Original subtitles

STERLING: Look, I don't care where he's from.

I want him out of my life.

Now, he's been prowling around here for a week.

He's poked his head into everydepartment in this building.

And now, he wants to meet Booker.

Booker?

Why Booker?

Apparently, he spotted him in the hallway.

You know, perhaps the fact that we

have an employee who wearsa leather jacket to work

piqued his interest.

You know, it's not somethingthey see everyday in Osaka.

All right.

What do you want me to do?

Take him down to meet Booker.

But realize this is your problem now.

He says he's a management trainee,

yet I can't find any personnel file on him

in the computer, which means he's some sort

of spy from the home office.

So be forewarned, there betternot be any ramifications

from this in his report.

Masahiro Nakasone?

Come with me, please.

Leave it. Just leave it.

RECEPTIONIST: Hello, Miss Rudd.

Have a seat.

Goodbye, Miss Rudd.

Oh, good.

You're still here.

Is my car ready?

Do I look like a scientist to you?

Call the lab.

Ask them.

They've had the thing all day.I'd like to get out of here.

I have date.

And the company thanks to you for field

testing all those new devices that we're

installing in your car.

So, well, enjoy them.

Have some fun.

Live a little.

Live a little?

Yeah.

Yeah.

You working on anything right now?

Nothing.

The entire company is crime free.

Oh, good, because Masahiro Nakasone

is here from the home office in Osaka.

And I want you to take him out tonight.

[laughs] No, no.

I have a date, OK?

More than a date.

I have a date with Skylar Samperton, OK?

- She can wait. - No.

You don't know Skylar.

Mr. Nakasone asked specifically--

No, Alicia.

--to meet you.

Now, he's only in for one night.

I want you to take him out, take him to dinner,

tell him about your division.

You could fix him up with Skylar.

I don't care.

Just don't embarrass the company.

BOOKER: You love this, don't you?

Mm-hm.

Mr. Nakasone.

Masahiro Nakasone, Dennis Booker.

Good evening, gentlemen.

Hi.

Hi.

Hi.

Hi.

Oh, thanks. - Oh, sorry.

It's OK. Great tie.

Thank you.

Welcome.

[MUSIC - BILLY IDOL, "HOT IN THE CITY"]

[SINGING] I feel the beaton the street tonight.

The lights are bright, andit feels all right tonight.

It's a hot summer night, and I'm ready tonight.

It's a hot summer night, and it feels so right.

It's a hot summer night, and I'm ready tonight.

It's a hot summer night, and it feels so right.

It's a hot summer night, and I'm ready tonight.

It's a hot summer night, and it feels so right.

Hot!

You start shooting yet, man?

No way, man.

The director is a stooge.

Now he want a smoke.

Is this video going to suck, or what?

It's chicks and snakes, the usual.

Man, this could be a big night.

We've got to be out of there by 12:00.

No way, man.

You get a chance to hear the sound check?

Yeah, last song.

BB King, man.

He is the king.

We got a sneak back here and see him, man.

Hey, dude, what time's he go on?

About 9:00.

Hey, who's in that video?

Us, man.

We're extras.

[laughs]

- Pay rent, bro. - Pay rent.

Who else is in it?

A few Harleys, a couplevideo sluts, a big snake.

Sounds bitchin'.

Who, man.

There's an art wanker party at the gallery.

Hey, galleries equal betties.

Major babe-age.

Wait, here's something.

The Quadropheniacs are playing at the Ritz.

Who?

Exactly, a Who cover band, man.

No.

Psychedelic lights, quadsound system, the whole trip.

No.

We'll never be done shooting on time.

No, they're playing all night, dude.

Whoa, man.

Unattended bar.

No, no, no, no.

Unattended stage.

[guitar riff]

BOTH: Lucille.

Pay rent, bro.

You have a '82 Harley Shovelhead, the one

with the dual carbs, huh?

Yeah.

Let me ask you something, M--M-- M--

Oh, call me Max.

Max.

Max.

How do you know all this?

Oh, actually, I'm an experton American pop culture.

