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1
00:00:21,090 --> 00:00:23,220
YOO‐HOO.
2
00:00:28,400 --> 00:00:32,070
AH, THIS IS GOING TO BE
AN ART THEFT?
3
00:00:32,100 --> 00:00:33,940
IT’S NOT
THE FRAME’S FAULT.
4
00:00:33,970 --> 00:00:35,570
ARE YOU A MEMBER
5
00:00:35,610 --> 00:00:37,420
OF THE ART FRAME
DEFENSE LEAGUE?
6
00:00:37,440 --> 00:00:38,410
Man: MORNING.
7
00:00:38,440 --> 00:00:39,880
WHAT HAPPENED?
8
00:00:39,910 --> 00:00:42,240
THE OWNER GAVE ME THIS.
HE COULDN’T STICK AROUND.
9
00:00:42,280 --> 00:00:43,880
IS THAT SO?
10
00:00:43,920 --> 00:00:46,260
WHAT, DID HE HAVE
A SQUASH APPOINTMENT?
11
00:00:46,280 --> 00:00:48,920
"I NEED A DRINK
SOMEPLACE
12
00:00:48,950 --> 00:00:51,920
WHERE I DON’T HAVE TO LOOK
AT ALL THESE EMPTY FRAMES."
13
00:00:51,960 --> 00:00:54,570
GIVE ME A BREAK.
14
00:00:54,590 --> 00:00:56,760
OH.
15
00:00:56,800 --> 00:00:59,140
I DEFINITELY UNDERSTAND WHY
THEY DIDN’T TAKE THIS ONE.
16
00:00:59,160 --> 00:01:01,600
THIS ASSHOLE
TELL YOU WHEN HE WAS
17
00:01:01,630 --> 00:01:03,900
GOING TO GET AROUND
TO TALKING TO US?
18
00:01:03,940 --> 00:01:05,910
THE GIRL SAID
SHE’D BRING HIM IN.
19
00:01:05,940 --> 00:01:08,280
I AM STARTING
TO TAKE A BURN AT YOU.
20
00:01:08,310 --> 00:01:10,120
OVER WHAT?
21
00:01:10,140 --> 00:01:11,510
OVER YOU
DISPENSE INFORMATION
22
00:01:11,540 --> 00:01:14,580
IN DRIPS AND DRABS
LIKE A LEAKY FAUCET.
23
00:01:14,610 --> 00:01:16,580
THE GIRL’S NAME’S
NIKKI CAMERON.
24
00:01:16,620 --> 00:01:18,990
THE OWNER’S NAME’S
NOEL BELLER.
25
00:01:19,020 --> 00:01:21,760
AND NIKKI CAMERON
IS TO NOEL BELLER WHAT?
26
00:01:21,790 --> 00:01:24,130
SHE STOOD HERE
CONSOLING HIM.
27
00:01:24,160 --> 00:01:27,330
I WAS FIRST ON THE SCENE.
I DIDN’T DO AN INTERVIEW.
28
00:01:27,360 --> 00:01:29,090
THIS BEAT‐UP DOOR ‐‐
29
00:01:29,130 --> 00:01:31,470
ENLIGHTEN ME WHY IT’S
SMASHED UP ON BOTH SIDES.
30
00:01:31,500 --> 00:01:35,010
YOU KNOW, THE OUTSIDE’S
SMASHED UP.
31
00:01:35,030 --> 00:01:37,800
THAT’S THE PERPETRATORS
FORCING ENTRY.
32
00:01:37,840 --> 00:01:40,180
BEATING UP THE INSIDE,
MAYBE YOU ALREADY HAD ACCESS,
33
00:01:40,200 --> 00:01:42,770
AND YOU’RE SCREWING UP
A TRY AT A MISDIRECT.
34
00:01:42,810 --> 00:01:45,180
MAYBE YOU’RE A NOVICE
OR A BONEHEAD OR AMATEUR THIEF.
35
00:01:45,210 --> 00:01:47,540
HOW MANY BELTS
DID IT LOOK LIKE
36
00:01:47,580 --> 00:01:50,550
IT WAS GOING TO TAKE
THIS GUY TO EVEN OUT?
37
00:01:50,580 --> 00:01:53,150
I WOULDN’T SEE HIM
ON A BENDER.
38
00:01:53,180 --> 00:01:56,380
ANYBODY ELSE RETURNS HERE,
TRY AND PERSUADE THEM TO STAY.
39
00:03:21,170 --> 00:03:22,900
MAY I HELP YOU?
40
00:03:22,940 --> 00:03:24,870
MY WIFE IS MISSING.
41
00:03:24,910 --> 00:03:26,910
DETECTIVE MEDAVOY
CAN SEE YOU.
42
00:03:26,950 --> 00:03:28,320
YEAH.
43
00:03:28,350 --> 00:03:30,390
IT’S ABOUT
A MISSING PERSON.
44
00:03:30,410 --> 00:03:32,610
YVETTE GUNTHER ‐‐
MY WIFE ‐‐
45
00:03:32,650 --> 00:03:35,320
SHE DIDN’T COME HOME
YESTERDAY.
46
00:03:35,350 --> 00:03:38,150
UH, WELL, LET’S, UH,
GO IN HERE
47
00:03:38,190 --> 00:03:40,420
WHERE WE CAN ALL
SIT DOWN.
48
00:03:40,460 --> 00:03:42,160
I‐I DIDN’T CATCH
YOUR NAME.
49
00:03:42,190 --> 00:03:43,730
I’M DWIGHT GUNTHER.
50
00:03:43,760 --> 00:03:47,060
THIS WAY.
51
00:03:47,100 --> 00:03:49,460
THAT’S MY PARTNER
DETECTIVE JONES.
52
00:03:51,440 --> 00:03:54,480
MY WIFE HAD A TICKET
TO FLY TO ST. AUGUSTINE
53
00:03:54,510 --> 00:03:56,920
YESTERDAY AFTERNOON,
NON‐REFUNDABLE.
54
00:03:56,940 --> 00:03:59,940
SHE WAS PACKED AND WENT OUT
TO RUN SOME ERRANDS.
55
00:03:59,980 --> 00:04:01,640
I WENT TO WORK,
56
00:04:01,680 --> 00:04:05,080
AND I LEFT A MESSAGE
FOR HER TO CALL ME
57
00:04:05,120 --> 00:04:07,830
BEFORE SHE LEFT
FOR THE AIRPORT,
58
00:04:07,850 --> 00:04:10,750
BUT SHE NEVER CALLED.
I CAME HOME LAST NIGHT.
59
00:04:10,790 --> 00:04:13,320
HER LUGGAGE AND THE TICKET
WERE STILL THERE.
60
00:04:13,360 --> 00:04:17,240
THERE WASN’T ANY SIGN
SHE’D EVER COME BACK.
61
00:04:21,300 --> 00:04:22,660
HUH!
62
00:04:22,700 --> 00:04:24,630
YEAH, SHE’S 53, 5’2".
63
00:04:24,670 --> 00:04:27,440
HERE’S A PICTURE
AND A DESCRIPTION.
64
00:04:27,470 --> 00:04:29,300
I RAN THESE OFF
IN A KINKO’S.
65
00:04:29,340 --> 00:04:32,270
I POSTED SOME
IN OUR NEIGHBORHOOD.
66
00:04:32,310 --> 00:04:34,640
YOU WERE VERY ACTIVE
BEFORE COMING IN.
67
00:04:34,680 --> 00:04:36,380
YOUR WIFE GOT
ANY MEDICAL CONDITION?
68
00:04:36,410 --> 00:04:38,510
NO.
69
00:04:38,550 --> 00:04:40,480
WERE YOU HAVING
DOMESTIC PROBLEMS?
70
00:04:40,520 --> 00:04:42,720
I GOT ON HER NERVES
A LITTLE,
71
00:04:42,750 --> 00:04:44,890
BUT THAT’S HOW IT GOES
WHEN YOU’VE BEEN MARRIED
72
00:04:44,920 --> 00:04:46,320
30 YEARS.
73
00:04:46,360 --> 00:04:48,530
MAYBE I’M A LITTLE SLOPPY
OR I’M LATE
74
00:04:48,560 --> 00:04:50,160
OR I’M A PROCRASTINATOR
75
00:04:50,190 --> 00:04:51,960
OR WHATEVER
THE COMPLAINT IS,
76
00:04:52,000 --> 00:04:54,910
BUT WE DIDN’T HAVE
ANY BIG BLOWUP.
77
00:04:54,930 --> 00:04:58,070
SHE’S NEVER DONE ANYTHING
LIKE THIS BEFORE.
78
00:04:58,100 --> 00:05:01,540
WHAT KIND OF ERRANDS
WAS SHE GOING TO RUN?
79
00:05:01,570 --> 00:05:03,200
I DIDN’T ASK.
80
00:05:03,240 --> 00:05:05,840
AND WHAT WAS THE TRIP
TO ST. AUGUSTINE FOR?
81
00:05:05,880 --> 00:05:07,920
TO PUT OUR VACATION HOUSE
ON THE MARKET.
82
00:05:07,950 --> 00:05:10,020
SHE WAS GOING TO
PACK OUR THINGS.
83
00:05:10,050 --> 00:05:15,020
DID YOUR WIFE EVER TALK
ABOUT DOING AWAY WITH HERSELF?
84
00:05:15,050 --> 00:05:16,520
NOT TO ME.
85
00:05:20,190 --> 00:05:23,020
AHEM. WHAT KIND OF WORK
YOU IN, MR. GUNTHER?
86
00:05:23,060 --> 00:05:25,030
I HAVE A SMALL
MANUFACTURING COMPANY
87
00:05:25,060 --> 00:05:27,160
OVER IN BROOKLYN.
WE MAKE LAMPSHADES.
88
00:05:27,200 --> 00:05:29,930
YOU GOT ANY ENEMIES?
NOT TO MY KNOWLEDGE.
89
00:05:29,970 --> 00:05:31,930
IS THERE A CHANCE
THAT, UH,
90
00:05:31,970 --> 00:05:34,600
YOUR WIFE COULD HAVE BEEN
INVOLVED WITH SOMEONE ELSE?
91
00:05:34,640 --> 00:05:37,210
I’D SAY NO,
THOUGH I SUPPOSE
92
00:05:37,240 --> 00:05:39,710
IT’S ALWAYS
A POSSIBILITY.
93
00:05:39,740 --> 00:05:42,410
WELL, WE’LL, UH,
CERTAINLY PUT THIS
94
00:05:42,450 --> 00:05:45,020
IN THE HANDS
OF MISSING PERSONS,
95
00:05:45,050 --> 00:05:47,680
AND, UH, WE’LL OPEN
A FILE ON IT OURSELVES
96
00:05:47,720 --> 00:05:49,590
BASED ON THIS
THOROUGH INFORMATION
97
00:05:49,620 --> 00:05:51,350
YOU’VE PROVIDED, UH,
WITH THESE FLIERS
98
00:05:51,390 --> 00:05:52,550
FROM KINKO’S.
99
00:05:52,590 --> 00:05:54,090
ALL RIGHT.
100
00:05:54,130 --> 00:05:56,070
WE’LL ALL HOPE
FOR THE BEST.
101
00:05:56,090 --> 00:05:59,060
THANK YOU.
102
00:05:59,100 --> 00:06:01,640
SHALL I SHOW MYSELF OUT?
103
00:06:01,670 --> 00:06:04,840
YEAH, SURE. GO AHEAD.
104
00:06:09,440 --> 00:06:11,540
I THINK WE NOW KNOW,
BALDWIN,
105
00:06:11,580 --> 00:06:13,550
HOW A MALE RESIDENT
OF MARS
106
00:06:13,580 --> 00:06:15,510
WOULD REPORT
HIS WIFE MISSING.
107
00:06:26,090 --> 00:06:27,960
Man: THIS IS WHERE
WE’RE GOING?
108
00:06:27,990 --> 00:06:29,590
Woman: SIT THERE, NOEL.
109
00:06:29,630 --> 00:06:31,060
MY HEART IS GOING
LIKE CRAZY.
110
00:06:31,100 --> 00:06:32,140
SIT DOWN.
111
00:06:32,160 --> 00:06:34,000
CAN I HELP YOU?
112
00:06:34,030 --> 00:06:36,000
I’M NIKKI CAMERON,
A FRIEND OF MR. BELLER’S.
113
00:06:36,030 --> 00:06:37,830
I’M SO SORRY
ABOUT YOUR COLLECTION.
114
00:06:37,870 --> 00:06:42,170
IT’S VERY CONSIDERATE
OF YOU TO SAY.
115
00:06:42,210 --> 00:06:44,680
DETECTIVE,
THIS IS MR. BELLER.
116
00:06:44,710 --> 00:06:46,310
HOW’S IT GOING?
117
00:06:46,340 --> 00:06:47,680
HOW’S IT GOING?
