All language subtitles for charlies.angels.s05e02.remastered.bdrip.x264-rovers-en

af Afrikaans
ak Akan
sq Albanian
am Amharic
ar Arabic Download
hy Armenian
az Azerbaijani
eu Basque
be Belarusian
bem Bemba
bn Bengali
bh Bihari
bs Bosnian
br Breton
bg Bulgarian
km Cambodian
ca Catalan
chr Cherokee
ny Chichewa
zh-CN Chinese (Simplified)
zh-TW Chinese (Traditional)
co Corsican
hr Croatian
da Danish
en English Download
eo Esperanto
et Estonian
ee Ewe
fo Faroese
tl Filipino
fi Finnish
fr French
fy Frisian
gaa Ga
gl Galician
ka Georgian
de German
gn Guarani
gu Gujarati
ht Haitian Creole
ha Hausa
haw Hawaiian
iw Hebrew
hi Hindi
hu Hungarian
is Icelandic
ig Igbo
id Indonesian
ia Interlingua
ga Irish
it Italian
ja Japanese
jw Javanese
kn Kannada
kk Kazakh
rw Kinyarwanda
rn Kirundi
kg Kongo
ko Korean
kri Krio (Sierra Leone)
ku Kurdish
ckb Kurdish (Soranî)
ky Kyrgyz
lo Laothian
la Latin
lv Latvian
ln Lingala
lt Lithuanian
loz Lozi
lg Luganda
ach Luo
mk Macedonian
mg Malagasy
ms Malay
ml Malayalam
mt Maltese
mi Maori
mr Marathi
mfe Mauritian Creole
mo Moldavian
mn Mongolian
sr-ME Montenegrin
ne Nepali
pcm Nigerian Pidgin
nso Northern Sotho
no Norwegian
nn Norwegian (Nynorsk)
oc Occitan
or Oriya
om Oromo
ps Pashto
fa Persian
pl Polish
pt-BR Portuguese (Brazil)
pt-PT Portuguese (Portugal)
pa Punjabi
qu Quechua
ro Romanian
rm Romansh
nyn Runyakitara
ru Russian
gd Scots Gaelic
sr Serbian
sh Serbo-Croatian
st Sesotho
tn Setswana
crs Seychellois Creole
sn Shona
sd Sindhi
si Sinhalese
sk Slovak
sl Slovenian
so Somali
es Spanish
es-419 Spanish (Latin American)
su Sundanese
sw Swahili
sv Swedish
tg Tajik
ta Tamil
tt Tatar
te Telugu
th Thai
ti Tigrinya
to Tonga
lua Tshiluba
tum Tumbuka
tr Turkish
tk Turkmen
tw Twi
ug Uighur
uk Ukrainian
ur Urdu
uz Uzbek
vi Vietnamese
cy Welsh
wo Wolof
xh Xhosa
yi Yiddish
yo Yoruba
zu Zulu
Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:01,360 --> 00:00:02,509 15/” 2 00:00:02,800 --> 00:00:03,596 CHARLIE: ONCE UPON A TIME, 3 00:00:03,880 --> 00:00:05,836 THERE WERE THREE BEAUTIFUL GIRLS. 4 00:00:07,760 --> 00:00:11,116 TWO OF THEM GRADUA TED FROM THE POLICE AOADEM Y. 5 00:00:11,440 --> 00:00:15,069 THE OTHER GRADUA TED FROM A TOP SCHOOL FOR MODELS. 6 00:00:16,440 --> 00:00:18,476 AND THEY EA CH REA FED THE/R REWARDS 7 00:00:18,760 --> 00:00:19,829 OF THEIR EXCITING CAREERS. 8 00:00:22,280 --> 00:00:23,872 BUTI TOOK THEMA WA Y FROM ALL THA T, 9 00:00:24,200 --> 00:00:26,111 AND NOW THEY WORK FOR ME. 10 00:00:26,400 --> 00:00:27,958 M YNAME IS CHARLIE 11 00:01:15,320 --> 00:01:17,470 15/” 12 00:02:36,160 --> 00:02:37,229 AH... 13 00:02:37,520 --> 00:02:39,238 [CAMERA SHUTTER CLICKS] 14 00:02:39,520 --> 00:02:42,910 OH, I'M SO GLAD I WAS ABLE TO GET BACK TO THE CITY AGAIN. 15 00:02:43,200 --> 00:02:45,634 AND TO SEE YOU AGAIN. 16 00:02:47,000 --> 00:02:48,638 HOW'S THIS? 17 00:02:48,920 --> 00:02:51,514 I HAVE SO MANY PRESSING PROBLEMS AT HOME. 18 00:02:51,800 --> 00:02:53,233 DOESN'T EVERYONE? 19 00:02:53,560 --> 00:02:56,358 I LOOK FORWARD TO THESE MOMENTS. 20 00:02:59,320 --> 00:03:02,073 THAT'S GOOD. THAT'S GOOD. 21 00:03:07,120 --> 00:03:09,031 BOSLEY: NAME IS JODY. JODY MILLS. 22 00:03:09,320 --> 00:03:10,673 KELLY: ALL RIGHT, WHO IS SHE 23 00:03:11,000 --> 00:03:12,149 AND WHY ARE WE LOOKING FOR HER? 24 00:03:12,440 --> 00:03:15,159 BOSLEY: WELL, SHE'S FROM NEBRASKA AND SHE WORKS-- 25 00:03:15,440 --> 00:03:17,271 OR AT LEAST SHE WORKED, AT THE WOODMAN MODELING AGENCY 26 00:03:17,560 --> 00:03:18,629 HERE IN TOWN. 27 00:03:18,960 --> 00:03:20,632 CHRIS: AS A MODEL? BOSLEY: THAT'S RIGHT. 28 00:03:20,960 --> 00:03:22,712 HER FATHER HAS LOST TOUCH WITH HER 29 00:03:23,000 --> 00:03:24,115 SO HE WANTS US TO GO OVER THERE TONIGHT 30 00:03:24,400 --> 00:03:26,072 AND SEE IF SHE'S STILL ASSOCIATED WITH WOODMAN. 31 00:03:26,360 --> 00:03:28,157 JUST THE THREE OF US ON THIS ONE, BOS? 32 00:03:28,440 --> 00:03:30,351 I GUESS SO, IN THAT TIFFANY'S DECIDED TO STAY EAST 33 00:03:30,680 --> 00:03:31,749 FOR A WHILE. 34 00:03:33,360 --> 00:03:39,515 NOW, HERE IS A PICTURE OF HER FRIEND NAMED TERRY. 35 00:03:42,960 --> 00:03:45,713 AND THIS IS HER ROOMMATE, HMM. 36 00:03:46,000 --> 00:03:47,752 BOSLEY: JULIE ROGERS. 37 00:03:50,200 --> 00:03:51,315 DID YOU FIND THAT JIMMY JOY CHARACTER? 38 00:03:51,600 --> 00:03:52,510 I FOUND HIM. 39 00:03:52,800 --> 00:03:54,313 IS HE STILL DOING BUSINESS HERE? 40 00:03:54,600 --> 00:03:56,318 MM-HM. 41 00:03:57,640 --> 00:03:58,868 I'M GONNA LOOK FOR JODY MILLS. 42 00:03:59,160 --> 00:04:00,149 I THINK SHE'S WORKING THE HOME SHOW. 43 00:04:00,440 --> 00:04:01,634 STAY IN TOUCH. 44 00:04:01,960 --> 00:04:03,279 JULIE: OKAY. SEE YOU. 45 00:04:03,560 --> 00:04:05,551 [CAR ENGINE REVS] 46 00:04:14,240 --> 00:04:16,310 SO WHO ARE YOU? 47 00:04:16,640 --> 00:04:17,595 MISS MILLS IS MY ROOMMATE. 48 00:04:17,880 --> 00:04:20,269 I'VE GOT SOMETHING I GOTTA DELIVER TO HER. 49 00:04:20,560 --> 00:04:22,471 SHE NEEDS IT QUICK. GET MY DRIFT? 50 00:04:22,760 --> 00:04:26,389 AH, SHE AND HER PHOTOGRAPHER WERE IN THE FIRST ROOM 51 00:04:26,680 --> 00:04:28,636 BUT I THINK I HEARD SOMEBODY LEAVE. 52 00:04:28,920 --> 00:04:32,276 SOME OF OUR CLIENTS DON'T WANT TO WALK OUT THE FRONT DOOR 53 00:04:32,560 --> 00:04:33,675 IF YOU KNOW WHAT I MEAN. 54 00:04:34,000 --> 00:04:35,911 I'LL BET. 55 00:04:39,040 --> 00:04:42,191 15/” 56 00:05:11,480 --> 00:05:14,358 [SOBBING] 57 00:05:26,720 --> 00:05:28,199 MR. MILLS, IF THE POLICE ARE INVOLVED, 58 00:05:28,480 --> 00:05:29,754 WHY DO YOU STILL WANNA HIRE US? 59 00:05:30,040 --> 00:05:32,429 I WANNA KNOW WHO KILLED MY GIRL. 60 00:05:32,760 --> 00:05:37,550 AND I WANNA KNOW WHY SHE DIED WITH DRUGS IN HER BODY. 61 00:05:37,840 --> 00:05:39,478 CAN YOU UNDERSTAND THAT? 62 00:05:40,800 --> 00:05:41,949 YEAH. 63 00:05:42,240 --> 00:05:46,153 THIS JULIE ROGERS, SHE SEEMED TO BE HIDING SOMETHING 64 00:05:46,480 --> 00:05:49,074 SO I DECIDED TO COME SEE FOR MYSELF. 65 00:05:54,760 --> 00:05:56,716 THIS MORNING, WHEN I QUESTIONED MISS ROGERS 66 00:05:57,040 --> 00:05:59,031 ABOUT JODY MILLS' DEATH SHE GOT VERY DEFENSIVE. 67 00:05:59,320 --> 00:06:01,754 I WOULD SAY THAT MISS ROGER BEARS FURTHER WATCHING, CHARLIE. 68 00:06:02,080 --> 00:06:03,433 CHARLIE [OVER SPEAKER]: IAGREE. 69 00:06:03,720 --> 00:06:05,039 THE QUESTION IS, 70 00:06:05,320 --> 00:06:06,833 HOW DO WE PROCEED WITHOUT TIPPING OUR HAND? 71 00:06:07,120 --> 00:06:08,951 WELL, SHE'S A MODEL WITH THE WOODMAN AGENCY. 72 00:06:09,240 --> 00:06:10,355 MAYBE WE COULD START THERE. 73 00:06:10,680 --> 00:06:12,113 WHO ARE THESE TWO YOUNG LADIES? 74 00:06:12,400 --> 00:06:14,231 WELL, SHE JUST TOLD YOU. GARRETT AND MUNROE. 75 00:06:14,560 --> 00:06:15,913 YOU WEREN'T PAYING ATTENTION, MR. WOODMAN. 