All language subtitles for Baretta S02E04 Nobody in a Nothing Place

[MUSIC PLAYING]

Don't go to bed with no price on your head.

No, no.

Don't do it.

Don't do it.

Don't do the crime if
you can't do the time.

Yeah.

Don't do it.

And keep your eye on the sparrow.

When the going gets narrow.

Don't do it.

Don't do it.

Where can I go where the
cold winds don't blow now?

Well, well, well, well, well.

[MUSIC PLAYING]

[MUSIC PLAYING]

[MUSIC PLAYING]

[MUSIC PLAYING].

Is your place far?

It's practically next door.

Oh, you were, huh?

Yes, I was.

That's a great idea.

What was your idea?

[LAUGHTER]

That sucker's a little strange.

[LAUGHTER]

Well, I got a place that's real close.

Oh, well, then it's good
to open and get broken in.

Let's do it.

Tell you what, you stay here.

You go first. Let me go first.

And then you come after me.

Oh, we're going to do like the FBI, huh?

OK, you go sneaking and streaking.

[LAUGHTER]

You know, we could slip out the back.

Oh, I better warn you.

I'm a little bit drunk.

Oh, you could have fooled me.

Look, I'll go first and
you follow, all right?

How's that?

Oh, lady.

[MUSIC PLAYING]

Never mind the butts.

Get the tables cleaned up.

Now.

Yes, sir.

And then get the trash out.

I'm going to meet you here
tomorrow night because I'm a stroker.

And I'll see you tomorrow
night right here, right, Lena?

Right.

Hey, Carl, old buddy.

How you doing?

Ha ha.

I'll see you at breakfast, pal.

Then I'll tell you how I'm doing.

[LAUGHTER]

[MUSIC PLAYING]

Hi, handsome.

Hi, sugar.

Come on now, my place
is just around the corner.

Oh, cute as a button.

That's what you are.

It ain't like this back in Peoria, is it?

[LAUGHTER]

You going to what, sugar?

I'm going to get us a taxi, kid.

A taxi?

We don't need no taxi.

Yes, we do.

What?

What?

Let's go over there
in Clearwater and--

You're a strange looking
woman, you know that?

[LAUGHTER]

Thanks, now, come on,
let's go to my place, OK?

Lady, you just lead the way.

[LAUGHTER]

We don't want to go to no Clearwater.

Let's go around the corner.

I want to go around the-- I've got
a great apartment in Clearwater.

I want to build an
apartment around the corner.

An apartment around my corner?

You don't know about
the one around the corner?

You know, I'm from the Midwest.

Now, isn't that funny?

I just love men from the Midwest.

You do, huh?

Well, prove it.

I'll prove it.

[CLATTERING]

What was that?

Nothing.

[MUSIC PLAYING]

What was that?

Come on, Paul, these are the keys,
and this is where the answers are.

[MUSIC PLAYING]

No hassles, man, huh?

No hassles.

Who are you?

What are you doing
hiding behind these boxes?

No hassles.

You waiting to mug somebody, punk?

Hands off, convention boy!

Let me see what you've got here.

What have you got here?

[MUSIC PLAYING].

Camp!

I'm going to take pictures of her and me!

Dirty pictures!

You rotten little punk!

You rotten little-- [GUNSHOT]

[SCREAMING]

[MUSIC PLAYING]

[GUNSHOTS]

[MUSIC PLAYING].

[MUSIC PLAYING]

I thought you was waking this gig, Beretta.

I am.

I was here last night.

I've been here off and
on for the past six weeks.

What's their racket?

Ah, they get a couple of
hot dog conventioneers

that come to town looking for
all the action they can handle.

They wind up in a
place like Eddie's, get

abroad in a good
time, the price is right.

A couple of weeks later,
they're back in Iowa someplace,

and all of a sudden,
pictures of their little charade

start showing up on the home front.

They get worried, they start paying,
and pretty soon, they're hooked.

Hey, Beretta.

Yeah?

I got something for you.

Yeah, OK.

I had it narrowed down
to about four places

and maybe 25 broads
I've been working

for the last five or six weeks.

I guess after last night, I know we're

dealing with Eddie's place
and maybe six broads.

Eh, Stanley?

There's some blood down
here on the pavement.

Oh, yeah?

Hey, Fats, check the
ballistics on this slug.

You got it.

