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[m]
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[HORN BLOWS]
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[m]
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[m]
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[m]
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[COMPLAINING INDISTINCTLY]
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[ENGINE REVVING]
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[m]
9
00:05:38,320 --> 00:05:39,435
HEY, FELLAS,
| NEED SOME HELP.
10
00:05:39,720 --> 00:05:40,596
MY ENGINE’S BURNING.
11
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OPEN THE DOOR,
I CAN'T HEAR YA.
12
00:05:43,840 --> 00:05:47,355
HEY, GIVE ME YOUR--
I NEED THE FIRE EXTINGUISHER.
13
00:05:49,160 --> 00:05:50,752
MY ENGINE’S BURNING.
14
00:05:51,040 --> 00:05:52,598
HEY, FELLAS.
I NEED SOME HELP.
15
00:05:53,680 --> 00:05:55,511
OPEN THE DOOR.
I CAN'T HEAR YA.
16
00:06:03,080 --> 00:06:04,672
I NEED THE FIRE EXTINGUISHER.
17
00:06:21,440 --> 00:06:24,034
[SHOUTING INDISTINCTLY]
18
00:06:28,560 --> 00:06:30,676
[m1
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00:07:37,120 --> 00:07:38,599
[ENGINE STARTS]
20
00:07:50,440 --> 00:07:52,556
[m1
21
00:08:28,160 --> 00:08:29,149
[LEVER CLUNKS]
22
00:09:25,280 --> 00:09:27,635
[m1
23
00:09:27,960 --> 00:09:30,394
CHARLIE [0N INTERCOM]:
ANGELS, YOUR NEX TASS/GNMEN T
24
00:09:30,680 --> 00:09:33,956
INI/OL VES A MAJOR ART THEFT
THA T TOOK PLACE
THREE DA Y3 AGO.
25
00:09:34,240 --> 00:09:38,028
F/VE MILL/ON DOLLARS WORTH
OF BRONZE AND GOLD 8 TA TUARY
26
00:09:38,320 --> 00:09:40,595
THA T WAS BEING TRANSFERRED
FROM LOS ANGELES HARBOR
27
00:09:40,880 --> 00:09:42,154
TO THE WELLINGTON MUSEUM
28
00:09:42,440 --> 00:09:43,668
YOU’LL GET THE DE TAILS LA TER.
29
00:09:43,960 --> 00:09:46,713
MEAN WHILE, I HA I/E JUST HEARD
FROM SABRINA.
30
00:09:47,000 --> 00:09:49,070
STILL IN A STATE OF WEDDED
EUPHORIA, CHARLIE?
31
00:09:49,400 --> 00:09:51,391
WELL, NOT QUITE
32
00:09:51,680 --> 00:09:52,829
NO?
33
00:09:53,120 --> 00:09:54,997
/ BEL IE I/E THE HONEYMOON
IS OVER.
34
00:09:55,320 --> 00:09:56,833
UH-OH. TROUBLE IN PARADISE?
35
00:09:57,120 --> 00:10:00,237
N0, THE ONCOM/NG PA TTER
OF T/N Y FEET
36
00:10:00,520 --> 00:10:02,988
- YOU'RE KIDDING.
- OH, THAT'S AMAZING.
37
00:10:03,320 --> 00:10:05,038
SHE ’5 (MI TE THRILLED
WITH THE WHOLE THING.
38
00:10:05,320 --> 00:10:07,788
OH, BY THE WA Y.
HAS MISS WELLES ARRIVED YET?
39
00:10:08,120 --> 00:10:08,836
”WELLES”?
40
00:10:09,160 --> 00:10:11,116
TIFFANY WELLES,
YOUR NEW PARTNER.
41
00:10:11,400 --> 00:10:13,118
CHARLIE, ITHOUGHT
WE WERE DOWN TO A TRIO.
42
00:10:13,400 --> 00:10:15,868
WHICH REMINDS ME,
WHERE IS BOSLEY?
43
00:10:16,160 --> 00:10:17,639
HELL BE ARR/I/ING SHORTLY
44
00:10:17,960 --> 00:10:19,473
/ HOPE YOU LIKE MISS WELLES.
45
00:10:19,800 --> 00:10:21,313
HER FA THER’S
AN OLD FRIEND OF MINE,
46
00:10:21,640 --> 00:10:23,835
LIEUTENANT 0F DETECTIVES
IN BOSTON
47
00:10:24,120 --> 00:10:25,951
SHE GRADUA TED FROM
THE POLICE ACADEMY THERE,
48
00:10:26,240 --> 00:10:27,878
TOP IN HER CLASS.
49
00:10:28,160 --> 00:10:29,229
SOUNDS INTERESTING.
50
00:10:29,560 --> 00:10:31,073
YEAH, SHE ’S SOMETHING SPECIAL.
51
00:10:31,400 --> 00:10:33,072
AS YOU'LL SEE
WHEN YOU MEETHER.
52
00:10:33,400 --> 00:10:34,435
[KNOCKING ON DOOR]
53
00:10:34,720 --> 00:10:36,836
THA TMUSTBE HER NOW
54
00:10:41,240 --> 00:10:42,309
HELLO.
55
00:10:42,600 --> 00:10:43,999
IS THIS THE TOWNSEND AGENCY?
56
00:10:44,880 --> 00:10:45,949
KELLY:
YES, IT IS.
57
00:10:46,280 --> 00:10:48,111
0H, GOODY. HEE-HEE.
58
00:10:48,400 --> 00:10:49,799
I HAD SUCH A HARD TIME
FINDING IT.
59
00:10:50,120 --> 00:10:51,712
I GOT LOST THREE TIMES.
60
00:10:52,040 --> 00:10:55,157
ANGEL S, DID I HEAR
SOMEONE COME IN?
61
00:10:55,440 --> 00:10:57,078
KELLY:
OH, YES, CHARLIE.
62
00:10:57,360 --> 00:11:00,511
WELL, THEN, BYALL MEANS,
INTRODUCE YOURSEL I/ES.
63
00:11:01,080 --> 00:11:02,513
UH, RIGHT. RIGHT.
64
00:11:02,840 --> 00:11:04,831
WOULD YOU MIND IF I HAD A POP?
65
00:11:05,120 --> 00:11:06,109
WHAT?
66
00:11:06,400 --> 00:11:09,073
A POP. HEH.
YOU KNOW, SODA POP.
67
00:11:09,360 --> 00:11:11,078
OH, N-NO.
68
00:11:11,360 --> 00:11:13,555
OH, WELL, SORRY I ASKED.
69
00:11:13,840 --> 00:11:16,832
OH, NO, I-I MEAN I DON'T MIND
IF YOU HAVE A SODA POP.
70
00:11:17,120 --> 00:11:18,519
OH, HEH.
71
00:11:18,800 --> 00:11:21,109
YOU'RE A PEACH.
UM, WHERE IS IT?
72
00:11:21,440 --> 00:11:22,395
IN THE ICE BOX.
73
00:11:22,680 --> 00:11:25,240
YOU KEEP YOUR LINEN
IN THE ICE BOX?
74
00:11:26,360 --> 00:11:27,190
”LINEN"?
75
00:11:27,480 --> 00:11:30,472
GIRL:
YES, YOU KNOW,
TOWELS, NAPKINS...
76
00:11:30,760 --> 00:11:33,228
UH, COULD WE START ALL OVER?
77
00:11:33,520 --> 00:11:35,954
YEAH, START OVER OVER HERE.
78
00:11:36,240 --> 00:11:38,151
BOTH:
AH.
79
00:11:38,440 --> 00:11:40,431
KRIS, KELLY, TIFFANY WELLES.
80
00:11:42,120 --> 00:11:42,950
WE THOUGHT THAT SHE--
81
00:11:43,240 --> 00:11:44,639
NO, NOT QUITE.
OUR NEW LINEN SERVICE.
82
00:11:44,920 --> 00:11:47,195
BOTH:
OH.
83
00:11:47,480 --> 00:11:49,436
WELL, I COULDN'T FIND
THE REFRIGERATOR,
84
00:11:49,760 --> 00:11:51,239
SO I'LL HAVE TO TAKE
A RAIN CHECK ON THE POP.
85
00:11:51,560 --> 00:11:52,310
[GIGGLES]
86
00:11:52,640 --> 00:11:53,470
I'LL SEE YOU LATER.
87
00:11:53,760 --> 00:11:55,478
- OKAY, BYE-BYE.
- OKAY, THANK YOU VERY MUCH.
88
00:11:55,760 --> 00:11:56,909
BYE-BYE.
89
00:11:57,200 --> 00:11:59,111
SHALL WE TAKE THIS
AGAIN FROM THE TOP?
90
00:12:01,560 --> 00:12:02,993
I'M TIFFANY WELLES.
91
00:12:03,320 --> 00:12:04,878
KRIS MUNROE.
HI.
92
00:12:05,200 --> 00:12:06,030
KELLY GARRETT.
93
00:12:06,360 --> 00:12:07,475
HI.
94
00:12:08,440 --> 00:12:10,078
COME ON IN AND SIT DOWN.
95
00:12:10,360 --> 00:12:12,828
- WOULD YOU LIKE SOME COFFEE?
- N0, THANKS.
96
00:12:24,080 --> 00:12:26,150
YOU'RE STARING,
IS THERE SOMETHING WRONG?
97
00:12:26,440 --> 00:12:28,670
OH, NO.
OH, NO.
98
00:12:28,960 --> 00:12:29,870
YOU'RE RIGHT, CHARLIE.
99
00:12:30,160 --> 00:12:31,434
I THINK SHE
IS SOMETHING SPECIAL.
100
00:12:31,760 --> 00:12:32,670
I THINK SO TOO, CHARLIE.
101
00:12:32,960 --> 00:12:35,030
I'M GLAD YOU APPROVE ANGELS.
102
00:12:39,520 --> 00:12:40,999
THAT'S CHARLIE?
103
00:12:41,320 --> 00:12:43,356
WELCOME, TIFFANY.
