Scarecrow and Mrs. King (1983) s01e18 Episode Script

- Good morning, Scotty.
Heh.
- Hi, Mrs.
King.
Ticket please? Uh, it's 2.
50.
Just give me a second.
I'll get your change.
[AMANDA SCREAMS.]
Oh, my God! Oh, my gosh, would you look what you've done to my car? - You've broken the light, you've smashed it.
- It doesn't look that bad.
- It's falling apart.
- I'm in a hurry.
I can tell you're in a hurry by the way you drive.
I don't have time to argue.
I don't wanna argue, I wanna point out what you have done to my car.
- There's Raul.
- Mm-hm.
- I have a perfect driving record - Tell me what it costs.
How am I supposed to know? Tell me how much it costs, I'll pay you now.
- I don't know what it's gonna cost.
RAUL: I'm kind of in a hurry.
How am I to know that? I need your insurance number.
Sir? Sir, please don't do this to me.
I need your insurance number.
Please don't do this to me.
I need your license.
I need something.
L Oh! There's a kid back there with a bloody camera.
Are you all right? Oh, I'm all right, Scotty, but look what that man did to my car.
He hit it twice.
I didn't get his name or his license number.
Don't know what I'm gonna tell my insurance company.
You don't have to tell them a thing.
I got it all right here on film.
Not the first hit, but the second one.
While that man was hitting my car you were filming it? I would've stopped him if I could've.
But it happened so fast.
I figured the least I could do is preserve the moment on film.
You see, I'm a filmmaker.
I mean, uh, I do work here at the lot, but that's just so I can eat and stuff.
It's not my life.
This is my life.
Are you telling me that on this film you've got the license number of the car that hit my car? Are you kidding? He was moving pretty good.
- I kept him in focus the whole time.
- Aw, that's wonderful.
I'll shoot the rest of this cassette.
I'll have it developed.
- It's all the evidence - I'm gonna need that cassette now.
I'll need to give it to my insurance man There's all this action on this cassette.
I'd hate to have anything happen to it.
It's gonna look great with the other stuff I have on you.
- Other stuff you have on me? - Uh-huh.
I guess it's all right to tell you now.
Uh, it's 95 percent in the can.
It's a documentary I've been shooting.
You're in it.
And so is Mr.
Stetson.
And Mr.
Melrose, and Francine, and Fred Fielder and, gosh, don't get me started.
I love the cinema so much, I could talk you right into the ground.
Well, I'd like to hear about it, Scotty, in fact, I think I probably should.
- Ha.
- Okay.
[KNOCKING ON DOOR.]
[BUZZER BUZZES.]
- Good morning, Mrs.
Marston.
- Good morning.
Mrs.
King.
I'm sorry, Mrs.
Marston, I'm afraid I've forgotten it again.
I'm a little rattled.
Someone hit my car twice in the parking lot and drove away.
You know how a thing like that can make your mind a total blank.
Uh, Mr.
Stetson gave me the new password yesterday, so you could call him.
- That is not procedure, Mrs.
King.
- No, it isn't.
Uh Oh! Ha.
Well, you know, I think I have it written down.
I know that isn't procedure, so please don't tell anyone.
I put it in a place that no one would find it if I were to lose my wallet.
But I would be sure to be able to find it if I needed it.
But if my wallet should fall into the wrong hands, it wouldn't Ha, you see, it's right there on the back of my checkbook.
Backlash.
You know, the way you keep changing this password so often I bet this happens all the time.
- Here you are, Mrs.
King.
- Or not.
[CLEARS THRO AT.]
Thank you, Mrs.
Marston.
Francine.
I was just up to Crypto for a few minutes.
- Did Raul check in while I was gone? - No, sorry, Lee.
Ah.
I don't understand what could be keep Never mind.
Oh, Billy.
Look, Raul is late.
Late? Caught-in-traffic late or time-to-worry late? He was due in from Rio station this morning.
With the Malvrin report.
That's pretty hot stuff.
Couriers are accustomed to carrying hot stuff.
It's all part of the job.
