? Dear, we've had dinner and it's

11:00 at night.

>> Alexander Scalamandre's restaurant is

just around the corner.

>> I am rather hungry. Shall we take the

car?

>> Let's not wake him. We should tell him

where we're going. I'll leave a note on

him.

Well, looks like we're fresh out of

parking space.

>> They disappear around 5:00 in this

neighborhood. Why don't you just drop me

off?

>> I've got a better idea. Why don't I just

drive around the block one more time and

then if I can't find anything, I uh have

a solution.

[Music]

>> Would you say that Melvin was

>> definitely was

>> I thought so too. And if he was involved

with Norma, that means that he wrote the

book. The question is, why did he lie?

>> Anest G.

>> Alexander, I didn't know you were a

beard. Tonight's the night for beards.

>> My most favorite ladies in the whole

world. What a glorious surprise on such

a dismal night. What are you doing in my

neighborhood and not in my restaurant?

>> We're just on our way to your

restaurant. What are you doing outside

your restaurant? Session is lord is

evil. Even no such panderas of the paral

as I. I'm looking for customers

or at least someone to talk to.

Companionship.

>> I had no idea things were so bad.

>> Bad?

Last night there wasn't anybody in my

restaurant. And tonight business isn't

quite that good. You're having supper

with me? Consider yourself hijacked.

>> Are they really your aunts?

>> Sure. My mother's sisters.

Oh, here we go.

>> Isn't it illegal to double park?

>> Yeah, I'm uh glad there isn't a cop

around.

>> Thanks for bringing me home.

>> Oh, I'd uh do the same for any suspect.

>> Suspect?

>> Sure.

[Music]

Suspect by definition is one who must be

pursued.

>> I I' I'd love to ask you in.

>> Go ahead.

>> I'm exhausted.

Yeah. And uh I'm double parked.

>> I'll call you tomorrow as soon as we

know anything.

Two glasses, please.

[Music]

My own private stock. I drink it myself.

Nobody else will buy it.

>> Taxi.

>> No. I warned at a time less than a week

ago that someone will resent that book.

Obviously, now someone did. Do you have

an idea who that someone might be?

>> Yes,

that someone is everyone

without even mentioning her ex-husbands.

Anyone with a slightest claim to

celebrity would certainly be crucified

at their horrendous volume.

Knowing Norma, she couldn't have a nice

word for anyone.

Ah, there is one lone individual in New

York and she certainly did not wish any

ill.

>> Who? Let me drink to a dectable lady.

It's Pinky Allen. The only human being

in this wide free world that will open

the New York Times tomorrow morning

would shed a slight tear.

>> Would you care to join me in some crepe?

>> Oh, thank you. No, no, nothing more.

What a lovely meal it has been, dear.

Thank you, Joseph.

My compliments to myself. It was a

delightful dinner.

Let me escort you home.

>> Oh, dear. No. Oh, no. No. Alexander, you

stay here.

>> Then Joseph can take you.

>> No, it's only a short block and we could

use the air and exercise.

>> Thank you. Oh, but will you be able to

get home all right?

>> Oh, yes. Good night, dear Jeep.

Alexander,

>> my fair neester, my delectable delight.

Good night.

[Music]

[Music]

It's so surprising that the champagne

went to Alexander's head when there's so

much room in his stomach. It's not like

it most of the evening he wasn't liking

his surprising and unnecessary defense

of Pinky Allen. What do you think? I

think he suspects that Norma's chapter

on her must be quite vicious. Or else he

knows it is. But then perhaps his

warning to Norma was not as impersonal

as he led us to believe. It does make

one think.

>> Well, as long as one is thinking, it

would be well to think about the man who

is following us.

I thought those footsteps had a

progressively relentless sound to them.

[Music]

>> Can you see him?

>> Only a silhouette. He has a gun.

I'm going to suggest something at the

count of three. What? One, two,

[Music]

Nero, please.

She went out. How long ago?

She's been out all eating.

Oh, I see. No, no, no, no messages.

Thank you.

We should tell Steven about Melvin and

Alexander, but there's one thing we

really must not mention. Oh, right,

dear. We cannot tell him about the

gunman. It would reflect badly on

Barney. Steven would blame him for not

taking better care of us. He simply does

not realize Barney's age.

>> Dear boy,

one doesn't have the heart to wake him.

I would suggest that you drive, dear,

but he has the key in his pocket.

We don't need a key. I have my hat pin.

