Remington Steele S03E06
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00:00Mr. Steele.
00:01I'm sorry.
00:02Have we met?
00:03Amnesia.
00:04The bloke can't remember a thing.
00:05Not even his own name.
00:06It's all right, doctor.
00:07I'm cured now.
00:08I remember who I am.
00:09You do?
00:10I'm Otto Preminger.
00:11You could at least tell us who we're supposed to have killed.
00:12If you would allow me to jog my memory.
00:13Why kill him, Willard?
00:14Kill them all.
00:15Ah!
00:16God!
00:17Ah!
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02:14An unfortunate happening, Willard. But one we must rise above. We can't allow one intruder
02:36to alter our plans now. We'll have to replace Paddy. And we will. This time with someone
03:00with a bit more discretion. This was Mr. Armdale's favorite. How he loved his hunting. Sneaking
03:10up on the little creatures and blowing their heads off. Think of our intruder as a man-out
03:18whose time has come.
03:48I'm sorry, Willard. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry.
04:18I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry.
04:48Excuse me! Yes? I'm looking for, um... Ah, yeah, I'm looking for Orson Welles. Eh? Was
05:17it Joseph Cotton? Ah, yes, yes! Saladoo! Yes, I'm looking for Saladoo! Ah!
05:47Doesn't feel like a hospital. Doesn't even look like a hospital. It's an Irish hospital.
06:09Oh, I see. Laura Holmes. Yes? I'm Dr. Toliver. Thank you for making the trip. Well, your
06:21cable sounded so urgent. Yes, when I sent that he was unconscious. Oh, he's awake now,
06:27but there are, uh, complications. Would you step this way, please? I'm sorry, but bearing
06:35in mind his condition, I think just one face is all he should be subjected to. My cable
06:41must have seemed very melodramatic, but you see, your name and address were about all
06:46that we found on him. No wallet, no other identification of any kind. Dr. Toliver, you
06:51still haven't told me what's wrong with him. Well, see for yourself. We have a visitor
07:09for you. Hm. Hm? Oh, good morning. Mr. Steele. I'm sorry, uh, have we met? This is Miss Laura
07:22Holt. Oh. Ah! Laura, of course! Yes! Dana Andrews, Gene Turney, Waspy's little Clifton
07:36Webber. It's all right, doctor. I'm cured now. I remember who I am. Oh, yes. You do?
07:40Oh, definitely. I'm Otto Preminger. What is going on here? Amnesia. Amnesia? That's what
07:48I said. Amnesia. The bloke can't remember a thing, not even his own name. Poor boy.
07:55I feel so badly for him. It must be awful not knowing where you've been or what you
08:01see. A nice piece of luck for us, eh, ma'am? Memories are a lot like unwanted relations
08:07with Earth. They have an irritating habit of turning up at the most inopportune times.
08:14Don't you worry, ma'am. He's still a dead duck. You do know this, ma'am? Yes. We've worked
08:22together for nearly three years. I'm an associate of the Remington Steele Detective Agency.
08:29Ah, thank heavens. You remember that? No, but a detective agency. I mean, it sounds
08:34exciting, don't you think? I mean, glamorous. I might have been an accountant. Remington
08:38Steele. Is that who he is? It's important that he knows his real name. Then his memory
08:44may come flooding back. Remington Steele is the name of the agency. And as far as the
08:52public at large is concerned, he does head the agency. So he is Remington Steele? That's
09:01what we call him, yes. Well, hmm? Remington Steele. No, no, no. Somehow that doesn't fit.
09:11No, I'm sure that's not my real name. What about some background, some essential facts?
09:17Two weeks ago, we completed the Parkinson case. The dog in Malibu Beach, remember? And
09:24before that... I'm afraid you'll have to go further back than the recent past, Miss Holt.
