Hart to Hart (1979–1984): Season 2, Episode 20 - Blue Chip Murder - full transcript
The Harts find a hidden room in their house, and someone else may be looking for it to find the missing fortune of the original owner of the house.
[♪♪♪]
NARRATOR: This is
my boss, Jonathan Hart,
a self-made millionaire.
He's quite a guy.
This is Mrs. H.
She's gorgeous.
She's one lady who knows
how to take care of herself.
By the way, my name is Max.
I take care of both of them,
which ain't easy,
'cause when they met,
it was murder.
[♪♪♪]
[WHIMPERS]
[♪♪♪]
JONATHAN: How are you feeling?
How am I feeling?
How's your headache?
What headache?
What headache?
The headache you
had 10 minutes ago
at the Butterfields' party.
I waited until you
and Mr. Butterfield
shook hands on your deal.
After all...
You always said how
much you hated their parties.
You really are very clever.
Aren't I?
But the most
important thing of all...
is that I don't have a
headache anymore.
[♪♪♪]
JENNIFER: Sweetheart.
JONATHAN: I don't
think we'll need the key.
The door's already open.
[GASPS]
Oh, my God!
Oh, no.
Jonathan!
[♪♪♪]
Are you all right?
Yeah, I think so.
[GRUNTS]
We gotta find Max and Freeway.
[MAX GRUNTING]
Max?
[MUFFLED SPEAKING] Max!
Oh, Max.
Are you all right?
I got this.
Where's Freeway?
Up with the canned goods.
[FREEWAY WHIMPERING]
Oh, baby.
Oh, sweetheart.
Are you all right, baby?
The thief must have
known about Freeway.
He had some treats all
ready to keep him quiet.
Then it was a
professional burglar.
You'd better check your jewelry.
[GASPS]
It's gone.
No, it isn't. It's in that
plastic bag, like always.
The thief put it in the door
while he was looking
for some ice for his drink.
JONATHAN: He
wouldn't have looked good
in your necklace
anyway, darling.
What's all this
money doing here?
MAX: Oh.
I went to the track tonight.
I picked three races.
I left a winner.
Two hundred and eighty bucks.
I was counting it right
here when the thief broke in.
A professional thief?
He wasn't even an
amateur. The jewelry's here.
And what kind of a thief would
leave cold cash lying around?
A wealthy one.
[♪♪♪]
[PANTING]
Some kind of lookout you are.
How could you miss
the Harts' car pulling in?
A blond, blue-eyed officer
of the law pulled over
and asked me what
I was doing here.
I told him I was
waiting for my wife.
And he bought that?
I'm not handcuffed, am I?
Yeah, well... I've
got some good news.
I think I found something.
You did?
Behind this old clock in
the bar, in the living room.
But just when I found
it, the Harts showed up.
Then you've got to get
back inside the house.
Again? Me?
While you just sit out
here, all comfy cozy,
making friends with the law,
you expect me to go in
there and risk my neck?
That Harts' house is
probably full of cops by now.
I've seen enough
of the law for tonight.
You didn't leave any
fingerprints behind,
did you?
No.
But I really had to
tear the place up.
[CHUCKLES]
You never were Mr. Neat.
Oh, it's a shame.
They've got some fancy
magazine coming over there
in a couple of days to
photograph the house.
Really? Which magazine?
Oh, I don't know.
I was rifling through
Mrs. Hart's desk
looking for keys or...
Or blueprints or
something, you know. And...
And I found this... This
letter from the magazine.
Think. Which magazine?
House and Gardens?
House Beautiful?
Architectural Digest?
How should I know? I'm
not an interior decorator.
Oh, uh... Ah, Calif...
Yeah, it had... It had
"California" in the title.
California Homes.
Yeah. Yeah, that's it.
Good boy.
Police or no police...
we are not only going to get
back inside the Harts' house...
but by invitation.
[LAUGHS]
[CHUCKLES]
[♪♪♪]
JENNIFER: Well, they
certainly did a job on the desk.
They've mixed up all the bills.
Darling, did we pay
the phone company?
[DIAL TONE BUZZES]
Yup.
Oh, no.
Is something missing?
[SIGHS]
Not missing. Forgotten.
California Homes magazine.
They're coming here in two
days to photograph the house.
Outside and in.
Tsk.
Well... That's impossible.
With the place
in this condition,
I'll just have to
call and cancel.
What is California Homes?
Well, it's a very small, but
very prestigious magazine.
Here. Read it.
"Dear Mr. and Mrs. Hart.
"We understand that your house
"was designed and
built in the 1920's
"by Lawrence Freeman,
the famous architect.
"We would very much
like to feature your home
in an upcoming issue
of our magazine."
Max, is there a
telephone number on that?
Yeah.
Well, I'll call them in the
morning, we'll cancel it.
MAX: Wait a
minute. We can easily
get this place shipshape
in time for the magazine.
Now you're talking, Max.
What are you going to do?
First thing in the morning,
I'm gonna call a maid service.
[CHUCKLES]
[♪♪♪]
[KNOCK]
MAN: Come in.
We're looking for
the photographer
that's scheduled to
shoot the Hart house.
That's me. John Dengler.
And you must be, uh, Mr. Hart.
Right.
Just wanted to ask
you a couple questions.
Do you, uh, come alone,
or is there a big crew?
They all ask me
that. No big crew
is gonna come in and
trek dirt on your carpeting.
It's just me.
So you... Ahem.
You've never met the
Harts then, have you?
Sure I have.
Aren't you Mr. Hart?
Uh... Well, sure. R-right.
Shut up, Ronnie.
[♪♪♪]
Well, this correspondence
ought to tell us the rest.
[PHONE RINGING]
It's for you.
Hello.
Mrs. Hart.
John Dengler from
California Homes.
I hope I'm not calling too late.
No, no, it's not too late.
Mrs. Hart, my schedule
says we're set for 9 a.m.
the day after tomorrow.
Just double-checking.
We can hardly
wait to get started.
[YAWNING] 9 a.m.?
I guess that's all right.
Good, see you at 9 then.
Bye-bye, Mrs. Hart.
Yeah, good night.
[♪♪♪]
Mr. H... is that in
the exact center?
Yeah, it's perfect, Max.
And if you keep
moving it around,
you're gonna wear
a hole in the bar.
I want everything to
be perfect for tomorrow.
It will be.
If I'd had known you
were gonna get this excited
about the house
being photographed,
I'd have done it before.
Darling... I have an idea.
Why don't we take that clock
and put it up there
on the mantel?
Well, it's looked fine there
ever since it came with
the house years ago.
Ah...
Max... put it on the
mantel, will you?
[CHUCKLES]
Hey.
There's a button back there.
Maybe it's a light switch.
I never noticed it before.
Nothing.
[CLANKING]
JENNIFER: What's this?
JENNIFER: Looks
like a passageway.
Hey, Max... Get
some light, will you?
Right, Mr. H.
[♪♪♪]
JONATHAN: A stairway.
I wonder where that leads to.
Give me your hand.
