CHARLIE: Once upon a time
there were three little girls
who went to the police academy.
One in Los Angeles.
One in San Francisco.
The other in Boston.
And they were each
assigned ( buzzing )
very hazardous duties.
But I took them
away from all that
and now they work for me.
My name is Charlie.
[♪♪♪]
[♪♪♪]
MAN: Hey, mister,
you better get out of here.
[HONKS]
[♪♪♪]
Just what I need, Chester.
We're ready.
MAN: Let's get the
bill. Hurry, come on.
Well, I gotta get back to work.
Joe, I thought you'd
stay for the scene.
[CHUCKLES]
You still get
uptight, don't you.
Not so much if you were there.
Then it seems all
right, you know?
Please? [CHUCKLES]
Sure. If it makes you feel
better for me to be here,
well, I'll hang out.
[BOTH CHUCKLING]
[♪♪♪]
Well, what is it now?
Seth? What?
It's Seth.
Oh, your hillbilly friend.
Joe, he was my fiancé.
Joe, I don't want to see him.
Okay.
Okay, just go ahead inside and,
uh, I'll take care of it, okay?
Yeah.
How you doing?
Can I help you?
I'm looking for Bess Hemsdale.
Well, I tell you what,
how about if I take
you right to her?
Come on.
[♪♪♪]
Why are we stopping here?
Listen, pal,
Bess asked me to
give you a message.
Wh-What do you mean?
She doesn't want to see you.
She wants you to go home.
You're lying.
Listen, you want to
understand something, hillbilly,
people talk that way
to me they get hurt.
Listen, mister, I'm
gonna see Bess,
then I'm gonna take
her back home with me,
and you better
not get in my way.
[♪♪♪]
[♪♪♪]
CHARLIE [ON INTERCOM]:
Our client this time
is an old friend
of mine, Angels,
his name is Cal Jeffers.
We were in the OSS together.
Now he's the sheriff
in his home county
in the Tennessee Mountains.
I thought all your friends
were city-bred, Charlie.
Heh-heh, that's not true.
Big Cal and I were quite close.
"Big Cal," that does
have a homey ring to it.
What can we do for your friend?
Well, Cal's son Seth Jeffers
came out here
looking for his fiancé,
a girl named Bess
Hemsdale about a month ago.
He seems to have disappeared.
And you want us to find him?
Yes. Also try to find
the Hemsdale girl.
See if she has any
idea where he might be.
Seth's father sent us a
snapshot of the two of them.
KELLY: Charlie, you have any
ideas where we should start looking?
Uh, I'm afraid we
haven't got much.
See, the local
police checked out
the motel where Seth
was staying here in L.A.,
and there was no sign
of him there for a week.
So they picked up his clothes
and his personal belongings.
Including these rubber bands,
some loose change, pocket Kn*fe,
and a theater ticket
from a week ago.
"Starbrite."
"Starbrite"?
Isn't that one of those
theaters that shows p*rn flicks?
Right, it is.
Seth's father has also
mailed us these cassettes.
Apparently, Bess Hemsdale
had sent those to his son
a little while ago
after she moved here to L.A.
What's on the cassettes?
Well, they're sort of a letter.
A letter?
Bess Hemsdale can't
read or write, Angels.
She came here with a guitar,
some songs she's written...
And expected to become
an overnight singing star.
Yeah, something like that.
Her last known address
was the Senator Motor Lodge
in Inglewood.
You might look into that.
Why don't you cover that, Kris,
and Tiff and Kelly,
you can check out
the Starbrite Theater.
Good idea.
We'll listen to the
tapes on the way.
Maybe they'll tell us something.
Check you later, Charlie.
[♪♪♪]
BESS [ON CASSETTE]: Seth, I've
been in Los Angeles a month now.
I'm not having much luck.
I got real homesick last night
so I wrote this:
[GUITAR PLAYING]
♪ Train crying In the mountain ♪
♪ Wind wailing
Through the trees ♪
♪ Stay with me
For a little while ♪
♪ I'm walking that
Lonesome mile ♪
She sounds like a
frightened little girl.
She sure does.
