Remington Steele S03E21

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Remington Steele S03E21

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00:00Come on.
00:02What do you suppose he is?
00:04Did you know the judge long?
00:06Whoa!
00:08What is going on here?
00:10Relax.
00:12We can't very well spend the rest of our lives
00:14hiding in the middle of a down storm.
00:16If these are to be our last days,
00:18I mean, at least we're spending them in elegant splendor.
00:21They're here.
00:22Who?
00:23The guys that are after you and me.
00:24What about Mr. Steele?
00:26He'll be fine.
00:27He'll be fine.
00:28Oh!
00:30Oh!
00:31♪
00:58♪
01:08♪
01:18♪
01:28♪
01:38♪
01:48Helen, what's going on in there?
01:50It's a client.
01:51Miss Holt's trying to calm her down.
01:53Oh, Mr. Steele.
02:00You are Mr. Steele, aren't you?
02:02Oh, without question, yes.
02:04How can I help you, Miss...
02:07Melnick, Bertha Melnick.
02:09Well, what seems to be the problem, Miss Melnick?
02:13Actually, it's Mrs. Melnick,
02:16and she thinks her husband, Fred, is in some kind of trouble.
02:20He gets phone calls in the middle of the night.
02:23He takes unexplained trips to San Francisco.
02:27I went through his bills.
02:30He's been going to all those fancy places.
02:34Top of Lamar, Marty's Restaurant, Alcatraz.
02:39He's up there now, probably running for his life.
02:43Oh, dear, dear, dear.
02:46Would you excuse us a moment, Mrs. Melnick?
02:49Miss Holt, can I have a word with you, please?
02:51Just a minute.
02:52Okay.
02:55Sounds like an errant husband
02:57doing a little long-distance cheating on his wife.
03:00Then again, maybe he's in some kind of trouble.
03:03You're not suggesting we accept this case, are you?
03:06Look at that poor woman.
03:08I mean, she's half-crazed
03:10imagining all kinds of terrible things happening to her husband.
03:13It wouldn't hurt to take a quick run-up to San Francisco,
03:17check it out.
03:18Obviously, your mind's made up.
03:20I'll have Mildred make the reservations.
03:22See if you can get a picture of Fred Melnick
03:25and pick me up at my place.
03:27Mm-hmm.
03:29Mm-hmm.
03:31Excellent performance, Bertha, excellent.
03:35Oh, you should have seen my Blanche DuBois in Streetcar.
03:39I've always depended on the kindness of my husband.
03:44Oh, I know.
03:45I know.
03:46I know.
03:47I know.
03:48I know.
03:49I know.
03:50I know.
03:51I know.
03:52I know.
03:53I know.
03:54I know.
03:55I know.
03:56I've always depended on the kindness of strangers.
04:01The Orange County community players
04:03never seen anything like it.
04:05Six curtain calls.
04:07I knew when I auditioned you, you were touched with greatness.
04:10Listen, can I ask you a question?
04:12Mm-hmm.
04:13What's this all about?
04:14Well, it's rather involved, Bertha,
04:17but put in its most succinct form.
04:19Whenever Miss Holt and I have attempted
04:22to steal away for a few private moments,
04:25a case has always interfered.
04:26So I thought it only fitting
04:28that a case should take us away for an amorous interlude.
04:31Oh, that's clever.
04:33A ploy born out of desperation, I assure you.
04:36Now, who's gonna play the mythical Mr. Melnick?
04:38Oh, my brother Seymour.
04:40Seymour Glass.
04:42He's a retired locksmith.
04:44Lives in Orlando with his daughter.
04:46He has to go back to San Francisco,
04:48some unfinished business for a former client.
04:51Now, how can I be sure
04:53that he's gonna lead us to all those
04:55wonderfully romantic locales this city has to offer?
04:57Oh, Seymour loves San Francisco.
05:00He hasn't been there in four or five years.
05:02He told me he's gonna visit all the places he remembers.
05:06Marty's Restaurant, Fisherman's Wharf,
05:09Chinatown.
05:11Oh!
05:12Well, then, Seymour is precisely the man I need.
05:15You look splendid, Bertha.
05:17Oh, thank you.
05:18In character, in character.
05:19Oh, thank you, Mr. Steele.
05:21Good day, Mrs. Melnick.
05:22Good day.
05:23I shall look into the matter.
05:24Okay, good day.
05:25Take care now.
05:26Mind yourself.
05:27Good day.
