All language subtitles for Reba - 2x04 - Reba Works For Brock

CHARLIE: Once upon a time,

[here were three little girls
who went to the police academy,

two in Los Angeles...

the other in San Francisco,

and they were each assigned
very hazardous duties...

but I took them away
from all that,

and now they work for me.

My name is Charlie.

[my]

Okay, Ellen.

The concept
is still the same

as when you did it
on stage.

Thelady
you're talking about

is yourself.

Your marriage
has ended

and you're looking
for that part of yourself

that you feel
you've lost,

that you feel

your husband
has taken away.

Okay?

Okay, go through
the routine

as you rehearsed it,

and I'll figure
the camera positions.

P Where is my lady? P

P Oh, how I need her today P

J“ Did I put her
In uncaring hands P

a“ And send her away? A“

P Where is my lady? P

P We were an elegant pair P

P I loved the sound
Of her laughter ♪

Plloved
Her elegant flair J“

P I can see}

P She's not part of me P

P If it must be told J“

P Love has made her J“

P Bitter and cold P

P I need my lady J“

P Without her J“

P There's nothing of me P

P And any fool
Could see... P

4“ Get her back “m my Me a“

D And life
Is a natural high... P

P Without my lady J“

P Where are we? J“

D What are we? P

P Who am I? N“

Yeah.

KRIS:
Are you saying that someone

deliberately tried to kill you, Mrs.
Jason ?

Unless the rumors are true and
that stage really is jinxed.

Jinxed?

When I rented
the facility, I...

I heard talk
around the studio.

Norma Freidrick
had been killed in a fall

when she was making a picture
there.

Excuse me.

Wasn't Norma Freid rick

a big musical-comedy
star?

Didn't she die, what,
15 years ago?

That was near the end
of the film musical era.

The studio shut down the stage
and used it for storage.

About five years ago,
they reopened it,

and rented it

to a small independent
film company.

There was...
there was another accident.

A scaffolding collapsed,
a man was injured.

CHARLIE: Mrs. Jason,

putting the jinxed theory
aside for the moment,

can you think of anyone

who might want to do you
bodily harm?

ELLEN: That's just it.
I can't.

Is there someone

who doesn't want this company
that you've formed

to produce the picture?

Well,
besides the other companies

who bid for the property,

there's my ex-husband.

Frank Jason.

Yes.

He's terrific.

That, my dear,
depends on one's point of view.

ANNOUNCER: And into the stretch,
it's Paris Red and Re verential.

Renny's Courage third.

Iron Sunset fourth.

Moving up on the inside,
it's Reverential,.

Still Paris Red,
and Reverential.

Reverential passing
Paris Red.

Renny's Courage third,
Iron Sunset fourth.

At the wire,
it's Reverential by a length.

Remember, ladies
and gentlemen,

that the next race
is an exacts wagering race.

Probable exacta prices...

Hey, taxi.

Hey!

ANNOUNCER: The horses are now
entering the track

for the next race.

Number six...
Paris Red?

Nosed at the wire
by that dog, uh...

Reverential.

Your horse?

I liked the jockey's colors.

Oh, I'm sorry.

My name's Kris Munroe.

I'm a private detective

and your wife told me
I could find you here.

Tell her
the check's in the mail.

Oh, no.
It's nothing like that.

Somebody tried to drop
a stage light on her.

Oh, I'm sorry to hear that.

You still care.

No, I'm sorry

that somebody's been
so stricken with blindness

that they missed her.

Um, your wife says

that you're against her
making this picture.

Wrong.

I'm against her

making the picture

with her and me
in it together.

But wait a minute.

Wait a minute.

Sweet Misery

was one of best musicals
on Broadway

five years ago.

Four Tony Awards.

You saw it?

Yeah.

You and your wife
were brilliant too.

Who are those two guys
watching you?

Nobody's watching me.

Cops and cabs.

You never get them
when you need them.

Oh, you don't
have a car?

No, it's in hock,

and I'm not going to
get it back either,

thanks to that dog
who thinks he's a horse.

That, uh...

Reverential.

Reverential.

Well, listen.
Let me give you a lift.

You haven't
so far,

but you can now.

This way.

Frank?

Those people
following us,

do they have
anything to do

with the problems

you're having
with your wife?

I have no problems
with my wife.

Nobody's
following us.

One-seven-zero
something...

Look, Frank.
You can trust me.

I'm your biggest fan.

As a matter
of fact,

when I was
in junior college,

one of my first
professional jobs

was playing
Sweet Misery

in stock.

