male announcer: IN NEW YORK CITY'S WAR ON CRIME,
THE WORST CRIMINAL OFFENDERS
ARE PURSUED BY THE DETECTIVES OF THE MAJOR CASE SQUAD.
THESE ARE THEIR STORIES.
[cheers and applause]
- SO SORRY, LADIES.
SORRY, LADIES, I'M RUNNING LATE. CATCH ME AFTER THE SHOW.
I'M ALL YOURS, I PROMISE. I'M LATE. I'M LATE.
[cheering and screaming]
- YOU BETTER HURRY--AMANDA JUST GAVE THE GO-AHEAD TO BRICE.
- SIX MONTHS OF PREVIEWS AND NOT ONCE WITH AN UNDERSTUDY?
I'M TEN MINUTES LATE.
- I KNOW, BUT YOU KNOW AMANDA. SHE PANICS.
- ETHEREAL, SPECTACULAR. PERFECT!
- CALM DOWN, EVERYBODY. I'M HERE. I'M HERE.
- WELL, SO YOU ARE.
- SORRY, BUDDY. - NO WORRIES.
- ALL RIGHT, LET'S GET MARC HOOKED UP.
- SORRY. - ALL RIGHT...
NOW, REMEMBER, IN THE SCENE WHERE YOU DEFY DAEDALUS,
DON'T PUSH.
JUST BE. - YEAH.
I AM. I AM ICARUS.
- I'M TALKING ABOUT HITTING THE NOTE ON-KEY,
FOR ONCE. - I GET IT.
AMANDA, TRUST ME. - ALL RIGHT?
- I GOT YOU THE COBB. YOU HAVEN'T EATEN ALL DAY.
- I DON'T NEED A SALAD. I NEED A DRINK.
AND GET ME EVAN KORMAN ON THE PHONE!
- HELLO, AMANDA.
- MARC HAS TO GO.
HE'S GETTING LAUGHS IN PLACES
WHERE THE AUDIENCE SHOULD BE CRYING.
IT WASN'T MY IDEA TO HIRE A SITCOM STAR.
YOU SAID YOU NEEDED A NAME. - YEAH. YOU KNOW WHY--
BECAUSE YOU RIPPED OUT 200 SEATS TO BUILD YOUR LABYRINTH.
WE LOSE 20 GRAND IN TICKET SALES EVERY NIGHT.
- ADAM! JEEZ, YOU SHOULDN'T HAVE.
I-- - WELL, I DIDN'T.
THEY WERE OUTSIDE YOUR DOOR.
- DID YOU, UH, HEAR REHEARSAL?
I THINK I NAILED THAT B-FLAT IN LABYRINTH.
- DID YOU TELL AMANDA
THAT YOU HAVE A PROBLEM WITH THE MINOTAUR NUMBER?
- NO. I WOULD NEVER DO THAT.
- WELL, SHE SENDS ME AN EMAIL
SAYING THE SONG ISN'T BIG ENOUGH.
- THAT'S CRAZY. YOU PLAY 60,000-SEAT ARENAS.
THE SONG IS BRILLIANT.
- * I'M GETTING
both: * HIGH AND HIGHER
* I'M GONNA TOUCH THE FIRE
- STOP!
[thunder booms]
- * I'M GONNA HOLD IT IN MY HANDS *
- THE MELODY IS STILL WRONG.
THE AUDIENCE NEEDS TO FEEL DARK, CONFLICTED.
- IT'S A BROADWAY MUSICAL, AMANDA.
PEOPLE WANT TO FEEL HAPPY. - NO, NO, NO, NO.
- THE--THE STRINGS ARE-- THEY'RE TOO...
THEY'RE TOO SOARING.
- HE'S FLYING, FOR GOD'S SAKE.
*
[thunder booms]
- * I CAN'T GET ANY CLOSER
*
* I'M FALLING BACK TO EARTH
- WHAT'S HAPPENING? - I DON'T KNOW.
- AAH!
- OH, MY GOD. MARC.
- BRING IN THE CURTAIN!
- MARC LANDRY, 30-- RIGGING SNAPPED DURING A STUNT.
HE FELL 30 FEET-- BROKEN NECK.
PARAMEDICS CALLED IT IN THE AMBULANCE.
- AND YOU CALLED MAJOR CASE INSTEAD
OF THE OCCUPATIONAL SAFETY AND HEALTH ADMINISTRATION.
- WELL, IT WASN'T A WORKPLACE ACCIDENT.
THE RIGGING WAS SABOTAGED.
OUR CRIME-SCENE UNIT DETERMINED THAT A ROPE ON THE HARNESS
WAS DELIBERATELY CUT.
STAGE MANAGER DISCOVERED THE TAMPERING AND CALLED US IN.
- YOU SAW THE ACTOR FALL?
- WE ALL DID. IT WAS HORRIBLE.
- WHOEVER DID THIS
TRIED TO MAKE IT LOOK LIKE THE ROPE WAS FRAYED.
WHO WAS RESPONSIBLE FOR THE RIGGING?
- OUR AERIAL RIGGER, DONALD COGAN.
- HE AND HIS CREW DID THE SAFETY CHECK
A HALF HOUR BEFORE PERFORMANCE.
- WHO HAD ACCESS TO IT AFTER THAT?
- ANYONE ON THE CAST AND CREW-- ABOUT 45 PEOPLE.
- WE NEED A LIST OF NAMES.
- WELL, IT WAS SUBTLE ENOUGH
SO HE DIDN'T NOTICE THAT THE ROPE WAS CUT.
[line zips]
WHO ACTUALLY PUT THE ACTOR IN THE RIG
RIGHT BEFORE HE STARTED?
- WE HAVE OUR SAFETY PROCEDURES IN CHECK,
BUT AS OF LATE, MARC INSISTED
THAT HE BE RESPONSIBLE FOR THE FINAL CHECK.
- WHY WOULD HE WANT FINAL CHECK?
- MARC LANDRY WAS A SITCOM STAR.
I GUESS HE WAS USED TO BEING THE BOSS.
- WERE THERE RESENTMENTS TOWARDS HIM BECAUSE OF THAT,
LIKE FROM THE OTHER ACTORS OR...?
- RESENTMENT, ENVY, INSECURITY--
THEY'RE PRACTICALLY JOB REQUIREMENTS.
- THIS RIGGING WAS SECURE WHEN I DID MY SAFETY CHECK.
BUT ANYONE COULD HAVE GOTTEN HOLD OF A KNIFE.
- DID ANYONE ON THE CREW HAVE A PROBLEM WITH MARC LANDRY?
- ALL I KNOW, IT WASN'T ME OR MY TEAM.
WE WOULDN'T DAMAGE THE WINGS.
THEY TOOK THREE MONTHS TO COMPLETE.
- WOW. I MEAN, THAT--THAT SEEMS LIKE A LONG TIME.
- AMANDA'S A PERFECTIONIST.
WE ALL SUPPORT HER VISION, BUT...
SAFETY IS OUR NUMBER-ONE PRIORITY.
- REALLY?
BECAUSE THIS PRODUCTION'S BEEN PLAGUED WITH SAFETY ISSUES.
A STUNTMAN FELL OFF A PLATFORM.
AN ACTRESS'S RIGGING SNAPPED.
IT'S BEEN ON THE COVER OF THE POST.
- WE HAD SOME KINKS. WE WORKED 'EM OUT.