09:27His hometown, near relatives, that kind of thing. Oh, well, there are gaps. Of course,
09:37and why not? I mean, after all, if I'm the head of this company and she's merely an employee,
09:41I mean, one can't expect an employee to remember every little intimate detail about the boss,
09:46can you? Hmm? Are you sure he lost his memory? Oh, excuse me. You two carry on talking. Something
09:54may come back. Oh, if he can remember anything at all, it may help. Yes, well, the detective
10:08agency. Yes, I know that's right. Why? Well, because somewhere at the back of my mind,
10:19there's a crime, a major crime that has to be stopped, and danger. But I think you did
10:28write to me, didn't you? I don't have to recall who I am to know what I am? Hmm? How
10:39I feel? What kind of woman I'm attracted to? You said we worked together for nearly, what,
10:47three years? Yes. Closely? Yes. How closely? Very closely. Yet there were gaps. Well, after
11:01all, Mr. Steele, you are the employer. I am merely an employee. Looking at you now, I
11:07can't believe that for nearly three years, I haven't, you know, we haven't, you and I,
11:13you know. Perhaps if you would allow me to jog my memory. Yes. You remember? Yes, yes.
11:35Hmm. Yes, it's coming now, yes. Now you remember? Hmm. How could I forget such a precious moment,
11:45huh? Oh, yes. I remember it vividly. I, I was lying on the floor. You were nearby. Yes,
11:56that's it. You were nearby. Dead. Shot. Except it wasn't you. It was, it was Orson
12:06Wells. Or Joseph Carton. And a crime that must be stopped. Danger, deadly danger. I
12:23think I should get Mildred. Mildred? The other woman in your life. The other woman? And you
12:30don't mind? We have an arrangement. Oh. We share you. Share me? If only I could remember
12:39what a good time I've been having. Oh, excuse me. Time for your medicine, sir. You mean he's
12:54lost his marbles? Not his marbles, just his memory. Don't I remember you from somewhere?
13:00Oh, that you would, sir. It was me who brought you your medicine last night, sir. I've seen
13:04movies like that. A good clonk on the head usually brings it back. Mildred, head clonking
13:09is not a medically recognized treatment. This is a ho- Dirty fingernails. That was it. It's
13:17not much of a taste, though. Best a donut in one. No! Are you trying to make a point,
13:30Miss Holder, or are you naturally clumsy? We've got to get you out of here. Come on.
13:37Where are you taking me? I don't know. Somewhere safer where we can talk things out. This is
13:42the other woman, by the way. Mildred, our indispensable secretary. Oh, how do you do, Mildred? How
13:47do you do? Mildred! Well, I tell you, it always works in the movies. Oh, you like the movies,
13:54do you, Mildred? Yes, I have a feeling I do, too, actually. Ah, I'm sorry. And you, Miss
14:01Holt. Ah, Holt. It's got a nice ring to it. Holt.
14:25Oh, it's the pits. Get this off the street. There are plenty of people downstairs. I wouldn't
14:37dare try anything here. Do you know that we have to share a bathroom? What kind of a hotel
14:43is it that only has one bathroom? I know. I know. The Irish. Well, I'm going to go clean
14:51it up. Thank you. Who are they that don't dare try anything? That's what we're going
15:00to try to find out. Mr. Steele, what were you doing here in Ireland? You don't know?
15:07All I know is I got to the office on Friday and there was a note from you saying you were
15:11taking a long weekend and you'd be back on Monday. Hmm. Hmm. Well, obviously I must have
15:16dashed off on some important case. You don't work that way. Alone. Without me. Oh, come
15:23now. Are you trying to tell me that I, the head of the agency, never pursue a case alone?
15:28You're hiding something. Yes, come here. All that gibberish about not knowing about my
15:35background. After all we mean to each other. Oh, Miss Holt. Laura. Please, don't hold out
15:40on me any longer. You've got to tell me the truth. Please. Everything you know. Hmm. Mr.
15:47Steele. Hmm? You're not Mr. Steele. Oh. You were invented. Do you mean to tell me I'm
16:07just a figment of someone's imagination? Not just someone's. Mine. Oh. I had to. You see,
16:14no one would take a female private detective seriously. So I made up this name, Remington
16:19Steele, and then... Yes, yes, yes, yes. I understand all of that. But if I'm not me,
16:23then who the devil am I? Well, you've always been very evasive and mysterious about your
16:27background. Yes, but I must have given you a clue. I mean, some kind of hint to my identity.
