Mission: Impossible (1966–1973): Season 6, Episode 10 - Blues - full transcript

The IMF team is charged with getting the goods on a corrupt music producer who murdered a singer he has under contract. After five years of thwarting cold war spies, this one should be easy; especially since the producer has an equally disreputable partner that that can be manipulated to turn against him. So why don't we let Barney and Willy have the fun of playing the mind games this time while Jim coordinates in the background.

* WHAT'S IN THE FUTURE

* MY DESTINY

* I'D LIKE TO WAKE UP AND FIND

[ KNOCK ON DOOR ]

JUST A MINUTE.

[ MUSIC STOPS ]

WHO'S THERE?

STU GORMAN.
OPEN UP.

OKAY.

HOW ARE YOU, JUDY?

I DON'T KNOW YET.
DID YOU BRING MY RELEASE?



THAT'S WHAT I CAME HERE
TO TALK ABOUT.

WHAT'S TO TALK ABOUT, STU?
I WANT OUT.

I THOUGHT I MADE THAT CLEAR
TO YOU THIS MORNING.

WELL, I'VE GOT YOUR RELEASE
RIGHT HERE.

BUT LET ME JUST TELL YOU

THAT IF YOU EVER SEND ME
ONE OF THESE TO SIGN AGAIN,

I AM VERY GENTLY GOING TO RAM
EACH PIECE OF IT

RIGHT BACK DOWN YOUR THROAT.

[ LAUGHS ]

I OWN YOU, JUDY.

NOW, YOU DON'T SUPPOSE
FOR ONE MINUTE

I'M GONNA LET YOU GO, DO YOU?

ALL RIGHT.
YOU LISTEN TO ME NOW, BABY.

EITHER I GET A RELEASE,



OR THE NEXT SONG I SING
IS GONNA BE ABOUT YOU --

STU GORMAN, THE GUY
WHO TURNED THE MUSIC BUSINESS

INTO A ONE-MAN CESSPOOL.

I DON'T KNOW
WHO YOUR FRIENDS ARE,

BUT THEY DON'T CUT ANY ICE
WITH ME.

I HAVE WARNED YOU, JUDY.

GET OUT, GORMAN,
OR I CALL THE POLICE!

[ DIALING ]

[ LAUGHS ]

GET OUT!

OH, PLEASE, JUDY.

GET OUT. GET!

JUDY, WHAT ARE YOU DOING?

-WHY ARE YOU GETTING SO EXCITED?
-GET OUT!

YOU SAY YOU WANT YOUR RELEASE.
IS THAT IT, HUH?

ALL RIGHT. I'M GONNA GIVE YOU
YOUR RELEASE RIGHT NOW!

[ SCREAMS ]

[ WOMEN SCREAMING ]

[ LAUGHTER ]

WHOO!

LOOKS LIKE BUSINESS
IS PICKING UP OVER LAST WEEK.

YEAH, SO FAR, SO GOOD.

WHAT DOES THE WEATHERMAN SAY?

LOW CLOUDS WITH A POSSIBILITY
OF A STORM BY NIGHTFALL.

IN THE DRAWER,
UNDERNEATH THE SHELF.

GOOD MORNING, MR. PHELPS.

THIS MAN, STU GORMAN,

IS A MUSIC-INDUSTRY FIGUREHEAD
FOR ORGANIZED CRIME.

HIS COMPANY, RUN FOR HIM BY
FINANCIAL EXPERT JOE BELKER,

HAS MUSCLED INTO RECORDING,
BOOKING, JUKEBOXES,

RECORD SALES,
AND DISTRIBUTION --

OPERATIONS NETTING TENS
OF MILLIONS OF DOLLARS ANNUALLY

FOR THE SYNDICATE.

THUS FAR, CONVENTIONAL
LAW ENFORCEMENT AGENCIES

HAVE BEEN UNABLE TO STOP
GORMAN'S ILLEGAL ACTIVITIES.

YOUR MISSION, JIM,
SHOULD YOU DECIDE TO ACCEPT IT,

IS TO PUT GORMAN
OUT OF BUSINESS FOR GOOD.

THIS TAPE WILL SELF-DESTRUCT
IN FIVE SECONDS.

GOOD LUCK, JIM.

[ HISSING ]

[ "MISSION: IMPOSSIBLE" THEME
PLAYS ]

* WHAT'S IN THE FUTURE *

* MY DESTINY *

* I'D LIKE TO WAKE UP
AND FIND -- *

[ KNOCK ON DOOR ]

JUST A MINUTE.

THE LAST MOMENTS
OF JUDY SAUNDERS' LIFE

PRESERVED ON HER OWN
TAPE RECORDER.

THE POLICE
HAVE EVERY REASON

TO SUSPECT GORMAN
OF HER MURDER, BUT NO PROOF.

SO WE'RE GONNA NAIL
GORMAN THROUGH BELKER.

THEY WORK SO,
SO CLOSELY, IN FACT, THAT BELKER

WAS OUTSIDE THE BUILDING
THE NIGHT THAT JUDY WAS KILLED.

