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1
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15/”
2
00:00:02,800 --> 00:00:03,596
CHARLIE:
ONCE UPON A TIME,
3
00:00:03,880 --> 00:00:05,836
THERE WERE THREE
BEAUTIFUL GIRLS.
4
00:00:07,760 --> 00:00:11,116
TWO OF THEM GRADUA TED
FROM THE POLICE AOADEM Y.
5
00:00:11,440 --> 00:00:15,069
THE OTHER GRADUA TED
FROM A TOP SCHOOL FOR MODELS.
6
00:00:16,440 --> 00:00:18,476
AND THEY EA CH REA FED
THE/R REWARDS
7
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OF THEIR EXCITING CAREERS.
8
00:00:22,280 --> 00:00:23,872
BUTI TOOK THEMA WA Y
FROM ALL THA T,
9
00:00:24,200 --> 00:00:26,111
AND NOW THEY WORK FOR ME.
10
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M YNAME IS CHARLIE
11
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15/”
12
00:02:36,160 --> 00:02:37,229
AH...
13
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[CAMERA SHUTTER CLICKS]
14
00:02:39,520 --> 00:02:42,910
OH, I'M SO GLAD I WAS ABLE
TO GET BACK TO THE CITY AGAIN.
15
00:02:43,200 --> 00:02:45,634
AND TO SEE YOU AGAIN.
16
00:02:47,000 --> 00:02:48,638
HOW'S THIS?
17
00:02:48,920 --> 00:02:51,514
I HAVE SO MANY PRESSING
PROBLEMS AT HOME.
18
00:02:51,800 --> 00:02:53,233
DOESN'T EVERYONE?
19
00:02:53,560 --> 00:02:56,358
I LOOK FORWARD TO THESE
MOMENTS.
20
00:02:59,320 --> 00:03:02,073
THAT'S GOOD.
THAT'S GOOD.
21
00:03:07,120 --> 00:03:09,031
BOSLEY:
NAME IS JODY. JODY MILLS.
22
00:03:09,320 --> 00:03:10,673
KELLY:
ALL RIGHT, WHO IS SHE
23
00:03:11,000 --> 00:03:12,149
AND WHY ARE WE
LOOKING FOR HER?
24
00:03:12,440 --> 00:03:15,159
BOSLEY:
WELL, SHE'S FROM NEBRASKA
AND SHE WORKS--
25
00:03:15,440 --> 00:03:17,271
OR AT LEAST SHE WORKED,
AT THE WOODMAN MODELING AGENCY
26
00:03:17,560 --> 00:03:18,629
HERE IN TOWN.
27
00:03:18,960 --> 00:03:20,632
CHRIS: AS A MODEL?
BOSLEY: THAT'S RIGHT.
28
00:03:20,960 --> 00:03:22,712
HER FATHER HAS LOST
TOUCH WITH HER
29
00:03:23,000 --> 00:03:24,115
SO HE WANTS US TO GO OVER
THERE TONIGHT
30
00:03:24,400 --> 00:03:26,072
AND SEE IF SHE'S STILL
ASSOCIATED WITH WOODMAN.
31
00:03:26,360 --> 00:03:28,157
JUST THE THREE OF US
ON THIS ONE, BOS?
32
00:03:28,440 --> 00:03:30,351
I GUESS SO, IN THAT TIFFANY'S
DECIDED TO STAY EAST
33
00:03:30,680 --> 00:03:31,749
FOR A WHILE.
34
00:03:33,360 --> 00:03:39,515
NOW, HERE IS A PICTURE OF HER
FRIEND NAMED TERRY.
35
00:03:42,960 --> 00:03:45,713
AND THIS IS HER ROOMMATE,
HMM.
36
00:03:46,000 --> 00:03:47,752
BOSLEY:
JULIE ROGERS.
37
00:03:50,200 --> 00:03:51,315
DID YOU FIND
THAT JIMMY JOY CHARACTER?
38
00:03:51,600 --> 00:03:52,510
I FOUND HIM.
39
00:03:52,800 --> 00:03:54,313
IS HE STILL
DOING BUSINESS HERE?
40
00:03:54,600 --> 00:03:56,318
MM-HM.
41
00:03:57,640 --> 00:03:58,868
I'M GONNA LOOK
FOR JODY MILLS.
42
00:03:59,160 --> 00:04:00,149
I THINK SHE'S WORKING
THE HOME SHOW.
43
00:04:00,440 --> 00:04:01,634
STAY IN TOUCH.
44
00:04:01,960 --> 00:04:03,279
JULIE:
OKAY. SEE YOU.
45
00:04:03,560 --> 00:04:05,551
[CAR ENGINE REVS]
46
00:04:14,240 --> 00:04:16,310
SO WHO ARE YOU?
47
00:04:16,640 --> 00:04:17,595
MISS MILLS IS MY ROOMMATE.
48
00:04:17,880 --> 00:04:20,269
I'VE GOT SOMETHING
I GOTTA DELIVER TO HER.
49
00:04:20,560 --> 00:04:22,471
SHE NEEDS IT QUICK.
GET MY DRIFT?
50
00:04:22,760 --> 00:04:26,389
AH, SHE AND HER PHOTOGRAPHER
WERE IN THE FIRST ROOM
51
00:04:26,680 --> 00:04:28,636
BUT I THINK
I HEARD SOMEBODY LEAVE.
52
00:04:28,920 --> 00:04:32,276
SOME OF OUR CLIENTS DON'T WANT
TO WALK OUT THE FRONT DOOR
53
00:04:32,560 --> 00:04:33,675
IF YOU KNOW WHAT I MEAN.
54
00:04:34,000 --> 00:04:35,911
I'LL BET.
55
00:04:39,040 --> 00:04:42,191
15/”
56
00:05:11,480 --> 00:05:14,358
[SOBBING]
57
00:05:26,720 --> 00:05:28,199
MR. MILLS,
IF THE POLICE ARE INVOLVED,
58
00:05:28,480 --> 00:05:29,754
WHY DO YOU STILL
WANNA HIRE US?
59
00:05:30,040 --> 00:05:32,429
I WANNA KNOW
WHO KILLED MY GIRL.
60
00:05:32,760 --> 00:05:37,550
AND I WANNA KNOW WHY SHE DIED
WITH DRUGS IN HER BODY.
61
00:05:37,840 --> 00:05:39,478
CAN YOU UNDERSTAND THAT?
62
00:05:40,800 --> 00:05:41,949
YEAH.
63
00:05:42,240 --> 00:05:46,153
THIS JULIE ROGERS, SHE SEEMED
TO BE HIDING SOMETHING
64
00:05:46,480 --> 00:05:49,074
SO I DECIDED TO COME SEE
FOR MYSELF.
65
00:05:54,760 --> 00:05:56,716
THIS MORNING,
WHEN I QUESTIONED MISS ROGERS
66
00:05:57,040 --> 00:05:59,031
ABOUT JODY MILLS' DEATH
SHE GOT VERY DEFENSIVE.
67
00:05:59,320 --> 00:06:01,754
I WOULD SAY THAT MISS ROGER
BEARS FURTHER WATCHING,
CHARLIE.
68
00:06:02,080 --> 00:06:03,433
CHARLIE [OVER SPEAKER]:
IAGREE.
69
00:06:03,720 --> 00:06:05,039
THE QUESTION IS,
70
00:06:05,320 --> 00:06:06,833
HOW DO WE PROCEED
WITHOUT TIPPING OUR HAND?
71
00:06:07,120 --> 00:06:08,951
WELL, SHE'S A MODEL
WITH THE WOODMAN AGENCY.
72
00:06:09,240 --> 00:06:10,355
MAYBE WE COULD START THERE.
73
00:06:10,680 --> 00:06:12,113
WHO ARE THESE
TWO YOUNG LADIES?
74
00:06:12,400 --> 00:06:14,231
WELL, SHE JUST TOLD YOU.
GARRETT AND MUNROE.
75
00:06:14,560 --> 00:06:15,913
YOU WEREN'T PAYING ATTENTION,
MR. WOODMAN.
76
00:06:16,200 --> 00:06:18,077
I TOLD THEM WE WEREN'T
SEEING ANY NEW PEOPLE,
77
00:06:18,360 --> 00:06:19,793
BUT THEY, UH, INSISTED.
78
00:06:20,080 --> 00:06:22,275
YOU AREN'T EXACTLY SUFFERING
FROM SHYNESS, ARE YOU?
79
00:06:22,600 --> 00:06:24,113
WHAT IS IT THEY SAY ABOUT
A FAINT HEART?
80
00:06:24,440 --> 00:06:27,034
ALL RIGHT, THEN.
81
00:06:27,360 --> 00:06:29,635
THIS EVENING,
WE'RE GIVING A PARTY
82
00:06:29,920 --> 00:06:32,798
HERE FOR SOME OUT-OF-TOWN
ADVERTISERS.
83
00:06:33,120 --> 00:06:36,317
YOU TWO, YOU CAN COME ALONG,
LOOKING YOUR VERY BEST.
84
00:06:36,600 --> 00:06:39,637
AND IF I THINK THAT YOUR BEST
IS APPRECIATED BY OUR CLIENTS
85
00:06:39,960 --> 00:06:41,154
THEN WE'LL TALK.
86
00:06:41,440 --> 00:06:42,634
WHAT ARE YOU DOING HERE?
87
00:06:42,960 --> 00:06:44,837
I'M TRYING TO IMPRESS
MR. WOODMAN.
88
00:06:45,120 --> 00:06:46,109
IMPRESS HIM?
89
00:06:46,400 --> 00:06:47,753
YEAH, SO HE'LL HIRE ME.
90
00:06:48,040 --> 00:06:50,474
AS A MODEL?
RIGHT.
91
00:06:50,800 --> 00:06:54,839
LOOK, THIS, UM, ISN'T ALL
AS EASY AND
PRETTY AS IT LOOKS.
92
00:06:55,120 --> 00:06:58,715
IT ISN'T?
NO.
THIS ISN'T OMAHA, NEBRASKA.
93
00:06:59,000 --> 00:07:01,798
THIS IS THE BIG POND WHERE
THE BIG FISH
PLAY FOR BIG BUCKS.
94
00:07:02,080 --> 00:07:04,071
THERE'S SHARKS
IN THESE WATERS
95
00:07:04,400 --> 00:07:06,152
AND YOU CAN GET CUT IN HALF
REAL QUICK.
96
00:07:06,480 --> 00:07:08,596
SO BEFORE YOU DIVE IN,
GIVE IT A LOT OF THOUGHT.
97
00:07:08,880 --> 00:07:10,598
ALL RIGHT, I WILL.
98
00:07:10,880 --> 00:07:12,359
OH, YEAH?
I DON'T KNOW YOU.
99
00:07:12,640 --> 00:07:13,675
WELL, THAT'S OKAY.
100
00:07:13,960 --> 00:07:15,598
BECAUSE I'M TAKING OVER
YOUR ACTION HERE.
101
00:07:15,880 --> 00:07:17,677
WHAT ARE YOU, CRAZY?
