Charlies Angels S05E02

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  • 3 months ago
Transcript
00:00Once upon a time, there were three beautiful girls.
00:07Two of them graduated from the police academy.
00:11The other graduated from a top school for models.
00:16And they each reaped the rewards of their exciting careers.
00:22But I took them away from all that, and now they work for me.
00:26My name is Charlie.
02:26Oh, I'm so glad I was able to get back to the city again, and to see you again.
02:46How's this?
02:49I have so many pressing problems at home.
02:52Doesn't everyone?
02:54I look forward to these moments.
02:59That's good, that's good.
03:07Name's Jody, Jody Mills.
03:10All right, who is she, and why are we looking for her?
03:13Well, she's from Nebraska, and she works, or at least she worked, at the Women Modeling Agency here in town.
03:19As a model?
03:20That's right. Her father apparently has lost touch with her,
03:23so he wants us to go over there tonight and see if she's still associated with Woodman.
03:27Just the three of us on this one, boss?
03:29I guess so, in that Tiffany's decided to stay east for a while.
03:34Now, here's a picture of her friend, named Terry.
03:43And this is her roommate, Julie Rogers.
03:50Did you find that Jimmy Joy character?
03:52I found him.
03:53Is he still doing business here?
03:54Mm-hmm.
03:57I'm gonna look for Jody Mills. I think she's working the home show.
04:00Stay in touch.
04:02Okay, see you.
04:14So who are you?
04:16Miss Mills is my roommate. I've got something I've got to deliver to her.
04:20She needs it quick. Get my drift?
04:23She and her photographer were in the first room, but I think I heard somebody leave.
04:29Some of our clients don't want to walk out the front door, if you know what I mean.
04:34I'll bet.
04:58Hey!
05:27Mr. Mills, if the police are involved, why do you still want to hire us?
05:30I want to know who killed my girl.
05:33And I want to know why she died with drugs in her body.
05:38Can you understand that?
05:41Yeah.
05:42This Julie Rogers, she seemed to be hiding something.
05:47So I decided to come see for myself.
05:55This morning, when I questioned Miss Rogers about Jody Mills' death, she got very defensive.
05:59I would say that Miss Rogers bears further watching, Julie.
06:02I agree.
06:04The question is, how do we proceed without tipping our hand?
06:07Well, she's a model with the Woodman agency. Maybe we could start there.
06:11Who are these two young ladies?
06:12Well, she just told you.
06:14Garrett and Monroe. You weren't paying attention, Mr. Brook.
06:16I told them we weren't seeing any new people, but they insisted.
06:20You aren't exactly suffering from shyness, are you?
06:22What is it they say about a faint heart?
06:24All right, then.
06:26This evening, we're giving a party here for some out-of-town advertisers.
06:32You two, you can come along, looking your very best.
06:36And if I think that your best is appreciated by our clients, then we will talk.
06:41What are you doing here?
06:42I'm trying to impress Mr. Woodman.
06:45Impress him?
06:46Yes, so he'll hire me.
06:48As a model?
06:49Right.
06:51Look, this isn't all as easy and pretty as it looks.
06:55It isn't?
06:56No. This isn't Omaha, Nebraska.
06:59This is the big pond where the big fish play for big bucks.
07:02There's sharks in these waters, and you can get cut in half real quick.
07:06So before you dive in, give it a lot of thought.
07:09All right, I will.
07:10Forget I know you.
07:12That's okay.
07:14Because I'm taking over your action here.
07:16Wood, are you crazy?
07:18I'm crazy about the business you're doing here.
07:21So I'm taking over your spot. Go find yourself another corner.
07:24Oh, yeah, you are crazy.
07:26Enjoy yourself tonight, Jimmy.
07:29I'm taking over tomorrow.
07:37That's Harry?
07:38That's Harry.
07:40Looks like you took too long getting here.
07:43It sure looks that way.
07:49Ow!
07:55Harry. Harry.
08:00If only I knew who that was.
08:19Thanks for coming.
08:21Julie, listen, in a day or two, maybe we should talk.
08:26About what?
08:28Well, we both seem to be working on the same case.
08:32I worked with Harriet.
08:36I don't know what I'm going to do now.
08:39I don't know what I'm going to do.
08:42I don't know what I'm going to do.
