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1
00:00:21,290 --> 00:00:22,420
I SHOULD HAVE KNOWN
2
00:00:22,460 --> 00:00:23,520
YOU’D BE TELLING THE TRUTH
ABOUT THIS.
3
00:00:23,560 --> 00:00:25,890
ABOUT...WHAT’S THAT?
4
00:00:25,930 --> 00:00:28,800
WORKING OUT IN THE MORNING
BEFORE YOUR SHIFT STARTS.
5
00:00:28,830 --> 00:00:31,600
AND HERE I AM,
JUST GOING HOME.
6
00:00:33,740 --> 00:00:35,740
UP LATE ON A STORY?
7
00:00:35,770 --> 00:00:37,740
MORE OR LESS.
8
00:00:37,780 --> 00:00:39,950
YOU’RE A COP.
9
00:00:39,980 --> 00:00:43,310
YOU’VE HEARD A FEW
CONFESSIONS, RIGHT, BALDWIN?
10
00:00:43,350 --> 00:00:45,920
SHOULD I BE GIVING YOU
YOUR RIGHTS?
11
00:00:45,950 --> 00:00:48,380
SOMEBODY DOES ME A FAVOR,
12
00:00:48,420 --> 00:00:51,220
I’M NOT COMFORTABLE UNLESS
I GO TO BED WITH HIM.
13
00:00:51,260 --> 00:00:52,800
NICE TO KNOW
14
00:00:52,820 --> 00:00:55,220
THERE ARE STILL GRATEFUL
JOURNALISTS OUT THERE.
15
00:00:55,260 --> 00:00:57,790
GETTING THAT STORY ON
PETE MAGRINI KILLING HIS WIFE
16
00:00:57,830 --> 00:01:00,230
WAS THE BIGGEST BREAK
OF MY PROFESSIONAL CAREER.
17
00:01:00,260 --> 00:01:02,660
AND HERE YOU ARE
OFFERING ME THANK‐YOU SEX,
18
00:01:02,700 --> 00:01:04,930
AFTER YOU’VE BEEN
MORE OR LESS
19
00:01:04,970 --> 00:01:07,070
WORKING ON A STORY
ALL NIGHT.
20
00:01:07,110 --> 00:01:09,080
I TOLD YOU
I WAS A SISTER.
21
00:01:09,110 --> 00:01:11,280
YOU WANT ME TO TELL YOU
I’M A VIRGIN, TOO?
22
00:01:11,310 --> 00:01:14,680
[ PAGER BEEPS ]
23
00:01:14,710 --> 00:01:16,240
NICOLE...
24
00:01:16,280 --> 00:01:18,650
YOU WANT TO HEAR
SOMETHING WEIRD?
25
00:01:18,680 --> 00:01:19,920
I PREFER IT.
26
00:01:19,950 --> 00:01:21,820
I LIKE YOU.
27
00:01:21,850 --> 00:01:23,250
THANKS, BALDWIN.
28
00:01:23,290 --> 00:01:25,300
WHY DON’T YOU GET
SOME SLEEP
29
00:01:25,320 --> 00:01:27,690
AND MAYBE GIVE YOURSELF
SOME TIME TO COME DOWN,
30
00:01:27,730 --> 00:01:30,700
AND I’LL CALL LATER ON,
AND IF YOU FEEL LIKE IT,
31
00:01:30,730 --> 00:01:35,460
WHEN MY SHIFT’S OVER
AND I’M DONE WITH MY RUN,
32
00:01:35,500 --> 00:01:37,600
WE CAN GET SOME DINNER.
33
00:01:37,640 --> 00:01:40,350
THAT WOULD BE ANOTHER WAY
TO GO ABOUT THINGS.
34
00:01:40,370 --> 00:01:42,340
YOU WANT TO TRY THAT?
35
00:01:42,370 --> 00:01:45,310
CALL. I’LL SEE
HOW I FEEL.
36
00:01:45,340 --> 00:01:46,980
YEAH.
37
00:01:47,010 --> 00:01:49,880
I GOT TO GO TO WORK NOW.
38
00:01:53,480 --> 00:01:56,050
SO, BALDWIN,
39
00:01:56,090 --> 00:01:58,730
DO YOU THANK GOD EVERY DAY
FOR HOW YOU LOOK?
40
00:01:58,760 --> 00:02:01,000
I THANK HIM
EVERY DAY I WAKE UP.
41
00:03:24,840 --> 00:03:26,370
A LIGATURE STRANGULATION.
42
00:03:26,410 --> 00:03:28,940
SHE’S GOT SEMEN
IN HER VAGINAL AREA
43
00:03:28,980 --> 00:03:31,880
AND IN HER FACE
AND IN HER HAIR.
44
00:03:31,920 --> 00:03:35,130
DIDN’T HAPPEN HERE,
AND HE HAD TO CASE
45
00:03:35,150 --> 00:03:37,250
WHERE HE WAS GOING
TO DUMP HER.
46
00:03:37,290 --> 00:03:39,290
YEAH, WE GOT A MAN
WITH A PLAN.
47
00:03:39,320 --> 00:03:40,120
GOOD MORNING.
48
00:03:40,160 --> 00:03:41,660
HEY, GUYS.
49
00:03:41,690 --> 00:03:45,130
TAPES HER PANTIES AROUND
HER ANKLES WITH DUCT TAPE.
50
00:03:45,160 --> 00:03:46,730
START A CANVAS?
51
00:03:46,770 --> 00:03:48,340
SHE’S A DUMP JOB.
52
00:03:48,370 --> 00:03:50,780
YOU WANT A SUSPICIOUS
VEHICLE NEAR THE ALLEY.
53
00:03:50,800 --> 00:03:52,630
LIVIDITY MARKS
ON HER BACK.
54
00:03:52,670 --> 00:03:54,600
SHE’S HERE
AT LEAST FOUR HOURS.
55
00:03:54,640 --> 00:03:55,740
CHAT THE BUMS UP.
56
00:03:55,770 --> 00:03:57,270
YOUR BEST SHOT’S
57
00:03:57,310 --> 00:03:59,240
SOMEONE IN THE DUMPSTERS
AROUND 4:00 A. M.
58
00:03:59,280 --> 00:04:00,920
NEW YORK 1’s GOT IT.
59
00:04:00,950 --> 00:04:01,950
AH. GOOD.
60
00:04:01,980 --> 00:04:03,850
HE’S NEAT, ANDY.
61
00:04:03,880 --> 00:04:05,850
CLOTHES AREN’T TORN.
62
00:04:05,880 --> 00:04:07,520
UNDERNEATH, EITHER?
63
00:04:07,550 --> 00:04:09,850
YOU KNOW, THERE’S NO BLOOD
COMING FROM THIS WOUND
64
00:04:09,890 --> 00:04:12,120
IN HER CHEEK HERE, ANDY.
65
00:04:12,160 --> 00:04:14,500
SHE WAS HIT A WHILE
AFTER SHE WAS DEAD.
66
00:04:14,530 --> 00:04:17,000
THIS PRICK MUST HAVE
LAID HER OUT HERE
67
00:04:17,030 --> 00:04:18,830
AND THEN PUNCHED HER
ONCE GOOD‐BYE.
68
00:04:28,810 --> 00:04:29,780
HELLO.
69
00:04:29,810 --> 00:04:31,440
MAY I HELP YOU?
70
00:04:31,480 --> 00:04:35,290
YES, YOU HAD A HOMICIDE
THIS MORNING OFF WAVERLY?
71
00:04:35,310 --> 00:04:37,850
MAY I SPEAK WITH ONE
OF THE DETECTIVES?
72
00:04:37,880 --> 00:04:39,820
I’M ARTHUR FANCY.
CAN I HELP YOU?
73
00:04:39,850 --> 00:04:41,020
JAMES CHEATHAM.
74
00:04:41,050 --> 00:04:42,220
JIMMY CHEATHAM.
75
00:04:42,250 --> 00:04:43,850
YOU HAVE INFORMATION
ABOUT THE CASE?
76
00:04:43,890 --> 00:04:45,450
DID YOU CATCH IT?
77
00:04:45,490 --> 00:04:49,220
I’M IN CHARGE OF THE SQUAD.
WHY ARE YOU ASKING ABOUT IT?
78
00:04:49,260 --> 00:04:51,290
I’M PRETTY SURE
YOU’LL MAKE A PATTERN
79
00:04:51,330 --> 00:04:54,560
WITH A HOMICIDE
IN THE 25th PRECINCT
80
00:04:54,600 --> 00:04:56,160
APRIL THE 19th,
81
00:04:56,200 --> 00:04:58,800
HOW THE DUCT TAPE
IS APPLIED,
82
00:04:58,840 --> 00:05:01,480
WHERE PART OF THE EJACULATE
IS ON THE VICTIM’S BODY.
83
00:05:01,510 --> 00:05:04,080
YOU’RE PRETTY SURE
ABOUT THAT.
84
00:05:04,110 --> 00:05:06,910
YEAH, THE SICK BASTARD
LEFT ENGLAND FIVE MONTHS AGO.
85
00:05:06,950 --> 00:05:09,420
YOU’RE ON THE JOB
OVER THERE?
86
00:05:09,450 --> 00:05:12,920
I’M RETIRED.
HERE’S MY PARTICULARS.
87
00:05:12,950 --> 00:05:14,580
Andy: HOW’S IT GOING?
88
00:05:14,620 --> 00:05:19,390
THIS IS JIMMY CHEATHAM.
HE’S RETIRED OFF THE JOB.
89
00:05:19,420 --> 00:05:21,990
HE HAS SOME INFORMATION
ABOUT YOUR CASE.
90
00:05:22,030 --> 00:05:23,530
DANNY SORENSON,
ANDY SIPOWICZ.
91
00:05:23,560 --> 00:05:25,360
HOW’S IT GOING, JIMMY?
92
00:05:25,400 --> 00:05:27,070
HOW’S IT GOING?
HOW’S IT GOING?
93
00:05:27,100 --> 00:05:28,900
YEAH, HOW’S IT GOING?
94
00:05:28,930 --> 00:05:30,770
EXCUSE ME.
95
00:05:30,800 --> 00:05:32,600
WHERE ARE YOU FROM ‐‐
ENGLAND?
96
00:05:32,640 --> 00:05:33,780
LONDON. RIGHT.
97
00:05:33,810 --> 00:05:35,750
I WAS GOING TO SAY.
98
00:05:35,770 --> 00:05:38,940
WHAT DO YOU GOT
FOR US, JIMMY?
99
00:05:38,980 --> 00:05:41,720
IF THERE WAS SEMEN
IN YOUR D. O. A.’s FACE AND HAIR,
100
00:05:41,750 --> 00:05:44,590
AND HER PANTIES WERE
TAPED AROUND HER ANKLES,
101
00:05:44,620 --> 00:05:48,060
THEN I THINK I KNOW
WHO KILLED HER.
102
00:05:48,090 --> 00:05:50,430
DUCT TAPE
OVER THE PANTIES.
103
00:05:50,450 --> 00:05:53,350
YOU WERE WORKING
THIS GUY IN ENGLAND?
