Mardi Gras Massacre (1978) - full transcript
Police try to capture someone who is commiting ritual murders of women during Mardi Gras in New Orleans.
(subdued music)
(people chattering)
(laughing)
- Hey, girls.
How's tricks?
- I don't know, Sam.
You tell us.
- How's the action tonight?
- Feels like a
pretty good night.
A lot of johns.
The gray suit type with
tons of expense money.
Maybe about 15 girls
already scored.
You're the first here
for the late shift.
- You take care of us, Sam,
we'll take care of you.
- You better or you ain't
gonna ever score here again.
- Stop the preaching, Sam.
We take care of you.
You know that.
- And that's the
way it's gonna stay.
- [Man] Hey, Sam.
How about your bar?
(laughing)
- Good evening, ladies.
I'm new in the city and I'm
looking for something different.
- Well, if you have the money,
you can have anything you want.
All sizes, shapes, colors.
If the price is right.
- As I said, I am looking
for something kinda special
and I'm very willing
to pay for it.
- Ooh, with that kind of money,
you can buy anything you want.
- Tell me, of all the
ladies in this bar tonight,
which one do you think
is the most evil?
- Evil?
- [Man] Mm-hmm.
- The most evil, without
a doubt, is Shirley.
- Then, that's the one I want.
Hello.
I understand that you are
the most evil woman here.
- Listen, honey.
I could probably take first
prize in any evil contest.
What do you want?
- [Man] About $200 worth.
- Well, for $200 I can't think
of anything you can't have.
- All right.
I've got a little apartment
a few blocks from here.
Come with me now.
- Wait a minute.
You'll have to pay in advance.
Now.
Sam, will you hold this for me?
- [Sam] You got it.
- Apartment four?
Four is my lucky number.
- Oh, really?
Welcome.
Please, have a glass of wine.
- I don't think I want any wine.
- You must've noticed by
now that I'm very different.
- Yeah, about a hundred
dollars worth of difference.
What's your specialty, darling?
What do you want?
- What I want from you,
I want to do in a
very special place,
on a very special kind of bed.
Come with me in the next
room and I will show you.
I want you to take
off your clothes
and then lie down on this bed.
And then I'll go in the next
room and prepare for you.
- Anything you say, honey.
(ominous music)
You scared me.
You are weird, aren't you?
- [Man] Yes.
More different than
you've ever known before.
Lie down.
I will make you feel wonderful.
- [Shirley] Mm, that feels good.
- [Man] Yes.
Oh, yes.
- [Shirley] Maybe I
should pay you for this.
- [Man] Yes.
Yes.
Yes.
Yes.
(Shirley moans)
Yes.
Yes.
- [Shirley] Hey,
what are you doing?
- [Man] You said that
you were the most evil.
Well, I am going to
sacrifice you to the evil.
(uptempo music)
As you are one of their kind.
- [Shirley] Hey, what is this?
(Shirley screams)
- [Man] Scream all you want.
The room is soundproof.
Now, your hand.
- [Shirley] No.
- The hand that accepted
the money for your evil.
- [Shirley] No, no, no!
(Shirley screaming)
No, no!
- [Man] Now, your feet.
- [Shirley] No!
Please, stop!
- Your feet that
carried you to the deed.
- [Shirley] No!
(screaming)
- [Man] And now for the part
of you you use for your evil.
(Shirley screams)
(uptempo music)
(ominous music)
- This is a different one.
In 25 years of medicine,
I've never seen
anything like it before.
It's sort of like
it's ritualistic
or a sacrificial
type of killing.
- We've got the girl's name.
It's Shirley Anderson.
She's a hooker.
- We've checked the
homicide records
to find a comparison to
this type of killing.
- Yeah, we went back
about to the 1800s.
There's nothing like this
in New Orleans, anyway.
So, we've turned it over
to INTERPOL and the FBI.
I don't know, there's
something strange about this.
It's ritual or sacrificial.
- You know, I believe the
perpetrator of this murder
has to have prior
experience with a knife.
Medical experience, or maybe
even in a butcher shop,
or something like that.
(subdued music)
- Hey, Sam.
Hiya, Sam.
You remember me Sergeant
Abraham, Homicide?
- Homicide?
Man, I've known
you for five years.
You're Vice.
You sure it's Homicide?
- Yeah, scout's honor, Sam.
Look, I'm trying to find
the guy who did this
hatchet job on Shirley Anderson.
- If that's what
you're trying to do,
I'll give you all
the help I can.
That guy should be
caught and put away.
He's a weirdo.
I mean, a real sickie.
Besides, he's bad for business.
Not to mention the trouble
he's given to the help here.
Hey, you guys want
something to drink?
- Yeah.
- No.
- Yeah, I knew the girl.
She was in here last night.
She gave me some money she
wanted me to hold for her.
- Ah, yeah.
Trick money, huh?
You get a cut out of that, Sam?
- Man, I don't know what
kind of money it was.
She came in, gave me some
money, I put it in an envelope.
- You want a receipt, Sam?
- Is he kidding?
- All right, I'll tell you.
Did you see the
guy she left with?
- No.
She just came,
gave me the money,
and cut out with some dude.
You know, Sherry and
Anne were talking.
Sherry's still here.
She's the blonde at
that table over there.
Maybe you'd wanna talk to her.
- Yeah.
Maybe I'll do that, Sam.
Evening.
Are you Sherry?
- Yeah.
- I'm Sergeant Abraham.
- I know what you are.
- Mind if we sit down?
- What is this a bust?
- I'm trying to find the guy
who got Shirley Anderson.
- Yeah, I read about it
in the morning paper.
Terrific.
Now we got something brand
new, sacrificing prostitutes.
- Yeah, let's just hope
it's not an epidemic.
You think this
might be a pimp job?
- Let me tell you
something, flat foot.
She didn't have a pimp
or any old man, either.
And another thing.
I don't think she had to
turn tricks for a living.
It was different with her.
It was the kicks, the laughs,
all the different experiences.
Hell, she liked it.
- You don't?
- You're damn right I don't.
That is, most of
the time I don't.
- Sometimes you do?
- Yeah, with the right guy.
Not with any middle-aged trick
like the one you just ran off.
Besides, what the hell are
you sitting on your asses for?
You should be out
catching her killer.
That's what you're paid for.
- That's just what I'm
trying to do, sweetheart.
I'm trying to find out who
the guy was she left with.
- Scary thing about it
is, he could've picked me.
That is, if it's the
guy I saw her with last.
- What do you
remember about him?
- Oh, he looked like
all the rest of 'em.
They all look the same to me.
Well-dressed, middle-aged,
lots of money.
A pocket full of it.
All hundreds.
The only thing different was
he had on this big gold ring.
It was really unusual.
- [Detective] What
was unusual about it?
- It was like a signet ring.
Must've been custom made.
I've never seen one like it.
- What are you doing
for dinner, Sherry?
- Why, you buying?
- I'm buying.
(subdued music)
- Frank, restrain yourself.
Be nice.
- Where are you going?
(uptempo music)
- Where's he going?
- Ah, he's just gotta take
care of a little business
down the street, that's all.
- [Waitress] Well, hi
there, you nice people.
What will it be?
Breakfast, lunch, or dinner?
- Dinner.
How about a drink first?
- I'd like a bottle of wine.
Chateauneuf-du-Pape, 1970.
- A bottle of Blue
Nun for the lady.
And chill the glasses.
- [Waitress] Chill the glasses.
Sarge.
Sarge, Abraham.
Don't you remember me?
You worked with
Bonnie, Sergeant.
- Sure, Janice.
I remember you.
How are you doing?
You were the most
popular girl in town.
What you doing waiting tables?
I thought you'd be rich enough
to buy a place like this by now.
- No, I just work here.
You know how it goes.
I'm getting too old to
compete with the pretty stuff.
- I know what you mean.
- Yeah, you girls
sure got it tough.
Too bad.
- Well, I guess I'll
go get the wine.
- [Woman] Don't do
it again, bitch.
- Look, I'll do whatever
I damn well please.
