Charlie's Angels (1976–1981): Season 1, Episode 20 - I Will Be Remembered - full transcript

CHARLIE:
Once upon a time,

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

And they were each assigned
very hazardous duties.

But I took them away
from all that,

and now they work for me.
My name is Charlie.

[THUNDER CRASHES]

[GHOSTLY VOICE]
Gloria...

Gloria...

Gloria...

[DOOR BANGING]

[THUNDER CRASHES]



My God! No!

Oh, God!

No...

No! God!

Charlie?

This is Gloria Gibson.

Thank heaven
I've found you.

Charlie,
I need your help.

CHARLIE:
Now, Gloria-- Gloria!

Gloria, try to stay calm.
I'll be right there.

[HANGS UP]

CHARLII hope you
can help her, Angels.

I'm a longtime friend and fan.

Gloria Gibson, huh?



I saw every film
she ever made--

she's just incredible.

Yeah, I saw one of her pictures
on TV last week.

A western.

Right. The Sodbusters.

Hey,

I remember
seeing that, too.

She played
a rancher's wife.

She survived cholera,
a gunshot wound,

a cattle stampede--
She's a very heavy lady.

CHARLIE:
A very nice lady.

SABRINA:
Wait a minute, Charlie.

Now, I remember one scene
from that picture

where she looked out
the window

and she saw her husband
hanging from a tree.

The hanging man
in Gloria's garden.

Like the scene
from the picture.

Charlie, you don't suppose

she's flashing back
on her old films, do you?

Yes, that's a possibility.

It's also possible

someone wants us
to reach that conclusion.

You mean someone's doing
a Gaslight number on her?

Exactly. And she'd be
an easy victim.

She's been under
a lot of strain the past year,

since her husband died.

Nicky Lowen, the gambler.

She nursed him
through a long illness.

And then when she had
recovered from her grief

enough to go back to work,
everyone had forgotten her.

Hm. Maybe not quite everyone.

If she isn't crazy,

it looks like someone's
trying to drive her there.

Look at this place.

Oh, yeah.

It's beautiful.
Nice.

Hello.
Yes?

Charlie said
you'd be expecting us.

Oh-- Oh, yes.

Miss Gibson,
I'm Sabrina Duncan.

This is Jill Munroe
and Kelly Garrett.

Hi.

Won't you come in, please?

Thank you.
Yes, thank you.

This is really
a wonderful house.

I'm sorry I can't
offer you all

a place to sit.

But I'm planning
to redecorate.

You know,

I imagine it would
really look marvelous

in something like Louis XV.

That's exactly
what I have planned.

How perceptive of you.

Well...thank you.

It really is
a lovely house.

Well, Nicky built it for me

when we were in Italy
on our honeymoon.

It's quite
a wedding present.

Nicky was quite a man.

He had a special room,

where I best remember him.

May I show it to you?

Okay.

A Botticelli fresco?

One of Nicky's
finest reproductions.

We were on our wedding trip
in Italy

when we saw the original.

Nicky fell in love with it.

So he brought over
from the studio

a fine art director
to do the work.

Art director?

They are responsible

for the decor
and architecture of the set,

sculpture and paintings.

The best ones

are fine artists themselves.

Well, whoever did that work
surely was.

It's really marvelous.

Nicky just loved to sit
in this chair and study it.

I joined him sometimes,

and we'd stay here for hours.

I can understand why.

[TELEPHONE RINGS]

Forgive me.
Surely.

This is Gloria Gibson.

MAGloria.
Oh, Frank.

I'm at Mammoth Studios.

I finally got that appointment
for you with Jardine.

2:00 Wednesday.

Such short notice.

Look, I'm willing to tell them
at your convenience.

That might shake them up
a little bit.

No, I, uh,
I don't want to risk that.

Will they send a limousine?

No?

Yes...

Goodbye.

That-- That was my agent,
Frank Ross.