118
00:06:47,710 --> 00:06:50,110
MR. BELLER’S
ART COLLECTION
119
00:06:50,150 --> 00:06:51,350
WAS STOLEN.
120
00:06:51,380 --> 00:06:52,610
IT’S MY CASE.
121
00:06:52,650 --> 00:06:54,250
IF IT’S YOUR CASE,
122
00:06:54,290 --> 00:06:57,100
AND YOU KNOW THAT
THE COLLECTION’S BEEN STOLEN,
123
00:06:57,120 --> 00:06:59,920
WHY WOULD YOU ASK ME,
"HOW ARE THINGS GOING?"
124
00:06:59,960 --> 00:07:03,630
EITHER OF YOU HAS A GUN,
FEEL FREE TO SHOOT ME.
125
00:07:03,660 --> 00:07:05,630
I MEANT IT LIKE "HELLO."
126
00:07:11,140 --> 00:07:13,110
THANK YOU.
127
00:07:13,140 --> 00:07:15,910
AHEM.
128
00:07:19,180 --> 00:07:21,350
MY PARTNER DANNY SORENSON.
DON’T ASK HOW IT’S GOING.
129
00:07:21,380 --> 00:07:23,550
HI.
130
00:07:23,580 --> 00:07:26,180
MR. BELLER, WHO HAD
HIS ART COLLECTION STOLEN.
131
00:07:26,220 --> 00:07:27,960
WHAT DID YOU SAY?
132
00:07:27,990 --> 00:07:32,130
NOT THAT YOU HAD IT STOLEN.
NOW THIS IS GOING TO BE A PIP.
133
00:07:32,160 --> 00:07:33,570
WHO WOULD YOU BE?
134
00:07:33,590 --> 00:07:36,220
NIKKI CAMERON.
I’VE BEEN VISITING MR. BELLER.
135
00:07:36,260 --> 00:07:37,360
WHERE FROM?
136
00:07:37,400 --> 00:07:39,470
SANTA MONICA...CALIFORNIA.
137
00:07:39,500 --> 00:07:42,970
I’VE BEEN PREPARING AN ARTICLE
ON MR. BELLER’S COLLECTION.
138
00:07:43,000 --> 00:07:46,400
YOU MIGHT CALL IT
"OBJETS COLLECTED WITH LOVE,
139
00:07:46,440 --> 00:07:50,020
"AND I’D LIKE TO THINK
SOME AMOUNT OF DISCERNMENT
140
00:07:50,040 --> 00:07:52,810
GONE FOREVER FROM
NOEL BELLER’S POSSESSION."
141
00:07:52,840 --> 00:07:54,580
DON’T TAKE
A DEFEATIST TONE.
142
00:07:54,610 --> 00:07:56,240
WHAT ALL DID YOU LOSE?
143
00:07:56,280 --> 00:07:59,820
OFF THE TOP OF MY HEAD,
WHAT ALL I LOST WAS A MONDRIAN
144
00:07:59,850 --> 00:08:01,650
APPRAISED AT
$4 MILLION 7 YEARS AGO.
145
00:08:01,690 --> 00:08:03,530
WITH THE ARRIVISTE
INTERNET MONEY
146
00:08:03,560 --> 00:08:05,160
BLOATING THE MARKET,
147
00:08:05,190 --> 00:08:07,660
IT WOULD BRING
THREE TIMES THAT TODAY.
148
00:08:07,690 --> 00:08:09,660
YEAH, WELL,
EVIDENTLY NOT TO ME.
149
00:08:09,690 --> 00:08:12,260
AND I ALSO LOST
AN ARTHUR DOVE WATERCOLOR
150
00:08:12,300 --> 00:08:14,870
AND A STUART DAVIS GOUACHE
AND SOME GIACOMETTI DRAWINGS.
151
00:08:14,900 --> 00:08:17,730
THANK GOD AT LEAST
THEY WERE ALL INSURED.
152
00:08:17,770 --> 00:08:23,340
NOT THAT THAT CAN COMPENSATE
FOR THE EMOTIONAL DEVASTATION.
153
00:08:23,370 --> 00:08:26,270
THESE ARE THINGS I’VE HAD
FOR A VERY LONG TIME.
154
00:08:26,310 --> 00:08:28,280
I ALSO LOST
ALL MY JEWELRY ‐‐
155
00:08:28,310 --> 00:08:31,180
DIAMOND RING,
DIAMOND CUFF LINKS.
156
00:08:31,220 --> 00:08:34,460
ALL OF IT’S GOING TO
END UP IN SOME PAWN SHOP.
157
00:08:34,490 --> 00:08:36,460
KEEPING SOME DRUG ADDICT
IN HEROIN.
158
00:08:36,490 --> 00:08:37,630
YOUR DOOR LOCKS.
159
00:08:37,660 --> 00:08:40,070
YOU COULD SEE
WHERE THE BURGLAR
160
00:08:40,090 --> 00:08:41,720
PUSHED THE DOOR OPEN.
161
00:08:41,760 --> 00:08:43,960
YOU COULD SEE
THE DAMAGE HE DID.
162
00:08:44,000 --> 00:08:47,310
SOMEBODY BEAT THE DOOR.
WHO ELSE HAS KEYS?
163
00:08:47,330 --> 00:08:49,630
NO ONE. I LIVE ALONE.
164
00:08:49,670 --> 00:08:52,130
YOU GOT A SET
FOR FRIENDS?
165
00:08:52,170 --> 00:08:54,770
NO, NOR DO MR. BELLER’S
FRIENDS TAKE THAT AMISS.
166
00:08:54,810 --> 00:08:57,720
MY COUSIN MOVED TO EUROPE
ABOUT A YEAR AGO.
167
00:08:57,740 --> 00:08:59,410
HE HAD A SET.
168
00:08:59,440 --> 00:09:01,040
WE’LL NEED THAT NAME.
169
00:09:01,080 --> 00:09:02,980
HE WOULD NEVER DO
SOMETHING LIKE THIS.
170
00:09:03,010 --> 00:09:06,250
THIS IS EVAN?
171
00:09:06,280 --> 00:09:08,420
JUST DON’T
MAKE IT SOUND
172
00:09:08,450 --> 00:09:10,320
LIKE I WAS
ACCUSING HIM.
173
00:09:10,350 --> 00:09:12,920
HIS NAME IS EVAN SIBLEY,
174
00:09:12,960 --> 00:09:15,670
AND I’LL GET YOU
HIS PHONE NUMBER IN PARIS.
175
00:09:15,690 --> 00:09:18,430
EVAN COMMITTING A BURGLARY,
THAT’S COMPLETELY IMPOSSIBLE.
176
00:09:18,460 --> 00:09:22,000
ANYONE ANGRY AT YOU?
177
00:09:22,030 --> 00:09:26,100
ONLY THOSE I CHOOSE
TO BE DISAGREEABLE TO.
178
00:09:26,140 --> 00:09:28,750
AHEM. BUSINESS DISPUTES
WITH ANYONE?
179
00:09:28,770 --> 00:09:30,470
Nikki: MR. BELLER
DOESN’T HAVE ANY BUSINESS
180
00:09:30,510 --> 00:09:32,110
TO BE DISPUTATIOUS ABOUT.
181
00:09:32,140 --> 00:09:34,910
WHAT DO YOU DO
WITH YOURSELF?
182
00:09:34,950 --> 00:09:36,860
I HAVE MY INTERESTS,
LITTLE ROUTINES.
183
00:09:36,880 --> 00:09:39,080
ANY PHOTOS
OF THESE ARTWORKS?
184
00:09:39,120 --> 00:09:41,290
PHOTOGRAPHS WERE TAKEN
FOR THE INSURANCE POLICY.
185
00:09:41,320 --> 00:09:43,520
DID YOU BRING THOSE IN?
186
00:09:43,560 --> 00:09:45,260
AH! I’M A DOLT.
187
00:09:45,290 --> 00:09:48,960
I’M INCAPABLE RIGHT NOW
OF A COGENT ACT.
188
00:09:48,990 --> 00:09:50,960
I’LL SEE THAT
YOU GET THE PHOTOS
189
00:09:51,000 --> 00:09:53,300
AND A LIST OF POSSESSIONS
THAT WERE TAKEN.
190
00:09:53,330 --> 00:09:54,760
GOOD. THANKS VERY MUCH.
191
00:09:54,800 --> 00:09:57,500
ARE YOU STAYING
AT MR. BELLER’S PLACE?
192
00:09:57,540 --> 00:09:59,110
NO, THE ESSEX HOUSE.
193
00:09:59,140 --> 00:10:00,050
ALONE?
194
00:10:00,070 --> 00:10:02,100
YES. WHY?
195
00:10:02,140 --> 00:10:03,670
JUST TO MAKE SURE
THE ROOM’S IN YOUR NAME.
196
00:10:03,710 --> 00:10:06,110
ANYWAYS, OUR JOB’S
GOT TASK FORCE DETECTIVES
197
00:10:06,140 --> 00:10:08,540
THAT SPECIALIZE
IN THIS TYPE OF CRIME.
198
00:10:08,580 --> 00:10:11,210
WE’LL BE STAYING
IN TOUCH WITH YOU.
199
00:10:11,250 --> 00:10:12,880
ALL RIGHT.
200
00:10:12,920 --> 00:10:15,060
SORRY YOU LOST
ALL YOUR ART.
201
00:10:15,090 --> 00:10:17,360
YOU MIGHT HAVE COMMISERATED
BY OFFERING ME
202
00:10:17,390 --> 00:10:18,720
SOME SORT OF BEVERAGE.
203
00:10:18,760 --> 00:10:20,330
YOU WANT A BEVERAGE?
204
00:10:20,360 --> 00:10:22,490
NO, NOT NOW.
205
00:10:41,710 --> 00:10:43,910
HOW ABOUT A CUP
OF LIQUID DRANO?
206
00:10:43,950 --> 00:10:46,850
THAT WOULDN’T BE
THE FIRST TOXIC CHEMICAL
207
00:10:46,890 --> 00:10:49,190
HE’S INGESTED TODAY.
208
00:10:58,400 --> 00:11:01,270
THE MONDRIAN’S
WORTH A LOT OF MONEY.
209
00:11:01,300 --> 00:11:03,730
THE DOVE’S
A MINOR PIECE.
210
00:11:03,770 --> 00:11:05,900
THE DAVIS
IS A MINOR PIECE.
211
00:11:05,940 --> 00:11:07,910
THE GIACOMETTI DRAWINGS
ARE DECENT.
212
00:11:07,940 --> 00:11:09,740
SOMEONE HAD KEYS
TO THIS GUY’S PLACE.
213
00:11:09,770 --> 00:11:11,410
Andy: KNOCKED OFF
THE DOORKNOBS
214
00:11:11,440 --> 00:11:13,410
TO MAKE IT LOOK LIKE
A BREAK‐IN,
215
00:11:13,440 --> 00:11:15,940
BUT IT WAS THE INSIDE
DOORKNOB THEY BANGED AROUND.
216
00:11:15,980 --> 00:11:17,610
WHAT ABOUT BELLER?
217
00:11:17,650 --> 00:11:19,410
HE’S A SOCIAL‐TYPE
DOUCHE BAG.
218
00:11:19,450 --> 00:11:22,120
YOU SEE HIM IN PARTY PHOTOS
IN THEM SOCIETY MAGAZINES.
219
00:11:22,150 --> 00:11:24,290
EVER HEAR
HE’S GOT MONEY PROBLEMS?
220
00:11:24,320 --> 00:11:26,560
NO, HE’S SUPPOSED
TO BE LOADED.
221
00:11:26,590 --> 00:11:28,860
I THINK HIS GRANDFATHER
MADE TOILET BOWLS OR SOMETHING.
222
00:11:28,890 --> 00:11:30,130
YOU’LL NOTIFY THE GUILDS?
223
00:11:30,160 --> 00:11:31,730
AND THE FBI AND INTERPOL,
224
00:11:31,760 --> 00:11:35,030
AND I HAVE EARS
WITH A FEW CRIMINAL RECEIVERS.
225
00:11:35,070 --> 00:11:38,410
THANKS A LOT
FOR COMING IN, WALLY.
226
00:11:38,440 --> 00:11:40,410
YOU TOOK WEIGHT OFF,
DIDN’T YOU?
227
00:11:40,440 --> 00:11:42,070
A FEW POUNDS.
228
00:11:42,110 --> 00:11:43,820
MY VACATION,
I’M GOING ON A RUTHLESS
229
00:11:43,840 --> 00:11:45,640
EXERCISE AND DIET REGIME.
230
00:11:45,680 --> 00:11:47,220
WHEN’S THAT COMING UP?
231
00:11:47,250 --> 00:11:51,590
JUNE 14, PAL.
10 WEEKS AND COUNTING.
232
00:11:51,620 --> 00:11:52,990
WHY?
