All language subtitles for charlies.angels.s02e21.remastered.bdrip.x264-rovers-en

CHARLIE:
Once upon a time,

there were three little girls
who went to the police academy

two in los Angeles. ..

the other, in San Francisco,

and they were each assigned
very hazardous duties...

but i took them away
from all that,

and now they work for me.

My name is Charlie.

[m]

I Tripping
To the morning n

i Need a friend tonight r

fl Can you spare a dollar
For the fare? r

fl But it I'm tasting sunshine
in the morning light I

[ VOICE BREAKING]

I l’m hoping
All my friends... n

MAN: What you're hearing,
ladies and gentlemen,

is a recording
made earlier this evening

by the W TR mobile news unit

of the Amy Waters performance
at the Concert Hall

The internationally acclaimed
singing star

appeared to suffer
an emotional breakdown

halfway
through her performance.

She ran from the stage,

and as yet,
there has been no report...

[TURNS RADIO OFF]

Listen...

I keep forgetting
your name.

Lenny.

Right.

I gotta make a phone call.

Then we'll go
to the police station.

Okay?

| forgot.

He took all my money.

You know, I'm good for the
fare, Lenny.

I know that, Miss Waters.

I need a dime.

You're good people, Lenny.

[TELEPHONE RINGS]

Yes?

Daddy?

Honey...

Where'd you go?
Where you been?

I don't know.

I've just been riding around.

Daddy...

Can I come home?

Do you have to ask?

I really want to come home,
Daddy.

I want to...

I want to make things right
this time, you know?

I know, dear, I know.

I've been worried sick
about you.

Everybody has.

Police are here
asking about you.

Would you keep them there,
Daddy, because...

I have something
I want to tell them.

I love you, Daddy.

We don’t have to go

to the police station now,
Lenny.

They're at my dad's.

We'll go there.

Whatever you say, Miss Waters.

This is the place.

Good night.

Okay.

Good night, Lenny.

Hey, Amy!

Hey, Amy...

How are you?

Hey.

What-- What are you
doing here?

No! No! No!
[SOBBING]

Shh.

Shh. Quiet.
Quiet, Amy.

[STRUGGLING]

Quiet.

Please...
Oh, please, don't.

[CRYING]
No... Let go of me...

it Tripping to the morning i

i Need a friend tonight r

.t Can you spare a dollar
For the fare? r

.t But it l'rn tasting sunshine
in the morning light I

fl Sure l'm hoping
All my friends are there r

it Tripping to the morning i

[TURNS TAPE OFF]

They've been briefed, Charlie.

CHARLIE: Amy Waters was one
of my fa vorite artists, Angels

I want to know why she died.

Well, Charlie,
the newspapers said

it was a heroin overdose.

CHARLIE:
/ know Sabrina.

Amy did have
a history of drug abuse,

but her father insists

that she was straightening
herself out.

Interesting thing, Charlie.

All her arrests
were for cocaine.

I mean, as far as anybody
knows, she never
touched heroin.

Another thing, Charlie.

The police report said
there were bruises on her face

CHARLIE: Right, Kelly,
so we've got to ask

was the heroin administered
under protest?

Well, her tathersaid
that she was rational

when she called him, Charlie.

From the amount of heroin
that was found in her system,

that would have been
impossible.

So the overdose
came after the phone call.

So it would seem, Charlie.

CHARLIE: Let's find out
why it happened, Angels.

v” Tripping to the morning.../

What a waste.

i... Need a friend tonight r

A Can you spare a dollar
For the fare? fl

FATHER: She was
getting a hold of herself,

and she wanted to live,
and live right.

You mean she was trying
to quit using drugs?

She was quitting.

She knew it was wrong
to mess around with that stuff

And you're sure

she was all right
when she called you?

She was tired.

It'd been a hell of a night,

falling apart on stage
like that.

Why did she fall apart,
Mr. Waters?

Problems, pressures--

people coming at her
from all sides,

making demands.

ltjust caught up with her.

She said she'd been
riding around in a cab?

She never liked
to drive.

Limousines made her
uncomfortable.

Any time she came to
town, she used a cab.

Guess she used them
wherever she went.

But I know one thing...

When she called me and said
she wanted to come home,

it meant just that.

Something or somebody
she saw that night

stopped her,

and you gotta find out
what happened...

because if you don't,

I'll go crazy for sure.

We'll find out, Mr. Waters.

Thank you.

Yeah.

Lenny?

That's me.

Hi. My name is Kris Munroe.

I'm a reporter with
Country Music Quarterly.

This is my editor,
Mr. Bosley.

Hi, Lenny.

Hi.

