1:21:00
It's possible. He saw you there.
He knows you're onto him.
1:21:04
- Why couldn't you retrieve the body?
- We couldn't have gotten her out.
1:21:08
I would wound up with a few toes
and a shoulder.
1:21:11
What does he know? He was probably
too scared to be very lucid.
1:21:14
He's an amateur.
1:21:15
He dumped the body and ran off,
and then somehow...
1:21:19
...you two dug her out.
1:21:20
- Now you can send him to the chair.
- I like this woman. She's lurid.
1:21:24
- Let me tell you why he won't believe us.
- I can't bluff or lie without giggling.
1:21:29
No, because if we really had the body,
why tell him?
1:21:32
Why not go straight to the police?
1:21:34
If you tell the cops, you can't
shake him down.
1:21:37
She's wicked. Look how this works out.
You go to the law, what do you gain?
1:21:43
They put him in jail. What have you got?
You haven't got anything.
1:21:47
Right.
1:21:49
But if he wants the evidence,
and has to pay for it...
1:21:51
...now he's nervous, right?
- There's just so many fallacies in this.
1:21:56
- What? Name one.
- Name one? Okay.
1:21:58
The guy looks us straight in the eye
and says, "What body?
1:22:00
- What are you talking about? Prove it."
- That's when we keep bluffing.
1:22:04
- How? What do we do?
- We produce the body.
1:22:06
But where are we gonna get it?
Madame Tussaut?
1:22:09
Say we found someone he trusted
to corroborate.
1:22:12
- Like who?
- Like his lover.
1:22:14
Say she said, " I've seen Lillian's body.
They want $100,000 for it."
1:22:18
Why would she do that?
1:22:22
Remember that book you recommended,
Murder in Manhattan?
1:22:25
Max Schindler's book.
That's right, the phone call.
1:22:29
You never mentioned that book to me.
1:22:31
- You don't like light reading...
- Since when?
1:22:34
- What is this book?
- It's fantastic! It would be so perfect...
1:22:38
...because she's an actress,
a would-be actress...
1:22:41
We could use his theatre.
He's a playwright. This is so perfect.
1:22:44
- Your theatre is empty all the time, anyhow.
- Thank you. That's great.
1:22:48
- What are we talking about here?
- Listen to this.
1:22:51
We get her in for a fake audition, and you
write some lines that don't mean anything.
1:22:57
And she does them,
and we tape-record it.