Yeah, really?

Well, you know, you speakpretty good English.

Oh, thanks.

So do you.

[music playing]

My car ready yet?

Yes.

Allow me to take you throughthe enhancement features.

Yeah.

Well, I'm kind of in a hurry.

It will be worth the wait.

First, we have a cellularphone with a hands-free device.

It stores up to 100 phonenumbers, a new stereo system.

Wait, wait, wait.

You guys get me a stereo?

Not a stereo, the stereo.

[loud rap music]

[SINGING] Word from a brothertrying to earn a little money.

So help me out, folks, in a damn--

[music stops]

REDDING: Alarm system,Toshima, state of the art,

with a voice warning system.

- No ejector seat? - Better.

The piece de resistance, the ETAC navigator

vehicle navigation system.

Whoa, bitchin'.

It's a Toshima product of Japan.

It's an electronic map device with the streets

of the city programmed in.

You're kidding me.

I never kid.

It's all tied into ourcomputers here in the lab.

Oh, Booker.

Thank god you're still here.

BB King's guitar is missing.

Lucille?

Could you excuse us for a minute?

Surely.

Thank you.

The guitar is insured for $10,000.

Pay it off.

You're not going to find it anyway.

We have to find it.

It has great sentimental value.

BB King's been playing thesame guitar for 30 years.

Now, Toshima Life covers histravel, his home in Las Vegas,

and all his personal policies.

If we don't find that guitar by7:00 AM, we will lose it all.

Why 7:00 AM?

Because that's when he gets ona plane for Frankfurt, Germany.

He's playing in the Toshima Jazz Festival.

A Japanese company is sponsoring a black jazz

festival in West Germany?

See Jackson Herring at the Lone Star.

Go.

I say we take the Batcar.

[speaking japanese]

Typical Toshima junk.

What was that number, anyway?

555-5727.

Ah, got it, maybe.

Thanks.

Hello, Skylar.

Where the hell are you, Dennis?

BOOKER: I'm still working.

How's Dr. Love?

He says that you still owehim 20 bucks from a Dallas game.

No way, Skylar!

He owes me.

The guy's a bum.

He's never done anything right in his life.

He introduced us.

This is a great connection, Booker.

It's a car phone.

I'm impressed.

So when are you going to come pick me up, huh?

Listen.

Why don't you grab a snack, and I'll meet

you at Richard's around 10:00.

Booker, you stand me up, and I'm

coming at you with a machete.

Hm.

That could be fun.

It disappeared right after sound check.

Why was it left on stage?

It was only there a minute, and it was gone.

Was there anybody around?

Well, the bartender said therewere a couple of roadie types

from that video they'reshooting under the bridge.

He thinks they might have grabbed it.

Well, why don't you justget him another guitar?

We did.

It did not go well.

BB.

BB, it's Jackson.

The investigator's here.

BB?

You should've seen the look on his face.

That guitar must have meant the world to him.

Uh, you think you can find it?

Honestly?

No.

[music playing]

Cut!

Yeah, I know the guys.

They never came back after dinner.

Eric Slash and Woody somebody or other.

I think they live over on8th above the Hudson company.

Thanks.

Fire the girl and the biker on the other end.

On the other end?

Yeah, yeah.

We have to have an even number, don't we?

Do it!

Wow.

[MUSIC - BB KING, "AIN'T NOBODY HOME"]

You see?

It's got to be it.

Stay here, all right?

I want to go.

Stay here, and be quiet.

[SINGING] Girl, you put methrough some pain and misery.

And now you are standing on my doorstep,

telling me how much you need me.

Baby, ain't nobody home.

Nobody's home.

Mm, ain't nobody home.

Nobody's home.

How many times I begged for you--

[car alarm]

What the hell is that, man?

Uh, no, no, no.

I'm here with you.

ROBOTIC VOICE: Step away from the vehicle.

You are too close to the vehicle.

Step away from the vehicle.

WOODY: We can deal, but you--

ROBOTIC VOICE: You aretoo close to the vehicle.

