Murder 1, Dancer 0 (1983) - full transcript

[ music box playing ]

[ theme music playing ]

[ train horn blaring ]

[ narrating ]
The trail had taken me east

to Phoenix and Cleveland,

then south to Miami
and Nassau,

then back to Biloxi again...
All in three days.

When I got what I went after,
I did what I always do

when I bust my hump
on a case...

I got on a train.
I sat in my compartment

with a square bottle,
looking out the window,



watching the
world roll by

and imagined it was the '’40s,

and Johnny came
marching home

and the world
was terrific.

The job I had done went down
the way I had expected,

the way they'’d
all gone down...

Shabby, lonely,
and a little bit dangerous.

I had no complaints.

That'’s the way it was
and always would be

as long as I kept on
being what I was...

A private detective.

My name is Joe dancer.

Southern California'’s
my back yard.

But I go anywhere, anytime,
if the price is right.



I dozed off on the train,
so I was rested.

I was gonna fall by
little Al'’s bar,

listen to some Bessie Smith
on the jukebox,

down a few from a square bottle
and get my identity back.

[ horn blares ]

They had taken me in
for a concussion,

checked me out
and I was cool.

But my gimpy knee
was killing me

and I had a headache
that would register

on the Richter scale.

The boy wasn'’t as lucky.
He was dead.

Herbie Quinlan was homicide.

I called him when they
took me into the hospital.

He came over
and I told him my story.

Herbie, I'’m telling you,
somebody sandbagged you.

-Somebody sandbagged me?
-They should have taken you

right to the scene
of the crime...

What crime?

So you can
do a full investigation.

It was an accident.
Let me check the kid.

Would you like to
sign here, please?

Yeah.

Well...

D.A.'’s gonna be looking
along the lines

of accidental manslaughter.

Leave it alone, huh?

Herbie, I already told you...

All right maybe I was a
little excited before,

but now I'’m calm.
I'’m telling you, Herbie,

it was not an accident.

Look, you called me here,
I came over.

You gave me your story, huh?

Now I'’m telling
you you'’re crazy.

I'’m not crazy! Did you
read the coroner'’s report?

-Yeah.
-The kid didn'’t take any booze.

He'’s not a doper.
If he did want to kill himself,

is he gonna jump
in front of a car?

-Dancer...
-No!

Dancer, your reputation
is bad enough.

You'’ve had enough
trouble with the heat.

You'’re off the hook. Why do you
want to open up a can of peas?

-What do you mean, "Why"?
-Why?

Because I didn'’t
kill him, that'’s why.

Herbie, I'’m telling you
somebody killed that kid.

They used me for the gun,

and I'’m gonna get
to the bottom of it.

I'’ve known you
a long while, huh?

Leave it alone.

Leave it alone.

You ain'’t giving
me advice, Herbie.

You'’re telling me to leave
it alone, ain'’t you?

I don'’t know what
you'’re talking about.

Yes, you do.

No, I don'’t know what you're
talking about!

You wanna think I'’m tellin' ya?
I'’m tellin' ya!

[ narrating ] Three days
later there was a funeral.

The kid'’s name
was Steve Burnell.

He'’d never see
his 18th birthday.

He came to California
six months ago

with the only family
he had... His sister.

Kid, I know

you didn'’t just walk
in front of my car.

Somebody took your life,

and that somebody'’s
gonna pay...

From me to you.

May I ask, who are you?

My name is Joe Dancer.

Dancer, the man who was driving
the car that killed my brother?

Yes.

How do you feel about that?

I feel, uh... Sad
and angry.

-How about guilty?
-No.

That would be a lie. There was
no way to avoid your brother.

When the police came and told
me what happened to Steve,

I asked them about you.

They said you'’re
a private detective.

Yes.

Can we talk sometime?

How about now?

Now'’s just fine.

I'’m Jenny.

[ narrating ]
She had a story to tell,

and it was a strange one.

It had to do with a box-office
superstar, Judd Hampton.

He had starred in TV,
and two movies later

you could buy a studio
with his name.

Wait. That'’s it.

Are you sure?

Dancer: There'’s two Highfields.
It'’s a horseshoe.

Jenny:
I don'’t understand.

Dancer: It'’s okay, honey.

I think I understand
what happened now.

This could have
been his mistake.

He took the wrong
Highfield.

You said it was
two houses up?

Second house on
the street, yeah.

Let'’s go see if anybody's home.

Everything'’s okay.

[ doorbell rings ]

[ narrating ] Somebody
had moved out fast...

Cleaned the joint
and left no tale to tell.

While we were going
through I had her

lay it out for me again,

exactly what
her brother had seen

and what he told her
that night.

Jenny: Well, Steve
said he had just arrived

at the house that night.

It'’s the same as the
house...

No furniture.

And I'’ll bet
the pool is...

Warm.

What is it?

I don'’t know. You see
something down there?

Yeah.

It'’s an antique.

How do you know?

My mother had a locket
just like that.

Your brother said
two girls.

Yeah.

Let me see it.

Never mind.

Joe, let me see it.

[ narrating ] I made a call
to my phone mate Charlie.

I told her to reach
a friend of mine downtown.

I wanted to know who owned

or leased that house
on Highfield.

Then I stopped at a
photographer'’s studio.

I wanted those photos
blown up, have copies made.

They'’d be my calling card
to Judd Hampton.

I should have taken
Jenny straight home,

but the man with
the red hair was on my mind.

The one her brother
saw on the floor

in the living room.

I had a hunch about him.

Male redhead...
That all you can give me?

Yeah, that'’s all I got.

Uh, that and the
probable time of death...

Sometime Friday night.

[ snickers ]

You'’re shopping, Dancer.

Yeah, I heard this
is the general store.

When did you start having
your lunch shipped in?

When L.A. Became the murder
capital of the world.

I got 64 stiffs
I'’m working on.

[ groans ]

This is number 61.

