All language subtitles for (1993)DoubleThreat.ING

[theme music]

[footsteps]

[door shutting]

[engine starting]

[beeping]

[door opening]

[beeping]

[tires squealing]

What's going on?

(SCREAMING)

[suspenseful music]

Kathleen?

Kathleen?

Kathleen, what the
hell happened here?

Are you all right?

I have a slight
headache coming on,

but other than that I'm fine.

Yourself?

I don't understand.

What the hell went on here?

Do you find me attractive?

What?

Do you find me attractive?

Do you get excited
when you look at me?

When you think about me?

You've been drinking
quite a bit, haven't you?

Actually, no.

This is my first.

Ah.

Do be a dear, and
get me another.

Are you going to tell me
what's going on or are you

going to keep you guessing?

KATHLEEN: Well, I thought it
would be obvious, even to you.

Well, it's not.

There was a burglary.

What?

With you here, in the house?

No.

I was out with a friend.

We came home early
and surprised the man.

There was a gun.

The gun went off.

Poor, dear man.

You're telling me someone
was killed here tonight?

I'm afraid so.

Who?

Unfortunately, it was you.

That thing's
not loaded, is it?

What is this, some kind of game?

Yes.

It is loaded.

And yes, it is
some kind of game.

The same game
you've been playing

and winning for six months.

But not anymore.

Oh, Kathleen.

You can't do this.

I killed your husband for you.

Don't make me laugh.

You didn't do anything for me.

You did it all for yourself.

That's not true.

I did it for us.

Expect me to believe all that?

You think I don't know
what you've been doing?

This-- this crazy.

I don't know what
you're talking about.

Dashing young man pours
a charm on older woman.

She falls.

She falls hard.

Makes her feel like
a little girl again.

He convinces her that uh, they
should get rid of her husband

so that they can live
happily ever after.

Like a fool, she believes him.

Then the minute he gets
his hands on her money, he

uh, dumps her and runs off
with a little blond bimbo

he's been keeping at the beach.

Is that about right?

No.

That's not right, baby.

None of it's right.

Kathleen, look at me.

I only did those things so
that we could be together.

I only did it because I--

because I love you.

That won't work anymore.

Come on, Kathleen.

You'll never get away with this.

Oh, yes I will.

I've had a very good teacher.

[gunshot]

So what do you think?

What do I think?

I-- I think you're a very
talented filmmaker, Steven.

All the footage looks great,
especially the action footage.

OK.

Cut to the chase, Crocker.

What is it you don't like?

I like everything I've seen.

What I don't like, is
what I haven't seen.

There's no sex in this picture.

No sex?

No sex.

Nothing sexy.

I thought the guy
was really sexy.

Look, Crocker.

You read the
script, you approved

the script, and everything
I just showed you

came directly from the script.

Now, what the hell
do you want from me?

Cooperation, Stephen.

Cooperation.

We're making a movie
starring, Monica Martel.

One of the biggest sex
symbols of the silver screen.

That was 20 years ago.

Doesn't matter
how long ago it was.

The fact remains that millions
of fans all over the world

still remember her
exactly that way, sexy.

That's exactly what
we're going to give them.

A very sexy new movie,
starring Monica Martel.

Look, Crocker.

I'm trying to make a good,
solid, entertaining feature

film here.

I certainly would
not expect anything

less from you, Stephen.

That's why hired you, when no
one else in this town would,

as I recall.

OK.

OK.

I get the point.

You're a man of
great insight, Stephen.

I really admire that.

But I want to know just
what you want, exactly.

You're the creative
genius around here.

I'm sure you'll
think of something.

I have great confidence
in you, Stephen.

Great confidence.

Remember, sexy.

Son of a bitch.

Can we go get
something to eat now?

What?

Can we go and get
something to eat now?

I'm hungry.

(LAUGHING) I'm sitting here
are contemplating the end

of my career, not to mention
a possible suicide, and all

you could think
about is doing lunch?

Quit making such a big
deal out of everything.

All you got to do is
use a body double.

A what?

A body double.

Sure.

Fashion photographers
use them all the time.

On model's head,
another model's body.

You know.

[sensual music]

[phone ringing]

Hello?
STEPHEN (ON PHONE): Lisa.

Lisa.
Wake up, baby.

I've got a job for you.

A John's?

A job?

STEPHEN (ON PHONE):
I said, a job.

Really?

[upbeat music]

You don't really want to
give me that ticket, do you?

Uh, sorry once I
started writing it,

there's nothing else I can do.

I'll give you my number.

Your number?

My number.

Can I borrow your pen?

Now, you keep this
in a safe place.

OK.

All right.

What was that all about?

She just gave me her number.

You're kidding, right?

Read it and weep.

No way.

(LAUGHING) That-- that's
her social security number,

you idiot.

(MOANING) Mm.

Ah.

Ah.

Ah.

Mm.

Ah.

Ah.

Ah.

Oh.

Mm.

Oh.

Ah.

Good morning.

Assholes.

What's the matter?

Movie's not even finished
yet, already the critics

are predicting it a disaster.

