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1
00:01:09,903 --> 00:01:11,748
- MAX...
- SHHH.
2
00:01:11,772 --> 00:01:13,705
BE VERY QUIET, 99.
3
00:01:16,777 --> 00:01:18,321
DON'T SLAM THE DOOR.
4
00:01:19,880 --> 00:01:21,813
- WHAT'D YOU SAY?
- NOTHING.
5
00:01:24,051 --> 00:01:27,530
MAX, DID THIS MAN, BECKER, TELL YOU
EXACTLY WHERE HE WAS GOING TO MEET US?
6
00:01:27,554 --> 00:01:29,265
NO, ALL HE SAID ON THE PHONE
7
00:01:29,289 --> 00:01:32,468
WAS TO MEET HIM BACKSTAGE AT
MIDNIGHT AND HE'D BE WAITING FOR US.
8
00:01:32,492 --> 00:01:35,038
LOOK, MAX, THERE'S A LIGHT
COMING FROM THE STAGE.
9
00:01:35,062 --> 00:01:36,561
COME ON.
10
00:01:39,266 --> 00:01:40,810
I DON'T SEE HIM, MAX.
11
00:01:40,834 --> 00:01:43,079
HE MUST BE AROUND
HERE SOMEPLACE, 99.
12
00:01:43,103 --> 00:01:45,381
I'LL COVER THE STAGE,
YOU COVER BACKSTAGE.
13
00:01:45,405 --> 00:01:47,751
- RIGHT.
- NOW IF ANYTHING HAPPENS,
14
00:01:47,775 --> 00:01:50,219
WE'LL GIVE THE
LONG WHISTLE SIGNAL.
15
00:01:50,243 --> 00:01:52,022
MAX, I'M SCARED. BE CAREFUL.
16
00:01:52,046 --> 00:01:53,979
YOU TOO, 99.
17
00:02:09,563 --> 00:02:12,842
OH, MAX, YOU SCARED
ME HALF TO DEATH.
18
00:02:12,866 --> 00:02:14,678
ANY SIGN OF BECKER, 99?
19
00:02:14,702 --> 00:02:17,413
HE'S NOT BACKSTAGE, MAX.
20
00:02:17,437 --> 00:02:19,883
I DON'T UNDERSTAND IT. WHEN
HE CALLED ME ON THE PHONE,
21
00:02:19,907 --> 00:02:22,451
HE SAID THAT IT WAS ABSOLUTELY
URGENT THAT WE MEET HIM HERE.
22
00:02:22,475 --> 00:02:25,055
HE SAID THE FUTURE OF THE
UNITED STATES DEPENDED UPON IT.
23
00:02:25,079 --> 00:02:26,923
DID HE SAY ANYTHING ELSE?
24
00:02:26,947 --> 00:02:28,658
WELL, YES, AS A MATTER OF FACT,
25
00:02:28,682 --> 00:02:31,027
- HE DID MENTION
SOMETHING ELSE.
- WHAT WAS IT?
26
00:02:31,051 --> 00:02:33,362
WELL, I CAN'T REMEMBER.
27
00:02:33,386 --> 00:02:35,231
OH, WAIT A MINUTE,
WAIT A MINUTE.
28
00:02:35,255 --> 00:02:36,800
I KNOW WHAT HE SAID.
29
00:02:36,824 --> 00:02:38,757
HE SAID...
30
00:02:45,099 --> 00:02:47,343
HE SAID THAT HIS
LIFE WAS IN DANGER.
31
00:02:47,367 --> 00:02:50,401
- IS THAT HIM, MAX?
- I DON'T KNOW.
32
00:02:52,973 --> 00:02:55,051
ARE YOU HARLOW BECKER?
33
00:02:57,544 --> 00:03:00,979
HE CALLED US ALL THE WAY
DOWN HERE JUST TO TELL US THAT?
34
00:04:11,451 --> 00:04:13,195
IT TOOK US TWO YEARS TO DISCOVER
35
00:04:13,219 --> 00:04:15,331
AND DESTROY KAOS'S
COMMUNICATION SYSTEM,
36
00:04:15,355 --> 00:04:17,567
AND THEY TURN AROUND AND
COME UP WITH A NEW SETUP
37
00:04:17,591 --> 00:04:20,003
THAT'LL PROBABLY TAKE US
ANOTHER TWO YEARS TO BREAK.
38
00:04:20,027 --> 00:04:22,004
OF COURSE, AND THE INFORMATION
39
00:04:22,028 --> 00:04:24,868
THAT BECKER WAS GOING TO
GIVE US... THAT WAS THE KEY!
40
00:04:26,199 --> 00:04:28,511
- THAT'S RIGHT.
- HOW WAS KAOS COMMUNICATING
41
00:04:28,535 --> 00:04:30,146
WITH THEIR AGENTS BEFORE, CHIEF?
42
00:04:30,170 --> 00:04:33,471
THROUGH A VERY INGENIOUS
METHOD. I'LL SHOW YOU.
43
00:04:34,641 --> 00:04:37,220
NOW LOOK, MAX.
THIS LOOKS LIKE...
44
00:04:37,244 --> 00:04:39,355
ORDINARY CONFETTI, RIGHT?
45
00:04:39,379 --> 00:04:41,023
DO YOU KNOW WHAT IT REALLY IS?
46
00:04:41,047 --> 00:04:42,525
SURE, IT'S A CAT BOX.
47
00:04:42,549 --> 00:04:44,727
NO, MAX, IT'S KAOS CONFETTI.
48
00:04:44,751 --> 00:04:46,762
THIS IS HOW THEY
CONTACTED THEIR AGENTS.
49
00:04:46,786 --> 00:04:49,265
- I DON'T UNDERSTAND.
