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1
00:00:22,060 --> 00:00:24,290
BULLET THEY DUG OUT
OF OUR D. O. A. CAME OUT
2
00:00:24,330 --> 00:00:26,700
OF THE SAME GUN USED
IN YOUR SHOOTING TWO YEARS AGO.
3
00:00:26,730 --> 00:00:29,600
HE DON’T WANT
TO COME OUT WITH US,
DOES HE, THIS LAZY BUM?
4
00:00:29,630 --> 00:00:32,530
YEAH, HOW ABOUT THAT?
BALLISTICS MAKES A MATCH.
5
00:00:32,570 --> 00:00:35,400
I GUESS EVEN A STOPPED CLOCK’S
RIGHT TWICE A DAY.
6
00:00:35,440 --> 00:00:37,910
BELIEVE ME, THIS FAT‐ASS
DOES NOT COME WITH US
7
00:00:37,940 --> 00:00:39,540
TO RE‐INTERVIEW HIS VICTIM.
8
00:00:39,580 --> 00:00:42,380
HE SITS RIGHT ON HIS PILES
IN THAT STATION HOUSE.
9
00:00:42,410 --> 00:00:45,750
BEING WE GOT NO LEADS IN OUR
OWN INVESTIGATION, TOMMY,
10
00:00:45,780 --> 00:00:48,250
ANDY SIPOWICZ AND ME
THOUGHT WE’D COME TALK
11
00:00:48,290 --> 00:00:50,260
TO THE VICTIM IN YOUR SHOOTING
WHERE THE SAME GUN WAS USED.
12
00:00:50,290 --> 00:00:52,120
Fancy: THIS YOUR D.O.A.
FROM LAST NIGHT?
13
00:00:52,160 --> 00:00:53,570
"GIVE ANDY MY BEST
14
00:00:53,590 --> 00:00:56,490
AND TELL HIM I HAVEN’T MOVED
SIX YEARS SINCE HE SAW ME."
15
00:00:56,530 --> 00:00:58,500
YEAH,
HE SAID TO SAY HI.
16
00:00:58,530 --> 00:01:00,400
HE’S HAVING
HIS MORNING CONSTITUTIONAL.
17
00:01:00,430 --> 00:01:03,000
YEAH, WE CATCH
SOME BREAK.
18
00:01:03,030 --> 00:01:05,570
WE GOT THIS
ON OUR HOMICIDE
19
00:01:05,600 --> 00:01:08,670
OFF CRIME SCENE AND CANVASS.
HERE COMES BALLISTICS CATCHING
20
00:01:08,710 --> 00:01:10,950
A MATCH WITH A CASE
OF LARD‐ASS TOMMY
COLANGELO’S
21
00:01:10,980 --> 00:01:12,250
FROM TWO YEARS AGO.
22
00:01:12,280 --> 00:01:14,250
COLANGELO’S NOT COMING OUT
TO RE‐INTERVIEW.
23
00:01:14,280 --> 00:01:17,250
TOMMY COLANGELO
DON’T RE‐INTERVIEW
WITH NEW INFORMATION
24
00:01:17,280 --> 00:01:18,450
ON THE HOFFA CASE.
25
00:01:18,480 --> 00:01:19,580
NO, ABSOLUTELY.
26
00:01:19,620 --> 00:01:21,580
IF YOU DON’T FEEL
YOU COULD CONTRIBUTE...
27
00:01:21,620 --> 00:01:23,920
WHAT’S HE SAYING,
A MIGRAINE?
28
00:01:23,960 --> 00:01:26,360
IF IT MIGHT PUT HIM OFF,
DEFINITELY STAY AWAY.
29
00:01:26,390 --> 00:01:28,520
HE FEELS HE MAY HAVE
ALIENATED THE VICTIM.
30
00:01:28,560 --> 00:01:31,130
ALL HIS AGGRESSIVE DETECTIVE
WORK TWO YEARS AGO.
31
00:01:31,160 --> 00:01:33,860
AND THEN IF ANYTHING
NEW DEVELOPS,
32
00:01:33,900 --> 00:01:36,360
WE’LL KEEP YOU POSTED,
ALL RIGHT, TOMMY?
33
00:01:36,400 --> 00:01:39,640
SAYS GO IT ALONE, TOM.
[ ALL CHUCKLE ]
34
00:01:41,910 --> 00:01:44,050
WHO WAS THAT,
TOMMY COLANGELO, HUH?
35
00:01:45,340 --> 00:01:48,210
REMEMBER THAT CASE
WE WORKED WITH HIM?
36
00:01:48,250 --> 00:01:50,320
HAD TO BE
ABOUT SIX YEARS AGO.
37
00:01:50,350 --> 00:01:51,810
THAT’S RIGHT.
38
00:01:51,850 --> 00:01:54,550
HE NEVER GOT OFF HIS ASS.
39
00:01:59,020 --> 00:02:01,290
SERGEANT MARTINEZ.
40
00:02:01,330 --> 00:02:02,470
HEY.
41
00:02:02,490 --> 00:02:03,990
NOT TILL TOMORROW.
42
00:02:04,030 --> 00:02:06,190
LET THE GUY DO
A LAST DAY’S HONEST WORK.
43
00:02:08,930 --> 00:02:11,170
ANYWAYS...
44
00:02:11,200 --> 00:02:12,370
WE’LL GO OUT AND TALK
TO THIS GUY.
45
00:02:12,400 --> 00:02:14,700
YEAH, THAT’D BE
SOME BREAK, HUH?
46
00:02:14,740 --> 00:02:17,170
YEAH, IT LOOKED
LIKE A COMPLETE MYSTERY.
47
00:02:17,210 --> 00:02:21,010
AFTERWARDS, WE STILL GOT SOME
CELEBRATING TO DO, ANYWAYS.
48
00:02:21,050 --> 00:02:22,020
YEAH.
49
00:02:22,050 --> 00:02:23,990
7:00 AT MAC’S, RIGHT?
50
00:02:24,020 --> 00:02:25,220
YOU’RE COMING, RIGHT?
51
00:02:25,250 --> 00:02:27,880
YEAH, GREG SAYS
HE’S PICKING UP THE TAB.
52
00:02:27,920 --> 00:02:29,550
YEAH, RIGHT, DANNY.
53
00:02:29,590 --> 00:02:32,550
HA HA.
54
00:03:53,940 --> 00:03:55,740
HI.
55
00:03:55,770 --> 00:03:59,240
HI.
56
00:03:59,280 --> 00:04:02,290
SO, UH, YOU DON’T HAVE
TO HAVE ANYTHING
57
00:04:02,310 --> 00:04:04,650
TO DO WITH THAT
TASK FORCE GUY, JILL.
58
00:04:04,680 --> 00:04:06,820
DON’T GIVE HIM ANYTHING.
59
00:04:06,850 --> 00:04:08,480
OKAY.
60
00:04:08,520 --> 00:04:10,090
HOW ABOUT THIS?
61
00:04:10,120 --> 00:04:12,950
THEY’VE ALREADY GOT
ALL THE EVIDENCE THEY NEED.
62
00:04:12,990 --> 00:04:16,020
THE FEDERAL PROSECUTOR’S
JUST AFRAID TO GO TO BAT.
63
00:04:16,060 --> 00:04:19,030
THIS TASK FORCE GUY
COULDN’T EVEN BELIEVE
64
00:04:19,060 --> 00:04:21,460
THEY GAVE DON A DEAL.
65
00:04:21,500 --> 00:04:24,670
SOUNDS LIKE YOU GOT HIM
TO OPEN UP PRETTY GOOD.
66
00:04:24,700 --> 00:04:27,100
OH, YEAH.
67
00:04:27,140 --> 00:04:30,010
SO YOU MAKING DROPS FOR DON
NOT KNOWING WHAT WAS GOING ON,
68
00:04:30,040 --> 00:04:31,770
KEEP THAT TO YOURSELF.
69
00:04:31,810 --> 00:04:34,780
THAT’S NOT COMING UP
IN A MILLION YEARS.
70
00:04:34,810 --> 00:04:37,280
YOU DIDN’T DRINK
WITH HIM?
71
00:04:37,320 --> 00:04:40,460
NO, NO.
72
00:04:40,480 --> 00:04:43,280
I TOLD HIM I, UH,
73
00:04:43,320 --> 00:04:45,890
I TOLD HIM I GOT OFF
WATCHING HIM DRINK.
74
00:04:45,920 --> 00:04:49,690
GOT A LITTLE MESSY
AT THE END, WAS ALL,
75
00:04:49,730 --> 00:04:52,660
BUT NOTHING 50 GALLONS
OF LAVORIS WON’T CURE.
76
00:04:52,700 --> 00:04:55,470
I’M SORRY, DIANE.
77
00:04:55,500 --> 00:04:57,130
DON’T BE.
78
00:04:57,170 --> 00:05:00,140
I WAS GLAD TO FIND OUT
WHERE YOU STOOD.
79
00:05:00,170 --> 00:05:02,570
I JUST HAVEN’T BEEN OUT
THAT LATE IN A WHILE.
80
00:05:20,390 --> 00:05:21,690
THANKS A LOT.
81
00:05:21,730 --> 00:05:24,600
THIS IS GOING TO GET ME
IN REAL GOOD WITH MY BOSS.
82
00:05:24,630 --> 00:05:27,000
PUT THE BROOMS
FROM THERE TO THERE.
83
00:05:27,030 --> 00:05:28,400
MAKE YOURSELF LOOK BUSY.
84
00:05:28,430 --> 00:05:30,330
YOU DON’T WANT US
LEAVING TWICE DAILY MESSAGES
85
00:05:30,370 --> 00:05:33,330
FOR YOU TO CONTACT US AT OUR
STATION HOUSE, RAY, DO YA?
86
00:05:33,370 --> 00:05:35,570
YOU’RE A CITIZEN
OF THIS NATION, RAY, RIGHT?
87
00:05:35,610 --> 00:05:36,920
AND?
88
00:05:36,940 --> 00:05:39,940
AND YOU WERE INVOLVED
IN A SHOOTING TWO YEARS AGO.
89
00:05:39,980 --> 00:05:43,210
I GOT SHOT IN THE BACK.
THAT WHAT WE’RE TALKING ABOUT?
90
00:05:43,250 --> 00:05:45,060
THE SAME GUN
THAT SHOT YOU
91
00:05:45,080 --> 00:05:47,050
WAS USED LAST NIGHT
IN ANOTHER CRIME.
92
00:05:47,090 --> 00:05:50,260
RAY, WHAT WE CALL THE DD5
OF THE INCIDENT TWO YEARS AGO
93
00:05:50,290 --> 00:05:51,750
DESCRIBES YOU
AS UNCOOPERATIVE.
94
00:05:51,790 --> 00:05:53,790
WHICH I FIND HARD
TO BELIEVE
95
00:05:53,830 --> 00:05:56,300
GIVEN HOW FORTHCOMING
WE SEE YOU AT PRESENT.
96
00:05:56,330 --> 00:05:58,240
HOW AM I GOING
TO BE COOPERATIVE?
97
00:05:58,260 --> 00:06:00,900
I GOT SHOT IN THE BACK.
I DIDN’T SEE ANYTHING.
98
00:06:00,930 --> 00:06:03,300
IF THAT WAS THE CASE,
THIS DD5 WOULD SAY
99
00:06:03,330 --> 00:06:05,300
THAT THE VICTIM
COULD NOT IDENTIFY.
