Original subtitles

(suspenseful music)

- [Cathy] Mommy...

Mommy...

Mommy...

Mommy...

(both moaning)

(suspenseful music)

(thunder booming)

- Now give my love to gran.

I'll be up in a couple of days, as soon as I can get away.

- [Mother] Right.

(thunder booming)

(windshield wipers clicking)

- Mommy.

Mommy.

- I thought you'd be asleep.

Off you go now.

Shut your eyes.

Oh, Brian.

Brian!

Brian, stop it!

I'm trying to drive!

Oh Brian, stop it.

Oh!

(giggling)

Brian...

- You leave my mommy alone!

- Cathy!

(tires squealing)

(glass shattering)

- Mommy, mommy!

Mommy! (Mother groaning)

(suspenseful music)

(sirens wailing)

(tires screeching)

- [Policeman] She's dead, her throat's cut.

- [Policeman] The man's alive, just.

- [Policeman] How about the kid?

- [Policeman] Right.

She seems okay.

- [Policeman] Gotta be in shock too.

- [Policeman] I think she could have lived

if she hadn't slipped back in the car.

That's when her throat got cut,

dragged back over the glass.

- What's her father's condition?

- He wasn't her father.

He says the girl caused it.

- Caused what?

- The accident.

(patients speaking quietly)

- There's nothing wrong with her, physically.

- You killed your mother.

(suspenseful music)

You killed her.

- [Brian] You should be asleep.

Come on.

Go to bed.

(suspenseful music)

(glass shattering)

(screaming)

(glass shattering)

(tires screeching)

(sirens wailing) (mother screaming)

- [Cathy] Wake up, wake up.

- [Brian] You did this, you!

Don't you run away.

- [Cathy] Run away.

- [Father] You killed your mother.

(mother groaning)

You killed your mother.

- [Father] Give my love to gran.

You killed your mother.

(glass shattering) (mother sobbing)

(screaming)

(suspenseful music)

- Oh, good morning.

I'm Terry Besanko.

I'm here a little early, I'm afraid.

Shall I wait here?

- I uh, I--

- Oh, you don't work here?

- No.

- Are you auditioning too?

- Uh huh.

- Come on.

We'll find out where we're supposed to be.

I introduced myself.

- Oh, I'm sorry.

I'm Helen.

- You're not cold, are you?

I'm sure that you are--

- Terry Besanko.

And uh, Helen--

- Selleck.

- This way.

- [Audiontee] But if you are cold--

- [George] Madam.

I am in great danger of catching a chill.

Your performance has frozen me to the marrow.

May I suggest that in the future,

your audition be not filled with--

- You nervous?

- Yes.

- Couldn't help hearing what he said to that last girl.

You done much acting before?

On the stage, I mean.

- Oh, a bit.

- I haven't.

Never been on stage in my life.

- Haven't you?

- No.

I got picked up on the street

and shoved into a television soap opera.

That's all I've ever done.

How about some lunch?

- Now?

- When this is over.

How about it?

- Well I, I wouldn't want to be any trouble.

- Trouble?

- Oh, I'm sorry--

- You're next.

- Oh.

- Won't be long.

- Desperation often drives us to extremes.

I've even said nasty things about you.

- Hey, what's that?

Did you say something?

Here, boy.

I have seen your work.

And I like it,

otherwise you would not have been invited here today.

Please remember,

theater is not television.

We do not have the advantage of the close-up.

Nor do we have electronic devices with which

to amplify your dulcet tones.

Now the man sitting in the back row, up there,

has paid his money.

And has every bit as much right as your fellow actors

to hear what you have to say.

Please speak up.

Project.

Shall we take our hands out of our pockets and try again?

- Desperation often drives us to extremes.

I've even said nasty things about you.

Tension forcing words from my addled brain.

I'm not the kind who's forcing you, you know?

Even at this early stage of my fucking head.

Premature and ineffectual decisions

defeat the purpose of my presence.

- [George] That was very promising, Terry.

I think you might be next.

Thank you, come along, come along.

- Mr. D'alberg?

Mr. D'alberg, Helen Selleck.

- [George] Good morning, Miss Selleck.

Do you have something prepared?

- Uh, yes I do.

- [George] Shall we begin?

Which scene?

- 13.

- [George] Tempting fate, Miss Selleck.

- I don't mind talking.

