1 00:00:22,522 --> 00:00:24,190 HEY. 2 00:00:24,190 --> 00:00:27,794 WHAT DO WE GOT? A FEMALE D.O.A. IN THE TRUNK OF AN ABANDONED CAR. 3 00:00:28,094 --> 00:00:30,530 MID-20s. WHO CALLED IT IN? 4 00:00:30,530 --> 00:00:32,899 - THIS GUY, WILLIAM KEHO. -WE'RE GONNA NEED TO TALK TO HIM. 5 00:00:33,299 --> 00:00:35,702 ALL RIGHT. 6 00:00:36,136 --> 00:00:37,604 HEY. 7 00:00:37,604 --> 00:00:40,140 KEHO, THE DETECTIVES ARE GONNA NEED TO TALK TO YOU. YEAH, NO PROBLEM. 8 00:00:40,140 --> 00:00:41,975 [ Sighs ] 9 00:00:41,975 --> 00:00:45,645 - NO TRACKS, DECENTLY HEALTHY. - WE GOT LIGATURE MARKS OVER HERE. 10 00:00:46,112 --> 00:00:50,050 - WHAT THE HELL IS THAT ON HER CHEST THERE? -IT LOOKS LIKE CANDLE WAX. 11 00:00:50,550 --> 00:00:53,620 -SHE'S GOT BURNS ALL OVER HER BODY. -[ Officer ] DETECTIVES? 12 00:00:53,953 --> 00:00:55,789 CAN I STOP HERE? I DON'T WANT TO SEE IT AGAIN. 13 00:00:55,789 --> 00:00:59,159 - YEAH, THAT'S FINE. M.E.'s BEEN NOTIFIED? - ON HIS WAY. 14 00:00:59,626 --> 00:01:02,262 I'M DETECTIVE SIMONE. THIS IS DETECTIVE SIPOWICZ. 15 00:01:02,262 --> 00:01:05,765 - BILL KEHO. I LIVE HERE. I OWN THE LOT. - YOU FIND THE BODY? 16 00:01:05,765 --> 00:01:09,302 UH, THE MOOSE FOUND IT. I JUST OPENED THE TRUNK. 17 00:01:09,636 --> 00:01:11,137 - THAT'S YOUR DOG, THE MOOSE? - MM-HMM. 18 00:01:11,471 --> 00:01:14,974 - HOW LONG'S THE CAR BEEN ON THE LOT? -NO MORE THAN A COUPLE OF DAYS. 19 00:01:14,974 --> 00:01:17,777 I WAS GONNA TAKE IT IN TODAY. I TAKE 'EM IN EVERY TUESDAY TO GET CRUSHED. 20 00:01:17,777 --> 00:01:20,146 -YOU EVER TAKE A LOOK INSIDE THAT TRUNK THERE? -I TOOK THE SPARE OUT YESTERDAY. 21 00:01:20,647 --> 00:01:22,082 THERE WAS NOTHING IN THE TRUNK THEN. 22 00:01:22,082 --> 00:01:24,451 DID YOU SEE ANYONE STRANGE AROUND HERE SINCE THE TIME YOU OPENED THE TRUNK? 23 00:01:24,451 --> 00:01:26,886 YES, I DID. THE MOOSE GOT HIS PAWS... 24 00:01:27,387 --> 00:01:29,889 ON A SCUMMER LAST NIGHT THAT I THINK IS INVOLVED. 25 00:01:30,190 --> 00:01:32,459 - WHAT HAPPENED, MR. KEHO? - 4:00 THIS MORNING, 26 00:01:32,459 --> 00:01:34,961 THE MOOSE IS IN A BRAWL, AND I FIGURE, 27 00:01:34,961 --> 00:01:37,330 UH, HE'S KICKING ANOTHER DOG'S ASS. 28 00:01:37,664 --> 00:01:40,133 AND THEN I HEAR HIM CRYING. YOU KNOW, YELLING FOR ME. 29 00:01:40,533 --> 00:01:42,535 SO I RUN OUT, AND I SEE HIM LYING ON THE GROUND, 30 00:01:43,036 --> 00:01:45,839 AND SOME SON OF A BITCH IS PEELING OFF THE LOT, 31 00:01:45,839 --> 00:01:48,975 HIS TIRES SPITTING MUD ALL OVER HIM. 32 00:01:48,975 --> 00:01:51,778 THE PERSON IN THAT CAR THAT PEELED OFF... 33 00:01:51,778 --> 00:01:54,781 COULD HAVE DEFINITELY PUT THE BODY IN THIS CAR'S TRUNK. 34 00:01:54,781 --> 00:01:57,050 AND THAT'S WHAT THE MOOSE WAS AGITATING OVER. 35 00:01:57,517 --> 00:01:59,519 ANY KIND OF LOOK AT THE CAR? 36 00:02:00,019 --> 00:02:01,821 UH, WHITE FORD TAURUS. AND I GOT A LICENSE NUMBER. 37 00:02:02,055 --> 00:02:04,457 I THINK THE SON OF A BITCH MUST'VE KICKED HIM. 38 00:02:04,457 --> 00:02:06,659 THE VET SAYS HE HAS DEFINITE SORE RIBS. 39 00:02:07,026 --> 00:02:09,863 - DID YOU GET A LOOK AT THE DRIVER? - NO. IT WAS PRETTY DARK. 40 00:02:09,863 --> 00:02:11,798 THE MOOSE GOT A BETTER LOOK. 41 00:02:11,798 --> 00:02:15,401 WELL, SINCE THE MOOSE TOOK A BEATING, WE'LL HOLD OFF ON HIS INTERVIEW FOR LATER. 42 00:02:15,902 --> 00:02:18,805 - I'LL GET THAT PLATE NUMBER. - WHY DON'T YOU DO THAT, SIR? 43 00:02:21,574 --> 00:02:24,911 THERE'S MAN'S BEST FRIEND, AND THERE'S MAN SPENDING TOO MUCH TIME... 44 00:02:25,411 --> 00:02:28,448 WITH MAN'S BEST FRIEND. [ Chuckling ] 45 00:03:46,259 --> 00:03:49,262 HEY, GREG. HIYA, JAMES. THINK GINA WILL GET A KICK OUT OF THESE? 46 00:03:49,729 --> 00:03:51,864 I WAS LOOKING FOR THE ONES WITH GARFIELD. 47 00:03:51,864 --> 00:03:54,167 TO TELL YOU THE TRUTH, GREG, I THINK SHE WAS KIND OF HOPING, 48 00:03:54,167 --> 00:03:57,003 WITH HER COMING BACK TO WORK, TO KEEP IT KIND OF LOW PROFILE. 49 00:03:57,270 --> 00:03:59,205 AH. 50 00:03:59,572 --> 00:04:01,541 I MEAN, MAYBE SHE'D ENJOY THESE. 51 00:04:01,941 --> 00:04:05,245 YOU KNOW, YOU POINTED OUT. I'M SURE, UH, LOW-KEY WOULD BE HER PREFERENCE. 52 00:04:05,245 --> 00:04:09,148 YEAH. I'LL-- I'LL POP THESE WITH SOMETHING. 53 00:04:10,817 --> 00:04:12,885 - HI, GUYS. -HEY, JILL. 54 00:04:12,885 --> 00:04:15,955 -FOR GINA, HUH? -YEAH. MY, UH, FURTHER THOUGHTS, 55 00:04:15,955 --> 00:04:18,458 UH, I-I THINK THEY'RE A LITTLE MUCH. 56 00:04:21,628 --> 00:04:23,062 GOOD MORNING. MORNING, LIEU. 57 00:04:23,463 --> 00:04:25,098 MORNING, BOSS. [ Balloon Pops ] 58 00:04:25,098 --> 00:04:28,868 THEY JUST TOOK THIS DOWNSTAIRS. D.O.A. IN A VACANT LOT, STANTON AND FORSYTH. 59 00:04:28,868 --> 00:04:32,872 JAMES, LET ME SEE IF I CAN FIND SOME RUBBER BOOTS FOR US. 60 00:04:32,872 --> 00:04:35,308 WE'RE GONNA BE WALKING THROUGH EVERYTHING UP TO BUBONIC PLAGUE. 61 00:04:41,147 --> 00:04:43,249 MORNIN'. HI, BOBBY. HI, ANDY. 62 00:04:43,249 --> 00:04:46,352 HEY. GINA'S BACK TODAY? MM-HMM. 63 00:04:46,352 --> 00:04:48,888 FOR WHAT IT'S WORTH, UH, HER SCAR'S PRETTY NOTICEABLE. 64 00:04:48,888 --> 00:04:52,892 - JILL, IS THAT A SIX OR A FOUR THERE? - I HAVE NO IDEA. 65 00:04:52,892 --> 00:04:55,028 - GOOD MORNING. -[ Martinez ] HEY, GINA. 66 00:04:55,028 --> 00:04:56,863 WELCOME BACK, GINA. THANKS VERY MUCH. 67 00:04:56,863 --> 00:05:01,968 GLAD YOU'RE BACK. HALF MY MESSAGES I'VE BEEN GETTING LOOK LIKE HIEROGLYPHICS. 68 00:05:01,968 --> 00:05:04,570 - HOPE EVERYTHING'S GONNA WORK OUT. - WE ALL MISSED YOU HERE, GINA. 69 00:05:04,570 --> 00:05:07,140 EVERYTHING'S GONNA WORK OUT JUST FINE. 70 00:05:15,181 --> 00:05:18,918 -SEE, THAT'S ANOTHER HURDLE. -AT LEAST NOBODY DOVE FOR COVER. 71 00:05:19,152 --> 00:05:22,922 AH, DON'T BE SILLY. LOOK AT ALL THE PRESENTS. A TOKEN OF PEOPLE'S FEELINGS. 72 00:05:23,323 --> 00:05:26,259 - GREG EVEN HAD SOME BALLOONS WAITIN' FOR YOU. -REALLY? 73 00:05:26,259 --> 00:05:28,261 [ Martinez ] I TOLD HIM YOU DIDN'T WANT TO MAKE A BIG DEAL OUT OF IT. 74 00:05:31,164 --> 00:05:33,199 WELCOME BACK, GINA. 75 00:05:35,868 --> 00:05:37,837 WE'RE ASSUMING THE D.O.A.'s ANTOINETTE TODD, 22. 76 00:05:37,837 --> 00:05:40,340 HER BOYFRIEND REPORTED HER MISSING THREE DAYS AGO, 77 00:05:40,673 --> 00:05:42,809 THE SAME TIME HE REPORTED HIS CAR STOLEN. 78 00:05:42,809 --> 00:05:45,778 THIS BOYFRIEND'S CAR IS WHAT THE JUNKYARD OWNER SEES LAST NIGHT... 79 00:05:46,012 --> 00:05:48,448 BEFORE HE FINDS THE GIRL'S BODY IN ANOTHER CAR THAT'S ABANDONED. 80 00:05:48,848 --> 00:05:51,117 - YOU VERIFIED THE PLATE? - MM-HMM. WE FIGURE THE D.O.A.... 81 00:05:51,551 --> 00:05:53,553 GOT TAKEN FROM THE BOYFRIEND'S CAR IN THE JUNKYARD... 82 00:05:53,553 --> 00:05:55,922 AND THEN PUT INTO ANOTHER CAR IN THE TRUNK. 83 00:05:56,189 --> 00:05:58,558 - WHAT'S THE BOYFRIEND'S BACKGROUND? - B.C.I. SHOWS HIM CLEAN. 84 00:05:58,558 --> 00:06:00,927 - WE GOT HIM COMING IN. - ANY REPORT FROM THE M.E.? 85 00:06:00,927 --> 00:06:04,797 STRANGLED, RAPED, SODOMIZED AND SUFFERED MULTIPLE BURNS. 86 00:06:05,298 --> 00:06:07,567 GOTTA LIKE THE BOYFRIEND FOR OPENERS. 87 00:06:24,350 --> 00:06:28,654 LOOK AT THIS MUD. I CAN'T BELIEVE I LOST MY BOOTS. 88 00:06:28,654 --> 00:06:31,324 WHAT DO WE GOT, DONNY? D.O.A.'s SIG JOHNSON. 