1 00:00:06,407 --> 00:00:09,410 male announcer: IN NEW YORK CITY'S WAR ON CRIME, 2 00:00:09,443 --> 00:00:10,544 THE WORST CRIMINAL OFFENDERS 3 00:00:10,578 --> 00:00:14,215 ARE PURSUED BY THE DETECTIVES OF THE MAJOR CASE SQUAD. 4 00:00:14,248 --> 00:00:16,517 THESE ARE THEIR STORIES. 5 00:00:19,387 --> 00:00:22,790 [cheers and applause] 6 00:00:22,823 --> 00:00:23,924 - SO SORRY, LADIES. 7 00:00:23,957 --> 00:00:26,560 SORRY, LADIES, I'M RUNNING LATE. CATCH ME AFTER THE SHOW. 8 00:00:26,594 --> 00:00:29,130 I'M ALL YOURS, I PROMISE. I'M LATE. I'M LATE. 9 00:00:29,163 --> 00:00:31,232 [cheering and screaming] 10 00:00:31,265 --> 00:00:34,435 - YOU BETTER HURRY--AMANDA JUST GAVE THE GO-AHEAD TO BRICE. 11 00:00:34,468 --> 00:00:36,837 - SIX MONTHS OF PREVIEWS AND NOT ONCE WITH AN UNDERSTUDY? 12 00:00:36,870 --> 00:00:37,805 I'M TEN MINUTES LATE. 13 00:00:37,838 --> 00:00:40,074 - I KNOW, BUT YOU KNOW AMANDA. SHE PANICS. 14 00:00:41,409 --> 00:00:44,378 - ETHEREAL, SPECTACULAR. PERFECT! 15 00:00:44,412 --> 00:00:47,348 - CALM DOWN, EVERYBODY. I'M HERE. I'M HERE. 16 00:00:47,381 --> 00:00:48,849 - WELL, SO YOU ARE. 17 00:00:48,882 --> 00:00:50,851 - SORRY, BUDDY. - NO WORRIES. 18 00:00:50,884 --> 00:00:54,755 - ALL RIGHT, LET'S GET MARC HOOKED UP. 19 00:00:54,788 --> 00:00:56,790 - SORRY. - ALL RIGHT... 20 00:00:56,824 --> 00:01:00,194 NOW, REMEMBER, IN THE SCENE WHERE YOU DEFY DAEDALUS, 21 00:01:00,228 --> 00:01:01,362 DON'T PUSH. 22 00:01:01,395 --> 00:01:02,463 JUST BE. - YEAH. 23 00:01:02,496 --> 00:01:05,733 I AM. I AM ICARUS. 24 00:01:05,766 --> 00:01:08,202 - I'M TALKING ABOUT HITTING THE NOTE ON-KEY, 25 00:01:08,236 --> 00:01:09,337 FOR ONCE. - I GET IT. 26 00:01:09,370 --> 00:01:11,605 AMANDA, TRUST ME. - ALL RIGHT? 27 00:01:11,639 --> 00:01:14,175 - I GOT YOU THE COBB. YOU HAVEN'T EATEN ALL DAY. 28 00:01:14,208 --> 00:01:17,445 - I DON'T NEED A SALAD. I NEED A DRINK. 29 00:01:17,478 --> 00:01:20,314 AND GET ME EVAN KORMAN ON THE PHONE! 30 00:01:20,348 --> 00:01:21,449 - HELLO, AMANDA. 31 00:01:21,482 --> 00:01:23,584 - MARC HAS TO GO. 32 00:01:23,617 --> 00:01:24,885 HE'S GETTING LAUGHS IN PLACES 33 00:01:24,918 --> 00:01:26,620 WHERE THE AUDIENCE SHOULD BE CRYING. 34 00:01:26,654 --> 00:01:30,891 IT WASN'T MY IDEA TO HIRE A SITCOM STAR. 35 00:01:30,924 --> 00:01:33,461 YOU SAID YOU NEEDED A NAME. - YEAH. YOU KNOW WHY-- 36 00:01:33,494 --> 00:01:37,131 BECAUSE YOU RIPPED OUT 200 SEATS TO BUILD YOUR LABYRINTH. 37 00:01:37,165 --> 00:01:39,767 WE LOSE 20 GRAND IN TICKET SALES EVERY NIGHT. 38 00:01:41,702 --> 00:01:43,504 - ADAM! JEEZ, YOU SHOULDN'T HAVE. 39 00:01:43,537 --> 00:01:45,206 I-- - WELL, I DIDN'T. 40 00:01:45,239 --> 00:01:47,508 THEY WERE OUTSIDE YOUR DOOR. 41 00:01:47,541 --> 00:01:48,909 - DID YOU, UH, HEAR REHEARSAL? 42 00:01:48,942 --> 00:01:50,844 I THINK I NAILED THAT B-FLAT IN LABYRINTH. 43 00:01:50,878 --> 00:01:52,880 - DID YOU TELL AMANDA 44 00:01:52,913 --> 00:01:55,316 THAT YOU HAVE A PROBLEM WITH THE MINOTAUR NUMBER? 45 00:01:55,349 --> 00:01:59,353 - NO. I WOULD NEVER DO THAT. 46 00:01:59,387 --> 00:02:01,689 - WELL, SHE SENDS ME AN EMAIL 47 00:02:01,722 --> 00:02:04,892 SAYING THE SONG ISN'T BIG ENOUGH. 48 00:02:04,925 --> 00:02:07,761 - THAT'S CRAZY. YOU PLAY 60,000-SEAT ARENAS. 49 00:02:07,795 --> 00:02:09,663 THE SONG IS BRILLIANT. 50 00:02:09,697 --> 00:02:11,332 - * I'M GETTING 51 00:02:11,365 --> 00:02:13,201 both: * HIGH AND HIGHER 52 00:02:13,234 --> 00:02:15,569 * I'M GONNA TOUCH THE FIRE 53 00:02:15,603 --> 00:02:16,637 - STOP! 54 00:02:16,670 --> 00:02:17,905 [thunder booms] 55 00:02:17,938 --> 00:02:20,474 - * I'M GONNA HOLD IT IN MY HANDS * 56 00:02:20,508 --> 00:02:22,943 - THE MELODY IS STILL WRONG. 57 00:02:22,976 --> 00:02:25,913 THE AUDIENCE NEEDS TO FEEL DARK, CONFLICTED. 58 00:02:25,946 --> 00:02:27,881 - IT'S A BROADWAY MUSICAL, AMANDA. 59 00:02:27,915 --> 00:02:30,218 PEOPLE WANT TO FEEL HAPPY. - NO, NO, NO, NO. 60 00:02:30,251 --> 00:02:33,387 - THE--THE STRINGS ARE-- THEY'RE TOO... 61 00:02:33,421 --> 00:02:35,289 THEY'RE TOO SOARING. 62 00:02:35,323 --> 00:02:37,891 - HE'S FLYING, FOR GOD'S SAKE. 63 00:02:37,925 --> 00:02:40,328 * 64 00:02:40,361 --> 00:02:43,364 [thunder booms] 65 00:02:43,397 --> 00:02:46,767 - * I CAN'T GET ANY CLOSER 66 00:02:46,800 --> 00:02:50,238 * 67 00:02:50,271 --> 00:02:53,441 * I'M FALLING BACK TO EARTH 68 00:02:53,474 --> 00:02:56,176 - WHAT'S HAPPENING? - I DON'T KNOW. 69 00:02:59,547 --> 00:03:00,914 - AAH! 70 00:03:02,383 --> 00:03:05,719 - OH, MY GOD. MARC. 71 00:03:05,753 --> 00:03:07,388 - BRING IN THE CURTAIN! 72 00:03:55,869 --> 00:03:57,671 - MARC LANDRY, 30-- RIGGING SNAPPED DURING A STUNT. 73 00:03:57,705 --> 00:04:00,708 HE FELL 30 FEET-- BROKEN NECK. 74 00:04:00,741 --> 00:04:03,477 PARAMEDICS CALLED IT IN THE AMBULANCE. 75 00:04:03,511 --> 00:04:05,346 - AND YOU CALLED MAJOR CASE INSTEAD 76 00:04:05,379 --> 00:04:07,681 OF THE OCCUPATIONAL SAFETY AND HEALTH ADMINISTRATION. 77 00:04:07,715 --> 00:04:09,283 - WELL, IT WASN'T A WORKPLACE ACCIDENT. 78 00:04:09,317 --> 00:04:10,484 THE RIGGING WAS SABOTAGED. 79 00:04:10,518 --> 00:04:12,986 OUR CRIME-SCENE UNIT DETERMINED THAT A ROPE ON THE HARNESS 80 00:04:13,020 --> 00:04:14,722 WAS DELIBERATELY CUT. 81 00:04:14,755 --> 00:04:16,924 STAGE MANAGER DISCOVERED THE TAMPERING AND CALLED US IN. 82 00:04:16,957 --> 00:04:18,659 - YOU SAW THE ACTOR FALL? 83 00:04:18,692 --> 00:04:22,996 - WE ALL DID. IT WAS HORRIBLE. 84 00:04:23,030 --> 00:04:24,765 - WHOEVER DID THIS 85 00:04:24,798 --> 00:04:27,301 TRIED TO MAKE IT LOOK LIKE THE ROPE WAS FRAYED. 86 00:04:27,335 --> 00:04:29,670 WHO WAS RESPONSIBLE FOR THE RIGGING? 87 00:04:29,703 --> 00:04:30,971 - OUR AERIAL RIGGER, DONALD COGAN. 88 00:04:31,004 --> 00:04:32,706 - HE AND HIS CREW DID THE SAFETY CHECK 89 00:04:32,740 --> 00:04:34,074 A HALF HOUR BEFORE PERFORMANCE. 90 00:04:34,107 --> 00:04:35,943 - WHO HAD ACCESS TO IT AFTER THAT? 91 00:04:35,976 --> 00:04:38,912 - ANYONE ON THE CAST AND CREW-- ABOUT 45 PEOPLE. 92 00:04:38,946 --> 00:04:42,416 - WE NEED A LIST OF NAMES. 93 00:04:42,450 --> 00:04:44,452 - WELL, IT WAS SUBTLE ENOUGH 94 00:04:44,485 --> 00:04:49,056 SO HE DIDN'T NOTICE THAT THE ROPE WAS CUT. 95 00:04:49,089 --> 00:04:52,393 [line zips] 96 00:04:52,426 --> 00:04:54,795 WHO ACTUALLY PUT THE ACTOR IN THE RIG 97 00:04:54,828 --> 00:04:56,397 RIGHT BEFORE HE STARTED? 98 00:04:56,430 --> 00:04:58,532 - WE HAVE OUR SAFETY PROCEDURES IN CHECK, 99 00:04:58,566 --> 00:05:00,534 BUT AS OF LATE, MARC INSISTED 100 00:05:00,568 --> 00:05:02,069 THAT HE BE RESPONSIBLE FOR THE FINAL CHECK. 101 00:05:02,102 --> 00:05:03,637 - WHY WOULD HE WANT FINAL CHECK? 102 00:05:03,671 --> 00:05:05,939 - MARC LANDRY WAS A SITCOM STAR. 103 00:05:05,973 --> 00:05:08,409 I GUESS HE WAS USED TO BEING THE BOSS. 104 00:05:08,442 --> 00:05:10,778 - WERE THERE RESENTMENTS TOWARDS HIM BECAUSE OF THAT, 105 00:05:10,811 --> 00:05:12,513 LIKE FROM THE OTHER ACTORS OR...? 106 00:05:12,546 --> 00:05:14,482 - RESENTMENT, ENVY, INSECURITY-- 107 00:05:14,515 --> 00:05:17,385 THEY'RE PRACTICALLY JOB REQUIREMENTS. 108 00:05:17,418 --> 00:05:20,521 - THIS RIGGING WAS SECURE WHEN I DID MY SAFETY CHECK. 109 00:05:20,554 --> 00:05:23,924 BUT ANYONE COULD HAVE GOTTEN HOLD OF A KNIFE. 110 00:05:23,957 --> 00:05:26,927 - DID ANYONE ON THE CREW HAVE A PROBLEM WITH MARC LANDRY? 111 00:05:26,960 --> 00:05:29,630 - ALL I KNOW, IT WASN'T ME OR MY TEAM. 112 00:05:29,663 --> 00:05:31,399 WE WOULDN'T DAMAGE THE WINGS. 113 00:05:31,432 --> 00:05:32,800 THEY TOOK THREE MONTHS TO COMPLETE. 114 00:05:32,833 --> 00:05:35,803 - WOW. I MEAN, THAT--THAT SEEMS LIKE A LONG TIME. 115 00:05:35,836 --> 00:05:37,371 - AMANDA'S A PERFECTIONIST. 116 00:05:37,405 --> 00:05:39,540 WE ALL SUPPORT HER VISION, BUT... 117 00:05:39,573 --> 00:05:41,108 SAFETY IS OUR NUMBER-ONE PRIORITY. 118 00:05:41,141 --> 00:05:42,943 - REALLY? 119 00:05:42,976 --> 00:05:46,146 BECAUSE THIS PRODUCTION'S BEEN PLAGUED WITH SAFETY ISSUES. 120 00:05:46,179 --> 00:05:47,815 A STUNTMAN FELL OFF A PLATFORM. 121 00:05:47,848 --> 00:05:49,817 AN ACTRESS'S RIGGING SNAPPED. 122 00:05:49,850 --> 00:05:51,385 IT'S BEEN ON THE COVER OF THE POST. 123 00:05:51,419 --> 00:05:53,554 - WE HAD SOME KINKS. WE WORKED 'EM OUT. 124 00:05:53,587 --> 00:05:55,088 - WOW. FOUR BOYS. 125 00:05:55,122 --> 00:05:58,058 YOU--I-- THEY LOOK A LOT LIKE YOU. 126 00:05:58,091 --> 00:05:59,827 WHERE'S YOUR WIFE? 127 00:05:59,860 --> 00:06:01,128 - I'M DIVORCED. 