[ groans ]

Tell me about him.

Name: Mike Wallace.

-Address...
-Forget it.

- Next of kin...
-None.

How do you know?

He'’s still here, ain't he?

Go on.

Occupation:
Screen extra.

Very interesting.

What'’s the
cause of death?

Internal injuries
contributed to accident.

Accident? What accident? Where?

Car crash. Ran head-on
into a utility pole

at 2700 block, Calder Canyon.

Yeah, sure.

Pronounced dead at the site.

Phew.

[ narrating ] Yeah, he
was dead on the site...

Where somebody had
beat his brains in.

The cops had backed away
from Jenny'’s brother's death.

They had backed away from
the redhead'’s death.

Then that funny thing happened
in the back of my neck.

Why were those guys
looking at Jenny?

Jenny!
Get out!

[ Jenny gasping ]

-It'’s okay.

They were trying
to kill us!

-It'’s okay.
-They were trying to kill us!

We'’re both alive.
Take it easy.

-Oh, Joe!
-Take it easy.

It'’s all right.
I'’ll get you to the cops.

What?

No, I can'’t
get you to the cops.

-Shhh.
-Joe!

We gotta get out of here,
Jenny.

What did I do?
What did I do?

You'’ll be all right,

I promise you.
You'’ll be all right.

Yeah, Herbie, this is Dancer.

Listen, I got big troubles.

You don'’t know
the half of it.

Don'’t talk to anybody.
Don'’t come here.

Where can I meet you?

Uh...

You know down
at the end of the pier?

Give me till about sundown
and I'’ll see you there.

[ narrating ]
The car agency was bugged

about the car I turned in.

I was more bugged about
Quinlan.

How did he know
I was in trouble?

It didn'’t track. I didn't
know whose side he was on.

Is this where you live?

I don'’t live anyplace.

I got joints like this
all over town.

I change them
every once in a while.

That way, nobody knows nothing.

[ arcade music playing ]

Okay, there'’s food up
there in the cupboard,

TV dinners in the fridge,

and if you open the windows,
any window...

You can hear the ocean.

Sit your bones down here
and take it easy.

You'’re safe.

Wait, Joe.
Where are you going?

Honey, your brother
saw something,

and because of it
they killed him.

The cops are in on it,
I can'’t take you there.

I gotta go out on the streets

and find out what
the hell is going on.

I gotta talk to somebody.

You stay here.
Don'’t worry. You'll be safe.

Just keep that front door
locked and I'’ll be in touch.

If the phone rings,
it'’ll be me.

-Joe?
-Yeah?

What about the noise?

What noise?
I don'’t hear any noise.

When I sleep here
I sleep like a baby.

[ narrating ] Was my promise
to the kid at his grave

gonna cost his
sister her life?

Quinlan had asked
a good question:

"Why do you want
to open up a can of peas?"

Forget your fishing pole?

No.

Something tells me you'’re gonna
wish you had forgotten yours.

Yeah.

-Let'’s drink.
-Okay.

[ narrating ] Over three
hours and a bag of drinks,

I filled Quinlan in on the
redheaded kid in the morgue.

Quinlan knew
the cop on the case,

said he was straight.

Said he'’d run it down.

Quinlan and I drank till
closing time.

He dropped me off
at an all-night steam bath.

I got my clothes pressed.

The next morning Charlie
told me my pictures were ready.

-Joseph.
-Yeah.

I am pleased.
Good stuff.

Good clarity.
The work of a pro.

What do you mean?
How do you know that?

Come here. I'’ll show you.

Look at that. See that?

The lighting...
This guy'’s sharp.

Something else: The way
they were developed.

Retouched.
Airbrushed.

Like that, you know?
See?

Oh yeah, that'’s definitely
the work of a pro, then, huh?

Definitely
the work of a pro.

These broads are models?

[ chuckles ]

Well, let'’s put it this way,
they don'’t come from my world,

but I'’ll give you a guess
what world they come from.

You mean there'’s models
and then there'’s models?

On the nose, Jefe.

[ narrating ] It was
time to go to the source,

the studio that
had Judd Hampton

under contract for five years.

The biggest in town...
Polaris...

A subsidiary of Z.T.Y.

And Z.T.Y. was one of
the largest conglomerates

in the world.

The kid had a $30-million
picture in the can.

I wanted to talk
to his boss.

Excuse me. Which one of you
ladies works for the boss?

I beg your pardon.
Can I help you?

Asa Lemar...
Which one of you works...

Never mind. Somebody go tell
Asa Lemar my name is Joe Dancer.

I got some information
about Judd Hampton

and a house on Highfield.

Tell him that
and he'’ll talk to me.

I can'’t do that, sir.

Well, you better.
This is very important...

There'’s no wrong way,
right way; just my way.

Get the budget right, because
the picture will start on time.

You and Carol work it out.

Excuse me. Which one of you
gentlemen is Asa Lemar?

Mr. Lemar,
I'’m terribly sorry, sir.

Oh, you are.

I would like to talk to you
about Judd Hampton

and a house on Highfield.

What is your name, sir?

My name is Joe Dancer.
I'’m a private detective

and I have some information on
your movie star Judd Hampton.

Judd Hampton is under contract
to our studio, but, uh...

What was your name again?

Dancer.

Mr. Dancer, I don'’t
get personally involved

with our stars'’ lives, but if
you have some information...

Excuse me, you better
get involved this time,

Because the studio'’s
in trouble.

Let me finish, Mr. Dancer.

I think this will be more
in Mr. Iberville'’s department.

We have a large studio here.

We delegate
different matters

to different departments.

I'’m sure Mr. Iberville
will handle it

to your total satisfaction.

Carol, I want you to get in
touch with the Berlin office.

Mr. Dancer...

If you will.

Are you a writer, Mr. Dancer,

along with your
other profession?

No. But I got
a story to tell.

Is something wrong
with your knee?