WELL, HOW ABOUT
GORMAN'S VOICE, JIM?

THIS SHOULD DO IT, CASEY.

AN ACTOR, ART WARNER,
WILL BE WORKING WITH YOU.

THIS SHOULD DO IT, CASEY.

AN ACTOR, ART WARNER,
WILL BE WORKING WITH YOU.

I'VE STUDIED ALL OF JUDY'S
RECORDED INTERVIEWS.

-MM-HMM.
-THIS IS A SHAPED CHARGE, JIM.

IT'LL MAKE
A BIG EXPLOSION.

BUT 90% OF THE ENERGY
WILL BE EXPENDED FORWARD,

AWAY FROM THE DRIVER.

GOOD.
AND HOW'S THE SONG COMING?

WELL, IT'S FINISHED,

BUT I'M NOT SURE IT'LL MAKE
GORMAN'S HIT PARADE.

DO YOU THINK HE'LL BE THERE
TO HEAR IT?

YES, HE CONSIDERS HIMSELF
QUITE A JUDGE OF TALENT.

HE MAKES
ALL THE WEEKLY AUDITIONS.

JIM, WHAT ABOUT
POLICE COOPERATION?

YEAH, WE'VE GOT IT,
WILLY.

A LIEUTENANT ECKHART
IS IN CHARGE OF JUDY'S CASE.

HE'LL BE WORKING WITH US
ALL THE WAY.

THEN YOU DON'T KNOW HOW SHE
GOT THE BRUISES ON HER ARM?

LOOK, LIEUTENANT,
SHE COULD HAVE BEEN TAKING

BOXING LESSONS
FOR ALL I KNOW.

EVERYTHING POINTS
TO A STRUGGLE --

THE APARTMENT WAS A MESS,

THE NEIGHBORS HEARD A MAN
ARGUING WITH JUDY.

HE KNOWS THAT, SERGEANT.

I HAD HIM BROUGHT IN
FOR QUESTIONING

WHILE WE WERE TAKING PICTURES.

I TOLD YOU THEN
AS I AM TELLING YOU NOW,

I WAS SIMPLY NOT INVOLVED
IN HER PERSONAL LIFE.

ALL RIGHT,
SO WHAT WERE YOU TWO UP TO

THE NIGHT
THAT JUDY WAS KILLED?

BUSINESS. WE'RE SETTING UP
A NEW CORPORATION.

I WAS GOING OVER TAX ANGLES
WITH STU.

MAYBE YOU'D LIKE TO SEE
THE MEMO I PREPARED.

SURE, SURE, I WOULD,
IF IT'LL EXPLAIN WHY JUDY

JUMPED 18 FLOORS
AT THE HEIGHT OF HER CAREER.

-[ BUZZES ]
-YES.

The audition is ready
in Studio "A," Mr. Gorman.

I'LL BE RIGHT THERE.

IF YOU'RE THROUGH
PLAYING GAMES, ECKHART,

WE ARE KIND OF BUSY.

[ Mumbling derisively ]
TAX ANGLES. SURE!

MAYBE MUSCLES HERE
KNOWS SOMETHING, HUH?

YOU GOT ANY IDEAS,
TANNER?

NO, LIEUTENANT.

I DIDN'T THINK SO.

YOU DECIDE TO TALK,
EITHER ONE OF YOU,

YOU KNOW WHERE WE ARE.

SURE.

NOWHERE.

HA HA HA.

[ PLAYING BLUESY ROCK MUSIC ]

ALL RIGHT, BABY, SPLIT.

HEY, GREG...

DIG, FELLAS, THIS IS IT.

LET'S DO IT LIKE
WE REHEARSED IT, OKAY?

STAND BY FOR THE AUDITION.

HEY, MR. GORMAN.

MY NAME'S JOHNNY CRANE.
I'M PRETTY GOOD.

WE GONNA BE
WORKING TOGETHER, MAN.

DON'T COUNT ON IT.

YOU'VE GOT
TWO STRIKES ALREADY

WITH THAT BIG MOUTH
OF YOURS.

HA HA.
ALL RIGHT, HERE WE GO.

[ SNAPPING ]

[ PLAYING SLOW BLUES SONG ]

* JUDY'S GONE NOW

* ALL SILENT STILL

* REACHED FOR THE STARS

* BUT WHO'D SHE EVER HARM?

* WHO'D SHE EVER KILL?

* AIMED SO HIGH

* LIKE A SOARIN' BIRD

* IT JUST DON'T SEEM RIGHT

* SANG THOSE SWEET NOTES,
BUT SAID THE WRONG WORD *

* YEAH, JUDY'S GONE NOW

* PUSHED INTO THE NIGHT

* COLD HANDS, COLD HEART

* SENT HER AWAY
ON HER LAST FLIGHT *

WHO IS HE?

I DON'T KNOW.

WHOEVER HE IS,

HE DOESN'T HAVE MUCH
RESPECT FOR HIS HEALTH.

