Sunset Strip (1985) - full transcript

The stage is set for a series of confrontations when photographer Mark Jefferson (Tom Eplin) agrees to help his friend Roger (John Mayall) defend his night club against a handful of organized crime figures. Mark has an added incentive for becoming involved as his ex-girlfriend Carol (Cheri Cameron Newell) sings at the club. But the gangsters are willing to use mayhem and murder in order to take over Roger's business. It appears that the petty mobsters are out to sell illegal weapons to anyone who wants them, especially L.A.'s youth, instead of using the club as a front for a prostitution ring as Roger suspects. Soon Mark and his trusty motorcycle have their work cut out for them.

(MultiCom Jingle)

(hip hop music)

- Grab it, Alonzo.

- Hey man, what are
you doing, that's mine!

- Hey, hold it right there.

What's going on here?

- None of your business, asshole.

- This yours, Jimmy?
- Yeah.

Thanks, Mark.

- Get out of here.

Beat it!

- So how you doing, man?
- Not bad.

- What's happening?

- Saw you guys dancing
earlier, you looked good.

- [Jimmy] It's not that easy, man.

- I could do that stuff.

- Oh yeah, go ahead.

- Maybe not, uh?
- No, man.

Hey, check them out.

So what are you doing now, man?

- Getting ready to go take some pictures

of some real break dancers.

- Oh yeah?

You making any money with
that camera of yours?

- Not much, but I managed
to buy myself a new bike.

- All right, man.

Hey, you still seeing that chick Carol?

- We broke up.

She moved back to New York.

Take it easy, I gotta go.
- All right.

Hey, thanks again man, I appreciate that.

- No problem.
- Take care.

- All right.

- [Operator] Los Angeles
Police Department.

- Detective Donegan, please.

He's expecting my call.

Oh, it's you.

No, no!

(woman screaming)

(hip hop music)

♪ I'm going out ♪

♪ And there's no doubt
what I'm all about ♪

♪ Tonight ♪

♪ Yeah ♪

♪ I'm cruising street,
move with the beat ♪

♪ And people I meet ♪

♪ Are all right ♪

♪ Yeah ♪

♪ Checking out the night life ♪

♪ Got to play the game ♪

♪ Keep an eye on the night ♪

♪ Or take the blame ♪

♪ And if you get in my way ♪

♪ I'm gonna make a stand ♪

♪ You can't run away ♪

♪ 'Cause I'm here coming
on the Sunset Strip ♪

♪ Sunset ♪

♪ Strip ♪

♪ On the Sunset Strip ♪

♪ Sunset ♪

♪ Strip ♪

♪ I'm breaking loose, making no excuse ♪

♪ Taking what I choose ♪

♪ Tonight ♪

♪ Yeah ♪

♪ I'm out to win, got discipline ♪

♪ And I won't give in ♪

♪ When I'm right ♪

♪ Got to find my action ♪

♪ Want to set it straight ♪

♪ Want satisfaction ♪

♪ No time to waste ♪

♪ And if you get in my way ♪

♪ I'm gonna make a stand ♪

♪ You can't run away ♪

♪ 'Cause I'm here coming
on the Sunset Strip ♪

♪ Sunset ♪

♪ Strip ♪

♪ On the Sunset Strip ♪

♪ Sunset ♪

♪ Strip ♪

♪ Sunset ♪

♪ Strip ♪

(woman screaming)

(woman screaming)

(truck horn blowing)

- [Mrs. Peter] Hello, Mark.

- Mrs. Peters, I thought we
agreed you would knock first.

- Oh, I'm sorry, I forgot.

You know this whole place used to be mine

before Max ran off with that young tramp.

Your mail, honey.
- Thank you.

- I have the LA Times, Rolling Stone,

and anything else you might want.

- Good, I'll come by later and get them.

- Oh honey, about your rent?

- Uh...

- If you could just slip me a check now,

I could pop it into the
bank in the morning.

- Uh, Mrs. Peters, look.

There's a rock-video shoot coming up

and they want me to take
photos for the album cover.

- Oh, Marky.

You know I'd like to let this slip by--

- Another week?

10 days, tops.

- I swear, if you weren't
such a handsome young man

I never would have let it go this far.

But Marky, if the rent
is not paid by next week,

you're just gonna have to
hop in the sack with me.

Late payment charge.

