All language subtitles for lou_grant_s03e10_andrew_pt1

Hello, I'm calling from the trip.

I'd like to confirm a quote.

How much money was involved?

Was it over a thousand dollars?

Was it over ten?

No.

He's my own son.

I know him, and I know he's going to do
something terrible.

I don't know what I can do.

Well, I think you ought to do something.

What makes you think that something's
going to happen?

I just know.

There isn't much I can do here.

The state hospital won't help. The
police won't help. So I thought you at

newspaper could do something.

We're just not set up to help with
something like this.

Well, what are you going to do? Wait
until it's news and then cover it?

I'm sorry.

I got a call this morning from a guy who
figured out a way to run his car on

apple brandy. He says the oil companies
and the FBI are buying up all the apple

brandy to put him out of business.

Apple brandy? Isn't brandy more
expensive than gasoline?

And why apple brandy? Why not pear
brandy or plum wine or aquavit?

All good questions.

Next time he calls, I'll let you talk to
him.

What do I do to get Billy City Council,
sir?

Punch up CC -24.

Well, the city council beat has
certainly gotten more interesting.

You mean the rapid transit debate?

No. I mean a thousand pearls of moisture
glistened on his lean, hard torso.

I saw the total contempt in which Armand
held me.

What? It was the first time I'd ever
felt like a real woman.

I buried my face in the dense fur of his
chest.

What's this?

I don't know. It looks like Mae West was
fooling around with his VDT last night.

Some woman's unexpurgated memoirs.

Billy.

Burke. I like that.

What's that?

Didn't you stray somewhat from the facts
of the city council meeting in this

story? No, only on the leads. See, I...
Armand bent my head back. I couldn't

resist. What is this?

Didn't you work with that photographer
on the Today Side, Armand Dubin?

This isn't my city council story.

It's not my anything story.

It's not my story.

Charlie, I've never known anybody named
Armand.

You better get our computer guy up here.

Why? Hey, that's really beautiful. What
are we going to do?

Go out in the next space.

Good idea.

I'm not sure what to punch you.

City council adjourned with the rapid
transit issue undecided. Hot.

Nice going, Lou.

It's all right.

No, you can't come up here.

Perhaps I can help you. It's okay, Lou.

It's all right. She didn't have a pad.

I know.

In there, Edna.

Yes! I had to come here. I asked you to
do something very simple. Why is that so

hard? Why can't you talk to him?

He's your very own cousin. Maybe he'll
listen to you.

He doesn't. He's always looked up to
you.

That was 20 years ago, not lately. You
don't understand.

It's gotten very bad, Art.

I can't get through to him.

If he only had something to fill his
time.

It doesn't have to be a job.

Can't you try?

Okay, I'll talk to him.

Promise?

Yes, I promise.

Soon?

As soon as I get off work.

Very nice of you.

That's good, dear.

I hope I didn't cause you any trouble.

Edna, I'll walk you down.

What kind of thing?

It was just trashy, slummy sex stuff.

Like what? Can you give me the example?
You'll know it when you see it.

Aren't you going home?

Donovan has me working on some extra
stuff. I have to stay late. Taking off?

Donovan's taking me to a play.

Billy?

You ready?

Maybe I ought to give you the ticket so
you can go with somebody else. I've got

to make a stop.

How long is Tom?

Well, not long.

That's okay.

Try to make it. Okay.

Andy?

Hey, Andy, come on.

Go away!

Look, I just want to talk to you for a
minute.

You'd save a lot of time on clean -up if
you used paper plates.

I've got to be someplace. I just want to
talk to you for a couple of minutes.

If you're upset, we can talk about it.

I don't feel like dealing with visitors
right now.

Hey, I made a special trip. At least
open the door.

Okay.

I'll open it, but don't come in right
away.

Wait till I tell you.

Okay?

Okay.

Just wait.

Andy, can I come in?

Somebody's waiting for me and we're
already late.

Andy, I'm coming in now.

Andrew?

Andrew?

Come on, Andy. What are you doing?

I'm sorry about this evening, but I just
didn't feel like sitting through a

play. I understand.

Thing that's really annoying is that
Andrew ruined your evening, too.

It's okay, really.

