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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:26,060 --> 00:00:28,730 BODY PARTS IN THIS BARREL HERE. 2 00:00:33,470 --> 00:00:36,370 OH, IT’S PRETTY HEAVY, ANDY. IT’S A FULL CORPSE. 3 00:00:36,410 --> 00:00:38,480 MORNING. WHO CALLED IT IN? 4 00:00:38,510 --> 00:00:40,610 HARRY FORSIC ‐‐ JUST BOUGHT THE PLACE. 5 00:00:40,650 --> 00:00:42,490 FOUND IT IN THE BASEMENT. 6 00:00:42,510 --> 00:00:44,750 MR. FORSIC? 7 00:00:44,780 --> 00:00:46,750 THIS IS THE WORST NIGHTMARE. 8 00:00:46,790 --> 00:00:49,160 I’M SURE IT MUST HAVE COME AS A REAL SHOCK. 9 00:00:49,190 --> 00:00:51,160 I FOUND IT YESTERDAY BEHIND SOME SHEETROCK. 10 00:00:51,190 --> 00:00:53,320 HAD MY MOVERS CART IT OUT, 11 00:00:53,360 --> 00:00:56,330 THEN TODAY THE GARBAGE GUYS MAKE A BIG DEAL 12 00:00:56,360 --> 00:00:58,560 ABOUT BEING WORRIED IT’S HAZARDOUS WASTE. 13 00:00:58,600 --> 00:01:00,940 I PRIED THE TOP OPEN TO FIND THAT. 14 00:01:00,970 --> 00:01:02,940 DO YOU MIND IF WE LOOK AROUND INSIDE? 15 00:01:02,970 --> 00:01:04,780 NO, GO CRAZY. 16 00:01:09,270 --> 00:01:10,610 YOU A DETECTIVE? 17 00:01:10,640 --> 00:01:12,140 ARE YOU A WRESTLER? 18 00:01:12,180 --> 00:01:15,190 IS THAT A DEAD PERSON IN THAT BARREL THERE? 19 00:01:15,210 --> 00:01:16,810 THAT’S OUR PRELIMINARY IMPRESSION. 20 00:01:16,850 --> 00:01:19,820 WELL, IF THAT’S A DEAD PERSON WHO’S BEEN DEAD A WHILE, 21 00:01:19,850 --> 00:01:22,150 THEN THE OWNER OF THIS HOUSE 22 00:01:22,190 --> 00:01:25,160 BEFORE THE LAST ONE ‐‐ MAFIOSO. 23 00:01:25,190 --> 00:01:27,520 MM‐HMM. OH, YEAH. 24 00:01:27,560 --> 00:01:31,160 LATE‐NIGHT CUSSING, FANCY CARS, EVERYTHING. 25 00:01:31,200 --> 00:01:33,940 YOU FIGURE HE MIGHT HAVE FOLLOWED THE MAFIA CUSTOM 26 00:01:33,970 --> 00:01:35,940 OF KEEPING ONE OF HIS VICTIMS 27 00:01:35,970 --> 00:01:38,010 WITH HIM IN A BARREL AS A SOUVENIR? 28 00:01:38,040 --> 00:01:40,950 WHAT ARE YOU, A BALL‐BREAKER? 29 00:01:40,970 --> 00:01:41,940 HEY, DOC. 30 00:01:41,970 --> 00:01:43,440 WHAT DO WE GOT? 31 00:01:43,470 --> 00:01:45,640 WELL, SHE’S BEEN IN THERE A WHILE. 32 00:01:45,680 --> 00:01:48,650 LOOKS LIKE YOU’RE GOING TO BE THE ONE TELLING US. 33 00:01:48,680 --> 00:01:50,110 HOW’S IT GOING, DOC? 34 00:01:50,150 --> 00:01:52,150 SHE YOUR TYPE, SIPOWICZ? 35 00:01:52,180 --> 00:01:55,280 UH, SHE’S SOME NEIGHBORHOOD HEN. 36 00:01:55,320 --> 00:01:57,550 I THOUGHT MAYBE SHE WAS SIPOWICZ’S TYPE. 37 00:01:57,590 --> 00:02:00,460 THEY WERE LOOKING TO EXCHANGE PHONE NUMBERS. 38 00:02:00,490 --> 00:02:03,660 I GOT UP THIS MORNING FEELING PRETTY GOOD. 39 00:03:19,000 --> 00:03:23,040 OH, OH, AND IS THIS, LIKE, GALLAGHER’S FINAL SHOW EVER 40 00:03:23,070 --> 00:03:25,040 IN ATLANTIC CITY, MR. BUNIN? 41 00:03:25,080 --> 00:03:27,590 IS THAT WHY YOU’RE IN SUCH A RUSH, HUH? 42 00:03:27,610 --> 00:03:31,210 WILL HE NEVER BE SQUASHING FRUIT ONSTAGE DOWN THERE AGAIN? 43 00:03:31,250 --> 00:03:34,580 MY QUESTION IS, WHEN YOU OWNED THE HOME, 44 00:03:34,620 --> 00:03:38,590 DID YOU EVER HAPPEN TO NOTICE A STORAGE CONTAINER 45 00:03:38,620 --> 00:03:42,060 ON THE PREMISES ‐‐ A 50‐GALLON DRUM? 46 00:03:42,090 --> 00:03:43,790 ALL RIGHT, GOOD. 47 00:03:43,830 --> 00:03:46,290 YEAH, I’LL CALL BACK WITH ANY FOLLOW‐UP. 48 00:03:46,330 --> 00:03:48,960 [ SIGHS ] 49 00:03:49,000 --> 00:03:51,970 NO, WELL, WITH RELATIVES IN FROM ORLANDO, 50 00:03:52,000 --> 00:03:56,500 I CAN SEE WHY YOU WOULDN’T WANT TO MISS THE OPENING CURTAIN. 51 00:03:56,540 --> 00:03:59,310 DON’T GET HIT WITH ANY MELON RINDS. 52 00:03:59,340 --> 00:04:02,310 PISSES OFF THE RELATIVES FROM ORLANDO, 53 00:04:02,350 --> 00:04:04,960 THEN WHO’S HE GOING TO SPONGE OFF OF 54 00:04:04,980 --> 00:04:06,820 WHEN HE VISITS DISNEY WORLD? 55 00:04:06,850 --> 00:04:08,980 GOT TO GET DINO FERRARA BACK HERE. 56 00:04:09,020 --> 00:04:10,950 Danny: YEAH, THAT MAKES SENSE. 57 00:04:10,990 --> 00:04:13,120 PETE MANGRINI BEING ONE OF THE FORMER OWNERS 58 00:04:13,160 --> 00:04:15,870 OF THE HOUSE WHERE THE BODY WAS FOUND, ANDY, 59 00:04:15,890 --> 00:04:17,530 THE BOSS WAS SAYING 60 00:04:17,560 --> 00:04:19,330 HAVE THE MARSHALS BRING DINO FERRARA DOWN HERE. 61 00:04:19,360 --> 00:04:21,830 IT SHOULDN’T BE TOO TOUGH A SELL 62 00:04:21,870 --> 00:04:23,840 GETTING DINO FERRARA TO RAT ON PETE MANGRINI. 63 00:04:23,870 --> 00:04:26,530 PUT A QUARTER IN HIS SLOT, DINO INCRIMINATES THE POPE. 64 00:04:26,570 --> 00:04:28,540 WITH MANGRINI, IT WOULD BE PERSONAL. 65 00:04:28,570 --> 00:04:30,540 BECAUSE MANGRINI TOOK DINO’S TERRITORY. 66 00:04:30,580 --> 00:04:33,620 IS THIS SOMETHING THE WHOLE CLASS CAN APPRECIATE? 67 00:04:33,650 --> 00:04:36,290 NOTHING FROM THAT GUY IN ATLANTIC CITY? 68 00:04:36,310 --> 00:04:39,450 NO, HE DON’T RECALL NO 50‐GALLON DRUMS. 69 00:04:39,480 --> 00:04:41,450 WHICH WAS BEFORE MANGRINI OWNED IT. 70 00:04:41,490 --> 00:04:46,630 GOT TO LIKE MANGRINI’S WIFE FOR BEING IN THAT DRUM. 71 00:04:46,660 --> 00:04:49,120 MANGRINI’S WIFE ‐‐ SHE DISAPPEARED FIVE YEARS AGO. 72 00:04:49,160 --> 00:04:51,130 IN THE JEWISH HOLY BOOKS, 73 00:04:51,160 --> 00:04:53,360 THAT’S REGARDED AS SIN, BALDWIN, 74 00:04:53,400 --> 00:04:55,340 FINISHING SOMEONE ELSE’S STORY. 75 00:04:55,370 --> 00:04:57,480 YEAH, I KNOW. 76 00:04:57,500 --> 00:04:58,970 YOU’RE GOING TO WANT TO SIT ON MANGRINI. 77 00:04:59,000 --> 00:05:01,240 YOU THINK HE MIGHT HEAD FOR THE AIRPORT? 78 00:05:01,270 --> 00:05:02,870 PRESS ISN’T GOING TO HAVE IT. 79 00:05:02,910 --> 00:05:05,150 THE ONLY WAY HE’D HEAD FOR THE AIRPORT, 80 00:05:05,180 --> 00:05:08,350 HE’D HAVE TO HAVE SOME NEIGHBOR ON THE EYE AROUND THAT HOUSE. 81 00:05:08,380 --> 00:05:09,880 ME AND SORENSON CAN’T SIT ON HIM. 82 00:05:09,910 --> 00:05:12,050 HE KNOWS ME FROM WHEN HE WAS SOLDIER 83 00:05:12,080 --> 00:05:13,980 FOR ALFONSE GIARDELLA. 84 00:05:14,020 --> 00:05:16,150 GREG, YOU AND BALDWIN SIT ON MANGRINI. 85 00:05:16,190 --> 00:05:18,500 AND YOU COORDINATE THE FORENSICS 86 00:05:18,520 --> 00:05:21,390 AND REACH OUT TO GET DINO FERRARA DOWN HERE. 87 00:05:21,430 --> 00:05:23,900 ALFONSE GIARDELLA ‐‐ NOW, THAT’S BEFORE MY TIME. 88 00:05:23,930 --> 00:05:26,390 SEEK ELSEWHERE FOR YOUR BACKGROUND INFORMATION. 89 00:05:26,430 --> 00:05:29,930 Andy: WHAT’S JOE KROFT’S PROBLEM? 90 00:05:29,970 --> 00:05:31,930 THE MEDICAL EXAMINER? I DON’T KNOW. 91 00:05:31,970 --> 00:05:34,540 HE’S ACTING LIKE I GOT SOME PLAGUE, 92 00:05:34,570 --> 00:05:36,940 DIRECTING ANIMOSITY TOWARD ME SPECIFICALLY. 93 00:05:36,980 --> 00:05:39,520 WELL, I DON’T KNOW WHY THAT WOULD BE, ANDY, 94 00:05:39,540 --> 00:05:41,280 NOT THE WAY YOU SPRAY SUNSHINE AROUND. 95 00:06:03,770 --> 00:06:05,370 SHE WOULDN’T LEAVE. 96 00:06:05,400 --> 00:06:07,740 WHAT DO YOU MEAN SHE WOULDN’T LEAVE? 