1 00:00:11,112 --> 00:00:12,779 John: [ INHALES DEEPLY ] NOW, THIS IS BEAUTIFUL, NO? 2 00:00:12,813 --> 00:00:16,117 CAMILLE PISSARRO, DEAN OF THE IMPRESSIONISTS. 3 00:00:16,149 --> 00:00:18,419 NOTICE HOW HE'S ABANDONED PRECISION 4 00:00:18,452 --> 00:00:22,190 IN FAVOR OF EXPRESSION, HOW ALIVE IT ALL IS. 5 00:00:28,495 --> 00:00:30,297 WHAT ABOUT THIS? [ CHUCKLES ] 6 00:00:30,330 --> 00:00:32,799 WELL, THAT, I'M AFRAID, IS NOT FOR SALE. 7 00:00:32,832 --> 00:00:34,435 IT'S ENTIRELY TOO VALUABLE. 8 00:00:35,835 --> 00:00:38,371 [ TIRES SCREECHING ] 9 00:00:42,609 --> 00:00:45,445 [ ALARM BLARING ] 10 00:00:45,478 --> 00:00:47,381 GO, GO! 11 00:00:48,716 --> 00:00:50,350 [ GUN COCKS ] BACK! UP AGAINST THE DESK! 12 00:00:50,384 --> 00:00:51,551 WHAT ARE YOU DOING?! I SAID MOVE! 13 00:00:51,585 --> 00:00:52,686 60 SECONDS! 14 00:00:52,719 --> 00:00:54,822 PICK IT UP! LET'S GO! LET'S GO! 15 00:00:54,854 --> 00:00:56,289 COME ON! CLOCK IS RUNNING! 16 00:00:56,323 --> 00:00:59,692 COME ON! MOVE! GO, GO, GO! 17 00:00:59,726 --> 00:01:01,161 TAKE IT! 18 00:01:01,195 --> 00:01:02,862 GO! COME ON! PICK UP YOUR FEET! 19 00:01:02,896 --> 00:01:05,599 NO, NO, NO, DON'T YOU TOUCH THAT! 20 00:01:05,632 --> 00:01:07,435 DON'T BE STUPID. CLOCK IS RUNNING! 21 00:01:07,468 --> 00:01:08,868 I'M TELLING YOU, THAT'S WORTH NOTHING TO YOU. 22 00:01:08,902 --> 00:01:10,704 TAKE IT. JOHN, NO. JOHN, DON'T! 23 00:01:10,737 --> 00:01:12,105 [ INDISTINCT SHOUTING ] [ GUNSHOTS ] 24 00:01:12,140 --> 00:01:13,174 [ GASPS ] 25 00:01:13,206 --> 00:01:15,442 [ COUGHS ] 26 00:01:15,475 --> 00:01:16,876 [ WHIMPERS ] 27 00:01:16,909 --> 00:01:20,513 Man: WE'RE GOOD! LET'S GO! LET'S GO! LET'S GO! 28 00:01:20,548 --> 00:01:23,716 [ PANTING ] SOMEBODY HELP ME! [ SIREN WAILING ] 29 00:01:23,751 --> 00:01:26,853 GO, GO, GO! 30 00:01:26,887 --> 00:01:28,722 [ TIRES SQUEAL ] 31 00:01:28,756 --> 00:01:30,858 [ SOBBING ] 32 00:01:30,890 --> 00:01:40,600 *** 33 00:01:41,234 --> 00:01:43,170 [ ELEVATOR BELL DINGS ] 34 00:01:51,912 --> 00:01:54,548 W-WHAT'S ALL THIS? 35 00:01:54,581 --> 00:01:56,917 OH, WELL, THAT'S THE ART SQUAD. 36 00:01:56,950 --> 00:01:59,353 THEY DEAL WITH STOLEN ART AND STUFF LIKE THAT. 37 00:01:59,387 --> 00:02:02,222 YEAH, THEIR OFFICES ON THE SIXTH FLOOR ARE BEING REMODELED, 38 00:02:02,256 --> 00:02:03,524 SO I TOLD THEM TO SET UP IN THE CONFERENCE ROOM 39 00:02:03,557 --> 00:02:06,194 FOR THE TIME BEING. HUH. 40 00:02:08,929 --> 00:02:11,564 MRS. HENNIGAN, WHY WAS YOUR HUSBAND 41 00:02:11,598 --> 00:02:13,901 TRYING TO SAVE THIS PAINTING IN PARTICULAR? 42 00:02:13,933 --> 00:02:15,134 THAT'S ME. 43 00:02:16,670 --> 00:02:19,939 JOHN PAINTED IT YEARS AGO, WHEN WE FIRST MET. 44 00:02:19,973 --> 00:02:22,141 WE FELL IN LOVE AS HE WAS PAINTING IT. 45 00:02:23,943 --> 00:02:27,914 IT'S NOT WORTH ANY MONEY, BUT IT WAS WORTH A LOT TO US. 46 00:02:27,948 --> 00:02:30,251 [ SNIFFLES ] 47 00:02:30,283 --> 00:02:32,586 TO ME. 48 00:02:32,620 --> 00:02:34,388 WE'LL DO OUR BEST TO GET IT BACK FOR YOU. 49 00:02:34,421 --> 00:02:36,257 Searls: THIS GANG THAT DID THIS, UH -- 50 00:02:36,289 --> 00:02:38,925 WE'VE BEEN CHASING THEM FOR QUITE A WHILE NOW. 51 00:02:38,959 --> 00:02:40,694 THEY'RE REALLY GOOD AT WHAT THEY DO. 52 00:02:42,295 --> 00:02:45,265 [ SCOFFS ] I CAN'T BELIEVE HE'S GONE. 53 00:02:45,299 --> 00:02:47,935 WELL, HE'S NOT GONE. 54 00:02:47,968 --> 00:02:50,271 HE'S ALIVE AS LONG AS YOU'RE ALIVE TO REMEMBER HIM. 55 00:02:50,304 --> 00:02:52,305 HE LIVES IN YOU. 56 00:02:55,242 --> 00:02:58,978 IT'S A CLICHé. I KNOW. BUT IT'S TRUE. 57 00:02:59,012 --> 00:03:02,282 I'M SPECIAL AGENT MARCUS PIKE. THIS IS AGENT SEARLS. 58 00:03:02,316 --> 00:03:06,287 YOU'RE PATRICK JANE, RIGHT? ABBOTT'S GUY. 59 00:03:06,319 --> 00:03:07,254 WELL, HE'S MY GUY. 60 00:03:07,288 --> 00:03:09,823 THANKS FOR, UH, SHARING YOUR FLOOR WITH US. 61 00:03:09,856 --> 00:03:11,324 YOU PEOPLE NEED SOME HELP, HUH? 62 00:03:11,359 --> 00:03:13,326 [ CHUCKLES ] WHAT MAKES YOU SAY THAT? 63 00:03:13,360 --> 00:03:14,395 HIS SHOULDERS. 