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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:50,090 --> 00:00:51,420 MORNING. 2 00:00:51,460 --> 00:00:53,770 HI. 3 00:00:53,790 --> 00:00:56,990 THIS SOME KIND OF FREAKY‐DEAK? 4 00:00:57,030 --> 00:01:00,500 I CAN WORK WITH YOU. 5 00:01:00,530 --> 00:01:02,860 HOW’D YOU SLEEP? 6 00:01:02,900 --> 00:01:04,530 GOOD. 7 00:01:04,570 --> 00:01:06,370 [ ALARM BUZZES ] 8 00:01:06,400 --> 00:01:08,000 THAT’S MY FIBBER’S BUZZER. 9 00:01:08,040 --> 00:01:12,440 I HEARD YOU UP FIVE OR SIX TIMES. 10 00:01:12,480 --> 00:01:15,120 YOU MIND MY SCOPING AN UNFAMILIAR APARTMENT OUT? 11 00:01:15,150 --> 00:01:18,060 JUST REALIZE I COUNT MY UTENSILS. 12 00:01:21,750 --> 00:01:24,690 MY SISTERS DREW THOSE PICTURES WHEN THEY WERE LITTLE GIRLS. 13 00:01:24,720 --> 00:01:27,560 YEAH, I SAW THE ONE "TO MY BROTHER DANNY." 14 00:01:27,590 --> 00:01:29,220 YEAH. 15 00:01:29,260 --> 00:01:31,330 "C‐CAT"? THAT’S FROM MY SISTER LAURIE. 16 00:01:31,360 --> 00:01:32,430 HMM. 17 00:01:32,460 --> 00:01:34,430 SERIOUS, I HAD A TABBY NAMED "C‐CAT" 18 00:01:34,470 --> 00:01:36,540 AFTER HOW SHE SPELLED IT IN THAT PICTURE. [ CHUCKLES ] 19 00:01:39,870 --> 00:01:43,340 OUR DAD PASSED WHEN I WAS 6. 20 00:01:43,370 --> 00:01:46,010 OUR MOM COULDN’T KEEP US, 21 00:01:46,040 --> 00:01:50,010 SO SHE SENT US TO LIVE OVER HERE WITH HER SISTER. 22 00:01:50,050 --> 00:01:51,410 OH. 23 00:01:55,050 --> 00:01:57,920 I WAS BORN IN NORWAY. YOU BELIEVE THAT? 24 00:01:57,960 --> 00:02:00,170 OUTSIDE OF OSLO. 25 00:02:00,190 --> 00:02:02,590 OVER HERE, WE GREW UP IN ALBANY. 26 00:02:05,360 --> 00:02:07,260 SO AM I YOUR FIRST NORWEGIAN SCREW? 27 00:02:08,800 --> 00:02:10,270 NOT EVEN CLOSE. 28 00:02:14,540 --> 00:02:16,100 IT’S GOOD THAT YOU KEPT 29 00:02:16,140 --> 00:02:17,840 THE PICTURES FROM YOUR SISTERS. 30 00:02:17,880 --> 00:02:20,850 THEY WERE PRESENTS THEY GAVE TO ME. 31 00:02:20,880 --> 00:02:23,480 YOU GIVE MY PLACE A GOOD TOSS? 32 00:02:24,950 --> 00:02:26,720 YOU NEVER KNOW, PAL. 33 00:02:26,750 --> 00:02:28,850 I KNOW WHERE YOUR COFFEE IS. 34 00:02:28,890 --> 00:02:30,830 DO YOU WANT ME TO MAKE YOU SOME? 35 00:02:30,860 --> 00:02:33,530 YOU WANT TO USE MY COFFEE MAKER? 36 00:02:35,130 --> 00:02:37,100 YOU ARE SO STRANGE. 37 00:02:37,130 --> 00:02:40,100 I’M THE NOT ONE I AWOKE TO FIND UPSIDE DOWN 38 00:02:40,130 --> 00:02:42,860 LIKE AN EERIE CREATURE OF THE NIGHT. 39 00:04:37,780 --> 00:04:39,450 HOW’S IT GOING, KATIE? 40 00:04:39,480 --> 00:04:40,920 HI, ANDY. 41 00:04:40,950 --> 00:04:42,920 DID YOU DROP OFF THEO AT NURSERY SCHOOL? 42 00:04:42,950 --> 00:04:44,890 YEAH, I DROPPED HIM AT SCHOOL. 43 00:04:44,920 --> 00:04:46,860 HOW WAS YOUR MEETING? 44 00:04:46,890 --> 00:04:48,890 I DIDN’T GO TO MY MEETING. 45 00:04:48,930 --> 00:04:51,670 I WAS COUNSELING WITH A POOR YOUNG MAN. 46 00:04:51,700 --> 00:04:53,870 I NEED TO ASK YOU SOME ADVICE. 47 00:04:53,900 --> 00:04:55,100 SURE, ANDY. 48 00:04:55,130 --> 00:04:58,700 THEO’S GETTING WILLFUL, 49 00:04:58,740 --> 00:05:00,510 ALMOST DISOBEDIENT, LIKE. 50 00:05:00,540 --> 00:05:02,540 IN WHAT WAY? 51 00:05:02,570 --> 00:05:03,910 DISOBEDIENCE ‐‐ 52 00:05:03,940 --> 00:05:07,840 HE ASKS FOR DIFFERENT TYPE FOODS AND SO FORTH. 53 00:05:07,880 --> 00:05:10,450 SO, DIFFERENT FROM WHAT YOU’RE USED TO PREPARING? 54 00:05:10,480 --> 00:05:12,450 LOOK, I MEAN, I NEVER CONFUSED MYSELF 55 00:05:12,480 --> 00:05:14,380 WITH A MASTER CHEF. 56 00:05:14,420 --> 00:05:16,050 AND THEN HE’S WILLFUL 57 00:05:16,090 --> 00:05:18,030 WITH OUR AFTER‐SCHOOL RECREATION. 58 00:05:18,060 --> 00:05:20,370 DON’T LIKE OUR RIDES NO MORE 59 00:05:20,390 --> 00:05:22,760 THAT I ENJOYED WALKING AROUND WITH HIM ON. 60 00:05:22,790 --> 00:05:24,230 THAT POOR YOUNG CRACKHEAD 61 00:05:24,260 --> 00:05:26,230 I MET WITH THIS MORNING, ANDY ‐‐ 62 00:05:26,260 --> 00:05:28,830 IF YOU COULD SEE THE PLACE HE WAS LIVING IN... 63 00:05:28,870 --> 00:05:30,910 WHAT’S THAT GOT TO DO WITH THE CONCERN 64 00:05:30,940 --> 00:05:32,910 I JUST ASKED YOU ABOUT THEO, KATIE? 65 00:05:32,940 --> 00:05:34,910 NOT TO MENTION, WHAT ARE YOU DOING 66 00:05:34,940 --> 00:05:36,370 GOING TO A PLACE 67 00:05:36,410 --> 00:05:38,020 WHERE A CRACKHEAD’S LIVING AT? 68 00:05:38,040 --> 00:05:40,710 IT WAS FILTHY ‐‐ PORNOGRAPHY ON HIS COMPUTER SCREEN ‐‐ 69 00:05:40,750 --> 00:05:42,690 OH, MY GOD. HAVE YOU LOST YOUR MIND? 70 00:05:42,710 --> 00:05:45,280 HE’S LOST EVERYTHING. HE LOST HIS GIRLFRIEND, 71 00:05:45,320 --> 00:05:48,960 HE LOST HIS JOB, AND SHE TOOK HIS CAT‐‐ WHICH SHE SHOULD’VE DONE 72 00:05:48,990 --> 00:05:51,130 BECAUSE HE WASN’T FEEDING IT ANYWAY. 73 00:05:51,160 --> 00:05:53,100 WELL, THIS IS JUST GREAT, KATIE. 74 00:05:53,120 --> 00:05:55,890 THANK YOU VERY MUCH FOR THE GOOD SPECIFIC ADVICE, 75 00:05:55,930 --> 00:05:58,570 NOT TO MENTION THE PEEK INTO REALIZING 76 00:05:58,600 --> 00:06:00,670 THE CRAZY WAY YOU ARE LIVING YOUR LIFE. 77 00:06:00,700 --> 00:06:02,500 DO YOU HAVE TO GO ON A CASE? 78 00:06:02,530 --> 00:06:04,500 THAT SEEMS TO BE THE DRIFT OF THINGS, YES. 79 00:06:04,540 --> 00:06:06,780 DO YOU HAVE AN IMMEDIATE EMERGENCY, 80 00:06:06,810 --> 00:06:08,750 OR CAN I TALK TO ANDY ONE MORE SECOND? 81 00:06:08,770 --> 00:06:10,840 SURE, NO PROBLEM. 82 00:06:10,880 --> 00:06:12,850 WHAT, YOU WANT TO TELL ME 83 00:06:12,880 --> 00:06:14,850 THE PORNO TITLES THIS GUY’S WATCHING? 84 00:06:14,880 --> 00:06:17,680 THAT D. O. A.’S NOT GOING TO GET ANY MORE DEAD. 85 00:06:17,720 --> 00:06:19,690 WHEN YOU ASKED ME ABOUT THEO ‐‐ 86 00:06:19,720 --> 00:06:22,350 WHY I WAS TELLING YOU ABOUT JOHN, ANDY ‐‐ 87 00:06:22,390 --> 00:06:25,360 JOHN ‐‐ YOUR GOOD FRIEND THE CRACKHEAD PORN FAN? 88 00:06:25,390 --> 00:06:28,820 IN HIS ROOM THIS MORNING, WHEN HE DIDN’T WANT ANY HELP, 89 00:06:28,860 --> 00:06:31,160 I GOT SO UPSET WITH JOHN, 90 00:06:31,200 --> 00:06:34,510 AND THE MORE UPSET I GOT, THE MORE I WAS THINKING 91 00:06:34,530 --> 00:06:36,500 ABOUT HIS CHARACTER DEFECTS, 92 00:06:36,530 --> 00:06:39,500 BUT THEN, GOD GAVE ME TO UNDERSTAND 93 00:06:39,540 --> 00:06:41,510 THAT PAST A CERTAIN POINT, 94 00:06:41,540 --> 00:06:43,500 I COULDN’T MAKE MYSELF FEEL BETTER 95 00:06:43,540 --> 00:06:46,510 BY SETTING MY OWN SCHEDULE FOR HOW HE WAS SUPPOSED 96 00:06:46,550 --> 00:06:48,690 TO LIVE HIS LIFE. 97 00:06:48,710 --> 00:06:50,880 I COULD ONLY PRAY FOR HIS WELFARE, 98 00:06:50,920 --> 00:06:54,360 THAT SOME STEPS JOHN HAD TO TAKE ALONE, 99 00:06:54,390 --> 00:06:57,530 AND THAT CAME AS A BLESSING TO ME, 100 00:06:57,560 --> 00:06:59,600 ACCEPTING THAT. 101 00:07:02,360 --> 00:07:04,030 IF THAT HELPS WITH THEO... 102 00:07:04,060 --> 00:07:05,930 AHEM. 103 00:07:07,700 --> 00:07:09,600 I DON’T KNOW. 104 00:07:09,630 --> 00:07:13,070 ANYWAYS, I GOT TO GO. 105 00:07:13,100 --> 00:07:16,170 I DO, TOO. I’M GOING TO A LATER MEETING. 106 00:07:16,210 --> 00:07:18,550 TAKE CARE, ANDY. 107 00:07:18,580 --> 00:07:20,550 YEAH. 108 00:07:22,910 --> 00:07:26,580 I GOT TO BUY ONE OF THEM REARING BOOKS. 109 00:07:43,940 --> 00:07:46,180 ROOM CLERK FOUND THE BODY, CALLED IT IN. 110 00:07:46,200 --> 00:07:47,940 WE WERE SECURING THE SCENE 111 00:07:47,970 --> 00:07:50,070 WHEN THE SMOKE DETECTOR WENT OFF. 112 00:07:50,110 --> 00:07:51,410 CIGARETTE IN THE BED, I GUESS. 