All language subtitles for obssesive love

(triumphant music)

("Every Breath You Take" by The Police)

♫ Every breath you take

♫ Every move you make

♫ Every bond you break

♫ Every step you take

♫ I'll be watching you

♫ Every single day

♫ Every word you say

♫ Every game you play

♫ Every night you stay

♫ I'll be watching you

♫ Oh can't you see

♫ You belong to me

♫ How my poor heart aches

♫ With every step you take

♫ Every move you make

♫ Every vow you break

♫ Every smile you fake

♫ Every claim you stake

♫ I'll be watching you

♫ Since you're gone I'vebeen lost without a trace

♫ I dream at night Ican only see your face

♫ I look around andit's you I can't replace

♫ I feel so cold and Ilong for your embrace

♫ I keep crying baby, baby, please ♫

(phone ringing)

(groaning)

- Oh, darling, I have to go to work.

No, we have tonight.

Mm-hmm.

Wait for me. (laughs)

♫ Oh can't you see

♫ You belong to me

♫ How my poor heart aches

♫ Every step you take

♫ Every move you make

♫ Every vow you break

♫ Every smile you fake

♫ Every claim you stake

♫ I'll be watching you

♫ Every move you make

♫ Every vow you break

♫ I'll be watching you ♫

- I'm so late, I've got to hurry.

I'll see you tonight.

Bye, darling.

♫ I'll be watching you

♫ Every breath you take

♫ Every move you make

♫ Every vow you break

♫ I'll be watching you

♫ Every breath you take

♫ Every move you make

♫ Every vow you break

♫ I'll be watching you

♫ Every breath you take

♫ Every move you make

♫ Every vow you break

♫ I'll watching you

♫ Every breath you take

♫ Every move you make

♫ Every vow you break

♫ I'll be watching you

♫ Every breath you take

♫ Every move you make

♫ Every vow you break

♫ I'll be watching you

♫ Every breath you take

♫ Every move you make

♫ Every vow you break

♫ I'll be watching you

♫ Every breath you take

♫ Every move you make ♫

- Oh, good morning, Linda.

Heavy night last night, huh?

(laughs)

- Black Sea Cruise Line?

Gee, I don't have any information on that,

but I'll see if I canlocate some, all right?

I'll get back to you.

Bye-bye.

Linda!

Do you have any brochures onthe Black Sea Cruise Line?

- Yeah, I do.

- Great.

Thanks.

Wanna have lunch?

- Um, I (sighs) I have so muchstuff here to catch up on.

- [Voiceover] You think it's easy for me?

He's been my best friend for 10 years.

- I don't wanna hurt him,

but I have to do what's right for me.

- What did he say when you told him?

- He ran out on the beach.

He wouldn't deal with me.

- [Man] All right, listen, Sherry.

I love you, okay?

And I promise you everything'sgoing to work out okay.

- All right, Roger.

I love you.

- Goodbye.

- Goodbye.

- How could you do it, Sherry?

I mean, let alone with my best friend.

- [Sherry] What was I supposed to do?

You are never around, Michael, please.

- [Michael] I thoughtyou would change, Sherry,

I honestly thought that you would change.

(crying)

(keys jangling)

(eerie music)

(sighs)

- Oh, darling.

I wonder what people wouldsay if they knew about us?

(phone ringing)

Hello?

- [Female Co-Worker] Hey,I knew you were there.

- DeeDee? I just got in.

- Guess what?

I'm here at the Neon Bar

with the most gorgeous flight attendants.

Come on over!

- DeeDee, I can't.

- [DeeDee] Why not?

- I, because I just got undressed.

- So get dressed.

I've got this terrificlooking guy for you.

He's a pilot.

He looks just like Tom Selleck.

- (sighs) I don't know, DeeDee.

- [DeeDee] Come on, it'll be fun!

There's no one there with you is there?

- No!

- Good. I'll see you soon then.

Don't be long!

- DeeDee?

(dance music)

- [DeeDee] Well, Linda's different.

- Yeah, great personality, huh?

(laughter)

- No, that's not what I mean.

- What do you mean?

- Well, she's smartbut she's real private.

- Whoa, those are always the best kind

if you just get 'em going, hey, Alex?

- Hey, I can get it going in 10 minutes.

All I gotta do is usemy three stage approach.

- What's that?

- Three little lines that never fail

no matter who the lady is.

First step is why are you so sad?

- Hmm, now that's a strange come on, huh?

- But that might work on Linda.

(laughter)

- Wait a second, no no no,think about it for a minute.

Women walk around feeling that

life has dealt them a low blow.

Here I come, I recognizethat inner struggle.

Hey, Mill.

Best time to get 'em iswhen they're laughing.

They stop laughinginstantly and they say, hey,

this guy has insight into me.

He realizes that I'm complex.

(laughter)

Now wait a second, youwanna hear stage two?

Stage two is, baby, you're a thoroughbred.

Instantly they recognizethat you are aware

of quality merchandise.

- And knows the 212.

- Of course.

- Linda a thoroughbred, wow.

- What's stage three?

- Stage three?

Stage three.

Baby, you're ready.

- What if she's not ready?

- Doesn't make any difference,you just keep saying it.