I played
the part of Jenny,

the girl you almost
had an affair with.

That's just what I need
in my life now...

a musical-comedy
detective.

Frank...

Look, Frank,
if you'll level with me,

I'll see if I can shake
those two guys

who aren't following us.

Look,
I've been married

to Ellen Jason for 20 years.

It became a screaming match.

We just don't like each other
anymore.

It's as simple as that.

Yeah, but she wants you
in the picture.

Yeah, she
and her manager

want me in the film,

because the people
who are financing her

may pull out
unless I do the role.

They think it's a kind
of publicity gimmick.

A story about

a marriage
on the rocks,

starring two people whose
marriage is on the rocks.

Cute stuff, you know.

Frank...

Hold on.

A tree fell on you?

From a truck.

It just
fell on you?

It was an ficus tree,
Mr. Mancino.

Rubicanosa.

What?

Rubicanosa.

Rum...

Canosa.

It was a rubicanosa.

I heard you.

So, you lost Jason again.

Yes.

Hi, guys.

Yeah, fine.
Thank you.

That was the people
who owned the tree.

Yeah?

I'm sending them a check,
a large check.

Helping Frank Jason
was every expensive.

KRIS: Well,
he's worth it.

Look, I don't know

how or if he is involved
in his wife's problems,

but he's
a real nice fellow.

I like him.

Oh. Hmm.

We're all here now.

[my]

SABRINA: What'd
you come up with?

Well, I did some more digging.

There were actually
three accidents on this stage.

The two we know about,
Norma Freidrick,

and the man who was injured
five years ago,

then last year,

a wardrobe woman
worked one day on a commercial

and was nearly hit
by a piece of scenery

that mysteriously collapsed.

Aha!

So we're back

to the "jinxed stage"
theory?

We gotta cover
every angle, right?

Anyway, I decided
to go back

to where
it all started,

to see if we could
get a handle on it.

Now, this
is the last shot

ever made
of Norma Freidrick.

[SCREAMING]

[THUD]

[FILM CREW SCREAMING]

WOMAN“. Oh, my God!

[MIXED TALKING]

KELLY: Apparently
the camera operator

had a perverted sense
of the dramatic.

He kept the camera running
after the accident.

[PIANO PLAYING]

ELLEN: 4“ Words' words a“

P Where are the words? J“

4“ Where... P

4“ Where is me rhyme? P

J“ Did we}

P Throw them away? P

P Out of sight
Out of time? J“

P When we speak J“

P Do we hear? J“

P When we look J“

P Do we see? J“

P When we touch J“

P Is it really you J“

P is it really me? P

J“ Two, two, that was J“

P Our number J“

P You plus me J“

J“ Now one
Is such a lonely number P

P Must we be J“

P Looking still
Never seeing? J“

P Living still
Never being J“

P How absurd J“

♪ All we need
Are words ♪

P Where are the words? J“

♪ Where...
Where is the rhyme? P

P Did we throw them away J“

P Out of sight
Out of time J“

P When we speak J“

P Do we hear? J“

P When we look J“

P Do we see? J“

P When we touch J“

P Is it really you? P

P Is it really me? P

♪ Two, two
That was our number ♪

P You plus me J“

P Now one J“

J“ Is such
A lonely number P

P Must we be J“

P Looking still
Never seeing? J“

P Living still J“

4“ Never being? 4“

P How absurd J“

♪ All we need
Are words ♪

P Only words
Only words P

P 0-— PP

Ellen, what the hell
are you up to?

G-flat.

You put a detective on me.

Dad,
she just hired

some professional
help.

Son, let me handle this.

She's afraid.

Of me?

Dad, she hasn't
accused you of anything.

ELLEN: Except wasting
21 years of my life.

FRANK: 20.

It seems longer.

Facing you
every morning

over coffee,

it seemed like 120.

If I was still
married to you,

I'd put poison
in your coffee.

If I was still
married to you, I'd drink it.

Shut up!

Both of you,
just shut up.

I'm tired
of hearing you

scream at each other.

You make me sick
to my stomach.

Son Larry
is a very angry young man.

I wonder
how angry.

I don't know.
Maybe I better find out.

Keep these for me, will you?

Yeah.

You mind?

Feeling any better?

Yeah, I'm okay.

I'm Sabrina Duncan.

We didn't get
a chance to meet inside.

Whose side you on?

My mother's
or my father's?

Don't have to be
on anybody's side.

