All language subtitles for charlies.angels.s05e13.remasterd..x264-rovers-en

CHARLIE:
Once upon a time, there
were three beautiful girls.

Two at them graduated
from the police academy.

The other graduated
from a top school for models.

And they each reaped
the rewards

of their exciting careers.

But i took them away from all
that and now they work for me.

My name is Charlie.

[m]

[m]

Oh, what about
the set’s budget?

On which production?

On Lady West.
Have you seen the figures?

Yes, I've seen them.

Then I can tell production
you approve?

I don‘t approve,

but there doesn't seem
to be much I can do about it

since we finish shooting
next month.

I don't wanna discuss it now,
I'm going home.

You can call me there,
okay?

[m1

[GROANING]

[TAYLOR SCREAMS]

Well, don'tjust stand there,
you idiots. Go after him.

My God! Oh, my God!

Stop "my Godding."
Go get a doctor.

Hang on.
You're gonna be all right.

CHARLIE [OVER SPEAKER]:
Shall we assume, Mr. Tobias,

that the arrow
that hit your chauffeur

was meant for you?

Definitely.
Can you hurry with that?

Sure.

No, no. First the ice,
then the bitters.

Ah,
this is the third incident

that's happened at the studio,
Mr. Tobias?

Yes,
and you can call me Jonathan.

How democratic.

Was anyone else hurt
in the first two incidents?

No, a wardrobe designer
was coming to my office

when, zap, an arrow dug
in the lawn by her feet.

Good,
now slowly with the soda.

And when did the
first incident take place?

TOBIAS:
About three weeks ago.

A stunt gaffer was rigging
some trampolines

for a period picture
we're shooting.

You're doing it right now.

I'm so glad.

Anyway, zap goes an arrow
into the trampoline.

Scares him
halfout of his residuals.

He up and quit.

Your studio security
has had no luck at all?

Negative. Everyone
at the studio is uptight.

lt's starting to affect
morale,

and sooner or later,

that will affect
production cost.

l'rn afraid the whole thing
has the smell

of an inside job.

I agree. We're gonna need
some good cover
roles, Charlie.

Well, Charlie has
already seen to that.

Uh, you'll contact
an old friend of Charlie's

called Big Teddy.

And he will give you
your instructions.

You'll love him, Julie.
He's tops in his field

If he's tops in his field,
whatever that is,

how come he's not working
for me?

I only hire the best.

Good for you.

TOBIAS:
Perfect. Stop pouring.

You have just learned
how to properly construct

a Jonathan Tobias special.

No kidding.

And, uh,
what's it used for?

Well,
when the pressure builds,

when your tummy tells you
it's not happy,

when you gotta deal
with the jerks of
our industry,

then you drink it down,
and voilaa, now you can cope.

And nothing and no one
can get to you.

You promise?

I said it. It must be true.

[SIGHS]

[m]

[SIGHS]

Hey, this really works.

I think maybe we'll be able
to work for you, Jonathan.

[m]

KELLY:
Listen, Big Teddy,

I really hadn't planned
on anything like this.

Are you listening to me,
Big Teddy?

Just lip offlhe platform
like I showed you.

When I yell "tuck," tuck,

and it will lay you out
flat in the bag.

Now, come on.

Aah!

[m]

TEDDY:
Tuck!

Aah!

Kelly, speak to me.

Speak to me.

Do I have all my parts?

Uh, I think so.

Aah. Are they
in the proper arrangement?

Uh, I think so.

0h, Kelly, you were
so brave to go first.

l cheated.

Oh, how could you do that?

Fear. Simple fear.

TEDDY:
All right, who's next?

[SIGHS]

You wouldn't wanna
draw straws, would you?

Ha-ha! With you?

Kris,
wouldn't you have cheated

if you were the one
who held the straws?

We'll go together.

JULIE:
Nol Aahl

[m]

Go for it, girls!

Well, having fun?

I'm not speaking to you.

