Strangers Episode Guide
54 - Piano Movers
First Air Date:
November 4, 1988
Nielsen Rating: 14.3 HH
TV Guide Description: Balki
strikes a sour note with Larry when he tells Lydia they'll move her piano up 10
flights of stairs so she can sing for a date who's a big-time record producer.
Created by: Dale McRaven
Written by: William Bickley & Michael Warren
Directed by: Joel Zwick
Bronson Pinchot: Balki Bartokomous
Mark Linn-Baker: Larry Appleton
Belita Moreno: Ms. Lydia Markham
Michael DeLano: Chuck Panama
Dimitri does not appear in this episode.
"Oh, I would love to meet your grammy!"
"Now, Cousin, that is where Balki has his thinking cap pulled way down over
"Weíre not going to bust our buttocks . . . "
"Now, letís tackle these ivories."
ridiculous: Not said in this episode.
used in this episode:
"Get out of the city!"
"Question . . . "
"Balki, Balki, Balki . . . "
"Donít do that."
"Well . . . "
Other running jokes
used in this episode:
Balki laughs at his own joke
Larry and Balki argue with each other quickly, in this case "Yes, you
will," "No, I wonít."
Larry has a plan
"People" - sung by Lydia after sheís auditioned for Chuck Panama
- When Balki quotes "I got rhythm, I got music, I got my pal . . .
who could ask for anything more?" heís quoting a line from a classic song
"I Got Rhythm" by George and Ira Gershwin.
- There can be little doubt that the main
inspiration for this episode came from the classic Laurel and Hardy short, The
Music Box. In that 1932 short film, the comedic duo face the task of
moving a piano up a ridiculously tall flight of stairs that scale a tall hill,
at the top of which sits a professors house where the instrument is to be
delivered. Laurel and Hardy would continue to be an inspiration for the
series, culminating in the seventh season episode, The Gazebo, in which
Bronson and Mark would play Laurel and Hardy themselves.
- When Balki makes a reference to whether or not
Stephen King ever wrote anything about a piano, itís a reference to the horror
writerís tendency to personify inanimate objects, as he did with a car in the
novel Christine and his short story, Trucks (which became Maximum
Overdrive on the screen). It was funny that Bronson made this Stephen
King joke when he himself would star in the Stephen King miniseries The
Langoliers in 1995.
Michael DeLano, who plays Chuck Panama in this episode, may be familiar
to fans of classic television, as he played the smarmy ladies' man, Johnny
Venture, in the series Rhoda.
- Lydia can be seen wearing the same necklace and earrings she wore with the
plush velvet dress in the episode To Be or Not to Be from season three.
- At the end of the episode Balki makes a comment
that they wonít have to help Harriette move into their building until the
following week. While the move was never shown, Harriette indeed live in
their building throughout season four. How the Winslows ever ended up in
their own house again when they spun off into their own series was never
explained. But apparently the writers intended for Harriette and Carl to
be more closely involved in Balki and Larryís lives before deciding to give
them their own series, Family Matters.
- When the piano appears above Balki and Larry on the eighth floor
landing we see it come down completely on the landing and turn the corner.
When they turn and start downward we hear the sound of the piano bumping down
the stairs and they turn to see it about to start down the stairs. But the
piano was only turning the corner . . . how could it have been making the
"bumping down the stairs" sound at that time?
The episode begins in the basement of the Chicago Chronicle. Balki and
Larry are at Larryís desk stamping envelopes as Larry sets each one down on
the briefcase upon his desk. "Electric bill . . . " Larry states
as Balki licks a stamp and places it on the envelope, hitting it with his fist
to make sure it sticks. "Gas bill . . . " Larry says as Balki
again stamps it. "Phone bill . . . " Larry says with the last
envelope as Balki again licks a stamp, places it on and punches it with his
hand. "Balki, thereís no stamp on this," Larry points out,
holding up the last envelope which is missing the stamp. Balki looks
around for it but Larry reaches over and grabs Balkiís chin, lifting his head,
then squeezes Balkiís cheeks so his tongue sticks out. Sure enough the
missing stamp is still on Balkiís tongue. Larry removes it and places it
on the last envelope.
appears on the staircase above them, calling excitedly as she hurries down,
"Balki! Larry! Something wonderful has happened! This is
the greatest day of my life!" "Miss Lydia, what is it?"