104
00:05:53,390 --> 00:05:55,590
HE’S COME HERE. HE’S DONE
ONE IN YOUR 25th PRECINCT,
105
00:05:55,630 --> 00:05:59,540
APRIL THE 19th, YOURS,
AND HE’LL TRY ONE MORE.
106
00:05:59,560 --> 00:06:01,030
THREE IS HIS PATTERN.
107
00:06:01,070 --> 00:06:03,540
YEAH, HE RESTS THEN,
THE TWISTED SOD.
108
00:06:03,570 --> 00:06:05,270
A YEAR LATER,
HE STARTS AGAIN.
109
00:06:05,300 --> 00:06:07,770
HOW MANY
DO YOU LIKE HIM FOR?
110
00:06:07,810 --> 00:06:10,150
SIX IN LONDON
AND THREE IN MANCHESTER.
111
00:06:10,170 --> 00:06:11,870
THAT’S WHERE HE’S FROM.
112
00:06:11,910 --> 00:06:14,480
I WORKED THE FINAL TWO
IN LONDON,
113
00:06:14,510 --> 00:06:16,950
AND IT TOOK ME TO THE LAST
TO MAKE THE PATTERN.
114
00:06:16,980 --> 00:06:18,750
IS HE WANTED OVER THERE?
115
00:06:18,780 --> 00:06:20,980
WE WATCHED HIM,
I INTERVIEWED HIM TWICE,
116
00:06:21,020 --> 00:06:23,320
BUT MY BOSSES
WEREN’T READY TO FILE,
117
00:06:23,350 --> 00:06:24,920
AND THEN HE LEFT.
118
00:06:24,960 --> 00:06:28,270
ANDREW CONOVER.
119
00:06:28,290 --> 00:06:29,560
TRULY.
120
00:06:29,590 --> 00:06:33,390
DID YOU TALK TO ANYONE
AT THE 25th, JIMMY?
121
00:06:33,430 --> 00:06:36,100
YES. LOU SIMPKINS
ABOUT 10 DAYS AGO.
122
00:06:36,130 --> 00:06:38,400
HE GAVE ME A RUB‐UP
AND SENT ME ON MY WAY.
123
00:06:38,440 --> 00:06:41,180
GAVE HIM A HAND JOB.
LOUIE SIMPKINS.
124
00:06:41,210 --> 00:06:43,620
YEAH. LOUIE.
A HAND JOB.
125
00:06:43,640 --> 00:06:45,470
STILL GOT TO NOTIFY
ON THE PATTERN.
126
00:06:45,510 --> 00:06:47,840
YOU GOT A PLACE WE CAN
LOOK FOR THIS GUY?
127
00:06:47,880 --> 00:06:50,450
HE’S WORKING WITH BODIES.
HE’S AN EMBALMER.
128
00:06:50,480 --> 00:06:52,350
NEW EMBALMER
WITH AN ENGLISH ACCENT,
129
00:06:52,380 --> 00:06:53,820
REACH OUT
THROUGH THE MORTUARIES.
130
00:06:53,850 --> 00:06:55,420
I’M VERY GRATEFUL.
131
00:06:55,450 --> 00:06:57,820
HEY, YOU KNOW,
WE GOT A HOMICIDE.
132
00:06:57,860 --> 00:06:59,160
SIT DOWN.
133
00:06:59,190 --> 00:07:00,690
TRY THE M. E., TOO.
134
00:07:00,730 --> 00:07:02,630
ENGLISH GUY
PICKING THE BODIES UP.
135
00:07:02,660 --> 00:07:04,290
WANT SOME TEA?
136
00:07:04,330 --> 00:07:06,490
UH, MUST I?
137
00:07:06,530 --> 00:07:08,660
NO. HELL, NO.
138
00:07:08,700 --> 00:07:12,270
MY PARTNER DRANK TEA.
PASSED LAST YEAR.
139
00:07:12,300 --> 00:07:13,870
OH, REALLY?
140
00:07:13,910 --> 00:07:15,350
YEAH. EARL GREY.
141
00:07:16,840 --> 00:07:21,310
THAT WAS
THE BRAND HE DRANK.
142
00:07:21,350 --> 00:07:25,060
IT’S SORENSON AT THE 15th.
CAN I GET THE DOC ON AUTOPSY?
143
00:07:30,690 --> 00:07:33,320
DOC CROFT, HE MAYBE
GAVE US ONE, ANDY.
144
00:07:33,360 --> 00:07:35,800
THE GUY PICKS UP STIFFS
FOR THE ZISK MORTUARY.
145
00:07:35,830 --> 00:07:37,400
GOT AN ENGLISH ACCENT?
146
00:07:37,430 --> 00:07:40,200
GUY DON’T HAVE MUCH TO SAY,
BUT THE DOC THINKS MAYBE.
147
00:07:40,230 --> 00:07:42,000
HE STARTED, LIKE,
SIX WEEKS AGO.
148
00:07:42,030 --> 00:07:43,360
RIGHT TIME FRAME.
149
00:07:43,400 --> 00:07:45,170
HE DON’T REMEMBER
HIS NAME,
150
00:07:45,200 --> 00:07:47,070
BUT WE CAN REACH OUT
THROUGH THE MORTUARY.
151
00:07:47,110 --> 00:07:48,680
DID THE DOC THINK
152
00:07:48,710 --> 00:07:51,320
THE GUY WAS TRYING
TO HIDE THE ACCENT?
153
00:07:51,340 --> 00:07:53,070
DIDN’T HAVE NO OPINION,
THE DOC,
154
00:07:53,110 --> 00:07:55,880
IF HE WAS TRYING TO HIDE IT
OR JUST WASN’T TALKATIVE.
155
00:07:55,910 --> 00:07:58,210
OF COURSE, THE DOC’S
NO JAY LENO HIMSELF.
156
00:07:58,250 --> 00:08:00,220
THIS JIMMY CHEATHAM,
157
00:08:00,250 --> 00:08:02,650
HE’S GOT TO BE
SOME FRUSTRATED, HUH, ANDY?
158
00:08:02,690 --> 00:08:04,400
HE COULDN’T LOCK
THIS GUY UP.
159
00:08:04,420 --> 00:08:05,820
AT THE END,
160
00:08:05,860 --> 00:08:08,030
YOU DON’T WANT NOTHING
LEFT IN YOUR NOTEBOOK.
161
00:08:08,060 --> 00:08:09,590
NICE ENOUGH GUY, TOO.
162
00:08:09,630 --> 00:08:12,230
YEAH, HE’S HANDLING HIMSELF
LIKE A GENTLEMAN.
163
00:08:12,260 --> 00:08:15,230
AND BELIEVE ME, OUR D. O. A.
AND THE ONE IN THE 2‐5 ‐‐
164
00:08:15,270 --> 00:08:18,240
HE FEELS LIKE THOSE
ARE ON HIM.
165
00:08:22,640 --> 00:08:23,870
HEY.
166
00:08:23,910 --> 00:08:25,510
HOW’S IT GOING?
167
00:08:25,540 --> 00:08:28,010
DID YOU MEET
JIMMY CHEATHAM?
168
00:08:28,050 --> 00:08:29,920
YEAH, HE WENT UPSTAIRS
TO LIE DOWN.
169
00:08:29,950 --> 00:08:32,450
DID HE LOOK SICK?
170
00:08:32,480 --> 00:08:34,420
I DON’T KNOW WHAT
HE USUALLY LOOKS LIKE.
171
00:08:36,090 --> 00:08:39,100
WHAT’S RUPERT ZISK
DOING IN YOUR NOTEBOOK?
172
00:08:39,120 --> 00:08:41,390
OH, HE RUNS A MORTUARY.
173
00:08:41,430 --> 00:08:43,940
WE THINK HE HIRED A GUY
WE WANT TO TALK TO.
174
00:08:43,960 --> 00:08:45,760
IN VICE,
I COLLARED RUPERT ZISK
175
00:08:45,800 --> 00:08:47,740
FOR A DICKEY WAVING.
176
00:08:47,770 --> 00:08:50,440
MAYBE SHE SHOULD TALK TO ZISK,
BEING HE SHOWED HER HIS JOINT.
177
00:08:50,470 --> 00:08:52,130
I’LL CATCH DIANE UP,
178
00:08:52,170 --> 00:08:54,300
AND WE GOT TO GET
LOU SIMPKINS OVER HERE.
179
00:08:54,340 --> 00:08:56,040
YOU GOT MORE CONSCIENCE
THAN I DO.
180
00:08:56,070 --> 00:08:57,240
GOING TO THE CRIB?
181
00:08:57,280 --> 00:08:58,820
YEAH, LET ME GO
182
00:08:58,840 --> 00:09:01,140
CATCH THIS JIMMY UP
ON WHAT’S GOING ON.
183
00:09:05,180 --> 00:09:07,550
SO HE’S A RETIRED COP
FROM ENGLAND.
184
00:09:07,590 --> 00:09:10,230
HE WAS WORKING OUR GUY
OVER THERE.
185
00:09:10,250 --> 00:09:12,550
HE GAVE US
HE WAS AN EMBALMER.
186
00:09:12,590 --> 00:09:13,960
HE’S NICE ENOUGH.
187
00:09:13,990 --> 00:09:15,790
YEAH, NICE POLITE GUY.
188
00:09:15,830 --> 00:09:20,210
ANYWAYS, UH,
HERE’S ZISK’S PHONE NUMBER.
189
00:09:21,930 --> 00:09:23,830
AND I’M GOING TO ASSUME
190
00:09:23,870 --> 00:09:25,830
YOU RUMMAGING
IN MY NOTEBOOK
191
00:09:25,870 --> 00:09:27,340
WAS AN ISOLATED INCIDENT.
192
00:09:27,370 --> 00:09:29,940
ABSOLUTELY.
193
00:09:29,970 --> 00:09:32,470
[ KNOCK ON DOOR ]
194
00:09:34,380 --> 00:09:37,080
OH. HOW’S IT GOING?
195
00:09:37,120 --> 00:09:38,620
GOOD.
196
00:09:38,650 --> 00:09:41,320
I THINK WE GOT A MORTUARY
FOR US TO LOOK AT.
197
00:09:41,350 --> 00:09:43,590
OH, DO YOU?
198
00:09:43,620 --> 00:09:45,850
GO ON. LIE DOWN
IF YOU FEEL LIKE IT.
199
00:09:45,890 --> 00:09:47,620
I WAS GOING TO,
200
00:09:47,660 --> 00:09:50,960
BUT IF I NAP, I’LL NEVER
ADAPT TO THE TIME CHANGE.
201
00:09:51,000 --> 00:09:54,870
KENYON ‐‐ A FRIEND OF MINE,
A FEMALE FORMER COLLEAGUE,
202
00:09:54,900 --> 00:09:57,700
IS HERE
AS A PRIVATE CITIZEN.
203
00:09:57,740 --> 00:09:59,980
NOW, IF IT COMES
TO BAITING CONOVER,
204
00:10:00,000 --> 00:10:01,600
SHE CAN GO FARTHER
205
00:10:01,640 --> 00:10:04,010
THAN SOME OF YOUR
REGULATIONS MIGHT ALLOW.