My old studio is making

an updated version

of The Heart of New York.

That was one of my most
successful pictures.

I remember it.

Of course, this time,
I'm up for the mother's role.

It's much smaller...

but I'll make something of it.

I remember
the role of the mother.

That's a good part.

You'll be terrific in it,
Miss Gibson.

Oh, call me Gloria.

Thank you.

All of you, call me Gloria.

Okay.

Thank you.

Um, Gloria...

do you think
you could show us

where you saw
the hanging man?

Yes.

This is the tree,
isn't it?

That isn't what I saw.

Could have looked like a man,
in the dark.

I saw a man hanging.

Uh, Miss Gibson-- Gloria--

Do you remember a film you did
called The Sodbusters?

I know what you're thinking.

There was a man
hanging from a tree

in a scene frThe Sodbusters.

There were two other stories
I told Charlie--

about a snarling dog,

a child's severed hand.

They were in scenes
from my movies,

but I did see them.

I am not unbalanced.

No one thinks
you're unbalanced.

Somebody's trying
to drive me crazy.

Or kill me.

Why would anyone
want to do that?

You don't know Hollywood.

You don't climb to the top...

you claw your way there.

And there are those you hurt

who never forget
and never forgive.

No doubt

they're quite pleased
to hear that...I am broke.

And...

very close
to losing this house.

When Nicky died,
he left you in debt?

There was my furniture,
my paintings,

they went.

And everything of value
that I owned.

I...

lied about the redecorating.

But you knew about that,

I'm sure.

Well, personally,

I like a house that's decorated
with understatement.

Charlie suggested
that I stay here with you.

Can you cook?

Uh...can you?

We can always send out.

Well, we may have to!

KELLY:
What do you think--

are we talking to a lovely
old lady with head problems,

or is someone really
doing numbers on her?

JILL:
And if they are, why?

She hasn't got any money,
which leave us with...revenge?

You know, what we've got
here is a lack of information

about our client.

I mean, Bosley gave us
a whole dossier full of facts--

we need to take
a more personal approach.

Right-- Like people
who have worked with her.

Or will work with her.

Exactly! Gloria Gibson,
past and present.

Okay, I'll go over
to the studio

and see what
the rank and file think

about Gloria
making a comeback.

Now, if somehow you could
work on the picture--

You just triggered
one of my favorite fantasies.

I'll see who's casting
the bits and extras.

A star is born.

[CRICKETS CHIRP]

[BATH WATER RUNNING]

No!

No!

Oh-- Oh, God!

GLORIA:
Sabrina!

Sabrina, please help me!

Sabrina!

God, let her hear me, please!

Gloria!
What's the matter?

What's the matter?

A-- A man--

A dead man in my bathtub!

Gloria...

Oh, God...

All right,
you wait here now.

I'm here,
it's all right.

[SOBBING]

But I--

I-- I saw it.

I saw it!

Oh, God, God, please,

please believe me!

I-- I saw it!

Excuse me.

Pretty, Pretty
is in the next building.

Pretty, Pretty?

Casting. You're looking
for casting, right?

Wrong.
You're hungry?

Never eat before lunch.

A wise move.

You been here long?

Oh, about 10 minutes.

No, I mean, at the studio.

Two hours.

Ha ha! I mean how long have you
been working at the studio?

I come up
with the right answer,

do I get a prize?

Definitely.

40 years.
Been here 40 years.

Oh, gee.

You must have been here

when Gloria Gibson
was making pictures.

Gloria, sure.

Did you know her?

Intimately.

Intimately?

Every day at noon.

Oh. Ha ha!

Gee, I never
would have thought--

Liverwurst
with horse radish.

Every day, liverwurst
with horse radish.

I'm not following you.

That's all she ever ate--

liverwurst with horse radish
sandwiches.

I had to make them up special.

You sell sandwiches?

I don't give them away.

"Lunchie's Munchies"--
that's inventive.

