All language subtitles for McCloud S05E02 The Gang That Stole Manhattan

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

- By the making of a movie.

Clifford: That's your next
assignment.

Crowd control for a new movie

being shot in New York.

[screaming]

Rambo!

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

Clifford: This is just a simple
movie being made

in New York, gentlemen.

I don't want any more muggings,
runaways

riots, or murders.

Is that too much to ask?

No, sir.

[theme music]

[music continues]

What target you have in mind?

Kimberly's, Mr. Gilardi.

Kimberly's.

My friend, for over 50 years

every heist man from Sing Sing

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

And yet it still stands
there high on Fifth Avenue,

proud and strong and untouched,
you know why?

It can't be done.

I think it can.

It'll take about a million
dollars to finance.

For that you'd realize
about ten million worth

of precious gems.

We can split it any way
you think fair,

let's say, uh, 80-20.

Twenty for me.

Believe me, it can be done.

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

Are you interested in tactics
and strategy?

Oh, yeah, yeah, sure, sure.

Look here.

The key to the French front
in 1916.

If Verdun falls,
the French are demoralized,

they're in mutiny,
they lose the war.

Two years, two years!

The Germans hammered at this,
at this jewel.

They sent 43 divisions,

that's almost, uh,
two million men.

And for their troubles,
they suffered

a half a million
casualties,

but the old fox,
old Petain, he said

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

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

[chuckles]

No, no, no, no.

No, no, they couldn't.

The-- the front was too short,

too concentrated.

I mean a Trojan horse.

In order to use a Trojan horse

one must be able
to open up the gate.

I know how to open the gate.

How?

By the making of a movie.

A movie?

Clifford: That's right, marshal.

That's your next assignment.

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

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

to learn advanced Metropolitan
Police procedures.

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

that would include
the, uh, technique

of crowd control,
wouldn't you say?

Yeah, that's right.

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

that we desperately
need back there.

No, perhaps not.

I doubt that Tacos
even has a crowd.

Taos.

But someday, marshal,
50, 100 years from now

Taos may have a crowd.

What you learn here,
passed on to your successors

who will prove invaluable,
I'm sure.

Now you report to the producer

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

and he'll fill you
in on the details.

[instrumental music]

Well, marshal,
enjoying yourself?

Yeah, somewhat.

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

and waiting though.

Yeah, that's true.

Okay, take me down.

Alright, let's try it.

Okay, first team,
get Larry and Lynne.

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

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

everybody's wearing
evening clothes, you know?

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

a day for night,
so we use special filters

special lights...

It will come out
a night scene.

You mean when that comes
on screen

it'll look like it's night?

Right.

You fellas have more tricks

than the December bride.

Okay, positions please,
let's go.

[crowd cheering]

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

Yeah, right. Hey.

[indistinct chatter]

[indistinct chatter]

Come on, will you get
that crowd back.

They can hardly breathe there.

Marshal, you gotta move
those people back.

Yeah, right, right.

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

[indistinct chatter]

Hey! Let's move it back.

Miss O'Connell,
just one more, please,

for my granddaughter,
her name's Mary.

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

Who's that man over there?

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

No, his name is Cortez.
Max Cortez.

Cortez, huh? Thanks.

Quiet everybody.

Ladies and gentlemen,
we'd appreciate it,

if you'd keep it quiet
during the take.

This is for real.

Roll 'em.

Rollin', take three.

And action!

[instrumental music]

Hansom cab, please.

[whistles]

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

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

Marty.

- Hello, Ginny.
- How...

When did you get out?

Couple of days ago.

Glad to see me?

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

Sure, sure I am.

I thought I told you
to stay away from her.

- I know.
- I did.

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

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

Take it easy.

[gunshots]

[horses neighing]

[gunshots]

[screaming]

That's not in the script, is it?

[horses neighing]

[gunshot]

[screaming]

Hey, hey.

Stop! Would you
stop the horses, somebody.

Cut, cut, cut.

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

[whistles]
Ha!

[dramatic music]

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

[screaming]

[screaming]

Help!

[screaming]

[people screaming]

[dramatic music]

[screaming]

[galloping]

[screaming]

Haa! Woah! Woah!

You alright, ma'am?

[panting] Yes, I think so.

Oh, I think I owe you my life.

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

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

I thank you very much.

That was quite
a trick you did there.

Oh, it's my pleasure,
believe me.

[laughing]

So McCloud transfers to
the carriage, saves the girl

but there goes the shot.

Yeah, he's right here.

Mr. Gilardi wants
to talk to you.

Yeah, Vito.

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

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

Vito, nothing can go wrong
with this

absolutely nothing, believe me.

Right.

I'll call you tomorrow.

[dramatic music]

What's the matter?
You look funny.

I'll see you in the morning.

You told me
your name was Charles.

What do you want?

I figured
you know that already, son.

I can't talk to you here.

Alright.
Let's take a walk.

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

I thought we were partners.

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

What kind of credit?

A hundred thousand
dollars worth.

A hund...

[chuckles]

No way.

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

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

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

Now if that's the best
you can do

there's no point
talking anymore.