Balki asks. "Chuck Panama called and heís coming to my party
tonight," Lydia answers. "Get out of the city!" Balki says
excitedly, "The Chuck Panama? The one they named the canal
after?" Lydia looks confused. "No, Balki, youíre
thinking of Chuck Suez," Larry says flippantly. Lydia looks even more
confused, then explains, "Chuck Panama happens to be one of the hottest
record producers in America today. Iíve dreamed of being a singer all my
life. Iíve even had people tell me Iím a young Barbara Streisand.
If I get a chance to sing for Chuck my Grammy is just around the corner."
"Oh, I would love to meet your grammy!" Balki says sweetly. Is
she coming to the party?"
no no," Lydia says, "She, uh, hates parties. But you could do me
an intsy-teensy favor. I canít get a piano delivered to my apartment
tonight so I thought since you guys are coming to the party you could pick it up
on your way." "Perfect!" Balki says, "We were going to
ask you if we could bring anything." Larry looks horrified at this
prospect and quickly says, "Weíd love to but I have a back problem."
"If I donít get a chance to sing for Chuck Panama my life will be
meaningless," Lydia says dramatically. "I know what you
mean," Larry offers, "and the only thing worse than a meaningless life
is a bad back." Lydia looks like she may cry, so Balki says,
"Oh, Miss Lydia, I promise you get your piano. Cousin, donít worry,
Iíll do all the work." He turns back to Lydia and adds, "I
always do all the work." "Terrific!" Lydia says happily,
reaching into her purse and handing a piece of paper to Balki, "Terrific!
Now, here is the receipt for the piano. Try to be a little bit early, I
want to do a sound check. Thanks!" She hurries into the parking
why did you do that?" Larry asks Balki in frustration, "I want to go
to a party and have fun. I donít want to work up a sweat moving a
piano." "Now, Cousin, that is where Balki has his thinking cap
pulled way down over his ears," Balki says, "Weíre not going to bust
our buttocks, weíre going to rent one of those trucks with the little elevator
on the back. Your back will be no problem, your underarms will stay nice
and dry and because you have helped a friend youíll feel good inside.
What you say?" "All right, all right," Larry sighs, picking
up his briefcase and jacket, "Iíll move the piano. But I wonít
feel good inside." They head for the parking garage. "Yes,
you will," Balki assures him. "No, I wonít," Larry
insists. "Yes, you will." "No, I wonít."
"Yes, you will." "No, I wonít . . . I already have a
little pain right here," Larry points to his stomach.
night Larry and Balki arrive at Lydiaís apartment building. Larry opens
one side of the double front doors and directs Balki, who is pushing an upright
piano on wheels, inside. "Okay, bring it on in," Larry says,
"Bring it on in. A little more, a little more, a little more."
Balki pushes the piano into the foyer until Larry motions for him to stop with a
"Ho!" and looks for the elevator, which is just past a large stairway.
"Okay, straight over here! Straight over here. Keep it cominí,
keep it cominí," Larry continues, leading Balki to the elevator doors.
"All right, swing it on in . . . swing it on in," Larry directs as
Balki turns the piano to face the long way toward the doors. Larry directs
him all the way to the doors then stops him with another "Ho!" and
pushes the button to call the elevator.
elevator doors open as Balki walks to the front of the piano opposite Larry and
leans against it. "You thought this was gonna be hard," Balki
notes, "but itís gonna be just as easy as pushing goats up a hill."
Balki walks to the back of the piano again and pushes it into the elevator.
It hits the back wall with one third of the piano still sticking out. The
elevator doors try to close but hit the piano and open again repeatedly.
Larry holds the elevator button so the doors will stop. "Looks like
one of the goats doesnít fit," Larry says smugly. "Okay,
smarty pants!" Balki says, pulling the piano back out and turning it the
other way so that itís now lengthwise, "I just do this, turn it around
like this and . . . voila!" Balki pushes the piano toward the
elevator but both sides stick out way wider than the opening. Balki sits
on the piano as Larry releases the button and the elevator doors close.
. . . " Balki begins, "how are we going to get this up to Miss
Lydiaís apartment?" "Answer . . . we donít," Larry
says. He moves to pulled the piano away from the elevator door with Balki
still sitting on it. "Balki, we gave it our best shot, it didnít
work," Larry continues, "Guess the world will just have to get along
with one Barbara Streisand." Larry starts to wheel the piano to the
front doors. "Cousin, there must be a way!" Balki insists.
Larry stops and looks at Balki in frustration, but Balki is looking up at the
tall staircase winding upward. Larry follows Balkiís eyes and then is
shocked when Balki gives him a look of enthusiasm. "Uh uh!"