I'm just in the mood tonight.

God knows what's come over me.

You didn't have to wait for me.

- [Terry] I wanted to.

- I wish you didn't see my audition.

- Hey, you were good.

Better than me.

The only reason he wants me in the play

is because he thinks the mums will come and see

their favorite soapy star.

(chuckling)

- Well, do you think they will?

- We'll soon find out.

- Goodbye, Terry.

- Hey, we're having lunch.

Why not?

- I can't.

- You're meeting someone else?

- No.

- Your boyfriend?

- No, no.

- Oh, I'm sorry.

I shouldn't have said that.

See you at rehearsal.

(knocking)

- Who is it?

- [Angela] Angela, stage manager.

Helen, open the door.

- The door is open.

What do you want?

- You got the part.

(suspenseful music)

Well aren't you glad?

- No.

- But it...

It'll be all right, sweetheart.

(Helen breathing heavy)

- Come on, Paul.

Come on.

- Oh, come on, not out here, Marilyn.

- Hey!

Come on, here.

Come on!

(suspenseful music)

(both moaning and giggling)

(bottle rattling)

(suspenseful music)

(both moaning)

(Marilyn moaning)

(both moaning)

Come on...

(both moaning) (suspenseful music)

(glass shattering)

(ominous music)

(Marilyn screaming)

(groaning) (Marilyn screaming)

(gasping)

(screaming)

(groaning)

(Helen breathing heavy)

- How's that do?

- Good. - Fits you like a glove.

- Whoops, sorry.

- Oh, that's okay. - Are you looking for me?

- What would I want you for?

- I could always live in hope.

I'll fix this at home and bring them tomorrow.

- [Helen] You're not allowed to look.

- Okay.

- You gonna take me out to dinner?

- [Terry] If you'll come.

- Of course I will.

Am I pretty?

- Yep.

(gentle music)

You're strange.

Sometimes, you seem to be miles away.

You're very beautiful.

- Please don't rush things.

I've never had a boyfriend before.

I've never been allowed.

(eerie music)

If we're careful, maybe.

- [Terry] We'll be careful.

- This play is a comedy about death.

A concept which may be difficult for you to grasp,

and which will certainly be difficult

for an audience to grasp unless you are able

through the virtual nonsense dialogue

which this playwright provides you to convey

a mental picture

of humorous expiration.

Death...

But before death, comes life.

Life, pleasure,

warmth of someone close to you

until they are ripped untimely from your bosom.

Life is death.

From the moment of birth, death encroaches on us.

But we are happy being alive.

You.

Has someone close to you died?

Good.

Grief.

Do you have it in your mind, girl?

I want you to keep it in your mind.

Laugh.

'Cause it's nothing more than the end of a life.

(screaming)

(sobbing and laughing)

- Ow!

You bitch!

You fucking bitch, I can do whatever I want, you hear?

You can't stop me!

- She's mad!

(suspenseful music)

- I'm sorry.

I found your key under the mat.

You don't mind?

- [Terry] No, no, of course I don't.

- I had to talk to someone.

- What's the matter?

- Nothing's the matter.

(ominous music)

(Helen breathing heavy)

(upbeat humming)

- When are you finished?

- I haven't even started yet.

(laughing) (upbeat whistling)

- [Judy] Fay, could you take this in a bit?

- [Fay] You lost weight.

- Absolutely. - Shut up, Terry!

- What's wrong?

- It's bad luck to whistle.

Don't ever do it again.

- I'm sorry.

- Well that's not gonna help, the damage is done.

- I, I didn't know.

- That bitch shouldn't talk to you like that.

- Eh, it doesn't matter.

(bar patrons talking quietly)

I'll get you a steak.

Two steaks, please.

With beer.

Ange?

I'm sorry.

I didn't know it was seen to brought bad luck.

- That's all right, they shouldn't have blown up like that.

It's an old wives tale anyway, like saying break a leg

instead of good luck on opening night.

- No, it's not.

You'll see.

- Anyway, it's done now.

There's nothing we can do about it.

(eerie music)

- Hello, darling.

"Hello Judy.

"Sorry darling, got to rush.

"Can't stay to talk."

What's up with her?

- Who?

- [Judy] Helen.

- [Helen] What did I tell you?

(suspenseful music)

I don't know, mother.

They're all the same.