- WHENEVER KAOS WANTED
50
00:04:49,289 --> 00:04:52,501
TO CONTACT THEIR AGENTS IN A
DIFFERENT CITY, THEY'D HOLD A PARADE.
51
00:04:52,525 --> 00:04:55,237
THE AGENTS WOULD PICK UP
THE CONFETTI FROM THE STREET
52
00:04:55,261 --> 00:04:58,541
- AND THE COLOR OF THE CONFETTI
DETERMINED THEIR INSTRUCTIONS.
- HOW?
53
00:04:58,565 --> 00:05:00,275
GREEN CONFETTI
MEANT THAT THEY WERE
54
00:05:00,299 --> 00:05:02,479
SUPPOSED TO GO AHEAD
WITH THE PROPOSED PLAN.
55
00:05:02,503 --> 00:05:04,680
RED CONFETTI MEANT
"STOP INSTANTLY."
56
00:05:04,704 --> 00:05:07,717
THAT'S FANTASTIC, CHIEF. HOW
DID YOU EVER FIND THAT OUT?
57
00:05:07,741 --> 00:05:10,086
THEY ALSO USED WHITE CONFETTI.
58
00:05:10,110 --> 00:05:12,722
THAT MEANT "DANGER, LEAVE
THE COUNTRY IMMEDIATELY."
59
00:05:12,746 --> 00:05:15,458
FORTUNATELY FOR US, DURING
THEIR LAST PARADE IT SNOWED.
60
00:05:15,482 --> 00:05:17,915
- THEY ALL LEFT THE COUNTRY?
- NO, THEY ALL WENT TO MIAMI.
61
00:05:19,720 --> 00:05:21,897
WELL, HOW DID BECKER
FIT IN TO ALL THIS?
62
00:05:21,921 --> 00:05:24,667
IT'S MY HUNCH THAT KAOS
HIT UPON A NEW METHOD
63
00:05:24,691 --> 00:05:26,402
OF CONTACTING THEIR AGENTS
64
00:05:26,426 --> 00:05:28,471
AND BECKER STUMBLED
ON IT ACCIDENTALLY.
65
00:05:28,495 --> 00:05:30,840
HE WAS ABOUT TO GIVE THAT
INFORMATION TO YOU AND 99.
66
00:05:30,864 --> 00:05:33,476
OF COURSE, AND
KAOS GOT TO HIM FIRST.
67
00:05:33,500 --> 00:05:35,200
OH, I'LL GET IT, CHIEF.
68
00:05:38,538 --> 00:05:40,083
WHO WAS HARLOW BECKER?
69
00:05:40,107 --> 00:05:42,818
ALL WE KNOW IS THAT HE WAS
AN ACTOR WITH A THEATER GROUP
70
00:05:42,842 --> 00:05:45,288
RUN BY A MAN NAMED VICTOR POLO.
71
00:05:45,312 --> 00:05:47,657
MAX, HAVE YOU AND 99 HAD
ANY ACTING EXPERIENCE?
72
00:05:47,681 --> 00:05:50,092
NO, BUT I HAVE A COUSIN
WHO'S ON TELEVISION A LOT.
73
00:05:50,116 --> 00:05:53,095
- AN ACTOR?
- GREAT ACTOR. SELLS USED CARS.
74
00:05:53,119 --> 00:05:55,831
HARLOW BECKER'S WIFE WAS
ALSO WITH THE THEATER GROUP.
75
00:05:55,855 --> 00:05:58,100
OF COURSE, AFTER THE
TRAGEDY HAPPENED, SHE...
76
00:05:58,124 --> 00:06:00,603
- SHE CHANGED AGENTS.
- NO, SHE LEFT THE PLAY.
77
00:06:00,627 --> 00:06:02,638
NOW YOU AND 99 ARE
GOING TO REPLACE THEM.
78
00:06:02,662 --> 00:06:04,607
DON'T WORRY, THEY'RE
ONLY MINOR PARTS.
79
00:06:04,631 --> 00:06:06,209
WITH A LITTLE PROFESSIONAL HELP,
80
00:06:06,233 --> 00:06:07,876
YOU SHOULD BE
ABLE TO CARRY IT OFF.
81
00:06:07,900 --> 00:06:10,446
I'VE ARRANGED WITH THE
COUNTRY'S FOREMOST DRAMA COACH
82
00:06:10,470 --> 00:06:12,182
TO GIVE YOU A CRASH
COURSE IN ACTING.
83
00:06:12,206 --> 00:06:15,018
- WHAT'S HIS NAME?
- EMILIO PEDECHEFSKY.
84
00:06:15,042 --> 00:06:19,388
AND SO I SAY, MY FAIR
MELISSA, I RETREAT...
85
00:06:19,412 --> 00:06:21,190
FROM THE ARMS THAT REPELLED ME,
86
00:06:21,214 --> 00:06:23,492
THE EYES THAT SCORNED ME.
87
00:06:23,516 --> 00:06:29,131
AND THE HEART...
THAT NEVER HELD ME.
88
00:06:29,155 --> 00:06:31,768
AND IN PARTING, REMEMBER ME
89
00:06:31,792 --> 00:06:35,605
NOT AS THE FOOL WHO
DESIRED TO LOVE THEE,
90
00:06:35,629 --> 00:06:41,265
BUT AS THE LOVER...
WHO FAILED THEE.
91
00:06:45,338 --> 00:06:47,350
YOU DIDN'T LIKE IT?
92
00:06:47,374 --> 00:06:49,952
OH, IT WAS BEAUTIFUL.
WASN'T IT BEAUTIFUL, MAX?
93
00:06:49,976 --> 00:06:52,288
OH, I THOUGHT IT WAS
SUPERB, ABSOLUTELY SUPERB.