JENNIFER: Be careful.
Max, give me your hand.
It's cold.
An empty room.
Looks like something
the architect started...
and never finished.
A sealed-off empty room?
Doesn't make any sense.
Lawrence Freeman
was famous for utilizing
every inch of space.
I wonder who we
could ask about this?
Darling, didn't you
say that Freeman died
a recluse in this house,
leaving no apparent heirs?
I read his obituary in
the Wall Street Journal.
It seems that old man Freeman
was some sort of a
stock market wizard
back in the 1920's, huh.
Well...
most of his associates
would be dead by now.
Maybe the brokerage house
that handled his account
is still in business.
Yeah, that's an idea, Max.
We'll check that out.
[♪♪♪]
JENNIFER: So this is the fabled
Urban Pacific Gentlemen's Club.
I understand the
food is exquisite.
Shall we go in?
Uh, our host said to
wait for him outside.
Well, I hope this Mr. Janis
has as much information
as he has good taste.
Well, he is the son
of Freeman's broker.
If he can't help us, who can?
Mr. And Mrs. Hart?
Yes. Mr. Janis?
Yes, that's right. A
pleasure to meet you both.
How do you do?
As I said when you phoned,
this is my neck of the woods.
So I insist, lunch is on me.
Shall we? Yeah.
[♪♪♪]
Hiya, Mr. Janis. Hello, Leo.
How are you doing today?
Fine. And give the Harts
a couple of dogs with the works.
Onions too, folks?
BOTH: Why not?
JANIS: After all these years,
somebody's asking
after Lawrence Freeman.
Well, you see, Mr. Janis, uh,
we live in Lawrence
Freeman's old house.
JENNIFER: Frankly,
we're interested
in getting some
information about the house,
as well as Mr. Freeman.
Well, I don't know very
much about the house,
but as for Mr. Freeman,
in his last years... Here.
The only time he
appeared in public
was on a visit to the
Sorbonne in Paris,
his alma mater.
Here you go. Thank you.
Shall we?
As I was saying, I
recall... Thank you.
My dad telling me
that Mr. Freeman
was a very private man.
Bought everything
on the market for cash.
Didn't want his name on a thing.
The less the IRS
knew, the better.
That was before the days
of the big tax bite, Mr. Hart.
So Mr. Freeman...
died a millionaire?
Nobody really knows.
When he died,
his portfolio of stocks and
bonds was never found.
It vanished.
Maybe left in his
vault at the bank?
Bank?
Lawrence Freeman
wouldn't even trust a bank.
In those days, they went under.
Uh, it wasn't uncommon to
put your faith in a mattress
or a cookie jar.
That's quite a mystery.
A man spends most of
his life amassing a fortune
that vanishes after he dies.
He also built rooms that
vanished after he died.
A room vanished?
I'm confused.
So are we.
Mr. Janis... did your
firm keep any files
from that far back?
Sorry, no.
So with no record
of the transactions,
and the disappearance
of the stocks and bonds,
I guess we've
reached a dead end.
You might check with our
Miss Cox in the file room.
I thought you said you
didn't keep files that far back?
We don't keep files,
but we keep Miss Cox.
She's a walking
encyclopedia of my firm.
But I must warn you,
she tends to let her
imagination get the best of her.
Oh, I must run.
I have an appointment
at the office.
I'll tell Miss Cox
to expect you.
Bye. Bye-bye.
Bye.
[♪♪♪]
He forgot to pay.
JENNIFER: Then you
knew Lawrence Freeman
when he was a
client at the firm?
Oh, yes.
I was a teenager
when I started here.
Really?
Do you recall what
kind of investments
Freeman had?
He bought bearer bonds.
Bearer bonds?
You mean, bonds with
nobody's name on them,
payable only to the bearer...
instantly negotiable
by whoever has them?
Exactly.
If those bonds
were lost or stolen,
it's, uh, finders keepers.
I once, uh...
delivered some bonds
to him personally.
Then you met him?
Up at the big house
on Willow Pond Road.
Well, that's our house now.
Your house?
Well...
Just between us,
have you seen it?
Seen what?
Back in the Great Depression,
when banks were failing,
there were rumors
flying around this office
that old Freeman
had a special vault
built in Switzerland
and shipped over here.
A vault?
Like a big bank has.
And the talk was,
he constructed the
house around the vault.
Well... you were at the house.
Have you ever seen it?
No.
You live there now. Have you?
No.
You know something?
It occurs to me
about those bonds...
that they could be
completely worthless.
Suppose they're held in some
totally defunct
company like, uh...
Atwater Kent radios or...
Packard automobiles.
Well...
the bonds I delivered to
him were municipal bonds.
City bonds.
And frankly, they didn't seem
such a good
investment back then.
City?
Why, it was nothing
more than orange groves.
Now they call
those orange groves
downtown Los Angeles.
Ida... this theory of yours,
about the vault and the bonds...
have you discussed
it with anyone else?
Probably.
I tend to go on a bit.
Most of the younger
members of the firm
think I'm dotty
from all the years
in this windowless file room.
We don't think you're dotty,
and, uh, we appreciate
all the time you've given us.
Mrs. Cox? Mr. Barber?
Could you get the correspondence
on the McPartland
account, please.
Right away, sir.
Oh, uh, Mr. Barber,
Jennifer and Jonathan Hart.
How do you do? Hi.
[♪♪♪]
Thanks, Ida.
Nice meeting you.
JENNIFER: Nice meeting you.
Up-and-coming young man here.
Very polite. Holds
the door open for me.
I have high hopes for him.
Thanks very much
for all your help, Ida.
You've been very kind.
Bye-bye. You're welcome.
Ronnie.
What are you doing here?
I just saw the Harts...
in my file room,
talking to Ida Cox.
What was she doing?
She was hardly
giving them stock tips.
No, what had to bring
the Harts to good old Ida
was Lawrence
Freeman and the house.
I'm afraid the Harts
know far too much already.
Well, if they saw you,
then you can't go into
their house tomorrow
posing as a man
from California Homes.
You'll have to go as
the late Mr. Dengler.
[LAUGHS]
I don't know anything
about photography.
Besides, with the
Harts snooping around...
it's getting too risky.
Look, I am tired of helping
people make millions
while I only get
the commissions.
And I thought you were tired
of grease under
your fingernails.
Are we still in
this... together?
Yeah.
[♪♪♪]
[CAR DOOR CLOSES, ENGINE STARTS]
MAX: Come in, Mr. Dengler.
Right this way, sir.
Thank you.
Mr. Dengler.
Mrs. Hart. How do you do?
This is my husband, Jonathan.
How do you do? A pleasure.
Ah, Mrs. Hart.
The, uh, letter of
confirmation you sent me.
You should take a look at it.
Nowadays, we can't just
open our house to anyone.
So we've learned.
Well... I think I'll
start in here first.
Oh, no.
Problem?
Yeah, I left all my flash
bulbs back in my office.
Well, maybe we could
send Max for them.
Oh, would you do
that for me, please?