76 00:06:16,200 --> 00:06:18,077 I TOLD THEM WE WEREN'T SEEING ANY NEW PEOPLE, 77 00:06:18,360 --> 00:06:19,793 BUT THEY, UH, INSISTED. 78 00:06:20,080 --> 00:06:22,275 YOU AREN'T EXACTLY SUFFERING FROM SHYNESS, ARE YOU? 79 00:06:22,600 --> 00:06:24,113 WHAT IS IT THEY SAY ABOUT A FAINT HEART? 80 00:06:24,440 --> 00:06:27,034 ALL RIGHT, THEN. 81 00:06:27,360 --> 00:06:29,635 THIS EVENING, WE'RE GIVING A PARTY 82 00:06:29,920 --> 00:06:32,798 HERE FOR SOME OUT-OF-TOWN ADVERTISERS. 83 00:06:33,120 --> 00:06:36,317 YOU TWO, YOU CAN COME ALONG, LOOKING YOUR VERY BEST. 84 00:06:36,600 --> 00:06:39,637 AND IF I THINK THAT YOUR BEST IS APPRECIATED BY OUR CLIENTS 85 00:06:39,960 --> 00:06:41,154 THEN WE'LL TALK. 86 00:06:41,440 --> 00:06:42,634 WHAT ARE YOU DOING HERE? 87 00:06:42,960 --> 00:06:44,837 I'M TRYING TO IMPRESS MR. WOODMAN. 88 00:06:45,120 --> 00:06:46,109 IMPRESS HIM? 89 00:06:46,400 --> 00:06:47,753 YEAH, SO HE'LL HIRE ME. 90 00:06:48,040 --> 00:06:50,474 AS A MODEL? RIGHT. 91 00:06:50,800 --> 00:06:54,839 LOOK, THIS, UM, ISN'T ALL AS EASY AND PRETTY AS IT LOOKS. 92 00:06:55,120 --> 00:06:58,715 IT ISN'T? NO. THIS ISN'T OMAHA, NEBRASKA. 93 00:06:59,000 --> 00:07:01,798 THIS IS THE BIG POND WHERE THE BIG FISH PLAY FOR BIG BUCKS. 94 00:07:02,080 --> 00:07:04,071 THERE'S SHARKS IN THESE WATERS 95 00:07:04,400 --> 00:07:06,152 AND YOU CAN GET CUT IN HALF REAL QUICK. 96 00:07:06,480 --> 00:07:08,596 SO BEFORE YOU DIVE IN, GIVE IT A LOT OF THOUGHT. 97 00:07:08,880 --> 00:07:10,598 ALL RIGHT, I WILL. 98 00:07:10,880 --> 00:07:12,359 OH, YEAH? I DON'T KNOW YOU. 99 00:07:12,640 --> 00:07:13,675 WELL, THAT'S OKAY. 100 00:07:13,960 --> 00:07:15,598 BECAUSE I'M TAKING OVER YOUR ACTION HERE. 101 00:07:15,880 --> 00:07:17,677 WHAT ARE YOU, CRAZY? 102 00:07:17,960 --> 00:07:20,520 CRAZY ABOUT THE BUSINESS YOU'RE DOING HERE. 103 00:07:20,800 --> 00:07:23,598 SO I'M TAKING OVER YOUR SPOT. GO FIND YOURSELF ANOTHER CORNER. 104 00:07:23,920 --> 00:07:26,195 OH, YEAH, YOU ARE CRAZY. 105 00:07:26,480 --> 00:07:28,038 ENJOY YOURSELF TONIGHT, JIMMY. 106 00:07:29,600 --> 00:07:31,556 I'M TAKING OVER TOMORROW. 107 00:07:36,960 --> 00:07:39,394 THAT'S HARRY? THAT'S HARRY. 108 00:07:39,720 --> 00:07:43,315 LOOKS LIKE YOU TOOK TOO LONG GETTING HERE. 109 00:07:43,640 --> 00:07:44,834 IT SURE LOOKS THAT WAY. 110 00:07:45,120 --> 00:07:46,394 [TIRES SCREECH] 111 00:07:46,680 --> 00:07:47,999 [GUNFIRE] 112 00:07:55,160 --> 00:07:56,513 [WHIMPERS] HARRY. 113 00:07:56,800 --> 00:07:58,313 HARRY. 114 00:07:59,480 --> 00:08:02,313 FIND OUT WHO THAT WAS. 115 00:08:04,800 --> 00:08:06,358 [CRYING] 116 00:08:13,560 --> 00:08:15,516 15/” 117 00:08:29,920 --> 00:08:31,831 THANKS FOR COMING. 118 00:08:32,120 --> 00:08:35,749 JULIE, LISTEN, IN A DAY OR TWO, MAYBE WE SHOULD TALK. 119 00:08:36,720 --> 00:08:37,948 ABOUT WHAT? 120 00:08:38,280 --> 00:08:40,430 WELL, WE BOTH SEEM TO BE WORKING ON THE SAME CASE. 121 00:08:40,720 --> 00:08:42,278 [SIGHS] 122 00:08:42,560 --> 00:08:44,596 JULIE: | WORKED WITH HARRY. 123 00:08:46,280 --> 00:08:48,271 I DON'T KNOW WHAT I'M GONNA DO NOW. 124 00:08:48,560 --> 00:08:51,313 LET'S TALK IN A FEW DAYS WHEN YOU FEEL BETTER, OKAY? 125 00:08:53,880 --> 00:08:56,314 LOOK, YOU MIGHT AS WELL SAY WHAT YOU HAVE TO SAY NOW. 126 00:08:58,120 --> 00:09:00,634 WHAT EXACTLY WERE YOU AND HARRY WORKING ON? 127 00:09:00,920 --> 00:09:02,148 HOW'D YOU TWO GET STARTED? 128 00:09:02,440 --> 00:09:05,671 | MET HARRY WHEN I WAS IN SYBIL BRAND. 129 00:09:05,960 --> 00:09:07,234 I'D BEEN SENT THERE FOR-- 130 00:09:07,560 --> 00:09:08,959 SHOPLIFTING A DRESS? 131 00:09:09,240 --> 00:09:10,992 YEAH, YOU PEOPLE DO YOUR HOMEWORK. 132 00:09:11,320 --> 00:09:12,469 IT'S PART OF THE JOB. 133 00:09:12,760 --> 00:09:14,796 | WAS-- 134 00:09:15,080 --> 00:09:18,152 I WAS BROKE AND I WAS TRYING TO GET THIS JOB 135 00:09:18,440 --> 00:09:21,637 AS A RECEPTIONIST AND I HAD NOTHING TO WEAR. 136 00:09:21,920 --> 00:09:24,388 JULIE, YOU DON'T OWE US AN EXPLANATION. 137 00:09:24,680 --> 00:09:29,310 WELL, ANYWAY, WHEN I GOT OUT, HARRY WAS MY PAROLE OFFICER 138 00:09:29,600 --> 00:09:31,431 AND WHEN I WENT TO WORK AT THE AGENCY AS A MODEL 139 00:09:31,720 --> 00:09:33,995 INOTICED CERTAIN THINGS AND I TOLD HARRY ABOUT IT. 140 00:09:34,280 --> 00:09:35,633 WHAT SORT OF THINGS? 141 00:09:35,960 --> 00:09:37,439 WELL, THERE WERE A LOT OF DRUGS GOING DOWN 142 00:09:37,760 --> 00:09:39,478 AND THE ENTERTAINING OF THE CLIENTS THE GIRLS 143 00:09:39,800 --> 00:09:41,199 WERE ASKED TO DO, IT WAS-- 144 00:09:41,480 --> 00:09:43,232 WELL, IT WAS A LOT MORE THAN MODELING. 145 00:09:43,560 --> 00:09:45,152 YOU MEAN THEY WERE FORCED INTO PROSTITUTION? 146 00:09:45,440 --> 00:09:48,034 NO. NO, THEY WERE NEVER FORCED INTO ANYTHING. 147 00:09:48,480 --> 00:09:50,994 IT'S JUST, THE PRESSURE, THE DEMANDS. 148 00:09:51,280 --> 00:09:53,350 MOST OF THE GIRLS JUST DON'T HAVE A CHANCE. 149 00:09:53,640 --> 00:09:55,358 THEY'RE EITHER RUNAWAYS OR FROM BROKEN HOMES 150 00:09:55,640 --> 00:09:57,471 AND THEY JUST DON'T HAVE A CHANCE. 151 00:09:57,760 --> 00:10:00,672 THEY GET IN HOCK TO THE AGENCY AND THEY GET DESPERATE. 152 00:10:01,280 --> 00:10:02,429 INTO HOCK? HOW DO YOU MEAN? 153 00:10:02,720 --> 00:10:04,358 JULIE: WELL, THE AGENCY LENDS THEM MONEY 154 00:10:04,640 --> 00:10:05,516 FOR PROFESSIONAL PICTURES 155 00:10:05,800 --> 00:10:07,279 AND ADVANCES THEM FOOD AND RENT MONEY. 156 00:10:07,560 --> 00:10:08,356 BUT WITHIN THREE MONTHS 157 00:10:08,640 --> 00:10:09,914 IF THEY'RE NOT WORKING THE BIG-PAYING JOBS, 158 00:10:10,200 --> 00:10:11,110 THEY'RE IN TROUBLE. 159 00:10:11,400 --> 00:10:13,118 DALE WOODMAN DEMANDS REPAYMENT? 160 00:10:13,400 --> 00:10:15,311 NO, DALE WOODMAN NEVER DEMANDS ANYTHING. 161 00:10:15,600 --> 00:10:17,079 HE JUST SUGGESTS THAT MAYBE THEY TRY 162 00:10:17,360 --> 00:10:18,793 SOME OF THE LESS GLAMOROUS JOBS. 163 00:10:19,080 --> 00:10:20,115 SUCH AS? 164 00:10:20,400 --> 00:10:23,119 INDUSTRIAL DEMONSTRATIONS, AUTO SHOWS. 165 00:10:23,400 --> 00:10:24,958 HOSTESS TYPE THINGS, WHATEVER. 166 00:10:25,240 --> 00:10:27,515 AND THE GIRLS HOPE SOMEHOW THINGS WILL GET BETTER 167 00:10:27,800 --> 00:10:29,870 SO THEY CAN GET BACK IN-- 168 00:10:30,160 --> 00:10:32,196 BACK INTO THE A GROUP. JULIE: RIGHT. 169 00:10:32,520 --> 00:10:33,748 ONLY IT DOESN'T WORK THAT WAY. 170 00:10:34,040 --> 00:10:36,713 NOW, DON'T MISUNDERSTAND ME. MOST AGENCIES ARE STRAIGHT. 171 00:10:37,000 --> 00:10:38,399 THEY WOULDN'T TAKE 90 PERCENT OF THOSE GIRLS 172 00:10:38,680 --> 00:10:40,398 IN THE FIRST PLACE. THEY'D SEND THEM RIGHT HOME. 173 00:10:42,720 --> 00:10:44,472 JODY MILLS, YOUR ROOMMATE. 174 00:10:44,760 --> 00:10:45,829 YOU WEREN'T TRYING TO BUY DRUGS FOR HER THE NIGHT 175 00:10:46,160 --> 00:10:46,910 SHE WAS KILLED? 