Original subtitles

- Believe me, it can be done. - How?

- By the making of a movie.

Clifford: That's your next assignment.

Crowd control for a new movie

being shot in New York.

[screaming]

Rambo!

- Tell me that that wasn't-- - Yes, sir, McCloud.

Clifford: This is just a simple movie being made

in New York, gentlemen.

I don't want any more muggings, runaways

riots, or murders.

Is that too much to ask?

No, sir.

[theme music]

[music continues]

What target you have in mind?

Kimberly's, Mr. Gilardi.

Kimberly's.

My friend, for over 50 years

every heist man from Sing Sing

to San Quentin has dreamt of knocking over Kimberly's.

And yet it still stands there high on Fifth Avenue,

proud and strong and untouched, you know why?

It can't be done.

I think it can.

It'll take about a million dollars to finance.

For that you'd realize about ten million worth

of precious gems.

We can split it any way you think fair,

let's say, uh, 80-20.

Twenty for me.

Believe me, it can be done.

That's what the, uh, what the Germans said at Verdun.

Are you interested in tactics and strategy?

Oh, yeah, yeah, sure, sure.

Look here.

The key to the French front in 1916.

If Verdun falls, the French are demoralized,

they're in mutiny, they lose the war.

Two years, two years!

The Germans hammered at this, at this jewel.

They sent 43 divisions,

that's almost, uh, two million men.

And for their troubles, they suffered

a half a million casualties,

but the old fox, old Petain, he said

"They shall not pass." And they didn't.

Well, maybe the Germans should have used a diversion, huh?

[chuckles]

No, no, no, no.

No, no, they couldn't.

The-- the front was too short,

too concentrated.

I mean a Trojan horse.

In order to use a Trojan horse

one must be able to open up the gate.

I know how to open the gate.

How?

By the making of a movie.

A movie?

Clifford: That's right, marshal.

That's your next assignment.

Crowd Control for a new movie being shot in New York.

Well, this seems to me, chief, that I was sent here

to learn advanced Metropolitan Police procedures.

Yes, and in the largest city in the United States,

that would include the, uh, technique

of crowd control, wouldn't you say?

Yeah, that's right.

But it's not what you'd call a talent

that we desperately need back there.

No, perhaps not.

I doubt that Tacos even has a crowd.

Taos.

But someday, marshal, 50, 100 years from now

Taos may have a crowd.

What you learn here, passed on to your successors

who will prove invaluable, I'm sure.

Now you report to the producer

Max Cortez, Plaza Hotel, 8 o'clock tomorrow morning

and he'll fill you in on the details.

[instrumental music]

Well, marshal, enjoying yourself?

Yeah, somewhat.

Seems to me like there's a lot of hurrying up

and waiting though.

Yeah, that's true.

Okay, take me down.

Alright, let's try it.

Okay, first team, get Larry and Lynne.

Say, I'm going to ask you about this scene that's coming up.

Seems to me like that, that that ought to be shot at night

everybody's wearing evening clothes, you know?

Oh, yeah, what we're shooting what is called

a day for night, so we use special filters

special lights...

It will come out a night scene.

You mean when that comes on screen

it'll look like it's night?

Right.

You fellas have more tricks

than the December bride.

Okay, positions please, let's go.

[crowd cheering]

I think they're ready. See you later, marshal.

Yeah, right. Hey.

[indistinct chatter]

[indistinct chatter]

Come on, will you get that crowd back.

They can hardly breathe there.

Marshal, you gotta move those people back.

Yeah, right, right.

Move it back, let's move. Move it back.

[indistinct chatter]

Hey! Let's move it back.

Miss O'Connell, just one more, please,

for my granddaughter, her name's Mary.

Lynne: Alright. McCloud: Lady's gotta go work.

Who's that man over there?

- That's the producer. - Mr. Charles?

No, his name is Cortez. Max Cortez.

Cortez, huh? Thanks.

Quiet everybody.

Ladies and gentlemen, we'd appreciate it,

if you'd keep it quiet during the take.

This is for real.

Roll 'em.

Rollin', take three.

And action!

[instrumental music]

Hansom cab, please.

[whistles]

Oh, Joe, I left my gloves at the table.

- I'll get 'em. - Thank you.

Marty.

- Hello, Ginny. - How...

When did you get out?

Couple of days ago.

Glad to see me?

Hello, Joe. Well, you don't look very happy to see me.

Sure, sure I am.

I thought I told you to stay away from her.

- I know. - I did.

I did tell you to stay away from her, didn't I?

- I remember distinctly. - Take it easy, Marty.

Take it easy.

[gunshots]

[horses neighing]

[gunshots]

[screaming]

That's not in the script, is it?

[horses neighing]

[gunshot]

[screaming]

Hey, hey.

Stop! Would you stop the horses, somebody.

Cut, cut, cut.

Can I borrow your horse? I'll bring it back good as new.

[whistles] Ha!

[dramatic music]

You moron, you jerk, what kind of a stupid horse did you get?

[screaming]

[screaming]

Help!

[screaming]

[people screaming]

[dramatic music]

[screaming]

[galloping]

[screaming]

Haa! Woah! Woah!

You alright, ma'am?

[panting] Yes, I think so.

Oh, I think I owe you my life.

Oh, I wouldn't go so far as to say that.

Those horses just spooked a bit, that's all.

I thank you very much.

That was quite a trick you did there.

Oh, it's my pleasure, believe me.

[laughing]

So McCloud transfers to the carriage, saves the girl

but there goes the shot.

Yeah, he's right here.

Mr. Gilardi wants to talk to you.

Yeah, Vito.

Max: Well, we lost half a day on account of the horse.

No, we'll make it up tomorrow, we'll be right on schedule.

Vito, nothing can go wrong with this

absolutely nothing, believe me.

Right.

I'll call you tomorrow.

[dramatic music]

What's the matter? You look funny.

I'll see you in the morning.

You told me your name was Charles.

What do you want?

I figured you know that already, son.

I can't talk to you here.

Alright. Let's take a walk.

Segrist: You stole my idea, son, and you know it.

I thought we were partners.

What I'm looking for is credit where credit is due.

What kind of credit?

A hundred thousand dollars worth.

A hund...

[chuckles]

No way.

- No way. - Then I go to the cops.

Max: Listen, I can't raise that kind of money,

maybe five or six thousand maybe but that's the limit.

Now if that's the best you can do

there's no point talking anymore.

Now be reasonable, eh?

That's what I'm being.

Now, look, son, I ain't got much time

I'm just lookin' for a little nest egg is all.

I could've asked you for two hundred thousand.

I can't raise that kind of money.

Don't you understand?

It's too bad. Let go of me, son.

- Listen, to me. - I'm through listening.

Let go of me.

You've gotta listen.

[grunting]

[intense music]

[bell ringing]

[groaning] Help!

[bell chiming]

- Help! - Shut up!

Hey, hey, I-- I didn't mean to...

