All language subtitles for charlies.angels.s01e16.remastered.bdrip.x264-rovers-en

af Afrikaans
sq Albanian
am Amharic
ar Arabic
hy Armenian
az Azerbaijani
eu Basque
be Belarusian
bn Bengali
bs Bosnian
bg Bulgarian
ca Catalan
ceb Cebuano
ny Chichewa
zh-CN Chinese (Simplified)
zh-TW Chinese (Traditional)
co Corsican
hr Croatian
cs Czech
da Danish
nl Dutch Download
en English
eo Esperanto
et Estonian
tl Filipino
fi Finnish
fr French
fy Frisian
gl Galician
ka Georgian
de German
el Greek Download
gu Gujarati
ht Haitian Creole
ha Hausa
haw Hawaiian
iw Hebrew
hi Hindi
hmn Hmong
hu Hungarian
is Icelandic
ig Igbo
id Indonesian
ga Irish
it Italian
ja Japanese
jw Javanese
kn Kannada
kk Kazakh
km Khmer
ko Korean
ku Kurdish (Kurmanji)
ky Kyrgyz
lo Lao
la Latin
lv Latvian
lt Lithuanian
lb Luxembourgish
mk Macedonian
mg Malagasy
ms Malay
ml Malayalam
mt Maltese
mi Maori
mr Marathi
mn Mongolian
my Myanmar (Burmese)
ne Nepali
no Norwegian
ps Pashto
fa Persian
pl Polish
pt Portuguese Download
pa Punjabi
ro Romanian
ru Russian
sm Samoan
gd Scots Gaelic
sr Serbian
st Sesotho
sn Shona
sd Sindhi
si Sinhala
sk Slovak
sl Slovenian
so Somali
es Spanish Download
su Sundanese
sw Swahili
sv Swedish
tg Tajik
ta Tamil
te Telugu
th Thai
tr Turkish Download
uk Ukrainian
ur Urdu
uz Uzbek
vi Vietnamese
cy Welsh
xh Xhosa
yi Yiddish
yo Yoruba
zu Zulu
or Odia (Oriya)
rw Kinyarwanda
tk Turkmen
tt Tatar
ug Uyghur
Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:01,360 --> 00:00:02,554 CHARLIE: ONCE UPON A TIME, 2 00:00:02,840 --> 00:00:06,071 THERE WERE THREE L/TTLE GIRLS WHO WENT TO THE POLICE ACADEMY. 3 00:00:17,040 --> 00:00:22,353 AND THEY WERE EACH ASSIGNED VERYHAZARDOUS DUTIES. 4 00:00:22,640 --> 00:00:24,437 BUTI TOOK THEMA WA Y FROM ALL THA 7'. 5 00:00:24,720 --> 00:00:28,395 AND NOW THEY WORK FOR ME. M YNAME IS CHARLIE 6 00:02:00,800 --> 00:02:02,791 [DRILL OPERATING] 7 00:02:43,760 --> 00:02:48,629 [RUSTLING AND RATTLING] 8 00:02:53,240 --> 00:02:54,070 HEY, WHAT'S GOING ON--?! 9 00:03:30,600 --> 00:03:32,158 [TIRES SQUEALING] 10 00:04:19,000 --> 00:04:22,993 PHALAENOPSIS AMABILIS,’ SUPERB! 11 00:04:23,320 --> 00:04:29,555 MARVIN, ALWAYS SO THOUGHTFUL, SO GENEROUS. 12 00:04:29,840 --> 00:04:33,515 A FILMMAKER, A REGULAR WALT DISNEY. 13 00:04:33,800 --> 00:04:37,509 BUT GUS, HIS PAPA, HE SHOULD REST IN PEACE, 14 00:04:37,800 --> 00:04:41,236 HE WAS A REAL SHTARKER! 15 00:04:41,520 --> 00:04:43,715 HE WAS RUN DOWN BY A BEER TRUCK. 16 00:04:44,000 --> 00:04:45,069 DID MARVIN TELL YOU? 17 00:04:45,360 --> 00:04:47,430 HE DID SAY YOU WERE WIDOWED, MRS. GOLDMAN. 18 00:04:47,760 --> 00:04:51,753 GUS ALMOST SURVIVED THE CRASH. 19 00:04:52,040 --> 00:04:56,318 IF ONLY THE TRUCK HAD BEEN EMPTY. 20 00:04:56,640 --> 00:04:59,108 SUCH A SHTARKERI 21 00:05:01,040 --> 00:05:06,558 AFTER MY STROKE, MARVIN BUILT ME THIS, MY REFUGE. 22 00:05:06,840 --> 00:05:09,718 MY SALVATION. 23 00:05:10,000 --> 00:05:12,560 SUCHABOY. 24 00:05:13,720 --> 00:05:15,517 MAMA LIKES FLOWERS. 25 00:05:15,800 --> 00:05:18,109 DID HE TELL YOU HE WAS THREATENED LAST WEEK? 26 00:05:18,400 --> 00:05:19,719 NO, HE DIDN'T. 27 00:05:20,040 --> 00:05:21,359 TWICE HE WAS THREATENED. 28 00:05:21,640 --> 00:05:23,517 HOW WERE YOU THREATENED, MR. GOLDMAN? 29 00:05:23,840 --> 00:05:25,114 CALL HIM MARVIN. 30 00:05:26,720 --> 00:05:28,119 PHONE CALLS, IT MEANT NOTHING. 31 00:05:28,400 --> 00:05:30,755 IT MEANT NOTHING, HEH. 32 00:05:31,040 --> 00:05:33,873 LAST NIGHT THEY ALMOST COOKED HIM TO A CRISP. 33 00:05:34,160 --> 00:05:37,118 AND HE STILL WOULDN'T LET ME CALL PROFESSIONAL HELP. 34 00:05:37,440 --> 00:05:38,793 | CALLED THE INSURANCE COMPANY. 35 00:05:39,080 --> 00:05:40,513 THEY CALLED THE POLICE. 36 00:05:40,800 --> 00:05:42,711 AND WHAT ELSE IS THERE TO DO? 37 00:05:45,560 --> 00:05:47,118 HOW CAN THEY HELP? 38 00:05:47,440 --> 00:05:49,954 HOW CAN THEY HURT? 39 00:05:55,440 --> 00:05:57,635 ANGELS, I’l/E MADE ARRANGEMENTS FOR ONE OF YOU 40 00:05:57,960 --> 00:05:59,678 TO TALK TOA TECHNICIAN AT THE POLICE LAB. 41 00:06:00,000 --> 00:06:01,353 I'LL GET ON IT RIGHT AWAY, CHARLIE. 42 00:06:01,640 --> 00:06:04,074 IN THE MEANTIME, WE'RE STILL WONDERING WHY MR. GOLDMAN 43 00:06:04,360 --> 00:06:07,432 WAS 80 RELUCTANT TO HAVE HIS MOTHER HIRE US. 44 00:06:07,760 --> 00:06:10,991 I DID SOME CHECKING ON MR. GOLDMAN’S BUSINESS AFFAIRS. 45 00:06:11,280 --> 00:06:12,679 CALL HIM MARVIN. 46 00:06:12,960 --> 00:06:16,236 YES, WELL MARVIN HAS SEVERAL SILENTPARTNERS. 47 00:06:16,560 --> 00:06:18,755 MA YBE THEY CAN GIVE YOUAN ANGLE ABOUTHIS, UH, 48 00:06:19,040 --> 00:06:20,951 HIS REL UCTANCE. 49 00:06:21,240 --> 00:06:23,754 WE'LL CHECK THEM OUT, CHARLIE. 50 00:06:24,040 --> 00:06:26,429 CHARLIE, WHOEVER BROKE INTO MARVIN'S LAB 51 00:06:26,720 --> 00:06:29,280 WENT FOR THE FILM STORAGE ROOM SPECIFICALLY. 52 00:06:29,560 --> 00:06:32,313 LUCKILY IT WAS AIRTIGHT AND MARVIN GOT THE DOOR SHUT 53 00:06:32,600 --> 00:06:33,555 AND SMOTHERED THE FLAMES. 54 00:06:33,840 --> 00:06:34,989 SO, WHATEVER THIS IS ALL ABOUT, 55 00:06:35,320 --> 00:06:36,389 CHARLIE, IT MUST HAVE SOMETHING 56 00:06:36,680 --> 00:06:37,874 TO DO WITH A PIECE OF THAT FILM. 57 00:06:38,200 --> 00:06:40,430 WHICH MEANS WE'RE GOING TO HAVE TO LOOK AT ALL OF IT. 58 00:06:40,720 --> 00:06:41,516 ALL OF IT? 59 00:06:41,800 --> 00:06:43,995 ALL OF IT. 60 00:06:44,280 --> 00:06:46,953 GOOD THINKING. ID PURSUE THA T. 61 00:06:47,240 --> 00:06:49,117 OH, BY THE WAY, CHARLIE, HOW’S MILLICENT? 