102
00:07:17,960 --> 00:07:20,520
CRAZY ABOUT THE BUSINESS
YOU'RE DOING HERE.
103
00:07:20,800 --> 00:07:23,598
SO I'M TAKING OVER YOUR SPOT.
GO FIND YOURSELF
ANOTHER CORNER.
104
00:07:23,920 --> 00:07:26,195
OH, YEAH, YOU ARE CRAZY.
105
00:07:26,480 --> 00:07:28,038
ENJOY YOURSELF TONIGHT,
JIMMY.
106
00:07:29,600 --> 00:07:31,556
I'M TAKING OVER TOMORROW.
107
00:07:36,960 --> 00:07:39,394
THAT'S HARRY?
THAT'S HARRY.
108
00:07:39,720 --> 00:07:43,315
LOOKS LIKE YOU TOOK TOO LONG
GETTING HERE.
109
00:07:43,640 --> 00:07:44,834
IT SURE LOOKS THAT WAY.
110
00:07:45,120 --> 00:07:46,394
[TIRES SCREECH]
111
00:07:46,680 --> 00:07:47,999
[GUNFIRE]
112
00:07:55,160 --> 00:07:56,513
[WHIMPERS]
HARRY.
113
00:07:56,800 --> 00:07:58,313
HARRY.
114
00:07:59,480 --> 00:08:02,313
FIND OUT WHO THAT WAS.
115
00:08:04,800 --> 00:08:06,358
[CRYING]
116
00:08:13,560 --> 00:08:15,516
15/”
117
00:08:29,920 --> 00:08:31,831
THANKS FOR COMING.
118
00:08:32,120 --> 00:08:35,749
JULIE,
LISTEN, IN A DAY OR TWO,
MAYBE WE SHOULD TALK.
119
00:08:36,720 --> 00:08:37,948
ABOUT WHAT?
120
00:08:38,280 --> 00:08:40,430
WELL, WE BOTH SEEM TO BE
WORKING ON THE SAME CASE.
121
00:08:40,720 --> 00:08:42,278
[SIGHS]
122
00:08:42,560 --> 00:08:44,596
JULIE:
| WORKED WITH HARRY.
123
00:08:46,280 --> 00:08:48,271
I DON'T KNOW
WHAT I'M GONNA DO NOW.
124
00:08:48,560 --> 00:08:51,313
LET'S TALK IN A FEW DAYS
WHEN YOU FEEL BETTER, OKAY?
125
00:08:53,880 --> 00:08:56,314
LOOK, YOU MIGHT AS WELL SAY
WHAT YOU HAVE TO SAY NOW.
126
00:08:58,120 --> 00:09:00,634
WHAT EXACTLY WERE YOU
AND HARRY WORKING ON?
127
00:09:00,920 --> 00:09:02,148
HOW'D YOU TWO GET STARTED?
128
00:09:02,440 --> 00:09:05,671
| MET HARRY
WHEN I WAS IN SYBIL BRAND.
129
00:09:05,960 --> 00:09:07,234
I'D BEEN SENT THERE FOR--
130
00:09:07,560 --> 00:09:08,959
SHOPLIFTING A DRESS?
131
00:09:09,240 --> 00:09:10,992
YEAH, YOU PEOPLE DO YOUR
HOMEWORK.
132
00:09:11,320 --> 00:09:12,469
IT'S PART OF THE JOB.
133
00:09:12,760 --> 00:09:14,796
| WAS--
134
00:09:15,080 --> 00:09:18,152
I WAS BROKE AND I WAS
TRYING TO GET THIS JOB
135
00:09:18,440 --> 00:09:21,637
AS A RECEPTIONIST
AND I HAD NOTHING TO WEAR.
136
00:09:21,920 --> 00:09:24,388
JULIE, YOU DON'T OWE US
AN EXPLANATION.
137
00:09:24,680 --> 00:09:29,310
WELL, ANYWAY, WHEN I GOT OUT,
HARRY WAS MY PAROLE OFFICER
138
00:09:29,600 --> 00:09:31,431
AND WHEN I WENT TO WORK
AT THE AGENCY AS A MODEL
139
00:09:31,720 --> 00:09:33,995
INOTICED CERTAIN THINGS
AND I TOLD HARRY ABOUT IT.
140
00:09:34,280 --> 00:09:35,633
WHAT SORT OF THINGS?
141
00:09:35,960 --> 00:09:37,439
WELL, THERE WERE A LOT OF
DRUGS GOING DOWN
142
00:09:37,760 --> 00:09:39,478
AND THE ENTERTAINING
OF THE CLIENTS THE GIRLS
143
00:09:39,800 --> 00:09:41,199
WERE ASKED TO DO, IT WAS--
144
00:09:41,480 --> 00:09:43,232
WELL, IT WAS A LOT MORE
THAN MODELING.
145
00:09:43,560 --> 00:09:45,152
YOU MEAN THEY WERE FORCED
INTO PROSTITUTION?
146
00:09:45,440 --> 00:09:48,034
NO. NO, THEY WERE NEVER FORCED
INTO ANYTHING.
147
00:09:48,480 --> 00:09:50,994
IT'S JUST, THE PRESSURE,
THE DEMANDS.
148
00:09:51,280 --> 00:09:53,350
MOST OF THE GIRLS
JUST DON'T HAVE A CHANCE.
149
00:09:53,640 --> 00:09:55,358
THEY'RE EITHER RUNAWAYS
OR FROM BROKEN HOMES
150
00:09:55,640 --> 00:09:57,471
AND THEY JUST
DON'T HAVE A CHANCE.
151
00:09:57,760 --> 00:10:00,672
THEY GET IN HOCK TO THE AGENCY
AND THEY GET DESPERATE.
152
00:10:01,280 --> 00:10:02,429
INTO HOCK?
HOW DO YOU MEAN?
153
00:10:02,720 --> 00:10:04,358
JULIE:
WELL, THE AGENCY
LENDS THEM MONEY
154
00:10:04,640 --> 00:10:05,516
FOR PROFESSIONAL PICTURES
155
00:10:05,800 --> 00:10:07,279
AND ADVANCES THEM FOOD
AND RENT MONEY.
156
00:10:07,560 --> 00:10:08,356
BUT WITHIN THREE MONTHS
157
00:10:08,640 --> 00:10:09,914
IF THEY'RE NOT WORKING
THE BIG-PAYING JOBS,
158
00:10:10,200 --> 00:10:11,110
THEY'RE IN TROUBLE.
159
00:10:11,400 --> 00:10:13,118
DALE WOODMAN
DEMANDS REPAYMENT?
160
00:10:13,400 --> 00:10:15,311
NO, DALE WOODMAN
NEVER DEMANDS ANYTHING.
161
00:10:15,600 --> 00:10:17,079
HE JUST SUGGESTS
THAT MAYBE THEY TRY
162
00:10:17,360 --> 00:10:18,793
SOME OF THE
LESS GLAMOROUS JOBS.
163
00:10:19,080 --> 00:10:20,115
SUCH AS?
164
00:10:20,400 --> 00:10:23,119
INDUSTRIAL DEMONSTRATIONS,
AUTO SHOWS.
165
00:10:23,400 --> 00:10:24,958
HOSTESS TYPE THINGS,
WHATEVER.
166
00:10:25,240 --> 00:10:27,515
AND THE GIRLS HOPE SOMEHOW
THINGS WILL GET BETTER
167
00:10:27,800 --> 00:10:29,870
SO THEY CAN GET BACK IN--
168
00:10:30,160 --> 00:10:32,196
BACK INTO THE A GROUP.
JULIE: RIGHT.
169
00:10:32,520 --> 00:10:33,748
ONLY IT DOESN'T WORK
THAT WAY.
170
00:10:34,040 --> 00:10:36,713
NOW, DON'T MISUNDERSTAND ME.
MOST AGENCIES ARE STRAIGHT.
171
00:10:37,000 --> 00:10:38,399
THEY WOULDN'T TAKE 90 PERCENT
OF THOSE GIRLS
172
00:10:38,680 --> 00:10:40,398
IN THE FIRST PLACE.
THEY'D SEND THEM RIGHT HOME.
173
00:10:42,720 --> 00:10:44,472
JODY MILLS,
YOUR ROOMMATE.
174
00:10:44,760 --> 00:10:45,829
YOU WEREN'T TRYING TO BUY
DRUGS FOR HER THE NIGHT
175
00:10:46,160 --> 00:10:46,910
SHE WAS KILLED?
176
00:10:47,240 --> 00:10:48,229
OF COURSE NOT.
177
00:10:48,520 --> 00:10:49,555
I WAS TRYING TO FIND OUT
WHO THE CONNECTION
178
00:10:49,840 --> 00:10:51,558
WAS AT THE AGENCY.
179
00:10:51,840 --> 00:10:55,196
AND ALSO,
I WAS WORRIED ABOUT HER.
180
00:10:55,480 --> 00:10:57,277
BECAUSE HER FATHER
HAD WRITTEN HER
181
00:10:57,560 --> 00:10:58,356
AND SAID HE WAS COMING
TO SEE HER?
182
00:10:58,640 --> 00:11:00,710
RIGHT.
183
00:11:01,000 --> 00:11:02,558
THEN SHE DIES BEHIND
THAT FREAK SHOP
184
00:11:02,880 --> 00:11:04,472
THE NIGHT BEFORE HER
FATHER GETS HERE.
185
00:11:06,840 --> 00:11:08,114
TERRY, THE GIRL
THAT DIED ON THE BEACH,
186
00:11:08,400 --> 00:11:09,913
WAS SHE IN HOCK
TO THE AGENCY TOO?
187
00:11:10,200 --> 00:11:13,988
YEAH, I THINK SO.
SHE WAS A PRETTY HEAVY USER.
188
00:11:14,280 --> 00:11:16,874
THAT'S WHAT HARRY AND I
WERE WORKING ON WHEN HE...
189
00:11:18,680 --> 00:11:20,398
[SIGHS]
190
00:11:20,680 --> 00:11:22,716
LOOK, WHY DON'T WE ALL
WORK ON THIS TOGETHER?
191
00:11:24,520 --> 00:11:26,715
NO, |--
192
00:11:27,000 --> 00:11:28,274
I DON'T.
193
00:11:28,560 --> 00:11:30,596
WHY?
194
00:11:30,880 --> 00:11:33,519
I JUST DON'T CARE.
195
00:11:33,800 --> 00:11:35,597
HARRY WAS THE--
196
00:11:35,920 --> 00:11:37,353
WAS THE ONE PERSON
IN MY LIFE
197
00:11:37,640 --> 00:11:41,792
WHO WAS GOOD TO ME,
STRAIGHT WITH ME.
198
00:11:42,080 --> 00:11:44,071
AND NOW HE'S GONE AND I--
199
00:11:44,480 --> 00:11:45,390
[5033]
200
00:11:45,720 --> 00:11:49,759
|JUST-- I DON'T CARE.