206
00:10:04,040 --> 00:10:06,170
KENYON ‐‐ IS THAT
HER FIRST NAME OR LAST NAME?
207
00:10:06,210 --> 00:10:08,540
I‐IT’S HER LAST NAME.
208
00:10:08,580 --> 00:10:12,110
I EXPECT SHE’LL BE
GETTING IN TOUCH.
209
00:10:12,150 --> 00:10:14,350
YOU WANT AN ASPIRIN
OR SOMETHING?
210
00:10:14,390 --> 00:10:15,960
NO, I’VE AN IBUPROFEN
211
00:10:15,990 --> 00:10:18,260
I’M GOING TO TAKE
IN A SECOND.
212
00:10:20,860 --> 00:10:22,020
ANDY...
213
00:10:23,490 --> 00:10:26,360
PLEASE KEEP IT
TO YOURSELF.
214
00:10:54,190 --> 00:10:55,890
HOW HAVE YOU BEEN,
RUPERT?
215
00:10:55,930 --> 00:10:57,740
WELL ENOUGH.
216
00:10:57,760 --> 00:10:58,890
KEEPING OUT OF TROUBLE.
217
00:10:58,930 --> 00:11:00,330
ARE YOU?
218
00:11:00,360 --> 00:11:02,730
EMPHATICALLY, YEAH.
219
00:11:02,770 --> 00:11:05,240
WE HAVE SOME HISTORY
IN THE TROUBLE AREA.
220
00:11:05,270 --> 00:11:07,440
SINCE I LOCKED YOU UP,
221
00:11:07,470 --> 00:11:09,910
YOU HAVEN’T EXPOSED YOURSELF
TO ANOTHER WOMAN.
222
00:11:09,940 --> 00:11:11,940
OH, NO, NO, I HAVEN’T.
223
00:11:11,980 --> 00:11:14,520
THANK GOD, I HAVE NOT.
224
00:11:14,550 --> 00:11:17,560
NOT ONE CHARGE
OF IT SINCE.
225
00:11:17,580 --> 00:11:19,720
DID YOU HIRE A NEW EMBALMER
IN THE LAST SIX WEEKS?
226
00:11:19,750 --> 00:11:21,180
NOT THAT I RECALL.
227
00:11:21,220 --> 00:11:22,550
LET’S GO AGAIN, RUPERT.
228
00:11:22,590 --> 00:11:24,800
IF YOU HIRED SOMEONE
WITH NO GREEN CARD
229
00:11:24,820 --> 00:11:26,890
IN THE LAST SIX WEEKS,
230
00:11:26,930 --> 00:11:29,100
AND YOU CAN SAVE YOUR LICENSE
ADMITTING IT NOW,
231
00:11:29,130 --> 00:11:30,870
WOULD YOU REMEMBER
A NEW EMBALMER
232
00:11:30,900 --> 00:11:32,970
FROM ENGLAND
GOING TO WORK FOR YOU?
233
00:11:33,000 --> 00:11:34,370
YES.
234
00:11:34,400 --> 00:11:36,730
WHAT’S HIS NAME?
235
00:11:36,770 --> 00:11:38,070
JIMMY CHEATHAM.
236
00:11:38,100 --> 00:11:41,140
DID HE SHOW YOU ANY I. D.?
237
00:11:41,170 --> 00:11:43,570
I, UH, NEGLECTED TO ASK.
238
00:11:44,740 --> 00:11:46,810
IS THAT HIM?
239
00:11:46,850 --> 00:11:48,890
OH, YES. YES, IT IS.
240
00:11:48,910 --> 00:11:50,980
HIS NAME’S ANDREW CONOVER.
241
00:11:51,020 --> 00:11:52,790
I SEE.
242
00:11:52,820 --> 00:11:56,130
JIMMY CHEATHAM’S THE NAME
OF A COP WHO’S FOLLOWED HIM.
243
00:11:56,150 --> 00:11:58,450
USING CHEATHAM’S NAME IS
CONOVER’S IDEA OF A JOKE.
244
00:11:58,490 --> 00:12:01,890
WHAT’S HE DONE, THEN ‐‐
CONOVER?
245
00:12:01,930 --> 00:12:04,570
HE’S A SERIAL
RAPIST/MURDERER, RUPERT.
246
00:12:04,600 --> 00:12:06,770
OH, MY WORD.
OH, MY WORD.
247
00:12:06,800 --> 00:12:08,100
THIS IS SICKENING.
248
00:12:08,130 --> 00:12:10,730
YOU HAD NO IDEA HE’D BE
UP TO THAT KIND OF STUFF?
249
00:12:10,770 --> 00:12:13,130
HAS HE GOT A KEY
TO THE MORTUARY?
250
00:12:13,170 --> 00:12:16,300
NO, NOT TO THE MORTUARY
PROPER. ABSOLUTELY NOT.
251
00:12:16,340 --> 00:12:18,140
BUT HE DOES HAVE A KEY.
252
00:12:18,180 --> 00:12:19,350
TO THE WORK AREA.
253
00:12:19,380 --> 00:12:20,950
HE’D HAVE TO ‐‐
254
00:12:20,980 --> 00:12:22,910
TO THE EMBALMING
AND REFRIGERATION AREA.
255
00:12:22,950 --> 00:12:24,920
AND YOU HAD NO IDEA
256
00:12:24,950 --> 00:12:27,150
WHAT HE MIGHT DO
DOWN THERE AT NIGHT.
257
00:12:27,190 --> 00:12:28,830
ABSOLUTELY NONE.
258
00:12:28,850 --> 00:12:31,920
SO WHEN WE COLLAR
THIS EVIL SON OF A BITCH,
259
00:12:31,960 --> 00:12:34,830
HE’S NOT GOING TO TELL US YOU
WERE IN THE CHEERING SECTION.
260
00:12:34,860 --> 00:12:36,360
HE’S NOT. HE’S NOT.
261
00:12:36,390 --> 00:12:38,830
IF HE DOES,
262
00:12:38,860 --> 00:12:42,100
THEN HE’S THE MOST
SICKENING SORT OF LIAR.
263
00:12:42,130 --> 00:12:45,200
YOU’RE GOING TO LET US SET UP
IN YOUR PLACE, RUPERT,
264
00:12:45,240 --> 00:12:46,280
AREN’T YOU?
265
00:12:46,300 --> 00:12:48,440
KEEP YOUR LICENSE?
266
00:12:48,470 --> 00:12:50,740
KEEP US BELIEVING
YOU DIDN’T WATCH?
267
00:12:58,650 --> 00:13:01,550
HE’S ALL RIGHT,
THOUGH ‐‐ JIMMY?
268
00:13:01,590 --> 00:13:05,860
PROBABLY THAT TIME CHANGE
GOT HIM LYING DOWN UPSTAIRS.
269
00:13:05,890 --> 00:13:08,290
YEAH, IT THROWS
YOUR RHYTHMS OUT OF WHACK.
270
00:13:08,330 --> 00:13:12,670
COULD BE THE MIDDLE
OF THE NIGHT OVER THERE.
271
00:13:12,700 --> 00:13:15,370
Baldwin: THAT NICOLE CAME BY
WHEN I WAS DOING MY WEIGHTS.
272
00:13:15,400 --> 00:13:16,730
YEAH, HUH?
273
00:13:16,770 --> 00:13:18,400
BEEN OUT ALL NIGHT.
274
00:13:18,440 --> 00:13:22,180
SHE LOOKED LIKE
SHE MIGHT BE A PARTY TYPE.
275
00:13:22,210 --> 00:13:24,080
OH, IS THAT RIGHT, GREG?
276
00:13:24,110 --> 00:13:27,910
SUPERFICIAL
FIRST IMPRESSION.
277
00:13:30,880 --> 00:13:33,080
LOU SIMPKINS
GIVE YOU ATTITUDE?
278
00:13:33,120 --> 00:13:35,760
I DIDN’T TELL HIM NOTHING
TO GIVE ME ATTITUDE ABOUT.
279
00:13:35,790 --> 00:13:38,400
NOTHING ABOUT HOW HE GAVE
CHEATHAM A HAND JOB?
280
00:13:38,420 --> 00:13:40,720
JUST SAID WE HAD
A SAME PATTERN HOMICIDE.
281
00:13:40,760 --> 00:13:43,390
AND HE SAID
HE WAS COMING OVER.
282
00:13:43,430 --> 00:13:44,700
YEAH, ANDY.
283
00:13:44,730 --> 00:13:47,430
SO WHERE IS HE?
284
00:13:47,470 --> 00:13:49,410
THAT TWITCH
I. D.’d CONOVER.
285
00:13:49,430 --> 00:13:52,400
HIRED HIM AS AN EMBALMER
FIVE WEEKS AGO.
286
00:13:52,440 --> 00:13:54,080
WILL HE COOPERATE?
287
00:13:54,110 --> 00:13:56,750
SAID IF WE KEPT HIM HIS LICENSE,
WE COULD PUT HIS PLACE UP.
288
00:13:56,780 --> 00:13:59,520
Diane: WANT TO KNOW WHOSE NAME
CONOVER’S USING HERE?
289
00:13:59,540 --> 00:14:01,340
JIMMY CHEATHAM.
290
00:14:01,380 --> 00:14:02,940
USING A COP’S NAME.
291
00:14:02,980 --> 00:14:04,850
THIS ARROGANT
MURDERING PRICK.
292
00:14:04,880 --> 00:14:07,020
IS THE REAL JIMMY CHEATHAM
STILL LYING DOWN?
293
00:14:07,050 --> 00:14:09,050
YEAH. ANDY THINKS
IT’S THE TIME CHANGE.
294
00:14:09,090 --> 00:14:12,230
MY NAME IS ALICE KENYON.
295
00:14:12,260 --> 00:14:14,900
ANDY SIPOWICZ.
296
00:14:14,930 --> 00:14:17,900
I WORKED THE CASE YOUR
PARTNER’S INTERESTED IN.
297
00:14:17,930 --> 00:14:19,390
HELLO.
298
00:14:19,430 --> 00:14:21,400
ALICE KENYON ‐‐
JIMMY CHEATHAM’S PARTNER.
299
00:14:21,430 --> 00:14:23,800
THIS IS DIANE RUSSELL ‐‐
A FEMALE AMERICAN DETECTIVE.
300
00:14:23,840 --> 00:14:25,780
HOW’S IT GOING?
301
00:14:25,800 --> 00:14:27,070
HOW DO YOU DO?
302
00:14:27,110 --> 00:14:28,910
JILL KIRKENDALL, ALSO...
303
00:14:28,940 --> 00:14:30,370
DANNY SORENSON, MY PARTNER.
304
00:14:30,410 --> 00:14:32,810
GOOD TO KNOW YOU, ALICE.
305
00:14:32,840 --> 00:14:34,040
UH...
306
00:14:34,080 --> 00:14:37,950
GA‐‐ UH, JOHN ‐‐
OUR CIVILIAN AIDE.
307
00:14:37,980 --> 00:14:40,880
HELLO.
HELLO.