TEDDY:
Are you ready?

All right, go.

[m]

TEDDY:
Tuck.

[GASPS]

[PANTING]

Well done.

TEDDY:
Are you ready? Come on.

All right now.

Oh, my God.

Come on, let's go.
All right now.

Go.

[m]

TEDDY:
Tuck.

[SIGHS]

Well, lam very impressed.

Drop dead.

Twice.

I thought
you weren't speaking to me.

You know, it wouldn't hurt
ifl reminded you all

that this was Charlie's idea
and not mine.

It wouldn't hurt
and it wouldn't help.

[m]

Hi.

JULIE:
Hi.

Where's Kris?

Oh, she's gonna be
a little late.

Oh, bad for the first day
on the job.

Oh, she had to go see
her chiropractor.

Evidently,
she displaced something

trying to please Big Teddy.

BOSLEY:
Oh, I see.

Yeah,
I thought you would.

Well, I mustsay
that afterjust one week

at Big Teddy's Stunt School,

you two have certainly
acquired the look.

You too.

Me?

Yeah, you've acquired
the look of someone

who's been stuffing his face

while we're sweating
our buns off.

Well, yes,
but ifl am to play the role

of an Eastern film financier,
l have to look the part, right?

Okay.

Tell me, how did you arrange
for three unknown stunt ladies

to get called on this lot?

Oh, Charlie and our client

pulled a few strings
with the unions

and the local
stuntwomen's group.

Hmm.

Here we go.

Huh, I'm to report

to Marian
and Her Merry Maids set?

Yes. That's the period picture
that our client mentioned.

And I'm going to lady West.

Right.
That is the Western flick

our client is shooting.

You see,
the demographics indicate

that a contemporary
Western theme

with a female star
as the protagonist

has a credible market
in the Midwest

for an age range audience
of say, 12 to 35.

Well, Bosley,

you certainly have picked up
on the lingo, haven't you?

Just my natural
leadership qualities

coming to the fore.

Shall we step
into the magical world

of make-believe?

JULIE:
Okey-doke.

[KELLY LAUGHS]

[m]

Bosley, John Bosley.

I believe
Mr. Tobias is expecting rne.

Okay, why don't you go...?

All right,
you go to Stage 19.

That's up there to the left.
Follow the numbers.

Okay. Bye.

Bye.

'Marian
and Her Merry Maids. "

Right.

Well, you're a pretty maid.
You know that, don't you?

And you sure are
a fine figure of a man.

Ooh, she speaks
with sweetly blessed lips.

And each word flies
like tender doves

upon the morning air.

[CHUCKLES]

Beneath that uniform
beats the heart of a poet.

Ah, I wish it could be so.

What is it they say?

All things are possible?

That's right.
That's what they say.

[CHUCKLES]

Stage 12. To the right.
Follow the numbers.

Thank you.

[m]

MAN:
All right,
get the fans for the air bag.

Everybody take their places.
We're going to try a take.

MAN:
Okay, here's the gag.

You two guys
come along the porch.

lwill fire
an off-stage gun.

You duck down,
the squibs go off behind you.

You figure you need hostages,
you each grab one
of the girls,

you put the girls
in front of you

and then you dive
off the porch

into the haystack.

Any questions?

Got it.

Okay, let's do one.

You stand right over here.

Don't you move now.

Hey, partner,
would you, uh--?

Would you mind if I said
this dance was already taken?

[CHUCKLES]

MAN:
Let's hold the noise.

All right, quiet now.

And rolling.

WOMAN:
Sound's ready.

[m]

And action.

[m]

[AIR HISSING]

Hey, hold it.

[ALL SCREAMING]

[BOTH GROAN]

Hey, are you okay?

I think so.
What happened?

MAN:
He happened, again.

[m]

CHARLIE [OVER SPEAKER]:
Angels,
/'m having second thoughts

about you three being
stuntwomen as your cover.

