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1
00:00:08,110 --> 00:00:09,610
YEAH. REALLY?
2
00:00:09,650 --> 00:00:12,050
THIS GUY GAVE HIM UP.
3
00:00:12,080 --> 00:00:14,350
YEAH, LYLE DENNISON.
4
00:00:14,390 --> 00:00:17,300
AY‐YI‐YI.
84 DEGREES.
5
00:00:17,320 --> 00:00:19,620
8:00 IN THE MORNING.
IT’S ALREADY 84 DEGREES.
6
00:00:20,760 --> 00:00:23,260
YOU KNOW HOW I GOT THAT EXACT
TEMPERATURE?
7
00:00:23,290 --> 00:00:26,290
BECAUSE THE THERMOMETER ON MY
DASHBOARD WORKS PERFECTLY,
8
00:00:26,330 --> 00:00:29,060
AS OPPOSED TO THAT COCKAMAMIE
AIR CONDITIONING,
9
00:00:29,100 --> 00:00:31,430
WHICH SUDDENLY STARTS BLOWING
OUT HOT AIR,
10
00:00:31,470 --> 00:00:33,130
AND IT STINKS LIKE
AN ARMPIT.
11
00:00:33,170 --> 00:00:34,600
SEE YOU THERE.
12
00:00:34,640 --> 00:00:36,400
[ SIGHS ]
13
00:00:36,440 --> 00:00:37,940
WHO’S THIS ASSHOLE?
14
00:00:37,980 --> 00:00:40,150
SOMEONE DROPPED A DIME ON THAT
SHOOTER FROM STUYVESANT TOWN.
15
00:00:40,180 --> 00:00:41,480
NAME’S LYLE DENNISON.
16
00:00:41,510 --> 00:00:43,580
WE GOT A LOCATION ON HIM ‐‐
A PROJECT ON "B."
17
00:00:43,620 --> 00:00:45,790
JONES AND MEDAVOY
ARE MEETING US THERE.
18
00:00:45,820 --> 00:00:48,090
IF THIS PRICK CAN FIX
A CAR AIR CONDITIONER,
19
00:00:48,120 --> 00:00:49,850
HE GETS A WALK.
20
00:01:07,340 --> 00:01:08,800
LYLE DENNISON’S IN 1507.
21
00:01:08,840 --> 00:01:11,310
TENANT PATROL SAW HIM WALK IN
HALF AN HOUR AGO.
22
00:01:11,340 --> 00:01:12,910
WHERE YOU GOING?
23
00:01:12,940 --> 00:01:15,410
WE GOT A HOME INVASION.
THE BOSS WANTS US THERE NOW.
24
00:01:15,450 --> 00:01:17,290
THE SECTOR CAR WILL BACK
YOU UP.
25
00:01:17,320 --> 00:01:19,490
I HOPE YOU BROUGHT
YOUR WALKING SHOES.
26
00:01:19,520 --> 00:01:20,690
ELEVATOR’S OUT.
27
00:01:20,720 --> 00:01:22,620
15th FLOOR?
YEAH.
28
00:01:22,650 --> 00:01:23,820
GREAT.
29
00:01:23,860 --> 00:01:25,260
AND THE STAIRWELL STINKS
OF URINE.
30
00:01:25,290 --> 00:01:26,860
ALL RIGHT, MEDAVOY.
31
00:01:26,890 --> 00:01:28,190
HAPPY HUNTING!
32
00:01:37,200 --> 00:01:39,000
[ BREATHING HEAVILY ]
33
00:01:51,520 --> 00:01:53,190
WHAT YOU WANT?
34
00:01:53,220 --> 00:01:54,230
THIS DON’T CONCERN YOU.
35
00:01:54,250 --> 00:01:55,680
OH, NO, THIS MY HALLWAY.
36
00:01:55,720 --> 00:01:57,350
I SAY WHAT CONCERN ME
AND WHAT DON’T.
37
00:01:57,390 --> 00:01:58,650
WHY DON’T YOU GO BACK
TO YOUR APARTMENT, MA’AM?
38
00:01:58,690 --> 00:01:59,720
WHY DON’T YOU GET OUT OF MY
BUILDING?
39
00:01:59,760 --> 00:02:00,790
GO IN YOUR APARTMENT!
40
00:02:00,830 --> 00:02:01,830
HELL NO!
41
00:02:01,860 --> 00:02:03,290
HE HOME?!
42
00:02:03,330 --> 00:02:05,000
YOU SEE A PIG BADGE
ON ME?
43
00:02:05,030 --> 00:02:06,460
YOU SEEN THE GUY WHO LIVES
HERE OR NOT?
44
00:02:06,500 --> 00:02:08,410
WHY DON’T YOU WIPE THAT PIG
GREASE OFF YOUR FOREHEAD,
45
00:02:08,430 --> 00:02:10,300
SMEAR IT ON YOUR SHOES,
AND SLIDE ON OUT OF HERE?
46
00:02:10,330 --> 00:02:11,970
AIN’T NOBODY TALKING TO YOU.
47
00:02:12,000 --> 00:02:14,700
GO INSIDE, STICK YOUR HEAD IN
THE FRIDGE, AND COOL OFF.
48
00:02:14,740 --> 00:02:15,970
ALL RIGHT. I’LL STICK
MY HEAD IN THE FRIDGE.
49
00:02:16,010 --> 00:02:17,420
YOU STICK YOUR HEAD IN YOUR ASS!
[ SPITS ]
50
00:02:17,440 --> 00:02:20,740
HEY! YOU LITTLE
SON OF A BITCH.
51
00:02:20,780 --> 00:02:22,180
BACK OFF!
52
00:02:22,210 --> 00:02:23,880
YOU WANT TO GO
TO THE STATION HOUSE?!
53
00:02:23,920 --> 00:02:25,090
BACK OFF!
EVERYBODY SHUT UP!
54
00:02:25,120 --> 00:02:27,190
ANDY.
55
00:02:27,220 --> 00:02:29,990
LYLE DENNISON?
56
00:02:30,020 --> 00:02:32,490
MAN, GET YOUR HANDS
OFF ME, MAN!
57
00:02:32,520 --> 00:02:34,360
WHAT’S UP, MAN?
DAMN!
58
00:02:34,390 --> 00:02:36,660
DAMN! DAMN, MAN!
59
00:02:36,700 --> 00:02:38,440
SAY SOMETHING ELSE
OR SHUT UP.
60
00:03:53,640 --> 00:03:54,800
ME THERE?
61
00:03:54,840 --> 00:03:56,300
YEAH, YOU THERE.
62
00:03:56,340 --> 00:03:58,910
GOOD, ’CAUSE I WANT TO GET
A GOOD VIEW OF Y’ALL.
63
00:03:58,940 --> 00:04:00,140
I WANT TO SIZE YOU UP.
64
00:04:00,180 --> 00:04:02,580
I WANT TO TAKE YOU IN AND,
LIKE, DIGEST YOU.
65
00:04:02,610 --> 00:04:04,310
SHUT UP AND TELL US WHAT
YOU WERE DOING
66
00:04:04,350 --> 00:04:06,180
AT STUYVESANT TOWN
LAST THURSDAY.
67
00:04:06,220 --> 00:04:07,760
I DON’T KNOW WHAT YOU’RE
TALKING ABOUT.
68
00:04:07,790 --> 00:04:10,630
WERE YOU DROPPED ON YOUR HEAD
AS A KID SO YOU SLOW,
69
00:04:10,660 --> 00:04:13,030
OR YOU JUST GOT BIG BALLS
LIKE AN ELEPHANT?
70
00:04:13,060 --> 00:04:16,300
CONCENTRATE OR I’M GONNA DROP
YOU ON YOUR HEAD.
71
00:04:16,330 --> 00:04:18,370
A GUY WHO DEALS OUT OF STUY TOWN
NAMED LITTLE PETE
72
00:04:18,400 --> 00:04:20,310
WAS SHOT IN A DRUG BEEF
LAST THURSDAY.
73
00:04:20,330 --> 00:04:23,970
10 PEOPLE SAW YOU DO IT.
PETE SAW YOU DO IT.
74
00:04:24,000 --> 00:04:25,530
CARE TO GIVE US YOUR SIDE
75
00:04:25,570 --> 00:04:28,140
OR ARE YOU TOO BUSY
DIGESTING MY PARTNER?
76
00:04:28,170 --> 00:04:31,270
YOU’LL HAVE TO EXCUSE ME.
I NEVER SAW A WALKING DEAD MAN.
77
00:04:31,310 --> 00:04:32,610
MAYBE WE NEED TO GO OVER
THE RULES
78
00:04:32,640 --> 00:04:35,010
FOR ASSHOLES WHO MAKE
DEATH THREATS.
79
00:04:35,050 --> 00:04:38,990
I THINK LYLE’S DONE NOW.
HE’S TALKED HIS TRASH.
80
00:04:39,020 --> 00:04:40,990
YOU HAVE ANY CLUE WHO YOU SHOVED
ON HER ASS IN THAT HALLWAY?
81
00:04:41,020 --> 00:04:42,520
I DON’T REALLY CARE.
82
00:04:42,550 --> 00:04:44,350
YOU EVER HEAD OF THIS PLAYER
NAMED MONEY T.?
83
00:04:44,390 --> 00:04:45,990
WE’RE TALKING ABOUT YOUR
SHOOTING HERE.
84
00:04:46,020 --> 00:04:48,460
HE’S A BIG GUY,
BIG NEIGHBORHOOD DUDE,
85
00:04:48,490 --> 00:04:50,890
AND THAT GIRL’S HIS QUEEN
BITCH, SHALICE.
86
00:04:50,930 --> 00:04:53,660
NOBODY TOUCHES SHALICE,
NOBODY SAYS HI TO SHALICE,
87
00:04:53,700 --> 00:04:55,360
NOBODY EVEN LOOKS SHALICE
IN THE EYES
88
00:04:55,400 --> 00:04:57,300
UNLESS THEY WANT THEIR NUTS
STOMPED,
89
00:04:57,340 --> 00:04:59,510
ESPECIALLY WHEN TINY AND BILL
GOT HER BACK.
90
00:04:59,540 --> 00:05:02,250
THOSE ARE THE TWO STEROID CASES,
THE TWINS?
91
00:05:02,270 --> 00:05:05,710
HER BODYGUARDS, WHO SOME FOLKS
SAY GOT 20 BODIES BETWEEN ’EM.
92
00:05:05,740 --> 00:05:07,310
YOU SEE HER SITTING ON
HER ASS,
93
00:05:07,350 --> 00:05:08,490
SO PISSED SHE COULDN’T SAY
NOTHING?
94
00:05:08,510 --> 00:05:10,150
SHE WAS HUMILIATED,
95
00:05:10,180 --> 00:05:11,750
AND TINY AND BILL,
WHO DIDN’T SEE IT COMING?
96
00:05:11,780 --> 00:05:13,920
WHOO!
THEY WAS HUMILIATED.
97
00:05:13,950 --> 00:05:15,350
AND BETWEEN THE THREE
OF THEM,
98
00:05:15,390 --> 00:05:18,000
YOU’RE GONNA HAVE A WHOLE ARMY
COMING DOWN ON YOUR ASS.
99
00:05:18,020 --> 00:05:20,390
I REMEMBER GIVING YOU A WARNING
ABOUT THAT KIND OF TALK.
100
00:05:20,420 --> 00:05:23,690
ALL RIGHT, NITWIT, WHY DON’T YOU
GET IN THE CAGE.
101
00:05:23,730 --> 00:05:24,890
JUST LETTING YOU KNOW.
102
00:05:24,930 --> 00:05:26,490
I APPRECIATE IT,
103
00:05:26,530 --> 00:05:28,160
BUT IT’S TIME FOR THIS DEAD
MAN’S CUP OF COFFEE
104
00:05:28,200 --> 00:05:29,400
AND MORNING CRAP ‐‐
105
00:05:29,430 --> 00:05:31,600
ALL THE THINGS THAT MAKE DEATH
WORTH LIVING.
106
00:05:38,610 --> 00:05:39,880
SO ‐‐ DEATH THREAT.
107
00:05:39,910 --> 00:05:41,240
YEAH, I DON’T KNOW
ABOUT THAT.
108
00:05:41,280 --> 00:05:42,780
I HAVE HEARD OF MONEY T.
109
00:05:42,810 --> 00:05:45,010
ME TOO.
I’LL PONDER IT ON THE CAN.
110
00:05:45,050 --> 00:05:46,750
I WASN’T JOKING ABOUT
THAT CRAP.
111
00:05:46,790 --> 00:05:48,860
IS THAT PAUL WINSLOW?
112
00:05:48,890 --> 00:05:50,530
JUST WHO I’M LOOKING FOR.
113
00:05:50,560 --> 00:05:53,300
MY PARTNER, ANDY SIPOWICZ.
I KNOW PAUL FROM NARCOTICS.
114
00:05:53,320 --> 00:05:54,960
I’VE BEEN SIX MONTHS
MIDTOWN NORTH SQUAD.
115
00:05:54,990 --> 00:05:56,930
IT’S GOOD TO MEET YOU.
I GOT BUSINESS.
116
00:05:56,960 --> 00:05:57,960
YOU GOT A MINUTE?
117
00:05:58,000 --> 00:05:59,500
SURE.