- You really know how to
twist my arm don't you?

(telephone ringing)

- Hello?
- Mark.

This is Roger.

- Rog, haven't seen you
in months, how's the club?

- Not so good.

Judy's dead.

Killed in some kind of
mysterious accident.

- Oh, no.

- Listen, can you come over right now?

And bring your camera.

- Yeah, I'll be right there.

Look, Mrs. Peters, we'll talk later.

A friend of mine, I gotta go.

(rock music)

- This is not right, man.

It's not right at all.

Don't you see that?

They threw her off the bridge

because they thought she knew something.

- Look, Jake.

We don't know for sure.

- Jake.
- Mark.

- I'm sorry, man.

I'm really sorry.

You think they murdered her?

- I really don't know.

But the cops are calling it suicide.

Let me tell you, some
pretty strange things

have been happening lately.

♪ Somewhere off in the distance ♪

♪ Someone cries in the night ♪

♪ Is there anyone there ♪

♪ Does anyone care ♪

♪ I know that something's not right ♪

♪ Maybe I shouldn't be here ♪

It's been getting rough, Mark.

Real rough.

I mean we always paid a little
something to somebody, right?

That's just the way of the world.

- Protection money?
- Yeah.

- So if you're used to
paying off somebody,

what's the problem?

- I think someone is trying
to take over the club.

You know, make it a front for prostitution

and all that other shit.

- Look, if I can help
you guys out, I mean--

- Proof, I need proof of what's going on.

Then the cops can't ignore us.

I'm gathering evidence
about what's been going on

around here, but I need more.

And I'd like you to hang out around here,

work with Jake behind the bar,
but keep that camera close.

'Cause I got a feeling
we're gonna need it.

- You've always been
like an uncle to me, Rog.

You guys are family.

So if there's anything I can do to help,

you got it.

- No more late payments, understand?

- Rog!
- Hey Roger!

- Ladies and gentlemen,

the management of the music
club is very proud to present

the Full House Blues Band.

(rock music)

- How's it going?

- I just got an order for a pink lady,

a Bloody Mary, and a zombie.

- Sounds like some of the
customers around here.

I'm telling you, the
Strip was getting weird.

Especially the zombies.

Hey, watch it, man.

- Now folks, I'd like
to bring to the stage

a delightful young lady, Carol Wyatt.

Let's hear it.

(audience applauding)

(rock music)

♪ Since my baby left me so blue ♪

♪ I'm taking off on a world cruise ♪

♪ I'm gonna see the sights I missed ♪

♪ 'Cause I'm leaving the USA ♪

♪ I say this feeling is fabulous ♪

♪ I'll find the places
that'll treat me kind ♪

♪ Sell my car, gonna get more green ♪

♪ I'm walking out, I'm
leaving this scene ♪

♪ World cruise ♪

♪ World cruise ♪

♪ World cruise ♪

♪ World cruise ♪

(audience applauding)

- Hey Mark, come over here,

there's someone I'd like you to meet.

Oh, Carol.

Like you to meet a friend of mine--

- Mark.

- You know each other?

- We know each other.

Who are they?

- I'll tell you later.

I gotta go.

- Roger, can I talk to you a second?

- Sure.

Uh, Mark have you met
Martin Crane, my partner?

- We met years ago when
I worked at the club.

- Good to see you, Mark.

- We have a nice arrangement.

I handle the music,
Mark handles the books--

- You'll excuse us, please.

- I'll see you later.

I thought you were in New York.

- I was.

I've been back for two months now.

I just haven't had the
nerve to phone you yet.

- I've been away myself.

- How's the photography business?

- Up and down.

I've been concentrating more
on my motorcycle racing.

- Same old Mark.

You could be a great photographer

if you'd give up that
champion biker fantasy.

- Now let's not start that up again.

- It was wrong before, between us.

I'm sorry I left in such a hurry.

I just had to get away from everything.

- 40 grand.

They're out of their minds.

- But we have no choice, Roger.

- Well where the hell do they think

we're gonna get that kind of money?

- I can get it.

But we'll have to sign over
the club as collateral.

- Oh Christ.

- When do you think we could--

- Sorry to break up the party, folks,

but I gotta go off with Martin.

It's a business matter.

- Everything OK?

- Well, for now, but could
you do me a favor Mark,

and give Carol a ride home?