Oh, I think it's a little late
for second thoughts, Charlie.

[GROANS]

ltalre it
.. you've picked up
some bruises.

You know, the area
between your left elbow

and your left shoulder,
Charlie?

That's where it hurts?

No,
that's where it doesn't hurt.

[LAUGHS]

Oh. Well, i think
we 'd better come up

with another sort of co yer.

We've already established
ourselves as stuntwomen.

If we switch now, somebody's
gonna get suspicious.

BOSLEY:
Good point.

I'm afraid we are
going to have to stick it out.

Who's we, kemosabe?

All you've been doing
is chowing down

in the executive
dining room.

Yeah.

True,

but I have kept my ear
to the ground, so to speak.

And guess
what I came up with.

A flat ear.

[CHUCKLES]

[BOTH LAUGH]

Funny.

Our client, Mr. Tobias,

has been locked
in a corporate battle

with the studio
board of directors.

What are they battling
about?

Mr. Tobias wants
total artistic control

and the board doesn't
wanna give it to him.

For example, there was a lot
of opposition to Mr. Tobias

when he asked to do a remake
of Marian and Her Merry Maids.

A remake?

BOSLEY:
Well, so to speak.

You see, the studio shot it
30 years ago

under a different title
with a male star.

And it was a real blockbuster,
to employ the jargon.

And now they don't think
it's commercial?

Well, you'll all see
for yourselves

when you report
to work tomorrow

at the set
of Marian and Her Merry Maids.

And you had something to do
with that.

Yes, as a matter of fact.

I felt that there was safety
in numbers.

So I saw to it
that from now on

all three of you will be
working on the same set.

Good thinking, Bosley.

ls Marian
.. and Her Merry Maids,

is that old-fashioned?

KELLY:
The costumes may be period,
but the pain may be very real.

[BANGING AND THUDDING]

[ALL CLAMORING]

JULIE: Kris.
KRIS: What?

JULIE:
A person could get hurt
doing this.

KRIS:
Let's go see
what Kelly is up to.

[m]

And cut.

[CHUCKLES]

Showbiz.

Did you get it?

Print it.
That's beautiful, ladies.

Thanks very much.

Take 10 while we
set up the next shot.

Everybody okay?

Thank you.

JULIE:
Hi.

KELLY:
Hi.

a“

Well, you merry maids

sure came down hard
on the old sheriff.

Well, he is the heavy
in the piece.

Cute, huh?

By the way,
I met a new friend.

This is Ellen Travers
and her husband, Jeff.

JULIE: Hi.
Hi.

Howdy. And it's Stanowitch.

I beg your pardon?

It's Jeff
and Ellen Stanowitch.

Travers is just a name
her agent dreamed up.

Not so ethnic, he claims.

Oh, I see.

JEFF:
I don't know what's wrong
with ethnic, though,

but she went along
with the sawed-off
little jerk.

Jeff, he's not a jerk.

Ah, but he is sawed-off.

As in short, you know.

Yeah,
I know what you mean.

Weren't you elected

Miss National Rodeo Queen
last month?

Yes, l was.

I'm surprised
you'd remember that.

We're trying to forget.

Anyway, it was swell
meeting you, folks.

Come on, honey, I'll get
a blanket for your legs.

Oh, that's okay,
they're not cold.

I know best. Come on.

Be seeing you.

Okay, bye.

Bye.

Hey, isn't that Micklin,

the stunt gaffer we worked
with the other day?

I wonder
what he's doing here.

They're calling in
all the heavy-duty personnel

on this production.
Big bucks.

There's a major stunt
coming off this afternoon.

Ah.

Oh, wow, that ought to be
fun to watch.

I don't think
you'll be watching.

How come?

We're gonna be in it.

Great.

[BOTH CHUCKLE]

[m]

Well, now you understand
what I need?

I'm afraid so.

What did she say?

Uh, she said
she's not afraid.