08:45I don't know what I'm going to do now.
08:48Let's talk in a few days when you feel better, okay?
08:53Look, you might as well say what you have to say now.
08:57What exactly were you and Harry working on?
09:00How did you two get started?
09:02I met Harry when I was in Sybil Brand.
09:05I'd been sent there for...
09:07Shoplifting address.
09:09You people do your homework.
09:11It's part of the job.
09:13I was... I was broken.
09:16I was trying to get this job as a receptionist,
09:20and I had nothing to wear.
09:22Julie, you don't owe us an explanation.
09:25Well, anyway, when I got out, Harry was my parole officer.
09:29When I went to work at the agency as a model,
09:32I noticed certain things, and I told Harry about it.
09:35What sort of things?
09:37There were a lot of drugs going down.
09:40For me, it was a lot more than modeling.
09:43You mean they were forced into prostitution?
09:46No, they were never forced into anything.
09:49It's just the pressure, the demands.
09:51Most of the girls just don't have a chance.
09:54They're either runaways or from broken homes,
09:57and they just don't have a chance.
09:59They get in hock to the agency, and they get desperate.
10:02Into hock? How do you mean?
10:04The agency lends them money for professional pictures
10:07But within 3 months, if they're not working the big paying jobs,
10:10they're in trouble.
10:12Dale Woodman demands repayment?
10:14No, Dale Woodman never demands anything.
10:16He just suggests that maybe they try some of the less glamorous jobs.
10:19Such as?
10:21Industrial demonstrations, auto shows, hostess-type things, whatever,
10:25and the girls hope somehow things will get better
10:28so they can get back into the A group.
10:31Right, only it doesn't work that way.
10:34Now, don't misunderstand me. Most agencies are straight.
10:37I mean, they wouldn't take 90% of those girls in the first place.
10:40They'd send them right home.
10:42Jodi Mill is your roommate.
10:44You weren't really trying to buy drugs for her the night she was killed.
10:47Of course not. I was trying to find out who the connection was at the agency.
10:51And also, I was worried about her.
10:55Because her father had written her and said he was coming to see her?
10:58Right.
11:00Then she dies behind that freak shop the night before her father gets here.
11:06Terry, the girl that died on the beach, was she in hock to the agency, too?
11:09Yeah, I think so. She was a pretty heavy user.
11:13That's what Harry and I were working on when he...
11:20Look, why don't we all work on this together?
11:24No, I...
11:26I don't...
11:28Why?
11:30I just don't care.
11:33Harry was the...
11:35was the one person in my life who was...
11:38good to me, straight with me, and...
11:41now he's gone, and I...
11:44I just...
11:46I don't care.
11:49Julie...
11:51I can't pretend to know how you hurt.
11:54I don't know you.
11:56I just don't see how you can walk away from what killed Harry.
12:01You people are private detectives.
12:04Why would you care so much?
12:07Julie, we need you on this one.
12:20Okay, I'll hang in with you.
12:23But I'll tell you this. When we find out who killed Harry, you three better back off.
12:27Because he or she is gonna be mine.
12:30All mine.
12:53Come on.
13:17Let's get the hell out of here.
13:24Come on.
13:28Our judge is ready for us.
13:30That, uh...
13:32doesn't look quite right.
13:34Well, it isn't supposed to.
13:36You really gonna try this?
13:38You really gonna have her deliberately screw up?
13:41Yes, right out of the A group to see where it leads her.
13:44Show Barry that hairdo, he'll be well on your way.
13:49Also, the, um...
13:51The robe doesn't look quite right.
13:54Oh, well, nobody's gonna know it, but I ripped out some of the inner stitching.
13:58Now, the client won't know why, but he won't like the way it fits.
14:01The client never knows why he doesn't like the way it fits.
14:04Also, being a little clumsy will help discourage him.
14:07She's clumsy, too?
14:10Actually, it comes quite easy for her.
14:13Very funny.
14:15Okay, how do I look, kids?
14:17Ah, perfect.
14:19Look, we'll go on out first, and Chris will be late.
14:22That'll help.
14:24Good luck. Okay.
14:30Models room.
14:32Oh, hi, Buzz. What's happening?
14:34Aloha. I've done some research on that piece of lens cap...
14:37we found in the alley behind Eddie's.