Larry says, holding up his hand. "Yes!" Balki says excitedly,
jumping off the piano to start moving it toward the stairs. "Balki,
Balki, hold on! Hold on!" Larry urges, "Think about what
youíre thinking!" Balki makes an expression of exaggerated thought.
"Two men are going to carry a piano upstairs?" Larry asks, "Uh
uh. No way. And no."
"Cousin, we made a promise,"
Balki says. "Oh no no! No no no no no!" Larry is quick to
answer, "I didnít promise anybody
anything. You promised." Balki nods in realization,
"You know, youíre right. I promised. You didnít
promise." Balki tries to steel himself, sighing, "Okay, um . . .
so . . . you go upstairs to the party and Iíll just take care of it."
Larry stands and watches as Balki wheels the piano to face the first flight of
stairs. "And Cousin, donít worry about me because Iím in a good
place about it." Balki stands on the first step and reaches down to
lift the front end of the piano up. He does this with a long, painful
groan, finally getting the end of the piano up on the first step with a thump
and notes sounding. Larry walks over to him as Balki stands, looking
pained already. "One," Balki announces, reaching down to lift it
again. "Wait a minute," Larry sighs, "Who moves a piano
like that?" "Someone whoís alone," Balki cries.
right, Iíll help you," Larry reluctantly agrees. "Oh, thank
you, Cousin," Balki says, leaning over the railing to embrace Larryís
head gratefully. "Now, what we need first is a plan," Larry
announces. "Cousin, nobody enjoys one of your plans more than I do
but I was just thinking maybe we could just pick it up and go," Balki says.
"Oh, just pick it up and go?" Larry asks. "Just pick it up
and go," Balki repeats. "Oh, thatís what you want to do, Balki,
just pick it up and go?" "Yes, pick it up and go," Balki
confirms again. "Balki, Balki, Balki . . . " Larry sighs,
"Do you know the most common way people hurt themselves?"
"Running with sharp sticks in their hands?" Balki tries.
"No," Larry says. "Trying to cut their toenails with a bolt
cutter?" "No." "Sleeping out in the open and
letting little bugs crawl in their ears and make nests and they start to buzz
and buzz until you think youíre gonna go crazy but you just take a little
Q-Tip and get in there . . . . "
Balki, Balki. Balki!" Larry stops him, "The most common way people
hurt themselves is by lifting heavy objects incorrectly."
"Really?" Balki asks. "Yes, they do," Larry says,
"Now . . . the secret to lifting a piano is to let your legs do all the
work. Itís all in the legs." Larry bends his legs at the
knees and goes down and up to demonstrate his point. "All in the
legs," Balki repeats, mimicking the same movement. "All in the
legs," Larry repeats, bending at the knees again. Balki does it
again. They repeat this several times until Balki finally says, "I
like this!" "I thought you would," Larry states, then walks
to the other side of the piano, "Now, on the count of three, we will lift .
. . " Balki has followed him, still bent slightly at the knees so he
has a funny walk. "Other side, other side, other side" Larry
says, and Balki walks back around to the other side.
"On the count of three we will lift
the piano up one step and set it down," Larry instructs, "What we are
trying to do is establish a
rhythm." "Hey, I got rhythm!" Balki assures him, then
motions to the piano, "I got music . . . " then points to Larry and
adds, "I got my pal . . . who could ask for anything more?"
Balki laughs at his own joke, smiling at Larry who is not amused.
"Ready?" Larry finally asks. "Yes," Balki confirms.
"All in the legs," Larry reminds him as they each take one side of the
front of the piano, "One, two, three . . . lift!" They lift the
end of the piano up to the second step and look at each other triumphantly.
"One, two, three . . . lift!" Larry repeats and they do it again.
After a dissolve we can see they have made it partway up past the first floor,
keeping the same rhythm with "One, two, three . . . lift!" as they go.
Balki is now pulling at the front end as Larry is pushing the piano from behind.
"What floor is Lydia on?" Larry asks before saying "One, two,
three . . . lift!" again. They get to the next step before Balki
answers, "Sheís on ten." "One, two, three . . .
TEN?" Larry cries. Balki lets go of the piano and it slides back down
the stairs, pushing Larry down in front of it to the first floor landing.
"Somebody broke the rhythm," Balki notes. On Larryís fuming
look the scene fades.
two begins with Balki and Larry still going through their "One, two, three
. . . lift!" routine as they reach the third floor landing. "Why
do I let you talk me into helping other people?" Larry asks as they turn
the piano on the landing to continue upstairs, "Why do I listen? I
could have said no. I did say no!" "Good news,
Cousin," Balki offers, "We only have seven floors to go."
