Remington Steele S03E09
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00:00Virginia male, Lloyd Nolan, this is the best case we've ever worked on.
00:06Oh, that's funny.
00:07Three days at the condo.
00:08Dorothy L'Amour is also hurt from that punk.
00:14Are you kidding?
00:15Yeah.
00:16Dorothy L'Amour, road to Singapore, moon over Burma.
00:19How dreadful.
00:20Miss L'Amour.
00:21Get down!
00:22We have to come up with another common denominator linking the three of you.
00:27Presumably, that is why we're paying you.
00:29We're paying him.
01:00What?
01:01What?
01:02What?
01:03What?
01:04What?
01:05What?
01:06What?
01:07What?
01:08What?
01:09What?
01:10What?
01:11What?
01:12What?
01:13What?
01:14What?
01:15What?
01:16What?
01:17What?
01:18What?
01:19What?
01:20What?
01:21What?
01:22What?
01:23What?
01:24What?
01:25What?
01:26What?
01:27What?
01:29What?
01:30What?
01:31What?
01:32What?
01:50Excuse me.
01:52Oh, pardon me, could you tell me where I could find Mr.
01:56Go to the admissions desk and don't bother the medical staff.
01:59There's no-one at the admissions desk.
02:07This way.
02:09I'm sure the can is right here.
02:23I assure you, Laura,
02:25if I'd heard you, I wouldn't have gone into the building.
02:27Oh, Beth, when have you ever listened to me before?
02:31Mr. Steele!
02:33Miss Holt!
02:35What happened?
02:37Well, it's a long story.
02:39Champagne, Mildred?
02:44Yes, Mr. Steele?
02:46Yes, nurse, could you get me another beaker for our friend,
02:49here, please? Thank you.
02:51I thought you two were just going to some awards ceremony this weekend.
02:54That was the first mistake.
02:56Oh, come now, Laura, you can't say it wasn't all worthwhile, now, can you?
02:59Can you get back to me when the ligaments heal?
03:02Will somebody tell me what happened?
03:04Hmm. Certainly.
03:06Mr. Steele and I have been invited to the opening ceremonies
03:09of the Hollywood Archives,
03:11an organization for the preservation and study of the American movie.
03:15It's a beautiful night.
03:17It's a beautiful night for our gala, ladies and gentlemen.
03:20We may even see some of the more reclusive stars.
03:22Wait a minute, who's this?
03:24Why, it's Dorothy Lamour and Lloyd Nolan.
03:27Oh, my, doesn't she look radiant.
03:29And Mr. Nolan appears as dapper...
03:31Quite a few stars have helped the Archives,
03:33and we're going to be recognized that evening with plaques of appreciation.
03:37Oh, hold on, who's this?
03:39Wait a minute.
03:41I think, I think it's...
03:43Yes, it is. Ladies and gentlemen, Virginia Mayo.
03:46Oh, remember her as the voluptuous, slightly cross-eyed blonde
03:50in the Technicolor Spectacles of the 40s?
03:52What a thrill, ladies and gentlemen.
03:54And it's only just begun.
03:56Oh, who's this?
04:00Due to, uh, diligent P.R. efforts on my part,
04:04Mr. Steele had been selected as a presenter.
04:08And so we come to the triumph of white heat,
04:12in which Miss Mayo further displayed her versatility
04:16opposite James Cagney.
04:18As Verna Jarrett,
04:20she firmly established herself in the annals of fern noir.
04:24It is my great honor now to present this plaque of appreciation
04:29to a radiant star.
04:31I didn't know I was so prolific.
04:33Thank you, Mr. Steele, for those kind words.
04:37And thank you, everyone.
04:39Well, here's hoping the archives is a big success.
04:43I'm sure it will be.
04:45I'm sure it will be.
04:47I'm sure it will be.
04:49I'm sure it will be.
04:51I'm sure it will be.
04:53I'm sure it will be.
04:55I'm sure it will be.
04:57I'm sure it will be.
04:59I'm sure it will be.
05:01I'm sure it will be.
05:03I'm sure it will be.
05:05I'm sure it will be.
05:07I'm sure it will be.
05:11I'm sure it will be.
05:13I'm sure it will be.
05:17And now, ladies and gentlemen,
05:20here is hoping the archives is a big success.
05:23Thank you very much.
05:25And needless to say, Mary,
05:27I'm talking about.
05:28Ladies and gentlemen, it's my great pleasure
05:30to present Miss Dorothy L'Amour.
05:37Thanks.
05:38Now.
05:45Oh, uh, terribly sorry.
05:47I didn't see the sign.
05:48Sorry.
05:53Excuse me, Mr. Nolan.
05:54Oh, steel, right?
05:56Yes, you didn't happen to see Virginia Mayo, did you?
05:58I have her plaque here.