176 00:10:47,240 --> 00:10:48,229 OF COURSE NOT. 177 00:10:48,520 --> 00:10:49,555 I WAS TRYING TO FIND OUT WHO THE CONNECTION 178 00:10:49,840 --> 00:10:51,558 WAS AT THE AGENCY. 179 00:10:51,840 --> 00:10:55,196 AND ALSO, I WAS WORRIED ABOUT HER. 180 00:10:55,480 --> 00:10:57,277 BECAUSE HER FATHER HAD WRITTEN HER 181 00:10:57,560 --> 00:10:58,356 AND SAID HE WAS COMING TO SEE HER? 182 00:10:58,640 --> 00:11:00,710 RIGHT. 183 00:11:01,000 --> 00:11:02,558 THEN SHE DIES BEHIND THAT FREAK SHOP 184 00:11:02,880 --> 00:11:04,472 THE NIGHT BEFORE HER FATHER GETS HERE. 185 00:11:06,840 --> 00:11:08,114 TERRY, THE GIRL THAT DIED ON THE BEACH, 186 00:11:08,400 --> 00:11:09,913 WAS SHE IN HOCK TO THE AGENCY TOO? 187 00:11:10,200 --> 00:11:13,988 YEAH, I THINK SO. SHE WAS A PRETTY HEAVY USER. 188 00:11:14,280 --> 00:11:16,874 THAT'S WHAT HARRY AND I WERE WORKING ON WHEN HE... 189 00:11:18,680 --> 00:11:20,398 [SIGHS] 190 00:11:20,680 --> 00:11:22,716 LOOK, WHY DON'T WE ALL WORK ON THIS TOGETHER? 191 00:11:24,520 --> 00:11:26,715 NO, |-- 192 00:11:27,000 --> 00:11:28,274 I DON'T. 193 00:11:28,560 --> 00:11:30,596 WHY? 194 00:11:30,880 --> 00:11:33,519 I JUST DON'T CARE. 195 00:11:33,800 --> 00:11:35,597 HARRY WAS THE-- 196 00:11:35,920 --> 00:11:37,353 WAS THE ONE PERSON IN MY LIFE 197 00:11:37,640 --> 00:11:41,792 WHO WAS GOOD TO ME, STRAIGHT WITH ME. 198 00:11:42,080 --> 00:11:44,071 AND NOW HE'S GONE AND I-- 199 00:11:44,480 --> 00:11:45,390 [5033] 200 00:11:45,720 --> 00:11:49,759 |JUST-- I DON'T CARE. 201 00:11:50,040 --> 00:11:51,951 JULIE, 202 00:11:52,240 --> 00:11:53,958 I CAN'T PRETEND TO KNOW HOW YOU HURT. 203 00:11:54,240 --> 00:11:56,231 I DON'T KNOW YOU. 204 00:11:56,560 --> 00:11:57,993 BUT I JUST DON'T SEE HOW YOU CAN WALK AWAY 205 00:11:58,320 --> 00:11:59,469 FROM WHAT KILLED HARRY. 206 00:12:01,040 --> 00:12:03,508 YOU PEOPLE ARE PRIVATE DETECTIVES. 207 00:12:03,800 --> 00:12:06,189 WHY WOULD YOU CARE SO MUCH? 208 00:12:06,800 --> 00:12:09,951 JULIE, WE NEED YOU ON THIS ONE. 209 00:12:15,680 --> 00:12:16,908 [SIGHS] 210 00:12:19,720 --> 00:12:21,153 OKAY. 211 00:12:21,440 --> 00:12:24,159 I'LL HANG IN WITH YOU, BUT I'LL TELL YOU THIS. 212 00:12:24,440 --> 00:12:25,759 WHEN WE FIND OUT WHO KILLED HARRY, 213 00:12:26,040 --> 00:12:27,393 YOU THREE BETTER BACK OFF, 214 00:12:27,720 --> 00:12:30,553 BECAUSE HE OR SHE IS GONNA BE MINE. 215 00:12:30,840 --> 00:12:32,910 ALL MINE. 216 00:12:34,200 --> 00:12:35,599 OKAY. 217 00:12:51,120 --> 00:12:53,270 15/” 218 00:13:17,000 --> 00:13:20,197 MAN: LET'S GET THE FILL IN AND OUT. ALL RIGHT. COME ON. 219 00:13:28,080 --> 00:13:30,548 OUR JUDGE IS READY FOR US. 220 00:13:30,840 --> 00:13:34,799 THAT, UH, DOESN'T LOOK QUITE RIGHT. 221 00:13:35,120 --> 00:13:36,439 WELL, IT ISN'T SUPPOSED TO. 222 00:13:36,720 --> 00:13:38,358 YOU REALLY GONNA TRY THIS? 223 00:13:38,640 --> 00:13:40,596 YOU'RE REALLY GONNA HAVE HER DELIBERATELY SCREW UP? 224 00:13:40,920 --> 00:13:43,957 YES, RIGHT OUT OF THE A GROUP TO SEE WHERE IT LEADS HER. 225 00:13:44,240 --> 00:13:45,832 SHE'LL BURY THAT HAIRDO. 226 00:13:46,120 --> 00:13:48,395 YOU'LL BE WELL ON YOUR WAY. 227 00:13:48,720 --> 00:13:54,033 ALSO, UH, THE ROBE DOESN'T LOOK QUITE RIGHT. 228 00:13:54,320 --> 00:13:56,356 OH, WELL, NOBODY'S GONNA KNOW IT, 229 00:13:56,680 --> 00:13:57,999 BUT I RIPPED OUT SOME OF THE INNER STITCHING. 230 00:13:58,280 --> 00:13:59,759 NOW, THE CLIENT WON'T KNOW WHY, 231 00:14:00,040 --> 00:14:01,678 BUT HE WON'T LIKE THE WAY IT FITS. 232 00:14:01,960 --> 00:14:04,315 THE CLIENT NEVER KNOWS WHY HE DOESN'T LIKE THE WAY IT FITS. 233 00:14:04,600 --> 00:14:06,716 ALSO, BEING A LITTLE CLUMSY WILL HELP DISCOURAGE HIM. 234 00:14:07,000 --> 00:14:08,831 SHE'S CLUMSY TOO? 235 00:14:09,120 --> 00:14:10,712 [BOTH CHUCKLE] 236 00:14:11,000 --> 00:14:12,433 ACTUALLY, IT COMES QUITE EASY FOR HER. 237 00:14:12,720 --> 00:14:13,596 [CHUCKLES] 238 00:14:13,880 --> 00:14:14,949 VERY FUNNY. 239 00:14:15,280 --> 00:14:17,032 OKAY, HOW DO I LOOK, KIDS? 240 00:14:17,320 --> 00:14:18,435 AH, PERFECT. 241 00:14:18,720 --> 00:14:19,755 [ALL CHUCKLE] 242 00:14:20,080 --> 00:14:22,435 LOOK, WE'LL GO ON OUT FIRST AND KRIS WILL BE LATE. 243 00:14:22,720 --> 00:14:23,869 THAT'LL HELP. 244 00:14:24,160 --> 00:14:25,991 GOOD LUCK. OKAY. 245 00:14:26,280 --> 00:14:27,998 [PHONE RINGS] 246 00:14:30,800 --> 00:14:32,119 MODELS' ROOM. 247 00:14:32,400 --> 00:14:33,879 OH, HI, BOS. WHAT'S HAPPENING? 248 00:14:34,160 --> 00:14:37,436 ALOHA. I'VE DONE SOME RESEARCH ON THAT PIECE OF LENS CAP 249 00:14:37,760 --> 00:14:39,478 WE FOUND IN THE ALLEY BEHIND EDDIE'S. 250 00:14:39,760 --> 00:14:41,751 APPARENTLY, IT FITS SIX KINDS OF CAMERAS. 251 00:14:42,040 --> 00:14:44,315 IT'S MANUFACTURED AT VARIOUS PLACES AROUND THE COUNTRY. 252 00:14:44,600 --> 00:14:46,113 I T’S GONNA BE VERYHARD TO FIND OUT 253 00:14:46,440 --> 00:14:48,476 JUST EXA C TL Y WHERE OR WHEN, OR WHO USED IT. 254 00:14:48,760 --> 00:14:50,113 I TOLD YOU NOT TO TRY ANY ROUGH STUFF. 255 00:14:50,440 --> 00:14:52,317 YEAH? 256 00:14:52,600 --> 00:14:54,909 AND I TOLD YOU, I DON'T LIKE NOBODY PUSHING ME AROUND. 257 00:14:55,240 --> 00:14:56,958 OH, GREAT, SO YOU SHOOT HIM DOWN IN BROAD DAYLIGHT 258 00:14:57,280 --> 00:14:58,633 ON A PUBLIC BEACH. 259 00:14:58,920 --> 00:15:00,831 YOU BOTHER TO ASK HIM WHAT HIS NAME WAS BEFORE YOU KILLED HIM? 260 00:15:01,160 --> 00:15:02,434 I DON'T CARE WHO HE WAS! 261 00:15:02,720 --> 00:15:04,233 OH, GOD. 262 00:15:04,520 --> 00:15:06,988 WOODMAN KNEW THE AGENCY WAS INVOLVED IN SOMETHING LIKE THIS. 263 00:15:07,280 --> 00:15:09,157 THE AGENCY IS NOT INVOLVED. 264 00:15:09,440 --> 00:15:10,873 IT'S JUST YOU AND ME, SWEETHEART. 265 00:15:11,160 --> 00:15:13,037 NOW, YOU KEEP YOUR HEAD AND EVERYTHING WILL BE COOL. 266 00:15:13,320 --> 00:15:15,470 I'LL KEEP SELLING THE STUFF AND YOU'LL GET YOUR CUT. 267 00:15:15,800 --> 00:15:16,676 YOU GOT IT? 268 00:15:16,960 --> 00:15:17,836 JIMMY: I DON'T CARE WHAT HIS NAME WAS! 269 00:15:18,120 --> 00:15:18,950 BOS, LISTEN, HOLD IT. 270 00:15:19,240 --> 00:15:21,037 YEAH, I ONLY GOT PART OF THAT. 271 00:15:21,320 --> 00:15:23,550 YEAH, SOMEBODY'S HAVING A SHOUTING MATCH NEXT DOOR. 272 00:15:23,840 --> 00:15:24,989 I'LL CHECK YOU BACK AT THE OFFICE 273 00:15:25,280 --> 00:15:26,793 AND WE'LL GO OVER IT AGAIN THERE, OKAY? 274 00:15:27,080 --> 00:15:29,355 RIGHT. OKAY. 275 00:15:30,640 --> 00:15:32,392 JIMMY: IT'S JUST YOU AND ME. 276 00:15:32,680 --> 00:15:34,557 KEEP YOUR HEAD AND EVERYTHING WILL BE COOL. 277 00:15:36,800 --> 00:15:38,756 15/” 278 00:16:14,440 --> 00:16:15,873 [KRIS SCREAMING] 279 00:16:18,240 --> 00:16:19,389 OH, I'M SORRY. 280 00:16:19,680 --> 00:16:22,399 DON'T TELL ME THAT KLUTZ IS ONE OF YOU. 281 00:16:22,680 --> 00:16:23,715 UH, I'M AFRAID SHE IS. 282 00:16:24,040 --> 00:16:25,758 I'M SORRY. I'M-- 283 00:16:26,080 --> 00:16:27,911 [SCREAMS] [GLASS SHATTERING] 284 00:16:28,200 --> 00:16:29,519 I'M VERY SORRY. 