♪ Troubled wind and
me We're brothers ♪
♪ They seem so wild and free ♪
♪ Show me how to get away ♪
♪ I'm leaving my yesterdays ♪
♪ Going home ♪
♪ Sweet mother
How she loved me ♪
♪ When she held me On her knee ♪
♪ "Sweet child" That's
what she called me ♪
♪ Sweet Child I'm
gonna be again ♪
♪ So wind Blow me a direction ♪
♪ Train, you just
Hitch me a ride ♪
♪ And say goodbye ♪
♪ To your wandering friend ♪
♪ She's leaving Her
wandering when ♪
♪ She gets home ♪
STILES: It's open.
Mr. Stiles?
Yeah? I'm Tiffany Welles.
What are you selling?
I'm not selling anything.
I'd like to ask you
a few questions.
Such as?
I'm looking for a man
named Seth Jeffers.
He was a patron here
a couple days ago.
You a cop?
Private detective,
Townsend Agency.
This is a picture of Jeffers,
I'm also looking
for the girl with him.
Have you seen either
one of them recently?
I'm not in the business of
looking for missing persons.
Who said they were missing?
Now, listen, I'm busy.
So you haven't seen
either one of them?
I haven't seen them.
Like I said, I'm busy.
Nice talking to you.
Bye.
[♪♪♪]
Thank you.
Any luck? Not really,
except when I showed
him this photograph,
the manager nearly
flew out of his skin.
Well, this is probably why.
It's a flyer for the picture
that was playing here
when Seth bought his ticket.
"Sally Storm in Love Fire."
Sally Storm and Bess
Hemsdale are the same person.
So Seth came here and
saw his girl on the screen.
Yeah, it really must
have upset him.
The girl said he went crazy.
He nearly tore the
projection room apart,
and he put his fist through
the glass over there.
So the question is, "Where did
he take that anger next?" Right?
I don't know.
Maybe this will give
us some answers.
[♪♪♪]
[RINGING]
Hello.
Now, Willis, this is Stiles.
What's up, Stiles?
Two female private
eyes were just here,
they're looking for that crazy
that tried to tear my
theater apart last week.
What did you tell 'em?
I told them nothing,
but they saw one
of last weeks' flyers
with your girlfriend's
picture all over it.
So they're liable
to connect the two.
Uh, where is that
hillbilly anyway?
I told you, I took care of him.
Now, wh-what does that
mean, "you took care of him"?
It means he's not gonna
jeopardize our investment.
Listen, I help you finance
and distribute pictures,
I don't want any part
of any rough stuff.
I get enough problems
with the cops as it is.
Don't sweat it, Stiles.
Who were the PIs?
Uh, they said they were
from the Townsend Agency.
Blond, brunette.
Driving an orange compact.
Mm-hm. Okay, I'll check it out.
You relax. Eh... Hey.
We'll be finished
with the new picture
in another two or three days.
[♪♪♪]
"Let's... run... to the store."
How am I doing, Joe?
You are doing real good, baby.
Mm.
Something's come up and
I gotta go out for a while.
Trask? Hacker?
Two lady detectives
were just asking Stiles
about the hillbilly.
I don't like the
sound of that, Willis.
One's a blond, the
other's a brunette.
They're driving
an orange compact
and they're out of
the Townsend Agency.
You go check 'em
out, I'll be at the office
in case they show
up there. Willis.
Suppose they get too close.
We'll hope for their
sake they don't.
[♪♪♪]
[♪♪♪]
Get the picture?
Yeah, and it's not
a very pretty one.
No. No.
Well, the question is:
Do you think the fact that Seth
saw his fiancé in a
p*rn flick at the Starbrite
is the reason he's missing?
I'd say there's a connection.
Yeah.
Well, here's another
one of those letters
that Bess mailed Seth
a couple of months
after she was here
in town. [CLICKS]
BESS [ON CASSETTE]: Dear Seth,
I'd like to tell you things
are going good for me,
but they're not.
Not yet, anyway.
I did meet a fellow
named Joe Willis.
He makes movies.
He offered me a part in one,
but I'm not sure
he's a nice man.
[CLICKS]
Hm.
Love Fire starring Sally Storm,
et cetera, et cetera.
J. Willis production.
TIFFANY: Well, she was right,
Mr. Willis is not a nice man.
Well, I think one of us
should meet Mr. Willis.
That could be rough duty.
I mean, if he turned Bess
Hemsdale into Sally Storm,
he must be one tough fellow.
Yeah, I don't think
I'll be telling him
I'm a private investigator.
No. Nope.
Well, you make your
move on Mr. Willis,
and we'll make our
move on Bess Hemsdale.
