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Short filmTranscript
00:00Once upon a time, there were three beautiful girls.
00:05Two of them graduated from the police academy.
00:10The other graduated from a top school for models.
00:15And they each reaped the rewards of their exciting careers.
00:20But I took them away from all that, and now they work for me.
00:25My name is Charlie.
02:26What about the sets budget?
02:29On which production?
02:31On Lady West. Have you seen the figures?
02:34Yes, I've seen them.
02:36Then I can tell production you approve?
02:38I don't approve, but there doesn't seem to be much I can do about it,
02:41since we finish shooting next month.
02:43I don't want to discuss it now. I'm going home.
02:46You can call me there, okay?
02:55Okay.
03:09Well, don't just stand there, you idiot. Go after him.
03:12My God! Oh, my God!
03:15Stop my God and go get a doctor.
03:18Hang on. You're going to be all right.
03:26Shall we assume, Mr. Tobias,
03:29that the arrow that hit your chauffeur was meant for you?
03:32Definitely. Can you hurry with that?
03:35Sure.
03:37No, no. First the ice, then the bitters.
03:43Uh, this is the third incident that's happened at the studio, Mr. Tobias?
03:47Yes. And you can call me Jonathan.
03:50How democratic.
03:54Was anyone else hurt in the first two incidents?
03:57No. A wardrobe designer was coming to my office
04:00when zap, an arrow dug in the lawn by her feet.
04:03Good. Now slowly with the soda.
04:06And when did the first incident take place?
04:09About three weeks ago.
04:11A stunt gaffer was rigging some trambolines for a period picture we're shooting.
04:15You're doing it right now.
04:17I'm so glad.
04:19I'm so glad.
04:23Anyway, zap goes an arrow into the tramboline.
04:26Scares him half out of his residuals. He up and quit.
04:29Your studio security has had no luck at all?
04:32Negative. Everyone at the studio is uptight.
04:35It's starting to affect morale.
04:37And sooner or later, that will affect production costs.
04:40I'm afraid the whole thing has the smell of an inside job.
04:44I agree. We're going to need some good cover roles, Charlie.
04:47Well, Charlie's already seen to that.
04:49You'll contact an old friend of Charlie's called Big Teddy.
04:53And he will give you your instructions.
04:56Big Teddy?
04:58You'll love him, Julie. He's tops in his field.
05:00If he's tops in his field, whatever that is, how come he's not working for me?
05:06I only hire the best.
05:08Good for you.
05:10Perfect. Stop pawing.
05:13You have just learned how to properly construct a Jonathan Tobias special.
05:18No kidding.
05:20And what's it used for?
05:22Well, when the pressure builds.
05:25When your tummy tells you it's not happy.
05:28When you got to deal with the jerks of our industry.
05:30Then you drink it down, and voila.
05:32Now you can cope. And nothing and no one can get to you.
05:36You promise?
05:37I said it. Must be true.
05:44Hey, this really works.
05:49I think maybe we'll be able to work for you.
05:52Jonathan.
06:14Listen, Big Teddy, I really hadn't planned on anything like this.
06:21Are you listening to me, Big Teddy?
06:24Just tip off the platform like I showed you.
06:26And I yell, tuck, tuck.
06:29And it'll lay out flat in the bag.
06:31Now come on.
06:33Huh?
06:36Now come on.
06:38Huh?
06:47Tuck.
06:53Kelly, speak to me. Speak to me.
07:00Do I have all my parts?
07:02I think so.
07:04Are they in proper arrangement?
07:06I think so.
07:09Oh, Kelly, you were so brave to go first.
07:14What do you mean brave? We drew straws and I lost.
07:17I cheated.
07:22Oh, how could you do that?
07:25Fear. Simple fear.
07:28All right, who's next?
07:31You wouldn't want to draw straws, would you?
07:35With you?
07:37Chris, wouldn't you have cheated if you were the one who held the straws?
07:43We'll go together.
07:45No!
08:01Go for it, girls.
08:11Well, have we fun?
08:13I'm not speaking to you.
08:15Are you ready?
08:18All right, go.
08:26Tuck.
08:30Huh?
