Original subtitles

[music playing]

[MUSIC - THE POLICE, "EVERY BREATH YOU TAKE"]

SONG: Every breath you take, every move you make,

every bond you break, every step you take, I'll be watching you.

Every single day, every word you say, every game you

play, every night you stay, I'll be watching you.

Oh, can't you see, you belong to me?

How my poor heart aches with every step you take.

Every move you make, every vow you break,

every smile you fake, every claim you stake, I'll

be watching you.

Since you've gone, I've been lost without a trace.

I dream at night, I can only see your face.

I look around, but it's you I can't replace.

I feel so cold, and I long for your embrace.

I keep crying, baby, baby, please.

[phone ringing]

[moaning]

Oh.

Oh, darling.

I have to go to work.

No, we have tonight.

Mm-hm.

Wait for me.

[chuckling]

SONG: Oh, can't you see, you belong to me?

How my poor heart aches with every step you take.

Every move you make, every vow you break,

every smile you fake, every claim you stake, I'll

be watching you.

Every move you make, every vow you break,

I'll be watching you.

I'm so late.

I've got to hurry.

I'll see you tonight.

Bye, darling.

SONG: I'll be watching you.

Every breath you take, every move you make, every vow you

break, every step you take.

I'll be watching you.

Every breath you take, every move you make, every vow you

break, every step you take.

I'll be watching you.

Every breath you take, every move you make, every vow you

break, every step you take.

I'll be watching you.

Every breath you take, every move you make, every vow you

break, every step you take.

I'll be watching you.

Every breath you take, every move you make, every vow you

break, every step you take.

I'll be watching you.

Every breath you take, every move you make, every vow you

break, every step you take.

I'll be watching you.

Every breath you take, every move you make.

Well, good morning, Linda.

Woo, heavy night last night, huh?

[chuckling]

Hello.

Hi.

Black Sea cruise line?

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

But I'll see if I can locate some.

All right?

I'll get back to you.

Bye-bye.

Linda, do you have any brochures on the Black Sea cruise line?

Yeah, I do.

Great.

Thanks.

Wanna have lunch?

Um, I--

I have so much stuff here to catch up on.

I--

ROGER (ON TV): You think it's easy for me?

He's been my best friend for 10 years.

I don't wanna hurt him.

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

What did he say when you told him?

He ran out on the beach.

He wouldn't deal with me.

ROGER (ON TV): All right, listen, Sherry.

I love you, OK?

And I promise you everything is gonna work out OK.

SHERRY (ON TV): All, right, Roger.

I love you.

Goodbye.

Goodbye.

How could you do it, Sherry?

I mean, let alone with my best friend?

SHERRY (ON TV): What was I supposed to do?

You were never around.

Michael, please.

MICHAEL (ON TV): I thought you would change, Sherry.

I honestly thought that you would change.

[sobbing]

Oh, darling.

I wonder what people would say if they knew about us.

Hm?

[phone ringing]

Hello?

DEEDEE (ON PHONE): Hey, I knew you were there.

Deedee?

I just got in.

Guess what?

I'm here at the Neon Bar with the most

gorgeous flight attendants.

Come on over.

Deedee, I can't.

DEEDEE (ON PHONE): Why not?

I-- because I--

I just got undressed.

So get dressed!

I've got this terrific-looking guy for you.

He's a pilot.

He looks just like Tom Selleck.

I don't know, Deedee.

DEEDEE (ON PHONE): Come on, it'll be fine.

There's no one there with you, is there?

No.

Good.

I'll see you soon, then.

Don't be long.

Deedee?

Well, Linda's different.

Yeah, great personality, huh?

[laughter]

No, that's not what I mean.

What do you mean?

Well, she's smart.

Smart.

And she's real private.

Whoa, those are always the best kind.

If you just get them going, hey, Alex?

Hey, I can get her going in 10 minutes.

All I gotta do is use my three stage approach.

Ooh, what's that?

Three little lines that never fail,

no matter who the lady is.

First step is, "why are you so sad?"

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

No.

But that might work on Linda.

[laughter] - Wait a second.

No, no, no.

Think about it for a minute.

You know, women walk around feeling that life

has dealt them a low blow.

Here I come, I recognize that inner struggle.

Hey, Milt. Right?

Best time to get them is when they're laughing.

They stop laughing instantly, and they say, hey,

this guy has insight into me.

He realizes that I'm complex.

[laughter]

Wait a second.

You wanna hear stage two?

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

Instantly, they recognize that you are

aware of quality merchandise.

And knows that you're one, too?

Of course.

Linda a thoroughbred?

Wow.

Hey.

What's stage three?

Stage three?

Stage three.

"Baby, you're ready."

What if she's not ready?

Doesn't make any difference.

You just keep saying it. "You're ready, you're ready."

Until she buys it.

Then you move in for the kill, right?

You want another drink?

Right, right, yeah.