They're saying, that
I'm foolish for even

attempting a comeback,
that I would be

better off doing commercials.

Come on.

You know better than to let
stuff like that bother you.

Well, I'm sorry,
it bothers me.

Look on the bright side.

There's no bright side.

At least they're
writing about you again.

That's not very
comforting, Erik.

Monica, that's
not what I mean.

Any publicity is good publicity.

Besides, once the
picture comes out

and they see how
brilliant you are,

they're not going
to have any choice,

but to say wonderful
things about you.

How can you be so sure?

Because I know.

You're the best.

I uh, gotta go.

So early?

Not due on the set until 10:00.

I know.

I got to run a couple errands.

I'll see you at the studio.

[phone ringing]

Hello?
WOMAN (ON PHONE): Hello.

Is Erik there?

I'm afraid he just left.

WOMAN (ON PHONE): This is the
Olympic Life Insurance Company

calling about his policy.

I'm sorry.

I don't know anything
about an insurance policy.

WOMAN (ON PHONE): Well, I'm
sorry I bothered to you.

You didn't bother me.
WOMAN (ON PHONE): Thanks.

Bye.

Hey, Kline.

Bob Finick Quite a ways out of
your jurisdiction, aren't you?

No.

Not at all.

As a matter of fact,
this is my jurisdiction.

I got transferred down about a
month ago from San Francisco.

And you just couldn't
wait to pay me a visit, huh?

You might say that, yeah.

You're wasting
your time, Finick.

Yeah.

You're probably right.

You know, it's a funny
thing about human nature.

You get away with
something once,

you start figuring
maybe I can do it again.

And if that happens, I'm
going to be up your ass

in a New York minute.

Like I said, you're
wasting your time.

I got plenty of it.

I'll see ya, Erik.

Monica.

Stephen, don't even say it.
I know I'm late.

If you would get me a new driver
like I requested three times,

this would never happen again.

Monica, I need to talk to you.

Look, just give me one
hour in the dressing room,

then I'm all yours, OK?

Don't worry about that Monica.

There's something I need
to talk to you about first.

Don't worry about it,
that's easy for you to say.

But you're not the one that's
got to look beautiful in front

of the camera now, are you?

Monica, you do not understand.

I understand
perfectly, Stephen.

I've been in this business
much longer than you have.

Darling, get me a bottle
of Babylon, would you?

Monica, you're
not listening to me.

One hour.

One hour.

Stephen get in here.

Uh, Monica.

This is Lisa Shane.

Lisa, this is Monica Martell.

I'm really looking
forward to working with you.

I've been a big fan of
yours since I was little.

So nice.

Stephen.

Lisa, why don't you wait for
us outside a moment, please?

Oh, OK.

I'll just go rehearse
my first scene.

- OK.
- OK.

What scene?

Look, don't get
upset with me, I

tried to explain this
to you a moment ago,

but you wouldn't listen.

Explain it to me, now.

You've got my undivided
attention for a moment.

Crocker told me to
make the film sexier.

Why was that woman
in my dressing room

and what was she
doing in my wardrobe?

Studio hired her to
be your body double.

I see.

Well, I'm going to
put on my makeup.

If when I go out there,
she is still there,

you can finish the
film without me.

Come on, Monica.

You can't just walk out on
me, we're almost finished.

Watch me.

Look, when Crocker
came to me and asked

me to make the film sexier, I
didn't like the idea either.

But then I thought about it
and it began to make sense.

This is your big
comeback film, right?

Well, what better way
to make a comeback,

than to do a hot, steamy,
erotic love scene?

I've never had to do a nude
scene in any of my films,

I'm not starting now.

That's why we've
got a body double.

They'll never know.

Can you imagine what
your fans will do?

They'll love it.
- You think so too?

I know so.

They'd be lining
up around the block

just to see this
movie because of that.

And the publicity, can
you imagine the publicity

you'll get?
Come on, Monica.

You know I'm right.

Maybe.

Come on.

Look, I'm gonna
go out on the set,

but you think about
it for a minute, OK?

I'll see you later.

[phone ringing]

Hello?

MAN (ON PHONE): (WHISPERING)
Your life is in danger.

Who is this?

MAN (ON PHONE):
(WHISPERING) A friend.

[dial tone]

(SIGH)

A toast to us.

To us.

Are you sure it's all
gonna be all right?

There's absolutely
nothing to worry about.

Your husband's death
is going to look

like an accident, nothing more.

No one will ask any questions.

Kathleen.

The only thing you have to
do is trust me and you I

can be together.

Promise?

Promise.

Cut.

And cut.

OK, that was great.

That was really great, guys.

OK, we're going to move
on to the love scene now.

Monica, you won't be sorry.

Can we have the
body double, please?

All right.

Look.

Better not enjoy this.

(CHUCKLES) Don't worry.

I'm serious.

Just have two things
to say to you.

I am the star of this film
and Erik belongs to me.

Try very hard not to
forget either one of them.

OK.

You both know what to do.

OK, let's do it.

CREW MEMBER: And quiet, please.

All right, settle people.
OK.