And ours is a very vulnerable lock.

What's that?

>> I see you're on the sidewalk. You're jay

driving. Wrong.

All the running and excitement. Do your

legs hurt as much as mine?

>> Less, dear. But then I jog.

>> Can I borrow your linament?

>> Of course. It's in the bathroom.

>> You might be interested in this. The

1948 issue of Photoplay, page 36. Story

and pictures. Alexander left Norm a

treat for Pinky Allen. Was a torid

desertion.

>> I never would have recognized Alexander.

He's a quarter of his present self.

>> Well, that's before he had a reputation

to maintain. One must be instinctively

suspect of a slender gourmet chef. Oh,

Ernesa,

do you think the man who shot at us was

trying to kill us? No, it was just a

warning shot telling us not to get

involved.

>> Why?

>> Because we're very good. Just trying to

frighten us off.

>> Are we frightened?

>> No.

>> Good.

Have you any idea who our gunman might

have been?

>> Yes, Melvin Kaplan.

>> I thought so. But if you were sure it

was a warning shot, why did you insist

on our adopting the prone position so

precipitously?

>> Well, considering Melvin's eyesight, he

might have missed and hit us.

>> I'm going to have a talk with Barney.

>> Please don't blame Barney, dear.

>> He protested. We persevered.

>> Sure.

Excuse me.

>> Yeah. Oh, Raymond. Yeah. Listen, there's

been a change in plans. Yeah. I'm going

over to Melvin Kaplan's from here.

Uh-huh. See if I can talk him into

playing some Norma Treat tapes for me.

Yes. I got a tip. Now, you check into

Alexander Scallamandry for me. Find out

anything you can about him where he was

early last night.

Look into anything that could tie him in

with Normad.

>> And don't forget Pinky Allen, dear. They

still may be au

>> and a woman named Pinky Allen, right?

>> Is that it?

>> Yeah.

>> Oh, I'm sorry.

>> Oh, it's okay. You know my answer.

Anything?

>> Blanks. There isn't a single publisher

in New York who contracted to publish

that book. Normally approached quite a

few, but her terms were too stiff.

>> Well, did any of them get a look at it?

>> She wouldn't even show him an outline.

And her PR man claims he didn't even

know about the book. And no leads on the

white sports car, Mr. Largo, or Mary

Nero's trip last night.

>> Thanks, Robert.

Mary, you don't suspect Mary.

>> I called her last night, too. Thought

you might have gone over there, but she

also wasn't home.

>> She might have slept through the ring.

>> She might have if she'd been home to

sleep through it,

>> yeah?

Well, go over it again.

Right.

No manuscript.

It's just a thought, dear. But have you

checked whether Norma had a safe deposit

box?

>> Under all five of her married names and

under Largo, too. I even thought treat

might have been her stage name, but it

turned out it was her family name.

>> And you found nothing.

>> A checking account at First National on

58th Street.

>> If one has a safety deposit box, it's

usually in the same bank with one's

checking account.

>> But it's probably under a different

name. I have a court order, but that's

not going to help me find the pseudonym.

>> We'll go now, dear. You're busy.

>> Yo,

>> Mr. Corman is here. Norma tweets

publisher.

>> Be right out.

>> Uh, Lieutenant,

I'm Charles Corman.

>> Oh, pleased to meet you, sir. Won't you

come? These are uh these are my aunts,

Mr. Ernesto Snoop and Mrs. Gwendelyn

Snoop Nicholson.

>> How do you do?

>> How do you do? Are you of the Boston

Cormans?

>> But yes, as a matter of fact, Corman and

Son,

>> your firm published my first and only

book of poems.

>> Really? I'm sorry. I I don't believe I

read it.

>> Nobody did.

>> One question. I

>> I have a question. Weren't you just

about ready to leave?

>> Nice meeting you,

>> ladies.

>> Won't you come in, Mr. Corman?

>> Oh, thank you.

>> Well, the next and most important

question is,

>> excuse me. Toast was a bit dry at

breakfast.

>> You do have a copy of Normma Treat's

book.

>> Uh, no. No, I don't.

Uh, thank you.

>> You don't? Well, I had an appointment

with M Street for 10:00 this morning to

take possession of the manuscript. I saw

the papers as I was leaving the hotel.

>> Hotel?

>> Uh, yes. I came in from Boston on the

night train, checked into Plaza this

morning, and when I saw the papers, I

came directly here.

>> Won't you sit down, Mr.

