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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:01,440 --> 00:00:02,634 CHARLIE: ONCE UPONA TIME, THERE WERE THREE LITTLE GIRLS 2 00:00:02,920 --> 00:00:06,276 WHO WENT TO THE POLICE ACADEMY. 3 00:00:16,840 --> 00:00:18,910 AND THEY WERE EACH ASSIGNED 4 00:00:19,240 --> 00:00:22,152 VERYHAZARDOUS DUTIES. 5 00:00:22,440 --> 00:00:24,237 BUTI TOOK THEMA WA Y FROM ALL THA 7'. 6 00:00:24,520 --> 00:00:28,149 AND NOW THEY WORK FOR ME M YNAME IS CHARLIE 7 00:01:49,360 --> 00:01:51,237 [SOFT MUSIC PLAYING] 8 00:01:55,840 --> 00:01:56,909 YOUR CHAMPAGNE, SIR. 9 00:01:57,200 --> 00:01:58,838 I'LL TAKE IT. 10 00:02:03,200 --> 00:02:04,189 THIS OUGHT TO COVER IT. 11 00:02:04,480 --> 00:02:05,595 THANK YOU, SIR. 12 00:02:05,880 --> 00:02:07,757 THANK YOU. 13 00:02:24,080 --> 00:02:25,638 THE ICEMAN COMETH. 14 00:02:25,920 --> 00:02:27,990 MMM. CHAMPAGNE. 15 00:02:28,280 --> 00:02:30,635 [CORK POPS] 16 00:02:30,960 --> 00:02:33,030 VOILA. 17 00:03:04,000 --> 00:03:05,592 OH, OH, OH, OH, OH! 18 00:03:05,880 --> 00:03:08,155 [LAUGHING] 19 00:03:14,160 --> 00:03:16,754 TONY, I CAN'T GO THROUGH WITH THIS. 20 00:03:17,080 --> 00:03:18,195 CAN'T? 21 00:03:18,480 --> 00:03:21,597 I DON'T WANT TO. IT DOESN'T FEEL RIGHT. 22 00:03:21,920 --> 00:03:23,990 I DON'T FEEL RIGHT. 23 00:03:24,280 --> 00:03:28,034 RELAX. RELAX AND ENJOY. 24 00:03:29,560 --> 00:03:31,710 TONY, WHAT ARE YOU DOING? 25 00:03:32,000 --> 00:03:32,955 [CAMERA CLICKS] 26 00:04:03,920 --> 00:04:07,469 HOW MUCH DID YOU SAY THESE PICTURES COST YOU, MRS. CLUSAK? 27 00:04:10,440 --> 00:04:11,555 GREEDY, WEREN'T THEY? 28 00:04:11,840 --> 00:04:13,671 CHARLIE: GREEDYISA VERY NICE WAYOF PUTTING IT. 29 00:04:13,960 --> 00:04:16,394 ARE YOU RELATED TO DAVEY? 30 00:04:16,680 --> 00:04:17,715 HE WAS... 31 00:04:18,000 --> 00:04:19,991 IS MY HUSBAND. 32 00:04:20,320 --> 00:04:22,436 I'M MRS. DAVEY CLUSAK. 33 00:04:22,720 --> 00:04:25,188 DAVEY CLUSAK THE BASEBALL PLAYER? 34 00:04:25,480 --> 00:04:27,675 LIFETIME BATTING AVERAGE-- .323, 35 00:04:27,960 --> 00:04:29,791 AMERICAN LEAGUE BATTING CHAMP SIX YEARS, 36 00:04:30,120 --> 00:04:31,712 MOST VALUABLE PLAYER FOUR TIMES, 37 00:04:32,040 --> 00:04:33,996 FOUR WORLD SERIES. 38 00:04:34,280 --> 00:04:35,998 OBI/IOUSL Y, .IILL, YOU’RE A FAN 39 00:04:36,280 --> 00:04:37,395 LISTEN, WHEN I WAS A KID, 40 00:04:37,680 --> 00:04:40,399 IT TOOK FIVE RALPH TERRYS, SIX GIL MCDOUGALS 41 00:04:40,680 --> 00:04:41,829 AND A WHOLE MESS OF TONY KUBEKS 42 00:04:42,120 --> 00:04:46,671 TO GET ONE DAVEY CLUSAK BUBBLE-GUM CARD. 43 00:04:46,960 --> 00:04:49,428 A DRAMATIC LESSON IN STREET-LEVEL ECONOMICS. 44 00:04:49,760 --> 00:04:53,070 IT'S THE SAME PHENOMENON THAT GOVERNS THE OUTRAGEOUS PRICES 45 00:04:53,360 --> 00:04:56,033 PEOPLE WILL PAY FOR PICTURES LIKE THAT WHICH WE JUST SAW. 46 00:04:56,320 --> 00:04:57,958 YOUR HUSBAND WAS KILLED IN AN ACCIDENT, 47 00:04:58,240 --> 00:04:59,514 WASN'T HE, MRS. CLUSAK? 48 00:04:59,800 --> 00:05:00,789 FOUR YEARS AGO. 49 00:05:01,080 --> 00:05:03,355 HE WENT DOWN IN ONE OF THOSE SMALL PRIVATE PLANES 50 00:05:03,640 --> 00:05:06,279 ON HIS WAY TO OAKLAND-- AN OLD-TIMERS' GAME. 51 00:05:06,560 --> 00:05:09,393 HE WAS ELECTED TO THE BASEBALL HALL OF FAME POSTHUMOUSLY. 52 00:05:09,680 --> 00:05:11,796 MRS. CLUSAK: THAT'S RIGHT. KELLY. 53 00:05:12,120 --> 00:05:13,997 AND IT WAS JUST ABOUT THAT TIME 54 00:05:14,280 --> 00:05:16,874 THAT I STARTED SEEING A YOUNG MAN 55 00:05:17,200 --> 00:05:19,111 NAMED TONY BORDINAY. 56 00:05:19,400 --> 00:05:21,231 THE MAN IN THE PICTURES? 57 00:05:22,920 --> 00:05:25,912 HE, UH... I MET HIM AT A PLACE CALLED 58 00:05:26,200 --> 00:05:28,077 THE ALEXANDER CRUZ DANCE ACADEMY. 59 00:05:28,360 --> 00:05:29,918 IWAS... 60 00:05:30,200 --> 00:05:33,237 I WAS DESPERATE ENOUGH TO BELIEVE THAT HE WAS SINCERE. 61 00:05:33,560 --> 00:05:35,790 INSTEAD, YOU ENDED UP IN THOSE PICTURES. 62 00:05:36,080 --> 00:05:39,117 IRONICALLY, NOTHING HAPPENED BETWEEN US. 63 00:05:39,440 --> 00:05:40,350 TO NY-- 64 00:05:40,640 --> 00:05:43,950 I TOLD TONY THAT I COULDN'T GO THROUGH WITH IT. 65 00:05:44,280 --> 00:05:46,111 WELL, HE LOST HIS CHARM 66 00:05:46,440 --> 00:05:48,476 AND STARTED HOLDING ME DOWN 67 00:05:48,760 --> 00:05:51,274 AND TEARING MY CLOTHES. 68 00:05:51,560 --> 00:05:53,835 THE PHOTOGRAPHER JUST CAME IN FROM NOWHERE. 69 00:05:54,160 --> 00:05:56,390 WHY WERE THE PICTURES WORTH SO MUCH TO YOU? 70 00:05:56,680 --> 00:05:58,955 RIGHT, THEY'RE NOT ALL THAT INCRIMINATING. 71 00:05:59,240 --> 00:06:02,471 WELL, THEY'RE INCRIMINATING ENOUGH, WITH THE DOPE 72 00:06:02,760 --> 00:06:04,591 THAT WAS PLANTED THERE. 73 00:06:04,920 --> 00:06:07,275 HE THREATENED TO SEND THOSE PICTURES TO COOPERSTOWN. 74 00:06:07,560 --> 00:06:08,913 COOPERSTOWN? 75 00:06:09,200 --> 00:06:10,918 THE BASEBALL HALL OF FAME. 76 00:06:11,200 --> 00:06:12,110 0H. 77 00:06:12,400 --> 00:06:14,630 WELL, SUPPOSE THE PICTURES HAD GONE PUBLIC? 78 00:06:14,920 --> 00:06:16,831 WOULD THAT REALLY HAVE AFFECTED DAVEY'S CHANCES 79 00:06:17,120 --> 00:06:18,030 FOR THE HALL OF FAME? 80 00:06:18,320 --> 00:06:20,072 "SCANDAL'S BAD FOR THE GAME." 81 00:06:20,400 --> 00:06:21,799 THAT'S EXACTLY WHAT THEY WOULD HAVE SAID. 82 00:06:22,080 --> 00:06:25,436 WOULD THESE HAVE REALLY AFFECTED THEIR VOTES? 83 00:06:25,720 --> 00:06:27,836 WELL, IT'S HARD TO KNOW 84 00:06:28,120 --> 00:06:31,396 EXACTLY HOW THOSE MEN WOULD HAVE REACTED, 85 00:06:31,680 --> 00:06:33,671 BUT I COULDN'T TAKE A CHANCE. 86 00:06:33,960 --> 00:06:37,111 I MEAN, DAVEY WORKED FOR THAT HONOR ALL HIS LIFE. 87 00:06:37,400 --> 00:06:39,994 AND NOW YOU'RE NOT AFRAID OF THE CONSEQUENCES? 88 00:06:40,280 --> 00:06:41,395 OF COURSE I AM, 89 00:06:41,680 --> 00:06:43,955 BUT NOW THEY'RE MY CONSEQUENCES. 90 00:06:44,240 --> 00:06:46,231 AS OF LAST WEEK, 91 00:06:46,520 --> 00:06:49,159 DAVEY IS IN THE BASEBALL HALL OF FAME TO STAY, 92 00:06:49,440 --> 00:06:52,079 BUT I'M BROKE. 93 00:06:52,360 --> 00:06:54,430 I DON'T DESERVE THAT, 94 00:06:54,760 --> 00:06:56,910 AND I DIDN'T DO ANYTHING T0 DESERVE IT. 95 00:06:57,200 --> 00:06:59,794 WE'LL DO WHAT WE CAN, MRS. CLUSAK. 96 00:07:00,080 --> 00:07:01,877 IN THE MEANTIME, 97 00:07:02,160 --> 00:07:04,469 WHY DON'T YOU JUST TRY TO RELAX 98 00:07:04,760 --> 00:07:07,638 AND TRY NOT TO WORRY ABOUT IT. 99 00:07:09,480 --> 00:07:11,630 TRY NOT TO WORRY ABOUT IT. 100 00:07:11,920 --> 00:07:16,198 | KEEP WONDERING ABOUT ALL THOSE OTHER SILLY WOMEN 101 00:07:16,480 --> 00:07:17,959 THAT THEY'RE GOING TO DO THIS TO 102 00:07:18,280 --> 00:07:19,474 OR HAVE DONE IT TO. 103 00:07:19,760 --> 00:07:21,990 NOT SILLY--VULNERABLE. 104 00:07:23,160 --> 00:07:24,559 THANK YOU. 105 00:07:24,880 --> 00:07:27,110 THANK YOU ALL VERY MUCH. 106 00:07:27,400 --> 00:07:29,152 I FEEL BETTER ALREADY. 107 00:07:29,440 --> 00:07:32,352 ALL RIGHT, MRS. CLUSAK, WE'LL PROCEED... 108 00:07:32,680 --> 00:07:33,476 VERY CAREFULLY. 