All language subtitles for Get Smart S01E17 Kisses for KAOS.DVDRip.HI.cc.en.HBO

[baby crying]

OH, BABY MUST BE HUNGRY.

[crying continues]

[crying ceases]

- 86.
- 99.

THE CHIEF WANTS YOUR
SURVEILLANCE REPORT.

RIGHT.

"8:40 THE CONSUL
GENERAL ENTERED.

AT 9:12 A TELEPHONE
REPAIRMAN WENT IN

AND CAME OUT AGAIN AT 9:46.

NOTHING SUSPICIOUS THERE."

A TELEPHONE REPAIRMAN?

BUT, MAX, A PHONY
TELEPHONE REPAIRMAN

COULD HAVE ANYTHING
HIDDEN IN HIS REPAIR KIT.

HE WAS CHECKED OUT BY SECURITY.

BELIEVE ME, 99, I
KNOW WHAT I'M DOING.

I KNOW, MAX, BUT SUPPOSING

SOMEONE IS TRYING TO
BLOW UP THIS CONSULATE?

WE DON'T KNOW THAT, 99.

ALL WE KNOW IS THE
ANONYMOUS TIP SAID

THAT THE CONSUL GENERAL'S
LIFE WAS IN DANGER.

NOW IF YOU DON'T MIND, I'D
LIKE TO GET ON WITH MY REPORT.

- SORRY, MAX.
- "AT 10:15,

A STATE DEPARTMENT
OFFICIAL ENTERED.

HE LEFT AT 11:22.

AT 12:06, A MAN
DELIVERED A PAINTING

AND CAME OUT JUST
THREE MINUTES AGO."

- NOW GIVE ME YOUR PEN
AND I'LL SIGN THE REPORT.
- RIGHT.

"12:09.

THE CONSULATE BLEW UP."

[theme music playing]

WHERE'D YOU FIND THIS?

IN THE WRECKAGE OF
THE CONSULATE, CHIEF.

IT'S PART OF A PAINTING THAT WAS
DELIVERED FROM AN ART GALLERY

JUST A FEW MINUTES
BEFORE THE EXPLOSION.

AN ART GALLERY OWNED BY
A MAN NAMED REX SAVAGE?

RIGHT, CHIEF. HOW
DID YOU KNOW THAT?

PIECES OF PAINTINGS
FROM THE SAVAGE GALLERY

HAVE BEEN FOUND AT THE SCENE
OF THE LAST TWO EXPLOSIONS.

- WHERE WERE THE OTHER
TWO EXPLOSIONS, CHIEF?
- AN EMBASSY AND POLICE STATION.

- ANY CONNECTION BETWEEN THEM?
- ALL THREE PLACES
HAD INFORMATION

ON FILE THAT WOULD HAVE
BEEN DETRIMENTAL TO KAOS.

THAT INFORMATION WAS
DESTROYED IN EACH EXPLOSION.

I THINK IT'S TIME FOR INTELLIGENCE
TO GIVE US A RUNDOWN ON REX SAVAGE.

WAIT A MINUTE, CHIEF. I'VE
ALREADY TAKEN CARE OF THAT.

I'M HAVING THE INFORMATION
TRANSFERRED HERE

THROUGH OUR INTEROFFICE
TOP SECRET RELAY.

- [siren wailing]
- I THINK IT'S COMING
THROUGH NOW, CHIEF.

I'LL GET IT.

THANK YOU, MAX.

THE INTELLIGENCE SECTION
APPARENTLY HAS NO FILE ON SAVAGE...

NO PICTURE, NO
FINGERPRINTS, NOTHING.

THAT CAN'T BE RIGHT, CHIEF.

WELL, EITHER OUR BOYS
ARE LYING DOWN ON THE JOB

OR THIS ROCK IS A FORGERY.

NO, THAT'S THE OFFICIAL
CONTROL ROCK, MAX.

- LOOK.
- OH, YES.

OUR NAME AND ADDRESS IS ON IT.

"IF FOUND, DROP IN ANY MAILBOX."

