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1
00:00:15,720 --> 00:00:18,690
[ CHATTERING ]
2
00:00:18,720 --> 00:00:20,750
LIEUTENANT.
COME ON IN, JANICE.
3
00:00:27,740 --> 00:00:32,010
YOU'RE BEING PROMOTED.
OH, YEAH? I'M GETTIN'
MY GOLD SHIELD?
4
00:00:32,040 --> 00:00:35,240
CONGRATULATIONS.
THANKS.
THIS IS FOR REAL?
5
00:00:36,580 --> 00:00:37,880
YOU'RE BEING ASSIGNED
TO INTELLIGENCE.
6
00:00:37,920 --> 00:00:39,990
AS YOU KNOW, THAT UNIT'S
BEING REORGANIZED,
7
00:00:40,020 --> 00:00:42,390
SO YOU PROBABLY
WON'T BE TRANSFERRED
FOR THREE TO FOUR WEEKS.
8
00:00:42,420 --> 00:00:44,390
LIEUTENANT, GOT ANY IDEA
HOW THIS HAPPENED?
9
00:00:44,420 --> 00:00:46,890
I'VE ONLY BEEN IN ANTI‐CRIME
THREE MONTHS.
10
00:00:46,930 --> 00:00:51,040
THIS WAS A CONTRACT FROM
THE ORGANIZED CRIME UNIT,
FROM INSPECTOR LASTARZA.
11
00:00:51,060 --> 00:00:54,000
EVIDENTLY, YOU WERE EFFECTIVE
IN AN UNDERCOVER
ASSIGNMENT FOR HIM?
12
00:00:54,030 --> 00:00:57,870
YOU WANNA TELL ME
ANYTHING ABOUT THAT?
13
00:00:57,900 --> 00:01:01,300
I, UH, REPORTED
A CORRUPT SOLICITATION.
14
00:01:01,340 --> 00:01:04,250
INSPECTOR LASTARZA
HAD ME DO SOME WORK FOR HIM.
15
00:01:04,270 --> 00:01:06,170
DID YOU KNOW INSPECTOR
LASTARZA'S GOING TO WORK
FOR THE D. E. A.?
16
00:01:07,410 --> 00:01:10,080
I HEARD RUMORS ABOUT THAT.
17
00:01:10,110 --> 00:01:11,810
WELL, I GUESS HE JUST
WANTED TO MAKE SURE...
18
00:01:11,810 --> 00:01:13,680
YOUR WORK WAS
ACKNOWLEDGED
BEFORE HE LEFT.
19
00:01:13,720 --> 00:01:16,350
PERSONNEL'S IDEA WAS
THAT YOU WOULD WORK
IN A SQUAD HERE...
20
00:01:16,390 --> 00:01:18,730
WHILE INTELLIGENCE
GETS REORGANIZED.
21
00:01:18,760 --> 00:01:20,960
YOU OKAY WITH THAT?
YEAH. SURE.
22
00:01:20,990 --> 00:01:23,460
PUTTING ALL THE CARDS
ON THE TABLE.
23
00:01:23,490 --> 00:01:25,590
YOU HAD
A PERSONAL RELATIONSHIP
WITH JOHN KELLY.
24
00:01:25,630 --> 00:01:29,400
YES. UH, THAT'S BEEN OVER
FOR A WHILE NOW.
25
00:01:29,430 --> 00:01:32,800
‐ NO PROBLEM WORKING
WITH HIM NOW?
‐ NOT FOR ME. NO, SIR.
26
00:01:32,830 --> 00:01:35,260
YOU MIGHT WANNA ASK
DETECTIVE KELLY.
I WILL.
27
00:01:35,300 --> 00:01:37,100
OKAY.
28
00:01:39,670 --> 00:01:41,470
THANKS.
29
00:01:41,510 --> 00:01:44,310
TALK ABOUT COMIN'
FROM LEFT FIELD, HUH?
YEAH.
30
00:01:48,300 --> 00:01:50,300
[ MAN ]
UH, DETECTIVE JOHN KELLY.
31
00:01:50,330 --> 00:01:52,270
DETECTIVE‐‐
[ DONNA ]
CAN I HELP YOU?
32
00:01:52,300 --> 00:01:54,270
JUST DETECTIVE JOHN KELLY,
PLEASE.
33
00:01:54,300 --> 00:01:56,440
IS THE DETECTIVE
EXPECTING YOU?
34
00:01:56,470 --> 00:01:58,240
NO, HE'S NOT EXPECTING ME.
HE'S A CLOSE
PERSONAL FRIEND.
35
00:01:58,270 --> 00:02:00,340
JOHN.
CHARLIE.
36
00:02:00,380 --> 00:02:02,320
I GOTTA TALK TO YOU
ON A DEEPLY PERSONAL MATTER.
37
00:02:02,340 --> 00:02:04,340
THE FECES HAS HIT THE FAN.
I'M GETTING JAMMED, JOHN.
38
00:02:04,380 --> 00:02:06,190
LET'S NOT VOICE‐MAIL IT,
THOUGH, CHARLIE. OKAY?
39
00:02:06,210 --> 00:02:07,720
SOME, UH‐‐
40
00:02:07,750 --> 00:02:10,950
SOME MALEVOLENT ASSHOLE...
41
00:02:10,990 --> 00:02:14,560
HAS SENT THESE PICTURES
TO MY WIFE.
42
00:02:14,590 --> 00:02:17,690
TO KITTY, JOHN.
CAN YOU BELIEVE THAT?
43
00:02:17,730 --> 00:02:19,740
WHO DO YOU THINK
MIGHT HAVE DONE IT?
44
00:02:19,760 --> 00:02:22,290
I HAVE NO GRIEVANCES
WITH ANYONE.
YOU KNOW THAT.
45
00:02:22,330 --> 00:02:24,860
I STAYED UP LAST NIGHT,
AND I THOUGHT, MAYBE...
46
00:02:24,900 --> 00:02:28,200
THERE MIGHT BE SOMEONE
WHO HAS GRIEVANCES
AGAINST ME.
47
00:02:28,230 --> 00:02:33,270
THESE PEOPLE, I MAY HAVE
INADVERTENTLY OFFENDED
IN BUSINESS TRANSACTIONS‐‐
48
00:02:33,310 --> 00:02:35,420
KITED CHECKS
AND THINGS OF THAT SORT.
49
00:02:35,440 --> 00:02:38,610
LET'S NOT GET AHEAD
OF OURSELVES. SIT DOWN.
GO AHEAD. SIT DOWN.
50
00:02:38,640 --> 00:02:41,210
[ DONNA ]
15TH DETECTIVE SQUAD.
51
00:02:41,240 --> 00:02:44,910
‐ THEY SENT THESE PICTURES
TO KITTY?
‐ APARTMENT ON FIFTH.
52
00:02:44,950 --> 00:02:47,280
WHAT'D SHE SAY?
53
00:02:47,320 --> 00:02:49,890
SHE SAID, "HOW CAN YOU
DO THIS TO US?"
54
00:02:49,920 --> 00:02:52,080
THEN SHE WENT TO MUSTIQUE.
SHE WENT TO MUSTIQUE, JOHN.
55
00:02:52,120 --> 00:02:54,120
SHE WOULD NOT GO THERE‐‐
IT'S THE OFF‐SEASON‐‐
56
00:02:54,160 --> 00:02:56,730
UNLESS SHE WAS INCREDIBLY
GRIEF‐STRICKEN
AND DISTRAUGHT.
57
00:02:56,760 --> 00:02:58,970
SAY SHE WAS COMIN' BACK?
58
00:02:58,990 --> 00:03:02,260
OF COURSE SHE'S COMING BACK.
SHE'S A GROWN‐UP. SHE'LL
LEARN TO DEAL WITH THIS.
59
00:03:02,300 --> 00:03:04,500
WE GOT TO FIND
THE PRICK THAT DID THIS!
60
00:03:04,530 --> 00:03:06,430
WHO GETS HURT HERE, JOHN?
NOT ME.
61
00:03:06,460 --> 00:03:09,130
NOT ME.
KITTY AND MINETTE‐‐
62
00:03:09,170 --> 00:03:12,910
TWO OF THE MOST
EXTRAORDINARY, DECENT WOMEN
TO EVER GRACE THIS PLANET.
63
00:03:12,940 --> 00:03:15,810
OKAY, I CAN'T HELP YOU
OFFICIALLY, BUT LET'S
THINK ABOUT THIS.
64
00:03:15,840 --> 00:03:17,900
FIRST,
THE PEOPLE ON THIS LIST‐‐
65
00:03:17,940 --> 00:03:20,270
THESE ARE PERSONAL
FRIENDS OF MINE.
THAT'S WHAT HURTS ME.
66
00:03:20,310 --> 00:03:22,240
LET ME TELL YOU
WHAT I'M THINKING.
[ CLEARS THROAT ]
67
00:03:22,280 --> 00:03:24,750
UM, THEY HAVE NO MOTIVE
TO DO THIS BECAUSE,
68
00:03:24,780 --> 00:03:27,180
IF THEY BREAK YOU UP,
THEY DON'T GET ANY MONEY,
RIGHT?
69
00:03:27,210 --> 00:03:31,180
HAS THERE BEEN
ANOTHER EXTORTION ATTEMPT
YOU HAVEN'T TOLD ME ABOUT?
70
00:03:31,220 --> 00:03:35,460
JOHN, I AM TRYING
TO PROTECT...
71
00:03:35,490 --> 00:03:38,260
MY ASS AND MY MARRIAGE.
72
00:03:38,290 --> 00:03:40,420
I AM BEING
TOTALLY HONEST WITH YOU.
73
00:03:40,460 --> 00:03:43,390
WHICH IS WHY I DON'T THINK
IT'S ANYBODY ON THE LIST.
74
00:03:44,890 --> 00:03:46,760
WHICH LEAVES MINETTE, RIGHT?
75
00:03:46,800 --> 00:03:49,640
MINETTE?
76
00:03:52,570 --> 00:03:55,110
SHE EVER ASK YOU
TO LEAVE YOUR WIFE?
77
00:03:55,140 --> 00:03:57,110
SHE TALK ABOUT
YOU GUYS SPLITTING UP?
78
00:03:57,140 --> 00:03:59,940
MINETTE?
79
00:03:59,970 --> 00:04:02,340
THAT LITTLE BITCH.
80
00:04:02,380 --> 00:04:05,020
SHE MANEUVERED ME
INTO THESE PHOTOGRAPHS.
THAT'S IT.
81
00:04:05,040 --> 00:04:07,810
SHE PROBABLY
PAID THE PHOTOGRAPHER
WITH MY OWN MONEY.
82
00:04:07,850 --> 00:04:11,320
I OPEN UP MY HEART
AND ALLOW HER
TO MAKE A HOME THERE.
83
00:04:11,350 --> 00:04:14,780
AND WHAT DOES SHE DO?
SHE DEFECATES
IN MY BROADLOOM!
84
00:04:14,820 --> 00:04:17,820
THE SCALES HAVE FALLEN
FROM THESE EYES OF MINE.
85
00:04:17,850 --> 00:04:20,820
I AM GONNA PUT
A TEN‐TON WEIGHT...
86
00:04:20,860 --> 00:04:24,570
ON THAT WORTHLESS
BAG OF GUMBO
IF I EVER FIND HER.
87
00:04:24,590 --> 00:04:26,160
YOU'RE TALKING
LIKE AN ASSHOLE.
88
00:04:26,190 --> 00:04:28,220
LISTEN TO ME, JOHN.
89
00:04:28,260 --> 00:04:30,390
IF I WASN'T REALLY RICH,
I'D BE AN ASSHOLE.
90
00:05:53,600 --> 00:05:55,900
TAXI!
[ SIPOWICZ ]
SYLVIA.
91
00:05:55,930 --> 00:05:57,660
OH. WAIT, WAIT.
92
00:06:00,210 --> 00:06:02,650
WHAT'S GOIN' ON?
NOTHIN' MUCH.
93
00:06:02,680 --> 00:06:05,080
I PICKED YOUR DAD UP
A BIRTHDAY PRESENT.
HOW NICE.
94
00:06:05,120 --> 00:06:07,420
YEAH, IT'S A GREEK SHOP.