62 00:06:49,400 --> 00:06:51,595 NOT FEELING TOO WELL, I'M AFRAID, JILL. 63 00:06:51,920 --> 00:06:53,273 SHE'S STILL BELLY UP. 64 00:06:53,560 --> 00:06:54,436 GLORIA'S WITH HER NOW. 65 00:06:54,760 --> 00:06:55,476 KELLY: 0H, WHO’S GLORIA? 66 00:06:55,800 --> 00:06:57,711 AN ICHTHYOLOGIST I'VE SUMMONED. 67 00:06:58,000 --> 00:06:58,910 VERY BRIGHT LADY. 68 00:06:59,200 --> 00:07:00,713 WE'LL SAY A PRAYER FOR GLORIA. 69 00:07:01,000 --> 00:07:02,274 YOU MEAN MILL/CENT. 70 00:07:02,600 --> 00:07:04,397 HER TOO. BYE, CHARLIE. 71 00:07:19,600 --> 00:07:20,874 MISS MUNROE? YES? 72 00:07:21,200 --> 00:07:21,996 PAUL BAYLOR. 73 00:07:22,280 --> 00:07:26,068 OUR DEPUTY DISTRICT ATTORNEY? HI. 74 00:07:26,360 --> 00:07:27,429 YOU WERE IN THERE ASKING QUESTIONS 75 00:07:27,720 --> 00:07:29,073 ABOUT THE FIRE IN THE GOLDMAN LAB. 76 00:07:29,360 --> 00:07:30,236 WELL, MY BOSS MADE ARRANGEMENTS. 77 00:07:30,520 --> 00:07:31,430 YOUR BOSS? 78 00:07:31,760 --> 00:07:32,715 CHARLES TOWNSEND. 79 00:07:33,000 --> 00:07:33,989 THE TOWNSEND AGENCY. 80 00:07:34,280 --> 00:07:35,508 I'M NOT USED TO PRIVATE DETECTIVES 81 00:07:35,840 --> 00:07:37,068 GETTING INVOLVED IN MY CASES, 82 00:07:37,360 --> 00:07:40,272 OH, YOU HAVE A CASE, I MEAN SOMEONE TO PROSECUTE? 83 00:07:40,600 --> 00:07:45,116 NO, UH, WHAT I'VE GOT IS AN ANONYMOUS PHONE CALL, 84 00:07:45,440 --> 00:07:46,270 ABOUT A WEEK AGO. 85 00:07:46,600 --> 00:07:47,794 I'M NOT FOLLOWING YOU. 86 00:07:48,080 --> 00:07:48,637 THE CALLER SAID THAT THE GOLDMAN LAB 87 00:07:48,920 --> 00:07:49,909 WAS WORTH WATCHING. 88 00:07:50,200 --> 00:07:51,030 FOR WHAT? 89 00:07:51,360 --> 00:07:52,475 WELL, THAT HE DIDN'T SAY 90 00:07:52,760 --> 00:07:54,159 AND I'VE BEEN PLAYING IT BY EAR. 91 00:07:54,440 --> 00:07:56,351 AND THEN WHEN I HEARD THAT YOU WERE HERE ASKING QUESTIONS-- 92 00:07:56,640 --> 00:07:58,358 YOU THOUGHT I MIGHT HAVE SOME INFORMATION. 93 00:07:58,640 --> 00:07:59,755 WELL, MAYBE I WAS HOPING. 94 00:08:00,080 --> 00:08:03,834 ANYWAY, YOU'RE HERE, AND IF THE LEFT HAND 95 00:08:04,160 --> 00:08:05,388 KNEW WHAT THE RIGHT HAND WERE DOING... 96 00:08:05,680 --> 00:08:07,671 MAYBE WE COULD FIND SOME ANSWERS, TOGETHER. 97 00:08:08,000 --> 00:08:09,718 -WOULD YOU MIND? -ARE YOU KIDDING? 98 00:08:10,040 --> 00:08:11,598 YOU'RE THE MAN WITH THE TERRIFIC BATTING AVERAGE. 99 00:08:11,920 --> 00:08:13,797 I MEAN, MR. CRIME-BUSTER HIMSELF. 100 00:08:14,080 --> 00:08:18,153 WELL, THERE ARE SOME WHO THINK I'M OVERLY ZEALOUS. 101 00:08:18,440 --> 00:08:19,998 0H, THE MANESCU CASE. 102 00:08:20,280 --> 00:08:21,349 YOU'VE BEEN READING THE PAPERS. 103 00:08:21,680 --> 00:08:24,911 UH-HUH, PAUL BAYLOR, THE AVENGING ANGEL. 104 00:08:25,200 --> 00:08:28,875 YEAH. 105 00:08:29,160 --> 00:08:31,469 LISTEN, I'VE GOT TO RUN. 106 00:08:31,760 --> 00:08:35,469 CAN WE, LUNCH LATER, COMPARE NOTES? 107 00:08:35,760 --> 00:08:36,510 THAT'S A GOOD IDEA. 108 00:08:36,800 --> 00:08:39,155 HOW ABOUT DONATELLO'S? 109 00:08:39,440 --> 00:08:41,158 12:30? 110 00:08:41,440 --> 00:08:43,476 YOU'RE ON. 111 00:09:06,160 --> 00:09:07,195 IS THAT HER? 112 00:09:07,520 --> 00:09:08,669 THAT'S HER. 113 00:09:08,960 --> 00:09:10,154 SO, WHAT DOES SHE KNOW? 114 00:09:10,480 --> 00:09:12,596 NOTHING, YET. 115 00:09:12,880 --> 00:09:17,795 IF SHE GETS TOO CLOSE, THEN WHAT? 116 00:09:18,080 --> 00:09:21,436 I GUESS WE'LL JUST HAVE TO USE THESE AGAIN. 117 00:09:26,280 --> 00:09:27,838 0H BOY. 118 00:09:28,160 --> 00:09:29,798 I'M TELLING YOU, MY EYES HURT. 119 00:09:30,120 --> 00:09:31,235 HAVE I GOT SOMETHING IN THIS EYE? 120 00:09:31,520 --> 00:09:32,635 I DON'T THINK SO. 121 00:09:32,960 --> 00:09:33,995 IT HURTS. 122 00:09:34,280 --> 00:09:36,794 YOU TWO LOOK BLOODSHOT. YEAH. 123 00:09:37,080 --> 00:09:38,115 MARVIN'S BEEN SHOWING US ENOUGH 124 00:09:38,400 --> 00:09:40,630 FOOTAGE FOR A MINOR FILM FESTIVAL. 125 00:09:40,920 --> 00:09:42,399 DID YOU COME UP WITH ANYTHING AT THE POLICE LAB? 126 00:09:42,720 --> 00:09:43,709 NO FINGERPRINTS, NO TIRE MARKS 127 00:09:44,000 --> 00:09:45,399 THAT THEY COULD ISOLATE IN THE PARKING LOT. 128 00:09:45,720 --> 00:09:46,630 BUT THEY'RE STILL TRYING 129 00:09:46,920 --> 00:09:47,989 TO TRACE THE CONTENTS OF THE CANISTER. 130 00:09:48,280 --> 00:09:50,111 FIGURES. 131 00:09:52,720 --> 00:09:54,278 CHECK RUN THIS. 132 00:09:54,560 --> 00:09:56,312 THE CLIENTS ARE WAITING IN THE WAITING ROOM. 133 00:09:56,600 --> 00:09:58,272 MARVIN... HM? 134 00:09:58,560 --> 00:10:00,232 YOU KNOW THOSE THREATENING PHONE CALLS THAT YOU RECEIVED? 135 00:10:00,520 --> 00:10:03,353 CAN YOU TELL ME EXACTLY AGAIN WHAT THE CALLER SAID TO YOU? 136 00:10:03,640 --> 00:10:06,837 HE WARNED-- WARNED ME TO SHUT DOWN MY BUSINESS. 137 00:10:07,160 --> 00:10:08,275 AND DO WHAT? 138 00:10:08,560 --> 00:10:10,437 WELL, HE DIDN'T SUGGEST A NEW LINE OF WORK. 139 00:10:10,720 --> 00:10:12,358 PAUL BAYLOR, THE DEPUTY D.A. 140 00:10:12,640 --> 00:10:15,518 ALSO RECEIVED AN ANONYMOUS PHONE CALL ABOUT THIS LAB. 141 00:10:15,840 --> 00:10:17,068 HE DID? LAST WEEK. 142 00:10:17,360 --> 00:10:18,759 HE SAID THE CALLER TOLD HIM 143 00:10:19,040 --> 00:10:20,996 THAT THE FILM LAB WOULD BEAR WATCHING. 144 00:10:21,280 --> 00:10:23,748 BEAR WATCHING WHAT? WHAT DOES THAT MEAN? 145 00:10:24,040 --> 00:10:24,836 HE DIDN'T KNOW I-- 146 00:10:25,120 --> 00:10:26,792 [SHEEP BLEATING] 147 00:10:38,640 --> 00:10:41,154 JILL, DO ME A FAVOR. 148 00:10:41,440 --> 00:10:43,431 NO, YOU'RE NOT HALLUCINATING. 