In a Lonely Place (1950) Script

Dix Steele! How are you?

Don't you remember me?

I'm sorry. I can't say that I do.

Well, you wrote the last picture I did. At Columbia.

Well, I make it a point never to see pictures I write.

You, stop bothering my wife.

Oh. You shouldn't have done it, honey.

No matter how much money that pig's got.

You pull over to the curb. What's wrong with right here?

Evening, Mr. Steele. Hiya, Dave. You got it?

Yeah. I'll put it right up front. Okay.

Can I have your autograph, mister?

Who am I? I don't know.

GIRL: Don't bother. He's nobody.

She's right.

Dix! We'd about given you up.

Oh, hiya, Mel. Where have you been?

Come on. Buy us a drink.

He's somebody. Lloyd Barnes. Big director.

Made all his money before the income tax.

We've been calling you for the last three days.

You know me. If I don't answer the third ring, I'm not home.

Hello, Dix. Lloyd. DIX: Hiya, Max.

Honey, let me have that book I left here for Mr. Steele to pick up, will ya?

Oh. I'm almost finished with it.

All you've got to say is "I like it" and you go on salary tomorrow.

Then I like it.

Oh, I think it'll make a dreamy picture, Mr. Steele, what I call an epic.

And what do you call an epic?

Well, you know - a picture that's real long and has lots of things going on.

Could we have some matches for souvenirs? Why, certainly.

There you are. (giggles)

Oh, Mr. Steele, could I keep the book until you come out?

I only have a few pages to go. I know the end. I always read that first.

(chuckles) Sure. Take your time.

Good evening, Mr. Steele. Good evening.

Remember, she's your audience.

You say that again and, so help me, I'll get another agent.

How are you, Charlie? Let's go down to the other end.

What's the matter with right here? He's not contagious.

How are you, noble prince?

Right well, thespian. (both chuckle)

Greg. Yes, Mr. Steele?

Gin and tonic. What do you fellas want?

Stinger. Glass of milk.

And a brandy for Mr. Waterman. Very well.

Are you honoring us by dining here, or are you just browsing?

How's everything, Paul? Just like show business.

There is no business. (Dix laughs)

PAUL: Excuse me.

Who's producing this epic? Bert Brody.

And Lloyd here's going to direct.

Dix, you've gotta go to work. You've been out of circulation too long.

Who are you kidding? I need the money and you need the 10%.

For me you don't have to go to work.

I've got my apartment and my car and my ulcers.

Gasoline and milk toast don't cost much.

I won't work on something I don't like.

Dix, my boy, how many times must I tell you -

I know. "It's just another picture."

Well, are you in any position to be choosy? You haven't written a hit since before the war.

And your last picture - So it stunk.

Everybody makes flops except you.

You haven't had one because you've made and remade the same picture for the last 20 years.

You know what you are? You're a popcorn salesman.

That's right. So are you.

The only difference between us is that I don't fight it.

One day I'll surprise you and write something good.

Althea Bruce will do it. "Althea Bruce."

All you gotta do is follow the book. That's what Brody said.

Remind me to buy you a new tie.

Hiya, kiddies. Hello, Junior.

What a picture I've made. Just got back from the preview.

Pasadena's out of its mind about it.

Hello, Junior! Not a soul walked out.

What's the matter with you? Don't you shake hands with an actor?

Actor? You call this an actor?

He hasn't been able to remember a line for the last 10 years.

"This," as you call him, made your father-in-law a couple of million.

Ah-ah-ah. Pop made a star out of a drunkard.

That is a menace.

Movie idol of the Roaring '20s.

Look at him, gazing into his crystal ball.

You have set the son-in-law business back 50 years.

Ehh! That's enough!

(men shouting) What's the matter with you?

Quiet down!

There goes Dix again.

LLOYD: I'm gonna get out of here. Take Charlie home with you, will ya?

Come on. Come on, Charlie.

Maybe I'd better stay.


You will read that book tonight. Yes, yes, yes.

I'll drop by and wake you up in the morning, around 10:00.

Uh, uh, make it about 11:00.

I suppose he had it coming to him.

But next time will you please do it in the parking lot?

How about some ham and eggs? I shall select the eggs personally.

Will you just sit here and take it easy?

Dixon Steele.

Hello, Fran. How are you? Between pictures.

This is strange.

Last night I couldn't sleep - you know my insomnia.

So what did I do? Called up a lot of people.

No, just you. For hours.

Where were you? Home.

Don't you like to talk anymore? Not to people who have my number.

Why don't you come over? I've got a whole case of tonic water.

(chuckles) No, I've got to read a book.

Remember how I used to read to you?


Since then I've learned to read by myself.

That's all.

Do you look down on all women, or just the ones you know?

I was pretty nice to you.

No, not to me. But you were pretty nice.

I'll call you.

Thanks for letting me read it.

Oh, um... what's your name?

Mildred. Mildred Atkinson.

Where do you live? In Inglewood. With my aunt.

You got a car? No, I usually catch the Beverly Hills bus.

Well, I'll drive you home. Thank you very much.

But tonight I have a date. Break it.

Well, I can't. Besides, it's my policy never to go out with the customers.

Well, I-I, uh - I didn't mean I was gonna take you out.

I was gonna take you home. But I told you, I have a date.

To my home.

Mr. Steele.

You can be a lot of help to me. I've gotta read this book tonight, and I'm tired.

I thought maybe you could tell it to me.

Is that what you had in mind? Uh-huh.

Gee, you make me feel real important.

Just think.

When I go to see "Alathea" Bruce with Aunt Cora, I can say I told the story to the screenwriter.

Let me call Henry - that's my date. Maybe I can still catch him at home.

There's no sacrifice too great for a chance at immortality.

Yes, sir. Mmm.

My, what a pretty place.

Sorta hacienda-like, huh?

Excuse me.

Neighbor of yours?

No, I never saw her before.

I'll be right with you.

DIX: Make yourself at home.

It must be wonderful to be a writer.

(sarcastic chuckle) Thrilling.

(shoe thumps on floor)

(shoe thumps on floor)

Make yourself a drink. There's ice in the bucket.

I don't drink.

Before I started to go to work at Paul's, I used to think that actors made up their own lines.

DIX: When they get to be big stars, they usually do.

What's the matter? Change your mind?

Mr. Steele, I came here because you asked me to tell you the story of "Alathea" Bruce.


Well, if that was just a pretense to lure me -

You want to go now?

Well, no, not unless -

I took off my shoes and put on this robe 'cause I like to be comfortable when I work.


Well, in that case, I'll have a ginger ale with a twist of lemon.

That's known as a horse's neck. Oh.

How do you want me to tell you the story?

Just the way you'd tell it to your Aunt Cora.


Well, it's about this woman, "Alathea" Bruce.

She's very rich, see.

She owns this big mansion on Long Island, smack on the ocean.

She's got sailboats and cars and jewels and everything.