- WOW. FOUR BOYS.
YOU--I-- THEY LOOK A LOT LIKE YOU.
WHERE'S YOUR WIFE?
- I'M DIVORCED.
- OH...
- UH, DETECTIVES.
HI. - HI.
- HI. I'M ROGER PORTER. - THE DIRECTOR'S ASSISTANT.
- ACTUALLY, I'M-- I'M A DRAMATURGE.
- SORRY? - UH, A DRAMATURGE.
I HELP AMANDA SHAPE HER CREATIVE VISION
IN ALL ASPECTS OF THE PRODUCTION.
- AMANDA'S THE DIRECTOR?
- YES. ANYWAY, SHE WENT IN THE AMBULANCE,
BUT SHE'S ON HER WAY BACK, AND SHE WANTED ME TO TELL YOU
THAT SHE INTENDS TO COOPERATE FULLY WITH THE INVESTIGATION.
- HOW NICE OF HER.
- AND IF THERE'S ANYTHING I CAN DO TO HELP...
- WELL, YES, THERE IS.
UH, WHERE'S THE LAST PLACE
THAT MARC WOULD HAVE BEEN BEFORE HIS PERFORMANCE?
- YOU KNOW, MARC MADE UP IN ENTHUSIASM
WHAT HE LACKED IN NATURAL ABILITY.
- HOW'D HE GET ALONG WITH THE REST OF THE COMPANY?
- I NEVER SAW ANY TENSION.
- HOW ABOUT AMANDA?
WE HEARD SHE'S A PERFECTIONIST.
- SHE'S A GENIUS.
YOU KNOW, SOMETIMES STRONG WOMEN GET PEGGED AS A BITCH.
- ALL THE SAME, WHAT WAS HER RELATIONSHIP WITH MARC?
- WELL, THEY HAD THEIR CREATIVE DIFFERENCES.
BUT AT THE END OF THE DAY, IT WAS ALL ABOUT THE WORK.
IT WAS NOTHING PERSONAL.
- ROMANTIC INVOLVEMENTS?
- HE WAS A STRAIGHT, SINGLE, GOOD-LOOKING GUY IN THE THEATER,
SO...YEAH.
BUT I DON'T KNOW OF ANYONE SPECIAL.
- PEACOCK FEATHERS...
BAD LUCK IN THE THEATER.
SOMEBODY MIGHT HAVE BEEN TRYING TO JINX HIM.
THERE'S NO CARD.
YOU HAVE ANY IDEA WHO SENT THIS?
- NO. - THAT'S AN UNUSUAL VASE.
MAYBE WE CAN TRACK THE FLORIST. [cell phone beeps]
- UH, AMANDA'S HERE.
UM, I'LL TAKE YOU TO HER OFFICE.
- IT WAS LIKE A TERRIBLE, TERRIBLE DREAM.
I SAW MARC'S BODY JERK.
IT WASN'T ELEGANT.
I KNEW...
INSTANTLY THAT SOMETHING WAS WRONG.
I JUST--
THE WHOLE THING IS-- IT'S--IT'S UNIMAGINABLE.
- SO YOU AND MARC WERE CLOSE.
- WE'VE BEEN IN REHEARSALS AND PREVIEWS FOR OVER TWO YEARS.
WE'RE A FAMILY.
- WHERE WERE YOU BEFORE THE PERFORMANCE?
- OHH! BEFORE A PERFORMANCE, I'M OBSESSIVE.
I WAS IN PROPS, WARDROBE, LIGHTING,
BITCHING OUT THE CATERER FOR NO ANCHOVIES ON THE PIZZA.
- GREEK MYTHOLOGY SEEMS TO BE
A REOCCURRING THEME IN YOUR WORK.
YOUR THREE MOVIES, YOUR LAST MUSICAL, PANDORA.
- YES, I'M DRAWN TO THE CLASSIC STORIES--
HOW HUMAN NATURE ENDURES. - RIGHT.
AND THE LABYRINTH...
WELL, IT'S PART OF THE ICARUS STORY.
DAEDALUS--HE BUILDS THE LABYRINTH TO IMPRISON...
- THE MINOTAUR.
- MINOTAUR. RIGHT.
I LIKE THE WAY YOU-- WELL, YOUR REPRESENTATION
OF IT ONSTAGE.
- THANK YOU.
YES, THE--THE LABYRINTH REPRESENTS
A-A JOURNEY OF DISCOVERY,
A PILGRIMAGE TO THE TRUTH.
- OUR JOB IN A NUTSHELL.
- THIS SHOW IS BROADWAY TEFLON.
TICKET SALES HAVE DOUBLED SINCE THE MURDER.
- NEVER UNDERESTIMATE THE PUBLIC'S APPETITE FOR BLOOD.
- WELL, WHO WAS OUT FOR MARC LANDRY'S?
ANY OF THE 45 PEOPLE WITH BACKSTAGE ACCESS
HAVE A GRUDGE? - NOT THAT THEY'RE ADMITTING TO.
WE'RE ALSO LOOKING AT FINANCIALS AND ANYONE WITH A SHEET.
- WELL, MAKE SURE ALL 45 OF THEM ARE REINTERVIEWED.
HAVE THEM STATE WHERE THEY WERE BETWEEN 6:30 AND 9:30
AND WHO THEY WERE WITH.
- MAYBE SOMEONE TOOK OFFENSE AT HIS TWEETS.
MARC STARTED A TWITTER CAMPAIGN
AFTER THE ACTRESS PLAYING ARIADNE, GWENDOLYN SWIFT,
BROKE HER LEG.
IT WAS THE SECOND RIGGING ACCIDENT
IN THE LAST FOUR MONTHS.
IN THE FIRST ONE, A STUNTMAN BROKE THREE RIBS.
"AS ACTORS, WE MUST FEEL SAFE.
"WE'RE FIGHTING FOR OUR LIVES
"AGAINST THE STUPIDITY OF PRODUCERS AND DIRECTORS.
I WILL DEFEND GWENDOLYN TO THE DEATH."
- VERY GALLANT.
WELL, MAYBE SOMEBODY CHALLENGED HIM TO A DUEL.
- IT NEEDS MORE LIGHT!
THE SUN SHOULD BE DAZZLING.
- ADJUST LIGHTING PER DESIGNER'S INPUT.
- AMANDA, IT'S FANTASTIC.
BUT LET'S NOT GET AHEAD OF OURSELVES.
- EVAN, WHAT ARE YOU DOING HERE?
- ROGER SAID THAT YOU WERE STILL WORKING ON THE STAGE.
- I WANTED TO MAKE SURE WE HAVE CLEARANCE FROM OSHA.
- IT'S PERFECTLY SAFE. - NO, IT'S NOT.
MARC'S DEAD. DOESN'T THAT MEAN ANYTHING TO YOU?
- YES. HE GAVE HIS LIFE FOR THIS.
THAT'S WHY THE CAST AND CREW, ALL OF US,
NEED TO KEEP GOING.
- MARC'S MEMORIAL IS TOMORROW. LET'S FOCUS ON THAT FOR NOW.
- MY WORK NEEDS TO BE MY FOCUS.
OTHERWISE, WHAT ELSE WOULD I HAVE?
BRIGHTER!
DAZZLE ME!
- YOU CAN SEE FROM THE REPORT, THE STUNTMAN'S FALL,
GWENDOLYN'S FALL WERE BOTH RULED ACCIDENTAL.