94
00:06:52,312 --> 00:06:53,990
IS THAT FROM A PLAY?
95
00:06:54,014 --> 00:06:57,693
NO, IT'S FROM THE VERSE OF "DO
YOU KNOW THE WAY TO SAN JOSE?"
96
00:06:57,717 --> 00:07:00,429
OF COURSE, I DON'T EXPECT
THE TWO OF YOU TO BE SO...
97
00:07:00,453 --> 00:07:02,698
BRILLIANT SO SOON.
98
00:07:02,722 --> 00:07:04,800
BUT IF ONLY A MERE
PORTION OF THE PEDECHEFSKY
99
00:07:04,824 --> 00:07:06,903
METHOD OF ACTING
RUBS OFF ON YOU,
100
00:07:06,927 --> 00:07:09,238
YOU'LL BE VERY WELL-PREPARED
FOR YOUR MISSION,
101
00:07:09,262 --> 00:07:10,806
MR. SMART.
102
00:07:10,830 --> 00:07:13,475
NOW WOULD YOU LIKE TO...
103
00:07:13,499 --> 00:07:15,377
RECITE SOMETHING FOR ME?
104
00:07:15,401 --> 00:07:17,112
ME?
105
00:07:17,136 --> 00:07:19,504
OKAY.
106
00:07:55,475 --> 00:07:58,721
I LOVE IT, I LOVE IT! CONTINUE!
107
00:08:01,114 --> 00:08:04,527
WHY ARE YOU SINGING, MR. SMART?
108
00:08:04,551 --> 00:08:06,596
OH, WELL, YOU TOLD
ME TO CONTINUE.
109
00:08:06,620 --> 00:08:08,540
THE OTHER PART
WAS ONLY THE VERSE.
110
00:08:09,956 --> 00:08:11,634
NOW THE POLO THEATER GROUP
111
00:08:11,658 --> 00:08:13,402
OPENS ITS SEASON TOMORROW NIGHT
112
00:08:13,426 --> 00:08:14,804
WITH A NEW PLAY ENTITLED
113
00:08:14,828 --> 00:08:16,672
"THE HORRORS OF HEMLOCK HOUSE."
114
00:08:16,696 --> 00:08:19,041
YOU WILL BE READING FOR
THE ROLES OF LADY FANNY
115
00:08:19,065 --> 00:08:20,776
AND MANNERING THE BUTLER.
116
00:08:20,800 --> 00:08:23,001
TURN TO PAGE 90 AND WE'LL START.
117
00:08:26,306 --> 00:08:28,585
I WISH I COULD DO
SOMETHING WITH MY HAIR.
118
00:08:28,609 --> 00:08:32,021
MR. SMART, DON'T YOU THINK
IT WOULD BE A GOOD IDEA
119
00:08:32,045 --> 00:08:34,824
IF WE LET MRS. SMART
PLAY LADY FANNY,
120
00:08:34,848 --> 00:08:36,492
YOU PLAY THE BUTLER?
121
00:08:38,085 --> 00:08:41,164
I WISH I COULD DO
SOMETHING WITH MY HAIR.
122
00:08:41,188 --> 00:08:43,465
I BEG YOUR PARDON.
SMILES AND BOWS.
123
00:08:43,489 --> 00:08:47,136
NO NO NO. "SMILES AND BOWS"
ARE MERELY STAGE DIRECTIONS.
124
00:08:47,160 --> 00:08:49,505
YOU SAY "I BEG YOUR PARDON."
125
00:08:49,529 --> 00:08:52,597
THEN YOU SMILE AND BOW.
126
00:08:54,067 --> 00:08:56,133
GOTCHA.
127
00:08:58,572 --> 00:09:01,283
I WISH I COULD DO
SOMETHING WITH MY HAIR.
128
00:09:01,307 --> 00:09:03,953
I BEG YOUR PARDON!
129
00:09:03,977 --> 00:09:08,090
NO NO NO, MR. SMART. YOU SAID THAT
AS IF SHE INSULTED YOU OR SOMETHING.
130
00:09:08,114 --> 00:09:11,995
NOW LOOK, YOU ARE A
BUTLER... HER BUTLER.
131
00:09:12,019 --> 00:09:13,663
YOU WALK INTO THE ROOM
132
00:09:13,687 --> 00:09:16,265
AS SHE MAKES A CASUAL
REMARK ABOUT HER HAIR.
133
00:09:16,289 --> 00:09:19,335
AND YOU BEG HER
PARDON FOR INTRUDING.
134
00:09:19,359 --> 00:09:21,103
WHERE DOES IT SAY
THAT IN THE SCRIPT?
135
00:09:21,127 --> 00:09:23,205
IT DOESN'T SAY
THAT IN THE SCRIPT,
136
00:09:23,229 --> 00:09:25,841
BUT THE MOMENT CALLS FOR IT.
IT'S-IT'S THE MOOD, THE ATTITUDE.
137
00:09:25,865 --> 00:09:28,310
- THE MOTIVATION.
- IS THAT IMPORTANT?
138
00:09:28,334 --> 00:09:32,448
IT'S EXTREMELY IMPORTANT. WITHOUT THE RIGHT
MOTIVATION, YOU CAN'T POSSIBLY INTRUDE.
139
00:09:32,472 --> 00:09:34,639
THEN IT OUGHT TO
SAY THAT IN THE SCRIPT.
140
00:09:37,043 --> 00:09:39,283
TAKE IT FROM THE
TOP OF THE PAGE!
141
00:09:42,482 --> 00:09:45,895
OH, I WISH I COULD DO
SOMETHING WITH MY HAIR.
142
00:09:45,919 --> 00:09:48,630
- NOW?
- WHENEVER YA LIKE.
143
00:09:48,654 --> 00:09:50,588
I BEG YOUR PARDON.