100
00:06:05,340 --> 00:06:08,310
THAT’S NOT WHAT IT SAYS. SEE
WHERE IT SAYS "UNCOOPERATIVE"?
101
00:06:08,340 --> 00:06:09,640
DON’T BE DEMONSTRATIVE.
102
00:06:09,670 --> 00:06:10,970
RAY, OUR EXPERIENCE,
103
00:06:11,010 --> 00:06:12,810
THE COMBINATION
SHOT IN THE BACK
104
00:06:12,840 --> 00:06:15,210
AND UNCOOPERATIVE OFTENTIMES
INDICATES THAT THE VICTIM
105
00:06:15,250 --> 00:06:18,060
ISN’T SO MUCH UNABLE
TO IDENTIFY THE PERPETRATOR
106
00:06:18,080 --> 00:06:19,410
AS HE IS UNWILLING.
107
00:06:19,450 --> 00:06:22,380
WHICH WE COULD GIVE LESS
OF A RAT’S ASS ABOUT, RAY.
108
00:06:22,420 --> 00:06:25,420
YOU GOT SHOT. YOU DON’T
WANT TO PRESS CHARGES, FINE.
109
00:06:25,460 --> 00:06:27,500
BUT YOU AIN’T THE VICTIM
IN THIS SHOOTING
110
00:06:27,530 --> 00:06:28,830
LAST NIGHT, RAY.
111
00:06:28,860 --> 00:06:30,660
LAST NIGHT’S VICTIM,
RAY, IS DEAD,
112
00:06:30,700 --> 00:06:32,740
AND WE’RE ASKING YOU
TO REALIZE YOU’RE SOMEWHAT
113
00:06:32,760 --> 00:06:34,730
AT A SKILL LEVEL,
WHEN COPS COME TALKING
114
00:06:34,770 --> 00:06:36,680
TO YOU ALL THE TIME,
115
00:06:36,700 --> 00:06:40,240
YOUR BOSS BEGINS REGARDING YOU
AS A NON‐ESSENTIAL EMPLOYEE.
116
00:06:40,270 --> 00:06:43,240
WHAT GOOD’S MY INFORMATION
GOING TO DO YOU, ANYWAY, MAN?
117
00:06:43,270 --> 00:06:45,240
TWO YEARS IS TWO YEARS.
118
00:06:45,280 --> 00:06:47,250
THAT GUN’S PROBABLY
CHANGED HANDS MORE TIMES
119
00:06:47,280 --> 00:06:48,740
THAN A $20 BILL.
120
00:06:48,780 --> 00:06:50,750
MAYBE, RAY,
AND THEN AGAIN, MAYBE NOT.
121
00:06:50,780 --> 00:06:53,250
SOME PEOPLE DEVELOP A DEEP
AFFECTION FOR THEIR HANDGUNS.
122
00:06:53,280 --> 00:06:55,920
GUY ON MY STREET
STARTS CLOWNING ME
123
00:06:55,950 --> 00:06:58,350
ABOUT MY UNIFORM.
I WAS WORKING FAST FOOD THEN.
124
00:06:58,390 --> 00:07:00,290
THIS IS IN FRONT
OF PEOPLE.
125
00:07:00,320 --> 00:07:03,120
PUT A NAME ON THE GUY.
126
00:07:03,160 --> 00:07:05,690
JASON WIGGINS.
127
00:07:05,730 --> 00:07:07,700
YEAH, I TELL HIM
TO GET ON THESE.
128
00:07:07,730 --> 00:07:09,600
I TURN AROUND
AND WALK AWAY.
129
00:07:09,630 --> 00:07:12,770
JASON TAKES THAT AS DISRESPECT,
YELLS AT ME TO TURN AROUND.
130
00:07:12,800 --> 00:07:16,340
I DON’T. I GET SHOT.
131
00:07:16,370 --> 00:07:18,370
IF HE’S STILL
GOT THAT PIECE,
132
00:07:18,410 --> 00:07:20,780
I HEARD HE
CLEANED UP HIS ACT.
133
00:07:20,810 --> 00:07:24,650
NOW IF YOU’LL EXCUSE ME,
I GOT TO KISS MY MANAGER’S ASS.
134
00:07:24,680 --> 00:07:26,620
GO AHEAD, RAY.
135
00:07:26,650 --> 00:07:29,450
YEAH, I’M CITIZEN
OF THE WEEK.
136
00:07:29,490 --> 00:07:31,900
SEE IF JASON WIGGINS
HAS GOT A SHEET?
137
00:07:31,920 --> 00:07:33,520
I’M CONFIDENT HE MAY.
138
00:07:46,840 --> 00:07:50,070
JASON’S ONE OF THEM GUYS,
EARTH STARTS SHAKING,
139
00:07:50,110 --> 00:07:51,910
HE’S IN THE STREET,
140
00:07:51,940 --> 00:07:55,140
HALF A CHANCE OF STAYING
OUT OF HARM’S WAY,
141
00:07:55,180 --> 00:07:57,080
RUNS INTO THE BIGGEST BUILDING
HE CAN FIND.
142
00:07:57,120 --> 00:07:59,830
GOD FORBID HE JUST
STAYS OUT IN THE STREET
143
00:07:59,850 --> 00:08:02,980
AND WINDS UP WITH JUST
A COUPLE SCRATCHES.
144
00:08:03,020 --> 00:08:04,820
YEAH, JASON WANTS
TO POSITION HIMSELF
145
00:08:04,860 --> 00:08:07,670
SO INSTEAD OF TAKING ADVANTAGE
OF WHERE HE HAPPENED TO BE
146
00:08:07,690 --> 00:08:08,990
WHEN THE EARTHQUAKE BEGAN,
147
00:08:09,030 --> 00:08:11,400
HE’S LOCATED WHERE NOT
A SINGLE ONE
148
00:08:11,430 --> 00:08:13,900
OF THEM SLABS OF CONCRETE
FROM THAT HUGE BUILDING
149
00:08:13,930 --> 00:08:16,160
THAT HE RAN INTO
MISSES LANDING
150
00:08:16,200 --> 00:08:18,530
ON HIS BIG DOPEY HEAD.
151
00:08:20,370 --> 00:08:23,340
YOU GET WHERE WE’RE GOING
WITH ANY OF THIS, JASON, HUH?
152
00:08:23,370 --> 00:08:25,870
NOBODY IS LOOKING TO MAKE YOU
THE MAIN PERFORMER.
153
00:08:25,910 --> 00:08:27,380
PERFORMER?
154
00:08:27,410 --> 00:08:29,880
I AIN’T IN YOUR CIRCUS
NO KIND OF WAY.
155
00:08:29,910 --> 00:08:31,510
I AIN’T PLAYIN’.
156
00:08:31,550 --> 00:08:33,680
OKAY, JASON, YOU
REMIND THEM UPSTATE
157
00:08:33,720 --> 00:08:36,180
WHEN THEY’RE BANGING YOU
FOUR AT A TIME
158
00:08:36,220 --> 00:08:38,190
HOW TOUGH YOU WERE
IN THE STATION HOUSE.
159
00:08:38,220 --> 00:08:40,220
Andy: YOU’RE NOT
IN THE CIRCUS, HUH, PAL?
160
00:08:40,260 --> 00:08:44,260
WELL, DON’T EVER FIND YOURSELF
BY MISTAKE IN A HERD
161
00:08:44,300 --> 00:08:45,770
OF EARRING‐WEARING OSTRICHES,
162
00:08:45,800 --> 00:08:49,240
BECAUSE THE NEXT THING YOU KNOW,
YOU ARE GOING TO BE RIGHT
163
00:08:49,270 --> 00:08:51,280
WITH THE REST
OF THE FLOCK SPRINTING
164
00:08:51,300 --> 00:08:53,270
AROUND THE CENTER RING,
DUCKING YOUR HEAD
165
00:08:53,300 --> 00:08:56,070
WHILE THAT PSYCHO
WITH THE TOP HAT CRACKS HIS WHIP
166
00:08:56,110 --> 00:08:58,450
A HALF INCH FROM YOUR NOSE.
167
00:09:00,610 --> 00:09:02,540
SO STUPID, ARROGANT.
168
00:09:02,580 --> 00:09:04,480
KNOWING HE DIDN’T
DO THIS ONE LAST NIGHT,
169
00:09:04,520 --> 00:09:05,890
HE’S GOING TO PUT HIMSELF
170
00:09:05,920 --> 00:09:08,260
IN JAIL FOR A CASE NO ONE’S
EVEN LOOKING AT NO MORE.
171
00:09:11,260 --> 00:09:13,770
THIS IS MRS. WIGGINS.
172
00:09:13,790 --> 00:09:15,220
YOU HAVE MY SON HERE.
173
00:09:15,260 --> 00:09:18,730
HIS NAME CAME UP IN CONNECTION
WITH A CRIME LAST NIGHT.
174
00:09:18,760 --> 00:09:20,400
MY SON CAME HOME
AT 5:30 IN THE AFTERNOON.
175
00:09:20,430 --> 00:09:22,730
I WAS HOME FROM WORK.
I SAW HIM COME IN.
176
00:09:22,770 --> 00:09:25,480
HE HAD BEEN DRINKING, SO HE
WENT TO HIS ROOM AND SLEPT.
177
00:09:25,500 --> 00:09:27,470
I WOKE HIM UP
AT 7:00 FOR DINNER.
178
00:09:27,510 --> 00:09:30,480
AFTER THAT, HE WATCHED TV
WHILE I READ IN THE KITCHEN.
179
00:09:30,510 --> 00:09:32,640
HE FELL ASLEEP
ON THE COUCH AT 11:00,
180
00:09:32,680 --> 00:09:35,150
AND I DIDN’T GO TO BED
UNTIL MIDNIGHT.
181
00:09:35,180 --> 00:09:38,910
AND HE WAS STILL ON THAT COUCH
WHEN I LEFT THIS MORNING.
182
00:09:38,950 --> 00:09:41,420
I GOT WOOD FLOORS,
AND I SLEEP LIGHT.
183
00:09:41,450 --> 00:09:44,420
NOBODY COMES IN OR OUT
WITHOUT ME WAKING UP.
184
00:09:44,460 --> 00:09:46,870
I WANT MY SON RELEASED.
185
00:09:46,890 --> 00:09:49,930
YOUR SON MAY HAVE BEEN INVOLVED
IN A SHOOTING TWO YEARS AGO
186
00:09:49,960 --> 00:09:53,090
WHERE THE SAME GUN WAS USED
THAT WAS USED LAST NIGHT.
187
00:09:53,130 --> 00:09:55,430
I TOLD YOU WHERE MY SON
WAS LAST NIGHT!
188
00:09:55,470 --> 00:09:58,780
YOU GOING TO TELL US WHERE HE
WAS TWO YEARS AGO WHEN THIS
OTHER SHOOTING HAPPENED?
189
00:09:58,800 --> 00:10:01,100
THAT SHOOTING TWO YEARS AGO,
MRS. WIGGINS,
190
00:10:01,140 --> 00:10:03,300
THANK GOD IT WASN’T FATAL.
THE VICTIM RECOVERED.
191
00:10:03,340 --> 00:10:06,270
AS FAR AS HOW HARD WE GO
AT YOUR SON,
192
00:10:06,310 --> 00:10:08,010
WE’VE GOT SOME WIGGLE ROOM.
193
00:10:08,050 --> 00:10:10,520
THE ONLY REASON
WE’D LOOK AT THAT CASE HARD
194
00:10:10,550 --> 00:10:13,350
IS IF WE DON’T GET COOPERATION
ON WHAT’S IN FRONT OF US,
195
00:10:13,380 --> 00:10:15,150
BECAUSE THAT VICTIM
DIDN’T RECOVER.