I WANT SAVAGE'S FINGERPRINTS

AND A PICTURE TAKEN
OF HIM RIGHT AWAY.

99, WE'LL GIVE YOU THE COVER
OF A WEALTHY SOCIETY GIRL.

- A PATRON
OF THE ARTS, RIGHT?
- CORRECT.

MAKE CONTACT WITH
HIM AND USE THIS PENCIL.

WAIT A MINUTE, CHIEF.

WON'T IT LOOK A LITTLE SUSPICIOUS
IF SHE STARTS DRAWING HIS PICTURE?

IT'S FOR HIS FINGERPRINTS, MAX.

THIS PENCIL HAS BEEN
SCIENTIFICALLY TREATED.

IF YOU CAN GET HIM TO
TOUCH IT WITH HIS FINGERS

IT WILL LEAVE AN
IMPRESSION OF HIS PRINTS.

RIGHT.

WHAT ABOUT ME, CHIEF?

YOU CAN POSE AS HER CHAUFFEUR.

- OH, THAT'S A GOOD IDEA.
- THANK YOU.

AND HAVE PARKER HIDE A MICROCAMERA
SOMEWHERE IN YOUR UNIFORM

SO YOU CAN TAKE
SAVAGE'S PICTURE.

- RIGHT, CHIEF. COME ON, 99.
- OKAY.

OH, MAX, WAIT A MINUTE.

THAT ROCK GOES BACK
TO MESSAGE CENTER.

OH. RIGHT, CHIEF.

HERE YOU ARE, MY DEAR.

- A LITTLE GIFT FOR YOU.
- THANK YOU, REX.

- SEE YOU SOON?
- OF COURSE.

- GOODBYE.
- GOODBYE.

I THOUGHT YOU WERE THROUGH
WITH THAT GRETA COVAC.

HER CONSULATE HAS
ALREADY BEEN BLOWN UP.

SHE CAME IN AND STARTED
ASKING QUESTIONS.

SHE MUST BE ELIMINATED.

SHE WILL, MONDO.

I JUST GAVE HER ONE OF OUR
INGENIOUS WORKS OF ART...

WITH THE TIME EXPLOSIVE PAINT.

IN FIVE MINUTES, THERE
WON'T BE A TRACE OF HER.

WHAT A COMBINATION OF TALENTS...

HERE AM I, ONE OF THE
WORLD'S GREATEST ARTISTS,

AND YOU, ONE OF THE WORLD'S
MOST INGENIOUS CHEMISTS.

AND AFTER OUR NEXT
PAINTING IS DELIVERED,

THE WHOLE WORLD WILL HEAR OF US.

WHERE WILL IT HANG?

IN THE PENTAGON.

I DON'T THINK I UNDERSTAND
MODERN ART, MAX.

WHAT DO THESE PAINTINGS MEAN?

IT'S REALLY QUITE SIMPLE.

- LET'S TAKE THIS PAINTING
OVER HERE AS AN EXAMPLE.
- OKAY.

NOW LET ME SEE...

I THINK THIS IS A STREET SCENE.

YOU SEE, THE BUILDINGS
IN THE BACKGROUND

SYMBOLIZE THE VAST
FORCES OF NATURE;

AND THE LONELINESS,
INSIGNIFICANCE

AND CONSTANT STRUGGLE OF MAN

IS REPRESENTED BY
THAT LITTLE BLACK DOT.

[buzzes]

MAX, LOOK AT THAT
MODERN SCULPTURE.

IT'S MADE OUT OF
A DENTED HUBCAP,

RUSTY FENDER, TIN CANS,

NUTS AND BOLTS
AND A BICYCLE CHAIN.

YES, HE'S GIVEN US

MAN'S ETERNAL STRUGGLE
AGAINST THE UNIVERSE

OUT OF A PILE OF JUNK.

WHAT'S IT CALLED?

"A PILE OF JUNK."

MONDO, IT'S 8:00.

WE'LL CLOSE THE GALLERY AS
SOON AS THESE PEOPLE LEAVE.

YES, MR. SAVAGE.