144
00:09:56,863 --> 00:09:59,241
LADY FANNY, I HAVE BEEN IN
YOUR EMPLOY FOR 10 YEARS.
145
00:09:59,265 --> 00:10:01,510
TONIGHT I AM GIVING NOTICE.
146
00:10:01,534 --> 00:10:03,345
BUT WHY, MANNERING?
147
00:10:03,369 --> 00:10:05,114
BECAUSE, DEAR LADY,
148
00:10:05,138 --> 00:10:08,151
I SAW YOU SHOOT A GUN AT HIS
LORDSHIP, YOUR LATE HUSBAND,
149
00:10:08,175 --> 00:10:10,319
RIGHT AFTER YOU PLAYED
A GAME OF "GO FISH."
150
00:10:10,343 --> 00:10:13,923
AND I HEARD HIM EXPLAIN BEFORE
HE FELL, "YOU SHOT ME FANNY."
151
00:10:13,947 --> 00:10:16,158
NO! NO! NO!
152
00:10:16,182 --> 00:10:18,361
"YOU SHOT ME FANNY,"
SOUNDS LIKE YOU'RE A COCKNEY.
153
00:10:18,385 --> 00:10:21,097
HER NAME IS FANNY!
154
00:10:21,121 --> 00:10:25,201
"YOU SHOT ME," PAUSE, "FANNY."
155
00:10:25,225 --> 00:10:27,803
NOW DON'T SAY THE WORD PAUSE.
I'M ONLY TELLING YOU TO PAUSE.
156
00:10:27,827 --> 00:10:32,341
"YOU SHOT ME, FANNY."
157
00:10:32,365 --> 00:10:36,945
"YOU SHOT ME... FANNY."
158
00:10:36,969 --> 00:10:39,047
BETTER. MUCH BETTER.
159
00:10:39,071 --> 00:10:41,450
NOW AT THIS POINT IN THE PLAY,
160
00:10:41,474 --> 00:10:44,286
LADY FANNY, FEARING THAT
YOU WILL GO TO THE POLICE,
161
00:10:44,310 --> 00:10:46,856
PULLS OUT A GUN AND SHOOTS YOU.
162
00:10:46,880 --> 00:10:50,415
- DO I DIE ON STAGE?
- OH, I'M SURE YOU WILL.
163
00:10:52,785 --> 00:10:56,299
I PROMISED YOUR CHIEF THAT I WOULD
PERSONALLY CONTACT VICTOR POLO
164
00:10:56,323 --> 00:10:57,967
AND RECOMMEND THAT HE HIRE YOU.
165
00:10:57,991 --> 00:11:00,591
- WHERE'S THE PHONE?
- IT'S RIGHT OVER THERE.
166
00:11:04,464 --> 00:11:07,643
IF YOU THOUGHT I DID A GOOD
ACTING JOB FOR YOU EARLIER,
167
00:11:07,667 --> 00:11:10,947
WAIT TILL YOU SEE THIS.
168
00:11:10,971 --> 00:11:12,882
VICTOR POLO?
169
00:11:12,906 --> 00:11:15,117
THIS IS EMILIO PEDECHEFSKY.
170
00:11:15,141 --> 00:11:17,986
OH, YOU'RE MUCH TOO KIND.
171
00:11:18,010 --> 00:11:20,322
I UNDERSTAND THAT
YOUR NEW PRODUCTION
172
00:11:20,346 --> 00:11:21,657
OPENS TOMORROW NIGHT
173
00:11:21,681 --> 00:11:25,193
AND THAT TWO MINOR
ROLES ARE STILL OPEN?
174
00:11:25,217 --> 00:11:29,398
GOOD. I BELIEVE I CAN DO
YOU AN ENORMOUS FAVOR.
175
00:11:29,422 --> 00:11:32,367
TWO OF MY STUDENTS,
INFINITELY TALENTED,
176
00:11:32,391 --> 00:11:35,370
ARE AVAILABLE.
177
00:11:35,394 --> 00:11:38,941
TOMORROW AT 1:00?
THEY'LL BE THERE.
178
00:11:38,965 --> 00:11:42,678
NO NO, DON'T BOTHER TO THANK ME.
179
00:11:42,702 --> 00:11:45,481
DID YOU GET THE ACTORS YET?
180
00:11:45,505 --> 00:11:47,483
EMILIO PEDECHEFSKY JUST CALLED.
181
00:11:47,507 --> 00:11:49,017
HE'S SENDING OVER TWO ACTORS
182
00:11:49,041 --> 00:11:51,487
TO PLAY LADY FANNY
AND THE BUTLER.
183
00:11:51,511 --> 00:11:55,258
SO OUR CASTING PROBLEMS
ARE SOLVED. SPLENDID.
184
00:11:55,282 --> 00:11:57,693
WHICH PART IN THE SCRIPT
CONTAINS THE INFORMATION
185
00:11:57,717 --> 00:12:00,696
TO BE GIVEN TO THE KAOS AGENTS
OUT FRONT TOMORROW NIGHT?
186
00:12:00,720 --> 00:12:03,555
THE BUTLER.
187
00:12:12,499 --> 00:12:14,610
WE'VE GOTTA GET STARTED
WITH THIS RUN-THROUGH.
188
00:12:14,634 --> 00:12:16,279
WHAT'S KEEPING THOSE
TWO NEW ACTORS?
189
00:12:16,303 --> 00:12:19,648
BUONGIORNO, SIGNORES!
190
00:12:19,672 --> 00:12:22,018
SALUDOS, AMIGOS!
191
00:12:22,042 --> 00:12:26,789
ACHTUNG, MEIN KOMERADS.
192
00:12:26,813 --> 00:12:29,491
YOU'RE THE TWO ACTORS
PEDECHEFSKY RECOMMENDED?