06:00Yeah, she's out in the alley there,
06:01trying to catch her breath after all that hot air.
06:07Only kidding, steel.
06:08You know, you've got style, but stick with the detective work.
06:17I'm so glad I saw you.
06:19Maybe we can get together next week for lunch, OK?
06:21I'll call you.
06:22Bye-bye.
06:24Miss Mayo, I'm sorry to disturb you,
06:26but you forgot your plaque.
06:29Do I have to hear your speech all over again to get back?
06:31No, not at all.
06:33You know, you still look as lovely
06:34as you did in The Secret Life of Walter Mitty.
06:37Danny Kaye, Boris Karloff, 4K019.
06:40Oh, you flatter me.
06:41Oh, well, there you go.
06:43Anyway, listen, I don't mean to sound personal,
06:47but what was it like working with Boris Karloff?
06:55Woo-hoo!
06:56Woo-hoo!
06:57Woo-hoo!
06:59Mr. Steele?
07:02Mr. Steele?
07:04Oh.
07:06So that's how you broke your arm and your leg, huh, boss?
07:10Not exactly, Mildred.
07:11Yeah, you're a lucky man, Mr. Steele.
07:14Other than that scratch on your finger,
07:16I can't find anything that requires treatment.
07:18Oh, reflexes like a cat, I'm sure.
07:22Landing on that pile of discarded newspapers
07:25probably helped.
07:27Hotel.
07:29I thought being the house doctor tonight
07:31meant I'd have a relaxing evening.
07:33Told my service to call only for an emergency,
07:35so I'm afraid I'm going to have to run along.
07:39Oh, by the way, Mr. Steele, do you have a personal physician?
07:45No, I don't.
07:46Why don't you call me tomorrow if you have any discomfort?
07:50OK.
07:51Good night.
07:52Good night, all.
07:53All right, doctor, thank you.
07:54Miss Mayo, you're certain no one you know
07:56has tried to harm you?
07:57No recent arguments with friends,
07:59creditors, that sort of thing?
08:01Nothing unusual?
08:02Well, there has been something strange, come to think of it.
08:06A few weeks ago, I got a letter from someone
08:08saying he was soon going to put my name in the headlines
08:11in a most unusual way.
08:14Since then, I've gotten a letter from him every few days
08:17saying the deadline is approaching
08:20or something like that.
08:23The fan.
08:24What?
08:25Lauren Bacall, James Garner, Paramount, 1981.
08:29A deranged fan feeling personally rejected
08:31by Bacall attempts to kill her.
08:34Tries to murder her?
08:35What Mr. Steele is saying in his highly original way
08:39is that perhaps this correspondent is responsible
08:42for tonight's accident.
08:44Oh, what an awful thought.
08:45And a bit far-fetched, I assure you.
08:48Nevertheless, perhaps we should take you home
08:50and have a look at those letters.
08:53Uh, in that movie you mentioned, Mr. Steele,
08:56they stab the killer, don't they?
08:59Yes, I think they do.
09:00Let me see now.
09:01The fan brutally slashes Maureen Stapleton.
09:04Um.
09:13Afraid this is it.
09:14Well, one letter is better than none.
09:17Postmarked four days ago.
09:19No return address.
09:24Next week is almost here.
09:26A week you'll never forget.
09:29The week I come into your life, G-E-M.
09:32He signed all of his letters like that.
09:34Just initials?
09:35Obviously the furtive type.
09:37I get this image.
09:39I get this image of the character Peter
09:42Laurie playing the Maltese falcon.
09:46Wasn't he some sort of a psychopath?
09:49Excuse me a moment, will you?
09:53Mr. Steele, as a rule, we try to avoid
09:56scaring our clients to death.
09:58Now, I know your cinematic references
10:00are just meant for inspiration.
10:02But Miss Mayo doesn't.
10:04Now she thinks she's being stalked
10:05by a creepy little man with buggy eyes
10:07and a nervous giggle.
10:08Hmm, I see your point.
10:10Perhaps I should have mentioned
10:12Sydney Green Street instead, eh?
10:15Miss Mayo, can you think of anything
10:17else that might help?
10:19Any possible leads?
10:22Well, you know, it's funny.
10:23I was chatting with Lloyd Nolan this evening.
10:25And he mentioned some strange fan
10:26letters he'd been getting lately.
10:28At the time, I didn't give it a second thought.
10:30But maybe there's a connection.
10:32We'll check it out tomorrow.
10:34If it would make you feel more comfortable,
10:36I'd be glad to stay a while longer.
10:38Oh, thanks.
10:39I think I'd feel better.
10:41Oh, splendid, huh?
10:43Virginia Mayo, Lloyd Nolan.
10:45This is the best case we've ever worked on.
10:50Is that when you got hurt, Miss Holt?
10:52Protecting Virginia Mayo?
