The Man with One Red Shoe Page #3

Synopsis: Cooper, the deputy director of the CIA, wants to be the director. So, he tries to make it appear that the director is corrupt so that he will resign or be removed. The director appears before a committee and asks for some time to prepare his defense. The director goes home and asks his man Brown to join him. He then shows Brown that Cooper is bugging him. That's when he decides to turn the tables on Cooper by feeding him some false information. And that information is that there's a man, who might be able to clear him of the charges against him, will be arriving at the airport, so he tells Brown to meet him. The Director tells Brown to just pick someone who is arriving at the airport thus making Cooper believe that he is the man who can help the director. Brown picks Richard cause he is wearing mismatched shoes, one of them being red. So Cooper sets up surveillance on Richard and sends his femme fatale, Maddy to come on to him and find out what he knows. While Maddy is playing, Richard
Genre: Comedy, Thriller
Director(s): Stan Dragoti
Production: Twentieth Century Fox Home Entertainment
 
IMDB:
5.7
Rotten Tomatoes:
47%
PG
Year:
1985
92 min
273 Views


Yes, sir.

Keep your eyes open. I wanna find

out just how sexually repressed this guy is.

- Richard! Wake up.

- What?

- The ball!

- Oh, I'm sorry. I'm sorry.

What's going on?

Concentrate, will you? Concentrate.

Break for time.

Ow.

- Are you OK?

- Hi.

Come on, the game's almost over.

Tough it out, huh?

This man has been badly beaned.

You'd better come with me.

- Come on, Richard.

- Hey, this is out of my hands.

I wanted to apologize for

all I said about fate in my apartment.

And for passing out-

it must've been the heat.

Hurry up.

You've got to get something on that.

I think she's bringing him in.

Let's go in.

Virdon.

Sorry, Reese.

Let's hear that tape again. Maybe we missed

something back at his apartment.

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

- No.

Come on. I'll play all the other parts.

Sure. Are you gonna do Cheetah, too?

- If that's what it takes.

- Let me hear it.

Paula?

Paula?!

- OK. OK, OK, so you're a great Cheetah.

- Paula, is that you?

Paula!

Quit stalling. Please. Do Tarzan.

- Paula!

- Paula, I can't.

- The other guy's behind us.

- What?

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

- Paula, don't do it!

This always worked with Morris.

Ow! Ouch! Paula!

Paula!

He's breathing down my neck!

Ow! No.

- Ow! Ow!

- Paula!

Paula!

Paula! Paula!

It's never really been proven,

but that's what they say.

- Beautiful house.

- Thanks. Would you like something to drink?

- Some orange juice would be nice.

- I don't have any orange juice.

Oh yes, you...

- No, I'm not thirsty.

- OK.

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

so make yourself as at home as possible.

I'm in.

That's it!

Yuck!

Tastes like shampoo.

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

- No, I never learned how.

Oh.

Well, there's... there's nothing

you'd really be interested in here anyway.

I was just looking at them.

I hope it doesn't... You're not angry or...

Richard!

Paula's in love with an ambulance driver.

Hey, Morris.

I'm a little busy right now.

Paula is making love

in the back of an ambulance right now.

- I'd better go.

- No! No, no, no, no, no!

Wait a minute. Wait.

When will I see you again?

- What is this about Paula?

- I heard her making love in an ambulance.

- What was she doing in an ambulance?

- She was playing Tarzan...

- She was playing Tarzan.

- Tarzan?

That Tarzan thing, I told you about that.

She puts on these little leopard things...

Yeah, yeah, yeah.

- Hey, do you do Tarzan?

- The yodel? No, I can't get that high.

Cos that ambulance driver

sounded a lot like you.

- What, may I ask, are you doing?

- Calling your wife.

Don't call her, she's not at home.

She's in the back of an ambulance.

Hi, Paula. This is Richard.

I'm here with your husband,

and he wants to talk to you.

Very funny.

Who's speaking?

Paula?

Yes, yes.

No.

I'm sorry.

You want me to pick you something up?

You know how I hate buying those things.

All right, I'll pick it up.

Right.

Bye.

- Who was that?

- Paula.

- Was she with an ambulance driver?

- No, she's at home with her mother.

Yeah.

Well, I guess you just must have

been hearing things, huh?

My bike! It's broken.

How am I gonna get home?

Why don't you take mine?

Take my bike.

- Can I?

- Sure.

- Sorry about that chair.

- That's OK. It was... really old.

- Maddy, is he coming in?