Step away from the vehicle.

You are too close to the vehicle.

Step away from the vehicle.

You are too close to the vehicle.

Some sushi chef's car alarm went bonkers, man.

Shh, shh!

No, no.

Yes, I think--

I think that's very possible.

No, I have it right here,as a matter of fact.

So what kind of money are we talking here?

You're kidding me.

No, I mean, that's very, very possible.

4:00 AM, under the bridge.

Sure, where they'reshooting the video, sure.

OK, yeah, all right.

We're talking major bucks here.

How much?

How much?

Major, major buck-olas here.

Five grand.

Oh!

Whoo!

But I think we can do better.

No.

I mean, hey, this ain't the onlyrock dude who collects guitars.

Am I right?

Yeah.

You're right!

We could call Rick Nielsen fromCheap Trick or Justin Hayward

from the Moody Blues, man.

No, dude.

I cannot believe we didn'tthink of this sooner.

Pete Townshend.

Ah!

Major collector.

Ah!

Pay rent, bro!

Give me that guitar.

Forget it!

It doesn't belong to you.

Well, it sure as hell don't belong to you.

Look, I'm not playing games, all right?

I'm a private investigator.

I was sent to get Lucille.

Oh yeah.

Yeah, right.

You're a private eye, huh?

Give me a break.

Goddamn!

Stop!

[shouts]

WOODY: Whoa.

Whoa.

[grunts]

[music - bb king, "lucille"]

[SINGING] Lucille!

When I have the blues, I love to hold you tight.

Lucille!

I take you in my arms, andeverything's all right.

Lucille!

When I have the blues, I love to hold you tight.

Lucille!

Booker.

Booker, I-- Oh, no.

I don't think it's a good idea.

Lucille!

[speaking japanese]

[SINGING] Lucille!

When I have the blues, I love to hold you tight.

Sing to me, babe.

It's not here.

It's gone!

I'm a failure.

I've always been a failure,always be a failure.

Max, I told you it was myfault. I should have caught.

It was a bad throw.

I've always had control problems,

ever since little league.

There was nothing wrong with the throw, Max.

It was high and outside.

BOOKER: It was catchable.

This thing--

[speaking japanese]

Are you sure you don't have any change?

I'm a failure.

I don't have change.

Wild hair, tight pants, about 28 years old?

That's right.

That's everybody in the joint, pal.

Thanks for your help, pal.

[MUSIC - BB KING, "WHY I SING THE BLUES"]

[SINGING] Everybody want toknow why I sing the blues.

Yeah--

BOOKER: Robin, hey.

Excuse me.

Did you hear something?

I'm sorry, Skylar. I got hung up.

You smell great.

Oh, it's a long story.

Yeah, I'll bet.

Who's your friend?

Oh, this is Max.

Come here.

Max, this is Skylar Samperton.

Skylar, this is Max.

Oh, very glad to meet you.

Booker's told me a lot about you.

He speaks very--

Enough, Max.

--highly of you.

Oh, he does?

He was distraught all evening that he

couldn't meet you sooner.

Nice try, guys.

While you've been outdrinking and doing only god

knows what, I have been sittinghere, fending off a parade

of posers and Euro trash.

Now, Max, you seem like a very, very sweet man.

But your friend here?

He's a bum.

A bum?

Will you stop agreeing with her?

No, no, no!

There was a bum standing on the street

when the alarm was going off.

Well, then he's not a bum.

He's a homeless person.

No, this was a bum.

I bet he snatched it out of the dumpster.

What would a bum do with Lucille?

BOTH: He'd pawn it.

We're in luck.

There's only one all-nightpawnshop down here.

[japanese].

Don't rip that page out.

What about the next personwho wants to use it?

You mean the next person who's looking

for an all-night pawn shop?

Yeah, or patio furniture,or patent attorney.

Or podiatrist.

20 bucks?

Cash money.

You want to pawn it, I can only give you 10.

I'll sell it.

MAX: She wasn't too happy whenyou said she couldn't come.

What was I supposed to do, Max?

Invite her along.