10:53No, Mildred.
10:55The night was uneventful.
10:56Though Miss Mayo and I had a wonderful time
10:59talking about the golden age of Hollywood.
11:02I, on the other hand, didn't have time
11:03for such trivia, Mildred.
11:05I got an early start the next morning.
11:07Lloyd Nolan had greatly admired my little talk
11:10the evening before, so he had no trouble getting on.
11:12I put out some lines after you called me, Steele.
11:15Uh-huh.
11:17Dorothy L'Amour has also heard from that punk.
11:20Are you kidding?
11:21Yeah.
11:22Dorothy L'Amour, road to Singapore,
11:24moon over Burma, typhoon.
11:27Oh, how dreadful.
11:29Well, I'd better see her about this thing as well, hadn't I?
11:31Addie on.
11:32I only saved two.
11:37You don't know me now, but in two weeks, you will.
11:40GEM.
11:42One week until your life changes forever.
11:45GEM.
11:46And you have no idea who this GEM is?
11:48None.
11:49OK, well, I'll get my associate onto it straight away.
11:51Oh, one more question, Mr. Nolan.
11:54Shoot.
11:55I went to a revival house where they were
11:57showing Somewhere in the Night, but they lost the last reel.
11:59Now, John Hodiak realizes that he's
12:02not George Taylor anymore, but really Larry Cravat.
12:04Now, I'm dying to know what happened at the end, eh?
12:08You know, you're really a strange bird for a dick still.
12:12Well, let's see, I played Lieutenant
12:14Donald Kendall in that one.
12:17Somehow, I rarely rose above lieutenant in those pictures.
12:23And Richard Coddy was the bad guy.
12:28That's funny.
12:29What's wrong?
12:30Something the matter?
12:32No, but it's odd.
12:34The postman just passed through the yard,
12:36but I got the mail an hour ago.
12:40Well, what were we talking about?
12:44Three Days at the Condor.
12:46No, I wasn't in that.
12:48No, an assassin in Three Days at the Condor
12:50tries to kill Robert Redford, but he's
12:52disguised as a mailman.
12:53Robert Redford?
12:55The assassin.
12:56No, you have lost me.
12:59Get down!
12:59Stay down, Steele.
13:11The postman always rings twice.
13:30Three times?
13:40Steele!
13:43I keep meaning to have that refilled.
13:46Steele!
13:49I keep meaning to have that refilled.
13:59Oh, that must have been a fright, boss.
14:01A mailman trying to drill you with a Tommy gun?
14:05Let's just say it gives new meaning
14:07to the word special delivery.
14:10Unfortunately, it didn't affect his sense of humor.
14:12So that's how you broke your arm and leg, right?
14:15Diving into that empty pool?
14:19Not exactly, Mildred, no.
14:21Are you OK, Steele?
14:25A little dub would otherwise drift off.
14:36While Mr. Steele was having fun mingling with the stars,
14:39somebody had to get on with the nuts
14:41and bolts of the investigation.
14:43Having fun?
14:44The fan letters were our only lead, Mildred.
14:47Even without a return address and signed only with initials,
14:50they had a story to tell if you knew how to read it.
14:54What do you think, Morris?
14:55Think?
14:56About the typewriter, I don't have to think.
14:58It's an Underwood 5.
14:59Good old reliable machine.
15:01This one has seen its share of service.
15:04The right beak of the capital T is dented.
15:07They left Sarah for the small wires gone.
15:09There are other distinguishing characteristics,
15:11but those should be enough to identify the actual machine.
15:15When we find it.
15:16That's your problem.
15:18As to the actual stationery itself, you're in luck.
15:21It's very unusual.
15:22Heavy bond of Japanese manufacture.
15:26Very handsome, very expensive.
15:28Only a few high class stores in town would handle it.
15:31I'll make you a list.
15:32Thanks.
15:33The brown ink used for the initials
15:35is also distinctive.
15:38An English brand.
15:40Yeah, you find the store that handles
15:42both the paper and the ink, you'll
15:44be closing in on your man.
15:45Oh, you're terrific, Morris.
15:47Listen, just put this on a tab, OK?
15:52Tell me something, Laura.
15:54Does your boss ever do any legwork?
15:57Mr. Steele's skills are hard to define at times, Morris.
16:02Very hard.
16:06Sometimes downright impossible.
16:09See you around.
16:10OK.
16:15The third store on Morris's list paid off.
16:18The credit records produced a name, George Edward Mulch.
16:22The case was coming together.
16:26At the time, Mildred, I was engaged
16:28in an utterly charming conversation
16:30with Dorothy Lamour.
16:32I had come, of course, to discuss her fine letters.
16:35But we quickly moved on to other subjects.
16:37Who is it?
16:40Oh, uh, uh, Miss Lamour.
16:44It's Remington Steele.