97 00:06:07,770 --> 00:06:09,740 I TOLD HER WE WERE COPS, 98 00:06:09,770 --> 00:06:13,370 I TOLD HER WE MADE HER LICENSE PLATES FOR PRESS, 99 00:06:13,410 --> 00:06:17,110 AND I TOLD HER WE WANTED HER OUT OF THE AREA. 100 00:06:17,150 --> 00:06:20,120 SHE SAID SHE WOULDN’T LEAVE. 101 00:06:20,150 --> 00:06:21,820 YEAH, GOOD. 102 00:06:24,790 --> 00:06:27,290 THE QUESTION IS, HOW MUCH ATTENTION 103 00:06:27,330 --> 00:06:29,770 YOU’RE PREPARED TO DRAW IN THE COURSE 104 00:06:29,790 --> 00:06:32,090 OF TRYING TO KEEP A LOW PROFILE? 105 00:06:55,720 --> 00:06:56,990 HI. 106 00:06:57,020 --> 00:06:59,020 GET OUT OF THE STREET. 107 00:06:59,060 --> 00:07:00,530 YOU THINK I’M NOTICEABLE? 108 00:07:00,560 --> 00:07:03,120 GET IN THE CAR. GET IN THE CAR. 109 00:07:05,830 --> 00:07:07,330 THIS IS GREAT. 110 00:07:07,370 --> 00:07:09,680 THEY PROBABLY DON’T SEE AFRICAN‐AMERICANS OUT HERE 111 00:07:09,700 --> 00:07:11,030 THAT AREN’T WEARING DELIVERY UNIFORMS. 112 00:07:11,070 --> 00:07:13,770 IF YOU’RE WORRIED ABOUT PETE MANGRINI REALIZING 113 00:07:13,810 --> 00:07:15,710 HE’S BEING WATCHED, THIS IS A REAL SHORTCUT. 114 00:07:15,740 --> 00:07:17,310 WHAT’S YOUR NAME? 115 00:07:17,340 --> 00:07:18,440 NICOLE. 116 00:07:18,480 --> 00:07:20,850 NICOLE, HUH? JUST THE ONE NAME? 117 00:07:20,880 --> 00:07:23,140 I’M ONE AHEAD OF YOU. 118 00:07:23,180 --> 00:07:24,450 MY NAME’S BALDWIN JONES. 119 00:07:24,480 --> 00:07:26,150 I’M WITH THE 15th DETECTIVE SQUAD, 120 00:07:26,180 --> 00:07:28,050 AND I NEED YOU OUT OF HERE, NICOLE. 121 00:07:28,090 --> 00:07:29,530 IT’S NOT HAPPENING, BALDWIN. 122 00:07:29,550 --> 00:07:31,620 I DON’T CARE IF YOU GET PUFF DADDY 123 00:07:31,660 --> 00:07:34,070 TO SIT IN THE BACK. I FIGURED THIS OUT. 124 00:07:34,090 --> 00:07:36,660 I’M THE ONLY REPORTER WHO DID. 125 00:07:36,700 --> 00:07:38,170 I’M STAYING ON PETE MANGRINI’S ASS. 126 00:07:38,200 --> 00:07:40,140 DO NOT LOOK AT MANGRINI’S HOUSE. 127 00:07:40,160 --> 00:07:41,560 MANGRINI’S COMING, 128 00:07:41,600 --> 00:07:44,230 AND YOU ARE NOT GOING TO QUEER THE TAIL. 129 00:07:44,270 --> 00:07:47,170 HOW ABOUT I REAR‐END THIS CAR? 130 00:07:47,210 --> 00:07:49,350 YOU THINK THAT WILL GRAB HIS ATTENTION? 131 00:07:49,370 --> 00:07:51,840 I AM GOING TO BLOW THE HORN. 132 00:07:51,880 --> 00:07:54,820 DON’T BLOW THE HORN. DON’T BLOW THE HORN. 133 00:07:54,850 --> 00:07:57,220 I’M DRIVING, AND BELIEVE ME, 134 00:07:57,250 --> 00:08:00,480 I’M GOING TO TAIL MANGRINI BETTER 135 00:08:00,520 --> 00:08:02,220 THAN YOUR PARTNER DOES. 136 00:08:20,300 --> 00:08:22,500 WHO’S DINO KIDDING? LAST TIME WE SAW HIM, 137 00:08:22,540 --> 00:08:26,510 HE WAS CATATONIC BECAUSE HE WAS SHOOTING BLANKS. 138 00:08:26,550 --> 00:08:29,020 NONNEGOTIABLE ‐‐ DINO GETS TO THROW A HUMP 139 00:08:29,050 --> 00:08:30,520 INTO HIS GIRLFRIEND ANGELA 140 00:08:30,550 --> 00:08:32,610 BEFORE HE TALKS TO US ABOUT PETE MANGRINI. 141 00:08:32,650 --> 00:08:35,220 SURE, TELL HIM WE’LL PROVIDE THE SPLINT. 142 00:08:35,250 --> 00:08:37,350 IS HE STILL OBLIGATED FOR THE CONVERSATION 143 00:08:37,390 --> 00:08:39,560 IF HE CAN’T GET IT UP? 144 00:08:39,590 --> 00:08:41,260 ALL RIGHT. 145 00:08:41,290 --> 00:08:43,520 WELL, PUT DINO ON THE ROAD, 146 00:08:43,560 --> 00:08:45,260 AND WE’LL REACH OUT FOR HIS GIRLFRIEND. 147 00:08:45,300 --> 00:08:46,640 DELUSIONS OF GRANDEUR. 148 00:08:46,670 --> 00:08:48,710 AHEM. 149 00:08:48,730 --> 00:08:51,200 UH, A FRIEND OF MINE 150 00:08:51,240 --> 00:08:53,780 FOR SEVERAL MONTHS AFTER HIS PROSTRATE OPERATION, 151 00:08:53,810 --> 00:08:56,720 HE HAD BIG PROBLEMS IN THAT AREA. 152 00:08:56,740 --> 00:08:58,710 THEY THREW HIM SOME OF THIS VIAGRA. 153 00:08:58,740 --> 00:09:01,610 YOU COULD HAVE HUNG LAUNDRY OFF THE GUY. 154 00:09:01,650 --> 00:09:03,890 WHO WAS THIS? 155 00:09:03,920 --> 00:09:06,830 DON’T ASK ME TO BREAK THAT CONFIDENCE. 156 00:09:31,610 --> 00:09:33,440 30 MINUTES, WE’RE OVER THE BRIDGE, 157 00:09:33,480 --> 00:09:36,150 EATING IN MANHATTAN, AND NOBODY LOOKS AT US TWICE. 158 00:09:36,180 --> 00:09:37,750 WHAT’S DRAWING ATTENTION IS YOU ACTING 159 00:09:37,780 --> 00:09:39,680 LIKE YOU GOT ANTS IN YOUR PANTS. 160 00:09:39,720 --> 00:09:42,180 HOW’S IT GOING? GOOD TO SEE YOU. 161 00:09:42,220 --> 00:09:44,520 YEAH, GOOD TO SEE YOU. 162 00:09:44,560 --> 00:09:50,500 HEY, RUDY, DID YOU ORDER EGGPLANT? 163 00:09:50,530 --> 00:09:53,090 ISN’T THIS CALLED HIDING IN PLAIN SIGHT? 164 00:09:53,130 --> 00:09:55,360 I DON’T KNOW IF WE’RE GOING TO BE HIDING 165 00:09:55,400 --> 00:09:58,200 WHEN I PUNCH THAT GUY IN THE MOUTH. 166 00:09:58,240 --> 00:10:01,180 STOP ACTING LIKE LINCOLN NEVER GOT ELECTED. 167 00:10:01,210 --> 00:10:03,010 TWO MINUTES, MR. MANGRINI. 168 00:10:03,040 --> 00:10:06,370 WE’RE MOVING THEM TO ANOTHER TABLE. 169 00:10:06,410 --> 00:10:09,650 MY FAULT, SWEETHEART. I CROSSED YOU UP. 170 00:10:09,680 --> 00:10:11,650 YOU SAID YOU WOULDN’T BE IN. 171 00:10:11,680 --> 00:10:13,210 LOOK DEEPLY INTO MY EYES. 172 00:10:13,250 --> 00:10:14,480 IT’S OKAY. 173 00:10:14,520 --> 00:10:17,190 AND WHEN WILL OUR TABLE BE READY? 174 00:10:17,220 --> 00:10:21,390 WHEN I COME GET YOU. 175 00:10:21,430 --> 00:10:24,070 AREN’T YOU GLAD WE CAME IN TWO CARS? 176 00:10:24,100 --> 00:10:26,570 NICOLE, THE BLAZER YOU JUST SAW MY PARTNER DRIVE 177 00:10:26,600 --> 00:10:29,530 INTO THAT FENDER‐BENDER WHILE WE WERE TAILING MANGRINI ‐‐ 178 00:10:29,570 --> 00:10:33,300 I’M THE GUY THAT MAKES THE PAYMENT ON THAT. 179 00:10:33,340 --> 00:10:34,710 I’M SICK OF IT, RENET. 180 00:10:34,740 --> 00:10:36,540 LET ALONE GO OUT FOR DINNER, 181 00:10:36,580 --> 00:10:39,520 WE CAN’T EVEN STOP AT THE RITE AID 182 00:10:39,540 --> 00:10:41,380 WITHOUT ME BEING HUMILIATED. 183 00:10:41,410 --> 00:10:42,810 SHUT UP. 184 00:10:42,850 --> 00:10:44,660 ALL RIGHT, PETER. 185 00:10:44,680 --> 00:10:46,820 DO YOU WANT TO LEAVE BECAUSE YOU CAN’T BEHAVE 186 00:10:46,850 --> 00:10:47,880 LIKE A CIVILIZED PERSON? 187 00:10:47,920 --> 00:10:50,250 FINE. 188 00:10:50,290 --> 00:10:52,920 THERE’S A GIRL WHO COULD HAVE A 50‐GALLON DRUM IN HER FUTURE. 189 00:10:52,960 --> 00:10:55,670 RENET, HERE SHE COMES TO TAKE US TO OUR TABLE 190 00:10:55,690 --> 00:10:58,760 SO SHE CAN SHOVE HER FAKE TITS IN PETER’S FACE. 191 00:10:58,800 --> 00:11:01,710 YOU’RE A STRUNG‐OUT LITTLE SPEED FREAK, YOU KNOW THAT? 192 00:11:01,730 --> 00:11:03,100 I’M SORRY, ANGEL. 193 00:11:03,130 --> 00:11:05,100 DON’T WORRY, MR. MANGRINI. I CONSIDER THE SOURCE. 194 00:11:05,140 --> 00:11:08,210 I TAKE AMPHETAMINE UNDER DOCTOR’S ORDERS. 195 00:11:08,240 --> 00:11:10,640 I WONDER WHO’S PRESCRIBING HIS COKE. 196 00:11:13,380 --> 00:11:16,860 GIVE THE FRIGGIN’ TABLE AWAY. 197 00:11:16,880 --> 00:11:18,380 COME ON, STACE, YOU WANT TO GO HOME? 198 00:11:18,420 --> 00:11:20,430 Baldwin: EASY, MY FRIEND. 