And then come back here later?

- Sure.
- OK.

OK then I've gotta talk to you also.

So maybe you could walk me to the door.

So we'll see you.

Yeah Martin just broke the news to me,

I've got to make a payment tonight.

Outside in the alley.

So what I want you to do is hide someplace

and get a photo of me
handing over the money.

I want some good, clear face shots Mark,

so I can put that to all
the other stuff I got going.

- No problem, you just
stand near the light.

- Yeah, OK.

All right now Martin will
tell you when it's time.

- Come on, Roger.
- Yeah, OK, OK.

All I ever wanted was a simple music club

with no complications.

Christ, can you believe what's happening?

- [Carol] What's going on?

- [Mark] I wish I knew.

- New bike?
- Yeah.

It's faster than the old one.

Where do you live?
- In Hollywood.

- This is a pretty
lonely street, isn't it?

- I like it that way.

I've got a loft up on the roof.

Listen, you go back
and take care of Roger,

and then phone me tomorrow.

We'll talk then, OK?

- OK.

I've grown up a lot of
the past few months.

I'll prove it to you.

- We've got time.

See you tomorrow.

(rhythmic music)

- Yeah.


Yeah, California, it's wonderful.

I'm doing well out here, real well.

I'm gonna take over this entire city.

That's right.

Well I already own two nightclubs.

I'm working on getting a third.

Got a hundred ladies under my control.

That's right.

Where do I get 'em from?

I go up into the suburbs.

Yeah, pick out the real pretty ones,

I bring him down here in the city.

Works like a charm, yeah.

You Jersey guys, yeah,
always looking for an edge.

Of course, I save only the prettiest girls

for my best friends

(suspenseful music)

- Hey, guy.

- Hey listen Mark, I know
this is none of my business,

but Carol, she's been...

- You can take off now, Jake.

It's time.

- We'll talk later.

- Oh no.


- Police.

Don't move.

- A punk like you, taking
pictures of the mob,

do you expect us to believe that?

- Settle down Frank, let him talk.

- Can you believe this shit?

He just happened to be in the alley,

when someone sneaks up behind him.

- I'm telling you, it's the truth.

- You little fart, don't
give me any of your lip.

- Frank.

- Now you say you got hit in
the back of the head, right?

- Yeah, I did.

- Right here?

I mean someone walks up
behind him with a lead pipe,

and wham!
- Christ, Lieutenant!

- Frank, that's enough, let him alone.

- I know all about this.

Good cop, bad cop, right?

This bastard's mean to me so
I open up to the nice cop--

- Who the hell are you calling a bastard?

- Don't be a smartass, Jefferson.

Now listen, kid.

Roger Lucas was murdered last night,

and you were found at the scene

with the murder weapon in your hand.

Now I suggest you calm down

and tell us everything you know.


- You know how to use a firearm?

- Yes, so what?

- How long have you known Roger Lucas?

- Look, we've been over
this a hundred times.

- And we'll keep going over
it until we get an answer.

- It's got to be here somewhere.

- Well if it ain't here,
he's got to have it with him.

- You know what this is, Jefferson?

- No.

- These are the results
of that paraffin test

we gave you a few hours ago.

- So what?

- You know about paraffin tests,

how we can tell whether you fired a gun

in the last few hours?

- I didn't fire a gun.

- That's what the report tells us.

- Pat, the little bastard
could have been wearing gloves,

for Christ's sake.

- That's true.

But the upshot, so to speak, is this.

The tests are inconclusive.

We got to let you go, Jefferson.

- You're kidding!

- Frank, we'll discuss this later--

- I mean you gotta be joking.

We found him standing over the body

with a smoking pistol in his hand.

- Frank, will you--

- Charge him, throw his ass in jail.

Murder one, god damn it, murder one!

- Shut up.

Listen, kid.

We think you killed Roger Lucas,

but until we get more evidence
we've got to let you go.

But you stay in close proximity,

because if you disappear from sight

I'm issuing an all-points bulletin on you.

(suspenseful music)

- Oh, Marky?

(dramatic music)

- [Mark] No...

(dramatic music)

- [Nick] Don't kill
him, we need him alive.

- What's happening?

- What's gonna happen to this club?

- Look, don't worry.

I mean we'll keep it going.

There's nothing gonna
shut this place down.

- Have you heard from Mark?