Now be reasonable, eh?

That's what I'm being.

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

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

I could've asked you
for two hundred thousand.

I can't raise
that kind of money.

Don't you understand?

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

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

Let go of me.

You've gotta listen.

[grunting]

[intense music]

[bell ringing]

[groaning]
Help!

[bell chiming]

- Help!
- Shut up!

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

[dramatic music]

[music continues]

[instrumental music]

When you're coming to bed, Pete?

Wait a minute, honey.

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

It's the only chance
I get all day

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

Man on TV:
Here's our Miss Gigi.

Gigi.

Thank you, Bill.

Well, New York saw a little
excitement today

from the new movie in town.

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

at the Plaza Hotel.

The picture is called
"The Gang That Took Manhattan"

and stars TV's Larry Harris

and his first feature along
with Lynne O'Connell

and Jack Mellish.

It's a cops and robbers
piece taking place

in the nostalgic '30s,

and where have
we seen those before?

Anyway, it seems that horses
pulling a hansom cab

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

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

being filmed
and then became a runaway

with poor Lynne O'Connell
trapped inside

after the driver was
accidentally

knocked off his perch.

Larry Harris the star of that
intrepid private eye series

on another network
lent his quick thinking

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

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

kept right on going
until they were finally brought

to a stop by the director
of crowd control,

Deputy Marshal Sam McCloud
on temporary duty

with the New York
Police Department.

New Mexico papers,
please copy.

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

Gigi: ...John Wayne tradition,

but unhappily not before
the incident caused a riot

On Central Park South, snarled
traffic on Fifth Avenue

for ten blocks,
destroyed $42,000 worth

of paintings
at a Central Park art exhibit

and generally caused havoc
rarely seen

on our tight little island.

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

[Clifford coughs]

Pete? You alright, Pete?

[coughs]

Pete!

Oh!

[instrumental music]

Come in.

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

You're probably surprised,
aren't you?

Not exactly, not anymore?

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

and the interview is over.

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

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

Remind me of what?

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

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

that movie company they just
failed to check out the animal

for loud noises.

Obviously, that's
why we had a stampede

right in the middle
of Manhattan.

I got a mountain of damage
reports over here.

Complaints, possible lawsuits

and the report
to the commissioner

I have to fill out
in quadruplicate.

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

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

friends of yours checked out
in the interest

of public safety by you.

Well, after
what happened yesterday,

I was gonna do that anyway.

Well, it should have been done
before yesterday.

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

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

That's what made
this city great, McCloud,

because the people
and the horses think

and also for your information,

the mayor himself
called me this morning

and he's on record
as being very interested

in having
the film industry here.

It means jobs and business.

But not, repeat not
if it means the destruction

of the entire city of New York.

Am I coming through to you?

Just as clear as a bell.

Good.

- That all?
- I hope so.

I sincerely hope so.

[instrumental music]

[instrumental music]

I'm gonna get the extras
down there.

You gotta cordon off that area
up there by that field

from that lamp post
all the way down.

Just a minute.

Matthew.

Oh, good morning, Mr. Cortez.

Good morning,
where is everybody?

Oh, they decided
on a different location.

[dramatic music]

What are you doing here?

It's a better location.

What do you mean,
a better location?

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

The whole scene works better.

Besides, it's better
for the police.

The police?

Mr. Cortez, look.

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

but I just thought you'd get
better crowd control

deeper in the park here,
away from the streets.

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

Thank you, marshal.

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

- Hi, McCloud.
- Hey.

Alright,
let's rehearse the fall.

Alright, Jack.

Alright now...

Shoot once.

Kneel down, right.

[gunshot]

Now take the hit
when you try a second shot.

Go!

[gunshots]

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

Larry, you come out carefully.

Now, carefully.

You're not sure he's dead.

Alright, now go over
to where he fell.

Bend down
to look at the body.

[intense music]

- Which one?
- what?

[siren wailing]

[tires screeching]

[indistinct chatter]

What have you got, McCloud?

Well, I can't tell yet, Joe.

Uh, could have been mugging

could have been something else,
no identification.

- Who found him?
- One of the actors.

Where were you?

Was standing right over there
in the clearing.

You mean, you were
less than 50 feet away?

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

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

Holy cow, McCloud,
right under your nose?

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

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

at some time last night.

And he was dragged
in the bushes there

so nobody would find him
right off.

Found this under the bushes.
It's empty.

Thanks.

Well, all the textbook signs.

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

A little bit to clean, Joe.

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

That doesn't mean anything.

They could have taken it
with the money

and everything else
without realizing it.

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

You know, Joe,
I remember seeing that fella

in the crowd yesterday.

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

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

I suppose you wanted
an autograph

but I think we oughta
check with her.

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

get the pictures.

Maybe we'd get a line
on this thing

through the files,

missing persons, you know?

What do you mean, we?

You just take care
of crowd control, McCloud.

And try to keep
the bodies to a minimum.

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

everyday, you know that, hm?

Must be the effect you have.

Where were you standing again?

Larry: Yeah, certainly
I knew he was dead.

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

for five years without
picking up a few things.

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

How?