233
00:11:53,020 --> 00:11:55,260
I JUST THOUGHT YOU MIGHT GO
FOR INCOME TAX DAY.
234
00:11:55,290 --> 00:11:57,260
WAIT TILL YOU HIT 35
235
00:11:57,290 --> 00:11:59,420
AND YOUR METABOLISM
SLOWS DOWN.
236
00:11:59,460 --> 00:12:03,300
WALLY CAN’T SEE 35 NO MORE
IN HIS REAR‐VIEW MIRROR.
237
00:12:03,330 --> 00:12:06,270
PEOPLE START TO DIET WHEN
THEIR STOMACHS STICK OUT FARTHER
238
00:12:06,300 --> 00:12:07,540
THAN THEIR DICKY‐DOO.
239
00:12:10,470 --> 00:12:12,930
AHEM. THIS, UH, COUSIN
240
00:12:12,970 --> 00:12:15,670
THAT HAD A SET OF KEYS
TO THE PLACE...
241
00:12:15,710 --> 00:12:17,150
EVAN SIBLEY.
242
00:12:17,180 --> 00:12:19,320
THAT BELLER THINKS
IS IN PARIS.
243
00:12:19,340 --> 00:12:21,680
WE CALL. 2‐WEEK‐OLD MESSAGE
ON THE ANSWERING MACHINE
244
00:12:21,710 --> 00:12:23,080
SAYS HE’S IN NEW YORK.
245
00:12:23,110 --> 00:12:25,310
WE GOT A PLACE FOR HIM?
246
00:12:25,350 --> 00:12:27,320
HE’S STAYING WITH FRIENDS
IN THE VILLAGE.
247
00:12:27,350 --> 00:12:29,080
THAT’S PROBABLY WORTH
AN UNANNOUNCED APPEARANCE.
248
00:12:29,120 --> 00:12:31,120
I WOULDN’T BE GIVING HIM
ANY NOTICE.
249
00:12:31,160 --> 00:12:32,630
John: MAY I HELP YOU?
250
00:12:32,660 --> 00:12:34,830
AHEM.
251
00:12:34,860 --> 00:12:36,360
THAT’S BELLER’S FRIEND?
252
00:12:36,390 --> 00:12:38,760
YEAH ‐‐ NIKKI CAMERON.
253
00:12:38,800 --> 00:12:40,370
WE LIKE HER?
254
00:12:40,400 --> 00:12:43,030
SHE SHOWS UP IN TOWN
AND THE GUY GETS ROBBED.
255
00:12:43,070 --> 00:12:44,680
I’LL GO TALK TO HER.
256
00:12:44,700 --> 00:12:47,600
FIND OUT WHERE SHE
GOT THEM LONG LEGS.
257
00:12:47,640 --> 00:12:50,110
YOU DON’T WANT TO
TALK TO HER?
258
00:12:50,140 --> 00:12:52,340
IF SHE’S GOING TO
TRY TO WORK SOMETHING,
259
00:12:52,380 --> 00:12:54,290
SHE’S GOING TO DO IT
WITH HIM.
260
00:12:54,310 --> 00:12:55,980
HOW’S IT GOING,
MISS CAMERON?
261
00:12:56,010 --> 00:12:57,680
HI.
262
00:12:57,720 --> 00:13:00,330
PERMIT ME TO IMMEDIATELY
OFFER YOU A BEVERAGE.
263
00:13:00,350 --> 00:13:02,880
I’M NOT A STICKLER
THE WAY NOEL IS.
264
00:13:02,920 --> 00:13:06,020
WHY DON’T WE TALK
IN OUR REFRESHMENT AREA,
265
00:13:06,060 --> 00:13:08,330
WHERE BESIDES COFFEE,
WE’VE ALSO GOT SODA
266
00:13:08,360 --> 00:13:10,530
AND BOTTLED WATER
AND FOOD THAT’S BEEN
267
00:13:10,560 --> 00:13:12,890
LEFT IN OUR REFRIGERATOR
PERIODS UP TO SEVERAL WEEKS.
268
00:13:12,930 --> 00:13:16,300
I WISH I COULD SAY I’D NEVER
HEARD OF SUCH A THING.
269
00:13:16,330 --> 00:13:18,370
FOOD LEFT TO SPOIL
IN THE FRIDGE ‐‐
270
00:13:18,400 --> 00:13:20,170
THE UNIVERSAL SIN
OF SINGLE PEOPLE.
271
00:13:20,200 --> 00:13:22,170
DO YOU HAVE, LIKE,
A SPRITE?
272
00:13:22,210 --> 00:13:23,550
THERE’S AN UPSET.
273
00:13:23,580 --> 00:13:25,180
WHAT DO YOU MEAN?
274
00:13:25,210 --> 00:13:26,540
YOU WANTING A SPRITE.
275
00:13:26,580 --> 00:13:28,080
OH.
276
00:13:28,110 --> 00:13:30,380
YOU REMEMBER TOM CRUISE
IN "COCKTAIL,"
277
00:13:30,410 --> 00:13:32,750
THE WAY HE’D THROW
THAT DRINK OVER HIS SHOULDER
278
00:13:32,780 --> 00:13:34,380
BEFORE HE POURED IT?
279
00:13:34,420 --> 00:13:35,820
YEAH.
280
00:13:35,850 --> 00:13:37,990
YOU WANT ME
TO DO THAT FOR YOU?
281
00:13:38,020 --> 00:13:40,060
I THINK IT MIGHT SPRAY.
282
00:13:40,090 --> 00:13:42,160
I’LL JUST OPEN IT UP
AND POUR.
283
00:13:42,190 --> 00:13:46,060
PLEASE DON’T SUSPECT ME
BECAUSE I’M NERVOUS.
284
00:13:46,100 --> 00:13:49,070
OKAY.
285
00:13:49,100 --> 00:13:50,730
OKAY.
286
00:13:50,770 --> 00:13:53,300
WHY DON’T YOU
HAVE A SEAT?
287
00:13:58,210 --> 00:14:00,040
IF NOEL FEELS
YOU’VE OVERSTEPPED,
288
00:14:00,080 --> 00:14:01,880
HE CAN BE VINDICTIVE,
289
00:14:01,910 --> 00:14:04,550
AND I’M NOT IN A POSITION
AT THE MOMENT
290
00:14:04,580 --> 00:14:07,280
WHERE THAT WOULD BE
VERY GOOD FOR ME.
291
00:14:07,320 --> 00:14:09,790
THAT’S WHAT
I’M NERVOUS ABOUT.
292
00:14:09,820 --> 00:14:13,220
YOU CAN BEAT YOUR NERVES.
JUST SAY WHAT’S ON YOUR MIND.
293
00:14:13,260 --> 00:14:16,640
HA. YOU MAKE LIFE
SOUND VERY SIMPLE.
294
00:14:19,600 --> 00:14:23,030
EVAN SIBLEY ‐‐
NOEL’S COUSIN IN PARIS...
295
00:14:23,070 --> 00:14:25,040
THAT HAD THE EXTRA SET
OF KEYS
296
00:14:25,070 --> 00:14:26,640
TO MR. BELLER’S APARTMENT.
297
00:14:26,670 --> 00:14:29,040
EVAN THAT HAD
THE EXTRA SET OF KEYS ‐‐
298
00:14:29,070 --> 00:14:30,710
HE’S IN NEW YORK.
299
00:14:30,740 --> 00:14:32,310
IS THAT RIGHT?
300
00:14:32,340 --> 00:14:34,810
AND HE HAS BEEN
FOR A COUPLE OF WEEKS.
301
00:14:34,850 --> 00:14:36,420
HOW DO YOU KNOW THIS?
302
00:14:36,450 --> 00:14:39,460
AFTER WE LEFT, I SUGGESTED
TO NOEL THAT HE CALL EVAN
303
00:14:39,480 --> 00:14:43,080
TO FIND OUT IF EVAN
HAD LOST THE KEYS
304
00:14:43,120 --> 00:14:46,150
OR FOR WHATEVER REASON.
I MEAN, WHY NOT CALL HIM?
305
00:14:46,190 --> 00:14:47,390
SURE.
306
00:14:47,430 --> 00:14:49,000
AND NOEL WOULDN’T,
307
00:14:49,030 --> 00:14:51,440
AND SO WHEN NOEL
WAS IN THE KITCHEN,
308
00:14:51,460 --> 00:14:53,060
I CALLED EVAN’S NUMBER,
309
00:14:53,100 --> 00:14:56,070
AND HIS MESSAGE MACHINE
SAID THAT FROM MARCH 12th
310
00:14:56,100 --> 00:14:59,430
HE WAS GOING TO BE
IN NEW YORK CITY.
311
00:14:59,470 --> 00:15:01,800
DID YOU FEEL HE KNEW
HIS COUSIN WAS IN TOWN?
312
00:15:01,840 --> 00:15:03,440
I HAD THAT FEELING.
313
00:15:03,470 --> 00:15:05,970
HOW DID YOU
KNOW THAT?
314
00:15:06,010 --> 00:15:09,340
ANYWAYS, WE MADE THAT
PHONE CALL TO PARIS,
315
00:15:09,380 --> 00:15:11,350
ALSO, MISS CAMERON.
WE KNOW HE’S IN TOWN,
316
00:15:11,380 --> 00:15:14,650
AND WE’RE GOING TO SEE
IF WE CAN TALK TO MR. SIBLEY.
317
00:15:14,690 --> 00:15:16,960
ALL RIGHT.
THAT’S GREAT,
318
00:15:16,990 --> 00:15:19,420
BECAUSE THE BIG THING
FOR ME,
319
00:15:19,460 --> 00:15:21,030
WHOEVER DID THIS,
320
00:15:21,060 --> 00:15:23,790
I DON’T NEED NOEL
ANGRY AT ME.
321
00:15:23,830 --> 00:15:26,760
OR HE WON’T LET YOU DO
THE ART MAGAZINE ARTICLE.
322
00:15:26,800 --> 00:15:31,770
WHICH WOULD BE MY FIRST.
323
00:15:31,800 --> 00:15:35,040
I’M A BIT OF A HANGER‐ON
AT THE MOMENT, DETECTIVE.
324
00:15:35,070 --> 00:15:37,470
AT THIS POINT, MY BIGGEST
ACCOMPLISHMENT IN LIFE
325
00:15:37,510 --> 00:15:40,110
IS HAVING PARENTS
WHO SENT ME TO VASSAR.
326
00:15:40,140 --> 00:15:42,340
HOW ABOUT IF MR. BELLER
STOLE THE PAINTINGS HIMSELF
327
00:15:42,380 --> 00:15:44,280
AND HE’S TRYING
TO FRAME HIS COUSIN?
328
00:15:44,320 --> 00:15:46,290
THEN YOU COULD SELL
YOUR ARTICLE
329
00:15:46,320 --> 00:15:48,130
TO PEOPLE MAGAZINE.
330
00:15:48,150 --> 00:15:50,950
I DON’T KNOW IF THAT
WOULD BE THE EXACT VENUE,
331
00:15:50,990 --> 00:15:54,020
BUT THE PIECE WOULD HAVE
A LARGER AUDIENCE.
332
00:15:54,060 --> 00:15:56,630
I APPRECIATE YOU COMING IN
WITH THIS INFORMATION.
333
00:15:56,660 --> 00:16:00,200
THANKS FOR THE SPRITE.
334
00:16:00,230 --> 00:16:02,660
WELL, WHY DON’T YOU
TAKE IT WITH YOU?
335
00:16:02,700 --> 00:16:03,870
NO, THANKS.
336
00:16:03,900 --> 00:16:05,570
ALL RIGHT,
I’LL WALK YOU OUT.
337
00:16:10,110 --> 00:16:13,040
YOU WERE RIGHT
ABOUT THE UPSET.
338
00:16:13,080 --> 00:16:14,690
THAT’S THE FIRST SPRITE
339
00:16:14,710 --> 00:16:17,680
I DRANK SINCE I WAS
A JUNIOR IN HIGH SCHOOL,
340
00:16:17,720 --> 00:16:20,730
AND IF YOU ASKED WHY,
I COULDN’T TELL YOU.
341
00:16:20,750 --> 00:16:23,720
AHEM. HAVE THEY GOT
A NEW AD CAMPAIGN?
342
00:16:23,760 --> 00:16:26,600
MAYBE THAT’S IT.
343
00:16:26,630 --> 00:16:29,230
SO, YOU’RE NOT GOING
ANYWHERE, ARE YOU,
344
00:16:29,260 --> 00:16:31,830
IN TERMS OF LEAVING
OUR FAIR CITY?
345
00:16:31,860 --> 00:16:33,390
NO, I’LL BE AROUND.
346
00:16:33,430 --> 00:16:35,030
GOOD. THAT’S GREAT.