16:32Well, among other things, you prospected for gold in the Yucatan. You boxed your way
16:39across South America as the Kilkenny Kid. Oh. You... You stole a famous painting called
16:46The Five Nudes of Cairo. And when I met you, you carried five passports, each with a name
16:53of a character Humphrey Bogart played in a movie. Good Lord. What an extraordinary life
16:58for someone so young, huh? While all the various bits and pieces are fascinating, they
17:03fall short of telling us who you really are. Yes. Who I really am. Yes, but somehow that's
17:11mixed up in all of this. If we could just find out what you've been doing since you
17:16got here, where you've been, then we might be near to discovering why... Just a minute,
17:20just a minute. I see a place. There's a man playing a piano. A black man. Yes? And nearby
17:26there's another man, a rugged, careworn face. Yes, yes. A woman comes in. She's blonde.
17:31She's very beautiful. She has a... She has a sad face, a sad look in her eye. Keep going.
17:36Then the rugged man, he recognizes her. He's startled to see her. And then he says... Yes?
17:40He says, all the gin joints and all the bars and all the towns, and you had to walk into
17:47mine. And then the black man, he starts playing. That isn't it. Oh, I'm sure it is. No, not
17:55the tune, the incident. You don't have to be a movie buff to realize what you just recounted
18:00is a scene from Casablanca. It doesn't work. What? My hair dryer. Mildred, we are in an
18:10emergency situation. You're telling me? Not your hair, Mr. Steele's memory. We've got
18:14to find a way to bring it back. Oh, well, you know me. I'm on the side of head clunkers.
18:18No, I would never do that. Never. Not unless all else fails and... Don't move.
18:30Ticket stub. The Bijoux Cinema. Ha! At last, a clue. What about me? Stick your head out
18:41the window. The breeze will dry it. A flea pit. A what pit? A flea pit. That's what we
18:51called it in my youth. Crummy little run-down cinema. Let's have a look. Oh, yes, let's
18:58go.
19:12A private detective? Remington Steele. I got it from the hospital. The girl is some sort
19:26of assistant. Oh, dear, this gets more complicated by the hour. I wish my dear departed husband
19:34were here to counsel me. If you want my advice... Not in the least, Willard. I know you are
19:40a faithful servant, but nonetheless a servant. Now, let me see. First, I think you'd better
19:48find out who hired Mr. Steele and how much he knows. And then? I kill him, Willard. Kill
19:57them all. Yes, yes, yes, yes, this looks familiar. Does that look like blood? You see? I didn't
20:22imagine it. I was here. Do you know who he is? What? Right now, I don't even know who
20:31I am. If you'd be kind enough to turn around ever so slowly. The inspector was right. He
20:37said you'd come back to dispose of the body. Oh, well, surely you don't think... We're
20:41private investigators. That's right. We're on your side. You see, there was this clue.
20:44A ticket stuck to my shoe. And Casablanca. Well, naturally, I thought... Save it for
20:49the inspector. Now, listen, you're making a big mistake. When your inspector finds out
20:56who I am... Well, perhaps you'll be kind enough to tell me. Who is that man back there? The
21:01dead man? You could at least tell us who we're supposed to have killed.
21:20Um, which station house are you taking us to? O'Connell Street. Ah. O'Connell Street's
21:39in the heart of Dublin. They're no police. What? Something wrong? Ah, a cuff's bit into
21:47my wrist. We're almost there. I'd venture to say we have a short time left. Could you
22:11open the gate?
23:11Let's go. Laura, one of us has to lead. Right. Follow me.
23:41Go.
24:10I just thought of something. What? A quotation. Something about the right hand not knowing
24:15what the left hand is doing. Ouch. This is worse than being married. No.
24:39Don't you think we should call a truce? For both our sakes? Excuse me. Hmm?
25:08Good. Now, agreed? Before my arm leaves its socket one more time? Agreed. Right.
25:26Hold on. Wait, wait, wait, wait.
25:39One, two, three.
25:44Okay? Yeah.
25:46Alright. Hurry.
25:50Okay.
25:55Oh, man. Now, this sets some memories stirring. Oh, yes. Some happy memories.
26:03Shh, shh, shh.
26:23They must have headed back to the road. Let's go.
26:40Well, we'd better wait until dark. Audrey Hepburn, Alan Arkin, Warner Brothers, 1967.
26:46Another clue?
26:47I don't think so. It just popped into my head.
26:50Oh, come now. It's not all bad news. I mean, pretty soon you'll want to make yourself comfortable
26:54and then do your Madeline Carroll routine. Yes, yes. I'm looking forward to that.