89 00:06:31,324 --> 00:06:33,726 LIVED IN A DOWNSTAIRS APARTMENT. THE WIFE FOUND HIM ON THE WAY TO WORK. 90 00:06:33,726 --> 00:06:36,062 THAT'S HER ON THE LEFT. 91 00:06:43,102 --> 00:06:45,304 - HE WASN'T ROBBED. - LOOK AT THIS, GREG. 92 00:06:45,738 --> 00:06:48,341 HIS HEAD'S ALL FLATTENED, LIKE HE GOT HIT WITH A WALL. 93 00:06:48,341 --> 00:06:50,209 YEAH. 94 00:06:50,209 --> 00:06:52,578 WHO'S THAT WITH THE WIFE? NEIGHBOR. 95 00:06:54,414 --> 00:06:56,616 [ Crying ] 96 00:06:56,616 --> 00:07:00,518 MRS. JOHNSON, I'M DETECTIVE MARTINEZ. THIS IS DETECTIVE MEDAVOY. 97 00:07:00,518 --> 00:07:02,553 WE'RE VERY SORRY FOR YOUR LOSS, MA'AM. 98 00:07:02,553 --> 00:07:05,640 I'M CAROL BUONO. I LIVE ON FOUR. 99 00:07:05,640 --> 00:07:09,727 IF YOU FEEL UP TO IT, WE'D LIKE TO ASK YOU A FEW QUESTIONS. 100 00:07:09,727 --> 00:07:12,480 I WILL IF CAROL CAN STAY. SHE'S BEING A REAL FRIEND. 101 00:07:12,480 --> 00:07:14,565 WHEN DID YOU SEE YOUR HUSBAND LAST? 102 00:07:14,565 --> 00:07:18,820 UM, HE WENT OUT ABOUT 9:00 TO THE EMPEROR'S LOUNGE. 103 00:07:18,820 --> 00:07:22,373 HE DID GO THERE FOR DRINKING, BUT LAST NIGHT, 104 00:07:22,874 --> 00:07:25,626 HE WAS GOING ABOUT BUSINESS, AND HE WAS REALLY UPSET. 105 00:07:25,626 --> 00:07:27,829 - DO YOU KNOW WHO HE HAD BUSINESS WITH? -[ Carol ] STYMPY POWELL. 106 00:07:27,829 --> 00:07:32,133 OH, HE'S A TERRIBLE LITTLE MAN. HE LIVES AT THE BARS. 107 00:07:32,133 --> 00:07:35,553 HE SOLD US AN AIR CONDITIONER, DISCOUNT. 108 00:07:35,553 --> 00:07:38,806 AND I THINK HE FOUND IT IN THE TRASH, WRAPPED IT UP NEW. 109 00:07:38,806 --> 00:07:42,176 I THINK SIG BOUGHT IT WHEN HE'D BEEN DRINKIN'. 110 00:07:42,176 --> 00:07:44,145 HE WAS TRYING TO GET OUR MONEY BACK. 111 00:07:44,145 --> 00:07:46,564 DO YOU HAVE AN ADDRESS ON THIS STYMPY POWELL? 112 00:07:46,564 --> 00:07:49,734 YEAH. I WROTE IT ON THE FRIDGE. 113 00:07:50,568 --> 00:07:53,488 I'LL JUST BE ONE MINUTE. 114 00:07:53,488 --> 00:07:56,441 OKAY. 115 00:07:56,441 --> 00:07:59,077 ACTUALLY, MRS. BUONO, DID YOU HEAR... 116 00:07:59,077 --> 00:08:02,080 ANY KIND OF ARGUMENT IN THE LOT LAST NIGHT? 117 00:08:03,581 --> 00:08:05,917 THERE'S-- THERE'S ALWAYS ARGUING ALL OVER THE BUILDING. 118 00:08:05,917 --> 00:08:09,170 I MEAN, EVERY APARTMENT ERUPTS ONE TIME OR ANOTHER. 119 00:08:09,170 --> 00:08:11,539 - THAT APPLIES TO YOUR APARTMENT ALSO? - OH, NO. 120 00:08:12,039 --> 00:08:15,460 THERE'S-- THERE'S NO FIGHTING IN OUR APARTMENT. BUT THE OTHERS-- 121 00:08:15,843 --> 00:08:18,463 MAYBE IT WAS THE WEATHER. 122 00:08:19,297 --> 00:08:23,434 - I WANT TO GO HELP HILDA. - ALL RIGHT. 123 00:08:25,887 --> 00:08:28,222 WELL, IT WAS RAINING BUSES LAST NIGHT. 124 00:08:28,723 --> 00:08:30,608 HEAT MAKES PEOPLE FIGHT, NOT COLD AND RAIN. 125 00:08:30,608 --> 00:08:33,644 THEY SAY THAT'S, UH, WHY THE NORTHERN-DWELLING NATIONS... 126 00:08:33,644 --> 00:08:35,730 GET SO MUCH ACCOMPLISHED. 127 00:08:49,744 --> 00:08:51,662 - I'M LOOKING FOR DETECTIVE SIMONE. - I'M SIMONE. 128 00:08:51,662 --> 00:08:56,417 TIM DOLAN. MY GIRLFRIEND'S MISSING, MY CAR WAS STOLEN. 129 00:08:56,417 --> 00:09:00,338 -COME ON IN, TIM. - DO YOU KNOW ANYTHING ABOUT ANTOINETTE? 130 00:09:00,338 --> 00:09:02,723 HAVE YOU FOUND MY CAR? WE CAN TALK IN HERE. 131 00:09:07,562 --> 00:09:09,480 WHY DON'T YOU HAVE A SEAT? 132 00:09:14,352 --> 00:09:16,854 WE NEED TO ASK YOU WHERE YOU WERE LAST NIGHT, TIM. 133 00:09:16,854 --> 00:09:19,323 - IN MY APARTMENT. -ALL NIGHT? 134 00:09:19,323 --> 00:09:23,161 YEAH. I'M SCARED OUT OF MY MIND HERE. 135 00:09:23,161 --> 00:09:27,448 DID YOU FIND SOMETHING ABOUT ANTOINETTE? 136 00:09:27,448 --> 00:09:31,252 TIM, A GIRL HAS BEEN FOUND DEAD WHO MATCHES ANTOINETTE'S DESCRIPTION. 137 00:09:32,253 --> 00:09:35,756 - OH, MY GOD. - YEAH, THIS GIRL WAS STRANGLED. 138 00:09:35,756 --> 00:09:39,010 THE GIRL WAS LEFT IN A JUNKYARD BY SOMEBODY DRIVING YOUR CAR. 139 00:09:39,010 --> 00:09:41,712 MY CAR WAS STOLEN. I REPORTED THAT. 140 00:09:41,712 --> 00:09:44,465 LET'S JUST MAKE SURE THIS IS ANTOINETTE. 141 00:10:00,114 --> 00:10:02,867 OH, NO. 142 00:10:04,202 --> 00:10:06,988 OH, NO. 143 00:10:06,988 --> 00:10:10,324 YOU WANT SOMETHING TO DRINK? [ Crying ] 144 00:10:14,495 --> 00:10:16,297 WHEN WAS THE LAST TIME YOU SAW ANTOINETTE? 145 00:10:17,715 --> 00:10:20,218 UH, SATURDAY MORNING. 146 00:10:20,718 --> 00:10:23,254 SHE TOOK MY CAR TO WORK. LOOK, 147 00:10:23,254 --> 00:10:25,640 I PUT ALL THIS IN MY MISSING PERSONS REPORT. 148 00:10:25,640 --> 00:10:28,059 DID YOU HEAR FROM HER AT ALL AFTER THAT? 149 00:10:28,059 --> 00:10:30,728 YEAH. SHE CALLED FROM THE BAR. SHE, UH-- 150 00:10:31,229 --> 00:10:34,148 SHE SAID SHE'D BE HOME ON TIME-- THAT SHE WASN'T CLOSING. 151 00:10:34,148 --> 00:10:36,901 DID ANTOINETTE SAY ANYTHING TO YOU RECENTLY ABOUT, UH, 152 00:10:36,901 --> 00:10:39,103 PEOPLE THAT MAY HAVE BEEN BOTHERING HER AT THE BAR? 153 00:10:39,103 --> 00:10:41,405 ANYONE SHE MIGHT HAVE HAD AN ARGUMENT WITH? 154 00:10:43,074 --> 00:10:45,860 SHE TOLD ME THERE WAS A GUY THAT WAS BOTHERING HER A LITTLE. 155 00:10:46,994 --> 00:10:48,779 SHE SAID HE WAS CREEPY, BUT... 156 00:10:48,779 --> 00:10:50,698 SHE DIDN'T THINK HE MEANT ANY HARM. 157 00:10:50,698 --> 00:10:52,583 ANYTHING AT ALL ABOUT WHAT HE LOOKED LIKE? 158 00:10:52,583 --> 00:10:58,122 SHE SAID HE WAS, UM, SCRAGGLY AND HAD COKE-BOTTLE GLASSES, 159 00:10:58,122 --> 00:11:00,958 LIKE AN R. CRUMB CARTOON GUY. 160 00:11:03,210 --> 00:11:06,514 OH, MY GOD. I JUST-- I CAN'T BELIEVE SHE'S DEAD. 161 00:11:06,514 --> 00:11:09,600 DID YOU KILL HER, TIM? WHA-- WHAT? 162 00:11:10,885 --> 00:11:13,104 NO. [ Crying ] 163 00:11:26,867 --> 00:11:30,454 HOW ABOUT TAKING IT EASY, HUH? I RECENTLY GOT MY GUTS KICKED IN. 164 00:11:30,454 --> 00:11:33,574 HAZARDOUS OCCUPATION, HUH, STYMPY? SELLING BOGUS GOODS? 165 00:11:33,574 --> 00:11:37,495 WHAT DOES THAT MEAN? WHEN DO I GET A CLUE WHAT I'M DOING HERE? 166 00:11:37,495 --> 00:11:39,747 JAMES, RUN THIS FOR THE BOSS. I'M GONNA STOW STYMPY. 167 00:11:39,747 --> 00:11:43,467 THIS GUY'S NAME IS STYMPY POWELL. D.O.A.'s WIFE SAYS HE'S A SKELL CON MAN. 168 00:11:43,467 --> 00:11:46,137 SCAMMED THE D.O.A. ON AN AIR CONDITIONER. 169 00:11:46,137 --> 00:11:48,472 WE'RE GONNA TALK TO HIM, SEE IF ONE THING LED TO ANOTHER. 170 00:11:48,973 --> 00:11:50,758 E.S.U. COME UP WITH A MURDER WEAPON? NAH, THEY'RE STILL LOOKIN'. 171 00:11:50,758 --> 00:11:54,095 HOW'S GINA SEEM TO BE ACCLIMATING? 172 00:11:54,095 --> 00:11:56,931 SHE SEEMS TO BE DOING ALL RIGHT. ALL RIGHT. THANKS. 173 00:11:58,649 --> 00:12:02,069 - BOYFRIEND'S STORY CHECK OUT? - YEAH, THE GUY WHO OWNED THAT GIN MILL... 174 00:12:02,069 --> 00:12:04,188 SAID THAT HE REMEMBERED A GUY LIKE THE BOYFRIEND DESCRIBED... 175 00:12:04,188 --> 00:12:06,574 THAT WAS HANGING AROUND THE D.O.A. WHEN SHE TENDED BAR. 176 00:12:06,574 --> 00:12:09,110 COULDN'T PUT A NAME ON THE GUY, OR WAS HE IN LAST NIGHT, 177 00:12:09,110 --> 00:12:10,911 BUT HE DEFINITELY REMEMBERED THE POP-BOTTLE GLASSES. 178 00:12:10,911 --> 00:12:13,247 ALL RIGHT. YOU GOT A CONVERSATION IN THE COFFEE ROOM. 179 00:12:13,247 --> 00:12:16,867 -WHAT, WITH THE BOYFRIEND AGAIN? -NO, WE PUT HIM UPSTAIRS. 180 00:12:16,867 --> 00:12:18,836 A CRACKHEAD KID'S IN THERE. 181 00:12:19,337 --> 00:12:22,840 UNIFORM COLLARED HIM USING YOUR D.O.A.'s CREDIT CARD TO BUY A VIDEO CAMERA. 182 00:12:22,840 --> 00:12:25,676 JEREMY MUNK. KIRKENDALL RAN HIM THROUGH B.C.I. 183 00:12:27,762 --> 00:12:30,548 TWO FOR POSSESSION, ONE FOR PUBLIC LEWDNESS. 