Mission Kill (1986) - full transcript
J.F. Cooper is an American demolition expert when he visits his best friend Harry whom is smuggling arms to a fictitious Latin American country to the country's rebels, and Harry invites Cooper to tag along with him. When Harry is murdered by foreign mercenaries, led by a brutal assassin-for-hire named Kennedy, Cooper seeks his revenge by murdering Kennedy, assuming his identity, and after reclaiming the stolen arms, assumes Kennedy's name and identity, and joins the rebel freedom fighters in their war against the oppressive totalitarian government.
(train whistling)
(train rattling)
(train whistling)
(gun firing)
(glass shattering)
(announcer speaking
in foreign language)
(speaking foreign language)
(upbeat music)
(ship horn blowing)
- Don't do it.
(ship horn blowing)
- Gastel, it's me, Clyde.
- [Gastel] The address is 7
Rosario Street, Apartment C.
He's armed and he's dangerous.
Any questions?
- Yes, there are.
What about the money?
- [Gastel] Come
over to the casino.
Good luck.
- You'll wait for
me at the beach hut.
- It won't work, Clyde.
- We need that money.
And there's no other
way of getting it.
I'll see you at the beach hut.
- I may not be there.
(suspenseful music)
(gun firing)
(man grunting)
- Albert.
- I didn't think
they'd send you.
- Why do they want you killed?
- McLean had a big competitor.
And now that he's out of the way
I guess I've become a nuisance.
I know too much.
Christ, we live in a cesspool.
- I know.
But maybe that's all we deserve.
- Damn it, Clyde.
I've never ratted on anyone.
Tell them, tell them.
That even if the cops catch
up to me, I won't talk.
- It wouldn't help, Albert.
In McLean's book,
you're a dead man.
- You've never accepted
this kind of a job before.
- I needed the money.
- I got money.
We could escape together.
- We're not going in
the same direction.
(gun firing)
(dramatic jazz music)
- [Gastel] Did everything
go all right, Clyde?
- [Clyde] Yes, thank you.
- Good.
McLean will be pleased.
How do you feel?
- No different.
- Throw them over to me.
Seven on your first throw.
You got a lucky hand.
Did you come for your money?
- Yes.
- There it is on the table.
What am I going to
do with you, Clyde?
- Why didn't you tell
me it was Albert?
He was my friend.
- You're my friend, too.
But you didn't do the job
and you still come
looking for the money.
Tell me, Clyde, what am
I going to do with you?
- I'm sure you have an idea.
- [Gastel] Why did you do
it, because of the girl?
- I'm tired of palm trees.
- Clyde, remember,
this is an island
and no one can leave it,
unless McLean says it's okay.
And in your case, I'm afraid
he's not going to say it's okay.
(guns firing)
(guns firing)
(man grunting)
(slow music)
- Don't make me kill
a friend, Peter.
- You haven't a chance.
Sooner or later, we'll
catch up with you.
- Get those dice moving.
With both hands.
(dice rattling)
I want to hear them
loud and clear.
(mid-tempo music)
- Hello.
You got news on Clyde?
- We're looking for him.
Joe saw him two hours
ago at the gas station.
- Ah, McLean is not
pleased with you.
- We're sure to get him today.
- I don't want him killed.
- I don't care what you want.
Clyde is my business.
- Funny appetite
they have in Cuba.
See that Clyde is surrounded.
Afterwards, I'll
take care of it.
(dramatic music)
Yeah, yeah, 'cause Clyde
is my business now.
No, McLean is not
pleased with you.
(gun firing)
(man groaning)
(gun firing)
Not at all.
(gun firing)
(man grunting)
(man laughing)
(car horn honking)
(gentle music)
- [Woman] We've always
been happy here.
- We've never been happy.
Just that here it
seemed more bearable.
- I want to stay here forever.
- We'll go to see
Tom Sayon tomorrow.
- Why?
- To get the passports
and the boat.
Nothing has changed.
(slow music)
We're leaving.
- What about the money?
- I have it.
- [Woman] And then?
- I didn't kill Albert,
but I got the money anyway.
We're get out of here, Anne.
We'll leave this stinking
island, I swear to you.
- You know we won't.
They're already
hunting you down.
And the minute you show your
face, they're going to get you.
And then you're going
to disappear just
like all the others.
And I, I either have
to go back to Richard
or disappear too.
- Anne, we must try.
We'll go see Tom Sayon tomorrow.
- Tomorrow.
Tomorrow.
Tomorrow.
(upbeat music)
(suspenseful music)
- Tom?
You know where Tom is?
Who did that to you?
- McLean's men.
- Do you have the passports?
- Take your money, brother.
I have a wife and children.
I don't want problems.
- And the boat.
- They smashed the motor.
First my face and
then the motor.
- Go away, sir, go away.
Why do you want to harm us?
We only want to live in peace.
- Take your money,
brother, and forget me.
- Keep it, get another motor.
- [Anne] Clyde, the car.
(man whistling)
Clyde.
Clyde. (groaning)
Clyde, let me, Clyde!
(man groaning)
(man groaning)
Clyde!
(Clyde groaning)
(man whistling)
(Anne groaning)
Clyde.
(slow music)
(car engine roaring)
(children laughing)
- [Child] Hey, wait for me.
(children laughing)
- It's open.
Come right in, brother.
Hey, Clyde Hart.
What in the hell
happened to you?
- The bed, the bed.
- [Dark Haired Woman] I
thought it was a client,
and you show up like this.
- Disinfectant and bandages.
- In this house
there's only rum.
Trouble with the police?
- No.
- If you're in trouble with
a gang it's even worse.
- Just get some water.
Just water, water.
Oh, oh.
(upbeat music)
(singing in foreign language)
(car horn honking)
- It's been a long
time, hasn't it?
- Three years.
- Those were happy days.
Now my door is open to anyone.
(dramatic music)
Clyde, Clyde, listen.
Do you hear me?
They're coming.
- Where's Anne?
- I do not think
she'll come back.
Let me help you.
Try to get away over the roof.
- I'm tired.
I'm tired from running.
Six years I've been
running from something.
