All language subtitles for charlies.angels.s04e17.remastered.bdrip.x264-rovers-en

CHARLIE:
Once upon a time

there were three little girls
who went to the police academy,

One in los Ange/es.

One in San Francisco.

The other in Boston.

And they were each assigned

(buzzing)

very hazardous duties.

But i took them
away from all that

and now they work for me.

My name is Charlie.

[m]

[m]

MAN:
Hey, mister,

you better get out of here.

[HONKS]

[m]

Just what I need,
Chester.

We're ready.

MAN:
Let's get the bill.
Hurry, come on.

Well,
I gotta get back to work.

Joe, I thought you'd
stay forthe scene.

[CHUCKLES]

You still get uptight,
don't you.

Not so much ifyou were there.

Then it seems all right,
you know?

Please?
[CHUCKLES]

Sure. If it makes you feel
better for me to be here,

well, I'll hang out.

[BOTH CHUCKLING]

[m]

Well, what is it now?

Seth?
What?

It's Seth.

Oh, your hillbilly friend.

Joe, he was my fiance.

Joe, I don't want to see him.

Okay.

Okay, just go ahead
inside and,

uh, I'll take care of it,
okay?

Yeah.

How you doing?

Can I help you?

I'm looking
for Bess Hemsdale.

Well, I tell you what,

how about if I take
you right to her?

Come on.

[m]

Why are we stopping here?

Listen, pal,

Bess asked me
to give you a message.

Wh-What do you mean?

She doesn't want
to see you.

She wants you to go home.

You're lying.

Listen, you want to understand
something, hillbilly,

people talk that way
to me they get hurt.

Listen, mister,

I'm gonna see Bess,

then I'm gonna take her
back home with me,

and you better
not get in my way.

[m]

[m]

CHARLIE [0N INTERCOM]:
Our client this time

is an old friend of mine,
Angels,

his name is Cal Jetters.

We were in the 055 together.

Now he 's the sheriff
in his home county

in the Tennessee Mountains.

I thought all your friends
were city-bred, Charlie.

Heh-heh, that's not true.

Big Cal andl
were quite close.

"Big Cal," that does have
a homey ring to it.

What can we do for
your friend?

Well, Cal's son Seth Jelfers

came out here loo/ring
for his fiance’,

a girl named Bess Hemsda/e
about a month ago.

He seems to have disappeared

And you want us to find him?

Yes. Also try to find
the Hemsdale girl

See if she has any idea
where he might be.

Seth's father sent us a
snapshot of the two of them.

KELLY:
Charlie, you have any ideas
where we should start looking?

Uh, l'rn afraid
we haven't got much.

See,
the local police checked out

the motel where Seth
was staying here in L.A.,

and there was no sign
of him there for a week.

So they picked up his clothes
and his personal belongings.

Including these rubber bands,

some loose change,
pocket knife,

and a theater ticket
from a week ago.

"Starbrite."

"Starbrite"?

Isn't that one of those
theaters that shows
porno flicks?

Right, it is.

Seth's father has also
mailed us these cassettes.

Apparently, Bess Hemsdale
had sent those to his son

a little while ago

altershe moved here to LA.

What's on the cassettes?

Well,
they're sort of a letter.

A letter?

Bess Hemsdale can ’t read
or write, Angels.

She came here with a guitar,

some songs she's written--

And expected to become
an overnight singing star.

Yeah, something the that.

Her last known address
was the Senator Motor lodge

in inglewood.

You might loolr into that.

Why don't you cover that,
Kris,

and Tiff and Kelly,

you can check out
the Starbrite Theater.

Good idea.

We'll listen to the tapes
on the way.

Maybe they'll
tell us something.

Check you later,
Charlie.

[m]

BESS [0N CASSETTE]:
Seth, I've been in Los Angeles
a month now

l'm not having much luck.

i got real homesick last night

so I wrote this:

[GU/ TAR PLA Y/NG]

.” Train crying
in the mountain I

I Wind wailr'ng
Through the trees A

I Stay with me
For a little while I

h l’m walking that
Lonesome mile I

She sounds like a frightened
little girl.