27:00What Madeline Carroll routine?
27:02Thirty-Nine Steps? The Hitchcock movie? Oh, even I remember that. I mean, Robert Donat,
27:07Madeline Carroll, on the run, together, handcuffed. Yes, yes, yes.
27:12Then she removes her stockings. One by one she undoes them from the thigh
27:17and ever so slowly rolls them down her glorious legs.
27:26I'm wearing pantyhose.
27:31Oh, never mind. I expect love will find a way.
27:35Speaking of love, do you think this might be the appropriate time to renew our very, very close acquaintance?
27:41You and I, we have never.
27:44You mean to tell me that after all these years, the time we've been together,
27:48you don't want me as much as I want you?
27:56You're awfully silent.
27:58It's a long, complicated story, Mr. Steele.
28:02I do remember that I hate long, complicated stories.
28:15When I hold you close, I hear music.
28:18So do I.
28:30Where did you get this? I've never seen it before.
28:34I'm not sure.
28:36To S.J. from K.L.? Who's S.J.?
28:40I don't know. Someone who knows K.L., I suppose. Whoever that is.
28:44Frankly, my dear, I don't give a damn.
28:49Why on earth did I say that?
28:51Rutt Butler's last line to Scarlett O'Hara.
28:54I do hope this has something to do with Gone with the Wind.
28:57That's one movie I do know about. I've seen it a dozen times.
29:00Gone with the Wind? Tara? Citizen Kane?
29:03I think I'm losing my marbles. I'm going out of my mind.
29:06I know how you feel, believe me, but I...
29:08Oh, you thought of something? No.
29:11Someone just kissed my leg.
29:15Oh, well.
29:17Here's a taste. I'll give him that.
29:21Horses. It has something to do with horses.
29:24And a man, a man named Flanagan, yes,
29:28and he lives in the village of, um...
29:31Go on. I'm trying, I'm trying, I'm trying.
29:33The village of, uh...
29:35Kerry. Kerry.
29:37Kerry, that's it. Kerry Clare.
29:40That's why I came to Ireland, to go to...
29:43Kerry Clare!
29:47So they lost them, eh?
29:49Well, there's no cops banging on the door.
29:51So what did Steele know?
29:53Oh, I wish Mr Armdale were here
29:55to guide me through these treacherous waters.
29:58The horse is not running well.
30:00Taxi's eating up every little reserve we have.
30:04And the servants haven't been paid for ever so long.
30:07Is money all that's on your mind, Willard?
30:10I'm talking about saving Armdale's stable.
30:14Well, tomorrow it'll be over,
30:16and we'll all have enough green to live out our days in quiet splendour.
30:20Just the same,
30:22have Clancy and Foster keep following Steele and the girl.
30:27As Mr Armdale liked to say,
30:30Better safe than sorry.
30:44Just out there.
30:46Thank you. Thank you very much.
30:48Mind yourself, Willard.
30:50Yeah.
30:54OK.
30:56Bye, sir.
31:01Oh, God!
31:09Anything familiar?
31:11Yes, yes, there was a dead man here.
31:14Oh, no, not another corpse.
31:17Ah, Mr Steele, a pleasure to see you again.
31:21Is your name Flanagan?
31:23That it is. And you know me?
31:25Sure wasn't it just Saturday last that you stood in the selfsame room?
31:29Surely you can't have forgotten the dancing, the singing, the jollity.
31:33We were having a funeral.
31:35So there was a dead man here?
31:37Aye, for Artie O'Flynn.
31:39And a finer man now never bent his elbow to a glass of ale.
31:42He gave him the very dibble of a send-off.
31:44Such a wake. I reckon it was the best party he ever attended.
31:48This O'Flynn, did I know him?
31:50This O'Flynn, did I know...
31:52Mr Steele is suffering from amnesia.
31:54Oh, dear, that must be an unforgettable experience.
31:57So if you could just tell me what I was doing here.
32:00Well, sure wasn't it about the watch?
32:04You mean this one?
32:07Aye, that's it. That's what brought you here.
32:09That and the letter that went with it.
32:11The letter? Aye, that'll be in your wallet.
32:13Which reminds me, I have that right here.
32:16You must have dropped it during the general fun.