64 00:03:14,995 --> 00:03:15,996 HEY, NOW, UH -- 65 00:03:16,028 --> 00:03:16,896 HEY, NOW, I'M JUST SAYING, 66 00:03:16,930 --> 00:03:18,731 IF YOU NEED SOME HELP, I COULD HELP YOU. 67 00:03:18,765 --> 00:03:19,966 I MEAN, MURDER IS MY BUSINESS. 68 00:03:20,000 --> 00:03:21,868 SURE. 69 00:03:23,002 --> 00:03:24,305 I'VE HEARD GOOD THINGS ABOUT YOU. 70 00:03:24,337 --> 00:03:25,473 WE'D BE HAPPY TO HAVE YOUR INPUT. 71 00:03:25,506 --> 00:03:27,640 THESE GUYS, THEY'RE -- [ SIGHS ] 72 00:03:27,675 --> 00:03:29,576 THEY'RE REALLY GOOD, 73 00:03:29,610 --> 00:03:31,978 AND OUR CASES DON'T USUALLY LEAD TO HOMICIDE. 74 00:03:32,012 --> 00:03:34,615 BUT YOU ARE GOING TO CATCH THEM, AREN'T YOU? 75 00:03:37,016 --> 00:03:41,322 I HATE TO SOUND IMMODEST, MA'AM, BUT, UH, I RARELY FAIL. 76 00:03:41,354 --> 00:03:42,456 PATRICK. 77 00:03:42,490 --> 00:03:44,591 SYLVIA. 78 00:03:44,625 --> 00:03:45,992 WELCOME TO THE FISHBOWL. 79 00:03:46,026 --> 00:03:48,329 Fischer: YOU VOLUNTEERED US TO HANDLE THE CASE? 80 00:03:48,361 --> 00:03:50,030 I DECIDE WHAT CASES WE TAKE NEXT. 81 00:03:50,062 --> 00:03:51,998 WELL, I WAS JUST BEING NEIGHBORLY, 82 00:03:52,031 --> 00:03:53,866 AND THE ART SQUAD SEEMED ALL FOR IT. 83 00:03:53,901 --> 00:03:55,002 WELL, OF COURSE THEY WERE. 84 00:03:55,034 --> 00:03:57,871 THEY'VE BEEN CHASING THIS GROUP FOR YEARS, WITH NO LUCK. 85 00:03:57,905 --> 00:03:59,872 AND WHAT DO YOU KNOW ABOUT CATCHING ART THIEVES? 86 00:03:59,906 --> 00:04:01,442 UH, NOTHING AT ALL. 87 00:04:02,776 --> 00:04:03,811 THAT'S WHY IT'LL BE FUN. 88 00:04:03,843 --> 00:04:05,012 [ CHUCKLES ] 89 00:04:05,044 --> 00:04:07,281 OKAY. WE'LL TAKE IT. 90 00:04:07,314 --> 00:04:10,350 GET A HOLD OF AGENT PIKE IN THE ART SQUAD. 91 00:04:10,384 --> 00:04:11,485 GET UP TO SPEED ON THIS THING. 92 00:04:11,519 --> 00:04:13,721 LET'S SHOW 'EM HOW IT'S DONE. 93 00:04:16,456 --> 00:04:18,625 THIS IS SPECIAL AGENT MARCUS PIKE 94 00:04:18,658 --> 00:04:19,826 FROM THE ART-THEFT SQUAD. 95 00:04:19,860 --> 00:04:23,029 HE'S BEING ATTACHED TO OUR TEAM WHILE WE WORK THE CASE. 96 00:04:23,062 --> 00:04:24,798 UH, I'VE ASKED HIM TO GET YOU GUYS UP TO SPEED. 97 00:04:24,831 --> 00:04:28,636 ART THIEVES USED TO BE ABOUT SNEAKING -- 98 00:04:28,668 --> 00:04:30,036 NIGHTTIME BREAK-INS. 99 00:04:30,069 --> 00:04:32,372 NOT ANYMORE -- THE NEW GENERATION PREFERS GUNS. 100 00:04:32,406 --> 00:04:35,408 THIS GUY IS THE LEADER. 101 00:04:35,442 --> 00:04:37,644 HE DOES THE TALKING, RUNS THE SHOW. 102 00:04:37,677 --> 00:04:40,314 BUT UNTIL YESTERDAY MORNING, HE'S NEVER KILLED ANYBODY. 103 00:04:40,348 --> 00:04:42,850 THEY'VE DONE ABOUT SIX JOBS BETWEEN DALLAS AND PHOENIX 104 00:04:42,882 --> 00:04:44,084 IN THE LAST TWO YEARS, 105 00:04:44,117 --> 00:04:47,086 TAKEN DOWN ABOUT $100 MILLION WORTH IN ART AND ARTIFACTS. 106 00:04:47,120 --> 00:04:48,922 WE'RE IN THE WRONG BUSINESS. 107 00:04:48,956 --> 00:04:51,792 STOLEN ART CAN TAKE A LONG TIME TO SELL, 108 00:04:51,824 --> 00:04:53,793 SO OUR GUESS IS THAT THEY'RE SITTING ON A LOT OF THE ART, 109 00:04:53,826 --> 00:04:55,795 INCLUDING THE PAINTINGS FROM YESTERDAY'S HEIST. 110 00:04:55,829 --> 00:04:57,064 IF WE HAVE THOSE PAINTINGS, 111 00:04:57,096 --> 00:04:59,066 WE CAN NAIL THEM FOR JOHN HENNIGAN'S MURDER, 112 00:04:59,098 --> 00:05:01,067 SO IT'S IMPERATIVE THAT WE FIND THIS ART STASH. 113 00:05:01,100 --> 00:05:02,101 THEY'VE DONE SIX JOBS. 114 00:05:02,134 --> 00:05:03,737 THEY MUST HAVE LEFT US SOMETHING TO WORK WITH. 115 00:05:03,771 --> 00:05:04,872 WELL, THEY'VE ONLY SLIPPED UP ONCE. 116 00:05:04,904 --> 00:05:06,874 WE FOUND A GLOVE A FEW BLOCKS FROM A GALLERY THEY ROBBED 117 00:05:06,906 --> 00:05:08,576 IN PHOENIX. 118 00:05:08,608 --> 00:05:11,612 WE MANAGED TO GET A PARTIAL PRINT, AND WE GOT A HIT. 119 00:05:11,644 --> 00:05:14,848 AARON PULASKI -- TIME FOR ARMED ROBBERY AND BATTERY. 120 00:05:14,882 --> 00:05:16,684 HE'S ALSO THE FORMER MIDDLEWEIGHT BOXING CHAMP 121 00:05:16,716 --> 00:05:18,084 AT FOLSOM PRISON. 122 00:05:18,117 --> 00:05:19,987 AND YOU CAN'T CHARGE A MAN FOR OWNING A GLOVE. 