Two more. Four more, please.

- He's smooth, huh? - I'll say.

You gotta remember to use the eyes.

You're Linda?

I'm Alex, Deedee's friend.

Oh, hi.

Hi.

They're a trip, aren't they?

They look so happy.

Well, most of this happiness is

gonna be a hangover tomorrow.

May I take your coat? - No, I--

That's OK.

I've been in a million towns like this.

They all have bars just like this.

They're the same kind of a crowd, all searching.

For love?

A true romantic.

There's not many of us left.

Shall we dance?

I'm not very good.

Oh, that's OK, honey.

You just let the music move you.

So don't worry about it.

Just get out there, have a good time,

and I'll make you look good.

It's a great group, huh?

I can't do this kind of dancing.

I understand.

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

I'm sorry.

I--

Let's get a drink, OK?

What would you like?

I'll have whatever you're having.

OK.

Two Manhattans. please?

Is that a--

a nice drink?

Tres chic.

I'm sorry about the dancing.

I never was any good.

It's OK.

I understand.

Thank you.

Come on, take a good shot.

It's good.

It's a great drink.

You know, I sense that you're sad.

Do you wanna talk about it?

I'm not sad.

It's OK.

You can talk to me.

Because, well, we have a--

a connection.

I felt it the first time you came in.

We're so alike.

There isn't anything that we couldn't do together.

DEEDEE: Hi.

Hi.

What did I say, Alex, huh?

Yeah, she's a real thoroughbred.

Hm.

I'm sorry, I have to go.

Linda, please.

Linda?

Hey, Linda, wait a second.

We were just getting to know each other.

Where are you going?

Why don't you go back in there?

I'm sure there are a lot of women who would like

to go home with you tonight.

[car struggles]

You've got a dead battery.

Can I give you a lift home?

Just a lift.

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

Really, honey, I'm sorry.

I-- I didn't mean to get you so upset.

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

Come on.

- What are you-- stop the car! - Hey, hey.

Hey, wait a second!

Honey, take it-- it's no big deal.

Let me outta here!

Take it easy!

Hey.

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

Ah.

I'm sorry about last night, really.

That's OK.

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

He just can't take no for an answer.

Wanna have lunch?

I-- I have so many errands to do this afternoon.

Tomorrow, for sure.

OK.

[chattering]

MAN (ON TV): Ready?

OK.

MAN (ON TV): We've got to do something with this scene.

Well, that's no problem.

We'll just tighten it.

We'll cut it.

And let's cut these first two speeches.

Uh-huh.

Glenn'll start shy.

"What are you doing here?"

Cynthia, "Roger had an accident."

And Glenn, "is he all right?"

And we'll cut.

Sherry, what are you doing here?

Roger's had an accident.

[sobbing]

How bad is he?

Cut.

Good.

That was lovely.

Very good.

It was really very good.

Come on over here, and let's--

let's run the lines for the next scene.

I'd like a cashier's check for the balance.

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

No, I--

I want it closed.

This time, he took me to a wonderful restaurant, Italian.

It was heaven.

Would you believe it?

He turns around, and all of a sudden,

he starts talking to the waiters in Italian.

Well, everybody in the place was looking at him.

I was kind of embarrassed at first, but then I felt--

didn't I wash them enough?

You never do.

Well, I've been hearing about your mystery man for a while

now.

Am I ever going to meet him?

He's only going to be here a few days this time.

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

You're going to California?

Yes.

When?

You can't go away.

Why?

Well, because you have responsibilities here.

You can't go away.

It's only for a few days, Mother.

It's-- it's nothing.

You're going to travel alone with a man, and it's nothing?

Well, now I have heard it all.

When you moved out of the house and got your own place,

I didn't say a word.

But now this?

Well, no daughter of mine is going to travel with a man

that's not her husband.

You can't stop me.

Oh, I can, and I will.

Please, Mother!

I don't know where I went wrong with you.

You were always peculiar.

I have to go.

You haven't eaten your dinner.

Will I see you next week?

I'll be out of town.

Linda, don't do this.

Don't do what?

Don't fall in love?

Michael loves me.

He loves you?

Yes.

He thinks I'm pretty.

Has he ever seen you upset?

[sobbing]

What does that matter?

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

I've always loved you.

Well, guess what?

He has seen me upset, and it doesn't matter to him, either.

Baby.

Baby, all we have is each other.

Not anymore.

I have my own man now.

Thank you.

Excuse me.

Um.

Do you have a reservation for Linda Foster?

Let me check.

Do send up some champagne.

It's already there, Madam.

Oh, thank you.

What's your name again, please?

Foster.

Foster.

Foster.

I don't see a room for Foster.

No, no, it's a suite.

Suite.

Oh, a suite.

Yes.

Uh, and your rental is waiting for you in the garage,

if you'd kindly fill out this card

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

[chuckling]

LINDA: Hi, I'm here.