32:19The money you must have dropped somewhere else.
32:21That is, of course, if you can remember carrying any.
32:28Hmm.
32:30Your father wanted you to have this.
32:32Signed, Patrick O'Rourke.
32:34Aye, that's what brought you to Kerry Clare.
32:37Did he find him?
32:38Before we go into that, aren't you uncomfortable in those handcuffs?
32:41Shall I have those off you in the twinkling?
32:46Some of me friends are a bit wayward, you see,
32:48getting into scrapes with the law.
32:50So they always come to old Flanagan.
32:52Tell me about O'Rourke.
32:54Surely he moved on. I told you that Saturday last.
32:57Moved on where?
32:58Dublin. Bought himself an old cinema.
33:00Going to turn it into a betting shop or a bingo parlour or something.
33:06Any specialty?
33:07The Bijoux cinema.
33:09That's it. Oh, you were there then, were you?
33:11Yes. There you go.
33:12I think I was. I got there and it was empty.
33:14I heard a shot, I went into a room,
33:16something hit me on the head and then everything went blank.
33:19Say, that's very good. Now try this.
33:21The movie Citizen Kane?
33:23By Orson Welles, Joseph Cotton, or K.O.,
33:25where in 1941 an old man lies dying in a decaying mansion,
33:29gasping the word Rosebud,
33:31which sends a reporter off on a determined mission
33:33to discover the meaning of...
33:34Never mind that. What was the name of Kane's mansion?
33:39Xanadu.
33:41Right.
33:54Ah, kind of flooding in to lend us this, eh?
33:57To S.J. from K.L.
33:59Inscription on the watch.
34:01One of these must be your father.
34:03Perhaps, perhaps.
34:05Perhaps? You can't have forgotten your father.
34:08I don't think so.
34:10Might be the amnesia, of course, but I have a...
34:13A feeling?
34:14That's right, that's right.
34:16I have a feeling that I never knew who my real father was, actually.
34:20In fact, I don't think I even saw my birth certificate.
34:22Good heavens!
34:23That would explain the sudden dash to Ireland.
34:26A man without a father is...
34:28Careful, Miss Holt, careful.
34:30I was going to say, as a sad and lonely man,
34:33abandoned,
34:35and best of all, vulnerable.
34:40Best of all?
34:45It was here, and it was this.
34:48It was here, and it was Xanadu, I'm sure of it.
34:51A horse with a star-shaped blaze.
34:53Why vulnerable, best of all?
34:55Oh, I don't know.
34:57I mean, it makes you more human,
34:59simpatico,
35:01easier to understand.
35:03I mean, now that I know that your father...
35:05Walks with a loping crotch, wears a painted mustache,
35:08smokes a cigar, cracks wires?
35:10Your father is Groucho Marx.
35:12The Marx brothers, Laura. Of course!
35:14The stills outside the cinema pointed the way all the time,
35:16only I didn't connect until now.
35:19That day at the races. Come on, come on.
35:38Take that, man.
35:40They're signaling the odds to the other bookies.
35:42They raise or lower the price accordingly.
35:47Haven't they ever heard of the telephones?
35:58Scratched.
36:00Yeah. He needs to be pulled out of the race.
36:03He isn't running.
36:05It might mean more than that. Uh-huh. Come on.
36:09Oh, Mr. Carter.
36:11How terrible. How utterly terrible.
36:13What are you talking about, Mrs. Arndale?
36:15Xanadu!
36:16Oh, nothing serious.
36:18My trainer tells me he has a touch of colic, that's all.
36:21But a horse as valuable as Xanadu,
36:23well, we don't take any chances.
36:25Oh, you're so staunch, so brave.
36:28If anything like that were to happen to me,
36:30I hope I'd be half the man you were.
36:32I don't seem to be following you this morning, Mrs. Arndale.
36:36Oh, I know what you're going through.
36:38Absolutely know what you're going through.
36:41A man called Sinister.
36:43Gruff.
36:44And the things he threatened against Xanadu.
36:47I never heard such words ever since Mr. Arndale passed away.
36:51Why would he call you?
36:53No doubt they know the position Mr. Arndale held in racing community.
36:59What do they want?
37:01Eight million.
37:03Otherwise you'll never see Xanadu alive again.
