All language subtitles for Emergency.S04E11.Firehouse.Four.1080p.AMZN.WEB-DL.DDP2.0.H.264-DarkSaber_track3_[eng]

Any questions?

Well, here's one more thing.

It's about the firemen's
picnic next month.

Oh, don't tell me
they canceled it.

No.

No, it says here there's going
to be a barbershop quartet

competition at the picnic.

Anybody interested?

They're going to give a
trophy to the winning station.

Well, I think that
it should be discussed.

All right.
Fine, fine.

Well, I just
think that we have

as good a chance as anybody
else at winning the thing.

Don't you?

Well, barbershop quartet
means you have to have

four men that know how to sing.

Yeah, and you're
looking at one right now.

I sang in a church choir.

I sang in a glee club once.

I love to sing.

All right.

There's four right there.

What about me?

Oh, yeah, sure.

Well, what about you?

Well, you already
have one too many.

Well, fine.

We'll be a sextet.

Oh, no thanks.

No, I sang barbershop
when I was in high school.

It's very difficult work.

Yeah.

Yeah, Roy's right.

I mean, rehearsal and all that
stuff-- it isn't worth it.

Well, now wait a minute.
Wait a minute.

Think of the trophy.

I mean, think of that
trophy sitting up on the TV.

Yeah, another object
collecting dust.

Well, let's talk
about it later.

Let's get to work.

Roy.

Roy, listen.

I'm really serious about this
barbershop quartet thing.

Talking to the wrong man.

Roy, look, there's
something that I've

got to tell you that you
never know about myself.

I always wanted to be a singer.

Well, why didn't you?

Well, I never knew
it until just now.

[alarm]

INTERCOM: Station 51,
Engine 19, man over a cliff,

1782 Hillside Drive,
cross-street Mulholland.

1-7-8-2 Hillside.

Time out, 8:15.

Station 51, KMG 365.

[sirens]

Over here!

Over here!

Some guy on a bicycle.

He was going too fast
to make the turn.

He skidded right off the side.

Can you see anything, John?

No, Cap, I really
can't see anything.

I think maybe he might have gone
all the way down to the bottom.

Well, be careful.

Just watch it.

CYCLIST: Help!

Wait a minute.

Did you hear that?
- Yeah.

Captain, he's down
there some place,

but all this brush
is covering him up.

I Just can't see him.

Maybe somebody can spot
him from up the road, eh?

Mike, get your
lifeline off the squad.

Marco.

You're going to go
over the side, Johnny.

Right.
OK.

I'll back you up on the
other line, all right?

All right.

Let's lay the big line
right along the edge.

CHET: Engine 51, this is Kelly.

Cap, I can see him.

He's about 70 feet
below the road.

OK, Kelly, do we need a Stokes?
- I don't think so, Cap.

He doesn't look too badly hurt.

He's got a hold on
his bicycle, and looks

like he got a good foothold.

OK, hold on there, pal.

Just hold on.

This is the fire department.

We're going to come down and
get you, so just hang on there

a few more seconds.

Ready?

Let it go a little.

Over here!

Over here!

- Kelly, how about it?
- Keep him coming, Cap.

He's going to be about 30 feet
to the right of the victim.

Cap, he's level with him.

John, you're level
with him right now.

I'm going to move
you to your right.

JOHNNY: OK!

Mike, let's go.

Over here, firemen!

Right over here!

Lower him, Cap.

The victim's broken loose.

OK, hold it.

All right.
I got you.

I got you.
OK, now just hold still.

Hold it.

Hold on.
You with me?

Lower down.

Four slides on the lifeline.

Lifeline?

The lifeline?

All right.

What are you doing?

I'm going to put this
harness around you, all right?

- A what?
- Harness.

Harness, OK.

All right.

Hold me.

All right.

Will you just let him get
this thing around you?

Don't drop me.

You won't drop
me, will you, huh?

All right, now I'm
going to let you go, OK?

Don't-- don't-- don't drop me.

Hold me.
Hold me!

Will you stop?

- No one's going to drop you.
- OK.

Because you're on a
lifeline, and I'm holding you.

OK, good.

Hey, what-- what did
you do with my bike?

I had to let it drop.