Don't be mad at him for me.

Okay, then I'm mad for me.

And I'm sitting here wondering if I
should go out and look for him.

Where? I know it's ridiculous.

He just has a way of keeping you off
balance.

Was he always this way?

No. No, when we were kids, he wasn't
nutty at all.

Well, that's not entirely true.

He was always kind of manipulative.

But he was regular enough. People liked
him.

And now he's... What?

I can't give you a scientific name, but
he's got emotional problems.

He gets wild sometimes.

How wild?

He was.

Freaked out in the hamburger stand once,
broke some furniture.

That's when they put him in the hospital
the first time.

His mother, the woman who came into the
city room today, she's afraid that he's

really going to do something crazy.

Maybe hurt himself.

Or someone else.

What about professional help?

Always had plenty.

He was in the state hospital for a
while.

They let him go.

He goes to see a psychiatrist, I don't
know, once a week.

Then aren't things that you can do being
done?

My aunt doesn't think so.

And I just don't know.

I care about Andrew.

When we were kids, we had some great
times together.

I'm sorry about tonight.

I just, uh, I got really dumb this
evening.

It's okay.

I've been feeling like a total jerk all
night.

I mean, you come up to talk to me and I
freak out like that.

I'm really sorry, Art.

It's okay.

Where are you?

At a taco stand.

Are you feeling all right?

Yeah, I'm fine.

Look, I don't mean for you to forgive me
or anything like that. I just, uh...

I was just a real jerk.

And I want to tell you, I think you're a
terrific cousin to me.

The best.

Thank you for being my cousin.

Blue Grant will continue in a moment
here on A &E.

Say you know somebody who's crazy, who's
out walking around.

I know a lot of people who are crazy
walking around.

This is somebody who you think is really
unstable.

Get some help for him.

Okay, he's in therapy, but this guy's
deeply nuts, and you're afraid that he

might do something really terrible.

Like what?

Like hurt somebody.

I guess I'd call the authorities.

What authority?

State hospital.

Hospitals can't lock somebody up just
because another person calls up and

Hey, I think that guy's a nut. Anytime
you didn't like somebody, you could put

him away.

Yeah, but that isn't likely.

Used to happen a lot. Fifteen years ago,
the mental hospitals were filled with

people who were put away just because
they acted a little odd.

And somebody's nephew or neighbor or
sister didn't like them.

Okay, so now it's hard to lock somebody
away. So what do you do?

I don't know.

Pretty interesting stuff, huh?

Yeah. A very interesting hypothetical
dilemma.

I suppose you want to write a story
about it.

Well, you said it was interesting.

Okay.

Just tell me.

This person is crazy.

A friend of yours?

Friend of a friend.

I had never made love in a potten shed
before.

When I think of Sergei, I will always
think of the smell of fresh cut grass

damp earth.

She is some woman's autobiography.

You know, I share this terminal with
Kathy Evers once in a while.

It doesn't matter whose terminal it
shows up on. It's in the system.

I wonder what happened to her between
Armand and Sergei.

Funny if she's going in alphabetical
order.

Billy.

What's up?

I was just looking over the assignment
sheet. I see that you're working on a

story that somebody has wittily titled
Crazy.

It's a hard story to name.

It deals with the question of locking
people up who are emotionally disturbed

versus trying to get them back into the
community.

It's that dilemma when you have someone
in that gray area between just neurotic

and really raving.

Someone like my cousin Andrew?

Well, Andrew could fit into that
category.

But story is about a lot more than that,
though.

Don't you think that's going a little
far, Billy?

Using my private life to get your ideas
for stories?

It isn't just Andrew.

No, not just.

But it is Andrew.

Well, sure.

So what do I do now?

Start worrying about censoring myself
with my own reporters?

Art Lee, I'm really sorry. I guess I
made a mistake.

You're right.

Our talk about your cousin started me
thinking.

I probably thought more because it's you
and I care about you and I wanted to do

something. A lot of times when I'm
concerned about something, what I do is

write about it.

I understand that.

But couldn't you talk to me about it
first?

I should have.

I am sorry.

I'll ask Lou to put me on something
else.

Do you think this is a story?

I think it's a tough problem.

I sure don't have the answer. I think
it's worth looking into.