16:46Congratulations.
16:48I'm the private detective Lloyd Nolan called you about.
16:51Oh, I expected somebody more like Tom Selleck.
16:56The letters are right over there by the door.
16:58Oh, uh, don't go away, Miss Lamour.
17:01Just a moment, please.
17:03If, uh, if I might just ask you a few questions, please.
17:08You know, get some background information.
17:10Fire away.
17:14Perhaps I might go inside, you know, have a cup of tea.
17:18I can hear you fine from here.
17:21Is it my imagination, Miss Lamour,
17:23or are you very nervous about something?
17:25Well, I am a little concerned about my life.
17:29I see.
17:30Yes, of course, uh, the attempts on Miss Mayo and Mr. Nolan.
17:34Well, you're perfectly safe with me, rest assured.
17:37Is that what you told Lloyd in Virginia?
17:41Miss Lamour, if, uh, I could just talk to you for a bit,
17:44it might help bring this culprit to justice.
17:46What are we doing now, playing Trivial Pursuit?
17:50Ah, that malice-y, saucy delivery of yours, huh?
17:54No wonder Bing and Bob thought you were
17:56the perfect comedic counterpart.
17:58But, you know, I think the critics overlooked your
18:00importance as a dramatic actress.
18:03You do?
18:04Oh, indeed.
18:05I mean, take Manhandle, Dan Duryea, Sterling Hayden,
18:09uh, Paramount 1949.
18:11I mean, who could forget your performances, Mel Kramer?
18:15Oh, the sweet but unknowing secretary
18:18who gets involved in a plot of twisted murder and deceit.
18:23Of such things are movie memories made, Miss Lamour.
18:27I'll be right down.
18:29Huh.
18:30Good.
18:32Mr. Steele!
18:42Mr. Steele.
18:44I see.
18:45Couldn't resist meeting our lady of the sarong, eh, Laura?
18:48Some other time.
18:48I think I've located the fan.
18:50Yes?
18:51Yes.
18:52Oh, excellent work.
18:56Miss Lamour, this is my associate, Laura Holt.
18:59How do you do?
19:00It's a pleasure.
19:01My colleague here, a busy little worker bee that she is,
19:04has just unearthed another clue which
19:06demands my immediate attention.
19:07So, uh, I'll have to postpone our little tate-a-tate.
19:10Shall we say later, around cocktail hour,
19:137 o'clock, my place?
19:14Get down!
19:15Ah!
19:23The address I had written down for George Edward Mulch
19:25was an office building in the heart of Old Hollywood.
19:28We headed there immediately.
19:31We're dealing with a very highly
19:33disturbed personality here, Laura.
19:35The syndrome has become entirely too common.
19:38Someone usually suffering from schizophrenic or paranoid
19:40tendencies decides to become famous
19:43by killing someone famous.
19:45Yes.
19:46I'm concerned about what happens when we confront
19:48our murderous Mr. Mulch.
19:50So am I. That's why I decided to stop by the office
19:53before I came to get you.
19:54Why?
19:55To check the glove compartment.
20:25Hmm.
20:47Huh.
20:49Underwood 5.
20:50Just as Morris said.
20:56Laura, come here.
20:57Have a look.
20:58Ah.
21:01We have our man, Mr. Steele.
21:05Ah!
21:06Ah!
21:25Ah!
21:34Hey!
21:35Hey!
21:36Hey!
21:37Come on.
21:38Come on.
21:39Let's go.
21:40Where's Max?
21:41Where's Max?
21:42Where's Max?
21:43What are you doing?
21:44Come on, Max.
21:45Come on.
21:46Come on.
21:47Come on.
21:48Oh!
21:49Ah!
21:55Oh, shit.
21:59Stop!
22:03Laura!
22:10So that's how you both got hurt.
22:12You were hit by a car on Hollywood Boulevard chasing the crazy fan.
22:16Not exactly, Mildred.
22:18The car stopped just in time.
22:21Laura! You all right?
22:23Yeah. Excellent reflexes. Wonderful.
22:26Come on.
22:41Come on! Come on!
22:43Let me go! Let me go!
22:45You got no right!
22:47We'll see about that!
22:49Maybe you caught me, but if you think I'm gonna tell you anything,
22:52you got another thing coming.
22:54All right, tough guy.
22:56The three of us are gonna take a little walk back to your office.
22:59You can either go awake or asleep.
23:02The choice is yours.
23:06We know where you bought the stationery, Mr. Mulch.
23:09So we bought some paper. Big deal.
23:11We can prove you wrote those letters on your typewriter.
23:14I don't know nothing about any letters.
23:17Virginia Mail, Lloyd Nolan, Dorothy L'Amour.
23:20Ring any bells, Mr. Mulch?
23:22You're crazy.