95
00:06:07,450 --> 00:06:10,020
IF HE DOESN'T LIKE IT
OR IT DOESN'T FIT,
HE CAN EXCHANGE IT.
96
00:06:10,060 --> 00:06:12,000
I'M SURE HE WILL LOVE IT.
97
00:06:12,020 --> 00:06:14,060
I GOT THE RECEIPTS.
98
00:06:14,090 --> 00:06:16,090
THAT WAS VERY THOUGHTFUL
OF YOU.
99
00:06:16,130 --> 00:06:18,900
I GOTTA BE IN COURT
TOMORROW AFTERNOON,
100
00:06:18,930 --> 00:06:21,860
SO I THOUGHT I'D MEET YOU HERE
AND THEN WE'D GO OVER
ABOUT 6:00.
101
00:06:21,900 --> 00:06:26,530
IF YOU STILL HAVE WORK, I'LL
GO TO THE RESTAURANT MYSELF,
AND YOU CAN MEET ME THERE.
102
00:06:26,570 --> 00:06:29,270
I, UH‐‐ I DON'T FEATURE ME
GOIN' IN THERE ON MY OWN,
103
00:06:29,300 --> 00:06:31,400
FIRST TIME MEETING
YOUR WHOLE FAMILY.
104
00:06:31,440 --> 00:06:35,370
WOULD YOU STOP WORRYING?
THESE ARE THE LEAST FORMAL
PEOPLE YOU WILL EVER MEET.
105
00:06:37,240 --> 00:06:40,880
LOOK, I'VE BEEN THINKING.
I'M NOT GONNA DANCE.
106
00:06:40,910 --> 00:06:43,780
WHATEVER YOU WANNA DO.
107
00:06:43,810 --> 00:06:46,180
IS THAT GONNA MAKE
EVERYBODY MAD?
[ LAUGHS ]
108
00:06:46,220 --> 00:06:51,030
ANDY, THIS IS A BIRTHDAY PARTY.
PEOPLE ARE GOING TO HAVE FUN.
109
00:06:51,050 --> 00:06:54,290
NOW, WHATEVER YOU WANNA DO,
I'M FINE.
110
00:06:54,320 --> 00:06:56,560
OKAY?
[ GRUNTS ]
111
00:06:56,590 --> 00:06:59,220
ALL RIGHT.
I'LL MEET YOU HERE AT 6:00.
112
00:06:59,260 --> 00:07:01,430
YEAH.
113
00:07:01,460 --> 00:07:04,200
I'LL BREAK SOME PLATES,
BUT I'M NOT GONNA DANCE.
114
00:07:04,230 --> 00:07:06,760
OKAY.
115
00:07:09,430 --> 00:07:11,130
[ MAN ]
HEY, PAUL, COME HERE.
116
00:07:15,310 --> 00:07:17,310
HEY, DETECTIVE.
HEY, GOOD MORNING.
117
00:07:17,340 --> 00:07:19,470
CAN I TALK TO YOU
FOR A MINUTE?
SURE.
118
00:07:19,510 --> 00:07:23,240
I'M BEING PROMOTED.
I'M GETTING MY SHIELD.
IS THAT RIGHT?
119
00:07:23,280 --> 00:07:25,640
YEAH. LASTARZA'S
GOING TO D. E. A.
120
00:07:25,680 --> 00:07:29,650
GUESS HE WANTED TO TAKE OUT
AN INSURANCE POLICY.
WELL, GOOD LUCK WITH THAT.
121
00:07:29,680 --> 00:07:32,450
I'M BEING ASSIGNED
TO INTELLIGENCE, BUT THAT
ISN'T EFFECTIVE FOR A MONTH.
122
00:07:32,490 --> 00:07:34,560
I'LL BE IN SQUAD UNTIL THEN,
UNLESS YOU OBJECT.
123
00:07:34,590 --> 00:07:38,130
FANCY'S GONNA
TALK TO YOU ABOUT IT.
HOW DO YOU FEEL ABOUT IT?
124
00:07:38,160 --> 00:07:41,330
I FEEL OKAY IF YOU
FEEL OKAY ABOUT IT.
125
00:07:41,360 --> 00:07:43,430
I DON'T HAVE
ANY PROBLEMS WITH IT.
126
00:07:43,460 --> 00:07:45,460
WELL, I'LL TALK TO HIM.
AND CONGRATULATIONS.
127
00:07:45,500 --> 00:07:47,740
YEAH. THANKS.
YEAH.
128
00:07:47,760 --> 00:07:50,130
[ SIREN WAILS ]
129
00:07:52,640 --> 00:07:54,580
HEY, IT'S MRS. FANCY.
HEY, DETECTIVE.
130
00:07:54,600 --> 00:07:56,600
HOW YA DOIN'?
GREAT. THANKS.
131
00:07:56,640 --> 00:07:58,670
LIEUTENANT,
YOUR WIFE'S HERE.
132
00:07:58,710 --> 00:08:01,280
HI.
THE GIRLS ARE FINE, ART.
EVERYBODY'S FINE.
133
00:08:01,310 --> 00:08:04,070
SO WHAT'S GOING ON?
I WANNA BUY YOU
AN EARLY LUNCH.
134
00:08:04,110 --> 00:08:07,850
LET ME MAKE
A FEW PHONE CALLS
AND GRAB MY COAT.
135
00:08:07,880 --> 00:08:10,680
OKAY.
[ PHONE RECEIVER
LIFTS OFF CRADLE ]
136
00:08:10,720 --> 00:08:13,120
GOT IT. WHAT WAS
THAT FIRST NAME AGAIN?
137
00:08:13,150 --> 00:08:15,150
"MINETTE."
138
00:08:15,190 --> 00:08:17,500
214 JAMES STREET.
GOT IT.
139
00:08:17,520 --> 00:08:19,420
MM‐HMM.
140
00:08:19,460 --> 00:08:21,930
THAT'S MINETTE COLEMAN?
141
00:08:21,960 --> 00:08:25,460
YEAH. SHOOTING HOMICIDE.
WHITE FEMALE.
142
00:08:25,490 --> 00:08:29,530
THAT'S CHARLIE LEAR'S MISTRESS.
YOUR FRIEND THAT STOLE
THAT "F" TRAIN TWO YEARS BACK?
143
00:08:29,560 --> 00:08:31,700
HE WAS IN HERE
ALL PISSED OFF AT HER.
144
00:08:31,730 --> 00:08:34,130
FOR WHAT?
SOMEBODY SENT HIS WIFE
PICTURES OF HIM AND HER.
145
00:08:34,170 --> 00:08:36,800
HIM AND THIS MINETTE?
THAT MINETTE.
146
00:08:40,910 --> 00:08:42,950
IT'S HARD TO FIGURE
YOUR BUDDY WOULD
COME HERE AND TALK TO YOU...
147
00:08:42,980 --> 00:08:45,050
AND THEN GO
WHACK THIS GIRL.
148
00:08:45,080 --> 00:08:48,150
OF COURSE, HE DID STEAL
THE "F" TRAIN.
THAT'S RIGHT.
149
00:08:49,910 --> 00:08:54,210
I SAW A MAN
LEAVE HER APARTMENT
ABOUT 2 1/2 HOURS AGO.
150
00:08:54,250 --> 00:08:56,310
UH‐HUH.
CAN YOU DESCRIBE HIM?
151
00:08:56,350 --> 00:08:58,720
WELL, I MOSTLY SAW HIM
FROM THE BACK.
152
00:08:58,750 --> 00:09:02,720
HE'S 5‐10, BROWN HAIR.
HE HAD A CAMEL'S HAIR COAT ON.
153
00:09:02,760 --> 00:09:06,000
AND HE LOOKED LIKE A GUY
I'D SEEN VISIT HER BEFORE.
154
00:09:06,030 --> 00:09:08,470
WHEN HE WAS LEAVING,
HE WAS CREATING
KIND OF A RUCKUS.
155
00:09:08,490 --> 00:09:11,630
MUTTERING TO HIMSELF‐‐
PROFANITIES AND STUFF.
YOU TALK TO HIM?
156
00:09:11,660 --> 00:09:13,900
NO, NO.
157
00:09:13,930 --> 00:09:16,400
TWO OR THREE TIMES,
THOUGH, IN THE NEXT HOUR,
I THOUGHT ABOUT HIM...
158
00:09:16,430 --> 00:09:21,170
AND HOW I'D HEARD LIKE A CAR
BACKFIRE A FEW MINUTES BEFORE
HE LEFT MINETTE'S APARTMENT.
159
00:09:21,210 --> 00:09:24,710
AND I THOUGHT, YOU KNOW,
MAYBE I SHOULD CHECK
ON MINETTE...
160
00:09:24,740 --> 00:09:26,970
AND MAKE SURE SHE'S OKAY.
161
00:09:27,010 --> 00:09:30,510
AND WHEN SHE DIDN'T ANSWER,
I JUST HAD A FEELING
I HAD TO CALL YOU GUYS.
162
00:09:30,550 --> 00:09:33,020
'CAUSE SHE WAS HOME.
WHAT DO YOU DO,
MR. GAINES?
163
00:09:33,050 --> 00:09:35,160
I'M A NIGHT R.N.
AT SAINT VINCENT'S.
164
00:09:35,180 --> 00:09:37,410
IF YOU SAW THIS GUY
AGAIN, YOU THINK
YOU COULD I. D. HIM?
165
00:09:37,450 --> 00:09:40,080
I DON'T KNOW.
I'D GIVE IT A WHIRL.
166
00:09:40,120 --> 00:09:42,920
THANKS FOR YOUR HELP.
NO PROBLEM. YOU HAVE
MY NUMBERS IF YOU NEED ME.
167
00:09:42,950 --> 00:09:44,920
YEAH. THANKS.
168
00:09:44,960 --> 00:09:48,000
[ SIREN WAILS ]
169
00:09:48,030 --> 00:09:50,100
M.E. SAYS SHE WAS SHOT
THROUGH THE PILLOW.
170
00:09:50,130 --> 00:09:53,840
THIS IS NO GOOD, ANDY.
THIS GUY JUST DESCRIBED
CHARLIE LEAR.
171
00:09:53,860 --> 00:09:56,600
EXCUSE ME. DETECTIVES,
THIS JUST CAME IN
OVER THE RADIO.
172
00:09:56,630 --> 00:09:59,260
SANITATION WORKER FOUND
A GUN IN A DUMPSTER
THREE BLOCKS OVER...
173
00:09:59,300 --> 00:10:01,670
ON SIXTH AVENUE
BY THE BASKETBALL COURTS.
174
00:10:01,700 --> 00:10:03,770
TELL 'EM WE'RE
ON OUR WAY OVER.
YES, SIR.
175
00:10:03,800 --> 00:10:07,670
LOOK AT IT THIS WAY. WOULD
YOUR PAL BE BRIGHT ENOUGH
TO TOSS HIS IRON?
176
00:10:07,710 --> 00:10:10,020
IF HE HAD A GUN,
WOULDN'T YOU FIGURE
HE'D BE MORE THE TYPE...
177
00:10:10,040 --> 00:10:12,010
TO BE SHOPPING OVER
AT BARNEY'S NOW...
178
00:10:12,040 --> 00:10:15,010
WITH THE BUTT STICKIN'
OUT OF HIS WAISTBAND?
179
00:10:15,050 --> 00:10:17,390
YOU WANNA TELL ME
WHAT'S GOING ON?
180
00:10:17,410 --> 00:10:19,210
I'M PREGNANT, ART.
181
00:10:21,780 --> 00:10:23,850
HOW DID THAT HAPPEN?
182
00:10:23,890 --> 00:10:26,030
WE BOTH KNOW
HOW THAT HAPPENS.
183
00:10:26,050 --> 00:10:29,390
I DON'T UNDERSTAND.
YOU'RE TELLING ME
THE BIRTH CONTROL FAILED?
184
00:10:29,420 --> 00:10:31,620
YES, IT FAILED.
185
00:10:31,660 --> 00:10:33,920
[ SIGHS ]
IT HAPPENS, ART.
186
00:10:33,960 --> 00:10:37,690
DR. SLOAN SAID THERE'S
A SMALL PERCENTAGE OF TIMES
WHEN SOMETHING GOES WRONG.