I don't even know from what.
Get away, they
mustn't find you here.
Take it.
You'll need it more than I do.
- If I were your woman, I
would not have left you.
- You and I, we've
never been smart.
Now split, go away.
(slow suspenseful music)
- [Man] Clyde Hart?
- Go ahead, shoot.
- [Man] Police,
you're under arrest.
(Clyde laughing)
(Anne yelping)
- You saved his skin,
but he'll be an old man
by the time he
gets out of prison.
- You'll never be able
to make me forget him.
- Don't make any other mistakes,
because you're alone now.
- Yes, I am.
- Albert Webster.
- Mm.
- And Peter Gastel.
- Gastel?
- Two Americans in 24 hours.
Are you trying to break
a record, Inspector Reed?
- They're McLean's men.
I had warned Albert
Webster back in Panama
that he would probably
end up this way.
But I'm surprised
at the other one.
Peter Gastel was
the head of a group.
- It's good to have you
back in your old job again.
- Thank you.
I've always had a soft spot
in my heart for the islands.
- Please sign the receipt.
I'll tell them to
dress your friends
and you can take them away.
This hotel is full up. (laughs)
- I'd also like the take along
the other American,
a certain Clyde Hart.
- I'm sorry, but we are
still questioning him.
- I could show up
here tomorrow morning
with a release from the embassy
forcing you to hand
him over to me.
- [Man In White Shirt]
What do you want him for?
- He might be useful to me.
You won't get
anything out of him.
- There you are, Clyde Hart.
He's all yours.
Those two stiffs of
yours as a bonus.
Oh Fred, be careful.
Don't take any chances
when you're so close
to the finish line.
(hand slapping)
- [Man] Where are the
trucks coming from?
Talk!
- [Man] How many times
have you seen McLean?
- [Man] Now where did
you hide the guns?
- [Man] Hart, speak up.
(speaking foreign language)
- Clyde Hart,
formerly Klaus Hertz.
Born in Frankfurt,
Germany, May 29th, 1943.
Emigrated with his parents
to the United States in 1951.
Preliminary schooling
then two years
at the University of
Southern California.
Drafted in '69, a year
and a half in Vietnam,
and then deserts.
Next turns up in Jamaica
as a member of the
McLean organization.
Recently you accepted
your first kill.
You really needed the
money, didn't you?
- What do you want?
- They used the wrong
methods questioning you.
No finesse.
Shall we go for a drive?
(upbeat music)
As you can see for yourself,
all means of escape
are under surveillance.
It would be
practically impossible
for you to leave the island.
Ah, here's some old
friends of yours.
Yes.
Do you remember them, Clyde?
What do you suppose would
happen if I made you get out?
Tomorrow I would receive a call
from the Santo Domingo
Police Department
asking me what to
do with your corpse.
- Don't lose your time.
Your methods lack finesse too.
(slow music)
Why did you bring me here?
- That was Peter Gastel's house.
Now Richard Francis is
in there, not alone.
Would you like to guess what's
going on behind that window?
Anne Holden, born in
Cincinnati 28 years ago.
In 1966 she turns up in New York
and strikes up a friendship
with Nico San Angelo,
a member of the
McLean organization.
Finally Clyde Hart
appears on the scene.
But stealing a sidekick's
girl is against the rules,
so Richard has been
waiting for his chance.
Anne Holden moved into
that house three days ago
after calling the police
and asking them to save you.
She hasn't been out since,
except in the evening
to go to a local movie
house under guard.
- What do you want?
- I can get you two plane
tickets and two passports,
and mine are better
than Tom Sayon's.
- What's your price?
- I want you to kill a man.
I imagine you've been
asked to do that before.
- Yes, but not by the police.
- Santo Domingo, okay?
- Yes, sir.
- McLean speaking.
Any news?
- [Man] You'll meet with
Inspector Reed as planned.
- Everything set?
- [Man] Yes, sir, all set.
- That's great.
- [Man] Hi.
- How are ya?
- Fine, thanks.
- Everything all right?
- Everything's perfect.
- How's the wife, she all right?
- She's fine, thank you, sir.
(helicopter drowns out speech)
- Hi.
- Good day, Mr. McLean.
- Thank you.
- Fine.
(dramatic music)
- Inspector Reed, Mr.
McLean wants to talk to you.
- The hell with him.
All right, I'll talk to him.
- You're wanted on
the telephone, sir.
- Ah, thank you.
Here.
Yes.
- [Man] Mr. McLean, I
have Inspector Reed here.
- Edward, all of this kidnapping
wasn't really
necessary now, was it?
- I just wanted to
have a chat with you.
You know, that's not a
nice word, kidnapping.
- Drop by for tea anytime.
- You're a hard man to reach,
an old fox without a lair.
- It's kept me alive.
- Then I guess you see
I can lay hands on you
whenever I want, right?
You know, it's been
a bit of a headache
having you transferred
out of the Caribbean.
And here you are back again.
Didn't you like New York?
- I have some unfinished
business here.
- Fred, you're a pro.
You've gotta know that these
are shark-infested waters.
They're dangerous.
- I know that.
- You're a stubborn
son of a bitch, too.
You've been annoying me
on and off for 15 years.
This has gotta be a
personal grudge by now.
It's not professional.
I'm clean.
- I'll admit I haven't been
able to nab you until now,
but I'd like one more crack
at you before I retire.
No one is invulnerable,
McLean, no one.
And one of these days even
your dear friends in Washington
will get sick of protecting you.
- (laughs) You don't know
your way around Washington.
As far as that goes,
your record there
is a lot smellier than mine.
- All filing systems lie.
That's why I despise them.
As I despise your
friends in Washington
and as I despise you.
- You're a strange man, Fred.
You refuse bribes,
you don't take orders
from your superiors that
tell you to lay off me.
Why is that?
- You know very well why.
- You only have a few
months to go to retire.
I won't say it again.
Get off my back.
- Commissario Clement?
- He down there
with the flowers.
- Commissario Clement.
- Ah, what good wind
brings you here, Inspector?
- Ah, narcissus.
- Uh-huh, narcissus albus.