You're ready, you'reready, until she buys it

then you move in for the kill, right?

You want another drink?

Two more, four more, please.

You gotta remember to use the eyes.

(dance music)

You're Linda?

I'm Alex, DeeDee's friend.

- Oh, hi.

- Hi.

They're a trip, aren't they?

- They look so happy.

- Mostly this happiness isgonna be a hangover tomorrow.

May I take your coat?

- No, I--- [Alex] That's okay.

I've been in a million towns like this,

they all have bars just like this,

they're the same kind of a crowd,

all searching.

- For love?

- A true romantic.

There's not many of us left.

Shall we dance?

- I'm not very good.

- Oh that's okay, honey,

you just let the music move you.

So don't worry about it,

just get out there and have a good time

and I'll make you look good.

It's that great group, huh?

- I can't do this kind of dancing.

- I understand.

- I can't do this either, I'm sorry.

- Let's get a drink, okay?

What would you like?

- I'll have whatever you're having.

- Okay.

Two Manhattans, please.

- Is that a nice drink?

- Tres chic.

- I'm sorry about the dancing,

I never was any good.

- It's okay, I understand.

Thank you.

(laughing) Come on, take a good shot.

- It's good.

- It's a great drink.

You know, I sense that you're sad.

Do you wanna talk about it?

- I'm not sad.

- It's okay, you can talk to me

because we have a connection.

I felt it the first time you came in.

We're so alike.

There isn't anything thatwe couldn't do together.

- [DeeDee] Hi!

- Hi.

- What did I say, Alex, huh?

- Yeah, she's a real thoroughbred.

- I'm sorry, I have to go.

- Linda, please.

Linda?

Linda, wait a second, will ya?

We were just getting to know each other.

Where are you going?

- Why don't you go back in there.

I'm sure there are a lot of women

who'd like to go home with you tonight.

(engine stalling)

- You got a dead battery,can I give you a lift home?

Just a lift.

Hey look, I'm a friend of DeeDee's.

Really I am sorry, I didn'tmean to get you so upset.

Come on, you can't stay here all night.

Come on.

- What are you

Stop it now!

- Hey wait a second, honey.

- Let me out of here!

- Take it easy!

(tires screeching)

Hey!

Hey honey, don't hang aroundbars if you don't wanna play!

Eh!

- I'm sorry about last night, really.

- That's okay.

- I mean, that guy isn't all that rotten.

He just can't take no for an answer.

You want lunch?

- Oh, I have so many errandsto do this afternoon.

Tomorrow for sure.

- Okay.

(suspenseful music)

(background conversations)

- [Voiceover] Ready?

Okay.

- [Voiceover] We've got todo something with this scene.

- We'll just tighten it.

We'll cut it, let's cutthese first tho speeches.

Greta, start shy, what are you doing here?

Cynthia, Roger had an accident

and Glenn is he all right and then cut.

(whistling)

- Sherry?

What are you doing here?

- Roger's had an accident.

(crying)

- How bad is he?

- Cut.

Good, that was lovely.

- Very good, it was really very good.

Come on over here and let's run the lines

from the other scene.

- I'd like a cashier'scheck for the balance.

- If you leave in $25you can keep the account.

- No, I want it closed.

(sad music)

(dishes clanging)

This time he took me to awonderful restaurant, Italian.

It was heaven.

Would you believe it,

he turns around and all of a sudden

he starts talking tothe waiters in Italian.

Everybody in the place was looking at him.

I was kind of embarrassed at first,

but then I felt

Didn't I wash them enough?

- You never do.

Well, I've been hearingabout your mystery man

for a while now.

Am I ever going to meet him?

- (sighs) He's only gonna behere a few days this time.

I'll try and bring him bybefore we leave for California.

- You're going to California?

- Yes.

- When?

You can't go away.

- Why?

- Well, because you haveresponsibilities here.

You can't go away.

- It's only for a few days, mother.

It's nothing.

- You're going to travel alone with a man

and it's nothing?

Now I have heard it all.

When you moved out of thehouse and got your own place

I didn't say a word.

But now this.

No daughter of mine isgoing to travel with a man

that's not her husband.

- You can't stop me.

- Oh, I can and I will.

- Please mother!

- I don't know whereI went wrong with you.

You were always peculiar.

- I have to go.

- You haven't eaten your dinner.

Will I see you next week?

- I'll be out of town.

- Linda, don't do this.

- Don't do what?

Don't fall in love?

Michael loves me.

- He loves you.

- Yes.

He thinks I'm pretty.

- Has he ever seen you upset?

(crying)

- Why does that matter?

- Oh honey, it doesn't matter to me.

I've always loved you.

- Well guess what?

He has seen me upset and itdoesn't matter to him either.

- Baby, all we have is each other.

- Not any more.

I have my own man now.

(dramatic music)

(moves into energetic music)

(moves into ominous music)

Excuse me?

Do you have a reservationfor Linda Foster?

- Let me check.

- Do send up some champagne.

- It's already there, madame.

- Ah, thank you.

- What's your name again, please?

- Foster.

- Foster.

Foster, I don't see a room for Foster.

- Oh, no, it's a suite.

- A suite.

Oh! A suite, yes.

And your Rancho is waitingfor you in the garage

if you'd kindly fill out this card

and we'll have the bellman take up your luggage.