The victim's secure.

Why don't you bring
us up together?

We're secure?

Buddy, can you lend
a hand over here?

Now, we got to pull him up even.

Hold it.

A little bit lower on this.

[siren]

Let me go.
Let me go.

Let me go.

I hate people touching me.

- Well, here.
- What are you doing?

Well, I got to
take your pulse.

Why, you a doctor, too?

No, I'm a paramedic.

My name is John Gage.
This is my partner Roy DeSoto.

Oh, yeah?

Hi.

I'm Fred Gibson.

I don't like to complain,
but you know something?

You guys dropped a
$300 bicycle down there.

All right.

Look, why don't we take
your blood pressure?

Don't change the subject.

Look, we're sorry
about your bicycle.

We couldn't very well
get up the hill with it

tied behind us, now could we?

Why don't you sit
down, all right?

I don't want to sit down, OK?

I just don't want to sit down.

And look, would you guys
please stop poking at me?

I just want my bicycle, OK?

Pulse is 110 and bounding.

Rampart, this is Squad 51.

How do you read me?

Go ahead, 51.

Rampart, we have a male
approximately 35, 36 years old.

He's just been rescued
after falling from a cliff.

There's no evidence of
injury or serious trauma,

although, Rampart,
he has fainted.

51, do you have
the blood pressure?

Hold on, Rampart, for BP.

The pulse is 110,
and respiration

is-- uh, Rampart,
the respiration

is approximately 38.

BP is 160 over 96.

Uh, Rampart, the
BP is 160 over 96.

51, start O2.

Then start an IV with D5W
and transport immediately.

10-4, Rampart.

I'll get the O2.

Dix, will you shut
up treatment one?

Yeah.

Aw, come on, doc.

Will you?

I only fainted.

I mean, besides, I had
a physical last month.

How was your physical?

Lousy.

That's why I was riding that
bike in the first place.

I promised my wife
I'd get some exercise

and that I'd quit smoking--
which reminds me, doc.

You, uh-- you got a cigar?

Oh, I'm afraid not.

What about your promise?

Oh, I didn't
promise you anything.

Oh, I see.

Well, you've got the right
idea about getting exercise.

Now if you could just find
a safer place to ride.

Ride what?

Those two guys turned
my bike into a piece

of modern sculpture.

I'm through with bikes.

I've got to find
something safer.

Well, how about jogging on a
nice quiet, safe, level street?

Jogging, huh?

Heh, heh.

- Hey, Dix.
- Hi.

- Hi.
- How's Mr. Gibson?

Oh, he's fine.
They sent him home.

All he had was a few scratches.
- Good.

Where's Roy?

Oh, he's going
to get some coffee.

Listen, do you know
anything about singing?

A little.

Well, there's a
barbershop quartet contest

that I want to enter into, but
I can't get any of the guys

at the station to do it with me.

Well, looks like
you're about 75%

short of the barbershop quartet.

Yeah, I know, but my
real problem is Roy.

Why?

Well, because
he's the only one

that has any kind of experience
in this type of thing

and he says it's hard work.

And the guys listen to him.

How can I convince the
other guys that he's wrong?

Well, you know,
singing is fun.

You know, if you could
just get him started,

he might really dig it.

Just get him started?

Yeah.

Then they may
not want to stop.

Yeah.

Yeah.

Yeah.

Right.

Uh, don't say anything to Roy.

No, no, no.

Hi.

Hi.

You ready go?

Yeah, sure.

So long.

[humming]

Could you help
me please, miss?

- What's your problem?
- She took some sleeping pills.

What kind of sleeping pills?

I don't know.

Find Dr. Brackett, Mr.
McCall, and set up room three.

Now you stay put.

We want to ask you
some questions.

OK.

Pulse is 130.

Blood pressure 80 over 50.

- What do you got, Mike?
- Drug OD, Kelly.

Guy who brought her in
says it was sleeping pills.

He's waiting outside.

Pupils are fixed and dilated.

The tendon reflexes
are hypoactive.

And the respirations
are depressed.

Possible acute
barbiturate intoxication?

Yeah.

Let's end the bate and
get her on a respirator.

OK.