I know, but I'm feeling kind of strange about this one.
A lot of people would like to get their hands on that material.
Scarecrow, do yourself a favor.
If you're gonna get people jobs don't feel responsible for them.
- Hello, Amanda.
FRANCINE: Raul's doing just great.
He's making good money, he's got a chance to travel.
- Something I can do for you? - Uh, yes, my expense vouchers.
But the most unbelievable thing just happened to me.
- I pulled into the parking lot - Amanda, Amanda, please.
- Could this wait? We're very busy here.
- No.
You see, a man hit my car, not once, but twice, and then he drove away.
I didn't get his name or his license number or his insurance company I really hate what he did to my car, but it was probably a very good thing.
Is that supposed to make sense? Yes, you see, if it hadn't been for the accident I wouldn't have known about the documentary.
If I didn't know, then you wouldn't know about it.
The minute that I found out, I knew that you would want to know about it because he's been doing it for weeks and he said it's 95 percent in the can and you don't know about it.
She's just been in a car accident.
[SIGHS.]
I'm sorry, sir.
If you'll give me just a moment, I'II I'll collect my thoughts.
Why don't we all meet back here, say, a week from next Tuesday? Francine.
[SPEAKING INDISTINCTLY.]
I think the first thing we should do is develop the film.
- I mean, uh, the movies.
- Movies? Yes, the ones Scotty took of the accident.
BILLY: Scotty? - Wha? - Our Scotty, from the parking lot? - Yes, sir.
He has been filming people coming and going.
LEE: Okay, ho, ho.
Are you saying that Scotty in the lot where we park has been taking movies of everyone who enters and leaves? - Yes.
- We don't know about it? That's right.
He's doing a documentary.
The point is to catch you off-guard.
Now, the minute I heard about it, I knew you would want to know.
Now, I got this cassette from him.
The only thing I need from it is the license number of the car that hit my car, if you don't mind.
- How long has he been doing this? - Oh, for weeks, for weeks.
And, uh, he spent a fortune on film.
I did tell him that I would give him another cassette for that one.
I'm gonna get this developed.
Yes, sir, I hope it comes out.
You know, I have such terrible, terrible luck with my home movies.
Well, at least it took your mind off Raul for a minute, huh? - Who's Raul? - The question is, where's Raul? Hold it.
All right, give me the documents.
Pass them over.
- It's okay.
- Let's go.
- Be careful.
- Come on.
Be careful, man.
Be careful.
It's okay, it's okay.
[BILLY LAUGHING.]
I know the feeling.
I never knew that coat made me look so Big.
Oh, it doesn't.
[BILLY CLEARS THRO AT.]
Oh, boy.
Well, I didn't have a chance to, I mean, I was late for a staff meeting.
Oh, wait, that's Raul.
- You know him? - Yeah, he's an agency courier.
He's the man I've been waiting for.
Oh, there's a face you'll never forget.
Let's circulate it for an ID, huh? I'll get blow-ups on both of them.
- Francine, you run a make on the plate.
- Good, I couldn't see the numbers.
Since Raul works with the agency it should be easier to get the station wagon fixed.
Stop worrying about that car.
It's the only way I have to get around.
I know it.
Look, I wanna talk to Scotty about this film.
He's been shooting these for weeks.
Why didn't you tell me? I told you as soon I found out.
He was very discreet about it.
- He wanted it to be revealing.
- It's revealing.
It's too damn revealing.
Let's go.
We've got the Malvrin report, we've got Raul.
I say kill him and get on with business.
[CAR HORN HONKING.]
We need that film.
We can't terminate Raul until we get it.
Let me handle it.
What if the kid recognizes us? - Then we'll handle it a different way.
- Yeah.
VARGAS: Excuse us.
SCOTTY: Hi.
May I help you? - Uh, insurance inspectors.
We're following up on the accident.
- Mrs.
King's? - Yes, Mrs.
King's.
Boy, you guys work really fast.
It's right over here.
I saw the whole thing, you know, if you, uh, need a witness.
She was parked here and this guy came in and hit her.
