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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:13,280 --> 00:00:14,550 HIYA, DANNY. 2 00:00:14,590 --> 00:00:15,930 HOW’S IT GOIN’? 3 00:00:15,950 --> 00:00:16,920 GOOD. 4 00:00:16,960 --> 00:00:19,260 [PAGER BEEPS] 5 00:00:19,290 --> 00:00:20,290 EXCUSE ME. 6 00:00:31,140 --> 00:00:32,140 REBECCA? 7 00:00:35,340 --> 00:00:36,610 HOW’S IT GOIN’? 8 00:00:36,640 --> 00:00:37,610 GOOD MORNIN’, ANDY. 9 00:00:37,640 --> 00:00:39,370 YEAH. WHERE? 10 00:00:39,410 --> 00:00:40,810 MORNING, GREG. 11 00:00:40,850 --> 00:00:42,090 Kirkendall: OK, UH... 12 00:00:42,110 --> 00:00:43,480 HEY. HOW’S IT GOING, DANNY? 13 00:00:43,510 --> 00:00:46,820 SLOW DOWN, SLOW DOWN. WAIT A MINUTE. 14 00:00:46,850 --> 00:00:48,280 OKAY, UH... 15 00:00:48,320 --> 00:00:50,220 HOW’S THE TANK? 16 00:00:50,250 --> 00:00:52,490 MY NEONS ARE A LITTLE LISTLESS. 17 00:00:52,520 --> 00:00:54,060 Fancy: GOT IT. THANKS. 18 00:00:54,090 --> 00:00:56,120 TELL KYLE MOMMY’S ON THE WAY. 19 00:00:56,160 --> 00:00:58,930 A STABBING VICTIM AT A CONVENIENCE STORE 20 00:00:58,960 --> 00:01:00,160 AT SECOND AVENUE AND THIRD STREET. 21 00:01:00,200 --> 00:01:01,100 ANDY, YOU’RE UP. 22 00:01:03,170 --> 00:01:05,680 KYLE SAW IT. 23 00:01:05,700 --> 00:01:08,300 HE SAW THE STABBING. HE WAS IN THE STORE WHEN IT HAPPENED. 24 00:01:08,340 --> 00:01:09,740 HER 9‐YEAR‐OLD. 25 00:01:09,770 --> 00:01:11,070 EVERYONE ON BACKUP. 26 00:01:11,110 --> 00:01:13,780 COME ON, JILL. I’VE GOT THE KEYS. 27 00:01:13,810 --> 00:01:16,610 IF YOU NEED TO BANG OUT FOR THE REST OF THE SHIFT, THAT’S FINE. 28 00:01:16,650 --> 00:01:18,350 WHAT? 29 00:01:18,380 --> 00:01:19,950 DO WHAT YOU GOTTA DO. 30 00:01:19,980 --> 00:01:22,050 I’M GOING TO. 31 00:01:37,700 --> 00:01:39,800 [WOMAN CRYING] 32 00:01:39,840 --> 00:01:43,500 MIGUEL! OH, MIGUEL! 33 00:01:51,420 --> 00:01:52,390 MOM! 34 00:01:52,420 --> 00:01:53,390 ARE YOU OK? 35 00:01:53,420 --> 00:01:56,660 OH! OK, KYLE. IT’S OK. 36 00:01:58,590 --> 00:02:00,860 Danny: HEY, COME HERE AND TALK TO ME. 37 00:02:00,890 --> 00:02:02,160 WHAT HAPPENED? 38 00:02:02,190 --> 00:02:03,890 KID’S IN THE STORE WITH THE SITTER. 39 00:02:03,930 --> 00:02:05,130 SHE’S IN THE JOHN. 40 00:02:05,160 --> 00:02:06,960 PERP ROBS AND STABS THE CLERK. 41 00:02:07,000 --> 00:02:07,830 ANYBODY ELSE IN THE STORE? 42 00:02:07,870 --> 00:02:08,870 NAH. JUST THE KID. 43 00:02:08,900 --> 00:02:11,000 YOU’RE NOT HURT? 44 00:02:11,040 --> 00:02:12,080 OK. 45 00:02:12,100 --> 00:02:13,840 ALL RIGHT, BABY. 46 00:02:13,870 --> 00:02:15,200 WHAT’S THE PROBLEM? 47 00:02:15,240 --> 00:02:16,670 WHO ARE YOU WORKING FOR, GARY? I FREELANCE. 48 00:02:16,710 --> 00:02:18,670 MY NAME’S DANNY SORENSON, I’M WITH THE 15th SQUAD, 49 00:02:18,710 --> 00:02:20,480 AND I’M GONNA NEED THE LAST FILM YOU JUST SHOT. 50 00:02:20,510 --> 00:02:22,080 WHAT DO YOU MEAN? WELL, WHAT PART? 51 00:02:22,110 --> 00:02:23,010 WITH THE MOTHER AND HER BOY. 52 00:02:23,050 --> 00:02:25,020 THAT’S GREAT STUFF. 53 00:02:25,050 --> 00:02:26,680 I DON’T WANT THAT PART CIRCULATING, GARY. 54 00:02:26,720 --> 00:02:29,220 YOU DO ME THIS SOLID, I’LL GET YOU SOME EXCLUSIVES 55 00:02:29,250 --> 00:02:30,350 ON WALKOUTS FROM MY STATION HOUSE. 56 00:02:30,390 --> 00:02:31,920 I DON’T KNOW. 57 00:02:31,960 --> 00:02:34,100 SURE, YOU DO, GARY. 58 00:02:34,130 --> 00:02:35,930 I’LL TAKE REAL GOOD CARE OF YA, 59 00:02:35,960 --> 00:02:38,090 AND I’M GONNA BE ON THIS JOB A LONG TIME. 60 00:02:38,130 --> 00:02:39,560 ALL RIGHT. 61 00:02:39,600 --> 00:02:41,230 LET ME REWIND. 62 00:02:43,100 --> 00:02:45,100 THE MAN IN THE STORE’S DEAD. 63 00:02:45,140 --> 00:02:48,510 AND THE OTHER MAN STABBED HIM WITH A KNIFE. 64 00:02:48,540 --> 00:02:51,170 A D.O.A. AT THAT HOMELESS CAMP OVER ON FOURTH STREET. 65 00:02:51,210 --> 00:02:52,170 YOU’RE CATCHIN’? 66 00:02:52,210 --> 00:02:53,410 YEAH, WE’RE THE LUCKY TEAM. 67 00:02:53,440 --> 00:02:54,380 YEAH. 68 00:02:57,580 --> 00:03:00,050 AAAH! AAH! 69 00:03:00,080 --> 00:03:02,380 [SCREAMING AND CRYING] 70 00:03:03,920 --> 00:03:05,450 LET’S GET HIM OUTTA HERE. 71 00:03:05,490 --> 00:03:08,760 Woman: NO! NO! NO! 72 00:03:08,790 --> 00:03:09,730 [SOBS] 73 00:03:09,760 --> 00:03:11,430 iPOR QUé! 74 00:03:11,460 --> 00:03:15,030 [CRYING AND SCREAMING IN SPANISH] 75 00:03:15,070 --> 00:03:18,440 ¿POR QUé? NO! ¿POR QUé? 76 00:04:58,370 --> 00:05:00,900 HOW LONG YOU BEEN MARRIED TO SIPOWICZ? 77 00:05:02,210 --> 00:05:04,280 A LITTLE OVER 3 YEARS. 78 00:05:06,080 --> 00:05:08,690 LET ME TELL YOU ONCE, SERGEANT, 79 00:05:08,710 --> 00:05:10,510 HOW GRATEFUL I AM FOR WHAT YOU’RE DOING‐‐ 80 00:05:10,550 --> 00:05:13,180 JERMAINE SLUNG DOPE ON THAT CORNER. 81 00:05:13,220 --> 00:05:14,930 IF THIS MURDER’S DRUG‐RELATED 82 00:05:14,950 --> 00:05:16,590 AND SUAREZ WAS A BOUGHT PATSY, 83 00:05:16,620 --> 00:05:18,320 JERMAINE OUGHT TO KNOW ABOUT IT. 84 00:05:18,360 --> 00:05:20,370 LISTEN, ABOUT JERMAINE BEING SISSIFIED, 85 00:05:20,390 --> 00:05:22,420 DON’T LET THAT FOOL YOU. 86 00:05:22,460 --> 00:05:23,860 NO. 87 00:05:23,900 --> 00:05:26,000 HE CAN HANDLE HIMSELF ON THE STREET. 88 00:05:26,030 --> 00:05:28,560 Man: I SEE YOU IN THERE, DETECTIVE DORNAN. 89 00:05:28,600 --> 00:05:31,900 HERE I AM, JERMAINE, AND IT’S SERGEANT DORNAN. 90 00:05:31,940 --> 00:05:35,080 CONGRATULATIONS. 91 00:05:35,110 --> 00:05:36,720 ASSISTANT DISTRICT ATTORNEY COSTAS. 92 00:05:36,740 --> 00:05:37,740 HOW DO YOU DO. 93 00:05:37,780 --> 00:05:39,690 HOW DO YOU DO? 94 00:05:39,710 --> 00:05:40,880 [PUSHES CHAIR] 95 00:05:40,910 --> 00:05:43,580 ASSISTANT DISTRICT ATTORNEY. 96 00:05:43,620 --> 00:05:47,260 YES, WELL, I’M AFRAID I CAN’T SPEAK TO YOU JUST NOW 97 00:05:47,290 --> 00:05:50,130 BECAUSE OF AN URGENT DENTURE PROBLEM. 98 00:05:50,150 --> 00:05:52,220 WHAT’S THIS, NOW? 99 00:05:52,260 --> 00:05:55,770 IT’S GETTIN’ ON 16 DAYS I’VE BEEN ASKIN’ TO SEE THE DENTIST 100 00:05:55,790 --> 00:05:58,790 TO HAVE MY UPPER PLATE ADJUSTED. 101 00:05:58,830 --> 00:06:02,100 AND I’M AFRAID THAT WHATEVER COOPERATION YOU’RE LOOKING FOR 102 00:06:02,130 --> 00:06:04,530 I CAN’T PROVIDE UNTIL THAT HAPPENS. 103 00:06:04,570 --> 00:06:05,430 LET’S TAKE CARE OF THAT RIGHT AFTER THIS. 104 00:06:05,470 --> 00:06:07,940 NO, NO, NO. 105 00:06:07,970 --> 00:06:10,740 IT WILL NOT TAKE LONG. 106 00:06:10,780 --> 00:06:13,790 MY MOUTH IS VERY IMPORTANT TO ME. 107 00:06:13,810 --> 00:06:15,940 ALL RIGHT. CAN WE GET HIM IN 108 00:06:15,980 --> 00:06:18,750 FOR A DENTURE ADJUSTMENT NOW? 109 00:06:18,780 --> 00:06:21,450 THANK YOU VERY MUCH. 110 00:06:21,490 --> 00:06:24,930 I EXPECT YOU TO COOPERATE WHEN YOU GET BACK HERE. 111 00:06:24,960 --> 00:06:27,870 OH, I’LL BE VERY COOPERATIVE WITH MY PLATE REPAIRED. 