All language subtitles for The.Man.with.One.Red.Shoe.1985.1080p.AMZN.WEB-DL.DD+2.0.H.264-alfaHD

Yeah, yeah, Mac.
Whatever you say.

There she is.
That's the girl.

You look like a zebra.

I forgot
the waterproof makeup.

Everything set?
It's in the car.
Take the keys.

Give me the money.
The cocaine's
in the tires.

We sail in an hour.

I'll be back.

Carson.

Sir?

Now.

Cocaine! Cocaine!

Cocaine! Cocaine!

Cocaine! Cocaine!
Cocaine! Cocaine!

The arrest of a C.I.A. agent
in Morocco yesterday...

has the capitol buzzing today.

A special senate committee
has been called to investigate
this incident.

The facts are
incontrovertible, Mr. Ross.

One of your agents was
involved in drug smuggling.

Caught red-handed.

As director of the C.I.A.,
what have you
to say about this?

Mr. Ross.

Mr. Ross,
as director of the C.I.A.,

what have you
to say about this?

Uh, Mr. Chairman, I--

Excuse me.
Mr. Chairman,

I haven't had
the opportunity...

to review
all the facts yet.

Mr. Ross, I am going to
order a, um, full inquiry...

into this, um,
nefarious activity.

I will expect you to appear
before this select committee...

in 48 hours
with the proper answers.

Y-Yes, Senator.

Mr. Ross, do you think they'll
demand your resignation?
No comment.

Is it true Burton Cooper will
take your place as director?
No comment.

Please.
Ladies, gentlemen, please.

Mr. Cooper,
will you replace Ross
as director of the C.I.A.?

Well, I think anything
I say at this time
would be premature.

I mean, the director's
been given 48 hours,

and I'm sure that
by the end of that time...

there will be no doubt
in anybody's mind...

what that man is made of,
what he stands for.

What does he stand for?
All right. I have
nothing more to say.

- Great.

I haven't felt this good
since I overthrew the
government of Chile.

Ross is going to have that
coronary he's been working on.

He never should have gotten
the job in the first place.
It should have gone to you, sir.

Congratulations.
Thank you.

Oh, Maddy, I need a transcript
of that senate hearing.

Congratulations, sir.
Thank you.
You got him yet?

He just pulled up
to Ross's house.
Good morning. Turn it up.

I want to hear this.

I'm sorry, sir,
but I can't imagine Cooper
being director of C.I.A.

Brown, I don't want
to talk about it.

But you taught him
every dirty trick
he knows.

Brown, will you
change the subject?

Come in, Brown.
Come in.
Wipe your feet.

I can never get over
how beautiful it is here, sir.

Oh. Clean air, quiet.

Boy. Must be nice.

Yes, the country is wonderful.
A haven.

You might say
there's only one drawback--
the, uh, bugs.

You get them out
in the country, sir?
We have them in the city.

Cockroaches, mainly.
Yes,

but the bugs here...

are more of a nuisance.

They can cause
quite a serious problem...

if they're not
controlled.

But that's enough
about bugs.

Let me show you
my latest painting.

There's not a lot of this
particular artist's
work around.

You notice the brush technique,
the abbreviated strokes...

which give great energy
to the form?

What's most interesting
to note is that
in his earlier work,

he still emphasized drawing.

You can pick out
the outlines and contrasts
of tone and form.

Pick a period,
such as this one.

Notice how everything
becomes dissolved
in a dazzle of light?

We can talk now.
Wow. What a character
Cooper is.

I mean, he's bugged your house,
your garden. It's unbelievable.
Brown!

I'm sorry, sir,
but Cooper's
such a professional.

He always has been.

I really thought
we had him this time--

the marked money,
the cocaine.

Well, Cooper's smart.
You gotta give him that.
He put it right back on you.

Maybe you'd rather
work for him.

- No, no.
- No. I didn't think so.

Anyway,
Cooper had his fun.

Now it's my turn.

But I didn't ask you here
to discuss art, Brown.
No, sir.

There's someone arriving
at 5:30 this afternoon
at Dulles Airport.

I want you to meet him,
but don't let anyone know
what you're doing.

You can depend on me, sir.
You'll need protection.

Take Agents Virdon
and Reese with you.
I trust them.

Brown, we've
got to nail Cooper.

I need this person
to testify on my behalf
at the senate hearing.

He can clear up
everything about Morocco.

