Double Exposure (1977) - full transcript
James Compton is paid by wealthy Howard Townsend to photograph his mistress Simone . Intimate photo sessions lead to an affair. Simone is kidnapped and he is being blackmailed over the affair by the kidnappers. Some violent scenes.
(Multicom Jingle)
(horn blowing)
(piano music)
(chattering)
(car doors banging)
- Oh, hello sunshine.
- Bradley.
- Mr. Townsend asked
that we pay you a visit.
- No.
No.
(crying out)
- That's enough, you sadistic bastard.
Go and get the camera.
(gun firing)
(shutter clicking)
That's another one for Mr.
Townsend collection, eh?
Stay.
(upbeat rock music)
- David, when it comes to deals,
always remember where
the finance comes from,
including your own.
Got the passports?
We should be landing soon.
- Good.
- Hmm, interesting.
- Actually, he's one of the photographers
that we were discussing.
- Out of the window now.
Other way.
That's perfect, that's good.
Now with your tongue out, lick your lips.
Lick you lips, that's it.
Come on, put some more sex into it.
Come on, you're supposed
to be a Victorian hooker.
- Oh.
(shutter clicking)
- Alright, that's one for me.
Now about the shoots for Vogue huh?
(dramatic music)
- [Woman] Coffee?
- Mmhmm.
Like the stuff?
- Smashing.
I think she's smiling too
much in this one though.
By the way we had an interesting
phone call this morning.
- I hope it was obscene.
- No, it was from the
office of Howard Townsend.
You know, the shipping tycoon.
- What does he want?
Snaps of his latest super tanker?
- He wanted to discuss an assignment.
He's left a number here
for me to ring him back
and arrange a time.
- Might be interesting.
- Let's ring him now and fix it.
- Oh give me a minute.
- No, now.
(phone whirring)
(dramatic music)
- My name's James Compton,
Mr. Townsend's expecting me.
- Yes sir, would you
drive straight through,
park your car and someone will
meet you at the front door.
- Jesus.
(engine rumbling)
(dramatic music)
- Mr. Compton do come in.
- Thank you.
(dramatic music)
(door bangs)
(clicking)
- One moment sir.
I shall inform Mr. Townsend's
secretary that you are here.
(clicking)
Mr. Compton is here.
(clicking)
Shan't be long sir, please take a seat.
(clicking)
(dramatic music)
- [Howard] Jacob if that
shipment is not in Beirut
by next Thursday I'll personally
hand you over to the--
- Mr. Compton?
- Mmhmm.
- This way please, Mr.
Townsend will see you now.
(clicking)
(dramatic music)
- [Howard] Mr. Compton it's my pleasure.
- Pleased to meet you.
- I've been looking forward
to meeting you for some time.
Sit down, drink?
- Ah, no thanks, to early for me.
- [Howard] Would you mind if I do?
- Not at all.
- You know photography
is an interest of mine,
I've been following
it's rise as an art form
for many years now.
Recently I saw your latest book.
I must say I was, I was very impressed.
- Thank you.
- You have a special talent
for photographing beautiful women.
Which brings me to why I asked you here.
- Yes, I was intrigued.
- I have a special friend named Simone,
I want some photos of her
like the ones in your book.
Actually I checked with
a number of photographers
but your work has impressed me the most,
it your individuality I suppose.
Are you interested?
- Could be.
I'll have to see the subject first.
- Of course.
Simone, will you come in here please?
I don't think you'll be disappointed.
I know that you're very expensive
but fortunately I'm a wealthy man.
I'll pay double your normal rates,
just send an invoice when you're through.
(door clicks)
Ah, Simone.
I want you to meet James Compton.
He's gonna take some photographs of you,
or at least we hope he will.
- How do you do Mr. Compton?
- Hello.
I've seen photos of you before, somewhere.
- You've got a good memory.
I did do some modeling, sometime ago
but I didn't stay at it long.
- [James] You shoulda.
You've got nice presence.
- Well, maybe I could start
doing some housewife ads.
- Ah you can't be that old.
- (scoffs) You'd be surprised.
- Alright Simone that'll be enough.
You can go now.
- My, that was quick.
Goodbye Mr. Compton.
- Goodbye.
(clicking)
- This Beirut deal has
really gone to his head.
Now he's talking about wanting
to finance a revolution in Africa.
- Yeah, he's had that idea for years.
Just the thought of it
makes him feel good.
- Well, I'm on to something
that just might bring him
back down to earth.
I have to check a few things first
but I just may possibly have something.
Ever hear of a photographer
called James Compton?
(dramatic chord)
- Well my dear, Mr. Compton
has agreed to photograph you.
I suggest you make your own arrangements
regarding appointments.
- Well do I go to his
studio or does he come here?
- Well not here, you know I don't allow
other people on these premises.
No, make arrangements
to use Compton's studio.
Charles will take you and
pick you up afterwards.
- As you wish Howard.
- I've always admired beauty
and envied those who can
capture it in some way.
All Mr. Compton has to do is to capture
what already exists.
(phone ringing)
Hello.
Hold on a moment.
Why don't you call Compton's studio,
make arrangements for the first session?
What is it?
How do they know?
Now listen only three people
knew that we were selling
to both sides yourself, myself and...
David, that double crossing bastard.
I'll handle it.
(phone clatters)
Get me an outside line.
(clattering)
(dramatic music)
(door bell ringing)
- Hello, you must be Miss--
- Simone.
- I'm Rhoda James's secretary.
Come on in.
- Oh thank you Charles,
I'll see you at seven.
- Thank you.
- This way.
Excuse the mess, we've
been working overtime.
Well here's the master.
- Hello.
How are you?
- Fine but a bit nervous.
- [James] Ah you'll be alright.
- Excuse me James I'll just
go and get those prints.
- [James] Fine.
Here let me take your bag.
- Oh, thank you.
- Well, make yourself at home.
Coffee?
- Oh yes please.
- Milk and sugar?
- Milk and no sugar.
(gentle music)
Thank you.
Does that really sail?
- Yes every Sunday.
Right, now I'm gonna go slow today
and give you time to warm
up in front of the camera
and give me a chance to see
you in a variety of costumes.
- Yes I am feeling a bit tense.
It seems ages since I've
done this sort of thing.
- Alright, take your time,
I'll be ready when you are.
- Oh thank you.
(dramatic music)
- Okay, here we go.
Right, sit up a bit, that's it, that's it.
Turn to your left.
Um, good.
(camera clicking)
Right, fingers through your hair.
- Like this?
- Mmhmm.
(camera clicking)
You mentioned that you modeled before.
- Oh yes I did but when
I was very much younger.
- [James] Tell me about it.
- Well, my father died when I was 17
and the family split up
and I had to get a job.
Modeling seemed the obvious answer.
It was quite fun at first,
all the bright lights and everything
and then it became quite unpleasant.
I started having awful rows with my agent
about the pettiest things.
- [James] Oh it's not always like that.
- No I know it's not but it
seemed like it at the time.
Anyway my photographs were
turning up in the strangest
places in obscure magazines in America
and all over the place
and I wasn't being paid for them
so, well I decided to get out.
- Okay no more chatter,
now turn to your right.
That's it, let's have
a profile, chin down.
(camera clicking)
Good, now onto me.
(camera clicking)
Fine that's enough sophistication
let's have a smile now.
Come on, come on, come
on, come on, that's it.
(camera clicking)
(dramatic music)
- Well I'm packing my things now.
Look--
(thuds)
Just a minute.
That's okay.
I tell you the plans perfect.
Now we really have him by the balls.
Look um, I'll meet you at eight o'clock
and we can discuss it in detail okay?
- [Man] Mind the roads won't you sunshine?
