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Playwright Clifford Anderson and his partner, Sidney Bruhl, have
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START: There is no possible way for anyone to prove what did or did not cause Myra’s heart attack. Look, if I could change things I would, but I can’t; it has to be a playwright. Who else can pretend to receive a finished work that could make tons of money?
[... … …]
END: Doris has her heart attack, Julian gets up from the fake beating--and the audience realizes that Julian and Willard are in cahoots, that there isn’t any sure-fire thriller, that Willard is moving in. The curtain is Julian burning the manuscripts. Or calling the doctor; I’m not sure which. Now be honest about it: isn’t that a sure-fire first act?
Levin, Ira, Deathtrap, Dramatists Play Service, 1978, pp. 51-52.
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