123 00:05:20,019 --> 00:05:21,555 YEAH, WE BROUGHT HIM IN FOR QUESTIONING, 124 00:05:21,588 --> 00:05:22,855 BUT HE LAWYERED UP QUICK AND TOLD US ZIP. 125 00:05:22,889 --> 00:05:24,057 THESE GUYS ARE PROS. 126 00:05:24,091 --> 00:05:26,959 IF HE'S A KNOWN FELON, WE SHOULD HAVE HIS KNOWN ASSOCIATES, 127 00:05:26,994 --> 00:05:28,562 HANGOUTS, STUFF LIKE THAT. 128 00:05:28,596 --> 00:05:29,497 WE DO, BUT NOTHING'S POPPED. 129 00:05:29,529 --> 00:05:30,831 HE DOESN'T SEEM TO HAVE A LOT OF FRIENDS. 130 00:05:30,863 --> 00:05:32,966 HE HANGS OUT A LOT AT A BAR. 131 00:05:33,000 --> 00:05:35,435 WE COULD SET A TAIL ON HIM. 132 00:05:35,468 --> 00:05:37,036 EH, COULD BE WAITING FOR WEEKS. 133 00:05:37,069 --> 00:05:38,572 UH, MY PLAN IS A LITTLE MORE ELABORATE, 134 00:05:38,605 --> 00:05:39,872 BUT IT'S MUCH MORE ENTERTAINING. 135 00:05:39,906 --> 00:05:40,973 OF COURSE IT IS. 136 00:05:41,007 --> 00:05:42,074 YOU ALREADY HAVE A PLAN? 137 00:05:42,108 --> 00:05:46,447 WELL, AS YOU KNOW, AGENT LISBON, THE KEY TO A GOOD CON 138 00:05:46,480 --> 00:05:48,716 IS ALWAYS MAKING THE MARK FEEL THAT HE IS IN CONTROL. 139 00:05:48,749 --> 00:05:50,117 I MEAN, YOU CAN LEAD A MAN ANYWHERE 140 00:05:50,149 --> 00:05:53,120 AS LONG AS HE THINKS THAT HE IS DRIVING. 141 00:05:53,153 --> 00:05:54,588 SO, HOW DO WE DO THAT? 142 00:05:54,622 --> 00:05:56,757 WELL, FIRST, WE ROPE HIM IN WITH SOME FLASH, 143 00:05:56,790 --> 00:05:59,459 THEN WE STEER THEM TOWARDS A COUPLE OF GOOD INSIDE MEN, 144 00:05:59,492 --> 00:06:00,326 A FACE. 145 00:06:00,360 --> 00:06:01,795 WE'RE GONNA NEED SOME ART FOR THE GAFF, 146 00:06:01,829 --> 00:06:03,896 AND THEN A GOOD FALSE BLOW-OFF. 147 00:06:05,031 --> 00:06:06,634 I DON'T KNOW WHAT ANY OF THAT MEANS. 148 00:06:06,666 --> 00:06:08,067 YOU'LL GET USED TO IT. 149 00:06:08,100 --> 00:06:10,504 BUT IF YOU WANT ART, I GOT ART. 150 00:06:10,538 --> 00:06:13,606 GOOD. 151 00:06:13,641 --> 00:06:17,444 I ALWAYS FEEL A LITTLE BIT LIKE ALADDIN RIGHT HERE. [ BUZZER ] 152 00:06:22,048 --> 00:06:24,151 WOW. 153 00:06:24,184 --> 00:06:28,187 OKAY. NOW WE'RE HAVING FUN. 154 00:06:28,221 --> 00:06:30,023 WHERE DOES ALL THIS STUFF COME FROM? 155 00:06:30,057 --> 00:06:32,158 IT'S STOLEN. WHAT DO YOU MEAN? 156 00:06:32,192 --> 00:06:34,562 SOMETIMES WE GET JUST PART OF A HAUL, 157 00:06:34,595 --> 00:06:36,564 AND WE SIT ON THE ART SO THE CROOKS DON'T KNOW HAVE A LEAD, 158 00:06:36,596 --> 00:06:39,432 AND WE KEEP IT HERE WHILE WE INVESTIGATE THE REST OF IT. 159 00:06:39,466 --> 00:06:40,834 AND NOBODY KNOWS ABOUT IT? 160 00:06:40,867 --> 00:06:45,072 WELL, WE KEEP A PRETTY TIGHT LID, OUR OWN SECRET MUSEUM. 161 00:06:45,105 --> 00:06:47,441 IMPRESSIVE. YOU BRING DATES HERE? 162 00:06:47,475 --> 00:06:48,709 NO. 163 00:06:48,742 --> 00:06:51,845 JUST...ONCE OR TWICE. 164 00:06:51,879 --> 00:06:54,180 [ LAUGHS ] FANTASTIC. GORGEOUS. 165 00:06:54,213 --> 00:06:56,048 I LOVE YOU, AGENT PIKE. EVERYTHING WE NEED. 166 00:06:56,082 --> 00:06:56,983 I'M GONNA MAKE YOU A LIST. 167 00:06:57,016 --> 00:06:59,086 WE SHOULD BE READY TO ROLL IN ABOUT A WEEK. 168 00:06:59,119 --> 00:07:01,454 WELL, I -- I DON'T WANT TO SECOND-GUESS YOU, MR. JANE, 169 00:07:01,488 --> 00:07:03,591 BUT IF YOU WANT TO USE THESE PAINTINGS AS BAIT, 170 00:07:03,624 --> 00:07:05,793 THE GUY RUNNING THIS CREW KNOWS A LOT ABOUT ART. 171 00:07:05,826 --> 00:07:07,528 HE'LL KNOW THIS STUFF IS STOLEN. 172 00:07:07,560 --> 00:07:10,430 YES. THAT'S THE POINT. 173 00:07:21,875 --> 00:07:24,545 GOOD MORNING. 174 00:07:24,577 --> 00:07:25,612 GOOD MORNING. 175 00:07:25,646 --> 00:07:28,214 SO, WHAT'S THE PLAN TO CATCH THESE ART THIEVES? 176 00:07:28,247 --> 00:07:32,218 WELL, I AM JUST AS CURIOUS AS YOU ARE. [ ELEVATOR BELL DINGS ] 177 00:07:32,252 --> 00:07:34,887 JANE HAS BEEN PLAYING THIS REAL CLOSE TO HIS CHEST UNTIL HE FIGURES IT OUT. 178 00:07:34,922 --> 00:07:38,024 HE SAID HE'LL BE HERE TO BRIEF US ANY MOMENT. 179 00:07:38,057 --> 00:07:39,459 YOU SURE ABOUT THAT? 180 00:07:42,896 --> 00:07:44,031 MORNING. 181 00:07:44,064 --> 00:07:46,165 WHERE'S JANE? 182 00:07:46,199 --> 00:07:48,701 STILL AT THE PARTY HOUSE. THE PARTY HOUSE? 