201
00:11:50,040 --> 00:11:51,951
JULIE,
202
00:11:52,240 --> 00:11:53,958
I CAN'T PRETEND
TO KNOW HOW YOU HURT.
203
00:11:54,240 --> 00:11:56,231
I DON'T KNOW YOU.
204
00:11:56,560 --> 00:11:57,993
BUT I JUST DON'T SEE
HOW YOU CAN WALK AWAY
205
00:11:58,320 --> 00:11:59,469
FROM WHAT KILLED HARRY.
206
00:12:01,040 --> 00:12:03,508
YOU PEOPLE ARE PRIVATE
DETECTIVES.
207
00:12:03,800 --> 00:12:06,189
WHY WOULD YOU CARE SO MUCH?
208
00:12:06,800 --> 00:12:09,951
JULIE, WE NEED YOU
ON THIS ONE.
209
00:12:15,680 --> 00:12:16,908
[SIGHS]
210
00:12:19,720 --> 00:12:21,153
OKAY.
211
00:12:21,440 --> 00:12:24,159
I'LL HANG IN WITH YOU,
BUT I'LL TELL YOU THIS.
212
00:12:24,440 --> 00:12:25,759
WHEN WE FIND OUT
WHO KILLED HARRY,
213
00:12:26,040 --> 00:12:27,393
YOU THREE BETTER BACK OFF,
214
00:12:27,720 --> 00:12:30,553
BECAUSE HE OR SHE
IS GONNA BE MINE.
215
00:12:30,840 --> 00:12:32,910
ALL MINE.
216
00:12:34,200 --> 00:12:35,599
OKAY.
217
00:12:51,120 --> 00:12:53,270
15/”
218
00:13:17,000 --> 00:13:20,197
MAN:
LET'S GET THE FILL IN AND OUT.
ALL RIGHT. COME ON.
219
00:13:28,080 --> 00:13:30,548
OUR JUDGE
IS READY FOR US.
220
00:13:30,840 --> 00:13:34,799
THAT, UH,
DOESN'T LOOK QUITE RIGHT.
221
00:13:35,120 --> 00:13:36,439
WELL, IT ISN'T SUPPOSED TO.
222
00:13:36,720 --> 00:13:38,358
YOU REALLY GONNA TRY THIS?
223
00:13:38,640 --> 00:13:40,596
YOU'RE REALLY GONNA HAVE HER
DELIBERATELY SCREW UP?
224
00:13:40,920 --> 00:13:43,957
YES, RIGHT OUT OF THE A GROUP
TO SEE WHERE IT LEADS HER.
225
00:13:44,240 --> 00:13:45,832
SHE'LL BURY THAT HAIRDO.
226
00:13:46,120 --> 00:13:48,395
YOU'LL BE WELL
ON YOUR WAY.
227
00:13:48,720 --> 00:13:54,033
ALSO, UH, THE ROBE
DOESN'T LOOK QUITE RIGHT.
228
00:13:54,320 --> 00:13:56,356
OH, WELL,
NOBODY'S GONNA KNOW IT,
229
00:13:56,680 --> 00:13:57,999
BUT I RIPPED OUT
SOME OF THE INNER STITCHING.
230
00:13:58,280 --> 00:13:59,759
NOW, THE CLIENT
WON'T KNOW WHY,
231
00:14:00,040 --> 00:14:01,678
BUT HE WON'T LIKE
THE WAY IT FITS.
232
00:14:01,960 --> 00:14:04,315
THE CLIENT NEVER KNOWS WHY
HE DOESN'T LIKE
THE WAY IT FITS.
233
00:14:04,600 --> 00:14:06,716
ALSO, BEING A LITTLE CLUMSY
WILL HELP DISCOURAGE HIM.
234
00:14:07,000 --> 00:14:08,831
SHE'S CLUMSY TOO?
235
00:14:09,120 --> 00:14:10,712
[BOTH CHUCKLE]
236
00:14:11,000 --> 00:14:12,433
ACTUALLY, IT COMES
QUITE EASY FOR HER.
237
00:14:12,720 --> 00:14:13,596
[CHUCKLES]
238
00:14:13,880 --> 00:14:14,949
VERY FUNNY.
239
00:14:15,280 --> 00:14:17,032
OKAY, HOW DO I LOOK, KIDS?
240
00:14:17,320 --> 00:14:18,435
AH, PERFECT.
241
00:14:18,720 --> 00:14:19,755
[ALL CHUCKLE]
242
00:14:20,080 --> 00:14:22,435
LOOK, WE'LL GO ON OUT FIRST
AND KRIS WILL BE LATE.
243
00:14:22,720 --> 00:14:23,869
THAT'LL HELP.
244
00:14:24,160 --> 00:14:25,991
GOOD LUCK.
OKAY.
245
00:14:26,280 --> 00:14:27,998
[PHONE RINGS]
246
00:14:30,800 --> 00:14:32,119
MODELS' ROOM.
247
00:14:32,400 --> 00:14:33,879
OH, HI, BOS.
WHAT'S HAPPENING?
248
00:14:34,160 --> 00:14:37,436
ALOHA. I'VE DONE SOME RESEARCH
ON THAT PIECE OF LENS CAP
249
00:14:37,760 --> 00:14:39,478
WE FOUND IN THE ALLEY BEHIND
EDDIE'S.
250
00:14:39,760 --> 00:14:41,751
APPARENTLY, IT FITS SIX KINDS
OF CAMERAS.
251
00:14:42,040 --> 00:14:44,315
IT'S MANUFACTURED AT VARIOUS
PLACES AROUND THE COUNTRY.
252
00:14:44,600 --> 00:14:46,113
I T’S GONNA BE VERYHARD
TO FIND OUT
253
00:14:46,440 --> 00:14:48,476
JUST EXA C TL Y WHERE OR WHEN,
OR WHO USED IT.
254
00:14:48,760 --> 00:14:50,113
I TOLD YOU NOT TO TRY
ANY ROUGH STUFF.
255
00:14:50,440 --> 00:14:52,317
YEAH?
256
00:14:52,600 --> 00:14:54,909
AND I TOLD YOU, I DON'T LIKE
NOBODY PUSHING ME AROUND.
257
00:14:55,240 --> 00:14:56,958
OH, GREAT, SO YOU SHOOT HIM
DOWN IN BROAD DAYLIGHT
258
00:14:57,280 --> 00:14:58,633
ON A PUBLIC BEACH.
259
00:14:58,920 --> 00:15:00,831
YOU BOTHER TO ASK HIM WHAT HIS
NAME WAS BEFORE
YOU KILLED HIM?
260
00:15:01,160 --> 00:15:02,434
I DON'T CARE WHO HE WAS!
261
00:15:02,720 --> 00:15:04,233
OH, GOD.
262
00:15:04,520 --> 00:15:06,988
WOODMAN KNEW THE AGENCY WAS
INVOLVED IN
SOMETHING LIKE THIS.
263
00:15:07,280 --> 00:15:09,157
THE AGENCY IS NOT INVOLVED.
264
00:15:09,440 --> 00:15:10,873
IT'S JUST YOU AND ME,
SWEETHEART.
265
00:15:11,160 --> 00:15:13,037
NOW, YOU KEEP YOUR HEAD
AND EVERYTHING WILL BE COOL.
266
00:15:13,320 --> 00:15:15,470
I'LL KEEP SELLING THE STUFF
AND YOU'LL GET YOUR CUT.
267
00:15:15,800 --> 00:15:16,676
YOU GOT IT?
268
00:15:16,960 --> 00:15:17,836
JIMMY:
I DON'T CARE
WHAT HIS NAME WAS!
269
00:15:18,120 --> 00:15:18,950
BOS, LISTEN, HOLD IT.
270
00:15:19,240 --> 00:15:21,037
YEAH, I ONLY GOT PART OF THAT.
271
00:15:21,320 --> 00:15:23,550
YEAH, SOMEBODY'S HAVING
A SHOUTING MATCH NEXT DOOR.
272
00:15:23,840 --> 00:15:24,989
I'LL CHECK YOU
BACK AT THE OFFICE
273
00:15:25,280 --> 00:15:26,793
AND WE'LL GO OVER IT
AGAIN THERE, OKAY?
274
00:15:27,080 --> 00:15:29,355
RIGHT. OKAY.
275
00:15:30,640 --> 00:15:32,392
JIMMY:
IT'S JUST YOU AND ME.
276
00:15:32,680 --> 00:15:34,557
KEEP YOUR HEAD
AND EVERYTHING WILL BE COOL.
277
00:15:36,800 --> 00:15:38,756
15/”
278
00:16:14,440 --> 00:16:15,873
[KRIS SCREAMING]
279
00:16:18,240 --> 00:16:19,389
OH, I'M SORRY.
280
00:16:19,680 --> 00:16:22,399
DON'T TELL ME THAT KLUTZ
IS ONE OF YOU.
281
00:16:22,680 --> 00:16:23,715
UH, I'M AFRAID SHE IS.
282
00:16:24,040 --> 00:16:25,758
I'M SORRY. I'M--
283
00:16:26,080 --> 00:16:27,911
[SCREAMS]
[GLASS SHATTERING]
284
00:16:28,200 --> 00:16:29,519
I'M VERY SORRY.
285
00:16:29,840 --> 00:16:30,989
[ALL LAUGHING]
286
00:16:31,280 --> 00:16:32,633
OH, I'VE RUINED
YOUR BEAUTIFUL DISPLAY.
287
00:16:32,960 --> 00:16:34,109
I SEE.
288
00:16:35,160 --> 00:16:36,036
[WHISTLES]
289
00:16:36,320 --> 00:16:37,878
MAN:
GET OVER HERE.
290
00:16:38,160 --> 00:16:40,151
GOD, I DO THIS ALL THE TIME.
THIS IS THE WORST.
291
00:16:40,440 --> 00:16:42,078
MAN:
GET OVER HERE!
292
00:16:42,360 --> 00:16:43,554
I'M VERY SORRY.
293
00:16:43,840 --> 00:16:47,037
SIX HOURS OF SHOOTING,
FOUR HOURS OF LIGHT LEFT
294
00:16:47,320 --> 00:16:49,959
AND A WALKING DISASTER
AREA FOR A MODEL!
295
00:16:55,520 --> 00:16:57,511
15/”
296
00:17:09,680 --> 00:17:12,399
WOODMAN:
I THINK WE'LL BE ABLE TO HELP
YOU, MISS MUNROE.
297
00:17:12,680 --> 00:17:16,275
HOW MUCH MONEY DID YOU WANT
TO BORROW, EXACTLY?
298
00:17:16,560 --> 00:17:20,189
KRIS:
UM, WELL, ACTUALLY,
ABOUT A THOUSAND DOLLARS.
299
00:17:20,480 --> 00:17:21,708
A THOUSAND?
A THOUSAND DOLLARS?
300
00:17:22,000 --> 00:17:24,560
THAT'S, UH, A GREAT DEAL
OF MONEY, MISS MUNROE.
301
00:17:24,840 --> 00:17:26,273
YES, I KNOW.