Okay, uh,
when the other lady

jumps out ofthe tree
and stops the three fellows,

we swing down and knock them
off their horses.

All right, right.

But keep the action going
till I yell cut.

Okay?

Piece of cake.

I never knew Sherwood Forest
was on a sound stage.

Movie magic.

All right.

All right, now we'll roll
then I'll cue the horsemen.

Micklin ready?
Yes, he's all set.

You gonna be okay?

Ah.
Easy as falling out of a tree.

She said it, I didn't.

Okay, let's do it.

Okay,
quiet now and roll them.

WOMAN:
Speed.

DIRECTOR:
And action.

lfl should die
before I wake...

[m]

That's far enough, sheriff.

[MEN GRUNT]

Cut. Print.
Beautiful. Beautiful.

[ARROW THUDS]

MAN 1:
Help me. Help me, please.

MAN 2:
Okay.

0h.

MAN 3:
Oh, my God! Oh, my God!

KRIS:
Get a doctor!

l'llget him.

[GASPING]

KELLY:
Lie still. Don't move.

It's important
you don't move.

Oh, God. Oh, God.

I just knew something like
this would happen.

I told her not to get involved
in all this movie craziness.

I told her!

Just calm down, Jeff.
It's gonna be okay.

I can't calm down
and it's not okay.

And the name is Stanowitch,
Jefferson Stanowitchl

Mr. Stanowitch,
did you see who did it?

Some guy.

Some screwball stepped out
from behind those walls

in some dumb outfit
and shot her.

He just plain shot her.

I knew it.

ljust knew you'd get hurt.

[m]

CHARLIE:
How is Ellen doing?

Bos and Kelly
are at the hospital, Charlie.

Kris is on the other line
with them now.

it seems we're making
very little progress

on the case.

Yeah, I know. And meanwhile,
people are getting hurt.

Well, there 's ob viously
a common denominator

in all these incidents.

Our freaky fellow

with the arrows
and the pointed shoes

is concentrating his hostility
on Marian and Her Merry Maids.

Hold on, Kelly.

But we were working
on a western

when the arrow hit the
air bag, to coin
a phrase.

Wait a minute.

Maybe the arrow wasn't aimed
at the air bag.

Maybe the arrow was aimed
at Micklin, the stunt gaffer.

He was standing right next
to the bag when it happened.

That's true.

And Micklin was hired on
as stunt gaffer

on Merry Maids
the very next day.

That's right.

Maybe we should do
some hea uy research

into the Merry Maids
production.

You know, Charlie,
something occurs to me.

Marian and Her Merry Maids
is a retitled remake.

Which means what?

Well, I don't know.
Maybe nothing.

But I think it's worth looking
at the original film.

We might get an idea or two.

Not a bad thought.

l'll call our client,

have him set up a screening
at the studio

first thing in the morning.

Bye, Kelly.

Well,
Ellen got out of surgery

and it looks
like she's gonna be okay.

Oh, thank God.

[m]

[WOMAN SPEAKING lNDlSTlNCTLY
OVER PA]

JEFF:
She's gonna be all right?

KELLY:
She's gonna be fine.
Good as new.

I'd never forgive myself
if she was really hurt bad.

Well, it's not your fault
that there's some crazy

running loose
around the studio.

Well, it's my fault
for not being stronger.

I told her not to get involved
in all this,

but she pleaded
and I gave in.

Hi.

Hi. How do you feel?

Uh, I hurt.

Don't you worry.

As soon as you get out
Of here, we're packing up

and heading right back
to Arizona where we belong.

Tell her I'm right.

Well, whatever makes
both of you happy.

Ellen, did you see anything
out there today?

I didn't see anything.

I felt the arrow hit me,

and I looked down,

got sick,

passed out.

KELLY:
Ellen, sometimes
a person goes into shock

after an injury.

Then later,
they remember things.

Do you understand?

lthink so.

Why are you asking me
all these questions?

Maybe this will, uh--
This will explain.

