color. the adjustment consists of a pallet and a brush and the viewer simply fills in the numbered squares, it takes a very deft hand. tonight's tale is provocatively captioned, decoy. do i pique you? i hope so. a program host should always be a good piquer. in watching the story, i want you to pay particular attention to the three on-break ladies who dance in the final scene because one of these young ladies has since married a titled englishman and her face is now quite well-known. [explosion] and now please listen closely, the next sound you hear will be that of my sponsor, dropping a hint. gil larkin: 6 o'clock, i was sorry to see the day come to an end, it had been a wonderful day, but everything seemed wonderful when i was with mona. even the arrangements i had arranged from her new show i thought was the best work i'd ever done. i guess i fell in love with mona the first week i began to work for her. she had no idea how i felt, i couldn't let her know, she was married. married to ben cameron, one of the top theatrical agents in new york, and though i respected the marriage, she'd somehow become very important in my life, there was something about her that set her apart from any woman i'd ever known. - oh well let's try the beginning just once more. - no, no more work, okay gil? i'm awfully tired. - all right. - would you be an angel and fix me a drink. - you a drink? - yes, this is one time i feel i could use one. - sure, what'll you have? - well i don't care, i wouldn't know the difference anyway. anything. you know something gil, i really like that middle part now that i know it. - i'm glad. i worked very hard on it. - thank you. oh i'm sorry all over the rug. - that's all right, i'll get you another one. - no no never my - mona mona what's wrong, you've been rubbing your arm all afternoon? - oh nothing, just a little sore that's all. same time tomorrow? - mona, what's the matter? - nothing, can't a girl get be careful of the glass. - i will. - try and get some rest. good night. - good night gil. - mona, if there's something wrong - there's nothing wrong gil,please - now don't tell me that, there's something wrong, i've known it all afternoon. - that's not true, i was little tired that's all. i'll be all right tomorrow. - well, your husband gets home, i'd like to meet him. - no gil, don't do that. - i wish you'd let me take a look at that arm. - well, there's nothing wrong with my arm. - well i'm going to look at it - gil plea there is nothing wrong with my arm. - just the same, i'm going to look at it. no, that's nothing at all, how did you get that bruise? - i hit my arm against the table. - would you mind showing me how? look mona you don't have to tell me if you don't want to, i you talk about it. now, how did you bruise your arm, was it your husband? - gil, that's not fair. - i don't care was it? - please gil, i don't want sympathy. - it was your husband. - what's the difference, it's been going on a long time. - why didn't you tell me? - because i'd give anything not to have told you now. - it's about time you did.darling i love youn' - no gil, you mustn't say that, please. - sorry. look i had to tell you even though i know i mean nothing to you. - no, that's not true, that's not true at all. you don't know how much it's meant to me to have you work with me every day, and take my mind off of it. these last few months have been so awful. - what do you mean? tell me. to talk about what it's like to live with a man who's physically cruel and insanely possessive. - tomorrow you see a lawyer. - no gil, i can't do that. i've asked ben for a divorce, it doesn't do any good. - you can't go on like this, i won't let you. - what am i supposed to do? you want the truth? i'm afraid of him, i'm afraid of what he'll do to me. - well i'm not afraid. i'll go to his office right now, it's time i met ben cameron. - no gil, please stay out of it. - i can't stay out of it you say, i promise. please don't go over there now. - look mona, i know what i'm doing. i just want to talk to the man. now don't worry. [music] - yes? - i'm gil larkin , mrs. cameron's accompanist, he's expecting me. - mr. cameron's on the phone right now, would you wait a minute please? late already, so if you don't mind, i'll run along. - not at all. - see that light on the phone, when that goes off, he's hung up and you can go on in. okay? - fine, thanks. - good night. - good night. - well first of all, i wanna four week guarantee and your name above the title wait a minute, somebody just came in. yeah, something i can do for you? - i'm gil talk to you. - sure, make yourself comfortable. i'll be with you in a just a minute. yeah how much did you say they offered you? that's perfectly ridiculous, the answer is no. i don't care what kind of success they promised. certainly i'll talk to them, they shouldn't have called you directly in the first place. no richie richie don't [music] gil larkin: it couldn't