Certainly.
Oh, thank you.
Ah. Well...
If you don't mind, I'm
gonna close those drapes.
Oh, sure.
Some people prefer
natural lighting,
but, uh, inside, it tends
to mess things up a bit.
Some people like
it that way, though.
But I think you'll like this.
It tends to make
it more intimate,
personal.
There. I think
we're about ready.
JENNIFER: Max is on his way.
Good.
Well...
I think I'd like a
shot of the two of you
right there in front
of the antique clock
behind the bar.
Well, aren't you gonna
wait for the flash bulbs?
No.
All I need for
this shot is... this.
Don't move.
All right, Mr. Hart. Out
from behind the bar.
Move. Come on.
[♪♪♪]
Sorry.
We think you know too
much about the house.
We think?
Who's "we"?
It's not important, Mr. Hart.
Max, your man, is gone.
There'll be no witnesses.
Mrs. Hart, over
by the fireplace.
Now!
Move.
Come on.
You too, Mr. Hart. Move.
Fire.
[GUNSHOTS]
[GUNSHOT]
Darling.
He's dead.
He's dead.
The problem is...
his partner's out there
trying to get in here.
[♪♪♪]
[♪♪♪]
JONATHAN: Yes, lieutenant.
I understand.
Thank you.
They just found
the real Mr. Dengler
of California Homes.
Supposedly a
victim of hit-and-run.
Max, will you fix
us some drinks.
Coming up.
Did they identify the
man who tried to kill us?
Well, they're tracing
him from the car
he left in the driveway,
but so far, no luck.
What do they think we should do?
Well, the police think
that we should, after having
two intruders in one week,
move into a hotel until
they get to the bottom of this.
Oh, that's great.
If a man ain't safe
in his own home,
he ain't safe nowhere.
They don't want us.
They want our house.
You remember the
phony Mr. Dengler
said that we knew too much
about our own house?
What if we proved him right?
Proved him right?
If there's one secret
room in the house,
there could be two.
But we can't go tearing the
place apart brick by brick.
No, but they put it
together brick by brick.
And in order to do that,
they had to have drawings.
Now, one of those
drawings might show
a mystery room on it.
Darling, this house
is 50 years old.
Where would we
find the blueprints?
The city keeps records.
They do now,
but, uh, 50 years ago,
it could be doubtful.
Mr. Janis said that
before Freeman died,
he made a very rare
public appearance
at his alma mater.
A recluse going
to his alma mater
all the way to the
Sorbonne in Paris?
He must have had a soft spot.
Original Lawrence
Freeman blueprints
would have some historic value.
Maybe he gave them
as a gift to the school.
Well, from what
we know about him,
it had to be a tax write-off,
but I'll call the
school and find out.
[DIALING]
Overseas operator, please.
Paris.
[♪♪♪]
[TELEPHONE RINGING]
It's for you.
Oh, great.
Hello.
[LOUDLY] Hello?
Oh, oui.
Allô!
J'attends.
It's the... The call.
They're returning it from Paris.
Allô. Oui.
Qui?
Ah, bon, bon. Merci. D'accord.
They're connecting me
with Monsieur Bechet.
He's the curator of collections.
["LA MARSEILLAISE"
PLAYING] [CAR HORN HONKS]
JENNIFER: Allô?
Monsieur Bechet?
Je m'appelle Jennifer Hart.
[SPEAKING IN FRENCH]
Mrs. Hart, I speak
English fluently.
Oh, you do? Oh. Very good.
Uh, Mr. Bechet,
this is a matter
of some urgency.
We live in the Lawrence
Freeman house in Los Angeles.
Ah, yes. I know it well.
I mean, from the
drawing we have.
You do?
Oh, well, that's wonderful.
That's exactly what I need.
Uh, do you think you
could look at the drawing
and describe the house to me?
You want me to describe
your own house to you?
Uh... I know it sounds peculiar,
but believe me,
it's very important.
I'll take out the blueprint.
One moment, please.
He's getting the blueprint.
Fifty million Frenchmen
are one night's sleep up on me.
Hello?
Uh, I have it in front of me.
You do?
All right, uh, do you
see the living room?
Yes. Yes, I do.
Can you see a little room
below the living room?
Uh... He calls it a
hallway, Mrs. Hart.
He calls it a hallway.
Does it lead anywhere?
Uh, does it lead anywhere?
It connects, uh
by a doorway to
the "green room."
The green room?
Are you sure of that?
Most definitely, the green room.
Well, uh, thank you so much.
That's ex... All
we need to know.
You're very, very kind, and
we appreciate it very much.
Merci beaucoup. Au revoir.
Good night.
Bye-bye.
Well, the green room.
[CLEARS THROAT] Hm.
You going back to sleep
or you gonna join
me in the green room?
Après vous.
Oh, I love it when
you speak French.
[♪♪♪]
He said this was a door?
That's what he said.
There's no handles, no knobs.
Nothing.
You know, there must be a
secret compartment down here.
Maybe.
Look at this.
A key.
[SQUEAKING, GRINDING]
I think I saw this
on the late show.
Wow.
I guess you don't just go
barging into the green room.
JONATHAN: That's
certainly not going to work.
I've got an idea.
I'll be right back.
[ELECTRICAL DRILL WHIRRING]
Where'd you learn
how to do that?
My roommate in
college was a dentist.
[GRUNTING]
[DOOR RATTLING, KEY JINGLING]
Well... will you look at this?
Every house should have one.
Oh, I get it.
The green room.
"Green" as in "money."
The architect's favorite color.
Very sentimental man.
Hm.
Dusty.
Darling... [CLOSES DRAWER]
Look at these.
The bonds.
"Pay to the bearer."
Can you imagine the
interest that's accrued
to these over the years?
Huh. Some orange groves.
Yeah, no wonder those thieves
were so anxious
to kill us for them.
Well, we did the digging.
But you know who
really found these?
Mm-hm. Ida Cox.
And you remember what she said?
Finders keepers.
Yeah, she was
right all the time.
Well... shall we surprise her?
Great idea.
IDA: Mr. Hart, I
don't know if my boss
will let me have the
rest of the day off.
But I'm dying to see the vault.
I'll try.
Ida... you tell them
if they don't give
you the day off,
you'll buy the joint.
Mr. Hart, what's come over you?
Why, I could lose my job.
I'll try and get there
as soon as I can.
Goodbye.
[KNOCK ON DOOR]
Yes?
What is it, Ida?
Mr. Barber. May I
have the afternoon off?
Are you ill?
[CHUCKLING] Oh, no, Mr. Barber.
No, uh... Uh, I know I've
mentioned this to you before...
and you probably think
I'm a bit off the deep end,
but... remember
that vault I said
just had to be in the
old Freeman house?
Yes.
It's there.
It exists.
Those nice people
you met here, the Harts?
They live in the house.
They found it and
want me to see it.
[SNICKERS]
Well, well, Ida, if you...
believe this tale,
why shouldn't I?
Take the rest of the day off.
Thank you, sir.
