Mission Impossible (1966) s07e08 Episode Script
Movie
You must be out of your mind, Brent! I'm head of production at this studio! I'm sorry, Mr.
Packard.
You brought a lawsuit, you made accusations of illegal pressure.
You've created problems.
This is my studio! I created Pantheon Pictures! Yes, but that was before you came to our organisation for help with your money problems.
So you lent me some money.
That doesn't give you the right to force me out.
Oh, but it does.
And now you're nothing but a troublesome minority stockholder.
Mr.
Shields doesn't like that.
Now, wait a minute, wait a minute.
Tell Shields I'll drop the suit.
He's in control of the studio.
I won't fight him.
That's all we want.
Wait a minute, Brent.
No, no! Brent, no! No! No, Brent! No, Brent! No Hello.
Yes, John.
I've been waiting for your call.
Henry Packard committed suicide about 20 minutes ago.
He jumped.
Tragic.
Did he sign the agreement? - Yes, sir.
- Good.
I'll see you in the morning.
Yes.
Benjamin, I've got some news for you.
Packard suicided tonight.
Oh, the poor man.
See that there are flowers.
Lots of flowers.
How about the studio? You remember that matter we discussed? I brought my kid brother Theo back from Italy.
He was over there, made a couple of pictures.
Knows the business.
He'll take Pantheon over.
Just like that, huh? Somebody's got to watch my interest.
I don't want any more mistakes.
You know I like to keep business in the family, Norman.
He'll do fine with you advising him.
Will he listen to advice, Benjamin? He'll listen.
So let's consider it settled.
Just like that? Just like that.
It's my move.
Good morning, Mister Phelps.
Norman Shields controls a major criminal operation which has been infiltrating the entertainment industry.
Shields has been using illegal funds, supplied by the chief syndicate money man, Benjamin Dane.
Dane recently loaned Shields $ 10 million to take over Pantheon Studios.
Theodore Dane, Benjamin's brother, will be flying to Los Angeles in the next few days to head operations at Pantheon.
Your mission, should you decide to accept it, will be to locate and seize the syndicate financial records held by Norman Shields, records detailing exactly how criminal money is being funnelled into the entertainment industry.
With this information, the entire syndicate can be smashed.
This tape will self-destruct in five seconds.
Good luck, Jim.
This is an outline of the film we'll be making, Portrait of a Murder.
We've inserted details known only to the police and to Shields himself.
All paperwork and contracts have been placed into the Pantheon Studio files.
Good.
Casey's arranged a work history of you as Anthony Saunders, producer-director in Europe.
Mimi? I just got my Equity card as Karen Vance, unknown actress who's going to star in Portrait.
As my discovery.
We'll have to watch out for this man, Heath, head of studio security.
He's on Brent's private payroll.
He's dangerous.
Everything's set with the karate school, Jim.
What about Theo Dane? He's been living it up in Italy the last couple of years, but he and Shields have never met.
This is an exact duplicate of Shields' gun, with a rigged activator.
Excellent.
How about their private telephone lines, Willy? We've arranged the intercept.
All right, then.
We're after the list of entertainment enterprises that Shields has penetrated for the syndicate.
Only Benjamin Dane can make him give up that list.
Point, Jim.
Benjamin Dane has never been west of Chicago.
He doesn't like to leave his own territory.
I think he'll make an exception in this case, to attend his own brother's funeral.
Don't worry, Ben.
I can handle the operation.
There won't be any problems.
Sure, Theo.
But you listen to Norman Shields.
He's a little touchy, but he's a good man.
Now, you have a good trip, and take care, you hear? Big brother.
That's right, pay attention.
Good luck.
Moore, my brother doesn't know you and I don't want him to know you.
Just stay near him.
He's a swinger, and he gets into trouble.
Watch out for him.
See he's okay.
Don't worry, Mr.
Dane.
I can take care of any problems.
The captain has turned off the seat-belt sign.
You're free to move around the cabin.
Hi.
Mind if I ask you three questions? It depends on the questions.
One: Your name? Karen Vance.
Two.
Are you connected with Pantheon Pictures? I'm doing a film there.
I'm an actress.
And a very beautiful girl.
Three.
Do you know hat we're intimately involved with each other? Would you care for some refreshments? - No, thank you.
- Okay.
Here's your drink, sir.
Thank you.
I've been preparing a report on current productions for Mr.
Dane, and I can't seem to find any scripts on your picture, Portrait of a Murder.
Well, see, that's because there aren't any, yet.
You see, I prefer to write it as I film.
It's really a rather simple story, an accurate anatomy of a rather brutal killing in Chicago.
I find it fascinating.
So did Mr.
Packard.
Yes, but I need more information on the project.
Well, I've signed a marvellous young actress for the lead, Karen Vance.
Mr.
Saunders Mr.
Brent, I'm sure that you're aware of the fact that my contract gives me complete control of the project.
I know, but I need more details on your picture.
Very well.
There's a copy of the story.
It'll give you the basic notion.
Beyond that, you'll just have to trust me, won't you? You have no choice.
My contract, remember? And oh, yes.
I will insist upon a closed set.
No visitors.
That's an absolute rule.
I'm sure Mr.
Dane will understand.
The captain has put on the seat belt sign.