149 00:10:43,720 --> 00:10:46,473 THAT WAS LITTLE BO PEEP WASN'T IT? 150 00:10:46,760 --> 00:10:48,637 AND HER SHEEP. ITHINK SO. 151 00:10:48,920 --> 00:10:51,309 ER, WE HAVE A SOUND STAGE IN THE BACK. 152 00:10:51,600 --> 00:10:52,999 WE RENT IT OUT. 153 00:10:53,280 --> 00:10:55,111 THEY'RE FILMING SOME CHILDREN'S STORIES. 154 00:10:55,400 --> 00:10:56,310 0H. 155 00:10:56,600 --> 00:10:58,556 AFTER YOU, LADIES. 156 00:11:03,960 --> 00:11:07,669 I NEVER REALIZED LITTLE BO PEEP WAS SO MATURE. 157 00:11:16,680 --> 00:11:18,796 WHAT'S HE GOING TO DO? 158 00:11:19,080 --> 00:11:19,990 BAYLOR, I MEAN. 159 00:11:20,320 --> 00:11:21,435 NOTHING YET. 160 00:11:21,720 --> 00:11:23,711 WELL, DON'T YOU HAVE ANY IDEA WHAT HE'S GOING TO DO? 161 00:11:24,000 --> 00:11:26,150 NO, I DON'T, MARVIN. 162 00:11:26,440 --> 00:11:30,433 ALL RIGHT, ROLL THEM, KARL. 163 00:11:35,000 --> 00:11:38,151 [MORSE CODE BEEPING] 164 00:11:58,240 --> 00:12:01,596 UH, MARVIN, WHAT IS THIS? 165 00:12:30,840 --> 00:12:32,671 THANK YOU, KARL. 166 00:12:36,840 --> 00:12:40,071 INTERESTING FILM, MARVIN. 167 00:12:40,400 --> 00:12:45,474 WHO WAS THE GUY WITH THE EARRING WITH THE WHITE BREAD? 168 00:12:45,760 --> 00:12:47,034 WHO KNOWS? WHO KNOWS? 169 00:12:47,360 --> 00:12:49,874 LOOK I DON'T MAKE MOVIES, I DEVELOP FILM. 170 00:12:50,200 --> 00:12:52,589 A LOT OF CRAZIES COME IN HERE ALL THE TIME. 171 00:12:52,880 --> 00:12:55,155 THAT WAS, ER, TOLCHUKI 172 00:12:55,440 --> 00:12:57,351 MY NECK. 173 00:12:57,640 --> 00:13:00,234 THERE'S GOATS. 174 00:13:08,000 --> 00:13:10,150 LITTLE B0 PEEP? 175 00:13:10,440 --> 00:13:13,432 SHE MEETS A SHEPHERD. 176 00:13:13,760 --> 00:13:15,239 SHE MEETS A SHEPHERD. 177 00:13:15,560 --> 00:13:18,677 LET'S GET SOME AIR. 178 00:13:18,960 --> 00:13:20,757 I'LL BE BACK IN A MINUTE. 179 00:13:29,040 --> 00:13:30,678 WE'RE REALLY GROPING, YOU KNOW? 180 00:13:30,960 --> 00:13:32,678 I MEAN STARING AT ALL THAT FILM 181 00:13:32,960 --> 00:13:34,552 MARVIN KEEPS FEEDING US, AND WE DON'T EVEN KNOW 182 00:13:34,840 --> 00:13:36,159 -WHAT WE'RE LOOKING FOR. -MM-HM. 183 00:13:36,440 --> 00:13:37,953 WELL, I'M HAVING LUNCH WITH PAUL BAYLOR THIS AFTERNOON. 184 00:13:38,240 --> 00:13:40,276 MAYBE HE CAN HELP US GET A HANDLE ON THIS. 185 00:13:40,560 --> 00:13:41,470 THAN KS. 186 00:13:41,760 --> 00:13:43,193 LOVE TO MEET HIM. RIGHT? 187 00:13:43,480 --> 00:13:45,789 RIGHT. BOSLEY AND I HAVE TO CHECK OUT A LIST 188 00:13:46,080 --> 00:13:47,911 OF MARVIN'S SILENT PARTNERS. 189 00:13:48,200 --> 00:13:50,111 WELL, I THINKI BETTER DO THIS ONE SOLO. 190 00:13:50,400 --> 00:13:51,753 -YES, RIGHT, UH-HUH. -LET ME EXPLAIN WHY. 191 00:13:52,040 --> 00:13:53,234 IF HE FINDS OUT CHARLIE HAS THREE OF US 192 00:13:53,560 --> 00:13:55,278 WORKING ON HIS SIDE OF THE STREET, HE'S LIABLE 193 00:13:55,600 --> 00:13:56,828 -TO GET A LITTLE UPTIGHT. -LOG|CAL. 194 00:13:57,120 --> 00:13:58,712 YOU MEAN HE LOOKS AS GOOD AS HIS NEWS PHOTOS, 195 00:13:59,000 --> 00:14:00,797 -AND YOU DON'T WANT TO SHARE HIM. -WELL, UGLY HE ISN'T. 196 00:14:01,080 --> 00:14:03,196 -SEE YA LATER. -HAVE A NICE LUNCH. 197 00:14:03,520 --> 00:14:04,748 I WILL. 198 00:14:05,040 --> 00:14:07,235 SHE GETS BAYLOR AND I GET MARVIN. 199 00:14:07,520 --> 00:14:09,636 LISTEN, SUFFERING-- IT BUILDS CHARACTER. 200 00:14:09,920 --> 00:14:10,875 -RIGHT. -YOU KNOW WHAT I MEAN? 201 00:14:11,200 --> 00:14:12,110 YEAH. 202 00:14:24,640 --> 00:14:26,232 EXCUSE ME. 203 00:14:26,520 --> 00:14:27,748 EXCUSE ME. 204 00:14:28,040 --> 00:14:30,600 EXCUSE ME, TOLCHUK? 205 00:14:30,920 --> 00:14:32,319 HOW DO YOU KNOW, TOLCHUK? 206 00:14:32,640 --> 00:14:36,838 YOUR EARRING I SAW YOUR FILM, I DIDN'T UNDERSTAND IT. 207 00:14:37,120 --> 00:14:38,519 YOU WEREN'T SUPPOSED TO UNDERSTAND. 208 00:14:38,800 --> 00:14:39,630 IT WAS IN CODE. 209 00:14:39,920 --> 00:14:42,718 0H. 210 00:14:43,000 --> 00:14:46,709 WELL YOU THINK YOU COULD EXPLAIN IT TO ME THEN? 211 00:14:47,000 --> 00:14:48,956 WHY SHOULD TOLCHUK TALK TO YOU? 212 00:14:49,280 --> 00:14:52,158 WELL, YOU SEE I'M A REPORTER FOR THE BROWN EARTH GAZETTE 213 00:14:52,440 --> 00:14:53,759 AND EVERY YEAR WE DO AN ANNUAL 214 00:14:54,040 --> 00:14:56,349 AND I THOUGHT THIS YEAR MAYBE WE COULD USE YOU ON THE COVER. 215 00:14:56,640 --> 00:15:00,918 I MEAN, WELL, THE BACK OF YOUR HEAD. 216 00:15:02,480 --> 00:15:04,914 THE FILM IS ABOUT WHITE BREAD. 217 00:15:05,200 --> 00:15:07,634 WHITE BREAD? 218 00:15:07,960 --> 00:15:10,997 THE RAPE OF THE WHEAT! 219 00:15:11,280 --> 00:15:12,633 HOW DO YOU RAPE WHEAT? 220 00:15:12,920 --> 00:15:13,670 NOT ME! 221 00:15:13,960 --> 00:15:16,110 THEM! OH, I DIDN'T MEAN YOU. 222 00:15:16,400 --> 00:15:18,197 I DIDN'T MEAN YOU. 223 00:15:25,240 --> 00:15:28,869 THE GREAT ENERGY COMES FROM THE GOD SUN, 224 00:15:29,160 --> 00:15:32,755 AND IT HAMMERS ITS RAYS INTO THE EARTH, 225 00:15:33,040 --> 00:15:38,353 AND THE GREAT WATER GOD IN THE SKY SPITS DOWN THE RAINS. 226 00:15:38,640 --> 00:15:39,834 SPITS IT... 227 00:15:40,160 --> 00:15:43,311 AND THE PLOW RUPTURES THE DIRT, 228 00:15:43,600 --> 00:15:45,158 AND OUT OF THE ANGUISH 229 00:15:45,440 --> 00:15:50,195 AND THE AGONY, THE SEED QUIETLY EXPLODES! 230 00:15:53,960 --> 00:15:56,474 AND THEN IT BECOMES WHEAT, 231 00:15:56,800 --> 00:15:59,314 AND IT SACRIFICES ITS VIRGIN STALK 232 00:15:59,640 --> 00:16:03,155 UNDER THE DEADLY BLADE OF THE SCYTHE. 233 00:16:04,600 --> 00:16:06,079 AND, AND THEN, 234 00:16:06,400 --> 00:16:11,952 THIS... THIS RICH, GOLDEN BOUNTY, 235 00:16:12,280 --> 00:16:15,477 IS RAPED BY YOUR MODERN PROCESSING PLANT. 