- You're doing it again.
- And you, you
silly little bitch.
- Excuse me.
- I'll deal with you later.
Knock it off.
- You knock it off.
It's the police.
- What are you doing?
- Thanks, pal.
- Please, don't hurt 'em.
I know them.
Hey, they live in the
same building I do.
Please, don't hurt 'em.
- Knock it off, man.
It's just a family argument.
- Come on, give 'em a break.
- Is that what you want?
- Don't run 'em in.
I'll do anything you want.
- Okay, get up.
Okay, you three.
Pay your bill, get lost.
- Thanks.
That's one I owe you.
But get this straight.
I owe you one, got it?
One.
- Well, thanks, sweetie, but
you don't owe me anything.
I couldn't have arrested those
guys without a complaint.
Janice ain't gonna sign a
complaint, so forget it.
But I accept.
- Okay.
- This one's on the house.
Please, don't let
it go to waste.
- (laughs) Well,
thank you, Janice.
All right, there you go.
Let's make this one to ships
that will pass in the night.
- Two ships.
What's your name?
I mean, your first name.
- Frank.
- To Fearless Frank the Fuzz.
(subdued music)
♪ Goes on forever
♪ 'Cause love
♪ Goes on forever
- This is the one I owe you.
- You don't owe
me anything, kid.
- I always pay my debts.
- Then, show me what you do.
♪ Forever
- You're shy.
♪ Forever
(uptempo music)
♪ Ain't nothing to it
♪ Get up and move it
♪ Nothing to it
♪ Get on and do it
♪ Ain't nothing to it
- Hello.
Buy a lady a drink?
- Certainly.
What would you like?
- Champagne.
Can you afford it?
It's $40 a bottle.
- [Man] Champagne.
- What an interesting ring.
- Thank you.
I like yours.
- Thank you.
Toast?
- To you.
- To you.
- I've got a lot of money
and I'm looking for a
particular kind of girl.
A very particular kind of girl.
One that was...
I don't know, you
might say very evil.
- Well, that's not me.
I'm the plain Jane type.
(man laughs)
But I'll tell you what.
We do have a girl here that
you might be interested in.
She's our feature attraction.
But she is expensive.
- Well, if she's what you say
she is, she might be worth it.
And just what do you
mean by expensive?
- Well, I've never been
any good at arithmetic.
Thank you for the drink and
I'll send her over to you.
I think you and her will
get along just fine.
- I'll wait.
- What do you want, bitch?
- Got a mark for you at the bar.
He looks rich.
Says he's looking for
some strange kicks.
- What, like that last
deadbeat you sent me?
- Oh, no.
This one looks real live.
Don't forget my 10%.
- Bitch.
- Up your ass.
(uptempo music)
(singer speaking
foreign language)
- Have a seat.
Would you like some wine?
- Sure.
Hey, what are you waiting for?
You paid your money.
- [Man] Are you sure
you're really evil?
- Honey, I'm as
evil as you can get.
- Well then, let's not
waste any more time.
(ominous music)
- Oh, yeah?
So this is where you want
me here on the table, huh?
You know, this reminds
me of back in Baltimore.
Except my friend there, he
used to use these silk scarves,
tie me to the bed.
Of course, I don't know
what kind of scene you got
cooked up here with all
your doodads on the wall,
but whatever turns you on.
- [Man] Yes.
Yes.
Yes.
- Ah, hey.
Don't be so rough.
- [Man] Yes.
Yes.
- [Woman] That's the oil, huh?
This is the part I
always liked anyway.
(uptempo music)
- I'll go into the next room
now and prepare for you.
(dramatic flourish)
Your hand.
The one you used to take
the money for your evil.
(woman screaming)
(woman sobbing)
Your foot.
The one that lead
me to your misdeeds.
(woman screaming)
Now, the thing you
use for your evil.
(woman screaming)
(subdued music)
- Okay, that's it.
You paid your debt.
Time for me to go, okay?
- No.
Why don't you stay?
♪ 'Cause love
♪ Goes on forever
♪ 'Cause love
♪ Goes on forever
♪ Forever
♪ Forever
- Well, you know, six days
I've been with her, right?
Six days.
Can't get rid of her.
She's already talking
about a house, and kids,
and all those things.
Hell, I don't wanna get married.
Especially to no
damn prostitute.
- Marry?
You asked her to marry you?
- No.
- She asked you to marry her?
- No.
- You're the only one who's
talking about marriage.
- Nobody said anything,
but I know broads.
- You know broads?
The only thing
that's grating on you
is that she's a prostitute.
An ex-sergeant of
Vice and a hooker.
That's what I call a
marriage made in heaven.
But I feel sorry for her.
She's getting the worst of it.
She's getting you.
(phone rings)
Homicide, Sergeant Mayer.
Arriving now at the morgue?
Another one?
Found on the railroad
tracks by the levy.
Known prostitute.
Same MO.
Yeah, the sergeant's
with me right now.
We'll be right there.
- [Frank] Let's go.
- So it's like I said.
The fat's in the fire.
All the top brass
down at City Hall,
every two-bit politician,
the hotel association,
they're calling me
and they're saying,
stop the bad publicity
about the killings
or you'll ruin Mardi Gras and
cost us a lot of business.
- Captain, we had 20 men out
on the streets for three days
and they can't turn
up with anything.
All we know is that this guy
wears some kind of gold ring.
Now, we don't even know
if it's the same guy,
we don't know if
it's the same ring.
Hell, I even stopped
by St. Louis Cathedral
to talk to a priest about
sacrificial killings.
He doesn't know anything.
- Well, I haven't been
exactly idle, you know.
I've called the department
heads at LSU and Tulane.
Christ, I even called MIT.
Nobody knows anything
about sacrificial killings.
- Captain, I think
I found something.
I called the professor
at Duke University.
You know, the weird one
that deals in ESP and stuff?
Well, he couldn't help
me, but he gave us a name.
The guy's right
here in New Orleans.
He deals with antiquity.
You know, the old stuff
that's happened in the past?
His name's Dr. Lewis.
He lives at 1020
Barracks Street.
- Good.
- Captain, you don't believe
in all that ESP psychic stuff?
- All I believe in is results.
So let's get results
of some kind.
You, go talk to this man.
- [Dr. Lewis] Yes, gentlemen.
Your captain called me.
I'll be glad to help
you in any way I can.
Please, sit down.
- Thank you for your
time this afternoon.
Have a look at these, will you?
- Human sacrifice.
Not uncommon today.
- In the United States?
- Yes.
The Indians in the
Western culture do it
and even in parts of
China and Outer Mongolia.
Human sacrifice, as part
of a religious ceremony,
is still practiced
on a regular basis.
As to human sacrifice,
with the exception
of devil worshipers
like the Manson
family in California,
which, of course, received
a great deal of publicity,
human sacrifice is very
difficult to discover.
Very rarely found out.
- Doc, wait.
Start at the beginning.
Why are there sacrifices?
- Well, the sacrifice
is to establish a link
between the world of
reality, our world,
and the world we
don't understand.
The Aztecs called their god
of the four
directions Quatalique.
They believed that
he would bless them
for the offerings of
the red cactus fruit.
Which, of course, would be
the heart and its blood.
The reason for the
sacrifice and the offerings
is so that the god will
endow them with godly powers.
It's not unusual
even in Christianity.
We have the sacrifice of the
mass, the body, and the blood.
The sacrifice is the giving
of something that we value
in return for
something that we want.
A favor.
- I can't believe that this
kind of stuff is still going on.
- These two photographs are
typical Aztec sacrificials.
If I'm not mistaken, this
is the same sacrificial rite
as the one to Quatalique.
Or as we refer to
her in English,
The Lady of the Serpent Skirt.
- How can we find these
people, or this person?
- It will be next to impossible.
As difficult as telling a
Baptist from another Protestant.
Or a Catholic from
an Episcopalian.
However, if this is
a resurgent cult,
it must be stopped immediately.
It is, in my opinion, evidence
of a serious sickness.
- Yeah.
Thank you for your
time, Dr. Lewis.