- Not a thing.

But the cops were here looking for him.

But nobody seems know where he is.

Look, why don't you go back to your place,

and I'll call you if anything happens.

- All right.

Thanks, Jake.

- Dole, I'm telling you,
that's what happened.

- Jefferson, what do you expect from me?

The landlady was found
dead in your apartment.

- I didn't do it!

- I don't care if you did it or not.

Just shag your ass in here

so we can figure out what's going on.

- And have your partner stick
his fingers in my head again?

No thanks.

- Look punk, you don't know
how deep this is getting.

We've got a nice, neat
little motive for you

on the Roger Lucas homicide now.

- What?

- You had a relationship with Carol Wyatt,

she's a singer at the club?

- What about her?

- She belongs, or
belonged to, Roger Lucas.

He paid the rent on her studio
from the day she moved in.

Now get your ass in here.

(door knocking)

- Mark.

- Let's talk, now.

I didn't do it.

You know I didn't do it.

- I know that.

- Why didn't you tell
me about you and Roger?

Hell, I wouldn't have done--

- It was nothing, Mark.

He was like a father.


He was just this kind, gentle man

who thought that I was worth something.

So he helped me.

Look, my career hasn't been happening.

This thing with Roger,

it was a matter of comfort to both of us.

You've got to find out who did this.

- Did Roger tell you anything?

- No, nothing.

All I know is that he was
really worried lately.

And he was scared.

- Roger was like a father to me, too.

When I first came to LA...


- You'll need some money.

Here's 60 dollars in cash and a bank card

for the 24-hour teller.

- Roger Lucas?

- Thought I could use it.

He just gave it to me
a couple of days ago.


Mark, we've got to avenge this.

then you and I--

(door knocking)

- Ms Wyatt, police.

Ms Wyatt, open up.

- Is there another way?

- [Dole] Open up.

- No, there's no other doors.

- [Dole] Ms Wyatt, open up.

- [Carol] Just a minute.

- [Dole] We know he's in there.

- I was on the phone.

- Bullshit.

- I was on the phone with Mark.

That's why you're here
isn't it, Mark Jefferson?

(dramatic music)

(telephone ringing)

- I gotta answer it.


What do you mean, he got away?

Who is this kid, anyway?


Find him, and you bring him in.

(telephone ringing)

- Hello?

- Jake, it's me.

- Mark, where have you been?

People been looking all over for you.

- [Mark] I know.

I feel like I'm in
someone else's nightmare.

- Man, the cops were
here, this is bad shit.

They think that you--

- I know, I know.

What is going on, I'm
out here on the street

with no one to turn to.

- Man, I wish I knew.

- [Mark] Those two hoods,

that one that came into
the club for Roger?

- Yeah.

- Who are they, who do they work for?

- I don't know, but I've
seen them hanging out

at the Blue Dahlia club.

It's a cathouse a couple
of blocks down Sunset.

But that place got busted last week.

- I'm going there anyway.

It's a place to start.

- Well I'll meet you there.

- [Mark] No, stay at the club,

maybe you can pick up something.

- Bullshit, I'm going with you.

- [Mark] Look Jake, I meet need you later.

We need someone in the
clear, and you're elected.

- Damn it.


Ask for a chick named Turquoise.

She might know something.

And tell her that you're a friend.

- Thanks.

- Who was that?

Mark Jefferson?

♪ You think you're so worth and wild ♪

♪ But you're just a selfish child ♪

♪ Slave trader, slave trader ♪

♪ Hold my hand through fire and ice ♪

♪ You're gonna have to pay my price ♪

♪ Slave trader, slave trader ♪

♪ I'm a slave trader, body
and soul is what I get ♪

- Can I help you?

- I'm looking for a chick named Turquoise.

- Over there.

♪ There's no escape ♪

♪ I'm coming after you ♪

- You Turquoise?

- Yeah.

- I'm Mark Jefferson, a
friend of Roger Lucas.

- Roger, he's dead.

- That's why I need your help.

Jake Ray gave me your name.

- Can't talk here.

Come to my room.

Pretend you're a customer, a John.

We're probably being watched.

You're a cute kid, what's
your stake in this?

- Roger was a friend of mine.

A good friend.

Now who did it, who killed Roger?

- I'm not sure, that's the truth.

Listen, for your own
good stay out of this.