And she's a widow. Mmm.

Lucky Althea.

Uh-huh. She's got many men in her life.

And they all take her to the Stork and the 21 Club and the El Morocco.

But they don't send "Alathea."

Uh, Althea.

Then one day she looks out and she sees a new lifeguard standing outside her window.

And it's very beautifully described, the way she sees him.

He looks like a bronze "Apolo."

Oh, I do hope it's gonna be in Technicolor.

DIX: Yeah, I'll be sure to suggest that to the producer.

I would!

Well, then "Alathea" sends her English butler to ask Channing - that's the lifeguard - to have breakfast with her.

But instead they have whiskey sours.

It's a very risky scene.

Oh! Did I tell you about her husband?

DIX: Well, you told me he was dead.

No, no, I mean about the way he died.

You see, he fell out of a sailboat when he and "Alathea" went sailing, and there's an investigation going on.

Well, did she kill him? Well, that's kinda left open in the book.

She falls in love with Channing, who's not really a lifeguard, but a student at Columbia University studying to be a "bachelortorologist."

Well, you know, one of those fellows that looks into the "microbes."

But she tells him that she didn't do it. Didn't do what?

Kill Lester!

Oh, Lester's her husband, I presume.

Are you sure you haven't read this book?

No, and I don't think I'm going to.

Go ahead.

Well, then come the dreamy weeks.

Go on. I can hear you. Oh.

"Alathea" and Channing, always together.

She wants him to marry her and live her sophisticated life.

But what Channing's after is bacteria.

"Bacterogolist." Then they have one big fight.

And she throws herself into her lawyer's arms.

And from his station, with his binoculars - "All you have to do is follow the book."

Channing can see into her room, and that does the trick.

He refuses to speak to her, even though she tries everything.

And I do mean everything.

Then she gets desperate. She wants him so terribly, his arms about her.

And since there's no other way, one stormy day she goes out into the ocean, swims way, way out, and she starts to scream.

(loudly) "Help! Help! Help! Help!"

Honey, I have neighbors!

(quietly) "Help! Help!"

But Channing won't swim out after her because he thinks it's just one of her tricks.

But Alathea goes on screaming - (loudly) "Help!" (quietly) "Help!"

And suddenly he realizes she's in danger.

So he swims out over the breakers so fast he hardly even touches the water.

But by the time he gets there, she's gone down.

She's joined her husband Lester in the sea.

Oh, it's a - it's a powerful story.

What you call an epic. What'd I tell ya?

And there are lots of other little plots and things I didn't even mention.

Thank you.

What time is it? Oh, it's, uh, 12:30.

Oh. Is that all?

I'm sorry I - I acted so stupid.

I mean, about you taking off your shoes and putting on your robe.

Well, it was very nice of you to break your date.

Oh, that's nothing. I can see Henry anytime.

Is, uh, Henry, uh - Is he in love with you?

I guess so.

Well, you know, he's nice and substantial. The, uh, easygoing type.

He lives with his folks and has a good job.

In other words, you don't love him.

Are you a mind reader?

(chuckles) Well, most writers like to think they are.

Are - Are you going steady with anybody?

Oh, you don't have to tell me her name. I just wondered.

Uh, uh, look, Mildred, it's late and I'm tired and I have to get up early in the morning.

Oh. Oh, well, that's all right.

Would you mind very much if I don't drive you home?

There's a taxicab stand right around the corner on Santa Monica Boulevard.

Not at all. That'll be fine.

All right, here you are. And, uh, thank you very much.

Well, thank you.


Good night, Mildred, and thanks a lot.

Likewise, I'm sure.

♪♪ (record player: orchestra, slow tempo) (doorbell buzzes)

♪♪ (continues)

Brub. What's the idea? Hi, Dix.

Do you know what time it is? It's about 5:00.

Don't you cops ever sleep? Get outta here.

That an order, Major? You make me homesick for some of the worst years of our lives.

(Dix chuckles)

Hey, you been drinking?

No. Have you? No.

No. I've been asleep for hours.

With your clothes on? ♪♪ (off)

Hey, what is this?

Hey, where's your uniform?

Are you in trouble, Brub?

Yeah. They made a mistake and promoted me to detective.

Well, that's good, I guess, huh? It's not a social call, Dix.

Oh. Oh.

I get it. That blabbermouth Junior filed a complaint.

That son-in-law. Just 'cause I pushed him around.

Oughta get you a punching bag for Christmas.

Go on, get dressed. Captain Lochner wants to talk to you.

You know, I'm sorry now I didn't really beat him up.

It's got nothing to do with Junior, whoever he is.

Then what is it? My boss'll tell you. Come on. Step on it.

You wanna make yourself a cup of coffee? No, thanks.

You know, I got married. Why?

Oh, I don't know. I guess she had a couple of bucks to spare.

Besides, I like her. You will too when you meet her.

Here. You read any good books lately?

I guess you were asleep at that.

Well, is that a felony in Beverly Hills?

Wouldn't you say that taking a checkroom girl home for the purpose of hearing a story was rather an eccentric thing to do?

Oh, I'd say it was a very practical idea.

She'd read the book and I hadn't.

If you only wanted her to tell you a story, why'd you take her to your place?

Because I work at home.

You had no other reason for asking her to go with you?

Well, if I had, I didn't do anything about it.

Did she have a drink at your house? Yes.

She had a glass of ginger ale with a twist of lemon in it.

It's known as a horse's neck.

The glass is still on my desk, complete with fingerprints.

I can assure you I didn't wash the dishes. I was too tired.

You gave her $20. Quite a large sum for cab fare.

Well, she'd given me valuable service.

Was it two 10's? Yes.

But, uh, don't ask me to identify the bills.

Why didn't you call for a cab?

Isn't that what a gentleman usually does under the circumstances?

Oh, I didn't say I was a gentleman. I said I was tired.

You're told that the girl you were with last night was found in Benedict Canyon, murdered, dumped from a moving car.

What's your reaction?

Shock? Horror?



Just petulance at being questioned, a couple of feeble jokes.

It's puzzling, Mr. Steele.

Well, I grant you the jokes could have been better, but I don't see why the rest should worry you.

That is, unless you plan to arrest me for lack of emotion.

What else did she tell you about this fella she broke her date with?

No more than I've already told you.

Some more coming.

Any marks on the neck? Nope.

Dr. Jackson said the killer used his arm, not his hands.

How you fellas recording this? Tape or wire?


Here's the mike.

How long have you known Mr. Steele?

He was my CO. We spent three years together overseas.

You see each other much? After the war, I mean.

About a year ago I called him. He promised to call me right back. I'm still waiting.

(chuckles) Yeah, when I found out he was a cop, I lost interest.

Send the parking attendant and the other checkroom girl home.

Yes, sir.

(door closes) Want to see some pictures?

DIX: I don't mind.

It'd help all of us considerably if it could be established that she left your apartment of her own volition and that you spent the rest of the night at home.