- [Dr. Lewis] Thank
you, gentlemen.
Call on me if you need me.
Good luck.
(uptempo music)
♪ Boogie
♪ Boogie
♪ Get down and boogie
♪ Boogie
♪ Ooh, really boogie
♪ Let's dance and boogie
♪ Boogie
♪ Ooh, really boogie
(people applauding)
(uptempo music)
- Monk, there's a
heavy john down there.
- Where?
- The man with the gray suit.
He slipped me half a
C-note in my pitchfork.
- Okay, you go see
if you can score.
If you do, I'll meet
you in Exchange Alley.
- Okay.
(ominous music)
(uptempo music)
(ominous music)
(woman screams)
(woman sobbing)
(uptempo music)
(mouthing music)
- What's happening?
I'm the fish.
What is your wish?
(mouthing music)
What is your need, man?
- I'm looking for
something very special.
- Specialty.
I'm the one for you.
You're the one for me.
(mouthing music)
- Something very evil.
- Evil?
You're a rude dude.
Now, it'll take more than talk.
Like to take a walk?
(mouthing music)
Green makes the scene.
(mouthing music)
One is for fun.
(mouthing music)
Two won't do.
(mouthing music)
Three takes care of me.
(mouthing music)
Four is for the whore,
but not the specialty.
It takes more.
(mouthing music)
Oh, that's not nice.
We'll make this the price.
- Where is she?
- Where?
There.
- Promise me she's evil.
(mouthing music)
Promise.
- Hey, I may not be honest,
but you got my promise.
(mouthing music)
Sissy, I got you a trick.
- Come on, Catfish.
You told me I didn't
have to do it anymore.
- Oh, but you owe
me money, honey.
Now, you do this gig
I'll give you 50 bucks
and a taste of something
a little later.
- Give it to me now, Catfish.
- After the gig.
Look, Sissy.
You treat this dude right.
He wants something special,
so give him what he wants.
(mouthing music)
(ominous music)
- Yes.
Please, sit down.
- [Sissy] Thank you.
- Can I get you something?
- Well, I'm kinda hungry.
I haven't eaten yet today.
- What would you like?
Anything at all.
What's your favorite food?
- Chinese food.
When I was young, my mother
used to work for a Chinaman
and he used to send home
special packages on the holidays
of his favorite Chinese dishes.
Could I have some wine?
- Yes.
This is 620 Madison
Street, apartment four.
I would like you to deliver
an order of shrimp rolls,
lobster Cantonese, jia su ding.
And a fortune cookie.
Thank you.
That will be here
in about 15 minutes.
In the meantime, wouldn't
you like to freshen up?
Take a shower?
(knocking on door)
- Somebody order
Chinese food here?
- Yes, how much is it?
- 19.50.
Thank you very much.
Thank you.
Bye.
- That looks delicious.
- I know you'll enjoy it.
- You know, it was really nice
of you to get this for me.
Not many people do
this in my business.
Thank you.
- Eat.
- That was delicious.
- [Man] I'm glad you enjoyed it.
- Now, what can I do for you?
- What do you do best?
- I dance best.
- Come.
(subdued music)
You're very beautiful.
How old are you?
- 19.
- Please, leave.
- I don't understand.
Did I do something wrong?
- Leave this place now.
- Look, mister.
If you wanna try something
different, well I could--
- Go now.
- You paid good money for me.
Let's get it on.
(ominous music)
- Lie down.
- He said you wanted
something unique,
but I had no idea what he meant.
Mister, do anything
you want to me,
but please don't hurt me.
- [Man] I'll be right back.
(dramatic flourish)
- Feels wonderful.
I had no idea it
would be like this.
You make a really fine masseuse.
(uptempo music)
What are you going to do?
- [Man] I am going
to sacrifice you
to the goddess Quatalique,
the queen of evil
in the universe.
- Oh, my god, you're
(screams) insane.
My God.
Insane.
My God, help me.
- [Man] And now your hand.
The hand which accepted
the money for your evil.
(Sissy screaming)
The foot that carried
you to your evil.
(Sissy screaming)
- My God, help me!
Help me!
No, no!
- And now, the part of you
that completed your evil.
(Sissy screaming)
- What?
He what?
- Who was that?
Sherry?
What's the matter?
- You took Shirley's money.
You're just a
no-good goddamn cop.
Just no goddamned good.
You cheat, you lie, you steal.
And you get on me
for being a hooker?
You took the dead girl's money.
You took it and you
put it in your pocket.
For Christ sakes, we all
had to pitch in to bury her!
You're just no goddamn good.
- At least I ain't no hundred
dollar a night hooker.
A goddamn whore.
- That's right, pig.
You ain't worth no
hundred dollars a night.
If you were a broad, you'd
be lucky if you could
turn a $2 black trick.
(Sherry screaming)
That's what I expected from you.
- Come on, Sherry.
Come on now, quit.
Look, I'm sorry, I'm sorry.
- Sorry, hell.
That's it for you, buster.
If you ever see me
walking down the street,
don't bother waving or I'll
call a cop, an honest one.
Hell, I'll probably have to
go out of town to find one.
(uptempo music)
♪ I love the way you move
♪ When you gotta groove
♪ Let the music play
♪ Dance the night away
♪ Let the music play
♪ I love the way you move
♪ When you gotta groove
♪ Let the music play
♪ Dance the night away
♪ Let the music play
(people shouting)
(crickets chirping)
(door rattling)
- What are you gonna do now?
- I gotta get out of here
for a couple of days.
Maybe I'll got to the
gulf coast to Mardi Gras.
Thanks.
- So long.
- Wait.
All right, this makes three.
Now the heat's on
from City hall.
The word is roust everybody.
Hit the goddamn streets, but
find this crazy son of a bitch.
- Every Tuesday for three weeks,
at the same time,
killed in the same way.
You bet your sweet ass
something special's
gonna happen this Tuesday.
- You're damn right
something special
because Tuesday's Mardi Gras.
That damn crazy nut can
do anything he wants
with a million people on
the streets all in costume.
Shit, we'll never find him.
- We'll find him.
("Big City Sidewalk"
by CJ & CO.)
♪ Where I come from, y'all
♪ The streets are tough
♪ Well, a boy is a man
♪ Well, before he's old enough
♪ You looked around
♪ Well, before you can walk
♪ Well, you licked his shoe
♪ Hey now, before you can talk
♪ I don't need that scene
♪ Gonna leave today
- What the hell did they want?
- Ah, some crazy's running
around cutting up broads.
- [Man] Doing what?
- Some weirdo is making
meatballs out of hookers.
(laughing)
♪ Great expectations
♪ I'll be front page news
♪ Big city sidewalk scene
♪ Whoa, big city jive
♪ I'm a sensation and
I'm glad to be alive ♪
♪ The law don't get you, yeah
♪ The devil will, yeah
♪ Nothing will help him now
♪ Play your deal
♪ That made him work at, yeah
♪ So she said
♪ Well, turning tricks
♪ Well now, to make some bread
♪ I don't need that scene
♪ Gonna leave today
♪ I've got bigger dreams
♪ Look away
♪ Big city sidewalk scenes
♪ Inner city blues
♪ Great expectations
♪ I'll be front page news
♪ Big city sidewalk scene
♪ Big city jive, yeah
♪ I'm a sensation and
I'm glad to be alive ♪
- Well, we know he's
gonna hit again.
We just don't know
when or where.
- I don't think he's
gonna hit anymore.
I think he's finished.
Three seems to be the
magic number, you know?
It's like that report we
got from INTERPOL today.
Three murders, three sacrifices,
or whatever you wanna call it.
Same thing last year in
Rio at carnival time.
No, three seems to
be the magic number.
I think our man is
finished for the year.
- Well, let's hope so.
We can't take any more
heat from the press.
- Well, I'll say one good
thing about carnival.
This guy's only killing hookers.
He's not gonna find
any of 'em today.
Ain't nobody hooking today.
- Even your Sherry?
- Well, she's not
my Sherry anymore.
We had a big fight.
The magic is gone
out of that romance.