308
00:14:40,920 --> 00:14:43,650
YOU’RE HERE PRIVATELY,
RIGHT?
309
00:14:43,690 --> 00:14:45,490
YEAH, I’M HERE
ON HOLIDAY.
310
00:14:45,520 --> 00:14:47,590
AS A PRIVATE CITIZEN,
SHE’S HERE,
311
00:14:47,630 --> 00:14:50,340
SO THOSE PAIN‐IN‐THE‐BALLS
ENTRAPMENT STATUTES,
312
00:14:50,360 --> 00:14:53,560
IF ‐‐ IF SHE WERE INVOLVED
TRYING TO GRAB THIS GUY,
313
00:14:53,600 --> 00:14:54,930
THOSE WOULDN’T APPLY.
314
00:14:54,970 --> 00:14:57,110
YOU WANT A BEVERAGE?
315
00:14:57,140 --> 00:14:58,010
DO YOU HAVE TEA?
316
00:14:58,040 --> 00:14:59,650
YEAH.
317
00:14:59,670 --> 00:15:01,370
YEAH, YEAH, COME ON.
318
00:15:06,680 --> 00:15:08,440
OH, GOD.
319
00:15:08,480 --> 00:15:09,980
UM...
320
00:15:10,010 --> 00:15:11,910
ALICE KENYON,
TWO MORE DETECTIVES ‐‐
321
00:15:11,950 --> 00:15:13,950
MEDAVOY AND JONES.
322
00:15:13,990 --> 00:15:15,190
GREG MEDAVOY.
323
00:15:15,220 --> 00:15:16,920
BALDWIN JONES.
324
00:15:16,960 --> 00:15:18,260
THERE’S YOUR
TEA MATERIALS ‐‐
325
00:15:18,290 --> 00:15:20,620
YOUR WATER AND YOUR CUPS
AND YOUR SUGAR.
326
00:15:20,660 --> 00:15:22,290
GOT OUR TEA
IN THE BAGS THERE.
327
00:15:22,330 --> 00:15:23,370
THANK YOU.
328
00:15:23,390 --> 00:15:24,930
YOU’RE WELCOME.
329
00:15:24,960 --> 00:15:26,960
SHE’LL WORK
WITH JIMMY CHEATHAM,
330
00:15:27,000 --> 00:15:29,000
THIS ENGLISH COP
YOU HAVEN’T MET YET,
331
00:15:29,030 --> 00:15:31,130
AND THE GUY THAT WE LIKE
FOR THIS HOMICIDE.
332
00:15:31,170 --> 00:15:32,770
WHERE IS JIMMY?
333
00:15:32,800 --> 00:15:36,870
UM, HE’S UPSTAIRS
LYING DOWN. RESTING.
334
00:15:36,910 --> 00:15:39,710
IS HE RESTING COMFORTABLY?
335
00:15:39,740 --> 00:15:42,280
HE’S COMFORTABLE ENOUGH
UP THERE.
336
00:15:42,310 --> 00:15:45,710
PROBABLY
HE’LL BE DOWN SOON.
337
00:15:47,050 --> 00:15:49,180
HE DID HIS SECOND
HOMICIDE ‐‐ CONOVER?
338
00:15:49,220 --> 00:15:52,190
WE KNOW WHERE HE IS NOW ‐‐
THE MORTUARY HE WORKS AT.
339
00:15:52,220 --> 00:15:54,020
IS THAT RIGHT?
340
00:15:54,060 --> 00:15:55,860
DIANE AND JILL
JUST GOT IT.
341
00:15:55,890 --> 00:15:57,390
HAVE YOU EVIDENCE?
342
00:15:57,430 --> 00:16:00,860
WE CAN START
WATCHING HIM, THOUGH.
343
00:16:00,900 --> 00:16:03,030
HAS HE GOT
A USUAL SPACING?
344
00:16:03,070 --> 00:16:04,880
THE THIRD COMES
FASTER THAN THE SECOND.
345
00:16:04,900 --> 00:16:07,300
START SITTING
ON HIM, HUH?
346
00:16:07,340 --> 00:16:08,970
IN ENGLAND, I WAS MIKED.
347
00:16:09,010 --> 00:16:11,680
I COULDN’T LET HIM
LAY HANDS ON ME.
348
00:16:11,710 --> 00:16:12,410
DID HE MAKE YOU
FOR A COP?
349
00:16:12,440 --> 00:16:13,470
NO, HE DIDN’T.
350
00:16:13,510 --> 00:16:14,740
GOOD.
351
00:16:14,780 --> 00:16:16,210
I NEEDN’T WEAR
A MIKE HERE.
352
00:16:16,250 --> 00:16:17,620
REALLY?
353
00:16:19,350 --> 00:16:21,050
MAY I SEE JIMMY?
354
00:16:21,090 --> 00:16:24,030
WHY DON’T YOU SHOW HER
WHERE THE CRIB IS?
355
00:16:24,060 --> 00:16:25,560
COME ON, ALICE.
356
00:16:25,590 --> 00:16:27,560
AND KNOCK
BEFORE YOU WALK IN.
357
00:16:27,590 --> 00:16:28,720
LET HIM KNOW
YOU’RE COMING IN, YOU KNOW.
358
00:16:28,760 --> 00:16:30,630
GOOD, STRONG KNOCK.
359
00:16:35,200 --> 00:16:37,600
[ SIGHS ]
360
00:16:37,640 --> 00:16:39,680
WHY WOULD YOU ASK
BALDWIN TO KNOCK?
361
00:16:39,700 --> 00:16:42,340
WHERE ARE THESE
PEOPLE FROM, MEDAVOY?
362
00:16:42,370 --> 00:16:43,340
ENGLAND.
363
00:16:43,370 --> 00:16:44,710
ALL RIGHT.
364
00:16:44,740 --> 00:16:46,780
THAT’S WHAT I’M SAYING.
365
00:16:48,910 --> 00:16:51,280
DETECTIVE SIMPKINS
IS PARKING HIS CAR.
366
00:16:51,320 --> 00:16:53,730
WE’RE IN FOR SIMPKINS
WITH THE BOSS?
367
00:16:53,750 --> 00:16:55,280
I’LL TELL YOU SOMETHING.
368
00:16:55,320 --> 00:16:57,290
WHATEVER SALARY
THEM DIPLOMATS MAKE
369
00:16:57,320 --> 00:17:01,020
THAT WORK AT THE U. N.,
THEY ARE UNDERPAID.
370
00:17:01,060 --> 00:17:02,960
YOU KNOW THE AMERICAN WRITER
JAMES BALDWIN?
371
00:17:02,990 --> 00:17:04,590
I’M ACTUALLY
NAMED AFTER HIM.
372
00:17:04,630 --> 00:17:06,630
ARE YOU?
373
00:17:06,670 --> 00:17:08,870
OH, ALICE.
ALICE KENYON.
374
00:17:08,900 --> 00:17:10,270
HELLO, JIMMY.
375
00:17:10,300 --> 00:17:12,570
JIMMY CHEATHAM.
376
00:17:12,600 --> 00:17:14,070
BALDWIN JONES.
I’M A DETECTIVE.
377
00:17:14,110 --> 00:17:16,150
OH. HOW’S IT GOING,
BALDWIN?
378
00:17:16,170 --> 00:17:17,370
SORRY.
379
00:17:17,410 --> 00:17:19,140
OH.
380
00:17:19,180 --> 00:17:21,390
THERE’S LOU SIMPKINS
OF THE 25th PRECINCT.
381
00:17:21,410 --> 00:17:24,050
BLOKE THAT GAVE YOU
THE RUB‐OFF?
382
00:17:24,080 --> 00:17:25,150
THEY’RE GOING
TO CATCH HIM UP,
383
00:17:25,180 --> 00:17:26,820
AND I’D LIKE
TO BE IN ON IT.
384
00:17:26,850 --> 00:17:28,320
EXCUSE ME, OLD GIRL.
SURE.
385
00:17:28,350 --> 00:17:29,990
Lou: LOU SIMPKINS
TO SEE LIEUTENANT FANCY.
386
00:17:30,020 --> 00:17:32,220
John: STRAIGHT AHEAD
THROUGH THAT DOOR.
387
00:17:32,260 --> 00:17:35,570
OH, BALDWIN,
WHERE’S YOUR LAVATORY?
388
00:17:35,590 --> 00:17:36,790
OH. FOOT OF THE STAIRS.
389
00:17:36,830 --> 00:17:39,460
OH. THANK YOU.
GOOD TO MEET YOU.
390
00:17:39,500 --> 00:17:40,310
GOOD TO MEET YOU,
JIMMY.
391
00:17:49,340 --> 00:17:52,070
HEY, GUYS, LIEUTENANT.
392
00:17:52,110 --> 00:17:53,410
YOU KNOW
DANNY SORENSON?
393
00:17:53,440 --> 00:17:54,580
LOU SIMPKINS.
394
00:17:54,610 --> 00:17:55,880
GOOD TO KNOW YOU.
395
00:17:57,650 --> 00:17:59,410
YOU THINK WE’RE WORKING
THE SAME GUY ‐‐
396
00:17:59,450 --> 00:18:00,620
Arthur:
IT’S LOOKING LIKE THAT.
397
00:18:00,650 --> 00:18:02,950
HOW HE TAPED THE PANTIES,
BLEW HIS LOAD?
398
00:18:02,990 --> 00:18:05,430
YEAH.
399
00:18:05,460 --> 00:18:06,830
Danny:
COME ON IN, JIMMY.
400
00:18:08,130 --> 00:18:09,800
YOU REMEMBER
JIMMY CHEATHAM?
401
00:18:09,830 --> 00:18:10,830
YEAH.
HOW’S IT GOING?
402
00:18:10,860 --> 00:18:12,830
HOW’S IT GOING?
403
00:18:12,860 --> 00:18:14,660
YOU’RE THE GUY
THAT GAVE ME THE PUSH
404
00:18:14,700 --> 00:18:16,330
ON MY PERP
BEING ENGLISH.
405
00:18:16,370 --> 00:18:18,510
YEAH.
TURNS OUT HE IS.
406
00:18:18,540 --> 00:18:19,850
IS THAT RIGHT?
407
00:18:19,870 --> 00:18:21,470
IS THAT RIGHT?
408
00:18:21,510 --> 00:18:23,110
GOOD FOR YOU.
409
00:18:23,140 --> 00:18:24,810
TURNS OUT HE WAS ENGLISH
AND AN EMBALMER,
410
00:18:24,840 --> 00:18:27,010
WHICH JIMMY ALSO GAVE US.
411
00:18:27,050 --> 00:18:29,660
AND HIS NAME’S
ANDREW CONOVER,
412
00:18:29,680 --> 00:18:31,380
WHICH JIMMY
ALSO GAVE YOU.
413
00:18:31,420 --> 00:18:33,560
ANYTHING COME UP
ON ANDREW CONOVER?
414
00:18:33,590 --> 00:18:35,860
NO, HE’S USING A DIFFERENT
NAME OVER HERE.
415
00:18:35,890 --> 00:18:37,400
YEAH, WELL,
’CAUSE ANDREW CONOVER ‐‐
416
00:18:37,420 --> 00:18:39,150
I RAN THE NAME.