Let's do it.

CREW MEMBER: Sam, roll cameras.

Scene 29, Denver.

Take two.

And action.

[sensual music]

[sensual music playing]

[knocking]

Hi.

- Hi.
- Mind if I come in?

No, of course not.

Good.

You know, I haven't had
a chance to talk to you

since you started on the film.

So I just thought I'd check
in on you, see how it's going.

Oh, it's going great.

I'm having a lot of fun.

Great.

Of course, I'd be having a
lot more fun if I was the star.

Oh, I'm sure you would.

Do you think I ever will be?

Well, you know what they say?

It's all in who you know.

Or who you blow.

Ah, yeah, yeah, yeah, I--

I guess they say that, too.

Listen, Lisa, what I really
wanted to talk to you about

is Eric.

Yeah?

What about him?

I just wanted to
tell you to be careful.

He's a user, Lisa.

First-class.

Believe me, I know.

I know what I'm doing.

I'm a big girl.

I know you are.

I just don't want
to see you get hurt.

Well, guess I said my piece.

I better get back to the office.

Dad?

Yeah?

Thanks for being there.

How could I do anything less?

Just be careful, all right?

OK.

[soft music]

ERIC: Hi.

Hi.

Listen, I ah--

wanted to tell you.

I think you did some
really good work today.

Oh, thanks.

So did you.

So is this where the
leading man makes a play

for the new girl on the block?

Is it that obvious?

Well, as long as
everything's out in the open,

I might as well take
my best shot, right?

Fire away.

Well, I was thinking
about a little drive down

to Malibu, romantic
candlelight dinner,

moonlight walk on the beach.

Sound good?

Sounds boring.

You need a better line.

Hey, I'm--

I'm open to suggestions.

Why didn't you try a
fireplace, a bear skin rug,

our sweating naked
bodies fucking wildly.

ERIC: Would that work?

No.

But it wouldn't be boring.

I'll have to work on that.

So in the meantime,
what do you say I ah--

I buy you a drink tonight?

- Sorry, I can't I'm busy.
- Hot date?

No.

I'm working at a club tonight.

Oh, woman of many talents.

Hm, you have no idea.

[piano music]

Oh, but I will.

I will.

[piano music]

[fast tinkling music]

Do you want me?

Yes.

[chiming music]

How much do you want me?

Very, very much.

[chiming music]

Come to me.

[chiming music]

Take me.

Take me now.

[chiming music]

Get out of here, Monica.

This is my fantasy.

Not anymore.

[gunfire]

Maybe a little
daydreaming, huh?

Yeah, I--

I guess I was.

Well, I can't honestly
say that I blame you.

She's quite a looker.

Yeah, she sure is.

But if I were you, I'd
stay far away from that one.

We both know how Monica can be.

That's right, you were
married to her once, weren't ya?

Yep, over 20 years ago.

Did she ever catch
you cheating on her?

Don't be a smart ass.

Sorry.

I was far too good of a
liar ever to get caught.

She did once, however,
threaten to shoot off

a certain part of my anatomy.

You're kidding.

No, I wouldn't kid
about something like that.

And between you and me, I
believe she would have done it.

So you'd be careful, huh?

I don't need the two
stars of my movie

trying to kill each other.

Enjoy the day.

[birds chirping]

MONICA: Eric, where
are you going?

Just going over to my
brother's, watch the fights,

have a couple of beers.

I told you about that.

I don't recall.

Come on.

I know I mentioned it.

We've been planning
this for weeks.

Look, I won't drink too much,
and I won't stay out too late.

[birds chirping]

OK?

Eric?

Yeah?

You wouldn't be thinking of
going somewhere else would you?

Where else would I go?

Don't play games with me.

I saw the way you looked at her.

The way I looked at who?

Little Miss body
Devil, who else?

Monica, are you
getting jealous again?

Is there a reason to be?

Of course not.

I did a scene in a movie
with her, that's all.

And the flirting
in the parking lot,

what was that, a rehearsal?

I wasn't flirting, Monica.

She was asking me advice about
acting, about getting an agent.

Of course.

What is that supposed to mean?

You know exactly
what it means.

The only decent role you have
ever had in your entire life

is the one I gave
you in my movie.

Why do you have to say
things like that to me?

Because I suddenly feel
it necessary to remind you

who gave you what
you have today,

as well as who can take it away.

Look, Monica, this--

this whole thing is
getting way out of hand.

I love you, only you.

Just please believe me.

Be sure and keep
those warm for me.

I'll be back for more.

Eric?

Don't bite the hand
that feeds you.

It might bite back.

You know what?

You're very sexy
when you're jealous.

I like that.

Turns me on.

[music playing]

[birds chirping]

What a bitch.

[birds chirping]

[music playing]

[suspenseful music]

[phone rings]

Hello, Joe's Place.

Yeah.

Coleman it's for you.

Hey, who is it?

How should I know?

Just keep it short.

This ain't a pay phone.

Hello?

Yes it is.

Yes, ah-- yes, I can do that.

Just a second, please hold on.

Ah, give me a pencil
and paper, John.