[dramatic music]

[music continues]

[instrumental music]

When you're coming to bed, Pete?

Wait a minute, honey.

- I wanna listen to the news. Muriel: Oh.

It's the only chance I get all day

to... hear about other people's troubles.

Man on TV: Here's our Miss Gigi.

Gigi.

Thank you, Bill.

Well, New York saw a little excitement today

from the new movie in town.

No, not in the theaters yet, but filming on location

at the Plaza Hotel.

The picture is called "The Gang That Took Manhattan"

and stars TV's Larry Harris

and his first feature along with Lynne O'Connell

and Jack Mellish.

It's a cops and robbers piece taking place

in the nostalgic '30s,

and where have we seen those before?

Anyway, it seems that horses pulling a hansom cab

for one of the scenes went this away instead of that away

when it heard the bang bangs of a make believe gun battle

being filmed and then became a runaway

with poor Lynne O'Connell trapped inside

after the driver was accidentally

knocked off his perch.

Larry Harris the star of that intrepid private eye series

on another network lent his quick thinking

and manly presence to the rescue by yelling, "Stop those horses."

Unfortunately, the horses which I'm told don't watch his series

kept right on going until they were finally brought

to a stop by the director of crowd control,

Deputy Marshal Sam McCloud on temporary duty

with the New York Police Department.

New Mexico papers, please copy.

Well, I think we finally found McCloud's niche.

Gigi: ...John Wayne tradition,

but unhappily not before the incident caused a riot

On Central Park South, snarled traffic on Fifth Avenue

for ten blocks, destroyed $42,000 worth

of paintings at a Central Park art exhibit

and generally caused havoc rarely seen

on our tight little island.

Obviously, there's going to be a lot of litigation on this one.

[Clifford coughs]

Pete? You alright, Pete?

[coughs]

Pete!

Oh!

[instrumental music]

Come in.

- You sent for me, chief? - Well, yes, that I did.

You're probably surprised, aren't you?

Not exactly, not anymore?

Well, well, in that case, just tell me I'm wrong

and the interview is over.

Just telling me I'm wrong and I'll shut up.

Just tell me not to remind you and you can go.

Remind me of what?

That you're supposed to control crowds not incite them.

Yeah, well, that-- that couldn't be helped, chief, you see

that movie company they just failed to check out the animal

for loud noises.

Obviously, that's why we had a stampede

right in the middle of Manhattan.

I got a mountain of damage reports over here.

Complaints, possible lawsuits

and the report to the commissioner

I have to fill out in quadruplicate.

Even when you do something right McCloud, you're wrong.

From now on, I want every one of those four-footed

friends of yours checked out in the interest

of public safety by you.

Well, after what happened yesterday,

I was gonna do that anyway.

Well, it should have been done before yesterday.

You know why? Because the horses around here are smart.

They hear a gun go off and they know it's time to get out.

That's what made this city great, McCloud,

because the people and the horses think

and also for your information,

the mayor himself called me this morning

and he's on record as being very interested

in having the film industry here.

It means jobs and business.

But not, repeat not if it means the destruction

of the entire city of New York.

Am I coming through to you?

Just as clear as a bell.

Good.

- That all? - I hope so.

I sincerely hope so.

[instrumental music]

[instrumental music]

I'm gonna get the extras down there.

You gotta cordon off that area up there by that field

from that lamp post all the way down.

Just a minute.

Matthew.

Oh, good morning, Mr. Cortez.

Good morning, where is everybody?

Oh, they decided on a different location.

[dramatic music]

What are you doing here?

It's a better location.

What do you mean, a better location?

- I thought the way-- - I need more room.

The whole scene works better.

Besides, it's better for the police.

The police?

Mr. Cortez, look.

I'm sorry if I stirred up a hornet's nest

but I just thought you'd get better crowd control

deeper in the park here, away from the streets.

Oh, I see. Yes, yes, of course.

Thank you, marshal.

- What's wrong? - Nothing. Nothing at all.

- Hi, McCloud. - Hey.

Alright, let's rehearse the fall.

Alright, Jack.

Alright now...

Shoot once.

Kneel down, right.

[gunshot]

Now take the hit when you try a second shot.

Go!

[gunshots]

[chuckles] Man, they sure do ham it up, don't they?

Larry, you come out carefully.

Now, carefully.

You're not sure he's dead.

Alright, now go over to where he fell.

Bend down to look at the body.

[intense music]

- Which one? - what?

[siren wailing]

[tires screeching]

[indistinct chatter]

What have you got, McCloud?

Well, I can't tell yet, Joe.

Uh, could have been mugging

could have been something else, no identification.

- Who found him? - One of the actors.

Where were you?

Was standing right over there in the clearing.

You mean, you were less than 50 feet away?

Oh, no, no, no, Joe. I wasn't anywhere near that close.

I'd say, uh, more like 60, 65 feet.

Holy cow, McCloud, right under your nose?

Well, it didn't just have happen this morning, Joe,

from the way rigor's settin' in I'd say that he bought

at some time last night.

And he was dragged in the bushes there

so nobody would find him right off.

Found this under the bushes. It's empty.

Thanks.

Well, all the textbook signs.

Old man, Central Park, they hit him, they strip him clean.

A little bit to clean, Joe.

He doesn't even have an I.D. in that wallet.

That doesn't mean anything.

They could have taken it with the money

and everything else without realizing it.

Probably find it around here. I'll call a wagon.

You know, Joe, I remember seeing that fella

in the crowd yesterday.

He was talking to that Lynne O'Connell, the actress.

- What about? - Oh, I don't know.

I suppose you wanted an autograph

but I think we oughta check with her.

Or to go down to the morgue and get the prints,

get the pictures.

Maybe we'd get a line on this thing

through the files,

missing persons, you know?

What do you mean, we?

You just take care of crowd control, McCloud.

And try to keep the bodies to a minimum.

You know, Joe, you're sounding more like Chief Clifford

everyday, you know that, hm?

Must be the effect you have.

Where were you standing again?

Larry: Yeah, certainly I knew he was dead.

I mean, you don't play a private eye on a series

for five years without picking up a few things.

Even if it is likely, I knew he was dead the minute I saw him.

How?

Well, the way he wasn't moving.

That's always a good indication.

- Yes. - Anything else?

Oh, the deathly pallor

you know, expression on his face sort of thing.

Somebody said you practically tripped over the body.

[chuckles] Now that... there's absolutely no truth in...

Where do you people get this kind of thing?

Larry, is it true that you're shooting this feature

because your ratings are slipping a little?

No, of course not. I don't pay any attention to ratings.

In the latest Nielsen, you slipped from 38.7 last year

to 16.5.

Well, I'll-- I'll certainly look into that.

16.5 was it?

Larry, how do you feel about the latest TV fan poll?

Well, I don't feel anything about it.

I-- I don't pay any attention to it.

Well, according to the poll the young people today

think you're a little stodgy.