128 00:06:01,161 --> 00:06:02,863 - OH... 129 00:06:02,896 --> 00:06:04,532 - UH, DETECTIVES. 130 00:06:04,565 --> 00:06:05,633 HI. - HI. 131 00:06:05,666 --> 00:06:08,436 - HI. I'M ROGER PORTER. - THE DIRECTOR'S ASSISTANT. 132 00:06:08,469 --> 00:06:11,672 - ACTUALLY, I'M-- I'M A DRAMATURGE. 133 00:06:11,705 --> 00:06:14,575 - SORRY? - UH, A DRAMATURGE. 134 00:06:14,608 --> 00:06:16,844 I HELP AMANDA SHAPE HER CREATIVE VISION 135 00:06:16,877 --> 00:06:19,079 IN ALL ASPECTS OF THE PRODUCTION. 136 00:06:19,112 --> 00:06:20,814 - AMANDA'S THE DIRECTOR? 137 00:06:20,848 --> 00:06:23,417 - YES. ANYWAY, SHE WENT IN THE AMBULANCE, 138 00:06:23,451 --> 00:06:25,853 BUT SHE'S ON HER WAY BACK, AND SHE WANTED ME TO TELL YOU 139 00:06:25,886 --> 00:06:28,422 THAT SHE INTENDS TO COOPERATE FULLY WITH THE INVESTIGATION. 140 00:06:28,456 --> 00:06:30,424 - HOW NICE OF HER. 141 00:06:30,458 --> 00:06:31,959 - AND IF THERE'S ANYTHING I CAN DO TO HELP... 142 00:06:31,992 --> 00:06:32,926 - WELL, YES, THERE IS. 143 00:06:32,960 --> 00:06:34,428 UH, WHERE'S THE LAST PLACE 144 00:06:34,462 --> 00:06:37,598 THAT MARC WOULD HAVE BEEN BEFORE HIS PERFORMANCE? 145 00:06:37,631 --> 00:06:39,933 - YOU KNOW, MARC MADE UP IN ENTHUSIASM 146 00:06:39,967 --> 00:06:42,836 WHAT HE LACKED IN NATURAL ABILITY. 147 00:06:42,870 --> 00:06:44,705 - HOW'D HE GET ALONG WITH THE REST OF THE COMPANY? 148 00:06:44,738 --> 00:06:47,608 - I NEVER SAW ANY TENSION. 149 00:06:47,641 --> 00:06:48,842 - HOW ABOUT AMANDA? 150 00:06:48,876 --> 00:06:50,678 WE HEARD SHE'S A PERFECTIONIST. 151 00:06:50,711 --> 00:06:51,812 - SHE'S A GENIUS. 152 00:06:51,845 --> 00:06:54,548 YOU KNOW, SOMETIMES STRONG WOMEN GET PEGGED AS A BITCH. 153 00:06:54,582 --> 00:06:57,618 - ALL THE SAME, WHAT WAS HER RELATIONSHIP WITH MARC? 154 00:06:57,651 --> 00:07:01,455 - WELL, THEY HAD THEIR CREATIVE DIFFERENCES. 155 00:07:01,489 --> 00:07:03,724 BUT AT THE END OF THE DAY, IT WAS ALL ABOUT THE WORK. 156 00:07:03,757 --> 00:07:05,459 IT WAS NOTHING PERSONAL. 157 00:07:05,493 --> 00:07:06,694 - ROMANTIC INVOLVEMENTS? 158 00:07:06,727 --> 00:07:10,163 - HE WAS A STRAIGHT, SINGLE, GOOD-LOOKING GUY IN THE THEATER, 159 00:07:10,197 --> 00:07:12,099 SO...YEAH. 160 00:07:12,132 --> 00:07:16,069 BUT I DON'T KNOW OF ANYONE SPECIAL. 161 00:07:17,605 --> 00:07:19,907 - PEACOCK FEATHERS... 162 00:07:19,940 --> 00:07:22,175 BAD LUCK IN THE THEATER. 163 00:07:22,209 --> 00:07:24,111 SOMEBODY MIGHT HAVE BEEN TRYING TO JINX HIM. 164 00:07:24,144 --> 00:07:25,913 THERE'S NO CARD. 165 00:07:25,946 --> 00:07:27,681 YOU HAVE ANY IDEA WHO SENT THIS? 166 00:07:27,715 --> 00:07:29,517 - NO. - THAT'S AN UNUSUAL VASE. 167 00:07:29,550 --> 00:07:31,184 MAYBE WE CAN TRACK THE FLORIST. [cell phone beeps] 168 00:07:31,218 --> 00:07:33,120 - UH, AMANDA'S HERE. 169 00:07:33,153 --> 00:07:36,189 UM, I'LL TAKE YOU TO HER OFFICE. 170 00:07:36,223 --> 00:07:39,259 - IT WAS LIKE A TERRIBLE, TERRIBLE DREAM. 171 00:07:39,292 --> 00:07:42,830 I SAW MARC'S BODY JERK. 172 00:07:42,863 --> 00:07:43,997 IT WASN'T ELEGANT. 173 00:07:44,031 --> 00:07:45,733 I KNEW... 174 00:07:45,766 --> 00:07:48,602 INSTANTLY THAT SOMETHING WAS WRONG. 175 00:07:48,636 --> 00:07:50,538 I JUST-- 176 00:07:50,571 --> 00:07:54,975 THE WHOLE THING IS-- IT'S--IT'S UNIMAGINABLE. 177 00:07:55,008 --> 00:07:57,044 - SO YOU AND MARC WERE CLOSE. 178 00:07:57,077 --> 00:08:01,649 - WE'VE BEEN IN REHEARSALS AND PREVIEWS FOR OVER TWO YEARS. 179 00:08:01,682 --> 00:08:02,516 WE'RE A FAMILY. 180 00:08:02,550 --> 00:08:05,118 - WHERE WERE YOU BEFORE THE PERFORMANCE? 181 00:08:05,152 --> 00:08:06,987 - OHH! BEFORE A PERFORMANCE, I'M OBSESSIVE. 182 00:08:07,020 --> 00:08:09,523 I WAS IN PROPS, WARDROBE, LIGHTING, 183 00:08:09,557 --> 00:08:12,826 BITCHING OUT THE CATERER FOR NO ANCHOVIES ON THE PIZZA. 184 00:08:12,860 --> 00:08:14,762 - GREEK MYTHOLOGY SEEMS TO BE 185 00:08:14,795 --> 00:08:18,966 A REOCCURRING THEME IN YOUR WORK. 186 00:08:18,999 --> 00:08:22,570 YOUR THREE MOVIES, YOUR LAST MUSICAL, PANDORA. 187 00:08:22,603 --> 00:08:24,805 - YES, I'M DRAWN TO THE CLASSIC STORIES-- 188 00:08:24,838 --> 00:08:27,675 HOW HUMAN NATURE ENDURES. - RIGHT. 189 00:08:27,708 --> 00:08:30,978 AND THE LABYRINTH... 190 00:08:31,011 --> 00:08:33,981 WELL, IT'S PART OF THE ICARUS STORY. 191 00:08:34,014 --> 00:08:38,118 DAEDALUS--HE BUILDS THE LABYRINTH TO IMPRISON... 192 00:08:38,151 --> 00:08:39,687 - THE MINOTAUR. 193 00:08:39,720 --> 00:08:42,222 - MINOTAUR. RIGHT. 194 00:08:42,255 --> 00:08:45,225 I LIKE THE WAY YOU-- WELL, YOUR REPRESENTATION 195 00:08:45,258 --> 00:08:46,326 OF IT ONSTAGE. 196 00:08:46,359 --> 00:08:47,795 - THANK YOU. 197 00:08:47,828 --> 00:08:51,264 YES, THE--THE LABYRINTH REPRESENTS 198 00:08:51,298 --> 00:08:53,333 A-A JOURNEY OF DISCOVERY, 199 00:08:53,366 --> 00:08:56,970 A PILGRIMAGE TO THE TRUTH. 200 00:08:57,004 --> 00:08:59,873 - OUR JOB IN A NUTSHELL. 201 00:09:01,975 --> 00:09:04,311 - THIS SHOW IS BROADWAY TEFLON. 202 00:09:04,344 --> 00:09:06,980 TICKET SALES HAVE DOUBLED SINCE THE MURDER. 203 00:09:07,014 --> 00:09:09,883 - NEVER UNDERESTIMATE THE PUBLIC'S APPETITE FOR BLOOD. 204 00:09:09,917 --> 00:09:11,952 - WELL, WHO WAS OUT FOR MARC LANDRY'S? 205 00:09:11,985 --> 00:09:14,922 ANY OF THE 45 PEOPLE WITH BACKSTAGE ACCESS 206 00:09:14,955 --> 00:09:17,124 HAVE A GRUDGE? - NOT THAT THEY'RE ADMITTING TO. 207 00:09:17,157 --> 00:09:20,227 WE'RE ALSO LOOKING AT FINANCIALS AND ANYONE WITH A SHEET. 208 00:09:20,260 --> 00:09:23,597 - WELL, MAKE SURE ALL 45 OF THEM ARE REINTERVIEWED. 209 00:09:23,631 --> 00:09:26,333 HAVE THEM STATE WHERE THEY WERE BETWEEN 6:30 AND 9:30 210 00:09:26,366 --> 00:09:27,935 AND WHO THEY WERE WITH. 211 00:09:27,968 --> 00:09:31,705 - MAYBE SOMEONE TOOK OFFENSE AT HIS TWEETS. 212 00:09:31,739 --> 00:09:33,240 MARC STARTED A TWITTER CAMPAIGN 213 00:09:33,273 --> 00:09:36,076 AFTER THE ACTRESS PLAYING ARIADNE, GWENDOLYN SWIFT, 214 00:09:36,109 --> 00:09:37,244 BROKE HER LEG. 215 00:09:37,277 --> 00:09:39,613 IT WAS THE SECOND RIGGING ACCIDENT 216 00:09:39,647 --> 00:09:41,014 IN THE LAST FOUR MONTHS. 217 00:09:41,048 --> 00:09:44,184 IN THE FIRST ONE, A STUNTMAN BROKE THREE RIBS. 218 00:09:44,217 --> 00:09:47,120 "AS ACTORS, WE MUST FEEL SAFE. 219 00:09:47,154 --> 00:09:49,322 "WE'RE FIGHTING FOR OUR LIVES 220 00:09:49,356 --> 00:09:52,726 "AGAINST THE STUPIDITY OF PRODUCERS AND DIRECTORS. 221 00:09:52,760 --> 00:09:55,128 I WILL DEFEND GWENDOLYN TO THE DEATH." 222 00:09:55,162 --> 00:09:56,897 - VERY GALLANT. 223 00:09:56,930 --> 00:10:01,234 WELL, MAYBE SOMEBODY CHALLENGED HIM TO A DUEL. 224 00:10:01,268 --> 00:10:03,704 - IT NEEDS MORE LIGHT! 225 00:10:03,737 --> 00:10:05,372 THE SUN SHOULD BE DAZZLING. 226 00:10:05,405 --> 00:10:09,142 - ADJUST LIGHTING PER DESIGNER'S INPUT. 227 00:10:09,176 --> 00:10:12,112 - AMANDA, IT'S FANTASTIC. 228 00:10:12,145 --> 00:10:13,881 BUT LET'S NOT GET AHEAD OF OURSELVES. 229 00:10:13,914 --> 00:10:15,348 - EVAN, WHAT ARE YOU DOING HERE? 230 00:10:15,382 --> 00:10:18,051 - ROGER SAID THAT YOU WERE STILL WORKING ON THE STAGE. 231 00:10:18,085 --> 00:10:21,054 - I WANTED TO MAKE SURE WE HAVE CLEARANCE FROM OSHA. 232 00:10:21,088 --> 00:10:23,090 - IT'S PERFECTLY SAFE. - NO, IT'S NOT. 233 00:10:23,123 --> 00:10:25,859 MARC'S DEAD. DOESN'T THAT MEAN ANYTHING TO YOU? 234 00:10:25,893 --> 00:10:28,796 - YES. HE GAVE HIS LIFE FOR THIS. 235 00:10:28,829 --> 00:10:30,831 THAT'S WHY THE CAST AND CREW, ALL OF US, 236 00:10:30,864 --> 00:10:32,299 NEED TO KEEP GOING. 237 00:10:32,332 --> 00:10:34,902 - MARC'S MEMORIAL IS TOMORROW. LET'S FOCUS ON THAT FOR NOW. 238 00:10:34,935 --> 00:10:38,739 - MY WORK NEEDS TO BE MY FOCUS. 239 00:10:38,772 --> 00:10:42,075 OTHERWISE, WHAT ELSE WOULD I HAVE? 240 00:10:42,109 --> 00:10:43,977 BRIGHTER! 241 00:10:44,011 --> 00:10:45,645 DAZZLE ME! 242 00:10:47,180 --> 00:10:49,282 - YOU CAN SEE FROM THE REPORT, THE STUNTMAN'S FALL, 243 00:10:49,316 --> 00:10:53,120 GWENDOLYN'S FALL WERE BOTH RULED ACCIDENTAL. 244 00:10:53,153 --> 00:10:55,122 - FIRST ACCIDENT WAS CAUSED BY A LOOSE SCREW 245 00:10:55,155 --> 00:10:56,389 ON THE GRAPPLING HOOK-- 246 00:10:56,423 --> 00:10:59,026 SAME THING AGAIN FOR THE SECOND. 247 00:10:59,059 --> 00:11:01,194 - EXACTLY. BOTH ACCIDENTS. 