Will you please return to your seats and fasten your seat belts? We will be arriving at Los Angeles International Airport in 15 minutes.
Where will you be staying in L.
A.
, Theo? I don't know.
I asked the studio to get me a house, anything, as long as it has a swimming pool.
You wanna get wet with me? How can I can no to my boss? Passengers on Flight 17 from New York City will arrive at Gate 35.
Passengers arriving on TWA Flight Number 11 may now claim their baggage in the street entrance.
Round transportation from downtown Los Angeles, Statler and Hilton Hotels is now boarding at TWA baggage-claim area.
I'm sorry.
I'm always the last one out.
They'll wait for us.
Excuse me.
Have you seen her? Have you seen my new star? No, no, not yet.
- Listen, Saunders - Tony, please.
All right.
Tony, I read the story and we're gonna have to talk about it.
There she is.
Excuse me.
- Hello, Karen.
- Tony, darling.
You look marvellous.
- You're definitely star quality.
- Thank you.
- Come meet the press, dear.
- Oh, you're too much, Tony.
Continental Airlines go jet Flight 666 for Chicago, all aboard please.
Here she is, gentlemen, my new star.
Now let us tell you about Portrait of a Murder Let us all tell you.
This is Theodore Dane, the new head of production at Pantheon.
Mr.
Dane? I'm John Brent, from the studio, sir.
Can we have some details about your plans, Mr.
Dane? And about the picture.
No, gentlemen, I'm sorry, that's definitely all.
You may call my office in the morning for a scheduled interview.
- I have a car for you, Mr.
Dane.
- Good.
I'll give you a lift, Karen.
We must talk.
Would you page a Mr.
Theodore Dane, please? It's important.
- Will I see you tomorrow, Theo? - Definitely you will.
- I'll see you later, Brent.
- Mr.
Dane, sir.
We have to talk.
Mr.
Shields wants to see you.
Oh, have him meet me in my office at the studio - 3:00 this afternoon.
- Mr.
Theodore Dane please come to the courtesy telephone.
Mr.
Theodore Dane.
Mr.
Theodore Dane, please come to the courtesy telephone.
Mr.
Theodore Dane, please come to the courtesy telephone.
Theo Dane here.
This is Theo Dane.
Okay, Jim, the telephone intercept is completed.
Good.
- We don't have much time.
- Tape's ready.
We've spliced together some of Benjamin Dane's testimony before an investigative committee.
Will that be enough for you? I've heard you do imitations on a lot less.
Well, let's give it a try, shall we? Benjamin Dane, I'm sorry, I refuse to answer that question on the grounds it might tend to incriminate or degrade me.
Standard American.
Born and raised on the East Coast, probably Philadelphia.
Benjamin Dane, I think I have it.
Benjamin.
Benjamin Dane, Perfect.
- Did you get the passenger list? - Here it is.
It's a call for Benjamin Dane.
- Yes? - It's me, Mr.
Dane.
I guess there's no easy way to tell you this.
Somebody's kidnapped Theo.
What? Yes, a man's taken his place.
Moved right in the studio.
Now, I followed him, Mr.
Dane.
I can get to him, maybe work him over.
No.
Where can I reach you? I'm staying at the Beverly Sunset Motel.
Good.
Stay there, I'll contact you.
What name did you use? Nobody out here knows me.
I used my own.
Now, don't you worry, Mr.
Dane.
I can handle this.
Get over to the Beverly Sunset Hotel and check the register against this passenger list.
One of the names figures to match.
We'd better reach him before he gets the bright idea of reaching Shields.
"Have him in my office at 3.
" Who does this Theodore Dane think he is? And what about this? I couldn't talk to Saunders about it.
He went off with a girl and Mr.
Dane.
I'm not gonna discuss it.
I'm gonna cancel it.
Portrait of a Murder.
It's a first-class portrait of me.
Daniel P.
Moore.
Alias Matt Daniels.
A loan shark collector for Benjamin Dane.
Yeah, that's our man, all right.
Willy, have the hotel staked out.
It's time for my meeting with Shields.
Have you read this tripe? Yeah, I read it on the plane.
It's gonna make a great action picture.
Theo, I came out here four years ago because of the heat in Chicago.
I spent two weeks in front of a congressional committee.
Washington still has me on a list.
I've built a solid reputation out here.
I give to all the charities.
I'm a respectable citizen.
You make this picture, Theo, and I'm back under the lights, and so is your brother.
And neither of us want that.
Norman, come on, it's only a story.
Now, they tell me this guy Saunders improvises his pictures.
He'll make a whole lot of changes.
I don't want you to worry.
They start shooting tomorrow morning.
Why don't you come down and have a look for yourself, huh? No noise.
No moves.
This way.
Hey! He's dead.
Jack, when you cross to her, you are angry, but you're trying to control it, you see? So you don't explode until after she has hit you, all right? Theo.
Excuse me.
- Hello, darling.
- Hi, beautiful.
- You look fantastic.
How's it going? - Oh, it's dreamy.
- We're ready for a take.
- All right.
- Go ahead, don't worry about us.
- Okay.
- All right, Barr.
- Okay, boys, this is gonna be a take.
Roll it.
Scene 104.
Take one.
Speed.
Action.
All right.
Two men are dead.