183 00:07:48,735 --> 00:07:49,737 [ CHUCKLES ] WAIT TILL YOU SEE IT. 184 00:07:49,769 --> 00:07:51,572 UH, W-- THIS IS HIS IDEA. 185 00:07:51,605 --> 00:07:53,574 HOW ARE WE SUPPOSED TO KNOW WHAT TO DO 186 00:07:53,606 --> 00:07:55,242 IF HE'S NOT HERE TO TELL US? 187 00:07:55,274 --> 00:07:56,509 HE GAVE ME NOTES. 188 00:07:56,543 --> 00:07:57,911 AH. 189 00:07:57,944 --> 00:08:00,613 [ CHUCKLES ] OKAY, VERY WELL. 190 00:08:00,648 --> 00:08:03,149 PLEASE BRIEF THE TEAM, AGENT WYLIE. 191 00:08:03,182 --> 00:08:04,752 OKAY. 192 00:08:04,785 --> 00:08:06,987 UM, UH... 193 00:08:07,019 --> 00:08:08,788 HERE WE GO. 194 00:08:08,822 --> 00:08:12,158 WE WANT THE LEADER OF THE GANG, THE ONE WHO SHOT JOHN HENNIGAN. 195 00:08:12,192 --> 00:08:16,262 TO FIND HIM, WE NEED TO GAIN THE TRUST OF PULASKI. 196 00:08:16,295 --> 00:08:19,600 SO, WE KNOW HE LIKES TO SPEND TIME 197 00:08:19,632 --> 00:08:21,134 AT THE SPORTS BAR AROUND THE CORNER. 198 00:08:21,168 --> 00:08:22,201 THAT'S WHERE WE ROPE HIM. 199 00:08:22,235 --> 00:08:24,271 WE NEED TO PLANT SOME BUGS AND CAMERAS IN THE BAR. 200 00:08:24,303 --> 00:08:27,139 WHY? SO I CAN MONITOR IT FROM HERE. 201 00:08:27,173 --> 00:08:28,274 YOU'RE OUR ROPER. 202 00:08:28,307 --> 00:08:31,812 JANE SAID YOU'D KNOW ABOUT BOXING. 203 00:08:31,845 --> 00:08:33,312 OH. 204 00:08:33,346 --> 00:08:36,283 WELL, I NEVER TOLD HIM, BUT, YES, I DO. 205 00:08:36,316 --> 00:08:39,286 SO DOES PULASKI. THAT'S A GOOD PLACE TO START. 206 00:08:39,318 --> 00:08:42,655 UH, I'VE GOT SOME TIPS FOR YOU, IF YOU, UH... 207 00:08:44,825 --> 00:08:47,326 BUT YOU -- YOU PROBABLY KNOW WHAT YOU'RE DOING. 208 00:08:47,360 --> 00:08:48,394 YOU'RE THE MUSCLE. 209 00:08:48,427 --> 00:08:51,298 JANE SAID THAT YOU COULD HANDLE YOUR OWN WARDROBE. 210 00:08:51,331 --> 00:08:53,767 YEAH, I CAN DO THAT. 211 00:08:53,801 --> 00:08:56,636 UH, OH, JANE SAID THAT THE TWO OF YOU 212 00:08:56,669 --> 00:08:57,671 COULD WORK OUT THE CHOREOGRAPHY. 213 00:08:57,705 --> 00:08:59,572 OH, YEAH. THAT'S EASY. 214 00:08:59,606 --> 00:09:02,775 LISBON IS PLAYING THE INSIDE MAN -- UH, UH, WOMAN -- 215 00:09:02,809 --> 00:09:05,578 INSIDE WOMAN, WITH JANE. 216 00:09:05,613 --> 00:09:07,014 HE WANTS YOU TO WEAR THIS. 217 00:09:13,620 --> 00:09:14,721 YOWZA. 218 00:09:14,754 --> 00:09:16,590 IT'S A BIT MUCH, ISN'T IT? 219 00:09:16,624 --> 00:09:19,326 THIS IS FOR YOU. 220 00:09:19,359 --> 00:09:21,961 OH... 221 00:09:21,995 --> 00:09:24,130 YOU'RE THE FACE. 222 00:09:24,163 --> 00:09:27,967 ONCE PULASKI IS AT THE PARTY, YOU LURE HIM INTO THE BEDROOM. 223 00:09:28,000 --> 00:09:29,736 UH, JANE'S GOT SOME IDEAS. 224 00:09:29,769 --> 00:09:31,739 UH, YEAH. THANKS. 225 00:09:31,772 --> 00:09:33,606 I THINK I'VE GOT IT UNDER CONTROL. 226 00:09:33,640 --> 00:09:35,743 THEN JANE AND LISBON TAKE OVER. 227 00:09:35,775 --> 00:09:37,009 AND THEN WHAT HAPPENS? 228 00:09:37,977 --> 00:09:39,613 UH... 229 00:09:39,647 --> 00:09:42,581 "AND THEN THE FUN REALLY STARTS." 230 00:09:45,719 --> 00:09:47,888 THAT'S A DIRECT QUOTE. 231 00:10:01,301 --> 00:10:06,105 WELL, MR. PULASKI, WE'RE ONTO YOU. 232 00:10:06,139 --> 00:10:09,142 [ ROCK MUSIC PLAYS ] 233 00:10:13,746 --> 00:10:15,649 HEY. LONE STAR. 234 00:10:15,682 --> 00:10:17,717 WE READY? 235 00:10:17,750 --> 00:10:18,818 YEAH. IT JUST STARTED. 236 00:10:27,695 --> 00:10:29,328 MM! 237 00:10:29,361 --> 00:10:30,998 GOD, UH -- 238 00:10:31,030 --> 00:10:32,331 MY MAN. MM? 239 00:10:32,365 --> 00:10:33,667 HEY, LET ME GET SOME OF THOSE. 240 00:10:33,701 --> 00:10:35,268 [ SNIFFS ] 241 00:10:35,302 --> 00:10:38,138 THAT'S A NICE OPENING GAMBIT. 242 00:10:38,171 --> 00:10:40,273 WELL, HOW'S THAT? YOU SEE WHAT HE DID THERE? 243 00:10:40,307 --> 00:10:42,442 HE ASKED HIM FOR SOME NAPKINS. SO? 244 00:10:42,475 --> 00:10:44,745 JANE TOLD ME ABOUT THIS. 245 00:10:44,778 --> 00:10:46,746 YOU WANT SOMEONE TO TRUST YOU, YOU DON'T GIVE THEM SOMETHING. 246 00:10:46,779 --> 00:10:49,048 YOU GET THEM TO GIVE YOU SOMETHING, EVEN SOMETHING SMALL. 247 00:10:49,081 --> 00:10:50,417 IT'LL MAKE THEM THINK THEY'VE INVESTED IN YOU. 248 00:10:50,450 --> 00:10:52,418 IT'S ALL SUBCONSCIOUS. 