417
00:18:39,190 --> 00:18:40,620
EMBALMER WOULD HAVE BEEN
NICE TO HEAR.
418
00:18:40,660 --> 00:18:42,190
YOU GOT A PLACE
OFF EMBALMER?
419
00:18:42,230 --> 00:18:45,740
YEAH.
WE GOT A PLACE.
420
00:18:45,760 --> 00:18:49,000
WHAT THE GUY’S ACT WAS
AND A WAY TO LOOK FOR HIM
421
00:18:49,030 --> 00:18:50,570
WOULD’VE BEEN
NICE TO HEAR.
422
00:18:50,600 --> 00:18:52,470
NICE ENOUGH YOU’D ASK?
423
00:18:52,500 --> 00:18:54,470
WHAT’S THAT
SUPPOSED TO MEAN?
424
00:18:54,510 --> 00:18:57,180
PROBABLY YOU HAD THREE OR FOUR
THINGS GOING SIMULTANEOUS.
425
00:18:57,210 --> 00:18:59,840
YOU HAD TO PRIORITIZE
WHAT YOU WERE LOOKING AT.
426
00:18:59,880 --> 00:19:02,040
THAT WAS
WHAT WAS GOING ON.
427
00:19:02,080 --> 00:19:03,180
PRIORITIZING,
428
00:19:03,210 --> 00:19:05,910
SOMEBODY’S GOT
TO GET JERKED OFF.
429
00:19:05,950 --> 00:19:08,050
SO WHILE YOU GUYS
COLLAR UP,
430
00:19:08,090 --> 00:19:10,500
BECAUSE I DIDN’T REACH
DOWN THIS GUY’S THROAT
431
00:19:10,520 --> 00:19:12,020
AND YANK UP ALL HE HAD,
432
00:19:12,060 --> 00:19:14,030
I END UP HOLDING THE BAG.
IS THAT HOW IT WORKS?
433
00:19:14,060 --> 00:19:16,020
IS THAT THE WAY YOU THINK
IT’S GOING TO WORK?
434
00:19:16,060 --> 00:19:17,330
YEAH. THAT’S WHY
WE CALLED YOU UP HERE ‐‐
435
00:19:17,360 --> 00:19:18,890
TO CUT YOU OUT
OF THE PLAY.
436
00:19:18,930 --> 00:19:21,430
YOU WANT ME
TO WORK IT WITH YOU?
437
00:19:21,470 --> 00:19:23,510
I’LL BE HAPPY
TO WORK IT ‐‐
438
00:19:23,530 --> 00:19:25,400
SHARE INFORMATION,
EVERYTHING ELSE.
439
00:19:26,870 --> 00:19:30,440
Arthur:
WHY DON’T WE DO THAT?
440
00:19:30,470 --> 00:19:31,770
IT’S JIMMY, RIGHT?
441
00:19:31,810 --> 00:19:33,410
JIMMY CHEATHAM. YES.
442
00:19:33,440 --> 00:19:37,850
BELIEVE ME. I HEAR EMBALMER,
I’M ALL OVER THAT.
443
00:19:37,880 --> 00:19:39,250
WELL,
MY MISTAKE, THEN.
444
00:19:39,280 --> 00:19:40,880
WHAT IS THAT?
445
00:19:40,920 --> 00:19:41,920
I’M GETTING SOME ATTITUDE
OFF OF YOU NOW?
446
00:19:41,950 --> 00:19:44,020
OH, NO, I GOT NO ATTITUDE.
447
00:19:44,060 --> 00:19:45,200
WHAT ARE YOU LOOKING AT,
SIPOWICZ?
448
00:19:45,220 --> 00:19:46,690
NOTHING.
449
00:19:46,730 --> 00:19:48,900
SAYING THAT’S WHO I AM?
I’M NOTHING.
450
00:19:48,930 --> 00:19:50,370
NO, YOU’RE A GUY
WITHOUT THE BALLS
451
00:19:50,390 --> 00:19:51,960
TO ADMIT A MISTAKE.
452
00:19:52,000 --> 00:19:54,040
MAYBE I HAVEN’T MADE
AS MANY AS YOU
453
00:19:54,070 --> 00:19:55,640
TO GET
THE HANG OF IT.
454
00:19:55,670 --> 00:19:56,880
YOU KNOW, I GOT
A GOOD, STRONG FEELING
455
00:19:56,900 --> 00:19:59,530
ONE OF THE THINGS
YOU WERE BUSY PRIORITIZING
456
00:19:59,570 --> 00:20:02,570
THAT MADE YOU MISS WHAT CHEATHAM
HAD FOR YOU, SIMPKINS,
457
00:20:02,610 --> 00:20:04,720
WAS HOW TO GET WHEREVER
IN YOUR SQUAD
458
00:20:04,740 --> 00:20:05,870
YOU HAD YOUR BOTTLE HID,
459
00:20:05,910 --> 00:20:07,540
WHICH MAY BE
THE PROBLEM
460
00:20:07,580 --> 00:20:10,650
THAT’S PISSING YOU OFF,
MAKING YOU SO SENSITIVE.
461
00:20:10,680 --> 00:20:14,050
THAT’S COMING FROM ONE OF
THE KNOWN FALL‐DOWN DRUNKS
462
00:20:14,090 --> 00:20:15,130
ON OUR JOB HERE,
JIMMY.
463
00:20:15,150 --> 00:20:16,550
WHO WOULD KNOW
THE SIGNS BETTER?
464
00:20:16,590 --> 00:20:20,660
LOU, YOU SHOULD RECONSIDER
US ALL WORKING TOGETHER.
465
00:20:20,690 --> 00:20:22,660
THERE GOES COOPERATION
RIGHT OUT THE WINDOW.
466
00:20:22,690 --> 00:20:25,130
YEAH. BETTER COOPERATION
THAN YOU.
467
00:20:25,160 --> 00:20:26,900
I WANT TO BE
KEPT APPRISED.
468
00:20:26,930 --> 00:20:28,730
GOOD.
STICK BY YOUR PHONE.
469
00:20:28,770 --> 00:20:30,940
AND I DON’T WANT NO RUMORS
CIRCULATING ABOUT ME AND BOOZE.
470
00:20:39,480 --> 00:20:40,820
I DIDN’T MEAN
TO JUMP YOUR PLAY.
471
00:20:40,850 --> 00:20:42,490
NAH.
472
00:20:42,510 --> 00:20:44,350
I’M GETTING TO THAT AGE,
YOU KNOW?
473
00:21:03,640 --> 00:21:05,210
THANK YOU.
474
00:21:05,240 --> 00:21:06,140
SURE.
475
00:21:08,640 --> 00:21:09,970
YOU’RE NOT
THE FORGETFUL TYPE,
476
00:21:10,010 --> 00:21:12,010
ARE YOU, ALICE?
477
00:21:12,040 --> 00:21:13,010
WHO WALKS AWAY
FROM HER PURSE
478
00:21:13,040 --> 00:21:16,650
THAT HAS
THE TRANSMITTER? NO.
479
00:21:16,680 --> 00:21:19,180
NOT TO SAY A GUY LIKE THIS
WOULDN’T TOSS A PURSE.
480
00:21:19,220 --> 00:21:20,890
TOSS MUST MEAN
SOMETHING DIFFERENT OVER HERE.
481
00:21:20,920 --> 00:21:23,320
"TOSS" MEANING THE GUY
MIGHT GO THROUGH YOUR PURSE
482
00:21:23,350 --> 00:21:24,950
TO SEE WHAT’S INSIDE,
483
00:21:24,990 --> 00:21:26,960
MAYBE JUST LOOKING
FOR MACE OR A RAZOR.
484
00:21:26,990 --> 00:21:28,960
I’M NOT WEARING
A BODY MIKE, BALDWIN.
485
00:21:28,990 --> 00:21:31,530
LAST TIME IT STOPPED ME
FROM SHOWING HIM
486
00:21:31,560 --> 00:21:32,460
WHAT HE NEEDED TO SEE.
487
00:21:32,500 --> 00:21:35,470
MEANING TO GET HIM
TO TRY TO STRANGLE YOU.
488
00:21:35,500 --> 00:21:38,230
I WON’T WEAR ONE.
489
00:21:38,270 --> 00:21:40,170
I’M BRIMMING
WITH CONFIDENCE
490
00:21:40,200 --> 00:21:41,170
AT YOUR
SURVEILLANCE TECHNIQUE.
491
00:21:43,170 --> 00:21:44,840
I’LL BE WATCHING.
492
00:21:44,880 --> 00:21:45,750
HE WAS
MY FAVORITE WRITER ‐‐
493
00:21:45,780 --> 00:21:47,090
JAMES BALDWIN.
494
00:22:02,860 --> 00:22:05,160
Man: 3, 4, 5 IS $10.
495
00:22:05,200 --> 00:22:06,870
Alice: THANK YOU.
496
00:22:14,470 --> 00:22:16,400
ARE YOU FROM LONDON?
497
00:22:16,440 --> 00:22:18,070
SOUTH AFRICA.
498
00:22:18,110 --> 00:22:21,210
YEAH, BUT DID YOU LIVE
IN LONDON LAST YEAR?
499
00:22:21,250 --> 00:22:24,060
YOUR HAIR IS LONGER.
500
00:22:24,080 --> 00:22:26,550
YEAH.
I’VE GONE NATIVE.
501
00:22:26,590 --> 00:22:27,960
UM...NO.
502
00:22:27,990 --> 00:22:30,200
NO, UM, DON’T GO.
503
00:22:30,220 --> 00:22:32,090
LET’S, UH,
LET’S TAKE A WALK.
504
00:22:33,790 --> 00:22:35,560
ANDREW, YEAH?
505
00:22:35,590 --> 00:22:36,930
DREWY.
506
00:22:36,960 --> 00:22:38,890
ALICE.
507
00:22:38,930 --> 00:22:40,900
THE GIRL
WHO GOT SHY.
508
00:22:40,930 --> 00:22:42,900
WELL, UNDER
THE CIRCUMSTANCES.
509
00:22:42,930 --> 00:22:45,900
I WAS,
UH, INAPPROPRIATE.
510
00:22:45,940 --> 00:22:48,910
FOR OUR BEING IN A PARK,
YES, YOU WERE.
511
00:22:48,940 --> 00:22:51,910
WELL, NOW’S MY CHANCE
TO APOLOGIZE.
512
00:22:51,940 --> 00:22:53,710
YOU GOT LOVELY BREASTS.
513
00:22:53,750 --> 00:22:56,390
THAT’S ALL I CAN SAY
IN MY DEFENSE.
514
00:22:56,410 --> 00:22:58,380
APOLOGY AND COMPLIMENT
ACCEPTED.
515
00:22:58,420 --> 00:23:00,760
GOT A CLASSY LINE,
THIS ASSHOLE.
516
00:23:00,790 --> 00:23:03,290
YOU TAKING MANHATTAN
BY STORM THEN, ALICE?
517
00:23:03,320 --> 00:23:04,920
OH, NOT EXACTLY.