347
00:16:37,140 --> 00:16:39,080
BYE.
348
00:16:43,540 --> 00:16:45,670
SHE’S GOT SOMETHING
TO DO WITH IT.
349
00:16:45,710 --> 00:16:48,040
MAYBE YOU COULD FIND OUT
OVER A BANANA SPLIT
350
00:16:48,080 --> 00:16:49,850
AT RUMPELSTILSKIN’S.
351
00:16:49,880 --> 00:16:51,680
THAT’S RIGHT NEAR
THE ESSEX HOUSE, AIN’T IT?
352
00:16:51,720 --> 00:16:53,520
RUMPELMAYER’S.
353
00:16:53,550 --> 00:16:56,050
THAT PINK DOPEY PLACE
WITH ALL THE ICE CREAM.
354
00:16:56,090 --> 00:16:57,430
I READ ABOUT RUMPELMAYER’S
355
00:16:57,460 --> 00:17:00,270
IN THE FIRST BOOK
I BOUGHT ABOUT NEW YORK.
356
00:17:00,290 --> 00:17:02,560
WHEN EACH OF MY SISTERS
TURNED 10,
357
00:17:02,590 --> 00:17:04,930
I TOOK THEM THERE
FOR THEIR BIRTHDAY PARTIES.
358
00:17:04,960 --> 00:17:06,290
I HEARD IT’S VERY NICE.
359
00:17:10,430 --> 00:17:12,770
SO SHOULD WE MAKE
OUR UNANNOUNCED VISIT
360
00:17:12,800 --> 00:17:14,470
TO THIS EVAN SIBLEY?
361
00:17:14,510 --> 00:17:16,550
YEAH, WE’LL JUST
GIVE HER A CHANCE
362
00:17:16,580 --> 00:17:20,150
TO CLEAR THE BUILDING
BEFORE WE GO.
363
00:17:39,260 --> 00:17:41,600
HOW YOU DOING?
364
00:17:41,630 --> 00:17:43,430
THIS YVETTE GUNTHER
LISTED MISSING
365
00:17:43,470 --> 00:17:44,810
ON THE LIGHT POLE FLIERS ‐‐
366
00:17:44,840 --> 00:17:46,410
MENTION OF A REWARD?
367
00:17:46,440 --> 00:17:48,410
YOU KNOW ANYTHING
ABOUT HER WHEREABOUTS?
368
00:17:48,440 --> 00:17:51,010
WELL, I RENTED A CAR
TO A DWIGHT GUNTHER
369
00:17:51,040 --> 00:17:52,810
YESTERDAY THAT BEHAVED
PRETTY STRANGE.
370
00:17:52,840 --> 00:17:54,180
IS THAT SO?
371
00:17:54,210 --> 00:17:55,640
YEAH. OH, UH...
372
00:17:55,680 --> 00:17:57,080
THAT’S ME ‐‐
373
00:17:57,120 --> 00:17:59,660
RANDALL DIXON,
RELIANCE AUTO RENTAL.
374
00:17:59,680 --> 00:18:01,950
BALDWIN JONES.
I’M A DETECTIVE HERE.
375
00:18:01,990 --> 00:18:04,030
COME ON IN, MR. DIXON.
376
00:18:04,060 --> 00:18:07,030
WHERE IT’S GOT "REWARD" ‐‐
WHO IS IT OFFERING THAT?
377
00:18:07,060 --> 00:18:09,930
HERE,
RIGHT STRAIGHT AHEAD.
378
00:18:09,960 --> 00:18:11,530
Baldwin: HEY, GREG.
RANDALL DIXON,
379
00:18:11,560 --> 00:18:14,300
THIS IS MY PARTNER
DETECTIVE MEDAVOY.
380
00:18:14,330 --> 00:18:16,330
YEAH, HOW’S IT GOING,
RANDALL?
381
00:18:16,370 --> 00:18:20,110
WHERE IT SAYS "REWARD,"
WHO IS OFFERING THAT?
382
00:18:20,140 --> 00:18:21,940
MR. DIXON SAID
HE RENTED A CAR
383
00:18:21,970 --> 00:18:23,810
TO MR. GUNTHER
YESTERDAY...
384
00:18:23,840 --> 00:18:25,340
STATION WAGON.
385
00:18:25,380 --> 00:18:27,290
AND THAT MR. GUNTHER
WAS BEHAVING STRANGE.
386
00:18:27,310 --> 00:18:29,140
AH, STRANGE, EH?
387
00:18:29,180 --> 00:18:30,850
UM...
388
00:18:34,750 --> 00:18:36,350
IN WHAT WAY?
389
00:18:36,390 --> 00:18:39,000
PUT ME THROUGH
ANY AMOUNT OF HASSLE
390
00:18:39,020 --> 00:18:41,660
ON THE R. A. RIGHT OUT
ON THE STREET.
391
00:18:41,690 --> 00:18:43,020
THE R. A.?
392
00:18:43,060 --> 00:18:45,230
THE RENTAL AGREEMENT
ON THE STATION WAGON.
393
00:18:45,260 --> 00:18:47,400
DEMANDED I GIVE HIM
A DISCOUNT.
394
00:18:47,430 --> 00:18:49,400
WANTED THE 7‐DAY DISCOUNT,
395
00:18:49,430 --> 00:18:51,170
BUT HE ORDERED THE CAR
THAT MORNING.
396
00:18:51,200 --> 00:18:53,170
I SAID
HE COULDN’T HAVE IT.
397
00:18:53,200 --> 00:18:55,400
HE SAYS,
"TAKE THE WAGON BACK.
398
00:18:55,440 --> 00:18:58,140
I’LL GO SOMEPLACE
THEY APPRECIATE MY BUSINESS."
399
00:18:58,180 --> 00:19:00,050
THAT’S WHAT
YOU THOUGHT WAS STRANGE.
400
00:19:00,080 --> 00:19:01,410
SO I OFF‐LOAD THE LUGGAGE
401
00:19:01,450 --> 00:19:03,520
THAT I JUST HELPED HIM
LOAD UP,
402
00:19:03,550 --> 00:19:06,150
AND THEN HE SAYS,
"ALL RIGHT, NEVER MIND.
403
00:19:06,180 --> 00:19:09,820
I’LL TAKE THE CARAVAN
WITHOUT THE DISCOUNT."
404
00:19:09,850 --> 00:19:13,720
SO I SAID TO HIM,
"IF YOU THINK I’M RELOADING
405
00:19:13,760 --> 00:19:16,690
"THAT DAMN LUGGAGE
YOU JUST HAD ME OFF‐LOAD,
406
00:19:16,730 --> 00:19:19,060
I HOPE YOU’RE DRIVING
TO SEE A PSYCHIATRIST."
407
00:19:19,100 --> 00:19:20,940
IT WAS LIKE
HE DIDN’T HEAR ME.
408
00:19:20,970 --> 00:19:22,570
JUST SIGNED THE R. A.
409
00:19:22,600 --> 00:19:24,900
AND LOADED HIS LUGGAGE
BACK UP HIMSELF.
410
00:19:24,940 --> 00:19:27,850
I DIDN’T HAVE HIM DROP ME
BACK AT THE OFFICE.
411
00:19:27,870 --> 00:19:30,840
LET HIM DRIVE OFF WITH ME
STANDING IN THE STREET.
412
00:19:30,880 --> 00:19:33,450
HAD ONE OF MY OWN MEN
COME AND GET ME.
413
00:19:33,480 --> 00:19:35,520
HOW WOULD YOU DESCRIBE
THE LUGGAGE
414
00:19:35,550 --> 00:19:36,890
YOU WERE LOADING
AND OFF‐LOADING,
415
00:19:36,920 --> 00:19:38,120
MR. DIXON?
416
00:19:38,150 --> 00:19:39,720
JUST THREE PIECES
STANDARD‐SIZE
417
00:19:39,750 --> 00:19:41,350
PLAID‐PATTERN LUGGAGE.
418
00:19:41,390 --> 00:19:43,090
DIDN’T HAVE
ANY PECULIAR SMELL
419
00:19:43,120 --> 00:19:46,420
TO THEM, OR THE LIKE?
420
00:19:46,460 --> 00:19:48,770
OH, GOD! OH!
421
00:19:48,790 --> 00:19:52,130
THAT’S JUST AN EXPLORATORY
QUESTION WE NEED TO ASK,
422
00:19:52,160 --> 00:19:55,300
AND WHICH YOU SAY
THERE WAS NO PECULIAR SMELL.
423
00:19:55,330 --> 00:19:58,300
NO, BUT I LOADED
AND OFF‐LOADED THAT LUGGAGE.
424
00:19:58,340 --> 00:20:00,280
DON’T GET AHEAD
OF YOURSELF.
425
00:20:00,300 --> 00:20:02,700
YOU DID A VERY CIVIC THING
COMING IN,
426
00:20:02,740 --> 00:20:05,140
REPORTING THE POSSIBLY
SUSPICIOUS BEHAVIOR
427
00:20:05,180 --> 00:20:07,420
OF THIS MR. GUNTHER.
428
00:20:07,450 --> 00:20:10,390
PAST THAT, LET’S LEAVE
THE GRUESOME IMAGININGS
429
00:20:10,410 --> 00:20:12,380
TO, UH, "TALES OF THE CRYPT."
430
00:20:12,420 --> 00:20:16,390
SO, WHO’S OFFERING
THE REWARD IN THIS THING?
431
00:20:16,420 --> 00:20:18,720
IN ‐‐ IN TERMS
OF THOSE FLIERS,
432
00:20:18,760 --> 00:20:21,730
THAT WOULD, UH, ACTUALLY BE
MR. GUNTHER HIMSELF
433
00:20:21,760 --> 00:20:24,160
THAT PUT THOSE
IN CIRCULATION.
434
00:20:24,200 --> 00:20:26,670
THE MR. GUNTHER
I’M IN HERE REPORTING.
435
00:20:26,700 --> 00:20:28,800
THAT WOULD BE THE ONE.
436
00:20:28,830 --> 00:20:31,670
SO HE WOULDN’T BE GIVING ME
ANY REWARD, WOULD HE?
437
00:20:41,380 --> 00:20:43,750
I GAVE UP FOUR HOURS
OF WORK FOR THIS.
438
00:20:43,780 --> 00:20:46,450
ANOTHER HAPPY CUSTOMER.
439
00:20:52,220 --> 00:20:54,160
WHEN THIS GUY SHOWS UP
TELLING US
440
00:20:54,190 --> 00:20:56,160
HOW HIS WIFE
HAS GONE MISSING,
441
00:20:56,190 --> 00:20:58,290
GREG AND I HAD
THE SAME REACTION.
442
00:20:58,330 --> 00:21:00,330
SHE JUST PICKED
A NEW LIFESTYLE
443
00:21:00,360 --> 00:21:03,430
THAT DIDN’T INVOLVE LIVING
WITH SOMEONE WHO TALKED
444
00:21:03,470 --> 00:21:05,180
LIKE HAL
IN THE "2001" MOVIE.
445
00:21:05,200 --> 00:21:07,100
BUT THIS CAR RENTAL AGENT
446
00:21:07,140 --> 00:21:09,100
COMES IN CONTRADICTING
EVERYTHING
447
00:21:09,140 --> 00:21:10,770
THIS ROBOT‐SOUNDING
GUY TOLD US.
448
00:21:10,810 --> 00:21:13,140
YOU THINK THE ROBOT‐SOUNDING
GUY MIGHT HAVE KILLED HER?
449
00:21:13,180 --> 00:21:15,120
WACKY AS HE ACTED WITH US,
450
00:21:15,150 --> 00:21:18,490
BALDWIN AND ME DEFINITELY THINK
YOU GOT TO LOOK AT THIS GUY
451
00:21:18,520 --> 00:21:20,730
FOR MAYBE PORTIONING OUT
HIS WIFE
452
00:21:20,750 --> 00:21:22,320
AMONG THEM THREE
PLAID‐PATTERNED SUITCASES.
453
00:21:22,350 --> 00:21:24,650
HOW DO YOU WANT
TO GO AT HIM?
454
00:21:24,690 --> 00:21:26,660
WE FIGURE FIRING
OUR RETRO THRUSTERS,
455
00:21:26,690 --> 00:21:28,660
WE COULD ACHIEVE
ORBITAL INSERTION
456
00:21:28,690 --> 00:21:30,360
AROUND THIS GUNTHER’S PLANET.
457
00:21:30,390 --> 00:21:33,700
AT THAT POINT WE DESCEND
TO HIS HOME PLANET’S SURFACE
458
00:21:33,730 --> 00:21:35,700
IN OUR LANDING MODULE.
459
00:21:35,730 --> 00:21:38,230
THIS WACKY GUNTHER, UH...
