Remington Steele S01E11
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00:00Veronica Kirk was the Queen of the Bees.
00:06As in Buzz Buzz?
00:07Bee Movies.
00:08She's at it again!
00:11So then it's safe for us to assume that your mother is a four-star loon.
00:16He won't get me.
00:18Not tonight.
00:19Remington Steel Agency was hired to find Veronica Kirk, not to abscond with her.
00:24Devils.
00:25I need to know what happened last night in your bedroom.
00:28Gone a long way, dimples.
00:37Try this for a deep, dark secret.
00:39The great detective Remington Steel, he doesn't exist.
00:44I invented him.
00:45Follow.
00:46I always loved excitement, so I studied and apprenticed and put my name on an office.
00:53But absolutely nobody knocked down my door.
00:55A female private investigator seemed so feminine, so I invented a superior, a decidedly masculine
01:04superior.
01:05Suddenly, there were cases around the block.
01:07It was working like a charm, until the day he walked in with his blue eyes and mysterious
01:13past.
01:14And before I knew it, he assumed Remington Steel's identity.
01:19Now I do the work and he takes the vows.
01:23It's a dangerous way to live, but as long as people buy it, I can get the job done.
01:29We never mix business with pleasure.
01:32Well, almost never.
01:35I don't even know his real name.
02:05She's at it again.
02:32Veronica!
02:33Mother!
02:34He won't get me.
02:35Not tonight.
02:36From the sound of it, Miss Kirk, she hasn't been gone very long.
02:49Have you tried contacting the police?
02:51I was hoping to avoid that, if possible.
02:55You see, my mother has something of a medical problem.
02:57What's that?
02:58Tequila.
02:59Lots of it.
03:00That, and the fact that she's been a virtual shut-in for the past 30 years, has given rise
03:06to frequent lapses in memory, bouts of senility, and even paranoid delusions.
03:13For the past two months, my mother's been convinced that someone's trying to kill her.
03:16And there's no basis for her fears?
03:18No.
03:19Not if we're talking reality, there isn't.
03:21So then it's safe for us to assume that your mother is a four-star loon.
03:26Look at you!
03:31This is new, isn't it?
03:32What a fabulous color for you.
03:34Let me guess, Miss Wolfe.
03:35Laura's in my office interviewing a prospective client, and you've been posted here to prevent
03:40me from joining them.
03:42Laid it on that thick, did I?
03:43With a trowel, I'm afraid.
03:46Look, just this once, couldn't you let me win?
03:49What?
03:50Isn't that a perfect record?
03:52I was hoping your agency could handle this with the right sort of discretion.
03:56Oh, excellent.
03:57So glad you had the good sense to start without me, Miss Holt.
04:00To steal?
04:01I thought you were still...
04:02In the mayor's office?
04:03What's the point?
04:04My views on crime are public knowledge.
04:05No, this is where I can really make a difference.
04:06Eh, Mr. Michaels?
04:07You certainly do make a difference, sir.
04:10Now, how can we be of service to you, Miss...
04:13Kirk.
04:14Jennifer Kirk.
04:15It seems that her mother, Veronica, is missing, and the case is complicated by the...
04:21Veronica Kirk?
04:22Not THE Veronica Kirk.
04:24Death's darling?
04:25The Camille of Gower Gulch?
04:27I'm afraid so.
04:28You knew Veronica Kirk was an actress?
04:31You didn't?
04:32Oh, it's true.
04:33She hasn't made a picture in...
04:34Must be nearly three decades.
04:36Could be four, unless Phil Haver gets his way.
04:39Hmm?
04:40Who's Phil Haver?
04:41He's a producer, urging Veronica to make a comeback.
04:44Oh, that's wonderful.
04:46Haver is a parasite who bleeds pathetic old women of their trust funds.
04:50Oh.
04:51Might I have a word in private with you, sir?
04:54Oh, by all means.
04:55Excuse me.
05:02It appears I hit a sensitive nerve.
05:04Several.
05:05Oh, my apologies.
05:06But the thought of being a mere relative away from Veronica Kirk,
05:09a veritable legend of the silver screen...
05:11A deranged and drunken woman.
05:14Perhaps legend is a bit strong, but the fact remains,
05:16Veronica Kirk was the queen of the B's.
05:19B's as in Buzz Buzz?
05:21B-movies.
05:22Second feature on a double bill,
05:24though made on a shoestring.
05:25No budgets, no stars, just good acting,
05:27great scenarios, and a plethora of inventiveness.
05:30If you can contain your thrill...
05:32Thrill?
05:33Laura, Veronica Kirk was one of the greatest femme fatales of the cinema.
05:38She died in more films than any other actress around,
05:40and better, too.
05:41Better than Davis, better than Crawford,
05:44better than me, better than Garbo.
05:46Well, if I don't find her soon,
05:48she just may outdo herself.
05:50Mm, you're right.
05:52Time to reminisce once we're sure that she's safe.