And you trusted him!

Yes, Cathy.

Then you're a fool!

He's only a dick!

No.

No, no, no.

You're blind, you're fucking blind!

Now get out of here!

You get out of here!

(knocking)

- Helen?

(knocking)

(suspenseful music)

(Helen breathing heavy)

- Have you met a man like that here in town?

- No, no.

The man, the town and the one-story house are fictitious.

- I've never thought about them,

but now that you mention it, I suppose they are.

- Come on, come on!

I am often afraid of the dark--

- [George And Judy] For no reason at all,

but maybe that is something else again.

- And maybe you are something else again too,

miss whatever you call yourself,

for you are surely not an actress' big brown freckle!

And for your further edification, that means arsehole!

We are 24 short hours away from performing

this little fandango in front of an unsuspecting public,

and the least they deserve is that the performers

that they are paying to see should remember the lines

they are supposed to utter,

and that they utter them convincingly,

and with a modicum of skill, which you, dear Judy,

seem to conspicuously lack!

- You tell me what the idiot lines mean,

and maybe I'll be able to get them to stick!

- I have stressed, time and time again,

that the literal meaning of the words

in this piece is unimportant.

The beauty and drama is contained within the rhythm

and the opposite nature of the juxtaposition of the words.

That, and the comedy of death.

- Bullshit!

- My dear Judy, I apologize for saying you are not

an actress' big brown freckle, I was wrong.

You are an actress' big brown freckle.

- Thanks a million.

- Now my dearest Judy, may we continue?

- Children, the world is yours.

Play with it.

Succor it, and each other.

- Bravo, bravo, bravissimo.

- Who the hell let you in?

- Tut, tut, tut.

You scared what I might see, George?

- You can see the most brilliant piece of theater

this century, and you'd still give it a scathing review.

You have an evil tongue, Bennett.

- Suits my evil mind.

- Well, what do you want?

- Merely to invite the cast to a little soiree

I'm having tomorrow night.

To celebrate the excitement of the opening.

(George chuckling)

- I'll pass the word on.

- Do.

It should be a lot of fun.

Even you would be welcome, George.

(Bennett chuckling)

(suspenseful music)

(Helen breathing heavy)

(gasping)

- Jesus!

- No, me.

(laughing)

- Don't do that.

- Oh, sorry.

- No you're not.

(sighs)

- Cup of coffee?

- No.

- A drink?

- No.

- A joint?

I suppose a screw's out of the question?

- Jesus, Bruce, will you piss off?

Look, I have got a mountain of work to do

and we open tomorrow night, unless you've forgotten?

- Can I help?

- The only way you can help is to get the hell out of here

and leave me alone.

- All right, all right, so, I'm not wanted,

I can take a hint.

- Eventually.

- You might be sorry though.

- I don't see why.

- Oh, I might not invite you again.

- Oh, really?

- And I'm very good in bed.

- Then Bruce, darling, go to yourself.

For Christ's sake Bruce, can't you take no for an answer?

Bloody actors, they're always saying bloody kiss.

Shit.

(ominous music)

(Helen breathing heavy)

(glass shattering) (Angela screaming)

(Helen whistling)

Who is it?

(Helen laughing)

(Angela screaming)

(groaning)

(coughing and sobbing)

(groaning) (ominous music)

(rain pounding)

(tires screeching) (car horn honking)

(Helen crying)

- Oh no!

Oh, oh no, please, leave me alone!

Hello.

- Hello.

Hey, I'm sorry.

- About what?

- About last night.

I upset you.

- Silly, it wasn't your fault.

- [Terry] Love you.

- Names?

- Why?

- You'll find out.

- Terry Besanko.

- What's yours, girlie?

- Helen.

Uh, Helen Selleck.

- Right.

Someone will see you inside.

- [George] Children.

- Were you in love with the girl or something?

- Angela?

- Who else?

- (chuckling) No.

- Then what were you doing back here?

- Oh well I was uh (clears throat) feeling randy.

Oh, she's a horny bird--

- Was.

- Yeah, was.

- So you came back here, she knocked you back,

then you uh, sliced her up.

- Christ, no!

- The angel of death has taken Angela.

- It's your fault!

You whistled!

- [Fay] Shut up, Sue.

- He whistled and Angela's dead!

(Sue wailing and crying) - Stop it, no!