113 00:07:51,440 --> 00:07:52,670 THE D. O. A.? 114 00:07:52,710 --> 00:07:54,610 THE FIREMEN DO THEIR NUMBER, 115 00:07:54,650 --> 00:07:56,020 WHICH IS WHY IT’S WET. 116 00:07:56,050 --> 00:07:57,620 AND THE CRIME SCENE’S TRAMPLED. 117 00:07:57,650 --> 00:07:59,080 MARTELLI, WHERE’S THE BODY? 118 00:07:59,120 --> 00:08:00,530 IT’S IN THE BATHROOM. 119 00:08:00,550 --> 00:08:01,780 THANK YOU. 120 00:08:05,860 --> 00:08:07,670 LOOK AT THIS POOR GUY. 121 00:08:07,690 --> 00:08:09,590 STAB WOUNDS, MUTILATION. 122 00:08:09,630 --> 00:08:11,190 I’LL SAY. HIS DICK’S GONE. 123 00:08:11,230 --> 00:08:12,660 WHO IS HE? 124 00:08:12,700 --> 00:08:16,240 DARRYL CONNERS, 34. VIRGINIA DRIVER’S LICENSE. 125 00:08:16,270 --> 00:08:18,240 CLERK SAYS HE’D STAY HERE REGULAR, 126 00:08:18,270 --> 00:08:19,900 BRING IN MALE PROSTITUTES. 127 00:08:19,940 --> 00:08:21,700 WELL, LET’S TALK TO HIM. 128 00:08:21,740 --> 00:08:23,610 RIGHT. 129 00:08:28,580 --> 00:08:29,750 EXCUSE ME. 130 00:08:29,780 --> 00:08:31,750 THIS HERE’S THE HOTEL CLERK LARRY HANSON. 131 00:08:31,780 --> 00:08:33,880 HOW YOU DOING, LARRY? 132 00:08:33,920 --> 00:08:35,850 I’M KIND OF BOWLED OVER. 133 00:08:35,890 --> 00:08:38,230 YEAH, IT MUST HAVE BEEN A SHOCK. 134 00:08:38,260 --> 00:08:40,330 YOU KNOW, WHEN I FIRST FOUND DARRYL, 135 00:08:40,360 --> 00:08:42,860 HE WAS WEARING HIS ROLEX AND A GOLD RING, 136 00:08:42,890 --> 00:08:45,830 AND WHEN I WENT TO IDENTIFY MR. CONNERS WITH THE OFFICER, 137 00:08:45,860 --> 00:08:48,230 HE WASN’T WEARING ANY JEWELRY. 138 00:08:48,270 --> 00:08:52,180 I HAVE AN IMAGE IN MY MIND OF THAT BEAUTIFUL WATCH 139 00:08:52,200 --> 00:08:54,170 AGAINST THE PORCELAIN OF THE BATHTUB. 140 00:08:54,210 --> 00:08:56,050 WHAT CAN YOU TELL US ABOUT HIM? 141 00:08:56,070 --> 00:08:58,170 HE’D STAY HERE ONCE A MONTH OR SO. 142 00:08:58,210 --> 00:08:59,910 COMES UP FROM RICHMOND. 143 00:08:59,940 --> 00:09:02,180 COMES ALONE? 144 00:09:02,210 --> 00:09:04,750 YES, BUT HE’D GO FIND COMPANY PRETTY QUICKLY. 145 00:09:04,780 --> 00:09:06,550 BOYS. 146 00:09:06,590 --> 00:09:08,690 HE WAS VERY CANDID WITH ME. 147 00:09:08,720 --> 00:09:10,750 SHOWED ME HIS MONEY CLIP OF $100 BILLS. 148 00:09:10,790 --> 00:09:13,250 "THESE WILL ALL BE IN STRANGE MEN’S POCKETS 149 00:09:13,290 --> 00:09:16,060 BY THE END OF THE NIGHT," HE’D SAY. 150 00:09:16,090 --> 00:09:18,060 HOW MANY GUYS WOULD HE BRING UP IN A NIGHT? 151 00:09:18,100 --> 00:09:20,170 SAY FOUR. 152 00:09:20,200 --> 00:09:22,600 ALL RIGHT, WE’LL LOOK INTO THAT. 153 00:09:28,740 --> 00:09:30,270 HOLD ON A SECOND. 154 00:09:30,310 --> 00:09:31,270 ME? 155 00:09:31,310 --> 00:09:32,740 WHAT’S YOUR NAME? 156 00:09:32,780 --> 00:09:34,750 JEFF CHASE. I’M CHECKING OUT TODAY. 157 00:09:34,780 --> 00:09:36,280 YOU STAY HERE LAST NIGHT? 158 00:09:36,310 --> 00:09:39,180 YES, BUT I DIDN’T SEE ANYTHING. 159 00:09:39,220 --> 00:09:41,190 OKAY, YOU GOT TO WAIT UP. 160 00:09:41,220 --> 00:09:42,680 I DIDN’T SEE ANYTHING. 161 00:09:42,720 --> 00:09:44,690 JUST A GUY ‐‐ MAYBE 27 WITH TATTOOS ‐‐ 162 00:09:44,720 --> 00:09:47,490 STORMED INTO THE HALL, BUT THAT’S ALL I KNOW. THAT’S ALL, HUH? 163 00:09:47,530 --> 00:09:50,400 ONE’S A 10. ONE’S AN 8 1/2. 164 00:09:50,430 --> 00:09:51,460 BOTH LEFTS. 165 00:09:54,070 --> 00:09:55,740 I’M BOOKED TO LEAVE IN TWO HOURS. 166 00:09:55,770 --> 00:09:58,410 I WOULDN’T BE HERE TO TESTIFY. I DON’T LIVE IN NEW YORK. 167 00:09:58,440 --> 00:10:00,010 YOU’RE AN EYEWITNESS TO A MURDER. 168 00:10:00,040 --> 00:10:01,500 YOU GOT TO STICK AROUND. 169 00:10:01,540 --> 00:10:03,940 I GOT A TICKET TO CHICAGO. I HAVE A GIG. 170 00:10:03,980 --> 00:10:06,720 NOW YOU GOT A GIG IN THE BIG APPLE. 171 00:10:10,980 --> 00:10:12,210 WHOA. 172 00:10:14,390 --> 00:10:15,990 I FOUND THE PENIS, GUYS. 173 00:10:31,970 --> 00:10:34,000 I AM SONIA LOPEZ. THIS IS MY SON JASON 174 00:10:34,040 --> 00:10:36,270 WHO I AM REPORTING FOR STEALING. 175 00:10:36,310 --> 00:10:38,250 I’M NOT STEALING. 176 00:10:38,280 --> 00:10:40,790 YOU SEE THIS JACKET? THAT’S EXPENSIVE. 177 00:10:40,810 --> 00:10:42,340 I’M DETECTIVE RUSSELL, MRS. LOPEZ. 178 00:10:42,380 --> 00:10:44,250 YOU CAN FILE YOUR REPORT WITH ME. 179 00:10:44,280 --> 00:10:47,250 SOMETHING HAS TURNED THIS BOY FROM HOW HE WAS RAISED. 180 00:10:47,290 --> 00:10:49,530 WHY DON’T YOU AND I TALK IN THE COFFEE ROOM? 181 00:10:49,550 --> 00:10:51,750 THIS IS DETECTIVE MARTINEZ AND KIRKENDALL. 182 00:10:51,790 --> 00:10:53,490 JASON LOPEZ. HI, JASON. 183 00:10:53,520 --> 00:10:55,320 JAMES MARTINEZ, JASON. 184 00:10:55,360 --> 00:10:58,330 HIS MOTHER’S CONCERNED BECAUSE HE CAME HOME WITH AN EXPENSIVE JACKET. 185 00:10:58,360 --> 00:11:01,000 AND ROLLERBLADES. I DIDN’T STEAL ANY OF IT. 186 00:11:01,030 --> 00:11:02,700 COME ON IN HERE, SONIA. 187 00:11:02,730 --> 00:11:05,430 LET’S GRAB A SEAT AND LET ME AND DETECTIVE KIRKENDALL 188 00:11:05,470 --> 00:11:07,000 HEAR YOUR SIDE OF THIS. 189 00:11:07,040 --> 00:11:09,000 I DON’T STEAL, ALL RIGHT? I’M NOT A THIEF. 190 00:11:09,040 --> 00:11:10,910 YOU KNOW, SOMETIMES MOTHERS GET WRONG IDEAS 191 00:11:10,940 --> 00:11:12,870 OFF BEING WORRIED ABOUT THEIR KIDS. 192 00:11:12,910 --> 00:11:14,940 YEAH, MY MOTHER’S IDEA IS WRONG, ALL RIGHT? 193 00:11:14,980 --> 00:11:17,250 LET HER PUT ME OUT. I DON’T CARE. 194 00:11:17,280 --> 00:11:18,680 WELL, THAT’S NO GOOD, JASON. 195 00:11:18,720 --> 00:11:20,030 Jill: SO, JASON, 196 00:11:20,050 --> 00:11:22,020 WHERE DID YOU GET MONEY FOR THE THINGS 197 00:11:22,050 --> 00:11:24,090 YOUR MOM’S WORRIED YOU MIGHT HAVE STOLEN? 198 00:11:24,120 --> 00:11:27,220 YOU KNOW, I GOT A JOB DOING COMPUTER GRAPHICS. 199 00:11:27,260 --> 00:11:29,890 YOUR MOM DOESN’T KNOW ABOUT THAT JOB? 200 00:11:29,930 --> 00:11:32,830 SHE DOESN’T UNDERSTAND COMPUTERS. 201 00:11:32,860 --> 00:11:35,830 WELL, WE NEED YOU TO WRITE DOWN YOUR BOSS’S NAME 202 00:11:35,870 --> 00:11:39,210 SO WE CAN VERIFY WHAT YOU’RE SAYING IS TRUE. 203 00:11:40,940 --> 00:11:42,840 HE NEVER USED TO BE BAD, 204 00:11:42,870 --> 00:11:46,610 BUT THIS TEACHER STARTED INFLUENCING HIM. 205 00:11:46,650 --> 00:11:47,690 WHAT TEACHER? 206 00:11:47,710 --> 00:11:49,240 HE NEVER USED TO STEAL. 207 00:11:49,280 --> 00:11:52,250 HAS TO BE HER INFLUENCE. HE WANTS TO IMPRESS HER. 208 00:11:52,280 --> 00:11:54,250 SHE’S THE NEW THING IN HIS LIFE. 209 00:11:54,290 --> 00:11:55,790 COULD THE JACKET AND ROLLERBLADES 210 00:11:55,820 --> 00:11:57,450 HAVE BEEN GIFTS TO JASON? 211 00:11:57,490 --> 00:12:00,260 NO, NO, HE’S STEALING. IT CAN’T BE ANYTHING ELSE. 212 00:12:00,290 --> 00:12:02,590 HE’S GOT TO GO TO FOSTER HOME 213 00:12:02,630 --> 00:12:04,500 AND A NEW SCHOOL. 214 00:12:04,530 --> 00:12:06,560 SAY WE VERIFY WHAT YOU’RE TELLING US. 215 00:12:06,600 --> 00:12:09,600 WON’T THAT MEAN YOU NEED WORK ON COMMUNICATING WITH YOUR MOM? 216 00:12:09,630 --> 00:12:11,400 YEAH, I GUESS SO. 217 00:12:11,440 --> 00:12:14,850 HOW ABOUT YOUR DAD? YOU GOT YOUR DAD TO TALK TO? 218 00:12:14,870 --> 00:12:16,470 UH, NO, NO DAD. 219 00:12:18,440 --> 00:12:21,110 SO JASON SAYS HE EARNED THE MONEY 220 00:12:21,150 --> 00:12:22,690 HIS MOTHER’S WORRIED ABOUT. 