- FIRST ACCIDENT WAS CAUSED BY A LOOSE SCREW
ON THE GRAPPLING HOOK--
SAME THING AGAIN FOR THE SECOND.
- EXACTLY. BOTH ACCIDENTS.
- DONALD, YOU'RE A CRAFTSMAN.
YOU KNOW, YOU'RE BEST IN YOUR FIELD.
I MEAN...
MAYBE YOU MISSED TIGHTENING A SCREW ONCE,
BUT NOT TWICE.
- I MADE A MISTAKE.
I ADMITTED IT.
- AND HOW COME YOU WERE NEVER FIRED?
- YOU TOLD US YOU WERE GETTING DIVORCED.
BUT YOU DIDN'T TELL US IT WAS AN ONGOING DIVORCE
WITH A CUSTODY BATTLE FOR YOUR CHILDREN.
SHE WANTS FULL CUSTODY.
- ATTORNEY FEES ARE ASTRONOMICAL.
- YOUR FINANCIAL RECORDS INDICATE
PAYMENTS TO YOUR DIVORCE ATTORNEY
FAR IN EXCESS OF YOUR SALARY.
- YOUR LOVE YOUR BOYS, DON'T YOU?
YOU DON'T WANT HER TO TAKE THEM AWAY FROM YOU.
- HELP YOURSELF OUT HERE.
WHO PAID YOU TO TAMPER WITH GWENDOLYN'S RIG?
- HE WANTED A...
SPECTACULAR SCREWUP THAT WOULD MAKE THE PAPERS.
I THOUGHT I COULD DO IT.
I DIDN'T WANT TO HURT THE GIRL...
NOR THE STUNTMAN. I...
I THOUGHT I COULD MAKE IT LOOK LIKE AN ACCIDENT, THAT'S ALL.
- WHO WANTED THE SCREWUP?
- THE PRODUCER...
EVAN KORMAN.
- DID HE EVER ASK YOU TO SABOTAGE MARC'S RIG?
- NO.
BUT WHEN MARC FELL...
I KNEW EVAN WAS GONNA CASH IN.
- AND THEY SAY THERE'S NO CREATIVITY
IN THE THEATER THESE DAYS.
- THESE ALLEGATIONS ARE INSANE.
I'D NEVER SABOTAGE MY OWN PRODUCTION.
- WE HAVE A SWORN AFFIDAVIT
FROM THE AERIAL RIGGER, DONALD COGAN.
HE CLAIMS YOU PAID HIM $50,000 CASH
TO STAGE AN ACCIDENT THAT INJURED A STUNTMAN
AND GWENDOLYN SWIFT. - HE'S LYING.
- WHY WOULD HE ACCUSE YOU?
- TO COVER HIS OWN ASS. I HAVE NO IDEA.
THIS WHOLE THING IS ABSOLUTELY NUTS.
- TAKE IT EASY, EVAN.
DO YOU HAVE ANY PROOF MY CLIENT MADE THIS ALLEGED PAYMENT?
- I'M SURE HE WAS CAREFUL TO COVER HIS TRACKS.
- THERE'S NO TRACK COVERING, BECAUSE I DIDN'T DO ANYTHING.
- WELL, NOW YOU HAVE A POTENTIAL SPIDER-MAN
ON YOUR HANDS HERE--
YOU KNOW, EMBARRASSING HEADLINES, PRODUCTION DELAYS,
YOU KNOW, AN INDUSTRY JOKE, RIGHT?
- AND ORCHESTRATING A MURDER IS GONNA HELP ME? HOW?
- WELL...
MAYBE YOU DIDN'T WANT MARC LANDRY KILLED.
MAYBE YOU JUST WANTED ANOTHER TICKET-BOOSTING BROKEN LEG
OR CRACKED RIB OR SOMETHING-- I DON'T KNOW.
I MEAN, AFTER GWENDOLYN'S ACCIDENT...
YOU SOLD OUT FOUR MONTHS IN ADVANCE.
- I'M GOING TO DELIBERATELY INJURE AN ACTOR
I WAS PAYING TEN GRAND A WEEK,
AN ACTOR I HAD TO FIGHT AMANDA TOOTH AND NAIL TO CAST?
[chuckles] NO WAY.
- MY CLIENT WASN'T EVEN AT THE THEATER THAT NIGHT.
- MY FATHER WAS A BROADWAY PRODUCER...
SO WAS HIS FATHER.
IT'S A SMALL INDUSTRY.
END OF THE DAY, ALL YOU HAVE IS YOUR REPUTATION.
AND YOU COULD BACK UP THE BRINK'S TRUCK.
THERE'S NOT ENOUGH MONEY IN THE WORLD TO MAKE ME
SHAME THE KORMAN NAME.
[elevator bell dings]
- D.A.'S CHARGING DONALD COGAN WITH FELONIOUS ASSAULT--
NOT EXACTLY A RESUME BUILDER.
- WELL, THE RIGGER'S ONE THING,
BUT A BIG BROADWAY PRODUCER KILLING OFF HIS OWN ACTOR
JUST TO BOOST TICKET SALES-- THAT'S A LITTLE MELODRAMATIC.
- WE HAVE THE D.A.'S OFFICE
LOOKING INTO THE PLAY'S INSURANCE AGREEMENTS
TO FIND OUT IF MARC'S DEATH INDEMNIFIES KORMAN
AGAINST LOSSES. - BUT HE DIDN'T DO IT HIMSELF.
THE BUILDING SECURITY SAYS KORMAN WAS IN HIS OFFICE
FROM 6:00 TO 9:45 THAT NIGHT.
- A SEARCH TURN UP ANYTHING?
- NOTHING TO TIE HIM TO DONALD COGAN.
IT'S, UH, HE-SAID, HE-SAID.
- NO EVIDENCE, THIN MOTIVE, HEADLINES OF THE NEW YORK TIMES
POINTING OUT THE LACK OF SUSPECTS IN THIS CASE--
I'M STARTING TO HATE THE THEATER.
- WE TRACKED DOWN THE FLORIST THAT DELIVERED
THE PEACOCK-FEATHER BOUQUET.
IT WAS ORDERED BY BRICE CALDER.
- THAT'S MARC'S UNDERSTUDY.
- I SENT MARC PEACOCK FEATHERS AS A JOKE.
I'M SURE HE DIDN'T GET IT.
NO DISRESPECT-- THE GUY WAS A MORON.
- SO YOU TWO WEREN'T BUDDIES?
- YOU'RE ASKING IF I HAD ANYTHING TO DO
WITH HIM GETTING KILLED?
- DID YOU?
YOU KNOW, MARC OUT OF THE WAY,
YOU PUT ON THE WINGS, AND YOU'RE ICARUS.
- THAT'S A LITTLE ALL ABOUT EVE-ISH.
DON'T YOU THINK?
- THANK YOU. YOU'RE TELLING ME
THAT YOU DIDN'T RESENT HIM AT ALL?
A TV ACTOR WITH NO THEATER CHOPS
GETS THE ROLE OVER YOU.
I MEAN, YOU WERE NOMINATED FOR AN OBIE.
- YOU GOOGLED ME. I'M FLATTERED.
- HAD TO STING-- NIGHT AFTER NIGHT,
SEEING A SITCOM STAR MANGLE THE PART.