249 00:10:52,451 --> 00:10:54,687 [ KEY CLICKS ] 250 00:10:54,721 --> 00:10:57,758 HEY, MY MAN, Y'ALL SHOWING THE, UH, REYNOSO FIGHT TOMORROW? 251 00:10:57,790 --> 00:11:00,460 OH, THAT'S WHAT'S UP. OKAY. 252 00:11:00,493 --> 00:11:02,229 WHOO, BABY. 253 00:11:02,261 --> 00:11:05,231 MY BOOKIE IS GONNA BE WEEPING ABOUT THAT. 254 00:11:05,264 --> 00:11:07,067 REYNOSO IS GOING DOWN. 255 00:11:07,100 --> 00:11:09,769 YOU KNOW, THAT KID IS A LITTLE BIT TOO FAST FOR HIM. 256 00:11:09,802 --> 00:11:11,203 DON'T WASTE YOUR MONEY, BRO. 257 00:11:11,238 --> 00:11:14,741 KID'S GOT SPEED, BUT HE'S GOT NO POWER AND NO CHIN. 258 00:11:15,808 --> 00:11:18,677 YOU THINK SO, HUH? 259 00:11:19,746 --> 00:11:21,081 YEAH. 260 00:11:22,481 --> 00:11:25,085 LOOK AT THESE TWO. 261 00:11:25,118 --> 00:11:26,919 THERE'S ABSOLUTELY NO COMMITMENT. 262 00:11:26,953 --> 00:11:28,054 WE'RE GETTING CLOSE. 263 00:11:28,087 --> 00:11:30,758 NOW HE JUST NEEDS TO MOVE THAT ARM, AND WE'RE ALL GOOD. 264 00:11:31,490 --> 00:11:35,195 I-IT'S GUARDING BEHAVIOR. JANE TOLD ME TO WATCH FOR IT. 265 00:11:35,227 --> 00:11:37,730 HE MOVES THAT ARM, IT MEANS HE'S COMFORTABLE WITH ABBOTT. 266 00:11:37,764 --> 00:11:39,732 MAYBE HE'S NOT GONNA DO IT. 267 00:11:39,767 --> 00:11:42,101 NO, HE'S GONNA DO IT. WATCH. 268 00:11:43,971 --> 00:11:45,272 THERE YOU GO. 269 00:11:45,304 --> 00:11:46,505 COOL. 270 00:11:46,538 --> 00:11:49,509 I'LL LET JANE KNOW THE MARK HAS BEEN ROPED. 271 00:11:49,542 --> 00:11:50,778 [ KEYBOARD CLACKING ] 272 00:11:55,849 --> 00:11:56,817 [ CHUCKLES ] 273 00:11:56,850 --> 00:11:58,284 OKAY. ALL RIGHT. 274 00:12:00,452 --> 00:12:01,754 MM. 275 00:12:01,788 --> 00:12:03,389 [ GLASSES THUD ] 276 00:12:03,423 --> 00:12:04,758 [ GROANS ] 277 00:12:04,792 --> 00:12:06,092 ALL RIGHT, LET ME FINISH. YEAH, ALL RIGHT. 278 00:12:06,125 --> 00:12:08,227 [ CLEARS THROAT ] OKAY, SO -- SO, I'VE GOT HIM. 279 00:12:08,260 --> 00:12:10,397 I GOT HIM UP AGAINST THE ROPES, AND I -- BAM! -- 280 00:12:10,429 --> 00:12:11,530 POP HIM IN THE LIVER. 281 00:12:11,563 --> 00:12:15,034 THE SUCKER FOLDS IN HALF LIKE A DECK CHAIR. 282 00:12:15,067 --> 00:12:16,503 [ BOTH LAUGH ] 283 00:12:16,536 --> 00:12:18,404 IT WAS PERFECT. 284 00:12:18,437 --> 00:12:19,538 THERE'S NOTHING LIKE A LIVER SHOT 285 00:12:19,572 --> 00:12:21,541 TO MAKE A GROWN MAN CALL FOR HIS MAMA. 286 00:12:21,573 --> 00:12:23,176 AIN'T THAT THE TRUTH? RIGHT? 287 00:12:23,210 --> 00:12:24,244 YOU WANT ANOTHER SHOT? 288 00:12:24,277 --> 00:12:27,047 HEY, LINE 'EM UP, MAN. TWO. 289 00:12:27,080 --> 00:12:30,517 [ BOTH LAUGH ] [ CELLPHONE VIBRATES ] 290 00:12:30,549 --> 00:12:33,921 [ Laughing ] THAT WAS PERFECT. 291 00:12:33,953 --> 00:12:36,088 ABSOLUTELY. [ BOTH LAUGHING ] 292 00:12:39,893 --> 00:12:43,395 PERFECT. OH, MAN. 293 00:12:43,429 --> 00:12:46,198 [ LAUGHTER CONTINUES ] 294 00:12:46,232 --> 00:12:49,802 [ Laughing ] THAT IS PERFECT. 295 00:12:49,836 --> 00:12:52,806 OH, MAN. [ LAUGHS ] LOOK AT THESE GUYS! 296 00:12:52,840 --> 00:12:55,408 YOU HAVE AN ANNOYING LAUGH. 297 00:12:55,442 --> 00:12:57,945 [ SCOFFS ] WHAT'S THAT? 298 00:12:57,977 --> 00:13:00,179 A LOUD, ANNOYING LAUGH. YOU MADE ME MISS MY SHOT. 299 00:13:00,212 --> 00:13:02,548 HEY, MAN, YOU MISS, YOU LOSE. LIVE WITH IT. 300 00:13:02,581 --> 00:13:04,551 DON'T TOUCH THE MONEY! 301 00:13:04,583 --> 00:13:05,552 HEY, BROTHER, TAKE MY ADVICE. 302 00:13:05,585 --> 00:13:07,888 GET OUT OF MY FACE AND GO BACK TO YOUR GAME. 303 00:13:07,921 --> 00:13:09,923 I'M NOT YOUR BROTHER. AND WHAT ARE YOU LOOKING AT? 304 00:13:10,590 --> 00:13:12,192 WHOA! HEY, HEY! 305 00:13:13,927 --> 00:13:16,363 [ GRUNTS ] WHAT'S WRONG WITH YOU, MAN? 306 00:13:17,998 --> 00:13:19,499 AW, HELL, NO! 307 00:13:19,532 --> 00:13:20,833 OH. 308 00:13:20,868 --> 00:13:23,903 YEAH, YOU BETTER RUN. 309 00:13:23,937 --> 00:13:28,207 [ PANTING ] THAT DUDE IS CRAZY! 310 00:13:28,240 --> 00:13:29,576 YEAH, YOU GOT THAT RIGHT. 311 00:13:29,609 --> 00:13:31,577 MY LAUGH IS NOT ANNOYING. 312 00:13:31,610 --> 00:13:32,678 [ SIGHS ] 313 00:13:32,711 --> 00:13:34,914 WELL, I GUESS WE HAVE TO FIND ANOTHER PLACE TO DRINK. 