- Preparing a nest
for when you retire?
- You should be
doing the same thing.
You only have a few more months.
- Do you remember those
three men of yours
that I talked to you about?
- Yes.
- I'm going to need them now.
- Hm.
Well they aren't my best men.
As a matter of fact, they're
really a little shady. (laughs)
Have you already
spoken with them?
- May I invoke the
Fifth Amendment?
- (laughs) What have you
done with Clyde Hart?
I know that you
haven't turned him over
to the US authorities.
- I have other plans
for him, Commissario.
- Same plans as you
have for my three men?
- Let us suppose so.
- And suppose I refuse?
- You can't.
I have a (mumbles)
from your boss.
- Where did you
get this signature?
- I have some power here too.
If your men agree,
they'll be under my orders
for the next three weeks.
- You are a lonely old
fart, just as I am.
And I like and respect you,
so don't do anything too rash,
because then I
would have to, mm.
- Don't worry, my friend.
Go back to your
narcissus, albus?
- Albus.
(mid-tempo jazz music)
- [Man] Good morning.
- Ah, good morning, sir.
- Bring him in.
- [Man] Good morning.
- Hugo, you're there.
And you're here.
- Good morning, Clyde.
Have a good night?
- No.
- Too bad.
Well, let's get on
with our project.
I want you to meet some friends.
- Oh yeah, whose friends?
- First names will
be sufficient.
Juan, Daniel, Hugo.
- Which one of you will prepare
my breakfast every morning?
- He will.
I'll just wipe your ass.
(Hugo laughing)
- Hm, you would like
that, wouldn't you?
I prefer to work alone.
- I'm sorry, you can't.
They're under orders to kill you
if they suspect things
aren't going right.
- Cops, aren't they?
- First you'll
have to train them.
I want them to
become real killers.
- If they've accepted this
job, they already are.
- How much are we going to have
to take from this guy, sir?
- For now, a lot.
After, well after
you're on your own.
If he can't handle the three
of you, he's no good to me.
- Hey, hungry?
(Daniel grunting)
(dramatic music)
- You heard what
the inspector said.
I could kill ya if I wanted to.
Get going.
(Hugo groaning)
(men grunting)
(Daniel groaning)
(gun firing)
(hand slapping)
- Blanks hurt too, don't they?
The inspector just
wanted to test you.
- Fuck the inspector.
- The gear you
asked for is here.
Come on, we're waiting for you.
- Any of you guys ever
handled plastic explosives?
(waves crashing)
Connect it.
- Right.
- Time it for 10 seconds.
(timer clicking)
One, two, three, four.
(Hugo groaning)
Five, six, seven, eight,
nine, 10, let's do it.
The fuses weren't placed right.
Now again.
This time 20 seconds.
(timer clicking)
(bomb exploding)
We must figure on having
to remain underwater
for one minute and a half.
How long can you hold
without breathing?
- 2.10 minutes.
- [Clyde] And you?
- I don't know.
- [Clyde] Well, what about you?
- I never timed it.
- Okay, call about the tower.
I'll need it tomorrow.
All right, you guys, we'll
start with one minute.
At my signal, you put
your heads underwater.
One, two, three, now.
(men gasping)
(water splashing)
(men coughing)
- You son of a bitch.
I'll kill ya.
(men coughing)
- You didn't even
last one minute.
- The McLean factory.
Down below is the first control,
the station and the
buildings of the factory.
Here is the second control.
We shall see it
later in more detail.
Here is Isabella
Bay and the quay,
which is the truck's destination
through these palm trees.
Okay, now in more detail,
the second control.
And the avenue of palm trees
along which the truck must
go to get to the quay.
All this is part of the McLean
empire, heavily guarded.
The road going
along, the exact spot
on the quay where
the truck has to top.
Here is the dock.
This is the end of
the palm trees avenue
and here is the
administration building.
McLean is in there.
A commando will
enter through here,
the other through the yard.
They will get off the truck
and from the beach will
attack the building.
150 miles between Santo Domingo
and Isabella Bay,
which we just saw.
Clyde will tell you
more about all that.
- Well, the road is very bad
and there's very
little traffic on it.
You can drive 60 miles an hour.
- How many men will
be on the truck?
- Two, but we need them alive.
- Right.
- How are we're
going to stop it?
- Okay, your turn.
(Daniel grunting)
(Daniel groaning)
(laughs) Try it again.
(guns firing)
(mid-tempo music)
(guns firing)
(guns firing)
- Hi.
(guns firing)
- Nothing disturbs
your appetite,
not even the sight
of that bastard.
- No, why?
- I'm fed up with
seeing him all day.
Does he have to eat with us too?
- Ask him.
- Why did you accept this job?
For money or for promotion?
- None of your business.
- You'll still always
smell like cops.
- Don't forget, you'll
be doing the dirty work.
- I guess in the
end we'll all stink.
- (laughs) If we come
out of this alive,
you'll hear from me.
- You're the one with
the least probability
of coming out alive.
- Me, why?
- Because you're a coward.
- Sit down.
(phone ringing)
- Yes.
Hello?
Yes?
Who's there?
Who is it?
- You're hurting me.
- Huh.
(slow dramatic music)
- You're hurting me, my love,
oh you're hurting me.
Let me go, my love.
Oh, oh, my love,
let me (groans).
(gun firing)
- Let him go.
(dramatic music)
(speaking foreign language)
(man grunting)
(slow romantic music)
- It's funny, all I
do is think about you.
And now I'm not even
happy to see you.
- Why?
- Why should I be?
What's left for you and me?
- [Clyde] You drink too much.
- I need it.
I need it before Richard
and I need it after Richard.
- Why did you go back to him?
- I don't have any choice.
Either he kills me or
I go to bed with him.
So I go to bed with him.
- I'd rather you slept
with 100 other men.
- 100 men or Richard, what
the hell's the difference?
Before I met you I didn't care.
I knew they were all the
same, they were all bastards.
Now you made me love you,
but I can't love you.
So what the hell do I
have to be happy about?
It would be so much simpler
if I'd never met you.
- Let's leave here.