>> Oh, thank you.

two points.

>> You uh you have read an outline of the

book.

>> Not a word. Those were her terms. The

contracts would be signed sight unseen

with a clause forbidding us to alter a

single word.

>> Is that usual publishing procedure?

>> Oh, certainly not. But in this case, I

personally felt it was worth the gamble.

>> Was there an advance?

>> A hefty one.

>> Mr. Mr. Corman, I must say that uh I was

under the impression your house was well

quite a serious one.

>> And that, I'm afraid, may prove to be

our downfall. You see, people don't read

books anymore, only non books.

Uh well, I'll make no bones about it.

If that book was a proverbial bombshell

before the murder, think of the impact

it could have now.

could be worth millions.

>> Mr. Corbin, a man like you might well

save Corman and Sons single-handedly.

>> I intend to. And now, Lieutenant, with

your permission, I'll take possession of

the manuscript. It's legally the

property of Corman and Sons. I uh I have

all the required documents right here.

>> What manuscript? We couldn't find one in

the house.

>> No manuscript, but that doesn't seem

possible. But surely the writer that she

was working with would have a copy. How

did you know she was working with a

writer?

>> Well, her knowledge of English was at

best, I'm afraid, uh, a speaking

acquaintance.

>> Do you know who the writer was?

>> No.

>> Oh, Nea, let's not go to the bank. I

cannot ask Warren Packer to do me that

kind of a favor.

>> Darling, considering your past history

with Warren or Nester,

>> that was a long time ago.

>> But irredable, dear. Warren knew Norma.

As president of the bank, he surely must

have seen her come in. And of all people

who might know the pseudonym, he's the

most likely. And of all people he's most

likely to tell it to. Well, don't blush.

You said yourself it was long ago. And

after all,

what are you doing? What are you doing

now? I threw away the prize.

[Music]

Oh, why don't you come in with me?

>> Oh, no, dear. I'm sure Warren wouldn't

give the privileged information if we

were together. I'll just get some air.

Don't move.

>> Nester, you haven't learned anything.

You got to hold the bag tight or else

you're going to lose it.

>> Hey. Oh,

>> Barney. Put him down. This is Charlie.

>> Yeah, I know who it is. I ran him in 15

years ago for breaking it into messing

the suit.

>> He's my friend, Barney. Put him down.

Charlie was the prototype, the model for

Sparky the Safe Cracker in

>> H as in homicide. I know. I taught her

all the lingo, you know, all the

technical stuff. But I'm legit now.

That's my news stand down there. Oh. Uh

Anesa, um I uh I carry all of your

books, you know. Uh could you uh could

you autograph some of them for me?

>> But of course. I'll be back in a minute.

Ernesta,

over the wrist, then hold it tight with

the arms in. Okay, come on. She has some

very strange friends.

[Music]

[Music]

Heat. Heat.

[Music]

[Music]

[Applause]

I I didn't kill him.

Then why were you running?

>> Same recently you're chasing me. There's

a dead man back there. You had to think

I killed him, but he was dead when I got

there. I swear it.

>> What's your name?

>> I'm innocent.

>> Is that your first name or your last

name?

>> Come on.

>> Dur. Anomle. The handsome dur.

>> In case you haven't guessed it, the ant.

You're under arrest.

>> I'll be back in a minute.

Barney, was that Mary who just went into

the bank?

>> Yeah.

>> Did she see you? No.

>> I What happens if she sees G in the

bank?

>> What happens,

>> Barney? You must learn not to pry.

>> I hope G uses her characteristic

ingenuity.

>> If I could do it for anyone, G, I would

do it for you. But I cannot compromise

my position. What you're asking me to

reveal is completely confidential.

>> Of course, Warren, dear, and you have my

word for it. It will be treated as such.

>> I'm sorry, G.

It's quite impossible.

>> I knew if anybody could have done it,

you could.

>> Sorry I couldn't help.

>> Goodbye, Warren.

>> See you again soon.

[Music]

I can't leave just yet, Warren.

>> Why?

>> Gee, what's wrong? You're not answering

me.

>> Seeing you again leaves me speechless.

My thought imprisoned in memory. May I

sit down for a moment?

>> Of course.

[Music]

Are you all right?

>> Oh, yes. This is good for the spine.

Eliminates tension.

>> Yoga.

>> Is there anything I can do?

>> Perhaps some water, Warren.

>> Of course.