- I don't think so.

Did you offer him money?

Did you try to finesse him?

It's difficult to finesse someone when

he's got bubbles coming out of his mouth.

Look, in exactly 19 hours and 59 minutes

this guy is gonna bury me.

- You're telling me you drew a blank?

- I didn't say I drew a blank.

- What are you saying?

- There was something.

- What?

- He tried to hide a piece of music.

- What music?

- Looked like something he was writing.

Something he was writing.

Wait. Let me think about this.

Musician. Music. Hiding music.

Wait a minute.

Isn't he playing a concert tonight?

- Yes.

- Edgar, let me ask you something.

Is it possible for a musician to vary the music

just enough to pass a coded message?

Enough to make a difference,

but so that nobody else could tell?

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

Uh-huh? Mm-hm.

OK. Hulse, I want you to put

a special mike on him tonight.

One that isolates everything he plays

from the orchestra.

Carson, hook it into the GBLX-1000 computer.

- GBLX?!

- That thing will break any code.

- But it controls our missile defense system!

- Honey!

What are the odds of the Russians attacking

on a Thursday night? Come on!

We've got a 24-hour wiretap on his phone, sir,

and two men in a surveillance vehicle.

- Excellent.

- But I think he'll catch on to your scam.

Cooper's smart, all those years in the field.

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

He loves this type of operation.

He made the mousetrap himself.

All we did was feed him a piece of cheese.

About this piece of cheese, sir.

What's going to happen to him?

What?

Wouldn't it bother you to send

an innocent man to his grave?

Are you serious?

We're talking about my career.

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

Don't tell me you're having

a guilty conscience.

It was his shoe.

I could have picked a black man

with a green raincoat.

There was a Japanese guy with five cameras.

I could have picked him.

But I preferred the guy with the red shoe.

Brown, you're not being paid

to be a philosopher.

Wait until you retire.

Tell Virdon and Reese to clear off and

take a well-earned rest. They must be tired.

But what am I supposed to do

with the Red Shoe?

Save him for your memoirs.

Damn!

- Go ahead.

- Oh, may we?

What?

- What?

- This evening we are playing Scheherazade.

Would you care to join us?

- Oh.

- Thank you!

Idiot. And...

Here's where he varied

from the programme.

That has to be the message.

We fed the notes into the computer.

"Ardy bekko, inyo see far ogle."

- What the hell is this?

- I don't know.

- He's rubbing our noses in it.

- Wait.

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

- Maddy.

- Maddy.

Maddy.

What is this?

"See far ogle" or "see far oggle"?

- "Ogle."

- "Ogle"?

Could be "oggle".

- Thanks. Keep it.

- Thank you.

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

Please come in.

Well, thank you.

All this...

Did you say something?

Uh... all this on just a tour guide's salary?

I'll let you in on a little secret.

My uncle - Burt...

... owns the company.

Adorable.

That would explain it.

Why don't you come down here

and sit with me on the couch?

- I think you'll be more comfortable.

- Thanks again.

Are you OK? You seem tense.

Oh, no. No, no.

I'm not... I'm not tense.

No. Well, I did pass out today,

and got hit in the head by a baseball

and brushed my teeth with shampoo,

then butchered Rimsky-Korsakov

in front of 1500 people,

but no, I'm not... I'm not tense.

No, no.

You need to relax,

and I'm going to help.

Now, close your eyes.

- What?

- Close your eyes.

Let all your thoughts run free in your mind

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Francis Veber

Francis Paul Veber (born 28 July 1937) is a French film director, screenwriter and producer, and playwright. He has written and directed both French and American films. Eight French-language films with which he has been involved, as either writer or director or both, have been remade as English-language Hollywood films: Le grand blond avec une chaussure noire (as The Man with One Red Shoe), L'emmerdeur (as Buddy Buddy), La Cage aux Folles (as The Birdcage), Le Jouet (as The Toy), Les Compères (as Fathers' Day), La chèvre (as Pure Luck), Les Fugitifs (as Three Fugitives), and Le dîner de cons (as Dinner for Schmucks). He also wrote the screenplay for My Father the Hero, the 1994 American remake of the French-language film Mon père, ce héros. Some of his screenplays started as theater plays (for instance, Le dîner de cons). This theatrical experience contributes to his films' tight structure, resulting in what has been called "marvels of economy".Many of his French comedies feature recurring types of characters, named François Pignon (a bungler) and François Perrin (a bully). more…

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Submitted on August 05, 2018

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