* IT JUST DON'T SEEM RIGHT

* THAT HE IS STILL HERE

* AND YOU'RE GONE FOREVER

* PUSHED INTO THE NIGHT

* GOODBYE, JUDY

* IT JUST DON'T SEEM RIGHT

* THAT HE IS STILL HERE

* AND YOU'RE GONE FOREVER

* PUSHED INTO THE NIGHT

HOW'D YOU DIG THAT,
MR. GORMAN?

INTERESTING.

LET'S TALK IN MY OFFICE.

* WHAT'S IN THE FUTURE *

* MY DESTINY *

* I'D LIKE TO WAKE UP
AND FIND -- *

[ KNOCK ON DOOR ]

JUST A MINUTE.

READY, CASEY?

READY.

BACKGROUND SOUNDS,
JUDY'S APARTMENT.

ALL RIGHT...

SINGER.

WHAT'S IT ALL ABOUT?

HMM.

FIRST OF ALL, MAN,
I DON'T LIKE TO BE HANDLED.

THAT'S BETTER.

NOW WE CAN BE
NICE AND FRIENDLY.

SPIT IT OUT, MISTER.

YOU'RE CLOSE TO BEING
A DEAD MAN.

I DON'T THINK SO, MAN.

NOT WITH WHAT I GOT
ON MR. GORMAN.

WHAT ARE YOU TALKING ABOUT?

OH, COME ON, BABY.

I'M TALKIN'
ABOUT JUDY SAUNDERS --

HOW YOU KILLED THE CHICK.

I GOT YOU COLD.

HOW DO YOU FIGURE THAT?

HA.

WELL, WE'LL SKIP
THE DETAILS FOR NOW.

BUT I GOT YOU, MAN.

RIGHT NOW WE GONNA TALK
ABOUT ME.

YOU UNDERSTAND?
I WANT TO SING.

AND I WANT A BIG NAME.

AND THAT'S WHAT YOU
GONNA DO, MAN.

YOU GONNA MAKE ME
A BIG NAME.

YOU ARE CRAZY.

MM-HMM.

NO, BABY.

JUST HUNGRY.

AND YOU GONNA DO
THE FEEDIN'.

WE'LL DRAW UP A CONTRACT.
COME BACK LATER.

MM-HMM.

YEAH, MAN.

LATER.

YOU GOING TO LET HIM
JUST WALK OUT OF HERE?

ONLY TILL WE FIND OUT WHO
HE IS AND WHAT HE'S GOT.

JOE'S RIGHT.

STU, WANT ME
TO TAKE CARE OF IT?

ALL RIGHT.

BACKGROUND SOUNDS,
JUDY'S APARTMENT.

[ FOOTSTEPS ]

[ DOOR OPENS ]

[ DOOR CLOSES ]

FRONT DOOR OPENING'S
ON CHANNEL 3, CASEY.

[ DOOR OPENS, CLOSES ]

[ FOOTSTEPS ]

FOOTSTEPS ARE ON CHANNEL 6.

[ FOOTSTEPS ]

HEY, MAN.

HEY, DUDE.

YOU, UH, GOT A LIGHT?

YEAH.

THANKS, ART.

YEAH.

THE BACKGROUNDS
ARE ALL READY.

ALL WE NEED NOW
IS THE DIALOGUE.

GOOD.

THIS IS WHERE
THE TOUGH PART BEGINS.

LOOK, LIEUTENANT,
AS FAR AS I'M CONCERNED,

SHE COULD HAVE BEEN TAKING
BOXING LESSONS.

[ JUDY SINGING INDISTINCTLY ]

* GREAT EXPECTATIONS,
AND IT'S TOO MUCH, IT SEEMS *

* WILL I EVER FIND SOMEONE WHO

* CAN MAKE
ALL MY DREAMS COME TRUE? *

* WELL, IT MAY NOT BE CLEAR
TO ME *

* I MIGHT HAVE TO WAIT AND SEE

* WHAT'S THIS WHOLE WORLD
GOT IN STORE FOR ME? *

* WHAT'S IN THE FUTURE?

* MY DESTINY

* I'D LIKE TO WAKE UP AND FIND

* TO FULFILL WHAT'S IN MY MIND

* BUT IT MAY NOT BE --

[ SIGHS ]
OH, WOW, MAN.

I DIDN'T EVEN HEAR
YOU CATS COME IN.

THAT'S WHAT HAPPENS WHEN
YOU GO TRAVELING, CRANE.

UH-HUH. HA HA HA.

YOU GOT THE CONTRACT, MAN?

I'VE GOT NOTHING BUT TROUBLE
FOR YOU, CRANE.

I THINK YOU BETTER TALK...
FAST.

HA HA HA.

I THINK YOU FORGOT
THE RULES, MR. GORMAN.

YOU'RE IN THE HOLE.

THAT WAS THIS MORNING, BEFORE
I FOUND OUT ABOUT YOU.

A TWO-BIT HOPHEAD WITH
A PRISON RECORD A MILE LONG.

WHY SHOULD I WORRY
ABOUT YOU?

HA HA HA.

AW, COME ON, MAN.

YOU KILL ME, YOU'RE DEAD.

