All language subtitles for Columbo---S03E04---Double Exposure

I stole something
that belonged to you.

That is absurd.

You're a genius.
Yeah, that's right.

How many of your other clients
have you framed with Tanya?

Well, you're very perceptive.

Too bad it wasn't on
during the murder.

You could have told me
who did it.

I think I know how
you killed Mr. Norris.

Subliminal cuts.

Your entire case
could rest on that.

If my wife decided
to murder me...

But you have to die
to become a martyr.

Can't win 'em all.

(Keppel)
Nothing can happen
in this country

until someone
sells something.

We are...

[rewinding]

[Projector whirring]

Oh. Well, Doctor,
can I help you?

No. No. Not at all,
thank you.

You're a little bit early
this evening, Roger.

Oh, yeah, I came in
to check out the sound system.

Okay, well,
there's the film.

Mmm-hmm.

We'll be running in about
an hour, I would say.

I'll let you know.

Okay, good.

(Mrs. Norris)
Hello.

Hello, Mrs. Norris?

You don't know me,
but I think we should talk.

Who is this?

Uh, let's just say
that I am a friend of

Tanya Baker,
which is the subject

about which I am calling.

I don't know any Tanya...

Yes, I know
you don't, Mrs. Norris,

but your husband does.

You see,
Tanya is my girlfriend,

and Mr. Norris
is your husband.

I wish there was
a nice way to put it,

but there isn't.
They're having an affair,
and that's that.

That is absurd.

It is, huh?

Well, that's funny,
because I've got the proof

right here in front of me.

It started when he hired her

to do the bathing
suit commercials

[sobbing]
And it's been going on
ever since.

Go on.

I'm sorry.

But this is a little new
to me, too.

Anyway, I hired

a private detective
because I got suspicious.

And he...
he took a lot of pictures.

You could have a set
if you want them.

I don't why
I'm even calling you,

except it seemed like it would
help if you knew about it.

But I don't believe you.

Well, if you'd like to see
for yourself,

you can because
they're together right now

as we are talking.

And if you want to meet me
at Valley and Magnolia

I'll take you over
to where they are.

I don't know...

I'll be there in 40 minutes.

But if I get stuck in traffic,
you wait for me, will you?

All right. I'll wait for you.

Okay. I'll be there.

Yes?

Mr. Norris.

Oh, Mr. Norris,
good evening, sir. Go ahead.

(Keppel)
...the concept
of this film,

the results
have been astonishing.

The demographics are
the strongest we've ever had.

Hello, Vic.

Bart.

Jimmy, why don't you
bring the caviar?

(Jimmy)
Yes, sir.

Would you like to have a drink
before the screening,
or afterwards?

There isn't going to be
any after-the-screening drink

unless I get
those negatives.

Well, Vic, I haven't made up
my mind about that yet.

But I have something
for you,

because I know
how much you like it.

Caviar.
Royal Iranian beluga.

It's just come in.

Jimmy, put that down
for Mr. Norris.

Yes, sir.

I can see why
you'd have a hard time

making up your mind.

How many of your other clients
have you framed with Tanya?

It wouldn't surprise me a bit.

This whole institution
was built

on her remarkable body.

I must ask the D.A.
To look into that.

You're turning into
a crusader on me, Vic.

Enjoying it.

With a martyr complex?

Could be.

But you have to die
to become a martyr.

That follows.

(Keppel)
Well, ladies and gentlemen,
perhaps we should go in.

I think it's about time.

Why, hello, Mr. Norris.
Good evening.

Watch out with that.

(Keppel)
Vic, I'll be with you
in a minute.

Jimmy, why don't you
leave all that?

You can clean it up
in the morning.

All right.
I won't need you any more.

Yes, sir.
Here. Here.

Don't forget this.
Oh, thank you, sir.

Good night.

Good night, Jimmy.

First, let me explain
what you are going to see.

This is a final cut,
but without narration.

All the music
and the effects are in,

but not the narration.

I will do that myself
from the stage,

so that if any of you
have ideas

that you want to contribute,
we can incorporate them

before we hire a narrator
for the final soundtrack.

Um, let me add just one thing.

I'm extremely proud
of this film.

It incorporates
several very strong

motivational sales factors.

I think you will find it
a very, very motivating film.

Okay, then. Let's have a look.

[Soundtrack playing]

(Keppel on tape recorder)
Nothing can happen
in this country

until someone
sells something.

We are traditionally
a nation of salesmen.

But most importantly,
we have advanced

salesmanship
to a creative art.

It has been the ability
of salesmen,

representing American products
and capital around the globe,

that has made
American business preeminent.

[Projector whirring]

The energies
of these workers

and the dollar resources
behind them are wasted

unless there is someone
to sell their product

in the American marketplace.

Now, here's an item
that doesn't require selling.

Exquisite lines,
soft and caressable.

And, as we know,
an invaluable selling aid.

...that the California desert,
arid and uninhabitable,

would be developed into
thriving model communities.

20 years ago,
no one could imagine

that in this vast wasteland,

we would build
fully realized cities

with all
of the urban services

and none of
the urban problems

of America's
metropolitan centers.

To sell that idea is the
secret of American success.

To convince the public
that this hot, parched land

could be a suburban oasis,
was a feat

that required
not only imagination,

but daring.

[Sighing]

The public had to be shown
more than what you see.

[Projector whirring]

[Sighing]

They had to see
the progressive vision
of a new suburban lifestyle...

You all right, Vic?

...that took creative
and dynamic salesmanship,

uniquely American
in concept and...

Vic.

[Gun clicking]

[Gasping]

Salesmen will be the ones
that will help focus

and redirect the economy

during peacetime.

... which is another way
of saying "salesmanship":

A profession that has
become a way of life.

Our most powerful weapon

in the war of ideas
and economies.

A tribute
to American creativity.

Ideas that are
the foundation

of a growing society.