118
00:06:04,170 --> 00:06:08,040
YOUR NAME CAME UP IN A PROSS
HOMICIDE.
119
00:06:08,070 --> 00:06:09,740
CYNTHIA PATTERSON.
YOU KNOW HER?
120
00:06:09,770 --> 00:06:11,570
DOESN’T RING A BELL.
121
00:06:11,610 --> 00:06:14,280
TWO IN THE CHEST.
WENT BY "LOLLIPOP."
122
00:06:14,310 --> 00:06:16,310
HOW’D MY NAME COME UP?
123
00:06:16,350 --> 00:06:19,160
SHE RAN AN IN‐CALL BUSINESS,
MOSTLY BY APPOINTMENT.
124
00:06:19,180 --> 00:06:21,820
WEDNESDAY LAST WEEK, YOUR NAME
WAS IN THE APPOINTMENT BOOK.
125
00:06:21,850 --> 00:06:23,480
IT SAID JOHN CLARK?
126
00:06:23,520 --> 00:06:26,490
"DETECTIVE JOHN CLARK ‐‐
WEDNESDAY, 9:00 P. M."
127
00:06:26,520 --> 00:06:28,890
JOHN, IF YOU WERE
STICKING HER,
128
00:06:28,930 --> 00:06:29,840
DON’T THINK YOU’D GET
JUDGED BY ME.
129
00:06:29,860 --> 00:06:31,090
WHOA, IT’S NOT THAT.
130
00:06:31,130 --> 00:06:33,430
IF IT IS THAT,
GET IN FRONT NOW,
131
00:06:33,460 --> 00:06:34,560
’CAUSE YOUR NAME BEING
IN THAT BOOK’S
132
00:06:34,600 --> 00:06:37,600
GOTTA COME UP WITH MY BOSS.
133
00:06:37,640 --> 00:06:40,480
I KNOW YOUR DAD’S ON THE JOB,
SAME NAME AS YOU.
134
00:06:40,500 --> 00:06:42,070
IS THIS MAYBE
A CONVERSATION FOR HIM?
135
00:06:42,110 --> 00:06:46,450
NO, I’M JUST TRYING TO PICTURE
THIS GIRL WITH BLOND HAIR.
136
00:06:46,480 --> 00:06:47,690
SHE EVER GO BY "RUBY"?
137
00:06:47,710 --> 00:06:49,010
WE’RE NOT TOO FAR YET.
138
00:06:49,050 --> 00:06:51,420
I GOT A C.I. IN THE
FREDERICK DOUGLAS HOUSES.
139
00:06:51,450 --> 00:06:53,480
SHE REGISTERED?
140
00:06:53,520 --> 00:06:56,330
NO, SHE HELPED ME OUT
IN NARCOTICS ONCE.
141
00:06:56,350 --> 00:06:57,990
I STILL KEEP IN TOUCH.
I GOT A FEW LIKE THAT.
142
00:06:58,020 --> 00:06:59,760
SEE HER LAST WEEK?
143
00:06:59,790 --> 00:07:01,590
MAKE IT A MONTH AGO.
144
00:07:01,630 --> 00:07:03,940
MAYBE SHE WROTE IT DOWN WRONG.
WHAT’D YOU TALK ABOUT?
145
00:07:03,960 --> 00:07:05,760
LISTENED TO HER COMPLAIN.
146
00:07:05,800 --> 00:07:08,610
ONCE EVERY FIVE CHATS,
SOMETHING COMES OF IT.
147
00:07:08,630 --> 00:07:10,300
SHE MENTION ANYONE
GIVING HER TROUBLE?
148
00:07:10,330 --> 00:07:13,000
NOTHING.
GOT ANYBODY YOU’RE LOOKING AT?
149
00:07:13,040 --> 00:07:14,550
HER PIMP’S IN THE WIND.
HE’S THE GUY FOR NOW.
150
00:07:17,180 --> 00:07:18,820
SO SHE’S A C.I.
151
00:07:18,840 --> 00:07:23,180
YEAH.
GUESS SHE DYED HER HAIR.
152
00:07:23,210 --> 00:07:24,950
WELL, THAT’S ALL I NEED.
OKAY.
153
00:07:24,980 --> 00:07:28,650
SEEING HOW I COULD TAKE A RIP
ON HER NOT BEING REGISTERED,
154
00:07:28,690 --> 00:07:30,030
HOW TIGHT’S THE CIRCLE
ON THIS?
155
00:07:30,050 --> 00:07:32,490
IT’S JUST ME AND MY
PARTNER FOR NOW,
156
00:07:32,520 --> 00:07:35,020
BUT IT’S GOTTA COME UP WITH
MY BOSS, AND HE’S HALF A PRICK.
157
00:07:35,060 --> 00:07:36,860
I’LL TRY TO KEEP YOU OUT
OF THE PAPERWORK.
158
00:07:36,900 --> 00:07:37,900
APPRECIATE IT, PAUL.
159
00:07:37,930 --> 00:07:39,490
SEE YOU AROUND.
160
00:07:50,580 --> 00:07:52,580
HEY.
ELEANOR MONCREFE, 80 YEARS OLD.
161
00:07:52,610 --> 00:07:54,580
NEXT‐DOOR NEIGHBOR
SAW THE DOOR OPEN,
162
00:07:54,610 --> 00:07:56,550
FOUND HER DUCT‐TAPED TO A CHAIR
BEAT TO HELL.
163
00:07:56,580 --> 00:07:57,910
DID THE NEIGHBOR HEAR
ANYTHING?
164
00:07:57,950 --> 00:08:00,680
SAID SHE WAS SHOWERING, DRYING
HER HAIR FOR THE PAST HOUR.
165
00:08:00,720 --> 00:08:01,920
WAS THERE ANYTHING
FROM THE VICTIM?
166
00:08:01,950 --> 00:08:03,350
SHE WAS UNCONSCIOUS
WHEN WE GOT HERE,
167
00:08:03,390 --> 00:08:06,230
BUT ANTICRIME WAS FIRST
ON THE SCENE.
168
00:08:06,260 --> 00:08:08,430
YOU WANT TO TALK TO ANTICRIME,
I’LL GET THE NEIGHBOR?
169
00:08:08,460 --> 00:08:09,420
YEAH.
170
00:08:15,600 --> 00:08:16,600
HOW’S IT GOING?
171
00:08:16,640 --> 00:08:18,880
GOOD. FINE.
MAYA ANDERSON.
172
00:08:18,900 --> 00:08:20,440
YEAH. I REMEMBER.
173
00:08:20,470 --> 00:08:22,770
SO I HEARD YOU MIGHT HAVE GOT
A STATEMENT FROM THE VICTIM?
174
00:08:22,810 --> 00:08:24,050
SHE WAS IN AND OUT.
175
00:08:24,080 --> 00:08:26,080
SHE GIVE YOU ANY KIND OF
DESCRIPTION?
176
00:08:26,110 --> 00:08:29,340
SHE JUST MUMBLED, "IT HURTS.
IT HURTS."
177
00:08:29,380 --> 00:08:31,210
I MEAN, IT WAS AWFUL!
SHE WAS ALL BLOODY ‐‐
178
00:08:31,250 --> 00:08:34,120
WHAT YOU GOTTA TRY TO DO IS
CONCENTRATE ON THE CASE.
179
00:08:34,150 --> 00:08:36,080
THAT’LL HELP GET YOUR MIND
MOVING FORWARD.
180
00:08:36,120 --> 00:08:39,620
IS THERE ANYTHING ELSE
YOU CAN TELL ME ABOUT?
181
00:08:39,660 --> 00:08:41,260
I THINK MY PARTNER NOTIFIED
CRIME SCENE.
182
00:08:41,290 --> 00:08:43,020
GOOD.
183
00:08:43,060 --> 00:08:44,230
I MEAN, WHAT IS SOMEBODY
THINKING
184
00:08:44,260 --> 00:08:45,760
TAPING UP AN OLD WOMAN AND
BEATING HER PURPLE?
185
00:08:47,670 --> 00:08:49,140
I MEAN, WHO KNOWS, RIGHT?
186
00:08:49,170 --> 00:08:51,640
WE GET ANY KIND OF DESCRIPTION
OFF THE CANVASS,
187
00:08:51,670 --> 00:08:53,030
WE’LL NOTIFY YOU AND PARTNER.
188
00:08:53,070 --> 00:08:54,200
WE’D APPRECIATE THAT.
189
00:08:54,240 --> 00:08:56,910
THANKS.
I’M ‐‐ I’M SORRY.
190
00:08:56,940 --> 00:08:58,470
DON’T WORRY ABOUT IT.
191
00:09:08,990 --> 00:09:11,900
PETE? DETECTIVE SIPOWICZ.
SECOND MESSAGE.
192
00:09:11,920 --> 00:09:13,250
YOU GOT THE NUMBER.
193
00:09:13,290 --> 00:09:14,320
HOW’D YOU DO WITH LYLE?
194
00:09:14,360 --> 00:09:15,790
HE WOULDN’T GO.
195
00:09:15,830 --> 00:09:18,440
THE COMPLAINANT ON THE SHOOTING,
THIS, UH, LITTLE PETE.
196
00:09:18,460 --> 00:09:20,400
WE’RE TRYING TO GET HIM IN TO
VIEW A LINEUP,
197
00:09:20,430 --> 00:09:22,230
BUT HE’S NOT AT HOME, HE’S NOT
ANSWERING HIS PAGER.
198
00:09:22,270 --> 00:09:24,280
VOICE MAIL ON HIS CELL.
199
00:09:24,300 --> 00:09:26,970
ONCE WE GET HIM IN AND LYLE’S
I.D.ed, HE’S IN THE SYSTEM.
200
00:09:27,010 --> 00:09:29,280
HOW’S THE OLD WOMAN?
201
00:09:29,310 --> 00:09:33,320
BEAT TO HELL ‐‐ LOTS OF FACIAL
CONTUSIONS, BROKEN NOSE, JAW,
202
00:09:33,340 --> 00:09:35,740
AND SOME OF HER RIBS FROM BEING
TIED UP SO TIGHT.
203
00:09:35,780 --> 00:09:37,950
DOCTORS DON’T KNOW IF SHE’S
GONNA MAKE IT.
204
00:09:37,980 --> 00:09:40,180
ANYTHING FROM THE CANVASS?
205
00:09:40,220 --> 00:09:43,350
NOTHING SO FAR.
JONES AND MEDAVOY ARE STILL OUT.
206
00:09:43,390 --> 00:09:45,100
BOSS.
207
00:09:45,120 --> 00:09:46,960
WE ALSO NEED TO GET
WITH NARCOTICS
208
00:09:46,990 --> 00:09:48,360
ON A DEALER NAMED MONEY T.
209
00:09:48,390 --> 00:09:51,590
THE SMACK DEALER.
HOW’S HE FIT IN?
210
00:09:51,630 --> 00:09:53,130
PICKING UP LYLE,
211
00:09:53,160 --> 00:09:55,530
I GOT INTO A SHOUTING MATCH
WITH HIS SKANKY NEIGHBOR.
212
00:09:55,570 --> 00:09:58,040
TURNS OUT TO BE
MONEY T.’s GIRLFRIEND.
213
00:09:58,070 --> 00:10:00,170
AFTER I GET SPIT ON,
214
00:10:00,200 --> 00:10:03,440
THE GIRLFRIEND ENDED UP...
LOSING HER BALANCE
215
00:10:03,470 --> 00:10:07,340
SO LYLE SAYS I’M GONNA GET
WHACKED OVER THAT.
216
00:10:07,380 --> 00:10:09,180
WORD IS HE’S GOT A LOT
OF GUYS KILLED.
217
00:10:09,210 --> 00:10:10,380
I’VE HEARD THAT, TOO.
218
00:10:10,410 --> 00:10:11,780
I’LL KEEP MY EYES PEELED.
219
00:10:11,820 --> 00:10:14,790
OR YOU CAN SIT TIGHT TILL
NARCOTICS GETS A VIBE.
220
00:10:14,820 --> 00:10:15,950
WORK FROM THE DESK?
221
00:10:15,990 --> 00:10:18,160
HOW PISSED OFF’S
THE GIRL?
222
00:10:18,190 --> 00:10:20,220
FIRST GET ME A COAT HANGER
SO I CAN LOBOTOMIZE MYSELF.
223
00:10:20,260 --> 00:10:23,020
I AIN’T SITTING AT THE DESK JUST
’CAUSE OF SOME LOUDMOUTH.
224
00:10:23,060 --> 00:10:25,460
IT’S WORTH LOOKING INTO.
YOU TWO AVAILABLE?
225
00:10:25,500 --> 00:10:26,340
WE’LL GET ON IT.
226
00:10:29,730 --> 00:10:31,800
YOU WANT THEO PICKED UP
FROM SCHOOL?
227
00:10:31,840 --> 00:10:33,650
THAT’D SCARE HIM
FOR NOTHING.
228
00:10:33,670 --> 00:10:36,500
LOOK, KILLING DOPE RIVALS
IS ONE THING,
229
00:10:36,540 --> 00:10:37,870
BUT I DON’T SEE THIS GIRL
GOING TO WAR
230
00:10:37,910 --> 00:10:39,240
WITH THE POLICE DEPARTMENT.
231
00:10:39,280 --> 00:10:41,890
NO HARM IN GETTING PATROL
TO SIT ON THEO’S SCHOOL.