Did anybody drop in or call you?

No, nobody called.

Poor kid.

Nobody dropped in. Phone rang once, but I didn't answer it.

You mean you just let it ring? I very often do.

You can ask my friends and neighbors.

Hey, wait a minute.

Miss Gray.

Good morning, Miss Gray. (door closes)

Please sit down.

I'm Captain Lochner. This is Sergeant Nicolai.

Hello. How do you do?

Sorry. No more coffee.

Miss Gray, do you know this gentleman?


Did you ever see him before? Yes, a few times.

Where? At the Patio Apartments.

We both live there.

Do you know who he is? Yes.

When I moved in a few days ago, Mr. Steele was pointed out to me by the manager.

She was very proud of having a celebrity for a tenant.

Did you see Mr. Steele last night?

Yes. As I came home, I saw him going to his apartment with a girl.

That girl was Mildred Atkinson.

She was murdered between 1:00 and 2:00 this morning.

Murdered? Yes.

Strangled by the vise-like grip of an arm.

You know. Mugged.

What time did you get home last night?

Shortly after midnight.

Did you see Mr. Steele after he and the girl entered his apartment?

Yes, about a half an hour later.

I saw him at his door saying good night to her.

How do you know it was a half hour later?

Usually takes me that long to get ready for bed.

Can you see Mr. Steele's door from your bedroom?

She was standing on her balcony in a negligee.

It was a warm night. My apartment was stuffy.

You're sure he didn't leave with the girl? Positive.

What was he doing? I believe he was looking at me.

(chuckles) Considering that you've never met Mr. Steele, you paid quite a bit of attention to him.

Mm-hmm. I have at that.

Do you usually give such attention to your neighbors?


Were you interested in Mr. Steele because he's a celebrity?

No, not at all.

I noticed him because he looked interesting. I like his face.

I guess that'll be all for now. Good-bye, Miss Gray.

Good-bye, Captain Lochner.


Do attractive young women often admire your face, Mr. Steele?

Well, if they do, they aren't usually as outspoken as Miss Gray.

You finished with me? Yes, for the time being.

Try to make it a little later next time. Good luck, Captain.

I'll call you, Brub. No, I'll call you.

Oh, I'll see that Miss Gray gets home.

Thank you, but I always go home with the man who brought me.

I'll be glad to drive you back too. No, thanks. I-I'll walk.

I haven't been up this early in years.

LOCHNER: How would you feel if you were pulled out of bed at 5:00 in the morning and brought down here for questioning?

Not good.

And how would you feel if some joker like me told you that the girl you took home last night had been murdered?

I'd come apart at the seams.

Innocent people usually do.

Would you say that Steele was especially perturbed?

It's hard to tell how Dix feels about anything.

None of us could ever figure him out.

But he was a good officer and his men liked him.

I like him too.

I don't think he killed Mildred Atkinson. He's hiding something.

And I doubt if it's the proverbial heart of gold.

Say, do me a favor, will ya, pal?

Yes, sir?

I want to send two dozen white roses to a girl.

Yes, sir. You want to write a card? No, there's no card. Just send 'em.

Her name's Mildred Atkinson. Mildred Atkinson? Yes, sir.

What's her address?

I don't know.

Look it up in the papers. She was murdered last night.

Yes, sir.

Dix! I knew I shouldn't have left you last night.

I knew something was going to happen.

You were in one of those moods that keeps me awake all night.

Yeah, you look awful.

There's nothing wrong. Nothing wrong?

You should have heard the 7:00 news.

"Checkroom beauty murdered.

Distinguished screenwriter takes hatcheck girl home to tell him story."

Dix! It could have happened to anybody.

I know, but somehow it always happens to you.

What did you tell the police?

You know a girl named Laurel Gray?

Dix, what did you tell the police?

I'll tell you what I'll do. I'll make a deal with you.

You look her up in the casting directory, and I'll tell you what I told the police.

Laurel Gray.

That's the girl that's been going around with Baker.

She lives across the patio.

MEL: The real estate Baker.

She also likes my face.

She wants a part.

I know a part she'd be good for.

Oh, you better call Brody and tell him I didn't get a chance to read his book.

What for? When he finds out what's happened, he'll call the deal off anyway.

Asking a checkroom girl to tell you the story.

You couldn't have insulted him more if you'd spit in his eye.

Tell him it was just an excuse for the police.

That's not bad.

Oh, here she is. She's been on a couple of low-budget pictures.

Let me see.

That checkroom girl left without you, didn't she?

Tell me.

Wonderful face. Tell me what happened!

Well, what do you think happened?

Mildred Atkinson's glass.

Don't do things like that!

I don't think. I just wanna know that you're in the clear.

Mel, for the time being, I think I am. At least that's what Captain Lochner said.

He's a smart fellow, that Lochner. Couple times he almost had me.

It was his story against mine, but of course I told my story better.

Notes on Dixon Steele, continued.

"February, 1946.

Beer parlor brawl on Santa Monica Boulevard.

Brought to station for questioning.

Discharged with warning."

Next number: "March, 1947.

While working as screenwriter, had fistfight with his producer.

Fractured producer's jaw.


No charges preferred."

I was smart. I covered all the angles. I have an airtight alibi.

Dix, if you had anything to do with it, I want to know. Tell me!

Why do you want me to confess? Because I'll have to get you a lawyer.

Or maybe get you across the border into Mexico.

(scoffs) Lippman and his connections.

Next number:

"June 22, 11:00 PM.

Frances Randolph screams for help.

Charges Steele beat her up.

Then denies having made the charge.

Alleges nose broken by running into a door."

He plays rough.

So do I.

What else have we got?

(doorbell buzzes)

Oh. Come in.

Mr. Lippman, my agent. Miss Gray, my alibi.

Hello. Good morning.

He believes I killed Mildred Atkinson. Stop it, will ya.

You want a cup of coffee? No, thanks.

I came down to ask if you could keep my name and address out of the papers.

I thought you might have some connections.

Yeah, well, I don't have, but Mel here has. That is, if you wanna go to Mexico.

Shut up.

It's much easier to get people's names into papers than to keep them out.

You've managed to keep mine out a few times.

Go ahead, Mel. See what you can do.

Well, I'll try, but I can't promise anything.

Miss Gray, did you really see him after that girl left?

Of course I did.

Sometimes I wish I'd never met you.

But I'm very happy to have met you.

The best straight man I ever had. You must have really upset him.

When I told him I killed Mildred, he practically had me across the border.

Very funny. (chuckles) No, it's not very funny.

It's a good thing you like my face. I'd have been in a lot of trouble without you.

I only told the police what I saw.

I have no idea what you did after you closed your venetian blinds.

Oh? Oh, you'd be surprised.

I went to bed.

Perhaps I shouldn't have closed my blinds.

You know, Miss Gray, you're one up on me.

You can see into my apartment, but I, uh - I can't see into yours.