(Keppel)
Where is Mr. Norris?

Oh, he stepped out
a few moments ago.

He looked a bit uncomfortable.

It's awfully warm
in here.

Yes, we've been
having trouble

with the thermostat.
I'm terribly sorry.

Mr. Norris!

[Rewinding]

What's happened?

(Norbert)
It's Norris.

[All chattering]

(executive #1)
His heart?

(Norbert)
I don't know.

(executive #2)
Listen, somebody
call an ambulance.

[All continue chattering]

(executive #1)
I don't know,
I don't think so!

Coroner says that the victim
Norris was evidently killed

by one shot
through the heart.

Small caliber bullet.

But he won't be certain

until we have
ballistics report tomorrow.

Now, everyone's
been searched.

We're going
through the building now,

looking for
the murder weapon.

It is possible
to come in

through either of
two separate entrances,

one at the front
of the building

and a service entrance
at the rear.

Both were unlocked.

You get all that, Lieutenant?

Oh, yeah,
I got every word.

Uh, excuse me,
I'm a little hungry.

I missed dinner tonight

workin' late
on that Hayward case.

These are not bad.

Coroner's taking
the body away, Lieutenant.

All right. Listen, Sergeant,
I'll be right there.

Um, I'm a little hungry,
I missed dinner tonight.

So I'm just going to grab
a few canapes.

I'll be right with you.

What are you eating
all this stuff for?

Have some of this out here.

What is it?

Lmported caviar.

Have some. Go on.

Oh, that's good.

Mmm, that's really good.

Yeah?

That's delicious.

It ought to be.

It cost $80 a jar.

$80?

Yeah.

That must be
about $15 worth

[chuckling]
Right in my mouth.

We'd better
get out of here.

We're going
to get arrested.

We've talked to all
of Norris' employees.

None of them
have any idea

why somebody
would shoot him.

Uh-huh.

So Mr. Norris was
in the screening room,

he's watchin' a film,

and for some reason,

he got up
and came out in the lobby

and somebody shot him.

Yep.

I wonder how the murderer
would know in advance

a guy who's watching
a film in there

would suddenly get up
and come out here.

Nobody knows.

Lieutenant, you want
to talk to the Coroner?

Um...

[tape recorder winding]

Excuse me.

Where did you get this?

(officer)
Found it here
on the table.

Who does it belong to?

Dr. Keppel's.

Listen, I'll talk
to the Coroner tomorrow,
fellas.

Thanks very much.

Sergeant, are you sure
you checked

every exit
in the building?

Oh, yes, sir, we did.

But this is a big building.

Somebody could have
gotten in here

a dozen different ways.

I'm supposed to have
security in this building.

Where the hell
were they?

Excuse me.

Yes.

Mr. Keppel?

Uh, yeah. Well, no,
uh, Dr. Keppel.

Oh. Doctor. Sorry.

Uh, Doctor,
I wouldn't be too hard

on those building
security people.

There's no way that
they could be expected

to anticipate
a thing like this.

Are you
with the police?

Lt. Columbo,
Homicide.

Oh. Well, I'll be in my office

if there's anything else
that you want.

Please don't keep these people
any longer than you have to.

Oh, no, sir, we won't.

Uh, Dr. Keppel?

Is this
your tape recorder?

Uh, yes, it is.

Uh, would you mind
telling me, sir,

what it was doing here
in the lobby?

Well, I always use it
after a screening

to record the comments
of the people

who've... who've seen the film.

Oh, thank you, sir.
That explained that.

Thank you very much.
Officer.

Uh, uh, excuse me, sir.

Lieutenant, I've...
I've told your people

everything that I know.

Oh, yes,
I appreciate that, sir.

I just have
one more question here.

Bear with me.

Uh, what kind of movies
you make here?

Well, I'm not
a m-movie producer per se.

It's just
part of my business.

Oh, what business is that?

We specialize in all forms
of motivational research.

I've made
a sales promotion film

for Mr. Norris' agency.

Mr. Norris was only
a business a-acquaintance.

Will there be
anything else?

No, that should
do it, sir.

(Columbo)
Thank you.

Lieutenant, we... we'll be
finished pretty soon.

We're still taking prints.

Good. I'm just gonna
look around.

Okay.

Why don't you go
over there and check?

I've never seen
a projection room
like this before.

Do you mind telling me,
what is all this stuff?

Dr. Keppel has the latest
in everything, Lieutenant.

Aside from
the 35 mm projectors here,

we have 16 mm projectors,
8 mm projectors, slides.

Complete editorial service.

And what about this,
what is that?

They're for
the closed circuit TV cameras

down in the theater.

They're used to monitor
the audience reaction

to the test films.

I see this one here
is marked "lobby."

Does that mean
when it's on,

you can see people
in the lobby?

Yeah, that's right.

Too bad it wasn't on
during the murder.

You could have told me
who did it.

Yeah.

It wasn't on, was it?

No.

Thought I might get lucky.

Can I have
a glass of water?

Oh, sure.

Hey, I got some iced tea.

Generally I make a thermos
before I come to work.

Here you go.

I don't know
why I feel thirsty.

Yeah.

Oh, uh...

You mind?

No.

That's good.
You mind if I sit down?

No, I don't mind.

I've been on my feet
all night.

Go ahead. Be my guest.

There's nothin' I can do

till I get finished
with those preliminaries.

Yeah. Why don't you
have some raisins?

They're healthy,
full of iron.

No, thanks.

I had an uncle,
made a killing in real estate

up in San Dimas.

Do tell.

You know
what this guy did before

he started selling dirt?

Uh-uh.

Drove a school bus.

Wow.

Now he's got a ranch,
couple of Cadillacs,

sends out
embossed Christmas cards.

Wow.

That's why I am
studying this, Lieutenant.

Good luck to you.

Thank you.

Where do you keep the film?

