Original subtitles

Thank you.

Good morning. I have an appointment with Claire Avery.

- I'll ring through and tell her you're here. - Thank you.

Miss Avery, there's a gentleman to see you in reception.

Marcia Landon.

Beautiful, strange, tragic.

An unhappy girl who became one of the most talked-about actresses of our time.

Two weeks ago, desperate and alone,

she took her life with an overdose of sleeping pills.

Millions of people knew her face but very few knew the real woman.

I did.

- Hello, Claire. - Did I keep you waiting?

No. Just this second arrived.

What a tragedy, huh?

- That's why I asked you to call for me. - Oh?

- Marcia Landon was murdered. - Murdered?

I know legally it was suicide but she was murdered.

The only person who cares enough to do anything about it is you...

Simon Templar.

- (Simon) You were very close to her. - Yes.

Right up until she died I tried to help her but there was nothing I could do.

- She was beyond help. - Why don't you start at the beginning?

Very few people knew what really happened.

It was the night before she was due to start a picture for Mike Sentinal.

She'd been working late on a dress fitting and came down.

The place was dark, completely deserted.

As she was about to leave, someone called her name.

'There was a man standing in the shadow by that corridor.

'She turned to see who it was

'and in that fraction of a second she was disfigured for life.

'He'd thrown acid in her face.'

She got to her dressing room and called Mike Sentinal.

He rushed her to the doctor but they could do nothing.

He took her to the best plastic surgeon.

He said he could repair most of the damage.

But Marcia knew that she'd never make another picture.

How did they keep it out of the press?

Mike has ways of keeping things quiet. The papers were told she was ill.

- Was she able to describe the man? - No, it was so dark.

She got a quick glimpse of a cap and a scarf over the face, raincoat.

It's not much to go on, is it?

No. Anyway, when she came out of hospital, she refused to see anyone.

She used to go for walks with me sometimes. Always after dark.

Mostly she was alone. Then one night she became so desperate,

she took sleeping pills.

- Hello, Claire. - Hello. Mike Sentinal, Simon Templar.

- How do you do? - Sheila, my wife.

- Your table is ready. - How do you do?

Pity you've eaten. We could have eaten together.

- See you later anyway. - Yes. Goodbye.

- The police never found the man? - No.

And tomorrow I start a new picture with Mike, playing the lead.

- Marcia's part. - How do you feel about it?

It's not the way I wanted it to happen.

- She's no Marcia Landon. - There'll never be another.

- The sooner you face that, the better. - If only I'd realised she was desperate.

Filthy. You did all you could to help.

No one could have stopped her from killing herself.

No, I suppose not. Not even Claire.

- Don't. - Don't what?

Don't go on and on about what good friends they were.

At the funeral, Claire could hardly stop herself applauding.

- Mike, can I have a word? - Of course. Let's go out of the way.

I signed a contract to co-star in this picture with Marcia Landon.

Which is impossible now.

But I didn't expect to be stuck with this unknown girl.

- Who's ever heard of Claire Avery? - May I make a suggestion?

- I wish you would. - Look, you're the actor.

I'm the director. You and I know we have to do what the producer tells us to do.

Very funny. Considering you are the producer.

Oh, you remembered. Good boy.

You remember that and your lines and we'll all be happy.

I think you're making a terrible mistake about Claire Avery.

She hasn't got star quality.

Honestly, Mike, everyone's saying it. The girl's got nothing.

- No experience, no background. - She hasn't got your background.

My darling, I think you're losing your judgement.

You get hold of girls of 20 like Claire or Marcia,

all they've got are bust measurements and you,

Mike Sentinal, my old darling, as a friend.

You and I have done a lot of pictures together.

This could be the last.

Is that a threat?

Because if it is, don't try it.

I can be twice as ruthless as you or anybody you've met in your whole life.

(Whistles an upbeat tune)

- Nothing for me, Johnny? - Sorry, Miss Cromwell.

- No one loves you. - Who are those for?