248 00:11:01,228 --> 00:11:04,264 - DONALD, YOU'RE A CRAFTSMAN. 249 00:11:04,297 --> 00:11:07,134 YOU KNOW, YOU'RE BEST IN YOUR FIELD. 250 00:11:07,167 --> 00:11:08,702 I MEAN... 251 00:11:08,736 --> 00:11:11,171 MAYBE YOU MISSED TIGHTENING A SCREW ONCE, 252 00:11:11,204 --> 00:11:12,372 BUT NOT TWICE. 253 00:11:12,405 --> 00:11:15,142 - I MADE A MISTAKE. 254 00:11:15,175 --> 00:11:17,845 I ADMITTED IT. 255 00:11:17,878 --> 00:11:20,313 - AND HOW COME YOU WERE NEVER FIRED? 256 00:11:20,347 --> 00:11:22,783 - YOU TOLD US YOU WERE GETTING DIVORCED. 257 00:11:22,816 --> 00:11:25,385 BUT YOU DIDN'T TELL US IT WAS AN ONGOING DIVORCE 258 00:11:25,418 --> 00:11:27,354 WITH A CUSTODY BATTLE FOR YOUR CHILDREN. 259 00:11:27,387 --> 00:11:29,122 SHE WANTS FULL CUSTODY. 260 00:11:29,156 --> 00:11:30,791 - ATTORNEY FEES ARE ASTRONOMICAL. 261 00:11:30,824 --> 00:11:32,392 - YOUR FINANCIAL RECORDS INDICATE 262 00:11:32,425 --> 00:11:34,027 PAYMENTS TO YOUR DIVORCE ATTORNEY 263 00:11:34,061 --> 00:11:35,763 FAR IN EXCESS OF YOUR SALARY. 264 00:11:35,796 --> 00:11:37,965 - YOUR LOVE YOUR BOYS, DON'T YOU? 265 00:11:37,998 --> 00:11:40,133 YOU DON'T WANT HER TO TAKE THEM AWAY FROM YOU. 266 00:11:40,167 --> 00:11:42,269 - HELP YOURSELF OUT HERE. 267 00:11:42,302 --> 00:11:44,872 WHO PAID YOU TO TAMPER WITH GWENDOLYN'S RIG? 268 00:11:51,044 --> 00:11:54,181 - HE WANTED A... 269 00:11:54,214 --> 00:11:57,284 SPECTACULAR SCREWUP THAT WOULD MAKE THE PAPERS. 270 00:11:59,552 --> 00:12:03,023 I THOUGHT I COULD DO IT. 271 00:12:03,056 --> 00:12:05,192 I DIDN'T WANT TO HURT THE GIRL... 272 00:12:05,225 --> 00:12:07,427 NOR THE STUNTMAN. I... 273 00:12:07,460 --> 00:12:09,997 I THOUGHT I COULD MAKE IT LOOK LIKE AN ACCIDENT, THAT'S ALL. 274 00:12:10,030 --> 00:12:12,833 - WHO WANTED THE SCREWUP? 275 00:12:12,866 --> 00:12:14,534 - THE PRODUCER... 276 00:12:14,567 --> 00:12:17,237 EVAN KORMAN. 277 00:12:19,206 --> 00:12:23,911 - DID HE EVER ASK YOU TO SABOTAGE MARC'S RIG? 278 00:12:23,944 --> 00:12:25,946 - NO. 279 00:12:25,979 --> 00:12:28,315 BUT WHEN MARC FELL... 280 00:12:28,348 --> 00:12:30,283 I KNEW EVAN WAS GONNA CASH IN. 281 00:12:30,317 --> 00:12:33,053 - AND THEY SAY THERE'S NO CREATIVITY 282 00:12:33,086 --> 00:12:35,122 IN THE THEATER THESE DAYS. 283 00:12:41,328 --> 00:12:43,063 - THESE ALLEGATIONS ARE INSANE. 284 00:12:43,096 --> 00:12:45,298 I'D NEVER SABOTAGE MY OWN PRODUCTION. 285 00:12:45,332 --> 00:12:46,166 - WE HAVE A SWORN AFFIDAVIT 286 00:12:46,199 --> 00:12:48,268 FROM THE AERIAL RIGGER, DONALD COGAN. 287 00:12:48,301 --> 00:12:51,238 HE CLAIMS YOU PAID HIM $50,000 CASH 288 00:12:51,271 --> 00:12:54,507 TO STAGE AN ACCIDENT THAT INJURED A STUNTMAN 289 00:12:54,541 --> 00:12:56,910 AND GWENDOLYN SWIFT. - HE'S LYING. 290 00:12:56,944 --> 00:12:58,345 - WHY WOULD HE ACCUSE YOU? 291 00:12:58,378 --> 00:13:00,280 - TO COVER HIS OWN ASS. I HAVE NO IDEA. 292 00:13:00,313 --> 00:13:02,015 THIS WHOLE THING IS ABSOLUTELY NUTS. 293 00:13:02,049 --> 00:13:04,317 - TAKE IT EASY, EVAN. 294 00:13:04,351 --> 00:13:07,520 DO YOU HAVE ANY PROOF MY CLIENT MADE THIS ALLEGED PAYMENT? 295 00:13:07,554 --> 00:13:09,489 - I'M SURE HE WAS CAREFUL TO COVER HIS TRACKS. 296 00:13:09,522 --> 00:13:11,391 - THERE'S NO TRACK COVERING, BECAUSE I DIDN'T DO ANYTHING. 297 00:13:11,424 --> 00:13:13,526 - WELL, NOW YOU HAVE A POTENTIAL SPIDER-MAN 298 00:13:13,560 --> 00:13:14,661 ON YOUR HANDS HERE-- 299 00:13:14,694 --> 00:13:16,596 YOU KNOW, EMBARRASSING HEADLINES, PRODUCTION DELAYS, 300 00:13:16,629 --> 00:13:18,999 YOU KNOW, AN INDUSTRY JOKE, RIGHT? 301 00:13:19,032 --> 00:13:21,902 - AND ORCHESTRATING A MURDER IS GONNA HELP ME? HOW? 302 00:13:21,935 --> 00:13:23,136 - WELL... 303 00:13:23,170 --> 00:13:26,439 MAYBE YOU DIDN'T WANT MARC LANDRY KILLED. 304 00:13:26,473 --> 00:13:30,043 MAYBE YOU JUST WANTED ANOTHER TICKET-BOOSTING BROKEN LEG 305 00:13:30,077 --> 00:13:31,979 OR CRACKED RIB OR SOMETHING-- I DON'T KNOW. 306 00:13:32,012 --> 00:13:35,482 I MEAN, AFTER GWENDOLYN'S ACCIDENT... 307 00:13:35,515 --> 00:13:37,484 YOU SOLD OUT FOUR MONTHS IN ADVANCE. 308 00:13:37,517 --> 00:13:39,486 - I'M GOING TO DELIBERATELY INJURE AN ACTOR 309 00:13:39,519 --> 00:13:41,454 I WAS PAYING TEN GRAND A WEEK, 310 00:13:41,488 --> 00:13:45,025 AN ACTOR I HAD TO FIGHT AMANDA TOOTH AND NAIL TO CAST? 311 00:13:45,058 --> 00:13:47,027 [chuckles] NO WAY. 312 00:13:47,060 --> 00:13:50,563 - MY CLIENT WASN'T EVEN AT THE THEATER THAT NIGHT. 313 00:13:50,597 --> 00:13:54,501 - MY FATHER WAS A BROADWAY PRODUCER... 314 00:13:54,534 --> 00:13:56,069 SO WAS HIS FATHER. 315 00:13:56,103 --> 00:13:57,637 IT'S A SMALL INDUSTRY. 316 00:13:57,670 --> 00:14:00,173 END OF THE DAY, ALL YOU HAVE IS YOUR REPUTATION. 317 00:14:00,207 --> 00:14:02,142 AND YOU COULD BACK UP THE BRINK'S TRUCK. 318 00:14:02,175 --> 00:14:04,444 THERE'S NOT ENOUGH MONEY IN THE WORLD TO MAKE ME 319 00:14:04,477 --> 00:14:06,146 SHAME THE KORMAN NAME. 320 00:14:06,179 --> 00:14:07,280 [elevator bell dings] 321 00:14:07,314 --> 00:14:09,883 - D.A.'S CHARGING DONALD COGAN WITH FELONIOUS ASSAULT-- 322 00:14:09,917 --> 00:14:12,019 NOT EXACTLY A RESUME BUILDER. 323 00:14:12,052 --> 00:14:13,586 - WELL, THE RIGGER'S ONE THING, 324 00:14:13,620 --> 00:14:16,223 BUT A BIG BROADWAY PRODUCER KILLING OFF HIS OWN ACTOR 325 00:14:16,256 --> 00:14:19,192 JUST TO BOOST TICKET SALES-- THAT'S A LITTLE MELODRAMATIC. 326 00:14:19,226 --> 00:14:21,028 - WE HAVE THE D.A.'S OFFICE 327 00:14:21,061 --> 00:14:23,263 LOOKING INTO THE PLAY'S INSURANCE AGREEMENTS 328 00:14:23,296 --> 00:14:25,398 TO FIND OUT IF MARC'S DEATH INDEMNIFIES KORMAN 329 00:14:25,432 --> 00:14:27,901 AGAINST LOSSES. - BUT HE DIDN'T DO IT HIMSELF. 330 00:14:27,935 --> 00:14:29,569 THE BUILDING SECURITY SAYS KORMAN WAS IN HIS OFFICE 331 00:14:29,602 --> 00:14:32,205 FROM 6:00 TO 9:45 THAT NIGHT. 332 00:14:32,239 --> 00:14:34,041 - A SEARCH TURN UP ANYTHING? 333 00:14:34,074 --> 00:14:35,442 - NOTHING TO TIE HIM TO DONALD COGAN. 334 00:14:35,475 --> 00:14:36,776 IT'S, UH, HE-SAID, HE-SAID. 335 00:14:36,809 --> 00:14:40,047 - NO EVIDENCE, THIN MOTIVE, HEADLINES OF THE NEW YORK TIMES 336 00:14:40,080 --> 00:14:43,416 POINTING OUT THE LACK OF SUSPECTS IN THIS CASE-- 337 00:14:43,450 --> 00:14:45,052 I'M STARTING TO HATE THE THEATER. 338 00:14:45,085 --> 00:14:46,553 - WE TRACKED DOWN THE FLORIST THAT DELIVERED 339 00:14:46,586 --> 00:14:47,921 THE PEACOCK-FEATHER BOUQUET. 340 00:14:47,955 --> 00:14:50,323 IT WAS ORDERED BY BRICE CALDER. 341 00:14:50,357 --> 00:14:52,092 - THAT'S MARC'S UNDERSTUDY. 342 00:14:54,327 --> 00:14:56,496 - I SENT MARC PEACOCK FEATHERS AS A JOKE. 343 00:14:56,529 --> 00:14:58,431 I'M SURE HE DIDN'T GET IT. 344 00:14:58,465 --> 00:15:00,467 NO DISRESPECT-- THE GUY WAS A MORON. 345 00:15:00,500 --> 00:15:03,370 - SO YOU TWO WEREN'T BUDDIES? 346 00:15:03,403 --> 00:15:05,305 - YOU'RE ASKING IF I HAD ANYTHING TO DO 347 00:15:05,338 --> 00:15:06,673 WITH HIM GETTING KILLED? 348 00:15:06,706 --> 00:15:08,208 - DID YOU? 349 00:15:08,241 --> 00:15:10,177 YOU KNOW, MARC OUT OF THE WAY, 350 00:15:10,210 --> 00:15:12,579 YOU PUT ON THE WINGS, AND YOU'RE ICARUS. 351 00:15:12,612 --> 00:15:15,582 - THAT'S A LITTLE ALL ABOUT EVE-ISH. 352 00:15:15,615 --> 00:15:18,718 DON'T YOU THINK? 353 00:15:18,751 --> 00:15:20,453 - THANK YOU. YOU'RE TELLING ME 354 00:15:20,487 --> 00:15:22,389 THAT YOU DIDN'T RESENT HIM AT ALL? 355 00:15:22,422 --> 00:15:26,159 A TV ACTOR WITH NO THEATER CHOPS 356 00:15:26,193 --> 00:15:28,195 GETS THE ROLE OVER YOU. 357 00:15:28,228 --> 00:15:30,697 I MEAN, YOU WERE NOMINATED FOR AN OBIE. 358 00:15:30,730 --> 00:15:33,300 - YOU GOOGLED ME. I'M FLATTERED. 359 00:15:33,333 --> 00:15:35,468 - HAD TO STING-- NIGHT AFTER NIGHT, 360 00:15:35,502 --> 00:15:37,437 SEEING A SITCOM STAR MANGLE THE PART. 361 00:15:37,470 --> 00:15:40,173 - THAT'S HOW THE BUSINESS WORKS. 362 00:15:40,207 --> 00:15:42,042 THEY WANT A NAME. 363 00:15:42,075 --> 00:15:44,711 YEAH, WELL, I HAVE A NAME. IT'S BRICE CALDER. 364 00:15:44,744 --> 00:15:47,480 - DETECTIVE GOREN. 365 00:15:47,514 --> 00:15:50,183 - DID YOU SEE MARC THE NIGHT HE WAS KILLED? 366 00:15:50,217 --> 00:15:53,086 - YEAH, FOR, LIKE, TWO SECONDS AT THE STUNT REHEARSAL. 