I promise you I won't take advantage of it.

I would, if it was the other way around.

I'd try to find out who you're hiding from.

Not hiding. Just avoiding.

It couldn't by any chance be Mr. Baker? The real estate Mr. Baker?

Could be.

You mean you picked up your little marbles, I hope?

We were thinking of getting married. It wouldn't have worked.

You sneaked out the back door and left no forwarding address.

That about covers it.

Only it was my back door.

You know, you're out of your mind.

How could anybody like a face like this?

Look at it.

I said I liked it.

I didn't say I wanted to kiss it.

You know, you're a quitter. The "get out before you get hurt" type.

Is that bad?

Well, I suppose you save yourself a lot of trouble that way.

I do. I think twice before I get into something.

You're getting into something right now. No, I'm not.

I've only thought about it once.

You a fast thinker? Not right now.

I didn't get much sleep last night. A neighbor kept me awake.

Well, go ahead and get some sleep. We'll have dinner together tonight.

We'll have dinner tonight, but not together.

(chuckles) When you first walked into the police station, I said to myself, "There she is, the one that's different.

She's not coy or cute or corny.

She's a good guy. I'm glad she's on my side.

She speaks her mind and she knows what she wants."

Thank you, sir.

But let me add I also know what I don't want, and I don't want to be rushed.

When you've made up your mind, stop by. Uh, but not before noon.

Thank you. I will.

(phone ringing) Your phone's ringing.


(ringing continues)

(ringing continues)


Oh, hello, Brub.


Yeah, well, I can imagine a reunion under more pleasant circumstances.

I just talked to Sylvia.

That's my wife.

She wants you to come to dinner tomorrow night.

That's swell.

And she said to bring someone, if you like.

Well, maybe I will.

But I won't know till tomorrow, along about noon.



Why he couldn't have dumped her a hundred feet further up the canyon, I'll never know.

What difference does it make? It'd make a great deal.

She'd have landed in the lap of the LA Police Department instead of ours.

All we know is that she was dumped from a moving automobile.

No clues, no motives, no suspects.

Present company excepted.

What about Henry what's-his-name?

Who? Kesler? Mm-hmm.

Well, after she called him and broke her date, he went to bed.

His mother brought him a piece of pie. His father heard him snore.

First thing in the morning, he came down to the station.

He was terribly upset.

Substantial type. Eats pie before going to sleep.

(chuckles) Tell you what's wrong with you and Lochner.

You don't see enough whodunits.

We solve every murder in less than two hours, and some of them are tougher than the Atkinson case.

BRUB: That's because you know who did it from the beginning.

DIX: Maybe you're right.

You want me to help you solve this murder? I wish somebody would.

Well, first you have to have enough imagination to visualize the crime.

Here, get up. (chairs moving)

Gonna put this chair here.

This one here.

Brub, you sit down there. Sylvia, you sit there on Brub's right.

You're the killer. You're driving the car. This is the front seat.

What makes you so sure this murder was committed in a car?

Well, if she'd been killed before she got in the car, the murderer would have hidden her body in the back.

In that case, he couldn't have dumped her out without stopping.

Now, you're driving up the canyon.

Your left hand's on the wheel.

Yeah, yeah, go ahead.

She's, uh - She's telling you she'd done nothing wrong.

You pretend to believe her. You put your right arm around her neck.

You get to a lonely place in the road, and you begin to squeeze.

You're an ex-GI. You know judo.

You know how to kill a person without using your hands.

You're driving the car, and - and you're strangling her.

You don't see her bulging eyes or protruding tongue.

Go ahead. Go ahead, Brub. Squeeze harder.

You love her, and she's deceived you.

You hate her patronizing attitude.

She looks down on you. She's impressed with celebrities.

She wants to get rid of you.

You squeeze harder.


Squeeze harder.

It's wonderful to feel her throat crush under your arm.

Brub, stop it!

I didn't hurt you, did I?


Well, are you convinced?

I think so.

Well, I'm not.

My hands. You forgot my hands.

I could scratch his eyes out before he could kill me.

Ah, but you didn't. Your first instinct was to grab his arm, try to loosen his grip.

That's where you lost the battle, just as Mildred did.

You've given this a lot of thought, haven't you?

Well, I've had a lot of experience in matters of this kind.

I've killed dozens of people, in pictures.

(chuckles) No, Sylvia, I didn't do it.

I assure you I could never throw a lovely body from a moving car.

My artistic temperament wouldn't permit it.

No, naturally.

You see, we so-called creative artists have a great respect for cadavers.

We treat them with the utmost reverence.

Put them in soft beds, lay them out on fur rugs, leave them lying at the foot of a long staircase, but we definitely could never throw them from a moving car as though they were cigarette butts.

(chuckles) No, naturally not. What would Emily Post say?

And now, having sufficiently confused you, I have to go.

Oh, don't go. It's only 10:00.

It's way past my bedtime. Besides, I have a late date, I hope.

May I come again? As often as you like.

Thank you.

Be sure and give Lochner a detailed report on my theory of the murder.

You really think he'd want me to do that? I would, if I were Lochner.

Tell him to look for a man like me, only without my artistic temperament.

Which may or may not be phony.

I'll walk down to the car with you.

Sorry we got on that murder kick. Next time we'll skip it.

Can I depend on that? Sure.

Bring a girl. Give us another chance.

(car door opens, closes)

(engine starts)

Uh, quite an evening. Yes.

Well, what do you think? Well, I'm glad you're not a genius.

He's a sick man, Brub. No, he isn't.

Mmm, there's something wrong with him.

He's always been like that. He's an exciting guy.

Look, when I took abnormal psychology -

Every time we disagree, you throw that college stuff in my face.

I didn't go to college, but I know Dix better than you do.

There's nothing the matter with his mind except that it's superior.

He's exciting because he isn't quite normal.

Maybe us cops could use some of that brand of abnormality.

I learned more about this case in five minutes from him than I did from all our photographs, tire prints and investigations.

All right, but I still like the way you are - attractive and average.

Well, thank you kindly. You're welcome.

I heard you the first time.

Sit down.

All right, Martha. I'll see you in the morning.


(receiver sets in cradle)

You annoy me.

If I do, it isn't intentional.

Would you like a drink? No, thanks. I don't need one.

Had too much? One martini.

I knew I was gonna see you.

Very thoughtful.

Sit down and relax.

Uh... Uh, who's Martha?

Who? Oh, Martha.

The only thing left of my movie career.

She's about 50. She's married. Her son goes to UCLA.

She comes to me twice a week, beats me black and blue, for which I -

Have you thought about it a second time?

Mm-hmm. I'm interested.

When did you decide?

Yesterday, about 3:00 PM.

I see. Just, uh -

Just didn't get around to announcing the official results?

I wanted you to think about it twice too.

I've been looking for someone for a long time.

I didn't know her name or where she lived. I'd never seen her before.