The dispatcher told us
that you were the one

that was with Amy Waters
a couple of nights ago...

the night she died.

Yeah. That was some night.

Boy, when I heard she was dead
I didn't know her,

but still, it went down
pretty heavy.

The dispatcher's log
said that you picked her up

at the Concert Hall at 9:30.

Yeah, that's about right.

And you
dropped her off

at her falhefs place
at 12:10.

Right.

Can you tell me,
what kind of shape was she in?

Well, she was
pretty strung out.

Did she have
any bruises

when she left you, Lenny?

Yeah, she did.

Do you know how she got them?

Yeah, she picked them up
at the first place we stopped.

Lenny, um,
we've been wanting

to do this special feature
on Amy Waters

for a long time,

and we just...

we haven't been able to
find the right angle.

I think we've got it now,

"The last few hours
of Amy Waters,"

and we sure could use
your help.

Me? What can I do?

I'd like you to take me

every place
you took her that night.

I don't understand.

I want to know where she went,
who she saw...

I want to know
who gave her those bruises.

BOSLEY: Now, I want you
to understand, Lenny,

that my magazine

will pay you and the company
for your time.

Well, it's okay with me.

Maybe you can find out
what happened to her.

She was a good lady.

So, I'll just sign in
and we'll roll, huh?

Great.

Got your purse.

How we doing?

Okay, we got ourwork
cut out for us.

She made a lot of stops.

Okay, Sabrina and I
will follow

in separate cars

and check each place out

after Lenny
takes you there.

Okay, good.
I got my microphone here.

Did you guys
check your receivers?

Yeah, it's working
fine.

Okay, I figure Lenny's

going to be a little
more relaxed,

maybe remember more,

if he doesn't know he's
being monitored.

And I'll get copies
of the dispatcher's logs,

take those,
go back to the office,

and just oversee
the operation from there.

Sort of like
afield marshal.

Yeah, you could say that.

Oh, please don't.

See you later.

Mm-hmm. Bye.

What's the matter
with her?

Ready?

Yeah, if you are.

KRIS:
This was her first stop,
right?

Right.

How long was she in there?

About
a half an hour.

Do you have any idea
who she saw in there, Lenny?

She didn't say,

but when she came out,
she'd been slapped around,

and she was minus her cash.

KRIS: You mean somebody
robbed her?

LENNY: Well, ldon't know
what you'd call it,

but somebody
took her money,

because she couldn't
pay the fare.

The company's
collecting it today...

from her father,
l think.

You're doing good,
Lenny

I'll take this one
and check out the apartment.

Check you later.

[KNOCKING]

Yes?

Well, Amy's taste in music
was a little off-beat,

so I guess her taste in men
ran the same.

Lady, what are you running?

Some kind of riddle contest?

Cutting out, huh?

Lady, what are
you jawing about?

Amy Waters.

You remember
Amy Waters?

The manager said
she spent some time

in this apartment...

and she dropped by
the night she died.

Sol knew the girl.
So what? Big deal.

Well, she left here with
a face full of bruises

and an empty wallet.

Just who the devil are you?

The point is,

who are you?

And how does Amy Waters
figure in your action?

You're not a cop?

I could fix it so it is a cop
asking you these questions.

Okay, okay.

Look, Amy hired me
as back-up guitarist

a couple of months ago
in Phoenix.

We hit it off,

so naturally I
stayed with her.

Hit it off as in
punching her out?

Now, wait a minute.
That wasn't my fault.

She stormed in here,
started screaming at me.

About what?

She was crazy.

Said |was...using her.

Told me to get out.

Of your own apartment?

Well, look, baby,
she paid the rent.

And your plane fare
back to Phoenix.

Look, Amy's been picking up
tabs for guys like me

fora long, long time.

I can't imagine
what you did for her.

What they all
did for her.

Gave her a nose full of coke

and tell herwhat
she wanted to hear.

You must play
terrific guitar,

because the rest of your act--
it stinks.

Yeah, what time does the plane
get into Phoenix?

Okay. Thanks a lot.

[DOOR OPENING]

Hey, Freddie.

What are you
doing here?

First,
I'm asking questions.

Hey, man, why the gun?

Who was the girl?

What girl?

The foxy one
that just walked out of here.

Man, she wouldn't say.

What'd she want?

She just asked some questions.

About who?

Amy Waters.

What'd you tell her?

Nothing. I swear.
Put the gun away.

Now, listen, I want to know
exactly what she asked

and exactly what you told her.

I told her nothing.

Now, I'm telling you,

put that gun away
before I take it away from you

Not till you tell me
what I want to know.

Okay, Freddie.