196
00:10:15,190 --> 00:10:18,360
MY SON HAS BEEN
IN TROUBLE BEFORE.
197
00:10:18,390 --> 00:10:20,720
I’M NOT BLIND TO THAT.
198
00:10:20,760 --> 00:10:23,690
I’M A SINGLE WORKING MOTHER,
AND I LOST HIM TO THE STREETS,
199
00:10:23,730 --> 00:10:26,190
BUT HE’S BEEN TRYING
TO MAKE A CHANGE,
200
00:10:26,230 --> 00:10:28,860
AND I BELIEVE
HE CAN MAKE IT.
201
00:10:28,900 --> 00:10:31,330
CAN I TALK TO HIM?
202
00:10:33,500 --> 00:10:36,240
WHY DON’T WE ALL GO TALK?
203
00:10:41,250 --> 00:10:42,850
[ DOOR OPENS ]
204
00:10:42,880 --> 00:10:45,880
AW, MAN,
WHAT’S UP WITH THIS?
205
00:10:45,920 --> 00:10:48,260
IT’S CALLED SOMEBODY
GIVING A DAMN ABOUT YOU.
206
00:10:48,290 --> 00:10:50,160
MOM, I DIDN’T DO IT.
I KNOW YOU DIDN’T.
207
00:10:50,190 --> 00:10:51,350
THEY AIN’T GOT NOTHING.
208
00:10:51,390 --> 00:10:53,590
JUST GO HOME, AND I’M
GOING TO BE THERE LATER.
209
00:10:53,630 --> 00:10:56,070
QUIT ACTING LIKE YOU’RE
IN CHARGE, BECAUSE YOU’RE NOT.
210
00:10:56,090 --> 00:10:58,660
NOW YOU’RE BUYING YOURSELF
TROUBLE IF YOU DON’T TELL THEM
211
00:10:58,700 --> 00:10:59,740
WHO HAS YOUR GUN.
212
00:10:59,760 --> 00:11:01,500
I DIDN’T DO ANYTHING
LAST NIGHT.
213
00:11:01,530 --> 00:11:04,170
Andy: THAT SHOOTING
TWO YEARS AGO, JASON,
214
00:11:04,200 --> 00:11:06,170
WHERE YOU WERE BEEFIN’
WITH THE GUY ‐‐
215
00:11:06,200 --> 00:11:08,900
WHERE YOU LOST YOUR TEMPER
AND THREW A SHOT INTO HIM ‐‐
216
00:11:08,940 --> 00:11:10,840
THAT CAN COME
OR GO DEPENDING
217
00:11:10,880 --> 00:11:12,580
ON HOW YOU PLAY THIS.
218
00:11:12,610 --> 00:11:15,380
JASON, BABY,
IF YOU LET YOURSELF
219
00:11:15,410 --> 00:11:18,350
BE TAKEN AWAY FROM ME,
I WILL NEVER FORGIVE YOU.
220
00:11:18,380 --> 00:11:20,350
YOU ASKING ME
TO TRUST THEM?
221
00:11:20,380 --> 00:11:22,550
I’M ASKIN’ YOU TO UNDERSTAND
THAT RIGHT NOW,
222
00:11:22,590 --> 00:11:24,900
YOU DON’T HAVE A CHOICE.
223
00:11:28,060 --> 00:11:31,190
SAY I RENT OUT
MY GUN LAST NIGHT.
224
00:11:31,230 --> 00:11:34,700
THE GUY USE IT,
HE’S SUPPOSED TO DUMP THE GUN
225
00:11:34,730 --> 00:11:38,370
AND PAY MY BUY‐OUT FEE.
SAY THEY BRING IT BACK TO ME,
226
00:11:38,400 --> 00:11:40,240
EVEN THOUGH I FIND OUT
HE DID USE IT.
227
00:11:40,270 --> 00:11:42,870
IF I GIVE YOU HIS NAME,
WHAT’S TO SAY
228
00:11:42,910 --> 00:11:45,280
HE AIN’T GOING TO LIE,
AND I’M HUNG OUT?
229
00:11:45,310 --> 00:11:48,710
WILL YOU DO THAT,
HANG MY BOY OUT
230
00:11:48,750 --> 00:11:51,290
IF YOU CAN’T CONVICT
THE OTHER ONE?
231
00:11:51,320 --> 00:11:53,320
NO, WE WON’T DO THAT.
232
00:11:59,760 --> 00:12:01,320
GO AHEAD, SON.
233
00:12:02,930 --> 00:12:06,640
IT’S TREY LANGDON.
234
00:12:06,670 --> 00:12:10,580
TREY LIVES ON LUDLOW
OFF DELANCEY
235
00:12:10,600 --> 00:12:12,230
OVER THE SHOE REPAIR.
236
00:12:12,270 --> 00:12:15,100
WHERE’S THE GUN
HE RETURNED TO YOU?
237
00:12:15,140 --> 00:12:16,640
IT’S UNDER MY MATTRESS.
238
00:12:16,680 --> 00:12:19,050
WILL YOU GO WITH US
AND GET IT?
239
00:12:20,950 --> 00:12:22,090
I TRUSTED YOU.
240
00:12:22,110 --> 00:12:23,580
I KNOW.
241
00:12:23,620 --> 00:12:26,090
WE’RE WALKING OUT
OF HERE, BABY,
242
00:12:26,120 --> 00:12:28,790
AS SOON AS I GET BACK HERE.
243
00:12:56,580 --> 00:12:57,950
HI.
244
00:12:57,980 --> 00:12:59,350
MM‐HMM.
245
00:12:59,380 --> 00:13:02,020
I NEED SOME HELP.
246
00:13:02,050 --> 00:13:04,120
A LOT.
247
00:13:04,160 --> 00:13:06,330
I DON’T REMEMBER
WHAT HAPPENED LAST NIGHT.
248
00:13:06,360 --> 00:13:07,830
IS THAT RIGHT?
249
00:13:07,860 --> 00:13:09,790
YOU WERE AN ASSHOLE.
250
00:13:09,830 --> 00:13:13,700
DID YOU COME
TO THE MOTEL WITH ME?
251
00:13:13,730 --> 00:13:16,200
IS THIS
ANOTHER SICK GAME?
252
00:13:16,230 --> 00:13:18,700
BLACK OUT.
253
00:13:18,740 --> 00:13:22,380
BECAUSE I GOT WHAT I NEEDED
TO KNOW FROM YOU.
254
00:13:22,410 --> 00:13:25,380
HE’S IN THE WIND.
255
00:13:25,410 --> 00:13:27,380
WHAT ARE YOU
TALKING ABOUT?
256
00:13:27,410 --> 00:13:30,210
YOUR PARTNER’S EX‐HUSBAND
IS IN THE WIND.
257
00:13:30,250 --> 00:13:32,550
COME HERE, DENBY.
258
00:13:41,190 --> 00:13:44,560
I HAD WATCH ON HIM
LAST NIGHT AT THE MOTEL.
259
00:13:44,600 --> 00:13:46,570
WOKE UP, LIKE,
5:00 IN THE MORNING,
260
00:13:46,600 --> 00:13:47,900
AND HE WAS GONE.
261
00:13:47,930 --> 00:13:51,530
HIM LOOSE CAN SCREW
YOUR PARTNER UP BAD.
262
00:13:51,570 --> 00:13:54,870
YEAH. OTHERWISE, I’D SURE LIKE
TO SPEND SOME TIME THINKING
263
00:13:54,910 --> 00:13:56,920
ABOUT YOU
BLOWING YOUR CAREER.
264
00:13:56,940 --> 00:14:00,740
NO WAY HE DOESN’T
REACH OUT TO HER.
265
00:14:00,780 --> 00:14:04,780
THAT’S YOU LOCKING IN
ON HOW A PRICK WILL BEHAVE,
266
00:14:04,820 --> 00:14:07,130
RIGHT, DENBY?
267
00:14:07,150 --> 00:14:08,620
LIKE YOU SAY,
268
00:14:08,650 --> 00:14:10,620
I DON’T
GET THIS GUY BACK,
269
00:14:10,660 --> 00:14:12,700
I’M LOOKING
AT LOSING MY JOB.
270
00:14:12,720 --> 00:14:15,560
I DON’T HAVE TO ASK
HOW YOU AND ME HIT IT OFF,
271
00:14:15,590 --> 00:14:18,390
BUT IT’S IN YOUR GIRLFRIEND’S
INTEREST LETTING ME KNOW
272
00:14:18,430 --> 00:14:19,960
WHEN HE REACHES OUT.
273
00:14:20,000 --> 00:14:23,700
IF I DECIDE THAT’S TRUE,
I KNOW HOW TO GET IN TOUCH.
274
00:14:23,740 --> 00:14:26,780
FOR WHAT IT’S WORTH,
I APOLOGIZE.
275
00:14:26,810 --> 00:14:30,320
NOTHING IS HOW MUCH
THAT’S WORTH.
276
00:14:38,250 --> 00:14:39,720
I’M NOT MEETING YOU,
277
00:14:39,750 --> 00:14:42,480
BECAUSE YOU’RE TALKING
TO THE WRONG PERSON.
278
00:14:46,290 --> 00:14:47,760
I’M TELLING YOU,
279
00:14:47,790 --> 00:14:50,430
YOU GOT ME CONFUSED
WITH SOMEBODY ELSE.
280
00:14:52,600 --> 00:14:55,170
YOU’RE NOT GOING
TO BELIEVE THIS.
281
00:14:55,200 --> 00:14:58,230
I KNOW DON’S
IN THE WIND.
282
00:14:58,270 --> 00:15:00,000
WHERE IS HE?
283
00:15:00,040 --> 00:15:03,170
I TOLD HIM I DIDN’T
WANT TO KNOW.
284
00:15:03,210 --> 00:15:05,680
GOOD FOR YOU, JILL.
285
00:15:05,710 --> 00:15:07,340
I CAN’T GET INVOLVED
WITH HIM.
286
00:15:07,380 --> 00:15:10,610
THE ONLY SMART THING
HE CAN DO IS TURN HIMSELF IN.
287
00:15:10,650 --> 00:15:11,610
[ TELEPHONE RINGS ]
288
00:15:11,650 --> 00:15:12,850
Jill: THAT’S RIGHT.
289
00:15:12,880 --> 00:15:15,350
I CAN’T GIVE HIM MONEY
TO GET AWAY.
290
00:15:15,390 --> 00:15:17,260
THAT’S RIGHT.
291
00:15:17,290 --> 00:15:19,420
I’M SURE
THEY’RE WATCHING MY HOUSE.
292
00:15:19,460 --> 00:15:22,930
John: WHO IS THIS, PLEASE?
YOU CAN’T GET INVOLVED
WITH HIM, JILL.
293
00:15:22,960 --> 00:15:26,260
I GUESS THAT TASK FORCE GUY
MUST HAVE SHOWN UP
294
00:15:26,300 --> 00:15:28,110
AT THE MOTEL DRUNK.
295
00:15:28,130 --> 00:15:30,100
HE CAN’T REMEMBER
WHAT HAPPENED.
296
00:15:30,130 --> 00:15:32,600
THINKS HE MUST HAVE
LEFT THE DOOR UNGUARDED.
297
00:15:32,640 --> 00:15:34,480
DID HE PUT
AN ALARM OUT?
