Deadly Dancer (1990) - full transcript
A police detective, investigating a string of murders of strippers at a Los Angeles night club, must race against the clock to clear his name when he's wrongfully accused of being the killer.
[music playing]
[chatter]
Go! Go!
Go! Go!
Go!
[MUSIC - SUZANNE PALMER, "TELL ME"]
Out in the night, the tensions are tight and the moon,
it's too hot to mention.
I'm in a mood, left on my own, just to ponder your attentions.
You can make up anything that you want
when you use your fatal vision.
Now look in my eyes and tell me the truth.
Is there something that I'm missing?
Tell me, who do you love tonight?
I really wanna hear it.
Tell me, who do you love tonight?
Give it to me straight 'cause I know
your game, baby, all too well.
You're a man with a mission when you cast your spell.
Tell me, who do you love tonight?
I want you to lay it on the line.
Tell me.
[chatter]
[MUSIC - MARLA JEANETTE RUBINOFF, "PRIMAL KISS"]
He was a boy.
She was a girl.
But that's not it.
Something different.
Something was singing.
How they fit.
Human combination, such a sensation.
Celebrate creation.
In his eyes, he gave a sign that somehow fit.
He touched her.
She touched him.
And something inside, I climb up to, right up to.
The reason why.
Human combination, such a sensation.
Celebrate creation.
Where is he, Mike?
I don't keep his appointments.
You'll have to talk to his secretary about that.
I don't need these stupid jokes.
We both know what he's capable of.
This guy's dangerous.
I don't know what he's planning, but it's
going to get somebody killed.
Her apartment, his car, out front.
You got good instincts.
Such a sensation.
Celebrate creation.
Primal kiss.
And now, ladies and gentlemen, I have the distinct pleasure
of introducing to you the captivating, the mysterious,
the mesmerizing Kaycha.
[MUSIC - STEVE MCCLINTOCK, "FORBIDDEN"]
Girl next door, through the window.
Right there, standing in the half-light, taunting me.
Doesn't she know I can't?
I might.
Dancing too close, close to the fire.
Fanning the flames of my desire.
She looks to good to go to waste--
--doesn't she know I can't?
I might.
Dancing too close, close to the fire.
Fanning the flames of my desire.
She looks too good to go to waste.
I've got a taste.
Forbidden.
My body aches for what I'm going through.
Forbidden.
I just can't stay away from you.
Best friend's girl getting too close.
Silk dress brushes up against me.
Dam builds up.
Gotta let go.
Should I?
Would she?
My heart pounds.
The danger's there.
I know it's wrong, but I don't care.
She looks too good to go to waste.
I want a taste.
Forbidden.
My body--
[crashing]
[screaming]
[gunshots]
Where the hell's our backup?
We are the backup.
You didn't call in?
What, so a couple of checkerboards
could get here in time to fluff up some body bags?
Jesus, Jack. You know the rules!
Rules.
I got him.
Cover me.
Go!
[upbeat music playing]
[grunts]
[groans]
And with your own gun.
Maybe they'll call it a suicide.
Hurry up, hero.
The suspense is killing me.
[click]
Yours, too, math whiz.
I counted.
Never trust a cop.
Take it easy.
Take it easy!
I give up.
Turn around and face the wall.
Now.
Move it!
Hey!
Come on, man.
Hey, look.
You have the right to remain silent.
Use it.
What are you doing?
I've been shot and I need a doctor.
You better hope my partner's OK
or all you'll need is a body bag.
[gunshots]
Oh!
What?
Shit!
Oh, God.
[grunting]
[yelling]
[crash]
[tires squealing]
We lost 'em.
Come on.
Damn.
[music playing]
They're right on us, man.
Stop, damn it!
Oh, sh--
So what, you got a license to give flying lessons now?
I thought they knew where they were going.
How was I supposed to know there was a dead end there?
What did you think the barriers were for?
Hurdles for off-road vehicles?
I can explain.
No, you can't.
Armed felons fleeing the scene of a crime
can be apprehended by any means at the disposal
of the pursuing officer.
Oh, that's great.
See Jane run.
Run, Jane, run.
What do you want?
I mean, next time we'll just wave goodbye to them.
Hey, so long, fellas.
Good luck at your next shooting. - OK.
OK.
Look, maybe, just maybe this time you were right.
But can you tell me how come every time
I send the two of you guys out, you come back with a dead body?
Can you?
No.
Well, what do you have to say for yourself?
Well?
Well?
Nothing.
I guess it was something I said.
Well, you know Jack.
He gets a little cranky if somebody's not shooting at him
or running him down.
Yeah, well, you both look a little run down.
So why don't you take a few days R&R.
No, thanks.
I'm not suggesting it.
I'm ordering it.
Yes, sir.
Boy, he's in a foul mood.
He's not the only one.
Well, you know, he does have a point, now.
Detectives are supposed to solve murders, not cause them.
Whose damn side are you on, anyway?
, Well excuse me.
Hey, let's go get some coffee.
We need to relax.
Boy, you sure know your drugs.
We ought to move you to narcotics.
Oh, so this is what happens when Jack
gets his wrist slapped, huh?
No, this is what happens when Jack's fiancee
leaves him for a plumber.
What?
Nothing.
It's just been a long day.
I'll drive.
You buy.
I know the perfect coffee shop.
MIKE: So what happened?
I thought you two were going to get married?
JACK: Look, I don't want to talk about it.
MIKE: OK.
OK.
[MUSIC - SUZANNE PALMER, "TELL ME"]
Deja vu.
All the feeling's coming again.
Deja vu.
Is this all for real or just pretend?
Tell me, who do you love tonight?
How are you doing?
I really wanna hear it.
Tell me.
Babe.
Who do you love tonight?
Lay it on the line 'cause I know your game, baby, all too well.
You're a man with a mission when you cast your spell.
Tell me, yeah, who do you love?
Who do you love tonight?
AUDIENCE: [cheering]
I'm sure no one would object to a bouquet
of dancers like her.
Well, our next act is that bouquet.
I'm proud to present our ladies, the Club Metro Dancers!
Come on, baby. [music - valentino, "show me"]
Show me the stuff that you're made of.
Tightening up, coming down the line.
Show me the stuff that you're made of.
Move me fast forward--
Four years and all I get is a note taped
to the float of a toilet tank.
And I will show you mine.
Four years, Mike.
Is that all I get after four years?
Uh, how'd you find it?
The note, mean.
Not a moment too soon now.
Show me the stuff that you're made of.
Tightening up--
What are you, a virgin?
Oh.
Uh, sorry, Jack.
I just-- I haven't seen legs like--
well, how'd you find the note?
The toilet flooded.
I thought she'd gone to her mother's.
Shit.
She left me and I didn't even know it for a week.
Show me the stuff that you're made of.
Tightening up, coming down the line--
After four years, what am I supposed to do,
send her the plumbing bill?
You know, you've got to admit, Jack, you're
a damn lousy judge of women.
Yes.
Yes, yes.
Yes, ladies, yes.
And now, ladies and gentlemen, direct from New York,
appearing in Los Angeles for the very first time,
please welcome the star of our show, the lovely Kaycha.
[MUSIC - GINA HARLAN, "HIS HEARTBEAT"]
Whenever life's a little tough and it starts to get me down,
I stop and think about his touch and it brings me back around.
MIKE: This ought to take your mind
off your plumbing problems.
You know I love the simple life.
I wanna do the best I can.
And I'm my best when he's by my side.
I need his heartbeat closer to mine.
I need his heartbeat beating in time.
I need his heartbeat to ease me through the night.
I like his loving in the night.
His moves can help me cope.
I've been in love and I'm all right.
He fills me full of hope.
You see, I've got a simple plan.
You know I love a simple life.
I wanna do the best I can.
And I'm my best when he's by my side.
I need his heartbeat closer to mine.
I need his heartbeat beating in time.
I need his heartbeat to ease me through the night.
Closer to mine.
Closer to mine.
Closer to mine.
Beating in time.
Heartbeat.
Heartbeat.
Jealous?
I need his heartbeat closer to mine.
I need his heartbeat beating in time.
I need his heartbeat to ease me through the night.
I need his heartbeat closer to mine.
I need his heartbeat beating in time.
[ominous music playing]
What if they hate me?
Oh, I can't believe that you talked me into this.
Oh, stop it.
You're going to be great, and you're going to love it.
Yeah, you'll do just fine.
Didn't you hear all that applause
for the other new girl?
And honey, she's got nothing on you.
Listen, doll, with a body like yours,
you don't even have to dance.
Ain't that right, Tony?
GIRLS: [cackling]
Sorry.
Did I interrupt something?
Looks like a star is born, girlfriends.
ROSE: Yeah.
They loved you.
Thanks.
Don't thank me.
I didn't say I loved you.
Didn't they tell you?
You're in the palace.
Thanks.
[buzzing]
Oh, God, that's me.
I'm next.
Oh, I'm a wreck.
Relax, Kim.
You've got seven minutes.
And anyway, I'll be right there, cheering you on.
Thanks.
Good luck, girls.
I'll be right back.
If I'm unlucky.
They'll never even let you back there.
I had to fire her, man.
She just wasn't up to the standards of this place.
Oh, yeah?
Yeah.
Well, someone has to dance.
You fired her.
You're going to take her place.
Now, what the hell is that supposed to mean?
Hey, you're a dancer.
I've seen your old clippings.
I've even seen you do a few dance steps here offstage.
So what it means is you're going to do your fancy footwork
on stage tonight and every goddamn time
you blow a hole in my calendar.
And you're going to make me?
Oh, no, no.
I'm not going to make you.
Cool.
What I know about your past is going to make you.
I can't believe how nervous she was.
I know.
And she's all scared.
I feel bad for her.