- (laughs) Hi, I'm here.

No, here!

I just got here.

Oh yeah, the room is beautiful.

Did you miss me?

I sure missed you.

I know you did.

No, really.

(clears throat)

Hi!

I'm here!

Hi, I'm here.

I missed you.

Did you miss me?

I know you did.

Did you miss me?

I sure missed you.

I did.

(energetic music)

So this is where you live, Michael?

(phone ringing)

- Savage Hills.

- May I speak to Mich--Glenn Stevens, please?

It's Linda Foster.

- May I ask what it's in reference to?

- It's personal.

He's expecting my call.

- Well, he's shooting right now.

Would you like to leave a message?

- I'll call back, thank you.

- [Male Director] And action.

- I came as soon as I heard, Roger.

I'm sorry this has happened.

Well, you know how you drive that car.

- Cut!

(bell rings)

Glenn, your mark is here.

- [Glenn] Okay, Marty, I'm sorry.

Can we go again?

- Fine, and this time take a longer beat

before your speech, okay?

- [Glenn] Okay.

- Good.

How you doing, Gary?

- The name is Garreth

and I'm burning up in here,

I don't know how muchlonger I can take this.

- Okay, this is the last time.

Ready and action!

- I came as soon as I heard, Roger.

I'm sorry this happened, butyou know the way you dr--

Oh!

- Okay, Glenn, cut!

(bell rings)

What's going on?

- Marty, I'm sorry,

but these lines make mycharacter sound like a jerk.

- What's the problem, Marty?

- Talk to your star.

- What's the problem, Glenn?

- Margaret, for two years

I have been trying to giveMichael some human compassion.

I mean, this is my friend,

has been my friend for 10 years,

I think I should sit on the bed,

talk to him like a real friend,

like a real person in a real world.

Do you understand the real world?

I wouldn't talk to himabout how he drives his car!

- All right.

I'm gonna take care of it.

- Thank you.

- You wanna kill these lights?

And everybody just take five.

Somebody get Garrethout of these bandages.

(sighs)

Some actors are reallyself-destructive, aren't they?

(sighs)

- Well, how about 9:30?

No? We have 1 o'clock open.

Okay, do you want to try Friday?

We have 11:30 open,would that be all right?

Okay.

Okay, great, thank you.

Ms. Foster, you can go in now.

- Thank you.

(tense music)

(moves into energetic music)

(groans)

Ah, yes.

- Just fill this out, please.

- My key, please.

- I

- Ms. Foster.

- Of course.

You look outstanding.

- Thank you.

- Can I send anything up for you?

- Some champagne, please.

- My pleasure.

(suspenseful music)

- Hi.

I'm back.

What do you think, hmm?

(laughs)

I did it for you.

I like it.

Shh.

Don't talk.

Don't talk.

Shh.

Hi.

- Hi.

- Linda Foster for Savage Hills.

- I'm sorry, your name's not on the list.

- What? That's impossible.

I'm supposed to be here at 2:30.

- I'll check again.

You're a day player?

Sorry.

Let me call the show, seeif I can straighten it out.

- Um, listen, would you do that while I,

I'm so late, really.

- Okay, you just make sure youclear your pass for tomorrow.

- Right, thanks.

(energetic music)

(bell ringing)

- [Voiceover] Okay,folks, quiet on the set.

Stand by to record.

- [Voiceover] Camera two,to the right just a bit.

Camera one, zoom out so youcan catch Cynthia's entrance.

- [Voiceover] All right,roll tape, quiet please.

- [Voiceover] Tape is rolling.

(gasps)

- Shh.

- [Voiceover] Stand by.

This is Savage Hills episode1806, scene 84, take two.

- [Voiceover] Okay, let's do it.

- [Voiceover] Tape is rolling.

- [Voiceover] And action.

(suspenseful music)

- And cut.

(bell ringing)

Thank you, Glenn, that was beautiful.

Relax, kids, for the next set up.

- That was fantastic.

It was wonderful!

You see how good you canbe when you don't fight it?

- I don't fight it, Margaret.

Only doing what I thoughtwas best for the show.

- Sweetheart, what's best for this show

is that you're here on time,

you hit your marks and you say your words.

- Margaret, be honest with me.

Are you happy, I mean really happy

with what we're churning out?

- You bet I am, and at $400,000a year you should be too.

(birds chirping)

- I don't know how muchlonger I can handle it.

Margaret's such a steam roller,

she treats me like I'm 12 years of age.

What are you staring at?

- Oh, I don't know,

I'm just seeing how longit's gong to take you

before you kiss me hello.

- Sorry.

Where's Bobby?

- Upstairs watching television.

(suspenseful music)

Look, why don't you just ask Margaret

to write you out of thenext couple of episodes?

- I can't, she's just brought

Cynthia and Micheal back together again.

- Well, your contract'scoming up for renegotiation.

Why don't you just not renew it?

- Dammit, Jackie, youmake me so mad sometimes.

I mean, what about the mortgageand Bobby's school fees?

Look around.

There isn't a damn thing in this house

that wasn't paid for by my show.

- You know, I've neverseen you like this before.

Why are you so unhappy?

- It's the damn character I'm playing.

