Fear No More (1961) Movie Script
(SUSPENSEFUL DRAMATIC MUSIC)
(HEELS CLICKING)
Here are your tickets, Miss Carlin.
Bedroom 4B.
You arrive in San Francisco
at 8:30 tomorrow morning.
Thank you, Cresca.
Will you deliver this
to the Fairmount Hotel?
At 12 noon tomorrow?
That's what Mr Seymour said.
I've got to hurry, Miss Carlin,
but if want me to see you aboard?
Oh no, Cresca,
that isn't necessary.
Thank you very much for bringing me.
OK. Enjoy yourself.
Oh, I almost forgot.
Mrs Seymour wants you
to get her a kimono in Chinatown.
This is the address.
Paid for already.
All you do is pick it up.
Why did she order it?
Search me.
See you Monday morning.
Sharon!
Sharon, my love!
Keith!
Ah, counted.
Keith, you idiot.
Where have you been?
I haven't seen you all month.
Been away, dear-heart,
but incommunicado.
Come.
Let's nibble over an ice cube,
I will my tale unfold.
Keith, I can't.
My train leaves in just a minute.
Ah, something to ask you, Sharon.
Something important.
Tell me Monday.
I'll get in touch with you
as soon as I get back.
You're in touch with me now.
How did you know
I was going out of town?
Elementary, my dear lady.
I drove over to your apartment,
saw you get in the limousine,
and I said to myself,
"Burgess, follow that limousine!"
Voila, here we are.
You should have phoned me.
Where are you staying now?
Ah, alas! Address unknown.
Oh Keith, you haven't been
locked out again?
What did you do this time?
You promised me you'd stop drinking.
I say many things, my love.
Well, what did you want
to see me about?
Maybe just to look at you.
Are you in trouble?
Do you need money again?
Unfortunately, yes.
No place to lower my head.
This is all I can
let you have right now.
I'll pay it right back.
Every penny.
I've got a writing deal next week.
My thing.
I know, I know.
Always my friend in need, dear lady.
What could I do without you?
GUARD: All aboard!
Now Keith, I really must go.
Now, stay at my apartment
while I'm gone.
Oh no, I won't violate
your Vestal hospitality.
All aboard!
It's just for the weekend.
Now, stay in until Monday.
(BELL RINGING)
Do you still have your key?
Yep.
Goodbye, Keith.
Goodbye, Keith!
(HORN BLARING)
(TRAIN RUMBLING)
(BELL RINGING)
Oh, excuse me.
Come in.
My ticket...
Says 4B. That's right.
Come in.
(MYSTERIOUS MUSIC)
Join the party.
(TENSE MUSIC)
What do you want?
Why are you in my compartment?
Oh, there must be some mistake.
My name is Carlin, Sharon Carlin.
I work for Mr Milo Seymour
in Los Angeles.
I can show you my identity.
Don't touch it!
I just wanted to show you
who I am - my identity.
I'm not interested.
But don't you see?
I'm not who you think I am.
A friend... Keith Burgess,
just saw me off.
Oh, that's not mine.
It belongs to Mr Seymour.
I'm to deliver it in San Francisco.
You're making a mistake!
I don't make mistakes.
I could call for help.
Do you see this?
This is a silencer.
Try yelling, just once.
(KNOCKING ON DOOR)
Porter, ma'am.
Would you like me
to turn down your bed?
(SUSPENSEFUL MUSIC)
Not now. Later.
Yes, ma'am.
When you need me, just ring.
Thank you.
Sit down.
How did you get in here?
(DRAMATIC MUSIC)
Who is this woman?
She's dead.
Is that so?
So why did you
have to go and kill her?
(BLOW THUDS)
(DRAMATIC MUSIC)
OK, now.
OK.
Don't, please don't.
Come on. Come on.
Oh! All right, lady,
quit stalling!
Oh, who are you?
I'll ask the questions.
All right now, come on.
You're in a jam.
Who are you?
Name is Brady.
Police Officer, Miss Carlin.
How do you know my name?
Your purse.
Oh.
You're in real trouble.
Trouble? What kind of trouble?
Murder.
Murder?
Oh, I didn't kill anyone.
There were witnesses,
plus a dead body.
(TRAIN CHUGGING)
She's not here now.
I thought you didn't kill anyone?
Well, I didn't.
I didn't.
But the woman who was here...
Her body's up front,
in the baggage car.
This is all a mistake.
The man...
..what happened to him?
What man?
The other man!
He hit me with his gun!
He was here, I tell you!
He hit me!
He took the envelope!
You were drunk, Miss Carlin.
You fell.
That's how you passed out.
Drunk?
I never drink.
No?
You killed this, too.
What you didn't spill on yourself.
I never saw that before.
I never saw any of this.
I don't drink! Never!
Oh...
Who was the woman?
You know who.
Oh no, I don't. I don't.
Well, there was no
identification on her.
How was she killed?
She was stabbed through the heart...
..with a nail file.
Your initials, Miss Carlin.
It is yours, isn't it?
All right, none of that.
Come on, pull yourself together.
Now listen, lady,
we'll soon be pulling into Whitford.
(TENSE MUSIC)
Whitford?
That's right.
I'm on the force there.
No, no, no, no, no...
Are you crazy or something?
Don't say that!
Now, look, we're pulling in.
You'd better be sensible.
Sensible?
I'll make it
as easy on you as I can.
Now, you promise
there won't be any trouble,
I won't use the handcuffs.
Nobody has to know
why you're getting off the train.
Just remember,
it's for your own sake, not mine.
All right?
(SUSPENSEFUL MUSIC)
I need my overnight case.
It's up front with the body.
They'll be taken
off the train together.
Go ahead.
No tricks.
(TENSE MUSIC)
There he is!
What?
That's the man!
Come on.
Now, you said you'd be sensible.
Get off me!
(DRAMATIC MUSIC)
(HORN BLARING)
(TRAIN RUMBLING)
(CAN CLANKING)
(DRAMATIC MUSIC)
(HEELS CLICKING)
(CAR APPROACHING)
(TYRES SCREECHING)
(HEAD THUDS)
Oh, Daddy! Daddy, it hurts!
Daddy, it hurts.
Let me see, let me see.
Oh, Daddy, it hurts.
Oh, Daddy, it hurts!
You're all right.
You're all right.
(CHRIS SOBS)
It hurts, Daddy!
You're all right.
I'm scared, Daddy. It hurts!
Just stay here, stay here.
I'll be right back.
It hurts, Daddy!
It hurts!
(CHRIS CONTINUES SOBBING)
Oh, Daddy! Daddy!
Oh!
What were you trying to do?
Kill yourself?
Let me go! Let me go!
You're drunk.
No, I'm not. I never drink!
What's wrong?
What's the matter with you?
Oh, I can't stay here.
I've got to get away! Please!
Take me with you.
Oh, take me with you! Please!
OK. I'm going to Los Angeles,
and I am late.
That's where I'm going!
Oh, please, take me with you.
I've got to get home!
Please!
(CHRIS SOBBING)
All right, get in.
Oh, you're hurt.
Of course he's hurt.
He hit his head
when you made me slam on my brakes.
Oh, I'm sorry. I'm sorry.
Oh, you poor darling.
I want my mummy!
Oh, you'll be all right, Chris.
You'll be all right.
(CHRIS CRYING)
Oh, you... you said you were late.
Could we please go now?
Oh, please hurry!
It's nothing.
There, there.
Please!
(ENGINE STARTING)
My name is Colbert. Paul Colbert.
And this is my son, Chris.
Hello.
Hello, Chris.
What's your name?
Smith.
Carol Smith.
Your face is dirty.
Oh...
What's the matter, Miss Smith?
I can't talk about it.
You live in Los Angeles?
You're a long way from home,
aren't you?
Um, I'd like
to make a telephone call.
I mean...
..the next place you come to,
if you could stop for a minute.
All right.
(JAZZ MUSIC PLAYING)
May I borrow some change?
I lost my purse.
I'll pay you back when I get home.
Oh, don't worry.
You won't bankrupt me.
Here.
Thank you.
'Operator.'
Operator, I want to place a call,
person to person,
to Mr Milo Seymour in Los Angeles.
(COIN CLINKS)
(PHONE RINGING)
(COIN RATTLES)
What did they want?
What did you tell them?
Tell them?
Why did he talk to you?
If you are so interested, why...
Tell me!
He was being nosy, like a cop.
But he saw we were respectable.
Oh.
Did you make your call?
Yes, but nobody answered.
All right, let's go. I'm late.
Come on, let's go.
(ENGINE STARTING)
What did you say your name is?
Oh...
Oh yes, I remember. Smith.
Huh?
Miss Smith.
Yes.
What kind of trouble
are you in, Miss Smith?
Everything's just fine.
I just want to get home
to Los Angeles.
I must stop in Northridge
before I drop you off.
At Happy Valley Lane, no less.
I have to deliver my son
back to his mother.
He should have been home
two hours ago.
I am remiss, you see.
I have had him for two weeks...
..two whole weeks
out of the entire year.
Hold him for a while, will you,
till I unload his things?
Paul?
Paul, is that you?
Yes, we are home, Denise.
You're late, Paul.
Yes, I know. We had car trouble.
I know, but I expected
you home two hours ago.
Is Chris all right?
Of course he's all right.
He had a wonderful time.
You should've called me.
I've been worried sick about him.
Denise, nothing happened,
there was no need to call.
You know how I worry!
You only do it to hurt me.
Oh, please now.
I expected him here two hours ago!
Two hours out of an entire year!
Can they mean
so much more to you than to me?
It won't happen again, Paul.
I'll see to that.
He's sleeping. Don't wake him.
Give me my son.
I hate to wake him.
It's been an awfully long...
Give him to me!
Darling.
Oh, darling.
Mummy.
Oh, shush, darling.
You're home now.
I told you he was asleep!
You will upset him!
I'll upset him? What have
the two of you done to him?
Oh no, you're wrong.
It wasn't like that.
Don't tell me about him.
I know him.
I used to be married to him.
Oh, stop it. I picked up
Miss Smith on the highway.
Yeah, I'm sure you did.
Now, wait a minute.
I had enough of that nonsense
when we were married.
Now, I want you to apologise to her.
Apologise? To her?
And don't bother to come back,
Paul Colbert! We don't need you!
I'll bring up my boy decently.
This is the last time
you'll get him away from me.
No more...
no more weekends, no more vacations!