L... I keep the film
in the racks

underneath
the editing table.

Could you run for me now

the film that you ran
for the gentlemen tonight?

Nothing I'd like to do more,
but I can't, Lieutenant.

A fellow picked it up
from the vault

just about half an hour ago.

Is that normal?

Well, it depends.

Sometimes Dr. Keppel either
gives it to the client

or he sends it on
to editorial,

or it goes back
down in the vault.

It depends on
what the client wants.

You dropped your nickel.

Leave it, Lieutenant.

Leave it where?

On the floor.

Leave it on the floor?

Yeah.

Look, it's an
old projectionist's trick.

Here, give me the nickel.

See, you take the nickel,
Lieutenant.

Shove it down here at
the bottom of the film. See?

Then you could be
sittin' around

and while this reels
around here,

the nickel drops
on the floor.

You hear that, then you can
change the reels, see?

When you've been
in this racket as long as me,

you don't pay much attention
to movies.

Not me.

I can see some movies
five times.

Westerns.

That's right.
How do you know that?

A shot in the dark.

Lieutenant,
Crime Lab's clearing out.

Oh.

Thanks for the tea.

You're welcome, Lieutenant.

[Knocking on door]

Uh, come in.

I have no doubt
that he did, Maury.

That's not the point,
you're the flack around here,

I want you to keep
the Institute out of it.
Absolutely. Yes.

Yes, all right.

What was it, Lieutenant?

I'm sorry to bother
you again, Mr. Keppel.

Dr. Keppel. Come in.
Come in.

Dr. Keppel.
Why can't I remember that?

I haven't
the vaguest notion.

What was it you wanted?

Uh, I just want to get
a few minor things straight

for the report.

I don't want to disturb you,
go on doing what you're doing.

I'm afraid I'll have to.

Are those your guns?

Yes, they are.

And you're wondering
if they're in working order.

Well, as a matter of fact...

They are. Please feel free
to examine them.

(Columbo)
Thank you very much.

(Keppel)
Was there something else?

Uh, yes, sir.
I'm just getting to it.

Uh, all the other men
we spoke to,

they were at the screening,
and they all said that

you were on the stage
narrating the movie

at the time that
the crime was committed.

Yes, that's correct.

Did you notice
if any of the men

left the room
during the movie?

Well, obviously,
Vic Norris did.

But you didn't
see him go?

No.

Anybody else?

No.

Excuse me, sir,

but you said you didn't see
Mr. Norris leave the room,

so how could you know
if nobody else did?

Well, you're right,
I guess I couldn't.

I just assumed it, you see.

Mr. Norris was
a very demanding man

and all the rest
of the people

in the screening room
worked for him.

They wouldn't have got up

and walked out
of an important screening.

They wouldn't have dared.

Mmm-hmm.

Can you think of someone

who might have a reason
to kill Mr. Norris?

You were going to
say something, Doctor?

[Keppel sighing]

No. No, I'm sorry.

Forgive me,

but, you know, in my business

we have to learn
to read expressions.

And I got the feeling
you were gonna say something.

Well, you're very perceptive,
Lieutenant.

Um, let's just say I have
a suspicion, that's all.

I'll treat it confidentially.

Vic Norris was having
an affair

with a young woman

whom we had hired as part of

an advertising campaign
for him.

Her name is Tanya Baker.

And you figure
this Miss Baker

had reason
to kill Mr. Norris?

Well, you're a little
less perceptive

than I thought, Lieutenant.

70% of all murders
involving married persons

turn out to have been
committed by the spouse.

It's a fact. Look it up.

I see what you mean.

I'll check Mrs. Norris.

I'll see
if she has an alibi.

Now, Lieutenant,
if there's nothing else...

Do you have time?

I just want to make
one personal observation.

I hope
you don't mind.

I was speaking
to the projectionist,

and he told me that

shortly after the murder

you called to have
your film picked up

and delivered
to your vault,

and I got to thinking
about that.

You know that most people,
when they're around a murder,

they just don't stop
to do anything like that.

No, I don't suppose
they would.

But I'm not most people,
Lieutenant.

I am a very
well-organized man,

and I don't panic.

The next logical thought
after we'd found the body

was to return the film
to the vault.

That was my observation.

You're a man
of enormous self-control.

Thank you very much.

Uh, Ballistics will want
to check out those guns.

Yes, certainly.

Good night, sir.

Good night.

Oh. Uh...

One other thing.
In regard to your practice

of recording people's comments
after the screening,

is that like a question
and answer period?

Do the people in the audience
raise their hands

and ask questions?

You stand up there
on the stage and answer them?

No, usually we meet
in the lobby.

Uh, we discuss the film there
and I record their comments,

that's all.

Oh, you do it
in the lobby?

Yes.

Oh, fine.

Gee, now, that's peculiar.

What is peculiar?

No, it's peculiar that you
would walk into the lobby...

and see a man that was
lying on the floor,

he just got shot.

And in the middle
of all that excitement,

you turn on a tape recorder.

Well, did it occur to you

that I might have turned
the tape recorder on

before I went into the lobby?

Before I ever saw the body?

As a matter of fact, I think

I turned it on directly
after screening.

Well, that explains it.
Thank you very much.

Good night, Lieutenant.

Good night.

(Columbo)
I'm just here to ask
some routine questions.

All right, Lieutenant.

What is it that
you want from me?

I'm gonna have
to ask you

what kind of relationship
you had with your husband.

I don't know now.

What do you mean?

If you'd asked me yesterday,

I'd have said
we had a good relationship.

Last night
I got a telephone call

from a man who said

that he had a girlfriend
named Tanya Baker.

And he told me that
she was having an affair

with my husband
and he could prove it.

And I was told to meet him

at 8:30 at the corner
of Valley and Magnolia.

And I waited there
for over an hour,

but he never appeared.

That's where you were
between 8:30 and 9:30?

(Mrs. Norris)
That's right.