That'’s part of the story
I'’m gonna tell you.

You see, it starts
out with this studio

that'’s trying to keep
a movie star afloat.

And it'’s about murder,

and an executive in a
black suit that covered it up.

It'’s called "Accessory after
the fact: Murder one."

Nice title.
Go on.

I will.

It starts out
with this movie star

who likes to play around
with two girls at a time.

And then it goes on
to this redheaded kid

who went to a house on
Highfield and caught him.

And then about a punchout,

and a redheaded kid
going down and dead.

And that'’s just the beginning.

It'’s starting to smack of
a b-movie, Mr. Dancer.

We don'’t write those
kinds of movies anymore.

Well, you wrote this one.

This studio threw
a 17-year-old kid

in front of my car, mister,
and I killed him.

Mr. Dancer, I am aware of
every script

that comes into this studio.

And I'’ve never read that one.

Well, you can bet your life
that somebody'’s gonna read it.

I got a star for it too.

His name'’s Judd Hampton.

Mr. Dancer, that'’s a shame,

because that story
is a B-movie,

and Judd Hampton
only makes A-movies.

In fact he'’s been making
one on location

in Northern California.

He'’s been up there
for three weeks.

They just moved to a closer
location in Marineland.

So that presents a
little problem

for your scenario, doesn'’t it?

Only on the surface.

Well, perhaps you can
present your story

to another studio, Mr. Dancer.

You can bet
I'’ll shop it around.

Is there anything else?

You tell Asa Lemar...
And I'’m telling you...

This is only act one.

[ narrating ]
Iberville figured he covered

his tracks pretty well.

But the one thing
he couldn'’t cover

was the look between
him and Lemar.

I didn'’t know what it meant,
but I was gonna find out.

Put that hand
behind your back.

Get it back there!

Where'’s your I.D.?

Empty glove...

Belongs to a rental car.

You got new shoes on.

Turn that hand over.
Let me see your palm.

Yeah, if you'’re a construction
worker I'’m a ballet dancer.

Call Donald Duck over here.

And don'’t get cute.

[ horn honks ]

You see what
I got here?

-Easy...
-Shut up.

Get in.

All right.

Now I know what both of
you guys are doing here.

We'’re both in
the same profession,

but we'’re working
different sides of the street.

Now get back
to your boss Asa Lemar

and tell him you don'’t work
this side of the street no more.

Next guy shows up here winds
up in the drink. Okay?

How about a little
ride, Dancer?

[ gasping ]

[ narrating ] They really
did a hell of a number on me

but they didn'’t kill me.

More important, they knew
I wasn'’t gonna shoot.

They were pros.
Lemar only hired the best.

They called my bluff
and I backed off.

One thing was for sure:

Lemar wanted me back in the
hospital and out of action.

I took Jenny to a place
back of the beyond.

I made sure
I wasn'’t followed.

I knew Jenny would be
safe with Cow John.

But I'’d said that before.

Hey, Cow John!

-How you doing?
-Fine, Joe.

-This here is Jenny.
-She'’s pretty, ain't she?

-Thank you.
-Come on in.

Reminds me of my woman
when we were both young.

Go on, beat it.

Ah, yeah.

-Joe?
-Huh?

Why don'’t you put
her things in your old room?

Good enough.

Jenny: I'’m sorry
about your wife.

Joe said that she died
a couple of months ago.

It was 20 years ago.

Joe'’s a dear guy.

He knows that I feel it
just a little while ago.

I like to keep a fire going
all the time,

in all seasons.

My daddy did too.

He did?

Then the two of us are
gonna get along just fine.

[ narrating ] I knew
the redheaded kid

was killed by Judd Hampton.

I knew Jenny'’s life
was in danger.

I was guessin'’ the studio
was behind the clean-up

and Steve Burnell'’s death.

And I was guessing
the studio was Asa Lemar.

The cops were dirty.

Jenny'’s story had smelled

and the cops backed
away from it.

That meant big money.

And what it all hung on

was a little punk,
Judd Hampton.

-Man: All right, quiet!
-Quiet.

Quiet, everyone.

Camera! Sound!

-Man #1: Roll '’em!
-Man #2: Speed.

Man #1:
Action!

[ grunts ]

[ actors grunting ]

[ screams ]

[ cheering ]

Say, was that Judd Hampton
that did that?

-No, photo double.
-Oh.

Where'’s he?

He'’s got
a trailer in the back.

Thanks.

[ narrating ] People kept
going in and coming out

of Judd Hampton'’s motor home.

Agents, starlets,
people on the take,

people on the come...

I was looking for the guy
that made the least money,

the guy with
the fishiest eyes.

He wasn'’t hard to spot.

He was the guy calling
in the broads,

calling the bets for
the weekend football games

hoping somebody'’d win big

so he could get
a piece of the action.

He was the cuckoo
in the clock.

I knew he'’d pop
out again.

Hey, pal.

Can I talk to you
for a minute?

Don'’t get mad at me,
I might have a little business

to talk to you about.

I got a little favor
I want you to do.

There'’s 100 bucks
in it for ya

and another 100 on
the back end if you deliver.

I want you
to take this envelope,

give it to Judd Hampton.

Make sure he sees
what'’s inside it,

tell him I wanna talk to him.

If you get me in there,
I'’ll give you the other yard.

Hey, you'’re not gonna do nothing
funny with the money, are you?

I ain'’t stupid, pal.

[ door slams ]

Take your best shot,
he'’s waiting with open arms.

You'’ve got a unique way of
introducing yourself, mister...

Dancer.
Joe Dancer.

Are the ladies in
the photographs relatives?

No, not even
kissing cousins.

What, do you represent them?
Are you their agent?

You got one more
cute line, kid.

Use it, then clear
this joint out.

Come on, gang.
It'’s five minutes to post time.

Let'’s go to the windows.
Come on! Come on.