14:39Apparently, it fits six kinds of cameras.
14:41It's manufactured at various places around the country.
14:44It's gonna be very hard to find out just exactly where, when, or who used it.
14:48I told you not to try any rough stuff!
14:50Yeah?
14:52And I told you I don't like nobody pushing me around!
14:55Oh, great, so you shoot him down in broad daylight on a public beach?
14:58Did you bother asking what his name was before you killed him?
15:01I don't care who he was! God!
15:04Woodman knew the agency was involved in something like this.
15:07The agency's not involved.
15:09It's just you and me, sweetheart.
15:11Now, you keep your head, and everything will be cool.
15:13I'll keep selling this stuff, and you'll get your cut. You got it?
15:17Uh, Boz, listen. Hold it.
15:19Yeah, I only got part of that.
15:21Yeah, somebody's having a shouting match next door.
15:24I'll check you back at the office, and we'll go over it again there, okay?
15:27Right. Okay.
15:30It's you and me.
15:32You keep your head, and everything will be cool.
15:46Thank you.
15:48Thank you.
15:50Thank you.
16:14Oh! Oh! Oh! Oh!
16:16Oh! Oh! Oh!
16:18Oh!
16:20Don't tell me that klutz is one of you.
16:22Uh, I'm afraid she is.
16:24I'm sorry! I'm...
16:26Oh! Oh!
16:28I'm very sorry.
16:30Oh, I've ruined your beautiful display.
16:33I see.
16:36Get over here!
16:38God, I do this all the time. This is the worst.
16:40Get over here!
16:42I'm very sorry.
16:44Six hours of shooting, four hours of light left,
16:47and a walking disaster area for a model!
17:09I think we'll be able to help you, Miss Monroe.
17:12How much money did you want to borrow exactly?
17:16Um...
17:18Well, actually, about $1,000.
17:20$1,000?
17:22$1,000, that's a great deal of money, Miss Monroe.
17:24Yes, I know.
17:26But it's very expensive living in this city.
17:28I had no idea.
17:30Well, you could deduct the money from my paychecks as they come in.
17:35I understand you had a bit of trouble
17:37with the photo session for Cincinnati Textiles yesterday.
17:41Oh, you heard about that.
17:44Well, Cincinnati Textiles is one of our most prestigious accounts,
17:48and the owner, Mr. Jordan, is a very valued client.
17:51In fact, you may remember meeting him here the other night.
17:54This Mr. Jordan, he's unhappy with me?
17:56No, no, no, it's nothing personal at all.
17:59It's just that he's, well, he's always in a hurry,
18:02and he's very demanding.
18:04I think perhaps I'll put you in another job.
18:07Another job?
18:09Yes, one more suited to your temperament and your experience.
18:14Such as?
18:16Well, we have dozens of clients
18:18that would appreciate your particular talents, Miss Monroe.
18:21As a matter of fact, there is a job at the auto show.
18:25The auto show?
18:27Well, it doesn't pay as well as some of our other accounts,
18:29but, I mean, you can do a lot of work, you can pick up some good money...
18:32Modeling in an auto show, I mean,
18:34it's not exactly what I had in mind for myself.
18:36Well, of course, if you'd rather not.
18:38It's just that, you know, you said you needed some money, and...
18:40I do.
18:42What exactly would I be doing at the auto show?
18:45Oh, what, mostly just be yourself, that's all.
18:49That's all?
18:50Here.
18:52Lloyd Marks is a client of ours.
18:54He does industrial and trade exhibiting mostly.
18:57You see him.
18:59I'll call and set it up for you, okay?
19:03Well, if you think that's best.
19:05Oh, I do, I do.
19:08Now, you go down to payroll in the morning,
19:10and you can sign a loan agreement and collect a check for $1,000.
19:14How's that?
19:16Thank you, Mr. Freeman. You're very kind.
19:18Not at all.
19:19Thank you.
19:20Goodbye.
19:30You know, it's odd.
19:32She seemed so much more polished
19:34when she bluffed her way in here the other day with Miss Garrett.
19:37Yeah, well, I'm afraid that's exactly what it is, bluff.
19:40But I think not without her usefulness.
19:42Well, perhaps she'll come around with more experience.
19:45Oh, yeah, I think one way or another she'll earn her keep.