109 00:07:33,800 --> 00:07:35,950 THESE GUYS HAVE A REPUTATION 110 00:07:36,240 --> 00:07:38,834 FOR PLAYING VERY, VERY ROUGH. 111 00:07:42,280 --> 00:07:45,238 DO YOU THINK YOU COULD DANCE YOUR WA YIN TO HIS HEART? 112 00:07:45,560 --> 00:07:47,437 [DISCO MUSIC PLAYING] 113 00:08:24,080 --> 00:08:25,957 WELL, WHAT DO YOU THINK? 114 00:08:26,240 --> 00:08:27,514 I, UH... 115 00:08:27,800 --> 00:08:29,711 I LIKE YOUR, UH, ENERGY. 116 00:08:30,000 --> 00:08:31,592 OH, WELL, THAT WAS MY DISCO MEDLEY-- 117 00:08:31,880 --> 00:08:35,395 A LITTLE HUSTLE, A LITTLE BUMP, A LITTLE FREELANCE. 118 00:08:35,680 --> 00:08:36,635 NICE, VERY NICE. 119 00:08:36,920 --> 00:08:38,797 YOU REALLY SHOULD INCLUDE DISCO IN YOUR CURRICULUM. 120 00:08:39,120 --> 00:08:41,156 YOU HAVE NO IDEA THE IMPACT IT'S HAVING. 121 00:08:41,440 --> 00:08:43,351 I'M AWARE OF THE DISCO-MANIA. 122 00:08:43,640 --> 00:08:45,471 I DON'T REALLY LIKE IT MYSELF. 123 00:08:45,760 --> 00:08:49,309 BUT I THINK YOUNG GIRLS LOOK WELL DOING IT. 124 00:08:49,600 --> 00:08:52,672 WELL, YOU'RE LOOKING AT A FULLY QUALIFIED DISCO EXPERT. 125 00:08:53,000 --> 00:08:54,035 I MEAN, I'VE DANCED EVERYWHERE-- 126 00:08:54,320 --> 00:08:56,595 REGINE'S, MONIQUE'S, DIRTY JACKS. 127 00:08:56,920 --> 00:08:58,148 VERY IMPRESSIVE. 128 00:08:58,440 --> 00:09:00,556 WELL, AM I HIRED, MR. CRUZ? 129 00:09:00,840 --> 00:09:04,833 ALEXANDER, JILL. ALEXANDER. 130 00:09:05,120 --> 00:09:06,235 OUR NEXT MO I/E, BOSLE Y. 131 00:09:06,560 --> 00:09:07,788 GE TRID OF SCHAFFER GOODHEW, 132 00:09:08,080 --> 00:09:10,674 CRUZ ’S SLEAZ Y PRIVA TE-E YE PHO TOGRAPHER. 133 00:09:10,960 --> 00:09:13,758 LET ME GET THIS STRAIGHT. CHARLIE TOWNSEND IS HIRING ME? 134 00:09:14,040 --> 00:09:14,950 THE CHARLIE TOWNSEND? 135 00:09:15,280 --> 00:09:17,396 CHARLIE EXPLICITLY ASKED FOR YOU. 136 00:09:17,680 --> 00:09:19,113 WELL, THAT'S A COMPLIMENT 137 00:09:19,400 --> 00:09:20,674 COMING FROM OLD CHARLIE TOWNSEND. 138 00:09:20,960 --> 00:09:22,393 HE THINKS THE WORLD OF YOU. 139 00:09:22,680 --> 00:09:23,999 YEAH? 140 00:09:24,280 --> 00:09:27,670 $200 A DAY AND EXPENSES. IS THAT ACCEPTABLE? 141 00:09:28,000 --> 00:09:30,912 WELL, THAT'S MORE THAN FAIR. 142 00:09:31,200 --> 00:09:33,714 GOOD. I HAVE YOUR PLANE TICKET T0 WASHINGTON, DC. 143 00:09:34,040 --> 00:09:35,996 WASHINGTON, DC? 144 00:09:36,280 --> 00:09:38,510 I'LL EXPLAIN MORE ON THE WAY TO THE AIRPORT. 145 00:09:38,840 --> 00:09:39,955 ONE OTHER THING. 146 00:09:40,240 --> 00:09:42,071 NO ONE MUST KNOW THAT YOU'VE LEFT TOWN. 147 00:09:42,360 --> 00:09:43,349 IS THAT CLEAR? 148 00:09:43,680 --> 00:09:44,749 OH, TOP-PRIORITY STUFF, HUH? 149 00:09:45,040 --> 00:09:48,999 CORRECTION. NOT TOP-PRIORITY STUFF 150 00:09:49,280 --> 00:09:51,271 A TOP-PRIORITY MISS/0N 151 00:09:51,600 --> 00:09:53,750 I WAS WONDERING, 152 00:09:54,040 --> 00:09:56,554 THIS BEING WASHINGTON, DC. AND ALL, 153 00:09:56,840 --> 00:09:59,149 DOES THIS HAVE ANY POLITICAL UNDERTONES? 154 00:09:59,440 --> 00:10:01,829 THAT'S VERY QUICK OF YOU, MR. GOODHEW. 155 00:10:02,160 --> 00:10:03,832 I CAN'T SAY MORE AT THIS TIME. 156 00:10:04,160 --> 00:10:06,549 I UNDERSTAND. 157 00:10:10,560 --> 00:10:13,199 ANYTHING LIKE WATERGATE? 158 00:10:13,480 --> 00:10:17,029 WATERGATE WAS JUST THE TIP. 159 00:10:17,320 --> 00:10:18,469 THE TIP? 160 00:10:18,800 --> 00:10:20,631 THE TIP OF AN ICEBERG. 161 00:10:20,920 --> 00:10:22,478 YOU'RE LATE. 162 00:10:24,360 --> 00:10:26,590 SIDE, TOGETHER AND BACK. [SLOW-TEMPO MUSIC PLAYING] 163 00:10:26,880 --> 00:10:28,472 SIDE, TOGETHER AND FORWARD. 164 00:10:28,760 --> 00:10:30,318 SIDE, TOGETHER, BACK. 165 00:10:30,640 --> 00:10:32,631 SIDE, TOGETHER, ONE-QUARTER TURN FORWARD. 166 00:10:32,920 --> 00:10:34,717 SIDE, TOGETHER AND BACK. 167 00:10:35,000 --> 00:10:37,150 THAT'S FINE. OKAY, LET'S TRY IT AGAIN FROM THE TOP. 168 00:10:37,480 --> 00:10:38,435 TONY, EXCUSE ME. 169 00:10:38,720 --> 00:10:41,188 CLASS, I WANT YOU ALL TO MEET JILL. 170 00:10:41,480 --> 00:10:45,837 JILL IS GOING TO TEACH A SPECIAL CLASS IN DISCO DANCES. 171 00:10:46,160 --> 00:10:48,390 EXCUSE ME. 172 00:10:48,680 --> 00:10:51,274 PLEASED TO MEET YOU, JILL. MY NAME IS MURPHY MYRPHY, 173 00:10:51,560 --> 00:10:54,438 BUT MY FRIENDS CALL ME MURPHY. 174 00:10:54,720 --> 00:10:55,835 DO YOU HUSTLE? 175 00:10:56,120 --> 00:10:57,678 NOT AS WELL AS YOU DO. 176 00:10:58,000 --> 00:10:58,876 [FAST-TEMPO MUSIC PLAYING] 177 00:10:59,160 --> 00:11:00,878 YOU WANT? OKAY. 178 00:11:16,240 --> 00:11:19,357 KELLY: THIS GUY KEEPS FILES LIKE MOST PEOPLE KEEP MICE. 179 00:11:19,640 --> 00:11:21,915 MMM-HMM. 180 00:11:22,240 --> 00:11:23,468 AH! 181 00:11:23,760 --> 00:11:25,398 GOT THE CLUSAK FILE. 182 00:11:27,840 --> 00:11:29,068 WHAT A MESS. 183 00:11:29,360 --> 00:11:33,273 [TELEPHONE RINGS] 184 00:11:33,560 --> 00:11:36,313 SCHAFFER GOODHEW'S OFFICE. KELLY GARRETT SPEAKING. 185 00:11:36,600 --> 00:11:38,397 OH, YES, MR. CRUZ. 186 00:11:38,680 --> 00:11:40,910 I WAS JUST GOING TO CALL YOU. 187 00:11:41,200 --> 00:11:42,918 SCHAFFER IS OUT OF TOWN ON URGENT BUSINESS. 188 00:11:43,200 --> 00:11:44,838 HOWEVER, HE'S GONE OVER ALL YOUR FILES 189 00:11:45,120 --> 00:11:46,394 AND EXPLAINED ALL YOUR BUSINESS. 190 00:11:46,720 --> 00:11:49,109 ARE YOU AWARE OF THE FULL NATURE OF OUR BUSINESS DEALINGS? 191 00:11:49,400 --> 00:11:50,674 OH, C 0MPLE TEL Y. 192 00:11:50,960 --> 00:11:52,791 IN HIS ABSENCE, I CAN PERFORM THE SAME FUNCTION. 193 00:11:53,080 --> 00:11:55,435 I HOPE YOU'LL HAVE THE OPPORTUNITY TO TRY ME. 194 00:11:55,720 --> 00:11:57,950 WELL, LET'S TRYA SMALL STEP A T FIRS T. 195 00:11:58,240 --> 00:12:00,356 OH, I JUST NEED A CHANCE TO PROVE MYSELF. 196 00:12:00,640 --> 00:12:03,950 VERY GOOD. I NEED SOMEONE CHECKED OUT IMMEDIATELY. 197 00:12:04,280 --> 00:12:06,191 THE NAME IS JILL MUNROE. 198 00:12:06,480 --> 00:12:07,276 NEW CUSTOMER? 199 00:12:07,560 --> 00:12:09,152 NEW EMPL 0 YEE 200 00:12:09,440 --> 00:12:11,590 OKAY, TELL ME WHAT YOU'VE GOT ON HER 201 00:12:11,880 --> 00:12:13,313 AND LEAVE THE REST TO ME. 202 00:12:13,600 --> 00:12:16,637 MM-HMM. RIGHT. 203 00:12:16,960 --> 00:12:19,269 OKAY. I'LL GET A RUNDOWN ON THIS MUNROE GIRL. 204 00:12:19,560 --> 00:12:21,869 TELL YOU WHAT, I'LL GET THE INFORMATION, COME BY LATER. 205 00:12:22,160 --> 00:12:25,869 WE CAN GET ACQUAINTED. OKAY, BYE. 206 00:12:28,880 --> 00:12:32,316 KELLY, DO YOU THINK MY SOCIAL LIFE WOULD IMPROVE 207 00:12:32,640 --> 00:12:34,915 IF I TOOK DANCING LESSONS? 208 00:12:35,200 --> 00:12:36,076 IMMEASURABLY. 209 00:12:36,400 --> 00:12:38,550 YOU COULD BUILD A STAIRWAY TO PARADISE 210 00:12:38,840 --> 00:12:40,717 WITH A NEW STEP EVERY DAY. 211 00:12:42,800 --> 00:12:44,870 [TANGO MUSIC PLAYING] 212 00:13:06,960 --> 00:13:09,110 YOU KNOW, JILL, YOU'RE AN EXCELLENT DANCER. 213 00:13:09,400 --> 00:13:10,389 THANK YOU. 214 00:13:10,720 --> 00:13:12,119 YOU DANCE RELAXED, AND THAT'S IMPORTANT. 