MAX, THAT'S SAVAGE.
IS YOUR CAMERA READY?

I'LL CHECK.

NOW ALL I HAVE TO DO IS GET
HIS FACE IN FRONT OF THIS LENS

AND THEN PRESS THIS BUTTON

- AND I'VE GOT HIS PICTURE.
- RIGHT.

I'LL GET HIS FINGERPRINTS
ON THE SPECIAL PENCIL.

GOOD EVENING. I'D BE HONORED

TO OFFER MY ASSISTANCE
TO SOMEONE SO ATTRACTIVE.

WELL, THANK YOU,
BUT IT'S THE LADY

WHO'S INTERESTED
IN BUYING A PAINTING.

YES, I, UM...

- OH, MY.
- AH! I'LL GET IT.

- THERE WE ARE.
- THANK YOU, MAXWELL.

WHAT STYLE OF PAINTING DO YOU
FEEL MOST AT HOME WITH, MISS...?

WESTBROOK. MELISSA WESTBROOK.

OH, I LIKE MANY
DIFFERENT STYLES.

MY OWN COLLECTION IS VARIED.

- OH, I...
- I'LL GET IT.

AFTER YOU, SIR.

HERE YOU ARE.

WOULD THE MODERN TECHNIQUE
OF PAINTING APPEAL TO YOU?

OH, YES, IT DOES VERY MUCH...

IN THE HANDS OF THE
PROPER ARTIST OF COURSE.

WELL, WE HAVE A
BEAUTIFUL SELECTION.

IN THAT CORNER, WE HAVE SOME
RATHER INTERESTING EXAMPLES

- OF IMPRESSIONIST PAINTING.
- HMM.

AND OVER ON THAT WALL ARE SOME
OF OUR BETTER NON-OBJECTIVE WORKS.

AND OF COURSE AS YOU CAN SEE

THERE ARE EXAMPLES OF CUBISTIC,

- SURREALIST AND EVEN
THE NATURALISTIC TECHNIQUES.
- UH-HUH.

[whispers] IS THERE SOMETHING
WRONG WITH YOUR CHAUFFEUR?

UM, MAXWELL'S A LIP READER.

Mondo: MR. SAVAGE?

JUST A MOMENT.

- EXCUSE ME.
- OF COURSE.

- MISSED.
- SET IT UP AGAIN, MAX.

OH, THAT'S A SHAME
ABOUT THE PENCIL.

YOU DON'T SUPPOSE
THAT THE CHIEF WOULD GO

FOR A NICE GOOD CLEAN
SET OF GLOVE PRINTS, DO YOU?

WAIT A MINUTE. IF I COULD
JUST GET HIM ALONE.

RIGHT.

WHAT DO YOU MEAN, ALONE?

HE CAN'T KEEP HIS
GLOVES ON FOREVER.

I DON'T THINK YOU
SHOULD BE ALONE WITH HIM.

MAX, YOU SOUND
LIKE YOU'RE JEALOUS.

PFFT. JEALOUS. NOW
THAT'S RIDICULOUS, 99.

IT'S JUST THAT THAT MAN MIGHT
TURN OUT TO BE A DANGEROUS KISSER...

UH, KILLER.

THERE'S SOMETHING
ABOUT THOSE TWO,

SOMETHING PECULIAR.

WHAT DO YOU MEAN?

I'M SURE I'VE SEEN
THAT MAN BEFORE.

GET HIS PICTURE AND WE'LL CHECK
IT THROUGH KAOS HEADQUARTERS.

I'LL KEEP THE GIRL BUSY.

- OH, MISS WESTBROOK?
- YES, MR. SAVAGE?

PLEASE CALL ME REX.

THANK YOU. PLEASE
CALL ME MELISSA.

MELISSA, TAKE A LOOK AT THESE.

- WELL, SIR.
- JUST CALL ME MAXWELL.

MAXWELL.

THERE'S A PAINTING OVER
HERE I THINK YOU OUGHT TO SEE.

- I'D LOVE TO.
- IT'S JUST OVER HERE.

