All language subtitles for Murder.She.Wrote.S09E01.Murder.in.Milan.WEBRip.x264-ION10

[Jessica] Tonight, on Murder, She Wrote.

How long will you be
in Milan, Mrs. Fletcher?

Well, through awards night.

Have you seen
All The Murderers?

Well, not yet,

but if it’s as strong
as Jim Randall’s script

I think we may have a winner.

Catherine Wayne
is the one person

standing between us

and one of the greatest
films ever made.

Whatever you have
to do, man, whatever.

Throw her off the roof.

Are you expecting
the best actor award?

Well, one never expects,
one hopes.

If you think I’m gonna
let you direct for anyone else

but Catherine Wayne Productions,
you’re out of your mind.

[man] Louise and I
are going to be married.

[all] Oh!

Here’s to all the little
Randalls to come,

to making love
every night of your lives.

Isn’t that Mel Gibson
over there?

Mel Gibson?

That woman is evil.

She’s a manipulator.

[woman screaming]

[man] Here we are telecasting

live by satellite in Milan, Italy,

site this week of
one of the newest,

yet already one of the world’s

most glamorous
and exciting film festivals.

Hub of activities this week
is the famed super luxurious

Paradisio Hotel.

You may think
that a film festival

is just about choosing
the best picture and talent.

But trust me when I tell you

that is just
a small part of it.

Here, movie deals
are made and broken.

Careers are shattered
and resurrected.

Celebrities and moguls

mingle with phonies
and it’s all part

of this always fascinating
festival game

carried on 24 hours a day

for business
or pleasure or both.

Now the crowd is just returning

from morning screenings

of two of the front
running films,

All The Murderers
from Wayne Productions

and Day Of Heroes
from Morrison Films.

Ah, Jim Randall, hot,

and I do mean
hot, young director

of All The Murderers

accompanied by
his beautiful ingenue lead

Louise Thayer.

Jim, congratulations.

Everyone is saying
that Murderers

is the best thriller
in years.

Well, it’s a damn good film.

What’s this deal
we hear about

between you
and Steve Morrison?

No comment.

I promised to have
a drink with Steve Morrison.

-Will you join us?
-I can’t.

I’m going with dad
at the Galleria.

Oh, you’re gonna love it.

I’ll see you later. Bye-bye.

[man] Hey, look, I’m gonna be
honest with you.

Mike Douglas is crazy
about the script.

Hi, Paul, how is it going?

Great. I talked to
Jody this morning.

She said to say hello.

-Great, I’ll see you.
-Okay.

We got all the elements
in place.

We got top notch people,
it needs a little more finance,

get first class distribution.

Oh, Countess.

It’s been too long.

You received
my invitation, Marcello?

I’ll be there on condition

that I have the honor
of your first dance.

Happily granted, Marcello.

Whoever voted Nick Nolte
to be the sexiest man alive

never met
Marcello Abruzzi.

Jim Randall,
you come to my party?

I wouldn’t miss it,
Countess.

You’re so sweet.
Thank you so much.

Hey, no obviously
Day Of Heroes,

I’m very proud of.

Now listen, are you
gonna be in the bar later?

-Mm-hmm.
-Yes.

I’m gonna
speak to you, all right.

Good morning, Steve.

Jimmy, it’s a great morning
for both of us, believe me.

According to the Morrison
straw poll

All The Murderers,
Days Of Heroes

are both frontrunners.

-What do you drink?
-Nothing, thanks.

What about
Bella Femina?

No. It’s slipping.

I mean,
it’s still dangerous,

but so is [speaking Italian]
and Wheel Of Life

out of Bombay Films, but believe me,

it’s gonna be one of our
two pictures, pal, automatic.

You talked to Angelica?

Yes, yes.

She is dying to do
Ark Of Steel

if I produce and you direct.

I’m on my way
to talk to Catherine.

Jimmy, make it happen.

Please whatever you have
to do, man, whatever.

Throw her off the roof.

You know, Catherine Wayne

is the one person
standing between us

and one of the greatest
films ever made.