Balki looks upward at the seemingly never-ending staircase. The scene
dissolves to a short time later time when they are still working their way up
the stairs just past the third floor. Larry counts, "One, two, three
. . . lift!" as they go, until one time Balki stops with a pained look on
his face. Larry continues with "One, two, three . . . lift!" as
he pushes on his end of the piano while Balki stays in the same spot, gasping,
"Cousin!" "Balki . . . why arenít we moving?" Larry
asks. "We are not moving because the piano is on my foot," Balki
looks around the piano to verify this then makes a pained expression at the
sight. "Well, lift it off your foot," Larry suggests.
"That was my first instinct," Balki agrees, "but you see, the
wheel is caught on the carpet." "All right, all right,"
Larry says, "You hang on to the piano. Iíll come up to your end and
lift it off your foot." "That would be nice," Balki says in
a pained voice. "All right, have you got it?" Larry asks.
"More than you know," Balki assures him. Larry climbs up onto
the stairway railing and works his way up toward Balkiís end of the piano.
He climbs off, accidentally resting his weight on the piano at one point which
causes Balki to cry out in pain. "Sorry," Larry offers. Larry
gets down next to Balki and says, "All right . . . on the count of three
lift the piano and donít let go. Ready? One . . . two . . .
They lift the piano off Balkiís foot and
Balki sighs with relief as he lets go of the piano and it rolls down the stairs,
the large window of the landing and dangling precariously from the third floor.
"I said lift and donít let go," Larry states. "Oh, donít
let go," Balki realizes. "Donít let go," Larry
confirms. "So then donít . . . " Balki begins.
"Donít," Larry repeats. " . . . would have been the
operative word . . . " Balki says. "Yes," Larry sighs.
" . . . in that phrase," Balki finishes. The piano begins to
slip out the window and so Balki and Larry run down the stairs to grab it before
it can fall through. "Balki! Pull! Pull!" Larry
cries. "What does it look like Iím doing? Milking a
goat?" Balki asks. They manage to pull the piano back onto the third
floor landing. "Okay, hereís the plan," Larry finally says,
"We move the piano up to Lydiaís . . . and then you move back to Mypos."
"Iím glad youíre in a joking mood, you big kidder you!" Balki
smiles, tweaking Larryís nose, "Now, letís tackle these ivories."
next scene shows Balki and Larry on a landing making the turn to start up
another flight of stairs. Larry is saying "One, two, three . . .
lift!" but more slowly and in exhaustion. Balki lifts the front end
of the piano with a great moan of pain. Almost ready to drop, Larry says,
"One . . . two . . . three . . . " then notices the sign on the door
which says "10th Floor" in front of him. " . . .
Balki," Larry gasps. Balki moans again in agony but canít even lift
the front of the piano any more. "No! Weíre here!" Larry
points out, "We made it!" "We . . . weíre here?"
Balki asks in amazement, "We made it?" Balki climbs over the
banister to meet Larry and they laugh and hug each other. "And you
thought it was gonna be hard!" Balki scoffs. "I canít believe
it," Larry says, "We brought a piano up ten floors and I didnít hurt
my back! My back is fine!" Larry laughs again and hugs Balki.
"Okay, Balki," Larry sighs,
"open the door." Balki walks around to the door and tries to
open it but it wonít budge. "Balki, open
the door," Larry repeats. Balki tries again even harder, but still
the door wonít open. Balki walks to Larry, who looks incredulous.
"The door canít be locked!" Larry cries, then buries his face in his
palm as he leans dejectedly on the piano and moans, "No, no, no . . .
" Larry begins to cry. "Cousin," Balki sighs.
"Huh?" Larry murmurs. "Donít do that," Balki pleads,
"Itís gonna be okay. You know why? We just gonna go
downstairs and we just take the elevator up and I bet you can open it from the
other side." "Okay," Larry sighs, completely spent.
"Okay?" Balki asks. "Okay," Larry agrees.
"Okay," Balki says and leads the way down the stairs.
"Itís just Iím missing the whole party," Larry whines.
"I know," Balki sympathizes. "And Iím all sweaty,"
Larry adds. "I know," Balki sighs. "And I got a
blister," Larry says, holding out his finger to show Balki. "And
your pants are ripped," Balki adds.
