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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 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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