221 00:12:22,710 --> 00:12:25,510 HE WROTE DOWN WHERE HE WORKS SO WE CAN CHECK. 222 00:12:25,550 --> 00:12:27,520 I ASK IF YOU’RE WORKING AFTER SCHOOL, 223 00:12:27,550 --> 00:12:30,190 AND YOU DON’T SAY ANYTHING. 224 00:12:30,220 --> 00:12:32,190 ANYWAYS, LET US CHECK THIS INFORMATION OUT. 225 00:12:32,220 --> 00:12:34,190 THEN WE’LL SEE HOW YOU WANT TO PROCEED. 226 00:12:34,230 --> 00:12:36,170 I DON’T THINK HE’S GOT ANY JOB. I THINK IT’S HER INFLUENCE. 227 00:12:36,190 --> 00:12:38,430 WE’LL LOOK INTO THINGS, MRS. LOPEZ, 228 00:12:38,460 --> 00:12:40,430 AND THEN WE’LL BE IN TOUCH WITH YOU. 229 00:12:40,460 --> 00:12:43,330 NOW I GOT TO TAKE HIM TO SCHOOL TO HER INFLUENCE, 230 00:12:43,370 --> 00:12:46,040 MY BOY THAT I TRIED TO RAISE RIGHT. 231 00:12:46,070 --> 00:12:47,370 WE’LL BE IN TOUCH. 232 00:12:51,480 --> 00:12:54,020 [ SIGHS ] 233 00:12:54,050 --> 00:12:56,190 SHE THINKS HE’S INVOLVED WITH HIS TEACHER. 234 00:12:56,210 --> 00:12:57,510 INVOLVED HOW? 235 00:12:57,550 --> 00:12:59,850 SHE THINKS THE TEACHER GAVE HIM 236 00:12:59,880 --> 00:13:01,780 THE ROLLERBLADES AND JACKET. 237 00:13:01,820 --> 00:13:03,790 Jill: THE COMPUTER STORE’S NOT OPEN YET. 238 00:13:03,820 --> 00:13:07,160 BUT I MEAN, INVOLVED WITH HIS TEACHER HOW? 239 00:13:07,190 --> 00:13:11,060 MAYBE WE TAKE A RIDE OVER TO THE COMPUTER STORE. 240 00:13:11,100 --> 00:13:13,500 WHAT ARE YOU DOING IN NEW YORK? 241 00:13:13,530 --> 00:13:15,760 THERE WAS AN OPEN MIKE I PLAYED AT. 242 00:13:15,800 --> 00:13:17,570 WHAT TIME DID YOU GET BACK? 243 00:13:17,600 --> 00:13:19,700 AROUND 3:00 A. M. 244 00:13:19,740 --> 00:13:21,540 YOU HEARD FIGHTING IN DARRYL’S ROOM? 245 00:13:21,570 --> 00:13:23,070 YEAH. 246 00:13:23,110 --> 00:13:25,380 I WAS HAVING TROUBLE WITH THE, UH, 247 00:13:25,410 --> 00:13:28,880 THE... 248 00:13:28,910 --> 00:13:31,380 UH, THE ELECTRIC KEY THING. 249 00:13:31,420 --> 00:13:33,360 I WAS TRYING TO FIGURE THAT OUT 250 00:13:33,380 --> 00:13:37,050 WHEN THIS GUY STORMS OUT, GOES TO THE ELEVATOR ‐‐ 251 00:13:37,090 --> 00:13:38,420 THE 27‐YEAR‐OLD? 252 00:13:38,460 --> 00:13:40,400 I SENSED TROUBLE. 253 00:13:40,420 --> 00:13:41,890 GET TO THE TATTOOS. 254 00:13:41,930 --> 00:13:44,900 THE THING IS I DON’T VIBE WITH NEW YORK. 255 00:13:44,930 --> 00:13:46,900 HEY, DID YOU HEAR ME? 256 00:13:46,930 --> 00:13:48,900 I CAN’T GET MIXED UP IN SOMETHING 257 00:13:48,930 --> 00:13:52,030 THAT BRINGS ME BACK HERE FOR A TRIAL OR WHATNOT. 258 00:13:52,070 --> 00:13:53,030 TATTOOS. 259 00:13:56,540 --> 00:13:59,240 A BLUE DAGGER ON HIS HAND. 260 00:13:59,280 --> 00:14:00,590 WHAT ELSE? 261 00:14:00,610 --> 00:14:03,610 AND THE NAME TOMMY ON THE BACK OF THE NECK. 262 00:14:03,650 --> 00:14:07,280 SEE, THAT’S EXTREMELY HELPFUL TO US. 263 00:14:07,320 --> 00:14:09,350 YEAH, IT’S GOOD FOR YOU, SUCKS FOR ME. 264 00:14:09,390 --> 00:14:13,100 LOOK, I HELPED YOU OUT. CAN YOU HELP ME BACK? 265 00:14:13,120 --> 00:14:14,260 WHAT? 266 00:14:14,290 --> 00:14:16,320 I’M MAXED OUT ON MY CREDIT CARDS, 267 00:14:16,360 --> 00:14:17,760 NO CASH. 268 00:14:17,800 --> 00:14:21,670 IN FACT, I STILL KIND OF OWE THE HOTEL. 269 00:14:21,700 --> 00:14:23,330 WE’LL DO WHAT WE CAN. 270 00:14:23,370 --> 00:14:26,910 THIS BLOWS. 271 00:14:48,590 --> 00:14:50,330 DETECTIVES RUSSELL AND KIRKENDALL. 272 00:14:50,360 --> 00:14:51,730 YOU’RE THE OWNER? 273 00:14:51,760 --> 00:14:52,730 THAT’S RIGHT. 274 00:14:52,760 --> 00:14:54,160 MARTIN EVERS? YEAH. 275 00:14:54,200 --> 00:14:57,070 DOES A JASON LOPEZ WORK FOR YOU, MARTIN? 276 00:14:58,200 --> 00:15:00,200 TAKE THESE ON IN, DONNY. 277 00:15:02,540 --> 00:15:07,210 YEAH, JASON LOPEZ IS IN MY APPRENTICE PROGRAM. 278 00:15:07,250 --> 00:15:09,190 YEAH? WHAT’S THAT ABOUT? 279 00:15:09,210 --> 00:15:11,180 WELL, THE PROGRAM IS ESSENTIALLY TRAINING KIDS, 280 00:15:11,220 --> 00:15:13,360 EXPOSING THESE KIDS TO THE WORK ENVIRONMENT. 281 00:15:13,380 --> 00:15:15,620 THEY DO GRAPHICS, PROCESSING. 282 00:15:15,650 --> 00:15:17,690 HOW MANY OTHER KIDS IN THE PROGRAM? 283 00:15:17,720 --> 00:15:18,690 HOW MANY? 284 00:15:18,720 --> 00:15:19,890 UH‐HUH. 285 00:15:19,920 --> 00:15:21,860 AT PRESENT, JASON’S THE FIRST, ACTUALLY. 286 00:15:21,890 --> 00:15:23,990 AH, HE’S THE ONLY APPRENTICE. 287 00:15:24,030 --> 00:15:27,160 PRESENTLY. ACTUALLY, THAT’S RIGHT. 288 00:15:27,200 --> 00:15:29,330 MARTIN, IS JASON’S TEACHER JENNY PETERS 289 00:15:29,370 --> 00:15:31,440 INVOLVED IN THIS SOMEWAY? 290 00:15:34,110 --> 00:15:37,080 I HAD HIM HERE ONE TIME AND SHOWED HIM AROUND. 291 00:15:37,110 --> 00:15:39,340 FAVOR TO JENNY, EXACTLY LIKE YOU SAID. 292 00:15:39,380 --> 00:15:41,950 SHE JUST SAID SAY HE WORKS HERE. 293 00:15:41,980 --> 00:15:43,410 LOOK, SHE’S A GOOD PERSON. 294 00:15:43,450 --> 00:15:45,420 SHE’S ONE OF THESE SAINT CRUSADERS FOR LATINO KIDS. 295 00:15:45,450 --> 00:15:47,350 SHE TREATS THEM REALLY SPECIAL. 296 00:15:47,390 --> 00:15:49,360 OH, YOU THINK SHE’S A CRUSADER 297 00:15:49,390 --> 00:15:51,130 FOR LATINO GIRLS, TOO? 298 00:15:51,160 --> 00:15:52,860 WHAT ARE YOU IMPUTING? 299 00:15:52,890 --> 00:15:54,190 NOTHING, MARTIN. 300 00:15:54,230 --> 00:15:56,400 STICK AROUND WHERE WE CAN FIND YOU. 301 00:15:56,430 --> 00:15:58,800 YEAH. THANKS FOR YOUR HELP. 302 00:16:07,370 --> 00:16:11,410 SO NONE OF YOU EMS’s WAS THERE PRIOR TO THE COPS? 303 00:16:11,440 --> 00:16:14,510 THANK YOU VERY MUCH. 304 00:16:14,550 --> 00:16:15,890 DETECTIVE SIPOWICZ? 305 00:16:15,910 --> 00:16:19,180 THAT’S ME, ANDY SIPOWICZ. 306 00:16:19,220 --> 00:16:20,290 DENNY PHILLIPS. 307 00:16:20,320 --> 00:16:22,280 YOU CALLED ME AT THE FIREHOUSE. 308 00:16:22,320 --> 00:16:24,290 YOU WERE AT THE SCENE 309 00:16:24,320 --> 00:16:26,350 AT THE ELLSINOR HOTEL THIS MORNING? 310 00:16:26,390 --> 00:16:28,190 CIGARETTE IN BED SET IT OFF. 311 00:16:28,230 --> 00:16:29,670 YEAH, YOU’RE ALSO AWARE 312 00:16:29,690 --> 00:16:31,660 THAT THERE WAS A HOMICIDE IN THAT ROOM? 313 00:16:31,700 --> 00:16:33,740 THAT’S WHAT ALL THEM COPS WERE DOING THERE. 314 00:16:33,770 --> 00:16:36,340 EVIDENTLY THERE WAS A D.O.A. IN THE BATHROOM. 315 00:16:36,370 --> 00:16:38,510 EVIDENTLY, YEAH. 316 00:16:38,540 --> 00:16:40,080 THERE’S BEEN AN ALLEGATION 317 00:16:40,100 --> 00:16:43,070 COPS MIGHT HAVE TOOK SOME JEWELRY FROM THE D. O. A. 318 00:16:43,110 --> 00:16:44,520 WHOO, WHOO, WHOO. 319 00:16:44,540 --> 00:16:47,540 WHAT IS THAT, "WHOO, WHOO"? ARE YOU A TRAIN WHISTLE? 320 00:16:47,580 --> 00:16:49,510 I DON’T KNOW ABOUT THAT. 321 00:16:49,550 --> 00:16:51,680 YOU DIDN’T HAPPEN TO SEE ANY JEWELRY? 322 00:16:51,720 --> 00:16:53,630 NO. LIKE I SAY, I DIDN’T EVEN KNOW 323 00:16:53,650 --> 00:16:55,680 THE GUY WAS THERE TILL WE WERE GONE. 324 00:16:55,720 --> 00:16:59,020 NOTHING YOU CAN REMEMBER THAT WOULD SHED ANY LIGHT? 325 00:16:59,060 --> 00:17:01,430 WE WERE DONE. WE LEFT. CIGARETTE IN THE BED 326 00:17:01,460 --> 00:17:03,160 DIDN’T HAVE NOTHING TO DO WITH THE GUY’S DEATH. 327 00:17:03,190 --> 00:17:05,160 BACK TO THE FIREHOUSE, HUH? 328 00:17:05,200 --> 00:17:07,070 WE WERE IN AND OUT ‐‐ FIVE MINUTES. 