367 00:15:53,120 --> 00:15:54,554 MARC SHOWS UP LATE. 368 00:15:54,587 --> 00:15:57,157 THEY TOOK THE HARNESS OFF ME, PUT IT ON HIM. 369 00:15:57,190 --> 00:15:58,625 - HE WAS LATE? DID HE SAY WHY? 370 00:15:58,658 --> 00:16:01,161 - I DON'T KNOW. HE WAS PROBABLY BANGING SOME TOURIST 371 00:16:01,194 --> 00:16:02,362 IN THE LIMO. 372 00:16:02,395 --> 00:16:05,232 ANYWAY, HE SHOWS UP, I SPLIT. 373 00:16:05,265 --> 00:16:07,700 I WAS IN SARDI'S THE REST OF THE NIGHT. 374 00:16:07,734 --> 00:16:08,735 - I KNOW BRICE. 375 00:16:08,768 --> 00:16:12,172 HE'S GOT ATTITUDE FOR DAYS, BUT HE TIPS GREAT. 376 00:16:12,205 --> 00:16:14,541 - THE NIGHT MARC LANDRY WAS KILLED, BRICE WAS AT THE BAR? 377 00:16:14,574 --> 00:16:16,709 - YEAH, FROM, LIKE, 6:30 TO 9:30. 378 00:16:16,743 --> 00:16:18,311 WE'RE USUALLY PRETTY DEAD AROUND THEN, 379 00:16:18,345 --> 00:16:19,712 BUT THAT NIGHT, 380 00:16:19,746 --> 00:16:21,614 SOME OF THE AUDIENCE FROM THE SHOW CAME IN, 381 00:16:21,648 --> 00:16:23,350 FREAKING OUT ABOUT WHAT HAPPENED. 382 00:16:23,383 --> 00:16:25,552 - DID BRICE HAVE AN ATTITUDE ABOUT MARC? 383 00:16:25,585 --> 00:16:27,154 - YEAH, HE WAS BITCHING 384 00:16:27,187 --> 00:16:28,755 HOW HE WAS SUPPOSED TO GO ON THAT NIGHT. 385 00:16:28,788 --> 00:16:30,390 A CRITIC WAS SHOWING UP. 386 00:16:30,423 --> 00:16:32,659 THAT COULD HAVE BEEN BRICE IN THE RIGGING. 387 00:16:32,692 --> 00:16:35,462 TALK ABOUT DODGING A BULLET. 388 00:16:35,495 --> 00:16:39,332 - T-THERE WAS A-A CRITIC IN THE AUDIENCE? 389 00:16:39,366 --> 00:16:41,601 I MEAN, ISN'T THAT UNUSUAL FOR A PREVIEW? 390 00:16:41,634 --> 00:16:44,237 - MICHAEL DEWITT FROM THE TIMES WAS IN HERE 391 00:16:44,271 --> 00:16:45,405 THREE NIGHTS AGO, 392 00:16:45,438 --> 00:16:47,307 COZYING UP WITH THE DIRECTOR, AMANDA. 393 00:16:47,340 --> 00:16:48,741 A WAITRESS HEARD HER TELL HIM 394 00:16:48,775 --> 00:16:50,543 A BIG CAST CHANGE WAS IN THE WORKS. 395 00:16:50,577 --> 00:16:51,711 - BRENDA? 396 00:16:51,744 --> 00:16:53,480 - WILL YOU GUYS EXCUSE ME FOR ONE SEC? 397 00:16:53,513 --> 00:16:55,715 THANKS. 398 00:16:55,748 --> 00:16:59,486 - MAYBE AMANDA WASN'T SO IN LOVE WITH HER ACTOR AFTER ALL. 399 00:16:59,519 --> 00:17:02,189 - AMANDA AND I ARE OLD FRIENDS. 400 00:17:02,222 --> 00:17:03,290 WE WERE JUST HAVING A DRINK. 401 00:17:03,323 --> 00:17:06,193 - WE HEARD SHE CONFIDED IN YOU ABOUT CAST CHANGES. 402 00:17:06,226 --> 00:17:07,760 DID SHE MEAN MARC LANDRY? 403 00:17:07,794 --> 00:17:09,129 - THAT'S CONFIDENTIAL. 404 00:17:09,162 --> 00:17:12,332 - LOOK, EVERY OTHER ACTOR ON ICARUS 405 00:17:12,365 --> 00:17:15,235 IS A RESPECTED PRO, RIGHT? 406 00:17:15,268 --> 00:17:17,470 MARC LANDRY WAS A-- HE WAS A SITCOM ACTOR. 407 00:17:17,504 --> 00:17:19,206 YOU'RE NOT GIVING ANYTHING AWAY. 408 00:17:19,239 --> 00:17:20,573 - [sighs] OKAY. 409 00:17:20,607 --> 00:17:22,109 OFF THE RECORD, 410 00:17:22,142 --> 00:17:24,644 MARC LANDRY WAS DREADFUL, ATROCIOUS. 411 00:17:24,677 --> 00:17:26,213 GETTING KILLED WAS THE BEST THING 412 00:17:26,246 --> 00:17:28,381 THAT EVER HAPPENED TO HIS BROADWAY CAREER. 413 00:17:28,415 --> 00:17:30,783 - OTHERWISE, HE WOULD HAVE BEEN MURDERED BY YOUR REVIEW? 414 00:17:30,817 --> 00:17:32,452 - OUT OF RESPECT FOR THE DEAD, 415 00:17:32,485 --> 00:17:34,554 OF COURSE I'M NOT REVIEWING THAT PERFORMANCE. 416 00:17:34,587 --> 00:17:36,423 - YEAH, BUT YOU WENT TO A PREVIEW. 417 00:17:36,456 --> 00:17:38,458 ISN'T IT CUSTOMARY TO WAIT UNTIL OPENING NIGHT? 418 00:17:38,491 --> 00:17:40,193 - AMANDA SAID THE SHOW WAS READY. 419 00:17:40,227 --> 00:17:42,195 I THINK SHE BELIEVED SHE'D GET A BETTER REVIEW 420 00:17:42,229 --> 00:17:43,696 IF BRICE WAS IN THE LEAD. 421 00:17:43,730 --> 00:17:46,866 - BUT THE CAST WAS THE SAME THAT NIGHT. 422 00:17:46,899 --> 00:17:48,468 MARC WAS ICARUS. 423 00:17:48,501 --> 00:17:50,470 - I ASSUME AMANDA WAS OVERRULED. 424 00:17:50,503 --> 00:17:52,205 - BY WHO? - [chuckles] 425 00:17:52,239 --> 00:17:53,640 THE PROBLEM WITH THIS PRODUCTION-- 426 00:17:53,673 --> 00:17:55,775 TOO MANY EGOS IN THE KITCHEN. 427 00:17:55,808 --> 00:17:58,278 - THE COMPOSER, ADAM WINTER-- 428 00:17:58,311 --> 00:17:59,546 HE WAS A ROCK STAR, 429 00:17:59,579 --> 00:18:01,381 MUCH BIGGER NAME THAN AMANDA. 430 00:18:01,414 --> 00:18:03,150 - AND DESPITE THE MACHISMO, 431 00:18:03,183 --> 00:18:05,385 HE'S QUITE INSECURE ABOUT TRANSITIONING 432 00:18:05,418 --> 00:18:09,289 FROM GUITAR HERO TO LYRICIST ON THE GREAT WHITE WAY. 433 00:18:09,322 --> 00:18:10,723 I DOUBT SHE COULD MAKE A DECISION 434 00:18:10,757 --> 00:18:12,659 WITHOUT HIS BEING ON BOARD. 435 00:18:12,692 --> 00:18:15,762 - I WONDERED WHY THAT LITTLE PRICK 436 00:18:15,795 --> 00:18:17,797 WAS IN THE AUDIENCE. 437 00:18:17,830 --> 00:18:20,267 - AMANDA DIDN'T TELL YOU SHE INVITED DEWITT? 438 00:18:20,300 --> 00:18:23,136 - NO, BUT THAT--THAT'S TYPICAL AMANDA BEHAVIOR. 439 00:18:23,170 --> 00:18:24,504 SHE, UH... [laughs] 440 00:18:24,537 --> 00:18:26,473 SHE DOES WHAT SHE WANTS. 441 00:18:26,506 --> 00:18:28,541 - WELL, UH, DID-- 442 00:18:28,575 --> 00:18:33,280 DID AMANDA TELL YOU SHE WANTED TO REPLACE MARC? 443 00:18:33,313 --> 00:18:34,481 - UH, CONSTANTLY. 444 00:18:34,514 --> 00:18:37,717 BUT EVAN KORMAN WOULD NEVER LET THAT HAPPEN. 445 00:18:37,750 --> 00:18:40,420 MARC HAD A HUGE FAN BASE. 446 00:18:40,453 --> 00:18:42,655 - WE UNDERSTAND HE MAY NOT HAVE BEEN DOING JUSTICE 447 00:18:42,689 --> 00:18:44,391 TO THE ROLE. 448 00:18:44,424 --> 00:18:48,261 - AMANDA BLAMED EVERYONE AND EVERYTHING, OKAY? 449 00:18:48,295 --> 00:18:51,364 SHE EVEN HAD A PROBLEM WITH THE SONGS. 450 00:18:51,398 --> 00:18:52,232 - YOU DISAGREED? 451 00:18:52,265 --> 00:18:55,168 - WELL, BEING AS I WROTE THEM, YEAH. 452 00:18:55,202 --> 00:18:57,537 YOU FAMILIAR WITH MY WORK, DETECTIVE? 453 00:18:57,570 --> 00:18:59,739 - OH, UH... 454 00:18:59,772 --> 00:19:02,609 - HE'S MORE OF A JAZZ GUY. 455 00:19:02,642 --> 00:19:06,346 I REALLY LOVED STRANGE ANGEL. 456 00:19:06,379 --> 00:19:09,349 - [mutters] 457 00:19:09,382 --> 00:19:10,483 - OKAY, THAT'S FOR YOU. 458 00:19:10,517 --> 00:19:12,352 - OH, WELL, IT'S PLEASANT. 459 00:19:12,385 --> 00:19:14,454 [sniffs] 460 00:19:14,487 --> 00:19:17,357 CLOVE? - JAVA BLACK. 461 00:19:17,390 --> 00:19:20,227 I GOT ADDICTED TO 'EM WHEN WE TOURED INDONESIA. 462 00:19:20,260 --> 00:19:21,894 - HMM. NICE. 463 00:19:21,928 --> 00:19:25,232 - LOOK, THE PROBLEM... WITH THE SHOW 464 00:19:25,265 --> 00:19:26,966 IS NOT THE SONGS. 465 00:19:26,999 --> 00:19:28,868 AMANDA'S ON A DOWNWARD SPIRAL. 466 00:19:28,901 --> 00:19:30,370 - HOW SO? 467 00:19:30,403 --> 00:19:34,241 - WELL, UH, NO HUSBAND, NO KIDS, 468 00:19:34,274 --> 00:19:36,343 NO LIFE OUTSIDE WORK. 469 00:19:36,376 --> 00:19:38,378 AND THE NIGHT THAT MARC WAS KILLED, 470 00:19:38,411 --> 00:19:40,680 I SMELLED ALCOHOL ON HER BREATH. 471 00:19:40,713 --> 00:19:42,882 SHE'S BEEN IN A.A. FOR 20 YEARS, 472 00:19:42,915 --> 00:19:44,884 AND SHE IS A HANDFUL ENOUGH SOBER, 473 00:19:44,917 --> 00:19:46,653 BUT NOW... 474 00:19:46,686 --> 00:19:47,587 SHE'S GIVING THE EULOGY 475 00:19:47,620 --> 00:19:49,622 AT MARC'S MEMORIAL SERVICE THIS AFTERNOON. 476 00:19:49,656 --> 00:19:51,391 - HEY, ADAM, GOT A SEC? 477 00:19:51,424 --> 00:19:52,759 - WATCH OUT. 478 00:19:52,792 --> 00:19:54,627 EXCUSE ME. 479 00:19:54,661 --> 00:19:57,230 - "WATCH OUT." 480 00:19:57,264 --> 00:19:59,366 SO AMANDA TOLD DEWITT 481 00:19:59,399 --> 00:20:01,934 TO BE IN THE AUDIENCE THAT NIGHT. 482 00:20:01,968 --> 00:20:03,636 SHE MUST HAVE HAD REASON TO BELIEVE 483 00:20:03,670 --> 00:20:07,240 SHE COULD PUT BRICE ON THE STAGE INSTEAD OF MARC. 484 00:20:07,274 --> 00:20:09,376 - BUT MARC SHOWED UP ON TIME. 485 00:20:09,409 --> 00:20:12,779 PLAN "B," SHE CUTS HIS RIGGING, 486 00:20:12,812 --> 00:20:14,981 ASSUMING DEWITT WOULDN'T REVIEW A PERFORMANCE 487 00:20:15,014 --> 00:20:17,484 IN WHICH AN ACTOR IS HURT. 488 00:20:17,517 --> 00:20:18,651 PRETTY DESPERATE. 489 00:20:18,685 --> 00:20:20,787 - A BAD REVIEW CAN KILL A SHOW. 490 00:20:20,820 --> 00:20:22,889 SHE'S GOT A LOT RIDING ON ICARUS. 491 00:20:22,922 --> 00:20:25,492 HER LAST MOVIE BOMBED AT THE BOX OFFICE. 