What I'm you're secretary now?

Come on.

This is important.

[harmonica music]

Go ahead.

Lisa Shane, got it.

Yes, I understand.

I understand perfectly.

No, don't worry.

Don't-- no, don't worry, I--

I'll-- I will take care of it.

Thanks, bye.

[traffic noises]

[club music]

[club noises]

[music playing]

You look really
great out there.

I know.

I thought you had
to work tonight.

I do.

I just took a break.

You got good timing.

Why don't you join me?

[music playing]

Come on, I won't bite you.

You promise?

No.

[music playing]

Come on.

[music playing]

Can we have a couple
of drafts please?

[music playing]

How'd you know what
club I was working in?

I just made a few
calls, checked around.

It wasn't hard.

I thought I'd surprise you.

But I ah-- I didn't, did I?

No, not really.

Am I that predictable?

Let's just say, I
didn't think you were

the type to give up easily.

Let's drink to that.

No, I can't.

I have work to do.

How about after?

It's going to go really late.

I can wait.

Look, Eric, I'd like
to, I really would.

But I just don't think that--

Why?

Did Monica say something to you?

She made her point.

I bet she did.

Listen, Eric, I like you.

I really do.

But I'm not going to just
jump in the sack with you,

especially while you're
Monica Martel's lover.

More like Monica
Martel's slave.

Well, you know
what they say, Eric,

we are bound only by the chains
we, ourselves, forge in life.

Who says that?

I do.

I gotta go.

You were right
about one thing.

Oh, yeah, what's that?

I won't give up.

I didn't say
you should, did I?

[club music]

[music playing]

[suspenseful music]

Oh.

Oh, Jesus, Eric.

You scared the hell out of me.
- I'm sorry.

I didn't mean to.

What are you doing here?

I saw you leave
over an hour ago.

I just thought I'd
hang around and try

and catch you before you left.

See if maybe I could talk
you into having that drink.

There is such a thing
as pushing too far.

Not for me there isn't.

Well, obviously.

Look, m just want
to talk to you.

What do you say?

I say it's been a long night.

THUG 1: It ain't over yet.

[intense music]

What do you want?

THUG 1: Wallets, jewelry.

Come on, hand'em up.

Now.

It's not going
to be that easy.

Well, if you don't want
to do business with me

you can do business
with my 0.38.

Just do what he says, Eric.

THUG 2: Smart lady.

Take it off.

Put it in the bag.

Come on.

Go get it.

[fighting noises]

[gun shot]

[FIGHTING NOISES AND MUSIC
PLAYING]

Eric.

[intense music]

Oh.

Agh.

Now get that other piece
of trash and get out of here.

[music playing]

Come on.

Don't shoot me.

Don't shoot me.

Are you OK?

ERIC: Yeah.

Do you need to see
a doctor or something?

No.

No, I'm fine.

OK, m going to
go call the police.

No, no police.

It's bad publicity.

OK.

[music playing]

What?

Nothing.

I was just thinking that
was very brave what you did.

Very stupid is more like it.

Ow.

You didn't happen
to get the license

number of that truck that
hit me in the face, did you?

Are you sure you don't
need to see a doctor?

I need a stiff
drink is what I need.

OK, let's go get that
night cap, my treat.

Now you're talking.

Come on, I'll drive.

[music playing]

Here's your $200 bucks.

Next time we ought
to charge more.

He's an actor.

He can afford it.

Oh, man, quit your whining.

It's the easiest
money I ever made.

[music playing]

Oh.

Tell me about you and Monica.

You don't really want to hear
about that right now, do ya?

Yeah, I do.

Well, it was my
first Hollywood party.

I was walking around trying
to act like I fit in.

I turned around, and then
all of a sudden there

she was standing
there smiling at me.

I froze.
- Star struck.

Slightly.

You know what?

She was really nice to me.

She treated me
like a real person.

Next thing I knew we
were laughing and talking

and we danced all night
together, me and Monica

Martel, the movie star.

Sounds like a fairytale.

ERIC: It felt like one,
too, for a while anyway.

But lately it's been
more like a nightmare.

Were you in love with
each other back then?

I don't think so.

I think I was maybe more in love
with the idea of being in love.

Monica, I don't think
she's ever loved anyone.

She treats me like a
possession, something

she owns, like a piece of
jewelry she wears on her arm

and shows off to her friends.

That doesn't
sound like much fun.

No, it's not.

Why do you stay?

Why don't you just leave?

The truth?

OK.

A couple months
ago I was going to.

And then this movie came up.

She helped me get the
starring role opposite her.

That's what I've always
wanted so I stayed.

I guess you might
say I'm using her.

I know that sounds terrible.

No, it sounds like
you're using each other.

I-- I guess so.

You're an honest man, Eric.

I like that.

I like that a lot.

[music playing]

Listen, it's getting late.

I guess I better be going.

Are you giving up so soon?

No.

I just probably think it's
the best thing right now.

Want to give me a
lift back to my car?

Sure.

First thing in the morning.

[music playing]

ERIC: Oh.

LISA: What are you
thinking about.