298
00:15:34,510 --> 00:15:36,280
Diane: NOT YET.
299
00:15:36,310 --> 00:15:38,380
HE’S HOPING DON
WILL USE HIS HEAD
THE WAY YOU SAID.
300
00:15:38,410 --> 00:15:40,980
NOT TO MENTION
THAT IT WILL SAVE HIS ASS.
301
00:15:41,010 --> 00:15:43,010
THAT WOULD BE THE BONUS
FOR DENBY.
302
00:15:45,220 --> 00:15:47,860
THAT SAME PERSON
WHO CALLED BEFORE
303
00:15:47,890 --> 00:15:51,200
AND DIDN’T IDENTIFY HIMSELF
IS CALLING AGAIN.
304
00:15:51,220 --> 00:15:54,720
DO YOU WANT TO FIND OUT
WHERE DON IS, JILL,
305
00:15:54,760 --> 00:15:58,030
LET DENBY KNOW
SO THEY CAN PICK HIM UP?
306
00:15:58,060 --> 00:16:00,360
I DON’T WANT THE CALL, JOHN.
307
00:16:00,400 --> 00:16:03,360
TELL HIM I’M NOT AROUND,
308
00:16:03,400 --> 00:16:06,570
WHOEVER IT IS THAT’S CALLING.
309
00:16:06,610 --> 00:16:09,650
I CAN’T GIVE HIM UP,
THOUGH, EITHER, DIANE.
310
00:16:09,670 --> 00:16:11,470
YOU’D JUST GET
ON HIS BAD SIDE
311
00:16:11,510 --> 00:16:13,370
IN TERMS OF WHAT
HE MIGHT TELL THE D. A.
312
00:16:13,410 --> 00:16:15,380
I CAN’T GIVE HIM UP.
313
00:16:15,410 --> 00:16:16,480
OKAY,
314
00:16:16,510 --> 00:16:18,610
OKAY.
315
00:16:20,850 --> 00:16:23,720
SIT DOWN.
316
00:16:25,920 --> 00:16:28,560
MAN, THIS IS MESSED UP.
317
00:16:28,590 --> 00:16:30,990
MURDER CLASSIFYING
AS "MESSED UP" IN TREY’S BOOK.
318
00:16:31,030 --> 00:16:34,400
MURDER? Y’ALL LOOKING
AT ME FOR MURDER?
319
00:16:34,430 --> 00:16:37,600
A YOUTH NAMED MICHAEL BAYLOR,
TREY, IS NO LONGER AMONGST US.
320
00:16:37,640 --> 00:16:39,750
OUR HOPE IS
THAT YOU KILLED HIM,
321
00:16:39,770 --> 00:16:42,840
’CAUSE YOU’RE WHO WE’RE
TALKIN’ TO, AND THAT WOULD
MAKE OUR LIVES SIMPLER,
322
00:16:42,870 --> 00:16:44,770
BUT IF YOU GOT
DIFFERING INFORMATION,
323
00:16:44,810 --> 00:16:46,340
NOW’S YOUR TIME
TO LEAP IN.
324
00:16:46,380 --> 00:16:47,920
WHO GAVE ME UP? JASON?
325
00:16:47,950 --> 00:16:50,690
ASKING QUESTIONS IS NOT
WHERE YOUR BEST INTERESTS LIE.
326
00:16:50,720 --> 00:16:52,690
WELL, JASON SHOULD HAVE
KEPT HIS MOUTH SHUT,
327
00:16:52,720 --> 00:16:54,530
BECAUSE THIS BOOMERANGS
BACK ONTO ROBBIE.
328
00:16:54,550 --> 00:16:56,350
START PUTTIN’ LAST NAMES
TO THESE PEOPLE.
329
00:16:56,390 --> 00:16:58,860
ROBBIE WIGGINS.
330
00:16:58,890 --> 00:17:00,620
THAT’S RIGHT ‐‐
331
00:17:00,660 --> 00:17:01,790
JASON’S BROTHER ROBBIE.
332
00:17:01,830 --> 00:17:03,200
WHY WOULD YOU HAVE
333
00:17:03,230 --> 00:17:07,610
TO RENT A GUN FROM ONE BROTHER
TO GIVE TO ANOTHER?
334
00:17:07,630 --> 00:17:09,900
ROBBIE KNEW JASON WOULDN’T
GIVE HIM NO GUN TO USE,
335
00:17:09,930 --> 00:17:13,570
SO ROBBIE HAD ME RENT THE GUN
OFF OF JASON FOR HIM.
336
00:17:13,610 --> 00:17:16,450
AND HERE GOES JASON,
GIVIN’ ME UP,
PUTTING HIS OWN BROTHER
337
00:17:16,470 --> 00:17:18,770
IN THE HOT SEAT,
BECAUSE I SURE AS HELL
338
00:17:18,810 --> 00:17:21,880
AIN’T TAKING NO HIT FOR MURDER
JUST FOR BEING NO GO‐BETWEEN.
339
00:17:21,910 --> 00:17:24,880
DID ROBBIE TELL YOU
WHAT HE WANTED THE GUN FOR?
340
00:17:24,920 --> 00:17:26,220
SOME ROMANTIC NONSENSE.
341
00:17:26,250 --> 00:17:29,550
THAT MICHAEL ‐‐
I DON’T KNOW THE DUDE,
342
00:17:29,590 --> 00:17:33,250
BUT ROBBIE WAS SAYING SOME
MICHAEL WAS HASSLING LATASHA.
343
00:17:33,290 --> 00:17:35,560
THAT’S WHO
ROBBIE’S SEEING NOW.
344
00:17:35,590 --> 00:17:37,590
HEY, I DON’T KNOW
THE DETAILS.
345
00:17:37,630 --> 00:17:40,460
ALLS I DID WAS RENT
THE GUN ROBBIE WANTED
346
00:17:40,500 --> 00:17:42,730
FROM HIS BROTHER
HE KNEW WOULDN’T
GIVE IT TO HIM.
347
00:17:42,770 --> 00:17:45,580
WHERE ARE WE GOING
TO FIND ROBBIE?
HER PLACE, PROBABLY.
348
00:17:45,600 --> 00:17:47,970
WRITE DOWN
WHERE LATASHA LIVES.
349
00:17:53,110 --> 00:17:55,910
JOSH, KEEP AN EYE
ON THIS GUY FOR A WHILE?
350
00:17:55,950 --> 00:17:57,190
YOU GOT IT.
351
00:18:02,450 --> 00:18:04,620
MAKE A PROMISE, NOW WE’RE
GOING TO LOCK HER OTHER SON UP.
352
00:18:04,660 --> 00:18:07,370
LOOK, SHE’S GOTTA
KNOW THIS COMES
OUT OF LEFT FIELD.
353
00:18:07,390 --> 00:18:09,360
SO YOU FIGURE THE UNFORTUNATE
COINCIDENCE ASPECT,
354
00:18:09,390 --> 00:18:11,690
THAT’LL MOVE HER
TO LET US OFF THE HOOK?
355
00:18:11,730 --> 00:18:13,860
I FIGURE HER LETTING US
OFF THE HOOK
356
00:18:13,900 --> 00:18:15,930
CAN’T DECIDE
HOW WE WORK THE CASE.
357
00:18:15,970 --> 00:18:18,340
OH, NOW YOU’RE CARRYING
STONE TABLETS OFF THE MOUNTAIN,
358
00:18:18,370 --> 00:18:20,640
TELLING ME
HOW TO DO MY JOB?
COME ON, ANDY.
359
00:18:20,670 --> 00:18:22,640
I AM TELLING YOU,
THESE ARE PREJUDICED PEOPLE,
360
00:18:22,670 --> 00:18:24,640
AND I DON’T WANT
NO UNFORTUNATE COINCIDENCES
361
00:18:24,680 --> 00:18:27,120
CONFIRMING THEIR PREJUDICES
AGAINST ME.
362
00:18:27,150 --> 00:18:29,120
MAYBE ROBBIE
DIDN’T PULL THE TRIGGER,
363
00:18:29,150 --> 00:18:31,120
DIDN’T HAVE MURDER
ON HIS MIND.
364
00:18:31,150 --> 00:18:33,550
IF HE KNOWS
WHAT’S GOOD FOR HIM,
365
00:18:33,590 --> 00:18:36,830
IT BETTER BE
WHAT WENT ON.
366
00:18:41,490 --> 00:18:43,730
WHAT IS GOING ON?
367
00:18:43,760 --> 00:18:47,130
WE’RE FOLLOWING
THIS THING OUT, MISS WIGGINS.
368
00:18:47,170 --> 00:18:49,470
FOLLOWING IT HOW?
I TOOK YOU TO JASON’S GUN.
369
00:18:49,500 --> 00:18:50,700
YOU’VE GOT TREY
370
00:18:50,740 --> 00:18:52,880
THAT MY SON JASON
TOLD YOU ABOUT.
371
00:18:52,900 --> 00:18:54,540
NOW, YOU PROMISED ME.
372
00:18:54,570 --> 00:18:57,210
THERE’S A NEW COMPLICATION,
MRS. WIGGINS.
373
00:18:57,240 --> 00:19:00,010
IT LOOKS LIKE IT MIGHT
INVOLVE YOUR OTHER SON.
374
00:19:00,040 --> 00:19:01,480
WHAT?
375
00:19:01,510 --> 00:19:03,080
YOUR OTHER SON, ROBBIE.
376
00:19:03,110 --> 00:19:04,910
ROBBIE? NO.
377
00:19:04,950 --> 00:19:06,980
ROBBIE’S OUTSIDE
OF THAT LIFE.
378
00:19:07,020 --> 00:19:08,980
WE GOT TO LOOK
INTO POSSIBLE COMPLICATIONS.
379
00:19:09,020 --> 00:19:10,150
NO.
380
00:19:10,190 --> 00:19:12,320
NO, NO, NO.
381
00:19:12,360 --> 00:19:15,200
LET US LOOK INTO THEM,
AND WE’LL KEEP YOU POSTED.
382
00:19:15,230 --> 00:19:16,900
DOES THIS
INVOLVE HIS GIRLFRIEND?
383
00:19:16,930 --> 00:19:18,530
WE CAN’T TELL SPECIFICS.
384
00:19:18,560 --> 00:19:21,530
YOU AND JASON
NEED TO STAY HERE TILL
WE FIND OUT WHAT HAPPENED.
385
00:19:21,570 --> 00:19:24,840
THAT LATASHA’S NO GOOD.
IT MAY BE HER BEHIND THIS,
386
00:19:24,870 --> 00:19:26,330
OR HER OLD BOYFRIEND ‐‐
387
00:19:26,370 --> 00:19:28,300
HOOD BY THE NAME
OF MICHAEL BAYLOR.
388
00:19:30,880 --> 00:19:32,350
HE’S THE HOMICIDE VICTIM,
389
00:19:32,380 --> 00:19:34,390
THAT MICHAEL BAYLOR
YOU MENTION.
390
00:19:52,230 --> 00:19:54,460
WE’RE NOT LOOKING
TO HURT YOUR FAMILY.
391
00:19:54,500 --> 00:19:55,900
YOU GOT OUR WORD.
392
00:19:57,470 --> 00:19:59,230
YOUR WORD?
393
00:20:00,570 --> 00:20:02,040
WELL, IN THAT CASE,
394
00:20:02,070 --> 00:20:04,410
I HAVE NOTHING
TO WORRY ABOUT, DO I?
395
00:20:22,260 --> 00:20:24,560
[ TELEPHONE RINGS ]
396
00:20:24,600 --> 00:20:26,340
15th SQUAD.