But it doesn't mean a gang war, and it doesn't mean I was involved.
I'm not accusing you.
I write for a newspaper.
And this is one hell of a story.
It's a lousy smear.
They'll put me in front of a grand jury.
Plead the Fifth Amendment.
What have you got against me? Two murders, for openers.
And once this story runs, maybe a lot more.
Well, I'm killing the story right now.
Well, I'll just write it again.
Stronger.
- Now, will you please leave? - Not till we settle this.
You listen to Get out! Cut it, print.
Marvellous.
You have a fantastic presence, darling, and a wonderful textured quality.
I wanna talk to you.
Please clear the set so we can have a rehearsal.
Right, sir.
All right, folks, quiet so we can have a rehearsal.
Quiet, please.
Brent, get the film they shot today and destroy it.
I want that picture shut down now.
No.
Hold it.
We're not gonna cancel our picture.
It's gonna make a lot of money, gonna make Karen a major star.
We're not gonna throw that away because you're nervous.
If necessary, I'll shut the studio down and fire you.
Norman, my brother and his friends have a lot of money invested in Pantheon.
I think they're interested in profits, not your anxiety attacks.
Get me Mr.
Dane.
Tell him it's Norman Shields and tell him it's important.
We'll let them talk.
- Yes? - Benjamin, listen.
I'm having trouble with Theo.
- Serious? - Yes.
He's being conned by a producer out here.
A guy who's making a picture about the Fran Carlin killing.
It can only do us harm, but Theo's okayed it.
I'd like you to talk to him.
Maybe call him back to New York.
Norman, if the producer's a problem, deal with it.
If you have a gallstone, you remove the stone, not the patient.
All right, I'll handle it.
Make sure nothing happens to Theo.
Norman, just a moment.
- Yes? - How do you plan on taking care of this fellow? Saunders? Remember Art Morasco? The same way.
With a bomb.
Darling, here we go for another take right away.
- You're both marvellous - Pardon me.
It'll be a couple of minutes before the camera's reloaded.
Oh, all right.
Mr.
Dane, may I speak to you a moment? Yes, certainly, Tony.
Willy and I came in early this morning and searched the set.
No sign of a bomb.
How about your apartment? I checked.
Nothing.
Mr.
Dane.
We have a problem with the European distributor.
Could you come to the office? It's very important.
Yes, sure, all right.
- You're doing fine, Tony.
- Thank you, sir.
Are we all set? Just a second, sir.
It's about our frozen overseas credit balance.
Okay.
CLOSED SET NO ADMITTANCE Okay, Mr.
Saunders, we're ready.
All right, shall we try it? All right, quiet, boys.
Roll it.
Scene 134.
Apple.
Take three.
Speed.
Action.
You're Fran Carlin.
How did you get in here? I've got a friend who's handy with keys.
You're gonna need his help to get out of prison if you don't leave.
Be reasonable.
He makes keys, I make deals.
I'll bring the figures right in.
No.
No deal.
And no chance.
Cut.
Beautiful.
Well done.
- Phone call, Mr.
Saunders.
- Thank you.
- Hello.
- They got me out of there in a hurry just as they finished reloading the camera.
It must be ready to blow.
We're ready, Mr.
Saunders.
You may be ready, but I'm not.
As a matter of fact, you can all stop.
Get out.
Get out! - What? - It's lousy! Terrible! Just get out of here.
Shut up! Get out! Get out! Get out! I have to work this out alone.
It's all wrong, it's all wrong! Get out.
Out! Karen.
Out.
Out.
But Mr.
Saunders, you just can't pull the plug on this kind of thing.
- It's a matter of - Are you deaf or just stupid? Out! Terrible.
It's terrible.
The whole set's destroyed.
What kind of security do we have? I've ordered an investigation, Mr.
Dane.
Fine.
What good is that gonna do? Anybody could plant a bomb anywhere to kill anybody.
Now get out of here and leave me alone.
Mr.
Shields? - Who are you? - I'm from the Karate institute.
You wanted a workout, I believe? Where's Kojimura? He'll be out of town for a few days.
I don't know you.
- You any good? - Fair.
We'll find out.
Jim.
Yeah, Willy? I'm all set here.
Good.
I'm sorry, Mr.
Shields.
I just got carried away, I guess.
Yeah.
All right.
We're ready, Jim.
- Yes, who is this? - Norman? It's me, Theo.
Theo Dane.
I've been trying to reach you.
Hey, I gotta talk to you.
We gotta settle this all right away.
- You're drunk.
- I had a couple of drinks, sure.
Listen, Norman, I'm all shook up.
I gotta talk to you.
- Call me tomorrow.
- No.
No tomorrow.
I'm going back east tomorrow.
I've had it.
I gotta talk to you now, tonight.
Listen, I'm here at the studio, on Stage 31.
You come over.
I'll wait for you.
All right, I'll come right over.
Norman.
What is this? It's Portrait of a Murder.
We rebuild the sets by tomorrow and we start shooting again.
Hey, you really went back to the old days, didn't you? You must be crazy.
You were ready to kill Tony Saunders to throw a little scare into me.
Scare, isn't the word, Theo.
You continue this picture and he's dead.
Well, now, is that Norman Shields, the well-known philanthropist that I hear threatening murder? You're stupid, Norman.