Tonight.
We can cross over
the border to Haiti.
- [Anne] (laughs) We
don't have any passports.
- This time we
still have a chance.
- [Anne] We have no
chance, now or ever.
- Believe me, please.
- No chance, nothing.
- Please, believe me.
- Zero.
Go away, just go away.
I don't want to
go to bed with you
wondering which night
it's going to be,
which night you're going
to end up full of bullets.
Go, don't--
- Anne.
- Away from my body,
away from my lips.
Go away.
I never want to see
you again, never.
- [Clyde] Anne, please.
- So don't come back looking
for me because I just can't.
I haven't got the guts.
I don't want to be there
when they kill you!
- Good evening, Mr. Hart.
Congratulations on
your planned escape.
(slow romantic music)
- You and your chances.
Now do you see, Clyde,
now do you understand?
- Take the lady home.
- Yes, sir.
- You know where Mr.
Francis lives, don't you?
- So, all of this was set up?
You allowed me to
get away from you.
- I wanted you to see the girl.
I thought she would be the
right incentive for you.
Now go back to the farm.
You can go alone.
- Where are we going?
- To your lover's place.
- I just said goodbye
to a walking corpse.
Did you ever say goodbye
to a walking corpse?
I know.
All of a sudden
I'm irresistible.
Isn't that right?
- Yeah.
- I have such luck with men.
You know what I want tonight?
I want 100 men.
Not one more and not one less.
100 exactly.
Did you ever see
a walking corpse?
- I'm one.
- You certainly are. (laughs)
With that dirty
look in your eye.
(laughs) You had that dirty look
the first two
minutes you met me.
Irresistible,
irresistible. (laughs)
- Hey, what are you doing?
(tires squealing)
- I've never been
to bed with a cop.
(Juan laughing)
(gasps) Oh, I hope you
don't mind, I'm drunk.
(Juan laughing)
I didn't think you would.
- Wait a minute and I'll park.
(upbeat music)
(Anne laughing)
- Some champagne?
Champagne for us. (laughs)
- Oh!
(Anne laughing)
(Anne groaning)
(Clyde grunting)
- Okay, pig, now let's
see if you can stand it.
Let's see if you can
stand it for five minutes.
Let's see how you like it.
- Daniel!
Daniel, are you crazy?
Get out of here.
- You were right.
We're all going to
stink pretty soon.
You're doing a fine job.
(mid-tempo music)
- Yes, Mr. McLean, yes sir.
Mr. McLean?
Yes, I hear you perfectly.
Washington has given
you the green light.
That's great.
Don't worry.
Don't you worry.
I'll find Inspector Reed and
I'll give him your message.
I waited for you.
- Did you?
I decided to spend
the night out.
- Have you and Clyde
made up for lost time?
- I wasn't with Clyde.
I went to a motel.
- Alone?
- No.
- With who?
- I don't know his name.
He's a cop.
- A cop?
With you, baby, I've
had it up to here.
When I'm in bed with a woman
I like it to be
just the two of us.
With you we've
always been three.
You, me, and Clyde.
- You're wrong.
There have only been two of
us in that bed, me and Clyde.
- If it were any other guy
I'd give you a kick in the ass
and tell you to go with
him, and good riddance.
But Clyde, no.
And do you want
to know why, huh?
Because I'm going to kill him,
and right before your eyes.
- Our men will be in
Isabella Bay tomorrow.
Everybody knows exactly
what he has to do.
In return for which you will
receive, you, two passports.
For you, $10,000.
You, clean record.
And for you and me, nothing.
- I accepted this
job because I thought
it was the right
thing to do, and now--
- Any doubts?
- Yes.
- It's too late for doubts!
You are under
orders to kill Clyde
at the first sign of treason.
If you kill him for
any other motive
I'm afraid you'll be very sorry.
- It'll be up to him, sir.
- [Inspector Reed] Right.
I'll stay here and wait
for your phone call.
Go on.
- Let's go.
- And you.
Good luck, Clyde.
- Hm, it's funny.
Whenever they give
me a dirty job to do
they wish me good luck.
(suspenseful music)
(helicopter whirring)
- Perfect day.
- Right you are, sir.
(slow music)
- This is the place.
We'll wait for you on the
other side of the bridge.
- Why should I be the
one that's gotta jump?
Why couldn't you do it?
Or that bastard?
- You must do it.
You're under orders to do it.
- I won't do it.
I don't wanna.
No, I won't do it, I tell ya.
I won't do it!
No, no!
- You coward.
Get out, I'll do it.
Drive the car.
(mid-tempo music)
(helicopter whirring)
(suspenseful music)
- Hi.
- [Man] Good morning, sir.
- All set?
- Yes, sir.
(dramatic music)
- Easy.
- Don't try anything.
- Go on.
- Start.
(suspenseful music)
Just keep cool.
Do what you were told, you hear?
- Glad to see you.
Everything all right?
All right.
(slow music)
- Run for your lives,
it's gonna blow.
Watch out!
(truck exploding)
(siren wailing)
(fire roaring)
(guns firing)
- Daniel!
(helicopter exploding)
(gun firing)
(man groaning)
- I did my job well, didn't I?
- First class.
(guns firing)
- Hugo.
(gun firing)
(bomb exploding)
(guns firing)
(guns firing)
(footsteps thudding)
- You won't find a hole
in the ground to hide in.
- I've never had one.
- So you've come to arrest me?
- We've come to kill you.
- Hm.
Inspector Reed?
- Shoot.
- Shoot.
I would if I were you.
After all, we're among friends.
(gun firing)
(gun firing)
- You haven't done your job.
(gun firing)
(gun firing)
- You've made killers of us all.
You should be satisfied now.
(slow music)
(phone ringing)
- Inspector Reed, it's all over.
McLean is dead.
- Clyde, this is Richard.
If you've managed
to kill McLean,
let me tell you that Inspector
Reed is in trouble too.
When you hear a
shot, he'll be dead.
(gun firing)
- Where is Anne?
- I've been using her
for these past few days.
Now she doesn't
amuse me anymore.
You'll find her at Palm Grove
Beach in a couple of hours.