How would you like to talk to Andrew's
psychiatrist?

You know, I can't really discuss any of
my patients.

Oh, I understand that, Dr. Myrtle. I
just want to talk in more general terms.

Okay, how can I help you?

Can a person be released from our system
of mental hospitals who could be

dangerous, who could maybe hurt someone
or maybe even kill someone?

Well, that's exactly what we work to
avoid. We try to set up standards for

release.

And our record in this area has been
very good. We've had relatively few

incidents with people we've released
into the community.

But you have had some incidents?

Of course, of course. Of course? Well,
can't you avoid?

No, you can't avoid incidents entirely.
When you're dealing with the human mind,

you just can't predict what'll happen.

But today, if a person is doing well as
an inpatient...

and is released with the proper
medication to keep him on an even keel.

The prognosis is good.

Where's the proper medication?

Medication. That's an area where we've
made huge advances in just the past few

years.

Is it dangerous if a person stops taking
their pills?

There could be some risk there, yes, but
most people are conscientious. They

know if it's the medication that's
helping them maintain.

Most people?

Mm -hmm.

The reason I asked you all here is I
think I know where the mystery memoirs

coming from. And I think we have a
suspect.

Colonel Mustard. In the library.

With a candle still. Okay, okay. Now
what do we know?

One. Someone on the trip is writing
cheesy, sexy memoirs. Two.

No editor has assigned anyone to write
cheesy, sexy memoirs. Three.

The retrieval code is close enough to
our computer language so that the

sexy memoirs have been showing up on
Lou's terminal and later on Adam's.

Vern, just tell us who's writing the
cheesy, sexy memoirs. Don't you want to

hear how I figured it out?

No.

You really want me to just tell you?

Yeah.

It's Joe Rossi.

Rossi?

Okay, Vern, I want to know how you know
that.

I just walked by his terminal. He's
doing it right now.

Don't touch that terminal.

This is it.

Lance looked at me with kobold eyes. I
felt a shiver of anticipation.

Lance, I thought she liked Sergei.

Sergei was too nice to her, James.

Wait a minute.

I don't want to know about Sergei.

I don't know why you're writing this
kind of stuff, Rossi. I guess it looks

of odd.

Kind of.

See, these are the memoirs of Lana
Barton.

The movie, great.

Got Lana Barton?

Yeah. But, uh, she's much of a writer.

She'd written the first draft of The
Velvet Stiletto.

The Velvet Stiletto?

Her autobiography.

It was pretty terrible.

But her publishers know that any book
with her name on it will sell, so they

wanted a ghostwriter to clean it up, put
it in shape.

I wasn't allowed to see the draft.

until I agreed to do it. And actually,
I'd always admired her hard -eyed film

reviews. Me too.

Yeah, I thought it was going to be
recollections of famous film

How was I supposed to know the only
personalities she'd remember were the

she slept with?

Horizontal recall.

Lou Grant will continue in a moment here
on A &E.

A &E returns to Lou Grant.

Is Andrew on medication?

Oh, yes, of course.

Is he good about taking it?

I think so.

Edna. Thanks.

Why are you so sure that he's going to
hurt someone?

I'm not sure.

I don't know what Andrew's going to do.

Maybe he'll wake up one morning and see
the light.

Maybe he'll get a good job and work hard
and fall in love with a nice girl and

have a family.

And I'll have Christmas dinner at their
house and play with my grandchildren.

I'd like that.

But I don't see it happening.

Whatever's bothering Andrew isn't going
away.

We all know he's got problems.

But why do you insist that he's going to
do something really crazy when

everybody you go see doesn't seem that
worried?

I'm his mother.

He's my son.

I guess a mother just knows things.

He has a lot of anger in him. You've
seen that.

Yeah.

I don't know where it came from. Maybe
it's my fault. Maybe it came from me. I

mean, I've made mistakes.

And that's what they say, isn't it? I
mean, it's all in the upbringing.

But if I've made mistakes, what does
that mean?

That I should just give up now?

Andrew's 32 years old. Does that mean
I'm not his mother anymore?

That I shouldn't save him by trying to
stop him from doing something terrible?

No, of course not.

Arthur?