Where do you live?
On Fuller, between
Sunset and Santa Monica.
Right.
Thank you.
Well, I...
(SOLEMN MUSIC)
Thank you very much for everything.
Including the welcome
at Happy Valley Lane?
I shouldn't have
let you in for that.
I'm sorry.
I understand.
I wish I did.
But we all have
our own special problems,
don't we, Miss Smith?
I...
I don't wanna keep you, Mr Colbert.
Goodnight.
Oh, I am in no hurry,
if you feel like talking about it.
No, I think I'd better go in.
But you have no way to get in.
Oh, I keep a key outside my door.
Oh, I see.
Are you going to call again?
Call?
Well, that call
you made on the highway,
it seemed very urgent then.
Oh, yes. Yes, I will.
You sure there is
nothing else I can do?
No. Thank you.
Miss Smith?
Forgive me, but I...
..I can appreciate not wanting
to open up to a stranger.
But sometimes,
when we are in trouble...
I'm all right. Really.
Now that I'm home,
it's hard to believe
that it ever really happened.
Do you live alone?
Yes.
No family?
No family.
No family or half a family,
it's bad either way, isn't it?
I...
I liked your son very much,
Mr Colbert.
Goodnight.
(SOLEMN MUSIC)
(BANGING ON DOOR)
(SHARON SIGHS)
(ROTARY DIAL RATTLES)
(ARM THUMPS)
(SHARON GASPS)
Sharon!
Oh, Keith.
Oh, Keith.
I forgot all about you.
Everybody forgets Keith.
I thought I heard someone.
Been here long?
No, I just got in.
Who are you calling?
Milo Seymour.
Something the matter?
You like to tell me about it, huh?
Miss Carlin,
you should have married me.
We're better off as friends,
Mr Burgess.
I'll settle for a secretary.
Why don't you quit the Seymours?
Come back to an employer
with a high IQ, huh?
I'm sorry, Keith,
but we tried it once. Remember?
It didn't work.
Now, why are you calling your boss
at this ungodly hour?
Because I have
something to tell him.
But you won't tell me?
No, I can't.
Oh.
OK, I'll go.
Oh, Keith, don't be stubborn.
Now, you haven't any money,
and you haven't any place to stay.
(PHONE RINGING)
Now wait, sit down.
Hello?
'Hello, Miss Smith?'
What?
'This is Paul Colbert.'
How did you get my number?
'Well, it seems to be listed
under the name of Carlin.'
You checked the mailbox
in the lobby.
Mm. I am nosy, like a cop.
Only one single was listed.
I found nothing
under the name of Carol Smith,
so I took a chance on
Sharon Carlin.
Mr Colbert,
I'm not obliged
to explain anything to you.
Oh, I am not saying you have to.
Listen, I found
a wonderful coffee house
around the corner from you.
Would you like to join me?
'Now?'
Why not?
I owe you an apology for Denise,
and you owe me 75 cents, remember?
'Oh, the change from the phone call.
I forgot to give it back to you.'
Yes, and my creditors
are breaking down the door.
(KNOCKING ON WALL)
'Can you hear them?'
Where are you? At Tutus?
'I don't know. Hold on, will you?
'Excuse me, where am I here?'
'At Tutus.'
'Thank you.'
'Yes, it is Tutus.'
I'll be right there.
'Good.'
I'm going out, Keith.
Just for a little while.
Now, will you wait for me,
and make yourself some coffee?
Not much else I can do, is there?
We'll talk when I get back.
Sure. Just like old times.
Hey...
Your face is dirty.
(SOFT MUSIC PLAYING)
I see you changed.
Looks good.
Thank you, sir.
Sit down.
One more coffee, please.
Well...
..it must be rough on your wardrobe
to run in front of strange cars,
won't it?
I'm sorry.
I guess divorce has made me
lose my sense of humour.
My parents were divorced.
It's two years for me now.
I miss my son. I, well...
Frankly, I... I worry about him.
His mother is not right for him.
But anyway, that's not your worry.
Thank you.
Thank you.
Did you make your call?
Yes, but no one answered.
That's strange because the Wilsons -
the couple who run the house -
they're always home.
Maybe their phone is out of order.
(JAZZ MUSIC STARTS PLAYING)
Do you know something?
One of these days,
I'm going to lock someone
in one of these things,
and throw away the key.
(BOTH CHUCKLE)
You couldn't be that sadistic.
Just try me.
Tell me about yourself.
What do you do for a living?
Oh, I'm a secretary companion.
I work for a Mr Seymour.
I'm his secretary,
and I read to his wife,
and take her for drives.
She's not in good health.
I take it they have money.
Oh, she has, from her first husband.
Mr Seymour dabbles in archaeology.
I help him catalogue his collection,
and write letters, things like that.
How long have you
been in this country?
Almost eight years.
What do you do?
I'm an insurance broker.
Oh, don't worry.
I will not try to sell you a policy.
(BOTH LAUGH)
At least they are alive.
What does that mean?
Oh...
..I was thinking about Denise.
You know, once upon a time,
a boy met a girl,
and they lived unhappily ever after.
What's wrong?
(SHARON SIGHS)
What is it? What happened?
Take me home, please.
Goodnight, Mr Colbert.
I'll see you upstairs.
No!
I don't want to trouble you.
It's no trouble.
Goodnight.
(KEY RATTLING)
(SHARON SCREAMS)
(DRAMATIC MUSIC)
(SHARON GASPS)
Oh, Paul!
Oh, Paul, can you get me away?
Take me away quickly!
What is it?
Oh, oh, take me.
Take me away, please!
Please hurry, I beg you!
Please!
Oh, hurry!
What is it?
Hurry! Drive me! Please!
(DRAMATIC MUSIC INTENSIFIES)
He's dead.
What?
He's dead.
Who's dead?
Keith. Murdered.
Who's Keith?
Don't give me that.
Now, who is he?
Now, look, ever since
I picked you up tonight,
you have been giving me
a song and dance.
Now, you say Keith is dead,
murdered.
Well, who is he, and who killed him?
I don't know.
I can't tell you!
All right.
Go and tell the police, then.
(TYRES SCREECHING)
I can't! I can't!
Get out.
Come on, get out!
And forget you ever saw me.
I'll do just the same for you.
Oh, don't, please. Please help me.
How can I help you
if you keep on playing games?
Are you going to tell me?
(SOLEMN MUSIC)
(SHARON SIGHS)
All right.
You go to my apartment.
We'll talk there.
Thank you.
You've told me
the whole story now, eh?
Yes.
All right.
We have to go to the police.
We must notify them.
Oh, I can't. I can't.
Two murdered in one night!
What else do you expect?
They won't believe me!
Oh Paul, you just don't understand.
You just don't understand.
You still haven't told me
the whole story, have you?
Have you?
No, I haven't.
All right.
Either you tell me,
or we have to go to the police.
I'll tell you.
My...
..mother and I were very close.
She's dead now.
I don't have anyone else.
How about Keith Burgess?
Oh, well,
Keith was in love with me...
..but it didn't work out.
Oh, it's so hard to talk about it.
(GENTLE MUSIC)
Thank you.
I... I've kept it to myself
for such a long time.
I didn't tell Keith, or Mr Seymour.
Tell them what?
Well...
..when you've had a...
..breakdown...
I mean...
..after my mother died...
I was committed...
..to a mental institution.
I was in that sanitarium
at Whitford for six months.
Where the cop took you on the train?
Yes. That's why I ran.
I had to get away from Whitford,
and all it meant to me.
But you said you were all alone.
Someone had to commit you.
An aunt...
..my mother's sister.
But I don't see Aunt Helen any more,
and I don't think of her as family.
I really am all alone now.
How long ago did you get out?
Six months ago.
(SOLEMN MUSIC)
I met Keith
after I came to Los Angeles.
He's a writer. I was his secretary.
But we weren't good for each other.
I mean, you both can't be weak.
So then, I went
to work for Milo Seymour.
I know I should have
told you this before,
but if I blurted it all out
the minute I ran into you,
you'd have thought I had a...
A persecution complex?
(PAUL CHUCKLES)
I guess you're right.
So now, you know all about me...
..the whole truth.
Do you believe me now?
I believe you, friend.
Oh, Paul, thank you! Thank you!
(LIVELY MUSIC)
How about some coffee?
Oh, no more, thanks.
Would you like to try
to get Seymour again?
Oh, I...
I've tried twice.
What time is it?
About 4:30.
No, I think I'll go see him
in the morning.
(SHARON YAWNS)
It's time you were in bed.
Come on.
You'll find some pyjamas
in the top drawer.
A bit big, I'm afraid.
You see, no matter what,
my ex-wife thinks I...
..I don't keep any
peekaboo nightgowns on hand.
I'll have to let her know.
Yeah, do that.
Then she meet us both in court.
I'm a nuisance to you.
You certainly are.
Goodnight.
Goodnight, Paul.
(DRUMMING FINGERS)
(BIRDS CHIRPING)
(DOORBELL CHIMES)
It's quite a house
the Seymours have, eh?
Mm.
Relax. You'll be all right.
I can't help thinking about Keith.
(DOOR OPENS)
I keep seeing...
Sharon, my child.
Oh, Mr Seymour, good morning.
And you must be the young man
who phoned me at breakfast?
Yes, I am Paul Colbert.
How do you do? Won't you come in?
Thank you.
Thank you.
The Wilsons aren't here, by the way.
I gave them the weekend off.
The Wilsons are my
housekeeping couple, Mr Colbert.
Oh, Miss Carlin told me. Yes.
Well, Sharon, why on earth
didn't you come back
and work after dinner last night?
Work?
But Mr Seymour...
I was quite disappointed
when you failed to show up.
I'd asked her to help
with some research, Mr Colbert.
She said she'd be happy to do it.
Yes, I know, but...
..when you changed our plans...
Sharon, I changed nothing.
But Mr Seymour,
you were the one
who sent me to San Francisco.
I did what?
You asked me
to make that trip for you.
You... you know you did!
No, my dear.
I didn't ask you to go anywhere.
But...
The envelope, the train tickets!
Cresca gave them to me!
Cresca? Steve Cresca?
Yes.
Well, isn't he your chauffeur?
Yes.
Well, he drove Sharon
to Union Station.
I certainly know nothing about it.
Well, he did, Mr Seymour. He did.
Sharon, to the best of my knowledge,
Cresca never left the house
yesterday.
But he came to my apartment for me.