- THAT'S HOW THE BUSINESS WORKS.
THEY WANT A NAME.
YEAH, WELL, I HAVE A NAME. IT'S BRICE CALDER.
- DETECTIVE GOREN.
- DID YOU SEE MARC THE NIGHT HE WAS KILLED?
- YEAH, FOR, LIKE, TWO SECONDS AT THE STUNT REHEARSAL.
MARC SHOWS UP LATE.
THEY TOOK THE HARNESS OFF ME, PUT IT ON HIM.
- HE WAS LATE? DID HE SAY WHY?
- I DON'T KNOW. HE WAS PROBABLY BANGING SOME TOURIST
IN THE LIMO.
ANYWAY, HE SHOWS UP, I SPLIT.
I WAS IN SARDI'S THE REST OF THE NIGHT.
- I KNOW BRICE.
HE'S GOT ATTITUDE FOR DAYS, BUT HE TIPS GREAT.
- THE NIGHT MARC LANDRY WAS KILLED, BRICE WAS AT THE BAR?
- YEAH, FROM, LIKE, 6:30 TO 9:30.
WE'RE USUALLY PRETTY DEAD AROUND THEN,
BUT THAT NIGHT,
SOME OF THE AUDIENCE FROM THE SHOW CAME IN,
FREAKING OUT ABOUT WHAT HAPPENED.
- DID BRICE HAVE AN ATTITUDE ABOUT MARC?
- YEAH, HE WAS BITCHING
HOW HE WAS SUPPOSED TO GO ON THAT NIGHT.
A CRITIC WAS SHOWING UP.
THAT COULD HAVE BEEN BRICE IN THE RIGGING.
TALK ABOUT DODGING A BULLET.
- T-THERE WAS A-A CRITIC IN THE AUDIENCE?
I MEAN, ISN'T THAT UNUSUAL FOR A PREVIEW?
- MICHAEL DEWITT FROM THE TIMES WAS IN HERE
THREE NIGHTS AGO,
COZYING UP WITH THE DIRECTOR, AMANDA.
A WAITRESS HEARD HER TELL HIM
A BIG CAST CHANGE WAS IN THE WORKS.
- BRENDA?
- WILL YOU GUYS EXCUSE ME FOR ONE SEC?
THANKS.
- MAYBE AMANDA WASN'T SO IN LOVE WITH HER ACTOR AFTER ALL.
- AMANDA AND I ARE OLD FRIENDS.
WE WERE JUST HAVING A DRINK.
- WE HEARD SHE CONFIDED IN YOU ABOUT CAST CHANGES.
DID SHE MEAN MARC LANDRY?
- THAT'S CONFIDENTIAL.
- LOOK, EVERY OTHER ACTOR ON ICARUS
IS A RESPECTED PRO, RIGHT?
MARC LANDRY WAS A-- HE WAS A SITCOM ACTOR.
YOU'RE NOT GIVING ANYTHING AWAY.
- [sighs] OKAY.
OFF THE RECORD,
MARC LANDRY WAS DREADFUL, ATROCIOUS.
GETTING KILLED WAS THE BEST THING
THAT EVER HAPPENED TO HIS BROADWAY CAREER.
- OTHERWISE, HE WOULD HAVE BEEN MURDERED BY YOUR REVIEW?
- OUT OF RESPECT FOR THE DEAD,
OF COURSE I'M NOT REVIEWING THAT PERFORMANCE.
- YEAH, BUT YOU WENT TO A PREVIEW.
ISN'T IT CUSTOMARY TO WAIT UNTIL OPENING NIGHT?
- AMANDA SAID THE SHOW WAS READY.
I THINK SHE BELIEVED SHE'D GET A BETTER REVIEW
IF BRICE WAS IN THE LEAD.
- BUT THE CAST WAS THE SAME THAT NIGHT.
MARC WAS ICARUS.
- I ASSUME AMANDA WAS OVERRULED.
- BY WHO? - [chuckles]
THE PROBLEM WITH THIS PRODUCTION--
TOO MANY EGOS IN THE KITCHEN.
- THE COMPOSER, ADAM WINTER--
HE WAS A ROCK STAR,
MUCH BIGGER NAME THAN AMANDA.
- AND DESPITE THE MACHISMO,
HE'S QUITE INSECURE ABOUT TRANSITIONING
FROM GUITAR HERO TO LYRICIST ON THE GREAT WHITE WAY.
I DOUBT SHE COULD MAKE A DECISION
WITHOUT HIS BEING ON BOARD.
- I WONDERED WHY THAT LITTLE PRICK
WAS IN THE AUDIENCE.
- AMANDA DIDN'T TELL YOU SHE INVITED DEWITT?
- NO, BUT THAT--THAT'S TYPICAL AMANDA BEHAVIOR.
SHE, UH... [laughs]
SHE DOES WHAT SHE WANTS.
- WELL, UH, DID--
DID AMANDA TELL YOU SHE WANTED TO REPLACE MARC?
- UH, CONSTANTLY.
BUT EVAN KORMAN WOULD NEVER LET THAT HAPPEN.
MARC HAD A HUGE FAN BASE.
- WE UNDERSTAND HE MAY NOT HAVE BEEN DOING JUSTICE
TO THE ROLE.
- AMANDA BLAMED EVERYONE AND EVERYTHING, OKAY?
SHE EVEN HAD A PROBLEM WITH THE SONGS.
- YOU DISAGREED?
- WELL, BEING AS I WROTE THEM, YEAH.
YOU FAMILIAR WITH MY WORK, DETECTIVE?
- OH, UH...
- HE'S MORE OF A JAZZ GUY.
I REALLY LOVED STRANGE ANGEL.
- [mutters]
- OKAY, THAT'S FOR YOU.
- OH, WELL, IT'S PLEASANT.
[sniffs]
CLOVE? - JAVA BLACK.
I GOT ADDICTED TO 'EM WHEN WE TOURED INDONESIA.
- HMM. NICE.
- LOOK, THE PROBLEM... WITH THE SHOW
IS NOT THE SONGS.
AMANDA'S ON A DOWNWARD SPIRAL.
- HOW SO?
- WELL, UH, NO HUSBAND, NO KIDS,
NO LIFE OUTSIDE WORK.
AND THE NIGHT THAT MARC WAS KILLED,
I SMELLED ALCOHOL ON HER BREATH.
SHE'S BEEN IN A.A. FOR 20 YEARS,
AND SHE IS A HANDFUL ENOUGH SOBER,
BUT NOW...
SHE'S GIVING THE EULOGY
AT MARC'S MEMORIAL SERVICE THIS AFTERNOON.
- HEY, ADAM, GOT A SEC?
- WATCH OUT.
EXCUSE ME.
- "WATCH OUT."
SO AMANDA TOLD DEWITT
TO BE IN THE AUDIENCE THAT NIGHT.
SHE MUST HAVE HAD REASON TO BELIEVE
SHE COULD PUT BRICE ON THE STAGE INSTEAD OF MARC.
- BUT MARC SHOWED UP ON TIME.
PLAN "B," SHE CUTS HIS RIGGING,
ASSUMING DEWITT WOULDN'T REVIEW A PERFORMANCE
IN WHICH AN ACTOR IS HURT.
PRETTY DESPERATE.
- A BAD REVIEW CAN KILL A SHOW.
SHE'S GOT A LOT RIDING ON ICARUS.