I don'’t know
what you want, mister,

but if you'’re looking for
trouble, all I gotta do is yell.

Kid, you let me in here
'’cause you know I'm trouble.

Go ahead and yell.

I let you in here, mister,

because I thought you
were a friend of Gofer'’s.

I don'’t know what
you want from me.

All right,
we'’ll play it your way.

You'’re a big movie star.

But you'’re still
just a punk kid,

you don'’t know nothing
about the big leagues.

You don'’t even know
what murder one is, do you?

I don'’t know what
you'’re talking about.

Accidental homicide
carries with it... Nothing.

You left the scene
of the crime,

but it'’s
a first offense.

My guess is
a suspended sentence.

I'’m not talking
doubletalk here.

I'’m telling you,
I know you did it.

Now if you cop to me,
you got a chance of getting off.

Tell me the kid hit you
five times before he went down.

I'’ll believe you
and so will a judge.

I'’m here to tell you,
get yourself off the hook.

Don'’t listen to what
the studio'’s telling you,

listen to me.

The longer you wait,
the more trouble you'’re in.

Think about what
I'’m telling you.

I'’ll come back and see you.

[ door opens, closes ]

[ narrating ] It was time
to talk to Herbie Quinlan.

See what kind of cards
he was holding

and who he was dealing for.

We had arranged
to meet at his boat.

-Hey, Herbie.
-Hey, come on.

This is your boat?

Nah, "The Sea Quinn'’s"
out there.

Can barely afford the boat,
nevermind the rent on a slip.

Let'’s go for a spin.

Dancer: All right, I'’m rowing.

The red-headed kid,
Mark Wallace...

Yeah.

The one you saw
in the morgue,

his car drove smack
into a utility pole.

Hmm.

Kid wasn'’t
even driving the car.

Put mounting holes
in the floorboards

under the steering wheel...

Screw-holes in the brake
and gas pedals.

Jesus.

I think that car was externally
driven into that pole.

You mean
you know it was, Herbie.

I don'’t know it.
I mean, I can'’t prove it.

I'’d bet on it.

And the cop
who rolled on it...

What'’d he do, just quit?

No, like me, he was
told to take a walk.

Where'’s the car now?

Wholesale.

Where all the other cars are,
the police yard.

When we got on,
you cast off,

-I'’ll fire the engine.
-Okey-doke.

Maybe we can
catch us some dinner,

exchange what little we know.

[ narrating ] Quinlan was
giving me information,

but everything he was
giving me dead-ended.

I smelled something wrong.

Was he suckering me
into something

to throw me off the track?

Was Herbie on the payroll?

When the stakes
are high enough,

they say you can buy anybody,

even the guy
who wrote the bible.

[ engine sputtering ]

[ gagging, coughing ]

Herbie!

Quinlan!

Herbie! Herbie!

[ narrating ]
The cops were dirty.

They'’d covered up
when the kid got thrown

in front of my car.

They'’d covered up
the red-headed kid'’s death.

And they'’d told Quinlan
not to go to work anymore.

Were things
bad enough to kill him

or did somebody else do that?

Or was that somebody
powerful enough

to buy the cop to the point
where they'’d kill their own?

Who was that powerful?

Not Judd Hampton.
Not Iberville.

Only one person could put
this whole thing to bed...

Asa Lemar.

And be sure that
you use a sprig of basil

and a fresh sprig of rosemary.

It'’s the only way
it tastes different.

-And make it 350...
-[ phone ringing ]

Oh, wait, John Paul,
hold on.

-Joe?
-Yeah, honey, give it to me.

I'’ve been waiting two days.

I know you'’re strung out, Joe.

That'’s a terrible thing
that happened to you.

Okay, the house on Highfield

is owned by
a Chapman realty

and it'’s been leased
for a year and a half

by a man named Phil Easton.

-Who the hell is he?
-I had a make run on him

by your friend downtown,
Billy Primo.

He runs a chain
of massage parlors.

And, Joe, he owns
one of those, um,

you know, porno studios
on Santa Monica boulevard.

-And Joe?
-Yeah?

Call me.

Okay.

[ narrating ] The report
of Quinlan'’s death

came over the evening news.

They wrote it off
as an accident.

It got dirtier.

Charlie'’s information
led me to the gutter

to Phil Easton'’s
office building

where he made
hardcore films

with softcore bodies.

[ sirens wailing ]

[ doorknob rattles ]

Man: Baby, this is
a nice party, huh?

We'’re gonna have a good
party all our own now, huh?

Huh?
[ laughs ]

Man: This is my
little world, honey.

These are some
of my pictures.

I'’m gonna make you
a star, baby.

Give you anything
you want...

A little grass, coke...

Drop a couple '’ludes.

Here'’s Mr. Easton's office.

Phil Easton. That'’s me.

Right in here, honey.
You'’re gonna be fine.

Just fine.
Nothing to worry about.

Don'’t be scared.

You'’re gonna be
just fine, honey.

Just fine.
Look at this.

It'’s our world, baby.

Ours.
Do you like it? Huh?

You'’re gonna be
part of it, baby.

[ laughs ] I'’m gonna
make you part of it.

And I could get you
anything you want, baby.

Anything.

Grass, coke...

Wanna have
a couple '’ludes, huh?

Huh? Do ya?

[ whispers ]
Yeah...

You'’re beautiful, baby.

I'’m gonna make a star
out of you, honey.

Yes, I am.

I'’m gonna make
a star out of you.

[ chuckles ]

Oooh.

Nice.

And, uh...

Gonna have sun...

[ distant sirens wailing ]

And parties.

And, uh...

Plenty of...

Talk shows.

Cars.

And, uh...

I want to try you first
before I turn you loose.

-[ woman gasps ]
-Hey...

Shut up!
Shut up!

Put yourself together!

Get out of here!

Hey, listen, man!
I only got credit cards.

That'’s all I got.
We don'’t keep no money here.

-You scumbag.
-I got nothing, man!