What about Gloria's friends?
Enemies?

Lots of both.

Anyone in particular
come to mind?

That'll take some thought.

What'd you think of her?

Loved the lady,
hated the sandwich.

[CHUCKLES]

What's that?
Your prize.

I think I love you.

Lunch?

Sure.

The Parthenon.
1:00.

That's in Greece--
Long way to go for lunch.

Stage 22--
They're remaking Helen of Troy.

Sounds good.

Um, you will give some thought
to what I said, won't you?

On one condition.

I know-- I won't order
liverwurst with horse radish.

Okay?

I ask so little.

I'll even take an oath.

I trust you.

I love you
and I trust you.

It's better that way.

We may have a problem.

What?

Her.

What do you mean? Who's she?
I don't know,

but she's been asking questions
about Gloria.

What kind of questions?

The kind that
make me nervous.

She might be a reporter
or something.

Maybe, maybe not.

Meanwhile, let's
keep an eye, okay?

MAN: Don't worry about it.
I got the dancer, the singer...

You want four dwarves?

Yeah?

Right, yeah.

And one small boy.

All right. Okay.

What scale?
You owe me one!

Are you
the sword swallower?

No, not really.

I wanted to talk
about representation.

Well, make yourself
comfortable.

Oh.

Now, what can I
do for you?

Uh, I understand you're casting
the bits and extras

for The Heart of New York.

That's right. My cousin's
the associate producer.

Oh, wow.

Gloria Gibson is one
of my all-time favorite ladies.

I'd love to work
on that set.

You got any experience?

Well, uh, I did plays
in high school and college.

And I never get
speeding tickets.

Speeding tickets?

What's that got to do
with anything?

Well, when the police
stop me, I cry.

Oh, yeah?

Yeah.

I wish I could do that.

You oughta try it,
it really works.

Especially when you're a member
of a minority group.

Oh, no. I'm not
a Samoan warrior,

See, I'm on a lunch break.

You could of fooled me.

Besides my partner and I
handling bit players,

we also work as bit players.

Hey, you know
you're late?

The freeway
was a mess.

All right, look,
I got to go.

Hold down
the fort.

Ha, ha, ha!

What's funny?

Asking you to
"hold down the fort."

I mean, your being
an Indian and all.

I'm a lawyer.

Hey, what are you
doing for dinner?

Well, I only eat
nuts and berries.

Oy. Some of my relatives
do that.

Personally,
I find it disgusting.

Listen, do you think
you could get me a union card

to work on
Gloria Gibson's picture?

Uh...this is tricky.

For an Indian lawyer?

SABRINA: Charlie says
you can keep the Rolls

as long as
you need it, Gloria.

GLORIA:
Thank you.

It's nice to see you again,
Miss Gibson.

Oh, it's-- It's nice
to be back, George.

You have a pass for us.

Forget about the pass,
Miss Gibson.

If it weren't for you,

this studio would still
be a bean field.

You just go
right on in.

George, that's
very kind of you.

Oh, I forgot.

Mr. Boyd, one of our
young executives,

has got your old
parking space.

You just park in Visitors.

Thank you!
Bye, George.

As George said,

without me, this would
still be a bean field.

Ha, ha!

You know, Gloria,

before we go inside
there's something

that I really
ought to tell you.

I read that Mr. Yulin,

the man who's
directing the film--

Yes. He doesn't want me
in the picture.

Well, you don't seem upset.

Gloria.

Frank, this is
my new secretary,

Miss Duncan.

How do you do?

Very nice to meet you.

Uh, Gloria,

when we get in there,
if they talk money,

we operate from strength.

Otherwise they
walk all over us.

WOMAN:
Hello, Mr. Ross.

Hello, Kathy.

Would you tell Mr. Jardine
Gloria Gibson is here?

Of course.

Mr. Jardine,
Miss Gibson is here.

JARDINE:
Have her come in.

Go right in.

Thank you.