Well, the way he wasn't moving.

That's always a good indication.

- Yes.
- Anything else?

Oh, the deathly pallor

you know, expression
on his face sort of thing.

Somebody said you practically
tripped over the body.

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

Where do you people
get this kind of thing?

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

because your ratings are
slipping a little?

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

In the latest Nielsen,
you slipped from 38.7 last year

to 16.5.

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

16.5 was it?

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

Well, I don't feel anything
about it.

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

Well, according to the poll
the young people today

think you're a little stodgy.

Stodgy? What do you mean stodgy?

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

- Stodgy.
- Stodgy.

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

these wild kids,
that's what it is.

Stodgy.

Make up!

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

Dodgers, nothing.
Giants three, Braves Two.

And the Cincinnati Reds Three,
Padres is nothing.

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

here's Gigi.

Gigi on TV: Thank you, Bill.

Well, that new movie
filming in town

had another outbreak
of misfortune today.

Yesterday,
it was runaway horses,

but today the story
was a lot grimmer.

The body of a dead man
was accidentally discovered

this afternoon
at the Central Park location

where the movie company
was shooting.

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

The unidentified man
about 70 years old

was apparently mugged and killed
under the very noses

of New York's finest...

Clifford: Aaah!
- Pete! What happened?

I just cut my throat.

The producer,
a newcomer named Max Cortez

was unavailable for comment.

And after the police finished
running around in circles

wondering whether
the body was supposed to be

in the script or not.

The filming went on
in the best showbiz tradition.

Now, tell me.

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

What do you mean funny?

Ha-ha funny, sick funny, what?

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

Thank you.

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

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

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

Yeah, Vito, sure.

In the scene being filmed,
Larry Harris was supposed

to kill Jack Mellish
in a shootout,

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

The trouble was,
when Larry went to look,

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

He later denied this vehemently,
and assured one and all

that from his long years
playing a detective,

he knew instantly that the real
dead man was really dead

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

Unquote.

Well, if anything
more can go wrong

with this snake bitten
enterprise, it probably will.

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

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

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

And the series too.

What, what do you mean
nobody pays attention?

You're my agent, right?

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

If nobody paying attention
to me

you're fired, Sid.

Sid, look, what am I gonna do?

She's ruining me.

What're you talking about?

How can tomorrow be better?

Today was one of my best days.

[instrumental music]

Who? Who was he?

I don't know!

Listen, there's nothing

to worry about, believe me.

How come I'm worried?

I'll tell you how come.

The window's wide open

and you're sweating like a pig.

Now, listen,
Mister Producer.

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

And you know what?

You're into me
for a cool million.

And I'll get it
out of your guts!

If you got something to say,
you better say it

and save yourself
one big belly ache!

Alright, alright, alright.

I met him about eight months ago
at a bar.

He was a night watchman

he worked in different places.

One of them Kimberly's.

He was loaded,
he talked his head off.

He told me about
thi-- this plan of his

for a knock over.
So I became interested.

I met him
a couple of more times.

Vito, he had it all worked out.

Every single detail.

Everything,
the movie idea, the whole thing.

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

Mm-hm.

And you, you did.

Yeah...

So he, he read about the movie

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

he tried to shake me down.

For how much?

A hundred grand

or he'd blow the whistle.

I tried to reason with him.

I mean, I really tried. No way.

So, you killed him, huh?

[sighs]

I hit him.

He fell, he...
He fell wrong.

Beautiful. Beautiful.

You really know
how to think fast in a pinch,

don't you, my friend?

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

A hundred things
you could've done.

Now the police
find out who he is

and tie him to you,

you tie a can on my tail.

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

No, that's what you say.

What was his name?

Segrist.

Ben Segrist.

And where did he live?

Uh, the wallet says
901 Eighth Avenue.

Dave, Paolo.

Get over there
with a vacuum cleaner.

Anything that can hurt us,
anything!

Understand?

You, you
with the original ideas.

If I stay in this thing

you screw up just once more

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

until your hat floats!

[intense music]

[instrumental music]

Broadhurst: The prints
of the dead man checked out

to be those of one
Benjamin J. Segrist

a former employee
of National Security Systems.

Worked as a night watchman at
various places before retiring.

Coroner's report says
death was caused

by a blow on the head.

Could have been accidental
or otherwise.

No signs of a weapon
being used.

They found an autograph
of Lynne O'Connell

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

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

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

Another banner day
for crowd control.

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

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

that it was something
more than just a mugging.

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

A mugging's bad enough.

Anyway, Broadhurst.
Run it down.

- Find out where he lived.
- Right.

I'm telling you, chief.

There's something here
more than meets the eye.

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

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

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

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

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

That's just the trouble,
McCloud.

You've been watching a movie
being made

while catastrophes
are popping up all around you.

Now why don't you think
about watching

something else for a change?

Then watch the movie
when it comes out,

like the rest of us do, okay?

Alright, so much for that.

Now as far as the case
is concerned,

Broadhurst, you handle

what needs to be handled.

You are in charge
of crowd control.

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

This is just a simple movie

being made in New York,
gentlemen.