It's all my fault. If onlyI'd made a better throw,

you'd have your guitar back at the Lone Star.

You'd be out with Skylar doing god knows what.

And I'd be back in my hotel roomwatching the Playboy channel.

Why don't you give the guilt a rest, Max, OK?

It's all my fault. I'm no help to you.

I'm no help to my bosses.

I'm no help to anybody.

Why do you do this, huh?

You're always gettingdown on yourself, always.

I suffer from low self esteem.

Well, whose fault is that?

It's warranted.

I'm a screw-up.

That's why my bosses atthe company sent me here.

They figure I'd make a good spy,'cause no one would suspect me.

Come on.

Really.

Back in Osaka, I'm treatedlike I don't exist.

I have a little, tiny officewith a little, tiny job.

Well, I don't believe you, man.

You know, I have a littleoffice and a little job,

and I have these bossesat the company that treat

me like I'm some sort of freak.

But you know what?

I don't really care, man, because I

think I'm a pretty sharp guy.

And I think you are too.

I appreciate you saying that.

You're a very kind man, Dennis.

[music - bb king, "lucille"]

WOMAN: That one.

This one's perfect.

[SINGING] I've never had a lot to start with.

I wasn't sure which way to turn.

Then you came along and showed me the way.

I found I have so much to giveand so much more to learn.

You took my life and gave it meaning.

There'll never be another one like you.

Lucille!

Take you in my arms, and everything's all right.

Lucille!

When I have the blues, I love to hold you tight.

Uh, excuse me.

Do you know who did this piece?

You know, because I reallylike what this says to me.

I don't know.

I just wandered in with my girlfriend.

Are you two in the performance piece?

Oh, no, no.

But they wanted us.

But you know, we've been tiedup doing this video shooting

under the bridge. You know?

Yeah. Yeah.

We're kind of starring in it.

- Oh, yeah? - Mm-hm.

Yeah, yeah.

We just finished shooting.

You watch MTV? - Sure.

Yeah.

Well, so do we.

May I have your attention, please?

Ladies and gentlemen, a very special piece

by a very special lady, miss Laurel Cassier.

[applause]

Two instruments, two lives.

BOTH: Lucille.

A woman with 25 bucks.

What a great description.

It's not much to go on, huh?

We missed her by 30seconds, man, just 30 seconds.

It's all fault. I'm sorry.

I should have done something to--

Stop it.

Sorry.

That's better.

No, no. Wait, I don't--

There you are.

Come here.

This is my friend, Marla.

Uh, so do you guys want to go back to my place?

I thought you said these guys were cool.

Ah.

Hey, Mooch.

How goes?

Goodbye.

Thank you for coming.

Peter, I'm so glad you came.

Ah, hey, Laurel.

Your piece was wonderful.- Oh, thank you.

Congrats.

Thank you.

Listen, about that guitar, that would

look fabulous at my place.

Take it.

I paid 25 bucks for the thing.

[music - bb king, "lucille"]

[SINGING] --and gave it meaning.

There'll never be another woman--

Uh, no, thank you.

I'm waiting for somebody.

I'm waiting.

Yeah, that's it.

Uh, more to the left.

That's it!

Great.

Perfect, man. Great.

Bolt it to the wall.

[SINGING] --hold you tight.

Lucille!

I take you in my arms, andeverything's all right.

Lucille!

[MUSIC - BB KING, "THE THRILL IS GONE"]

[SINGING] The thrill is gone.

It's gone away from me.

The thrill is gone, baby.

The thrill has gone away from me.

Although I'll still liveon, but so lonely I'll be.

- So what's our next move? - I'm out of moves.

What am I supposed to do, huh?

It's gone, Max.

The thing is gone.

So you're just going to give up?

That guitar meant more to BB King

than anything else in the world.

Max, cut the sentimentalcrap, all right?

It's just a guitar.

Toshima will pay him off,and all the money will

wash away a lot of memories.

You don't really believe that, do you?

Max, man, it's your last night in town.

We'll do whatever you want to do.

Well, I want to find Lucille.