Come in, Frank.

Thank you, Hal.

Hal Jardine,

Miss Gloria Gibson.

It's a great pleasure.

Thank you.

This is kind
of a big day for me.

When you and I were younger,

I saw every picture
you ever made,

and I loved
every damn one of them.

That's very kind of you.

But excuse me--

I'd like to introduce you
to my secretary, Miss Duncan.

How do you do?

How do you do.

Do you you know our director,
Josef Yulin?

I don't believe
I've had the pleasure.

I've heard lovely things
about you.

YULIN:
Thank you.

You mustn't be nervous,
you know.

What?

I understand
this is your first film.

But I--
I'm not nervous.

And I understand

Ethel Hailey
is also being considered

for this role.

Yes. I have directed her
in a play.

Well,

you are showing a great deal
of courage, Mr. Jardine.

My dear,
don't you agree?

Oh, yes, I do.

I, uh, I don't think
I'm following.

Well, what I mean is,

a stage director

and a stage actress,
both making their first film.

And they are playing
to the balcony,

with big gestures,
big voice.

There is no balcony
in films.

We play in whispers,

with our eyes.

Our inner selves are visible,

and with them,
we overwhelm.

We reduce you
to your elements,

and then we rebuild,

and return you to your selves.

And our audience is remade,

they're exalted,

and loyal to the stars
they love,

and remember.

Well--

Well, your point
is well taken, Miss Gibson.

It's been a great pleasure.

Thank you so much.

[INTERCOM BUZZES]

Yes, sir?

Come in, please.

Bye-bye.

That was a lovely
performance, Miss Gibson!

Well, there's acting,
and thereacting.

We're going to get it. I really
think we're going to get it.

We've got it, Frank,
we've got it.

She's liable
to remember me.

I don't want to risk
stirring up old memories.

I'll talk to you later.

It's been a long time,
hasn't it?

A long time.

Well, your name on the door,

your old parking space back--

It can't get
much better than that.

Not much.

Well--

I must change.

Yes, ma'am.

Thank you.

We'll speak to you later.

Sure.

Some fine lady, huh?

Kelly...

they just don't
come any better.

Come on,
let's get some coffee.

[CRACKLING]

Oh--

Ah...

Oh!

Oh! Oh, God!

GLORIA:
Please! Somebody!

[HAMMER BANGING]

Oh, God!
God help me!

Ah! Oh!

Oh, please, God, help me!

Help me, ohh...

Get the fire extinguisher!
Call the fire department!

SABRINA:
Gloria!

[ALL SHOUTING]

Let me through!
Let me through!

Help me, someone!

Help me! Oh, please,
oh, please...

[GLORIA SOBBING]

Oh, God help me, please!

SABRINA:
Get a doctor, somebody!

Are you all right?

Oh, no! No...

Lucky you had
the crowbar handy.

Yeah. She could
of died in there.

Come on.

No. Mm-mm.

The doctor prescribed it
for your nerves.

Well, dear,
this is my medicine.

Listen--

"Gloria Gibson
came back like Halley's Comet."

[CHUCKLES]

"I met her yesterday

"when her luxurious
dressing room burned,

"with her in it.

"Luckily, Miss Gibson
escaped injury.

"Miss Gibson claims

"this is the fourth attempt
to terrorize her

"since word leaked out
that she might star again

"in Mammoth Pictures'
remake of her great success,

"The Heart of New York.

"The police have uncovered
no evidence to substantiate

Miss Gibson's claims."

They don't seem
to believe you.

What difference does that make?
They printed it.

[KNOCKING]

Come in.

Oh, Frank.

Gloria.

Have you read the--
Have you read the papers?

Oh, yes,
I have.

And I'm worried.

Worried?

This is the biggest story.

No, listen
to me, Gloria.

Dear, the papers think
this is publicity,

but you and I
know different--

somebody wants
to see you dead.

Or else they're trying
to drive me crazy.