"My pants are ripped?" Larry
asks. "Yeah . . . I was going to tell you earlier but then I thought
ĎHe might lose his mind.í" "My pants are ripped?" Larry
asks angrily, "I love these pants. These are my good pants!
These pants make me look taller!" "Guess I
should have waited," Balki notes. "I hate that stupid
piano!" Larry snaps, walking back up to the instrument and crying, "I
hate it, I hate it, I hate it!" He gives the piano a swift kick with
his right foot. "Ow!" Larry cries, turning around and limping on
his now sore foot. He hops on his left foot and slips down one step,
wrenching his back which he grabs at with his hands as he cries in pain.
"Ooh! Ooh! My back! I hurt my back." Larry
comes down the stairs painfully, yelping when he steps down on his sore foot and
then again when his back hurts. He reaches Balki and gives him a wide-eyed
stare. "Are you finished?" Balki asks. "Yes,"
Larry says quietly. "Okay. Would you like me to help you
downstairs?" Balki asks. "Yes, please," Larry agrees
scene dissolves and we see Balki and Larry coming down the stairs and passing
the eighth floor landing. Larry is hanging onto Balki, riding him
piggyback as Balki slowly makes his way down the steps. "Donít
worry, Cousin," Balki encourages, "You hurt yourself doing something
good for somebody else. God will smile on you." "Thatís
what I did this for? A smile?" Larry asks. "Now Cousin, if
thereís one thing that this simple Mypiot knows . . . that is that if you do
something good for other people, good things are bound to happen to you."
They suddenly hear the sound of piano notes bumping, the same sort of noise the
piano was making as they were moving it upstairs, only more quickly. They
stop to listen and the sound stops. "What was that?" Balki asks.
"Could be anything," Larry says, hopefully.
Balki tightens his grip on Larry and
starts down again, only to hear the piano bumping sounds again. They stop
nervously. "Or it could be the piano rolling down the stairs,"
Balki suggests. They are about to reach the seventh floor landing when the
piano sounds become more urgent and the piano rolls down to the eighth floor
landing above them. They stare up at the instrument in shock as it turns
the corner. "It appears to be following us," Balki says
nervously, "Cousin . . . did Stephen King ever write anything about a
piano?" "Thereís got to be a logical explanation," Larry
offers, "Pianos donít follow people. Maybe the floors are
uneven." They turn and start back down to the seventh floor landing
when there is a sudden series of bumping piano notes and they turn to see the
piano as it is about to start down the stairs towards them. "Or maybe
itís alive!" Balki cries, and he and Larry let out a blood-curdling
They turn and run down the stairs quickly
as the piano bumps its way down the stairs behind them. They pass the
sixth floor landing and Larry cries out, "Faster! Faster!"
Balki stops and says, "Perhaps you would like to get off and wait for the
Mypiot?" They hear the piano coming again and Larry points Balkiís
face to point down the stairs as they continue in a hurry down to the fifth
floor, turning the corner to head down to the fourth. Larryís jacket is
on the railing of the fifth floor landing and Balki comes back up quickly.
"What are you doing?" Larry cries. "You forgot your
jacket," Balki points out. "Forget the jacket!" Larry
gasps, grabbing Balkiís hair and pulling his head back. The piano
appears above them, starting down the flight of stairs. Balki and Larry
scream as the piano bears down on them. They leap back against the fifth
floor door as the piano races by them, crashing through the window and landing
on the street below with a loud crash. Balki and Larry look down through
the broken window as we hear the sound cars braking and horns honking.
"Well . . . " Larry sighs. "I had no idea a piano had so
many parts," Balki comments.
bit later we see the elevator doors in the lobby as they open and Chuck Panama
is holding Lydia up off the floor in his arms as he kisses her passionately.
He sets her down and they part as she laughs and says, "Oh, you take my
breath away, you wild man you!" They exit the elevator and walk
toward the front door as she continues. "So, um, Chuck . . . do you
like my singing?" "Why donít we discuss it tomorrow night at
my hotel?" Chuck asks. Balki and Larry come down the stairs, battered
and worn, to see this exchange. "Ooh!" Lydia gasps excitedly,
"Until then . . . " "Ciao, baby," Chuck smiles,
kissing her hand. "Ciao!" she answers, unable to contain her
excitement as he leaves. She turns and passes the stairs, not noticing
Balki and Larry until Balki says, "Miss Lydia." "Oh, Balki!
Larry! I didnít see you at the party." She thinks a moment.
"Did I invite you to the party?"
we were moving your piano," Larry explains. "Oh that,"
Lydia giggles, "Funny thing . . . I didnít need that piano after all.