236 00:16:19,000 --> 00:16:20,274 I NEVER THOUGHT OF IT THAT WAY. 237 00:16:20,560 --> 00:16:25,156 COMES THE REVOLUTION, YOU WILL! 238 00:16:57,280 --> 00:16:59,794 I'M TELLING YOU, SHE'S GETTING TOO CLOSE. 239 00:17:00,120 --> 00:17:03,510 WE'RE GOING TO HAVE TO WASTE HER. 240 00:18:10,480 --> 00:18:12,994 MRS. EVERS? 241 00:18:13,320 --> 00:18:14,389 YES? 242 00:18:14,680 --> 00:18:15,749 | STOPPED BY YOUR HOUSE 243 00:18:16,040 --> 00:18:17,314 AND YOUR MAID TOLD ME YOU WERE HERE, 244 00:18:17,600 --> 00:18:18,715 SO I TOOK A SMALL LIBERTY... 245 00:18:19,000 --> 00:18:21,230 DID YOU ENJOY IT? 246 00:18:21,520 --> 00:18:22,919 ENJOY, WHAT? 247 00:18:23,240 --> 00:18:25,231 TAKING A SMALL LIBERTY WITH MY MAID? 248 00:18:25,520 --> 00:18:30,116 OH, NO, NO, NOT WITH HER, WITH YOU. 249 00:18:30,400 --> 00:18:34,916 THAT IS, WHAT I MEAN IS SHE-- | WANTED TO TALK WITH YOU, 250 00:18:35,200 --> 00:18:36,918 SO I TOOK THE SMALL LIBERTY 0F COMING DOWN. 251 00:18:37,200 --> 00:18:39,077 I'M GLAD WE WORKED THAT OUT. 252 00:18:42,640 --> 00:18:45,359 I UNDERSTAND THAT YOU HAVE AN ASSOCIATE, MR. GOLDMAN? 253 00:18:45,680 --> 00:18:46,669 GOLDMAN? 254 00:18:46,960 --> 00:18:49,315 NO, NO, I DON'T KNOW ANYONE BY THAT NAME. 255 00:18:49,640 --> 00:18:51,949 WELL FROM THE INFORMATION I'VE RECEIVED, 256 00:18:52,240 --> 00:18:54,276 YOU'VE HELPED FINANCE MR. GOLDMAN. 257 00:18:54,600 --> 00:18:57,876 NOW LOOK, I TOLD YOU I DON'T KNOW A MR. GOLDMAN, 258 00:18:58,160 --> 00:18:59,559 AND IF YOU DON'T LEAVE ME ALONE, 259 00:18:59,840 --> 00:19:04,960 I'LL MAKE CERTAIN YOU REGRET HAVING TAKEN THAT SMALL LIBERTY. 260 00:19:10,120 --> 00:19:11,633 HE HAS A SMOOTH STROKE. 261 00:19:13,040 --> 00:19:14,109 HE HAD TWO. 262 00:19:48,480 --> 00:19:49,708 MR. PARMADOOR? 263 00:19:50,040 --> 00:19:50,836 THAT'S ME. 264 00:19:51,160 --> 00:19:53,196 I AM IN THE MARKET FOR A GIFT. 265 00:19:53,480 --> 00:19:55,914 WHAT SORT OF GIFT DID YOU HAVE IN MIND? 266 00:19:56,200 --> 00:20:01,433 WELL, A GIFT OF INFORMATION, ACTUALLY, ABOUT MR. GOLDMAN? 267 00:20:01,760 --> 00:20:04,638 I DON'T KNOW ANYBODY BY THAT NAME. 268 00:20:04,920 --> 00:20:08,708 WELL, YOU'RE ONE OF HIS INVESTORS. 269 00:20:09,000 --> 00:20:10,433 AREN'T YOU? 270 00:20:10,760 --> 00:20:11,875 YOU'RE MISTAKEN. 271 00:20:12,160 --> 00:20:13,070 I DON'T THINK SO. 272 00:20:13,360 --> 00:20:14,509 LADY, GET THE HELL OUT OF HERE 273 00:20:14,800 --> 00:20:15,789 BEFORE YOU GET HURT. 274 00:20:16,080 --> 00:20:19,152 I'LL GIVE MARVIN YOUR REGARDS. 275 00:20:27,000 --> 00:20:28,752 BYE. 276 00:20:52,200 --> 00:20:54,760 EXCUSE ME, I'M HOLDING THAT SEAT FOR A YOUNG LADY. 277 00:20:59,520 --> 00:21:01,351 WHITE WINE, PLEASE. 278 00:21:01,640 --> 00:21:04,950 I'M SORRY I'M LATE. YOU'RE LOOKING WELL, HELLO. 279 00:21:05,280 --> 00:21:06,838 WHAT'S LEFT FOR ME TO SAY? 280 00:21:07,160 --> 00:21:09,151 YOU CAN TELL ME YOU'VE GOT VITAL INFORMATION THAT'LL HELP US 281 00:21:09,440 --> 00:21:10,714 GET A HANDLE ON THIS CASE. 282 00:21:11,000 --> 00:21:12,752 WHAT I GOT IS ANOTHER ANONYMOUS PHONE CALL ABOUT YOUR CLIENT. 283 00:21:13,080 --> 00:21:13,830 WHEN? 284 00:21:14,160 --> 00:21:15,673 ABOUT AN HOUR AGO. 285 00:21:16,000 --> 00:21:17,194 AND? 286 00:21:17,480 --> 00:21:18,913 AND THE SAME VAGUE REFERENCE ABOUT WATCHING THE LAB. 287 00:21:19,200 --> 00:21:20,997 LISTEN. THIS COULD BE DANGEROUS. 288 00:21:21,280 --> 00:21:22,110 IF YOU COME UP WITH SOMETHING, 289 00:21:22,400 --> 00:21:25,278 I WANT YOU TO CALL ME IMMEDIATELY. 290 00:21:25,560 --> 00:21:26,709 IF THERE'S N0 ANSWER AT MY OFFICE, 291 00:21:27,000 --> 00:21:27,876 CALL THIS OTHER NUMBER. 292 00:21:28,160 --> 00:21:29,388 WHICH IS? 293 00:21:29,720 --> 00:21:30,835 I'VE ASKED FOR HELP FROM THE POLICE DEPARTMENT. 294 00:21:31,120 --> 00:21:37,150 AN OFFICER CAN BE REACHED AT THAT NUMBER AT ALL TIMES. 295 00:21:37,480 --> 00:21:40,552 THIS CASE-- EVERY TIME I TURN A CORNER 296 00:21:40,840 --> 00:21:42,512 I COME UP STARING AT MYSELF. 297 00:21:42,800 --> 00:21:47,555 AND WHEN YOU STARE AT YOURSELF, WHAT DO YOU FEEL? 298 00:21:47,840 --> 00:21:50,798 CONFUSION. 299 00:21:51,120 --> 00:21:53,076 IT'S HARD, TO SEE OURSELVES AS OTHER PEOPLE SEE US, 300 00:21:53,360 --> 00:21:54,395 AS THEY THINK WE ARE. 301 00:21:54,680 --> 00:21:55,829 BUT YOU AND I, TO DO OURJOBS 302 00:21:56,160 --> 00:22:00,278 WE'VE REALLY GOT TO KNOW OURSELVES, MAKE DECISIONS. 303 00:22:00,560 --> 00:22:02,755 -|T'S TOUGH. -BUT YOU DO IT SO WELL. 304 00:22:03,080 --> 00:22:05,071 YOU'VE GOT THE BEST RATE OF CONVICTION IN THE STATE. 305 00:22:05,360 --> 00:22:08,591 WELL, LET'S HOPE WE HAVE AS MUCH LUCK 306 00:22:08,920 --> 00:22:09,875 WITH OUR LITTLE PUZZLE. 307 00:22:10,160 --> 00:22:12,355 LET'S HOPE. 308 00:23:25,040 --> 00:23:28,555 MARVIN, LOOK, WHEN CAN WE SEE THE FILM WE SHOT YESTERDAY? 309 00:23:28,880 --> 00:23:30,916 WE BETTER HOLD OFF A COUPLE OF DAYS. 310 00:23:31,200 --> 00:23:33,270 AND WILL YOU TRY TO KEEP THE SHEEP OUT OF THE HALLWAYS! 311 00:23:33,560 --> 00:23:36,028 YEAH, YEAH, YEAH. JUST GET ME THE FILM WILL YOU? 312 00:24:29,000 --> 00:24:32,959 IS, UH, THAT WHAT YOU CALL A PHOTOPLAY? 313 00:24:39,160 --> 00:24:40,354 IS IT? 314 00:24:41,480 --> 00:24:42,435 WHAT? 315 00:24:42,720 --> 00:24:45,280 A PHOTOPLAY, FOR MAKING MOVIES. 316 00:24:45,560 --> 00:24:46,549 A SCRIPT, YOU MEAN. 317 00:24:46,880 --> 00:24:50,270 ARE YOU IN THE MOVIES? 318 00:24:50,560 --> 00:24:53,279 I'M A DIRECTOR. 319 00:24:53,560 --> 00:24:54,788 YEAH? 320 00:24:55,080 --> 00:24:56,229 GUESS WHAT? 321 00:24:56,520 --> 00:24:59,318 YOU ALWAYS WANTED TO BE AN ACTRESS. 