You're still a stupid hood.
And if you give me any more trouble I'm gonna have you put away.
- With what? - With evidence, my friend.
Facts, figures.
Fran Carlin's murder in Chicago.
The labour violence here.
I got enough to trip you away for 20 years.
Are you crazy? Give me that! No, no.
You beg me.
I want you to beg me, and then I'll still say no to you.
Right now.
Lieutenant Warren? We're all set for you.
Theo will pass for dead, with police cooperation.
It was an accident.
Theo Dane? He was drunk.
He kept needling me.
I don't know.
And here, I had to get this from him.
"Dear Norman, this is an offer to buy out your interest in Pantheon Pictures.
" That's not what he said was in the letter.
You gonna tell that to Benjamin Dane? I'm not gonna tell anything to Benjamin Dane.
Theo Dane was killed by a prowler.
Make sure there are no records of me being on the Pantheon lot.
I'll drop by tomorrow on business.
And make sure everybody realises I had nothing to do with the killing.
For the time being, Brent, you'll run the studio.
Maybe I can talk Ben Dane into making the job permanent.
I wouldn't mind.
Yes? It's Karen Vance to see you.
All right.
Send her in.
Have her come in, please.
Good morning, Miss Vance.
Busy, aren't you? Well, I had to pull things together.
You must understand, Miss Vance, that Theo Dane was a very dear friend of mine.
I'm going to miss him deeply.
Yes.
You didn't miss him last night when you shot him.
I beg your pardon.
Theo asked me to be there.
I was watching.
I saw it happen.
You're crazy.
I hope you haven't been raving like this to the police.
Oh, I wouldn't dream of telling the police that you murdered Theo Dane.
What is it? Money? You don't seem to understand.
I couldn't risk the law.
You killed Fran Carlin in Chicago and got off.
I called Benjamin Dane and told him you murdered his brother.
He's flying out here now.
I'll turn her over to security.
They'll keep her out of trouble.
Fran Carlin's murder in Chicago, the labour violence here.
I got enough to trip you away for 20 years.
- Give me that! - No, no, you beg me.
I want you to beg me, and then I'll still say no to you.
Right now.
Okay, that's all of it.
I'll roll it back to the beginning and you'll dub Theo's voice.
All right, I'm ready.
It's Dane.
Benjamin.
I've seen Theo's body.
Made arrangements to ship it back east.
Now explain, Norman.
First, let me tell you how extremely and deeply sorry I am.
I liked Theo, you know that.
He was obsessed with some kind of demon.
Benjamin, he actually insisted on making a picture about the Fran Carlin killing.
Naming names, including all the details, opening up the entire organisation.
We argued about that.
I admit that, but he was drunk, and angry, and he jumped me.
And then there was this terrible, tragic accident.
I see.
I'll have to have a look at that picture.
Of course.
We'll set up a screening.
First, I wanna see that girl, Karen Vance.
- What do you wanna? - Get her.
Bring her in.
There's something else.
Danny Moore.
One of your studio guards shot him.
Yeah, sure, he was a prowler.
He was my man.
Are you Theo's brother? Yes.
In the same room.
Theo's brother and his murderer.
She's crazy.
She's just looking for some cheap publicity.
I loved Theo.
He told me about his big brother.
"If you ever need anything," he said, "ask Benjamin.
" All I'm asking, Mr.
Dane, is that you avenge his murder.
Benjamin.
We've been together for a long time.
You're not gonna listen to this.
That was business.
Theo was my brother.
All right, I'll show you the picture.
It'll explain everything.
Stop selling.
Show me.
- Ready to roll.
- Go ahead.
I'm Tony Saunders, and I made this film at the request of Theo Dane.
Mr.
Dane was afraid of Norman Shields and he asked that I make this film of a meeting they had.
This is the film.
- Stop this nonsense! - Norman.
We'll watch it.
Sit down.
What's this? Did you think you could scare me with a bomb? Cheap violence, that's all you know.
You killed Moore.
And then you were ready to kill Tony Saunders just to try to scare me.
Scare isn't the word, Theo.
You continue this picture and he's dead.
You don't have to threaten us, Norman.
I mean, look, I wanna settle this in a friendly way.
Let's make a deal.
- With what? - Money, Norman.
An offer to buy your interest.
I just wanna do what Benjamin wants: try to build a legal business.
- Give me that! - Oh, come on, Norman.
We could settle this right now.
Right now.
That's all.
You can go.
That wasn't it.
No, no.
That's not the way it was.
Benjamin, somebody has gimmicked the film! How? I saw you up there.
I saw your lips move.
I heard what you said.
- And I heard what Theo said.
- That's a lie! Benjamin, listen to me.
- Somebody got in there - I'm grateful, Miss Vance.
Would you mind excusing us now? You too.
No.
Brent, you stay here.
On my way, Mr.
Dane.
It's all over, Norman.
You hurt me personally, but I'm putting that aside.
You've endangered the entire organisation.
I'll have to take over.
I want you to leave the country.
I'll arrange for funds.
You can go to Europe, Asia, anywhere you like.
Our relationship no longer exists.
Now, I want the business records.
All in here? On microdot.
Very ingenious.
You were always clever, Norman.