At the corner
of Valley and Magnolia?

Mmm-hmm.

Can anyone confirm that?

No.

No one at all?

Nobody at all,
which means that

I don't have
what you call an alibi.

Yes, you do, Mrs. Norris.

You were at the corner
of Valley and Magnolia.

With nobody to prove it.

I didn't say
you had a good alibi,

but you do have an alibi.

Lieutenant,
I didn't kill my husband.

I believe that.

You do?

Yes, ma'am.

Why?

My wife's got no head
for crime.

We go to those
whodunit movies,

she always picks
the wrong murderer.

I want to tell you something.

If my wife decided
to murder me,

she could come up
with a better alibi

than you got.

Thank you.

You're welcome.

(technician)
How about the lady,
uh, in the red coat?

(Keppel)
No. No,
stay with the little fellow

in the rumpled raincoat.

Good morning, Lieutenant.

Boy, isn't this somethin'?

(Keppel)
Come on in.

Hey, that's me!

(Keppel)
Yes, that's you.

Boy.

Who would believe it?

You guys back here
with all this hidden equipment

takin' pictures of people

and they don't even know
they're being photographed.

Better go back
to the lady in red.

(technician)
Yes, sir.

It's not like the old days.
Oh, listen.

When I told my wife
that I met a guy

who made commercials,
you know what she did?

This woman runs
into the other room,

she comes back
with some photographs
of herself.

She claims

that when she sees housewives
on TV doing commercials...

She says they don't look
like housewives.

So she says,
"Show them my picture,

I'll be on TV."

Uh, well, Lieutenant,
I don't make commercials.

I'm a motivation
research specialist.

Oh.

Well, listen, no problem.

I mean, I said I'd mention it,
which I did,

so I'm in the clear.

Watch out
for that junction box.

(technician)
Oh, no.

I'm sorry.
I didn't see that there.

(Keppel)
All right, go to the lady
with the headband.

(technician)
Yes, sir.

Uh, Doc, last night
when I was talking to you,

I have to confess,
I had the feeling

that I was in the presence
of somebody sort of special.

So this morning

I went over
to the public library

and I looked up "Keppel"
in the card catalogue.

And, of course,
you know what I found.

Never mind the lady
with the headband,

she's very uptight.

Get back to the lady
with the red coat.

You really are somethin'.

Turn on
the high-speed camera.

"Advertising
and The Motivated Sale, "

by Bart Keppel.

"Motivation Research
And Its Value In Advertising, "

Bart Keppel.

"Human Values
Versus Human Motives,

Bart Keppel."

Oh, here's a terrific title:

"The Mind String
And How To Pull It, "

by Bart Keppel.

You've been
very busy, Lieutenant.

Let's take a break,
five minutes.

I want to reposition
that camera.

Lieutenant, why don't you
come along?

This may interest you.

Uh, it's in your line.

I gotta tell you, Doc,

one of the things that I like
best about my job,

it gives me an opportunity
to meet interesting people.

I mean, listen, here I am.
I'm talking to a man

that has actually changed
the course of advertising

in just five years.

Well, actually,
it was three years.

Major changes began

right after the publication
of my first book,

the one you have there,
Human Values
Versus Human Motives.

Well, all I know is,
it's fascinating.

I mean, it just,
it boggles my mind.

I don't know
how the hell you do it.

[Laughing]

Most of it is just plain
old-fashioned perception.

For example, you do
the shopping in your family.

How did you know that?

I mean, you're right.

But how could you tell?

One of these cameras
picked you up

as you came into the store.

Now, you can tell, the way
a person moves
through a store,

whether they're comfortable
or uncomfortable.

It's a related,
if inexact, science

called body language.
That's all.

Despite the fact that
you were coming to see me,

you moved through,
examining everything,

all the produce,
all the canned goods.

You were very comfortable.
Ergo, you do the shopping.

I'll be a son of a gun.

You must have had a reason
for coming to see me.

Yeah. Oh, I know what it is.

Isn't that somethin', Doc?

You've got me so interested
in what you were saying

I almost forgot
why I came over.

[Laughing]
I see.

Yeah, I tell you.

I just wanted to tell you

that we checked out
those two guns in your office

and Ballistics says
they've never been shot.

As a matter of fact, they're
not even the right caliber.

Mr. Norris was shot
with a.22.

I assume that you have
interrogated Mrs. Norris.

Yes, I have.

And?

We can't rule anyone out
completely at this time.

Oh, that reminds me.

Uh, Mr. Norris' secretary
showed me an agenda

of a board
of directors' meeting

that was scheduled
to take place today.

And on the top of the list
it said, "Terminate Keppel."

I was just wondering
about that.

I don't know quite
how to put this.

How about it, Doc?

Were you about to be canned?

I think you put it
very directly.

You're as subtle
as a train wreck.

Listen, I had to
ask the question.

[Laughing]

No, the Keppel Institute was
never on the Norris payroll.

Wasn't supposed to be.
We were paid always

from project to project.

I'd just finished a film
for them

and Vic seemed
to like it very much.

I imagine such a note
would say

he was going to speak
to the board of directors

and tell them:

"Terminate until
the next project."

Oh, fine.
Well, that explains it.

Thank you very much
for the time.

It was my pleasure,
Lieutenant.

Dr. Keppel, I almost forgot.

I want to check your memory
with that of the other people

in the screening room.
It will just take a minute.

Yes, certainly.

Uh, I spoke to Mr. Norbert,

and he recalls that
when the film was finished,

you said,
"Where's Mr. Norris?"

Is that right?

Yes, I did.

And then Mr. Norbert said
he told you

that Mr. Norris left just
before the film was finished

and he didn't look too good.
Is that right?

To the best
of my memory, yes.

And Miss Halstead said

it was kind of warm
in the screening room.

Yes, she did.

That's what was said?

Yes.

I see.

Fine.