I used a background tape. It had a full orchestra. It just supported
my voice so much better than that dinky little piano." "Did you
hear that, Balki?" Larry asks, "She didnít need the piano."
"Well, thatís fortunate, Miss Lydia, because the piano now bears a
striking resemblance to a pile of Lincoln Logs." "Oh, who cares
about that silly old piano?" Lydia asks, "Chuck likes me! He
really likes me! And you wanna know why he really likes me? Because
. . . . " She breaks into song, belting out Barbara Streisandís hit
"People." "People . . . people who need people . . . are
the luckiest people in the world . . . " She continues singing as she
gets into the elevator and the doors close.
isnít it wonderful the way things worked out?" Balki asks.
"Wonderful?" Larry asks in disbelief, "What is so wonderful?
We killed ourselves taking a piano up ten floors for nothing!"
"Well, now thatís true," Balki admits, "but the point is that
you helped me to do this even though it was against your better judgement."
"And that makes this evening worth it for you?" Larry asks.
"Well, yes it does," Balki says, "because, Cousin, if you were
willing to help me to do this then I know that even if the world falls in on me
I can ask for your help." "Well, Balki, youíre probably
right," Larry nods, "but just donít ask for the next few days,
okay?" Balki offers Larry a hand to help him toward the front door as
he remarks, "Thereís plenty of time, Cousin . . . we wonít have to help
Harriette move into our building until next week." Larry turns from
the door and starts after Balki, painfully and slowly moving in a menacing way
toward him as Balki backs away nervously.
There are only a few
variations between the final episode and the shooting script from September 29,
the opening bit with the postage stamp, the elevator door opens and Harriette
exits behind some newspaper workers. She is painting her nails.
"Yo! Appleton!" she calls. Larry and Balki both walk over
to Harriette. "Push the emergency stop for me, baby," Harriette
requests. "What's the emergency?" Larry asks. Harriette
gives him a look as if the answer should be obvious and says, "I got to
finish my nails. I've got a lot to do before Lydia's party tonight."
"You think you got a lot to do. I've got to go home and wash my
tongue," Balki points out. "I don't even want to know what
that's about, baby," Harriette assures him. The elevator buzzes and
Harriette calls up the elevator shaft, "Keep your shirt on! I've got
a life, too, you know!" She asks Larry to push six for her and she
leaves. After the elevator doors close Larry says, "Balki, don't tell
people you have to go home and wash you tongue."
the script and revisions for September 30th, the joke about Chuck Panama, when
Balki asks if he's the same guy they named the canal after, is capped with Larry
saying "No, Balki. That's Frank Panama." In the final
episode the line was changed to "You're thinking of Chuck Suez."
In the shooting script, Lydia says, "If I get a chance to sing for Chuck I
might get an album." Balki replies, "Miss Lydia, if an album is
all you want, you don't have to sing for it. I'll buy you one."
In the revisions for September 30th the joke has been changed to the Grammy line
instead. Oddly enough, in the shooting script Balki's line is, "Oh
Cousin, I'll do all the work. I always do." In the revisions
from the next day, the line is changed to, "Don't worry, Cousin. I'll
lift the heavy end." The line would appear in the episode as it is in
the shooting script.
Balki tries to get the piano into the elevator he notes, "It don't fit,
huh?" "No, it don't," Larry agrees. Then after Larry
tells Balki they have it their best shot his line is, "One Barbara
Streisand is all the world needs, anyway."
Balki is trying to guess the most common way people hurt themselves his second
guess originally was, "Sticking a fork in a toaster?"
the piano is on Balki's foot and Larry says he will come up to that end and help
him, Balki says, "That would be nice. Because my foot is having an
out of Balki experience."
the piano crashes through the window the first time, Balki comments, "Boy,
Cousin, we were lucky the window was here to stop it."
Balki tries the door on the tenth floor and finds it locked, Larry says, "Balki.
Tell me the door isn't locked." "The door isn't locked,"
Balki says. "Good, let's go," Larry says. "We
can't." "Why not?" "Because the door is
locked." "Why did you tell me the door isn't locked?" Larry
asks. "Because your will is too strong," Balki answers.
Lydia asks Chuck Panama if he likes her singing he says insincerely, "Your
singing, yes of course. Why don't we discuss it tomorrow night at my
hotel?" Then when Lydia sees Larry and Balki she says, "I didn't
see you at the party. Didn't I invite you?"
on to the next episode . . .