I’ll do what I can.

Thank you, Jimmy.

Miss Fletcher.

Miss Fletcher.

Jessica Fletcher!

Bella, si, bella.

How long will you be
in Milan, Mrs. Fletcher?

Well, through awards night.

Have you seen
All The Murderers yet?

Not yet, but if it’s as strong
as Jim Randall’s screenplay,

I think
we may have a winner.

Jessica, you made it.

I wouldn’t have
missed it for the world.

Ah, you two
are old friends?

Oh, we certainly are.

Jim’s father
lives in Cabot Cove

and Jim used to come up
every summer with his camera.

In fact, he shot his first
16 millimeter film right there.

Thanks. Let’s get you
to some elevators.

Thank you.

You’re pre-registered.

You have a non-smoking
suite like you wanted.

Jessica Fletcher,
big smile per favore.

Isn’t that Mel Gibson
over there?

Mel Gibson?

Very good, Jessica.

Well, it’s the old
red herring ploy, you know.

There’s somebody
I want you to meet.

Paul Crenshaw.

I recall my agent
mentioning a Paul Crenshaw.

He wanted to be
involved in the Murderers,

but Catherine Wayne
beat him to it.

No, that is
absolutely untrue.

Look, you’ve read
the script.

Jay Stanley is set
to direct Douglas’s.

What the hell do you mean
you’ve changed your mind?

You can’t change--

Damn it.

Henri Montillier.

Do you believe it?
We had a deal.

I’m sorry, Paul.

Paul Crenshaw,
Jessica Fletcher.

Oh, forgive me,
Mrs. Fletcher.

Mr. Crenshaw.

But I thought I had
a picture sold

and everything just
went out the window.

Here, let me
buy you a drink.

Oh, no, no, thank you.

Obviously, we came
along at a bad time.

Well, we’ll talk
in a little while.

All right. Bye.

There’s a black tie screening

of All The Murderers
tonight

and that’s followed by--

I know, the annual ball given
by the Countess Di Mondi

in her
magnificent palazzo.

I did my homework
on the plane.

Oh, you get an A.

Meanwhile,
the terrace in an hour

to see an old friend,
meet a new one.

Oh, I’ll be there.

Okay.

Damn.

Come in.

Good morning, Catherine.

Good morning.

Please sit down.

I’ve been hearing rumors,
Jim, ugly rumors

about Steve Morrison
and Ark Of Steel.

Do you want to fill me in?

It’s simple.

Steve’s got the rights.
He’s got Angelica.

He’s got financing
and he wants me to direct.

I’m sure you told him
you have an iron clad

personal service
contract with me.

Yes, I did.

That binds you to direct
my next picture.

I also told them that
I thought you’d be reasonable.

Look, Ark won’t be
just another picture.

It’s one of the great novels
of the century.

This could be one of the
finest films ever made.

Hold it.

There are certain
realities here.

You’re hot,
but that’s thanks to me.

Before I picked you up,
you’d shot three little

underground films
you’d financed on your visa card.

Now if you want
to play that game,

if I hadn’t stepped in

and saved your last picture,
you never could have financed

-Murderers.
-Jim, Jim, there’s nothing to fight about.

The lawyer settled
that a long time ago.

I have two years to come up
with another property for you.

Two years?

You’re not gonna
actually hold me to that.

Why the hell shouldn’t I?

Look, I don’t care
if it’s Ark Of Steel

or another
Gone With The Wind.

If you think I’m gonna let you
direct for Steve Morrison

or anyone else

but Catherine Wayne
Productions,

you’re out of your mind.

Tom, can I talk to you
for a moment?

Sure.

I give up.

I’ve been on the computer
all morning

I still don’t understand
what’s going on.

What’s wrong?

I got a very disturbing
call from New York.

We finished post production
six months ago on time

and I thought on budget.

Now all of a sudden
they’ve come up

with a new bottom-line
and we’re a million over.

A million?

Yeah, that’s right.

Billings against certain
new account numbers

I don’t even recognize.