518
00:23:04,960 --> 00:23:08,130
I’M A RECEPTIONIST
AT A PUBLIC RELATIONS FIRM.
519
00:23:08,160 --> 00:23:09,560
THEY LIKE YOUR ACCENT,
DO THEY?
520
00:23:09,590 --> 00:23:10,760
I SUPPOSE.
521
00:23:10,800 --> 00:23:12,570
THEY’RE WALKING
AT THE VAN.
522
00:23:12,600 --> 00:23:15,070
DO YOU WANT TO KNOW
WHAT I’M DOING HERE?
523
00:23:15,100 --> 00:23:16,430
I DIDN’T THINK TO ASK.
524
00:23:16,470 --> 00:23:18,440
YOU PUT ME OFF STRIDE,
YOU KNOW?
525
00:23:18,470 --> 00:23:20,270
IN WHAT WAY?
526
00:23:20,300 --> 00:23:23,640
YOU JUST MAKE ME
A LITTLE NERVOUS.
527
00:23:23,680 --> 00:23:25,650
I’M DOING EMBALMING.
528
00:23:25,680 --> 00:23:27,350
OF DEAD PEOPLE?
529
00:23:27,380 --> 00:23:29,980
WELL, EMBALMING THE LIVING
IS A CRIME.
530
00:23:30,010 --> 00:23:31,610
I THINK IN LONDON
531
00:23:31,650 --> 00:23:33,950
YOU TOLD ME YOU WERE
DOING LANDSCAPING.
532
00:23:33,990 --> 00:23:35,960
OH. I TOLD A FIB.
533
00:23:35,990 --> 00:23:37,660
YOU WERE AN EMBALMER
IN LONDON AS WELL?
534
00:23:37,690 --> 00:23:39,660
I’M MUCH MORE
STRAIGHTFORWARD
535
00:23:39,690 --> 00:23:41,790
SINCE I’VE GOT HERE
ABOUT WHAT I DO.
536
00:23:41,830 --> 00:23:45,800
IF I TOOK YOU
TO WHERE I WORK, ALICE,
537
00:23:45,830 --> 00:23:49,460
WOULD THOSE CIRCUMSTANCES
MAKE YOU SHY AS WELL?
538
00:23:49,500 --> 00:23:52,770
IT’S WHERE I LIVE, TOO,
YOU SEE?
539
00:23:52,800 --> 00:23:54,770
I DON’T KNOW.
540
00:23:54,810 --> 00:23:57,520
IS IT ALL TOGETHER ‐‐
WHERE YOU WORK AND LIVE?
541
00:23:57,540 --> 00:23:58,970
WELL, WHY DON’T
YOU COME AND SEE?
542
00:23:59,010 --> 00:24:01,440
I SUPPOSE THAT MIGHT
BE INTERESTING.
543
00:24:01,480 --> 00:24:03,010
WILL YOU COME
TOMORROW NIGHT?
544
00:24:03,050 --> 00:24:04,620
TOMORROW NIGHT?
WHAT’S THAT ABOUT?
545
00:24:04,650 --> 00:24:08,180
EASY ON, ALICE.
GENTLE ON THE REEL.
546
00:24:08,220 --> 00:24:10,620
NO, I’D RATHER DO SOMETHING
SPUR OF THE MOMENT.
547
00:24:10,660 --> 00:24:12,130
REALLY?
548
00:24:12,160 --> 00:24:14,700
YEAH. BY TOMORROW NIGHT
I MIGHT BE TOO AFRAID.
549
00:24:14,730 --> 00:24:17,570
IT’S ALL RIGHT
TO BE AFRAID, ALICE.
550
00:24:17,600 --> 00:24:19,870
BEING A LITTLE AFRAID
IS EXCITING.
551
00:24:19,900 --> 00:24:22,900
ALL RIGHT, THEN.
552
00:24:22,930 --> 00:24:25,670
I GUESS TOMORROW NIGHT’S
ALL RIGHT.
553
00:24:25,700 --> 00:24:28,640
YOU GOT SOMETHING IN YOUR PURSE
I CAN WRITE WITH?
554
00:24:28,670 --> 00:24:30,340
OH, BOY. THE PURSE.
555
00:24:30,370 --> 00:24:32,370
NO. WHY DON’T WE MEET
RIGHT HERE
556
00:24:32,410 --> 00:24:34,180
AT JUST THE SAME TIME?
557
00:24:34,210 --> 00:24:36,410
ALL RIGHT, THEN.
558
00:24:36,450 --> 00:24:38,190
THAT’S
A LITTLE EXCITING, TOO.
559
00:24:38,220 --> 00:24:40,190
GOOD, ALICE.
560
00:24:40,220 --> 00:24:42,720
RIGHT HERE, THEN.
561
00:24:42,750 --> 00:24:47,160
ALL RIGHT.
562
00:24:47,190 --> 00:24:49,690
YOU KNOW, ALL OF THIS HAS
MADE ME BELIEVE IN FATE.
563
00:24:49,730 --> 00:24:52,930
AND £140 AIRFARES.
564
00:24:52,960 --> 00:24:54,330
YOU’RE A CLEVER GIRL.
565
00:24:54,370 --> 00:24:56,110
GOT THAT RIGHT,
ASSHOLE.
566
00:24:56,130 --> 00:24:58,100
YOU DON’T WORK ONE
ANY BETTER THAN THAT.
567
00:24:58,140 --> 00:25:00,710
YES.
SHE’S VERY GOOD.
568
00:25:21,160 --> 00:25:24,390
DO YOU THINK HE INTENDS
TO MEET HER TONIGHT?
569
00:25:24,430 --> 00:25:25,790
DEFINITELY.
570
00:25:25,830 --> 00:25:27,860
HE DIDN’T MAKE HER.
571
00:25:27,900 --> 00:25:29,460
PROBABLY GOT
SOME ROUTINE
572
00:25:29,500 --> 00:25:31,530
HE’S GOT TO GO THROUGH
IN HIS HEAD.
573
00:25:31,570 --> 00:25:33,700
I THINK ANDY’S
ABSOLUTELY ONTO IT.
574
00:25:33,740 --> 00:25:35,470
WHEN HE GOT BACK
TO THE MORTUARY,
575
00:25:35,510 --> 00:25:37,120
D. AND I WATCHED
THIS CONOVER
576
00:25:37,140 --> 00:25:39,110
ON THE SURVEILLANCE CAMERAS
WE PUT IN THERE.
577
00:25:39,140 --> 00:25:41,140
HE WAS GOING AROUND
THE EMBALMING ROOM
578
00:25:41,180 --> 00:25:44,150
LIKE HE HAD SOME RITUAL.
579
00:25:44,180 --> 00:25:45,410
FEELS LIKE I COULD BE
ONTO SOMETHING,
580
00:25:45,450 --> 00:25:46,980
THIS GUY HAVING
A SCREW LOOSE.
581
00:25:47,020 --> 00:25:48,650
HOW’D CHEATHAM HOLD UP?
582
00:25:48,690 --> 00:25:49,900
GOOD.
583
00:25:49,920 --> 00:25:51,490
Andy:
WHAT DO YOU MEAN?
584
00:25:51,520 --> 00:25:53,960
HE’S OLDER. I WAS ASKING
IF HE GOT TIRED
585
00:25:53,990 --> 00:25:55,160
ON THE SURVEILLANCE.
586
00:25:55,190 --> 00:25:57,190
NO, HE GOT
NORMALLY TIRED.
587
00:25:59,260 --> 00:26:02,000
I CAN GIVE HIM
A MESSAGE...
588
00:26:02,030 --> 00:26:04,430
NICOLE, YOU ASKING 57 WAYS
WHAT I’M WORKING ON
589
00:26:04,470 --> 00:26:05,930
IS NOT MY IDEA
OF A CONVERSATION.
590
00:26:12,310 --> 00:26:14,840
ANYWAYS, TONIGHT COULD BE
A LONG ONE, TOO.
591
00:26:14,880 --> 00:26:16,550
TAKE CARE.
592
00:26:19,180 --> 00:26:21,150
DON’T WORRY
ABOUT NOTHING.
593
00:26:21,190 --> 00:26:22,660
MEDAVOY TOOK NOTES.
594
00:26:33,800 --> 00:26:35,360
MORNING.
595
00:26:35,400 --> 00:26:37,000
MORNING, BALDWIN.
596
00:26:37,040 --> 00:26:39,210
DID YOU GET
SOME SLEEP?
597
00:26:39,240 --> 00:26:40,610
I DON’T KNOW
IF IT’S THE TIME DIFFERENCE
598
00:26:40,640 --> 00:26:43,000
OR MY HOTEL ROOM BEING
NEXT TO AN ELEVATOR SHAFT.
599
00:26:43,040 --> 00:26:44,940
NOT TO MENTION
SEEING CONOVER.
600
00:26:44,980 --> 00:26:48,520
I JUST WANTED IT
TO BE OVER LAST NIGHT.
601
00:26:48,550 --> 00:26:51,460
WE GOT HIS ROOM
IN WARRANT WHEN HE LEAVES.
602
00:26:51,480 --> 00:26:54,480
THERE’S TWO DEAD
SINCE WE LOST HIM.
603
00:26:54,520 --> 00:26:55,550
YEAH, WELL, NO ONE’S
GOING TO GET HURT
604
00:26:55,590 --> 00:26:56,600
BEFORE WE MOVE
ON THIS PRICK.
605
00:26:58,590 --> 00:27:00,060
AHEM.
606
00:27:00,090 --> 00:27:02,560
EXCUSE MY LANGUAGE.
607
00:27:02,590 --> 00:27:05,490
OH, THAT’S ALL RIGHT,
BALDWIN.
608
00:27:05,530 --> 00:27:07,530
COUPLE TIMES LAST NIGHT
I LOOKED AT HIM.
609
00:27:07,570 --> 00:27:09,210
HE WAS
IN SERIOUS PAIN.
610
00:27:09,230 --> 00:27:12,200
YESTERDAY WHEN I WALKED IN
ON HIM IN THE CRIB,
611
00:27:12,240 --> 00:27:13,710
HE WAS DOUBLED OVER ‐‐
JIMMY.
612
00:27:13,740 --> 00:27:15,740
YEAH. I THINK
HE’S PRETTY SICK.
613
00:27:15,770 --> 00:27:18,440
HE ASKED ME
NOT TO SAY NOTHING.
614
00:27:21,580 --> 00:27:23,180
WHEN WE TAKE THIS GUY,
615
00:27:23,210 --> 00:27:25,180
I DON’T WANT HIM DOING
NO HEAVY LIFTING,
616
00:27:25,220 --> 00:27:27,030
WHY I BETRAY
THE CONFIDENCE.
617
00:27:27,050 --> 00:27:28,120
YEAH. SURE.
618
00:27:35,090 --> 00:27:36,490
GOOD MORNING.
619
00:27:36,530 --> 00:27:37,600
GOOD MORNING.
HOW ARE YOU?
620
00:27:43,940 --> 00:27:45,280
HOW’S IT GOING?
621
00:27:45,300 --> 00:27:46,900
YEAH.
HOW’S IT GOING?