285 00:16:29,840 --> 00:16:30,989 [ALL LAUGHING] 286 00:16:31,280 --> 00:16:32,633 OH, I'VE RUINED YOUR BEAUTIFUL DISPLAY. 287 00:16:32,960 --> 00:16:34,109 I SEE. 288 00:16:35,160 --> 00:16:36,036 [WHISTLES] 289 00:16:36,320 --> 00:16:37,878 MAN: GET OVER HERE. 290 00:16:38,160 --> 00:16:40,151 GOD, I DO THIS ALL THE TIME. THIS IS THE WORST. 291 00:16:40,440 --> 00:16:42,078 MAN: GET OVER HERE! 292 00:16:42,360 --> 00:16:43,554 I'M VERY SORRY. 293 00:16:43,840 --> 00:16:47,037 SIX HOURS OF SHOOTING, FOUR HOURS OF LIGHT LEFT 294 00:16:47,320 --> 00:16:49,959 AND A WALKING DISASTER AREA FOR A MODEL! 295 00:16:55,520 --> 00:16:57,511 15/” 296 00:17:09,680 --> 00:17:12,399 WOODMAN: I THINK WE'LL BE ABLE TO HELP YOU, MISS MUNROE. 297 00:17:12,680 --> 00:17:16,275 HOW MUCH MONEY DID YOU WANT TO BORROW, EXACTLY? 298 00:17:16,560 --> 00:17:20,189 KRIS: UM, WELL, ACTUALLY, ABOUT A THOUSAND DOLLARS. 299 00:17:20,480 --> 00:17:21,708 A THOUSAND? A THOUSAND DOLLARS? 300 00:17:22,000 --> 00:17:24,560 THAT'S, UH, A GREAT DEAL OF MONEY, MISS MUNROE. 301 00:17:24,840 --> 00:17:26,273 YES, I KNOW. 302 00:17:26,600 --> 00:17:29,956 BUT IT'S VERY EXPENSIVE LIVING IN THIS CITY. I HAD NO IDEA. 303 00:17:30,240 --> 00:17:32,390 WELL, YOU COULD DEDUCT THE MONEY FROM MY PAYCHECKS 304 00:17:32,680 --> 00:17:33,476 AS THEY COME IN. 305 00:17:35,560 --> 00:17:38,279 | UNDERSTAND YOU HAD A BIT OF TROUBLE WITH THE PHOTO SESSION 306 00:17:38,560 --> 00:17:40,630 FOR CINCINNATI TEXTILES YESTERDAY. 307 00:17:42,240 --> 00:17:44,231 OH, YOU HEARD ABOUT THAT. 308 00:17:44,520 --> 00:17:46,476 WELL, CINCINNATI TEXTILES IS ONE OF OUR 309 00:17:46,760 --> 00:17:48,273 MOST PRESTIGIOUS ACCOUNTS 310 00:17:48,560 --> 00:17:51,279 AND THE OWNER, MR. JORDAN, IS A VERY VALUED CLIENT. 311 00:17:51,560 --> 00:17:52,834 IN FACT, YOU MAY REMEMBER MEETING HIM 312 00:17:53,120 --> 00:17:54,075 HERE THE OTHER NIGHT. 313 00:17:54,360 --> 00:17:56,715 THIS MR. JORDAN, HE'S UNHAPPY WITH ME? 314 00:17:57,000 --> 00:17:58,877 NO, NO, NO. IT'S NOTHING PERSONAL AT ALL. 315 00:17:59,160 --> 00:18:00,673 IT'S JUST THAT HE'S-- 316 00:18:00,960 --> 00:18:04,236 WELL, HE'S ALWAYS IN A HURRY AND HE'S VERY DEMANDING. 317 00:18:04,560 --> 00:18:06,676 I THINK PERHAPS I'LL PUT YOU IN ANOTHER JOB. 318 00:18:07,800 --> 00:18:10,030 ANOTHER JOB? WOODMAN: YES. 319 00:18:10,320 --> 00:18:14,029 ONE MORE SUITED TO YOUR TEMPERAMENT AND YOUR EXPERIENCE. 320 00:18:14,800 --> 00:18:16,153 SUCH AS? 321 00:18:16,480 --> 00:18:17,959 STEPHEN: WELL, WE HAVE DOZENS OF CLIENTS 322 00:18:18,280 --> 00:18:20,555 THAT WOULD APPRECIATE YOUR PARTICULAR TALENTS, MISS MUNROE. 323 00:18:20,840 --> 00:18:25,516 AS A MATTER OF FACT, THERE IS A JOB AT THE AUTO SHOW. 324 00:18:25,800 --> 00:18:27,119 THE AUTO SHOW? 325 00:18:27,400 --> 00:18:29,277 STEPHEN: WELL, IT DOESN'T PAY AS WELL AS OUR OTHER ACCOUNTS, 326 00:18:29,560 --> 00:18:31,391 BUT YOU CAN DO A LOT OF WORK, PICK UP SOME GOOD MONEY-- 327 00:18:31,680 --> 00:18:33,477 MODELING IN AN AUTO SHOW. 328 00:18:33,760 --> 00:18:35,352 I MEAN, IT'S NOT EXACTLY WHAT I HAD IN MIND FOR MYSELF. 329 00:18:35,640 --> 00:18:38,074 WELL, OF COURSE, IF YOU'D RATHER NOT. 330 00:18:38,360 --> 00:18:40,396 IT'S JUST THAT, YOU KNOW, YOU SAID YOU NEEDED SOME MONEY AND-- 331 00:18:40,720 --> 00:18:42,119 IDO. 332 00:18:43,120 --> 00:18:45,031 WHAT EXACTLY WOULD I BE DOING AT THE AUTO SHOW? 333 00:18:45,320 --> 00:18:49,029 OH, WHAT, MOSTLY JUST BE YOURSELF, THAT'S ALL, 334 00:18:49,600 --> 00:18:52,398 THAT'S ALL? HERE. 335 00:18:52,680 --> 00:18:54,557 LLOYD MARKS IS A CLIENT OF OURS. 336 00:18:54,840 --> 00:18:57,070 HE DOES INDUSTRIAL AND TRADE EXHIBITING MOSTLY. 337 00:18:57,400 --> 00:18:59,231 YOU SEE HIM. 338 00:18:59,520 --> 00:19:02,193 I'LL CALL AND SET IT UP FOR YOU, OKAY? 339 00:19:03,800 --> 00:19:05,518 WELL, IF YOU THINK THAT'S BEST. 340 00:19:05,800 --> 00:19:08,234 OH, I DO. I DO. 341 00:19:08,520 --> 00:19:10,590 NOW, YOU GO DOWN TO PAYROLL IN THE MORNING 342 00:19:10,880 --> 00:19:12,074 AND YOU CAN SIGN THE LOAN AGREEMENT 343 00:19:12,360 --> 00:19:14,555 AND COLLECT A CHECK FOR $1000, HOW'S THAT? 344 00:19:14,880 --> 00:19:16,677 [SIGHS] 345 00:19:17,000 --> 00:19:18,399 THANK YOU, MR. WOODMAN. YOU'RE VERY KIND. 346 00:19:18,680 --> 00:19:20,079 NOT AT ALL. THANK YOU. 347 00:19:20,360 --> 00:19:21,918 GOODBYE. THANKS. 348 00:19:30,840 --> 00:19:32,910 YOU KNOW, IT'S ODD. 349 00:19:33,200 --> 00:19:34,758 SHE SEEMED SO MUCH MORE POLISHED 350 00:19:35,040 --> 00:19:36,075 WHEN SHE BLUFFED HER WAY 351 00:19:36,400 --> 00:19:37,549 WIN HERE THE OTHER DAY WITH MISS GARRET. 352 00:19:37,840 --> 00:19:40,593 YEAH, WELL, I'M AFRAID THAT'S EXACTLY WHAT IT IS: BLUFF. 353 00:19:40,880 --> 00:19:43,235 BUT I THINK NOT WITHOUT HER USEFULNESS. 354 00:19:43,520 --> 00:19:45,715 WELL, PERHAPS SHE'LL COME AROUND WITH MORE EXPERIENCE. 355 00:19:46,000 --> 00:19:48,355 OH, YEAH, I THINK ONE WAY OR ANOTHER, SHE'LL EARN HER KEEP. 356 00:19:48,640 --> 00:19:50,596 I'M SURE THAT YOU WILL SEE THAT SHE DOES, STEPHEN. 357 00:19:50,880 --> 00:19:52,279 JUST SPARE ME THE DETAILS. 358 00:19:52,560 --> 00:19:54,391 [LAUGHS] 359 00:19:54,680 --> 00:19:57,752 DALE, YOU NEVER WANNA DEAL WITH THE HARSH REALITIES, DO YOU? 360 00:19:58,080 --> 00:20:00,435 WHY SHOULD I, WHEN I HAVE YOU TO HANDLE THEM FOR ME? 361 00:20:02,760 --> 00:20:06,275 NOW, DON'T SULK, DEAR BOY, IT MAKES YOU VERY UNATTRACTIVE. 362 00:20:11,600 --> 00:20:13,556 15/” 363 00:20:27,040 --> 00:20:28,598 HERE'S YOUR WORKING CLOTHES, MISS MUNROE. 364 00:20:30,240 --> 00:20:31,150 [CHUCKLES] 365 00:20:31,440 --> 00:20:33,510 YOU DON'T EXPECT ME TO WEAR THIS? 366 00:20:33,800 --> 00:20:34,949 THAT'S THE PLAN. 367 00:20:35,240 --> 00:20:36,673 YOUR AGENCY DID SEND YOU, DIDN'T THEY? 368 00:20:37,000 --> 00:20:40,151 LOOK, I'M A MODEL, NOT A BILLBOARD. 369 00:20:40,440 --> 00:20:43,512 WHAT YOU ARE IS AN EMPLOYEE WORKING FOR ME, REMEMBER? 370 00:20:43,840 --> 00:20:44,989 BUT THIS IS TACKY. 371 00:20:45,280 --> 00:20:46,838 YOU'RE HERE TO HELP SELL TRUCKS. 372 00:20:47,120 --> 00:20:49,270 GUYS WHO BUY TRUCKS WILL LIKE YOU IN THIS. 373 00:20:49,600 --> 00:20:50,999 BUT I WON'T LIKE ME IN THIS. 374 00:20:51,280 --> 00:20:52,793 YOU DON'T COUNT, MISS MUNROE. 375 00:20:53,080 --> 00:20:54,354 YOU'RE JUST PART OF THE MERCHANDISE. 376 00:20:54,680 --> 00:20:55,829 WELL, WHAT IF I SAY NO? 377 00:20:56,120 --> 00:20:57,439 THEN I'LL CALL THE AGENCY. 378 00:20:57,720 --> 00:21:00,314 THEY'LL SEND ME SOMEONE ELSE AND SEND YOU PACKING. 379 00:21:00,600 --> 00:21:03,831 IT'S JUST I THOUGHT THERE WAS A FINANCIAL COMMITMENT 380 00:21:04,120 --> 00:21:06,270 YOU HAD TO FULFILL. 