19:48I'm sure that you will see that she does, Stephen.
19:50Just spare me the details.
19:54Dale, you never want to deal with the harsh realities, do you?
19:57Why should I when I have you to handle them for me?
20:01Now, don't sulk, dear boy. It makes you very unattractive.
20:25Here's your working clothes, Miss Monroe.
20:27You don't expect me to wear this.
20:29That's the plan.
20:31Your agency did send you, didn't they?
20:33Look, I'm a model, not a billboard.
20:36But you are, as an employee, working for me. Remember?
20:39But this is tacky.
20:41You're here to help sell trucks.
20:43Guys who buy trucks will like you in this.
20:45But I won't like me in this.
20:47You don't count, Miss Monroe.
20:49You're just part of the merchandise.
20:51Well, what if I say no?
20:53Then I'll call the agency.
20:55They'll send me someone else and send you packing.
20:58It's just I thought there was a financial commitment you had to fulfill.
21:03Yeah.
21:05I can change in there.
21:13Hey.
21:20What's your problem?
21:22What's your problem?
21:25You're the one with a problem.
21:27Maybe I can help.
21:29Yeah? Who are you?
21:31Eddie.
21:33Eddie Robbins.
21:35How can you help?
21:37You don't want to parade around in public in that rig.
21:40There are other ways to make a buck.
21:43Faster.
21:45Or private.
21:47Such as?
21:49I own a little place over on 3rd Street.
21:52I use photographic models there.
21:553rd Street?
21:57It's called Eddie's.
21:59Oh, I think I heard of it.
22:01Yeah?
22:03As a matter of fact, I was there a couple of days ago.
22:05You were? How come?
22:07Oh, I was looking for a friend of mine.
22:09This old man asked me if I wanted a job.
22:12Some creep with his nose behind a book.
22:14That makes two offers.
22:16You got to think about it.
22:19I just did.
22:21I just thought about it. I'll take it.
22:24Just like that?
22:26Just like that. When do I start?
22:28Well, you, uh...
22:30Go over there right now, if you like.
22:33I'll explain to Lloyd.
22:35Oh.
22:37You think he's gonna understand?
22:39Sure.
22:41Oh, yeah.
22:43You guys probably exchange girls a lot.
22:45Yeah, right.
22:47Hey, I'll handle it. No problem.
22:50You go on over to my place.
22:53Tell the, uh, old man we talked.
22:57I'll drop by later, see how you're doing.
23:00Terrific.
23:02Thanks.
23:14Anyway, I came home, changed my clothes,
23:17and I'm heading for Eddie's in a little while.
23:19Okay.
23:21Chris, be careful.
23:23Okay, boss.
23:47Hi.
23:49Hello.
23:51Come to see one of the eight parties, boss?
23:53Oh, yes. Very plush.
23:55Listen, I just got a call from a friend of mine.
23:58He said he'd be here in a minute.
24:00Oh, that's great.
24:02I'm sure he'll be here.
24:04I'm sure he'll be here.
24:06I'm sure he'll be here.
24:08I'm sure he'll be here.
24:10I'm sure he'll be here.
24:12I'm sure he'll be here.
24:14I'm sure he'll be here.
24:16Listen, I just talked to Chris.
24:18She just walked out on the job she had over at the auto show.
24:21Walked out? Why?
24:23She got a worse offer.
24:25A worse offer? From whom?
24:27From the fellow who runs the shop where Jodi Mills got killed.
24:30Well, what's she doing down there?
24:32Letting those shutterbugs take her picture and keeping her eyes open, I guess.
24:35She thinks she can find a lead on how and why Jodi Mills was killed.
24:39That's a tough operation down there.
24:42Yeah, I know.
24:44I don't think you do. I was raised in a neighborhood like that.
24:47And what you see from the outside looking in, it's worse from the inside looking out.
24:51I get the feeling she knows what she's talking about, boss.
24:54Believe it, I do.
24:56Well, then, I don't think we should leave Chris down there without a backup.
24:59Okay, we'll go down there a little later and check on her.
25:02Oh, which reminds me.
25:04I ran a check on that silver sedan that we saw at the beach.
25:07Any luck?
25:09Probably not.
25:11It's one of those sedans with GL as the first letters on the license,
25:14registered in California.
