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
Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.