215 00:13:12,400 --> 00:13:14,675 MOST OF THE WOMEN AROUND HERE ARE, UH... 216 00:13:14,960 --> 00:13:15,790 HOW SHALL I PUT IT? 217 00:13:16,080 --> 00:13:16,990 KLUTZES. 218 00:13:17,280 --> 00:13:18,633 YEAH, THE PERFECT WORD. 219 00:13:18,920 --> 00:13:20,751 [DOOR OPENS] 220 00:13:23,880 --> 00:13:25,632 ARE YOU COMING, OR ARE YOU GOING? 221 00:13:25,920 --> 00:13:27,831 HUH? 222 00:13:28,160 --> 00:13:30,276 WE'RE TRYING TO GET SOME WORK DONE HERE. MAY I HELP YOU? 223 00:13:30,560 --> 00:13:32,869 [NASAL VOICE] I'D LIKE TO LEARN TO DANCE. 224 00:13:33,200 --> 00:13:36,556 THE RECEPTIONIST IS JUST DOWN THE HALL TO THE LEFT. 225 00:13:47,960 --> 00:13:49,837 SHALL WE GET TO WORK? 226 00:13:50,120 --> 00:13:51,792 YOU KNOW, IF SHE WANTS TO LEARN HOW TO DANCE, 227 00:13:52,080 --> 00:13:53,911 WHY DOESN'T SHE JUST HIRE FRED ASTAIRE? 228 00:13:54,200 --> 00:13:55,428 WHY DO YOU SAY THAT? 229 00:13:55,760 --> 00:13:58,354 'CAUSE HER DADDY IS SO RICH. 230 00:13:58,680 --> 00:13:59,635 YOU KNOW HER? 231 00:13:59,920 --> 00:14:00,796 SABRINA WALKER. 232 00:14:01,080 --> 00:14:02,354 H ER FATH ER IS STEWART WALKER. 233 00:14:02,640 --> 00:14:04,676 HE HAS A CITY IN ALASKA NAMED AFTER HIM, 234 00:14:04,960 --> 00:14:05,949 A LINE OF LUNCHEON MEATS, 235 00:14:06,280 --> 00:14:08,475 AND THEN THERE'S ALWAYS WALKER BROADCASTING. 236 00:14:08,760 --> 00:14:10,751 HOW DO YOU KNOW SO MUCH ABOUT HIM? 237 00:14:11,040 --> 00:14:12,792 OH, BECAUSE STEWART WALKER IS DIVORCED 238 00:14:13,120 --> 00:14:15,190 AND CONSIDERED A VERY BIG CATCH. 239 00:14:15,480 --> 00:14:16,993 I KEEP A LIST. 240 00:14:17,280 --> 00:14:19,475 HEY, WHY DON'T WE TAKE A BREAK. 241 00:14:19,760 --> 00:14:21,671 WE CAN GO OVER THE DANCES LATER ON. 242 00:14:22,000 --> 00:14:23,831 I THINK PERHAPS I WAS RUDE TO MISS WALKER. 243 00:14:24,120 --> 00:14:25,872 OH. YOU'RE THE BOSS, TONY. 244 00:14:26,160 --> 00:14:29,391 WELL, IT SEEMS MISS JILL MUNROE CHECKS OUT. 245 00:14:29,720 --> 00:14:31,517 QUICK WORK, AND VERY THOROUGH. 246 00:14:31,840 --> 00:14:34,195 YOU CERTAINLY DON'T LOOK LIKE A PRIVATE DETECTIVE, KELLY. 247 00:14:34,480 --> 00:14:36,152 THAT'S WHAT A LOT OF PEOPLE SAY. 248 00:14:38,640 --> 00:14:39,959 PLEASE DO. 249 00:14:40,240 --> 00:14:43,277 SCHAFFER GOODHEW CAN STAY OUT OF TOWN. 250 00:14:43,600 --> 00:14:45,716 I LIKE YOUR STYLE, MR. CRUZ. 251 00:14:46,000 --> 00:14:48,594 ALEXANDER, KELLY. ALEXANDER. 252 00:14:48,880 --> 00:14:50,074 OKAY, ALEXANDER. 253 00:14:50,400 --> 00:14:52,516 REMEMBER, ANYTHING GOODHEW CAN DO-- 254 00:14:52,800 --> 00:14:54,392 YOU CAN DO BETTER? 255 00:14:54,680 --> 00:14:55,271 PRECISELY. 256 00:14:55,560 --> 00:14:57,198 I HOPE SO, KELLY. 257 00:14:57,480 --> 00:15:00,472 EMPLOYEES WHO PLEASE ME ARE VERY WELL REWARDED. 258 00:15:00,760 --> 00:15:01,590 THOSE WHO DISAPPOINT ME, 259 00:15:01,920 --> 00:15:06,152 NEVER DISAPPOINT ME ASECOND TIME. 260 00:15:06,440 --> 00:15:08,635 I'LL BEAR THAT IN MIND. 261 00:15:19,560 --> 00:15:25,510 [TELEPHONE RINGS] 262 00:15:25,800 --> 00:15:28,792 SCHAFFER GOODHEW'S OFFICE. KELLY SPEAKING. 263 00:15:29,080 --> 00:15:32,436 HI, MR. CRUZ. ALEXANDER, I MEAN. 264 00:15:32,720 --> 00:15:37,350 WELL, SURE, LET ME GET A PENCIL. 265 00:15:37,640 --> 00:15:39,392 COULD YOU HOLD ONE MOMENT? 266 00:15:39,680 --> 00:15:41,511 [LAUGHS] 267 00:15:41,800 --> 00:15:42,949 WE'RE NOT HIRING TODAY. 268 00:15:43,240 --> 00:15:44,593 OH, IS THAT THE MAN? 269 00:15:44,920 --> 00:15:46,399 YES. 270 00:15:46,680 --> 00:15:49,274 CALLING FOR THE UNEXPURGATED BIOGRAPHY OF ONE SABRINA WALKER. 271 00:15:49,560 --> 00:15:50,913 LISTEN, I GOT TO GET OUT OF THESE CLOTHES. 272 00:15:51,200 --> 00:15:52,792 I FEEL LIKE THE INSPIRATION FOR THE "GLAMOUR DON'T" COLUMN 273 00:15:53,080 --> 00:15:54,354 IN GLAMOUR MAGAZINE. 274 00:15:54,680 --> 00:15:56,238 DID YOU BRING A CHANGE OF CLOTHES FOR ME, MAYBE, I HOPE? 275 00:15:56,520 --> 00:15:57,589 YEAH, RIGHT IN THE CLOSET. 276 00:15:57,880 --> 00:16:01,350 THINK I SHOULD KEEP THESE 0N? NO. GO. 277 00:16:01,680 --> 00:16:05,912 SORRY, ALEXANDER. NOW, WHAT WERE YOU SAYING? 278 00:16:06,200 --> 00:16:07,269 THE NAME IS WALKER. 279 00:16:07,600 --> 00:16:10,319 SABRINA'S FATHER IS STEWART WALKER, RIGHT? 280 00:16:12,360 --> 00:16:13,349 ALL RIGHT. 281 00:16:18,200 --> 00:16:21,351 WELL, THERE'S A LOT OF MONEY IN THE WALKER FAMILY. 282 00:16:21,640 --> 00:16:22,356 IT CHECKS OUT? 283 00:16:22,640 --> 00:16:23,595 UH-HUH. 284 00:16:23,880 --> 00:16:25,108 READ THE WHOLE REPORT. 285 00:16:25,400 --> 00:16:26,435 I MEAN, SABRINA'S A LITTLE SPACED. 286 00:16:26,720 --> 00:16:28,438 YOU DISAPPROVE? 287 00:16:28,720 --> 00:16:30,597 YOU WANT MY REAL OPINION, MR. CRUZ? 288 00:16:30,920 --> 00:16:32,717 NOT ESPECIALLY. 289 00:16:33,000 --> 00:16:34,513 IF I DIDN'T VALUE YOUR OPINION, KELLY, 290 00:16:34,840 --> 00:16:36,398 I WOULDN'T ASK FOR IT. 291 00:16:36,720 --> 00:16:39,154 MY GUT INSTINCT SAYS FORGET SABRINA WALKER. 292 00:16:39,440 --> 00:16:42,079 YOU'VE GOT TO BE KIDDING. 293 00:16:42,360 --> 00:16:44,510 LOOK, SHE'S AN EMOTIONAL CRIPPLE, 294 00:16:44,800 --> 00:16:45,994 A SELF-DESTRUCTO. 295 00:16:46,280 --> 00:16:48,350 TWO YEARS AT MENNINGER'S CLINIC TRYING TO GET HER HEAD BACK. 296 00:16:48,640 --> 00:16:51,154 THAT WAS AFTER TWO NERVOUS BREAKDOWNS, 297 00:16:51,480 --> 00:16:52,629 A BOTCHED SUICIDE. 298 00:16:52,920 --> 00:16:54,353 IT'S BEEN ALL DOWNHILL. 299 00:16:54,640 --> 00:16:55,868 SHE'S ERRATIC, UNSTABLE. 300 00:16:56,200 --> 00:16:57,076 I LIKE THEM UNSTABLE. 301 00:16:57,400 --> 00:16:59,914 I DO WONDERS FOR UNSTABLE WOMEN. 302 00:17:00,240 --> 00:17:02,515 EITHER YOU HAVE A VERY DROLL SENSE 0F HUMOR, 303 00:17:02,800 --> 00:17:04,950 OR I'M MORE STABLE THAN I EVER REALIZED. 304 00:17:05,240 --> 00:17:07,276 DOESN'T SOUND LIKE KELLY IS OVERLY IMPRESSED 305 00:17:07,560 --> 00:17:09,073 WITH YOUR CHARM, TONY. 306 00:17:11,320 --> 00:17:14,073 I'LL TRY TO KEEP THE REJECTION IN CORRECT PERSPECTIVE. 307 00:17:14,360 --> 00:17:16,032 IN ALL FAIRNESS TO TONY, 308 00:17:16,320 --> 00:17:17,992 HE DOES HAVE A WAY WITH THE LADIES. 309 00:17:18,920 --> 00:17:20,353 HEY, GOOD LUCK. 310 00:17:20,680 --> 00:17:23,274 LOOK, I'M NOT TRYING TO TELL YOU HOW TO RUN YOUR BUSINESS. 311 00:17:23,600 --> 00:17:27,991 JUST REMEMBER-J TOLD YOU SO. 312 00:17:28,280 --> 00:17:32,910 I CAN'T STAND AGGRESSIVE WOMEN. 313 00:17:36,880 --> 00:17:38,791 [ROCK MUSIC PLAYING] 314 00:17:52,240 --> 00:17:54,913 OH,YOUR FRIEND'S HERE. 315 00:17:55,200 --> 00:17:57,191 SABRINA! 316 00:17:59,240 --> 00:18:01,470 YOU REMEMBER JILL FROM THE OTHER DAY. 317 00:18:01,800 --> 00:18:03,358 HELLO. NICE TO SEE YOU. 318 00:18:03,680 --> 00:18:05,398 NOW, JILL AND I ARE GOING TO DEMONSTRATE THE HUSTLE. 319 00:18:05,720 --> 00:18:07,233 YOU WATCH ONCE, THEN WE'LL TRY IT TOGETHER. 320 00:18:07,560 --> 00:18:08,788 SHE'S YOUR GIRLFRIEND, ISN'T SHE? 321 00:18:09,080 --> 00:18:11,071 DON'T BE SILLY. JILL IS AN EMPLOYEE HERE. 322 00:18:11,400 --> 00:18:13,550 MAKE HER GO AWAY. I DON'T LIKE HER. 323 00:18:13,840 --> 00:18:15,637 OH, WELL, I'LL SEE YOU ALL LATER. 