23:24Oh, come on, Georgie. We wouldn't come here if we didn't have any proof.
23:27Look.
23:31Hmm?
23:37All right. I admit it.
23:39I wrote them.
23:41I didn't think anybody would catch on.
23:44Let's go, Mulch.
23:46Wait a minute. Wait a minute. Maybe we could strike a bargain.
23:49A trade-off, one-on-one.
23:51Like, uh...
23:53I'll give you...
23:55the Marilyn Monroe Modern Magic Slicer.
23:58I'll keep the mayonnaise recipe.
24:01We're talking about murder, Laura.
24:03This man's talking about mayonnaise.
24:05Mr. Mulch, I don't think you realize the gravity of the situation.
24:08Three accounts of attempted murder, not to mention...
24:10What murder? What are you talking about?
24:12We're private investigators. My name's Remington Steele.
24:15This is, uh, Laura...
24:17Private investigators?
24:19Then you're not with, uh...
24:21a General Foods, a Ray and McNally, a Popeil.
24:24We're tracking a killer.
24:26That's wonderful. I thought you were trying to steal my idea.
24:30Wow!
24:32So, uh...
24:34who's dead?
24:36No one yet.
24:38But in the last two days,
24:40someone has made attempts on the stars we mentioned.
24:42Oh, that's terrible. That's very bad.
24:44That could throw off my whole campaign.
24:46What campaign?
24:48You too sure you don't work for General Foods?
24:51Hmm. Okay, okay.
24:53Look, I-I knocked around the film biz for a long time, see?
24:58But recently, I've been funneling all of my energies
25:02into G.E.M.
25:04Productions Incorporated.
25:07I like to think of it as a, um...
25:09a free-flowing idea company.
25:12In other words, you haven't produced anything yet.
25:14Right.
25:16But about a month ago, I got this dynamite idea.
25:19I don't know how they come to me. They just do.
25:22Now, listen, here it is.
25:24A whole new national line of products
25:27based on Hollywood stars.
25:30For example, you want to make a sandwich,
25:33you reach for that bright, shiny bottle of...
25:36Virginia mayo.
25:39Of course.
25:42Listen, this is a killer. You're gonna love this one.
25:45Let's say you want to go visit your Aunt Bernice in Chula Vista,
25:48but you don't have a map.
25:50Where can you turn?
25:52The Dorothy Lamour Road to the United States
25:55Highway Directory and Restaurant Guide.
25:57You get it?
25:59Dorothy Lamour was in all the road pictures with Hope and Crosby.
26:02The Road to the United States.
26:04We'll have it for the whole free world.
26:06Mr. Motz, why didn't you identify yourself with the letters?
26:09And why the expensive stationery?
26:12Look at these people.
26:14They get offers every day.
26:17I try to create a little mystery, a little allure.
26:21You see, the stationery tells them that this is a class act.
26:24The mysteriousness lets them know
26:27that they're dealing with a master of hype.
26:30Next week, I was gonna reveal all.
26:34Mr. Motz, can you pinpoint your whereabouts in the last two hours?
26:38Two hours? Of course.
26:40I was at my usual stall at Musso and Frank's.
26:43I can account for my whereabouts every day for the last two years.
26:47Well, Mr. Steele,
26:49if George Edward Mulch isn't behind the attempted murder,
26:52then who is?
26:54Presumably, that is why we're paying you, Mr. Steele,
26:57to find out.
26:59We're paying him?
27:01It's news to me.
27:03Ladies and gentlemen, I assure you,
27:05our services are on the house.
27:07It's a privilege to serve such an honored clientele.
27:10And we're very touched, Mr. Steele.
27:13But just how do you plan to stop this cycle?
27:16Well, we've eliminated the fan letters as a clue,
27:20so we have to come up with another common denominator
27:23linking the three of you.
27:25That's good thinking, Steele.
27:27It's all part of the deductive process,
27:30which has made this agency what it is.
27:33Please, Miss Holt, carry on with my thesis.
27:36Well, the link could be anything.
27:39For example, did any of you appear in a picture together?
27:43Lloyd and I did St. Louis Blues.
27:46William Frawley,
27:48Matty Malnick and his orchestra, Paramount, 1939.
27:52Don't forget Johnny Apollo, darling.
27:55Tyrone Power, Edward Arnold,
27:5720th Century Fox, 1940.
28:01Sorry.
28:03And you, Miss Mayo?
28:05I've never had the pleasure.
28:07Okay, let's look for something else.
28:11Are any of you related?
28:14Did you ever invest money with the same individual?
28:17Did you ever go out with the same people?
28:21Well, we're obviously overlooking something.
28:27In the last 24 years,
28:31in the last 24 hours,
28:34an anonymous killer has come after each of you.
28:38There's got to be a connection.
28:40You said this all happened in the last day, right?
28:43Right.