I'll draw blood for toxicology,
CBC, and electrolytes as well.

Dix, endotracheal
tube and Foley catheter.

I'm going to have a talk with
the man who brought her in.

Dix, help me rotate her.

Bring her up this way.

Excuse me.

Are you the gentleman who
brought the overdose victim in?

Yeah, I'm Jack Michaels.
She's Gloria Harrelson.

Yes, well, I'm Dr. Brackett.

Are you related to her?

No, just a friend.

Well, we've got to find out
what kind of drugs she took

and when.

Yeah, well, Gloria called me
at the office about an hour ago

and said she had taken a
bottle of sleeping pills.

What kind?

I suppose they're
barbiturates.

That's what she took last time.

You mean she's
overdosed before?

- Three times.
- Well, was she hospitalized?

Just the first time.

After that, I kept
pouring coffee into her

and walking around a lot.

Whenever she tries
suicide, she calls me.

I see.

Well, I'd like you to
bring in any bottles

she may have used, OK?
- Hey, wait a minute, doc.

I got to get back to work.

Mr. Michaels, it's very
important we find out what kind

of drugs she took and how many.

Can't you just
pump her out and put

her back to bed like last time?
- It's not that simple.

Her condition is very serious.

OK, I'll get them.
Don't get me wrong.

I'm trying to help.

It's that she only does this
to get attention, you know?

Well, don't worry.

She's getting plenty.

Kel, you know, this isn't
the first attempted suicide.

A year ago, she took two
grams of phenobarbital.

Her boyfriend says she tried
it three additional times.

He didn't bring her
in for treatment.

Her blood pressure
is 90 over 60.

Did you find
out what she took?

He said barbiturates.

I send him to get
the drug bottle.

Looks like barbiturates to me.

I'm concerned about the
fixed and dilated pupils.

We could also be dealing with
tissue anoxia or Glutethimide.

Dix, better start 20%
mannitol hexinitrate IV.

I want chest X-rays.

All we can do for her now.

- What a good lunch, Michael.
- Eh, must have made Gage sick.

Where'd he go?

He got a surprise
for you guys.

Uh-oh.

Hey, I got something here that
might prove very interesting.

What is this, sheet music?

Here you go, Mike.

One for you.

"Goodbye, My Coney
Island Baby," arranged

for barbershop quartet.

[playing harmonica]

Now wait a minute.

Roy said this was too
difficult. Now he ought to know.

Well, you never really know
until you try it first, right?

Come on.
We'll just try it, OK?

We'll just start
with these tones.

All right, Cap, you take this.

[playing harmonica]

Mike, you share with Cap, OK?

[playing harmonica]

OK, Chet.

[playing harmonica]

OK, this is mine.

What about me?

Hm?

What about me?

Well, you share mine, OK?

All right, ready?

Now, Cap.

[playing harmonica]

[humming]

Yeah, that sounds
pretty good to me.

All right!

OK, well, let's try the song.
You lead us off, Johnny.

OK, OK, everybody
have their note.

Here we go.

Everybody got it?

OK, page two.

Everybody got their note?

Roy?

Can anybody read music?

Can't you?

Nope.

Oh, that's great, John.

Real good.

Well, some-- Roy
knows how to read music.

Don't you, Roy?

I admit nothing.

- You got a minute?
- Sure.

We've got an
overdose in treatment

three, apparent suicide.

First we thought it was
barbiturate intoxication,

but now I'm beginning to
think we've got Glutethimide.

Really?

Have they gotten a
toxicology screen yet?

We're still waiting.

Would you mind
taking a look at her?

Sure.
Let's go.

Thanks.

Kel, you're right.

Glutethimide.

Two milligrams percent.

Three milligrams percent
is a lethal concentration.

You know what she ingested?

No, I sent her boyfriend
after the drug bottles.

She's coming out of a coma.

Respiration is no
longer depressed.

Mike, I want you to check
her blood gases before you

remove the endotracheal tube.

Keep a sharp eye on her.

Glutethimide has
strange properties.

It can be absorbed by the fat
and slowly released again.

Or maybe reabsorbed through
the enteropathic circulation.

She could lapse back
into a coma any time now.

- Did you give her a cathartic?
- Mag citrate.