329 00:17:07,100 --> 00:17:09,030 NO LIVES TO SAVE. WE LEFT. YEAH. 330 00:17:10,100 --> 00:17:12,730 IF YOU GUYS GOT PERSONNEL PROBLEMS, 331 00:17:12,770 --> 00:17:15,370 I’D JUST AS SOON STAY CLEAR OF THAT. 332 00:17:15,410 --> 00:17:18,550 OKAY, THANKS FOR COMING BY. 333 00:17:18,580 --> 00:17:19,850 SURE THING. 334 00:17:19,880 --> 00:17:22,180 YEAH. 335 00:17:22,210 --> 00:17:24,110 OOH, OOH, OOH, ANDY, ANDY. 336 00:17:24,150 --> 00:17:25,610 OOH, OOH, WHAT, WHAT? 337 00:17:25,650 --> 00:17:29,050 THE D. O. A. AND HIS JOHNSON ‐‐ 338 00:17:29,090 --> 00:17:32,230 SEPARATE FUNERALS? 339 00:17:32,260 --> 00:17:34,470 OHH. 340 00:17:44,370 --> 00:17:47,340 DETECTIVE RUSSELL OR KIRKENDALL? 341 00:17:47,370 --> 00:17:49,610 HI, I’M DETECTIVE RUSSELL. 342 00:17:49,640 --> 00:17:51,010 JENNY PETERS. 343 00:17:51,040 --> 00:17:53,510 I’M JASON LOPEZ’S ENGLISH TEACHER. 344 00:17:53,550 --> 00:17:54,850 OH, UH, 345 00:17:54,880 --> 00:17:57,510 WE HADN’T GOTTEN AROUND TO CONTACTING YOU YET. 346 00:17:57,550 --> 00:18:00,550 I’D LIKE TO SET THE RECORD STRAIGHT ABOUT JASON. 347 00:18:00,590 --> 00:18:02,430 UH, JILL, JAMES. 348 00:18:03,760 --> 00:18:06,230 Diane: THIS IS DETECTIVE MARTINEZ, DETECTIVE KIRKENDALL. 349 00:18:06,260 --> 00:18:07,970 HOW YOU DOING? 350 00:18:07,990 --> 00:18:11,030 MS. PETERS IS HERE ABOUT JASON LOPEZ. 351 00:18:11,060 --> 00:18:13,560 WHO CAME TO SCHOOL THIS MORNING IN TEARS 352 00:18:13,600 --> 00:18:16,160 BECAUSE HIS MOTHER WANTS YOU TO CHARGE HIM AS A THIEF. 353 00:18:16,200 --> 00:18:18,830 WHAT CAN YOU TELL US ABOUT JASON? 354 00:18:18,870 --> 00:18:22,840 HE’S 15 YEARS OLD. 355 00:18:22,870 --> 00:18:25,270 HE’S VERY MATURE EMOTIONALLY. 356 00:18:25,310 --> 00:18:27,740 HE’S THOUGHTFUL AND JOYFUL, 357 00:18:27,780 --> 00:18:31,850 AND HE WRITES POETRY THAT WOULD MAKE YOU CRY. 358 00:18:31,880 --> 00:18:33,510 HE’S BRIGHT? 359 00:18:33,550 --> 00:18:35,620 HE CAN HAVE ANYTHING IN THE WORLD, 360 00:18:35,650 --> 00:18:38,220 AND HIS MOTHER WANTS TO SQUANDER THAT. 361 00:18:38,260 --> 00:18:40,030 SHE SAYS JASON’S BEEN STEALING. 362 00:18:40,060 --> 00:18:41,060 NO. 363 00:18:41,090 --> 00:18:42,820 HE TURNED UP WITH NEW CLOTHES 364 00:18:42,860 --> 00:18:44,830 AND COULDN’T SAY WHERE HE GOT THE MONEY. 365 00:18:44,860 --> 00:18:47,830 JASON MAKES MONEY WORKING. I GOT HIM THAT JOB, 366 00:18:47,870 --> 00:18:50,910 SO I CAN VOUCH THAT HE’S DEFINITELY WORKING. 367 00:18:50,940 --> 00:18:53,750 SONIA IS UNEASY ABOUT YOUR INFLUENCE OVER JASON. 368 00:18:53,770 --> 00:18:56,240 WELL, LET SONIA FILE A COMPLAINT. 369 00:18:56,270 --> 00:18:57,740 I MEAN, 370 00:18:57,780 --> 00:18:59,750 WHAT IS THE PROBLEM HERE? 371 00:18:59,780 --> 00:19:02,210 DO YOU HAVE SOMETHING AGAINST WHITE PEOPLE HELPING LATINOS? 372 00:19:02,250 --> 00:19:03,690 NO. 373 00:19:03,720 --> 00:19:06,060 NO, I’M NOT AWARE THAT WE HAD THAT POLICY. 374 00:19:06,080 --> 00:19:08,550 I’M NOT SAYING SONIA’S NOT A GOOD PERSON. 375 00:19:08,590 --> 00:19:11,360 SHE’S VERY SWEET. 376 00:19:11,390 --> 00:19:14,020 SHE DOESN’T HAVE SOPHISTICATION. 377 00:19:14,060 --> 00:19:17,030 WE DO TRY TO KEEP OUR WOMEN SIMPLE. 378 00:19:17,060 --> 00:19:19,330 I CAN TEACH JASON THINGS THAT SHE CAN’T. 379 00:19:19,360 --> 00:19:22,730 THAT’S WHY SHE RESENTS ME. 380 00:19:22,770 --> 00:19:25,180 I GUESS SHE FEELS YOU’RE OVERSTEPPING, MS. PETERS. 381 00:19:25,200 --> 00:19:27,840 I’VE BEEN OVERSTEPPING FOR 15 YEARS. 382 00:19:27,870 --> 00:19:30,240 I TAKE THESE KIDS TO THE MUSEUM, TO CONCERTS. 383 00:19:30,270 --> 00:19:32,340 THEY COME TO MY HOME. 384 00:19:32,380 --> 00:19:34,920 HAVE YOU HAD JASON IN YOUR HOME? 385 00:19:34,950 --> 00:19:37,360 YES. I WANT TO HELP HIM. 386 00:19:37,380 --> 00:19:39,350 HE LIKES YOU HELPING HIM? 387 00:19:39,380 --> 00:19:41,580 HE DEPENDS ON IT. 388 00:19:41,620 --> 00:19:44,720 ALL RIGHT, MS. PETERS, THANKS FOR COMING IN. 389 00:19:44,760 --> 00:19:47,200 I’LL DO WHATEVER IT TAKES. 390 00:19:47,230 --> 00:19:49,000 I HAVE FINALLY FOUND A BOY 391 00:19:49,030 --> 00:19:51,070 WHO IS COMPLETELY WORTHY OF MY EFFORTS, 392 00:19:51,100 --> 00:19:53,400 AND I’M NOT LETTING HIM FALL BY THE WAYSIDE. 393 00:19:53,430 --> 00:19:54,860 THAT’S VERY BIG OF YOU. 394 00:19:58,200 --> 00:19:59,600 Andy: SIPOWICZ. 395 00:20:09,450 --> 00:20:11,420 YOU GOT THE WITNESS A HOTEL? 396 00:20:11,450 --> 00:20:13,050 YEAH, WE TOLD JEFF, BEING IT WAS 397 00:20:13,080 --> 00:20:15,780 ON THE JOB’S NICKEL, HE’D HAVE TO DOWNGRADE TO TRAVELODGE LEVEL. 398 00:20:15,820 --> 00:20:18,850 YEAH, WE RAN THE TATTOO HE DESCRIBED ON A PERPETRATOR 399 00:20:18,890 --> 00:20:20,560 THROUGH THE CATCH UNIT. 400 00:20:20,590 --> 00:20:21,960 MATCHES A TOMMY BOLOMO ‐‐ 401 00:20:21,990 --> 00:20:23,590 A COUPLE COLLARS FOR GAY PROSTITUTION. 402 00:20:23,630 --> 00:20:26,260 YOU GOT AN ADDRESS FOR THIS MALE PROSTITUTE? 403 00:20:26,300 --> 00:20:27,670 JUST HIS MOTHER’S. 404 00:20:27,700 --> 00:20:29,600 YOU TALKED TO THE FIRE LIEUTENANT? 405 00:20:29,630 --> 00:20:32,270 WHO HAD NOTHING. THAT WAS RICHMOND P. D. 406 00:20:32,300 --> 00:20:34,740 DARRYL HAD A BIG REPUTATION DOWN THERE CRUISING BOYS. 407 00:20:34,770 --> 00:20:36,610 YEAH, STOP THE PRESSES. 408 00:20:36,640 --> 00:20:38,910 RICHMOND P. D. WILL NOTIFY THE FAMILY. 409 00:20:38,940 --> 00:20:40,880 WE GOT THIS TOMMY’S MUG SHOT. 410 00:20:40,910 --> 00:20:43,850 I SUPPOSE YOU WANT US TO HIT THE FAIRY BARS. 411 00:20:43,880 --> 00:20:47,180 YOU WANT ME TO HIT THE FAIRY BARS WITH THEM? 412 00:20:47,220 --> 00:20:50,050 YEAH, HIT THE BARS WITH THEM. 413 00:21:16,780 --> 00:21:18,750 FELLAS. 414 00:21:18,780 --> 00:21:20,020 HOW YOU DOING? 415 00:21:20,050 --> 00:21:22,250 WE’RE LOOKING FOR A MALE, WHITE, LATE 20s. 416 00:21:22,290 --> 00:21:24,930 AREN’T WE ALL? 417 00:21:24,960 --> 00:21:27,130 TOMMY BOLOMO ‐‐ YOU RECOGNIZE HIM? 418 00:21:27,160 --> 00:21:29,360 LET’S SEE. 419 00:21:29,390 --> 00:21:30,560 FOR GOD’S SAKE. 420 00:21:30,600 --> 00:21:33,370 YEAH, HE COMES HERE, YEAH. 421 00:21:33,400 --> 00:21:35,340 GO PUT AN APRON ON RIGHT NOW. 422 00:21:35,370 --> 00:21:36,340 WHY? 423 00:21:36,370 --> 00:21:38,440 WHY? BECAUSE YOUR BUTTOCKS IS EXPOSED. 424 00:21:38,470 --> 00:21:41,170 I WIPE MY HANDS ON A TOWEL EXCLUSIVELY. 425 00:21:41,210 --> 00:21:44,450 OH, ARE YOU A BIG WIT BESIDES GOING THROUGH LIFE 426 00:21:44,480 --> 00:21:45,750 WITH YOUR CRACK OUT IN PUBLIC? 427 00:21:45,780 --> 00:21:47,390 YOU SEEN HIM TODAY? 428 00:21:47,410 --> 00:21:49,410 I WAS HERE FIVE MINUTES BEFORE YOU STROLLED INTO MY LIFE. 429 00:21:49,450 --> 00:21:51,360 I HAVEN’T CHECKED OUT THE CLIENTELLE YET. 430 00:21:51,380 --> 00:21:52,850 HOW MANY BACK ROOMS ARE THERE IN THIS PLACE? 431 00:21:52,880 --> 00:21:55,180 WHERE’S YOUR DUNGEONS? 432 00:21:55,220 --> 00:21:56,620 NO DUNGEONS. 433 00:21:56,660 --> 00:21:58,100 WHERE’S YOUR BATHROOM? 434 00:21:58,120 --> 00:22:00,020 RIGHT THROUGH THE CHAIN‐LINK FENCE. 435 00:22:00,060 --> 00:22:01,860 SORRY. 436 00:22:01,890 --> 00:22:03,160 ANDY, ANDY, ANDY. 437 00:22:03,190 --> 00:22:04,260 WHAT? 438 00:22:04,300 --> 00:22:05,900 WHAT AM I DOING? 439 00:22:05,930 --> 00:22:07,830 YOU’RE GUARDING THE FRONT DOOR. 440 00:22:07,870 --> 00:22:08,940 AS WHAT? 441 00:22:08,970 --> 00:22:11,080 AS GREG MEDAVOY. 