(car engine roaring)
(guns firing)
(gun firing)
(man grunting)
(guns firing)
(gun firing)
(gun firing)
- Next time I'll kill her.
- Richard.
Ah!
(gun firing)
(slow romantic music)
(mid-tempo music)
(train rattling)
(train whistling)
(gun firing)
(glass shattering)
(announcer speaking
in foreign language)
(speaking foreign language)
(upbeat music)
(ship horn blowing)
- Don't do it.
(ship horn blowing)
- Gastel, it's me, Clyde.
- [Gastel] The address is 7
Rosario Street, Apartment C.
He's armed and he's dangerous.
Any questions?
- Yes, there are.
What about the money?
- [Gastel] Come
over to the casino.
Good luck.
- You'll wait for
me at the beach hut.
- It won't work, Clyde.
- We need that money.
And there's no other
way of getting it.
I'll see you at the beach hut.
- I may not be there.
(suspenseful music)
(gun firing)
(man grunting)
- Albert.
- I didn't think
they'd send you.
- Why do they want you killed?
- McLean had a big competitor.
And now that he's out of the way
I guess I've become a nuisance.
I know too much.
Christ, we live in a cesspool.
- I know.
But maybe that's all we deserve.
- Damn it, Clyde.
I've never ratted on anyone.
Tell them, tell them.
That even if the cops catch
up to me, I won't talk.
- It wouldn't help, Albert.
In McLean's book,
you're a dead man.
- You've never accepted
this kind of a job before.
- I needed the money.
- I got money.
We could escape together.
- We're not going in
the same direction.
(gun firing)
(dramatic jazz music)
- [Gastel] Did everything
go all right, Clyde?
- [Clyde] Yes, thank you.
- Good.
McLean will be pleased.
How do you feel?
- No different.
- Throw them over to me.
Seven on your first throw.
You got a lucky hand.
Did you come for your money?
- Yes.
- There it is on the table.
What am I going to
do with you, Clyde?
- Why didn't you tell
me it was Albert?
He was my friend.
- You're my friend, too.
But you didn't do the job
and you still come
looking for the money.
Tell me, Clyde, what am
I going to do with you?
- I'm sure you have an idea.
- [Gastel] Why did you do
it, because of the girl?
- I'm tired of palm trees.
- Clyde, remember,
this is an island
and no one can leave it,
unless McLean says it's okay.
And in your case, I'm afraid
he's not going to say it's okay.
(guns firing)
(guns firing)
(man grunting)
(slow music)
- Don't make me kill
a friend, Peter.
- You haven't a chance.
Sooner or later, we'll
catch up with you.
- Get those dice moving.
With both hands.
(dice rattling)
I want to hear them
loud and clear.
(mid-tempo music)
- Hello.
You got news on Clyde?
- We're looking for him.
Joe saw him two hours
ago at the gas station.
- Ah, McLean is not
pleased with you.
- We're sure to get him today.
- I don't want him killed.
- I don't care what you want.
Clyde is my business.
- Funny appetite
they have in Cuba.
See that Clyde is surrounded.
Afterwards, I'll
take care of it.
(dramatic music)
Yeah, yeah, 'cause Clyde
is my business now.
No, McLean is not
pleased with you.
(gun firing)
(man groaning)
(gun firing)
Not at all.
(gun firing)
(man grunting)
(man laughing)
(car horn honking)
(gentle music)
- [Woman] We've always
been happy here.
- We've never been happy.
Just that here it
seemed more bearable.
- I want to stay here forever.
- We'll go to see
Tom Sayon tomorrow.
- Why?
- To get the passports
and the boat.
Nothing has changed.
(slow music)
We're leaving.
- What about the money?
- I have it.
- [Woman] And then?
- I didn't kill Albert,
but I got the money anyway.
We're get out of here, Anne.
We'll leave this stinking
island, I swear to you.
- You know we won't.
They're already
hunting you down.
And the minute you show your
face, they're going to get you.
And then you're going
to disappear just
like all the others.
And I, I either have
to go back to Richard
or disappear too.
- Anne, we must try.
We'll go see Tom Sayon tomorrow.
- Tomorrow.
Tomorrow.
Tomorrow.
(upbeat music)
(suspenseful music)
- Tom?
You know where Tom is?
Who did that to you?
- McLean's men.
- Do you have the passports?
- Take your money, brother.
I have a wife and children.
I don't want problems.
- And the boat.
- They smashed the motor.
First my face and
then the motor.
- Go away, sir, go away.
Why do you want to harm us?
We only want to live in peace.
- Take your money,
brother, and forget me.
- Keep it, get another motor.
- [Anne] Clyde, the car.
(man whistling)
Clyde.
Clyde. (groaning)
Clyde, let me, Clyde!
(man groaning)
(man groaning)
Clyde!
(Clyde groaning)
(man whistling)
(Anne groaning)
Clyde.
(slow music)
(car engine roaring)
(children laughing)
- [Child] Hey, wait for me.
(children laughing)
- It's open.
Come right in, brother.
Hey, Clyde Hart.
What in the hell
happened to you?
- The bed, the bed.
- [Dark Haired Woman] I
thought it was a client,
and you show up like this.
- Disinfectant and bandages.
- In this house
there's only rum.
Trouble with the police?
- No.
- If you're in trouble with
a gang it's even worse.
- Just get some water.
Just water, water.
Oh, oh.
(upbeat music)
(singing in foreign language)
(car horn honking)
- It's been a long
time, hasn't it?
- Three years.
- Those were happy days.
Now my door is open to anyone.
(dramatic music)
Clyde, Clyde, listen.
Do you hear me?
They're coming.
- Where's Anne?
- I do not think
she'll come back.
Let me help you.
Try to get away over the roof.
- I'm tired.
I'm tired from running.
Six years I've been
running from something.
I don't even know from what.
Get away, they
mustn't find you here.
Take it.
You'll need it more than I do.
- If I were your woman, I
would not have left you.
- You and I, we've
never been smart.
Now split, go away.
(slow suspenseful music)
- [Man] Clyde Hart?