I wouldn't want anything to happen to you.
(laughs)
(suspenseful music)
(crying out)
(whacking)
(crying out)
(screaming)
(dramatic music)
(ominous chord)
- Well I like this one,
this one with the umbrella
and this one I think.
- Oh I think I look silly in that.
- No I think it's got something
even if you don't think so.
Anyway I've got some ideas
how we can develop these
into something for another time.
- And talking of time, what time is it?
- Ah, 6:45.
- I've gotta go.
- Can I give you a lift?
- No thank you, it's not allowed.
It's the house rules that
the chauffeur takes me back.
- Okay but on Wednesday
we go to the south coast
in my car okay?
I want some shots by the ocean.
- Alright.
(dramatic music)
- Oh, not bad for an amateur.
- She's quite good.
She has a certain quality
of hidden vulnerability
that photographs very well.
- What's she doing with
someone like Townsend?
(camera clicking)
- That's a good one.
That's it, take it easy, relax.
(camera clicking)
That's it.
(camera clicking)
Good one.
That's it, that's perfect.
That's a good one.
(camera clicking)
Okay, relax a bit now.
- I'm sorry I just feel so awkward.
It's all those people up
there, they bother me.
- [James] One of the
hazards of the profession.
- I just feel so self conscious.
- Okay, let's go further up there
possibly we'll find some seclusion there.
(gentle music)
(chattering)
(dramatic music)
- You used to work in New York didn't you?
- That's right.
- Well what made you stay in London?
- Oh I guess I was in love
with the Queen or something.
No it's just that the states was getting
just to commercial.
- So you're around to capitalism?
- Oh no not at all.
After all I'm an independent
business man myself.
It's just that there, there are limits.
And you, how did you get
mixed up with Townsend?
Doesn't seem your type.
- Oh, well I first met
Howard about three years ago.
It was on a flight to the Middle East
he was a passenger and
I was the air hostess.
- Ah love at first sight.
- No, not at all.
We started going out and
one thing led to another.
- And?
- [Simone] And we now have a
very convenient relationship.
It was a contract really.
- Oh.
- Well look I'm his girlfriend alright?
His mistress.
I have been for three years
and I've been very well
and he's not too demanding.
I mean, when it's all over
as it inevitably will be
I should be financially stable for life.
We're very happy like that,
I'm mean, I'm not his first mistress
and I'd be silly to think
I'm going to be his last.
- Aside from collecting beautiful women
what else does Townsend do?
- I don't know really,
it's none of my concern.
- Oh it seems a bit suspect if you ask me.
- Well look, a man in his
position can't be completely
clean you know that.
Anyway Howard has tremendous style,
that's what I like about him.
So I just try and ignore
the other side of his life.
- [James] Good thinking.
(clicking)
- Hi.
- Hi.
- How are things going with Miss Simone?
- Oh she's okay.
- I bet.
(phone ringing)
Compton Studios good morning.
- Rhoda my dear how are you?
- Oh hello Mr. Patterson
I'm fine thank you.
We haven't seen you for a long time.
- Been up to me eyes
in it lately old girl.
Is the dear boy around?
- Yes he is, hold on a
minute I'll just get him.
It's Ian Patterson.
- Ian how are ya?
And where you been hiding?
- I'm in great form dear boy.
Been charging around the
country putting together
this collection of mine.
- [James] How's it going?
- Well pretty well on the whole I think
which is why I'm calling you.
How's your diary?
Got any free time
reasonably soon old chap?
- Well I could always fit you in.
What have you in mind?
- Well I'm not quite sure
to tell you the truth.
I rather want to get some photos
of this collection of mine.
The way I see it is a set
of simple shots of each one
plus a shot showing them all together.
That's if you agree of course.
- Well your choice.
I'd like to take them out
under the trees I think.
- Anything you say.
How about placing some young
thing as an eye catcher?
- Oh you dirty old man.
Well it might liven them up a bit.
Give the picture some balance.
- [Ian] Balance.
- Yes, depth, color,
composition, that sort of thing.
Anyway that's my worry, it
needn't be your problem.
- Thank God for that.
Never could get to grips
with you artistic chaps
nothing concrete to get
hold of, all in the mind.
- That's nice, who lives there?
- It used to belong to my mechanic.
He was with me for years.
Pity, he departed this life last year.
I use it as a spare room now.
- Funny world dear boy, I'd
never had dreamed 20 years ago
that this line of work
would be so profitable.
Why I've made more in five
years of private practice
than my entire 25 years
with Scotland yard.
- But surly you miss your old mates hm?
- Oh they've all left or retired,
most have got cushy jobs
with large companies.
In fact one of my formal
colleagues is instrumental
in my securing a very
lucrative contract with CBM.
- Another lager for me and me mate.
So you're still in computer espionage hm?
- I most certainly am.
In my profession dear boy,
computer espionage is
the trend of the future.
- Okay, that's it, oh nice profile.
That's a girl.
Fine.
Well that's enough on that car.
(gentle music)
Okay well let's go in here,
now I want you to lie
back on the upholstery,
that's it, let's pretend it's 1936
and we're selling model T Fords
to the discriminating english gentry.
Excellent.
(dramatic music)
- They're nice I'm impressed.
- Thank you.
- It must be fun being a photographer,
meeting all different sorts of women.
- Oh it's not what you think.
- No?
- Well I suppose I'm
attracted to my models,
otherwise I wouldn't get good pictures.
If you get between them and the camera
sometimes the pictures suffer as a result.
- I see, oops.
(dramatic music)
(water rushing)
(eerie music)
(water running)
(birds chirping)
- [Howard] Hello.
- Hello, I didn't see you there.
- [Howard] Would you like a drink?
- No thank you.
- Anything wrong?
Got something on your mind?
- Wrong?
No what ever gave you that idea?
- Well you haven't been
yourself these past few days,
I thought perhaps
something was worrying you.
- No, nothing at all.
Yes I think I will have that drink.
- [Howard] Any problems
with the photographer?
- No it's going fine.
Look I'm sorry if I'm a bit
off, I don't mean to be.
- I'll tell you what,
let's go shopping, we haven't
done that for a long time.
I am celebrating a
successful business deal
and new clothes will put
the sparkle back into you.
- What a lovely idea, thank you.
(whimpering)
(suspenseful music)
- Well gentlemen I believe we
all understand one another,
and know the basic reasons
for our being here tonight.
Mr. Mehet has been kind enough
to bring a short reel of film
with him for us to see, Mr. Mehet?
(film clicking)
- Gentlemen, this is the Essex 80 tank
manufactured by a
certain communist country
friendly to my government.
200 of these tanks have recently
been supplied to my country
and I must admit that we are most pleased
by their performance.
(film clicking)
- And gentle men it seems
that for a certain price
Mr. Mehet's government could
actually afford to lose
a dozen of these tanks
without much difficulty
or write them off as
having been lost in combat.
And I just happen to know
the commander in chief
of a black revolutionary army in Africa
who would be most happy to
purchase these lost tanks
for a price that will produce
a tidy little profit for
all parties involved.
Of course for political
reasons Mr. Mehet's government
can't deal directly with
the revolutionaries,
that's where we come in.
Well gentlemen, are we interested?
- Christ, last year we buy
wheat from the Americans
and sell it to the Russians,
this year we're buying
tanks from the Arabs
and selling them to the Africans.
My God what's this world coming too?
Yes of course I'm interested.
- I also am interested but
what about the details?
Such as what are the prices involved?
How are the goods to be shipped?
And most important, how are
the payments to be made?
(dramatic music)
- Well how'd it go?
- So so, disappointing at
first but it'll work out.
- Oh that's good.
- And how are you?