302
00:17:26,600 --> 00:17:29,956
BUT IT'S VERY EXPENSIVE LIVING
IN THIS CITY. I HAD NO IDEA.
303
00:17:30,240 --> 00:17:32,390
WELL,
YOU COULD DEDUCT THE MONEY
FROM MY PAYCHECKS
304
00:17:32,680 --> 00:17:33,476
AS THEY COME IN.
305
00:17:35,560 --> 00:17:38,279
| UNDERSTAND YOU HAD A BIT OF
TROUBLE WITH THE PHOTO SESSION
306
00:17:38,560 --> 00:17:40,630
FOR CINCINNATI TEXTILES
YESTERDAY.
307
00:17:42,240 --> 00:17:44,231
OH, YOU HEARD ABOUT THAT.
308
00:17:44,520 --> 00:17:46,476
WELL, CINCINNATI TEXTILES
IS ONE OF OUR
309
00:17:46,760 --> 00:17:48,273
MOST PRESTIGIOUS ACCOUNTS
310
00:17:48,560 --> 00:17:51,279
AND THE OWNER, MR. JORDAN,
IS A VERY VALUED CLIENT.
311
00:17:51,560 --> 00:17:52,834
IN FACT,
YOU MAY REMEMBER MEETING HIM
312
00:17:53,120 --> 00:17:54,075
HERE THE OTHER NIGHT.
313
00:17:54,360 --> 00:17:56,715
THIS MR. JORDAN,
HE'S UNHAPPY WITH ME?
314
00:17:57,000 --> 00:17:58,877
NO, NO, NO. IT'S NOTHING
PERSONAL AT ALL.
315
00:17:59,160 --> 00:18:00,673
IT'S JUST THAT HE'S--
316
00:18:00,960 --> 00:18:04,236
WELL, HE'S ALWAYS IN A HURRY
AND HE'S VERY DEMANDING.
317
00:18:04,560 --> 00:18:06,676
I THINK PERHAPS I'LL
PUT YOU IN ANOTHER JOB.
318
00:18:07,800 --> 00:18:10,030
ANOTHER JOB?
WOODMAN: YES.
319
00:18:10,320 --> 00:18:14,029
ONE MORE SUITED TO YOUR
TEMPERAMENT AND
YOUR EXPERIENCE.
320
00:18:14,800 --> 00:18:16,153
SUCH AS?
321
00:18:16,480 --> 00:18:17,959
STEPHEN:
WELL,
WE HAVE DOZENS OF CLIENTS
322
00:18:18,280 --> 00:18:20,555
THAT WOULD APPRECIATE YOUR
PARTICULAR TALENTS,
MISS MUNROE.
323
00:18:20,840 --> 00:18:25,516
AS A MATTER OF FACT,
THERE IS A JOB
AT THE AUTO SHOW.
324
00:18:25,800 --> 00:18:27,119
THE AUTO SHOW?
325
00:18:27,400 --> 00:18:29,277
STEPHEN:
WELL, IT DOESN'T PAY AS WELL
AS OUR OTHER ACCOUNTS,
326
00:18:29,560 --> 00:18:31,391
BUT YOU CAN DO A LOT OF
WORK,
PICK UP SOME GOOD MONEY--
327
00:18:31,680 --> 00:18:33,477
MODELING IN AN AUTO SHOW.
328
00:18:33,760 --> 00:18:35,352
I MEAN, IT'S NOT EXACTLY
WHAT I HAD IN MIND FOR MYSELF.
329
00:18:35,640 --> 00:18:38,074
WELL, OF COURSE,
IF YOU'D RATHER NOT.
330
00:18:38,360 --> 00:18:40,396
IT'S JUST THAT, YOU KNOW, YOU
SAID YOU NEEDED
SOME MONEY AND--
331
00:18:40,720 --> 00:18:42,119
IDO.
332
00:18:43,120 --> 00:18:45,031
WHAT EXACTLY WOULD I BE DOING
AT THE AUTO SHOW?
333
00:18:45,320 --> 00:18:49,029
OH, WHAT, MOSTLY JUST BE
YOURSELF, THAT'S ALL,
334
00:18:49,600 --> 00:18:52,398
THAT'S ALL?
HERE.
335
00:18:52,680 --> 00:18:54,557
LLOYD MARKS
IS A CLIENT OF OURS.
336
00:18:54,840 --> 00:18:57,070
HE DOES INDUSTRIAL
AND TRADE EXHIBITING MOSTLY.
337
00:18:57,400 --> 00:18:59,231
YOU SEE HIM.
338
00:18:59,520 --> 00:19:02,193
I'LL CALL AND SET IT UP
FOR YOU, OKAY?
339
00:19:03,800 --> 00:19:05,518
WELL, IF YOU THINK
THAT'S BEST.
340
00:19:05,800 --> 00:19:08,234
OH, I DO. I DO.
341
00:19:08,520 --> 00:19:10,590
NOW, YOU GO DOWN TO PAYROLL
IN THE MORNING
342
00:19:10,880 --> 00:19:12,074
AND YOU CAN SIGN
THE LOAN AGREEMENT
343
00:19:12,360 --> 00:19:14,555
AND COLLECT A CHECK
FOR $1000, HOW'S THAT?
344
00:19:14,880 --> 00:19:16,677
[SIGHS]
345
00:19:17,000 --> 00:19:18,399
THANK YOU, MR. WOODMAN.
YOU'RE VERY KIND.
346
00:19:18,680 --> 00:19:20,079
NOT AT ALL.
THANK YOU.
347
00:19:20,360 --> 00:19:21,918
GOODBYE.
THANKS.
348
00:19:30,840 --> 00:19:32,910
YOU KNOW, IT'S ODD.
349
00:19:33,200 --> 00:19:34,758
SHE SEEMED SO MUCH MORE
POLISHED
350
00:19:35,040 --> 00:19:36,075
WHEN SHE BLUFFED HER WAY
351
00:19:36,400 --> 00:19:37,549
WIN HERE THE OTHER DAY
WITH MISS GARRET.
352
00:19:37,840 --> 00:19:40,593
YEAH, WELL, I'M AFRAID THAT'S
EXACTLY WHAT IT IS: BLUFF.
353
00:19:40,880 --> 00:19:43,235
BUT I THINK NOT WITHOUT HER
USEFULNESS.
354
00:19:43,520 --> 00:19:45,715
WELL, PERHAPS SHE'LL COME
AROUND WITH MORE EXPERIENCE.
355
00:19:46,000 --> 00:19:48,355
OH, YEAH, I THINK ONE WAY OR
ANOTHER, SHE'LL EARN HER KEEP.
356
00:19:48,640 --> 00:19:50,596
I'M SURE THAT YOU WILL
SEE THAT SHE DOES, STEPHEN.
357
00:19:50,880 --> 00:19:52,279
JUST SPARE ME THE DETAILS.
358
00:19:52,560 --> 00:19:54,391
[LAUGHS]
359
00:19:54,680 --> 00:19:57,752
DALE,
YOU NEVER WANNA DEAL WITH
THE HARSH REALITIES, DO YOU?
360
00:19:58,080 --> 00:20:00,435
WHY SHOULD I, WHEN I HAVE YOU
TO HANDLE THEM FOR ME?
361
00:20:02,760 --> 00:20:06,275
NOW, DON'T SULK, DEAR BOY,
IT MAKES YOU
VERY UNATTRACTIVE.
362
00:20:11,600 --> 00:20:13,556
15/”
363
00:20:27,040 --> 00:20:28,598
HERE'S YOUR WORKING CLOTHES,
MISS MUNROE.
364
00:20:30,240 --> 00:20:31,150
[CHUCKLES]
365
00:20:31,440 --> 00:20:33,510
YOU DON'T EXPECT ME
TO WEAR THIS?
366
00:20:33,800 --> 00:20:34,949
THAT'S THE PLAN.
367
00:20:35,240 --> 00:20:36,673
YOUR AGENCY DID SEND YOU,
DIDN'T THEY?
368
00:20:37,000 --> 00:20:40,151
LOOK, I'M A MODEL,
NOT A BILLBOARD.
369
00:20:40,440 --> 00:20:43,512
WHAT YOU ARE IS AN EMPLOYEE
WORKING FOR ME, REMEMBER?
370
00:20:43,840 --> 00:20:44,989
BUT THIS IS TACKY.
371
00:20:45,280 --> 00:20:46,838
YOU'RE HERE TO HELP SELL
TRUCKS.
372
00:20:47,120 --> 00:20:49,270
GUYS WHO BUY TRUCKS
WILL LIKE YOU IN THIS.
373
00:20:49,600 --> 00:20:50,999
BUT I WON'T LIKE ME IN THIS.
374
00:20:51,280 --> 00:20:52,793
YOU DON'T COUNT,
MISS MUNROE.
375
00:20:53,080 --> 00:20:54,354
YOU'RE JUST PART
OF THE MERCHANDISE.
376
00:20:54,680 --> 00:20:55,829
WELL, WHAT IF I SAY NO?
377
00:20:56,120 --> 00:20:57,439
THEN I'LL CALL THE AGENCY.
378
00:20:57,720 --> 00:21:00,314
THEY'LL SEND ME SOMEONE ELSE
AND SEND YOU PACKING.
379
00:21:00,600 --> 00:21:03,831
IT'S JUST I THOUGHT THERE WAS
A FINANCIAL COMMITMENT
380
00:21:04,120 --> 00:21:06,270
YOU HAD TO FULFILL.
381
00:21:06,560 --> 00:21:07,879
YEAH.
382
00:21:08,200 --> 00:21:10,270
YOU CAN CHANGE IN THERE.
383
00:21:15,520 --> 00:21:17,033
HEY.
384
00:21:22,600 --> 00:21:25,239
WHAT'S YOUR PROBLEM?
385
00:21:25,520 --> 00:21:27,670
YOU'RE THE ONE
WITH THE PROBLEM.
386
00:21:27,960 --> 00:21:29,473
MAYBE I CAN HELP.
387
00:21:29,800 --> 00:21:31,153
YEAH, WHO ARE YOU?
388
00:21:31,440 --> 00:21:32,714
EDDIE.
389
00:21:33,000 --> 00:21:34,353
EDDIE ROBBINS.
390
00:21:34,680 --> 00:21:36,716
HOW CAN YOU HELP?
391
00:21:37,000 --> 00:21:40,276
YOU DON'T WANNA PARADE AROUND
IN PUBLIC IN THAT RAG.
392
00:21:40,600 --> 00:21:42,158
THERE ARE OTHER WAYS
TO MAKE A BUCK.
393
00:21:42,480 --> 00:21:46,598
FASTER. MORE PRIVATE.
394
00:21:46,880 --> 00:21:47,915
SUCH AS?
395
00:21:48,240 --> 00:21:49,992
I OWN A LITTLE PLACE
OVER ON 3RD STREET.
396
00:21:51,880 --> 00:21:54,269
I USE PHOTOGRAPHIC
MODELS THERE.