104
00:12:43,640 --> 00:12:45,631
I THINK I'M GONNA HAVE
A NERVOUS BREAKDOWN.
105
00:12:45,920 --> 00:12:49,959
OH, NO, NO, DON'T WORRY,
YOU'RE GONNA BE JUST FINE.
106
00:12:50,280 --> 00:12:52,236
DID, UH, CHARLIE SAY
THAT HE AND YOUR FATHER
107
00:12:52,520 --> 00:12:53,316
WERE OLD FRIENDS?
108
00:12:53,600 --> 00:12:54,828
VERY OLD FRIENDS.
109
00:12:55,160 --> 00:12:56,718
YOU EVER SEE CHARLIE?
110
00:12:59,200 --> 00:13:00,519
NO, I NEVER DID.
111
00:13:00,840 --> 00:13:03,673
WELL, YOUR FATHER, HE MUST
HAVE TOLD YOU A LOT ABOUT HIM.
112
00:13:04,000 --> 00:13:05,513
WELL, HE MUST HAVE
DESCRIBED HIM TO YOU.
113
00:13:05,840 --> 00:13:06,795
DIDN'T HE, TIFFANY?
114
00:13:07,080 --> 00:13:08,195
UH, UH, UH. KELLY...
115
00:13:08,480 --> 00:13:10,357
OH, HE DID BETTER THAN THAT.
116
00:13:10,680 --> 00:13:12,716
DAD GAVE ME A PICTURE
OF THE TWO OF THEM TOGETHER.
117
00:13:14,720 --> 00:13:15,994
-WOULD YOU LIKE TO SEE IT?
-T|FFANY--
118
00:13:16,280 --> 00:13:18,589
QUIET, BOS. OF COURSE
WE'D LOVE TO SEE IT.
ARE YOU KIDDING?
119
00:13:18,880 --> 00:13:20,950
LISTEN, IF YOU WANT TO MAKE
TWO GREAT FRIENDS FOR LIFE,
120
00:13:21,240 --> 00:13:22,070
SHOW US THIS PICTURE.
121
00:13:22,400 --> 00:13:23,799
COME ON. HURRY.
122
00:13:27,520 --> 00:13:28,714
WE WAITED A LONG TIME
FOR THIS.
123
00:13:29,000 --> 00:13:30,194
THAT'S FOR SURE. OOH.
124
00:13:38,200 --> 00:13:40,270
LIKE I SAID,
THEY'RE VERY OLD FRIENDS.
125
00:13:41,840 --> 00:13:43,273
[LAUGHS]
126
00:13:43,560 --> 00:13:45,551
HOW WOULD YOU LIKE
A DEAD LIZARD DROPPED
DOWN YOUR DRESS?
127
00:13:45,880 --> 00:13:48,075
I'M SORRY, BUT MY FATHER
WOULDN'T TELL ME
128
00:13:48,360 --> 00:13:49,395
ANYTHING ABOUT CHARLIE.
129
00:13:49,720 --> 00:13:51,278
ALL HE'D DO IS GIVE ME
THIS DUMB PICTURE.
130
00:13:51,600 --> 00:13:52,476
SORRY, ANGEL S.
131
00:13:52,800 --> 00:13:54,392
ONE OF THESE DAYS, CHARLIE.
132
00:13:54,720 --> 00:13:56,073
ONE OF THESE DAYS.
133
00:13:56,360 --> 00:13:58,237
WELL, NOW THA T
THE INTRODUCTIONS ARE OVER,
134
00:13:58,560 --> 00:13:59,788
LET'S GETBACK
TO THA TART THEFT
135
00:14:00,080 --> 00:14:01,559
WHAT ART THEFT?
136
00:14:01,840 --> 00:14:03,637
OH, WELL, WE'LL FILL YOU
IN ON THAT LATER.
137
00:14:03,920 --> 00:14:04,909
NOW, BOSLEYHAS YOUR TICKETS.
138
00:14:05,200 --> 00:14:07,077
OUR CLIENT WILL MEET YOU
ON THE SHIP.
139
00:14:07,400 --> 00:14:09,709
CONTACT CAPTAIN S TUBING
AS SOON AS YOU BOARD.
140
00:14:10,000 --> 00:14:11,115
SHIP? WHAT SHIP?
141
00:14:11,400 --> 00:14:12,913
THE ONE THAT WILL TAKE
YOU TO THE CARIBBEAN.
142
00:14:13,240 --> 00:14:14,673
ALL:
THE CARIBBEAN?
143
00:14:14,960 --> 00:14:16,439
IT SAILS IN TWO HOURS.
144
00:14:16,720 --> 00:14:18,153
ALL RIGHT,
DON'TJUS T STAND THERE...
145
00:14:18,440 --> 00:14:19,953
HAVEN'T EVEN PACKED.
COME ON, TIFFANY.
146
00:14:20,240 --> 00:14:21,195
WE'RE NEVER GOING
TO MAKE IT.
147
00:14:21,480 --> 00:14:22,595
WE'LL SEE YOU ON THE BOAT.
148
00:14:22,920 --> 00:14:25,036
[m1
149
00:14:27,280 --> 00:14:28,599
BOTH:
WE LIKE HER, CHARLIE.
150
00:14:28,920 --> 00:14:30,558
BON VOYAGE
151
00:14:30,880 --> 00:14:33,440
[m1
152
00:14:35,760 --> 00:14:37,830
[CHATTERING INDISTINCTLY]
153
00:14:40,840 --> 00:14:41,795
[PLAYING CARIBBEAN SONG]
154
00:14:42,080 --> 00:14:43,229
JULIE:
HI, WELCOME ABOARD.
155
00:14:47,040 --> 00:14:48,758
HI, WELCOME ABOARD.
156
00:14:49,040 --> 00:14:50,712
HELLO. WELCOME ABOARD.
157
00:14:51,000 --> 00:14:51,955
WELCOME ABOARD.
158
00:14:52,280 --> 00:14:53,315
- CAPTAIN STUBING.
- YES.
159
00:14:53,600 --> 00:14:54,555
HELLO, I'M KRIS MUNROE.
160
00:14:54,840 --> 00:14:56,796
THIS IS TIFFANY WELLES
AND KELLY GARRETT.
HELLO.
161
00:14:57,120 --> 00:14:58,394
THE BOSLEY PEOPLE.
162
00:14:58,680 --> 00:14:59,510
WELCOME ABOARD.
163
00:14:59,800 --> 00:15:01,279
THIS IS JULIE MCCOY,
OUR CRUISE DIRECTOR.
164
00:15:01,560 --> 00:15:02,629
BOTH: HI.
HELLO.
165
00:15:02,960 --> 00:15:05,269
- HI.
- NICE LITTLE BOAT YOU
GOT HERE.
166
00:15:05,560 --> 00:15:07,676
-WE LIKE IT.
- I THINK THEY CALL IT A SHIP.
167
00:15:08,000 --> 00:15:09,718
OH, WELL,
EVEN BETTER.
168
00:15:10,000 --> 00:15:12,753
IT'S SEA-TALK.
YOU'LL GET USED TO IT.
169
00:15:13,040 --> 00:15:14,871
WELL, AS LONG AS IT DOESN'T
HAVE ANY HOLES IN IT,
170
00:15:15,160 --> 00:15:16,798
I THINK WE'RE GONNA HAVE
A WONDERFUL TIME.
171
00:15:17,080 --> 00:15:19,275
JUST PORTHOLES,
AND THEY'RE ALL ON THE SIDES.
172
00:15:19,600 --> 00:15:20,316
GOOD PLANNING.
173
00:15:20,640 --> 00:15:21,709
STUBING:
WE TRY.
174
00:15:22,000 --> 00:15:22,955
OH, BY THE WAY,
175
00:15:23,240 --> 00:15:25,993
UH, MR. BOSLEY'S WAITING
FOR YOU IN CABIN 2A.
176
00:15:26,320 --> 00:15:27,150
WHERE IS THAT?
177
00:15:27,480 --> 00:15:32,349
CABIN 2A. CABIN 2A IS,
UH, SLIGHTLY FORWARD.
178
00:15:33,760 --> 00:15:34,988
I COULD TAKE YOU THERE.
179
00:15:35,320 --> 00:15:37,197
UH, THIS IS GOPHER.
180
00:15:37,480 --> 00:15:39,152
HE'S ALSO SLIGHTLY FORWARD.
181
00:15:39,440 --> 00:15:40,634
MM. YEAH.
182
00:15:40,960 --> 00:15:42,916
WELL, YOU LADIES WILL BE
HAVING DINNER WITH ME TONIGHT,
183
00:15:43,200 --> 00:15:44,076
EIGHT BELLS.
184
00:15:44,360 --> 00:15:45,634
- THANK YOU, CAPTAIN.
- THANK YOU.
185
00:15:45,960 --> 00:15:47,109
TILL THEN.
186
00:15:48,640 --> 00:15:49,834
THANK YOU, SIR.
187
00:15:50,120 --> 00:15:52,759
"EIGHT BELLS'I MEANS 8:00.
188
00:15:53,040 --> 00:15:54,393
- HOW DO YOU KNOW THAT?
[GIGGLES]
189
00:15:54,720 --> 00:15:56,790
WELL, LIKE BOSLEY SAID,
WE'RE VERY CLEVER.
190
00:15:57,080 --> 00:15:58,957
HE DIDN'T SAY WHERE WE WERE
HAVING DINNER THOUGH.
191
00:15:59,240 --> 00:16:00,639
JULIE: WHEN YOU DINE
WITH THE CAPTAIN,
192
00:16:00,920 --> 00:16:02,717
YOU DINE AT THE
CAPTAIN'S TABLE.
193
00:16:03,000 --> 00:16:04,558
I HAD THAT ONE FIGURED OUT.
194
00:16:04,840 --> 00:16:06,193
WELL, IT'S THE EASY ONE.
195
00:16:06,520 --> 00:16:07,555
JULIE:
GOPHER...