Kel, her boyfriend's
back with the bottle.

Christ's sake.

- We better start hemodialysis.
- I'll put [inaudible].

Thank you, Joe.

Sure thing.

I grabbed all the bottles
in the medicine chest.

This is fine.

Do you know how many
pills were in this bottle

before she took them?

I never saw it before.

Thank you, Mr. Michaels.
You've been a big help.

Hey, doc.

She's going to be
all right, isn't she?

I mean, can't you just pump
her out and send her home?

I'm afraid not.

Gloria has taken
a very dangerous

drug called Glutethimide.

Why, isn't there
something you can do?

We're doing all we can.

It depends on how much she took.

Where's Jack?

You can see him in a minute.

But tell me something.

How many pills did you take?

It doesn't matter.

I just want to die.

No, you don't.

You won't die.

Come on.

Latest toxicology report.

Oh, it's up 0.3
milligrams percent.

Yeah, but it's still too
early for the dialysis.

Showing substantial improvement.

Glutethimide.

Kel, she's been
asking about Jack.

I really think we
better let her see him.

All right.

Mr. Michaels.

What?

- You want to come with me?
- What's the matter?

Something wrong?

She OK?

I don't want to see him.

Gloria, it's me, honey.

Doctor wants to know
how many pills you took.

The The whole bottle.

That's 12 grams.

Jack, I want to go home.

Make them let me go home.

No, I-- I can't do that.

You're very sick, honey.

The stuff you took this
time was different.

How is it different?

You just lie
there quietly, OK?

You're just
trying to scare me.

Might as well try and
make me stop taking pills.

Isn't that so, Jack?

Gloria, we're not
trying to scare you.

You took a large concentration
of a very dangerous drug.

No, am I gonna-- am I gonna--

We're doing all we can.

Oh, no.

Oh, no.

I just took sleeping pills.

That's all.

Just sleeping pills.

I just--

[sobbing]

I just-- I just--

I don't know why you're
being so obstinate.

I mean, why don't you
look at it this way?

I mean, think about this.

If you're coaching this,
you're not even singing.

I mean, all you have to do
is just sit there and listen.

All right, fine.

Fine.

Just forget about it.

Forget about the whole thing.

Forget about that
trophy in there.

Forget about the camaraderie.

Just-- you know
we're going to win.

You know that?

All right.
Fine.

Just fine.
Forget it.

Just forget about
the whole thing.

If you guys want to sing,
I'll do what I can to help.

Just forget about the guys,
the five guys that you're

letting down, guys that
are like brothers to you,

guys that would risk
their arm and their leg--

I said that I would help.

Huh?

You will?

Oh, Roy, I knew
you'd come through.

Look, the way I look at it,
this is only the beginning.

I know this is a
bit much to say,

but I'm sure that the
musical historians will look

back at this picnic with awe.

I mean, I figure that we'll
go statewide first, then

probably nationwide second.

Then after that, who knows?

Roy, you're not
going to regret this.

I think I regret it already.

[alarm sounding]

INTERCOM: Station 51,
Engine Two, Truck 49.

Man trapped in excavation.

15772 West Washington Street,
cross-street Woodbridge.

15772 West Washington Street.

Time out, 14:10.

51, KMG 365.

[sirens]

This-- this Tom was running
through the excavation zone.

When he turned around
to look, he fell in.

That's Mr. Gibson.

Hey, Mr. Gibson, are you OK?

No, I'm not OK.

I'm stuck in a trench.
- Get the attic ladder, Mike.

Are you hurt?

Oh, we'll talk
about that later.

Get me out of here
first, will ya?

All right.
All right.

Just hang on.

We'll have you out of there
in a second, Mr. Gibson.

OK.

Hiya, Mr. Gibson.

- Hello again, Mr. Gibson.
- Hey, how are you?

Mike, go get an air bottle.

We'll send it down there
in case those walls go.

Hang on Down there, pal.

Chet, let's get
the roof ladder.

Sorry.

[inaudible].

Yeah.

Hold the ladder.

Yeah.

Hurry up, will ya?

All right.

How can you stop all
the stuff from going

down the back of my neck?