All right.
Goodbye, Norman.
We'll take the watch, Mr.
Dane.
Packard.
You brought a lawsuit, you made accusations of illegal pressure.
You've created problems.
This is my studio! I created Pantheon Pictures! Yes, but that was before you came to our organisation for help with your money problems.
So you lent me some money.
That doesn't give you the right to force me out.
Oh, but it does.
And now you're nothing but a troublesome minority stockholder.
Mr.
Shields doesn't like that.
Now, wait a minute, wait a minute.
Tell Shields I'll drop the suit.
He's in control of the studio.
I won't fight him.
That's all we want.
Wait a minute, Brent.
No, no! Brent, no! No! No, Brent! No, Brent! No Hello.
Yes, John.
I've been waiting for your call.
Henry Packard committed suicide about 20 minutes ago.
He jumped.
Tragic.
Did he sign the agreement? - Yes, sir.
- Good.
I'll see you in the morning.
Yes.
Benjamin, I've got some news for you.
Packard suicided tonight.
Oh, the poor man.
See that there are flowers.
Lots of flowers.
How about the studio? You remember that matter we discussed? I brought my kid brother Theo back from Italy.
He was over there, made a couple of pictures.
Knows the business.
He'll take Pantheon over.
Just like that, huh? Somebody's got to watch my interest.
I don't want any more mistakes.
You know I like to keep business in the family, Norman.
He'll do fine with you advising him.
Will he listen to advice, Benjamin? He'll listen.
So let's consider it settled.
Just like that? Just like that.
It's my move.
Good morning, Mister Phelps.
Norman Shields controls a major criminal operation which has been infiltrating the entertainment industry.
Shields has been using illegal funds, supplied by the chief syndicate money man, Benjamin Dane.
Dane recently loaned Shields $ 10 million to take over Pantheon Studios.
Theodore Dane, Benjamin's brother, will be flying to Los Angeles in the next few days to head operations at Pantheon.
Your mission, should you decide to accept it, will be to locate and seize the syndicate financial records held by Norman Shields, records detailing exactly how criminal money is being funnelled into the entertainment industry.
With this information, the entire syndicate can be smashed.
This tape will self-destruct in five seconds.
Good luck, Jim.
This is an outline of the film we'll be making, Portrait of a Murder.
We've inserted details known only to the police and to Shields himself.
All paperwork and contracts have been placed into the Pantheon Studio files.
Good.
Casey's arranged a work history of you as Anthony Saunders, producer-director in Europe.
Mimi? I just got my Equity card as Karen Vance, unknown actress who's going to star in Portrait.
As my discovery.
We'll have to watch out for this man, Heath, head of studio security.
He's on Brent's private payroll.
He's dangerous.
Everything's set with the karate school, Jim.
What about Theo Dane? He's been living it up in Italy the last couple of years, but he and Shields have never met.
This is an exact duplicate of Shields' gun, with a rigged activator.
Excellent.
How about their private telephone lines, Willy? We've arranged the intercept.
All right, then.
We're after the list of entertainment enterprises that Shields has penetrated for the syndicate.
Only Benjamin Dane can make him give up that list.
Point, Jim.
Benjamin Dane has never been west of Chicago.
He doesn't like to leave his own territory.
I think he'll make an exception in this case, to attend his own brother's funeral.
Don't worry, Ben.
I can handle the operation.
There won't be any problems.
Sure, Theo.
But you listen to Norman Shields.
He's a little touchy, but he's a good man.
Now, you have a good trip, and take care, you hear? Big brother.
That's right, pay attention.
Good luck.
Moore, my brother doesn't know you and I don't want him to know you.
Just stay near him.
He's a swinger, and he gets into trouble.
Watch out for him.
See he's okay.
Don't worry, Mr.
Dane.
I can take care of any problems.
The captain has turned off the seat-belt sign.
You're free to move around the cabin.
Hi.
Mind if I ask you three questions? It depends on the questions.
One: Your name? Karen Vance.
Two.
Are you connected with Pantheon Pictures? I'm doing a film there.
I'm an actress.
And a very beautiful girl.
Three.
Do you know hat we're intimately involved with each other? Would you care for some refreshments? - No, thank you.
- Okay.
Here's your drink, sir.
Thank you.
I've been preparing a report on current productions for Mr.
Dane, and I can't seem to find any scripts on your picture, Portrait of a Murder.
Well, see, that's because there aren't any, yet.
You see, I prefer to write it as I film.
It's really a rather simple story, an accurate anatomy of a rather brutal killing in Chicago.
I find it fascinating.
So did Mr.
Packard.
Yes, but I need more information on the project.
Well, I've signed a marvellous young actress for the lead, Karen Vance.
Mr.
Saunders Mr.
Brent, I'm sure that you're aware of the fact that my contract gives me complete control of the project.
I know, but I need more details on your picture.
Very well.
There's a copy of the story.
It'll give you the basic notion.
Beyond that, you'll just have to trust me, won't you? You have no choice.
My contract, remember? And oh, yes.
I will insist upon a closed set.
No visitors.
That's an absolute rule.
I'm sure Mr.
Dane will understand.
The captain has put on the seat belt sign.
Will you please return to your seats and fasten your seat belts? We will be arriving at Los Angeles International Airport in 15 minutes.