Uh-huh.

All right.

Thank you very much.

What's the trouble,
Lieutenant?

Last night,

when I asked you
about the tape recorder,

you said...

Just give me a moment, sir.

"Did it ever occur
to you, Lieutenant

"that I might have turned it
on before I entered the lobby

"and before
I saw Mr. Norris' body.

"As a matter of fact,

"I turned it on
in the screening room

before the film
was finished."

Now I'm puzzled, because...

Just give me a moment.

This is the start
of the tape.

(Keppel)
What's happened?

(Norbert)
It's Norris.

(executive #1)
His heart?

(Norbert)
I don't know.
I don't think so.

(executive #2)
Listen, somebody
call an ambulance.

I'm puzzled,
because if you turned it on

after the film
in the screening room,

why didn't it record
what you said to Mr. Norbert

and what Mr. Norbert
said to you,

and what Miss Halstead said
to both of you?

I don't know,
Lieutenant, I...

I guess it was

because I didn't turn it on
in the screening room.

I must have waited
until I was in the lobby.

Now we're right back
where we were last night.

Why would you
enter a lobby

and seeing Mr. Norris' body
lying on the floor

and in the middle
of the excitement,

turn on the tape recorder?

Why would anybody even...

I think the answer
is very simple, Lieutenant.

Because men do strange things
under stress,

in a time of crisis.

Yes.

But you did remember
to send the film

back after the murder.

Like you said, sir,

you're not a man
that panics under stress.

No, I'm not.

What is all this proving,
Lieutenant?

Well, I don't think
it's proving anything, Doc.

I don't even know
what it means.

[Chuckling]

It's just one of those things
that gets into my head,

keeps rolling around in there
like a marble.

I think you're doing yourself
a great injustice.

Sounds like you feel a little
empty-headed at the moment.

I don't think
you're empty-headed at all.

Thank you very much.

Well, if that's all, then,
for the moment...

Uh, yeah.

Oh, I would like
to see a print

of that film
that you ran last night.

Oh, really? What for?

Well, it's just that I got so
interested in your work

that I think
it would be educational.

Why don't you
call my office?

They'll arrange it
for you.

Thank you.

You think you know how
what happened, Roger?

(Roger)
I think I know
how you did it.

Thank you, sir.

I think I know how
you killed Mr. Norris.

Last night,
when that Lt. Columbo

was asking me
all those questions

about the monitors?

That's when it dawned
on me.

Remember last night,

when I came into
the projection booth?

You were monkeying
with the monitor,

the East Lobby monitor,
in particular.

And I believe that's where
they found Mr. Norris' body?

Near the water fountain,
right?

I says to myself,

wow,

if that monitor
had been working,

I might even have seen you
shoot Mr. Norris.

But you really made
your mistake, sir,

when you gave me the film.

You see,
when you gave me the film,

you gave it to me
tails out.

When I heard
the splices going

through the machine
when I rewound it

I found the subliminal cuts
you made.

It was very clever
of you, Dr. Keppel.

And it all came together.

But don't worry,

I'm very grateful for what
you've done for me

here at the Institute.

I'm quite sure we can come to
some sort of an arrangement.

What did you
have in mind, Roger?

I had $50,000 in mind,
Dr. Keppel.

I've worked very hard here.

I still have to moonlight
down at the Magnolia Theatre.

My mother's been pretty sick.

So I've been studying
real estate on the side.

I found this nifty new deal,
it's a piece of property.

Just about $50,000
would swing it for me.

Well, Roger,
I would need your signature

on a document.

What kind of a document?

Outlining the details
of our agreement

and the amount of money
to be paid.

Why?

Well, that would make you
an accessory after the fact,

just in case anything should
ever happen to me.

Would you be willing
to sign such a document?

Sure, I'll sign it.

When do I get the money?

Tonight. Now, Roger,

I have a very busy afternoon.

If you'll excuse me...

Sure, I've got something
I have to do myself.

Thank you, Dr. Keppel.

Oh.

You scared the livin'
daylights out of me, Doctor.

I didn't hear you
come in with the noise.

Good evening, Roger.

Did you bring the money?

I've given this matter
a great deal of thought

since we talked
this afternoon.

Your discovery has made
things very awkward.

But I think
I've found a solution.

It would be
the only solution.

Oh, come on,
you've got to be kidding,
Dr. Keppel.

Come on. Don't joke around.

Hey, put that away, Doctor.
Don't fool around with that.

Doctor, come on, now.

[Projector whirring]

I didn't see anything
but a lot of racing cars.

That's the whole idea,
Lieutenant.

You don't see it
with your eye.

You see it
with your subconscious mind,

which is quicker
than the eye.

That's why
it's called subliminal.

You sure it's there?

Sure. Look.

I'll be a son of a gun.

There it is.
I never would have known.

Gee, that thing makes you
hungry just to look at it.

That's the whole idea,

if you want
to sell hamburgers.

Well, wouldn't it
be better

if people could get a better
look at the hamburger?

It could be run slow enough
to give an audience

a brief but clear glimpse
of it, but look.

Look what that would do
to the racing film.

Yeah, I can see where that
would louse up the movie,

but I can't see how one frame
of a hamburger,

going by so fast...

How's that gonna make
anybody hungry?

That depends how hungry
you are to start with.

The thing is, Lieutenant,

the subliminal cut
isn't used just once.

You can work that into a film
in a dozen places.

Nobody would be the wiser.

Yet, it has
a cumulative effect

on the viewer's subconscious.

Hello, Lieutenant.

Oh, good evening,
Dr. Keppel.

What are you doing here
at this hour?

Your cutter here was
just explaining to me

how subliminal cuts work.

I hope
you don't mind.

No, certainly not.

We're always happy
to help out

the police department
here at the Institute.

Did you make those changes
in the Transit film?

Yes. They work just fine.
Good.