324 00:18:15,920 --> 00:18:17,433 BYE, JILL. 325 00:18:17,720 --> 00:18:19,199 BYE. 326 00:18:21,040 --> 00:18:22,996 I DON'T LIKE HER ONE BIT. 327 00:18:23,320 --> 00:18:26,278 I DON'T LIKE PEOPLE WHO TRY TO HUMOR ME. 328 00:18:26,560 --> 00:18:28,232 DON'T WORRY ABOUT JILL. 329 00:18:28,520 --> 00:18:30,511 I LIKE YOU, THOUGH. 330 00:18:30,800 --> 00:18:33,473 AND I LIKE YOU, SABRINA, VERY MUCH. 331 00:18:33,760 --> 00:18:35,910 THANK YOU. 332 00:18:36,200 --> 00:18:38,589 WHAT IS THE FIRST THING WE DO WHEN WE BEGIN TO DANCE? 333 00:18:38,920 --> 00:18:40,751 YOU RELAX. 334 00:18:41,040 --> 00:18:42,871 RELAX AND ENJOY. 335 00:18:43,160 --> 00:18:44,718 YES. 336 00:18:48,200 --> 00:18:50,589 [NASALLY] HI. 337 00:18:50,880 --> 00:18:52,438 GUESS WHAT, GANG. 338 00:18:52,720 --> 00:18:54,392 THE MOST DREAMY BOY JUST ASKED ME OUT. 339 00:18:54,680 --> 00:18:56,272 WELL, I'M NOT A BIT SURPRISED 340 00:18:56,560 --> 00:18:58,278 AFTER YOUR TRIUMPHANT PERFORMANCE. 341 00:18:58,560 --> 00:19:00,198 SORRY ABOUT THAT. IT'S OKAY. 342 00:19:00,480 --> 00:19:02,357 HEY, BOSLEY, I NEED A MANSION. 343 00:19:02,640 --> 00:19:04,517 I ANTICIPATED YOUR WISH. 344 00:19:04,800 --> 00:19:05,994 AMANSION. 345 00:19:06,320 --> 00:19:08,117 WHY DON'T I EVER GET A COVER LIKE THAT? 346 00:19:45,200 --> 00:19:47,316 [DOORBELL RINGS 347 00:19:47,600 --> 00:19:50,068 BOSLEY: THE WALKER RESIDENCE 348 00:19:50,360 --> 00:19:52,476 I'M CALLING FOR MISS WALKER. 349 00:19:52,760 --> 00:19:55,797 WHO IS CALLING FOR MISS WALKER? 350 00:19:56,120 --> 00:19:58,076 TONY BORDINAY. 351 00:19:58,360 --> 00:20:01,716 ONE MOMENT, PLEASE 352 00:20:09,360 --> 00:20:10,554 HI. 353 00:20:10,840 --> 00:20:13,718 SABRINA, YOU LOOK GREAT. 354 00:20:14,000 --> 00:20:17,754 THANK YOU. 355 00:20:18,040 --> 00:20:19,519 WHERE ARE WE GOING? 356 00:20:19,800 --> 00:20:22,473 OUT FOR AN EARLY EVENING. BRING YOUR DANCING SHOES? 357 00:20:25,960 --> 00:20:28,190 OH, YES. 358 00:20:31,600 --> 00:20:35,036 [DISCO MUSIC PLAYING] 359 00:20:39,440 --> 00:20:42,989 [SLOW-TEMPO MUSIC PLAYING] 360 00:20:43,280 --> 00:20:46,033 [DISCO MUSIC PLAYING] 361 00:20:46,320 --> 00:20:48,276 OOH. OW. 362 00:20:48,600 --> 00:20:50,989 OOH-OH! NO MORE, NO MORE. 363 00:20:51,280 --> 00:20:53,316 NO, NO, NO, I CAN'T STAND IT. 364 00:20:53,640 --> 00:20:55,198 PEOPLE USUALLY ADMIRE MY MASSAGE TECHNIQUE. 365 00:20:55,520 --> 00:20:57,317 OOH! AHH. 366 00:20:57,640 --> 00:20:59,232 HERE ARE THE EPSOM SALTS, BREE. 367 00:20:59,560 --> 00:21:00,231 THANK YOU. 368 00:21:00,560 --> 00:21:01,788 WHAT EXACTLY DID HE DO TO YOU? 369 00:21:02,080 --> 00:21:03,991 LISTEN, I LEARNED A GREAT LESSON TONIGHT. 370 00:21:04,320 --> 00:21:05,719 WHEN YOU GO OUT WITH A DANCE INSTRUCTOR, 371 00:21:06,000 --> 00:21:08,230 THAT IS WHAT YOU DO-- YOU DANCE. 372 00:21:08,520 --> 00:21:10,909 DO YOU REMEMBER WHEN JULIE ANDREWS SANG THAT SONG 373 00:21:11,240 --> 00:21:12,514 "I COULD HAVE DANCED ALL NIGHT"? 374 00:21:12,800 --> 00:21:14,552 SHE WOULDN'T HAVE LASTED THREE MINUTES WITH BORDINAY. 375 00:21:14,840 --> 00:21:16,512 THREE MINUTES, NOT THREE MINUTES. 376 00:21:16,800 --> 00:21:18,552 I SWEAR TO YOU, NOT THREE MINUTES. 377 00:21:18,880 --> 00:21:20,632 TONY: WELL, HOW DO WE ALL FEEL THIS AFTERNOON? 378 00:21:20,960 --> 00:21:22,234 DANCE CLASS: GREAT! 379 00:21:22,520 --> 00:21:24,192 AND WHY ARE WE ALL HERE THIS AFTERNOON? 380 00:21:24,480 --> 00:21:26,198 BECAUSE IT'S WEDNESDAY! 381 00:21:26,480 --> 00:21:27,913 AND WHAT IS THE BORDINAY RULE? 382 00:21:28,200 --> 00:21:30,714 PERHAPS MR. MYRPHY'D LIKE TO TAKE A CRACK AT THAT ONE. 383 00:21:31,000 --> 00:21:31,989 RELAX. 384 00:21:32,280 --> 00:21:33,190 RELAX AND...? 385 00:21:33,520 --> 00:21:35,795 RELAX AND ENJOY! 386 00:21:36,080 --> 00:21:37,559 VERY GOOD! 387 00:21:37,840 --> 00:21:39,068 THAT MEANS YOU WIN THE GRAND PRIZE TODAY, WHICH IS-- 388 00:21:39,400 --> 00:21:42,915 A POKE IN THE EYE WITH A SHARP STICK. 389 00:21:43,200 --> 00:21:45,111 THE ORIGINAL LONG-PLAYING RECORDING OF "WHIPPED CREAM" 390 00:21:45,440 --> 00:21:46,316 BY THE TIJUANA BRASS. 391 00:21:46,600 --> 00:21:48,397 SAME THING. 392 00:21:48,680 --> 00:21:49,874 YOU TRY MY PATIENCE, MURPHY. 393 00:21:50,200 --> 00:21:51,599 MURPHY MYRPHY TO YOU. 394 00:21:51,880 --> 00:21:54,155 I WON A PRIZE. SO GIVE ME A PRIZE I WANT. 395 00:21:54,440 --> 00:21:56,795 A SLOW DANCE WITH JILL... 396 00:21:57,120 --> 00:21:58,633 SO I CAN HOLD HER. 397 00:21:58,960 --> 00:22:01,838 WE GOT A LOT OF GROUND TO COVER TODAY, S0 LET'S-- 398 00:22:02,120 --> 00:22:04,190 OH, WHAT DO YOU SAY, JILL? 399 00:22:04,480 --> 00:22:06,835 ONE FOX TROT. 400 00:22:07,120 --> 00:22:09,076 THAT'S ALL I WANT. 401 00:22:10,800 --> 00:22:13,872 OKAY, MURPHY MYRPHY, LET'S SHOW THEM HOW IT'S DONE. 402 00:22:14,160 --> 00:22:15,434 MURPHY TO YOU, DARLING. 403 00:22:15,760 --> 00:22:17,591 HOW COULD I FORGET? 404 00:22:20,440 --> 00:22:24,035 [SLOW-TEMPO MUSIC PLAYING] 405 00:22:45,400 --> 00:22:49,075 [MUSIC CONTINUING] 406 00:22:49,360 --> 00:22:51,749 TONY WANTED TO BE IN SHOW BUSINESS, YOU KNOW. 407 00:22:52,040 --> 00:22:53,632 FORTUNATELY FOR ALL OF US, 408 00:22:53,920 --> 00:22:56,036 IT'S A WISH THAT DIED STILLBORN. 409 00:22:56,320 --> 00:22:58,356 YOU'RE A LITTLE HARD ON BORDINAY. 410 00:22:58,680 --> 00:23:00,511 OH, HE'S OKAY AT WHAT HE DOES, BUT HE LACKS-- 411 00:23:00,800 --> 00:23:02,756 I DON'T KNOW, DEPTH, IMAGINATION. 412 00:23:03,040 --> 00:23:04,553 HE'S NOT LIKE YOU. 413 00:23:04,840 --> 00:23:06,592 ME? 414 00:23:06,880 --> 00:23:08,632 YOU'RE A SELF-STARTER, KELLY, 415 00:23:08,920 --> 00:23:10,672 AND YOU'RE RUTHLESS AS HELL. 416 00:23:10,960 --> 00:23:11,836 I LIKE THAT IN A WOMAN. 417 00:23:12,160 --> 00:23:14,515 THANKS FOR THE TRIBUTE, I THINK. 418 00:23:14,800 --> 00:23:16,472 YOU COULD SAY I'M AN EQUAL-OPPORTUNITY EMPLOYER. 419 00:23:16,760 --> 00:23:18,557 I'M NOT AFRAID OF WOMEN WITH BRAINS. 420 00:23:18,840 --> 00:23:20,592 IN FACT, I THINK IT'S MOST BECOMING FOR A WOMAN 421 00:23:20,880 --> 00:23:23,269 TO HAVE LOTS UPSTAIRS. 422 00:23:23,560 --> 00:23:24,834 NOW, AS WE DEVELOP A CLOSER RELATIONSHIP, 423 00:23:25,120 --> 00:23:28,396 I INTEND TO LET YOU IN ON MORE AND SEE TO IT 424 00:23:28,680 --> 00:23:31,911 THAT YOU ENJOY A LARGER SLICE OF PIE. 425 00:23:32,200 --> 00:23:33,349 MR. CRUZ, 426 00:23:33,680 --> 00:23:35,989 I'M A DOWN-HOME GIRL, 427 00:23:36,280 --> 00:23:38,032 AND I DO LOVE PIE. 428 00:23:54,520 --> 00:23:58,957 C-H-U-T-Z... 429 00:23:59,280 --> 00:24:01,475 P-A... 430 00:24:02,760 --> 00:24:04,796 CHUTZPAH? MMM-HMM. 431 00:24:05,120 --> 00:24:06,599 YOU CAN'T USE THAT. 432 00:24:06,920 --> 00:24:10,435 YOU CAN IF YOU GOT IT. ALL RIGHT, I USED MY Z. 433 00:24:10,760 --> 00:24:12,955 I GOT A TRIPLE WORD SCORE. 