Okay, man, she just--

[GUNFIRE THROUGH SILENCER]

You say you and Amy
got here about 10:20?

Yeah, about then.

KRIS:
Do you know

who she went in to see
in that restaurant?

LENNY: The owner,
l think.

KRIS:
Cooperman?

How long was she
in there, do you know?

LENNY:
Not very long.

Mobile office.

She was crying
when she came out.

You know, l didn't figure
it was my place to ask

I got the feeling
she was a very private lady.

Uh, Bosley? Yeah, it's me.

I need a computer run-down.
Cooperman.

Yeah, owns a restaurant,
12th and Jefferson.

That's okay. I'll wait.

[KNOCKING]

I didn't hear anybody
say "come in."

Well, I didn't hear
anybody say not to.

Well, how about "Please leave.

I'm busy"?

Ah! I understand
you're veiy good

at asking people to leave,
Mr. Cooperman.

You don't know me,
so I'm going to tell you.

I don't like word games.

I don't like ladies
who play them.

You got something to say,
say it and get out of here.

Very forceful.

You're veiy forceful,
Mr. Cooperman.

Is that how you got control

of Amy Waters' music
publishing company?

Lady, you better tell me
who you are and what you want,

and you better do it quick.

Okay. Well, you know, um,
I could be with the IRS, huh?

Or, um, lcould be

with the Securities
and Exchange Commission.

But I'm not.

I'm a friend of Amy Waters,
Mr. Cooperman,

and that's lucky
for you,

because, you know,
those people,

they take a very dim view

of using
legitimate business to...

to wash syndicate money.

[LAUGHING]

Let me tell you
something,

young lady.

I don't care
if you're from

any of those
esteemed groups.

I own restaurants,
car agencies, furniture stores

and now a music publishing
company.

So far, nobody's tied me
into anything illegal.

I know. I checked.

You've got a very good roster
of lawyers.

The best. So get to the point.

The point is, Mr. Cooperman,
that on the night Amy died,

she visited several people,

and one ofthe places
she came to was here.

Well, now...

I'm just wondering why.

She walked in,

we talked,
she walked out.

You know, I just talked
to her father,

Mr. Cooperman,

and he said Amy
didn't want

to sell that music
publishing company

to anybody...

Least of all you,
Mr. Cooperman.

She changed her mind.

Or maybe you made
her change it.

That's coercion,

and for coercion,

you can do a little time
in the old slammer.

Since the lady's dead,

you'll sweat proving
I made her do anything.

Mr. Cooperman, if you had
anything to do with her death,

you're going to have

a few anxious
moments yourself.

Good day, sir.

Oh...

Uh...you will excuse me
for barging in.

Taylor...

if she starts connecting me
with the wrong people,

we've got trouble.

Will you excuse me
a minute, Lenny?

Would you like
more coffee?

[PHONE BEEPS]

Okay. ls everybody here?

KELLY:
With you, Bos.

Yeah, here, Bos.

Okay. Go ahead, Kris.

Okay. I'm at the Blue Plate
Diner, 11th and Mason.

Now, when they left
Cooperman's restaurant,

they got here about 11:45,
and it's a funny thing...

the lady that owns this place

said that Amy
was feeling real good

when she arrived here.

Her boyfriend
had just beaten her up

and taken all her cash.

How could she be feeling good?

KRIS: Yeah,
that i can't figure out.

Well, when she left
Cooperman's, she was crying.

| just met Cooperman.
He's something to cry about.

I don't know,
something doesn't make sense.

BOSLEY: Well, maybe
well get the answer

at her next stop,

Which, according to
the dispatcher's log,

will be at...

South Tower.

South Tower?
I'm five minutes from there.

Okay. You take it, Bree.

I've got another little
problem.

What is it, Kelly?

I've just picked up a tail--
fellow in a red car.

I think I better find out
what he's all about.

I'll get back to you.

Okay. You be careful.

Every day in every way.

How long was she here?

About half an hour.

LENNY: ldon't know
who she saw

KRIS: Well, it looks like
the last stop

is where she made
the phone call

to her father.

You want to see it?

Yep, I want to see it.

[GUNFIRE]

[GUNFIRE]

DONEGER: l don't know
what you're talking about.

SABRINA: Yes, you do,
Mr. Doneger.

You worked for Cooperman
and the syndicate.

That was a long time ago.

Yeah, but you
and I both know

that once you work
for those people,

you can neverwalk away
from them.

Now, that's the reason why

when I saw your name
on the registiy downstairs,

I knew Cooperman's man
had to be right behind me

to see if I'd made the
connection between you two.

Listen, I didn't tell anybody
to shoot you.

I got no reason.

I don't know that.