I'm not allowed to change anything.

I mean, I don't even like Michael.

- Michael!

I am so sick of hearingabout your character.

That's all I hear about.

You're obsessed with him,

you even bring him to bed with you.

- Oh, well terrific.

So that's your excuse, huh?

(dishes breaking)

- I'll do it.

- Look, why don't wejust drive to the boat

and spend the weekend together?

- Look, maybe you should just

spend some time by yourself.

- Why?

- Just to sort things out.

I do realize that the show is

very important to us financially,

but i just don't want tosee it destroy our marriage.

(tense music)

(applause)

- Thank you, thank you so much.

Thank you so much and good afternoon.

And now for all you beautiful women

who have come here this afternoon

leaving behind yourhusbands and your children

and their problems to take on ours.

(applause)

All these years, we have shared

such a wonderful, romanticand illicit affair.

(laughter)

Please help me welcome warmlythe cast of Savage Hill.

(applause)

Our villainous rival, Mr. Garreth Graham.

(applause and cheering)

And Michael's renewed romance,

the beautiful Cynthia Shelby.

(applause and cheering)

And now the man you'veall been waiting for,

our resident lover.

(screaming)

Mr. Glenn Stevens!

(applause and cheering)

Yes, he makes my heart gopitter-patter too. (laughs)

By the way, Glenn, I forgot to tell you.

We've just sold theshow to another country.

Greenland.

(applause and cheering)

And I must say all those Eskimo ladies,

they are melting over you.

- Terrific.

10 years with the RoyalShakespeare Company

and here I am melting Eskimos.

- Well, if you ever gettired, just remember

there's 500 guys out thereready to take your place.

- And you're right out in front, eh Gary?

- It's Garreth.

- Ah.

- You're damn right I'm in front.

- You're wonderful, you're wonderful.

And now what you've been waiting for.

Our contest!

As you all know, the first prize will be

a guest appearance on our show

playing opposite Glenn Stevens.

(applause and cheering)

Glenn, why don't you come over here

and help me pick out thelucky lady, the winner.

(applause and cheering)

- Hmm.

(laughs)

And the winner is Mary Cartwright.

(screaming)

(applause)

- Oh my god!

- Congratulations, that's wonderful.

(chattering and giggling)

- Thank you.

Oh, hello.

Didn't I see you on the set?

- Yes.

- Are you an actress?

- No, I'm not.

I'm a journalist, I'mwith News Maker Magazine.

- Are you doing a story on the show?

- Actually, I'm interested indoing an interview with you.

- Then perhaps you should call my agent

and ask for an appointment next week.

- I'll be in New York next week.

- Well, would you mindwaiting for a little while?

- Gladly.

I was very curious to meet you.

You are a lot like the character you play.

(laughs)

Did I say something wrong?

- No, no, it's just that

I've been playing this guy for so long

that I find it difficult toseparate myself from him.

- For a lot of womenyou are that character.

- (laughing) Yeah, I know.

Thank god they don't have tomeet me and be disappointed.

(laughing)

I'm sorry it's got so late.

We could have done the interview here,

but I'm afraid I have to get home.

- Um, what about tomorrow?

- Well, I plan to go sailing tomorrow.

- Well, perhaps I couldinterview you before you leave.

- I do set sail very early.

- I wouldn't need more than an hour.

- Okay, then you'll findme at the marina, pier 33,

the boat is called Rica.

- Rica.

- Rica.

- All right.

- See you at seven.

- Bye-bye.

(sad music)

("Every Breath You Take" by The Police)

♫ Every breath you take

♫ Every move you make

♫ Every bond you break

♫ Every step you take

♫ I'll be watching you

♫ Every single day

♫ Every word you say

♫ Every game you play

♫ Every night you stay

♫ I'll be watching you

♫ Oh can't you see

♫ You belong to me

♫ How my poor heart aches

♫ With every step you take

♫ Every move you make

♫ Every vow you break

♫ Every smile you fake

♫ Every claim you stake

♫ I'll be watching you

♫ Since you're gone, I'vebeen lost without a trace

♫ I dream at night, Ican only see your face

♫ I look around andit's you I can't replace

♫ I feel so cold and Ilong for your embrace

♫ I keep crying baby, baby please ♫

- [Linda] Good morning.

- Oh, there you are.

I thought you would have beenhere a couple of hours ago.

- I'm terribly sorry.

I got tied up.

She's a real beauty.

- Ah, thank you.

- I had one once.

- Really?

- Uh-huh. A 23-foot cutter rig sleuth.

I used sail her every weekend.

- Not all by yourself, surely?

- Yes, only me.

It was my father's, really,he taught me all about it.

May I?

- Yes, of course.

Come on board.

- Thank you.

Oh, she's terrific.

I'm so glad we're doing the story onboard

and not on the set.

- Yes, I'm sure it wouldhave been delightful,

but I'm about to set sail.

- You mean we're not doing it?

- Well, if I don't leave theharbor almost immediately,

I'm not going to get to theisland and back before dark.

- Well, I could comealong and interview you

while we're under sail.

- (sighs) Ms. Foster, Ihad intended to be alone.

- This is very important to me,

it's a cover story.

It won't be bad for you either, you know.