08:40Well done.
08:45Are you ready? Come on.
08:48All right, now.
08:54Come on, let's go.
08:56All right, now.
08:58Go.
09:05Tuck.
09:16Well, I am very impressed.
09:19Drop dead.
09:22Twice.
09:24I thought you weren't speaking to me.
09:29You know, it wouldn't hurt if I reminded you all
09:32that this was Charlie's idea and not mine.
09:35Wouldn't hurt and it wouldn't help.
09:59Hi.
10:01Hi.
10:02Where's Chris?
10:03Oh, she's gonna be a little late.
10:05Oh, bad for the first day on the job.
10:07Oh, she had to go see her chiropractor.
10:09Evidently, she displaced something trying to please Big Teddy.
10:12Oh, I see.
10:14I thought you would.
10:15Well, I must say that after just one week at Big Teddy's stunt school,
10:19you two have certainly acquired the look.
10:23You too?
10:26You too.
10:28Me?
10:30Yeah, you've acquired the look of someone who's been stuffing his face
10:33while we're sweating our buns off.
10:35Well, yes, but if I am to play the role of an eastern film financier,
10:39I have to look the part, right?
10:40Okay.
10:41Tell me, how did you arrange for three unknown stunt ladies
10:44to get called on this lot?
10:45Oh, Charlie and our client pulled a few strings with the unions
10:48and the local stunt women's group.
10:52Here we go.
10:56Thank you.
10:58I'm to report to Marion and her merry maid set.
11:01Yes, that's the period picture that our client mentioned.
11:04And I'm going to Lady West.
11:07Right, that is the western flick our client is shooting.
11:10You see, the demographics indicate that a contemporary western theme
11:15with a female star as the protagonist
11:18has a credible market in the Midwest
11:22for an age-range audience of, say, 12 to 35.
11:27Well, Bozzie, you certainly have picked up on the lingo, haven't you?
11:32Just my natural leadership qualities coming to the fore.
11:36Shall we step into the magical world of make-believe?
11:39Yep.
11:53Come on.
11:58Bosley, John Bosley, I believe Mr. Tobias is expecting me.
12:02Okay, why don't you go ahead?
12:03All right, you go to stage 19, that's up there.
12:06To the left, follow the numbers.
12:07Okay. Bye. Bye.
12:13Marion and her merry maids.
12:16Right.
12:17Oh, you're a pretty maid. You know that, don't you?
12:20And you sure are a fine figure of a man.
12:22Oh, she speaks with sweetly blessed lips,
12:26and each word flies like tender doves upon the morning air.
12:31Beneath that uniform beats the heart of a poet.
12:34Ah, I wish it could be so.
12:36What is it they say? All things are possible?
12:40That's right. That's what they say.
12:43Stage 12. To the right, follow the numbers.
12:46Thank you.
12:50Thank you.
13:09All right, hit the fans for the airbag.
13:11Everybody take their places. We're going to try a tape.
13:20All right.
13:39Okay, here's the gag.
13:41You two guys come along the porch.
13:44I will fire an offstage gun.
13:46You duck down. The squibs go off behind you.
13:49You figure you need hostages.
13:51You each grab one of the girls.
13:53You put the girls in front of you,
13:55and then you dive off the porch into the haystack.
13:59Any questions?
14:03Got it.
14:05Okay, let's do one.
14:12Okay, stand right over here.
14:14Now don't you move.
14:15Hey, partner, would you, uh, would you mind
14:17if I, uh, take this dance that's already taken?
14:20Mm-hmm.
14:22Let's hold the noise.
14:26All right, quiet now, and rolling.
14:31Sound's ready.
14:38And action!
14:47Whoa!
15:08Hey, hold it!
15:13Whoa!
15:17Whoa!
15:25Hey, you okay?
15:29I think so.
15:31What happened?
15:33He happened again.
15:48Angels, I'm having second thoughts
15:51about you three being stuntwomen as your cover.
15:54I think it's a little late for second thoughts, Charlie.
15:58Oh.
16:00I take it you've picked up some bruises.
16:03You know the area between your left elbow
16:06and your left shoulder, Charlie?