As a lawyer and as
Amy Waters' personal manager,

you could influence her

to sell her music publishing
company to Cooperman,

and maybe you even sold it
to him yourself

and you didn't tell her
and she found out,

and that's why she came here
that night.

You can't prove any ofthis.

I bet I can.

I bet there's evidence

that could put you and
Cooperman in prison,

and that's why
he had his guy follow me

and he told him to shoot me
if I came near you.

You're just trying to bluff.

No, I'm not. I'm not
bluffing, but you are,

and you're doing it
veiy badly,

and if you were smart,
you'd pick up that phone,

you'd call the police,
and you'd tiy to make a deal,

because now that we've talked,
we're both targets.

Listen, I...

I didn't want to
sell to Cooperman.

|...he--

he threatened
to get rough,

and I remembered
how rough he can get.

I have her power of attorney.

I signed all the papers
without telling her.

And she found out the night
she died, is that right?

Yeah. She threatened
to expose me and Cooperman.

So you killed her?

I had nothing to do
with her death.

I've never seen her

after she walked
out of here,

and I can prove that!

I hope you can.

I hope you can prove that,
because you just might have to

And I wasn't kidding
about that police protection.

Like you said, Mr. Cooperman
can get mighty rough.

What tangled webs we
weave, huh?

Nora, Robert, Ina, 217.

Okay, Kelly.

I'll run it through DMV
and get back to you,

but until we know who he is,

maybe you would be better off
it you were behind
watching him.

Good idea, Bos.

[HONKING]

[HONKING]

[PHONE BEEPS]

Hello?

Bree? Kelly. How you doing?

SAB RI NA:
0h, l'm terrific.

Other than getting shot at
a couple of times,

l'm just terrific.

Who shot at you?

Well, some guy I picked up
at Cooperman's.

Listen, I found out that
Cooperman and Amy's manager

had a little conspiracy going.

Well, are you all right?

SABRINA: Oh, yeah.
lsaid l'rn terrific.

Where are you?

KELLY: Well, I'm now behind
the fella in the red car,

but he might spot me.
Can you take him?

We're going east on Pico,
just past l/ista.

Sure. Look, I'll pick you up
at La Brea,

and then you lay back
behind me, huh?

You got it.

Bosley, we followed him

to a laundromat
at 16th and Alvarado.

All right.
Kris, are you with me?

Yeah. I'm with you.

BOSLEY:
Okay Now, Kelly--

when did you say
that the fellow in the red car

started to follow you?

KELLY: Right after I left
the guitar player's apartment.

Well, maybe the pieces
are starting to fit.

What you got?

BOSLEY: Well,
a half an hour ago,

the police found Am y's
guitar-playing boyfriend

shot to death
in his apartment.

SABRINA: Waita minute,
hold on, everybody.

KRIS:
What is it, Bree?

Now they're coming
out of the laundromat

with a soap machine.

Yeah, and they're putting it
in the back of a pickup truck.

I tell you what.

Kelly, why don't you
come up here and ride with me?

We'll follow them.

Bos, Kris, we'll check in
with you later.

Right.

The soap machine,
a launderette-

I don't get
the connection, Bosley.

Well, maybe I'm beginning to.

All right, well, listen,

I'm going to be in there
in a few minutes.

You can explain it to me,
all right?

What's that for?

Get in the cab. You drive.

Lenny...
Nowl

Okay, okay, just...

Who were you talking to
on the phone?

My editor,
Mr. Bosley.

What does he know
about the launderette?

What do you mean?

I heard you mention
a soap machine

and the launderette.
Now, what did he tell you?

Uh, nothing...

Yet...

He said he had something
to tell me and that...

or he'd heard something
and we'd get to it later.

You're lying.

I'm not lying,
Lenny.

I'm traveling too.
I don't know anything.

Listen, I stop,
I make a phone call,

I hear something
I do not understand,

and all of a sudden,
you pull a gun on me.

I mean, let's talk about this

before we make any dumb moves,
okay?

Now, what's going on?

What's always going on--
survival.

Yeah, well, we all know
how to play that game.

How did you play it
with Amy Waters, huh?

She had certain needs.
I helped her out.

Needs?

You mean cocaine?

When things got a little rough
around the edges?

Everybody needs something.

Yeah, well, what
do you need, Lenny?

Look, I'm no cop,
I got no ax to grind with you.

Maybe we can work
something out.

No. You're too close.

If you and your editor friend
put it all together,

you could hurt me bad,

so just drive
and keep your mouth shut

so I can think.

Come on, Lenny.

I said to keep your mouth
shut and drive!

RADIO:
Six-nine?