Where will you be staying in L.
A.
, Theo? I don't know.
I asked the studio to get me a house, anything, as long as it has a swimming pool.
You wanna get wet with me? How can I can no to my boss? Passengers on Flight 17 from New York City will arrive at Gate 35.
Passengers arriving on TWA Flight Number 11 may now claim their baggage in the street entrance.
Round transportation from downtown Los Angeles, Statler and Hilton Hotels is now boarding at TWA baggage-claim area.
I'm sorry.
I'm always the last one out.
They'll wait for us.
Excuse me.
Have you seen her? Have you seen my new star? No, no, not yet.
- Listen, Saunders - Tony, please.
All right.
Tony, I read the story and we're gonna have to talk about it.
There she is.
Excuse me.
- Hello, Karen.
- Tony, darling.
You look marvellous.
- You're definitely star quality.
- Thank you.
- Come meet the press, dear.
- Oh, you're too much, Tony.
Continental Airlines go jet Flight 666 for Chicago, all aboard please.
Here she is, gentlemen, my new star.
Now let us tell you about Portrait of a Murder Let us all tell you.
This is Theodore Dane, the new head of production at Pantheon.
Mr.
Dane? I'm John Brent, from the studio, sir.
Can we have some details about your plans, Mr.
Dane? And about the picture.
No, gentlemen, I'm sorry, that's definitely all.
You may call my office in the morning for a scheduled interview.
- I have a car for you, Mr.
Dane.
- Good.
I'll give you a lift, Karen.
We must talk.
Would you page a Mr.
Theodore Dane, please? It's important.
- Will I see you tomorrow, Theo? - Definitely you will.
- I'll see you later, Brent.
- Mr.
Dane, sir.
We have to talk.
Mr.
Shields wants to see you.
Oh, have him meet me in my office at the studio - 3:00 this afternoon.
- Mr.
Theodore Dane please come to the courtesy telephone.
Mr.
Theodore Dane.
Mr.
Theodore Dane, please come to the courtesy telephone.
Mr.
Theodore Dane, please come to the courtesy telephone.
Theo Dane here.
This is Theo Dane.
Okay, Jim, the telephone intercept is completed.
Good.
- We don't have much time.
- Tape's ready.
We've spliced together some of Benjamin Dane's testimony before an investigative committee.
Will that be enough for you? I've heard you do imitations on a lot less.
Well, let's give it a try, shall we? Benjamin Dane, I'm sorry, I refuse to answer that question on the grounds it might tend to incriminate or degrade me.
Standard American.
Born and raised on the East Coast, probably Philadelphia.
Benjamin Dane, I think I have it.
Benjamin.
Benjamin Dane, Perfect.
- Did you get the passenger list? - Here it is.
It's a call for Benjamin Dane.
- Yes? - It's me, Mr.
Dane.
I guess there's no easy way to tell you this.
Somebody's kidnapped Theo.
What? Yes, a man's taken his place.
Moved right in the studio.
Now, I followed him, Mr.
Dane.
I can get to him, maybe work him over.
No.
Where can I reach you? I'm staying at the Beverly Sunset Motel.
Good.
Stay there, I'll contact you.
What name did you use? Nobody out here knows me.
I used my own.
Now, don't you worry, Mr.
Dane.
I can handle this.
Get over to the Beverly Sunset Hotel and check the register against this passenger list.
One of the names figures to match.
We'd better reach him before he gets the bright idea of reaching Shields.
"Have him in my office at 3.
" Who does this Theodore Dane think he is? And what about this? I couldn't talk to Saunders about it.
He went off with a girl and Mr.
Dane.
I'm not gonna discuss it.
I'm gonna cancel it.
Portrait of a Murder.
It's a first-class portrait of me.
Daniel P.
Moore.
Alias Matt Daniels.
A loan shark collector for Benjamin Dane.
Yeah, that's our man, all right.
Willy, have the hotel staked out.
It's time for my meeting with Shields.
Have you read this tripe? Yeah, I read it on the plane.
It's gonna make a great action picture.
Theo, I came out here four years ago because of the heat in Chicago.
I spent two weeks in front of a congressional committee.
Washington still has me on a list.
I've built a solid reputation out here.
I give to all the charities.
I'm a respectable citizen.
You make this picture, Theo, and I'm back under the lights, and so is your brother.
And neither of us want that.
Norman, come on, it's only a story.
Now, they tell me this guy Saunders improvises his pictures.
He'll make a whole lot of changes.
I don't want you to worry.
They start shooting tomorrow morning.
Why don't you come down and have a look for yourself, huh? No noise.
No moves.
This way.
Hey! He's dead.
Jack, when you cross to her, you are angry, but you're trying to control it, you see? So you don't explode until after she has hit you, all right? Theo.
Excuse me.
- Hello, darling.
- Hi, beautiful.
- You look fantastic.
How's it going? - Oh, it's dreamy.
- We're ready for a take.
- All right.
- Go ahead, don't worry about us.
- Okay.
- All right, Barr.
- Okay, boys, this is gonna be a take.
Roll it.
Scene 104.
Take one.
Speed.
Action.
All right.
Two men are dead.
But it doesn't mean a gang war, and it doesn't mean I was involved.