Look at this damage.
Check the glove compartment.
Why check the glove compartment? The damage is back here.
Wanna make sure everything is in order.
Everything is in order.
No one's been near the car since Mrs.
King left it.
- Why do you need the registration? - Standard procedure.
You want Mrs.
King to have everything she's got coming to her? Yeah, sure.
Uh, Mrs.
King is a real nice lady.
Yes, she's very nice.
She said you have a film of the accident.
She wants you to give it to us for evidence.
If you are who you say you are and you've spoken with Mrs.
King you'd know that I've given her the film.
You're the two guys who chased that other guy.
[SCOTTY GRUNTS.]
What do you think? This Mrs.
King has to come back for the car, so we'll just wait for her.
You're upset, but you'll feel better once you've talked to Scotty.
I will feel better when I have every bit of film he has taken.
It wasn't as if he was gonna open it up with a big premiere.
He was only making the documentary for you.
- For me? - Yes.
He believes International Film Fed is a real company.
It's just our cover, Amanda.
Twice a year, we grind out a couple of documentaries on the romance of earthworms, and that's it.
I know, but people are supposed to believe that the cover is real.
Aren't they? Scotty believes that IFF is a real film company.
He wants to talk to you about a job.
- Great.
- Well, come on you do make a couple of movies.
You made the one about tractors.
Then the one about crop rotation - Amanda.
- That was interesting.
I know, but that is just to protect our cover.
Now, look we have got couriers, technicians, double agents people who are known within the intelligence community.
If they can be connected with IFF, our cover is blown.
A lot of people are in jeopardy.
Don't you see that? Of course I see that, why do you think I gave you the cassette? Look, you'll talk to Scotty, he'll understand, everything will be all right.
You'll know what to say.
He's a very nice boy.
He takes very nice movies and he's talented.
You saw his movies, they're clear, sharp and in focus.
That might seem basic to you.
If you'd taken as many out-of-focus pictures as I have Who the hell is she with? Eh, I don't know.
WOMAN: I'll say.
- Scotty wouldn't just leave.
- Yeah? Where is he? - Huh? - I don't know.
She's gonna find the kid.
So she finds him.
I say we make our move now.
We're not looking for trouble, Levik, we're looking for a film.
If she has it now, she'll have it later.
[SCOTTY GRUNTING.]
LEE: What the heck is it? - Somebody's in there.
- Yeah.
Hold on, we'll get you out.
Here, this one should do it.
- There.
- There you go.
Scotty.
Oh, my gosh, what have they done to you? LEE: Come on.
You're all right.
[ALL GRUNTING.]
AMANDA: Oh.
Oh! Two guys.
After my film.
Ugh They They, uh, came on like insurance adjustors.
I pegged them for phonies from the start.
What an experience.
I wish I had gotten it on film.
Look what they did to your poor cheek.
It's nothing, it's nothing.
Can you describe them? Sure, right down to their wing-tipped Oxfords.
I've got an eye for details.
- I'm like a camera.
- Yeah, yeah.
It's the same guys who chased the guy who hit Mrs.
King.
[CAR HORN HONKING.]
Oh, I gotta go move some cars.
Bu Uh Uh.
The same guys who chased your friend Raul.
Now, why do you suppose they came back? After the film, obviously.
Scotty has got the two of them in living black-and-white.
- That just might save his life.
- Whose life? We're talking about Raul.
Raul's life, remember? - I don't understand.
- They must have caught Raul.
- Lf they hadn't, he would have phoned in.
- Right.
I hope they don't try to dispose of him before they get that film.
I mean, that Super 8 is like a signed confession.
- And you have the film.
- They don't know that.
Do you think Scotty told them that I have it? We'd better find out.
Ah, what a day.
First the accident, and then those two goons after my film.
I guess I shouldn't complain.
It's the first time anyone's been interested in anything I've shot.
Yeah, well, uh, about those two goons I knew they were phonies when they took Mrs.
King's registration from her wagon.
They took my registration? - They took my registration.
- I know.