I wouldn't want to [inaudible].
Because that one time--
Lots of hustle, hustle.
Yeah.
But you can just hustle and bustle on out of here.
Who let you in, anyway?
I just followed my instincts.
Mm.
Oh.
Followed your instincts?
Is that what you call it?
I'm looking for--
you know, she was just--
There.
[MUSIC - HAROLD GREEN, JOHN FORTE,
SAM DOMINGO, "BODY DANGEROUS"]
Girl, you hypnotize me with your moves.
You don't lose.
Your body's dangerous.
When you're in that dress, I must confess you're the best.
Whoa, come on.
Hi.
Hi.
Can I help you?
Uh, you-- you just did.
That's great.
I hope [inaudible].
Look, I tried to be nice, but if you don't leave,
I really am going to have to call security.
I don't think that'll be necessary.
I just want to ask you some questions.
You're not a cop.
Jack Alden, detective 2, LAPD.
I'd just like to ask you some questions.
Hm.
--dangerous.
When you're in that dress, I must confess you're the best.
Oh, babe.
So do you have questions, or was
that just a ploy to come in here and act
like a moron in private?
Where were you at 10:30 PM on the night of September the 9th,
1978?
Can't you do better than that?
April the 4th, 1952?
God, you're too much.
When you're in that dress, I must confess you're the best.
Body dangerous.
Girl, you hypnotize me with your moves.
Do you always use your badge to meet girls?
Actually, no.
This is the first time.
Don't do it again.
It doesn't work.
But you don't want to hear me talking,
so returning to the stage by popular demand,
I'm happy to bring to you our very own Tony Penter.
[music - "rude awakening"]
Ooh.
Yeah, yeah, yeah, yeah, yeah.
You picked a fine, picked a mighty fine time to leave me.
I thought our love was true, but you found somebody new.
You picked a fine, picked a mighty fine time to leave me.
I never would've known you'd leave me all alone.
No, no.
You say I'm serious.
I feel delirious.
You're so mysterious.
Took me by surprise.
It's a rude awakening.
It's a sad, sad thing.
See, you turned my life around like a puppet on a string.
It's a rude awakening.
It's a sad, sad thing.
All I wanted was your love.
What you gave me was your sting.
You picked a fine, picked a mighty fine line to use on me.
You told me this was more than you'd ever loved before.
You picked a fine, picked a might fine crime to bruise me.
I caught you playing around.
Just kick me when I'm down.
You say I'm serious.
I feel delirious.
You're so mysterious.
You took me by surprise.
It's a rude awakening.
It's a sad, sad thing.
See, you turned my life around like a puppet on a string.
It's a rude awakening.
It's a sad, sad thing.
All I wanted was your love.
What you gave me was your sting.
Yeah, yeah, yeah, yeah, yeah.
I can't believe you're standing here and telling me goodbye.
'Cause now I find that all that time,
you're the devil in disguise.
You say I'm serious.
I feel delirious.
You're so mysterious.
Lies, lies.
Tell me lies.
I can't believe it.
Oh, no.
I don't believe it.
No, no.
I won't believe it.
The element of surprise.
It's a rude awakening.
It's a sad, sad thing.
See, you turned my life around like a puppet on a string.
It's a rude awakening.
It's a sad, sad thing.
All I wanted was your love.
What you gave me was your sting.
It's a rude awakening.
It's a sad, sad thing.
See, you turned my life around like a puppet on a string.
It's a rude awakening.
It's a sad, sad thing.
All I wanted was your love.
What you gave me was your sting.
It's a rude awakening.
It's a rude awakening.
It's a rude awakening.
Said, rude.
Said, rude.
Said, rude.
Yeah, yeah.
It's just a rude awakening.
It's a rude awakening.
It's a rude awakening.
Hurt me, baby.
What, no luck?
I'm playing hard to get.
Yeah.
Looks like you're succeeding.
Look, I'll get the car.
I'll meet you out front in a couple of minutes, OK?
Now get out there and knock them dead.
[MUSIC - CHUCK HIGGINS, "JUST DO IT"]
Just do it.
Just get up on your feet.
Don't wait for another day.
If you really wanna feel the heat, just do it.
Ha!
Don't gimme no reason why.
You ain't never gonna feel the beat.
Can't make it if you never try.
Just do it.
Don't step aside to watch the world as it passes by.
Don't be afraid.
There's no other life that you got to take.
If you need a hand, then you gotta figure it out.
It's like there's something [inaudible]..
It's up to you.
So you better make up your mind that you can make it through.
[sighs]
If you really wanna feel the heat, just do it.
Don't gimme no reason why.
You ain't never gonna feel the beat.
Can't make it if you never try.
Just do it.
[screaming]
[car squealing]
It's bad enough you were even there, but 20 feet
from the scene of the murder and we've
still got nothing to go on?
It didn't happen while we were there.
We'd have seen it if it--
Who cares?
It happened, damn it.
Everywhere you go, it happens that somebody dies.
- Listen, Lieutenant-- - No, you listen.
It's never wounded or injured or maimed.
It's always just plain dead.
Every time, it's somebody dies.
Why is that, Fulton?
And where's the hell's Jack?
R&R. Orders.
Oh, fine!
Well, let's celebrate.
The first he obeys orders and you don't.
You know, what are you guys, the two Stooges feeding
on each other's incompetence?
For crying out loud.
All you have to do if you're at the scene of a murder
is just simply--
I told you we were long gone by then.
Oh, you were long gone?
Fine, what time did you leave?
- About-- - Exactly.
Not about.
Exactly what time did you leave?
Who knows?
Well, I'm betting you do, Digital Mike.
There's a reason they call you the automated detective, huh?
Well?
9:12. But that--
9:12. That's terrific.
But you know, if you'd have taken the time
to read the stupid report, you'd have
found out that they put the time of the murder
between 9:00 and 9:15.
Don't tell me you suspect--
No, no.
But you know how hungry the press gets for a crazed cop
that's cracked under pressure.
So find Jack.
Look, you can't keep him at a desk, even if he--
Look, just find him, OK?
I'll give you 48 hours to catch this guy.
But just 48 hours.
And if not, you're going to find yourselves
working animal control down at Venice
Beach for the next five years.
Oh, and one more thing.
Could you bring this guy in alive this time?
Yeah.
Yeah.
Woo.
Shake that stuff.
Tony, Tony, she's really good
Joe.
OK.
OK, yeah.
OK.
Do a little spin.
Nice.
Fine.
Well, uh-- we'll call you.
Thanks.
Thank you.
OK.
Next.
[music - trapper, "ride it"]
When I walked into the room, I had
a feeling you'd be waiting for a chance
to put your chains on me.
Don't you know you'll never tie me down.
Yeah.
Nice.
--however, whenever I please.
Hit the road and I'm riding.
Ride it out.
Ride it.
Ride it out.
Hey, Tony, look at this.
Tony.
Whew!
Whoa, whoa, whoa, whoa, whoa!
Kill the music.
Kill it!
DANCER: What, did I do something wrong?
Should I start over?
No, honey.
See, this is a couples club, and that's--
that's more of a singles routine.
So let's just leave it like that, OK?
OK.
What do we have here, a re-enactment?
Hey, listen, do you mind?
We have a business to run here.
And do you mind?
We've got some lives to save around here.
Oh, oh, pluck my heartstrings, why don't you?
Hey, listen, Tony.
Who let Mother Teresa in here?
How is this for your heartstring pluck?
Yo, man, be cool.
JACK: Listen to me.
If you don't start cooperating, we're
going to have you up there doing your own swan dance.
Whoa. Cool it.
Come on.
OK, cool it.
Look, if you kill him, Hatch'll have you
dig his grave with a teaspoon.
Come on.
Let's go interview the dancers, see if anybody saw anything.
JOE: OK, next!
Hi.
Hi.
You still auditioning?
I thought you, uh, already had this job?
I'm practicing.
Are you here to ask me some more vital questions?
Yeah.
You want to tell me about last night?
What about it?
How about you just tell me what happened.
Well, I know that you went home alone.
And you?
I know about that, too.
Excuse me.
We have a murder to discuss.
Do you think maybe we could do that?
Is there anything-- anything-- unusual you can tell us?
Well, sure, I guess everything I see around here is unusual.
But if you're asking me if I saw anyone
in the ladies' room washing blood off their hands,
I didn't.
Thanks.
She's all yours.
Listen.
I'd really like you to call me if you can remember
anything about last night.
Anything that'll help us at all.
All right?
Sure.
And there is one more thing.
Yeah?
Dinner tonight?
Well, you know, I could take you in for questioning.
And then you'd have to have dinner.
[screaming]
My God, Tony!
You practically scared the life out of me.
Sorry. I didn't mean to.
But you just snuck up and I--
TONY: Where you going, baby?
I'm quitting.
TONY: Is that right?
MIKE: Freeze!
Don't shoot!
He didn't [inaudible].
He just scared me. That's all.
It's dangerous being here.
I was just-- - Shut up!
TONY: OK, you listen-- - Just shut up!
Look, sit down.
Both of you.
Will you?
We want the girls that danced last night.
The rest of you can go on doing what you were doing.
MIKE: Thanks very much.
I can't tell you how helpful you've been.
So you, uh, danced last night, huh?
I don't think you qualify as one of the girls.
Sometimes you just can't do anything right.
You're Kim, aren't you?
You were the one who was--
she was your friend.
You can go.
Just, um, leave an address and phone number with the police
out front.
I hope you get him.
Ladies, names?
Rosella.
Rose.
- Rose. - Candi.
Candi.
See anyone backstage or in the dressing room area anytime
last night?
Anyone at all that shouldn't have been here?
- You. - Great.
Now I'm the prime suspect.