Well, now, wait a minute. We
don't even know where she is.
BOSLEY: Like Kelly just said,
if he could turn a Bess
Hemsdale into a Sally Storm,
well, I would wager
that their relationship
has become quite intimate.
I suggest you get the
address where he lives.
KRIS: Well, I guess I'll slip
into something a little more
provocative to meet Mr. Willis.
What are you gonna say to him?
Something he wants to hear.
[♪♪♪]
Hi. Hi.
I'm here to see Mr. Willis.
Do you have an appointment?
Um, no, actually,
I'm in a hurry.
Hey, wait a minute.
Wait a minute.
Mr. Willis? Joe Willis?
Who is this?
I told her she needed
an appointment.
I'm Kris.
It's a pleasure meeting you.
It is?
Mm. Huh.
I'm sorry, Mr. Willis,
she's just...
It's okay.
It's okay, Elaine. Uh...
Why don't you,
uh, just go to lunch?
Hm?
Hm.
Well, as long as you're in here,
can I offer you a
seat, miss, uh...
Miss what? I beg your pardon?
Well, I don't really like the
name my daddy gave me,
I was hoping you could think
of a name that would be better.
Sit down.
Uh, how about if we start
this thing all over again, okay?
Okay. Who are you?
And why did you push
your way into my office?
Well, who I am
doesn't really matter,
or where I come from,
what really matters is what,
uh, you and I can
do for each other.
Mm. And what would that be?
Well, you make films,
and I'm an actress,
and I also need to make
some money real fast.
[LAUGHING]
You know, if you could
just get over your shyness
and learn not to be so vague,
speak your mind,
get... Get to the point,
you might get
someplace in this world.
You think so?
Maybe.
Well, it's just that I've seen
what you've done
for other girls.
I was hoping you could
do the same for me.
What makes you think
you're a salable commodity.
What makes you think I'm not?
You know, I don't know
what you look like on film,
but I know you've got more
than your share of nerve.
And mouth.
Does that mean
you'll think about it?
Actually, I've got a girl I'm
doing real well with right now.
Ah. Sally Storm.
That's right.
Well, look at it this way,
with two girls, you could
make twice as much.
[PHONE RINGS]
Willis Productions.
HACKER [ON PHONE]:
Willis, this is Hacker.
What's up?
We staked out the
Townsend Agency.
The blond and brunette
left, we followed them.
To where?
Your apartment.
They just got here.
Parking the car now.
You sure it's the
Townsend people?
Uh, why don't you just hang out,
and I'll be there in a
couple of minutes. Okay?
Good.
I don't want you to think
that this hasn't been fun,
but I really do have to go.
Uh, no problem.
Here's my number just in case.
Great.
Oh, no.
I just remembered I have to
make an important phone call.
It's local. Do you mind?
Well, actually, I'm
really in a hurry.
I-I can see myself out.
[SCOFFS]
Okay.
[♪♪♪]
Maybe I'll call you.
I'll make it worth your while.
"J. Willis and S. Storm."
6B.
Close as pages in a book.
Looks like Bosley was right.
Their relationship has
become more intimate.
This is one time I
wish Bosley was wrong.
Me too.
Let's go.
[DOOR SHUTS]
[KNOCKING]
[KNOCKING]
Nobody home.
KELLY: Miss Hemsdale?
Yes?
Hi, I'm Kelly Garrett
and this is Tiffany Welles.
Hello. Hi.
We'd like to talk to
you for a moment.
About what?
About a friend of
yours from home,
somebody named Seth Jeffers.
Come on in.
Thank you.
Sit down.
Can I get y'all a
drink of something?
No, thank you.
You people know Seth?
No, we don't know Seth.
His father has
asked us to find him.
Find him?
Yes.
KELLY: Yes, he's missing.
We're private detectives.
Really?
I've seen a lot of things
since I came to this city,
but I never met
a real detective.
Have you seen Seth since
you came to Los Angeles?
No. Well, yes.
I saw him, but we didn't talk.
I don't understand.
Well, I'm an actress,
and he showed up on
the set about a month ago.
I didn't want to see him,
so I asked Joe to handle it.
Is this Joe Willis
you're talking about?
Yes. He's my
producer and my fiancé.
We heard that Seth
was your fiancé.
Well, he was, but I
changed my mind,
which is why I didn't
want to see Seth.