199 00:11:20,450 --> 00:11:22,280 TAKE IT EASY ON HER ARM. 200 00:11:22,320 --> 00:11:25,750 [ LAUGHS ] 201 00:11:25,790 --> 00:11:27,520 TAKE A GOOD LOOK AT YOUR FUTURE, STACEY. 202 00:11:27,560 --> 00:11:29,760 THIS IS THE LEVEL OF PEOPLE 203 00:11:29,790 --> 00:11:31,860 A DEGENERATE LOUDMOUTH SPEED FREAK 204 00:11:31,900 --> 00:11:34,840 CAN LOOK FORWARD TO GETTING TO KNOW. 205 00:11:36,570 --> 00:11:38,270 LET HER ARM UP. 206 00:11:38,300 --> 00:11:41,200 NO PROBLEM. 207 00:11:41,240 --> 00:11:43,470 ABSOLUTELY. 208 00:11:43,510 --> 00:11:45,820 WE WERE JUST LEAVING, ANYWAYS. 209 00:11:53,420 --> 00:11:55,390 YOU KNOW, IT USED TO BE 210 00:11:55,420 --> 00:11:57,750 ALL THE SALT AND PEPPER IN THIS PLACE 211 00:11:57,790 --> 00:11:59,250 WAS ON THE TABLES. 212 00:12:03,490 --> 00:12:05,530 WELL, THAT’S KEEPING A NICE LOW PROFILE. 213 00:12:08,530 --> 00:12:10,270 IS THAT ONE SPOKEN FOR? 214 00:12:10,300 --> 00:12:11,900 I’D HAVE TO CHECK. 215 00:12:11,940 --> 00:12:15,350 NAH, YOU KNOW WHAT? 216 00:12:15,370 --> 00:12:17,670 LET’S DRIVE TO MANHATTAN. 217 00:12:44,370 --> 00:12:46,430 I’M NOT WEARING AN OVERCOAT ‐‐ 218 00:12:46,470 --> 00:12:48,570 FIRST TIME THIS SPRING. 219 00:12:51,910 --> 00:12:52,810 GOOD. 220 00:12:54,810 --> 00:12:57,050 Danny: HOW’S IT GOING, JOHN? 221 00:12:57,080 --> 00:12:59,480 ISN’T IT A LOVELY SPRING DAY? 222 00:12:59,520 --> 00:13:02,960 ANDY, WHILE THEY’RE TAILING MANGRINI LAST NIGHT, 223 00:13:02,990 --> 00:13:06,060 GREG PUTS BALDWIN’S BLAZER IN A FENDER‐BENDER. 224 00:13:06,090 --> 00:13:08,520 BALDWIN ‐‐ HE’S LOOKING AT THE ACCIDENT REPORT. 225 00:13:08,560 --> 00:13:10,960 IN THE COFFEE ROOM? 226 00:13:11,000 --> 00:13:14,510 STEAM IS COMING OUT OF BALDWIN’S EARS. 227 00:13:14,530 --> 00:13:16,030 SERVES JONES RIGHT. 228 00:13:16,070 --> 00:13:18,080 MEDAVOY’S A MENACE IN NORMAL TRAFFIC, 229 00:13:18,100 --> 00:13:20,840 LET ALONE PAYING ATTENTION TO WHAT’S IN FRONT OF HIM 230 00:13:20,870 --> 00:13:22,870 PLUS SOME GUY FIVE CARS AHEAD. 231 00:13:22,910 --> 00:13:25,220 ANYWAYS, ANYTHING BREAKS OUT IN THAT COFFEE ROOM, 232 00:13:25,240 --> 00:13:26,610 YOU’RE ON JONES. 233 00:13:30,350 --> 00:13:33,750 E.M.S. COULD TELL IMMEDIATELY 234 00:13:33,790 --> 00:13:35,890 THIS LADY WAS PLAYING IT UP. 235 00:13:35,920 --> 00:13:37,520 SHE SEES MY BADGE, 236 00:13:37,560 --> 00:13:39,900 FINDS OUT I’M USING A CAR ON POLICE BUSINESS ‐‐ 237 00:13:39,920 --> 00:13:41,990 RIGHT AWAY, HER NECK GOES STIFF. 238 00:13:42,030 --> 00:13:43,840 TREATED AND RELEASED. 239 00:13:43,860 --> 00:13:45,730 TREATED AND RELEASED ‐‐ ABSOLUTELY. 240 00:13:45,760 --> 00:13:47,500 BELIEVE ME, D., 241 00:13:47,530 --> 00:13:49,500 IF THIS LADY PURSUES HER REMEDIES 242 00:13:49,530 --> 00:13:50,870 INSURANCE LIABILITY‐WISE, 243 00:13:50,900 --> 00:13:52,730 IT IS A SCANDAL AND DISGRACE. 244 00:13:57,810 --> 00:14:01,210 WHEN DO YOU SUPPOSE HE MIGHT BE GETTING IN? 245 00:14:01,250 --> 00:14:03,760 THE LIEUTENANT SHOULD BE HERE MOMENTARILY. 246 00:14:03,780 --> 00:14:06,880 IS THERE ANYTHING YOU’D LIKE TO CONVEY TO US, 247 00:14:06,920 --> 00:14:08,450 BEING YOU’RE THE MEDICAL EXAMINER 248 00:14:08,490 --> 00:14:11,360 AND WE’RE THE WORKING SLOBS CONDUCTING THE INVESTIGATION? 249 00:14:11,390 --> 00:14:12,850 ANYPLACE ELSE TO WAIT? 250 00:14:12,890 --> 00:14:14,790 YEAH, THE ROOF’S UNOCCUPIED. 251 00:14:14,830 --> 00:14:16,600 MORNING. 252 00:14:16,630 --> 00:14:18,260 CAN WE DO THIS? 253 00:14:18,300 --> 00:14:20,810 SURE. COME ON. 254 00:14:30,580 --> 00:14:32,320 WHAT THE HELL IS THAT? 255 00:14:32,340 --> 00:14:35,110 DINAH SHORE BLOWING A KISS GOOD‐BYE TO HER CHEVROLET. 256 00:14:39,320 --> 00:14:42,490 HOW’D IT GO TAILING MANGRINI? 257 00:14:42,520 --> 00:14:45,950 OH, THAT’S SOME LONG STORY 258 00:14:45,990 --> 00:14:48,720 PROBABLY BEST TOLD ANOTHER TIME. 259 00:14:48,760 --> 00:14:50,790 CAN WE DO THIS? YEAH, SURE. 260 00:14:50,830 --> 00:14:53,960 IN THAT 50‐GALLON DRUM, I FOUND A FULLY DEVELOPED 261 00:14:54,000 --> 00:14:56,800 NON‐ARTHRITIC SKELETON OF AN ADULT WHITE FEMALE, 262 00:14:56,840 --> 00:14:59,950 LATE 20s, EARLY 30s AT THE TIME OF HER DEATH, 263 00:14:59,970 --> 00:15:02,140 LONG BLACK HAIR, 5’5", 264 00:15:02,170 --> 00:15:04,610 BUT THERE WAS PROBABLY SOME SHRINKAGE INVOLVED. 265 00:15:04,640 --> 00:15:07,010 IT HAPPENS TO ALL OF US. 266 00:15:07,050 --> 00:15:10,820 I ALSO RECOVERED A SMALL HANDBAG FROM THE DRUM. 267 00:15:10,850 --> 00:15:14,250 THE HANDBAG WAS SATURATED WITH BODY FLUID. 268 00:15:14,290 --> 00:15:16,630 LOOKS LIKE THERE WAS AN ADDRESS BOOK IN IT. 269 00:15:16,660 --> 00:15:18,800 I SENT ALL THAT OVER TO THE CRIME LAB. 270 00:15:18,820 --> 00:15:20,420 ANYTHING ON FINGERPRINTS? 271 00:15:20,460 --> 00:15:23,760 SHE HAD NO DENTAL WORK DONE, 272 00:15:23,800 --> 00:15:26,040 SO DON’T EXPECT TO GET ANY HELP 273 00:15:26,060 --> 00:15:27,630 I.D.ing HER FROM THAT. 274 00:15:27,670 --> 00:15:29,810 WE’RE HYDRATING THE FINGERTIPS TO LIFT PRINTS. 275 00:15:29,830 --> 00:15:32,630 HOW LONG DO YOU THINK SHE WAS IN THAT BARREL? 276 00:15:32,670 --> 00:15:35,100 I WOULDN’T GUESS. 277 00:15:35,140 --> 00:15:37,110 SHE HAD A FETUS IN HER BELLY. 278 00:15:37,140 --> 00:15:39,110 I’D SAY SHE WAS SIX MONTHS ALONG. 279 00:15:39,140 --> 00:15:41,280 THE CRIME LAB SEEMS TO THINK 280 00:15:41,310 --> 00:15:43,650 THEY CAN DO SOMETHING WITH THAT ADDRESS BOOK. 281 00:15:43,680 --> 00:15:46,850 I’LL HAVE THE BONE DENSITY STUFF TOMORROW 282 00:15:46,890 --> 00:15:49,060 OR THE NEXT DAY. I’M LATE. 283 00:15:49,090 --> 00:15:51,230 GOT TO GO GIVE A LECTURE. 284 00:15:51,260 --> 00:15:53,230 THE DOC HERE TEACHES THE CHARM COURSE 285 00:15:53,260 --> 00:15:54,870 FOR THE M.E. TRAINEES. 286 00:15:54,890 --> 00:15:58,260 YOU GOT ONE PAIR OF BALLS TALKING TO ME LIKE THAT. 287 00:16:03,570 --> 00:16:07,970 ANYWAYS, BOSS, WE GOT DINO FERRARA COMING DOWN. 288 00:16:08,010 --> 00:16:09,750 HOW DID IT GO WITH MANGRINI? 289 00:16:12,240 --> 00:16:15,210 I’M GOING TO GO SEE IF HE’S PISSING ON MY LOCKER. 290 00:16:19,220 --> 00:16:21,190 I GAVE YOU WHAT I’VE GOT. 291 00:16:21,220 --> 00:16:23,990 NO, BUT I FIGURE I’M A SPLIT PERSONALITY, KROFT, 292 00:16:24,020 --> 00:16:26,920 OR I SLEEPWALK WHERE I DID SOMETHING TO YOU 293 00:16:26,960 --> 00:16:28,720 I GOT NO RECOLLECTION OF. 294 00:16:28,760 --> 00:16:30,930 HOW ABOUT THIS, SIPOWICZ? 295 00:16:30,960 --> 00:16:33,900 HOW ABOUT WE KEEP AWAY FROM EACH OTHER? 296 00:16:33,930 --> 00:16:36,430 WHAT THE HELL IS WRONG WITH YOU? 297 00:16:36,470 --> 00:16:38,610 TOLD YOU TO STAY OUT OF MY HAIR. 298 00:16:38,640 --> 00:16:41,380 I’M NOT GOING TO POINT OUT HOW STUPID THAT STATEMENT IS 299 00:16:41,410 --> 00:16:43,550 COMING FROM EITHER ONE OF US. 300 00:16:43,580 --> 00:16:46,920 I GOT A LOT ON MY PLATE. 