184 00:12:32,967 --> 00:12:36,020 DETECTIVE, THAT HENRY PERSON FROM YOUR APARTMENT BUILDING IN BROOKLYN... 185 00:12:36,020 --> 00:12:38,356 CALLED AND SAYS HE'S ON HIS WAY OVER HERE. HE SAY WHAT ABOUT? 186 00:12:38,356 --> 00:12:41,559 - I ASKED, BUT HE'S ALWAYS SO EXCITABLE. - OKAY, GINA. THANKS. 187 00:12:41,559 --> 00:12:45,446 PROBABLY WANTS YOU TO REFINANCE THE BUILDING AND BUY HIM LOTTERY TICKETS. 188 00:12:45,446 --> 00:12:48,699 I GOT HIM PAINTING A FOURTH-FLOOR APARTMENT. I GOT THIS OLD LADY ON RENT CONTROL. 189 00:12:48,699 --> 00:12:52,319 SHE PAYS 134 A MONTH. SO THAT BUILDING'S A BIG WINNING PROPOSITION. 190 00:12:52,319 --> 00:12:54,205 I'D LIKE TO GIVE IT TO DONALD TRUMP. 191 00:12:55,406 --> 00:12:57,291 THANKS, JOSH. 192 00:13:00,044 --> 00:13:03,381 STAND UP. [ Whistles ] 193 00:13:03,381 --> 00:13:06,717 - WHOA, I'M BLIND. - SIT DOWN. 194 00:13:06,717 --> 00:13:09,837 LOOK, I CAN EXPLAIN USING THAT CREDIT CARD. 195 00:13:10,171 --> 00:13:12,423 - I FOUND IT, AND-- - FIGURED YOU'D BUY A VIDEO CAMERA. 196 00:13:12,423 --> 00:13:16,761 WELL, I WAS GONNA TURN AROUND AND SELL IT, GET SOME MONEY FOR SOME GRUB. 197 00:13:16,761 --> 00:13:19,730 IT'S BEEN A WHILE SINCE MY LAST MEAL. 198 00:13:19,730 --> 00:13:21,732 YOU KNOW ANTOINETTE TODD? I NEVER HEARD OF HER. 199 00:13:21,732 --> 00:13:24,018 I FOUND THAT CREDIT CARD ON THE STREET. 200 00:13:24,018 --> 00:13:28,105 LOST MY JOB RECENTLY, AND I GOT EVICTED. 201 00:13:28,105 --> 00:13:31,942 - IT'S ROUGH. - YOU EVER BEEN TO THE STARLIGHT LOUNGE? 202 00:13:31,942 --> 00:13:34,662 - I DON'T BELIEVE SO. - SO, IF WE SHOW THIS PICTURE... 203 00:13:34,662 --> 00:13:37,031 AROUND THAT BAR, NOBODY'S GONNA KNOW YOU? 204 00:13:37,531 --> 00:13:39,283 UH, I'VE NEVER BEEN THERE. YOU A PERVERT, JEREMY? 205 00:13:39,283 --> 00:13:42,753 GET OUTTA HERE. SAYS YOU TOOK A COLLAR HERE FOR DICKY WAVING. 206 00:13:42,753 --> 00:13:46,424 I GOT DRUNK AND PISSED IN A PARK. 207 00:13:46,424 --> 00:13:49,260 LOOK, I DON'T KNOW ABOUT THIS GIRL. I FOUND THIS CARD. 208 00:13:49,260 --> 00:13:51,796 DO YOU WANT ME TO TELL YOU HOW? ABSOLUTELY. 209 00:13:51,796 --> 00:13:57,051 WELL, I, UH-- I SLEEP IN THIS WINDOW LEDGE IN THIS BUILDING ON 9th. 210 00:13:57,051 --> 00:14:00,271 AND, UH, EARLY THIS MORNING, THIS GUY COME OUT OF THE BUILDING ACROSS THE STREET, 211 00:14:00,771 --> 00:14:04,024 AND HE'S HOLDING A BROWN PAPER BAG AND THIS GREEN FLANNEL. 212 00:14:04,024 --> 00:14:07,311 HE'S ACTING LIKE A FREAK. YOU KNOW, LOOKING AROUND TO SEE IS HE BEING WATCHED. 213 00:14:07,311 --> 00:14:10,114 SO, HE GOES DOWN THE STREET TO THIS TRASH CAN, 214 00:14:10,114 --> 00:14:14,952 DUMPS THE BAG AND A SHIRT AND GOES BACK TO HIS BUILDING, STILL LOOKIN' AROUND. 215 00:14:14,952 --> 00:14:18,239 SO, I, UH-- I CHECKED THE TRASH CAN... 216 00:14:18,739 --> 00:14:20,991 AND FOUND A WALLET INSIDE THE BROWN BAG, 217 00:14:20,991 --> 00:14:24,378 AND I-- I TOOK THE CARD. 218 00:14:24,378 --> 00:14:27,965 LOOK, I KNOW I SHOULDN'T HAVE USED IT, BUT-- 219 00:14:27,965 --> 00:14:31,836 LOOK, I'M IN THIS CYCLE RIGHT NOW SMOKIN' AND GETTIN' CLEAN, 220 00:14:31,836 --> 00:14:35,506 AND THEN WORKIN' AND GETTIN' FIRED AND GETTIN' EVICTED. 221 00:14:36,006 --> 00:14:38,642 MAN, I JUST NEEDED SOME BREAD. 222 00:14:38,642 --> 00:14:40,478 YOU REMEMBER WHAT THIS GUY LOOKED LIKE, THE ONE WHO DUMPED THE BAG? 223 00:14:40,478 --> 00:14:43,681 - SURE. YEAH. - YOU'RE GONNA POINT OUT HIS BUILDING AND IDENTIFY HIM. 224 00:14:43,681 --> 00:14:46,400 AND THEN MAYBE WE CAN ARRANGE SOMETHING ABOUT THIS OTHER-- 225 00:14:46,400 --> 00:14:48,435 - IF YOU'RE NOT LYING. - I WOULDN'T. 226 00:14:48,435 --> 00:14:51,322 OH, YEAH, SHOW US THAT SIGN. NOW WE'RE REASSURED. 227 00:14:51,322 --> 00:14:53,607 COME ON. WE'RE GOING NOW? 228 00:14:53,607 --> 00:14:56,577 YEP. HERE WE GO, JEREMY. 229 00:15:01,332 --> 00:15:03,284 SIMONE. 230 00:15:03,784 --> 00:15:05,870 TWO MINUTES, HUH? I LIKE YOUR OPTIMISM. 231 00:15:06,370 --> 00:15:08,706 ALL RIGHT, COME ON. 232 00:15:09,206 --> 00:15:10,758 HOW'S IT GOING, HENRY? HOW'S IT GOING? 233 00:15:10,758 --> 00:15:13,961 PAINTIN' THIS WOMAN'S PLACE COULD COST ME MY SANITY. 234 00:15:13,961 --> 00:15:15,963 TWO HUNDRED FOR THE JOB. THERE'S NO RENEGOTIATING. 235 00:15:15,963 --> 00:15:17,715 ADD A ZERO, IT STILL WOULDN'T BE ENOUGH. 236 00:15:18,215 --> 00:15:20,017 THIS WOMAN'S LIKE A FANATIC KIBITZER. 237 00:15:20,017 --> 00:15:23,771 PLUS, NOW YOU OPEN A BEACHHEAD, SHE'S GOT A "TO DO" LIST THE LENGTH OF MY ARM. 238 00:15:24,271 --> 00:15:26,056 WELL, TELL HER YOU WERE ONLY HIRED FOR THE PAINT JOB. 239 00:15:26,056 --> 00:15:28,976 YEAH, THEN I'LL JUST RUN OUTSIDE AND THROW UP INTO A 50-MILE-AN-HOUR WIND. 240 00:15:28,976 --> 00:15:33,731 LOOK, HENRY, I'M WORKIN' HERE. SHE'S GOT ME FETCHING HER MAIL, BRINGING HER TEA. 241 00:15:33,731 --> 00:15:37,201 IT'S AS BAD AS WITH MY MOTHER. LAY DOWN THE LAW TO HER. 242 00:15:37,201 --> 00:15:40,654 YOU GOTTA DO THAT AS LANDLORD. "THESE ARE THE THINGS THAT HENRY DOES, 243 00:15:40,654 --> 00:15:43,407 AND THESE HE'S IN NO WAY OBLIGED TO DO." 244 00:15:45,409 --> 00:15:49,129 MAKE A LIST, HENRY, WHAT YOU'LL GO FOR AND WHAT YOU WON'T, OKAY? 245 00:15:49,129 --> 00:15:51,298 WELL, THEN WE NEED TO SIT DOWN WITH HER, 246 00:15:51,298 --> 00:15:53,918 AND WE NEED TO SETTLE IT. I'LL TRY TO GET OVER THERE TONIGHT. 247 00:15:54,418 --> 00:15:57,755 WHAT HAPPENED TO THAT PHONE GIRL? LOOKS LIKE SOMEONE TOOK A CHISEL TO HER FACE. 248 00:16:00,424 --> 00:16:03,344 ATTEMPTED RAPE. THE GUY CUT HER. 249 00:16:03,344 --> 00:16:05,145 DON'T BE STUPID WALKING OUT. 250 00:16:05,145 --> 00:16:08,349 THANKS FOR THE YELLOW FLAG. I'D INTENDED TO POINT AND LAUGH. 251 00:16:14,355 --> 00:16:16,690 [ Sighs ] ANDY, YOU READY? 252 00:16:16,690 --> 00:16:19,443 YEAH. COME ON. 253 00:16:19,443 --> 00:16:21,912 THIS GUY'S IMPRESSED THEY GOT A FISH NAMED AFTER HIM. 254 00:16:22,413 --> 00:16:24,915 YEAH, HUH? YEAH, IT'S A MONKFISH. MUNK'S MY LAST NAME. 255 00:16:26,834 --> 00:16:28,869 SMALL WORLD. HERE YOU GO. 256 00:16:34,458 --> 00:16:36,961 STYMPY, FAVOR US WITH THE DETAILS... 257 00:16:36,961 --> 00:16:38,963 THE DISAGREEMENT YOU HAD WITH SIG JOHNSON... 258 00:16:38,963 --> 00:16:40,965 OVER THE AIR CONDITIONER YOU SOLD HIM. 259 00:16:40,965 --> 00:16:43,767 THAT UNIT WAS NOT FAULTY IN MY POSSESSION. 260 00:16:43,767 --> 00:16:46,637 HEY, I'M NOT ACCOUNTABLE ONCE IT'S LEFT MY CONTROL. 261 00:16:47,137 --> 00:16:48,939 OKAY. OKAY, WHAT WE NEED TO KNOW NOW... 262 00:16:48,939 --> 00:16:51,108 IS WHAT HAPPENED WHEN YOU AND SIG JOHNSON LAST SAW EACH OTHER. 263 00:16:51,108 --> 00:16:55,946 SIG JOHNSON LEFT THE BAR FOLLOWING KICKIN' MY ASS, UNJUSTLY. 264 00:16:55,946 --> 00:16:58,649 - WHAT DID YOU DO AFTER THAT? - I DRAGGED MYSELF OUT OF THERE. 265 00:16:58,649 --> 00:17:00,868 TO WHERE? I SAW A FRIEND. 266 00:17:00,868 --> 00:17:04,488 YOU NEED TO GET SPECIFIC, STYMPY, SO WE CAN CHECK YOUR STORY. 267 00:17:04,488 --> 00:17:06,624 WHY? YOU KNOW, I'M THE ONE... 268 00:17:06,624 --> 00:17:09,460 SHOULD BE PUTTING THE COMPLAINT OUT ON SIG INSTEAD OF IT'S THE OTHER WAY AROUND. 269 00:17:09,460 --> 00:17:12,079 SIG JOHNSON'S NOT MAKING NO COMPLAINTS, 'CAUSE HE'S PRESENTLY DEAD. 270 00:17:14,748 --> 00:17:19,803 OH, NOT ME. I DIDN'T MURDER ANYBODY. 