05:28Ha-ha-ha-ha-ha!
05:34Floating high on a cloud
05:40Just knowing soon you'll be near
05:47That sweet golden gate smile
05:53Climbs the hills to the sky
06:01Just to take your hand in mine
06:05And stroll on down by the bay
06:09Feels so good to feel the chill in the air
06:14Take the cable to the tower
06:17To that place where lovers stop
06:21Counting the days till I see you there
06:25My head's high in the clouds
06:34Hello, welcome to San Francisco.
06:36Oh, delighted to be here.
06:37The name's Steele, Remington Steele.
06:40Ah, yes, party of two.
06:42If you'd please fill us out, sir.
06:44Sure.
06:45Do you have a Fred Melnick registered here?
06:50No, I'm afraid not.
06:51Perhaps he's using an alias.
06:53We'll just have to keep a sharp eye peeled, won't we?
06:56All right, that's 426.
06:58Great.
06:59And 428.
07:02Separate rooms, Miss Holt?
07:04Separate but equal, Mr. Steele.
07:06Oh.
07:09Thank you very much.
07:11That's right, that'll be fine.
07:12Okay, here you go.
07:18Bye now.
07:20Bye.
07:29Uh, uh, uh, Laura,
07:32you forgot to tell the bellboy to unlock the connecting door.
07:37No, I didn't.
07:38It'd be so nice
07:41if we fell in love today
07:52Well, isn't that gonna make things a little, uh,
07:55you know, uh, awkward?
07:58We're here on business, Mr. Steele, remember?
08:01Oh, yes.
08:02How could I forget?
08:04It's emblazoned on my mind.
08:07Shall we, uh, stake out the mark,
08:09see if our quarry makes an appearance?
08:12Ready when you are.
08:19When I was at Stanford,
08:21a bunch of us used to drive up to San Francisco for the weekends.
08:25Oh, I think it's the most romantic city in the country.
08:32You do?
08:33Really?
08:36Here you go.
08:42Hello.
08:45May I get you something from the bar?
08:47Uh, why not, yes.
08:49Dom Perignon, uh, 76.
08:51If you have it.
08:54You know, if it weren't for this case,
08:57this would almost be like...
09:00What?
09:01Oh, I don't know.
09:03A holiday, a vacation.
09:05I mean, here we are, just the two of us,
09:09away from the hustle and bustle of business,
09:12having drinks in a beautiful setting.
09:18There he is.
09:19Who?
09:20Fred Melnick.
09:26Oh.
09:34Come on.
09:38What about your champagne?
09:41Keep it cold, will you?
09:49Excuse me, that guy who just left looked familiar.
09:52Name's Remington Steele.
09:55Remington Steele, of course.
09:57Remington Steele.
09:59Remington Steele.
10:01Remington Steele, of course.
10:04He staying in the hotel?
10:06Room 428.
10:08Well, maybe I'll pay a call on him later.
10:24Come on.
10:31Come on.
11:01Come on.
11:31Come on.
11:39Come on.
11:41I wish you'd stop saying that.
12:01Trap man.
12:06It appears our Mr. Melnick is a murderer.
12:11If I had a box full of wishes
12:17I'd wish them all on you
12:32All right, we have a dead man.
12:34Willis Fishbane, a doctor from Sausalito.
12:37We also have the name Trap Man.
12:40Obviously, Dr. Fishbane was identifying his murderer.
12:45Front desk, please.
12:46What are you doing?
12:47You said yourself Fred Melnick could be using an alias.
12:50Yes, do you have a Mr. Trap Man registered here?
12:59No Trap Man.
13:00Well, there you see, Laura.
13:03Yes, operator, I'd like Los Angeles, please.
13:06555-3535.
13:08What now?
13:09Detective work, Mr. Steele.
13:11That's what we're here for, isn't it?
13:13Bertha Melnick's husband is obviously mixed up in more than marital hijinks.
13:17Mildred, I want you and your trusty computer
13:21to check out a Willis Fishbane of Sausalito
13:24along with Bertha and Fred Melnick.
13:27Yeah.
13:28Get back to me ASAP.
13:32Was that my phone?
13:35I don't hear anything.
13:36My shower, Laura. I think I left my shower on.
13:38Excuse me just a second.
13:48Yes, operator, please.
13:50I'd like a long-distance call to Los Angeles.
13:53555-3535.
13:55Thank you very much.
13:56Thank you very much.
13:57Yeah, 3535.