301 00:16:46,950 --> 00:16:49,390 THE RIGHT GUY LEAVES ME ALONE. 302 00:16:49,410 --> 00:16:52,050 LIKE WHAT, KROFT? WHAT DO YOU GOT ON YOUR PLATE? 303 00:16:52,080 --> 00:16:54,920 I GOT A WIFE ‐‐ 304 00:16:54,950 --> 00:16:59,250 GOT CANCER IN EVERY PART OF HER BODY, ALL RIGHT? 305 00:16:59,290 --> 00:17:01,620 PAIN SO BAD, YOU CAN’T STAND TO SEE IT, 306 00:17:01,660 --> 00:17:03,260 ALL RIGHT, SIPOWICZ? 307 00:17:03,290 --> 00:17:05,260 MAYBE YOU COULD, 308 00:17:05,300 --> 00:17:08,710 BUT I CAN’T STAND TO SEE IT. 309 00:17:08,730 --> 00:17:11,300 I KNOW YOU HAD A WIFE THAT DIED. 310 00:17:11,340 --> 00:17:14,910 MAYBE YOU CAN GO ON AND ACT 311 00:17:14,940 --> 00:17:17,710 LIKE YOU GOT THE WORLD BY THE TAIL, 312 00:17:17,740 --> 00:17:19,310 BUT I CAN’T. 313 00:17:19,340 --> 00:17:21,240 I CAN’T, 314 00:17:21,280 --> 00:17:26,850 AND I’M NOT CONSORTING WITH ANYBODY WHO CAN. 315 00:17:30,350 --> 00:17:31,590 ALL RIGHT. 316 00:17:31,620 --> 00:17:33,390 ALL RIGHT, KROFT. 317 00:17:33,420 --> 00:17:36,060 OH, MY GOD. 318 00:17:36,090 --> 00:17:38,430 I’M NOT GOING TO BE ABLE TO LIVE. 319 00:17:38,460 --> 00:17:41,600 THAT’S NOT YOUR PORTION FOR NOW. 320 00:17:41,630 --> 00:17:44,830 JUST SEE TO HER FOR NOW, 321 00:17:44,870 --> 00:17:48,940 AND THEN YOU’LL SEE WHAT DEVELOPS. 322 00:17:58,880 --> 00:18:00,250 SUM AND SUBSTANCE, BOSS, 323 00:18:00,280 --> 00:18:03,180 IN A NUTSHELL, I CANNOT IMAGINE 324 00:18:03,220 --> 00:18:05,090 THIS UTTERLY MINOR FENDER‐BENDER WINDING UP 325 00:18:05,120 --> 00:18:06,450 ON THE CORPORATION COUNSEL’S DESK. 326 00:18:06,490 --> 00:18:08,460 WITH YOU ON POLICE BUSINESS 327 00:18:08,490 --> 00:18:10,630 AND WITH THE LADY CLAIMING WHIPLASH? 328 00:18:10,660 --> 00:18:13,360 CANNOT IMAGINE IT, WITH HER CLAIMING WHIPLASH 329 00:18:13,400 --> 00:18:16,070 AND E. M. S. BEING CALLED TO THE SCENE. 330 00:18:20,840 --> 00:18:23,810 I WOULD BE SHOCKED AND STUPEFIED. 331 00:18:23,840 --> 00:18:26,680 DO I NEED TO FIND A RUG TO ROLL KROFT UP IN? 332 00:18:26,710 --> 00:18:28,040 NO, HE LEFT. 333 00:18:29,650 --> 00:18:33,510 [ TELEPHONE RINGS ] 334 00:18:33,550 --> 00:18:34,950 15th SQUAD. 335 00:18:34,990 --> 00:18:37,660 YOU KNOW WHY HE COME AT ME LIKE THAT? 336 00:18:37,690 --> 00:18:39,490 IT’S ABOUT HIS SICK WIFE. 337 00:18:39,520 --> 00:18:41,960 THAT WAS THE U. S. MARSHALS. 338 00:18:41,990 --> 00:18:44,560 THEY’RE FIVE MINUTES AWAY WITH DINO FERRARA. 339 00:18:44,600 --> 00:18:47,570 SO YOU DON’T THINK IT WOULD BE MORE APROPOS, 340 00:18:47,600 --> 00:18:49,870 ME REACHING OUT TO THIS STACEY, 341 00:18:49,900 --> 00:18:52,070 HUH, BALDWIN, KEEP YOUR COVER INTACT? 342 00:18:52,100 --> 00:18:55,300 I WANT HER TO KNOW A COP WAS SITTING NEXT TO HER. 343 00:18:55,340 --> 00:18:57,640 BRING HOME TO HER MANGRINI’S HOT. 344 00:18:57,680 --> 00:18:59,250 I LIKE IT. 345 00:18:59,280 --> 00:19:01,150 [ TELEPHONE RINGS ] 346 00:19:01,180 --> 00:19:04,150 15th SQUAD, DETECTIVE JONES. 347 00:19:04,180 --> 00:19:06,920 YEAH, YEAH, HOW’S IT GOING? 348 00:19:06,950 --> 00:19:08,920 NO, NO, I’LL COME DOWN. 349 00:19:12,760 --> 00:19:14,200 SOMEONE DOWNSTAIRS? 350 00:19:14,230 --> 00:19:17,440 GREG, DON’T WORRY ABOUT THE CAR. 351 00:19:17,460 --> 00:19:19,130 NO, GOOD. 352 00:19:21,870 --> 00:19:23,510 I WASN’T WORRIED. 353 00:19:23,530 --> 00:19:26,570 HOW’S HER BEING SICK YOUR PROBLEM? 354 00:19:26,610 --> 00:19:29,580 AFRAID TO THINK OF LIVING WITHOUT HER, KROFT ‐‐ 355 00:19:29,610 --> 00:19:33,210 LIKE IF HE EVEN THINKS ABOUT IT, SHE’LL DIE. 356 00:19:33,240 --> 00:19:35,840 SEES ME STANDING IN FRONT OF HIM 357 00:19:35,880 --> 00:19:37,250 WITH SYLVIA GONE. 358 00:19:37,280 --> 00:19:40,120 LET ME GOOSE DIANE AT THE CRIME LAB 359 00:19:40,150 --> 00:19:42,280 ABOUT THE D. O. A.’s ADDRESS BOOK. 360 00:19:42,320 --> 00:19:45,290 POOR SON OF A BITCH ‐‐ KROFT. 361 00:19:45,320 --> 00:19:47,960 I KNOW THEM HOSPITAL CAFETERIAS. 362 00:19:49,730 --> 00:19:52,260 LOOK ME IN THE EYE. 363 00:19:52,300 --> 00:19:54,370 THE BODY HASN’T BEEN IDENTIFIED YET. 364 00:19:54,400 --> 00:19:56,970 SO THEN I GO WITH WHAT I GOT ‐‐ 365 00:19:57,000 --> 00:19:59,370 A CORPSE FOUND IN MANGRINI’S FORMER HOME. 366 00:19:59,400 --> 00:20:01,540 THAT’S THE SHORT MONEY, NICOLE. 367 00:20:01,570 --> 00:20:04,710 YOU WANT ME TO WAIT TILL I GOT MY T’s CROSSED 368 00:20:04,740 --> 00:20:06,710 AND SEE THE STORY IN EVERY OTHER PAPER 369 00:20:06,750 --> 00:20:08,150 IN THIS CITY? 370 00:20:08,180 --> 00:20:10,550 THIS IS YOU ASKING IF YOU HOLD OFF, 371 00:20:10,580 --> 00:20:12,710 WILL I GIVE YOU AN EXCLUSIVE? 372 00:20:12,750 --> 00:20:14,280 ABSOLUTELY. YES. 373 00:20:14,320 --> 00:20:16,280 PLUS COOPERATE ON A SIDEBAR FEATURE ‐‐ 374 00:20:16,320 --> 00:20:17,790 MY NIGHT ON SURVEILLANCE. 375 00:20:17,820 --> 00:20:19,390 ABSOLUTELY NOT. 376 00:20:19,420 --> 00:20:21,420 HOW CAN I SWEETEN THE POT? 377 00:20:21,460 --> 00:20:24,560 THAT I. D. MAY BE COMING IN RIGHT NOW, NICOLE, 378 00:20:24,600 --> 00:20:26,770 AND HERE I AM STANDING OUTSIDE. 379 00:20:26,800 --> 00:20:28,760 YOU DIDN’T SUFFER SOME KIND OF PERSONAL INJURY, 380 00:20:28,800 --> 00:20:30,130 DID YOU, BALDWIN? 381 00:20:30,170 --> 00:20:31,670 NOT LAST I LOOKED. 382 00:20:31,700 --> 00:20:35,240 I MIGHT HAVE TO DO MY OWN PRIVATE EXAMINATION. 383 00:20:35,270 --> 00:20:39,270 YOU WANT TO KNOW A SECRET ABOUT ME, NICOLE? 384 00:20:39,310 --> 00:20:40,480 WHAT’S THAT? 385 00:20:40,510 --> 00:20:43,650 I DON’T LIKE THE MUSIC UP SO LOUD. 386 00:20:43,680 --> 00:20:47,150 YOU MAY NOT KNOW EXACTLY WHAT YOU LIKE YET, BALDWIN. 387 00:20:47,190 --> 00:20:50,530 I GUESS THAT’S POSSIBLE, TOO. 388 00:20:50,560 --> 00:20:52,300 MY DEADLINE’S AT 7:00. 389 00:20:52,320 --> 00:20:55,920 I’D LIKE A 6:30 CALL EITHER WAY. 390 00:20:55,960 --> 00:20:58,260 YEAH, I CAN DO THAT. 391 00:20:58,300 --> 00:21:00,710 OTHERWISE, I GO WITH WHAT I GOT. 392 00:21:00,730 --> 00:21:04,000 YEAH, IT SEEMS LIKE YOU’RE REAL COMFORTABLE DOING THAT. 393 00:21:07,240 --> 00:21:09,640 WATCH YOUR HEAD. 394 00:21:09,670 --> 00:21:11,570 ALL RIGHT. 395 00:21:26,220 --> 00:21:29,960 THE WHOLE DECLINE OF A CERTAIN WAY OF LIFE, 396 00:21:29,990 --> 00:21:32,560 PETE MANGRINI EPITOMIZES. 397 00:21:32,600 --> 00:21:35,010 WHEN I WAS COMING UP, 398 00:21:35,030 --> 00:21:37,000 THE PETE MANGRINIS OF THIS WORLD 399 00:21:37,040 --> 00:21:39,010 YOU COULD BUY ON ANY STREET CORNER 400 00:21:39,040 --> 00:21:40,580 FOR A HAM SANDWICH. 401 00:21:40,610 --> 00:21:43,210 AND AFTER THEY DID WHAT YOU HAD THEM DO, 402 00:21:43,240 --> 00:21:45,570 THEN THEY WOULD COME AND MOW YOUR LAWN. 403 00:21:45,610 --> 00:21:48,210 SO HE’D BE CAPABLE OF MURDERING HIS WIFE? 404 00:21:48,250 --> 00:21:50,560 AND SLEEPING ON TOP OF HER. 405 00:21:50,580 --> 00:21:52,210 YOU CHOOSE THAT WAY OF SAYING IT? 406 00:21:52,250 --> 00:21:54,350 SLEEPING ON TOP OF HER. 407 00:21:54,390 --> 00:21:57,230 IT’S A FIGURE OF SPEECH. 