05:55What makes you think that the mayor can spare you?
05:58Laura, you can't be so cruel
06:00as to come between a man of my cinematic expertise
06:03and a star like Veronica Kirk.
06:06Can you?
06:08What is it with you art directors?
06:10Everything has got to be the Taj Mahal?
06:13You hear the expression, less is more?
06:15So give me more.
06:17Just make it cost less.
06:19Mr. Haver, listen, if you're an actor,
06:21just give your resume to...
06:23Mr. Haver, this is Remington Steele.
06:25Remington Steele? The detective?
06:27Huh. Hey, how are you?
06:29Oh, uh, look, if my wife sent you,
06:31just tell her that I am having an affair,
06:34and I'll send her some pictures if she wants.
06:37No, Mr. Haver.
06:39We're looking for Veronica Kirk.
06:42She seems to have disappeared.
06:44Her daughter thinks you might know where she is.
06:46That greedy little tramp
06:48will do anything to keep me from making this movie.
06:51Will you tell her I may or may not know where her mother is?
06:54But under no circumstances will I tell her.
06:56Why should I?
06:58So she can lock away my star in some loony bin?
07:01Uh-uh.
07:05You, uh...
07:07You like movies?
07:09She's not quite the film buff that I am,
07:11but, uh, she's getting there.
07:13Well, I love film.
07:16I have.
07:18I have ever since...
07:20since my parents took me to see Dumbo.
07:23The magic really got to me.
07:26I was gonna break into this business...
07:29no matter what.
07:31So I ate, drank,
07:34and slept film.
07:38And finally, one day,
07:40I made it.
07:42Really? And how did you get your start?
07:44My father finally broke down and gave me a job.
07:47About Veronica Kirk?
07:49Picture this.
07:51In this film, she gets to play three different roles.
07:55The queen of the Amazon tribe,
07:58the mother of a corrupt politician,
08:01and a TV anchorwoman.
08:03All three die dramatically.
08:08You get it?
08:11Veronica Kirk dies three times
08:15in one movie.
08:17Oh, sounds splendid.
08:19Are you kidding?
08:21Nostalgia sells.
08:23Veronica Kirk is a goldmine.
08:25I wish I had ten more like her,
08:27but they're all gone.
08:29Crawford, Miriam Hopkins,
08:31Zazu Pitts,
08:33all the rest of them are doing guesswork.
08:36So you tell that banshee who hired you
08:40that she does not control Veronica
08:43or her money...
08:45yet.
08:53Mr. Steele.
08:55I'm Eddie Howe,
08:57Philip Haver's publicist.
08:59I think we can help each other.
09:01Oh, how?
09:03Haver's got Veronica stashed.
09:06I can tell you where.
09:08In exchange for?
09:10Half hour with her daughter and Mickey Prentiss.
09:12Who's Prentiss?
09:14Oh, yes, uh, Mr. Prentiss.
09:16I was examining his files this morning.
09:18There's a book in those people
09:20that'll make In Cold Blood look like Leave It to Beaver.
09:26Very well, Mr. Howell.
09:28We'll see what we can do.
09:30Where is she?
09:36Miss Kirk?
09:40Veronica Kirk?
09:42The manager didn't happen to give you a key, did he?
09:44Just the room number.
09:46Shame.
09:48Didn't she used to do this kind of thing?
09:50No towels?
09:52Doors.
09:54Ah, of course.
09:56Bobby pin.
10:06Mm.
10:18She's alive.
10:20Miss Kirk!
10:22Miss Kirk.
10:24I'm Laura Holt,
10:26and I've been hired by your daughter to bring you home.
10:28Who's the dreamboat
10:30with the temples?
10:32My name's Remington Steele,
10:34and I'm your biggest fan.
10:36Oh, you are.
10:38I've been ever since I saw you
10:40with the lady from Montana Mountains.
10:42I wept for days.
10:44Temples, you're making me blush.
10:46Come on. Put your arm round me.
10:48There we go. Let's get you up.
10:50There we go. There we go.
10:52On the bed.
10:54There. Can I get you anything?
10:56Some coffee, perhaps?
10:58Put your legs up.
11:00Oh, thank you.
11:03No sugar.
11:05A little cream
11:07and a lot of tequila.
11:09I'll wait in the manager's office
11:11for you-know-who.
11:15Oh, you're not really
11:17gonna make me go back to that house,
11:19are you, temples?
11:21No, no, no, my dear.
11:23Your daughter's worried sick about you.
11:25My daughter?
11:27The only thing she's worried about is my money.
11:29For the last two months,
11:32somebody has been trying to kill me.
11:36Every moment I spend in that house,
11:38all I can see
11:40is the Grim Reaper
11:42heading toward me,
11:44his shoes shined,
11:46his hair cut,
11:48determined to spend
11:50a night on the town with my soul.
11:52Bandit Betty.
11:54Monogram, 1945.
11:56I've always loved that speech.