- Terry, go home and change that shirt.

- [Terry] What have I done?

- It's green, boy.

Never wear green!

- Miss Selleck?

- Mr. D'alberg?

I'm not gonna stay here anymore,

you have to find someone else.

This production's jinxed.

- Nonsense, girl.

Rubbish.

Besides, I need you.

- They think I did it.

Judy for Christ's sake, they think I did it.

- Did you?

- Of course not.

- Then there's nothing to worry about.

They're not going to hang an innocent man.

(gentle music) (birds chirping)

- Do you believe it?

- Believe what?

- What Sue said.

That I brought bad luck.

- I don't know.

- You think I did?

- I didn't say that.

(suspenseful music)

Terry, I...

(gasping)

- Helen?

Darling?

- Oh...

I dream.

Sometimes I dream.

I think.

Oh...

I don't know, I don't know what's real anymore.

- [Terry] I'm real.

- Don't.

- What did I say?

- It's nothing you said.

- Then what is it?

- It's nothing you've done.

I can't love you, that's all.

As much as I want to, I can't love you!

- I can love you.

- Cathy won't let you.

- What did you say?

- Cathy won't let you!

Do you understand that, you fool?

(vocalizing)

(theatergoers talking quietly)

(suspenseful music)

(Helen breathing heavy)

(bell ringing) (theatergoers talking quietly)

(glass shattering)

(eerie music)

(bell ringing)

- [Man] Excuse me.

- Oh...

- My favorite seat.

I can watch you squirm, George.

- Yes.

- Are you superstitious, George?

Hmm?

Huh?

Then I wish you luck, Georgie.

I wish you luck.

- Sarah?

Sarah, can you get me something to eat?

- I have a sore foot.

Get it yourself.

- If I had a God who to me was sacred and omniscient,

then I would swear by that God that I meant every word

I said to you.

- [Judy] But you don't have that God?

- [Terry] Did I say--

(eerie music)

- [Bruce] For Christ's sake, get on stage.

What's wrong with you?

(audience laughing)

- Have you met a man like that here in town?

- Oh no.

The man, the town and the one-story house are fictitious.

Purely fictitious.

- I've never thought about them.

But now that you mention it, I suppose they are.

(audience and Bennett laughing)

- I'm often afraid--

- I often forget the doff for no reason at all.

But I'm something else again.

- She certainly is.

- Terrors that make your blood freeze.

Imagine hearing someone brushing against the wall

on a dark night.

You're wide awake but aware that you're senses

are somewhat blurred.

And it is she...

- My love, where have you been?

- Children.

The world is yours.

Play with it.

Succor it, and each other.

(audience applauding)

- Oh ho.

George, the audiences are so tasteless these days.

They all applaud the more puerile rubbish.

But I applaud you for your bravery in

taking their money from them.

(George chuckling)

- Whatever the reason, Bennett, at least I get it.

And you'll get yours.

Applaud.

Oh, stand up.

(audience and Bennett laughing)

- Who was responsible for that?

- [Judy] You being the play, I thought you were?

- Oh.

I often forget the dark.

There's only one thing you forget, madam.

- I can't remember the lines that were written

by a raving idiot!

I've got to have motivation to--

- Motivation?

- Yes.

You tell me what it is and I'll remember the bloody lines.

- I'll give you your motivation.

Your motivation is $350 a week,

which the manager at the moment

could well afford to be spending on somebody else!

- [Judy] Well, let them!

- Oh.

Oh, Mr. D'alberg, I am a great admirer of your work.

Such genius!

- Oh, very kind, very kind.

- Of course, I don't understand the inner meaning

of the work but oh, you make the outer side

such a joy to watch.

- Well, you know how it is.

Thank you very much--

- Mr. D'alberg? - Yes?

Excuse me. - Of course.

- Oh I'm sorry, I'm sorry I dropped the curtain on you.

See, I've never been a stage manageress before and--

- And you never will be again.

Sidney, how nice to see you.

(all speaking excitedly)

(knocking)

- You were wonderful.

- Do you think so?

- I do.

And so did the audience.

You coming to the party?

- I should go home.

- Not tonight.

- I have to.

I'm scared, Terry.

- There's nothing to be scared of now.

♫ Beat on

♫ Oh on our way we go

♫ And hip hooray

♫ Hello hoo hoo

♫ Hello hoo hoo oh do

- It not only walks and talks, it sings.