He drove me to the station.
Could we talk to him, please?
Well, I'm afraid he isn't here.
Oh, he'll be back.
He's just gone out to pick up
a prescription for me.
I think we can clarify matters
in the library.
I believe we can do it
with Mr Brady's help.
May I present Joseph Brady,
who's just arrived from Whitford?
I didn't do it!
I told you I didn't!
Do what?
Oh, Paul, he's the man who took me
off the train at Whitford.
What train?
What is this?
You know what I mean!
Sorry, Mr Brady.
It's quite beyond me.
Oh, Paul. He's the one.
He's the one I told you about.
Well, Mr Brady?
Look, mister, I never met her.
I never saw her before.
You are lying.
You took me off the train.
I ran away from you.
Oh, Paul.
Why does he lie?
What are they trying to do?
If you never saw her,
how come you are here?
Well, I can explain that,
Mr Colbert.
Three days ago,
I received a phone call
from Whitford,
from Dr Clinton Hartley.
Dr Hartley runs
the Whitford Sanitarium.
It's a private hospital
for mental patients.
Yes, I know.
So he told you that Sharon
had been one of his patients.
So?
Well now, she certainly told you
much more than she ever told me.
The doctor said she had left
the hospital without permission.
He'd only just traced her
to my home.
He advised me to take
precautionary measures.
Frankly, I ridiculed the idea.
And that was three days ago?
Yes.
Last night, when Sharon
failed to keep her appointment,
I wasn't really worried.
But then, when
you called me this morning,
your reference to
a manila envelope troubled me.
So I opened my safe.
Yesterday morning,
this box contained
approximately 3,000 dollars.
But now...
Are you accusing Sharon
of taking that money?
She knows the combination...
..don't you, my child?
Yes.
But I don't know
anything about any money.
Cresca gave me that envelope.
I'm afraid this is precisely
what Dr Hartley warned me against.
Paul...
..I told you the truth.
I didn't steal any money.
We still don't know
why Mr Brady is here.
Well, right after you called,
I phoned Whitford.
Dr Hartley told me he'd been
in touch with Sharon's family.
Your Aunt Helen, my dear.
She wishes your therapy continued.
That explains Mr Brady's
presence among us.
You got here quite fast, didn't you?
Sure. I flew in.
You'll feel much safer
back in the hospital, my dear.
Mr Brady will escort you home.
No!
It wasn't a home!
It was a prison, a jail!
I hated it!
Is that why you escaped?
I didn't escape.
I didn't break any law.
And I didn't steal your money!
Mr Colbert, I appeal to you,
if you have any influence
with her at all...
Your wife can prove it.
Mrs Seymour knows all about it.
But... but you never
mentioned that before.
Oh, yes.
Mrs Seymour asked me to buy her
a kimono in Chinatown.
She gave me the address of the shop.
You mean, my wife
actually asked you to...
Yes.
Cresca gave me her note.
May I see it, please?
I...
I don't have it.
It was in my purse.
I lost it when I ran away from you.
Now look, lady, for the last time,
I never saw you before.
Oh, he's lying!
Oh, Paul, you must believe me!
Paul?
Mr Seymour...
..there is a lot at stake here.
Frankly, a lot
that I don't understand.
I would like to talk to your wife.
Please.
Now, look here, Colbert,
I'm certainly not gonna subject
my wife to this unpleasantness.
You think it is pleasant
for Miss Carlin?
Well, I grant you that.
But my wife is not in good health,
as Sharon can tell you.
Fact is, we'd agreed
a change of scene
might be good for her.
Until this matter came up,
we intended to drive up
to our mountain lodge today.
I'd still like to talk to her.
Very well, Mr Colbert.
If you'll excuse me.
(STAIRS CREAKING)
I don't understand it.
I just don't understand it.
I thought you told me everything.
He did take me off that train.
He knows he did.
Why didn't you tell me
you ran away from the sanitarium?
I didn't run away.
I left two days early.
Oh, you don't know what it's like
to wait and wait to be free.
Is there anything else
you haven't told me?
I didn't do anything criminal.
I talked to Dr Hartley
several times after I left.
I phoned him
when I worked with Keith.
Well, Sharon,
you should have told me.
Oh, Paul, you don't understand.
When you've had a breakdown...
..and everything collapses
all around you...
All right, all right.
It's all right, darling.
You don't have to explain.
Sit down.
(SHARON SIGHS)
I didn't want to bother you,
dearest,
but it's only for a moment.
Gentlemen, my wife.
Ramelle, dear,
this is Mr Brady from Whitford,
and Mr Colbert,
who is Sharon's friend.
You're not Mrs Seymour!
Paul, she isn't Mrs Seymour!
Sharon, dear,
if I'm not Mrs Seymour,
then who am I?
The woman -
the woman from the train.
The train?
Yes. She's the one who was killed.
But Sharon, my child,
what are you saying?
Murdered, Mr Seymour!
Oh, you poor child.
Don't talk to me!
I won't listen!
Wait...
Wait, I can... I can prove it!
Look, I'll show you.
Wait...
It's gone.
This is a picture
of the mountain lodge.
What is it?
Mrs Seymour's picture...
..this isn't it.
It's gone!
Where is it?
What have you done with it?
Sharon, you know I never
keep pictures of myself
around the house.
I abhor that kind of vanity.
They're lying.
Mrs Seymour's picture
is always on the desk.
Always!
(SHARON GASPS)
Mr Colbert, do you still wish
to question my wife?
Yes, I do.
Mrs Seymour,
you asked Miss Carlin
to buy you a kimono
in San Francisco.
A kimono?
Yes.
Milo, really?
What does all this mean, Milo?
Now, don't upset yourself, Ramelle.
I'll tell you all about it later.
Mr Colbert, are you satisfied now?
Frankly, no.
And why not?
I would like proof
that this lady is...
..really your wife.
Milo.
Oh, I know it is an imposition,
but I have got to know the truth.
Well, the Wilsons are gone
for the weekend, as I told you,
and I'm certainly not gonna
involve my neighbours.
There is your chauffeur.
Cresca?
That's right.
Yes.
Maybe Cresca's back.
You can get the truth from him!
Well?
Mr Colbert, I tried to be patient,
but this girl's fantastic story...
It isn't a fantastic story!
When she got home last night,
she found a dead man
in her apartment.
Dead man?
A friend - murdered.
Did you see this dead man,
Mr Colbert?
Why do you ask?
Well, I went to her place myself,
before I came here.
Doc Hartley figured she might
have hidden Mr Seymour's money
in her apartment.
The place was empty.
You're lying!
Keith was there in the chair!
The apartment was empty,
Miss Carlin.
There was no dead man.
There was nothing touched,
no sign of any struggle.
There was no money on the premises.
But Mr Colbert...
..if you know
anything at all about paranoia,
the classic pattern of persecution.
We still haven't
talked to your chauffeur.
It must be quite plain by now...
I know I am stubborn.
I was brought up that way.
Very well, Mr Colbert.
If you'll excuse me, dearest,
while I go and get Cresca.
Why go for him?
And how do you know he's back?
Mr Colbert, I find your
distrust of me very flattering.
'Garage.'
Oh, you're back, Cresca?
'Yes, I've just got in.'
I want to see you immediately.
I'm in the library.
'Yes, sir.'
Well, young man,
was I non-committal enough?
(PHONE RINGING)
Hello?
'Mr Seymour?'
Yes.
'Dr Hartley. Has Brady arrived yet?'
Oh yes, Doctor, he's here.
Just one moment, please.
Mr Colbert, this is Dr Hartley.
Now, I don't want
any doubts left in your mind.
Will you talk to him, please?
Hello?
Hello, who is this?
'Sharon? Is that you, Sharon?'
Dr Hartley?
'Yes, Sharon.
I've talked to your Aunt Helen.
'She has the authority
to order you back here, you know.
'We think you'll be safer here,
Sharon.
'Don't you agree?
Sharon?
'You agree?
'You'll come back home
with Mr Brady?'
Yes.
Yes, Dr Hartley.
Yes.
You wanted to see me, Mr Seymour?
Yes, Cresca.
Your prescription, sir.
Thank you.
Mr Colbert?
Who told you to pick up
Miss Carlin yesterday,
and drive her to Union Station?
Union Station?
Didn't you give her train tickets
and a sealed envelope?
Is this some kind of joke?
It's no joke!
What is this all about?
Do you know, Mrs Seymour?
Is something wrong?
Thank you, Cresca.
That's all we wanted to know.
Now, are you satisfied?
Yes, I am satisfied.
Oh, no.
No, please, please, Paul.
Don't believe them.
Everything I told you is true!
You're all confused, Sharon.
You're all mixed up.
Maybe if you let
the right people help you.
I don't want their help...
..or yours, either.
You've turned against me, too.
You are in the plot with them,
aren't you?
You are, aren't you?
You've been in it from the first!
You're all against me!
You're all lying!
It's all a plot to destroy me!
There is no plot, Sharon.
I never saw any
of these people before today.
I certainly don't want to hurt you.
They only want to help you.
Are you ready to go now, my child?
Don't touch me!
I'll go with you...
..but don't touch me.
I don't think there'll be
any more trouble, Mr Brady.
All right.
All right, Miss Carlin.
By the way, did Sharon tell you
why she was committed
to the sanitarium?
No, she didn't.
She killed a woman.
A woman she was caring for...
..about my wife's age.
Sharon?
Did you kill her?
Yes.
(BIRDS CHIRPING)
(ENGINE STARTING)
And what do you do
about the 3,000 dollars?
Oh, I don't intend to prosecute.
I'm sure we'll learn its whereabouts
when the girl becomes more rational.
It's a curious thing.
Only an unbalanced mind
continues to cling
to errors of belief in the face
of all contradictions.
Well, I won't keep you.
I guess you want to be going.
Oh, I'm not sure
I want to go away now.
Well, nonsense, Ramelle.
You need that holiday
more than ever now.
We're going up
to the mountains as planned.
Oh, really, Mr Colbert,
husbands can be such martinets.
Or are you married?
No. No.
Not anymore.
Goodbye.
(BIRDS CHIRPING)
(ENGINE STARTING)
(SUSPENSEFUL MUSIC)
Inside.
Short trip.
Yeah.
(DRAMATIC MUSIC)
Welcome back, my dear.
I believe you've met all present.
Cresca, get the car out of sight.
Lock the front gates,
and keep watch outside.