492 00:20:25,525 --> 00:20:28,495 - LET'S PAY OUR RESPECTS AT MARC'S MEMORIAL, 493 00:20:28,528 --> 00:20:31,298 SEE HOW HEARTBROKEN AMANDA REALLY IS. 494 00:20:31,331 --> 00:20:32,299 - * HIGHER 495 00:20:32,332 --> 00:20:35,968 both: * YOU HAVE GOT 496 00:20:36,002 --> 00:20:37,870 * TO TURN 497 00:20:37,904 --> 00:20:40,373 * AROUND 498 00:20:40,407 --> 00:20:42,909 - * 'CAUSE THIS IS HUBRIS - * HUBRIS 499 00:20:42,942 --> 00:20:45,512 - * THIS IS HUBRIS - * HUBRIS 500 00:20:45,545 --> 00:20:47,514 - * HUBRIS - * THIS IS HUBRIS 501 00:20:47,547 --> 00:20:49,782 - * YOU GOT TO COME DOWN 502 00:20:49,816 --> 00:20:54,554 both: * IT'S SO BEAUTIFUL 503 00:20:54,587 --> 00:20:56,556 [applause] 504 00:20:56,589 --> 00:20:58,291 - AND NOW I'M HONORED TO INTRODUCE 505 00:20:58,325 --> 00:21:00,660 THE AMAZING AMANDA ROLLINS. 506 00:21:00,693 --> 00:21:04,664 [applause continues] 507 00:21:04,697 --> 00:21:08,968 [feedback whining] - THANK YOU. 508 00:21:09,001 --> 00:21:13,640 WE ALL HAVE DESIRES. 509 00:21:13,673 --> 00:21:17,644 WE ALL HAVE YEARNINGS IN OUR HEARTS... 510 00:21:17,677 --> 00:21:19,679 TO BE LOVED... 511 00:21:19,712 --> 00:21:22,815 TO BE ACCEPTED... 512 00:21:22,849 --> 00:21:26,953 TO BE CLOSER TO THE DIVINE... 513 00:21:26,986 --> 00:21:28,721 TO FLY TO THE SUN-- 514 00:21:28,755 --> 00:21:31,424 GLORIOUS WINGS-- 515 00:21:31,458 --> 00:21:35,428 AND TO FLY HIGHER... 516 00:21:35,462 --> 00:21:37,430 - SHE'S EMOTIONAL. 517 00:21:37,464 --> 00:21:39,399 - YEAH, ALCOHOL WILL DO THAT. 518 00:21:39,432 --> 00:21:41,934 - LIKE MY BEAUTIFUL ICARUS... 519 00:21:41,968 --> 00:21:44,471 MY MARC. 520 00:21:44,504 --> 00:21:47,374 MARC... 521 00:21:47,407 --> 00:21:48,808 YOU... 522 00:21:48,841 --> 00:21:49,976 - THANK YOU. - MARC... 523 00:21:50,009 --> 00:21:51,844 - THE BRILLIANT AMANDA ROLLINS. 524 00:21:51,878 --> 00:21:53,380 WELL DONE. THANK YOU. 525 00:21:53,413 --> 00:21:55,582 THANK YOU VERY MUCH. - FLY HIGH, MARC. 526 00:21:55,615 --> 00:21:57,550 - THANK YOU. THANK YOU. - FLY--I AM NOT DONE. 527 00:21:57,584 --> 00:21:58,818 - IT'S OKAY. - I AM NOT DONE. 528 00:21:58,851 --> 00:22:00,487 - THANK YOU SO MUCH. - GET OFF OF ME. 529 00:22:00,520 --> 00:22:01,988 - HEY, HEY-- - GET OFF ME! 530 00:22:02,021 --> 00:22:05,525 I WASN'T FINISHED! - HEY, SHH. 531 00:22:08,528 --> 00:22:10,997 - THEY SHOULD HAVE SOLD TICKETS TO THIS. 532 00:22:18,638 --> 00:22:21,474 [knock on table] 533 00:22:21,508 --> 00:22:23,743 - I GOT THIS FOR YOU. 534 00:22:23,776 --> 00:22:25,912 DON'T SPILL IT. - OH, THANK YOU. 535 00:22:25,945 --> 00:22:26,979 YOU'RE VERY KIND. 536 00:22:27,013 --> 00:22:30,082 - YOU TOLD THE CRITIC DEWITT ABOUT A CAST CHANGE. 537 00:22:30,116 --> 00:22:33,152 DID YOU MEAN MARC? 538 00:22:33,185 --> 00:22:35,688 - IT WAS JUST MAGICAL THINKING. 539 00:22:35,722 --> 00:22:36,889 - YOU WANTED TO REPLACE 540 00:22:36,923 --> 00:22:38,858 THE ACTOR YOU TOLD US YOU ADORED. 541 00:22:38,891 --> 00:22:39,926 - HE WAS DEAD. 542 00:22:39,959 --> 00:22:41,994 I WAS BEING... 543 00:22:42,028 --> 00:22:43,596 GENEROUS. 544 00:22:43,630 --> 00:22:46,065 - YOU FORCED IN THE UNDERSTUDY, BRICE, 545 00:22:46,098 --> 00:22:47,467 PUT THE WINGS ON HIM. 546 00:22:47,500 --> 00:22:49,168 MARC WASN'T EVEN TEN MINUTES LATE. 547 00:22:49,201 --> 00:22:51,137 - I DON'T UNDERSTAND. 548 00:22:51,170 --> 00:22:53,606 THE LABYRINTH... 549 00:22:53,640 --> 00:22:55,508 SOMEONE MUST HAVE GIVEN HIM A CLUE. 550 00:22:55,542 --> 00:22:56,843 - A CLUE? 551 00:22:56,876 --> 00:22:58,511 - OBVIOUSLY SHE'S IN NO CONDITION 552 00:22:58,545 --> 00:23:01,714 TO BE SPEAKING TO THE POLICE. - AL, I'M FINE. 553 00:23:01,748 --> 00:23:04,484 I HAVE NOTHING TO HIDE. TALK TO ME. 554 00:23:04,517 --> 00:23:05,718 ASK ME ANYTHING. 555 00:23:05,752 --> 00:23:09,121 - OKAY. 556 00:23:09,155 --> 00:23:13,125 YOU DIDN'T WANT DEWITT REVIEWING MARC THAT NIGHT, 557 00:23:13,159 --> 00:23:15,595 SO YOU CUT THE RIG, STAGED AN ACCIDENT. 558 00:23:15,628 --> 00:23:16,729 - NO, I DIDN'T. 559 00:23:16,763 --> 00:23:18,865 - YOU'VE BEEN UNDER A LOT OF PRESSURE. 560 00:23:18,898 --> 00:23:22,168 A YEAR OF LIVING AND BREATHING ICARUS, 561 00:23:22,201 --> 00:23:25,004 POURING YOUR HEART AND SOUL INTO THE PRODUCTION. 562 00:23:25,037 --> 00:23:27,206 MAYBE YOU DIDN'T WANT TO TURN OUT TO BE ANOTHER JULIE TAYMOR-- 563 00:23:27,239 --> 00:23:29,542 GET FIRED FOR ARTISTIC DIFFERENCES. 564 00:23:29,576 --> 00:23:31,778 - I WOULD NEVER HURT AN ACTOR... 565 00:23:31,811 --> 00:23:33,012 NEVER. 566 00:23:33,045 --> 00:23:34,747 THEY'RE LIKE MY CHILDREN. 567 00:23:34,781 --> 00:23:36,749 - YOUR NAUGHTY CHILDREN, WHO DON'T LISTEN, 568 00:23:36,783 --> 00:23:37,950 WHO DON'T TAKE DIRECTION, 569 00:23:37,984 --> 00:23:39,619 WHO THINK THEY KNOW BETTER THAN YOU. 570 00:23:39,652 --> 00:23:42,121 - THAT'S TRUE. MARC NEVER LISTENED. 571 00:23:42,154 --> 00:23:43,155 HE DIDN'T TRUST ME. 572 00:23:43,189 --> 00:23:45,492 FOR A PRODUCTION LIKE THIS TO WORK, 573 00:23:45,525 --> 00:23:47,594 THERE MUST BE ABSOLUTE TRUST. 574 00:23:47,627 --> 00:23:49,896 - YOU HAVE IT, DETECTIVE. - WE--WE DIDN'T HAVE THAT. 575 00:23:49,929 --> 00:23:51,464 - WE'RE GOING. 576 00:23:51,498 --> 00:23:53,600 - ALL RIGHT. 577 00:23:53,633 --> 00:23:56,202 - HI. UM, I'M TAKING AMANDA HOME. 578 00:23:56,235 --> 00:23:58,671 - OH. - LOOK, UH... 579 00:23:58,705 --> 00:24:01,508 WHATEVER SHE SAID IN THERE, SHE'S NOT HERSELF. 580 00:24:01,541 --> 00:24:04,644 - WHAT PUT HER OVER THE EDGE AFTER 20 YEARS SOBER? 581 00:24:04,677 --> 00:24:07,747 - [scoffs] WELL, LET'S SEE-- MARC, ADAM, EVAN. 582 00:24:07,780 --> 00:24:10,883 THEY'RE EGOMANIACS WITH INFERIORITY COMPLEXES. 583 00:24:10,917 --> 00:24:13,786 IT'S SOMEWHAT DE RIGUEUR FOR THIS BUSINESS. 584 00:24:13,820 --> 00:24:15,121 BUT, REALLY, TO SUGGEST 585 00:24:15,154 --> 00:24:17,023 SHE HAD ANYTHING TO DO WITH MARC'S DEATH, 586 00:24:17,056 --> 00:24:19,091 IT'S--IT'S RIDICULOUS. 587 00:24:19,125 --> 00:24:21,093 - WELL, YOU'RE A VERY LOYAL ASSISTANT. 588 00:24:21,127 --> 00:24:22,862 - UH, DRAMATURGE, ACTUALLY. 589 00:24:22,895 --> 00:24:24,497 - RIGHT, DRAMATURGE. 590 00:24:24,531 --> 00:24:27,133 - LOOK, MARC WAS SCREWING SOMEONE. 591 00:24:27,166 --> 00:24:29,602 UH, MAYBE MARRIED. 592 00:24:29,636 --> 00:24:31,037 HE KEPT IT ON THE Q.T. - HOW DO YOU KNOW? 593 00:24:31,070 --> 00:24:32,739 - WELL, THE PRODUCTION WAS PUTTING HIM UP 594 00:24:32,772 --> 00:24:33,773 AT THE FOUR SEASONS. 595 00:24:33,806 --> 00:24:35,575 THEN ABOUT A MONTH INTO REHEARSAL, 596 00:24:35,608 --> 00:24:38,611 HE REQUESTED ANOTHER APARTMENT AT THE PREMIER CLUB. 597 00:24:38,645 --> 00:24:40,880 HE SAID IT WAS FOR WHEN HIS MOTHER VISITED, 598 00:24:40,913 --> 00:24:42,615 BUT SHE NEVER DID. 599 00:24:42,649 --> 00:24:44,050 - WELL, THAT'S VERY HELPFUL. 600 00:24:44,083 --> 00:24:46,185 - HI. ARE YOU ALL RIGHT? 601 00:24:46,218 --> 00:24:48,220 - I-I-I JUST WANT TO GO HOME. 602 00:24:48,254 --> 00:24:50,189 - AMANDA MENTIONED SOMETHING ABOUT MARC 603 00:24:50,222 --> 00:24:51,891 GETTING A CLUE. 604 00:24:51,924 --> 00:24:54,627 WHAT DO YOU THINK ABOUT THAT? - YEAH, I HAVE A THOUGHT. 605 00:24:54,661 --> 00:24:55,962 - YOU CARE TO SHARE? 606 00:24:55,995 --> 00:24:57,530 - NO, I'M GONNA TEST THE THEORY FIRST. 607 00:24:57,564 --> 00:25:00,900 I HAVE AN OLD FRIEND WHO TEACHES, UH, MYTHOLOGY 608 00:25:00,933 --> 00:25:02,168 AT COLUMBIA. 609 00:25:02,201 --> 00:25:04,937 - ALL RIGHT, HAVE FUN. 610 00:25:04,971 --> 00:25:06,272 - ICARUS-- 611 00:25:06,305 --> 00:25:09,876 MY FAVORITE METAPHOR FOR FAILED AMBITION. 612 00:25:09,909 --> 00:25:11,744 HUBRIS. 613 00:25:13,212 --> 00:25:14,914 HERE IT IS-- THE CLEW. 614 00:25:14,947 --> 00:25:17,984 UH, C-L-E-W. 615 00:25:18,017 --> 00:25:20,987 UH, A BALL OF THREAD OR YARN. 616 00:25:21,020 --> 00:25:24,691 - RIGHT, A BALL OF YARN THAT DAEDALUS GAVE TO THESEUS 617 00:25:24,724 --> 00:25:27,694 TO HELP HIM ESCAPE FROM THE LABYRINTH, 618 00:25:27,727 --> 00:25:30,029 WHICH ANGERED KING MINOS, 619 00:25:30,062 --> 00:25:33,866 WHO THEN IMPRISONED DAEDALUS 620 00:25:33,900 --> 00:25:36,035 AND ICARUS IN THE SAME LABYRINTH? 621 00:25:36,068 --> 00:25:37,770 - ARE YOU SURE YOU NEED MY HELP? 622 00:25:37,804 --> 00:25:38,671 - I DO NEED YOUR HELP. 623 00:25:38,705 --> 00:25:41,741 TELL ME MORE ABOUT THE, UH, LABYRINTH. 624 00:25:41,774 --> 00:25:45,044 - WELL, THE WORD IS, UH, PRE-GREEK IN ORIGIN-- 625 00:25:45,077 --> 00:25:47,113 MINOAN. - I SAW THIS IN HER OFFICE. 626 00:25:47,146 --> 00:25:48,915 THE CLASSICAL LABYRINTH-- 627 00:25:48,948 --> 00:25:50,883 UH, CIRCULAR IN PATTERN, UNICURSAL. 628 00:25:50,917 --> 00:25:52,919 - SINGLE PATH. - GOING IN CIRCLES, 629 00:25:52,952 --> 00:25:55,354 BUT ONE PATH, NOT DIFFICULT TO NAVIGATE. 