No here.

No, I just got here.

Oh, yeah, the room is beautiful.

Did you miss me?

I sure missed you.

I know you did.

No, really.

Hi, I'm here!

Hi.

I'm here.

I missed you.

Did you miss me?

I know you did.

Did you miss me?

I sure missed you.

I did.

So this is where you live, Michael?

Hm.

[phone ringing]

Savage Hills.

May I speak to Michael--

Glenn Stevens, please?

It's Linda Foster.

May I ask what it's in reference to?

It's personal.

He's expecting my call.

Well, he's shooting right now.

Would you like to leave a message?

I'll call back.

Thank you.

And action.

Well, I came as soon as I heard, Roger.

I'm sorry this has happened.

Well, you know how you drive that car.

Cut.

Glenn, Glenn, your remark is here.

OK, Marty, I'm sorry.

Can we go again?

Fine.

And this time, take a longer beat before your speech, OK?

OK.

Good.

How you doing, Gary?

The name is Gareth.

And I'm burning up in here.

I don't know much longer I can take this.

OK, this is the last time.

OK, ready.

Yeah.

And action.

I came as soon as I heard, Roger.

I'm sorry this happened, but you know the way you drive--

oh!

OK, Glenn, cut.

[bell rings]

What's going on?

Marty, I'm sorry, but these lines make

my character sound like a jerk.

What's the problem, Marty?

Talk to your star.

What's the problem, Glenn?

Margaret, for two years I have been trying to give

Michael some human compassion.

And this is my friend, has been my friend for 10 years.

I think I should sit on the bed, talk to him like a real friend,

like a real person in a real world.

Do you understand the real world?

I mean, I wouldn't talk to him about how he drives his car!

All right, I'm gonna take care of it.

Thank you.

Um, you wanna kill these lights?

And everybody just take five.

Somebody get Gareth out of these bandages.

Some actors are really self-destructive, aren't they?

[sighs]

Well, how about 9:30?

No?

We have 1 o'clock opened.

OK, do you wanna try Friday?

Um, we have 11:30 open.

Would that be all right?

OK.

OK, great.

Thank you.

Ms. Foster, you can go in now.

Thank you.

[heart beating]

Just fill this out, please.

Thank you.

My key, please.

I--

Ms. Foster.

Of course.

You look outstanding.

Thank you.

Uh, can I send anything up for you?

Some champagne, please.

My pleasure.

Hi.

I'm back.

What do you think?

Hm?

[chuckling]

I did it for you.

I like it.

Shh.

Don't talk.

Don't talk.

Hi.

Hi.

Linda Foster for Savage Hills.

Sorry, your name is not on the list.

What?

That's impossible.

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

I'll check again.

You a day player?

Sorry, let me call the show, see if I can straighten it out.

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

I'm so late, really.

OK, you just make sure you clear your pass for tomorrow.

Right, thanks.

[bell ringing]

OK, folks, quiet on the set.

Stand by to record.

WOMAN: Camera 2, pedestal right.

Just a bit.

Camera 1, zoom out so you can catch Cynthia's entrance.

MAN: All right, roll, tape.

Quiet, please.

WOMAN: Tape is rumbling.

Stand by.

This is Savage Hills, episode 1806, scene 84.

Take 2.

Beautiful.

OK, let's do it.

WOMAN: Tape is rolling.

MAN: And action.

And cut.

Thank you, Glenn.

That was beautiful.

Relax, kids, for the next setup.

That was fantastic.

It was wonderful.

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

I don't fight it, Margaret.

I'm only doing what I thought was best for the show.

Sweetheart, what's best for this show

is that you're here on time, you hit your marks,

and you say your words.

Margaret, be honest with me.

I mean, are you happy?

I mean, really happy with what we're churning out?

You bet I am.

And at 400 thou a year, you should be, too.

[chuckling]

I don't know how much longer I can handle it.

Margaret's such a steam-roller.

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

What are you staring at?

Oh, I don't know.

I'm just seeing how long it's going to take

you before you kiss me hello.

Sorry.

Where's Bobby?

Upstairs, watching television.

Look, why don't you just ask Margaret to write you out

of the next couple of episodes?

I can't.

She's just brought Cynthia and Michael back together again.

Well, your contract's coming up for renegotiation.

Why don't you just not renew it?

Damn it, Jackie, you make me so mad sometimes.

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

I mean, look around.

There isn't a damn thing in this house that

wasn't paid for by my show.

You know, I've never seen you like this before.

Why are you so unhappy?

It's the damn character I'm playing.

I'm not allowed to change anything.

I mean, I don't even like Michael!

Michael, I'm so sick of hearing about your character.

That's all I hear about.

You're obsessed with him.

You even bring him to bed with you.

Oh.

Oh, terrific.

So that's your excuse, huh?

[glass shatters]

I'll do it.