397
00:21:54,560 --> 00:21:56,152
3RD STREET, HUH?
398
00:21:56,440 --> 00:21:57,589
IT'S CALLED EDDIE'S.
399
00:21:57,880 --> 00:21:59,757
OH, I THINK I'VE HEARD OF IT.
400
00:22:00,800 --> 00:22:01,994
OH, YEAH?
401
00:22:02,280 --> 00:22:04,316
AS A MATTER OF FACT,
I WAS THERE
A COUPLE OF DAYS AGO.
402
00:22:04,600 --> 00:22:05,953
YOU WERE? HOW COME?
403
00:22:06,240 --> 00:22:08,515
OH, I WAS LOOKING
FOR A FRIEND OF MINE.
404
00:22:08,840 --> 00:22:11,400
THIS OLD MAN ASKED ME,
UH, IF I WANTEDAJOB.
405
00:22:11,720 --> 00:22:13,597
SOME CREEP
WITH HIS NOSE BEHIND A BOOK.
406
00:22:13,880 --> 00:22:17,270
THAT MAKES TWO OFFERS.
YOU OUGHT TO THINK ABOUT IT.
407
00:22:19,280 --> 00:22:20,190
IJUST DID.
408
00:22:20,520 --> 00:22:21,589
WHAT?
409
00:22:21,880 --> 00:22:23,996
I JUST THOUGHT ABOUT IT.
I'LL TAKE IT.
410
00:22:24,320 --> 00:22:26,595
JUST LIKE THAT?
JUST LIKE THAT.
411
00:22:26,880 --> 00:22:28,029
WHEN DO I START?
412
00:22:28,360 --> 00:22:32,797
WELL, YOU GO OVER THERE RIGHT
NOW IF YOU LIKE.
413
00:22:33,120 --> 00:22:34,838
I'LL EXPLAIN TO LLOYD.
414
00:22:35,160 --> 00:22:36,593
OH.
415
00:22:36,880 --> 00:22:38,279
YOU THINK HE'S GONNA
UNDERSTAND?
416
00:22:38,560 --> 00:22:39,549
SURE.
417
00:22:39,840 --> 00:22:40,955
[HORN HONKS]
418
00:22:41,240 --> 00:22:44,915
OH, YEAH, YOU GUYS PROBABLY
EXCHANGE GIRLS A LOT.
419
00:22:45,200 --> 00:22:46,997
YEAH, RIGHT.
420
00:22:47,280 --> 00:22:49,111
HEY, I'LL HANDLE IT,
NO PROBLEM.
421
00:22:50,360 --> 00:22:52,794
YOU GO ON OVER TO MY PLACE.
422
00:22:53,080 --> 00:22:57,073
TELL THE, UH,
OLD MAN WE TALKED.
423
00:22:57,360 --> 00:23:00,193
I'LL DROP BY LATER
TO SEE HOW YOU'RE DOING.
424
00:23:00,520 --> 00:23:01,953
TERRIFIC.
425
00:23:02,240 --> 00:23:03,798
THANKS.
426
00:23:05,440 --> 00:23:07,396
15/”
427
00:23:14,840 --> 00:23:16,592
KRIS [OVER PHONE]:
ANYWA Y, I CAME HOME,
CHANGED MY CLOTHES
428
00:23:16,880 --> 00:23:18,233
AND I'M HEADING FOR EDD/E'S
INA WHILE
429
00:23:18,520 --> 00:23:20,556
OKAY.
430
00:23:20,840 --> 00:23:23,035
KRIS, BE CAREFUL.
431
00:23:23,320 --> 00:23:25,231
OKA Y, BOS.
432
00:23:49,440 --> 00:23:51,237
[BAND PLAYING MUSIC]
433
00:23:55,880 --> 00:23:58,189
[CROWD APPLAUDING]
434
00:24:06,880 --> 00:24:08,598
EXCUSE US.
435
00:24:10,880 --> 00:24:11,915
HI.
HELLO.
436
00:24:12,200 --> 00:24:13,474
COME TO SEE ONE
OF THE A-PARTIES, BOS?
437
00:24:13,800 --> 00:24:15,916
OH, YES, VERY PLUSH.
438
00:24:16,200 --> 00:24:17,713
LISTEN, I, UH,
JUST TALKED TO KRIS.
439
00:24:18,000 --> 00:24:20,560
SHE JUST WALKED OUT ON THE JOB
SHE HAD OVER AT THE AUTO SHOW.
440
00:24:20,840 --> 00:24:22,558
WALKED OUT? WHY?
441
00:24:22,840 --> 00:24:23,670
SHE GOT A WORSE OFFER.
442
00:24:23,960 --> 00:24:25,791
A WORSE OFFER? FROM WHOM?
443
00:24:26,080 --> 00:24:27,274
FROM THE FELLOW
WHO RUNS THE SHOP
444
00:24:27,600 --> 00:24:28,589
WHERE JODY MILLS GOT KILLED.
445
00:24:28,880 --> 00:24:30,359
WELL, WHAT'S SHE DOING
DOWN THERE?
446
00:24:30,640 --> 00:24:32,835
LETTING THOSE SHUTTERBUGS
TAKE HER PICTURE
447
00:24:33,120 --> 00:24:34,553
AND KEEPING HER
EYES OPEN, I GUESS.
448
00:24:34,840 --> 00:24:37,400
SHE THINKS SHE CAN FIND
A LEAD ON HOW AND WHY
449
00:24:37,680 --> 00:24:38,510
JODY MILLS WAS KILLED.
450
00:24:38,800 --> 00:24:41,109
THAT'S A TOUGH OPERATION
DOWN THERE.
451
00:24:42,480 --> 00:24:44,072
YEAH, I KNOW.
I DON'T THINK YOU DO.
452
00:24:44,360 --> 00:24:46,191
I WAS RAISED
IN A NEIGHBORHOOD LIKE THAT
453
00:24:46,480 --> 00:24:48,072
AND WHAT YOU SEE
FROM THE OUTSIDE LOOKING IN
454
00:24:48,360 --> 00:24:50,555
IT'S WORSE FROM THE INSIDE
LOOKING OUT.
455
00:24:50,880 --> 00:24:53,758
I GET THE FEELING SHE KNOWS
WHAT SHE'S TALKING ABOUT, BOS.
456
00:24:54,040 --> 00:24:55,519
BELIEVE IT, I DO.
457
00:24:55,840 --> 00:24:58,638
THEN I DON'T THINK WE SHOULD
LEAVE KRIS WITHOUT A BACKUP.
458
00:24:58,920 --> 00:25:00,956
OKAY, WE'LL GO DOWN THERE
A LITTLE LATER
AND CHECK ON HER.
459
00:25:01,240 --> 00:25:02,719
OH, WHICH REMINDS ME
460
00:25:03,000 --> 00:25:06,754
IRAN A CHECK ON THAT SILVER
SEDAN THAT WE
SAW AT THE BEACH.
461
00:25:07,040 --> 00:25:08,758
ANY LUCK?
BOSLEY: PROBABLY NOT.
462
00:25:09,040 --> 00:25:11,474
THERE ARE OVER 100
SILVER SEDANS
463
00:25:11,760 --> 00:25:13,796
WITH G-L AS THE FIRST
LETTERS ON THE LICENSE
464
00:25:14,080 --> 00:25:15,752
REGISTERED IN CALIFORNIA.
465
00:25:16,040 --> 00:25:17,075
WELL, SO WHERE DOES
THAT LEAVE US?
466
00:25:17,400 --> 00:25:19,470
ALMOST NOWHERE.
467
00:25:25,640 --> 00:25:26,709
WHAT ARE YOU LOOKING AT?
468
00:25:27,960 --> 00:25:29,279
STEVE AND JIMMY JOY.
469
00:25:34,880 --> 00:25:36,518
WHAT ABOUT THEM?
470
00:25:36,840 --> 00:25:38,717
WHEN WE WERE SHOOTING THE
CINCINNATI TEXTILES COMMERCIAL
471
00:25:39,000 --> 00:25:40,319
AROUND THE POOL
REMEMBER WHAT KRIS SAID
472
00:25:40,640 --> 00:25:41,755
ABOUT STEVE AND JIMMY JOY?
473
00:25:43,320 --> 00:25:45,151
YEAH, SOMETHING
ABOUT THEM ARGUING.
474
00:25:45,480 --> 00:25:47,277
RIGHT, SHE COULDN'T UNDERSTAND
WHAT THEY WERE SAYING
475
00:25:47,600 --> 00:25:49,636
BUT THEY WERE YELLING AT
EACH OTHER IN THE NEXT ROOM.
476
00:25:49,920 --> 00:25:50,796
MEANING WHAT?
477
00:25:51,080 --> 00:25:52,149
I DON'T KNOW.
478
00:25:52,480 --> 00:25:54,118
I JUST KNOW HARRY SAID
HE WAS GONNA
479
00:25:54,440 --> 00:25:56,476
PRESSURE JIMMY JOY.
PUSH HIM.
480
00:25:56,760 --> 00:25:58,398
AND NOW HARRY IS DEAD
481
00:25:58,680 --> 00:26:01,319
AND STEVE'S LOOKING AWFULLY
UPTIGHT ALL OF A SUDDEN.
482
00:26:01,600 --> 00:26:04,558
BUT JIMMY JOY DOESN'T DRIVE
A SILVER SEDAN.
483
00:26:04,840 --> 00:26:07,115
WELL, I STILL INTEND
TO KEEP AN EYE ON HIM.
484
00:26:07,400 --> 00:26:09,709
RIGHT TILL I'VE BUSTED HIM
FOR PUSHING DRUGS.
485
00:26:11,040 --> 00:26:14,237
MEANWHILE, STEVE DOESN'T KNOW
ME,
so I'LL KEEP AN EYE 0N HIM.
486
00:26:14,520 --> 00:26:16,875
ALL RIGHT.
487
00:26:17,160 --> 00:26:20,038
WELL, I'M A LITTLE TIRED.
I THINK I'M GONNA PACK IT IN.
488
00:26:20,320 --> 00:26:21,639
SEE YOU TOMORROW?
OKAY, TAKE CARE.
489
00:26:21,920 --> 00:26:23,831
OKAY, GOOD NIGHT.
GOOD NIGHT.
490
00:26:25,360 --> 00:26:28,432
WELL, WHAT DO YOU THINK?
I THINK SHE'S HURTING.
491
00:26:28,720 --> 00:26:30,233
I DID A LITTLE
MORE RESEARCH ON HER.
492
00:26:30,560 --> 00:26:33,154
SHE WAS BORN IN NEW YORK
AND RAISED STREET TOUGH,
493
00:26:33,480 --> 00:26:34,356
JUST LIKE SHE SAID.
494
00:26:34,640 --> 00:26:37,677
WHAT ABOUT HER FAMILY?
WELL, IT SEEMS THAT--
495
00:26:42,520 --> 00:26:43,669
IT SEEMS THAT HER FATHER SPLIT
496
00:26:43,960 --> 00:26:45,359
WHEN SHE WAS TOO YOUNG
TO REMEMBER.