314 00:13:34,947 --> 00:13:35,915 [ KEYS JINGLE ] 315 00:13:35,948 --> 00:13:37,918 [ ALARM CHIRPS ] THIS YOURS? 316 00:13:37,951 --> 00:13:39,619 YEAH. WHY? YOU NEED A LIFT? 317 00:13:39,652 --> 00:13:42,588 YEAH. 318 00:13:42,621 --> 00:13:43,923 ALL RIGHT. COME ON. 319 00:13:43,956 --> 00:13:45,357 THANKS. 320 00:13:49,495 --> 00:13:51,865 [ ENGINE TURNS OVER ] 321 00:13:53,299 --> 00:13:55,835 [ ENGINE REVS, TIRES SQUEAL ] 322 00:14:00,572 --> 00:14:02,542 [ ENGINE SHUTS OFF ] 323 00:14:02,575 --> 00:14:05,412 [ ROCK MUSIC PLAYS IN DISTANCE ] 324 00:14:05,445 --> 00:14:07,346 WHEW! WE'RE HERE. 325 00:14:07,379 --> 00:14:09,883 THIS IS OUR NEW DRINKING PLACE? 326 00:14:09,917 --> 00:14:12,019 YEAH. IT'S MY BOSS'S HOUSE. 327 00:14:12,052 --> 00:14:13,886 SWAG. 328 00:14:13,921 --> 00:14:16,923 [ INDISTINCT CONVERSATIONS ] 329 00:14:18,658 --> 00:14:20,626 [ SIGHS ] 330 00:14:20,659 --> 00:14:22,261 IF YOU DON'T MIND ME ASKING, 331 00:14:22,294 --> 00:14:23,629 WHAT LINE OF BUSINESS YOU IN? 332 00:14:23,663 --> 00:14:25,264 [ CHUCKLES ] WHATEVER NEEDS DOING. 333 00:14:25,298 --> 00:14:27,967 [ CHUCKLES ] [ DOORBELL RINGS ] 334 00:14:28,000 --> 00:14:29,501 HEY! 335 00:14:29,536 --> 00:14:31,138 [ CHUCKLES ] DENNIS, YOU WICKED MAN. 336 00:14:31,171 --> 00:14:33,306 WHERE HAVE YOU BEEN? 337 00:14:33,340 --> 00:14:35,142 AND WHO IS THIS HANDSOME BRUTE? 338 00:14:35,174 --> 00:14:38,177 UH, TERESA, THIS IS MY FRIEND AARON. 339 00:14:38,211 --> 00:14:39,678 FABULOUS TO MEET YOU, AARON. 340 00:14:39,711 --> 00:14:41,280 ANY FRIEND OF DENNIS. COME ON IN. 341 00:14:52,725 --> 00:14:54,161 [ INDISTINCT CONVERSATIONS ] 342 00:14:54,193 --> 00:14:55,695 [ MID-TEMPO MUSIC PLAYS ] 343 00:14:55,727 --> 00:15:01,567 DENNIS, YOU OLD RASCAL. I AM SO GLAD YOU CAME. 344 00:15:01,600 --> 00:15:03,202 [ PATS BACK ] 345 00:15:03,235 --> 00:15:05,004 AND WHO DO WE HAVE HERE? 346 00:15:05,038 --> 00:15:07,206 UH, THIS IS MY FRIEND AARON. 347 00:15:07,240 --> 00:15:08,508 AARON, PLEASURE TO MEET YOU. 348 00:15:09,442 --> 00:15:10,409 PISCES? 349 00:15:10,442 --> 00:15:12,312 UH, NO. SAGITTARIUS. 350 00:15:12,345 --> 00:15:14,947 AH. CLOSE, BUT NO CIGAR. I LIKE YOU ANYWAY. 351 00:15:14,981 --> 00:15:16,950 [ LAUGHS ] AND YOU CAN RELAX, 352 00:15:16,984 --> 00:15:20,019 MAKE YOURSELF AT HOME, GRAB A DRINK. 353 00:15:20,052 --> 00:15:24,024 OH, ISN'T HE FABULOUS? SUCH A MEAN FACE. 354 00:15:24,057 --> 00:15:25,692 MM, YEAH. THERE IT IS. 355 00:15:25,725 --> 00:15:28,727 DOWN, GIRL. 356 00:15:28,760 --> 00:15:30,062 YOU'RE DOING VERY WELL. 357 00:15:30,096 --> 00:15:31,965 JUST A LITTLE, UH -- A LITTLE BIG. 358 00:15:31,999 --> 00:15:32,798 BIG? REALLY? 359 00:15:32,831 --> 00:15:34,433 YEAH, TRY A LITTLE LESS JOAN CRAWFORD 360 00:15:34,466 --> 00:15:35,969 AND A LITTLE MORE BARBARA STANWYCK. 361 00:15:36,003 --> 00:15:37,136 I DON'T EVEN KNOW WHAT THAT MEANS. 362 00:15:37,169 --> 00:15:40,307 LOOK, I CAN'T WALK, AND YOU'RE GIVING ME ACTING TIPS? 363 00:15:40,340 --> 00:15:41,740 JUST STAY UPRIGHT. KEEP SMILING. 364 00:15:41,774 --> 00:15:44,443 I CAN'T BREATHE IN THIS DRESS. 365 00:15:44,476 --> 00:15:47,313 CAN YOU PASS THE RICE, PLEASE? 366 00:15:47,346 --> 00:15:48,615 WHERE DID THE HOUSE COME FROM? 367 00:15:48,648 --> 00:15:52,251 MM, IT'S A DRUG FORFEITURE, ON LOAN FROM THE D.E.A. 368 00:15:52,284 --> 00:15:55,989 SO, WHAT'S THE STORY WITH JANE AND LISBON? 369 00:15:56,023 --> 00:15:57,190 SHE WAS WORKING 370 00:15:57,224 --> 00:15:58,991 FOR THE CALIFORNIA BUREAU OF INVESTIGATION 371 00:15:59,025 --> 00:16:01,061 IN SACRAMENTO, AND THEN HIS WIFE AND CHILD WERE -- 372 00:16:01,094 --> 00:16:03,062 NO, I MEAN, ARE THEY IN A RELATIONSHIP? 373 00:16:03,096 --> 00:16:04,730 A COUPLE? NO, NO. 374 00:16:04,764 --> 00:16:07,067 I USED TO THINK SO, BUT THEY'RE NOT. 375 00:16:07,100 --> 00:16:08,201 I DON'T THINK. 376 00:16:08,235 --> 00:16:09,735 [ ELEVATOR BELL DINGS ] 377 00:16:09,769 --> 00:16:11,337 HOW'S IT GOING? 378 00:16:11,370 --> 00:16:14,006 GOING GOOD. YOU GOT A NICE RIGHT CROSS. 