16:08That's where it hurts?
16:10No, that's where it doesn't hurt.
16:12Oh.
16:14Well, I think we'd better come up with another sort of cover.
16:17Charlie, we've already established ourselves as stuntwomen.
16:20If we switch now, somebody's gonna get suspicious.
16:23Good point.
16:25I'm afraid we are going to have to stick it out.
16:28Who's we, Kimo Sabe?
16:30All you've been doing is chowing down
16:32in the executive dining room.
16:34Yeah.
16:35True.
16:36But I have kept my ear to the ground, so to speak.
16:39And guess what I came up with?
16:41A flat ear.
16:44Funny.
16:46Our client, Mr. Tobias,
16:48has been locked in corporate battle
16:50with the studio board of directors.
16:52What are they battling about?
16:54Mr. Tobias wants total artistic control,
16:56and the board doesn't want to give it to him.
16:59For example, there was a lot of opposition to Mr. Tobias
17:02when he asked to do a remake of Marion and Her Merry Maids.
17:05A remake?
17:07Well, so to speak.
17:09You see, the studio shot a scene
17:11You see, the studio shot it 30 years ago
17:13under a different title with a male star,
17:15and it was a real blockbuster to employ the jargon.
17:19And now they don't think it's commercial?
17:21Well, you'll all see for yourselves
17:23when you report to work tomorrow
17:25at the set of Marion and Her Merry Maids.
17:28And you had something to do with that?
17:31Yes, as a matter of fact.
17:33I felt that there was safety in numbers,
17:36so I saw to it that from now on,
17:38all 3 of you will be working on the same set.
17:41Good thinking, Bosley.
17:43Is, uh, Marion and Her Merry Maids,
17:45is that old-fashioned?
17:47Well, the costumes may be period,
17:49but the pain may be very real.
17:51¶¶
17:55¶¶
17:58¶¶
18:21Chris!
18:22What?
18:24A person could get hurt doing this.
18:26I'll show you what Kelly's up to.
18:28¶¶
18:45And cut!
18:50Showbiz.
18:51Did you get it? Printed. Beautiful.
18:53That's beautiful, ladies. Thanks very much.
18:56Everybody okay?
19:03Hi.
19:04Hi. Hi.
19:06Well, you merry maid sure came down hard on the old sheriff.
19:09Well, he is the heavy in the piece.
19:12Cute, huh?
19:16By the way, I met a new friend.
19:18This is Ellen Travers and her husband Jeff.
19:20Hi. Hi.
19:22Howdy.
19:23And it's Stanovich.
19:25I beg your pardon?
19:27It's Jeff and Ellen Stanovich.
19:29Travers is just a name her agent dreamed up.
19:32Not so ethnic, he claims.
19:34Oh, I see.
19:35I don't know what the devil's wrong with ethnic, though,
19:38but she went along with the sawed-off little jerk.
19:41Jeff, he's not a jerk.
19:43Uh-huh, but he is sawed-off.
19:45As in short, you know.
19:48Yeah, I know what you mean.
19:51Weren't you elected Miss National Rodeo Queen last month?
19:54Yes, I was.
19:56I'm surprised you'd remember that.
19:58We're trying to forget.
20:00Anyway, it would have swelled meeting you folks.
20:02Come on, honey, I'll get a blanket for your legs.
20:04Oh, that's okay. They're not cold.
20:06All right, I know best. Come on.
20:08Be seeing you.
20:09Okay, bye. Bye.
20:12Hey, isn't that Micklin, the stunt gaffer?
20:16Yeah, Micklin, the stunt gaffer we worked with the other day.
20:19Wonder what he's doing here.
20:21They're calling in all the heavy-duty personnel on this production.
20:24Big bucks.
20:25There's a major stunt coming off this afternoon.
20:28Oh, well, that ought to be fun to watch.
20:31I don't think you'll be watching.
20:33How come?
20:34We're gonna be in it.
20:36Great.
20:47All right, now, do you understand what I need?
20:50I'm afraid so.
20:53What did she say?
20:55Uh, she said she's not afraid.