13:58Boss, Miss Holt just called
14:00and I'm feeding those names into the computer right now.
14:02Forget it.
14:03What do you mean, forget it?
14:05Forget the shrimp cocktail I just ordered.
14:08What shrimp cocktail?
14:10That order you were just given.
14:12Cancel it.
14:13You mean from Miss Holt?
14:15That's the one.
14:16You mean you don't want me to check these people out?
14:18That is correct.
14:19Absolutely and irrevocably correct.
14:21Yes, goodbye.
14:23What was that all about?
14:24Room service.
14:25So dense, so obstinate.
14:27And at these prices, oh, boy.
14:30Now, since Fred Malek seems to dine at Marty's
14:33whenever he's in town,
14:34I think we should give the place some careful scrutiny.
14:37Besides, I'm starved.
14:39But you just canceled food.
14:40Yeah, finger food.
14:42Barely keep a goldfish alive.
14:43I'm not sure we can afford to waste a lot of time
14:46sitting in a restaurant.
14:47Laura, we have to eat.
14:49I mean, we haven't eaten since we left Los Angeles.
14:51Hey, come now.
14:53Some veal piccata, some mozzarella marinara,
14:57some linguine bathed in clam sauce.
15:00Yes, I am a little hungry.
15:02Okay, well, you go freshen up
15:04and I'll go make the reservations.
15:06Okay, see you later.
15:07It'd be so nice
15:09To just get away
15:11Spend some moments, a little time for play
15:14It'd be so nice
15:16To just fall in love today
15:21Operator?
15:22Could I have the front desk, please?
15:26Uh, yes.
15:27Do you have a Seymour Glass registered here?
15:31He checked out?
15:33Oh, uh, did he leave a forwarding address?
15:37Oh.
15:39Uh, no, no, no, thank you very much.
15:41Bye-bye, thank you very much, bye.
15:47Bertha, Bertha.
15:49That's it, Bertha.
15:50Where's your number, darling, where's your number?
15:52Oh, Bertha.
15:54Huh? Huh?
15:56Oh, yes.
15:58Oh, Bertha Milne, good girl.
16:00Here you go.
16:04Uh, yes, operator?
16:06Can you get me Los Angeles, please?
16:09Oh, sugar.
16:16You all set?
16:17Just waiting for you.
16:21Did you make a reservation?
16:38Did I remember to tell you
16:40that you look especially beautiful tonight?
16:43And you look very handsome.
16:45We make a perfect couple, don't we?
16:48Have you decided, sir?
16:50Yes.
16:52We'll have some mozzarella marinara to start with,
16:56some veal piccata, not too heavy on the lemon butter,
17:00some linguine in white clam sauce
17:03and a bottle of Dom Perignon.
17:06The 76, if you have it.
17:08Very good, sir.
17:11After dinner, why don't we, uh,
17:13scour Fisherman's Wharf, perhaps take a wander down by the...
17:16There he is.
17:18Who?
17:20Fred Melnick.
17:24Oh.
17:32I didn't realize Mr. Melnick
17:34had such a dramatic effect on people.
17:37Oh.
17:39Let's not lose him this time.
17:42Oh.
17:46What about your food, sir?
17:48Keep it hot.
18:17We lost them.
18:24Uh, uh, uh, uh...
18:27I don't know if you want some sleaze.
18:29Come on, let's go inside.
18:32Come on.
18:45Excuse us, excuse us.
18:47We saw them first, okay, buddy?
18:49Back off, buddy.
18:57All right, all right, all right, all right.
19:00You want in, you're in.
19:04Oh, it's okay.
19:06Hi, hello.
19:08Oh, hi.
19:10Join us.
19:12Well, we really appreciate it, but I think we should be going, actually.
19:17What do you want with the trap, man?
19:19Who?
19:21Don't be cute. You've been on his tail ever since he got to San Francisco.
19:24Oh, merely a coincidence.
19:26You're a private dick.
19:29Oh, hey, I...
19:31I didn't know my fame had spread this far north.
19:33It was hardly the time to preen, Mr. Stone.
19:36Who hired you? Who are you working for?
19:38We're just here on holiday,
19:40enjoying the sights and sounds of your enchanting city, that's all.
19:43Look at it all.
19:45Well, I'm glad you like San Francisco,
19:47because you're gonna end your days here.
19:49Huh?
19:51I think candlestick parking, nice and quiet this time of night.
19:55Let's go.
19:57What?
19:5920 bucks!
20:01What?