Bring her in.
I don't like this, Milo.
We're in a jam.
You're nervous, Brady.
You bet I'm nervous.
I've been in the middle of this
all my life.
I've seen too many
smart alibis smashed
to feel good about this.
Then you are a policeman.
Well, yes and no, my dear.
Brady retired from the
Whitford Police Force on Monday.
He said he was here for Dr Hartley.
Oh, yes. He's already
gone to work for Dr Hartley.
No need to doubt
the good doctor's integrity.
When he first called,
he'd just received an anonymous note
as to your whereabouts.
You sent it to him.
Yes.
What are we going
to do with her, Milo?
Everything's gone wrong.
Look, Irene and I did our job, Milo.
It was Brady that...
You shouldn't have let her
get away from you!
Why do you think
she made that break?
Don't...
Shut up!
Now, understand me,
once and for all.
We're playing for high stakes,
and I don't propose to lose them
because of stupidity.
That means no recriminations,
no childish bickering,
and no more blunders.
Is that clear?
(SOMBRE MUSIC)
You've killed your wife,
haven't you?
Have I, indeed?
You killed her,
and you planned
to blame me for her murder.
But why?
Why did you kill her?
Well, what are
the classic motivations
for the elimination of one's spouse?
Jealousy,
revenge...
..financial gain.
Her insurance?
No, my wife, poor soul,
never believed in insurance,
but her estate - every penny of it -
belongs to me now.
And do you know
how much it is worth?
Five million dollars.
And now, you're going to kill me?
Of course.
(DRAMATIC MUSIC)
(KNOCKING ON DOOR)
Paul?
Oh, Denise, come in.
Oh, you can relax.
No one is here.
I always stage my orgies
on alternate weekends, you see.
I tried calling you, Paul,
but there was no answer.
So I thought I'd drop by.
Oh, well, you were worried about me?
Yes, I was.
When did you start to drink
in the daytime?
(ICE CLINKING)
Oh, it's a new habit.
Is it because of that girl?
Which girl?
Oh, yes, yes.
You mean my partner in sin, huh?
Paul, don't.
I was wrong last night.
I came to apologise to you.
At breakfast,
Chris told me what happened.
I feel so guilty.
If there's anything
I can do to help her,
you know I will, Paul.
Well...
..forget it, Denise.
No one can help her now.
You hate me, don't you?
Denise...
..the way we feel about each other
has nothing to do with Sharon.
Paul, I don't know
what gets into me.
I...
Sometimes, I just lose control.
I... I try to be like
other people, but...
..but something inside of me...
I don't wanna hurt anybody.
Well, it's done with now, anyway.
Like they say, we'll all live
happily ever after, huh?
Paul, I...
..I can see why you divorced me.
It was the other way around.
Remember?
All I care about
is Chris's happiness.
If you think he'd be better off
with you instead of me, I...
Well, we'll try to
work something out, huh?
I know we can't
get back together again...
..but I don't wanna ruin his life.
I don't wanna destroy it.
A child's supposed
to need his mother, but...
..you should see his face.
Every time you take him
away on a camping trip,
his whole face lights up.
What's that?
I'll call you.
Where are you going, Paul?
I want to satisfy my curiosity.
Goodbye.
Thank you for coming.
(SUSPENSEFUL MUSIC)
VOICEOVER:
'Only an unbalanced mind
'continues to cling
to errors of belief
'in the face of all contradiction.'
(SUSPENSEFUL MUSIC)
VOICEOVER: 'I didn't do it.
Keith was already dead.
'I found him sitting in the chair.'
Cleaning fluid?
(DRAMATIC MUSIC)
(DRAMATIC MUSIC CRESCENDOS)
(POUNDING ON DOOR)
Sharon! Sharon!
(DOORS RATTLING)
(GLASS SMASHING)
Sharon!
Sharon!
Sharon!
(SUSPENSEFUL MUSIC)
(DRAMATIC MUSIC)
Who are you?
Who is this woman?
Oh, you haven't been
formally introduced, have you?
My sister, Irene Maddox.
Her husband, Duke.
Cresca, you've already met.
Where did Brady go?
Back to Whitford.
He'll say that you escaped.
Originally, we'd planned
to have him arrest you
for disorderly conduct.
I believe you can imagine the rest.
You meant me to die
in that jail cell, didn't you?
Brady would've seen to that.
Suicide, of course.
Because I killed Mrs Seymour?
Ingenious, don't you think?
And... and the envelope.
The money was in that, wasn't it?
Oh, yes. Brady was instructed
to put the cash in your purse.
It was your motivation
for killing poor Ramelle.
Very ingenious, Mr Seymour.
But you didn't have to kill Keith.
Your drunken friend.
He never hurt you.
He never harmed anybody.
He got in the way.
(TYRES SCREECHING)
(TYRES SCREECHING)
Slow down, Steve!
Do you want us to go off the road?
I thought you wanted
to get to the cabin fast.
Yes, but quite intact.
Now, slow down!
Don't want anything else
to go wrong.
Everything's gone wrong
from the beginning,
hasn't it, Mr Seymour?
And everything's bound to go wrong.
And you know why?
Do tell me.
Because your scheme is insane.
You talked so cleverly to Paul
about my sickness, my paranoia.
But look what you've tried to do.
Look at your own crazy plan!
That will do!
Your vanity, your sickness,
your delusions of grandeur!
That will do!
Your own crazy scheme!
That's really paranoia!
(SLAPPING)
(SHARON GROANS)
(CAR ENGINE SPUTTERING)
Now, what's wrong?
Not my fault, Milo.
Vapour lock, maybe.
But it's your job to see
that these things don't happen.
But Milo, it could happen to anyone.
(ENGINE SPUTTERING)
Well, do something!
Get it going.
I don't like the way
our luck is running, Milo.
Well, don't start worrying about it
until you have to.
We'll get back to town in time.
If Steve starts this thing.
He's got to start it.
I won't tolerate any more delays.
Don't look too good, Milo.
Could be a cloudy gas line,
maybe worse.
Aren't you sure?
Well, I have to take it apart first.
It might take an hour, maybe more.
Oh, we can't stay here.
We can't risk being seen
out in the open.
But Milo, there's no place else.
Idiot!
Now, listen to me, all of you.
The girl made me lose my temper.
Now Steve, we can't afford that.
Don't make it happen again.
Sure, Milo, I get it.
Now, get this thing out of sight.
OK, but we'll all have to push.
Get her inside.
Steve, open up the back of the car,
and get the body out.
Help him, Duke.
She's too heavy for him alone.
Let's get this thing
over with, Milo.
We're two hours late already.
You'll do us all a service, Irene,
if you stop whining.
Now, go upstairs,
and get her bedroom ready.
What's there to do?
Her bed must seem slept in.
Don't you understand?
Your sister's very nervous,
and so was Brady.
A failing of lesser souls.
They'll fail you, Mr Seymour.
Well, never underestimate
five million dollars, Sharon.
With their share,
my sister and her husband
will find added strength,
and so will Brady and Cresca.
You're forgetting Paul Colbert.
Good Samaritan.
Yes.
When he finds out that
your wife is dead, and I'm dead,
he's going to start
asking questions.
Oh, undoubtedly, but he'll
be satisfied with the answers.
After all, you did admit
killing your former employer.
That was self defence.
The coroner's jury had its doubts.
She was suicidal!
Her family tried to keep it from me.
That night, she got
ahold of some scissors.
I tried to stop her,
and she turned on me.
It happened while
we were struggling.
Well, I believe you, my dear,
but who else really accepts it?
I do.
Paul!
How'd you get up here?
I borrowed a broomstick.
Oh, Paul...
Get away from him!
I warn you, Colbert,
when Duke and Cresca get in here...
They ae both indisposed,
but not like your wife.
They were pulling her
out of the back of the car.
How did you find us?
I went through your desk.
I found out how to get here,
and also I found this.
What delayed you?
Their car broke down.
It held them up for over two hours.
Good.
I was beginning to think
they had all the luck.
IRENE: We still have!
Throw your gun down!
He said throw it down.
(GUN THUDS)
Well, Irene, you redeemed yourself.
Go outside, and see
what's happened to Cresca and Duke.
Hurry!
I must confess, I was somewhat
worried about you, Mr Colbert.
But not now.
I have already called the police.
Oh, they'll find no trace of you.
Just Sharon and my wife.
Murder and suicide, huh?
Precisely.
Perfect, you see.
Foolproof!
If everything is so perfect,
what do you think I am doing here?
Your foolproof scheme
has more holes in it
than a fake accident claim!
There'll be no more mistakes!
I'll see to that.
Oh, you made nothing but mistakes!
Blunder after blunder!
You're just another cheap crook -
greedy and stupid. Shut up!
I told you your scheme is insane.
That'll do! Now, I warned you both.
Milo!
They're hurt, Duke and Cresca!
I can't bring them to.
They're badly hurt!
Yes, it was just my intention.
I've got to get Duke to a doctor.
No, no, no.
I'll see to him later.
Milo, he's hurt! Steve, too!
Shut up, shut up! Let me think!
Yes, think - and think fast.
The cops will be all over you.
They'll talk to your neighbours,
they'll dig back into your past.
They'll find nothing. Nothing!
There isn't anything
they can use against me!
I made sure of that.
Nothing, huh?
And what do you think
I have told the police?
Everything.
They know everything!
I can handle them.
I can explain everything
to their satisfaction.
You're forgetting Dr Hartley.
He'll never believe
that I escaped a second time.
That's right.
He goes straight to the police.
The truth will come out, bit by bit.
That won't happen.
It doesn't have to happen!
Hartley will never testify.
You mean you'll kill him, too?
Yes!
I'll kill anyone
who can tell them anything!
(DRAMATIC MUSIC)
Yes, I'll kill Hartley.
I'll kill you.
I'll kill everyone.
Everybody.
I haven't lost.
(SUSPENSEFUL MUSIC)
I haven't lost.
Stay where you are!
Milo!
What's wrong with him?
What's wrong with him?
(CRYING)
Milo!
You did this to him!
You did it to him!
No.
He did it to himself.
(SUSPENSEFUL MUSIC)
Oh.
Oh, Milo!
(IRENE SOBBING)
Milo?
Milo, I told you.
I told you, Milo!
I warned you! I warned you.
(SOLEMN MUSIC)
I warned you, Milo. I warned you.