>> Oh, could you tell me how to get to the

safe deposit vault?

[Music]

G.

>> Yes.

>> Are you all right?

>> I was just looking for my earring. You

weren't wearing any earring.

>> Oh, that's good. I didn't find it.

>> Here's your

your water. I'm sorry. I I spilled some

of it.

>> Oh, all right. I don't need it now. I'm

fine.

[Music]

[Music]

K A N D E R A D E Kerabi. Does it mean

anything to you?

>> Yes, it's Swedish. It means uh candy or

sweet

>> or treat.

>> And Norma was Swedish. Remember we met

her father during rehearsals for your

play.

>> So she must have been going to Norma's

safe deposit box.

>> What do you think if we

>> Splendid idea?

Simply splendid.

How did you know about the book?

>> Norma told me about it. She's at a

party. She's a little drunk. When she's

drunk, she's a little She talks too

much. She

>> I've heard the story,

but you never read the book.

>> No.

>> Then how did you know what was in it?

I didn't. But it wasn't difficult to

guess what Norma would write about me.

Our marriage, Lieutenant only lasted for

6 months. What it lacked in in in

longevity more than made up in

animosity. She's very vindictive, very

malicious. I am a choreographer. You can

take it from there.

>> Who told you Kaplan was working on the

book?

>> No. And Captain is is the king of those

those smut confessionals. And one thing

about Norma, she always went for the

best.

What did you hope to accomplish with

Kaplan?

I thought he might have the manuscript

everybody's looking for. I went there to

buy it. To buy it and to bury it. I was

prepared to offer him $20,000.

That offer still holds. Lieutenant,

>> I could book you for that alone.

>> I've changed my mind. I want a lawyer.

>> Call one who'll bring you a dry suit.

Mary. Oh, what a happy chat.

>> Hello. Could we give you a lift wherever

you're going?

>> Oh, that's very sweet of you. But I'm

just my pocketbook.

>> Oh, scandalous. Oh, Barney, get that

man.

>> That guy.

>> Barney, go and get him.

[Applause]

[Music]

Hey, Barney. Come here. You are under

arrest.

>> Bonnie, you're not a cop anymore.

>> Tell Anister that there's nothing here

except a Norma treat's will. It seems

that a a Mary Nero is the sole

beneficiary.

>> You mean to tell me that you and Anesa

planned this whole thing? That's wrong,

Charlie. Dead wrong. You're going to get

to come up with one of these days. I

hardly felt it. Just the slightest tug.

Oh, poor darling. No credit cards, I

hope. Ah, success, I believe.

>> There it is. And it's intact. I think

you might want to check.

>> Yes. Yes, it is. Well, please excuse me,

but I I am late. I'll talk to you later.

Oh, and thank you very, very much.

>> I hope you realize what you just did was

absolutely illegal.

>> I hope you realize you participated in

it.

>> Wrong.

>> Barney, you better get going.

>> Where are we going now?

>> Not we. You. Please follow Mary. See

where she's going in such a big hurry.

>> All right. All right.

Poor Melvin.

We warned him that having seen the

books, the killer might come to the same

conclusion as we

>> or

>> or somehow without knowing it, Melvin

revealed his involvement with Norma to

the killer.

>> True.

>> Steven, did you listen to Norma's tapes?

>> Yes.

>> What'd she say?

>> She said that she found it difficult to

talk into a tape and she said that for 5

hours.

>> No manuscript in the box, Lieutenant.

>> Thank you. You're sure that all that

Mary took was Norma's will?

>> Absolutely.

Why are you so sure?

You never did explain how you knew what

she took from this vault.

>> No, dear. We didn't.

>> Well, that clears that up.

>> Ah, there's Barney.

>> Now, ladies, she went straight Oh, god.

The person in question went straight

back to her apartment. I think there was

a man inside. I could hear conversation.

Couldn't make out the words. Old

building, thick walls. Are you talking

about Mary?

Am I talking about Mary? Yeah, I'm

talking about Mary. Thank you,

>> Steven.

>> Yes, I'll call you as soon as I talk to

the person in question.

>> We might as well go, too.

>> Miss A, Miss G,

want to talk to you for a minute.

something I want to say

without any interruptions.

>> Well,

>> I thought you'd interrupt.

It's a manto man talk, but it's for

ladies only.

Now, there's a lot going on around here

that I don't know about. I just wanted

to let you know that I know about. What

I don't like is you two taking off on

the streets by yourselves.