Hey, uh...
Cab fare out there could
cost you a half day's pay.
Why don't you let me drive you.
You're such a gentleman.
Well, I may be a gentleman,
but I'll level with you.
If that vault contains the bonds
that you told me about...
the Harts might need a
good broker to help sell them.
I'm not just going
along for the ride.
I'm hoping to land a nice
commission on the sale.
Mr. Barber...
I spotted you as
an up-and-comer...
but, uh... Mr. Barber,
you're a devil.
[CHUCKLES]
Yes.
To make this sale...
I'll do just about anything.
[♪♪♪]
Well, here it is, Ida.
It's a fact. Not a fantasy.
Oh. Were the bonds here too?
JENNIFER: They certainly were.
Incredible.
You'll be so rich.
Mr. Hart, as I told Ida
when we left the office,
I came along for
more than just the ride.
Oh?
May I look at the bonds?
Of course. Take a look.
"Payable to the bearer."
Mr. and Mrs. Hart, if
you'd like to sell these,
I'd be more than happy
to handle the transaction.
For the standard commission?
Heh. Precisely.
Well, uh, we appreciate
your candor, Mr. Barber,
but the, uh... bonds
aren't ours to sell.
They're not?
No.
Darling?
Ida... if it weren't for you,
we never would have found
the bonds in the first place.
They belong to you.
But... I...
Oh.
Oh, you've been in that
filing room too long, Ida.
Now you'll be able to
afford to be on a vacation
as long as you want.
JENNIFER: And whenever
you want to cash them in,
I'm sure Mr. Barber
would be delighted
to handle the transaction.
Thank you, Mrs. Hart.
Ida...
I'll just put these
inside my briefcase...
until we can find
you... your own vault.
Don't move.
Any of you.
Mr. Barber.
Well, darling,
it looks like we've found
the other part of the team.
A good stockbroker
always plays his hunches.
And in this case...
Ida's hunch was just...
too good to pass up.
What are you gonna do with us?
Do? Heh.
Absolutely nothing.
You wanted to find
this vault so badly...
I'm just going to give
you some time to enjoy it.
[CLANG]
[♪♪♪]
Max will be home
before too long, and...
And he'll get us out of here.
It's all my fault.
Don't be silly.
We'll be out of here
before you know it.
We're going to suffocate.
I don't think so, Ida. Not
with all this dust in here.
There's gotta be air getting
in here from someplace.
We can still breathe.
[CLAPS ONCE]
I feel so dizzy.
Sit down.
Are you all right?
I'm okay.
Really, it's... It's just
all this excitement.
Ah. Don't worry about me.
Don't worry?
It's my heart. I'm
on medication.
It's at home, and without it...
Well, we'll get you
out somehow, Ida.
You remember what you
told us about the architect?
You mean, his
passion for privacy?
Exactly.
Now, there may be no air
coming through that steel door...
but there's air coming
in here from someplace.
You mean, like a back door?
The walls, the
ceiling: solid steel.
Why don't you check
out that wall over there.
See if any air is coming in.
[♪♪♪]
Oh.
You know, I seem
to recall that...
in every Lawrence Freeman house,
he designed something unusual.
JONATHAN: Correct.
We're in it.
[FAINT HISSING]
Think I found something.
Get the key off that table.
[WIND BLOWING]
Look at that.
Let me check this out.
[FREEWAY BARKING]
I think I found something.
Come on.
Grab Ida's hand,
and come this way.
Here, Freeway.
Go get it. Go!
Good boy, Freeway.
The Dodgers could
use you at center field.
Now, prepare
yourself for a long one.
JONATHAN [ECHOING]:
Hey, my head!
[WHINES]
Who is that?
Who is that?
JONATHAN [ECHOING]: Max!
Hey, Max!
Help us, will you? We're
down here in the well!
What are you doing down there?
Lower down the bucket,
will you, and pull me up.
[BARKS]
Thanks, Max.
What were you doing down there?
Making a wish?
I was looking all over
the house for you people.
Oh, we haven't been
all over the house.
We've been all under the house.
Help me lower this
down and get the girls out.
Got it?
JENNIFER [ECHOING]: Got it!
Okay, hang on, Ida.
Hang on. Crank it.
[GRUNTS]
You all right, Ida?
Yeah.
Grab the rope and make a wish.
You got it, darling?
JENNIFER: Got it!
Okay, hang on.
Crank it, Max.
[BARKS]
[GRUNTS]
Thanks, Max. You're a lifesaver.
Max, I want you
to take Ida home.
Right away. She
needs her medication.
Be a pleasure. Come on, Ida.
Oh, thanks, Max.
You and I are gonna check
out a certain stockbroker.
Before he makes another
killing in the market.
Come on.
[FREEWAY BARKING]
Theodore? Chris Barber here.
Fine, thanks.
Theodore, I've got
some negotiable bonds
I'd like to sell.
Been in the family for decades,
and I'd like to cash them in.
Thanks, Theodore.
I'll meet you on the
stock-exchange floor
in 20 minutes?
Bye.
Mr. Hart.
It looks like a standoff.
How 'bout now?
Drop the gun, Mr. Hart.
Now.
She goes with me.
Don't make any moves, Mr. Hart.
Otherwise, I'll kill her.
[♪♪♪]
[ENGINE STARTS]
[TIRES SCREECH]
[TIRES SCREECH]
[TIRES SCREECHING]
[HORN HONKS]
[TIRES SCREECHING]
[TRUCK HORN HONKING]
[TIRES SCREECHING]
[TIRES SCREECHING]
[GUNSHOT]
[GUNSHOTS]
[SCREECHING]
I'll watch him.
Uh... Get the car.
JENNIFER: Oh, you're
gonna have such a lovely trip.
Oh! Jonathan and
I were there once.
It's beautiful.
Oh, must be. Tsk.
Oh, there's so many
beautiful places to go to.
Oh, yes.
Rock climbing in the Yosemite.
[CHUCKLING] That must be fun.
More wine? [CHUCKLES]
Oh, yes, Max. Please.
Why don't you join
us, Max. Oh, thank you.
Oh, well, this is interesting.
Look.
It's got all the rates here.
And, uh... a tour
leaves every Monday.
[TELEPHONE RINGING]
By bus or...? Or
limousine? Or what?
Oh, uh, I... I
think it's by bus.
But... You know,
I forgot about this.
MAX: Hart residence.
They have mineral
baths there too.
IDA: Ahh.
Mr. H? It's a lady from
American Homes magazine.
They're interested in
photographing the house,
you, Mrs. H, Freeway and me.
No, no, no, no, Max.
Tell them to forget it.
Excuse me.
[SOUTHERN ACCENT] Hi there.
We're rentin' the
house from the Harts.
They're away in Africa
for at least six months.
So if you wanna talk to them,
you're gonna have
to wait till then.
Heh. No trouble at all.
Bye.
[♪♪♪]
Africa?
Africa.
That's a wonderful idea.
Snows of Kilimanjaro,
King Solomon's mines.