196
00:16:07,840 --> 00:16:09,876
MM. AH, CABIN-- CABIN 2A.
197
00:16:10,160 --> 00:16:11,036
WHY DON'T I JUST, UH--
198
00:16:11,360 --> 00:16:13,635
THANK YOU.
I'LL TAKE THOSE.
199
00:16:13,920 --> 00:16:15,273
OKAY, FOLLOW ME. HA.
200
00:16:15,560 --> 00:16:16,675
THANK YOU VERY MUCH.
201
00:16:16,960 --> 00:16:18,712
ENJOY YOUR CRUISE.
202
00:16:19,000 --> 00:16:20,558
BYE.
203
00:16:22,720 --> 00:16:24,790
[m1
204
00:16:25,120 --> 00:16:26,155
JULIE:
HELLO, WELCOME ABOARD.
205
00:16:26,440 --> 00:16:27,236
HELLO.
HI.
206
00:16:27,520 --> 00:16:28,396
I'M PAUL HOLLISTER.
207
00:16:28,680 --> 00:16:29,476
THIS IS WES ANDERSON.
208
00:16:29,800 --> 00:16:30,915
HI.
HELLO.
209
00:16:31,200 --> 00:16:32,155
WHAT DO YOU DO HERE?
210
00:16:32,440 --> 00:16:33,793
WELL, AS THE SHIP'S
CRUISE DIRECTOR.
211
00:16:34,080 --> 00:16:36,310
IT'S MY JOB TO MAKE SURE
YOU HAVE A MARVELOUS TIME.
212
00:16:36,640 --> 00:16:38,312
AH, WELL, THAT'S SOMETHING
WE'LL DO JUST FINE.
213
00:16:38,640 --> 00:16:40,232
[m1
214
00:16:46,880 --> 00:16:49,030
[m1
215
00:16:52,120 --> 00:16:54,918
NOW, THIS WE CALL
A COMPANIONWAY.
216
00:16:55,240 --> 00:16:57,879
ON LAND, IT'S-- IT'S CALLED
A CORRIDOR, BUT AT SEA--
217
00:16:58,200 --> 00:17:00,430
AH, HERE WE ARE. YES.
218
00:17:02,520 --> 00:17:03,839
OH, EXCUSE ME.
219
00:17:04,160 --> 00:17:05,149
HI.
HI, GIRLS.
220
00:17:05,440 --> 00:17:07,032
HI.
HELLO.
221
00:17:07,320 --> 00:17:08,196
WELL, VERY NICE,
222
00:17:08,480 --> 00:17:10,436
BUT NOT PARTICULARLY NAUTICAL.
223
00:17:10,720 --> 00:17:13,837
WELL, YOU DIDN'T GIVE US
MUCH TIME TO GET NAUTICAL.
224
00:17:14,120 --> 00:17:15,189
UH, THANK YOU.
225
00:17:15,480 --> 00:17:16,276
AH, THANK-- THANK YOU.
226
00:17:16,560 --> 00:17:17,675
- THANK YOU.
- BYE.
227
00:17:17,960 --> 00:17:19,313
[GIGGLES]
228
00:17:19,640 --> 00:17:20,436
YOU KNOW, SPEAKING OF TIME--
229
00:17:20,760 --> 00:17:21,954
OH, YES.
--IT'S PASSING.
230
00:17:22,240 --> 00:17:24,959
UH, GIRLS, THIS IS OUR CLIENT,
UH, MR. AVERY.
231
00:17:25,240 --> 00:17:26,468
- HELLO.
- HOW DO YOU DO?
232
00:17:26,760 --> 00:17:28,273
EASTERN INTERNATIONAL
INSURANCE.
233
00:17:28,600 --> 00:17:29,510
SIT DOWN, GIRLS.
234
00:17:29,800 --> 00:17:32,189
UH, YOU AND MR. AVERY
WILL BE TRAVELING TOGETHER.
235
00:17:32,520 --> 00:17:34,033
SEPARATE CABINS,
OF COURSE.
236
00:17:34,360 --> 00:17:35,156
UH-HUH.
237
00:17:35,480 --> 00:17:37,277
UH, MR. AVERY
IS THE CHIEF INVESTIGATOR
238
00:17:37,560 --> 00:17:38,470
FOR EASTERN INTERNATIONAL.
239
00:17:38,760 --> 00:17:40,637
HE'S WHAT THEY CALL
A RETRIEVER.
240
00:17:40,920 --> 00:17:42,911
WHAT ARE YOU TRYING
TO RETRIEVE, MR. AVERY?
241
00:17:43,240 --> 00:17:45,356
FIVE MILLION DOLLARS WORTH
242
00:17:45,640 --> 00:17:49,428
OF GRECIAN BRONZE AND GOLD
STATUARY MY COMPANY INSURED.
243
00:17:49,720 --> 00:17:51,915
MM. I TAKE IT, THEN, THAT WE
ARE GOING TO HELP MR. AVERY
244
00:17:52,200 --> 00:17:52,996
RETRIEVE THESE THINGS.
245
00:17:53,280 --> 00:17:54,599
THAT'S THE IDEA.
246
00:17:54,920 --> 00:17:56,911
HERE'S A LIST OF ALL
THE STOLEN PIECES
247
00:17:57,200 --> 00:18:00,192
AND A DESCRIPTION OF EXACTLY
HOW THEY WERE TAKEN.
248
00:18:00,480 --> 00:18:01,799
YOU CAN READ THAT
AT YOUR LEISURE.
249
00:18:02,080 --> 00:18:04,514
I ALSO HAVE CATALOGUE PICTURES
OF EACH PIECE
250
00:18:04,800 --> 00:18:06,870
WHICH I'LL GIVE TO YOU LATER.
251
00:18:07,160 --> 00:18:11,950
IN THE MEANTIME, I'LL SHOW YOU
A PICTURE OF THE FELLOW
252
00:18:12,240 --> 00:18:14,310
WHO LIFTED THE MERCHANDISE.
253
00:18:14,600 --> 00:18:15,669
UH, AND I DO MEAN LIFTED
254
00:18:15,960 --> 00:18:18,474
AS YOU'LL UNDERSTAND WHEN
YOU READ THE DETAILS
OF THE ROBBERY.
255
00:18:18,760 --> 00:18:19,988
[SLIDE CLICKS]
256
00:18:20,320 --> 00:18:21,958
PAUL HOLLISTER.
257
00:18:23,240 --> 00:18:25,151
HM. TOO BAD HE'S A THIEF.
258
00:18:25,440 --> 00:18:26,634
VERY HANDSOME FELLOW.
259
00:18:26,920 --> 00:18:29,514
AVERY:
MR. HOLLISTER
IS SORT OF A MODERN DAY
260
00:18:29,800 --> 00:18:31,392
SOLDIER OF FORTUNE.
261
00:18:31,680 --> 00:18:34,399
IF YOU'LL EXCUSE THE CLICHE.
262
00:18:34,680 --> 00:18:37,831
HE, UH-- HE WAS A FIGHTER
PILOT IN THE NAVY.
263
00:18:38,120 --> 00:18:40,873
HE WAS WOUNDED IN,
UH, VIETNAM.
264
00:18:41,160 --> 00:18:43,515
DECORATED TWICE
AND HONORABLY DISCHARGED.
265
00:18:43,840 --> 00:18:44,716
LATER HE BECAME SORT OF A--
266
00:18:45,000 --> 00:18:47,594
A FREELANCE INTERNATIONAL
PHOTO JOURNALIST
267
00:18:47,880 --> 00:18:49,359
WITH SOME OF YOUR
BETTER MAGAZINES.
268
00:18:49,680 --> 00:18:51,875
H-HE WAS IN VIETNAM
WHEN THE REFUGEES
269
00:18:52,160 --> 00:18:53,388
WERE TRYING TO GET
OUT OF SAIGON.
270
00:18:53,680 --> 00:18:55,671
HE TOOK THESE PHOTOS.
271
00:18:59,480 --> 00:19:01,311
KRIS:
THAT IS VERY GOOD WORK.
272
00:19:01,600 --> 00:19:04,910
AVERY: MR. HOLLISTER WAS
DEEPLY SYMPATHETIC
WITH THE VIETNAMESE.
273
00:19:05,240 --> 00:19:06,719
AS A MATTER OF FACT, HE, UH,
274
00:19:07,040 --> 00:19:09,156
FOUGHT WITH THEM
ON THE STREETS OF SAIGON.
275
00:19:09,440 --> 00:19:11,396
AND THEN LATER,
WHEN EVERYTHING FELL APART,
276
00:19:11,680 --> 00:19:13,352
AND THE COMMUNISTS
OVERRAN THE COUNTRY,
277
00:19:13,640 --> 00:19:15,551
HE BARELY ESCAPED
THE COUNTRY WITH HIS LIFE.
278
00:19:15,880 --> 00:19:17,518
ALONG WITH THIS FELLOW:
279
00:19:17,840 --> 00:19:19,193
WES ANDERSON.
280
00:19:19,480 --> 00:19:21,357
A FORMER PEACE CORPS WORKER.
281
00:19:21,680 --> 00:19:23,511
HE ALSO FOUGHT WITH
HOLLISTER ON THE STREETS
282
00:19:23,840 --> 00:19:25,717
AND THE TWO HAVE BEEN
FRIENDS EVER SINCE.
283
00:19:26,000 --> 00:19:28,798
TELL ME, HOW COULD HOLLISTER
HAVE BEEN THAT INVOLVED,
284
00:19:29,080 --> 00:19:30,479
THAT CARING,
AND BECOME A THIEF.
285
00:19:30,760 --> 00:19:32,193
AVERY:
I DON'T KNOW.