At least we'll have something to offer Hatch
now after a day of digging.
Well, then I guess you'll all just excuse me
while I go fingerprint myself.
Handle this?
Know of anyone who had any run-ins with the victim?
Arguments?
Men she turned down?
I think she never turned anyone down.
Maybe your friend should've knocked on her door last night.
You don't seem to like him very much.
Any reason?
Relax, doll.
Just call it professional jealousy.
But you know, the only one that riles any of us
is that new girl your friend's hot for, Kaycha.
KIM: [screaming]
Kim must've saw her shadow again.
Anyway, I better check it out.
I'll be right back.
KAYCHA: [screaming]
Is she dead?
You tell me.
Oh, come on, Mike.
No, you come on, Jack.
Till we know better, everyone's a suspect.
Look, you think you could do this without getting
blood all over the place?
Mike, you want a prime suspect?
Go find Tony.
Oh, you saw the way he acted in there.
He wouldn't have the nerve to blow his nose
with all the heat around here.
Call it a hunch, man, but if it ain't Tony, who is it?
Some psychotic maniac hanging up in the rafters?
Call Wilshire Station.
Tell him we need a bag and a--
and a shuttle to the morgue.
Mike.
Where am I going?
Yeah.
To see if Tony's prowling around in the rafters.
[music playing]
It's OK.
Mom always told me to breathe deep.
[sobbing]
You all right?
I've never been a susp--
[sobbing]
Ah, don't mind Mike.
Hell, he's by the book.
He'd haul in his own mother if she dropped
in unexpectedly for lunch.
You OK?
I keep-- yeah.
Kaycha, I need you to help me.
What?
I need you to tell me exactly what happened last night.
Can you do that for me?
Yeah, I'll try.
Good.
Freeze.
You have the right to remain silent.
You have the right to an attorney.
Give up the right to remain silent, anything you say--
Oh, cut the fucking speech, man.
Don't you have better things to do than to be
arresting a man for dancing?
You better hope that's all they have to hang you for.
Well, I saw somebody run across the stage.
Um, I think it was Tony.
JACK: Kaycha, it's very important.
Now, could it have been anybody else?
I don't know.
No.
No.
JACK: I'm sorry I gotta put you through this.
It could have been me.
I-- I could be dead.
Let's go.
I'll be right back.
What's up?
What the hell's the matter with you, Jack?
We've got a corpse in the morgue,
a dead body in the other room, and you--
And a killer in custody, smoking Tootsie Rolls.
Listen, Mike, the girl is upset.
And she's a witness.
There's nothing wrong--
Did she see anything?
Maybe.
I'm working on it.
I see that.
Look, Jack, I know you like her.
But please, as a favor to me, let it go until this is over.
All right.
I'll take the girl home, then I'll meet you downtown.
Let's see if we can't stimulate Tony's memory.
The operative term here is interrogate.
Look, I can handle Tony.
Why don't you come back and see what Joe knows about him.
Great.
That'll give me an opportunity to teach the resident slimeball
a little lesson in etiquette.
Remember the idea is to get information from him.
Still, one quick lesson wouldn't hurt.
Easy, Jim.
Anything you get that way will be thrown out in court.
You listen to the man.
You're retaliating an innocent man.
You get up.
I want answers, and I want alibis, and I want them now.
I told you I didn't do nothing!
When did you clip the wires to the emergency exit?
Hey, man, I'm not the only one using that door.
And mostly girls use that exit on their way home, all right?
Hey, we can't have that thing going off.
You're wasting our time, Tony.
And besides, we know you got priors.
Pimping, drugs, theft.
Hey, refresh his memory.
Fuck you.
1966, auto theft, two counts, juvenile, probation.
1968, larceny, restitution, two months.
1969--
It's open.
Come on in.
Just make yourself at home, Jack.
I'll be out in a minute.
Listen, I can take you to the club tonight.
Oh, and they're holding Tony.
KAYCHA: I know.
Anyway, I'm off for a couple of nights.
[music playing]
Jack, meet Slide.
He's my new dance partner.
You must be kidding.
You dance with a--
Hi.
Hi.
JIM: We let him go.
MIKE: You let him go?
That's right.
You guys don't have anything.
48 hours and all you've got is one stinking
witness that says maybe.
Maybe she saw the guy walking around the club
that he's worked in for the last five years.
JACK: He's got a record a mile long.
JIM: They're priors, Jack, and no violence.
MIKE: It's just a matter of time.
JIM: You know the law.
MIKE: Look.
Can't we get a shrink to-- to declare psychotic dementia?
I can't hold him any longer.
And if I take this in front of a judge with what we've got now,
he's going to think I'm crazy.
Just let him go.
What is it they want, Jack?
JACK: They want hard evidence.
Like what, another body?
Maybe mine?
Kaycha, you're safe.
I'll see to that.
Besides, he's being watched.
Jack?
Mhm?
Did you ever feed a snake?
No.
Here.
Tell me this is a wind-up toy.
Drop it in.
Don't blink.
I think he's hungry.
You can't be serious.
Well, you didn't think he was a vegetarian, did you?
I can't watch this.
You might have to dance with your partner,
but do you have to live with him?
Are you jealous?
JACK: Should I be?
Absolutely.
It's funny, really.
You know, if they would just lay still,
the snake would ignore them.
They run around like maniacs and snap.
They're gone.
Instinct.
That's what kills them.
When you get done feeding your partner, how
about coming in here so we can take care of our own appetites?
Close your eyes.
Don't turn around.
How hungry are you, Jack?
[MUSIC - GAVIN CHRISTOPHER, "FOUND ANOTHER LOVER"]
Hi, this is Gavin.
You've got my machine.
And if you'd like to leave a message,
I'll get back to you as soon as I possibly can.
And I would also like to leave a message for the young lady
that I met last week.
The one that, uh, wanted to do something different.
Ow!
Ooh, whoa, whoa, hey, baby.
You had me.
You said you didn't want me.
You pushed my love aside.
I saw you with another lover.
Why did you take me for a ride?
And now you're back again, asking for another chance.
And I swear I don't know what to say
'cause I found another lover when your heart wasn't free.
Babe, I found another lover.
Someone to take your place.
Babe, I found another lover.
Someone to fill this space.
[applause]
I'm out of here, girl.
Oh, wait a sec.
Can you take me down to Pico?
My car's in the shop. - Oh, sure.
I'll meet you out back.
But please hurry, because I'm already late.
OK.
Whoa!
And she's off.
I thought we were gonna go out and find some trouble tonight.
Oh, I'm sorry.
I forgot.
I promised my sister I'd babysit.
I guess I'll just have to handle double the trouble,
if I can find it.
OK.
I'll see you.
Erica, I'm sorry.
Maybe tomorrow, OK?
Get out of here.
[footsteps]
Hey, lady?
Hey, uh, help a guy out?
- Yeah. - Than--
Yeah.
Thanks?
Do you have any spare change?
Yeah.
Yeah.
Here.
[whimpering]
[honking]
All right, Candi, I'm coming.
[honking continues]
Candi, stop it.
[honking continues]
Candi, that's not funny.
Candi?
Oh, thank God it's you.
[screaming]
Hi.
Hi.
You're finally waking up.
[yawns] Yeah.
I haven't slept like this since, uh--
mm.
Hey, what time is it, anyway?
Mm.
Almost 9:00.
Damn, I gotta get going.
What? Hey!
I gotta get going.
You can't go.
I started breakfast already.
Hey, I really shouldn't be here.
You know what kind of trouble I could get in being here?
What?
[giggling]
You do backstage. I'll get the dressing rooms.
Right.
[sniffs]
That's all the warning you get, Tony.
[clicking]
What in the-- oh, my God.
No.
Kaycha.
Jack, you OK?
[yelling]
[chatter]
He just came out of nowhere.
Police.
Just stay in your car.
Is he dead?
Oh, my God.
Damn it.
Well, I never thought I'd be congratulating you
on filling another body bag.
But congratulations.
Looks like you've, uh, cracked a tough one.
Are you going to sit down or stop pacing or something?
Who are you trying to bullshit, me or yourself?
What's the matter with you?
Has, uh, cracking this case put a crimp
in your collecting body?
You let him go.
No hard evidence.
Now we have a corpse and no hard evidence.
What do you call a cubbyhole with a two-way mirror?
And like you said, I record that's
going to make Butch Cassidy look like, what, a Boy Scout?
Right.
And like you said, no record of violence.
OK, then why did he run?
I mean, you don't run unless you've
got something to hide, right?
Look, Jack's disappeared before.
Wait.
Wait a minute.
Who's talking about Jack?
Look, you know damn well what we're talking about.
If you're working so hard to convict a dead man,
I know you're working double time to try to find a live one.
OK.
Where is he?
What do you got?
Well, nothing yet.
We're doing ballistics on the dead girls.
I can let you know by late this afternoon, though.
Mike.
He's not a killer.
Where is he?
I don't know.
I don't even know where he's been the last few times
I've seen him.
[tires squealing]
Hey!
Where you going?
Get-- get back here!
[knocking]
Come in.
Hey, um, have you seen Kathy?
Uh-uh.
Huh.
That's funny.
She said she was gonna come in here and say hello.
I haven't seen her.
Sorry, girlfriend.
Besides ballistics don't lie.
We've got the gun and we've got the bullets.
Circumstantial.
Oh, come on.
He's not the first cop to take the law into his own hands.
Look, I'm just not convinced it all points at him.
Why?
We've got a morgue full of dead dancers
and a fistful of his bullets.
You're fishing in a dry lake on this one, Mike.
Yeah, well, someone's got to play devil's advocate.
Just so long as you know it's the devil you're defending.
I've been expecting you.
You didn't think I'd be in jail by now?
You're a cop, Jack.