You're the most sensible member of the
family.

If you think that I should just give up
now... No.

Don't give up on Andrew.

I just don't think you should stop your
whole life either. I haven't stopped my

whole life. I have my work. I shop. I
have my friends. I do all that.

It's just that... It's just that there's
always this fear.

It's me.

Come on in, Terry.

Oh, this is Terry Mills.

This is Billy Newman.

And Arthur Donovan. Hi, everybody.

I'll get your pants. Oh, good.

I live in the apartment above Edna's,
and I exploit Edna for slave labor like

hemming pants.

Arthur Donovan, you're her nephew.

Yeah. I didn't know that Edna had time
to hem pants. That could come in very

handy.

Yeah, well, you've got to butter her up
a lot.

Did Christine marry Dirk, or did she run
off with his brother?

Oh, Dirk got tuberculosis right before
the wedding, and now she's nursing him

back to health.

And Dirk's brother is having an affair
with little Kevin's governess. What did

tell you? Uh -huh, you called it.

Um, well, you got company. I'll take
off. Thanks for the pants. You're

Bye. Bye.

You see?

I run with a very fast crowd.

Who's at this hamburger stand?

I was trying to have my meal, and there
were these groupies next to me.

Groupies?

Pinky poppers.

Dressed that way, those kind of girls
dress.

Tight pants, little shirt.

They do that just to tease.

I'm not sure it's that, Andrew. I
think...

Some girls that age are in a period of
discovering their sexuality.

They know what they're doing.

They're into getting older guys
interested and then humiliating them.

That's their whole thing.

But, uh... I ignored them.

But they were giggling at me.

Andrew, we've discussed your feeling
that... I'm not being paranoid. They

giggling at me.

Look, I want to respect women.

I do.

But women don't respect themselves.

That's why all these problems are
happening.

There's no morality.

They have no morals.

And they do things to push a guy.

Any intelligent guy is tuned into this.

Okay, now let's talk about that.

I've offended you, haven't I?

No.

But I do want to explore that with you,
Andrew.

You see, I... I respect you.

And my mother.

And Terry.

I told you about Terry.

She's this girl that lives in my
mother's building.

She lives there alone, which she
shouldn't.

And at her age.

See, she doesn't know that men are
interested in what they want from her.

She's too naive.

And then there's this red -headed
reporter that my cousin always has

around, although he says that they're
just friends now, to which I say, oh,

sure.

You see, I want to respect women so
much.

But they just keep coming at me.

They're all over the city.

And they just keep coming and yammering.

And sometimes I... I just

see myself doing something to stop them.

You should have washed all these
different colors separately.

If I did that, I'd have 14 weenie loads
and I'd be here all night.

Saw some nice turtlenecks. They make
company today.

Turtlenecks make my neck itch.

Besides, my wardrobe's pretty complete.

Oh, I bumped into somebody you know at
the supermarket today.

I don't know anyone.

Yeah, Cynthia Adams. You went to high
school with her. You liked her.

That was 15 years ago.

She asked about you.

I'm supposed to care about that?

Well, she was very concerned about you.

Now, look.

I don't want you talking about me to
Cynthia Adams or anybody else, all

All right.

I don't give a damn about Cynthia Adams!

Will you just shut up, okay?

All right?

Don't rewrite the head, Rossi. Just bet.

Okay. I'll raise three.

Do you want to take a little more time
to think about that?

Hi, Edna. Terry, come on in.

Oh. Oh, I'm sorry. You're in the middle
of a meeting.

We're just planning the editorial policy
for next year. Come on in.

Is something wrong?

I was so upset.

Terry had to drive me down.

Andrew got her really worried.

What happened?

We had a bad fight. He got that crazy
look in his eye. He just worked himself

up.

What do you think we should do?

Well, I've been trying to call Dr.

Myrdal, but she's on a flight back east.

Hi.

I've been thinking about trying to get
Andrew into a state hospital tonight.

I'm just so upset, Arthur.

I heard what was going on down there.
Andrew sounded pretty wild.

What's wrong, Art?

I'm not sure.

We may have to try and get my cousin
into a mental hospital. I don't know.

Well, Rossi, you know something about
that from that piece that he did. He

some time at one of those institutions.