434 00:24:13,240 --> 00:24:16,391 THAT ABOUT PUTS THE GAME ON ICE, BOS. 435 00:24:16,720 --> 00:24:17,709 YEAH. 436 00:24:18,000 --> 00:24:18,989 [TELEPHONE RINGS] 437 00:24:19,280 --> 00:24:22,272 HELLO. 438 00:24:22,600 --> 00:24:23,749 KELLY: BOSLEY, 439 00:24:24,040 --> 00:24:26,190 TELL SABRINA BORDINA Y WILL MAKE HIS MOVE TONIGHT. 440 00:24:26,520 --> 00:24:29,114 WHILE I WAS TALKING TO CRUZ, THE DUNE CREST INN CALLED 441 00:24:29,440 --> 00:24:31,795 TO RECONFIRM A ROOM FOR MR. AND MRS. BORDINAY. 442 00:24:32,080 --> 00:24:34,548 THE SAME PLACE HE TOOK MRS. CLUSAK? 443 00:24:34,840 --> 00:24:36,068 RIGHT GOT TO SPLIT 444 00:24:36,400 --> 00:24:37,719 CRUZ WANTS ME TO GET M YBROWNIE CAMERA READY 445 00:24:38,000 --> 00:24:41,595 TELL SABRINA TO SAY "CHEESE." CHECK YOU LATER, BOS. 446 00:24:41,880 --> 00:24:45,350 WELL, MISS WALKER, 447 00:24:45,640 --> 00:24:47,710 TIME FOR YOU TO GO TO WORK. 448 00:24:48,040 --> 00:24:49,189 YOU MEAN...? 449 00:24:49,480 --> 00:24:51,675 YES, THE MIDNIGHT MARAUDER FINALLY MAKES HIS MOVE. 450 00:24:52,000 --> 00:24:53,433 I THOUGHT HE'D NEVER ASK. 451 00:24:53,760 --> 00:24:57,036 NOW I AM. BE CAREFUL, HUH? 452 00:24:57,320 --> 00:25:01,632 BOSLEY, I DIDN'T KNOW YOU CARED. 453 00:25:22,320 --> 00:25:23,594 [LAUGHING] 454 00:25:23,880 --> 00:25:25,791 HOLD ON. HOLD ON. 455 00:25:26,120 --> 00:25:28,475 SABRINA: LOOK OUT. 456 00:25:30,240 --> 00:25:32,356 OH, DEAR, YOU KNOW WHAT? 457 00:25:32,640 --> 00:25:34,358 WHAT'S THAT? 458 00:25:34,640 --> 00:25:36,471 I THINK I BETTER GO TO THE LITTLE GIRLS' ROOM. 459 00:25:36,800 --> 00:25:37,676 OKAY. CAN YOU MAKE IT? 460 00:25:37,960 --> 00:25:39,075 OH, SURE. 461 00:25:39,360 --> 00:25:40,031 ALL RIGHTY. 462 00:25:40,320 --> 00:25:42,072 I CAN MAKE IT. 463 00:26:11,880 --> 00:26:14,474 JILL, JILL, COME IN, PLEASE. 464 00:26:14,800 --> 00:26:16,870 READING YOU LOUD AND CLEAR. 465 00:26:17,160 --> 00:26:20,357 BOSLEY, DO YOU HAVE ANY IDEA HOW YOUR VOICE RUMBLES 466 00:26:20,680 --> 00:26:22,352 IN A BATHROOM? WOULD YOU PUT JILL ON? 467 00:26:22,680 --> 00:26:25,319 BREE, IT'S ME. 468 00:26:25,640 --> 00:26:26,959 OKAY, LOOK, I THINK I CAN HANDLE THIS GUY, 469 00:26:27,240 --> 00:26:29,276 BUT IF I NEED HELP I'M GOING TO YELL, OKAY? 470 00:26:29,600 --> 00:26:31,670 WE'LL BAIL YOU OUT. 471 00:26:43,960 --> 00:26:44,710 0H. 472 00:26:45,040 --> 00:26:49,272 0H, GOODNESS. OH, GOODNESSI 473 00:26:49,560 --> 00:26:50,913 OH, TONY. 474 00:26:51,200 --> 00:26:54,317 I THINK I'M DRUNK. 475 00:26:54,600 --> 00:26:56,477 AM I DRUNK, TONY? 476 00:26:56,800 --> 00:26:58,392 I TOLD YOU NOT TO MIX DRINKS. 477 00:26:58,720 --> 00:27:00,358 TONY, I'M FEELING-- 478 00:27:15,400 --> 00:27:16,196 WHAT'S HAPPENING? 479 00:27:16,520 --> 00:27:17,555 SHE'S WIPED OUT. 480 00:27:17,840 --> 00:27:19,876 COME ON, WORK FAST AND GET OUT OF HERE BEFORE SHE WAKES UP. 481 00:27:25,360 --> 00:27:26,475 COME ON. 482 00:27:26,760 --> 00:27:28,591 OKAY. 483 00:27:36,040 --> 00:27:37,268 HAND ME THAT ICE TRAY. 484 00:27:39,680 --> 00:27:40,954 [SABRINA MUMBLES] 485 00:27:47,160 --> 00:27:50,072 [SABRINA MUMBLES] 486 00:28:01,680 --> 00:28:03,352 OKAY, COME ON. 487 00:28:03,640 --> 00:28:05,437 OKAY, GREAT. 488 00:28:18,280 --> 00:28:20,191 WHAT ARE YOU DOING? 489 00:28:20,480 --> 00:28:21,833 TAKING HER CLOTHES OFF. 490 00:28:22,120 --> 00:28:23,599 LOOK, MAYBE WE'VE GOT ENOUGH. THE DRUGS WILL DO IT. 491 00:28:23,920 --> 00:28:26,150 YOU'VE GOT TO SHOW FLESH, KELLY. THAT'S WHAT THEY PAY FOR. 492 00:28:26,440 --> 00:28:27,793 [KNOCK ON DOOR] 493 00:28:28,080 --> 00:28:28,956 WHO IS IT? 494 00:28:29,240 --> 00:28:30,912 BOSLEY: ROOM SERVICE. 495 00:28:31,200 --> 00:28:33,156 I DIDN'T ORDER ANY ROOM SERVICE. 496 00:28:33,480 --> 00:28:34,310 IS THIS 46? 497 00:28:34,640 --> 00:28:35,834 YES. 498 00:28:36,120 --> 00:28:38,395 YOU DIDN'T ORDER THE POACHED SALMON? 499 00:28:38,680 --> 00:28:39,908 NO. TAKE IT BACK. 500 00:28:40,200 --> 00:28:41,713 BUT IT SAYS 46, POACHED SALMON. 501 00:28:42,000 --> 00:28:44,070 I SAID, TAKE IT BACK. 502 00:28:44,400 --> 00:28:45,628 [KNOCKING] 503 00:28:45,920 --> 00:28:48,036 I'VE GOT ENOUGH. WE BETTER GET OUT OF HERE. 504 00:28:50,080 --> 00:28:52,071 [DOOR HANDLE JIGGLING] 505 00:29:10,200 --> 00:29:11,110 HELLO. 506 00:29:11,400 --> 00:29:12,753 ARE WE TOO LATE FOR THE PARTY? 507 00:29:13,040 --> 00:29:14,758 I HOPE KELLY GOT MY BEST SIDE. 508 00:29:15,040 --> 00:29:16,519 EVERY SIDE IS YOUR BEST SIDE. 509 00:29:16,800 --> 00:29:17,994 BOSLEY, YOU DO CARE. 510 00:29:20,200 --> 00:29:21,952 [TELEPHONE RINGS] 511 00:29:22,280 --> 00:29:23,838 BOSLEY, THAT'S THE WALKER LINE. 512 00:29:24,120 --> 00:29:25,758 THAT IS PROBABLY YOUR CALL. 513 00:29:29,000 --> 00:29:32,390 HELLO. YES, THIS IS STEWART WALKER. 514 00:29:33,680 --> 00:29:35,113 PICTURES OF MY DAUGHTER? 515 00:29:35,400 --> 00:29:37,072 NO, I DON'T-- 516 00:29:37,360 --> 00:29:41,990 OH, THOSE KINDS OF PICTURES. 517 00:29:42,280 --> 00:29:44,316 NO, YOU'RE CERTAINLY NOT COMING HERE. 518 00:29:44,600 --> 00:29:47,114 I'LL MEET YOU. 519 00:29:47,400 --> 00:29:51,234 YES. YES, I KNOW WHERE THAT IS. 520 00:29:54,720 --> 00:29:55,994 CRUZ OR BORDINAY? 521 00:29:56,280 --> 00:29:59,033 CRUZ. I'M MEETING HIM IN AN HOUR. 522 00:30:17,640 --> 00:30:18,709 MR. WALKER? YES. 523 00:30:19,040 --> 00:30:20,792 I'M DELIGHTED TO MEET YOU. MY NAME IS-- 524 00:30:21,120 --> 00:30:23,475 I DON'T CARE WHAT YOUR NAME IS. DO YOU HAVE THE PICTURES ON YOU? 525 00:30:23,800 --> 00:30:27,076 YES, BUT I PREFER TO CONDUCT OUR BUSINESS INSIDE. 526 00:30:27,360 --> 00:30:30,158 [DOOR BUZZING] 527 00:30:38,720 --> 00:30:40,039 QUAINT. 528 00:30:40,320 --> 00:30:43,232 YES. IT'S AN INVESTMENT OF MINE. 529 00:30:43,560 --> 00:30:44,834 I INTEND TO CONVERT THIS 530 00:30:45,120 --> 00:30:47,839 INTO A PALACE OF TERPSICHOREAN SPLENDOR. 531 00:30:48,120 --> 00:30:49,269 THE PICTURES. MAY I SEE THEM? 532 00:30:49,560 --> 00:30:51,630 OH, CERTAINLY. 533 00:31:13,400 --> 00:31:15,118 WELL, WHAT DO YOU THINK ABOUT THAT? 534 00:31:15,400 --> 00:31:17,118 I THINK THAT JUST ABOUT ENDS OUR CONVERSATION. 535 00:31:17,400 --> 00:31:20,995 HARDLY. ANY 5-YEAR-OLD COULD TELL YOU 536 00:31:21,280 --> 00:31:23,953 THE NEGATIVES ARE LOCKED IN A SAFE. 537 00:31:24,240 --> 00:31:26,196 AND THEY WILL RUN YOU $10,000. 538 00:31:26,520 --> 00:31:28,078 WHAT MAKES YOU THINK 539 00:31:28,400 --> 00:31:30,470 THAT I WOULD PAY ONE PENNY FOR THOSE PICTURES, 540 00:31:30,760 --> 00:31:34,753 MUCH LESS THE OUTRAGEOUS SUM OF $10,000? 541 00:31:35,040 --> 00:31:37,110 THE EXPRESSION ON YOUR FACE WHEN YOU LOOKED AT THE SNAPSHOTS 542 00:31:37,400 --> 00:31:38,992 OF YOUR DAUGHTER. 543 00:31:39,280 --> 00:31:40,838 MY DAUGHTER. 544 00:31:43,480 --> 00:31:47,314 MY DAUGHTER HAS MADE A CAREER 0F OFFENDING, 545 00:31:47,600 --> 00:31:50,797 EMBARRASSING, INSULTING AND DISAPPOINTING ME. 546 00:31:51,080 --> 00:31:54,197 CHILDREN WILL DO THAT. I'VE GROWN USED TO IT. 547 00:31:54,480 --> 00:31:55,469 [DOOR BUZZING] 548 00:31:55,800 --> 00:31:57,028 I'LL TELL YOU WHATIAM WILLING TO DO. 549 00:31:57,320 --> 00:32:01,757 I HAVE ABOUT $500 HERE. 550 00:32:02,040 --> 00:32:04,554 AT $20,000, MR. WALKER, 551 00:32:04,840 --> 00:32:08,196 THE PRICE IS RIGHT. 