They'd never figure on a cop.
Kaycha, I'm a detective.
Apparently that's something you didn't figure on.
They've got Tony, Jack.
They don't need us.
You just don't get it, do you?
What?
We can go to the next town.
There's no challenge here anymore, anyway.
There is no next town, Kaycha.
You're coming with me.
I'm sorry, Jack.
Yeah, so am I.
I'm sorry.
I'm sorry.
You'll get a lot of years to think about it.
No.
Not me.
You will.
[screaming]
Jesus Christ.
He killed her.
He killed her and he's trying to kill me.
OK.
It's all over now.
Just put the knife down.
Back off.
I knew it was him.
I said back off!
Everybody out of the door.
Move!
Watch out.
Well, he's still in town.
Let's go.
Where is he?
He hit the clubs.
One dead, one hurt.
That's all I know.
What do we got?
An eyewitness here says it was Alden.
Jack Alden.
Seven others saw him go after her.
What a mess.
All right.
Put out an APB.
Done.
And we're watching his apartment.
Fine.
Look, you know him as well as anybody.
Any guesses? - I don't know.
I don't know!
He could be anywhere.
Great.
I'll tell you something.
This whole thing stinks, Lieutenant.
No kidding.
Look, you just better find him.
Whatever it takes.
[music playing]
I could use a drink myself.
Do you have something a little stronger?
Don't try it, Mike.
Why?
So you can set me up like Tony?
Bullshit!
I'm the one being set up here.
Look, don't play innocent with me.
We have witnesses who saw you do it.
[chuckling]
Why didn't you draw?
You could've nailed me.
Look, I need your help, Mike.
Kaycha set me up.
I've got a plan to turn this thing around,
but I can't manage it alone.
Christ!
Now you're shooting the light bulbs!
Look, if you have evidence, why don't you
just take it to Hatch?
I have a plan, damn it.
No hard evidence.
But if this works out, we'll have all the evidence we need.
Talk.
I've been listening to you for a half an hour
and I still don't know what the hell your plan is.
You'll know it when you need to.
Trust me.
And be an accomplice to how many more?
Why don't you just shoot me now if you're so--
Look, I'm going to be on you, Jack.
You may be the law, but you don't make the law.
I'll help you.
But if someone goes down, Jack, it's going to be you.
Remember, now.
This ain't no pipe bomb.
Once you punch that code on, it's on.
And if this thing comes within 3 feet of that box,
you got about seven seconds to get to the next county.
In other words, this ain't something you hand deliver.
[beep]
(ECHOIC) Remember, now.
Once you punch that code on, it's on.
And if this thing comes within 3 feet of that box,
you got about seven seconds to get to the next county.
[MUSIC - MONA LISA YOUNG, "CONNECTIONS"]
[MUSIC - MARLA JEANETTE RUBINOFF, "PRIMAL KISS"]
He was a boy.
She was a girl.
But that's not it.
Something different.
Something was singing.
How they fit.
Human combination.
Such a sensation.
Celebrate creation.
You had enough of this place?
Still the best dancers in town.
Yeah, what's left of them.
Please, can't we talk about something else?
Where is he, Mike?
I don't keep his appointments.
You'll have to call his secretary for that--
Look, I don't need these stupid jokes, OK?
We both know what he's capable of.
He was tough.
She was soft.
But that's not it.
In his eyes, he gave a sign that somehow fit.
Mike, look, he's in trouble.
You know that.
Don't let him pull you down with him.
Something inside I climb onto, right onto.
The reason why.
Human combination.
What makes you think I know anything?
And can't a guy get a drink anymore without being
accused of a crime?
Hey, now.
I'm not accusing you of anything.
I just think you know a little more than you're telling me.
Look, he's my friend.
Can't we just leave it at that?
Not unless you want to end up dead.
Look, Mike, every crate has a rotten apple.
And you're sorry we didn't spot this one sooner.
Jeez, am I sorry.
I mean, how many dead in this one case alone?
Six?
And you can pin them all on him?
Number one, Janice.
Stabbed on stage while you waited and waited
for your partner to do what?
Drive a car half a block?
Circumstantial.
You've seen that car.
He said he couldn't get it started.
What about this last one?
We had seven witnesses.
Seven witnesses saw him holding a knife.
How many actually saw him do anything but drop
it on the floor and run out?
And just why do you think he ran?
When you're chased, you run.
Yeah?
So you're telling me you think he's innocent?
Detective?
I-- I don't know.
Yeah, but you're willing to take the chance?
The chance with other people's lives?
We're all guessing.
I don't think those same witnesses were guessing when
they said they saw him cock the gun
and hold it to a woman's head.
What if she set him up?
Stabbed herself and gave him the knife?
What makes you so sure you have it right?
Instincts, Mike.
Instincts.
Don't you see it yet?
He's telling you one hell of a story,
and it's a pretty damned unbelievable one at that.
Look, this guy's dangerous.
I don't know what he's planning, but it's
going to get somebody killed.
I'd hate to see that happen to you.
Her apartment, his car, out front.
You got good instincts.
[MUSIC - STEVE MCCLINTOCK, "FORBIDDEN"]
Girl next door, through the window.
Right there, standing in the half-light, taunting me.
Doesn't she know I can't?
I might.
Dancing too close, close too the fire.
Fanning the flames of my desire.
She looks too good to go to waste--
Dancing too close, close to the fire.
Fanning the flames of my desire.
She looks too good to go to waste.
I've got a taste.
Forbidden.
My body aches for what I'm going through.
Forbidden.
I just can't stay away from you.
Best friend's girl getting too close.
Silk dress brushes up against me.
Dam builds up.
Gotta let go.
Should I?
Would she?
My heart pounds.
The danger's there.
I know it's wrong, but I don't care.
She looks too good to go to waste.
I want a taste.
Forbidden.
My body aches--
CROWD: [screaming]
[music playing]
JACK: Kaycha.
We have evidence.
Enough to prove you did it.
But not enough to know why.
You have nothing.
Jack, your partner shot you.
If you had evidence--
Tell me why, then.
If I'm a dead man, tell me why.
I had to!
Jack, you saw them.
They were scampering around.
They were plotting.
JACK: Because you were the star.
Just being jealous of the star?
That's normal, Kaycha.
I knew it.
I-- I knew you'd take their side.
Why can't you all just leave me the fuck alone?
I just want to be left alone, Jack.
[grunting]
[music playing]
[shooting]
[clicking]
[whimpering]
Where is he? KAYCHA: He's back here.
He's back here!
Stay down!
[music playing]
KAYCHA: I can clear you, Jack.
Jack, don't.
If you kill me, you have nothing.
Jack!
Drop it!
You OK?
Mike, you killed your partner.
You-- Jack.
The mail.
Mail?
It's in the mail.
Kaych--
Jack.
Let's go.
You're just going to leave him?
I'll call it in.
They'll send someone for the body.
Got an interesting letter from a dead man here.
Just drop in anytime.
Make yourself right at home.
Jeez.
Sorry.
I just thought you might like to read this.
[knocking]
Hi.
Just one for you today.
Thanks.
You're welcome.
Better make that two letters.
I love reading other people's mail.
Kaycha, look--
You can't kill us both.
Besides, just being here is as good as a confession.
Don't make things worse for yourself.
You and I are going for a ride, Lieutenant.
- Kaycha, don't. - Shut up, Mike.
Give me the gun.
Shut up!
And give me the envelope.
Hit the floor.
Hit the floor!
Long and hard, like you really like it, Mike.
[beeping]
You going to make it?
Yeah.
Got one hell of a sore shoulder, though.
Well, beats that headache you were going to have.
Very funny.
[MUSIC - SAM HARRIS, "RUDE AWAKENING"]
Yeah, yeah, yeah, yeah, yeah.
You picked a fine, picked a mighty fine time to leave me.
I thought our love was true, but you found somebody new.
You picked a fine, picked a mighty fine to leave me.
I never would've known you'd leave me all alone.
No, no.
You say I'm serious.
I feel delirious.
You're so mysterious.
You took me by surprise.
It's a rude awakening.
It's a sad, sad thing.
See, you turned my life around like a puppet on a string.
It's a rude awakening.
It's a sad, sad thing.
All I wanted was your love.
What you gave me was your sting.
You picked a fine, picked a mighty line to use on me.
You told me this was more than you'd ever loved before.
You picked a fine, picked a mighty fine crime to bruise me.
I caught you playing around.
Just kick me when I'm down.
You say I'm serious.
I feel delirious.
You're so mysterious.
You took me by surprise.
It's a rude awakening.
It's a sad, sad thing.
See, you turned my life around like a puppet on a string.
It's a rude awakening.
It's a sad, sad thing.
All I wanted was your love.
What you gave me was your sting.
Yeah, yeah, yeah, yeah, yeah.
I can't believe you're standing here and telling me goodbye.
Yeah, yeah, yeah, yeah. 'Cause now I find that all that time,
you're the devil in disguise.
You say I'm serious.
I feel delirious.
You're so mysterious.
Lies, lies.
Tell me lies.
I can't believe it.
Oh, no.
I don't believe it.
No, no.
I won't believe it.
The element of surprise.
It's a rude awakening.
It's a sad, sad thing.
See, you turned my life around like a puppet on a string.
It's a rude awakening.
It's a sad, sad thing.
All I wanted was your love.
What you gave me was your sting.
It's a rude awakening.
It's a sad, sad thing.
See, you turned my life around like a puppet on a string.
It's a rude awakening.
It's a sad, sad thing.
All I wanted was your love.
What you gave me was your sting.
It's a rude awakening.
It's a rude awakening.
It's a rude awakening.
Said, rude.
Said, rude. Said rude.
Yeah, yeah.
Said it's a rude awakening.