Townsend Detective Agency?

We're private investigators.

The studio hired us
to find our mad archer.

You're kidding.
No.

SO if you can remember
anything,

anything at all
that might help,

I want you to call.

We'll talk more later, okay?

Okay, you got a deal.

Thanks. We've gotta go.

I'll drop by tomorrow.

ELLEN:
I'll be here.

Okay.

Detectives.

You just get well, honey,
I'm taking you home.

[m1

Hi.
Hi.

You worked the Merry Maids set
yesterday, didn't you?

Right.

Did you see what happened?
The girl getting hurt, I mean?

No, I turned around
and she was on the ground.

It was crazy.

The whole studio about ready
to jump out of its skin.

Security called us here

and said to keep an eye
on everyone

going out of the gate.

How are you today?

Okay.

Itake it neither of you saw
anyone odd leaving the studio

after security alerted you.

If we arrested every
odd person whO passes
through the gate,

the entire industry
would have to
close down, right?

Yeah, I suppose so.

The whole thing
is getting out of hand.

And I don't much like to see
young girls like yourself

putting yourselves
in harm's way.

Well, I'll keep
a sharp eye.

You do that.

These are strange times
we live in

with cruel
and twisted paths ahead.

Okay.

[m1

[ROMANTIC MUSIC
PLAYING 0N-SCREEN]

BOSLEY:
What do you think?

Well, this original version
of Marian and Her Merry Maids

is nothing
like what we are doing.

What we're doing
is garbage.

l was so young
when I saw this.

I never realized
how classy it was.

It's so poetic
and lovely.

Yeah, anothertime,
another place.

Perhaps a better place.

That Errol Flynn
was really something.

Yeah, he was one of
my favorite movie heroes.

Listen, would there be
any point to getting a rundown

on all the people involved
in this production?

And names ofthe people that
are involved in the remake?

You know,
do some in-depth research?

Good idea.
We might get a connection.

Well, it's a long shot.

What else have we got?

KRIS:
Nothing else.

That could be really tough
research.

This movie was made
over 30 years ago.

It's no problem.

Bosley will do it.

Bosley has done it.

Even as we speak,
Charlie's computer is humming

with a complete rundown
of everyone

even vaguely connected
with both productions.

What insight you have, Bos.

Aw, you needn't
have said that.

Modest too.

Not really.

It was probably
Charlie's idea.

That is an unkind cut,
wench.

Though truly spoken.

[KELLY LAUGHS]

Well, listen,
we better get to wardrobe.

Bye, Bos.

BOSLEY:
I'm coming.

[ROMANTIC MUSIC
PLAYING PROJECTOR]

[m1

0h, sire,

it is indeed the cruel
and crooked path

that lies before us.

There is a black-hearted soul
among our merry band.

But fear not, sire.

I will seek him out

and clear our good
and noble name.

You have my word.

[m1

[HAMMERING BELOW]

[MEN CHATTERING BELOW]

[ALL CHATTERING]

lfl put the camera
over there,

what does it do
to your stunt diagram?

Well, I don't know.
Take a look at it.

All right.
Look, this is--

Come on here,
we'll put the--

It will be okay.

[KRIS SIGHS]

Well, I wonder what delights
are in store for us here.

I heard something
about a brawl.

All right, all merry maids,
where I can see you.

Once more into the breech,
dear friends.

[HONKING]

Well, hello.

Howdy.

How's yourwife
this morning?

She's coming along fine.

Good.

I came by to pick up
some of herthings

in her dressing trailer.

Oh, yeah?
I'm going that way myself.

Hop in.

Thanks.

[m1

DIRECTOR:
All right, folks.

Folks, listen.
Listen, please.

Come on,
we've got a long afternoon

and I want your attention.

MAN:
That over there is right in
George's way. Can we move it?

[CREW CHATTERING]

WOMAN:
Hey, Tom,
according to my last timing,

this fight should go
three minutes,

but I can't tell how accurate
that is until we really do it.