- I'm fine but Howard I've got a headache.
- How untimely.
- Yes I know I'm sorry but
I'm just not in the mood.
- You haven't been in the mood all week.
Have you already forgotten this afternoon?
- Ouch, will you please be gentle with me?
(cries out)
Just because you've had a
bloody bad business meeting
doesn't mean you can take it out on me.
- You bitch.
(smacks)
(cries out)
(crying)
(dramatic music)
(squeaking)
- [James] That's enough.
- Oh it's lovely.
Can you pass me a rag?
Thank you, I have to go to a reception
and I mustn't look stodgy.
- Do you have to leave soon?
- Oh no, those things go on all night.
(chatting)
(gentle music)
- Well gentlemen I certainly
thank you for your visit
and wish you a pleasant journey home.
And no doubt I shall
hear from your embassy
about your decisions.
- Right, last one.
- Didn't you ever have an assistant?
- I usually hire photography students
but the last one just
went back to collage.
Why do you want the job?
- Hm, it's a thought.
- Excuse me.
Ed, I've got a job for you.
No there's no need to
meet now, just listen.
Simone has gone to Crompton's place.
I want you to go there.
- Right Mr. Townsend, we're on our way.
- James?
Howard's been acting very strange lately.
- You mean he suspects?
- Oh yes I'm certain of it.
And besides us there's been
some other strange goings on.
- Such as?
- Well first off all last
week Howard's business manager
committed suicide for no apparent reason.
And then he had a meeting
where he was showing a film
of tanks and guns and I don't know what.
(dramatic music)
(bangs)
(gasps)
- Stay put sunshine, don't
move, keep perfectly still.
- For Christ sake, what's all this about?
(whacks)
- You weren't listening were you sunshine?
Just be a good boy and
do what you're told.
- You, go get your gear and make it quick.
- [James] Who the hell are you?
What do you want?
- [Man] Alright sunshine, all
in good time, you'll find out.
(fingers snapping)
- [James] What you gonna do with her?
- She's coming with us, you're
going in another direction.
Keep her in there eh?
I'm gonna have a word with sunny Jim here.
Now that's a bird with real form hey?
A shame to spoil it it, wouldn't it?
Now you listen carefully
cause I'm gonna explain
something to you and I do
hate having to repeat myself.
I want you to take this letter
and give it to Mr. Townsend.
Tell him that the lady with the form
has fallen into the wrong hands.
- You mean you're not from Townsend?
- Right.
Now you just do what you're
told, give him the letter,
tell him to read it carefully,
he will quickly get the message.
- He'll probably go
straight to the police.
- No he won't do that, no if I know him.
He'll pay a great deal of
attention to the envelope
he might, he just might,
be more than a little upset
with you but the police never,
not if he wants to see her alive again.
- And what if he thinks
I'm involved with you?
- Well that's your problem isn't it?
If he finds out about this
little bit of beddy bies
we're going to have to find
ourselves a new messenger boy.
Mr. Townsend can be very
unpleasant when he's upset.
Believe me I know.
- Look, I don't know
what's going on between you
and Townsend but if you lay
a finger on her I'll get you.
- I'll bare that in mind sunshine.
(door bangs)
This should keep you occupied for a while.
Nothings gonna happen to
the lady for the time being.
You'll be hearing from us
as to what happens next.
Mind the road sunshine.
I wouldn't want anything to happen to you.
(dramatic chord)
(engine rumbling)
- [Ed] That'S his studio there.
(suspenseful music)
(engine rumbling)
(crickets chirping)
- [James] I'll wait here for you.
(dramatic music)
(chattering)
- Now then Compton what
the hell's this all about?
- Look Mr. Townsend I'm a
photographer, not a clairvoyant.
All I know these heavies
come, they lay into me,
they take Simone and then they tell me
to give you this note.
- When did this happen?
- About an hour ago when we were working.
- You expect me to believe that?
You wouldn't be trying
to hustle me would you?
Most unwise Crompton, most unwise.
- Look I know it's incredible
but it's a fact, look.
- Did you notice anything about them?
- No it all happened so fast.
One was a big guy, bald
head, cockney accent.
- Well, well, so that's it.
200,000 well it's a nice round figure,
I suppose they will have
to be told that I will pay.
- Thank God for that.
- Oh don't misunderstand me Mr. Crompton,
what I say and what I do are
two entirely different things.
- [James] I can't believe it,
it's like a bloody nightmare.
- [Harold] Well consider yourself lucky,
nightmares are things you wake up from.
First I want proof that Simone is alright.
A note from her plus a photograph.
Then tell them I'll be ready to deal.
If you have ever felt danger before,
remember it and feel it now.
I guarantee you have never
stood so close to oblivion.
If anything happens to Simone as a result
of anything you do wrong
there is not place anywhere
and I mean anywhere that
you can hide from me.
That is a promise.
(suspenseful music)
(engine rumbling)
(suspenseful music)
- This is where you'll stay.
There's magazines here and
there's a loo down the corridor.
Now there'll be someone
outside all the time
so don't try anything funny.
(thuds)
Oh yes the ah, the windows are bolted.
So have a good holiday eh?
- [Man] And I want someone
on Crompton from now on
24 hours a day.
(upbeat music)
(phone ringing)
- Hello?
- [Man] Crompton?
- Yeah, yeah I'm here alone.
- [Man] What did Townsend say?
- Well besides being madder than hell,
he says he'll pay the cash
but first he wants some
proof that she's alright.
He wants a note in her hand
writing and some photographs.
- [Man] Alright we'll get them to you.
And with the instructions and
what to do with the money.
You'll be hearing from us.
(buzzes)
(door bangs)
- For you.
(door thuds)
(knocks)
- Yes?
- I'm just off down to the shops.
Do you want something?
- Oh, yes thank you, just a
minute I'll make you a list.
(phone whirring)
- [Rhoda] Hello?
- Rhoda, it's James,
now look something important has happened.
Now I can't really tell you about it now
but we've got to cancel all appointments
for the rest of the week.
- [Rhoda] What, you don't mean it?
- Yeah I'm afraid I do.
Tell every one I've got flu
and reschedule them for next week.
- [Rhoda] You're joking.
- Oh I wish I were, no this is for real.
Now I want you to phone
form your place and...
(dramatic chord)
- Hey you know I've been thinking.
- Yeah?
- We both worked for that
bastard Townsend for seven years?
Always doing the dirty work
while he jets around in style.
- So what else is new?
- Well, we are getting
a nice chunk of his cash
as our just rewards but
there might be something else
we can do as revenge for our exploitation.
- Such as?
- Well, that is his mistress in there.
(ominous music)
All lonely and helpless and...
You know what I mean.
- Yeah I know what you mean.
(ominous music)
- What do you want?
- Oh tell us a few things about Townsend,
like what's he like in bed?
What about yourself?
I ah, bet your quite a
hot piece of crumpet.
Hey now, what's the matter baby?
(whacks)
(crying out)
(thudding)
(crying out)
- Come on.
Shut up.
(crying out)
(dramatic music)
Shut up you bitch.
(crying out)
Could make it a lot easier on yourself
if you don't resist.
(dramatic music)
(screaming)
(thuds)
- You bastards!
Get the hell out of here!
This is not part of the
arrangement understand?
I'm sorry lady.
It won't happen again.
Get out!
(dramatic chord)
(dramatic chord)
(camera clicking)
- That's six, that should
be enough, shouldn't it?
- Yeah that's alright.
- Here, who's gonna
develop these pictures?
You don't trust them to Kodak do you?
- Who do you think Crompton
is genius, a plumber?
We'll send the film to him,
tell him to develop it.
Here's a pen, write a note to Mr. Townsend
and tell him you're okay.