Look, why don't we just drive to the boat

and spend the weekend together, huh?

Look, maybe you should just spend some time by yourself.

Why?

Just to sort things out.

I do realize that the show is very important to us

financially, but I just don't wanna

see it destroy our marriage.

Thank you.

Thank you so much.

Thank you so much, and good afternoon.

And now, for all you beautiful women who have come here

this afternoon, leaving behind your husbands

and your children and their problems to take on ours--

[applause]

--All these years we have shared such a wonderful,

romantic, and illicit affair.

Please, help me welcome warmly the cast of Savage Hills.

Our villainous rival, Mr. Gareth Grand.

[applause]

And Michael's renewed romance, the beautiful Cynthia Shelby.

And now, the man you've all been waiting for, our resident

lover, Mr. Glenn Stevens.

[screaming and applause]

Yes, he makes my heart go pitter-patter, too.

Oh, by the way, Glenn, I forgot to tell you.

We've just sold the show to another country.

Greenland.

[applause]

And I must say, all those Eskimo ladies,

they are melting over you.

Terrific.

10 years with the Royal Shakespeare Company, and here I

am, melting Eskimos.

Well, if you ever get tired, just remember,

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

And you're right out in front, hey, Gary?

It's Gareth.

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

You're wonderful.

Your wonderful.

And now, what you've been waiting for, our contest.

As you all know, the first prize will

be a guest appearance on our show,

playing opposite Glenn Stevens.

[applause]

Glenn, why don't you come over here and help me pick

out the lucky lady, the winner?

[applause]

And the winner is Mary Cartwright.

[screaming]

It's me!

[screaming and applause]

Oh my goodness.

Congratulations.

Oh, congratulations, that's wonderful.

Come on, let's hear it.

[chattering]

Thank you.

Thank you.

Oh, hello.

Didn't I see you on the set?

Yes.

GLENN: Are you an actress?

No, I'm not.

I'm a journalist.

I'm with Newsmaker Magazine.

You're doing a story on the show?

Actually, I'm interested in doing an interview with you.

Then perhaps you should call my agent

and ask for an appointment next week.

I'll be in New York next week.

Well, would you mind waiting for a while?

Gladly.

I was very curious to meet you.

You are a lot like the character you play.

Oh.

Did I say something wrong?

No, no, no.

It's just that I've been playing this guy for so long

that I find it difficult to separate myself from him.

For a lot of women, you are that character.

Yeah, I know.

Thank God they don't have to meet me and be disappointed.

I'm sorry it's got so late.

We could have done the interview here,

but I'm afraid I have to get home.

Um, what about tomorrow?

Well, I plan to go sailing tomorrow.

Well, perhaps I could interview you before you leave.

I do set sail very early.

I wouldn't need more than an hour.

OK.

Then you'll find me at the marina, pier 33,

and the boat is called Rica.

Rica.

Rica.

All right.

See you at 7:00.

Bye-bye.

[MUSIC - THE POLICE, "EVERY BREATH YOU TAKE"]

SONG: Every breath you take, every move you make,

every bond you break, every step you take, I'll be watching you.

Every single day, every word you say, every game you

play, every night you stay, I'll be watching you.

Oh, can't you see, you belong to me?

How my poor heart aches with every step you take.

Every move you make, every vow you break,

every smile you fake, every claim you stake, I'll

be watching you.

Since you've gone, I've been lost without a trace.

I dream at night, I can only see your face.

I look around, but it's you I can't replace.

I feel so cold, and I long for your embrace.

I keep crying, baby, baby, please.

Good morning.

Oh, there you are.

I thought you would have been here a couple of hours ago.

I'm terribly sorry.

I got tied up.

She's a real beauty.

Ah, thank you.

I had one once.

Really?

Uh-huh.

23 foot cutter rig sloop.

I used to sail her every weekend.

Not all by yourself, surely?

Yes, all alone.

It was my father's, really.

He taught me all about it.

May I?

Yes, of course.

Come on board.

Thank you.

Oh, she's terrific.

I'm so glad we're doing this story

on board and not on the set.

Well, yes, I'm sure it would have been delightful,

but well, I'm about to set sail.

You mean we're not doing it?

Well, if I don't leave the harbor almost immediately,

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

Well, I could come along and interview

you while we're under sail.

Ms. Foster, I had intended to be alone.

This is very important to me.

It's a cover story.

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

I'm-- not that you need the publicity.

You do make it very hard for me to say no.

You aren't going to send me back empty handed, are you?

My publisher will be very disappointed,

and-- and I'll probably lose my job.

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

I hope you don't think I'm being too pushy,

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

Well, where's your tape recorder?

I don't use one.

I-- I just take very fast notes.

Welcome aboard.

LINDA: Well, is it much different working in America?

GLENN: Well, in a way.

I mean, look at "Savage Hills."

I'm told it reaches millions of people every day.