Stodgy? What do you mean stodgy?

- I mean, what does that mean? - That's what they said.

- Stodgy. - Stodgy.

Well, you know, that's what's wrong with this country,

these wild kids, that's what it is.

Stodgy.

Make up!

Man on TV: Pirates two, Expos five, the Astros five

Dodgers, nothing. Giants three, Braves Two.

And the Cincinnati Reds Three, Padres is nothing.

That's sports, and now for the entertainment news...

here's Gigi.

Gigi on TV: Thank you, Bill.

Well, that new movie filming in town

had another outbreak of misfortune today.

Yesterday, it was runaway horses,

but today the story was a lot grimmer.

The body of a dead man was accidentally discovered

this afternoon at the Central Park location

where the movie company was shooting.

And if you can believe this, right in the middle of a scene.

The unidentified man about 70 years old

was apparently mugged and killed under the very noses

of New York's finest...

Clifford: Aaah! - Pete! What happened?

I just cut my throat.

The producer, a newcomer named Max Cortez

was unavailable for comment.

And after the police finished running around in circles

wondering whether the body was supposed to be

in the script or not.

The filming went on in the best showbiz tradition.

Now, tell me.

Like I said, Vito, he looked, like funny.

What do you mean funny?

Ha-ha funny, sick funny, what?

Oh, he didn't look no ha-ha funny.

Thank you.

Go on and get him, I-- I want to talk to him.

I told you I've been calling his room for eight hours.

- He ain't there. - Go find him.

Yeah, Vito, sure.

In the scene being filmed, Larry Harris was supposed

to kill Jack Mellish in a shootout,

and then go over to make sure that Jack was dead.

The trouble was, when Larry went to look,

he saw two bodies and couldn't tell which was which.

He later denied this vehemently, and assured one and all

that from his long years playing a detective,

he knew instantly that the real dead man was really dead

because and I quote, "From the way he wasn't moving."

Unquote.

Well, if anything more can go wrong

with this snake bitten enterprise, it probably will.

So tune in tomorrow, and we'll see. Bill.

Did you hear that, huh? Did you hear it?

Well, she's making it a laughing stock out of me.

And the series too.

What, what do you mean nobody pays attention?

You're my agent, right?

What am I doing here if nobody's paying attention?

If nobody paying attention to me

you're fired, Sid.

Sid, look, what am I gonna do?

She's ruining me.

What're you talking about?

How can tomorrow be better?

Today was one of my best days.

[instrumental music]

Who? Who was he?

I don't know!

Listen, there's nothing

to worry about, believe me.

How come I'm worried?

I'll tell you how come.

The window's wide open

and you're sweating like a pig.

Now, listen, Mister Producer.

If anything stinks around here, I'm pulling out.

And you know what?

You're into me for a cool million.

And I'll get it out of your guts!

If you got something to say, you better say it

and save yourself one big belly ache!

Alright, alright, alright.

I met him about eight months ago at a bar.

He was a night watchman

he worked in different places.

One of them Kimberly's.

He was loaded, he talked his head off.

He told me about thi-- this plan of his

for a knock over. So I became interested.

I met him a couple of more times.

Vito, he had it all worked out.

Every single detail.

Everything, the movie idea, the whole thing.

Except he didn't know where to go with it.

Mm-hm.

And you, you did.

Yeah...

So he, he read about the movie

He came around, he saw me, he put two and two together,

he tried to shake me down.

For how much?

A hundred grand

or he'd blow the whistle.

I tried to reason with him.

I mean, I really tried. No way.

So, you killed him, huh?

[sighs]

I hit him.

He fell, he... He fell wrong.

Beautiful. Beautiful.

You really know how to think fast in a pinch,

don't you, my friend?

I-- I don't know what else I could've done.

A hundred things you could've done.

Now the police find out who he is

and tie him to you,

you tie a can on my tail.

No, no, no way. No way they can do that, never.

No, that's what you say.

What was his name?

Segrist.

Ben Segrist.

And where did he live?

Uh, the wallet says 901 Eighth Avenue.

Dave, Paolo.

Get over there with a vacuum cleaner.

Anything that can hurt us, anything!

Understand?

You, you with the original ideas.

If I stay in this thing

you screw up just once more

you're gonna take a walk in any direction you want...

until your hat floats!

[intense music]

[instrumental music]

Broadhurst: The prints of the dead man checked out

to be those of one Benjamin J. Segrist

a former employee of National Security Systems.

Worked as a night watchman at various places before retiring.

Coroner's report says death was caused

by a blow on the head.

Could have been accidental or otherwise.

No signs of a weapon being used.

They found an autograph of Lynne O'Connell

in one of his pockets, and that's all.

Approximate time of death, between 6 and 8 p.m.

Well, that's just great, McCloud, just wonderful.

Another banner day for crowd control.

You know, chief, the way this whole thing happened,

I... [chuckles] I've got to believe

that it was something more than just a mugging.

McCloud, don't make it worse than it is.

A mugging's bad enough.

Anyway, Broadhurst. Run it down.

- Find out where he lived. - Right.

I'm telling you, chief.

There's something here more than meets the eye.

It seems to me that a mugger wouldn't have bothered

to drag him off once he got his money, but a desperate man,

now that's another story, maybe he would've.

I just would like to follow this thing up myself, chief.

Frankly, this-- this job of watchin' a movie bein' made is--

That's just the trouble, McCloud.

You've been watching a movie being made

while catastrophes are popping up all around you.

Now why don't you think about watching

something else for a change?

Then watch the movie when it comes out,

like the rest of us do, okay?

Alright, so much for that.

Now as far as the case is concerned,

Broadhurst, you handle

what needs to be handled.

You are in charge of crowd control.

And Broadhurst, tell O'Hara he's in charge of McCloud control.

This is just a simple movie

being made in New York, gentlemen.

I don't want any more muggings, runaways, riots, or murders.

Is that too much to ask?

- No, sir. - Good.

Go.

Hey, you got a little, uh, little thing there, chief.

Yes, McCloud, I've got a little thing here.

Now, I won't bother explaining how I got

that little thing here,

but if I get another little thing here,

you're gonna get a big thing here

by my own hand!

Just interested in your health.

[instrumental music]

Yes, I recognize him.

You remember anything else, ma'am?

No.

Only that he seemed curious about the producer.

Curious how?

Well, he-- he wanted to know his name.

Any particular reason?

Well, he seemed to think he was somebody else.

A Mr. Charles, I think he said.

He thought the producer was Mr. Charles?

I think so.

I'm not sure. It was very brief.

I'm sorry, marshal. I'm not very good at this.

I... I don't think I can tell you anything else.

Let me drive you back to set.

Thank you.

[instrumental music]

McCloud: He just seems to, to me that he was

little bit more than your normal passerby.

So many funny coincidences here.

This whole thing could've been connected to the movie somehow.

You don't really believe that?

Just a thought.

That's all we need.

[sighs]

Well, I guess you have to start someplace.