Not that you need the publicity.

- You do make it veryhard for me to say no.

- You aren't going to send meback empty handed, are you?

My publisher will be very disappointed

and I'll probably lose my job.

- Well I don't want you to lose your job.

- I hope you don't thinkI'm being too pushy,

but I happen to think we'lldo a wonderful story together.

- Where's your tape recorder?

- I don't use one, I justtake very fast notes.

- Welcome aboard.

(suspenseful music)

- [Linda] Is it muchdifferent working in America?

- [Glenn] In a way.

Look at Savage Hills,

a show that reaches millionsof people every day.

- [Linda] That's incredible.

- [Glenn] I mean, I diddozens of productions

with the Royal Shakespeare Company

that maybe a dozen people saw.

I was a working actor andnobody ever recognized me.

- [Linda] So you don'tmind getting so popular?

- [Glenn] Let's just say it'sa love-hate relationship.

- [Linda] You've been marriedfor the last 10 years, Glenn,

how did your marriagesurvive the pressure?

- [Glenn] We had to change a lot.

- [Linda] Yeah.

Does Jackie still treat you the same way

as before you were famous?

- [Glenn] She still nags me when

I don't take out the garbage.

(laughing)

Sometimes you like quitting the show

and just sailing off round the world.

- That's my dream too.

- (laughs) But it gets harderto check with security.

- It must be difficult being a sex symbol.

I wonder if you know the power you have

over so many women.

They dream about Michael,they fantasize about Michael.

They're in love with him.

- I think that's sad.

Sometimes I just want to stand up

and let everybody knowI'm just an ordinary guy.

Two arms, two legs,stress strain, mortgage,

marital problems.

No, please don't print that.

- You're right.

Let's not demystify Michael.

Might break a lot of hearts.

- Are you making fun of me?

(laughs) I don't blame you.

- I understand you.

I'm glad you're such a sensitive man.

(serene music)

- So, have you any more questions?

- I'm still taking notes.

- Well, I hope you know howto string them together.

I can't tell you the number of times

I've come out sounding like a jerk

with the quotations all out of context.

Tell me, when is thislittle story of yours

going to break?

- Um, would you like some more wine?

- No thank you.

Well?

- (sighs) The truth is I'mnot with News Makers Magazine.

- Then who are you with?

- You're gonna kill me.

- Why?

- I'm not a journalist at all.

- (huffs) You're kidding.

- I'm not kidding.

- So there is no magazine, no journalist?

No, don't tell me, you'rename isn't even Linda?

- (laughs) My name isLinda, that much is true.

- Oh, good.

- I really wanted to meet you.

- Well, that's very flattering.

You know, I should be furious with you.

- I wouldn't blame you.

Are you?

- Yes, I am.

- Are you really?

- Yes and I should actuallyjust leave you here

and go back to the boat myself.

(laughs)

Where are you going?

- I'm going to swim home.

- Linda, don't be crazy.

That water's freezing!

(laughing)

No, no, Linda, come on.

Linda, come on out of it.

- Don't come in! (laughs)

- All right, if that's what you want.

- You stay there.

- No, no, I'm gonna get you.

- (laughing) Stay there.

- I'm gonna get you, come on.

- (laughing) No.

(serene music)

(laughing)

Oh, I'm freezing!

(shivering)

(seagulls squawking)

- A boat, mother, a sailboat.

It's Michael's.

Yeah!

I just wanted to call to say hi.

No, it's the first chance I got.

It's beautiful.

The weather is fantasticand the people are so nice.

I'm really having fun.

I don't know when I'll be home.

Because I just don't know!

My plans have changed.

Micheal wants me with him all the time.

I don't like your tone of voice, mother.

It is true!

In fact, Michael asked me to marry him.

Of course I said yes.

We're in love.

Oh don't worry, mother.

You'll meet him before the wedding.

I have to go now.

Yes, I'll call you.

Bye, mother.

Sweetheart, that was my mother.

I am so happy!

Tell me, tell me honestly,are you as happy as I am?

Do you know this is the mostwonderful thing that's ever--

- Linda who is Michael?

- That's just my pet name for you.

You know, from the show.

- You just told your motherthat we're getting married?

- I didn't mean now.

I meant eventually.

- What the hell are you talking about?

I can never marry you.

I mean, I'm already married.

- What about last night?

- Last night was wonderful,it was very special,

but you don't really honestly believe

that it means anything, do you?

- It doesn't mean anything?

You held me in your arms.

You told me you loved me.

You said you'd neverfelt like that before.

What do you mean it doesn't mean anything?

- It was just the moment.

We don't even know each other.

- I feel like we'vealways known each other.

- Yeah, maybe, but the reality is

that we have only just met.

(crying)

Linda, I am very sorry, I hadno intention of hurting you--

- Shh.

Darling, I understand, I really do.

I know the pressure you're under.

Don't let's spoil it.

It's such a beautiful day,I hate to go, you know.

But I must.

Bye, darling.

- Bobby, how many times have I told you

not to play in the street?

- Why, I just wanted to get my ball?

- You know you're supposedto play in the backyard.

Come on, let's go find your mother.

Jackie?

You know where I found him?

He was running afterhis ball in the street.

Why the hell can't you watch him?