322 00:24:59,640 --> 00:25:02,108 HOW'D YOU KNOW THAT? 323 00:25:02,400 --> 00:25:08,111 I GUESS YOU MIGHT SAY I'VE GOT AN EYE FOR...TALENT. 324 00:25:08,440 --> 00:25:09,031 I'M FAMOUS FOR IT. 325 00:25:09,360 --> 00:25:12,113 | BET YOU ARE. 326 00:25:14,760 --> 00:25:20,949 YOU KNOW, I'D DO ANYTHING TO GET IN A MOVIE. 327 00:25:21,280 --> 00:25:22,076 YOU WOULD, HUH? 328 00:25:24,240 --> 00:25:25,468 YEAH. 329 00:25:29,640 --> 00:25:31,153 WHAT KIND OF MOVIES DO YOU MAKE? 330 00:25:35,280 --> 00:25:36,599 FREE-FORM. 331 00:25:38,480 --> 00:25:39,390 YEAH? 332 00:25:39,720 --> 00:25:42,109 FREE-FORM? 333 00:25:43,840 --> 00:25:47,310 WHAT EXACTLY IS FREE-FORM? 334 00:25:47,640 --> 00:25:50,632 SHOW THEM, BOSLEY. 335 00:25:50,920 --> 00:25:54,549 NOW HERE'S SOME FILM MARVIN DIDN'T WANT US TO SEE. 336 00:25:58,760 --> 00:26:01,479 A LITTLE BO PEEP 337 00:26:01,760 --> 00:26:05,355 I” HAS LOSTHER SHEPHERD I 338 00:26:05,640 --> 00:26:09,633 OH, LITTLE BO PEEP. 339 00:26:09,960 --> 00:26:11,393 THAT IS NOT THE LITTLE BO PEEP 340 00:26:11,680 --> 00:26:12,999 | KNEW AND LOVED AS A CHILD. 341 00:26:13,280 --> 00:26:16,397 KELLY: YEAH, WELL THIS IS THE UNABRIDGED EDITION. 342 00:26:20,840 --> 00:26:24,833 OH, HOW DO THEY DO THAT? 343 00:26:25,120 --> 00:26:28,510 VERY CAREFULLY. 344 00:26:35,800 --> 00:26:37,552 I'M CONFUSED. 345 00:26:37,840 --> 00:26:39,637 OH, ALL RIGHT, ASK QUESTIONS AND I'LL TRY TO EXPLAIN. 346 00:26:39,920 --> 00:26:41,831 OH NO, THIS PLOT I GOT FIGURED. 347 00:26:42,160 --> 00:26:44,754 QUESTION IS, WHAT DO WE DO WHEN OUR CLIENT TURNS OUT 348 00:26:45,080 --> 00:26:46,559 TO BE A LIAR AND A PORNOGRAPHER. 349 00:26:46,840 --> 00:26:49,035 WELL, WE'RE NOT HERE TO EXAMINE HIS MORAL FIBER, 350 00:26:49,320 --> 00:26:51,515 WE'RE SUPPOSED TO FIND OUT WHO'S TRYING TO BURN HIM 351 00:26:51,800 --> 00:26:53,199 OUT OF BUSINESS AND WHY. 352 00:26:53,480 --> 00:26:54,629 THAT'S TRUE, BUT THERE IS A LAW 353 00:26:54,960 --> 00:26:56,188 AGAINST THIS SORT OF THING. 354 00:26:56,480 --> 00:26:57,674 SHE'S RIGHT. 355 00:26:58,000 --> 00:26:59,274 JILL'S GOT PAUL BAYLOR'S CONFIDENCE. 356 00:26:59,560 --> 00:27:00,993 IF HE FINDS OUT WHAT MARVIN'S BEEN DOING-- 357 00:27:01,280 --> 00:27:02,030 AND HE WILL. 358 00:27:02,320 --> 00:27:03,150 GIVE ME THE PHONE. 359 00:27:03,440 --> 00:27:04,714 MEANING, YOU'RE GOING TO TELL HIM. 360 00:27:05,000 --> 00:27:06,911 YOU'VE GOT IT. 361 00:27:45,880 --> 00:27:47,950 MM-HM. 362 00:27:48,240 --> 00:27:49,912 MM-HM. 363 00:27:50,200 --> 00:27:53,033 I'LL TAKE CARE OF IT. 364 00:27:53,320 --> 00:27:54,514 I'M SORRY. 365 00:27:54,800 --> 00:27:55,710 YOU WERE SAYING? 366 00:27:56,000 --> 00:27:57,831 I WAS SAYING, YOU REALIZE, 367 00:27:58,120 --> 00:27:59,872 I'M IN A DIFFICULT POSITION WITH MY CLIENT. 368 00:28:00,160 --> 00:28:01,149 | WAS HIRED TO PROTECT HIM. 369 00:28:01,480 --> 00:28:03,357 AND NOW I'M GOING TO BLOW THE WHISTLE ON HIM. 370 00:28:03,640 --> 00:28:05,676 YOU CAN'T COVER FOR HIM IF HE'S BREAKING THE LAW. 371 00:28:05,960 --> 00:28:08,190 I GUESS THAT'S TRUE. 372 00:28:08,480 --> 00:28:13,429 YOU BUST DRUGS, PROSTITUTION, YOU GET ORGANIZED CRIME. 373 00:28:13,720 --> 00:28:15,119 IT'S THE SAME THING WITH PORNOGRAPHY. 374 00:28:15,400 --> 00:28:17,709 MAYBE MARVIN GOT MIXED UP WITH SOME HEAVYWEIGHTS. 375 00:28:18,040 --> 00:28:21,316 THAT WOULD EXPLAIN HIS RELUCTANCE IN HIRING US. 376 00:28:21,600 --> 00:28:28,472 I WOULD BE WILLING TO SLAP HIS WRISTS, CONFISCATE THE FILM 377 00:28:28,800 --> 00:28:29,471 AND LET IT GO AT THAT, 378 00:28:29,800 --> 00:28:31,279 IF HE'LL COOPERATE. 379 00:28:31,600 --> 00:28:32,828 THAT SURPRISES ME. 380 00:28:33,120 --> 00:28:34,997 BECAUSE I'M WILLING TO DEAL? 381 00:28:35,280 --> 00:28:36,633 UH-HUH, 382 00:28:36,920 --> 00:28:39,070 AND BECAUSE! THINK COMPROMISING IS DIFFICULT FOR YOU. 383 00:28:39,400 --> 00:28:42,790 I ADMIT I'VE NEVER MADE AN OFFER LIKE THIS BEFORE. 384 00:28:43,080 --> 00:28:46,277 AND YOU'RE RIGHT, IT'S NOT EASY FOR ME. 385 00:28:46,560 --> 00:28:47,276 WHY THEN? 386 00:28:47,560 --> 00:28:51,030 CALL IT A FAVOR. 387 00:28:51,320 --> 00:28:53,231 FOR ME? 388 00:28:53,520 --> 00:28:54,748 DO YOU MIND? 389 00:28:55,080 --> 00:28:56,115 SHOULD I? 390 00:28:56,400 --> 00:28:58,709 NO, I'M THE ONE WITH THE DEVIL AT HIS BACK. 391 00:28:59,040 --> 00:28:59,916 THE DEVIL? 392 00:29:00,200 --> 00:29:05,228 MY OLD MAN WAS A PREACHER. 393 00:29:05,520 --> 00:29:08,876 A SURE ENOUGH, TEXAS BORN, HELLFIRE DUST ROAD PREACHER. 394 00:29:09,160 --> 00:29:12,755 AND HE ALWAYS TOLD ME WALK BRISKLY TOWARD THE LORD, 395 00:29:13,040 --> 00:29:15,508 BECAUSE IF YOU LOOK BACK YOU'LL SEE THE DEVIL'S FACE 396 00:29:15,800 --> 00:29:16,789 AND TURN TO STONE. 397 00:29:19,120 --> 00:29:21,076 SO I GUESS I'VE BEEN FAST FORWARD ALL MY LIFE. 398 00:29:21,400 --> 00:29:23,994 I THINK YOU'VE DONE GREAT IN FAST FORWARD. 399 00:29:28,000 --> 00:29:30,434 I'M GOING TO HAVE A LITTLE HEART TO HEART WITH MARVIN, 400 00:29:30,720 --> 00:29:32,358 THEN I'LL GET BACK TO YOU. OKAY? 401 00:29:32,640 --> 00:29:34,119 COULD YOU PUT A RUSH ON THAT? 402 00:29:34,400 --> 00:29:35,594 A RUSH? 403 00:29:35,880 --> 00:29:36,835 IN GETTING BACK TO ME. 404 00:29:37,160 --> 00:29:41,358 COMPLIMENT NOTED. 405 00:29:41,640 --> 00:29:42,914 AND ACCEPTED. 406 00:29:44,520 --> 00:29:46,112 WHEN-- 407 00:29:46,400 --> 00:29:47,435 WHEN THIS IS ALL CLEARED UP 408 00:29:47,760 --> 00:29:49,751 AND I HAVEN'T GOT A CLOCK AT MY BACK, 409 00:29:51,640 --> 00:29:53,676 I'M GOING TO COME AT YOU LIKE A FREIGHT TRAIN. 