ERIC: I was just
thinking that I--

I haven't felt this
good in a long time.

Oh, too long.

Really?

Really.

Me too.

[music playing]

Are you worried about Monica?

Yeah, yeah, I am.

What are you going to do?

I don't know.

Maybe the only thing to do
is just to come right out

and tell her.

What do you think?

I think that's a decision
that you have to make.

[music playing]

Oh, would poor me a cup too?

Monica.

Well, you certainly didn't
expect to see anyone else.

After all, this is my house.

No, I just didn't
expect to see you here.

I ah-- I thought you'd
be at the studio.

Well, actually,
I'm supposed to be.

I'm running late.

I didn't sleep very
well last night.

I trust you had a fun
night out with the boys?

Yeah, yeah, it was OK.

Monica?

I need to talk to
you about something.

MONICA: Well, as long as
you don't mind talking to me

while I get dressed.

ERIC: I lied to you
about last night.

I never went to my
brother's house.

Well, it really doesn't
concern me where you went

as long as you had a good time.

[phone rings]

Would you get that?

[phone rings]

Hello?

Ah, just a minute.

It's for you.

Take a message.

She can't come to
the phone right now.

What's that?

Yeah, sure, ah, just a second.

All right, go ahead.

555-1743, got it.

All right, I'll
have her call ya.

Bye.

Who was that?

It's your broker.

He left his car phone number.

Monica, I don't
think you understand

what I'm trying to say to you.

You're talking to
me as if I've never

had a relationship before.

I mean, I do
understand how men are.

ERIC: I spent the night with
Lisa Shane, your body double.

Zipper me up, please.

Thank you.

ERIC: Did you hear
what I just said?

Of course.

I may be getting older, but
my hearing is just fine,

thank you.

Huh, and that's all
you have to say about it?

Well, what would
you have me do,

Eric, throw a temper tantrum?
Threaten you?

Kick you out of the house?

If that's what you
were expecting,

I'm sorry to disappoint you.

Huh, I--I don't get it.

What's there to get Eric?

I gave it a great deal
of thought last night.

And it occurred to
me that every man

I've ever been involved
with has cheated

on me one time or another.

Why should I expect you
to be any different?

This--this is crazy.

I-- I-- I don't understand.

What the hell is going on?

Nothing is going on, Eric.

I'm a mature adult.
And I've simply

got to accept the fact
that these things do

happen every once in a while.

And the only thing I request
is that you be discreet.

Monica, I'm telling you
this-- this is different.

How is this different?

You're not going
to tell me you're

in love with this girl, Eric.

This is Hollywood.

No one loves anyone,
they just pretend to.

Gotta go.

See you at the studio.

Huh.

[music playing]

[intense music]

Mr. Hendrikson.

Good to see you.

I don't see a briefcase.

That worries me.

Well, there's been
a little problem.

I don't want to
hear about problems.

I want to hear about
my $50,000 dollars.

I-- I don't have it yet.

You told me you could
get it from the old broad.

I believed you.

I just need a
little more time.

It's-- it's close,
though, it's really close.

How much longer?

Well, a couple of weeks.

A couple of weeks?

Yeah, two weeks, no more.

[suspenseful music]

Bury him in concrete.

[suspenseful music]

[gunfire and intense music]

[traffic noises]

[intense music]

[gun shot]

[intense music]

[gun dry firing]

Dammit, no blanks in the gun.

All right, cut, cut, All
right, what's going on?

Why didn't you have any
blanks in the damn gun?

I don't know.

I gave it to her
before the shot.

No one gave me anything.

I assumed they were in the gun.

All right everybody,
let's break for lunch.

We'll come back and do it again.

You gotta be kidding.

It's not my fault.

All right, you heard the man,
it's a half hour for lunch,

no more.

[knocking]

Come in.

I'd like to have
a word with you.

OK.

MONICA: First, I'd like
to give you something,

$10,000 dollars, cash.

[music playing]

I don't understand.

It's really simple.

All I want you to do
is make your character

a little bit more sympathetic.

That's kind of hard to do
when the character I'm playing

is really an asshole.

Oh, but that's
exactly the point.

If we can get the audience
to think that you're

a real nice guy at the
beginning of the film,

it will be that much more
dramatic when they find

out you really are an asshole.

I think everybody
already knows that.

What?

You heard me.

What's this?

Your money, you jerk.

I don't want it.

Lisa.

Lisa.

Actors.

Lisa, what the
hell's going on?

Just talk to me.

I don't want to talk to
you, not now, not ever.

I'm leaving.

Goodbye.

You want to tell me why?

Why?

Because I must have been
really stupid to think that

you were any different.

That's why.

God, I must have
been really stupid.

What?

What did I do?

I'm not like the other
bimbos you know, Eric.

You can't just lay me
down and then pay me off.

I am not a damn prostitute.

Did Monica have
something to do with this?

She did, didn't she?

I should have known.

Come on.

We're going to straighten
this out right--

Let go of me.

I want to get you
in a room with Monica.

I can prove everything
she told you is a lie.

No.

Just five minutes,
that's all I'm asking.