460
00:21:38,270 --> 00:21:43,170
AND, UH, UH, ONCE
WE’VE INITIATED CONTACT,
461
00:21:43,210 --> 00:21:46,920
WE COULD, UH, MAYBE BRING HIM
BACK TO OUR HOME PLANET.
462
00:21:46,950 --> 00:21:49,760
WHY DON’T YOU GO AHEAD
AND TALK TO HIM AGAIN?
463
00:21:49,780 --> 00:21:51,410
YEAH, WE’LL GO AHEAD
AND RE‐INTERVIEW.
464
00:21:56,790 --> 00:21:58,390
THE NEXT TIME
YOU’RE WATCHING
465
00:21:58,420 --> 00:22:00,390
FROM THE COMFORT
OF YOUR DINGHY
466
00:22:00,420 --> 00:22:02,590
WHILE I’M BEING TOSSED
AND BATTERED
467
00:22:02,630 --> 00:22:04,770
BY THE OCEAN WAVES,
BALDWIN,
468
00:22:04,800 --> 00:22:07,440
YOU MIGHT CONSIDER
SOME KIND OF RESCUE EFFORT.
469
00:22:07,470 --> 00:22:09,880
AND WHERE DID YOU WANT ME
LEAPING IN, PARTNER?
470
00:22:09,900 --> 00:22:11,870
THE RETRO THRUSTER,
THE LANDING MODULE?
471
00:22:11,900 --> 00:22:14,400
ANYWAYS, YOU’RE ON POINT
472
00:22:14,440 --> 00:22:16,670
RE‐INTERVIEWING
THIS WACK JOB.
473
00:22:16,710 --> 00:22:21,710
AND I KNOW
YOU GOT OUR PERIMETER
474
00:22:21,750 --> 00:22:23,520
IF OUR RETRO BLASTER
DON’T MALFUNCTION.
475
00:22:23,550 --> 00:22:26,580
NEVER AGAIN REFER
TO THAT CONVERSATION.
476
00:22:34,090 --> 00:22:35,790
HOW’S IT GOING?
477
00:22:35,830 --> 00:22:38,040
EVERYONE, INCLUDING
THE MORTALLY WOUNDED,
478
00:22:38,060 --> 00:22:40,100
GET ASKED,
"HOW’S IT GOING?"
479
00:22:40,130 --> 00:22:42,700
Greg: HOW’S IT GOING?
480
00:22:42,730 --> 00:22:44,300
YEAH, HOW’S IT GOING?
481
00:22:44,340 --> 00:22:45,710
CHECK IT OUT, ANDY.
482
00:22:45,740 --> 00:22:47,880
WHO’S THAT WITH HIM?
483
00:22:47,910 --> 00:22:49,410
GENTLEMEN,
HOW’S IT GOING?
484
00:22:49,440 --> 00:22:51,140
THIS IS MY COUSIN
EVAN SIBLEY.
485
00:22:51,180 --> 00:22:52,620
HOW COINCIDENTAL.
486
00:22:52,640 --> 00:22:54,640
WE WERE JUST
LOOKING FOR YOU.
487
00:22:54,680 --> 00:22:56,210
I WISH I COULD’VE
SAVED YOU A TRIP.
488
00:22:56,250 --> 00:22:58,720
OH, PISH.
489
00:22:58,750 --> 00:23:00,880
YOUR COUSIN EXPLAIN WHY
WE WANTED TO TALK TO YOU?
490
00:23:00,920 --> 00:23:03,620
HIS APARTMENT HAS BEEN ROBBED
AND I HAVE THE SPARE KEYS.
491
00:23:03,660 --> 00:23:06,730
EVEN APART FROM EVAN’S
EXEMPLARY CHARACTER,
492
00:23:06,760 --> 00:23:10,160
DON’T MY JIMMIED DOORKNOBS
SUGGEST A THEFT BY INTRUDERS?
493
00:23:10,190 --> 00:23:12,430
ACTUALLY, YOUR DOORKNOBS WERE
JIMMIED FROM THE INSIDE.
494
00:23:12,460 --> 00:23:14,500
OH, MY GOODNESS.
495
00:23:14,530 --> 00:23:16,730
YOU DIDN’T REALIZE THEY WERE
JIMMIED FROM THE INSIDE?
496
00:23:16,770 --> 00:23:19,100
I DON’T SUPPOSE I REALIZED
THE FULL IMPLICATION.
497
00:23:19,140 --> 00:23:20,750
THANK GOODNESS
498
00:23:20,770 --> 00:23:23,240
CHARACTER STILL INSULATES YOU
FROM SUSPICION, EVAN.
499
00:23:23,270 --> 00:23:26,580
NOEL, I DON’T EVEN
LIKE YOUR ART.
500
00:23:26,610 --> 00:23:30,180
OF COURSE THE THIEF
WOULD NEVER LET HIS OWN TASTE
501
00:23:30,210 --> 00:23:32,510
CIRCUMSCRIBE THE FARE
HE TOOK TO MARKET.
502
00:23:32,550 --> 00:23:34,920
SO YOU’RE ACCUSING ME
OF STEALING YOUR THINGS?
503
00:23:34,950 --> 00:23:36,280
CERTAINLY NOT.
504
00:23:36,320 --> 00:23:39,250
FOR ONE THING, THAT WOULD
BE UP TO THESE GENTLEMEN.
505
00:23:39,290 --> 00:23:41,920
FELLAS, ARE YOU ENTERTAINING
ANY SUSPICIONS OF MR. SIBLEY?
506
00:23:41,960 --> 00:23:44,760
HOW IS IT GOING
IN THAT REGARD?
507
00:23:44,800 --> 00:23:46,970
THIS IS ABOUT MACAO,
ISN’T IT, NOEL?
508
00:23:47,000 --> 00:23:48,760
MACAO?
509
00:23:48,800 --> 00:23:51,930
NOEL CAME DOWN WITH GOUT AND WAS
PUT OFF WITH SOME FRIENDS AND I
510
00:23:51,970 --> 00:23:54,000
BECAUSE WE WOULDN’T
POSTPONE OUR TRIP.
511
00:23:54,040 --> 00:23:57,040
CAN YOU ACCOUNT FOR YOUR
TIME IN THE LAST 24 HOURS?
512
00:23:57,080 --> 00:23:59,050
I’VE BEEN WITH PEOPLE
EVERY MINUTE
513
00:23:59,080 --> 00:24:01,050
FOR THE LAST FOUR DAYS.
514
00:24:01,080 --> 00:24:03,140
THERE.
THAT DISPOSES OF IT.
515
00:24:03,180 --> 00:24:04,810
WHAT’S YOUR ACT EXACTLY,
MR. BELLER?
516
00:24:04,850 --> 00:24:06,850
IS THIS SOME KIND
OF SKIPPY‐WHIP ‐‐
517
00:24:06,890 --> 00:24:09,130
PUTTING US THROUGH OUR PACES?
518
00:24:09,150 --> 00:24:11,150
MY SUSPICIONS ARE INCREASINGLY
FOCUSED ON MS. CAMERON.
519
00:24:11,190 --> 00:24:12,790
THAT STARTED WHEN?
520
00:24:12,820 --> 00:24:15,720
I’VE JUST BEEN PUTTING
TWO AND TWO TOGETHER.
521
00:24:15,760 --> 00:24:17,860
MEANING YOU LIKED HER
FROM THE JUMP.
522
00:24:17,900 --> 00:24:20,640
IF IT’S NOT HER, YOU WANT
TO KNOW WHO I LIKE? YOU.
523
00:24:20,670 --> 00:24:22,970
$34 MILLION AND COUNTING,
DETECTIVE.
524
00:24:23,000 --> 00:24:25,370
THAT DON’T RULE YOU OUT YET
IN MY BOOK,
525
00:24:25,400 --> 00:24:27,900
’CAUSE I’M FIGURING YOU’RE
THE KIND OF HUMP JERK‐OFF
526
00:24:27,940 --> 00:24:30,470
ONE DAY FINDS HIS LITTLE
INTERESTS AND ROUTINES ‐‐
527
00:24:30,510 --> 00:24:32,670
THEY DON’T HOLD
HIS ATTENTION NO MORE.
528
00:24:32,710 --> 00:24:35,180
DECIDES HE’S GOING TO PUT
ZEST IN HIS LIFE
529
00:24:35,210 --> 00:24:37,180
BY DOING SOMETHING NAUGHTY.
530
00:24:37,220 --> 00:24:38,590
I’M FLATTERED,
DETECTIVE,
531
00:24:38,620 --> 00:24:40,930
BUT I DON’T HAVE THAT MUCH
IMAGINATION OR NERVE.
532
00:24:40,950 --> 00:24:43,280
PERHAPS IF I DIDN’T
TAKE SO MUCH VICODIN.
533
00:24:45,190 --> 00:24:47,920
ACTUALLY, I BELIEVE MS. CAMERON
IS BACK AT MY APARTMENT.
534
00:24:47,960 --> 00:24:49,930
I SUPPOSE
FOR YOUR PURPOSES
535
00:24:49,960 --> 00:24:52,730
MY PRESENCE WOULD BE
AN IMPEDIMENT.
536
00:24:55,930 --> 00:24:58,670
SO, ANY SPECIAL KNOCK CODE
WE SHOULD USE?
537
00:24:58,700 --> 00:25:01,570
NO. JUST PRESS
THE BELL VIGOROUSLY.
538
00:25:01,610 --> 00:25:03,950
MR. SIBLEY, WE’RE SORRY
TO PUT YOU OUT.
539
00:25:03,980 --> 00:25:05,280
ENJOYED THE FLOOR SHOW.
540
00:25:08,650 --> 00:25:11,490
SEE? NONE OF THEM
WILL LET YOU LIKE THEM.
541
00:26:36,470 --> 00:26:38,440
[ DOORBELL RINGS ]
542
00:26:38,470 --> 00:26:40,170
Nikki: NOEL?
543
00:26:40,200 --> 00:26:41,540
DETECTIVES, MS. CAMERON.
544
00:26:41,570 --> 00:26:45,310
OH, SURE.
JUST A MINUTE.
545
00:26:47,050 --> 00:26:48,220
HI.
546
00:26:48,250 --> 00:26:49,820
HI.
547
00:26:49,850 --> 00:26:51,180
UH,
NOEL’S NOT HERE.
548
00:26:51,220 --> 00:26:53,190
HE TOLD US YOU WERE.
549
00:26:53,220 --> 00:26:54,630
HE TOLD YOU?
550
00:26:54,650 --> 00:26:56,450
SAID HE’D STARTED
HAVING MISGIVINGS ‐‐
551
00:26:56,490 --> 00:26:58,460
MAYBE YOU WERE INVOLVED
STEALING HIS ART.
552
00:26:58,490 --> 00:27:00,220
NOEL CAN BE PERVERSE.
553
00:27:00,260 --> 00:27:02,490
WE DON’T THINK
SEX PREFERENCE FACTORS IN.
554
00:27:02,530 --> 00:27:04,200
[ TELEPHONE RINGS ]
555
00:27:04,230 --> 00:27:07,000
YOU WANT TO WALK US THROUGH YOUR
WHEREABOUTS SINCE LAST NIGHT,
556
00:27:07,030 --> 00:27:09,160
AND IF MAYBE SOMEONE
COULD VOUCH FOR THEM?
557
00:27:09,200 --> 00:27:10,970
MILLION SQUARE‐FOOT
LIVING ROOM
558
00:27:11,000 --> 00:27:13,000
WITH NOT ONE PHONE
IN IT?
559
00:27:13,040 --> 00:27:15,150
THE WELL‐TO‐DO DON’T HAVE
PHONES IN THE LIVING ROOM.
560
00:27:15,170 --> 00:27:17,910
WHAT THE HELL MAGAZINES
ARE YOU READING?
561
00:27:17,940 --> 00:27:19,410
[ RINGS ]
562
00:27:19,440 --> 00:27:21,340
GUN, DANNY!
563
00:27:21,380 --> 00:27:22,710
Danny: FACE DOWN.
564
00:27:22,750 --> 00:27:25,320
HE’S GOT A DOOR
BEHIND HIM.
565
00:27:25,350 --> 00:27:27,180
WHERE DOES
THE DAMN DOOR GO?
566
00:27:27,220 --> 00:27:28,750
NOWHERE.
INTO THE CLOSET.
567
00:27:28,790 --> 00:27:32,360
YOU LAY YOUR GUN DOWN
OR YOU DIE HERE, PAL!
568
00:27:32,390 --> 00:27:34,520
WHAT’S HIS NAME?
DERRICK.
569
00:27:34,560 --> 00:27:36,690
YOU WANT TO DIE
IN THIS ASSHOLE’S APARTMENT
570
00:27:36,730 --> 00:27:37,990
OVER A LARCENY COLLAR?
571
00:27:38,030 --> 00:27:39,930
I GOT EMERGENCY SERVICES
COMING, ANDY.