552 00:32:08,520 --> 00:32:12,069 I ASSUME THAT THIS YOUNG LADY IS A CO-CONSPIRATOR 553 00:32:12,400 --> 00:32:14,152 IN THIS LAME CHARADE. 554 00:32:14,440 --> 00:32:16,032 YOU ASSUME CORRECTLY. 555 00:32:16,360 --> 00:32:18,669 WELL, APPARENTLY YOU DID NOT HEAR ME. 556 00:32:18,960 --> 00:32:22,350 THE SUM I AM OFFERING IS $500. 557 00:32:22,640 --> 00:32:24,073 I HEARD YOU. 558 00:32:24,360 --> 00:32:26,749 I ALSO HEARD RUMBLINGS ABOUT SOMETHING NEW 559 00:32:27,080 --> 00:32:28,308 AT WALKER ENTERPRISES-- 560 00:32:28,600 --> 00:32:31,068 THE STEWART WALKER BIBLE INSTITUTE, 561 00:32:31,360 --> 00:32:32,998 THE STEWART WALKER UNIVERSITY. 562 00:32:33,280 --> 00:32:34,998 SOUNDS TO ME LIKE YOU'RE GETTING A LITTLE RELIGION 563 00:32:35,280 --> 00:32:36,793 IN YOUR OLD AGE. 564 00:32:37,080 --> 00:32:39,913 WANT TO LEAVE THE SOLID CITIZENS SOMETHING TO REMEMBER YOU BY? 565 00:32:42,560 --> 00:32:44,835 I DON'T KNOW WHERE YOU GET YOUR INFORMATION. 566 00:32:45,120 --> 00:32:46,235 BUT IT'S ACCURATE, ISN'T IT? 567 00:32:46,560 --> 00:32:48,198 IF YOU DON'T WANT TO BUY THE PICTURES, 568 00:32:48,520 --> 00:32:49,748 WE'LL FIND A MARKET FOR THEM. 569 00:32:50,040 --> 00:32:52,315 I'M SURE THERE'S SOMEONE OUT THERE WHO WOULD BE INTERESTED 570 00:32:52,600 --> 00:32:53,828 IN TARNISHING THAT 571 00:32:54,120 --> 00:32:56,270 HOLIER-THAN-THOU IMAGE YOU'RE SO DETERMINED TO MANUFACTURE. 572 00:33:00,320 --> 00:33:03,630 ALL RIGHT, I'LL GIVE YOU THE $10,000. 573 00:33:03,960 --> 00:33:05,313 TWENTY. 574 00:33:06,320 --> 00:33:07,275 FIFTEEN. 575 00:33:07,560 --> 00:33:09,278 TWENTY, AND THAT'S THE BOTTOM LINE. 576 00:33:09,560 --> 00:33:13,792 BUT WHAT ASSURANCES DO I HAVE THAT SOME LIAR AND CHEAT 577 00:33:14,080 --> 00:33:15,115 WON'T BE COMING BACK FOR MORE? 578 00:33:16,760 --> 00:33:18,955 YES, I SUPPOSE I AM A CHEAT. 579 00:33:19,240 --> 00:33:23,119 BUT A LIAR? NO. YOU HAVE MY WORD. 580 00:33:23,400 --> 00:33:24,549 PLUS THE NEGATIVES. 581 00:33:26,640 --> 00:33:29,950 SHALL WE FOLLOW YOU TO THE BANK, MR. WALKER? 582 00:33:37,240 --> 00:33:39,674 [DOOR BUZZING] 583 00:33:48,680 --> 00:33:51,478 CHARLIE: HOW DID IT GO, BOSLEY? 584 00:33:51,760 --> 00:33:53,512 A SUPERB PERFORMANCE. 585 00:33:53,840 --> 00:33:55,478 KELLY AND I WORK VERY WELL TOGETHER. 586 00:33:55,800 --> 00:33:57,392 PERHAPS YOU SHOULD CONSIDER SUMMER STOCK. 587 00:33:57,720 --> 00:34:00,917 I BELIEVE IN BROADENING ONE'S HORIZONS. 588 00:34:01,200 --> 00:34:03,350 TAKE ME TO THE BANK, DRIVER. 589 00:34:03,680 --> 00:34:06,194 VERY WELL, SIR. 590 00:34:12,360 --> 00:34:14,590 TONY, I WISH YOU COULD HAVE BEEN THERE. 591 00:34:14,880 --> 00:34:16,677 KELLY AND I WERE A SPLENDID TEAM. 592 00:34:16,960 --> 00:34:19,713 IT WAS THE SMOOTHEST EXCHANGE OF 20 GRAND I EVER SAW. 593 00:34:20,000 --> 00:34:20,910 AS I RECALL, 594 00:34:21,240 --> 00:34:22,639 IT WAS KELLY WHO DIDN'T WANT TO GO THROUGH WITH IT. 595 00:34:22,920 --> 00:34:23,909 TONY, STOP WHINING. 596 00:34:24,240 --> 00:34:26,037 YOUR FACE GETS LONG. YOU LOOK LIKE A MODIGLIANI. 597 00:34:26,320 --> 00:34:26,911 YES? 598 00:34:27,240 --> 00:34:29,037 SORRY TO BARGE IN. WHAT IS IT? 599 00:34:29,320 --> 00:34:30,958 WELL, THERE'S QUITE A RUCKUS GOING ON DOWN THE HALL. 600 00:34:31,240 --> 00:34:31,911 RUCKUS? 601 00:34:32,200 --> 00:34:33,633 YEAH, IT'S THE WALKER GIRL. 602 00:34:33,960 --> 00:34:35,075 SABRINA WALKER? 603 00:34:35,360 --> 00:34:36,475 TELL HER TO COME IN, WILL YOU? 604 00:34:36,800 --> 00:34:37,789 OKAY. 605 00:34:38,080 --> 00:34:40,548 I'LL HANDLE THIS. WILL YOU PLEASE USE THE OTHER DOOR? 606 00:34:40,880 --> 00:34:42,029 OKAY. 607 00:34:52,200 --> 00:34:54,555 SURPRISED TO SEE ME, MR. CRUZ? 608 00:34:54,840 --> 00:34:56,159 SHOULD I BE? 609 00:34:59,120 --> 00:35:01,076 THERE'S $5,000. 610 00:35:01,400 --> 00:35:03,470 COUNT IT AND THEN PLEASE GIVE ME THOSE PICTURES. 611 00:35:05,240 --> 00:35:07,629 A REAL EXAMPLE OF "TOO LITTLE TOO LATE." 612 00:35:07,920 --> 00:35:10,514 DON'T TELL ME YOU'RE GOING TO DENY YOUR PARTICIPATION 613 00:35:10,800 --> 00:35:13,109 IN THAT DIRTY LITTLE DEAL THAT WENT DOWN LAST NIGHT 614 00:35:13,400 --> 00:35:14,833 WITH TONY BORDINAY? 615 00:35:15,120 --> 00:35:18,317 I HAVEN'T ANY NEED TO DENY OR CONFIRM ANYTHING. 616 00:35:18,600 --> 00:35:22,036 IDO FEEL COMPELLED TO RETURN THIS MONEY TO YOU. 617 00:35:22,320 --> 00:35:23,912 I DON'T UNDERSTAND. 618 00:35:24,200 --> 00:35:27,237 | SUGGEST YOU CHECK WITH YOUR FATHER. 619 00:35:27,560 --> 00:35:28,788 MY FATHER? 620 00:35:29,080 --> 00:35:29,990 SIT DOWN AND HAVE A NICE 621 00:35:30,280 --> 00:35:32,111 FATHER-TO-DAUGHTER CHAT WITH HIM. 622 00:35:32,440 --> 00:35:33,509 I'M SURE HE'LL BE VERY UNDERSTANDING. 623 00:35:33,800 --> 00:35:35,518 THAT'S VERY GOOD ADVICE, MR. CRUZ, 624 00:35:35,800 --> 00:35:36,994 AND PERHAPS WHEN HE RETURNS FROM ALASKA, 625 00:35:37,320 --> 00:35:38,719 I SHALL TAKE IT. HOWEVER, IN THE MEANTIME- 626 00:35:39,000 --> 00:35:39,830 ALASKA? 627 00:35:40,120 --> 00:35:41,473 YES. NOW, ABOUT THOSE PICTURES. 628 00:35:41,760 --> 00:35:43,955 WHEN DID HE LEAVE FOR ALASKA? 629 00:35:44,280 --> 00:35:45,759 FOUR WEEKS AGO. HE'S CLOSING AN OIL DEAL. 630 00:35:46,080 --> 00:35:46,990 NOW, MR. CRUZ-- 631 00:35:47,320 --> 00:35:48,673 THAT'S IMPOSSIBLE. | MET WITH HIM TODAY. 632 00:35:49,000 --> 00:35:50,353 NOT WITH MY FATHER, YOU DIDN'T. 633 00:35:50,640 --> 00:35:51,789 HE DOESN'T RETURN UNTIL THIS EVENING. 634 00:35:52,120 --> 00:35:53,314 HE HAS TO BE YOUR FATHER! 635 00:35:53,600 --> 00:35:55,318 HE PAID $20,000 FOR THOSE PICTURES. 636 00:35:56,760 --> 00:35:57,795 0H. 637 00:35:59,920 --> 00:36:02,309 NOW I'M BEGINNING TO UNDERSTAND. 638 00:36:02,600 --> 00:36:04,875 IT WAS THAT SNEAK BOSLEY. 639 00:36:05,160 --> 00:36:06,479 BOSLEY? 640 00:36:06,800 --> 00:36:10,998 HE BOUGHT THOSE PICTURES FROM YOU FOR $20,000 641 00:36:11,280 --> 00:36:13,999 SO THAT HE COULD SELL THEM TO MY FATHER. 642 00:36:15,440 --> 00:36:16,953 ARE YOU SAYING THAT THIS BOSLEY 643 00:36:17,240 --> 00:36:19,196 WAS POSING AS YOUR FATHER? 644 00:36:21,560 --> 00:36:23,949 YOU GOT THE PICTURE, PAL. 645 00:36:25,920 --> 00:36:27,797 YOU'VE BEEN HAD. 646 00:36:35,480 --> 00:36:37,596 I'M SURE YOU HEARD EVERYTHING. 647 00:36:37,920 --> 00:36:38,875 EVERYTHING. 648 00:36:39,160 --> 00:36:40,957 WELL, GET ON IT. FIND THE PHONY MR. WALKER. 649 00:36:41,240 --> 00:36:42,832 AND THEN? 650 00:36:43,120 --> 00:36:46,396 AFTER WE HAVE RECOVERED THE PICTURES, 651 00:36:46,720 --> 00:36:49,871 IWILL DECIDE WHETHER TO KILL HIM 652 00:36:50,160 --> 00:36:53,516 OR JUST BRUISE HIM SEVERELY. 653 00:37:23,600 --> 00:37:25,431 I GOT HERE AS SOON AS I COULD. 654 00:37:25,760 --> 00:37:27,318 EVERYTHING OKAY? 655 00:37:27,640 --> 00:37:30,438 THE MAN INSIDE THAT HOUSE IS THE FAKE STEWART WALKER. 