She sure does.

h Troubled wind and me
We 're brothers l”

v” They seem so wild and free /

J” Show me how to getaway)

I I’m leaving my yesterdays h

v” Going home h

I Sweet mother
How she loved me I

I When she held me
On her knee I

I "Sweet child"
That's what she called me I

I Sweet Child
l'm gonna be again I

I So wind
Blow me a direction I

I Train, you just
Hitch me a ride I

I And say goodbye I

I To your wandering friend I

I She's leaving
Her wandering when I

I She gets home I

STILES:
It's open.

Mr. Stiles?

Yeah?
I'm Tiffany Welles.

What are you selling?

I'm not selling anything.

I'd like to ask you
a few questions.

Such as?

I'm looking for a man
named Seth Jeffers.

He was a patron here
a couple days ago.

You a cop?

Private detective,
Townsend Agency.

This is a picture of Jeffers,

I'm also looking
for the girl with him.

Have you seen either
one of them recently?

I'm not in the business
of looking for
missing persons.

Who said they were missing?

Now, listen, I'm busy.

So you haven't seen
either one ofthem?

I haven't seen them.

Like I said,

I'm busy.

Nice talking to you.

Bye.

[m]

Thank you.

Any luck?
Not really,

except when I showed
him this photograph,

the manager nearly
flew out of his skin.

Well,
this is probably why.

It's a flyer for the picture
that was playing here

when Seth bought his ticket.

"Sally Storm in love Fire. "

Sally Storm and Bess Hemsdale
are the same person.

So Seth came here and saw
his girl on the screen.

Yeah, it really must
have upset him.

The girl said he went crazy.

He nearly tore
the projection room apart,

and he put his fist
through the glass over there.

So the question is, "Where did
he take that anger next? "
Right?

I don't know.

Maybe this will
give us some answers.

[m]

[RINGING]

Hello.

Now, Willis, this is Stiles.

What's up, Stiles?

Two female private eyes
were just here,

they're looking for that crazy

that tried to tear my theater
apart last week.

What did you tell 'em?

I told them nothing,

but they saw one
of last weeks' flyers

with your girlfriend's

picture all over it.

So they're liable
to connect the two.

Uh, where is that
hillbilly anyway?

I told you,
I took care of him.

Now, wh-what does that mean,
"you took care of him"?

It means he's not gonna
jeopardize our investment.

Listen, | help you finance
and distribute pictures,

I don't want any part
of any rough stuff.

i get enough problems
with the cops as it is.

Don't sweat it, Stiles.

Who were the Pls?

Uh, they said they were
from the Townsend Agency.

Blond, brunette.

Driving an orange compact

Mm-hm. Okay,
I'll check it out.

You relax. Eh-- Hey.

We'll be finished
with the new picture

in another two or three days.

[m]

"Let's. ..

run...

to the store."

How am I doing, Joe?

You are doing real good, baby.

Mm.

Something's come up
and I gotta go out
for a while.

Trask? Hacker?

Two lady detectives
were just asking Stiles

about the hillbilly.

I don't like the sound
ofthat, Willis.

One's a blond,
the other's a brunette.

They're driving
an orange compact

and they're out
ofthe Townsend Agency.

You go check 'em out,
I'll be at the office

in case they show up there.
Willis.

Suppose they get too close.

We'll hope for their
sake they don't.

[m]

[m]

Get the picture?

Yeah, and it's not
a very pretty one.

Well,
the question is:

Do you think the fact
that Seth

saw his fiance in a
porno flick at the Starbrite

is the reason he's missing?

I'd say there's a connection.

Yeah.

Well, here's another
one of those letters

that Bess mailed Seth
a couple of months

aftershe was here in town.
[CLICKS]

BESS [ON CASSETTE]:
Dear Seth,

id like to tell you things
are going good for me,

but they're not.

Not yet, anyway

i did meet a fellow
named .loe Willis.

He makes movies.

He offered me a part in one,

but l'rn not sure
he's a nice man.

[CLICKS]

Hm.

love Fire starring
Sally Storm,

et cetera, et cetera.

J. Willis production.

TIFFANY:
Well, she was right,

Mr. Willis is not a nice man.

Well, I think one of us
should meet Mr. Willis.

That could be rough duty.

I mean, if he turned
Bess Hemsdale
into Sally Storm,

he must be
one tough fellow.