I can't hear anything more.

Sounds to me like he knew
he was being bugged.

Maybe. Maybe not.

Then we don't
have much time.

Exactly 46 hours
and 18 minutes...

to find out
who this guy is.

Uh, sir,
this man I'm meeting?

The one at the airport?
Uh, who is he, please?

Pick anyone.

- Don't ask me.

Brown, pick anyone.

Someone out of the crowd.

The more anonymous,
the better.

Who you choose
isn't important.

He'll be used
to bait the hook.

All that matters
is that Cooper swallows it.

United Airlines flight 179
from Denver...

now arriving gate 22-B.

Brown, pick anyone.

It doesn't matter who.

Where's this guy
coming from, Mr. Brown?

Flight 800 from Chicago
now arriving--

- He's coming from Chicago.
- He's coming in from Chicago.

What's this guy look like?

The rabbi.
Brilliant.

He ain't here
for no bar mitzvah, right?

One of the Sony
softball team?

What if he doesn't show?
What if he got lost?

What if he's sick?
What if you
shut up?

The black dude?

The yuppie?

The nun with the shades?
She's a narc, right?

There he is.

Which one?

The man
with one red shoe.

Hello.
It's been a long time.

Excuse me.
I, uh--

I thought I knew you.

Richard! Richard!

Honey, he can't
hear you.

Richard!

I-I just want to ask him
something. That's all.

Why can't you
ask him tonight?
Please, Morris?

All right, all right,
all right, all right.

Oh!
Oh, I'm sorry.

Oh. Uh--

Excuse me.

Uh, ex-excuse me.

Subject: Drew, Richard.
Unarmed.

Buttock, right: wallet.
Five dollars and change.

Quadricep, left:
bag of nuts.

Foot, left:
one red shoe.

Over.

He made a call
from the airport.

To whom?
His dentist.
A Dr. O. Reuben.

872-1501.

Edgar.

F.B.I., K.G.B.,
MI-5, Interpol--

- All negative.

None of our contacts
has ever heard
of Richard Drew.

Who are the two guys
following him?
Ross's men.

Virdon and Reese.
We don't know which is which.

- It's just a violin.
What difference does it make?

Why don't we
just kill him?

No, Carson. There's
a senate inquiry, remember?

The last thing we want
to do is kill him.

What we do want to do
is find out who he is
and what he knows.

- Yes, sir!
- Now, then. Anybody.

Why the one red shoe?

**

Wait-Wait a minute. Wait.
Wait, Dickie. Dickie.

How old are you?
Six, seven, what?

Twelve, Mr. Drew.

You're 12 years old?
Hmm.

Being 12,

you haven't really experienced
very much of the pain...

or the suffering
or the anxiety of life,

which you will,
but in the meantime,
you see what this says?

This says,
"with passion."

Now, that means con amore.

Espressivo.
Umph, huh?

I know you wrote it,
Mr. Drew,

but can I go back
to Schubert?

Sure.

You play conservative.
Fine by me. Schubert it is.

**

Yeah, yeah, yeah.
Okay, okay, fine, fine.

Just slow it down a bit.
I personally like to hear
each and every note.

Okay

10:00.
Hmm. 10:00.

Do you want to quit?

Why, I oughta--

All right. Just keep
practicing, remember.
Keep practicing.

Yeah.
You, too, Mr. Drew.

Give my best to your
mom and dad, all right?

And hey! Remember, walk tall.
You're in the string section.

Richard Drew.

I believe we have some
business to discuss.

Some shoe business.
Some red shoe business.

If you ever want to see
your other shoe alive again--

Morris, this is
very, very funny.

You're slaying me here
with hysterical laughter.

- Yeah, about as well as you did
with those fake peanuts.

I have to go see my dentist
today because of you.

Oh, not today, you're not.
We're counting on you,
and so are the Senators.

Oh, yeah. All right.

Yeah, I'll be there.
Damn it!

I would never want
to disappoint the Senators.

Senate inquiry.
I knew it.

Want me
to kill Morris?
No, no, Carson.

We can't kill him.
We don't even know
who he is yet.

You just get
a car and a team ready.
Stemple, Hulse.

Keep a tap
on that telephone
24 hours a day.

Maddy, you take
the sweep team,

and, uh, when he goes
to the dentist,

go to his apartment,
you check out everything,
I mean everything.