497
00:26:45,640 --> 00:26:47,073
HER MOTHER?
498
00:26:47,360 --> 00:26:49,078
BOSLEY:
SHE DIED TWO YEARS AGO
499
00:26:49,360 --> 00:26:52,636
IN A CHARITY HOSPITAL,
ACUTE ALCOHOLISM.
500
00:26:52,960 --> 00:26:55,872
OH, WELL, THAT EXPLAINS
HER TOUGH EDGE.
501
00:26:56,160 --> 00:26:58,037
YOU KNOW, I THINK THAT HARRY
WAS THE ONLY FRIEND
502
00:26:58,320 --> 00:26:59,639
SHE EVER HAD.
503
00:27:00,600 --> 00:27:02,352
LIKE I SAID, SHE'S HURTING.
504
00:27:02,680 --> 00:27:05,194
I JUST HOPE WE CAN HELP HER
HURT A LITTLE LESS.
505
00:27:06,360 --> 00:27:07,839
WE WILL, BOS. WE WILL.
506
00:27:09,680 --> 00:27:11,875
I'D BETTER GO BACK
AND MIX.
507
00:27:12,160 --> 00:27:13,115
OKAY.
508
00:27:36,880 --> 00:27:39,235
[ENGINE REVS]
509
00:27:49,000 --> 00:27:50,991
15/”
510
00:28:03,720 --> 00:28:05,472
MAN:
YOU WANNA WORK HERE?
511
00:28:05,760 --> 00:28:06,829
YOU ASKED ME TO,
REMEMBER?
512
00:28:07,160 --> 00:28:10,869
OH, YES. THAT'S RIGHT,
I DID, DIDN'T I?
513
00:28:11,200 --> 00:28:12,474
MEMORY'S NOT SO GOOD, HUH?
514
00:28:12,760 --> 00:28:16,514
I'VE BEEN READING THIS BOOK.
IT TAKES ALL MY CONCENTRATION.
515
00:28:16,840 --> 00:28:18,159
SO HOW DO I START?
516
00:28:18,440 --> 00:28:21,432
YOU GO IN THE MODELS' ROOM
AT THE END OF THE HALL
517
00:28:21,760 --> 00:28:24,797
WAIT THERE TILL I GET
A CUSTOMER AND CALL YOU.
518
00:28:25,080 --> 00:28:28,868
SPEAKING OF CUSTOMERS,
MAY I HELP YOU, SIR?
519
00:28:29,160 --> 00:28:33,233
YES. I NEED A ROOM AND A GIRL.
520
00:28:33,560 --> 00:28:34,913
WELL,
WHAT ABOUT THIS GIRL, SIR?
521
00:28:42,520 --> 00:28:43,953
SHE'S NEW HERE.
522
00:28:44,280 --> 00:28:46,316
YES, YES.
523
00:28:46,600 --> 00:28:48,670
SHE'LL DO VERY WELL.
524
00:29:13,200 --> 00:29:15,794
15/”
525
00:29:16,080 --> 00:29:18,833
YOU SAY YOU'RE NEW AT THIS
SORT OF THING, MISS, UH.,.?
526
00:29:19,120 --> 00:29:20,473
MISS...?
527
00:29:21,800 --> 00:29:23,756
WHAT DID YOU SAY
YOUR NAME WAS?
528
00:29:24,040 --> 00:29:26,349
I DIDN'T SAY.
YOU CAN CALL ME KRIS.
529
00:29:26,640 --> 00:29:28,995
JORDAN:
OH, THAT'S A LOVELY NAME.
530
00:29:29,320 --> 00:29:30,992
CAN I ASK YOU A QUESTION?
531
00:29:31,320 --> 00:29:33,151
OF COURSE.
532
00:29:33,440 --> 00:29:35,396
YOU LOOK AT ME
AS IF YOU KNOW ME.
533
00:29:35,680 --> 00:29:37,033
I DO?
534
00:29:37,320 --> 00:29:38,355
JORDAN:
YES.
535
00:29:38,640 --> 00:29:41,234
YOU DON'T KNOW ME,
DO YOU?
536
00:29:41,520 --> 00:29:43,590
NO, I DON'T THINK SO.
537
00:29:43,920 --> 00:29:47,515
I DIDN'T THINK SO, EITHER.
538
00:29:47,840 --> 00:29:51,276
WELL, TELL ME
ABOUT YOURSELF.
539
00:29:51,600 --> 00:29:52,999
WHAT DO YOU WANNA HEAR?
540
00:29:53,280 --> 00:29:56,590
ANYTHING YOU WANT
TO TELL ME.
541
00:29:56,880 --> 00:30:00,714
YOUR SECRET THOUGHTS,
SHARE THEM WITH ME.
542
00:30:01,680 --> 00:30:02,954
[CHUCKLES]
543
00:30:03,240 --> 00:30:04,798
I DON'T HAVE ANY SECRET
THOUGHTS.
544
00:30:05,080 --> 00:30:07,548
OH, WE ALL HAVE SECRET
THOUGHTS, KRIS.
545
00:30:07,840 --> 00:30:10,559
THAT'S WHAT MAKES LIFE
WORTH LIVING.
546
00:30:10,840 --> 00:30:14,469
SO BEFORE I PHOTOGRAPH
YOUR OUTER SELF,
547
00:30:14,760 --> 00:30:17,399
TELL ME ABOUT YOUR FEELINGS.
548
00:30:17,680 --> 00:30:18,829
DON'T LEAVE ANYTHING OUT
549
00:30:19,160 --> 00:30:21,720
NO MATTER HOW PERSONAL
OR EMBARRASSING IT MAY SEEM.
550
00:30:22,040 --> 00:30:23,439
COULD YOU DO THAT?
551
00:30:23,720 --> 00:30:27,508
WELL, I'LL TRY.
552
00:31:53,800 --> 00:31:56,837
HOW'S IT GOING?
MAN: OKAY, HOW ARE YOU?
553
00:32:02,800 --> 00:32:06,110
HELLO, SWEETHEART.
LET'S HAVE A COUPLE OF BEERS.
554
00:32:23,920 --> 00:32:25,956
YOU LOOK WORRIED.
WHAT'S THE MATTER?
555
00:32:27,360 --> 00:32:30,033
PRETTY BOY STEVE
IS RUNNING SCARED.
556
00:32:30,320 --> 00:32:33,073
HE'S GONNA BLOW IT FOR ME.
FOR US.
557
00:32:33,360 --> 00:32:34,998
WELL, IF HE BLOWS IT FOR US,
HE BLOWS IT FOR HIMSELF.
558
00:32:35,280 --> 00:32:36,429
YOU REMIND HIM OF THAT.
559
00:32:36,760 --> 00:32:39,957
I REMINDED HIM.
HE'S STILL RUNNING SCARED.
560
00:32:50,600 --> 00:32:52,636
FOR HIM, DEALING DRUGS
IS ONE THING.
561
00:32:54,680 --> 00:32:56,955
KILLING SOMEBODY,
NOW THAT'S SOMETHING ELSE.
562
00:32:58,800 --> 00:33:01,189
HE'S IN A SWEAT.
HE'S GONNA MAKE A MISTAKE.
563
00:33:01,480 --> 00:33:03,710
HE'S GONNA SAY THE WRONG THING
AT THE WRONG TIME
564
00:33:04,040 --> 00:33:06,270
AND WERE ALL GOING
RIGHT DOWN THE TUBES.
565
00:33:06,560 --> 00:33:07,629
WHAT ARE WE SUPPOSED TO DO?
566
00:33:07,960 --> 00:33:10,394
WHAT WE HAVE TO DO.
WE GOTTA SHUT HIM UP.
567
00:33:13,600 --> 00:33:14,999
I TOLD HIM TO MEET US HERE.
568
00:33:15,280 --> 00:33:15,996
WHEN?
569
00:33:16,280 --> 00:33:18,236
NOW.
570
00:33:18,520 --> 00:33:20,829
NOW? YOU MEAN,
YOU WANNA ICE HIM NOW?
571
00:33:23,400 --> 00:33:25,994
WE CAN'T COOL HIM OUT?
572
00:33:26,280 --> 00:33:27,679
YES.
573
00:33:34,520 --> 00:33:36,670
15/”
574
00:34:51,120 --> 00:34:52,633
HELLO, MOBILE OPERATOR.
575
00:34:52,920 --> 00:34:54,478
I'D LIKE TO PUT
A PERSON-TO-PERSON
CALL THROUGH,
576
00:34:54,760 --> 00:34:56,398
PLEASE,
TO A MISS KELLY GARRETT
577
00:34:56,680 --> 00:34:59,672
AT THE WOODMAN AGENCY
ON WILSHIRE BOULEVARD.
578
00:35:35,080 --> 00:35:36,672
STEVE, WHAT ARE YOU
DOING HERE?
579
00:35:36,960 --> 00:35:38,916
I WAS ABOUT TO ASK YOU
THE SAME QUESTION.
580
00:35:39,240 --> 00:35:40,514
GET UP.
581
00:35:52,720 --> 00:35:54,358
WHAT ARE YOU DOING
WITH HER?
582
00:35:54,640 --> 00:35:55,914
SHE MUST'VE FOLLOWED
YOU HERE.
583
00:35:56,200 --> 00:35:59,272
SHE'S BEEN WATCHING YOU
FROM UP AT THE BAR
584
00:35:59,560 --> 00:36:02,393
WITH THIS TUCKED
IN HER PURSE.
585
00:36:05,280 --> 00:36:07,919
WHY ARE YOU CARRYING A GUN?
WHY NOT?
586
00:36:08,200 --> 00:36:10,350
I'M NOT IN THE MOOD FOR
YOUR SMART MOUTH, LITTLE GIRL.
587
00:36:10,680 --> 00:36:12,557
NOW, WHAT ARE YOU DOING
WITH A GUN?
588
00:36:12,840 --> 00:36:15,229
HEY, IT'S A TOUGH WORLD.
A GIRL HAS TO BE CAREFUL.
589
00:36:15,560 --> 00:36:16,754
WHY HAVE YOU BEEN
FOLLOWING US?
590
00:36:17,040 --> 00:36:18,393
WHO SAYS
I WAS FOLLOWING YOU?
591
00:36:18,680 --> 00:36:21,592
I'M NOT IN THE MOOD
TO PLAY ANY GAMES HERE.
592
00:36:21,880 --> 00:36:24,440
LET'S ALL JUST TAKE A LITTLE
WALK OUTSIDE.
593
00:36:24,720 --> 00:36:27,314
I THINK YOU'RE MAKING A BIG
THING OUT OF NOTHING,
YOU KNOW?
594
00:36:27,600 --> 00:36:32,355
MOVE. STEVE, YOU TOO.
595
00:36:32,640 --> 00:36:33,709
I GOTTA GET
BACK TO THE AGENCY.
596
00:36:36,680 --> 00:36:38,671
HEY, WHAT'S GOING ON HERE?