630 00:25:55,387 --> 00:25:57,924 - YOU KNOW, IN SOME VERSIONS OF THE MYTH, 631 00:25:57,957 --> 00:25:59,759 IT'S MORE OF A MAZE-- 632 00:25:59,792 --> 00:26:02,128 MULTICURSAL, LIKE A PUZZLE 633 00:26:02,161 --> 00:26:04,030 WITH CHOICES OF DIRECTION. 634 00:26:04,063 --> 00:26:07,333 - BUT THE KILLER... 635 00:26:07,366 --> 00:26:10,603 THOUGHT THAT THEY HAD NO CHOICE. 636 00:26:10,637 --> 00:26:13,906 - WELL, WHOEVER IT IS, BOBBY, ONE THING I DO KNOW. 637 00:26:13,940 --> 00:26:15,808 I KNOW YOU. 638 00:26:15,842 --> 00:26:17,977 YOU'LL FIND 'EM. 639 00:26:21,147 --> 00:26:23,315 - DON'T KNOW WHERE, MAYBE ENGLAND... 640 00:26:23,349 --> 00:26:25,251 - MM-HMM. 641 00:26:25,284 --> 00:26:29,055 - THERE WERE MEN ON THE BRIDGE WITH ME... 642 00:26:29,088 --> 00:26:33,259 WEARING SOME SORT OF MILITARY UNIFORM. 643 00:26:33,292 --> 00:26:37,296 AND THEY WERE WALKING THE OTHER WAY. 644 00:26:37,329 --> 00:26:39,331 - AND WHAT DO YOU THINK IT MEANS? 645 00:26:39,365 --> 00:26:41,668 - I DON'T KNOW--I WAS HOPING YOU COULD TELL ME. 646 00:26:41,701 --> 00:26:44,070 - THEY WERE GOING ONE WAY, AND YOU WERE GOING THE OTHER? 647 00:26:44,103 --> 00:26:45,805 - MM-HMM. - AND THE BRIDGE WAS OVER WATER? 648 00:26:45,838 --> 00:26:47,073 - TURBULENT WATER. 649 00:26:47,106 --> 00:26:48,641 I KNOW WHAT YOU'RE GONNA SAY. 650 00:26:48,675 --> 00:26:50,276 YOU'RE GONNA SAY IT MEANS THAT I'M 651 00:26:50,309 --> 00:26:53,379 AT SOME KIND OF DIFFICULT CROSSING, 652 00:26:53,412 --> 00:26:56,649 THAT THE GUYS IN UNIFORM WERE N.Y.P.D. 653 00:26:56,683 --> 00:26:57,750 - ACTUALLY, I WAS STRUCK BY THE FACT 654 00:26:57,784 --> 00:27:02,722 THAT THIS DREAM IS WHAT YOU WANTED TO DISCUSS TODAY. 655 00:27:02,755 --> 00:27:04,924 YOU WANT ME TO KNOW THAT MY OPINION MATTERS, 656 00:27:04,957 --> 00:27:09,662 BUT NOW WHO'S ASKING QUESTIONS THAT HE KNOWS THE ANSWERS TO... 657 00:27:09,696 --> 00:27:10,763 INSTEAD OF DISCUSSING 658 00:27:10,797 --> 00:27:14,033 WHAT HAPPENED AT THE END OF LAST SESSION? 659 00:27:14,066 --> 00:27:15,802 A WEEK AGO, YOU WERE FURIOUS. 660 00:27:15,835 --> 00:27:18,037 YOU WALKED OUT. 661 00:27:18,070 --> 00:27:20,206 AND TODAY, I'M... 662 00:27:20,239 --> 00:27:22,174 I'M NOT SURE WHAT'S ON YOUR MIND 663 00:27:22,208 --> 00:27:24,310 OR--OR EVEN WHY YOU CAME BACK. 664 00:27:24,343 --> 00:27:27,880 - IT'S ON MY MIND. 665 00:27:27,914 --> 00:27:30,049 NO MATTER... 666 00:27:30,082 --> 00:27:32,251 WHAT WAS GOING ON FROM YOUR SIDE, YOU KNOW, 667 00:27:32,284 --> 00:27:36,322 I'M SORRY FOR LOSING MY TEMPER. 668 00:27:36,355 --> 00:27:38,390 I WANTED TO APOLOGIZE FOR THAT. 669 00:27:38,424 --> 00:27:39,926 - THANK YOU. 670 00:27:39,959 --> 00:27:41,293 IT'S FINE TO APOLOGIZE, 671 00:27:41,327 --> 00:27:43,162 BUT I THINK WE SHOULD TALK ABOUT, 672 00:27:43,195 --> 00:27:46,933 TRY TO RECONSTRUCT WHAT HAPPENED BETWEEN US. 673 00:27:46,966 --> 00:27:49,335 - I TOLD YOU, I THINK I OVERREACTED. 674 00:27:49,368 --> 00:27:50,536 - YES, AND I AM SUGGESTING 675 00:27:50,569 --> 00:27:55,074 BECAUSE SOMETHING POWERFUL CAME UP, SOMETHING IMPORTANT. 676 00:27:55,107 --> 00:27:56,809 WHY DO YOU THINK YOU TURNED SO QUICKLY? 677 00:27:56,843 --> 00:27:58,911 - YEAH, WE GOT OUR WIRES CROSSED. 678 00:27:58,945 --> 00:28:00,279 - HAS THAT HAPPENED TO YOU BEFORE? 679 00:28:00,312 --> 00:28:01,848 - WHAT? COME ON. 680 00:28:01,881 --> 00:28:04,050 YOU'RE TELLING ME THAT THAT'S NEVER HAPPENED TO YOU? 681 00:28:04,083 --> 00:28:06,318 - YOU BECAME ENRAGED BECAUSE YOU THOUGHT I SUGGESTED 682 00:28:06,352 --> 00:28:07,386 YOU MIGHT BE HITTING ON ME. 683 00:28:07,419 --> 00:28:10,156 - LOOK, I DON'T KNOW WHAT YOUR ANGLE IS WITH ME. 684 00:28:10,189 --> 00:28:14,026 I DON'T KNOW IF YOU'RE TRYING TO GET ME TO FAIL... 685 00:28:14,060 --> 00:28:15,327 TO FALL FOR YOU. 686 00:28:15,361 --> 00:28:18,497 I DON'T KNOW IF YOU'RE TRYING 687 00:28:18,530 --> 00:28:20,833 TO GET ME TO... 688 00:28:20,867 --> 00:28:24,503 BEHAVE CRAZY, SO YOU CAN CALL THE N.Y.P.D.-- 689 00:28:24,536 --> 00:28:27,073 - SO YOU DON'T KNOW WHAT THE RULES OF ENGAGEMENT ARE HERE. 690 00:28:27,106 --> 00:28:29,041 SO LET'S TALK ABOUT THAT. - YOU WANT TO KNOW WHAT I FEEL? 691 00:28:29,075 --> 00:28:30,943 I FEEL ANGER. - AND LAST WEEK, 692 00:28:30,977 --> 00:28:32,344 YOU WERE FLOODED WITH IT. 693 00:28:32,378 --> 00:28:34,480 FIGHT OR FLIGHT. 694 00:28:34,513 --> 00:28:37,850 WHAT'S UNDERNEATH THE ANGER? 695 00:28:39,986 --> 00:28:41,220 - MORE ANGER. 696 00:28:41,253 --> 00:28:44,924 - AND UNDERNEATH THAT, FEAR-- FEAR THAT I'M GONNA BETRAY YOU, 697 00:28:44,957 --> 00:28:47,226 FEAR THAT I'M GONNA HUMILIATE YOU, 698 00:28:47,259 --> 00:28:49,095 THAT I MUST BE UP TO SOMETHING MORE 699 00:28:49,128 --> 00:28:51,097 THAN TO GET YOU TO KNOW YOUR OWN MIND. 700 00:28:51,130 --> 00:28:52,799 AND THAT'S WHY YOU RUN. 701 00:28:52,832 --> 00:28:55,534 DEEP DOWN, IF WE DO THIS WORK, 702 00:28:55,567 --> 00:28:59,371 YOU'RE JUSTIFIABLY TERRIFIED OF WHAT WE MIGHT DISCOVER. 703 00:29:05,945 --> 00:29:08,981 - THE POLICE THINK THAT I KILLED MARC! 704 00:29:09,015 --> 00:29:10,783 - THEY'RE JUST DOING THEIR JOB, AMANDA. 705 00:29:10,817 --> 00:29:14,153 - DO YOU THINK I DID IT? - OF COURSE NOT. 706 00:29:14,186 --> 00:29:17,389 - I-I-I NEED TO KNOW WHEN WE'RE GONNA BE BACK UP. 707 00:29:17,423 --> 00:29:18,991 WE NEED TO REHEARSE. 708 00:29:19,025 --> 00:29:21,193 THE CAST IS LOSING RHYTHM, ENERGY. 709 00:29:21,227 --> 00:29:23,362 - THAT MAY NOT BE HAPPENING. 710 00:29:23,395 --> 00:29:25,497 - WHAT DO YOU MEAN? - I'M SORRY. 711 00:29:25,531 --> 00:29:28,300 [scoffs] I GAVE HER AN AMBIEN. 712 00:29:28,334 --> 00:29:31,203 I THOUGHT SHE WAS ASLEEP. 713 00:29:31,237 --> 00:29:33,172 - YOU CALLED ROGER? 714 00:29:33,205 --> 00:29:36,142 I'M NOT A CHILD. - THEN STOP ACTING LIKE ONE. 715 00:29:36,175 --> 00:29:38,544 - THIS IS A NIGHTMARE. - COME ON. 716 00:29:42,148 --> 00:29:44,817 - WE DIDN'T SEE MARC LANDRY AT THIS HOTEL VERY OFTEN. 717 00:29:44,851 --> 00:29:46,352 - WHEN YOU DID, WAS HE WITH ANYONE? 718 00:29:46,385 --> 00:29:48,988 - I GET PAID TO LOOK THE OTHER WAY. 719 00:29:49,021 --> 00:29:51,557 - UH, THAT SMELL. 720 00:29:54,226 --> 00:29:56,863 - A FEW MATCHBOOKS-- NOT MUCH OF A LOVE NEST. 721 00:30:04,937 --> 00:30:06,505 - JAVA BLACK-- 722 00:30:06,538 --> 00:30:09,108 SAME CLOVE CIGARETTES ADAM WINTER SMOKES. 723 00:30:09,141 --> 00:30:10,376 - ROCK STARS-- 724 00:30:10,409 --> 00:30:12,979 DON'T THEY KNOW IT'S NOT SAFE TO SMOKE IN BED? 725 00:30:16,916 --> 00:30:20,186 - CIGARETTES UNDER THE BED? YOU GUYS ARE KIDDING, RIGHT? 726 00:30:20,219 --> 00:30:21,988 - SO YOUR CLIENT IS DENYING 727 00:30:22,021 --> 00:30:24,556 HE HAD AN INTIMATE RELATIONSHIP WITH MARC LANDRY? 728 00:30:24,590 --> 00:30:27,059 - YES. I'M DENYING IT. 729 00:30:27,093 --> 00:30:29,929 I...LOVE WOMEN. 730 00:30:29,962 --> 00:30:32,498 - NOT TO MENTION, HE'S HAPPILY MARRIED. 731 00:30:32,531 --> 00:30:34,533 - SO MAYBE NOW'S THE TIME TO TELL YOU 732 00:30:34,566 --> 00:30:39,338 WE HAVE SECURITY FOOTAGE OF YOU IN THE PREMIER CLUB ELEVATOR 733 00:30:39,371 --> 00:30:40,472 KISSING MARC LANDRY. 734 00:30:40,506 --> 00:30:44,043 - YOU KNOW, HE REALLY COULD HAVE BEEN JUST GIVING HIM 735 00:30:44,076 --> 00:30:45,444 MOUTH-TO-MOUTH RESUSCITATION. 736 00:30:45,477 --> 00:30:47,446 - ARE THEY MAKING THIS UP, ADAM? 737 00:30:47,479 --> 00:30:48,614 - OKAY... 738 00:30:48,647 --> 00:30:50,616 THERE WAS A COUPLE OF TIMES 739 00:30:50,649 --> 00:30:53,319 HE INVITED ME UP TO HIS APARTMENT... 740 00:30:53,352 --> 00:30:55,421 WORK ON HIS PERFORMANCE. 741 00:30:55,454 --> 00:30:58,424 - RIGHT, BUT ISN'T THAT THE DIRECTOR'S JOB? 742 00:30:58,457 --> 00:31:00,592 - HE HATED AMANDA, 743 00:31:00,626 --> 00:31:02,628 AND SHE HATED HIM. 744 00:31:02,661 --> 00:31:05,097 - SO YOU WERE THE PEACEMAKER. 745 00:31:05,131 --> 00:31:06,065 - YES. 746 00:31:06,098 --> 00:31:08,000 MARC WAS JUST TRYING TO GET ME ON HIS SIDE. 747 00:31:08,034 --> 00:31:10,636 I MEAN, YOU... YOU GOT TO LOVE ACTORS. 748 00:31:10,669 --> 00:31:13,039 I MEAN, THEY'RE PEOPLE PLEASERS. 749 00:31:13,072 --> 00:31:15,107 - I KNOW. I KNOW. 750 00:31:15,141 --> 00:31:17,676 ANYWAY, SO WHAT HAPPENED? 751 00:31:17,709 --> 00:31:21,113 MARC THREATENED TO TELL YOUR WIFE THAT-- 752 00:31:21,147 --> 00:31:23,249 WELL, YOU KNOW, ABOUT YOUR WORK SESSIONS. 753 00:31:23,282 --> 00:31:26,953 WAIT. MAYBE IT WAS HIS SUBPAR SINGING. 