Okay, let's go.
Come on.

What?
Sounds like
another Morocco to me.

Oh, honey, will you
give me a break?

Morocco was Morocco
was Morocco.

Just don't want any cars
dropping out of the sky.

Maddy, I'm not gonna hurt
this guy. I have no reason
to hurt him. Right?

I guess not.
Okay?

Okay.
Good girl.

Sam, call
the motor pool.

Don't let Carson go
before I talk to him, okay?

Come on.

Listen, I don't buy
that peanut crap
for a second.

I think it's a little
strange the first person
he calls is the dentist.

I think maybe he has
a little microfilm concealed
in one of his teeth.

- Right.

So take one of our dentists
and get that tooth for me.

- Yeah.

Well, better, uh--

better just
yank 'em all.

Let's go.

Subject in transit.

Has changed his shoes.

Riding a bicycle--
10-speed, I suspect.

No, that's a 12-speed.
Peugeot Grand Prix.

How's he do that?
I can't do that.
Can you do that?

Now, where is he?

There he is.
Stop the car.

What the hell
do you think you're doin'?

His dentist is in 312.

Your target
is the noon appointment.

I know what to do.

- Hi.

Hi.

[ Groaning
Continues ]

Hmm-mm.

Speak to Cooper?

Bad news.
He's changed his mind.

He's left the dentist.
Looks like
he's heading home.

Get ahold of Maddy.
This guy's nobody's fool.

Look, I want you to keep
following him, but change
surveillance vehicles.

What is it?

He's on his way back.

He's on his way back.

He's on his way back.

Got 'em all.

Get me some aspirin.

He's here!
It's too late.
He's back.

Pro butte, third strain.

**

Welcome home,
Mr. Drew.

I hope you don't mind.
Your landlady was kind enough
to let me in.

I know you.
You're the woman
from the airport.

Ah, you've got
a good memory. Yes.

I'm with Landmark Tours.

We're conducting a survey
of all the historic homes
in Georgetown.

Well, congratulations.
You happen to live in one.

That's the reason
that you're here?

Yes. We're hoping to include
this home in our tour.
I don't think so.

I think you're here because
of a much bigger reason.

I think it's fate.

Destiny.

Kismet.
It's a--

It's a confluence
of energies...

and powers
far beyond those...

of mortal men.

Something wrong,
Mr. Drew?

No! No, Mom!

I'm not watching TV!
I-- I'm practicing.

I'm practicing!

Amazing.
Usually one
is sufficient.

His name is
Richard Harlan Drew.

Born March 28, 1954,
Altoona, Pennsylvania,

an only child.

Mother, Marion Rice, 55,
schoolteacher.

Father, Gerald Drew, 60,
schoolteacher.

Typical childhood.

His mother gave him
his first taste for music.

At 16, Drew developed
severe bronchitis.

Spent a year
in a sanitarium,

lost his virginity
to a student nurse.

Joined the Juilliard
School of Music,
full scholarship.

Continues to teach
underprivileged children.

- Might as well have
made him an archbishop.
- They must think we're stupid.

Does he do anything besides
play the violin?
No.

He's an artist, an eccentric.
Doesn't even know how
to drive a car.

He's played with
the Washington Symphony
for the past five years,

and it takes him
out of the country
on extended tours.

He's played in Russia,
Morocco, Berlin, China.

I knew it.
That's a perfect cover.

Professor, um--

Chermenko, what about
that handwriting?

Ah!

Richard Drew is
a very complex man,

filled to the breaking point
with personality conflicts.

His violin is a substitute
for severe anger
and repression.

Sexual repression.

Yeah.

Yeah, you can see it
in the eyes.

Hello?

Hello!

The mike they planted
in the toilet is too loud.
Well, turn it down!

Yeah? If I do that,
I'll have to lower
all the others.

Flushing the toilet?
Why is he flushing
the toilet?

There's got to be a reason
why he's flushing
the toilet, Carson.

I'd say he's getting rid
of evidence.

Clever. Okay.
Put a man
in the sewer.

Come on!
Let's go!

What am I
looking for?
Find out
where the pipes lead.

He may be sending
messages to someone.

But why does it
have to be me?

Because that's
a direct order, Stemple.

Go!

All the alligator
holes are marked!

All the what?

Let's get out of here.

**

**

What! Who is it?

Me, who?

Richard,
come on.
It's me.