381 00:21:06,560 --> 00:21:07,879 YEAH. 382 00:21:08,200 --> 00:21:10,270 YOU CAN CHANGE IN THERE. 383 00:21:15,520 --> 00:21:17,033 HEY. 384 00:21:22,600 --> 00:21:25,239 WHAT'S YOUR PROBLEM? 385 00:21:25,520 --> 00:21:27,670 YOU'RE THE ONE WITH THE PROBLEM. 386 00:21:27,960 --> 00:21:29,473 MAYBE I CAN HELP. 387 00:21:29,800 --> 00:21:31,153 YEAH, WHO ARE YOU? 388 00:21:31,440 --> 00:21:32,714 EDDIE. 389 00:21:33,000 --> 00:21:34,353 EDDIE ROBBINS. 390 00:21:34,680 --> 00:21:36,716 HOW CAN YOU HELP? 391 00:21:37,000 --> 00:21:40,276 YOU DON'T WANNA PARADE AROUND IN PUBLIC IN THAT RAG. 392 00:21:40,600 --> 00:21:42,158 THERE ARE OTHER WAYS TO MAKE A BUCK. 393 00:21:42,480 --> 00:21:46,598 FASTER. MORE PRIVATE. 394 00:21:46,880 --> 00:21:47,915 SUCH AS? 395 00:21:48,240 --> 00:21:49,992 I OWN A LITTLE PLACE OVER ON 3RD STREET. 396 00:21:51,880 --> 00:21:54,269 I USE PHOTOGRAPHIC MODELS THERE. 397 00:21:54,560 --> 00:21:56,152 3RD STREET, HUH? 398 00:21:56,440 --> 00:21:57,589 IT'S CALLED EDDIE'S. 399 00:21:57,880 --> 00:21:59,757 OH, I THINK I'VE HEARD OF IT. 400 00:22:00,800 --> 00:22:01,994 OH, YEAH? 401 00:22:02,280 --> 00:22:04,316 AS A MATTER OF FACT, I WAS THERE A COUPLE OF DAYS AGO. 402 00:22:04,600 --> 00:22:05,953 YOU WERE? HOW COME? 403 00:22:06,240 --> 00:22:08,515 OH, I WAS LOOKING FOR A FRIEND OF MINE. 404 00:22:08,840 --> 00:22:11,400 THIS OLD MAN ASKED ME, UH, IF I WANTEDAJOB. 405 00:22:11,720 --> 00:22:13,597 SOME CREEP WITH HIS NOSE BEHIND A BOOK. 406 00:22:13,880 --> 00:22:17,270 THAT MAKES TWO OFFERS. YOU OUGHT TO THINK ABOUT IT. 407 00:22:19,280 --> 00:22:20,190 IJUST DID. 408 00:22:20,520 --> 00:22:21,589 WHAT? 409 00:22:21,880 --> 00:22:23,996 I JUST THOUGHT ABOUT IT. I'LL TAKE IT. 410 00:22:24,320 --> 00:22:26,595 JUST LIKE THAT? JUST LIKE THAT. 411 00:22:26,880 --> 00:22:28,029 WHEN DO I START? 412 00:22:28,360 --> 00:22:32,797 WELL, YOU GO OVER THERE RIGHT NOW IF YOU LIKE. 413 00:22:33,120 --> 00:22:34,838 I'LL EXPLAIN TO LLOYD. 414 00:22:35,160 --> 00:22:36,593 OH. 415 00:22:36,880 --> 00:22:38,279 YOU THINK HE'S GONNA UNDERSTAND? 416 00:22:38,560 --> 00:22:39,549 SURE. 417 00:22:39,840 --> 00:22:40,955 [HORN HONKS] 418 00:22:41,240 --> 00:22:44,915 OH, YEAH, YOU GUYS PROBABLY EXCHANGE GIRLS A LOT. 419 00:22:45,200 --> 00:22:46,997 YEAH, RIGHT. 420 00:22:47,280 --> 00:22:49,111 HEY, I'LL HANDLE IT, NO PROBLEM. 421 00:22:50,360 --> 00:22:52,794 YOU GO ON OVER TO MY PLACE. 422 00:22:53,080 --> 00:22:57,073 TELL THE, UH, OLD MAN WE TALKED. 423 00:22:57,360 --> 00:23:00,193 I'LL DROP BY LATER TO SEE HOW YOU'RE DOING. 424 00:23:00,520 --> 00:23:01,953 TERRIFIC. 425 00:23:02,240 --> 00:23:03,798 THANKS. 426 00:23:05,440 --> 00:23:07,396 15/” 427 00:23:14,840 --> 00:23:16,592 KRIS [OVER PHONE]: ANYWA Y, I CAME HOME, CHANGED MY CLOTHES 428 00:23:16,880 --> 00:23:18,233 AND I'M HEADING FOR EDD/E'S INA WHILE 429 00:23:18,520 --> 00:23:20,556 OKAY. 430 00:23:20,840 --> 00:23:23,035 KRIS, BE CAREFUL. 431 00:23:23,320 --> 00:23:25,231 OKA Y, BOS. 432 00:23:49,440 --> 00:23:51,237 [BAND PLAYING MUSIC] 433 00:23:55,880 --> 00:23:58,189 [CROWD APPLAUDING] 434 00:24:06,880 --> 00:24:08,598 EXCUSE US. 435 00:24:10,880 --> 00:24:11,915 HI. HELLO. 436 00:24:12,200 --> 00:24:13,474 COME TO SEE ONE OF THE A-PARTIES, BOS? 437 00:24:13,800 --> 00:24:15,916 OH, YES, VERY PLUSH. 438 00:24:16,200 --> 00:24:17,713 LISTEN, I, UH, JUST TALKED TO KRIS. 439 00:24:18,000 --> 00:24:20,560 SHE JUST WALKED OUT ON THE JOB SHE HAD OVER AT THE AUTO SHOW. 440 00:24:20,840 --> 00:24:22,558 WALKED OUT? WHY? 441 00:24:22,840 --> 00:24:23,670 SHE GOT A WORSE OFFER. 442 00:24:23,960 --> 00:24:25,791 A WORSE OFFER? FROM WHOM? 443 00:24:26,080 --> 00:24:27,274 FROM THE FELLOW WHO RUNS THE SHOP 444 00:24:27,600 --> 00:24:28,589 WHERE JODY MILLS GOT KILLED. 445 00:24:28,880 --> 00:24:30,359 WELL, WHAT'S SHE DOING DOWN THERE? 446 00:24:30,640 --> 00:24:32,835 LETTING THOSE SHUTTERBUGS TAKE HER PICTURE 447 00:24:33,120 --> 00:24:34,553 AND KEEPING HER EYES OPEN, I GUESS. 448 00:24:34,840 --> 00:24:37,400 SHE THINKS SHE CAN FIND A LEAD ON HOW AND WHY 449 00:24:37,680 --> 00:24:38,510 JODY MILLS WAS KILLED. 450 00:24:38,800 --> 00:24:41,109 THAT'S A TOUGH OPERATION DOWN THERE. 451 00:24:42,480 --> 00:24:44,072 YEAH, I KNOW. I DON'T THINK YOU DO. 452 00:24:44,360 --> 00:24:46,191 I WAS RAISED IN A NEIGHBORHOOD LIKE THAT 453 00:24:46,480 --> 00:24:48,072 AND WHAT YOU SEE FROM THE OUTSIDE LOOKING IN 454 00:24:48,360 --> 00:24:50,555 IT'S WORSE FROM THE INSIDE LOOKING OUT. 455 00:24:50,880 --> 00:24:53,758 I GET THE FEELING SHE KNOWS WHAT SHE'S TALKING ABOUT, BOS. 456 00:24:54,040 --> 00:24:55,519 BELIEVE IT, I DO. 457 00:24:55,840 --> 00:24:58,638 THEN I DON'T THINK WE SHOULD LEAVE KRIS WITHOUT A BACKUP. 458 00:24:58,920 --> 00:25:00,956 OKAY, WE'LL GO DOWN THERE A LITTLE LATER AND CHECK ON HER. 459 00:25:01,240 --> 00:25:02,719 OH, WHICH REMINDS ME 460 00:25:03,000 --> 00:25:06,754 IRAN A CHECK ON THAT SILVER SEDAN THAT WE SAW AT THE BEACH. 461 00:25:07,040 --> 00:25:08,758 ANY LUCK? BOSLEY: PROBABLY NOT. 462 00:25:09,040 --> 00:25:11,474 THERE ARE OVER 100 SILVER SEDANS 463 00:25:11,760 --> 00:25:13,796 WITH G-L AS THE FIRST LETTERS ON THE LICENSE 464 00:25:14,080 --> 00:25:15,752 REGISTERED IN CALIFORNIA. 465 00:25:16,040 --> 00:25:17,075 WELL, SO WHERE DOES THAT LEAVE US? 466 00:25:17,400 --> 00:25:19,470 ALMOST NOWHERE. 467 00:25:25,640 --> 00:25:26,709 WHAT ARE YOU LOOKING AT? 468 00:25:27,960 --> 00:25:29,279 STEVE AND JIMMY JOY. 469 00:25:34,880 --> 00:25:36,518 WHAT ABOUT THEM? 470 00:25:36,840 --> 00:25:38,717 WHEN WE WERE SHOOTING THE CINCINNATI TEXTILES COMMERCIAL 471 00:25:39,000 --> 00:25:40,319 AROUND THE POOL REMEMBER WHAT KRIS SAID 472 00:25:40,640 --> 00:25:41,755 ABOUT STEVE AND JIMMY JOY? 473 00:25:43,320 --> 00:25:45,151 YEAH, SOMETHING ABOUT THEM ARGUING. 474 00:25:45,480 --> 00:25:47,277 RIGHT, SHE COULDN'T UNDERSTAND WHAT THEY WERE SAYING 475 00:25:47,600 --> 00:25:49,636 BUT THEY WERE YELLING AT EACH OTHER IN THE NEXT ROOM. 476 00:25:49,920 --> 00:25:50,796 MEANING WHAT? 477 00:25:51,080 --> 00:25:52,149 I DON'T KNOW. 478 00:25:52,480 --> 00:25:54,118 I JUST KNOW HARRY SAID HE WAS GONNA 479 00:25:54,440 --> 00:25:56,476 PRESSURE JIMMY JOY. PUSH HIM. 480 00:25:56,760 --> 00:25:58,398 AND NOW HARRY IS DEAD 481 00:25:58,680 --> 00:26:01,319 AND STEVE'S LOOKING AWFULLY UPTIGHT ALL OF A SUDDEN. 482 00:26:01,600 --> 00:26:04,558 BUT JIMMY JOY DOESN'T DRIVE A SILVER SEDAN. 483 00:26:04,840 --> 00:26:07,115 WELL, I STILL INTEND TO KEEP AN EYE ON HIM. 484 00:26:07,400 --> 00:26:09,709 RIGHT TILL I'VE BUSTED HIM FOR PUSHING DRUGS. 485 00:26:11,040 --> 00:26:14,237 MEANWHILE, STEVE DOESN'T KNOW ME, so I'LL KEEP AN EYE 0N HIM. 486 00:26:14,520 --> 00:26:16,875 ALL RIGHT. 