You still with
the pretty blonde lady?

SIX-nine,
this is Dispatch.

Hey, lenny,
you being a good boy?

Six-nine, do you read?

Do you read, Six-nine?

[PHONE BEEPS]

BOSLEY: Kelly?Bree?

SABRINA:
With you, Bos.

Listen, I think we've got
trouble here.

Now, I've been going over
my copy of the dispatcher's
log,

and something
keeps bothering me.

What do you mean, Bos?

Well, Lenny's cab

logged 83 miles from the time
he picked Amy up at
the concert

until he dropped her off
at her father's place...

So?

BOSLEY: So I've computed
the total distance

between each stop

that he entered
on the dispatcher's log,

and it comes out to 63 miles.

Then that means there's
an error of 20 miles.

Exactly...

unless you include
a stop at the launderette.

Then the mileage
does check out.

Bos, are you sure?

BOSLEY: Well, I've gone
over this ten times.

And that means
Lenny's been lying.

A distinct possibility,

and I've got another piece
of disturbing news for you.

Kris was supposed to be
back here 15 minutes ago,

and she hasn't shown.

KELLY: We haven't heard
from her either.

Maybe the transmitter
batteries are fading.

Bosley, if you're right

about the 20-mile
discrepancy

and the launderette,

then that means Lenny
could be tied in

with these two that we're
following in the truck.

BOSLEY: Exactly, and when
that thought occurred to me,

i called the cab company,

and they told me
they lost contact with Lenny,

and they couldn't reach him
on the radio.

[HANGS UP PHONE]

Turn right here.

Get out.

So, this is home,
huh,Lenny?

Do you like it?

Why not?

Yeah, why not?

Cheap, dirty, run down...

good enough
for the likes of me, right?

I don't know.
You tell me.

I'll tell you
one thing--

we ain't gonna be here
much longer.

We've made enough scores now
to get some of the good places

We?

Yeah, we.

Yeah, like the song says,

"With a little help
from my friends," huh?

Right. You gotta
have friends.

What did you bring her
here for?

She got to know
too much.

She ain't the only one.

What do you mean?

I mean whatever
her scene is,

she ain't
working it alone.

You know,
her foxy girlfriend,

the one you told me
about?

She got to Eban before
I could get to him.

I followed her
when she left Eban's,

but she ditched me.

[KNOCKING]

Okay, okay!

Let's go.
Flat down.

Get your hands
over your head.

There you are.
Go join your friends.

You okay?

Yeah. Next time, I
think I'll take a bus.

I'll call a cop
and an ambulance.

Right.

Nobody move.

You don't have to look at me.

Okay, what's the trick?

Maybe some special coin
or something, huh?

Let's have it.

Come on, come on.

All right.

Now, what do we have
here, gentlemen?

It's cocaine.

High-grade stuff.

Well, you sold a lot of dreams
didn't you, Lenny?

Everybody needs something...

Right?

Whatever you say.

[m]

n Tripping to the morning... A

Amy was trying
to clean herself up, Charlie,

but she was hurting pretty bad
that night,

so she made one more stop
at the launderette.

That's why
she was feeling so good

when she got to the diner.

CHARLIE: l understand Freddie,
Hank, and lenny

are all facing murder one
indictments, Ange/s.

SABRINA: Well, it was
a team effort, Charlie.

See, Hank and Freddie would
approach visiting artists

at the concert hall.

Now, the ones who were
interested in drugs,

they'd sell them
one of those little coins,

and they'd tell them to take
a cab to the launderette.

And Lenny's cab just happened
to be handy.

The customer never knew

that Lenny had set
the whole thing up himself.

Just before the customer
arrived at the launderette,

Hank or Freddie
would put the cocaine

in the soap machine.

No way to trace their moves,

and no way for the police
to get suspicious.

CHARLIE: Unless a customer
decided to tell the police.

Right,

which is what Lenny was afraid
Amy was going to do that night

and that's why he had
Hank and Freddie kill her.

When they saw me go into her
boyfriend's apartment,

who was also a customer,

they were afraid he
might have told me something,

so they killed him

and took the evidence
out of the launderette.

They would have probably
killed me too,

it! hadn't given them
the slip.

Yeah, well,
Lenny and his friends

didn't kill Amy
all by themselves.

Do you know something
we don't know?

Cooperman, Doneger,

her boyfriend...

They were all using her.

They all got
their pound of flesh.

Like Bree said,
it was a team effort.

CHARLIE:
lguess you're right, Kris,

But they didn't get all
of her.

She left us all
with something very special

I guess you're right, Charlie.

n ...tnpping the morning
Whoa n

n Tripping to the morning A

r With you n»