397
00:20:30,370 --> 00:20:31,930
UH, I’M SORRY.
398
00:20:31,970 --> 00:20:33,570
SHE’S STILL NOT AVAILABLE.
399
00:20:33,610 --> 00:20:35,080
NO, WAIT, JOHN, WAIT.
400
00:20:35,110 --> 00:20:37,020
YES, HELLO.
401
00:20:38,810 --> 00:20:40,780
ALL RIGHT,
LISTEN TO ME. Listen!
402
00:20:41,850 --> 00:20:46,360
555‐0146.
403
00:20:46,380 --> 00:20:50,620
IN 45 MINUTES, I WANT YOU
TO CALL THAT NUMBER.
404
00:20:50,660 --> 00:20:54,700
NO, 0146.
405
00:20:54,730 --> 00:20:57,700
SAY THE NUMBER AGAIN.
406
00:20:57,730 --> 00:21:00,200
CALL THERE IN 45 MINUTES.
407
00:21:04,900 --> 00:21:07,470
THAT NUMBER
SOUNDS FAMILIAR.
408
00:21:07,510 --> 00:21:09,180
PLEASE, DIANE.
409
00:21:09,210 --> 00:21:12,350
WHAT, YOU WANT ME TO GO
TO MY PLACE AND TALK TO DON?
410
00:21:12,380 --> 00:21:14,190
I NEED TO SEE HIM.
411
00:21:14,210 --> 00:21:16,140
IF DENBY’S ANY KIND
OF COP,
412
00:21:16,180 --> 00:21:17,810
HE’S GOT MY PLACE UP.
413
00:21:17,850 --> 00:21:19,050
JILL...
414
00:21:19,080 --> 00:21:20,250
PLEASE.
415
00:21:43,840 --> 00:21:45,970
TELL ME WHAT YOUR PLAN IS.
416
00:21:46,010 --> 00:21:48,080
RIGHT NOW HE’S
A MATERIAL WITNESS.
417
00:21:48,110 --> 00:21:50,980
IF HE RUNS, THEY’LL
REINSTATE THE CHARGES,
418
00:21:51,020 --> 00:21:53,360
AND THEN HE’LL BE
A FUGITIVE.
419
00:21:53,380 --> 00:21:55,720
ARE YOU GOING TO
TALK HIM THROUGH
420
00:21:55,750 --> 00:21:57,150
TO UNDERSTANDING THAT?
421
00:21:57,190 --> 00:21:58,920
THAT’S RIGHT.
THAT MAKES SENSE.
422
00:22:01,360 --> 00:22:03,830
HE’S GOT A DEAL IN PLACE
IF HE COOPERATES,
423
00:22:03,860 --> 00:22:06,700
AND HE MAY NOT
EVEN HAVE TO TESTIFY.
424
00:22:06,730 --> 00:22:09,700
OKAY. I UNDERSTAND.
425
00:22:15,470 --> 00:22:18,010
JILL, DON’T HURT YOURSELF.
426
00:22:18,040 --> 00:22:19,740
I WON’T.
THANKS, DIANE.
427
00:22:26,920 --> 00:22:30,050
[ THUNDER RUMBLING ]
428
00:22:34,330 --> 00:22:35,430
BOSS?
429
00:22:35,460 --> 00:22:37,030
HEY, JILL.
430
00:22:37,060 --> 00:22:39,760
I NEED A FEW HOURS
LOST TIME.
431
00:22:39,800 --> 00:22:41,300
EVERYTHING OKAY?
432
00:22:41,330 --> 00:22:44,730
YEAH, EVERYTHING’S
OKAY AT HOME.
433
00:22:47,340 --> 00:22:49,370
SO, IS ‐‐
IS THAT OKAY ‐‐
434
00:22:49,410 --> 00:22:51,720
IF I TAKE THE TIME?
435
00:22:51,740 --> 00:22:53,780
YEAH.
436
00:23:05,760 --> 00:23:06,930
HEY, GREG.
437
00:23:06,960 --> 00:23:08,560
IS THIS WHERE YOU’VE BEEN?
438
00:23:08,590 --> 00:23:09,890
WHAT DID I MISS?
439
00:23:09,930 --> 00:23:11,260
NOTHING.
440
00:23:11,300 --> 00:23:13,710
I’VE JUST BEEN LOOKING
ALL OVER FOR YOU, BUDDY.
441
00:23:15,270 --> 00:23:17,640
YOU COMPOSING YOUR SPEECH
FOR THE RACKET TONIGHT?
442
00:23:17,670 --> 00:23:20,600
YEAH, I GUESS.
443
00:23:20,640 --> 00:23:23,270
YEAH, I’M BRINGING
MY, UH, "A" GAME
444
00:23:23,310 --> 00:23:25,780
TO INTRODUCING YOU,
I’LL TELL YOU THAT RIGHT NOW.
445
00:23:25,810 --> 00:23:27,440
ATTABOY.
[ CHUCKLES ]
446
00:23:27,480 --> 00:23:29,440
ONE THING, EACH DAY
THAT GOES BY,
447
00:23:29,480 --> 00:23:32,410
A LITTLE MORE OF ME
IS LOOKING FORWARD TO IT.
448
00:23:32,450 --> 00:23:34,580
YOUR NEW POSITION?
ABSOLUTELY, JAMES.
449
00:23:34,620 --> 00:23:37,750
AS DIFFICULT AS IT’S
GOING TO BE MISSING EVERYONE.
450
00:23:37,790 --> 00:23:40,420
NO, I‐I UNDERSTAND.
451
00:23:40,460 --> 00:23:42,420
NOT WORKING WITH YOU,
ESPECIALLY.
452
00:23:42,460 --> 00:23:45,490
ALL RIGHT,
DON’T GET ME STARTED, JAMES.
453
00:23:46,970 --> 00:23:50,080
DON’T GET ME STARTED.
454
00:23:57,310 --> 00:23:58,510
DOWN HERE.
455
00:24:06,650 --> 00:24:10,290
YOU’RE IN SOME JACKPOT,
ROBBIE.
456
00:24:10,320 --> 00:24:14,160
WE KNOW WHAT YOU DONE.
YOU UNDERSTAND, ROBBIE?
457
00:24:14,190 --> 00:24:17,130
WE KNOW YOU SHOT
MIKE BAYLOR.
458
00:24:17,160 --> 00:24:20,060
NOW, YOU’VE HAD FAMILY
MEMBERS FORTHCOMING WITH US
459
00:24:20,100 --> 00:24:21,960
WITHOUT KNOWING
YOU WERE INVOLVED,
460
00:24:22,000 --> 00:24:24,870
AND WE’RE NOT ON THIS JOB
TAKING ADVANTAGE OF THAT,
461
00:24:24,900 --> 00:24:26,840
WHETHER YOU BELIEVE IT
OR NOT.
462
00:24:26,870 --> 00:24:28,840
YOUR JOB’S PUTTING
WHAT HAPPENED
463
00:24:28,870 --> 00:24:30,840
IN THE RIGHT LIGHT,
ROBBIE,
464
00:24:30,880 --> 00:24:32,820
WHERE WE MIGHT
FIND SOME EXTENUATION.
465
00:24:32,840 --> 00:24:35,640
HE STOLE THE 6‐MONTHS
ANNIVERSARY RING I GAVE HER
466
00:24:35,680 --> 00:24:37,650
OFF MY GIRLFRIEND
LATASHA’S FINGER.
467
00:24:37,680 --> 00:24:39,310
THAT’S WHY YOU WENT
468
00:24:39,350 --> 00:24:41,520
TO MIKE BAYLOR’S
APARTMENT LAST NIGHT?
469
00:24:41,550 --> 00:24:43,220
I WENT TO GET IT BACK.
470
00:24:43,250 --> 00:24:44,550
AND YOU
WENT THERE PACKING.
471
00:24:44,590 --> 00:24:45,690
THAT’S RIGHT.
472
00:24:45,720 --> 00:24:48,590
WAS THAT PRIMARILY
SELF‐DEFENSIVE?
473
00:24:48,630 --> 00:24:52,570
WERE YOU NECESSARILY
INTENDING TO USE THAT PIECE?
474
00:24:52,600 --> 00:24:55,070
OR WAS THAT PRIMARILY
SELF‐DEFENSIVE?
475
00:24:55,100 --> 00:24:57,400
I DIDN’T GO THERE
INTENDING TO USE IT.
476
00:24:57,440 --> 00:24:59,880
I WENT TO GET
THE RING BACK.
477
00:24:59,900 --> 00:25:01,200
ALL RIGHT,
SO WHAT HAPPENED?
478
00:25:01,240 --> 00:25:03,710
I KNOCK ON THE DOOR,
HE LETS ME IN.
479
00:25:03,740 --> 00:25:06,040
I TELL HIM I WANT
THAT RING BACK
480
00:25:06,080 --> 00:25:07,950
HE TOOK OFF LATASHA’S
FINGER.
481
00:25:07,980 --> 00:25:10,180
SO, I’D BE RIGHT
SAYING AT THIS POINT
482
00:25:10,210 --> 00:25:11,680
THAT YOU DIDN’T
HAVE YOUR PIECE OUT?
483
00:25:11,720 --> 00:25:13,860
I HAD IT IN MY BELT.
484
00:25:13,890 --> 00:25:15,430
SO WHAT DOES MICHAEL DO?
485
00:25:15,450 --> 00:25:17,890
PULLS HIS PIECE ON ME ‐‐
SAYS HE’S GOING TO
486
00:25:17,920 --> 00:25:19,720
RUB THE RING ON HIS DICK,
487
00:25:19,760 --> 00:25:22,220
TELLS ME WHAT HE
USED TO DO TO LATASHA
488
00:25:22,260 --> 00:25:24,430
WHEN HE WAS TAKING HER OUT.
489
00:25:24,460 --> 00:25:26,860
THAT’S WHEN I WENT CRAZY.
490
00:25:26,900 --> 00:25:28,900
OKAY, BUT NOW WHEN YOU
SAY YOU WENT CRAZY,
491
00:25:28,930 --> 00:25:30,730
HE’S ALREADY
GOT HIS GUN OUT,
492
00:25:30,770 --> 00:25:32,530
POINTING IT AT YOU,
CORRECT, ROBBIE?
493
00:25:32,570 --> 00:25:34,870
HE COULD HAVE SHOT YOU
AT ANY SECOND
494
00:25:34,910 --> 00:25:37,380
IS WHAT I GUESS
YOU MUST HAVE BEEN FEELING.
495
00:25:37,410 --> 00:25:40,880
I WENT AFTER HIM.
496
00:25:40,910 --> 00:25:42,040
MEANING WHAT?
497
00:25:42,080 --> 00:25:44,250
I WENT AFTER HIM
TO KICK HIS ASS.
498
00:25:44,280 --> 00:25:47,050
KICK HIS ASS WHILE HE’S
POINTING A GUN AT YOU?
499
00:25:47,090 --> 00:25:48,760
I TOLD YOU I WENT CRAZY.
500
00:25:48,790 --> 00:25:51,260
AND SAYING YOU
DIDN’T PULL YOUR PIECE?
501
00:25:51,290 --> 00:25:54,720
I FORGOT I HAD IT
TILL HE SHOT AT ME.
502
00:25:54,760 --> 00:25:58,730
THEN I SHOT AT HIM BACK.
503
00:25:58,760 --> 00:26:00,930
WE DIDN’T FIND
NO GUN OF MICHAEL’S
504
00:26:00,970 --> 00:26:02,340
IN THAT APARTMENT, ROBBIE.