Huh.
Yeah.
Bess,
you said that Seth came
to visit you on the set.
Where was that?
Well, I can't tell
you that. Why not?
We sh**t most of our
pictures at that location.
Not many people know about it.
So Joe keeps it private. Yeah.
You understand?
Of course we understand.
But you understand
that Seth's father's
very worried about
him, don't you?
Well, he needn't be.
I'm sure Seth just went off
to worry it all out of his head.
Then he'll go back home.
I'm sorry it didn't work out.
I really still love
Seth in my own way.
It's just that I've made
a new life for myself.
I'm an artist now.
You understand.
An artist? Yes.
Joe and I make art pictures.
Oh, I see.
I'm going to leave
you one of my cards
and, uh, if you think of
anything that might help us...
I'll be sure and call.
Okay.
It's a pretty good book.
You're learning to read.
I'm trying.
Bess, I really hope
we hear from you.
Thanks. Bye, now.
Bye. Bye.
Bye.
[♪♪♪]
[DOOR SHUTS]
Joe.
You startled me.
How long have you
been standing there?
Long enough to know
that you talk too much.
What do you mean?
Why did you let
the cops in here?
They're not cops,
Joe. They're detectives.
They're looking for Seth.
Well, let 'em look
someplace else.
Why are you mad, Joe?
There's nothing to
worry about, is there?
I told you 100 times.
In our business we
don't talk to strangers.
It wasn't about business, Joe.
It was about Seth on
account of he's missing.
Now, why should that worry you?
It doesn't.
Joe?
You didn't hurt Seth or
anything that day, did you?
I told him you didn't
want to see him,
and he left.
I mean, if I thought
you'd hurt him.
I told you...
I didn't hurt him.
Look. Why don't you go in there
and, uh, get dressed
and I'll take you to dinner.
[♪♪♪]
Joe.
You're not mad at me, are you?
You'll know when I'm mad at you.
Joe, you said if those
Townsend people
get to close... I
know what I said.
Coming here.
It's close enough, right?
Make it look like an accident.
And do it quickly.
[DOOR SHUTS]
[♪♪♪]
[TIRES SCREECHING]
[♪♪♪]
[♪♪♪]
BESS [ON CASSETTE
PLAYER]: Dear, Seth,
I just did a part in a movie,
for that fella I
mentioned, Joe Willis,
I guess he isn't so bad.
He paid me well.
I didn't like it at first
but he explained
it was an art film.
And I said I'd do it if he'd use
my music in the background.
Look out!
[TIRES SCREECHING]
Now, if they ain't dead,
they'll be out of
action for a long time.
Let's go.
[BOTH GASPING]
I always wondered... What?
How I'd feel if I got
that close to dying.
How do you feel?
Angry.
Very, very angry.
Yeah.
We still got power
in that thing?
Yeah. I don't believe it.
Operator,
you'll never believe
where I'm calling from.
[♪♪♪]
CHARLIE: Did any of
you get a look at the car
that pushed you over the edge?
I think it was a
black car, Charlie.
I thought it was blue.
Well, so much
for the description.
Those ought to
help calm you down.
I'm afraid the car's a
bit of a mess, Charlie.
Well, never mind that,
as long as you
two are all right.
I'm gonna have some
friends of mine at the police lab
check out the area
where it happened.
They might find paint scrapings
or markings on the road or...
Or maybe even a witness.
I'll get back to you.
Hey, by the way,
uh, what's this?
This is a film projector.
No, I know it's a
film projector but, ah,
what is it set up for?
When I was leaving
Mr. Willis' office
I borrowed a print of Love Fire.
Starring Sally Storm.
KRIS: You got it.
Thought it might
give us some help.
[MUSIC PLAYING]
KRIS: Bess Hemsdale said
that most of these pictures
were sh*t at the same location.
[WOMAN MOANS]
This looks like
Franklin Meadows.
Looks like it to me.
KELLY: So this must be
where Seth confronted Willis.
Yeah, the question is
just how rough did
that confrontation get.
KRIS: Well, having
met Mr. Willis,
I suggest that we tell
the police to start looking
in the Franklin
Meadows area for Seth.
You think it's that bad?
Well, Seth went to see
Beth and disappeared.
You two went to see her, ended
up at the bottom of a canyon.
How bad does it have
to get before we believe
that Willis and his friends
are capable of m*rder?