OK, just-- uh, Cap, we got
a lot of loose dirt out there.

Want to flog it down?

Yeah, Chet, weigh
down the sides

of the walls with a real line.

Hey!

Dirt.

We got an airman
standing by up top,

just in case you need it, OK?
- Hey.

No, no masks.

I mean, I wake up at
night like with dreams

and screaming from seeing
something over my face.

Just get me out of here, OK?
- All right.

We're going to get
you out of here.

We're going to put
this around you.

- OK.
- And we're gonna pull you out.

OK.

Remember?

Yeah, I remember
from last time.

I remember.

OK.

Watch my-- watch my armpit.

Ahh.

- You want to slip that up, uh--
- Yeah, I got it.

Is this going to hurt?

No, it's not going
to hurt at all.

It's a relatively
painless operation.

Relatively painless?

All right.

Come Want Take him on up now.

All right.

Go on up.

OK, here we go.

Oh, hey.

Oh.

Help me, will you?

Hey.

Hey.
Hey!

Stop it.

Stop.
Hold it.

Stop Stop.
You're--

We're going to be
buried alive here.

- Hold it!
- Slack off!

Slack off!
- Slack off.

That's good.

OK, good slacking.

Boy, he's budged in tight.

Yeah.

You have any idea what's
keeping you stuck down there?

How should I know?

What are you wearing?

What am I wearing?

Sauna pants.

Sauna pants?

Yeah, sauna pants.

You know, they fill
them up with air,

and they make me sweat a lot.

Well, that's got
to be what it is.

I mean, that's
what's jamming him

up against these signs here.

He's just not going to budge.

You know where the
inflation valve is?

No.

It's somewhere
around my kneecap.

I can't get my hand down there.

I'm sorry.
- Mr. Gibson,

What?

I'm going to have to
deflate your pants here.

Hey, hey, hey.

You're going to cut a
hole in my sauna pants?

Mr. Gibson, that's
the only way we're

going to get you out of here.

Just hold still, all right?

Oh, my pants.

Oh.

OK, take him up now.

Oh.

Oh.

Go ahead.

Pull.

Pull.

I'm going to stick
you on your feet.

- Yeah.
- OK, all right.

Hold it.
Hold it.

- Do you think you can walk up?
- Yeah.

All right.
Give me a little slack.

Are you sure nothing's hurt?

No, no, just my
toes are asleep.

- Are your legs asleep?
- Yeah, a little bit.

They're waking up.

OK.

I'll be up here to give you
a hand in case you need it.

Now, if you can't make
it, you let us know, OK?

No, my toes are waking up.

OK.

Boy, what a skinny lap.

Where'd you get
such a skinny lap?

Easy now.

Why don't you take him
and sit him down over there?

All right.

I want you to sit down.

Look what you did to my pants.

Come on.

Sit down.

- I don't want to sit down.
- Now, wait a minute.

You remember the last time?

Yeah, I remember
the last time.

You told me to go jogging
on a nice, safe street.

You didn't say I was
going to be buried alive.

Maybe you should
stop exercising today.

Yeah, that's the best idea.

That's the best idea.

I've got to find
some kind of exercise

I can do without
leaving the house.

You know what I mean?

Well, why don't
you-- why don't you

take up gardening or something?

I mean, all you need in
gardening is a shovel.

And you can't get in
trouble with a shovel.

Heh.

Yeah.

Heh, a shovel.

Trouble with a shovel.

That's good.

Yeah.

Be right back, Mr. Gibson.

The Glutethimide
went down dramatically.

Now it's starting back up again.

I'm concerned
about the possibility

of withdrawal syndrome.

How's she looking, Mike?

Not good.

She keeps drifting
in and out of coma.

Jack.

I'm right here, baby.

I feel so awful.

I feel so-- so--

Is there anything
anybody can do for her?

Everything's being done.

Listen, you look awfully tired.

Maybe you'd be more comfortable
in the waiting room, huh?

No.

Just let me stay with her, OK?

OK.

Jack, is that you?

Yeah.

I'm still right here, honey.

I don't want to die, Jack.

I know.

I know.

I missed So so much.

[sobbing]

Kel?

Oh, my God.

Come on.

Let's go outside.