11:58So soul-descriptive.
12:01Perspective, temples.
12:03I'm talking reality.
12:07Why do you think I ran?
12:09Because I like
12:11hiding out in cheap motels,
12:13drinking myself
12:15into a stupor?
12:19I'm scared.
12:21My life ain't much,
12:23but it's all I've got.
12:27And I want to hang on to it.
12:31You send me back to that house
12:33and I'm one dead dipso.
12:37How were you ever able
12:39to get this out of Haver?
12:41We're professionals.
12:43Divining information is something
12:45we do all the time.
12:47I knew he was at the bottom of this.
12:49Isn't there some way you can shield
12:51your mother's money from him?
12:53Short of having a commitment?
12:56No!
12:58Please, no!
13:04Please!
13:10Please!
13:20Magnificent!
13:22Brilliant! Heart-wrenching!
13:24Devil's Detour.
13:26Republic, 1949.
13:28Long ago and far away.
13:30I just can't believe you're here
13:32dying on my rug.
13:34That's when I do best.
13:36There was a wonderful picture.
13:38I died of malaria in that one.
13:40Savage sagebrush.
13:42Snake fight!
13:44I did my soliloquy to the sagebrush
13:46and the savages.
13:48What a time that must have been.
13:50I played opposite all the
13:53near and near greats.
13:55Cain Richmond, George Zucco,
13:57and Sabu.
14:03Movies were really movies then,
14:05weren't they?
14:07Not like today.
14:09Videotapes, cable TV.
14:11You don't even have to watch them
14:13in the dark.
14:15It's like dreaming with your eyes open.
14:17No fun at all.
14:20Tell me,
14:22what was Tom Neal really like?
14:24Excuse me.
14:32Ah, Laura!
14:34I want to talk to you, dimples!
14:36I see you got my message.
14:38See your doxy dimples?
14:40Laura Holt, my most trustful, resourceful,
14:42forgiving associate!
14:46Ethics.
14:49You're obviously unfamiliar with the word,
14:51let alone the concept.
14:53However, I can explain our abrupt departure.
14:55I am licensed by the state of California.
14:57That poor woman is beside herself with fear.
14:59To live by a code
15:01of professional ethics.
15:03She told me the most incredible tale of terror.
15:05The Remington Steel Agency
15:07was hired to find Veronica Kirk
15:09not to abscond with her.
15:11I couldn't allow her to be returned to that house alone.
15:13Her daughter could have my license suspended
15:15for what you did.
15:18You're trying to kill her!
15:20Old ladies and little children.
15:22Miss Kirk.
15:24No one believes us.
15:26They accuse us of having active imaginations,
15:28as though that were some sort of a curse.
15:30It's our active imaginations
15:32that allow us to see the truth vividly.
15:34Someone is trying to kill me,
15:36and I can prove it.
15:47♪♪♪
15:49♪♪♪
15:51♪♪♪
15:53♪♪♪
15:55♪♪♪
15:57♪♪♪
15:59♪♪♪
16:01♪♪♪
16:03♪♪♪
16:05Ronnie!
16:07Thank God you're all right.
16:09Oh, it was the skull-faced reaper, Mick.
16:11I felt him at my shoulder.
16:13His razor scythe
16:15glinting in the moonlight
16:17and his rancid breath
16:19hot on my neck.
16:21I won't let him have you, Ronnie.
16:23I'll never let him have you.
16:25Oh, such a
16:27dear fool you are.
16:29A dear, sweet fool.
16:37Skull-faced reaper
16:39with hot, rancid breath, eh?
16:41Oh, a bit colorful, perhaps,
16:43but the drama was her life.
16:45Still is.
16:47Steele!
16:49What are you doing here?
16:51Same as you, collecting my fee.
16:53I'm aware we agreed to speak on your behalf,
16:55but now's not the most opportune time.
16:57Spare your smooth lines, Steele.
16:59You wanted the old bird, I wanted entrance.
17:01Any way you slice it, I'm going in with you.
17:03That old bird means a lot more to me
17:05than some hot copy for your rented typewriter.
17:07You're gonna try to stiff me, right?
17:09We did agree to help him, Mr. Steele,
17:11but it's a confrontation.
17:13Very well.
17:15Find someplace quiet to sit until I say otherwise.
17:17At least pretend you're a gentleman.
17:27Thank you, Mickey.
17:31Oh, there you are, Dimples,
17:33and here it was.
17:37Now, I was asleep
17:39and a noise stirred me,
17:41and I saw a dark form
17:43at the edge of my bed.
17:45His gun cocked,
17:47pointed at me,
17:49and I dared him to come
17:51one step closer,
17:53and he did,
17:55and I screamed
17:57a horrible scream,
17:59and then he did it.
18:01He pulled the trigger.
18:03You say a man
18:05stood at the edge of your bed
18:07and shot you with a gun
18:09at point-blank range,
18:11and he missed.
18:13Missed.