286
00:19:32,520 --> 00:19:33,396
I DO KNOW HE'S BEEN INVOLVED
287
00:19:33,680 --> 00:19:36,194
IN SOME BRILLIANTLY
CONCEIVED THEFTS
288
00:19:36,520 --> 00:19:38,192
IN THE LAST FEW YEARS,
289
00:19:38,520 --> 00:19:40,590
AND MR. HOLLISTER
HAS YET TO SERVE
290
00:19:40,880 --> 00:19:42,199
ONE DAY IN PRISON.
291
00:19:42,480 --> 00:19:44,710
HM. SO YOU WANT US
TO FIND HOLLISTER.
292
00:19:45,000 --> 00:19:46,115
HARDLY.
293
00:19:46,400 --> 00:19:49,278
YOU SEE, HE'S A PASSENGER
ON THIS SHIP.
294
00:19:49,560 --> 00:19:51,073
HE AND WES ANDERSON.
295
00:19:51,360 --> 00:19:53,430
UM...
296
00:19:53,720 --> 00:19:54,470
I'M CONFUSED.
297
00:19:54,760 --> 00:19:56,955
IT'S REALLY NOT
VERY COMPLICATED.
298
00:19:57,240 --> 00:19:58,958
WELL, YOU SEE,
PAUL HOLLISTER STOLE
299
00:19:59,240 --> 00:20:01,435
THE SHIPMENT OF BRONZE
AND GOLD STATUARY,
300
00:20:01,760 --> 00:20:04,752
WHEN IT WAS BEING TRANSFERRED
FROM A GREEK FREIGHTER,
301
00:20:05,040 --> 00:20:06,268
THE LADY SCO TIA,
302
00:20:06,600 --> 00:20:08,556
TO THE NEW WELLINGTON MUSEUM
IN LOS ANGELES.
303
00:20:08,840 --> 00:20:10,353
NOW, EITHER WE RETRIEVE
THE PIECES.
304
00:20:10,680 --> 00:20:13,877
OR EASTERN INSURANCE WILL
HAVE TO PAY MR. WELLINGTON
305
00:20:14,160 --> 00:20:15,957
$5 MILLION.
306
00:20:16,240 --> 00:20:17,355
WAIT A MINUTE.
307
00:20:17,640 --> 00:20:19,153
IF YOU KNOW HOLLISTER
TOOK THE STUFF,
308
00:20:19,480 --> 00:20:20,913
AND YOU KNOW HE'S HERE,
309
00:20:21,240 --> 00:20:22,514
WHY DON'T YOU
JUST HAVE HIM ARRESTED?
310
00:20:22,800 --> 00:20:26,588
AVERY:
I'M AFRAID I, UH--
I CAN'T PROVE HE DID DO IT.
311
00:20:26,880 --> 00:20:30,668
EVEN THOUGH I HAVE VERY STRONG
CIRCUMSTANTIAL EVIDENCE,
312
00:20:30,960 --> 00:20:33,315
SUCH AS THE FACT
THAT HE WAS A LAST MINUTE
313
00:20:33,600 --> 00:20:36,034
CABIN PASSENGER
ON THELADYSCOTIA.
314
00:20:36,320 --> 00:20:37,753
HOWEVER, EVEN IF WE
DID HAVE THE PROOF,
315
00:20:38,080 --> 00:20:40,719
WE'RE MUCH MORE INTERESTED
IN SAVING OURSELVES $5 MILLION
316
00:20:41,040 --> 00:20:42,553
THAN IN SEEING
MR. HOLLISTER IN PRISON.
317
00:20:42,880 --> 00:20:45,474
IN OTHER WORDS,
UTILITASANTEIUSTITIAM
318
00:20:45,800 --> 00:20:47,199
I BEG YOUR PARDON?
319
00:20:49,040 --> 00:20:50,189
MY MOTHER TEACHES LATIN.
320
00:20:50,480 --> 00:20:51,276
[BOTH CHUCKLE]
321
00:20:51,600 --> 00:20:55,752
AH, YES,
"UT/LI TAS AN TE IUS TI TIAM "
322
00:20:56,040 --> 00:21:00,192
THAT'S, UH,
"EXPEDIENCY BEFORE JUSTICE."
323
00:21:00,520 --> 00:21:02,112
THAT'S RIGHT.
THAT'S GOOD.
324
00:21:02,440 --> 00:21:04,510
"EXPEDIENCY BEFORE JUSTICE."
HM.
325
00:21:04,800 --> 00:21:05,835
THAT'S VERY WELL PUT.
326
00:21:07,160 --> 00:21:09,355
YOU SEE, I'M--
I'M NOT REALLY INTERESTED
327
00:21:09,640 --> 00:21:10,993
IN PAUL HOLLISTER'S
328
00:21:11,320 --> 00:21:13,754
MORAL CHARACTER.
329
00:21:14,080 --> 00:21:15,195
I JUST WANT THE MERCHANDISE.
330
00:21:15,480 --> 00:21:17,710
OKAY, WHERE DO WE START?
331
00:21:18,040 --> 00:21:19,712
WELL, YOU THREE
HAVE TO HAVE DINNER
332
00:21:20,040 --> 00:21:21,075
WITH CAPTAIN STUBING TONIGHT,
333
00:21:21,360 --> 00:21:24,557
SO I SUGGEST ONE OF YOU BRING
MR. HOLLISTER AS A GUEST.
334
00:21:24,880 --> 00:21:27,678
UH, YOU SAID "WE THREE."
WHERE ARE YOU GOING TO BE,
BOS?
335
00:21:27,960 --> 00:21:31,077
WELL, MR. BOSLEY WILL
BE WATCHING THIS LADY.
336
00:21:31,360 --> 00:21:32,236
[SLIDE CLICKS]
337
00:21:32,560 --> 00:21:35,199
ELEANOR CASE.
338
00:21:35,520 --> 00:21:38,034
WELL-EDUCATED,
ART HISTORY DEGREE.
339
00:21:38,320 --> 00:21:39,548
SHE WORKED FOR VARIOUS MUSEUMS
340
00:21:39,840 --> 00:21:41,796
BEFORE SHE WENT ON
TO THE MORE LUCRATIVE FIELD
341
00:21:42,080 --> 00:21:43,911
OF FENCING STOLEN ART.
342
00:21:44,200 --> 00:21:46,919
AND LIKE MR. HOLLISTER,
343
00:21:47,240 --> 00:21:50,312
SHE HAS NEVER SPENT
A DAY IN PRISON.
344
00:21:50,600 --> 00:21:51,794
WHERE IS SHE NOW?
345
00:21:52,120 --> 00:21:53,155
SHE'S IN LOS ANGELES.
346
00:21:53,440 --> 00:21:55,317
SHE AND PAUL HOLLISTER
MET TWO NIGHTS AGO.
347
00:21:55,600 --> 00:21:59,593
WHEN, I BELIEVE,
SHE THEN AGREED TO FENCE
THE STOLEN MERCHANDISE.
348
00:21:59,920 --> 00:22:02,388
SO YOU'LL STAY IN LOS ANGELES
AND WATCH MISS CASE,
349
00:22:02,680 --> 00:22:04,750
AND WE'LL WATCH MR. HOLLISTER.
350
00:22:05,040 --> 00:22:06,837
AND YOU'LL BE IN ST. THOMAS
BEFORE ME.
351
00:22:07,120 --> 00:22:08,519
I'VE GOT TO GET BACK
TO THE OFFICE.
352
00:22:08,840 --> 00:22:09,909
HAPPY SAILING.
353
00:22:10,200 --> 00:22:11,235
ANGELS:
BYE, BOS.
354
00:22:11,520 --> 00:22:13,636
[m1
355
00:22:15,400 --> 00:22:16,753
[CHEERING]
356
00:22:17,040 --> 00:22:17,836
BYE.
357
00:22:18,120 --> 00:22:19,997
[ALL SPEAKING INDISTINCTLY
358
00:22:36,040 --> 00:22:37,519
[HORN BLOWS]
359
00:22:48,520 --> 00:22:50,033
[CHATTERING INDISTINCTLY]
360
00:23:02,000 --> 00:23:07,552
OOH. LORD HAVE MERCY.
361
00:23:07,840 --> 00:23:09,478
FRIENDS OF MINE.
362
00:23:09,760 --> 00:23:11,034
CLOSE FRIENDS.
363
00:23:11,360 --> 00:23:13,476
WELL, MAYBE ONE OF 'EM.
364
00:23:13,760 --> 00:23:14,988
WHICH ONE.
365
00:23:15,320 --> 00:23:16,230
WHICH ONE DO YOU LIKE.
366
00:23:16,520 --> 00:23:17,748
I CAN'T MAKE UP MY MIND.
367
00:23:18,080 --> 00:23:19,149
NEITHER CAN I.
368
00:23:19,440 --> 00:23:20,270
[BOTH CHUCKLING]
369
00:23:20,560 --> 00:23:21,993
I THINK I COULD
GET INTERESTED.
370
00:23:29,800 --> 00:23:30,630
GUESS WHAT.
371
00:23:30,960 --> 00:23:32,313
YOU JUST LOST INTEREST.
372
00:23:32,600 --> 00:23:35,512
YOU'RE VERY PERCEPTIVE.
373
00:23:35,840 --> 00:23:38,559
OH, I SUPPOSE YOU WANNA
PUNCH ME OUT, HUH?
374
00:23:38,840 --> 00:23:41,991
NO, I WANT TO GO
CHANGE MY PANTS.
375
00:23:42,280 --> 00:23:45,033
THEN I WANT TO PUNCH YOU OUT.
376
00:23:50,120 --> 00:23:51,519
LOVELY DAY, LADIES.
377
00:23:53,600 --> 00:23:55,033
[GIGGLES]
378
00:23:57,960 --> 00:24:00,076
UH, BANDIT, 2 O'CLOCK.
379
00:24:00,360 --> 00:24:01,429
WHAT?
WHAT?
380
00:24:01,720 --> 00:24:02,869
PAUL HOLLISTER.
381
00:24:13,560 --> 00:24:15,152
SURE IS A CRIME HE'S A THIEF.
382
00:24:15,440 --> 00:24:16,714
ISN'T THAT REDUNDANT?