- Go ahead, shoot.
- [Man] Police,
you're under arrest.
(Clyde laughing)
(Anne yelping)
- You saved his skin,
but he'll be an old man
by the time he
gets out of prison.
- You'll never be able
to make me forget him.
- Don't make any other mistakes,
because you're alone now.
- Yes, I am.
- Albert Webster.
- Mm.
- And Peter Gastel.
- Gastel?
- Two Americans in 24 hours.
Are you trying to break
a record, Inspector Reed?
- They're McLean's men.
I had warned Albert
Webster back in Panama
that he would probably
end up this way.
But I'm surprised
at the other one.
Peter Gastel was
the head of a group.
- It's good to have you
back in your old job again.
- Thank you.
I've always had a soft spot
in my heart for the islands.
- Please sign the receipt.
I'll tell them to
dress your friends
and you can take them away.
This hotel is full up. (laughs)
- I'd also like the take along
the other American,
a certain Clyde Hart.
- I'm sorry, but we are
still questioning him.
- I could show up
here tomorrow morning
with a release from the embassy
forcing you to hand
him over to me.
- [Man In White Shirt]
What do you want him for?
- He might be useful to me.
You won't get
anything out of him.
- There you are, Clyde Hart.
He's all yours.
Those two stiffs of
yours as a bonus.
Oh Fred, be careful.
Don't take any chances
when you're so close
to the finish line.
(hand slapping)
- [Man] Where are the
trucks coming from?
Talk!
- [Man] How many times
have you seen McLean?
- [Man] Now where did
you hide the guns?
- [Man] Hart, speak up.
(speaking foreign language)
- Clyde Hart,
formerly Klaus Hertz.
Born in Frankfurt,
Germany, May 29th, 1943.
Emigrated with his parents
to the United States in 1951.
Preliminary schooling
then two years
at the University of
Southern California.
Drafted in '69, a year
and a half in Vietnam,
and then deserts.
Next turns up in Jamaica
as a member of the
McLean organization.
Recently you accepted
your first kill.
You really needed the
money, didn't you?
- What do you want?
- They used the wrong
methods questioning you.
No finesse.
Shall we go for a drive?
(upbeat music)
As you can see for yourself,
all means of escape
are under surveillance.
It would be
practically impossible
for you to leave the island.
Ah, here's some old
friends of yours.
Yes.
Do you remember them, Clyde?
What do you suppose would
happen if I made you get out?
Tomorrow I would receive a call
from the Santo Domingo
Police Department
asking me what to
do with your corpse.
- Don't lose your time.
Your methods lack finesse too.
(slow music)
Why did you bring me here?
- That was Peter Gastel's house.
Now Richard Francis is
in there, not alone.
Would you like to guess what's
going on behind that window?
Anne Holden, born in
Cincinnati 28 years ago.
In 1966 she turns up in New York
and strikes up a friendship
with Nico San Angelo,
a member of the
McLean organization.
Finally Clyde Hart
appears on the scene.
But stealing a sidekick's
girl is against the rules,
so Richard has been
waiting for his chance.
Anne Holden moved into
that house three days ago
after calling the police
and asking them to save you.
She hasn't been out since,
except in the evening
to go to a local movie
house under guard.
- What do you want?
- I can get you two plane
tickets and two passports,
and mine are better
than Tom Sayon's.
- What's your price?
- I want you to kill a man.
I imagine you've been
asked to do that before.
- Yes, but not by the police.
- Santo Domingo, okay?
- Yes, sir.
- McLean speaking.
Any news?
- [Man] You'll meet with
Inspector Reed as planned.
- Everything set?
- [Man] Yes, sir, all set.
- That's great.
- [Man] Hi.
- How are ya?
- Fine, thanks.
- Everything all right?
- Everything's perfect.
- How's the wife, she all right?
- She's fine, thank you, sir.
(helicopter drowns out speech)
- Hi.
- Good day, Mr. McLean.
- Thank you.
- Fine.
(dramatic music)
- Inspector Reed, Mr.
McLean wants to talk to you.
- The hell with him.
All right, I'll talk to him.
- You're wanted on
the telephone, sir.
- Ah, thank you.
Here.
Yes.
- [Man] Mr. McLean, I
have Inspector Reed here.
- Edward, all of this kidnapping
wasn't really
necessary now, was it?
- I just wanted to
have a chat with you.
You know, that's not a
nice word, kidnapping.
- Drop by for tea anytime.
- You're a hard man to reach,
an old fox without a lair.
- It's kept me alive.
- Then I guess you see
I can lay hands on you
whenever I want, right?
You know, it's been
a bit of a headache
having you transferred
out of the Caribbean.
And here you are back again.
Didn't you like New York?
- I have some unfinished
business here.
- Fred, you're a pro.
You've gotta know that these
are shark-infested waters.
They're dangerous.
- I know that.
- You're a stubborn
son of a bitch, too.
You've been annoying me
on and off for 15 years.
This has gotta be a
personal grudge by now.
It's not professional.
I'm clean.
- I'll admit I haven't been
able to nab you until now,
but I'd like one more crack
at you before I retire.
No one is invulnerable,
McLean, no one.
And one of these days even
your dear friends in Washington
will get sick of protecting you.
- (laughs) You don't know
your way around Washington.
As far as that goes,
your record there
is a lot smellier than mine.
- All filing systems lie.
That's why I despise them.
As I despise your
friends in Washington
and as I despise you.
- You're a strange man, Fred.
You refuse bribes,
you don't take orders
from your superiors that
tell you to lay off me.
Why is that?
- You know very well why.
- You only have a few
months to go to retire.
I won't say it again.
Get off my back.
- Commissario Clement?
- He down there
with the flowers.
- Commissario Clement.
- Ah, what good wind
brings you here, Inspector?
- Ah, narcissus.
- Uh-huh, narcissus albus.
- Preparing a nest
for when you retire?
- You should be
doing the same thing.
You only have a few more months.
- Do you remember those
three men of yours
that I talked to you about?
- Yes.
- I'm going to need them now.
- Hm.
Well they aren't my best men.