Battle runs
that many years,

sooner or later
people make a choice.

How about you?

I can't.

No, I guess not.

You know, I...

I never could figure out

how they stayed married
as long as they did.

All she ever wanted
was to save the bucks,

buy a house somewhere,
plant a garden,

all the straight things.

And he wanted
to play?

If it isn't
a laugh a minute,

he gets bored.

A mismatch, as they say.

Kind of like the plot
of Sweet Misery.

Yeah, I guess
when they did that show,

it hit too close
to home.

Finally split them up.

Would you like to see
them back together? No.

No, I don't wan
t them together.

Together,
they'll destroy each other.

I want them apart.

As far apart as possible.

Listen, while you're here,

I think you should
meet my manager

and partner
in this project.

Austin Wells,
John Bosley.

How do you do?

Kelly Garrett.

Hi.
Kelly.

Hello, Frank.

Drop dead.

Kris Munroe.

Hello, Austin.

Oh, these are the people
you hired.

Miss Paranoid.

Mr. Wells,

as you are Mrs. Jason's
manager,

maybe we should have
a little talk.

About what?

Maybe you could
give us

some information
that might be helpful

But I know nothing.

Or less.

Uh, listen.

I have to make
a phone call,

then we can talk.

Fine.

Well, five's a crowd.

[RINGING]

Hello.

Mr. Mancino?
Austin Wells.

Jason's here, at the studio.

Stage eight.

KRIS: On, Frank,
I don 'z' understand.

I mean, there is nobody
in the whole world

that can play
the husband's role

in Sweet Misery

as well as you can.

And since you played
my almost mistress

in summer stock...

I am qualified to make
that judgment, yes.

Were you any good?

P If only
I'd been six J“

P When you were seven J“

P You would have
been my beau P

J“ Would have been heaven P

J“ And when you hit your teens
Sweaters and faded jeans P

FRANK: D So curvy, cute
And prancy J”

KRIS: P Would I have
struck your fancy? P

J“ If only
You'd been there P

P When I turned 30 J“

J“ They'd said
A handsome pair P

a“ And a'm't she putty? P

TOGETHER: D We would
Have been a riot J“

J“ Time and again P

P If only
We'd been together then J“

P If only
We'd been together J”

P If only
We'd been together then M”

Yeah.

Wow.

Frank!

Now, tell me
why don't you want

to do this film?

Well, I'm not going to,
unless I really have to.

Hey, mister!

Whoa!

Oh, I'm sorry!

Did you see a man with a gun
run past here?

TREE: What man?

We're just looking
for the commissary.

One-seven-oh O-L-M...
One-seven-oh O-L-M.“...

Right.

Thank you, Charlie.

Well, license number
1-7-0-O-L-M

belongs to one
Enrico Mancino.

Mancino?

Large into bookmaking
and other games of chance,

as they say?

The very same.

Then the two no-necks
I dropped the tree on

work for him, no doubt.

No doubt.

Frank's penchant
for the ponies

might explain his involvement
with Mancino,

whatever it is.

Well, I still don't see

the connection between
Frank Jason's problems

and all the, quote, accidents
on stage eight.

Maybe there isn't any.

Which means we have to stick
to the "jinxed stage" theory.

Well...

Roll, please.

I got the names
of the people

who were on the scene
of the accident

when Norma Freidrick
was killed.

For what it's worth,

the fella who tried
to save Norma Freidrick

when she fell,

his name
is Anton Metzger.

He was a mute
who worked as a grip

at the studio
for years.

Apparently,
he quit his job

right after
Norma Freidrick's death,

dropped out of sight.

I've been trying to find
an address on him.

[THUD]

Well, we don't believe
in ghosts, now, do we?

Hmm?

So we know

that the accidents
were arranged.

KELLY: That's him.
That's Anton Metzger.

I don't believe it.

Look, I'm telling you
the truth.

You know those two guys
who didn't follow us

last time
you were here?

Yeah.

Well, they didn't
follow you

at the studio,

and they didn't
have a gun.

And how big a gun
wasn't it?

Oh, big enough

to put a very big hole
in you.

You know, I think

I'll be doing that film
after all.

You will?

Yep. Now I have to.

Would you like to tell me
why you have to?

No.

And there's also
a condition.

Which is?

You want who in the film?

She did the part
in summer stock.

She was terrific.

Listen,
this is totally his idea.

I mean, totally.

Um, you know what?

I think I'll get
a cup of coffee.

Excuse me.

What is this, Frank?