LINDA: That's incredible.

GLENN: In England, I did dozens of productions

with the Royal Shakespeare Company

that maybe a dozen people saw.

I was a working actor, and nobody ever recognized me.

LINDA: So you don't mind doing a soap opera?

GLENN: Let's just say it's a love-hate relationship.

LINDA: You've been married for the last 10 years, Glenn.

Um, how did your marriage survive the pressure?

GLENN: We had to change a lot.

LINDA: Yeah.

Does Jackie still treat you the same way

as before you were famous?

GLENN: She still nags me when I don't take out the garbage.

[laughter]

You know, sometimes I feel like quitting the show

and just sailing off around the world.

It's my dream, too.

But it gets harder to chuck the security.

It must be difficult being a sex symbol.

I wonder if you know the power you have over so many women.

They dream about Michael.

They fantasize about Michael.

They're in love with him.

I think that's sad.

You know, sometimes I just wanna stand up and let everyone

know I'm just an ordinary guy.

Two arms, two legs, stress, strain,

mortgage, marital problems.

Uh, no.

Please don't print that.

Right.

Let's not demystify Michael.

Might break a lot of hearts.

Are you making fun of me?

[chuckling]

Ah, I don't blame you.

I understand you.

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

So have you any more questions?

I'm still taking notes.

Well, I hope you know how to string them together.

I can't tell you the number of times

I've come out sounding like a jerk with the quotations

all out of context.

Tell me, when is this little story of yours going to break?

Um, would you like some more wine?

No, thank you.

Well?

The truth is, I--

I'm not with Newsmakers Magazine.

Then who are you with?

You're going to kill me.

Why?

I'm not a journalist at all.

You're kidding.

I'm not kidding.

So there is no magazine, no journalist.

No, don't tell me.

Your name isn't even Linda.

My name is Linda.

That much is true.

Oh, good.

I really wanted to meet you.

Well, that's very flattering.

You know, I should be furious with you.

I wouldn't blame you.

Are you?

Yes, I am.

Are you, really?

Yes, and you know, I should actually just leave you here

and go back to the boat myself.

[chuckling]

Hey, where are you going?

I'm going to swim home.

Oh, Linda, don't be crazy.

That water's freezing.

[laughter]

Come on.

No, I'm swimming.

No, no.

Linda, come on.

Don't be-- Linda.

Linda.

Linda, come on out.

Don't come in.

All right.

If that's what you want.

You stay there. Oh.

No, no.

I'm going to get you.

Stay there. Don't.

I'm swimming home.

[laughter] - I'm gonna get you.

Come on. - No.

Come on, come here.

I'm freezing.

Here.

A boat, Mother.

A sail boat.

It's Michael's.

Yeah.

I just wanted to call to say hi.

Well, it's the first chance I got.

It's beautiful.

The weather is fantastic, and the people are so nice.

I'm really having fun.

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

Because I just don't know.

My plans have changed.

I-- Michael wants me with him all the time.

I don't like your tone of voice, Mother It is true!

In fact, Michael asked me to marry him.

Of course I said yes.

We're in love.

Oh, don't worry, Mother.

You'll meet him before the wedding.

I have to go now.

Yes, I'll call you.

Bye, Mother.

Sweetheart.

That was my mother.

I'm so happy.

Tell me.

Tell me, honestly.

Are you as happy as I am?

Do you know, this is the most wonderful

thing that's ever happened--

Linda, who is Michael?

That's just my pet name for you.

You know, from the show.

You just told your mother that we're getting married?

I didn't mean now.

I-- I meant eventually.

What the hell are you talking about?

I could never marry you.

I mean, I'm already married.

What about last night?

I mean, last night was wonderful.

It was very special, but you don't really, honestly,

believe that it means anything, do you?

It doesn't mean anything?

You held me in your arms.

You told me you loved me.

You said you've never felt like that before.

What do you mean, it doesn't mean anything?

It was-- it was just the moment.

I mean, we don't even know each other.

I feel like we've always known each other.

Yeah, maybe, but the reality is that we have only just met.

[sobbing]

Linda, I am sorry.

I had no intention of hurting you.

Darling, I understand.

I really do.

I-- I know the pressure you're under.

Don't let's spoil it.

It's such a beautiful day.

I hate to go, you know?

But I must.

Bye, darling.

Bobby how many times have I told

you not to play in the street

Well, I just wanted to get my ball.

You know you're supposed to play in the backyard.

Come on, let's go and find your mother.

Jackie, do you know where I found him?

He was running after his ball in the street.

Why the hell can't you watch him?

Why don't you go upstairs, OK?

Why, Mommy?

I didn't do anything.

I know, I know, but you need to take a bath.

You are extremely dirty, OK?

So you go upstairs and start your bath,

and I'll be up in a second.

I leave you one day--

And you come back angrier than you were before you left.

What is happening with you?

[phone ringing]

I'll get it.