379 00:16:14,041 --> 00:16:15,674 THANKS. WE JUST ATE. 380 00:16:15,707 --> 00:16:18,245 THERE'S SOME VINDALOO LEFT, I THINK, IF YOU WANT. NO, I'M GOOD. 381 00:16:18,278 --> 00:16:21,081 SO, ABBOTT ROPED THE MARK, GOT HIM TO THE PARTY. 382 00:16:21,114 --> 00:16:23,115 HE'S MET THE INSIDE MAN -- JANE, THAT IS. 383 00:16:23,149 --> 00:16:24,283 NOW WE'RE JUST WAITING ON THE FACE 384 00:16:24,317 --> 00:16:26,086 TO LURE THE MARK TO THE BEDROOM. 385 00:16:26,119 --> 00:16:27,254 HAS HE BEEN TALKING LIKE THIS ALL NIGHT? 386 00:16:27,287 --> 00:16:28,687 YEAH. 387 00:16:28,721 --> 00:16:30,057 AH, HERE WE GO. 388 00:16:32,125 --> 00:16:35,761 [ MID-TEMPO MUSIC PLAYS ] 389 00:16:35,794 --> 00:16:38,097 HEY, NOW. 390 00:16:38,130 --> 00:16:40,633 "HEY, NOW," YOURSELF. 391 00:16:40,667 --> 00:16:42,369 WHAT'S YOUR NAME, SWEETHEART? 392 00:16:42,402 --> 00:16:44,037 KIM. 393 00:16:44,071 --> 00:16:45,772 AARON. 394 00:16:45,804 --> 00:16:49,775 YOU ARE SMOKING HOT. 395 00:16:49,808 --> 00:16:52,111 YOU'RE LIKE A DAMN FIRE HAZARD WALKING AROUND HERE. 396 00:16:52,144 --> 00:16:53,580 [ LAUGHS ] OH, HUSH. 397 00:16:53,613 --> 00:16:55,414 NO, FOR REAL. [ CHUCKLES ] 398 00:16:58,817 --> 00:17:01,553 THE EAGLE HAS LANDED. 399 00:17:07,559 --> 00:17:09,461 WE ONLY JUST MET. 400 00:17:09,496 --> 00:17:12,164 OH, I FEEL LIKE WE'VE KNOWN EACH OTHER SO LONG. 401 00:17:13,833 --> 00:17:16,068 PERHAPS WE HOOKED UP IN A PREVIOUS LIFE. 402 00:17:16,103 --> 00:17:20,406 OH...YOU MEAN LIKE YOU WERE NAPOLEON 403 00:17:20,440 --> 00:17:21,840 AND I WAS JOSEPHINE? 404 00:17:21,874 --> 00:17:24,544 I WAS THINKING MORE LIKE MICKEY ROURKE AND KIM BASINGER, 405 00:17:24,576 --> 00:17:25,845 YOU KNOW WHAT I'M SAYING? 406 00:17:25,877 --> 00:17:31,718 YOU ARE A VERY NAUGHTY BOY. 407 00:18:03,282 --> 00:18:07,453 WHOA, WHOA. SLOW DOWN THERE, COWBOY. 408 00:18:07,487 --> 00:18:10,257 WHAT'S THE MATTER, BABY? COME HERE. 409 00:18:10,289 --> 00:18:13,192 Patrick: UH, WHEN I SAID, "MAKE YOURSELVES AT HOME," 410 00:18:13,226 --> 00:18:14,626 UH, THAT'S NOT EXACTLY WHAT I MEANT. 411 00:18:14,661 --> 00:18:16,462 THAT'S -- THAT'S MY BED. 412 00:18:16,496 --> 00:18:17,564 I'M SORRY, MAN. 413 00:18:17,596 --> 00:18:20,133 YOU SEE A CHANCE LIKE THIS [CLEARS THROAT] YOU TAKE IT. 414 00:18:20,166 --> 00:18:23,135 KIM, REALLY? YOU HAVE NO SELF-CONTROL. 415 00:18:23,170 --> 00:18:24,203 OUT. 416 00:18:24,237 --> 00:18:25,904 SORRY, BOSS. 417 00:18:25,938 --> 00:18:29,209 [ SIGHS ] ANYTHING THAT MOVES. 418 00:18:29,241 --> 00:18:30,742 [ SIGHS ] 419 00:18:30,777 --> 00:18:32,878 WHAT THE HELL? 420 00:18:32,912 --> 00:18:33,813 IS THAT A VAN GOGH? 421 00:18:33,846 --> 00:18:37,549 I'D NEVER HAVE PEGGED YOU AS AN ART LOVER. 422 00:18:37,584 --> 00:18:38,651 IT'S A FAKE. 423 00:18:41,921 --> 00:18:43,390 ALL OF IT? 424 00:18:43,423 --> 00:18:44,557 YEAH, AFRAID SO. 425 00:18:44,590 --> 00:18:47,359 I COULDN'T AFFORD THEM IF THEY WERE REAL. 426 00:18:47,394 --> 00:18:50,896 WHAT IS IT THAT YOU DO? I MEAN FOR MONEY? 427 00:18:50,930 --> 00:18:53,165 SOFTWARE. 428 00:18:53,200 --> 00:18:54,133 SOFTWARE? MM-HMM. 429 00:18:54,166 --> 00:18:56,269 HAVEN'T SEEN A COMPUTER IN YOUR WHOLE HOUSE. 430 00:18:58,337 --> 00:19:01,508 NEVER TAKE YOUR WORK HOME WITH YOU. 431 00:19:01,540 --> 00:19:02,909 KEY TO A HAPPY LIFE. 432 00:19:02,942 --> 00:19:04,443 [ CHUCKLES ] 433 00:19:04,477 --> 00:19:07,814 LET'S GO DOWNSTAIRS, HAVE SOME FUN. 434 00:19:12,219 --> 00:19:14,820 HEY. IT'S PULASKI. 435 00:19:14,854 --> 00:19:16,923 I THINK I'VE FOUND SOMETHING. 436 00:19:16,955 --> 00:19:20,292 NOPE. YOU'RE GONNA WANT TO SEE THIS YOURSELF. 437 00:19:20,326 --> 00:19:23,796 [ CRICKETS CHIRPING ] 438 00:19:23,829 --> 00:19:27,299 THANKS FOR THE PARTY. I HAD A GREAT TIME. 439 00:19:27,334 --> 00:19:29,167 YOU GET HER HOME SAFE. 440 00:19:30,369 --> 00:19:32,538 I CAN TAKE HER HOME. 441 00:19:32,572 --> 00:19:36,808 UH... MAYBE IN THE NEXT LIFE. 442 00:19:36,843 --> 00:19:38,845 RIGHT. 443 00:19:40,880 --> 00:19:42,882 LOOKS LIKE YOUR RIDE DITCHED YOU. 444 00:19:44,616 --> 00:19:45,951 CAN I CALL YOU A CAR? 445 00:19:45,984 --> 00:19:48,320 NO, I'M GOOD. 446 00:19:48,355 --> 00:19:49,822 THANKS FOR THE PARTY. 