112 00:06:34,300 --> 00:06:36,130 [SIGHS] 113 00:06:56,150 --> 00:06:57,090 D.O.A.’s HEAD’S CAVED IN. 114 00:06:57,120 --> 00:07:00,090 BLOODY 2 X 4 NEXT TO THE BODY. 115 00:07:00,120 --> 00:07:01,620 THEY SAID HIS NAME’S VIC. 116 00:07:01,660 --> 00:07:02,960 HE LIVED IN THE LOT. 117 00:07:02,990 --> 00:07:04,960 APPARENTLY, HE WAS THE CAMPUS ASSHOLE. 118 00:07:05,000 --> 00:07:07,710 YEAH? NO ONE’S TOO SORRY TO SEE HIM DEAD? 119 00:07:07,730 --> 00:07:08,900 NOPE. 120 00:07:11,470 --> 00:07:12,970 HE’S BANGED UP GOOD, 121 00:07:13,000 --> 00:07:15,470 BUT NOT A LOT OF BLOOD IN THE CART. 122 00:07:15,510 --> 00:07:18,050 HIS HANDS ARE TORN UP LIKE HE WAS IN A FIGHT. 123 00:07:18,080 --> 00:07:21,050 VIC LEARNED THE LESSON OF SADDAM HUSSEIN IN KUWAIT. 124 00:07:21,080 --> 00:07:22,940 EXPAND UPON YOUR NEIGHBORS, 125 00:07:22,980 --> 00:07:24,610 THE EAGLE OF DEATH SWOOPS ON YOUR SHOULDER 126 00:07:24,650 --> 00:07:26,380 AND TAKES A HUGE DUMP. 127 00:07:26,420 --> 00:07:30,400 WE MAPPED OUT CAN TERRITORY‐‐ PICKING UP CANS. 128 00:07:30,420 --> 00:07:31,650 VIC DIDN’T STICK TO IT. 129 00:07:31,690 --> 00:07:33,020 RAT BASTARD WAS A POACHER 130 00:07:33,060 --> 00:07:34,370 WITH AN ENEMIES LIST THE LENGTH OF YOUR ARM. 131 00:07:34,390 --> 00:07:36,120 DID THAT INCLUDE YOU? 132 00:07:36,160 --> 00:07:38,430 HEY, I ONLY FOUND HIS BODY. 133 00:07:39,730 --> 00:07:41,900 PSST! PSST! 134 00:07:41,930 --> 00:07:44,330 I CAN GIVE YOU A SUSPECT, 135 00:07:44,370 --> 00:07:47,800 BUT, UH, MONEY‐WISE, IT’S A HARD WORLD. 136 00:07:47,840 --> 00:07:49,940 THANKS A LOT. 137 00:07:53,010 --> 00:07:55,210 HERE. 138 00:07:55,250 --> 00:07:58,060 ANOTHER 20 IF YOU’RE RIGHT. 139 00:07:58,080 --> 00:08:01,920 VIC BEAT THE CRAP OUT OF HIM A COUPLE OF NIGHTS AGO, 140 00:08:01,950 --> 00:08:03,150 AND ED SWORE VENGEANCE. 141 00:08:03,190 --> 00:08:04,730 ED’S THE GUY THAT’S PASSED OUT? 142 00:08:04,760 --> 00:08:06,700 HE’S NOT AS PASSED OUT AS HE LOOKS. 143 00:08:06,730 --> 00:08:10,740 HE’S, UH, PARTWAY PLAYING POSSUM. 144 00:08:10,760 --> 00:08:13,360 HE SAYS THIS GUY’S WORTH A CONVERSATION. 145 00:08:13,400 --> 00:08:14,140 WHAT, THE ONE PASSED OUT? YEAH. 146 00:08:18,800 --> 00:08:20,740 YOU STAY HERE. 147 00:08:21,910 --> 00:08:22,910 UGH. 148 00:08:28,910 --> 00:08:32,210 THAT BODEGA SHOOTING THAT NEVER CLEARED, 149 00:08:32,250 --> 00:08:34,420 THIS IS THE COUGH SYRUP JUNKIE THAT WE TALKED TO OUTSIDE. 150 00:08:34,450 --> 00:08:36,250 OH, YEAH. HE TOLD US ABOUT THE CRACKHEAD HOOKER 151 00:08:36,290 --> 00:08:38,430 GOING DOWN ON GUYS IN THE BASEMENT. 152 00:08:38,460 --> 00:08:39,970 YEAH, HE WAS STRAIGHT WITH US ABOUT HER, AS FAR AS THAT GOES. 153 00:08:39,990 --> 00:08:41,060 HEY! [KICKING] 154 00:08:41,090 --> 00:08:42,020 WAKE UP! 155 00:08:42,060 --> 00:08:43,790 WHAT’S GOIN’ ON? 156 00:08:43,830 --> 00:08:45,590 THERE WAS A GUY MURDERED OVER HERE. 157 00:08:45,630 --> 00:08:46,900 WHAT DO YOU KNOW ABOUT THAT? 158 00:08:46,930 --> 00:08:49,100 NEXT TO NOTHIN’. 159 00:08:49,130 --> 00:08:50,930 HE’S GOT BLOOD ON HIS SWEATSHIRT. 160 00:08:50,970 --> 00:08:54,040 YEAH. THIS VIC THAT’S DEAD, YOU HAVE HARD FEELINGS WITH HIM? 161 00:08:54,070 --> 00:08:56,070 NO MORE THAN THE NEXT FELLA. 162 00:08:56,110 --> 00:08:57,480 BUT YOU MAY HAVE HAD SOME? 163 00:08:57,510 --> 00:09:00,040 MAYBE SOME SMALL AMOUNT. 164 00:09:00,080 --> 00:09:01,780 ALL RIGHT, YA GOTTA COME WITH US. 165 00:09:01,810 --> 00:09:02,740 LET’S GO. 166 00:09:02,780 --> 00:09:04,110 AH, JEEZ! 167 00:09:04,150 --> 00:09:06,580 MAYBE YOU WON’T BE GONE LONG. 168 00:09:06,620 --> 00:09:09,480 HEY, I GOT A NICE BUZZ GOIN’. COME ON. 169 00:09:09,520 --> 00:09:10,390 YEAH, THAT’S THE BREAKS. [SQUISH] 170 00:09:10,420 --> 00:09:12,050 OH! 171 00:09:12,090 --> 00:09:14,620 GUM AND DOG CRAP. 172 00:09:14,660 --> 00:09:18,460 YEAH, THE DOG CRAP HERE IS TERRIBLE. 173 00:09:26,200 --> 00:09:28,170 WE CAME INTO THE STORE 174 00:09:28,210 --> 00:09:29,780 COMING FROM DR. KENDALL’S. 175 00:09:29,810 --> 00:09:31,440 YOU AND REBECCA. 176 00:09:31,480 --> 00:09:33,450 SHE TOOK ME FOR MY EAR INFECTION, 177 00:09:33,480 --> 00:09:37,360 AND COMING HOME, WE WENT IN TO GET A SUPER CONE 178 00:09:37,380 --> 00:09:40,350 AND FOR REBECCA TO USE THE LAVATORY. 179 00:09:40,380 --> 00:09:42,450 WHO WAS IN THE STORE THEN? 180 00:09:42,490 --> 00:09:45,330 FIRST, IT WAS JUST THE MAN BEHIND THE COUNTER. 181 00:09:47,960 --> 00:09:49,990 BUT WHEN I WAS OVER AT THE MACHINE, 182 00:09:50,030 --> 00:09:51,990 THE OTHER MAN CAME IN. 183 00:09:52,030 --> 00:09:55,660 THIS WAS THE MAN WHO WOUND UP HURTING THE MAN BEHIND THE COUNTER? 184 00:09:55,700 --> 00:09:56,930 YES. 185 00:09:56,970 --> 00:09:58,700 WHAT DID THAT MAN LOOK LIKE? 186 00:10:00,540 --> 00:10:03,440 HE...HE WAS WHITE 187 00:10:03,470 --> 00:10:05,870 AND ABOUT MY DAD’S SIZE. 188 00:10:05,910 --> 00:10:08,140 OH. HOW TALL IS YOUR DAD? 189 00:10:09,880 --> 00:10:12,710 5’10". 190 00:10:12,750 --> 00:10:16,220 AND HE WAS, LIKE, MAYBE 5 YEARS YOUNGER THAN MY DAD. 191 00:10:16,250 --> 00:10:17,490 MAYBE 30. 192 00:10:17,520 --> 00:10:20,460 AND HE TOLD THE MAN BEHIND THE COUNTER 193 00:10:20,490 --> 00:10:22,960 HE WANTED ALL THE MONEY FROM THE CASH REGISTER 194 00:10:22,990 --> 00:10:25,190 AND ALL THE LOTTERY TICKETS. 195 00:10:25,230 --> 00:10:26,530 AND THE MAN BEHIND THE COUNTER 196 00:10:26,570 --> 00:10:29,240 DIDN’T EVEN REALLY GET A CHANCE TO ANSWER HIM. 197 00:10:29,270 --> 00:10:30,780 AND THEN THE OTHER MAN STABBED HIM. 198 00:10:32,400 --> 00:10:37,370 KYLE, DID THE MAN WHO STABBED THE OTHER MAN SEE YOU? 199 00:10:37,410 --> 00:10:40,910 HE SAW ME, AND HE SORT OF POINTED AT ME 200 00:10:40,950 --> 00:10:42,750 WHEN HE WAS RUNNING OUT. 201 00:10:42,780 --> 00:10:47,180 HE HAD A BUNCH OF LOTTERY TICKETS 202 00:10:47,220 --> 00:10:50,020 AND...SOME MONEY. 203 00:10:50,050 --> 00:10:52,820 AND THE OTHER MAN, WHO WAS STABBED, 204 00:10:52,860 --> 00:10:55,200 HE WAS TRYING TO FOLLOW HIM, BUT HE COULDN’T 205 00:10:55,230 --> 00:10:57,100 BECAUSE HE WAS BLEEDING. 206 00:10:59,200 --> 00:11:02,240 AND THEN HE FELL TO THE FLOOR. 207 00:11:02,270 --> 00:11:04,510 AND AFTER HE RAN OUT, 208 00:11:04,540 --> 00:11:08,510 THE OTHER MAN SORT OF REACHED HIS HAND OUT, 209 00:11:08,540 --> 00:11:12,070 AND THEN HE LAID HIS HEAD DOWN. 210 00:11:12,110 --> 00:11:15,080 AND THAT’S WHEN I GOT REBECCA. 