LOOK, JUDY HAD A TAPE
MACHINE ON THAT NIGHT...

ALL THE TIME YOU WERE THERE.

YOU LEFT THE TRAIL
OF AN ELEPHANT.

HE'S BLUFFING, STU.

HA HA HA.

HOW WOULD I KNOW, MAN?

A TWO-BIT HOPHEAD EX-CON
LIKE ME?

ALL RIGHT.

NOW, IF THERE IS
SUCH A TAPE, WHERE IS IT?

I GOT IT STASHED, MAN.

VERY CONVENIENT.

YOU'LL HEAR IT, MAN...
LATER.

I'LL BE DOWN IN THE STUDIO
10:00 TOMORROW MORNING.

THAT'LL GIVE YOU TIME
TO FIX UP THE CONTRACT.

OH, YEAH...

I'M GONNA NEED
SOME CASH, MAN.

LET ME HAVE THIS BUM.

HEY, MAN...

CLOSE THE DOOR
BEHIND YOU...

SOFTLY.

[ CHUCKLING ]

LIEUTENANT,
AS FAR AS I'M CONCERNED,

SHE COULD HAVE BEEN TAKING
BOXING LESSONS.

[ Mimicking ] Lieutenant,
as far as I'm concerned,

she could have been taking...

LIEUTENANT,
AS FAR AS I'M CONCERNED,

SHE COULD HAVE BEEN TAKING
BOXING LESSONS.

Lieutenant,
as far as I'm concerned,

she could have been taking
boxing...

YEAH, LET'S TRY IT.

LIEUTENANT,
AS FAR AS I'M CONCERNED,

SHE COULD HAVE BEEN TAKING
BOXING LESSONS.

FASTER.

LIEUTENANT,
AS FAR AS I'M CONCERNED,

SHE COULD HAVE BEEN TAKING
BOXING LESSONS.

YEAH, THAT'S FINE, ART.

YOU READY, CASEY?

READY.

LET'S RECORD.

[ CLEARS THROAT ]

ROLL.

WE HAVE SPEED.

OKAY, I'M HERE.
NOW, WHAT'S SO IMPORTANT?

COME ON IN, STU.
YOU WANT A DRINK?

I WANT TO KNOW
WHAT'S ON YOUR MIND.

OH, YOU WILL, BABY.
HAVE A DRINK FIRST.

NEVER MIND
THE HOSPITALITY JAZZ.

WHAT IS IT? OVERDRAWN
ON EXPENSES AGAIN?

SORRY, SUGAR.
IT'S NOT THAT EASY.

THEN WHAT'S YOUR POINT?

SIMPLE.
I WANT OUT.

IT'S NOT THAT BRIGHT.

THAT MEANS
IT COULD HAVE BEEN ON.

I JUST DON'T KNOW.

WHEN I GOT TO THE DOOR, SHE
WAS SINGING, SHE STOPPED.

MAYBE SHE CAME OVER HERE...

I SAY THE WHOLE THING'S
A FAKE.

IF THERE WAS A TAPE,

WHY DIDN'T HE BRING IT
THIS MORNING?

WHAT'S HE STALLING FOR?

MAYBE HE'S GOT SOMETHING
HE'S ALWAYS WANTED --

A LITTLE POWER.

MAN LIKE CRANE -- HE LIKES
TO SEE PEOPLE JUMP.

YEAH. TROUBLE IS,
HE CAN KEEP YOU

JUMPING FOREVER.

WAIT A MINUTE!
THE PICTURES.

NOW, WHEN THEY BROUGHT ME
OVER HERE THAT NIGHT,

THE COPS WERE TAKING
A LOT OF PICTURES.

OFFICER...

MAY I HELP YOU?

I CERTAINLY HOPE SO.

MY NAME'S HARLOWE.
I'M PRESIDENT

OF JUDY SAUNDERS'
MEMORIAL ENTERPRISES.

FRANKLY, MISS, YOU
COULD HELP US ENORMOUSLY.

POOR JUDY. I WAS...
I WAS A GREAT FAN OF HERS.

BUT...HOW
COULD I POSSIBLY HELP?

WELL, OFFICER, AS A FAN,
I'M SURE YOU CAN APPRECIATE

HOW A LOT OF PEOPLE
STILL FEEL ABOUT JUDY,

ESPECIALLY
THE YOUNG PEOPLE.

THEY WORSHIPPED HER --

EVERYTHING SHE EVER DID,
EVERYTHING SHE EVER TOUCHED.

I CAN'T TELL YOU THE LETTERS
WE GET FROM HER FAN CLUBS.

"SEND US PICTURES OF JUDY.
SEND US PICTURES

OF HER FAMILY, HER FRIENDS,
HER CAR."

EVEN HER APARTMENT.

NOW, THAT'S WHERE
I NEED YOUR HELP.

PERHAPS WE COULD HELP
EACH OTHER.

IN WHAT WAY?

WELL, I UNDERSTAND
THE POLICE TOOK

A LOT OF PICTURES OF JUDY'S
APARTMENT THE NIGHT SHE...