As a matter of fact, they're
really a little shady. (laughs)
Have you already
spoken with them?
- May I invoke the
Fifth Amendment?
- (laughs) What have you
done with Clyde Hart?
I know that you
haven't turned him over
to the US authorities.
- I have other plans
for him, Commissario.
- Same plans as you
have for my three men?
- Let us suppose so.
- And suppose I refuse?
- You can't.
I have a (mumbles)
from your boss.
- Where did you
get this signature?
- I have some power here too.
If your men agree,
they'll be under my orders
for the next three weeks.
- You are a lonely old
fart, just as I am.
And I like and respect you,
so don't do anything too rash,
because then I
would have to, mm.
- Don't worry, my friend.
Go back to your
narcissus, albus?
- Albus.
(mid-tempo jazz music)
- [Man] Good morning.
- Ah, good morning, sir.
- Bring him in.
- [Man] Good morning.
- Hugo, you're there.
And you're here.
- Good morning, Clyde.
Have a good night?
- No.
- Too bad.
Well, let's get on
with our project.
I want you to meet some friends.
- Oh yeah, whose friends?
- First names will
be sufficient.
Juan, Daniel, Hugo.
- Which one of you will prepare
my breakfast every morning?
- He will.
I'll just wipe your ass.
(Hugo laughing)
- Hm, you would like
that, wouldn't you?
I prefer to work alone.
- I'm sorry, you can't.
They're under orders to kill you
if they suspect things
aren't going right.
- Cops, aren't they?
- First you'll
have to train them.
I want them to
become real killers.
- If they've accepted this
job, they already are.
- How much are we going to have
to take from this guy, sir?
- For now, a lot.
After, well after
you're on your own.
If he can't handle the three
of you, he's no good to me.
- Hey, hungry?
(Daniel grunting)
(dramatic music)
- You heard what
the inspector said.
I could kill ya if I wanted to.
Get going.
(Hugo groaning)
(men grunting)
(Daniel groaning)
(gun firing)
(hand slapping)
- Blanks hurt too, don't they?
The inspector just
wanted to test you.
- Fuck the inspector.
- The gear you
asked for is here.
Come on, we're waiting for you.
- Any of you guys ever
handled plastic explosives?
(waves crashing)
Connect it.
- Right.
- Time it for 10 seconds.
(timer clicking)
One, two, three, four.
(Hugo groaning)
Five, six, seven, eight,
nine, 10, let's do it.
The fuses weren't placed right.
Now again.
This time 20 seconds.
(timer clicking)
(bomb exploding)
We must figure on having
to remain underwater
for one minute and a half.
How long can you hold
without breathing?
- 2.10 minutes.
- [Clyde] And you?
- I don't know.
- [Clyde] Well, what about you?
- I never timed it.
- Okay, call about the tower.
I'll need it tomorrow.
All right, you guys, we'll
start with one minute.
At my signal, you put
your heads underwater.
One, two, three, now.
(men gasping)
(water splashing)
(men coughing)
- You son of a bitch.
I'll kill ya.
(men coughing)
- You didn't even
last one minute.
- The McLean factory.
Down below is the first control,
the station and the
buildings of the factory.
Here is the second control.
We shall see it
later in more detail.
Here is Isabella
Bay and the quay,
which is the truck's destination
through these palm trees.
Okay, now in more detail,
the second control.
And the avenue of palm trees
along which the truck must
go to get to the quay.
All this is part of the McLean
empire, heavily guarded.
The road going
along, the exact spot
on the quay where
the truck has to top.
Here is the dock.
This is the end of
the palm trees avenue
and here is the
administration building.
McLean is in there.
A commando will
enter through here,
the other through the yard.
They will get off the truck
and from the beach will
attack the building.
150 miles between Santo Domingo
and Isabella Bay,
which we just saw.
Clyde will tell you
more about all that.
- Well, the road is very bad
and there's very
little traffic on it.
You can drive 60 miles an hour.
- How many men will
be on the truck?
- Two, but we need them alive.
- Right.
- How are we're
going to stop it?
- Okay, your turn.
(Daniel grunting)
(Daniel groaning)
(laughs) Try it again.
(guns firing)
(mid-tempo music)
(guns firing)
(guns firing)
- Hi.
(guns firing)
- Nothing disturbs
your appetite,
not even the sight
of that bastard.
- No, why?
- I'm fed up with
seeing him all day.
Does he have to eat with us too?
- Ask him.
- Why did you accept this job?
For money or for promotion?
- None of your business.
- You'll still always
smell like cops.
- Don't forget, you'll
be doing the dirty work.
- I guess in the
end we'll all stink.
- (laughs) If we come
out of this alive,
you'll hear from me.
- You're the one with
the least probability
of coming out alive.
- Me, why?
- Because you're a coward.
- Sit down.
(phone ringing)
- Yes.
Hello?
Yes?
Who's there?
Who is it?
- You're hurting me.
- Huh.
(slow dramatic music)
- You're hurting me, my love,
oh you're hurting me.
Let me go, my love.
Oh, oh, my love,
let me (groans).
(gun firing)
- Let him go.
(dramatic music)
(speaking foreign language)
(man grunting)
(slow romantic music)
- It's funny, all I
do is think about you.
And now I'm not even
happy to see you.
- Why?
- Why should I be?
What's left for you and me?
- [Clyde] You drink too much.
- I need it.
I need it before Richard
and I need it after Richard.
- Why did you go back to him?
- I don't have any choice.
Either he kills me or
I go to bed with him.
So I go to bed with him.
- I'd rather you slept
with 100 other men.
- 100 men or Richard, what
the hell's the difference?
Before I met you I didn't care.
I knew they were all the
same, they were all bastards.
Now you made me love you,
but I can't love you.
So what the hell do I
have to be happy about?
It would be so much simpler
if I'd never met you.
- Let's leave here.
Tonight.
We can cross over
the border to Haiti.
- [Anne] (laughs) We
don't have any passports.
- This time we
still have a chance.
- [Anne] We have no
chance, now or ever.
- Believe me, please.
- No chance, nothing.
- Please, believe me.
- Zero.