(TENSE DRAMATIC MUSIC)
(SIRENS BLARING)
(DRAMATIC MUSIC)
(HEELS CLICKING)
Here are your tickets, Miss Carlin.
Bedroom 4B.
You arrive in San Francisco
at 8:30 tomorrow morning.
Thank you, Cresca.
Will you deliver this
to the Fairmount Hotel?
At 12 noon tomorrow?
That's what Mr Seymour said.
I've got to hurry, Miss Carlin,
but if want me to see you aboard?
Oh no, Cresca,
that isn't necessary.
Thank you very much for bringing me.
OK. Enjoy yourself.
Oh, I almost forgot.
Mrs Seymour wants you
to get her a kimono in Chinatown.
This is the address.
Paid for already.
All you do is pick it up.
Why did she order it?
Search me.
See you Monday morning.
Sharon!
Sharon, my love!
Keith!
Ah, counted.
Keith, you idiot.
Where have you been?
I haven't seen you all month.
Been away, dear-heart,
but incommunicado.
Come.
Let's nibble over an ice cube,
I will my tale unfold.
Keith, I can't.
My train leaves in just a minute.
Ah, something to ask you, Sharon.
Something important.
Tell me Monday.
I'll get in touch with you
as soon as I get back.
You're in touch with me now.
How did you know
I was going out of town?
Elementary, my dear lady.
I drove over to your apartment,
saw you get in the limousine,
and I said to myself,
"Burgess, follow that limousine!"
Voila, here we are.
You should have phoned me.
Where are you staying now?
Ah, alas! Address unknown.
Oh Keith, you haven't been
locked out again?
What did you do this time?
You promised me you'd stop drinking.
I say many things, my love.
Well, what did you want
to see me about?
Maybe just to look at you.
Are you in trouble?
Do you need money again?
Unfortunately, yes.
No place to lower my head.
This is all I can
let you have right now.
I'll pay it right back.
Every penny.
I've got a writing deal next week.
My thing.
I know, I know.
Always my friend in need, dear lady.
What could I do without you?
GUARD: All aboard!
Now Keith, I really must go.
Now, stay at my apartment
while I'm gone.
Oh no, I won't violate
your Vestal hospitality.
All aboard!
It's just for the weekend.
Now, stay in until Monday.
(BELL RINGING)
Do you still have your key?
Yep.
Goodbye, Keith.
Goodbye, Keith!
(HORN BLARING)
(TRAIN RUMBLING)
(BELL RINGING)
Oh, excuse me.
Come in.
My ticket...
Says 4B. That's right.
Come in.
(MYSTERIOUS MUSIC)
Join the party.
(TENSE MUSIC)
What do you want?
Why are you in my compartment?
Oh, there must be some mistake.
My name is Carlin, Sharon Carlin.
I work for Mr Milo Seymour
in Los Angeles.
I can show you my identity.
Don't touch it!
I just wanted to show you
who I am - my identity.
I'm not interested.
But don't you see?
I'm not who you think I am.
A friend... Keith Burgess,
just saw me off.
Oh, that's not mine.
It belongs to Mr Seymour.
I'm to deliver it in San Francisco.
You're making a mistake!
I don't make mistakes.
I could call for help.
Do you see this?
This is a silencer.
Try yelling, just once.
(KNOCKING ON DOOR)
Porter, ma'am.
Would you like me
to turn down your bed?
(SUSPENSEFUL MUSIC)
Not now. Later.
Yes, ma'am.
When you need me, just ring.
Thank you.
Sit down.
How did you get in here?
(DRAMATIC MUSIC)
Who is this woman?
She's dead.
Is that so?
So why did you
have to go and kill her?
(BLOW THUDS)
(DRAMATIC MUSIC)
OK, now.
OK.
Don't, please don't.
Come on. Come on.
Oh! All right, lady,
quit stalling!
Oh, who are you?
I'll ask the questions.
All right now, come on.
You're in a jam.
Who are you?
Name is Brady.
Police Officer, Miss Carlin.
How do you know my name?
Your purse.
Oh.
You're in real trouble.
Trouble? What kind of trouble?
Murder.
Murder?
Oh, I didn't kill anyone.
There were witnesses,
plus a dead body.
(TRAIN CHUGGING)
She's not here now.
I thought you didn't kill anyone?
Well, I didn't.
I didn't.
But the woman who was here...
Her body's up front,
in the baggage car.
This is all a mistake.
The man...
..what happened to him?
What man?
The other man!
He hit me with his gun!
He was here, I tell you!
He hit me!
He took the envelope!
You were drunk, Miss Carlin.
You fell.
That's how you passed out.
Drunk?
I never drink.
No?
You killed this, too.
What you didn't spill on yourself.
I never saw that before.
I never saw any of this.
I don't drink! Never!
Oh...
Who was the woman?
You know who.
Oh no, I don't. I don't.
Well, there was no
identification on her.
How was she killed?
She was stabbed through the heart...
..with a nail file.
Your initials, Miss Carlin.
It is yours, isn't it?
All right, none of that.
Come on, pull yourself together.
Now listen, lady,
we'll soon be pulling into Whitford.
(TENSE MUSIC)
Whitford?
That's right.
I'm on the force there.
No, no, no, no, no...
Are you crazy or something?
Don't say that!
Now, look, we're pulling in.
You'd better be sensible.
Sensible?
I'll make it
as easy on you as I can.
Now, you promise
there won't be any trouble,
I won't use the handcuffs.
Nobody has to know
why you're getting off the train.
Just remember,
it's for your own sake, not mine.
All right?
(SUSPENSEFUL MUSIC)
I need my overnight case.
It's up front with the body.
They'll be taken
off the train together.
Go ahead.
No tricks.
(TENSE MUSIC)
There he is!
What?
That's the man!
Come on.
Now, you said you'd be sensible.
Get off me!
(DRAMATIC MUSIC)
(HORN BLARING)
(TRAIN RUMBLING)
(CAN CLANKING)
(DRAMATIC MUSIC)
(HEELS CLICKING)
(CAR APPROACHING)
(TYRES SCREECHING)
(HEAD THUDS)
Oh, Daddy! Daddy, it hurts!
Daddy, it hurts.
Let me see, let me see.
Oh, Daddy, it hurts.
Oh, Daddy, it hurts!
You're all right.
You're all right.
(CHRIS SOBS)
It hurts, Daddy!
You're all right.
I'm scared, Daddy. It hurts!
Just stay here, stay here.
I'll be right back.
It hurts, Daddy!
It hurts!
(CHRIS CONTINUES SOBBING)
Oh, Daddy! Daddy!
Oh!
What were you trying to do?
Kill yourself?
Let me go! Let me go!
You're drunk.
No, I'm not. I never drink!
What's wrong?
What's the matter with you?
Oh, I can't stay here.
I've got to get away! Please!
Take me with you.
Oh, take me with you! Please!
OK. I'm going to Los Angeles,
and I am late.
That's where I'm going!
Oh, please, take me with you.
I've got to get home!
Please!
(CHRIS SOBBING)
All right, get in.
Oh, you're hurt.
Of course he's hurt.
He hit his head
when you made me slam on my brakes.
Oh, I'm sorry. I'm sorry.
Oh, you poor darling.
I want my mummy!
Oh, you'll be all right, Chris.
You'll be all right.
(CHRIS CRYING)
Oh, you... you said you were late.
Could we please go now?
Oh, please hurry!
It's nothing.
There, there.
Please!
(ENGINE STARTING)
My name is Colbert. Paul Colbert.
And this is my son, Chris.
Hello.
Hello, Chris.
What's your name?
Smith.
Carol Smith.
Your face is dirty.
Oh...
What's the matter, Miss Smith?
I can't talk about it.
You live in Los Angeles?
You're a long way from home,
aren't you?
Um, I'd like
to make a telephone call.
I mean...
..the next place you come to,
if you could stop for a minute.
All right.
(JAZZ MUSIC PLAYING)
May I borrow some change?
I lost my purse.
I'll pay you back when I get home.
Oh, don't worry.
You won't bankrupt me.
Here.
Thank you.
'Operator.'
Operator, I want to place a call,
person to person,
to Mr Milo Seymour in Los Angeles.
(COIN CLINKS)
(PHONE RINGING)
(COIN RATTLES)
What did they want?
What did you tell them?
Tell them?
Why did he talk to you?
If you are so interested, why...
Tell me!
He was being nosy, like a cop.
But he saw we were respectable.
Oh.
Did you make your call?
Yes, but nobody answered.
All right, let's go. I'm late.
Come on, let's go.
(ENGINE STARTING)
What did you say your name is?
Oh...
Oh yes, I remember. Smith.
Huh?
Miss Smith.
Yes.
What kind of trouble
are you in, Miss Smith?
Everything's just fine.
I just want to get home
to Los Angeles.
I must stop in Northridge
before I drop you off.
At Happy Valley Lane, no less.
I have to deliver my son
back to his mother.
He should have been home
two hours ago.
I am remiss, you see.
I have had him for two weeks...
..two whole weeks
out of the entire year.
Hold him for a while, will you,
till I unload his things?
Paul?
Paul, is that you?
Yes, we are home, Denise.
You're late, Paul.
Yes, I know. We had car trouble.
I know, but I expected
you home two hours ago.
Is Chris all right?
Of course he's all right.
He had a wonderful time.
You should've called me.
I've been worried sick about him.
Denise, nothing happened,
there was no need to call.
You know how I worry!
You only do it to hurt me.
Oh, please now.
I expected him here two hours ago!
Two hours out of an entire year!
Can they mean
so much more to you than to me?
It won't happen again, Paul.
I'll see to that.
He's sleeping. Don't wake him.
Give me my son.
I hate to wake him.
It's been an awfully long...
Give him to me!
Darling.
Oh, darling.
Mummy.
Oh, shush, darling.
You're home now.
I told you he was asleep!
You will upset him!
I'll upset him? What have
the two of you done to him?
Oh no, you're wrong.
It wasn't like that.
Don't tell me about him.
I know him.
I used to be married to him.
Oh, stop it. I picked up
Miss Smith on the highway.
Yeah, I'm sure you did.
Now, wait a minute.
I had enough of that nonsense
when we were married.
Now, I want you to apologise to her.
Apologise? To her?
And don't bother to come back,
Paul Colbert! We don't need you!
I'll bring up my boy decently.
This is the last time
you'll get him away from me.
No more...
no more weekends, no more vacations!
Where do you live?
On Fuller, between
Sunset and Santa Monica.