271 00:17:19,803 --> 00:17:22,389 ALTERNATIVE-- YOU LEFT THE BAR, SIG FINDS YOU AGAIN IN THE STREET, 272 00:17:22,389 --> 00:17:25,259 KEEPS BEATING ON YOU, YOU KILLED SIG DEFENDING YOURSELF. 273 00:17:25,259 --> 00:17:27,811 - YOU WANT TO TRY IT THAT WAY? - I COULDN'T HAVE DONE IT. 274 00:17:27,811 --> 00:17:31,932 I LEFT THAT BAR BY MYSELF, AND THEN I WENT AND I SAW MY GIRLFRIEND. 275 00:17:31,932 --> 00:17:36,854 -WHAT'S YOUR GIRLFRIEND'S NAME? - YOU DON'T WANT TO TALK TO HER. 276 00:17:36,854 --> 00:17:39,907 - SHE'S A WHORE, SHE LIES-- - IS SHE YOUR ALIBI, STYMPY, OR NOT? 277 00:17:39,907 --> 00:17:44,328 YEAH, I GUESS SO, FOR BETTER OR FOR WORSE. 278 00:17:44,328 --> 00:17:48,866 WHATEVER SHE SAYS, RELY ON MY WORD. I WAS THERE WITH HER. 279 00:17:48,866 --> 00:17:52,753 PLUS, THE BLOOD ON MY PERSON WAS FROM MY OWN BODY. 280 00:17:52,753 --> 00:17:56,340 YEAH. THIS SOUNDS LIKE IT'S GONNA BE A ROCK-SOLID ALIBI. 281 00:18:17,478 --> 00:18:19,730 [ Jeremy ] AAH, MY STORY'S GOTTA BE BUILDING CREDIBILITY, RIGHT? 282 00:18:19,730 --> 00:18:21,865 THAT BAG WAS RIGHT WHERE I TOLD YOU TO LOOK. 283 00:18:21,865 --> 00:18:24,118 SHUT UP, JEREMY. CHECK THE BLOOD OUT ON THIS. 284 00:18:24,118 --> 00:18:27,204 SEE? THAT'S THE GREEN FLANNEL SHIRT I WAS TELLING YOU ABOUT. 285 00:18:27,204 --> 00:18:32,409 OKAY. OKAY, THERE'S THE GUY. THE BIG NERD WITH THE GLASSES. 286 00:18:32,409 --> 00:18:35,713 NOW, THIS IS THE GUY THAT YOU SAW DUMP THIS SHIRT AND THE WALLET? 287 00:18:35,713 --> 00:18:39,049 YEAH, YEAH. HE GOT A SHAVE AND A HAIRCUT. BUT BELIEVE ME, 288 00:18:39,049 --> 00:18:41,585 WITH THOSE GLASSES, IT'S NO DOUBT. 289 00:18:41,585 --> 00:18:44,421 [ Sipowicz ] ALL RIGHT. YOU STAY PUT, JEREMY. DON'T EVEN THINK ABOUT MOVING. 290 00:18:44,421 --> 00:18:46,306 - DID I HELP OR WHAT? - SHUT UP. 291 00:18:46,306 --> 00:18:48,642 [ Mutters ] 292 00:18:54,398 --> 00:18:56,650 HOW ARE YOU DOING? I'M WITH THE POLICE. WHAT DO YOU WANT? 293 00:18:57,101 --> 00:18:58,602 WE GOT SOME QUESTIONS THAT WE NEED TO ASK YOU. 294 00:18:59,103 --> 00:19:00,487 WE'D LIKE TO TAKE YOU DOWN TO THE STATION HOUSE. 295 00:19:00,487 --> 00:19:03,323 MY NAME'S MEL LENTZ. UH, YOU SURE YOU GOT THE RIGHT PERSON? 296 00:19:03,323 --> 00:19:05,242 WE KNOW WE NEED TO ASK YOU SOME QUESTIONS THERE, MEL, 297 00:19:05,242 --> 00:19:07,694 AND, UH, WE DON'T WANT TO DO IT OUT IN THE STREET, OKAY? 298 00:19:07,694 --> 00:19:10,414 - I'M BUSY. - BUSY'S NOT AN OPTION, MEL. 299 00:19:10,414 --> 00:19:12,366 YOU COME NICE AND EASY, OR YOU COME IN CUFFS. 300 00:19:12,366 --> 00:19:15,335 WHY DON'T WE GET SOME TRANSPORTATION HERE FOR MEL? ALL RIGHT. THIS-- 301 00:19:15,335 --> 00:19:17,254 HEY, BOBBY, GET HIM! GET HIM! GET HIM! 302 00:19:17,254 --> 00:19:20,174 GET UP AGAINST THAT WALL. 15th SQUAD TO CENTRAL "K." 303 00:19:20,174 --> 00:19:23,343 WHAT ARE YOU DOING? HAVE AVAILABLE "R" AND "P" RESPOND... 304 00:19:23,343 --> 00:19:25,179 TO 9th STREET AND AVENUE "B" FOR TRANSPORT. 305 00:19:25,179 --> 00:19:28,432 WHERE ARE YOU GOING, HUH? NICE AND EASY'S OUT NOW, MEL. 306 00:19:28,432 --> 00:19:30,934 NOW YOU RIDE IN THE BRACELETS. 307 00:19:44,865 --> 00:19:47,618 - THANKS. - ME AND MEL WERE JUST TALKING ABOUT HIS HAND. 308 00:19:47,618 --> 00:19:51,455 - YEAH? HOW'D THAT HAPPEN? - I TRIPPED, FELL IN SOME GLASS. 309 00:19:51,455 --> 00:19:54,241 IT LOOKS LIKE A DOG BITE. 310 00:19:55,709 --> 00:19:57,961 SO WHAT IS IT I'M DOING HERE? 311 00:19:57,961 --> 00:20:01,131 WE'RE INVESTIGATING A HOMICIDE. WE THINK YOU MIGHT BE ABLE TO HELP US. 312 00:20:01,131 --> 00:20:04,585 I DON'T KNOW ABOUT ANY HOMICIDE. WHAT DO YOU MAKE OF THIS STUFF? 313 00:20:07,838 --> 00:20:10,557 NOTHING. 314 00:20:10,557 --> 00:20:12,810 YOU WERE SEEN THROWING THAT STUFF IN A TRASH CAN 8:00 THIS MORNING. 315 00:20:12,810 --> 00:20:15,729 NO. YOU EVER SEEN THIS GIRL BEFORE? 316 00:20:17,648 --> 00:20:19,983 - NO. -EVER BEEN TO THE STARLIGHT LOUNGE? 317 00:20:19,983 --> 00:20:24,738 I COULDN'T SWEAR I WASN'T THERE, 'CAUSE I'VE BEEN A LOT OF PLACES. 318 00:20:25,239 --> 00:20:29,193 I DON'T REMEMBER ALL THE NAMES. WHAT ABOUT THE KEHO JUNKYARD OFF OF DELANCY AND SUFFOLK? 319 00:20:29,193 --> 00:20:31,278 - NO. - YOU WEREN'T THERE EARLY THIS MORNING? 320 00:20:31,278 --> 00:20:34,448 - I GOT NO BUSINESS AT A JUNKYARD. - WHERE WERE YOU THIS MORNING? 321 00:20:34,448 --> 00:20:38,368 - HOME. - WHO'S GONNA BACK THAT? 322 00:20:38,368 --> 00:20:40,838 YOU GOTTA TAKE MY WORD. I LIVE ALONE. 323 00:20:40,838 --> 00:20:44,458 WE GOT A WITNESS WHO PUTS YOU AT THE KEHO JUNKYARD AT ABOUT 4:00 THIS MORNING. 324 00:20:44,458 --> 00:20:47,461 WE GOT ANOTHER PERSON WHO PUTS YOU DUMPING THESE POSSESSIONS... 325 00:20:47,461 --> 00:20:49,513 THAT BELONGED TO ANTOINETTE TODD... 326 00:20:50,013 --> 00:20:52,049 IN THE TRASH OUTSIDE OF YOUR APARTMENT ABOUT 8:00. 327 00:20:52,049 --> 00:20:54,551 WE GOT YET ANOTHER PERSON WHO'S GONNA TESTIFY THAT YOU ARE... 328 00:20:54,551 --> 00:20:57,688 A CUSTOMER AT THE STARLIGHT LOUNGE, WHERE YOU WERE KNOWN... 329 00:20:57,688 --> 00:20:59,523 TO HARASS ANTOINETTE TODD. 330 00:20:59,523 --> 00:21:02,893 THAT'S THE GIRL'S NAME? THE ONE THAT'S DEAD? 331 00:21:02,893 --> 00:21:05,977 ARE YOU TRYING TO TOY WITH US? I'M JUST ASKING A QUESTION. 332 00:21:05,977 --> 00:21:09,614 THE LONGER YOU PLAY STUPID HERE, THE LESS LIKELY YOU'RE GONNA GET OUT OF THIS ALIVE. 333 00:21:09,614 --> 00:21:11,900 [ Chuckles ] FOR DOING WHAT? 334 00:21:11,900 --> 00:21:15,704 YEAH, THAT'S THE WAY TO GO, MEL. JURIES LOVE THAT. 335 00:21:15,704 --> 00:21:19,457 NO REMORSE AND INSULT THEIR INTELLIGENCE. THAT ALWAYS BRINGS ON LENIENCY. 336 00:21:19,457 --> 00:21:21,209 THIS GUY'S GOT THE WORLD BY THE BALLS, ANDY. 337 00:21:21,209 --> 00:21:25,497 [ Scoffs, Chuckles ] 338 00:21:25,497 --> 00:21:29,134 - WHAT WAS THAT SMART-ASS NOISE YOU JUST MADE THERE, MEL? - NOTHING. 339 00:21:29,134 --> 00:21:31,720 YEAH. 340 00:21:31,720 --> 00:21:35,223 YOU MAKE THAT NOISE AGAIN, I WILL BREAK YOUR NOSE, 341 00:21:35,223 --> 00:21:37,392 AND THEN YOU'LL BE MAKING THAT NOISE EVERY TIME YOU BREATHE. 342 00:21:40,061 --> 00:21:41,763 GET UP. 343 00:22:12,327 --> 00:22:16,998 I'M COMING. I DO OCCASIONAL 900 WORK ON THE TELEPHONE, 344 00:22:16,998 --> 00:22:19,117 WHICH IS DEFENDED BY THE FIRST AMENDMENT, ALL RIGHT? 345 00:22:19,117 --> 00:22:21,119 NOBODY'S HOOKING YOU UP FOR PROSS, MILLIE. 346 00:22:21,119 --> 00:22:23,505 WE'RE WORKING A HOMICIDE INVESTIGATION. 347 00:22:23,505 --> 00:22:27,008 -I DIDN'T KILL NOBODY. -TELL US WHO YOU SAW LAST NIGHT. 348 00:22:27,008 --> 00:22:30,679 - NOT A SOUL. - YOU WERE ALONE ALL NIGHT? 349 00:22:30,679 --> 00:22:34,599 STYMPY POWELL KILL SOMEBODY? WHAT DO YOU KNOW ABOUT IT? 350 00:22:34,599 --> 00:22:38,053 IF HE'S USING ME FOR AN ALIBI, BESIDES A CROOK, HE'S A DUMB SON OF A BITCH. 351 00:22:38,053 --> 00:22:40,605 AND SO, I SAY NO. HE DID NOT COME OVER LAST NIGHT. 352 00:22:40,605 --> 00:22:43,892 WHAT ARE YOU IN A BEEF ABOUT? NOTHING, IF YOU DON'T MIND HIM BEING A THIEF. 353 00:22:43,892 --> 00:22:47,729 IF HE STOLE FROM YOU, MILLIE, THEN FILE CHARGES ON STYMPY AND WE'LL COLLAR HIM. 354 00:22:47,729 --> 00:22:49,531 HIM BEING AT YOUR PLACE LAST NIGHT, THAT'S SEPARATE. 355 00:22:49,531 --> 00:22:52,650 AND WE NEED TO KNOW IF HE WAS. TELL IT STRAIGHT, MILLIE, 356 00:22:52,650 --> 00:22:54,903 OR YOU'RE A COLLAR FOR IMPEDING A HOMICIDE INVESTIGATION. 