- I'll lay you even to
five she threw you out
when she found out what
a bastard you really are.
- You go over on purpose.
You have a good time now.
What'll you have, pal?
- Nothing to drink.
I've got some friends
coming in for Mardi Gras.
I'd like to show them something
special Mardi Gras day.
- Man, you've got a good case.
Hookers don't wanna
work on Mardi Gras.
It's a fun day.
- I'm looking for a
special kind of woman
and I'm willing to
pay a special price.
- [Bartender] What kind of
special price we talking about?
- $300 each.
50 each for you.
500 in advance.
All you have to do
is have them here.
(ominous music)
Oh, Quatalique.
You are the dynamic
cosmic force giving life
and maintained by
the death of evil.
You are supreme.
A tragic in a moving beauty.
Ecstasy.
Oh, goddess.
Tomorrow, three will die
and you will reign again.
- This is just like
old times, huh?
What's this gonna be, boss?
A father and son talk, huh?
- No.
Remember, I'm not
your boss anymore.
This is friend to friend.
And from what I hear on the
street, you can use a friend.
I understand you
and your old lady...
Excuse me, your
girlfriend, called it off.
I hear it's for good.
- She called it off.
Yeah, she went back
to her old job.
- Yeah, I picked that up.
That's on the street.
You know, I used to
carry that damn Bible
between you and
all these hookers.
Made you the best damn
Vice cop we ever had.
No taking it out in trade.
You didn't take
kickbacks from the pimps.
No give, no take.
Made you a lonely Vice
cop, but a good one.
Good cop, bad human being.
You never did
lighten up, did you?
- Sure, I did.
Loosened up with her a bit.
Kinda liked her.
As a matter of fact,
I kinda miss her.
I don't know, I never
felt this way before.
Anyway, she's out there.
You think you can
help me find her?
- Yeah, I will, but only if
you promise to lighten up.
And I mean lighten up.
- Sure.
Okay, boss.
(people shouting)
(uptempo music)
(people shouting)
♪ Ooh, ah
♪ Ooh
♪ Ooh, ah
♪ Ooh
♪ Ooh, ah
♪ Ooh
♪ Ooh, ah
♪ Ooh
♪ It's almost Carnival
(uptempo brass music)
(uptempo music)
- Show me something!
- [Man] Woo, Mardi Gras!
(people chattering)
- [Man] Mardi Gras!
Mardi Gras!
♪ Ooh, ah
♪ Ooh
♪ Ooh, ah
♪ Ooh
♪ Ooh, ah
♪ Ooh
♪ Ooh, ah
♪ Ooh
♪ Carnival
♪ Carnival
- Well, where the hell is he?
I kind of hope he
doesn't show up.
- I hope he does.
I only got half the bread.
- I'd like to go out and
find me someone tonight.
- Still carrying the
torch for that cop?
- Yeah.
It was nice while it was lit.
(knocking on door)
- Cool it, girls.
This has to be him.
Come on in, pal.
You're right on time.
This is the best I could do
on short notice, all right?
- They'll be fine.
- [Man] All right.
Ladies, you're on.
- Hey, Joe.
Where are you gonna be later on?
- [Man] Let me tell you,
it will be at least
an all-night affair.
- Come on, let's go.
Have fun.
- Where are the other men?
- Oh, they're on their way.
They must've been
delayed by the traffic.
Please, sit down.
- Well, what do you say we have
a drink while we're waiting?
- Fine.
I'll get it.
- Something strange about him.
I don't know what it is.
- But I like the way he dresses.
And he does have a nice place.
- [Woman] Who cares
about this place.
Let's just get it over with.
- Ladies, I know you're
going to enjoy this.
- What is it?
- It's a Peruvian drink.
It's called pisco.
And it's to be consumed
in one swallow.
- Oh, I like that.
- Ladies, to tonight.
- Oh, that's strong.
- Wonderful.
- Pardon me.
I have some
preparations to make.
(ominous music)
- Sorry, we're not open yet.
- That's okay.
I'm Sergeant Abraham, Homicide.
This is my partner.
Like to ask you a few
questions, all right?
- Certainly.
Can I assist you?
- Yeah, this is a
sketch of a ring.
We're looking for
the guy who owns it.
You ever seen
anything like that?
- No.
- [Frank] You sure?
- It's very unusual.
I would remember if I saw it.
- You got a delivery boy?
- Yes, he's in the back.
- Can we see him?
- Come this way.
(speaking foreign language)
- Hey.
- Hi.
- This is a sketch of a ring.
We're looking for
the guy who owns it.
Have you ever seen
anything like that?
- Yeah.
- You have?
- [Delivery Boy] Uh-huh.
- Where was this?
- 620 Madison Street.
- 620 Madison Street?
- [Delivery Boy] Uh-huh.
- What apartment?
- [Delivery Boy] Four.
- How come you
remember all this?
- The guy give me a $10 tip.
- Okay.
You sure?
- Mm-hmm.
- We'll go check it out.
Thanks.
- Hey.
- [Mayer] Let's go over to
Kelly's and have a drink
while we wait for our backup.
- Sergeant.
Oh, man, thank God I found you.
- [Frank] What's
the matter, Sam?
- I seen him.
- Saw who?
- The guy.
- What guy, Sam?
- It's Sherry.
Her and two girls,
they're with the guy.
- [Frank] What guy?
- The guy, the guy.
The guy that left with Shirley.
I'm sure it's the same guy.
- Where was it, Sam?
- On Madison Street.
- About how long ago?
- About an hour ago.
I've been looking
for you ever since.
I'm sure it's the one.
Oh, man.
(speaking foreign language)
- Finlow, you look
beautiful today.
- Thanks, Sergeant.
You look nice yourself.
- What's going on upstairs?
- Just a party for
all the queens.
It's Fat Tuesday, you know.
- You didn't see some guy
with about three women
come in here about an hour ago?
- Yeah, I saw three
ladies and a gent
go up to the top floor.
- Let's go.
(uptempo music)
Okay, open up in there.
(knocking on door)
All right, come on!
Open up, police!
(pounding on door)
All right, do it.
- [Mayer] Damn door won't budge.
- Somebody get those
goddamn firemen up here!
(siren wailing)
Okay, open up in there.
- [Fireman] What you got, huh?
- Need a little help
with the door, fellas.
- That's no problem at all.
Step back, gentlemen.
Paul, take it out.
That outta do it, gentlemen.
Let's get out of here.
- Okay, this one's empty.
Let's check in there.
(screaming)
- Never thought I'd
be glad to see a cop.
- Where is he?
- Behind the curtain.
- Sherry.
I'm sorry.
- No.
I'm the one that's sorry.
- What happened?
- I lost him.
Give me your radio.
23-18.
We lost him on
Madison and Charters.
Okay, we got it.
10-4.
- Well, congratulations.
You lost him.
- Yeah.
- I don't suppose
you have any ideas?
- No, I really don't.
- Call headquarters.
Tell 'em to cordon off
the French Quarter.
From Canal to Esplanade and
from Basin to the river.
And I mean seal it like a drum.
- 10-28, 10-28.
Car Three, 31-10
to headquarters.
Seal off the French Quarter
from Canal to Basin,
Basin to Esplanade to the river.
- Now, he's like a fish in
a barrel and I've got him.
(uptempo music)
- [Man On Radio] 31-10, I have
a description of the suspect.
White male, 40 years old,
5' 10", 160-170 pounds.
Last seen wearing a dark blue
suit, white shirt, red tie.
Possibly operating a 1975
yellow station wagon.
(siren wailing)
- [Man On Radio] 24-61, 10-28.
In pursuit of a
yellow station wagon.
Just turned off
Charters on St. Philip.
Driver of vehicle fits
description of suspect.
- [Man On Radio]
Headquarters to all units.
Car 24-61 in high-speed pursuit.
St. Philip Street
toward the river.
Chasing suspect.
(chatter on police radio)
(siren wailing)
(water splashing)
(ominous music)
- [Man On Radio] 31-10.
The divers have
located the vehicle.