These are the new accounts?

Yeah.

Let me worry about it.

I’ll get back to
you right away.

Okay, thanks.

]Andrew] Jessica,
beautiful as ever.

Oh, it’s so good
to see you again.

You know, I heard
you were here, Andrew.

Oh, Jessica, this is
my daughter Louise.

Oh, of course.
Our lovely new star.

I’ve seen the most beautiful
pictures of you,

Louise, all over the place.

You know
when I was out in California,

your mom and dad used
to talk about you all the time,

but you were never there.

Well, I was in
school most of it,

but mum and dad told me
all about you.

Jessica, this is
Steve Morrison.

Hello.

It’s a pleasure to meet you,
Mrs. Fletcher.

You’re in contention
with Day Of Heroes.

I’ve read some excellent
things about it.

It sounds very good.

Would you care
for something?

Oh, yes, Pellegrino
with lemon, per favore.

Tell me, Andrew, do you have a screenplay
in the competition?

No, no, actually I don’t.

The truth is, I’m here
because these two asked me.

Tom, join us.

Oh, Jim, thanks.

I only have a moment.
I’m taking a breather.

Hi, Andrew. Louise.

-Mrs. Fletcher, isn’t it?
-Yes, it is.

Tom Hiller.

Hiller’s Catherine Wayne’s
money cruncher.

Oh, more and less than that,
depending on how you look at it.

I try to keep things
running smoothly.

So if you have any problems
while you’re in Milan,

I’m at your service.

Well, that’s very kind,
Mr. Hiller, thank you.

Tom, please.

[cellphone ringing]

Oh, excuse me.

Hello.

I’ll be right up, yes.

Well, duty calls.

Why all the pressure,
Hiller?

You got your picture made.
It’s in the can.

It’s gonna be released.

Don’t pretend
you haven’t heard.

It seems there have been

some unexplained late charges
on All The Murderers.

Or you might say,
alarming cash leaks.

Well, you can say it
anyway you like, Morrison,

but I’ll get
to the bottom of this.

Don’t worry about it.

Well, good luck,
and do tell Catherine

that I’m looking forward
to seeing her

at the screening tonight.

I sure will.

He’s been with
Catherine for years.

Roughly the equivalent
of a stay on Devil’s Island.

He was in love with her once
and may still be.

Still wrong.

I can’t remember authorizing
these purchases.

I got hard copy on the way
so we can cross check it.

It could be some kind
of clerical error.

We should talk to Jim.

I’m for that.

And bring in accounting
help from New York.

I’m gonna get to the
bottom of this damn thing,

whatever it takes.

[chattering]

[Jessica] I can’t
believe you, Andrew.

[Andrew] Unbelievable.

[Jessica] Oh, this is exciting.

You know, Jim, people kept
telling me how great it was,

but I really wasn’t
prepared for it.

It is truly a great movie and,
Louise, you know,

you were simply lovely.

[Louise] Oh,
thank you, Jessica.

-Uh-huh.
-We’ll see you at the party.

-Yes.
-We’ll see you later.

[Jessica] Absolutely.

I’ll go get the car.
I’ll meet you out front.

[Marcello] Thank you.
Thank you very much.

Marcello, are you expecting
the best actor award?

Well, one never expects,
one hopes.

Marcello, excuse me a moment,
I’ll be right back.

Yes, of course.

Jessica.

Jessica, so good
to see you again.

Catherine, many congratulations
on a really superb movie.

Oh, well, thank you.

We couldn’t have done it
without your book.

I hope you and Jim and I
can work together again soon, okay.

Well, I hope so.

All right.
Well, see you at the ball.

Yes.

You badmouthed me
with Henri Montillier, didn’t you?

What are you talking about?

You’ve been doing it
the whole damn festival.

You stole
Murderers from me.

We were supposed
to be partners.

Now you’re trying
to ruin me.

No. I am merely setting
people straight.

We were never partners
on Murderers

except in your imagination.

We were never partners
in anything

but those
two miserable cheapies

I wish I had never
gone near.