Yeah, but that was two years ago, and
all I saw was a big warehouse for the

unhappiest people in the world.

Made me crazy just being there.

Well, of course. That's because you
weren't crazy.

Well, if I were crazy, I don't think I
could have handled it at all.

Well, I know.

I've looked into all those places. But
let's face it, if you're... If you're

Andrew, I just don't think he can handle
it out there on those streets.

It's hard enough for those of us with
our feet on the ground to get by. Just

think how vulnerable Andrew is. It's
that much harder.

At least people in those hospitals are
presumably there to help.

Yeah, presumably.

I know. I've been there.

I know the care there isn't the
greatest.

Don't you think if you are disturbed,
it's kind of a relief to be in a place

where it's okay to be crazy?

Where nobody's going to make any demands
on you?

Don't you think?

Oh, please don't. Don't ask me.

So what we've got is a choice between
evils, and neither one is the lesser.

Lou Grant will continue in a moment here
on A &E.

Thank you for coming along.

I never sleep well after losing a Rossi
anyway.

It's really hard for me to be objective
about this.

Well, try to imagine for a minute that
Andrew is not family.

Would you think he was crazy?

I think he was crazy.

Would you be thinking his family ought
to be trying to get him into a hospital?

I think I'd be glad it wasn't my
problem.

Okay. We're here.

Light's still on. He's probably still up
there.

Maybe I should go in and talk to him
alone.

Sure. Terry, let Arthur walk you in.

Something like that. That's nice.

You play so well.

Remember this?

Camp Talmakwa, that's the camp for me.

I'm so glad I left the city for a camp
that agrees with me.

You're really good. You could do
something with music.

Yeah. Become another Segovia?

I'm not saying that.

I don't want to do anything with music.

What do you want to do?

I want to get my head together first.

Don't you think that's priority one?

That's fair enough.

Everybody wants me to do what they want
me to do.

Do you remember Jack Spang?

Jack Spang.

We stayed on his parents' boat that time
up in Newport Beach.

Right.

And he was drunk?

And he tried to cast off.

It was about midnight.

And he tried to back out of the harbor.

And we got hung up on the breakwater.

Almost killed us all.

Yeah, I remember Jack Spang.

Harbor commissioner.

You're kidding.

And San Pedro phoned it in two days ago.

Jack Spang is a harbor commissioner?

And they say I'm crazy.

And, uh, do you like it?

Yeah, it's an interesting job.

They've been talking a long time.

Maybe that's a good sign.

Yeah.

Is Newport Beach still the same?

Oh, it's a lot more crowded.

That was a great trip.

It was a classic.

You remember those three girls from
Florida?

No.

We picked them up in the pancake house.

I don't remember any girls.

Andy, come on.

We went in there for lunch. Where's my
mother anyway?

She... Too afraid to come back?

I think you did frighten her a little.

You think she's scared?

Art, I'm scared.

I think I can understand that.

I'm so confused.

Therapy's just a crock.

control myself, which is bad.

And then I hear these voices in my

head, which keep telling me to do these
crazy things.

It's really bad, Art.

It's really crazy.

Andy.

Maybe this is the time to go back into
the hospital.

Is that what this is?

You came over here to try to talk me
into going to the funny farm?

Was this my mother's idea?

No.

No.

No. My cousin, I know you're just saying
what you think is right.

That's right.

If you think I should go over to that
hospital, I'll go right over.

If you think I should go, you just say
the word.

I just had a long talk with Andrew, and
I think it would be advisable for him to

be admitted at this time for
observation.

Yes, I agree.

Good night, Andrew.

Lou Grant will continue in a moment here
on A &E.

I can't accept writing like this.

I thought it was what you wanted. No,
no, no. People are expecting more from

than this.

I've won six different journalism
awards. I've won nine. You make me seem

insipid. Even though I was inexperienced
in those days, I always had passion.

More passion.

And you've got Sergei all sweaty. I hate
that.

And don't say I bedded him in a smelly
potting shed. Say a villa.

But you said it was a potting shed.

It was a potting shed on an estate.

Do you think my readers want to think of
me getting it on somebody's ratty

little shed?

I thought it was kind of atmospheric.