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

Is that too much to ask?

- No, sir.
- Good.

Go.

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

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

Now, I won't bother
explaining how I got

that little thing here,

but if I get another
little thing here,

you're gonna get
a big thing here

by my own hand!

Just interested in your health.

[instrumental music]

Yes, I recognize him.

You remember anything else,
ma'am?

No.

Only that he seemed curious
about the producer.

Curious how?

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

Any particular reason?

Well, he seemed to think
he was somebody else.

A Mr. Charles, I think he said.

He thought the producer
was Mr. Charles?

I think so.

I'm not sure.
It was very brief.

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

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

Let me drive you back to set.

Thank you.

[instrumental music]

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

little bit more
than your normal passerby.

So many funny coincidences here.

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

You don't really believe that?

Just a thought.

That's all we need.

[sighs]

Well, I guess you have to start
someplace.

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

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

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

[laughs]

McCloud: You from
Hollywood, too?

Mm-hm.

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

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

Thank you.

I may take you up on it.

I'm gonna be late for my call.

Hold on.

[siren blaring]

[tires screeching]

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

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

You're not just late,
sweetheart,

you're 20 minutes late!

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

Okay, go get ready.

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

I had to borrow her
for a while.

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

Instead of borrowing
anything around here

then maybe I can get this
picture done.

You seem to forget
I have a schedule to meet.

Now this picture
costs $40,000 a day!

Now, you go on,
get yourself somebody else

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

If there's going to be
any explainin'

to be done, Mr. Cortez

why don't you start
by tellin' me

what Mr. Segrist
was so interested in you about?

- Who?
- Mr. Segrist.

He was the man
who was killed here yesterday

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

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

I don't even know who he was.

Well, here's a picture of him.

It was taken at the morgue.

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

McCloud: Does that refresh
your memory any?

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

He did talk to me, yes.

- And?
- He was asking about a job.

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

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

What happened then?

Nothing.
He just thanked me and he left.

What time was that?

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

- You ever see him before?
- No.

- You sure?
- Absolutely.

He seemed to think your name

was Charles.

Charles what?

Mr. Charles.

Cortez: Mr. Charles, huh?

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

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

with somebody else.

Well, I appreciate your time,
Mr. Cortez.

Uh, listen, marshal, uh,

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

I know you've got a job to do.

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

We both got a job to do.

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

Yeah.

Wonder what's he fishing for.

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

- This movie?
- Mm-hm.

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

to identify the body of the man

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

Hello, Joe?

No, this is Simms.

- Who's this, McCloud?
- Yeah.

Joe just left to check
on Segrist's apartment.

You got an address on that?

Yeah, finally.

901 Eighth Avenue.

Say, how're things in movieland?

Hello? McCloud?

- Uh, Marshal McCloud...
- Yeah.

Could I speak to you
for a moment, please?

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

Are you in charge of this
murder case now?

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

Uh, well, i-- in my opinion,

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

You know somethin'
I ought to know?

Well, I'm finished right now.

You mind if I ride along
with you...

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

[engine sputtering]

[chuckling]

[tires screeching]

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

Yeah.

He was on the set
day before yesterday.

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

No. But he did talk to Lynne.

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

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

See where it leads.

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

That's it?

[chuckling]

Well, give me a chance, marshal.

I just started on the case.

[instrumental music]

[music continues]

What're you doing here, McCloud?

Hey, Joe.

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

You're supposed to be
on crowd control.

Not today.
They're shootin' indoors.

Who's that?

Larry Harris,
this is Sergeant Joe Broadhurst.

Larry just tagged along
for the ride.

Sergeant, I was just
telling the marshal here

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

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

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

You won't even know I'm here.

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

that this is as far as you go.

This is official police business

and you're gonna have
to stay down here.

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

Yep. Yep. Okay. Okay.

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

I'll wait down by the squad car.

Right.

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

Oh, that poor man.

Can't get him out of my mind.

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

Well, no.

He lived here alone.

Always paid his rent on time.

He was retired, you know.

Ah, he, ah, was a nice man.

A nice quiet gentleman.

E-- except once in a while,

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

[indistinct radio chatter]

I don't remember him
having any visitors.

Of course, a couple of
telephone repairmen came by

a while ago to
take his telephone,

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

They may still be here.

I gave them the key.

It's Mrs. Leary.

Will you open the door, please?

The police would like
to look over the apartment.

Didn't sound like telephone
repairmen to me.

Get out of the way, ma'am.

[dramatic music]

Joe!

Stop! Police!

Hold it!

[gunshots]

[music continues]

[gunshots]

[gunshots]

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

Joe: I'm gonna work my way
around.

Oh! [screaming] He-- help!

Larry: Marshal!

Oh, hell! Ow!

[gunshots]

Cover me!

[gunshots]

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

I thought I'd come up and help.

[instrumental music]

Did you get 'em?

[instrumental music]

Joe: Yeah, dressed as
telephone repairmen.

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

Never got close enough
for a good look.

Right.

[Sam whistling]

Ah...

Mr. Harris, if you don't mind.

Sure.

Joe: Find anything?

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

Got 23 dollars and 56 cents.