And I'll admit,
they've nearly succeeded.

Crazy or dead--
neither choice has much appeal.

You agree?

I don't know
what to think.

The dressing room door
could have been

deliberately jammed shut.

Gloria, you could
have been burned alive.

Well...

what would you
have me do?

[SIGHS]

Listen, give up
this picture.

No. I can't.

You know I can't afford it.

You've still got
the house to sell.

Sell Nicky's house?

Nicky's dead,
Gloria.

Not to me, he isn't.

Not as long
as I live here.

You can always sell it to me,
later when things get better,

you can buy it back
at the same price.

The important thing
is that Jardine likes you,

and that means there are
going to be more roles.

Frank, you're sweet.

But acting is my life,

and it has been
for a long, long time.

No, I'll be on the set
when shooting starts.

MAN:
That's good, that's good.

[CREW MURMURING]

MAN: Get the press camera
into position.

MAN #2: Bring the mics
in to number one!

Excuse me.

Is that a Dior?

Bruce of Norwalk.

Oh, and they said it was hard
to break into show business.

Not when you're wired
to a Samoan warrior

and an Indian lawyer.

YULIN:
I'm waiting on her. Gloria!

YULIN:
What is the situation, Victor?

Are there any new--

Have you looked at
the new revisions?

What do you think?

I don't like it.

First she's asking questions
about Gloria,

and then I saw her
poking around

through the burned trailer
yesterday.

She find anything?

I don't know.
But she has press credentials.

I called every editor I know,
and they never heard of her.

Out-of-town paper, maybe.

Maybe.

She's watching us.

Quit staring.

What the devil
is she up to?

I don't know.

But I do know that
there's too much at stake

to risk having her around.

So what do we do?

Only one thing
we can do--

Remove the risk.

YULIN:
Places, everybody!

SABRINA:
Okay, you're all ready.

Thank you.

Thank you, Sabrina.

Up on the stairs,
Miss Gibson.

Quiet, please!
Everybody in your places!

Quickly! Let's go!

Action!

FEMALE ACTRESS:
Oh, Mother...

this is William Farnham,
the artist.

GLORIA: I know.
I bought one of his paintings,

and paid $90 for it.

YULIN: Cut!
Hold still. No breakup.

Jill, look out!

Ahh!

[CREW MEMBERS SCREAM]

Oh, my--

Nobody touches him.

Step back.

Are you okay?
Yeah.

He was trying
to kill you.

I don't think it was
a solo act, either.

Barkley moved along
the catwalk

to the lamp
that was above Jill,

and then he picked it up

and deliberately
dropped it down.

But why, Jill?

I don't know.

I saw him on the set

when he was talking
to Galbraith, the prop man.

It seemed like
they were kind of watching me.

And then I remembered
I'd seen him at the studio

the day I was questioning
Lunchie Munchie about Gloria.

After Barkley fell,

Galbraith took a look at Jill
and did a very nervous exit.

Galbraith still hasn't
put me with Jill.

Maybe I should
go back to the studio

and keep an eye on him.

They won't finish shooting
for a while tonight,

it's a late call.
What do you think?

It's a good idea.
Be careful.

Okay.

Bye.
Bye.

Jill--
Hm?

How long had Barkley
been with the studio?

He'd been an art director
at the studio for a long time.

Art director, yeah.

Wait a minute...
What?

Gloria, look.

This old news photo.

Oh, yes.

That was taken shipboard

when Nicky and I left Italy

to come home
from our honeymoon.

Look. These two men--
do you recognize them?

That's Barkley,
and that's Galbraith.

Are they--?

Oh, my eyes.

They are!

What are they doing there
with you and Nicky?

Well, I told you, dear,
didn't I?

Besides being
on my honeymoon,

I was also making a picture
in Italy at the time.

So Barkley and Galbraith

were part
of the picture company?

Yes. As a matter of fact--

Now I remember.