442 00:22:24,480 --> 00:22:27,720 HEY, TOMMY? 443 00:22:27,750 --> 00:22:29,180 TOMMY? 444 00:22:29,220 --> 00:22:31,190 WHAT ARE YOU KNOCKING HERE FOR? 445 00:22:31,220 --> 00:22:32,690 MY NAME’S STEVE. 446 00:22:32,720 --> 00:22:34,090 STEVE WHAT? 447 00:22:34,130 --> 00:22:36,840 STEVE WYNN. 448 00:22:36,860 --> 00:22:38,160 I’M A CASINO OWNER. 449 00:22:38,200 --> 00:22:40,510 THIS PLACE IS LOADED WITH COMEDIANS. 450 00:22:40,530 --> 00:22:42,000 I HAVE TO PISS, 451 00:22:42,030 --> 00:22:45,170 BUT HOW THE HELL CAN YOU URINATE IN THIS ENVIRONMENT? 452 00:22:45,200 --> 00:22:47,040 ANDY. 453 00:22:50,640 --> 00:22:52,340 HEY, STEVE, HOW FAR 454 00:22:52,380 --> 00:22:54,350 YOU COMING ALONG IN THAT PROCESS? 455 00:22:54,380 --> 00:22:56,340 YOU DOWN TO THE PAPERWORK YET? 456 00:22:56,380 --> 00:22:57,680 SCREW YOU. 457 00:22:57,720 --> 00:22:59,020 POLICE. OPEN THE STALL 458 00:22:59,050 --> 00:23:01,380 AND PULL UP YOUR PANTS. 459 00:23:01,420 --> 00:23:03,520 MY NAME’S NOT STEVE‐‐ HEY, HEY. 460 00:23:03,560 --> 00:23:06,460 AND YOU DON’T OWN CASINOS? 461 00:23:06,490 --> 00:23:08,390 MY NAME’S TOMMY. 462 00:23:08,430 --> 00:23:10,040 CHECK THE NECK. 463 00:23:10,060 --> 00:23:13,600 YEAH, WE KNOW ABOUT THE NECK. WE KNOW ABOUT THE SCIMITAR. 464 00:23:13,630 --> 00:23:16,260 HOW ABOUT YOU COMING ALONG FOR A RIDE, ANYWAYS? 465 00:23:16,300 --> 00:23:18,500 WE’LL GIVE YOU SOME COUNSELING 466 00:23:18,540 --> 00:23:21,450 ON ADDING ROUGHAGE TO YOUR DIET. 467 00:23:21,470 --> 00:23:25,240 ON WHAT BASIS AM I BEING IN CUSTODY, HUH? 468 00:23:25,280 --> 00:23:27,220 WE’LL EXPLAIN THAT AT YOUR NEXT STOPPING PLACE. 469 00:23:27,250 --> 00:23:28,890 INTERESTING FOOTWEAR THERE, TOMMY. 470 00:23:28,910 --> 00:23:31,010 HEY, LEAVE MY FOOTWEAR OUT OF THIS. 471 00:23:31,050 --> 00:23:33,620 WHAT, WERE YOU BORN WITH TWO RIGHT FEET? 472 00:23:33,650 --> 00:23:35,020 GET THESE THINGS OFF ME! 473 00:23:35,050 --> 00:23:38,520 IS THIS OUR GUY? 474 00:23:38,560 --> 00:23:41,400 CAN I TAKE THIS OFF NOW? 475 00:24:02,650 --> 00:24:04,620 SOMETHING STINKS BETWEEN THIS TEACHER 476 00:24:04,650 --> 00:24:06,010 AND JASON LOPEZ. 477 00:24:06,050 --> 00:24:08,080 SHE’S GOT THIS DIMWIT AT THE GRAPHICS COMPANY 478 00:24:08,120 --> 00:24:10,890 LYING FOR HIM, PLUS SHE ADMITS TO HAVING HIM AT HER HOME. 479 00:24:10,920 --> 00:24:13,760 JUST PART OF HER EFFORT TO SAVE DOWNTRODDEN LATINOS. 480 00:24:13,790 --> 00:24:16,060 YOU THINK SHE’S SCREWING AROUND WITH HIM? 481 00:24:16,090 --> 00:24:17,890 WE DON’T KNOW, BUT THAT’S OUR GUESS. 482 00:24:17,930 --> 00:24:19,860 THAT WOULD BE A FELONY, RIGHT? 483 00:24:19,900 --> 00:24:21,700 SHE’S OVER 21. HE’S UNDER 16. 484 00:24:21,730 --> 00:24:23,160 THAT WOULD BE RAPE THREE. 485 00:24:23,200 --> 00:24:24,700 THAT’S AN "E" FELONY. 486 00:24:24,740 --> 00:24:27,550 YOU BRINGING THE BOY BACK IN? I THINK WE SHOULD. 487 00:24:31,540 --> 00:24:35,610 THE DEAL I WOULD GO FOR IF I WERE YOU, TOMMY ‐‐ 488 00:24:35,650 --> 00:24:38,360 YOU OFFER A FULL STATEMENT IN EXCHANGE 489 00:24:38,380 --> 00:24:41,020 FOR US NOT TELLING THE WHOLE WORLD 490 00:24:41,050 --> 00:24:44,090 THAT FOR AT LEAST 12 HOURS AFTER YOU DID THIS HOMICIDE, 491 00:24:44,120 --> 00:24:46,860 YOU RAN AROUND WITH TWO RIGHT SNEAKERS ON YOUR FEET. 492 00:24:46,890 --> 00:24:49,390 IS THIS SUPPOSED TO BE AMUSING? 493 00:24:49,430 --> 00:24:51,240 JUST TELL US WHAT HAPPENED 494 00:24:51,260 --> 00:24:53,060 AT THE ELLSINOR HOTEL LAST NIGHT, TOMMY, 495 00:24:53,100 --> 00:24:54,940 BETWEEN YOU AND DARRYL CONNERS OF RICHMOND. 496 00:24:54,970 --> 00:24:57,610 I DON’T KNOW THE GUY. 497 00:24:57,640 --> 00:25:00,080 YOUR TRICK LAST NIGHT WITH THE FAT ASS. 498 00:25:00,100 --> 00:25:02,340 DO I GIVE YOUR MEMORY A JOG, TOMMY, 499 00:25:02,370 --> 00:25:05,170 REMINDING YOU YOU STABBED THE GUY 47 TIMES 500 00:25:05,210 --> 00:25:07,440 AND YOU CUT HIS JOHNSON OFF? 501 00:25:07,480 --> 00:25:09,440 NOT GUILTY. 502 00:25:09,480 --> 00:25:11,610 TOMMY, YOU WERE SEEN LEAVING THE CRIME SCENE. 503 00:25:11,650 --> 00:25:14,280 THE WITNESS DESCRIBED TO A "T" 504 00:25:14,320 --> 00:25:16,790 THAT IDIOT SCIMITAR YOU GOT ON YOUR WRIST THERE, 505 00:25:16,820 --> 00:25:19,090 AND WE FOUND YOU IN A GAY TOILET 506 00:25:19,120 --> 00:25:21,720 WITH ONE OF THE D. O. A.’S SNEAKERS ON YOUR FEET. 507 00:25:21,760 --> 00:25:24,160 ALL CIRCUMSTANTIAL. 508 00:25:24,200 --> 00:25:26,400 WHAT MUTUAL AGREEMENT CAN WE START WITH HERE, TOMMY? 509 00:25:26,430 --> 00:25:28,260 IS IT FAIR ENOUGH TO SAY 510 00:25:28,300 --> 00:25:30,330 THAT YOU PLAY FOR THE OTHER SQUAD? 511 00:25:30,370 --> 00:25:32,330 MEANING? 512 00:25:32,370 --> 00:25:35,670 MEANING, TOMMY, WHEN GIVEN THE WHOLE SMORGASBORD 513 00:25:35,710 --> 00:25:37,680 OF PLACES OF CONCEALMENT IN THIS CITY, 514 00:25:37,710 --> 00:25:39,680 YOU TEND TO HIDE AMONG FRUITS. 515 00:25:39,710 --> 00:25:42,510 SO FROM WHERE YOU’RE SITTING, THAT MAKES ME QUEER? 516 00:25:42,550 --> 00:25:44,760 AND COMBINED WITH US FINDING YOU RUNNING AROUND 517 00:25:44,780 --> 00:25:47,680 WITH TWO RIGHT SNEAKERS, IT MAKES YOU A QUEER MORON. 518 00:25:47,720 --> 00:25:49,520 SO IF YOU FOUND ME 519 00:25:49,550 --> 00:25:51,520 IN AN AUTOMOBILE ASSEMBLY PLANT, 520 00:25:51,560 --> 00:25:53,730 YOU’D ACCUSE ME OF BEING A CAR? 521 00:25:56,130 --> 00:25:58,670 HELP US OUT WITH THAT, TOMMY. 522 00:25:58,700 --> 00:26:01,670 I EARN MY LIVING IN A GAY VENUE. 523 00:26:01,700 --> 00:26:03,430 THAT’S ALL I DO THERE. 524 00:26:03,470 --> 00:26:04,880 A GAY VENUE 525 00:26:04,900 --> 00:26:06,670 IS YOUR OCCUPATIONAL VENUE EXCLUSIVELY. 526 00:26:06,710 --> 00:26:10,180 PERIOD, END OF STORY, AS FAR AS GAY. 527 00:26:10,210 --> 00:26:12,410 HOMOSEXUAL BEHAVIOR YOU MIGHT ENGAGE IN 528 00:26:12,440 --> 00:26:14,780 THAT’S STRICTLY COMMERCIALLY MOTIVATED. 529 00:26:14,810 --> 00:26:17,010 AND I PITCH EXCLUSIVELY. OH, HERE WE GO. 530 00:26:17,050 --> 00:26:18,580 SO YOUR WHOLE CAREER, 531 00:26:18,620 --> 00:26:20,760 COMING UP OR HERE IN THE MAJORS, 532 00:26:20,790 --> 00:26:22,760 YOU NEVER ONCE RECEIVED A FAST BALL 533 00:26:22,790 --> 00:26:24,200 IN THE CATCHER’S MITT. 534 00:26:24,220 --> 00:26:25,520 CORRECT. EXCLUSIVELY. 535 00:26:25,560 --> 00:26:27,230 UNFORTUNATELY FOR THAT STORY, TOMMY, 536 00:26:27,260 --> 00:26:29,090 WE SAW LAST NIGHT’S DATE. 537 00:26:29,130 --> 00:26:31,670 I PITCHED TO THAT GUY EXCLUSIVELY. 538 00:26:31,700 --> 00:26:34,070 NO, TOMMY, YOU COULD NOT SUCCESSFULLY PITCH 539 00:26:34,100 --> 00:26:36,830 TO THAT FAT‐ASS CATCHER UNLESS YOU GOT THE TENDENCY. 540 00:26:36,870 --> 00:26:38,070 WRONG. 541 00:26:38,100 --> 00:26:40,000 TOMMY, HE’S GOT A POINT. 542 00:26:40,040 --> 00:26:42,540 THE GUY’S 5’9". HE HAD TO GO 240 MINIMUM. 543 00:26:42,570 --> 00:26:45,040 YOU WANT TO BRING IN ANY PRIVATE ENTHUSIASM? 544 00:26:45,080 --> 00:26:47,550 I MEAN, FOR YOU TO GRAB THIS GUY’S POPO, 545 00:26:47,580 --> 00:26:49,610 YOU PROBABLY HAD TO PROP HIS BELLY ROLL 546 00:26:49,650 --> 00:26:51,080 UP THERE ON THE NIGHTSTAND. 