All I know about police work is what I see in the movies.

Well, I guess that makes us even, ma'am.

All I know about show business is what I see in the movies.

[laughs]

McCloud: You from Hollywood, too?

Mm-hm.

I think after this I'll be afraid to come back here.

Well, I'll protect you anytime you wanna make the trip.

Thank you.

I may take you up on it.

I'm gonna be late for my call.

Hold on.

[siren blaring]

[tires screeching]

- We're waiting for you, Lynne-- - I know.

I know. I'm sorry I'm late.

You're not just late, sweetheart,

you're 20 minutes late!

Well, forgive me, it couldn't be helped.

Okay, go get ready.

I'll take the blame me for that, Mr. Cortez...

I had to borrow her for a while.

Now, marshal, suppose you just take care of the crowd, huh?

Instead of borrowing anything around here

then maybe I can get this picture done.

You seem to forget I have a schedule to meet.

Now this picture costs $40,000 a day!

Now, you go on, get yourself somebody else

to explain to you what a 20-minute delay--

If there's going to be any explainin'

to be done, Mr. Cortez

why don't you start by tellin' me

what Mr. Segrist was so interested in you about?

- Who? - Mr. Segrist.

He was the man who was killed here yesterday

while you were play acting at $40,000 a day.

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

I don't even know who he was.

Well, here's a picture of him.

It was taken at the morgue.

- This was the man? - That's right.

McCloud: Does that refresh your memory any?

Yes, yes. As a matter of fact, it does. Yes.

He did talk to me, yes.

- And? - He was asking about a job.

I told him as gently as I could that there wasn't any.

- Where did this take place? - Outside the hotel.

What happened then?

Nothing. He just thanked me and he left.

What time was that?

About 6... 6:30, 7 o'clock.

- You ever see him before? - No.

- You sure? - Absolutely.

He seemed to think your name

was Charles.

Charles what?

Mr. Charles.

Cortez: Mr. Charles, huh?

Well, I just don't know how he could've thought that.

Unless, of course, he, he got me mixed up

with somebody else.

Well, I appreciate your time, Mr. Cortez.

Uh, listen, marshal, uh,

listen, I-- I'm sorry I blew up there, you know, uh,

I know you've got a job to do.

I suppose we're all a little bit edgy today.

We both got a job to do.

Boy, he really went into max, didn't he?

Yeah.

Wonder what's he fishing for.

I think he thinks the movie's involved in some way.

- This movie? - Mm-hm.

Lynne: Well, McCloud took me down at the morgue this morning

to identify the body of the man

they found in the park. When he drove me up here...

Hello, Joe?

No, this is Simms.

- Who's this, McCloud? - Yeah.

Joe just left to check on Segrist's apartment.

You got an address on that?

Yeah, finally.

901 Eighth Avenue.

Say, how're things in movieland?

Hello? McCloud?

- Uh, Marshal McCloud... - Yeah.

Could I speak to you for a moment, please?

I'm in a little bit of a hurry right now.

Are you in charge of this murder case now?

Murder case? What makes you think it's not a muggin'?

Uh, well, i-- in my opinion,

I think there's some connection here with the film company.

You know somethin' I ought to know?

Well, I'm finished right now.

You mind if I ride along with you...

- Yeah, yeah, yeah. - I can tell you all about it.

[engine sputtering]

[chuckling]

[tires screeching]

Now, you were saying that you think there's a connection?

Yeah.

He was on the set day before yesterday.

- You talk to him? - Oh, no. I don't talk to him.

No. But he did talk to Lynne.

I think, uh, I think you better check that out.

Maybe run her down to the morgue for a positive I.D.

See where it leads.

- Well, what else you got? - That's it.

That's it?

[chuckling]

Well, give me a chance, marshal.

I just started on the case.

[instrumental music]

[music continues]

What're you doing here, McCloud?

Hey, Joe.

Hope you don't mind if I just tag along.

You're supposed to be on crowd control.

Not today. They're shootin' indoors.

Who's that?

Larry Harris, this is Sergeant Joe Broadhurst.

Larry just tagged along for the ride.

Sergeant, I was just telling the marshal here

what a help it is for an actor to see the real thing.

And besides, I have a couple of ideas myself on this case.

But believe me, I'll be as quiet as a mouse.

You won't even know I'm here.

Now, look, Larry, I told you on the way over here

that this is as far as you go.

This is official police business

and you're gonna have to stay down here.

Now, I'll be very happy to drive you back after we're finished.

Yep. Yep. Okay. Okay.

Ah... you can't blame a guy for trying.

I'll wait down by the squad car.

Right.

Four years on a television show, he thinks he's the real thing.

Oh, that poor man.

Can't get him out of my mind.

Anything you can tell us about him, ma'am?

Well, no.

He lived here alone.

Always paid his rent on time.

He was retired, you know.

Ah, he, ah, was a nice man.

A nice quiet gentleman.

E-- except once in a while,

when he'd have a little too much to drink, you know?

[indistinct radio chatter]

I don't remember him having any visitors.

Of course, a couple of telephone repairmen came by

a while ago to take his telephone,

but, of course, uh, that wouldn't count.

They may still be here.

I gave them the key.

It's Mrs. Leary.

Will you open the door, please?

The police would like to look over the apartment.

Didn't sound like telephone repairmen to me.

Get out of the way, ma'am.

[dramatic music]

Joe!

Stop! Police!

Hold it!

[gunshots]

[music continues]

[gunshots]

[gunshots]

McCloud: I think we got 'em pinned down, Joe.

Joe: I'm gonna work my way around.

Oh! [screaming] He-- help!

Larry: Marshal!

Oh, hell! Ow!

[gunshots]

Cover me!

[gunshots]

- Damn! It's alright. - What're you doin' here?

I thought I'd come up and help.

[instrumental music]

Did you get 'em?

[instrumental music]

Joe: Yeah, dressed as telephone repairmen.

Both about 5'10", 160-180 pounds.

Never got close enough for a good look.

Right.

[Sam whistling]

Ah...

Mr. Harris, if you don't mind.

Sure.

Joe: Find anything?

McCloud: Well, he got a special checkin' account.

Got 23 dollars and 56 cents.

No bank book, no papers, no letters, no nothin'.

Clean as a whistle. Just like we found him.

- Well, it's obvious. - What's obvious?

They went through here with a fine toothed comb.

So what you're gonna have to do now

is dust for prints...

then you're gonna get your killers.

Now, I had a situation exactly like this on one of my shows

it was called, "The Case of the, the Purloined Parrot."

Uh, the police were stumped in that one too.

So I had the dead man's apartment dusted for prints,

and I was able to prove

that the, uh, the janitor did it.

Well, this is not a TV show, Larry

Ah-huh. Yeah. Yeah.

Ah.

Guess there's nothing else to look for, Joe.

Yeah, that's for sure.

Okay, let's go.

Are you comin'?