You're walking through yesterday and you

could get clobbered by today. You're

remembering what was. Well, you can't

play potty or pitch pennies or play

stick ball no more. That's a rough town

out there. That's rough, rough, rough.

Now, what I want from you ladies is an

agreement. Oh, no. Scouts honor. Let's

promise. No more trapesing around this

town by ourselves.

Come on, ladies. Do it for me, will you?

I don't want anything to happen to you.

All I'd have left is my pension. I can't

live on that.

What do you think about it?

Time off. I'll go back. Let's go.

>> It doesn't make sense. If the manuscript

wasn't in the safe deposit box,

>> Mary, I am not going back until it's

found. That's fine.

>> You were crazy to come here. Possibly.

>> Why didn't you call me first?

>> That would have been the act of a

reasonable man. As you pointed out, I

haven't been rational.

>> Lieutenant,

>> good morning. I promised I call.

>> Yes, but you didn't say in person. Well,

I u I found a parking space.

>> Nice apartment.

>> Oh, yes it is. I'd uh

love to ask you in for a cup of coffee,

but I'm just on my way out.

>> If you want to talk, we can do it while

we're walking.

>> Is this a campaign chair?

>> Yes.

>> Aren't you coming?

>> Don't you want to wait for your friend?

Fred.

Uh, I think you better come in, Dad.

[Music]

Heat. Heat.

[Music]

[Applause]

[Music]

That's all right, Barney.

>> One second, ladies.

[Music]

Shall I put the car away, ladies, or we

going out again?

>> Put it away. We're writing this

afternoon.

>> All right.

[Music]

>> Do you want to work now or should we

have lunch first? You don't mind cooking

while I straighten out my notes? We can

write afterwards. What are we having for

lunch? Well, I believe we're having

cream of tomato soup. And

>> Oh, dear. I was hoping we'd have

something different for a change.

>> Here, you shopped. If you wanted

something different, why didn't you buy

something different?

>> I meant to, but one's uh freedom of

selection is so severely limited by

one's preferences.

[Music]

[Music]

Miss G, I just wanted to tell you

what's going on here.

[Music]

I'll stay there.

[Music]

[Music]

Heat. Heat.

[Music]

Perkins.

Come on. Come on. Get up, ladies. I want

you to meet Milo Perkins, an old

acquaintance of mine and the worst

private eye in New York City.

>> Hello, too.

>> What were you looking for anyway?

>> A manuscript.

>> Yeah. What made you think it was here?

>> His client thought we had it. Yeah.

Who's your client?

>> Oh, now come on. You know I can't tell

you anything like that.

>> Uhhuh. Yeah. Huh?

>> Breaking and entering with intent to

commit a felony. That's 3 to 5 years.

Milo,

>> Barney, I was just trying to make a

buck. My client offered 30,000 for that

manuscript. I thought if I found it, I

found it. You could pocket the money.

>> Yeah. Well, you can understand. I mean,

with a new divorce laws, there's not

much workaround. It's really rough out

there. Things are going to get a lot

rougher with you if you don't tell me

who you're working for. No chance. No

chance. And tell Lieutenant Ostroski.

Come on along with me. Ladies, I'm

taking him down to see the lieutenant.

>> We'll drive you.

>> No. Wrong. No chance. I want to get him

there. We'll take a nice quiet cab ride.

>> Come on.

Then the sole purpose of your trip was

to visit your daughter. So, of course,

you came straight here from the airport

last night.

>> No, I went to the hotel.

>> He fell asleep

>> and uh didn't wake up until midnight.

>> Just about that.

>> So, when he didn't show up, you

naturally went out to dinner with your

mother instead.

>> No, it wasn't that. I I didn't know that

he was coming.

>> Oh, I see. A surprise visit.

>> Yes. I I came here and Mary wasn't here,

so I left a note.

>> And when I came in, I found it and went

to the hotel to see Dad.

>> Okay, Mr. Nero.

At exactly what time did you go to visit

your former wife last night?

>> What?

>> Why would he visit Norma? He hasn't even

thought of her for 20 years.

>> I told you I just came to visit my

daughter.

>> Who spent the first morning of your

reunion as Mary Karate opening Norma

Condorati safe deposit box. How did you

get that key by the way?

>> Norma gave it to me about a month ago.

>> Why?

>> We were having dinner one night and she

told me to meet her the next morning.

She didn't say why. When I did, she took

me to the bank and signed me in as a

co-epositor under that name.