- Why don't you go upstairs, okay?

- Why, mommy, I didn't do anything?

- I know, I know, butyou need to take a bath.

You are extremely dirty, okay?

So you go upstairs and start your bath

and I'll be up in a second.

- I leave you one day.

- And you come back angrierthan you were before you left.

What is happening with you?

(phone ringing)

- I'll get it.

Hello.

How did you get this number?

I don't want you callinghere, this is my home.

(phone ringing)

Hello?

Look, I told you, don't call me here.

No, Linda, you don't understand.

It didn't mean anything.

No, I never said that.

Now please, don't call me here, all right?

- Who was that, Glenn?

- No one.

(phone ringing)

We'll have to change the phone.

- Why? Who's calling?

- Oh just some crazy woman.

- What crazy woman?

- Someone I met once, a fan.

- What do you mean met?

(phone ringing)

Why, what does she want?

- Operator, I need tochange my home phone.

How can I arrange that?

Fine, yeah, I'll do that.

Thanks.

- So where did you meet?

- At the boat yesterday.

This woman came by posing as a journalist.

Then she came up with this crazy story

of how she'd been tryingto meet me for years.

- And then what happened?

- Well, we just sailedand she interviewed me.

Well, she was pretty convincing at first.

Jackie, do stop staring at me like that.

If you've got something to say, say it.

- You know, I thoughtthat it would be good

if you spent some time alone this weekend.

I'd hoped you'd be thinking about us.

And now this woman is calling all the time

and I find out that you took her sailing.

A fan!

What am I supposed to think?

(phone ringing)

(background conversations)

(knocking)

- Yeah.

Who is it?

(mumbling)

Come in.

(doorknob shaking)

Oh.

Hi, Douglas.

What's up?

- Got a note for you.

- Who gave you this?

- A fine looking lady.

- Where is she?

- Out in the lobby.

Why don't you go out and talk to her?

You've got the time.

- Douglas, listen carefully.

You go out there and you get rid of her

and you never let her on this set again.

- You sure?

- Not today, not tomorrow,not anytime, okay?

- Okay. You're the boss.

- Hey, Glenn, let's run some lines.

- I'm sorry, pal, I'm wiped.

I'll save it for the show.

- Yeah, you do look terminal.

- Thank you.

Oh, Margaret?

May I have a word?

- Yeah.

- Honey, I need your help.

- What's the matter?

- I wonder if you might

write Michael out for a couple of weeks.

- You're kidding.

- No, I need to spendsome time with my family.

- That's impossible.

I mean, that's totally againstthe logic of the story.

- Margaret, nothing for you is impossible.

I mean, you do and undo thesecharacters at your whim.

You decide what you needfor the next 60 pages,

you sit at your typewriter andyou turn it out like putty,

I mean it's not impossible.

- I beg your pardon?

You listen to me.

I have been doing this show for 13 years

and I was winning awards whenyou were nobody, you hear me?

Maybe you're tired ofcashing fat checks, huh?

Because if you are, you let me know

and we can get somebody else.

What is it, Douglas?

- I'm sorry, but it's for Glenn.

- Yeah.

- The lady won't leave.

She says that she's your fiancee.

- Would you mind tellingme what is going on here?

- I have got this crazywoman, Margaret, on my back.

- Look, you go back to work,I'll handle this, all right?

Douglass, come with me andtell me what's happening.

- Margaret Chase, whata pleasure to meet you.

Glenn's told me so much about you.

- Well, this isn't exactlythe time to be social.

I understand that you were asked to leave.

I want you to know that you'reupsetting Glenn very much

and we only have 10 minutesbefore we go to tape.

- Ms. Chase, this isvery difficult for me,

but I think you might liketo hear what I have to say.

- I'm sorry, I'm needed on the set.

- I know, but it concerns you.

It concerns the show.

Did you know thatJackie's pressuring Glenn

to leave Savage Hills?

- No, why would she do such a thing?

- Because he's going to divorce her.

It's the only way she can hurt him.

You see, Glenn and I aregoing to get married.

- Um, I really don't understand this.

I mean, Glenn says hedoesn't even want to see you.

- (laughs) Well, that's his guilt.

Glenn is very vulnerable in this area

and Jackie knows exactlyhow to manipulate it.

Glenn would be lost without me

and without the show.

- Excuse me, Ms.--

- Please call me Linda.

- Look, we are very close to taping

so if you want to wait,

I will have Glenn talk to you.

- Thank you.

(bell ringing)

- Excuse me.

Margaret, is she gone?

- No.

- You mean she is still here?

- Will you pull yourself together?

What's the matter with you?

Just go talk to the lady!

- Okay, okay, I will.

- Darling?

Don't worry, I'm not gonna kiss you.

- Why are you here?

- You know I can't stay away from you.

- I'm warning you, I don'twant you calling my home again

and I don't want you coming back here.

- I'm warning you, don'ttry to push me away.

I'll do anything to keep you.

- Are you threatening me?

- Darling, I love you.

I don't want to hurt you.

I just want to talk to you.

- So you wanted to talk?

When?

- Tonight.

- Where?

- At the hotel.

It'd be more private.

- Okay.

(suspenseful music)

(phone ringing)

- Hello?