have been more than 20 seconds when i came to, at first i didn't believe what had happened, then i looked at what was in my hand. hello hello? [music] it was crystal clear, someone had followed me and turned me into a patsy, a fall guy, a clay pigeon. whoever had killed ben cameron had wanted to pin the blame on me. police? say i was in love with cameron's wife, and i wanted to ask him for her freedom, while i was there someone came in and killed him, would they believe me? never in a million years, they'd figure if for the way it looks they'd claim i came in, we we argued and then in a fit of anger i shot him. wait someone on that phone had heard cameron call out the murderer's name richie someone if i could find the person cameron had been talking to, they might be able to help me. how? [music] sasikawa and dave packard cameron was probably talking to one of them, either could've overheard ben call out the name 'richie'. which one? it was a long shot, but what they come to the office? after midnight probably. it would give me time a few hours at least. i've read about sasikawa, she was the greatest dancer in japan. 8:20, i could still catch her in her dressing room before she went on stage if i could get by the doorman. - yes yeah, look lady, i'm just the doorman here well wait a go ahead right, goodbye lady. yeah, you want to go here? oh, all right. i don't know where this is, i don't know see. you ask man down there okay. - i i'm sorry, i'm looking for miss sasikawa. - i'm sasikawa. won't you come in? - thank you. - who are you sir? - my name is gil larkin, i'd like to ask miss sasikawa a few questions. - you are reporter? - no, but i think she can help me. - i am her husband, we are at your service mr. larkin. - thank you. cameron? - we both know him, he is my agent, a very kind man mr. cameron. thanks to him i was hired from japan to dance in this show, i consider him to be wonderful. - i see, did you call him in his office tonight around 7 o'clock? [speaking japanese] please this is extremely important to me, did you call mr. cameron tonight? [speaking japanese] well? - curtain time one minute, curtain. - i'm sorry, i must be on stage. [speaking japanese] - please wait a minute, did you call cameron's office. - no, now please leave me alone! - neither of us called ben cameron, we intended to, but we changed our mind and decided to let it wait till the morning. if we cannot help you in your trouble, we are sorry. - thanks anyway. [music] that left dave packard, the most famous disc jockey in new [music] - now that's dave packard in there, his program will be finished in a minute. excuse me. - well, all you crazy cats, wherever you're listening, that's the story for tonight. tomorrow i'll have a bunch of new platters to roll, keep out of mischief and keep them rocking. nitey nite. - mr. - no, no, no, i got a date with a chick, i gotta hurry here you are i really gotta get out of here - mr. packard, i have to talk to you, mr. packard - well, you come around tomorrow, and i'll play your favorite platter. - please, i think maybe you can help me. - oh tomorrow. - not tomorrow, now. - well, get with it man, get with it. - do you know ben cameron? - ben cameron? sure, he's a doll. a real doll. he's been my - great, did you call him tonight around 7 o'clock? did you? - hey i don't like your tone of voice. i don't like anything about you. why should i tell you anything? - because ben cameron was killed tonight. - did you say killed you mean dead defunct, kaput my agent? - that's right. - you mean my pal, my buddy was killed? hey you're crazy man real crazy. there you are, i gotta get to my chick. - look, did you call him tonight? do you know a man named richie? - richie hey, hey i don't dig you man. - look mr. packard i'm sorry, but somebody's trying to frame me, now you left a message you were going to call his office around 7 o'clock, now all i want to know is did you call him? - no, i got tied up and i'm going to call him in the morning, i'm going to call him in the morning. [humming] hey that tune - hey you're breaking my bill. - that's the tune i heard on the phone, now you must have called cameron. - hey you know what you did, you just made me out like i'm a liar, well you're the end. the living end - that's the tune i heard on the phone. - but it's an old record, i wouldn't play it, i mean it's square, real square. crazy, you know what i think happened to you? you flipped. [music] gil larkin: i felt as though i were living in a crazy nightmare that made no sense and it seemed so long since i'd left mona. [doorbell buzzing] i figured i had about two hours before the cleaning woman would notify the police. - mr. larkin, yes of course we've been expecting you. - who are you? e e you? - i'm lieut. brandt, we're from homicide. - come in mr. larkin come in. - mona, didn't do it, believe me i didn't. - of course you didn't. - how did you find out? somebody called