20:58Okay, uh, when the other lady jumps out of the tree
21:00and stops the three fellas,
21:02we swing down and knock them off their horses.
21:04All right, right.
21:05But keep the action going till I yell, cut.
21:07Okay?
21:08Piece of cake.
21:10I never knew Sherwood would be this good.
21:13Piece of cake.
21:15I never knew Sherwood Forrest was on a soundstage.
21:18Movie magic.
21:19All right.
21:25All right, now, we'll roll.
21:27Then I'll cue the horseman.
21:30Micklin ready?
21:31Yes, he's all set.
21:34You gonna be okay?
21:36Easiest falling out of a tree.
21:38She said it. I didn't.
21:41Okay, let's do it.
21:43Okay, quiet now.
21:45And roll them.
21:47Speed.
21:53And action.
21:55I should die before I awake.
21:58Cut.
22:09That's far enough, Sheriff.
22:20Cut.
22:21Good, beautiful, beautiful.
22:29Help me.
22:33Help me.
22:34What is that?
22:35Help me, please.
22:40Somebody get a doctor.
22:42I'll get him.
22:47Lie still.
22:48Don't move.
22:49It's important that you don't move.
22:51Oh, God.
22:53I just knew something like this would happen.
22:55I knew it.
22:56I knew I'd have to get involved in all this movie craziness.
22:58I told her.
22:59Just calm down, Jeffrey.
23:00It's gonna be okay.
23:02I can't calm down, and it's not okay.
23:04And the name is Stanovich.
23:05Jefferson Stanovich.
23:15Mr. Stanovich, did you see who did it?
23:18Some guy.
23:20Some screwball stepped out from behind those walls
23:23in some dumb outfit and shot her.
23:27Just plain shot her.
23:31I knew it.
23:33I just knew you'd get hurt.
23:54How is Ellen doing?
23:56Boz and Kelly are at the hospital, Charlie.
23:58Chris is on the other line with them now.
24:00Seems you're making very little progress on the case.
24:03Yeah, I know.
24:04And meanwhile, people are getting hurt.
24:06Well, there's obviously a common denominator
24:08in all these incidents.
24:10Our freaky fellow with the arrows and the pointed shoes
24:13is concentrating his hostility on Marion and her merry maids.
24:17Hold on, Kelly.
24:19But we were working on a western
24:21at the airbag, to coin a phrase.
24:23Wait a minute.
24:24Maybe the arrow wasn't aimed at the airbag.
24:27Maybe the arrow was aimed at Micklin, the stunt gaffer.
24:30He was standing right next to the bag when it happened.
24:33That's true.
24:34And Micklin was hired on as stunt gaffer on merry maids
24:37the very next day.
24:38That's right.
24:39Maybe we should do some heavy research
24:41into the merry maids production.
24:43You know, Charlie, something occurs to me.
24:45Marion and her merry maids is a retitled remake.
24:48Which means what?
24:49Well, I don't know, maybe nothing.
24:51But I think it's worth looking at the original film
24:53we might get an idea to.
24:55Not a bad thought.
24:56I'll call our client, have him set up a screening at the studio
24:59first thing in the morning.
25:01Bye, Kelly.
25:02Well, Ellen got out of surgery,
25:05and it looks like she's gonna be okay.
25:07Oh, thank God.
25:14Dr. Grenfell, report to Dr. Mar...
25:17She's gonna be all right.
25:19She's gonna be fine.
25:20Good as new.
25:22I'd never forgive myself if she was really hurt bad.
25:26Well, it's not your fault that there's some crazy
25:28running loose around the studio.
25:30Well, it's my fault for not being stronger.
25:33I told her not to get involved in all this,
25:36but she pleaded, and I gave in.
25:43Hi.
25:44Hi.
25:45How do you feel?
25:49I hurt.
25:51Don't you worry.
25:53As soon as you get out of here, we're packing up
25:55and heading right back to Arizona where we belong.
26:00Tell her I'm right.
26:03Well, whatever makes both of you happy.
26:09Ellen, did you see anything out there today?
26:12I didn't see anything.
26:15I felt the arrow hit me,
26:18and I looked down,
26:21got sick,
26:24passed out.