572
00:27:39,960 --> 00:27:42,100
OFF YOUR WORK AS A THIEF,
573
00:27:42,130 --> 00:27:44,400
I DON’T SEE YOU
BEING MUCH WITH THAT GUN,
574
00:27:44,440 --> 00:27:46,410
AND I AM NOT GOING TO LET
575
00:27:46,440 --> 00:27:48,350
AN EMERGENCY SERVICE
TAKE MY COLLAR.
576
00:27:48,370 --> 00:27:50,410
NOW LAY IT DOWN,
OR I START SHOOTING.
577
00:27:50,440 --> 00:27:51,770
DERRICK,
FOR GOD’S SAKE!
578
00:27:51,810 --> 00:27:53,070
LAY IT DOWN!
579
00:27:53,110 --> 00:27:54,910
ALL RIGHT!
580
00:27:54,950 --> 00:27:56,560
DON’T TOSS IT!
581
00:27:56,580 --> 00:27:59,010
LAY IT ON THE GROUND
AND PUSH IT AWAY.
582
00:27:59,050 --> 00:28:01,750
PUSHING IT AWAY.
GETTING ON THE GROUND.
583
00:28:01,790 --> 00:28:03,030
GET UP.
584
00:28:03,050 --> 00:28:05,790
[ RINGS ]
585
00:28:05,820 --> 00:28:07,460
LAY DOWN.
586
00:28:07,490 --> 00:28:09,630
YOU SON OF A BITCH!
587
00:28:09,660 --> 00:28:12,590
YOU’RE GOING TO POINT
A GUN AT ME!
588
00:28:12,630 --> 00:28:15,630
WHAT?
BELLER RESIDENCE.
589
00:28:15,670 --> 00:28:17,980
WAIT, EXCUSE ME A SECOND.
SAY THAT AGAIN.
590
00:28:18,000 --> 00:28:20,600
Beller: How is my
little play going?
591
00:28:20,640 --> 00:28:22,470
WHAT?
592
00:28:22,510 --> 00:28:24,480
WELL, NIKKI’S HERE,
MR. BELLER.
593
00:28:24,510 --> 00:28:25,910
Is Derrick there?
594
00:28:25,940 --> 00:28:27,740
OH,
THIS INBRED HUMP.
595
00:28:27,780 --> 00:28:30,610
YEAH, DERRICK’S HERE, WHO HAD
A SURPRISE PROP WITH HIM.
596
00:28:30,650 --> 00:28:32,280
What sort of prop?
597
00:28:32,320 --> 00:28:34,290
NEVER MIND.
IT’S NOT IMPORTANT.
598
00:28:34,320 --> 00:28:35,820
I confided to Nikki
599
00:28:35,850 --> 00:28:38,220
my suspicions
about what she’d done,
600
00:28:38,260 --> 00:28:41,570
and we agreed I’d meet her
at 4:00 to ransom my art.
601
00:28:41,590 --> 00:28:44,490
Nikki, were you surprised
when the police showed up?
602
00:28:44,530 --> 00:28:46,960
Can Nikki hear me now?
603
00:28:47,000 --> 00:28:48,960
I GOT TO RING OFF NOW,
MR. B.
604
00:28:49,000 --> 00:28:50,730
COME BY THE STATION HOUSE
TO SEE US.
605
00:28:50,770 --> 00:28:52,930
TAKE YOUR CURTAIN CALL THERE.
606
00:28:52,970 --> 00:28:54,170
Bravo, detectives.
607
00:28:54,210 --> 00:28:55,250
WONDERFUL.
608
00:28:55,270 --> 00:28:57,070
I’LL GIVE HIM
A CURTAIN CALL.
609
00:28:57,110 --> 00:28:59,070
Danny:
COME ON, GET UP.
610
00:28:59,110 --> 00:29:01,280
YEAH, WALKED US INTO
A POSSIBLE AMBUSH ‐‐ ABSOLUTELY.
611
00:29:01,310 --> 00:29:04,250
ANY TROUBLE, I’M GOING
TO BREAK YOUR FINGER
612
00:29:04,280 --> 00:29:06,820
THAT YOU HAD ON THAT TRIGGER
OFF YOUR HAND.
613
00:29:06,850 --> 00:29:08,680
STAND UP, NIKKI.
614
00:29:08,720 --> 00:29:10,320
THESE CUFFS ARE TIGHT.
615
00:29:10,350 --> 00:29:14,060
YEAH, THEY COME LIKE THAT
FROM THE FACTORY.
616
00:29:31,680 --> 00:29:34,020
WE SAID WE’D COME GET YOU
AT 4:00.
617
00:29:34,050 --> 00:29:36,290
I’M SORRY
ABOUT JUMPING THE GUN.
618
00:29:36,310 --> 00:29:39,050
I WAS HOPING THERE’S
GOOD NEWS ABOUT YVETTE.
619
00:29:43,250 --> 00:29:45,490
AS FAR AS THAT GOES,
620
00:29:45,520 --> 00:29:47,620
A WOMAN MORE OR LESS FITTING
YOUR WIFE’S DESCRIPTION
621
00:29:47,660 --> 00:29:50,190
TURNED UP DISORIENTED
IN ATLANTIC CITY,
622
00:29:50,230 --> 00:29:52,790
IDENTIFYING HERSELF
AS A MRS. GUNDERSON.
623
00:29:52,830 --> 00:29:54,530
FITTING MY WIFE’S
DESCRIPTION?
624
00:29:54,570 --> 00:29:56,240
MORE OR LESS.
625
00:29:56,270 --> 00:29:58,640
I’D LIKE VERY MUCH
TO MEET THIS WOMAN.
626
00:29:58,670 --> 00:30:00,570
HAVE YOU
KNOWN YOUR WIFE
627
00:30:00,610 --> 00:30:02,580
TO TAKE DAY TRIPS
TO ATLANTIC CITY ‐‐
628
00:30:02,610 --> 00:30:04,850
ENJOY PLAYING THE SLOTS
OR THE LIKE?
629
00:30:04,880 --> 00:30:07,590
NO, NOT THAT I’M AWARE OF.
I’D LIKE TO MEET THIS WOMAN.
630
00:30:07,610 --> 00:30:10,580
IF IT’S YOUR WIFE, I GUESS
YOU’VE ALREADY MET HER.
631
00:30:10,620 --> 00:30:12,090
YES, IF IT’S YVETTE.
632
00:30:12,120 --> 00:30:13,830
RIGHT NOW YOU’RE
SUPPOSED TO BE ASKING,
633
00:30:13,850 --> 00:30:16,520
"HAVE WE GOT A PHONE NUMBER
WHERE I CAN TALK TO HER?
634
00:30:16,560 --> 00:30:18,230
HOPE SHE’S ALL RIGHT."
635
00:30:18,260 --> 00:30:21,400
"I’M GOING TO BE SO RELIEVED
IF IT IS MY WIFE."
636
00:30:21,430 --> 00:30:23,370
ALL THAT
GOES WITHOUT SAYING.
637
00:30:23,390 --> 00:30:27,100
NO.
USUALLY IT ALL GETS SAID.
638
00:30:27,130 --> 00:30:30,130
WELL, HAVE YOU GOT
A PHONE NUMBER?
639
00:30:35,710 --> 00:30:37,780
WE WENT
TO YOUR PLANT EARLIER.
640
00:30:37,810 --> 00:30:39,440
SOME OF YOUR EMPLOYEES
SAID THEY SAW YOU
641
00:30:39,480 --> 00:30:41,190
DRIVE OUT IN THE WEEDS
BEHIND THE PLACE THIS MORNING
642
00:30:41,210 --> 00:30:42,240
AND TAKE OUT SOME SUITCASES
643
00:30:42,280 --> 00:30:43,380
AND THEN PUT THEM BACK
IN YOUR CAR.
644
00:30:43,410 --> 00:30:44,780
YES, I DID.
645
00:30:44,820 --> 00:30:47,230
WHAT WAS IN THOSE SUITCASES
YOU WANTED TO DITCH?
646
00:30:47,250 --> 00:30:49,590
THINGS OF YVETTE’S
I WANTED TO BE RID OF.
647
00:30:49,620 --> 00:30:51,420
AND WHERE
ARE THE SUITCASES NOW?
648
00:30:51,460 --> 00:30:53,900
I TOOK THEM TO A DUMP.
CAN’T REMEMBER WHICH ONE.
649
00:30:53,930 --> 00:30:56,900
THERE WAS SOME SORT OF FIRE
GOING IN ALL THE REFUSE,
650
00:30:56,930 --> 00:30:59,130
AND I TOSSED THEM
IN THERE.
651
00:30:59,160 --> 00:31:02,030
WHY DON’T WE TAKE A RIDE?
MAYBE IT’LL COME BACK TO YOU.
652
00:31:02,070 --> 00:31:04,480
I WANT TO PUT ALL THIS
BEHIND ME
653
00:31:04,500 --> 00:31:07,140
AND SPEAK TO THAT WOMAN
IN ATLANTIC CITY.
654
00:31:07,170 --> 00:31:09,140
WHAT’S YOUR HOPE HERE,
MR. GUNTHER ‐‐
655
00:31:09,170 --> 00:31:12,140
YOU MURDERED YOUR WIFE,
NOW YOU’RE GOING TO START ANEW
656
00:31:12,180 --> 00:31:13,820
WITH SOME WOMAN
HAS AMNESIA?
657
00:31:13,850 --> 00:31:15,790
YOU KNOW WHAT LUMINOL IS,
MR GUNTHER?
658
00:31:15,810 --> 00:31:17,950
IT’S A SPRAY WE PUT DOWN
AT CRIME SCENES.
659
00:31:17,980 --> 00:31:19,750
IT MAKES
BLOOD RESIDUE GLOW.
660
00:31:19,780 --> 00:31:21,420
NOBODY IN HISTORY
661
00:31:21,450 --> 00:31:23,790
HAS EVER BEEN CUT
INTO PARTS SMALL ENOUGH
662
00:31:23,820 --> 00:31:26,150
TO FIT
INTO THREE SUITCASES
663
00:31:26,190 --> 00:31:28,090
WITHOUT LUMINOL
PICKING OUT RESIDUE
664
00:31:28,130 --> 00:31:30,140
AT THE DISMEMBERMENT
SITE.
665
00:31:30,160 --> 00:31:33,460
BEFORE WE GET THE WARRANT
TO GO INTO YOUR HOUSE
666
00:31:33,500 --> 00:31:35,570
AND LAY DOWN THE LUMINOL
AND 100% INCRIMINATE YOU,
667
00:31:35,600 --> 00:31:37,570
YOU GOT A CHANCE
TO MAKE A STATEMENT
668
00:31:37,600 --> 00:31:40,000
WHERE IT WILL COUNT
FOR SOMETHING WITH A JUDGE
669
00:31:40,040 --> 00:31:42,000
INSTEAD OF AFTER
YOU’RE INCRIMINATED
670
00:31:42,040 --> 00:31:43,770
WHEN IT DON’T COUNT
FOR JACK.
671
00:31:43,810 --> 00:31:46,010
BUT ALL OF THIS IS MOOT
672
00:31:46,040 --> 00:31:48,180
IF THE WOMAN IN ATLANTIC CITY
IS YVETTE.
673
00:31:48,210 --> 00:31:51,980
IS SHE, MR. GUNTHER?
674
00:31:52,020 --> 00:31:55,030
YOU MIGHT ASK
IF THAT WOMAN
675
00:31:55,050 --> 00:31:59,420
IS TOLERABLE IN ANY WAY
AS A HUMAN BEING,
676
00:31:59,460 --> 00:32:02,630
WHICH WOULD
RULE HER OUT ABSOLUTELY
677
00:32:02,660 --> 00:32:05,130
AS BEING MY WIFE.
678
00:32:05,160 --> 00:32:07,760
MEANING YOU DID AWAY
WITH MRS. GUNTHER ‐‐
679
00:32:07,800 --> 00:32:09,130
DISMEMBERED HER ‐‐
680
00:32:09,170 --> 00:32:11,110
PUT HER IN
THE THREE SUITCASES,
681
00:32:11,140 --> 00:32:14,510
AND YOUR EMPLOYEES SEEING YOU
OUT BACK OF THE PLANT
682
00:32:14,540 --> 00:32:17,140
WAS YOU LOOKING
TO DISPOSE OF HER BODY,
683
00:32:17,180 --> 00:32:20,650
WHICH, EVIDENTLY,
YOU THEN TOOK HER TO A DUMP.
684
00:32:20,680 --> 00:32:22,280
WELL, THE TRUTH IS,
685
00:32:22,310 --> 00:32:24,650
I CAN’T SEEM
TO DISPOSE OF HER.
686
00:32:24,680 --> 00:32:26,280
I TAKE HER PLACES
687
00:32:26,320 --> 00:32:28,890
AND WIND UP BRINGING HER
BACK INTO THE HOUSE.