187
00:10:37,730 --> 00:10:41,200
I CAN'T BELIEVE
WHAT I'M HEARING.
I THOUGHT YOU'D BE HAPPY.
188
00:10:41,230 --> 00:10:45,130
THE DOCTOR SAID
YOU WEREN'T SUPPOSED
TO BE PREGNANT AGAIN.
189
00:10:45,170 --> 00:10:49,270
THE LAST TIME WAS TOO HARD.
I JUST CAME FROM SEEING HIM.
HE THINKS IT'LL BE ALL RIGHT.
190
00:10:49,310 --> 00:10:52,320
THERE'S ONLY
A VERY SMALL CHANCE
THERE'LL BE ANY PROBLEM.
191
00:10:52,340 --> 00:10:54,640
A SMALL CHANCE.
192
00:10:54,680 --> 00:10:59,120
ARTHUR, EVERYTHING
DOESN'T ALWAYS GO
ACCORDING TO PLAN.
193
00:10:59,150 --> 00:11:02,320
NOT EVERYTHING
GOES BY THE BOOK.
194
00:11:02,350 --> 00:11:06,080
DID YOU DO THIS
ON PURPOSE?
HOW CAN YOU ASK ME THAT?
195
00:11:06,120 --> 00:11:09,450
SO THAT'S A NO.
THAT'S A NO.
196
00:11:09,490 --> 00:11:12,320
BUT IF YOU'RE ASKING
DO I REGRET HAVING
A LIFE INSIDE ME,
197
00:11:12,360 --> 00:11:14,830
THE ANSWER TO THAT
IS NO ALSO.
198
00:11:17,460 --> 00:11:19,930
CAN'T YOU BE HAPPY?
THAT YOUR LIFE
MIGHT BE AT RISK?
199
00:11:19,960 --> 00:11:22,500
THAT WE'RE GOING
TO HAVE ANOTHER CHILD.
200
00:11:31,670 --> 00:11:33,340
I'M NOT GOING
IN THERE WITH YOU.
201
00:11:35,880 --> 00:11:38,280
LET'S SIT DOWN
AND TALK ABOUT THIS.
202
00:11:38,310 --> 00:11:41,640
NO. I'M GOING HOME.
I DON'T WANNA
SIT DOWN WITH YOU.
203
00:11:41,680 --> 00:11:44,580
I DON'T WANNA HAVE
A MEAL WITH YOU.
I DON'T WANNA LOOK AT YOU.
204
00:11:44,620 --> 00:11:47,290
YOU BREAK MY HEART.
205
00:12:00,730 --> 00:12:03,960
[ KELLY ]
F. A. T. N. KICKED THAT GUN BACK
WE GOT FROM THE DUMPSTER.
206
00:12:04,000 --> 00:12:05,970
TURNS OUT
IT WAS REGISTERED
TO THIS CHARLIE.
207
00:12:06,000 --> 00:12:08,000
THAT'S YOUR FRIEND?
THEY PUT HIM
IN A LINEUP,
208
00:12:08,030 --> 00:12:10,200
BUT I COULDN'T GET
A POSITIVE I. D.
209
00:12:10,240 --> 00:12:13,310
ANDY'S GOT THE GUY
IN INTERVIEW?
YEAH. YOU WANT ME OFF THIS?
210
00:12:13,340 --> 00:12:15,200
DO YOU THINK
YOUR KNOWING THE GUY
COULD HELP US?
211
00:12:15,240 --> 00:12:17,270
I THINK SO.
HE'S KIND OF A FLAKE,
212
00:12:17,310 --> 00:12:19,520
BUT I USUALLY CAN MAKE
SENSE OUT OF HIM.
213
00:12:19,540 --> 00:12:23,340
WELL, IT'S SIPOWICZ'S CASE.
YOU WORK IT WITH HIM.
OKAY.
214
00:12:23,380 --> 00:12:25,540
UM, JOHN?
YEAH.
215
00:12:25,580 --> 00:12:28,180
JANICE LICALSI'S
GETTING HER SHIELD.
I KNOW. SHE TOLD ME.
216
00:12:28,220 --> 00:12:32,030
WOULD YOU MIND HER
WORKING IN THE SQUAD TILL
SHE GOES OVER TO INTELLIGENCE?
217
00:12:32,050 --> 00:12:35,490
I DON'T FORESEE A PROBLEM.
AS FAR AS YOUR PERSONAL
RELATIONSHIP, THAT'S SETTLED?
218
00:12:35,520 --> 00:12:37,720
YEAH, THAT'S OVER.
OKAY.
219
00:12:37,760 --> 00:12:40,400
OKAY.
220
00:12:40,430 --> 00:12:44,500
THAT PISTOL WE PULLED
OUT OF THE DUMPSTER,
THAT'S REGISTERED TO YOU.
221
00:12:44,530 --> 00:12:46,630
THE LAST TIME
I SAW THAT PISTOL...
222
00:12:46,660 --> 00:12:49,700
WAS THREE MONTHS AGO
BOUNCING AROUND
MY UNDERWEAR DRAWER.
223
00:12:49,730 --> 00:12:52,170
ANYBODY COULD'VE
PICKED IT UP. JOHN?
224
00:12:52,200 --> 00:12:55,200
I WASN'T I. D.'D, WAS I,
NOT BY THESE PEOPLE
IN THIS LINEUP, HUH?
225
00:12:55,240 --> 00:12:58,910
‐ WHERE WERE YOU
FOR THE LAST FEW HOURS?
‐ I WASN'T I. D.'D, WAS I?
226
00:12:58,940 --> 00:13:02,010
'CAUSE IF I WAS I. D.'D,
I'M GONNA CHECK INTO
THE PUZZLE HOUSE.
227
00:13:02,040 --> 00:13:04,240
THE I. D. WAS INCONCLUSIVE,
BUT WHERE WERE YOU, CHARLIE?
228
00:13:04,280 --> 00:13:07,180
I CAN TELL YOU IF I HAVE TO.
[ SIPOWICZ ]
THIS QUALIFIES AS A JAM.
229
00:13:07,210 --> 00:13:09,340
I'D RECOMMEND YOU TELL US.
230
00:13:10,780 --> 00:13:12,820
I WAS AT
MY OTHER GIRLFRIEND'S.
231
00:13:12,850 --> 00:13:16,150
CLAUDIA. CLAUDIA LOWE.
SHE'S A GOOD KID.
232
00:13:16,190 --> 00:13:20,060
CLAUDIA'S MISFORTUNE IN LIFE‐‐
SHE HAPPENS TO BE TRAPPED
IN A LOVELESS MARRIAGE.
233
00:13:20,090 --> 00:13:23,060
I WOULD APPRECIATE IT
IF YOU WOULD APPROACH HER
DISCRETELY.
234
00:13:23,090 --> 00:13:26,060
WE'LL DO WHAT WE CAN.
DOES CLAUDIA LIVE
WITH HER HUSBAND?
235
00:13:26,090 --> 00:13:29,430
YEAH. YEAH, SHE DOES.
HE'S NOT IN TOWN A LOT.
HE'S A SALESMAN.
236
00:13:29,460 --> 00:13:32,100
SELLS SECTIONAL GARAGE DOORS.
I THINK HE'S IN TROY TODAY.
237
00:13:32,130 --> 00:13:34,260
‐ HE MAY BE BACK BY NOW.
‐ YOU GOT AN ADDRESS?
238
00:13:34,300 --> 00:13:37,230
YEAH. YEAH. UM‐‐
239
00:13:37,270 --> 00:13:40,070
SHE, UH‐‐
SHE LIVES IN CHELSEA
ON 21ST STREET.
240
00:13:42,240 --> 00:13:44,370
THIS IS THE PHONE NUMBER.
241
00:13:44,410 --> 00:13:47,840
YOU CALL IT
AND THEN HANG UP.
242
00:13:47,880 --> 00:13:50,240
THEN CALL IT AGAIN.
IF SOMEONE ANSWERS
AND HANGS UP,
243
00:13:50,280 --> 00:13:53,110
THAT'S CLAUDIA INDICATING
THAT THERE'S NO LONGER
A HUSBAND ON THE PREMISES...
244
00:13:53,150 --> 00:13:55,350
AND IT'S SAFE
TO COME OVER.
245
00:13:55,380 --> 00:13:59,720
‐ SIT DOWN.
‐ COME ON, JOHN.
I GOTTA PICK UP MY TREVOR.
246
00:13:59,750 --> 00:14:02,790
POOR GUY. HE'S AN ALKIE.
I PICK HIM UP EVERY WEEK
AT THIS TIME.
247
00:14:02,820 --> 00:14:06,560
YEAH? WHAT, YOU TAKE HIM
TO A MEETING OR SOMETHING
PIOUS LIKE THAT?
248
00:14:06,590 --> 00:14:08,730
I TAKE HIM
TO THE HARVARD CLUB
TO GET LOADED.
249
00:14:11,300 --> 00:14:13,200
ARE YOU A RISK OF FLIGHT,
CHARLIE?
250
00:14:13,230 --> 00:14:15,300
LOOK, YOU GUYS.
251
00:14:15,330 --> 00:14:19,600
I CAME IN HERE‐‐
I COME UNDER MY OWN HOOK.
252
00:14:19,640 --> 00:14:22,310
I GIVE UP CLAUDIA'S NAME.
SHE'S GONNA SAY I'M NOT GUILTY.
I DIDN'T DO IT.
253
00:14:22,340 --> 00:14:25,270
IN CASE YOU HAVEN'T NOTICED,
I AM VERY TORN UP
ABOUT THIS THING.
254
00:14:25,310 --> 00:14:28,280
I WOULD LIKE TO GO
AND MEDICATE MY GRIEF.
255
00:14:28,310 --> 00:14:31,440
YOU BETTER MAKE YOURSELF
AVAILABLE TO US.
256
00:14:31,480 --> 00:14:33,280
ON MY HONOR.
MM‐HMM.
257
00:14:54,300 --> 00:14:56,040
[ FOOTSTEPS APPROACHING ]
258
00:14:58,100 --> 00:15:02,000
OOPS. I WAS EXPECTIN'
SOMEONE ELSE.
259
00:15:02,040 --> 00:15:04,240
I CAN SEE THAT.
NEW YORK CITY
POLICE DETECTIVES.
260
00:15:04,270 --> 00:15:06,000
CAN WE COME IN?
261
00:15:06,040 --> 00:15:08,640
[ TV PLAYING ]
262
00:15:08,670 --> 00:15:11,740
WHAT'S THIS ABOUT ANYWAYS?
I'M EXPECTING SOMEONE.
263
00:15:11,780 --> 00:15:14,280
WOULD THAT BE CHARLIE LEAR?
WHAT'S THIS
HAVE TO DO WITH CHARLIE?
264
00:15:14,310 --> 00:15:16,940
IS HE IN TROUBLE
OR SOMETHIN'?
265
00:15:16,980 --> 00:15:19,280
MRS. LOWE, WHAT WERE YOU DOING
BETWEEN 9:00 AND 11:00
THIS MORNING?
266
00:15:19,320 --> 00:15:24,330
UH, WATCHIN' TV,
SLEEPIN'.
ALONE?
267
00:15:25,550 --> 00:15:28,790
THIS IS ABOUT CHARLIE,
ISN'T IT?
268
00:15:28,820 --> 00:15:31,450
RIGHT.
HE GAVE YOU THE NUMBER.
YOU USED THE SIGNAL.
269
00:15:31,490 --> 00:15:33,820
BETWEEN 9:00 AND 11:00?
270
00:15:33,860 --> 00:15:36,590
IF CHARLIE SAYS HE WAS HERE,
HE WAS HERE.
271
00:15:36,630 --> 00:15:39,100
THAT'S NOT THE WAY IT WORKS.
DO YOU SAY HE WAS HERE?
272
00:15:39,130 --> 00:15:41,660
[ SIGHS ]
SURE. HE WAS HERE.
273
00:15:41,700 --> 00:15:45,330
‐ WHAT TIME WAS HE HERE?
‐ I'M NOT POSITIVE.
I WAS ASLEEP.
274
00:15:45,370 --> 00:15:47,600
I HEARD THE DOOR, AND I
NEVER LOOKED AT THE CLOCK.