WELL, THAT NIGHT.

IF YOU COULD SUPPLY ME

WITH THE NEGATIVES
OR EVEN A FEW CLEAR PRINTS,

WE COULD DO VERY WELL
WITH OUR FAN CLUBS.

WELL, I'M SORRY,
MR. HARLOWE,

BUT THOSE ARE
OFFICIAL PHOTOGRAPHS,

AND I'M AFRAID
THERE'S NOTHING I CAN DO.

YOU DON'T UNDERSTAND.

W-WE CAN'T
GET INTO THE APARTMENT.

THIS IS OUR ONLY SOURCE.

OFFICER, AN ITEM LIKE THIS
CAN MAKE US A LOT OF MONEY.

AND WE'D CERTAINLY WANT YOU
TO HAVE YOUR SHARE.

I DON'T KNOW.

WELL, IT'S NOT AS THOUGH

THERE WERE ANYTHING HARMFUL
INVOLVED --

PICTURES
OF AN EMPTY APARTMENT.

AND I'D...

CERTAINLY WANT YOU
TO HAVE AN ADVANCE.

I...DON'T KNOW.

THEY'RE STILL OFFICIAL
POLICE PHOTOGRAPHS.

SAY, $200?

TELL YOU WHAT --

POLICE SALARIES ARE LOW,

BOUTIQUES ARE HIGH, HUH?

LET'S MAKE IT $300.

THE LIGHT WAS ON,
ALL RIGHT.

-[ BUZZES ]
-WHAT IS IT?

Johnny Crane is waiting
in Studio "A," Mr. Gorman.

[ Annoyed ]
TELL HIM TO WAIT.

WHAT ARE YOU GONNA DO?

PLAY ALONG FOR NOW.
WHAT ELSE CAN I DO?

LOOK, WE CAN'T CLOSE THE PLACE
DOWN ON ACCOUNT OF HIM.

YOU'VE GOT A MEETING, HAVEN'T
YOU? WHY DON'T YOU GET ON IT?

YEAH. GOT A COUPLE CALLS
TO MAKE FIRST.

YEAH.

* ...THE FUTURE? *

* MY DESTINY *

* I'D LIKE TO WAKE UP
AND FIND -- *

[ KNOCK ON DOOR ]

JUST A MINUTE.

[ DOOR OPENS ]

OKAY, I'M HERE.
WHAT'S SO IMPORTANT?

COME IN, STU.

[ DOOR CLOSES ]

[ FOOTSTEPS ]

WANT A DRINK?

I WANT TO KNOW
WHAT'S ON YOUR MIND.

YOU WILL, BABY.
HAVE A DRINK FIRST.

NEVER MIND
THE HOSPITALITY JAZZ, HUH?

WHAT IS IT? YOU OVERDRAWN
ON EXPENSES AGAIN?

SORRY, SUGAR.
IT'S NOT THAT EASY.

THEN WHAT'S YOUR POINT?

SIMPLE.
I WANT OUT.

OH, WE'VE BEEN OVER THIS
BEFORE, JUDY.

YOU'VE GOT
A LONG-TERM CONTRACT.

-THE ANSWER IS NO.
-THINK IT OVER, BABY.

I GET MY RELEASE, OR I GO
STRAIGHT TO THE COPS.

OH, YOU STUPID BROAD.

WHERE DO YOU GET OFF
THREATENING ME?

I MEAN IT.

EITHER I GET MY RELEASE OR
THE COPS GET THE FULL STORY

ON STU GORMAN AND HOW
HE FRONTS FOR THE --

SHUT UP!

DUMMY COMPANIES, FAKE BANK
ACCOUNTS, THE WHOLE WORKS...

[ GLASS SHATTERS ]

HA HA HA.

DON'T LOSE YOUR COOL,
STU, BABY.

I'M JUST MAKING YOU
A LITTLE BUSINESS PROPOSITION,

THE KIND YOU'RE USED TO.

READY?

LET'S GO, CRANE.

[ PLAYING
MID-TEMPO BLUES MUSIC ]

* SITTIN' IN THE MORNIN' SUN

* I'LL BE SITTIN'
WHEN THE EVENIN' COMES *

* WATCHIN' THE SHIPS ROLL IN

* THEN I'LL WATCH 'EM
ROLL AWAY AGAIN *

* YEAH

* I'LL BE SITTIN'
ON THE DOCK OF THE BAY *

* WATCHIN' THE TIDE ROLL AWAY

* SITTIN'
ON THE DOCK OF THE BAY *

* WASTIN' TIME

* SITTIN'
ON THE DOCK OF THE BAY, YEAH *

* WASTIN' TIME, YES, I AM

* SITTIN'
ON THE DOCK OF THE BAY, NOW *

* JUST WASTIN' TIME

HOW'D YOU DIG THAT,
MR. GORMAN?

REAL BIG-TIME SOUND,
AIN'T IT?

HEY, MAN, LET'S HEAR IT
FOR THE NEW STAR.

I DON'T HEAR YOU
SAYIN' NOTHIN'.

