..."You guys are slipping into a mad obsession."...
CAROL
(speaking into the phone)
Yeah. Oh, would you do that? Because... That'd be great. Because, you know, I'm not good at that kind of thing, okay? All right. Okay. Well, I'll talk to you later. Okay, bye.
She hangs up the phone.
LARRY
Let's go to bed. Could we go to bed, now?
CAROL
Hey, I'm not tired.
LARRY
What do you mean, you're not tired?
CAROL
You know, Ted's gonna check with the funeral home tomorrow.
LARRY
Great.
CAROL
You know what I mean? I mean, I don't understand why you're not, not more fascinated with this. We could be living next door to a murderer, Larry.
LARRY
Well, New York is a melting pot....
INT. LARRY AND CAROL'S BEDROOM - Night
Later
Larry is asleep; Carol is awake. She gets up, walks around the bed in the dark, and switches on the light in the corridor. CAMERA follows her.
She looks into the peephole in the front door.
Larry comes out of the bedroom, putting his slippers on.
LARRY
Hey, are you okay?
CAROL
(turning away from the door, and toward her husband)
Larry. Larry, I heard a noise. I -- I-I heard a noise in the hallway, so I just... I... You know, I-I looked and I think... I think Mr. House was getting on the elevator.
LARRY
Yeah? You're sure?
CAROL
Yeah, you know, I was... I'm-I'm... almost certain that it was him.
LARRY
So-So-So what?
CAROL
Just, you know... I mean, who else could it be?
LARRY
So what? It's not a crime. He can get on the elevator.
CAROL
I know. I know. But wh-- who would it be at one-thirty in the morning?
LARRY
(with a groan -- still trying to wake up)
Oh! I was in a deep sleep. What-What's the difference?
CAROL
But, you mean, you know how we're always complaining about living on the geriatric floor. Do you know what I'm saying? ...
She opens the front door and peeks into the hallway.
LARRY
All right, so it was Mr. House. So he got on the elevator. It's not a felony. The guy pays rent. He's entitled. I mean, what... Can you go back to bed? This is crazy. You woke me up out of a deep sleep. I gotta get up early tomorrow morning.
Carol closes the door, walks to the kitchen; Larry follows her. She looks through a notebook.
CAROL
I know what I'm gonna do. I'm gonna ring him up. I'm gonna ring his apartment. I'm gonna see if he's home.
LARRY
You're gonna ring Mr. House, now?
CAROL
Yes, because this is really...
LARRY
What are you talking about?
CAROL
It's very sus...
LARRY
Don't ring Mr. -- What are you doing? No, don't ring --
CAROL
Let me just... Larry, don't. Wait.
LARRY
Don't ring Mr. House. This is a widower. Leave the poor guy alone. You're crazy. Stop it.
She listens, holding the receiver to her ear.
CAROL
That's one ring.
LARRY
So you saw him go out. It's not a -- not a crime.
CAROL
Okay, two rings. He's not there, yet.
Larry takes the receiver from her hand.
LARRY
Give me this. Give me this.
CAROL
What are you doing?
LARRY
Look, if you want to find out if somebody left, just call downstairs. Call the -- the person at the desk.
CAROL
All right, I'll call. Just keep ringing.
LARRY
Ask if someone went out.
CAROL
Keep ringing.
LARRY
Yeah, uhm. Sure, I'm gonna keep ringing. You got it.
He hangs up, as Carol walks out of the kitchen.
CAROL
Oh, man.
FRONT HALL OF THE APARTMENT
LARRY
This is insane. What's gotten into you?
Carol picks up the building internal telephone handset from the wall.
CAROL
I don't know. What is he doing? Where is this guy at one-thirty in the morning? You know what I'm saying?
LARRY
It's not your business. He can go any place he wants.
CAROL
(into the phone)
Hello? Yes, hello. This is Mrs. Lipton. Yes. Did anybody just leave the building? I'm just... hmm. You're sure? You're sure no one? No, okay. All right. Yes. Thank you.
LARRY
Okay. Are you happy?
CAROL
I don't believe this. Man, I don't get it.
LARRY
Now, can we go back to bed?
CAROL
No.
LARRY
For crying out loud, it's no big deal. You're making a mystery where nothing exists.
CAROL
Just let me think about this a second. Okay, I got it. Wait. I know, it... No, wait. Listen to me. Larry... Listen. He got on the elevator, okay?
LARRY
You know, I'm gonna...
CAROL
No, wait. No, no, listen to this. No.
LARRY
(with an unbelieving, exasperated laugh in his voice)
I wanna go to sleep! I don't want to be standing here in the middle of the night.
CAROL
I know. Larry, he got on the elevator and he took it to the basement.
LARRY
Oh, great! Great! So what? Now, what've you got?
CAROL
He has a car, right? He's got the garage door key, he opened... he could... he has the--
LARRY
So what? So what?
CAROL
What do you mean, So what? He's...
LARRY
What's the big deal? So, the next-door neighbor went out in the middle of the night and took his car. So, he went someplace.
CAROL
All right. So, I'm right, though.
LARRY
That's all.
CAROL
I mean, I'm right.
LARRY
I mean, so you're right. So big deal.
CAROL
Yes, he isn't in his apartment.
LARRY
But this kind of right is gonna put us in the toilet. So, you're right. You're suspicious.
CAROL
Yeah, that's right.
LARRY
It says more about your mind than about him.
CAROL
What about your rigidity? How about that?
LARRY
Get into bed. Get into bed.
CAROL
How about that point?
LARRY
You're so... What's wrong with you? Jesus!
They disappear into the bedroom.
EXT. THE APARTMENT BUILDING - DAY
LONG SHOT on the street-view. Carol Lipton crosses the street. She looks, sees something, and watches for a moment.
Paul House comes out of the building, and looks around as if to be sure he is not observed.
He doesn't see Carol.
_________________________________________
{Manhattan Murder Mystery, producer: Robert Greenhut; director: Woody Allen}
Woody Allen and Diane Keaton in Manhattan Murder Mystery, 1993
Diane Keaton and Woody Allen in Annie Hall, 1977
-30-
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