193
00:12:29,515 --> 00:12:32,394
YES, ARE YOU VICTOR POLO?
194
00:12:32,418 --> 00:12:35,531
YES, THIS IS THE AUTHOR OF
"THE HORROR OF HEMLOCK HOUSE,"
195
00:12:35,555 --> 00:12:37,299
- CARL SHIRTSINGER.
- HOW DO YOU DO?
196
00:12:37,323 --> 00:12:39,501
I'M VIOLA VAIN,
197
00:12:39,525 --> 00:12:42,671
AND OF COURSE YOU
RECOGNIZE MR. HOLLYWOOD.
198
00:12:42,695 --> 00:12:44,039
MR. WHO?
199
00:12:44,063 --> 00:12:46,976
LAWRENCE HOLLYWOOD.
200
00:12:47,000 --> 00:12:49,845
YOU'RE PROBABLY MORE
FAMILIAR WITH MY FATHER,
201
00:12:49,869 --> 00:12:52,982
WHO WAS ONE OF THE
GREATEST ACTORS THE WORLD...
202
00:12:53,006 --> 00:12:55,484
THE WORLD... HAS EVER KNOWN.
203
00:12:55,508 --> 00:12:57,753
I DON'T THINK SO.
WHAT WAS HIS NAME?
204
00:12:57,777 --> 00:13:00,556
- HUH?
- WHAT WAS HIS NAME?
205
00:13:00,580 --> 00:13:02,325
JASON HOLLYWOOD.
206
00:13:02,349 --> 00:13:04,059
Shirtsinger: NEVER HEARD OF HIM.
207
00:13:04,083 --> 00:13:05,895
OH. YOU PROBABLY
REMEMBER MY MOTHER.
208
00:13:05,919 --> 00:13:07,263
WHAT WAS HER NAME?
209
00:13:07,287 --> 00:13:09,665
LEONORA VINE.
210
00:13:09,689 --> 00:13:12,701
I'M SURE YOU'RE MORE FAMILIAR
WITH THE WORK THEY DID AS A TEAM.
211
00:13:12,725 --> 00:13:15,371
I'M SORRY, WE'VE NEVER
HEARD OF EITHER ONE OF THEM.
212
00:13:15,395 --> 00:13:18,507
YOU'VE NEVER HEARD
OF HOLLYWOOD AND VINE?
213
00:13:18,531 --> 00:13:21,777
IF YOU'RE READY, WE'D LIKE
TO RUN THROUGH YOUR SCENE.
214
00:13:21,801 --> 00:13:23,579
CHARLIE,
215
00:13:23,603 --> 00:13:26,870
BE SURE THE PROP GUN FOR MISS
VAIN IS IN THE END-TABLE DRAWER.
216
00:13:32,979 --> 00:13:34,957
ALL RIGHT, CLEAR THE
STAGE, EVERYBODY.
217
00:13:34,981 --> 00:13:38,460
LET'S HAVE SOME QUIET.
218
00:13:38,484 --> 00:13:40,351
ANYTIME YOU'RE READY, MISS VAIN.
219
00:13:44,824 --> 00:13:47,203
OH, I WISH THERE WAS SOMETHING
I COULD DO WITH MY HAIR.
220
00:13:47,227 --> 00:13:51,028
I WISH I COULD DO
SOMETHING WITH MY HAIR.
221
00:13:53,166 --> 00:13:56,100
OH, I DO WONDER WHAT'S
BECOME OF MANNERING.
222
00:14:14,654 --> 00:14:17,121
I BEG YOUR PARDON?
223
00:14:20,259 --> 00:14:23,605
MR. HOLLYWOOD, YOU'LL
BE DRESSED AS A BUTLER.
224
00:14:23,629 --> 00:14:25,641
THEREFORE YOU WON'T
BE WEARING A COAT.
225
00:14:25,665 --> 00:14:27,776
WHY DON'T YOU THROW IT
INTO THE WINGS FOR NOW?
226
00:14:27,800 --> 00:14:29,767
RIGHT.
227
00:14:38,678 --> 00:14:42,925
MR. HOLLYWOOD,
IF YOU DON'T MIND...
228
00:14:42,949 --> 00:14:46,217
LET'S TAKE IT AGAIN
FROM THE TOP.
229
00:14:51,991 --> 00:14:55,425
OH, I WISH THERE WAS SOMETHING
I COULD DO ABOUT MY HAIR.
230
00:14:57,863 --> 00:15:00,531
I BEG YOUR PARDON?
231
00:15:03,002 --> 00:15:04,880
IT'S YOUR LINE.
232
00:15:04,904 --> 00:15:08,150
WHAT IS IT?
233
00:15:08,174 --> 00:15:10,452
LADY FANNY, I'VE
BEEN IN YOUR EMPLOY...
234
00:15:10,476 --> 00:15:13,389
LADY FANNY, I'VE BEEN IN YOUR
EMPLOY FOR OVER 10 YEARS,
235
00:15:13,413 --> 00:15:16,225
BUT TONIGHT I MUST
GIVE YOU MY NOTICE.
236
00:15:16,249 --> 00:15:19,194
AND WHY IS THAT, MANNERING?
237
00:15:19,218 --> 00:15:22,520
BECAUSE, DEAR LADY, I SAW YOU...
238
00:15:25,024 --> 00:15:27,636
I SAW YOU SHOOT A
GUN AT HIS LORDSHIP,
239
00:15:27,660 --> 00:15:30,473
JUST AFTER YOU FINISHED
PLAYING A GAME OF "GO FISH."
240
00:15:30,497 --> 00:15:32,908
AND I HEARD HIM
EXCLAIM JUST AS HE FELL,
241
00:15:32,932 --> 00:15:35,177
"YOU SHOT ME, FANNY."