Oh, so you’re a liar
and a thief.

I’m warning you, Paul,
you keep harassing me,

and I’ll file a lawsuit
that’ll keep you broke

the rest of your life.

You’re not going
to sue anybody, sweetheart.

Catherine,
you’re a damn fool

if you think
you can hold on

to Jim Randall
against his will.

-Really?
-That’s right.

Now I want this young man
to direct my film,

Ark Of Steel,
and he wants to do it.

Now believe me,

one way or another
he’s gonna direct this film.

Why don’t you just play
like a magnanimous lady

and back off?

What do you take me for?

Nobody steals
from Catherine Wayne, nobody.

Get out of my way.

Save your squabbles
for another day

and no long faces
tonight please.

Yeah, thank you, Countess.

This is a lovely party.

Hmm.

I can’t ever imagine
enjoying a role more than

Inspector Corelli,
brilliantly conceived.

Oh.

And brilliantly
acted by you.

But I must say, I’ve grown

so used to seeing you
in American films

that I’d forgotten that
this is where you came from.

I was born here
in Milan.

Yes.

Perhaps you’ll allow me
to show it

to you through
the eyes of a native.

Oh, I’d be delighted.

Catherine’s watching us.

You know, that lady
once more than worked for me.

Are you having
a good time?

Enjoying those two.

How serious are they?

Very.

Jim’s helped me
a great deal, you know,

psychologically, and not
just because of Louise.

He believes in me.

He’s invited me
to collaborate

on the screenplay
of Ark Of Steel.

Oh, that’s wonderful.

It’s been tough for me
the last few years, Jessica.

I fell out
after my wife died

and I haven’t been
able to get back in.

This could do it
for me though

if he can only get away
from Catherine Wayne.

Oh, Andrew, you’re wrong
if you think that your fate

depends on Catherine Wayne.

I mean, Jim tells me
that you’re writing really well

and Andrew Thayer
at his best

doesn’t need help
from anyone.

[man] Champagne.

[speaking Italian]

Thank you.

Catherine and I have
some problems

about production costs.

I’d like to talk to you
about some figures.

Can you step in my office
tomorrow morning?

-Sure.
-Great.

-I’ll see you then.
-Okay.

Good morning.

Good morning, Louise.

You wanted to talk to me?

Yes.

First, I want to make it
clear, that for you

or anybody else
to press me to release

Jim from his contract,
will be a waste of time.

I wasn’t even considering.

Good.

However,
there may be a deal

you and I can make
that will benefit us both.

Go on.

On my part, I’m willing
to guarantee

you the lead
in my next picture

and I’ll give
your father a mutually

acceptable screenplay
assignment.

I see.

And on my part, I’m to try
and persuade Jim to forget

Steve Morrison’s film.

Try? No.

No, either it happens
or there’s no deal for anybody.

Talk to your father
and see what he thinks.

Go to hell.

Good morning, Catherine.

Oh, Jessica,
right on time. Great.

I’ll be with you
in one moment.

But, meanwhile, Jim’s here.

He’s in with Tom Hiller.

He asked you if you’d just
poke your head in for a sec.

Oh, yes, of course.

[speaking Italian]

Jim, ashtray.

Jessica, Louise
and I were wondering,

could you join us at the
terrace for lunch about 1:00?

Oh, yes, of course
I’d love to, thanks.

[speaking Italian]

I’m sure you’re aware
by now of the disagreement

between Jim and myself.

Oh, yes.

How do you feel about it?

That it’s between
the two of you.

I’m for both of you.

You’re both bright
and talented

and I’m sure that
some sort of compromise

can be worked out.

It won’t be easy
I can tell you that.

Nowadays, the director
is everything.

A hot director
and a hot script mean

easy financing
and distribution.

But even with
a rotten script

and a hot director,
you still get

your financing
and distribution.

Jim’s hot and he knows it
and he wants things his way.

You know, Jim has always
had good values, Catherine.

I can’t believe a little heat

will make
that much difference.

I hope you’re right.