>> Didn't that seem strange to you?

>> Yes, but with Norma, everything was

strange. Only what was normal appeared

to be different.

>> Did she give you any explanation?

>> She just said, "In case anything

happens, I I didn't think about it much

at the time. But this morning, I

suddenly realized

>> that the manuscript might be there."

>> That's right.

>> So, the will was a surprise.

>> The will?

I can't imagine. How did you find out

about the

>> What does that have to do with anything?

I was trying to find the manuscript.

>> Of course. To turn it over to the police

>> to burn it. Why should all those people

suffer? Because Norma was a a drunken,

evil, vindictive.

>> Did you hate her enough to kill her last

night before you went to my answer?

>> She was alive when I left her.

>> We only have your word for that.

>> Lieutenant,

>> don't. Now he's trying to bait you.

>> Lieutenant, I did visit Dorma last night

after Mary had left. Are you saying that

to protect your daughter?

>> Lieutenant, I think you're wise enough

to realize it's been the other way

around. Mary didn't want me to tell you

that I was there. My conversation with

Norma was unpleasant, but it wasn't

murder. She was alive when I left her

around 9:00.

>> Why did you go to visit her?

>> To talk her out of publishing that book.

It would have hurt a great many people,

one of whom I love very dearly.

>> You know what you're saying?

>> I know that if I'm not number one, I'm

at least high on the list of your

suspects. I'm the dean of a college. I

can ill afford a scandal. I was at the

house near the time of death. I have no

alibi and I have a motive.

The evasiveness of Howard's answers,

the conflict in his attitude were not

lost upon the inspector. And oh,

I couldn't eat and I can't write. My

mind is elsewhere.

>> Yes,

>> but what I don't know is

>> neither do I.

Why would anyone but a publisher offer

$30,000 for an unseen manuscript?

>> And don't forget, Steven was offered an

equally overwhelming amount by that

choreographer.

>> Is it possible that they did see the

manuscript and this is no more than an

oldfashioned case of

>> Definitely.

Hello. No, this is G.

Where? When?

So soon?

All right, Alexander. Alexander

Scalamandre.

>> Yes, he's at Pinky Allen's. He wants to

see us immediately. Underline

immediately. Perhaps there will be

another offer for that manuscript, which

would certainly establish what we were

thinking. That Norma had been practicing

blackmail.

[Music]

Did you bring your purse?

>> No, dear. Oh, wait a minute. I'll go get

mine. We'll need money for a cab. We'll

take the Lincoln. But Bonnie has the

keys. I still have my hat.

[Music]

[Applause]

[Music]

Thomas, come on. Lieutenant Circle. Dr.

Perkins making a house call at your

aunt's house.

Come on.

[Music]

Blackmail.

>> No, it isn't blackmail.

>> Pinky Anest and she can be trusted.

That's why I called.

[Music]

It is blackmail.

20 odd years ago when I started all

this, my first assignment was designing

Norma's clothes and I was involved in a

bit of a

in a hell of a scandal. I thought it was

buried, but Norm exumed it for her book

and added a few inaccurate but

incontestable embellishments.

Quite sorted.

Her price was astronomical.

>> It certainly undermines an author's ego

to realize that there's more money in

not being published.

Do you know anyone else who was on

Norma's list of contributors?

>> Yes.

>> That's why I called you.

>> Anton Durle,

>> Norma's second husband. I've just been

designing the costumes for his new

ballet.

>> Your nephew arrested the Turle. He's

bound to talk, implicate us.

>> Implicate you?

>> Yes, we were conspirators.

>> We being three.

>> Yes. The Turle, Pinky, and myself.

We just wanted to frighten Norma.

They already drove the car that almost

hit her last night.

>> Who made the phone call?

>> Me. I told her, resorting, sorry to say,

to an oldfashioned cliche. Next time we

might not miss.

>> But of course, we never intended a next

time. Well, it does fit with the story

Mary told us. G.

>> G. Oh, I'm sorry. I was just noticing

all the awards. Well, really, they're

hardly pertinent now, dear.

>> I'm sorry. It just struck me how

inadequately designed they are for

design awards, if you see what I mean.

[Music]

>> Definitely inadequate

and most irrelevant.

Well, Alexander, we appreciate your

taking us into your confidence, and we

will represent your case as aly as we

can to our nephew.

Then we're in the best of all possible

hands.

[Music]

>> Why didn't I remember that Mr. Largo was

a motion picture? I feel as though I'd

let photo play down.