487 00:26:17,160 --> 00:26:20,038 WELL, I'M A LITTLE TIRED. I THINK I'M GONNA PACK IT IN. 488 00:26:20,320 --> 00:26:21,639 SEE YOU TOMORROW? OKAY, TAKE CARE. 489 00:26:21,920 --> 00:26:23,831 OKAY, GOOD NIGHT. GOOD NIGHT. 490 00:26:25,360 --> 00:26:28,432 WELL, WHAT DO YOU THINK? I THINK SHE'S HURTING. 491 00:26:28,720 --> 00:26:30,233 I DID A LITTLE MORE RESEARCH ON HER. 492 00:26:30,560 --> 00:26:33,154 SHE WAS BORN IN NEW YORK AND RAISED STREET TOUGH, 493 00:26:33,480 --> 00:26:34,356 JUST LIKE SHE SAID. 494 00:26:34,640 --> 00:26:37,677 WHAT ABOUT HER FAMILY? WELL, IT SEEMS THAT-- 495 00:26:42,520 --> 00:26:43,669 IT SEEMS THAT HER FATHER SPLIT 496 00:26:43,960 --> 00:26:45,359 WHEN SHE WAS TOO YOUNG TO REMEMBER. 497 00:26:45,640 --> 00:26:47,073 HER MOTHER? 498 00:26:47,360 --> 00:26:49,078 BOSLEY: SHE DIED TWO YEARS AGO 499 00:26:49,360 --> 00:26:52,636 IN A CHARITY HOSPITAL, ACUTE ALCOHOLISM. 500 00:26:52,960 --> 00:26:55,872 OH, WELL, THAT EXPLAINS HER TOUGH EDGE. 501 00:26:56,160 --> 00:26:58,037 YOU KNOW, I THINK THAT HARRY WAS THE ONLY FRIEND 502 00:26:58,320 --> 00:26:59,639 SHE EVER HAD. 503 00:27:00,600 --> 00:27:02,352 LIKE I SAID, SHE'S HURTING. 504 00:27:02,680 --> 00:27:05,194 I JUST HOPE WE CAN HELP HER HURT A LITTLE LESS. 505 00:27:06,360 --> 00:27:07,839 WE WILL, BOS. WE WILL. 506 00:27:09,680 --> 00:27:11,875 I'D BETTER GO BACK AND MIX. 507 00:27:12,160 --> 00:27:13,115 OKAY. 508 00:27:36,880 --> 00:27:39,235 [ENGINE REVS] 509 00:27:49,000 --> 00:27:50,991 15/” 510 00:28:03,720 --> 00:28:05,472 MAN: YOU WANNA WORK HERE? 511 00:28:05,760 --> 00:28:06,829 YOU ASKED ME TO, REMEMBER? 512 00:28:07,160 --> 00:28:10,869 OH, YES. THAT'S RIGHT, I DID, DIDN'T I? 513 00:28:11,200 --> 00:28:12,474 MEMORY'S NOT SO GOOD, HUH? 514 00:28:12,760 --> 00:28:16,514 I'VE BEEN READING THIS BOOK. IT TAKES ALL MY CONCENTRATION. 515 00:28:16,840 --> 00:28:18,159 SO HOW DO I START? 516 00:28:18,440 --> 00:28:21,432 YOU GO IN THE MODELS' ROOM AT THE END OF THE HALL 517 00:28:21,760 --> 00:28:24,797 WAIT THERE TILL I GET A CUSTOMER AND CALL YOU. 518 00:28:25,080 --> 00:28:28,868 SPEAKING OF CUSTOMERS, MAY I HELP YOU, SIR? 519 00:28:29,160 --> 00:28:33,233 YES. I NEED A ROOM AND A GIRL. 520 00:28:33,560 --> 00:28:34,913 WELL, WHAT ABOUT THIS GIRL, SIR? 521 00:28:42,520 --> 00:28:43,953 SHE'S NEW HERE. 522 00:28:44,280 --> 00:28:46,316 YES, YES. 523 00:28:46,600 --> 00:28:48,670 SHE'LL DO VERY WELL. 524 00:29:13,200 --> 00:29:15,794 15/” 525 00:29:16,080 --> 00:29:18,833 YOU SAY YOU'RE NEW AT THIS SORT OF THING, MISS, UH.,.? 526 00:29:19,120 --> 00:29:20,473 MISS...? 527 00:29:21,800 --> 00:29:23,756 WHAT DID YOU SAY YOUR NAME WAS? 528 00:29:24,040 --> 00:29:26,349 I DIDN'T SAY. YOU CAN CALL ME KRIS. 529 00:29:26,640 --> 00:29:28,995 JORDAN: OH, THAT'S A LOVELY NAME. 530 00:29:29,320 --> 00:29:30,992 CAN I ASK YOU A QUESTION? 531 00:29:31,320 --> 00:29:33,151 OF COURSE. 532 00:29:33,440 --> 00:29:35,396 YOU LOOK AT ME AS IF YOU KNOW ME. 533 00:29:35,680 --> 00:29:37,033 I DO? 534 00:29:37,320 --> 00:29:38,355 JORDAN: YES. 535 00:29:38,640 --> 00:29:41,234 YOU DON'T KNOW ME, DO YOU? 536 00:29:41,520 --> 00:29:43,590 NO, I DON'T THINK SO. 537 00:29:43,920 --> 00:29:47,515 I DIDN'T THINK SO, EITHER. 538 00:29:47,840 --> 00:29:51,276 WELL, TELL ME ABOUT YOURSELF. 539 00:29:51,600 --> 00:29:52,999 WHAT DO YOU WANNA HEAR? 540 00:29:53,280 --> 00:29:56,590 ANYTHING YOU WANT TO TELL ME. 541 00:29:56,880 --> 00:30:00,714 YOUR SECRET THOUGHTS, SHARE THEM WITH ME. 542 00:30:01,680 --> 00:30:02,954 [CHUCKLES] 543 00:30:03,240 --> 00:30:04,798 I DON'T HAVE ANY SECRET THOUGHTS. 544 00:30:05,080 --> 00:30:07,548 OH, WE ALL HAVE SECRET THOUGHTS, KRIS. 545 00:30:07,840 --> 00:30:10,559 THAT'S WHAT MAKES LIFE WORTH LIVING. 546 00:30:10,840 --> 00:30:14,469 SO BEFORE I PHOTOGRAPH YOUR OUTER SELF, 547 00:30:14,760 --> 00:30:17,399 TELL ME ABOUT YOUR FEELINGS. 548 00:30:17,680 --> 00:30:18,829 DON'T LEAVE ANYTHING OUT 549 00:30:19,160 --> 00:30:21,720 NO MATTER HOW PERSONAL OR EMBARRASSING IT MAY SEEM. 550 00:30:22,040 --> 00:30:23,439 COULD YOU DO THAT? 551 00:30:23,720 --> 00:30:27,508 WELL, I'LL TRY. 552 00:31:53,800 --> 00:31:56,837 HOW'S IT GOING? MAN: OKAY, HOW ARE YOU? 553 00:32:02,800 --> 00:32:06,110 HELLO, SWEETHEART. LET'S HAVE A COUPLE OF BEERS. 554 00:32:23,920 --> 00:32:25,956 YOU LOOK WORRIED. WHAT'S THE MATTER? 555 00:32:27,360 --> 00:32:30,033 PRETTY BOY STEVE IS RUNNING SCARED. 556 00:32:30,320 --> 00:32:33,073 HE'S GONNA BLOW IT FOR ME. FOR US. 557 00:32:33,360 --> 00:32:34,998 WELL, IF HE BLOWS IT FOR US, HE BLOWS IT FOR HIMSELF. 558 00:32:35,280 --> 00:32:36,429 YOU REMIND HIM OF THAT. 559 00:32:36,760 --> 00:32:39,957 I REMINDED HIM. HE'S STILL RUNNING SCARED. 560 00:32:50,600 --> 00:32:52,636 FOR HIM, DEALING DRUGS IS ONE THING. 561 00:32:54,680 --> 00:32:56,955 KILLING SOMEBODY, NOW THAT'S SOMETHING ELSE. 562 00:32:58,800 --> 00:33:01,189 HE'S IN A SWEAT. HE'S GONNA MAKE A MISTAKE. 563 00:33:01,480 --> 00:33:03,710 HE'S GONNA SAY THE WRONG THING AT THE WRONG TIME 564 00:33:04,040 --> 00:33:06,270 AND WERE ALL GOING RIGHT DOWN THE TUBES. 565 00:33:06,560 --> 00:33:07,629 WHAT ARE WE SUPPOSED TO DO? 566 00:33:07,960 --> 00:33:10,394 WHAT WE HAVE TO DO. WE GOTTA SHUT HIM UP. 567 00:33:13,600 --> 00:33:14,999 I TOLD HIM TO MEET US HERE. 568 00:33:15,280 --> 00:33:15,996 WHEN? 569 00:33:16,280 --> 00:33:18,236 NOW. 570 00:33:18,520 --> 00:33:20,829 NOW? YOU MEAN, YOU WANNA ICE HIM NOW? 571 00:33:23,400 --> 00:33:25,994 WE CAN'T COOL HIM OUT? 572 00:33:26,280 --> 00:33:27,679 YES. 573 00:33:34,520 --> 00:33:36,670 15/” 574 00:34:51,120 --> 00:34:52,633 HELLO, MOBILE OPERATOR. 575 00:34:52,920 --> 00:34:54,478 I'D LIKE TO PUT A PERSON-TO-PERSON CALL THROUGH, 576 00:34:54,760 --> 00:34:56,398 PLEASE, TO A MISS KELLY GARRETT 577 00:34:56,680 --> 00:34:59,672 AT THE WOODMAN AGENCY ON WILSHIRE BOULEVARD. 578 00:35:35,080 --> 00:35:36,672 STEVE, WHAT ARE YOU DOING HERE? 579 00:35:36,960 --> 00:35:38,916 I WAS ABOUT TO ASK YOU THE SAME QUESTION. 580 00:35:39,240 --> 00:35:40,514 GET UP. 581 00:35:52,720 --> 00:35:54,358 WHAT ARE YOU DOING WITH HER? 582 00:35:54,640 --> 00:35:55,914 SHE MUST'VE FOLLOWED YOU HERE. 583 00:35:56,200 --> 00:35:59,272 SHE'S BEEN WATCHING YOU FROM UP AT THE BAR 584 00:35:59,560 --> 00:36:02,393 WITH THIS TUCKED IN HER PURSE. 585 00:36:05,280 --> 00:36:07,919 WHY ARE YOU CARRYING A GUN? WHY NOT? 586 00:36:08,200 --> 00:36:10,350 I'M NOT IN THE MOOD FOR YOUR SMART MOUTH, LITTLE GIRL. 587 00:36:10,680 --> 00:36:12,557 NOW, WHAT ARE YOU DOING WITH A GUN? 588 00:36:12,840 --> 00:36:15,229 HEY, IT'S A TOUGH WORLD. A GIRL HAS TO BE CAREFUL. 589 00:36:15,560 --> 00:36:16,754 WHY HAVE YOU BEEN FOLLOWING US? 590 00:36:17,040 --> 00:36:18,393 WHO SAYS I WAS FOLLOWING YOU? 591 00:36:18,680 --> 00:36:21,592 I'M NOT IN THE MOOD TO PLAY ANY GAMES HERE. 592 00:36:21,880 --> 00:36:24,440 LET'S ALL JUST TAKE A LITTLE WALK OUTSIDE. 