357 00:22:56,371 --> 00:22:58,373 THE LITTLE RAT CAME OVER. 358 00:22:58,373 --> 00:23:01,076 HE WAS BEAT UP, SOAKED THROUGH. WHAT TIME? 359 00:23:01,076 --> 00:23:04,796 A LITTLE AFTER 9:00. WAS IT, LIKE, 9:05 OR AS LATE AS 10:00? 360 00:23:04,796 --> 00:23:07,165 IT WAS NOT PAST 9:15. 361 00:23:07,165 --> 00:23:09,667 I WOULD BE MORE EXACT, BUT I COULDN'T GET TO A CLOCK... 362 00:23:09,667 --> 00:23:12,003 BEFORE HE SPLIT WITH HALF OF MY COMPACT DISCS. 363 00:23:12,003 --> 00:23:14,305 DID STYMPY SEEM NERVOUS, AGITATED? 364 00:23:14,305 --> 00:23:17,258 HE WAS STYMPY, SO, YEAH, BOTH THOSE THINGS. 365 00:23:17,258 --> 00:23:21,062 ALL RIGHT. THAT'S ALL I KNOW, ALL RIGHT? 366 00:23:21,062 --> 00:23:25,066 IF ANYTHING I SAID HELPS HIM, THEN I WOULD LIKE TO PRESS SEPARATE CHARGES FOR THE CDs. 367 00:23:25,066 --> 00:23:26,851 GREG, JAMES. 368 00:23:26,851 --> 00:23:28,987 SIT STILL A MINUTE, WILL YA? [ Groans, Scoffs ] 369 00:23:28,987 --> 00:23:33,324 HE'LL BE WHAT'S LEFT AFTER NUCLEAR WAR. 370 00:23:37,412 --> 00:23:40,582 THAT HOOKER HAD THAT STYMPY POWELL WITH HER LAST NIGHT. 371 00:23:40,582 --> 00:23:43,535 - BUT HE STILL COULD'VE HAD TIME TO DO THE MURDER. - YOU NEED TO RE-CANVASS. 372 00:23:43,535 --> 00:23:47,705 E.S.U. FOUND A TYPEWRITER NEAR WHERE THE BODY WAS. THE BOTTOM OF THE TYPEWRITER... 373 00:23:48,206 --> 00:23:50,759 WAS NEAR CAVED IN, AND THERE WAS BLOOD WHERE THE RAIN DIDN'T GET TO. 374 00:23:50,759 --> 00:23:52,844 THEY'RE BRINGING THE TYPEWRITER UP TO THE SQUAD. 375 00:23:52,844 --> 00:23:55,713 - OKAY, WE'LL GET RIGHT OVER THERE. - OKAY. 376 00:23:58,600 --> 00:24:01,136 TYPEWRITER FOR A MURDER WEAPON. THAT'S FRESH. 377 00:24:01,603 --> 00:24:04,722 MILLIE, ONE OF THE LATE-TOUR DETECTIVES IS GONNA TAKE YOUR REPORT. 378 00:24:04,722 --> 00:24:07,642 THEN WE CAN PUT STYMPY IN THE SYSTEM FOR BOOSTING YOUR CDs OFF YOU. 379 00:24:07,642 --> 00:24:09,394 NAH, DON'T COLLAR THE LITTLE CREEP. 380 00:24:09,894 --> 00:24:11,279 NO, HUH? NO. 381 00:24:11,279 --> 00:24:15,116 PUT SOMEBODY IN THE CELL DESERVES THE FREE FOOD. 382 00:24:15,116 --> 00:24:17,535 HEY, MILLIE. WHAT? 383 00:24:18,036 --> 00:24:21,039 DOES STYMPY HAVE A TYPEWRITER THAT YOU KNOW ABOUT? 384 00:24:21,039 --> 00:24:25,043 YEAH. YEAH, HE WRITES BACK AND FORTH WITH ALL THE PRESIDENTS. 385 00:24:25,043 --> 00:24:27,745 HE'S GOT A FAX MACHINE TOO. WHAT'S HIS NAME? 386 00:24:27,745 --> 00:24:31,049 CLINTON FAXES HIM FOR ADVICE DAILY. 387 00:24:31,049 --> 00:24:34,469 -[ Laughing ] - LET'S GO. 388 00:24:34,469 --> 00:24:38,173 WE GOT ONE WITNESS THAT PUTS THE GUY WHERE THE D.O.A WAS TENDING BAR. 389 00:24:38,173 --> 00:24:40,425 ANOTHER WITNESS SAW HIM DUMP THE GIRL'S EFFECTS ON THE STREET. 390 00:24:40,425 --> 00:24:43,561 -THIS IS THE HOMELESS CRACKHEAD? -MM-HMM. 391 00:24:43,561 --> 00:24:46,514 THIS GUY HAD A BITE ON HIS HAND THAT I WOULD PUT MONEY ON CAME FROM THE DOG... 392 00:24:46,514 --> 00:24:48,817 THAT WAS GUARDING THE JUNKYARD WHERE THE D.O.A. WAS DUMPED. 393 00:24:48,817 --> 00:24:51,486 - THE GRAND JURY WON'T INDICT. - [ Scoffs ] 394 00:24:51,486 --> 00:24:54,689 HE HARASSES THIS GIRL AT HER PLACE OF WORK FOR TWO WEEKS. 395 00:24:54,689 --> 00:24:57,859 THIS GUY, LENTZ, COINCIDENTALLY ENDS UP WITH THIS GIRL'S WALLET, 396 00:24:57,859 --> 00:24:59,828 BUT THE GRAND JURY STILL WON'T INDICT? 397 00:24:59,828 --> 00:25:03,164 IT'S ALL THIS EVIDENTIARY NONSENSE ABOUT DIRECTLY CONNECTING HIM TO THE CRIME. 398 00:25:03,164 --> 00:25:05,700 WE GOT ENOUGH FOR A WARRANT ON HIS PLACE? 399 00:25:05,700 --> 00:25:08,620 - I COULD DRESS IT UP ENOUGH TO GET YOU A WARRANT. - HOW COME WITH YOU, COHEN, 400 00:25:08,620 --> 00:25:11,005 IT COMES OUT LIKE THE PRINCIPAL DOING US A FAVOR? 401 00:25:11,005 --> 00:25:14,843 'CAUSE THE SCHOOL'S THE CONSTITUTION, SIPOWICZ, AND YOU'RE THE CLASS DUNCE. 402 00:25:22,183 --> 00:25:24,853 [ Knocks ] 403 00:25:26,638 --> 00:25:29,891 HEY, GREG, A MAN DOWNSTAIRS SAYS HE SAW THAT NEIGHBOR WOMAN, 404 00:25:29,891 --> 00:25:32,560 MRS. BUONO, WAS NICE TO THE D.O.A.'s WIFE. 405 00:25:32,560 --> 00:25:36,231 HE SAYS HE SAW MRS. BUONO OUT ON THE STOOP AT 4:00 THIS MORNING. 406 00:25:36,231 --> 00:25:38,233 WE OUGHT TO ASK HER ABOUT THAT. 407 00:25:38,233 --> 00:25:39,734 YEAH, WELL, SHE'S NOT INSIDE. UH-- 408 00:25:39,734 --> 00:25:44,038 NOTE SAYS, "FRANK, I'M WITH HILDA." THIS IS HER APARTMENT. 409 00:25:46,457 --> 00:25:49,377 - WHAT'S GOING ON? - ARE YOU FRANK BUONO? 410 00:25:49,377 --> 00:25:51,546 YEAH. I'M DETECTIVE MARTINEZ. 411 00:25:51,546 --> 00:25:55,166 - THIS IS DETECTIVE MEDAVOY. - SOMETHING HAPPEN TO MY WIFE? 412 00:25:55,166 --> 00:25:57,635 YOUR WIFE'S FINE. SHE'S DOWNSTAIRS. 413 00:25:58,136 --> 00:26:01,306 WE'D LIKE TO ASK YOU SOME QUESTIONS IF YOU GOT A MINUTE. 414 00:26:01,806 --> 00:26:04,309 OKAY. I, UH-- 415 00:26:04,309 --> 00:26:07,762 I'D LIKE TO GET DOWN WITH MY WIFE AND MRS. JOHNSON, BEIN' HER HUSBAND DIED. 416 00:26:07,762 --> 00:26:10,899 - ABSOLUTELY. - WHAT TIME DID YOU LEAVE THE BUILDING THIS MORNING? 417 00:26:11,399 --> 00:26:14,102 - UH, 5:30. -DID YOU SEE ANYTHING UNUSUAL? 418 00:26:14,602 --> 00:26:17,739 - NO. - WERE YOU AND YOUR WIFE HOME ALL NIGHT LAST NIGHT? 419 00:26:17,739 --> 00:26:20,858 -EITHER OF YOU GO OUT AT ALL? - WE WERE HOME SINCE 7:00. 420 00:26:20,858 --> 00:26:23,161 -AND YOU WERE HERE RIGHT THROUGH TILL THE MORNING? -YEAH. 421 00:26:25,580 --> 00:26:28,333 IS THERE ANY POSSIBILITY THAT YOUR WIFE WENT OUT EARLY THIS MORNING... 422 00:26:28,333 --> 00:26:30,118 WHILE YOU WERE STILL SLEEPING? 423 00:26:30,618 --> 00:26:32,870 - I SLEEP BAD. I'D HAVE HEARD. -ONE OF YOUR NEIGHBORS SAID... 424 00:26:32,870 --> 00:26:35,840 HE SAW YOUR WIFE OUTSIDE ON THE STOOP AT 4:00 WHEN HE WENT TO WORK. 425 00:26:35,840 --> 00:26:39,427 - WHO SAID THAT? -HE FIGURED SHE'D BEEN OUT WALKING... 426 00:26:39,427 --> 00:26:41,629 SINCE SHE WAS KNOCKING THE MUD OFF HER SHOES. 427 00:26:42,130 --> 00:26:45,266 -I-I DON'T KNOW WHAT TO SAY ABOUT THIS. -FRANK, WOULD YOU MIND COMING... 428 00:26:45,266 --> 00:26:47,018 DOWN TO THE STATION HOUSE WITH US? 429 00:26:47,018 --> 00:26:51,806 WE CAN CLEAR UP THESE DISCREPANCIES. I WANNA TALK TO MY WIFE. 430 00:26:51,806 --> 00:26:53,942 MY PARTNER'LL RIDE WITH YOU DOWN TO THE STATION HOUSE. 431 00:26:53,942 --> 00:26:57,278 -I'LL BRING YOUR WIFE MYSELF, OKAY? - THAT SOUND LIKE A PLAN? 432 00:26:57,278 --> 00:26:59,480 YEAH. YEAH, SURE. OKAY. 433 00:27:09,824 --> 00:27:13,127 HE'S MOSTLY QUIET. SOMETIMES YOU GET NOISES LATE. 434 00:27:13,127 --> 00:27:17,298 WHAT TYPE OF NOISES? SEX NOISES... INVOLVED IN SEX. 435 00:27:17,298 --> 00:27:19,300 YOU EVER GET A LOOK AT ANY OF THE WOMEN HE BRINGS OVER HERE? 436 00:27:19,300 --> 00:27:22,837 NEVER ONE. BUT THIS UNIT'S GOT A BACKYARD ENTRANCE. 437 00:27:22,837 --> 00:27:25,173 I GUESS THAT'S WHERE HE BRINGS 'EM IN. 438 00:27:35,600 --> 00:27:38,403 UM, THAT'S TO THE BACKYARD. WE'LL CHECK IT OUT. 439 00:27:38,403 --> 00:27:42,991 COULD YOU JUST STAND OVER HERE TO THE SIDE UNTIL WE FINISH? 440 00:27:43,491 --> 00:27:45,610 LET'S GET CRIME SCENE IN HERE, HAVE 'EM PROCESS THE BED. 441 00:27:45,610 --> 00:27:47,612 SEE WHAT THEY COME UP WITH. 442 00:27:48,112 --> 00:27:52,333 AS NEAT AS THIS GUY IS THOUGH, I FIGURE HE'D WASH THE SHEETS... 443 00:27:52,333 --> 00:27:55,003 IF HE DID HER HERE. 444 00:27:58,256 --> 00:28:00,091 ANDY. 445 00:28:09,350 --> 00:28:12,353 HE IS NEAT. THE TITLES ARE ALPHABETICALLY. 