26:26Ellen, sometimes a person goes into shock after an injury.
26:30Then later, they remember things.
26:35Do you understand?
26:37I think so.
26:40Why are you asking me all these questions?
26:47Maybe this will, uh, this will explain.
26:54Townsend Detective Agency?
26:57We're private investigators.
26:59The studio hired us to find our mad archer.
27:02You're kidding.
27:04No. So if you can remember anything,
27:06anything at all that might help,
27:08I want you to call.
27:13We'll talk more later, okay?
27:15Okay. You got a deal?
27:18Thanks. We've got to go.
27:20I'll drop by tomorrow.
27:22I'll be here.
27:24Okay.
27:31Detectives.
27:34You just get well, honey.
27:37I'm taking you home.
27:49Hi. Hi.
27:51You worked the mirror maid set yesterday, didn't you?
27:53Right. Did you see what happened?
27:55The girl getting hurt, I mean.
27:57No. I turned around, and she was on the ground.
28:00It was crazy. The whole studio about ready to jump out of its skin.
28:04Security called us here and said to keep an eye on everyone going out of the gate.
28:11How are you today?
28:13Okay.
28:15I take it neither of you saw anyone odd leaving the studio
28:18after security alerted you.
28:20If we arrested every odd person who passes through the gate,
28:24the entire industry would have to close down. Right?
28:27Well, I suppose so.
28:30The whole thing is getting out of hand.
28:33And I don't much like to see young girls like yourself putting yourselves in harm's way.
28:39Well, I'll keep a short eye.
28:42You do that.
28:44These are strange times we live in with cruel and twisted paths ahead.
28:50Okay.
29:04What do you think?
29:06Well, this original version of Marian and Her Merry Maids is nothing like what we're doing.
29:10What we're doing is garbage.
29:12I was so young when I saw this, I never realized how classy it was.
29:17So poetic and lovely.
29:19Yeah, another time, another place.
29:21Perhaps a better place.
29:23That Errol Flynn was really something.
29:27Yeah, he was one of my favorite movie heroes.
29:31Listen, would there be any point to getting a rundown
29:34on all the people that were involved in this production
29:36and all the names of the people that are involved in the remake,
29:38you know, do some in-depth research?
29:40Good idea. We might get a connection.
29:43Well, it's a long shot.
29:45What else have we got?
29:47Nothing else.
29:49That could be really tough research.
29:51This movie was made over 30 years ago.
29:54It's no problem.
29:56Bosley will do it.
29:58Bosley has done it.
30:00Even as we speak, Charlie's computer is humming
30:03with a complete rundown of everyone even vaguely connected with both productions.
30:08What insight you have, Bos.
30:10Ah, you needn't have said that.
30:13Modest, too.
30:16Not really. It was probably Charlie's idea.
30:20That is an unkind cut, Wench,
30:23though truly spoken.
30:26Well, listen, we'd better get to the wardrobe.
30:29Bye, Bos.
30:31I'm coming.
30:55I'm coming.
31:19Oh, sire.
31:22It is indeed the cruel and crooked path that lies before us.
31:28There is a black-hearted soul among our merry band.
31:43But fear not, sire.
31:49I will seek him out
31:51and clear our good and noble name.
31:59You have my word.
32:21You have my word.
32:51SIREN WAILS
33:21Shit!
33:51If I put the camera over there, what does it do to your stunt diagram?
33:54Well, I don't know. Take a look at it.
33:56All right.
33:58Look, this is... Come on over here.
34:00It'll be okay.
34:04Ah.
34:06Well, I wonder what delights are in store for us here.
34:12I heard something about a brawl.
34:15A brawl?
34:18I heard something about a brawl.
34:23All right, all merry maids, where I can see you.
34:28Once more into the breach, dear friends.
34:37Well, hello.
34:39Howdy.
34:41How's your wife this morning?
34:43She's coming along fine. Good.
34:45Why don't you come by to pick up some of her things in her dressing trailer?
34:48Oh, yeah? I'm going that way myself.
34:50Hop in.
34:52Thanks.
35:15Folks, listen. Listen, please.