232
00:10:44,120 --> 00:10:46,320
YOU CAN’T TELL ME
SHALICE WHINED TO I. A. B.
233
00:10:46,350 --> 00:10:49,590
CLARK, YOU GOT A MINUTE?
234
00:10:49,620 --> 00:10:50,820
SURE.
235
00:10:50,860 --> 00:10:52,260
COFFEE ROOM.
236
00:10:55,430 --> 00:10:56,570
WHAT’S THIS?
237
00:11:02,030 --> 00:11:04,530
YOU TALK TO A DETECTIVE WINSLOW
THIS MORNING
238
00:11:04,570 --> 00:11:07,200
REGARDING A PROSS HOMICIDE IN
THE FREDERICK DOUGLASS HOUSES ‐‐
239
00:11:07,240 --> 00:11:08,770
CYNTHIA PATTERSON?
YEAH.
240
00:11:08,810 --> 00:11:10,720
I NEED TO CLARIFY YOUR
RELATIONSHIP WITH THE GIRL.
241
00:11:10,740 --> 00:11:12,410
SHE WAS A C.I.
242
00:11:12,440 --> 00:11:14,010
NOT REGISTERED?
243
00:11:14,050 --> 00:11:15,050
NO.
244
00:11:15,080 --> 00:11:16,550
WHY?
245
00:11:16,580 --> 00:11:18,910
SHE DIDN’T LIKE THE IDEA.
SHE WAS PARANOID.
246
00:11:18,950 --> 00:11:20,280
ABOUT WHAT?
247
00:11:20,320 --> 00:11:23,120
COPS.
SHE WAS A PROSS.
248
00:11:23,150 --> 00:11:24,590
YOU MET HER IN NARCOTICS?
249
00:11:24,620 --> 00:11:26,420
WHEN AND WHERE?
250
00:11:26,460 --> 00:11:28,630
I DON’T RECALL OFFHAND.
251
00:11:28,660 --> 00:11:31,090
BIG CASE?
LITTLE CASE?
252
00:11:31,130 --> 00:11:32,890
NO CASE?
253
00:11:32,930 --> 00:11:35,060
I WASN’T A CUSTOMER.
254
00:11:35,100 --> 00:11:36,430
YOU WERE LISTED LIKE ONE.
255
00:11:36,470 --> 00:11:40,410
SHE WAS GOOD WITH SMACK
DEALERS IN HARLEM,
256
00:11:40,440 --> 00:11:42,770
WHO WAS ON TOP, WHO WAS MOVING
OUT, GENERAL INFO.
257
00:11:42,810 --> 00:11:44,250
THAT’S WHAT SENT YOU TO HER
TWO MONTHS AGO,
258
00:11:44,280 --> 00:11:46,050
GENERAL INFO ON DEALERS
IN HARLEM?
259
00:11:46,080 --> 00:11:48,150
I LIKE KEEPING MY EAR
TO THE GROUND.
260
00:11:48,180 --> 00:11:50,710
THAT’S THE LAST TIME
YOU SAW HER?
YEAH.
261
00:11:50,750 --> 00:11:53,050
YOUR PHONE RECORDS GONNA SAY
DIFFERENT, DETECTIVE?
262
00:11:53,080 --> 00:11:55,780
WHY ARE YOU CHECKING
MY PHONE RECORDS?
263
00:11:55,820 --> 00:11:59,590
HER PIMP WAS IN BELLEVUE ALL
NIGHT WITH A ROTTEN TOOTH.
264
00:11:59,620 --> 00:12:00,820
SO YOU’RE LOOKING AT ME
FOR MURDER?
265
00:12:00,860 --> 00:12:01,990
WE’RE LOOKING AT A LOT
OF THINGS.
266
00:12:02,030 --> 00:12:04,900
YOU GOT ALL I KNOW.
267
00:12:04,930 --> 00:12:07,460
YOU UNDERSTAND IT’S A PROBLEM
SHE’S NOT REGISTERED.
268
00:12:07,500 --> 00:12:08,430
WHATEVER YOU GOTTA DO.
269
00:12:12,840 --> 00:12:15,510
YOU MIGHT TRY TO REMEMBER
THE CASE WHERE YOU MET HER
270
00:12:15,540 --> 00:12:17,470
AND BRUSH UP ON YOUR FACTS,
GENERALLY.
271
00:12:17,510 --> 00:12:18,870
JUST A SUGGESTION.
272
00:12:28,620 --> 00:12:29,820
WHERE’S THE BOSS?
273
00:12:29,850 --> 00:12:31,250
IN THE CAN.
274
00:12:31,290 --> 00:12:32,420
I NEED TO TAKE CARE OF
SOMETHING.
275
00:12:32,460 --> 00:12:34,830
WHAT?
NOTHING.
276
00:12:34,860 --> 00:12:36,730
I’LL BE BACK IN HALF AN HOUR.
277
00:12:53,810 --> 00:12:56,010
JOHN.
HEY, POP.
278
00:12:56,050 --> 00:12:58,020
WHAT’S UP?
WHAT’S SO URGENT?
279
00:12:58,050 --> 00:13:00,380
YOU HEAR ABOUT A PROSS
HOMICIDE IN MIDTOWN NORTH,
280
00:13:00,420 --> 00:13:01,350
CYNTHIA PATTERSON?
281
00:13:01,390 --> 00:13:02,630
HEARD ABOUT IT.
282
00:13:02,650 --> 00:13:05,690
BUDDY OF MINE IS
WORKING THE CASE.
283
00:13:05,720 --> 00:13:08,790
"DETECTIVE JOHN CLARK" WAS IN
HER APPOINTMENT BOOK.
284
00:13:08,830 --> 00:13:10,170
HE CAME TO ME ABOUT IT.
285
00:13:10,190 --> 00:13:11,330
WHAT’D YOU SAY?
286
00:13:11,360 --> 00:13:12,890
SHE WAS A C.I.
287
00:13:12,930 --> 00:13:14,330
IS THAT THE END OF IT?
288
00:13:14,370 --> 00:13:16,740
I.A.B. SHOWED UP ASKING WHY
SHE WASN’T REGISTERED.
289
00:13:16,770 --> 00:13:18,530
WHAT WAS YOUR EXPLANATION?
290
00:13:18,570 --> 00:13:19,800
I DANCED AROUND IT.
HE SAID IT WAS A PROBLEM.
291
00:13:19,840 --> 00:13:22,140
BECAUSE HE DIDN’T BUY
THE STORY?
292
00:13:22,170 --> 00:13:24,640
HE MIGHT HAVE.
I DON’T KNOW.
293
00:13:24,680 --> 00:13:26,650
COMING FROM NARCOTICS,
294
00:13:26,680 --> 00:13:28,810
IT COULD MAKE SENSE TO HAVE
AN UNREGISTERED C.I.
295
00:13:28,850 --> 00:13:30,190
I COULD NEVER SELL THAT.
296
00:13:30,210 --> 00:13:32,150
SO, WHAT...
297
00:13:32,180 --> 00:13:33,920
YOU WERE A CUSTOMER?
298
00:13:33,950 --> 00:13:35,550
SHE WAS A FRIEND.
299
00:13:35,590 --> 00:13:37,700
THAT’S NOT HOW
SHE HAD YOU WRITTEN DOWN.
300
00:13:37,720 --> 00:13:39,820
JOHNNY...
301
00:13:39,860 --> 00:13:42,060
I DON’T KNOW WHAT TO SAY.
302
00:13:42,090 --> 00:13:44,390
WHY DIDN’T YOU TELL YOUR
FRIEND THE TRUTH?
303
00:13:44,430 --> 00:13:46,390
BECAUSE HIS NEXT STEP
WOULD HAVE BEEN YOU.
304
00:13:46,430 --> 00:13:47,460
I DON’T RECALL EVER ASKING
YOU TO PROTECT ME.
305
00:13:51,040 --> 00:13:52,880
YOU MUST BE VERY
DISAPPOINTED.
306
00:13:52,900 --> 00:13:54,570
I’M MORE STUNNED.
307
00:13:54,610 --> 00:13:57,920
I NEVER LOVED ANY WOMAN
BUT YOUR MOTHER,
308
00:13:57,940 --> 00:14:00,880
AND I COULD NEVER LOVE
ANYONE ELSE.
309
00:14:00,910 --> 00:14:03,880
BUT, UM, I MET HER ON
A CASE.
310
00:14:03,920 --> 00:14:06,790
I CALLED HER ONCE WHEN I...
WAS VERY LONELY.
311
00:14:06,820 --> 00:14:08,050
THAT’S HOW IT STARTED.
312
00:14:08,090 --> 00:14:11,030
SHE EVER TALK ABOUT ANYBODY
COMING AFTER HER?
313
00:14:11,060 --> 00:14:12,700
IS THAT A SUBTLE WAY OF ASKING
ME WAS I INVOLVED?
314
00:14:12,720 --> 00:14:14,860
I NEVER WOULD HAVE
CONSIDERED.
315
00:14:14,890 --> 00:14:16,830
I PROMISE YOU, I HAD NOTHING TO
DO WITH HER BEING KILLED.
316
00:14:18,930 --> 00:14:21,460
A PROBLEM FROM I. A. B.
317
00:14:21,500 --> 00:14:23,230
DOES THAT MEAN DEPARTMENT
CHARGES?
318
00:14:23,270 --> 00:14:25,240
MAYBE.
319
00:14:25,270 --> 00:14:27,800
I FIGURE IT BETTER I TAKE A RIP
FOR AN UNREGISTERED C.I.
320
00:14:27,840 --> 00:14:30,610
THAN YOU GET THROWN OFF
THE JOB AND LOSE YOUR PENSION.
321
00:14:30,640 --> 00:14:33,070
IF THIS GOES A HAIR PAST A RIP,
I’M STEPPING IN.
322
00:14:33,110 --> 00:14:34,810
HOPEFULLY,
THE CASE GOES DOWN QUICK
323
00:14:34,850 --> 00:14:36,320
AND NO ONE WILL LOOK
TOO DEEP.
324
00:14:36,350 --> 00:14:37,660
I GOTTA GET BACK.
325
00:14:37,680 --> 00:14:40,650
IF ANYTHING COMES UP,
I’LL KEEP IN TOUCH.
326
00:14:57,940 --> 00:15:00,810
MONEY T.’s REAL NAME IS
DARNELL BATTUM.
327
00:15:00,840 --> 00:15:04,010
NO RECORD, BUT NARCOTICS SAYS
HE’S DOING MAJOR WEIGHT.
328
00:15:04,040 --> 00:15:05,170
WHY HAVEN’T THEY TAKEN
HIM DOWN?
329
00:15:05,210 --> 00:15:06,810
HE WORKS QUIET,
AND HE’S WELL‐INSULATED.
330
00:15:06,850 --> 00:15:09,590
AND HE’S GOT ESCAPE ROUTES BUILT
INTO HIS STASH HOUSES.
331
00:15:09,610 --> 00:15:11,350
THE PHANTOM DRUG MENACE.
332
00:15:11,380 --> 00:15:13,280
NARCOTICS SAY HOW VIOLENT
THIS GUY IS?
333
00:15:13,320 --> 00:15:16,360
THE TWINS YOU SAW,
WALTER AND WILLIAM GRIMES,
334
00:15:16,390 --> 00:15:18,330
BOTH HAVE A HISTORY
OF VIOLENT CRIME,
335
00:15:18,360 --> 00:15:20,800
AND THERE’S NINE HOMICIDES
NARCOTICS SAYS ARE THEIRS.
336
00:15:20,830 --> 00:15:22,870
BUT NO ONE WILL TALK,
AND NO ONE WILL TESTIFY.
337
00:15:22,890 --> 00:15:24,760
PEOPLE BARELY HAVE THE BALLS
TO SAY THE GUY’S NAME.
338
00:15:24,800 --> 00:15:26,870
IF WE GET NARCOTICS ANYWHERE
NEAR MONEY T.,
339
00:15:26,900 --> 00:15:28,230
THEY SAID DINNER’S ON THEM.
340
00:15:30,840 --> 00:15:32,540
LYLE DENNISON’S GOOD
FOR A SHOOTING.
341
00:15:32,570 --> 00:15:36,340
HE MIGHT BE WILLING TO TRADE
TIME FOR INFO ON MONEY T.
342
00:15:36,370 --> 00:15:37,970
YOU TALK TO THE GUY HE SHOT,
LITTLE PETE?
343
00:15:38,010 --> 00:15:40,180
HE STILL
HASN’T CALLED BACK.
344
00:15:40,210 --> 00:15:41,680
KEEP TRYING.
SOMEBODY FILL IN CLARK.
345
00:15:41,710 --> 00:15:43,750
I GOT IT.
346
00:15:49,220 --> 00:15:50,990
I’M SUPPOSED TO FILL
YOU IN ON MONEY T.
347
00:15:51,020 --> 00:15:52,420
ALL RIGHT.
348
00:15:55,660 --> 00:15:57,860
IS THERE SOMETHING YOU
WANT TO TELL ME?
349
00:15:57,900 --> 00:15:59,070
THIS ABOUT I. A. B.?
350
00:15:59,100 --> 00:16:01,910
NO, YOUR NEXT HAIRCUT
APPOINTMENT.
351
00:16:01,930 --> 00:16:04,130
OLD C.I. OF MINE GOT
WHACKED.