242
00:15:35,201 --> 00:15:37,913
OH, I AM TERRIBLY SORRY
THAT YOU HEARD THAT,
243
00:15:37,937 --> 00:15:40,804
BECAUSE NOW I
MUST SHOOT YOU TOO.
244
00:16:17,076 --> 00:16:21,390
MR. HOLLYWOOD, WHAT IN
THE WORLD ARE YOU DOING?
245
00:16:21,414 --> 00:16:23,692
- I'M DYING.
- COULD YOU DIE
A LITTLE QUICKER?
246
00:16:23,716 --> 00:16:25,283
WE'D LIKE TO BREAK FOR LUNCH.
247
00:16:26,986 --> 00:16:28,964
DEAR LADY, I HEARD A SHOT.
248
00:16:28,988 --> 00:16:31,634
- GOOD GRIEF!
- YES, I HAD TO KILL HIM.
249
00:16:31,658 --> 00:16:33,569
HE OVERHEARD ME
KILL HIS LORDSHIP
250
00:16:33,593 --> 00:16:35,671
AND I WAS AFRAID HE
WOULD FIND OUT ABOUT US.
251
00:16:35,695 --> 00:16:37,640
I'LL HIDE HIM BEHIND THE COUCH.
252
00:16:37,664 --> 00:16:40,809
TONIGHT, WE'LL PUT HIM IN THE CAR
AND I'LL SHOVE HIM OVER THE CLIFF.
253
00:16:40,833 --> 00:16:42,633
OH, GOOD.
254
00:16:47,006 --> 00:16:50,452
AND NOW THERE'S NOTHING
TO STAND BETWEEN US
255
00:16:50,476 --> 00:16:52,254
AND HAPPINESS.
256
00:16:52,278 --> 00:16:54,656
ALL RIGHT, WELL DONE, EVERYONE.
257
00:16:54,680 --> 00:16:57,348
MR. HOLLYWOOD, COULD WE
HAVE A PRIVATE WORD WITH YOU?
258
00:17:01,720 --> 00:17:04,400
I LEFT OUT THE PIROUETTE-
OFF-THE-MANTELPIECE BIT.
259
00:17:04,424 --> 00:17:06,468
I THOUGHT IT BUSIED
THINGS UP A LITTLE.
260
00:17:06,492 --> 00:17:08,270
HOW COULD YOU TAKE IT OUT?
261
00:17:08,294 --> 00:17:10,305
IT WASN'T IN THE SCRIPT
IN THE FIRST PLACE!
262
00:17:10,329 --> 00:17:12,441
THOSE PHYSICAL EMBELLISHMENTS,
263
00:17:12,465 --> 00:17:14,609
THEY REALLY GET IN
THE WAY OF THE LINES.
264
00:17:14,633 --> 00:17:16,412
MANNERING IS A BUTLER.
265
00:17:16,436 --> 00:17:18,414
HE'S NOT BURT LANCASTER.
266
00:17:18,438 --> 00:17:21,906
NOW JUST DO IT AS
WRITTEN, PLEASE!
267
00:17:23,977 --> 00:17:25,688
WHAT DO YOU THINK, MAX?
268
00:17:25,712 --> 00:17:27,908
I THINK THAT VICTOR POLO
AND CARL SHIRTSINGER
269
00:17:27,932 --> 00:17:29,658
HAVE JUST MADE
THEIR FIRST MISTAKE.
270
00:17:29,682 --> 00:17:32,928
- WHAT WAS THAT?
- THEY TOOK OUT THAT GREAT STUFF
I ADDED TO THE SCENE.
271
00:17:32,952 --> 00:17:34,930
MAX, I MEANT ABOUT
THE ASSIGNMENT.
272
00:17:34,954 --> 00:17:36,866
HAVE YOU NOTICED
ANYTHING SUSPICIOUS?
273
00:17:36,890 --> 00:17:39,234
NOTHING YET, BUT AS SOON
AS THEY BREAK FOR LUNCH,
274
00:17:39,258 --> 00:17:41,136
WE'RE GONNA SEARCH
THE DRESSING ROOMS.
275
00:17:41,160 --> 00:17:43,071
NOW YOU SEARCH THE
MEN'S DRESSING ROOMS,
276
00:17:43,095 --> 00:17:45,173
AND I'LL SEARCH THE
WOMEN'S DRESSING ROOMS.
277
00:17:45,197 --> 00:17:48,777
DON'T YOU THINK IT WOULD BE BETTER IF I
SEARCHED THE WOMEN'S DRESSING ROOMS
278
00:17:48,801 --> 00:17:52,247
AND YOU SEARCHED THE MEN'S
DRESSING ROOMS? IT'D BE LESS SUSPICIOUS.
279
00:17:52,271 --> 00:17:54,472
YES, BUT NOT AS MUCH FUN.
280
00:17:59,245 --> 00:18:01,356
WHAT WAS THAT?
281
00:18:01,380 --> 00:18:04,581
SOMEONE ON THE
BACKSTAGE EXTENSION.
282
00:18:13,425 --> 00:18:15,838
HELLO, CHIEF? MAX.
283
00:18:15,862 --> 00:18:18,440
- WHAT DO YOU HAVE TO REPORT?
- CHIEF, TO TELL YOU THE TRUTH,
284
00:18:18,464 --> 00:18:21,176
I HAVE A FEELING THIS PLAY
SHOULD HAVE OPENED IN NEW HAVEN.
285
00:18:21,200 --> 00:18:23,812
MAX, I'M NOT CONCERNED
ABOUT THE PLAY.
286
00:18:23,836 --> 00:18:25,514
WHAT CONTROL NEEDS TO KNOW
287
00:18:25,538 --> 00:18:27,950
is how KAOS is
transmitting information
288
00:18:27,974 --> 00:18:30,185
through their agents
in Polo's theater group.