Yeah, I don't think
I'll be telling him

I'm a private investigator.

Well, you make your move
on Mr. Willis,

and we'll make our move
on Bess Hemsdale.

Well, now, wait a minute.
We don't even know
where she is.

BOSLEY:
Like Kelly just said,

if he could turn a
Bess Hemsdale into
a Sally Storm,

well, I would wager
that their relationship

has become quite intimate.

I suggest you get the address
where he lives.

KRIS:
Well, I guess I'll slip

into something a little more
provocative to meet
Mr. Willis.

What are you gonna say
to him?

Something he wants to hear.

[m]

I'm here
to see Mr. Willis.

Do you have
an appointment?

Um, no, actually,
I'm in a hurry.

Hey, wait a minute.

Wait a minute.

Mr. Willis? Joe Willis?

Who is this?

I told her she needed
an appointment.

I'm Kris.

It's a pleasure meeting you.

It is?

It is?
E??-

I'm sorry, Mr. Willis,
she's just--

It's okay.

It's okay, Elaine. Uh...

Why don't you, uh,
just go to lunch?

Hm?

Hm.

Well, as long as you're
in here,

can I offer you a seat,
miss, uh...

Miss what?
I beg your pardon?

Well, I don't really like
the name my daddy gave me,

I was hoping you could think
of a name that would
be better.

Sit down.

Uh, how about if we start
this thing all over again,
okay?

Okay.
Who are you?

And why did you push
your way into my office?

Well, who I am doesn't
really matter,

or where I come from,
what really matters is what,

uh, you and I can do
for each other.

Mm. And what would that be?

Well, you make films,
and I'm an actress,

and I also need to make
some money real fast.

[LAUGHING]

You know, if you could
just get over your shyness

and learn not to be so vague,

speak your mind,
get-- Get to the point,

you might get someplace
in this world.

You think so?

Maybe.

Well, it's just that I've seen

what you've done
for other girls.

I was hoping you could
do the same for me.

What makes you think
you're a salable commodity.

What makes you think I'm not?

You know, I don't know
what you look like on film,

but I know you've got more
than your share of nerve.

And mouth.

Does that mean you'll
think about it?

Actually, I've got a girl I'm
doing real well with
right now.

Ah. Sally Storm.

That's right.

Well, look at it this way,

with two girls,
you could make twice as much.

[PHONE RINGS]

Willis Productions.

HACKER [0N PHONE]:
Willis, this is Hacker.

What's up?

We staked out
the Townsend Agency.

The blond and brunette left,
we followed them.

To where?

Your apartment.

They just got here.

Parking the car now

You sure
it's the Townsend people?

Uh,
why don't you just hang out,

and I'll be there
in a couple of minutes. Okay?

Good.

I don't want you to think
that this hasn't been fun,

but I really do have to go.

Uh, no problem.

Here's my number
just in case.

Great.

Oh, no.

ljust remembered I have
to make an important
phone call.

It's local.
Do you mind?

Well, actually,
I'm really in a hurry.

H can see myself out.

[SCOFFS]

Okay.

[m]

Maybe I'll call you.

I'll make it worth your while.

"J. Willis and S. Storm."

6B.

Close as pages in a book.
Looks like Bosley was right.

Their relationship
has become more intimate.

This is one time I wish
Bosley was wrong.

Me too.

Let's go.

[ooon SHUTS]

[KNOCKING]

[KNOCKING]

Nobody home.

KELLY:
Miss Hemsdale?

Yes?

Hi, I'm Kelly Garrett
and this is Tiffany Welles.

Hello.
Hi.

We'd like to talk
to you for a moment.

About what?

About a friend
of yours from home,

somebody named
Seth Jeffers.

Come on in.

Thank you.

Sit down.

Can I get y'all
a drink of something?

No, thank you.

You people know Seth?

No,
we don't know Seth.

His father has asked
us to find him.

Find him?

Yes.

KELLY:
Yes, he's missing.

We're private detectives.

Really?

I've seen a lot ofthings
since I came to this city,

but I never met
a real detective.

Have you seen Seth
since you came to Los Angeles?

No. Well, yes.

lsaw him,

but we didn't talk.

I don't understand.

Well, I'm an actress,

and he showed up on the set
about a month ago.

