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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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