Now, ballistics says that
the slug from the door jam

and the slug from Hopkins are
a match, but the blood wasn't his.

Ah-ha.

Ah-ha.

You see?

Somebody was in that
alley, either friend or foe,

and a killer took a
shot at him, the reason

for which I have
not yet ascertained.

But I'm working therein.

You got anything else?

Yeah, Eddie's here.

They just brought him in.

Whoa.

I want him, boss.

Let me talk to him.

You got it.

Oh!

Oh!

Me and him, my back is killing me.

You got any time to--
On your way, Beretta.

You got no time for that.

Oh.

Maybe a little later, boss.

Never fails, boy.

Works like a charm, darling.

Like a charm.

Take that back to property and
take the long way around Beretta.

Yes, sir.

Yeah, Eddie.

I got to admit, up till now,
you've been sitting pretty.

Because I ain't had nothing
to go on except five or six bars,

a bunch of prostitutes, and some
conventioneers have been getting milk.

But all that changed now, Eddie.

Because I got a murder,
and it went down right

in your backyard in the alley
right behind where you work.

Big deal.

That don't mean nothing.

What that means,
Eddie, is if you didn't

pull the trigger, then
you know who did.

Because you hired him.

You got a couple of
people working in your place

for the past six months doing
a blackmail operation, huh?

Ain't that right?

Now you listen to me.

I'm clean and I'm straight.

And you know it.

Your place is a sewer, and you're
as crooked as a dog's hind legs.

And if you don't cooperate
with me, that tells me one thing.

You're holding hands with a murderer.

Eddie, the way it comes down, I got you.

No matter what happens, no
matter who gets away, I got you.

I know who you are now.

I know what's going down.

And sooner or later, I'm going to nail you.

You ain't never going to get away from me.

Now, if I was you, I'd cooperate right now

and cop to a lesser
plea, because if you don't,

then I'm going to get
you for the big apple.

Murder one, you can
take that to the bank, pal.

[MUSIC PLAYING]

[PHONE RINGING]

Yeah?

Skip, this is Eddie.

All right, hello, Eddie.

What do you want?

I sure latched onto a couple of
losers when I latched onto you two.

You blew it.

Now you got to get out of town.

Don't lose it, Eddie.

Don't lose your cool.

Like you said, we're all in this together.

Now, let me just tell you something.

I got Beretta on my back, and he's heavy.

I can't handle that kind of weight.

He's onto something, and he won't let go.

Yeah, well, we got another problem.

I took a shot at somebody
else in that alley last night.

One of your busboys, one they call Bax.

Did you see what happened?

He saw enough to put us all away.

You got his address?

Yeah.

Yeah.

Well, I want you to
meet me in half an hour.

I'll pick you up.

Oh, and Eddie, you better be careful.

We'll pick you up out in back, OK?

OK.

And don't forget that address.

OK, OK.

You shot at him.

Yeah, I-- Bax, the
busboy, you shot at him.

Yeah, I shot at him.

Why don't you yell it out
the window while you're at it?

Maybe I nicked him, so what?

You know what?

I was trying to kill him.

And when I catch up
to him, I will kill him.

And you're in it, sweetheart.

You're in it right up to your eyeballs.

And we're in this together.

Do you understand that?

Don't hurt me, Skip.

Hey.

We just got to protect
ourselves, that's all.

We do that by eliminating
our dangers one by one.

Skip.

Hello, Eddie.

We've got lots to talk about, boy.

Yeah, we do. We do.

We do.

But this ain't the place.

That's right.

Let's get out of here.

Come on.

You got our busboy's address?

Yeah, I hear him.

[BELL RINGING]

Alleys?

What alleys you talking about, man?

My ladies do not ply their
trades on no back streets.

They are strictly uptown and indoors.

You ain't running the only
string of chippies in town.

I'm interested in the one
that works in Eddie's place.

There's one over in
that massage parlor now.

See that one coming out?

Yeah.

Yeah, I know that string.

I know these chicks.

Strictly Skaggy broads.

Talk about some chicks
need to be in an alley.

Say, partner.

I ain't running no beauty contest.

I've been working
out of Eddie's place

for six weeks trying
to bust a racket.

That's how I come I got them pictures.

Just round them up and meet me
over Eddie's in about an hour, OK?

I hear you.

You know, it's bad business me
being seen with these chicks, man.