408 00:21:57,260 --> 00:22:00,100 ARE YOU TELLING ME THAT AFTER HE KILLED HER, 409 00:22:00,120 --> 00:22:03,220 THIS SLIMY LITTLE SCHKEEVE WITH A STORE‐BOUGHT SMILE 410 00:22:03,260 --> 00:22:06,330 WAS SLEEPING ON TOP OF HIS WIFE? 411 00:22:06,360 --> 00:22:09,430 SHE WAS IN A 50‐GALLON DRUM IN THE BASEMENT. 412 00:22:09,470 --> 00:22:12,280 ON TOP OF HER IN THAT SENSE ‐‐ 413 00:22:12,300 --> 00:22:14,370 THAT HE COULD DEFINITELY DO. 414 00:22:14,410 --> 00:22:17,380 BEING PETE TURNED YOUR CREWS OUT TO PASTURE, DINO, 415 00:22:17,410 --> 00:22:19,940 REASSURE US THAT WHAT YOU’RE TELLING US SHOULDN’T GO 416 00:22:19,980 --> 00:22:22,010 IN THE CATEGORY OF SOUR GRAPES. 417 00:22:22,050 --> 00:22:24,420 I AM SO FAR BEYOND THAT. 418 00:22:24,450 --> 00:22:26,880 UNDER TELLING THE BOYS WHAT THEY’D LIKE TO HEAR... 419 00:22:26,920 --> 00:22:28,850 HEY, I GOT MINE ALREADY. 420 00:22:28,890 --> 00:22:31,360 THE KID BROUGHT THE HAMMER DOWN LAST NIGHT. 421 00:22:31,390 --> 00:22:33,920 YOU SPEAKING OF YOUR RENDEZVOUS WITH ANGELA? 422 00:22:33,960 --> 00:22:36,560 I HAVEN’T BEEN IN A MOTEL LIKE THAT 423 00:22:36,600 --> 00:22:38,300 SINCE I BROUGHT IN UNTAXED CIGARETTES 424 00:22:38,330 --> 00:22:40,300 FROM NORTH CAROLINA. 425 00:22:40,330 --> 00:22:42,700 ON THE SUBJECT OF MANGRINI KILLING HIS WIFE, 426 00:22:42,730 --> 00:22:45,870 ARE YOU SPEAKING FROM FIRSTHAND KNOWLEDGE, DINO? 427 00:22:45,900 --> 00:22:47,940 DID I SEE HIM KILL HER? NO. 428 00:22:47,970 --> 00:22:50,310 WHAT KNOWLEDGE ARE YOU SPEAKING FROM? 429 00:22:50,340 --> 00:22:51,770 ANECDOTAL. 430 00:22:51,810 --> 00:22:52,940 ANECDOTAL, HUH? 431 00:22:52,980 --> 00:22:54,950 THAT PUTS THE LAST FINISHING TOUCHES 432 00:22:54,980 --> 00:22:57,050 ON DINO’S CHARACTER ‐‐ 433 00:22:57,080 --> 00:22:59,780 HIS EXPOSURE TO LEGAL TERMINOLOGY. 434 00:22:59,820 --> 00:23:02,450 NAME SOME PEOPLE YOU HEARD THE ANECDOTES FROM. 435 00:23:02,490 --> 00:23:03,830 TEDDY LUKAZIE. 436 00:23:03,860 --> 00:23:04,760 DEAD. 437 00:23:04,790 --> 00:23:06,320 TOMMY BROWN. 438 00:23:06,360 --> 00:23:07,770 ALSO DEAD. 439 00:23:07,790 --> 00:23:09,460 IT’S A HAZARDOUS OCCUPATION. 440 00:23:09,490 --> 00:23:12,660 HEY, DINO, WHY DO I FEEL LIKE WE’RE GETTING TODAY 441 00:23:12,700 --> 00:23:14,510 WHAT ANGELA GOT LAST NIGHT? 442 00:23:14,530 --> 00:23:16,900 YOU WANT ME TO TESTIFY AGAINST THIS BUM MANGRINI? 443 00:23:16,940 --> 00:23:18,610 I AM THERE. 444 00:23:18,640 --> 00:23:21,680 WE’LL BE SURE TO BRING YOU DOWN FOR SOME ANECDOTAL HEARSAY. 445 00:23:21,710 --> 00:23:25,020 LEAST I HOPE I HELPED YOU ON SOME DEEP BACKGROUND. 446 00:23:25,040 --> 00:23:27,440 YOURS. 447 00:23:27,480 --> 00:23:29,510 CAN I USE THE CAN? 448 00:23:29,550 --> 00:23:30,350 PLEASE. 449 00:23:38,020 --> 00:23:39,990 THAT DINO DON’T KNOW ABOUT IT 450 00:23:40,020 --> 00:23:42,590 DON’T MEAN MANGRINI DIDN’T KILL HER, ANDY. 451 00:23:42,630 --> 00:23:46,100 MAYBE OUR FUTURE’S PIMPING. 452 00:23:46,130 --> 00:23:48,930 UH, DESK SERGEANT DAUGHERTY. 453 00:23:48,970 --> 00:23:50,280 OH, THANKS. 454 00:23:50,300 --> 00:23:53,030 YEAH, SARGE. 455 00:23:53,070 --> 00:23:55,700 OKAY, THANKS FOR THE HEADS‐UP. 456 00:23:55,740 --> 00:23:58,540 BALDWIN, YOU WANT TO BE IN THE COFFEE ROOM. 457 00:23:58,580 --> 00:24:00,620 PETE MANGRINI’S COMING UPSTAIRS. 458 00:24:00,650 --> 00:24:02,950 DINO FERRARA JUST WENT INTO THE LAVATORY. 459 00:24:02,980 --> 00:24:05,550 TELL THE MARSHALS TO KEEP DINO INSIDE. 460 00:24:05,580 --> 00:24:07,880 AREN’T HE AND MANGRINI SWORN ENEMIES? 461 00:24:07,920 --> 00:24:09,650 JOHN, GO IN THE BATHROOM. 462 00:24:14,160 --> 00:24:16,120 MY STRONGEST STREAM IN THREE YEARS. 463 00:24:16,160 --> 00:24:17,890 LIFE’S GOOD, HUH, DINO? 464 00:24:17,930 --> 00:24:19,390 GET THIS. 465 00:24:19,430 --> 00:24:20,830 HO, PIETRO! 466 00:24:24,340 --> 00:24:25,980 LOOK AT THIS. 467 00:24:26,000 --> 00:24:27,740 WANT ME TO BREAK THIS UP? 468 00:24:27,770 --> 00:24:29,340 LET’S SEE WHAT WE HIT. 469 00:24:29,370 --> 00:24:32,140 Dino: STAND BACK. DON’T TAINT YOURSELF. 470 00:24:32,180 --> 00:24:34,150 I’M GOING TO MAKE MYSELF COMFORTABLE. 471 00:24:34,180 --> 00:24:35,380 HOW ARE YOU DOING? 472 00:24:35,410 --> 00:24:36,980 I’M ALL RIGHT. YOURSELF? 473 00:24:37,020 --> 00:24:38,060 NO COMPLAINTS. 474 00:24:38,080 --> 00:24:39,650 WHO WOULD LISTEN ANYWAY? 475 00:24:39,680 --> 00:24:41,420 WHO’D LISTEN IF WE COMPLAIN ANYWAY? 476 00:24:41,450 --> 00:24:43,220 THAT’S 100% RIGHT. 477 00:24:43,250 --> 00:24:45,020 SO, HOW’S THE FAMILY? 478 00:24:45,060 --> 00:24:46,400 EVERYONE’S ALL RIGHT. 479 00:24:46,420 --> 00:24:48,320 THE NEW BRIDE? 480 00:24:48,360 --> 00:24:49,590 SHE’S A VERY SWEET GIRL. 481 00:24:49,630 --> 00:24:52,390 YEAH, EVERYONE SAID THAT ABOUT HER. 482 00:24:56,570 --> 00:24:58,870 ARE YOU DOWN HERE TESTIFYING? 483 00:24:58,900 --> 00:25:01,370 I’M HAVING SOME CONVERSATIONS. 484 00:25:01,410 --> 00:25:04,780 I THINK YOU WOULD HAVE LOST YOUR VOICE BY NOW, HUH? 485 00:25:04,810 --> 00:25:07,110 PETEY, YOU THINK WHAT YOU WANT TO THINK. 486 00:25:07,150 --> 00:25:10,020 YOU CAN’T STOP PEOPLE FROM THINKING 487 00:25:10,050 --> 00:25:11,710 WHETHER THEY’RE GARBAGE OR WHATEVER ELSE THEY ARE. 488 00:25:11,750 --> 00:25:13,280 GARBAGE IS GARBAGE, EH, DINO? 489 00:25:13,320 --> 00:25:16,430 GARBAGE IS GARBAGE AND VULTURES ARE VULTURES 490 00:25:16,450 --> 00:25:18,520 THAT FLY IN LIKE DIRTY PARASITES 491 00:25:18,560 --> 00:25:21,430 CAPITALIZING ON OTHERS’ MISFORTUNES 492 00:25:21,460 --> 00:25:23,960 AND EVERY OTHER PARASITIC THING THEY DO 493 00:25:24,000 --> 00:25:26,040 IN THEIR PARASITIC NATURES. 494 00:25:26,060 --> 00:25:29,130 WELL, AS FAR AS THAT GOES, SOME PEOPLE KISS JOINT, 495 00:25:29,170 --> 00:25:31,610 AND THEY KISS ASS FOR A BONUS 496 00:25:31,640 --> 00:25:35,450 FOR THE LOUSY RAT CHEESE‐EATERS THAT THEY ARE. 497 00:25:35,470 --> 00:25:37,770 IT’S GOOD TO SEE YOU. 498 00:25:37,810 --> 00:25:40,940 GOOD TO SEE YOU, TOO. HOPE YOU’RE WELL UP THERE. 499 00:25:40,980 --> 00:25:43,750 AND YOU BE WELL DOWN HERE AS LONG AS GOD GIVES YOU. 500 00:25:43,780 --> 00:25:45,950 IT’S NICE TO KNOW THAT SOME PEOPLE 501 00:25:45,980 --> 00:25:49,080 STILL HAVE DELUSIONS THAT THEY HAVE SOME KIND OF EFFECT 502 00:25:49,120 --> 00:25:51,390 ON THOSE DECISIONS. 503 00:25:51,420 --> 00:25:53,090 ISN’T LIFE FULL OF SURPRISES, THOUGH? 504 00:25:53,120 --> 00:25:54,460 OH, YEAH. 505 00:25:59,360 --> 00:26:01,960 YOU’RE A DETECTIVE? 506 00:26:02,000 --> 00:26:04,370 YEAH. COME ON IN, PETEY. 507 00:26:11,540 --> 00:26:14,980 HOW COME YOU’RE NOT GOING AT MANGRINI? 