Go away, just go away.
I don't want to
go to bed with you
wondering which night
it's going to be,
which night you're going
to end up full of bullets.
Go, don't--
- Anne.
- Away from my body,
away from my lips.
Go away.
I never want to see
you again, never.
- [Clyde] Anne, please.
- So don't come back looking
for me because I just can't.
I haven't got the guts.
I don't want to be there
when they kill you!
- Good evening, Mr. Hart.
Congratulations on
your planned escape.
(slow romantic music)
- You and your chances.
Now do you see, Clyde,
now do you understand?
- Take the lady home.
- Yes, sir.
- You know where Mr.
Francis lives, don't you?
- So, all of this was set up?
You allowed me to
get away from you.
- I wanted you to see the girl.
I thought she would be the
right incentive for you.
Now go back to the farm.
You can go alone.
- Where are we going?
- To your lover's place.
- I just said goodbye
to a walking corpse.
Did you ever say goodbye
to a walking corpse?
I know.
All of a sudden
I'm irresistible.
Isn't that right?
- Yeah.
- I have such luck with men.
You know what I want tonight?
I want 100 men.
Not one more and not one less.
100 exactly.
Did you ever see
a walking corpse?
- I'm one.
- You certainly are. (laughs)
With that dirty
look in your eye.
(laughs) You had that dirty look
the first two
minutes you met me.
Irresistible,
irresistible. (laughs)
- Hey, what are you doing?
(tires squealing)
- I've never been
to bed with a cop.
(Juan laughing)
(gasps) Oh, I hope you
don't mind, I'm drunk.
(Juan laughing)
I didn't think you would.
- Wait a minute and I'll park.
(upbeat music)
(Anne laughing)
- Some champagne?
Champagne for us. (laughs)
- Oh!
(Anne laughing)
(Anne groaning)
(Clyde grunting)
- Okay, pig, now let's
see if you can stand it.
Let's see if you can
stand it for five minutes.
Let's see how you like it.
- Daniel!
Daniel, are you crazy?
Get out of here.
- You were right.
We're all going to
stink pretty soon.
You're doing a fine job.
(mid-tempo music)
- Yes, Mr. McLean, yes sir.
Mr. McLean?
Yes, I hear you perfectly.
Washington has given
you the green light.
That's great.
Don't worry.
Don't you worry.
I'll find Inspector Reed and
I'll give him your message.
I waited for you.
- Did you?
I decided to spend
the night out.
- Have you and Clyde
made up for lost time?
- I wasn't with Clyde.
I went to a motel.
- Alone?
- No.
- With who?
- I don't know his name.
He's a cop.
- A cop?
With you, baby, I've
had it up to here.
When I'm in bed with a woman
I like it to be
just the two of us.
With you we've
always been three.
You, me, and Clyde.
- You're wrong.
There have only been two of
us in that bed, me and Clyde.
- If it were any other guy
I'd give you a kick in the ass
and tell you to go with
him, and good riddance.
But Clyde, no.
And do you want
to know why, huh?
Because I'm going to kill him,
and right before your eyes.
- Our men will be in
Isabella Bay tomorrow.
Everybody knows exactly
what he has to do.
In return for which you will
receive, you, two passports.
For you, $10,000.
You, clean record.
And for you and me, nothing.
- I accepted this
job because I thought
it was the right
thing to do, and now--
- Any doubts?
- Yes.
- It's too late for doubts!
You are under
orders to kill Clyde
at the first sign of treason.
If you kill him for
any other motive
I'm afraid you'll be very sorry.
- It'll be up to him, sir.
- [Inspector Reed] Right.
I'll stay here and wait
for your phone call.
Go on.
- Let's go.
- And you.
Good luck, Clyde.
- Hm, it's funny.
Whenever they give
me a dirty job to do
they wish me good luck.
(suspenseful music)
(helicopter whirring)
- Perfect day.
- Right you are, sir.
(slow music)
- This is the place.
We'll wait for you on the
other side of the bridge.
- Why should I be the
one that's gotta jump?
Why couldn't you do it?
Or that bastard?
- You must do it.
You're under orders to do it.
- I won't do it.
I don't wanna.
No, I won't do it, I tell ya.
I won't do it!
No, no!
- You coward.
Get out, I'll do it.
Drive the car.
(mid-tempo music)
(helicopter whirring)
(suspenseful music)
- Hi.
- [Man] Good morning, sir.
- All set?
- Yes, sir.
(dramatic music)
- Easy.
- Don't try anything.
- Go on.
- Start.
(suspenseful music)
Just keep cool.
Do what you were told, you hear?
- Glad to see you.
Everything all right?
All right.
(slow music)
- Run for your lives,
it's gonna blow.
Watch out!
(truck exploding)
(siren wailing)
(fire roaring)
(guns firing)
- Daniel!
(helicopter exploding)
(gun firing)
(man groaning)
- I did my job well, didn't I?
- First class.
(guns firing)
- Hugo.
(gun firing)
(bomb exploding)
(guns firing)
(guns firing)
(footsteps thudding)
- You won't find a hole
in the ground to hide in.
- I've never had one.
- So you've come to arrest me?
- We've come to kill you.
- Hm.
Inspector Reed?
- Shoot.
- Shoot.
I would if I were you.
After all, we're among friends.
(gun firing)
(gun firing)
- You haven't done your job.
(gun firing)
(gun firing)
- You've made killers of us all.
You should be satisfied now.
(slow music)
(phone ringing)
- Inspector Reed, it's all over.
McLean is dead.
- Clyde, this is Richard.
If you've managed
to kill McLean,
let me tell you that Inspector
Reed is in trouble too.
When you hear a
shot, he'll be dead.
(gun firing)
- Where is Anne?
- I've been using her
for these past few days.
Now she doesn't
amuse me anymore.
You'll find her at Palm Grove
Beach in a couple of hours.
(car engine roaring)
(guns firing)
(gun firing)
(man grunting)
(guns firing)
(gun firing)
(gun firing)
- Next time I'll kill her.
- Richard.
Ah!
(gun firing)
(slow romantic music)
(mid-tempo music)