688
00:32:30,990 --> 00:32:33,190
IS EITHER OF YOU MARRIED?
689
00:32:35,660 --> 00:32:37,230
I WAS.
690
00:32:37,260 --> 00:32:40,230
HOW DID YOU EVER
GET RID OF HER?
691
00:32:40,260 --> 00:32:42,160
SHE DUMPED ME.
692
00:32:44,700 --> 00:32:46,670
NOT IN THE SAME SENSE
693
00:32:46,710 --> 00:32:49,750
THAT YOU WERE LOOKING
TO DUMP MRS. GUNTHER.
694
00:32:59,920 --> 00:33:01,380
YOU’LL GET HIM SITUATED?
695
00:33:01,420 --> 00:33:04,350
YEAH, DERRICK AND ALL 25
OF HIS CALIBERS.
696
00:33:04,390 --> 00:33:06,490
LET ME GET SOMEONE DOING
A CAVITY SEARCH ON HER.
697
00:33:06,520 --> 00:33:07,890
OH, COME ON.
698
00:33:07,930 --> 00:33:10,070
THE ONLY SITUATING YOU’RE
GOING TO BE DOING FOR ME
699
00:33:10,090 --> 00:33:11,890
IS CALLING ME A LAWYER.
700
00:33:11,930 --> 00:33:14,360
OKAY, YOU’RE A LAWYER. THAT’S
A STEP DOWN FROM STEALING.
701
00:33:14,400 --> 00:33:15,500
KISS MY ASS.
702
00:33:15,530 --> 00:33:17,030
EXCUSE ME.
703
00:33:17,070 --> 00:33:18,670
I THINK I SAID
"KISS MY ASS! "
704
00:33:18,700 --> 00:33:20,600
YOU GOT A MINUTE, DIANE,
BEFORE A BOMB BLOWS?
705
00:33:20,640 --> 00:33:21,870
SURE.
706
00:33:21,910 --> 00:33:22,850
THIS ONE
NEEDS TO BE SEARCHED.
707
00:33:22,870 --> 00:33:24,770
Diane: GO IN THERE.
708
00:33:24,810 --> 00:33:26,610
HEY, DERRICK,
709
00:33:26,650 --> 00:33:30,620
LET’S HEAR HOW "KISS MY ASS"
SOUNDS WITH A PUFF NOSE.
710
00:33:30,650 --> 00:33:32,610
KITH MY ATH ‐‐
COME ON.
711
00:33:32,650 --> 00:33:34,220
DERRICK
WOULD LIKE TO KNOW
712
00:33:34,250 --> 00:33:36,380
IF THERE’S ANYONE
IN THE POKEY.
713
00:33:36,420 --> 00:33:38,950
DETECTIVES MEDAVOY AND JONES
ARE IN THE POKEY.
714
00:33:38,990 --> 00:33:41,290
INTERVIEW THREE IS OPEN.
715
00:33:41,330 --> 00:33:42,630
THAT’S THE ANSWER
TO ONE QUESTION I DID ASK
716
00:33:42,660 --> 00:33:44,290
AND ONE I DIDN’T.
717
00:33:44,330 --> 00:33:46,030
YES, THE POKEY
IS OCCUPIED.
718
00:33:46,060 --> 00:33:50,700
LET’S SIT YOU DOWN
ON THE BENCH HERE TEMPORARILY.
719
00:33:50,740 --> 00:33:52,410
MAY I OFFER HIM
A TISSUE?
720
00:33:55,240 --> 00:33:56,200
JUST RELAX.
721
00:33:56,240 --> 00:33:57,570
SURE,
I’LL KNOW TO COME HERE
722
00:33:57,610 --> 00:33:58,470
NEXT TIME THAT’S
WHAT I WANT TO DO.
723
00:33:58,510 --> 00:34:00,110
IS THAT ENOUGH WISECRACKS?
724
00:34:00,140 --> 00:34:03,580
’CAUSE THIS IS
WHERE YOU ARE RIGHT NOW.
725
00:34:03,620 --> 00:34:05,460
I’M GOING TO LAY
SOME THINGS OUT FOR YOU
726
00:34:05,480 --> 00:34:06,780
THAT IF YOU’RE
UP TO DO IT,
727
00:34:06,820 --> 00:34:09,050
MAYBE YOU’RE GOING
TO SAVE YOURSELF SOME YEARS.
728
00:34:09,090 --> 00:34:11,600
LET HER PUT
HER SWEATER BACK ON.
729
00:34:11,620 --> 00:34:12,720
OKAY, COMMANDER.
730
00:34:12,760 --> 00:34:14,730
SORRY.
731
00:34:14,760 --> 00:34:16,320
[ KNOCK ON DOOR ]
732
00:34:16,360 --> 00:34:17,960
WHAT’S UP, ANDY?
733
00:34:18,000 --> 00:34:19,970
YOU NEED THIS ROOM?
734
00:34:20,000 --> 00:34:22,430
WE’RE TAKING A STATEMENT.
735
00:34:22,470 --> 00:34:23,780
AND I’M ASKING
IF YOU NEED THIS ROOM.
736
00:34:23,800 --> 00:34:25,430
NOT THIS ONE
PARTICULARLY, NO.
737
00:34:25,470 --> 00:34:27,800
WE NEED
THIS PARTICULAR ROOM.
738
00:34:27,840 --> 00:34:29,140
WE CAN MOVE.
739
00:34:29,170 --> 00:34:30,570
THANK YOU.
740
00:34:30,610 --> 00:34:33,340
I ACTUALLY PREFER
THE REFRESHMENT ROOM.
741
00:34:35,850 --> 00:34:39,190
WHATEVER YOU TELL US
DON’T GET YOU NO YEARS OFF
742
00:34:39,220 --> 00:34:40,660
IF WE CAN’T
CORROBORATE IT.
743
00:34:40,690 --> 00:34:42,460
HOW WOULD YOU
CORROBORATE IT?
744
00:34:42,490 --> 00:34:44,000
EITHER IF CAN WE GET
YOU AND DERRICK
745
00:34:44,020 --> 00:34:46,250
INTO A ROOM THAT’S MIKED
746
00:34:46,290 --> 00:34:48,960
AND YOU GET DERRICK
TALKING ABOUT WHAT HE DID,
747
00:34:48,990 --> 00:34:51,360
OR OTHERWISE, ARE YOU
WILLING TO BE WIRED?
748
00:34:51,400 --> 00:34:52,640
YOU GET HIM TALKING.
749
00:34:52,660 --> 00:34:53,860
WHAT IF HE DOESN’T
SAY ANYTHING
750
00:34:53,900 --> 00:34:55,030
THAT CORROBORATES
MY INNOCENCE?
751
00:34:55,070 --> 00:34:57,610
ARE YOU INNOCENT?
752
00:34:57,640 --> 00:35:01,310
THE TAPE WILL CONFIRM
YOUR GUILT AND HIS,
753
00:35:01,340 --> 00:35:04,170
BUT YOUR WEARING A WIRE
SHOWS CONSTRUCTIVE COOPERATION.
754
00:35:04,210 --> 00:35:06,110
WHICH TRANSLATES
TO TIME OFF.
755
00:35:06,140 --> 00:35:08,140
HOW COME
I’M THE LUCKY ONE?
756
00:35:08,180 --> 00:35:09,310
YOUR PAL DERRICK
PULLING THAT PIECE ‐‐
757
00:35:09,350 --> 00:35:13,060
THAT MOVED HIM
TO THE HEAD OF THE LINE.
758
00:35:13,080 --> 00:35:16,480
THIS IS WHERE YOU WANT
TO SAY YES, NIKKI.
759
00:35:16,520 --> 00:35:20,890
I’LL DO WHATEVER
I HAVE TO DO.
760
00:35:20,930 --> 00:35:22,730
GOOD.
761
00:35:22,760 --> 00:35:26,600
SHE DON’T NEED TO BE MIKED.
WE GOT THE POKEY ROOM.
762
00:35:38,240 --> 00:35:40,480
ARE YOU SUPPOSED
TO BE IN HERE?
763
00:35:40,510 --> 00:35:42,680
I’M PROBABLY NOT THE ONE
YOU NEED TO ASK.
764
00:35:42,710 --> 00:35:44,080
’CAUSE HE’S
SUPPOSED TO GO IN THE POKEY.
765
00:35:44,120 --> 00:35:46,490
THE POLICEWOMAN LEFT HERE
ABOUT THREE MINUTES AGO.
766
00:35:46,520 --> 00:35:47,590
SET YOU UP
IN ANOTHER INTERVIEW ROOM?
767
00:35:47,620 --> 00:35:49,890
I DON’T KNOW.
768
00:35:49,920 --> 00:35:52,220
SO WHEN YOU AREN’T PULLING
SOMEONE AROUND BY THE NOSE,
769
00:35:52,260 --> 00:35:53,400
YOU PEOPLE DON’T KNOW
WHAT YOU’RE DOING.
770
00:35:53,420 --> 00:35:55,320
HEY,
I’LL GRAB YOU BY THE NOSE
771
00:35:55,360 --> 00:35:56,830
IF YOU WANT
TO DO IT THAT WAY.
772
00:35:56,860 --> 00:35:58,390
COME ON.
773
00:36:03,800 --> 00:36:05,270
IN HERE.
774
00:36:10,710 --> 00:36:11,770
DON’T BE
TALKING TO EACH OTHER.
775
00:36:11,810 --> 00:36:12,840
THAT’S A 2‐WAY MIRROR,
776
00:36:12,880 --> 00:36:15,350
AND YOU ARE
UNDER OBSERVATION.
777
00:36:15,380 --> 00:36:17,550
Andy: ALWAYS TELL THEM
THE TRUTH.
778
00:36:17,580 --> 00:36:19,750
IT’S THE ONE THING
THEY NEVER BELIEVE.
779
00:36:19,780 --> 00:36:22,750
SO, YOU GOT YOUR LEGS UP
FOR THEM, NIKKI?
780
00:36:22,790 --> 00:36:24,400
LEAVE ME ALONE.
781
00:36:24,420 --> 00:36:27,460
GET YOURSELF A LAWYER
AND KEEP YOUR MOUTH SHUT.
782
00:36:27,490 --> 00:36:30,560
I’M JUST SITTING HERE
FEELING SORRY FOR MYSELF.
783
00:36:30,600 --> 00:36:33,570
ARE YOU GETTING A LAWYER?
’CAUSE WE CAN RIDE THIS OUT.
784
00:36:33,600 --> 00:36:36,570
IS THAT WHY YOU PULLED
THE GUN ON THOSE COPS ‐‐
785
00:36:36,600 --> 00:36:38,630
BECAUSE YOU WERE SO CONFIDENT
WITH THE RIGHT REPRESENTATION
786
00:36:38,670 --> 00:36:40,570
WE COULD RIDE THIS OUT?
787
00:36:40,610 --> 00:36:43,080
WAS THAT YOU WASTED AND BROKE
UNDER THAT STATUE AT CAESAR’S
788
00:36:43,110 --> 00:36:45,780
WITH YOUR WISE MOUTH
AND YOUR COLLEGE EDUCATION,
789
00:36:45,810 --> 00:36:48,540
AND WAS THAT ME THAT PUT YOU
BACK ON YOUR FEET?
790
00:36:48,580 --> 00:36:50,780
I WISH YOU WOULD’VE
LEFT ME THERE.
791
00:36:50,820 --> 00:36:52,590
GOING ON ABOUT YOUR
RICH FRIENDS SO I’D KNOW
792
00:36:52,620 --> 00:36:55,430
HOW LUCKY I WAS THAT YOU
WERE GIVING ME A PIECE OF ASS.
793
00:36:55,450 --> 00:36:58,390
LITTLE DID I KNOW I’D WIND UP
FORCED ACROSS THE COUNTRY
794
00:36:58,420 --> 00:37:01,220
AT GUNPOINT SO WE COULD
ROB ONE OF THEM.
795
00:37:01,260 --> 00:37:04,630
THAT GUN WAS ON YOU
ALL THE TIME.
796
00:37:04,660 --> 00:37:07,660
I NEVER TRIED TO ROB ANYONE
IN MY LIFE TILL I MET YOU.
797
00:37:07,700 --> 00:37:10,170
IT’S LIKE HOW I MADE YOU
SCREAM IN BED.
798
00:37:10,200 --> 00:37:12,500
YOU JUST DIDN’T KNOW
YOU HAD IT IN YOU.
799
00:37:18,710 --> 00:37:21,310
THAT’S GOOD ENOUGH?
800
00:37:23,180 --> 00:37:25,310
YEAH,
THAT’S GOOD ENOUGH.
801
00:37:36,030 --> 00:37:38,170
I DO WISH
802
00:37:38,200 --> 00:37:42,210
YOU’D LET DETECTIVES SORENSON
AND SIPOWICZ KNOW I’M HERE.