You're not being paid to think, Joe.
You're being paid to write.

I don't enjoy being critical like this,
Joe.

But think of my position.

My name goes on that book.

How's Donovan's cousin doing? Has
anybody heard?

He went into the state hospital the
night of the poker game. So what was

about three days?

Art's feeling a little more relaxed.

I'm going over there tonight for dinner.

I tell you. Hey, Animal, come on. We
have to get back.

I has a tough situation.

Don't cause it, boy.

Seems like every family has at least one
member with some kind of problem for

them.

I can't think of anybody in my family
that's weird or anything.

Hey, what do you think?

Come on in.

Surprised to see me?

Yeah. Where's Art?

He's not here.

Was that you playing just now?

You're good.

Well, go ahead. Don't let me stop you.

I'm not in the mood.

Where did you say Art was?

I didn't say. I just said he wasn't
here.

Well, where is he?

Out shopping for your dinner, I suppose.

Not the best host. I should have done
his shopping by now.

You got me.

He's not out shopping.

I ate him.

When did you get out of the hospital?

I knew you were there. Art mentioned it
to me.

I'm not ashamed I was there.

No, of course not.

They let me out this morning.

They started counting the 72 hours from
the morning.

Actually, I was in for 78 hours.

They can't hold you more than three days
for observation.

Yes, I know.

They can hold you another 14 days,
actually.

But they didn't.

Do you feel better?

Would you if you were locked up for 78
hours with a bunch of crazy people?

I don't know.

Yeah, I guess I'd feel better.

I don't mind if you want to play your
guitar.

I'm sorry I interrupted you. I'm really
not in the mood.

Art must be buying enough food for an
army.

You're not comfortable with me here
alone, are you? I was just kind of

about Art.

I already told you.

Help!

Help!

You grab that one? Yeah.

I hope you both like artichokes, because
I got artichokes.

I'm not staying.

What do you mean? I just bought a ton of
stuff. You said you'd join us for

dinner. Yeah, I have a lot of things to
do.

I'll see you later.

I didn't know he was out.

Neither did I. He was waiting there when
I got home.

Well, you know, he is kind of creepy.

Did he do something threatening?

No, he didn't do anything.

Then there's not being a little unfair.

Can't help it. He just makes me nervous.

I forgot my guitar.

Does your mother know you've been
released?

Yeah, I'm going there now.

Michelangelo and da Vinci never used
string and paste, but it's become a kind

classic medium at the art school.

It looks like one of those Indian
cities.

Yeah. It's my idea for a city, you know,
like Solari in New Mexico.

Oh, yeah, right.

You know, you ought to look into the art
school.

I bet you'd like it because you are
artistic.

You sound like my mother.

Yeah, we think alike because we're
buddies.

You really have a terrific mom, you know
that.

I'll transfer ownership as soon as I can
find the pink slip on her.

Very funny.

Oh, can you get that? I'm all...

Hello?

Yeah, just a second.

It's, uh, Mike Schill?

Schall?

Schall. Oh, God, that guy.

I mean, what is he thinking?

Okay, okay.

Look, tell him I'm busy and I can't
talk.

She's busy. She can't talk.

No, she's kind of tied up right now.

Okay.

He wants to know if you'll go out with
him tomorrow.

Oh, no.

He's this goopy guy.

I mean, I guess he's nice, but I don't
want to go out with him.

Oh, tell him I can. I've got to finish
this project.

She can't. She's got a project.

You tell him.

No, no. Look, I can't talk to him. He
calls all the time.

I mean, why can't he take a hint?

She can't. She has to work.

Okay.

Thanks. Really, you saved my life.

Has Andrew left yet?

Yes, about two hours ago.

He isn't there yet?

No. How was he when you saw him?

The same, like Andrew.

Oh.

Well, I think I'll just run over to his
apartment.

Do you want me to... No, no, no.

I'm probably just being silly and it's
closer for me anyway.

Maybe Terry will drive me over.

Edna. Yes?

When you know something, call.

All right.

If it's attention he wants, I think he's
getting it.

Buck's rejection stung like a bullet in
the gut.

It took the skill and patience of Dr.
Franklin Hayward to dig that bullet out.