446 00:28:12,353 --> 00:28:15,556 LOOK HERE. HERE'S HIS READING MATERIAL. 447 00:28:16,057 --> 00:28:19,344 OH, A SPECIAL SECTION. 448 00:28:21,612 --> 00:28:23,481 LUCKY TOP THREE. 449 00:28:26,234 --> 00:28:29,737 BOBBY, ANDY, WE CAME UP WITH SOME KIND OF BLACK BAG ON THE TRASH CANS. 450 00:28:29,737 --> 00:28:31,906 OTHER SIDE OF THE FENCE. LOOKS LIKE A BODY BAG. 451 00:28:33,157 --> 00:28:35,743 D.O.A.'s A BLONDE? 'CAUSE THERE'S BLONDE HAIRS IN THE BAG. 452 00:28:35,743 --> 00:28:38,463 YEAH, SHE'S BLONDE. WHY DON'T YOU GET CRIME SCENE IN HERE? 453 00:28:38,463 --> 00:28:40,631 YEAH. 454 00:28:44,919 --> 00:28:47,055 - SO THAT'S THIS GUY'S ACT? - MM-HMM. 455 00:28:47,055 --> 00:28:49,390 UNLESS HE'S SOME KIND OF STUDENT ON FEMALE BUTTOCKS. 456 00:28:49,390 --> 00:28:52,310 DETECTIVE KIRKENDALL, 15th SQUAD. 457 00:28:52,310 --> 00:28:56,597 WE NEED CRIME SCENE TO RESPOND TO 848 9th STREET. YEAH. 458 00:29:02,653 --> 00:29:05,123 THE PLACE WAS WIPED CLEAN. THE BODY BAG... 459 00:29:05,123 --> 00:29:08,092 THAT THEY FOUND ON THE TRASH CANS-- THAT WAS A CASKET COVER. 460 00:29:08,092 --> 00:29:11,262 SO WE GOT THE LAB WORKING ON SOME BLONDE HAIRS THAT WERE CAUGHT IN THE ZIPPER. 461 00:29:11,262 --> 00:29:12,714 IT'S GONNA TAKE A COUPLE WEEKS FOR D.N.A. 462 00:29:12,714 --> 00:29:15,133 SUPPOSE THE HAIRS COME OUT THE D.O.A.'s? 463 00:29:15,133 --> 00:29:19,854 BODY BAG'S NOT ON HIS PREMISES. ANY WAY TO PUT IT WITH LENTZ? 464 00:29:19,854 --> 00:29:22,273 OKAY, WHAT ABOUT THE PORNO TAPES? 465 00:29:22,273 --> 00:29:26,694 WELL, THIS GUY LENTZ, HE HAD SOME SHRINE TO HIS TOP THREE STARS. 466 00:29:26,694 --> 00:29:29,530 ONE OF THEM-- I GUESS YOU COULD MAKE THE CASE-- RESEMBLES THE D.O.A. 467 00:29:30,031 --> 00:29:32,483 -ANY CHANCE IT IS THE D.O.A.? - IT'S LIKE A RESEMBLANCE. 468 00:29:32,984 --> 00:29:34,986 YOU'D NEVER MISTAKE 'EM FOR EACH OTHER. 469 00:29:34,986 --> 00:29:36,821 MAYBE HE SAW HER AS A CLOSE ENOUGH SECOND. 470 00:29:38,289 --> 00:29:41,743 - WELL-- -[ Door Opens ] 471 00:29:47,715 --> 00:29:49,717 HAVE A SEAT. 472 00:29:49,717 --> 00:29:51,552 THANKS. SURE. 473 00:29:55,423 --> 00:29:57,308 YOU KNOW, I'M VERY WORRIED ABOUT MY HUSBAND. 474 00:29:57,308 --> 00:29:59,811 I THINK YOU GOT BASIS FOR WORRY, MRS. BUONO. 475 00:29:59,811 --> 00:30:03,314 SOMEONE IN YOUR FAMILY, I THINK, IS IN A DIFFICULT POSITION. 476 00:30:03,314 --> 00:30:05,566 AND PLEASE BELIEVE ME, WE WANT TO GET THIS RESOLVED... 477 00:30:06,067 --> 00:30:07,852 WITHOUT HURTIN' PEOPLE MORE THAN WE HAVE TO. 478 00:30:09,654 --> 00:30:11,656 BEING HONEST WITH ME, 479 00:30:11,656 --> 00:30:13,524 YOU THINK I SHOULD HAVE AN ATTORNEY PRESENT? 480 00:30:13,524 --> 00:30:17,278 THAT DEPENDS ON WHAT YOU FEEL NEEDS CONCEALING, CAROL. 481 00:30:17,278 --> 00:30:19,447 I DON'T WANT TO CONCEAL ANYTHING... 482 00:30:19,447 --> 00:30:21,616 OR CAUSE MORE HURT. 483 00:30:23,451 --> 00:30:25,753 I JUST DON'T KNOW WHAT TO DO. YEAH. 484 00:30:33,010 --> 00:30:37,598 [ Gasps ] OH! [ Sobbing ] 485 00:30:39,050 --> 00:30:40,802 OH, GOD. 486 00:30:40,802 --> 00:30:43,437 WHAT CAN YOU TELL ME ABOUT THIS TYPEWRITER? 487 00:30:45,223 --> 00:30:47,725 OH, GOD, FORGIVE US. 488 00:30:48,726 --> 00:30:50,561 GOD, FORGIVE US. 489 00:30:52,029 --> 00:30:54,282 YOU WANT GOD'S FORGIVENESS FOR YOU AND WHO ELSE? 490 00:30:57,401 --> 00:31:01,455 HMM? I CAN'T SAY. I CAN'T. 491 00:31:04,792 --> 00:31:06,661 WHEN WILL MY WIFE ARRIVE? 492 00:31:09,130 --> 00:31:11,132 I'M NOT EXACTLY SURE ABOUT THAT, FRANK. 493 00:31:12,550 --> 00:31:15,303 I'M RELUCTANT TO HAVE A CONVERSATION UNTIL I SEE HER. 494 00:31:16,671 --> 00:31:20,591 - I CAN UNDERSTAND THAT. -THANKS. 495 00:31:25,479 --> 00:31:29,183 - DO YOU KNOW WHERE MY WIFE IS? - FRANK, THIS TYPEWRITER SMASHED IN SIG JOHNSON'S HEAD. 496 00:31:29,183 --> 00:31:32,486 MY PARTNER AND I GOT A BIG CONCERN ABOUT YOUR WIFE BEING OUTSIDE... 497 00:31:32,486 --> 00:31:34,655 IN THE MIDDLE OF THE NIGHT, THE AREA WHERE THIS TYPEWRITER WAS FOUND. 498 00:31:34,655 --> 00:31:38,276 SHE'S OUTSIDE WITHOUT EXPLANATION, 4:00 A.M., 499 00:31:38,276 --> 00:31:40,611 SEEN BY A WITNESS CLEANING MUD FROM HER SHOES. 500 00:31:40,611 --> 00:31:43,614 WHAT WE'RE GONNA PURSUE IS THAT MUD... 501 00:31:43,614 --> 00:31:45,616 FROM THE LOT WHERE YOUR NEIGHBOR'S BODY WAS FOUND. 502 00:31:47,034 --> 00:31:49,871 SHE DIDN'T DO ANYTHING, SO WILL YOU LEAVE HER ALONE? 503 00:31:49,871 --> 00:31:51,789 WE CAN'T DO THAT UNTIL WE GET AN EXPLANATION. 504 00:31:52,290 --> 00:31:54,292 FRANK, THE REASON WE'RE LOOKING TO YOU FOR HELP IS, UH, 505 00:31:54,292 --> 00:31:57,011 HOW WOULD YOUR WIFE HAVE THE STRENGTH TO KILL SIG? 506 00:31:57,011 --> 00:32:00,131 YOU KNOW, HOW HE DIED. AND YET, SHE WAS OUTSIDE AND SOMEHOW INVOLVED. 507 00:32:03,100 --> 00:32:05,102 PROMISE ME SHE WON'T GO TO JAIL IF I TELL YOU WHAT HAPPENED? 508 00:32:05,102 --> 00:32:07,305 TELL US THE TRUTH, AND WE'LL SEE WHAT WE CAN DO TO HELP. 509 00:32:09,223 --> 00:32:12,894 SHE JUST MOVED THE TYPEWRITER. THAT'S IT. 510 00:32:12,894 --> 00:32:15,646 YOUR WIFE TOOK THE TYPEWRITER FROM THE LOT AROUND 4:00 THIS MORNING... 511 00:32:15,646 --> 00:32:17,949 AND THREW IT IN THE DUMPSTER? 512 00:32:17,949 --> 00:32:21,035 - THAT'S HER WHOLE INVOLVEMENT. - FRANK, WHY'D SHE MOVE THE TYPEWRITER? 513 00:32:26,707 --> 00:32:28,709 I'M WHO THREW IT. 514 00:32:29,710 --> 00:32:31,495 I KILLED SIG. OH, MY GOD! 515 00:32:31,495 --> 00:32:34,298 [ Crying ] 516 00:32:34,298 --> 00:32:37,218 WHY'D YOU DO IT, FRANK? SHE TYPES. 517 00:32:37,718 --> 00:32:41,222 SHE TYPES TO HELP EXPENSES, BUT ONLY IF IT DON'T CUT IN, YOU KNOW? 518 00:32:41,222 --> 00:32:44,225 BRIEFS FOR A LAW FIRM. BUT IF IT DON'T CUT IN. 519 00:32:45,226 --> 00:32:47,561 COME HOME LAST NIGHT, 9:30, NO DINNER. 520 00:32:47,561 --> 00:32:50,181 THERE'S NO DINNER ALL WEEK. 521 00:32:50,181 --> 00:32:52,233 JUST TICK-TICK-TICK FROM HER TYPING. 522 00:32:52,233 --> 00:32:56,988 DON'T EVEN KNOW I COME HOME. I LOST MY TEMPER. I LOST CONTROL. 523 00:32:56,988 --> 00:33:00,858 I WANTED DINNER. AND LOOK UP AT LEAST WHEN I COME IN. 524 00:33:00,858 --> 00:33:04,111 SO YOU THREW YOUR WIFE'S TYPEWRITER OUT THE WINDOW? 525 00:33:04,111 --> 00:33:07,031 WE DON'T GOT A WINDOW. 526 00:33:07,031 --> 00:33:10,034 I-- 527 00:33:10,034 --> 00:33:12,370 I WENT AND THREW IT OFF THE ROOF. [ Sobbing ] 528 00:33:13,788 --> 00:33:17,758 THE DARK-- I NEVER EVEN KNEW I HIT SIG. 529 00:33:17,758 --> 00:33:21,178 SHE DIDN'T KNOW HE WAS HURT UNTIL SHE SNUCK OUT TO BRING IT BACK IN, 530 00:33:21,178 --> 00:33:24,181 HOPING IT WASN'T BUSTED TOO BAD. 531 00:33:24,181 --> 00:33:27,184 SHE FINALLY CALLED AND TOLD ME THIS AFTERNOON. 532 00:33:27,184 --> 00:33:30,721 SHE'S BEEN WITH HILDA ALL DAY. CONSCIENCE TEARING HER UP. 533 00:33:34,058 --> 00:33:36,394 I'M SUCH AN ASSHOLE. 534 00:33:36,394 --> 00:33:40,481 [ Sobbing ] 535 00:33:49,824 --> 00:33:53,911 WE'RE GONNA TELL YOU HOW THINGS ARE, MEL, THEN YOU'LL DECIDE THE FUTURE DIRECTION. 536 00:33:53,911 --> 00:33:57,882 - I DIDN'T DO ANYTHING. - FIRST, WE PUT A MORATORIUM ON THE "I DIDN'T DO NOTHING," 537 00:33:57,882 --> 00:34:01,585 'CAUSE THAT PISSES MY PARTNER OFF, AND ALL OF US KNOW IT'S CRAP. 538 00:34:02,086 --> 00:34:04,588 THAT CASKET CASING THAT YOU PUT ANTOINETTE'S BODY IN, MEL? 539 00:34:04,588 --> 00:34:07,758 SOME OF HER HAIR GOT CAUGHT WHEN YOU ZIPPERED HER UP IN THAT. 540 00:34:07,758 --> 00:34:10,428 I DON'T KNOW WHAT YOU'RE TALKING ABOUT. THAT'S FIRST COUSIN... 