- [Bennett] Ah!

- Did I startle you, dear old deviate?

Tut tut, what a mess you made of yourself.

Mummy won't be very pleased.

- Get out!

- Now what lies, slanders, and hard truths

are you perpetrating tonight, Bennett,

in the guise of fair criticism?

- [Bennett] Get out, George!

- But you invited me to your party.

You even said that I would be welcome.

(George groaning)

- You don't want to read this, George.

Go and enjoy yourself.

Save your embarrassment until tomorrow.

- I suppose you've panned us all,

you crippled old queen.

- Save one shining light.

- [George] Whose knickers you want to get into, no doubt.

- That's a disgusting remark.

- But you are disgusting, Bennett.

(Bennett chuckling)

(paper shredder whirring)

- Come on.

- Uh, we'll get a cab.

(suspenseful music) (Helen breathing heavy)

- Helen?

Helen?

Helen?

Helen?

Helen?

You there?

- Terry?

(slow jazz music)

- Mr. Collingswood will see you in a moment.

Would you like a drink?

(Judy chuckling)

- But of course, darling.

- Hi. - Hello, sexy.

(Judy chuckling)

- [Judy] Hi.

- What do you think you're staring at?

- Well I'm transfixed by your indescribable beauty.

- Oh yeah?

Pretty honest, it's got bells on it.

- But your nice tits, anyway.

- Not mine.

What you see is what you get.

- Was that an invitation?

- No.

It's a joint.

(typewriter whirring and beeping)

(partygoers speaking quietly)

- Aha.

The classic features.

The eyes, with a hint of tragedy in them that

only enhances their beauty.

Let me look into them and see if I can find their secret.

Ah, there was a tragedy.

Hmm, yeah.

Don't tell me.

I don't want to know the details.

It's sufficient to know that far off,

in some other time,

you were very, very unhappy.

And the pain lingers in this beautiful body.

- Don't touch me.

(eerie music)

- The old bastard say that about me?

- And worse.

- What could be worse?

- Why don't you ask him?

- Hmm.

Ah, Mr. Collingswood?

- [Bennett] Yeah?

- Can I have a word with you?

- Yeah.

- I'd like to discuss your review of the play with you.

- Huh?

(laughing)

Have you read it?

- Well, not exactly.

- Come with me, I've got something to show you.

(partygoers speaking quietly)

- Does anyone want to hear

what the boring old queen has written about us?

- [Terry] Hey yeah, why not?

- "Someone once said that theater is dead.

"If tonight's performance, and I use the word loosely,

"at The King's is an example of today's theater,

"then the sooner its death throes cease, the better,

"save for a startling performance from a newcomer,

"Helen Selleck.

"George D'alberg's hackneyed production is a boring

"and tedious procession of cliched, emotional tricks,

"performed with substandard thespian effort."

(suspenseful music)

- [Bennett] You wonder why I'm so bitter?

Watch as I did,

it used to be surging and with style.

We'd used to get laughs.

Now comedy's nothing more than a dirty joke.

What about the board hall?

Whatever happened to music hall, hmm?

Whatever happened to the sort of excitement

that used to go hand in hand with a building like this?

- [Bruce] Hmm, yeah.

No, I see what you mean, Bennett.

(Bennett laughing)

- [Bennett] Oh, I doubt it.

Not with your performance, if you could call it that.

- Yes.

You could see nothing, praise within it?

(Bennett laughing)

Well I did think I handled that entrance with surely

but some degree of a star.

And the audience thought so, they applauded.

- For some strange reason which escapes me,

the public look on you as a star.

They always clap the first entrance of a star,

however badly done.

- Then there's nothing (sighs) good you can say about me?

(Bennett laughing)

- In my review?

- Uh, yes.

- Oh, poor Bruce, you really do try hard.

(Bennett chuckling)

Well the review is written.

Still, I could revise.

I don't have to file my copy until the morning.

Would you like that?

- Yes I, I think I'd like that.

- You know something, Bruce?

You're a tramp.

You're a harlot.

But then, so am I.

The only difference between us is that I have talent.

I have skill with words.

And you really are a lousy actor.

Oh.

No playing the game, Brucey, huh?

No playing the game.

(Bennett chuckling)

You really want to go through with this,

on the off chance that I'll,

I'll write something nice about you, huh?