MAN:
Okay, we're ready.

Now,
let's try a walk-through.

DIRECTOR:
Now, these stunts
are rather involved

and we don't want anybody
to get hurt.

Because God knows
there's been enough of that

going around
for the past couple of weeks.

MAN:
Remember your positions,
just like we rehearsed it.

Don't try to be heroes now.
Save it for the camera.

[m1

[m1

MAN:
All right, now, remember,
this is just a rehearsal.

Take it easy,
by the numbers.

MICKLIN:
Okay, now the idea
is we create mayhem,

but all in fun.

MAN:
Tell me when you wanna set
the breakaways.

We have two sets of doubles.

After that, we've two takes
ifthe jokers don't foul up.

MAN 2:
Don't worry,
we'll do it one take.

MICKLIN:
Now, the key stunt people
will handle the heavy stuff

as I've indicated
in the diagrams.

The rest of you
will concentrate

on taking punches
and doing falls.

Again with the falling?

MICKLIN:
Okay, let's
everybody pad up

and come back
and we'll try one.

Hi.

Oh, hi, Bos,
what are you doing here?

Charlie just sent over the
computer readouts on everyone.

Sol picked them up
at the gate

and caught a lift over
with Jeff.

How's Ellen?

She's gonna be okay.
KELLY: Great.

Did Charlie's computer
come up with anything?

I don't know, I haven't been
able to open the envelope yet.

Listen, I need to pick up
Ellen's clothes and stuff.

Her trailer's next to mine.
I'll show you where it is.

Fine.
See you later.

Bye.
KELLY: Bye.

[CHUCKLES]

Okay, all of you,

look at your diagram
and instruction sheets

that were given to you
yesterday.

We'll get into position

and then we'll walk through
the first series of moves.

All right, now, remember,
this just a rehearsal.

[m]

MICKLIN:
The action starts

when the tavern keeper
picks up the guy,

lifts him over his head
and tosses him into the table.

MAN:
Okay, we're ready.

All right, let's do one.

[ALL CHATTERING]

MICKLIN:
Action.

MAN:
Lift him up, over there...

[CRASHING IN DISTANCE]

[ALL GRUNTING]

You know, I have dreams
that look like this.

Hmm, yeah,
but when it speeds up,

I bet it's gonna feel
a lot more like a nightmare.

[ALL GRUNTING]

[CRASHING IN DISTANCE]

Hey, hey.

Is something wrong?

I'm not sure.
But according to this,

one of the featured players
with Errol Flynn

in the original epic
of MerryMaid

was an actor by the name
OfJoseph Warnwright.

I never heard of him.

Oh, you wouldn't have.

He got out of the acting
business years ago.

But he's still here
at the studio,

working as a gate guard

under his real name,
which is Jake Webner.

Jake Webner, that's the
old guy who checked
our passes.

One and the same.

I just called
down at the gate,

he was supposed to report
back to work after lunch

20 minutes ago.

But it seems
that he's just disappeared.

Well, that may
or may not mean anything.

It might be
just a coincidence, Bos.

I know, I know.
But I just thought

that you should be told
so you could keep an eye out.

[ALL GRUNTING]

Why don't you call Kelly
in the dressing room?

Also, get her back here.

It's no fun getting abused
without her.

Really.

[m]

MAN:
All right, now,
let's put the breakaways in.

[ALL CHATTERING]

MAN:
That over there is
right in George's way.

That should do it.

[ALL CHATTERING]

DIRECTOR:
All right, folks,
let's get ready for picture.

All right, now,
quiet and rolling.

WOMAN:
Speed.

DIRECTOR:
Action.

[MEN GRUNTING]

[BOTH GASP AND SHRIEK]

MICKLIN:
Hold it! Hold it!
Hey, hey, hey, whoa, whoa.

[m]

This isn't the way we worked
on the scene at all here.

This isn't-- You're not--

You should be back in this
area right here, okay?