"The Case of the Purloined Parrot?"

Hm.

[instrumental music]

Woman 1: Ms. Gigi, telephone for you. Line three.

Hello, Gigi?

Larry Harris here.

[chuckling] Yes.

I think I have something you can really use.

[laughing] That's right.

Man on TV: Our Mets yielded the first game

of tonight's double header to Montreal 3 to 2,

but came back in the second game...

- Where're you going? - Get a glass of water.

Oh, no, you don't. I'll get it for you.

I don't want you in the bathroom

at this time of night, you make me nervous.

Man on TV: That's sports, see you again

tomorrow morning at 8:00.

Now for the entertainment news, here's our Ms. Gigi.

Gigi on TV: Thank you, Bill.

Well, there are more developments on that new movie

we've been talking about called "The Gang That Took Manhattan,"

and they get more bizarre every day.

The star of the picture, Larry Harris, has joined,

yes, joined the police investigation

of that Central Park mugging the other day.

How his involvement came about is still a mystery,

but according to the actor, and unconfirmed by the police,

he participated today in a rooftop chase

of two unidentified burglars who were surprised

in the act of ransacking the dead man's apartment.

Harris stated that the Central Park incident

was not a mugging any more

but a premeditated murder for obvious reasons.

What those reasons were, he wouldn't divulge,

but suffice it to say he's hard at work on the case.

At least it's something more than New York's finest

have come up with so far,

which is not apt to make His Honor, the mayor,

very happy with his department heads.

Well, with heroes like Larry Harris around

we might not need anybody else.

On the other hand, this could turn out to be a contest

to see who's more inept, the police department

or TV's favorite detective. Bill.

Bill on TV: Thanks, Gigi. Well...

Would you like a sleeping pill, darling?

Better bring the whole bottle.

The one marked "McCloud."

How can a nice neat operation like this get so much publicity?

I don't know. I--

Max...

Would you talk to that actor?

- And talk to him good. - Okay. Okay.

I-- I will. I will.

[instrumental music]

Come in. Shut the door.

Now, it won't surprise you that I just got my tail chewed out

by the commissioner

because he got his tail chewed out by the mayor.

Now, you two bumbleheads are about to get yours.

But first, I want a little information.

What's all this about that, that actor?

What's he doing on the case?

What's he talking about?

And how does he know so much?

Well, flip a coin, and somebody talk to me

before I blow-off both your heads here and now.

Well, you see, chief, ah...

[chuckling]

he just kinda tagged along with us

when we went over to Segrist's apartment.

Us? Did you say "Us?"

Yeah. I just kinda just tagged along with Joe here.

Now let me get this straight,

you tagged along with him, and he tagged along with you?

Anybody else on this guided tour?

Well, let me explain here, chief.

You see, we're makin' really good progress

on this whole thing...

Quiet!

And you, Broadhurst...

A man of your experience acting like some bush league rookie.

And on top of that, you those two characters

on the roof get away.

Now, I want the two of you to listen to me very carefully.

If either one of you ever slips up again, I'll break you.

I'll break you into a million pieces.

It will go down in bronze and become legend

at the police academy, what I will do to the two of you.

Not even playground duty will you get. Do you understand?

Alright. Now, Broadhurst, you have the Segrist case.

That means, without your mother, your father, or McCloud.

McCloud, you're on crowd control.

That means no more tagging along,

no more ham actors privy to police business, is that clear?

Comin' in like a high wind, chief.

Good.

Blow!

Well, Joe, we're sure on to somethin'.

McCloud, are you deaf?

Didn't you hear what he just said?

Well, I figured out--

McCloud, don't figure!

I'm gonna say this to you just as gently as I can,

and then good-bye.

Just stay away from me.

Far, far away. Please!

[sighing]

Oh, McCloud...

if you're goin' into the squad room,

give this to Broadhurst, will you?

- What is it? - It's a report on Segrist.

He last worked for the Eastern Produce Company.

We're still waiting on the others.

Yeah. Put it on his desk.

[instrumental music]

You stick with me, baby.

And I'll give you this town on a silver platter.

[music continues]

Cut! Print. Very nice.

Very nice. Both of you.

[laughing]

Take this off, will you?

Take it off.

Oh! It's driving me crazy.

Okay...

One hour lunch!

Mario, give me a new of these after lunch, will you?

[Larry laughing]

Right. Right.

Hi, Max.

Listen, Larry, I, uh...

- I want to talk to you. - Yeah.

About this publicity you've been stirring up.

Yeah. It's great, huh?

- No, it isn't. - Well, what do you mean?

It's gonna pay off beautifully at the box office.

Look, there's publicity, and there's publicity.

This is the wrong kind.

- What's wrong with it? - Everything.

It taints the picture. It offends people.

Makes all of us look silly, especially you.

Max, the press has been taking potshots at me for years.

Now, this my chance to-- to run with this thing

and cram it down their throats.

- I don't care about that. - Well, I do.

Max, I've been in this business a lot longer than you have.

Ah, you know the old saying, "I don't care what you print,

just be sure to spell the name right?"

Well, that's what this is all about.

Any publicity is good publicity.

And besides, I think I can help solve this case.

Oh, for cryin' out loud. What do you think you are?

A real detective?

Larry, you're an actor. An actor!

[sighing] Alright. We'll see what happens.

You don't seem to understand.

I'm telling you to knock it off.

As a matter of fact, I'm ordering you.

- You're ordering me? - That's right.

Max, you can produce this picture six ways to Sunday

and you can order anything you want to,

but as far as furthering my own career goes,

that's my business, and you got nothin' to say about it.

Larry, I don't want to have to get tough with you.

Then don't.

I'm telling you to knock it off.

That's a warning.

What is that? A line out of a movie script?

You heard me...

a warning.

Be back in just a minute.

Marshal.

- Huh? - You break the case yet?

No.

You mean there's nothing new at all?

I mean, that I'm through talkin' to you and doin' you favors.

All it does is wind up on television.

Well, what's wrong with that?

It never hurts to get good police work into the news.

You have a strange idea who's doin' the work.

Oh, well, now, I...

I hope it doesn't look like I was trying to grab the credit.

- I'll buy you lunch? - I already got a lunch date.

Oh.

Well, some other time then.

- No hard feelings? - Mm.

Shall we go?

Larry: Oh, uh, marshal...

I still think I can help.

There was something in his apartment--

No, thanks.

[instrumental music]

Tell me a little bit more about this, uh...

motion picture makin' business.

This, Max Cortez, for instance. What's his track record?

I don't think he has any.

Well, how'd he get to be a producer?

It's not too unusual these days.

It's the day of the independent.

Almost anybody with money can make a picture.

- Is he all that rich? - No, I don't think so.

I think there's a backer somewhere in the background.

I'm not sure.

I could find out. Why?

Oh, I was just curious as...

tryin' to figure out how this Segrist fellow fitted in,

if he fitted in.

If he wasn't mugged, that is.