It's a rude awakening.
It's a rude awakening.
Hurt me, baby.
Rude awakening.
[chatter]
Go! Go!
Go! Go!
Go!
[MUSIC - SUZANNE PALMER, "TELL ME"]
Out in the night, the tensions are tight and the moon,
it's too hot to mention.
I'm in a mood, left on my own, just to ponder your attentions.
You can make up anything that you want
when you use your fatal vision.
Now look in my eyes and tell me the truth.
Is there something that I'm missing?
Tell me, who do you love tonight?
I really wanna hear it.
Tell me, who do you love tonight?
Give it to me straight 'cause I know
your game, baby, all too well.
You're a man with a mission when you cast your spell.
Tell me, who do you love tonight?
I want you to lay it on the line.
Tell me.
[chatter]
[MUSIC - MARLA JEANETTE RUBINOFF, "PRIMAL KISS"]
He was a boy.
She was a girl.
But that's not it.
Something different.
Something was singing.
How they fit.
Human combination, such a sensation.
Celebrate creation.
In his eyes, he gave a sign that somehow fit.
He touched her.
She touched him.
And something inside, I climb up to, right up to.
The reason why.
Human combination, such a sensation.
Celebrate creation.
Where is he, Mike?
I don't keep his appointments.
You'll have to talk to his secretary about that.
I don't need these stupid jokes.
We both know what he's capable of.
This guy's dangerous.
I don't know what he's planning, but it's
going to get somebody killed.
Her apartment, his car, out front.
You got good instincts.
Such a sensation.
Celebrate creation.
Primal kiss.
And now, ladies and gentlemen, I have the distinct pleasure
of introducing to you the captivating, the mysterious,
the mesmerizing Kaycha.
[MUSIC - STEVE MCCLINTOCK, "FORBIDDEN"]
Girl next door, through the window.
Right there, standing in the half-light, taunting me.
Doesn't she know I can't?
I might.
Dancing too close, close to the fire.
Fanning the flames of my desire.
She looks to good to go to waste--
--doesn't she know I can't?
I might.
Dancing too close, close to the fire.
Fanning the flames of my desire.
She looks too good to go to waste.
I've got a taste.
Forbidden.
My body aches for what I'm going through.
Forbidden.
I just can't stay away from you.
Best friend's girl getting too close.
Silk dress brushes up against me.
Dam builds up.
Gotta let go.
Should I?
Would she?
My heart pounds.
The danger's there.
I know it's wrong, but I don't care.
She looks too good to go to waste.
I want a taste.
Forbidden.
My body--
[crashing]
[screaming]
[gunshots]
Where the hell's our backup?
We are the backup.
You didn't call in?
What, so a couple of checkerboards
could get here in time to fluff up some body bags?
Jesus, Jack. You know the rules!
Rules.
I got him.
Cover me.
Go!
[upbeat music playing]
[grunts]
[groans]
And with your own gun.
Maybe they'll call it a suicide.
Hurry up, hero.
The suspense is killing me.
[click]
Yours, too, math whiz.
I counted.
Never trust a cop.
Take it easy.
Take it easy!
I give up.
Turn around and face the wall.
Now.
Move it!
Hey!
Come on, man.
Hey, look.
You have the right to remain silent.
Use it.
What are you doing?
I've been shot and I need a doctor.
You better hope my partner's OK
or all you'll need is a body bag.
[gunshots]
Oh!
What?
Shit!
Oh, God.
[grunting]
[yelling]
[crash]
[tires squealing]
We lost 'em.
Come on.
Damn.
[music playing]
They're right on us, man.
Stop, damn it!
Oh, sh--
So what, you got a license to give flying lessons now?
I thought they knew where they were going.
How was I supposed to know there was a dead end there?
What did you think the barriers were for?
Hurdles for off-road vehicles?
I can explain.
No, you can't.
Armed felons fleeing the scene of a crime
can be apprehended by any means at the disposal
of the pursuing officer.
Oh, that's great.
See Jane run.
Run, Jane, run.
What do you want?
I mean, next time we'll just wave goodbye to them.
Hey, so long, fellas.
Good luck at your next shooting. - OK.
OK.
Look, maybe, just maybe this time you were right.
But can you tell me how come every time
I send the two of you guys out, you come back with a dead body?
Can you?
No.
Well, what do you have to say for yourself?
Well?
Well?
Nothing.
I guess it was something I said.
Well, you know Jack.
He gets a little cranky if somebody's not shooting at him
or running him down.
Yeah, well, you both look a little run down.
So why don't you take a few days R&R.
No, thanks.
I'm not suggesting it.
I'm ordering it.
Yes, sir.
Boy, he's in a foul mood.
He's not the only one.
Well, you know, he does have a point, now.
Detectives are supposed to solve murders, not cause them.
Whose damn side are you on, anyway?
, Well excuse me.
Hey, let's go get some coffee.
We need to relax.
Boy, you sure know your drugs.
We ought to move you to narcotics.
Oh, so this is what happens when Jack
gets his wrist slapped, huh?
No, this is what happens when Jack's fiancee
leaves him for a plumber.
What?
Nothing.
It's just been a long day.
I'll drive.
You buy.
I know the perfect coffee shop.
MIKE: So what happened?
I thought you two were going to get married?
JACK: Look, I don't want to talk about it.
MIKE: OK.
OK.
[MUSIC - SUZANNE PALMER, "TELL ME"]
Deja vu.
All the feeling's coming again.
Deja vu.
Is this all for real or just pretend?
Tell me, who do you love tonight?
How are you doing?
I really wanna hear it.
Tell me.
Babe.
Who do you love tonight?
Lay it on the line 'cause I know your game, baby, all too well.
You're a man with a mission when you cast your spell.
Tell me, yeah, who do you love?
Who do you love tonight?
AUDIENCE: [cheering]
I'm sure no one would object to a bouquet
of dancers like her.
Well, our next act is that bouquet.
I'm proud to present our ladies, the Club Metro Dancers!
Come on, baby. [music - valentino, "show me"]
Show me the stuff that you're made of.
Tightening up, coming down the line.
Show me the stuff that you're made of.
Move me fast forward--
Four years and all I get is a note taped
to the float of a toilet tank.
And I will show you mine.
Four years, Mike.
Is that all I get after four years?
Uh, how'd you find it?
The note, mean.
Not a moment too soon now.
Show me the stuff that you're made of.
Tightening up--
What are you, a virgin?
Oh.
Uh, sorry, Jack.
I just-- I haven't seen legs like--
well, how'd you find the note?
The toilet flooded.
I thought she'd gone to her mother's.
Shit.
She left me and I didn't even know it for a week.
Show me the stuff that you're made of.
Tightening up, coming down the line--
After four years, what am I supposed to do,
send her the plumbing bill?
You know, you've got to admit, Jack, you're
a damn lousy judge of women.
Yes.
Yes, yes.
Yes, ladies, yes.
And now, ladies and gentlemen, direct from New York,
appearing in Los Angeles for the very first time,
please welcome the star of our show, the lovely Kaycha.
[MUSIC - GINA HARLAN, "HIS HEARTBEAT"]
Whenever life's a little tough and it starts to get me down,
I stop and think about his touch and it brings me back around.
MIKE: This ought to take your mind
off your plumbing problems.
You know I love the simple life.
I wanna do the best I can.
And I'm my best when he's by my side.
I need his heartbeat closer to mine.
I need his heartbeat beating in time.
I need his heartbeat to ease me through the night.
I like his loving in the night.
His moves can help me cope.
I've been in love and I'm all right.
He fills me full of hope.
You see, I've got a simple plan.
You know I love a simple life.
I wanna do the best I can.
And I'm my best when he's by my side.
I need his heartbeat closer to mine.
I need his heartbeat beating in time.
I need his heartbeat to ease me through the night.
Closer to mine.
Closer to mine.
Closer to mine.
Beating in time.
Heartbeat.
Heartbeat.
Jealous?
I need his heartbeat closer to mine.
I need his heartbeat beating in time.
I need his heartbeat to ease me through the night.
I need his heartbeat closer to mine.
I need his heartbeat beating in time.
[ominous music playing]
What if they hate me?
Oh, I can't believe that you talked me into this.
Oh, stop it.
You're going to be great, and you're going to love it.
Yeah, you'll do just fine.
Didn't you hear all that applause
for the other new girl?
And honey, she's got nothing on you.
Listen, doll, with a body like yours,
you don't even have to dance.
Ain't that right, Tony?
GIRLS: [cackling]
Sorry.
Did I interrupt something?
Looks like a star is born, girlfriends.
ROSE: Yeah.
They loved you.
Thanks.
Don't thank me.
I didn't say I loved you.
Didn't they tell you?
You're in the palace.
Thanks.
[buzzing]
Oh, God, that's me.
I'm next.
Oh, I'm a wreck.
Relax, Kim.
You've got seven minutes.
And anyway, I'll be right there, cheering you on.
Thanks.
Good luck, girls.
I'll be right back.
If I'm unlucky.
They'll never even let you back there.
I had to fire her, man.
She just wasn't up to the standards of this place.
Oh, yeah?
Yeah.
Well, someone has to dance.
You fired her.
You're going to take her place.
Now, what the hell is that supposed to mean?
Hey, you're a dancer.
I've seen your old clippings.
I've even seen you do a few dance steps here offstage.
So what it means is you're going to do your fancy footwork
on stage tonight and every goddamn time
you blow a hole in my calendar.
And you're going to make me?
Oh, no, no.
I'm not going to make you.
Cool.
What I know about your past is going to make you.
I can't believe how nervous she was.
I know.
And she's all scared.
I feel bad for her.
I wouldn't want to [inaudible].
Because that one time--
Lots of hustle, hustle.