Right.
Thank you.
Well, I...
(SOLEMN MUSIC)
Thank you very much for everything.
Including the welcome
at Happy Valley Lane?
I shouldn't have
let you in for that.
I'm sorry.
I understand.
I wish I did.
But we all have
our own special problems,
don't we, Miss Smith?
I...
I don't wanna keep you, Mr Colbert.
Goodnight.
Oh, I am in no hurry,
if you feel like talking about it.
No, I think I'd better go in.
But you have no way to get in.
Oh, I keep a key outside my door.
Oh, I see.
Are you going to call again?
Call?
Well, that call
you made on the highway,
it seemed very urgent then.
Oh, yes. Yes, I will.
You sure there is
nothing else I can do?
No. Thank you.
Miss Smith?
Forgive me, but I...
..I can appreciate not wanting
to open up to a stranger.
But sometimes,
when we are in trouble...
I'm all right. Really.
Now that I'm home,
it's hard to believe
that it ever really happened.
Do you live alone?
Yes.
No family?
No family.
No family or half a family,
it's bad either way, isn't it?
I...
I liked your son very much,
Mr Colbert.
Goodnight.
(SOLEMN MUSIC)
(BANGING ON DOOR)
(SHARON SIGHS)
(ROTARY DIAL RATTLES)
(ARM THUMPS)
(SHARON GASPS)
Sharon!
Oh, Keith.
Oh, Keith.
I forgot all about you.
Everybody forgets Keith.
I thought I heard someone.
Been here long?
No, I just got in.
Who are you calling?
Milo Seymour.
Something the matter?
You like to tell me about it, huh?
Miss Carlin,
you should have married me.
We're better off as friends,
Mr Burgess.
I'll settle for a secretary.
Why don't you quit the Seymours?
Come back to an employer
with a high IQ, huh?
I'm sorry, Keith,
but we tried it once. Remember?
It didn't work.
Now, why are you calling your boss
at this ungodly hour?
Because I have
something to tell him.
But you won't tell me?
No, I can't.
Oh.
OK, I'll go.
Oh, Keith, don't be stubborn.
Now, you haven't any money,
and you haven't any place to stay.
(PHONE RINGING)
Now wait, sit down.
Hello?
'Hello, Miss Smith?'
What?
'This is Paul Colbert.'
How did you get my number?
'Well, it seems to be listed
under the name of Carlin.'
You checked the mailbox
in the lobby.
Mm. I am nosy, like a cop.
Only one single was listed.
I found nothing
under the name of Carol Smith,
so I took a chance on
Sharon Carlin.
Mr Colbert,
I'm not obliged
to explain anything to you.
Oh, I am not saying you have to.
Listen, I found
a wonderful coffee house
around the corner from you.
Would you like to join me?
'Now?'
Why not?
I owe you an apology for Denise,
and you owe me 75 cents, remember?
'Oh, the change from the phone call.
I forgot to give it back to you.'
Yes, and my creditors
are breaking down the door.
(KNOCKING ON WALL)
'Can you hear them?'
Where are you? At Tutus?
'I don't know. Hold on, will you?
'Excuse me, where am I here?'
'At Tutus.'
'Thank you.'
'Yes, it is Tutus.'
I'll be right there.
'Good.'
I'm going out, Keith.
Just for a little while.
Now, will you wait for me,
and make yourself some coffee?
Not much else I can do, is there?
We'll talk when I get back.
Sure. Just like old times.
Hey...
Your face is dirty.
(SOFT MUSIC PLAYING)
I see you changed.
Looks good.
Thank you, sir.
Sit down.
One more coffee, please.
Well...
..it must be rough on your wardrobe
to run in front of strange cars,
won't it?
I'm sorry.
I guess divorce has made me
lose my sense of humour.
My parents were divorced.
It's two years for me now.
I miss my son. I, well...
Frankly, I... I worry about him.
His mother is not right for him.
But anyway, that's not your worry.
Thank you.
Thank you.
Did you make your call?
Yes, but no one answered.
That's strange because the Wilsons -
the couple who run the house -
they're always home.
Maybe their phone is out of order.
(JAZZ MUSIC STARTS PLAYING)
Do you know something?
One of these days,
I'm going to lock someone
in one of these things,
and throw away the key.
(BOTH CHUCKLE)
You couldn't be that sadistic.
Just try me.
Tell me about yourself.
What do you do for a living?
Oh, I'm a secretary companion.
I work for a Mr Seymour.
I'm his secretary,
and I read to his wife,
and take her for drives.
She's not in good health.
I take it they have money.
Oh, she has, from her first husband.
Mr Seymour dabbles in archaeology.
I help him catalogue his collection,
and write letters, things like that.
How long have you
been in this country?
Almost eight years.
What do you do?
I'm an insurance broker.
Oh, don't worry.
I will not try to sell you a policy.
(BOTH LAUGH)
At least they are alive.
What does that mean?
Oh...
..I was thinking about Denise.
You know, once upon a time,
a boy met a girl,
and they lived unhappily ever after.
What's wrong?
(SHARON SIGHS)
What is it? What happened?
Take me home, please.
Goodnight, Mr Colbert.
I'll see you upstairs.
No!
I don't want to trouble you.
It's no trouble.
Goodnight.
(KEY RATTLING)
(SHARON SCREAMS)
(DRAMATIC MUSIC)
(SHARON GASPS)
Oh, Paul!
Oh, Paul, can you get me away?
Take me away quickly!
What is it?
Oh, oh, take me.
Take me away, please!
Please hurry, I beg you!
Please!
Oh, hurry!
What is it?
Hurry! Drive me! Please!
(DRAMATIC MUSIC INTENSIFIES)
He's dead.
What?
He's dead.
Who's dead?
Keith. Murdered.
Who's Keith?
Don't give me that.
Now, who is he?
Now, look, ever since
I picked you up tonight,
you have been giving me
a song and dance.
Now, you say Keith is dead,
murdered.
Well, who is he, and who killed him?
I don't know.
I can't tell you!
All right.
Go and tell the police, then.
(TYRES SCREECHING)
I can't! I can't!
Get out.
Come on, get out!
And forget you ever saw me.
I'll do just the same for you.
Oh, don't, please. Please help me.
How can I help you
if you keep on playing games?
Are you going to tell me?
(SOLEMN MUSIC)
(SHARON SIGHS)
All right.
You go to my apartment.
We'll talk there.
Thank you.
You've told me
the whole story now, eh?
Yes.
All right.
We have to go to the police.
We must notify them.
Oh, I can't. I can't.
Two murdered in one night!
What else do you expect?
They won't believe me!
Oh Paul, you just don't understand.
You just don't understand.
You still haven't told me
the whole story, have you?
Have you?
No, I haven't.
All right.
Either you tell me,
or we have to go to the police.
I'll tell you.
My...
..mother and I were very close.
She's dead now.
I don't have anyone else.
How about Keith Burgess?
Oh, well,
Keith was in love with me...
..but it didn't work out.
Oh, it's so hard to talk about it.
(GENTLE MUSIC)
Thank you.
I... I've kept it to myself
for such a long time.
I didn't tell Keith, or Mr Seymour.
Tell them what?
Well...
..when you've had a...
..breakdown...
I mean...
..after my mother died...
I was committed...
..to a mental institution.
I was in that sanitarium
at Whitford for six months.
Where the cop took you on the train?
Yes. That's why I ran.
I had to get away from Whitford,
and all it meant to me.
But you said you were all alone.
Someone had to commit you.
An aunt...
..my mother's sister.
But I don't see Aunt Helen any more,
and I don't think of her as family.
I really am all alone now.
How long ago did you get out?
Six months ago.
(SOLEMN MUSIC)
I met Keith
after I came to Los Angeles.
He's a writer. I was his secretary.
But we weren't good for each other.
I mean, you both can't be weak.
So then, I went
to work for Milo Seymour.
I know I should have
told you this before,
but if I blurted it all out
the minute I ran into you,
you'd have thought I had a...
A persecution complex?
(PAUL CHUCKLES)
I guess you're right.
So now, you know all about me...
..the whole truth.
Do you believe me now?
I believe you, friend.
Oh, Paul, thank you! Thank you!
(LIVELY MUSIC)
How about some coffee?
Oh, no more, thanks.
Would you like to try
to get Seymour again?
Oh, I...
I've tried twice.
What time is it?
About 4:30.
No, I think I'll go see him
in the morning.
(SHARON YAWNS)
It's time you were in bed.
Come on.
You'll find some pyjamas
in the top drawer.
A bit big, I'm afraid.
You see, no matter what,
my ex-wife thinks I...
..I don't keep any
peekaboo nightgowns on hand.
I'll have to let her know.
Yeah, do that.
Then she meet us both in court.
I'm a nuisance to you.
You certainly are.
Goodnight.
Goodnight, Paul.
(DRUMMING FINGERS)
(BIRDS CHIRPING)
(DOORBELL CHIMES)
It's quite a house
the Seymours have, eh?
Mm.
Relax. You'll be all right.
I can't help thinking about Keith.
(DOOR OPENS)
I keep seeing...
Sharon, my child.
Oh, Mr Seymour, good morning.
And you must be the young man
who phoned me at breakfast?
Yes, I am Paul Colbert.
How do you do? Won't you come in?
Thank you.
Thank you.
The Wilsons aren't here, by the way.
I gave them the weekend off.
The Wilsons are my
housekeeping couple, Mr Colbert.
Oh, Miss Carlin told me. Yes.
Well, Sharon, why on earth
didn't you come back
and work after dinner last night?
Work?
But Mr Seymour...
I was quite disappointed
when you failed to show up.
I'd asked her to help
with some research, Mr Colbert.
She said she'd be happy to do it.
Yes, I know, but...
..when you changed our plans...
Sharon, I changed nothing.
But Mr Seymour,
you were the one
who sent me to San Francisco.
I did what?
You asked me
to make that trip for you.
You... you know you did!
No, my dear.
I didn't ask you to go anywhere.
But...
The envelope, the train tickets!
Cresca gave them to me!
Cresca? Steve Cresca?
Yes.
Well, isn't he your chauffeur?
Yes.
Well, he drove Sharon
to Union Station.
I certainly know nothing about it.
Well, he did, Mr Seymour. He did.
Sharon, to the best of my knowledge,
Cresca never left the house
yesterday.
But he came to my apartment for me.
He drove me to the station.
Could we talk to him, please?