I THINK THIS IS ONE OF
THE FINEST EXAMPLES

OF REALISTIC PAINTING
THAT WE HAVE EVER HAD.

- WHAT IS IT CALLED?
- "THE CAMERA."

HOW PROVOCATIVE.

IF YOU LOOK A
LITTLE MORE CLOSELY

YOU'LL SEE THAT THE PAINTER
HAS INCLUDED EVERY DETAIL.

MARVELOUS WORK, DON'T YOU THINK?

IS THERE ANYTHING
ELSE I CAN SHOW YOU?

YES, HOW ABOUT SOME COLD
COMPRESSES FOR MY EYES?

FUNNIEST-LOOKING
PAINTING I'VE EVER SEEN.

UH, MISS WESTBROOK, ARE
YOU READY TO LEAVE NOW?

MR. SAVAGE IS GOING TO
DRIVE ME HOME, MAXWELL.

- YOU CAN GO ON AHEAD.
- WHAT ABOUT ME?

I MEAN, WHY CAN'T I
DRIVE THE TWO OF YOU?

TWO'S COMPANY. THREE'S A CROWD.

MAYBE I COULD GET A FRIEND.

- JUST THE TWO OF US.
- THAT'LL BE ALL, MAXWELL.

IT'S BEAUTIFUL EVENING.
I THOUGHT PERHAPS

WE MIGHT TAKE A DRIVE
THROUGH THE PARK.

OH, MR. SAVAGE?

YES?

HELLO, CHIEF? MAX.

I'M IN LOVER'S LANE.

LISTEN, CHIEF,
BEFORE I FILL YOU IN,

I WANT YOU TO GIVE A
MESSAGE TO PARKER AT THE LAB.

TELL HIM THAT THERE ARE A FEW ADJUSTMENTS
NEEDED ON THE STEERING WHEEL PHONE.

EVERY TIME I TURN THE
CORNER, I DIAL THE OPERATOR.

NEVER MIND THAT, MAX.
JUST GIVE ME YOUR REPORT.

RIGHT, CHIEF.

99 IS IN THE CAR WITH SAVAGE.

SHE'S STILL TRYING TO
GET HIS FINGERPRINTS.

I THINK HE'S
BEGINNING TO HELP HER.

I HOPE YOU'RE NOT IN
LOVER'S LANE BY YOURSELF.

IT COULD DRAW ATTENTION TO YOU.

DON'T WORRY, CHIEF.

I HAVE MY
INFLATE-O-GIRL WITH ME.

- OKAY, MAX.
- I'LL CHECK IN LATER.

THIS MOONLIGHT IS MADE-TO-ORDER.

MMM. IT'S JUST PERFECT.

DO YOU KNOW SOMETHING?

WHAT?

YOUR GLOVE IS
SCRATCHING MY CHEEK.

WOULD YOU MIND
TERRIBLY JUST, UH...

WHY, OF COURSE NOT,
MY DEAR. I'M SORRY.

OH, IT'S NOTHING REALLY.

IS THAT BETTER?

JUST LOVELY, THANK YOU.

ALL RIGHT, FELLA, WHAT
ARE YOU DOING UP HERE?

ACTUALLY, NOTHING, OFFICER.

WE'RE JUST SITTING HERE
LOOKING AT THE TREES.

NOW WHAT ABOUT THAT DUMMY?

WELL, THIS IS
LOVER'S LANE, ISN'T IT?

I'D LOOK PRETTY PECULIAR
SITTING UP HERE BY MYSELF.

WHAT KIND OF A WEIRDO ARE YOU?

OH, I DON'T KNOW,

JUST A PLAIN, NORMAL,
EVERYDAY WEIRDO, I GUESS.

I THINK YOU'D BETTER TELL ME
WHAT YOU'RE DOING UP HERE.

WELL, I CAN EXPLAIN, OFFICER.

YOU SEE, I NEEDED A GIRL,

AND I CARRY THIS
ONE IN MY TRUNK.

LET ME PUT IT THIS WAY.

THIS ISN'T REALLY MY GIRL.

I JUST USE HER FOR EMERGENCIES.