Oh, Eddie invents it ugly when
he puts them chicks on the street.

Wee.

Couldn't we go to Vegas or someplace, Skip?

All right, we'll go to Vegas.

We'll both go to Vegas.

I can't make a dime in Vegas.

Don't you understand that?

Neither can you.

Now, we're doing fine right here.

No reason to go there as long as they
keep having conventions in this town.

But after what we done to Eddie, I
mean, I don't care what Rooster says.

I can't go back to that bar.

Just forget about Eddie, all right?

He's a problem, so I eliminate
him just like I said I would.

Now, we got one more problem.

In the name of Baxter, when I--

when I find him, he's not
going to be a problem anymore.

Please don't make me go, Skip.

Please.

I don't know if I can handle this.

You know what?

You're still not listening.

Now, if you got a
problem, you deal with it.

If you don't, you become the problem.

You understand that?

You just go to Eddie's, OK?

All right?

You go to Eddie's.

[MUSIC PLAYING]

So far, we got nobody don't know
nothing about nobody doing nothing.

Ain't nobody seen nobody do nothing.

You guys work here?

I was here last night.

We was all dancing.

Nobody saw this guy.

That's kind of strange, ain't it?

He must have been sneaking
around here like the shadow.

Just everybody that works here?

Just everybody.

Yeah.

Yeah, thanks.

Hey, Foley, come here.

There was a guy here last night.

I think he works here.

He had a big kind of strange
square head-- Oh, oh, Baxter.

-with a long jordy, very
frankly-- Baxter, yeah.

Oh, you know him?

Yeah, I went over there, but I
talked to his landlady, and he moved.

No forwarding address.

Flew to Coop, gone.

You didn't tell me about it, man.

The guy's-- shut up.

Wait a minute. Never mind.

Just remind me about it later.

Write it down.

Write it down.

How about it, gang?

Anybody remember anything?

I know it's a little early
for some of you ladies

to get your brains working,
but I want you to try hard.

How about you, sugar?

You ever see a stiff before?

Yeah.

You and me both, huh?

How about you?

You was here last night.

Remember us?

Should have known that was the
taxpayer's money you was throwing around.

Yeah, funny, huh?

You smile a lot, huh?

You like cops?

You think this is funny?

Let me tell you something, gang.

This ain't so funny.

I know you're operating
out of loyalty here.

For Eddie, you worked out of his joint.

You don't want to cop out on him?

Well, forget it.

On account of Eddie's pushing up daisies.

They snuffed him this morning,
dumped him across town.

Think about it.

Eddie's down, and we don't
know who's next, do we?

Do we?

So you think about that for a while.

I'll be back.

Come here, Foley.

Watch this torch, y'all.

Mr. Stanton, you
want to spot the girl

that you saw
Mr. Hopkins dancing with?

I'm pretty sure.

OK.

She is-- Girl in the white
blouse and the curly hair.

Back over there in the corner?

Yeah.

OK.

Well, Mr. Stanton, my
boss got your statement.

So, Foley, you want
to take him to the airport

and see he gets on a plane to Minneapolis?

If you want, we'll have somebody
meet you at your hometown

and take care of things for you.

The thing is, Carl Hopkins
was a married man, and so am I.

Fair enough.

Anyway, Mr. Stanton,
you're a stand-up fella.

You never know where the good guys are.

Have a nice trip.

Remember me from last night?

We had a good time together, didn't we?

Yeah.

You were different then.

Yeah.

How about this guy?

You remember him?

No.

I sure hope you're telling me the
truth, because somebody's lying to me.

I don't know who it
is yet, but somebody's

lying to me, and
I will find out who.

And you can write
to your mothers and

tell them that,
because that's the truth.

And when I do, I will
come knocking at your door.

Like the man said, you could pay
me now, or you could pay me later.

How about it?

OK.

That's the name of that tune.

I'll see you later.

[door opens]

[glass shatters]

Hey, Bubba.

Hey, Sugar.

Yeah.

Come here, bubba.

Come here a second.

Yeah.

I, uh, remembered you from last night.

Yeah.

Don't be scared.

I just thought, uh, maybe
you remember something,

and, uh, you didn't want
to talk in front of a crowd.

[music playing]

Hm?

Yeah.

Have a nice day, Tina.

Hey, Charlie.

Tell Brubecker I'll give him a call as
soon as this pigeon lands someplace.