(Bruce groaning)

(Bennett laughing)

Run, rabbit, run!

Oh!

(suspenseful music)

Ah...

Little Brucey rabbit, wouldn't let me grab it.

(laughing)

(eerie music)

(glass shattering)

Jesus.

Why did you do that?

You just frightened the living daylights out of me.

Well don't just stand there, help me find,

help me find my lighter.

(groaning)

(blood squelching)

(Bennett groaning)

(Helen breathing heavy)

(grumbling)

(eerie music)

(dramatic music)

(knocking)

- What's wrong?

- I'm safe.

Now I'm with you.

Not yet.

I'm not ready yet, Terry.

- Big day tomorrow, kiddo.

Better get some sleep.

Good night, darling.

(glass shattering)

(Helen laughing)

- [Sue] Good evening, company.

This is your one hour call.

One hour, thank you.

- There's no such thing as a one hour call.

If we happen to have a full company in the theater

at the moment,

could I possibly see it on stage immediately, please?

(Helen breathing heavy)

- [Judy] Typical of Bennett.

- But not coming back to his own party?

- What did he say when you asked him to change his review?

- Oh, said he would.

- And?

- Thought he'd be a bit tough, you know but uh,

deadline beat us.

(Helen breathing heavy)

- We can only assume that the publishers of the news

took legal advice and decided against publishing the

scandalous comments Collingswood made about me

in his review.

We can only be thankful.

I rarely agree with Collingswood,

but he made several points in his unpublished piece

with which I wholeheartedly concur.

Bruce, your performance last night was execrable.

You missed cues, you dropped lines,

and generally behaved like a rank amateur

at a country Sunday School concert.

I find myself wondering if you were in the same play

as the rest of the cast.

Except for Judy of course,

who was in a little play all by herself.

Words fail me, as they failed you last night.

Your most fervent admirer, had you had one,

would have been disgusted.

And where is the only one who escaped criticism

from the scribe?

(suspenseful music)

I can assure you she will not escape criticism from me!

Has anyone seen her tonight?

- [Bruce] No.

- Well find her!

- [Judy] Where do you suggest we look?

- God knows.

Collingswood's bed, perhaps?

Possibly her own.

Surely Terry knows all of her little haunts and habits?

(suspenseful music) (Helen breathing heavy)

(glass crunching)

(suspenseful music)

- [Sue] This is your five minute call.

Five minutes to curtain.

- Where the hell have you been?

She's here waiting for you.

- Helen?

- Who else would I mean?

She's in her dressing room.

Won't open up for anyone else but you, dear.

(suspenseful music)

(knocking)

- [Terry] Helen, it's me.

- I tried to get rid of her.

Honestly, I tried.

- Well Helen, what's happened?

- [Sue] Helen and Terry, your call, please.

- How do you feel?

Can we go up?

Good girl.

- She'll be back.

And I won't be able to stop her again.

- [Terry] Don't worry, I'll look after you.

- [George] For Christ's take you two, get up here!

- My God, girl.

What a lovely neck you have.

(audience laughing)

And did any letters come for me when I was out?

- No sir, the postal department is on strike.

- I see.

Then get us some food.

There's a good girl.

- I told you, I have a sore foot.

Get it yourself.

(audience laughing)

- Shit.

(scoffs)

(ominous music)

(gasping)

Oh, Bruce.

Christ, you gave me a fright.

That's not fair.

What are you doing here anyway?

- Making sure you're gonna be around during the second act.

- Stop it.

- Why?

- Well that's what I should be saying to you.

- I die 10 minutes into the second act.

Haven't you read the play?

- Of course I read the play.

I uh, I bet you die enthusiastically.

- Oh, we'll soon find out, won't we?

(Fay giggling)

- Should I shoot myself, Sarah?

I mean, would that be a big enough gesture?

Would they listen to me then?

- Well, it's worth a try, sweetheart.

(audience laughing)

- Where did you get that?

- Oh, I thought you might need it.

(gun cocking)

(gun firing)

(audience laughing and applauding)

- [Terry] Could somebody please tell Paul in props

not to put such a large charge in the fucking gun?

I nearly blew my foot off.

- [Man] She's kind of obscure, don't you know?

- [Woman] She might be pretty, but she's got a sour mouth.