Some sort
of blackmail?

I don't know what
you're talking about.

You won't
do the picture

unless she does
the picture?

She's a very
talented girl.

Didn't you
punish me enough

with pretty
young things

when we were married?

Surely the fun's
gone out of it by now.

That's a cheap shot.

Then why?

I like her.

What do you mean,
you like her?

She's half your age.

Wait a minute.

You think
I'm making a move on her?

Frank...

I think there's a book
you should read.

It deals with the problem
of male menopause.

Okay, you want to
play the game that way?

You're right.
It is blackmail.

She doesn't do the picture,
I don't do the picture.

You're not serious.

This was
Frank's idea.

Totally.

Sweet Misery--

starring Kris Munroe
and others...

I think it's got
a nice ring to it.

Listen, it's every
little girl's dream

to be a movie star.

I think
you should try it.

You're not serious.

Kris did very well

in summer stock.

I read
some of her reviews.

This was Frank's idea...
totally.

Listen, Bosley.

We're on this case,
right?

Now, if Kris
is in the film,

it's a great cover.

You're not serious.

Like I said, Frank's idea.
Totally.

Well, I think
I should call him

and tell him
you simply refuse.

You do,

and I'll break
your arm.

They are very serious.

DIRECTOR: All right.

All right.
Settle.

Get a cue, Les.

[BUZZING]

Rolling.

WOMAN: 112.
Take one.

DIRECTOR: Action.

[FILM MUSIC PLAYING]

KRIS: P If only
I'd been six P

P When you were seven J“

P You would have
Been my beau P

J“ Would have been heaven P

J“ And when you hit
Your teens ♪

P Sweaters
And faded jeans J“

a“ So curvy, cute 4“

D And prancy P

P Would I have struck
Your fancy? P

P If only
you'd been there P

P When I turned 30 J“

J“ They'd said
A handsome pair P

a“ And a'm't she putty? P

P We would've been a riot
Time and again P

P If only
We'd been together then J“

[UPBEAT MUSIC PLAYING]

P Forgive me if I strut P

P I'm feelin' strutty P

P And then one look from you P

P I turn to putty J“

P And when you kiss a lad J“

P He sure
Can get it bad J“

P Moonstruck
And feelin' silly P

4“ 0h, honey
You're 3 (NW D

J“ I'll be right here at hand
And if you're hurtin' ♪

J“ I'll kiss
Your tears away P

J“ And one thing's certain J"

4“ We're gonna go first cabin a“

P I'll tell you how P

P And if we are smart
Or whether J“

D We flip
And slip our tether P

P We're gonna stick together J“

A“ Now DP

Okay, now
pull it back.

It looked
all right.

You were terrific, lady.

Oh, thank you.

Well, on scale
of one to ten,

what do you think?

Ten, at least a ten.

Well, I... Kris!

You okay, huh?

I'm all right.

I'm okay.

Be right back.

Whew...

He's gone.

You sure
you saw someone?

Well, yes.
I mean, I...

This is crazy.

Somebody released
that rope.

Well, we know
it wasn't Larry,

or Austin Wells.

They were standing
right next to us.

Okay, okay.

So, you're sure
you saw somebody or something.

But the question
still is,

where did he,
she, or it go?

DIRECTOR: Okay, quiet please.

This will be a
dress rehearsal.

P Where is my lady? P

P Oh, how I need her today P

J“ Did I put her
In uncaring hands P

a“ And send her away? A“

P Where is my lady? P

P We were an elegant pair P

♪ Loved
The sound of her laughter J“

P I loved her elegant flair P

P I can see}

P She's not part
Of me J“

P If it must be told J“

J“ Love has made her P

P Bitter and cold P

P I need my lady J“

P Without her J“

P There's nothing of me P

P And any fool could see P

4“ Get her back “m my Me a“

P And life is a natural high P

P Without my lady J“

4“ Where are you? a“

D What are we? P

P Who am I... J“

P I can see}

P She's not part of me P

P If it must be told J“

P Love has made her J“

P Bitter and cold J“

P I need my lady J“

P Without her J“

P There's nothing of me P

P And any fool could see P

4“ Get her back “m my Me a“

P And life is a natural high P

P Without my lady J“

4“ Where are you? a“

D What are we? P

P Who am I? N“

Just beautiful.

We'll shoot again.

DIRECTOR:
Uh, J.R.?

You know, you always
sang that song very well.

I wonder why I hate it
so much now.

You always did
hate it.