I didn't want to see him,

so I asked Joe to handle it.

Is this Joe Willis
you're talking about?

Yes. He's my producer
and my fiancé.

We heard that Seth
was your fiance.

Well, he was,

but I changed my mind,

which is why I didn't
want to see Seth.

Yeah.

Bess,

you said that Seth came
to visit you on the set.

Where was that?

Well, I can't tell you that.
Why not?

We shoot most of our pictures
at that location.

Not many people know about it.

So Joe keeps it private.
Yeah.

You understand?

Of course we understand.

But you understand
that Seth's father's

very worried about him,
don't you?

Well, he needn't be.

I'm sure Seth just went off
to worry it all out
of his head.

Then he'll go back home.

I'm sorry
it didn't work out.

I really still love Seth
in my own way.

It's just that I've made
a new life for myself.

I'm an artist now.

You understand.

An artist?
Yes.

Joe and I make art pictures.

Oh, I see.

I'm going to leave you
one of my cards

and, uh, ifyou think
of anything that
might help us--

I'll be sure and call.

Okay.

It's a pretty good book.

You're learning to read.

I'm trying.

Bess,

I really hope we hear
from you.

Thanks.
Bye, now.

Bye.

[m]

[ooon SHUTS]

Joe.

You startled me.

How long have you
been standing there?

Long enough to know
that you talk too much.

What do you mean?

Why did you let
the cops in here?

They're not cops, Joe.
They're detectives.

They're looking for Seth.

Well, let 'em look
someplace else.

Why are you mad, Joe?

There's nothing to worry
about, is there?

I told you 100 times.

In our business we don't
talk to strangers.

It wasn't about business, Joe.

It was about Seth
on account of he's missing.

Now, why should
that worry you?

It doesn't.

Joe?

You didn't hurt Seth or
anything that day, did you?

I told him you didn't
want to see him,

and he left.

I mean, if I thought
you'd hurt him.

I told you--

ldidn't hurt him.

Look
Why don't you go in there

and, uh, get dressed

and I'll take you to dinner.

[m]

Joe.

You're not mad at me, are you?

You'll know when I'm mad
at you.

Joe, you said
if those Townsend people

get to close...

I know what I said.

Coming here.

It's close enough,
right?

Make it look
like an accident.

And do it quickly.

[ooon SHUTS]

[m]

[TIRES SCREECHING]

[m]

[m]

BESS [ON CASSETTE PLAYER]:
Dear, Seth,

i just did a part in a movie,

for that fella i mentioned,

Joe Willis,

i guess he isn't so had

He paid me well

/ d/dn ’f like it at first

but he explained
it was an art film.

Andl said to do it ifhe'd
use my music in
the background

Look out!

[TIRES SCREECHING]

Now, ifthey ain't dead,

they'll be out of action
for a long time.

Let's go.

[BOTH GASPING]

I always wondered...

What?

how I'd feel ifl got
that close to dying.

How do you feel?

Angry.

Very, very angry.

Yeah.

We still got power
in that thing?

Yeah.
I don't believe it.

Operator,

you'll never believe
where I'm calling from.

[m]

CHARLIE:
Did any of you get
a look at the car

that pushed you over the edge?

I think it was
a black car, Charlie.

I thought it was blue.

Well, so much
for the description.

Those ought to help
calm you down.

I'm afraid the car's
a bit of a mess, Charlie.

Well, never mind that,

as long as you two
are all right.

l'm gonna have some friends
of mine at the police lab

check out the area
where it happened.

They might find
paint scrapings

or markings on the road or--

Or maybe even a witness.

I'll get back to you.

Hey, by the way,
uh, what's this?

This is a film projector.

No, I know it's
a film projector but, ah,

what is it set up for?

When I was leaving
Mr. Willis' office

I borrowed a print of
Love Fire.

Starring Sally Storm.

KRIS:
You got it.

Thought it might give
us some help.

[MUSIC PLAYING]

KRIS:
Bess Hemsdale said that most
of these pictures

were shot at the
same location.

[WOMAN MOANS]

This looks like
Franklin Meadows.

Looks like it to me.

KELLY:
So this must be where
Seth confronted Willis.

Yeah, the question is

just how rough did that
confrontation get.