Oh.
Why did you avoid me at the
airport yesterday morning?

Uh, hello, Paula.
I, uh--

Ahh!

Uh, Paula, I'm glad--
I'm glad you came by.

I think we need
to have
a little talk.

Oh, I want to talk too.
After.

Well, here's the thing--
Paula, it's Morris.

I can't do this to Morris.
Oh, don't talk
about Morris.

All he cares about
is his practical jokes.

I know, I know, I know.
He's a percussionist.

But still,
that doesn't mean
that he's not a nice guy.

He may be
a nice guy,

but you are
a terrific Tarzan.

Paula, I don't want
to do Tarzan.

I'm doing Jane.

It's just Tarzan.
What's the big deal?

No!
Come on. I'll play
all the other parts.

All the other parts? Sure.
You gonna do Cheeta too?

If that's
what it takes.
Fine, but let me hear it.

[ Paula Making
Primate Noises ]

Aah! Aah! Aah!
Eee! Eee! Eee!

No, I'm sorry,
but I-I can't.

I-I just can't.

Why?

Well--

I think it's because
of Morris, Paula.

Remember Chicago?

Fate.
Kismet.

No, I don't remember
Chicago, Paula.
You got me drunk.

So that's your
final answer, then?

Yeah. Yeah.

Well, I can
respect that.

- I can't condone it,
but I respect it.
- No. Paula. Will ya--

Oh, come on.
Will you listen
to what I'm saying?

Are you
expecting someone?

Only your husband,
Morris, to take me
to a baseball game!

Morris?
Morris!

- I think I left it
in the living room!

Yo, Richard!
Come on, open up!

Yeah, uh, Morris,
hold on, uh, pal.

I'll be done
in just a second.

Getting dressed.
Come on!
We got to go!

You got to
get out of here!

Call me Tuesday.

Yeah! Yeah, yeah, yeah!

Do you see what I see, Reese?
Wonder what goes on in there?

Boy, that's the trouble
with surveillance--
You don't get to see nothing.

Yeah, hi. Oh.
One, two.

What is-- Oh,
I should have known.

Here, quick!
Think fast!

What is this?
It's a box of cigars.

Make up for all those
stupid jokes I've been pulling.

Oh. Thank you.
It's all right.
Listen.

These are very good cigars.

I want you to smoke one
after you get a little.

You do get a little,
don't ya?

Uh, yeah,
a little, tiny bit.

Okay, come on! Let's go!
All right, all right.

Come on!
Give me
five minutes.

Shake a leg.
They're waiting for us!

What the hell--

Second time around this sewer,
and I haven't found shit!

Control yourself.
Control yourself.

What would Gordon Liddy do?

No, I can't do that.
I'm not hungry.

**

- Yo.
- Carson.

Hmm. Hulse,
what the hell's
happening?

Sir, it's the bottom
of the ninth,

Senators are leading
one to nothing.

Not that, you idiot.
Where the hell is this
fiddle player

Yes, sir.

Well, keep your eyes open.
I want to find out just how...

sexually repressed
this guy really is.

Richard, wake up!
What?

The ball!
Oh, I'm sorry.
I'm sorry.

What's going on?
Hey, man, concentrate,
will you? Concentrate.

Time!

Time!

- Hi.

The game's almost over.
Tough it out, huh?

This man has been
badly beaned.

You'd better
come with me.
Come on, Richard.

Hey, this is
out of my hands.

Oh!

I'm glad I saw you.
I wanted to apologize...

for all that stuff about
fate and kismet in my apartment,
and for passing out.

I don't know.
It must have been the heat.

Hurry up.
You've got to get something
on that immediately.

I think
she's bringing him in.

Let's go in.

Virdon!

What?

Sorry, Reese.

Let's hear that tape again.
Maybe we missed something
back at his apartment.

It's just Tarzan.
What's the big deal?

No!
Come on. I'll play
all the other parts.

All the other parts? Sure.
You gonna do Cheeta too?

If that's what it takes.
Fine, but let me hear.

Aah! Aah! Aah!
Eee! Eee! Eee!

Aah! Aah! Aah!
Paula?

Paula?

O-Okay. Okay, okay.

So, you're-you're
a great Cheeta.
Paula! Is that you?

- Paula!

- Now you do Tarzan.
- Paula!

Paula, I can't--

- Yes, you can. I know you can.
I'll help you.