>> Well, my dear, you were never as mindful

of the films as of the chitchat. You

remember who's making whom, not who's

making what.

>> True. Poor Alexander.

>> Yes.

Oh, the dear man is totally smitten to

such an extent that I'm afraid he

believes her.

>> And you did notice.

>> Oh, yes. The senet perfume. The same

scent that was so strong at Norma's.

>> That means that Pinky was there that

night, doesn't it? That

or there's a detective on the force. We

can't be too sure of.

>> I'm telling you.

I can't tell you.

Look, I I've got a legitimate client. I

can't reveal information like that. Now,

you could lose your license.

>> If I tell you what you want, I could

lose my business.

>> The work I do is based on trust.

>> I didn't know you changed your

profession.

>> Look, Lieutenant, I know it's a murder

rap. I want to cooperate, but my client

is not involved.

You've got my word.

>> Okay, let him go.

>> What?

>> Let him go.

>> Get out of here. Thanks, Lieutenant.

>> Lieutenant

Wrong.

>> Have Johnson Taylor. First person he'll

contact will be his client. I want to

know who that is.

>> Right.

>> Still very wrong.

[Music]

[Music]

Excuse me. We're looking for someone who

can help us locate an old film

>> next to the last door on the left. If

there's anybody knows about the oldies,

it's Frank.

>> Thank you.

>> All right, stick them up, sweetheart.

One more step and you'll get shot.

All right, stick them up, sweetheart.

One more step and you'll get shot.

They're

going to bet

you get scar.

>> All right, stick them up, sweetheart.

One more step and you'll get shot.

>> My heart is beating quite frantically.

>> You were frightened.

>> No, it's just that marvelous voice of

his.

>> Oh, Frank. Frank.

>> Yeah,

>> you didn't say you were Frank. I didn't

say I wasn't.

>> We're looking for an old film called Mr.

Largo.

You said you could help us.

>> Largo. Largo. Oh, yeah. Um, Portland

Productions 1946, distributed by um, Ron

Odd Worldwide.

>> Goodness, you have a remarkable memory.

>> Well, I told you Frank was special.

No, no, it's just that someone took it

out for a couple of days about a week

ago.

>> Do you remember who? No, but I can find

out we have records.

>> Mhm.

Fine. Okay, Raven.

>> Senator Johnson just called in. Perkins

headed straight for the nearest phone

booth. He seemed pretty upset. Johnson

didn't hear the conversation, but he got

close enough to see him die. Here's the

phone number.

>> Want me to check it out? Not necessary.

I know this number.

Tell Johnson that's all we need. Right.

>> Uh, say Lieutenant, your ants are

outside.

>> No, they're not.

>> Do you know who this is, dear? Mr.

Largo.

>> His ashes.

>> The adventures that Mr. Largo made in

1946. Norma had a bit part in it. And

this will tell us where the manuscript

is hidden.

>> And this will tell us who the murderer

is.

>> The telephone number. The right

telephone number. He's come to the same

conclusion we did. It's going to be very

hard to prove.

>> Impossible unless we can persuade the

killer to accommodate us with a

confession.

>> Yes, but that's going to take some

planning.

>> And the first order of business is to

arrange for a screening.

>> The second is to get some popcorn. I

never did have lunch.

We are all here because each of us,

although for different reasons, is

concerned with Norma Treat's manuscript.

Before she died, Miss Treat left a

message for her daughter. It was a brief

note, but it contained two key words.

Mr. Largo.

All of us involved in the investigation

felt that once we found Mr. Largo, he in

turn would lead us to the missing

manuscript.

And when we found the manuscript, we

would have the instrument we needed to

conclude our homicide investigation,

as well as determining the answers to

some puzzling questions and connections.

Our projectionist is now ready. We will

proceed with our invitational screening

of The Adventures of Mr. Largo.

Barney, the lights.

Movies in the afternoon. It's hookie

time.

[Music]

[Music]

Many actors and actresses keep props

from their movies as momentos.

This one came in handy for mistreat

when she became really frightened and

decided that she needed a safer hiding

place than a locked drawer.

Later, of course, when she heard the

murderer in the house, she left a

message for her Mary, hoping that the

killer wouldn't get the clue, but that

sooner or later her daughter would.

If you don't mind, I think I

commandeander that

Alexander,

>> it's a shockingly written book. I assure

you,

>> Melvin Kaplan's worst effort. Only for

the sake of American letters, it should

be consigned to the flames. I refuse to

be maligned inadequately. Don't burn it.

