Mission Impossible (1966) s06e10 Episode Script

Ohh-ooh, you thrill me Darling, you, you, you, you, you, you thrill me I know you thrill me Honest, you do At first, I thought it was an infatuation But, ooh-ee, it lasted so long But now I find myself wanting But now I find myself wanting you Five minutes.
Ooh, it lasted so long But now I find myself wanting you To marry me and take me home Whoa-oh, you send me Darling Just a minute.
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 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.
I own you, Judy.
Now, you don't suppose for one minute I'm going to let you go, do you? All right, you listen to me, now, baby.
Either I get a release, or the next song I sing's going to 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.
Oh, yeah.
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? Is that what you want? All right, I'm gonna give you your release right now! Get out! 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.
And take me home Whoa-oh, you send me Darling 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 going to nail Gorman through Belker.
They worked closely-- 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.
Now, 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, Casey, he considers himself quite a judge of talent.
He makes all the weekly auditions.
Jim, what about police cooperation? Yeah, we've got it, Willie.
Lieutenant Ekhart 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.
Yes? The audition is ready in Studio A, Mr.
Gorman.
I'll be right there.
If you're through playing games, Ekhart, we are kind of busy.
Yeah, yeah.
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.
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're going to be working together, man.
Don't count on it.
You've got two strikes already with that big mouth of yours.
All right, here we go.
Judy is gone now, all silent and still Reached for the stars But who'd she ever harm? Who'd she ever kill? Aimed so high Like a soaring bird It just don't seem right Sang those sweet notes, but said the wrong word Yeah, Judy is 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 Good-bye, 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.
And take me home Oh, whoa, you send me Darling 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've got on Mr.
Gorman.
What are you talking about? Oh, come on, baby.
I'm talking about Judy Saunders.
Now, you killed the chick.
I got you cold.
How do you figure that? Huh.
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're gonna do, man.
You're gonna make me a big name.
You are crazy.
No, baby, just hungry.
And you're gonna do the feeding.
We'll draw up a contract.
Come back later.
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, let me take care of it? All right.
Background sounds, Judy's apartment.
Front door opening's on channel three, Casey.
Footsteps are on channel six.
Hey, man.
Hey, baby.
You, uh, got a light? Yeah.
Thanks, friend.
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.
"Darling, you-ou send me I know you-ou send me Darling, you-ou send me Honest, you do, honest, you do, you really do Whoa-oa, you-ou thrill me Darling, you-you-you-you- you-you thrill me I know you-ou thrill me Honest, you do Oh, wow, man.
I didn't even hear you cats come in.
That's what happens when you go traveling, Crane.
You got the contract, man? I've got nothing but trouble for you, Crane.
I think you'd better talk, fast.
I think you've 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?! Aw, come on, man, you kill me, you're dead.
Look, Judy had her tape machine on that night all the time you were there.
You left the trail of an elephant.
He's bluffing, Stu.
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 at the studio, 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.
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 lessons.
Lieutenant, as far as I'm concerned, she could have been taking boxing lessons.
Lieutenant, as far as I'm concerned, he could have been taking boxing lessons.
Yeah, let's try one.
Lieutenant, as far as I'm concerned, she could have been taking boxing lessons.
I've got ya.
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.
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.
It 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 always wanted a little power! Man like Crane, he likes to see people jump! Yeah, trouble is he can keep your 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 Harlow.
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.
I'm sorry, Mr.
Harlow, but those are official photographs, and I'm afraid there's nothing I can do.
Now you don't understand! We can't get into the apartment, and this is our only source.
Now, 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? I'll tell you what.
Police salaries are low.
Boutiques are high, huh? Let's make it $300.
The light was on all right.
What is it? Johnny Crane is waiting in Studio A, Mr.
Gorman.
Tell him to wait.
What are you going to 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.
I've got a couple calls to make first.
-Yeah.
Oh, oh You send me Darling Just a minute.
Okay, I'm here.
What's so important? Come in, Stu.
Want a drink? I want to know what's on your mind.
You will, baby.
Have a drink first.
No, 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.
- I said, "Shut up!" 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.
Sitting in the morning sun I'll be sitting when the evening comes Watching the ships roll in Then I'll watch them roll away again Yeah I'm sitting on the dock of the bay Watching the tide roll away Sitting on the dock of the bay Wasting time Sitting on the dock of the bay Wasting time, yes, I am Sitting on the dock of the bay now Just wasting 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 saying nothing.
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 going to wrap you up and put you away.
Lieutenant.
- The 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.
Why don't you give me a shot at it? - No, no, 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.
Don't lose your cool, Stu baby.
I'm just making you a little business proposition, the kind you're used to.
Nobody knows the big guy.
Nobody knows about a 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.
Now, 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'll 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.
Apartment Five.
Double crosser.
Walters, who hired you to plant that bomb? Who do you work for? Dirty, double-crosser.
Who? Who double-crossed you? Gorman.
- Gorman.
I want to talk to you, Crane.
Not now, man, I'm busy.
What's the matter, Crane? Did I come at a bad time? Give me that, man.
Man, I need it.
You know, it'll only take me a minute, man.
Then we can talk, okay? No, we talk now.
Man, give it to me.
I got to have it, man.
Please I got to.
I need something too, Crane.
I want the tape.
Man, I I can't think.
I need it bad.
Give me a fix, man.
You know the price, junkie.
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? Man, he will kill me.
You're dying right now.
What's his name? Man, please - What's his name?! Man, I can't His name is Jenner, man.
He's a cop.
Sergeant Jenner? Yeah, Sergeant Jenner.
Man, give give it to me.
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.
Give me my stuff! Stay there.
Man, do you know what you're doing to me? Sure, I do.
That's why I'm doing it.
Now you just sit there.
Stay there! Stay! You're hurting, baby.
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 some place safe and kill him.
Okay, Mr.
Gorman.
Man, please You're lucky, Crane.
Gorman's going to let you live.
He said just to make sure you got out of town.
Jenner.
Jenner, I know you've got the tape.
What? Gorman? Your man Crane talked.
You know, I 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.
Hello.
Willie, 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? Yes.
Wait a minute.
Belker's here.
What are you going to 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 can be no business between you and me.
It's about blackmail, Sergeant.
Blackmail.
You get me? Go ahead.
"Due process of the law.
" That's the real funny line, Jenner.
"Due process of the law," coming from you.
I just had a little talk with your front man.
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.
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.
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.
Whoa, whoa You send me Darlin' Just a minute.
Okay, I'm here.
What's so important? Come in, Stu.
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.
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 of Stu Gorman and how he fronts for the Syndicate.
- Shut up.
Dummy companies, fake bank accounts, the whole works.
Shut up.
Don't lose your cool, Stu baby.
I'm just making you a little business proposition, the kind you're used to.
You really did it this time, Belker.
I mean, you really did it.
You can stop laughing, Gorman.
It's going to 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.
The 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.