25:16Well, so where does that leave us?
25:18Almost nowhere.
25:26What are you looking at?
25:28Steve and Jimmy Joy.
25:35What about them?
25:37When we were shooting the Cincinnati textiles commercial around the pool,
25:40do you know what Chris said about Steve and Jimmy Joy?
25:43Yeah, something about them arguing.
25:46Right. She couldn't understand what they were saying,
25:48but they were yelling at each other in the next room.
25:50Meaning what?
25:52I don't know.
25:54I just know Harry said he was gonna pressure Jimmy Joy, push him.
25:57And now Harry's dead.
25:59And Steve's looking awfully uptight all of a sudden.
26:02But Jimmy Joy doesn't drive a silver sedan.
26:05Well, I still intend to keep an eye on him,
26:08because I arrested him for pushing drugs.
26:11Meanwhile, Steve doesn't know me, so I'll keep an eye on him.
26:15All right.
26:17Well, I'm a little tired. I think I'm gonna pack it in.
26:20See you tomorrow? Okay, take care.
26:22Okay. Good night.
26:24Good night.
26:26Well, what do you think?
26:28I think she's hurting.
26:30I did a little more research on her.
26:32She was born in New York and raised street-tough, just like she said.
26:35What about her family?
26:37I don't know.
26:43It seems that her father split when she was too young to remember.
26:47Her mother?
26:49She died two years ago in a charity hospital.
26:52Acute alcoholism.
26:54That explains her tough edge.
26:57You know, I think that Harry was the only friend she ever had.
27:01Like I said, she's hurting.
27:03I just hope we can help her hurt a little less.
27:06We will, Paz. We will.
27:09I'm gonna go back and mix.
27:37Ah!
27:40Oh!
28:05You want to work here?
28:07You remember?
28:09Oh, yes. That's right. I did, didn't I?
28:12Memory's not so good, huh?
28:14I've been reading this book. Takes all my concentration.
28:18So how do I start?
28:20You go in the models' room at the end of the hall,
28:23wait there till I get a customer, and call you.
28:27Speaking of customers, may I help you, sir?
28:30Uh, yes. I need a room.
28:33And a girl.
28:35Yes, sir.
28:43She's new here.
28:45Yes, yes.
28:47She'll do very well.
29:06You say you're new at this sort of thing, Miss, uh...
29:10Miss, uh...
29:12What did you say your name was?
29:15I didn't say. You can call me Chris.
29:18Oh, that's a lovely name.
29:21Can I ask you a question?
29:24Of course.
29:26You look at me as if you know me.
29:29I don't.
29:31Can I ask you a question?
29:34Of course.
29:36You look at me as if you know me.
29:38I do?
29:40Yes. You don't know me, do you?
29:44No, I don't think so.
29:47I didn't think so either.
29:50Well, tell me about yourself.
29:54What do you want to hear?
29:56Anything you want to tell me.
29:59Share them with me.
30:02I don't have any secret thoughts.
30:05Oh, we all have secret thoughts, Chris.
30:08That's what makes life worth living.
30:11So before I photograph your outer self,
30:15tell me about your feelings.
30:17Don't leave anything out,
30:19no matter how personal or embarrassing it may seem.
30:22Could you do that?
30:24Well, I'll try.
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31:53How's it going?
31:55Okay, how are you?
32:02Hello, sweetheart.
32:04Let's have a couple of beers.
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32:23You look worried. What's the matter?
32:26Pretty boy Steve is running scared.
32:29He's gonna blow it for me, for us.
32:32If he blows it for us, he blows it for himself.
32:35Do you remind him of that?
32:37I reminded him. He's still running scared.
32:41¶¶
32:50For him, dealing drugs is one thing.
32:54Killing somebody, now that's something else.
32:58He's in a sweat. He's gonna make a mistake.
33:01He's gonna say the wrong thing at the wrong time,
33:04and we're all going right down the tubes.
33:06What are we supposed to do?
33:08What we have to do, we gotta shut him up.
33:13I told him to meet us here.
33:15When?
33:17Now.
33:19Now? You want to ice him now?
33:23We can't cool him out?
33:26Yes.
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34:51Hello, mobile operator.
34:53I'd like to put a person-to-person call through, please,
34:56to a Miss Kelly Garrett at the Woodman Agency on Wilshire Boulevard.