352
00:16:04,170 --> 00:16:06,470
SHE HAD MY NAME
WRITTEN DOWN.
353
00:16:06,500 --> 00:16:08,070
PROSS?
AND A JUNKIE.
354
00:16:08,110 --> 00:16:09,980
SHE HAD SOME GOOD INFO.
355
00:16:10,010 --> 00:16:11,640
WHY IS I. A. B. INVOLVED?
356
00:16:11,680 --> 00:16:14,020
SHE WASN’T REGISTERED.
HOW COME?
357
00:16:14,050 --> 00:16:14,990
SHE WOULDN’T DO IT,
PARANOID.
358
00:16:15,010 --> 00:16:16,410
AND SHE WAS JUST A C. I.?
359
00:16:16,450 --> 00:16:17,920
YEAH.
360
00:16:21,720 --> 00:16:23,590
WHAT GOT YOU RUNNING OFF
AFTER MARTENS LEFT?
361
00:16:23,620 --> 00:16:26,150
I WANTED TO TALK TO THE
DETECTIVE WHO CAUGHT THE CASE,
362
00:16:26,190 --> 00:16:27,420
SEE WAS THERE ANY PROGRESS.
363
00:16:27,460 --> 00:16:28,720
SOMETHING WRONG WITH
THE PHONE?
364
00:16:28,760 --> 00:16:30,160
WHAT IS THIS, RITA?
365
00:16:30,190 --> 00:16:31,260
YOU’RE LYING TO ME.
366
00:16:31,300 --> 00:16:32,600
WHAT DO I HAVE TO
LIE ABOUT?
367
00:16:32,630 --> 00:16:34,700
I DON’T KNOW, BUT I’VE
BEEN WITH YOU FOUR MONTHS,
368
00:16:34,730 --> 00:16:36,230
AND YOU’VE NEVER ACTED
LIKE THIS BEFORE.
369
00:16:36,270 --> 00:16:38,110
OKAY, WELL, I’M NOT LYING.
370
00:16:38,140 --> 00:16:39,580
DID YOU HAVE A RELATIONSHIP
WITH THIS GIRL?
371
00:16:39,600 --> 00:16:42,570
NOTHING PAST
HER BEING A C.I.
372
00:16:42,610 --> 00:16:45,250
I KNOW A LITTLE ABOUT COPS AND
UNREGISTERED PROSS INFORMANTS.
373
00:16:45,280 --> 00:16:49,790
THERE WAS NO RELATIONSHIP PAST
HER BEING A C.I.
374
00:16:49,810 --> 00:16:52,010
YOU DIDN’T SLEEP WITH HER?
RITA ‐‐
375
00:16:52,050 --> 00:16:54,780
IF YOU’RE SCREWING PROSS, I
GOT A RIGHT TO KNOW ABOUT IT.
GIVE ME A BREAK!
376
00:16:54,820 --> 00:16:56,120
WELL,
SOMETHING’S NOT RIGHT.
377
00:16:56,150 --> 00:16:57,720
I WASN’T SLEEPING WITH HER.
378
00:16:57,760 --> 00:16:58,730
[ KNOCK ON DOOR ]
379
00:17:03,490 --> 00:17:04,930
WHAT’S UP?
380
00:17:04,960 --> 00:17:06,560
I JUST GOT OFF
WITH LITTLE PETE.
381
00:17:06,600 --> 00:17:09,260
HE WOULDN’T SAY WHERE HE WAS,
BUT HE’S LEAVING TOWN.
382
00:17:09,300 --> 00:17:11,930
SOMEBODY PUT A GUN IN HIS RIBS
AND THREATENED TO KILL HIM
383
00:17:11,970 --> 00:17:12,830
IF HE I.D.ed LYLE.
HE’S OUT.
384
00:17:14,410 --> 00:17:15,580
SO WE’RE GONNA HAVE TO
RUN A GAME ON LYLE.
385
00:17:15,610 --> 00:17:18,750
YOU UP FOR THAT?
YOU SEEM DISTRACTED.
386
00:17:18,780 --> 00:17:20,150
IT’S JUST ME AND HER.
387
00:17:20,180 --> 00:17:22,640
THE DESK SERGEANT’S CALLED.
388
00:17:22,680 --> 00:17:24,750
SOMEONE’S HERE TO EITHER PICK UP
LYLE DENNISON OR BAIL HIM OUT.
389
00:17:24,780 --> 00:17:27,120
LAWYER?
A FRIEND.
390
00:17:27,150 --> 00:17:30,150
TELL HIM LYLE SPLIT AN HOUR AGO
AND HAVE A NICE DAY.
391
00:17:39,530 --> 00:17:41,100
SO WHAT WE DOING?
392
00:17:41,130 --> 00:17:43,770
LITTLE PETE’S ON HIS WAY IN
TO VIEW A LINEUP.
393
00:17:43,800 --> 00:17:45,530
WE GOTTA GET THE ROOM READY.
394
00:17:47,340 --> 00:17:49,910
JUST SIT HERE FOR NOW.
395
00:17:49,940 --> 00:17:53,170
I NEED YOUR EFFECTS ‐‐
BELT, LACES.
396
00:17:53,210 --> 00:17:55,310
MAN, WE AIN’T EVEN HAD NO
LINEUP YET.
397
00:17:55,350 --> 00:17:57,790
YOU GOT PICKED OUT OF A PHOTO.
THIS IS JUST FOR THE D. A.
398
00:17:57,820 --> 00:17:59,630
COME ON. LET’S GO.
399
00:17:59,650 --> 00:18:02,020
SO AIN’T NOBODY COME
ASKING FOR ME?
400
00:18:02,050 --> 00:18:03,790
NOPE.
WE’D HAVE HEARD.
401
00:18:03,820 --> 00:18:05,790
AFTER THIS GETS WRAPPED UP,
WE’LL GET YOU TO BOOKING,
402
00:18:05,820 --> 00:18:07,520
WHERE YOU’LL PROBABLY
SPEND THE NIGHT.
403
00:18:07,560 --> 00:18:10,130
WHOO!
COURT’S BEEN SLOW.
404
00:18:10,160 --> 00:18:11,930
THEN IT’S RIKERS TILL THE TRIAL,
WHENEVER THAT IS.
405
00:18:11,960 --> 00:18:14,360
SO NOBODY COME ASKING FOR ME,
NOBODY CALLED?
406
00:18:14,400 --> 00:18:16,260
LOOKS LIKE YOU GOT HUNG
OUT, LYLE.
407
00:18:16,300 --> 00:18:17,430
FILLERS?
408
00:18:17,470 --> 00:18:18,800
SHOULD BE HERE IN ABOUT
TWO MINUTES.
409
00:18:18,840 --> 00:18:20,210
I’LL GO GET HANK.
410
00:18:20,240 --> 00:18:22,370
YOU GOT SOMETHING TO SAY,
YOU GOT TWO MINUTES.
411
00:18:22,410 --> 00:18:24,220
IF NOT,
WE’LL BE RIGHT BACK.
412
00:18:26,310 --> 00:18:27,440
OKAY, WELL, WE’LL SEE YOU
IN A BIT.
413
00:18:27,480 --> 00:18:30,880
WAIT, NOW, WHAT’S THAT
SUPPOSED TO MEAN,
414
00:18:30,920 --> 00:18:32,120
DO I GOT SOMETHING TO SAY?
415
00:18:32,150 --> 00:18:34,050
IF YOU GOT INFORMATION
ON A BIGGER CRIME,
416
00:18:34,090 --> 00:18:35,690
THE COURTS
ARE WILLING TO DEAL,
417
00:18:35,720 --> 00:18:38,820
ESPECIALLY SINCE THAT GUY YOU
SHOT WASN’T EXACTLY A CHOIR BOY.
418
00:18:40,860 --> 00:18:42,490
ARE YOU DEALING DOPE?
419
00:18:42,530 --> 00:18:43,640
MAYBE A LITTLE.
420
00:18:43,660 --> 00:18:45,730
YOU KNOW SOMEONE WHO
DEALS A LOT?
421
00:18:45,760 --> 00:18:47,160
THIS IS HOW IT WORKS.
422
00:18:47,200 --> 00:18:48,530
YOU’RE A LITTLE FISH.
WE WANT THE BIGGER FISH.
423
00:18:48,570 --> 00:18:49,880
AND I WALK?
424
00:18:49,900 --> 00:18:52,730
DEPENDS.
425
00:18:52,770 --> 00:18:54,970
I WORK FOR MONEY T.,
ALL RIGHT?
426
00:18:55,010 --> 00:18:57,150
I WORK FOR THE CITY OF NEW YORK.
SO WHAT?
427
00:18:57,180 --> 00:18:59,920
I KNOW HIS OPERATION,
AND FOR A WALK,
428
00:18:59,940 --> 00:19:01,310
I’LL GIVE YOU HIS WEEKLY
CARD GAME,
429
00:19:01,350 --> 00:19:03,220
BUT AFTER THAT, WHAT YOU GET ON
HIM IS UP TO YOU,
430
00:19:03,250 --> 00:19:04,660
BUT I’LL GET YOU TO HIM.
431
00:19:04,680 --> 00:19:06,410
YOU GET US A GUY
PLAYING CARDS.
432
00:19:06,450 --> 00:19:07,720
THIS IS MONEY T.,
MAN!
433
00:19:07,750 --> 00:19:11,050
LYLE, YOU WANT TO GET WITHIN
50 MILES OF A WALK,
434
00:19:11,090 --> 00:19:13,150
WE NEED MORE THAN A GUY
PLAYING HEARTS.
435
00:19:13,190 --> 00:19:15,320
DAMN, MAN.
436
00:19:15,360 --> 00:19:16,460
WHERE’S HE DEAL OUT OF?
437
00:19:19,400 --> 00:19:21,540
YOU GOT A PEN OR
SOMETHING?
438
00:19:25,900 --> 00:19:27,200
MAN, THIS IS BIG.
439
00:19:27,240 --> 00:19:30,010
DAMN!
440
00:19:30,040 --> 00:19:34,940
SO, ODALAS, YOU ANY RELATION
TO AN ELEANOR MONCREFE?
441
00:19:34,980 --> 00:19:36,210
NEVER HEARD OF HER.
442
00:19:36,250 --> 00:19:37,590
THEN WHERE’D YOU GET HER
CREDIT CARD?
443
00:19:37,620 --> 00:19:40,730
I TOLD YOU, I DON’T KNOW
WHERE IT CAME FROM.
444
00:19:40,750 --> 00:19:42,580
SO HOW’S IT WIND UP WITH YOU
TRYING TO BUY NEW SPEAKERS?
445
00:19:42,620 --> 00:19:46,690
I GAVE THE GUY MY CARD.
HE SAID WAIT, SO I WAIT.
446
00:19:46,730 --> 00:19:48,470
ALL THE SUDDEN,
I GOT COPS ALL OVER ME.
447
00:19:48,490 --> 00:19:51,290
SO YOU’RE SAYING SOMEBODY
PULLED A SWITCHEROO.
448
00:19:51,330 --> 00:19:53,060
GUESS SO.
449
00:19:53,100 --> 00:19:54,570
NO, ODALAS, THAT AIN’T
GONNA FLY.
450
00:19:54,600 --> 00:19:56,870
COP TO WHERE YOU GOT IT NOW
451
00:19:56,900 --> 00:19:59,800
AND YOU’RE LOOKING AT MAYBE
A SLAP ON THE WRIST,
452
00:19:59,840 --> 00:20:01,770
BUT IF YOU WASTE ANY MORE
OF OUR TIME,
453
00:20:01,810 --> 00:20:04,580
WE’LL MAKE SURE
YOU’RE LOCKED UP.
454
00:20:04,610 --> 00:20:06,140
A GUY GAVE IT TO ME.
455
00:20:06,180 --> 00:20:07,450
A WHITE GUY.
456
00:20:07,480 --> 00:20:08,910
A WHITE GUY.
457
00:20:08,950 --> 00:20:10,390
GOES TO MY SCHOOL.
458
00:20:10,410 --> 00:20:11,810
HIS NAME’S JOE.
I DON’T KNOW HIS LAST NAME.
459
00:20:11,850 --> 00:20:14,550
A MYSTERY GUY NAMED JOE.
460
00:20:14,590 --> 00:20:17,060
HE’S IN MY ALGEBRA CLASS.
ASK THE TEACHER.
461
00:20:17,090 --> 00:20:18,820
MYSTERY JOE FROM ALGEBRA.
462
00:20:18,860 --> 00:20:20,430
WITH THAT KIND OF DETAIL,
463
00:20:20,460 --> 00:20:21,620
I THINK WE’RE ABOUT READY
FOR COURT.
464
00:20:21,660 --> 00:20:24,290
I JUST DON’T KNOW HIM
SO GOOD.
465
00:20:24,330 --> 00:20:26,760
DON’T WORRY ABOUT IT, ODALAS.
THAT’S PLENTY.
466
00:20:26,800 --> 00:20:28,300
WE APPRECIATE YOUR TIME.
467
00:20:28,330 --> 00:20:31,100
I CAN GO?
468
00:20:31,140 --> 00:20:34,080
WE’RE DONE DICKING AROUND
WITH JOE FROM ALGEBRA!
469
00:20:34,110 --> 00:20:35,110
LET’S FIGURE OUT
WHAT WENT WRONG!