(phone ringing)
- Here!
What was that?
- Shut up.
(suspenseful music)
- [Man] Yes?
- [Man] Hello, Bishop's coal delivery.
Checking to see if you need anything
while I'm in the neighborhood.
Been a bit nippy this winter hasn't it?
- [Man] No we're okay.
We've got all the coal we need for now.
- [Man] All right, here's me card,
give us a call if you need more.
- [Man] Right will do, now goodbye.
- [Man] Goodbye.
(door thuds)
(camera snaps)
(suspenseful music)
- Do you think he was legit?
- I dunno, he looks okay.
But just the same, we
better stay on our toes.
- Yeah.
(engine rumbling)
(phone ringing)
- Hello?
- Hello sunshine.
Listen sunshine, in the
dust bin behind your place
you're gonna find a package.
Now in that package is
instruction on how to deliver
the money, there's a note from the lady
and there's a roll of film.
Now I want you to develop that film
and take the whole lot to Townsend.
(clicks)
(buzzes)
(suspenseful music)
- So you see how I got
myself into this position.
You're the only person I can trust.
- Steady on old chap.
Let's deal with one thing at a time,
you just relax for a moment
while I fix you a drink.
- I know I'm being tailed
but I don't know by whom.
Could be Townsend or the other heavies.
I suspect my phone's been tapped.
Christ knows what else.
Really it's not my scene at all.
- Try this.
Now let's take a look
at this license number
and see where that leads us.
- Can you trace the owner?
- Well that poses no
problem, come dear boy
let's take a look at how the
other half makes a living.
Might take your mind off things.
You see we use this and this.
It's like this dear boy,
hundreds of computers
in this country keep different files
on everything from Scotland
Yards most wanted criminals
to a list of people who subscribed punch.
Most of these computers are
accessed by computer terminals
which are then joined by
ordinary telephone lines.
Each terminal has it's own code
and each computer has
it's own phone number.
This black book contains
the telephone numbers
of most of the top secret
computers in this country.
- How did you acquire the black book?
- Well my dear boy, 25
years at Scotland Yard
has some compensations.
Actually licensed investigations
are the most common,
the computer files are kept for
the central processes in the Home Office.
I've just set the code and we
dial the computer like this.
(phone whirring)
Now what was that number again?
(clicking)
(electric beeping)
Mr. Harry Mosley eh?
I'll have one of my men check him out,
if he's not involved at least
he should be able to lead us
to the house, let's meet here tomorrow.
(dramatic chord)
(suspenseful music)
- They want the money on Thursday night.
They're only giving us 30 minutes notice
as to where we'll meet.
- Bastards.
That gives me just two days.
Okay I'll have the cash
by Thursday afternoon.
- And another thing.
Would you mind telling me what
the hell this is all about?
- I'm still not convinced that
you're not involved Crompton.
But just let's just say
the nature of my business
causes some people to
bear grudges against me.
Now if those people are
also politically orientated
then one has to be very
sure of ones footing
before making reprisals.
(knocking)
- You up?
Everything okay?
60 hours from now you
are gonna be a free bird.
At least from us you will be.
- You don't really think
you're gonna get away
with this do you?
You must be joking,
between Howard's men and the police
you don't stand a chance.
- The police?
(chuckles)
Lady you don't know your
Mr. Townsend very well.
He is up to his neck in so much
that there is no way he is
going to go to the police.
Here, I'm gonna show you something.
Alright, this is last weeks evening paper.
I collect these.
Now who do you think originated the idea
of David Green taking a leap, hm?
I could also list 10 other people
who owe their fate to your Mr. Townsend.
And I can guarantee you
that there is not a chance
of it happening to me.
However, if I were a
gambling man and I am not,
but if I were I would
bet that the next name
on Mr. Townsend's obituary list
would be that of Mr. James Compton.
(dramatic chord)
(engine rumbling)
(suspenseful music)
(engine rumbling)
- We found the house,
it's in Hertfordshire.
- Should we go there?
- Yes, but first I want
you to hear something.
Some recordings I've made.
This should amuse you.
- Hello, hello Mr. Townsend it's Ed.
We've follow Crompton back to his studio
he's there now, came
directly from your place.
However before he went to you he visited
a strange looking place in Soho,
looked like a betting office.
- [Ian] Betting office?
What nonsense.
- [Crompton] Nice guy
I've got us involved with.
- From what we've been able
to observe the girl is held in
an upstairs room and three men
stay in the house with her.
- Suppose we made some
sort of a diversion,
something that would momentarily
move them away from her?
And if we could get away with her
without being seen ourselves
all the evidence would point
to Townsend wouldn't it?
- That would put the
cat among the pigeons.
- Especially if they saw our car
which just happened to be a Rover 2000.
(knocking)
- Shirley.
- Yes sir?
- Put on a mini skirt and heavy makeup,
we've got a special assignment for you.
- Okay.
- That's a good girl.
Rover 2000 did you say?
(upbeat music)
Now it's our turn.
(dramatic music)
(dramatic music)
(engine rumbling)
(dramatic music)
(engine rumbling)
(dramatic music)
- Bastard.
(dramatic music)
- You sure you want to
go through with this?
We could just let Townsend pay the ransom.
- Christ I'd rather she
stayed with the kidnappers
than went back to him.
- I'm pretty sure it
wouldn't go over there.
- Alright, don't fucking tell me.
(snoring)
(engine rumbling)
- Here we are.
- That's it.
- What time is blast off?
- How about one a.m. alright?
- Yeah, okay.
Well let's get going.
- Just a second.
You almost forgot something.
- [James] Is this necessary?
- I think so, and remember
James, no fancy heroics.
I'm still not convinced
the lady's worth it.
(suspenseful music)
(thuds)
- Stick.
(suspenseful music)
(booms)
(window shatters)
- Oh my God.
- Come on.
(fire crackling)
- [Man] Come on, move.
The girl!
(cries out)
- [James] Ah that's it, that's it.
- Go, I'll follow them.
- [James] This way.
(dramatic music)
(fire crackling)
(guns firing)
(dramatic music)
(cries out)
Go!
(engine rumbling)
(gun firing)
- Shit.
Hey that was one of
Townsend's cars, wasn't it?
- And then one night I
over heard them talking.
They all used to work for Howard,
that's how they knew his operation.
- You mean there's no
political connection?
- Political?
No, they're just ordinary
gangsters after the money.
Hey where are we going?
- Well we can't go to my
place, it's being watched.
(gentle music)
We could stay here for a few days,
take it easy, decide what we're gonna do.
- I wish I had a needle and thread.
- Oh I'll get supplies
when the shops open.
- James I can't stay here.
- [James] Hm?
- It wouldn't work.
- [James] What won't work?
- Look I'm scared, if
Howard finds out about us
I don't know what he's gonna do.
I've got to go today.
- You're kidding, you
wouldn't go back to him now,
not after what's happened.
- Look I don't know, I
don't know anything anymore,
all I know is that I must go today
and it's for your safety as well.
- [James] Bullshit.
- Look try and understand,
I got us into this mess and
I know I can get us out.
- That's bullshit and you know it.
- It's not and you know it.
Please be patient.
Staying with you now is
not gonna solve anything.
It'll all work out.
- Oh Christ.
- I'll phone you.
(engine rumbling)
(dramatic music)
- You'll have to stop at the gates.
(engine rumbling)
That's odd.
He's usually there.
Oh, do drive on.
(engine rumbling)
(ominous chord)
(eerie music)
(suspenseful music)
(screams)
- Thank God.
- What happened?
- They came here, Bradley.
Phone an ambulance.
(eerie music)
(phone whirring)
(eerie music)
- [Howard Voiceover] You bitch.