HER LAST MOVIE BOMBED AT THE BOX OFFICE.
- LET'S PAY OUR RESPECTS AT MARC'S MEMORIAL,
SEE HOW HEARTBROKEN AMANDA REALLY IS.
- * HIGHER
both: * YOU HAVE GOT
* TO TURN
* AROUND
- * 'CAUSE THIS IS HUBRIS - * HUBRIS
- * THIS IS HUBRIS - * HUBRIS
- * THIS IS HUBRIS
- * YOU GOT TO COME DOWN
both: * IT'S SO BEAUTIFUL
[applause]
- AND NOW I'M HONORED TO INTRODUCE
THE AMAZING AMANDA ROLLINS.
[applause continues]
[feedback whining] - THANK YOU.
WE ALL HAVE DESIRES.
WE ALL HAVE YEARNINGS IN OUR HEARTS...
TO BE LOVED...
TO BE ACCEPTED...
TO BE CLOSER TO THE DIVINE...
TO FLY TO THE SUN--
GLORIOUS WINGS--
AND TO FLY HIGHER...
- SHE'S EMOTIONAL.
- YEAH, ALCOHOL WILL DO THAT.
- LIKE MY BEAUTIFUL ICARUS...
MY MARC.
MARC...
YOU...
- THANK YOU. - MARC...
- THE BRILLIANT AMANDA ROLLINS.
WELL DONE. THANK YOU.
THANK YOU VERY MUCH. - FLY HIGH, MARC.
- THANK YOU. THANK YOU. - FLY--I AM NOT DONE.
- IT'S OKAY. - I AM NOT DONE.
- THANK YOU SO MUCH. - GET OFF OF ME.
- HEY, HEY-- - GET OFF ME!
I WASN'T FINISHED! - HEY, SHH.
- THEY SHOULD HAVE SOLD TICKETS TO THIS.
[knock on table]
- I GOT THIS FOR YOU.
DON'T SPILL IT. - OH, THANK YOU.
YOU'RE VERY KIND.
- YOU TOLD THE CRITIC DEWITT ABOUT A CAST CHANGE.
DID YOU MEAN MARC?
- IT WAS JUST MAGICAL THINKING.
- YOU WANTED TO REPLACE
THE ACTOR YOU TOLD US YOU ADORED.
- HE WAS DEAD.
I WAS BEING...
GENEROUS.
- YOU FORCED IN THE UNDERSTUDY, BRICE,
PUT THE WINGS ON HIM.
MARC WASN'T EVEN TEN MINUTES LATE.
- I DON'T UNDERSTAND.
THE LABYRINTH...
SOMEONE MUST HAVE GIVEN HIM A CLUE.
- A CLUE?
- OBVIOUSLY SHE'S IN NO CONDITION
TO BE SPEAKING TO THE POLICE. - AL, I'M FINE.
I HAVE NOTHING TO HIDE. TALK TO ME.
ASK ME ANYTHING.
- OKAY.
YOU DIDN'T WANT DEWITT REVIEWING MARC THAT NIGHT,
SO YOU CUT THE RIG, STAGED AN ACCIDENT.
- NO, I DIDN'T.
- YOU'VE BEEN UNDER A LOT OF PRESSURE.
A YEAR OF LIVING AND BREATHING ICARUS,
POURING YOUR HEART AND SOUL INTO THE PRODUCTION.
MAYBE YOU DIDN'T WANT TO TURN OUT TO BE ANOTHER JULIE TAYMOR--
GET FIRED FOR ARTISTIC DIFFERENCES.
- I WOULD NEVER HURT AN ACTOR...
NEVER.
THEY'RE LIKE MY CHILDREN.
- YOUR NAUGHTY CHILDREN, WHO DON'T LISTEN,
WHO DON'T TAKE DIRECTION,
WHO THINK THEY KNOW BETTER THAN YOU.
- THAT'S TRUE. MARC NEVER LISTENED.
HE DIDN'T TRUST ME.
FOR A PRODUCTION LIKE THIS TO WORK,
THERE MUST BE ABSOLUTE TRUST.
- YOU HAVE IT, DETECTIVE. - WE--WE DIDN'T HAVE THAT.
- WE'RE GOING.
- ALL RIGHT.
- HI. UM, I'M TAKING AMANDA HOME.
- OH. - LOOK, UH...
WHATEVER SHE SAID IN THERE, SHE'S NOT HERSELF.
- WHAT PUT HER OVER THE EDGE AFTER 20 YEARS SOBER?
- [scoffs] WELL, LET'S SEE-- MARC, ADAM, EVAN.
THEY'RE EGOMANIACS WITH INFERIORITY COMPLEXES.
IT'S SOMEWHAT DE RIGUEUR FOR THIS BUSINESS.
BUT, REALLY, TO SUGGEST
SHE HAD ANYTHING TO DO WITH MARC'S DEATH,
IT'S--IT'S RIDICULOUS.
- WELL, YOU'RE A VERY LOYAL ASSISTANT.
- UH, DRAMATURGE, ACTUALLY.
- RIGHT, DRAMATURGE.
- LOOK, MARC WAS SCREWING SOMEONE.
UH, MAYBE MARRIED.
HE KEPT IT ON THE Q.T. - HOW DO YOU KNOW?
- WELL, THE PRODUCTION WAS PUTTING HIM UP
AT THE FOUR SEASONS.
THEN ABOUT A MONTH INTO REHEARSAL,
HE REQUESTED ANOTHER APARTMENT AT THE PREMIER CLUB.
HE SAID IT WAS FOR WHEN HIS MOTHER VISITED,
BUT SHE NEVER DID.
- WELL, THAT'S VERY HELPFUL.
- HI. ARE YOU ALL RIGHT?
- I-I-I JUST WANT TO GO HOME.
- AMANDA MENTIONED SOMETHING ABOUT MARC
GETTING A CLUE.
WHAT DO YOU THINK ABOUT THAT? - YEAH, I HAVE A THOUGHT.
- YOU CARE TO SHARE?
- NO, I'M GONNA TEST THE THEORY FIRST.
I HAVE AN OLD FRIEND WHO TEACHES, UH, MYTHOLOGY
AT COLUMBIA.
- ALL RIGHT, HAVE FUN.
- ICARUS--
MY FAVORITE METAPHOR FOR FAILED AMBITION.
HUBRIS.
HERE IT IS-- THE CLEW.
UH, C-L-E-W.
UH, A BALL OF THREAD OR YARN.
- RIGHT, A BALL OF YARN THAT DAEDALUS GAVE TO THESEUS
TO HELP HIM ESCAPE FROM THE LABYRINTH,
WHICH ANGERED KING MINOS,
WHO THEN IMPRISONED DAEDALUS
AND ICARUS IN THE SAME LABYRINTH?
- ARE YOU SURE YOU NEED MY HELP?
- I DO NEED YOUR HELP.
TELL ME MORE ABOUT THE, UH, LABYRINTH.
- WELL, THE WORD IS, UH, PRE-GREEK IN ORIGIN--
MINOAN. - I SAW THIS IN HER OFFICE.
THE CLASSICAL LABYRINTH--
UH, CIRCULAR IN PATTERN, UNICURSAL.
- SINGLE PATH. - GOING IN CIRCLES,
BUT ONE PATH, NOT DIFFICULT TO NAVIGATE.