Hello.

How did you get this number?

I don't want you calling here.

This is my home.

[phone ringing]

Hello.

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

No, no, Linda.

You don't understand.

It didn't mean anything.

No, I never said that.

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

Who was that, Glenn?

No one.

[phone ringing]

Gonna have to change the phone.

Why?

Who's calling?

Oh, just some crazy woman.

What crazy woman?

Someone I met once.

A fan.

What do you mean, "met"?

[phone ringing]

Why?

What does she want?

Operator, I need to change my home phone.

How can I arrange that?

Fine, yeah.

I'll do that.

Thanks.

So where did you meet?

At the boat, yesterday.

Well, this woman came by, posing as a--

a journalist.

Then she came on with this crazy story of how she'd been

trying to meet me for years.

And then what happened?

Oh, we just sailed, and-- and then she interviewed me.

Well, she was pretty convincing at first.

Jackie, do stop staring at me like that.

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

You know, I--

I thought that it would be good if you spent

some time alone this weekend.

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

And now this woman is calling all the time,

and I found out that you took her sailing, a fan!

What am I supposed to think?

[phone ringing]

[knocking on door]

Yeah?

Who is it?

MAN: Douglas.

Come in.

[doorknob turns]

Oh.

hi, Douglas.

What's up?

Got a note for you.

Oh.

Who gave you this?

A fine-looking lady.

Where is she?

Out in the lobby.

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

You got the time.

Douglas, listen carefully.

You go out there, and you get rid of her,

and you never let her on this set again.

Sure.

Not today, not tomorrow, not any time, OK?

OK, you're the boss.

Hey, Glenn.

Let's run some lines.

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

I'll save it for the show.

Yeah, you do look terminal.

Thank you.

Uh, Margaret?

Yeah, Glenn?

May I have a word?

Yeah?

I-- I need your help.

What's the matter?

I wondered if you might write Michael

out for a couple of weeks.

You're kidding.

No.

I need to spend some time with my family.

That's impossible.

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

Margaret, nothing for you is impossible.

I mean, you do and undo these characters at your whim.

You decide what you need for the next 60 pages.

You sit at your typewriter, and you turn it out like putty.

I mean, it's not impossible.

I beg your pardon.

You listen to me, I have been doing this show for 13 years.

And I was winning awards when you were nobody, you hear me?

Well, maybe-- maybe you're tired of cashing fat checks, huh?

Because if you are, you let me know, and we-- we

can get somebody else.

What is it, Douglas?

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

Yeah.

The lady won't leave.

She says that she's your fiancee.

Would you mind telling me what is going on here?

I have got this crazy woman, Margaret, on my back.

Look, you go back to work.

I'll handle this, all right?

Douglas, come with me and tell me what's happening.

Margaret Chase, what a pleasure to meet you.

Glenn's told me so much about you.

Well, uh, this isn't exactly the time to be social.

I understand that you were asked to leave.

I-- I want you to know that you're upsetting

Glenn very much, and we only have 10

minutes before we got a tape.

Miss Chase, this is very difficult for me,

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

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

I know, but it concerns you.

It concerns the show.

Did you know that Jackie's pressuring

Glenn to leave Savage Hills?

No, why would she do such a thing?

Because he's going to divorce her.

It's the only way she can hurt him.

You see, Glenn and I are going to get married.

Um, I really don't understand this.

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

Well, that's his guilt. Glenn is

very vulnerable in this area, and Jackie knows

exactly how to manipulate it.

Glenn would be lost without me and without the show.

Um, excuse me, Miss--

Please call me Linda.

Look, we are very close to taping, so if you want to wait,

I will have Glenn talk to you.

Thank you.

OK.

Excuse me.

Oh, good, is she gone?

No.

What?

You mean, she is still here?

Will you pull yourself together?

What's the matter with you?

Just go talk to the lady!

OK, OK, I will.

Phew.

LINDA: Darling.

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

Now, why are you here?

You know I can't stay away from you.

Now, I'm warning you.

I don't want you calling my home again,

and I don't want you coming back here.

I'm warning you, don't try to push me away.

I'll do anything to keep you.

Are you threatening me?

Darling, I love you.

I don't want to hurt you.

I just want to talk to you.

So you wanted to talk.

When?

Tonight.

Where?

At the hotel.

MAN: We're ready, Glenn.

It'll be more private.

OK.

[phone ringing]

Hello?

Hi.

I'm in 353.

Come on up.

I'm waiting for you.

Going up?

Yes, thank you.

Excuse me, sir.

Aren't you Glenn Stevens?

No.

No, I'm not.

Oh, you sure look like him.

Three, please.

[knocking on door]

Come in.

It's open.

Darling.

You still don't understand.

You're here, aren't you?

Champagne or tea?

No, thank you.

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

Darling, I was looking at wedding rings today.