But a girl was killed, and because of that I found what I was looking for.

Now I know your name, where you live and how you look.

(door closes)

Snooping through windows.

And in broad daylight too.

Where are your manners, Mr. Lippman?

Don't tell Dix. He might get the idea I'm checking on him.

Come in. No. He shouldn't be disturbed.

Oh, yes, he should. He hasn't stopped working all night.

He hasn't left the house in days. Won't even take me for a drive.

Incredible. You know, Dix hasn't been able to work like this since before the war.

What do you use, witchcraft?

Only as a last resort.

He's kind of dopey this morning. I love him that way.

Come on. I'll show you.



Mel is here to take you to the beauty contest.

I'll be ready in a minute.

He thinks you'll be voted Mr. America.


Are you really the handsomest man alive?

Yep. Just let me finish this page.

You're a horrible, conceited good-for-nothing.

And I don't love you. It's your money I'm after.

Hey, turn off the radio, will ya? Or get some music.

Genius is going to beddie-bye.

Don't. Let me finish this scene.

If he'd met you 10 years ago, I wouldn't have ulcers today.

What's my first name?

Hi. Say hello to our guest.

Oh, hello, Mel. (laughs)

What are you doing up so late?

Hey, can we have coffee? No, you're going to bed.

It's not even dark outside.

That's because it's tomorrow. I mean, it's today.

And you haven't been to sleep since yesterday.

If Brody could only see you now, would he be delighted.

I wonder. Anyway, we've got lots of pages for him.

Come on. You're going to bed - Stop it!

If you don't let me alone, I'm gonna kick you right outta here.

If you do, I'll go back to Chicago and be a Fuller Brush girl.

They were crazy about my work on the Near North Side.

You'll go when I tell you to go and not before. Remember that.

I'll try. You see? He's right.

You can't go away. You couldn't do a thing like this to us.

Lower the bridge, open the gates! Charles Waterman the First is here!

Hmm. Must be Thursday.

Charlie, my friend who speaks but poetry and borrows but money.

The better to drink but brandy.

CHARLIE: Ready to pay homage to an immortal mortal!

Ah, fair princess, most noble princes, I bring you greetings from an humble peasant.

Welcome, thespian.

(thuds onto floor) There he goes again.

He can never figure that step out.

You may arise, thespian.

Easier said than done.

I'm afraid you've come at the wrong time. We were just putting Dix to bed.

Do me the honor, Princess, and let me prepare him for repose.

To secure pleasant slumbers, I shall recite to him.

Wouldn't you rather have a brandy?

Most beautiful words in the English tongue.

Come, royal boy.

When in disgrace, with fortune and men's eyes, I all alone beweep my outcast state and trouble deaf heaven with my bootless cries and look upon myself and curse my fate.

(door closes)

Mel, really. You must stop snooping.

Just a few pages. Please. I won't say a word.

Dix'll show you when it's finished.

How many pages have you typed? Many.

Is he sticking close to the book?

I don't know. I didn't read the book.

(door opens)

Miss Gray, there's a man upstairs wants to see you.

Thank you, Effie.

Oh, and, Effie, don't use the vacuum. Mr. Steele's just gone to sleep.

Well, I gotta vacuum sometime.

By all the bulls of Bashan!

If anyone else had done it, I would have shouted, "Ignorant swine!"

(whispers) Charlie! I am perplexed.

Just as I said "From sullen earth sings hymns at heaven's gate, " he began to snore.

There's no hope, I say. No hope at all.

For thy sweet love remembered, such wealth brings, that then I scorn to change my state with kings.

(door opens)

Then I scorn to change my state with kings.


Hello, Miss Gray. Remember me? Sergeant Nicolai.

Oh, yes, of course. What can I do for you?

Captain Lochner would like to talk to you.

But I have nothing to say to him.

I didn't expect you to give me additional information.

It's just that certain facts seem to contradict your original statement.

I wish you'd say what you mean, Captain Lochner.

Yes, let's do that.

On the night of the Atkinson murder, you came in here, looked at Dixon Steele and told us that you didn't know him.

And I didn't.

However, since then you and Mr. Steele have been inseparable.

He's writing a script. I'm doing the typing.

Do you receive a salary for your work? No. I'm doing it for love.

You're in love with Mr. Steele? For the record, I am in love with Mr. Steele.

Are you going to be married?

If we do, I'll send you an invitation.

After all, it was you who introduced us to each other.

You know, you're not making my job any easier.

I don't see how I could.

Why do you come here with a chip on your shoulder?

Why the defiant attitude? Aren't we on the same side in this matter?

Doesn't it frighten you that there's a killer at large?

He may be in your apartment house or next door.

Certainly in your neighborhood.

Look at these men.

They seem perfectly normal to you?


Each one has committed a horrible murder.

Each one is a ruthless maniac.

Mildred Atkinson wasn't killed for any understandable reason.

She had no money, no enemies.

It wasn't a sex murder.

It was the act of a sick mind with an urge to destroy something young and lovely.

I recognize your position, Captain Lochner, but you must also recognize mine.

I love Dix.

It upsets me terribly that you suspect him, even for a second.

Not a second. For the last three weeks. He's our most logical suspect.

What about her boyfriend? Why don't you investigate him?

We have. He seems absolutely in the clear.

But look at Mr. Steele's record - fights, scandals, destruction.

It all adds up to the same thing - an erratic, violent man.

All this happened years ago. He's changed since.

He has?

Ask Sergeant Nicolai how he behaved at their house the other night.

How he dwelled on the Atkinson murder.

How he made Brub and his wife act it out.

Obviously, killing has a fascination for him.

I don't believe that.

That's because you're in love with him.

Thank you for coming, Miss Gray. Good-bye, Captain.


Go on. Say it. "I told you so."

Where would that get us?

I know I violated your confidence. I'm sorry.

It's all right. You know what you're doing.


I've got Mr. Kesler here. Oh, hello, Mr. Kesler.

How do you do, Captain? Sorry to inconvenience you.

A few additional points that aren't quite clear.

Maybe you can help me.

I hope I can. Please sit down.

Hi, Kesler. Hello, Sergeant.

♪♪ (piano: ballad)

♪ I hadn't anyone ♪

♪ Till you ♪

♪ I was a lonely one ♪

♪ Till you ♪

♪ I used to lie awake ♪

♪ And wonder ♪

♪ If there could ever be ♪

♪ Someone in this wide, wide world ♪

♪ Just made for me ♪

♪ Now I see ♪

(no audible dialogue) ♪ I had to save my love ♪

♪ For you ♪

♪ I never gave my love ♪

♪ Till you ♪

♪ And with my lonely heart ♪

♪ Demanding it ♪

♪ Cupid took a hand in it ♪

♪ I hadn't anyone ♪

♪ Till you ♪

Anything you want to make you happy?

(whispering) I wouldn't want anyone but you.

(no audible dialogue)

What's he doing here?

With or without his wife or tailing me.