211 00:11:15,110 --> 00:11:17,180 OK, KYLE. 212 00:11:17,220 --> 00:11:21,090 YOU’VE BEEN REALLY BRAVE TALKING TO ME ABOUT THIS. 213 00:11:21,120 --> 00:11:23,350 IF I SAW HIM, I’D RECOGNIZE THE MAN 214 00:11:23,390 --> 00:11:25,660 WHO STABBED THE OTHER MAN WITH THE KNIFE. 215 00:11:27,990 --> 00:11:29,590 WE CAN TALK LATER 216 00:11:29,630 --> 00:11:33,090 IF YOU’RE ACTUALLY REALLY SURE ABOUT THAT. 217 00:11:33,130 --> 00:11:35,230 YOU TAKE A LITTLE TIME WITH YOUR MOM. 218 00:11:35,270 --> 00:11:36,610 OK. 219 00:11:42,570 --> 00:11:44,240 I’M REALLY PROUD OF YOU, SWEETIE. 220 00:11:47,480 --> 00:11:48,080 [DOOR OPENS] 221 00:11:49,850 --> 00:11:51,550 HOW’S HE DOING? 222 00:11:51,580 --> 00:11:53,820 JILL’S RIGHT WITH HIM. 223 00:11:53,850 --> 00:11:56,080 DID HE GIVE YOU ANY SORT OF DESCRIPTION? 224 00:11:56,120 --> 00:11:59,450 HE GAVE ME A DECENT GENERAL DESCRIPTION. 225 00:11:59,490 --> 00:12:01,160 DIDN’T REALLY GET A GOOD SPECIFIC LOOK. 226 00:12:01,190 --> 00:12:04,260 YEAH. I’M NOT SURE IF HE COULD PICK THE GUY OUT. 227 00:12:06,870 --> 00:12:09,680 THE SITTER’S GOT NOTHIN’, THIS REBECCA. 228 00:12:09,700 --> 00:12:11,130 [DOOR OPENS] 229 00:12:11,170 --> 00:12:12,100 Fancy: HI, JILL. 230 00:12:12,140 --> 00:12:13,140 HI. 231 00:12:13,170 --> 00:12:16,670 ANY OTHER WITNESSES ON CANVASS? 232 00:12:16,710 --> 00:12:18,640 NARCOTICS AND ANTI‐CRIME ARE FOLLOWING UP ON THE CORNERS. 233 00:12:18,680 --> 00:12:20,990 THEY MAY VERY WELL COME UP WITH SOMETHING. 234 00:12:21,010 --> 00:12:24,450 IN OTHER WORDS, WE GOT NOTHING EXCEPT FOR KYLE. 235 00:12:28,520 --> 00:12:31,850 DOES KYLE WANT A SODA OR ANYTHING? 236 00:12:31,890 --> 00:12:33,420 I’M GETTING HIM ONE. 237 00:12:33,460 --> 00:12:36,230 I JUST NEED TO USE THE JOHN FOR A SECOND. 238 00:12:40,970 --> 00:12:42,210 CUT THE SITTER LOOSE? 239 00:12:42,230 --> 00:12:43,160 Fancy: YEAH. 240 00:12:44,970 --> 00:12:48,670 DUMB‐ASS D. O. A. DON’T HAVE A SURVEILLANCE CAMERA. 241 00:12:48,710 --> 00:12:50,420 [SIGHS] 242 00:12:58,680 --> 00:13:01,450 KYLE WATCHED THIS EVIL SON OF A BITCH 243 00:13:01,490 --> 00:13:03,860 STAB A MAN IN HIS CHEST 244 00:13:03,890 --> 00:13:06,320 AND THE MAN BLEED OUT IN FRONT OF HIM. 245 00:13:06,360 --> 00:13:11,370 NOW, BAD ENOUGH HE’LL CARRY THOSE MEMORIES THE REST OF HIS LIFE... 246 00:13:11,400 --> 00:13:14,870 WITHOUT HAVING TO RELIVE THEM A WEEK FROM NOW 247 00:13:14,900 --> 00:13:16,700 IN THAT GRAND JURY ROOM 248 00:13:16,740 --> 00:13:18,540 AND THEN IN FRONT OF ANOTHER GROUP OF STRANGERS 249 00:13:18,570 --> 00:13:21,870 IN A COURTROOM HEARING 6 MONTHS FROM NOW. 250 00:13:21,910 --> 00:13:24,150 AND THEN A YEAR LATER, 251 00:13:24,180 --> 00:13:26,590 HAVE TO SIT ON THE WITNESS STAND 252 00:13:26,610 --> 00:13:28,640 WHILE THAT SAME EVIL BASTARD 253 00:13:28,680 --> 00:13:30,880 SCARES HIM WITH HIS HATEFUL LOOKS, 254 00:13:30,920 --> 00:13:33,220 AND HIS ASSHOLE LAWYER 255 00:13:33,250 --> 00:13:37,590 TRIES TO BREAK MY BOY DOWN AND HUMILIATE HIM. 256 00:13:37,620 --> 00:13:39,490 JILL, IF YOU WANT, 257 00:13:39,520 --> 00:13:41,320 WE’LL WALK KYLE OUT THE DOOR, 258 00:13:41,360 --> 00:13:43,490 AND NO ONE WILL EVER SEE HIS NAME 259 00:13:43,530 --> 00:13:44,940 IN A SINGLE PIECE OF PAPERWORK 260 00:13:44,960 --> 00:13:46,030 CONNECTED WITH THIS CASE. 261 00:13:46,060 --> 00:13:49,000 I WANT THE CASE MADE. 262 00:13:49,030 --> 00:13:53,100 I JUST PRAY THAT KYLE DOESN’T HAVE TO GO THROUGH MORE. 263 00:13:54,640 --> 00:13:56,770 ALL RIGHT. 264 00:13:56,810 --> 00:13:59,470 THIS IS GONNA BE ALL RIGHT. 265 00:14:11,960 --> 00:14:13,130 JILL’S ALL UPSET? 266 00:14:13,160 --> 00:14:15,400 SHE’S WORRIED FOR HER BOY. 267 00:14:15,430 --> 00:14:18,170 SHE’S SUPPOSED TO BE WORRIED FOR HIM. 268 00:14:19,900 --> 00:14:22,230 WE NEED A CONFESSION IN THIS CASE. 269 00:14:22,270 --> 00:14:24,740 YEAH, A CONFESSION WOULD BE GOOD. 270 00:14:24,770 --> 00:14:28,240 YEAH. WE NEED TO GET THE ASSHOLE WHO DID THIS TO CONFESS. 271 00:14:53,770 --> 00:14:55,740 I HAVE TO SAY, DOLORES, 272 00:14:55,770 --> 00:14:57,740 WHATEVER BENEFIT YOU’RE GETTING FROM ORGANIZING YOUR THOUGHTS 273 00:14:57,770 --> 00:14:59,070 CANNOT OUTWEIGH THE NEGATIVE IMPRESSION 274 00:14:59,100 --> 00:15:00,440 YOU ARE MAKING BY BEING LATE. 275 00:15:00,470 --> 00:15:02,470 I WANT CERTAIN THINGS UNDERSTOOD DOWNSTAIRS. 276 00:15:02,510 --> 00:15:04,450 THIS IS NOT THE TIME TO BE MAKING CONDITIONS. 277 00:15:04,480 --> 00:15:06,620 IT IS ALSO NOT THE TIME FOR ANYONE IN THAT SQUAD 278 00:15:06,650 --> 00:15:09,960 TO BE LOOKING STRANGE AT ME OR DOWN THEIR NOSE. 279 00:15:09,980 --> 00:15:11,280 LIEUTENANT FANCY WOULD HAVE REPLACED YOU 280 00:15:11,320 --> 00:15:12,820 IF HE DIDN’T WANT THIS TO WORK OUT. 281 00:15:12,850 --> 00:15:16,620 UNLESS HE WANTS ME UNDER A MICROSCOPE LIKE A VIRUS SPECIMEN 282 00:15:16,660 --> 00:15:18,000 TO LOOK DOWN HIS NOSE AT. 283 00:15:18,020 --> 00:15:19,660 OR HIS FEMALE DETECTIVES LOOKIN’ DOWN THEIR NOSE. 284 00:15:19,690 --> 00:15:21,220 UH... 285 00:15:22,860 --> 00:15:26,530 IN FACT, YOU KNOW WHAT? JUST ASK HIM, WRITE YES OR NO. 286 00:15:26,570 --> 00:15:28,510 WHAT ARE YOU TALKING ABOUT?! 287 00:15:28,530 --> 00:15:31,330 TAKE THIS DOWNSTAIRS, HAND IT TO LIEUTENANT FANCY, 288 00:15:31,370 --> 00:15:33,100 AND AT THE BOTTOM OF THE LIST, 289 00:15:33,140 --> 00:15:35,210 ASK HIM TO WRITE YES OR NO. 290 00:15:36,510 --> 00:15:38,250 I’M NOT GOING TO DO THAT, DOLORES. 291 00:15:42,150 --> 00:15:45,160 WELL, SOME FRIEND YOU ARE. 292 00:15:45,180 --> 00:15:46,980 SO WHO’S THE IMPERSONATOR‐‐ 293 00:15:47,020 --> 00:15:49,220 THE GIRL WHO CALLED CRYING 3 DIFFERENT NIGHTS 294 00:15:49,250 --> 00:15:51,350 OR THE...SMART‐ASS IN FRONT OF ME NOW? 295 00:15:51,390 --> 00:15:53,960 SOMEONE CALLED YOU AT HOME, SAID SHE WAS ME? 296 00:15:53,990 --> 00:15:55,460 CALLED, TOLD ME SHE WAS DOING THINGS 297 00:15:55,490 --> 00:15:57,290 SHE DIDN’T WANT TO AND DIDN’T UNDERSTAND, 298 00:15:57,330 --> 00:15:59,030 THAT HER LIFE WAS SPINNING OUT OF CONTROL 299 00:15:59,060 --> 00:16:01,130 AND THAT IF SHE GOT HER JOB BACK, 300 00:16:01,170 --> 00:16:03,170 THAT WOULD MEAN SHE COULD HELP HERSELF. 301 00:16:03,200 --> 00:16:05,700 YOU BETTER GET YOUR NUMBER CHANGED, JOHN. 302 00:16:05,740 --> 00:16:08,210 SOME WACKO’S GOT IT, PRETENDING TO BE ME. 303 00:16:10,110 --> 00:16:12,840 WANT TO MAKE A PAPER PLANE? 304 00:16:12,880 --> 00:16:14,120 NO. 305 00:16:17,720 --> 00:16:18,960 AND I’M NOT GONNA CHANGE MY PHONE NUMBER. 