There is no body in the car.
- [Mayer] We had him, all right.
Just like a fish in a barrel.
(people chattering)
(laughing)
- Hey, girls.
How's tricks?
- I don't know, Sam.
You tell us.
- How's the action tonight?
- Feels like a
pretty good night.
A lot of johns.
The gray suit type with
tons of expense money.
Maybe about 15 girls
already scored.
You're the first here
for the late shift.
- You take care of us, Sam,
we'll take care of you.
- You better or you ain't
gonna ever score here again.
- Stop the preaching, Sam.
We take care of you.
You know that.
- And that's the
way it's gonna stay.
- [Man] Hey, Sam.
How about your bar?
(laughing)
- Good evening, ladies.
I'm new in the city and I'm
looking for something different.
- Well, if you have the money,
you can have anything you want.
All sizes, shapes, colors.
If the price is right.
- As I said, I am looking
for something kinda special
and I'm very willing
to pay for it.
- Ooh, with that kind of money,
you can buy anything you want.
- Tell me, of all the
ladies in this bar tonight,
which one do you think
is the most evil?
- Evil?
- [Man] Mm-hmm.
- The most evil, without
a doubt, is Shirley.
- Then, that's the one I want.
Hello.
I understand that you are
the most evil woman here.
- Listen, honey.
I could probably take first
prize in any evil contest.
What do you want?
- [Man] About $200 worth.
- Well, for $200 I can't think
of anything you can't have.
- All right.
I've got a little apartment
a few blocks from here.
Come with me now.
- Wait a minute.
You'll have to pay in advance.
Now.
Sam, will you hold this for me?
- [Sam] You got it.
- Apartment four?
Four is my lucky number.
- Oh, really?
Welcome.
Please, have a glass of wine.
- I don't think I want any wine.
- You must've noticed by
now that I'm very different.
- Yeah, about a hundred
dollars worth of difference.
What's your specialty, darling?
What do you want?
- What I want from you,
I want to do in a
very special place,
on a very special kind of bed.
Come with me in the next
room and I will show you.
I want you to take
off your clothes
and then lie down on this bed.
And then I'll go in the next
room and prepare for you.
- Anything you say, honey.
(ominous music)
You scared me.
You are weird, aren't you?
- [Man] Yes.
More different than
you've ever known before.
Lie down.
I will make you feel wonderful.
- [Shirley] Mm, that feels good.
- [Man] Yes.
Oh, yes.
- [Shirley] Maybe I
should pay you for this.
- [Man] Yes.
Yes.
Yes.
Yes.
(Shirley moans)
Yes.
Yes.
- [Shirley] Hey,
what are you doing?
- [Man] You said that
you were the most evil.
Well, I am going to
sacrifice you to the evil.
(uptempo music)
As you are one of their kind.
- [Shirley] Hey, what is this?
(Shirley screams)
- [Man] Scream all you want.
The room is soundproof.
Now, your hand.
- [Shirley] No.
- The hand that accepted
the money for your evil.
- [Shirley] No, no, no!
(Shirley screaming)
No, no!
- [Man] Now, your feet.
- [Shirley] No!
Please, stop!
- Your feet that
carried you to the deed.
- [Shirley] No!
(screaming)
- [Man] And now for the part
of you you use for your evil.
(Shirley screams)
(uptempo music)
(ominous music)
- This is a different one.
In 25 years of medicine,
I've never seen
anything like it before.
It's sort of like
it's ritualistic
or a sacrificial
type of killing.
- We've got the girl's name.
It's Shirley Anderson.
She's a hooker.
- We've checked the
homicide records
to find a comparison to
this type of killing.
- Yeah, we went back
about to the 1800s.
There's nothing like this
in New Orleans, anyway.
So, we've turned it over
to INTERPOL and the FBI.
I don't know, there's
something strange about this.
It's ritual or sacrificial.
- You know, I believe the
perpetrator of this murder
has to have prior
experience with a knife.
Medical experience, or maybe
even in a butcher shop,
or something like that.
(subdued music)
- Hey, Sam.
Hiya, Sam.
You remember me Sergeant
Abraham, Homicide?
- Homicide?
Man, I've known
you for five years.
You're Vice.
You sure it's Homicide?
- Yeah, scout's honor, Sam.
Look, I'm trying to find
the guy who did this
hatchet job on Shirley Anderson.
- If that's what
you're trying to do,
I'll give you all
the help I can.
That guy should be
caught and put away.
He's a weirdo.
I mean, a real sickie.
Besides, he's bad for business.
Not to mention the trouble
he's given to the help here.
Hey, you guys want
something to drink?
- Yeah.
- No.
- Yeah, I knew the girl.
She was in here last night.
She gave me some money she
wanted me to hold for her.
- Ah, yeah.
Trick money, huh?
You get a cut out of that, Sam?
- Man, I don't know what
kind of money it was.
She came in, gave me some
money, I put it in an envelope.
- You want a receipt, Sam?
- Is he kidding?
- All right, I'll tell you.
Did you see the
guy she left with?
- No.
She just came,
gave me the money,
and cut out with some dude.
You know, Sherry and
Anne were talking.
Sherry's still here.
She's the blonde at
that table over there.
Maybe you'd wanna talk to her.
- Yeah.
Maybe I'll do that, Sam.
Evening.
Are you Sherry?
- Yeah.
- I'm Sergeant Abraham.
- I know what you are.
- Mind if we sit down?
- What is this a bust?
- I'm trying to find the guy
who got Shirley Anderson.
- Yeah, I read about it
in the morning paper.
Terrific.
Now we got something brand
new, sacrificing prostitutes.
- Yeah, let's just hope
it's not an epidemic.
You think this
might be a pimp job?
- Let me tell you
something, flat foot.
She didn't have a pimp
or any old man, either.
And another thing.
I don't think she had to
turn tricks for a living.
It was different with her.
It was the kicks, the laughs,
all the different experiences.
Hell, she liked it.
- You don't?
- You're damn right I don't.
That is, most of
the time I don't.
- Sometimes you do?
- Yeah, with the right guy.
Not with any middle-aged trick
like the one you just ran off.
Besides, what the hell are
you sitting on your asses for?
You should be out
catching her killer.
That's what you're paid for.
- That's just what I'm
trying to do, sweetheart.
I'm trying to find out who
the guy was she left with.
- Scary thing about it
is, he could've picked me.
That is, if it's the
guy I saw her with last.
- What do you
remember about him?
- Oh, he looked like
all the rest of 'em.
They all look the same to me.
Well-dressed, middle-aged,
lots of money.
A pocket full of it.
All hundreds.
The only thing different was
he had on this big gold ring.
It was really unusual.
- [Detective] What
was unusual about it?
- It was like a signet ring.
Must've been custom made.
I've never seen one like it.
- What are you doing
for dinner, Sherry?
- Why, you buying?
- I'm buying.
(subdued music)
- Frank, restrain yourself.
Be nice.
- Where are you going?
(uptempo music)
- Where's he going?
- Ah, he's just gotta take
care of a little business
down the street, that's all.
- [Waitress] Well, hi
there, you nice people.
What will it be?
Breakfast, lunch, or dinner?
- Dinner.
How about a drink first?
- I'd like a bottle of wine.
Chateauneuf-du-Pape, 1970.
- A bottle of Blue
Nun for the lady.
And chill the glasses.
- [Waitress] Chill the glasses.
Sarge.
Sarge, Abraham.
Don't you remember me?
You worked with
Bonnie, Sergeant.
- Sure, Janice.
I remember you.
How are you doing?
You were the most
popular girl in town.
What you doing waiting tables?
I thought you'd be rich enough
to buy a place like this by now.
- No, I just work here.
You know how it goes.
I'm getting too old to
compete with the pretty stuff.
- I know what you mean.
- Yeah, you girls
sure got it tough.
Too bad.
- Well, I guess I'll
go get the wine.
- [Woman] Don't do
it again, bitch.
- Look, I'll do whatever
I damn well please.
- You're doing it again.
- And you, you
silly little bitch.
- Excuse me.