275
00:15:47,640 --> 00:15:50,300
SO HE DIDN'T USE THE PHONE.
HE DIDN'T USE THE SIGNAL.
276
00:15:50,340 --> 00:15:54,210
HE MIGHT HAVE.
I MIGHT HAVE GONE
BACK TO SLEEP.
277
00:15:54,240 --> 00:15:57,510
‐ WHAT TIME DID HE LEAVE?
‐ I'M NOT POSITIVE.
I DON'T GET UP UNTIL LATE.
278
00:15:57,550 --> 00:16:00,650
SO WHENEVER
HE SAID HE LEFT,
HE LEFT, OKAY?
279
00:16:00,680 --> 00:16:05,220
LOOK, UM, MY HUSBAND‐‐
HE DOESN'T HAVE TO KNOW
ABOUT THIS, DOES HE?
280
00:16:05,250 --> 00:16:08,280
WOULD YOU BE WILLING
TO TESTIFY IN COURT THAT
CHARLIE WAS HERE THIS MORNING?
281
00:16:09,490 --> 00:16:11,430
IS THIS SOMETHING SERIOUS?
282
00:16:11,470 --> 00:16:13,810
YEAH.
JUST LIKE THE PENALTIES
FOR PERJURY.
283
00:16:13,830 --> 00:16:15,870
[ HUSHED ]
OH, GOD.
284
00:16:18,300 --> 00:16:20,440
[ SIGHING]
UH... YEAH.
285
00:16:20,470 --> 00:16:23,140
SURE. HE WAS HERE.
HE WAS HERE. OKAY?
286
00:16:24,540 --> 00:16:26,340
WE'LL BE IN TOUCH.
287
00:16:32,550 --> 00:16:35,010
[ STAMMERING ]
I, UH‐‐ I‐I‐I‐‐
288
00:16:35,050 --> 00:16:38,520
I WANNA BE STRAIGHTFORWARD
ABOUT THIS. I AM BEGINNING
TO FEEL RESENTFUL.
289
00:16:38,550 --> 00:16:40,650
I ALSO WANT TO SAY...
HERE WE GO.
290
00:16:40,690 --> 00:16:42,990
THAT IF MY REPUTATION
AT THE CLUB WASN'T
ALREADY TARNISHED,
291
00:16:43,020 --> 00:16:47,420
YOUR GUYS PULLING ME
OUT OF THERE LIKE THAT
PUT IT IN THE CRAPPER.
292
00:16:47,460 --> 00:16:49,760
YOUR ALIBI DOESN'T
STAND UP, CHARLIE.
293
00:16:49,800 --> 00:16:51,700
WHAT DO YOU MEAN?
I SAID I WAS WITH CLAUDIA.
294
00:16:51,730 --> 00:16:53,830
I HAD SEX WITH HER
1 1/2 TIMES.
295
00:16:53,860 --> 00:16:56,300
SHE DIDN'T MENTION THAT.
WOMEN. WELL,
IT HAPPENS TO BE TRUE.
296
00:16:56,330 --> 00:16:59,970
SHE SAID YOU MIGHT HAVE BEEN
THERE. SHE DOESN'T REMEMBER
WHEN YOU ARRIVED OR LEFT.
297
00:17:00,000 --> 00:17:02,340
SHE SAID SHE WAS ASLEEP.
298
00:17:02,370 --> 00:17:04,670
SLEEPING
WHILE I HAD SEX WITH HER?
WHAT'S THAT SAY ABOUT ME?
299
00:17:04,710 --> 00:17:08,150
I'LL TELL YOU WHAT IT IS.
CLAUDIA'S A GOOD WOMAN,
BUT NAIVE ABOUT THE WORLD.
300
00:17:08,180 --> 00:17:11,790
YOU SCARED HER.
YOU SCARED HER BAD.
YOU SCARED HER BAD.
301
00:17:11,810 --> 00:17:13,810
YOU MISTOOK HER NERVOUSNESS
FOR A LACK OF CONVICTION.
302
00:17:13,850 --> 00:17:16,720
YOU LET ME TALK TO HER,
I WILL GET HER OVER
THIS CASE OF THE VAGUES.
303
00:17:16,750 --> 00:17:19,650
‐ DID YOU DO THIS?
‐ I DID NOT.
304
00:17:19,680 --> 00:17:21,780
YOU WERE LOADED.
YOU WERE PISSED OFF
ABOUT THE PICTURES.
305
00:17:21,820 --> 00:17:24,120
DID YOU GO OVER
TO MINETTE'S?
306
00:17:24,160 --> 00:17:26,730
‐ I DIDN'T KILL ANYBODY.
‐ MAYBE YOU WERE
TOO DRUNK TO REMEMBER.
307
00:17:28,060 --> 00:17:30,020
I'M NOT GONNA SAY
I HAVE TOTAL RECALL...
308
00:17:30,060 --> 00:17:32,330
ABOUT EVERY EVENT
SINCE MY CHRISTENING,
309
00:17:32,360 --> 00:17:35,160
SO YOU JUST LET ME GO
AND TALK TO CLAUDIA, OKAY?
310
00:17:35,200 --> 00:17:37,030
NO.
YOU PUTTIN'
THE BAG ON ME?
311
00:17:37,070 --> 00:17:40,240
I'M GONNA READ YOU
YOUR RIGHTS TOO.
I SAID I DIDN'T DO IT!
312
00:17:40,270 --> 00:17:42,370
YOU'RE PUTTIN'
THE BAG ON ME!
LET'S GO.
313
00:17:42,400 --> 00:17:45,700
YOU GUYS ARE NOW GONNA HAVE
A CHANCE TO GO A ROUND
WITH THE COBRA.
314
00:17:45,740 --> 00:17:47,870
WHAT DO YOU MEAN,
"THE COBRA"?
315
00:17:47,910 --> 00:17:50,480
ALAN BIDEN. ALAN BIDEN
STARTED TWO YEARS
BEHIND ME AT HARVARD.
316
00:17:50,510 --> 00:17:53,640
BY THE TIME I GRADUATED,
HE WAS IN SECOND‐YEAR LAW.
317
00:17:53,680 --> 00:17:56,140
BELIEVE ME, THE COBRA
IS GONNA GET HIS WAY,
318
00:17:56,180 --> 00:17:59,080
AND, JOHN,
I AM PARTICULARLY
DISPLEASED WITH YOU.
319
00:17:59,120 --> 00:18:02,590
I AM PARTICULARLY
DISPLEASED WITH THE WAY
IN WHICH YOU DID THIS.
320
00:18:02,620 --> 00:18:04,650
HEY.
HI.
321
00:18:04,690 --> 00:18:06,760
[ DOOR CLOSES ]
322
00:18:06,790 --> 00:18:09,650
SO I GUESS I SHOW UP
IN THE SQUAD TOMORROW, HUH?
323
00:18:09,690 --> 00:18:12,090
YEAH. HEY, IT'LL BE GOOD.
324
00:18:12,130 --> 00:18:15,000
BY ANY CHANCE, YOU
WOULDN'T FEEL LIKE GOING
FOR A BEER, WOULD YOU?
325
00:18:15,030 --> 00:18:17,190
TOUCHIN' BASE?
I'M WORKING ON THIS GUY.
326
00:18:19,270 --> 00:18:22,840
I WANTED TO TELL YOU THAT
I'M GLAD WE'RE GONNA GET
TO WORK TOGETHER.
327
00:18:22,870 --> 00:18:25,540
THE LAST COUPLE MONTHS
HAVEN'T BEEN THAT GREAT
FOR ME.
328
00:18:25,570 --> 00:18:29,370
I KNOW IT MAY BE AWKWARD
STARTING OUT, BUT I THINK
WE CAN GET PAST THAT,
329
00:18:29,410 --> 00:18:31,880
AND I'D LIKE US
TO WIND UP FRIENDS.
330
00:18:31,910 --> 00:18:35,880
I'D LIKE THAT TOO.
LET'S SEE WHAT HAPPENS,
ALL RIGHT?
331
00:18:35,910 --> 00:18:37,640
OKAY, JOHN.
ALL RIGHT.
332
00:18:38,950 --> 00:18:42,620
HE MAKE HIS CALL?
YEAH. TO THE COBRA.
333
00:18:42,650 --> 00:18:45,050
I THINK ALL LAWYERS
SHOULD HAVE
REPTILE NICKNAMES.
334
00:18:45,090 --> 00:18:48,290
DID HE
KILL THIS GIRL?
335
00:18:48,320 --> 00:18:50,120
I DON'T KNOW.
336
00:19:14,280 --> 00:19:16,080
TIME FOR BED, GIRLS.
337
00:19:21,750 --> 00:19:23,720
GOOD NIGHT, BABY.
GOOD NIGHT, DAD.
338
00:19:23,750 --> 00:19:25,480
MM!
GOOD NIGHT, MOM.
339
00:19:25,520 --> 00:19:27,560
GOOD NIGHT, SWEETIE.
340
00:19:27,580 --> 00:19:30,220
GOOD NIGHT.
GOOD NIGHT, YOU.
341
00:19:30,250 --> 00:19:32,090
SWEET DREAMS.
342
00:19:33,660 --> 00:19:36,770
[ ARTHUR, SIGHS ]
343
00:19:44,430 --> 00:19:48,070
ARTHUR, ARE YOU ASKING ME
TO GET AN ABORTION?
344
00:19:48,100 --> 00:19:50,500
IS THAT WHAT YOU WANT?
YOU KNOW
WHAT I BELIEVE ABOUT THAT.
345
00:19:50,540 --> 00:19:52,210
THEN WHY ARE YOU
BEING THIS WAY?
LET ME FINISH.
346
00:19:54,840 --> 00:19:59,940
YOU KNOW WHAT I BELIEVE,
BUT IF YOUR LIFE'S
GONNA BE JEOPARDIZED‐‐
347
00:19:59,980 --> 00:20:01,990
YOU SHOULD TALK TO
THE DOCTOR. HE THINKS
IT'LL BE ALL RIGHT.
348
00:20:02,010 --> 00:20:05,340
WHAT IF IT ISN'T?
I DON'T WANNA LOSE YOU.
349
00:20:05,380 --> 00:20:08,850
I DON'T WANT
THE GIRLS TO LOSE YOU.
350
00:20:08,880 --> 00:20:11,320
I KNOW WHAT'S IN
YOUR DEEPEST HEART, ARTHUR.
351
00:20:13,120 --> 00:20:16,650
I'M ASKING YOU
TO LET LIFE IN.
LET THIS LIFE IN.
352
00:20:20,530 --> 00:20:22,300
I THINK
IT'S TOO MUCH OF A RISK.
353
00:20:25,500 --> 00:20:27,310
I'M HAVING THIS CHILD.
354
00:20:47,910 --> 00:20:51,150
I DON'T BELIEVE FOR A MINUTE
CHARLIE KILLED THAT GIRL.
355
00:20:51,180 --> 00:20:53,050
I DON'T BELIEVE
YOU BELIEVE IT, JOHN.
356
00:20:53,090 --> 00:20:55,560
YOU JUST GOT BACK
FROM MUSTIQUE?
357
00:20:55,590 --> 00:20:58,860
PUTTING
CHARLIE'S PECCADILLOES
INTO THE PROPER PERSPECTIVE.
358
00:20:58,890 --> 00:21:02,720
SEXUAL FIDELITY
HAS NEVER BEEN
CHARLIE'S STRONG SUIT.
359
00:21:02,760 --> 00:21:06,110
HE'S SUFFERED FROM THESE
TRANSIENT INFATUATIONS
FOR YEARS,
360
00:21:06,110 --> 00:21:07,250
AS YOU WELL KNOW.
361
00:21:07,280 --> 00:21:09,550
WE EVEN JOKE ABOUT IT,
CHARLIE AND I.
[ CHUCKLES ]
362
00:21:09,580 --> 00:21:11,950
YOU KNOW WHAT
I TOLD HIM THIS MORNING?
363
00:21:11,980 --> 00:21:15,180
"CHARLIE," I SAID,
"IF ANYTHING EVER
HAPPENED TO YOUR PECKER,
364
00:21:15,220 --> 00:21:18,090
I DON'T KNOW
WHAT THE HELL YOU'D
USE TO THINK WITH."