593 00:36:24,720 --> 00:36:27,314 I THINK YOU'RE MAKING A BIG THING OUT OF NOTHING, YOU KNOW? 594 00:36:27,600 --> 00:36:32,355 MOVE. STEVE, YOU TOO. 595 00:36:32,640 --> 00:36:33,709 I GOTTA GET BACK TO THE AGENCY. 596 00:36:36,680 --> 00:36:38,671 HEY, WHAT'S GOING ON HERE? WHAT'S YOUR PROBLEM ANYWAY? 597 00:36:39,000 --> 00:36:40,069 YOU'RE OUR PROBLEM. 598 00:36:42,200 --> 00:36:44,953 I DON'T LIKE PEOPLE WHO SWEAT AND YOU SWEAT TOO MUCH. 599 00:36:46,080 --> 00:36:49,789 NOW LET'S JUST ALL MOVE TO THE DOOR. 600 00:37:00,800 --> 00:37:02,995 15/” 601 00:37:42,400 --> 00:37:44,391 WHERE'S THE SILVER SEDAN WITH THE G-L LICENSE? 602 00:37:44,680 --> 00:37:47,069 RIGHT THERE. 603 00:37:47,400 --> 00:37:48,719 BOS, THERE'S JULIE NOW. 604 00:37:50,600 --> 00:37:52,636 I DON'T THINK JULIE'S GOING, I THINK SHE'S BEING TAKEN. 605 00:37:52,920 --> 00:37:54,751 YOU LOOK LIKE YOU NEED TO GET SOMETHING OFF YOUR CHEST, STEVE. 606 00:37:55,080 --> 00:37:56,433 WHY ARE YOU TURNING ON ME LIKE THIS? 607 00:37:56,720 --> 00:37:57,516 TURNING ON YOU? 608 00:37:57,800 --> 00:37:59,199 WHAT HAVE YOU TWO BEEN UP TO, HUH? 609 00:37:59,480 --> 00:38:00,549 MAYBE A MURDER AT THE BEACH? 610 00:38:00,880 --> 00:38:02,518 I SHOULD'VE CUT YOU DOWN WITH YOUR LOUDMOUTHED FRIEND. 611 00:38:02,840 --> 00:38:03,716 NOW GET IN THE CAR. 612 00:38:18,360 --> 00:38:19,588 [ENGINE REVS] 613 00:38:21,680 --> 00:38:23,398 [TIRES SCREECH] 614 00:38:26,080 --> 00:38:27,559 DROP IT! 615 00:39:11,000 --> 00:39:12,956 15/” 616 00:39:33,080 --> 00:39:34,877 [CAR ENGINE REVS] 617 00:39:37,520 --> 00:39:39,875 [AMBULANCE SIREN WAILING] 618 00:39:44,880 --> 00:39:46,518 CHARLIE, WE PUT JIMMY JOY AND HIS ACCOMPLICE 619 00:39:46,800 --> 00:39:48,552 IN THE PRISON WARD AT THE CITY HOSPITAL. 620 00:39:48,840 --> 00:39:50,717 ALSO STEVE, WHO DID QUITE A BIT OF TALKING 621 00:39:51,000 --> 00:39:51,876 BEFORE THEY PUT HIM INTO THE AMBULANCE. 622 00:39:52,200 --> 00:39:53,474 CHARLIE [OVER PHONE]: WHA TABOUTJULIE? 623 00:39:53,760 --> 00:39:55,955 YES, JULIE'S DOWN THERE GIVING A STATEMENT TO THE POLICE. 624 00:39:56,280 --> 00:39:58,510 ALL RIGHT, YOU CANFILL ME IN ON THE DETAILS LA TER. 625 00:39:58,800 --> 00:40:00,313 ANY NEWS ABOUTKRIS? 626 00:40:00,600 --> 00:40:02,556 WE'RE ON OUR WAY OVER TO EDDIE'S NOW TO SEE HOW SHE'S DOING. 627 00:40:02,840 --> 00:40:04,637 I THINK WE ALL BETTER TOUCH BASE IN THE MORNING. 628 00:40:04,960 --> 00:40:08,555 RIGHT. OKAY. TALK TO YOU LATER. 629 00:40:08,880 --> 00:40:10,313 LET'S GO IN ONE CAR. WE'LL TAKE MINE. 630 00:40:10,600 --> 00:40:12,272 ALRIGHTY. 631 00:40:12,560 --> 00:40:14,676 KRIS, I'M SURE A GIRL WITH YOUR LOOKS AND EXPERIENCE 632 00:40:14,960 --> 00:40:16,473 HAS DEVELOPED MORE SOPHISTICATION 633 00:40:16,800 --> 00:40:18,677 THAN YOU'VE SHOWN ME THUS FAR. 634 00:40:18,960 --> 00:40:21,030 LOOK, WHY DO YOU HAVE TO KNOW MY INNER THOUGHTS? 635 00:40:21,320 --> 00:40:24,790 WHY DO YOU NEED THAT KIND OF STIMULATION? 636 00:40:25,080 --> 00:40:27,719 I DON'T NEED THAT SORT OF STIMULATION, AS YOU PUT IT. 637 00:40:28,000 --> 00:40:29,797 I WAS MERELY TRYING TO BE FRIENDLY, 638 00:40:30,080 --> 00:40:31,672 SO WE COULD GET TO KNOW EACH OTHER BETTER. 639 00:40:31,960 --> 00:40:33,996 PEOPLE CAN'T ACCOMPLISH ANYTHING GOOD OR BAD 640 00:40:34,320 --> 00:40:35,833 IF THEY REMAIN STRANGERS. 641 00:40:37,280 --> 00:40:38,508 OF COURSE, I WOULD NEVER FORCE YOU 642 00:40:38,800 --> 00:40:41,678 TO DO ANYTHING AGAINST YOUR WILL. 643 00:40:42,000 --> 00:40:44,355 THERE ARE OTHER WAYS I CAN GET TO SEE YOU. 644 00:40:44,640 --> 00:40:47,871 I MEAN, THE REAL YOU. 645 00:40:48,160 --> 00:40:51,914 THE INNER SELF THAT YOU TRY SO CLEVERLY TO HIDE FROM ME. 646 00:40:59,040 --> 00:41:01,918 WELL, SHALL WE BEGIN? 647 00:41:10,200 --> 00:41:11,553 AH. 648 00:41:11,840 --> 00:41:12,909 YOU KNOW WHAT? 649 00:41:13,240 --> 00:41:15,231 I THINK I'D LIKE TO FIX MY MAKEUP FIRST. 650 00:41:32,840 --> 00:41:35,479 YOU KNOW, WE MAY HAVE MADE A MISTAKE. 651 00:41:35,800 --> 00:41:36,915 MISTAKE? 652 00:41:37,200 --> 00:41:39,430 ABOUT WHETHER WE'D SEEN EACH OTHER BEFORE. 653 00:41:39,760 --> 00:41:41,398 WHAT DO YOU MEAN? 654 00:41:41,720 --> 00:41:43,312 HAVE YOU EVER BEEN HERE BEFORE? 655 00:41:43,640 --> 00:41:45,471 WHAT DIFFERENCE DOES THAT MAKE? 656 00:41:45,760 --> 00:41:47,990 OH, I JUST THOUGHT I'D SEEN YOU HERE. 657 00:41:48,280 --> 00:41:50,350 YOU COULDN'T POSSIBLY HAVE SEEN ME BEFORE. 658 00:41:50,640 --> 00:41:52,437 THE MAN AT THE DESK SAID YOU WERE NEW HERE. 659 00:41:52,720 --> 00:41:55,280 THE MAN AT THE DESK DOESN'T HAVE A VERY GOOD MEMORY. 660 00:41:55,560 --> 00:41:58,233 THE QUESTION IS, WHY ARE YOU PLAYING THIS CHARADE, 661 00:41:58,520 --> 00:41:59,589 MISS MUNROE? 662 00:42:02,240 --> 00:42:03,150 YOU KNOW MY NAME. 663 00:42:03,440 --> 00:42:04,395 JORDAN: WHY ARE YOU HERE? 664 00:42:04,680 --> 00:42:05,829 TWO DAYS AGO YOU WERE AT THE AGENCY, 665 00:42:06,160 --> 00:42:07,639 NOW SUDDENLY YOU'RE HERE. 666 00:42:07,960 --> 00:42:10,918 IT USUALLY TAKES QUITE A WHILE TO GET FROM THE AGENCY TO HERE 667 00:42:11,200 --> 00:42:15,193 UNLESS YOU'RE TRYING TO TRAP ME. 668 00:42:17,040 --> 00:42:21,238 ANSWER ME, MISS MUNROE. WHY ARE YOU HERE? 669 00:42:21,520 --> 00:42:23,351 WHY DON'T YOU TELL ME ABOUT THIS, MR. JORDAN? 670 00:42:23,680 --> 00:42:24,829 THIS WAS FOUND IN THE ALLEY THE MORNING 671 00:42:25,120 --> 00:42:26,269 AFTER JODY MILLS WAS KILLED. 672 00:42:26,600 --> 00:42:28,636 |T SEEMS TO BELONG TO YOUR LENS CAP. 673 00:42:28,920 --> 00:42:33,869 OH, YOU'RE ALL THE SAME, AREN'T YOU? SO PRETTY, SO DEMANDING. 674 00:42:34,160 --> 00:42:37,277 THE LOVELY FACADE THAT HIDES DECEIT. 675 00:42:37,560 --> 00:42:39,312 IS THAT WHY YOU KILLED JODY MILLS? 676 00:42:39,600 --> 00:42:41,591 THAT IS WHY I HAVE NO CHOICE BUT TO KILL YOU. 677 00:42:43,840 --> 00:42:44,795 [GRU NTS] 678 00:42:54,120 --> 00:42:56,270 15/” 679 00:43:07,600 --> 00:43:08,715 STOP HIM! 680 00:43:09,000 --> 00:43:10,877 HOLD IT! 681 00:43:12,760 --> 00:43:14,432 [HORN HONKS] 682 00:43:18,360 --> 00:43:20,669 CALL THE POLICE. 683 00:43:31,120 --> 00:43:33,509 JORDAN: OH, GOD. 684 00:43:33,800 --> 00:43:37,395 GOD, I'M SORRY. 685 00:43:37,680 --> 00:43:41,195 I DIDN'T WANNA KILL THAT GIRL. 686 00:43:41,480 --> 00:43:44,517 I JUST WANTED HER TO BE NICE TO ME 687 00:43:44,840 --> 00:43:47,673 JUST FOR A LITTLE WHILE. 688 00:43:50,120 --> 00:43:51,712 SHE MADE ME DO IT. 689 00:43:52,000 --> 00:43:55,515 SHE TRIED TO RUN AWAY AND I-- 690 00:43:55,800 --> 00:43:58,519 I LOST CONTROL. 