I'm not accusing you.
I write for a newspaper.
And this is one hell of a story.
It's a lousy smear.
They'll put me in front of a grand jury.
Plead the Fifth Amendment.
What have you got against me? Two murders, for openers.
And once this story runs, maybe a lot more.
Well, I'm killing the story right now.
Well, I'll just write it again.
Stronger.
- Now, will you please leave? - Not till we settle this.
You listen to Get out! Cut it, print.
Marvellous.
You have a fantastic presence, darling, and a wonderful textured quality.
I wanna talk to you.
Please clear the set so we can have a rehearsal.
Right, sir.
All right, folks, quiet so we can have a rehearsal.
Quiet, please.
Brent, get the film they shot today and destroy it.
I want that picture shut down now.
No.
Hold it.
We're not gonna cancel our picture.
It's gonna make a lot of money, gonna make Karen a major star.
We're not gonna throw that away because you're nervous.
If necessary, I'll shut the studio down and fire you.
Norman, my brother and his friends have a lot of money invested in Pantheon.
I think they're interested in profits, not your anxiety attacks.
Get me Mr.
Dane.
Tell him it's Norman Shields and tell him it's important.
We'll let them talk.
- Yes? - Benjamin, listen.
I'm having trouble with Theo.
- Serious? - Yes.
He's being conned by a producer out here.
A guy who's making a picture about the Fran Carlin killing.
It can only do us harm, but Theo's okayed it.
I'd like you to talk to him.
Maybe call him back to New York.
Norman, if the producer's a problem, deal with it.
If you have a gallstone, you remove the stone, not the patient.
All right, I'll handle it.
Make sure nothing happens to Theo.
Norman, just a moment.
- Yes? - How do you plan on taking care of this fellow? Saunders? Remember Art Morasco? The same way.
With a bomb.
Darling, here we go for another take right away.
- You're both marvellous - Pardon me.
It'll be a couple of minutes before the camera's reloaded.
Oh, all right.
Mr.
Dane, may I speak to you a moment? Yes, certainly, Tony.
Willy and I came in early this morning and searched the set.
No sign of a bomb.
How about your apartment? I checked.
Nothing.
Mr.
Dane.
We have a problem with the European distributor.
Could you come to the office? It's very important.
Yes, sure, all right.
- You're doing fine, Tony.
- Thank you, sir.
Are we all set? Just a second, sir.
It's about our frozen overseas credit balance.
Okay.
CLOSED SET NO ADMITTANCE Okay, Mr.
Saunders, we're ready.
All right, shall we try it? All right, quiet, boys.
Roll it.
Scene 134.
Apple.
Take three.
Speed.
Action.
You're Fran Carlin.
How did you get in here? I've got a friend who's handy with keys.
You're gonna need his help to get out of prison if you don't leave.
Be reasonable.
He makes keys, I make deals.
I'll bring the figures right in.
No.
No deal.
And no chance.
Cut.
Beautiful.
Well done.
- Phone call, Mr.
Saunders.
- Thank you.
- Hello.
- They got me out of there in a hurry just as they finished reloading the camera.
It must be ready to blow.
We're ready, Mr.
Saunders.
You may be ready, but I'm not.
As a matter of fact, you can all stop.
Get out.
Get out! - What? - It's lousy! Terrible! Just get out of here.
Shut up! Get out! Get out! Get out! I have to work this out alone.
It's all wrong, it's all wrong! Get out.
Out! Karen.
Out.
Out.
But Mr.
Saunders, you just can't pull the plug on this kind of thing.
- It's a matter of - Are you deaf or just stupid? Out! Terrible.
It's terrible.
The whole set's destroyed.
What kind of security do we have? I've ordered an investigation, Mr.
Dane.
Fine.
What good is that gonna do? Anybody could plant a bomb anywhere to kill anybody.
Now get out of here and leave me alone.
Mr.
Shields? - Who are you? - I'm from the Karate institute.
You wanted a workout, I believe? Where's Kojimura? He'll be out of town for a few days.
I don't know you.
- You any good? - Fair.
We'll find out.
Jim.
Yeah, Willy? I'm all set here.
Good.
I'm sorry, Mr.
Shields.
I just got carried away, I guess.
Yeah.
All right.
We're ready, Jim.
- Yes, who is this? - Norman? It's me, Theo.
Theo Dane.
I've been trying to reach you.
Hey, I gotta talk to you.
We gotta settle this all right away.
- You're drunk.
- I had a couple of drinks, sure.
Listen, Norman, I'm all shook up.
I gotta talk to you.
- Call me tomorrow.
- No.
No tomorrow.
I'm going back east tomorrow.
I've had it.
I gotta talk to you now, tonight.
Listen, I'm here at the studio, on Stage 31.
You come over.
I'll wait for you.
All right, I'll come right over.
Norman.
What is this? It's Portrait of a Murder.
We rebuild the sets by tomorrow and we start shooting again.
Hey, you really went back to the old days, didn't you? You must be crazy.
You were ready to kill Tony Saunders to throw a little scare into me.
Scare, isn't the word, Theo.
You continue this picture and he's dead.
Well, now, is that Norman Shields, the well-known philanthropist that I hear threatening murder? You're stupid, Norman.
You're still a stupid hood.