Of course, there's a couple of pretty big "If's" there.

Poor old man, huh?

You know, I tell you...

I think he had the right idea.

I mean, if I knew then what I know now, I...

I think, maybe, I'd have asked for your autograph myself.

That's a powerful lot of kissin' goin' on out there today.

Were you watching that?

Oh, couldn't hardly help, but watch that.

You, ah, you and him got a little thing goin' there?

No, of course not.

Well, I don't know. Looked, looked pretty real to me.

That's the way it was supposed to look.

But it wasn't.

- How you do that? - Do what?

- Play a love scene? - Yeah.

Well, you-- you act.

You use your imagination, your-- your memories,

whatever you can think of to motivate you.

Boy, you sure must have a powerful imagination.

You mean, all that, that hard breathin' and the dreamy eyes...

that's just all part of it, huh?

[chuckling] That's acting.

Well, I don't know. If I had some, um...

homely gal with a sour apple look on her face, I...

I don't think it'd work too good.

It'd depend on your imagination.

Unh-unh, I just don't think I can get the hang of it.

I think you could get the hang of it.

[instrumental music]

Come on, you guys. Get it movin'.

I don't want to be here all night.

A-- and don't drop it.

It don't bounce.

Right.

Man 2: Come on, come on.

Get going.

- You the manager here? - Yeah.

Police. I'd like to ask you a couple questions.

What? Again? I just talked to the police 15 minutes ago.

About Segrist, right?

Sergeant Broadhurst was here?

Whoever. Kind of a pale lookin' fella.

No, that wasn't Joe.

[chuckling] What're you guys?

Tactical squad with these getups?

This's a control squad.

- It's a new unit. - Oh..

Well, I'll tell you what I told him,

then leave alone, huh?

Segrist last worked here three weeks ago.

He went off on a bender and he never come back.

And that's the third time he done that.

So if you happen to see him,

tell him not to bother with the excuses.

He's fired.

Anyway, I'm glad you guys gave me an excuse

to clean out his locker.

His locker?

Yeah, your partner took his stuff.

- What stuff? - How do I know?

I just gave him the key. Ask him.

Okay. Obliged.

Hey, ain't this a pretty sight. They ain't gonna carry it.

They're on my back by now.

Will you get it movin'?

Come on. Two steps at a time.

Let's go. Get it on.

Hey, Taxi!

Hey! Hey!

G... give us a break, huh?

Maggot!

[tires screeching]

Get in.

Oh, hi, marshal.

[chuckles] Hi.

[tires screeching]

- Well, let's have it. - What's that?

The stuff you got out of Segrists' locker.

Oh, yeah.

Here.

Look at this.

Headlines. "Gangster film to be shot in New York."

Well, look like he was interested in the film.

Yeah.

But why? Why a film?

And why this film?

And, take a look at this.

It's a European tour guidebook.

You think maybe he was planning on taking a trip someplace?

But on what? I mean, he didn't have any money at all.

Maybe he was expecting some. But from where?

He... he didn't get it, that's for sure.

You think he could be involved in some kind of extortion thing?

- Hey, maybe we're getting-- - Now, look, Larry.

I'm gonna tell you for the last time.

And you stop runnin' around playin' like you're a detective,

or I'm gonna throw you in the can right now

for impersonatin' an officer.

I'm sorry.

Alright, I'll keep out of your hair.

Only-- only when the crucial time comes...

Can you throw something my way

just so I don't look like such a clown?

I mean, that's all I'm doing it for.

The way they made me look on the news,

it could kill my career.

Marshal, I'm asking for a break.

Well, alright.

When the time comes, if you behave yourself,

I'll say that you were, uh, helpful, somethin' like that.

I really appreciate it.

Only remember, no more news stories.

No. Absolutely not.

[instrumental music]

[door closes]

Well... Larry Harris.

Hello, Dragon Lady. I'm not gonna say a word.

- You understand? Not a word. - Why not?

I was just sitting there

thinking about doing a feature on you

for my Sunday show.

[chuckling] Another hatchet job, huh?

No, a real profile.

You're a newsmaker these days, Larry.

You deserve one.

Why don't we talk about it over a drink?

A profile?

A profile.

Well...

[chuckling] A profile...

[instrumental music]

Bill on TV: We should never have relinquished it

to finish the guv race

by a rather lopsided margin.

The interesting note about this ship is that he loaders had

second thoughts about building the boat in the first place.

Okay.

How was that? Do you-- do you feel anything?

- Slightly. - Oh.

But, uh, you-- you're supposed to act, Sam. You know?

- I see. - Hm-hm.

Just kinda...

just throwin' myself into it and... just act.

- If you can. Yeah. - Hm-hm.

- You ready? - You got to help me now.

- Little bit, huh? And... - I'll try.

Hm.

Hm.

Bill on TV: And now here's Ms. Gigi,

and the latest in the entertainment world.

Bill: Gigi. - Thank you, Bill.

Well, there have been dramatic developments

over the last 24 hours on that movie murder

we've been reporting about,

and murder is exactly what the star of the picture,

Larry Harris is calling it now.

In an exclusive interview with this reporter just before going

on the air, the actor stated that on his own he privately

gained access to the belongings of Benjamin J. Segrist,

the man found dead in Central Park Tuesday,

and has found significant evidence that proves

Segrist was murdered.

Mr. Harris stated that the evidence also indicated

that the murder was directly connected

to the production of the movie,

and an extortion attempt.

What the evidence is precisely

he wouldn't say for police security reasons,

but he did state he was working very closely

with Marshal McCloud who has been assigned to the case.

Muriel...

I'm losing my mind.

Well, movies are better than ever

and things get curiouser and curiouser.

So we'll just have to wait and see.

I'm tellin' you, Vito, nothin'.

Absolutely nothin' was left there. Ask Paolo.

What is she talkin' about?

I thought I told you to talk to that jerk.

I did. But he's crazy!

- He won't listen. - It's your neck!

Remember that.

Now I'll talk to him.

- Don't go, Sam. - Got to, Lynne.

It was just about to straw that broke the camel's back.

Larry's like that. He's not going to change.

Well, it's never too late for a man to change,

if you work on him hard enough.

That's just what I aim to do.

Yes, can I help you?

[instrumental music]

You open your mouth to the press anymore,

and we'll close it for you again.

[groaning]

Hey, Larry. You in there?

[groaning]

Sam: Larry! - Yeah.

Hey, Larry. What's the matter?

[Larry groaning]

McCloud: Open up.

Alright.

- What happened to you? Huh? - Oh.

Well, they...

[Sam grunting] Here. Here.

Let me-- let me get you over to the...

to the couch.

Oh!

[groaning]

Well, well...

somebody really did a job on you.

- Huh? - It's gonna be a lulu.

Huh?

- Oh! - One? Two?

- How many were there? - Oh...

What happened, Larry?

[sighing] I got beat up!

Well, I can see that.

[groaning]

You know what this means?