Do you want to see them here
or up on the big screen?

Well, no, you can...
Hope I'm not in the way.

Oh, no, no. Not at all.

You can take the film
on upstairs.

The narrator's up there
and he's waiting.

Okay.

We may want
to make some changes,

but later on,
after we run it for narration.

Yes, sir.

(Columbo)
Thank you.

Well, Lieutenant,

what got you interested
in subliminal cuts?

You did, Doc.

I did? How?

I got home
this afternoon

and I started reading
that book of yours,

The Mind String
and How To Pull It.

Forget about it.
You're a genius.

[Chuckling]

Well, I wouldn't say that.

But it's very nice to hear.

I got to that part
about the popcorn.

I closed the book, I sat there
with my mouth open.

You know
what I'm talking about,

the part about the popcorn?

Yes, I'm not likely
to forget it.

You invented something
I'd never heard of.

I'm over 40.

Subliminal cuts.

Who ever heard
of a subliminal cut?

Let me see
if I've got that right.

You took one frame.
Was it one frame?

Yes.

Of a picture
of buttered popcorn,

and cut it into the middle
of a movie

and it went by so fast

that everybody
in the audience

watching the movie
never saw it.

Is that the way it went?

Yes.

All of a sudden,
everybody in the theater

wanted to eat popcorn?

That's the way it works.

I'll be a son of a gun.

It says there that

in some cases,
the sale of popcorn

in the theaters
almost doubled.

It also says
that it was outlawed

by the Consumer
Trade Commission.

Yeah.

That part was too bad.

But it was a whale of an idea
all the same.

I hope the brilliance
of my work

is not interfering
with your investigation.

Could you help me
with that?

What?

The investigation.

Could I pick your brain
on that matter?

Certainly.

You see
these two cards?

I've got two just like these

taped on a mirror
in my bedroom.

You know where else
I got 'em?

Pasted on the windshield
of my car.

Plus these two,
keep them in my pocket.

Reminders.

Go ahead, read them.

"Why did Mr. Norris
leave the screening room?"

"How did the murderer know
the precise time

that Norris was going
to leave the screening room?"

Those are key questions,
aren't they?

Yes, I'd say they
were fundamental.

I'm pointed
in the right direction?

Obviously. I don't know
why you need

all these cards,
but if you do,

I guess it's all right.

Okay. Let's assume that
whoever killed Mr. Norris

was already in your suite
of offices,

didn't come from
outside the building.

All right,
let's make that assumption.

Okay, shoot.

I beg your pardon?

Go ahead, I'm waiting.
Can you help me?

To do what?

To answer my questions, sir.

How did the murderer
know the precise time

that Mr. Norris was gonna
leave the screening room?

I wouldn't have
the faintest idea.

Can't come up
with anything?

Lieutenant, how would it
be possible to know

when a man's gonna get up
out of his chair and leave

a screening room?
That's impossible.

I just thought
that with your knowledge

of behavior and motivation...

That's why I asked.

I know it's a tough question.

I believe that
whoever killed Vic Norris

came from
outside the building.

I've already told you
who I think

might have been
involved in that.

I know, but if we could just
stick with the assumption

that it was done by somebody
inside the building...

Uh...

Frankly, I'm disappointed.

When I read
about the popcorn

and the way you used
those subliminal cuts,

I felt sure
you'd be able to help me.

I'm sorry
to disappoint you.

Oh, no need to apologize.

The fact is,
I owe you an apology.

You do?

Yeah.

Might as well own up to it.

I stole something
that belonged to you.

You stole something
from me?

Yeah, nothing serious.

The fact is, the night
of the murder I was hungry.

I saw some of
your caviar around

and I took the liberty
of helping myself.

Just thought I'd mention it.

Don't be silly.
As long as you enjoyed it.

That's the funny part.

I didn't enjoy it. Too salty.

And you know, I didn't notice
it when I was eating it,

but when I went
to the projectionist later on,

I remember
I felt a little thirsty.

All of a sudden I wanted
something to drink.

So he had some
iced tea there.

Thank goodness.

Oh, that reminds me.

Take a look at that.

"Autopsy report."

I thought that
if I took caviar

and it made me thirsty,

I figured maybe
it would make him thirsty.

So you ordered an autopsy.

That's very astute,
Lieutenant.

Thank you very much, Doctor.

It was the only way
that I could find out

whether or not Mr. Norris
ate any caviar.

According to this report,
he did.

Uh-huh. Yeah.

Quite a bit.

Pretty big eater.

Doctor?

Yes?

In the light of
this new information,

I was wondering
whether or not

you could find it in yourself

to be more helpful
at this point.

If the man was thirsty

and he was subjected
to several subliminal cuts

of, say, a tall, cool drink

that would cause him
to get up

and leave
the screening room

and go to find
the nearest water fountain.

Is that what you mean?

I had something
like that in mind, yes.

And that could happen?

Yes, indeed.

Well...

Thank you very much.

You've been very helpful.

Not at all.

You're an interesting man,
Lieutenant.

Very interesting.

I take it
that's a compliment?

Yes, it is.

However, you have
to take it a bit further.

You may really be
on to something.

You have to
take the next step.

Well, what is that, sir?

Look at the film.
Examine it carefully.

See if there are
any subliminal cuts.

Of course.
I should have realized

you've already
done that.

I have.

What did you find?

No splices.

Oh, that's too bad.
What a shame.

Such a good idea.

Could have been two prints.

Two prints?

That's an
interesting notion, too.

If I were you, I'd get busy
and find that second print.

Your entire case
could rest on that.

Doctor, I don't think

I'm gonna find
the second print.

Really? Why not?

I think that the criminal
in this case

is much too intelligent

to leave that kind
of evidence around.

Of course, I'm gonna check
all the film duplicating labs.

But I got a feeling this guy
did his own duplicating.

That must be very
frustrating for you.

[Bell buzzing]

Uh, Doc?