And if you give me any more trouble I'm gonna have you put away.
- With what? - With evidence, my friend.
Facts, figures.
Fran Carlin's murder in Chicago.
The labour violence here.
I got enough to trip you away for 20 years.
Are you crazy? Give me that! No, no.
You beg me.
I want you to beg me, and then I'll still say no to you.
Right now.
Lieutenant Warren? We're all set for you.
Theo will pass for dead, with police cooperation.
It was an accident.
Theo Dane? He was drunk.
He kept needling me.
I don't know.
And here, I had to get this from him.
"Dear Norman, this is an offer to buy out your interest in Pantheon Pictures.
" That's not what he said was in the letter.
You gonna tell that to Benjamin Dane? I'm not gonna tell anything to Benjamin Dane.
Theo Dane was killed by a prowler.
Make sure there are no records of me being on the Pantheon lot.
I'll drop by tomorrow on business.
And make sure everybody realises I had nothing to do with the killing.
For the time being, Brent, you'll run the studio.
Maybe I can talk Ben Dane into making the job permanent.
I wouldn't mind.
Yes? It's Karen Vance to see you.
All right.
Send her in.
Have her come in, please.
Good morning, Miss Vance.
Busy, aren't you? Well, I had to pull things together.
You must understand, Miss Vance, that Theo Dane was a very dear friend of mine.
I'm going to miss him deeply.
Yes.
You didn't miss him last night when you shot him.
I beg your pardon.
Theo asked me to be there.
I was watching.
I saw it happen.
You're crazy.
I hope you haven't been raving like this to the police.
Oh, I wouldn't dream of telling the police that you murdered Theo Dane.
What is it? Money? You don't seem to understand.
I couldn't risk the law.
You killed Fran Carlin in Chicago and got off.
I called Benjamin Dane and told him you murdered his brother.
He's flying out here now.
I'll turn her over to security.
They'll keep her out of trouble.
Fran Carlin's murder in Chicago, the labour violence here.
I got enough to trip you away for 20 years.
- Give me that! - No, no, you beg me.
I want you to beg me, and then I'll still say no to you.
Right now.
Okay, that's all of it.
I'll roll it back to the beginning and you'll dub Theo's voice.
All right, I'm ready.
It's Dane.
Benjamin.
I've seen Theo's body.
Made arrangements to ship it back east.
Now explain, Norman.
First, let me tell you how extremely and deeply sorry I am.
I liked Theo, you know that.
He was obsessed with some kind of demon.
Benjamin, he actually insisted on making a picture about the Fran Carlin killing.
Naming names, including all the details, opening up the entire organisation.
We argued about that.
I admit that, but he was drunk, and angry, and he jumped me.
And then there was this terrible, tragic accident.
I see.
I'll have to have a look at that picture.
Of course.
We'll set up a screening.
First, I wanna see that girl, Karen Vance.
- What do you wanna? - Get her.
Bring her in.
There's something else.
Danny Moore.
One of your studio guards shot him.
Yeah, sure, he was a prowler.
He was my man.
Are you Theo's brother? Yes.
In the same room.
Theo's brother and his murderer.
She's crazy.
She's just looking for some cheap publicity.
I loved Theo.
He told me about his big brother.
"If you ever need anything," he said, "ask Benjamin.
" All I'm asking, Mr.
Dane, is that you avenge his murder.
Benjamin.
We've been together for a long time.
You're not gonna listen to this.
That was business.
Theo was my brother.
All right, I'll show you the picture.
It'll explain everything.
Stop selling.
Show me.
- Ready to roll.
- Go ahead.
I'm Tony Saunders, and I made this film at the request of Theo Dane.
Mr.
Dane was afraid of Norman Shields and he asked that I make this film of a meeting they had.
This is the film.
- Stop this nonsense! - Norman.
We'll watch it.
Sit down.
What's this? Did you think you could scare me with a bomb? Cheap violence, that's all you know.
You killed Moore.
And then you were ready to kill Tony Saunders just to try to scare me.
Scare isn't the word, Theo.
You continue this picture and he's dead.
You don't have to threaten us, Norman.
I mean, look, I wanna settle this in a friendly way.
Let's make a deal.
- With what? - Money, Norman.
An offer to buy your interest.
I just wanna do what Benjamin wants: try to build a legal business.
- Give me that! - Oh, come on, Norman.
We could settle this right now.
Right now.
That's all.
You can go.
That wasn't it.
No, no.
That's not the way it was.
Benjamin, somebody has gimmicked the film! How? I saw you up there.
I saw your lips move.
I heard what you said.
- And I heard what Theo said.
- That's a lie! Benjamin, listen to me.
- Somebody got in there - I'm grateful, Miss Vance.
Would you mind excusing us now? You too.
No.
Brent, you stay here.
On my way, Mr.
Dane.
It's all over, Norman.
You hurt me personally, but I'm putting that aside.
You've endangered the entire organisation.
I'll have to take over.
I want you to leave the country.
I'll arrange for funds.
You can go to Europe, Asia, anywhere you like.
Our relationship no longer exists.
Now, I want the business records.
All in here? On microdot.
Very ingenious.
You were always clever, Norman.
All right.
Goodbye, Norman.
We'll take the watch, Mr.
Dane.