622
00:27:46,940 --> 00:27:48,140
HOW’S IT GOING,
JIMMY?
623
00:27:49,810 --> 00:27:51,270
HELLO.
624
00:27:51,310 --> 00:27:53,140
HELLO, YOUNG MAN.
625
00:28:02,890 --> 00:28:06,260
SHE HAS A VERY PROTECTIVE
IMPULSE TOWARD THAT JIMMY.
626
00:28:06,290 --> 00:28:07,960
DID YOU NOTICE THAT
627
00:28:07,990 --> 00:28:09,960
IN THE COURSE
OF THE DAY?
628
00:28:09,990 --> 00:28:13,530
Andrew: MY, UH, BOSS
LETS ME STAY HERE
629
00:28:13,570 --> 00:28:15,310
WHILE I SAVE
FOR SOMETHING PROPER.
630
00:28:15,330 --> 00:28:17,630
Alice: I SEE.
631
00:28:17,670 --> 00:28:21,700
THAT’S MY PERSONAL AREA
OVER THERE,
632
00:28:21,740 --> 00:28:25,270
AND THIS
IS WHERE I WORK,
633
00:28:25,310 --> 00:28:27,610
SUCH AS IT IS.
634
00:28:32,650 --> 00:28:35,320
AM I YOUR FIRST COMPANY
DOWN HERE?
635
00:28:35,350 --> 00:28:37,650
SHOULD
I TELL YOU THAT?
636
00:28:37,690 --> 00:28:39,660
WELL, YOU NEEDN’T BE
SO DISCREET.
637
00:28:39,690 --> 00:28:41,090
I WOULDN’T BE HERE
638
00:28:41,130 --> 00:28:42,100
IF I WEREN’T
THE CURIOUS TYPE,
639
00:28:42,130 --> 00:28:42,930
NOW WOULD I?
640
00:28:44,960 --> 00:28:46,490
I’M GOING
TO KISS YOU NOW.
641
00:28:48,500 --> 00:28:49,430
MAY I?
642
00:28:49,470 --> 00:28:51,110
SO POLITE.
643
00:28:58,510 --> 00:29:00,240
ALL RIGHT.
644
00:29:00,280 --> 00:29:05,310
THERE HAVE BEEN OTHERS.
645
00:29:05,350 --> 00:29:07,080
I’VE GOT ONE NOW.
646
00:29:07,120 --> 00:29:08,480
Andy:
STAY HERE, JIMMY.
647
00:29:08,520 --> 00:29:09,990
ABSOLUTELY NOT.
648
00:29:10,020 --> 00:29:11,850
STAY HERE, OR IT’S GOING
TO GIVE US LEGAL PROBLEMS.
649
00:29:11,890 --> 00:29:13,320
HE’S ABSOLUTELY RIGHT, JIMMY.
650
00:29:13,360 --> 00:29:15,300
I DOUBT THAT ONE
WALKED IN.
651
00:29:15,330 --> 00:29:16,570
NO.
652
00:29:19,660 --> 00:29:21,530
AREN’T YOU GOING TO ASK
FOR SOME MONEY?
653
00:29:21,570 --> 00:29:24,340
WON’T PRETEND
I COULDN’T USE SOME.
654
00:29:24,370 --> 00:29:26,170
100?
655
00:29:26,200 --> 00:29:27,970
DOLLARS, NOT QUID.
656
00:29:28,010 --> 00:29:29,850
ALL RIGHT.
657
00:29:29,870 --> 00:29:32,210
I’LL GIVE YOU $200,
ALICE,
658
00:29:32,240 --> 00:29:35,710
BECAUSE I’M GOING TO DO
SOME SPECIAL THINGS.
659
00:29:35,750 --> 00:29:36,660
I’D RATHER
YOU DIDN’T TALK TO ME
660
00:29:36,680 --> 00:29:38,280
LIKE A PROSTITUTE.
661
00:29:38,320 --> 00:29:40,330
I SAID I NEED MONEY.
662
00:29:40,350 --> 00:29:42,720
I’M NOT GOING TO START
BARTERING THE COST ‐‐
663
00:29:42,750 --> 00:29:44,050
ALICE,
REMEMBER WHERE YOU ARE.
664
00:29:44,090 --> 00:29:46,290
YOU’RE HURTING ME.
YES.
665
00:29:46,320 --> 00:29:49,060
IS THAT THE SPECIAL THING
YOU WANT TO DO ‐‐
666
00:29:49,090 --> 00:29:50,730
HURTING ME?
667
00:29:50,760 --> 00:29:53,160
I CAN ACCEPT THAT...
WITHIN REASON.
668
00:29:53,200 --> 00:29:55,240
AND WHAT ABOUT
BEYOND REASON, ALICE?
669
00:29:55,270 --> 00:29:57,880
YOU MISERABLE,
HYPOCRITE WHORE!
670
00:29:57,900 --> 00:29:59,500
WAIT. WAIT.
671
00:29:59,540 --> 00:30:00,880
YOU’LL GET HIM TO SAY
HE’S MURDERED.
672
00:30:00,910 --> 00:30:02,550
Alice: ARE YOU GOING
TO KILL ME?
673
00:30:02,570 --> 00:30:04,140
YOU BRING WOMEN HERE
TO KILL THEM.
674
00:30:04,180 --> 00:30:05,320
YES, ALICE.
675
00:30:05,340 --> 00:30:07,580
I HAVE MY WAY WITH THEM
RIGHT HERE.
676
00:30:07,610 --> 00:30:10,250
I KILL THEM
AND THEN I CARRY THEM AWAY.
677
00:30:10,280 --> 00:30:13,410
WE’RE GOING.
LET US DO OUR PROCEDURE.
678
00:30:13,450 --> 00:30:15,220
Alice: OKAY! OKAY!
OKAY! OKAY!
679
00:30:17,690 --> 00:30:20,860
LET HER GO,
OR YOU’RE DEAD IN THE ROOM.
680
00:30:20,890 --> 00:30:23,190
BACK OFF!
TURN AROUND!
681
00:30:23,230 --> 00:30:24,240
DON’T MOVE!
682
00:30:24,260 --> 00:30:26,090
YOU OKAY?
683
00:30:26,130 --> 00:30:28,200
IT’S JUST
GOING TO BRUISE.
684
00:30:28,230 --> 00:30:29,100
WHERE’S JIMMY?
685
00:30:29,130 --> 00:30:31,400
I’M HERE.
686
00:30:38,810 --> 00:30:41,180
HELLO, DREWY.
687
00:30:41,210 --> 00:30:44,580
NOW WE’RE ALL GOING TO HAVE
A LONG CHAT.
688
00:31:09,740 --> 00:31:10,640
THANKS, ANDY.
689
00:31:15,280 --> 00:31:17,250
SOME JOB
IN THERE, JIMMY.
690
00:31:17,280 --> 00:31:18,750
THANKS VERY MUCH.
691
00:31:26,020 --> 00:31:29,290
DIFFERENT WAYS
YOU BREAK THEIR WILLS.
692
00:31:29,330 --> 00:31:31,100
THIS JIMMY ‐‐
693
00:31:31,130 --> 00:31:33,760
THE GUY KNOWS JIMMY’S
GOING TO OUTLAST HIM.
694
00:31:33,800 --> 00:31:35,800
I WOULD CONFESS,
GET THAT STARE OFF ME.
695
00:31:35,830 --> 00:31:38,330
DIDN’T LET HIM SEE
HE WAS SICK
696
00:31:38,370 --> 00:31:40,440
OR SHOW HIM WEAKNESS.
697
00:31:49,310 --> 00:31:51,150
I’M QUICK TO INTIMIDATION
698
00:31:51,180 --> 00:31:53,650
OR A SMACK
IN THE BACK OF THE HEAD,
699
00:31:53,690 --> 00:31:56,830
BUT IT’S GOOD YOU SEE
DIFFERENT TECHNIQUES.
700
00:31:56,860 --> 00:31:59,260
THAT’S THE TEXTBOOK WAY
701
00:31:59,290 --> 00:32:01,720
OF ANOTHER TYPE INTERVIEW.
702
00:32:14,140 --> 00:32:16,940
IT MEANT ANY AMOUNT,
BEING IN ON THE INTERVIEW.
703
00:32:16,980 --> 00:32:18,850
WELL, YOU HAD THE CUE
OF THE GUY, JIMMY.
704
00:32:18,880 --> 00:32:21,050
HOW LONG HE DID HIS ACT,
705
00:32:21,080 --> 00:32:22,940
ALL HE TRIED
TO GET AWAY FROM YOU ‐‐
706
00:32:22,980 --> 00:32:24,710
CUTS HIM OFF,
SAYING HE WAS NUTS.
707
00:32:24,750 --> 00:32:27,820
YOU WANT TO CLEAR
YOUR NOTEBOOK.
708
00:32:27,850 --> 00:32:29,450
ANDY WAS SAYING
THE OTHER DAY.
709
00:32:29,490 --> 00:32:31,800
AS BEST YOU CAN
YOU WANT TO FIND OUT
710
00:32:31,820 --> 00:32:33,150
WHAT’S BEEN ON.
711
00:32:33,190 --> 00:32:34,520
SURE.
712
00:32:34,560 --> 00:32:36,490
MORNING.
713
00:32:36,530 --> 00:32:37,570
MORNING.
714
00:32:43,670 --> 00:32:45,530
SO, CONGRATULATIONS,
YOU KNOW?
715
00:32:45,570 --> 00:32:48,040
COLLARING UP.
GREAT.
716
00:32:48,070 --> 00:32:50,570
I WAS WONDERING
HOW BIG A BAG
717
00:32:50,610 --> 00:32:52,170
THE ENGLISH GUY’S
GOING TO HAND ME.
718
00:32:52,210 --> 00:32:54,810
WORKING THIS CONOVER
ALL THAT TIME,
719
00:32:54,850 --> 00:32:55,850
COMING OVER HERE
ON HIS OWN HOOK,
720
00:32:55,880 --> 00:32:58,180
FEELING LIKE
THIS EXTRA WOMAN DIED
721
00:32:58,220 --> 00:33:00,230
’CAUSE HE COULDN’T
GET YOU TO HEAR HIM...
722
00:33:00,250 --> 00:33:02,550
PUTS IT IN THAT LIGHT,
I COULD TAKE SOME BIG HIT.
723
00:33:04,790 --> 00:33:07,260
I‐I WAS REMISS,
ALL RIGHT?
724
00:33:07,290 --> 00:33:09,190
IN HINDSIGHT
I WAS REMISS,
725
00:33:09,230 --> 00:33:11,540
AND I’D BE ABSOLUTELY READY
TO SAY THAT PERSONALLY
726
00:33:11,560 --> 00:33:13,390
TO THE ENGLISH GUY,
727
00:33:13,430 --> 00:33:15,360
AND I’M SAYING IT
TO YOU TWO PERSONALLY.
728
00:33:15,400 --> 00:33:18,170
I HOPE YOU WOULDN’T
HAVE TO PUT IT IN YOUR 5s.
729
00:33:18,200 --> 00:33:21,870
I COULD TAKE
SOME BIG HIT OFF IT.