547 00:26:51,120 --> 00:26:52,620 I DIDN’T GRAB POPO. 548 00:26:52,650 --> 00:26:55,080 HE WANTED A SPANKING, WANTED TO LICK MY FEET, 549 00:26:55,120 --> 00:26:57,290 AND HE WANTED A BANG IN THE ASS. 550 00:26:57,320 --> 00:26:58,750 I DID NOT GRAB POPO. 551 00:26:58,790 --> 00:27:00,760 HE SAYS HE DIDN’T DO THAT, ANDY. 552 00:27:00,790 --> 00:27:02,290 LET THAT GO. 553 00:27:02,330 --> 00:27:04,600 HEY, I’LL LET GRABBING THE GUY’S POPO GO 554 00:27:04,630 --> 00:27:06,660 ONCE TOMMY HERE EXPLAINS TO ME 555 00:27:06,700 --> 00:27:08,830 HOW HE GOES FROM SPANKING A GUY, 556 00:27:08,870 --> 00:27:10,740 LETTING HIM LICK HIS FEET, 557 00:27:10,770 --> 00:27:13,330 GIVING HIM A COMMERCIAL POP IN THE SEAT, 558 00:27:13,370 --> 00:27:14,870 TO STABBING HIM REPEATEDLY 559 00:27:14,910 --> 00:27:16,510 AND CUTTING HIS POPO OFF, 560 00:27:16,540 --> 00:27:18,010 BECAUSE TO ME ‐‐ 561 00:27:18,040 --> 00:27:20,780 CALL ME CRAZY, BUT THAT SUGGESTS MORE 562 00:27:20,810 --> 00:27:22,910 THAN A GUY CARRYING HIS LUNCH BUCKET, 563 00:27:22,950 --> 00:27:25,090 JUST SHOWING UP AT HIS GAY VENUE, 564 00:27:25,120 --> 00:27:27,130 MERELY PUTTING IN A DAY’S WORK. 565 00:27:27,150 --> 00:27:30,520 I THINK THAT’S BACK OVER THE NET TO YOU, TOMMY. 566 00:27:30,560 --> 00:27:34,770 I WILL SCREW YOU, I WILL SPANK YOU, 567 00:27:34,790 --> 00:27:36,860 AND YOU CAN LICK MY FEET, 568 00:27:36,900 --> 00:27:39,840 BUT DO NOT TRY KISSING ME. 569 00:27:39,860 --> 00:27:41,430 WHO IS THAT ADDRESSED TO? 570 00:27:41,470 --> 00:27:43,510 IT WAS ADDRESSED TO THE RICHMOND BLIMP. 571 00:27:43,530 --> 00:27:46,000 YOU WERE THAT STRAIGHTFORWARD WITH THIS DARRYL CONNERS? 572 00:27:46,040 --> 00:27:49,950 I AM TELLING YOU THE EXACT LANGUAGE THAT I USED. 573 00:27:49,970 --> 00:27:52,940 I MEAN, WHAT PART OF THAT IS SO TOUGH TO UNDERSTAND? 574 00:27:52,980 --> 00:27:54,350 DID YOU GO INTO 575 00:27:54,380 --> 00:27:55,880 THE CONSEQUENCES WITH HIM, TOMMY? 576 00:27:55,910 --> 00:27:57,850 "I WILL DO ’X’ AND ’Y’ TO YOU, 577 00:27:57,880 --> 00:27:59,580 YOU CAN DO ’Z’ TO ME ‐‐" 578 00:27:59,620 --> 00:28:02,450 WHAT’S "Z" TO ME? YOU DON’T DO "Z" TO ME. 579 00:28:02,490 --> 00:28:04,600 WELL, THAT’S LIKE HIM LICKING YOUR FEET. 580 00:28:04,620 --> 00:28:07,020 OH, OKAY. "Z" TO ME... 581 00:28:07,060 --> 00:28:09,220 "BUT I’M ON RECORD, DON’T YOU TRY ’Q,’" 582 00:28:09,260 --> 00:28:11,190 WHICH IS KISSY‐FACE... 583 00:28:11,230 --> 00:28:14,160 "OR I’LL STAB YOU 47 TIMES, CUT YOUR DICK OFF, 584 00:28:14,200 --> 00:28:16,260 AND LEAVE IT IN YOUR UNDERWEAR." 585 00:28:16,300 --> 00:28:19,840 LOOK, I GOT THE 150 BUCKS THAT HE PAID ME, 586 00:28:19,870 --> 00:28:22,670 THAT I EARNED. 587 00:28:22,710 --> 00:28:26,080 I STOPPED AT THE SINK TO CLEAN UP A LITTLE, 588 00:28:26,110 --> 00:28:28,080 AND FROM OUT OF NOWHERE, 589 00:28:28,110 --> 00:28:31,550 THIS PIG COMES UP ALONGSIDE ME, GRABS MY FACE, 590 00:28:31,580 --> 00:28:35,720 AND STICKS HIS DIRTY, FAT, WET TONGUE IN MY MOUTH. 591 00:28:35,750 --> 00:28:37,520 WHOA, WHOA. 592 00:28:37,560 --> 00:28:39,570 I MEAN, WHAT WOULD YOU HAVE DONE? 593 00:28:39,590 --> 00:28:42,020 SAY NO MORE. 594 00:28:42,060 --> 00:28:43,990 YEAH. 595 00:28:50,640 --> 00:28:52,080 UH, HI. 596 00:28:52,100 --> 00:28:53,170 HI. 597 00:28:53,200 --> 00:28:57,540 I WAS, UH, TOLD TO COME IN. 598 00:28:58,610 --> 00:29:00,110 WHAT’S GOING ON, JASON? 599 00:29:00,140 --> 00:29:02,280 LET ME GET THE OTHER DETECTIVES. 600 00:29:02,310 --> 00:29:04,350 CAN WE HAVE A MAN‐TO‐MAN TALK? 601 00:29:04,380 --> 00:29:07,250 SURE. WHY DON’T WE TALK BACK THERE? 602 00:29:15,390 --> 00:29:17,130 ARE YOU GOING TO ARREST ME? 603 00:29:17,160 --> 00:29:19,490 I GOT TO FIND OUT WHAT’S GOING ON, 604 00:29:19,530 --> 00:29:21,830 BUT I DON’T SEE YOU GETTING LOCKED UP. 605 00:29:21,870 --> 00:29:24,780 I DID SOMETHING BAD. 606 00:29:24,800 --> 00:29:26,200 HONEST TO GOD, 607 00:29:26,240 --> 00:29:28,750 I THINK THIS IS GOING TO BE ALL RIGHT, 608 00:29:28,770 --> 00:29:31,070 AND YOU’RE GOING TO FEEL BETTER, 609 00:29:31,110 --> 00:29:34,080 WHATEVER IT IS, GETTING IT OFF YOUR CHEST. 610 00:29:34,110 --> 00:29:36,340 I’M, UM, 611 00:29:36,380 --> 00:29:39,250 I’M HAVING RELATIONS WITH MISS PETERS. 612 00:29:39,280 --> 00:29:42,620 WE SEDUCED EACH OTHER MUTUALLY, 613 00:29:42,650 --> 00:29:44,620 AND IF WE HAVE TO, 614 00:29:44,660 --> 00:29:47,870 WE’RE GOING TO GO TO NEW MEXICO, 615 00:29:47,890 --> 00:29:49,860 BUT I DON’T WANT TO GO, 616 00:29:49,890 --> 00:29:54,600 AND I DIDN’T EVER WANT TO HAVE RELATIONS. 617 00:29:56,030 --> 00:29:59,430 I DON’T FEEL I’M AS SPECIAL AS SHE SAYS I AM. 618 00:29:59,470 --> 00:30:01,170 YOU KNOW WHAT, JASON? 619 00:30:01,210 --> 00:30:03,250 WHY DON’T WE GO UPSTAIRS? 620 00:30:03,270 --> 00:30:05,170 WE GOT A TOTALLY UNOFFICIAL ROOM UP THERE 621 00:30:05,210 --> 00:30:07,280 WHERE WE COULD TALK ABOUT THIS A LITTLE MORE, 622 00:30:07,310 --> 00:30:10,250 BUT I PROMISE YOU ON THIS SPOT, 623 00:30:10,280 --> 00:30:12,050 IN FRONT OF THIS WITNESS, 624 00:30:12,080 --> 00:30:13,950 YOU’RE NOT GETTING LOCKED UP, 625 00:30:13,990 --> 00:30:16,900 AND THIS IS GOING TO BE ALL RIGHT, OKAY? 626 00:30:24,400 --> 00:30:26,340 HI, JASON. 627 00:30:26,360 --> 00:30:27,500 HI. 628 00:30:27,530 --> 00:30:29,870 WE NEED TO GET MISS PETERS BACK IN HERE. 629 00:30:29,900 --> 00:30:31,830 JASON CONFIRMED WHAT WE WERE TALKING ABOUT. 630 00:30:31,870 --> 00:30:33,840 CAN’T I JUST WRITE HER A LETTER? 631 00:30:33,870 --> 00:30:35,840 YOU’RE NOT GOING TO HAVE TO TALK TO HER, JASON. 632 00:30:35,870 --> 00:30:38,040 WE’LL TAKE CARE OF THE CONVERSATION. 633 00:30:51,660 --> 00:30:54,300 I THOUGHT I WAS TOUGH, GETTING DOUBLE PIERCES. 634 00:30:54,330 --> 00:30:56,700 HOW DOES PUTTING A METAL STUD IN YOUR TONGUE 635 00:30:56,730 --> 00:30:58,490 MAKE YOU FEEL COOL? 636 00:31:01,070 --> 00:31:02,710 THERE’S OUR GIRL. 637 00:31:08,470 --> 00:31:10,670 HEY, JENNY. 638 00:31:10,710 --> 00:31:12,870 WHERE’S JASON? HE WASN’T IN CLASS. 639 00:31:12,910 --> 00:31:14,680 HE’S AT OUR STATION HOUSE. 640 00:31:14,710 --> 00:31:16,340 WHAT ARE YOU TRYING TO DO? 641 00:31:16,380 --> 00:31:17,550 COME WITH US, JENNY. 642 00:31:17,580 --> 00:31:18,910 I DON’T THINK SO. 643 00:31:18,950 --> 00:31:21,180 YOU WANT TO COOPERATE OR MAKE A SCENE? 644 00:31:21,220 --> 00:31:23,720 ’CAUSE WE’LL EMBARRASS YOU IN FRONT OF THESE KIDS. 645 00:31:25,060 --> 00:31:26,300 WANT TO KEEP IT UP? 646 00:31:26,320 --> 00:31:27,860 THIS IS WRONG. 647 00:31:27,890 --> 00:31:29,220 GO TO THAT CAR NOW. 648 00:31:29,260 --> 00:31:30,460 THIS IS WRONG! 649 00:31:30,490 --> 00:31:33,260 THIS IS WHAT THE POLICE ARE LIKE. 650 00:31:33,300 --> 00:31:34,510 THIS IS OPPRESSION. 651 00:31:34,530 --> 00:31:36,400 SHUT UP. 652 00:31:36,430 --> 00:31:38,670 YOU ARE SUCH STUPID WOMEN. 653 00:31:38,700 --> 00:31:40,170 GET IN THE CAR. 654 00:31:40,200 --> 00:31:42,270 CAREFUL WITH YOUR SCREWED‐UP HEAD. 655 00:32:02,560 --> 00:32:05,730 HEY, SIPOWICZ. 656 00:32:05,760 --> 00:32:07,030 HOW’S IT GOING, GIBSON? 657 00:32:07,070 --> 00:32:09,240 YOU LOOK GOOD, FIT. 658 00:32:09,270 --> 00:32:11,240 COME ON BACK HERE. 659 00:32:11,270 --> 00:32:15,370 SURE. 660 00:32:15,410 --> 00:32:16,780 WHAT’S IT ABOUT, ANDY? 661 00:32:16,810 --> 00:32:19,110 I JUST GOT THESE PICTURES IN, AND WE GOT A BIG PROBLEM. 662 00:32:19,140 --> 00:32:21,010 OVER THIS GAY HOMICIDE? 