Is it worth that to
find out the truth?

Five minutes.

[explosion]

[suspenseful music]

Eric, Lisa, you OK?

[intense music]

And then it blow up,
just--just like that?

ERIC: Yes.

And you think that this ah--

movie star, this--
this Monica Martel

had something to do with it.
- Yes, I do.

DET.
ROBERT FENICH: Why?

She an extremely
jealous woman, Detective.

Jealous enough to
try to kill someone?

I think she's jealous enough
to want to see Lisa dead, yes.

Wanting to see someone dead
and actually killing them

are two very different things.

Don't you agree, Mr. Cline?

Now, look, do you
know anybody who

might have a reason to see you
dead, any reason whatsoever?

An estranged
husband, a boyfriend,

somebody who might
be a benefactor

in a life insurance policy?

All right, that does it for now.

I want to thank you
for coming down.

I'll be in touch.

Wait a minute.

She was almost killed.

We were both almost killed.

That's all you're
going to do, just

ask us a couple of questions
and send us on our way?

What do you want me to do?

Arresting Monica Martel
might be a good place to start.

For what?

For attempted
murder, that's what.

Interesting.

As well you know,
Mr. Cline, we don't

arrest people without
sufficient evidence of which

I have absolutely none.

Her car blew up.

What do you call that?

I don't know what
I call that, not yet.

So you don't think somebody
tried to kill me today?

Maybe, maybe not.

It's going to take some time.

It's going to take my time,
so if you'll excuse me.

Come on, let's get outta here.
DET.

ROBERT FENICH:
Look, don't worry.

I'll be in touch with you.

You can count on that.

[door slams]

[suspenseful music]

Well, get anything out of'em?

I didn't need to.

I know it's him.

Yeah?

What makes you so sure?

I know him.

But I can't figure
out what he's up to.

But when I do, and I will,
he's going to go down hard.

Sounds personal.

It is.

ERIC: Maybe that little
incident today was

just designed to scare you off.

Yeah, well, it that's
what it was, it worked.

Because first in the
morning, I am outta here.

Come on, Lisa.

Listen, I don't want
you to go anywhere.

I need you.

I'm afraid.

I know you are.

Listen, I'm going to find
out whoever is behind this,

I promise you, OK?

I've got an idea.

I gotta go take
care of something.

What?
What are you going to do?

Look, it's probably
better you don't even know.

Here's my car keys if
you need to go anywhere.

I'll grab a cab.

But I want you to stay inside
and keep the doors locked.

I'll be back as soon as I can.

Eric, be careful.

I always am.

Lock it up.

[music playing]

What are you doing here?

We need to talk.

Sit down.

[music playing]

What'll it be pal?
ERIC: A light beer.

[music playing]

[background chatter]

Oh, well, that's
a lot of money.

$10,000 to be exact.

It's yours.

Oh, no, I'm a private
detective, Mr. Cline.

I am not a hit man.

[music playing]

Thanks.

Look, there's $10,000 more
once the job is finished.

Like I said, that's
a lot of money.

What do you want me to do?

[phone rings]

[music playing]

Hello?

ERIC (ON PHONE): Lisa, it's me.

Eric.

Where are you?

Where have you been all night?

It's almost 5 AM.

You had me worried to death.

Don't worry.

Everything's fine.

Listen, I'm over in the valley.

I need you to come meet me.

You know where Jerry's Deli is?

Yeah, yeah, I think so.

But why?

What's going on?

Look, I don't want to
talk about it on the phone,

all right?

I'll explain everything
when I see ya.

Can you be there in--in an hour?

Yeah, I guess so.

Don't guess, Lisa,
this is important.

Just be there.

OK.

Fine, bye.

[intense music]

[suspenseful music]

[tires squealing]

[intense music]

[sirens]

[suspenseful music]

[siren blaring]

[intense music]

Boy, am I glad to see you.

Well, well, look who it is.

Miss Social Security herself.

Hi.

Driver's license
and registration.

[dispatcher on radio]

Let's see now, speeding,
running two stop lights,

turning without signaling.

Listen, I know you're
not going to believe this.

But somebody tried
to kill me today, OK?

Really?

I can't wait to hear this.

I am serious.

Somebody tried to kill me.

They blew up my car.

Blew it up.

LISA: Yes, they blew it up.

Then, when I saw a car
following me, I got scared.

I thought somebody was after me.

I didn't know it was the police.

You're right about one thing.

I don't believe you.

I'm telling you the truth.

Lady, I wouldn't believe
you if you told me lightning

was going to hit
that tree over there

five minutes after it happened.

[dispatcher on radio]

Sign on the dotted line, please.

[dispatcher on radio]

Have a nice night.

I know I will.

[dispatcher on radio]

[horn honking]

[suspenseful music]

[gunfire and intense music]

[GUNFIRE AND INTENSE MUSIC AND
SQUEALING TIRES]

[horn honking]

[intense music]

[gunshots]

[intense music]

[gunshots]

[intense music]

[gunshots]

[intense music]

It's OK.

It's OK now.

He tried to kill me.