Yeah.
But you can just hustle and bustle on out of here.
Who let you in, anyway?
I just followed my instincts.
Mm.
Oh.
Followed your instincts?
Is that what you call it?
I'm looking for--
you know, she was just--
There.
[MUSIC - HAROLD GREEN, JOHN FORTE,
SAM DOMINGO, "BODY DANGEROUS"]
Girl, you hypnotize me with your moves.
You don't lose.
Your body's dangerous.
When you're in that dress, I must confess you're the best.
Whoa, come on.
Hi.
Hi.
Can I help you?
Uh, you-- you just did.
That's great.
I hope [inaudible].
Look, I tried to be nice, but if you don't leave,
I really am going to have to call security.
I don't think that'll be necessary.
I just want to ask you some questions.
You're not a cop.
Jack Alden, detective 2, LAPD.
I'd just like to ask you some questions.
Hm.
--dangerous.
When you're in that dress, I must confess you're the best.
Oh, babe.
So do you have questions, or was
that just a ploy to come in here and act
like a moron in private?
Where were you at 10:30 PM on the night of September the 9th,
1978?
Can't you do better than that?
April the 4th, 1952?
God, you're too much.
When you're in that dress, I must confess you're the best.
Body dangerous.
Girl, you hypnotize me with your moves.
Do you always use your badge to meet girls?
Actually, no.
This is the first time.
Don't do it again.
It doesn't work.
But you don't want to hear me talking,
so returning to the stage by popular demand,
I'm happy to bring to you our very own Tony Penter.
[music - "rude awakening"]
Ooh.
Yeah, yeah, yeah, yeah, yeah.
You picked a fine, picked a mighty fine time to leave me.
I thought our love was true, but you found somebody new.
You picked a fine, picked a mighty fine time to leave me.
I never would've known you'd leave me all alone.
No, no.
You say I'm serious.
I feel delirious.
You're so mysterious.
Took me by surprise.
It's a rude awakening.
It's a sad, sad thing.
See, you turned my life around like a puppet on a string.
It's a rude awakening.
It's a sad, sad thing.
All I wanted was your love.
What you gave me was your sting.
You picked a fine, picked a mighty fine line to use on me.
You told me this was more than you'd ever loved before.
You picked a fine, picked a might fine crime to bruise me.
I caught you playing around.
Just kick me when I'm down.
You say I'm serious.
I feel delirious.
You're so mysterious.
You took me by surprise.
It's a rude awakening.
It's a sad, sad thing.
See, you turned my life around like a puppet on a string.
It's a rude awakening.
It's a sad, sad thing.
All I wanted was your love.
What you gave me was your sting.
Yeah, yeah, yeah, yeah, yeah.
I can't believe you're standing here and telling me goodbye.
'Cause now I find that all that time,
you're the devil in disguise.
You say I'm serious.
I feel delirious.
You're so mysterious.
Lies, lies.
Tell me lies.
I can't believe it.
Oh, no.
I don't believe it.
No, no.
I won't believe it.
The element of surprise.
It's a rude awakening.
It's a sad, sad thing.
See, you turned my life around like a puppet on a string.
It's a rude awakening.
It's a sad, sad thing.
All I wanted was your love.
What you gave me was your sting.
It's a rude awakening.
It's a sad, sad thing.
See, you turned my life around like a puppet on a string.
It's a rude awakening.
It's a sad, sad thing.
All I wanted was your love.
What you gave me was your sting.
It's a rude awakening.
It's a rude awakening.
It's a rude awakening.
Said, rude.
Said, rude.
Said, rude.
Yeah, yeah.
It's just a rude awakening.
It's a rude awakening.
It's a rude awakening.
Hurt me, baby.
What, no luck?
I'm playing hard to get.
Yeah.
Looks like you're succeeding.
Look, I'll get the car.
I'll meet you out front in a couple of minutes, OK?
Now get out there and knock them dead.
[MUSIC - CHUCK HIGGINS, "JUST DO IT"]
Just do it.
Just get up on your feet.
Don't wait for another day.
If you really wanna feel the heat, just do it.
Ha!
Don't gimme no reason why.
You ain't never gonna feel the beat.
Can't make it if you never try.
Just do it.
Don't step aside to watch the world as it passes by.
Don't be afraid.
There's no other life that you got to take.
If you need a hand, then you gotta figure it out.
It's like there's something [inaudible]..
It's up to you.
So you better make up your mind that you can make it through.
[sighs]
If you really wanna feel the heat, just do it.
Don't gimme no reason why.
You ain't never gonna feel the beat.
Can't make it if you never try.
Just do it.
[screaming]
[car squealing]
It's bad enough you were even there, but 20 feet
from the scene of the murder and we've
still got nothing to go on?
It didn't happen while we were there.
We'd have seen it if it--
Who cares?
It happened, damn it.
Everywhere you go, it happens that somebody dies.
- Listen, Lieutenant-- - No, you listen.
It's never wounded or injured or maimed.
It's always just plain dead.
Every time, it's somebody dies.
Why is that, Fulton?
And where's the hell's Jack?
R&R. Orders.
Oh, fine!
Well, let's celebrate.
The first he obeys orders and you don't.
You know, what are you guys, the two Stooges feeding
on each other's incompetence?
For crying out loud.
All you have to do if you're at the scene of a murder
is just simply--
I told you we were long gone by then.
Oh, you were long gone?
Fine, what time did you leave?
- About-- - Exactly.
Not about.
Exactly what time did you leave?
Who knows?
Well, I'm betting you do, Digital Mike.
There's a reason they call you the automated detective, huh?
Well?
9:12. But that--
9:12. That's terrific.
But you know, if you'd have taken the time
to read the stupid report, you'd have
found out that they put the time of the murder
between 9:00 and 9:15.
Don't tell me you suspect--
No, no.
But you know how hungry the press gets for a crazed cop
that's cracked under pressure.
So find Jack.
Look, you can't keep him at a desk, even if he--
Look, just find him, OK?
I'll give you 48 hours to catch this guy.
But just 48 hours.
And if not, you're going to find yourselves
working animal control down at Venice
Beach for the next five years.
Oh, and one more thing.
Could you bring this guy in alive this time?
Yeah.
Yeah.
Woo.
Shake that stuff.
Tony, Tony, she's really good
Joe.
OK.
OK, yeah.
OK.
Do a little spin.
Nice.
Fine.
Well, uh-- we'll call you.
Thanks.
Thank you.
OK.
Next.
[music - trapper, "ride it"]
When I walked into the room, I had
a feeling you'd be waiting for a chance
to put your chains on me.
Don't you know you'll never tie me down.
Yeah.
Nice.
--however, whenever I please.
Hit the road and I'm riding.
Ride it out.
Ride it.
Ride it out.
Hey, Tony, look at this.
Tony.
Whew!
Whoa, whoa, whoa, whoa, whoa!
Kill the music.
Kill it!
DANCER: What, did I do something wrong?
Should I start over?
No, honey.
See, this is a couples club, and that's--
that's more of a singles routine.
So let's just leave it like that, OK?
OK.
What do we have here, a re-enactment?
Hey, listen, do you mind?
We have a business to run here.
And do you mind?
We've got some lives to save around here.
Oh, oh, pluck my heartstrings, why don't you?
Hey, listen, Tony.
Who let Mother Teresa in here?
How is this for your heartstring pluck?
Yo, man, be cool.
JACK: Listen to me.
If you don't start cooperating, we're
going to have you up there doing your own swan dance.
Whoa. Cool it.
Come on.
OK, cool it.
Look, if you kill him, Hatch'll have you
dig his grave with a teaspoon.
Come on.
Let's go interview the dancers, see if anybody saw anything.
JOE: OK, next!
Hi.
Hi.
You still auditioning?
I thought you, uh, already had this job?
I'm practicing.
Are you here to ask me some more vital questions?
Yeah.
You want to tell me about last night?
What about it?
How about you just tell me what happened.
Well, I know that you went home alone.
And you?
I know about that, too.
Excuse me.
We have a murder to discuss.
Do you think maybe we could do that?
Is there anything-- anything-- unusual you can tell us?
Well, sure, I guess everything I see around here is unusual.
But if you're asking me if I saw anyone
in the ladies' room washing blood off their hands,
I didn't.
Thanks.
She's all yours.
Listen.
I'd really like you to call me if you can remember
anything about last night.
Anything that'll help us at all.
All right?
Sure.
And there is one more thing.
Yeah?
Dinner tonight?
Well, you know, I could take you in for questioning.
And then you'd have to have dinner.
[screaming]
My God, Tony!
You practically scared the life out of me.
Sorry. I didn't mean to.
But you just snuck up and I--
TONY: Where you going, baby?
I'm quitting.
TONY: Is that right?
MIKE: Freeze!
Don't shoot!
He didn't [inaudible].
He just scared me. That's all.
It's dangerous being here.
I was just-- - Shut up!
TONY: OK, you listen-- - Just shut up!
Look, sit down.
Both of you.
Will you?
We want the girls that danced last night.
The rest of you can go on doing what you were doing.
MIKE: Thanks very much.
I can't tell you how helpful you've been.
So you, uh, danced last night, huh?
I don't think you qualify as one of the girls.
Sometimes you just can't do anything right.
You're Kim, aren't you?
You were the one who was--
she was your friend.
You can go.
Just, um, leave an address and phone number with the police
out front.
I hope you get him.
Ladies, names?
Rosella.
Rose.
- Rose. - Candi.
Candi.
See anyone backstage or in the dressing room area anytime
last night?
Anyone at all that shouldn't have been here?
- You. - Great.
Now I'm the prime suspect.
At least we'll have something to offer Hatch
now after a day of digging.
Well, then I guess you'll all just excuse me
while I go fingerprint myself.