Well, I'm afraid he isn't here.
Oh, he'll be back.
He's just gone out to pick up
a prescription for me.
I think we can clarify matters
in the library.
I believe we can do it
with Mr Brady's help.
May I present Joseph Brady,
who's just arrived from Whitford?
I didn't do it!
I told you I didn't!
Do what?
Oh, Paul, he's the man who took me
off the train at Whitford.
What train?
What is this?
You know what I mean!
Sorry, Mr Brady.
It's quite beyond me.
Oh, Paul. He's the one.
He's the one I told you about.
Well, Mr Brady?
Look, mister, I never met her.
I never saw her before.
You are lying.
You took me off the train.
I ran away from you.
Oh, Paul.
Why does he lie?
What are they trying to do?
If you never saw her,
how come you are here?
Well, I can explain that,
Mr Colbert.
Three days ago,
I received a phone call
from Whitford,
from Dr Clinton Hartley.
Dr Hartley runs
the Whitford Sanitarium.
It's a private hospital
for mental patients.
Yes, I know.
So he told you that Sharon
had been one of his patients.
So?
Well now, she certainly told you
much more than she ever told me.
The doctor said she had left
the hospital without permission.
He'd only just traced her
to my home.
He advised me to take
precautionary measures.
Frankly, I ridiculed the idea.
And that was three days ago?
Yes.
Last night, when Sharon
failed to keep her appointment,
I wasn't really worried.
But then, when
you called me this morning,
your reference to
a manila envelope troubled me.
So I opened my safe.
Yesterday morning,
this box contained
approximately 3,000 dollars.
But now...
Are you accusing Sharon
of taking that money?
She knows the combination...
..don't you, my child?
Yes.
But I don't know
anything about any money.
Cresca gave me that envelope.
I'm afraid this is precisely
what Dr Hartley warned me against.
Paul...
..I told you the truth.
I didn't steal any money.
We still don't know
why Mr Brady is here.
Well, right after you called,
I phoned Whitford.
Dr Hartley told me he'd been
in touch with Sharon's family.
Your Aunt Helen, my dear.
She wishes your therapy continued.
That explains Mr Brady's
presence among us.
You got here quite fast, didn't you?
Sure. I flew in.
You'll feel much safer
back in the hospital, my dear.
Mr Brady will escort you home.
No!
It wasn't a home!
It was a prison, a jail!
I hated it!
Is that why you escaped?
I didn't escape.
I didn't break any law.
And I didn't steal your money!
Mr Colbert, I appeal to you,
if you have any influence
with her at all...
Your wife can prove it.
Mrs Seymour knows all about it.
But... but you never
mentioned that before.
Oh, yes.
Mrs Seymour asked me to buy her
a kimono in Chinatown.
She gave me the address of the shop.
You mean, my wife
actually asked you to...
Yes.
Cresca gave me her note.
May I see it, please?
I...
I don't have it.
It was in my purse.
I lost it when I ran away from you.
Now look, lady, for the last time,
I never saw you before.
Oh, he's lying!
Oh, Paul, you must believe me!
Paul?
Mr Seymour...
..there is a lot at stake here.
Frankly, a lot
that I don't understand.
I would like to talk to your wife.
Please.
Now, look here, Colbert,
I'm certainly not gonna subject
my wife to this unpleasantness.
You think it is pleasant
for Miss Carlin?
Well, I grant you that.
But my wife is not in good health,
as Sharon can tell you.
Fact is, we'd agreed
a change of scene
might be good for her.
Until this matter came up,
we intended to drive up
to our mountain lodge today.
I'd still like to talk to her.
Very well, Mr Colbert.
If you'll excuse me.
(STAIRS CREAKING)
I don't understand it.
I just don't understand it.
I thought you told me everything.
He did take me off that train.
He knows he did.
Why didn't you tell me
you ran away from the sanitarium?
I didn't run away.
I left two days early.
Oh, you don't know what it's like
to wait and wait to be free.
Is there anything else
you haven't told me?
I didn't do anything criminal.
I talked to Dr Hartley
several times after I left.
I phoned him
when I worked with Keith.
Well, Sharon,
you should have told me.
Oh, Paul, you don't understand.
When you've had a breakdown...
..and everything collapses
all around you...
All right, all right.
It's all right, darling.
You don't have to explain.
Sit down.
(SHARON SIGHS)
I didn't want to bother you,
dearest,
but it's only for a moment.
Gentlemen, my wife.
Ramelle, dear,
this is Mr Brady from Whitford,
and Mr Colbert,
who is Sharon's friend.
You're not Mrs Seymour!
Paul, she isn't Mrs Seymour!
Sharon, dear,
if I'm not Mrs Seymour,
then who am I?
The woman -
the woman from the train.
The train?
Yes. She's the one who was killed.
But Sharon, my child,
what are you saying?
Murdered, Mr Seymour!
Oh, you poor child.
Don't talk to me!
I won't listen!
Wait...
Wait, I can... I can prove it!
Look, I'll show you.
Wait...
It's gone.
This is a picture
of the mountain lodge.
What is it?
Mrs Seymour's picture...
..this isn't it.
It's gone!
Where is it?
What have you done with it?
Sharon, you know I never
keep pictures of myself
around the house.
I abhor that kind of vanity.
They're lying.
Mrs Seymour's picture
is always on the desk.
Always!
(SHARON GASPS)
Mr Colbert, do you still wish
to question my wife?
Yes, I do.
Mrs Seymour,
you asked Miss Carlin
to buy you a kimono
in San Francisco.
A kimono?
Yes.
Milo, really?
What does all this mean, Milo?
Now, don't upset yourself, Ramelle.
I'll tell you all about it later.
Mr Colbert, are you satisfied now?
Frankly, no.
And why not?
I would like proof
that this lady is...
..really your wife.
Milo.
Oh, I know it is an imposition,
but I have got to know the truth.
Well, the Wilsons are gone
for the weekend, as I told you,
and I'm certainly not gonna
involve my neighbours.
There is your chauffeur.
Cresca?
That's right.
Yes.
Maybe Cresca's back.
You can get the truth from him!
Well?
Mr Colbert, I tried to be patient,
but this girl's fantastic story...
It isn't a fantastic story!
When she got home last night,
she found a dead man
in her apartment.
Dead man?
A friend - murdered.
Did you see this dead man,
Mr Colbert?
Why do you ask?
Well, I went to her place myself,
before I came here.
Doc Hartley figured she might
have hidden Mr Seymour's money
in her apartment.
The place was empty.
You're lying!
Keith was there in the chair!
The apartment was empty,
Miss Carlin.
There was no dead man.
There was nothing touched,
no sign of any struggle.
There was no money on the premises.
But Mr Colbert...
..if you know
anything at all about paranoia,
the classic pattern of persecution.
We still haven't
talked to your chauffeur.
It must be quite plain by now...
I know I am stubborn.
I was brought up that way.
Very well, Mr Colbert.
If you'll excuse me, dearest,
while I go and get Cresca.
Why go for him?
And how do you know he's back?
Mr Colbert, I find your
distrust of me very flattering.
'Garage.'
Oh, you're back, Cresca?
'Yes, I've just got in.'
I want to see you immediately.
I'm in the library.
'Yes, sir.'
Well, young man,
was I non-committal enough?
(PHONE RINGING)
Hello?
'Mr Seymour?'
Yes.
'Dr Hartley. Has Brady arrived yet?'
Oh yes, Doctor, he's here.
Just one moment, please.
Mr Colbert, this is Dr Hartley.
Now, I don't want
any doubts left in your mind.
Will you talk to him, please?
Hello?
Hello, who is this?
'Sharon? Is that you, Sharon?'
Dr Hartley?
'Yes, Sharon.
I've talked to your Aunt Helen.
'She has the authority
to order you back here, you know.
'We think you'll be safer here,
Sharon.
'Don't you agree?
Sharon?
'You agree?
'You'll come back home
with Mr Brady?'
Yes.
Yes, Dr Hartley.
Yes.
You wanted to see me, Mr Seymour?
Yes, Cresca.
Your prescription, sir.
Thank you.
Mr Colbert?
Who told you to pick up
Miss Carlin yesterday,
and drive her to Union Station?
Union Station?
Didn't you give her train tickets
and a sealed envelope?
Is this some kind of joke?
It's no joke!
What is this all about?
Do you know, Mrs Seymour?
Is something wrong?
Thank you, Cresca.
That's all we wanted to know.
Now, are you satisfied?
Yes, I am satisfied.
Oh, no.
No, please, please, Paul.
Don't believe them.
Everything I told you is true!
You're all confused, Sharon.
You're all mixed up.
Maybe if you let
the right people help you.
I don't want their help...
..or yours, either.
You've turned against me, too.
You are in the plot with them,
aren't you?
You are, aren't you?
You've been in it from the first!
You're all against me!
You're all lying!
It's all a plot to destroy me!
There is no plot, Sharon.
I never saw any
of these people before today.
I certainly don't want to hurt you.
They only want to help you.
Are you ready to go now, my child?
Don't touch me!
I'll go with you...
..but don't touch me.
I don't think there'll be
any more trouble, Mr Brady.
All right.
All right, Miss Carlin.
By the way, did Sharon tell you
why she was committed
to the sanitarium?
No, she didn't.
She killed a woman.
A woman she was caring for...
..about my wife's age.
Sharon?
Did you kill her?
Yes.
(BIRDS CHIRPING)
(ENGINE STARTING)
And what do you do
about the 3,000 dollars?
Oh, I don't intend to prosecute.
I'm sure we'll learn its whereabouts
when the girl becomes more rational.
It's a curious thing.
Only an unbalanced mind
continues to cling
to errors of belief in the face
of all contradictions.
Well, I won't keep you.
I guess you want to be going.
Oh, I'm not sure
I want to go away now.
Well, nonsense, Ramelle.
You need that holiday
more than ever now.
We're going up
to the mountains as planned.
Oh, really, Mr Colbert,
husbands can be such martinets.
Or are you married?
No. No.
Not anymore.
Goodbye.
(BIRDS CHIRPING)
(ENGINE STARTING)
(SUSPENSEFUL MUSIC)
Inside.
Short trip.
Yeah.
(DRAMATIC MUSIC)
Welcome back, my dear.
I believe you've met all present.
Cresca, get the car out of sight.
Lock the front gates,
and keep watch outside.
Bring her in.
I don't like this, Milo.