I know.

But I'm here.

Are you OK?

Yeah.

Are you sure?

Yeah, yeah, yeah.

Listen, I want
you to stay here

and just try and calm down.

I'm going to go call
the police, all right?

[suspenseful music]

DISPATCHER (ON RADIO): Map
grid, 98 alpha, Charlie 3, 1324.

[dispatcher on radio]

Well, what do you think?

I don't think he's going
to make it to the hospital.

Doesn't look good.

That figures.

I'll take it from here.

Well, Detective, now do
you believe that somebody

was trying to kill Lisa?

Don't be a wise
ass with me mister.

You're not out of the woods yet.

What the hell is
that supposed to mean?

I got a critically
injured man over there.

And you pulled the trigger.

He was trying to kill her.

saved her life.

That may very
well be the truth.

But what I can't
figure out is, how

did you know exactly
when and where

all this was coming down, huh?

And unless I get a
real good answer,

I'm charging you with
attempted murder.

I didn't know anything.

I followed her, all right?

She said you called
her from the valley,

told her to meet you.

You weren't even in the valley.

No, I wasn't.

I was in a phone
booth down the street.

I thought if I got her out of
the house, I could follow her.

And then if anybody
tried anything,

I'd be there to catch him.

You used her for bait?

I had to do something.

Nobody else would.

She almost got killed.

What I did was
give you a suspect.

At least you got something to
go on, Detective, something

to start an investigation with.

Oh,m there'll be an
investigation all right.

You can count on it, a
thorough investigation.

Good.

And until then--

Yeah, yeah, I know, I know.

Don't leave town.

Right.

Don't even think about it.

[beeping]

I don't know, Monica.

I just don't know.

Maybe I'd feel different if I
knew a little more about it.

MONICA: Well, let's not make
a big issue about it, Crocker.

I'm just asking
you a small favor.

If a call comes in take
care of it, nothing more.

That simple?

Yeah, that simple.

Hm.

You sure you know what
you're doing, Monica?

[music playing]

[birds chirping]

[music playing]

Do we really have
to do this, Eric?

It's the only way, Lisa.

We have to confront her face to
face, make her tell the truth.

But I'm afraid of her.

You don't have to be
afraid, not anymore.

Just trust me.

[music playing]

[birds chirping]

[music playing]

Monica?

Monica where are you?
- Maybe she's not here.

Come on, let's go.
- She's here.

Monica?

MONICA: Eric, Eric, there's
no need for shouting.

Oh, isn't this a
wonderful surprise.

My loving boyfriend has
come for a visit and look,

he's brought his
little tramp along.

How nice.

I am not a tramp.

Oh, I see you've trained
your new pet to speak.

What a novel idea.

You bitch.

You're tried to kill me.

That's enough, both of you.

Oh, I wondered
where my gun had gone.

What are you doing
with that, Eric?

You haven't
figured that out yet?

He's going to shoot
you and then me.

[music playing]

No.

I don't believe it.

Oh, I would if
I were you, Lisa.

She knows me much
better than you do.

Oh, he's been behind this
right from the beginning.

He hired a private
detective to follow you.

Then he made it
look like I hired

the detective to kill you.

Then he killed him
to keep him quiet.

Good, Monica, very good.

It was you, the whole time.

It was really you.

Why Eric?

Huh, doesn't much
matter now, does it?

[intense music]

[gunshots]

Oh, I've waited a long time
for this moment, Monica.

Long miserable years
living in your shadow

being Mr. Monica Martel,
the movie star's boyfriend.

How do you think
that made me feel?

I finally got something
for myself didn't I?

A starring role in my film.

That's right.

But that wasn't
enough, was it Eric?

No, not nearly enough.

But it will be.

I can just see
the headlines now.

Movie star, Monica Martel
shoots her boyfriend's lover.

Then she tries to kill him.

She dies in the struggle.

Oh, it'll be big news, Monica.

And our film will
be a huge success,

but fortunately I'll be the only
one around to get the glory.

There'll be so much
publicity that Eric Cline

will become a household name.

You won't get away with this.

I think I will.

[tinkling music]

Ha, ha, ha, ha.

[tinkling music]

Yes, operator.

I've been shot.

Please send an ambulance
to 1717 Spalding.

Hurry.

[tinkling music]

See, it's really
very simple Monica.

I shoot you, and then I shoot
myself, mine, of course,

only being a flesh wound.

But who's going
to doubt the word

of a man lying on the
floor with a bullet in him?

No one.

You must think yourself
very clever, Eric.

I have my moments.

It's a shame you're
not going to be around

for the final performance.

I've been rehearsing
it for months.

[intense music]

I'll give you one last chance
to reconsider what your doing.

You can't be serious?

I'm very serious, Eric.

One chance to show a single
shred of decency, just one.

Put the gun down, Eric.

It's not too late.

Oh, I'm afraid it is.

[intense music]

[gunshots]

[birds chirping]

[dispatcher on radio]

[music playing]

[dispatcher on radio]

What do you got?

One shot to the midsection,
some powder burns,

must've been real close.