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

Clean as a whistle.
Just like we found him.

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

They went through here
with a fine toothed comb.

So what you're gonna
have to do now

is dust for prints...

then you're gonna
get your killers.

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

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

Uh, the police were stumped
in that one too.

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

and I was able to prove

that the, uh,
the janitor did it.

Well, this is not a TV show,
Larry

Ah-huh. Yeah. Yeah.

Ah.

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

Yeah, that's for sure.

Okay, let's go.

Are you comin'?

"The Case of the Purloined
Parrot?"

Hm.

[instrumental music]

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

Hello, Gigi?

Larry Harris here.

[chuckling] Yes.

I think I have something
you can really use.

[laughing] That's right.

Man on TV: Our Mets yielded
the first game

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

but came back
in the second game...

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

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

I don't want you in the bathroom

at this time of night,
you make me nervous.

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

tomorrow morning at 8:00.

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

Gigi on TV: Thank you, Bill.

Well, there are more
developments on that new movie

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

and they get more bizarre
every day.

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

yes, joined the police
investigation

of that Central Park mugging
the other day.

How his involvement came about
is still a mystery,

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

he participated today
in a rooftop chase

of two unidentified burglars
who were surprised

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

Harris stated that
the Central Park incident

was not a mugging any more

but a premeditated murder
for obvious reasons.

What those reasons were,
he wouldn't divulge,

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

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

have come up with so far,

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

very happy with his
department heads.

Well, with heroes like
Larry Harris around

we might not need anybody else.

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

to see who's more inept,
the police department

or TV's favorite detective.
Bill.

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

Would you like a sleeping pill,
darling?

Better bring the whole bottle.

The one marked "McCloud."

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

I don't know. I--

Max...

Would you talk to that actor?

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

I-- I will. I will.

[instrumental music]

Come in. Shut the door.

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

by the commissioner

because he got his tail
chewed out by the mayor.

Now, you two bumbleheads
are about to get yours.

But first,
I want a little information.

What's all this about that,
that actor?

What's he doing on the case?

What's he talking about?

And how does he know so much?

Well, flip a coin,
and somebody talk to me

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

Well, you see, chief, ah...

[chuckling]

he just kinda
tagged along with us

when we went over
to Segrist's apartment.

Us? Did you say "Us?"

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

Now let me get this straight,

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

Anybody else on this
guided tour?

Well, let me explain here,
chief.

You see, we're makin'
really good progress

on this whole thing...

Quiet!

And you, Broadhurst...

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

And on top of that,
you those two characters

on the roof get away.

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

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

I'll break you into
a million pieces.

It will go down in bronze
and become legend

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

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

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

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

McCloud,
you're on crowd control.

That means no more
tagging along,

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

Comin' in like
a high wind, chief.

Good.

Blow!

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

McCloud, are you deaf?

Didn't you hear
what he just said?

Well, I figured out--

McCloud, don't figure!

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

and then good-bye.

Just stay away from me.

Far, far away. Please!

[sighing]

Oh, McCloud...

if you're goin' into
the squad room,

give this to Broadhurst,
will you?

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

He last worked for the Eastern
Produce Company.

We're still waiting
on the others.

Yeah. Put it on his desk.

[instrumental music]

You stick with me, baby.

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

[music continues]

Cut! Print. Very nice.

Very nice. Both of you.

[laughing]

Take this off, will you?

Take it off.

Oh! It's driving me crazy.

Okay...

One hour lunch!

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

[Larry laughing]

Right. Right.

Hi, Max.

Listen, Larry, I, uh...

- I want to talk to you.
- Yeah.

About this publicity
you've been stirring up.

Yeah. It's great, huh?

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

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

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

This is the wrong kind.

- What's wrong with it?
- Everything.

It taints the picture.
It offends people.

Makes all of us look silly,
especially you.

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

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

and cram it down their throats.

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

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

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

just be sure to
spell the name right?"

Well, that's what
this is all about.

Any publicity is good publicity.

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

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

A real detective?

Larry, you're an actor.
An actor!

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

You don't seem to understand.

I'm telling you
to knock it off.

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

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

Max, you can produce this
picture six ways to Sunday

and you can order
anything you want to,

but as far as furthering
my own career goes,

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

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

Then don't.

I'm telling you to knock it off.

That's a warning.

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

You heard me...

a warning.

Be back in just a minute.

Marshal.

- Huh?
- You break the case yet?

No.

You mean there's nothing new
at all?

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

All it does is
wind up on television.

Well, what's wrong with that?

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

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

Oh, well, now, I...

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

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

Oh.

Well, some other time then.

- No hard feelings?
- Mm.

Shall we go?

Larry: Oh, uh, marshal...

I still think I can help.

There was something
in his apartment--

No, thanks.

[instrumental music]

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

motion picture makin' business.

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

I don't think he has any.

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

It's not too unusual
these days.

It's the day of the independent.

Almost anybody with money
can make a picture.

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

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

I'm not sure.

I could find out. Why?

Oh, I was just curious as...

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

if he fitted in.

If he wasn't mugged, that is.