- I can't.

I gotta find out.

- Yeah.

- [Man] There's this hotshot
kid named Mark Jefferson.

- Yeah, I think he's here now.

- [Man] He's becoming a danger to us.

- Why don't you just let me help you

forget all your troubles?

That's what I'm here for.

(door knocking)

- [Bud] Turquoise, let me in.

- I'm with a customer, Bud.

- Turquoise, let me in.

- What's the matter?

- [Bud] Open up now or you're fired!

- All right, all right, I'm coming.

- Turquoise!
- Here.

Bud, what the hell's the matter?

- Who's he?

- A customer.

- You don't look like no John to me,

what's he a cop?

- What's the problem, man?

- We get busted last week once.

We don't got no time for punks like you,

I want you out of here now.

- All right, all right, I'll
get my rocks off someplace else

if that's all right with you.

- Out, wise guy, out!

And you stay away from him.

- [Turquoise Voiceover]
Charlie Wu, Fong's, Chinatown.

(suspenseful music)

(dramatic music)

(telephone ringing)

- Yeah.

What do you mean,
Jefferson got away again?

I can't believe this.

OK look, I'm gonna handle this myself.

(telephone ringing)

- Hello?


Yes Lieutenant Donegan, I remember you.

No, I don't know if I'd tell you



(gong ringing)

- I'm looking for Charlie Wu.

- Not here, not here.

- Charlie Wu.

Are you sure, I was told...

- No, no.

- Wait!

(dramatic music)

- You are?

- Jefferson.

Mark Jefferson.

And you?

- I'll ask the question,
you answer question, OK?

Who you work for?

- Work?

- Yes.

Syndicate, Moran?

- Moran?

A friend of mine, Roger Lucas, was killed.

I'm trying to find out who did it.

- Johnny Moran's the one
you're after, not me.

- Killed a woman friend of mine.

And he killed Roger Lucas,

and they're trying to pin it on me.

- [Charlie] What do I care?

- I've got to get him.

- Ha, a kid like you
after a guy like Moran?

- I've got to find something out about him

and turn it over to the
police or I'll do it myself.

- Interesting, interesting.

Untie him.

We talk, but not too fast.

We're not sure about him yet.

You know about guns?

Moran's a weapons dealer.

He sell guns to the gangs in LA.

- So he wants the music club...

- Right, rock 'n' roll club,
good place to meet gangs.

And Moran would do anything
necessary to get it.

You can go now, we don't know you no more.

You hurt Moran, all right.

You don't hurt him, nothing on us.

But if you come back
here, he'll kill you, OK?

Give Mr. Jefferson a ride home.

- This is from Mr. Wu.
- Thanks.

- The way Mr. Wu figures it,

we might want the same thing.

That's Moran's special
address, his headquarters.

I don't have to apologize for what we did,

and you know we never met, right?

Not us, not Mr. Wu.

- Where have you been, man?

Boy, you look terrible.

- Drive, just drive.

So it finally begins to make sense.

- Not for me, man.

- It's a war, Jake.

Moran's taking over the Strip.

- And Moran wants our club?

- Right.

Judy finds out about it, I don't know how.

But before she can blow it

Moran kills her.

That was a warning to
Roger, but he didn't listen.

He was getting together some evidence.

- And he got kill for his troubles.


So why is everybody and their
brothers after your ass?

- Convenient, I guess.

In the wrong place at the right time.

- Yeah, but still, why
are they coming after you?

- That I'm not sure about.

I just thought of something.

- [Jake] Yeah?

- [Mark] Remember those photos
I did of the jazz musicians?

- [Jake] Yeah.

- I got turned on to a guy I named Cappy

down at the Jazz Joint.

He knows everybody, everything
that happens on the Strip.

- The Jazz Joint, that where we're going?

- That's where we're going.

- Let's go.

- Lots of people looking for you, son.

- So I'm told.

- I daresay you is hot
as piss on the griddle.

- I was framed, Cappy.
- I know.

- What's it all about, Cappy?

Why are they after me?

- Way I hear it, Roger had some evidence

that would put Moran away.

And since no one's found that evidence

they think he gave it to you.

- To me?

- Yeah.

Evidence aside though,
if they can put you away,

police might let things blow over.

For the right pay off,

cops may just let things by.

- Christ.

What about Moran?