Why would they want my film? I mean I feel like I'm a character in a Truffaut movie.
Except that they never asked that question in a Truffaut film.
In Bergman's, that's all they ever do.
Why do we live, why do we die, why Why did they take my registration? Mr.
Stetson, I think I know what you do at IFF.
- You do? - You're a director, aren't you? Ah.
Well, it shows.
Well, uh, Buòuel told me that after so many years a man should expect to look like what he is.
Heh.
Louis Buòuel? The Andalusian Dog? Well, I prefer Tristana.
- It was his preference too.
- I should call home.
You know, Louis knew so much about the tricks of the medium.
But I've always declined awards of any kind.
Heh.
But then he told me one day: "Awards are for the people who give them.
" You know, he's right? I mean, you accept the award and after a few moments, it's barely a memory.
- Wow.
LEE: Yeah, well, enough about me.
I understand you're working on a film of your own.
Tell me about it.
They have my registration.
It's called Parkers.
It's a study in the character quirks the personality quirks of people parking their cars.
It's non-intrusive.
It's rough enough to have that now-doc look.
- Mm.
- I started with Mrs.
Marston.
She's the precise parker.
She's always in the center of her space, the doors locked, she never varies.
I've got some great footage of you, Mr.
Stetson.
You do some things with your car I bet you'd never notice.
Ah, yeah.
Well, I can't wait to see it.
Um Waiter.
Just give me some coffee, please.
I'll be back in a moment, all right? [CLEARS THRO AT.]
He's gonna look at my film.
Would you like to order something? - Something little.
- Yeah.
BILLY [O VER PHONE.]
: Melrose here.
- Yeah, Billy.
This is Scarecrow.
Everybody in place? Since when do you double-check on me? LEE: Billy, those two guys got Amanda's registration.
The house is surrounded, okay? Nobody's going to get hurt.
- Yeah.
What about Raul? - Nothing on him yet.
But we did get something off that film.
- License plate? - Yeah.
Rented car.
They used a phony ID.
- Great.
- It's not so great, but it's not so bad.
We have an APB out on it.
You get any make on those two guys that were in the car? Positive on one of them.
Jan Levik, information broker.
How he knew about the Malvrin report, I'll never know.
But it'll hit the open market if we don't stop him.
Okay, Billy, thanks.
I'll get back to you.
- Right.
- All right.
Bye.
- We've got to make a move.
- What move? She's never alone.
Then we take the best shot we can.
I'm really too nervous to eat.
You've been through a terrible experience and I think it would probably be better if we all just went home.
SCOTTY: It's not that.
It's being here with a director like Mr.
Stetson.
Ha.
Uh, I've gotta go wash up.
Excuse me.
- I'll get the kid, you get the car.
- Right.
Look, Lee, I know that film is very important to you and you are playing a wonderful director.
But Philip and Jamie and my mother are home and those men have my registration with my address on it.
- I have - Amanda.
Your home is surrounded.
- My home is surrounded? - Mm-hm.
Who is surrounding it? The good guys, that's the first phone call I made.
- It was? - Yes.
So relax, huh? Billy's got an APB out on the car and you didn't want this salad, did you? - No, I don't want the salad.
- Ha, ha, I didn't think so.
Ah, ahem.
- I feel better now.
- Good.
You're safe right here, stay right where you are.
Oh.
Oh! Oh, Lee.
Lee.
[GEARS GRINDING.]
Hit it, Amanda, they're getting away.
Ho, whoa! What are you doing? - Shifting gears.
- Stripping the gears.
- Oh.
- Oh, just forget it, just forget it.
- You lost them.
- I'm sorry.
- I don't know how to drive a stick shift.
- No kidding.
I told you to stay where you were.
You left your car keys.
Did you expect to be able to catch them on foot? No.
Oh, I love it.
We've got an APB out and these guys are driving like they're invisible.
And now they've got Scotty.
- Scotty? Why have they got Scotty? - To get to you.
They figure you have the film and Scotty's a bargaining chip.
Ugh.
Now, not only do we have to worry about keeping Raul alive we've gotta worry about Scotty too.