Come on, let's get out of here.

Hello, Miss Gray. Hello.

We've warmed up a couple seats for you.

We're going to Paul's from here.

I want to do everything I can to make your job easier.

♪ I never gave my love ♪ I can see why that guy gets into a lot of trouble.

Six hours' sleep. Typing all day.

Six hours' sleep. Typing all day.

No wonder your nerves are tied in knots.

You can't be a nursemaid and a sweetheart, a cook and a secretary.

You've got to think of yourself.

I've never been happier in my life.

Come on, angel. Relax.

Ouch! Martha, you're hurting me.

We should be up on Miller Drive beside that lovely pool Mr. Baker built for you.

Not for me. He built it to increase the value of his property.

I was waiting for him to raise the rent.

So he's a good businessman who wants to get married.

What's wrong with that?

A girl like you should think about security.

And remember, angel, in the beginning was the land.

Motion pictures came later.

Okay, turn over.

Dix, is that you?

Yeah. You decent?

No, I'm not. Martha's here.

Hello, Martha. Hello.

Did you get the pages I did last night?

They're on my table. I took them from your desk this morning.

Where have you been? None of your business.

I want some orange juice, eggs over easy, bacon, toasted muffin, strawberry jam and lots of coffee.

What, no caviar?

You'll get breakfast in 10 minutes.

We're going to a beach party tonight. Good.

With the Nicolais. You met him. The cop in Lochner's office. Remember?

Yes. Vaguely.

You really want to go?

Be back in five minutes.

They still don't know who killed that checkroom girl.

They don't?

Have you met Frances Randolph?


I used to take care of her.

All right, tell me. What happened?

What did Mr. Steele do to her?

Oh, nothing much.

Just beat her up, broke her nose.

Why didn't you warn her?

Why didn't you tell her not to get involved with a brute like Dix?

You can joke about it, angel, but someday you'll find out who your friend is.

I only hope it isn't too late, because this isn't going to be as easy to get out of as it was with Mr. Baker.

That's enough, Martha. Get out!

I'll get out, angel, but you'll beg me to come back when you're in trouble.

You will, angel, because you don't have anybody else.

Get out.

♪♪ (radio: big band) (laughing)

Oh, I love a picnic.

Acres and acres of sand, and all of it in your food.

Stop griping. Just lie still and inhale.

What, sand? No, air.

And don't let it go to your head. He's been working like a fiend all week.

I've always been curious to know how a writer works.

Usually in a sitting position. Oh.

That's wonderful! Not cold at all. Oh, my hero.

What I meant was, does he usually have the story mapped out before he starts?

If you don't, you're in awful trouble, unless you have my gal friend here as inspiration.

Honey, are you feeling all right?

I wouldn't write a page if it wasn't for her, but she keeps talking all the time.

The only way I can shut her up is to sit down and write.

That's my boy. How I ever went for her, I'll never know.

You know what she says to me when I show her something I've written?

What? "Honey, haven't I read this somewheres before?"

Maybe she has.

You know, that's the trouble with these Hollywood dames.

They all have such a sketchy education.

They know absolutely nothing about the community chest, but they know everything there is to know about community property.

Their arithmetic is not so hot, but just ask 'em how many minks make a coat.


How long would you give them, Sylvia? Oh, not more than 40 years.

Dix needs you, Laurel. You ought to marry him.

You have to marry him. You promised Lochner you'd invite him to the wedding.

She promised Lochner what?

Did I say Lochner? I meant Brub.

You're a poor liar, Sylvia. When did you see him?

The other day. It was just a routine deal.

Why didn't you tell me?

We didn't want to tell you because it would only have upset you.

You're lying to me. I'm not lying. I just didn't tell you.

I'm sorry, Dix. I'm sorry. Still checking on me.

Still trying to pin a murder on me.

I don't know why I said it. Brub especially asked me not to.

Maybe it's better this way. I should have told him in the first place.

Dix! Dix!


(engine revving) Dix!

(tires screeching)

(horns honking)


(tires screeching)

Watch it, Dix!

Why, you blind, knuckle-headed squirrel! Don't you look where you're going?

Take it easy, son. Take it easy? Look at my car!

I just got a new paint job. 200 bucks!

I ought to drag you out of this barge and - Dix!

Stop it! Stop it! Let him alone!

Dix, don't! You'll -

Dix, stop! You'll kill him!

I'll take that cigarette now.

Want one?


These guys in their hopped-up cars, they think they own the road.

You weren't really angry with him.

You've been wanting to slug somebody ever since you left the beach.

What happened at the beach had nothing to do with it. This guy asked for it.

I've had a hundred fights like this.

Are you proud of it? No, but I'm usually in the right.

I was this time. You heard what he called me.

That doesn't justify acting like a madman.

Nobody can call me the things he did.

A blind, knuckle-headed squirrel.

That's real bad.

You drive.

I was born when she kissed me.

I died when she left me.

I lived a few weeks while she loved me.

You like it?

What is it?

I - I want to put it in the script. I don't know quite where.

The farewell note?

I don't know. Maybe.

Say it back to me. Let's hear how it sounds.

I was born when she kissed me.

I died when she left me.

I - I -

I lived a few weeks while she loved me.

Hi. Hello.

$300, payable to John Mason. Santa Monica.

Sender, Joe Squirrel. You Mr. Squirrel?

That's right. You got a stamped envelope?


Here you are, Mr. Squirrel.

Sergeant Nicolai? Sergeant Nicolai is busy right now.

Oh. I'll wait.

Hi, Dix. Oh, hello, Brub.

How do you feel about things this morning? Any better?

Oh, about the same as last evening.

What can I do for you? I came to tell you.

If you want to find out anything about me, ask me.

I do. But I'm a cop, remember? I take orders.

Sorry to be late, Sergeant Nicolai. Noon rush on at the bank, you know?

Dixon Steele, Henry Kesler. Oh. Hello.

How are you? They hounding you too?

Trying to pin this thing on you the same as they are on me?

Well, if they are, I'm not aware of it.

As a matter of fact, you're a much more logical candidate than I am.

You were in love with her. You could've been jealous.

If I were Captain Lochner, I could build up a pretty good case against you.

Glad to have met you. What an imagination.

That's from writing movies.

Oh, what a grip. That's from counting money.

This is what I'd like to have someday.

Small, cozy house near the ocean.

Brub painted the walls. I made the lampshades and curtains.

They look it too.

Dix wanted me to tell you how bad he feels about last night.

Oh, it was my fault.

No. There was no excuse for his behavior.

Well, he's a writer. People like him can afford to be temperamental.

I'm afraid he'd act just the same no matter what kind of work he did.

You certainly picked a wonderful spot.

On a clear day, we can really see Catalina.

He's very much in love with you.

Sylvia, Lochner said that Dix came here and described the murder of Mildred Atkinson.

Did he?

We were both very impressed with his imagination.

Why should that worry you? You know Dix didn't do it.