(smacks)
(eerie music)
(gun fires)
(eerie music)
(dramatic music)
(Multicom Jingle)
(horn blowing)
(piano music)
(chattering)
(car doors banging)
- Oh, hello sunshine.
- Bradley.
- Mr. Townsend asked
that we pay you a visit.
- No.
No.
(crying out)
- That's enough, you sadistic bastard.
Go and get the camera.
(gun firing)
(shutter clicking)
That's another one for Mr.
Townsend collection, eh?
Stay.
(upbeat rock music)
- David, when it comes to deals,
always remember where
the finance comes from,
including your own.
Got the passports?
We should be landing soon.
- Good.
- Hmm, interesting.
- Actually, he's one of the photographers
that we were discussing.
- Out of the window now.
Other way.
That's perfect, that's good.
Now with your tongue out, lick your lips.
Lick you lips, that's it.
Come on, put some more sex into it.
Come on, you're supposed
to be a Victorian hooker.
- Oh.
(shutter clicking)
- Alright, that's one for me.
Now about the shoots for Vogue huh?
(dramatic music)
- [Woman] Coffee?
- Mmhmm.
Like the stuff?
- Smashing.
I think she's smiling too
much in this one though.
By the way we had an interesting
phone call this morning.
- I hope it was obscene.
- No, it was from the
office of Howard Townsend.
You know, the shipping tycoon.
- What does he want?
Snaps of his latest super tanker?
- He wanted to discuss an assignment.
He's left a number here
for me to ring him back
and arrange a time.
- Might be interesting.
- Let's ring him now and fix it.
- Oh give me a minute.
- No, now.
(phone whirring)
(dramatic music)
- My name's James Compton,
Mr. Townsend's expecting me.
- Yes sir, would you
drive straight through,
park your car and someone will
meet you at the front door.
- Jesus.
(engine rumbling)
(dramatic music)
- Mr. Compton do come in.
- Thank you.
(dramatic music)
(door bangs)
(clicking)
- One moment sir.
I shall inform Mr. Townsend's
secretary that you are here.
(clicking)
Mr. Compton is here.
(clicking)
Shan't be long sir, please take a seat.
(clicking)
(dramatic music)
- [Howard] Jacob if that
shipment is not in Beirut
by next Thursday I'll personally
hand you over to the--
- Mr. Compton?
- Mmhmm.
- This way please, Mr.
Townsend will see you now.
(clicking)
(dramatic music)
- [Howard] Mr. Compton it's my pleasure.
- Pleased to meet you.
- I've been looking forward
to meeting you for some time.
Sit down, drink?
- Ah, no thanks, to early for me.
- [Howard] Would you mind if I do?
- Not at all.
- You know photography
is an interest of mine,
I've been following
it's rise as an art form
for many years now.
Recently I saw your latest book.
I must say I was, I was very impressed.
- Thank you.
- You have a special talent
for photographing beautiful women.
Which brings me to why I asked you here.
- Yes, I was intrigued.
- I have a special friend named Simone,
I want some photos of her
like the ones in your book.
Actually I checked with
a number of photographers
but your work has impressed me the most,
it your individuality I suppose.
Are you interested?
- Could be.
I'll have to see the subject first.
- Of course.
Simone, will you come in here please?
I don't think you'll be disappointed.
I know that you're very expensive
but fortunately I'm a wealthy man.
I'll pay double your normal rates,
just send an invoice when you're through.
(door clicks)
Ah, Simone.
I want you to meet James Compton.
He's gonna take some photographs of you,
or at least we hope he will.
- How do you do Mr. Compton?
- Hello.
I've seen photos of you before, somewhere.
- You've got a good memory.
I did do some modeling, sometime ago
but I didn't stay at it long.
- [James] You shoulda.
You've got nice presence.
- Well, maybe I could start
doing some housewife ads.
- Ah you can't be that old.
- (scoffs) You'd be surprised.
- Alright Simone that'll be enough.
You can go now.
- My, that was quick.
Goodbye Mr. Compton.
- Goodbye.
(clicking)
- This Beirut deal has
really gone to his head.
Now he's talking about wanting
to finance a revolution in Africa.
- Yeah, he's had that idea for years.
Just the thought of it
makes him feel good.
- Well, I'm on to something
that just might bring him
back down to earth.
I have to check a few things first
but I just may possibly have something.
Ever hear of a photographer
called James Compton?
(dramatic chord)
- Well my dear, Mr. Compton
has agreed to photograph you.
I suggest you make your own arrangements
regarding appointments.
- Well do I go to his
studio or does he come here?
- Well not here, you know I don't allow
other people on these premises.
No, make arrangements
to use Compton's studio.
Charles will take you and
pick you up afterwards.
- As you wish Howard.
- I've always admired beauty
and envied those who can
capture it in some way.
All Mr. Compton has to do is to capture
what already exists.
(phone ringing)
Hello.
Hold on a moment.
Why don't you call Compton's studio,
make arrangements for the first session?
What is it?
How do they know?
Now listen only three people
knew that we were selling
to both sides yourself, myself and...
David, that double crossing bastard.
I'll handle it.
(phone clatters)
Get me an outside line.
(clattering)
(dramatic music)
(door bell ringing)
- Hello, you must be Miss--
- Simone.
- I'm Rhoda James's secretary.
Come on in.
- Oh thank you Charles,
I'll see you at seven.
- Thank you.
- This way.
Excuse the mess, we've
been working overtime.
Well here's the master.
- Hello.
How are you?
- Fine but a bit nervous.
- [James] Ah you'll be alright.
- Excuse me James I'll just
go and get those prints.
- [James] Fine.
Here let me take your bag.
- Oh, thank you.
- Well, make yourself at home.
Coffee?
- Oh yes please.
- Milk and sugar?
- Milk and no sugar.
(gentle music)
Thank you.
Does that really sail?
- Yes every Sunday.
Right, now I'm gonna go slow today
and give you time to warm
up in front of the camera
and give me a chance to see
you in a variety of costumes.
- Yes I am feeling a bit tense.
It seems ages since I've
done this sort of thing.
- Alright, take your time,
I'll be ready when you are.
- Oh thank you.
(dramatic music)
- Okay, here we go.
Right, sit up a bit, that's it, that's it.
Turn to your left.
Um, good.
(camera clicking)
Right, fingers through your hair.
- Like this?
- Mmhmm.
(camera clicking)
You mentioned that you modeled before.
- Oh yes I did but when
I was very much younger.
- [James] Tell me about it.
- Well, my father died when I was 17
and the family split up
and I had to get a job.
Modeling seemed the obvious answer.
It was quite fun at first,
all the bright lights and everything
and then it became quite unpleasant.
I started having awful rows with my agent
about the pettiest things.
- [James] Oh it's not always like that.
- No I know it's not but it
seemed like it at the time.
Anyway my photographs were
turning up in the strangest
places in obscure magazines in America
and all over the place
and I wasn't being paid for them
so, well I decided to get out.
- Okay no more chatter,
now turn to your right.
That's it, let's have
a profile, chin down.
(camera clicking)
Good, now onto me.
(camera clicking)
Fine that's enough sophistication
let's have a smile now.
Come on, come on, come
on, come on, that's it.
(camera clicking)
(dramatic music)
- Well I'm packing my things now.
Look--
(thuds)
Just a minute.
That's okay.
I tell you the plans perfect.
Now we really have him by the balls.
Look um, I'll meet you at eight o'clock
and we can discuss it in detail okay?
- [Man] Mind the roads won't you sunshine?
I wouldn't want anything to happen to you.