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

Poor old man, huh?

You know, I tell you...

I think he had the right idea.

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

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

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

Were you watching that?

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

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

No, of course not.

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

That's the way
it was supposed to look.

But it wasn't.

- How you do that?
- Do what?

- Play a love scene?
- Yeah.

Well, you-- you act.

You use your imagination,
your-- your memories,

whatever you can think of
to motivate you.

Boy, you sure must have
a powerful imagination.

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

that's just all part of it, huh?

[chuckling]
That's acting.

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

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

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

It'd depend on
your imagination.

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

I think you could get
the hang of it.

[instrumental music]

Come on, you guys.
Get it movin'.

I don't want to be here
all night.

A-- and don't drop it.

It don't bounce.

Right.

Man 2: Come on, come on.

Get going.

- You the manager here?
- Yeah.

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

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

About Segrist, right?

Sergeant Broadhurst was here?

Whoever.
Kind of a pale lookin' fella.

No, that wasn't Joe.

[chuckling] What're you guys?

Tactical squad
with these getups?

This's a control squad.

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

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

then leave alone, huh?

Segrist last worked here
three weeks ago.

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

And that's the third time
he done that.

So if you happen to see him,

tell him not to bother
with the excuses.

He's fired.

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

to clean out his locker.

His locker?

Yeah, your partner
took his stuff.

- What stuff?
- How do I know?

I just gave him the key.
Ask him.

Okay. Obliged.

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

They're on my back by now.

Will you get it movin'?

Come on.
Two steps at a time.

Let's go. Get it on.

Hey, Taxi!

Hey! Hey!

G... give us a break, huh?

Maggot!

[tires screeching]

Get in.

Oh, hi, marshal.

[chuckles] Hi.

[tires screeching]

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

The stuff you got out
of Segrists' locker.

Oh, yeah.

Here.

Look at this.

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

Well, look like he was
interested in the film.

Yeah.

But why? Why a film?

And why this film?

And, take a look at this.

It's a European tour guidebook.

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

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

Maybe he was expecting some.
But from where?

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

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

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

I'm gonna tell you
for the last time.

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

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

for impersonatin' an officer.

I'm sorry.

Alright,
I'll keep out of your hair.

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

Can you throw something my way

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

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

The way they made me
look on the news,

it could kill my career.

Marshal, I'm asking for a break.

Well, alright.

When the time comes,
if you behave yourself,

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

I really appreciate it.

Only remember,
no more news stories.

No. Absolutely not.

[instrumental music]

[door closes]

Well... Larry Harris.

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

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

I was just sitting there

thinking about doing
a feature on you

for my Sunday show.

[chuckling]
Another hatchet job, huh?

No, a real profile.

You're a newsmaker
these days, Larry.

You deserve one.

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

A profile?

A profile.

Well...

[chuckling] A profile...

[instrumental music]

Bill on TV: We should never have
relinquished it

to finish the guv race

by a rather lopsided margin.

The interesting note about this
ship is that he loaders had

second thoughts about building
the boat in the first place.

Okay.

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

- Slightly.
- Oh.

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

- I see.
- Hm-hm.

Just kinda...

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

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

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

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

Hm.

Hm.

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

and the latest
in the entertainment world.

Bill: Gigi.
- Thank you, Bill.

Well, there have been
dramatic developments

over the last 24 hours
on that movie murder

we've been reporting about,

and murder is exactly
what the star of the picture,

Larry Harris is calling it now.

In an exclusive interview with
this reporter just before going

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

gained access to the belongings
of Benjamin J. Segrist,

the man found dead
in Central Park Tuesday,

and has found significant
evidence that proves

Segrist was murdered.

Mr. Harris stated that
the evidence also indicated

that the murder
was directly connected

to the production of the movie,

and an extortion attempt.

What the evidence is precisely

he wouldn't say
for police security reasons,

but he did state
he was working very closely

with Marshal McCloud who has
been assigned to the case.

Muriel...

I'm losing my mind.

Well, movies are
better than ever

and things get curiouser
and curiouser.

So we'll just have to wait
and see.

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

Absolutely nothin' was
left there. Ask Paolo.

What is she talkin' about?

I thought I told you
to talk to that jerk.

I did. But he's crazy!

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

Remember that.

Now I'll talk to him.

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

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

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

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

if you work on him hard enough.

That's just what I aim to do.

Yes, can I help you?

[instrumental music]

You open your mouth
to the press anymore,

and we'll close it
for you again.

[groaning]

Hey, Larry. You in there?

[groaning]

Sam: Larry!
- Yeah.

Hey, Larry.
What's the matter?

[Larry groaning]

McCloud: Open up.

Alright.

- What happened to you? Huh?
- Oh.

Well, they...

[Sam grunting] Here. Here.

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

to the couch.

Oh!

[groaning]

Well, well...

somebody really
did a job on you.

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

Huh?

- Oh!
- One? Two?

- How many were there?
- Oh...

What happened, Larry?

[sighing] I got beat up!

Well, I can see that.

[groaning]

You know what this means?

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

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

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

I wanted to hit you once
or twice there myself.

- Hm?
- Who was it?