headquarters? phone when he was killed. he was shot by someone standing directly behind me, now, whoever cameron was talking to would have heard him call out the murderers name richie. whoever was on that phone must've called you! - they said nothing about a richie. - you don't believe me. - where have you been the past three hours? - trying to find who cameron was talking look, i found this message in cameron's office, now i went to see these people - you admit you were in cameron's office? - of course i admit it - but he didn't kill ben, he couldn't have. gil is incapable of killing anyone. - well, there are fingerprints all over the gun, it will be easy enough to find out whose they are. - lieutenant, they're mine, i was slugged and when i came to there was a gun in my hand. now i wasn't thinking about fingerprints, you'll find them all over the office. - does that sound like a guilty man lieutenant? would a murderer leave his fingerprints to see me. - ready, mr. larkin? - i'm coming too. - no, we want to talk to him alone, you'd better stay here. - mona you stay here. - all right. [music] gil larkin: it must've been two in the morning when i finished dictating my statement. i told them everything i could remember, i swore to them it was the truth, then lieutenant brandt handed me a cigarette. lighted it for me, and as i took involved a statement as i've ever heard, you don't think you could tell it the same way twice do you? - i certainly can. - i'd like to hear you try. - all right. [doorbell buzzing] - gil - hello mona. - they let you go - forgive me for coming back, worried, come in. what happened? - i told him the whole story, every move i made. - and - it seemed to satisfy them enough, now all i have to do is testify before a grand jury. - oh gill, it isn't fair, it's all my fault i shouldn't have let you go. - forget it. i could sure use a drink. - of course you coulou - whiskey on the rocks please. - thanks. to you. - to you and all that you've done for me. - to both of us. - to both of us. it's funny gill, i don't feel any shock at all about ben. in fact i feel guilty for almost feeling gladoh be such a different person now, i can live and breathe and feel free again [music] you're going to be so gill at this hour? - sorry i wasn't thinking. it's funny that's the second time i've heard that record tonight. quite a coincidence, don't you agree? - i suppose so, i don't know. - what's wrong gill? - finding that record is no coincidence, you were playing it tonight when you called ben. - i called ben? oh no gil, do you know what you just said to me? what's the matter with you? darling, you're talking to me. i never loved me. oh, you planned this very well, i was pretty dumb wasn't i? but it's easy to fool someone is in love with you. and what a fool i was, believing your story about ben beating you and his physical cruelty. i didn't know ben, is that why you picked on me? and then did you laugh when i went up to his office like a concerned about you? i wanted you to be happy. and what did you want for me? a murder charge and for what you must've had a reason. what're you after? your freedom? ben's money? what were you framing me for? - richie - what you want me to do with him angel? - what can we do with him? see, a man that committed a rd conscience. and a guilty conscience could lead to suicide. couldn't it? - i won't stop him, come on pigeon. - is it all right if i get my coat? - drop the gun, put your hands up turn around! one murder a night is enough. - oh, thank heavens lieutenant, i don't know what's going on gun and and he [music] gently please, i bruise easily, don't i gill? - well mr. larkin? - looks like you figured it just right lieutenant. - afraid i did. - can i have a second? - sure. it all right if i take them? - go ahead. scene i mentioned... we ran over time and had to cut it at the last moment. i'm sure you don't mind, it had nothing to do with the story, but it was a lot of fun making it. tonight's commercial comes in three installments. here before i return is the third and concluding chapter. that was my error. i see there i hope you can wait that long to see how it comes out. good night. [speaking spanish] [speaking spanish] [speaking spanish] it's not their fault. the blueprints are wrong. tell them it doesn't matter. i just want it moved. o.k., o.k.. shut up now, o.k.? all right, this is it. uh, la mesa...esta-- we've already had this conversation, mr. stapleton. [speaking spanish] i've been watching you, kid. how would you like a job for the next three weeks after school? i'll pay you 5 bucks an hour for on-the-spot translations. i have a job. i'm a doctor. is he putting me on? only in l.a.

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New York , United States , Japan , Spain , La Mesa , Andalucísp , United Kingdom , Spanish , Japanese , Englishman , Ben Cameron , Gil Larkin , Dave Packard , Richie , Dave Packard Cameron , Amona ,