(laughs)
(suspenseful music)
(crying out)
(whacking)
(crying out)
(screaming)
(dramatic music)
(ominous chord)
- Well I like this one,
this one with the umbrella
and this one I think.
- Oh I think I look silly in that.
- No I think it's got something
even if you don't think so.
Anyway I've got some ideas
how we can develop these
into something for another time.
- And talking of time, what time is it?
- Ah, 6:45.
- I've gotta go.
- Can I give you a lift?
- No thank you, it's not allowed.
It's the house rules that
the chauffeur takes me back.
- Okay but on Wednesday
we go to the south coast
in my car okay?
I want some shots by the ocean.
- Alright.
(dramatic music)
- Oh, not bad for an amateur.
- She's quite good.
She has a certain quality
of hidden vulnerability
that photographs very well.
- What's she doing with
someone like Townsend?
(camera clicking)
- That's a good one.
That's it, take it easy, relax.
(camera clicking)
That's it.
(camera clicking)
Good one.
That's it, that's perfect.
That's a good one.
(camera clicking)
Okay, relax a bit now.
- I'm sorry I just feel so awkward.
It's all those people up
there, they bother me.
- [James] One of the
hazards of the profession.
- I just feel so self conscious.
- Okay, let's go further up there
possibly we'll find some seclusion there.
(gentle music)
(chattering)
(dramatic music)
- You used to work in New York didn't you?
- That's right.
- Well what made you stay in London?
- Oh I guess I was in love
with the Queen or something.
No it's just that the states was getting
just to commercial.
- So you're around to capitalism?
- Oh no not at all.
After all I'm an independent
business man myself.
It's just that there, there are limits.
And you, how did you get
mixed up with Townsend?
Doesn't seem your type.
- Oh, well I first met
Howard about three years ago.
It was on a flight to the Middle East
he was a passenger and
I was the air hostess.
- Ah love at first sight.
- No, not at all.
We started going out and
one thing led to another.
- And?
- [Simone] And we now have a
very convenient relationship.
It was a contract really.
- Oh.
- Well look I'm his girlfriend alright?
His mistress.
I have been for three years
and I've been very well
and he's not too demanding.
I mean, when it's all over
as it inevitably will be
I should be financially stable for life.
We're very happy like that,
I'm mean, I'm not his first mistress
and I'd be silly to think
I'm going to be his last.
- Aside from collecting beautiful women
what else does Townsend do?
- I don't know really,
it's none of my concern.
- Oh it seems a bit suspect if you ask me.
- Well look, a man in his
position can't be completely
clean you know that.
Anyway Howard has tremendous style,
that's what I like about him.
So I just try and ignore
the other side of his life.
- [James] Good thinking.
(clicking)
- Hi.
- Hi.
- How are things going with Miss Simone?
- Oh she's okay.
- I bet.
(phone ringing)
Compton Studios good morning.
- Rhoda my dear how are you?
- Oh hello Mr. Patterson
I'm fine thank you.
We haven't seen you for a long time.
- Been up to me eyes
in it lately old girl.
Is the dear boy around?
- Yes he is, hold on a
minute I'll just get him.
It's Ian Patterson.
- Ian how are ya?
And where you been hiding?
- I'm in great form dear boy.
Been charging around the
country putting together
this collection of mine.
- [James] How's it going?
- Well pretty well on the whole I think
which is why I'm calling you.
How's your diary?
Got any free time
reasonably soon old chap?
- Well I could always fit you in.
What have you in mind?
- Well I'm not quite sure
to tell you the truth.
I rather want to get some photos
of this collection of mine.
The way I see it is a set
of simple shots of each one
plus a shot showing them all together.
That's if you agree of course.
- Well your choice.
I'd like to take them out
under the trees I think.
- Anything you say.
How about placing some young
thing as an eye catcher?
- Oh you dirty old man.
Well it might liven them up a bit.
Give the picture some balance.
- [Ian] Balance.
- Yes, depth, color,
composition, that sort of thing.
Anyway that's my worry, it
needn't be your problem.
- Thank God for that.
Never could get to grips
with you artistic chaps
nothing concrete to get
hold of, all in the mind.
- That's nice, who lives there?
- It used to belong to my mechanic.
He was with me for years.
Pity, he departed this life last year.
I use it as a spare room now.
- Funny world dear boy, I'd
never had dreamed 20 years ago
that this line of work
would be so profitable.
Why I've made more in five
years of private practice
than my entire 25 years
with Scotland yard.
- But surly you miss your old mates hm?
- Oh they've all left or retired,
most have got cushy jobs
with large companies.
In fact one of my formal
colleagues is instrumental
in my securing a very
lucrative contract with CBM.
- Another lager for me and me mate.
So you're still in computer espionage hm?
- I most certainly am.
In my profession dear boy,
computer espionage is
the trend of the future.
- Okay, that's it, oh nice profile.
That's a girl.
Fine.
Well that's enough on that car.
(gentle music)
Okay well let's go in here,
now I want you to lie
back on the upholstery,
that's it, let's pretend it's 1936
and we're selling model T Fords
to the discriminating english gentry.
Excellent.
(dramatic music)
- They're nice I'm impressed.
- Thank you.
- It must be fun being a photographer,
meeting all different sorts of women.
- Oh it's not what you think.
- No?
- Well I suppose I'm
attracted to my models,
otherwise I wouldn't get good pictures.
If you get between them and the camera
sometimes the pictures suffer as a result.
- I see, oops.
(dramatic music)
(water rushing)
(eerie music)
(water running)
(birds chirping)
- [Howard] Hello.
- Hello, I didn't see you there.
- [Howard] Would you like a drink?
- No thank you.
- Anything wrong?
Got something on your mind?
- Wrong?
No what ever gave you that idea?
- Well you haven't been
yourself these past few days,
I thought perhaps
something was worrying you.
- No, nothing at all.
Yes I think I will have that drink.
- [Howard] Any problems
with the photographer?
- No it's going fine.
Look I'm sorry if I'm a bit
off, I don't mean to be.
- I'll tell you what,
let's go shopping, we haven't
done that for a long time.
I am celebrating a
successful business deal
and new clothes will put
the sparkle back into you.
- What a lovely idea, thank you.
(whimpering)
(suspenseful music)
- Well gentlemen I believe we
all understand one another,
and know the basic reasons
for our being here tonight.
Mr. Mehet has been kind enough
to bring a short reel of film
with him for us to see, Mr. Mehet?
(film clicking)
- Gentlemen, this is the Essex 80 tank
manufactured by a
certain communist country
friendly to my government.
200 of these tanks have recently
been supplied to my country
and I must admit that we are most pleased
by their performance.
(film clicking)
- And gentle men it seems
that for a certain price
Mr. Mehet's government could
actually afford to lose
a dozen of these tanks
without much difficulty
or write them off as
having been lost in combat.
And I just happen to know
the commander in chief
of a black revolutionary army in Africa
who would be most happy to
purchase these lost tanks
for a price that will produce
a tidy little profit for
all parties involved.
Of course for political
reasons Mr. Mehet's government
can't deal directly with
the revolutionaries,
that's where we come in.
Well gentlemen, are we interested?
- Christ, last year we buy
wheat from the Americans
and sell it to the Russians,
this year we're buying
tanks from the Arabs
and selling them to the Africans.
My God what's this world coming too?
Yes of course I'm interested.
- I also am interested but
what about the details?
Such as what are the prices involved?
How are the goods to be shipped?
And most important, how are
the payments to be made?
(dramatic music)
- Well how'd it go?
- So so, disappointing at
first but it'll work out.
- Oh that's good.
- And how are you?
- I'm fine but Howard I've got a headache.
- How untimely.
- Yes I know I'm sorry but
I'm just not in the mood.
- You haven't been in the mood all week.