- Miss Avery. - I wonder who from?

Me, of course. Who else?

Let me give you a tip for when you're a successful producer.

Once you give your leading lady flowers, it's difficult to stop

without making yourself look a great big... Never mind.

Naughty, naughty. I'll bring you a saucer of milk and then you'll be happy.

(Continues whistling)

Cigarettes, racing tips, flowers from the producer.

- For me? - No, for me but you know people talk.

"My faith in you is boundless. Mike Sentinal."

- Nice. I'll remember that. - Look at these flowers.

- Behave yourself, Johnny. - You're wanted on set.

There's your letters. I'll come with you.

Hear about the optician who got rid of two of his monocles...

Because they were making a spectacle of themselves?

- I thought it was funny, anyway. - Thanks.

- Good luck, darling. - Thanks, Johnny.

(Rings)

- Hello? - Simon, it's Claire.

How are you?

A threatening letter came with my mail this morning.

Don't say anything to anybody.

- I'm terrified. - 'These things are frightening.'

But it might just be a nasty little joke. I'll get to the studio as fast as I can.

All right, Simon, but please hurry. Please.

'I will.'

- (Irene) Claire, darling. - Come in.

I just came to wish you luck. Look at all those telegrams.

And those flowers are marvellous.

- Are they from you your parents? - No.

- Mr Sentinal sent them. - How very thoughtful.

How many pictures have you done with him?

- This must be about the seventh. - I wish it were my seventh.

You'll be marvellous. Everybody's saying so. No, thank you.

You mustn't be frightened. Here you are in the star dressing room.

Marcia Landon was just as frightened as you are,

sitting here, waiting to be called onto the set.

And you're the new Marcia Landon.

Irene, don't.

You know you've got exactly the same eyes. The same mouth.

Do you mind if I have another look at the script?

No, of course. Very good idea.

And remember, we're all pulling for you.

Thank you.

"What happened to Marcia Landon will happen to you unless you leave �5,000

"in �5 notes in the script compartment of your own chair

"on the set by six o'clock tomorrow night.

"And if you call the police, I will make you wish you were dead."

Simon, why me?

I don't know. I suppose you've been told you look a little like Marcia Landon.

- Yes. - Do you have anything else in common?

She was first choice for this part.

When she died, I replaced her. I suppose that could make people jealous.

Anybody in particular?

Everybody in this business thinks I shouldn't do this part.

- Why? - They think I'm inexperienced.

I am. I know this.

Could anyone have a grudge against Mike Sentinal?

(Knocking) Five, four, three, two, one. We're off.

- Go away, Johnny. - You're wanted on the set.

- I'm not coming on the set. - You're joking.

- I'm not joking. - What am I going to tell Mr Sentinal?

Tell him I'm not coming. That's plain English or don't you understand it?

Well, I do. I hope he does.

- This I shall nip in the bud. - The only way.

If you don't sit on them from the start, they walk all over you.

- Not over me. - See? She has so little experience...

Shut up.

- What's keeping her? - Someone's with her.

And she says she's not coming on the set.

- What's going on? - I don't know. She looked scared stiff.

I'm not surprised. He's trying to build her into another Marcia Landon.

It's too much for any girl.

Oh, Mr Templar.

Ordinarily, I'd be delighted to see you. Today I am not.

Have you any idea what it costs me when you're late?

You'd better read what came with the mail.

- I'll call the police at once. - Mike, wait.

- You're not suggesting we pay? - I saw Marcia's face after it happened.

I know what this man can do!

- I want to run away as far as possible. - I don't blame you for being afraid.

I will never be another Marcia Landon. I haven't the talent.

- Won't you let me be the judge of that? - I can't do it, Mike. I'm sorry.

Don't use this as an excuse for running away.

Do you want to give up your career?

Of course not.

- Simon, what am I going to do? - You're not a quitter.

- I'm frightened. - Yes, I know you are.

Let Mr Templar take you home and tomorrow...