470
00:20:35,140 --> 00:20:37,270
WHAT WENT WRONG WHERE?
471
00:20:37,310 --> 00:20:38,670
JURIES UNDERSTAND ROBBERY,
ODALAS,
472
00:20:38,710 --> 00:20:40,580
AND THAT A GUY CAN NEED
EXTRA CASH.
473
00:20:40,610 --> 00:20:42,980
WHAT THEY DON’T GET IS BEATING
ON OLD WOMEN FOR IT.
474
00:20:43,010 --> 00:20:44,780
WHOA, WHOA, WHOA,
I DIDN’T BEAT NOBODY,
475
00:20:44,820 --> 00:20:46,420
AND I KNOW NOTHING ABOUT
NO APARTMENT!
476
00:20:46,450 --> 00:20:48,420
SO YOU’RE GOING TO BAT WITH
JOE FROM ALGEBRA?
477
00:20:48,450 --> 00:20:52,250
HE LAID THE CARD ON ME.
I FIGURED IT WAS HIS MOM’S.
478
00:20:52,290 --> 00:20:54,490
SINCE HE’S NEW IN SCHOOL,
HE’S TRYING TO GET IN WITH ME.
479
00:20:54,530 --> 00:20:55,870
LAST CHANCE, ODALAS!
480
00:20:57,330 --> 00:20:59,260
JOE SOMETHING.
JOSEPH.
481
00:20:59,300 --> 00:21:01,540
WHITE GUY, KIND OF GOOFY,
LOOKS LIKE HE’S OLDER THAN US.
482
00:21:01,570 --> 00:21:03,540
YOU KNOW,
LIKE HE FLUNKED OUT.
483
00:21:03,570 --> 00:21:05,300
THE TEACHER’D KNOW HIM!
484
00:21:05,340 --> 00:21:07,450
SHE BETTER.
485
00:21:07,470 --> 00:21:09,640
HER NAME AND WHERE YOU GO
TO SCHOOL.
486
00:21:23,350 --> 00:21:24,520
[ DOOR OPENS ]
487
00:21:24,560 --> 00:21:26,400
DON’T MOVE!
GET ON YOUR KNEES!
488
00:21:26,420 --> 00:21:28,320
EVERYBODY!
GET ON YOUR KNEES!
489
00:21:28,360 --> 00:21:29,730
WE GOT A GUN HERE!
490
00:21:29,760 --> 00:21:32,390
I GOT SOMETHING.
491
00:21:32,430 --> 00:21:34,460
A COUPLE OF OUNCES.
THAT’S IT.
492
00:21:34,500 --> 00:21:36,800
WHERE’S THE REST?!
THAT’S IT!
493
00:21:36,840 --> 00:21:38,710
WE’LL LUMP ON CHARGES YOU
DON’T WANT TO THINK ABOUT!
494
00:21:38,740 --> 00:21:40,050
THAT’S IT!
I SWEAR!
495
00:21:40,070 --> 00:21:42,740
OH, YOU DUMB SON OF
A BITCH!
496
00:21:42,770 --> 00:21:45,340
NONE OF THEM’S MONEY T.?
497
00:21:45,380 --> 00:21:47,850
NO, WE’LL BRING IN THE DOGS
TO SNIFF THIS PLACE OUT,
498
00:21:47,880 --> 00:21:49,680
BUT I THINK YOUR BOY
SET US UP.
499
00:21:49,710 --> 00:21:51,680
LET’S GET OUT OF HERE.
500
00:22:02,390 --> 00:22:03,830
HOLD ON A SECOND.
501
00:22:03,860 --> 00:22:05,860
I’D LIKE TO WASH THIS JUNKIE
PUKE OFF MY SHOES.
502
00:22:05,900 --> 00:22:07,210
WHAT’S GOING ON WITH YOU?
503
00:22:07,230 --> 00:22:09,670
I TOLD YOU, I DON’T LIKE
I. A. B. PAWING AT ME.
504
00:22:09,700 --> 00:22:10,870
AND THAT’S IT?
505
00:22:10,900 --> 00:22:12,670
IT DOESN’T HELP
RITA’S BULL
506
00:22:12,700 --> 00:22:14,370
ABOUT THAT GIRL
NOT BEING A C.I.
507
00:22:14,410 --> 00:22:15,950
SHE’S GOT A POINT CALLING
YOU OUT.
508
00:22:15,970 --> 00:22:20,780
IT DON’T ADD UP, LIKE YOU
BOLTING OUT OF THE SQUAD
509
00:22:20,810 --> 00:22:21,610
TO TALK TO THE GUY
THAT CAUGHT THE CASE.
510
00:22:21,650 --> 00:22:22,790
WELL, I DID!
511
00:22:22,810 --> 00:22:24,450
ALL RIGHT, WHAT’D HE SAY?
512
00:22:24,480 --> 00:22:26,620
SO NOW YOU’RE GONNA
INTERROGATE ME?
513
00:22:26,650 --> 00:22:27,380
YOU DON’T REMEMBER
WHAT HE SAID?
514
00:22:31,920 --> 00:22:33,450
IT WAS MY DAD BANGING THAT
PROSS, OKAY?
515
00:22:33,490 --> 00:22:36,630
IT’S BEEN GOING ON A WHILE.
516
00:22:36,660 --> 00:22:38,130
HE’S GONNA LET YOU TAKE
THE RAP FOR IT?
517
00:22:38,160 --> 00:22:39,860
YEAH, AND FOR NOW, THAT’S HOW
IT’S GONNA WORK,
518
00:22:39,900 --> 00:22:43,930
AND I APPRECIATE YOU NOT GIVING
ME A SPEECH ABOUT IT.
519
00:22:43,970 --> 00:22:45,630
ALL HIS TALK ABOUT
RIGHT AND WRONG
520
00:22:45,670 --> 00:22:49,300
AND TOEING THE LINE,
AND HE’S OUT NAILING A WHORE.
521
00:22:49,340 --> 00:22:51,810
THERE’S BEING A PARENT,
522
00:22:51,840 --> 00:22:53,940
THEN THERE’S BEING
A HUMAN BEING.
523
00:22:53,980 --> 00:22:55,210
SO YOU’RE DEFENDING HIM?
524
00:22:55,250 --> 00:22:57,220
I GOT A LITTLE HISTORY
WITH THAT KIND OF THING.
525
00:22:57,250 --> 00:22:59,280
BUT DID YOU EVER PASS
YOURSELF OFF AS A SAINT?
526
00:22:59,320 --> 00:23:01,560
I KNOW IT’S HARD FOR YOU TO SEE
IT ’CAUSE HE’S YOUR DAD,
527
00:23:01,590 --> 00:23:04,430
BUT HE’S JUST A GUY.
HE AIN’T PERFECT.
528
00:23:04,460 --> 00:23:05,760
ARE WE GOING BACK AT LYLE?
529
00:23:05,790 --> 00:23:07,760
KEEP IN MIND YOU DON’T JUST
SHRUG OFF
530
00:23:07,790 --> 00:23:09,960
SOMETHING LIKE
AN UNREGISTERED PROSS C. I.,
531
00:23:09,990 --> 00:23:12,230
AND IT’S NOT I.A.B.
YOU GOTTA WORRY ABOUT.
532
00:23:12,260 --> 00:23:14,200
IT’S THE STINK
THAT FOLLOWS.
533
00:23:18,200 --> 00:23:19,770
WHAT THE HELL?!
534
00:23:19,800 --> 00:23:21,970
GET DOWN, EVERYBODY!
GET DOWN! HIT THE GROUND!
535
00:23:22,010 --> 00:23:23,050
ANDY, WE GOT A GUY HIT!
536
00:23:27,880 --> 00:23:29,180
WE NEED AN AMBULANCE!
537
00:23:29,210 --> 00:23:30,210
WE GOT A SNIPER!
538
00:23:33,480 --> 00:23:35,450
YOU’RE OKAY, PAL.
JUST HANG IN THERE.
539
00:23:35,490 --> 00:23:38,130
YOU’RE ALL RIGHT.
HOLD ON, PAL!
540
00:23:38,160 --> 00:23:40,330
OH, COME ON!
COME ON!
541
00:23:57,740 --> 00:24:00,110
KID’S TIMOTHY MARTIN.
N. Y. U. GRAD STUDENT.
542
00:24:00,140 --> 00:24:01,980
DRIVER’S LICENSE HAS HIM
LIVING ON "B."
543
00:24:02,010 --> 00:24:03,650
ANY CONTACT NUMBERS?
544
00:24:03,680 --> 00:24:06,180
MAYBE IN HIS BOOK BAG.
I HAVEN’T GONE THROUGH IT YET.
545
00:24:06,220 --> 00:24:07,490
WHERE’S CLARK AND SIPOWICZ?
546
00:24:07,520 --> 00:24:10,020
STILL CHECKING ROOFTOPS WITH
EMERGENCY SERVICE.
547
00:24:10,050 --> 00:24:12,650
JONES AND MEDAVOY ARE LOOKING
FOR A SUSPECT ON THEIR CASE.
548
00:24:12,690 --> 00:24:14,960
THEY WANT TO KNOW SHOULD THEY
COME BACK TO THE HOUSE.
549
00:24:14,990 --> 00:24:17,030
TELL THEM JUST KEEP
THEIR RADIO ON.
550
00:24:17,060 --> 00:24:19,560
JOHN GOT THEO FROM SCHOOL.
THEY’RE AT THE APARTMENT.
551
00:24:19,600 --> 00:24:21,630
E.S.U. GOT SOME 9‐MILLIMETER
CASINGS
552
00:24:21,670 --> 00:24:23,540
OFF A ROOF ACROSS
THE STREET.
553
00:24:23,570 --> 00:24:26,840
YOU GONNA START A CANVASS?
I’M GONNA GO BACK IN WITH LYLE.
554
00:24:26,870 --> 00:24:27,870
WE DON’T NEED A MASSACRE
UP THERE.
555
00:24:27,910 --> 00:24:29,010
I’LL TALK TO HIM.
556
00:24:29,040 --> 00:24:30,040
GLAD YOU’RE OKAY.
557
00:24:31,440 --> 00:24:34,180
HEY, ANDY?
HOW WE GOING AT LYLE?
558
00:24:34,210 --> 00:24:36,310
’CAUSE THERE’S A GOOD CASE
AGAINST YOU GOING IN AT ALL.
559
00:24:36,350 --> 00:24:37,690
WRITE IT DOWN.
I’LL READ IT LATER.
560
00:24:37,720 --> 00:24:38,990
YOU CAN’T GO TUNING UP
A GUY WE GOT NOTHING ON.
561
00:24:39,020 --> 00:24:40,430
WHO SAID I’M GONNA
TUNE HIM UP?
562
00:24:40,450 --> 00:24:42,850
YOU NEARLY DID
THIS MORNING.
563
00:24:42,890 --> 00:24:44,060
ANDY, COME ON,
LET ME HANDLE THIS.
564
00:24:44,090 --> 00:24:45,350
GET OUT OF THE WAY.
565
00:24:45,390 --> 00:24:46,390
YOU GO IN THERE,
YOU’RE GONNA BLOW IT.
566
00:24:46,420 --> 00:24:48,490
GET YOUR HAND OFF ME.
ANDY...
567
00:24:48,530 --> 00:24:50,600
IF YOU DON’T GET OUT OF THE WAY,
WE’RE GONNA HAVE PROBLEMS.
568
00:24:50,630 --> 00:24:51,930
THEN WE’LL HAVE PROBLEMS.
569
00:24:51,960 --> 00:24:53,360
YOU LOOKING TO THROW
PUNCHES WITH ME?
570
00:24:53,400 --> 00:24:54,510
IF THAT’S WHAT IT COMES
DOWN TO.
571
00:24:54,530 --> 00:24:56,400
GET OUT OF THE WAY OR GET
ANOTHER PARTNER.
572
00:24:56,430 --> 00:24:58,670
WHOA. WHAT’S THIS?
573
00:24:58,700 --> 00:24:59,740
NOTHING.
574
00:24:59,770 --> 00:25:01,600
IT DOESN’T LOOK LIKE NOTHING,
575
00:25:01,640 --> 00:25:03,610
AND IT DOESN’T LOOK LIKE
SOMETHING
576
00:25:03,640 --> 00:25:06,010
YOU WANT TO TAKE IN THE ROOM
WITH LYLE.
577
00:25:06,040 --> 00:25:08,640
CAN YOU BOTH HANDLE THIS
OR DOES CLARK GO IN ALONE?
578
00:25:10,410 --> 00:25:11,210
WE CAN HANDLE IT.
579
00:25:17,760 --> 00:25:19,600
DON’T YOU EVER DO
THAT AGAIN.
580
00:25:19,620 --> 00:25:20,790
I’M JUST WATCHING YOUR BACK.
581
00:25:24,000 --> 00:25:25,240
IS SOMEBODY POPPING SHOTS
OUTSIDE?
582
00:25:25,260 --> 00:25:27,460
WERE THEY SHOOTING AT YOU?
583
00:25:27,500 --> 00:25:29,360
I TOLD YOU THERE WAS
GONNA BE TROUBLE.
584
00:25:29,400 --> 00:25:31,400
WAIT A MINUTE!
WASN’T ME ON THE TRIGGER!