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35:35Steve, what are you doing here?
35:37I was about to ask you the same question.
35:39Get up.
35:52What are you doing with her?
35:54She must have followed you here.
35:56She's been watching you from up at the bar.
35:59This, she tucked in her purse.
36:05Why are you carrying a gun?
36:07Why not?
36:09I'm in the mood for your smart-mouth, little girl.
36:11Now, what are you doing with a gun?
36:13Hey, it's a tough world. A girl has to be careful.
36:16Why have you been following us?
36:18Who says I was following you?
36:20I'm not in the mood to play any games here.
36:22So I'll just take a little walk outside.
36:25I think you're making a big thing out of nothing, you know?
36:28Move, Steve.
36:30You too.
36:32I gotta get back to the agency.
36:34I don't think so.
36:36Hey, what's going on here?
36:38What's your problem, anyway?
36:40You're our problem.
36:42I don't like people who sweat, and you sweat too much.
36:46Now, let's just all move to the door.
37:02Let's go.
37:32Hi.
37:34Hi.
37:36Where's the silver stand with the G.L. license?
37:38Right there.
37:40Boz, there's Julie now.
37:43I don't think Julie's going. I think she's being taken.
37:46Look, you need to get something off your chest, Steve.
37:48Why are you turning on me like this?
37:50Turning on you? What have you two been up to?
37:52Huh? Maybe a murderous speech?
37:54Shit, I thought you were dead.
37:56I'm not dead.
37:58I'm not dead.
38:00Maybe a murderous speech?
38:02Should I cut you down? Do not, Bob Fritton.
38:04Now, get in the car.
38:26Hurry!
38:30Hurry!
39:00Hurry!
39:31Charlie, we put Jimmy Joy and his accomplice
39:33in the prison ward at the city hospital.
39:35Also, Steve, who did quite a bit of talking
39:37before they put him into the ambulance.
39:39What about Julie?
39:41Yes, Julie's down there giving a statement to the police.
39:43All right, you can fill me in on the details later.
39:46Any news about Julie?
39:48No, sir.
39:50No, sir.
39:52No, sir.
39:54No, sir.
39:56No, sir.
39:58All right, all right.
39:59We'll fill in on the details later.
40:01Any news about Chris?
40:03We're on our way over to Eddie's now to see how she's doing.
40:05I think we all better touch base in the morning.
40:07Right.
40:09Okay, talk to you later.
40:11Let's go in one car. I will take mine.
40:13All right.
40:15Chris, I'm sure a girl with your looks and experience
40:17has developed more sophistication
40:19than you've shown me thus far.
40:21Why do you have to know my inner thoughts?
40:23Why do you need that kind of stimulation?
40:26I didn't need that sort of stimulation, as you put it.
40:29I was merely trying to be friendly so we could get to know each other better.
40:33People can't accomplish anything good or bad if they remain strangers.
40:38Of course, I would never force you to do anything against your will.
40:43There are other ways I can get to see you.
40:46I mean the real you.
40:49The inner self that you try so cleverly to hide from me.
40:57Well, shall we begin?
41:09You know, I think I'd like to fix my make-up first.
41:27You know, we may have made a mistake.
41:31A mistake?
41:33About whether we'd seen each other before.
41:36What do you mean?
41:38Have you ever been here before?
41:40What difference does that make?
41:42I just thought I had seen you here.
41:44You couldn't possibly have seen me before.
41:46The man at the desk said you were new here.
41:48The man at the desk doesn't have a very good memory.
41:51The question is, have you ever been here before?
41:54He doesn't have a very good memory.
41:56The question is, why are you playing this charade, Miss Monroe?
42:02You know my name.
42:04Why are you here? Two days ago you were at the agency, now suddenly you're here.
42:08It usually takes quite a while to get from the agency to here.
42:12Unless you're trying to trap me.
42:17Answer me, Miss Monroe. Why are you here?
42:21Why don't you tell me about this, Mr. Jordan?
42:23This was found in the alley the morning after Jody Mills was killed.
42:26Seems to belong to your lens cap.
42:29Oh, you're all the same, aren't you?
42:31So pretty, so demanding.
42:34A lovely facade that hides deceit.
42:37Is that why you killed Jody Mills?