- Paula, don't do it!
- It always worked with Morris.

Ow! Ouch! Paula!
- Paula!

He's breathing
down my neck!

Oh! Ow!
No, Paula. Ow! Oh!

- Ow! Oh! Oh!
- Paula!

- Paula! Paula!

Paula!

Oh-h-h, shit!

It's never really been proven,
but that's what they say.

That's interesting.
It's a beautiful house.

Oh, thank you. Would you
like something to drink?

- Yeah. Some orange juice
would be really nice.
- I don't have any orange juice.

Oh, yes, you--

No. I'm not thirsty.

Okay. Uh, I'm just
gonna go get cleaned up
a little bit,

so make yourself as
at home as possible.

I'm in.

**

**

**

**

That's it!
Oh! Ew, yuck.

Tastes like shampoo.

Y-You don't read
sheet music,
do you?

No. I never learned how.
Oh.

Well, there's, uh,

there's nothing you'd
really be interested in
here, anyway.

Okay. Well,
I was just looking at them.
I hope you're not angry, or--

Richard!
Paula's in love with
an ambulance driver!

Hey, Morris, I'm a little
busy right now.

Paula is making love
in the back of an
ambulance right now!

I'd better go.
No! No, no,
no, no, no!

Wait a minute!
Wait! When-- When--

When will I
see you again?

What is this
about Paula?
Paula--

I just heard her now
making love in the back
of an ambulance!

- What the hell was she doing
in the back of an ambulance?
- She was playing Tarzan.

She was doin'--
She was playing Tarzan!

- Yeah, you know that Tarzan
thing. I told you about that.

Puts on those little
leopard things, you know.
Looks real cute.

Yeah. Yeah, yeah,
yeah, yeah, yeah.
Hey, do you do Tarzan?

The yodel?
Yeah.

No, I can't get that high.
That ambulance driver
sounded like you.

What, may I ask,
are you doing?

Calling your wife.
Don't call her.
She's not at home.

She's in the back
of an ambulance right now.
She's not at home.

Hi, Paula.
This is Richard.

I'm here
with your husband.
That's very funny.

And he wants to
talk to you.
Very, very funny.

Who's speaking?

Paula?
Uh, yes. Yes.

No.

I'm sorry.

Well, do you want me
to pick you something up?

You know how I hate
buying those things.
All right, I'll pick it up.

All right. Bye.

- Paula.

Was she with
an ambulance driver?

No, she's been at home
the last two hours
with her mother.

Yeah.

Well, I guess you just...

must have been
hearing things, huh?

My bike--
It's broken.

How am I
gonna get home?
Why don't you take mine?

Huh?
Take my bike.

Can I?
Sure.

- Sorry about that chair.
- Oh, that's okay.

It was, uh, really old.

Maddy, what's the word?
Is he coming in?

I don't think so.
You don't think so?

Did you offer him money?
Did you try
to finesse him?

It's a little difficult
to finesse someone...

when he's got bubbles
coming out of his mouth.
Bubbles? What--

Honey, look. In exactly
19 hours and 59 minutes,
this guy's gonna bury me.

- You're telling me you came up
empty
- I didn't say I drew a blank.

- There was something. I don't
know if it means anything.

What?
He tried to hide a piece
of music from me.

What music?
It looked to me like
something he was writing.

Something
he was writing.
I don't know--

Ho, wait, wait.
Let me think.

Musician. Music.
Hiding music.

Wait a minute here.
Wait a minute.

Isn't he playing
a concert tonight?
Yes.

Edgar, let me
ask you something.

Is it possible for
a musician to bury the music
enough to pass a coded message?

I mean, just enough to make
a difference, but so subtle
that nobody else could tell?

It's possible, but he'd
have to be a virtuoso.

Uh-huh.
Uh-huh.

Okay. Hulse, I want you
to put a special mike
on him tonight,

one that isolates everything
that he plays from the rest
of the orchestra.

Check.
Carson, hook it into
the GBLX-1000 computer.

GBLX?
Yeah. That thing'll
break any code.

But that's in control of our
entire missile defense system.

Honey, please, will you-- What
are the odds of the Russians
attacking on a Thursday night?

Come on!

Hmm. Hmm.

Got a 24-hour wiretap
on his phone, sir,

and two men
in a surveillance vehicle
going around the block.

Excellent.
But I think he's gonna
catch on to your scam, sir.