- I'll deal with you later.
Knock it off.
- You knock it off.
It's the police.
- What are you doing?
- Thanks, pal.
- Please, don't hurt 'em.
I know them.
Hey, they live in the
same building I do.
Please, don't hurt 'em.
- Knock it off, man.
It's just a family argument.
- Come on, give 'em a break.
- Is that what you want?
- Don't run 'em in.
I'll do anything you want.
- Okay, get up.
Okay, you three.
Pay your bill, get lost.
- Thanks.
That's one I owe you.
But get this straight.
I owe you one, got it?
One.
- Well, thanks, sweetie, but
you don't owe me anything.
I couldn't have arrested those
guys without a complaint.
Janice ain't gonna sign a
complaint, so forget it.
But I accept.
- Okay.
- This one's on the house.
Please, don't let
it go to waste.
- (laughs) Well,
thank you, Janice.
All right, there you go.
Let's make this one to ships
that will pass in the night.
- Two ships.
What's your name?
I mean, your first name.
- Frank.
- To Fearless Frank the Fuzz.
(subdued music)
♪ Goes on forever
♪ 'Cause love
♪ Goes on forever
- This is the one I owe you.
- You don't owe
me anything, kid.
- I always pay my debts.
- Then, show me what you do.
♪ Forever
- You're shy.
♪ Forever
(uptempo music)
♪ Ain't nothing to it
♪ Get up and move it
♪ Nothing to it
♪ Get on and do it
♪ Ain't nothing to it
- Hello.
Buy a lady a drink?
- Certainly.
What would you like?
- Champagne.
Can you afford it?
It's $40 a bottle.
- [Man] Champagne.
- What an interesting ring.
- Thank you.
I like yours.
- Thank you.
Toast?
- To you.
- To you.
- I've got a lot of money
and I'm looking for a
particular kind of girl.
A very particular kind of girl.
One that was...
I don't know, you
might say very evil.
- Well, that's not me.
I'm the plain Jane type.
(man laughs)
But I'll tell you what.
We do have a girl here that
you might be interested in.
She's our feature attraction.
But she is expensive.
- Well, if she's what you say
she is, she might be worth it.
And just what do you
mean by expensive?
- Well, I've never been
any good at arithmetic.
Thank you for the drink and
I'll send her over to you.
I think you and her will
get along just fine.
- I'll wait.
- What do you want, bitch?
- Got a mark for you at the bar.
He looks rich.
Says he's looking for
some strange kicks.
- What, like that last
deadbeat you sent me?
- Oh, no.
This one looks real live.
Don't forget my 10%.
- Bitch.
- Up your ass.
(uptempo music)
(singer speaking
foreign language)
- Have a seat.
Would you like some wine?
- Sure.
Hey, what are you waiting for?
You paid your money.
- [Man] Are you sure
you're really evil?
- Honey, I'm as
evil as you can get.
- Well then, let's not
waste any more time.
(ominous music)
- Oh, yeah?
So this is where you want
me here on the table, huh?
You know, this reminds
me of back in Baltimore.
Except my friend there, he
used to use these silk scarves,
tie me to the bed.
Of course, I don't know
what kind of scene you got
cooked up here with all
your doodads on the wall,
but whatever turns you on.
- [Man] Yes.
Yes.
Yes.
- Ah, hey.
Don't be so rough.
- [Man] Yes.
Yes.
- [Woman] That's the oil, huh?
This is the part I
always liked anyway.
(uptempo music)
- I'll go into the next room
now and prepare for you.
(dramatic flourish)
Your hand.
The one you used to take
the money for your evil.
(woman screaming)
(woman sobbing)
Your foot.
The one that lead
me to your misdeeds.
(woman screaming)
Now, the thing you
use for your evil.
(woman screaming)
(subdued music)
- Okay, that's it.
You paid your debt.
Time for me to go, okay?
- No.
Why don't you stay?
♪ 'Cause love
♪ Goes on forever
♪ 'Cause love
♪ Goes on forever
♪ Forever
♪ Forever
- Well, you know, six days
I've been with her, right?
Six days.
Can't get rid of her.
She's already talking
about a house, and kids,
and all those things.
Hell, I don't wanna get married.
Especially to no
damn prostitute.
- Marry?
You asked her to marry you?
- No.
- She asked you to marry her?
- No.
- You're the only one who's
talking about marriage.
- Nobody said anything,
but I know broads.
- You know broads?
The only thing
that's grating on you
is that she's a prostitute.
An ex-sergeant of
Vice and a hooker.
That's what I call a
marriage made in heaven.
But I feel sorry for her.
She's getting the worst of it.
She's getting you.
(phone rings)
Homicide, Sergeant Mayer.
Arriving now at the morgue?
Another one?
Found on the railroad
tracks by the levy.
Known prostitute.
Same MO.
Yeah, the sergeant's
with me right now.
We'll be right there.
- [Frank] Let's go.
- So it's like I said.
The fat's in the fire.
All the top brass
down at City Hall,
every two-bit politician,
the hotel association,
they're calling me
and they're saying,
stop the bad publicity
about the killings
or you'll ruin Mardi Gras and
cost us a lot of business.
- Captain, we had 20 men out
on the streets for three days
and they can't turn
up with anything.
All we know is that this guy
wears some kind of gold ring.
Now, we don't even know
if it's the same guy,
we don't know if
it's the same ring.
Hell, I even stopped
by St. Louis Cathedral
to talk to a priest about
sacrificial killings.
He doesn't know anything.
- Well, I haven't been
exactly idle, you know.
I've called the department
heads at LSU and Tulane.
Christ, I even called MIT.
Nobody knows anything
about sacrificial killings.
- Captain, I think
I found something.
I called the professor
at Duke University.
You know, the weird one
that deals in ESP and stuff?
Well, he couldn't help
me, but he gave us a name.
The guy's right
here in New Orleans.
He deals with antiquity.
You know, the old stuff
that's happened in the past?
His name's Dr. Lewis.
He lives at 1020
Barracks Street.
- Good.
- Captain, you don't believe
in all that ESP psychic stuff?
- All I believe in is results.
So let's get results
of some kind.
You, go talk to this man.
- [Dr. Lewis] Yes, gentlemen.
Your captain called me.
I'll be glad to help
you in any way I can.
Please, sit down.
- Thank you for your
time this afternoon.
Have a look at these, will you?
- Human sacrifice.
Not uncommon today.
- In the United States?
- Yes.
The Indians in the
Western culture do it
and even in parts of
China and Outer Mongolia.
Human sacrifice, as part
of a religious ceremony,
is still practiced
on a regular basis.
As to human sacrifice,
with the exception
of devil worshipers
like the Manson
family in California,
which, of course, received
a great deal of publicity,
human sacrifice is very
difficult to discover.
Very rarely found out.
- Doc, wait.
Start at the beginning.
Why are there sacrifices?
- Well, the sacrifice
is to establish a link
between the world of
reality, our world,
and the world we
don't understand.
The Aztecs called their god
of the four
directions Quatalique.
They believed that
he would bless them
for the offerings of
the red cactus fruit.
Which, of course, would be
the heart and its blood.
The reason for the
sacrifice and the offerings
is so that the god will
endow them with godly powers.
It's not unusual
even in Christianity.
We have the sacrifice of the
mass, the body, and the blood.
The sacrifice is the giving
of something that we value
in return for
something that we want.
A favor.
- I can't believe that this
kind of stuff is still going on.
- These two photographs are
typical Aztec sacrificials.
If I'm not mistaken, this
is the same sacrificial rite
as the one to Quatalique.
Or as we refer to
her in English,
The Lady of the Serpent Skirt.
- How can we find these
people, or this person?
- It will be next to impossible.
As difficult as telling a
Baptist from another Protestant.
Or a Catholic from
an Episcopalian.
However, if this is
a resurgent cult,
it must be stopped immediately.
It is, in my opinion, evidence
of a serious sickness.
- Yeah.
Thank you for your
time, Dr. Lewis.
- [Dr. Lewis] Thank
you, gentlemen.
Call on me if you need me.