18:15And they say that there is no God.
18:17Miss Kirk, any thoughts
18:19as to who it might be
18:21who might want to see you dead?
18:23I can't imagine.
18:25I always thought I was loved the world over.
18:27Perhaps you could offer
18:29a more detailed description.
18:31Well, it was very dark,
18:33and I was still under the effects
18:35of my, uh, medication.
18:37We've all been feeling
18:39the effects of your medication.
18:41Thank you,
18:43Mr. Steele, for sparing this household
18:45any further embarrassment.
18:47If you'll wait downstairs, I'll make out a check
18:49just as soon as I've secured the situation.
18:51Dimples.
18:53Just a moment, Miss Kirk.
18:55There's a simple enough way to judge
18:57if your mother's story bears any truth.
18:59Please don't humor her.
19:01But if the assassin fired from there,
19:03it must have traveled to here.
19:07A rather convincing piece of evidence.
19:09Wouldn't you agree, Miss Holt?
19:11Uh, yes.
19:13I would.
19:15It certainly is,
19:17except for the fact that it's 30 years old.
19:19How's that?
19:21January 12, 1952,
19:23to be exact.
19:25It arrived there
19:27shortly after passing through my father.
19:29He was standing on the bed
19:31at the time, wearing a...
19:33a smile, wasn't it, Mother?
19:35I'm told
19:37that the 16-year-old girl he had with him
19:39laughed hysterically. She thought it was a gag.
19:41Until the lights came on, and she saw
19:43her brother standing there with a smoking pistol.
19:45Of course,
19:47we'll never know.
19:49By the time the police arrived, they were long gone.
19:53Oh, Hollywood
19:55just doesn't make scandals
19:57like that anymore.
19:59I think we're finished here, Mr. Steele.
20:01It appears so.
20:15Will no good soul
20:17believe me! Am I utterly,
20:19utterly abandoned!
20:21Now you know why I wouldn't wish my life on a dog.
20:23Mickey!
20:25I called him in the library, going through the files.
20:27I'm calling the police.
20:29Great. That's just the kind of thing I can use.
20:31Of course, it could get a bit messy when they find out
20:33I had an invite, right, Steele?
20:35Your personality grows more winning by the moment, Mr. Howell.
20:37You brought him here?
20:39He followed us in.
20:41In exchange for telling them where your mother was.
20:43So just answer a few questions, and I'll go without noise.
20:45The apprentice there was Veronica's stunt double.
20:47But after Edgar was murdered,
20:49he started doubling him around here, am I right?
20:51Who's Edgar?
20:53Veronica's late, unlamented husband.
20:55Edgar was a swine
20:57who grabbed at anything with hips.
20:59When he wasn't shaming Ronnie in the papers,
21:01he was usually hitting her with one.
21:03Ah, but he paid off in the end, didn't he,
21:05apprentice old boy?
21:07You took the insurance money he left and built it into a portfolio
21:09worth over three million.
21:11Sounds like more than a faithful companion to me.
21:13Her life was shattered.
21:15She had no one.
21:17Well, except Jennifer, a 13-year-old kid.
21:19You don't know what she was then.
21:21She was...
21:23She was a chrysalis,
21:25a nymph
21:27of the finest gossamer,
21:29a creature from another world.
21:31She still is, Mars.
21:33Now, I think Mr. Howell...
21:35Has overstayed his welcome.
21:37Hey, hey, hey, I got two more questions.
21:39I'll do my best to answer them if you'll excuse us, Miss Holt.
21:41You have my deepest,
21:43sincerest apologies, Laura.
21:45For anything in particular,
21:47or shall I bank it for the future?
21:49Spiriting Veronica out of that motel room
21:51was not only unethical,
21:53it was irresponsible.
21:55I was so enthralled by her,
21:57so eager to protect her,
21:59that I thought I would never see her again.
22:01I'm sorry, Miss Holt.
22:03I'm sorry, Miss Holt.
22:05I'm sorry, Miss Holt.
22:07I'm sorry, Miss Holt.
22:09I was so enthralled by her,
22:11so eager to protect her,
22:13that I gave no thought to the consequences
22:15for you or for the agency.
22:17No, you didn't.
22:19If I were a better person,
22:21I'd be doing more of this.
22:23Apologizing?
22:25You must admit,
22:27since I elbowed my way into your life,
22:29it's been more complicated than it really needs to be.
22:31Seems I'm forever running off in the wrong direction,
22:33crushing into this, knocking over that,
22:35leaving you and Murphy to pick up the pieces.
22:39You know,
22:41at moments like this,
22:43I wish I could call you something besides Remington Steele.
22:45Oh?
22:47Then I could say,
22:49Harry or Charlie
22:51or Cyril.
22:53You are good
22:55and getting better all the time.
22:57You have wonderful instincts
22:59about people, about cases.
23:01You've come a long way.
23:03Dimples.
23:05In a short time.
23:07Wonderful instincts, eh?