Now let’s see

what Jessica Fletcher
can do to do help

All The Murderers
win first prize.

Key judges whom we believe
are still undecided.

They are not all movie
people as you can see.

I thought you might know
some of them. Do you?

One or two, yes, slightly.

Hmm, well, great.
Let’s see if we can get you together

to do a little arm twisting.

Oh, no, Catherine,

coercing a jury
is not my style.

If All The Murderers
is the best film, it will win.

Otherwise,
another fine film will.

Fair enough.

Your itinerary, conferences,
talks, luncheons.

Any problems with that?

That’s what I’m here for.

I’ll see you later.

Great. So long.

-Hi.
-Hi.

If you get a picture
in contention for a big award,

you start hearing
from people

who wouldn’t return
your calls two years ago.

Jim, you have
to direct Ark Of Steel.

I know.

Steve Morrison wants
your father to do the script.

Oh, it’ll be good for him,
get him back on his feet.

Catherine’s not gonna budge.

That woman is evil.

But she happens to be
a good producer.

She’s a manipulator
and without you she is nothing.

You know that she offered me
a lead in her next film?

Well, she has
an eye for talent.

On condition that
I persuade you not to do

Ark Of Steel.

And she plays hardball.

Jim, you do not understand.

This isn’t about
business anymore.

She wants you.

Oh, that’s crazy.

And she’ll do

absolutely anything
to get what she wants.

You know, for a little girl
you sure are tough.

Well, I know how to fight
for what I want too.

[laughing]

[Jim] I have an announcement
to make.

Louise and I are going to be
married after the festival.

Oh, congratulations
to the both of you.

I love you both.

Here’s to a happy life
to both of you.

Here’s to all
the little Randalls to come.

To making love
every night of your lives.

Ooh.

On this very happy occasion,

I would like to make a toast
to Catherine Wayne.

May she see the light.

Hear, hear.

[phone ringing]

Hello.

It’s Catherine.

Now that’s quick service.

Yes.

Yeah, that’ll be fine.

Your suite in an hour.

Good or bad?

She wants to talk.

More champagne.

[knock on door]

Jim, come in.

Look, Jim, I’ve been
doing some thinking and I thought--

Look, don’t come at me
again, Catherine.

I want my release.
I want to make Ark Of Steel.

No, no, that’s not
what I want to talk to you about.

Come here.

I’ve got another problem.

Some late costs have
come in on Murderers.

They’ve put us
way over budget.

And there’s some
new account numbers involved

I never saw before.

[phone ringing]

Hello.

What is it?

Can’t it wait?

Fine.
It’s Tom Hiller for you.

Hi, Tom.

Yeah.

Yeah, okay.

Sure.

Uh, listen, I got to
make a personal call.

Can I use the phone
in the bedroom?

Yeah, sure, go ahead.

Jessica Fletcher.

[speaking Italian]

A big smile.

Well, thank you, Giorgio.

[speaking Italian]

You did splendidly,
Jessica, splendidly.

Well, thank you.

You know, it’s my very first
press conference

half in Italian.

You are having tea with
the London Times critic

and breakfast tomorrow
with Perry Matt.

And then there is this
symposium with Oliver on

"Crime and Conspiracy in High Places"

as the subject for fiction
and motion pictures.

I’ll get back to you.

[man] Mrs. Fletcher,
one last look.

Excuse me.

I want to leave
something for my friend.

[speaking Italian]

Could you open the door?

[speaking Italian]

[woman screaming]

Jessica, she’s dead.

I was in the bedroom.

I came out,
and I found her this way.

Signora Fletcher,
one more question.

When you came around
the corner of the corridor,

did you see anyone else
besides the chambermaid?

No.

Okay,
thank you very much.

You have been
most helpful.

I’m sure you have
many other obligations,

so please feel free to go.

Inspector, is there
anything else I can do?

Oh, no, no, no, I would
not impose on you anymore.

And besides, I believe
we have things

pretty much in hand.

You certainly do,
but there’s something

so compelling about really
fine European police work.