410 00:29:53,960 --> 00:29:55,359 OH, YOU ARE? 411 00:29:55,680 --> 00:29:56,749 IARE. 412 00:29:59,040 --> 00:30:00,951 LISTEN, I'VE GOT TO RUN, 413 00:30:01,240 --> 00:30:02,719 GOT A LATE MEETING WITH THE GRAND JURY. 414 00:30:03,000 --> 00:30:04,558 THE MANESCU CASE? 415 00:30:04,840 --> 00:30:06,353 WE GO TO TRIAL NEXT WEEK. 416 00:30:06,640 --> 00:30:10,155 THE AVENGING ANGEL BACK IN ACTION. 417 00:30:10,440 --> 00:30:11,759 KEEP IN TOUCH? 418 00:30:14,280 --> 00:30:15,759 WATCH OUT FOR THE DEVIL. 419 00:30:35,360 --> 00:30:37,715 HI BREE, IT'S JILL. 420 00:30:38,000 --> 00:30:40,275 MM-HM, I THINK EVERYTHING'S GOING TO BE OKAY. 421 00:30:40,600 --> 00:30:42,272 HEY, I'M TOO TIRED TO DRIVE OUT TO THE BEACH TONIGHT. 422 00:30:42,600 --> 00:30:44,318 CAN I STAY AT YOUR PLACE? 423 00:30:44,600 --> 00:30:46,431 I HAVE MY GARAGE KEY. 424 00:30:46,720 --> 00:30:47,596 OH, THANK YOU. 425 00:30:47,880 --> 00:30:48,915 I'LL TIPPY-TOE. 426 00:30:49,240 --> 00:30:50,229 BYE. 427 00:33:49,320 --> 00:33:50,594 [ENGINE STARTS] 428 00:33:50,920 --> 00:33:53,309 [TIRES SQUEALING] 429 00:34:12,000 --> 00:34:13,479 DO YOU KNOW THE PRICE 430 00:34:13,760 --> 00:34:14,636 OF AN IMPORTED PHALAENOPSIS AMABIL/S ? 431 00:34:14,920 --> 00:34:16,672 I NEVER DROVE ONE. 432 00:34:16,960 --> 00:34:18,029 YOU DON'T DRIVE IT, YOU SMELL IT! 433 00:34:18,360 --> 00:34:19,873 IT HAPPENS TO BE A RARE WHITE ORCHID 434 00:34:20,200 --> 00:34:21,679 THAT CAN ONLY BE FOUND IN MALAYA. 435 00:34:21,960 --> 00:34:25,589 AS YOU PROBABLY NOTICED, MY MOTHER ACQUIRED 436 00:34:25,880 --> 00:34:27,074 A FONDNESS FOR THEM LAST YEAR. 437 00:34:27,360 --> 00:34:28,395 OH, COME ON MARVIN. 438 00:34:28,680 --> 00:34:30,398 YOU'RE NOT GOING TO BLAME ALL THIS ON YOUR MOTHER! 439 00:34:30,680 --> 00:34:31,715 AND HER FLOWERS? 440 00:34:32,040 --> 00:34:33,996 LOOK, MARVIN, WE APPRECIATE YOUR EXPENSES, 441 00:34:34,280 --> 00:34:36,635 BUT JILL WAS NEARLY KILLED LAST NIGHT, 442 00:34:36,960 --> 00:34:38,791 NOW YOU HAVE GOT TO LEVEL WITH US. 443 00:34:39,080 --> 00:34:40,274 | WAS GOING TO TELL YOU. 444 00:34:40,560 --> 00:34:42,118 I REALLY WAS. 445 00:34:42,400 --> 00:34:44,834 BUT IF MY MOTHER EVER KNEW WHAT I WAS DOING-- 446 00:34:45,120 --> 00:34:50,513 MARVIN, I TALKED TO AN INVESTOR OF YOURS, MRS. EVERS. 447 00:34:50,800 --> 00:34:52,950 WELL, HOW'D YOU GET TO KNOW HER? 448 00:34:53,240 --> 00:34:54,719 THERE'S ALSO A CERTAIN MR. PARMADOOR... 449 00:34:55,000 --> 00:34:56,558 NOW HE NEARLY FED HIMSELF TO HIS FISH 450 00:34:56,840 --> 00:34:57,909 WHEN I MENTIONED YOUR NAME. 451 00:34:58,240 --> 00:34:58,956 WELL, THEY HAVE NO COMPLAINTS WITH ME. 452 00:34:59,280 --> 00:35:00,030 THEY'VE MADE MONEY WITH ME. 453 00:35:00,360 --> 00:35:01,236 YOU GET ALONG WITH THEM? 454 00:35:01,520 --> 00:35:02,316 NO PROBLEMS? 455 00:35:02,600 --> 00:35:06,275 WELL, YES. 456 00:35:06,560 --> 00:35:09,870 IT TOOK A LITTLE PERSUADING TO, UH, 457 00:35:10,200 --> 00:35:13,272 GET THEM TO AGREE TO INVEST. 458 00:35:13,560 --> 00:35:15,152 WHAT KIND OF PERSUASION, MARVIN? 459 00:35:15,440 --> 00:35:19,319 WELL, THEY ASKED TO SEE EXAMPLES OF MY WORK. 460 00:35:19,600 --> 00:35:23,388 THEY MUST HAVE LIKED WHAT THEY SAW. 461 00:35:23,720 --> 00:35:24,709 NOT REALLY. 462 00:35:25,000 --> 00:35:26,069 THEN WHY DID THEY INVEST? 463 00:35:26,360 --> 00:35:31,912 WELL, THEY COMMITTED CERTAIN INDISCRETIONS 464 00:35:32,200 --> 00:35:34,430 AT A MOTEL THAT I OWN. 465 00:35:34,720 --> 00:35:38,429 AND THESE INDISCRETIONS 466 00:35:38,720 --> 00:35:44,033 WERE CAPTURED, ER, CINEMATICALLY. 467 00:35:44,360 --> 00:35:45,315 WAIT A MINUTE, WAIT A MINUTE, 468 00:35:45,600 --> 00:35:48,398 ARE YOU SAYING THAT YOUR INVESTORS 469 00:35:48,680 --> 00:35:53,037 WERE UNKNOWING PARTICIPANTS IN THE EXAMPLES 470 00:35:53,320 --> 00:35:55,390 THAT YOU SHOWED THEM OF YOUR WORK? 471 00:35:56,360 --> 00:35:57,349 YES. 472 00:35:57,640 --> 00:35:59,232 OH, BOY. 473 00:35:59,520 --> 00:36:00,430 OH, MARVIN, 474 00:36:00,760 --> 00:36:03,228 YOU ARE A VERY ENTERPRISING FELLOW. 475 00:36:03,520 --> 00:36:07,832 NOT TO MENTION A LIAR, A PORNOGRAPHER, A BLACKMAILER. 476 00:36:08,120 --> 00:36:10,190 WELL, I NEVER SAID I WAS PERFECT. 477 00:36:11,680 --> 00:36:12,874 OKAY. 478 00:36:13,160 --> 00:36:14,275 WHERE DO WE GO FROM HERE? 479 00:36:14,600 --> 00:36:17,160 WELL, 480 00:36:17,480 --> 00:36:19,789 FIRST WE TRY TO TIE UP A FEW OF THESE PIECES. 481 00:36:20,080 --> 00:36:22,435 OKAY. 482 00:36:22,720 --> 00:36:24,233 YOU SAY YOU RECEIVED THE FIRST THREATENING PHONE CALL, 483 00:36:24,520 --> 00:36:26,192 -TEN DAYS AGO. -YES. 484 00:36:26,480 --> 00:36:27,708 WERE YOU, UH, WERE YOU SHOOTING 485 00:36:28,000 --> 00:36:29,513 ONE OF YOUR EPIDERMAL EPICS THEN? 486 00:36:29,800 --> 00:36:32,030 SALLY OF SIN CITY 487 00:36:32,320 --> 00:36:34,595 THAT IS A PROVOCATIVE TITLE. 488 00:36:34,920 --> 00:36:36,114 I THOUGHT OF IT MYSELF. 489 00:36:36,400 --> 00:36:38,470 OH. I'VE GOT A TITLE FOR YOU, MARVIN. 490 00:36:38,760 --> 00:36:41,069 IT'S CALLED "SHOW US THE NAUGHTY FILM." 491 00:36:41,360 --> 00:36:43,078 YEAH, WELL I'VE GOT A TITLE FOR YOU TOO. 492 00:36:43,360 --> 00:36:45,999 IT'S CALLED "GO TELL CHARLIE WHAT'S GOING ON." 493 00:36:46,280 --> 00:36:49,477 YES. 494 00:36:49,800 --> 00:36:54,271 KARL, RUN SALL YOF SIN CITY, ALIAS LI TTLEBO PEEP. 495 00:36:54,600 --> 00:36:57,160 LITTLE BO PEEP? 496 00:37:01,080 --> 00:37:02,991 MARVIN, REALLY. 