Oh, my gosh.
Have you ever read one of these policies? It is a whole new experience.
You would think that an uninsured driver is a driver that is uninsured but, heh, not when you're talking insurance.
I mean, there's three pages of explanation in here.
Amanda? - What are you looking for? - Oh, l I was Nothing, Mother, I was listening to you.
Honey, don't let this accident upset you.
- It wasn't your fault.
- Right.
[CAR PASSING.]
It's more than the car, isn't it? [SCOFFS.]
Think there's somebody out there? Oh, no, Mother, come on, there's nobody out there.
There's something very unsettling about this evening.
Mother, everything is just fine.
I'm gonna check the kitchen and the back door and you lock the upstairs windows.
You really feel the way I feel, don't you? AMANDA: No, I don't.
Mother, nothing is the matter.
It's just time to lock up for the night.
- I'm not nervous, nothing.
- Okay.
If that's how you feel.
LEE: Psst, Amanda? - Ah, I knew you would be here.
- Yeah, what? - Now, look.
I don't see anybody outside, but the house is surrounded, right? If you see them, then the whole thing doesn't work.
- Right, sure.
Our phone line is tapped? - Yes, yes, it is all done.
- When they call - You're sure they'll call? - I am sure.
- Right.
Yes.
- When they call you - I'm to say yes to anything that they ask.
- Right.
- Right.
Admit you have the film, because that's the only thing that is keeping Scotty and Raul alive.
- Right? - Right.
What's the matter? - Are you cold? - No, I'm a little scared.
I guess I shouldn't admit that.
Hey, come on.
I'm scared too.
[BOTH CHUCKLE.]
That isn't very reassuring.
Well, what I mean is, I feel responsible for Scotty and Raul.
I wouldn't want anything to happen to them.
- Or to you too.
I mean - Yeah.
Hey, come on, Amanda, look.
You're going to be all right.
- You're protected by the best - I don't want the best, I want you.
I'm sorry.
That didn't come out the way that I meant it.
- Thanks a lot.
- It didn't sound right Well, I just - No, never mind, never mind.
- I'm sorry.
- Okay.
- Yeah.
- You'll stay right here.
- I will stay right here.
- Don't go anywhere.
- No.
- You're right here.
- I'm right here.
- Okay.
- Right.
- Yeah.
- Okay.
Ah-ah-ah.
- I'm staying right here.
- Right.
[PHONE RINGS.]
I'll get it.
Hello? SCOTTY [O VER PHONE.]
: Mrs.
King, this is Scotty.
These guys are serious.
You'd better do what they say.
- Did you get that? - Uh, yes.
I want you to get in your car and drive to 14th and Delaware.
There's a lumberyard.
Just drop the film out of your car window and drive home.
The kid'll be on his way as soon as we get it.
- Come alone.
You understand? - Yes, l I have that.
[SIGHING.]
We're gonna need a new set of wheels.
Get there before the drop, maybe set up something for a getaway.
Eh, you worry too much.
We just have a housewife to deal with.
We've got a lot of insurance.
SCOTTY: Hi.
I didn't see you here before.
I'm Scotty.
RAUL: Raul.
- You been here long, Raul? - No.
- So, what do you do? - I'm a hostage.
Me too.
- What's that smell? - I think it's mushrooms.
I love mushrooms.
- You like mushrooms, Raul? - Not anymore.
Hey, listen, we're gonna get out of here soon.
They're making a trade right now.
You're making a mistake, Amanda.
A man does not respect a woman that he can call on a whim.
It isn't what you think, Mother.
You are seeing a man, aren't you? These burning passions, midnight assignations, they don't work.
Mother, it's only 8:30.
I cannot manage your life for you.
I mean, maybe you're entitled to a meaningless affair.
Something passionate and fiery, with no future.
Maybe I am.
- I'll be back in an hour.
- An hour? Ugh! One of those.
Francine's taking your place for the film drop.
Why? I could do it.
I don't want this to sound like criticism but you read so much about government spending and to call Francine in at night when it's probably double time for her.