Have you already forgotten this afternoon?
- Ouch, will you please be gentle with me?
(cries out)
Just because you've had a
bloody bad business meeting
doesn't mean you can take it out on me.
- You bitch.
(smacks)
(cries out)
(crying)
(dramatic music)
(squeaking)
- [James] That's enough.
- Oh it's lovely.
Can you pass me a rag?
Thank you, I have to go to a reception
and I mustn't look stodgy.
- Do you have to leave soon?
- Oh no, those things go on all night.
(chatting)
(gentle music)
- Well gentlemen I certainly
thank you for your visit
and wish you a pleasant journey home.
And no doubt I shall
hear from your embassy
about your decisions.
- Right, last one.
- Didn't you ever have an assistant?
- I usually hire photography students
but the last one just
went back to collage.
Why do you want the job?
- Hm, it's a thought.
- Excuse me.
Ed, I've got a job for you.
No there's no need to
meet now, just listen.
Simone has gone to Crompton's place.
I want you to go there.
- Right Mr. Townsend, we're on our way.
- James?
Howard's been acting very strange lately.
- You mean he suspects?
- Oh yes I'm certain of it.
And besides us there's been
some other strange goings on.
- Such as?
- Well first off all last
week Howard's business manager
committed suicide for no apparent reason.
And then he had a meeting
where he was showing a film
of tanks and guns and I don't know what.
(dramatic music)
(bangs)
(gasps)
- Stay put sunshine, don't
move, keep perfectly still.
- For Christ sake, what's all this about?
(whacks)
- You weren't listening were you sunshine?
Just be a good boy and
do what you're told.
- You, go get your gear and make it quick.
- [James] Who the hell are you?
What do you want?
- [Man] Alright sunshine, all
in good time, you'll find out.
(fingers snapping)
- [James] What you gonna do with her?
- She's coming with us, you're
going in another direction.
Keep her in there eh?
I'm gonna have a word with sunny Jim here.
Now that's a bird with real form hey?
A shame to spoil it it, wouldn't it?
Now you listen carefully
cause I'm gonna explain
something to you and I do
hate having to repeat myself.
I want you to take this letter
and give it to Mr. Townsend.
Tell him that the lady with the form
has fallen into the wrong hands.
- You mean you're not from Townsend?
- Right.
Now you just do what you're
told, give him the letter,
tell him to read it carefully,
he will quickly get the message.
- He'll probably go
straight to the police.
- No he won't do that, no if I know him.
He'll pay a great deal of
attention to the envelope
he might, he just might,
be more than a little upset
with you but the police never,
not if he wants to see her alive again.
- And what if he thinks
I'm involved with you?
- Well that's your problem isn't it?
If he finds out about this
little bit of beddy bies
we're going to have to find
ourselves a new messenger boy.
Mr. Townsend can be very
unpleasant when he's upset.
Believe me I know.
- Look, I don't know
what's going on between you
and Townsend but if you lay
a finger on her I'll get you.
- I'll bare that in mind sunshine.
(door bangs)
This should keep you occupied for a while.
Nothings gonna happen to
the lady for the time being.
You'll be hearing from us
as to what happens next.
Mind the road sunshine.
I wouldn't want anything to happen to you.
(dramatic chord)
(engine rumbling)
- [Ed] That'S his studio there.
(suspenseful music)
(engine rumbling)
(crickets chirping)
- [James] I'll wait here for you.
(dramatic music)
(chattering)
- Now then Compton what
the hell's this all about?
- Look Mr. Townsend I'm a
photographer, not a clairvoyant.
All I know these heavies
come, they lay into me,
they take Simone and then they tell me
to give you this note.
- When did this happen?
- About an hour ago when we were working.
- You expect me to believe that?
You wouldn't be trying
to hustle me would you?
Most unwise Crompton, most unwise.
- Look I know it's incredible
but it's a fact, look.
- Did you notice anything about them?
- No it all happened so fast.
One was a big guy, bald
head, cockney accent.
- Well, well, so that's it.
200,000 well it's a nice round figure,
I suppose they will have
to be told that I will pay.
- Thank God for that.
- Oh don't misunderstand me Mr. Crompton,
what I say and what I do are
two entirely different things.
- [James] I can't believe it,
it's like a bloody nightmare.
- [Harold] Well consider yourself lucky,
nightmares are things you wake up from.
First I want proof that Simone is alright.
A note from her plus a photograph.
Then tell them I'll be ready to deal.
If you have ever felt danger before,
remember it and feel it now.
I guarantee you have never
stood so close to oblivion.
If anything happens to Simone as a result
of anything you do wrong
there is not place anywhere
and I mean anywhere that
you can hide from me.
That is a promise.
(suspenseful music)
(engine rumbling)
(suspenseful music)
- This is where you'll stay.
There's magazines here and
there's a loo down the corridor.
Now there'll be someone
outside all the time
so don't try anything funny.
(thuds)
Oh yes the ah, the windows are bolted.
So have a good holiday eh?
- [Man] And I want someone
on Crompton from now on
24 hours a day.
(upbeat music)
(phone ringing)
- Hello?
- [Man] Crompton?
- Yeah, yeah I'm here alone.
- [Man] What did Townsend say?
- Well besides being madder than hell,
he says he'll pay the cash
but first he wants some
proof that she's alright.
He wants a note in her hand
writing and some photographs.
- [Man] Alright we'll get them to you.
And with the instructions and
what to do with the money.
You'll be hearing from us.
(buzzes)
(door bangs)
- For you.
(door thuds)
(knocks)
- Yes?
- I'm just off down to the shops.
Do you want something?
- Oh, yes thank you, just a
minute I'll make you a list.
(phone whirring)
- [Rhoda] Hello?
- Rhoda, it's James,
now look something important has happened.
Now I can't really tell you about it now
but we've got to cancel all appointments
for the rest of the week.
- [Rhoda] What, you don't mean it?
- Yeah I'm afraid I do.
Tell every one I've got flu
and reschedule them for next week.
- [Rhoda] You're joking.
- Oh I wish I were, no this is for real.
Now I want you to phone
form your place and...
(dramatic chord)
- Hey you know I've been thinking.
- Yeah?
- We both worked for that
bastard Townsend for seven years?
Always doing the dirty work
while he jets around in style.
- So what else is new?
- Well, we are getting
a nice chunk of his cash
as our just rewards but
there might be something else
we can do as revenge for our exploitation.
- Such as?
- Well, that is his mistress in there.
(ominous music)
All lonely and helpless and...
You know what I mean.
- Yeah I know what you mean.
(ominous music)
- What do you want?
- Oh tell us a few things about Townsend,
like what's he like in bed?
What about yourself?
I ah, bet your quite a
hot piece of crumpet.
Hey now, what's the matter baby?
(whacks)
(crying out)
(thudding)
(crying out)
- Come on.
Shut up.
(crying out)
(dramatic music)
Shut up you bitch.
(crying out)
Could make it a lot easier on yourself
if you don't resist.
(dramatic music)
(screaming)
(thuds)
- You bastards!
Get the hell out of here!
This is not part of the
arrangement understand?
I'm sorry lady.
It won't happen again.
Get out!
(dramatic chord)
(dramatic chord)
(camera clicking)
- That's six, that should
be enough, shouldn't it?
- Yeah that's alright.
- Here, who's gonna
develop these pictures?
You don't trust them to Kodak do you?
- Who do you think Crompton
is genius, a plumber?
We'll send the film to him,
tell him to develop it.
Here's a pen, write a note to Mr. Townsend
and tell him you're okay.
(phone ringing)
- Here!
What was that?
- Shut up.
(suspenseful music)
- [Man] Yes?