What's he dealing in it's
so important to kill for?

- Right now there's 40,000
gang members in Los Angeles,

and that's a lot of customers

for the guns he's dealing with.

- Shit.

- Plus word has it he's
shipping more than that

and arms in Central America.

You'd better get home.

There's too many people
come to this place.

- Thanks, Cappy.

That's all I got.

- That's all I need.

Take care now, watch out.

- [Jake] Man, you in deep shit.

- [Mark] I know.

- [Jake] I got a gun in
my glove compartment.

You may need it.

- [Mark] The Strip isn't
what it used to be.

Let's get some cash.

- [Jake] I always need cash.

- [Recording] Your bank card is damaged.

Please have it replaced, thank you.

- What?

- I don't think it likes you, Mark.

- God damn it.

- Man, you got everyone after your ass.

The cops want you for two,
count 'em, two murders.

The mob wants you for
evidence you ain't got.

And now this computer's fucking you over.

I tell you, things are getting crazy.

- Look out!

- [Jake] You can stay at Ronnie's place.

She's out of town, and we
got a surprise for you.

It's OK, man.

It's all checked out.

I'll be back at the club.

- [Mark] Thanks, Jake.

I've missed you.

♪ I've been saving my love for you baby ♪

♪ I can't wait another day ♪

♪ Saving my love for you baby ♪

♪ Let me take you all the way ♪

♪ I just look into your eyes ♪

♪ And I start to realize ♪

♪ How much you mean to me ♪

- [Jake] What the hell?

Martin, what are you doing here?

Hey, what?

♪ I've been saving my love for you baby ♪

♪ I can't wait another day ♪

♪ I've been saving my love for you baby ♪

♪ Let me take you all the way ♪

♪ Yeah, yeah, yeah ♪

♪ All the way ♪

- [Carol Voiceover] It's 4:30 a.m.

and I'm going back to my loft

so that we won't arouse suspicion.

It was wonderful.

You are wonderful.

Call me when you wake and
we'll arrange things better.

Love you, Carol.

(telephone ringing)

- Dole here.

- Dole.
- Jefferson.

Where the devil are you?

What are you doing, where's Carol?

- You tell me where she is.

Or are you going to try to convince me

that you had nothing
to do with this either?

- What are you talking about?

- [Dole] You don't know
a thing, I suppose.

- No.

- All right, let's do this by the numbers.

At 2:45 this morning Jake Ray was shot

in 2100 block of Vista Avenue.

- What?

- And when we got here at
9:30 to question Ms. Wyatt,

the door was ajar, the place a mess.

Signs of a struggle.

- Carol.

- Now what is going on?

We've got to talk, Jefferson.

Now you get your ass
down to the station, now,

or I'll burn you, punk.

I'll burn you.

- Moran.
- What?

- Ever hear of Charlie Wu?

- Charlie who?

- Don't be funny, just meet me at...

660 Meyer Street.

- Jefferson.


No punk kid tells me what to do.

(dramatic music)

- Carol, you're wasting my time.

And I don't like my time being wasted.

Now I want that information
that Roger gave you.

- I don't know anything.

I've already told you everything I know.

- Carol, look, you're a
lovely girl, you're beautiful.

You're also a very talented singer.

Beauty and talent in one person is rare.

But you've told me nothing, nothing!

And that's gonna change right now!

- Leave her alone!

Stop moving.

Stop moving!

- (chuckling) Come on, Jefferson.

Take it easy, now.

Come here, calm down.

Take it easy.

- So you're Moran.

I've heard a lot about you.

- And I've had more than
my share you, Jefferson.

- Don't do it.

- Did you see that, Jefferson?

Wire him up, Vinnie.

- Oh, my god.

- You know something, Jefferson?

Life just ain't fair.

Some guys they move ahead,

and some are left behind.

You, you're left behind.

(laughing) What's the matter, Jefferson?

You didn't feel it,
didn't feel the current?

Do you know why?

'Cause I control it from here.

You've seen dimmers before,
haven't you Jefferson?

You turn them down real
low, and the lights get dim.

You turn them up real high,
and the lights get bright.

I control the juice.

Now, where's that troublesome information

that Roger gave you?

- He didn't give me anything.

- Do you like that, Jefferson?

Do you like pain?

I'm gonna assure you of one thing.

The first time I bore quite
easily on this switch.