Oh, it would be
fabulous. [CHUCKLES]
Me Tarzan.
But you, you're bananas.
[♪♪♪]
NARRATOR: This is
my boss, Jonathan Hart,
a self-made millionaire.
He's quite a guy.
This is Mrs. H.
She's gorgeous.
She's one lady who knows
how to take care of herself.
By the way, my name is Max.
I take care of both of them,
which ain't easy,
'cause when they met,
it was murder.
[♪♪♪]
[WHIMPERS]
[♪♪♪]
JONATHAN: How are you feeling?
How am I feeling?
How's your headache?
What headache?
What headache?
The headache you
had 10 minutes ago
at the Butterfields' party.
I waited until you
and Mr. Butterfield
shook hands on your deal.
After all...
You always said how
much you hated their parties.
You really are very clever.
Aren't I?
But the most
important thing of all...
is that I don't have a
headache anymore.
[♪♪♪]
JENNIFER: Sweetheart.
JONATHAN: I don't
think we'll need the key.
The door's already open.
[GASPS]
Oh, my God!
Oh, no.
Jonathan!
[♪♪♪]
Are you all right?
Yeah, I think so.
[GRUNTS]
We gotta find Max and Freeway.
[MAX GRUNTING]
Max?
[MUFFLED SPEAKING] Max!
Oh, Max.
Are you all right?
I got this.
Where's Freeway?
Up with the canned goods.
[FREEWAY WHIMPERING]
Oh, baby.
Oh, sweetheart.
Are you all right, baby?
The thief must have
known about Freeway.
He had some treats all
ready to keep him quiet.
Then it was a
professional burglar.
You'd better check your jewelry.
[GASPS]
It's gone.
No, it isn't. It's in that
plastic bag, like always.
The thief put it in the door
while he was looking
for some ice for his drink.
JONATHAN: He
wouldn't have looked good
in your necklace
anyway, darling.
What's all this
money doing here?
MAX: Oh.
I went to the track tonight.
I picked three races.
I left a winner.
Two hundred and eighty bucks.
I was counting it right
here when the thief broke in.
A professional thief?
He wasn't even an
amateur. The jewelry's here.
And what kind of a thief would
leave cold cash lying around?
A wealthy one.
[♪♪♪]
[PANTING]
Some kind of lookout you are.
How could you miss
the Harts' car pulling in?
A blond, blue-eyed officer
of the law pulled over
and asked me what
I was doing here.
I told him I was
waiting for my wife.
And he bought that?
I'm not handcuffed, am I?
Yeah, well... I've
got some good news.
I think I found something.
You did?
Behind this old clock in
the bar, in the living room.
But just when I found
it, the Harts showed up.
Then you've got to get
back inside the house.
Again? Me?
While you just sit out
here, all comfy cozy,
making friends with the law,
you expect me to go in
there and risk my neck?
That Harts' house is
probably full of cops by now.
I've seen enough
of the law for tonight.
You didn't leave any
fingerprints behind,
did you?
No.
But I really had to
tear the place up.
[CHUCKLES]
You never were Mr. Neat.
Oh, it's a shame.
They've got some fancy
magazine coming over there
in a couple of days to
photograph the house.
Really? Which magazine?
Oh, I don't know.
I was rifling through
Mrs. Hart's desk
looking for keys or...
Or blueprints or
something, you know. And...
And I found this... This
letter from the magazine.
Think. Which magazine?
House and Gardens?
House Beautiful?
Architectural Digest?
How should I know? I'm
not an interior decorator.
Oh, uh... Ah, Calif...
Yeah, it had... It had
"California" in the title.
California Homes.
Yeah. Yeah, that's it.
Good boy.
Police or no police...
we are not only going to get
back inside the Harts' house...
but by invitation.
[LAUGHS]
[CHUCKLES]
[♪♪♪]
JENNIFER: Well, they
certainly did a job on the desk.
They've mixed up all the bills.
Darling, did we pay
the phone company?
[DIAL TONE BUZZES]
Yup.
Oh, no.
Is something missing?
[SIGHS]
Not missing. Forgotten.
California Homes magazine.
They're coming here in two
days to photograph the house.
Outside and in.
Tsk.
Well... That's impossible.
With the place
in this condition,
I'll just have to
call and cancel.
What is California Homes?
Well, it's a very small, but
very prestigious magazine.
Here. Read it.
"Dear Mr. and Mrs. Hart.
"We understand that your house
"was designed and
built in the 1920's
"by Lawrence Freeman,
the famous architect.
"We would very much
like to feature your home
in an upcoming issue
of our magazine."
Max, is there a
telephone number on that?
Yeah.
Well, I'll call them in the
morning, we'll cancel it.
MAX: Wait a
minute. We can easily
get this place shipshape
in time for the magazine.
Now you're talking, Max.
What are you going to do?
First thing in the morning,
I'm gonna call a maid service.
[CHUCKLES]
[♪♪♪]
[KNOCK]
MAN: Come in.
We're looking for
the photographer
that's scheduled to
shoot the Hart house.
That's me. John Dengler.
And you must be, uh, Mr. Hart.
Right.
Just wanted to ask
you a couple questions.
Do you, uh, come alone,
or is there a big crew?
They all ask me
that. No big crew
is gonna come in and
trek dirt on your carpeting.
It's just me.
So you... Ahem.
You've never met the
Harts then, have you?
Sure I have.
Aren't you Mr. Hart?
Uh... Well, sure. R-right.
Shut up, Ronnie.
[♪♪♪]
Well, this correspondence
ought to tell us the rest.
[PHONE RINGING]
It's for you.
Hello.
Mrs. Hart.
John Dengler from
California Homes.
I hope I'm not calling too late.
No, no, it's not too late.
Mrs. Hart, my schedule
says we're set for 9 a.m.
the day after tomorrow.
Just double-checking.
We can hardly
wait to get started.
[YAWNING] 9 a.m.?
I guess that's all right.
Good, see you at 9 then.
Bye-bye, Mrs. Hart.
Yeah, good night.
[♪♪♪]
Mr. H... is that in
the exact center?
Yeah, it's perfect, Max.
And if you keep
moving it around,
you're gonna wear
a hole in the bar.
I want everything to
be perfect for tomorrow.
It will be.
If I'd had known you
were gonna get this excited
about the house
being photographed,
I'd have done it before.
Darling... I have an idea.
Why don't we take that clock
and put it up there
on the mantel?
Well, it's looked fine there
ever since it came with
the house years ago.
Ah...
Max... put it on the
mantel, will you?
[CHUCKLES]
Hey.
There's a button back there.
Maybe it's a light switch.
I never noticed it before.
Nothing.
[CLANKING]
JENNIFER: What's this?
JENNIFER: Looks
like a passageway.
Hey, Max... Get
some light, will you?
Right, Mr. H.
[♪♪♪]
JONATHAN: A stairway.
I wonder where that leads to.
Give me your hand.
JENNIFER: Be careful.
Max, give me your hand.
It's cold.
An empty room.