365
00:21:18,120 --> 00:21:21,220
MRS. LEAR, HAVE YOU LET GO
OF ANY OF THE HELP RECENTLY‐‐
366
00:21:21,260 --> 00:21:23,790
MAYBE BEING UNRELIABLE,
TAKING THINGS?
367
00:21:23,830 --> 00:21:25,860
MM‐MM. NO ONE. NO.
368
00:21:25,900 --> 00:21:28,070
ANYONE HAVE ACCESS
TO THE APARTMENT...
369
00:21:28,100 --> 00:21:30,800
MIGHT WANNA PUT CHARLIE
IN TROUBLE, MAKE HIM
LOOK LIKE HE DID THIS?
370
00:21:30,830 --> 00:21:32,700
YOU'RE THINKING
ABOUT THE GUN NOW,
371
00:21:32,730 --> 00:21:34,900
THAT CHARLIE'S GUN WAS
USED IN THE SHOOTING?
372
00:21:34,940 --> 00:21:36,950
WE'RE NOT BEARS
FOR SECURITY,
373
00:21:36,970 --> 00:21:40,900
BUT NO, NO ONE SPECIFIC
COMES TO MIND.
374
00:21:40,940 --> 00:21:43,140
DID YOU KNOW
THE DEAD WOMAN
MINETTE COLEMAN?
375
00:21:43,180 --> 00:21:45,150
[ SCOFFS ]
HARDLY.
376
00:21:45,180 --> 00:21:47,410
OH, EXCEPT AS A TYPE.
377
00:21:47,450 --> 00:21:51,620
THEY'RE ALL VERY MUCH
THE SAME, JOHN, THESE,
UM... WOMEN OF CHARLIE'S.
378
00:21:51,650 --> 00:21:56,080
‐ THESE OTHER WOMEN
DON'T BOTHER YOU?
‐ IT'S BEEN AWKWARD AT TIMES.
379
00:21:56,120 --> 00:21:59,050
‐ AND EMBARRASSING, RIGHT?
‐ WELL, I'VE NEVER
MUCH CARED...
380
00:21:59,090 --> 00:22:01,720
OR HAD TO CARE
WHAT OTHER PEOPLE THINK.
381
00:22:01,760 --> 00:22:03,470
WHO DO YOU THINK
SENT THESE PICTURES?
382
00:22:03,490 --> 00:22:05,790
WELL, I ASSUME SHE DID,
THE GIRL WHO WAS KILLED.
383
00:22:05,830 --> 00:22:07,970
CHARLIE SAID
THEY WERE ADDRESSED TO YOU.
384
00:22:08,000 --> 00:22:11,140
YEAH.
YOU HAVE THAT ENVELOPE?
385
00:22:11,170 --> 00:22:14,610
NO. I THREW IT AWAY.
386
00:22:14,630 --> 00:22:19,300
[ SIGHS ]
CHARLIE'S BEING ARRAIGNED
THIS AFTERNOON.
387
00:22:19,340 --> 00:22:24,250
HE TOLD ME
NOT TO COME DOWN.
HE SOUNDED UPSET.
388
00:22:24,270 --> 00:22:26,170
CHARLIE HATES
BEING UNHAPPY.
389
00:22:26,210 --> 00:22:28,180
THANKS FOR YOUR HELP.
390
00:22:32,310 --> 00:22:35,880
TELL HIM, UM...
I ASKED FOR HIM.
391
00:22:37,120 --> 00:22:38,950
I'LL DO THAT.
392
00:22:43,560 --> 00:22:45,330
[ MEN CHATTERING ]
393
00:22:48,390 --> 00:22:50,860
SAY SHE SET HIM UP.
SHE HAD ACCESS TO THE GUN.
394
00:22:50,900 --> 00:22:53,100
YEAH, BUT WHAT DO YOU DO ABOUT
THAT WITNESS DESCRIPTION...
395
00:22:53,130 --> 00:22:56,830
AND THE MISTRESS
WHOSE STORY LIMPS
THAT HE WAS THERE?
396
00:22:56,870 --> 00:22:59,180
YOU KNOW WHAT?
LET'S GO CALL
THIS MISTRESS AGAIN.
397
00:22:59,200 --> 00:23:01,330
I'LL GIVE HER A CALL.
YEAH.
398
00:23:03,810 --> 00:23:06,520
JOHN! THE COBRA HAS STRUCK.
399
00:23:06,540 --> 00:23:09,310
LOOK WHO'S HERE.
I'M OUT.
400
00:23:09,340 --> 00:23:12,210
HAD TO PUT UP A COOL MILLION.
THAT WAS THE BOND.
401
00:23:12,250 --> 00:23:14,390
WHEN THIS NEWS
REACHES CERTAIN QUARTERS,
402
00:23:14,410 --> 00:23:17,210
FOUR OR FIVE OF THE CITY'S
MOST COOPERATIVE
AND BELOVED BANKERS...
403
00:23:17,250 --> 00:23:20,380
ARE GONNA GO INTO
SIMULTANEOUS ARREST.
404
00:23:20,420 --> 00:23:22,520
I'LL MAKE THAT CALL.
405
00:23:22,550 --> 00:23:24,720
KEEP STEPPING
ON YOUR JOINT,
CHARLIE.
406
00:23:26,160 --> 00:23:30,200
JOHN, I TELL YOU
WHAT I'M GONNA DO.
407
00:23:30,230 --> 00:23:32,640
I AM GONNA PERSONALLY
SLEUTH THE HELL
OUT OF THIS CASE...
408
00:23:32,660 --> 00:23:35,860
TO FIND OUT WHO HAS
CAST THIS SHADOW
OVER KITTY'S AND MY LIFE.
409
00:23:35,900 --> 00:23:39,010
NO, YOU'RE NOT.
YOU ARE GONNA
CHECK INTO A HOTEL.
410
00:23:39,030 --> 00:23:42,130
YOU ARE GONNA STAY AWAY
FROM KITTY, AND YOU ARE
NOT GONNA SEE THIS GIRL.
411
00:23:42,170 --> 00:23:45,730
I CAN'T SPEND TIME BY MYSELF.
YOU BEST FIGURE OUT
HOW, CHARLIE.
412
00:23:48,940 --> 00:23:50,710
WHAT IF I DID THIS, JOHN?
413
00:23:52,610 --> 00:23:54,370
I'M GONNA HAVE
TO TAKE YOU TO JAIL.
414
00:24:03,420 --> 00:24:05,660
HEY.
HEY.
415
00:24:05,690 --> 00:24:07,560
LEAR'S GIRLFRIEND SAID
HER HUSBAND'S GONNA
BE THERE TONIGHT.
416
00:24:07,590 --> 00:24:09,550
SHE'D SEE US
TOMORROW MORNING.
ALL RIGHT.
417
00:24:09,590 --> 00:24:12,160
WHAT HAPPENED
TO GOOD‐TIME CHARLIE?
418
00:24:12,190 --> 00:24:14,190
I SENT HIM OVER
TO A HOTEL.
419
00:24:14,230 --> 00:24:16,340
THAT'S PROBABLY
JUST WHERE HE WENT.
420
00:24:16,360 --> 00:24:18,900
HEY, YOU GOT
THAT BIRTHDAY THING TONIGHT.
421
00:24:18,930 --> 00:24:22,360
MM‐HMM.
[ GARGLES, SPITS ]
422
00:24:23,390 --> 00:24:25,260
YOU HAVEN'T MET HER FAMILY,
HAVE YOU?
423
00:24:25,290 --> 00:24:27,830
NO. THIS IS IT.
424
00:24:27,860 --> 00:24:30,500
THEY'RE PROBABLY
EXPECTING SOME YOUNG
HOTSHOT‐D. A. TYPE.
425
00:24:30,520 --> 00:24:33,220
I WALK IN.
426
00:24:33,260 --> 00:24:35,560
I GOT HER FATHER
A PRESENT.
427
00:24:35,600 --> 00:24:37,570
WHAT'D YOU GET HIM?
428
00:24:37,600 --> 00:24:39,770
A GREEK FISHERMAN'S CAP.
429
00:24:39,800 --> 00:24:43,600
THEIR FAMILY'S FROM
SOME ISLAND OVER THERE.
THEY ALL USED TO FISH.
430
00:24:43,630 --> 00:24:47,200
HE DOESN'T LIKE IT,
HE CAN TAKE IT BACK.
431
00:24:47,240 --> 00:24:50,910
JOHN, YOU THINK
MY HAIR'S TOO LONG?
TOO LONG?
432
00:24:50,940 --> 00:24:53,240
YEAH, IN THE BACK,
SMART‐ASS.
433
00:24:53,280 --> 00:24:55,120
HEY, MAN, YOU LOOK GREAT.
YOU LOOK FINE.
434
00:24:55,140 --> 00:24:57,180
YEAH?
YEAH.
435
00:24:57,210 --> 00:24:59,240
KNOCK 'EM DEAD.
[ SIGHS ]
436
00:24:59,280 --> 00:25:00,910
ALL RIGHT?
KNOCK 'EM DEAD.
YEAH. THANKS.
437
00:25:13,330 --> 00:25:15,530
♪ [ GREEK ]
438
00:25:15,560 --> 00:25:17,460
[ PARTY CHATTER ]
HI.
439
00:25:17,490 --> 00:25:19,860
[ MAN ]
HELLO.
440
00:25:19,900 --> 00:25:21,910
[ CHATTERING ]
441
00:25:31,140 --> 00:25:32,900
[ MAN ]
HI. HOW ARE YOU?
442
00:25:35,310 --> 00:25:38,540
I AM KOSTAS COSTAS.
443
00:25:38,580 --> 00:25:40,550
[ DEEP BREATH ]
I AM ANDY SIPOWICZ.
444
00:25:40,580 --> 00:25:42,610
NO, MY FRIEND.
NO?
445
00:25:42,650 --> 00:25:46,020
YOU ARE ANDREAS SIPOWICZ.
446
00:25:50,820 --> 00:25:52,990
THEO.
PUT YOUR CUP DOWN.
447
00:25:53,020 --> 00:25:55,320
AND YOU,
YOU ARE MY ARGYRO.
448
00:25:56,630 --> 00:25:58,330
I'M HIS SYLVIA.
449
00:26:00,030 --> 00:26:01,930
TELL THE OTHERS
TO COME MEET ANDY.
450
00:26:01,960 --> 00:26:03,830
[ CHATTERING ]
451
00:26:05,470 --> 00:26:07,810
THESE ARE MY BROTHERS.
452
00:26:07,840 --> 00:26:10,680
THIS IS SPIRO.
YES, YES.
WELCOME, ANDREAS.
453
00:26:10,700 --> 00:26:13,670
‐ LITTLE GEORGE.
‐ AH, ANDREAS.
454
00:26:13,700 --> 00:26:15,600
MY GRANDFATHER
WAS ALSO GEORGE.
455
00:26:15,640 --> 00:26:18,570
THEO.
HE'S NOT SO LITTLE, HUH?
456
00:26:18,610 --> 00:26:20,650
NO, NO.
HE'S A BIG GUY.
457
00:26:20,680 --> 00:26:24,620
‐ MY NIECE, ELENI.
‐ HOW DO YOU DO?
458
00:26:24,650 --> 00:26:28,760
ANDREAS, I PREPARED
ALL THIS MYSELF.
I CLOSED AT 3:00.
459
00:26:28,780 --> 00:26:31,150
LOOKS GREAT.
460
00:26:35,190 --> 00:26:37,690
COCA‐COLA.
NOTHING MORE.
461
00:26:37,720 --> 00:26:38,990
UH, THANK YOU.
462
00:26:40,490 --> 00:26:42,590
NO.
463
00:26:42,630 --> 00:26:45,440
NO, YOU DON'T HAVE TO GO
BEHIND A BARN HERE.
464
00:26:45,460 --> 00:26:47,530
PEOPLE DRINK
IN FRONT OF ME
ALL THE TIME.
465
00:26:47,560 --> 00:26:50,300
YOU SURE, ANDREAS?
YEAH, IT'S OKAY.
466
00:26:50,330 --> 00:26:53,630
[ KOSTAS ]
OKAY, OKAY.
LET'S DRINK. LET'S DRINK.