Nicky had them remain after
the picture was finished

and the rest of the crew
had gone home.

Why did they stay behind?

Well, it was this one.

Barkley.
Yes.

He did the reproduction
of the Botticelli fresco

for Nicky.

What about Galbraith,
the prop man?

Why did he stay behind?

As I recall,

he arranged for the reproduction
of the fresco

to be sent back here.

Mm-hm.

You're smiling.

I've got it.

By George,
I think I've got it.

Come on.

You going to tell me?
Oh, yeah.

MAN:
Hey, leave the work lights on!

MAN #2:
Okay. Good night.

Listen, I just called
the hospital.

He's dead!

GALBRAITH:
What happened?

I told you guys
not to panic.

We got nervous
about the girl

who was asking
all the questions.

You know, the one who was poking
around in the burned trailer?

[TELEPHONE RINGS]

KELLY:
Gloria?

Yes, Kelly?

[WHISPERING]
Are Jill and Sabrina there?

No, they left
a few minutes ago.

I think they're
going there to see you.

Thank you.
I'll get back to you.

Mobile operator.

She was here,

and he was
up on the catwalk.

Hey--

Go on, go on.

[WHISPERS]
Keep talking.

Well, he had just
pushed the lamp over,

and the cable got caught
around his leg, and...

[MOBILE PHONE RINGS]

Hello? Kelly,
we're on our way there now.

Good. You'll never guess
who joined Galbraith.

Frank Ross.

How'd you know
it was Ross?

Nevermind, I'll tell you
when we get there.

In the meantime, just stay out
of their way, okay?

Hang it up.

Kelly?
What's wrong?

Are you there?

I don't know,
let's get over there, fast.

Okay, you caught me.

I confess--
Guilty as charged.

I know I was warned,
but I figured just this once--

What are you
babbling about?

I know extras aren't supposed
to make phone calls from here,

but I was short of change--

What's going on?

Look, not coin one.

Cover the exit!

Light! Give me some light!

[TIRES SCREECH]

[MOTOR STARTS]

Hold it!

This makes a very nasty hole.

Can't be a beacon
if your light don't shine,

ya know?

Would you think
I was pushy

if I asked why you were
shooting at me?

I've got a theory.
You want to hear it?

Oh, I'd love to.

You know the Botticelli
reproduction in Nicky's room?

What about it?

It isn't.

It isn't there?

It isn't a reproduction.

[SIGHS]

CHARLIE: Well, Sabrina,
what was the verdict?

Well, Charlie, three
Renaissance art experts

all came to the same
conclusion--

the Botticelli fresco in Nicky's
room's the real thing.

Worth millions.

Incredible.

This may go down
as the most notorious story

in the art world
since, uh,

since that fellow
cut off his ear.

Apparently Nicky
paid Galbraith and Barkley

quite handsomely.

Then, when Nicky died,

they decided they had
a chance to really collect.

Well, they couldn't kill Gloria

because that would have
put the house into probate,

which would have kept them
from tearing down the wall

to get to the fresco.

So they contacted
Frank Ross,

and he began his campaign
to drive Gloria out of her mind,

out of her house,
out of the picture--

And into bankruptcy,

so she'd have
to sell the house to him.

The hanging man
and the body in the tub?

BOSLEY:
All movie magic, Charlie.

Speaking of which,

I understand the film
is progressing nicely.

Yeah. Yulin and Gloria

have formed a mutual
admiration society.

We're all invited
to the premier.

Wonderful.
I'll see you there.

Charlie,

you mean, you'll come with us?

I mean,
I'll see you there.

Yes, Charlie,
but will we see you?

You might--

you know how I love the movies.

KELLIE: Ah, Charlie,
how will we know it's you?

Ha, ha! I'll be
wearing a tuxedo.

JILL: Charlie,
all the men at the premier

will be wearing tuxedos.

That's show biz.

Bye, Angels.

Goodbye, Charlie.

Bye.