28:45Well, there has been one new element
28:48introduced into the life of each one of us
28:51during that time period.
28:53What's that?
28:55Him.
28:57That's right.
29:01Me?
29:03You.
29:07The notion's absurd, Laura.
29:09The killer isn't after me.
29:11I mean, the fault isn't in ourselves, but in our stars.
29:14I mean, all we have to do is just find the proper clue.
29:17The stars may have a point, though.
29:19You were with one of them every time this crazy has struck.
29:22Coincidence.
29:24Your fatal past has suddenly showed up to settle an old score?
29:28Absolutely.
29:31Look out!
29:43The D.A.'s got new evidence on Mickey Dwyer,
29:46and Brennan gets bumped off.
29:48I suppose that's a coincidence.
29:51Was Johnny in on that deal?
29:54Right.
29:56The Palermo brothers are dead, so that rules them out.
29:59Listen, Daniel.
30:01What about Edward O'Shaughnessy?
30:04You remember the Dublin Crusher?
30:07Oh, I see.
30:09Well, I guess he had it coming to him, didn't he?
30:12All right, mate. Okay.
30:14If you have an inspiration, don't hesitate to call.
30:17All right. And you, mate.
30:19I will.
30:21Yeah. Take care, Daniel. Bye-bye.
30:23Well?
30:25As far as I can tell, all my old adversaries are either deceased,
30:28incarcerated or otherwise accounted for.
30:30Then you must be forgetting someone.
30:34How many enemies do you think I have, Laura?
30:37Mr. Steele, I have great respect for your ability to generate animosity around the...
30:42What are you doing?
30:44White heat is on.
30:46Someone's trying to kill you, and you're gonna watch an old movie?
30:49I find it therapeutic. I think better when I relax.
30:52You like strawberries, don't you?
30:54Well, she just had to get some for her boy.
31:01Anyway, regarding your enemies,
31:03need I mention Acapulco, Cairns, South America, Ireland...
31:06Now, wait just a bloody minute.
31:08The last time something like this happened,
31:10someone was after your Remington Steele, remember?
31:12Major Descoin is in prison. I checked.
31:15Yes, but before I tumbled into your life,
31:17you managed to put quite a few people away
31:19who weren't even aware that Remington Steele didn't even exist.
31:21They didn't know that you created this shadow man to drum up business.
31:24I mean, now that I've slipped into Mr. Steele's shoes,
31:26there's any number of ill-tempered people out there
31:28who'd like to perforate me for your previous efforts.
31:30I'm sorry, Laura. I'm sorry. I didn't mean to go on.
31:33This case has got me jumpy, too.
31:35Yes.
31:37If someone's trying to kill you,
31:39it's nice to have the relative advantage of knowing who and why.
31:42Don't worry. I won't let anyone harm Remington Steele.
31:47Yours, mine, or ours.
31:49We interrupt this program to bring this special news bulletin.
31:52The body of wealthy socialite Yvette Harwood
31:55was taken from her Malibu home last night.
31:57She died of a heart attack.
31:59Harwood, a vivacious and familiar face on the Hollywood scene,
32:02will be buried tomorrow at Park Grove Cemetery.
32:05We'll have more after this.
32:07Laura, I know that woman.
32:09Yvette Harwood?
32:13Backstage at the dedication ceremonies.
32:15I went looking for Virginia Mayo, went in the wrong door,
32:18and saw that woman embracing some man.
32:23But you know, it's odd.
32:25She wasn't really dressed for the ceremonies.
32:29Come to think of it,
32:31she wasn't very lively, either.
32:36What do you mean?
32:38I don't know. I mean, at first I thought she was relaxed,
32:41but her head and her arm were limp.
32:46Right after I saw them, the first attempt happened on my life.
32:50Did the man see you?
32:53Yes, tall, good-looking fellow, moustache,
32:56like one of your American football players.
32:58You may have just described a murderer.
33:00It could be that when you saw Yvette Harwood,
33:02she was already dead and not from a heart attack.
33:05Well, if that's the truth, then the man I saw will get rid of me.
33:08Question is, who is he?
33:16Oh, so that's what it was all about.
33:20The boss had accidentally seen a murderer.
33:23But how did you two find out who the creep was?
33:26Well, Mildred, the room was ablaze with ideas,
33:30but we didn't have a chance to act upon them.
33:36Who is it?
33:38Nolan.
33:41Ah, Mr. Nolan, hello.
33:43Ah, Mr. Nolan, hello.
33:45Good evening, Miss Holt.
33:47Hello, Mr. Nolan.
33:49Why, you two certainly put in a lot of hours together.
33:52We never close.
33:54You know, Steel, I'm sorry to disturb you at home,
33:59but since you have decided to put your hide on the line
34:03in order to save mine, however mistakenly,
34:06I've done you a favor.