We're in a jam.
You're nervous, Brady.
You bet I'm nervous.
I've been in the middle of this
all my life.
I've seen too many
smart alibis smashed
to feel good about this.
Then you are a policeman.
Well, yes and no, my dear.
Brady retired from the
Whitford Police Force on Monday.
He said he was here for Dr Hartley.
Oh, yes. He's already
gone to work for Dr Hartley.
No need to doubt
the good doctor's integrity.
When he first called,
he'd just received an anonymous note
as to your whereabouts.
You sent it to him.
Yes.
What are we going
to do with her, Milo?
Everything's gone wrong.
Look, Irene and I did our job, Milo.
It was Brady that...
You shouldn't have let her
get away from you!
Why do you think
she made that break?
Don't...
Shut up!
Now, understand me,
once and for all.
We're playing for high stakes,
and I don't propose to lose them
because of stupidity.
That means no recriminations,
no childish bickering,
and no more blunders.
Is that clear?
(SOMBRE MUSIC)
You've killed your wife,
haven't you?
Have I, indeed?
You killed her,
and you planned
to blame me for her murder.
But why?
Why did you kill her?
Well, what are
the classic motivations
for the elimination of one's spouse?
Jealousy,
revenge...
..financial gain.
Her insurance?
No, my wife, poor soul,
never believed in insurance,
but her estate - every penny of it -
belongs to me now.
And do you know
how much it is worth?
Five million dollars.
And now, you're going to kill me?
Of course.
(DRAMATIC MUSIC)
(KNOCKING ON DOOR)
Paul?
Oh, Denise, come in.
Oh, you can relax.
No one is here.
I always stage my orgies
on alternate weekends, you see.
I tried calling you, Paul,
but there was no answer.
So I thought I'd drop by.
Oh, well, you were worried about me?
Yes, I was.
When did you start to drink
in the daytime?
(ICE CLINKING)
Oh, it's a new habit.
Is it because of that girl?
Which girl?
Oh, yes, yes.
You mean my partner in sin, huh?
Paul, don't.
I was wrong last night.
I came to apologise to you.
At breakfast,
Chris told me what happened.
I feel so guilty.
If there's anything
I can do to help her,
you know I will, Paul.
Well...
..forget it, Denise.
No one can help her now.
You hate me, don't you?
Denise...
..the way we feel about each other
has nothing to do with Sharon.
Paul, I don't know
what gets into me.
I...
Sometimes, I just lose control.
I... I try to be like
other people, but...
..but something inside of me...
I don't wanna hurt anybody.
Well, it's done with now, anyway.
Like they say, we'll all live
happily ever after, huh?
Paul, I...
..I can see why you divorced me.
It was the other way around.
Remember?
All I care about
is Chris's happiness.
If you think he'd be better off
with you instead of me, I...
Well, we'll try to
work something out, huh?
I know we can't
get back together again...
..but I don't wanna ruin his life.
I don't wanna destroy it.
A child's supposed
to need his mother, but...
..you should see his face.
Every time you take him
away on a camping trip,
his whole face lights up.
What's that?
I'll call you.
Where are you going, Paul?
I want to satisfy my curiosity.
Goodbye.
Thank you for coming.
(SUSPENSEFUL MUSIC)
VOICEOVER:
'Only an unbalanced mind
'continues to cling
to errors of belief
'in the face of all contradiction.'
(SUSPENSEFUL MUSIC)
VOICEOVER: 'I didn't do it.
Keith was already dead.
'I found him sitting in the chair.'
Cleaning fluid?
(DRAMATIC MUSIC)
(DRAMATIC MUSIC CRESCENDOS)
(POUNDING ON DOOR)
Sharon! Sharon!
(DOORS RATTLING)
(GLASS SMASHING)
Sharon!
Sharon!
Sharon!
(SUSPENSEFUL MUSIC)
(DRAMATIC MUSIC)
Who are you?
Who is this woman?
Oh, you haven't been
formally introduced, have you?
My sister, Irene Maddox.
Her husband, Duke.
Cresca, you've already met.
Where did Brady go?
Back to Whitford.
He'll say that you escaped.
Originally, we'd planned
to have him arrest you
for disorderly conduct.
I believe you can imagine the rest.
You meant me to die
in that jail cell, didn't you?
Brady would've seen to that.
Suicide, of course.
Because I killed Mrs Seymour?
Ingenious, don't you think?
And... and the envelope.
The money was in that, wasn't it?
Oh, yes. Brady was instructed
to put the cash in your purse.
It was your motivation
for killing poor Ramelle.
Very ingenious, Mr Seymour.
But you didn't have to kill Keith.
Your drunken friend.
He never hurt you.
He never harmed anybody.
He got in the way.
(TYRES SCREECHING)
(TYRES SCREECHING)
Slow down, Steve!
Do you want us to go off the road?
I thought you wanted
to get to the cabin fast.
Yes, but quite intact.
Now, slow down!
Don't want anything else
to go wrong.
Everything's gone wrong
from the beginning,
hasn't it, Mr Seymour?
And everything's bound to go wrong.
And you know why?
Do tell me.
Because your scheme is insane.
You talked so cleverly to Paul
about my sickness, my paranoia.
But look what you've tried to do.
Look at your own crazy plan!
That will do!
Your vanity, your sickness,
your delusions of grandeur!
That will do!
Your own crazy scheme!
That's really paranoia!
(SLAPPING)
(SHARON GROANS)
(CAR ENGINE SPUTTERING)
Now, what's wrong?
Not my fault, Milo.
Vapour lock, maybe.
But it's your job to see
that these things don't happen.
But Milo, it could happen to anyone.
(ENGINE SPUTTERING)
Well, do something!
Get it going.
I don't like the way
our luck is running, Milo.
Well, don't start worrying about it
until you have to.
We'll get back to town in time.
If Steve starts this thing.
He's got to start it.
I won't tolerate any more delays.
Don't look too good, Milo.
Could be a cloudy gas line,
maybe worse.
Aren't you sure?
Well, I have to take it apart first.
It might take an hour, maybe more.
Oh, we can't stay here.
We can't risk being seen
out in the open.
But Milo, there's no place else.
Idiot!
Now, listen to me, all of you.
The girl made me lose my temper.
Now Steve, we can't afford that.
Don't make it happen again.
Sure, Milo, I get it.
Now, get this thing out of sight.
OK, but we'll all have to push.
Get her inside.
Steve, open up the back of the car,
and get the body out.
Help him, Duke.
She's too heavy for him alone.
Let's get this thing
over with, Milo.
We're two hours late already.
You'll do us all a service, Irene,
if you stop whining.
Now, go upstairs,
and get her bedroom ready.
What's there to do?
Her bed must seem slept in.
Don't you understand?
Your sister's very nervous,
and so was Brady.
A failing of lesser souls.
They'll fail you, Mr Seymour.
Well, never underestimate
five million dollars, Sharon.
With their share,
my sister and her husband
will find added strength,
and so will Brady and Cresca.
You're forgetting Paul Colbert.
Good Samaritan.
Yes.
When he finds out that
your wife is dead, and I'm dead,
he's going to start
asking questions.
Oh, undoubtedly, but he'll
be satisfied with the answers.
After all, you did admit
killing your former employer.
That was self defence.
The coroner's jury had its doubts.
She was suicidal!
Her family tried to keep it from me.
That night, she got
ahold of some scissors.
I tried to stop her,
and she turned on me.
It happened while
we were struggling.
Well, I believe you, my dear,
but who else really accepts it?
I do.
Paul!
How'd you get up here?
I borrowed a broomstick.
Oh, Paul...
Get away from him!
I warn you, Colbert,
when Duke and Cresca get in here...
They ae both indisposed,
but not like your wife.
They were pulling her
out of the back of the car.
How did you find us?
I went through your desk.
I found out how to get here,
and also I found this.
What delayed you?
Their car broke down.
It held them up for over two hours.
Good.
I was beginning to think
they had all the luck.
IRENE: We still have!
Throw your gun down!
He said throw it down.
(GUN THUDS)
Well, Irene, you redeemed yourself.
Go outside, and see
what's happened to Cresca and Duke.
Hurry!
I must confess, I was somewhat
worried about you, Mr Colbert.
But not now.
I have already called the police.
Oh, they'll find no trace of you.
Just Sharon and my wife.
Murder and suicide, huh?
Precisely.
Perfect, you see.
Foolproof!
If everything is so perfect,
what do you think I am doing here?
Your foolproof scheme
has more holes in it
than a fake accident claim!
There'll be no more mistakes!
I'll see to that.
Oh, you made nothing but mistakes!
Blunder after blunder!
You're just another cheap crook -
greedy and stupid. Shut up!
I told you your scheme is insane.
That'll do! Now, I warned you both.
Milo!
They're hurt, Duke and Cresca!
I can't bring them to.
They're badly hurt!
Yes, it was just my intention.
I've got to get Duke to a doctor.
No, no, no.
I'll see to him later.
Milo, he's hurt! Steve, too!
Shut up, shut up! Let me think!
Yes, think - and think fast.
The cops will be all over you.
They'll talk to your neighbours,
they'll dig back into your past.
They'll find nothing. Nothing!
There isn't anything
they can use against me!
I made sure of that.
Nothing, huh?
And what do you think
I have told the police?
Everything.
They know everything!
I can handle them.
I can explain everything
to their satisfaction.
You're forgetting Dr Hartley.
He'll never believe
that I escaped a second time.
That's right.
He goes straight to the police.
The truth will come out, bit by bit.
That won't happen.
It doesn't have to happen!
Hartley will never testify.
You mean you'll kill him, too?
Yes!
I'll kill anyone
who can tell them anything!
(DRAMATIC MUSIC)
Yes, I'll kill Hartley.
I'll kill you.
I'll kill everyone.
Everybody.
I haven't lost.
(SUSPENSEFUL MUSIC)
I haven't lost.
Stay where you are!
Milo!
What's wrong with him?
What's wrong with him?
(CRYING)
Milo!
You did this to him!
You did it to him!
No.
He did it to himself.
(SUSPENSEFUL MUSIC)
Oh.
Oh, Milo!
(IRENE SOBBING)
Milo?
Milo, I told you.
I told you, Milo!
I warned you! I warned you.
(SOLEMN MUSIC)
I warned you, Milo. I warned you.
(TENSE DRAMATIC MUSIC)
(SIRENS BLARING)
(DRAMATIC MUSIC)