Good luck.
(uptempo music)
♪ Boogie
♪ Boogie
♪ Get down and boogie
♪ Boogie
♪ Ooh, really boogie
♪ Let's dance and boogie
♪ Boogie
♪ Ooh, really boogie
(people applauding)
(uptempo music)
- Monk, there's a
heavy john down there.
- Where?
- The man with the gray suit.
He slipped me half a
C-note in my pitchfork.
- Okay, you go see
if you can score.
If you do, I'll meet
you in Exchange Alley.
- Okay.
(ominous music)
(uptempo music)
(ominous music)
(woman screams)
(woman sobbing)
(uptempo music)
(mouthing music)
- What's happening?
I'm the fish.
What is your wish?
(mouthing music)
What is your need, man?
- I'm looking for
something very special.
- Specialty.
I'm the one for you.
You're the one for me.
(mouthing music)
- Something very evil.
- Evil?
You're a rude dude.
Now, it'll take more than talk.
Like to take a walk?
(mouthing music)
Green makes the scene.
(mouthing music)
One is for fun.
(mouthing music)
Two won't do.
(mouthing music)
Three takes care of me.
(mouthing music)
Four is for the whore,
but not the specialty.
It takes more.
(mouthing music)
Oh, that's not nice.
We'll make this the price.
- Where is she?
- Where?
There.
- Promise me she's evil.
(mouthing music)
Promise.
- Hey, I may not be honest,
but you got my promise.
(mouthing music)
Sissy, I got you a trick.
- Come on, Catfish.
You told me I didn't
have to do it anymore.
- Oh, but you owe
me money, honey.
Now, you do this gig
I'll give you 50 bucks
and a taste of something
a little later.
- Give it to me now, Catfish.
- After the gig.
Look, Sissy.
You treat this dude right.
He wants something special,
so give him what he wants.
(mouthing music)
(ominous music)
- Yes.
Please, sit down.
- [Sissy] Thank you.
- Can I get you something?
- Well, I'm kinda hungry.
I haven't eaten yet today.
- What would you like?
Anything at all.
What's your favorite food?
- Chinese food.
When I was young, my mother
used to work for a Chinaman
and he used to send home
special packages on the holidays
of his favorite Chinese dishes.
Could I have some wine?
- Yes.
This is 620 Madison
Street, apartment four.
I would like you to deliver
an order of shrimp rolls,
lobster Cantonese, jia su ding.
And a fortune cookie.
Thank you.
That will be here
in about 15 minutes.
In the meantime, wouldn't
you like to freshen up?
Take a shower?
(knocking on door)
- Somebody order
Chinese food here?
- Yes, how much is it?
- 19.50.
Thank you very much.
Thank you.
Bye.
- That looks delicious.
- I know you'll enjoy it.
- You know, it was really nice
of you to get this for me.
Not many people do
this in my business.
Thank you.
- Eat.
- That was delicious.
- [Man] I'm glad you enjoyed it.
- Now, what can I do for you?
- What do you do best?
- I dance best.
- Come.
(subdued music)
You're very beautiful.
How old are you?
- 19.
- Please, leave.
- I don't understand.
Did I do something wrong?
- Leave this place now.
- Look, mister.
If you wanna try something
different, well I could--
- Go now.
- You paid good money for me.
Let's get it on.
(ominous music)
- Lie down.
- He said you wanted
something unique,
but I had no idea what he meant.
Mister, do anything
you want to me,
but please don't hurt me.
- [Man] I'll be right back.
(dramatic flourish)
- Feels wonderful.
I had no idea it
would be like this.
You make a really fine masseuse.
(uptempo music)
What are you going to do?
- [Man] I am going
to sacrifice you
to the goddess Quatalique,
the queen of evil
in the universe.
- Oh, my god, you're
(screams) insane.
My God.
Insane.
My God, help me.
- [Man] And now your hand.
The hand which accepted
the money for your evil.
(Sissy screaming)
The foot that carried
you to your evil.
(Sissy screaming)
- My God, help me!
Help me!
No, no!
- And now, the part of you
that completed your evil.
(Sissy screaming)
- What?
He what?
- Who was that?
Sherry?
What's the matter?
- You took Shirley's money.
You're just a
no-good goddamn cop.
Just no goddamned good.
You cheat, you lie, you steal.
And you get on me
for being a hooker?
You took the dead girl's money.
You took it and you
put it in your pocket.
For Christ sakes, we all
had to pitch in to bury her!
You're just no goddamn good.
- At least I ain't no hundred
dollar a night hooker.
A goddamn whore.
- That's right, pig.
You ain't worth no
hundred dollars a night.
If you were a broad, you'd
be lucky if you could
turn a $2 black trick.
(Sherry screaming)
That's what I expected from you.
- Come on, Sherry.
Come on now, quit.
Look, I'm sorry, I'm sorry.
- Sorry, hell.
That's it for you, buster.
If you ever see me
walking down the street,
don't bother waving or I'll
call a cop, an honest one.
Hell, I'll probably have to
go out of town to find one.
(uptempo music)
♪ I love the way you move
♪ When you gotta groove
♪ Let the music play
♪ Dance the night away
♪ Let the music play
♪ I love the way you move
♪ When you gotta groove
♪ Let the music play
♪ Dance the night away
♪ Let the music play
(people shouting)
(crickets chirping)
(door rattling)
- What are you gonna do now?
- I gotta get out of here
for a couple of days.
Maybe I'll got to the
gulf coast to Mardi Gras.
Thanks.
- So long.
- Wait.
All right, this makes three.
Now the heat's on
from City hall.
The word is roust everybody.
Hit the goddamn streets, but
find this crazy son of a bitch.
- Every Tuesday for three weeks,
at the same time,
killed in the same way.
You bet your sweet ass
something special's
gonna happen this Tuesday.
- You're damn right
something special
because Tuesday's Mardi Gras.
That damn crazy nut can
do anything he wants
with a million people on
the streets all in costume.
Shit, we'll never find him.
- We'll find him.
("Big City Sidewalk"
by CJ & CO.)
♪ Where I come from, y'all
♪ The streets are tough
♪ Well, a boy is a man
♪ Well, before he's old enough
♪ You looked around
♪ Well, before you can walk
♪ Well, you licked his shoe
♪ Hey now, before you can talk
♪ I don't need that scene
♪ Gonna leave today
- What the hell did they want?
- Ah, some crazy's running
around cutting up broads.
- [Man] Doing what?
- Some weirdo is making
meatballs out of hookers.
(laughing)
♪ Great expectations
♪ I'll be front page news
♪ Big city sidewalk scene
♪ Whoa, big city jive
♪ I'm a sensation and
I'm glad to be alive ♪
♪ The law don't get you, yeah
♪ The devil will, yeah
♪ Nothing will help him now
♪ Play your deal
♪ That made him work at, yeah
♪ So she said
♪ Well, turning tricks
♪ Well now, to make some bread
♪ I don't need that scene
♪ Gonna leave today
♪ I've got bigger dreams
♪ Look away
♪ Big city sidewalk scenes
♪ Inner city blues
♪ Great expectations
♪ I'll be front page news
♪ Big city sidewalk scene
♪ Big city jive, yeah
♪ I'm a sensation and
I'm glad to be alive ♪
- Well, we know he's
gonna hit again.
We just don't know
when or where.
- I don't think he's
gonna hit anymore.
I think he's finished.
Three seems to be the
magic number, you know?
It's like that report we
got from INTERPOL today.
Three murders, three sacrifices,
or whatever you wanna call it.
Same thing last year in
Rio at carnival time.
No, three seems to
be the magic number.
I think our man is
finished for the year.
- Well, let's hope so.
We can't take any more
heat from the press.
- Well, I'll say one good
thing about carnival.
This guy's only killing hookers.
He's not gonna find
any of 'em today.
Ain't nobody hooking today.
- Even your Sherry?
- Well, she's not
my Sherry anymore.
We had a big fight.
The magic is gone
out of that romance.
- I'll lay you even to
five she threw you out
when she found out what
a bastard you really are.