23:09Even about you?
23:13Must have.
23:15Probably.
23:17Hmm.
23:19PHONE RINGS
23:21Steele here.
23:23Dimples?
23:25Yes, Veronica.
23:27How you doing, kiddo?
23:29Oh, just fine, Veronica. And you?
23:31I don't know, Dimples.
23:33I think I just did a bad thing.
23:35I think I just did a bad thing.
24:01Mr. Prentiss.
24:05What are you doing here?
24:07Your mother called us.
24:09Oh.
24:11You just missed her.
24:13Shame, too.
24:15It was quite a performance.
24:17Mother really topped herself.
24:19I'm sure she would have loved
24:21for you to have seen it.
24:23Well, perhaps if you ask her nicely.
24:25Oh, but who
24:27would we get to play
24:29poor Eddie Howell?
24:31Could we speak to her, Miss Kirk?
24:33I don't know. Do they have visiting hours
24:35in the booby hatch?
24:37Jennifer.
24:39You had her committed?
24:41Oh, no. No, no, no, Miss Holt.
24:43It wasn't my decision.
24:45They took one look at her
24:47and practically shot-putted her
24:49into the psychiatric ward.
24:51You're quite a cold woman, Miss Kirk.
24:53Do you think so?
24:55Hmm.
24:57Hmm.
24:59Yes, I suppose I am.
25:01But then, cold people
25:03aren't born. They're made, don't you think?
25:05Do you have any idea
25:07what it was like to be Veronica Kirk's daughter?
25:09For my birthday
25:11parties, do you know what the
25:13entertainment was?
25:15My mother would die for us.
25:17I mean it.
25:19She'd come
25:21staggering into the room,
25:23clutching some part of her anatomy,
25:25and gyrate and sputter
25:27and finally fall into a heap
25:29and pin the tail on the donkey board.
25:31It was rather funny
25:33when I was seven.
25:35It was tragic when I was 15.
25:37But in the end,
25:39it was worth it.
25:41Oh, yes.
25:43Yes, I have
25:45fallen into a bit of,
25:47shall we say, good fortune.
25:49Which reminds me,
25:51now that I do have power of attorney
25:53over Mother's money, I certainly won't be requiring
25:55your services anymore, so
25:57I'm delighted to inform you
25:59that you are discharged.
26:03I can't believe Ronnie did it.
26:05I can't believe they took her away.
26:07Look, I don't like putting your psychopaths
26:09in with Schwarzer's schizophrenics either,
26:11but Maxwell is up to his armpits
26:13of manic depressives, and Nardov's
26:15neurotics are decompensating all over the place.
26:17Dr. Dudworth,
26:19you are the psychiatric administrator,
26:21am I correct? I've admitted to worse.
26:23It's urgent that we speak with one of your patients,
26:25Veronica Clark. Kirk.
26:27Kirk, oh, the shooter. You're not with the police.
26:29Not exactly. Then you're relatives.
26:31I'll need proof of that, you understand?
26:33The fact is, we're private investigators hired to look into this.
26:35Hold it right there. If you're not relatives,
26:37you're not cops. You're not going anywhere.
26:39That's a locked ward for the criminally insane.
26:41But it's important that we speak with a... Hey,
26:43not even Santa Claus gets in there on Christmas Eve.
26:47Well, we handled that one brilliantly, didn't we?
26:49It appears we simply weren't
26:51mad enough to get in.
26:53Look, Arnold,
26:55I'll go a hundred thou a picture.
26:57That's twice
26:59as much as it costs to make those
27:01turkeys in the first place.
27:05No, no, no. Get back to me,
27:07you bandit.
27:09Tragic about Veronica,
27:11huh? What is this world coming to, huh?
27:15Yeah.
27:17So, what's it gonna be, Arnold?
27:19Ha, ha, ha!
27:21Okay.
27:23No, no. You got me by the throat.
27:25Yeah.
27:27But not a penny more than 125 a picture.
27:29And that includes
27:31worldwide rights.
27:33Okay. Bye-bye.
27:35You're buying the rights to Veronica's old film.
27:37You read upside down?
27:39What are you, a William Morris agent?
27:41Somebody's
27:43gonna grab them.
27:45They're worth a fortune.
27:47She was never this hot, even in her heyday.
27:49I didn't mean to
27:51intrude in your hour of grief,
27:53Mr. Haver, what with your publicist dead
27:55and your star accused of the murder.
27:59It's all showbiz, sweetie.
28:01A guy guns down
28:0340 people, the first thing he does
28:05is call his publisher.
28:07Why shouldn't I cash in?
28:09I was willing to back that old bitty
28:11when nobody else would touch her.
28:13What was Eddie Howell's function on this project?
28:15Drum up interest in the picture.
28:17Was he working on a book about Veronica?
28:19No. Feature articles,
28:21magazine layouts, stuff like that.
28:23Could I take a look at his files?
28:25What for?