383
00:24:17,000 --> 00:24:18,718
ITHINK SO.
384
00:24:20,960 --> 00:24:23,235
ANYWAY,
WE'VE GOT TO DECIDE
385
00:24:23,560 --> 00:24:25,118
WHICH ONE OF US BEGINS
A RELATIONSHIP
386
00:24:25,440 --> 00:24:26,714
WITH PAUL HOLLISTER.
387
00:24:31,920 --> 00:24:35,390
I THINK THE DECISION
HAS ALREADY BEEN MADE.
388
00:24:35,680 --> 00:24:38,035
BY MR. PAUL HOLLISTER HIMSELF.
389
00:24:47,200 --> 00:24:48,553
[CLEARS THROAT]
390
00:24:49,720 --> 00:24:51,676
- INTERESTING...
[SIGHS]
391
00:24:52,000 --> 00:24:54,878
...HOW SOME PEOPLE REMIND US
OF OTHER PEOPLE.
392
00:24:55,160 --> 00:24:56,479
YOU NOTICED.
393
00:24:56,800 --> 00:24:59,712
YEAH, WE'RE ALL VICTIMS
0F HABIT, MY FRIEND.
394
00:25:00,000 --> 00:25:03,231
IT'S TIME FOR A DRINK.
395
00:25:03,560 --> 00:25:05,039
[CLEARS THROAT]
396
00:25:05,320 --> 00:25:06,992
GOOD LUCK.
397
00:25:07,280 --> 00:25:08,952
THAN KS.
398
00:25:13,360 --> 00:25:14,236
g
399
00:25:14,520 --> 00:25:15,873
JUST SAW YOU POURING
SOMETHING GREEN.
400
00:25:16,200 --> 00:25:18,236
YES, BUT YOU CAN HAVE
ANY COLOR YOU LIKE.
401
00:25:18,520 --> 00:25:20,476
I LIKE GREEN.
IT MATCHES MY SUIT.
402
00:25:20,760 --> 00:25:22,591
ILIKE IT TOO. HEH.
403
00:25:24,320 --> 00:25:25,435
HI.
404
00:25:25,720 --> 00:25:26,630
HI, YOURSELF.
405
00:25:26,960 --> 00:25:27,710
I'LL HAVE THE SAME.
406
00:25:28,040 --> 00:25:29,314
OH, CERTAINLY.
407
00:25:31,720 --> 00:25:32,596
BAD HABIT.
408
00:25:32,920 --> 00:25:33,750
[SIGHS]
409
00:25:34,040 --> 00:25:34,995
DRINKING?
410
00:25:35,280 --> 00:25:36,952
STARING.
411
00:25:37,240 --> 00:25:39,071
IT'S A HABIT I GOT INTO
AS A KID.
412
00:25:39,360 --> 00:25:40,634
HOPE YOU FORGIVE ME.
413
00:25:41,080 --> 00:25:44,595
IF YOU'LL FORGIVE ME
FOR HOPING YOU'D BE STARING.
414
00:25:44,880 --> 00:25:45,676
I LIKE THAT QUALITY.
415
00:25:45,960 --> 00:25:46,756
[GIGGLES]
416
00:25:47,040 --> 00:25:47,790
WHAT'S THAT?
417
00:25:48,080 --> 00:25:49,991
FRANKNESS. NO GAMES.
418
00:25:50,280 --> 00:25:52,157
FRANKLY, I REALLY SHOULD
GET BACK TO MY FRIENDS.
419
00:25:52,480 --> 00:25:54,198
LISTEN, UH,
HOW ABOUT DINNER?
420
00:25:55,600 --> 00:25:57,238
IF YOU'D LIKE TO JOIN ME
AT THE CAPTAIN'S TABLE,
421
00:25:57,520 --> 00:25:58,748
EIGHT BELLS.
422
00:25:59,040 --> 00:26:00,632
MM. VERY NAUTICAL.
423
00:26:00,920 --> 00:26:01,989
BUT NICE.
424
00:26:02,320 --> 00:26:03,912
[m1
425
00:26:10,720 --> 00:26:12,358
[m1
426
00:26:38,760 --> 00:26:39,715
[CAR STARTS]
427
00:26:43,720 --> 00:26:45,517
[INAUDIBLE DIALOGUE]
428
00:27:01,800 --> 00:27:02,994
[SHUTTER CLICKS]
429
00:27:04,920 --> 00:27:07,036
[m1
430
00:27:09,640 --> 00:27:11,631
[LIGHT JAZZ MUSIC PLAYING]
431
00:27:18,840 --> 00:27:22,196
A SMALL SALUTATION,
IF I MAY.
432
00:27:25,760 --> 00:27:29,594
MAY EVERY NIGHT OF THIS VOYAGE
433
00:27:29,880 --> 00:27:32,075
BE AS DELIGHTFUL
AS THIS HAS BEEN.
434
00:27:32,360 --> 00:27:34,715
BOTH:
THANK YOU.
435
00:27:45,880 --> 00:27:47,393
SEE ANYTHING YOU LIKE?
436
00:27:48,560 --> 00:27:50,391
I DON'T SEE ANYTHING
I DON'T LIKE.
437
00:27:50,720 --> 00:27:52,597
ME EITHER.
438
00:27:52,880 --> 00:27:53,630
[SNICKERS]
439
00:27:53,920 --> 00:27:54,955
TELL ME ABOUT YOU.
440
00:27:56,040 --> 00:27:56,916
I ALREADY TOLD YOU.
441
00:27:57,200 --> 00:27:57,996
EX-NAVY PILOT,
442
00:27:58,320 --> 00:27:59,719
PHOTOJOURNALIST.
443
00:28:00,000 --> 00:28:00,750
AND NOW?
444
00:28:01,040 --> 00:28:02,598
NOW?
445
00:28:02,880 --> 00:28:04,438
I'M TAKING A CRUISE
ON THE HIGH SEAS
446
00:28:04,720 --> 00:28:07,792
AND LOOKING AT
A VERY PRETTY LADY
447
00:28:08,120 --> 00:28:09,917
WHO STILL HASN'T TOLD ME
WHAT SHE DOES.
448
00:28:10,240 --> 00:28:11,593
[SIGHS]
449
00:28:11,880 --> 00:28:12,869
WOULD IT MATTER?
450
00:28:14,080 --> 00:28:15,115
NOT LIKELY.
451
00:28:16,680 --> 00:28:18,796
GOOD. LET'S LEAVE IT THAT WAY.
452
00:28:19,080 --> 00:28:20,593
WELL, NOW I'M REALLY CURIOUS.
453
00:28:20,920 --> 00:28:22,478
I THINKI LIKE YOU CURIOUS.
454
00:28:25,480 --> 00:28:26,799
TAKE ME FOR A WALK?
455
00:28:28,480 --> 00:28:29,799
MY VERY THOUGHT.
456
00:28:30,080 --> 00:28:33,117
[SPEAKING INDISTINCTLY]
457
00:28:33,440 --> 00:28:34,873
I DON'T THINK SO.
458
00:28:35,160 --> 00:28:36,229
CAPTAIN.
YES?
459
00:28:36,560 --> 00:28:37,436
WOULD YOU EXCUSE US?
460
00:28:37,720 --> 00:28:39,039
OH, BY ALL MEANS.
461
00:28:39,360 --> 00:28:40,270
SEE YOU LATER.
462
00:28:44,880 --> 00:28:47,633
WHAT IS IT?
463
00:28:47,920 --> 00:28:50,070
[m1
464
00:28:52,400 --> 00:28:53,549
IS SOMETHING WRONG?
465
00:28:53,840 --> 00:28:54,670
[EXHALES HEAVILY]
466
00:28:55,000 --> 00:28:56,228
N0. NOTHING.
467
00:29:03,520 --> 00:29:05,670
[m1
468
00:29:11,880 --> 00:29:13,313
OOH.
469
00:29:13,640 --> 00:29:14,516
I'M STILL CURIOUS.
470
00:29:14,800 --> 00:29:15,949
[DOOR SHUTS]
471
00:29:16,240 --> 00:29:19,232
WELL, LET'S JUST SAY
I'M A LADY WHO LIVES
ON HER INSTINCTS.
472
00:29:19,560 --> 00:29:20,390
[SCOFFS]
473
00:29:20,680 --> 00:29:22,591
THEY ALL DO THAT.
474
00:29:22,880 --> 00:29:23,790
LET'S LET IT GO AT THAT.
475
00:29:24,080 --> 00:29:26,514
CAN'T.
WHY?
476
00:29:26,800 --> 00:29:30,793
I WANNA KNOW WHO I'M GETTING
INVOLVED WITH.
477
00:29:33,120 --> 00:29:34,155
ARE YOU GETTING INVOLVED?
478
00:29:34,440 --> 00:29:35,589
ARE YOU?
479
00:29:37,160 --> 00:29:38,275
MAYBE.
480
00:29:38,560 --> 00:29:40,152
WELL, THAT'S GOOD.
481
00:29:40,440 --> 00:29:42,556
I DON'T WANT TO DO IT ALONE.
482
00:29:42,880 --> 00:29:45,792
SO TELL ME ALL ABOUT YOURSELF,
MISS MUNROE.
483
00:29:46,080 --> 00:29:47,672
WELL, I LIKE LIVING WELL,
484
00:29:47,960 --> 00:29:48,870
AND THAT'S EXPENSIVE.
485
00:29:49,160 --> 00:29:49,990
MM-HM.
486
00:29:50,280 --> 00:29:52,714
SO I DO WHAT I HAVE
TO DO TO SURVIVE.
487
00:29:53,000 --> 00:29:57,949
I'M IN STOCKS, BONDS, JEWELRY,
ANYTHING WITH A PRICE.
488
00:29:59,560 --> 00:30:01,994
SOMETIMES MY METHODS
ARE SOCIALLY ACCEPTABLE...
489
00:30:05,080 --> 00:30:06,798
AND SOMETIMES THEY'RE NOT.