- [Man] Hello, Bishop's coal delivery.
Checking to see if you need anything
while I'm in the neighborhood.
Been a bit nippy this winter hasn't it?
- [Man] No we're okay.
We've got all the coal we need for now.
- [Man] All right, here's me card,
give us a call if you need more.
- [Man] Right will do, now goodbye.
- [Man] Goodbye.
(door thuds)
(camera snaps)
(suspenseful music)
- Do you think he was legit?
- I dunno, he looks okay.
But just the same, we
better stay on our toes.
- Yeah.
(engine rumbling)
(phone ringing)
- Hello?
- Hello sunshine.
Listen sunshine, in the
dust bin behind your place
you're gonna find a package.
Now in that package is
instruction on how to deliver
the money, there's a note from the lady
and there's a roll of film.
Now I want you to develop that film
and take the whole lot to Townsend.
(clicks)
(buzzes)
(suspenseful music)
- So you see how I got
myself into this position.
You're the only person I can trust.
- Steady on old chap.
Let's deal with one thing at a time,
you just relax for a moment
while I fix you a drink.
- I know I'm being tailed
but I don't know by whom.
Could be Townsend or the other heavies.
I suspect my phone's been tapped.
Christ knows what else.
Really it's not my scene at all.
- Try this.
Now let's take a look
at this license number
and see where that leads us.
- Can you trace the owner?
- Well that poses no
problem, come dear boy
let's take a look at how the
other half makes a living.
Might take your mind off things.
You see we use this and this.
It's like this dear boy,
hundreds of computers
in this country keep different files
on everything from Scotland
Yards most wanted criminals
to a list of people who subscribed punch.
Most of these computers are
accessed by computer terminals
which are then joined by
ordinary telephone lines.
Each terminal has it's own code
and each computer has
it's own phone number.
This black book contains
the telephone numbers
of most of the top secret
computers in this country.
- How did you acquire the black book?
- Well my dear boy, 25
years at Scotland Yard
has some compensations.
Actually licensed investigations
are the most common,
the computer files are kept for
the central processes in the Home Office.
I've just set the code and we
dial the computer like this.
(phone whirring)
Now what was that number again?
(clicking)
(electric beeping)
Mr. Harry Mosley eh?
I'll have one of my men check him out,
if he's not involved at least
he should be able to lead us
to the house, let's meet here tomorrow.
(dramatic chord)
(suspenseful music)
- They want the money on Thursday night.
They're only giving us 30 minutes notice
as to where we'll meet.
- Bastards.
That gives me just two days.
Okay I'll have the cash
by Thursday afternoon.
- And another thing.
Would you mind telling me what
the hell this is all about?
- I'm still not convinced that
you're not involved Crompton.
But just let's just say
the nature of my business
causes some people to
bear grudges against me.
Now if those people are
also politically orientated
then one has to be very
sure of ones footing
before making reprisals.
(knocking)
- You up?
Everything okay?
60 hours from now you
are gonna be a free bird.
At least from us you will be.
- You don't really think
you're gonna get away
with this do you?
You must be joking,
between Howard's men and the police
you don't stand a chance.
- The police?
(chuckles)
Lady you don't know your
Mr. Townsend very well.
He is up to his neck in so much
that there is no way he is
going to go to the police.
Here, I'm gonna show you something.
Alright, this is last weeks evening paper.
I collect these.
Now who do you think originated the idea
of David Green taking a leap, hm?
I could also list 10 other people
who owe their fate to your Mr. Townsend.
And I can guarantee you
that there is not a chance
of it happening to me.
However, if I were a
gambling man and I am not,
but if I were I would
bet that the next name
on Mr. Townsend's obituary list
would be that of Mr. James Compton.
(dramatic chord)
(engine rumbling)
(suspenseful music)
(engine rumbling)
- We found the house,
it's in Hertfordshire.
- Should we go there?
- Yes, but first I want
you to hear something.
Some recordings I've made.
This should amuse you.
- Hello, hello Mr. Townsend it's Ed.
We've follow Crompton back to his studio
he's there now, came
directly from your place.
However before he went to you he visited
a strange looking place in Soho,
looked like a betting office.
- [Ian] Betting office?
What nonsense.
- [Crompton] Nice guy
I've got us involved with.
- From what we've been able
to observe the girl is held in
an upstairs room and three men
stay in the house with her.
- Suppose we made some
sort of a diversion,
something that would momentarily
move them away from her?
And if we could get away with her
without being seen ourselves
all the evidence would point
to Townsend wouldn't it?
- That would put the
cat among the pigeons.
- Especially if they saw our car
which just happened to be a Rover 2000.
(knocking)
- Shirley.
- Yes sir?
- Put on a mini skirt and heavy makeup,
we've got a special assignment for you.
- Okay.
- That's a good girl.
Rover 2000 did you say?
(upbeat music)
Now it's our turn.
(dramatic music)
(dramatic music)
(engine rumbling)
(dramatic music)
(engine rumbling)
(dramatic music)
- Bastard.
(dramatic music)
- You sure you want to
go through with this?
We could just let Townsend pay the ransom.
- Christ I'd rather she
stayed with the kidnappers
than went back to him.
- I'm pretty sure it
wouldn't go over there.
- Alright, don't fucking tell me.
(snoring)
(engine rumbling)
- Here we are.
- That's it.
- What time is blast off?
- How about one a.m. alright?
- Yeah, okay.
Well let's get going.
- Just a second.
You almost forgot something.
- [James] Is this necessary?
- I think so, and remember
James, no fancy heroics.
I'm still not convinced
the lady's worth it.
(suspenseful music)
(thuds)
- Stick.
(suspenseful music)
(booms)
(window shatters)
- Oh my God.
- Come on.
(fire crackling)
- [Man] Come on, move.
The girl!
(cries out)
- [James] Ah that's it, that's it.
- Go, I'll follow them.
- [James] This way.
(dramatic music)
(fire crackling)
(guns firing)
(dramatic music)
(cries out)
Go!
(engine rumbling)
(gun firing)
- Shit.
Hey that was one of
Townsend's cars, wasn't it?
- And then one night I
over heard them talking.
They all used to work for Howard,
that's how they knew his operation.
- You mean there's no
political connection?
- Political?
No, they're just ordinary
gangsters after the money.
Hey where are we going?
- Well we can't go to my
place, it's being watched.
(gentle music)
We could stay here for a few days,
take it easy, decide what we're gonna do.
- I wish I had a needle and thread.
- Oh I'll get supplies
when the shops open.
- James I can't stay here.
- [James] Hm?
- It wouldn't work.
- [James] What won't work?
- Look I'm scared, if
Howard finds out about us
I don't know what he's gonna do.
I've got to go today.
- You're kidding, you
wouldn't go back to him now,
not after what's happened.
- Look I don't know, I
don't know anything anymore,
all I know is that I must go today
and it's for your safety as well.
- [James] Bullshit.
- Look try and understand,
I got us into this mess and
I know I can get us out.
- That's bullshit and you know it.
- It's not and you know it.
Please be patient.
Staying with you now is
not gonna solve anything.
It'll all work out.
- Oh Christ.
- I'll phone you.
(engine rumbling)
(dramatic music)
- You'll have to stop at the gates.
(engine rumbling)
That's odd.
He's usually there.
Oh, do drive on.
(engine rumbling)
(ominous chord)
(eerie music)
(suspenseful music)
(screams)
- Thank God.
- What happened?
- They came here, Bradley.
Phone an ambulance.
(eerie music)
(phone whirring)
(eerie music)
- [Howard Voiceover] You bitch.
(smacks)
(eerie music)
(gun fires)
(eerie music)
(dramatic music)
(Multicom Jingle)