Cooper's smart.
He's been around.
All those years in the field.

That's exactly why
he won't smell anything.

He loves this type
of operation.

He made
the mousetrap himself.

All we did was leave
a piece of cheese.
Ah.

Uh, about this piece
of cheese, sir-- Uh,
what's gonna happen to him?

What?
Wouldn't it bother you to send
an innocent man to his grave?

Are you serious?

We're talking about
my career.

But I'm the one
who picked him, sir.

Don't tell me
you're having
a guilty conscience.

Uh, it was his shoe.

Uh, I could've picked
a black man
with a green raincoat.

He was-- Well, there
was a Japanese guy
with five cameras.

I could've picked him.

But I preferred the guy
with the red shoe.

Brown, you're not
being paid to be
a philosopher.

Wait until
you retire.

Tell Virdon and Reese
to clear off and take
a well-earned rest.

They must be tired.

But what am I supposed to do
with the red shoe?

Save him
for your memoirs!

**

- Go ahead.

**

Uh, yes, sir, we are.
Batch processing that now
with the GBLX 1000.

What is going on?

This... evening,
we are playing Scheherazade.

Would you
care to join us?

Oh.
Thank you!

Idiot! And--

**

Here's where he varied
from the program.

That has to be the message.
We fed the notes
into the computer.

"Fardebetgo engyo
sefarogle."
What the hell is this?

I don't know.
Come on. Can't you see?
He's rubbing our noses in it.

Wait a minute.
Let's just pick him up
and put an end to it.

Maddy.
Maddy.

Maddy.

What is this?
See-far-ogle
or See

Ogle.
Ogle?

Could be oggle.

Thanks, keep it.
Thank you.

Hi. I got this... note
from you.

Please, come in.

Well, thank you.

All this--

Did you
say something?

Um, uh, all this...

on just
a tour guide's salary?

I'll let you in
on a little secret.

My Uncle... Burt...

owns the company.
Adorable.

That would e-explain it.

Why don't you come down here
and sit with me on the couch.

I think you'll be
more comfortable.
Well, thanks again.

Are you okay?

You seem tense.
Oh, no, no, no,
I'm not-- I'm not tense.

No, not at all.
Well, I did pass out today...

and got hit in the head by
a baseball and brushed
my teeth with shampoo...

and then butchered
Rimsky-Korsakov in front of
fifteen hundred people...

and my clothes fell apart,
but, no, I'm not--

I'm not tense, no, no.

You need to relax,
and I'm going to help.

Now, close your eyes.
What?

Close your eyes.

Let all your thoughts
run free in your mind.

Feel your blood
flow. Relax.

Give up control.
Relax.

Give yourself
room to breathe.

Now, isn't that better?

Uh, well, I-I am
a little hungry.

Oh. Let me get you
something. Ow!

- Uh, you're hurting
my hair.

Oh. Oh, gee.

Ooh! Ow.

Hold on, I-- Okay--
I gotta--

It's caught in my zipper.
I'm sorry, it's stuck.
Wait a minute.

Okay. Well, just--

- You're hurting me!
- Do you have scissors
around?

In the bathroom.
Okay, well--

We have to
go together.

All right, okay. All right,
you don't get up, you just
lead the way and I'll follow.

Okay?
Okay, ready?
Slowly.

- Slowly, slowly.
Up, up, up, up.
- This guy's out of a circus.

No, that's exactly what
he wants us to think.

Step. Step! Not on my hand.
Sorry. Sorry.

And step.
Where is
the bathroom again?

Step up
and to the right.
Where?

Up and to the right!
Oh, I didn't see that
when I first came in.

Okay, I'm good.
Step. Ow!

I'm sorry. I'm sorry.
I thought you were with me.

Oh, okay, all right.
Okay?

Here we go. Here we go.

What are you doing in here?
You're supposed to be out there.

No, there's been a mistake.
This man is not an agent.

- Well, does he look like
a professional to you?

Look, of course he doesn't
look like a professional.

If he did, he wouldn't be
a professional.
Ow!

Now, come on.
Get out there
and finish the job.

Trust me, he's no good.
Look at those eyeballs.
This is ridiculous!

Take the pants and put--

Richard!

Yeah?
Come into the bedroom.

Sure!

Come sit with me
on the bed.

Sure.

Oh.
Before we kill
each other, please.

Sorry about that.