- YOU KNOW, IN SOME VERSIONS OF THE MYTH,
IT'S MORE OF A MAZE--
MULTICURSAL, LIKE A PUZZLE
WITH CHOICES OF DIRECTION.
- BUT THE KILLER...
THOUGHT THAT THEY HAD NO CHOICE.
- WELL, WHOEVER IT IS, BOBBY, ONE THING I DO KNOW.
I KNOW YOU.
YOU'LL FIND 'EM.
- DON'T KNOW WHERE, MAYBE ENGLAND...
- MM-HMM.
- THERE WERE MEN ON THE BRIDGE WITH ME...
WEARING SOME SORT OF MILITARY UNIFORM.
AND THEY WERE WALKING THE OTHER WAY.
- AND WHAT DO YOU THINK IT MEANS?
- I DON'T KNOW--I WAS HOPING YOU COULD TELL ME.
- THEY WERE GOING ONE WAY, AND YOU WERE GOING THE OTHER?
- MM-HMM. - AND THE BRIDGE WAS OVER WATER?
- TURBULENT WATER.
I KNOW WHAT YOU'RE GONNA SAY.
YOU'RE GONNA SAY IT MEANS THAT I'M
AT SOME KIND OF DIFFICULT CROSSING,
THAT THE GUYS IN UNIFORM WERE N.Y.P.D.
- ACTUALLY, I WAS STRUCK BY THE FACT
THAT THIS DREAM IS WHAT YOU WANTED TO DISCUSS TODAY.
YOU WANT ME TO KNOW THAT MY OPINION MATTERS,
BUT NOW WHO'S ASKING QUESTIONS THAT HE KNOWS THE ANSWERS TO...
INSTEAD OF DISCUSSING
WHAT HAPPENED AT THE END OF LAST SESSION?
A WEEK AGO, YOU WERE FURIOUS.
YOU WALKED OUT.
AND TODAY, I'M...
I'M NOT SURE WHAT'S ON YOUR MIND
OR--OR EVEN WHY YOU CAME BACK.
- IT'S ON MY MIND.
NO MATTER...
WHAT WAS GOING ON FROM YOUR SIDE, YOU KNOW,
I'M SORRY FOR LOSING MY TEMPER.
I WANTED TO APOLOGIZE FOR THAT.
- THANK YOU.
IT'S FINE TO APOLOGIZE,
BUT I THINK WE SHOULD TALK ABOUT,
TRY TO RECONSTRUCT WHAT HAPPENED BETWEEN US.
- I TOLD YOU, I THINK I OVERREACTED.
- YES, AND I AM SUGGESTING
BECAUSE SOMETHING POWERFUL CAME UP, SOMETHING IMPORTANT.
WHY DO YOU THINK YOU TURNED SO QUICKLY?
- YEAH, WE GOT OUR WIRES CROSSED.
- HAS THAT HAPPENED TO YOU BEFORE?
- WHAT? COME ON.
YOU'RE TELLING ME THAT THAT'S NEVER HAPPENED TO YOU?
- YOU BECAME ENRAGED BECAUSE YOU THOUGHT I SUGGESTED
YOU MIGHT BE HITTING ON ME.
- LOOK, I DON'T KNOW WHAT YOUR ANGLE IS WITH ME.
I DON'T KNOW IF YOU'RE TRYING TO GET ME TO FAIL...
TO FALL FOR YOU.
I DON'T KNOW IF YOU'RE TRYING
TO GET ME TO...
BEHAVE CRAZY, SO YOU CAN CALL THE N.Y.P.D.--
- SO YOU DON'T KNOW WHAT THE RULES OF ENGAGEMENT ARE HERE.
SO LET'S TALK ABOUT THAT. - YOU WANT TO KNOW WHAT I FEEL?
I FEEL ANGER. - AND LAST WEEK,
YOU WERE FLOODED WITH IT.
FIGHT OR FLIGHT.
WHAT'S UNDERNEATH THE ANGER?
- MORE ANGER.
- AND UNDERNEATH THAT, FEAR-- FEAR THAT I'M GONNA BETRAY YOU,
FEAR THAT I'M GONNA HUMILIATE YOU,
THAT I MUST BE UP TO SOMETHING MORE
THAN TO GET YOU TO KNOW YOUR OWN MIND.
AND THAT'S WHY YOU RUN.
DEEP DOWN, IF WE DO THIS WORK,
YOU'RE JUSTIFIABLY TERRIFIED OF WHAT WE MIGHT DISCOVER.
- THE POLICE THINK THAT I KILLED MARC!
- THEY'RE JUST DOING THEIR JOB, AMANDA.
- DO YOU THINK I DID IT? - OF COURSE NOT.
- I-I-I NEED TO KNOW WHEN WE'RE GONNA BE BACK UP.
WE NEED TO REHEARSE.
THE CAST IS LOSING RHYTHM, ENERGY.
- THAT MAY NOT BE HAPPENING.
- WHAT DO YOU MEAN? - I'M SORRY.
[scoffs] I GAVE HER AN AMBIEN.
I THOUGHT SHE WAS ASLEEP.
- YOU CALLED ROGER?
I'M NOT A CHILD. - THEN STOP ACTING LIKE ONE.
- THIS IS A NIGHTMARE. - COME ON.
- WE DIDN'T SEE MARC LANDRY AT THIS HOTEL VERY OFTEN.
- WHEN YOU DID, WAS HE WITH ANYONE?
- I GET PAID TO LOOK THE OTHER WAY.
- UH, THAT SMELL.
- A FEW MATCHBOOKS-- NOT MUCH OF A LOVE NEST.
- JAVA BLACK--
SAME CLOVE CIGARETTES ADAM WINTER SMOKES.
- ROCK STARS--
DON'T THEY KNOW IT'S NOT SAFE TO SMOKE IN BED?
- CIGARETTES UNDER THE BED? YOU GUYS ARE KIDDING, RIGHT?
- SO YOUR CLIENT IS DENYING
HE HAD AN INTIMATE RELATIONSHIP WITH MARC LANDRY?
- YES. I'M DENYING IT.
I...LOVE WOMEN.
- NOT TO MENTION, HE'S HAPPILY MARRIED.
- SO MAYBE NOW'S THE TIME TO TELL YOU
WE HAVE SECURITY FOOTAGE OF YOU IN THE PREMIER CLUB ELEVATOR
KISSING MARC LANDRY.
- YOU KNOW, HE REALLY COULD HAVE BEEN JUST GIVING HIM
MOUTH-TO-MOUTH RESUSCITATION.
- ARE THEY MAKING THIS UP, ADAM?
- OKAY...
THERE WAS A COUPLE OF TIMES
HE INVITED ME UP TO HIS APARTMENT...
WORK ON HIS PERFORMANCE.
- RIGHT, BUT ISN'T THAT THE DIRECTOR'S JOB?
- HE HATED AMANDA,
AND SHE HATED HIM.
- SO YOU WERE THE PEACEMAKER.
- YES.
MARC WAS JUST TRYING TO GET ME ON HIS SIDE.
I MEAN, YOU... YOU GOT TO LOVE ACTORS.
I MEAN, THEY'RE PEOPLE PLEASERS.
- I KNOW. I KNOW.
ANYWAY, SO WHAT HAPPENED?
MARC THREATENED TO TELL YOUR WIFE THAT--
WELL, YOU KNOW, ABOUT YOUR WORK SESSIONS.