306 00:16:28,190 --> 00:16:30,530 GUY STUCK UP A CONVENIENCE STORE, 307 00:16:30,560 --> 00:16:33,190 PRETTY MUCH FITS THE DESCRIPTION. 308 00:16:33,230 --> 00:16:35,560 VINCENT SHAW. 309 00:16:35,600 --> 00:16:37,100 YEAH. I GOT A VINCE SHAW, TOO. 310 00:16:37,140 --> 00:16:39,010 VINCENT SHAW FROM 23rd STREET. 311 00:16:39,040 --> 00:16:40,180 I CHECKED HIM AN HOUR AGO. 312 00:16:40,200 --> 00:16:42,170 HE’S DOING A POUND UPSTATE. 313 00:16:42,210 --> 00:16:44,020 CRIME SCENE’S GOT NO LIFTS 314 00:16:44,040 --> 00:16:45,440 FROM THE COUNTERS INSIDE THE STORE. 315 00:16:45,480 --> 00:16:47,620 NO DESCRIPTION MATCHES SO FAR 316 00:16:47,650 --> 00:16:49,390 IN SIMILAR‐PATTERN STICKUPS. 317 00:16:49,410 --> 00:16:52,050 A WOMAN CAUGHT THE PLATE ON A SEDAN 318 00:16:52,080 --> 00:16:53,920 THAT SIDESWIPED HER CAR AND KEPT GOING 2 BLOCKS FROM YOUR CRIME SCENE. 319 00:16:53,950 --> 00:16:55,220 THE TIME FITS. 320 00:16:55,250 --> 00:16:58,250 PLATE COMES BACK TO A JOHN FALCONE. 321 00:16:58,290 --> 00:17:00,460 WORKS OVER AT THE FULTON MARKET. 322 00:17:00,490 --> 00:17:03,260 I GOT 7 MINUTES TILL A COMMITMENT WITH SYLVIA. 323 00:17:05,600 --> 00:17:07,410 DIANE AND ME CAN GRAB HIM UP. 324 00:17:10,170 --> 00:17:12,230 YEAH. OK. 325 00:17:28,690 --> 00:17:32,730 SO MUCH THESE DAYS IS CONFUSIN’ TO ME. 326 00:17:32,760 --> 00:17:34,670 THAT COUGH SYRUP WILL BRING YOU TO YOUR KNEES. 327 00:17:34,690 --> 00:17:36,260 I GOT BRONCHITIS. 328 00:17:36,290 --> 00:17:39,060 [COUGHS] CHRONIC. 329 00:17:39,100 --> 00:17:42,010 THAT’S WHAT KNOCKS ME OVER. 330 00:17:42,030 --> 00:17:44,430 ANYWAYS, ED, OUR SPECIFIC CONCERN 331 00:17:44,470 --> 00:17:46,900 IS THE BLOOD ON YOUR SWEATSHIRT. 332 00:17:46,940 --> 00:17:49,570 I OFTEN GET MY BALLS BEAT OFF. 333 00:17:49,610 --> 00:17:51,610 WHAT’S THE CRIME IN THAT? 334 00:17:51,640 --> 00:17:52,670 SO YOU’RE SAYING THAT’S YOUR OWN BLOOD. 335 00:17:52,710 --> 00:17:54,440 SURE. 336 00:17:54,480 --> 00:17:56,410 WHERE WERE YOU LAST NIGHT, ED? 337 00:17:56,450 --> 00:18:00,660 BIG PART OF THE NIGHT AT THAT OIL DRUM FIRE 338 00:18:00,690 --> 00:18:03,700 WE GET GOIN’ OUTSIDE THE GARAGE ON LAFAYETTE. 339 00:18:03,720 --> 00:18:05,650 WHO CAN BACK THAT? BECAUSE OF THE COLD. 340 00:18:05,690 --> 00:18:07,560 YEAH, IT’S GOTTEN VERY CHILLY. 341 00:18:09,460 --> 00:18:10,630 ED! 342 00:18:10,660 --> 00:18:11,660 AAAH... 343 00:18:11,700 --> 00:18:13,270 WHO CAN BACK YOU BEING 344 00:18:13,300 --> 00:18:14,840 OUTSIDE THE GARAGE ON LAFAYETTE? 345 00:18:14,870 --> 00:18:16,610 THE PEOPLE THERE WITH ME! 346 00:18:16,640 --> 00:18:18,540 YEAH, GOOD. 347 00:18:18,570 --> 00:18:20,640 WE’RE GONNA TAKE A RIDE OVER TO LAFAYETTE LATER, ED. 348 00:18:20,670 --> 00:18:22,670 THE FELLAS THERE HAD BETTER BE ABLE TO BACK YOUR STORY. 349 00:18:22,710 --> 00:18:25,350 THEY WILL! 350 00:18:25,380 --> 00:18:28,990 IF THAT WAS THE NIGHT THAT WE HAD THE FIRE. 351 00:18:31,480 --> 00:18:34,120 WHEN DID YOU LAST SEE VIC FRAWLEY? 352 00:18:34,150 --> 00:18:36,280 LOOK, HE TOOK MY CAN ROUTE, 353 00:18:36,320 --> 00:18:38,320 BUT I DIDN’T KILL HIM. 354 00:18:38,360 --> 00:18:41,000 WAS IT VIC THAT BEAT ON YOUR HEAD? 355 00:18:41,030 --> 00:18:43,530 MANY PEOPLE BEAT ON ME. 356 00:18:43,560 --> 00:18:46,860 THE STORY WE’RE HEARING IS VIC BEAT ON YOU TAKIN’ OVER YOUR CAN TERRITORY. 357 00:18:46,900 --> 00:18:49,570 HIM COMING UP DEAD, WE GOTTA LOOK AT YOU AS HAVING A MOTIVE. 358 00:18:49,600 --> 00:18:52,370 IF WE TAKE YOUR SWEATSHIRT TO YOUR LAB, ED, 359 00:18:52,400 --> 00:18:54,170 AND IT COMES UP POSITIVE FOR VIC’S BLOOD, 360 00:18:54,210 --> 00:18:56,180 YOU’RE FACIN’ A MURDER CHARGE. 361 00:18:56,210 --> 00:18:58,320 ED, IF YOU DID SOMETHIN’ TO VIC‐‐ 362 00:18:58,340 --> 00:18:59,810 MAYBE COMPLETELY JUSTIFIABLE‐‐ 363 00:18:59,840 --> 00:19:02,410 OVER HIM BULLYING YOU OFF YOUR CAN ROUTE, 364 00:19:02,450 --> 00:19:05,660 THE TIME TO SAY SO IS NOW, BEFORE THE EVIDENCE PAINTS YOU INTO A CORNER 365 00:19:05,680 --> 00:19:08,220 WHERE YOU DON’T GET NO CREDIT FOR REMORSE! 366 00:19:08,250 --> 00:19:09,750 ED! 367 00:19:09,790 --> 00:19:11,690 [SNORING] 368 00:19:20,600 --> 00:19:21,900 IT’S STUCK. 369 00:19:30,440 --> 00:19:33,210 [SNORING CONTINUES] 370 00:19:39,620 --> 00:19:42,620 HONEY, I NEED TO BE HERE PAYING ATTENTION 371 00:19:42,650 --> 00:19:45,050 SO YOUR BROTHER DOESN’T GET MORE INVOLVED WITH THIS. 372 00:19:45,090 --> 00:19:48,620 AND I WANT KYLE WITH ME SO I CAN KEEP HIM GOOD COMPANY. 373 00:19:48,660 --> 00:19:52,130 NO, NO. BUT THAT’S WHY I WANT TO KEEP HIM COMPANY‐‐ 374 00:19:52,160 --> 00:19:53,860 SO HE DOESN’T GET SCARED. 375 00:19:53,900 --> 00:19:55,600 NOW, WHAT YOU CAN DO FOR MOM IS‐‐ 376 00:19:59,170 --> 00:20:01,900 NO. HONEY, I DON’T WANT YOU DOWN HERE 377 00:20:01,940 --> 00:20:05,140 OR KYLE HERE A MINUTE LONGER THAN HE HAS TO BE. 378 00:20:05,180 --> 00:20:07,320 JUST GIVE MOM A COUPLE OF HOURS 379 00:20:07,350 --> 00:20:09,320 SO I CAN LOOK OUT FOR YOUR BROTHER, 380 00:20:09,350 --> 00:20:12,590 AND THEN ME AND KYLE ARE COMING HOME. 381 00:20:12,620 --> 00:20:14,590 YEAH. 382 00:20:14,620 --> 00:20:18,390 THEN WE’LL ALL TALK ABOUT WHAT HAPPENED, FRANK. 383 00:20:18,420 --> 00:20:22,090 ’CAUSE I’LL BET HEARIN’ WHAT HAPPENED’S BEEN SCARY FOR YOU, TOO. 384 00:20:22,130 --> 00:20:23,200 MM‐HMM. 385 00:20:26,800 --> 00:20:28,530 I LOVE YOU, SON. 386 00:20:30,470 --> 00:20:32,270 YEAH, MOM LOVES YOU. 387 00:20:32,300 --> 00:20:35,100 BIG KISS IN YOUR ACCOUNT. 388 00:20:35,140 --> 00:20:36,100 BYE. 389 00:20:49,650 --> 00:20:50,690 LEO, WHAT ARE YOU DOING? 390 00:20:50,720 --> 00:20:52,750 HE’S SLEEPIN’, HUH? 391 00:20:52,790 --> 00:20:54,460 YEAH. KYLE’S TAKIN’ A NAP. 392 00:20:54,490 --> 00:20:55,990 WHAT A NIGHTMARE FOR HIM. 393 00:20:56,030 --> 00:20:57,170 UH‐HUH. 394 00:20:57,200 --> 00:20:58,840 HE ACTUALLY SAW THE MURDER? 395 00:20:58,860 --> 00:21:00,660 WHY? 396 00:21:00,700 --> 00:21:02,260 WELL, ’CAUSE IT WOULD BE THAT MUCH MORE OF A NIGHTMARE FOR HIM 397 00:21:02,300 --> 00:21:03,500 IF HE ACTUALLY SAW THE MURDER TAKE PLACE. 398 00:21:03,530 --> 00:21:06,640 YEAH, WELL, IT’S NOT REALLY CLEAR WHAT HE SAW. 399 00:21:06,670 --> 00:21:08,600 I’M NOT HERE AS ASSISTANT DISTRICT ATTORNEY, JILL. 400 00:21:08,640 --> 00:21:09,840 I’M NOT EVEN THE RIDING D. A. 401 00:21:09,870 --> 00:21:11,810 OK. 402 00:21:11,840 --> 00:21:14,110 I MEAN...WE DO HAVE A RELATIONSHIP. 