ALL RIGHT, LET'S CLEAR
THE CONTROL ROOM, HUH?

COME IN HERE, CRANE.

I WANT TO TALK TO YOU.

NOW, YOU'VE BEEN TALKING
A LOT OF STAR TALK, CRANE.

BUT I HAVEN'T SEEN
THAT TAPE YET.

YEAH, I KEEP FORGETTING
TO BRING IT IN.

MAYBE TOMORROW.

WHAT ABOUT THE CONTRACT,
MAN?

IT'S IN MY OFFICE.

I'LL SEE YOU UP THERE.

YOU LISTEN TO ME, SMITH.

YOU'RE UP TO YOUR NECK
IN TROUBLE.

UNLESS YOU START
GIVING ME SOME ANSWERS,

WE'RE GONNA WRAP YOU UP
AND PUT YOU AWAY.

PRINTS ON THE CAR
WERE HIS.

TAPE MATCHES
THE SAMPLES WE FOUND.

HE'S OUR BOY,
ALL RIGHT.

YOU EVER SEE HIM
BEFORE?

JOHN SMITH -- THAT'S ALL
WE CAN GET OUT OF HIM.

-GIVE ME A SHOT AT IT.
-NO WAY.

THAT'S WHAT DUE PROCESS
OF LAW IS ALL ABOUT.

THIS GUY TRIES
TO BLOW ME APART,

YOU GIVE ME
DUE PROCESS OF LAW?

WHY DON'T YOU LEAN ON HIM?
I WANT TO KNOW WHAT'S GOING ON.

YOU'LL KNOW
AS SOON AS WE KNOW.

COME WITH ME.

HA HA HA HA!

DON'T LOSE YOUR COOL,
STU, BABY.

I'M JUST MAKING YOU
A LITTLE BUSINESS PROPOSITION.

THE KIND YOU'RE USED TO.

[ LAUGHS ] -- AAH!

[ STRUGGLING ]

AAH!

[ Fading ]
AAAAAAAAHHHHH!

NOBODY KNOWS THE BIG GUY,

NOBODY KNOWS ABOUT
OUR CONTRACT ON BELKER.

YOU KNOW BELKER.
HE'S PRETTY ACTIVE.

COULD BE SOMEBODY'S HUSBAND.

YEAH.

COULD BE A LOT OF THINGS
WE DON'T KNOW ABOUT.

I DON'T KNOW WHAT ELSE
I CAN DO, MR. GORMAN.

ALL RIGHT, ALL RIGHT.
JUST FORGET ABOUT IT.

MAYBE IT'S TIED UP
WITH CRANE.

THAT DOESN'T MAKE ANY SENSE
AT ALL.

NOTHING'S MADE ANY SENSE
SINCE THAT GUY SHOWED UP.

LET ME HIT HIM FOR YOU.

NO, NO.
NOT UNTIL I SEE THAT TAPE.

I TELL YOU WHAT YOU DO --

TAKE A RUN
DOWN TO CRANE'S PAD.

BUT BE CAREFUL.

I DO NOT WANT HIM TO KNOW
THAT WE'RE PUSHING HIM!

SEE IF YOU CAN PICK UP
ANY KIND OF A LEAD.

I NEED A FAVOR...QUICK.

WHAT KIND OF FAVOR?

A GUY WAS BOOKED
THIS AFTERNOON

UNDER "JOHN SMITH."

SOMEBODY'S BAILED HIM OUT.

THAT MEANS HE HAD TO SUPPLY
A NAME AND ADDRESS.

THAT'S EASY.

MARGE, A MAN WAS PICKED UP
THIS AFTERNOON,

BOOKED "JOHN SMITH."

UH, WE NEED A NAME
AND ADDRESS, PLEASE.

UH-HUH.

OKAY.

THANK YOU.

WALTERS. STEVEN WALTERS.

17 SUMMER PLACE,

APARTMENT 5.

[ Groaning ]
DOUBLE...CROSSER.

WALTERS, WHO HIRED YOU
TO PLANT THAT BOMB?

WHO DO YOU WORK FOR?!

DIRTY DOUBLE-CROSSER.

WHO?
WHO DOUBLE-CROSSED YOU?

G-GOR...MAN.

G-GOR...

[ GASPS ]

I WANT TO TALK TO YOU,
CRANE.

NOT NOW, MAN.
I'M BUSY, OKAY?

WHAT'S THE MATTER, CRANE?
I COME AT A BAD TIME?

HEY!

GIVE ME THAT, MAN.

MAN, I NEED IT!

LOOK...

IT'LL ONLY TAKE ME
A MINUTE, MAN.

THEN WE CAN TALK, OKAY?

NO, WE TALK NOW.

COME ON, MAN.
GIVE IT TO ME.

I GOT TO HAVE IT, MAN.

PLEASE, I GOT TO.

I NEED SOMETHING, TOO,
CRANE.

I WANT THE TAPE.

[ Panting ]
MAN...I CAN'T THINK.

I NEED --
GIVE ME A FIX, MAN.