28:27Mr. Steele isn't totally convinced
28:29Veronica killed him.
28:31She was standing over the body
28:33with a murder weapon in her hand.
28:35What does he want, Howard Cosell in an instant replay?
28:37A motive would be helpful.
28:39She doesn't need a motive.
28:41She's nuts.
28:43Didn't you ever see Psycho?
28:45I would think it would be
28:47in your best interest to clear Veronica
28:49so you can get your picture made.
28:53If my father,
28:55one of the finest, most respected
28:57distributors of erotic films
28:59taught me anything,
29:01it was insurance.
29:03Every time you make a picture,
29:05you gotta insure all the actors
29:07against accidents, illnesses,
29:09acts of God, that sort of thing.
29:11I am gonna make a ton
29:13on his picture
29:15without rolling a foot of film.
29:17You are a ghoul,
29:19Mr. Haver.
29:21Careful, sweetie.
29:23First you con an old woman
29:25into investing in your picture,
29:27then you make a profit on her pain.
29:29How's that for a motive,
29:31sweetie?
29:35If you were a man...
29:37If I were a man,
29:39I would have broken your face by now.
29:47Can somebody help me with this animal?
29:57Sergeant Milton, Wilshire Division.
29:59Got a stray for you.
30:01Eel!
30:03We're 20 minutes from the end of the watch
30:05when I get a 219. Traffic disturbance?
30:07Seems Fido here
30:09decided to chase a bus.
30:11Looks like he's trying to bite the tires or something.
30:13You should have seen what he did to my partner.
30:15He's in the ER right now getting stitched up.
30:17Can we put this animal in a cage or something
30:19and deal with the paperwork later?
30:21It's been a long night.
30:23Yeah, sure. Clifford, Elroy,
30:25get this guy up to the CI ward,
30:27and if he gives you a rough time,
30:29shoot him with 25-millithorazine.
30:31Hey, I kept him quiet in the car
30:33with one of these.
30:37It just seems like the worst ones
30:39always come out at night.
30:41Yeah, well, you know what they say
30:43about mad dogs and Englishmen, huh?
30:45Heh, heh, heh, heh.
30:47Rrrr!
30:49Rrrr!
30:51Rrrr!
30:53Rrrr!
30:55Rrrr!
30:57Rrrr!
30:59Rrrr!
31:01Rrrr!
31:03Rrrr!
31:05Rrrr!
31:21Good evening.
31:23Any of you chaps know where I might be able
31:25to find Veronica Kirk?
31:35♪
31:45♪
32:06Murphy!
32:08Oh, man, what's taking so long?
32:10The guard's making his rounds.
32:12Well, let's get back to the hospital, then.
32:14How'd it go there?
32:16He does the best Russian wolfhound imitation I've ever heard.
32:19But you really enjoyed that part, didn't you?
32:21Oh, he just looked so right in that straitjacket, I don't know.
32:24Well, don't they do comfortable with the image now?
32:26We've got to get him out of there.
32:28Yeah, every plan can't be perfect, can it?
32:31♪
32:41♪
32:51♪
32:56♪
33:06You wanted me dead since the war began, Wolfgang.
33:10Well, call your soldiers.
33:13I need no blindfold.
33:16Just a cigarette in my mouth
33:18and the sun on my back.
33:22Veronica, it's me.
33:24Oh, Dimples.
33:26They got you, too, huh?
33:28Strictly voluntary.
33:30How did you get around all those stormtroopers?
33:32Dogged enthusiasm.
33:34Veronica, I need to know what happened last night in your bedroom.
33:38Oh, you're getting awfully personal, sweet star.
33:42I'm talking about the shooting of Eddie Howell.
33:45Oh, that.
33:47Well, as I recall, I was fast asleep,
33:50and I felt someone shake me.
33:52But when I came to, I was all alone,
33:55and there was a gun in my hand.
33:58But I didn't remember having brought one with me to bed,
34:02so I put the light on, and there he was.
34:06You don't recall any shots being fired?
34:08Oh, I don't think so.
34:10But with this noggin, Dimples, who knows?
34:14Well, we're going to get you out of here.
34:16But we're surrounded by a battalion of Germans.
34:19Did that stop Bernadette of Berlin?
34:22Only for a reel or two.
34:24I'm counting heavily on the Allies.
34:32Good evening, Millicent Wirtner, State Board of Health.
34:35We'd like to inspect your C.I. wards.
34:37It's 3 in the morning.
34:39If you were as conversant as you should be
34:41with Section 18, Paragraph 6, Article 5 of the State Board
34:44of Hospital Standards for Requisite Maintenance and Operation,
34:47you would know that a representative of the board
34:49can ask for an inspection, and I quote,
34:51at any time, he or she may determine necessary
34:54that no prior contact or warning need be given for said inspection.
34:57Well, I don't think I could spare the time.
34:59Are conditions so wretched up there that you're afraid to let us see
35:02without a hasty whitewash?