YOU SEE, OFFICER,
I'M A SECRET...

WELL, I'D BETTER NOT
REVEAL MY IDENTITY.

[hissing]

OFFICER, DO YOU KNOW WHERE
I COULD GET A FLAT FIXED?

MAX, I TOLD YOU TO BE CAREFUL

AND NOT CALL
ATTENTION TO YOURSELF.

BUT I WASN'T DOING
ANYTHING WRONG, CHIEF.

I WAS JUST SITTING IN MY CHAUFFEUR'S
UNIFORM WITH MY RUBBER DUMMY.

SO WHAT DID THE POLICE
CHARGE YOU WITH?

VIOLATING SECTION
387.b OF THE PENAL CODE.

WHICH IS?

SITTING IN A CHAUFFEUR'S
UNIFORM NEXT TO A RUBBER DUMMY.

OH, YES, THEY'VE BEEN TRYING TO GET
THAT LAW REPEALED FOR SEVERAL YEARS.

WHO HAS?

THE RUBBER DUMMY LOBBY.

WELL, THANKS FOR BAILING
ME OUT ANYWAY, CHIEF.

OH, THAT'S ALL RIGHT, MAX.

NOW WHAT ABOUT
SAVAGE'S PHOTOGRAPHS?

WELL, I COULDN'T GET
ANY PICTURES OF HIM.

YOU WHAT?

I'M SORRY, CHIEF. BUT I'VE
GOT SOME BEAUTS OF MYSELF.

WHAT ABOUT SAVAGE'S
FINGERPRINTS?

OH. WELL, YOU KNOW,
CHIEF, HE WEARS GLOVES

AND HE NEVER TAKES THOSE
GLOVES OFF FOR A MINUTE.

THIS IS FANTASTIC.

HERE WE ARE, ONE
OF THE BEST-KNOWN

SECRET ORGANIZATIONS IN THE
COUNTRY, AND WE CAN'T EVEN GET

A SIMPLE LITTLE SET
OF FINGERPRINTS.

CHIEF, I'VE JUST MADE A
DATE WITH REX SAVAGE.

HE'S COMING TO MY APARTMENT
FOR AN INTIMATE SUPPER.

YOU DID WHAT?

DID YOU HEAR THAT, CHIEF?

AN INTIMATE SUPPER DATE
WITH THAT POTENTIAL KILLER.

GOOD WORK, 99.

GOOD WORK, 99.

I NEW YOU'D LIKE
OUR PLAN, CHIEF.

NOW APPARENTLY THERE ARE ONLY TWO
OCCASIONS WHEN REX TAKES HIS GLOVES OFF.

ONE IS WHEN HE EATS AND
THE OTHER IS WHEN HE BATHES.

HE'S COMING UP TO
MY PLACE ABOUT 11:00.

ISN'T THAT A LITTLE
LATE FOR A BATH?

MAX, IT'S AN INTIMATE SUPPER.

EXCELLENT.

LISTEN, CHIEF. WHY DON'T
THEY COME TO MY APARTMENT?

I COULD ACT AS THE BUTLER
AND KEEP MY EYE ON SAVAGE.

GOOD IDEA. YOUR
APARTMENT IS LARGER.

IT'S MORE THE KIND OF PLACE THAT

MELISSA WESTPORT MIGHT LIVE IN.

THIS MAY BE OUR CHANCE TO
GET A FULL DOSSIER ON SAVAGE.

- LET'S GO DOWN
TO THE LAB.
- RIGHT.

THIS TABLEWARE IS
SPECIALLY RIGGED.

WHEN THIS SUBJECT
SITS DOWN TO HIS MEAL,

THE FOLLOWING
THINGS WILL HAPPEN:

THIS CHEMICALLY
TREATED SOUP SPOON

WILL TRIGGER A CAMERA BUILT
INTO THE BOTTOM OF A SOUP PLATE.

EVERY TIME I TAKE A
SPOONFUL OF SOUP,

THE PLATE TAKES
MY PICTURE. WATCH.

WHAT ABOUT THE FLASH?
WON'T HE SEE THE FLASH?