656 00:37:30,760 --> 00:37:32,591 WHEW. FAST WORK. HOW DID YOU TRACE HIM? 657 00:37:32,880 --> 00:37:35,553 I REMEMBERED THE LICENSE NUMBER OF THE LIMOUSINE YESTERDAY. 658 00:37:35,840 --> 00:37:37,239 I TRACED THE LIMO 659 00:37:37,560 --> 00:37:39,994 TO THE CHARLIE TOWNSEND CARRIAGE SERVICE OF BEVERLY HILLS. 660 00:37:40,280 --> 00:37:42,396 THEY SAID THEY'D RENTED IT TO A MR. BOSLEY. 661 00:37:42,680 --> 00:37:44,079 THEN I MADE ANOTHER CHECK 662 00:37:44,400 --> 00:37:45,276 AND FOUND OUT THAT THIS BOSLEY 663 00:37:45,560 --> 00:37:47,437 IS A FORMER WALKER FAMILY SERVANT. 664 00:37:47,720 --> 00:37:49,631 IT ALL PIECES TOGETHER. 665 00:37:49,920 --> 00:37:50,830 FORMER AS OF TWO WEEKS AGO. 666 00:37:51,160 --> 00:37:52,957 HE BOUGHT THE PICTURES FROM YOU FOR 20,000 667 00:37:53,280 --> 00:37:54,918 SO HE COULD SELL THEM TO WALKER. 668 00:37:55,240 --> 00:37:57,470 NOW, IF THEY'RE THAT VALUABLE TO BOSLEY, 669 00:37:57,760 --> 00:37:59,990 IMAGINE WHAT THEY'RE WORTH TO WALKER. 670 00:38:00,280 --> 00:38:02,350 A CLEVER MAN, THIS BOSLEY. 671 00:38:02,640 --> 00:38:06,394 AN OPPORTUNIST-- THAT'S BOSLEY. 672 00:38:06,720 --> 00:38:08,119 THERE HE IS. LET'S GO. 673 00:38:21,200 --> 00:38:24,397 A WORD WITH YOU, SIR. 674 00:38:24,680 --> 00:38:28,673 I MADE MY POSITION VERY CLEAR YESTERDAY, 675 00:38:28,960 --> 00:38:31,110 AND I PAID YOU $20,000. 676 00:38:31,400 --> 00:38:32,628 NOW, PART OF THAT WAS 677 00:38:32,920 --> 00:38:34,399 FOR THE PRIVILEGE OF NEVER LAYING EYES 678 00:38:34,680 --> 00:38:35,795 ON YOU AGAIN. 679 00:38:36,120 --> 00:38:37,758 THAT WAS YESTERDAY, WHEN YOUR NAME WAS WALKER. 680 00:38:38,080 --> 00:38:41,072 TODAY IS TODAY, MR. BOSLEY. 681 00:38:41,360 --> 00:38:43,555 AND TOMORROW IS TOMORROW IS TOMORROW. 682 00:38:43,880 --> 00:38:46,030 IF WE'RE GOING TO STAND AROUND QUOTING SHAKESPEARE, 683 00:38:46,320 --> 00:38:48,709 IT'S GOING TO BE A VERY TEDIOUS DAY. 684 00:38:49,000 --> 00:38:50,752 OKAY, YOU POSED AS WALKER TO GET THE PICTURES, 685 00:38:51,040 --> 00:38:54,077 EXPECTING TO SELL THEM AT A HIGHER PRICE TO WALKER. 686 00:38:54,360 --> 00:38:57,158 OH, YOU'VE GOT SOMETHING AGAINST CAPITALISM? 687 00:38:57,480 --> 00:38:59,596 YOU WILL RETURN THEM TO US. 688 00:38:59,880 --> 00:39:01,711 WE'LL RETURN THE $20,000 TO YOU. 689 00:39:02,000 --> 00:39:07,358 AND I WILL HAVE THE UNPARALLELED THRILL OF BREAKING EVEN? 690 00:39:07,640 --> 00:39:08,993 FORGET IT. 691 00:39:09,320 --> 00:39:10,548 DON'T MAKE ME USE THIS. 692 00:39:10,840 --> 00:39:14,355 PUT THAT DAMN THING AWAY, OR THERE'S NO TALK AT ALL. 693 00:39:14,640 --> 00:39:17,552 YOU'RE BEING HEAVY-HANDED, KELLY. 694 00:39:19,120 --> 00:39:20,599 OKAY. 695 00:39:20,920 --> 00:39:22,876 WE'LL GIVE YOU 20,000 PLUS FIVE. 696 00:39:23,160 --> 00:39:24,673 THAT WAY, YOU WALK AWAY WITH A PROFIT. 697 00:39:25,000 --> 00:39:27,833 THAT WAY, I WALK AWAY WITH CHUMP CHANGE. 698 00:39:28,120 --> 00:39:30,475 I'M GOING TO MAKE YOU ONE MORE OFFER, BOSLEY, 699 00:39:30,800 --> 00:39:33,519 AND YOU'RE GOING TO TAKE IT-- $30,000, 700 00:39:33,840 --> 00:39:37,116 YOUR OFFERS ARE AS TEDIOUS AS MY SHAKESPEARE. 701 00:39:37,400 --> 00:39:38,594 CRUZ: $40,000. 702 00:39:38,880 --> 00:39:42,395 MY FINAL OFFER, AND YOU HAVE JUST FIVE SECONDS. 703 00:39:42,680 --> 00:39:43,908 KELLY WASN'T GOING TO SHOOT YOU. 704 00:39:44,200 --> 00:39:45,872 YOU WERE RIGHT IN YOUR JUDGMENT. 705 00:39:46,160 --> 00:39:47,878 I WILL. 706 00:39:48,160 --> 00:39:50,310 IT'S AMAZING, ISN'T IT, HOW TIME FLIES 707 00:39:50,600 --> 00:39:53,797 WHEN YOU'RE HAVING FUN? 708 00:39:54,120 --> 00:39:56,839 THE FIVE SECONDS HAVE SLIPPED AWAY. 709 00:39:57,160 --> 00:39:59,754 ALL RIGHT, YOU'VE GOT A DEAL. 710 00:40:00,080 --> 00:40:01,832 BUT THAT IS NOT NECESSARY. 711 00:40:02,160 --> 00:40:04,151 I'LL BE THE JUDGE OF THAT. 712 00:40:12,160 --> 00:40:14,674 TELL MR. CRUZ THIS IS SCHAFFER GOODHEW 713 00:40:14,960 --> 00:40:15,995 AND I'M BACK IN TOWN. 714 00:40:16,280 --> 00:40:17,156 HE ISN'T THERE? 715 00:40:17,440 --> 00:40:19,431 WELL, YOU PUT HIM ON, THEN. 716 00:40:23,080 --> 00:40:25,548 HEY, BORDINAY. 717 00:40:25,840 --> 00:40:29,992 KELLY? KELLY WHO? 718 00:40:30,320 --> 00:40:32,675 MY WHAT? 719 00:40:32,960 --> 00:40:36,430 I DON'T HAVE AN ASSISTANT. 720 00:40:36,720 --> 00:40:39,951 HELLO, TONY. WHAT ON EARTH ARE YOU DOING? 721 00:40:40,280 --> 00:40:42,396 SHUT UP, CRUZ. 722 00:40:44,920 --> 00:40:47,354 YOU'RE GOING TO LISTEN FOR A CHANGE. 723 00:40:47,640 --> 00:40:49,517 I JUST WANT TO INTRODUCE KELLY 724 00:40:49,840 --> 00:40:51,558 TO SOMEONE SHE'S NEVER MET. 725 00:40:51,880 --> 00:40:52,835 SCHAFFER? 726 00:40:55,200 --> 00:40:57,794 KELLY, MEET MR. GOODHEW. 727 00:40:58,080 --> 00:40:59,433 YOU DIDN'T KNOW YOU HAD AN ASSISTANT, 728 00:40:59,760 --> 00:41:00,636 DID YOU, SCHAFFER? 729 00:41:03,200 --> 00:41:04,189 IS THIS TRUE? 730 00:41:04,520 --> 00:41:08,229 I CAN EXPLAIN EVERYTHING. 731 00:41:08,560 --> 00:41:11,472 I ADORE GOOD FICTION, KELLY, 732 00:41:11,760 --> 00:41:13,318 BUT MAKE THIS ONE SHORT 733 00:41:13,600 --> 00:41:15,636 AND MAKE IT GOOD. 734 00:41:15,920 --> 00:41:18,036 LOOK, THE ONLY THING I'M GUILTY OF 735 00:41:18,360 --> 00:41:20,112 IS LYING ABOUT BEING HIS ASSISTANT. 736 00:41:20,400 --> 00:41:21,879 OTHER THAN THAT, I'VE BEEN DEALING IN GOOD FAITH. 737 00:41:22,200 --> 00:41:23,315 | HELPED YOU WITH THE WALKER GIRL. 738 00:41:23,600 --> 00:41:24,589 I EVEN UPPED THE ANTE FOR YOU. 739 00:41:24,880 --> 00:41:26,711 MAYBE. WHAT'S YOUR ANGLE? 740 00:41:27,040 --> 00:41:28,598 I'M INTERESTED IN THE POSSIBILITY 741 00:41:28,920 --> 00:41:31,832 OF GETTING SOME BIG MONEY OUT OF STEWART WALKER. 742 00:41:32,120 --> 00:41:33,189 AFTER THAT, IT'S YOUR OPTION. 743 00:41:33,480 --> 00:41:35,789 I CAN WALK AWAY, OR YOU CAN KEEP ME ON. 744 00:41:36,080 --> 00:41:38,116 I'M AFRAID I'M HAVING TROUBLE WITH YOUR CREDIBILITY 745 00:41:38,400 --> 00:41:40,072 AT THIS POINT. 746 00:41:40,360 --> 00:41:41,634 SUIT YOURSELF. 747 00:41:41,920 --> 00:41:43,592 YOU CAN ALWAYS SELL THE PICTURES BACK TO THAT BOSLEY FELLOW. 748 00:41:43,880 --> 00:41:47,873 TONY, I WANT TO KEEP THAT APPOINTMENT WITH MR. WALKER. 749 00:41:48,160 --> 00:41:49,832 WHAT IF IT'S A SETUP? 750 00:41:50,120 --> 00:41:52,111 MR. GOODHEW WILL HAVE TO PUT YOU INCOMMUNICADO 751 00:41:52,440 --> 00:41:53,475 FOR A WHILE, KELLY. 752 00:41:53,760 --> 00:41:56,035 SORRY ABOUT THE DISCOMFORT. 753 00:41:56,360 --> 00:41:58,510 AND IF THIS IS JUST PETTY SUSPICION ON MY PART, 754 00:41:58,800 --> 00:42:01,075 I'LL MAKE IT UP TO YOU. 755 00:42:01,360 --> 00:42:02,952 IF, ON THE OTHER HAND, 756 00:42:03,280 --> 00:42:04,793 YOU SET US UP, 757 00:42:05,120 --> 00:42:07,076 I'LL MAKE THAT UP TO YOU. 758 00:42:07,360 --> 00:42:10,636 GOODHEW, TAKE THE LADY TO THE BOWLING ALLEY. 