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These are the user uploaded subtitles that are being translated: 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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