Aahl

MAN 1:
Oh, my God!

WOMAN:
Where did that come from?

MAN 2: Hey, what's going on?
WOMAN: Where did that
come from?

MAN 3: This stinks.
WOMAN: Anybody got first aid?

[ALL CLAMORING]

[m]

MAN 3: Don't crowd him.
MAN 4: Don't lose him.

WOMAN 2: That hurt.
MAN 5: Get a blanket.

[m]

[ALL CLAMORING]

[m]

JAKE:
Stop rig ht there.

I don't want to hurt you.

What the devil's going on
around here?

[m]

[SIGHS]

Come on.

Hello, operator?
I want the number--

The number
Of a dressing room trailer.

I hope everything works out
for you and Ellen.

Thanks.

And I hope you find out

who it was that hurt her
and the others.

By the way, what were those
computer readouts

Mr. Bosley
was talking about?

Oh, we're doing
a computer rundown

on everyone connected
with the production in
any way.

And, uh,
how does that help out?

Well, a lot of times,
it doesn't,

but sometimes we get lucky.

Speaking of luck, I hope you
and Ellen have the best of it.

[PHONE RINGING]

Thanks again
for everything.

Okay.

Yes?

Oh, hi, Bos.

What? Are you sure?

Of course, I'm sure.

Kris and Julie
are bringing him down now.

Jake is the real mad archer.

KELLY:
What do you mean?
Do we have more than one?

Well, in reading through
these computer sheets

that Charlie sent over,

I noticed that Ellen and Jeff
are also archery experts.

They do a bow-and-arrow act
on the rodeo circuit.

Ellen and Jeff
are archery experts?

You're certain ofthat?

Yes, I'm positive.

What the devil does that
have to do with anything?

Well, maybe nothing,
except that Jake Webner

couldn't have shot
Ellen yesterday.

He was on gate duty.

I'm positive.

I talked to the other guard
on the way to the stage today.

He and Jake were on duty

when security called
about Ellen being hurt.

Hang it up.

Go on, do it.

Listen to me! I swear
I didn't mean to hurt her.

I swear it!

I had to do it. I had to.

I had to get her away
from this place

or I was gonna lose her.

Open this door!

Listen to me.
Listen to what I'm saying.

I didn't mean to hurt her.
ljust meant to scare her.

Make her think it was that
other guy, whoever he is.

I swear
I didn't mean to hurt her.

I swear it!

I can't let you tell Ellen.

Jeff, put it down.

Slow and easy.

Put it down, Jeff.

[GUN CLATTERS]

My name is Stanowitchl

Mr. Stanowitch.

That seems to be
what all the trouble is about.

[m]

[m]

Look at this.

Total inefficiency.

Wait till I get ahold
of the head man

of Studio Maintenance.

A room like this forgotten.

Gathering dust.

And I'm paying taxes on it.

Just gathering dust.

And weirdoes
in funny clothes.

You, I'm gonna send
to the funny farm.

You have any idea
how much money you cost me?

You've lost a great deal more
than money, Mr. Tobias.

Now, what is that
supposed to mean?

You've lost your audience.

You've lost the people
who care about pictures,

really care.

I mean good pictures,

not the kind of garbage
you make.

He's not only weird,
now he's a film critic.

KELLY:
So it seems.

I would also say

you've lost your sense
of decency and good taste.

But on the other hand,
if you've never had something,

how can you lose it?

TOBIAS:
You know,
you got a lot of guts.

For all the trouble
that you're in,

you're talking to me
like I'm the one

with the parts missing.

Well, sire,

I doubt
that he can cure himself,

but at least he's named
his own affliction.

[m]

If you're ready to
take me now,
I'm ready to go.

Well, like they say,
it takes all kinds.

Right, sweetheart?

Goodbye, Mr. Tobias.

Goodbye, sweet prince,

wherever you are.

[DOOR CLOSES]

[m]

[m]