Handle this?
Know of anyone who had any run-ins with the victim?
Arguments?
Men she turned down?
I think she never turned anyone down.
Maybe your friend should've knocked on her door last night.
You don't seem to like him very much.
Any reason?
Relax, doll.
Just call it professional jealousy.
But you know, the only one that riles any of us
is that new girl your friend's hot for, Kaycha.
KIM: [screaming]
Kim must've saw her shadow again.
Anyway, I better check it out.
I'll be right back.
KAYCHA: [screaming]
Is she dead?
You tell me.
Oh, come on, Mike.
No, you come on, Jack.
Till we know better, everyone's a suspect.
Look, you think you could do this without getting
blood all over the place?
Mike, you want a prime suspect?
Go find Tony.
Oh, you saw the way he acted in there.
He wouldn't have the nerve to blow his nose
with all the heat around here.
Call it a hunch, man, but if it ain't Tony, who is it?
Some psychotic maniac hanging up in the rafters?
Call Wilshire Station.
Tell him we need a bag and a--
and a shuttle to the morgue.
Mike.
Where am I going?
Yeah.
To see if Tony's prowling around in the rafters.
[music playing]
It's OK.
Mom always told me to breathe deep.
[sobbing]
You all right?
I've never been a susp--
[sobbing]
Ah, don't mind Mike.
Hell, he's by the book.
He'd haul in his own mother if she dropped
in unexpectedly for lunch.
You OK?
I keep-- yeah.
Kaycha, I need you to help me.
What?
I need you to tell me exactly what happened last night.
Can you do that for me?
Yeah, I'll try.
Good.
Freeze.
You have the right to remain silent.
You have the right to an attorney.
Give up the right to remain silent, anything you say--
Oh, cut the fucking speech, man.
Don't you have better things to do than to be
arresting a man for dancing?
You better hope that's all they have to hang you for.
Well, I saw somebody run across the stage.
Um, I think it was Tony.
JACK: Kaycha, it's very important.
Now, could it have been anybody else?
I don't know.
No.
No.
JACK: I'm sorry I gotta put you through this.
It could have been me.
I-- I could be dead.
Let's go.
I'll be right back.
What's up?
What the hell's the matter with you, Jack?
We've got a corpse in the morgue,
a dead body in the other room, and you--
And a killer in custody, smoking Tootsie Rolls.
Listen, Mike, the girl is upset.
And she's a witness.
There's nothing wrong--
Did she see anything?
Maybe.
I'm working on it.
I see that.
Look, Jack, I know you like her.
But please, as a favor to me, let it go until this is over.
All right.
I'll take the girl home, then I'll meet you downtown.
Let's see if we can't stimulate Tony's memory.
The operative term here is interrogate.
Look, I can handle Tony.
Why don't you come back and see what Joe knows about him.
Great.
That'll give me an opportunity to teach the resident slimeball
a little lesson in etiquette.
Remember the idea is to get information from him.
Still, one quick lesson wouldn't hurt.
Easy, Jim.
Anything you get that way will be thrown out in court.
You listen to the man.
You're retaliating an innocent man.
You get up.
I want answers, and I want alibis, and I want them now.
I told you I didn't do nothing!
When did you clip the wires to the emergency exit?
Hey, man, I'm not the only one using that door.
And mostly girls use that exit on their way home, all right?
Hey, we can't have that thing going off.
You're wasting our time, Tony.
And besides, we know you got priors.
Pimping, drugs, theft.
Hey, refresh his memory.
Fuck you.
1966, auto theft, two counts, juvenile, probation.
1968, larceny, restitution, two months.
1969--
It's open.
Come on in.
Just make yourself at home, Jack.
I'll be out in a minute.
Listen, I can take you to the club tonight.
Oh, and they're holding Tony.
KAYCHA: I know.
Anyway, I'm off for a couple of nights.
[music playing]
Jack, meet Slide.
He's my new dance partner.
You must be kidding.
You dance with a--
Hi.
Hi.
JIM: We let him go.
MIKE: You let him go?
That's right.
You guys don't have anything.
48 hours and all you've got is one stinking
witness that says maybe.
Maybe she saw the guy walking around the club
that he's worked in for the last five years.
JACK: He's got a record a mile long.
JIM: They're priors, Jack, and no violence.
MIKE: It's just a matter of time.
JIM: You know the law.
MIKE: Look.
Can't we get a shrink to-- to declare psychotic dementia?
I can't hold him any longer.
And if I take this in front of a judge with what we've got now,
he's going to think I'm crazy.
Just let him go.
What is it they want, Jack?
JACK: They want hard evidence.
Like what, another body?
Maybe mine?
Kaycha, you're safe.
I'll see to that.
Besides, he's being watched.
Jack?
Mhm?
Did you ever feed a snake?
No.
Here.
Tell me this is a wind-up toy.
Drop it in.
Don't blink.
I think he's hungry.
You can't be serious.
Well, you didn't think he was a vegetarian, did you?
I can't watch this.
You might have to dance with your partner,
but do you have to live with him?
Are you jealous?
JACK: Should I be?
Absolutely.
It's funny, really.
You know, if they would just lay still,
the snake would ignore them.
They run around like maniacs and snap.
They're gone.
Instinct.
That's what kills them.
When you get done feeding your partner, how
about coming in here so we can take care of our own appetites?
Close your eyes.
Don't turn around.
How hungry are you, Jack?
[MUSIC - GAVIN CHRISTOPHER, "FOUND ANOTHER LOVER"]
Hi, this is Gavin.
You've got my machine.
And if you'd like to leave a message,
I'll get back to you as soon as I possibly can.
And I would also like to leave a message for the young lady
that I met last week.
The one that, uh, wanted to do something different.
Ow!
Ooh, whoa, whoa, hey, baby.
You had me.
You said you didn't want me.
You pushed my love aside.
I saw you with another lover.
Why did you take me for a ride?
And now you're back again, asking for another chance.
And I swear I don't know what to say
'cause I found another lover when your heart wasn't free.
Babe, I found another lover.
Someone to take your place.
Babe, I found another lover.
Someone to fill this space.
[applause]
I'm out of here, girl.
Oh, wait a sec.
Can you take me down to Pico?
My car's in the shop. - Oh, sure.
I'll meet you out back.
But please hurry, because I'm already late.
OK.
Whoa!
And she's off.
I thought we were gonna go out and find some trouble tonight.
Oh, I'm sorry.
I forgot.
I promised my sister I'd babysit.
I guess I'll just have to handle double the trouble,
if I can find it.
OK.
I'll see you.
Erica, I'm sorry.
Maybe tomorrow, OK?
Get out of here.
[footsteps]
Hey, lady?
Hey, uh, help a guy out?
- Yeah. - Than--
Yeah.
Thanks?
Do you have any spare change?
Yeah.
Yeah.
Here.
[whimpering]
[honking]
All right, Candi, I'm coming.
[honking continues]
Candi, stop it.
[honking continues]
Candi, that's not funny.
Candi?
Oh, thank God it's you.
[screaming]
Hi.
Hi.
You're finally waking up.
[yawns] Yeah.
I haven't slept like this since, uh--
mm.
Hey, what time is it, anyway?
Mm.
Almost 9:00.
Damn, I gotta get going.
What? Hey!
I gotta get going.
You can't go.
I started breakfast already.
Hey, I really shouldn't be here.
You know what kind of trouble I could get in being here?
What?
[giggling]
You do backstage. I'll get the dressing rooms.
Right.
[sniffs]
That's all the warning you get, Tony.
[clicking]
What in the-- oh, my God.
No.
Kaycha.
Jack, you OK?
[yelling]
[chatter]
He just came out of nowhere.
Police.
Just stay in your car.
Is he dead?
Oh, my God.
Damn it.
Well, I never thought I'd be congratulating you
on filling another body bag.
But congratulations.
Looks like you've, uh, cracked a tough one.
Are you going to sit down or stop pacing or something?
Who are you trying to bullshit, me or yourself?
What's the matter with you?
Has, uh, cracking this case put a crimp
in your collecting body?
You let him go.
No hard evidence.
Now we have a corpse and no hard evidence.
What do you call a cubbyhole with a two-way mirror?
And like you said, I record that's
going to make Butch Cassidy look like, what, a Boy Scout?
Right.
And like you said, no record of violence.
OK, then why did he run?
I mean, you don't run unless you've
got something to hide, right?
Look, Jack's disappeared before.
Wait.
Wait a minute.
Who's talking about Jack?
Look, you know damn well what we're talking about.
If you're working so hard to convict a dead man,
I know you're working double time to try to find a live one.
OK.
Where is he?
What do you got?
Well, nothing yet.
We're doing ballistics on the dead girls.
I can let you know by late this afternoon, though.
Mike.
He's not a killer.
Where is he?
I don't know.
I don't even know where he's been the last few times
I've seen him.
[tires squealing]
Hey!
Where you going?
Get-- get back here!
[knocking]
Come in.
Hey, um, have you seen Kathy?
Uh-uh.
Huh.
That's funny.
She said she was gonna come in here and say hello.
I haven't seen her.
Sorry, girlfriend.
Besides ballistics don't lie.
We've got the gun and we've got the bullets.
Circumstantial.
Oh, come on.
He's not the first cop to take the law into his own hands.
Look, I'm just not convinced it all points at him.
Why?
We've got a morgue full of dead dancers
and a fistful of his bullets.
You're fishing in a dry lake on this one, Mike.
Yeah, well, someone's got to play devil's advocate.
Just so long as you know it's the devil you're defending.
I've been expecting you.
You didn't think I'd be in jail by now?
You're a cop, Jack.
They'd never figure on a cop.
Kaycha, I'm a detective.
Apparently that's something you didn't figure on.