20:03I am worth a hundred if I'm worth a penny!
20:05Sit down. Stop it.
20:07A hundred bucks for what?
20:09I've seen better buddies in the moon!
20:11Oh, you pig! You limey pig!
20:13Sit down. Hey, hey, hey, what's going on here?
20:15Uh, nothing, officer.
20:17Uh, just a little bit too much good cheer.
20:19This guy tried to buy my bond for 20 bucks!
20:22What do you mean? I was being generous.
20:24I mean, look at her. She's all skin and bones.
20:26I mean, I like a little meat with my potato.
20:28Meat? I'll show you!
20:30Officer, get this woman off me!
20:32Hey, hey, hey, lady, just calm down.
20:34Now, we're gonna have to run you in for soliciting.
20:36Why is it always the women?
20:38Never the men!
20:40The filthy, oppressive, exploitative men
20:42who drove us into this
20:44by denying our rightful place in society!
20:46Come on!
20:48Sit down, pal. I want to buy you a little farewell drink.
20:50What about me, officer?
20:52What about you? Well, I made the proposition.
20:54I mean, I attempted to buy this woman's body for carnal purposes.
20:56I mean, I think she's right.
20:58I'm as guilty as she is. Don't you agree?
21:00Yeah! Have it your own way, pal.
21:02Take him, too. Oh, thank you.
21:04Okay, well, uh, you know, we'll have to take a rain check
21:06on that drink another time, okay?
21:08This way?
21:20I say.
21:22The judge was quite lenient
21:24under the circumstances.
21:26I'd just like to know
21:28why your bail was $250
21:30and mine was $500.
21:32Oh, you were the professional in the group.
21:50Come on.
22:08Oh!
22:10What is going on here?
22:12Oh, Laura, you're never gonna forgive me.
22:14For what? You didn't even want to take this case in the first place.
22:16I lured you up here under false pretenses.
22:18What are you talking about?
22:20Well, you see,
22:22every time we planned to get away together,
22:24a case would interfere.
22:26So I hired that woman Bertha Melnick
22:28to make up a story about her husband
22:30being in trouble, you see?
22:32The plan was to chase the make-believe Mr. Melnick
22:34all over the most picturesque parts of San Francisco
22:36and then eventually discover
22:38that he was here for some truly innocuous reason.
22:40In the meantime, you and I
22:42would have a few days of uninterrupted...
22:48bliss.
22:52Ah! Ah!
22:54Are you telling me
22:56this whole case was just a ruse
22:58to get me alone in San Francisco?
23:00I'm terrible, rotten, degenerate human being!
23:02Laura, forgive me, please!
23:04That is, without a doubt,
23:06the most...
23:08romantic thing
23:10anyone has ever done for me.
23:12Should I take that to mean you're not angry with me anymore?
23:14Angry?
23:16I should just sign myself with joy!
23:20Oh! Oh!
23:22Now all I have to do is live long enough
23:24to reap the benefits.
23:26Come on, let's go.
23:30Okay.
23:32Grab a lid.
23:34Isn't it romantic?
23:36Every note that's sung is like
23:38a lover's kiss.
23:40Isn't it romance?
23:46Quick, in here!
23:48All right, I think we lost them.
23:50Who are those men,
23:52and why are they trying to kill us?
23:54Ah, simple, Laura.
23:56We had a chance to be alone together in a city famed for romance.
23:58I mean, could we expect anything less
24:00than a group of dedicated killers
24:02dogging our path?
24:04We'd better locate Seymour Glass slash Fred Melnick.
24:06Maybe he knows what's going on.
24:08He's a retired locksmith from Orlando.
24:10I mean, according to his sister,
24:12he's up here on some unfinished business
24:14for a former client of his.
24:16Well, could that former client be this Trappman
24:18that everybody keeps speaking of?
24:20Only at the Topless Bar,
24:22they kept talking about him as The Trappman.
24:24Could that be a name or something else?
24:26I suppose you're determined to find out, aren't you?
24:28Mr. Steele.
24:30That's what I do for a living.
24:32Oh, must be exciting work.
24:36Name's Rita Del Rio.
24:38Do you know where we can find her?
24:40Uh-uh.
24:42Uh, would, uh...
24:44President Jackson help jog your memory, eh?
24:46Hey, I own this establishment.
24:48Don't insult me by shoving money in my face.
24:50Apologies, Mookie.
24:52I get all sorts of weirdos in here
24:54looking for my girls.