I swear to God,
I got nothing.

[ gasping ] I can'’t take it.
I can'’t... I got...

I got high blood pressure.

Tell me about the house
on Highfield,

the two broads
in the house on Highfield!

[ gasping ] I don'’t...
I don'’t know nothing about no...

Tell me about the house!
Get out of here, I said!

Go on!

Tell me about
the house on Highfield

or I'’ll put this flashlight
up in your brain!

-Tell me!
-I lease that house!

I lease that house
for my movies!

Who'’s your partner with you?

Who are you working with?!
Who are you in business with?!

-Nobody! I just...
-Who owns the house with you?!

Nobody. I lease that house
for my movies.

Honest, mister.
[ moans ]

Please, please.

All right, listen to me.
Listen to me!

That house is hot.
Somebody died in it.

If you go to the heat,
they'’ll fry you.

You got 24 hours
to get your memory back!

I'’ll be seeing you.

[ gasping ]

Please...

[ door opens, closes ]

-[ Easton panting ]
-[ phone ringing ]

Woman:
Polaris night line.

Easton:
Hello? Hello.

This is Phil Easton.

Will you...
Will you connect me with

Paul Iberville'’s home
immediately?

Woman: I'’m sorry, sir,
but we'’re unable to do that.

But I will leave
a message for him.

Easton: Will you please
tell him to get in touch

with Phil Easton immediately?

Tell him...
Tell him Phil Easton

has got to talk with him.
Tell him... Tell him...

It'’s important.
Will you do that? Will you?

Woman: Does Mr. Iberville
have your number, sir?

[ narrating ]
Iberville...

That was the guy
Asa Lemar turned me over

to at the studio.

All this time,
I'’d been thinking Lemar.

Now it looked like
Iberville'’s game.

I had Jenny'’s story,
I had Iberville'’s connection

with the house
on Highfield.

I had the address
of the two chicks.

But I couldn'’t go to the cops.

I'’d already been to them.

Hi, are you Paycheck?

Yeah yeah, I'’m Bill Paycheck.
My goodness.

-Come on in. What a cutie.
-Very nice.

[ narrating ] I'’d conned
my way through the door.

They thought I was
a trick sent by Phil Easton.

When I got inside,
I danced around

with them for a while.

Then I got down
to the nuts and bolts.

I laid the story on '’em about
the house on Highfield.

And they dummied up.

Well, what he told me was

that you were up
in a house on Highfield.

And that you were...

Showing a movie star
a good time.

[ chuckles ]

And then a redheaded kid came in
and there was a punch-out...

And you guys took off.

And I went up there.

I found a locket
in the swimming pool

with that picture in it.

[ giggles ]

Mister, if this is
some kind of a set-up,

we'’re not buying it.
Get out of here.

-What about the picture, lady?
-[ laughs ]

You'’ve gotta be kidding.

Our pictures are
all over the place.

That'’s how we make a living.

Now why don'’t you take my
advice and get out of here?

All right. I know you got
juice with the studio.

I know they pulled you
out of that house

and gave you money to dummy-up.

What you don'’t know...
Pay attention, toots...

We'’re talking about murder.

Yeah, that redheaded kid
got jerked out of that joint

and dusted.

Now that'’s gonna
surface sooner or later.

Mister, it'’s got
nothing to do with us.

We don'’t want
to hear about it.

Get outta here.

What if I take my story
to the cops, tough guy?

Man, it'’s a good story.

Maybe you should
take it to the cops.

In fact, maybe you should
call them from here.

Fair enough.

Don'’t come back, mister.

If you do, we'’ll have
someone waiting for you.

Look, toots, you may think
you'’re safe now

because you got a studio
covering your tracks,

but that'’ll hold till about
Tuesday when this thing blows.

Then there'’ll be
somebody looking for you.

[ door slides shut ]

Dancer, you know what
you'’re asking me to do?

I'’ve been working for
the studio for over 10 years...

Give me somebody.
Give me a name!

Give me somebody in this
studio that'’s got some juice!

Give me the goods
on one heavyweight!

Come on, Dancer.

You'’re putting me in a corner.
I can'’t answer that!

I'’m in a corner!
It'’s coming down around me

And there ain'’t nothing
I can do about it!

-You know what you'’re asking?!
-You know what I know!

I ain'’t never asked you
for nothing before,

but I'’m asking you now!

This time,
you give me somebody!

[ narrating ]
I knew him 10 years ago

when he was a bad cop
on the streets.

I knew how his partner
got killed.

I sat on the info for years

because too many
lives were involved.

I backed him into a corner,
he gave me a name...

Carol Banding,

the chick I saw
with Asa Lemar.

He gave me some info on her.

I didn'’t know whether it was
gonna do me any good or not.

Do you leave now

or do I call someone
to throw you out?

Lady, I know you'’re
head of business affairs.

I also know you
run with Asa Lemar.

You have been
for the last five years,

that'’s how you got the job.

I also know you keep
a chick down in Laguna.

She drives a red convertible.

He'’d been with her
for the last two years.

Now do I call Lemar
or do we talk?

Personally, I don'’t
care who you run with.

I need information.

Look, I told you,
I don'’t know anything.

I just work for the man.

Yeah, you work for him
and you sleep with him

and you have been
for five years.

Lady, I told you,
I need information!

If I have to blow
the whistle on you, I will!

And I won'’t stop there!

Now tell me about your
bosses Iberville and Lemar.

-How tight are they?
-They'’re not tight at all!

Well, then what the hell'’s Lemar
keep him working there for?

He don'’t like him!

Does Iberville got
the goods on Lemar?

That'’s it.
I hit on it, didn'’t I?

Iberville'’s got Lemar nailed
in some kind of way.

Lady, it took
ya a long time

to get where you are.

And I can bring you down with
one phone call and I'’ll do it.

Now answer me.

-He... He'’s overextended.
-What? I can'’t hear ya.