42:39That is why I have no choice but to kill you.
42:51Ah!
43:08Stop! Hold it!
43:11Ah!
43:19Call the police!
43:31Oh, God.
43:34God, I'm sorry.
43:38I didn't want to kill that girl.
43:42I just wanted her to be nice to me.
43:46Just for a little while.
43:50She made me do it.
43:53She tried to run away and I...
43:56I lost control.
43:59Oh.
44:02Why?
44:05Why would I do it?
44:08Why?
44:15Ah!
44:25Come on, Al.
44:32Come on, Al.
44:35Come on.
44:47Well, well, well.
44:49What have we here?
44:52Aren't we out of uniform?
44:54Mr. Woodman, Steve's in the hospital,
44:57under police custody.
45:00He's facing charges of murder and narcotics,
45:03along with your in-house drug dealer, Jimmy Joy.
45:07Also, your favorite client,
45:09Mr. Jordan of Cincinnati Textiles,
45:11has confessed to the murder of Jody Mills,
45:14who was once a model in this agency.
45:16It seems she had fallen out of favor with you.
45:19Miss Monroe, I haven't the faintest idea what you're talking about,
45:23but I really cannot have my guests
45:26disturbed by these sordid little stories.
45:29But that's just the point, Mr. Woodman.
45:31We do want to disturb your guests.
45:33We want all these hopeful young ladies
45:36to know what it's like when they don't make it in the A group,
45:39what it's like when you tumble down that ladder of success
45:42till you end up in the street model shops or the massage parlors.
45:45We want all these fine-looking clients of yours
45:48to know how you merchandise all the glamour and the big bucks to their benefit.
45:51Now, you listen to me.
45:54What my associates, my colleagues, my employees,
45:58or my clients do in their spare time is no concern of mine.
46:02I run a respectable agency,
46:05and you'd have a hell of a time
46:08proving that I am responsible for any of the things
46:11that you have so graphically described.
46:14You're probably right, Mr. Woodman.
46:17We would play hell proving them.
46:20But that is why we want everyone here
46:23to know just exactly what they're dealing with.
46:27Ladies and gentlemen, I'm sorry for this unfortunate interruption.
46:30It's of no consequence whatsoever,
46:33so why don't you have another drink
46:36and forget about it all?
46:39There's no need to leave. The party is not over.
46:42And I can... I can...
46:45I can...
46:48I can...
46:51I can...
46:54The party is not over, and I can...
46:57I can explain my position.
47:00Please, don't leave.
47:03It's all been a most unfortunate misunderstanding.
47:06Please. Please.
47:09Hi. Sorry I'm late.
47:12I had something a little special to attend to.
47:15Chris, how's your shoulder feeling?
47:18Oh, it's still a little sore.
47:21It'll be fine in a day or two, Charlie.
47:24Good. I'd like to commend you all on a job very well done.
47:27Thank you, Charlie.
47:30We certainly got an inside look at the glamorous world of modeling.
47:33It's been a pleasure.
47:36Well, most agencies are filled with talented, hard-working, honest people.
47:39Unfortunately, you dealt with one that was less than that.
47:42Even so, Charlie, it's a rough way to make a living.
47:45I just wish a lot of those aspiring young models
47:48that come to the big city were aware of it.
47:51I agree.
47:54Oh, Bosley, did you take care of that matter we discussed?
47:57Oh, yes, Charlie.
48:00Well, then why don't we proceed?
48:03What are you up to, Charlie?
48:06We have a little surprise for you.
48:09Oh, I hope it's a couple of days off.
48:12Even better than that. Really?
48:15I think so. Bosley?
48:18I'm back, Charlie.
48:21Hi.
48:24Hi. Hi.
48:27I talked to the police commissioner this morning.
48:30It's a terrific idea. Which is?
48:33Well, the commissioner's willing to make an exception in Julie's case
48:36and issue her an investigator's license
48:39on a trial basis.
48:42You mean she'd be working here with us?
48:45That's the general idea.
48:51Listen, if you don't think it's a good idea,
48:54well, I only have one question, Charlie.
48:57Which is?
49:00Why didn't we think of it first?
49:03Good question, Kelly.
49:06Welcome aboard. Thanks. That goes for me, too.
49:09Me, too.
49:27Thank you.