24:56They could get cut up for worse.
24:58Can you get her a message for us?
25:00Maybe.
25:02Tell her that the two people who helped her last night
25:04would like to talk to her about the man she was with.
25:06Where?
25:08Top of the mark, nice and public.
25:10If she doesn't like what she sees, she can take off, okay?
25:12I'll do my best.
25:14You wouldn't happen to sell food in here, would you?
25:16We only serve booze.
25:18What about the things you put in them,
25:20you know, pineapples, olives, cherries?
25:22We will grab something after we give Dr. Fishbane a try.
25:24Well, let's just hope the man with the gun
25:26doesn't think we're stupid enough to go back there, okay?
25:30There you go.
25:32Thank you very much.
25:34He must rent that tree by the month.
25:36He probably came back after the police left.
25:38We'll deal with him later on.
25:40Oh, good.
25:42It's always nice to have something to look forward to.
25:54I'm sorry.
25:56It's all right.
25:59Can't you control that?
26:01It's a simple procedure, Laura.
26:03You just put some food in it, and it shuts right up.
26:05Who do you suppose he is?
26:07Yes.
26:09Thank you for coming.
26:11Did you know the Judge Long?
26:13The judge?
26:15My late husband, Judge Morris Fishbane.
26:18Well, we had a passing acquaintance
26:20with Willis Fishbane.
26:22We were under the assumption that this was his house.
26:25Oh, it is. He's...
26:28He was the judge's brother.
26:31Poor Willis.
26:33He was stabbed to death yesterday in Lincoln Park.
26:36The police think it was an attempted robbery.
26:40I don't mean to appear morbid, Mrs. Fishbane,
26:43but, uh, how did your husband die?
26:46Heart attack.
26:48Yes, he'd just finished playing six sets of tennis.
26:51Oh, Morris had the finest hopspin in Hillsborough.
26:54That's where we live.
26:56I know that he would have wanted his final farewell there,
27:00but the other night, our house was vandalized.
27:03Floors, walls, ceilings ripped apart.
27:06It was as though someone had taken an axe to everything.
27:09The most wanton destruction of personal property I have ever seen.
27:14I was going to take months to restore it
27:16to just the semblance of what it was.
27:19That's why we had to have the final farewell here.
27:23Excuse me.
27:25Terrible cold. Terrible cold.
27:27We don't want to intrude any more, Mrs. Fishbane.
27:30Thank you, and again, you have our heartfelt condolences.
27:33Come back tomorrow.
27:35We're having Willis's final farewell at 10.
27:37Oh, thank you. We look forward to it.
27:39I mean, we'll try. We'll try. Good day.
27:42Now we have to contend with our friend out there.
27:45I'd feel a lot more sanguine
27:47if we had the element of surprise on our side.
27:49There has to be a rear entrance to this place.
27:52Let's find it.
27:54Excuse me!
27:58Come here. Come here.
28:00All right, good.
28:02Here it is.
28:04Um...
28:06Inspector Barney Neal?
28:08San Francisco Police Department?
28:10The police are trying to kill us?
28:12Would it be injudicious to run like hell?
28:15Sounds good to me.
28:17Come on.
28:19If I had a box full of wishes
28:25I'd wish them all on you
28:30And if I had a box full of wishes
28:37I'd make your dreams come true
28:40I'd do that for you
28:42If I could hold you for a moment
28:48I'd never let go
28:53And if you could hear all the words
28:59That I've longed to say...
29:01Relax, relax.
29:03We'll spend the rest of our lives
29:05hiding in the middle of a dance floor.
29:07We're not hiding. We're waiting.
29:11Rita Del Rio isn't going to show.
29:13Maybe we should go back to the bar and try to find her.
29:16If we bump into Inspector Barney Neal,
29:20what do you suggest we do? Call the cops?
29:22Providing those other gentlemen
29:24are also members of San Francisco's finest,
29:27why do the police want to see us dead?
29:30You don't happen to have
29:32any unpaid parking tickets, do you?
29:37I can see you're taking this
29:39with your usual blend of caution and concern.
29:42If these are to be our last days,
29:45I mean, at least we're spending them
29:47in elegant splendor, don't you think?
29:49To hell with our killer cops.
29:51Let's enjoy the night and the music.
29:54You can see the wisdom of my strategy?
29:56You know, that is one of the problems with us.
30:01It came to me one lonely night.
30:04It wasn't exactly the burning bush,
30:07but still it got my attention.
30:10You're, uh...