691 00:43:58,800 --> 00:44:00,313 [GROANS] 692 00:44:01,360 --> 00:44:04,158 WHY? 693 00:44:04,440 --> 00:44:07,113 WHY DID I DO IT? 694 00:44:08,160 --> 00:44:10,230 WHY? 695 00:44:14,920 --> 00:44:16,239 [GROANS] 696 00:44:21,840 --> 00:44:24,035 15/” 697 00:44:27,360 --> 00:44:29,157 [CROWD CHATTERING] 698 00:44:46,960 --> 00:44:51,158 WELL, WELL, WELL. WHAT HAVE WE HERE? 699 00:44:51,440 --> 00:44:54,318 AREN'T WE OUT OF UNIFORM? 700 00:44:54,600 --> 00:44:59,833 MR. WOODMAN, STEVE IS IN THE HOSPITAL. UNDER POLICE CUSTODY. 701 00:45:00,120 --> 00:45:03,192 HE'S FACING CHARGES OF MURDER AND NARCOTICS 702 00:45:03,480 --> 00:45:07,758 ALONG WITH YOUR IN-HOUSE DRUG DEALER, JIMMY JOY. 703 00:45:08,040 --> 00:45:10,076 ALSO, YOUR FAVORITE CLIENT, 704 00:45:10,360 --> 00:45:12,271 MR. JORDAN OF CINCINNATI TEXTILES 705 00:45:12,600 --> 00:45:14,113 HAS CONFESSED TO THE MURDER OF JODY MILLS 706 00:45:14,440 --> 00:45:16,271 WHO WAS ONCE A MODEL IN THIS AGENCY. 707 00:45:16,600 --> 00:45:19,672 IT SEEMS SHE HAD FALLEN OUT OF FAVOR WITH YOU. 708 00:45:19,960 --> 00:45:22,520 MISS MONROE, I HAVEN'T THE FAINTEST IDEA 709 00:45:22,800 --> 00:45:23,994 WHAT YOU'RE TALKING ABOUT 710 00:45:24,320 --> 00:45:26,959 BUT I REALLY CANNOT HAVE MY GUESTS DISTURBED 711 00:45:27,280 --> 00:45:29,475 BY THESE SORDID LITTLE STORIES. 712 00:45:29,760 --> 00:45:31,796 BUT THAT'S JUST THE POINT, MR. WOODMAN. 713 00:45:32,120 --> 00:45:34,680 WE DO WANNA DISTURB YOUR GUESTS. 714 00:45:35,000 --> 00:45:37,719 WE WANT ALL THESE HOPEFUL YOUNG LADIES TO KNOW WHAT IT'S LIKE 715 00:45:38,040 --> 00:45:39,473 WHEN THEY DON'T MAKE IT IN THE A GROUP. 716 00:45:39,760 --> 00:45:42,115 WHAT IT'S LIKE WHEN YOU TUMBLE DOWN THAT LADDER OF SUCCESS 717 00:45:42,400 --> 00:45:44,311 TILL YOU END UP IN THE STREET MODEL SHOPS 718 00:45:44,600 --> 00:45:45,555 OR THE MASSAGE PARLORS. 719 00:45:45,880 --> 00:45:48,838 WE WANT ALL THESE FINE-LOOKING CLIENTS OF YOURS TO KNOW 720 00:45:49,120 --> 00:45:50,314 HOW YOU MERCHANDISE ALL THE GLAMOUR 721 00:45:50,640 --> 00:45:52,153 AND THE BIG BUCKS TO THEIR BENEFIT. 722 00:45:52,440 --> 00:45:55,318 NOW, YOU LISTEN TO ME. 723 00:45:55,640 --> 00:45:58,996 WHAT MY ASSOCIATES, MY COLLEAGUES, MY EMPLOYEES 724 00:45:59,280 --> 00:46:02,238 OR MY CLIENTS DO IN THEIR SPARE TIME 725 00:46:02,560 --> 00:46:03,913 IS NO CONCERN OF MINE. 726 00:46:04,200 --> 00:46:08,591 I RUN A RESPECTABLE AGENCY 727 00:46:08,880 --> 00:46:10,518 AND YOU'D HAVE A HELL OF A TIME 728 00:46:10,800 --> 00:46:12,597 PROVING THAT I AM RESPONSIBLE 729 00:46:12,880 --> 00:46:16,236 FOR ANY OF THE THINGS THAT YOU HAVE SO GRAPHICALLY DESCRIBED. 730 00:46:16,520 --> 00:46:18,556 BOSLEY: YOU'RE PROBABLY RIGHT, MR. WOODMAN. 731 00:46:18,840 --> 00:46:20,956 WE WOULD PLAY HELL PROVING THEM. 732 00:46:22,280 --> 00:46:24,271 BUT THAT IS WHY WE WANT EVERYONE HERE 733 00:46:24,560 --> 00:46:28,758 TO KNOW JUST EXACTLY WHAT THEY'RE DEALING WITH. 734 00:46:29,040 --> 00:46:31,156 [CROWD MURMURING] 735 00:46:41,080 --> 00:46:42,069 LADIES AND GENTLEMEN, I'M SORRY 736 00:46:42,400 --> 00:46:43,753 FOR THIS UNFORTUNATE INTERRUPTION. 737 00:46:44,040 --> 00:46:46,349 IT'S OF NO CONSEQUENCE WHATSOEVER 738 00:46:46,640 --> 00:46:50,838 SO WHY DON'T YOU HAVE ANOTHER DRINK AND FORGET ABOUT IT ALL? 739 00:46:51,160 --> 00:46:52,639 THERE'S NO NEED TO LEAVE. 740 00:46:52,920 --> 00:46:58,358 THE PARTY IS NOT OVER AND I CAN EXPLAIN MY POSITION. 741 00:46:58,640 --> 00:47:02,076 PLEASE, DON'T LEAVE. 742 00:47:02,360 --> 00:47:05,033 IT'S ALL BEEN A MOST UNFORTUNATE MISUNDERSTANDING. PLEASE. 743 00:47:05,320 --> 00:47:07,072 PLEASE. 744 00:47:12,360 --> 00:47:14,715 15/” 745 00:47:20,560 --> 00:47:23,074 HI, SORRY I'M LATE, I HAD SOMETHING 746 00:47:23,400 --> 00:47:25,630 A LITTLE SPECIAL TO ATTEND TO. 747 00:47:25,920 --> 00:47:27,512 CHARLIE [OVER SPEAKER]: KRIS, HOW’S YOUR SHOULDER FEELING? 748 00:47:27,800 --> 00:47:29,074 OH, IT'S STILL A LITTLE SORE. 749 00:47:29,400 --> 00:47:31,072 IT'LL BE FINE IN A DAY OR TWO, CHARLIE. 750 00:47:31,400 --> 00:47:34,676 GOOD. ID LIKE TO COMMEND YOU ALL ON A JOB VERY WELL DONE. 751 00:47:34,960 --> 00:47:36,188 THANK YOU, CHARLIE. 752 00:47:36,480 --> 00:47:37,833 WE CERTAINLY GOT AN INSIDE LOOK 753 00:47:38,160 --> 00:47:39,559 AT THE GLAMOROUS WORLD OF MODELING. 754 00:47:39,840 --> 00:47:42,400 WELL, MOSTAGENCIES ARE FILLED WITH TALENTED, 755 00:47:42,680 --> 00:47:44,318 HARDWORKING, HONEST PEOPLE 756 00:47:44,600 --> 00:47:46,795 UNFOR TUNA TEL Y, YOU DEAL T WITH ONE THAT WAS LESS THAN THAT 757 00:47:47,080 --> 00:47:49,355 EVEN SO, CHARLIE, IT'S A ROUGH WAY TO MAKE A LIVING. 758 00:47:49,640 --> 00:47:51,995 I JUST WISH A LOT OF THOSE ASPIRING YOUNG MODELS 759 00:47:52,280 --> 00:47:54,714 THAT COME TO THE BIG CITY WERE AWARE OF IT. 760 00:47:55,000 --> 00:47:56,797 IAGREE OH, BOSLEY, 761 00:47:57,080 --> 00:47:59,071 DID YOU TAKE CARE OF THATMA TTER WE DISCUSSED? 762 00:47:59,360 --> 00:48:00,190 OH, YES, CHARLIE. 763 00:48:00,520 --> 00:48:01,555 WELL, THE/II, WHY DON'T WE PROCEED? 764 00:48:01,840 --> 00:48:02,875 ALL RIGHT, CHARLIE. 765 00:48:03,160 --> 00:48:04,434 WHAT ARE YOU UP TO, CHARLIE? 766 00:48:04,720 --> 00:48:06,392 WE HA VE A LITTLE SURPRISE FOR YOU 767 00:48:06,680 --> 00:48:08,636 HO-HO. I HOPE IT'S A COUPLE OF DAYS OFF. 768 00:48:08,920 --> 00:48:10,239 E I/EN BETTER THAN THA T 769 00:48:10,520 --> 00:48:12,636 REALLY? I THINK SO. 770 00:48:14,040 --> 00:48:17,077 BOSLEY? I'M BACK, CHARLIE. 771 00:48:19,440 --> 00:48:20,350 HI. 772 00:48:20,640 --> 00:48:22,949 E“ 773 00:48:23,240 --> 00:48:25,117 I TALKED TO THE POLICE COMMISSIONER THIS MORNING. 774 00:48:25,640 --> 00:48:28,518 .HE WAS AS PLEASED WITH JULIE'S WORK AS I WAS WITH YOURS 775 00:48:28,840 --> 00:48:30,796 SO WE CAME UP WITH THIS TERRIFIC IDEA. 776 00:48:31,080 --> 00:48:32,149 WHICH IS? 777 00:48:32,440 --> 00:48:33,998 WELL, THE COMMISSIONER IS WILLING 778 00:48:34,280 --> 00:48:35,759 TO MAKE AN EXCEPTION IN JULIE'S CASE 779 00:48:36,040 --> 00:48:41,068 .AND ISSUE HER AN IN I/ESTIGA TOR'S LICENSE ON A TRIAL BASIS. 780 00:48:41,360 --> 00:48:42,190 YOU MEAN--? 781 00:48:42,520 --> 00:48:45,159 SHE'D BE WORKING HERE, WITH US? 782 00:48:45,480 --> 00:48:47,357 THAT'S THE GENERAL IDEA. 783 00:48:49,800 --> 00:48:53,110 LISTEN, IF YOU DON'T THINK IT'S A GOOD IDEA. 784 00:48:54,200 --> 00:48:56,156 WELL, I ONLY HAVE ONE QUESTION, CHARLIE. 785 00:48:56,440 --> 00:48:57,350 WHICH IS? 786 00:48:57,640 --> 00:48:59,870 WHY DIDN'T WE THINK OF IT FIRST? 787 00:49:00,200 --> 00:49:01,519 [LAUGHING] GOOD DUES T/ON, KELLY 788 00:49:01,800 --> 00:49:03,028 WELCOME ABOARD. 789 00:49:03,320 --> 00:49:04,116 THANKS. 790 00:49:04,400 --> 00:49:05,594 THAT GOES FOR ME TOO. THANKS. 791 00:49:07,360 --> 00:49:09,476 z: 792 00:49:14,440 --> 00:49:16,556 15/” 56970

Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.