[music playing].

[music playing]

[music playing]

[music playing].

[music playing]

[music playing]

[music playing]

[music playing]

[music playing]

[music playing]

This is Beretta.

Give me Brubecker.

Brubecker.

Yeah, Beretta.

Hi, boss.

Listen, I just saw her.

Uh, a guy came out of the apartment.

That's great.

What else you got?

I think they're living together, boss.

This could beat a couple.

All right, I'll go with you this time.

What do you want?

I want a 24-hour watch on
both of them, starting right now.

You got it.

OK, boss, thanks.

[music playing]

[music playing]

[music playing].

[music playing]

[music playing].

[music playing]

Well, for one thing, I think those--

I think those eyebrows
were a lot thicker than that.

More than that?

Yeah, I think so.

Bushy, bushy up the eyebrows more.

You saw more than I did, Mrs.
Brodsky, so you know.

I'm thinking a little bit-- what do
you think about the nose there?

Well, he had kind of a nice nose.

Yeah.

A little bit more crooked,
a little bit longer there.

A little bump over on this side, you think?

Right there, yeah.

Yeah.

Keep cooking.

That chin line there, that
square chin line, it's just right.

And the grayish hair.

Gee, he was a good looking guy.

With those deep set eyes.

Yeah.

No wonder all my lady tenants
used to stand by their doors,

just waiting to see him walk
down the hall to the bathroom.

They liked him, huh?

Yeah, I liked him too.

You did too?

Yeah.

Was he a nice fellow?

Gentlemanly kind of guy, quiet?

Yeah, always kept to himself.

Never had any wild parties or anything.

The only thing,
he used to turn that

Victrola up so loud, it
made the walls shake.

The what, Victrola?

Yeah, Victrola.

The record player?

The player, Victrola.

Was he a rock and roller?

Opera.

Oh, my goodness.

Really?

That's all he seemed to play.

Listen, you should have seen that Victrola.

Yeah?

It had so many knobs and dials,
you'd think it was a spaceship.

How big was the Victrola?

Was it this big?

No bigger than that.

It was big, Don, but it covered this table.

Oh, yeah?

Ain't that interesting, Mrs. Broski,
covered the whole table here.

Yeah.

Now, this place is furnished, right?

You give them sheets, linens,
everything they need, soap, whatever.

All they got to do is bring their clothes.

Right.

If a guy's going to catch an
airplane or a train or a bus

or something, he takes his clothes.

But what's he going to
do with this big Victrola?

It's a funny thing, I got a feeling
maybe he's still in town, huh?

Yeah, he could be.

Maybe just keep your eyes open,
see if he'll turn up or something.

She's a sure try.

Yeah.

That's him!

That's Mr. Baxter!

What do you know?

Very good, sugar.

That's him.

That was the bus boy.

Hey, little Mo.

Oh, hi, Ton.

I got a job for you.

I'm looking for this guy.

As nearly as I can figure, he ain't
smart enough to leave town, but he ain't

dumb enough to get caught either.

And if he's up to his old tricks, he's
either working in a bar someplace

or else he's going
to a concert, which is

where I'm going as
soon as I get dressed.

Are you going to hear a rock group?

No, I'm going to hear
some guy named Mozart.

The opera.

Oh, my melon.

In my entire life, I don't care
if I'm looking for King Farouk.

Don't ever let me go to the opera again.

Fred, do you know what the opera is?

It's a bunch of funny looking fat people

that sing so bad that I would
rather have you and me drunk

singing to old Oaken Bucket.

Oh, come on.

It was fun.

It was terrible.

And the worst thing is,
they all sing in German, man.

You got to be a German to go to the opera.

Oh.

You really thought you'd find
them there tonight, didn't you?

I don't know what I thought, man.

I don't know whether I'm
looking for an accomplice,

or a witness, or what I'm looking for.

All I know is that Baxter's the
only one, and I got to find him.

Oh.

What's the matter now?

Oh.

My neck is killing me.

Ah.

Well, shoot.

I mean, all that turning
around in your seat.

How the hell am I supposed to find him?

And I didn't find him anyway.

Well, come on over here,
and let me massage it for you.

Oh, well, I think it'd probably work
better over here on the bed, darling.

Oh.

Be careful.

Be careful, because it really hurts bad.

Mm-hmm.

Oh, it's terrible.