754 00:31:26,986 --> 00:31:29,288 YOU WERE WORRIED HOW IT WOULD AFFECT YOUR SONGS. 755 00:31:29,321 --> 00:31:30,456 - NO. 756 00:31:30,489 --> 00:31:33,459 - DID YOU SEE MARC THE NIGHT HE DIED? 757 00:31:33,492 --> 00:31:35,427 - YES. 758 00:31:35,461 --> 00:31:36,695 UH, I MEAN, 759 00:31:36,728 --> 00:31:39,265 WE SHARED HIS LIMO TOGETHER TO THE THEATER. 760 00:31:39,298 --> 00:31:41,700 - WELL, HE WAS LATE. DID YOU HAVE ANYTHING TO DO WITH THAT? 761 00:31:41,733 --> 00:31:43,936 - NO, BUT HE MUST HAVE HAD A NEW DRIVER, 762 00:31:43,970 --> 00:31:45,571 'CAUSE THE GUY... 763 00:31:45,604 --> 00:31:49,075 THE GUY DROVE AROUND THE SAME BLOCK THREE TIMES. 764 00:31:49,108 --> 00:31:52,544 - THREE TIMES, THREE TIMES... 765 00:31:52,578 --> 00:31:54,413 THREE? - YEAH. 766 00:31:54,446 --> 00:31:57,016 - MAN, I-I HAD TO YELL AT THE GUY 767 00:31:57,049 --> 00:31:59,218 TO GET HIM TO GET BACK ONTO TENTH AVE. 768 00:31:59,251 --> 00:32:01,120 - THAT ACTOR-- HE DISTRACTED ME. 769 00:32:01,153 --> 00:32:03,189 - YEAH, YOU DROVE HIM AROUND IN CIRCLES, RIGHT? 770 00:32:03,222 --> 00:32:05,557 YOU KNOW, LIKE THIS, RIGHT? SORT OF LIKE A-A LABYRINTH? 771 00:32:05,591 --> 00:32:10,462 HOW MANY TIMES HAVE YOU BEEN AMANDA ROLLINS' DRIVER? 772 00:32:10,496 --> 00:32:12,564 - NEVER. 773 00:32:12,598 --> 00:32:16,435 - WELL, WE'LL CHECK WITH YOUR SUPERVISOR. 774 00:32:16,468 --> 00:32:18,270 - THE TRUTH, MR. VARGAS. 775 00:32:18,304 --> 00:32:21,140 - I DON'T WANT TO GET MISS AMANDA IN TROUBLE. 776 00:32:21,173 --> 00:32:21,974 - IS THAT BECAUSE SHE ASKED YOU 777 00:32:22,008 --> 00:32:24,676 TO DRIVE IN CIRCLES THAT NIGHT... 778 00:32:24,710 --> 00:32:27,013 TO MAKE SURE MARC LANDRY MISSED HIS CURTAIN? 779 00:32:27,046 --> 00:32:30,416 - SHE PROMISED ME HOUSE SEATS FOR ICARUS. 780 00:32:30,449 --> 00:32:32,718 - BUT YOU COULDN'T GO THROUGH WITH IT? 781 00:32:32,751 --> 00:32:35,087 ADAM WINTER WAS IN THE CAR, BIG ROCK STAR. 782 00:32:35,121 --> 00:32:37,289 YOU GOT INTIMIDATED, YOU TURNED THE CAR AROUND, 783 00:32:37,323 --> 00:32:39,325 AND MARC GOT TO THE THEATER ON TIME. 784 00:32:39,358 --> 00:32:41,994 - AMANDA CHANGED HER MIND. 785 00:32:42,028 --> 00:32:43,462 HER ASSISTANT CALLED MY CELL, 786 00:32:43,495 --> 00:32:46,365 SAID, "GET MARC TO THE THEATER RIGHT AWAY." 787 00:32:51,737 --> 00:32:54,673 - YOU'RE PACKING? 788 00:32:54,706 --> 00:32:57,443 - IT'LL HIT THE PRESS TOMORROW. 789 00:32:57,476 --> 00:33:00,046 THAT COWARD EVAN IS CLOSING THE SHOW. 790 00:33:01,713 --> 00:33:03,615 - YOU NEED TO ANSWER SOME QUESTIONS. 791 00:33:03,649 --> 00:33:05,351 - YOU KNOW WHAT? 792 00:33:05,384 --> 00:33:06,785 I WOULD BE SO HAPPY 793 00:33:06,818 --> 00:33:09,155 IF PEOPLE WOULD STOP TELLING ME WHAT TO DO. 794 00:33:09,188 --> 00:33:11,723 WHAT IS THAT, LIKE, PAYBACK FOR THE DIRECTOR? 795 00:33:11,757 --> 00:33:14,393 SEE HOW I LIKE IT? 796 00:33:14,426 --> 00:33:16,295 YOU SHOULD LEAVE. 797 00:33:16,328 --> 00:33:19,331 - WE KNOW YOU TOLD MARC'S DRIVER 798 00:33:19,365 --> 00:33:21,200 TO MAKE HIM LATE THAT NIGHT. 799 00:33:21,233 --> 00:33:25,437 - YOU SENT MARC ON THIS LABYRINTHINE JOURNEY, 800 00:33:25,471 --> 00:33:28,607 BECAUSE YOU INTENDED TO PUT BRICE ONSTAGE THAT NIGHT. 801 00:33:28,640 --> 00:33:30,609 THAT'S WHY YOU INVITED DEWITT. 802 00:33:30,642 --> 00:33:33,445 - I'VE ALWAYS THROWN MYSELF INTO MY WORK 803 00:33:33,479 --> 00:33:35,781 TO THE EXCLUSION OF ALL ELSE. 804 00:33:35,814 --> 00:33:37,749 IT FELT SAFE THERE-- 805 00:33:37,783 --> 00:33:39,518 THE ONE PLACE I WOULDN'T HAVE TO THINK 806 00:33:39,551 --> 00:33:42,054 ABOUT THE THINGS I WAS RUNNING FROM. 807 00:33:42,088 --> 00:33:43,355 - I UNDERSTAND. 808 00:33:43,389 --> 00:33:45,357 - BUT THE DAY BEFORE MARC DIED, 809 00:33:45,391 --> 00:33:47,659 I'D HAD IT. 810 00:33:47,693 --> 00:33:50,429 HE WOULDN'T TAKE THE SIMPLEST PIECE OF DIRECTION. 811 00:33:50,462 --> 00:33:53,332 I STORMED OUT OF THE THEATER. I DRANK MY LUNCH. 812 00:33:53,365 --> 00:33:56,702 POOR ROGER HAD TO COME PICK ME UP, LITERALLY. 813 00:33:56,735 --> 00:33:58,370 - RIGHT, YOU'D HAD IT. 814 00:33:58,404 --> 00:34:00,339 MARC'S LATE, PUT BRICE ONSTAGE-- 815 00:34:00,372 --> 00:34:03,075 IT'S A GOOD PLAN, BUT YOU CHANGED YOUR MIND. 816 00:34:05,244 --> 00:34:07,479 - CHANGED MY MIND ABOUT WHAT? 817 00:34:07,513 --> 00:34:09,348 - YOUR ASSISTANT CALLED, 818 00:34:09,381 --> 00:34:11,850 TOLD THE LIMO DRIVER TO BE ON TIME. 819 00:34:11,883 --> 00:34:14,052 - NO, HE DIDN'T... 820 00:34:16,122 --> 00:34:19,725 OR AT LEAST I DIDN'T TELL HIM TO. 821 00:34:19,758 --> 00:34:23,095 IF YOU'LL EXCUSE ME, I NEED A DRINK. 822 00:34:23,129 --> 00:34:25,431 A-A DIET SODA. 823 00:34:25,464 --> 00:34:27,266 OKAY? 824 00:34:30,636 --> 00:34:32,304 - EITHER AMANDA'S LYING, 825 00:34:32,338 --> 00:34:35,874 OR HER ASSISTANT-- UH, SORRY, DRAMATURGE-- 826 00:34:35,907 --> 00:34:39,111 ROGER, MADE THE CALL. 827 00:34:39,145 --> 00:34:41,280 BUT WHY? 828 00:34:41,313 --> 00:34:43,415 - HE WANTED TO FIX THINGS FOR AMANDA... 829 00:34:43,449 --> 00:34:46,485 OR MAYBE SOMEONE ELSE INVOLVED IN THE PRODUCTION-- 830 00:34:46,518 --> 00:34:49,455 THE PERSON WHO HAD THE MOST TO LOSE. 831 00:34:54,760 --> 00:34:57,896 SO MARC LANDRY WAS KILLED TO KILL THE SHOW. 832 00:34:57,929 --> 00:35:00,432 WE GOT THE D.A.'S REPORT BACK 833 00:35:00,466 --> 00:35:02,768 ON THE ICARUS INSURANCE CONTRACTS. 834 00:35:02,801 --> 00:35:05,237 THERE'S A FORCE MAJEURE CLAUSE 835 00:35:05,271 --> 00:35:09,441 THAT IS SPECIFICALLY LINKED TO MARC LANDRY. 836 00:35:09,475 --> 00:35:13,612 IN AN INJURY OR DEATH TO THE LEAD ACTOR, 837 00:35:13,645 --> 00:35:16,182 THERE'S A FULL PAYOUT TO ALL THE INVESTORS. 838 00:35:16,215 --> 00:35:17,416 NO ONE LOSES A DIME. 839 00:35:17,449 --> 00:35:18,684 - TWO DAYS BEFORE MARC WAS KILLED, 840 00:35:18,717 --> 00:35:21,420 EVAN KORMAN HAD A HALF-HOUR CONFERENCE CALL 841 00:35:21,453 --> 00:35:22,521 WITH INSURANCE AGENTS, 842 00:35:22,554 --> 00:35:25,457 GOING OVER THE DETAILS OF THE FORCE MAJEURE CLAUSE. 843 00:35:25,491 --> 00:35:28,460 - THE PRODUCER WANTED HIS OWN STAR KILLED. 844 00:35:28,494 --> 00:35:30,496 - IT WAS THE ONLY WAY TO STOP THE BLEEDING, 845 00:35:30,529 --> 00:35:32,764 AND HE HAD SOMEONE ON THE INSIDE TO DO THE JOB. 846 00:35:32,798 --> 00:35:34,700 - HOW DO YOU PROVE IT? 847 00:35:34,733 --> 00:35:36,468 - WITH THE HELP OF SOME EGOMANIACS 848 00:35:36,502 --> 00:35:39,538 WITH INFERIORITY COMPLEXES. 849 00:35:41,940 --> 00:35:46,212 - YOU HAVE EVIDENCE THAT ROGER KILLED MARC? 850 00:35:46,245 --> 00:35:47,513 THIS IS HORRIBLE. 851 00:35:47,546 --> 00:35:50,216 BUT I DON'T KNOW WHAT YOU WANT ME TO DO. 852 00:35:50,249 --> 00:35:52,484 - WELL, UH, HE LOOKS UP TO YOU. 853 00:35:52,518 --> 00:35:55,887 AND WE THOUGHT THAT IF... 854 00:35:55,921 --> 00:35:57,823 WE PUT YOU IN A ROOM WITH HIM 855 00:35:57,856 --> 00:36:00,626 THAT YOU MIGHT BE ABLE TO... 856 00:36:00,659 --> 00:36:03,895 PERSUADE HIM TO CONFESS. 857 00:36:03,929 --> 00:36:06,365 - I WANT TO HELP, OF COURSE, BUT I... 858 00:36:06,398 --> 00:36:08,467 - THAT'S MY PARTNER. 859 00:36:10,502 --> 00:36:11,870 - HI. HEY. 860 00:36:11,903 --> 00:36:14,240 UH, SORRY ABOUT THIS, EVAN. 861 00:36:14,273 --> 00:36:16,242 THE POLICE SAID THAT THEY... 862 00:36:16,275 --> 00:36:19,345 THEY HAVE SOME NEW EVIDENCE ABOUT MARC'S DEATH. 863 00:36:19,378 --> 00:36:21,980 - WE DO. 864 00:36:22,013 --> 00:36:24,783 THE THING IS... 865 00:36:24,816 --> 00:36:28,387 WE FOUND YOUR FINGERPRINTS ON THE RIG. 866 00:36:33,359 --> 00:36:36,328 - I TOLD THE POLICE THERE MUST BE A GOOD EXPLANATION. 867 00:36:36,362 --> 00:36:39,698 - WHAT-- WHAT ARE YOU TALKING ABOUT? 868 00:36:39,731 --> 00:36:43,602 - IF THERE'S ANYTHING YOU WANT TO TELL US, ROGER... 869 00:36:43,635 --> 00:36:45,337 - [scoffs] 870 00:36:45,371 --> 00:36:48,006 WELL, I--YEAH, I MIGHT HAVE TOUCHED THE RIGGING. 871 00:36:48,039 --> 00:36:49,608 I WAS AT THE STUNT REHEARSAL. 872 00:36:49,641 --> 00:36:51,543 - RIGHT, RIGHT. WELL, THAT'S ONE EXPLANATION. 873 00:36:51,577 --> 00:36:53,445 CAN YOU THINK OF WHAT THE OTHER ONE MIGHT BE? 874 00:36:53,479 --> 00:36:55,981 - OH, WHAT, LIKE, I KILLED HIM? 875 00:36:56,014 --> 00:36:59,017 - MARC'S PERFORMANCE WAS DRIVING AMANDA TO DRINK. 876 00:36:59,050 --> 00:37:01,453 YOU WERE WORRIED. 877 00:37:01,487 --> 00:37:04,556 YOU DID CALL EVAN'S OFFICE SEVERAL TIMES. 