585
00:25:31,440 --> 00:25:33,410
GET ME WHO WAS OR IT’S YOU
TAKING THE PUNISHMENT!
586
00:25:33,440 --> 00:25:34,910
I GAVE YOU THE SPOT!
587
00:25:34,940 --> 00:25:37,370
YOU GAVE US THIRD‐TIER DEALERS
WHO WERE BARELY HOLDING.
588
00:25:37,410 --> 00:25:39,040
MAYBE THEY WAS DRY,
BUT THAT’S THE SPOT.
589
00:25:39,080 --> 00:25:40,650
NO MORE OF THIS CRAP!
590
00:25:40,680 --> 00:25:43,310
WHERE TO FIND MONEY T.
AND THE TWINS
591
00:25:43,350 --> 00:25:44,960
AND WHOEVER ELSE MIGHT
HAVE SHOT AT ME
592
00:25:44,980 --> 00:25:46,980
OR I TELL EVERY ONE OF THEM
THIRD‐TIER DEALERS
593
00:25:47,020 --> 00:25:49,280
YOU SOLD ’EM OUT.
594
00:25:49,320 --> 00:25:50,620
WON’T NOBODY BUY IT.
595
00:25:50,660 --> 00:25:52,760
AFTER I LAY ON THAT
YOU’VE BEEN LOOKING
596
00:25:52,790 --> 00:25:54,090
TO TAKE OVER
MONEY T.’s GAME
597
00:25:54,130 --> 00:25:56,170
AND HIS WOMAN,
WHO YOU’VE BEEN CALLING
598
00:25:56,190 --> 00:25:58,490
A TIGHT PIECE OF ASS
AND A WILD LAY,
599
00:25:58,530 --> 00:25:59,730
HE’LL KILL YOU
ON PRINCIPLE!
600
00:25:59,760 --> 00:26:01,530
YOU GOT A FUNNY SENSE
OF HUMOR, BROTHER.
601
00:26:05,100 --> 00:26:06,840
NOW YOU GET THIS STRAIGHT,
PRICK ‐‐
602
00:26:06,870 --> 00:26:08,600
I AIN’T YOUR BROTHER.
603
00:26:08,640 --> 00:26:11,940
WE GOT SHOT AT IN FRONT OF OUR
PRECINCT HOUSE!
604
00:26:11,980 --> 00:26:14,190
AN INNOCENT GUY GOT
BLOWN AWAY!
605
00:26:14,210 --> 00:26:15,840
NOW, EITHER YOU GIVE US
WHO DID IT
606
00:26:15,880 --> 00:26:17,080
OR YOU’RE GONNA DIE OUT IN
THE STREET.
607
00:26:17,120 --> 00:26:18,820
GIVE HIM UP,
I’LL DIE ANYWAY!
608
00:26:18,850 --> 00:26:21,450
AIN’T IT GONNA SEEM COINCIDENTAL
THE DAY I GET BROUGHT IN,
609
00:26:21,490 --> 00:26:22,760
HE GOES DOWN?!
610
00:26:22,790 --> 00:26:25,030
WE’LL GET YOU IN WITNESS
PROTECTION.
611
00:26:25,060 --> 00:26:26,460
FOR GIVING UP MONEY T.?
612
00:26:26,490 --> 00:26:30,290
HOW ABOUT A FREE JET
AND $100 MILLION,
613
00:26:30,330 --> 00:26:31,960
’CAUSE THAT’S WHAT
IT’S WORTH!
614
00:26:32,000 --> 00:26:33,370
WITNESS PROTECTION
OR YOU’RE ON YOUR OWN.
615
00:26:33,400 --> 00:26:35,510
I GOT PEOPLE HERE!
I GOT A LIFE!
616
00:26:35,530 --> 00:26:38,800
THEN GO LIVE IT, BUT PACK A LOT
INTO THE NEXT 24 HOURS,
617
00:26:38,840 --> 00:26:40,210
’CAUSE THAT’S THE LONGEST
YOU’LL LAST!
618
00:26:40,240 --> 00:26:42,300
THIS ASSHOLE TOOK
SHOTS AT COPS
619
00:26:42,340 --> 00:26:43,710
FOR EMBARRASSING
HIS GIRLFRIEND!
620
00:26:43,740 --> 00:26:46,210
WHAT DO YOU THINK HE’S GONNA DO
TO A RAT, HUH?!
621
00:26:46,240 --> 00:26:48,180
YOUR LIFE IS IN MY HANDS!
622
00:26:48,210 --> 00:26:51,780
WHO SHOT AT US OR YOU DIE!
623
00:26:51,820 --> 00:26:54,630
MAN! LITTLE PETE WASN’T SO
STUPID, MAN ‐‐
624
00:26:54,650 --> 00:26:56,350
PUNK COULDN’T TELL HIS CORNER
FROM MINE ‐‐
625
00:26:56,390 --> 00:26:57,830
I WOULDN’T EVEN BE HERE!
626
00:26:57,860 --> 00:27:00,230
MAN, I’M TELLING YOU RIGHT NOW,
IT IS A FORTRESS.
627
00:27:00,260 --> 00:27:01,860
YOU WILL NEVER GET IN!
628
00:27:01,890 --> 00:27:03,190
NO ONE ASKED FOR PREDICTIONS.
629
00:27:03,230 --> 00:27:04,840
I’M SAYING, MAN,
630
00:27:04,860 --> 00:27:06,560
IT’S ONE DOOR WITH A BIG‐ASS
DUDE SITTING ON IT,
631
00:27:06,600 --> 00:27:08,330
AND EVEN IF YOU GOT BY,
632
00:27:08,370 --> 00:27:10,840
THEY GOT SIGNALS TELLING
EVERYBODY HIT THE ESCAPE CHUTE.
633
00:27:10,870 --> 00:27:12,170
THAT LEAD TO WHERE?
634
00:27:12,200 --> 00:27:13,870
TO THE BASEMENT,
635
00:27:13,910 --> 00:27:16,510
AND THEN THERE’S TUNNELS TO
A BUILDING THREE DOORS DOWN.
636
00:27:16,540 --> 00:27:20,140
HERE. DIAGRAM IT.
637
00:27:20,180 --> 00:27:22,540
[ SIGHS ]
638
00:27:22,580 --> 00:27:24,750
WAKE UP THIS MORNING
WATCHING CARTOONS.
639
00:27:24,780 --> 00:27:27,250
NOW IT’S WITNESS
PROTECTION.
640
00:27:32,920 --> 00:27:34,660
E.S.U. AND NARCOTICS
641
00:27:34,690 --> 00:27:35,760
WILL HAVE THEIR TEAMS READY
IN FIVE MINUTES.
642
00:27:35,790 --> 00:27:36,930
CONNIE AND RITA?
643
00:27:36,960 --> 00:27:38,430
IN THE LOCKER ROOM
TARTING UP.
644
00:27:38,460 --> 00:27:40,160
THEY’LL BE READY SOON.
645
00:27:40,200 --> 00:27:43,160
THAT YOUR SUSPECT ON
THE BEAT OLD WOMAN CASE?
646
00:27:43,200 --> 00:27:45,370
YEAH, JOSEPH COWENS.
647
00:27:45,400 --> 00:27:47,700
HE MIGHT HAVE GAVE A CLASSMATE
THE WOMAN’S CREDIT CARD.
648
00:27:47,740 --> 00:27:48,700
Jones: WE’LL SEE WHAT WE CAN
GET OUT OF HIM.
649
00:27:53,240 --> 00:27:55,410
HOW WE DOING IN HERE?
650
00:27:55,450 --> 00:27:57,720
[ SIGHS ]
READY.
651
00:27:57,750 --> 00:27:59,350
HOW DO WE LOOK?
652
00:27:59,380 --> 00:28:01,120
IMPRESSIVE.
LET’S GO.
653
00:28:09,890 --> 00:28:11,190
THANKS.
654
00:28:11,230 --> 00:28:12,630
ANYTIME.
655
00:28:14,570 --> 00:28:15,970
SO?
656
00:28:16,000 --> 00:28:17,530
YOU KNOW WHY WE BROUGHT
YOU IN?
657
00:28:17,570 --> 00:28:19,100
NO CLUE.
658
00:28:19,140 --> 00:28:20,050
WHERE WERE YOU
ALL MORNING?
659
00:28:20,070 --> 00:28:21,540
SCHOOL.
660
00:28:21,570 --> 00:28:22,770
HOW COME WE FOUND
YOU IN AN ARCADE?
661
00:28:22,810 --> 00:28:24,120
I DITCHED AFTER LUNCH.
662
00:28:24,140 --> 00:28:25,410
ANYONE WITH YOU?
663
00:28:25,440 --> 00:28:27,710
NO, I DON’T KNOW A LOT OF
PEOPLE HERE.
664
00:28:27,750 --> 00:28:29,790
WHAT ABOUT ODALAS BROOKS?
YOU KNOW HIM?
665
00:28:29,810 --> 00:28:32,780
FROM SCHOOL?
SORT OF.
666
00:28:32,820 --> 00:28:35,890
SEE, I’M KIND OF NEW IN TOWN ‐‐
TWO MONTHS.
667
00:28:35,920 --> 00:28:39,590
BEFORE HERE WAS DALLAS.
L. A. BEFORE THAT.
668
00:28:39,620 --> 00:28:43,730
I LIVED IN CHICAGO FOR A YEAR.
STARTED OFF IN ATLANTA.
669
00:28:43,760 --> 00:28:47,230
POPS IS BIG IN BUSINESS,
VARIOUS COMPANIES.
670
00:28:47,270 --> 00:28:50,110
"EVERY MOVE’S A MOVE UP."
THAT’S WHAT HE SAYS.
671
00:28:50,130 --> 00:28:53,100
IT MUST BE ROUGH MAKING FRIENDS,
MOVING AROUND SO MUCH.
672
00:28:53,140 --> 00:28:55,180
I DO ALL RIGHT.
673
00:28:55,210 --> 00:28:57,680
NOW, ODALAS, HE RUN WITH
A PRETTY IN CROWD?
674
00:28:57,710 --> 00:28:59,640
I’M JUST FIGURING
THINGS OUT.
675
00:28:59,680 --> 00:29:02,640
THIS MORNING,
DID YOU GIVE HIM A CREDIT CARD
676
00:29:02,680 --> 00:29:05,780
AS A WAY OF MAYBE GETTING IN
WITH HIS CROWD?
677
00:29:05,820 --> 00:29:08,260
DON’T KNOW NOTHING ABOUT
A CREDIT CARD.
678
00:29:08,290 --> 00:29:09,600
HE TOLD US YOU GAVE
HIM ONE.
679
00:29:09,620 --> 00:29:11,290
WHAT A DICK.
680
00:29:11,320 --> 00:29:12,450
WHY, ’CAUSE YOU DIDN’T DO IT
OR ’CAUSE HE GAVE YOU UP?
681
00:29:12,490 --> 00:29:13,790
I DIDN’T DO IT.
682
00:29:13,830 --> 00:29:16,170
HE OBVIOUSLY GOT BUSTED
FOR SOMETHING.
683
00:29:16,190 --> 00:29:18,330
HE’S LAYING IT ON ME.
684
00:29:18,360 --> 00:29:20,760
I DO CHESS CLUB.
I DON’T GIVE AWAY CREDIT CARDS.
685
00:29:20,800 --> 00:29:22,460
’CAUSE IF YOU DID GIVE HIM
THE CARD,
686
00:29:22,500 --> 00:29:25,930
WE’D BE COOLER
IF YOU COPPED TO IT NOW
687
00:29:25,970 --> 00:29:27,940
THAN IF WE HAVE TO GO
FIND OUT ON OUR OWN.
688
00:29:27,970 --> 00:29:31,470
I DON’T KNOW NOTHING ABOUT
A CREDIT CARD.
689
00:29:31,510 --> 00:29:32,610
WHO’S LORRAINE FIVELSON?
690
00:29:32,640 --> 00:29:33,780
WHAT NOW?
691
00:29:33,810 --> 00:29:35,010
YOU GOT HER MAIL IN
YOUR BAG.
692
00:29:35,050 --> 00:29:38,320
OH, THAT ‐‐
I, UH, FOUND IT.
693
00:29:38,350 --> 00:29:40,120
I THINK
A MAILMAN DROPPED IT.
694
00:29:40,150 --> 00:29:42,150
I WAS GONNA TAKE IT
TO A POST OFFICE.
695
00:29:42,190 --> 00:29:45,130
BUT YOU GOT SIDETRACKED,
YOUR BUSY SCHEDULE AND ALL.
696
00:29:45,160 --> 00:29:47,300
I JUST ‐‐ I DIDN’T GET
AROUND TO IT YET.
697
00:29:47,330 --> 00:29:49,200
MM‐HMM.
698
00:29:49,230 --> 00:29:51,700
WE’LL SEE WHAT MRS. FIVELSON
HAS TO SAY ABOUT THAT.
699
00:29:51,730 --> 00:29:53,330
IN THE MEANTIME,
YOU’RE STICKING AROUND.
700
00:29:53,360 --> 00:29:55,530
I’M STUCK ’CAUSE I WAS DOING
A GOOD DEED?
701
00:29:55,570 --> 00:29:56,680
WE WON’T TAKE LONG.
702
00:29:56,700 --> 00:29:58,700
WHATEVER.
703
00:29:58,740 --> 00:29:59,980
GREAT CITY.