You saw him after the girl left.

Of course. He hardly knew her. He had nothing against her.

That's what Brub says. I know.

But Lochner has a different idea. He believes Dix could've done it.

I left his office feeling as though he were trying to warn me.

Oh, don't pay any attention to Lochner.

You don't realize what he's doing to us.

I suppose it isn't just Lochner.

There is something strange about Dix, isn't there?

I keep worrying about it. I stay awake nights trying to find out what it is.

Then he shows up for breakfast with an armload of packages, and he's so sweet and so kind that he makes me feel -

Ashamed of what you've been thinking?

Then why don't you talk to him? Tell him how you feel.

What can I say to him?

"I love you, but I'm afraid of you.

I want to marry you, but first convince me that Lochner's wrong, that you didn't kill Mildred Atkinson."

You should go away for a while. I really think you should.

I mean, give yourself a little time.

Figure things out quietly.

You're too anxious.

Sylvia, after we left you, Dix got into an argument with a man.

He acted like a maniac. I thought he was going to kill him.

I thought - I thought maybe he acted just the same with Mildred.

I came here because I wanted to say these things out loud and be laughed at.

But you're not laughing.

MARTHA'S VOICE: They still don't know who killed that checkroom girl.

This isn't going to be as easy to get out of as it was with Mr. Baker.

It was the act of a sick mind with an urge to destroy.

An erratic, violent man.

He's our most logical suspect. Killing has a fascination for him.

LAUREL'S VOICE: I wanted to say these things out loud and be laughed at.

But you're not laughing.


Good morning, Mr. Steele. Are you going up to see Miss Gray?

Yeah, I'll take those up for you. It'll give me an excuse to see her.

You don't need an excuse, but I need a new pair of legs.

Uh, tell her I'll be back tomorrow with the rest of her things.

Good-bye, Mr. Steele. Bye, Mr. Swan.

(vacuum cleaner humming)

Oh. Morning, Effie. Mmm.

Miss Gray awake? Mm-hmm.

How many times do I have to tell you not to vacuum when she's sleeping?

She can't hear nothing. She takes pills.

Since when? I don't know.


She must have worked all night.

I wish you and Miss Gray would get married and go on a honeymoon.

Then I could get these two apartments cleaned up.

(alarm ringing)

Shut it off, honey, and go back to sleep.

I can't. The clock's too far away.

I'll shut it off for you, if you want me to.

All right. Come in.

(alarm stops)

You wanna go back to sleep?

No. I'll get up.

I'll start breakfast.

You might open the door for me.

Beg your pardon, Effie.

(door closes)

I'll do it, Dix.

No, I don't want you to.

You sit down, be comfortable.

Room service, coming up.

What happened to the grapefruit knife?

Oh, it was crooked and I straightened it.

Fool. It's supposed to be curved.

What? Huh. Wonder what they'll think of next.

I finished the pages.

Yeah, I noticed you also covered the script.

What are you trying to prove? You won't get a raise, you know.

I love the love scene. It's very good.

That's because they're not always telling each other how much in love they are.

A good love scene should be about something else besides love.

For instance, this one.

Me fixing grapefruit, you sitting over there dopey, half asleep.

Anyone looking at us could tell we were in love.

Uh, Effie wants us to get married.

Says it'll give her a chance to vacuum the apartment while we're away.

Isn't there a simpler way?

I always knew I'd get stuck with you eventually.

All I needed was a little push.

Come on, dopey.

Where'd you get the pills?

From my doctor. Oh?

When did you see your doctor?

Couple of weeks ago.

Well, why didn't I know about that?

I guess I didn't think it was important enough to mention.

It's only lately that you've wanted to know everything about me.

Well, you ought to be very flattered that I do.

I am.

And I love you.

But there's no reason to rush into anything.

Who said anything about rushing into anything?

I thought maybe if you'd give me an answer, say, in the next 10 seconds, I - I'd go right out and buy a ring.

Then we could have a little engagement party tonight at Paul's, invite a few of our select friends and enemies, take a plane to Las Vegas around midnight and be married by -

The coffee!

Well, the 10 seconds are up.

Of course I'll marry you, but - No, no, no.

No "of course." No "but." No "why."

Yes or no will do. A simple yes or no will do very well.


(door opens)

(door closes)

Effie, it's okay. You can vacuum tomorrow.

Both apartments.

Dix, wait. What's happened? Effie, you tell him.

Well, tell me.

I guess they're gonna get married.


It's me, Mel.

Laurel, I can't tell you how happy I am.

Would you ask Miss - Martha to call Miss Gray as soon as she can?

Thank you.

I prayed for this. It had to come true.

Oh, Laurel, we'll be such a happy family.

I'll come and have dinner with you. I'll play with the kids.

You don't have to worry. I won't come too often.

I'll only teach the kids nice things.


You're - You're not going to marry him?

No, I'm not. I can't.

I see.

I was hoping for a miracle, and it didn't happen.

I tried, Mel.

I wanted it to last so much, for my own sake.

But Dix doesn't act like a normal person.

You don't go around hitting people, smashing cars, torturing your best friend.

I'm - I'm scared of him.

I don't trust him.

I'm not even sure he didn't kill Mildred Atkinson.

Laurel! You're going too far.

Am I?

Have you forgot what you asked me when we first met?

You weren't sure of him either, and you know him better than anybody else.

Why can't he be like other people?

Why? Like other people?

Would you have liked him? You knew he was dynamite.

He has to explode sometimes.

Years ago, I tried to make him go and see a psychiatrist.

I thought he'd kill me.

Always violent.

Well, it's as much a part of him as the color of his eyes, the shape of his head.

He's Dix Steele.

And if you want him, you've got to take it all - the bad with the good.

I've taken it for 20 years, and I'd do it again.

You make me feel ashamed, Mel.

Maybe I should stay with him, but I can't.

Why did you tell him you'd marry him?

I was scared. I still am!

Oh. I hate to see that.

You - You can't hurt him like this.

Dix has a tremendous ego. He - He can't take defeat.

Y-You've got to wait until something good happens to him.

He wants to take me to Las Vegas tonight.

I've got to get out now before he gets back.

If Brody only liked the script, that would help a lot.

If Dix has success, he doesn't need anything else.

Then take the script.

It's finished.

And it's wonderful.

It's really wonderful.

Take it to Brody now.

Thank you, Mel. I'll write to you.

Oh, don't.

I don't want to know where you are because Dix will ask, and I'll have to tell him.

If you feel like writing, write to him.

Then maybe later you'll come back to us.

I hope so.

See you. Good-bye, Mel.

(door closes)

(phone ringing)

Yes, this is she.

About your reservation to New York, we may have some space on Flight 22 at 3:00 PM.

Will you be at this number for another hour?

Yes, I'll be here. Please let me know as quickly as you can.

(door opens)

I got four blocks away and remembered I don't know your ring size.