541 00:34:10,428 --> 00:34:13,898 TO "I DIDN'T DO NOTHING," AND IT'S GONNA GET YOU STRUCK. 542 00:34:13,898 --> 00:34:16,901 THERE WAS NOTHING INCRIMINATING ON MY PROPERTY. YOU WANNA BET YOUR LIFE... 543 00:34:16,901 --> 00:34:20,237 THAT A JURY'S GONNA CARE IF IT WAS ON YOUR PROPERTY OR IN THE ALLEY JUST OFF OF IT? 544 00:34:20,237 --> 00:34:23,491 I NEVER HURT ANYBODY IN MY LIFE. I NEVER EVEN GOT A SPEEDING TICKET. 545 00:34:23,491 --> 00:34:26,610 WHY AM I GONNA KILL HER? THAT'S WHAT WE WERE WONDERING, MEL. 546 00:34:26,610 --> 00:34:30,164 WHAT HATCHED YOUR SICK SELF FROM THE EGGSHELL? 547 00:34:30,164 --> 00:34:34,251 TILL WE WENT TO YOUR APARTMENT AND SAW ALL THOSE LADIES YOU GOT LIVING THERE. 548 00:34:34,251 --> 00:34:37,038 NO, I DON'T HAVE LADIES TO MY PLACE. 549 00:34:37,038 --> 00:34:39,673 WHAT ABOUT, UH, CHRISTY DARLING? 550 00:34:39,673 --> 00:34:41,675 YOU DON'T WHIP YOUR SKIPPY THINKING ABOUT... 551 00:34:41,675 --> 00:34:44,044 WHAT YOU'D DO TO HER IF YOU SAW HER OUT ON THE STREET? 552 00:34:44,044 --> 00:34:49,049 WHAT ABOUT CHANTAL MARMONT? 553 00:34:49,049 --> 00:34:51,184 YOU SAW CHANTAL, YOU'D FOLLOW HER TO WORK, WOULDN'T YOU? 554 00:34:51,184 --> 00:34:54,688 - I DON'T KNOW 'EM. -[ Paper Bag Rustling ] 555 00:34:56,439 --> 00:34:59,776 SAY YOU SAW CANDACE CHAMPAGNE WAITING TABLES AT A BAR, MEL. 556 00:34:59,776 --> 00:35:02,529 THAT WOULD GET A CHUBBY GOING, WOULDN'T IT? 557 00:35:02,529 --> 00:35:05,732 I DON'T KNOW ANY OF THESE PEOPLE. CANDY CHAMPAGNE, MEL. 558 00:35:05,732 --> 00:35:09,069 THIS IS THE PORN ACTRESS THAT'S ON HALF YOUR CLOSET WALL. 559 00:35:09,069 --> 00:35:12,873 LOOKS LIKE SOME STUFF'S BEEN WASHED OFF HER PICTURE THERE, MEL. 560 00:35:12,873 --> 00:35:15,876 WHAT TYPE FLUID WOULD THAT BE? 561 00:35:15,876 --> 00:35:17,711 I DON'T KNOW HER, AND I'M A NORMAL GUY. 562 00:35:17,711 --> 00:35:21,381 THAT ROOM WITH THE SHRINE TO THE PORN QUEENS, THAT LOOKED REAL NORMAL. 563 00:35:21,381 --> 00:35:24,134 - THERE'S NOTHING WRONG WITH PORNOGRAPHY. - THEY MADE A MOVIE ABOUT THAT. 564 00:35:24,134 --> 00:35:26,386 RIGHT?LARRY FLYNT? HE'S A BIG HERO. 565 00:35:26,887 --> 00:35:29,005 - I HAPPEN TO BE NORMAL, ALL RIGHT? - MM-HMM. 566 00:35:29,005 --> 00:35:32,259 - A NORMAL GUY WITH A MIDGET PECKER. - YOU WANT TO COMPARE? 567 00:35:32,759 --> 00:35:35,679 YEAH, SURE, MEL. LET'S WHIP 'EM OUT HERE. 568 00:35:35,679 --> 00:35:38,899 WE'LL ALL BENORMALTOGETHER. THIS GUY'S HALF A FAG. 569 00:35:38,899 --> 00:35:42,652 WHOA, WHOA, ANDY. YOU'RE A NORMAL GUY THAT DOESN'T DEAL EASILY WITH WOMEN. 570 00:35:43,153 --> 00:35:44,654 IS THAT MORE FAIR? I SATISFY MYSELF. 571 00:35:44,654 --> 00:35:49,943 MEL SATISFYING HIMSELF. THAT'S WHAT GOT WASHED OFF ALL THESE PICTURES. 572 00:35:49,943 --> 00:35:54,281 -YOU GET SCARED AROUND WOMEN? -I JUST DON'T-- I JUST DON'T HAVE A SMOOTH LINE. 573 00:35:54,281 --> 00:35:56,616 [ Simone ] AND THAT'S FRUSTRATING, RIGHT? WORDS DON'T COME WHEN YOU WANT 'EM. 574 00:35:56,616 --> 00:36:01,004 I JUST CAN'T, UM, YOU KNOW, SAY WHAT I'M FEELING. 575 00:36:01,004 --> 00:36:04,374 MEL'S A TOTALLY NORMAL MAN-MUTE BEFORE HUMAN WOMEN. 576 00:36:04,874 --> 00:36:08,678 NO, HE HIDES AT HOME, AND HE FLOGS HIS DUMMY TO PICTURES HE DON'T HAVE TO TALK TO. 577 00:36:08,678 --> 00:36:11,181 I TRY TO MAKE MYSELF UNDERSTOOD. I AM A NORMAL PERSON! 578 00:36:11,181 --> 00:36:15,685 SO, MEL, THIS GIRL REMINDED YOU OF CANDY? THE ONE YOU TALKED TO IN THE BAR? 579 00:36:15,685 --> 00:36:18,271 HALF-BLIND GEEK. HE PROBABLY THOUGHT IT WAS THE SAME BROAD. 580 00:36:18,271 --> 00:36:20,857 - I TRY TO MAKE MYSELF UNDERSTOOD. - HOW'D YOU DO THAT, MEL, HUH? 581 00:36:20,857 --> 00:36:23,610 YOU JUMP ON THE TABLE, PULL OUT YOUR JOHNSON AND MAKE MONKEY SOUNDS? 582 00:36:23,610 --> 00:36:28,481 - ANDY. - I TALK TO HER ONE PERSON TO ANOTHER. 583 00:36:28,481 --> 00:36:32,619 AND WHEN SHE TOLD YOU TO GET LOST, YOU BURNED HER WITH WAX AND YOU STRANGLED HER. 584 00:36:32,619 --> 00:36:35,789 - YEAH? I WOULDN'T KNOW ANYTHING ABOUT THAT. - WHOA, WHOA. ONE SECOND, MEL. 585 00:36:35,789 --> 00:36:39,376 DON'T START WITH, "I DON'T KNOW ANYTHING ABOUT THAT," 'CAUSE THEN YOU'RE GONNA LOSE ME. 586 00:36:39,376 --> 00:36:43,079 OKAY, I TRIED TO TALK TO HER REPEATEDLY AND POLITELY. 587 00:36:43,079 --> 00:36:44,714 DON'T YOU UNDERSTAND, BOBBY? 588 00:36:45,215 --> 00:36:48,001 MEL WAS JUST TRYING TO MAKE FRIENDS. I AM A NORMAL PERSON! 589 00:36:48,001 --> 00:36:52,806 AND I TOLD HER THAT SHE RESEMBLED A FRIEND OF MINE, AND I TRIED TO TALK TO HER NORMALLY. 590 00:36:52,806 --> 00:36:55,058 AND SHE TOLD YOU YOU'RE A HALF-BLIND GEEK, 591 00:36:55,558 --> 00:36:58,561 AND SHE DON'T CARE WHO SHE LOOKED LIKE, AND WHY DIDN'T YOU LEAVE HER ALONE. 592 00:36:58,561 --> 00:37:02,399 THEN I TRIED TO TALK TO HER POLITELY IN THE STREET, AND SHE MACED ME! 593 00:37:02,399 --> 00:37:06,820 -AND SHE SCREAMED AT ME! - PROVOKING HIM IN THAT FASHION? 594 00:37:06,820 --> 00:37:11,408 SCREAMING AND TRYING TO PROTECT HERSELF, YET PEOPLE CAN'T FATHOM... 595 00:37:11,408 --> 00:37:15,528 WHY A WEAK-EYED, TINY-DICKED PERVERT LIKE MEL WOULD GO COMMITTING A MURDER. 596 00:37:15,528 --> 00:37:18,498 OKAY! ALL RIGHT! I WANNA SAY THIS THE WAY THAT I WANNA SAY IT... 597 00:37:18,498 --> 00:37:20,950 AND NOT THE WAY THAT HE MAKES IT SOUND! 598 00:37:20,950 --> 00:37:23,253 IT'S YOUR STATEMENT, MEL. YOUR STATEMENT. 599 00:37:23,253 --> 00:37:25,789 OKAY, I'M GONNA SAY THIS THE WAY THAT I WANT TO! 600 00:37:25,789 --> 00:37:30,010 ALL RIGHT. PUT THE FACTS RIGHT DOWN HERE IN THE CONTEXT THAT YOU WANT 'EM SEEN. 601 00:37:30,010 --> 00:37:33,013 THAT'S ANOTHER GREAT RIGHT WE GOT HERE. YEAH, GO AHEAD. 602 00:37:33,013 --> 00:37:35,015 LET HIM PUT IT HOWEVER HE WANTS IT. 603 00:37:35,015 --> 00:37:37,384 THIS COUNTRY-- I DON'T KNOW WHAT THE HELL IS HAPPENING TO IT. 604 00:37:39,219 --> 00:37:41,221 [ Door Slams ] 605 00:37:55,652 --> 00:37:57,954 SO HOW'D IT GO TODAY, GINA? GOOD, LIEUTENANT. 606 00:37:57,954 --> 00:38:02,208 - I FEEL REALLY LUCKY WORKING HERE. - YEAH? GOOD NIGHT. 607 00:38:02,208 --> 00:38:05,378 - I'LL SEE YOU TOMORROW. - YEAH. 608 00:38:09,749 --> 00:38:13,136 - HEY, ALL DONE? - HEY, JAMES. 609 00:38:13,136 --> 00:38:16,056 WHAT'S THE MATTER? 610 00:38:16,056 --> 00:38:19,426 I GUESS I'M RELIEVED THAT THE FIRST SHIFT IS OVER, AND EVERYONE'S BEING SO NICE. 611 00:38:19,426 --> 00:38:25,348 YEAH. I GOT SPECIFIC PLANS CARRYING THROUGH WITH THAT THIS EVENING. 612 00:38:25,348 --> 00:38:29,486 I'LL MEET YOU OUTSIDE? YEAH. GIVE ME A HUNDRED-STEP HEAD START, ALL RIGHT? 613 00:38:37,744 --> 00:38:39,529 [ Knocking ] YEAH? 614 00:38:39,829 --> 00:38:41,581 HEY. HEY. 615 00:38:41,581 --> 00:38:44,367 I'LL, UM-- I'LL MAKE US SPAGHETTI AND MEATBALLS. 616 00:38:44,367 --> 00:38:46,703 I DON'T KNOW HOW LONG THIS BUILDING THING IS GONNA TAKE. 617 00:38:46,703 --> 00:38:49,289 - I GOT HENRY, THIS OLD LADY. - I'LL MAKE THE MEATBALLS, 618 00:38:49,789 --> 00:38:51,841 AND I'LL PUT THE WATER ON LOW FOR THE PASTA. 619 00:38:58,014 --> 00:39:00,016 COUNSELOR GO OKAY? 620 00:39:00,016 --> 00:39:03,770 YEAH, IT DID. DOUGIE'S REALLY TRYING HARD. 621 00:39:03,770 --> 00:39:06,856 - BOSS PISSED OFF I TOOK THE LOST TIME? - NO, NOT AT ALL. 622 00:39:08,641 --> 00:39:12,779 YOUR MOM SHOW UP? OH, SHE STILL HAS A COLD. 623 00:39:12,779 --> 00:39:15,615 I THINK THAT COULD LAST A FEW YEARS. 