490
00:30:08,960 --> 00:30:09,836
YOU'RE AMUSED.
491
00:30:10,160 --> 00:30:10,910
INTRIGUED.
492
00:30:11,240 --> 00:30:12,355
GOOD.
493
00:30:13,600 --> 00:30:15,477
WHY DON'T WE
LEAVE IT THAT WAY?
494
00:30:15,760 --> 00:30:17,318
I REALLY SHOULD GET BACK
TO MY FRIENDS.
495
00:30:17,600 --> 00:30:21,957
IF YOU, UH, WOULD LIKE
TO CONTINUE THIS CONVERSATION,
496
00:30:22,240 --> 00:30:24,151
I'M IN CABIN 110.
497
00:30:25,840 --> 00:30:27,432
[m1
498
00:30:40,320 --> 00:30:42,436
I'LL KEEP THAT IN MIND.
499
00:31:10,360 --> 00:31:11,349
[CLEARS THROAT]
500
00:31:13,880 --> 00:31:14,869
HI.
501
00:31:15,160 --> 00:31:16,229
BACK SO SOON?
502
00:31:16,560 --> 00:31:17,436
YES. IT GOT A LITTLE HEAVY.
503
00:31:17,760 --> 00:31:19,273
YOU MEAN HE GOT ROUGH?
504
00:31:21,440 --> 00:31:23,078
N0, HE GOT VERY GENTLE.
505
00:31:23,400 --> 00:31:24,753
THAT GOT A LITTLE ROUGH.
506
00:31:25,040 --> 00:31:27,793
HM. YOU LOOK HAPPILY
DISTRESSED.
507
00:31:30,440 --> 00:31:31,793
YES, AS I SAID,
508
00:31:32,080 --> 00:31:33,513
PITY HE'S A THIEF.
509
00:31:37,080 --> 00:31:38,479
YOU SEE THOSE THREE?
510
00:31:42,400 --> 00:31:43,276
WHAT ABOUT THEM?
511
00:31:43,560 --> 00:31:45,471
WHEN PAUL SAW THEM,
HE GOT VERY UPTIGHT.
512
00:31:45,760 --> 00:31:49,833
I'LL CHECK WITH THE PURSER,
HE PROBABLY HAS THEIR NAMES.
513
00:31:50,120 --> 00:31:52,953
BY THE WAY, WHAT APPROACH ARE
YOU USING WITH MR. HOLLISTER?
514
00:31:53,240 --> 00:31:55,959
THE OLD, UH, "IT TAKES A THIEF
TO CATCH A THIEF."
515
00:31:56,240 --> 00:31:57,468
I FIGURE IF I
RELUCTANTLY CONFESS
516
00:31:57,800 --> 00:32:00,030
TO A LIFESTYLE
THAT IS ILLEGAL.
517
00:32:00,320 --> 00:32:01,833
BUT VERY CLASSY,
518
00:32:02,120 --> 00:32:04,076
HE'LL TAKE ME
IN HIS CONFIDENCE.
519
00:32:04,400 --> 00:32:05,674
HMM.
520
00:32:05,960 --> 00:32:07,518
I'LL SEE YOU LATER
IN THE CABIN.
521
00:32:07,800 --> 00:32:09,153
DON'T STAY UP TOO LATE.
522
00:32:09,480 --> 00:32:11,038
THANKS, MOM.
523
00:32:13,240 --> 00:32:14,275
BE CAREFUL.
524
00:32:14,560 --> 00:32:15,515
BYE.
525
00:32:18,800 --> 00:32:19,869
[INAUDIBLE DIALOGUE]
526
00:32:25,280 --> 00:32:26,759
[SIGHS]
527
00:32:31,680 --> 00:32:32,874
THE HELL ARE YOU DOING HERE?
528
00:32:33,160 --> 00:32:35,037
MR. DAMAJARAN IS CONCERNED.
529
00:32:36,920 --> 00:32:39,354
YOU'RE SUPPOSED TO WAIT
IN LOS ANGELES.
530
00:32:39,680 --> 00:32:42,672
WELL, HE'S ALSO
IMPATIENT AND, WELL,
A LITTLE SUSPICIOUS.
531
00:32:42,960 --> 00:32:45,030
I TOLD YOU
WE WAIT AT LEAST THREE WEEKS
532
00:32:45,320 --> 00:32:46,958
BEFORE WE MOVE
THE MERCHANDISE.
533
00:32:47,240 --> 00:32:48,593
MR. DAMAJARAN
ACCEPTS THAT PREMISE.
534
00:32:48,880 --> 00:32:51,474
IT'S JUST THAT WE'D LIKE
TO KNOW WHERE
THE MERCHANDISE IS.
535
00:32:51,760 --> 00:32:54,069
I MEAN, ALL OF A SUDDEN
YOU DISAPPEAR ON US.
536
00:32:54,400 --> 00:32:56,311
WE WENT BACK TO WHERE
THE BOXES WERE HIDDEN.
537
00:32:56,600 --> 00:32:58,556
THEY'D BEEN BROKEN INTO
AND, WELL, THEY WERE EMPTY.
538
00:32:58,840 --> 00:33:01,877
| TOOK OUT THE PIECES TO MAKE
SURE NONE OF THEM
WERE DAMAGED.
539
00:33:02,200 --> 00:33:03,872
- ALL RIGHT?
- ALL RIGHT.
540
00:33:04,200 --> 00:33:05,030
WHERE ARE THEY NOW?
541
00:33:05,320 --> 00:33:07,356
NOW, YOU LISTEN.
542
00:33:07,640 --> 00:33:09,756
DAMAJARAN HIRED ME
TO MOVE THAT MERCHANDISE.
543
00:33:10,080 --> 00:33:11,354
HE'S BEEN LOOKING
OVER MY SHOULDER
544
00:33:11,640 --> 00:33:12,629
EVER SINCE THIS OPERATION
BEGAN.
545
00:33:12,960 --> 00:33:15,110
I DON'T LIKE PEOPLE LOOKING
OVER MY SHOULDER.
546
00:33:15,400 --> 00:33:16,276
NOW, YOU TELL HIM.
547
00:33:16,560 --> 00:33:17,390
I'LL MOVE THE MERCHANDISE
548
00:33:17,720 --> 00:33:18,550
WHEN I THINK IT'S SAFE.
549
00:33:18,880 --> 00:33:20,108
IN THE MEANTIME,
550
00:33:20,400 --> 00:33:23,517
I'M ENJOYING A LITTLE VACATION
ON THE HIGH SEAS.
551
00:33:23,800 --> 00:33:25,756
I DON'T WANT TO SEE YOU THREE
AGAIN UNTIL I'M READY.
552
00:33:26,040 --> 00:33:28,156
MR. HOLLISTER, YOU NEED
TO LEARN SOME MANNERS.
553
00:33:28,480 --> 00:33:29,230
[CRIES OUT]
554
00:33:29,560 --> 00:33:30,436
[m1
555
00:33:30,720 --> 00:33:32,119
[ALL GRUNTING]
556
00:33:49,040 --> 00:33:51,349
OKAY, GENTLEMEN,
THE PARTY'S OVER.
557
00:33:51,640 --> 00:33:52,595
WES:
ALL RIGHT, GET.
558
00:33:54,320 --> 00:33:55,435
WHY DON'T WE CALL IT A NIGHT.
559
00:33:55,760 --> 00:33:57,432
THIS ISN'T THE END OF IT,
HOLLISTER,
560
00:33:57,760 --> 00:33:59,113
OR ANY OF YOU.
561
00:34:01,160 --> 00:34:03,469
WHOEVER YOU ARE.
COME ON.
562
00:34:06,880 --> 00:34:07,835
PHEW.
563
00:34:08,120 --> 00:34:09,678
WELL, UH-- AHEM.
564
00:34:09,960 --> 00:34:11,791
YOU'RE SO PRETTY
I THINK I'LL FORGIVE YOU.
565
00:34:12,080 --> 00:34:12,910
FORGIVE ME?
566
00:34:13,200 --> 00:34:14,110
FOR INTERFERING
567
00:34:14,440 --> 00:34:16,112
JUST WHEN IT WAS GETTING
TO BE GOOD SPORT.
568
00:34:17,920 --> 00:34:20,832
AHEM. AREN'T YOU GOING
TO INTRODUCE ME TO THE LADY?
569
00:34:21,160 --> 00:34:22,434
I'M NOT SURE I KNOW THE LADY.
570
00:34:22,720 --> 00:34:23,869
SHE SEEMS TO CHANGE
571
00:34:24,200 --> 00:34:25,315
FROM MOMENT TO MOMENT.
572
00:34:26,400 --> 00:34:27,992
I HAVEN'T CHANGED.
573
00:34:28,280 --> 00:34:30,874
YOU'RE JUST GETTING TO SEE
A LITTLE MORE OF ME,
THAT'S ALL.
574
00:34:31,160 --> 00:34:32,673
AH.
575
00:34:33,000 --> 00:34:34,672
- WES, SAY HELLO TO KRIS.
- HI.
576
00:34:35,000 --> 00:34:36,831
HI. HOW ARE YOU?
577
00:34:37,120 --> 00:34:38,109
STILL INTERESTED?
578
00:34:38,400 --> 00:34:40,277
VERY MUCH.
579
00:34:40,560 --> 00:34:41,879
MIND TELLING ME WHY
YOU CARRY A GUN?
580
00:34:42,160 --> 00:34:43,832
YOU WANT TO TELL ME
WHO THOSE THREE WERE?
581
00:34:44,120 --> 00:34:45,758
THAT'S A DULL STORY.
582
00:34:46,040 --> 00:34:49,157
MM. I HAVE A VERY
PATIENT NATURE.
583
00:34:49,480 --> 00:34:51,869
MAYBE WE SHOULD, UH,
BOTH DROP THE QUESTIONS.
584
00:34:52,160 --> 00:34:54,833
TILL WE GET TO KNOW
EACH OTHER BETTER.