403 00:21:14,150 --> 00:21:17,060 LEO, IF YOU’RE HERE FOR SUPPORT, 404 00:21:17,080 --> 00:21:18,650 SHOW IT BY WALKING AWAY. 405 00:21:18,680 --> 00:21:20,050 YOU WORK IN A PART OF THE SYSTEM 406 00:21:20,080 --> 00:21:21,280 I JUST CAN’T TRUST RIGHT NOW. 407 00:21:21,320 --> 00:21:22,720 YOU THINK I WOULD HURT KYLE? 408 00:21:22,750 --> 00:21:25,220 OH, THE SYSTEM NEVER MEANS TO HURT ANYBODY. 409 00:21:27,230 --> 00:21:28,570 I’M SORRY. 410 00:21:28,590 --> 00:21:31,330 I GOTTA COUNT ON MY OWN. 411 00:21:43,740 --> 00:21:47,540 SINCE I WAS THE ONE WHO ACCEPTED MR. SUAREZ’S CONFESSION 412 00:21:47,580 --> 00:21:51,680 AND RECOMMENDED HIS INCARCERATION TO THE JUDGE... 413 00:21:51,720 --> 00:21:55,360 AND IF THAT CONFESSION WAS BOUGHT AND PAID FOR, 414 00:21:55,390 --> 00:21:58,530 AS NOW SEEMS POSSIBLE, OR EVEN LIKELY, 415 00:21:58,560 --> 00:22:03,200 AND WITH MR. SUAREZ NOW HAVING BEEN MURDERED 416 00:22:03,230 --> 00:22:05,270 WHILE SERVING THAT SENTENCE‐‐ 417 00:22:05,300 --> 00:22:07,270 YOU WOULD FEEL BAD. 418 00:22:07,300 --> 00:22:08,930 Dornan: YOU BEING SMART, JERMAINE? 419 00:22:08,970 --> 00:22:10,910 IF I WAS SMART, WOULD I BE LOCKED UP? 420 00:22:10,940 --> 00:22:12,010 YOU WERE ON THAT CORNER. 421 00:22:12,040 --> 00:22:14,580 WHEN THE MURDER HAPPENED, YES. 422 00:22:14,610 --> 00:22:17,250 DID SUAREZ DO IT? 423 00:22:17,280 --> 00:22:21,790 I REALLY APPRECIATED YOUR HELP WITH MY DENTAL PLATE. 424 00:22:24,620 --> 00:22:26,260 $250 IN YOUR COMMISSARY ACCOUNT. 425 00:22:26,280 --> 00:22:28,250 FOR EVERYTHING. 426 00:22:28,290 --> 00:22:31,600 WELL, I WOULD NEED TO KNOW WHAT EVERYTHING MEANS. 427 00:22:31,620 --> 00:22:33,220 $250 IN YOUR COMMISSARY ACCOUNT 428 00:22:33,260 --> 00:22:34,800 FOR WHAT HAPPENED ON THE CORNER 429 00:22:34,830 --> 00:22:36,230 AND HERE INSIDE. 430 00:22:39,260 --> 00:22:43,030 I WORKED THE CORNER FOR FREDDIE ASUNCION. 431 00:22:43,070 --> 00:22:47,380 GENERO LOPEZ USED THE SAME CORNER LATE AT NIGHT, 432 00:22:47,410 --> 00:22:49,250 SELLING TO THE CHRONIC FIENDS. 433 00:22:49,270 --> 00:22:52,140 NOW, GENERO AND FREDDIE COME TO DISAGREE 434 00:22:52,180 --> 00:22:55,390 OVER WHAT EXACTLY WAS LATE AT NIGHT 435 00:22:55,410 --> 00:22:59,110 AND WHAT WAS EARLY THE NEXT MORNING. 436 00:22:59,150 --> 00:23:02,380 WHAT TIME ASUNCION TOOK THE CORNER BACK. 437 00:23:02,420 --> 00:23:05,220 GETTIN’ THE DRIVE‐TIME JUNKIES HEADIN’ FOR WORK. 438 00:23:05,260 --> 00:23:08,070 SEE, THAT’S A LUCRATIVE TRADE... 439 00:23:08,090 --> 00:23:13,630 AND FREDDIE ASUNCION IS A GREEDY PERSON. 440 00:23:13,670 --> 00:23:16,170 AND BEING A GREEDY PERSON, 441 00:23:16,200 --> 00:23:19,640 FREDDIE ASUNCION DID WHAT HE FELT HE HAD TO 442 00:23:19,670 --> 00:23:21,170 TO GENERO LOPEZ. 443 00:23:21,210 --> 00:23:23,180 HE KILLED HIM. 444 00:23:25,180 --> 00:23:27,450 FREDDIE THEN LOOKED TO JUAN SUAREZ, 445 00:23:27,480 --> 00:23:30,480 A TIMID YOUTH, WHO WAS SEARCHING FOR RESPECT 446 00:23:30,510 --> 00:23:33,180 AFTER GENERO BRAINED HIS BROTHER WITH A CROWBAR. 447 00:23:33,220 --> 00:23:35,790 JUAN WAS AFRAID TO TAKE HIS REVENGE, 448 00:23:35,820 --> 00:23:38,020 BUT THEN FREDDIE OFFERED HIM 449 00:23:38,060 --> 00:23:40,470 A MONTHLY AMOUNT OF MONEY FOR HIS WIFE 450 00:23:40,490 --> 00:23:43,190 IF JUAN ADMITTED TO THE KILLING. 451 00:23:43,230 --> 00:23:46,970 AND, BY SEARCHING FOR RESPECT... 452 00:23:47,000 --> 00:23:48,500 JUAN AGREED. 453 00:23:48,530 --> 00:23:53,970 THING ABOUT THE INSIDE, ASSISTANT DISTRICT ATTORNEY, 454 00:23:54,010 --> 00:23:58,550 COP TO A MURDER, YOU BETTER BE CAPABLE OF MURDER TO DEFEND YOURSELF, 455 00:23:58,580 --> 00:24:02,150 OR YOU END UP TREATED WAYS YOU DON’T ENJOY. 456 00:24:02,180 --> 00:24:07,220 AND IF FREDDIE ASUNCION DECIDES, WHILE YOU’RE IN THE SLAM, 457 00:24:07,250 --> 00:24:10,150 HE WANTS TO BANG YOUR WIFE 458 00:24:10,190 --> 00:24:13,320 INSTEAD OF PAYING HER QUIET MONEY, 459 00:24:13,360 --> 00:24:16,840 THEN ONE OF THOSE WAYS YOU DON’T ENJOY... 460 00:24:16,860 --> 00:24:20,560 COULD BE A SHANK IN THE LAUNDRY ROOM. 461 00:24:24,400 --> 00:24:26,000 FREDDIE ASUNCION. 462 00:24:27,740 --> 00:24:30,110 FREDDIE ASUNCION. 463 00:24:31,840 --> 00:24:35,740 UH, GIVE ME SOMEBODY WORKING FOR FREDDIE WE CAN FLIP. 464 00:24:35,780 --> 00:24:37,980 TOMMY IBARRA. 465 00:24:38,020 --> 00:24:42,360 USE SOMEONE PRETTY. TOMMY’LL OFFER HIM DISCOUNT DOPE FOR SEX. 466 00:24:45,760 --> 00:24:47,230 LOVELY SUIT. 467 00:24:56,900 --> 00:24:58,770 HAVE A SEAT IN HERE, JOHN. 468 00:24:58,800 --> 00:25:00,400 FINALLY, SHE SPEAKS TO ME. 469 00:25:00,440 --> 00:25:01,900 THANK YOU. 470 00:25:01,940 --> 00:25:04,040 THANK YOU. 471 00:25:04,080 --> 00:25:06,690 YOU DON’T TELL ME NOTHIN’ ABOUT NOTHIN’. 472 00:25:06,710 --> 00:25:09,440 WE GOTTA TALK ABOUT A SITUATION. WHAT SITUATION? 473 00:25:09,480 --> 00:25:12,350 YOU’RE BEING VERY SECRETIVE, VERY COVERT. 474 00:25:12,380 --> 00:25:13,110 VERY ENIGMATIC. 475 00:25:15,720 --> 00:25:17,450 THE CAR THING? 476 00:25:19,560 --> 00:25:23,020 ALL RIGHT. I GUESS I SHOULDA STOPPED 477 00:25:23,060 --> 00:25:25,190 WHEN I BRUSHED THAT OTHER CAR. 478 00:25:25,230 --> 00:25:27,130 PRESSURE OF THE MOMENT, JOHN. 479 00:25:27,170 --> 00:25:28,640 THAT’S EXACTLY HOW IT HAPPENED. 480 00:25:28,670 --> 00:25:30,580 HEAT OF THE MOMENT, AND I DID SOMETHIN’ STUPID. 481 00:25:34,440 --> 00:25:35,570 I MEAN, NOBODY WAS HURT, RIGHT? 482 00:25:35,610 --> 00:25:36,950 WERE YOU BY YOURSELF IN THE CAR, JOHN? 483 00:25:36,980 --> 00:25:39,150 NO. I WAS WITH A FRIEND. 484 00:25:39,180 --> 00:25:40,990 WHAT’S THE FRIEND’S NAME? VINCE. 485 00:25:41,010 --> 00:25:41,910 VINCE WHAT? 486 00:25:41,950 --> 00:25:44,120 LOOK... 487 00:25:44,150 --> 00:25:46,380 I MEAN, THE WOMAN WASN’T HURT, WAS SHE? 488 00:25:46,420 --> 00:25:48,590 IF SHE’S SAYING SHE’S HURT NOW, 489 00:25:48,620 --> 00:25:50,150 SHE’S SCAMMING YOU. 490 00:25:50,190 --> 00:25:52,150 WHAT DID MY PARTNER ASK YOU? 491 00:25:52,190 --> 00:25:55,720 I’M JUST SAYING THAT THIS IS TURNING INTO SOME MAJOR ATMOSPHERE HERE. 492 00:25:55,760 --> 00:25:57,560 THE ATMOSPHERE’S GONNA GET MAJOR, JOHN, 493 00:25:57,600 --> 00:25:59,670 IF MY PARTNER HAS TO ASK AGAIN THIS VINCE’S LAST NAME. 494 00:26:01,870 --> 00:26:03,070 BARDELLO, ALL RIGHT? 495 00:26:03,100 --> 00:26:04,970 HE’S LIKE KENNETH STARR... 496 00:26:05,000 --> 00:26:07,970 LIKE PERRY MASON WITH THE QUESTIONS. HE DON’T LET UP. 497 00:26:08,010 --> 00:26:09,750 YOU EVER COMMIT A VIOLENT CRIME? 498 00:26:09,770 --> 00:26:10,770 ABSOLUTELY NOT. 499 00:26:10,810 --> 00:26:12,570 ABSOLUTELY NOT. 500 00:26:12,610 --> 00:26:15,440 I NEVER DROVE AWAY FROM A VIOLENT CRIME IN MY LIFE. 501 00:26:15,480 --> 00:26:18,310 WE’RE NOT ASKING YOU ABOUT THE WOMAN NO MORE. 502 00:26:18,350 --> 00:26:20,650 HE ASKIN’ ABOUT A SECOND VIOLENT CRIME? 