WAIT. MAYBE IT WAS HIS SUBPAR SINGING.
YOU WERE WORRIED HOW IT WOULD AFFECT YOUR SONGS.
- NO.
- DID YOU SEE MARC THE NIGHT HE DIED?
- YES.
UH, I MEAN,
WE SHARED HIS LIMO TOGETHER TO THE THEATER.
- WELL, HE WAS LATE. DID YOU HAVE ANYTHING TO DO WITH THAT?
- NO, BUT HE MUST HAVE HAD A NEW DRIVER,
'CAUSE THE GUY...
THE GUY DROVE AROUND THE SAME BLOCK THREE TIMES.
- THREE TIMES, THREE TIMES...
THREE? - YEAH.
- MAN, I-I HAD TO YELL AT THE GUY
TO GET HIM TO GET BACK ONTO TENTH AVE.
- THAT ACTOR-- HE DISTRACTED ME.
- YEAH, YOU DROVE HIM AROUND IN CIRCLES, RIGHT?
YOU KNOW, LIKE THIS, RIGHT? SORT OF LIKE A-A LABYRINTH?
HOW MANY TIMES HAVE YOU BEEN AMANDA ROLLINS' DRIVER?
- NEVER.
- WELL, WE'LL CHECK WITH YOUR SUPERVISOR.
- THE TRUTH, MR. VARGAS.
- I DON'T WANT TO GET MISS AMANDA IN TROUBLE.
- IS THAT BECAUSE SHE ASKED YOU
TO DRIVE IN CIRCLES THAT NIGHT...
TO MAKE SURE MARC LANDRY MISSED HIS CURTAIN?
- SHE PROMISED ME HOUSE SEATS FOR ICARUS.
- BUT YOU COULDN'T GO THROUGH WITH IT?
ADAM WINTER WAS IN THE CAR, BIG ROCK STAR.
YOU GOT INTIMIDATED, YOU TURNED THE CAR AROUND,
AND MARC GOT TO THE THEATER ON TIME.
- AMANDA CHANGED HER MIND.
HER ASSISTANT CALLED MY CELL,
SAID, "GET MARC TO THE THEATER RIGHT AWAY."
- YOU'RE PACKING?
- IT'LL HIT THE PRESS TOMORROW.
THAT COWARD EVAN IS CLOSING THE SHOW.
- YOU NEED TO ANSWER SOME QUESTIONS.
- YOU KNOW WHAT?
I WOULD BE SO HAPPY
IF PEOPLE WOULD STOP TELLING ME WHAT TO DO.
WHAT IS THAT, LIKE, PAYBACK FOR THE DIRECTOR?
SEE HOW I LIKE IT?
YOU SHOULD LEAVE.
- WE KNOW YOU TOLD MARC'S DRIVER
TO MAKE HIM LATE THAT NIGHT.
- YOU SENT MARC ON THIS LABYRINTHINE JOURNEY,
BECAUSE YOU INTENDED TO PUT BRICE ONSTAGE THAT NIGHT.
THAT'S WHY YOU INVITED DEWITT.
- I'VE ALWAYS THROWN MYSELF INTO MY WORK
TO THE EXCLUSION OF ALL ELSE.
IT FELT SAFE THERE--
THE ONE PLACE I WOULDN'T HAVE TO THINK
ABOUT THE THINGS I WAS RUNNING FROM.
- I UNDERSTAND.
- BUT THE DAY BEFORE MARC DIED,
I'D HAD IT.
HE WOULDN'T TAKE THE SIMPLEST PIECE OF DIRECTION.
I STORMED OUT OF THE THEATER. I DRANK MY LUNCH.
POOR ROGER HAD TO COME PICK ME UP, LITERALLY.
- RIGHT, YOU'D HAD IT.
MARC'S LATE, PUT BRICE ONSTAGE--
IT'S A GOOD PLAN, BUT YOU CHANGED YOUR MIND.
- CHANGED MY MIND ABOUT WHAT?
- YOUR ASSISTANT CALLED,
TOLD THE LIMO DRIVER TO BE ON TIME.
- NO, HE DIDN'T...
OR AT LEAST I DIDN'T TELL HIM TO.
IF YOU'LL EXCUSE ME, I NEED A DRINK.
A-A DIET SODA.
OKAY?
- EITHER AMANDA'S LYING,
OR HER ASSISTANT-- UH, SORRY, DRAMATURGE--
ROGER, MADE THE CALL.
BUT WHY?
- HE WANTED TO FIX THINGS FOR AMANDA...
OR MAYBE SOMEONE ELSE INVOLVED IN THE PRODUCTION--
THE PERSON WHO HAD THE MOST TO LOSE.
SO MARC LANDRY WAS KILLED TO KILL THE SHOW.
WE GOT THE D.A.'S REPORT BACK
ON THE ICARUS INSURANCE CONTRACTS.
THERE'S A FORCE MAJEURE CLAUSE
THAT IS SPECIFICALLY LINKED TO MARC LANDRY.
IN AN INJURY OR DEATH TO THE LEAD ACTOR,
THERE'S A FULL PAYOUT TO ALL THE INVESTORS.
NO ONE LOSES A DIME.
- TWO DAYS BEFORE MARC WAS KILLED,
EVAN KORMAN HAD A HALF-HOUR CONFERENCE CALL
WITH INSURANCE AGENTS,
GOING OVER THE DETAILS OF THE FORCE MAJEURE CLAUSE.
- THE PRODUCER WANTED HIS OWN STAR KILLED.
- IT WAS THE ONLY WAY TO STOP THE BLEEDING,
AND HE HAD SOMEONE ON THE INSIDE TO DO THE JOB.
- HOW DO YOU PROVE IT?
- WITH THE HELP OF SOME EGOMANIACS
WITH INFERIORITY COMPLEXES.
- YOU HAVE EVIDENCE THAT ROGER KILLED MARC?
THIS IS HORRIBLE.
BUT I DON'T KNOW WHAT YOU WANT ME TO DO.
- WELL, UH, HE LOOKS UP TO YOU.
AND WE THOUGHT THAT IF...
WE PUT YOU IN A ROOM WITH HIM
THAT YOU MIGHT BE ABLE TO...
PERSUADE HIM TO CONFESS.
- I WANT TO HELP, OF COURSE, BUT I...
- THAT'S MY PARTNER.
- HI. HEY.
UH, SORRY ABOUT THIS, EVAN.
THE POLICE SAID THAT THEY...
THEY HAVE SOME NEW EVIDENCE ABOUT MARC'S DEATH.
- WE DO.
THE THING IS...
WE FOUND YOUR FINGERPRINTS ON THE RIG.
- I TOLD THE POLICE THERE MUST BE A GOOD EXPLANATION.
- WHAT-- WHAT ARE YOU TALKING ABOUT?
- IF THERE'S ANYTHING YOU WANT TO TELL US, ROGER...
- [scoffs]
WELL, I--YEAH, I MIGHT HAVE TOUCHED THE RIGGING.
I WAS AT THE STUNT REHEARSAL.
- RIGHT, RIGHT. WELL, THAT'S ONE EXPLANATION.
CAN YOU THINK OF WHAT THE OTHER ONE MIGHT BE?
- OH, WHAT, LIKE, I KILLED HIM?
- MARC'S PERFORMANCE WAS DRIVING AMANDA TO DRINK.