KRIS:
Well, having met Mr. Willis,

I suggest that we tell
the police to start looking

in the Franklin Meadows
area for Seth.

You think it's that bad?

Well, Seth went to see
Beth and disappeared.

You two went to see her, ended
up at the bottom of a canyon.

How bad does it have to get
before we believe

that Willis and his friends
are capable of murder?

[WOMAN MOAN/NG]

[WOMAN GRUNTS]

Kris.

[FILM MUSIC STOPS]

BETH:
Seth, l've been in Los Angeles
a month now

l'm not having much luck

/ got real homesick
last night.

So i wrote this.

[GU/ TAR PLA Y/NG]

I Train crying
in the mountain I

I Wind wailr'ng
Through the trees I

I Stay with me I

I For a little while I

I l'm walking
That lonesome mile I

God, how do people
get so messed up?

It always seems to come down
the hardest on the lost ones.

She's orphaned at two

and she sings about
her mother,

who she never really knew.

Yeah, she's made
some really bad moves.

But I think
she's worth salvaging.

Let's try, okay?

Okay.

Let's.

All right.

I Going home I

I Sweet mother I

[m]

What are you guys
looking so grim about?

We got trouble.
Such as?

MAN:
Such as that guy
we took care of.

JOE:
What about him?

The cops are over there
searching.

What? Are you sure?

MAN:
We were just there.

Somebody tipped them
where to look.

Okay, and they're looking.

JOE:
Okay, just be cool.

Just because they're looking
for the hillbilly

doesn't mean they'll find him.
Not right away, at least.

We're gonna be done
with this picture today.

After that, tomorrow we'll
start looking for a
new location

forthe next one.

You guys just hang around.

As soon as we wrap,
we'll pack and we'll split.

[m]

Hey.

There you are.

I thought
you were on the set.

I wish I was.

Then I wouldn't have heard.

Heard what?

What are you talking about?

I heard what you said, Joe.

I heard what you said
about Seth.

I'm sorry, kid.

I really am.

We didn't wanna hurt him.

But he wouldn't have it
any otherway.

You killed him, didn't you,
Joe?

I had no choice.

Now,
you get yourself together,

you go back there,
you do your thing,

you collect your money
and forget about it.

Oh, my God,

you're a liar and a killer.

You think I'm gonna
go on with all this now?

I think you're gonna do
everything I tell you to do.

You're gonna do it exactly
how I tell you to do it,

you're gonna do it when I tell
you. You're not gonna think,

you're not gonna talk
about it, you're gonna do it.

You're an ignorant
little hillbilly

and this is all
out of your hands.

Now, go back to work.

[m]

[CHUCKLES]

You crazy?

You're just gonna let her
just walk around?

She's ready to freak,
Joe.

We gotta finish
the picture.

Joe, she's gonna
blow the whistle on us.

[CAR APPROACHES]

Who's that?

ltjust occurs to me

that she may very well
be our future.

She is definitely our past.

Relax.

I got a way to finish her
and the picture

that's gonna blow your mind.

[m]

[m]

You are a pushy broad.

[LAUGHS]

Well, you don't catch the
brass ring unless
you grab for it.

How'd you find this place?

What difference does it make?

You didn't call me
so I had to find you.

Listen, you see me when
and if I want.

Understand?

Understand.

Now, as a matter of fact,
you lucked out.

It may be that we'll do
business real soon.

Oh, yeah? Tell me more.

When I'm ready.

Now, you disappear.

[m]

Okay, now,
the last shot we need

is also the last shot
ofthe picture.

You're running out
of the brush.

The guys have attacked you.

Torn off half your clothes.

When you reach the camera,

we hear a shot.

You do a little
heavy acting.

You fall down.

You roll over on your back,

then we fade out, okay?

Yeah.
Okay?

Yeah.
Okay, all right.

Let's shoot it.

How would you like to pick
up an extra thousand bucks

afterwe wrap the crew?
What?

Ten minutes work.

I'm listening.

I want her to think that we
need the last shot twice.

[CHUCKLES]
Y-you lost me.

The second time we're gonna
use real bullets.

Are you crazy?

No.
Why?

What difference does it make?
It's a thousand bucks.

One set up, nobody'll know
but you and me.
Want it or not?