503 00:26:20,690 --> 00:26:23,330 3 MINUTES BEFORE THE ONE YOU ADMITTED TO, AND 2 BLOCKS AWAY. 504 00:26:23,350 --> 00:26:26,590 3 MINUTES BEFORE, I’M PARKED ON THE STREET. 505 00:26:26,630 --> 00:26:28,000 WHERE WERE YOU PARKED? 506 00:26:28,030 --> 00:26:31,700 AROUND THE CORNER FROM SOMEWHERE VINCE WENT IN TO GET SMOKES. 507 00:26:31,730 --> 00:26:33,090 A CONVENIENCE STORE. 508 00:26:33,130 --> 00:26:35,100 YEAH, HUH? 509 00:26:35,130 --> 00:26:37,800 WHERE DID THIS VIOLENT CRIME TAKE PLACE? 510 00:26:37,840 --> 00:26:39,280 WHERE DO YOU THINK? 511 00:26:39,300 --> 00:26:40,200 OH, MAN. 512 00:26:40,240 --> 00:26:41,170 HOW DID VINCE ACT 513 00:26:41,210 --> 00:26:42,710 WHEN HE CAME BACK FROM THE STORE? 514 00:26:42,740 --> 00:26:44,040 HE WAS ALL RIGHT... 515 00:26:44,080 --> 00:26:47,320 UNTIL, LIKE, A BLOCK LATER. 516 00:26:47,350 --> 00:26:48,890 BLOCK LATER, WE’RE AT A LIGHT, 517 00:26:48,910 --> 00:26:51,310 AND VINCE STARTS GOING, "JUMP IT, JUMP IT!" 518 00:26:51,350 --> 00:26:53,150 HE SAID HE BOOSTED THE SMOKES. 519 00:26:57,520 --> 00:27:00,820 YOU KNOW WHAT "ACTING IN CONCERT" MEANS, JOHN? 520 00:27:00,860 --> 00:27:03,520 BEING WHEEL MAN FOR A STICKUP IS LIKE DOING THE STICKUP. 521 00:27:03,560 --> 00:27:05,560 A MURDER GOES DOWN IN THE COURSE OF THE STICKUP, 522 00:27:05,600 --> 00:27:07,040 YOU’RE GUILTY. 523 00:27:07,070 --> 00:27:09,710 A MURDER? I DIDN’T EVEN KNOW A ROBBERY TOOK PLACE. 524 00:27:09,730 --> 00:27:13,530 I WAS JUST DRIVING THE CRAZY SON OF A BITCH HOME FROM BEING FIRED. 525 00:27:13,570 --> 00:27:15,070 YEAH? WELL, YOU BETTER TELL US ALL ABOUT THAT‐‐ 526 00:27:15,110 --> 00:27:16,720 EVERYTHING YOU GOT ON VINCE. 527 00:27:16,740 --> 00:27:19,840 I WILL... I WILL! 528 00:27:25,620 --> 00:27:29,600 LOOK...WE‐WE’LL TALK ABOUT IT TONIGHT. I GOTTA GO. 529 00:27:32,360 --> 00:27:34,730 HEY, GREG, THE D. O. A.’s BLOOD 530 00:27:34,760 --> 00:27:36,660 DON’T MATCH THE BLOOD ON ED’S SWEATSHIRT. 531 00:27:36,700 --> 00:27:38,770 OH. GOOD. 532 00:27:38,800 --> 00:27:41,540 BECAUSE GOD FORBID WE SHOULD BE SPARED 533 00:27:41,570 --> 00:27:44,710 INTERVIEWING 50 MORE LICE‐INFESTED BUMS. 534 00:27:46,100 --> 00:27:47,240 ANNIE? 535 00:27:47,270 --> 00:27:49,270 ANNIE COULDN’T GIVE HER NOTICE. 536 00:27:49,310 --> 00:27:52,520 HER BOSS IS LAID LOW BY AN ALLERGY ATTACK. 537 00:27:52,540 --> 00:27:55,040 I’D LIKE HIM LAID LOW BY A BUS. 538 00:28:22,440 --> 00:28:24,410 HI, ANDY. 539 00:28:24,440 --> 00:28:25,110 HI. 540 00:28:26,610 --> 00:28:27,940 HOW’S IT GOING, SIPOWICZ? 541 00:28:29,450 --> 00:28:30,960 SORRY WE’RE LATE. 542 00:28:30,980 --> 00:28:33,980 WHAT’D YOU FIND OUT? 543 00:28:36,250 --> 00:28:37,150 FREDDIE ASUNCION. 544 00:28:39,590 --> 00:28:42,220 DID THE MURDER SUAREZ COPPED TO, OR... 545 00:28:42,260 --> 00:28:44,160 HAD SUAREZ KILLED IN PRISON? 546 00:28:44,200 --> 00:28:45,340 BOTH. 547 00:28:47,430 --> 00:28:49,330 THIS IS NOT ABOUT FINGER POINTING. 548 00:28:49,370 --> 00:28:51,640 SUAREZ WAS A CONVICTED MURDERER, 549 00:28:51,670 --> 00:28:55,400 AND NAMING ASUNCION IN A LETTER FROM PRISON WAS NOT ENOUGH TO GO ON. 550 00:28:55,440 --> 00:28:56,840 WE GOT A GUY TO FLIP. 551 00:28:56,880 --> 00:28:58,950 DEALS DOPE FOR ASUNCION? 552 00:28:58,980 --> 00:29:00,250 YEAH. 553 00:29:00,280 --> 00:29:01,410 TOMMY IBARRA. 554 00:29:01,450 --> 00:29:04,260 HE’S IN CUSTODY? 555 00:29:04,280 --> 00:29:07,120 NOPE. WE HAVE TO PUT HIM IN CUSTODY. 556 00:29:10,560 --> 00:29:13,970 I HOPE SHE WASN’T PROPOSING NO VIGILANTE TACTICS 557 00:29:13,990 --> 00:29:15,820 ON THE RIDE BACK FROM RIKERS. 558 00:29:15,860 --> 00:29:17,660 I’LL TAKE CARE OF THE TACTICS. 559 00:29:33,380 --> 00:29:36,020 SO, THIS DOROTHY NATALE 560 00:29:36,050 --> 00:29:38,290 THAT FILED THE COMPLAINT‐‐ 561 00:29:38,320 --> 00:29:39,690 THE WOMAN WHOSE CAR YOU SIDESWIPED‐‐ 562 00:29:39,720 --> 00:29:41,280 I DID NOT SIDESWIPE HER CAR. 563 00:29:41,320 --> 00:29:44,520 THAT YOUR BUDDY JOHN SIDESWIPED HER CAR. 564 00:29:44,560 --> 00:29:46,700 WHAT’S JOHN WANNA INVOLVE ME WITH THAT FOR? 565 00:29:46,730 --> 00:29:48,530 WE ASKED HIM TO INVOLVE YOU, VINCE, 566 00:29:48,560 --> 00:29:50,130 BECAUSE THIS DOROTHY NATALE, WHOSE CAR JOHN HIT, 567 00:29:50,160 --> 00:29:52,830 HAS BEEN BREAKING BALLS ALL DAY. 568 00:29:52,860 --> 00:29:56,030 WE GOT HALF AN IDEA SHE’S BUILDING SOME INSURANCE CASE. 569 00:29:56,070 --> 00:29:58,580 THAT’S ON US, VINCE‐‐ASKING JOHN FOR YOUR NAME. 570 00:29:58,600 --> 00:30:01,740 WE ASKED HIM WAS THERE SOMEONE WHO COULD CORROBORATE 571 00:30:01,770 --> 00:30:04,010 HE ONLY DID MINIMAL DAMAGE. 572 00:30:04,040 --> 00:30:06,580 YEAH...YEAH. MINIMAL DAMAGE. 573 00:30:06,610 --> 00:30:09,080 HE ONLY MINIMALLY DAMAGED HER CAR? 574 00:30:09,110 --> 00:30:12,350 UH...A MINOR SIDESWIPE. 575 00:30:12,380 --> 00:30:14,220 JOHN SAID YOU GOT FIRED TODAY. 576 00:30:14,250 --> 00:30:16,990 I WAS FIRED, YEAH. 577 00:30:17,020 --> 00:30:18,590 WILL THAT JAM UP YOUR PAROLE? 578 00:30:18,620 --> 00:30:22,160 NO. I WOULDN’T ASSUME SO. 579 00:30:22,190 --> 00:30:26,330 WHO’S YOUR P. O., MOTHER TERESA? 580 00:30:26,360 --> 00:30:28,100 MAYBE IT WILL JAM ME UP. I DON’T KNOW. 581 00:30:28,130 --> 00:30:29,530 NOT YOUR PROBLEM, RIGHT? 582 00:30:29,570 --> 00:30:31,170 WHAT? 583 00:30:31,200 --> 00:30:32,530 IF I GET JAMMED UP ON MY PAROLE, 584 00:30:32,570 --> 00:30:34,070 IT’S NOT REALLY YOUR PROBLEM. 585 00:30:34,110 --> 00:30:36,110 ACCOUNT FOR YOUR DAY. 586 00:30:36,140 --> 00:30:37,710 WHAT DOES MY DAY HAVE TO DO 587 00:30:37,740 --> 00:30:40,680 WITH JOHN FALCONE SIDESWIPING SOME BALL‐BREAKING BITCH 588 00:30:40,710 --> 00:30:42,080 LOOKIN’ TO EARN ON A FENDER BENDER? 589 00:30:42,110 --> 00:30:44,080 IF I ASK YOU TO ACCOUNT FOR YOUR DAY, SCUMBAG, 590 00:30:44,120 --> 00:30:46,890 START ACCOUNTING FOR YOUR DAY. 591 00:30:46,920 --> 00:30:48,680 WOKE UP ABOUT 7:15‐‐ 592 00:30:48,720 --> 00:30:50,690 WHAT WERE YOU DOING JUST BEFORE YOU HIT THAT LADY? 593 00:30:50,720 --> 00:30:52,090 HEH, I DIDN’T HIT THAT LADY. 594 00:30:52,120 --> 00:30:54,520 NO. YOU KILLED THAT STORE CLERK. 595 00:30:54,560 --> 00:30:56,890 WHAT? 596 00:30:56,930 --> 00:30:59,360 JUST BEFORE YOUR BUDDY JOHN SIDESWIPED THAT LADY’S CAR, 597 00:30:59,400 --> 00:31:02,140 DRIVING FAST LIKE YOU TOLD HIM TO, 598 00:31:02,170 --> 00:31:03,910 YOU PULLED A KNIFE IN THAT CONVENIENCE STORE 599 00:31:03,940 --> 00:31:05,810 AND PUT IT IN THAT STORE CLERK’S CHEST. 