Looks like something
the architect started...
and never finished.
A sealed-off empty room?
Doesn't make any sense.
Lawrence Freeman
was famous for utilizing
every inch of space.
I wonder who we
could ask about this?
Darling, didn't you
say that Freeman died
a recluse in this house,
leaving no apparent heirs?
I read his obituary in
the Wall Street Journal.
It seems that old man Freeman
was some sort of a
stock market wizard
back in the 1920's, huh.
Well...
most of his associates
would be dead by now.
Maybe the brokerage house
that handled his account
is still in business.
Yeah, that's an idea, Max.
We'll check that out.
[♪♪♪]
JENNIFER: So this is the fabled
Urban Pacific Gentlemen's Club.
I understand the
food is exquisite.
Shall we go in?
Uh, our host said to
wait for him outside.
Well, I hope this Mr. Janis
has as much information
as he has good taste.
Well, he is the son
of Freeman's broker.
If he can't help us, who can?
Mr. And Mrs. Hart?
Yes. Mr. Janis?
Yes, that's right. A
pleasure to meet you both.
How do you do?
As I said when you phoned,
this is my neck of the woods.
So I insist, lunch is on me.
Shall we? Yeah.
[♪♪♪]
Hiya, Mr. Janis. Hello, Leo.
How are you doing today?
Fine. And give the Harts
a couple of dogs with the works.
Onions too, folks?
BOTH: Why not?
JANIS: After all these years,
somebody's asking
after Lawrence Freeman.
Well, you see, Mr. Janis, uh,
we live in Lawrence
Freeman's old house.
JENNIFER: Frankly,
we're interested
in getting some
information about the house,
as well as Mr. Freeman.
Well, I don't know very
much about the house,
but as for Mr. Freeman,
in his last years... Here.
The only time he
appeared in public
was on a visit to the
Sorbonne in Paris,
his alma mater.
Here you go. Thank you.
Shall we?
As I was saying, I
recall... Thank you.
My dad telling me
that Mr. Freeman
was a very private man.
Bought everything
on the market for cash.
Didn't want his name on a thing.
The less the IRS
knew, the better.
That was before the days
of the big tax bite, Mr. Hart.
So Mr. Freeman...
died a millionaire?
Nobody really knows.
When he died,
his portfolio of stocks and
bonds was never found.
It vanished.
Maybe left in his
vault at the bank?
Bank?
Lawrence Freeman
wouldn't even trust a bank.
In those days, they went under.
Uh, it wasn't uncommon to
put your faith in a mattress
or a cookie jar.
That's quite a mystery.
A man spends most of
his life amassing a fortune
that vanishes after he dies.
He also built rooms that
vanished after he died.
A room vanished?
I'm confused.
So are we.
Mr. Janis... did your
firm keep any files
from that far back?
Sorry, no.
So with no record
of the transactions,
and the disappearance
of the stocks and bonds,
I guess we've
reached a dead end.
You might check with our
Miss Cox in the file room.
I thought you said you
didn't keep files that far back?
We don't keep files,
but we keep Miss Cox.
She's a walking
encyclopedia of my firm.
But I must warn you,
she tends to let her
imagination get the best of her.
Oh, I must run.
I have an appointment
at the office.
I'll tell Miss Cox
to expect you.
Bye. Bye-bye.
Bye.
[♪♪♪]
He forgot to pay.
JENNIFER: Then you
knew Lawrence Freeman
when he was a
client at the firm?
Oh, yes.
I was a teenager
when I started here.
Really?
Do you recall what
kind of investments
Freeman had?
He bought bearer bonds.
Bearer bonds?
You mean, bonds with
nobody's name on them,
payable only to the bearer...
instantly negotiable
by whoever has them?
Exactly.
If those bonds
were lost or stolen,
it's, uh, finders keepers.
I once, uh...
delivered some bonds
to him personally.
Then you met him?
Up at the big house
on Willow Pond Road.
Well, that's our house now.
Your house?
Well...
Just between us,
have you seen it?
Seen what?
Back in the Great Depression,
when banks were failing,
there were rumors
flying around this office
that old Freeman
had a special vault
built in Switzerland
and shipped over here.
A vault?
Like a big bank has.
And the talk was,
he constructed the
house around the vault.
Well... you were at the house.
Have you ever seen it?
No.
You live there now. Have you?
No.
You know something?
It occurs to me
about those bonds...
that they could be
completely worthless.
Suppose they're held in some
totally defunct
company like, uh...
Atwater Kent radios or...
Packard automobiles.
Well...
the bonds I delivered to
him were municipal bonds.
City bonds.
And frankly, they didn't seem
such a good
investment back then.
City?
Why, it was nothing
more than orange groves.
Now they call
those orange groves
downtown Los Angeles.
Ida... this theory of yours,
about the vault and the bonds...
have you discussed
it with anyone else?
Probably.
I tend to go on a bit.
Most of the younger
members of the firm
think I'm dotty
from all the years
in this windowless file room.
We don't think you're dotty,
and, uh, we appreciate
all the time you've given us.
Mrs. Cox? Mr. Barber?
Could you get the correspondence
on the McPartland
account, please.
Right away, sir.
Oh, uh, Mr. Barber,
Jennifer and Jonathan Hart.
How do you do? Hi.
[♪♪♪]
Thanks, Ida.
Nice meeting you.
JENNIFER: Nice meeting you.
Up-and-coming young man here.
Very polite. Holds
the door open for me.
I have high hopes for him.
Thanks very much
for all your help, Ida.
You've been very kind.
Bye-bye. You're welcome.
Ronnie.
What are you doing here?
I just saw the Harts...
in my file room,
talking to Ida Cox.
What was she doing?
She was hardly
giving them stock tips.
No, what had to bring
the Harts to good old Ida
was Lawrence
Freeman and the house.
I'm afraid the Harts
know far too much already.
Well, if they saw you,
then you can't go into
their house tomorrow
posing as a man
from California Homes.
You'll have to go as
the late Mr. Dengler.
[LAUGHS]
I don't know anything
about photography.
Besides, with the
Harts snooping around...
it's getting too risky.
Look, I am tired of helping
people make millions
while I only get
the commissions.
And I thought you were tired
of grease under
your fingernails.
Are we still in
this... together?
Yeah.
[♪♪♪]
[CAR DOOR CLOSES, ENGINE STARTS]
MAX: Come in, Mr. Dengler.
Right this way, sir.
Thank you.
Mr. Dengler.
Mrs. Hart. How do you do?
This is my husband, Jonathan.
How do you do? A pleasure.
Ah, Mrs. Hart.
The, uh, letter of
confirmation you sent me.
You should take a look at it.
Nowadays, we can't just
open our house to anyone.
So we've learned.
Well... I think I'll
start in here first.
Oh, no.
Problem?
Yeah, I left all my flash
bulbs back in my office.
Well, maybe we could
send Max for them.
Oh, would you do
that for me, please?
Certainly.
Oh, thank you.
Ah. Well...
If you don't mind, I'm
gonna close those drapes.