You're not in it.

It doesn't even match.

>> How did you know that, Mr. Corman?

>> Thanks, Colry.

>> No.

All right, Lieutenant. Leave it there.

The gun, Lieutenant, and your own gun.

[Music]

No, back up.

Officer, your gun on the floor.

[Music]

All right. Now, both of you in the back

of the room.

[Music]

All right. Now I want all your car keys

one at a time.

[Music]

You collect.

>> My father has some

>> your keys.

>> We don't have any.

>> Get them.

>> We don't know where they are.

>> Get them.

[Music]

Hello.

Hold it.

[Music]

[Music]

Stay down. Stay down.

>> We'll get him from behind.

[Music]

[Music]

If we could get to our car and block the

driveway, then he couldn't get away.

>> Of course.

[Music]

Hey,

Ow.

[Music]

>> Hey. Hey. Police. Police. Police. Hey.

That's what I call service. Did you see

those two guys? They must have been

going 50 mph this whole neighborhood's

mental. There's a pistachio nut up here.

I don't even carry it. Hey, police.

Police. Police. Police. Oh, police.

[Music]

One thing of which I'm not completely

certain, dear. Do you suppose Mr. Corman

actually panned to publish the book

himself?

>> Oh, of course not. His board of

directors would never allow it.

>> He saw the blackmail potentials of

arrest when Norma first brought it to

[Music]

Mr. Corman probably suggested the whole

thing in the first place. Yes. And when

Norma was frightened of dropping the

whole thing,

>> see the key there,

>> he decided to take the manuscript and

carry on along.

[Music]

Let me out of this.

>> If I may make a suggestion, dear. Thank

you. Then it was Milo Perkins phone call

that made Steven suspect Corman.

>> Oh, not really, dear. He was already on

to it.

[Music]

Please, please.

>> It was his theory that Corman was here

on the night of the murder and returned

to Boston just to establish an alibi.

[Music]

You're going the wrong way.

[Music]

Please, please stop.

>> Stop. He'll get away.

>> Never mind him. I want to get away.

>> Gee, it's the wrong way.

>> Melvin.

>> Yes, it was a mistake trying to

blackmail the blackmailer.

It disturbs me that I didn't realize

that Alexander's drunkenness was pose.

Oh, it shouldn't, dear. This was such an

obviously poor portrayal of a drunk, we

had to assume he was drunk.

>> I think it only fair to tell you that

I'm getting car sick.

[Music]

All right. All right.

>> Who rented the Mr. Largo film? Norma

did.

>> Norma rented the Mr. Lago film. I don't

care who rented the Mr. Lago. Will you

stop this garlic opening and run

behind us?

He's

[Music]

back.

>> Stop. Back up.

Stop. Go forward.

[Music]

Good. Steven's got him.

>> You can relax now, Barney. We'll drive

you home.

Oh, no.

No. No.

>> C.

>> I gave Barney the day off tomorrow. And

you know what he said?

>> Right.

>> Did you know that you have a couple of

gray hairs?

>> No, but if I do, I know why I've got

them.

>> This is so poorly written. Melvin, style

bewilders me.

>> Speaking of style, dear, do you mind a

criticism of the dialogue you wrote for

Alexander?

>> Yes, I do.

>> In a few spots, I think it was

overphrased, embroidered, especially

that line. If only for the sake of

American letters.

>> My dear, that was pure Alexander. He

strayed from the script.

>> Of course, I should have known. Oh, I'm

sorry, dear.

>> How did you ever get Mr. Scalamandre to

play the role.

>> Blackmail. He wanted to prove Pinkiey's

innocence. He had no choice but to

cooperate.

>> All in all, I think he was quite

convincing.

>> Oh, very convincing. I thought he did

it.

>> Well,

I've got the fire going.

>> This ought to help it along a lot. It's

very incendurary.

>> You know, you surprised me, Anesta. I

thought you might agree to eliminating

some of the more lialist passages, but

knowing your commitment to words, I

never would have believed you'd burn the

whole book. Well, ordinarily I don't

suppose we would, dear, but there are

personal reasons in this case.

>> Personal reasons?

>> Yes. We are chapters 9 through 11, and

we couldn't very well sue for liel.

>> Why not?

>> Because it's all true.

[Music]

[Applause]

Heat.

Heat.

[Music]