They've got Tony, Jack.
They don't need us.
You just don't get it, do you?
What?
We can go to the next town.
There's no challenge here anymore, anyway.
There is no next town, Kaycha.
You're coming with me.
I'm sorry, Jack.
Yeah, so am I.
I'm sorry.
I'm sorry.
You'll get a lot of years to think about it.
No.
Not me.
You will.
[screaming]
Jesus Christ.
He killed her.
He killed her and he's trying to kill me.
OK.
It's all over now.
Just put the knife down.
Back off.
I knew it was him.
I said back off!
Everybody out of the door.
Move!
Watch out.
Well, he's still in town.
Let's go.
Where is he?
He hit the clubs.
One dead, one hurt.
That's all I know.
What do we got?
An eyewitness here says it was Alden.
Jack Alden.
Seven others saw him go after her.
What a mess.
All right.
Put out an APB.
Done.
And we're watching his apartment.
Fine.
Look, you know him as well as anybody.
Any guesses? - I don't know.
I don't know!
He could be anywhere.
Great.
I'll tell you something.
This whole thing stinks, Lieutenant.
No kidding.
Look, you just better find him.
Whatever it takes.
[music playing]
I could use a drink myself.
Do you have something a little stronger?
Don't try it, Mike.
Why?
So you can set me up like Tony?
Bullshit!
I'm the one being set up here.
Look, don't play innocent with me.
We have witnesses who saw you do it.
[chuckling]
Why didn't you draw?
You could've nailed me.
Look, I need your help, Mike.
Kaycha set me up.
I've got a plan to turn this thing around,
but I can't manage it alone.
Christ!
Now you're shooting the light bulbs!
Look, if you have evidence, why don't you
just take it to Hatch?
I have a plan, damn it.
No hard evidence.
But if this works out, we'll have all the evidence we need.
Talk.
I've been listening to you for a half an hour
and I still don't know what the hell your plan is.
You'll know it when you need to.
Trust me.
And be an accomplice to how many more?
Why don't you just shoot me now if you're so--
Look, I'm going to be on you, Jack.
You may be the law, but you don't make the law.
I'll help you.
But if someone goes down, Jack, it's going to be you.
Remember, now.
This ain't no pipe bomb.
Once you punch that code on, it's on.
And if this thing comes within 3 feet of that box,
you got about seven seconds to get to the next county.
In other words, this ain't something you hand deliver.
[beep]
(ECHOIC) Remember, now.
Once you punch that code on, it's on.
And if this thing comes within 3 feet of that box,
you got about seven seconds to get to the next county.
[MUSIC - MONA LISA YOUNG, "CONNECTIONS"]
[MUSIC - MARLA JEANETTE RUBINOFF, "PRIMAL KISS"]
He was a boy.
She was a girl.
But that's not it.
Something different.
Something was singing.
How they fit.
Human combination.
Such a sensation.
Celebrate creation.
You had enough of this place?
Still the best dancers in town.
Yeah, what's left of them.
Please, can't we talk about something else?
Where is he, Mike?
I don't keep his appointments.
You'll have to call his secretary for that--
Look, I don't need these stupid jokes, OK?
We both know what he's capable of.
He was tough.
She was soft.
But that's not it.
In his eyes, he gave a sign that somehow fit.
Mike, look, he's in trouble.
You know that.
Don't let him pull you down with him.
Something inside I climb onto, right onto.
The reason why.
Human combination.
What makes you think I know anything?
And can't a guy get a drink anymore without being
accused of a crime?
Hey, now.
I'm not accusing you of anything.
I just think you know a little more than you're telling me.
Look, he's my friend.
Can't we just leave it at that?
Not unless you want to end up dead.
Look, Mike, every crate has a rotten apple.
And you're sorry we didn't spot this one sooner.
Jeez, am I sorry.
I mean, how many dead in this one case alone?
Six?
And you can pin them all on him?
Number one, Janice.
Stabbed on stage while you waited and waited
for your partner to do what?
Drive a car half a block?
Circumstantial.
You've seen that car.
He said he couldn't get it started.
What about this last one?
We had seven witnesses.
Seven witnesses saw him holding a knife.
How many actually saw him do anything but drop
it on the floor and run out?
And just why do you think he ran?
When you're chased, you run.
Yeah?
So you're telling me you think he's innocent?
Detective?
I-- I don't know.
Yeah, but you're willing to take the chance?
The chance with other people's lives?
We're all guessing.
I don't think those same witnesses were guessing when
they said they saw him cock the gun
and hold it to a woman's head.
What if she set him up?
Stabbed herself and gave him the knife?
What makes you so sure you have it right?
Instincts, Mike.
Instincts.
Don't you see it yet?
He's telling you one hell of a story,
and it's a pretty damned unbelievable one at that.
Look, this guy's dangerous.
I don't know what he's planning, but it's
going to get somebody killed.
I'd hate to see that happen to you.
Her apartment, his car, out front.
You got good instincts.
[MUSIC - STEVE MCCLINTOCK, "FORBIDDEN"]
Girl next door, through the window.
Right there, standing in the half-light, taunting me.
Doesn't she know I can't?
I might.
Dancing too close, close too the fire.
Fanning the flames of my desire.
She looks too good to go to waste--
Dancing too close, close to the fire.
Fanning the flames of my desire.
She looks too good to go to waste.
I've got a taste.
Forbidden.
My body aches for what I'm going through.
Forbidden.
I just can't stay away from you.
Best friend's girl getting too close.
Silk dress brushes up against me.
Dam builds up.
Gotta let go.
Should I?
Would she?
My heart pounds.
The danger's there.
I know it's wrong, but I don't care.
She looks too good to go to waste.
I want a taste.
Forbidden.
My body aches--
CROWD: [screaming]
[music playing]
JACK: Kaycha.
We have evidence.
Enough to prove you did it.
But not enough to know why.
You have nothing.
Jack, your partner shot you.
If you had evidence--
Tell me why, then.
If I'm a dead man, tell me why.
I had to!
Jack, you saw them.
They were scampering around.
They were plotting.
JACK: Because you were the star.
Just being jealous of the star?
That's normal, Kaycha.
I knew it.
I-- I knew you'd take their side.
Why can't you all just leave me the fuck alone?
I just want to be left alone, Jack.
[grunting]
[music playing]
[shooting]
[clicking]
[whimpering]
Where is he? KAYCHA: He's back here.
He's back here!
Stay down!
[music playing]
KAYCHA: I can clear you, Jack.
Jack, don't.
If you kill me, you have nothing.
Jack!
Drop it!
You OK?
Mike, you killed your partner.
You-- Jack.
The mail.
Mail?
It's in the mail.
Kaych--
Jack.
Let's go.
You're just going to leave him?
I'll call it in.
They'll send someone for the body.
Got an interesting letter from a dead man here.
Just drop in anytime.
Make yourself right at home.
Jeez.
Sorry.
I just thought you might like to read this.
[knocking]
Hi.
Just one for you today.
Thanks.
You're welcome.
Better make that two letters.
I love reading other people's mail.
Kaycha, look--
You can't kill us both.
Besides, just being here is as good as a confession.
Don't make things worse for yourself.
You and I are going for a ride, Lieutenant.
- Kaycha, don't. - Shut up, Mike.
Give me the gun.
Shut up!
And give me the envelope.
Hit the floor.
Hit the floor!
Long and hard, like you really like it, Mike.
[beeping]
You going to make it?
Yeah.
Got one hell of a sore shoulder, though.
Well, beats that headache you were going to have.
Very funny.
[MUSIC - SAM HARRIS, "RUDE AWAKENING"]
Yeah, yeah, yeah, yeah, yeah.
You picked a fine, picked a mighty fine time to leave me.
I thought our love was true, but you found somebody new.
You picked a fine, picked a mighty fine to leave me.
I never would've known you'd leave me all alone.
No, no.
You say I'm serious.
I feel delirious.
You're so mysterious.
You took me by surprise.
It's a rude awakening.
It's a sad, sad thing.
See, you turned my life around like a puppet on a string.
It's a rude awakening.
It's a sad, sad thing.
All I wanted was your love.
What you gave me was your sting.
You picked a fine, picked a mighty line to use on me.
You told me this was more than you'd ever loved before.
You picked a fine, picked a mighty fine crime to bruise me.
I caught you playing around.
Just kick me when I'm down.
You say I'm serious.
I feel delirious.
You're so mysterious.
You took me by surprise.
It's a rude awakening.
It's a sad, sad thing.
See, you turned my life around like a puppet on a string.
It's a rude awakening.
It's a sad, sad thing.
All I wanted was your love.
What you gave me was your sting.
Yeah, yeah, yeah, yeah, yeah.
I can't believe you're standing here and telling me goodbye.
Yeah, yeah, yeah, yeah. 'Cause now I find that all that time,
you're the devil in disguise.
You say I'm serious.
I feel delirious.
You're so mysterious.
Lies, lies.
Tell me lies.
I can't believe it.
Oh, no.
I don't believe it.
No, no.
I won't believe it.
The element of surprise.
It's a rude awakening.
It's a sad, sad thing.
See, you turned my life around like a puppet on a string.
It's a rude awakening.
It's a sad, sad thing.
All I wanted was your love.
What you gave me was your sting.
It's a rude awakening.
It's a sad, sad thing.
See, you turned my life around like a puppet on a string.
It's a rude awakening.
It's a sad, sad thing.
All I wanted was your love.
What you gave me was your sting.
It's a rude awakening.
It's a rude awakening.
It's a rude awakening.
Said, rude.
Said, rude. Said rude.
Yeah, yeah.
Said it's a rude awakening.
It's a rude awakening.
It's a rude awakening.
Hurt me, baby.
Rude awakening.