[WOMAN MOANING]
[WOMAN GRUNTS]
Kris.
[FILM MUSIC STOPS]
BETH: Seth, I've been in
Los Angeles a month now.
I'm not having much luck.
I got real homesick last night.
So I wrote this.
[GUITAR PLAYING]
♪ Train crying In the mountain ♪
♪ Wind wailing
Through the trees ♪
♪ Stay with me ♪
♪ For a little while ♪
♪ I'm walking That
lonesome mile ♪
God, how do people
get so messed up?
It always seems to come down
the hardest on the lost ones.
She's orphaned at two
and she sings about her mother,
who she never really knew.
Yeah, she's made
some really bad moves.
But I think she's
worth salvaging.
Let's try, okay?
Okay.
Let's.
All right.
♪ Going home ♪
♪ Sweet mother ♪
[♪♪♪]
What are you guys
looking so grim about?
We got trouble. Such as?
MAN: Such as that
guy we took care of.
JOE: What about him?
The cops are over
there searching.
What? Are you sure?
MAN: We were just there.
Somebody tipped
them where to look.
Okay, and they're looking.
JOE: Okay, just be cool.
Just because they're
looking for the hillbilly
doesn't mean they'll find
him. Not right away, at least.
We're gonna be done
with this picture today.
After that, tomorrow we'll
start looking for a new location
for the next one.
You guys just hang around.
As soon as we wrap,
we'll pack and we'll split.
[♪♪♪]
Hey.
There you are.
I thought you were on the set.
I wish I was.
Then I wouldn't have heard.
Heard what?
What are you talking about?
I heard what you said, Joe.
I heard what you
said about Seth.
I'm sorry, kid.
I really am.
We didn't wanna hurt him.
But he wouldn't
have it any other way.
You k*lled him, didn't you, Joe?
I had no choice.
Now, you get yourself together,
you go back there,
you do your thing,
you collect your money
and forget about it.
Oh, my God, you're
a liar and a k*ller.
You think I'm gonna
go on with all this now?
I think you're gonna do
everything I tell you to do.
You're gonna do it exactly
how I tell you to do it,
you're gonna do it when I tell
you. You're not gonna think,
you're not gonna talk
about it, you're gonna do it.
You're an ignorant
little hillbilly
and this is all
out of your hands.
Now, go back to work.
[♪♪♪]
[CHUCKLES]
You crazy?
You're just gonna let
her just walk around?
She's ready to freak, Joe.
We gotta finish the picture.
Joe, she's gonna
blow the whistle on us.
[CAR APPROACHES]
Who's that?
It just occurs to me
that she may very
well be our future.
She is definitely our past.
Relax.
I got a way to finish
her and the picture
that's gonna blow your mind.
[♪♪♪]
[♪♪♪]
You are a pushy broad.
[LAUGHS]
Well, you don't catch the
brass ring unless you grab for it.
How'd you find this place?
What difference does it make?
You didn't call me
so I had to find you.
Listen, you see me
when and if I want.
Understand?
Understand.
Now, as a matter of
fact, you lucked out.
It may be that we'll
do business real soon.
Oh, yeah? Tell me more.
When I'm ready.
Now, you disappear.
[♪♪♪]
Okay, now, the last sh*t we need
is also the last
sh*t of the picture.
You're running out of the brush.
The guys have att*cked you.
Torn off half your clothes.
When you reach the
camera, we hear a sh*t.
You do a little heavy acting.
You fall down.
You roll over on your back,
then we fade out, okay?
Yeah. Okay?
Yeah. Okay, all right.
Let's sh**t it.
How would you like to pick
up an extra thousand bucks
after we wrap the crew? What?
Ten minutes work.
I'm listening.
I want her to think that
we need the last sh*t twice.
[CHUCKLES] Y-you lost me.
The second time we're
gonna use real b*ll*ts.
Are you crazy?
No. Why?
What difference does it
make? It's a thousand bucks.
One set up, nobody'll know
but you and me. Want it or not?
I want it.
Got a deal.
[INDISTINCT CHATTER]
Concentrate.
Okay.
Okay.
Okay, roll it.
And... action.
MAN: Bang!
Stumble. Fall.
Roll over.
Good. Good.
Die!
Perfect. Let's go home.
That's a wrap.
[INDISTINCT CHATTER]
Don't go any place. We're
gonna sh**t some publicity stills.