Well, here. This is about right. No, no, no.

I want you to choose it.

After all, you gotta wear it the rest of your life.

Well, I've got so much to do. I still haven't packed.

Well, do it later.

We've gotta look at houses. We're not gonna live in apartments anymore.

And I want to buy you a little car. Come on.

Why are you always in a hurry?

Are you going to come, or do I have to drag you?

But I'm only half dressed.

That's good enough for me.


Mr. Waterman, you forgot to change your costume.

This is not a costume, ignorant wench.

It is the formal attire of a gentleman.

Uh, no applause, please.

Mine host, you've slighted me.

Where's the red carpet, the lackeys with candelabra, the trumpeters?

Are we not celebrating a royal engagement?

Of course we are, but it's to be held incognito. Shh.

Hiya, Charlie.

Forgive the smell of mothballs.

My sincerest congratulations, princess.

Let me embrace you, noble prince.

My - My senses tell me you've had a few, thespian.

I've been celebrating ever since your call.

Brandy for Mr. Waterman.

And what did you do this red-letter day?

So much happened. It's difficult to remember.

First I got a ring, then we looked at houses, and then we bought clothes.

He hasn't left me alone for a second.

Sounds fascinating, princess.

Let me see the jewel.


Exquisite taste.

Ah. The princess must not pick the polish from her nails.

The, uh, princess has been acting very strangely.

WAITER: Your table's ready.

Hello, Dix. Hello, everybody.

I understand you're getting married. DIX: That's right.

Laurel Gray, this is Frances Randolph.

Hello, my dear. Congratulations.

Thank you, Miss Randolph. Come on, Fran.

Join the elite. Just for a second.

You got yourself a wonderful guy, Laurel, and believe me, I should know.

Oh, what am I saying? That's all right, Fran.

I've already told Laurel how you used to pursue me.

Dix, Brody wants me for the part of Althea.

I'm going to read the script tonight.

Whose script? Yours, genius.

He's going to send it to my house. That is, if he likes it.

Did he tell you where he got my script?

I took it to him, Dix, this morning.

I stole it out of Laurel's desk. No, he didn't. I gave it to him.

Brody's been so impatient.

I'm sorry, Mel. I always put my foot into it.

Don't be angry, Dix. I know Brody will love it.

Oh, I don't blame you, but Mel should've known better.

FRAN: Why don't I keep my big mouth shut?

Is there a juicy part in it for me?

Did you read it? No.

You're lying. You read it, and you didn't like it.

What does it matter what I think?

I'm the guy that tried to talk Selznick out of doing Gone with the Wind.

What's wrong with my script? Nothing. But it's not the book.

And that's what Brody asked for - a faithful adaptation.

The book was trash, and you're a thief. Dix, please!

Telephone, Miss Gray.

Thank you. Excuse - She'll take it here.

No, never mind. Ask them to call me at home later, please.

Bring the phone. I said, bring the phone!

No, I don't want to talk to anybody. Not now.

You mean you don't want to talk to anybody in front of me.

Why is it so important that Brody read the script today?

I told you, he was impatient. Has been for weeks.

Yeah, but why today? Miss Gray.

Hello. Who's this? Don't, Dix!

Oh, Martha.

You calling Miss Gray, or are you phoning for Mr. Baker?

That's Laurel's call.

For heaven's sakes! Well, I'll see you later.

Are you all right, Miss Gray?

(phone clattering)

Dixie, my boy, you're in.

And believe me, it's much harder to come back than it is to arrive.

Brody's delighted with the script. He's raving about it.

Break your glasses?

No. Yes.

Cut your eyes?


Lloyd just got here. Brody's crazy about the script.

I told you not to pay any attention to me.

Do you want me to look for another agent?

Well, business isn't so hot.

Uh, remind me to get you another tie.

Where's Laurel?

She's gone.

One moment, please. See you, Paul.

All right.

Cancel the Steele dinner.

Hello. Paul's Restaurant. Paul speaking.

Mr. Dixon Steele?

Just a minute.

He's just left.

Oh, Sergeant Nicolai?

I'll tell him, Sergeant Nicolai.


He just left the restaurant.

You mind if I read Kesler's confession to him?


Know what I'm gonna do tonight? I'm gonna get drunk.

Don't let one right guess go to your head.

It's been a terrific strain on Laurel and Dix. It almost ruined their lives.

They'll never forget Mildred Atkinson. Or you.

I extracted the bullet from Kesler's left lung, that far from the heart.

He's lucky to be a poor shot.

I wonder. I wanna try him at home.

Yeah, keep on trying.

(phone ringing)

Dix? Let me in.

I'm in bed, Dix. I have an awful headache.

Laurel, let me in, please!

It's been such a hectic day! (knocking)

(knocking continues)

Laurel, don't make me ask you again.

(knocking continues)

What is it, Dix?

I'm sorry about tonight. It'll never happen again.

I shouldn't have hit Mel. I shouldn't have picked up the telephone.

It wasn't any of my business. I don't know why I -


Where's your ring?

I put it in my jewel box.

You should never take it off your finger.

Put it on.

Not now.

Where is it? I'll get it.

Please, Dix, can't you relax for a second?

Why is this door locked? Who's in there?


I locked it because it's a mess. I didn't want you to see it.

Open it.

Please, don't order me around. I don't like it.

Why is it a mess? Because -

Because I've been packing. We're going away, remember?

Give me that key.

All right, I'll get the ring.

(door opens) (gasps)

You scared me.


This all you're taking to Las Vegas? I just started to pack when you came.

I thought you said you were in bed. No, I -

Were you packing to go on a honeymoon? Yes, of course!

Or were you packing to run away from me like you ran away from Mr. Baker?

Stop it, Dix! I can't take any more of this!

(phone ringing)



Oh, I'll give her the message.

You have a cancellation on Flight 16 for New York.

I'll tell her.

There's a cancellation on Flight 16 for New York.

I'll stay with you, Dix. I promise. I'll stay with you.

I love you, Dix. I'll marry you. I'll go away with you. Take me -

You'd run away from me the first chance you'd get.

Don't act like this, Dix. I can't live with a maniac!

I'll never let you go!

Dix, don't! Don't! Please, please!

(phone ringing) Don't, Dix. Please don't!



Dix, I've been trying to get you everywhere.

I, uh - I've got some news that's gonna take a lot of tension off you and Laurel.

Just got an airtight confession from Kesler.

Old friend, your hunch was right. He killed her.

Let me speak to him. I want to apologize to him and Miss Gray.

Is Laurel there? Captain Lochner wants to apologize to both of you.

Man wants to apologize to you.


Miss Gray?

I just want you to know how sorry I am I had to put you through this ordeal.

Mr. Steele's absolutely in the clear.

I hope you'll both accept my apologies.

Yesterday this would have meant so much to us.

Now it doesn't matter.

It doesn't matter at all.

I lived a few weeks while you loved me.

Good-bye, Dix.