35:18Come on, we've got a long afternoon, and I want your attention.
35:21That 10K over there is right in George's way. Can we move it?
35:25Pete would do it.
35:29Hey, Tom, according to my last timings, this might take us three minutes.
35:33But I can't tell how accurate that is until we really do it.
35:39Okay, we're ready.
35:41Let's try a walk.
35:45Now, these stunts are rather involved, and we don't want anybody to get hurt.
35:50As God knows, there's been enough of that going around for the past couple of weeks.
35:55Remember your positions, just like we rehearsed.
35:58Don't try to be heroes now. Save it for the camp.
36:16Let's go.
36:37All right, now. This is just a rehearsal.
36:40Take it easy. Buy the numbers.
36:45Okay. Now, the idea is we create mayhem.
36:49But all in fun.
36:51Tell me when you want to set the breakaways.
36:54We have two sets of doubles.
36:56That's enough for two takes if the Jokers don't foul up.
36:59Don't worry. We'll do it in one take.
37:02Now, the key stunt people will handle the heavy stuff, as I've indicated in the diagrams.
37:07The rest of you will concentrate on taking punches and doing falls.
37:11Again with the falling?
37:13Okay, let's everybody pad up.
37:16Come back, and we'll try one.
37:18Hi.
37:19Oh, hi, Boz. What are you doing here?
37:21Charlie just sent over the computer readouts on everyone,
37:24so I picked them up at the gate and got a lift over with Jeff.
37:27How's Ellen?
37:28She's gonna be okay.
37:29Great.
37:30Did Charlie's computer come up with anything?
37:32Oh, I don't know. I haven't been able to open the envelope yet.
37:35Listen, I need to pick up Ellen's clothes and stuff.
37:37Oh, sure. Her trailer's next to mine. I'll show you where it is.
37:39Fine.
37:40See you later.
37:41Bye.
37:42Bye.
37:46Okay, all of you look at your diagram and instruction sheets that were given to you yesterday.
37:51We'll get into position, and then we'll walk through the first series of moves.
37:55All right, now remember, this is just a rehearsal.
37:59Set.
38:09The action starts when the tavern keeper picks up the guy,
38:14lifts him over his head, and tosses him into the table.
38:19Okay, we're ready.
38:21All right, let's do one.
38:28Action.
38:59You know, I have dreams that look like this.
39:02Yeah, but when it speeds up, I think it's gonna feel a lot more like a nightmare.
39:29Hey, hey.
39:34Is something wrong?
39:35I'm not sure, but according to this, one of the featured players with Errol Flynn
39:39in the original epic of Mary Maid was an actor by the name of Joseph Warnwright.
39:44I never heard of him.
39:45Well, you wouldn't have. He got out of the acting business years ago.
39:48But he's still here at the studio, working as an actor.
39:51And he's a great actor.
39:53Well, you wouldn't have. He got out of the acting business years ago.
39:56But he's still here at the studio, working as a gate guard
39:59under his real name, which is Jake Webner.
40:02Jake Webner? That's the old guy who checked our passes.
40:05One and the same.
40:06Now, I just called down at the gate,
40:08and he was supposed to report back to work after lunch 20 minutes ago.
40:11But it seems that he's just disappeared.
40:13Well, that may or may not mean anything. It might be just a coincidence, boss.
40:16I know, I know, but I just thought that you should be told so you can keep an eye out.
40:23Why don't you call Kelly in the dressing room?
40:26Also, get her back here. It's no fun getting abused without her.
40:30Really.
40:40All right, now, let's put the breakaways in.
40:53All right.
41:19That gantry over there is right in George's way.
41:22Let's do it.
41:28All right, folks, let's get ready for picture.
41:43All right, now, quiet and rolling.
41:47Speed.
41:49Action!
41:52Action!
42:18Hold it! Hold it!
42:19Hey, hey, hey, hey, hey, whoa, whoa.
42:23This isn't the way we worked on this scene at all here.
42:25This isn't, not, you should be back in this area right here.
42:30Okay?
42:34Oh, my God.
42:37Where'd that come from?
42:39Hey, what's going on?
42:40Where'd that come from?