704
00:30:00,000 --> 00:30:01,440
I’M GONNA LOVE IT HERE.
705
00:30:16,920 --> 00:30:18,250
HEY.
CARLISLE?
706
00:30:18,290 --> 00:30:19,350
WHAT YOU WANT?
707
00:30:19,390 --> 00:30:21,360
LOOKING TO HOOK UP.
708
00:30:21,390 --> 00:30:22,520
WHAT’S THE WORD?
709
00:30:22,560 --> 00:30:23,730
JACKSON 5.
710
00:30:27,570 --> 00:30:28,870
WHO GAVE YOU THAT?
711
00:30:28,900 --> 00:30:31,070
LYLE.
712
00:30:31,100 --> 00:30:33,870
THAT WAS FOR YESTERDAY.
DON’T CUT IT TODAY.
713
00:30:33,910 --> 00:30:36,720
WELL, WE GOT LOCKED UP.
WE COULDN’T MAKE IT.
714
00:30:36,740 --> 00:30:39,210
CAN WE WORK SOMETHING OUT, HUH?
YOU, ME, AND HER?
715
00:30:39,240 --> 00:30:41,280
YEAH.
716
00:30:41,310 --> 00:30:43,280
RIGHT HERE
IN THE DOORWAY.
717
00:30:43,310 --> 00:30:45,080
SOUNDS GOOD TO ME.
718
00:30:47,720 --> 00:30:50,890
DOWN THE STEPS,
AND DON’T MAKE A SOUND.
719
00:30:50,920 --> 00:30:52,650
TRY ANYTHING AND I’LL PUT
ONE IN YOUR EAR!
720
00:30:58,960 --> 00:31:01,060
FREEZE!
FREEZE!
721
00:31:01,100 --> 00:31:02,560
FREEZE!
STOP OR YOU’RE A DEAD MAN!
722
00:31:02,600 --> 00:31:05,230
DON’T MOVE!
723
00:31:05,270 --> 00:31:07,800
FREEZE RIGHT THERE!
DON’T MAKE A MOVE!
724
00:31:07,840 --> 00:31:09,400
WE GOOD DOWN HERE?
725
00:31:09,440 --> 00:31:10,640
WE’RE GOOD.
726
00:31:10,680 --> 00:31:13,550
EVERYBODY FREEZE!
DON’T MOVE!
727
00:31:13,580 --> 00:31:17,750
IN THE RED, DON’T MOVE!
DON’T MOVE!
728
00:31:17,780 --> 00:31:19,450
ARE YOU MONEY T.?
729
00:31:19,480 --> 00:31:20,780
I DON’T KNOW WHAT YOU’RE
TALKING ABOUT, MAN!
730
00:31:20,820 --> 00:31:23,250
YOU THINK YOU CAN TRY AND KILL
A COP AND GET AWAY WITH IT?
731
00:31:23,290 --> 00:31:25,430
I DON’T KNOW WHAT Y’ALL
DOING HERE!
732
00:31:25,460 --> 00:31:27,970
HOW ABOUT THAT, HUH?
733
00:31:27,990 --> 00:31:29,630
AND WHAT’S THIS?
734
00:31:29,660 --> 00:31:30,930
INSULATION?!
735
00:31:30,960 --> 00:31:32,260
I WANT MY LAWYER.
736
00:31:32,300 --> 00:31:35,170
YOU AND ME GOT SOME BUSINESS
FIRST, MONEY!
737
00:31:35,200 --> 00:31:36,970
ANDY!
738
00:31:37,000 --> 00:31:38,500
I WANT MY LAWYER!
ANDY, IN HERE!
739
00:31:38,540 --> 00:31:40,850
TAKE THIS ASSHOLE.
740
00:31:48,710 --> 00:31:50,010
CHECK OVER THERE.
741
00:31:59,890 --> 00:32:01,620
YOU GOT CHANGE FOR
A MILLION?
742
00:32:01,660 --> 00:32:02,920
WE GOTTA SECURE THIS.
743
00:32:02,960 --> 00:32:05,330
YEAH, DON’T LET E. S. U.
OR CRIME SCENE IN
744
00:32:05,360 --> 00:32:06,700
UNTIL THIS IS COUNTED.
745
00:32:08,700 --> 00:32:10,900
SON OF A BITCH.
746
00:32:27,920 --> 00:32:30,290
[ BUZZER ]
747
00:32:30,320 --> 00:32:32,250
MRS. FIVELSON!
748
00:32:34,490 --> 00:32:36,420
IT’S POLICE, MRS. FIVELSON!
749
00:32:44,100 --> 00:32:46,230
LORRAINE FIVELSON!
750
00:32:46,270 --> 00:32:47,500
POLICE, MA’AM!
751
00:32:47,540 --> 00:32:49,040
MRS. FIVELSON?
752
00:32:49,070 --> 00:32:51,010
OH, NO.
753
00:32:51,040 --> 00:32:52,510
OH, BOY.
754
00:32:52,540 --> 00:32:53,740
GET A BUS.
I’LL GET HER UNTIED.
755
00:32:53,780 --> 00:32:55,880
15th SQUAD TO CENTRAL "K."
756
00:32:55,910 --> 00:32:58,480
HAVE A SECTOR CAR
AND AMBULANCE RESPOND
757
00:32:58,520 --> 00:33:01,590
TO 2130 7th STREET,
APARTMENT B.
758
00:33:01,620 --> 00:33:05,150
PUT A RUSH ON THE AMBULANCE.
WE HAVE AN ELDERLY UNCONSCIOUS.
759
00:33:05,190 --> 00:33:06,560
IS SHE ALIVE?
760
00:33:06,590 --> 00:33:07,860
THERE’S A PULSE.
761
00:33:07,890 --> 00:33:10,290
LET’S LIE HER DOWN
ON THE GROUND.
762
00:33:21,110 --> 00:33:22,680
LYLE SQUARED AWAY?
763
00:33:22,710 --> 00:33:24,350
IN WITH THE FEDS.
764
00:33:24,380 --> 00:33:27,790
HE’S DECIDING DOES HE WANT
RELOCATION TO FLORIDA OR HAWAII.
765
00:33:27,810 --> 00:33:30,510
I JUST GOT OFF WITH
A SPECIAL AGENT THOMAS.
766
00:33:30,550 --> 00:33:33,380
LOOKS LIKE THE U. S. ATTORNEY’S
TAKING MONEY T. FEDERAL.
767
00:33:33,420 --> 00:33:35,090
FEDS TAKING THE DOUGH, TOO?
768
00:33:35,120 --> 00:33:37,720
IT GOES TO THE DEPARTMENT.
GOOD WORK TODAY.
769
00:33:37,760 --> 00:33:39,630
TELL HIM.
HE’S THE ONE KEPT HIS HEAD.
770
00:33:39,660 --> 00:33:42,720
THROUGH A LOT OF DISTRACTION,
I. A. B. AND SO FORTH.
771
00:33:42,760 --> 00:33:44,230
HOPEFULLY,
THAT’S PUT TO BED.
772
00:33:44,260 --> 00:33:45,360
YOU STILL COUNTING CASH?
773
00:33:45,400 --> 00:33:46,810
UP TO $14 MILLION.
774
00:33:46,830 --> 00:33:47,930
NEEDED A COFFEE BREAK.
775
00:33:52,340 --> 00:33:54,280
UM, I’M HEADING HOME.
776
00:33:54,310 --> 00:33:55,610
BE THERE AS SOON AS I CAN.
777
00:33:55,640 --> 00:33:57,070
TAKE YOUR TIME.
778
00:33:57,110 --> 00:33:59,270
NO, I’LL, UH, I’LL BE THERE
AS SOON AS I CAN.
779
00:34:02,150 --> 00:34:03,250
HEY.
780
00:34:03,280 --> 00:34:04,580
HEY.
781
00:34:04,620 --> 00:34:05,660
I’M HEADING OUT.
782
00:34:05,680 --> 00:34:07,420
OKAY.
783
00:34:07,450 --> 00:34:08,620
RITA...
784
00:34:08,650 --> 00:34:09,790
GOOD NIGHT.
785
00:34:09,820 --> 00:34:10,850
NIGHT.
786
00:34:13,930 --> 00:34:15,770
UH, AM I GONNA SEE
YOU LATER?
787
00:34:15,790 --> 00:34:17,090
DO WE HAVE SOMETHING TO
TALK ABOUT?
788
00:34:17,130 --> 00:34:19,490
I WASN’T LYING TO
YOU BEFORE.
789
00:34:19,530 --> 00:34:22,060
IF THAT’S ALL YOU GOTTA SAY,
I DON’T NEED TO HEAR IT AGAIN.
790
00:34:22,100 --> 00:34:23,200
IF SOMETHING ELSE COMES UP,
CALL ME.
791
00:34:41,620 --> 00:34:44,120
WE SAW MRS. FIVELSON.
792
00:34:44,160 --> 00:34:46,460
WE GOT YOUR PRINTS
OUT OF HER APARTMENT,
793
00:34:46,490 --> 00:34:47,960
AND SHE’S GONNA I. D. YOU
794
00:34:47,990 --> 00:34:49,660
AS SOON AS SHE GETS OUT
OF THE HOSPITAL.
795
00:34:49,690 --> 00:34:52,090
WISH I KNEW WHAT YOU GUYS
WERE TALKING ABOUT.
796
00:34:52,130 --> 00:34:53,930
YOU EVER BEEN TO PRISON?
NO.
797
00:34:53,970 --> 00:34:56,040
THE POINT IS TO DO THE LEAST
AMOUNT OF TIME, NOT THE MOST.
798
00:34:56,070 --> 00:34:59,680
WITH THAT IN MIND, YOU NEED TO
EXPRESS WHY YOU DID THIS
799
00:34:59,700 --> 00:35:02,000
SO THE JUDGE WILL HAVE SOME
SYMPATHY FOR YOU
800
00:35:02,040 --> 00:35:03,710
WHEN HE’S LOOKING AT
EMERGENCY‐ROOM PHOTOS
801
00:35:03,740 --> 00:35:05,040
OF THOSE BEAT‐UP WOMEN!
802
00:35:05,080 --> 00:35:06,820
WHY WOULD I BEAT WOMEN?
803
00:35:06,850 --> 00:35:08,050
ARE YOU MAD AT THEM
FOR SOME REASON?
804
00:35:08,080 --> 00:35:09,180
THEY’RE TOTAL STRANGERS.
805
00:35:09,210 --> 00:35:10,550
MAYBE YOU WERE TRYING TO
MAKE A POINT.
806
00:35:10,580 --> 00:35:11,680
LIKE WHAT?
807
00:35:11,720 --> 00:35:13,190
WE DON’T KNOW, JOSEPH!
808
00:35:13,220 --> 00:35:14,360
AND IF YOU DON’T LAY IT OUT
RIGHT NOW,
809
00:35:14,390 --> 00:35:15,930
NO ONE WILL EVER KNOW!
810
00:35:19,320 --> 00:35:21,860
NOW!!
811
00:35:21,890 --> 00:35:23,690
WERE YOU EVER THE NEW KID
IN SCHOOL?
812
00:35:23,730 --> 00:35:25,230
NO, NOT REALLY.
813
00:35:25,260 --> 00:35:26,560
YOU GET YOUR ASS KICKED
A LOT.
814
00:35:26,600 --> 00:35:28,160
THEY WHIP PENS AT YOUR HEAD,
815
00:35:28,200 --> 00:35:32,300
PISS ON YOUR BOOK BAG,
AND STEAL YOUR SHOES AND WATCH.
816
00:35:32,340 --> 00:35:34,850
THAT TAKES ABOUT SIX
MONTHS TO STOP,
817
00:35:34,870 --> 00:35:36,500
BUT BY THEN,
I’M ON TO THE NEXT SCHOOL
818
00:35:36,540 --> 00:35:39,010
AND HIS NEXT BIG OPPORTUNITY!
819
00:35:39,040 --> 00:35:40,140
YOUR DAD?
820
00:35:40,180 --> 00:35:42,580
GUAM TODAY.
HONG KONG TOMORROW.
821
00:35:42,610 --> 00:35:44,680
HE WON’T BE BACK TILL
THE MIDDLE OF NEXT WEEK.
822
00:35:44,720 --> 00:35:46,660
THEN IT’S THAILAND TILL
THE END OF THE MONTH!
823
00:35:46,690 --> 00:35:50,000
MOM’S EQUALLY UNAVAILABLE
IN SEATTLE
824
00:35:50,020 --> 00:35:52,220
WITH HER ARCHITECT
BOYFRIEND.
825
00:35:52,260 --> 00:35:53,900
WE TALK
ABOUT ONCE A MONTH.
826
00:35:53,930 --> 00:35:55,870
WERE YOUR FOLKS AROUND
WHEN YOU WERE GROWING UP?
827
00:35:55,890 --> 00:35:57,390
PRETTY MUCH.
828
00:35:57,430 --> 00:36:01,700
I HAVE A GUATEMALAN
HOUSEKEEPER‐SLASH‐GUARDIAN.