803
00:37:42,230 --> 00:37:44,670
THEY TOLD ME TO HANG OUT
WITH YOU, MR. BELLER.
804
00:37:44,700 --> 00:37:47,270
LOOK, I’VE BEEN INSTRUMENTAL
IN THEIR CASE.
805
00:37:47,310 --> 00:37:51,020
THEY SPECIFICALLY ASKED ME
TO COME TO THE STATION HOUSE.
806
00:37:51,040 --> 00:37:53,210
THEY WOULDN’T WANT ME
TO BE COOLING MY HEELS.
807
00:37:53,240 --> 00:37:54,980
ACTUALLY,
I THINK THEY GOT
808
00:37:55,010 --> 00:37:57,210
ABOUT 18 MONTHS OF THAT
IN MIND.
809
00:37:57,250 --> 00:37:58,380
EXCUSE ME?
810
00:37:58,420 --> 00:38:01,130
NOT MY CASE,
NOT MY PLACE.
811
00:38:01,150 --> 00:38:03,520
THAT ALMOST REACHES THE QUALITY
OF THE METAPHYSICAL ‐‐
812
00:38:03,560 --> 00:38:05,400
YOUR LITTLE
POLICE APHORISM.
813
00:38:05,420 --> 00:38:08,460
YOU KNOW, I DON’T THINK
SOMEONE WITH YOUR PROBLEMS
814
00:38:08,490 --> 00:38:11,830
OUGHT TO BE MAKING
COMMENTS ABOUT MY ASS.
815
00:38:11,860 --> 00:38:15,160
WHAT PROBLEM, DETECTIVE?
WHAT 18 MONTHS?
816
00:38:15,200 --> 00:38:17,670
18 MONTHS FOR IMPEDING POLICE
ADMINISTRATION, MR. BELLER.
817
00:38:17,700 --> 00:38:19,670
ARE YOU SAYING
THEY’RE INTENDING
818
00:38:19,700 --> 00:38:21,570
TO TAKE ME INTO CUSTODY?
819
00:38:21,610 --> 00:38:23,920
YOU THINK I’M LEANING
MY POLICE APHORISM
820
00:38:23,940 --> 00:38:26,240
AGAINST THIS DESK BECAUSE
I LIKE KEEPING COMPANY
821
00:38:26,280 --> 00:38:27,820
WITH A LAME‐O
VICODIN FREAK?
822
00:38:27,850 --> 00:38:30,320
ARE THEY INTENDING
TO ARREST ME?
823
00:38:30,350 --> 00:38:32,510
I’M JUST THE P. A. A.
824
00:38:32,550 --> 00:38:34,920
I DEMAND TO SEE DETECTIVE
SIPOWICZ OR SORENSON.
825
00:38:34,950 --> 00:38:36,890
A COLLAR
ONLY GETS ONE CALL.
826
00:38:36,920 --> 00:38:39,520
I THINK YOU
OUGHT TO BE DECIDING
827
00:38:39,560 --> 00:38:42,720
WHETHER THAT’S GOING TO BE
YOUR LAWYER OR YOUR DEALER.
828
00:38:42,760 --> 00:38:45,990
I DIDN’T INTEND TO IMPEDE
POLICE ADMINISTRATION.
829
00:38:46,030 --> 00:38:47,530
I THINK BEING ROBBED
830
00:38:47,570 --> 00:38:50,540
ENTITLED ME TO SOME
SMALL AMUSEMENT
831
00:38:50,570 --> 00:38:52,230
ORCHESTRATING
THE THIEVES’ CAPTURE.
832
00:38:52,270 --> 00:38:54,740
WELL, THAT’S ’CAUSE YOU’RE
A LAME‐O VICODIN FREAK.
833
00:38:54,770 --> 00:38:57,710
Danny: HOW’S IT GOING,
MR. BELLER?
834
00:38:57,740 --> 00:38:59,370
NOT WELL.
835
00:38:59,410 --> 00:39:01,410
I DON’T THINK MR. BELLER
836
00:39:01,450 --> 00:39:03,920
REALLY UNDERSTANDS
HIS SITUATION YET.
837
00:39:03,950 --> 00:39:05,880
IF YOU SHOUT UP HIS ASS
838
00:39:05,920 --> 00:39:07,890
WHEN HIS HEAD’S
POSITIONED RIGHT ‐‐
839
00:39:07,920 --> 00:39:10,090
ONE OF HIS EARS POINTED
TOWARDS THE OUTSIDE WORLD ‐‐
840
00:39:10,120 --> 00:39:12,520
HE GETS SOME KIND OF CLUE
WHAT’S GOING ON.
841
00:39:12,560 --> 00:39:14,630
HOW PEOPLE
DOING THEIR JOBS,
842
00:39:14,660 --> 00:39:16,930
WHICH INCLUDES TRYING TO GET
HIS ART BACK,
843
00:39:16,960 --> 00:39:19,630
WHICH HE EARNED WITH THE SWEAT
OF HIS GRANDFATHER’S BROW...
844
00:39:19,660 --> 00:39:21,560
GRANDPA WAS IN
TOILET BOWL MANUFACTURE?
845
00:39:21,600 --> 00:39:23,230
HOW PEOPLE LIKE THAT
MIGHT GET PISSED OFF
846
00:39:23,270 --> 00:39:24,810
HIS IDEA OF A HOOT
847
00:39:24,840 --> 00:39:27,050
IS SENDING THEM
INTO AN APARTMENT
848
00:39:27,070 --> 00:39:30,240
WHERE SOMEONE DUMB ENOUGH
TO USE IT’S GOT A GUN OUT.
849
00:39:30,270 --> 00:39:31,810
DERRICK HAD A GUN OUT?
850
00:39:31,840 --> 00:39:35,040
SOMEBODY OUT TO TAPE RECORD
YOU SAYING THAT
851
00:39:35,080 --> 00:39:37,980
AND MAKE YOU LISTEN TO IT
FOR THE REST OF YOUR LIFE.
852
00:39:38,020 --> 00:39:40,460
COULD I DO THAT
AS AN ALTERNATIVE TO JAIL?
853
00:39:40,480 --> 00:39:43,650
NO ONE’S SENDING YOU
TO JAIL, DOUCHE BAG.
854
00:39:43,690 --> 00:39:45,290
THANKS.
855
00:39:45,320 --> 00:39:47,260
NO PROBLEM.
856
00:39:47,290 --> 00:39:49,090
NIGHT.
857
00:39:52,800 --> 00:39:55,940
SO THIS WAS JUST
SOME LITTLE MORALITY PLAY
858
00:39:55,970 --> 00:39:57,580
STAGED FOR MY BENEFIT?
859
00:39:57,600 --> 00:40:01,100
NOW WHERE WOULD WE GET AN IDEA
TO DO SOMETHING LIKE THAT?
860
00:40:01,140 --> 00:40:02,940
WHAT WOULD BENEFIT YOU ‐‐
861
00:40:02,970 --> 00:40:05,270
SOMEBODY SMACKING YOU
IN THE BACK OF THE HEAD
862
00:40:05,310 --> 00:40:08,510
FOR ABOUT SIX STRAIGHT HOURS,
BUT WE GOT HOMES TO GO TO.
863
00:40:08,550 --> 00:40:11,190
THE ART
IS AT THE ESSEX HOUSE.
864
00:40:11,220 --> 00:40:13,320
IT’S GOT TO BE VOUCHERED
AND HELD AS EVIDENCE.
865
00:40:13,350 --> 00:40:14,980
YOU’LL GET IT BACK.
866
00:40:15,020 --> 00:40:16,790
OH, OUR PLEASURE.
867
00:40:16,820 --> 00:40:18,550
TAKE A HIKE,
MR. BELLER.
868
00:40:31,370 --> 00:40:33,940
YOU DON’T WANT TO CALL
THE DESK SERGEANT
869
00:40:33,970 --> 00:40:36,970
AND HAVE SOME COP TOSS
THIS PRICK FOR HIS PILLS?
870
00:40:37,010 --> 00:40:38,710
NOT TO COLLAR HIM?
871
00:40:38,740 --> 00:40:41,110
NO. JUST TO GIVE HIM
A FAREWELL SCARE.
872
00:40:41,150 --> 00:40:45,090
YEAH, WE COULD DO THAT,
BUT IT WOULD BE BENEATH US.
873
00:41:01,030 --> 00:41:04,200
"I WOULD NOT EAT THEM
FROM A BOX.
874
00:41:04,240 --> 00:41:06,650
I WOULD NOT EAT THEM
WITH A FOX."
875
00:41:06,670 --> 00:41:08,200
YOU DO YOURS.
876
00:41:08,240 --> 00:41:10,570
"I WOULD NOT EAT THEM
HERE OR THERE.
877
00:41:10,610 --> 00:41:12,840
"I WOULD NOT
EAT THEM ANYWHERE.
878
00:41:12,880 --> 00:41:15,220
"I DO NOT LIKE
GREEN EGGS AND HAM.
879
00:41:15,250 --> 00:41:18,820
I DO NOT LIKE THEM,
SAM I AM."
880
00:41:18,850 --> 00:41:20,650
NOW YOURS.
881
00:41:20,690 --> 00:41:24,760
UH, I WOULD NOT
EAT THEM IN A BUS.
882
00:41:24,790 --> 00:41:28,360
I WOULD NOT PUT THEM
IN MY TRUSS.
883
00:41:28,390 --> 00:41:33,260
I, UH, I’D THROW A FEW
AT COUSIN GUS...
884
00:41:33,300 --> 00:41:37,580
BUT NOT AT LARRY, MOE,
OR PETE.
885
00:41:37,600 --> 00:41:40,940
THEO, DO YOU REMEMBER
WHEN YOU WERE SICK
886
00:41:40,970 --> 00:41:44,010
AND YOU DID THESE WATERCOLORS
WITH AUNT KATY?
887
00:41:44,040 --> 00:41:46,580
I WOULD NOT EAT THEM
IN YOUR SHOE.
888
00:41:46,610 --> 00:41:48,940
YEAH, WE’LL DO MORE
"SAM I AM" LATER,
889
00:41:48,980 --> 00:41:52,010
BUT, HERE, LOOK AT THESE
WATERCOLORS THAT YOU MADE.
890
00:41:52,050 --> 00:41:54,020
THERE’S THE PARK.
891
00:41:54,050 --> 00:41:55,750
DID THESE COME TO YOU
892
00:41:55,790 --> 00:41:58,030
’CAUSE YOU HAD
THE FEVER, SON,
893
00:41:58,060 --> 00:42:00,570
OR COULD YOU TURN THEM OUT
ON A REGULAR BASIS?
894
00:42:00,590 --> 00:42:02,390
THAT’S ME AND GREGORY.
895
00:42:02,430 --> 00:42:07,540
YEAH, THAT’S ‐‐ THAT’S YOU
AND YOUR PAL GREGORY.
896
00:42:07,570 --> 00:42:10,610
I WOULD NOT EAT THEM
WITH MY PAL GREGORY.
897
00:42:10,640 --> 00:42:14,410
ALL RIGHT,
BUT I’LL TELL YOU,
898
00:42:14,440 --> 00:42:16,710
I THINK THOSE
ARE GREAT PAINTINGS,
899
00:42:16,740 --> 00:42:19,440
AND IF YOU EVER FEEL
LIKE PICKING UP A BRUSH,
900
00:42:19,480 --> 00:42:20,990
YOU JUST HOLLER.
901
00:42:21,010 --> 00:42:23,710
I DON’T FEEL LIKE
PICKING UP A BRUSH.
902
00:42:23,750 --> 00:42:29,220
ALL RIGHT,
BUT LET ME TELL YOU...
903
00:42:29,250 --> 00:42:31,790
GUYS ARE PAINTING
CRAP OUT THERE
904
00:42:31,820 --> 00:42:34,220
THAT DON’T HOLD A CANDLE
TO YOUR STUFF,
905
00:42:34,260 --> 00:42:38,260
AND THEY ARE MAKING
SOME LIVING AT IT, TOO.
906
00:42:38,300 --> 00:42:40,640
OKAY.
907
00:42:40,670 --> 00:42:43,340
I WOULD NOT PUT THEM
IN YOUR NOSE.
908
00:42:43,370 --> 00:42:45,740
NO, DON’T PICK
MY NOSE HAIRS, THEO.
909
00:42:45,770 --> 00:42:49,440
"I WOULD NOT, COULD NOT,
IN THE RAIN.
910
00:42:49,470 --> 00:42:52,640
I WOULD NOT, COULD NOT,
ON A TRAIN."
911
00:42:52,680 --> 00:42:54,990
"I DO NOT LIKE
GREEN EGGS AND HAM."
912
00:42:55,010 --> 00:42:58,210
"I DO NOT LIKE THEM,
SAM I AM."
67381
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