- No.
What no?
Wh

I-I'm sorry.
What's the matter?

I just don't want this
to be just a one-night stand.

Believe me, Maddy,
neither do I.

No.

Richard, I feel--

I feel as if you're
keeping something from me.

Are you?
Good girl.

Mm.

Here it comes.

You're amazing,
you know that?
Uh-huh.

Yeah, I've been
hiding something
from you.

Uh-huh, uh-huh,
uh-huh.

I've been meaning to tell you
about it for quite some time,
but I haven't had the chance.

But I guess now's
as good a time as any, hmm?

Wait right here.

He's coming back with
a banjo or something.
I don't know.

All right, this is it.
Uh, I'm not just a musician.

But, um, well, I'm
a composer too, of sorts.

I've been having problems
with this one piece until you
and I bumped into each other.

I'd like to
play it for you
and dedicate it to you.

Push the green button there.

**

He played that same music
in the concert.

Really?

**

No, no, no.
Not the lights.

Thanks a lot, Maddy.

- Yes, sir.
- Virdon, what's going on
over there now?

He played
the violin twice,

and now they're
making love again, sir.

I see.

What do you
want us to do, sir?
Huh?

- I'll have to call you back.

He's calling me back.

Carson.

Liquidate?

I think so.

Hey, Maddy,
look at this.

I don't believe it!

He's always one step
ahead of us! Shit!

Good morning, sir.

I thought I told you
to call off Virdon and Reese.

Oh, really?
Well, I must have
misunderstood you, sir.

- I told them to tighten up
their surveillance.
- You did misunderstand.

I'm sorry, sir.
I've always obeyed orders.

I presumed you'd want to
protect the innocent, though.

You presumed wrong, Brown.
Things have gone too far.

The man with one red shoe
is of no use to me anymore.

It's Cooper's turn
to come onstage.

This affair will have to end
in a shooting match. Just
like all good spy stories.

Maddy, dear,
these just came for you.
Oh.

What's that?
Oh, they're from him.

Oh!
Probably bugged.

Bugged?
These candies
also arrived, sir.

Candy too?
Hulse, check these out.

Do you know how long
it's been since I got flowers
or candies from anyone?

Don't have them delivered here.
We might as well have a sign:
"Spies, Inquire Within."

And I think you're
falling for this guy.
How do you like that?

Well, that's
just absurd.
I don't think so.

Sir, no bugs
in this one.
Good. Keep checking.

I'm picking something up
at Ross's house.
Let me hear it.

Give me one of those.

Good work, Brown.
Cooper missed
the violinist again.

As you know, I have
an appointment at the
senate committee this afternoon.

I see.
The violinist
has finished his report.

He'll fill us in
at the hearing.

Some people are
in for a most
unpleasant surprise, Brown.

Well, we gotta work fast.

Now then, does
anybody here remember
how to kill a man?

**

Hello. Maddy?
No, it's Paula.

Oh... hi.
Hi, Paula.

Who is Maddy?
Maddy's that other girl
at the concert, isn't it?

You're seeing
this other girl,
aren't you?

- N-No. No. Well--
- I'll do anything you say.

I'll-I'll leave Morris.

You don't even have to
play Tarzan, you can just--

I can
explain everything.

**

**

I'm getting
too old for th--

Don't even think.

Paula, I'm really sorry,
but--
Richard?

Maddy! Hey!

I've gotta leave the country
and I can never see you again.

Wait-Wait a minute.
Mad-Maddy, this is crazy.

Where are you?
I'm around the corner.
I'm in a coffee shop--

Maddy? Hey, Maddy!

Ah-ah-ah-ah-ah.

Come on, guys.
We're all professionals.
Easy.

What are we gonna do,
shoot each other?
Take it slow.

Come on. You have
a pension plan? We have
full hospitalization.

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

Here's some cigars.
You guys smoke cigars?

What are those, Cuban?
Forget it, Hulse.

Smoke a cigar,
we'll talk this over
like gentlemen.

I'm smoking a cigar.

She's-She's blonde,
lyrically beautiful.

I don't think she ate here,
but she did use your phone.

Oh, yeah. She was here,
but she split.
She split?

All right! We did it.
No problem. Great.

Mr. Brown'll
really be pleased.

I mean, he'll definitely
make us permanent partners now.

See, what I do in a gunfight,
Reese, is I stay loose.