He'’s overextended!

Who'’s overextended?

[ sighs ]
Lemar.

Lemar is overextended.

That'’s what you wanted
to hear, isn'’t it?

That ain'’t enough!

Who'’s he overextended with?

How? What are you
talking about?

Lemar, he...

He arranged
for a line of credit.

Up to $60 million...
at U.S.D.

But there was
a stipulation in the deal

that 30 million of
that would be used

for a Judd Hampton picture.

Are you telling me

that that'’s the only
trouble Asa Lemar is in?

I'’m gonna get to the bottom
of it sooner or later.

Lemar went to
two other banks

and he borrowed
not as much money,

but he made the same deal...

That the lion'’s share
would be used

on a Judd Hampton picture.

And if the audiences,
for some reason,

stop going to
the Judd Hampton movies...

Lemar is dead, ain'’t he?

And the studio starts
looking for a new boss.

And that boss
is Paul Iberville.

-Ain'’t it?
-Yes.

Yeah.

Now if I was
Paul Iberville

and I wanted to take over...

I'’d be looking to bury
Judd Hampton some way.

-Wouldn'’t you?
-Yes.

All right.

We both know Iberville'’s
got the goods on Lemar.

Why don'’t he close
in for the kill?

I don'’t know what
you'’re talking about?

Maybe you don'’t.

Maybe he didn'’t tell you.

Tell me what?

No.

I came here
to get information,

not to give it.

What about me?

We all live
with ourselves, don'’t we?

[ narrating ] The next morning
I went downtown.

I wanted to see if
Herbie Quinlan'’s death

was being investigated...

No.

I went through the files
to see if either one

of those broads had a past
criminal record... No again.

Or if they had,
they'’d been wiped clean.

[ phone ringing ]

-Joe?
- Hi, Charlie.

Call that guy Janis
down in D.C.

And give me a run-down
on them two chicks...

No, we'’re gonna
get to that later.

I'’ve got some very bad news.

Cow John called and
he said there'’s two guys

that have been watching
the place all day.

You'’ve got to get over
there in a hurry, Joe.

All right, just tell '’em to sit
tight and don'’t do nothing.

I'’ll come up the back way.

- So long, kid.
-Okay.

Oh, Joe,
I'’m glad you got here.

Take it easy, John.

Any change?

They'’re still
just sitting and waiting.

John: They'’ve been
sent up here before.

Dancer: How do you
figure it, Cow John?

They'’re just sitting
there all day long,

they ain'’t done nothing?

Maybe they'’re waiting
for you.

I don'’t understand.

I don'’t either.

Dancer: I don'’t understand
how they found this place.

Okay, Cow John, I gotta get
Jenny out of here.

I don'’t know which way
those guys are gonna jump,

but you take care
of yourself.

You take care of the kid.

Okay.

Thanks, pal.

[ engine starts ]

Ah.

Jenny:
Oh!

Joe?

Who are those people?
Why do they want to kill me?

I don'’t know, honey.

Don'’t lie to me.
I'’m not 14 years old!

So help me, I don'’t know.

All I know is I'’m trying
to keep both of us alive

till I can find out
who killed your brother.

Joe!

Hang on now.
Just hang on!

[ Jenny gasps ]

Oh!

[ sobbing ]
Where'’d they go, Joe?

It'’s okay.

They'’re gone.
They'’re gone, honey.

Joe, look.

It'’s Cow John.
Hey, John!

What the hell happened?
I didn'’t hear any shooting.

I didn'’t shoot.

I don'’t mean
back at the ranch.

I mean those two guys
in the four-wheeler.

They were down in the ravine.
Didn'’t you see 'em?

Two... I didn'’t see anything.
I didn'’t see anybody anywhere.

I saw a helicopter
but, where'’d that go to?

I don'’t even know
where it came from.

You come on
over here, honey,

and get up in back of me.

Yeah, I know, Jenny.

This thing is a lot
more complicated and ugly

than either one of us
can even figure out.

I just can'’t
take you with me.

I don'’t know where I'm going
and I ain'’t sure

I'’m coming out the other end.

I'’ll send you back to Iowa
if you want to go.

But if they'’re looking for
you, they'’ll find you there.

And I damn sure don'’t
trust the cops.

It'’s your choice.

[ horse neighs ]

I'’ll go with Cow John.

Okay.

Joe...

This time we'’re
gonna do it my way.

I know the horse
isn'’t wired.

What'’s this for?

You just put it
under a rock.

And if you want us,
you come and call.

Just make sure
you ain'’t followed.

Wait a minute.
Where are you gonna be?

None of your business.

'’Cause if anybody
gets to you and squeezes,

nobody knows.

You want me to do a job,
I'’m gonna do it right.

Fair enough, John.

Room service.

Yes, I would like
a rare steak and a salad,

in about an hour.

No, nothing else.

Thank you.

Don'’t tense up.

I figured I'’d be half in the bag
by the time you showed up, kid.

Ain'’t you the movie star that

likes to go out
on the streets

and play with two or three
girls at the same time?

I figured you'’d show 3:00
or 4:00 in the morning

with a couple of henchmen
coked out of your brains.

And here it is, what?
8:00.

I ain'’t looking
at no movie star.

I'’m looking at a scared kid.

What'’s the matter?

What is this?
Blackmail?

What do you want, money?

Blackmail?

Yeah.

How am I gonna blackmail you?
What have I got on you?

Hm?

Nothing.
Absolutely nothing.

You'’re the one
who said it, kid.

What have I got on you?
Huh?

I don'’t know what
you'’re talking about.

You don'’t, huh?

All right,
I'’m gonna tell you.

When I saw you
the other day in your trailer,

well, I didn'’t put all
the cards on the table then.

I'’m gonna do it now.

That red-headed kid that
you killed accidentally,

he wound up in
a phony car crash.