I just wanted to thank you
for all your help.

Any time.

Excuse me.

Are you Lt. Columbo?

Yeah.

It's your office, sir.

On line 2.

Where's your line 2?

The second one.

Easy sell.

You'll see that
when I show you...

Dr. Keppel.

[Moaning]

Lieutenant, what is it?

May I speak
to you privately?

[Sighing]

Charles, why don't you
watch the film?

We'll talk afterwards.
Go ahead and run.

Columbo, what do you want?

I'm sorry
to disturb you, Doctor,

I have sad news.

Mr. White, your projectionist,
he was just shot.

Is it bad?

Dead, sir.

Uh...

I would be very interested
to know

if there's any connection

between that
and the Norris murder.

Would you
keep me informed?

You know, Doc, uh,

I'm going over there now,
and I was wondering...

You were wondering
if I would go with you

to the scene
of the crime?

How did you know that?

Lieutenant, I know
where you're coming from,

and I know
where you're going.

It isn't very difficult
to figure you out.

I don't understand.

For some reason

you have come up
with some remarkable notion

that I'm guilty
of Vic Norris' murder.

Never mind that
I have no motive,

or that I scarcely
knew the man

or that he was
my best client.

Your innuendos
keep clumping

through our conversations
like hobnailed boots.

And if I didn't find you

an extraordinarily
amusing fellow,

I might even be offended.

Doc, if I'd known I was making
that kind of impression,

I would have left
and never come back.

The fact of the matter is
I knew White worked for you,

and I thought
you might want to come.

And then I thought
you might be able to help.

Honest, I think
you'd be a great detective.

All right, Lieutenant.
I'll play.

Which way?

Beg your pardon?

Right or left?

You didn't tell me

where the murder
was committed, Lieutenant.

So I couldn't possibly know
how to get there, could I?

Turn right.

Nice try, though.

Can't win 'em all.

(sergeant)
The manager came up here
to check things out

and found
the projectionist dead.

What about
the murder weapon?

That was left behind.

Right over here,
on this table.

Do you have an approximate
time of death?

Yeah, we got it pinned
down pretty good.

The reel that ran out
was the second reel

of the picture.

According to the manager,

White must have put
that reel on at 7:30

and it ran out at 7:55.

So the murder was committed
sometime during that period.

You've been very thorough,
Sergeant.

Thank you very much.

Has anybody run the gun?

Oh, yeah.
We pulled the serial number

and sent it
through the computer.

It's registered
to a Mr. Victor Norris.

Victor Norris. I see.

All right, Sergeant.

Have Mrs. Norris picked up

and see if the manager
can pick her out
of the line-up.

Oh, boy!

[Columbo sighing]

Well, Lieutenant,

unless you think
I can be of any further help,

in my opinion,
as you people say,

that about wraps this up.

I don't think she did it.

You are an incredibly
stubborn man.

After all the facts
you've established,

it's obvious
the projectionist

and Mrs. Norris
were in it together.

I still don't think
she did it.

In that case, I'm deeply
grateful for one thing.

And what is that, Doctor?

That you've established

that White was killed
between 7:30 and 8:00.

Because you and I
have been together

constantly since 7:30.

Starting in the cutting room
and ending, I hope, now.

Otherwise, I'm positive
you'd still be accusing me.

Doctor, I've never
accused you of anything.

I'll ignore that
because I'm convinced

that my only real protection
in this matter

is the fact that

you, personally,
are my alibi.

And that's a tough nut
to crack.

That's not tough,
that's impossible.

Uh, I imagine
you can find someone

to get you back to your car.

Certainly.

Good. In that case,

goodbye, Lieutenant.

Doctor! Dr. Keppel!

Dr. Keppel!

(Columbo)
Good afternoon, Doctor.

Afternoon. Doctor?

Excuse me, sir.

I gather
you are not a golfer.

Uh, no, sir,
I do bowl a little, but...

It's customary
to be very still

when a man is trying
to hit a golf ball.

Oh, did I
ruin your shot?

No, just a little.

Well, listen,
I'm sorry.

Since it was my fault, maybe
they'll let you do it over.

Not at the stakes
we play.

What was it
you wanted, Lieutenant?

It wasn't urgent
and it could have waited,

but up in the clubhouse

they told me you're gonna be
out for three hours.

As long as you're here,
Lieutenant,

what was it you wanted?

I'll try
and make it brief, sir.

Uh, I'm trying to locate
this Miss Tanya Baker girl.

I thought maybe I could
get a line on this boyfriend

who Mrs. Norris said
made those telephone calls.

Take these
on to Mr. Bishop.

I can't help you, Lieutenant.

I don't know Miss Baker.
I've never met her.

My company hired her as part
of a publicity campaign

for Mrs. Norris' agency.
That's all. Sorry.

You don't know her?

Nope, I do not.

Oh, gee, that's funny.

Why is it funny?

No, you see, we got a line
on this Miss Baker.

Apparently she had left town
the day of the murder.

And an airplanes check
with the airlines

turned her up in Lisbon.

She checked
into a hotel there.

Well, your problem seems
a simple one, Lieutenant.

All you have to do is make
an overseas telephone call.

I did, sir.

And did you reach Miss Baker?

(Columbo)
Yes, sir, I did.

But you weren't able
to find out anything.

No, sir, not too much.

Nothing except
that you do know her.

Oh, that's not bad, Doc.

I mean, it's not far,
but it's straight.

(Keppel)
Lieutenant, you're bluffing.

Miss Baker never said
we knew each other.

No, sir, not directly.
You're right about that,

but, you see, I made
the telephone call collect.

From a Dr. Bart Keppel
to Miss Tanya Baker.

Would you like me
to take you to your ball?

Did it occur to you that,
having worked for my company,

Miss Baker
would, of course,
know my name?

Uh, yes, sir, it did.