Why is this so important to you, huh?

Max, look it.

They're going to blame me, all right?

Not necessarily.

What are you talking about?

Nothing.

Look, I want to go back to Richard's.

I feel bad about Skylar.

Max, she probably met someone and left.

I don't think so.

I think she's still there.

I think she really likes you, Booker.

It's bad karma to leave her there.

You should go back and apologize.

You said anything I wanted to do.

Want to tell me about it?

About what?

About why they would blame you and not me.

Come on, Max.

Who are you?

Number-one son.

My stepfather is chairman ofthe board of Toshima Japan.

So?

So?

You aren't worried?

Usually, people freak when I tell them that,

especially Toshima people.

So you're the boss's son, man.

I've been friends with worse, believe me.

Thanks, Dennis.

Thanks for being my friend.

You know, the funny thingis, all these people think

I'm going to go back to Japan, and I'll

give a negative report on them.

And the irony is, when I get back there,

my father will pick up thephone and get a report on me

from Chick Sterling.

Well, I don't think you're going

to have to worry about that, man,

because I think your karma is changing.

Hey, Skylar.

Oh, wow.

You're back.

Listen, I'm really sorryabout leaving you here alone.

Do you mean that?

Yes, I do.

Good answer.

Yeah?

Because I have a little surprise for you.

Yeah?

Yeah.

I know where Lucille is.

Where?

She was up there on thewall, and some busboy took her.

- Which busboy?- I don't-- he had a ponytail.

He was supposed to nail her up there.

And then I saw himsneaking out the back door.

Well, why didn't you stop him?

Because I don't have a gun like you do.

All right, I tried to talk to him.

I even tried to buy it.

He wouldn't sell it.

But I do know where he went.

Where?

He went to see the Quadropheniacs.

He said that the leadsinger was his best friend,

and he'd give me a t-shirt if I didn't blow him in.

MAX: The Quadropheniacs areplaying at this all-night thing

at the Ritz.

I saw it in the weekly.

I told all of this to those guys you sent.

Which guys?

Those two roadies, Woody and Eric somebody.

Come on.

Hey, this one's in pretty good shape.

Yeah. It's all yours, man.

Thanks. What do I owe you?

Nothing, man.I ripped it from Richard's.

Far out.

Right on.

SKYLAR: Booker?

BOOKER: Yeah?

SKYLAR: Do you realize that the Quadropheniacs

are a Who cover band?

Yeah.

So?

So they probably smash everything in sight

at the end of their set.

[BAND PLAYING "I CAN SEE FOR MILES" BY THE WHO]

[screams]

QUADROPHENIACS: [SINGING] Butyou've got to stand trial,

because all the while, Ican see for miles and miles.

I can see for miles and miles.

I can see for miles and milesand miles and miles and miles.

The Eiffel Tower and the Taj Mahal

are mine to see on clear days.

You thought that I would need a crystal ball

to see right through the haze.

Well, here's a poke at you.

You're going to choke on it too.

You're going to lose thatsmile, because all the while,

I can see for miles and miles.

I can see for miles and miles.

I can see for miles and milesand miles and miles and miles--

Who was that?

Somebody I thought I knew.

Sure.

[crowd cheering]

[crowd chanting "encore"]

BOTH: Lucille.

BOTH: Lucille.

[BAND PLAYING "MY GENERATION" BY THE WHO]

[SINGING] People try to put us down--

Talking about my generation.

--just because we get around.

Talking about my generation.

Things they do look awful c-c-cold.

Talking about my generation.

I hope I die before I get old.

Talking about my generation.

This is my generation.

This is my generation, baby.

Why don't you all just fade away.

Talking about my generation.

Don't try to dig what we all s-s-say.

Talking about my generation.

I'm not trying to cause a b-b-big s-s-sensation.

Talking about my generation.

Talking about my g-g-generation.

Talking about my generation.

This is my generation.

This is my generation, baby.

Why don't you all just f-fade away?

Talking about my generation.

Don't try to dig what we all s-s-say.

Talking about my generation.