663 00:32:21,050 --> 00:32:22,850 YEAH. YOU TOOK THESE PHOTOS? 664 00:32:22,880 --> 00:32:24,250 RIGHT. 665 00:32:24,280 --> 00:32:26,950 LOOK AT THESE PICTURES. YOU NOTICE ANY DIFFERENCES? 666 00:32:26,990 --> 00:32:28,360 WHAT’S THE PROBLEM, ANDY? 667 00:32:28,390 --> 00:32:31,360 HERE, THE GUY’S GOT A GOLD RING AND A WATCH. 668 00:32:31,390 --> 00:32:33,390 THESE OTHER THREE, HE’S GOT NO JEWELRY. 669 00:32:33,420 --> 00:32:35,390 THAT’S CRAZY. I MEAN, HOW COULD THAT BE? 670 00:32:35,430 --> 00:32:38,400 YOU WERE THERE WHEN THAT STUFF DISAPPEARED, EDDIE. 671 00:32:42,600 --> 00:32:44,170 ANDY, WE WERE HEADING BACK 672 00:32:44,200 --> 00:32:46,170 FROM HOMICIDE IN THE FIFTH PRECINCT, 673 00:32:46,200 --> 00:32:48,170 HEARD THE JOB AT THE HOTEL, COME OVER. 674 00:32:48,210 --> 00:32:50,380 WE GET THERE RIGHT AFTER UNIFORM. 675 00:32:50,410 --> 00:32:51,710 THIS GUY’S IN THE TUB. 676 00:32:51,740 --> 00:32:54,010 I FIGURE, "LET ME GET MY PICTURES." 677 00:32:54,050 --> 00:32:56,250 I GET ONE PICTURE, THE NEXT THING YOU KNOW, 678 00:32:56,280 --> 00:32:57,710 THE FIRE DEPARTMENT’S THERE. 679 00:32:57,750 --> 00:33:00,050 "CLEAR THE ROOM, LET US DO OUR JOB." 680 00:33:00,080 --> 00:33:02,220 YOU KNOW HOW THEY MAKE HIGH DRAMA ABOUT IT. 681 00:33:02,250 --> 00:33:03,850 THE SMOKE ALARM NOTIFIED THEM. 682 00:33:03,890 --> 00:33:05,520 WE GET KICKED OUT INTO THE HALL. 683 00:33:05,560 --> 00:33:07,030 THE FIREMEN DOUSE THE PLACE. 684 00:33:07,060 --> 00:33:08,690 IN FIVE MINUTES, THEY LEAVE. 685 00:33:08,730 --> 00:33:11,470 WE GO BACK IN, I FINISH TAKING MY PICTURES. 686 00:33:11,500 --> 00:33:13,170 I NEVER NOTICED ANY DIFFERENCE. 687 00:33:13,200 --> 00:33:15,540 YOU WERE THERE RIGHT BEFORE THE FIREMEN COME. 688 00:33:15,570 --> 00:33:17,440 AND I’M BACK THE SECOND THEY’RE GONE. 689 00:33:17,470 --> 00:33:20,040 IF THAT JEWELRY’S MISSING, THEM FIREMEN HAVE IT. 690 00:33:21,370 --> 00:33:23,440 THOSE ARROGANT HUMPS. 691 00:33:27,280 --> 00:33:29,440 HANK. YEAH? 692 00:33:29,480 --> 00:33:31,350 POKEY ROOM CLEAR? 693 00:33:31,380 --> 00:33:32,380 YEAH. 694 00:33:32,420 --> 00:33:33,860 YOU WANT SOMETHING TO DRINK? 695 00:33:33,890 --> 00:33:36,760 PLEASE DON’T ACT LIKE MY FRIEND. FAIR ENOUGH. 696 00:33:36,790 --> 00:33:38,790 DON’T BE LOOKIN’ TO RUN THIS FOR THE BOSS. 697 00:33:38,820 --> 00:33:40,460 HE’S DOWN AT THE BOROUGH. 698 00:33:40,490 --> 00:33:41,690 HOW’S JASON DOIN’? 699 00:33:41,730 --> 00:33:43,130 HE’S UPSTAIRS IN THE CRIB. 700 00:33:43,160 --> 00:33:45,060 HE’S PRETTY WITHDRAWN, THAT KID, 701 00:33:45,100 --> 00:33:48,240 AS A RESULT OF HIS CONTACT WITH HER. 702 00:33:48,270 --> 00:33:51,110 SO, ARE WE GOING TO GO AT THIS MISERABLE BITCH? 703 00:33:51,140 --> 00:33:54,080 MAYBE LET US FINISH WITH HER, JAMES. 704 00:33:54,110 --> 00:33:56,180 WHY? ON WHAT BASIS? 705 00:33:56,210 --> 00:33:59,450 SHE HAS SO MUCH ATTITUDE TOWARDS YOU, YOU KNOW? 706 00:33:59,480 --> 00:34:01,520 OH, YOU THINK SO? 707 00:34:01,550 --> 00:34:03,790 YOU FEEL SHE SHOWS A LITTLE ARROGANT, 708 00:34:03,820 --> 00:34:05,720 PATRONIZING ATTITUDE TOWARD MY DIRECTION? 709 00:34:05,750 --> 00:34:07,450 WHY LET HER DISTRACT HERSELF WITH YOU? 710 00:34:07,490 --> 00:34:09,230 YEAH, YEAH, WHY LET HER DISTRACT HERSELF 711 00:34:09,250 --> 00:34:10,850 FROM MAKING HER STATEMENT, 712 00:34:10,890 --> 00:34:12,790 THIS BIASED, ARROGANT BITCH? 713 00:34:12,820 --> 00:34:13,890 RIGHT? 714 00:34:13,930 --> 00:34:16,970 YOU WANT TO WATCH FROM THE OBSERVATION ROOM? 715 00:34:17,000 --> 00:34:19,710 YEAH, YEAH, I’LL WATCH FROM THE CHEAP SEATS. 716 00:34:19,730 --> 00:34:21,530 I’LL WATCH FROM THE LATINO SECTION. 717 00:34:22,900 --> 00:34:23,970 THANKS. 718 00:34:27,310 --> 00:34:30,180 YOU DRAGGED ME IN HERE LIKE A CRIMINAL. 719 00:34:30,210 --> 00:34:32,270 WHY DON’T YOU LET US SET THE TABLE HERE, JENNY? 720 00:34:32,310 --> 00:34:33,710 EXPLAIN YOUR SITUATION. 721 00:34:33,750 --> 00:34:35,620 DO YOU KNOW THE DAMAGE YOU’VE DONE 722 00:34:35,650 --> 00:34:37,690 TO THOSE CHILDREN, THEIR IDEA OF A TEACHER? 723 00:34:37,720 --> 00:34:40,630 YOU THINK SEDUCING A KID WHO’S BEEN TAUGHT TO TRUST YOU 724 00:34:40,650 --> 00:34:43,420 MIGHT THROW JASON’S IDEA OF TEACHERS OUT OF WHACK? 725 00:34:43,450 --> 00:34:44,850 I’M NOT GOING 726 00:34:44,890 --> 00:34:47,190 TO TALK TO YOU ABOUT MY PERSONAL LIFE. 727 00:34:47,230 --> 00:34:49,300 WHEN YOU HAVE SEXUAL RELATIONS 728 00:34:49,330 --> 00:34:51,240 WITH A 15‐YEAR‐OLD, JENNY, 729 00:34:51,260 --> 00:34:53,660 YOUR PERSONAL LIFE STOPS BEING PERSONAL. 730 00:34:53,700 --> 00:34:56,160 THEN YOU’RE A COLLAR FOR STATUTORY RAPE. 731 00:34:56,200 --> 00:34:59,170 JASON LOPEZ IS NO ORDINARY 15‐YEAR‐OLD. 732 00:34:59,200 --> 00:35:02,000 NOT IN MY SOUL AND NOT IN HIS 733 00:35:02,040 --> 00:35:04,010 IS ANYTHING THAT WE HAVE DONE, 734 00:35:04,040 --> 00:35:06,610 INCLUDING WHAT YOU CALL SEXUAL RELATIONS, 735 00:35:06,650 --> 00:35:07,850 A CRIME. 736 00:35:07,880 --> 00:35:10,850 YOU MIGHT WANT TO CHECK JASON’S THINKING ON THAT. 737 00:35:10,880 --> 00:35:12,780 OH, I’M SURE THAT WHEN SONIA 738 00:35:12,820 --> 00:35:14,790 AND THE REST OF YOU ARE THROUGH, 739 00:35:14,820 --> 00:35:17,020 JASON’S THINKING WILL BE TORTURED AND CONFUSED. 740 00:35:17,060 --> 00:35:18,930 YOU’LL HAVE HIM THINKING THAT I’M A PREDATOR 741 00:35:18,960 --> 00:35:21,030 AND HE’S THE VICTIM OF SOME EVIL, 742 00:35:21,060 --> 00:35:22,920 BUT IN PART OF JASON’S SOUL, 743 00:35:22,960 --> 00:35:25,460 WHICH YOU WILL NEVER BE ABLE TO REACH, 744 00:35:25,500 --> 00:35:28,240 JASON WILL REMEMBER. 745 00:35:28,270 --> 00:35:31,040 JASON WILL FEEL THE TRUTH. 746 00:35:31,070 --> 00:35:33,500 WHICH, DEEP IN YOUR SOUL, IS WHAT? 747 00:35:33,540 --> 00:35:35,910 I COULD NEVER EXPLAIN THAT TO YOU, 748 00:35:35,940 --> 00:35:37,510 BUT JASON WILL REMEMBER. 749 00:35:37,540 --> 00:35:39,510 OH, WE’RE ALL GOING TO REMEMBER YOU, JENNY. 750 00:35:39,540 --> 00:35:43,010 DO YOU THINK HIS MOTHER IS GOING TO SUPPORT JASON IN HIS ACADEMICS? 751 00:35:43,050 --> 00:35:45,460 LET HIM GO TO COLLEGE, WHERE SONIA’S TERRIFIED 752 00:35:45,480 --> 00:35:48,020 HE’S GOING TO TAKE UP WITH STRONG, SMART WOMEN? 753 00:35:48,050 --> 00:35:50,020 THAT’S YOUR POINT OF VIEW, JENNY. 754 00:35:50,050 --> 00:35:53,020 I THINK YOU OUGHT TO PUT THOSE OPINIONS ON PAPER. 755 00:35:53,060 --> 00:35:54,600 THIS IS HIS FUTURE. 756 00:35:54,630 --> 00:35:56,530 SHE WILL TAKE HIM OUT OF SCHOOL. 757 00:35:56,560 --> 00:35:58,530 SHE WILL BROWBEAT HIM AND FRIGHTEN HIM 758 00:35:58,560 --> 00:36:01,500 UNTIL SHE STAMPS OUT ANY IDEA HE EVER HAD 759 00:36:01,530 --> 00:36:04,830 OF BEING ANYTHING OTHER THAN A LABORER OR A BUSBOY. 760 00:36:04,870 --> 00:36:07,040 MAYBE ONE DAY YOU WILL SEE HIM ‐‐ 761 00:36:07,070 --> 00:36:09,400 HALF DEAF, BREAKING UP CONCRETE 762 00:36:09,440 --> 00:36:11,170 WITH A PNEUMATIC DRILL, 763 00:36:11,210 --> 00:36:12,840 SQUINTING BECAUSE HE CAN HARDLY SEE 764 00:36:12,880 --> 00:36:14,920 BECAUSE THE SWEAT IS BURNING HIS EYES. 765 00:36:14,950 --> 00:36:16,420 BUT WHEN YOU LOOK AT JASON, 766 00:36:16,450 --> 00:36:19,520 YOU STILL WON’T BE ABLE TO SEE WHAT’S IN HIS SOUL. 767 00:36:19,550 --> 00:36:23,690 YOU WON’T BE ABLE TO KNOW WHAT HE’S REMEMBERING. 