YOU KNOW THE PRICE,
JUNKIE.

[ Shouting ]
I DON'T HAVE IT, MAN!

WHERE IS IT?

I HAVE A PARTNER.

HE KEEPS IT.

OKAY.

WHAT'S HIS NAME?

MAN, PLEASE GIVE IT TO ME.

WHAT'S HIS NAME?

[ SOBBING ]

MAN, HE WILL KILL ME!

YOU'RE DYING RIGHT NOW.

WHAT'S HIS NAME?

WHAT'S HIS NAME?!

[ Crying ] PLEASE, MAN.

HIS NAME IS JENNER, MAN.
HE'S A COP!

SERGEANT JENNER?

YEAH.

SERGEANT JENNER.

G-GIVE IT...TO ME!

[ Weeping ] COME ON, MAN,
GIVE ME MY STUFF!

THIS ISN'T YOUR LUCKY DAY,
IS IT, JUNKIE?

WHAT -- WHAT ARE YOU
DOING HERE, MAN?

CAME TO VISIT YOU.

-MAN, GIVE ME MY STUFF --
-STAY THERE!

[ SCREAMING ]

MAN, DO YOU KNOW
WHAT YOU'RE DOING TO ME?

SURE, I DO.
THAT'S WHY I'M DOING IT.

YOU JUST SIT THERE.

-HEY, MISTER --
-STAY THERE!

[ WEEPING ]

YOU'RE HURTING, BABY.

[ TELEPHONE RINGS ]

YES.

Some good news, Mr. Gorman.
Crane doesn't have the tape.

BUT SERGEANT JENNER,
THE COP, DOES.

ARE YOU SURE?

NOT ONLY THAT,
BUT BELKER WAS HERE.

HE KNOWS ABOUT THE TAPE.
HE SWEATED IT OUT OF CRANE.

HOW COME HE DIDN'T CALL ME?

I'm wondering the same thing.

WHAT ABOUT CRANE?

TAKE HIM OUT SOMEPLACE SAFE
AND KILL HIM.

Okay, Mr. Gorman.

YOU'RE LUCKY, CRANE.

GORMAN'S GONNA LET YOU LIVE.

HE SAYS JUST TO MAKE SURE
YOU GOT OUT OF TOWN.

[ RINGING ]

JENNER.

JENNER, I KNOW
YOU'VE GOT THE TAPE.

WHAT? GORMAN?

YOUR MAN, CRANE, TALKED.

NOW, I'VE GOT A FEELING BELKER
IS ON HIS WAY OVER THERE

TO MAKE YOU AN OFFER.

WHATEVER IT IS,
I'LL DOUBLE IT.

I DON'T KNOW
WHAT YOU'RE TALKING ABOUT.

DOUBLE, JENNER.

WHAT'S THE PROBLEM?

SOMETHING WENT WRONG.

[ RINGING ]

[ RINGS ]

HELLO.

WILLY, BARNEY
MAY BE IN TROUBLE.

GET DOWN TO HIS PLACE
AND SEE WHAT YOU CAN FIND OUT.

RIGHT, JIM.

WHAT IS IT?

BARNEY.

THEY GOT BARNEY?

[ TELEPHONE BUZZES ]

YES. WAIT A MINUTE.

BELKER'S HERE.

WHAT ARE YOU GONNA DO?

NOTHING WE CAN DO
EXCEPT PLAY IT OUT.

SEND HIM IN.

WELL, WELL, WELL, WELL.
SO YOUR CONSCIENCE

FINALLY GOT THE BETTER
OF YOU, HUH, BELKER?

YOU'RE A FUNNY MAN, JENNER.
YOU KNOW THAT?

I WANT TO TALK BUSINESS
WITH YOU.

THERE COULD BE NO BUSINESS
BETWEEN YOU AND ME.

IT'S ABOUT BLACKMAIL,
SERGEANT.

BLACKMAIL. YOU GET ME?

GO AHEAD.

"DUE PROCESS OF THE LAW."

HA HA HA HA!

THAT'S THE REAL FUNNY LINE,
JENNER.

DUE PROCESS OF THE LAW
COMING FROM YOU.

I JUST HAD A LITTLE TALK
WITH YOUR FRONTMAN.

CRANE SAYS
YOU'VE GOT THE TAPE.

I DON'T GET YOU.

DROP IT, JENNER.
WE'RE WAY PAST THAT.

I CAME HERE TO MAKE YOU
SOME MONEY -- REAL MONEY.

WHAT DO I NEED YOU FOR?

I'VE GOT GORMAN ALL STRUNG
UP AND READY TO SLICE.

YOU NEED ME BECAUSE
I'M A CORROBORATIVE WITNESS.

THAT MAKES THE TAPE WORTH
NOT THOUSANDS, BUT MILLIONS.

THAT'S WHY GORMAN
TRIED TO KILL ME.

LOOK, I KNOW THAT COMPANY.

I KNOW HOW
TO SQUEEZE GORMAN DRY.

HOW DOES $2 MILLION APIECE
SOUND TO YOU?