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

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

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

Yeah! They said something.

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

get more of the same.

Well, hey...

these could be the same guys

that went through
Segrists' apartment.

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

And, look, Larry,
tomorrow you come with me

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

You see if you can identify 'em.

In the meantime,
you keep that door locked.

You take care of yourself.
You get some rest.

- You understand?
- Okay. Okay.

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

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

Have you had a chance to go
through that apartment

for prints yet?

- Yeah.
- Ah...

Found any besides Segrists'?

- Yeah.
- Whose?

Yours.

- Oh.
- Yeah.

[instrumental music]

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

Well, Harris was beat up
last night, chief.

Good. That saves me the trouble.

Well, that's gotta prove
somethin'.

What? With an egomaniac
like that, ham!

Probably got a million enemies.

Maybe somebody's husband
got to him,

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

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

Clifford: What about it?

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

And he collected
travel brochures.

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

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

A new passport
he just applied for.

[telephone ringing at distance]

Hey, there you go.

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

Chief, before his last job,
this Segrist fellow

was with National Security
Systems as a relief man.

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

of the places he worked.

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

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

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

From now on, the two of you can
consider yourselves

the official lepers
of this department.

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

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

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

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

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

[dramatic music]

It's lousy.

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

and shoot him from behind.

You're going to cut my lines?

You're lucky we don't cut you

out of the picture entirely.

- Hey!
- Now, sit back.

Now, you listen to me,
big mouth.

You show up on the set once more
looking like this

I'll fire you from the picture.

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

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

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

[instrumental music]

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

and look at any mug shots.

Well, what made you
change your mind?

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

You are not even will make
a formal complaint?

No, no.

Well, who got to you, Larry?

Nobody got to me. I got wise.

Can't you understand?
Look at this face.

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

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

Well, well, there goes the case.

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

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

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

And the guy
who had had you beat up.

[instrumental music]

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

And tomorrow is Saturday,
it should be empty.

Anybody else left has already
been invited

to come and watch the shooting.

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

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

Now, the walkie-talkie man
will cue you

when the gang opens up
on the store.

That is going to cover
the blast through here.

There will be
a 30 minute delay

while they reset
the camera and the lights.

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

the alarm here and set
the charges on the vault.

And after that
the walkie-talkie man

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

- Police car?
- In a movie.

Stupid. Pay attention.

Now exactly 20 seconds after
that the police cars will arrive

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

- What if they do retakes?
- No.

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

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

it in one take
with multiple cameras.

Everything's timed.
You all understand it?

I can't figure this thing out.

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

We're shooting the Kimberly
sequence tomorrow

and we're finished after that.

What sequence is that?

Oh, a big shoot out and chase.

The usual nonsense.

At least they'll have to get
somebody else

to worry about the crowd.

When are you leavin'?

Tomorrow afternoon...

- Hello, Marshal, Lynne.
- Hi.

Business, social, or open house?

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

- Have a seat.
- Thank you.

[sighing]

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

No, it's been kind of fun

except for the Segrist thing.

- Anything new?
- No.

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

- That's too bad.
- Yeah.

Well, I figure
I got one more shot

at the old man's
employment record.

We haven't seen those yet.

I thought you already
ran a check.

Yeah, but there's
so much red tape.

You know that Segrist had
so many part-time jobs

that their records are all
messed up down there.

If they just get off their duffs
and get to work

we might get some answers.

- Like when?
- Like tomorrow.

Maybe never. Who knows?

Well, uh, good luck on it,
marshal.

I know both of you
would rather be alone.

Lynne.

Listen, just to be
on the safe side

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

I never did learn, did I?

Hm?

No. You never did.

You take care of yourself,
you hear?

You too.

Hold it, cowboy.

Don't turn around.

[instrumental music]

McCloud: What's this all about?

Man 2: Just a little
nose cleanin'

operation, that's all.

Walk straight ahead.

Hold it.

That's your new home. Get in.

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

[instrumental music]

[instrumental music]

[traffic bustling]

Hickok: Larry and the boys
pull up in front

they go in one by one
and start blasting.

We have three cameras inside.
Three out.

Good, now, remember
on the shooting,

the backer wants lots of
fireworks, lots of blood.

Real Bonnie and Clyde stuff,

that's what we want
on that screen.

About the police cars,
you got them timed?

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

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

- Immediately after, right?
- Right away.

Okay, make that loud
and long too.

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

and a little deaf, huh?

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

Cortez: Good.
It's gonna be great.

You're doing a beautiful job.

[instrumental music]

Our boys should be
moving in... now.

They'll enter through this
upstairs window.

They're probably next
to where the cable is.

They should be working their way
along this corridor

and start setting up
the charges.

Precision military operation.

[intense music]

McCloud: Help!

Hey!

McCloud: Help! Help!

Hey. Listen.

McCloud: Help! Somebody.

I'm over here.

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

Hey, it's coming from there.

McCloud: Over here in the trunk!

What's the matter, mister?

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

How?

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

something like a crowbar?

Hurry up!

We'll be late for Little League.

McCloud: I'll talk
to your coach.