467
00:26:53,670 --> 00:26:55,830
[ ALL LAUGH ]
468
00:26:55,870 --> 00:26:57,870
UH, HAPPY BIRTHDAY.
469
00:26:57,910 --> 00:27:00,020
FOR ME? THANK YOU.
OH, YES.
470
00:27:00,040 --> 00:27:01,540
YASOU, KOSTAS!
471
00:27:01,580 --> 00:27:04,150
[ ALL ] YASOU!
YASOU.
472
00:27:04,180 --> 00:27:06,990
♪
[ CHATTERING ]
473
00:27:26,330 --> 00:27:28,730
YOU THINK
I AM ALCOHOLIC?
474
00:27:28,760 --> 00:27:32,400
I WOULDN'T KNOW, THEO.
YOU GOTTA FIGURE THAT OUT
ON YOUR OWN.
475
00:27:32,430 --> 00:27:36,170
I AM DRINKING
SINCE I AM 12 YEARS OLD.
476
00:27:36,200 --> 00:27:37,930
WELL, THERE YOU GO
THEN, HMM?
477
00:27:43,370 --> 00:27:46,340
ANDREAS, I AM WEARING
MY NEW HAT.
478
00:27:46,380 --> 00:27:48,580
‐ LOOKS GOOD.
‐ I LOVE THIS HAT!
479
00:27:51,920 --> 00:27:55,560
I COME TO THIS COUNTRY.
I START OUT BY WASHING DISHES.
480
00:27:55,580 --> 00:27:59,320
NEXT I AM BUSBOY, AND THEN
I MANAGE A RESTAURANT AT NIGHT.
481
00:27:59,350 --> 00:28:02,590
MANY HOURS WORK.
MY LOVELY WIFE STAYS BESIDE.
482
00:28:02,620 --> 00:28:06,090
MY BROTHERS,
THEY COME ONE BY ONE.
MANY YEARS WORK.
483
00:28:06,130 --> 00:28:08,840
WE OWN OUR OWN RESTAURANT
AND THEN TWO MORE.
484
00:28:08,860 --> 00:28:12,060
AND THEN WE HAVE THIS GIRL,
THIS...
485
00:28:12,100 --> 00:28:13,700
SYLVIA.
486
00:28:13,730 --> 00:28:16,000
THIS WONDERFUL SYLVIA.
MY ARGYRO...
487
00:28:16,030 --> 00:28:19,500
WITH HER BEAUTIFUL EYES
WHERE I CAN STILL
SEE HER MOTHER.
488
00:28:19,540 --> 00:28:24,350
ANDREAS, I DO NOT ASK
WHAT YOUR INTENTIONS ARE, HUH?
489
00:28:24,370 --> 00:28:28,370
WHATEVER THEY ARE,
THEY ARE YOUR OWN BUSINESS.
I HAVE GOOD INTENTIONS.
490
00:28:28,410 --> 00:28:31,210
THIS IS YOUR OWN BUSINESS‐‐
YOUR INTENTIONS FOR SYLVIA.
491
00:28:31,250 --> 00:28:33,950
MY INTENTIONS ARE GOOD.
THEY'RE REAL GOOD.
THE BEST.
492
00:28:33,980 --> 00:28:37,980
IF YOU ASK FOR HER HAND,
IT'S YOUR OWN SCHEDULE, HUH?
493
00:28:39,220 --> 00:28:43,380
ARGYRO, COME.
494
00:28:43,420 --> 00:28:45,450
SHE MAKES ME VERY PROUD,
495
00:28:45,490 --> 00:28:48,690
THIS TIGER,
THIS FIGHTING
DISTRICT ATTORNEY.
496
00:28:48,730 --> 00:28:51,630
AND TONIGHT,
WE TOAST HER HAPPINESS,
497
00:28:51,660 --> 00:28:54,930
AND WE TOAST THE MAN
WHO MADE HER HAPPY.
498
00:28:54,960 --> 00:28:58,430
HUH? NOW, YOU DON'T
HAVE TO TOAST, OKAY?
499
00:28:58,470 --> 00:29:00,370
DON'T WORRY
ABOUT BAD LUCK
OR ANYTHING...
500
00:29:00,400 --> 00:29:02,600
NOT TO TOAST YOUR BELOVED.
501
00:29:02,640 --> 00:29:04,480
[ CHEERING ]
OPA!
502
00:29:18,850 --> 00:29:20,750
[ MAN ] HEY!
503
00:29:20,780 --> 00:29:23,550
[ WOMAN ] OPA!
[ MAN ]
OPA!
504
00:29:23,590 --> 00:29:25,500
SYLVIA, YOU HAVE
A PHONE CALL.
505
00:29:25,520 --> 00:29:27,320
I GOTTA CALL DOWNTOWN.
506
00:29:29,290 --> 00:29:31,490
[ CHEERING ]
507
00:29:35,100 --> 00:29:38,340
♪
508
00:29:38,360 --> 00:29:40,260
YOU'LL BE FINE.
509
00:29:47,340 --> 00:29:48,850
[ KOSTAS ]
YORGO. YORGO.
510
00:29:48,870 --> 00:29:51,610
[ WOMAN ]
OH, YOU'RE DOING GREAT.
511
00:29:58,450 --> 00:30:00,320
[ WOMAN ]
GEORGE, YOU LOOK LIKE
YOU'RE GONNA FALL OVER.
512
00:30:00,350 --> 00:30:04,110
YOU ARE GREAT.
OH, YEAH.
I'M A REAL PISTOL.
513
00:30:04,150 --> 00:30:06,250
ANDY, I GOTTA GO.
WHAT DO YOU MEAN?
514
00:30:06,290 --> 00:30:08,630
I GOTTA TAKE A STATEMENT
FROM A DYING WITNESS.
515
00:30:08,650 --> 00:30:10,820
WOULD YOU MIND TAKING ME?
516
00:30:10,860 --> 00:30:15,270
HOW MANY HUGS YOU GOTTA GET
IN ORDER TO GET OUTTA HERE?
517
00:30:15,290 --> 00:30:17,930
IF THE STATEMENT
DOESN'T TAKE TOO LONG,
YOU WANT SOME COMPANY LATER?
518
00:30:17,960 --> 00:30:21,030
WE'LL SEE HOW IT GOES.
519
00:30:21,060 --> 00:30:24,030
ANDY, THIS HAS BEEN
THE GREATEST NIGHT
OF MY LIFE.
520
00:30:27,700 --> 00:30:29,970
[ THUNDER RUMBLES ]
521
00:30:33,710 --> 00:30:35,550
HELLO?
522
00:30:43,050 --> 00:30:44,980
[ FOOTSTEPS APPROACHING ]
523
00:30:45,020 --> 00:30:46,820
SORRY, SWEETIE.
524
00:31:08,200 --> 00:31:10,870
I THOUGHT WE DECIDED
NOT TO PIERCE YOUR EARS
FOR ANOTHER YEAR.
525
00:31:10,900 --> 00:31:13,070
I KNOW. AM I GROUNDED?
526
00:31:13,110 --> 00:31:16,380
‐ NO.
‐ DOES THAT MEAN
I CAN PIERCE MINE?
527
00:31:16,410 --> 00:31:18,820
NO.
528
00:31:18,840 --> 00:31:21,410
DO IT EVERY HOUR.
DON'T FORGET.
OKAY.
529
00:31:38,860 --> 00:31:41,490
I'M READY TO ACCEPT
THAT WE'RE GONNA
HAVE THIS CHILD.
530
00:31:41,530 --> 00:31:44,540
‐ THAT'S BIG OF YOU.
‐ I'M NOT SAYING IT RIGHT,
OKAY?
531
00:31:44,560 --> 00:31:46,260
THEN WHAT ARE YOU SAYING,
ARTHUR?
532
00:31:48,200 --> 00:31:52,000
I GUESS I TRAINED MYSELF
NOT TO WANT THINGS,
533
00:31:52,030 --> 00:31:54,030
NOT TO WANT
WHAT I CAN'T HAVE.
534
00:31:54,070 --> 00:31:57,270
‐ BUT WE CAN HAVE THIS.
‐ I WAS WORRIED FOR YOU,
535
00:31:57,310 --> 00:32:00,880
AND I KEPT REMINDING MYSELF
HOW DANGEROUS
IT WAS FOR YOU.
536
00:32:00,910 --> 00:32:06,680
AND I JUST EQUATED IT...
WITH YOUR DYING‐‐
537
00:32:06,710 --> 00:32:09,380
THAT IF I WANTED IT,
I'D LOSE YOU.
538
00:32:09,410 --> 00:32:13,350
AND NOW YOU'RE TELLING ME
IT'S OKAY,
539
00:32:13,380 --> 00:32:15,550
AND I JUST COULDN'T
MAKE THAT LEAP.
540
00:32:16,990 --> 00:32:19,460
ALL I COULD THINK ABOUT
WAS LOSING EVERYTHING.
541
00:32:29,260 --> 00:32:31,500
YOU'RE NOT
GONNA LOSE ME, ART.
542
00:32:34,940 --> 00:32:36,740
I'M SO SORRY, BABY.
543
00:32:38,270 --> 00:32:42,040
I WANT THIS CHILD
MORE THAN ANYTHING.
544
00:32:42,070 --> 00:32:43,810
I JUST COULDN'T
MAKE THAT LEAP.
545
00:32:46,840 --> 00:32:48,980
I THINK
IT'S GONNA BE A BOY.
546
00:33:07,190 --> 00:33:09,090
ANDY?
547
00:33:10,200 --> 00:33:12,300
ANDY.
548
00:33:12,330 --> 00:33:14,100
I DON'T WANT
ANY COMPANY.
549
00:33:16,030 --> 00:33:20,000
ANDY? OPEN THE DOOR.
550
00:33:20,040 --> 00:33:21,880
PLEASE.
551
00:33:23,140 --> 00:33:24,970
[ LOCK TURNS ]
552
00:33:30,510 --> 00:33:32,910
THERE.
THE DOOR'S OPEN.
[ DOG BARKS ]
553
00:33:32,950 --> 00:33:34,990
SHUT UP. WILL YOU
SHUT THE HELL UP.
554
00:33:35,020 --> 00:33:36,820
[ DOG BARKS ]
SHUT THE HELL UP.
555
00:33:36,850 --> 00:33:39,210
[ BARKING ]
SHUT UP.
COME ON. SHUT UP.
556
00:33:40,790 --> 00:33:45,660
YOU, UH, YOU WANT
A REFRESHMENT OF SOME KIND?
557
00:33:45,690 --> 00:33:48,490
A LITTLE RUB
OF THE BRUSH?
558
00:33:48,520 --> 00:33:51,490
ANDY, I DON'T UNDERSTAND.
WHAT HAPPENED?
559
00:33:51,530 --> 00:33:55,010
YOU DON'T UNDERSTAND?
HUH? WH‐WHAT PART
DON'T YOU UNDERSTAND?
560
00:33:55,030 --> 00:33:57,930
I THOUGHT YOU WERE OKAY.
I THOUGHT YOU HAD JUST
THAT ONE SIP FOR THE TOAST...
561
00:33:57,970 --> 00:34:00,140
AND THAT YOU WERE OKAY.
562
00:34:00,170 --> 00:34:03,380
I DON'T TAKE
ONE LITTLE GREEK TOAST
LIKE SOME KINDA FAG.
563
00:34:03,400 --> 00:34:05,500
I DRINK, I DRINK.
564
00:34:05,540 --> 00:34:08,010
SO YOU STOPPED
AND BOUGHT A BOTTLE, HUH?
565
00:34:08,040 --> 00:34:10,470
WHAT IS THIS, SOME KIND
OF INTERROGATION
OF SOME KIND?
566
00:34:10,510 --> 00:34:13,880
NO. I WANT TO KNOW...
WHAT HAPPENED.
567
00:34:13,910 --> 00:34:16,680
I HAD A COUPLE OF DRINKS
IS WHAT HAPPENED.
568
00:34:16,710 --> 00:34:19,710
YOU WERE DOING
SO GREAT WITH THAT.
569
00:34:19,750 --> 00:34:22,350
LOOK, I HAD‐‐
I HAD THE ONE DRINK.