But from a man like you,

I thought she'd be surprised
to get a collect call.

[Laughing]
I imagine she was.

Yes, sir,
she certainly was.

I said, "Hello, Tanya."
She said,

"You're not Bart Keppel,
I know his voice."

And she hung up.

So I figured,

if she knows your voice,
she must know you personally.

The explanation
is very simple, Lieutenant.

Tanya Baker is
the kind of girl

that a man doesn't like
to admit he knows at all

and certainly not
if he's married.

And I am married.

I hope I can rely on
your discretion, Lieutenant,

now that you know.

Oh, absolutely, sir.
Nothing to worry about.

You know, I'm from Homicide,
I'm not from the Vice Squad.

Uh-oh.

Another bad one, huh, Doc?

[Laughing]
Yes, that's a bad one.

I'll see if I can
help you find that.

Why don't you come
to the point, Lieutenant?

The real point?

Yes, the real one.
That one.

Go ahead.

Go ahead.

I think
you're guilty of homicide.

I think you killed Mr. Norris

and I think
you killed the projectionist.

Lieutenant, How could I
have killed Mr. Norris,

or anybody else

when I was standing
in plain view

of everyone
in the screening room

at the time?

You couldn't.

No.

So you weren't.

Yes, but they did
see me.

No, sir.
They heard you.

And you had
a tape recorder,

and it was dark.

Wait a minute. Let me get
one thing straight.

I was told that
all of the testimony

was unanimous.

Everyone in the room swore
they saw me there.

Is that true?
Yes.

Has someone changed
their testimony?

No, sir.

No, they haven't.

When they do,
we'll be able to pursue

this fascinating line
of speculation.

Ah, here's my ball.

There it is. I'll just
toss it out of there

and no one will ever know.

And I can go on
with my game.

By the way, sir, before
I interfere with your swing,

I won't be able
to be your alibi

for last night
when Mr. White was shot.

I'm so sorry to hear it.
Why not?

Because I was only
with you from 7:30 on,

and Mr. White was killed
before 7:30.

That's more speculation.

No, sir.

Mr. White was not killed

during the second reel
of that film.

He was killed
during the first reel.

That would have given you
plenty of time

to get to your office.

How did you come up
with this conclusion?

Because there was
no nickel.

Uh, I beg your pardon?

No nickel.

Under the
number two projector,

on the floor,
there was no nickel.

How do you like that?

You see, this fellow White,
the projectionist?

He told me
he has a little trick.

He takes a nickel

and puts it in the reel,
down by the end.

So that when
the nickel falls out,

he knows it's time
to change the reel.

Under the
number two projector,

there was no nickel.

In my opinion, sir,

Mr. White did not
change the second reel.

You did.

Uh. I marvel, Lieutenant.

L... I really... I am fascinated
by your imagination,

but as far as I know,

a court of law
in this country

still requires some...
some kind of evidence,
don't they?

That's right, Doc,
and I don't have any.

I don't see any,
do you?

Not enough to convict.

I can't see how.

So we'll have to let it go
at that for the time being

since we don't
have any alternative,

and I really can now
get on with my game.

Nice shot, Doc.

Yes.

For a while there I thought
I was gonna spoil your game.

Not a chance, Lieutenant.

(officer)
You on to something?

(Columbo)
No.

There has to be
a murder weapon.

We don't have
the murder weapon.

Somebody came in,
shot the guy, left,

and took the murder weapon
with him.

I swear,

whoever shot this man
never left the building.

Then where is the gun?

There were a ton of guns
in the office

in two trophy cases.

None of them was a.22.
The guy was shot with a.22.

Then where is
the murder weapon?

I'll tell you
what you do.

You go to the suspect

and you tell him
you got a problem.

And you ask him
where he hid it.

In the meantime,
I'm gonna call my wife,

tell her I'm gonna
be late for dinner.

[Dialing phone]

Where are you going?
Lieutenant?

Lieutenant?

I have to go, George.
Go on home.

Milt?

Come on.

[Camera clicking]

Shoot.

Shoot.

Wait a minute.

Flashing your badge
to get past a guard

is one thing, but this is
searching without a warrant.

I'm not searching,
I'm looking.

Shoot.

(Keppel)
The film is still under option
to Victor Norris' agency,

but I think it will fit
your company's needs exactly.

We're looking forward
to seeing it,

aren't we, dear?

We certainly are.

Good. I'm glad.

Go ahead and roll.

[Soundtrack playing]

(Keppel)
Nothing can happen
in this country

until someone
sells something.

We are traditionally
a nation of salesmen.

But most importantly,
we have advanced salesmanship

to a creative art.

It has been the ability
of salesmen

representing American products
and capital around the globe

that has made
American business

preeminent in the world.

Excuse me
for a minute, please.

The energies of these workers

and the dollar resources
behind them are wasted...

[camera clicking]

Finally got
some hard evidence.

What is that, Doctor?

I'll be a son of a gun.

A calibration converter.

Do you have the key
to that case?

Looks like a.22.

Fit nicely
into a.45 automatic.

That's why the barrel
and the chambers

were clean when Ballistics
checked out the gun.

That's a lovely touch.

A converter. I never figured
on a converter.

And one hidden in a lamp.

Doc, I would have sworn
you had a gun hidden in here

and I was trying
to smoke you out.

But I never figured
on this.

A subliminal cut.
You used a subliminal cut.

No, quite a few
subliminal cuts

from some photos I made.

Came in here
with Milt last night

and we shot some pictures.

It must have been the ones
around the lamp.

Those are the ones
that did it.

Maybe it was that fellow.

Let me see, may I?

We had them processed
last night

and cut them into your movie
this morning.

(Keppel)
Well, one thing, Lieutenant,
you'll have to admit.

You never would have solved it
without using my technique.

(Columbo)
That's right, Doc.

If there was a reward,
I'd support your claim to it.

[Laughing]

Officer.