We'll work together for years.
I'll have a chance to
teach you how to do this.

Take a long time for you
to learn-- weeks, months,
maybe even years.

Just shut up.

What do I owe you?

Uh, this one's
on me, pal. I was
headed this way anyhow.

Thanks.

Richard!

Morris, you okay?

I was just in
your apartment.
Uh-huh.

Was going to blow your
brains out, 'cause I heard
you and Paula on the phone.

Oh, ge-- I'm sorry. Morris,
this is not the time to
talk about this, all right?

There are three dead men
in your apartment.
Oh, yeah. Sure. Good.

Three... dead... men
are in your apartment.

All right, Morris.
Enough of the jokes, okay?
This is not the time.

Three!

Come on.
You gotta see this.

Look.

They're gone.
They're gone!

Yeah.
Richard, I swear,
there was someone here.

Mm-hmm. Well, maybe
they're under the rug.
Richard.

- Richard, I swear,
there were--
- Three dead men.

And yesterday,
Paula was making love
to an ambulance driver.

Looks pretty bad, huh?

I think you should have
a drink, and I'm sure
you'll feel a lot better.

Yeah.

I'll get it.

- I'm not thirsty.
- Morris, come on.

Y-You're pale,
you got the shakes.
I'll get the drink.

I'm not thirsty, Richard.
Don't go in there, Richard.

I'm not well, you know.
I'm not well at all.

- I have to pee.
- Fine.

- Oh, come on, Morris!

Maddy, my dear--

Maddy.

Edgar, I just wanna say
you're making a mistake.

Don't worry about
my mistake.
You don't understand--

- Hey, Maddy!
- Get into the car.

Maddy!

Hey, Maddy!

We've got her.
She was trying to
warn Drew.

I knew it, I knew it,
I knew it! Damn it!

Turned her around.
All right, I'll take care
of the fiddle player.

You... better
get rid of Maddy.

Too dangerous now.

Oh, come on!

Richard!

Come here.
Here.

Stop.
Now, turn around.

Edgar, that damn
fiddle player
is right behind us.

Uh-oh.

Hey!

Oh, my God!
Oh, God!

Come on back.
Come on. You got it.
Plenty of room.

Whoa! Ouch!
Excuse me, folks.
Are you okay?

Outta the way.
Watch it, buddy!

This could be
my lucky day.

Scratch one fiddle player.

Yes. Yes.

Yes, yes, yes, yes.

Well, I think we've lost
your young man, my dear.

I say good riddance
to bad baggage.

- Good grief, there he is.

- I believe the boy
intends to ram us.
- Waste him!

- We're gonna hit!

Maddy! Maddy!

Are you okay?
Let's get out of here.
Come on.

Look, let me just ask
one thing. Never mind.

Oh, no.
No. No.

No.

Is there something
going on that
I should know about?

Richard, tell me,
are you an agent?

- No. But I used to
have an agent.
- No, no--

Do you work
for the government?
Are you a spy?

No, of course not.
I'm no more a spy
than you're a spy.

Richard,
I am a spy.

You're a spy?

Ho-Ho--
Wait a minute, honey.

Maddy, all I want
is the fiddle player, okay?

Hey-- Excuse me, sir.
Would you mind turning that
down for a second, please?

**
Thank you.

Look, he's dead anyway.

I have no bone
to pick with you.
Really, honey.

Maddy, dear,
don't be foolish.
What do you think?

What do you say, honey?

What do you say, huh?

Jump!

Okay. Okay.

Okay. Okay!

Maddy! Maddy!

Oh, shit.

That's the man
you're after--
Burton L. Cooper.

Civil servant...
dumb morons!

Understand?
I'm with you!

I'm a civil servant!
Don't you understand?

He's doing
so much better now.

They're giving him
a lot less tranquilizers.
Well, that's good news.

That is.
Yeah.

Um, Richard,
I-I wanted to talk
to you about something.

Okay.
Morris needs me now.

I just wanna do
the right thing.

I, uh, gotta go.

Um, you're gonna be
all right, aren't you?

Yes.

Bye.

Bye-bye.

[ Paula Imitating
Primate Screams ]

And, uh, the man with
one red shoe.

What's gonna happen to him?

- The deal was her testimony
for her freedom.

I think it was
a fair exchange.
Well, I don't think so.

Well, since you're
no longer director
of C.I.A.,

and I am,
it doesn't matter
what you think.