508 00:26:15,010 --> 00:26:16,510 WE WILL. 509 00:26:16,550 --> 00:26:20,520 WE DIDN’T KNOW HE WAS HERE UNTIL YOU JUST TOLD US. 510 00:26:20,550 --> 00:26:23,320 I DON’T EVEN KNOW WHY I’M HIDING IN HERE. 511 00:26:23,350 --> 00:26:25,120 I THINK MANGRINI SHOULD KNOW HE’S HOT. 512 00:26:25,160 --> 00:26:27,030 [ KNOCK ON DOOR ] 513 00:26:29,890 --> 00:26:32,990 MANGRINI’S IN THE POKEY ROOM, D. 514 00:26:33,030 --> 00:26:35,400 COAST IS CLEAR. 515 00:26:38,340 --> 00:26:40,950 WHERE ARE WE GOING? 516 00:26:40,970 --> 00:26:43,270 YOU’RE GOING TO ASK ME ABOUT STORAGE CONTAINERS 517 00:26:43,310 --> 00:26:44,880 IN THAT BROWNSTONE? 518 00:26:44,910 --> 00:26:47,280 IT’S BEEN FIVE YEARS SINCE I’VE EVEN BEEN THERE. 519 00:26:47,310 --> 00:26:50,350 WOULD THAT MAKE IT AROUND WHEN YOUR WIFE WAS LAST SEEN? 520 00:26:50,380 --> 00:26:51,510 MY WIFE? 521 00:26:51,550 --> 00:26:52,780 HMM. 522 00:26:52,820 --> 00:26:54,730 YEAH, YEAH, SHE’S GONE. SHE DISAPPEARED. 523 00:26:54,750 --> 00:26:57,720 GOD REST HER SOUL, GOOD LUCK TO HER DEPENDING. 524 00:26:57,760 --> 00:27:00,200 WHEN ALFONSE GIARDELLA WOULD SAY, "JUMP THIS HIGH," 525 00:27:00,220 --> 00:27:03,890 PETE WOULD GO STRAIGHT TO LICKING HIS SHOES. 526 00:27:03,930 --> 00:27:06,460 YOU DIDN’T GET PLASTIC SURGERY ON THAT MUG YET? 527 00:27:06,500 --> 00:27:07,870 HOW’S IT GOING, PETE? 528 00:27:07,900 --> 00:27:09,800 IT ALL BECOMES CLEAR TO ME NOW. 529 00:27:09,830 --> 00:27:11,500 I SHOULD HAVE KNOWN YOU WOULDN’T HAVE THE BALLS 530 00:27:11,540 --> 00:27:12,810 TO CALL ME OUT 531 00:27:12,840 --> 00:27:15,180 WITHOUT A BADGE FOR A HOLD CARD. 532 00:27:15,210 --> 00:27:18,320 SHOULD HAVE SEEN PETE GETTING HIS PROPS 533 00:27:18,340 --> 00:27:19,510 IN THAT RESTAURANT LAST NIGHT. 534 00:27:19,540 --> 00:27:21,340 WHAT IS THIS ABOUT ‐‐ 535 00:27:21,380 --> 00:27:24,010 SOME STORAGE CONTAINERS IN A PROPERTY I USED TO OWN? 536 00:27:24,050 --> 00:27:26,310 THAT’S A MYSTERY TO YOU, HUH, PETE, 537 00:27:26,350 --> 00:27:27,920 WHY WE WOULD BE INQUIRING? 538 00:27:27,950 --> 00:27:29,820 YEAH. 539 00:27:29,850 --> 00:27:32,490 ARE THEY TALKING TO MANGRINI YET? 540 00:27:32,520 --> 00:27:34,220 UH, YES. HE’S IN THE POKEY. 541 00:27:34,260 --> 00:27:36,190 THANKS, JOHN. 542 00:27:36,230 --> 00:27:38,870 I DON’T KNOW NOTHING ABOUT NO 50‐GALLON DRUMS. 543 00:27:38,900 --> 00:27:40,870 THEN HOW ABOUT LET’S TALK ABOUT THE CONTENTS? 544 00:27:40,900 --> 00:27:43,230 MAYBE WHAT’S IN THE DRUM WILL RING A BELL. 545 00:27:43,270 --> 00:27:44,540 [ KNOCK ON DOOR ] 546 00:27:49,710 --> 00:27:53,010 YOU WANT TO KNOW WHY I GO ON TO THE CONTENT? 547 00:27:53,040 --> 00:27:54,580 IT’S NOT MANGRINI’S WIFE. 548 00:27:54,610 --> 00:27:56,580 IT’S SOME WOMAN NAMED ERMA GALLEGO. 549 00:27:56,620 --> 00:27:59,360 WE GOT A NAME TO REACH OUT TO FROM HER ADDRESS BOOK. 550 00:27:59,380 --> 00:28:00,920 THANKS. 551 00:28:00,950 --> 00:28:04,590 YOU WANT TO KNOW WHY I GO ON TO THE CONTENTS 552 00:28:04,620 --> 00:28:07,190 AND WHY I RAISED THAT SUBJECT. 553 00:28:07,230 --> 00:28:08,800 Not his wife. 554 00:28:08,830 --> 00:28:11,900 I WANT TO KNOW BECAUSE YOU KEEP REPEATING YOURSELF. 555 00:28:11,930 --> 00:28:13,860 WHAT’S IN THIS 50‐GALLON DRUM? 556 00:28:13,900 --> 00:28:16,600 WHAT IS IN THAT DRUM, PETE, 557 00:28:16,640 --> 00:28:18,980 IS WHAT WE WANT YOU TO GO HOME 558 00:28:19,000 --> 00:28:22,100 AND YOU THINK ABOUT AND YOU DECIDE 559 00:28:22,140 --> 00:28:25,140 IF YOU WANT TO RETURN HERE WITH REPRESENTATION. 560 00:28:25,180 --> 00:28:26,750 I KNOW NOTHING ABOUT NO DRUMS. 561 00:28:26,780 --> 00:28:28,480 IF I’M YOU, PETE, 562 00:28:28,510 --> 00:28:31,150 I ASK MY ATTORNEY, "DO I KEEP PLEADING IGNORANCE?" 563 00:28:31,180 --> 00:28:33,210 AND I GET ADVICE OF COUNSEL. 564 00:28:33,250 --> 00:28:36,480 OF COURSE, I’M JUST A MENIAL CIVIL SERVICE EMPLOYEE. 565 00:28:38,990 --> 00:28:40,960 YOU KNOW WHAT? I’M OUT OF HERE. 566 00:28:40,990 --> 00:28:43,760 HEY, YOU DO WHAT YOU GOT TO DO. 567 00:28:43,800 --> 00:28:46,440 ALL THAT BOOZE ‐‐ 50‐50 CHANCE YOUR BRAIN’S PICKLED. 568 00:28:46,460 --> 00:28:50,170 HEY, NEVER MIND THAT. 569 00:28:50,200 --> 00:28:52,470 WHO THE HELL IS THE D. O. A.? 570 00:28:52,500 --> 00:28:53,800 ERMA GALLEGO. 571 00:29:07,990 --> 00:29:09,930 PLEASE, JUST TELL ME WHAT IT’S FOR. 572 00:29:09,950 --> 00:29:11,920 I NEVER DID NOTHING WRONG. 573 00:29:11,960 --> 00:29:13,870 WE’RE INVESTIGATING SOMEONE’S DEATH. 574 00:29:13,890 --> 00:29:16,120 YOUR NAME WAS FOUND IN HER EFFECTS. 575 00:29:16,160 --> 00:29:17,160 WHOSE DEATH? 576 00:29:17,200 --> 00:29:19,170 ERMA GALLEGO. 577 00:29:19,200 --> 00:29:23,440 I HAVEN’T SEEN HER FOR 30 YEARS. 578 00:29:23,470 --> 00:29:27,710 WHY DON’T YOU SIT DOWN, MRS. ROJAS? 579 00:29:29,910 --> 00:29:31,810 WHEN DID SHE DIE? 580 00:29:31,840 --> 00:29:34,140 TELL US A LITTLE BIT ABOUT YOUR RELATIONSHIP 581 00:29:34,180 --> 00:29:37,210 AND WHEN WAS THE LAST TIME YOU SAW HER. 582 00:29:37,250 --> 00:29:39,980 I LAST SAW HER JULY 4, 1969, 583 00:29:40,020 --> 00:29:43,020 WHEN SHE CALLED ME TO COME TO HOBOKEN ACROSS THE RIVER. 584 00:29:43,050 --> 00:29:45,020 WHERE WERE YOU LIVING? 585 00:29:45,060 --> 00:29:47,000 I WAS JUST HERE FOR 17 MONTHS, 586 00:29:47,030 --> 00:29:49,300 AND I NEVER BEEN TO NEW JERSEY. 587 00:29:49,330 --> 00:29:52,670 I DIDN’T KNOW HOW TO USE THE TRAIN, AND I GOT LOST. 588 00:29:52,700 --> 00:29:55,010 AND I FINALLY GOT TO ERMA’S APARTMENT, 589 00:29:55,030 --> 00:29:56,800 AND SHE WAS GONE... 590 00:29:56,840 --> 00:29:59,510 WITH THE FOOD STILL WARM ON THE STOVE. 591 00:29:59,540 --> 00:30:03,720 WHY HAD ERMA ASKED YOU TO COME? 592 00:30:03,740 --> 00:30:05,470 SHE WAS IN LOVE WITH SOMEONE, 593 00:30:05,510 --> 00:30:07,640 AND IT WASN’T GOING GOOD. 594 00:30:07,680 --> 00:30:09,310 SHE CALLED HIS HOUSE, 595 00:30:09,350 --> 00:30:11,890 AND NOW SHE SAID SHE WAS AFRAID. 596 00:30:11,920 --> 00:30:14,090 WHO WAS SHE IN LOVE WITH? 597 00:30:14,120 --> 00:30:18,150 HER BOSS THAT WAS MARRIED. HE GOT HER PREGNANT. 598 00:30:18,190 --> 00:30:21,360 SO ERMA WAS AFRAID HER BOSS WAS GOING TO HARM HER? 599 00:30:21,390 --> 00:30:24,830 I THINK SO, AFTER SHE CALLED HIS HOUSE. 600 00:30:24,860 --> 00:30:27,860 OVER THE NEXT DAYS WHEN YOU DIDN’T SEE OR HEAR FROM ERMA, 601 00:30:27,900 --> 00:30:30,730 I’M SURE YOU BECAME MORE AND MORE CONCERNED. 602 00:30:32,740 --> 00:30:36,050 BUT YOU DIDN’T TELL ANYONE. 603 00:30:36,070 --> 00:30:40,010 I WENT TO MISSING PERSONS AFTER TWO DAYS, 604 00:30:40,040 --> 00:30:43,240 BUT SOMEONE BEHIND ME ON THE LINE SAID 605 00:30:43,280 --> 00:30:46,850 IF I WEREN’T FAMILY, I COULD NOT FILE A REPORT. 606 00:30:46,890 --> 00:30:51,060 I WAS ONLY HERE FOR 17 MONTHS. 607 00:30:52,820 --> 00:30:55,320 MY PAPERS WEREN’T RIGHT YET. 608 00:30:58,060 --> 00:31:01,830 WAS THE BABY STILL INSIDE HER? 609 00:31:13,080 --> 00:31:16,790 I DON’T KNOW HIS NAME, BUT HE WAS HER BOSS. 610 00:31:16,820 --> 00:31:19,160 SHE WORKED FOR A PLASTIC FLOWER FACTORY 611 00:31:19,180 --> 00:31:20,920 IN THE BRONX. 