Yes.

I know.

Oh.

Oh.

That's better.

Well, I'll tell you what.

Huh?

If you really behave
yourself-- Mm-hmm.

--next week, I'll let you
take me to the ballet.

My darling, I ain't
never known a grown-up

Italian in my life
that behaved himself.

Quiet, I'm having a dream.

It's beautiful.

Oh, am I in it?

Oh, yeah.

No, looks a little bit
more like Sophia Loren.

Oh, wait.

No, it's you.

It turned out to be you.

Mm.

[phone ringing]

Mm.

No, no, don't answer that phone.

It's broke.

You see, every night at 11:30, it
rings, and ain't never nobody on it.

Mm.

You really want me to believe that?

That's the truth.

That's the truth, so help me.

It's the truth.

Mm.

Mm.

Ah, you dirty rat.

Hello.

Cock-a-doodle-doo, my man.

Irene, I told you never to call me here.

Irene.

Cut the jive.

Tell me what you want, rooster.

Yeah, well, uh, that possum
you was trying to treat,

he's hanging out the
same old haunts, brother.

One of my, um,
foxes spotted him over

a jive called Mario's
on Rochette Street.

Yeah, I know that place.

Listen, did your quail spook
him, or is everything cool?

I know, bro.

He's traveling down the middle of
the road without a care in the world.

[MUSIC PLAYING]

[SINGING IN ITALIAN]

[MUSIC PLAYING]

[SINGING IN ITALIAN]

Yes, what is it?

Uh, excuse me.

I'm your new neighbor.

I just moved in tonight.

Next door, you see, I'm a salesman.

I got into town late.

My name is-- Just a minute.

Yes, thanks, sir.

Buford Larkin from Peoria, Illinois.

Mr-- Kenneth Baxter.

Very nice to meet you, Kenneth.

You see, I just wanted to
talk to you about your music.

Yeah, well, I'll-- I'll-- I'll turn it off.

No, no, no, no, no.

Oh, you don't understand.

I wanted you to turn it up.

I just moved in over there, and I wanted

to hear it all the way up.

You-- you want it louder?

Yes, yes.

You don't understand.

You see, I'm from Peoria, Illinois,
and I'm out on the road selling.

And no one listens to the opera in Peoria.

And when I'm on the road, I
find great solace and comfort

in just sitting and listening
to Puccini's "La Buem"

or "Il Travatore," "La Traviata,"

and oh, my goodness, Swan
Lake, my most marvelous ballets.

Oh, how beautiful.

I've got them all, but
it's a little late now.

I just got off work, and I
was about ready to go to bed.

Oh, sir. I'm sorry.

If you'd come back
maybe tomorrow sometime

earlier in the evening
would be better.

Oh, my goodness.

You have more over here.

Do you have that little Wagnerian
piece that-- oh, oh, my goodness.

Oh, oh, my new pants.

I have an 8 o'clock appointment.

It's the most important one in my life.

Water. You need water for what?

There's no water in these rooms?

I'll get you some water.

Thank you.

Thank you very much.

Oh, my goodness.

Tomorrow morning, 8 o'clock.

What am I going to do?

I, uh-- [MUSIC PLAYING].

Oh, gracious.

I don't know what I'm going to do
about all-- my boss, tomorrow, my job.

Here, I, uh-- I'll put
some water on the end.

--travel all the way to town
here, and then mess up.

The only suit that you have-- listen,
I won't trouble you anymore tonight.

Maybe-- maybe we'll see
each other in the morning.

Wish me well with my work tomorrow.

Thank you very much.

Yeah.

Excuse me.

Good night now.

[MUSIC PLAYING].

[HORN HONKING]

[KNOCKING]

Yeah?

Annie.

How do I look in drag?

Terrific.

How are you?

Sure you're sane?

Got the same guy?

Yeah, the one I used
to work down at Eddie's.

Now he's cleaning tables at Mario's place.

Same guy.

Got his address?

Yeah.

Here it is.

What's going down, man?

Lou, you don't want to know.

[SIGHS]

[MUSIC PLAYING]

[HORN HONKING]

[LAUGHS]

Oh, we still have time.

[LAUGHS]

His name's Dr. Thomas
Randolph, his widower.

Took a walk on his practice.

That's all we know about him.

Terrific.

He shows up in town with 32
Gs in his kick to swab out bars.