35:04Don't think we don't know how you urban hospitals operate.
35:06It's not that, but I don't have the authority to take any of the C.I.
35:08Very well, then we'll call your superior and inform...
35:10Wait a minute!
35:12If I wake Dudworth up at this hour with something like this,
35:15he'll keep me on night duty till my hair falls out.
35:18Will this take long?
35:20If everything's in order, ten minutes tops.
35:22All right, come with me, Miss...
35:24Wortner.
35:26Come on.
35:42Wesley, put your studies away and open up.
35:44What gives?
35:46Just open up, will you?
35:52Ah, you come with us.
35:54What did I do?
35:56Don't ask any questions, Wesley. Just do what she says, okay?
36:24Come on.
36:54Right on schedule, Fido.
36:56I've got a bone to pick with you.
36:58Or should I say biscuit?
37:08You mustn't speak English.
37:10They'll spot us for sure.
37:12Sprechen Sie Deutsch, Murphy?
37:15You mustn't speak English.
37:17They'll spot us for sure.
37:19Sprechen Sie Deutsch, Murphy?
37:33Bergman.
37:35And Myrna Loy.
37:37Now, they were movie stars.
37:39I would have given anything...
37:41to have made one good A-picture,
37:43even if I didn't die in it.
37:45You'll outshine them all, Veronica,
37:47just as soon as we clear you of these monstrous charges.
37:50Preliminary autopsy's no help.
37:52Single bullet, entrance, exit, wound through the heart.
37:55Is it all right if we talk in front of her?
37:57Oh, of course. She's lost in the stars.
37:59With Veronica practically convicted of Howell's murder,
38:02it seems everyone got exactly what they wanted.
38:05Jennifer has her inheritance
38:07without the bothersome formality of her mother's death.
38:09And Haver has a clear profit
38:11without having to spend a dime.
38:13Veronica, when did you first meet Eddie Howell?
38:16Oh, about, um, two months ago,
38:20when that nice Mr. Haver
38:22asked me to grace his next production.
38:25Two months ago, she began to think
38:27somebody was trying to kill her.
38:29And did you spend a lot of time with him?
38:32Oh, yes, hours and hours.
38:34Why, he practically phoned me every day,
38:37didn't know everything about me,
38:39about my childhood and my love affairs
38:44and that whole beastly thing with Edgar.
38:47Who's Edgar?
38:49My late deceased husband.
38:51But he was so interested.
38:54Oh, it's a shame I had to plug the kid.
38:58You know, good P.R. is very important in this business.
39:02Seems odd.
39:04Why would a man risk breaking into someone's house
39:06when he had access to them by telephone?
39:08He might have been looking for something.
39:10And if Howell spent all those hours talking to Veronica,
39:13why is there only one sheet in her file?
39:16Joseph Twain, R.F.D. 49 Ventura.
39:19Veronica, does the name Joseph Twain ring any bells?
39:22Mark's boy?
39:24I'm afraid not.
39:25Well...
39:26They say Ventura is lovely this time of year.
39:37Oh!
39:58The third shot is my kill.
40:06That's Jennifer's car.
40:10I told her not to drive that fast.
40:31Timing in this case has been less than impressive.
40:34The bullet wouldn't clean through. It's embedded in the chair.
40:36You want to bet the same gun that killed him killed Howell?
40:39That's one way in which I'll be delighted for you to win, Murphy.
40:41Oh, dear God.
40:43Who is it, Veronica?
40:45The officer.
40:47The policeman who was at the house the night that Edgar was shot.
40:52Oh, he was hostile at first
40:55and so unbelieving of the story we told.
40:58And then...
41:00Mickey.
41:02Mickey had a... had a talk with him.
41:06Um...
41:08Downstairs in the parlor.
41:11And after that...
41:13Why, he was as sweet as pie.
41:17He wrote the report for me
41:20and even helped me memorize it for the inquest.
41:24He...
41:26He was very good at cuing me, too.
41:29I sailed right through it.
41:31Did you see him after that?
41:34Once.
41:36He came to the house,
41:38had a drink with Mickey,
41:40and went away smiling.
41:42What story did you tell, Veronica?
41:44Oh, well, you know.
41:46It was in all the papers.
41:48For months, it seemed.
41:50And then...
41:52One day, like a storm cloud,
41:55it just went away.
41:57And...
41:59I could cuddle up with a nice hot rum
42:02and just forget all this awfulness.
42:08You know, I...
42:10I can't remember
42:12why I switched from rum to tequila.
42:15I... Well, I always liked rum better.
42:18Mmm.
42:19What story did you tell the night Edgar died?
42:22Oh...
42:23Well, that we, uh, Mickey and I, um, had been...
42:26Oh, and I really hated...
42:28I hated to tell a dirty lie like that.
42:31But Mickey said we had to,
42:33to protect, you know.
42:35You said the two of you were together.
42:38Well, in a motel.