34:08Oh, really?
34:09Julian, come in.
34:13This is my cousin's youngster, Julian.
34:16Oh, pleasure to meet you.
34:18You too, sir.
34:20You see, having watched you at work, Steel,
34:23I've decided that you need some muscle.
34:26Now, no disrespect, but let's face it,
34:29dirty Harry, you ain't.
34:34Mr. Steel's residence, Laura Holt speaking.
34:37Why don't you just come in now, Julian?
34:40Stay right there and don't worry, we'll be right over.
34:43Let's go.
34:44Where?
34:45That was Virginia Mayo.
34:46It's about Yvette Harwood.
34:47I'll explain in the car.
34:48Mr. Nolan, thank you, but this Harwood matter
34:51and the attempt on my life and everything like that,
34:53I don't...
34:54Listen, will you stop talking and move?
34:57My sentiments exactly.
34:59Is he always that talky?
35:01Yackety, yackety, yackety.
35:05Virginia Mayo and Dorothy L'Amour
35:07had known Yvette Harwood through her involvement
35:09in the Hollywood community.
35:10When they learned of her death, they were very concerned.
35:13Yvette was vulnerable, sweet, but not too bright.
35:17After she was widowed,
35:18she became easy pickings for every louse in town.
35:21Her latest affair was a disaster.
35:23She told you?
35:24In so many words.
35:26The guy was using her, but she just couldn't see it that way.
35:29Who was the deadbeat?
35:31Well, she wouldn't say, but the last time I saw her,
35:34she said she was thinking of dropping the guy.
35:38She was a changed woman, very depressed.
35:41She even had trouble getting out of bed.
35:44You told Miss Holden the phone
35:46that you thought Yvette was in some kind of trouble.
35:48Make it a question, Steele.
35:50Short and direct.
35:53Jenny, why did you think Yvette was in trouble?
35:57Intuition more than anything.
36:00But when we found out how she died, we were sure.
36:04Yvette was a health nut.
36:06She ate all the right foods.
36:08She ran five miles a day on the beach.
36:11She did the Jane Fonda workout tape.
36:14You'll never convince me she died of a heart attack.
36:17That woman never had a sick day in her life.
36:26Julian, would you mind moving your bicep a tad to the left?
36:30Thank you. Thank you.
36:33What kind of artillery are you backing, Steele?
36:36His gun is back at the office.
36:38I don't know how you made it this far, Steele.
36:51Awfully slow, Steele.
36:56Stage fright.
37:04What are you doing, Steele?
37:06Looking for a safe.
37:08It might contain something relevant,
37:10you know, like documents, papers, diaries.
37:13Keep up with the times, Steele.
37:16Wall safes went out with vaudeville.
37:19I don't know how you made it this far, Steele.
37:22I don't know how you made it this far, Steele.
37:25I don't know how you made it this far.
37:28I don't know how you made it this far, Steele.
37:32With vaudeville.
37:34Yeah.
37:36Yes, well, of course, that was going to be my next choice.
37:40Prescribe for depression.
37:42Somebody is on the ball, at least.
37:45The handle on this safe is a little stiff.
37:50Julian?
37:52Excuse me, sir.
38:01Thank you very much.
38:03You're welcome, sir.
38:05Yes. Thank you.
38:09There we go.
38:15That's odd.
38:17What?
38:19Most of her jewelry is gone.
38:21It could be in the safe deposit box.
38:23No. She liked to keep it around.
38:25Well, it seems most of it was sold off.
38:27There are deposits here from the sales.
38:29Her balance is down to almost nothing, though.
38:31For the past few months,
38:33she'd written big checks to Templeton Enterprises.
38:35That heel.
38:37Who?
38:39Ernest Templeton.
38:41Calls himself a producer,
38:43but he's really just a fast-talking con man.
38:45Most of his projects never make it to the screen,
38:47but he always manages to walk away
38:49with a fistful of dough.
38:51He had the gall to ask me
38:53to do a picture for him a while back.
38:55I told him to get lost.
38:57Describe him.
38:59Oh, six-foot-two,
39:01mustache, broad shoulders.
39:03I think he used to play semi-pro football.
39:05The man I saw with Yvette
39:07backstage at the ceremony.
39:09That fits.
39:11He used to donate money to the archives.
39:13Trying to buy some respectability, huh?
39:15Try this for a scenario.
39:19Templeton seduces Yvette
39:21into giving him large amounts of money.
39:23Yvette finally realized she'd been taken.
39:25She found Templeton backstage at the ceremonies.
39:27She threatened to go to the police.
39:29He killed her and brought her back here.
39:31Well, I buy that.
39:33Someone's coming.
39:35Quick, scatter. Come on.
39:51Looking for this?
39:53Looking for this?
40:05That's a nice move, Steel.
40:07Sorry. Sorry.