505
00:26:04,770 --> 00:26:06,430
I TOOK MICHAEL’S GUN.
506
00:26:06,470 --> 00:26:08,440
I WAS GOING TO GIVE IT
507
00:26:08,470 --> 00:26:11,110
TO WHO I RENTED
MY PIECE FROM,
508
00:26:11,140 --> 00:26:13,640
’CAUSE IF I USED MY PIECE,
I WAS SUPPOSED
509
00:26:13,680 --> 00:26:17,080
TO THROW IT AWAY
AND PAY A BUY‐OUT,
510
00:26:17,120 --> 00:26:19,560
BUT I DIDN’T
HAVE NO MONEY.
511
00:26:22,320 --> 00:26:25,190
COME TO FIND OUT,
I THOUGHT I THREW MY GUN
512
00:26:25,220 --> 00:26:27,420
IN THE DUMPSTER
BEHIND THAT BUILDING,
513
00:26:27,460 --> 00:26:29,520
IT WAS MICHAEL’S
I THREW AWAY,
514
00:26:29,560 --> 00:26:33,430
SO I HAD TO GIVE
MY PIECE BACK.
515
00:26:33,460 --> 00:26:35,660
YOU COULD NOT
MAKE THIS STUFF UP.
516
00:26:37,540 --> 00:26:39,610
DID I GET JASON
IN TROUBLE?
517
00:26:39,640 --> 00:26:41,100
JUST SIT HERE, ROBBIE,
518
00:26:41,140 --> 00:26:44,040
WHILE WE CHECK OUT
THAT DUMPSTER.
519
00:26:52,380 --> 00:26:55,020
UH, ONE P. P. ‐‐ HE’LL
BE BACK IN 20 MINUTES.
520
00:26:55,050 --> 00:26:57,190
WHAT DID MY SON SAY?
521
00:26:57,220 --> 00:27:00,360
WE GOT TO CONFIRM THAT,
AND THEN MAYBE THINGS
ARE GOING TO BE ALL RIGHT.
522
00:27:00,390 --> 00:27:02,290
WHAT DID ROBBIE SAY?!
MRS. WIGGINS...
523
00:27:02,330 --> 00:27:04,540
WAS HE INVOLVED?
SHH!
524
00:27:07,000 --> 00:27:08,500
DON’T YOU SHUSH ME.
525
00:27:08,530 --> 00:27:10,870
WE’RE GOING TO TALK
IN HALF AN HOUR.
526
00:27:10,900 --> 00:27:12,800
WHAT IS GOING
TO HAPPEN NOW?
527
00:27:12,840 --> 00:27:14,010
SHH!
528
00:27:15,670 --> 00:27:18,510
WE’RE GOING BACK
TO THE CRIME SCENE.
529
00:27:18,540 --> 00:27:21,710
YOU SOUND LIKE
DR. EVIL ‐‐ SHH.
530
00:27:21,750 --> 00:27:23,760
YEAH, LIKE THAT
MOTORCYCLE LUNATIC
531
00:27:23,780 --> 00:27:27,350
WOULD HAVE ANY BETTER CHANCE
MAKING THAT WOMAN HEAR REASON.
532
00:27:38,360 --> 00:27:40,130
[ KNOCK ON DOOR ]
533
00:27:47,370 --> 00:27:49,270
WHOSE PLACE IS THIS?
534
00:27:49,310 --> 00:27:50,850
WHO’S BOBBY SIMONE?
535
00:27:50,880 --> 00:27:52,120
NEVER MIND.
536
00:27:52,140 --> 00:27:54,080
WHO’S THIS GUY TO YOU?
537
00:27:54,110 --> 00:27:57,510
YOU THINK MAYBE WE GOT
OTHER THINGS TO TALK ABOUT?
538
00:27:57,550 --> 00:27:59,850
YEAH. I GUESS YOU
GOT TO LIVE YOUR LIFE.
539
00:27:59,880 --> 00:28:01,620
YOU NEED TO GO BACK
TO THAT MOTEL.
540
00:28:01,650 --> 00:28:04,290
[ SCOFFS ]
DO I NEED TO?
541
00:28:04,320 --> 00:28:06,190
WHY DOES THE GUY WHO
GUARDS YOU GETTING DRUNK
542
00:28:06,220 --> 00:28:08,360
MEAN YOU GOT TO BLOW A DEAL
KEEPING YOU OUT OF JAIL?
543
00:28:08,390 --> 00:28:10,060
I’M OUT NOW.
AND YOU AREN’T HERE
544
00:28:10,090 --> 00:28:11,890
TO MAKE ME
GO BACK TO THAT MOTEL.
545
00:28:11,930 --> 00:28:13,900
WHY AM I HERE, DON?
546
00:28:13,930 --> 00:28:17,530
TO STAKE YOU HITTING THE ROAD,
LIVIN’ A SKELL’S LIFE
547
00:28:17,570 --> 00:28:19,230
TILL THEY COLLAR YOU
FOR THIS OR SOMETHIN’ ELSE?
548
00:28:19,270 --> 00:28:20,700
LIKE THAT’S
THE ONLY CHOICE.
549
00:28:20,740 --> 00:28:23,240
IT’S THE ONE YOU MADE
WITH BOYS WHO WANTED
550
00:28:23,270 --> 00:28:26,210
TO LOOK UP TO YOU AND ME
HOPING YOU’D MAKE GOOD.
551
00:28:26,240 --> 00:28:27,880
YEAH, WELL MAYBE
I’D DO BETTER
552
00:28:27,910 --> 00:28:30,280
WITHOUT THE HOLY TRINITY
KEEPING SCORE.
553
00:28:30,310 --> 00:28:34,280
YOU THINK I WANT TO BE
BITTER LIKE THIS, JILL?
554
00:28:34,320 --> 00:28:37,050
I WOULDN’T RATHER STAY
WHERE I COULD SEE THE BOYS?
555
00:28:37,090 --> 00:28:39,890
BUT I GO BACK,
AND I’M LOOKING AT MONTHS
556
00:28:39,920 --> 00:28:42,290
IN THAT RATTRAP
TILL I TESTIFY,
557
00:28:42,330 --> 00:28:45,140
AND THEN GOD KNOWS
WHAT RELOCATION SOMEPLACE
558
00:28:45,160 --> 00:28:47,260
AWAY FROM HERE ANYWAY?
559
00:28:47,300 --> 00:28:49,430
ISN’T A CLEAN BREAK
BETTER NOW?
560
00:28:49,470 --> 00:28:51,480
SOME CLEAN BREAK.
561
00:28:51,500 --> 00:28:54,770
HEY, I’M THINKING ABOUT
MAKING A FEW OTHER STOPS,
562
00:28:54,810 --> 00:28:56,620
LET SOME PEOPLE PAY
FOR HOW I’VE BEEN SET UP.
563
00:28:56,640 --> 00:28:57,810
OH, DON...
564
00:28:57,840 --> 00:28:59,780
DID YOU BRING MONEY FOR ME?
565
00:29:01,850 --> 00:29:04,190
I DIDN’T HAVE TIME TO WRAP
THAT QUESTION UP PRETTY
566
00:29:04,220 --> 00:29:06,290
AND FIND A NICE CARD.
567
00:29:06,320 --> 00:29:09,260
I’VE GOT $780.
568
00:29:09,290 --> 00:29:11,630
OKAY.
569
00:29:11,660 --> 00:29:13,670
GREAT.
570
00:29:13,690 --> 00:29:16,930
HEY, LOOK, MAYBE
WHEN I LAND SOMEPLACE ‐‐
571
00:29:16,960 --> 00:29:18,960
GET IN TOUCH WITH ME AGAIN,
572
00:29:19,000 --> 00:29:21,810
AND I’LL TELL THEM
WHERE TO PICK YOU UP.
573
00:29:21,830 --> 00:29:23,300
ALL RIGHT.
574
00:29:23,330 --> 00:29:25,200
I UNDERSTAND.
575
00:29:34,650 --> 00:29:37,890
MAYBE WE FOUND
EACH OTHER TOO YOUNG.
576
00:29:37,920 --> 00:29:41,190
MAYBE I DID
PUT PRESSURE ON YOU
577
00:29:41,220 --> 00:29:44,990
SO YOU COULDN’T BECOME
WHAT YOU NEEDED TO.
578
00:29:46,390 --> 00:29:48,560
MAKE A LIFE, DON.
579
00:29:53,500 --> 00:29:56,680
HEY, TELL THE BOYS
I LOVE THEM.
580
00:29:57,940 --> 00:29:59,380
[ JILL SIGHS ]
581
00:30:01,170 --> 00:30:03,610
GO AWAY.
582
00:30:36,240 --> 00:30:37,940
HI.
583
00:30:40,550 --> 00:30:43,560
YOU WANT TO GET
A CUP OF COFFEE?
584
00:30:43,580 --> 00:30:45,880
SURE.
585
00:30:54,890 --> 00:30:57,890
THANKS, DIANE.
586
00:30:57,930 --> 00:30:59,700
WHAT HAPPENED?
587
00:30:59,730 --> 00:31:03,060
HE MAY NOT
TURN HIMSELF IN.
588
00:31:03,100 --> 00:31:05,030
HE MAY LEAVE TOWN.
589
00:31:05,070 --> 00:31:08,800
IN OTHER WORDS,
HE’S LEAVING TOWN.
590
00:31:08,840 --> 00:31:10,910
I GUESS, MAYBE.
591
00:31:10,940 --> 00:31:12,710
DID YOU GIVE HIM MONEY?
592
00:31:12,740 --> 00:31:14,380
IF HE’S CAUGHT, JILL,
593
00:31:14,410 --> 00:31:16,310
HE CAN GIVE YOU UP
594
00:31:16,350 --> 00:31:18,620
FOR ACCESSORY
TO FELONY ESCAPE.
595
00:31:18,650 --> 00:31:22,080
LOOK, IF ANYTHING HAPPENS,
596
00:31:22,120 --> 00:31:26,420
OBVIOUSLY YOU DIDN’T KNOW
I WAS TAKING YOUR KEYS.
597
00:31:29,460 --> 00:31:32,260
HE NEVER WOULD HAVE
GOTTEN HIS DEAL.
598
00:31:32,300 --> 00:31:34,110
HE NEVER WOULD HAVE
KEPT HIS END
599
00:31:34,130 --> 00:31:35,760
OF THE BARGAIN TO GET IT.
600
00:31:35,800 --> 00:31:38,130
HE WANTED TO RUN.
601
00:31:38,170 --> 00:31:40,770
THAT’S WHAT HE DOES.
602
00:31:40,810 --> 00:31:43,150
OKAY.
603
00:31:45,440 --> 00:31:48,180
I BELIEVE HE’S GOING TO BE
OUT OF MY LIFE NOW.
604
00:31:50,110 --> 00:31:52,910
IN A WAY, UH,
I FEEL LIKE I RANSOMED
605
00:31:52,950 --> 00:31:55,580
THE REST OF MY LIFE
AND THE BOYS’.
606
00:31:55,620 --> 00:31:57,590
I REALLY BELIEVE THAT.
607
00:31:57,620 --> 00:32:01,020
I HOPE THAT’S HOW IT WORKS.
608
00:32:11,140 --> 00:32:12,810
USING THE LAVATORY.
609
00:32:16,210 --> 00:32:19,120
WELCOME BACK.