I mean, if I could just,
well, observe.

Somehow, Mrs. Fletcher,

I do not believe you
for one sec,

but I admire
your tenacity.

You may stay here
as long as you wish.

Thank you, inspector.

Si.

Signor Randall,
the telephone call

you received from Mr. Hiller,
what exactly did he want?

He told me
to call him back

from the bedroom
on his private line.

He didn’t want me to talk
in front of Catherine.

Why?

You’ll have to ask him.

I mean, we never
did connect.

I called him back
and he didn’t answer.

I tried twice and that’s

when I came back into the room
and I saw Catherine’s body.

The chambermaid says
she saw you enter the suite,

then miss Thayer
and then Mrs. Fletcher.

No one else entered or left.

Signor, I would like
to invite you down to the stazione polizia

where we could
talk a little easier.

Suppose I refuse.

Eh, then I will be
forced to arrest you

which I do not want to do.

[speaking Italian]

He will take you out
the service exit, no paparazzi.

-Jim.
-I’ll be all right.

Miss Thayer, why did you
come up here this afternoon?

Jim forgot his notebook
on the terrace.

He and his notebook
are usually inseparable.

I thought
he might need it.

Ah, signora Fletcher.

[speaking Italian]

-Thank you.
-Thank you.

Mrs. Fletcher,
you’ve just proved to me

the only way into this
suite is from the corridor.

[speaking Italian]

Jessica,
I don’t like this.

It’s as if they already
convicted him.

You’ve got
to help him please.

I can’t guarantee anything,
but I’ll see what I can do.

Look, I promise you
Jim Randall to direct.

Now we got him.

No, no, no, no, don’t even
worry about that.

Hey, Jim didn’t
kill anybody.

Listen, everything
they’ve got is circumstantial.

I’m lining up some of
the best lawyers in Italy.

They’ll have him out
before you know it.

And we’re gonna begin
thinking about a start date, hon, okay?

Talk to you, bye.

Well, Mr. Morrison,
Catherine’s death

does seem to have eliminated

one of your major obstacles,
doesn’t it?

Well, a lot of people
had reason

to want Catherine dead,
Mrs. Fletcher.

And I suppose
you can include me,

but I couldn’t
have done it.

I was at a screening
when she was killed.

Well, I’m sure
that inspector Lombardo

will be pleased to hear that.

It was nice to see you,
Mrs. Fletcher.

Thank you.

Louise, it sounds to me like
you’re not sure of anything.

Well, one thing I am sure
of is that Jim isn’t capable

of murdering anyone.

I’m not sure anybody’s
incapable, darling,

given the right
circumstances.

That’s the writer
talking, dad.

Yes, the writer
to whom Jim promised a script

that could mean a whole new career

if he could just get free of Catherine.

You’re not saying
that you killed her.

And I don’t believe
that Jim did either,

but not everybody
would agree with us.

Damn it,
get out of here!

I know you’re trying
to help Jim.

So if there’s anything
I can do help you, please.

Thank you, Tom.

There were business problems
between Jim and Catherine, weren’t there?

Movie business problems,

but we’re an industry
full of people with problems.

Jim is young,
but he’s been around.

It’s hard to believe
he’d have lost control.

And maybe if I hadn’t
made the phone call.

Why did you make it?

After the engagement party

I came back here to go over
production costs again.

I wanted to tell Jim
that I didn’t think

he should make
any commitments.

I didn’t think it was either
in his interest or Catherine’s.

And you made the call
from this office then?

From my private line.

I wish he’d called back.

He told the police
that he did.

Hmm.

Well, I suppose
he could have mis-dial

or maybe he didn’t remember
the private number right.

He hadn’t used it very much.

[phone ringing]

Excuse me.

Yeah.

It’s inspector Lombardo.

Oh, thank you.

Yes, inspector.

Signora Fletcher, I know
you are very close to this case.

I thought you should know

we found signor Randall’s

fingerprints
all over the ashtray.

Thank you, inspector.

They are filing
murder charges against Jim.

Thanks for coming.