Hi.

I'm in 353, come on up.

I'm waiting for you.

- Going up?

- Yes, thank you.

- Excuse me, sir, aren'tyou Glenn Stevens?

- No, no I'm not.

- You sure look like him.

- [Glenn] Three, please.

(knocking)

- Come in, it's open.

Darling.

- You still don't understand.

- You're here, aren't you?

Champagne or tea?

- No thank you.

Linda, this is the last timethat we shall see each other.

- Darling, I was lookingat wedding rings today,

I was looking for simple bands,

but then I thought perhaps we wanted

something a little more--

- Linda, please stop it!

What kind of sick fantasy

is going through that head of yours?

- Michael, don't talk to me that way.

- I am not Michael, I am Glenn.

Glenn Stevens.

And it was Glenn Stevenson the beach, not Michael.

- Michael, what are you talking about?

We've been together for two years,

you've made love to me every night.

- Michael is an image

and you cannot make love to an image.

You need professional help.

You're sick.

(crying)

Okay, that's enough.

Come on, Linda.

Linda, come on.

- Do you think I'll letyou get away from me?

Do you think I'll let yougo now that you're mine?

You don't know what I'll do to keep you.

You don't know how strongI am and how patient.

Try to fight me.

You'll lose.

- All right, what do you really want?

Money?

(laughing)

How much?

- How much can you offer?

You don't know what it isto want something so much

you don't even have it.

I worked for two yearsto make this happen.

Nobody can buy that.

- Oh god.

Linda, you must understand.

I love my family.

I don't love you.

- You love me.

- No, no.

(dramatic music)

- You'll be back.

- Hey, do you remember when that jerk Irv

finally got us a job,

one job for the both of us

in a polar bear costumefor some children's show?

(laughing)

After 10 years of studying Stanislavsky,

I mean, that's when I decided to quit.

But not you!

You hung in there, all right.

Now look.

You got a show, you got abig house, you got a boat.

- Yeah, it all looks prettyterrific from the outside,

but I'm in trouble.

- Too many broads chasing you, huh?

- Not too many, just one.

And she's a real psychopath.

- Oh.

What's the story.

- [Jackie] Who are you?

- [Linda] Linda Foster.

- What do you want?

- [Linda] I'd like totalk to you about Glenn.

May I come in?

- [Jackie] How long haveyou known each other?

- [Linda] About two years.

- [Jackie] I don't understand,Glenn said you just met.

- He's still trying to protect you.

- I don't believe you.

- Oh, it's true.

I know everything about yourrelationship with Glenn.

Everything.

- I don't wanna hear this.

I think you should leave.

- I think you should listen.

We didn't mean to hurt you.

We never thought thiswould become this serious.

Believe me, this isn't easy on any of us

and I can imagine howhard it must be on you.

- Oh you can?

- All those times he saidhe was just too tired.

You must have thought he waspreoccupied with his part.

He was thinking about me.

- Get out of my house.

- Let's be adult, Jackie.

Your relationship with Glenn.

That fight you had the other day

when you broke the plate on the floor

and you tried to talk himinto quitting the series.

We know how difficult Glenn is, don't we?

We know Glenn is self-centered, selfish,

egocentric, impossible.

But he needs me.

- You're crazy.

- Oh, Jackie.

I know it hasn't beengood for you and Glenn

for a long time.

But it's been very good for us.

- Where are you going, big guy?

Hey, what's happening?

Where's your mom?

Jackie, where are you going?

Jackie, what is this?

Jackie.

- Let go of me or I'mgonna call the police!

- What?

- You make me sick.

- What kind of crazybehavior is this, huh?

(suspenseful music)

Jackie?

- She's gone.

She took it very well.

(ominous music)

- You've destroyed my family

and now you're destroying me.

What do you want?

- I love you.

- You're crazy but I'm gonna stop you.

I'm gonna stop you if it'sthe last damn thing I do.

- You're going to love me.

- Thank you.

Oh, hi.

- See that?

How much of it is true?

- Well, some of it.

Jackie is with her mother.

Linda came by yesterday and spoke to her.

I don't know what shesaid, but it was enough.

Jackie and Bobby are gone.

(whistles)

So what do you have on her?

- Linda Foster.

Her father died when she was six,

lived with her mother until she was 28.

Described as a silent,even-tempered youngster

who would occasionally have bouts

of uncontrollable hysteria.

All of this is related byher mother and the neighbors

because apparently herco-workers at the travel agency

hardly knew her.

Anyway, I found her in the files of

the Sandia Center for Mental Disorders.

Hospitalized 1972 for severe depression,

released six months later.

I talked to an intern who remembered her.

In his opinion, she had been

an undiagnosed schizophrenic as a kid.

Here comes the interesting part.

1982 she worked as a secretaryfor Local trucking company.

She claimed an affair with the manager

and sued him for breach of promise.

- Oh.

And did she win?

- Nope.

it didn't make any difference.

She created such a scandal,the man was destroyed.

Lost his job, started todrink and his wife left him.

Better than one of yoursoap opera stars, huh?

You're gonna ask for a restraining order,

you can even sue for harassment,

but the trouble, Glenn, isthat the woman is a crank.

She's got a totallyunrealistic vision of life

and unfortunately that includes you.