WHAT ABOUT CRANE?

CRANE WILL GET AN OVERDOSE.
I'LL SEE TO THAT.

NOW, WHERE'S THE TAPE?

WHERE IT'S SAFE.

YEAH, I'M SURE.
BUT I WANT TO HEAR IT.

Hello.

STU, I'M DOWN
IN STUDIO "A."

You got a minute?

JOE, WHAT ARE YOU DOING HERE
AT THIS HOUR OF THE NIGHT?

I'VE GOT SOMETHING
TO SHOW YOU.

OH, OKAY.
I'LL BE RIGHT THERE.

[ GROANING ]

WHAT'S ON YOUR MIND, JOE?

JOE...YOU'RE MAKING
A BIG MISTAKE.

MISTAKE?

I KNOW YOU WENT TO SEE
JENNER ABOUT THE TAPE.

I'M IMPRESSED.

WHY, JOE?

I HAD A LITTLE TALK
WITH WALTERS.

WALTERS?

THE GUY YOU HIRED
TO BLOW ME UP,

THEN BAILED OUT AND HIT.

WHAT?

BUT YOUR BUTTON MAN
WAS A LITTLE CLUMSY, STU.

WALTERS TALKED.
HE TOLD ME.

JOE, I, UH...

I DON'T GET THIS.

WELL,
MAYBE YOU'LL GET THIS.

LISTEN GOOD, STU.

* WHAT'S IN THE FUTURE? *

* MY DESTINY *

* I'D LIKE TO WAKE UP
AND FIND -- *

[ KNOCK ON DOOR ]

JUST A MINUTE.

[ DOOR OPENS ]

OKAY, I'M HERE.
WHAT'S SO IMPORTANT?

COME IN, STU.

[ DOOR CLOSES ]

WANT A DRINK?

I WANT TO KNOW
WHAT'S ON YOUR MIND.

YOU WILL, BABY.
HAVE A DRINK FIRST.

NEVER MIND
THE HOSPITALITY JAZZ, HUH?

WHAT IS IT? YOU OVERDRAWN
ON EXPENSES AGAIN?

SORRY, SUGAR.
IT'S NOT THAT EASY.

THEN WHAT'S YOUR POINT?

SIMPLE.
I WANT OUT.

OH, WE'VE BEEN OVER THIS
BEFORE, JUDY.

YOU'VE GOT
A LONG-TERM CONTRACT.

-THE ANSWER IS NO.
-THINK IT OVER, BABY.

I GET MY RELEASE, OR I GO
STRAIGHT TO THE COPS.

OH, YOU STUPID BROAD.

WHERE DO YOU GET OFF
THREATENING ME?

I MEAN IT.

EITHER I GET MY RELEASE OR
THE COPS GET THE FULL STORY

ON STU GORMAN AND HOW
HE FRONTS FOR THE --

SHUT UP!

DUMMY COMPANIES, FAKE BANK
ACCOUNTS, THE WHOLE WORKS...

[ GLASS SHATTERS ]

HA HA HA HA.

DON'T LOSE YOUR COOL,
STU, BABY.

I'M JUST MAKING YOU
A LITTLE BUSINESS PROPOSITION,

THE KIND YOU'RE USED TO.

[ LAUGHS ] -- AAH!

[ STRUGGLING ]

AAH!

[ Fading ]
AAAAAAAAHHHHH!

HA HA HA HA HA HA HA!

YOU REALLY DID IT
THIS TIME, BELKER.

I MEAN, YOU REALLY DID IT.

YOU CAN STOP LAUGHING,
GORMAN.

IT'S GONNA COST YOU
PLENTY.

YOU IDIOT!
YOU'VE GOT NOTHING!

IT'S ALL HERE, GORMAN.
I'VE GOT YOU NAILED.

YOU'RE MISSING IT
THIS TIME, BELKER.

THAT TAPE IS A PHONY!

THE IMPERSONATIONS
ARE GOOD,

BUT THE WORDS
ARE ALL WRONG.

OKAY...SO IT'S A PHONY.
SO WHAT?

I'VE GOT DUPLICATES
OF THAT TAPE.

YOU KILL ME,

AND THE COPS GET THEM, AND
A SWORN STATEMENT FROM ME

THAT YOU WERE IN JUDY'S
APARTMENT THAT NIGHT,

AND THAT YOU PUSHED HER
OFF THE BALCONY.

I'LL TAKE MY CHANCES.

YOU KNOW
I WAS IN HER APARTMENT.

YOU KNOW I KILLED JUDY.

BUT WITHOUT
YOUR SWORN STATEMENT...

THERE'S NO CASE, IS THERE?

GORMAN!

I'LL TAKE MY CHANCES.

YOU KNOW
I WAS IN HER APARTMENT.

YOU KNOW I KILLED JUDY.

BUT WITHOUT
YOUR SWORN STATEMENT...

THERE'S NO CASE, IS THERE?

OKAY, GORMAN, LET'S GO.

TAKE HIM ALONG.

[ "MISSION: IMPOSSIBLE" THEME
PLAYS ]