You just didn't
realize it till now.

Maybe I did, at that.

But all this...
this self-examination,

it always did
turn me off.

ELLEN: Right.

Mustn't look too close
at ourselves.

Might not like
what we see...

that we're getting older
and no smarter,

richer and no happier.

Maybe you should
have married

a shrink or a prophet.

What I should
have done, Frank,

is marry a man.

Look, it's
a two-way street,

you know.

You get as you give.

Frank,

do us both a favor.

When we're through
with this picture,

get out of my life.

I'll do you both
a favor.

I'm going to get out
of your lives,

and I'm going to do it
right now,

and it's gonna be
permanent.

Now, look, Larry-

Oh, the hell with you--
both of you.

You wouldn't
listen to me.

You had to bring them
together.

You just
wouldn't listen.

Hey, listen, Larry.

Uh, where
are you going?

As far from those two
as I can get.

Well, don't you think

maybe you ought
to stick around?

Looks like they could
use you now.

Like Father said,
it's a two-way street,

and I'm sick
of walking it alone.

Yeah.

I think I've got something.

What?

"610 West Fifth Street"?

Anton Metzger's address.

Hey, that's
right near here.

Across the street.

Yeah?

This looks familiar.

Anton Metzger
was an Austrian.

Norma Freidrick made pictures
in Austria

before she came
to this country.

Apparently,
Anton followed her here.

This room is what you
would call depressing.

Since Metzger
obviously isn't here

and he may not come back here,

how do we find him?

[my]

Let's try it.

Okay.

Wait a minute.

If you're thinking of
recreating the moment

that traumatized Metzger,

it could get dangerous.

[my]

Aah!

Aah! Ohh!

Mr. Metzger!

It's all right.

It's all right.

[FOOTSTEPS]

Shh...

Wait a minute.
Mr. Metzger'?

It's all right.

Um...

Norma's gone.

And you don't have to worry
about her anymore,

and you don't have
to protect this place for her.

Do you understand?

Do you understand?

Everything's all right.

They're not real,
Mr. Metzger.

Why don't you just sit down

and take it easy?

Come on.

I won't hurt you.

Just sit down
for a minute.

It's all right,
Mr. Metzger.

It's all right.

Are you all right?

ELLEN: 4“ Where is the rhyme? a“

P Did we throw them away? P

J“ Out of sight
out of time? J“

P When we speak J“

P Do we hear? J“

P When we look J“

P Do we see? J“

P When we touch J“

P Is it really you? P

P Is it really me? PP

DIRECTOR:
Still rolling.

Two minutes
to the next cue.

BOSLEY: Hi.

Hi.

Listen, I just talked
to Charlie,

and Mancino
and his two no-neck friends

were picked up
by the police

and they did some talking.

You mean about why

they've been
terrorizing Frank?

Yeah, Frank
owed them money,

and it seems
that Austin

was tipping them
to Frank's moves.

Austin?

What for?

Austin wanted Frank
to do the picture,

and he knew
that he needed money.

He figured that

he'd have to do
the picture

if they pressured him
enough.

Mm-hmm. That means
if Frank got paid,

Mancino got paid.

Yeah,
something like that.

Any sign
of young Larry yet?

No, Frank and I went out
looking for him,

but nothing.

I think
he's really gone.

I don't think
he's coming back.

I guess we've come
full circle, Frank.

Right back
to the beginning.

ELLEN: Still
two lonely people.

And what did all mean?

What did it add up to?

Why did we do it?

Twenty years, Frank.
Twenty years.

Yeah, I lived those years
too, you know.

I don't get them back
any better than you.

You didn't
live them, Frank.

You played
at living them.

You never grew up.

And what about you,
Ellen?

You never were a child.

You were grown up
when I met you.

Yeah.

You never gave me
a chance to catch up.

Ever since you were 18,

you spent every day
thinking about tomorrow.

I kept telling you,

"These are the jokes,
kid."

But you wouldn't
listen.

No, you wouldn't.

Where the hell
have you been?

Where have I been?

Yeah, where the hell
have you been?

Where I've always been...

out where I just can't
quite reach you two.

Maybe it's about time

we try to reach you.

[my]

You've got a cue coming up.

J“ Two, two J“

P That was our number J“

P You plus me J“

P Now one
Is such a lonely number P

P Must we be J“

P Looking still
Never seeing? J“

P Living still
Never being J“

P How absurd J“

P All we need are words P

P Only words P

P Quiet words J“

P Only words... N“

[my]