I was looking for simple bands, but then I thought perhaps

we wanted something a little more--

Linda, please stop it!

What kind of sick fantasy is going

through that head of yours?

Michael, don't talk to me that way.

I am not Michael.

I am Glenn.

Glenn Stevens.

And it was Glenn Stevens on the beach, not Michael.

Michael, what are you talking about?

We've been together for two years.

You've made love to me every night.

Michael is an image, and you cannot make love to an image.

Now, you need professional help.

You're sick.

OK, that's enough.

[sobbing] Linda?

Linda, come on.

Do you think I'll let you get away from me?

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

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

You don't know how strong I am and how patient.

Try to fight me.

You'll lose.

All right.

All right, what do you really want?

Money?

[chuckling]

Yeah, how much?

How much can you offer?

You don't know what it is to want something so much

you'd do anything to have it.

I worked for two years to make this happen!

Nobody can buy that.

Oh, God.

Linda, you must understand.

I love my family.

I don't love you.

You love me.

No.

No.

You'll be back.

Hey, do you remember when that jerk, Irv, finally got us

a job, one job for the both of us?

Throws us in a polar bear costume

for some children's show?

[laughter]

After 10 years of studying Stanislavski,

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

But not you.

Uh-uh.

You hung in there, all right.

Now look, you got a show.

You got a big house.

You got a boat.

Yeah, it all looks pretty terrific from the outside,

Sedge.

But I'm in trouble.

Too many broads chasing you, huh?

Not too many, just one.

And she's a real psychopath.

Oh, wow.

What's the story?

Who are you?

Linda Foster.

What do you want?

I'd like to talk to you about Glenn.

May I come in?

How long have you known each other?

About two years.

I don't understand.

Glenn said you just met.

He's still trying to protect you.

I don't believe you.

Oh, it's true.

I know everything about your relationship with Glenn.

Everything. - I don't wanna hear this.

I think you should leave.

LINDA: I think you should listen.

We didn't mean to hurt you.

We never thought this would become this serious.

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

And I can imagine how hard it must be on you.

Oh, you can?

All those times he said he was just too tired.

You must have thought he was preoccupied with his part.

He was thinking about me.

Get out of my house.

Let's be adult, Jackie.

Your relationship with Glenn.

That fight you had the other day, when you

broke the plate on the floor.

You tried to talk him into quitting the series?

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

We know Glenn is self-centered, selfish,

egocentric, impossible.

But he needs me.

You're crazy.

[sighs]

Oh, Jackie.

I know it hasn't been good for you and Glenn for a long time.

But it's been very good for us.

Where are you going, big guy?

Hey, what's happening?

Where's your mum?

Jackie, where are you going?

Jackie, what is this?

Jackie!

Let go of me, or I'm gonna call the police.

What?

You make me sick.

What kind of crazy behavior is this, huh?

Jackie?

She's gone.

She took it very well.

You've destroyed my family, and now you're destroying me.

What do you want?

I love you.

[glass shatters]

You're crazy.

And I'm gonna stop you.

I'm gonna stop you if it's the last damn thing I do!

You're going to love me.

Thank you.

Oh, hi.

See that?

Oh.

How much of it is true?

Well, some of it.

Jackie is with her mother.

Linda came by yesterday and spoke to her.

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

Jackie and Bobby are gone.

[whistles]

So what do you have on her?

Linda Foster.

Father died when she was six, lived with the mother

until she was 28.

Described as a silent, even tempered youngster,

who would occasionally have bouts

of uncontrollable hysteria.

All of this is related by her mother and her neighbors,

because apparently her co-workers at the travel agency

hardly knew her.

Anyway, I found her in the files of the Sandia Center

for Mental Disorders, hospitalized

1972 for severe depression, released six months later.

I talked to an intern who remembered her.

In his opinion, she'd been an undiagnosed schizophrenic

as a kid.

Oh, here comes the interesting part.

1982, she worked as a secretary for a local trucking company.

She claimed an affair with the manager

and sued him for breach of promise.

Oh.

And did she win?

No.

Didn't make any difference.

She created such a scandal the man was destroyed.

Lost his job, started to drink, and, um, his wife left him.

Better than one of your soap opera stories, huh?

You can ask for a restraining order.

You can even sue for harassment.

But the trouble, Glenn, is that the woman is a crank.

She's got a totally unrealistic vision of life.

And unfortunately, that includes you.

But it's not me.

It's the character I'm playing!

That doesn't matter to her.

The two of you are one!

Oh, God, what a mess.

Well, how far do you think she'll go?

That's what I asked that intern at the Sandia Center.

I told him the whole story without naming you, of course.

And he said that he thought that she might do anything.

She might even try to kill you, if you

don't fulfill her fantasies!

Oh, terrific.

All right.

All right.

So if you were in my shoes, what would you do?

Hey, I'm not in your shoes.

Well, just imagine that you were.

Well, come on, Sedge!