30:13You're one of the things that I have to guard against.
30:16The part of me that I can't ever allow myself to be.
30:21Reckless, indulgent, frivolous.
30:25Sounds irresistible.
30:28Seductive, at any rate.
30:30And very dangerous.
30:32I wish you'd stopped after seductive.
30:35If I could hold you for a moment
30:42I'd never let go
30:47And if you could hear all the words
30:53That I've longed to say
31:00Won't you please stay?
31:07What?
31:09There she is.
31:10Who?
31:11Rita Del Rio.
31:18Miss Del Rio, thank you for coming.
31:21I can't stay long. I gotta be at the club in a half hour.
31:26There you go. Set yourself down.
31:28Now, the man you were with last night, Seymour Glass.
31:34Tell us what you know about him.
31:36I don't know anything about him.
31:38You and he were engaged in a rather intense conversation at Marty's restaurant.
31:42Oh, that.
31:44He told me Dr. Fishbane was dead.
31:47And what was your relationship with Willis Fishbane?
31:50I never met the man.
31:54Then why did his death reduce you to tears?
31:57You're not with one of them scandal magazines, are you?
32:00You know, the kind you get in the supermarket?
32:02We're private investigators, and we're here on a case, we think.
32:06Well, I was kind of, you know, involved with Dr. Fishbane's brother.
32:12The Judge Morris Fishbane?
32:14Yeah, he was such a sweet guy.
32:17A little stuffy, maybe, but real sweet, you know?
32:20Anyway, Mr. Glass did some work for the judge 10, 12 years ago.
32:25What kind of work?
32:26I don't know, but he said some heavy-duty people didn't want him to finish it,
32:30and they were going around knocking off anyone who was close to the judge.
32:35It made me a little nervous.
32:37I always cry when I get nervous.
32:39Do you know where Seymour is now?
32:41No, he split right after we left the club last night, and I haven't seen him since.
32:45Listen, I really gotta shove off,
32:48but if you find him, tell him to give me a call.
32:51I'm a little worried about him.
32:53So are we, Ms. Del Rio.
32:56Bye.
33:00Well, Mr. Steele, what's our next move?
33:05Let's go to my room.
33:12No, no, no, Bertha.
33:14Miss Holt and I are having the time of our lives.
33:17Seymour is leading us on a wonderfully merry chase.
33:20As a matter of fact, he really does think we are chasing him.
33:23And I just wondered if you might know where he would hide
33:26if he was in some sort of trouble.
33:43Mr. Glass, I want to speak to you.
33:48It's very impolite to eat and run, Seymour. Come and sit down.
33:51You're not getting it out of me.
33:53You can pull out my fingernails with rusty pliers.
33:56You can bury me in sand up to my neck with ants dancing on my eyes.
33:59Seymour, Seymour, Seymour, Seymour, please. You're getting disgusting.
34:02Mr. Glass. Ah, good food.
34:04We want an explanation.
34:06We want some, uh, egg rolls. Who are you?
34:08Clay pigeons. Fried shrimp.
34:10Sitting ducks. Minced squab.
34:12Moving target. Shredded pork.
34:13Take your pick. Yeah, that should do it.
34:15And we're sick and tired of all those people out there with guns aimed at us.
34:18He's still standing there. He hasn't moved.
34:21He don't understand English.
34:23Oh, no, no, no.
34:24What's more important, your stomach or our lives?
34:27Well, at the moment, Lord's a bit of a toss-up.
34:29You're gonna sit there until you tell us what in the world is going on.
34:32Why should I? Why?
34:34Because we're friends of your sister and you're in trouble and you want our help. That's why.
34:37How do I know you know Bertha?
34:40Blanche. Streetcar named Desire.
34:43She earned six curtain calls.
34:45Her greatest triumph.
34:47Mr. Glass, those men who tried to hustle you out of that topless bar last night,
34:52at least one of them is a policeman.
34:55They're all cops.
34:56Oh, this gets better and better, doesn't it?
34:58What do they want with you?
35:00The trap.
35:02You mean, you're the trap man?
35:04That's me.
35:06What the hell is a trap man?
35:07A guy who installs traps.
35:09You know, secret panels, hidden safes.
35:11They're mostly for the mob.
35:13Oh, occasionally you get your doctor, your dentist.
35:16Anybody who's got something they don't want somebody else to find.
35:19Usually it's cash.
35:20That's fascinating.
35:22So your trap belongs to this Judge Morris Fishbane.