585
00:34:55,120 --> 00:34:57,076
I'M LOOKING FORWARD TO THAT.
586
00:34:57,400 --> 00:34:59,675
[m1
587
00:35:07,120 --> 00:35:10,237
[m1
588
00:35:15,840 --> 00:35:17,592
[INAUDIBLE DIALOGUE]
589
00:35:20,520 --> 00:35:22,192
[CAMERA SHUTTER CLICKS]
590
00:35:24,080 --> 00:35:25,035
[SHUTTER CLICKS]
591
00:35:25,320 --> 00:35:27,390
[m1
592
00:35:30,840 --> 00:35:32,193
CHARLIE [ON PHONE]:
WELL, ANGELS,
593
00:35:32,520 --> 00:35:35,830
BOSLEY/S STILL FOLLOWING
THE ELEGANTMISS ELEANOR CASE
594
00:35:36,120 --> 00:35:37,712
ALL OVER LOS ANGELES.
595
00:35:38,000 --> 00:35:39,319
HOW GOES IT ON THE
SAL TY BRINE?
596
00:35:39,600 --> 00:35:42,194
WELL, KRIS IS KEEPING
A CLOSE WATCH
ON PAUL HOLLISTER
597
00:35:42,480 --> 00:35:45,756
AND THERE ARE THREE RATHER
UNPLEASANT FELLOWS
WATCHING HIM,
598
00:35:46,080 --> 00:35:46,910
OUR CLIENT IS IMPATIENT,
599
00:35:47,240 --> 00:35:49,708
AND TIFFANY AND I
ARE GETTING MARVELOUS SUNTANS.
600
00:35:50,040 --> 00:35:50,870
GOOD.
601
00:35:51,200 --> 00:35:52,838
NOW, THE THREE FELLOWS
WATCHING HOLLISTER,
602
00:35:53,160 --> 00:35:54,115
DO YOU WANT ME
TO CHECK THEM OUT?
603
00:35:54,400 --> 00:35:56,436
PLEASE, CHARLIE. THEY'RE
REGISTERED WITH THE PURSER
604
00:35:56,720 --> 00:35:59,632
AS JOHN KADIN, JOSEPH STACK
AND EDWARD ROURKE.
605
00:35:59,960 --> 00:36:01,473
ILL GETRIGHTON/T
606
00:36:01,800 --> 00:36:03,074
WHEN DO YOU REACH ST. THOMAS?
607
00:36:03,360 --> 00:36:04,634
OH, IN ABOUT FOUR POUNDS.
608
00:36:04,920 --> 00:36:06,194
FOUR POUNDS?
609
00:36:06,480 --> 00:36:08,198
CHARLIE,
THE FOOD IS INCREDIBLE.
610
00:36:08,480 --> 00:36:09,913
I'M GAINING TWO POUNDS A DAY.
611
00:36:10,200 --> 00:36:11,918
SO YOU'LL BE THERE
DAY AFTER TOMORROW.
612
00:36:12,200 --> 00:36:13,030
OH, HE'S VERY GOOD AT MATH.
613
00:36:13,320 --> 00:36:15,276
YES, CHARLIE LOVES FIGURES.
614
00:36:15,600 --> 00:36:17,431
I LOVE WORKING FOR YOU,
CHARLIE. BYE.
615
00:36:17,720 --> 00:36:19,915
[CHUCKLING]
GOODBYE.
616
00:36:22,720 --> 00:36:24,950
HE IS GOING TO CHECK THEM OUT?
617
00:36:25,280 --> 00:36:26,998
DON'T YOU EVER RELAX?
618
00:36:27,320 --> 00:36:29,914
WELL, NOT AS WELL
AS YOU TWO, APPARENTLY.
619
00:36:34,160 --> 00:36:35,309
RELAX?
620
00:36:35,600 --> 00:36:37,511
THIS IS MY FIRST CASE.
DO I LOOK RELAXED?
621
00:36:37,840 --> 00:36:38,989
YES.
622
00:36:46,920 --> 00:36:48,512
I FEEL LIKE A DRINK.
HOW ABOUT YOU?
623
00:36:48,840 --> 00:36:49,795
HMM.
624
00:36:50,080 --> 00:36:51,638
TWO MINDS THAT THINK LIKE ONE.
625
00:36:53,120 --> 00:36:55,270
[m1
626
00:37:04,760 --> 00:37:06,751
WES, WHO ARE THOSE THREE?
627
00:37:11,560 --> 00:37:12,629
I DON'T KNOW.
628
00:37:12,920 --> 00:37:14,035
WHO CARES?
629
00:37:14,320 --> 00:37:15,389
I CARE.
630
00:37:15,680 --> 00:37:17,113
YOU WORRIED ABOUT PAUL?
631
00:37:17,400 --> 00:37:19,231
WELL, THEY DID LOOK
PRETTY MEAN LAST NIGHT.
632
00:37:19,520 --> 00:37:21,158
WELL, PAUL CAN
TAKE CARE OF HIMSELF.
633
00:37:22,640 --> 00:37:23,914
YOU'VE KNOWN HIM
A LONG TIME. HUH?
634
00:37:24,200 --> 00:37:26,839
MM-HM.
635
00:37:27,120 --> 00:37:27,916
DIDN'T HE TELL ME THAT, UH,
636
00:37:28,200 --> 00:37:32,159
YOU MET DURING THAT MESS
IN VIETNAM?
637
00:37:32,440 --> 00:37:34,192
YEAH.
638
00:37:34,520 --> 00:37:36,238
THOSE WERE GOOD DAYS.
639
00:37:36,560 --> 00:37:37,310
GOOD DAYS?
640
00:37:37,640 --> 00:37:39,710
YEAH.
641
00:37:40,000 --> 00:37:43,470
THEY HAD REASONS FOR LIVING,
REASONS FOR FIGHTING.
642
00:37:43,760 --> 00:37:45,273
THEY WERE GOOD DAYS.
643
00:37:45,560 --> 00:37:46,675
AND NOW?
644
00:37:46,960 --> 00:37:49,269
NOW THE DAYS ARE EASY,
645
00:37:49,560 --> 00:37:52,120
BUT SOMETIMES...
646
00:37:52,400 --> 00:37:53,674
KIND OF MEANINGLESS.
647
00:37:56,720 --> 00:37:58,233
WE'LL FIX THAT SOON.
648
00:37:59,720 --> 00:38:01,836
FIX IT? HOW?
649
00:38:03,080 --> 00:38:04,399
YOU KNOW, FOR A LADY
THAT CARRIES A GUN,
650
00:38:04,680 --> 00:38:06,113
DOESN'T TELL ANYTHING ABOUT
HERSELF,
651
00:38:06,400 --> 00:38:07,879
YOU SURE DO ASK
A LOT OF QUESTIONS.
652
00:38:10,920 --> 00:38:11,875
WELL, YOU KNOW HOW IT IS
653
00:38:12,160 --> 00:38:13,718
WHEN A LADY'S INTERESTED
IN A FELLA.
654
00:38:14,000 --> 00:38:15,353
SHE WANTS TO KNOW
ALL ABOUT HIM.
655
00:38:15,680 --> 00:38:18,831
WHERE HE'S BEEN,
WHO HE'S BEEN WITH...
656
00:38:19,120 --> 00:38:20,189
IF HE'S BEEN MARRIED.
657
00:38:21,360 --> 00:38:23,191
[CHUCKLES]
658
00:38:23,520 --> 00:38:24,873
NO, PAUL NEVER MARRIED.
659
00:38:25,160 --> 00:38:27,151
THERE WAS A GIRL ONCE.
660
00:38:27,480 --> 00:38:28,390
JUST LIKE YOU.
661
00:38:31,640 --> 00:38:36,191
SHE WORKED WITH ME AND MY WIFE
IN THE PEACE CORPS...
662
00:38:36,480 --> 00:38:37,879
BUT, UH--
663
00:38:39,360 --> 00:38:40,349
BUT WHAT?
664
00:38:44,040 --> 00:38:46,679
WELL, THEY WERE BOTH KILLED
DURING THE FIGHTING IN SAIGON.
665
00:38:47,000 --> 00:38:48,558
[m1
666
00:38:51,080 --> 00:38:52,069
THAT'S AWFUL.
667
00:38:52,360 --> 00:38:53,429
YEAH.
668
00:38:57,200 --> 00:38:58,315
YEAH.
669
00:38:58,640 --> 00:39:00,073
SURE CHANGED HIM.
670
00:39:01,240 --> 00:39:02,195
[SIGHS]
671
00:39:02,520 --> 00:39:03,555
ISEE.
672
00:39:03,840 --> 00:39:06,354
I HOPE SO,
673
00:39:06,640 --> 00:39:09,916
BECAUSE...
674
00:39:10,240 --> 00:39:13,755
WELL, PAUL'S THE KIND OF GUY
WHO FEELS THINGS VERY DEEPLY.
675
00:39:16,040 --> 00:39:17,598
I'LL KEEP THAT IN MIND.
676
00:39:24,760 --> 00:39:26,955
[m1
677
00:40:22,000 --> 00:40:24,150
OH, MISS, UH, MAY I HAVE
A PHONE AT MY TABLE?
678
00:40:24,480 --> 00:40:26,357
- UH, YES, SIR.
- THANK YOU.
679
00:40:38,520 --> 00:40:39,794
- THANKS.
- THANK YOU.
680
00:40:44,520 --> 00:40:46,033
[RING/N6]
681
00:40:47,000 --> 00:40:47,876
OH, CHARLIE.
682
00:40:48,160 --> 00:40:49,070
CHARLIE:
BOSLE Y?
683
00:40:49,360 --> 00:40:50,156
I'M STILL WITH HER.
684
00:40:50,440 --> 00:40:51,668
WELL, STA Y WITH HER.