I know you've got an answer.

OK, OK.

You know, you're getting a little crazy now yourself.

Listen, the one thing you don't do to a psychopath

is threaten their madness, and that's what you did.

If it were up to me, I wouldn't wait for her to come after me.

I'd go get her.

All right.

All right, then maybe I'll--

I'll go along with her, fulfill her fantasy, huh?

Listen, Glenn.

Hey, look.

I've got a cabin up at Big Bear.

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

Maybe she'll go away.

No.

No, I have to stay here.

Thanks.

Glenn, I've gotta go.

LINDA (VOICEOVER): Did you make up your mind yet?

GLENN (VOICEOVER): Oh, no.

LINDA (VOICEOVER): What is it?

Is it guilt?

[chuckling]

Don't worry.

It doesn't last long.

Look, get away from me.

Please.

Just get away!

MARGARET: Beads of perspiration dot

his forehead as Michael slowly removes a gun from the drawer.

Ready for rehearsal, Margaret.

OK, Elly.

Elly, what's another word for "bigamist"?

Huh?

Margaret?

Yeah.

May I talk to you?

Now?

When did you write this?

Why?

You have me marry Sherry.

Then this strange woman appears and seduces me.

Mm-hm.

She then becomes so obsessed with me

that she tries to kill me, then have

her put into a lunatic asylum, and then have me realize

that I am in love with her.

I mean, what kind of warped mind do you have?

Gee, come on, where's your sense of humor?

Haven't you ever heard of art imitating life?

Oh, so that's what you think my life's about, hm?

Wait a minute.

Wait a minute.

Have you been speaking to that woman?

Well, what do you know, another creative difference.

Gareth, shut up, or I'll punch your face in.

Just relax.

Now, stop it.

Margaret, you have not answered my question.

So I had lunch with the lady.

So you had lunch with the lady?

I mean, what right have you to plunder my privacy?

GARETH: Seven year itch, huh, Glenn?

Whoa, whoa, whoa, whoa!

- Punch to the face, will you? - Hold it.

Stop it now.

Hold it.

Stop it, Glenn.

Let's go to my office.

Come on, we've gotta talk.

Come on.

Come on in, Glenn.

Why don't you sit down?

OK.

What's the problem?

I mean, you look awful.

I'm in trouble, Margaret.

And I'm going to need your help.

What?

I'm going to have to quit the show.

[sighs]

You mean that?

Yes, I do.

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

to do with anything except my own need

to try to bring my life back together again.

You know, Glenn, I always said if you wanna leave the show,

the door's wide open, huh?

The only reason I ever said that was because I really

never thought you'd leave.

You know?

I never really--

Yeah, I know.

Ah, it's funny.

This crazy lady, who's destroying my life,

in a weird way has helped me to realize

what's really important.

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

It's my family.

We're gonna miss you, Glenn.

Thanks.

So how can I help?

I need a favor, a very big favor.

Yeah, 353, please.

I'm here.

MICHAEL (ON TV): Yes, of course.

Sherry is at the beach house right now with Roger.

I've got to go over.

No, I can't lose her.

[knocking on door]

No, no, I'll be all right.

Thanks.

Yeah, see you at 4:00.

Goodbye.

Michael, darling.

I'm so glad you're here.

I missed you.

I missed you so much.

Did you miss me?

I wish you'd been here a little earlier.

You know, the show is nearly over.

Ah, sorry.

How have you been?

I've been awful.

Three whole days without seeing you?

I thought I was going to go crazy.

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

Do you know, I feel we've spent a whole lifetime, don't you?

We have been through a lot.

But we're together now, forever.

Do you know-- do you know how many times I've

dreamt of this moment, of being with you and watching the show?

Darling, what is it?

Is something the matter?

You seem so-- so distant?

No, no, no, no.

It's-- it's nothing.

I-- I just feel a little uncomfortable watching

myself on the television.

The show is wonderful.

And you're wonderful in it.

Champagne?

Yes, thank you.

I thought we'd celebrate.

MICHAEL (ON TV): Don't go, Sherry.

I'm asking you not to leave.

SHERRY (ON TV): Let's not go through this again.

I love you.

SHERRY (ON TV): I'm sorry.

ROGER (ON TV): Michael, we never meant for this to happen.

It's not going to.

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

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

Michael, please!

No.

[gunshot]

[scream]

Michael?

Michael?

He's dead.

Oh!

No!

It was the only way.

No.

Michael!

Michael, Michael!

Linda.

No!

Agh!

GLENN: Linda.

LINDA: You know, I'm really looking forward to going home,

now that I know you're gonna be there.

It wasn't so bad this time.

I--

Ready, Ms. Foster?

Your taxi is here.

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

So am I.

Take good care of yourself.

I'll carry your bag.

Thank you.

[MUSIC - THE POLICE, "EVERY BREATH YOU TAKE"]