35:25Yeah, when I read that he kicked off, I flew right out here to open it.
35:29You see, the only time a trap man is allowed to tell the secret
35:34is when the owner of the trap dies.
35:36And you told the judge's brother, Willis Fishbane.
35:39Yeah, look what happened to him.
35:41Who was in the trap, Seymour?
35:43Only the judge knew that.
35:45Well, obviously it's important enough to kill for.
35:47Have you told Mrs. Fishbane?
35:49I go anywhere near her, she winds up napping alongside the judge.
35:53Who was that man at the top of the mark, the one you argued with?
35:56George Broder, Captain Broder.
35:59He tried to give me 100 grand not to open the trap.
36:04I told him what he could do with his money.
36:08You see, a trap man lives by his honor.
36:14Or he don't live long.
36:16And since you're the key to locating the trap,
36:18they were probably trying to kill you in the park, not Dr. Fishbane.
36:22Silence you and their worries are over me.
36:25And because we've been following you around San Francisco,
36:28they're probably convinced we've been working for someone
36:30who wants you to open the trap for them.
36:33Yeah, well, don't worry about me.
36:35I'm flying back to Orlando in the morning.
36:38Seymour, once you turn down that 100,000, you were a marked man.
36:43Going to Orlando will not solve your problem.
36:45They'd still have to kill you to make certain that trap stays closed forever.
36:49And us, just to make sure we didn't know where it was.
36:53Welcome to San Francisco, Mr. Steele.
36:56Oh, delighted to be here.
36:58Let's hold her.
37:07Pinto Place.
37:09La Serena Drive.
37:13Van Dyke Avenue.
37:15Did you ever hear of the Bug?
37:17Who?
37:18Bugsy Siegel. Gentleman gangster.
37:21I'm the one who put the trap in the Flamingo Hotel for him.
37:24Seymour, do any of these street names sound familiar?
37:27Uh-uh.
37:29Oh, what a guy, that Bug.
37:31He was the father of Las Vegas.
37:34A visionary.
37:37They blew his head off.
37:39Terrible tragedy.
37:41Concentrate, Seymour. Concentrate.
37:44I told you I was only in Hillsboro once when I installed the trap for the judge,
37:48and that was 12 years ago.
37:50No wonder the judge's house was vandalized.
37:52They were looking for the trap.
37:54Well, apparently they didn't find it.
37:56Otherwise, they wouldn't still be trying to kill Seymour.
37:59Oh, those were the days.
38:01Flying here, flying there.
38:04Chicago, Vegas, Cuba.
38:06Castilian Drive.
38:07Oak View Terrace.
38:09What you hear, you know them mob boys,
38:11they didn't go in much for safe deposit boxes
38:13or them numbered Swiss bank accounts.
38:15No, sir.
38:16They wanted to get their mitts on their money quick.
38:19Seymour, this is a matter of life and death.
38:23Ours.
38:24Well, hit the right street and I'll remember it.
38:27You know, when the owner of a trap dies,
38:31the trap man gets a percentage of whatever's in it.
38:34And that can add up to a nice piece of cash, I'll tell you.
38:38I remember one.
38:40Who is it?
38:41Room service.
38:43Oh, thank God for that.
38:45We didn't order any room service.
38:50Uh, we didn't order any room service.
38:52It's a fruit basket, compliments of the management.
38:55I'm not dressed.
38:57Just leave it outside.
38:59Sorry, can't do that, ma'am.
39:00You've got to sign for it so the manager knows
39:02I didn't swipe it for myself.
39:04Just a minute.
39:06I'll have to throw something on.
39:08Believe me, Laura, I wouldn't do this
39:10if it wasn't an extreme emergency.
39:12Really.
39:37Oh!
39:41Laura?
39:42Open the door.
39:44Here you go, Coach.
39:46One gun.
39:47All right.
39:48All right.
39:49Here.
39:52All the way in.
39:58Oh, my God.
40:00Oh, my God.
40:02Oh, my God.
40:03Oh, my God.
40:04Oh, my God.
40:06Oh.
40:09Oh, must be coming up in the world.
40:11This one's a lieutenant.
40:12Well, they know where we're staying now.
40:15We can't come back here until this thing's wrapped up.
40:18When do you think that'll be?
40:19My plane leaves at 9.
40:22Come on.
40:25That's the one.
40:27You've been saying that for the last hour and a half, Seymour.
40:30I tell you, that's the judge's house.