612 00:31:36,870 --> 00:31:39,770 GUESS THIS WAS PETE MANGRINI’S DAY 613 00:31:39,800 --> 00:31:41,800 TO PLAY THE LOTTO. 614 00:31:41,840 --> 00:31:44,170 YEAH, WHAT WERE THE ODDS THIS MORNING 615 00:31:44,210 --> 00:31:47,180 ON PETE MANGRINI NOT BEING LOCKED UP BY NOW? 616 00:31:49,550 --> 00:31:51,510 HEY, DIANE, CHECK THIS OUT ‐‐ 617 00:31:51,550 --> 00:31:53,680 DINO FERRARA’S GIRLFRIEND. 618 00:31:53,720 --> 00:31:56,620 MS. ANGELA ZIRELLI IN REGARDS TO THE MANGRINI INVESTIGATION. 619 00:31:56,660 --> 00:31:58,500 UH, MS. ZIRELLI REGARDING MR. MANGRINI. 620 00:31:58,520 --> 00:32:00,360 ANGELA, DIANE RUSSELL. 621 00:32:00,390 --> 00:32:03,190 YOU MAY NOT REMEMBER ‐‐ WE MET WHILE I WAS IN VICE. 622 00:32:03,230 --> 00:32:04,870 OH, YEAH. 623 00:32:04,900 --> 00:32:07,170 MY PARTNER JILL KIRKENDALL. 624 00:32:07,200 --> 00:32:08,700 HELLO. 625 00:32:08,730 --> 00:32:11,130 IS THERE SOMEWHERE WE CAN SPEAK? 626 00:32:11,170 --> 00:32:14,340 ACTUALLY, THE, UH, PETE MANGRINI INVESTIGATION 627 00:32:14,370 --> 00:32:16,970 IS KIND OF, UH... 628 00:32:17,010 --> 00:32:19,740 OR SURE, WE CAN, UH, TALK IN HERE. 629 00:32:26,690 --> 00:32:29,660 WALKING A LITTLE WIDE, ANGELA. 630 00:32:29,690 --> 00:32:33,020 WOW. WHAT AN INTENSELY PERSONAL OBSERVATION. 631 00:32:33,060 --> 00:32:34,470 COFFEE? 632 00:32:34,490 --> 00:32:37,060 NO. I HAVE WATER. 633 00:32:37,100 --> 00:32:40,210 SO, DID DINO HELP YOU WITH PETE MANGRINI? 634 00:32:40,230 --> 00:32:42,000 WHY? 635 00:32:42,030 --> 00:32:45,000 IT’S MY UNDERSTANDING DINO PUTTING THE WOOD TO ME 636 00:32:45,040 --> 00:32:48,180 WAS THE QUID PRO QUO FOR HIM COOPERATING WITH YOU PEOPLE. 637 00:32:48,210 --> 00:32:50,150 SO YOU FIGURE THROWING A HUMP INTO DINO 638 00:32:50,170 --> 00:32:51,570 EARNS YOU A SPECIAL BRIEFING. 639 00:32:51,610 --> 00:32:53,810 AND A PURPLE HEART. 640 00:32:53,850 --> 00:32:55,490 YOU’RE A CUTIE, ANGELA, 641 00:32:55,510 --> 00:32:57,380 BUT WE’D STILL NEED TO KNOW WHY 642 00:32:57,420 --> 00:32:59,020 YOU’RE ASKING THE QUESTION. 643 00:32:59,050 --> 00:33:02,380 BECAUSE IF DINO DIDN’T HELP YOU WITH PETE MANGRINI ‐‐ 644 00:33:02,420 --> 00:33:03,690 AND BELIEVE ME, 645 00:33:03,720 --> 00:33:05,650 THE WHOLE TIME HE WAS SCREWING ME, 646 00:33:05,690 --> 00:33:07,720 HE WAS LAUGHING HIS ASS OFF 647 00:33:07,760 --> 00:33:09,730 ABOUT GETTING OVER ON YOU PEOPLE ‐‐ 648 00:33:09,760 --> 00:33:12,390 I CAN HELP WITH MANGRINI AND WILL 649 00:33:12,430 --> 00:33:14,900 BECAUSE PETE MANGRINI IS A RAT BASTARD SCUMBAG 650 00:33:14,930 --> 00:33:16,900 WHO OUGHT TO GET THE NEEDLE. 651 00:33:16,940 --> 00:33:18,440 WE’RE LISTENING. 652 00:33:18,470 --> 00:33:22,400 IF YOU’RE LOOKING AT HIM FOR KILLING HIS WIFE PATSY ‐‐ 653 00:33:22,440 --> 00:33:26,210 WHO WAS ALSO MY BEST GIRLFRIEND ‐‐ 654 00:33:26,240 --> 00:33:27,680 HE DID. 655 00:33:27,710 --> 00:33:30,350 YOU SUSPECT THIS. 656 00:33:30,380 --> 00:33:31,850 I KNOW IT. HOW? 657 00:33:31,880 --> 00:33:35,220 BECAUSE HE TOLD ME AT AN INTIMATE MOMENT. 658 00:33:35,250 --> 00:33:38,020 AN INTIMATE MOMENT BETWEEN YOU AND PETE MANGRINI? 659 00:33:38,060 --> 00:33:40,030 YES. 660 00:33:40,060 --> 00:33:42,390 WHILE YOU WERE DINO FERRARA’S GIRLFRIEND 661 00:33:42,430 --> 00:33:44,400 AND BEST FRIENDS WITH MANGRINI’S WIFE. 662 00:33:44,430 --> 00:33:45,960 I’M PROVIDING INFORMATION, 663 00:33:46,000 --> 00:33:47,740 NOT NOMINATING MYSELF AS THE NEXT MOTHER TERESA. 664 00:33:47,770 --> 00:33:49,580 THE NATURAL CONCERN IS, 665 00:33:49,600 --> 00:33:51,930 IF INSTEAD OF YOUR CONSCIENCE BRINGING YOU IN HERE, 666 00:33:51,970 --> 00:33:54,640 YOU’RE ON AN ERRAND FROM DINO 667 00:33:54,670 --> 00:33:56,440 TO MAKE PETE MANGRINI’S LIFE MISERABLE. 668 00:33:56,470 --> 00:34:00,240 I’M HERE BECAUSE I’M SICK OF BEING A SEXUAL FOOTBALL. 669 00:34:00,280 --> 00:34:03,380 WHEN PETE CONFESSED TO YOU HE’D KILLED HIS WIFE, 670 00:34:03,410 --> 00:34:06,620 IS THAT ALSO WHEN HE TOLD YOU ABOUT PUTTING HER BODY 671 00:34:06,650 --> 00:34:09,820 IN A 50‐GALLON DRUM IN HIS BASEMENT? 672 00:34:09,850 --> 00:34:12,450 NO, HE TOLD ME PATSY WAS BURIED 673 00:34:12,490 --> 00:34:16,020 BEHIND HIS COUSIN TOMMY’S HOUSE IN ENGLEWOOD CLIFFS. 674 00:34:26,610 --> 00:34:29,180 WHAT EXACTLY IS GOING TO TRANSPIRE HERE? 675 00:34:29,210 --> 00:34:32,350 IT’S PROBABLY GOING TO GO BETTER WITH YOU ELSEWHERE. 676 00:34:32,380 --> 00:34:35,250 HEY, THIS IS MY PROPERTY, EVEN IF IT IS CURSED. 677 00:34:35,280 --> 00:34:38,250 YOU CAN’T THROW A MAN OUT OF HIS OWN HOUSE. 678 00:34:38,280 --> 00:34:40,020 HARD ENOUGH, HE’LL BOUNCE. 679 00:34:40,050 --> 00:34:41,150 HELLO? 680 00:34:41,190 --> 00:34:42,960 MR. EPPS. 681 00:34:42,990 --> 00:34:44,700 THIS IS MY WIFE SUSAN. 682 00:34:44,720 --> 00:34:46,290 MY PARTNER ANDY SIPOWICZ. 683 00:34:46,320 --> 00:34:48,290 I’M HARRY FORSIC, THE PRESENT OWNER. 684 00:34:48,330 --> 00:34:52,000 YEAH, GO TO ANOTHER PART OF THE RESIDENCE. 685 00:34:52,030 --> 00:34:55,100 YOU SAID A BODY HAD BEEN FOUND. 686 00:34:55,130 --> 00:34:56,930 THAT’S RIGHT, 687 00:34:56,970 --> 00:34:58,870 IN THE BASEMENT UNDERNEATH THE STAIRS. 688 00:34:58,900 --> 00:35:00,440 IN A 50‐GALLON DRUM. 689 00:35:00,470 --> 00:35:02,440 WE DON’T KNOW ANYTHING ABOUT THAT. 690 00:35:02,470 --> 00:35:06,270 YOU USED TO OWN ETERNAL FLORAL COMPANY? 691 00:35:06,310 --> 00:35:08,940 MADE PLASTIC FLOWERS? YES. 692 00:35:08,980 --> 00:35:11,280 A & G CONTAINERS THAT MANUFACTURED IT 693 00:35:11,320 --> 00:35:14,030 SOLD THE 50‐GALLON DRUM THE BODY WAS FOUND IN 694 00:35:14,050 --> 00:35:16,280 TO YOUR COMPANY. 695 00:35:16,320 --> 00:35:18,320 I WOULDN’T KNOW WHAT TO SAY ABOUT THAT. 696 00:35:18,360 --> 00:35:20,970 THE WOMAN WHOSE BODY WE FOUND IN THAT DRUM 697 00:35:20,990 --> 00:35:22,690 WAS AN EMPLOYEE OF YOUR COMPANY. 698 00:35:22,730 --> 00:35:24,340 ERMA GALLEGO. 699 00:35:24,360 --> 00:35:26,900 WELL, I WOULDN’T KNOW WHAT TO SAY. 700 00:35:26,930 --> 00:35:29,330 DID YOU KNOW ERMA GALLEGO? 701 00:35:29,370 --> 00:35:31,010 YES, HE DID. 702 00:35:33,200 --> 00:35:35,200 SHOULD WE CONTINUE OUR CONVERSATION 703 00:35:35,240 --> 00:35:37,210 SOMEWHERE ELSE, MR. EPPS? 704 00:35:37,240 --> 00:35:39,810 MAYBE MRS. EPPS CAN TALK TO MY PARTNER? 705 00:35:39,840 --> 00:35:42,040 YES, I KNEW ERMA GALLEGO. 706 00:35:42,080 --> 00:35:45,010 DO YOU KNOW HOW HER BODY GOT IN OUR BASEMENT? 707 00:35:45,050 --> 00:35:47,220 NO. NO? 708 00:35:47,250 --> 00:35:49,890 NO IDEA HOW IT COULD HAVE GOTTEN DOWN THERE? 709 00:35:51,420 --> 00:35:56,060 AFTER 30 YEARS, TO ASK US ABOUT SOMETHING 710 00:35:56,090 --> 00:35:59,190 NEITHER OF US HAS THE VAGUEST EXPLANATION FOR, 711 00:35:59,230 --> 00:36:01,400 OTHER THAN WHAT SOME DISGRUNTLED EMPLOYEE 712 00:36:01,430 --> 00:36:03,570 MAY HAVE DONE 713 00:36:03,600 --> 00:36:07,170 WHILE MY WIFE AND I WERE ON VACATION. 