I'm already here, I'm out and I'm dressed It just seems like such an unnecessary expense.
I know you'll say it's probably only a few dollars more but you multiply that by all the government offices and the agencies - Amanda, please? Hm? - I bet it adds up to quite a lot.
- Francine is a qualified agent.
- I know that, Lee.
How much qualification does it take to throw a cassette out a window? That might seem like a dumb question but it deserves an answer.
- It doesn't take any special qualifications.
- I can do it? - No.
- What do I do? Billy thinks it's a terrific idea that you stay with me until we get your car back.
- It would be a lot simpler the other way.
- And a lot quieter.
Francine makes the drop.
- How are you coming? - Almost ready.
You realize I have never done suburban frump before? [CHUCKLING.]
How's this? - You don't think the scarf is overkill? - No, no, it covers up the rollers.
You know, rollers are the hallmark of the middle-American homemaker.
It's, uh It's like a club badge or something.
You know, my mother thinks I'm involved in some kind of clandestine love affair.
Your mother should know you better.
- Why? - Why? You're not that type, that's why.
I don't know how you can say that my mother should know me better than that.
I mean, you never can tell who's the type for what.
I'm not the type to be a spy, but look at me.
I mean, you never You never really can tell what a person would do under certain There's a local patrol car passing.
This looks much more natural.
Oh.
- Yeah, it's much more natural.
Yeah.
- Yeah.
We bett Uh - I think they're gone now.
- Yeah.
They're gone.
Ha.
Uh - Uh, look trade jackets with Francine.
- Sure.
You're wearing hair curlers.
I never wear curlers in public.
It's part of the disguise.
The cassette's got a transmitter signal we can follow in case we lose visual contact.
Drop it in the lumberyard and get back here.
The yard's covered, we'll be right behind you.
- Okay.
- Be very careful with my station wagon.
Station wagon.
Great.
Wouldn't you know it.
Take him.
Take him.
We've lost the signal.
Scarecrow, moving in.
- Federal agents, freeze! BILLY: Freeze! Freeze! Wait.
All right, stall him as long as you can while I try to get behind him.
Ready? [BOTH GRUNTING.]
It's over.
Where are you holding them? If I don't show up in an hour, they're dead.
I have nothing else to say.
I heard the gunfire.
Is everything all right? Yeah, it's just great.
I did exactly what you told me to do.
I stayed right here.
- Well, that's a refreshing change.
- What's wrong? We blew it, that's what's wrong.
We got one of the guys and he is giving us absolutely zip.
Did he tell you if Scotty and Raul are all right? Yeah, yeah, yeah, they're fine.
Just fine, for about the next forty minutes.
If he's not back there by then, his partner's going to kill them.
Kill them.
Yeah, that's right.
Come on, I'll take you back to your car.
What about the car they found earlier? - Maybe - Dead end.
It was spotted this afternoon down in the warehouse district on the Potomac.
- The warehouse district by the Potomac.
- That's right.
Well, that pinpoints an area.
- That's something.
- That's nothing.
We followed it to a deserted warehouse and that is where they lost it.
Did they search the warehouse? Never mind.
Of course they searched the warehouse.
That's the first thing they would do.
- They would search the warehouse.
- They searched it.
It was empty.
- All right? - All right.
You know If the police were looking for me and I was looking for a place to hide I would try to find a place that had a secret place.
When they came to search the place where I was hiding I could hide in the secret place, and when they left I could be pretty sure that they wouldn't come back.
Oh, ho.
Heh.
Look, I'm having a hard time trying to follow this.
Like a subbasement in a warehouse.
- What? - See Well, once I was a tech advisor on a food-growing project.
- Yeah? - And we were looking for a class of Basidiomycetes that would grow in subbasements.
- Basidio what? - Those are mushrooms.
It doesn't matter.
Anyway, we were looking for space in subbasements of warehouses.
Right? So we went down by the Potomac and most of those sub-basements have, um, either been flooded by the river water or the river water's leaked in.
So they've been sealed off.