AH, IT WILL BE
ABSORBED BY THE SOUP.

AND YOU'LL HAVE TO
REMOVE THE SOUP PLATE

- BEFORE HE GETS
TO THE BOTTOM.
- RIGHT.

AND THIS ROLL IS MADE OUT
OF A SPECIAL COMPOSITE.

WHEN THE SUBJECT TAKES IT,

IT WILL MAKE A PERFECT IMPRESSION
OF ALL OF HIS FINGERPRINTS,

WHICH MEANS YOU'LL HAVE TO GET
IT AWAY FROM HIM BEFORE HE EATS IT.

OR USE ANOTHER ROLL.

VERY GOOD, PARKER.

- ANYTHING ELSE,
PROFESSOR?
- ONE MORE DEVICE.

THIS BOWL OF FRUIT WILL GIVE US A
SAMPLE OF THE SUBJECT'S SPEAKING VOICE.

THERE IS A TAPE RECORDER
BUILT INTO THIS APPLE.

Max: THAT'S
FANTASTIC, PROFESSOR.

BUT WHERE'S THE MICROPHONE?

OH, THE MICROPHONE,
IT'S RIGHT IN H...

IN YOUR STOMACH.

THANK YOU.

- TO YOU.
- TO US.

- LISTEN...
- HMM.

EVER SINCE I MET YOU,
THERE IS ONLY ONE THING

THAT I'M ABLE TO THINK ABOUT.

WHAT'S THAT, REX?

FIVE MINUTES TO DINNER.

I THOUGHT WE WERE
GOING TO BE ALONE TONIGHT.

OH, MAXWELL? HE'S JUST
HERE TO SERVE SUPPER.

AFTER THAT, I ASSURE
YOU, WE'LL BE QUITE ALONE.

I HOPE THAT THIS
WILL BE THE FIRST

OF MANY MIDNIGHT
SUPPERS, MY DEAR.

SO DO I, REX.

- AS I WAS SAYING...
- HMM.

THE ONLY THING THAT I HAVE BEEN
ABLE TO THINK ABOUT ALL DAY IS...

COME AND GET IT!

MAXWELL.

WELL...

I GUESS WE HAD
BETTER GO EAT SUPPER.

OH, COME ON, REX. DON'T
LET MAXWELL BOTHER YOU.

ACTUALLY, HE'S BEEN
IN THE FAMILY FOR YEARS

AND I STILL DON'T KNOW
HOW TO HANDLE HIM.

MAY I SUGGEST THE RACK?

THANK YOU, MAXWELL.

YOU'RE WELCOME, 99.

WHAT DID HE CALL YOU?

HE SAID, "NIGHTY-NIGHT."

IT'S A LITTLE GAME WE
USED TO PLAY AS CHILDREN.

NIGHTY-NIGHT, MAXWELL.

TRY THE SOUP, REX.
I THINK YOU'LL LIKE IT.

- WHAT KIND IS IT?
- CREAM OF TECHNICOLOR.

MMM. VERY GOOD.

VERY.

I WASN'T FINISHED.

WE DON'T WANT THE
SOUP TO GET COLD, SIR.

HERE, WHY DON'T YOU TRY A ROLL?

THANK YOU.

[knocking on door]

- WHO COULD THAT BE?
- I'LL GET IT, MA'AM.

IN THE MEANTIME,
WHY DON'T YOU TWO

JUST TALK AMONGST YOURSELVES?

AND DON'T BE AFRAID TO SPEAK UP.

UH, MAXWELL, TELL WHOMEVER'S AT
THE DOOR TO COME BACK TOMORROW.

YES, MA'AM.

I WONDER IF YOU'D MIND
COMING BACK TOMORROW.

SOME PEOPLE JUST
CAN'T STAND REJECTION.

STAND BACK AND
KEEP YOUR HANDS UP.

MONDO, WHAT ARE YOU DOING HERE?

YOU'VE BEEN TRICKED,
SAVAGE. THIS MAN IS NO BUTLER.

YOU'RE TELLING ME.