Yeah, I know it's kind of a complicated
metaphor. That slimeball Buck never

rejected me.

I thought you said... He moved out, but
I forced it to happen.

Oh, this prose is really ragged, Joe.
I'm too good a writer for this. Why

you write it?

Oh, because I have bigger fish to fry.

I'm an idea person.

All I need is the competent wordsmith to
put those ideas into sentences and

paragraphs.

Who writes your column?

I do, of course. What do you take me
for?

An illiterate.

How can you say that? You've read my
column.

That's why.

Here. Why don't you try this?

Goodbye, Armand. Goodbye, Sergei.

Goodbye, Buck.

What is this?

Goodbye, Lana. Get somebody else.

I quit.

I'm not going to sit here and write this
junk and listen to this abuse when I'm

the one who's trying to put some real
human feeling in your book. Nobody ever

said writing was easy.

Yeah? Well, this is too tough. I do want
to write my own book with my own name

on it. Joe, you're serious, aren't you?
Oh, please, Joe, you can't leave me now.

You're the sixth writer they put on the
book. I'm flattering.

But, Joe, you're really the best, Joe.

I know how tough it is for you.

You know, it's not so easy for me
either. It's just I want to write such a

good book.

That's why I added to some of the
incidents and augmented and improved.

And made up. Wait a minute!

Do you think it's that easy to get
someone to take you to bed?

Even for me?

But I never invented characters. I just
touched up what happened to them. Every

man in that book is a real person. Yeah,
I'm sure.

I don't want that now. Bring me a real
drink, Sergei.

Can I ask you something?

Is there any real danger?

Well, I think you're both responding to
something that's real, yes.

When I got back from the East and found
out he'd been in and out of the hospital

so quickly, I tried to get in touch with
him.

I'm frankly very concerned myself.

What do you think could happen?

That's hard to say.

Andrew is feeling a lot of hostility
right now, especially toward women.

It could manifest itself in violence.

Knowing that, Dr. Myrdal, don't you have
a responsibility to warn the community?

As a matter of fact, I have. I called
the police.

That was a hard call to make.

Some hostile impulses are, of course,
natural and normal.

We're all of us capable of being angry
enough at times to fantasize killing.

But in this case, you did call the
police, which means that you think that

Andrew is really dangerous.

I have that concern.

I'm worried now, too, that he hasn't
tried to reach me.

We did hear from Dr. Myrdal, and I
mentioned it at the roll call meeting.

Well, what is that going to do exactly?

It alerts the men to be on the lookout.

I'll tell you what I can do.

I'll have the car in the area patrol
down that street more often.

One more radio car driving down the
street? I mean, what are the chances of

helping here?

There's nothing else we can do.

Shouldn't you have done something
earlier when Dr. Myrdal first called?

people of the danger?

It was mentioned at every watch.

What else can we do, really?

We're on the street with a bullhorn
saying watch out for the guy in the

the corner. He's a wacko.

We can't tire someone as dangerous
without violating their civil rights.

Excuse me.

Yeah.

Yeah.

Give me that name again.

Right. Call him on it right now.

Morning, Lou.

Where's Arthur?

Isn't this his desk?

As a matter of fact, it's my desk.

Art isn't in yet.

Oh. That's all right.

Well, I've been looking for Andrew, and
I think Arthur's been looking for him,

too. I tried phoning Arthur, and he
doesn't answer, so I just thought I'd

and catch him here.

He called in and said he'd be late.

I was just going to go down and have
some breakfast. Will you join me?

No, thank you. I can't eat.

I think I'll just go home. I'll drop you
off.

I've got some time yet. When Art gets
in, he'll call.

What's happening?

Are you the mother?

Yes. Ma 'am, I'm sorry about your
daughter.

My daughter?

Aren't you Mrs. Mills?

There's no reason to stay here now.

I want to be with Andrew.

I'm going this far. I want to be with
Andrew. The victim is a girl.

Her name is Terry Mills.

She was friendly with Edmund.

I know.

I met her.

Why was Orson Welles such a Hollywood
genius?

Peter Bogdanovic shares his insights on
the great director tonight on Biography.

Now, detectives fall prey to ambitious
politicians and the scandal -hungry

on Police Story, next on A &E.