768 00:36:23,720 --> 00:36:27,060 HE’S GOING TO BE REMEMBERING HIS TEACHER. 769 00:36:27,090 --> 00:36:29,360 HE’S GOING TO BE REMEMBERING ME. 770 00:36:29,390 --> 00:36:31,230 AMEN. 771 00:36:44,040 --> 00:36:45,340 ANDY. 772 00:36:45,380 --> 00:36:47,350 OOH, DENNY. 773 00:36:47,380 --> 00:36:48,910 I UNDERSTAND THAT YOU GUYS 774 00:36:48,950 --> 00:36:50,890 MADE AN ARREST IN THAT HOTEL INCIDENT. 775 00:36:50,920 --> 00:36:52,860 MADE AN ARREST FOR THE HOMICIDE, DENNY, 776 00:36:52,880 --> 00:36:54,850 BUT WE STILL DIDN’T LOCATE THE WHEREABOUTS 777 00:36:54,890 --> 00:36:56,860 OF THE D. O. A.’S MISSING PROPERTY. 778 00:36:56,890 --> 00:36:58,690 THAT PART CONTINUES A MYSTERY. 779 00:36:58,720 --> 00:37:00,690 WHY DON’T YOU COME IN AND SIT DOWN? 780 00:37:00,730 --> 00:37:03,530 FRANKLY, ANDY, AS FAR AS THAT PROPERTY GOES, 781 00:37:03,560 --> 00:37:05,590 I’VE GOT NOTHING NEW TO CONTRIBUTE. 782 00:37:05,630 --> 00:37:08,000 AW, DENNY, COME ON. TAKE A LOAD OFF. 783 00:37:08,030 --> 00:37:10,300 LOOK AT SOME D. O. A. PHOTOS FOR ME. 784 00:37:12,600 --> 00:37:14,670 I DON’T LIKE LOOKING AT CORPSES. 785 00:37:14,710 --> 00:37:17,020 WELL, JUST FOCUS ON THE CORPSE’S WRIST. 786 00:37:17,040 --> 00:37:17,940 HERE. 787 00:37:19,210 --> 00:37:21,380 LOOK AT THIS PHOTO HERE, DENNY. 788 00:37:21,410 --> 00:37:23,550 GIVE IT MENTAL LABEL, GROUP "A." 789 00:37:23,580 --> 00:37:26,010 GROUP "A"? THAT’S ONE PHOTO. 790 00:37:26,050 --> 00:37:27,280 AND THESE HERE ‐‐ 791 00:37:27,320 --> 00:37:28,950 LET’S LABEL THESE GROUP "B," 792 00:37:28,990 --> 00:37:30,900 AFTER THE FIREMEN HAVE GONE. 793 00:37:32,390 --> 00:37:35,520 WHAT ITEMS ARE ON THE D. O. A.’S WRIST THERE 794 00:37:35,560 --> 00:37:37,530 IN THE GROUP "A" PHOTO, DENNY, 795 00:37:37,560 --> 00:37:40,260 THAT ARE CONSPICUOUSLY ABSENT ONCE THE FIREMEN HAVE LEFT? 796 00:37:43,970 --> 00:37:46,330 A RING AND TIMEPIECE. 797 00:37:46,370 --> 00:37:49,100 POSSIBLY A ROLEX? 798 00:37:49,140 --> 00:37:51,510 ASSUMING THESE PHOTOS ARE UNRETOUCHED, 799 00:37:51,540 --> 00:37:54,110 THIS IS NOT MY BAG OF CRAP. 800 00:37:54,150 --> 00:37:56,350 IF THE MISSING PROPERTY COMES FOUND, DENNY, 801 00:37:56,380 --> 00:37:58,580 YOU DON’T HAVE TO HOLD IT. 802 00:38:02,720 --> 00:38:08,120 NO FOLLOW‐UP INTERDEPARTMENTAL BROUHAHA? 803 00:38:08,160 --> 00:38:11,160 YOU GOT A LINE ON ITS WHEREABOUTS? 804 00:38:12,660 --> 00:38:15,060 I KNOW WHO TO TALK TO, BELIEVE ME. 805 00:38:16,530 --> 00:38:18,400 SO NEAR TERM, P. A. A. IRVIN CAN EXPECT 806 00:38:18,440 --> 00:38:21,380 THAT WATCH AND RING TO SHOW UP ON HIS DESK? 807 00:38:25,780 --> 00:38:29,350 APPROPRIATE TO WIDEN THE LOOP THAT WAY, ANDY? 808 00:38:29,380 --> 00:38:30,910 ONE OUTSIDE WITNESS ‐‐ 809 00:38:30,950 --> 00:38:32,910 THAT MAKES ME FEEL MORE COMFORTABLE 810 00:38:32,950 --> 00:38:35,180 AS FAR AS AVOIDING A DOUBLE‐CROSS‐AROOSKEE 811 00:38:35,220 --> 00:38:37,690 WHERE YOU LAY OFF THE MISSING‐PROPERTY BAG 812 00:38:37,720 --> 00:38:39,190 ON ME THERE, DENNY. 813 00:38:39,220 --> 00:38:40,620 YOU FOLLOW MY DRIFT? 814 00:38:47,230 --> 00:38:49,400 WHEN IN ROME... 815 00:38:49,430 --> 00:38:52,430 OH, I REALIZE YOU’RE WAY OUT OF YOUR DEPTH. 816 00:38:58,210 --> 00:39:01,440 I JUST HOPE MY FRIEND HERE KNOWS 817 00:39:01,480 --> 00:39:03,410 WHEN TO TURN HIS HEAD TO THE WALL. 818 00:39:03,450 --> 00:39:04,890 AND WHEN NOT TO. 819 00:39:31,380 --> 00:39:33,020 SHE’S IN HOLDING? 820 00:39:33,040 --> 00:39:36,010 YEAH, JENNY’S AWAITING HER COACH RIDE TO THE TOMBS. 821 00:39:36,050 --> 00:39:38,020 I’LL BET JAMES WOULD VOLUNTEER. 822 00:39:38,050 --> 00:39:40,250 JAMES DRIVES, HE MAY GET LOST 823 00:39:40,280 --> 00:39:42,780 AND DROP JENNY OFF THE PIER. 824 00:39:42,820 --> 00:39:44,050 [ SIGHS ] 825 00:39:44,090 --> 00:39:46,350 DID YOU HAPPEN TO TALK TO DON? 826 00:39:46,390 --> 00:39:49,630 YEAH, I SAID TO STAY AWAY FROM US. 827 00:39:49,660 --> 00:39:51,360 GOOD FOR YOU. 828 00:39:51,400 --> 00:39:53,400 I SAID NOT TO COME SEE US ANYMORE. 829 00:39:53,430 --> 00:39:55,500 ESPECIALLY IF HE MAY TAKE A COLLAR. 830 00:39:55,530 --> 00:39:58,500 LESS YOU HAVE TO DEAL WITH HIM, THE BETTER. YEAH. 831 00:39:58,540 --> 00:40:00,550 YOU DIDN’T PUT YOURSELF IN THE MIDDLE, 832 00:40:00,570 --> 00:40:02,200 DID YOU, JILL? 833 00:40:02,240 --> 00:40:04,010 WHAT DO YOU MEAN? 834 00:40:04,040 --> 00:40:06,040 IN TERMS OF GIVING HIM A HEADS‐UP, 835 00:40:06,080 --> 00:40:09,290 WHERE YOU COULD GET IN TROUBLE YOURSELF. 836 00:40:09,310 --> 00:40:11,280 OH. 837 00:40:13,720 --> 00:40:16,020 GOOD THING YOU’RE NOT A COLLAR YOURSELF, PAL. 838 00:40:16,050 --> 00:40:18,050 THAT "OH" COULD BE TAKEN FOR EVASIVE. 839 00:40:18,090 --> 00:40:20,420 SEE YOU TOMORROW. 840 00:40:20,460 --> 00:40:21,990 SEE YOU TOMORROW. 841 00:40:33,370 --> 00:40:36,070 NO, NO, NO. WE’RE ON THIS NOW. 842 00:40:37,810 --> 00:40:41,280 GO FAST! MORE FASTER. 843 00:40:41,310 --> 00:40:43,240 MORE FASTER. THIS IS FAST ENOUGH. 844 00:40:43,280 --> 00:40:45,250 I WANT TO GO ON THE SLIDE. 845 00:40:45,280 --> 00:40:46,920 YOU KNOW, THEO, 846 00:40:46,950 --> 00:40:48,920 LATELY, EVERY TIME WE COME OVER HERE 847 00:40:48,950 --> 00:40:50,920 FOR YOU TO ENJOY THIS RIDE HERE, 848 00:40:50,960 --> 00:40:53,930 ALL YOU TALK ABOUT IS WANTING TO GO ON THE SLIDE. 849 00:40:53,960 --> 00:40:54,920 HOW COME? 850 00:40:54,960 --> 00:40:57,130 ’CAUSE IT’S MORE EXCITING. 851 00:40:58,730 --> 00:41:01,160 ALL RIGHT. COME HERE. 852 00:41:04,240 --> 00:41:05,480 [ SIGHS ] 853 00:41:10,810 --> 00:41:13,240 SURE YOU DON’T WANT TO STAY ON THIS RIDE? 854 00:41:13,280 --> 00:41:14,720 THIS IS FUN. 855 00:41:14,750 --> 00:41:16,860 NO. I WANT TO GO ON THE SLIDE. 856 00:41:16,880 --> 00:41:18,780 IF WE GO ON THE SLIDE, 857 00:41:18,820 --> 00:41:21,130 I’M GOING TO HAVE TO GO UP THERE WITH YOU. 858 00:41:21,150 --> 00:41:23,520 I WANT TO DO IT BY MYSELF. 859 00:41:23,560 --> 00:41:25,800 [ SIGHS ] 860 00:41:25,820 --> 00:41:29,090 OKAY, WELL, HERE. YOU HOLD ON. 861 00:41:31,500 --> 00:41:33,170 CAN YOU MAKE IT UP? 862 00:41:37,540 --> 00:41:40,610 I DON’T KNOW IF THIS IS A GOOD IDEA, BUDDY. 863 00:41:40,640 --> 00:41:42,540 I’M GOING TO HOLD YOUR HAND. 864 00:41:42,570 --> 00:41:45,540 HERE, GIVE ME YOUR HAND. GIVE ME YOUR HAND, THEO. 865 00:41:45,580 --> 00:41:47,420 GIVE ME YOUR HAND. COME HERE. 866 00:41:47,450 --> 00:41:49,520 DON’T LET GO OF MY HAND, NOW. 867 00:41:49,550 --> 00:41:51,410 OKAY, NOW I’M GOING TO HOLD YOUR HAND 868 00:41:51,450 --> 00:41:53,180 GOING ALL THE WAY DOWN. 869 00:41:53,220 --> 00:41:55,060 I WANT TO DO IT BY MYSELF. 870 00:41:55,090 --> 00:41:57,660 NO, I’M GOING TO BE STANDING ALONGSIDE OF YOU. 871 00:41:59,390 --> 00:42:00,860 I DID IT! 872 00:42:00,890 --> 00:42:02,690 YES, YOU DID IT. YOU DID IT. 873 00:42:02,730 --> 00:42:04,940 NOW, WASN’T THAT FUN, NOW? 874 00:42:06,000 --> 00:42:07,910 [ SIGHS ] 875 00:42:07,930 --> 00:42:09,600 WE DID IT. 876 00:42:09,630 --> 00:42:11,200 WE DID IT, PAL. [ CHUCKLES ] 877 00:42:22,310 --> 00:42:25,280 Captioned by VISUAL DATA Your Closed Captioning Resource 878 00:42:25,320 --> 00:42:27,260 ♪ ♪ 63247

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