685
00:40:52,000 --> 00:40:54,036
I JUST GOT SOME RESPONSES
FROM INTERPOL
686
00:40:54,320 --> 00:40:56,038
ON THE TWO FELLAS
YOUD SEEN TALKING TO HER,
687
00:40:56,320 --> 00:40:59,073
THEY'RE BOTH KNOWN DEALERS
IN STOLEN ART
688
00:40:59,360 --> 00:41:01,954
MR. WALES AND A MR. JURGENSEN.
689
00:41:02,240 --> 00:41:05,198
SO PAUL HOLLISTER
PULLS THE ROBBERY.
690
00:41:05,520 --> 00:41:07,033
THEN GOES TO MISS CASE,
691
00:41:07,320 --> 00:41:12,030
WHO IN TURN GOES TO A COUPLE
OF DEALERS IN STOLEN ART.
692
00:41:12,360 --> 00:41:13,839
YOU KNOW,
IT'S BEGINNING TO TRACK.
693
00:41:14,120 --> 00:41:15,599
SO IT WOULD SEEM
694
00:41:15,880 --> 00:41:19,714
I THINK IT'S TIME THAT I TOOK
A CLOSER LOOK AT MISS CASE.
695
00:41:20,000 --> 00:41:21,399
I'LL CHECK BACK LATER.
696
00:41:30,760 --> 00:41:31,715
MISS CASE?
697
00:41:32,040 --> 00:41:32,916
YES?
698
00:41:33,200 --> 00:41:34,235
I HATE TO IMPOSE,
699
00:41:34,520 --> 00:41:36,715
BUT I WOULD LIKE TO SPEAK
WITH YOU FOR JUST A MOMENT.
700
00:41:37,000 --> 00:41:38,911
YOU'RE NOT SELLING MAGAZINES,
ARE YOU?
701
00:41:39,200 --> 00:41:42,715
NO, AS A MATTER OF FACT,
I'M NOT SELLING, I'M BUYING.
702
00:41:43,000 --> 00:41:45,514
I THINK WE CAN DO BUSINESS.
703
00:41:45,800 --> 00:41:47,233
MAY I?
704
00:41:48,400 --> 00:41:51,233
THAT'S A VERY NOVEL APPROACH,
MR....
705
00:41:51,560 --> 00:41:53,437
MY NAME IS NOT IMPORTANT.
706
00:41:53,720 --> 00:41:55,392
IN FACT, IN MY LINE OF WORK,
707
00:41:55,680 --> 00:42:00,037
ANONYMITY IS SOMETIMES
A PREREQUISITE FOR SURVIVAL.
708
00:42:00,360 --> 00:42:01,759
WHAT IS YOUR LINE OF WORK?
709
00:42:02,080 --> 00:42:03,957
LET US SAY THAT I JUST TOIL
710
00:42:04,280 --> 00:42:06,032
IN THE SAME VINEYARDS
AS YOURSELF.
711
00:42:06,320 --> 00:42:08,072
REALLY.
712
00:42:09,520 --> 00:42:13,274
IT HAS COME TO MY ATTENTION
THAT YOU ARE
THE REPRESENTATIVE
713
00:42:13,560 --> 00:42:14,549
OF CERTAIN PIECES OF ART
714
00:42:14,880 --> 00:42:16,950
THAT ARE FOR SALE.
715
00:42:17,240 --> 00:42:19,800
I CAN'T IMAGINE WHERE YOU
GOT THAT INFORMATION.
716
00:42:20,080 --> 00:42:22,674
WELL, YOU HAVE BEEN
IN THE COMPANY OF GENTLEMEN
717
00:42:22,960 --> 00:42:25,793
WHO DO DEAL
IN SUCH OBJETS D'ART.
718
00:42:26,840 --> 00:42:29,274
I KEEP COMPANY
WITH SEVERAL GENTLEMEN.
719
00:42:29,600 --> 00:42:30,635
YES.
720
00:42:30,920 --> 00:42:32,672
I CAN CERTAINLY SEE WHY.
721
00:42:33,720 --> 00:42:34,835
BUT I HAPPEN TO BE
722
00:42:35,120 --> 00:42:37,111
MORE INTERESTED
IN WHAT WAS DISCUSSED
723
00:42:37,440 --> 00:42:39,317
WITH TWO GENTLEMEN
IN PARTICULAR.
724
00:42:39,600 --> 00:42:42,160
AMR. WALES
ANDAMR. JURGENSEN.
725
00:42:42,440 --> 00:42:43,316
ARE YOU SAYING THAT THEY
726
00:42:43,600 --> 00:42:46,558
TOLD YOU THAT I MENTIONED
THESE OBJECTS OF ART?
727
00:42:46,840 --> 00:42:49,513
ARE YOU SAYING YOU DIDN'T?
728
00:42:49,800 --> 00:42:53,588
I'M SAYING I FIND
THIS CONVERSATION TEDIOUS.
729
00:42:53,920 --> 00:42:55,114
OH.
730
00:42:55,400 --> 00:42:57,595
WELL, THAT SOUNDS
LIKE MY CUE TO LEAVE.
731
00:42:58,720 --> 00:43:00,153
YES, IT DOES.
732
00:43:00,440 --> 00:43:02,829
SOME OTHER TIME PERHAPS.
733
00:43:04,080 --> 00:43:05,672
I DON'T THINK SO.
734
00:43:07,520 --> 00:43:08,509
GOOD DAY.
735
00:43:09,600 --> 00:43:11,716
[m1
736
00:43:17,760 --> 00:43:19,876
[m1
737
00:43:38,560 --> 00:43:40,039
[ALL CHATTERING]
738
00:43:46,440 --> 00:43:47,919
[HORN BLOWS]
739
00:43:54,640 --> 00:43:56,312
[PLAYING CARIBBEAN SONG]
740
00:44:03,360 --> 00:44:04,679
[INAUDIBLE DIALOGUE]
741
00:45:29,280 --> 00:45:31,430
[m1
742
00:46:07,280 --> 00:46:08,554
[INAUDIBLE DIALOGUE]
743
00:46:13,200 --> 00:46:14,918
HELLO.
HI.
744
00:46:15,240 --> 00:46:17,356
[m1
745
00:46:30,400 --> 00:46:31,355
MR. AVERY.
746
00:46:31,680 --> 00:46:32,635
YOU SEE
THE BEACH?
747
00:46:32,920 --> 00:46:33,750
LOVELY.
748
00:46:34,040 --> 00:46:34,836
SHOULD WE?
749
00:46:35,120 --> 00:46:35,870
LET'S GO.
750
00:46:36,160 --> 00:46:37,115
LET'S.
751
00:47:05,080 --> 00:47:07,435
MAN:
I'M NOT PLEASED, ROURKE.
752
00:47:07,760 --> 00:47:08,954
MR. DAMAJARAN,
I WOULD HAVE BEEN
753
00:47:09,240 --> 00:47:10,229
MORE INSISTENT WITH HOLLISTER,
754
00:47:10,520 --> 00:47:12,238
BUT, WELL, HE'S NO GOOD
TO YOU DEAD, IS HE?
755
00:47:12,520 --> 00:47:14,078
MM.
756
00:47:14,360 --> 00:47:16,590
THAT YOUNG WOMAN
HE'S TAKEN UP WITH.
757
00:47:16,880 --> 00:47:18,233
WHO IS SHE?
758
00:47:18,560 --> 00:47:22,109
HER NAME IS MUNROE.
KRIS MUNROE. THAT'S ALL
I COULD FIND OUT.
759
00:47:22,440 --> 00:47:23,589
WELL, FIND OUT MORE.
760
00:47:23,880 --> 00:47:26,075
EVERYTHING ABOUT HER
AND HER TWO FRIENDS.
761
00:47:26,400 --> 00:47:27,833
AND GET HOLLISTER NOW.
762
00:47:28,120 --> 00:47:29,269
SUPPOSE HE DOESN'T WANNA COME.
763
00:47:29,560 --> 00:47:30,595
BRING HIM ANYWAY.
764
00:47:30,880 --> 00:47:33,952
[m1
765
00:48:02,600 --> 00:48:04,875
HOLLISTER. YOU STAY REAL CALM.
766
00:48:05,160 --> 00:48:07,116
SOMEBODY WANTS TO TALK TO YOU
OUT IN THE PARKING LOT.
767
00:48:07,440 --> 00:48:10,318
NOW, YOU JUST TURN AROUND,
FOLLOW THIS BIG FELLA HERE,
HUH?
768
00:48:10,600 --> 00:48:11,794
COME ON.
769
00:48:24,040 --> 00:48:26,838
KELLY, LOOK OVER THERE.
770
00:48:31,800 --> 00:48:33,677
AREN'T THOSE THE SAME
THREE GUYS FROM THE BOAT?
771
00:48:33,960 --> 00:48:35,279
THEY CERTAINLY ARE.
772
00:48:41,200 --> 00:48:42,474
PUT HIM IN THE CAR.
773
00:48:44,040 --> 00:48:45,155
NO, KRIS--
774
00:48:47,280 --> 00:48:49,635
ROURKE:
LADY, YOU'VE PUSHED
YOUR LUCK FAR ENOUGH.
775
00:48:49,920 --> 00:48:52,639
NOW, YOU WANNA KEEP BREATHING,
YOU BACK OFF.
776
00:48:52,920 --> 00:48:55,514
I APPRECIATE THE THOUGHT,
LOVE. DO AS HE SAYS.
777
00:48:57,280 --> 00:48:59,919
YOU MAKE A MOVE, HE GETS IT,
YOU UNDERSTAND?
778
00:49:03,480 --> 00:49:05,357
[ENGINE STARTS]
- LET'S GO.
779
00:49:13,560 --> 00:49:15,198
WHAT WAS THAT ALL ABOUT?
780
00:49:17,560 --> 00:49:19,835
WE JUST LOST
OUR PRIME SUSPECT.
781
00:49:22,120 --> 00:49:23,109
OH, TERRIFIC.
782
00:49:23,400 --> 00:49:25,550
[m1
783
00:49:34,920 --> 00:49:37,036
[m1
52027
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