829
00:36:01,730 --> 00:36:03,430
AND SHE DOESN’T SPEAK
ENGLISH,
830
00:36:03,470 --> 00:36:05,010
SO THERE’S NOT MUCH POINT
IN MY TALKING TO HER
831
00:36:05,040 --> 00:36:07,210
ABOUT HOW I HATE
MOVING AROUND
832
00:36:07,240 --> 00:36:10,270
OR I WISH I COULD SETTLE
IN ONE SPOT FOR FIVE MINUTES
833
00:36:10,310 --> 00:36:13,040
SO I WOULDN’T HAVE TO STAY BACK
IN SCHOOL ANOTHER YEAR,
834
00:36:13,080 --> 00:36:14,620
AND MAYBE I COULD MAKE
A NORMAL FRIEND
835
00:36:14,650 --> 00:36:17,090
OR, GOD FORBID, A GIRLFRIEND!
836
00:36:17,120 --> 00:36:18,690
THAT MUST START
TO BUILD UP.
837
00:36:18,720 --> 00:36:21,390
YEAH, I WALK A LOT,
AND I‐I PUT ON MY HEADPHONES.
838
00:36:21,420 --> 00:36:22,750
I TRY TO COOL OUT.
839
00:36:22,790 --> 00:36:25,300
SOMETIMES, I WISH SOMEONE
WOULD BUMP INTO ME,
840
00:36:25,320 --> 00:36:26,720
AND I COULD JUST...
841
00:36:26,760 --> 00:36:28,590
[ SHRIEKS ]
SLUG ’EM!
842
00:36:28,630 --> 00:36:31,900
DROP ’EM TO THE GROUND,
STOMP ON THEIR FACE!
843
00:36:31,930 --> 00:36:33,560
IS THAT HOW YOU WERE FEELING
THIS MORNING?
844
00:36:33,600 --> 00:36:36,230
I WAS WALKING AND WALKING,
845
00:36:36,270 --> 00:36:39,910
AND FOR SOME REASON,
I JUST STOP AND LOOKED UP,
846
00:36:39,940 --> 00:36:42,700
AND THERE’S THESE
LITTLE PLANTS
847
00:36:42,740 --> 00:36:45,410
AND A TV WITH
A SOAP OPERA ON,
848
00:36:45,440 --> 00:36:48,610
AND I COULD EVEN SEE MAGNETS
ON THE FRIDGE.
849
00:36:48,650 --> 00:36:49,990
THIS WAS MRS. MONCREFE?
850
00:36:50,010 --> 00:36:51,750
I COULD SEE IT ALL
FROM THE STREET.
851
00:36:51,780 --> 00:36:53,310
HOW DID YOU GET INTO HER
APARTMENT?
852
00:36:53,350 --> 00:36:55,920
HER DOOR WAS OPEN.
I WALKED IN.
853
00:36:55,950 --> 00:36:57,920
SHE SAW ME,
AND I JUST FLIPPED!
854
00:36:57,960 --> 00:36:58,960
BEATING HER.
855
00:36:58,990 --> 00:37:01,490
HER FACE AND HER CHEST!
856
00:37:01,530 --> 00:37:03,430
I KICKED AT HER KNEES!
857
00:37:03,460 --> 00:37:05,590
I TAPED HER UP.
I BEAT HER WITH A BOOK.
858
00:37:05,630 --> 00:37:08,100
NEXT THING YOU KNOW,
I’M BACK ON THE STREET WALKING.
859
00:37:08,130 --> 00:37:09,970
IS THAT WHEN YOU FOUND
MRS. FIVELSON?
860
00:37:10,000 --> 00:37:14,800
YEAH, WITH THE SAME PLANTS AND
THE TV WITH A SOAP OPERA.
861
00:37:14,840 --> 00:37:16,440
AND I JUST WENT OFF.
862
00:37:16,470 --> 00:37:22,180
I BEAT HER SO BAD.
863
00:37:22,210 --> 00:37:23,980
WE’RE GONNA HAVE TO GET IN
TOUCH WITH YOUR DAD.
864
00:37:24,020 --> 00:37:27,030
HE’S GONNA HAVE TO CUT
HIS TRIP SHORT.
865
00:37:27,050 --> 00:37:29,020
OH, HE’S GONNA FREAK OUT!
HE’S GONNA KILL ME!
866
00:37:29,050 --> 00:37:32,820
HE’S GONNA FREAK OUT.
867
00:37:32,860 --> 00:37:35,630
[ BREATHING HEAVILY ]
868
00:37:41,200 --> 00:37:42,530
[ KNOCK ON DOOR ]
869
00:37:50,840 --> 00:37:52,370
HEY.
870
00:37:52,410 --> 00:37:54,380
THANKS FOR COMING.
871
00:37:59,020 --> 00:38:00,890
I’M MAKING SPAGHETTI.
872
00:38:00,920 --> 00:38:03,020
I’M NOT REALLY HUNGRY.
873
00:38:03,050 --> 00:38:04,320
YOU WANT SOMETHING
TO DRINK?
874
00:38:04,360 --> 00:38:06,060
IF I WANTED SOMETHING,
I’D HAVE GOT IT.
875
00:38:06,090 --> 00:38:09,660
YOU SAID ON THE PHONE
876
00:38:09,690 --> 00:38:11,360
THERE WAS SOMETHING ELSE
YOU HAD TO TELL ME.
877
00:38:11,400 --> 00:38:14,270
I’M COVERING FOR MY DAD.
878
00:38:20,940 --> 00:38:22,340
IT WAS HIM WITH THE PROSS?
879
00:38:22,370 --> 00:38:24,510
I SCRAMBLED THINKING
OF A WAY TO EXPLAIN IT,
880
00:38:24,540 --> 00:38:27,080
AND HER BEING MY C. I.
WAS THE BEST I CAN DO.
881
00:38:27,110 --> 00:38:29,210
I’M SORRY I GOT
YOU UPSET.
882
00:38:29,250 --> 00:38:31,220
I CAN’T BELIEVE IT.
883
00:38:31,250 --> 00:38:33,920
HOW LONG’S IT BEEN
GOING ON?
884
00:38:33,950 --> 00:38:36,180
A WHILE.
I DON’T KNOW.
885
00:38:36,220 --> 00:38:37,990
[ SIGHS ]
886
00:38:38,020 --> 00:38:41,160
SO WHAT NOW?
HOW DO YOU CLEAR IT UP?
887
00:38:41,190 --> 00:38:44,090
WE RIDE IT OUT,
HOPE IT GOES AWAY QUICK.
888
00:38:44,130 --> 00:38:45,230
BUT I. A. B.’s INVOLVED.
889
00:38:45,260 --> 00:38:47,660
I’LL JUST TAKE THE RIP.
890
00:38:47,700 --> 00:38:49,230
DID YOU TALK TO YOUR DAD
ABOUT THIS?
891
00:38:49,270 --> 00:38:52,610
IT’S BETTER I TAKE THE RIP
THAN HE LOSES HIS PENSION.
892
00:38:52,640 --> 00:38:54,610
ARE YOU SURE IT’S A RIP?
IS THAT WHAT MARTENS SAID?
893
00:38:54,640 --> 00:38:56,000
HE SAID IT WAS A PROBLEM.
894
00:38:56,040 --> 00:38:57,540
THAT COULD MEAN LOSING
YOUR JOB.
895
00:38:57,580 --> 00:39:00,290
NOBODY’S LOST THEIR JOB OVER
AN UNREGISTERED C.I.
896
00:39:00,310 --> 00:39:02,080
WHAT ABOUT PEOPLE THINKING
YOU SCREW WHORES?
897
00:39:02,110 --> 00:39:04,750
IF THAT’S THE BOOK ON YOU,
IT’LL RUB OFF ON ME.
898
00:39:04,780 --> 00:39:06,950
YOU’RE GETTING AHEAD
OF YOURSELF.
I’VE SEEN IT HAPPEN.
899
00:39:06,990 --> 00:39:08,860
I WON’T LET IT GET THERE.
900
00:39:08,890 --> 00:39:11,760
THE ONLY WAY IT WON’T IS BY YOU
AND YOUR DAD GOING TO I. A. B.
901
00:39:11,790 --> 00:39:13,290
THAT’S NOT GONNA HAPPEN.
YOU’RE MAKING A BIG MISTAKE!
902
00:39:13,320 --> 00:39:15,260
I APPRECIATE THE SUPPORT.
903
00:39:15,290 --> 00:39:17,090
I AM TRYING TO KEEP YOU FROM
WALKING OFF A CLIFF.
904
00:39:17,130 --> 00:39:19,260
I DON’T REMEMBER ASKING
FOR YOUR OPINION.
905
00:39:24,840 --> 00:39:26,210
COME ON.
WHERE ARE YOU GOING?
906
00:39:26,240 --> 00:39:27,650
I THINK YOU GOT SOME
THINKING TO DO,
907
00:39:27,670 --> 00:39:29,670
AND I DON’T WANT MY OPINIONS
MUDDYING THE WATER.
908
00:39:31,980 --> 00:39:33,320
[ CHAIR SLAMS ]
909
00:39:36,950 --> 00:39:39,450
THAT’S SILLY.
910
00:39:39,480 --> 00:39:41,050
HI, CONNIE!
911
00:39:41,090 --> 00:39:42,830
HEY, SWEETIE.
912
00:39:42,850 --> 00:39:45,050
OKAY, WHY DON’T YOU GO BRUSH
YOUR TEETH,
913
00:39:45,090 --> 00:39:46,960
GET READY FOR BED, THEO?
914
00:39:46,990 --> 00:39:49,760
I’LL KISS HELLO WHEN MY
TEETH ARE CLEAN.
915
00:39:49,790 --> 00:39:51,630
THAT’S...VERY
CONSCIENTIOUS.
916
00:39:51,660 --> 00:39:52,830
[ LAUGHS ]
917
00:39:57,600 --> 00:39:59,170
THAT GAVE ME A LITTLE SCARE
TODAY.
918
00:39:59,200 --> 00:40:02,000
YEAH, ME TOO.
919
00:40:02,040 --> 00:40:05,270
HOW FAR AWAY WERE YOU
WHEN THAT KID GOT SHOT?
920
00:40:05,310 --> 00:40:06,440
FAR ENOUGH.
921
00:40:09,010 --> 00:40:10,950
IT REALLY SCARED ME.
922
00:40:10,980 --> 00:40:13,350
YOU ALL RIGHT?
923
00:40:17,520 --> 00:40:19,050
I WANT TO STAY THE NIGHT.
924
00:40:22,860 --> 00:40:24,360
THAT’S WHAT THE BAG’S FOR?
925
00:40:24,400 --> 00:40:27,710
I DON’T WANT TO GO HOME
BY MYSELF TONIGHT.
926
00:40:27,730 --> 00:40:31,500
I DON’T KNOW IF THEO’S
READY FOR THAT.
927
00:40:31,540 --> 00:40:34,250
WELL I‐I THINK WE SHOULD TALK
TO HIM ABOUT IT AND SEE.
928
00:40:37,680 --> 00:40:40,950
UH, THEO?
929
00:40:40,980 --> 00:40:43,340
THEO, COME HERE A SECOND.
930
00:40:43,380 --> 00:40:44,980
CONNIE AND I WANT TO ASK YOU
A QUESTION.
931
00:40:45,020 --> 00:40:47,460
WHY DON’T YOU SIT DOWN OVER
HERE, BUDDY?
932
00:40:47,490 --> 00:40:49,490
OKAY.
[ CLEARS THROAT ]
933
00:40:49,520 --> 00:40:54,120
UH...
934
00:40:54,160 --> 00:40:57,960
YOU SEE, WHEN PEOPLE ARE
TOGETHER FOR A WHILE,
935
00:40:58,000 --> 00:41:00,370
AND THEY CARE ABOUT
EACH OTHER,
936
00:41:00,400 --> 00:41:03,000
SOMETIMES THEY WANT TO SLEEP
IN THE SAME BED.
937
00:41:03,030 --> 00:41:04,670
WHY?
938
00:41:04,700 --> 00:41:07,900
SO THEY CAN BE CLOSE
AND TALK AND HUG.
939
00:41:07,940 --> 00:41:09,470
AND WATCH TV?
940
00:41:09,510 --> 00:41:12,050
YEAH, SURE.
941
00:41:12,080 --> 00:41:15,250
AND, UH, YOU SEE, WELL...
[ SIGHS ]
942
00:41:15,280 --> 00:41:19,580
WE WANTED TO KNOW HOW YOU’D FEEL
IF CONNIE SLEPT OVER WITH ME
943
00:41:19,620 --> 00:41:21,050
ON THE PULLOUT.
944
00:41:21,090 --> 00:41:22,690
LIKE A SLEEPOVER PARTY?
945
00:41:22,720 --> 00:41:24,820
EXCEPT YOU’D SLEEP IN THERE
AND US OUT HERE.
946
00:41:24,860 --> 00:41:27,700
OKAY.
947
00:41:27,730 --> 00:41:31,570
OKAY.
948
00:41:31,600 --> 00:41:32,840
CAN I WATCH TV NOW?
949
00:41:32,860 --> 00:41:35,300
YEAH, YEAH,
FOR ABOUT 10 MINUTES.
950
00:41:40,440 --> 00:41:41,770
NOT SO BAD.
951
00:41:43,580 --> 00:41:45,950
I’LL CLEAR YOU
SOME CLOSET SPACE.
952
00:41:45,980 --> 00:41:49,390
NO, I’M FINE OUT OF
THE BAG.
953
00:41:49,410 --> 00:41:51,210
FOR NOW.
69856
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