42:40And when we got home,
42:42well, there was poor Edgar, already deceased.
42:45But you weren't in the motel.
42:47Oh, no.
42:49I would never do something like that.
42:53No matter how many times
42:55Mickey tried to get me into one.
42:57After all, I was a married woman.
42:59I had a daughter.
43:02Poor Jennifer.
43:04She was 13 when it happened.
43:09He was a louse, Edgar was.
43:11He'd beat up on that poor kid.
43:13Something fierce.
43:15I tried to stop him.
43:17But then he'd start whacking me around.
43:20Where was Jennifer that night?
43:22Home, with him.
43:24Alone?
43:26Mickey said we had to lie.
43:28It was my gun.
43:30And they would either blame me, or...
43:33I want to tell you something, Miss Holt.
43:36Edgar had it coming.
43:39In spades.
43:55Ronnie, are you all right?
43:57Just dusty, Mick.
43:59Have we got any rum?
44:01Come inside.
44:08Oh, you people are incredible.
44:10You help my mother escape from a mental hospital,
44:13and then you bring her back here?
44:15This is where it began, Jennifer.
44:1730 years ago.
44:19Whoever killed her,
44:21also killed a man named Joseph Twain,
44:24and for the same reason,
44:26your father's murder.
44:28Afraid you have the wrong kirk.
44:30Murder is my mother's area.
44:32She has three very reputable witnesses
44:34who can swear she was with them when Twain was killed.
44:37And those same witnesses saw your car
44:39leave the murder scene this afternoon.
44:42I've been in the house all day.
44:44And besides, I don't know anybody named Twain.
44:47He's a murderer.
44:49Besides, I don't know anybody named Twain.
44:51He investigated your father's death.
44:54I was 13 years old.
45:00You paid Twain off, didn't you?
45:03With a part of Edgar's insurance money.
45:06Yes.
45:08As the investigating officer,
45:10he was free to devote all his energy
45:12to looking for a nonexistent brother
45:14in his 16-year-old sister.
45:16Only in talking to your mother,
45:18he began to piece together what really happened that night.
45:21And he began to realize that the story your mother
45:23and Mr. Prentiss told was a lie.
45:25A lie concocted to protect a frightened,
45:27perhaps justified, but nonetheless guilty 13-year-old.
45:31You're as batty as my mother.
45:33Jennifer!
45:37Jennifer, I never wanted to believe it was you.
45:40But after all, who else could it have been?
45:42You.
45:44You hated him.
45:46It was in a week that went by
45:48the police weren't out to this house to break up a Donnybrook
45:50between dear old mummy and daddy.
45:52You even shot at him before.
45:54But I always missed.
45:56Howell intended to write a book about the murder.
45:58They seem painfully fashionable these days.
46:00That's why he wanted to talk to you and Mr. Prentiss.
46:02You lured him here, probably with the promise to tell him everything.
46:05Instead, you shot him and then dragged him into your mother's room.
46:08When you can prove that, you give me a call.
46:10There's an interesting bit of information from Howell's autopsy.
46:13Seems the bullet passed clean through him.
46:16Not unlike your father's untimely demise.
46:19Mind if we check your room for the slug?
46:22Check every room in the house.
46:25You know, that's my room, Steele.
46:29Oh, sorry.
46:31Is there any reason we shouldn't go in there, Mr. Prentiss?
46:33Good place as any to start, eh, Mick?
46:35No.
46:37You know, Mr. Prentiss, every time we mention Jennifer's name
46:39in connection with Howell, we also mention yours.
46:42And if you were Veronica's alibi the night her husband was killed,
46:45then she was yours.
46:47Ah, you mean where was Prentiss the night Edgar became an unfortunate statistic.
46:52As you've just pointed out, this is a particularly powerful weapon.
46:56Puts a bullet right through a person.
46:59Mickey!
47:12Veronica!
47:21You're the one person I never wanted to hurt.
47:30I just realized something, Mick.
47:34You're as big a louse as Edgar.
47:39Poor Prentiss.
47:41He was in love with Veronica from the moment
47:43he first fell off a butte for her in Waco, Winnie.
47:46Everything was fine as long as she didn't leave the house.
47:49That's why he tried to frighten her into dropping Haver's movie
47:52with those phony attempts on her life.
47:54But when she began talking to Howell,
47:57he was terrified their secret would come out.
47:59That's why he put Howell's body in her room.
48:02She'd be committed, nobody would ever believe a word she said.
48:05That's right.
48:07I can't believe what just walked in.
48:09Sorry I'm late. Just got back from the sets.
48:11Been running lines with Veronica.
48:13She's doing a guest spot on the love boat.
48:15Wonderful part. Explores the full range of her talents.
48:18She falls down a funnel and dies.
48:21Can I ask you something, Dimples?
48:23Of course.
48:25What made you go to Prentiss' door?
48:27Why, Laura, you said it yourself.
48:30My infallible instinct.
48:37¶¶
49:07¶¶