289
00:18:30,209 --> 00:18:31,853
JUST KEEP YOUR EYES OPEN, MAX.
290
00:18:31,877 --> 00:18:34,356
UNLESS I'M WRONG, SOMETIME
DURING TONIGHT'S PERFORMANCE
291
00:18:34,380 --> 00:18:36,258
SECRET INFORMATION
WILL BE TRANSMITTED
292
00:18:36,282 --> 00:18:37,993
TO CERTAIN KAOS
AGENTS IN THE AUDIENCE.
293
00:18:38,017 --> 00:18:41,496
- RIGHT, CHIEF. ARE YOU GONNA BE THERE?
- OF COURSE.
294
00:18:41,520 --> 00:18:43,866
OH GOOD. WHERE WILL YOU
BE SITTING? I'LL WAVE TO YOU.
295
00:18:43,890 --> 00:18:46,735
MAX, I DON'T KNOW WHERE I'LL
BE SITTING, BUT I'LL BE OUT THERE.
296
00:18:46,759 --> 00:18:48,904
LOOK FOR ME IN THE THIRD ACT.
297
00:18:48,928 --> 00:18:51,373
THAT'S WHERE I DO MY
BIG SCENE. I GET KILLED.
298
00:18:51,397 --> 00:18:53,409
I'LL BE LOOKING FORWARD TO IT.
299
00:18:53,433 --> 00:18:56,901
CHIEF, 99 AND I ARE
LEAVING THE THEATER NOW.
300
00:19:02,541 --> 00:19:05,509
SO LAWRENCE HOLLYWOOD
IS A CONTROL AGENT.
301
00:19:06,646 --> 00:19:08,423
WE KNEW HE WASN'T AN ACTOR.
302
00:19:08,447 --> 00:19:10,659
THE IRONY OF THIS
IS EXHILARATING.
303
00:19:10,683 --> 00:19:14,028
WHOEVER WOULD HAVE THOUGHT
WE'D RUN INTO A SITUATION LIKE THIS?
304
00:19:14,052 --> 00:19:16,131
A CONTROL AGENT
WILL BE DELIVERING
305
00:19:16,155 --> 00:19:19,067
KAOS INFORMATION TONIGHT.
306
00:19:19,091 --> 00:19:21,169
YOU MEAN WE'RE STILL
GOING THROUGH WITH IT?
307
00:19:21,193 --> 00:19:23,071
OF COURSE! THE SETUP'S IDEAL.
308
00:19:23,095 --> 00:19:26,275
NOW LET'S INSERT THE CODE
INTO THE BUTLER'S SPEECH.
309
00:19:26,299 --> 00:19:29,333
"10 YEARS" BECOMES "EIGHT."
310
00:19:30,969 --> 00:19:32,514
"TONIGHT I'M GIVING NOTICE"
311
00:19:32,538 --> 00:19:35,172
WE CHANGE TO "TOMORROW NIGHT."
312
00:19:36,575 --> 00:19:42,424
AND "GO FISH"
BECOMES "POST OFFICE."
313
00:19:42,448 --> 00:19:44,125
BRILLIANT.
314
00:19:44,149 --> 00:19:46,995
AND IMMEDIATELY AFTER
THE SHOW, WE KILL HIM.
315
00:19:47,019 --> 00:19:50,187
CORRECTION... WE KILL
HIM DURING THE SHOW.
316
00:20:02,802 --> 00:20:05,714
YOU WERE ABSOLUTELY BRILLIANT THIS
AFTERNOON AT THE INQUEST, MY DEAR.
317
00:20:05,738 --> 00:20:08,050
THEN YOU DON'T THINK
THEY SUSPECTED ME?
318
00:20:08,074 --> 00:20:10,485
YOU HEARD THE VERDICT...
ACCIDENTAL DEATH.
319
00:20:10,509 --> 00:20:13,222
THE GUN WENT OFF WHEN
HIS LORDSHIP WAS CLEANING IT.
320
00:20:13,246 --> 00:20:15,924
OH! HOW LONG WILL IT BE
321
00:20:15,948 --> 00:20:18,115
BEFORE WE CAN
ANNOUNCE OUR BETROTHAL?
322
00:20:19,752 --> 00:20:21,363
- MR. HOLLYWOOD.
- HUH?
323
00:20:21,387 --> 00:20:24,700
THERE ARE A FEW LAST-MINUTE CHANGES
SHIRTSINGER'S MADE IN YOUR SPEECH.
324
00:20:24,724 --> 00:20:26,368
YES... NOW?
325
00:20:26,392 --> 00:20:27,969
I'M ON IN A MINUTE!
326
00:20:27,993 --> 00:20:30,138
THE CHANGES ARE VERY MINOR.
327
00:20:30,162 --> 00:20:32,329
YOU'LL BE ABLE TO
MEMORIZE THEM IN A SECOND.
328
00:20:35,167 --> 00:20:37,246
SHIRTSINGER IS
PRETTY PICKY, ISN'T HE?
329
00:20:37,270 --> 00:20:40,649
I DON'T SEE WHERE THESE FEW CHANGES
IMPROVE THE PLAY OR THE CHARACTER ANY.
330
00:20:40,673 --> 00:20:42,973
IN THE THEATER, THE
AUTHOR HAS THE LAST WORD.
331
00:20:44,343 --> 00:20:46,187
YOUR CUE'S COMING UP.
332
00:20:46,211 --> 00:20:49,858
REMEMBER, SAY THE NEW LINES.
333
00:20:49,882 --> 00:20:53,350
OH, I WISH I COULD DO
SOMETHING WITH MY HAIR.