Tomorrow, Mr Sentinal, I suggest you call the police.

Then we'll plant the �5,000 as instructed and wait to see who picks it up.

If you stand around on the set, Inspector, you'll frighten him off.

- And Mr Templar won't? - I'm a friend of Claire's.

Besides, most of the people on the set know me.

Oh, pity. I'd like to have seen how you do your filming.

You watch it in the clay. If it's still there by six, I'll take over.

- I'll give it to Claire. - I hope I see it again.

- You will, sir. - With interest.

This plus whoever's hoping to collect.

"Unless you leave �5,000 in the script compartment of your own chair..."

Whoever wrote this knows what the inside of a studio looks like, doesn't he?

- (Hammering) - (Man) Hurry it up, please. Hurry it up.

- You should be in pictures, Mr Templar. - I don't have that talent.

Talent, Mr Templar? How very old-fashioned of you.

Who needs talent these clays, especially with Mike Sentinal directing?

You didn't know Irene originally came from the circus, did you?

- No, I didn't. - The best knife thrower in the business.

Especially in the back.

Excuse me.

- (Mike) Claire, please. - Coming.

- It's not here, love. - Sorry. My script's here all the time.

Sorry.

Hear about the optician who got rid of two of his monocles...

Because they made a spectacle of themselves? I haven't heard it.

Johnny. You worked with Marcia a great deal.

What was she like?

To work with, wonderful. Sweet as they come.

Thoughtful, generous. She made me feel as if I was really someone.

- You are someone, aren't you? - Third assistant? You must be joking.

(Distant voice) Johnny!

- Just a second. - What's the matter?

Want a light?

Visitors.

(Assistant) Right, red light, please.

(Bell rings)

Now, we're going for a take so can I have it quiet, please?

- Right. - Turn over.

- Turn them over. - Run in.

- Mark it. - 118, take eight.

Action.

You expect me to be tolerant? Laugh it off and say it's pressure of work?

- Under the circumstances... - Cut it.

Camera reloading.

I'm sorry, Mike.

Considering the strain you're under, you deserve a medal.

- Thank you. - Take it easy and relax.

I'll try.

- Right, red light, please. - (Bell rings)

- Nearly through? - About five more minutes.

How's it going?

Dear little Miss Avery, not only has she no talent, she has no memory.

Will you be quiet, please?

- Right, turn over. - Turn them over.

- 124, take nine. - Follow!

Action!

Then what do you want out of marriage?

A little consideration.

- Oh. - Keep turning.

She can't even remember her name, let alone her lines.

- Action! - What do you want out of marriage?

Time, a little consideration, but especially time.

- I just want to see you. - (Mike) Cut it!

- Very nice, that's it. - That's it, boys.

- Print those. - Thanks, fellas. That's it for today.

- Goodbye. We must meet soon. - Bye, dear.

- Good night. - Good night.

(Assistant director) That's a wrap.

- Nothing happened? - No, I guess he was scared off.

What do we do now?

I buy you a sumptuous dinner, then I take you home.

Well, see you in the entrance quarter of an hour.

Fine.

- Ah, there you are. Any luck? - Nothing.

The day isn't over yet. I'm here till ten, then somebody else'll take over.

- OK. Good night. - Good night.

I can just see the headlines. "Beautiful actress threatened."

You think I'd allow Claire to go through all this as a publicity stunt?

Claire's picture on every front page?

You've no idea what I'm really like.

Oh, my dear man, I know you inside out.

You're driving and you're ruthless.

You'd walk over your mother if you thought it would get you ahead.

Have I made you angry? Don't be. I admire you for it.

- You do, eh? - Well, certainly.

It's the reason why you're here today. It's the reason why I have this coat.

- (Man) All right to pull the breakers? - It's OK.

I'll be in my office.

- Good night. - Oh, good night.

Sleep well, Inspector.

(Sheila) Wasn't she lovely?

Very. You knew her pretty well, didn't you?