I'm not trying to cause a big s-s-sensation.

Talking about my generation.

Just talking about my g-g-generation.

Talking about my generation.

This is my generation.

This is my generation, baby.

My, my, my, my generation.

Talking about my, talkingabout my generation.

[crowd cheering]

This is my generation, baby.

[microphone feedback]

Woohoo!

Hey!

ROBOTIC VOICE: Step away from the vehicle.

You are too close to the vehicle.

Hey!

ROBOTIC VOICE: Step away from the vehicle.

Hey!

ROBOTIC VOICE: You aretoo close to the vehicle.

Ah, this is my fault. I shouldhave seen the No Parking sign.

Ah, Max.

[MUSIC - BB KING, "THE THRILL IS GONE"]

[SINGING] The thrill is gone.

The thrill is gone away.

The thrill is gone, baby.

The thrill is gone away.

You know you done me wrong, baby.

And you'll be sorry someday.

Enough!

Look, we're not giving up here, all right?

We're going to find Lucille.

We're going to get her backto the airport by 7:00 AM.

And you're going to go back to Japan a hero.

Great.

How do we do it?

I have no idea.

It's a shame we don't have allthose people helping us look.

That's a great idea.

All right, listen to me out there,

all you prowling dogs in thestreets sniffing for mates.

The good doctor has a veryspecial contest for you.

I've got a dude here from Toshima,

one of those big,multinational-type corporations

that have lots of guysin polyester blend suits.

Anyway, I've known this guy a long time.

And I think he's a sellout.

But he walked in here withtwo round-trip tickets

to the Toshima Jazz Festival.

The Toshima Jazz Festival, you say?

Doctor, pharmacist of love.

We've never heard of this.

Well, that's because itstarts the day after tomorrow

in Frankfurt, West Germany.

That's right.

And Toshima is willing to fly you

and a friend to West Germanyto hear some major jazz

and blues played by somemajor jazz and blues artists.

Now, here's the deal.

We're going to give these two tickets

away to the first person whocan bring us a German car.

Easy, you say.

Nah, nah, wait.

We don't want any decent beamers, dude.

We don't want a Mercedes,no Porsches, no Audis.

I mean, that's too easy.

The streets are filled withthese yuppie spawn vehicles.

No, what we want is a Volkswagen.

Now, I don't mean any graduationpresent convertible rabbits.

I don't mean a 1968, summer of love,

purple haze, hippie microbus.

I want a real Volkswagen, yeah.

Let's make it a pre-1970sVolkswagen Beetle bug.

And let's make it red,because I'm in a good mood,

and that's my favorite color, baby.

Hey!

Hey, you guys!

They sense it, dude.

They know we're rich!

We're giving off vibes.

Hey!

Hey, wait!

Wait!

555-KRAP.

555-KRAP.

You wouldn't considerthis helping a friend, man.

KRAP. No, pink is not red.

It has to be red.

Booker, Dennis, you know--

- KRAP. - --that I know--

No, it cannot be in a friend's garage.

- --that you know-- - KRAP.

--that I have no friends.

You want to be my friend?- Good.

Got to dress the flesh, baby.

Max got the car back.

Fine, fine.

KRAP.

No, I'm sorry, [gibberish].

KRAP.

Well, if you stay tuned,we'll play more Whitesnake.

Thanks.

It's not working.

Wait.

RADIO HOST: We're still lookingfor a '60s Volkswagen Bug.

Now, if you've got one, give us a call at KRAP,

and you may be headed for afree trip to West Germany.

Hey, man.

I know someone who's got a car like that.

Who?

Oh!

- Us! - Wait.

We got to be under the bridge by 4:00.

Hey, we're talking about a phone call, man.

Five grand and a trip to Germany, bro.

Pay rent, mein herr.

All right, this is them.

It's got to be them.

Two guys in a red Volkswagen that said

the word "dude" seven times.

That's them.

They want us to meet them under the bridge.

They are shooting a video there.

That's definitely them.

Let's go.

So, uh, how do I know this is really Lucille?