Get that bed back.

Carol, get me an airway.

Tackle her, Kel.

Pulse is 130.

Respiration's depressed.
We've got to get a--

Fixed dilated pupils.

Roll it.

All right.

Throw her back.

Put her chest [inaudible].

It's charged.

Get the back, would you?

Go ahead.

Standard clearance.

Clear.

Do it.

No change.

Sodium bicarb.

Clear!

Ambu bag.

Come on.

On the bed, on the bed.

Clear!

Do it.

I'm sorry.

I never thought
she'd really do it.

Well, neither did she.

So what we'll do is we'll just
play this as the audience, OK?

[playing harmonica]

ALL [SINGING]: We all fall for
some girl that dresses neat,

some girl that's got big feet.

We meet her on the street.

Then we'll join the army of
married boobs to the altar,

just like leading
lambs to slaughter.

When it's over, oh,
boy, we get it good.

That's the days we then recall.

Rich man, poor man,
beggar man, thief,

doctor, lawyer, merchant chief.

We all are bound for matrimony.

Hey, Roy!

Come here and listen to this.

Come here!

Hey, you guys, I was telling
my mom about the quartet,

and I can't believe
how excited she got.

She's going to
come hear my sing.

Oh, that's nice.
That's terrific.

That's good, Marco.

She even wrote the
relatives about it.

Good.

Mamita, papita,
Rosita, and Juan.

Marco, here's your notes.

Hey, Roy.
Come here and listen to this.

Here it is everybody.

See, this is the
audience out here.

Ready?

ALL [SINGING]: Good bye,
my Coney Island baby.

Farewell, my own true love.

I'm going to go away and leave
you, never to see you anymore.

I'm going to sail
upon that ferry boat,

never to return again!

So good bye, farewell,
so long forever.

Good bye, my Coney Isle.

Good bye, my Coney Isle.

Good bye, my Coney Island babe.

What did you think of that?

It's hard to believe we've
been practicing for two weeks.

Well, we don't want to
get overconfident, guys,

so we're going to have to
rehearse it again, right?

I don't think that's
exactly the problem.

Well, what exactly
is the problem?

Problem is you're
singing too loud.

I'm not singing--

To tell the truth, you're
all singing too loud.

Well Well, Roy, if
we don't sing loud,

no one's going to hear us.

Yeah, we're not
that bad, you know?

Yeah, come on, give
it to us straight, Roy.

You're terrible.

Look, I thought in
these last two weeks

there'd be some kind
of breakthrough,

but if anything you
guys have regressed.

All right.
What can we do to get better?

Drop out of the competition.

Really, I mean,
look, if I thought

there was any chance at
all that you could win,

I'd say go ahead, but--

Roy, I thought you said you
knew something about music.

I mean, it's obvious you don't.

I think we sound pretty good.

Don't you guys?

Oh, yeah.

It's terrific.

If you don't want to
lead us, just tell us so.

I don't want to lead you.

All right.

OK, fine, fine.

I'll lead you guys.

We can do it, guys, right?

ALL: Right.

[alarm sounding]

INTERCOM: Station 51, man
trapped, 2375 Victory Road,

Cross-street Morris.

2375 Victory.

Time out, 20:15.

Station 51, KMG 365.

[sirens]

It's my husband.

He was digging in the basement.

You see, we always
wanted a wine cellar,

so it seemed like a good
way to get some exercise.

Ma'am, ma'am, ma'am, what
is your husband's name?

Fred Gibson.

Uh-huh.

At first it was just a little
trickle of water and then--

Ha, ha, ha.

Ah, I was hoping it
would be you two guys.

You all right?

No, I'm not hurt,
but my legs are pinned.

What have you gotten
yourself into now?

Hey.

It was you told me
to use the shovel.

- Fred?
- Yeah?

- Are you all right?
- Yeah, honey, I'm all right.

I had to build a So cellar.

I don't even like wine.

You'll get the new
shoes I bought you wet.

Go on up.

Ah, come on.

Come on, will ya?

Get around behind you.
Watch my feet.

Will you watch my feet?
Come on.

Fellas, fellas.

Come on, fellas.

You're not really trying.

Give whatever you got.

There we go.
Come on.