Hmm.

About as well as anyone, I suppose.

What about her relatives? Where are they?

Her parents died when she was little. She has a brother somewhere.

- Really? Where? - Birmingham, I think.

She never spoke about him much.

- Oh. You met him, surely? - Oh, no.

Didn't he come to the funeral?

No, he couldn't. He's an invalid of some sort.

In a nursing home, I think she said.

I know she's been paying his bills for him for years.

She left some sort of trust fund for him.

(Footsteps)

- Hello. I'm ready. - Claire, clear, how's it going?

- Not very well. - There's always tomorrow.

- That's what I'm afraid of. - Chin up.

- Good night. - Good night, Sheila.

(Footsteps)

(Phone)

- Hello? - (Man) 'Miss Avery?'

- Speaking. - 'You can read, can't you?'

Yes, I can read. Who is this?

'I told you in my letter not to call the police. You disobeyed me.

'Well, Miss Avery, now you take the consequences.

'Take a last long look in your mirror.'

Thanks for getting her here. I'm glad, at least, she wants to work.

- Perhaps that will take her mind off it. - Let's hope so.

Mr Sentinal, at no time on or off the set is she to be left alone.

- Someone must be with her constantly. - OK. And no clue to that voice?

Well disguised. Claire said she'd never heard it before.

I can't believe it's going to happen again.

I saw Marcia's face a short time after the acid was thrown.

Now you can understand how Claire's feeling. She's absolutely terrified.

There. How's that?

That's fine. Thanks, Pearl.

Something troubling you, Miss Avery?

I just didn't sleep very well.

I hope you're not nervous about this picture. You're going to be fabulous.

Everybody says so. And the one or two people who don't are just plain jealous.

(Echoes) You know how jealous people can be in this business.

If anybody has a lucky break.

- What's that? - What's what, Miss Avery?

- In that. - What, this?

A new kind of hair lacquer. I got it this morning.

- What's wrong? - Stay away from me.

- (Claire) Simon! - Miss Avery, what's the matter?

In that tin.

Give it to me.

Oh, Pearl, I'm sorry.

That's all right, Miss Avery.

I'm so upset I don't know what I'm doing.

- Pay no attention. Go ahead. Use it. - Are you sure? If you don't want it...

Claire, you're facing Barry. Go ahead. "You've got your money."

You've got your money and house, so live with it. That's all you want.

Turn your back on him. Pick up the suitcase.

The second she turns her back, take the gun from the drawer.

Put that down. You're not walking out. Bang.

That's it. The audience must know how you feel about her.

(Assistant director) We're on the red light. Quiet.

- Turn them over. - Turn them over.

- Speed. - Mark it.

134, take one.

Action!

You've got your money and this house, so live with it.

- That's all you want. - Put that down.

- You're not walking out. - Don't be stupid.

Drop that gun! And nobody move!

So what's your explanation?

I just don't understand it, sir.

I knew we were doing this scene this afternoon,

so as soon as I got back from lunch, I got the gun, I cleaned it,

I put the blanks in it as usual and put it in the desk drawer, according to the script.

Well, I could have killed her.

- What time did you get in from lunch? - Quarter to two.

- And you filmed this scene at what? - 2:45.

So the gun was in the desk drawer from about two o'clock till 2:45.

Yes, sir.

Available to anybody on the unit who wanted to substitute a real bullet.

- I suppose so, sir. - Did you see anybody touch it?

- Only Mr Aldon. - I didn't touch it until we did the scene.

Correction. You used it during rehearsal.

Oh, yes.

You're not happy about doing this film with Claire Avery, are you, Mr Aldon?

No, I'm not. And I made myself clear to Mr Sentinal but he wouldn't listen to me.

So I tried to kill her.

If you did my job, you wouldn't joke about death.

The fact is somebody tried to kill Miss Avery.

Well, it wasn't me.

All right. You may both go now.

Thank you, sir.

Virtue outraged, eh?