And the pizza kid...
You remember the pizza kid

when you ran out of
the house on Highfield

he was staring at you?

They threw him
in front of my car.

I killed him.

And the cop who was
working on the case

wound up blown up
in his own boat.

You understand
murder one, don'’t you?

You ain'’t from that
far back in the woods.

I told you, I believe you.
It was an accident.

But you'’re gonna wind up
behind the eight ball.

I don'’t care about
no confession.

All I want to know is
who told you to dummy-up?

I'’ve been waiting.

Waiting for the cops
to come after me.

Waiting for the girls
to call me.

Waiting for someone
to blackmail me, waiting.

But nobody, nothing.

You'’re the only one who's
come after me so far.

Are you telling me, kid,

that the studio ain'’t
let you in on none of this?

You haven'’t talked
to Iberville?

I don'’t even know who
Iberville is.

The only one I deal with
is Asa Lemar.

And you told Lemar?

I tried to. I tried to
explain it to him,

but he wouldn'’t listen.

He brushed it off
like it wasn'’t important.

Told me not to
worry about it.

"Don'’t worry about it."

I don'’t... I don't know
who to go to anymore.

I don'’t know
who to talk to.

I'’m telling you, kid,
when it comes down,

and it will come down,

you'’re the one that's
gonna be holding the bag.

Your friend Asa Lemar
and that whole studio,

they'’re gonna run
for the hills.

And that'’s gonna leave you.

I believe your story.

I'’d like to help you
get out from under.

[ whispered ]
Okay.

I was up there
with those two girls.

But I didn'’t know 'em.
The studio set it up.

I don'’t even know who did it.

There was a note
in my dressing room

saying if you want
to unwind tonight,

a note and an address.

Then a redheaded guy
came through the door.

He started yelling that one
of the girls was his wife.

He came at me...
Started throwing punches.

I swung at him,
I swung at him once,

and he went down.

I swear to God,
I only swung at him once.

Did you check him out?

Well, I was going to.

And the girls told me
to get out of there.

They told me they'’d
take care of everything.

I mean, I knew the studio
had hired them,

so I ran out.

And then I saw
the pizza kid outside

and I got even more scared
and I kept running.

Kid, you'’re sure you
only hit him once?

When he was going down,
did he hit anything

like a coffee table
or something like that?

No, no.

I swear to god,
I don'’t think I killed him.

I don'’t know what happened
to the red-haired kid.

I don'’t know what happened
to anybody.

And the two girls told you
to get out of there?

If I was you,
I wouldn'’t say nothing

to nobody about nothing.

I'’ll get in touch with you.

I will unravel this.

[ razor buzzing ]

Talk to me.

Look, you'’re not crazy.

Look at that.

Three injuries
behind the head.

This man was dead
before his head

even went through the
windshield of that car.

Hm-hm-hm.

So how come it didn'’t
show up in the autopsy?

You tell me.

But I'’ll stick by you
in a court of law.

Who killed him, Dancer?

Forget it.

Now wait a minute.
Who do I tell what to?

[ sighs ]

Nothing.
I can'’t prove nothing.

Well, what do I do?

You'’re a good guy.

I'’m gonna give you
some advice.

Take it.

Don'’t talk to the cops.
Don'’t tell nobody nothing.

Put the stiff
back in the drawer,

go out to dinner
and forget it.

And I owe you one.

[ narrating ]
Now I had it.

Now I finally knew
what happened

that night on Highfield.

Hampton had
been telling the truth,

The studio had
left him hung out.

I couldn'’t tell the cops.

There was only one person
I wanted to tell my story to:

the man that wrote it.

I made a couple of
phone calls and found out

he was still sitting
on top of his empire.

He invited me up.

I was beginning to understand

how the real
big-leaguers worked.

Mr. Dancer,
you live in a fantasy world.

The studios don'’t
kill people.

You can equate murder
with the mafia,

the criminals in the streets,

but not with
corporate structures.

Whatever stories you may
or may not have heard,

to put together the fabric
of this fantasy...

Mr. Lemar, you got a
murderer working for you.

Paul Iberville.

But then I ain'’t
telling you nothing

you don'’t know already.

You know he wants to
take over this studio.

And he knows you'’re up
to your eyeballs in debt.

And if anything happens
to your franchise,

Judd Hampton, with all that
money you got in his movies,

the axe falls on you.

Up to now I thought Iberville
was holding all the cards,

and I couldn'’t figure out
why he didn'’t

just blow the whistle
on you and take over.

But now I know.

Go on.

I find this
quite intriguing.

I will.

Paul Iberville
set up Judd Hampton.

He hired the two girls to go
up to the house on Highfield

and show '’em a good time.

He hired the redheaded kid
to come in and start a fight.

He hired the redheaded kid
to take a punch

and take a fall.

He hired the two girls
to tell Hampton

to get out of there.

Iberville told the redhead
to play dead

till everyone was sure
that Hampton had split.

What he didn'’t tell
the redhead was that he hired

another player, and that player
was to make sure

the redhead played dead
for keeps.

That was supposed to
be the end of it.

But it wasn'’t.

Do you have a resolve
for your story, Mr. Dancer?

Try this...

You had your bird dog watching
your movie star Judd Hampton.

He saw Hampton run out of
that house up on Highfield

and he went inside and he
found a redheaded kid dead.

And he called you and told you
your boy was in trouble.

So you made a couple of
phone calls downtown

to your friends in
the police department

and lo and behold,

the redheaded kid
turns up dead

in a phony traffic accident.

And that leaves you
and Iberville.

And since then,
there'’s been a lot of killing

and a lot of cleaning up.

You'’re a very bright man,
Mr. Dancer.

You'’re good at your work
and your mind fascinates me.

I'’d like to see just
how bright you are.

I'’d like you to become
part of Z.T.Y.

As you'’re aware, we've been
having problems lately

with security matters.

I'’m sure the board could
justify a position

as a security consultant.