YOU WERE WORRIED.
YOU DID CALL EVAN'S OFFICE SEVERAL TIMES.
- DID YOU, UH-- DID YOU TELL THEM THAT?
- I'M SURE YOU ONLY MEANT TO...
HURT MARC, NOT KILL HIM.
- WHAT?
NO, NO. THAT'S NOT TRUE.
- ACTUALLY, WE THINK IT IS TRUE.
WE THINK THAT MARC'S FALL WAS SUPPOSED TO JUST INJURE HIM,
SIDELINE HIM FROM THE PRODUCTION.
ISN'T THAT THE INSTRUCTIONS THAT YOU GAVE ROGER?
- I BEG YOUR PARDON?
- YOU SEE, WE FOUND A CLAUSE
IN YOUR INSURANCE POLICY--
UH, FORCE MAJEURE, "ACT OF GOD."
- THAT'S BOILERPLATE. - NOT QUITE.
YOUR POLICY HAS A RIDER.
IF YOUR STAR IS INCAPACITATED OR DIES,
YOUR INVESTORS RECOUP ALL THEIR MONEY.
- COME ON, EVAN.
IT WAS A BARN BURNER OF A DISASTER, RIGHT?
A CATASTROPHE, A MONEY-SUCKING CATASTROPHE.
I THINK... A CAREER-ENDER.
- HOW DARE YOU?
- YOU KNOW, IT MUST HAVE BEEN TOUGH,
YOUR FATHER LOOKING OVER YOUR SHOULDERS EVERY DAY.
AND NOW HE'S LOOKING DOWN ON YOU FROM THE GREAT WHITE WAY
IN THE SKY, AND HE'S THINKING,
"I FATHERED...
AN ENTITLED EMBARRASSMENT."
- ALL PRODUCTIONS HAVE PROBLEMS.
- NOT FRONT-PAGE HEADLINES IN THE DAILY NEWS EVERY DAY.
YOU'RE THE LAUGHINGSTOCK OF BROADWAY.
- THAT'S RIDICULOUS. TELL 'EM, ROGER.
- W-WHAT AM I SUPPOSED TO TELL?
- HE WANTS YOU TO DO WHAT YOU'VE ALWAYS DONE--
BACK HIS PLAY. HE'S YOUR BOSS, RIGHT?
- ROGER WORKS FOR AMANDA, NOT ME.
- YOU'RE LYING.
BUT THAT'S WHAT PRODUCERS DO, ISN'T IT?
YOU LIE FOR A LIVING.
- YEAH, WELL, SO ARE THE POLICE.
ROGER WAS HIRED BY AMANDA.
- THAT'S NOT TRUE.
- THANKS FOR JOINING US.
- WHAT THE HELL IS GOING ON?
- OH, WE DOUBLED BACK WITH MS. ROLLINS
WHEN WE HEARD ABOUT THAT FORCE MAJEURE CLAUSE.
APPARENTLY, YOU INSISTED SHE HIRE ROGER.
- NOT TRUE.
- OH, CUT THE CRAP, EVAN.
YOU KNOW I WANTED BARBARA WIDROW AS MY DRAMATURGE.
- CAN'T YOU SEE SHE'S WASTED?
GO TO A MEETING, AMANDA, DRY OUT.
- OH, NO, I'M SOBER.
I CAN SEE SO CLEARLY, IT'S SCARY.
- WHY WOULD YOU AGREE TO ROGER?
WHY REPLACE YOUR OWN DRAMATURGE?
- MY DRAMATURGE WAS EXPENSIVE.
EVAN SAID IF I WANTED TO TAKE OUT THE THEATER SEATS
TO BUILT THE LABYRINTH, I'D HAVE TO MAKE SACRIFICES.
SO I AGREED TO HIRE ROGER.
- WHO WAS ESSENTIALLY A SPY FOR EVAN.
- I HAD NO CLUE THAT ROGER WORKED FOR EVAN.
- OKAY, I REFERRED ROGER.
BUT IF HE KILLED MARC, THAT HAS NOTHING TO DO WITH ME.
- RIGHT.
YOU KNOW, WE THOUGHT THAT YOU MIGHT HAVE KILLED MARC
TO SUPPORT AMANDA'S VISION.
BUT, YOU KNOW, NOW WE KNOW THAT YOU DID IT FOR EVAN.
YOU SEE, WE GOOGLED YOU--
SIX CREDITS ON SHOWS THAT EVAN PRODUCED
SINCE YOU-- Y-YOU GRADUATED...
YALE DRAMA.
YOU'RE A YALE MAN!
A DRAMATURGE! - STOP IT!
- YOU KNOW, IT MUST BE HARD FOR ARTISTS THESE DAYS,
YOU NOW, THE CRASS COMMERCIAL CONSIDERATIONS
AND NEVER-ENDING PURSUIT OF...
PROFIT.
YOU KNOW, PROFIT.
YEAH, I GUESS THAT'S WHY THEY CALL IT SHOW BUSINESS.
BUT IN THE END, YOU ARE AN ARTIST, RIGHT?
YOU CREATE ILLUSIONS, YOU KNOW.
YOU LIVE IN A WORLD OF MAKE-BELIEVE.
BUT THIS... THIS IS REAL.
SOMEBODY'S DEAD.
THERE'S A BODY AT THE MORGUE.
AND WHAT GOT HIM THERE?
YOUR FEAR OF FAILURE.
- BRAVO. I'M GONNA HAVE TO CAST YOU IN MY NEW PRODUCTION
WITH THAT PERFORMANCE.
- YOU KILLED A MAN TO SAVE YOUR REPUTATION.
AND YOU KILLED A MAN BECAUSE YOU WANTED TO BE A PRODUCER?
REALLY? TO SHARE A MARQUEE WITH EVAN KORMAN--
SON OF THE LATE, GREAT, LEGENDARY IRWIN KORMAN.
- SHARE A MARQUEE? PLEASE.
ROGER IS NO PRODUCER.
HE'S GOT NO...
BALLS.
- IS THAT RIGHT, ROG?
- [scoffs]
IT WAS EVAN'S IDEA.
HE TOLD ME TO STAGE THE ACCIDENT.
HE SAID, "IT WOULD BE BEST FOR EVERYONE
IF IT WOULD JUST END."
THE INVESTORS WOULD GET PAID.
THE WHOLE THING WOULD BE OVER.
- YOU GONNA BELIEVE HIM? [scoffs]
THERE'S NO PROOF OF ANY OF THIS.
I'M CALLING MY ATTORNEY.
- EVAN! - YEAH?
- I RECORDED OUR CONVERSATIONS--
EVERY SINGLE ONE OF THEM.
I HAD THIS IN MY POCKET!
AND IT HAS ALL OF YOUR DETAILED, SPECIFIC INSTRUCTIONS!
- WHAT?
- BECAUSE I WANTED TO MAKE SURE THAT I GOT IT RIGHT!
I WANTED TO DO A GOOD JOB FOR YOU, YOU PRICK!
- YOU LITTLE--
- EASY!
- YOU WHINING, CHEATING CRIMINAL.
- I LEARNED FROM THE BEST.
- WHAT MADE THE TWO OF YOU THINK
THAT YOU COULD GET AWAY WITH MURDER?
[handcuffs clicking]
- HUBRIS.
- SHOW'S OVER.
Captioning by Brian at CaptionMax www.captionmax.com