Sometimes it's genuine. I'm going to check on Claire.

There's an hour and 20 minutes left. I'd like to do some shots.

- I need Cromwell. Any objections? - Not at all.

As I watched you working, would you care to watch me?

Yes. Yes, I would. Yes.

- Nurse, how is she? - She's resting.

I gave her a tranquilliser. And you're not to disturb her.

- I'll pop my head in. - Don't be naughty.

- Do as you're told. - Yes.

- OK? - OK.

When you're ready to leave, I'll take you home.

Who hates me enough to put a real bullet in that gun?

We'll know soon. Now, you rest and I'll be back.

Thank you, Nurse.

If I'd been looking after you when you were a little boy,

you'd have known to do as you're told.

I'll try and be good next time.

- Where are you rushing to? - I've got tomorrow's call sheet.

The show must go on and I wish I knew why. How's Claire?

- She's resting. - We'll be resting if this isn't cleared up.

- We are doing our best. - Let me know if you need help.

- Is she all right? - Yes, she's resting.

You know, Mr Sentinal, the way I see it,

it's been a softening-up process to scare her.

Now I think our man is ready for the final pitch.

Miss Avery?

Are you all right? ls there anything I can get you?

No, thanks.

Oh, yes. Could you get me a cup of tea? You have to go to the canteen.

Of course.

But you keep your door locked, mind.

- All right. - I won't be a minute.

Cut it. Very nice, Irene. Thanks.

- Print three and five. Wrap it up. - (Assistant director) Check the gate.

- Are you taking Claire home? - As soon as she's ready.

I shall be in my office if you want to see me before you go.

- Find it interesting, all this? - Oh, yes. Very.

Surprising you have to do so much for so little.

I mean the amount, not the content.

- Good night. - Good night.

Well, there's no point in my hanging around here.

I'll be out here again tomorrow.

That is if they let you in after that handmade little brick you dropped.

- Good night. - Good night.

(Phone)

- Hello? - 'Where's the money?'

- Who are you? - 'Never mind who I am.'

Will you please stop ringing me?

'Put 5,000 under the microphone cover tonight,

'or your face will be covered in acid. Will it be there?'

- Yes. - 'Tonight.'

Tonight.

Can I see you a moment, Mike?

Have you still got that �5,000?

- Yes. - Can you lend it to me?

- Why? - Mike, I'll pay it back.

Had another letter?

Claire, if you've heard from this man,

Templar and Inspector Carlton must be told.

Please don't argue with me.

I beg you. Lend me the money.

Mr Sentinal? It's Simon Templar.

Would you take Claire home for me?

Apologise. Say something came up.

Thanks.

(Clattering)

Hello, Johnny.

Yes, and it was you who threw acid in her face.

- I didn't. - You were going to do it to Miss Avery.

All I did was send a note asking for money.

I couldn't throw acid in anyone's face.

Why do you need the money? You're well paid. Better than most.

- Are you gambling? - Well, are you?

You're joking. I'm in debt from one end of London to the other.

Mr Sentinal, I've been with you a long time.

Get the little blackmailer out of my sight, Inspector.

When I think how he destroyed that beautiful face.

- I had nothing to do with Marcia! - Get him out.

- Come on. - You know how I felt about her.

Tell them I didn't hurt Marcia. Make them believe me.

To think Marcia killed herself because...

I don't think Johnny threw the acid at Marcia Landon.

He blackmailed Claire to pay off his gambling debts.

And he'd do the same to Marcia.

Was any threatening letter to Marcia found?

- Not as far as I know. - She would have said if she'd had one.

- Of course. - Then we must look for another motive.

Do you know who will inherit her money and her flat and furniture?

She only took the flat for six months. It's locked up until her will is probated.

As for her money, her brother will get that.

What do you know about him, apart from him being in a nursing home?

Nothing. I've never met him.

- I've never met anybody else who has. - Oh.

Well, we'll have to change all that.

I'll tell you what he's like, when I get back from Birmingham.