624 00:39:20,620 --> 00:39:23,623 I'M-I'M SO NERVOUS TALKING ABOUT IT WITH YOU, BOBBY. IT'S OKAY. 625 00:39:23,623 --> 00:39:28,077 I'M NOT PRETENDING MY DAD DIDN'T DO WHAT HE DID, OR THE FAMILY PROBLEMS. 626 00:39:28,077 --> 00:39:31,080 I JUST DON'T WANT IT TO BE ALL WE TALK ABOUT. 627 00:39:31,080 --> 00:39:35,084 YOU REALLY RUN YOUR MOUTH. I THINK YOU TALKED ABOUT IT, LIKE, A TOTAL OF FIVE MINUTES. 628 00:39:37,086 --> 00:39:39,088 IF YOU HAD TO GUESS ABOUT THE BUILDING, WHAT DO YOU THINK, A COUPLE HOURS? 629 00:39:39,589 --> 00:39:42,342 IF IT'S MORE THAN A COUPLE HOURS, I WANT YOU OVER THERE WITH A GUN. 630 00:39:43,676 --> 00:39:46,179 I'VE NEVER BEEN SO INVOLVED WITH MY COOKING. 631 00:39:46,179 --> 00:39:48,681 THIS-- [ Sighs ] 632 00:39:48,681 --> 00:39:52,352 THIS BROADENING OUT THE BASE OF OUR RELATIONSHIP IS ROUGH. 633 00:39:52,352 --> 00:39:55,188 ALTHOUGH THE COUNSELOR SAYS I'VE ALSO GOT... 634 00:39:55,188 --> 00:39:59,692 THESE REGRESSED INFANTILE NEEDS FOR IMMEDIATE GRATIFICATION, 635 00:39:59,692 --> 00:40:03,029 AND I SHOULDN'T FEEL BAD ABOUT MY IMPULSES TO INTIMACY. 636 00:40:04,497 --> 00:40:08,785 SO IT MIGHT BE GOOD FOR ME TO BANG YOU IN THE SHOWER RIGHT NOW. 637 00:40:13,540 --> 00:40:16,042 WHY DON'T WE TRY TO STAY EMPLOYED? 638 00:40:16,042 --> 00:40:19,045 AND, UH, LET ME SEE TO THIS BUILDING THING. 639 00:40:20,547 --> 00:40:22,549 THAT'S ONE WAY TO STAY DRY. 640 00:40:24,551 --> 00:40:26,436 I'LL SEE YOU IN A WHILE. MM-HMM. 641 00:40:47,740 --> 00:40:50,243 DON'T LET HER GET YOU DEFENSIVE OR TAKE THE UPPER HAND. 642 00:40:50,243 --> 00:40:53,713 ALL RIGHT. AND DON'T BE MISLEAD BY HER SIZE. 643 00:40:53,713 --> 00:40:56,082 HENRY, I'VE DEALT WITH HER BEFORE, ALL RIGHT? 644 00:40:56,082 --> 00:40:58,418 [ Buzzing ] [ Woman ] WHO IS IT? 645 00:40:58,418 --> 00:41:01,087 IT'S BOBBY SIMONE. 646 00:41:03,590 --> 00:41:05,675 - EVENING, MRS. MURPHY. - WHAT? 647 00:41:05,675 --> 00:41:08,478 REMEMBER, WE SAID WE WERE GONNA COME OVER AND TALK TO YOU? 648 00:41:08,478 --> 00:41:11,898 AND I'D LIKE TO KNOW ABOUT WHAT. CAN WE COME IN? 649 00:41:14,067 --> 00:41:16,152 CONCERNING WHAT SUBJECT? SEE THIS, SIMONE? 650 00:41:16,152 --> 00:41:18,021 THIS IS HER HAND. THIS IS YOURS. 651 00:41:18,521 --> 00:41:21,107 PAINTING IS, UH, COMING ALONG PRETTY GOOD HERE. 652 00:41:21,107 --> 00:41:23,943 HENRY'S DOING A GOOD JOB. WHAT WALLS ARE YOU LOOKING AT? 653 00:41:23,943 --> 00:41:26,913 - CHRONIC AND TYPICAL, THAT TYPE OF COMMENT. - WHAT WAS THAT? 654 00:41:26,913 --> 00:41:29,582 NOTHING, EDIE. SAYING WHAT A PLEASURE YOU ARE TO WORK FOR. 655 00:41:29,582 --> 00:41:32,252 YOU CAN SEE THE END OF EVERY BRUSHSTROKE. 656 00:41:32,252 --> 00:41:36,205 THE SURFACE OF THESE WALLS LOOK LIKE A WORLD WAR I BATTLEFIELD. 657 00:41:36,205 --> 00:41:38,424 I NEVER SAID I WAS MICHELANGELO. 658 00:41:38,424 --> 00:41:41,294 - WHAT DID HE SAY? - HENRY WAS SAYING HE'S DOING THE BEST THAT HE CAN. 659 00:41:41,294 --> 00:41:44,264 AND I WOULD SAY TO MY STUDENTS, "A POOR THING IT IS." 660 00:41:44,264 --> 00:41:47,967 THIS WOMAN NEEDS A BEATING. NOW, YOU AND I HAD AN AGREEMENT. 661 00:41:47,967 --> 00:41:50,970 I WOULD WITHDRAW MY GRIEVANCE WITH THE RENT CONTROL BOARD, 662 00:41:50,970 --> 00:41:53,473 ONLY ON THE CONDITION THAT THIS PLACE WOULD BE PAINTED. 663 00:41:53,473 --> 00:41:55,608 HE'S PAINTING, MRS. MURPHY. [ Laughs ] 664 00:41:55,608 --> 00:41:59,062 - HE'S WASTING PAINT. - BRING HER TEA, BRING HER MAIL. 665 00:41:59,062 --> 00:42:01,314 I'M LIKE CUSTER AT LITTLE BIGHORN! 666 00:42:01,814 --> 00:42:04,784 BREAKS OPEN MY MAILBOX RATHER THAN CLIMB THE FLIGHT FOR MY KEY. 667 00:42:05,285 --> 00:42:07,453 - SOMEONE ELSE DID THAT, EDITH. - MALARKEY. 668 00:42:07,453 --> 00:42:09,989 WHAT WAS I AFTER, COUPONS FROM PAYLESS? 669 00:42:09,989 --> 00:42:11,958 I GOT YOUR NOTE ABOUT THE MAILBOX, AND I'M DEFINITELY GONNA GET TO THAT. 670 00:42:11,958 --> 00:42:15,578 MEANWHILE, I WAS THE ONE THAT ASKED HENRY TO LOOK OUT FOR THE POSTMAN. 671 00:42:15,578 --> 00:42:18,331 BRING THE MAIL UP TO YOU SO IT WOULDN'T JUST SIT THERE IN AN OPEN BOX. 672 00:42:18,331 --> 00:42:22,635 LOOK AT THOSE BRUSHSTROKES. THEY LOOK LIKE TIRE TRACKS. 673 00:42:25,638 --> 00:42:29,676 ALL RIGHT. UH, YOU KNOW WHAT? I WORK A LATE TOUR ON THURSDAY. 674 00:42:29,676 --> 00:42:32,345 I'LL COME AROUND THURSDAY MORNING. I'LL FINISH THE JOB MYSELF. 675 00:42:32,345 --> 00:42:35,682 [ Laughs ] OH, I HOPE IT WASN'T YOU WHO DID THE HALLWAYS. 676 00:42:35,682 --> 00:42:38,651 - NO, MA'AM. - I PAINTED THESE HALLWAYS, 677 00:42:38,651 --> 00:42:40,737 EDITH, WHEN THIS WAS MY MOTHER'S BUILDING. 678 00:42:41,237 --> 00:42:44,657 THEY'RE A DECENT JOB. SO IS THIS HERE. AND YOU'RE AN UNGRATEFUL BIDDY! 679 00:42:44,657 --> 00:42:47,160 - HENRY-- - YOU'RE A LAYABOUT. 680 00:42:47,160 --> 00:42:49,529 - COME ON NOW, MRS. MURPHY. - NOT UP TO HIS POTENTIAL. 681 00:42:49,529 --> 00:42:53,866 -CORRECT HIMSELF NOW OR BE READY FOR RUIN. - WHEN YOU TAUGHT, EDITH, 682 00:42:53,866 --> 00:42:56,502 STUDENTS VOTE YOU MOST LIKELY TO COME BACK IN OUR NIGHTMARES? 683 00:42:56,502 --> 00:42:58,287 HEY! 684 00:42:58,788 --> 00:43:02,291 IF YOU'VE COME HERE TO SAY HE'S QUIT, SAY SO AND GO. 685 00:43:02,291 --> 00:43:07,347 - I DON'T NEED A LONG PREAMBLE. - HENRY IS NOT LOOKING TO QUIT, MRS. MURPHY. 686 00:43:07,847 --> 00:43:11,217 HE WANTS AN UNDERSTANDING WHAT HIS RESPONSIBILITIES ARE. 687 00:43:11,217 --> 00:43:15,855 - AIM FOR COMPETENCE! - THIS IS HOPELESS. 688 00:43:15,855 --> 00:43:20,360 DOES HE WANT APPRECIATIONS FOR HIS WORK AND HIS COMPANY? 689 00:43:20,360 --> 00:43:22,695 I DON'T ANNOUNCE THAT AT THE TOLLING OF EACH HOUR. 690 00:43:22,695 --> 00:43:26,866 HE WILL HAVE TO LOOK ELSEWHERE FOR THAT. 691 00:43:28,151 --> 00:43:30,153 BUT YOU DO APPRECIATE... 692 00:43:30,153 --> 00:43:33,373 WHAT HENRY'S DOING FOR YOU, DON'T YOU, MRS. MURPHY? 693 00:43:33,373 --> 00:43:37,577 HE WILL HAVE TO LOOK ELSEWHERE FOR THAT-- SAYING IT EVERY HOUR. 694 00:43:37,577 --> 00:43:41,664 I'M NOT LOOKING FOR A CESSNA SPELLING "THANK YOU" IN THE SKY, EDITH. 695 00:43:41,664 --> 00:43:46,469 -JUST TRY NOT TO BREAK MY BALLS. -THERE'S NO GUTTER HERE. 696 00:43:46,469 --> 00:43:49,922 WON'T BE TOLERATED IN THESE ROOMS-- BRINGING IN THE LANGUAGE OF THE STREET. 697 00:43:49,922 --> 00:43:53,559 - NOW I'LL HAVE TO CLEAN THE ERASERS. -BUT YOU ARE WILLING... 698 00:43:53,559 --> 00:43:56,062 TO HAVE HENRY FINISH THIS JOB, RIGHT, BECAUSE I'M PAYING HIM TO DO IT? 699 00:43:56,062 --> 00:43:58,848 WELL, YES! 700 00:43:58,848 --> 00:44:01,851 [ Scoffs, Clicks Tongue ] 701 00:44:07,940 --> 00:44:10,109 I'M SAYING ONCE, 702 00:44:10,109 --> 00:44:15,865 I'M GRATEFUL BOTH THE LABOR AND THE COMPANY. 703 00:44:20,169 --> 00:44:23,089 - WHAT DID SHE SAY? - WHAT? 704 00:44:23,089 --> 00:44:27,593 N-NOTHING, EDITH. I'LL BE HAPPY TO FINISH THE JOB. 705 00:44:27,593 --> 00:44:30,463 - ALL RIGHT, THEN. - GOOD, 706 00:44:30,463 --> 00:44:33,349 'CAUSE I SWORE THAT I WAS PAINTING ON THURSDAY. 707 00:44:33,349 --> 00:44:36,803 WELL, MY ARTHRITIS ISN'T TOO BAD. 708 00:44:36,803 --> 00:44:38,688 WOULD YOU LIKE TO STAY FOR A POT OF TEA? 709 00:44:40,173 --> 00:44:43,459 SURE. THAT'D BE NICE. GOOD. SIT. 710 00:44:49,982 --> 00:44:52,251 HER TEA STINKS.