All language subtitles for Mission Impossible s06e10 Blues.eng

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You thrill me

Darling, you, you, you
You thrill me

I know you thrill me

Honest you do

At first I thought
It was an infatuation

But, oh, it lasted so long

But now I find myself wanting

But now I find myself wanting you

Five minutes.

But, oh, it lasted so long

But now I find myself wanting you

To marry me and take me home

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.

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
that 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's
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.

Get out!

Please, Judy.

Get out. Get--

You say you wanted your release,
is that it?

Is that what you want? All right.

- I'm gonna give you your release now.
- Get out.

Looks like business
is picking up over last week.

Yeah, so far, so good.
What did 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 organised 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

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 gonna nail Gorman
through Belker.

They work 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.

This is a shaped charge, Jim.
It'll make a big explosion,

but 90 percent 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, Willy.

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 neighbours
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,
Eckhart, 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 gonna 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's 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'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.

And take me home

Oh, you send me

Darling--

Just a minute.

- Ready, Casey?
- Ready.

Background sounds,
Judy's apartment.

All right.

Singer.

What's it all about?

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 talking about Judy Saunders.

Now, you killed the chick.

I got you cold.

How do you figure that?

Well, we'll skip the details for now.

But I got you, man.

Right now,
we're gonna talk about me.

You understand, I wanna 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.

Yeah, man.

Later.

You're going to let him
just walk out of here?

Only till we find out who he is
and what he's got.

- Yeah, Joe's right.
- Stu, want me to take care of it?

All right.

Background sounds,
Judy's apartment.

Front door opening's
on Channel 3, Casey.

Footsteps are on Channel 6.

- Hey, man.
- Hey, baby.

- You have a cigarette?
- Yup.

- Thanks.
- 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 send me

I know you send me

Darling, you send me

Honest you do
Honest you do

You really do

You thrill me

Darling, you, you, you
You thrill me

I know you thrill me

Honest you do

Oh, wow, man.

I didn't even hear you cats come in.

That's what happens
when you go travelling, Crane.

You got the contract, man?

I've got nothing but trouble
for you, Crane.

I think you better talk, fast.

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?

Oh, 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
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.

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,

she could have been taking
boxing lessons.

Yeah, let's try.

Lieutenant, as far as I'm concerned,

she could have been taking
boxing lessons.

A little 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.

Roll.

We have speed.

Okay, I'm here.
Now, what's so important?

Come on in, Stu. You want a drink?

I wanna 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.

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 Harlow.

I'm president of
Judy Saunders Memorial Enterprises.

Frankly, miss,
you could help us enormously.

Poor Judy, 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.

Now, 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. Harlow,
but those are official photographs,

and I'm afraid
there's nothing I can do.

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 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?
Get on it.

Yeah. I've got a couple calls
to make first.

Yeah.

Oh, you send me

Darling--

Just a minute.

Okay, I'm here.
What's so important?

Come in, Stu.

Want a drink?

I wanna 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. I get my release or the cops
get the full story on Stu Gorman

- and how he fronts with 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, yeah

Wasting time
Yes, I am

Sitting on the dock of the bay now

Just wasting time

How'd you dig that, Mr. Gorman?

Real bigtime 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 wanna 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 answers,

we're gonna 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?
- 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 wanna 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.

No, 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 favour, quick.

What kind of favour?

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.

We need a name
and address, please.

Okay, thank you.

Walters. Steven Walters.

17 Summer Place, Apartment 5.

Double-crosser.

Walters,
who hired you to plant that bomb?

- Who do you work for?
- Dirty double-crosser.

Who? Who double-crossed you?

Gorman.

Gor...

I wanna talk to you, Crane.

Not now, man. I'm busy, okay?

What's the matter, Crane?
Did 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 gotta 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 back.

- 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...

Man, he will kill me.

Well, you're dying right now.

What's his name?

- Come on, man, please.
- What's his name?

Please, man.

His name is Jenner, man.
He's a cop.

Sergeant Jenner?

Yeah, man. Sergeant Jenner.

Give it to me.

Come on, man,
give me my stuff back.

This isn't your lucky day,
is it, junkie?

What are you doing here, man?

I came to visit you.

- Man, 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.

- Hey, man--
- 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 someplace safe
and kill him.

Okay, Mr. Gorman.

Oh, man, please.

You're lucky, Crane.
Gorman's gonna let you live.

He says just to make sure
you got out of town.

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.

- 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?

Yes?

Yeah, 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.

So your conscience finally
got the better of you, huh, Belker?

You're a funny man, Jenner,
you know that?

I wanna 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.

Oh, 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 wanna 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...

I don't get this.

Maybe you'll get this.

Listen good, Stu.

Oh, you send me

Darling--

Just a minute.

Okay, I'm here.
What's so important?

Come in, Stu.

Want a drink?

- I wanna 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.

- What's your point?
- Simple. I want out.

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. 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.

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.
The tape is a phoney.

The impersonations are good,
but the words are all wrong.

Okay, so it's a phoney. So what?

I've got duplicates of that tape.

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.

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