570
00:34:22,380 --> 00:34:25,320
AND THAT WAS OKAY,
SO I HAD A SECOND ONE.
571
00:34:25,350 --> 00:34:29,620
AND, I, UH‐‐
I WATCHED SOME TV.
572
00:34:29,660 --> 00:34:32,520
THE TV PISSED ME OFF,
SO I TOOK CARE OF THAT.
573
00:34:32,560 --> 00:34:35,690
I DID A LITTLE REPAIR JOB.
THAT WAS AROUND
THE FOURTH DRINK.
574
00:34:35,730 --> 00:34:37,530
YOU LIKE THIS SO FAR?
YOU LIKE THIS STORY?
575
00:34:37,560 --> 00:34:39,900
NO.
NO?
576
00:34:39,930 --> 00:34:43,970
THEN GET THE HELL OUTTA HERE.
GO ON BACK TO THEM FRIGGIN'
BUNCH OF GREEK MANIACS.
577
00:34:44,000 --> 00:34:45,830
ANDY.
GET OUT. GO ON.
578
00:34:45,870 --> 00:34:47,740
JUST GET THE HELL
OUTTA HERE.
579
00:34:47,770 --> 00:34:49,900
GO ON BACK TO THOSE‐‐
580
00:34:49,940 --> 00:34:52,910
THOSE HAPPY‐GO‐LUCKY BUNCH
OF MORON SHEEP HERDERS.
581
00:34:52,940 --> 00:34:55,940
ASKING ME
WHAT MY INTENTIONS ARE.
582
00:35:00,050 --> 00:35:01,790
LULU.
583
00:35:05,720 --> 00:35:07,720
[ WHIMPERS ]
584
00:35:08,890 --> 00:35:11,700
I GOT A JOKE.
585
00:35:11,720 --> 00:35:13,560
WHAT'S YOUR FATHER'S
MIDDLE NAME?
586
00:35:18,230 --> 00:35:20,740
KOSTAS.
[ CHUCKLING ]
587
00:35:20,760 --> 00:35:22,330
KOSTAS.
588
00:35:22,370 --> 00:35:24,780
KOSTAS KOSTAS KOSTAS COST‐‐
589
00:35:24,800 --> 00:35:29,230
KOST‐‐ BUNCH OF FRIGGIN'
GREEK MANIACS.
590
00:35:33,870 --> 00:35:35,640
GET OUTTA HERE.
591
00:35:39,580 --> 00:35:40,940
GET THE HELL OUT.
592
00:35:40,980 --> 00:35:43,040
YEAH.
593
00:35:56,120 --> 00:35:58,960
[ DOOR OPENS, CLOSES ]
594
00:36:20,310 --> 00:36:21,510
HEY.
595
00:36:25,180 --> 00:36:27,850
I'M SORRY I'M LATE.
NO PROBLEM.
596
00:36:31,280 --> 00:36:33,780
HOW'D IT GO LAST NIGHT
WITH SYLVIA'S FAMILY?
597
00:36:33,820 --> 00:36:36,520
WE GOT ALONG OKAY.
598
00:36:38,820 --> 00:36:40,590
[ MAN ]
ARE YOU COMIN' WITH US?
599
00:36:46,200 --> 00:36:48,040
[ TV PLAYING ]
600
00:36:52,040 --> 00:36:54,810
[ LOCK TURNS ]
601
00:36:54,840 --> 00:36:56,610
I REALLY
DON'T LIKE THIS.
602
00:36:58,370 --> 00:37:00,810
I'M IN A DIFFICULT POSITION
WITH MY HUSBAND.
603
00:37:00,840 --> 00:37:02,940
[ DOOR CLOSES ]
604
00:37:02,980 --> 00:37:04,690
WE APPRECIATE
YOUR TALKIN' TO US AGAIN.
605
00:37:06,510 --> 00:37:09,350
I WILL UNOFFICIALLY SAY
THAT CHARLIE WAS HERE
WITH ME,
606
00:37:09,380 --> 00:37:12,910
BUT I WILL NOT CONFIRM IT
DUE TO MY DOMESTIC
CIRCUMSTANCES.
607
00:37:12,950 --> 00:37:16,820
I WAS HOPIN'
YOU'D UNDERSTAND THAT.
CLAUDIA, HOW COME YOU SAY...
608
00:37:16,850 --> 00:37:20,150
CHARLIE LEAR WAS WITH YOU
WHEN THIS OTHER GIRL
GOT MURDERED,
609
00:37:20,190 --> 00:37:23,160
BUT YOU SAY IT
SO WE THINK YOU'RE LYIN'?
610
00:37:23,190 --> 00:37:27,130
‐ I WAS UNCLEAR ABOUT THE TIME.
‐ OR MAYBE YOU ARE SURE
THAT HE WAS WITH YOU...
611
00:37:27,160 --> 00:37:29,700
BUT YOU GOT A REASON
TO MAKE US THINK
DIFFERENTLY.
612
00:37:29,730 --> 00:37:32,000
I DON'T UNDERSTAND
WHAT YOU'RE SAYIN'.
613
00:37:32,030 --> 00:37:34,460
I WOULDN'T FIGURE
THAT THE REASON
WAS YOURS, CLAUDIA.
614
00:37:34,500 --> 00:37:37,000
'CAUSE, NO OFFENSE, BUT YOU
DON'T SEEM TOO SMART TO ME.
615
00:37:37,040 --> 00:37:41,050
SO LET'S SAY
THAT SOMEBODY PAID YOU
TO HAVE THE REASON, RIGHT?
616
00:37:41,070 --> 00:37:43,200
YOU GOT MONEY PROBLEMS.
617
00:37:43,240 --> 00:37:46,140
MAYBE YOUR OLD MAN'S
NOT SELLING TOO MANY
GARAGE DOORS,
618
00:37:46,180 --> 00:37:49,850
SO SOMEONE COMES ALONG
AND THEY OFFER YOU MONEY
TO JAM UP CHARLIE LEAR.
619
00:37:49,880 --> 00:37:52,210
I WILL NOT
BE TALKED TO THIS WAY.
620
00:37:52,250 --> 00:37:56,360
SEE, HERE IS A RARE CASE
WHERE BEING STUPID
CAN HELP YOU, CLAUDIA.
621
00:37:56,390 --> 00:37:59,360
IF THIS WASN'T YOUR IDEA,
THEN YOU GOT
A FINE OPPORTUNITY...
622
00:37:59,390 --> 00:38:02,130
TO STEP UP
AND TELL YOUR STORY.
623
00:38:02,160 --> 00:38:05,170
AND BY DOING THAT,
YOU CAN AVOID HAVING
A 25‐YEAR BITE...
624
00:38:05,190 --> 00:38:07,390
TAKEN OUT OF YOUR
POTENTIALLY FINE LIFE.
625
00:38:07,430 --> 00:38:09,570
ANDY. ANDY.
OTHERWISE, YOU SIT THERE
BREATHIN' THROUGH YOUR MOUTH...
626
00:38:09,600 --> 00:38:11,400
AND WE'LL BUILD A CASE
AROUND YOU.
627
00:38:11,430 --> 00:38:13,230
ANDY.
628
00:38:23,940 --> 00:38:25,840
HERE.
629
00:38:28,580 --> 00:38:30,920
CLAUDIA, I THINK YOU'RE
SERVIN' SOMEBODY ELSE'S
INTEREST HERE.
630
00:38:33,080 --> 00:38:35,750
IT'S TIME TO BE SMART,
THINK ABOUT YOURSELF...
631
00:38:35,780 --> 00:38:37,880
AND TELL ME EXACTLY
WHAT HAPPENED.
632
00:38:37,920 --> 00:38:40,760
THAT'S ALL YOU
HAVE TO DO, OKAY?
633
00:38:49,430 --> 00:38:53,900
ALL I WAS SUPPOSED TO DO
WAS TO GET CHARLIE HERE
AND KEEP HIM HERE.
634
00:38:53,930 --> 00:38:57,260
AND IF ANYBODY CAME ASKIN',
BACK AWAY FROM THE STORY.
635
00:38:57,300 --> 00:39:00,270
SEE, I WAS PISSED OFF.
I DIDN'T KNOW ABOUT
THE OTHER MISTRESS.
636
00:39:00,300 --> 00:39:03,200
SO CHARLIE WAS HERE
WHEN HE SAID HE WAS HERE.
637
00:39:03,240 --> 00:39:06,280
YEAH, HE WAS
HERE WITH ME.
638
00:39:06,310 --> 00:39:08,620
I DON'T KNOW
WHO KILLED THAT GIRL.
639
00:39:08,640 --> 00:39:10,440
[ SIPOWICZ ]
WHO PAID YOU?
640
00:39:12,640 --> 00:39:14,340
WHO PAID YOU?
641
00:39:14,380 --> 00:39:16,340
I SHOULD HAVE A LAWYER.
642
00:39:16,380 --> 00:39:19,280
SHOULD I HAVE A LAWYER?
643
00:39:19,320 --> 00:39:21,920
YOU CAN HAVE A LAWYER,
OR YOU CAN BE SMART.
644
00:39:31,420 --> 00:39:33,260
[ SIGHS ]
645
00:39:37,000 --> 00:39:38,800
MRS. LEAR.
MM‐HMM. COME IN.
646
00:39:39,970 --> 00:39:41,740
[ CHARLIE ]
HEY, JOHN.
647
00:39:41,770 --> 00:39:44,280
CHARLIE, WHAT ARE YOU
DOING HERE?
648
00:39:44,300 --> 00:39:47,900
I TRIED TO DO
WHAT YOU SAID, JOHN,
649
00:39:47,940 --> 00:39:51,380
BUT I WENT TO THREE HOTELS
AND I SACKED THREE MINIBARS.
650
00:39:51,410 --> 00:39:54,980
‐ WHERE'S KITTY?
‐ CAN I GET SOMEONE
TO GET YOU SOMETHING?
651
00:39:55,010 --> 00:39:57,640
NO, YOU CAN'T.
CHARLIE, WHERE'S KITTY?
652
00:39:57,680 --> 00:39:59,780
SHE'S‐‐ SHE'S PROBABLY
IN HER ROOM.
653
00:39:59,810 --> 00:40:01,910
YOU KNOW‐‐ IT'S ALL OVER, GUYS.
[ GLASS CLINKS,
DRINK POURS ]
654
00:40:01,950 --> 00:40:04,610
IT'S 99 PERCENT I DID IT.
655
00:40:04,650 --> 00:40:08,380
I HAD THE MEANS, THE MOTIVE,
THE OPPORTUNITY.
656
00:40:08,420 --> 00:40:09,920
ALL YOU'RE MISSIN'
IS THE BALLS.
657
00:40:09,960 --> 00:40:12,100
I THOUGHT ABOUT THAT,
BUT I WAS IN A BLACKOUT.
658
00:40:12,120 --> 00:40:15,220
I WAS LIKE
A BLOOD‐MAD DOG.
659
00:40:15,260 --> 00:40:18,460
YOU GO THROW YOURSELF
IN THE SHOWER OR RINSE
YOUR HEAD IN THE CAN.
660
00:40:18,500 --> 00:40:20,440
OUR BUSINESS
IS WITH YOUR WIFE.
[ MUMBLING INCOHERENTLY ]
661
00:40:20,460 --> 00:40:23,430
WHAT IS IT?
YOU'RE UNDER ARREST,
MRS. LEAR.
662
00:40:24,800 --> 00:40:26,570
I DON'T UNDERSTAND?
YOU DON'T?
663
00:40:26,600 --> 00:40:28,800
LITTLE CLAUDIA GAVE YOU UP.
664
00:40:28,840 --> 00:40:32,850
YOU NEED A LAWYER.
YOU WANNA FIND OUT HOW MUCH
TIME OFF YOU CAN GET...
665
00:40:32,870 --> 00:40:35,310
FOR GIVIN' UP WHOEVER IT IS
YOU PAID TO DRESS UP LIKE
CHARLIE AND KILL THAT GIRL.
666
00:40:35,340 --> 00:40:37,770
[ CHARLIE ]
YOU DID IT?
667
00:40:37,810 --> 00:40:40,610
CHARLIE.
KITTY, YOU SET ME UP.
668
00:40:40,650 --> 00:40:42,350
[ KELLY ]
CHARLIE.