- [Man] I believe D'alberg has failed.

He strikes the right level of humor

but fudges on the melodrama at times.

- [Woman] So it is the man himself.

(suspenseful music)

(bell ringing)

- Actors to connect, standby.

Connect act two.

(theatergoers speaking quietly)

(suspenseful music)

Standby, electrics.

- We've been over that bridge already.

(audience laughing)

Now I have another, still more difficult to overcome.

- Cue 59.

(Bruce groaning)

(audience laughing)

(sighing)

- Life wasn't meant to be easy.

(audience laughing)

- Is death?

- Cue 59.

Go.

(suspenseful music)

- Ah.

- [Fay] You like?

- I like.

But I like it better off.

(Fay and Bruce laughing)

(Bruce grunting)

Me Tarzan, you Jane.

(Fay giggling)

(suspenseful music) (Helen breathing heavy)

(glass shattering)

Did you hear that?

- What, Tarzan?

(both laughing)

(both moaning)

(ominous music)

(Helen breathing heavy)

- Hey!

What do you think you're doing?

Hey come on, beat it, get out of here!

(Bruce groaning)

- Oh my God!

(screaming and groaning)

(rain pounding)

No!

No, no don't!

(screaming)

(audience laughing and applauding)

(Fay groaning)

(Fay vomiting)

(Fay screaming)

(Helen breathing heavy)

(audience laughing)

- Oh, is that a medal?

- [Terry] It's a life service medal.

(audience laughing)

(suspenseful music)

(Helen breathing heavy)

It just happens to be in my pocket at the moment.

(blood squelching) (ominous music)

(audience laughing)

(Judy speaking quietly) (ominous music)

- [Terry] If I had a God

who to me was sacred and omniscient,

then I would swear by that God that I meant every word

I said to you.

- But you don't have that God?

- Did I say that?

(Judy and audience laughing)

(Fay groaning)

(water running)

Terrors that make your blood freeze.

Imagine hearing someone brushing against the walls

on a dark night.

You're wide awake but you're aware that your senses

are somewhat blurred.

And this is she...

- My love, where have you been?

- Children, the world is yours.

Play with it.

Succor it, and each other.

(audience applauding)

Where the hell is he?

- Screwing Fay, probably.

- Jesus!

- [Man] Uh, excuse me.

- [Woman] He's dead to the world.

- [Man] The play wasn't that bad.

- [Woman] I don't know, I nodded off once or twice.

- Can't see George complaining about tonight's performance.

Oh, it went off without a hitch.

- [Sue] Supper, anyone?

- Why not?

I feel like getting drunk.

- Anyone seen Helen?

- [Sue] Oh, she's gone.

- Oh?

- You coming?

- I might join you later.

(suspenseful music) (Helen breathing heavy)

- Hey, Sue, I'll catch you later, okay?

I gotta set my laundry.

Fay?

Oh, oh my God!

(screaming)

(ominous music)

(Judy crying and screaming)

(Helen sobbing and laughing)

(Judy screaming)

(Helen laughing)

(Judy screaming)

(Helen whistling)

(Helen laughing)

(gasping)

(Judy crying and gasping)

George!

My God!

George!

(screaming)

Oh no!

No!

(Judy sobbing)

Oh no!

Oh!

(ominous music)

(glass shattering)

(Helen whistling)

(Judy screaming)

No!

No, no, no!

(Judy screaming)

(ominous music)

(Helen laughing and sobbing)

(Helen sniffling and breathing heavy)

- [Helen] Oh...

(knocking)

Terry, please.

I love you.

(Helen moaning)

I love you so much.

(gentle music)

- [Terry] Good night, darling.

Sweet dreams.

(suspenseful music)

(glass shattering)

(Terry screaming)

- [Announcer] Beautiful actress Helen Selleck

was an actress last night when she fought off

and killed a man who tried to force his intentions on her.

The man, a member of the cast of Comedy of Death,

currently playing at The King's,

broke a mirror and threatened her with a sliver of glass.

In the ensuing struggle, the glass entered his neck,

and he later died.

Now a police spokesman later said it was believed

that the man was also responsible

for several vicious murders,

which have terrorized the land.

The city where the forecast continuing away

with light thunderstorms coming up later in the day.

- [Director] Next, please.

Your name?

- Well, Helen.

Helen Selleck.

(ominous music)