But the next time you're
gonna get a long jolt.

Where's that information
that Roger gave you?

- I don't have it!

(Carol screaming)

- Tell me, you tell me!

- Police, break it up!

Jefferson, don't!

Nobody move.

(sirens wailing)

Jefferson, don't!

Jefferson, come on back here!

Where's Moran?

Where's Moran?

(sirens wailing)

- Freeze.

Now drive.

- Where are we going?
- Around.

We're just gonna ride around for a while,

then we'll call Moran.

- The cops got Moran.
- The cops didn't get Moran.

He's still got a few
friends on the department,

so like I said we're just
gonna ride around for a while--

(suspenseful music)

- Hey, you can't come up here.

(Vinnie screaming)

- Oh, Mark.

- It's OK baby, we made it.

- Thank God.

- Any news on Jake?

- He's still in intensive care.

It's touch and go.

♪ Growing up in hard times ♪

♪ Up against a hard line ♪

♪ The reasons are too many ♪

♪ For little hope if any ♪

♪ Lost cause for surrender ♪

♪ No wonder we don't stand and fight it ♪

♪ It doesn't have to happen ♪

♪ It doesn't have to be that way ♪

♪ If we try we can make it ♪

♪ It doesn't have to be that way ♪

♪ For us it should be easy ♪

♪ But love ain't fine as we see ♪

♪ What's wrong about each other ♪

♪ We're kissing to recover ♪

♪ Our clouded message we lost at love ♪

♪ Instead we tell each where to get off ♪

♪ It doesn't have to happen ♪

♪ It doesn't have to be that way ♪

♪ I know if we try we can make it ♪

- You go to the club
and sing your heart out.

We got to keep that place going.

I'll take care of Moran.

- Be careful.

- I will.

- You gotta help, Cappy, you gotta help.

- I got nothing for you, son.

- Cappy there's dead people everywhere.

- I got nothing for you, Jefferson.

Don't you know who I am by now?

Can't you see who I am?

I'm the in-betweener, Jefferson.

I don't take no sides.

Somebody want me to say
something to you, I say it.

They want you to know
something, you know it from me.

But I don't take no sides,
and I don't be no hero.

- That's bullshit.

- I still don't think it's a good idea.

- Martin, I want to sing tonight.

I have to sing.

We've got to keep this
place going like before.

- But you're upset, you're tired.

You're not gonna give
the people a good show.

- Martin, listen.

Roger, Roger was special to me.

And this club, this club
was everything to him.

Everything he worked for.

- I know.

- So then let me do this.

Don't let the club fold
up because he's gone.

Let it be like it was before.

- OK, a quick set and then you're off.

You got me?

- I got you.

And thanks.

- Jefferson--
- Listen.

I don't want any more your
in-betweener bullshit.

I need answers, now!

- OK, OK.
- Talk!

- I'll tell you what I know.

You just gotta get your ass out of here

and never come back, OK?

- OK.

- There's lots of people involved in this.

Moran, Martin.

- Martin?

- Yeah, Martin.

Maybe that cop, Donegan.

- Donegan?

The cops are involved in this?


- [Cappy] You draw your own conclusions.

- What about Dole?

- Dole's straight.

Just don't know nothing.

He don't know what's happening.

That's all I can tell
you, that's all I know.

I have nothing else for you, Jefferson.

- Thanks a lot, Cappy.

- Watch your step, Jefferson.

There's too many people involved in this,

and they all want you out of the way.

Especially Moran.

He's a very evil man.

- Hey Mark, old buddy,
old pal, got a buck?

- What for?

- I ran out of cigarettes, man.

What's this?

- In the card.

The evidence was in the credit card.

This is what everybody's looking for.


Thanks a lot, man.

- Sure man, thank you.

You keep your shit together, all right?

- Yeah, I will.

- Moran, I'm on my way.


(suspenseful music)

- You, come here.

Come here.

Take your top off.

Take your top off.

Come on.

come on, come on, come on.

Come on.


You only get these nice, firm breasts

on young broads, Martin.

Come on, get your feet
wet, touch one, come on.

- No, I think I'll pass.

- (laughing) Suit yourself.

You're a young, vibrant, lovely,

little bitch!

Now get back with the pack.

All right, you three girls,
go to your room, go ahead.

This is how we're gonna
make our real money, Martin.