It means that I'm onto something. They're scared of me.

They're afraid! That's what it means.

Yeah, well, with you, you can't be too sure.

I wanted to hit you once or twice there myself.

- Hm? - Who was it?

I don't know. I've never seen the guy before.

- You know what they look like? - They were was so fast.

- They came in and... - Well, did they say anything?

Yeah! They said something.

They said, if I didn't shut up, I was gonna

get more of the same.

Well, hey...

these could be the same guys

that went through Segrists' apartment.

Yeah, well, I was just thinking the same thing.

And, look, Larry, tomorrow you come with me

down to the police station, you look through the mug books.

You see if you can identify 'em.

In the meantime, you keep that door locked.

You take care of yourself. You get some rest.

- You understand? - Okay. Okay.

- You need a doctor? You sure? - No!

I don't want anything to do with a doctor.

Have you had a chance to go through that apartment

for prints yet?

- Yeah. - Ah...

Found any besides Segrists'?

- Yeah. - Whose?

Yours.

- Oh. - Yeah.

[instrumental music]

I warned you, McCloud. I warned both of you.

Well, Harris was beat up last night, chief.

Good. That saves me the trouble.

Well, that's gotta prove somethin'.

What? With an egomaniac like that, ham!

Probably got a million enemies.

Maybe somebody's husband got to him,

for all I know. If he wants to make a complaint, let him.

Well, what about this stuff we found in Segrist's locker?

Clifford: What about it?

So, the old man was interested in movies, so what?

And he collected travel brochures.

So did I at one time, but I never went any place.

Chief, Segrist's landlady just brought in his mail.

A new passport he just applied for.

[telephone ringing at distance]

Hey, there you go.

He was going on a trip, now that would've cost money, right?

Chief, before his last job, this Segrist fellow

was with National Security Systems as a relief man.

I'm waitin' on their personnel department for a list

of the places he worked.

That's right. Now, if we could just--

Joe's not waiting for anything, McCloud, and neither are you.

Grover's got the case now. And you're off crowd control.

From now on, the two of you can consider yourselves

the official lepers of this department.

If any dirty, rotten job comes up, you two get it.

If they need school crossing guards, you two get it!

If the commissioner's dog needs walking, you two get it!

If the men's room needs cleaning, you get it.

Now, get out of here before I think up some real beauties.

[dramatic music]

It's lousy.

We'll just have to re-write a couple of scenes

and shoot him from behind.

You're going to cut my lines?

You're lucky we don't cut you

out of the picture entirely.

- Hey! - Now, sit back.

Now, you listen to me, big mouth.

You show up on the set once more looking like this

I'll fire you from the picture.

- You can't do that, Max. - I can't? Read your contract.

You can't work, I can terminate and I will.

Let's see how much publicity you can make out of that.

[instrumental music]

No, no, I told you no, I'm not gonna go

and look at any mug shots.

Well, what made you change your mind?

I-- I just lost interest, that's all, just lost--

You are not even will make a formal complaint?

No, no.

Well, who got to you, Larry?

Nobody got to me. I got wise.

Can't you understand? Look at this face.

I've got four loose teeth. I've gotta go to a dentist!

I've got a career on the line. I can't take anymore chances.

Well, well, there goes the case.

Okay, there goes the case. Nobody was interested anyhow.

No, it used to be just you and me who cared.

- Yeah. - Now, it's just me.

And the guy who had had you beat up.

[instrumental music]

Now, you'll be going in through this adjacent building.

And tomorrow is Saturday, it should be empty.

Anybody else left has already been invited

to come and watch the shooting.

Guests of the company. You shouldn't have any trouble.

Now, we'll be shooting the movie in here in here and here.

Now, the walkie-talkie man will cue you

when the gang opens up on the store.

That is going to cover the blast through here.

There will be a 30 minute delay

while they reset the camera and the lights.

That'll give you enough time to take care of the guard here.

the alarm here and set the charges on the vault.

And after that the walkie-talkie man

will hear the assistant director cue the police cars...

- Police car? - In a movie.

Stupid. Pay attention.

Now exactly 20 seconds after that the police cars will arrive

and open fire. That's when you blow the vault.

- What if they do retakes? - No.

It's too expensive to redress the-- the store.

Now, the director knows very well he's gotta do

it in one take with multiple cameras.

Everything's timed. You all understand it?

I can't figure this thing out.

Lynne: Then I guess I'm not such a good company myself.

We're shooting the Kimberly sequence tomorrow

and we're finished after that.

What sequence is that?

Oh, a big shoot out and chase.

The usual nonsense.

At least they'll have to get somebody else

to worry about the crowd.

When are you leavin'?

Tomorrow afternoon...

- Hello, Marshal, Lynne. - Hi.

Business, social, or open house?

No, I'm just sitting here lickin' my wounds.

- Have a seat. - Thank you.

[sighing]

You must be glad that you're gettin' rid of us, huh?

No, it's been kind of fun

except for the Segrist thing.

- Anything new? - No.

We had somethin' goin' for a while, but it dried up.

- That's too bad. - Yeah.

Well, I figure I got one more shot

at the old man's employment record.

We haven't seen those yet.

I thought you already ran a check.

Yeah, but there's so much red tape.

You know that Segrist had so many part-time jobs

that their records are all messed up down there.

If they just get off their duffs and get to work

we might get some answers.

- Like when? - Like tomorrow.

Maybe never. Who knows?

Well, uh, good luck on it, marshal.

I know both of you would rather be alone.

Lynne.

Listen, just to be on the safe side

there's a little problem we better take care of.

I never did learn, did I?

Hm?

No. You never did.

You take care of yourself, you hear?

You too.

Hold it, cowboy.

Don't turn around.

[instrumental music]

McCloud: What's this all about?

Man 2: Just a little nose cleanin'

operation, that's all.

Walk straight ahead.

Hold it.

That's your new home. Get in.

Don't worry, cowboy. Somebody will come along in about a week.

[instrumental music]

[instrumental music]

[traffic bustling]

Hickok: Larry and the boys pull up in front

they go in one by one and start blasting.

We have three cameras inside. Three out.

Good, now, remember on the shooting,

the backer wants lots of fireworks, lots of blood.

Real Bonnie and Clyde stuff,

that's what we want on that screen.

About the police cars, you got them timed?

Yes, they'll be cued to come in 20 seconds

after the gang gets sets to leave and they start blasting.

- Immediately after, right? - Right away.

Okay, make that loud and long too.

And, Bill, remember the old man's old fashioned

and a little deaf, huh?

Hickok: I guarantee it'll bust his hearing aid.

Cortez: Good. It's gonna be great.

You're doing a beautiful job.

[instrumental music]

Our boys should be moving in... now.

They'll enter through this upstairs window.

They're probably next to where the cable is.

They should be working their way along this corridor

and start setting up the charges.

Precision military operation.

[intense music]

McCloud: Help!

Hey!

McCloud: Help! Help!