759 00:42:15,040 --> 00:42:16,189 COME ON. 760 00:42:26,880 --> 00:42:28,154 SABRINA: LOOKS LIKE KELLY 761 00:42:28,480 --> 00:42:31,472 WAS ABLE TO DITCH THE GOLD-DUST TWINS WITHOUT ANY PROBLEM. 762 00:42:31,760 --> 00:42:32,715 NOT A BAD OPERATION. 763 00:42:33,000 --> 00:42:36,117 OUR CLIENT GETS HER $10,000 BACK, 764 00:42:36,440 --> 00:42:38,510 PLUS INTEREST, AND A NICE RETAINER FOR THE OFFICE. 765 00:42:38,800 --> 00:42:41,519 AND NO DENTED FENDERS, HUH, BOS? 766 00:42:43,200 --> 00:42:46,749 INTERESTING PICTURES, WOULDN'T YOU SAY, MR. WALKER? 767 00:42:47,080 --> 00:42:48,354 CHARLIE: IT SEEMS TO ME THAT THE CRAFTSMANSHIP 768 00:42:48,640 --> 00:42:51,393 IN THESE PHOTOGRAPHS LEAVES A GREAT DEAL TO BE DESIRED. 769 00:42:51,680 --> 00:42:54,638 UNDER THE CIRCUMSTANCES, AREN'T YOU BEING A BIT CAVALIER? 770 00:42:54,960 --> 00:42:56,075 NOT AT ALL. 771 00:42:56,360 --> 00:42:57,634 TONY: YOU ARE STEWART WALKER? 772 00:42:57,960 --> 00:43:04,559 YES, BUT THAT GIRL IS NOT MY DAUGHTER. 773 00:43:04,840 --> 00:43:05,636 NOT YOUR DAUGHTER? 774 00:43:05,920 --> 00:43:07,319 WHICH IS A GOOD THING FOR YOU. 775 00:43:07,640 --> 00:43:08,675 IF THAT WAS MY DAUGHTER, 776 00:43:08,960 --> 00:43:10,234 I WOULDN'T PAY TO GET THE PICTURES. 777 00:43:10,560 --> 00:43:11,754 I'D INVEST MY MONEY 778 00:43:12,040 --> 00:43:13,871 INTO REMOVING YOU FROM THE FACE OF THE EARTH. 779 00:43:14,160 --> 00:43:17,470 IT WOULD BE CHEAPER AND MORE REWARDING. 780 00:43:17,760 --> 00:43:19,557 GET OUT OF HERE. 781 00:43:57,240 --> 00:43:59,276 BOSLEY: SO LONG, SUCKERS. 782 00:43:59,560 --> 00:44:01,835 [TELEPHONE BUZZING] 783 00:44:02,120 --> 00:44:03,269 YEAH? 784 00:44:03,560 --> 00:44:04,515 JILL: SABRINA, WE MA YHA ME A HUGE PROBLEM 785 00:44:04,800 --> 00:44:06,631 IT WENT LIKE CLOCKWORK. WHAT'S THE MATTER? 786 00:44:06,920 --> 00:44:08,672 I'M BACK HERE AT THE OFFICE, AND KELLY HASN'T SHOWN. 787 00:44:08,960 --> 00:44:10,109 NOT ONLY THAT, 788 00:44:10,400 --> 00:44:11,992 THERE WAS A MESSAGE ON THE SERVICE FOR BOS. 789 00:44:12,280 --> 00:44:14,157 THAT DETECTIVE'S BACK IN TOWN-- SCHAFFER GOODHEW. 790 00:44:14,440 --> 00:44:17,432 SCHAFFER'S BACK IN TOWN, AND KELLY'S SUDDENLY GONE. 791 00:44:17,720 --> 00:44:19,438 OH, BOY. I'M AFRAID THAT ADDS UP. 792 00:44:19,760 --> 00:44:22,115 RIGHT. KELLY'S IN TROUBLE. 793 00:44:22,400 --> 00:44:24,391 TERRIFIC. SO WHERE DO WE GO TO HELP? THE DANCE STUDIO? 794 00:44:24,720 --> 00:44:26,278 NO, NO, THAT'S TOO OBVIOUS AND TOO PUBLIC. 795 00:44:26,600 --> 00:44:28,716 OKAY, THEN WHERE? 796 00:44:29,000 --> 00:44:30,956 CRUZ'S HIDEAWAY-- THE BOWLING ALLEY. 797 00:44:31,240 --> 00:44:32,912 IT'S ON EIGHTH AND GRAND. 798 00:44:33,200 --> 00:44:34,519 JILL, BOWLING ALLEY, EIGHTH AND GRAND. 799 00:44:34,800 --> 00:44:36,631 OKAY, I'LL MEET YOU THERE. 800 00:44:49,560 --> 00:44:51,357 WHEN BORDINAY AND CRUZ GET BACK HERE, 801 00:44:51,640 --> 00:44:53,631 EVERYTHING WILL BE CLEARED UP, 802 00:44:53,960 --> 00:44:56,315 SO WHY DON'T YOU RELAX AND PUT AWAY THE GUN. 803 00:44:56,600 --> 00:44:57,510 I AM RELAXED. 804 00:44:57,840 --> 00:44:59,558 YOU'RE THE ONE WHO'S NOT RELAXED. 805 00:44:59,880 --> 00:45:01,916 AND I LIKE IT THAT WAY. 806 00:45:02,200 --> 00:45:03,792 PLEASE, SIT DOWN. 807 00:45:04,080 --> 00:45:06,071 COOL IT, GOODHEW. I'M NOT GOING ANYWHERE. 808 00:45:06,360 --> 00:45:07,236 I SAID, SIT DOWN. 809 00:45:07,520 --> 00:45:09,192 [DOOR BUZZING] 810 00:45:09,480 --> 00:45:11,675 CHARLIE TOWNSEND, AM I GLAD TO SEE YOU! 811 00:45:13,480 --> 00:45:14,879 [GUNSHOTS] 812 00:45:23,120 --> 00:45:26,078 KELLY, IT'S HOPELESSI THERE'S NO WAY OUT! 813 00:45:31,800 --> 00:45:33,392 MY BACK. I THINK IT'S BROKEN. 814 00:45:33,680 --> 00:45:35,352 JUST STAY THERE. WE'LL GET SOME HELP. 815 00:45:35,640 --> 00:45:37,551 THE LADY WON'T COME TO US, 816 00:45:37,880 --> 00:45:40,678 I'LL GO TO HER... WITH PLEASURE. 817 00:45:42,600 --> 00:45:43,828 IT'S ALL RIGHT. 818 00:46:00,680 --> 00:46:03,717 TONY? 819 00:46:04,000 --> 00:46:05,399 TONY? 820 00:46:51,280 --> 00:46:53,589 [DOOR BUZZING] 821 00:47:08,520 --> 00:47:11,353 HI, MR. CRUZ. YOUR DANCE CARD FILLED? 822 00:47:11,680 --> 00:47:13,955 LET ME HAVE YOUR GUN, FINGERTIPS, PLEASE. 823 00:47:18,280 --> 00:47:19,793 BACK INSIDE. 824 00:47:31,760 --> 00:47:32,795 KELLY! 825 00:47:38,440 --> 00:47:40,795 AAH! 826 00:47:46,680 --> 00:47:47,908 NICE SPLIT. 827 00:47:48,200 --> 00:47:50,031 I SHOULD HAVE USED A LITTLE MORE WRIST, YOU KNOW? 828 00:47:50,320 --> 00:47:53,437 MY BACK! I THINK IT'S BROKEN! 829 00:47:53,760 --> 00:47:55,512 OH, I BET THAT HURTS. 830 00:47:55,840 --> 00:47:57,239 MAYBE YOU BETTER ROLL OVER ON YOUR SIDE 831 00:47:57,560 --> 00:47:58,675 TILL THE POLICE GET HERE. 832 00:47:58,960 --> 00:48:00,029 HEY, LOOK WHAT I FOUND IN THE PARKING LOT. 833 00:48:00,320 --> 00:48:02,629 JOIN YOUR FRIEND ON THE FLOOR, ALEXANDER. 834 00:48:02,920 --> 00:48:07,118 GO AHEAD. 835 00:48:07,440 --> 00:48:10,079 I WON'T DANCE. DON'T ASK ME. 836 00:48:22,040 --> 00:48:24,634 [DISCO MUSIC PLAYING] 837 00:48:28,600 --> 00:48:32,479 [TELEPHONE RINGS] 838 00:48:32,800 --> 00:48:33,437 WOW! 839 00:48:33,760 --> 00:48:34,556 [RING] 840 00:48:34,880 --> 00:48:36,711 EXCUSE ME. 841 00:48:38,680 --> 00:48:39,715 HELLO. 842 00:48:40,000 --> 00:48:42,468 OH, HELLO, CHARLIE. 843 00:48:42,760 --> 00:48:45,320 TOP OF THE MORNING, BOSLEY, ANGELS. 844 00:48:45,640 --> 00:48:48,313 IS THERE SOMETHING WRONG WITH OUR CONNECT/0N, BOSLE Y, 845 00:48:48,600 --> 00:48:50,795 OR DO I DE TEC T WHEEZING .7 846 00:48:51,080 --> 00:48:53,196 OH, NO, NO, NO. THAT'S JUST THE USUAL MORNING RATTLE. 847 00:48:53,480 --> 00:48:55,948 I'M RETURNING YOUR PHO TOS TO YOU, SABRINA. 848 00:48:56,280 --> 00:48:57,952 THOUGHT YOU MIGHT WANT TO STARTA SCRAPBOOK 849 00:48:58,280 --> 00:48:59,110 THE NEGATIVES TOO, CHARLIE. 850 00:48:59,400 --> 00:49:01,834 I'VE GOT MY REPUTATION TO PROTECT. 851 00:49:02,160 --> 00:49:03,798 RIGHT YOU ARE SABRINA. 852 00:49:04,120 --> 00:49:05,599 CHARLIE, WHY DON'T WE SEND A SET 853 00:49:05,920 --> 00:49:07,353 TO CRUZ, BORDINAY AND GOODHEW. 854 00:49:07,640 --> 00:49:09,596 GIVE THEM SOMETHING TO THINK ABOUT WHILE THEY'RE DOING TIME. 855 00:49:09,920 --> 00:49:10,955 VERY FUNNY. 856 00:49:11,240 --> 00:49:14,038 I DON'T WANT TO INTERRUPT YOUR WELL -DESER VED CEL EBRA TIO/II, 857 00:49:14,320 --> 00:49:17,392 BUTI DID WANT YOU TO KNOW THA T LA URA CL USAK IS VERY GRA TEFUL 858 00:49:17,720 --> 00:49:18,994 FOR GETTING HER MONEYBA CK 859 00:49:19,280 --> 00:49:20,315 OUR PLEASURE, CHARLIE. 860 00:49:20,640 --> 00:49:22,392 OH, CHARLIE. YES, JILL. 861 00:49:22,720 --> 00:49:25,678 IT WOULD BE A SHAME FOR ALL THAT RESEARCH TO GO TO WASTE, 862 00:49:25,960 --> 00:49:26,517 DON'T YOU AGREE? 863 00:49:26,800 --> 00:49:28,028 MEANING? 864 00:49:28,360 --> 00:49:31,511 WELL, I WAS JUST THINKING. DO YOU HUSTLE? 865 00:49:31,800 --> 00:49:33,028 WHA T? 866 00:49:33,360 --> 00:49:35,316 OH, NEVER MIND. IT WAS JUST A THOUGHT, YOU KNOW? 60366

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