[♪♪♪]
Kelly, where are you?
We're with the police,
about two miles from you.
They think there's a body
at the bottom of the canyon.
How are you doing?
Well, I'm not sure.
But I got a feeling
something's going down here.
I mean, Bess looks terrible.
She looks like she's
about to fall apart.
And Willis just told me that...
[♪♪♪]
Tells you what?
Listen that car that
forced you off the road,
you said it was blue
or maybe black? What about it?
Were there two guys in it?
Well, it could've been. Why?
Well, because there's two
guys here in a blue sedan.
It's got a broken headlight.
Anyways, as I started
to say, Mr. Willis told me
that he and I might be
doing business real soon.
Kris, if you become
his new leading lady,
what happens to Sally Storm?
Yeah, good question.
I think we'd better get
over there and help you out.
Okay, okay, but lay back.
If these two in the
blue sedan spot you,
everybody's gonna run for cover.
Will do. Okay.
Bess.
Can we talk?
Who are you?
[SOBS]
I'm a friend of Seth's.
I wanna be a friend of yours.
Listen, I can't talk about Seth.
And if you are a friend of his,
you better just get out of here.
Bess, I think I know
what happened to Seth.
To you.
Please.
I can't talk about it.
Listen, if you're in trouble,
if you wanna get
away from Willis...
I can't.
He's coming.
Look, whoever you are,
you... You better just get
in your car and drive away.
Then come with me.
I can't.
You can if you want to.
Just say so, we'll
leave here together.
JOE: I told you to disappear.
I was just leaving.
[♪♪♪]
Nice meeting you.
What did she say?
I don't remember.
It wasn't important.
We're gonna do that
last piece of action again.
We're gonna use
it for a publicity still.
Now, go on.
You guys, wait there.
[♪♪♪]
[CHAMBER SPINS]
You okay?
Okay.
Okay, same piece of business.
Why can't we just take
a picture from the print?
We want you alone. No
bikers in the background.
[SIGHS]
[♪♪♪]
[SIGHS]
If Kris is in her car, she's
not answering the phone.
I don't like that.
Neither do I.
[INAUDIBLE]
Come on, we gotta
get out of here.
Hey, look, we're doing a scene.
No, I don't think so.
Who the hell is that?
He was gonna k*ll me.
We'll discuss it later.
Come on.
Get 'em and k*ll 'em.
Go on. Go on.
My car's this way.
Run!
Kris!
Freeze!
Don't do it.
Drop 'em.
All right, move.
All right, out.
Down on the ground, come on.
Bess.
What's happening?
God, what's happening to me?
It's all over now.
You're gonna be all right.
I don't think so.
I don't think I'll ever
be all right again.
You will be.
I promise.
[SOFTLY] I promise.
[♪♪♪]
[♪♪♪]
[EXHALES]
Well, it's, uh...
It's a long way to
Tennessee on a bus.
You sure you don't wanna fly?
I need time to think.
I came here on a bus so
maybe if I go home the same way
it'll turn back the clock.
Make things like they were.
Maybe even better.
How could that be?
How could things ever be better?
Because you've been hurt
but you've learned.
And we're always
better for that.
I know it's hard to
believe that right now.
But it's true.
[♪♪♪]
There you go.
How do I ever thank you guys?
Don't thank us.
As a matter of fact,
forget all about us.
And Joe Willis and Sally Storm.
See if you can't remember
who Bess Hemsdale is.
I'll try.
KRIS: Bye, honey.
Bye.
You have a really
safe trip, now.
Take care of yourself. You too.
♪ Sweet mother
How she loved me ♪
Take care.
♪ When she held me On her knee ♪
♪ "Sweet child" ♪
♪ That's what she called me ♪
♪ Sweet Child ♪
♪ I'm gonna be again ♪
♪ So wind blow me A direction ♪
♪ Train you just
hitch me A ride ♪
♪ And say goodbye ♪
♪ To your wandering friend ♪
♪ She's leaving Her
wandering when ♪
♪ She gets home ♪
[♪♪♪]
04x16 - Catch a Falling Angel
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A wealthy mystery man named Charlie runs a detective agency via a speakerphone and his "angels" detectives are three beautiful women, who end up in a variety of difficult situations.
A wealthy mystery man named Charlie runs a detective agency via a speakerphone and his "angels" detectives are three beautiful women, who end up in a variety of difficult situations.