Hey. Listen.

McCloud: Help! Somebody.

I'm over here.

Help! I'm here! I'm here!

Hey, it's coming from there.

McCloud: Over here in the trunk!

What's the matter, mister?

McCloud: I can't get out. Get me out of here.

How?

McCloud: Can you find a-- a piece of metal

something like a crowbar?

Hurry up!

We'll be late for Little League.

McCloud: I'll talk to your coach.

Now, hurry up, son. Otherwise, I'm gonna die.

Boy 1: Hey, I got something!

- Here, lemme do it. - No, lemme.

[grunting]

- Can't do it. McCloud: Put some weight on it.

Keep at it.

McCloud: Well, you gotta get another piece

of pipe or something.

[dramatic music]

McCloud: Push on it!

Keep at it!

Give it all you got. Push!

Attaboy! Yeah, you're getting it. Push!

[grunting]

Thanks a lot, kids. You saved my life.

Where's the telephone?

There's a phone by that shack over there.

Hey, what about our coach?

Well, you tell him to call Sam McCloud, 23rd Precinct

I'll, I'll take care of it.

Now, this sequence here, how many set ups here?

Hickok: Well, it depends on how it goes.

Maybe seven, eight. I don't know.

- Thanks, Joe. - You alright, McCloud?

Yeah, let's roll it.

Did you get it?

Yeah, it came in this morning.

I swiped it from Grover's desk.

Now, remember, if anybody asks, you took it.

Right.

And here's the gun you ordered.

Thank you.

I know what I'm gonna see here even before I look.

McCloud, I told you, I don't want any part of this.

There it is, Joe. Kimberly's.

Segrist worked there five years ago.

Let's move.

[siren blaring]

Ladies and gentlemen, please pay attention.

Mr. Harris and Miss O'Connell will be driving

into the scene any moment now.

They'll be leaving the car and going inside the building.

[instrumental music]

[siren blaring]

It's very important that you all be very quiet out here

while we're shooting inside.

My assistant will tell you when we're through.

Thank you very much.

[siren blaring]

What're you doin' here, McCloud?

I'll let you know.

Uh, sergeant, would you mind moving the car?

They're trying to shoot a scene.

[indistinct chatter]

1100 Hours.

By now, they should be getting ready to blast through the wall

in the second floor of Kimberly's.

You the manager? The real manager?

- Yes. May I help you? - I'm with the police.

Wondering about the jewels, they real?

Man 3: No, they're fake.

We've already taken all the real jewels

and put them in the vault.

These your guards?

The real guard is behind the bars

guarding the vault and the fellow standing there

is a movie guard.

Thank you.

Hello, marshal, for a moment there

I thought you had abandoned us.

No, after all we've been through

I, I had to hang around for the payoff.

You mean the, the big shootout?

- Yeah, that, too. Man 4: Alright!

Quiet, everybody! This is the big one.

Find yourself a place behind the camera, marshal.

[instrumental music]

Roll 'em!

Cue the cars.

Alright. Action!

[instrumental music]

Drop that gun!

[gunshots]

[screams]

[glass shattering]

[gunshots]

Move. Move. Move.

[gunshots]

[instrumental music]

This moment, if they're on time,

they should be replacing the Kimberly vault guard

with one of our men.

[gunshots]

I told you if you stuck by me

I'd give you this town on a silver platter.

Cut. Print. Perfect.

Hickok: Next shot outside.

Alright, kids. Very good. Very good.

- How do you like that, huh? - That was very good.

Remember the scene I did earlier?

[indistinct chatter]

Well?

I didn't see anything wrong.

It's a good thing you didn't bust in here

with a bunch of men.

Well, I still smell a skunk somewhere.

[instrumental music]

[indistinct chatter]

[instrumental music]

By now they should be getting ready to blast into the vault.

Quiet down, everybody. Settle down!

This is a picture now.

[instrumental music]

Roll up.

Action!

[tires screeching]

[gunshots]

Harry! They killed Harry!

Baby, get back in!

[gunshots]

[explosion]

Move in. Get everything.

[gunshots]

[gunshots]

Excuse me.

Man 5: Get everything, understand? Everything.

Man 6: Come on, scoop 'em in the bags. They won't break.

I gotta get up to second floor, Jackson.

What for, McCloud? The building's locked up tight.

Not as tight as it should be.

[gunshots]

Cut!

There's no way, McCloud.

Would you get me up to second floor

with this contraption? Police's orders.

Police emergency.

[indistinct chatter]

Hey, hey, wait a minute. Hey, you!

Let's get out of here.

Clifford: Excuse me. Joe: Oh, no, who sent for him?

Levine: I did. - Pardon me, please.

Excuse me.

Alright, Broadhurst, what's this all about?

Where's McCloud? I wanna talk to him.

- He disappeared. - Disappeared where?

- Up there. - Up where?

Okay! Roll it!

And action!

[gunshots]

Cover me, baby, I'm gonna get the car.

[instrumental music]

Hold it!

[gunshots]

Come on, baby!

Come on!

Come on, baby!

[screams]

[screams]

[coughs]

Beautiful. Now, freeze.

[upbeat music]

Look out below!

Now, what...

[horn honking]

- Tell me that wasn't... - Yes, sir. McCloud!

Is that a take?

- Police. I've been robbed! - Come on!

Out of the way!

I'm a real cop. Follow that car.

[intense music]

They're shooting. They're shooting at us.

[gunshot]

Let me out at a turn.

Sit down!

What's McCloud doin' to us, Joe?

This used to be the most modern police force in the country!

Look out.

Clifford: This antique have a radio?

Joe: No, sir, but I think it has a siren.

Clifford: Well, turn it on!

[siren blaring]

Went left!

[gunshots]

At this point, our boys should be safely on their way.

[laughing]

A perfectly executed invasion of Kimberly's.

[intense music]

[gunshots]

Look out!

[gunshots]

I'll get McCloud for this!

Those guys may save you the trouble.

We should've heard from them by now.

I wonder what could be going wrong.

[gunshots]

[gunshot]

[tires screeching]

[crashes]

Alright, out of there. Come on!

Put your hands on the car.

Spread your legs.

You send for me, chief?

Yes, McCloud. Yeah, you know you were right.

Cortez was the mastermind.

Now, we sweated those punks you captured

and they sang a beautiful song.

Well, I figured it was him when I got buttoned up

in that trunk last night.

Wait a minute, there's more, there's a bonus.

Now, Cortez fingered the money man, which was Vito Gilardi

that name wouldn't mean anything to you but we've been

after that character for 15 years.

And Gilardi, being the gentleman he is,

promptly fingered Cortez for Segrist's murder.

Right.

A good day's work, McCloud.

Well, I appreciate it, chief.

Oh, there's one more thing.

There's a new movie in town...

Now, wai-- wait a minute. Hold on.

I've got tickets.

Oh. Well... [chuckles]

I'll see you guys later.

[theme music]