37:14The Arndale Racing Association, T-A-R-A.
37:18Tara.
37:44Ah, good day to you, sir.
37:46May I park your car there?
37:48Oh, yes, my man.
37:50Oh, and get yourself a drink, huh?
37:52Oh, pleasure, sir, pleasure.
37:54Come on, Richard.
37:55Have a lovely day now.
37:57Yes.
37:58This is stealing.
38:00Yes, well, I said I was going to park his car,
38:02and I assure you that's what I'm going to do.
38:04Later. In you go.
38:06Anyway, I made myself a quid.
38:08Mmm.
38:09Lovely body.
38:12Xanadu.
38:14Tara.
38:16Threads are coming together.
38:21This never happens in Los Angeles.
38:25Go through them!
38:27Go!
38:29Come here, come here.
38:31Come on.
38:33Come on.
38:35Come on.
38:37Come on.
38:39Come on.
38:47I didn't think he'd bite just like that.
38:49Oh, he places great value on that horse, Willard.
38:52Yes, but 8 million, and to raise it so soon.
38:55Xanadu's owned by a consortium,
38:58more than a dozen involved.
39:00In fact, any one of them could raise half a million
39:03at very short notice.
39:05I counted on them for that.
39:07They didn't suspect you were involved.
39:09Why should they suspect me, Cansey?
39:11I'm just a doddering old woman.
39:13Oh.
39:15To the Armdale Racing Association
39:18and its late great founder.
39:21Good luck, madam.
39:28Ah, civilization.
39:30Someone there may have seen the horse trailer.
39:37Oh, my God.
40:08Oh, look at this.
40:10Easy, boy.
40:12Easy.
40:14That's it.
40:16Oh.
40:18Well, well, well, well.
40:20In Xanadu, did Kublai Khan
40:22a stately pleasure-dome declare?
40:25Yes, he did.
40:27He did?
40:29Yes, he did.
40:31Yes, he did.
40:33Yes, he did.
40:35Khan a stately pleasure-dome decree, hmm?
40:38It's here.
40:44I'm sick.
40:46Stay.
40:57Leave this to me.
41:00Ah, shh.
41:05Am I a karate expert?
41:07I've never seen you use it.
41:09Oh.
41:11Ah, well, it's the good old blunt instrument routine then, isn't it?
41:30There'll be others.
41:32We have to get him away.
41:34Well, if we can't put him in the rolls,
41:37we'll play havoc with the upholstery.
41:53Oh, yes, it's a lovely day, yes.
41:58Hey, yeah, yeah.
42:04Come on, then. Come on, then.
42:20Yeah! Come on, then! Come on!
42:29Stop it, you fools!
42:31You fools! That's eight million on the hoof!
42:35This one can run! I wish I had a quid or two riding on him!
42:38You'd lose!
42:40They're gaining on us!
42:43Get in the back and throw the oil drums into their paths!
42:46Right!
42:48Oil drums? There aren't any oil drums!
42:53They'll wear it from Russia with love!
42:55Go on, boys! Come on!
42:57Oh, boy!
42:59Oh!
43:30Whoa!
43:45Come on, now! Come on, now!
43:47Shoo! Go! Shoo!
43:59Whoa!
44:17Miss Holt.
44:20It all comes back to me now.
44:22So Mildred was right after all.
44:24A good clunk on the head.
44:26It's a terrible disappointment.
44:28What is?
44:30To remember that you and I are still just...
44:33good friends.
44:58Come on!
45:17If my husband were alive, he'd give you a good thrashing!
45:24Mr. Steele!
45:26I'm Patrick O'Rourke, your father's old friend.
45:29Well, that must be the house over there.
45:59Sounds like they're having a party.
46:01Perhaps they know you're coming.
46:04The return of the prodigal.
46:09Come on.
46:11This is your moment.
46:29¶¶
47:00¶¶
47:12Patrick O'Rourke?
47:14Ah, dear old Paddy.
47:16You'll be sorely missed.
47:18Are you a friend of the family?
47:20I wish I knew.
47:29¶¶
47:31¶¶
47:58Well?
48:01Dead end.
48:05I'm sorry.
48:09Home, Miss Holt?
48:12Home, Mr. Steele.
48:14Indeed.
48:24¶¶
48:30¶¶