- You go over on purpose.
You have a good time now.
What'll you have, pal?
- Nothing to drink.
I've got some friends
coming in for Mardi Gras.
I'd like to show them something
special Mardi Gras day.
- Man, you've got a good case.
Hookers don't wanna
work on Mardi Gras.
It's a fun day.
- I'm looking for a
special kind of woman
and I'm willing to
pay a special price.
- [Bartender] What kind of
special price we talking about?
- $300 each.
50 each for you.
500 in advance.
All you have to do
is have them here.
(ominous music)
Oh, Quatalique.
You are the dynamic
cosmic force giving life
and maintained by
the death of evil.
You are supreme.
A tragic in a moving beauty.
Ecstasy.
Oh, goddess.
Tomorrow, three will die
and you will reign again.
- This is just like
old times, huh?
What's this gonna be, boss?
A father and son talk, huh?
- No.
Remember, I'm not
your boss anymore.
This is friend to friend.
And from what I hear on the
street, you can use a friend.
I understand you
and your old lady...
Excuse me, your
girlfriend, called it off.
I hear it's for good.
- She called it off.
Yeah, she went back
to her old job.
- Yeah, I picked that up.
That's on the street.
You know, I used to
carry that damn Bible
between you and
all these hookers.
Made you the best damn
Vice cop we ever had.
No taking it out in trade.
You didn't take
kickbacks from the pimps.
No give, no take.
Made you a lonely Vice
cop, but a good one.
Good cop, bad human being.
You never did
lighten up, did you?
- Sure, I did.
Loosened up with her a bit.
Kinda liked her.
As a matter of fact,
I kinda miss her.
I don't know, I never
felt this way before.
Anyway, she's out there.
You think you can
help me find her?
- Yeah, I will, but only if
you promise to lighten up.
And I mean lighten up.
- Sure.
Okay, boss.
(people shouting)
(uptempo music)
(people shouting)
♪ Ooh, ah
♪ Ooh
♪ Ooh, ah
♪ Ooh
♪ Ooh, ah
♪ Ooh
♪ Ooh, ah
♪ Ooh
♪ It's almost Carnival
(uptempo brass music)
(uptempo music)
- Show me something!
- [Man] Woo, Mardi Gras!
(people chattering)
- [Man] Mardi Gras!
Mardi Gras!
♪ Ooh, ah
♪ Ooh
♪ Ooh, ah
♪ Ooh
♪ Ooh, ah
♪ Ooh
♪ Ooh, ah
♪ Ooh
♪ Carnival
♪ Carnival
- Well, where the hell is he?
I kind of hope he
doesn't show up.
- I hope he does.
I only got half the bread.
- I'd like to go out and
find me someone tonight.
- Still carrying the
torch for that cop?
- Yeah.
It was nice while it was lit.
(knocking on door)
- Cool it, girls.
This has to be him.
Come on in, pal.
You're right on time.
This is the best I could do
on short notice, all right?
- They'll be fine.
- [Man] All right.
Ladies, you're on.
- Hey, Joe.
Where are you gonna be later on?
- [Man] Let me tell you,
it will be at least
an all-night affair.
- Come on, let's go.
Have fun.
- Where are the other men?
- Oh, they're on their way.
They must've been
delayed by the traffic.
Please, sit down.
- Well, what do you say we have
a drink while we're waiting?
- Fine.
I'll get it.
- Something strange about him.
I don't know what it is.
- But I like the way he dresses.
And he does have a nice place.
- [Woman] Who cares
about this place.
Let's just get it over with.
- Ladies, I know you're
going to enjoy this.
- What is it?
- It's a Peruvian drink.
It's called pisco.
And it's to be consumed
in one swallow.
- Oh, I like that.
- Ladies, to tonight.
- Oh, that's strong.
- Wonderful.
- Pardon me.
I have some
preparations to make.
(ominous music)
- Sorry, we're not open yet.
- That's okay.
I'm Sergeant Abraham, Homicide.
This is my partner.
Like to ask you a few
questions, all right?
- Certainly.
Can I assist you?
- Yeah, this is a
sketch of a ring.
We're looking for
the guy who owns it.
You ever seen
anything like that?
- No.
- [Frank] You sure?
- It's very unusual.
I would remember if I saw it.
- You got a delivery boy?
- Yes, he's in the back.
- Can we see him?
- Come this way.
(speaking foreign language)
- Hey.
- Hi.
- This is a sketch of a ring.
We're looking for
the guy who owns it.
Have you ever seen
anything like that?
- Yeah.
- You have?
- [Delivery Boy] Uh-huh.
- Where was this?
- 620 Madison Street.
- 620 Madison Street?
- [Delivery Boy] Uh-huh.
- What apartment?
- [Delivery Boy] Four.
- How come you
remember all this?
- The guy give me a $10 tip.
- Okay.
You sure?
- Mm-hmm.
- We'll go check it out.
Thanks.
- Hey.
- [Mayer] Let's go over to
Kelly's and have a drink
while we wait for our backup.
- Sergeant.
Oh, man, thank God I found you.
- [Frank] What's
the matter, Sam?
- I seen him.
- Saw who?
- The guy.
- What guy, Sam?
- It's Sherry.
Her and two girls,
they're with the guy.
- [Frank] What guy?
- The guy, the guy.
The guy that left with Shirley.
I'm sure it's the same guy.
- Where was it, Sam?
- On Madison Street.
- About how long ago?
- About an hour ago.
I've been looking
for you ever since.
I'm sure it's the one.
Oh, man.
(speaking foreign language)
- Finlow, you look
beautiful today.
- Thanks, Sergeant.
You look nice yourself.
- What's going on upstairs?
- Just a party for
all the queens.
It's Fat Tuesday, you know.
- You didn't see some guy
with about three women
come in here about an hour ago?
- Yeah, I saw three
ladies and a gent
go up to the top floor.
- Let's go.
(uptempo music)
Okay, open up in there.
(knocking on door)
All right, come on!
Open up, police!
(pounding on door)
All right, do it.
- [Mayer] Damn door won't budge.
- Somebody get those
goddamn firemen up here!
(siren wailing)
Okay, open up in there.
- [Fireman] What you got, huh?
- Need a little help
with the door, fellas.
- That's no problem at all.
Step back, gentlemen.
Paul, take it out.
That outta do it, gentlemen.
Let's get out of here.
- Okay, this one's empty.
Let's check in there.
(screaming)
- Never thought I'd
be glad to see a cop.
- Where is he?
- Behind the curtain.
- Sherry.
I'm sorry.
- No.
I'm the one that's sorry.
- What happened?
- I lost him.
Give me your radio.
23-18.
We lost him on
Madison and Charters.
Okay, we got it.
10-4.
- Well, congratulations.
You lost him.
- Yeah.
- I don't suppose
you have any ideas?
- No, I really don't.
- Call headquarters.
Tell 'em to cordon off
the French Quarter.
From Canal to Esplanade and
from Basin to the river.
And I mean seal it like a drum.
- 10-28, 10-28.
Car Three, 31-10
to headquarters.
Seal off the French Quarter
from Canal to Basin,
Basin to Esplanade to the river.
- Now, he's like a fish in
a barrel and I've got him.
(uptempo music)
- [Man On Radio] 31-10, I have
a description of the suspect.
White male, 40 years old,
5' 10", 160-170 pounds.
Last seen wearing a dark blue
suit, white shirt, red tie.
Possibly operating a 1975
yellow station wagon.
(siren wailing)
- [Man On Radio] 24-61, 10-28.
In pursuit of a
yellow station wagon.
Just turned off
Charters on St. Philip.
Driver of vehicle fits
description of suspect.
- [Man On Radio]
Headquarters to all units.
Car 24-61 in high-speed pursuit.
St. Philip Street
toward the river.
Chasing suspect.
(chatter on police radio)
(siren wailing)
(water splashing)
(ominous music)
- [Man On Radio] 31-10.
The divers have
located the vehicle.
There is no body in the car.
- [Mayer] We had him, all right.
Just like a fish in a barrel.