730
00:33:21,910 --> 00:33:23,050
WE HEAR YOU, SIMPKINS.
731
00:33:23,070 --> 00:33:24,570
AND IF YOU WANT,
732
00:33:24,610 --> 00:33:27,180
I ADMIT I MIGHT HAVE A PROBLEM,
ALL RIGHT, SIPOWICZ?
733
00:33:27,210 --> 00:33:29,240
IS THAT GOING TO GET YOU
OFF MY BACK?
734
00:33:29,280 --> 00:33:31,210
IT’S NOT ME
ON THERE, SIMPKINS.
735
00:33:31,250 --> 00:33:33,680
ANYWAYS, WE’LL SEE
HOW THIS SHAKES OUT.
736
00:33:33,720 --> 00:33:35,880
YOU DON’T WANT ME
CRAWLING YET ON MY KNEES.
737
00:33:35,920 --> 00:33:36,920
NO.
738
00:33:36,960 --> 00:33:37,960
TELL THE ENGLISH GUY
739
00:33:37,990 --> 00:33:42,120
THAT I MADE THE CIRCUIT
ON MY KNEES.
740
00:33:42,160 --> 00:33:45,560
THE ENGLISH GUY’S NAME
IS JIMMY CHEATHAM.
741
00:33:45,600 --> 00:33:47,570
WHY DON’T YOU GO NOW?
742
00:33:47,600 --> 00:33:49,630
YEAH, SURE.
743
00:33:49,670 --> 00:33:51,600
I’M GOING TO GO.
744
00:33:56,740 --> 00:33:59,310
SEE IF JIMMY WANTS
TO SAVE THIS PRICK.
745
00:34:04,950 --> 00:34:08,050
OH, JUST HAVING SOME OF YOUR
OLD PARTNER’S EARL GREY.
746
00:34:08,090 --> 00:34:10,500
JIMMY, BELIEVE ME, THIS GUY ‐‐
DEPENDENT ON THE STINK.
747
00:34:10,520 --> 00:34:11,990
SOMEBODY WANTED TO MAKE,
748
00:34:12,020 --> 00:34:14,090
LOU SIMPKINS COULD TAKE
SOME SERIOUS RIP.
749
00:34:14,130 --> 00:34:15,730
ABSOLUTELY.
750
00:34:15,760 --> 00:34:17,730
HIM NOT FILING A 5,
751
00:34:17,760 --> 00:34:19,960
THAT COULD BE
SOME SERIOUS RIP.
752
00:34:20,000 --> 00:34:22,800
ALL I HAD WHICH COULD
REALLY HAVE HELPED HIM
753
00:34:22,830 --> 00:34:25,070
WAS CONOVER’S LINE OF WORK,
754
00:34:25,100 --> 00:34:27,340
WHICH I NEVER GOT
TO TELL HIM ABOUT.
755
00:34:27,370 --> 00:34:29,500
’CAUSE SIMPKINS SENT YOU
ON YOUR WAY
756
00:34:29,540 --> 00:34:30,910
BEFORE YOU COULD.
757
00:34:30,940 --> 00:34:32,940
KEEP LOU SIMPKINS
OUT OF HARM’S WAY,
758
00:34:32,980 --> 00:34:34,750
EVERY REFERENCE
TO YOU FIRST REACHING OUT
759
00:34:34,780 --> 00:34:36,010
WOULD HAVE TO DISAPPEAR.
760
00:34:36,050 --> 00:34:38,860
WHICH OUR BOSS
IS NEVER GOING TO ALLOW,
761
00:34:38,880 --> 00:34:42,450
US DROPPING IT FROM OUR 5s
DEPENDENT ON YOUR ATTITUDE.
762
00:34:42,490 --> 00:34:44,760
’CAUSE SUPPOSE THEN YOU
WERE TO TALK ABOUT IT.
763
00:34:44,790 --> 00:34:47,660
WE LOOK LIKE
WE’RE SUPPRESSING EVIDENCE.
764
00:34:49,530 --> 00:34:51,970
YES, WELL, UH,
765
00:34:52,000 --> 00:34:55,210
I DIDN’T GET INTO THIS LINE
TO HURT OTHER COPS, DID I?
766
00:35:02,740 --> 00:35:06,310
THAT’S
A GENERAL NEW YORK MUG.
767
00:35:06,340 --> 00:35:08,480
GIVE HIM ONE
OF OUR MUGS, HUH?
768
00:35:08,510 --> 00:35:11,850
YEAH, WE’LL GET YOU
A DETECTIVE’S ENDOWMENT MUG.
769
00:35:11,880 --> 00:35:13,180
DO YOU HAVE ANY PINS?
770
00:35:13,220 --> 00:35:14,960
NO, NO, I DON’T.
771
00:35:14,990 --> 00:35:16,700
I GOT SOME PINS
IN MY DESK.
772
00:35:16,720 --> 00:35:19,050
I GOT SOME PINS.
773
00:35:19,090 --> 00:35:21,220
OR IN MY LOCKER ‐‐
ONE OR THE OTHER.
774
00:35:21,260 --> 00:35:22,790
OH, THAT’S VERY KIND.
775
00:35:22,830 --> 00:35:26,170
HERE, THIS IS
D. E. A. PINS,
776
00:35:26,200 --> 00:35:30,340
AND THIS IS
A BIG APPLE PIN.
777
00:35:30,370 --> 00:35:32,400
I DON’T REMEMBER
WHO PUT THAT OUT.
778
00:35:32,440 --> 00:35:33,910
IS THAT THE SERGEANT’S?
779
00:35:33,940 --> 00:35:35,840
I DON’T KNOW.
780
00:35:35,870 --> 00:35:40,480
AND THESE ARE SOME D.E.A.
COURTESY CARDS.
781
00:35:40,510 --> 00:35:42,640
USED TO BE ABLE TO GET
ONE FREE MURDER
782
00:35:42,680 --> 00:35:43,880
WITH ONE OF THEM.
783
00:35:45,780 --> 00:35:47,180
UH, THIS,
784
00:35:47,220 --> 00:35:49,380
UH, THIS I, UH,
785
00:35:49,420 --> 00:35:52,190
I MEANT TO BRING THIS HOME
TO MY BOY.
786
00:35:52,220 --> 00:35:54,820
I BET HE’LL ENJOY THAT.
787
00:35:54,860 --> 00:35:57,390
IT’S A LITTLE TOY
POLICE CAR.
788
00:35:57,430 --> 00:36:00,260
AS FAR AS US NOT MAKING IT
TO DINNER AGAIN LAST NIGHT,
789
00:36:00,300 --> 00:36:03,100
PAST APOLOGIZING
AND ROLLING OVER WITH MY LEGS UP
790
00:36:03,130 --> 00:36:05,530
AND BEGGING LIKE A DOG,
HOW I AM,
791
00:36:05,570 --> 00:36:07,740
YOU GOT TO TAKE IT UP
WITH MY BOSS.
792
00:36:07,770 --> 00:36:10,310
[ DOOR CLOSES IN HALL ]
793
00:36:18,820 --> 00:36:20,690
AT HOME,
794
00:36:20,720 --> 00:36:25,350
WE GIVE THE BLOKES THESE
WHEN THEY RETIRE.
795
00:36:25,390 --> 00:36:26,960
OH, THOSE ARE NICE.
796
00:36:30,600 --> 00:36:34,210
THIS IS A, UH,
A DINOSAUR PIN.
797
00:36:34,230 --> 00:36:37,270
THEY GIVE YOU THESE
FOR 25 YEARS
798
00:36:37,300 --> 00:36:39,700
WHETHER YOU’RE STILL
ON THE JOB OR NOT.
799
00:36:39,740 --> 00:36:41,970
I’LL BE RIGHT BACK.
800
00:36:44,440 --> 00:36:46,310
CONGRATULATIONS.
801
00:36:46,340 --> 00:36:47,310
THANKS, BOSS.
802
00:36:49,280 --> 00:36:50,610
CONGRATULATIONS, JIMMY.
803
00:36:50,650 --> 00:36:52,110
THANK YOU VERY MUCH.
804
00:36:58,360 --> 00:37:01,730
HERE ARE TWO DIFFERENT KINDS
OF D. E. A. HATS.
805
00:37:01,760 --> 00:37:03,390
OH, THANK YOU.
806
00:37:03,430 --> 00:37:06,400
TELL HIM IT’S
A LIEUTENANT’S ENDOWMENT PIN.
807
00:37:06,430 --> 00:37:10,400
THIS IS
A D. E. A. SWEATSHIRT.
808
00:37:10,430 --> 00:37:12,570
DID WE EVER GET HIM
A MUG, ANDY?
809
00:37:12,600 --> 00:37:14,140
I WAS COMING TO THAT.
810
00:37:20,610 --> 00:37:24,410
IT’S, UH,
IT’S WATER‐REPELLENT.
811
00:37:24,450 --> 00:37:25,710
OH.
812
00:37:31,320 --> 00:37:32,590
THAT’S EXACTLY RIGHT.
813
00:37:32,620 --> 00:37:34,120
I’M ASKING IF YOU’LL FOLLOW
THE RULES
814
00:37:34,160 --> 00:37:37,060
OF OUR GREAT NATIONAL PASTIME
AND GIVE ME ONE LAST SWING.
815
00:37:40,300 --> 00:37:41,230
THANKS.
816
00:37:51,880 --> 00:37:54,320
WERE YOU STANDING WATCH?
817
00:37:54,350 --> 00:37:56,190
I KNOW
THAT LOCK’S BUSTED.
818
00:37:59,320 --> 00:38:01,460
I’M GOING TO SEND YOU
MY MARKED‐UP
819
00:38:01,490 --> 00:38:04,030
STUDY COPY OF
"GO TELL IT ON THE MOUNTAIN."
820
00:38:04,060 --> 00:38:06,030
I WOULD APPRECIATE
HAVING THAT.
821
00:38:09,530 --> 00:38:11,970
WHAT I WAS
GOING TO SAY...
822
00:38:12,000 --> 00:38:14,570
I WAS HONORED
TO SEE YOU WORK
823
00:38:14,600 --> 00:38:17,700
AND HOW YOU AND JIMMY
PARTNER TOGETHER.
824
00:38:17,740 --> 00:38:19,710
I LOVE HIM.
825
00:38:21,910 --> 00:38:24,280
ISN’T THAT GOOD LUCK?
826
00:39:00,610 --> 00:39:03,580
I KIND OF FIGURED YOU
FOR A DIET FANATIC.
827
00:39:03,620 --> 00:39:05,460
NO.
828
00:39:05,480 --> 00:39:08,680
YEAH, WELL, THANKS FOR MOVING
THE CONVERSATION ALONG.
829
00:39:08,720 --> 00:39:12,220
NICOLE...
830
00:39:12,260 --> 00:39:14,200
NOBODY’S GRADING
THE CONVERSATION.
831
00:39:14,230 --> 00:39:16,700
OKAY, BALDWIN,
832
00:39:16,730 --> 00:39:18,130
YOUR PLAY.
833
00:39:30,640 --> 00:39:32,140
I DON’T PLAY, NICOLE.
58209
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