- Mr Templar? - Mr Landon.

Sorry to keep you waiting, I've been exercising.

- Please sit down. - Thank you.

- Do you mind if I get to the point? - Go ahead.

Presumably you know the story behind your sister's death.

- Do you mean the acid in the face? - Mm-hm.

A friend of mine, an actress named Claire Avery, has been threatened.

I thought you might be able to help me.

- How? - By telling me about your sister.

Do you mean the girl...or the legend?

The girl.

Well, we grew up together in a Birmingham orphanage.

I became a professional football player.

Marcia loved that. The day she left for drama school,

I was in an automobile accident, both hips crushed.

- I'm sorry. - Anyway, Marcia started on the way up.

She went fast and she went far. I became a burden.

Well, she was just a kid, you know.

When my money ran out, she settled a trust fund on me.

Enough to pay my expenses for the rest of my life.

- But there was a condition. - Oh? What condition?

I had to agree to stay out of her life.

Never to communicate with her in any way.

Not even to let on I knew who she was.

- Why? - Marcia had many men in her life.

Producers, directors.

It didn't matter to Marcia, so long as they helped her fight her way to the top.

She didn't want the field cluttered up with a cripple.

Was one of these men in her life Mike Sentinal?

Yes. Very much so.

She even wrote to me about him.

If he'd get a divorce, she wanted to marry him.

I was sorry I couldn't give my permission.

Permission?

- Yes. You have one detail wrong. - What detail?

Well, we grew up in a Birmingham orphanage together, all right,

but I'm not Marcia Landon's brother.

I'm her husband.

Hi. Have I kept you waiting?

- No. Just got back. - What were you doing in Birmingham?

Confirming a suspicion. Johnny didn't throw the acid.

- Then who did? - I'm going to find out.

- Mind if we make a detour? - Where?

- Marcia's flat. - How will you get in? You have a key?

No.

She used to stand here for hours at night, watching the cars go by.

People coming home from work.

Going out for the evening.

Somehow it feels as if she's still here.

Where's the mirror?

She couldn't bear to see her face as it really was.

Only as she used to be.

- Claire. - Yes?

The same note you had. "�5,000 or your face."

So it was Johnny. He threatened Marcia, too.

This is made up from yesterday's paper.

Look at the date. It's less than a day old.

Couldn't possibly have been used to threaten Marcia.

It doesn't make sense.

- It was planted here in the last 24 hours. - For what reason?

To make sure Johnny Newman would be convicted

of throwing acid in Marcia's face.

And whoever planted this letter must have a key to this flat.

I found this note myself, Mr Sentinal. Just half an hour ago.

In Marcia Landon's flat. Now, how did it get there?

- I've no idea. - I have.

It was planted by someone who has a key.

- You're not suggesting that I... - Why should I? Have you a key?

Of course not.

Marcia Landon was cruelly and horribly disfigured.

Johnny Newman had nothing to do with it but you had.

That's absurd.

You have a key to her flat, haven't you? Haven't you?

You were in love with her!

Yes. But I haven't been back to her flat since she died.

Mrs Sentinal.

I'm sorry to have to compromise your husband in front of you.

But did you know how he felt about Marcia?

- No. - You're lying. You did know.

Mike.

- It was you, wasn't it? - Me?

Deep in my mind, I suspected it. Only it was so horrible, I couldn't face it.

The night it happened...you were out.

Dressed as a man, waiting in the dark.

I was out of my mind with jealousy.

She was corrupt, Mike.

She was taking you away from me.

You put the bullet in that gun at the studio, didn't you?

I had to frighten Claire or she'd have done the same thing.

And did you mean just to frighten Marcia, too?

I didn't mean her to die.

I didn't. I didn't.

- Morning, Jenny. Key, please. - Good morning, Miss Avery.

You know, every time I see you, I think how much you look like Marcia Landon.

- Thank you. - Wasn't she fabulous?

Yes. Fabulous.

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