Right here.

This is gonna get rid of
those greasy wetbacks.

Right here, Martin, right here.

(telephone ringing)

- Hello.

- Dole, it's Jefferson.

Meet me at the club right away.

- Jefferson, no no no,
you come on over here.

We've got a few things to go over.

- At the club, now.

I've got what we need to put Moran away.

- That punk kid.

- I'd like to thank you
for coming here tonight.

Some people are trying
to close down this club,

take it over.

Well we're dedicating
this next song to them.

We're giving them final notice.

- What the hell are you...

- Don't move.

- What are you doing here, Mark?

- I should ask you that.

But from what I just photographed
that seems pretty obvious.

- How much do you want?

We can cut you in.

You'd be a rich kid, Mark.

- Shut up.

I should kill you right now

for what you did to Roger and Jake.

- It wasn't me, it was Moran.

He set up the whole thing,
he's the one you want.

I didn't want anybody killed.

It was Moran.

- Here's Moran!

Jefferson, Jefferson, you little punk.

Don't move, don't move!

(rock music)

♪ Final notice, final notice ♪

♪ This is your final notice ♪

♪ Final notice, final notice ♪

♪ This is your final notice ♪

(gun firing)

- Hey what's...

- All right lady, you're with me.

OK Jefferson, throw down that
film and she doesn't get hurt.

(sirens wailing)

- Don't panic man, just leave her alone.

- Now what's going on?

- Stay back or she's dead.

- [Mark] Careful Lieutenant.

He's the one that killed Roger

and he just shot Martin 10 minutes ago.

- All right, both of you drop your guns.

Let's stay calm about this.

- Stay back!

- It's no use John,

you don't have a chance
of getting out of here.

- You're an idiot, Dole, an idiot!

Nobody holds Johnny Moran!

You can take me to the station
and I'll be out in minutes.

And you know it!

- Then what's the problem?

Let the girl go, we'll go downtown.

You'll be out on bail in no time.

- What are you waiting for, shoot shoot!

- No!

- [Mark] Dole, get down!

- [Dole] Moran, don't!

- Are you all right?

- I'm all right, I'm just a little shaky.

- Donegan was gonna shoot you, Lieutenant,

I couldn't let him.

- I know, I've suspected.


- Here.
- What's this?

- Some photos incriminating
Moran, I took them tonight.

And this is something special.

Evidence Roger was gathering
linking Moran to gun-running.

- No shit.

How long have you had this?

- All the time, and I never knew it.

What about Jake, is he gonna be all right?

- He's OK, he's in stable condition.

Look, I've got a lot of things to do here.

I'll see you at the station tomorrow, OK?

- I'll be there.

- I guess I was wrong about you.


(rock music)

♪ I never really had a chance ♪

♪ All it took was just one glance ♪

♪ To fall in love with you ♪

♪ I knew the moment we embraced ♪

♪ You could never be replaced ♪

♪ No one else would ever do ♪

♪ Somebody tell me I'm dreaming ♪

♪ Can this magic be true ♪

♪ Finally had a chance ♪

♪ For special time with you ♪

♪ And what did you tell me ♪

♪ I've been saving my love for you baby ♪

♪ I can't wait another day ♪

♪ Saving my love for you baby ♪

♪ Let me take you all the way ♪

♪ I just look into your eyes ♪

♪ And I start to realize ♪

♪ How much you mean to me ♪

♪ Girl I need you so much more ♪

♪ Than I ever did before ♪

♪ And I'm gonna make you see ♪

♪ Somebody tell me I'm dreaming ♪

♪ How can this really be true ♪

♪ Finally had the chance ♪

♪ For special time with you ♪

♪ And I want you know that ♪

♪ I've been saving my love for you baby ♪

♪ I can't wait another day ♪

♪ Saving my love for you baby ♪

♪ Let me take you all the way ♪

♪ Fill the air with sounds ♪

♪ Of our love affair ♪

♪ Till you finally see ♪

♪ That what I see in you ♪

♪ Is what you see in me ♪

♪ Yeah ♪

♪ I've been saving my love for you baby ♪

♪ I can't wait another day ♪

♪ I've been saving my love for you baby ♪

♪ Let me take you all the way ♪

♪ Yeah, yeah, yeah ♪

♪ All the way ♪

(MultiCom Jingle)