Makes a lot of sense, right?

That's all we got on the phone.

The rest of us is going to
come in on teletype later.

Yeah, I hate to wait till later.

I don't want to push this guy, though,
because he's going to ice up on me.

But trying to make contact
with him is-- forget it.

He's got "loner" written all over him.

Well, what do you want to do?

You want to bring him in?

No, no, don't bring him in.

Think what I'll do, I'll try a
little circuitous route on him.

I'll hold him three aces.

Maybe I'll just show him
one and see what happens.

Ah.

Well, Mr. Baxter,
maybe the best thing for

me to do is to stop
beating around the bush

and just put my cards on the table.

The fact is, I want to ask you
some very important questions.

You're a cop.

Yes, sir.

Yes, sir, I'm a cop.

Just hear me out for a second.

I'm investigating a murder.

The one that happened behind Big
Eddie's, the place where you worked.

Yeah, I know about that.

And I know that you know
something about it, and that's the truth.

I, uh-- I also know that
you're a strange kind of guy.

You work in dumps, sweeping
them out for practically nothing.

You like classical music.

You got $30,000 in the bank, and
you go around and rag-pick her clothes.

Just a second.

I don't know why you haven't come forward.

That's your business, but--
but murder, that's my business.

Now, if you could tell us what you know,

just anything might put
them people behind bars.

[coughs]

It was an accident.

Yeah, okay.

We'll let that go.

But I want you to know something.

You want to go on down
the road, you go ahead.

But them people, they already killed again.

Yeah, Eddie, the guy
you worked for, he's dead.

And because you
ain't come forward, that

could make you an
accessory in a murder rap.

You're wasting your time.

I don't know anything.

You're not holding the
cards you think you are.

[music playing]

Baxter, go down!

[siren]

You okay?

Oh, yeah.

I forgot to tell you.

If I was them, you'd be the
next one I'd be looking to kill.

You want to talk?

[bell ringing]

Oh, come on, Beretta.

You were there, you saw them.

Can't you even give me an
identification on a-- I don't have to.

It was the two pigeons.

I don't know how
they got out of the nest,

but I'm telling you,
they were supposed

to be under close surveillance.

It was them.

They're under surveillance.

Kessler's out there right now with them.

I don't know what Kessler's doing, boss,

but my right hand, the two
people that took the shots

at me and Baxter
in the park was the

pigeons that are
supposed to be watched.

This is Lieutenant Brewbaker.

You want to see how wrong you can be?

Yeah.

You'll pass me through to unit 102.

Kessler?

You there, Kessler?

Yes, sir.

What happened to your two suspects?

Nothing's happened.

They're still inside.

Nobody got away during the night, right?

Positive, Lieutenant.

No one went in or out of the
place without my seeing them.

Ask them to go inside and check.

You want to let me take care of this?

Yeah.

You go inside there and check?

Yes, sir.

Hi.

What the-- They got away.

I don't know how, but there
are two different people in there.

OK, Kessler, get yourself in here.

OK.

That's that.

They're out.

So what we got to do now is keep Baxter in.

I don't want him getting killed.

Neither do I, but he doesn't
want to stay in protective custody.

That don't make no difference.

He's a material witness, ain't he?

You can't prove it.

I'm not going to prove it.

I'm going to prove it.

That don't make no difference.

He's a material witness, ain't he?

You can't prove it.

He says he's not.

Now what do you do?

I can hold him.

I can hold him.

No, you can't hold him.

Tell what type on
your man-- Yeah, good.

Let me have it.

Now you know what you got.

Yeah.

Can I take this?

Well, so that was it, hm?

Mm-hm.

Now you're in here, and
I kind of almost got killed.

That's why.

I'm in here, and the
killers are on the outside.

That makes sense.

Maybe it don't make good sense.

I'm going to tell you a story.

Maybe that'll make some kind of sense.

There was this doctor that lived in Jersey.

He had a good practice,
beautiful wife, nice house.

He had it made.

One night, he and his pretty wife
were sitting there watching television.

All of a sudden, some nuts
came along looking for kicks.

They were all juiced up.

Stop it.

They looked in the window
and saw the pretty wife

in her bathrobe and
the doctor sitting there.

Please.

They broke in and grabbed the wife.

Oh, God.

They beat that doctor unconscious.

When he woke up, his ribs was all cracked.