So unless you knew they were there, you wouldn't know they were there.
And if you searched them, you would never look there.
Do you see what I'm saying? Yeah.
So you got me on possession of a sub.
Maybe attempted assault.
That's, uh, lightweight stuff.
Keep on talking.
You're running out of time.
[KNOCKING ON DOOR.]
- Melrose here.
- Hello, Billy.
I know this is a long shot there's a chance they're underneath the warehouse.
See if you can bluff that guy.
I'll hang on.
- Book him.
- Which charge? Kidnapping with special circumstances.
- Where were they? - In a basement under the warehouse.
And get the paperwork right.
I don't want to lose this one or Levik.
You know how it works.
One of you plea-bargains your way out of the chair you or Levik.
- First come, first served.
- Okay.
I want a lawyer.
That's it.
I'm sending everything in right away.
And Scarecrow, you lay back, got me? Scarecrow? I've got a red override priority.
Get all units to that warehouse we searched this afternoon.
TD Y anyone you need.
I'm talking minutes.
I've gotta stall until the backup gets here.
- Now, you stay right here.
- Right.
You guys just ran out of time.
Okay, I'll tell you where the film is.
Good move, kid, but too late.
All right, hold it.
[ENGINE TURNING O VER.]
That's it, Levik.
It's all over, Levik.
Looks like you need a tune-up, pal.
Looks like he needs more than that.
Looks like I pulled the right wires.
[CHUCKLES.]
- I'm glad your friend Raul's all right.
- Heh.
- You were really worried about him.
- That's the last time I get anybody a job.
I can't stand the guilt when something goes wrong.
- Is he quitting the spy business? - No, he likes the work.
He's on his way to Prague right now.
- Really? - Yeah.
See? Now, for all your worrying, everything turned out just fine.
- Yeah.
- You got back the report that those two men stole and Scotty's okay and I even got my station wagon fixed.
Boy, that was really nice of Mr.
Melrose.
You know, he didn't have to do that.
It wasn't the agency's fault.
No, no, in a roundabout way, it was.
Mrs.
King.
Mr.
Stetson.
- Hey.
- Hi, Scotty.
How are you feeling? I'll tell you as soon as, uh, Mr.
Stetson tells me what he thought of my film.
Oh, yes, uh, your film.
We looked at it every frame of it, and, uh it's very good.
- It is? - Yep.
Wow.
I wish I had gotten a couple reels of what went down the other night.
How about that, me in the middle of a shootout with feds running all over the place? It's a good thing you told them what happened to me.
I don't know how they found us.
- Well, um, I guess - Probably they have their ways.
have their ways.
Anyway, about your film I think you could edit it down to a very interesting eight minutes or so.
But the, uh, legal department wants a few things.
Like the city filming permits and the PR-308s.
We can get the filming permits if we pull a few strings.
But, hey, look, we really need those PR-308s.
What's a PR-308? - Uh - It's a, uh - The Personal - The Personal Personal Release forms for the people that you film.
Yeah, you see, you can't, um, use any of the footage you can't invade their privacy without their consent.
- That's right.
Correct.
- I guess I've got a lot to learn.
- But you have a lot of talent.
- Yeah, sure.
Well, thanks for looking at it, anyway.
Thanks.
Oh, did you see his little face? It just crumbled, he's so disappointed.
Yeah.
Uh, hey, Scotty? Uh Hey, listen.
How would you like an assignment with IFF? - Huh? MAN: Hey, kid! A short documentary on the Cuyahoga River in Ohio the river that caught fire a few years back? Yeah? MAN: Hey, my car's blocked.
- Yeah.
Yeah.
How about, uh, "The River That Refused to Die" sort of, um MAN: Come on! SCOTTY: man's battle against his own pollution? That's it, that's it.
You run with that theme.
- All right.
All right.
Whoo! MAN: Ain't got all day.
- Yahoo! - Ha-ha-ha.
- I knew you didn't mean it.
- Mean what? All that stuff about never helping a friend get a job again.
L I just did that, huh? - Yeah, I - What?