497 00:37:03,320 --> 00:37:04,196 THERE ARE JUST SCENES. 498 00:37:04,480 --> 00:37:06,436 WE HAVEN'T PUT THE PICTURE TOGETHER YET. 499 00:37:06,720 --> 00:37:09,871 TACKY, MARVIN, THIS IS VERY TACKY STUFF. 500 00:37:20,600 --> 00:37:23,398 -HEY WAIT A MINUTE. -WHAT'S WRONG? 501 00:37:23,680 --> 00:37:24,795 RUN THE FILM BACK. 502 00:37:25,080 --> 00:37:26,593 OH, NO, NO, NO. 503 00:37:26,920 --> 00:37:28,512 THIS MAN DIDN'T-- HE WASN'T SUPPOSED TO BE IN THIS SHOT. 504 00:37:28,840 --> 00:37:29,909 NO, THERE'S A BETTER SEGMENT COMING UP. 505 00:37:30,200 --> 00:37:31,315 I DON'T CARE ABOUT THAT. 506 00:37:31,640 --> 00:37:33,790 RUN THE FILM BACK. I WANT TO SEE THAT MAN'S FACE. 507 00:37:34,960 --> 00:37:35,836 RUN THE FILM BACK, KARL. 508 00:37:36,120 --> 00:37:37,109 AND KEEP RE-RUNNING |T. 509 00:37:37,440 --> 00:37:38,668 I WANT TO GET A CLOSER LOOK AT HIM. 510 00:37:38,960 --> 00:37:39,756 KEEP RE-RUNNING IT, KARL. 511 00:37:40,040 --> 00:37:41,473 WHAT IS IT? 512 00:37:41,760 --> 00:37:44,115 YOU KNOW THAT MAN WHO SHOT AT ME THE OTHER NIGHT IN THE GARAGE? 513 00:37:44,440 --> 00:37:45,316 YEAH? 514 00:37:45,600 --> 00:37:48,512 HE WAS ABOUT THE SAME SIZE, THAT SAME BLOND HAIR. 515 00:37:48,800 --> 00:37:49,789 YOU SURE? 516 00:37:50,120 --> 00:37:52,076 NO, IT'S, IT'S JUST A FEELING I HAVE. 517 00:37:52,360 --> 00:37:53,554 THE BLOND HAIR. 518 00:37:53,840 --> 00:37:55,273 WELL, WAIT. SO, SO WHAT YOU'RE SAYING IS THAT 519 00:37:55,560 --> 00:37:56,515 THIS IS THE PIECE OF FILM 520 00:37:56,800 --> 00:37:58,552 THAT WAS SUPPOSED TO BE BURNED IN THE FIRE? 521 00:37:58,840 --> 00:38:00,353 MAYBE. 522 00:38:00,640 --> 00:38:02,039 WELL, WHY? YOU CAN'T EVEN SEE HIS FACE. 523 00:38:02,320 --> 00:38:04,151 WELL, THAT MAN DOESN'T KNOW THAT. 524 00:38:04,440 --> 00:38:05,634 RIGHT! AND FOR SOME REASON 525 00:38:05,960 --> 00:38:08,918 HE DOESN'T WANT TO BE SEEN THERE, NOW. 526 00:38:11,680 --> 00:38:15,514 JILL: MARVIN, STOP THE FILM THIS TIME. 527 00:38:21,600 --> 00:38:24,637 MARVIN WHAT'S UP THE HILL FROM THAT BUILDING? 528 00:38:24,920 --> 00:38:26,956 NOTHING. JUST AN OLD APARTMENT HOUSE. 529 00:38:27,280 --> 00:38:28,633 I'M GOING TO GO THERE AND HAVE A LOOK. 530 00:38:28,920 --> 00:38:29,955 WHAT FOR? 531 00:38:30,280 --> 00:38:32,157 I DON'T KNOW, IT'S JUST A FEELING. 532 00:38:32,440 --> 00:38:34,317 MARVIN, CAN YOU GET ME A BLOW-UP OF THAT PIECE OF FILM? 533 00:38:34,600 --> 00:38:36,352 -A CLOSE-UP ON THE CAR? -SURE. 534 00:38:36,640 --> 00:38:37,470 THE LICENSE PLATE? 535 00:38:37,760 --> 00:38:39,193 LISTEN, UH, KELLY, 536 00:38:39,480 --> 00:38:41,038 WHAT'S THAT GUY'S NAME THAT WE WENT TO THE ACADEMY WITH 537 00:38:41,320 --> 00:38:42,230 WHO WORKS AT THE DMV? 538 00:38:42,520 --> 00:38:43,270 -LT. CANTRELL. -ED CANTRELL. 539 00:38:43,560 --> 00:38:45,437 OKAY, LISTEN, I'LL CALL HIM. 540 00:38:45,760 --> 00:38:47,512 HE'LL PROBABLY PUT A RUSH ON IT FOR US. 541 00:38:47,840 --> 00:38:49,273 OKAY, LOOK I'LL STAY HERE, GET THE BLOW-UP, 542 00:38:49,560 --> 00:38:50,595 CALL YOU AT CANTRELL'S OFFICE 543 00:38:50,920 --> 00:38:51,796 -THAT WAY WE'LL SAVE TIME. -RIGHT. 544 00:38:52,080 --> 00:38:53,513 I'VE GOT TWO MORE MINUTES ON THIS REEL 545 00:38:53,840 --> 00:38:55,910 AND I THINK WE HAVE A BETTER ANGLE ON THE LICENSE PLATE. 546 00:38:56,200 --> 00:38:57,269 LET ME KNOW IF YOU FIND SOMETHING. ALL RIGHT. 547 00:38:57,600 --> 00:38:58,715 WHY DON'T YOU ROLL THE REST OF IT. 548 00:38:59,000 --> 00:39:01,958 KEEP ON ROLLING IT, KARL. ALL OF IT. 549 00:39:45,000 --> 00:39:46,115 OH, HELLO, YES, 550 00:39:46,440 --> 00:39:49,716 CAN I HAVE LIEUTENANT ED CANTRELL'S OFFICE, PLEASE? 551 00:39:50,000 --> 00:39:52,468 THANK YOU. 552 00:39:52,760 --> 00:39:56,548 ED, THIS IS KELLY GARRETT. IS SABRINA THERE? 553 00:39:56,840 --> 00:39:58,558 MARVIN, WHAT WAS IT AGAIN? 554 00:39:58,840 --> 00:40:02,958 2-9-4... 555 00:40:03,240 --> 00:40:06,437 O-D-L. 556 00:40:06,720 --> 00:40:09,393 SABRINA, I'VE GOT IT. 557 00:40:09,680 --> 00:40:13,229 LICENSE NUMBER 294 ODL. 558 00:40:13,520 --> 00:40:14,669 OKAY, YOU START ON IT. 559 00:40:14,960 --> 00:40:16,359 I'LL BE DOWN IN A MINUTE. 560 00:40:16,680 --> 00:40:17,476 BYE. 561 00:40:20,080 --> 00:40:23,595 MARVIN, WE MAY PULL YOU OUT OF THIS YET. 562 00:41:20,720 --> 00:41:21,709 MANESCU. 563 00:41:22,040 --> 00:41:23,837 THAT'S BAYLOR'S CASE. 564 00:42:21,240 --> 00:42:22,912 MOBILE OPERA TOR. 565 00:42:32,960 --> 00:42:33,870 YEAH. 566 00:42:34,160 --> 00:42:35,752 THIS IS JILL MUNROE. 567 00:42:36,040 --> 00:42:37,155 PAUL BAYLOR GAVE ME THIS NUMBER. 568 00:42:37,480 --> 00:42:38,799 I UNDERSTAND. 569 00:42:39,080 --> 00:42:40,479 OH, THEN YOU KNOW ABOUT THE GOLDMAN CASE? 570 00:42:40,760 --> 00:42:42,591 YES, AND I'VE BEEN ALERTED 571 00:42:42,880 --> 00:42:45,155 TO HELP YOU IN ANY POSSIBLE WAY I CAN, MISS MUNROE. 572 00:42:45,440 --> 00:42:46,395 GREAT. 573 00:42:46,680 --> 00:42:47,749 I'M AT THE CORNER OF EIGHTH AND LAGRANDE. 574 00:42:48,080 --> 00:42:49,957 WOULD YOU LIKE ME TO COME RIGHT DOWN THERE? 575 00:42:50,240 --> 00:42:53,437 YES, I THINK I'VE STUMBLED ON SOMETHING. 576 00:42:53,720 --> 00:42:54,630 IMONMYWAY. 577 00:42:54,960 --> 00:42:57,315 THANK YOU. 578 00:43:32,680 --> 00:43:34,113 DID YOU FIND OUT WHOSE LICENSE IT WAS? 579 00:43:34,400 --> 00:43:36,550 YEAH, WE'VE GOT TO GET TO JILL, FAST! 580 00:43:37,920 --> 00:43:39,114 HELLO, MOBILE? 581 00:43:39,400 --> 00:43:41,038 MOBILE OPERATOR THIS IS AN EMERGENCY. 582 00:44:19,200 --> 00:44:19,996 MISS MUNROE? 