Hey, man. That is Lucille.

Yeah?

You want five grand for it, huh?

Look great in your collection.

We might take less.

[grunts] We're going to Germany in the morning.

We're in a hurry.

Oh, you guys really get around, huh?

Yeah.

Well, we're considerably busy, you know?

Whoa, dude.

Check out this major babe.

She belong to you, man?

No.

I think, uh, she's probablyinterested in you guys.

Get out of here.

Hi.

Hi.

I'm Skylar Samperton from KRAP.

Oh!

Oh!

Hi.

I'm Eric Slash.

This is Woody Warlock. - Hey.

Nice to meet you.

Nice to meet you.

Well, I have your tickets to Germany.

Well, it's no big deal, really.

Oh, this is Ian.

He's a big music video director.

Ian, Skylar Samperton.

Pleased to meet you.

Nice to meet you.

That is such a beautiful guitar.

Is that yours?

No, not really, not yet.

Well, do you mind if I see it?

Uh--

SKYLAR: What are you worried about?

Let her see it, man.

Ah.

[metal crashing]

BOOKER: Max!

BOTH: Bogus!

Bye.

Bye.

[music - bb king, "lucille"]

[SINGING] Lucille!

I take you in my arms, andeverything's all right.

Lucille!

When I have the blues, I love to hold you tight.

See what I mean?

And all the years we've been together,

you always gave me somuch more than I gave you.

You never wanted fancy gold, expensive cars,

or diamond rings.

You were right there by my sidewhen I didn't know what to do.

You kept the dinner on thetable when every other thing

was going wrong.

Lucille!

I take you in my arms, andeverything's all right.

Lucille!

When I have the blues, I love to hold you tight.

Sing to my, babe.

Don't even think about it.

BOTH: Bogus.

[SINGING] Lucille!

When I have the blues, I love to hold you tight.

Lucille!

I take you in my arms, andeverything's all right.

Lucille!

When I have the blues, I want to hold you tight.

Mr. Harry.

You did it!

Yes, sir.

We did it, man.

We actually did it!

Well, I couldn't havedone it without you guys.

Hey.

So Max, when is your flight?

Oh.

Oh, it's about an hour.

About an hour.

OK, listen, you have a great flight, all right?

Dennis, I'll see you down in the car.

OK.

All right.

Bye.

Listen, you take care ofyourself back there, all right?

I will.

And just remember, there'sno small executives, only

small offices.

I like that.

Yeah, well, I made it up.

Uh, listen, am I ever going to see you again?

[AMERICAN ACCENT] Save thatsentimental stuff, huh, Booker?

Get out of here.

This is quite a report.

Thank you, sir.

I don't think that was meant as a compliment.

What do you mean?

I got the guitar back.

Yeah, and in the process, you destroyed

every high-tech devicethat we gave you to test.

That's not true, man.

The stereo's still intact.

Mm-hm.

You also took a Toshima executive,

who's probably a corporate spy,and kept him out all night.

You managed to expose him to danger

and introduced him to a wideassortment of, uh, creatures

of the night along the way.

Well, I wouldn't callthem creatures of the night,

would you, Miss Rudd?

Hm?

No, not really.

BOOKER: Actually, there'sno creatures of the night,

there's no real danger, andMax is not a corporate spy.

No.

Then who is he?

He's the number-one son.

Yeah, his stepfather is some chairman

the board or something--

I don't know, a title like that.

I'm sure you could look it up, though.

You're kidding me.

I never kid.

But don't worry.

I put in a good word for you.

Oh.

[speaking japanese]

ALL: Oh.

[speaking japanese]

[board murmurs in agreement]

[buzz]

Yes, Margaret?

MARGARET: Osaka on line one, sir.

[music playing]

[MUSIC - BILLY IDOL, "HOT IN THE CITY"]

[SINGING] I feel the beaton the street tonight.

The lights are bright, andit feels all right tonight.

It's a hot summer night, and I'm ready tonight.

It's a hot summer night, and it feels so right.

It's a hot summer night, and I'm ready tonight.