- But it's not me, it'sthe character I'm playing!

- That doesn't matter toher, the two of you are one!

- Oh god, what a mess!

How far do you think she'll go?

- That's what I asked thatintern at the Sandia Center.

I told him the whole story,

without naming you of course,

and he said that he thoughtthat she might do anything.

She might even try to kill you

if you don't fulfill her fantasies!

- Terrific.

All right, so if you were in my shoes,

what would you do?

- Hey, I'm not in your shoes, pal.

- Well just imagine that you were!

Come on, I know you've got an answer!

- Okay, okay.

You know you're getting alittle crazy now yourself?

Listen, the one thing youdon't do to a psychopath

is threaten their madness

and that's what you did.

- If it were up to me,

I wouldn't wait for her to come after me,

I'd go get her.

- All right.

Then maybe I'll go along with her,

fulfill her fantasy, huh?

- Listen, Glenn, look.

I've got a cabin up at Big Bear.

Why don't you lie low therefor a couple of months.

Maybe she'll go away.

- No, I have to stay here.

Thanks.

- Glenn, I've gotta go.

(dramatic music)

- [Linda] Did you make up your mind yet?

What is it? Is it guilt?

(laughs) Don't worry,it doesn't last long.

- Get away from me!

Please, just get away!

(ominous music)

- Beads of perspiration dot his forehead

as Micheal slowly removesa gun from the drawer.

- Ready for rehearsal, Margaret.

- Okay.

Hey, what's anotherword for bigamist, huh?

- Margaret!

- Yeah?

- Can I talk to you?

- Now?

- When did you write this?

- What?

- You have me marry Sherry

then this strange womanappears and seduces me.

She then becomes so obsessed with me

that she tries to kill me.

Then I have her put into a lunatic asylum

and they have me realizethat I'm in love with her.

I mean, what kind ofwarped mind do you have?

- Gee.

Come on, where is your sense of humor?

Haven't you ever heardof art imitating life?

- Oh, so that's what youthink my life's about?

Wait a minute, wait a minute,

have you been speaking to that woman?

- Well what do you know,another creative difference.

- Garreth, shut up orI'll punch your face in.

- [Margaret] Just relax, now, stop it!

- Margaret, you have notanswered my question.

- So I had lunch with the lady.

- So you hand lunch with the lady?

What right have you to plunder my privacy?

- Seven year itch, huh Glenn?

- Hold it, relax!

- Stop it now.

Stop it, Glenn.

Let's go to my office.

Come on, we've got to talk.

Come on.

Come on in, Glenn.

Why don't you sit down.

Okay, what's the problem?

I mean, you look awful.

- I'm in trouble, Margaret,

and I'm going to need your help.

- What?

- I'm going to have to quit the show.

(sighs)

- You mean that?

- Yes, I do.

But I want you know it's got nothing to do

with anything except my own need

to try to bring my lifeback together again.

- You know, Glenn, I always said

if you want to leave theshow, the door's wide open.

The only reason I eversaid that was because

I really never thought you'd leave.

(laughs) Never really.

- (laughing) I know.

It's funny.

This crazy lady who's destroying my life

in a weird way has helped me to realize

what's really important

and it's more than the show,more even than success.

It's my family.

- We're gonna miss you, Glenn.

- Thanks.

- So how can I help?

- I need a favor.

A very big favor.

(suspenseful music)

Yeah, 353 please.

I'm here.

(Savage Hills playing on TV)

(knocking)

- Michael, darling.

I'm so glad you're here.

I missed you.

I missed you so much.

Did you miss me?

I wish you'd been here a little earlier,

the show is nearly over.

- Sorry.

Well, how have you been?

- I've been awful!

Three whole days without seeing you?

I thought I was going to go crazy.

But you're here now, aren't you?

I feel we've spent awhole lifetime, don't you?

- We have been through a lot.

- But we're together now, forever.

- Do you know how many timesI dreamt of this moment?

Of being with you and watching the show?

Darling what is it?

Is something the matter?

You seem so distant.

- No, no, it's nothing.

I just feel a little uncomfortable

watching myself on the television.

(laughs)

- The show is wonderfuland you're wonderful in it.

Champagne?

- Yes, thank you.

- I thought we'd celebrate.

- [Michael] Don't go, Sherry.

I'm asking you not to leave.

- [Sherry] Let's notgo through this again.

- I love you.

- [Sherry] I'm sorry.

- [Roger] Michael, I nevermeant for this to happen.

- It's not going to.

I didn't want to haveto stop you like this.

- Hey come on, don't do anything crazy.

- Michael, please!

(grunting)

(gunshot)

- Michael.

- [Sherry] Michael?

- [Roger] He's dead.

- Oh!

No!

- It was the only way.

- No! Michael!

Michael! Michael!

- Linda.

- No! (crying)

Michael.

(dramatic music)

I'm really looking forward to going home

now that I know you're going to be there.

It wasn't so bad this time, I--

- Ready, Ms. Foster?

Your taxi is here.

We're all glad that you've done so well.

- So am I.

- Take good care of yourself.

I'll carry your bag.

- Thank you.

(dramatic music)

("Every Breath You Take" by The Police)

(energetic music)

(electronic music)