600 00:31:05,840 --> 00:31:07,610 HE WAS NOT THERE. 601 00:31:07,640 --> 00:31:09,400 IF HE TOLD YOU HE WAS, HE LIED. 602 00:31:09,440 --> 00:31:11,440 THE STORE CLERK’S DEAD, VINCE. 603 00:31:11,480 --> 00:31:12,880 WE’RE GONNA LOCK YOU UP FOR MURDER. 604 00:31:12,910 --> 00:31:15,210 JOHN WAS NOT IN THAT STORE. 605 00:31:15,250 --> 00:31:16,320 2 OTHER PEOPLE WERE, VINCE‐‐ 606 00:31:16,350 --> 00:31:17,820 A MAN AND HIS WIFE, 607 00:31:17,850 --> 00:31:19,310 AND AFTER JOHN GAVE US YOUR NAME 608 00:31:19,350 --> 00:31:20,980 AND WE GOT YOUR PHOTO FROM B. C. I., 609 00:31:21,020 --> 00:31:22,820 THEM 2 PEOPLE PICKED YOU OUT. 610 00:31:22,850 --> 00:31:25,150 THERE WAS NOT A MAN AND A WIFE IN THAT STORE. 611 00:31:25,190 --> 00:31:26,990 I GUESS THAT MEANS YOU WERE. 612 00:31:27,030 --> 00:31:28,430 WHO SAID I WASN’T? 613 00:31:28,460 --> 00:31:31,590 LOOK, I PURCHASED MY SMOKES AND THEN WALKED OUT. 614 00:31:31,630 --> 00:31:33,390 JOHN PUTTING ME IN THAT STORE 615 00:31:33,430 --> 00:31:36,000 DOES NOT MAKE ME GUILTY OF MURDER OR ANYTHING. 616 00:31:36,030 --> 00:31:38,330 AND YOU’RE MAKING THEM 2 PEOPLE UP. 617 00:31:38,370 --> 00:31:41,440 WAS THERE A LITTLE BOY IN THAT STORE? 618 00:31:41,470 --> 00:31:42,940 WHAT’S THIS NOW? 619 00:31:42,970 --> 00:31:46,440 WAS THERE A LITTLE BOY SAW YOU STICK THE STORE CLERK 620 00:31:46,480 --> 00:31:47,790 BEFORE THE CLERK EVEN HAD A CHANCE TO GIVE YOU 621 00:31:47,810 --> 00:31:50,950 THE MONEY OR LOTTERY TICKETS YOU WANTED? 622 00:31:50,980 --> 00:31:53,350 DID YOU POINT YOUR FINGER AT THAT LITTLE BOY 623 00:31:53,380 --> 00:31:55,750 TO THREATEN AND INTIMIDATE HIM BEFORE YOU RAN OUT? 624 00:31:55,790 --> 00:31:58,360 HE’S GOT ME CONFUSED WITH SOMEBODY ELSE. 625 00:31:58,390 --> 00:32:01,360 NO. HE SAW YOU, AND YOU’RE GETTING LOCKED UP. 626 00:32:01,390 --> 00:32:04,490 BUT THE BEST LUCK YOU’VE HAD IN YOUR SORRY LIFE, VINCE, 627 00:32:04,530 --> 00:32:08,000 WE DON’T WANT THAT BOY TO HAVE TO TESTIFY... 628 00:32:08,030 --> 00:32:09,360 SO IF YOU COOPERATE 629 00:32:09,400 --> 00:32:11,170 BY GIVING US A STATEMENT, 630 00:32:11,200 --> 00:32:14,140 I’LL PERSONALLY GUARANTEE I’LL GO TO BAT FOR YOU... 631 00:32:14,170 --> 00:32:17,170 AND DETECTIVE RUSSELL WILL ALSO. 632 00:32:17,210 --> 00:32:20,210 IF YOU AND THE CLERK HAD SOME PRIOR BACK‐AND‐FORTH 633 00:32:20,240 --> 00:32:21,980 THAT LITTLE BOY DIDN’T SEE, 634 00:32:22,010 --> 00:32:23,510 WE WILL GO TO BAT FOR THAT. 635 00:32:23,550 --> 00:32:25,350 IF HE PROVOKED YOU SOME WAY, 636 00:32:25,380 --> 00:32:27,720 DISRESPECTED YOUR PURPOSE BEING THERE... 637 00:32:27,750 --> 00:32:28,950 WE KNOW A LOT OF SITUATIONS, 638 00:32:28,990 --> 00:32:30,330 A GUY ONLY SHOWS A KNIFE 639 00:32:30,350 --> 00:32:32,350 TO LET THE CLERK KNOW HE’S SERIOUS. 640 00:32:32,390 --> 00:32:34,360 NOW, THE CLERK INSULTS HIM SOME WAY, 641 00:32:34,390 --> 00:32:36,660 TELLS HIM TO SHOVE THE KNIFE UP HIS ASS... 642 00:32:36,700 --> 00:32:40,010 THE WHOLE PICTURE CHANGES BEHIND THE CLERK’S PROVOCATION. 643 00:32:42,430 --> 00:32:45,000 AND NOW, HERE’S THE ALTERNATIVE, VINCE. 644 00:32:45,040 --> 00:32:46,880 IF YOU DO NOT MAKE A STATEMENT, 645 00:32:46,910 --> 00:32:49,850 KNOWING WE’VE GOT AN EYEWITNESS TO WHAT YOU DID INSIDE, 646 00:32:49,870 --> 00:32:53,310 AND YOUR BUDDY JOHN CORROBORATING YOU WERE THERE, 647 00:32:53,340 --> 00:32:55,580 YOU MAKE US PUT THAT LITTLE BOY ON, 648 00:32:55,610 --> 00:32:58,010 DETECTIVE RUSSELL AND ME, WE’LL TAKE A VOW IN THIS ROOM 649 00:32:58,050 --> 00:32:59,480 THAT WE WILL CRUCIFY YOU. 650 00:32:59,520 --> 00:33:01,090 I GOT A LOT OF FRIENDS 651 00:33:01,120 --> 00:33:02,080 IN THE DISTRICT ATTORNEY’S OFFICE, 652 00:33:02,120 --> 00:33:04,420 AND SO DOES DETECTIVE SORENSON, 653 00:33:04,460 --> 00:33:06,670 AND WE WILL CALL IN EVERY FAVOR WE’RE OWED 654 00:33:06,690 --> 00:33:09,320 TO MAKE THIS A DEATH PENALTY CASE. 655 00:33:09,360 --> 00:33:12,030 GIVE IT UP, VINCE. TELL US YOUR SIDE. 656 00:33:16,870 --> 00:33:19,870 MY LIFE STINKS... 657 00:33:19,900 --> 00:33:21,870 DAY ONE TILL TODAY. 658 00:33:31,820 --> 00:33:33,790 ALL RIGHT, ALL RIGHT. 659 00:33:33,820 --> 00:33:34,780 I’LL TELL. 660 00:33:49,230 --> 00:33:51,200 STAND IN THE DARK... 661 00:33:51,240 --> 00:33:53,610 OUR TOES FROZEN... 662 00:33:53,640 --> 00:33:56,100 TALKING TO A PROCESSION OF WET BRAINS. 663 00:33:56,140 --> 00:33:58,310 THAT’S HOW OUR EVENING’S SHAPING UP, JAMES. 664 00:34:00,310 --> 00:34:02,610 KNOW WHAT I DON’T LIKE? THEM EMBERS... 665 00:34:02,650 --> 00:34:06,260 FROM THEIR BARREL FIRES GETTING IN YOUR EYES. 666 00:34:06,280 --> 00:34:10,150 I CAN HAVE A DARK MOOD COME OVER ME IN THEM ALLEYS. 667 00:34:10,190 --> 00:34:12,990 WE’LL MAKE IT A 2‐HOUR SHOT, MAXIMUM, ALL RIGHT, GREG? 668 00:34:13,020 --> 00:34:15,560 OR 9 P. M. ABSOLUTE MAXIMUM. 669 00:34:15,590 --> 00:34:17,390 YEAH, ALL RIGHT. 670 00:34:17,430 --> 00:34:20,230 ’CAUSE 9 P. M., THE RATS START SCURRYING AROUND. 671 00:34:20,260 --> 00:34:21,800 WHOA! HEY, 672 00:34:21,830 --> 00:34:22,760 YOU WANNA STOP RIGHT THERE FOR US? 673 00:34:22,800 --> 00:34:23,930 YEAH, SURE. 674 00:34:25,370 --> 00:34:26,800 HOW’S IT GOING? 675 00:34:26,840 --> 00:34:29,000 GOOD. 676 00:34:29,040 --> 00:34:30,310 WHAT DO YOU NEED? 677 00:34:31,510 --> 00:34:32,770 KNIFE. 678 00:34:32,810 --> 00:34:35,340 NEED A KNIFE, HUH? 679 00:34:35,380 --> 00:34:36,440 PUT YOUR ARMS UP. 680 00:34:42,190 --> 00:34:43,760 AAH! 681 00:34:43,790 --> 00:34:46,120 [GROANS] 682 00:34:47,560 --> 00:34:50,930 WHAT’S THE MATTER? YOUR HEAD HURT YOU? 683 00:34:50,960 --> 00:34:54,530 COULD YOU SHOW ME THE MAGNET YOU USE FOR THE MIND SALVATION? 684 00:34:54,570 --> 00:34:56,540 WE’RE NOT ALLOWED TO DO THAT. 685 00:34:56,570 --> 00:34:59,130 THEY MAKE US KEEP IT UNDER WRAPS. 686 00:34:59,170 --> 00:35:01,300 VIC JUST THREW IT IN THERE! 687 00:35:01,340 --> 00:35:05,010 VIC TOOK MY KNIFE AND THREW IT IN THE SEWER! 688 00:35:05,040 --> 00:35:06,880 WHAT HAPPENED AFTER THAT? 689 00:35:06,910 --> 00:35:11,280 I LIFTED HIM... IN THE POSTAL CART. 690 00:35:11,320 --> 00:35:14,330 WHICH SHOULDER DID YOU HAVE HIM ON? 691 00:35:16,190 --> 00:35:18,260 YOU GOT SOME... BLOOD ON THERE. 692 00:35:20,860 --> 00:35:24,330 DID YOU HIT VIC BEFORE YOU PUT HIM IN THE CART? 693 00:35:24,360 --> 00:35:26,330 DAMN RIGHT I DID. I CAVED HIS HEAD IN. 694 00:35:26,360 --> 00:35:28,160 REMEMBER WHAT YOU USED TO DO IT? 695 00:35:28,200 --> 00:35:32,400 YEAH. I USED A GOOD, STRONG PIECE OF 2 X 4. 