583 00:44:20,280 --> 00:44:21,793 YES? 584 00:44:22,080 --> 00:44:23,433 I'M DETECTIVE SERGEANT DANNER. 585 00:44:23,760 --> 00:44:26,354 THIS IS DETECTIVE LEMBECK. 586 00:44:26,680 --> 00:44:28,033 | APPRECIATE Y'ALL COMING. 587 00:44:28,320 --> 00:44:30,231 YOU SAID THAT YOU STUMBLED ON SOMETHING. 588 00:44:30,560 --> 00:44:33,120 YES. PAUL BAYLOR TOLD YOU, WE WERE STUDYING THE GOLDMAN FILM? 589 00:44:33,440 --> 00:44:34,509 YES. 590 00:44:34,800 --> 00:44:35,471 DID YOU FIND SOMETHING? 591 00:44:35,760 --> 00:44:39,548 WELL, LET ME SHOW YOU. 592 00:44:39,840 --> 00:44:43,435 WHEN THEY WERE FILMING HERE, A MAN CAME OUT OF THIS ALLEY, 593 00:44:43,720 --> 00:44:46,871 SORT OF PANICKED WHEN HE SAW THE CAMERAS, HE TURNED AROUND, 594 00:44:47,200 --> 00:44:49,316 GOT INTO A CAR THAT WAS PARKED RIGHT THERE AND DROVE AWAY 595 00:44:49,600 --> 00:44:50,510 WITH ANOTHER MAN. 596 00:44:50,800 --> 00:44:52,279 A MAN. COULD YOU IDENTIFY HIM? 597 00:44:52,560 --> 00:44:55,472 NO, OTHER THAN HE HAD BLONDE HAIR, AND IT WAS DARK. 598 00:44:55,760 --> 00:44:58,513 SO I FIGURED I'D COME DOWN HERE, AND LOOK AROUND FOR MYSELF. 599 00:44:58,840 --> 00:45:00,353 LOOK AROUND, FOR WHAT? 600 00:45:00,640 --> 00:45:01,789 WELL, I DIDN'T KNOW. 601 00:45:02,080 --> 00:45:04,958 BUT LOOK I FOUND OUT, IN THAT REAR APARTMENT 602 00:45:05,240 --> 00:45:07,629 IN THE CORNER THAT'S WHERE MANESCU LIVES. 603 00:45:07,920 --> 00:45:09,194 MANESCU? 604 00:45:09,480 --> 00:45:11,198 YOU KNOW, MANESCU, 605 00:45:11,520 --> 00:45:16,036 THAT'S THE MAN PAUL BAYLOR INDICTED FOR MURDER. 606 00:45:16,320 --> 00:45:19,153 HIS TRIAL IS DUE TO START SOMETIME NEXT WEEK. 607 00:45:19,480 --> 00:45:20,754 THAT'S RIGHT. 608 00:45:21,040 --> 00:45:23,873 MANESCU IS SUPPOSED TO LIVE HERE IN THIS AREA, RIGHT? 609 00:45:24,160 --> 00:45:25,513 OH, I'M SORRY. 610 00:45:25,800 --> 00:45:27,074 I'M NOT FAMILIAR WITH THAT CASE. 611 00:45:27,400 --> 00:45:30,153 OH, WELL, PAUL BAYLOR TOLD ME 612 00:45:30,440 --> 00:45:33,000 HE RECEIVED SOME CALLS TELLING HIM 613 00:45:33,280 --> 00:45:35,510 TO KEEP AN EYE ON THE GOLDMAN LAB. 614 00:45:35,800 --> 00:45:38,997 AND I KNEW HE WAS IN THE MIDDLE OF THE MANESCU TRIAL, SO, 615 00:45:39,280 --> 00:45:41,919 I FIGURED THERE WAS SOME SORT OF CONNECTION. 616 00:45:42,200 --> 00:45:43,679 POSSIBLE. 617 00:46:08,880 --> 00:46:12,509 UM, WELL, THE NEWSPAPERS SAY 618 00:46:12,800 --> 00:46:14,153 THAT MANESCU CLAIMED 619 00:46:14,440 --> 00:46:16,749 THE EVIDENCE WAS PLANTED IN HIS APARTMENT. 620 00:46:17,080 --> 00:46:18,035 I'M NOT FOLLOWING YOU. 621 00:46:18,320 --> 00:46:24,190 WELL, THE BLOND MAN, YOU KNOW HE-- 622 00:46:24,480 --> 00:46:30,715 UH, I EXPLAINED IT, WHEN HE WAS-- 623 00:46:32,960 --> 00:46:35,554 WELL, LET ME SHOW YOU OKAY? 624 00:46:39,000 --> 00:46:40,513 [GUNSHOT] 625 00:46:43,680 --> 00:46:45,671 DON'T! 626 00:46:45,960 --> 00:46:47,029 HOLD IT! 627 00:47:19,720 --> 00:47:20,869 I'M SORRY. 628 00:47:21,160 --> 00:47:22,559 ME TOO. 629 00:47:22,840 --> 00:47:27,356 ALL THOSE YEARS, FAST FORWARD. 630 00:47:31,280 --> 00:47:33,032 NOW I GUESS I'LL HAVE TO LOOK BACK. 631 00:47:34,880 --> 00:47:36,154 WATCH OUT FOR THE DEVIL. 632 00:47:46,600 --> 00:47:49,319 BEFORE YOU CONDEMN BAYLOR AND US, REMEMBER, 633 00:47:49,600 --> 00:47:52,114 HE'S GOT THE BEST DAMN CONVICTION RATE IN THE STATE. 634 00:47:52,400 --> 00:47:54,994 HOW MANY TIMES HAVE YOU PLANTED EVIDENCE? 635 00:47:55,280 --> 00:47:58,636 WE DID WHAT WAS NECESSARY, WHEN IT WAS NECESSARY. 636 00:47:58,920 --> 00:48:01,992 AND THAT'S THE MOST FRIGHTENING THING I'VE HEARD TODAY. 637 00:48:11,640 --> 00:48:13,596 YOU OKAY? 638 00:48:13,880 --> 00:48:15,233 I'VE HAD BETTER DAYS. 639 00:48:15,520 --> 00:48:16,236 YEAH. 640 00:48:30,680 --> 00:48:32,511 JILL, THE ANONYMOUS PHONE CALLS 641 00:48:32,840 --> 00:48:35,513 BA YL OR CLAIMS T0 HA VE RECEIVED: THERE WERE NONE? 642 00:48:35,840 --> 00:48:38,400 NO, HE WAS JUST BAITING ME INTO WORKING WITH HIM 643 00:48:38,720 --> 00:48:40,039 SO HE'D KNOW IF I WAS GETTING TOO CLOSE. 644 00:48:40,320 --> 00:48:42,470 ESTHER GOLDMAN CALLED ME. SHE'S VERY GRA TEFUL. 645 00:48:42,760 --> 00:48:43,988 I TAKE IT SHE DOESN'T KNOWABOUT 646 00:48:44,280 --> 00:48:46,669 MARVIN 'S CINEMA TIC INDISCRETIONS .7 647 00:48:46,960 --> 00:48:49,633 MARVIN'S TAKEN HER ON A SHORT CRUISE. 648 00:48:49,920 --> 00:48:50,909 HOPEFULLY BY THE TIME HE GETS BACK, 649 00:48:51,200 --> 00:48:52,269 THE MEDIA WILL HAVE MOVED ON 650 00:48:52,560 --> 00:48:55,074 TO SOME OTHER FORM OF CURRENT EVENTS. 651 00:48:55,400 --> 00:48:57,391 SINCE MARVIN WAS COOPERATIVE 652 00:48:57,680 --> 00:48:58,954 THERE WON'T BE ANY CHARGES FILED. 653 00:48:59,280 --> 00:49:00,793 BY THE WAY, CHARLIE, HOW'S MILLICENT, YOUR FISH? 654 00:49:01,120 --> 00:49:05,716 STILL BELLY UP. I'M AFRAID. 655 00:49:06,040 --> 00:49:09,157 WHAT ABOUT THE ICHTHYOLOGIST, GLORIA? 656 00:49:09,440 --> 00:49:10,475 OH, ABOUT THE SAME. 657 00:49:10,800 --> 00:49:13,360 I'M STILL SAYING A PRAYER FOR HER, CHARLIE. 658 00:49:13,640 --> 00:49:14,675 GL ORIA .7 659 00:49:14,960 --> 00:49:16,393 NO, MILLICENT. GLORIA'S PRAYERS 660 00:49:16,720 --> 00:49:17,789 HAVE ALREADY BEEN ANSWERED BY NOW. 661 00:49:18,080 --> 00:49:21,436 I'M DOING MY BEST TO KEEP HER FAITH INTACT. 662 00:49:21,760 --> 00:49:23,273 BYE, ANGELS. 663 00:49:26,480 --> 00:49:29,916 BY THE WAY, WHAT IS AN ICHTHYOLOGIST? 664 00:49:30,200 --> 00:49:31,758 IT DOESN'T MATTER, BOSLEY. 665 00:49:32,040 --> 00:49:33,951 IT DOESN'T MATTER. 46476

Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.