I'’m sure they could.

The annual salary would
be considerable.

The hours would be
pretty much your own.

And there would be
retirement benefits.

Have you considered
retirement, Mr. Dancer?

You'’d better look to your own
retirement, Mr. Lemar.

Because I'’m not gonna stop

till I bring you
and Iberville down.

Between the two of you, you'’re
responsible for all the killing.

Mr. Dancer.

As I told you before,
we don'’t kill people.

Please give my offer
considerable thought.

I'’m available to you

anytime you want
to reach me.

[ narrating ]
The time was right.

Somebody had to cop.

There were too many
people around

with their mouths shut

and the studio couldn'’t
keep a lid on all of '’em.

Phil Easton, the porno king,

was the shakiest card
in the deck.

It was time
for me to play it.

I kept hearing Lemar'’s
voice saying,

"We don'’t kill people,
Mr. Dancer."

This wasn'’t a murder mystery
I was working on.

This was what this
country had become...

Cold-blooded killings
in the corporate world.

Impersonal machines.

Guy'’s name is Phil Easton.
He runs this joint.

Yeah, your case
is in there.

Somebody killed him?

Nah, it was an accident.

-What time'’d they find him?
-This morning.

Could you tell me
how he died?

A massive coronary.

The secretary found him
naked in his office.

I guess this guy Easton
must have tried

one young chick
too many.

Yeah. Or he made
one phone call too many.

Dancer:
Don'’t hang up now.

Phil Easton is dead.

Did you hear me?

I said, Phil Easton is dead.

Are you there?

Yes.

Now look, honey,
I know they paid you off

and they told you
everything was cool.

Well, nothing is cool.

They'’re covering their tracks

and they'’re sweeping
the slate clean.

You'’re playing with
your life now.

What can I do?

Where'’s your girlfriend?
Is she there?

Uh, she'’s at
the beauty parlor.

Call her.

Tell her to come back home.

Tell her,
don'’t talk to anybody.

When she gets in the house,
just lock the door,

don'’t call the cops.
Don'’t call nobody.

I'’m across town, I'll get
there as fast as I can.

Okay.

[ narrating ] I was
the only hope the chicks had

of staying alive.

And they were my only
hope of nailing Iberville

and the studio.

It was a 30-minute drive.
I made it in 20.

No Jill, no girlfriend,
no furniture.

No nothing.

Was she on the run?
No.

If she was running,
would she have stopped

to clean up the whole joint?

The chick'’s not that smart.

But she was gone.

And not by her own hand.

Hey, Jackie!

Wait a minute.

Hey, Jackie!
Wait a minute!

-I wanna talk... Hey, wait!
-[ tires screeching]

[ screams ]

[ sobbing ]

[ gunshots ]

Stay down!

Stay down!

[ screaming ]

Stay in the car!

Stay in the car!

[ gun clicks ]

[ gunshots continue ]

[ screams ]

No!

[ narrating ] There
was no witnesses left.

Judd Hampton'’s story
couldn'’t prove nothing.

There was no way to
get to the man at the top.

Don'’t worry, kid.
Your sister'’s safe.

She went back home.

They killed everybody.

In the street,
you fight street.

In the courtroom,
you fight legal.

In the jailhouse,
they got joint law.

In the big leagues,
there ain'’t no law.

I promised you

I'’d get the guy
who killed you.

I'’m gonna do it.

But I gotta
do it their way.

Mr. Lemar, é\Mr. Dancer.

You'’ve reconsidered my offer?

No.

I'’ve reconsidered mine.

Oh?

You'’re right.
You don'’t do any killing.

Paul Iberville did
all the killing.

But I promised
that pizza kid

that I would get
the man who murdered him.

And if you don'’t
do that for me,

I'’ll bring down you
and this whole studio.

How do you propose
to do that,

if Paul Iberville
did all the...

In what way
am I involved?

Accessory after the fact.

You went into that house on
Highfield and you cleaned it up.

You know you did.

You'’re the one who
called the cops

and made a deal with '’em.

And everything was
supposed to be fine.

But I started looking.

And Iberville got tense
and he started killing.

And the more he killed, the
more you cleaned up after him.

And all that stuff with the
helicopter with me and Jenny,

that was you trying
to get me to back off.

Well, I just told you.
Now you know.

There'’s only one way
I'’ll ever back off.

There are no more
witnesses left, Mr. Dancer.

Yeah.
He killed '’em all.

But I proved it to myself.

And so help me,

I'’ll prove it to the feds if
it takes me the rest of my life.

I don'’t doubt that
for a minute, Mr. Dancer.

If you'’ll allow me to write
the end of this scenario.

[ door opens ]

[ narrating ] A week
later I found myself

in the bar where Herbie Quinlan
and I had our last drink.

I hoisted one for Herbie.

I hoisted one for
the kid, Steve Burnell.

Jenny was on her way
back to Iowa.

I hoisted one for her.

[ football announcer
speaking on TV ]

Anchor: We bring you
this late report.

Paul Iberville, head of
Polaris studios,

has been killed
in a plane crash.

Initial reports indicate
that air controllers

lost contact with
Iberville'’s private plane

shortly after take-off
earlier this evening.

Searchers have now found
the wreckage with

Iberville'’s body inside.

The plane apparently
flew head-on

into a mountain ridge.

The cause of that crash
now under investigation.

Repeating, Polaris studios
president Paul Iberville

killed tonight in
a plane crash.

More details
as they become available.

We return now to
our regular programming.

[ narrating ]
And I hoisted one for me

because the big trade
had been made.

I knew Asa Lemar figured
the slate was clean.

What Asa Lemar didn'’t know

was that I'’d always be there
in the woodwork.

That I'’d be there on every
street without a light.

That if I lived a day
or for another 100 years,

part of each day would
be spent thinking about him.

Trying to figure a way
to nail the man who said,

"Studios don'’t kill people."

[ jazz music playing ]