Are you all right?

Jessica, I’m worried.

Nothing makes any sense.

Those fingerprints
can’t possibly be mine.

I didn’t touch that ashtray.

Is it possible
they are trying to frame me?

A quick and easy scapegoat,
but inspector Lombardo seems

to have more sense.

Catherine Wayne's suite
at the hotel had a door

that opened
to an outside balcony.

When you first got there,
do you remember

if the door was open
or closed?

No, I can’t remember.

Catherine Wayne
had a reputation

for astute
financial management.

Right.

I mean, is there
any reason

why she might have gotten

careless on
All The Murderers?

Oh, yeah, I suppose
there are a lot of reasons.

We were back and forth across
the Atlantic four times

and a couple of our backers
had pulled out early on

and some of our
usual suppliers

had gone belly up
and she had to find new ones.

I was rewriting every night
as we went

and she was into that too.

I mean,
there was just so much,

she couldn’t stay
on top of it all.

But as your producer, I mean,
she must have talked to you

often about
financial problems.

There wasn’t
much to talk about.

I was always on time
and on budget.

Now wait a second.

When I went in to talk to her,
I thought it was to settle

this Morrison thing
once and for all

but that wasn’t
what she wanted to talk about.

She said that some late costs
had come in on Murderers

that put it way over budget.
That, and she mentioned some

new account numbers
that she didn’t recognize.

Did she mention
the account numbers?

No.

That’s when the phone rang.

Oh.

Oh, Jessica,
did you see Jim?

Yes, I did.

And he’s doing very well,
under the circumstances.

But they can’t believe that
Jim murdered anyone, can they?

Well, I’m afraid they do.

But it’s all based on
preliminary evidence.

Can I see him?

Yes, if you call ahead.

But he’s gonna need
some cheering up.

Sure.

So keep your chin up.

I have something I have to do,
but I’ll see you later.

Buon giorno.

I left my glasses
in signora Wayne’s office.

[phone ringing]

[man on phone] Hupton and Davenport.

Yes, this is Jessica Fletcher.

May I speak to
Sir Jonathan please?

Just one minute please.

Thank you.

Jessica?

Hello, Jonathan?

Are you in London?

No, no, I’m still in Milan.

Ah.

But I’ll be in London
next week.

I’m looking forward
to our lunch.

Oh, Capitol,
we’ll meet at the club.

Meanwhile, I wonder
if you could check on

some companies for me.

I’d be glad to.

You know, their financial
status, background,

reputation,
that sort of thing.

Absolutely.

Wonderful.

Now listen,
the first one is--

Hang on.

Kronstadt Limited, Geneva.

-Kronstadt Limited, Geneva.
-Right.

Then Service General de Berne?

Service General de Berne.

Right.

Good evening, Jessica.

Hello, Marcello.

The restaurant chef
and I had a small conference,

the result of which undoubtedly

will be the finest
dinner served

anywhere in Italy tonight.

Oh, I can’t wait.

I’ll just get my purse.

Shame on you, Marcello,

you’ll spoil
that magnificent dinner.

What? Oh, my cigarette.

How thoughtless of me.

A reflex,
I’m trying to give them up.

I’m afraid
I don’t have an ashtray.

This is a non-smoking suite.

My goodness, of course.

Marcello, I’m sorry,

I won’t be able to have dinner
with you tonight.

Why? What is it?

Excuse me.

Inspector Lombardo, please.

This is Jessica Fletcher.

Hello, inspector.

Listen, I just had an idea.

Would it be difficult for you

to get hold of
telephone records?

Good morning, inspector.

Oh, buon giorno, signora.

I do not know
what this is all about,

but here is the information
you asked for.

Well, I appreciate
your trouble.

What exactly
are you looking for?

This.

I’m Tom Hiller.

Ah, signor Hiller.

Inspector.

Mrs. Fletcher.

Tom.

What can I do for you?

Please sit down.

This is a fax that I received
a little while ago

from my lawyers in London.