[birds chirping]

I hear this guy was an
actor or something, huh?

Yeah, he was.

I never seen him before.

You didn't miss much.

OFFICER AL: Looks
like somebody took

a crowbar to the front door.

The perpetrator gained
entry to the house

and began to help himself
to all the goodies.

A simple burglary, huh?

Looks that way.

The deceased, Mr.
Cline, apparently

came home and surprised him.

There was a struggle,
a gun, Cline was shot.

Suspect fled and
Mr. Cline managed

to get the phone, called
9-1-1 for help before he died.

Seems cut and dry to me.

Yeah, it looks like it was.

The ladies, where were
they when all of this

was going down?

Said they were ah--

working on a film at the studio.

You get that confirmed?

Yeah, ah yeah, got a statement
from a Mr. Crocker Scott

over the phone
just a minute ago.

Then they came
and found the body.

You got it.

Record shows they
called 9-1-1 about five

minutes after the victim did.

Good thing they didn't
get here any sooner.

Might have been them
on that stretcher.

Right.

Look, Al, um--

I'd like to talk to
the ladies alone.

Oh, right, sure.

[music playing]

DET.

ROBERT FENICH: Huh,
Ms. Martel, ah--

you want to tell
me how you did it?

We didn't do anything.

Coleman didn't die last night.

Oh, he's in critical condition.

But he's not dead.

You see, he came to the
hospital this afternoon

and gave me a full statement.

He told me how Eric
hired him to try

to make it look like someone
was trying to kill Lisa here.

I was on my way over
here to arrest him when

the call came across the radio.

Looks, like you two got
there before me, huh?

We don't know what
you're talking about.

You know what this is?

It's an empty shell
from a 0.38 caliber.

We all know there was a
shooting here today, Detective.

Yes, that's
right, that's right.

There was a shooting here.

But this is an empty
shell from a blank.

Now, you want to
tell me about it?

We already gave our
statement to the other officer.

There's nothing else to tell.

I don't think so.

You see, I think you were
here today, the both of you.

And I think Eric Cline
showed up to kill you.

That's a very interesting
scenario, Detective.

Please continue.

Well, it's my
guess that he raised

the gun, pulled the trigger,
and nothing happened.

[gunshots]

What the hell?

[music playing]

Blanks.

Yes, blanks, Eric.

In all of your
cleverness, you forgot

to check the gun when you
removed it from my drawer

last night.

That is when you
did it, isn't it?

It's impossible.

I just killed her.

[intense music]

I don't think so.

Why Eric, you look
like you've seen a ghost.

[suspenseful music]

How did you know?

I didn't know, not until now.

I had suspected for
some time that you'd

been entertaining thoughts
of doing away with me.

But I wasn't sure.

Your recent attempts to take out
an insurance policy on me being

the deciding factor, that, and
a very helpful anonymous phone

call.

So, I decided to protect myself.

The only way I
knew how to do that

was to have you
play out your hand

and to come up the
little scheme of my own.

Wh-- what kind of scheme?

Why Eric, haven't you
figured even that out yet?

You hired her?

You guessed it.

Knowing your weakness
for the younger ladies,

I decided to make one available
to you, very available,

you might say.

You took the bait.

I knew you would.

After all, you were
once attracted to me.

It makes sense that you would
be attracted to my daughter.

Your what?

Her daughter, Eric.

Why do you look
so surprised, Eric?

Do you think that I would
trust my life in the hands

of a perfect stranger?

What are you going to do?

Well, I thought that
would be obvious, Eric.

You're not going
to shoot me, are ya?

You'll never get away with it.

The police are on their
way here right now.

There's evidence Monica,
evidence against you.

I make sure of that,
$10,000 in cash

traceable to your bank account,
a letter on your stationery,

photos of Lisa
and I together all

found on the body of a dead
man that tried to kill Lisa.

How are you going to explain
that when the police arrive?

Wrong again, Eric.

There's no evidence.

She's right.

I took the money, the
photos, and the letter

from Coleman's body.

You're lying.

Remember when you
went to call the police?

That's when I did it.

MONICA: Look at the
bright side, Eric.

You were right about one thing.

You do have your moments.

Unfortunately, this
is not one of them.

[intense music]

[gunshot]

Now, ah-- isn't that
how it really went down?

How could you know?

Let's just call it
an educated guess.

San Francisco three years
ago, older woman, younger man,

Eric Cline to be exact.

She died of an apparent suicide.

He made off with a cool
million in insurance money.

I knew the sonofabitch did
it, but I couldn't prove it.

I didn't have a
shred of evidence.

I didn't mean to kill him.

I didn't mean to.

I just wanted him
to tell the truth.

I wanted him to confess.

He grabbed for the
gun and it went off.

It was an accident.

You've got to believe
me, Detective.

You've got to believe me.

You can ask my daughter.

I swear, she is
telling you the truth.

Look, don't worry.

I'm a friend.

A friend?

That's right, a friend.

And no one's ever
going to see this.

[soft music]

Why?

The woman in San
Francisco, she was my sister.

[dramatic music]

[horn music]

The first.