I want it.

Got a deal.

[INDISTINCT CHATTER]

Concentrate.

Okay.

Okay.

Okay, roll it.

And...

action.

Stumble. Fall.

Roll over.

Good. Good.

Diel

Perfect. Let's go home.

That's a wrap.

[INDISTINCT CHATTER]

Don't go any place.
We're gonna shoot some
publicity stills.

[m]

Kelly, where are you?

We're with the police,
about two miles from you.

They think there's a body
at the bottom of the canyon.

How are you doing?

Well, I'm not sure.

But I got a feeling
something's going down here.

I mean,
Bess looks terrible.

She looks like she's
about to fall apart.

And Willis
just told me that--

[m]

Tells you what?

Listen that car that forced
you off the road,

you said it was blue

or maybe black?
What about it?

Were there two guys in it?

Well, it could've been. Why?

Well, because there's two guys
here in a blue sedan.

It's got a broken headlight.

Anyways, as I started
to say, Mr. Willis told me

that he and I might be doing
business real soon.

Kris, ifyou become
his new leading lady,

what happens to Sally Storm?

Yeah, good question.

I think we'd better get
over there and help you out.

Okay, okay, but lay back

If these two
in the blue sedan spot you,

everybody's gonna run
for cover.

Will do.
Okay.

Bess.

Can we talk?

Who are you?

[cope]

I'm a friend of Seth's.

I wanna be a friend of yours.

Listen, I can't talk about
Seth.

And if you are a friend
of his,

you better
just get out of here.

Bess, I think I know
what happened to Seth.

To you.

Please.

I can't talk about it.

Listen, if you're in trouble,

if you wanna
get away from Willis--

I can't.

He's coming.

Look, whoever you are,

you-- You better just get
in your car and drive away.

Then come with me.

I can't.

You can if you want to.

Just say so,
we'll leave here together.

JOE:
I told you to disappear.

I was just leaving.

[m]

Nice meeting you.

What did she say?

I don't remember.

It wasn't important.

We're gonna do that last piece
of action again.

We're gonna use
it for a publicity still.

Now, go on.

You guys, wait there.

[m]

[CHAMBER SPINS]

You okay?

Okay.

Okay,
same piece of business.

Why can't we just take
a picture from the print?

We want you alone.
No bikers in the background.

[SIGHS]

[m]

[SIGHS]

If Kris is in her car,
she's not answering the phone.

I don't like that.

Neither do I.

[INAUDIBLE]

Come on, we gotta
get out of here.

Hey, look,
we're doing a scene.

No, I don't think so.

Who the hell is that?

He was gonna kill me.

We'll discuss it later.

Come on.

Get 'em and kill 'em.

Go on. Go on.

My car's this way.

Runl

Kris!

Freeze!

Don't do it.

Drop 'em.

All right, move.

All right, out.

Down on the ground, come on.

Bess.

What's happening?

God, what's happening to me?

It's all over now.

You're gonna be all right.

I don't think so.

I don't think I'll ever
be all right again.

You will be.

I promise.

[SOFTLY]
I promise.

[m]

[m]

[EXHALES]

Well, it's, uh...

It's a long way
to Tennessee on a bus.

You sure you don't wanna fly?

I need time to think.

I came here on a bus so

maybe ifl go home the
same way

it'll turn back the clock.

Make things like they were.

Maybe even better.

How could that be?

How could things ever be
better?

Because you've been hurt

but you've learned.

And we're always
better for that.

I know it's hard
to believe that right now.

But it's true.

[m]

There you go.

How do I ever
thank you guys?

Don't thank us.

As a matter of fact,
forget all about us.

And Joe Willis Sally Storm.

See if you can't remember
who Bess Hemsdale is.

Ill try.

KRIS:
Bye, honey.

Bye.

You have a really
safe trip, now.

Take care of yourself.
You too.

I Sweet mother
How she loved me I

Take care.

I When she held me
On her knee I

I ”Sweet Child” I

I That's what she called me I

I Sweet Child I

I I’m gonna be again I

I So wind blowme
A direction I

I Train you just hitch me
A ride I

I And say goodbye I

I To your wandering friend I

I She's leaving
Her wandering when I

I She gets home I

[m]