WE'VE GOT A REPORT ON HIS
PHOTOGRAPH FROM KAOS HEADQUARTERS.

HE'S MAXWELL SMART,
AN AGENT FOR CONTROL.

MAX, HERE!

GOOD THROW, 99.

GOOD CATCH, MONDO!

YOU'LL NEVER GET
AWAY WITH THIS, SAVAGE.

OH? WHY, MR. SMART?

BECAUSE AT THIS VERY MINUTE

25 CONTROL AGENTS ARE
CONVERGING ON THIS BUILDING

WOULD YOU BELIEVE
IT? 25 CONTROL AGENTS.

I FIND THAT HARD TO BELIEVE.

WOULD YOU BELIEVE

TWO SQUAD CARS AND
A MOTORCYCLE COP?

I DON'T THINK SO.

HOW ABOUT A VICIOUS STREET
CLEANER AND A TOOTHLESS POLICE DOG?

IF YOU WERE EXPECTING HELP, IT
WOULD HAVE BEEN HERE ALREADY.

NOW, MY DEAR MELISSA,

YOU ARE GOING TO PAINT
MR. SMART TO DEATH.

YES, THIS CAN CONTAINS
EXPLOSIVE PAINT

WITH A TIMING DEVICE MIXED IN.

THIS PAINT CONTAINS
A VIBRATION EXPLOSIVE.

IT DETONATES THE MOMENT A
WINDOW OR A DOOR IS SLAMMED.

AND THIS CAN CONTAINS
NITRO FLOOR PAINT.

IT EXPLODES THE INSTANT
ANYONE STEPS ON IT.

NOW YOU...

START PAINTING MR. SMART
WITH THE TIME EXPLOSIVE MIXTURE.

- NITRO FLOOR PAINT.
- THAT'S RIGHT.

ONE FALSE MOVE AND YOU'LL
BE BLOWN TO KINGDOM COME.

COME ON, MAX.

GOOD WORK, 99. WELL,
WE'VE DONE IT AGAIN.

THEY THINK JUST BECAUSE WE'RE

ON THE SIDE OF GOOD
THAT WE'RE SOFT,

BUT WHAT THEY DON'T KNOW IS THAT

WE'RE TOUGH AND HARD
AND DO A VERY NICE JOB.

THAT'S WHY THEY ARE TRAPPED
IN THIS ROOM AND CAN'T GET OUT.

COME ON, 99.

WAIT A MINUTE, DON'T MOVE. YOU'RE
IN THE SAME POSITION AS WE ARE.

YOU CAN'T LEAVE
THIS ROOM EITHER.

IF YOU TAKE ONE STEP,
WE'LL ALL BE BLOWN TO BITS.

THAT'S RIGHT.

GOT ANY IDEAS, MAX?

WELL, WHY DON'T WE ALL JOIN
IN A BIG CHORUS OF "HELP"?

- All: HELP!
- Max: SHH.

THE VIBRATION PAINT.

[quietly] HELP!

HELP!

WELL, THAT FINISHES
UP THE APARTMENT, 99.

A NICE, FRESH PAINT JOB.

YOU DID A BEAUTIFUL JOB, MAX.

OH, THANK YOU, 99.

YOU KNOW, WHEN THE
CHIEF RESCUED US AND I SAW

ALL THESE CANS OF PAINT LAYING
AROUND SAVAGE'S ART GALLERY,

- I FIGURED I MIGHT AS WELL
PUT THEM TO GOOD USE.
- HMM.

WELL, WHAT DO YOU SAY
WE GO DOWN TO THE DINER

AND I BUY YOU A CUP OF
COFFEE WHILE THE PAINT DRIES?

LOVELY.

MAX, ARE YOU SURE
THIS PAINT'S ALL RIGHT?

OF COURSE IT IS.

I CHECKED EVERY CAN
OF PAINT IN THE GALLERY

AND MEMORIZED THE
NON-EXPLOSIVE ONES.

COME ON.

[explosion]

MAX...

DON'T WORRY, 99. I
COVERED THE FURNITURE.

[theme music playing]