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

Boy 1: Hey, I got something!

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

[grunting]

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

Keep at it.

McCloud: Well,
you gotta get another piece

of pipe or something.

[dramatic music]

McCloud: Push on it!

Keep at it!

Give it all you got. Push!

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

[grunting]

Thanks a lot, kids.
You saved my life.

Where's the telephone?

There's a phone by that shack
over there.

Hey, what about our coach?

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

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

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

Hickok: Well, it depends on
how it goes.

Maybe seven, eight.
I don't know.

- Thanks, Joe.
- You alright, McCloud?

Yeah, let's roll it.

Did you get it?

Yeah, it came in this morning.

I swiped it from Grover's desk.

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

Right.

And here's the gun you ordered.

Thank you.

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

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

There it is, Joe. Kimberly's.

Segrist worked there
five years ago.

Let's move.

[siren blaring]

Ladies and gentlemen,
please pay attention.

Mr. Harris and Miss O'Connell
will be driving

into the scene any moment now.

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

[instrumental music]

[siren blaring]

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

while we're shooting inside.

My assistant will tell you
when we're through.

Thank you very much.

[siren blaring]

What're you doin' here, McCloud?

I'll let you know.

Uh, sergeant,
would you mind moving the car?

They're trying to shoot a scene.

[indistinct chatter]

1100 Hours.

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

in the second floor
of Kimberly's.

You the manager?
The real manager?

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

Wondering about the jewels,
they real?

Man 3: No, they're fake.

We've already taken
all the real jewels

and put them in the vault.

These your guards?

The real guard
is behind the bars

guarding the vault
and the fellow standing there

is a movie guard.

Thank you.

Hello, marshal,
for a moment there

I thought you had abandoned us.

No, after all
we've been through

I, I had to hang around
for the payoff.

You mean the, the big shootout?

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

Quiet, everybody!
This is the big one.

Find yourself a place
behind the camera, marshal.

[instrumental music]

Roll 'em!

Cue the cars.

Alright. Action!

[instrumental music]

Drop that gun!

[gunshots]

[screams]

[glass shattering]

[gunshots]

Move. Move. Move.

[gunshots]

[instrumental music]

This moment, if they're on time,

they should be replacing
the Kimberly vault guard

with one of our men.

[gunshots]

I told you if you stuck by me

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

Cut. Print. Perfect.

Hickok: Next shot outside.

Alright, kids. Very good.
Very good.

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

Remember the scene I did
earlier?

[indistinct chatter]

Well?

I didn't see anything wrong.

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

with a bunch of men.

Well, I still smell a skunk
somewhere.

[instrumental music]

[indistinct chatter]

[instrumental music]

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

Quiet down, everybody.
Settle down!

This is a picture now.

[instrumental music]

Roll up.

Action!

[tires screeching]

[gunshots]

Harry! They killed Harry!

Baby, get back in!

[gunshots]

[explosion]

Move in. Get everything.

[gunshots]

[gunshots]

Excuse me.

Man 5: Get everything,
understand? Everything.

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

I gotta get up to second floor,
Jackson.

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

Not as tight as it should be.

[gunshots]

Cut!

There's no way, McCloud.

Would you get me
up to second floor

with this contraption?
Police's orders.

Police emergency.

[indistinct chatter]

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

Let's get out of here.

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

Levine: I did.
- Pardon me, please.

Excuse me.

Alright, Broadhurst,
what's this all about?

Where's McCloud?
I wanna talk to him.

- He disappeared.
- Disappeared where?

- Up there.
- Up where?

Okay! Roll it!

And action!

[gunshots]

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

[instrumental music]

Hold it!

[gunshots]

Come on, baby!

Come on!

Come on, baby!

[screams]

[screams]

[coughs]

Beautiful. Now, freeze.

[upbeat music]

Look out below!

Now, what...

[horn honking]

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

Is that a take?

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

Out of the way!

I'm a real cop. Follow that car.

[intense music]

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

[gunshot]

Let me out at a turn.

Sit down!

What's McCloud doin' to us, Joe?

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

Look out.

Clifford: This antique have
a radio?

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

Clifford: Well, turn it on!

[siren blaring]

Went left!

[gunshots]

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

[laughing]

A perfectly executed invasion
of Kimberly's.

[intense music]

[gunshots]

Look out!

[gunshots]

I'll get McCloud for this!

Those guys may save you
the trouble.

We should've heard
from them by now.

I wonder what could be
going wrong.

[gunshots]

[gunshot]

[tires screeching]

[crashes]

Alright, out of there. Come on!

Put your hands on the car.

Spread your legs.

You send for me, chief?

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

Cortez was the mastermind.

Now, we sweated those punks
you captured

and they sang a beautiful song.

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

in that trunk last night.

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

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

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

after that character
for 15 years.

And Gilardi,
being the gentleman he is,

promptly fingered Cortez
for Segrist's murder.

Right.

A good day's work, McCloud.

Well, I appreciate it, chief.

Oh, there's one more thing.

There's a new movie in town...

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

I've got tickets.

Oh. Well... [chuckles]

I'll see you guys later.

[theme music]