696 00:35:35,410 --> 00:35:37,720 ALL RIGHT, LET’S GET YOU ON YOUR FEET. 697 00:35:37,740 --> 00:35:39,810 YOU ARE GONNA HELP ME WITH THE MIND SALVATION? 698 00:35:39,840 --> 00:35:41,140 YEAH, OH, YEAH. 699 00:35:41,180 --> 00:35:43,040 WAIT. WE’RE GOING IN HERE TO TALK. 700 00:35:43,080 --> 00:35:45,480 THAT’S WHERE WE’LL HELP YOU WITH THE MIND SALVATION. 701 00:35:45,520 --> 00:35:46,420 GOOD. 702 00:36:16,380 --> 00:36:17,350 [KNOCK ON DOOR] 703 00:36:17,380 --> 00:36:18,410 [DOOR OPENS] 704 00:37:03,360 --> 00:37:06,330 I AM SO PROUD OF YOU. 705 00:37:06,360 --> 00:37:08,660 FREE HORS D’OEUVRES IS FREE HORS D’OEUVRES, RIGHT? 706 00:37:08,700 --> 00:37:11,330 NOT JUST FOR THE PEOPLE AT THE BAR. 707 00:37:11,370 --> 00:37:13,940 WE’RE PATRONS, CITIZENS OF THIS COUNTRY. 708 00:37:16,880 --> 00:37:19,790 I TELL YOU, KEEPING KYLE FROM HAVING TO BE INVOLVED, 709 00:37:19,810 --> 00:37:22,610 JILL MUST’VE BEEN SOME KIND OF GRATEFUL TO YOU TWO. 710 00:37:24,720 --> 00:37:27,690 WELL, I AM THE BEARER OF GLAD TIDINGS. 711 00:37:27,720 --> 00:37:29,180 WHAT’S GOING ON? 712 00:37:29,220 --> 00:37:31,490 UH, THE GIRL I’VE BEEN SEEING? 713 00:37:31,520 --> 00:37:34,320 WE’VE HAD A LOT OF STRAIN LATELY 714 00:37:34,360 --> 00:37:36,320 ON THE SUBJECT OF INDECISIVENESS. 715 00:37:36,360 --> 00:37:39,090 DID YOU TELL HER YOU CLEARED A CASE TODAY? 716 00:37:39,130 --> 00:37:42,460 SHE’S THE ONE THAT’S INDECISIVE. 717 00:37:42,500 --> 00:37:45,770 ANY EVENT, UH, THE JOB SHE HATES, 718 00:37:45,800 --> 00:37:48,200 THAT, UH, HAS BEEN A BONE OF CONTENTION, 719 00:37:48,240 --> 00:37:51,010 ANNIE JUST TOLD ME SHE QUIT. 720 00:37:51,040 --> 00:37:52,810 GOOD. GOOD FOR ANN. 721 00:37:52,840 --> 00:37:54,340 THAT’S GREAT, GREG. 722 00:37:54,380 --> 00:37:56,410 YEAH. THAT WAS A BIG HUMP SHE WENT OVER. 723 00:37:58,750 --> 00:38:02,720 ANYWAYS, UH...I’M GONNA GO SEE HER NOW. 724 00:38:02,750 --> 00:38:06,190 ACTUALLY, SHE’S, UH, COMING OVER TO MY PLACE. 725 00:38:08,530 --> 00:38:09,840 WE, UH... 726 00:38:09,860 --> 00:38:11,990 WE DID AN HONEST DAY’S WORK TODAY, DIDN’T WE? 727 00:38:12,030 --> 00:38:14,400 YEAH, WE DID. 728 00:38:14,430 --> 00:38:17,070 WE ALL DID AN HONEST DAY’S WORK. 729 00:38:17,100 --> 00:38:20,340 GOOD NIGHT, DIANE. SEE YA. 730 00:38:26,340 --> 00:38:28,780 I THINK THERE MAY BE A HUMP IN GREG’S FUTURE, TOO. 731 00:38:33,350 --> 00:38:34,580 EXCUSE ME. 732 00:38:47,100 --> 00:38:48,800 THANKS FOR WORKING THAT WITH ME. 733 00:38:50,770 --> 00:38:53,270 YEAH. WE WORKED THAT GOOD. 734 00:38:53,300 --> 00:38:56,070 3 BEERS AND A SODA. 735 00:39:04,250 --> 00:39:06,620 GREG LEFT A SOLDIER IN THE FORT. 736 00:39:18,400 --> 00:39:19,670 WASTE NOT, WANT NOT. 737 00:39:23,330 --> 00:39:25,700 THIS JERK LOCKS THE DOOR. 738 00:39:25,740 --> 00:39:29,210 AND HE DIDN’T HAVE TO. HE WAS ONLY PISSIN’. 739 00:39:29,240 --> 00:39:30,270 I COULD HEAR HIM. 740 00:39:30,310 --> 00:39:31,510 THE NERVE. 741 00:39:52,530 --> 00:39:54,100 HA HA! 742 00:39:54,130 --> 00:39:55,960 OH, I GET IT. 743 00:39:56,000 --> 00:39:57,830 HA! THESE ARE A PAIR. 744 00:39:59,170 --> 00:40:01,270 DIFFERENT VIEWS. 745 00:40:01,310 --> 00:40:03,850 THEY’RE PROBABLY BY THE SAME ARTIST. 746 00:40:08,210 --> 00:40:11,610 HEY, THAT WAS BIG FOR DIANE‐‐ GOING OUT WITH US. 747 00:40:11,650 --> 00:40:13,950 YEAH. I EXPECT SHE HASN’T BEEN SOCIALIZING. 748 00:40:13,990 --> 00:40:16,600 IT’S THE FIRST I’M AWARE SINCE BOBBY PASSED. 749 00:40:16,620 --> 00:40:18,320 UH‐HUH. 750 00:40:18,360 --> 00:40:19,700 AND I’LL TELL YOU SOMETHING ELSE, DANNY. 751 00:40:19,720 --> 00:40:21,190 I WAS GLAD ENOUGH THAT THE TWO OF YOU 752 00:40:21,230 --> 00:40:23,170 WORKED TOGETHER TODAY ON THAT CASE. 753 00:40:23,190 --> 00:40:26,130 MAYBE BROKE THE ICE A LITTLE. 754 00:40:26,160 --> 00:40:27,960 I’LL TELL YOU, STRAIGHT OUT, 755 00:40:28,000 --> 00:40:29,970 DIANE’S BEEN RESERVED TOWARD YOU. 756 00:40:30,000 --> 00:40:31,800 MAKES SENSE, NO? 757 00:40:31,840 --> 00:40:35,650 WELL, I’M GLAD THIS MAY HAVE BEEN THE BREAKING OF THE ICE. 758 00:40:35,670 --> 00:40:38,210 HEY, JAMES, DOES DIANE ENJOY A BEER, DO YOU KNOW? 759 00:40:38,240 --> 00:40:40,040 DIANE? 760 00:40:40,080 --> 00:40:42,040 IS SHE A TEETOTALER, OR WHAT? 761 00:40:42,080 --> 00:40:44,050 I NEVER NOTICED HER DRINK, 762 00:40:44,080 --> 00:40:46,210 BUT IF THAT’S HARD AND FAST OR NOT, I DON’T KNOW. 763 00:40:46,250 --> 00:40:48,050 I NEVER SEEN HER DRINK, 764 00:40:48,090 --> 00:40:50,660 BUT I ALSO NEVER HEARD HER SAY THAT SHE DON’T. 765 00:40:50,690 --> 00:40:51,850 YEAH, WELL, ANYWAYS. 766 00:40:51,890 --> 00:40:53,990 WHY DO YOU ASK, DANNY? 767 00:40:54,030 --> 00:40:57,170 ’CAUSE I’M OUT OF THINGS TO ASK ABOUT, AND I’M FREEZING. 768 00:40:57,200 --> 00:41:00,810 HEY, HEY, DANNY, IT’S 10 P. M.! 769 00:41:00,830 --> 00:41:02,730 AND I FEEL NO URGENCY CATCHING THE TRAIN 770 00:41:02,770 --> 00:41:04,740 ’CAUSE IT’S THE SOFA FOR ME ANYWAYS. 771 00:41:04,770 --> 00:41:06,500 WHAT, HOUSE POLICY? 772 00:41:06,540 --> 00:41:10,420 WELL, 10 P. M., THE IRON CURTAIN TENDS TO DESCEND. 773 00:41:10,440 --> 00:41:12,040 ANYWAYS. 774 00:41:12,080 --> 00:41:13,590 ANYWAYS, LET ME CATCH MY TRAIN. 775 00:41:13,610 --> 00:41:14,580 ALL RIGHT. ALL RIGHT? 776 00:41:14,610 --> 00:41:15,640 HEY, JAMES? YEAH? 777 00:41:15,680 --> 00:41:17,850 YOU GOT THE SQUAD ROSTER ON YOUR CASIO? 778 00:41:17,880 --> 00:41:19,650 YEAH. WHAT NUMBER YOU WANT? 779 00:41:19,680 --> 00:41:22,220 YEAH, LET ME GET ANDY’S NUMBER OFF OF IT, PLEASE. 780 00:41:22,250 --> 00:41:24,390 I’LL DO IT. 781 00:41:24,420 --> 00:41:29,090 WHAT, YOU THINK I’M LOSING MY MANUAL DEXTERITY? HUH? 782 00:41:29,130 --> 00:41:31,500 HEY, I ENJOYED WORKING WITH YOU TODAY... 783 00:41:31,530 --> 00:41:32,890 HEY, THANKS A LOT. 784 00:41:32,930 --> 00:41:34,060 SPENDING TIME AFTERWARDS. 785 00:41:34,100 --> 00:41:35,060 SAME HERE. 786 00:41:35,100 --> 00:41:36,400 ALL RIGHT, DANNY. 787 00:41:38,200 --> 00:41:40,040 DANNY. 788 00:42:02,590 --> 00:42:05,560 YOU SEEMED A LITTLE IFFY AT THE BAR. 789 00:42:05,600 --> 00:42:08,570 NOT THAT IT’S ANY OF MY BUSINESS... 790 00:42:08,600 --> 00:42:10,900 NOT THAT IT’S ANY OF MY BUSINESS... 791 00:42:16,840 --> 00:42:19,270 [TELEPHONE RINGING] 792 00:42:23,820 --> 00:42:26,120 Recording: HI. THIS IS DIANE. I’M NOT IN RIGHT NOW. 793 00:42:26,150 --> 00:42:28,250 PLEASE LEAVE A MESSAGE. [BEEP] 794 00:42:42,000 --> 00:42:43,970 "OH, I SEE. THEY’RE A PAIR. 795 00:42:44,000 --> 00:42:46,670 PROBABLY FROM THE SAME ARTIST." 796 00:42:46,710 --> 00:42:48,650 HA HA... 57525

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