WHAT'S YOUR PROBLEM ANYWAY?
597
00:36:39,000 --> 00:36:40,069
YOU'RE OUR PROBLEM.
598
00:36:42,200 --> 00:36:44,953
I DON'T LIKE PEOPLE WHO SWEAT
AND YOU SWEAT TOO MUCH.
599
00:36:46,080 --> 00:36:49,789
NOW LET'S JUST ALL MOVE
TO THE DOOR.
600
00:37:00,800 --> 00:37:02,995
15/”
601
00:37:42,400 --> 00:37:44,391
WHERE'S THE SILVER SEDAN
WITH THE G-L LICENSE?
602
00:37:44,680 --> 00:37:47,069
RIGHT THERE.
603
00:37:47,400 --> 00:37:48,719
BOS, THERE'S JULIE NOW.
604
00:37:50,600 --> 00:37:52,636
I DON'T THINK JULIE'S GOING,
I THINK SHE'S BEING TAKEN.
605
00:37:52,920 --> 00:37:54,751
YOU LOOK LIKE YOU NEED TO GET
SOMETHING OFF
YOUR CHEST, STEVE.
606
00:37:55,080 --> 00:37:56,433
WHY ARE YOU TURNING ON ME
LIKE THIS?
607
00:37:56,720 --> 00:37:57,516
TURNING ON YOU?
608
00:37:57,800 --> 00:37:59,199
WHAT HAVE YOU TWO
BEEN UP TO, HUH?
609
00:37:59,480 --> 00:38:00,549
MAYBE A MURDER AT THE BEACH?
610
00:38:00,880 --> 00:38:02,518
I SHOULD'VE CUT YOU DOWN
WITH YOUR LOUDMOUTHED FRIEND.
611
00:38:02,840 --> 00:38:03,716
NOW GET IN THE CAR.
612
00:38:18,360 --> 00:38:19,588
[ENGINE REVS]
613
00:38:21,680 --> 00:38:23,398
[TIRES SCREECH]
614
00:38:26,080 --> 00:38:27,559
DROP IT!
615
00:39:11,000 --> 00:39:12,956
15/”
616
00:39:33,080 --> 00:39:34,877
[CAR ENGINE REVS]
617
00:39:37,520 --> 00:39:39,875
[AMBULANCE SIREN WAILING]
618
00:39:44,880 --> 00:39:46,518
CHARLIE, WE PUT JIMMY JOY
AND HIS ACCOMPLICE
619
00:39:46,800 --> 00:39:48,552
IN THE PRISON WARD
AT THE CITY HOSPITAL.
620
00:39:48,840 --> 00:39:50,717
ALSO STEVE,
WHO DID QUITE A BIT OF TALKING
621
00:39:51,000 --> 00:39:51,876
BEFORE THEY PUT HIM
INTO THE AMBULANCE.
622
00:39:52,200 --> 00:39:53,474
CHARLIE [OVER PHONE]:
WHA TABOUTJULIE?
623
00:39:53,760 --> 00:39:55,955
YES, JULIE'S DOWN THERE GIVING
A STATEMENT TO THE POLICE.
624
00:39:56,280 --> 00:39:58,510
ALL RIGHT, YOU CANFILL ME IN
ON THE DETAILS LA TER.
625
00:39:58,800 --> 00:40:00,313
ANY NEWS ABOUTKRIS?
626
00:40:00,600 --> 00:40:02,556
WE'RE ON OUR WAY
OVER TO EDDIE'S
NOW TO SEE HOW SHE'S DOING.
627
00:40:02,840 --> 00:40:04,637
I THINK WE ALL BETTER TOUCH
BASE IN THE MORNING.
628
00:40:04,960 --> 00:40:08,555
RIGHT.
OKAY. TALK TO YOU LATER.
629
00:40:08,880 --> 00:40:10,313
LET'S GO IN ONE CAR.
WE'LL TAKE MINE.
630
00:40:10,600 --> 00:40:12,272
ALRIGHTY.
631
00:40:12,560 --> 00:40:14,676
KRIS, I'M SURE A GIRL
WITH YOUR LOOKS AND EXPERIENCE
632
00:40:14,960 --> 00:40:16,473
HAS DEVELOPED MORE
SOPHISTICATION
633
00:40:16,800 --> 00:40:18,677
THAN YOU'VE
SHOWN ME THUS FAR.
634
00:40:18,960 --> 00:40:21,030
LOOK, WHY DO YOU HAVE TO KNOW
MY INNER THOUGHTS?
635
00:40:21,320 --> 00:40:24,790
WHY DO YOU NEED
THAT KIND OF STIMULATION?
636
00:40:25,080 --> 00:40:27,719
I DON'T NEED THAT SORT
OF STIMULATION, AS YOU PUT IT.
637
00:40:28,000 --> 00:40:29,797
I WAS MERELY TRYING
TO BE FRIENDLY,
638
00:40:30,080 --> 00:40:31,672
SO WE COULD GET
TO KNOW EACH OTHER BETTER.
639
00:40:31,960 --> 00:40:33,996
PEOPLE CAN'T ACCOMPLISH
ANYTHING GOOD OR BAD
640
00:40:34,320 --> 00:40:35,833
IF THEY REMAIN STRANGERS.
641
00:40:37,280 --> 00:40:38,508
OF COURSE,
I WOULD NEVER FORCE YOU
642
00:40:38,800 --> 00:40:41,678
TO DO ANYTHING
AGAINST YOUR WILL.
643
00:40:42,000 --> 00:40:44,355
THERE ARE OTHER WAYS
I CAN GET TO SEE YOU.
644
00:40:44,640 --> 00:40:47,871
I MEAN, THE REAL YOU.
645
00:40:48,160 --> 00:40:51,914
THE INNER SELF THAT YOU TRY
SO CLEVERLY TO HIDE FROM ME.
646
00:40:59,040 --> 00:41:01,918
WELL, SHALL WE BEGIN?
647
00:41:10,200 --> 00:41:11,553
AH.
648
00:41:11,840 --> 00:41:12,909
YOU KNOW WHAT?
649
00:41:13,240 --> 00:41:15,231
I THINK I'D LIKE TO FIX
MY MAKEUP FIRST.
650
00:41:32,840 --> 00:41:35,479
YOU KNOW,
WE MAY HAVE MADE A MISTAKE.
651
00:41:35,800 --> 00:41:36,915
MISTAKE?
652
00:41:37,200 --> 00:41:39,430
ABOUT WHETHER
WE'D SEEN EACH OTHER BEFORE.
653
00:41:39,760 --> 00:41:41,398
WHAT DO YOU MEAN?
654
00:41:41,720 --> 00:41:43,312
HAVE YOU EVER BEEN
HERE BEFORE?
655
00:41:43,640 --> 00:41:45,471
WHAT DIFFERENCE
DOES THAT MAKE?
656
00:41:45,760 --> 00:41:47,990
OH, I JUST THOUGHT
I'D SEEN YOU HERE.
657
00:41:48,280 --> 00:41:50,350
YOU COULDN'T POSSIBLY
HAVE SEEN ME BEFORE.
658
00:41:50,640 --> 00:41:52,437
THE MAN AT THE DESK SAID
YOU WERE NEW HERE.
659
00:41:52,720 --> 00:41:55,280
THE MAN AT THE DESK DOESN'T
HAVE A VERY GOOD MEMORY.
660
00:41:55,560 --> 00:41:58,233
THE QUESTION IS, WHY ARE YOU
PLAYING THIS CHARADE,
661
00:41:58,520 --> 00:41:59,589
MISS MUNROE?
662
00:42:02,240 --> 00:42:03,150
YOU KNOW MY NAME.
663
00:42:03,440 --> 00:42:04,395
JORDAN:
WHY ARE YOU HERE?
664
00:42:04,680 --> 00:42:05,829
TWO DAYS AGO
YOU WERE AT THE AGENCY,
665
00:42:06,160 --> 00:42:07,639
NOW SUDDENLY YOU'RE HERE.
666
00:42:07,960 --> 00:42:10,918
IT USUALLY TAKES QUITE A WHILE
TO GET FROM THE AGENCY TO HERE
667
00:42:11,200 --> 00:42:15,193
UNLESS YOU'RE TRYING
TO TRAP ME.
668
00:42:17,040 --> 00:42:21,238
ANSWER ME, MISS MUNROE.
WHY ARE YOU HERE?
669
00:42:21,520 --> 00:42:23,351
WHY DON'T YOU TELL ME
ABOUT THIS, MR. JORDAN?
670
00:42:23,680 --> 00:42:24,829
THIS WAS FOUND IN THE ALLEY
THE MORNING
671
00:42:25,120 --> 00:42:26,269
AFTER JODY MILLS WAS KILLED.
672
00:42:26,600 --> 00:42:28,636
|T SEEMS TO BELONG
TO YOUR LENS CAP.
673
00:42:28,920 --> 00:42:33,869
OH,
YOU'RE ALL THE SAME, AREN'T
YOU? SO PRETTY, SO DEMANDING.
674
00:42:34,160 --> 00:42:37,277
THE LOVELY FACADE
THAT HIDES DECEIT.
675
00:42:37,560 --> 00:42:39,312
IS THAT WHY YOU KILLED
JODY MILLS?
676
00:42:39,600 --> 00:42:41,591
THAT IS WHY I HAVE NO CHOICE
BUT TO KILL YOU.
677
00:42:43,840 --> 00:42:44,795
[GRU NTS]
678
00:42:54,120 --> 00:42:56,270
15/”
679
00:43:07,600 --> 00:43:08,715
STOP HIM!
680
00:43:09,000 --> 00:43:10,877
HOLD IT!
681
00:43:12,760 --> 00:43:14,432
[HORN HONKS]
682
00:43:18,360 --> 00:43:20,669
CALL THE POLICE.
683
00:43:31,120 --> 00:43:33,509
JORDAN:
OH, GOD.
684
00:43:33,800 --> 00:43:37,395
GOD, I'M SORRY.
685
00:43:37,680 --> 00:43:41,195
I DIDN'T WANNA
KILL THAT GIRL.
686
00:43:41,480 --> 00:43:44,517
I JUST WANTED HER
TO BE NICE TO ME
687
00:43:44,840 --> 00:43:47,673
JUST FOR A LITTLE WHILE.
688
00:43:50,120 --> 00:43:51,712
SHE MADE ME DO IT.
689
00:43:52,000 --> 00:43:55,515
SHE TRIED TO RUN AWAY AND I--
690
00:43:55,800 --> 00:43:58,519
I LOST CONTROL.
691
00:43:58,800 --> 00:44:00,313
[GROANS]
692
00:44:01,360 --> 00:44:04,158
WHY?
693
00:44:04,440 --> 00:44:07,113
WHY DID I DO IT?
694
00:44:08,160 --> 00:44:10,230
WHY?
695
00:44:14,920 --> 00:44:16,239
[GROANS]
696
00:44:21,840 --> 00:44:24,035
15/”
697
00:44:27,360 --> 00:44:29,157
[CROWD CHATTERING]
698
00:44:46,960 --> 00:44:51,158
WELL, WELL, WELL.