334
00:20:55,154 --> 00:20:57,466
I BEG YOUR PARDON.
335
00:20:57,490 --> 00:21:00,168
LADY FANNY, I'VE
BEEN IN YOUR EMPLOY
336
00:21:00,192 --> 00:21:03,472
FOR OVER EIGHT YEARS NOW.
337
00:21:03,496 --> 00:21:07,142
YES, BUT TOMORROW
NIGHT I MUST GIVE MY NOTICE.
338
00:21:07,166 --> 00:21:09,978
WHY IS THAT, MANNERING?
339
00:21:10,002 --> 00:21:12,082
HAVE YOU DISCOVERED ANYTHING?
340
00:21:13,506 --> 00:21:15,184
- YES.
- WHAT?
341
00:21:15,208 --> 00:21:18,287
SMART IS THE WORST ACTOR
I HAVE EVER SEEN IN MY LIFE.
342
00:21:18,311 --> 00:21:21,690
I KNOW THAT. BUT HAVE YOU RECOGNIZED
AN KAOS AGENTS IN THE AUDIENCE?
343
00:21:21,714 --> 00:21:23,659
- ONE.
- I'VE SPOTTED SEVERAL.
344
00:21:23,683 --> 00:21:26,127
ALERT OUR AGENTS IN THE
LOBBY TO COVER EVERY EXIT.
345
00:21:26,151 --> 00:21:28,085
RIGHT, CHIEF.
346
00:21:29,722 --> 00:21:32,534
I HEARD HIM EXCLAIM,
"YOU SHOT ME, FANNY!"
347
00:21:32,558 --> 00:21:34,669
I'M TERRIBLY SORRY THAT
YOU OVERHEARD THAT.
348
00:21:34,693 --> 00:21:36,738
HERE IT COMES.
349
00:21:36,762 --> 00:21:39,007
I MUST SHOOT YOU TOO!
350
00:21:40,532 --> 00:21:43,111
- SHE MISSED HIM!
- THEY MUST BE ONTO US.
351
00:21:43,135 --> 00:21:44,734
HE'S GOT TO BE SILENCED!
352
00:21:46,272 --> 00:21:48,417
MAX, THERE ARE REAL
BULLETS IN THIS GUN!
353
00:21:48,441 --> 00:21:50,585
- YOU'RE TELLING ME?
- WHAT ARE WE GONNA DO?
354
00:21:50,609 --> 00:21:52,576
WE'VE GOTTA GET OFF THIS STAGE.
355
00:21:57,817 --> 00:21:59,294
I HEARD A SHOT!
356
00:21:59,318 --> 00:22:01,363
BUT I SEE YOU MISSED
HIM, LADY FANNY.
357
00:22:01,387 --> 00:22:02,919
BUT I SHALL NOT MISS.
358
00:22:11,631 --> 00:22:13,909
HOLD IT!
359
00:22:13,933 --> 00:22:15,510
YOU HOLD IT!
360
00:22:15,534 --> 00:22:17,112
NO, YOU HOLD IT.
361
00:22:17,136 --> 00:22:19,296
YOU'RE UNDER ARREST. HENDERSON?
362
00:22:25,211 --> 00:22:27,455
GET THE CURTAIN DOWN!
363
00:22:29,581 --> 00:22:32,141
THE CURTAIN! GET IT DOWN!
364
00:22:34,453 --> 00:22:36,620
GET HIS GUN, MAX.
365
00:22:50,870 --> 00:22:52,614
YOU GOT HERE
JUST IN TIME, CHIEF.
366
00:22:52,638 --> 00:22:54,716
CHIEF, I THINK I KNOW
HOW THESE TWO GUYS
367
00:22:54,740 --> 00:22:57,218
WERE PASSING KAOS
INFORMATION TO THEIR AGENTS.
368
00:22:57,242 --> 00:23:00,856
JUST BEFORE I WENT ON, THEY
CHANGED CERTAIN WORDS IN MY SPEECH.
369
00:23:00,880 --> 00:23:02,840
THAT'S EXACTLY
HOW THEY DID IT, MAX.
370
00:23:07,820 --> 00:23:10,232
- GO ON, CHIEF.
- ON OPENING NIGHT
IN EACH CITY
371
00:23:10,256 --> 00:23:11,899
KAOS AGENTS WERE
IN THE AUDIENCE.
372
00:23:11,923 --> 00:23:14,202
SHIRTSINGER WOULD THEN
SUBSTITUTE CERTAIN WORDS
373
00:23:14,226 --> 00:23:15,703
IN ONE OF THE ACTOR'S SPEECHES.
374
00:23:15,727 --> 00:23:18,440
THOSE WORDS WERE CODE
WORDS KNOWN ONLY TO KAOS.
375
00:23:18,464 --> 00:23:20,375
- HOW CLEVER!
- THANK YOU.
376
00:23:20,399 --> 00:23:23,011
THEN YOU MEAN THERE WERE KAOS
AGENTS IN THE AUDIENCE TONIGHT.
377
00:23:23,035 --> 00:23:25,847
YES, BUT WE GOT THEM. WE
MADE SIX ARRESTS IN THE LOBBY.
378
00:23:25,871 --> 00:23:29,852
- SIX KAOS AGENTS?
- FIVE WERE KAOS AGENTS,
THE SIXTH WAS A DRAMA CRITIC.
379
00:23:29,876 --> 00:23:32,688
LOCK HIM UP ANYWAY, UNTIL
WE SEE THE MORNING PAPERS.
380
00:23:32,712 --> 00:23:34,745
HENDERSON, TAKE 'EM
DOWN TO HEADQUARTERS.
381
00:23:46,526 --> 00:23:48,859
CHIEF, I THINK WE'VE
GOT A HIT ON OUR HANDS.
29328
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