YOU...
669
00:40:43,950 --> 00:40:47,320
CALM DOWN. CHARLIE?
BLACKHEARTED
JOY‐HATING PIG.
670
00:40:47,350 --> 00:40:51,350
‐ I HATE YOU, CHARLIE.
‐ I BET YOU DO!
I BET YOU DO!
671
00:40:51,390 --> 00:40:53,300
ANDY, TAKE HER BACK.
I'LL MEET YOU THERE.
672
00:40:53,320 --> 00:40:55,450
YOU NEFARIOUS BITCH!
673
00:40:55,490 --> 00:40:57,920
I WANT TO CALL MY ATTORNEY.
YOU'LL CALL
FROM THE STATION HOUSE...
674
00:40:57,960 --> 00:40:59,990
JUST LIKE A REGULAR
STIFF FROM THE STREET.
675
00:41:00,030 --> 00:41:02,840
[ CHARLIE, RANTING ]
JUST LIKE
YOU'RE JOE THE RAGMAN.
676
00:41:02,860 --> 00:41:04,530
NO, NO, NO!
YOU DON'T CALM DOWN,
YOU'RE GOIN' WITH THEM.
677
00:41:04,570 --> 00:41:07,570
YOU HEAR ME?
GOD!
[ SOBBING ]
678
00:41:10,700 --> 00:41:12,530
[ SIGHS ]
679
00:41:16,370 --> 00:41:20,170
ONE HECK OF A TURN
OF EVENTS, HUH, JOHN?
680
00:41:20,210 --> 00:41:24,080
I WANT YOU TO STAY PUT.
I WANT YOU TO STAY
RIGHT HERE. OKAY?
681
00:41:27,820 --> 00:41:30,590
THEY CUT ME ORDERS FOR ANOTHER
CHANCE, DIDN'T THEY, JOHN?
YEAH, THEY DID.
682
00:41:32,750 --> 00:41:38,020
SO, MAYBE I'M GONNA CHECK
INTO ONE OF THOSE DETOX
CENTERS IN MINNESOTA...
683
00:41:38,060 --> 00:41:40,970
WHERE THEY
MAKE THE MOVIE STARS
MAKE THEIR VERY OWN BEDS.
684
00:41:40,990 --> 00:41:44,320
MAYBE I'LL CHECK INTO
THE OAK ROOM AT THE PLAZA.
685
00:41:44,360 --> 00:41:47,900
BUT I'M GONNA‐‐
I'M GONNA GO TO SLEEP.
686
00:41:47,930 --> 00:41:52,630
AND I'M GONNA SLEEP
BECAUSE I DIDN'T KILL ANYONE.
687
00:41:52,670 --> 00:41:55,830
I DIDN'T KILL ANYBODY.
688
00:41:55,870 --> 00:41:59,000
[ MAN ] THE INFORMATION
IS ON THE HOT SHEET.
YOU HAVE A COPY OF THAT?
689
00:42:01,110 --> 00:42:03,840
KITTY'S IN CONSULTATION
WITH HER SHYSTER.
690
00:42:03,880 --> 00:42:06,090
I'LL HANG AROUND,
TAKE HER TO BOOKING.
691
00:42:17,720 --> 00:42:19,520
[ WATER RUNNING ]
692
00:42:25,530 --> 00:42:28,040
OKAY, LET'S TALK
ABOUT THIS.
693
00:42:34,070 --> 00:42:35,940
[ SIGHS ]
694
00:42:38,640 --> 00:42:40,580
I GOT DRUNK LAST NIGHT.
695
00:42:40,610 --> 00:42:43,220
AT THE PARTY?
NO.
696
00:42:43,240 --> 00:42:46,370
AT THAT PARTY,
I HAD A HALF A SWIG
OF THAT OUZO...
697
00:42:46,410 --> 00:42:49,280
OR WHATEVER THE HELL IT IS
THOSE PEOPLE DRINK.
698
00:42:49,310 --> 00:42:51,950
I GOT DRUNK AT HOME.
WHY'D YOU GET STARTED?
699
00:42:51,980 --> 00:42:55,680
FOR GOOD LUCK. THEY
WERE TOASTIN' SYLVIA.
700
00:42:55,720 --> 00:42:59,430
[ CHUCKLES ]
AND THERE'S
NO LIGHTNIN' BOLTS.
701
00:42:59,450 --> 00:43:01,450
THE GROUND
DOESN'T OPEN UP.
702
00:43:01,490 --> 00:43:05,560
HEY, I'M CURED.
I CAN DRINK
LIKE A NORMAL PERSON.
703
00:43:05,590 --> 00:43:07,860
SO LET ME STOP
AND PICK UP A BOTTLE...
704
00:43:07,890 --> 00:43:10,930
OF OLD ROTGUT PREMIUM
SPECIAL RESERVE‐‐
SHOW HOW FAR I'VE COME.
705
00:43:10,960 --> 00:43:15,530
WHAT'D SHE SEE?
SHE HEARD ENOUGH.
SHE GOT THE GIST.
706
00:43:15,570 --> 00:43:19,310
THIS WAS A MISTAKE, RIGHT?
IT DOES NOT ERASE TEN MONTHS.
707
00:43:19,340 --> 00:43:21,580
YOU SHOULD'VE HEARD
THE THINGS I SAID
TO HER, JOHN.
708
00:43:21,600 --> 00:43:24,100
IT WAS THE BOOZE, ANDY.
I DRANK THAT BOOZE.
709
00:43:24,140 --> 00:43:25,940
THIS WAS A MISTAKE.
THAT'S ALL IT WAS.
710
00:43:27,740 --> 00:43:31,580
I WANTED TO BE
THROUGH WITH IT,
YOU KNOW?
711
00:43:31,610 --> 00:43:34,980
YOU DON'T JUST
DEDUCT A DAY
FROM YOUR TOTAL.
712
00:43:35,010 --> 00:43:37,350
YOU GOTTA START
ALL OVER.
THEN START OVER.
713
00:43:40,280 --> 00:43:42,280
I'M AFRAID TO GO OUTSIDE.
714
00:43:42,320 --> 00:43:44,450
OKAY, YOU KNOW WHAT
WE'RE GONNA DO?
715
00:43:44,490 --> 00:43:47,060
YOU COME HAVE DINNER WITH ME,
AND YOU CAN TAKE HER
TO THE BOOKING LATER.
716
00:43:47,090 --> 00:43:50,290
NO. I'M GONNA STICK AROUND.
COME HAVE DINNER WITH ME.
717
00:43:52,190 --> 00:43:53,960
NO, I'M GONNA STAY HERE.
718
00:43:56,630 --> 00:43:58,500
OKAY.
719
00:44:04,470 --> 00:44:06,840
HEY. GOOD JOB TODAY, JOHN.
720
00:44:06,870 --> 00:44:08,970
THANKS, LIEUTENANT.
721
00:44:09,010 --> 00:44:12,150
UM, YOU KNOW WHERE
I CAN FIND SOME ROSES?
722
00:44:12,180 --> 00:44:15,920
UM, HOW ABOUT
ON THE CORNER OF SEVENTH?
ARE THEY FRESH?
723
00:44:15,950 --> 00:44:18,350
YEAH, THEY SELL.
WHAT'S UP?
724
00:44:18,380 --> 00:44:21,010
LILLIAN AND I ARE GONNA
HAVE ANOTHER BABY.
725
00:44:21,050 --> 00:44:23,650
OH, YEAH?
YEAH.
726
00:44:23,690 --> 00:44:27,030
YOU KNOW, AS LONG
AS EVERYBODY'S HEALTHY.
CONGRATULATIONS.
727
00:44:27,050 --> 00:44:30,590
YEAH. GOOD NIGHT.
GOOD NIGHT, POPS.
728
00:44:30,630 --> 00:44:32,800
GOOD NIGHT, DONNA.
GOOD NIGHT, LIEUTENANT.
729
00:44:32,830 --> 00:44:35,500
I HAVE A MESSAGE
FOR YOU.
730
00:44:35,530 --> 00:44:37,790
HOW YA DOIN'?
I'M GOOD.
731
00:44:37,830 --> 00:44:39,700
HOW ABOUT YOU?
732
00:44:41,000 --> 00:44:43,200
I'M DOIN' ALL RIGHT.
733
00:44:45,500 --> 00:44:47,940
[ LICALSI ]
BUSY DAY, HUH?
734
00:44:47,970 --> 00:44:51,100
YEAH. WE MADE A COLLAR
ON THAT SHOOTING HOMICIDE.
735
00:44:51,140 --> 00:44:53,270
SURPRISE PERP, HUH?
YEAH.
736
00:44:53,310 --> 00:44:55,810
QUIET DAY FOR ME.
THEY'LL PROBABLY
BRING YOU ALONG SLOW.
737
00:44:55,840 --> 00:44:57,510
[ CHATTERING ]
738
00:44:57,550 --> 00:44:59,660
HEY.
739
00:44:59,680 --> 00:45:01,650
HEY, THE COPPERTONE GIRL.
740
00:45:01,680 --> 00:45:03,880
YEAH. I, UH‐‐
741
00:45:03,920 --> 00:45:07,630
OH, UH, JANICE LICALSI,
ROBIN WIRKUS.
742
00:45:07,650 --> 00:45:11,350
‐ HOW YA DOIN'?
‐ I'M OKAY.
743
00:45:11,390 --> 00:45:13,720
ROBIN WAS
IN THE BAHAMAS.
744
00:45:13,760 --> 00:45:17,390
OH, YEAH? THAT'S NICE. I GOT
SOME PHONE CALLS TO MAKE.
745
00:45:17,430 --> 00:45:19,660
IT WAS NICE
MEETING YOU.
YOU TOO.
746
00:45:21,500 --> 00:45:23,670
NO MESSAGES.
747
00:45:23,700 --> 00:45:25,570
WELL, I THREATENED
TO STOP BY AS SOON
AS I GOT BACK,
748
00:45:25,600 --> 00:45:27,670
SO HERE I AM.
749
00:45:27,700 --> 00:45:30,500
I CAN SEE THAT.
NICE SURPRISE.
750
00:45:30,540 --> 00:45:32,640
IS THIS OKAY,
ME STOPPING BY?
NO, IT'S FINE.
751
00:45:32,670 --> 00:45:35,340
‐ WOULD YOU LIKE TO GET
SOMETHING TO EAT?
‐ LET'S DO THAT.
752
00:45:35,380 --> 00:45:38,080
IT STARTED TO RAIN.
YEAH.
753
00:45:38,110 --> 00:45:39,940
GOOD NIGHT.
754
00:45:42,950 --> 00:45:44,750
[ THUNDER RUMBLES ]
755
00:45:57,930 --> 00:46:00,100
UH‐‐
756
00:46:00,130 --> 00:46:01,740
[ CLEARS THROAT ]
I TALK TO YOU A SECOND?
757
00:46:10,040 --> 00:46:12,880
I, UH‐‐
758
00:46:12,900 --> 00:46:15,300
I APOLOGIZE FOR RUINING
EVERYTHING LIKE THAT.
759
00:46:17,810 --> 00:46:19,570
I APOLOGIZE
FOR EVERYTHING.
760
00:46:24,410 --> 00:46:26,240
ANYWAYS‐‐
761
00:46:28,380 --> 00:46:30,150
YOU'RE A DRUNK.
762
00:46:33,120 --> 00:46:34,950
YEAH.
763
00:46:38,820 --> 00:46:41,320
ARE YOU GONNA
KEEP DRINKING?
764
00:46:45,460 --> 00:46:47,330
I DON'T WANT TO. NO.
765
00:46:53,270 --> 00:46:55,130
I DON'T WANNA
HURT YOU LIKE THAT.
766
00:47:03,810 --> 00:47:05,640
OR YOURSELF.
767
00:47:07,950 --> 00:47:09,660
YEAH. I DON'T WANNA
DO THAT EITHER.
768
00:47:14,790 --> 00:47:17,490
I'M GONNA HAVE TO THINK
ABOUT ALL THIS, ANDY.
769
00:47:19,420 --> 00:47:22,790
WELL... I EXPECTED
YOU WOULD.
770
00:47:32,530 --> 00:47:35,000
YEAH.
61911
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