He couldn't hardly breathe.

He went over to
try to help his wife,

but he couldn't give
her mouth to mouth.

He couldn't help her at all.

She died.

What is this?

Some new kind of third degree?

What, are you going to keep
hitting on me until I break?

Huh?

Well, I'll save you the trouble.

I broke over a year ago
right after the funeral.

Here's something else you don't know.

The night those four
guys broke into my house,

there was a .32 automatic in my
desk drawer, not two feet away.

If I'd have gone
for it, if I'd have

reached, if I would have
made some kind of...

I might have been able to save her.

But I didn't.

I didn't have that nerve.

You know, I ain't no great philosopher.

An old man told me a long time ago that

all of us carry around
this Superman inside of us.

But somehow, we can
never measure up to him.

He's always smarter than we are.

He always says and does the right things.

He's got a lot more guts than we do.

But the truth is,
doctor, it's just so

hard getting through
that day-to-day living

that none of us
need a monkey on our

shoulder that we're
trying to measure up to.

You could help a lot of people now.

You're a doctor with your skills
and also by being a witness.

Hey, Tony.

What's going on here?

May I go?

Yeah, it's all right.

Wait a minute, who's this guy?

Mr. Stein, here's the doctor's attorney.

Mr. Stein, did you
tell your client that

there's people out
there waiting to kill him?

He told me to get him out.

I'm following his instructions.

Did you ask him how
he wants to be buried

so you can follow
those instructions too?

Come on, come on, come on.

You're supposed to be a responsible man.

Oh, wait a minute.

Hey, doc!

Hello, Beretta.

I know where he's going anyway.

Let's take care of him first.

Airport?

You got it.

Hurry up, folks.

Thanks.

Young man! Young man!

Young man!

Municipal transportation makes
no provision for its senior citizens.

I'm sorry, little brother.

I'm sorry.

Take a seat.

Thank you.

Nope, nope, nope.

I know your kind.

Outrageous.

Outrageous.

Excuse me, is this seat taken?

Please.

No, no, ma'am, sit down.

Oh, oh.

Approach yourself.

Treat the senior citizen.

What do you say, Bax?

Whatever you want.

Just stay cool.

That couple you saw snuff Carl Hoffman's
out behind Eddie's the other night?

They're sitting a couple
of seats up in front of you.

The girl's got on a black wig.

Don't look at 'em.

I'm not interested.

They already killed two people.

The second one's on your conscience, man.

I don't know who they're gonna kill next.

And without your
testimony, I can't

even walk up there
and put a finger on 'em.

You think about that.

Think about it.

You've got the ball.

I made my choice.

You can run.

I can't touch you either.

But you can't hide from yourself.

Wherever you go, you're gonna
wake up in the middle of the night.

You're gonna notice
blood on the streets

and that you didn't
do nothing about it.

You can't live with that.

What do you want?

All you gotta do is... swear in
the name of your murdered wife

that what you're doing is right,
that walking away from this thing,

turning your back on it
is the right thing to do.

Go ahead, and I'll walk out of
here, and you're on your own.

Yeah.

All right, what do you want me to do?

Attaboy.

I don't want no trouble in this bus.

No shooting.

Just hang with me now.

Help a sick old lady off the bus.

Young man, I need a dose of salts.

I'm sick.

Stop the bus.

Oh, oh, I'm sick.

Oh, oh.

[groaning]

Thank you.

Let's move.

Okay, now what do we do?

Watch it!

Everybody down!

[gunshots]

Get him up!

Get her!

[gunshots]

[gunshots]

[gunshots]

[gunshots]

[gunshots]

[horn honking]

[horn honking]

[horn honking]

[horn honking]

[horn honking]

[horn honking]

Get up.

That's him.

Attaboy, Doc.

Thanks.

That's not the point, Billy.

I may not even want to be a doctor anymore.

Don't say that.

No, sir.

You are a doctor, and
that's all there is to it.

See, I think what Billy's trying to say is,

you got a little
something special in

your gravy that none
of the rest of us got,

and you can't ignore that, Doc.

Listen, Doctor, if you forgive me,

there's no question about it.

You're a doctor.

He's a cop.

I'm a bum.

If people start
thinking about changing

things, who's going
to collect the trash?

Who's going to sweep the gutters?

Who's going to make the wine?

I know who's going to drink it.

[laughter]

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