Oh, sure.
Some people prefer
natural lighting,
but, uh, inside, it tends
to mess things up a bit.
Some people like
it that way, though.
But I think you'll like this.
It tends to make
it more intimate,
personal.
There. I think
we're about ready.
JENNIFER: Max is on his way.
Good.
Well...
I think I'd like a
shot of the two of you
right there in front
of the antique clock
behind the bar.
Well, aren't you gonna
wait for the flash bulbs?
No.
All I need for
this shot is... this.
Don't move.
All right, Mr. Hart. Out
from behind the bar.
Move. Come on.
[♪♪♪]
Sorry.
We think you know too
much about the house.
We think?
Who's "we"?
It's not important, Mr. Hart.
Max, your man, is gone.
There'll be no witnesses.
Mrs. Hart, over
by the fireplace.
Now!
Move.
Come on.
You too, Mr. Hart. Move.
Fire.
[GUNSHOTS]
[GUNSHOT]
Darling.
He's dead.
He's dead.
The problem is...
his partner's out there
trying to get in here.
[♪♪♪]
[♪♪♪]
JONATHAN: Yes, lieutenant.
I understand.
Thank you.
They just found
the real Mr. Dengler
of California Homes.
Supposedly a
victim of hit-and-run.
Max, will you fix
us some drinks.
Coming up.
Did they identify the
man who tried to kill us?
Well, they're tracing
him from the car
he left in the driveway,
but so far, no luck.
What do they think we should do?
Well, the police think
that we should, after having
two intruders in one week,
move into a hotel until
they get to the bottom of this.
Oh, that's great.
If a man ain't safe
in his own home,
he ain't safe nowhere.
They don't want us.
They want our house.
You remember the
phony Mr. Dengler
said that we knew too much
about our own house?
What if we proved him right?
Proved him right?
If there's one secret
room in the house,
there could be two.
But we can't go tearing the
place apart brick by brick.
No, but they put it
together brick by brick.
And in order to do that,
they had to have drawings.
Now, one of those
drawings might show
a mystery room on it.
Darling, this house
is 50 years old.
Where would we
find the blueprints?
The city keeps records.
They do now,
but, uh, 50 years ago,
it could be doubtful.
Mr. Janis said that
before Freeman died,
he made a very rare
public appearance
at his alma mater.
A recluse going
to his alma mater
all the way to the
Sorbonne in Paris?
He must have had a soft spot.
Original Lawrence
Freeman blueprints
would have some historic value.
Maybe he gave them
as a gift to the school.
Well, from what
we know about him,
it had to be a tax write-off,
but I'll call the
school and find out.
[DIALING]
Overseas operator, please.
Paris.
[♪♪♪]
[TELEPHONE RINGING]
It's for you.
Oh, great.
Hello.
[LOUDLY] Hello?
Oh, oui.
Allô!
J'attends.
It's the... The call.
They're returning it from Paris.
Allô. Oui.
Qui?
Ah, bon, bon. Merci. D'accord.
They're connecting me
with Monsieur Bechet.
He's the curator of collections.
["LA MARSEILLAISE"
PLAYING] [CAR HORN HONKS]
JENNIFER: Allô?
Monsieur Bechet?
Je m'appelle Jennifer Hart.
[SPEAKING IN FRENCH]
Mrs. Hart, I speak
English fluently.
Oh, you do? Oh. Very good.
Uh, Mr. Bechet,
this is a matter
of some urgency.
We live in the Lawrence
Freeman house in Los Angeles.
Ah, yes. I know it well.
I mean, from the
drawing we have.
You do?
Oh, well, that's wonderful.
That's exactly what I need.
Uh, do you think you
could look at the drawing
and describe the house to me?
You want me to describe
your own house to you?
Uh... I know it sounds peculiar,
but believe me,
it's very important.
I'll take out the blueprint.
One moment, please.
He's getting the blueprint.
Fifty million Frenchmen
are one night's sleep up on me.
Hello?
Uh, I have it in front of me.
You do?
All right, uh, do you
see the living room?
Yes. Yes, I do.
Can you see a little room
below the living room?
Uh... He calls it a
hallway, Mrs. Hart.
He calls it a hallway.
Does it lead anywhere?
Uh, does it lead anywhere?
It connects, uh
by a doorway to
the "green room."
The green room?
Are you sure of that?
Most definitely, the green room.
Well, uh, thank you so much.
That's ex... All
we need to know.
You're very, very kind, and
we appreciate it very much.
Merci beaucoup. Au revoir.
Good night.
Bye-bye.
Well, the green room.
[CLEARS THROAT] Hm.
You going back to sleep
or you gonna join
me in the green room?
Après vous.
Oh, I love it when
you speak French.
[♪♪♪]
He said this was a door?
That's what he said.
There's no handles, no knobs.
Nothing.
You know, there must be a
secret compartment down here.
Maybe.
Look at this.
A key.
[SQUEAKING, GRINDING]
I think I saw this
on the late show.
Wow.
I guess you don't just go
barging into the green room.
JONATHAN: That's
certainly not going to work.
I've got an idea.
I'll be right back.
[ELECTRICAL DRILL WHIRRING]
Where'd you learn
how to do that?
My roommate in
college was a dentist.
[GRUNTING]
[DOOR RATTLING, KEY JINGLING]
Well... will you look at this?
Every house should have one.
Oh, I get it.
The green room.
"Green" as in "money."
The architect's favorite color.
Very sentimental man.
Hm.
Dusty.
Darling... [CLOSES DRAWER]
Look at these.
The bonds.
"Pay to the bearer."
Can you imagine the
interest that's accrued
to these over the years?
Huh. Some orange groves.
Yeah, no wonder those thieves
were so anxious
to kill us for them.
Well, we did the digging.
But you know who
really found these?
Mm-hm. Ida Cox.
And you remember what she said?
Finders keepers.
Yeah, she was
right all the time.
Well... shall we surprise her?
Great idea.
IDA: Mr. Hart, I
don't know if my boss
will let me have the
rest of the day off.
But I'm dying to see the vault.
I'll try.
Ida... you tell them
if they don't give
you the day off,
you'll buy the joint.
Mr. Hart, what's come over you?
Why, I could lose my job.
I'll try and get there
as soon as I can.
Goodbye.
[KNOCK ON DOOR]
Yes?
What is it, Ida?
Mr. Barber. May I
have the afternoon off?
Are you ill?
[CHUCKLING] Oh, no, Mr. Barber.
No, uh... Uh, I know I've
mentioned this to you before...
and you probably think
I'm a bit off the deep end,
but... remember
that vault I said
just had to be in the
old Freeman house?
Yes.
It's there.
It exists.
Those nice people
you met here, the Harts?
They live in the house.
They found it and
want me to see it.
[SNICKERS]
Well, well, Ida, if you...
believe this tale,
why shouldn't I?
Take the rest of the day off.
Thank you, sir.
Hey, uh...
Cab fare out there could
cost you a half day's pay.
Why don't you let me drive you.
You're such a gentleman.