42:41Oh, I'm just jinxed.
42:42It's my first day.
42:43Get that freak out of here.
42:44Where is he?
42:45Get a doctor.
42:46I don't understand where he is.
42:48Don't move him.
42:51Somebody get a handkerchief.
43:22Stop right there.
43:25I don't want to hurt you.
43:35What the devil's going on around here?
43:51Oh, my God.
44:07Come on.
44:14Hello, operator.
44:15I want the number of a dressing room trailer.
44:19I hope everything works out for you and Ellen.
44:21Thanks.
44:22And I hope you find out who it was that hurt her and the others.
44:26By the way, what were those computer readouts Mr. Bosley was talking about?
44:32Oh, we're doing a computer random on everyone connected with the production in any way.
44:37And how does that help out?
44:39Well, a lot of times it doesn't.
44:41But sometimes we get lucky.
44:43Speaking of luck, I hope you and Ellen have the best of it.
44:47Thanks again for everything.
44:49Okay.
44:51Yes?
44:52Oh, hi, boss.
44:55What?
44:56Are you sure?
44:57Of course I'm sure.
44:59Chris and Julie are bringing him down now.
45:05Jake is the real Mad Archer.
45:07What do you mean the real Mad Archer?
45:09Do we have more than one?
45:10Well, in reading through these computer sheets that Charlie sent over,
45:13it seems that Ellen and Jeff are also archery experts.
45:16They do a bow and arrow act on the rodeo circuit.
45:18Ellen and Jeff are archery experts?
45:22You're certain of that?
45:23Yes, I'm positive.
45:24But what the devil does that have to do with anything?
45:26Well, maybe nothing.
45:28Except that Jake Webner couldn't have shot Ellen yesterday.
45:31He was on gate duty.
45:33I'm positive.
45:34I talked to the other guard on the way to the stage today.
45:37He and Jake were on duty when security called about Ellen being hurt.
45:43Hang it up.
45:44Go on. Do it.
45:47Do it.
45:52Give it to me.
45:53I swear I didn't mean to hurt her.
45:55I swear it.
45:57I had to do it. I had to.
45:59I had to get her away from this place or I was going to lose her.
46:02Open this door.
46:04Listen to me. Listen to what I'm saying.
46:06I didn't mean to hurt her.
46:08I just meant to scare her.
46:09Make her think it was that other guy, whoever he is.
46:12I swear I didn't mean to hurt her.
46:15I swear it.
46:19I can't let you tell Ellen.
46:24Jeff, put it down.
46:25Slow and easy.
46:27Put it down, Jeff.
46:30My name is Stanovich!
46:32Mr...
46:34Stanovich.
46:39That seems to be what all the trouble's about.
46:59I'm sorry.
47:15Look at this.
47:17Total inefficiency.
47:19Where did I get a hold of the head man of studio maintenance?
47:22A room like this forgotten.
47:24Gathering dust.
47:26And I'm paying taxes on it.
47:28Just gathering dust.
47:30And weirdos in funny clothes.
47:32You I'm going to send to the funny farm.
47:34You have any idea how much money you cost me?
47:37You've lost a great deal more than money, Mr. Tobias.
47:41Now, what is that supposed to mean?
47:43You've lost your audience.
47:45You've lost the people who care about pictures, really care.
47:49I mean good pictures, not the kind of garbage you make.
47:52He's not only weird, now he's a film critic.
47:55So it seems.
47:57I would also say you've lost your sense of decency and good taste.
48:01But on the other hand, if you've never had something, how can you lose it?
48:04You know, you got a lot of guts.
48:06For all the trouble that you're in,
48:08you're talking to me like I'm the one with the parts missing.
48:14Well, sire,
48:16I doubt that he can cure himself,
48:19but at least he's named his own affliction.
48:28If you're ready to take me now, I'm ready to go.
48:41Well, like they say, takes all kinds.
48:44Right, sweetheart?
48:47Goodbye, Mr. Tobias.
48:50Goodbye, sweet prince, wherever you are.
48:57Goodbye.
49:27© BF-WATCH TV 2021
49:57© BF-WATCH TV 2021