Come on.

Hey, you're firemen.

You're supposed
to be strong, eh?

Lift, will you?

Lift!

Come on.

I thought you guys was
supposed to be strong!

What have you got?

Mr. Gibson?

Oh, hiya, Captain.

How are you?

Well, we have a
broken water main, Cap.

Let me get a hacksaw and
some prybars down here.

You got it.

And a pump.

OK, here's what I
want-- submersible pump,

hacksaw, prybar.

Go.

How is he?
How's my husband?

Oh, they're taking
care of him down there.

He's fine.
- I just want to go take a look.

Yeah, fine, but just
don't go down there, please.

All right.

Ow!

Oh, sorry, Mr. Gibson.

My foot!

Fred!

Ma'am, please, please.

You OK?

Yeah.

Are you guys all
right down there?

We're OK, but we're not going
to be coming back up this way.

You're fine, but you're going
to have to stay out of our way,

OK?

Stoker, get the chain
saw and some gears.

Secure the front.

Guessing is there any
other way out of here?

No, not even a drain.

Hey, you These need
some tools or something?

Very funny.

I got some over there on
the bench you could use.

Thanks.

There we go.

Hey, uh, fellas, can
I ask you a favor, huh?

Uh, you know one
of those air masks

you were talking about before?
- No, Mr. Gibson.

We don't have one down here.
You have a hacksaw?

Yeah, right on the
top of the bench.

Hey, fellas, don't
make waves, huh?

I'm Try to tiptoe, Mr. Gibson.

Yeah, call me Fred, eh?

Ha, ha.

OK, Fred.

We need to find some way
of ventilating just in case.

What about this?

Cut a piece off.

[chainsaw buzzing]

Hey, come on, fellas.

Will you?

Keep your head up.

OK, I'm trying.

- Keep your head up.
- I'm trying.

OK, stick this in your
mouth and hold your nose.

What?

- Hold your-- hold your nose.
- Hold my nose?

And think about breathing
through your mouth.

Think about breathing
through my mouth.

Just stay high.

I'm trying.

Keep your mouth closed.

Oh, boy.

Don't talk, Fred.

[chainsaw buzzing]

OK, hang in there, Fred.

Keep breathing
out of your mouth.

- Over?
- Hold on.

We'll be right with you.

Just keep breathing
through your mouth, Fred!

Get him.

Why'd you give me
the dirty end for?

Heads up.

OK, Fred.

Now watch your head
behind you, Fred.

OK.

Hug the ladder.

Hey, Laura, honey, I'm--
I'm sorry about the rug.

Oh, hi.

The water company people
just showed up, Mr. Gibson.

They're going to fix that
busted water main for you.

Oh, yeah?

Thanks a lot.

Honey, I can just see
that water bill, huh?

You guys always have to do that?

Fred, give us a break.

We're only trying to do our job.

Uh, Roy, pulse is 90.

BP is 148 over 90.

48 over 90.

Your Your BP is down lower.

Oh, yeah?

Hey, that's great, eh?

Fred, I've been
thinking it over,

and I really want you
to start smoking again.

You do, honey?

Here.

Hey, these things
can kill you.

You know something?
I'm giving up smoking.

It's bad for my health.

And you know what else?

I'm going to build
a swimming pool.

Ha, ha.

Mark Spitz, eat your heart out.

Oh, boy.

Oh, hey, there you are.

How's your cold?

Oh, sorry you missed the picnic.

No, that's OK.

I couldn't bear to
watch it anyway.

We won a trophy.

I don't believe it.

It's in there.

Hey, Roy, look what
the guys gave my mom.

Oh, that's great.
That's wonderful.

Let me see.

Well, once you've seen one
trophy, you've seen them all.

For heaven's sake, look at it.

It's just a trophy.

First prize, Fireman's
Picnic, Best Comedy Act?

Yeah, sure.

We decided to clown
it up a little bit.

You know, we didn't want
to have the same old boring

routine everybody else did.

In other words,
we, uh, blew it.

My mother doesn't care
what the trophy is for.

She loved the show.

Yeah.

Ah, you certainly had
the right coach for it.

ALL [SINGING]: Wrong.

[theme music]