Well, I may be a gentleman,
but I'll level with you.
If that vault contains the bonds
that you told me about...
the Harts might need a
good broker to help sell them.
I'm not just going
along for the ride.
I'm hoping to land a nice
commission on the sale.
Mr. Barber...
I spotted you as
an up-and-comer...
but, uh... Mr. Barber,
you're a devil.
[CHUCKLES]
Yes.
To make this sale...
I'll do just about anything.
[♪♪♪]
Well, here it is, Ida.
It's a fact. Not a fantasy.
Oh. Were the bonds here too?
JENNIFER: They certainly were.
Incredible.
You'll be so rich.
Mr. Hart, as I told Ida
when we left the office,
I came along for
more than just the ride.
Oh?
May I look at the bonds?
Of course. Take a look.
"Payable to the bearer."
Mr. and Mrs. Hart, if
you'd like to sell these,
I'd be more than happy
to handle the transaction.
For the standard commission?
Heh. Precisely.
Well, uh, we appreciate
your candor, Mr. Barber,
but the, uh... bonds
aren't ours to sell.
They're not?
No.
Darling?
Ida... if it weren't for you,
we never would have found
the bonds in the first place.
They belong to you.
But... I...
Oh.
Oh, you've been in that
filing room too long, Ida.
Now you'll be able to
afford to be on a vacation
as long as you want.
JENNIFER: And whenever
you want to cash them in,
I'm sure Mr. Barber
would be delighted
to handle the transaction.
Thank you, Mrs. Hart.
Ida...
I'll just put these
inside my briefcase...
until we can find
you... your own vault.
Don't move.
Any of you.
Mr. Barber.
Well, darling,
it looks like we've found
the other part of the team.
A good stockbroker
always plays his hunches.
And in this case...
Ida's hunch was just...
too good to pass up.
What are you gonna do with us?
Do? Heh.
Absolutely nothing.
You wanted to find
this vault so badly...
I'm just going to give
you some time to enjoy it.
[CLANG]
[♪♪♪]
Max will be home
before too long, and...
And he'll get us out of here.
It's all my fault.
Don't be silly.
We'll be out of here
before you know it.
We're going to suffocate.
I don't think so, Ida. Not
with all this dust in here.
There's gotta be air getting
in here from someplace.
We can still breathe.
[CLAPS ONCE]
I feel so dizzy.
Sit down.
Are you all right?
I'm okay.
Really, it's... It's just
all this excitement.
Ah. Don't worry about me.
Don't worry?
It's my heart. I'm
on medication.
It's at home, and without it...
Well, we'll get you
out somehow, Ida.
You remember what you
told us about the architect?
You mean, his
passion for privacy?
Exactly.
Now, there may be no air
coming through that steel door...
but there's air coming
in here from someplace.
You mean, like a back door?
The walls, the
ceiling: solid steel.
Why don't you check
out that wall over there.
See if any air is coming in.
[♪♪♪]
Oh.
You know, I seem
to recall that...
in every Lawrence Freeman house,
he designed something unusual.
JONATHAN: Correct.
We're in it.
[FAINT HISSING]
Think I found something.
Get the key off that table.
[WIND BLOWING]
Look at that.
Let me check this out.
[FREEWAY BARKING]
I think I found something.
Come on.
Grab Ida's hand,
and come this way.
Here, Freeway.
Go get it. Go!
Good boy, Freeway.
The Dodgers could
use you at center field.
Now, prepare
yourself for a long one.
JONATHAN [ECHOING]:
Hey, my head!
[WHINES]
Who is that?
Who is that?
JONATHAN [ECHOING]: Max!
Hey, Max!
Help us, will you? We're
down here in the well!
What are you doing down there?
Lower down the bucket,
will you, and pull me up.
[BARKS]
Thanks, Max.
What were you doing down there?
Making a wish?
I was looking all over
the house for you people.
Oh, we haven't been
all over the house.
We've been all under the house.
Help me lower this
down and get the girls out.
Got it?
JENNIFER [ECHOING]: Got it!
Okay, hang on, Ida.
Hang on. Crank it.
[GRUNTS]
You all right, Ida?
Yeah.
Grab the rope and make a wish.
You got it, darling?
JENNIFER: Got it!
Okay, hang on.
Crank it, Max.
[BARKS]
[GRUNTS]
Thanks, Max. You're a lifesaver.
Max, I want you
to take Ida home.
Right away. She
needs her medication.
Be a pleasure. Come on, Ida.
Oh, thanks, Max.
You and I are gonna check
out a certain stockbroker.
Before he makes another
killing in the market.
Come on.
[FREEWAY BARKING]
Theodore? Chris Barber here.
Fine, thanks.
Theodore, I've got
some negotiable bonds
I'd like to sell.
Been in the family for decades,
and I'd like to cash them in.
Thanks, Theodore.
I'll meet you on the
stock-exchange floor
in 20 minutes?
Bye.
Mr. Hart.
It looks like a standoff.
How 'bout now?
Drop the gun, Mr. Hart.
Now.
She goes with me.
Don't make any moves, Mr. Hart.
Otherwise, I'll kill her.
[♪♪♪]
[ENGINE STARTS]
[TIRES SCREECH]
[TIRES SCREECH]
[TIRES SCREECHING]
[HORN HONKS]
[TIRES SCREECHING]
[TRUCK HORN HONKING]
[TIRES SCREECHING]
[TIRES SCREECHING]
[GUNSHOT]
[GUNSHOTS]
[SCREECHING]
I'll watch him.
Uh... Get the car.
JENNIFER: Oh, you're
gonna have such a lovely trip.
Oh! Jonathan and
I were there once.
It's beautiful.
Oh, must be. Tsk.
Oh, there's so many
beautiful places to go to.
Oh, yes.
Rock climbing in the Yosemite.
[CHUCKLING] That must be fun.
More wine? [CHUCKLES]
Oh, yes, Max. Please.
Why don't you join
us, Max. Oh, thank you.
Oh, well, this is interesting.
Look.
It's got all the rates here.
And, uh... a tour
leaves every Monday.
[TELEPHONE RINGING]
By bus or...? Or
limousine? Or what?
Oh, uh, I... I
think it's by bus.
But... You know,
I forgot about this.
MAX: Hart residence.
They have mineral
baths there too.
IDA: Ahh.
Mr. H? It's a lady from
American Homes magazine.
They're interested in
photographing the house,
you, Mrs. H, Freeway and me.
No, no, no, no, Max.
Tell them to forget it.
Excuse me.
[SOUTHERN ACCENT] Hi there.
We're rentin' the
house from the Harts.
They're away in Africa
for at least six months.
So if you wanna talk to them,
you're gonna have
to wait till then.
Heh. No trouble at all.
Bye.
[♪♪♪]
Africa?
Africa.
That's a wonderful idea.
Snows of Kilimanjaro,
King Solomon's mines.
Oh, it would be
fabulous. [CHUCKLES]
Me Tarzan.
But you, you're bananas.
[♪♪♪]