40:33Pull over, driver.
40:53Oh, if this ain't gonna be the best day of my life,
40:56I guarantee it's gonna be one of the richest.
41:04Oh, there goes our trap.
41:09Not necessarily.
41:34Oh.
41:47Fuck.
41:48Fuck.
41:49Fuck.
41:51Fuck.
42:00How much?
42:01No money.
42:02Then what did we risk our lives for?
42:05A list of briberies,
42:07payoffs,
42:10underworld connections,
42:13a veritable cornucopia of corruption
42:17involving a former police commissioner,
42:21several judges,
42:24and a packet of politicians.
42:27Well, Judge Fishbane was probably blackmailing these eminent citizens.
42:32Well, we can't take our fine to the police
42:34because we don't know which ones to trust.
42:36The FBI. We will go to the FBI.
42:39But we have to find a safe place to stay the night
42:41until we can contact them.
42:43Stick with me, kids.
42:46This is not quite the way I envisioned our stay here.
42:50Oh, I don't know.
42:52It's had some interesting twists and turns.
42:56Why do you have to be such a good sport about all of this?
43:00Everything okay?
43:02Yeah.
43:03Yeah.
43:04Yeah.
43:05Yeah.
43:06Yeah.
43:07Yeah.
43:08Yeah.
43:09Yeah.
43:10Yeah.
43:11Yeah.
43:12Yeah.
43:14Everything okay? You want anything?
43:16Food.
43:18I'm sorry. They only...
43:19Serve drinks. I know.
43:22I saw a hot dog stand across the street.
43:24I know there's something to nibble on.
43:25I don't think you should leave.
43:26I mean, what if somebody should see you?
43:28Rita, no one knows we're here.
43:29Get me a chili dog.
43:30Cheese, mustard, no onions.
43:32Hey, I'll have one of those, too.
43:34Mustard, onion, no cheese.
43:36Oh, what the hell.
43:37Make mine cheese, onions, no mustard.
43:40No mustard, no cheese, no onions.
43:42Got it.
43:51Oh, I pray you're open for business.
43:54What can I get for you?
43:55Four chili dogs, please.
43:57What do you want on them?
44:04Everything.
44:05Yeah.
44:13Come on.
44:27Hey!
44:32Aah!
44:33Aah!
44:34Oh!
44:38Oh!
44:39Oh!
44:42They're here.
44:43Who?
44:44The guys that are after you and me.
44:46What about Mr. Steele?
44:48He'll be fine. Come on.
44:49We gotta get out of here.
45:02Who's gonna pay for this?
45:03Let me ask you a question.
45:04What?
45:05How did they know we were here?
45:08Nora.
45:09Nora!
45:10Excuse me, darling.
45:26Apartment three.
45:29Aren't you coming?
45:31I got six more shows to do.
45:33You won't be safe there.
45:35They don't want me.
45:37They want him.
45:40They want him.
46:10No!
46:12Come on.
46:23Floating high on a cloud
46:29Just knowing soon you'll be near
46:35That sweet golden gaze
46:38Well, Seymour's safely on his way back to Orlando.
46:42I'm sure he's delighted as much as we are.
46:47Tell me, how did you know there was a trap
46:49waiting for you and Seymour back at Rita's apartment?
46:52I began to wonder why she was so positive
46:54they only wanted Seymour
46:56after she told us they were killing anybody
46:58who was close to the judge.
47:00Poor old Judge Fishbane.
47:02She only got involved with him
47:03so she could get close to the trap, I guess.
47:08All right.
47:09Come in.
47:10Here you go, my good man.
47:11Take it away.
47:12Thank you very much indeed.
47:13Wallet, keys, that's what I need.
47:15Here we go.
47:16Right.
47:17OK.
47:18Look.
47:19You know, it's going to be a pity to leave this place
47:21after everything's finally calmed down.
47:23While it's not your fault
47:24the entire hotel was booked
47:25for a chiropractor's convention,
47:28still, it's the thought that counts.
47:32Well, perhaps I'd hope for something more than, um,
47:37you know, mental stimulation.
47:43You know, we've gone through this whole case
47:47without you once coming up with a movie reference.
47:50Well, here you go.
47:51I've got an appropriate one.
47:52Oh?
47:53The Lost Weekend.
47:55William Alland, Jane Wyman, Paramount, 1945.
47:59Lovers stop
48:01Counting the days till I see you there
48:05My head's high in the clouds
48:15trombone solo
48:35orchestra only