WHAT HAVE WE HERE?
699
00:44:51,440 --> 00:44:54,318
AREN'T WE OUT OF UNIFORM?
700
00:44:54,600 --> 00:44:59,833
MR. WOODMAN, STEVE IS IN THE
HOSPITAL.
UNDER POLICE CUSTODY.
701
00:45:00,120 --> 00:45:03,192
HE'S FACING CHARGES
OF MURDER AND NARCOTICS
702
00:45:03,480 --> 00:45:07,758
ALONG WITH YOUR IN-HOUSE
DRUG DEALER, JIMMY JOY.
703
00:45:08,040 --> 00:45:10,076
ALSO, YOUR FAVORITE CLIENT,
704
00:45:10,360 --> 00:45:12,271
MR. JORDAN
OF CINCINNATI TEXTILES
705
00:45:12,600 --> 00:45:14,113
HAS CONFESSED
TO THE MURDER OF JODY MILLS
706
00:45:14,440 --> 00:45:16,271
WHO WAS ONCE A MODEL
IN THIS AGENCY.
707
00:45:16,600 --> 00:45:19,672
IT SEEMS SHE HAD FALLEN OUT
OF FAVOR WITH YOU.
708
00:45:19,960 --> 00:45:22,520
MISS MONROE,
I HAVEN'T THE FAINTEST IDEA
709
00:45:22,800 --> 00:45:23,994
WHAT YOU'RE TALKING ABOUT
710
00:45:24,320 --> 00:45:26,959
BUT I REALLY CANNOT HAVE
MY GUESTS DISTURBED
711
00:45:27,280 --> 00:45:29,475
BY THESE SORDID
LITTLE STORIES.
712
00:45:29,760 --> 00:45:31,796
BUT THAT'S JUST THE POINT,
MR. WOODMAN.
713
00:45:32,120 --> 00:45:34,680
WE DO WANNA DISTURB
YOUR GUESTS.
714
00:45:35,000 --> 00:45:37,719
WE WANT ALL
THESE HOPEFUL YOUNG
LADIES TO KNOW WHAT IT'S LIKE
715
00:45:38,040 --> 00:45:39,473
WHEN THEY DON'T MAKE IT
IN THE A GROUP.
716
00:45:39,760 --> 00:45:42,115
WHAT IT'S LIKE WHEN YOU TUMBLE
DOWN THAT LADDER OF SUCCESS
717
00:45:42,400 --> 00:45:44,311
TILL YOU END UP
IN THE STREET MODEL SHOPS
718
00:45:44,600 --> 00:45:45,555
OR THE MASSAGE PARLORS.
719
00:45:45,880 --> 00:45:48,838
WE WANT ALL THESE FINE-LOOKING
CLIENTS OF YOURS TO KNOW
720
00:45:49,120 --> 00:45:50,314
HOW YOU MERCHANDISE
ALL THE GLAMOUR
721
00:45:50,640 --> 00:45:52,153
AND THE BIG BUCKS
TO THEIR BENEFIT.
722
00:45:52,440 --> 00:45:55,318
NOW, YOU LISTEN TO ME.
723
00:45:55,640 --> 00:45:58,996
WHAT MY ASSOCIATES,
MY COLLEAGUES, MY EMPLOYEES
724
00:45:59,280 --> 00:46:02,238
OR MY CLIENTS
DO IN THEIR SPARE TIME
725
00:46:02,560 --> 00:46:03,913
IS NO CONCERN OF MINE.
726
00:46:04,200 --> 00:46:08,591
I RUN A RESPECTABLE AGENCY
727
00:46:08,880 --> 00:46:10,518
AND YOU'D HAVE
A HELL OF A TIME
728
00:46:10,800 --> 00:46:12,597
PROVING THAT I AM RESPONSIBLE
729
00:46:12,880 --> 00:46:16,236
FOR ANY OF THE THINGS THAT YOU
HAVE SO GRAPHICALLY DESCRIBED.
730
00:46:16,520 --> 00:46:18,556
BOSLEY:
YOU'RE PROBABLY RIGHT,
MR. WOODMAN.
731
00:46:18,840 --> 00:46:20,956
WE WOULD PLAY HELL
PROVING THEM.
732
00:46:22,280 --> 00:46:24,271
BUT THAT IS WHY WE WANT
EVERYONE HERE
733
00:46:24,560 --> 00:46:28,758
TO KNOW JUST EXACTLY
WHAT THEY'RE DEALING WITH.
734
00:46:29,040 --> 00:46:31,156
[CROWD MURMURING]
735
00:46:41,080 --> 00:46:42,069
LADIES AND GENTLEMEN,
I'M SORRY
736
00:46:42,400 --> 00:46:43,753
FOR THIS
UNFORTUNATE INTERRUPTION.
737
00:46:44,040 --> 00:46:46,349
IT'S OF NO CONSEQUENCE
WHATSOEVER
738
00:46:46,640 --> 00:46:50,838
SO WHY DON'T YOU HAVE ANOTHER
DRINK AND FORGET ABOUT IT ALL?
739
00:46:51,160 --> 00:46:52,639
THERE'S NO NEED TO LEAVE.
740
00:46:52,920 --> 00:46:58,358
THE PARTY IS NOT OVER
AND I CAN EXPLAIN MY POSITION.
741
00:46:58,640 --> 00:47:02,076
PLEASE, DON'T LEAVE.
742
00:47:02,360 --> 00:47:05,033
IT'S ALL BEEN
A MOST UNFORTUNATE
MISUNDERSTANDING. PLEASE.
743
00:47:05,320 --> 00:47:07,072
PLEASE.
744
00:47:12,360 --> 00:47:14,715
15/”
745
00:47:20,560 --> 00:47:23,074
HI, SORRY I'M LATE,
I HAD SOMETHING
746
00:47:23,400 --> 00:47:25,630
A LITTLE SPECIAL
TO ATTEND TO.
747
00:47:25,920 --> 00:47:27,512
CHARLIE [OVER SPEAKER]:
KRIS, HOW’S YOUR SHOULDER
FEELING?
748
00:47:27,800 --> 00:47:29,074
OH, IT'S STILL
A LITTLE SORE.
749
00:47:29,400 --> 00:47:31,072
IT'LL BE FINE IN A DAY OR TWO,
CHARLIE.
750
00:47:31,400 --> 00:47:34,676
GOOD. ID LIKE TO COMMEND YOU
ALL ON A JOB VERY WELL DONE.
751
00:47:34,960 --> 00:47:36,188
THANK YOU, CHARLIE.
752
00:47:36,480 --> 00:47:37,833
WE CERTAINLY GOT
AN INSIDE LOOK
753
00:47:38,160 --> 00:47:39,559
AT THE GLAMOROUS
WORLD OF MODELING.
754
00:47:39,840 --> 00:47:42,400
WELL, MOSTAGENCIES
ARE FILLED WITH TALENTED,
755
00:47:42,680 --> 00:47:44,318
HARDWORKING, HONEST PEOPLE
756
00:47:44,600 --> 00:47:46,795
UNFOR TUNA TEL Y, YOU DEAL T WITH
ONE THAT WAS LESS THAN THAT
757
00:47:47,080 --> 00:47:49,355
EVEN SO, CHARLIE, IT'S A ROUGH
WAY TO MAKE A LIVING.
758
00:47:49,640 --> 00:47:51,995
I JUST WISH A LOT OF THOSE
ASPIRING YOUNG MODELS
759
00:47:52,280 --> 00:47:54,714
THAT COME TO THE BIG CITY
WERE AWARE OF IT.
760
00:47:55,000 --> 00:47:56,797
IAGREE OH, BOSLEY,
761
00:47:57,080 --> 00:47:59,071
DID YOU TAKE CARE
OF THATMA TTER WE DISCUSSED?
762
00:47:59,360 --> 00:48:00,190
OH, YES, CHARLIE.
763
00:48:00,520 --> 00:48:01,555
WELL, THE/II,
WHY DON'T WE PROCEED?
764
00:48:01,840 --> 00:48:02,875
ALL RIGHT, CHARLIE.
765
00:48:03,160 --> 00:48:04,434
WHAT ARE YOU UP TO,
CHARLIE?
766
00:48:04,720 --> 00:48:06,392
WE HA VE A LITTLE SURPRISE
FOR YOU
767
00:48:06,680 --> 00:48:08,636
HO-HO. I HOPE IT'S
A COUPLE OF DAYS OFF.
768
00:48:08,920 --> 00:48:10,239
E I/EN BETTER THAN THA T
769
00:48:10,520 --> 00:48:12,636
REALLY?
I THINK SO.
770
00:48:14,040 --> 00:48:17,077
BOSLEY?
I'M BACK, CHARLIE.
771
00:48:19,440 --> 00:48:20,350
HI.
772
00:48:20,640 --> 00:48:22,949
E“
773
00:48:23,240 --> 00:48:25,117
I TALKED TO THE POLICE
COMMISSIONER THIS MORNING.
774
00:48:25,640 --> 00:48:28,518
.HE WAS AS
PLEASED WITH JULIE'S
WORK AS I WAS WITH YOURS
775
00:48:28,840 --> 00:48:30,796
SO WE CAME UP WITH THIS
TERRIFIC IDEA.
776
00:48:31,080 --> 00:48:32,149
WHICH IS?
777
00:48:32,440 --> 00:48:33,998
WELL,
THE COMMISSIONER IS WILLING
778
00:48:34,280 --> 00:48:35,759
TO MAKE AN EXCEPTION
IN JULIE'S CASE
779
00:48:36,040 --> 00:48:41,068
.AND ISSUE HER
AN IN I/ESTIGA TOR'S
LICENSE ON A TRIAL BASIS.
780
00:48:41,360 --> 00:48:42,190
YOU MEAN--?
781
00:48:42,520 --> 00:48:45,159
SHE'D BE WORKING HERE,
WITH US?
782
00:48:45,480 --> 00:48:47,357
THAT'S THE GENERAL IDEA.
783
00:48:49,800 --> 00:48:53,110
LISTEN, IF YOU DON'T THINK
IT'S A GOOD IDEA.
784
00:48:54,200 --> 00:48:56,156
WELL,
I ONLY HAVE ONE QUESTION,
CHARLIE.
785
00:48:56,440 --> 00:48:57,350
WHICH IS?
786
00:48:57,640 --> 00:48:59,870
WHY DIDN'T WE THINK
OF IT FIRST?
787
00:49:00,200 --> 00:49:01,519
[LAUGHING]
GOOD DUES T/ON, KELLY
788
00:49:01,800 --> 00:49:03,028
WELCOME ABOARD.
789
00:49:03,320 --> 00:49:04,116
THANKS.
790
00:49:04,400 --> 00:49:05,594
THAT GOES FOR ME TOO.
THANKS.
791
00:49:07,360 --> 00:49:09,476
z:
792
00:49:14,440 --> 00:49:16,556
15/”
56970
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