714 00:36:07,210 --> 00:36:09,750 I’M GOING TO URINATE. 715 00:36:11,640 --> 00:36:12,940 IS THAT PERMITTED? 716 00:36:12,980 --> 00:36:14,420 SURE, THAT’S PERMITTED. 717 00:36:14,450 --> 00:36:18,190 GO AHEAD AND USE THE BATHROOM. 718 00:36:18,220 --> 00:36:20,590 IS IT STILL IN THE SAME PLACE? 719 00:36:20,620 --> 00:36:22,350 I DON’T KNOW. 720 00:36:22,390 --> 00:36:24,460 THE NEW OWNER’S BACK THERE. 721 00:36:29,990 --> 00:36:32,230 HE WAS INVOLVED WITH THAT GIRL. 722 00:36:32,260 --> 00:36:34,460 SHE CALLED ME AND TOLD ME THEY WERE INVOLVED. 723 00:36:34,500 --> 00:36:36,570 SHE SAID HE GOT HER PREGNANT. 724 00:36:36,600 --> 00:36:39,130 WAS THERE A BABY INSIDE HER? 725 00:36:39,170 --> 00:36:40,570 [ GUNSHOT ] 726 00:36:40,610 --> 00:36:42,250 Forsic: OH, MY GOD! 727 00:36:42,270 --> 00:36:46,140 HE SHOT HIMSELF IN THE HEAD! 728 00:37:02,430 --> 00:37:04,500 IT’S 10 MINUTES TO 7:00, BALDWIN. 729 00:37:04,530 --> 00:37:08,260 WELL, NICOLE, THE WOMAN IN THAT BARREL 730 00:37:08,300 --> 00:37:10,500 ISN’T PETE MANGRINI’S WIFE. 731 00:37:10,530 --> 00:37:12,500 HER NAME IS ERMA GALLEGO. 732 00:37:12,540 --> 00:37:14,650 SHE WORKED FOR A GUY NAMED EPPS 733 00:37:14,670 --> 00:37:16,970 WHO OWNED THE HOUSE BEFORE MANGRINI, 734 00:37:17,010 --> 00:37:19,110 WHO JUST CROAKED HIMSELF. 735 00:37:19,140 --> 00:37:22,810 OH, GREAT. THAT’LL BUY ME 12 LINES ON PAGE 4. 736 00:37:22,850 --> 00:37:24,820 ON THE OTHER HAND, NICOLE, 737 00:37:24,850 --> 00:37:27,150 WE JUST DID COME UP WITH PATSY MANGRINI’S BODY 738 00:37:27,190 --> 00:37:29,160 OVER IN ENGLEWOOD, NEW JERSEY. 739 00:37:29,190 --> 00:37:30,800 ARE YOU KIDDING? 740 00:37:30,820 --> 00:37:33,250 I DON’T THINK YOU’D HAVE A SENSE OF HUMOR 741 00:37:33,290 --> 00:37:34,860 FOR SOMETHING LIKE THAT. 742 00:37:34,890 --> 00:37:36,860 DID MANGRINI DO IT? 743 00:37:36,900 --> 00:37:39,870 WE’RE GOING TO BE LOOKING AT PETE PRETTY HARD. 744 00:37:39,900 --> 00:37:42,430 WHY ARE YOU GIVING THIS TO ME? 745 00:37:42,470 --> 00:37:44,710 YOU COOPERATING, 746 00:37:44,740 --> 00:37:47,110 HOLDING OFF ON WHAT YOU HAD ‐‐ 747 00:37:47,140 --> 00:37:49,840 I THOUGHT THAT’S WHAT I AGREED TO DO. 748 00:37:49,870 --> 00:37:53,010 YOU KEEP IT ON THE TABLE IN FRONT OF YOU, DON’T YOU? 749 00:37:53,040 --> 00:37:55,040 SEEMS TO GO EASIER THAT WAY. 750 00:37:55,080 --> 00:37:58,110 SO WOULD IT GO EASIER, ME GETTING IN BED WITH YOU, 751 00:37:58,150 --> 00:38:00,620 IF I TOLD YOU I WAS HIS SISTER? 752 00:38:00,650 --> 00:38:02,650 ARE YOU? 753 00:38:02,690 --> 00:38:04,200 ABSOLUTELY. 754 00:38:07,490 --> 00:38:09,490 THAT’S NOT WHAT IT’S ABOUT, NICOLE. 755 00:38:09,530 --> 00:38:12,140 I’D LIKE TO FIND OUT WHAT IT IS ABOUT, 756 00:38:12,160 --> 00:38:15,860 JUST NOT AS MUCH AS I WANT TO FILE ON THIS STORY. 757 00:38:15,900 --> 00:38:17,100 DON’T MISS THAT DEADLINE. 758 00:38:19,370 --> 00:38:21,070 TAKE CARE, BALDWIN. THANKS A LOT. 759 00:38:21,110 --> 00:38:22,580 SURE. 760 00:38:22,610 --> 00:38:25,080 I’M CALLING YOU FROM THE WORD PROCESSOR 761 00:38:25,110 --> 00:38:26,710 TO GET THOSE NAMES. 762 00:38:26,750 --> 00:38:28,720 I’LL BE UPSTAIRS. 763 00:38:28,750 --> 00:38:30,190 ALL RIGHT. 764 00:38:46,260 --> 00:38:50,200 I’M SO AFRAID FOR HER TO DIE. 765 00:38:50,230 --> 00:38:52,930 TIME MAY COME IT’LL BE A RELIEF. 766 00:38:52,970 --> 00:38:56,100 WAS IT A RELIEF FOR YOU? 767 00:38:58,440 --> 00:39:00,410 NO. 768 00:39:00,440 --> 00:39:02,740 WITH HER, SHE WAS YOUNG... 769 00:39:02,780 --> 00:39:05,350 A MOTHER TAKEN. 770 00:39:05,380 --> 00:39:08,050 SHE’S NOT YOUNG. 771 00:39:08,090 --> 00:39:10,460 WE DON’T HAVE CHILDREN, 772 00:39:10,490 --> 00:39:13,020 BUT SHE’S EVERYTHING IN THE WORLD. 773 00:39:13,060 --> 00:39:16,200 ALL HER SUFFERING... 774 00:39:16,230 --> 00:39:19,100 I’M AFRAID TO LET HER GO. 775 00:39:19,130 --> 00:39:22,230 BUT I’VE SEEN TOO MUCH. 776 00:39:22,270 --> 00:39:25,540 I KNOW THERE’S NOTHING AFTER. 777 00:39:25,570 --> 00:39:28,040 I’VE SEEN TOO MANY PEOPLE DEAD 778 00:39:28,070 --> 00:39:29,740 TOO MANY WAYS. 779 00:39:33,310 --> 00:39:37,580 I SAW MY SON LAID OUT ON A GURNEY 780 00:39:37,620 --> 00:39:40,260 IN THE EMERGENCY ROOM, 781 00:39:40,280 --> 00:39:43,280 MURDERED BY TWO SKELLS 782 00:39:43,320 --> 00:39:46,450 THAT HE WAS TRYING TO KEEP FROM ROBBING A BAR. 783 00:39:46,490 --> 00:39:49,890 MY PARTNER AND ME 784 00:39:49,930 --> 00:39:54,630 WALKED IN ON AN UNIDENTIFIED D. O. A., 785 00:39:54,670 --> 00:39:57,340 AND THE NURSE HANDED ME MY BOY’S I. D. 786 00:40:00,200 --> 00:40:03,610 SO I WENT OVER, 787 00:40:03,640 --> 00:40:06,310 AND I SAW HIM ON THE GURNEY 788 00:40:06,340 --> 00:40:08,680 WITH A BULLET WOUND IN HIS NECK 789 00:40:08,710 --> 00:40:11,850 THE SIZE OF MY FIST, 790 00:40:11,880 --> 00:40:14,080 AND I HELD HIM DEAD 791 00:40:14,120 --> 00:40:18,250 AND MY WIFE WHILE SHE WAS DYING. 792 00:40:18,290 --> 00:40:20,460 YOU KNOW THEN. 793 00:40:20,490 --> 00:40:23,320 BEFORE... 794 00:40:23,360 --> 00:40:27,630 I KNEW THERE WAS NO GOD... 795 00:40:27,670 --> 00:40:28,840 BUT... 796 00:40:31,370 --> 00:40:36,670 AFTER HE WAS MURDERED... 797 00:40:36,710 --> 00:40:41,780 I DREAMT ABOUT MY SON COMING BACK TO ME DEAD... 798 00:40:41,810 --> 00:40:44,650 A SPIRIT... 799 00:40:44,680 --> 00:40:48,150 AND I DIDN’T ARGUE IF THAT WAS REAL. 800 00:40:52,560 --> 00:40:54,900 MY EX‐WIFE... 801 00:40:54,930 --> 00:40:57,870 HAS VISIONS... 802 00:40:57,900 --> 00:41:01,670 WHERE SHE SEES OUR SON ALIVE 803 00:41:01,700 --> 00:41:03,460 IN OTHER PEOPLE 804 00:41:03,500 --> 00:41:06,470 A COUPLE OF SECONDS AT A TIME, 805 00:41:06,500 --> 00:41:10,870 AND SINCE SHE SAID THAT... 806 00:41:10,910 --> 00:41:12,410 I’LL FEEL LIKE ‐‐ 807 00:41:12,440 --> 00:41:14,910 LIKE I’LL SEE HIM SOMETIMES 808 00:41:14,950 --> 00:41:19,520 IN MY LITTLE GUY THAT’S 3 1/2. 809 00:41:19,550 --> 00:41:21,880 I’M NOT GOING TO ARGUE WITH YOU IF ‐‐ 810 00:41:21,920 --> 00:41:24,820 IF ANY OF THAT’S REAL, KROFT, 811 00:41:24,860 --> 00:41:28,400 BUT... 812 00:41:28,430 --> 00:41:31,340 IT ‐‐ IT FEELS REAL, 813 00:41:31,360 --> 00:41:33,560 AND IT’S COME TO ME 814 00:41:33,600 --> 00:41:35,960 SINCE THE PEOPLE I LOVED DIED. 815 00:41:37,970 --> 00:41:39,740 SO... 816 00:41:39,770 --> 00:41:42,400 MAYBE THAT’S SOMETHING IN STORE FOR YOU 817 00:41:42,440 --> 00:41:45,210 YOU CAN’T BELIEVE IN RIGHT NOW, 818 00:41:45,240 --> 00:41:47,210 AND WHEN THE TIME COMES, 819 00:41:47,250 --> 00:41:49,590 IT’LL HELP YOU GO ON, 820 00:41:49,610 --> 00:41:52,480 ’CAUSE I PROMISE... 821 00:41:54,420 --> 00:41:57,250 IT ‐‐ IT FEELS REAL. 59622

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