610
00:32:19,140 --> 00:32:21,280
Danny: LOOKS LIKE WE
CLEARED THIS, BOSS.
611
00:32:21,310 --> 00:32:23,610
THE GUY THAT OWNED THE GUN
IN THE SHOOTING TWO YEARS AGO ‐‐
612
00:32:23,650 --> 00:32:26,450
THAT YOU WERE WITH US
WHEN THAT BALLISTICS
INFORMATION CAME IN ‐‐
613
00:32:26,480 --> 00:32:28,550
HE KEPT THAT PIECE.
WHAT DO YOU THINK OF THAT?
614
00:32:28,590 --> 00:32:30,960
AND THIS GUY
THAT HAD THE PIECE,
615
00:32:30,990 --> 00:32:33,350
HIS YOUNGER BROTHER
REACHED OUT TO GET IT,
616
00:32:33,390 --> 00:32:35,190
BECAUSE THE YOUNGER BROTHER
GOT DISSED
617
00:32:35,230 --> 00:32:37,140
BY HIS GIRLFRIEND’S
FORMER SQUEEZE.
618
00:32:37,160 --> 00:32:39,060
THE FORMER SQUEEZE
BEING OUR D. O. A.?
619
00:32:39,100 --> 00:32:41,370
WHO HAD A PIECE
OF HIS OWN, THIS D. O. A.,
620
00:32:41,400 --> 00:32:43,970
WHICH DETECTIVE SIPOWICZ
WILL NOW SHOW YOU.
621
00:32:44,000 --> 00:32:45,970
HE’S NOT ADDRESSING
THE PROBLEM.
622
00:32:46,000 --> 00:32:47,900
WHAT IS THE PROBLEM?
623
00:32:47,940 --> 00:32:50,640
THE PROBLEM’S COMING OUT
OF THE CAN.
624
00:32:50,680 --> 00:32:52,650
THE D. O. A. THREW SHOTS
625
00:32:52,680 --> 00:32:55,820
AT THIS WOMAN’S YOUNGER SON
WHICH CRIME SCENE MISSED
626
00:32:55,850 --> 00:32:59,420
AND MY SAME EAGLE‐EYED
PARTNER JUST COME UP WITH
OUT OF THE HALLWAY FLOORBOARD.
627
00:32:59,450 --> 00:33:01,150
HERE’S THE POINT.
628
00:33:01,190 --> 00:33:03,090
HERE IS THE CRUCIAL POINT.
629
00:33:03,120 --> 00:33:05,990
THIS WOMAN STARING DAGGERS
GOT HER OLDER SON
630
00:33:06,020 --> 00:33:08,490
THAT OWNED THE PIECE
TO COOPERATE WITH US
631
00:33:08,530 --> 00:33:11,070
PRIOR TO KNOWING
THAT IT WAS HER YOUNGER SON
632
00:33:11,100 --> 00:33:13,610
THAT ACTUALLY USED THE PIECE.
633
00:33:13,630 --> 00:33:17,400
WHICH THE OLDER BROTHER
DIDN’T KNOW HE WAS RENTING IT
TO THE YOUNGER BROTHER.
634
00:33:17,440 --> 00:33:20,450
THE YOUNGER BROTHER
KNEW THE OLDER BROTHER
WOULDN’T RENT TO HIM,
635
00:33:20,470 --> 00:33:23,340
SO HE RENTED
THROUGH AN INTERMEDIARY.
636
00:33:23,370 --> 00:33:24,840
SO HERE,
THIS WOMAN STARING DAGGERS
637
00:33:24,880 --> 00:33:26,420
GETS THE OLDER SON
638
00:33:26,440 --> 00:33:28,380
INADVERTENTLY GIVING UP
HER YOUNGER SON ‐‐
639
00:33:28,410 --> 00:33:30,350
THAT SHOULD MAKE
A PRETTY GOOD ARGUMENT
640
00:33:30,380 --> 00:33:31,750
FOR SELF‐DEFENSE FOR,
641
00:33:31,780 --> 00:33:34,350
TO BEGIN WITH,
THE YOUNGER SON.
642
00:33:34,390 --> 00:33:38,200
SO, IT SHOULDN’T GO BAD
FOR NEITHER SON ON THE MERITS,
643
00:33:38,220 --> 00:33:40,690
PLUS THEY BOTH
WERE ALSO COOPERATIVE,
644
00:33:40,730 --> 00:33:43,370
AND WE’RE GOING TO DO
EVERYTHING WE CAN
645
00:33:43,390 --> 00:33:45,590
HOW WE WRITE THINGS UP.
646
00:33:47,430 --> 00:33:50,870
AND THIS IS WHAT YOU
GOT TO EXPLAIN TO HER.
647
00:33:50,900 --> 00:33:52,770
THE WOMAN STARING DAGGERS?
648
00:33:52,800 --> 00:33:56,200
YEAH, ’CAUSE SHE’S GOING
TO TAKE IT A LOT BETTER
COMING FROM YOU.
649
00:33:56,240 --> 00:33:59,880
WE KIND OF STEERED HER INTO
A JACKPOT WITHOUT MEANING TO.
650
00:33:59,910 --> 00:34:02,380
PLUS SHE’S TAKEN
AN INSTINCTIVE DISLIKE ‐‐
651
00:34:02,410 --> 00:34:04,310
POSSIBLE RACIAL COMPONENT.
652
00:34:07,490 --> 00:34:09,530
Andy: LORRAINE WIGGINS.
653
00:34:19,260 --> 00:34:20,430
I’M ARTHUR FANCY.
654
00:34:20,460 --> 00:34:22,400
MY DETECTIVES ASKED ME
TO TALK WITH YOU.
655
00:34:22,430 --> 00:34:24,230
Lorraine: MAKE ME
WAIT ALL THIS TIME
656
00:34:24,270 --> 00:34:26,970
AND DON’T HAVE NERVE
TO TALK TO ME THEIRSELVES?
657
00:34:28,040 --> 00:34:29,910
SHALL WE TALK
IN MY OFFICE?
658
00:34:29,940 --> 00:34:32,610
NO. TELL ME OUT HERE.
659
00:34:36,720 --> 00:34:38,860
I KNOW YOU’RE
AFRAID FOR YOUR BOYS.
660
00:34:38,880 --> 00:34:40,320
HE TOLD ME I COULD
TRUST HIM ‐‐
661
00:34:40,350 --> 00:34:41,580
THAT OLD BALD ONE,
662
00:34:41,620 --> 00:34:43,450
AND LOOK WHAT IT GOT ME.
663
00:34:43,490 --> 00:34:45,960
THAT OLD BALD DETECTIVE
AND HIS PARTNER,
664
00:34:45,990 --> 00:34:48,120
THEY TOLD ME
THIS HOMICIDE CLEARS
665
00:34:48,160 --> 00:34:50,630
BECAUSE YOU
AND YOUR SONS COOPERATED.
666
00:34:50,660 --> 00:34:52,660
AND WHAT DOES THAT
COUNT FOR?
667
00:34:52,700 --> 00:34:55,440
D.A.s DON’T FIGURE
TO MAKE THEIR CAREERS
668
00:34:55,470 --> 00:34:58,340
PROSECUTING CASES DETECTIVES
AREN’T REALLY BEHIND.
669
00:34:58,370 --> 00:35:02,440
THEY KNOW THINGS CAN GET
EMBARRASSING AT TRIAL.
670
00:35:02,470 --> 00:35:04,440
THEY’LL HAVE TO BE ARRAIGNED,
MRS. WIGGINS,
671
00:35:04,480 --> 00:35:06,850
BUT I’D BE SURPRISED
IF EITHER OF YOUR SONS
672
00:35:06,880 --> 00:35:08,280
GETS JAIL TIME.
673
00:35:08,310 --> 00:35:11,180
AND IF THEY
DO END UP IN JAIL,
674
00:35:11,220 --> 00:35:14,390
WHERE DO I CASH
YOU BEING SURPRISED?
675
00:35:14,420 --> 00:35:18,220
WE HONOR THE FAVORS
PEOPLE DO US.
676
00:35:21,730 --> 00:35:25,900
I WON’T BE ABLE TO STAND
SAYING GOODBYE TO THEM.
677
00:35:25,930 --> 00:35:30,630
I’LL TELL YOUR BOYS
YOU SAID GOODBYE,
678
00:35:30,670 --> 00:35:34,240
AND I’LL HAVE A LOT MORE
INFORMATION FOR YOU TOMORROW.
679
00:35:34,270 --> 00:35:37,640
TELL THAT OLD BALD ONE
680
00:35:37,680 --> 00:35:40,020
I HOLD HIM ACCOUNTABLE.
681
00:35:40,040 --> 00:35:41,740
HE KNOWS.
682
00:35:53,860 --> 00:35:55,920
Andy: HOW’D IT GO?
683
00:35:55,960 --> 00:35:57,660
IT WENT OKAY.
684
00:35:57,700 --> 00:36:00,110
WAS SHE, UH, COMBATIVE?
685
00:36:00,130 --> 00:36:01,830
NO.
686
00:36:01,870 --> 00:36:03,370
WHAT WAS SHE?
687
00:36:03,400 --> 00:36:05,900
SHE ACCEPTS WE’RE
GOING TO TRY OUR BEST
688
00:36:05,940 --> 00:36:08,410
TO KEEP HER SONS
OUT OF JAIL.
689
00:36:08,440 --> 00:36:11,940
YEAH. I KNEW YOU’D
HAVE A BETTER RAPPORT.
690
00:36:11,980 --> 00:36:16,520
SHE MAKE ANY
DEROGATORY REFERENCES?
691
00:36:16,550 --> 00:36:18,910
SHE SAID YOU
WERE OLD AND BALD.
692
00:36:18,950 --> 00:36:20,180
OLD?
693
00:36:20,220 --> 00:36:21,420
BALD?
694
00:36:21,450 --> 00:36:24,750
[ GREG GRUNTS ]
695
00:36:24,790 --> 00:36:26,720
YOU HURT YOUR BACK, GREG?
696
00:36:26,760 --> 00:36:29,890
NO, I JUST CAUGHT A TWINGE
WHEN I STRAIGHTENED.
697
00:36:29,930 --> 00:36:31,130
MAC’S AT 7:00?
698
00:36:31,160 --> 00:36:33,160
MAC’S AT 7:00.
699
00:36:36,300 --> 00:36:38,430
GET THE RIGHT STATEMENTS
FROM HER SON.
700
00:36:38,470 --> 00:36:40,770
ABSOLUTELY.
701
00:36:51,620 --> 00:36:53,590
[ PEOPLE CHATTERING ]
702
00:36:58,190 --> 00:36:59,560
HEY, UH, TOMMY.
703
00:36:59,590 --> 00:37:01,490
[ TOMMY CLINKING GLASS ]
704
00:37:01,530 --> 00:37:04,240
UH‐OH. HERE YOU GO.
705
00:37:04,260 --> 00:37:08,400
UH, I BETTER GET ALL
THE, UH, TEASING AND LEVITY
706
00:37:08,430 --> 00:37:10,670
OUT OF MY SYSTEM HERE TONIGHT
707
00:37:10,700 --> 00:37:13,740
’CAUSE, UH, JAMES BEING
PROMOTED TO SERGEANT,
708
00:37:13,770 --> 00:37:17,310
I KNOW ANY SHOE‐SQUEEZING
I DO THE NEXT TIME I SEE HIM
709
00:37:17,340 --> 00:37:20,110
IS LIABLE TO COST ME
A 10‐DAY RIP.