40:09He's getting away.
40:11Did he go?
40:19Come on, driver.
40:21Burn some rubber.
40:51Miss Holt,
40:53find a book, Miss Holt.
40:55We got him trapped.
40:57Call for backup.
40:59Right.
41:05Mr. Steel.
41:21Mr. Steel.
41:51Mr. Steel.
42:21That tears it.
42:23Maybe we should wait for the police.
42:25What? He tries to run me over,
42:27shoot me full of bullet holes,
42:29and now he drops a sock with camel on us.
42:31Come on. Let's grab the bugger.
42:51Come on.
43:17Stop admiring your worthiness.
43:19Are you here?
43:25I don't get it.
43:27That's the end of the story.
43:29So how did the two of you get hurt?
43:35Oh.
43:37Not bad, eh?
43:39Yeah, but something doesn't add up.
43:43What, Mildred?
43:45If Yvette Harwood was killed at the ceremony,
43:47why was the cause of death listed as heart attack?
43:53Who signed the death certificate?
43:57Dr. Roger Chandler.
44:03Why is that name so familiar?
44:05Then why don't you give me a call tomorrow
44:07if you have any discomfort?
44:11Of course.
44:13The doctor who treated me at the ceremonies.
44:15It says here
44:17that he was Mrs. Harwood's personal physician.
44:19As it happened,
44:21he was acting as house doctor
44:23at the archive ceremonies
44:25when he received an urgent phone call
44:27from her at 9 o'clock.
44:29She was complaining of pains in her chest.
44:31Oh, damn.
44:33I thought being the house doctor
44:35tonight meant a relaxing evening for me.
44:37That's right.
44:39His beeper went off.
44:41The doctor said that he rushed to her house,
44:43but she was already dead.
44:45But that's impossible.
44:47Mrs. Harwood couldn't have called him
44:49because you'd just seen her backstage.
44:51Those beepers can be self-activated, you know.
44:53The doctor was in on it.
44:55Mildred, call the police straightaway.
44:59Oh, that's funny.
45:01There's no dial tone.
45:03I'll try at the nurse's station.
45:07Dorothy Lamour said Yvette had become a changed woman
45:09since she became involved with Templeton.
45:11Do you remember those pills I found in Yvette's bathroom?
45:13Mm-hmm.
45:15Wait a minute.
45:19Depression.
45:21Prescribed by Dr. Chandler.
45:25You know, I'll bet anything
45:27that once these are analyzed,
45:29they'll be found to contain drugs that deepen depression,
45:31not cure it.
45:33The pills would have kept Yvette's mind foggy,
45:35making it easier for Templeton to influence her to write him checks.
45:37No doubt Templeton had an insurance policy on her as well.
45:39Templeton and the good doctor
45:41milked her for all she was worth while she was alive,
45:43then arranged one big final payoff.
45:45Chandler and Templeton would have had perfect alibis.
45:47They were both at the awards ceremony.
45:49But Chandler didn't know Yvette had spoiled things
45:51by coming to this ceremony.
45:53He preceded his plan.
45:55He tripped his beeper in the presence of witnesses,
45:57then went on to Yvette Harwood's house,
45:59expecting to find her depressed and in bed.
46:01Where he could easily kill her
46:03and then certify that she died of a heart attack.
46:05Chandler and Templeton split the insurance money
46:07and then walk away, and no one's any wiser.
46:11It would have worked, too,
46:13if I hadn't gone looking for Virginia Mayo.
46:15I never thought I'd be grateful
46:17for your infatuation with Hollywood.
46:19But it's taking Milton so long.
46:21I don't know. Go to it.
46:23Oh.
46:31No one's on the floor.
46:33It's like a tomb out there.
46:37The Godfather.
46:39Marlon Brando, Al Pacino, Paramount 1972.
46:41One of Brando's enemies clears the hospital
46:43where he's recovering just so he can set up a murder.
46:45Quick, Laurie, get us out of here. Come on, quick!
46:47Quick, quick, quick!
46:49And how are we this morning?
46:53I went through Harwood's house last night
46:55after I heard about Templeton.
46:57And I believe you have something of mine.
47:01A bottle of pills.
47:03Pity.
47:05Oh!
47:25Nice ride, Mr. Steele.
47:29A sap the size of DiMaggio's glove.
47:31The world exploded
47:33in a kaleidoscope of colors.
47:35I reached for the wall,
47:37but it wasn't there.
47:39A black pool opened at my feet,
47:41and I fell into the beckoning vortex.
47:43Hey, she's good.
47:45Eat lead crabs, we call her.
47:47I like that.
47:49We want to thank you again
47:51for trying to protect us,
47:53even though you did almost get us all killed.
47:57All in a day's work, eh?
48:01All in a day's work.
48:31© BF-WATCH TV 2021