It’s in response
to some enquires

that I made yesterday

about certain Swiss based
production service companies

which Wayne Productions
was dealing.

Six in all.

What about them?

Well, they all have
no account numbers

and Catherine was
concerned about

the late billings
that they had submitted.

Oh, how did you know
about that?

She started to tell
Jim about them

and I found a separate list

of the account numbers
on her desk.

I matched them up
with the company names on the computer.

My lawyers investigated
and found that

they are apparently
sophisticated

shell companies
set up for the sole purpose

of collecting funds
from Wayne Productions

for services never rendered.

All right,
if Wayne Productions was being billed

I’m certainly glad
to know about it

but you should have come to me
before you made inquiries.

Perhaps.

But we thought,
that under the circumstances,

we’d best go ahead
on our own.

What circumstances?

Those surrounding
Catherine Wayne’s murder.

You see, it wasn’t
until Marcello lit a cigarette

in my suite
and I couldn’t find a ashtray,

that I realized
that Catherine

was a non-smoker too
and had a non-smoking suite.

So there wouldn’t have been
any ashtray in her living room

unless someone had
brought it there.

Then I remembered where I had
seen a hotel ashtray

just like the one
that Catherine was murdered with.

[speaking Italian]

Jim, ashtray please.

[Jessica] You decided
that you had to kill Catherine

to prevent her
from exposing you

as an embezzler,
and you wanted to get

Jim’s fingerprints
on the murder weapon.

Inspector, I can’t believe

you’re allowing
these wild accusations.

Signor Hiller,
perhaps you better listen

for your own good.

Okay.

When you learned Catherine
would be alone

with Jim in her suite
that afternoon,

you went ahead
with your plan.

[cellphone ringing]

[Jessica] It required
a cellular phone

and you already had one.

Hello.

[Jessica] Yesterday,
after the murder,

when I saw the paparazzo
on Catherine’s balcony,

I realized that the killer

could have gotten into the
living room from there.

The inspector thought
that I had proven

the balcony door could not be
opened from the outside.

What I actually had proven
was that it could be locked

from the outside.

Well, I don’t see what any
one of this has to do with me.

I was in my office
when Catherine was murdered.

No.

You left your office
by the patio door,

went around the side
of the hotel,

climbed up to
Catherine’s balcony.

I wondered how, until
yesterday afternoon,

when I saw the outside trellis.

From there,
not your office,

you called Catherine’s suite.

You spoke to Jim

and got him
out of the living room

to return your call.

All right,
you are very inventive.

I mean, that’s your bag.

You’ve got a theory,
but no proof

that any of it ever
actually happened.

I think I do.

A record of a call made
from your cellular phone

to the hotel
switchboard at 2:57 p.m.

yesterday, approximately
the time of the murder.

Oh, there must be a mistake.

Signor Hiller.

All right,

well, maybe when I made
the call from my office

I did use the cellular phone.

But that would have made
no sense whatsoever, would it?

On top of that, you showed me
the phone in your office,

your private line,
a conventional phone

that you told me

you used to call
Catherine’s suite.

Signor Hiller,

when someone kills
someone else in Italy,

it almost always amounts
to a life sentence.

Perhaps you should think
about that

and make a full confession.

Congratulations, Jim,
on best picture.

[Andrew] Four weeks
and I’ll see you in New York

for pre-production
on Ark Of Steel .

Whoa, that doesn’t give
you much time

to finish the script, Andrew.

Can we make it
six weeks, fellows?

Oh, it’s Giorgio.

Unbelievable.
Oh, should we let him in?

Paparazzi.

No, I say call the cops.

Hop in here, signor.

-Grazie.
-How are you?

Grazie, signore e signori.

Signora Fletcher,

everyone, can we make
one photo di tutti?

Oh, why not?
Come on, everybody.

I always wanted
a photo di tutti.

May I propose a toast

to Jim
and All The Murderers ?

And to Louise
for giving it beauty.

Mmm.

And to the words given me
and those to come, father.

To second chances

and with great thanks
to Jessica Fletcher.

[speaking Italian]