710
00:37:20,140 --> 00:37:22,780
[ PEOPLE LAUGHING AND GROANING ]
711
00:37:22,810 --> 00:37:25,610
Greg: YEAH. UH, ONE THING,
712
00:37:25,650 --> 00:37:28,680
UH, HIM GOING
BACK IN THE BAG,
713
00:37:28,720 --> 00:37:31,920
I GET TO KEEP POSTPONING
THAT CONVERSATION
714
00:37:31,960 --> 00:37:34,130
I’VE ALWAYS DREADED
HAVING WITH JAMES,
715
00:37:34,160 --> 00:37:36,590
UH, ABOUT HIS TASTE
IN CLOTHES.
716
00:37:36,630 --> 00:37:39,360
Woman: OH!
717
00:37:39,400 --> 00:37:40,770
SO, UH,
718
00:37:40,800 --> 00:37:43,460
WHAT SHOULD I
SAY ABOUT MY PARTNER
719
00:37:43,500 --> 00:37:46,300
I HOOKED UP WITH
SEVEN YEARS AGO?
720
00:37:46,340 --> 00:37:51,120
CAME OVER FROM ANTI‐CRIME
WET BEHIND THE EARS,
721
00:37:51,140 --> 00:37:54,040
NOW HE’S LEAVING MARRIED
AND WITH A KID OF HIS OWN.
722
00:37:54,080 --> 00:37:56,440
JAMES LEO MARTINEZ
723
00:37:56,480 --> 00:37:58,980
HAS BEEN A PLEASURE
TO WORK WITH ‐‐
724
00:37:59,020 --> 00:38:00,990
A FIRST‐RATE DETECTIVE
725
00:38:01,020 --> 00:38:03,450
AND A GREAT DAILY COMPANION ‐‐
726
00:38:03,490 --> 00:38:06,030
NOT JUST TAKING MY BACK,
727
00:38:06,060 --> 00:38:08,070
WHICH THERE HAVE
BEEN THOSE DAYS,
728
00:38:08,090 --> 00:38:11,060
AND THANK GOD JAMES
WAS WITH ME.
729
00:38:11,100 --> 00:38:15,010
HE’S BEEN A GREAT PARTNER.
730
00:38:15,030 --> 00:38:17,670
EVERYTHING LIFE BROUGHT,
WHATEVER CAME DOWN THE PIKE,
731
00:38:17,700 --> 00:38:20,000
THAT’S WHAT
THE TWO OF US SHARED.
732
00:38:20,040 --> 00:38:22,340
ALL OF US HERE KNOW
733
00:38:22,370 --> 00:38:26,810
OUR TIME ON THIS JOB
GOES SO QUICK.
734
00:38:26,850 --> 00:38:31,190
WE DON’T GET
MANY LONG‐TERM PARTNERS.
735
00:38:33,380 --> 00:38:36,950
I’M GRATEFUL I CAUGHT
SUCH A LUCKY HAND.
736
00:38:39,260 --> 00:38:42,730
SERGEANT JAMES MARTINEZ.
737
00:38:49,470 --> 00:38:53,010
GO GET ’EM, PAL.
738
00:38:53,040 --> 00:38:57,420
ONE THING ‐‐ MY WIFE MADE ME
PROMISE I WOULDN’T SING.
739
00:38:57,440 --> 00:38:59,410
GOOD FOR GINA.
740
00:38:59,440 --> 00:39:02,780
I ALSO WAIVE THE HONOREE’S
CUSTOMARY 10% CUT
741
00:39:02,810 --> 00:39:06,920
OF THE POST‐RACKET
CRAP GAME!
742
00:39:06,950 --> 00:39:09,520
[ WHISTLES ]
743
00:39:09,550 --> 00:39:13,220
SERIOUSLY, I’M GRATEFUL
YOU ALL CAME TONIGHT,
744
00:39:13,260 --> 00:39:17,300
AND I ENJOYED WORKING
WITH EVERY ONE OF YOUS,
745
00:39:17,330 --> 00:39:20,200
AND I’M ALSO GRATEFUL
NOT TO BE LEAVING THIS JOB,
746
00:39:20,230 --> 00:39:25,870
SO I CAN LOOK FORWARD TO US
KEEPING ON WORKING TOGETHER,
747
00:39:25,900 --> 00:39:27,870
EVEN THOUGH
IN MY NEW CAPACITY,
748
00:39:27,910 --> 00:39:29,920
I CAN’T
BE COMPROMISING MYSELF
749
00:39:29,940 --> 00:39:32,070
CUTTING ANYONE
ANY SPECIAL BREAKS ‐‐
750
00:39:32,110 --> 00:39:36,080
WHICH I HOPE YOU ALL KNOW
IS A BUNCH OF MALARKEY.
751
00:39:36,110 --> 00:39:38,080
ONE THING IS,
752
00:39:38,120 --> 00:39:40,590
IF WE DON’T RUN
INTO EACH OTHER WORKING,
753
00:39:40,620 --> 00:39:43,250
I HOPE WE ALL
STILL CAN STAY IN TOUCH,
754
00:39:43,290 --> 00:39:46,600
’CAUSE, UH, I REMEMBER,
EVEN IN HIGH SCHOOL,
755
00:39:46,630 --> 00:39:48,600
MY CLOSEST BUDDIES,
756
00:39:48,630 --> 00:39:51,070
WE DIDN’T STAY IN TOUCH
THAT MUCH,
757
00:39:51,100 --> 00:39:53,440
SO I HOPE THAT
AIN’T THE CASE HERE.
758
00:39:53,460 --> 00:39:57,430
I JUST WANT TO THANK EVERYBODY
AGAIN FOR COMING OUT,
759
00:39:57,470 --> 00:39:59,600
AND, UH,
760
00:39:59,640 --> 00:40:03,200
THANK GOD FOR WHOEVER
INVENTED THIS JOB.
761
00:40:09,210 --> 00:40:12,280
WAY TO GO, SARGE.
762
00:40:29,800 --> 00:40:31,530
LOOK AT THIS, RUDY.
763
00:40:31,570 --> 00:40:34,040
LOOK WHAT I GAVE UP
FOR THIS MESS.
764
00:40:34,070 --> 00:40:35,970
DIANE, DIANE,
I’M SORRY, HONEY.
765
00:40:36,010 --> 00:40:37,680
HONEY? ARE YOU DRUNK?
766
00:40:37,710 --> 00:40:39,440
I WISH I WAS DRUNK.
767
00:40:39,480 --> 00:40:41,450
WHY’D YOU PAGE ME?
768
00:40:41,480 --> 00:40:44,810
THIS HAS GOT TO BE
YOUR PARTNER’S EX.
769
00:40:44,850 --> 00:40:46,820
DIANE RUSSELL FROM THE 15th,
RUDY RUSSO.
770
00:40:46,850 --> 00:40:48,450
HOW ARE YOU DOING?
771
00:40:48,490 --> 00:40:50,130
BETTER THAN THIS GUY.
772
00:40:50,150 --> 00:40:54,120
ARE YOU AT LEAST GOING TO
GET ME OFF THE HOT SEAT
773
00:40:54,160 --> 00:40:56,730
FOR STANDING HER UP?
Russo: DENBY DISCOVERED
OUR MYSTERY MAN,
774
00:40:56,760 --> 00:40:58,630
HANDS AND FEET CUT OFF,
775
00:40:58,660 --> 00:41:01,130
HEAD CUT OFF SO WE
CAN’T CHECK DENTAL RECORDS.
776
00:41:01,170 --> 00:41:03,740
BEST THIS GUY
GIVES ME FOR A LEAD
777
00:41:03,770 --> 00:41:05,400
IS TWO UNIDENTIFIED
MALE HISPANICS
778
00:41:05,440 --> 00:41:07,410
BEATING FEET
DOWN THE STREET OUT THERE.
779
00:41:07,440 --> 00:41:08,900
EXCUSE ME FOR MY
FIRST CURIOSITY BEING,
780
00:41:08,940 --> 00:41:11,670
WHAT MISCHIEF MIGHT
THE UNIDENTIFIED MALE HISPANICS
781
00:41:11,710 --> 00:41:13,410
BE UP TO IN THE ALLEY?
782
00:41:13,440 --> 00:41:14,410
Diane: THANKS.
783
00:41:14,450 --> 00:41:15,990
YOU’RE A GOOD INFLUENCE.
784
00:41:16,010 --> 00:41:17,950
LATEST I’VE
SEEN DENBY UPRIGHT.
785
00:41:19,350 --> 00:41:20,920
WHAT AM I DOING HERE,
DENBY?
786
00:41:20,950 --> 00:41:23,420
I GIVE UP
ON YOUR PARTNER’S PLACE,
787
00:41:23,450 --> 00:41:24,920
LIKE, TWO HOURS AGO,
788
00:41:24,960 --> 00:41:27,270
START SITTING ON ONE
OF THE DOMINICANS
789
00:41:27,290 --> 00:41:29,660
HER EX‐HUSBAND MULED FOR
LIKE TWO BLOCKS FROM HERE.
790
00:41:29,690 --> 00:41:33,230
ONE OF HIS CREW’S OUTSIDE
WASHING DOWN THE INSIDE
OF A VAN.
791
00:41:33,260 --> 00:41:36,830
I START CHECKING
SOME DUMPSTERS,
I FIND THAT.
792
00:41:36,870 --> 00:41:38,670
YOU DIDN’T TELL RUSSO
793
00:41:38,700 --> 00:41:40,540
ABOUT SITTING
ON THE DOMINICANS’ PLACE?
794
00:41:40,570 --> 00:41:42,540
THESE DOMINICANS
ARE GOING AWAY ANYHOW.
795
00:41:42,570 --> 00:41:44,840
IF THAT BODY
IS YOUR PARTNER’S EX,
796
00:41:44,880 --> 00:41:47,720
MY LIFE’S A LOT SIMPLER
IF HE’S NEVER IDENTIFIED.
797
00:41:47,750 --> 00:41:50,090
THE ONLY THING ‐‐
798
00:41:50,110 --> 00:41:53,050
IS THIS HIS RING,
DO YOU KNOW?
799
00:41:53,080 --> 00:41:54,880
YOU FOUND THAT
ON THE BODY?
800
00:41:54,920 --> 00:41:57,420
SOME KIND OF INTERLOCKED
HEARTS ON THE INSIDE.
801
00:41:57,460 --> 00:41:58,860
DO YOU KNOW IF IT’S HIS?
802
00:41:58,890 --> 00:42:00,690
’CAUSE HE DIDN’T HAVE A RING
WHEN I WAS GUARDING HIM.
803
00:42:00,730 --> 00:42:02,700
I WANT THAT.
804
00:42:02,730 --> 00:42:05,470
YOU WANT TO GIVE IT
TO YOUR PARTNER?
YEAH.
805
00:42:05,500 --> 00:42:07,970
YOU UNDERSTAND ABOUT
MY LIFE BEING SIMPLER?
806
00:42:08,000 --> 00:42:09,900
GIVE ME THE RING, DENBY.
807
00:42:11,600 --> 00:42:12,870
SO IT IS HIS RING.
808
00:42:12,900 --> 00:42:13,840
YEAH...
809
00:42:15,070 --> 00:42:16,040
[ SIGHS ]
810
00:42:16,070 --> 00:42:17,340
IT’S HIS.
811
00:42:39,600 --> 00:42:42,560
Captioned by VISUAL DATA
Your Closed Captioning Resource
812
00:42:42,600 --> 00:42:44,530
♪ ♪
60091
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