878 00:37:04,590 --> 00:37:07,859 - DID YOU, UH-- DID YOU TELL THEM THAT? 879 00:37:07,893 --> 00:37:10,496 - I'M SURE YOU ONLY MEANT TO... 880 00:37:10,529 --> 00:37:12,431 HURT MARC, NOT KILL HIM. 881 00:37:12,464 --> 00:37:13,932 - WHAT? 882 00:37:13,965 --> 00:37:16,001 NO, NO. THAT'S NOT TRUE. 883 00:37:16,034 --> 00:37:18,036 - ACTUALLY, WE THINK IT IS TRUE. 884 00:37:18,069 --> 00:37:22,574 WE THINK THAT MARC'S FALL WAS SUPPOSED TO JUST INJURE HIM, 885 00:37:22,608 --> 00:37:26,512 SIDELINE HIM FROM THE PRODUCTION. 886 00:37:26,545 --> 00:37:30,282 ISN'T THAT THE INSTRUCTIONS THAT YOU GAVE ROGER? 887 00:37:30,316 --> 00:37:31,350 - I BEG YOUR PARDON? 888 00:37:31,383 --> 00:37:33,051 - YOU SEE, WE FOUND A CLAUSE 889 00:37:33,084 --> 00:37:36,021 IN YOUR INSURANCE POLICY-- 890 00:37:36,054 --> 00:37:39,024 UH, FORCE MAJEURE, "ACT OF GOD." 891 00:37:39,057 --> 00:37:41,360 - THAT'S BOILERPLATE. - NOT QUITE. 892 00:37:41,393 --> 00:37:44,296 YOUR POLICY HAS A RIDER. 893 00:37:44,330 --> 00:37:47,065 IF YOUR STAR IS INCAPACITATED OR DIES, 894 00:37:47,098 --> 00:37:50,636 YOUR INVESTORS RECOUP ALL THEIR MONEY. 895 00:37:50,669 --> 00:37:52,037 - COME ON, EVAN. 896 00:37:52,070 --> 00:37:55,541 IT WAS A BARN BURNER OF A DISASTER, RIGHT? 897 00:37:55,574 --> 00:37:59,010 A CATASTROPHE, A MONEY-SUCKING CATASTROPHE. 898 00:37:59,044 --> 00:38:01,680 I THINK... A CAREER-ENDER. 899 00:38:01,713 --> 00:38:03,048 - HOW DARE YOU? 900 00:38:03,081 --> 00:38:04,983 - YOU KNOW, IT MUST HAVE BEEN TOUGH, 901 00:38:05,016 --> 00:38:07,052 YOUR FATHER LOOKING OVER YOUR SHOULDERS EVERY DAY. 902 00:38:07,085 --> 00:38:09,621 AND NOW HE'S LOOKING DOWN ON YOU FROM THE GREAT WHITE WAY 903 00:38:09,655 --> 00:38:11,890 IN THE SKY, AND HE'S THINKING, 904 00:38:11,923 --> 00:38:14,526 "I FATHERED... 905 00:38:14,560 --> 00:38:17,463 AN ENTITLED EMBARRASSMENT." 906 00:38:17,496 --> 00:38:20,632 - ALL PRODUCTIONS HAVE PROBLEMS. 907 00:38:20,666 --> 00:38:24,035 - NOT FRONT-PAGE HEADLINES IN THE DAILY NEWS EVERY DAY. 908 00:38:24,069 --> 00:38:27,373 YOU'RE THE LAUGHINGSTOCK OF BROADWAY. 909 00:38:27,406 --> 00:38:29,475 - THAT'S RIDICULOUS. TELL 'EM, ROGER. 910 00:38:29,508 --> 00:38:30,909 - W-WHAT AM I SUPPOSED TO TELL? 911 00:38:30,942 --> 00:38:32,644 - HE WANTS YOU TO DO WHAT YOU'VE ALWAYS DONE-- 912 00:38:32,678 --> 00:38:34,946 BACK HIS PLAY. HE'S YOUR BOSS, RIGHT? 913 00:38:34,980 --> 00:38:37,549 - ROGER WORKS FOR AMANDA, NOT ME. 914 00:38:37,583 --> 00:38:38,817 - YOU'RE LYING. 915 00:38:38,850 --> 00:38:40,686 BUT THAT'S WHAT PRODUCERS DO, ISN'T IT? 916 00:38:40,719 --> 00:38:41,787 YOU LIE FOR A LIVING. 917 00:38:41,820 --> 00:38:43,889 - YEAH, WELL, SO ARE THE POLICE. 918 00:38:43,922 --> 00:38:46,692 ROGER WAS HIRED BY AMANDA. 919 00:38:46,725 --> 00:38:49,027 - THAT'S NOT TRUE. 920 00:38:49,060 --> 00:38:51,029 - THANKS FOR JOINING US. 921 00:38:51,062 --> 00:38:52,898 - WHAT THE HELL IS GOING ON? 922 00:38:52,931 --> 00:38:54,366 - OH, WE DOUBLED BACK WITH MS. ROLLINS 923 00:38:54,400 --> 00:38:57,703 WHEN WE HEARD ABOUT THAT FORCE MAJEURE CLAUSE. 924 00:38:57,736 --> 00:39:01,707 APPARENTLY, YOU INSISTED SHE HIRE ROGER. 925 00:39:01,740 --> 00:39:03,041 - NOT TRUE. 926 00:39:03,074 --> 00:39:05,143 - OH, CUT THE CRAP, EVAN. 927 00:39:05,176 --> 00:39:07,546 YOU KNOW I WANTED BARBARA WIDROW AS MY DRAMATURGE. 928 00:39:07,579 --> 00:39:09,014 - CAN'T YOU SEE SHE'S WASTED? 929 00:39:09,047 --> 00:39:11,750 GO TO A MEETING, AMANDA, DRY OUT. 930 00:39:11,783 --> 00:39:12,984 - OH, NO, I'M SOBER. 931 00:39:13,018 --> 00:39:15,120 I CAN SEE SO CLEARLY, IT'S SCARY. 932 00:39:15,153 --> 00:39:16,622 - WHY WOULD YOU AGREE TO ROGER? 933 00:39:16,655 --> 00:39:18,590 WHY REPLACE YOUR OWN DRAMATURGE? 934 00:39:18,624 --> 00:39:20,926 - MY DRAMATURGE WAS EXPENSIVE. 935 00:39:20,959 --> 00:39:23,529 EVAN SAID IF I WANTED TO TAKE OUT THE THEATER SEATS 936 00:39:23,562 --> 00:39:25,997 TO BUILT THE LABYRINTH, I'D HAVE TO MAKE SACRIFICES. 937 00:39:26,031 --> 00:39:27,633 SO I AGREED TO HIRE ROGER. 938 00:39:27,666 --> 00:39:30,001 - WHO WAS ESSENTIALLY A SPY FOR EVAN. 939 00:39:30,035 --> 00:39:33,472 - I HAD NO CLUE THAT ROGER WORKED FOR EVAN. 940 00:39:33,505 --> 00:39:35,541 - OKAY, I REFERRED ROGER. 941 00:39:35,574 --> 00:39:37,809 BUT IF HE KILLED MARC, THAT HAS NOTHING TO DO WITH ME. 942 00:39:37,843 --> 00:39:39,711 - RIGHT. 943 00:39:39,745 --> 00:39:43,048 YOU KNOW, WE THOUGHT THAT YOU MIGHT HAVE KILLED MARC 944 00:39:43,081 --> 00:39:44,916 TO SUPPORT AMANDA'S VISION. 945 00:39:44,950 --> 00:39:48,019 BUT, YOU KNOW, NOW WE KNOW THAT YOU DID IT FOR EVAN. 946 00:39:48,053 --> 00:39:49,588 YOU SEE, WE GOOGLED YOU-- 947 00:39:49,621 --> 00:39:52,724 SIX CREDITS ON SHOWS THAT EVAN PRODUCED 948 00:39:52,758 --> 00:39:55,927 SINCE YOU-- Y-YOU GRADUATED... 949 00:39:55,961 --> 00:39:58,797 YALE DRAMA. 950 00:39:58,830 --> 00:40:01,099 YOU'RE A YALE MAN! 951 00:40:01,132 --> 00:40:02,901 A DRAMATURGE! - STOP IT! 952 00:40:02,934 --> 00:40:05,704 - YOU KNOW, IT MUST BE HARD FOR ARTISTS THESE DAYS, 953 00:40:05,737 --> 00:40:08,206 YOU NOW, THE CRASS COMMERCIAL CONSIDERATIONS 954 00:40:08,239 --> 00:40:11,943 AND NEVER-ENDING PURSUIT OF... 955 00:40:11,977 --> 00:40:13,679 PROFIT. 956 00:40:13,712 --> 00:40:14,846 YOU KNOW, PROFIT. 957 00:40:14,880 --> 00:40:17,148 YEAH, I GUESS THAT'S WHY THEY CALL IT SHOW BUSINESS. 958 00:40:17,182 --> 00:40:21,487 BUT IN THE END, YOU ARE AN ARTIST, RIGHT? 959 00:40:21,520 --> 00:40:23,889 YOU CREATE ILLUSIONS, YOU KNOW. 960 00:40:23,922 --> 00:40:27,493 YOU LIVE IN A WORLD OF MAKE-BELIEVE. 961 00:40:29,928 --> 00:40:33,665 BUT THIS... THIS IS REAL. 962 00:40:33,699 --> 00:40:35,000 SOMEBODY'S DEAD. 963 00:40:35,033 --> 00:40:36,768 THERE'S A BODY AT THE MORGUE. 964 00:40:36,802 --> 00:40:38,570 AND WHAT GOT HIM THERE? 965 00:40:38,604 --> 00:40:41,039 YOUR FEAR OF FAILURE. 966 00:40:41,072 --> 00:40:43,174 - BRAVO. I'M GONNA HAVE TO CAST YOU IN MY NEW PRODUCTION 967 00:40:43,208 --> 00:40:44,109 WITH THAT PERFORMANCE. 968 00:40:44,142 --> 00:40:47,078 - YOU KILLED A MAN TO SAVE YOUR REPUTATION. 969 00:40:47,112 --> 00:40:49,981 AND YOU KILLED A MAN BECAUSE YOU WANTED TO BE A PRODUCER? 970 00:40:50,015 --> 00:40:53,952 REALLY? TO SHARE A MARQUEE WITH EVAN KORMAN-- 971 00:40:53,985 --> 00:40:57,823 SON OF THE LATE, GREAT, LEGENDARY IRWIN KORMAN. 972 00:40:57,856 --> 00:41:00,726 - SHARE A MARQUEE? PLEASE. 973 00:41:00,759 --> 00:41:02,694 ROGER IS NO PRODUCER. 974 00:41:02,728 --> 00:41:04,830 HE'S GOT NO... 975 00:41:04,863 --> 00:41:07,866 BALLS. 976 00:41:07,899 --> 00:41:09,501 - IS THAT RIGHT, ROG? 977 00:41:09,535 --> 00:41:11,136 - [scoffs] 978 00:41:11,169 --> 00:41:14,506 IT WAS EVAN'S IDEA. 979 00:41:14,540 --> 00:41:16,842 HE TOLD ME TO STAGE THE ACCIDENT. 980 00:41:16,875 --> 00:41:19,578 HE SAID, "IT WOULD BE BEST FOR EVERYONE 981 00:41:19,611 --> 00:41:21,212 IF IT WOULD JUST END." 982 00:41:21,246 --> 00:41:23,014 THE INVESTORS WOULD GET PAID. 983 00:41:23,048 --> 00:41:26,618 THE WHOLE THING WOULD BE OVER. 984 00:41:26,652 --> 00:41:30,088 - YOU GONNA BELIEVE HIM? [scoffs] 985 00:41:30,121 --> 00:41:32,090 THERE'S NO PROOF OF ANY OF THIS. 986 00:41:32,123 --> 00:41:33,892 I'M CALLING MY ATTORNEY. 987 00:41:33,925 --> 00:41:35,927 - EVAN! - YEAH? 988 00:41:35,961 --> 00:41:38,664 - I RECORDED OUR CONVERSATIONS-- 989 00:41:38,697 --> 00:41:41,132 EVERY SINGLE ONE OF THEM. 990 00:41:41,166 --> 00:41:43,234 I HAD THIS IN MY POCKET! 991 00:41:43,268 --> 00:41:46,672 AND IT HAS ALL OF YOUR DETAILED, SPECIFIC INSTRUCTIONS! 992 00:41:50,108 --> 00:41:51,176 - WHAT? 993 00:41:51,209 --> 00:41:54,613 - BECAUSE I WANTED TO MAKE SURE THAT I GOT IT RIGHT! 994 00:41:54,646 --> 00:41:58,617 I WANTED TO DO A GOOD JOB FOR YOU, YOU PRICK! 995 00:41:58,650 --> 00:42:00,018 - YOU LITTLE-- 996 00:42:00,051 --> 00:42:02,187 - EASY! 997 00:42:02,220 --> 00:42:06,024 - YOU WHINING, CHEATING CRIMINAL. 998 00:42:06,057 --> 00:42:08,193 - I LEARNED FROM THE BEST. 999 00:42:13,164 --> 00:42:15,100 - WHAT MADE THE TWO OF YOU THINK 1000 00:42:15,133 --> 00:42:18,203 THAT YOU COULD GET AWAY WITH MURDER? 1001 00:42:18,236 --> 00:42:20,138 [handcuffs clicking] 1002 00:42:20,171 --> 00:42:21,807 - HUBRIS. 1003 00:42:21,840 --> 00:42:24,242 - SHOW'S OVER. 1004 00:42:27,846 --> 00:42:31,850 Captioning by Brian at CaptionMax www.captionmax.com