447 00:19:49,855 --> 00:19:51,391 MY PLEASURE. 448 00:20:02,602 --> 00:20:05,872 PATRICK? ARE YOU UP THERE? 449 00:20:05,904 --> 00:20:08,907 EVERYBODY'S GONE. 450 00:20:17,549 --> 00:20:21,854 I'M SORRY. THE PARTY'S OVER. 451 00:20:21,887 --> 00:20:23,355 WHERE DID YOU GET THIS PAINTING? 452 00:20:23,390 --> 00:20:25,791 UH, MY BOYFRIEND WILL KNOW. HE'S ON HIS WAY UP. 453 00:20:25,825 --> 00:20:28,994 ALL RIGHT, FELLAS, WHAT'S THE SITUATION? 454 00:20:29,028 --> 00:20:31,864 WELL, PULASKI LEFT A SLIDING DOOR OPEN BEFORE HE LEFT, 455 00:20:31,897 --> 00:20:34,334 AND THIS GUY CAME THROUGH IT. 456 00:20:34,366 --> 00:20:36,635 WE GOT A NAME? I'M WORKING ON IT. 457 00:20:39,506 --> 00:20:43,476 OH, I KEEP FINDING STRANGERS IN MY BEDROOM. 458 00:20:43,509 --> 00:20:45,912 GUESS IT WAS A GOOD PARTY. 459 00:20:45,944 --> 00:20:47,279 YOU ALL RIGHT, TERESA? 460 00:20:47,314 --> 00:20:48,381 I AM NOW THAT YOU'RE HERE. 461 00:20:48,414 --> 00:20:50,349 HE WANTS TO KNOW ABOUT THE PAINTING. IT'S A FAKE. 462 00:20:50,383 --> 00:20:53,353 UH, NO, IT ISN'T. IT'S THE REAL McCOY. 463 00:20:53,385 --> 00:20:54,886 IT WAS STOLEN TWO YEARS AGO. 464 00:20:54,921 --> 00:20:56,888 REALLY? 465 00:20:56,923 --> 00:21:00,058 YEAH. SO... 466 00:21:00,092 --> 00:21:02,060 WHAT'S THE DEAL? 467 00:21:02,094 --> 00:21:04,564 UH...I DON'T KNOW THAT WE'VE MET. 468 00:21:04,596 --> 00:21:05,932 I'M -- I'M PATRICK. 469 00:21:07,066 --> 00:21:09,568 AND THIS IS TERESA. 470 00:21:09,602 --> 00:21:11,037 HI. 471 00:21:11,069 --> 00:21:14,973 MacKAYE. 472 00:21:15,007 --> 00:21:16,776 HUH. 473 00:21:16,808 --> 00:21:18,978 I'LL CROSS-REFERENCE THE NAME "MacKAYE" WITH THE PICTURE. 474 00:21:20,946 --> 00:21:21,980 [ BEEP ] 475 00:21:22,013 --> 00:21:24,517 EDWIN MacKAYE, A DALLAS RESIDENT, BUSINESS OWNER. 476 00:21:24,550 --> 00:21:25,817 HE OWNS SOME LOCAL RESTAURANTS, 477 00:21:25,852 --> 00:21:27,519 FAST-FOOD JOINTS, THAT KIND OF THING. 478 00:21:27,554 --> 00:21:29,655 CASH BUSINESS -- THAT'S GOOD FOR MONEY LAUNDERING. 479 00:21:29,689 --> 00:21:30,656 CRIMINAL RECORD? 480 00:21:30,690 --> 00:21:34,461 NO. HE'S CLEAN. EX-MILITARY. 481 00:21:34,493 --> 00:21:37,329 OH, AND LOOK -- A MINOR IN ART HISTORY. 482 00:21:37,364 --> 00:21:38,597 OOH, THAT'S OUR BOY. 483 00:21:38,631 --> 00:21:40,666 IF JANE'S THEORY IS RIGHT, 484 00:21:40,700 --> 00:21:42,101 THEN HE SHOULD BE THE LEADER OF THE GANG, 485 00:21:42,134 --> 00:21:44,671 WHICH MEANS HE'S THE ONE THAT KILLED HENNIGAN. 486 00:21:44,703 --> 00:21:47,539 OKAY, CUT THE CUTE STUFF. YOU STOLE THESE. 487 00:21:47,574 --> 00:21:51,076 IT'S WHAT YOU DO. I MEAN, THESE ARE ALL STOLEN. 488 00:21:51,109 --> 00:21:53,413 HOW DO YOU KNOW SO MUCH ABOUT IT? 489 00:21:53,445 --> 00:21:54,713 ARE YOU A COP? 490 00:21:54,747 --> 00:21:57,083 OH, DON'T YOU GET IT? 491 00:21:57,115 --> 00:21:59,551 THIS GENTLEMAN'S ONE OF US. 492 00:21:59,586 --> 00:22:02,020 HE DOESN'T LOOK LIKE ONE OF US. 493 00:22:02,054 --> 00:22:05,023 NO. HE'S A HEAVY, A SHOOTER. 494 00:22:05,057 --> 00:22:07,359 I'M DIRECT. 495 00:22:07,394 --> 00:22:09,429 AND YOU'RE ONE OF THOSE GRIFTER TYPES, HUH? 496 00:22:09,461 --> 00:22:10,930 YOU, UH, PREFER TRICKS? 497 00:22:11,998 --> 00:22:13,031 YOU COULD SAY THAT. 498 00:22:13,065 --> 00:22:16,435 EH. NEVER SAW A TRICK THAT COULD BEAT A BULLET. 499 00:22:16,469 --> 00:22:18,770 WELL, IT'S ALWAYS NICE TO GET TIPS FROM THE COMPETITION. 500 00:22:18,805 --> 00:22:21,607 OH, I-I DON'T HAVE COMPETITION. 501 00:22:21,641 --> 00:22:23,576 SEE, TEXAS IS MY TERRITORY. 502 00:22:23,609 --> 00:22:25,845 YOU'VE GOT TO GO SOMEPLACE ELSE. 503 00:22:25,877 --> 00:22:27,579 I HEAR MIAMI'S HOT. 504 00:22:27,614 --> 00:22:31,983 ARE YOU SAYING THIS TOWN AIN'T BIG ENOUGH FOR THE TWO OF US? 505 00:22:32,018 --> 00:22:35,622 YEAH. 506 00:22:35,654 --> 00:22:37,589 I'M NOT PLAYING WITH YOU. 507 00:22:37,624 --> 00:22:39,892 OH, I GET IT. BUT I THINK YOU'RE A BUSINESSMAN. 508 00:22:39,925 --> 00:22:42,060 NOW, YOU CAN TRY TO RUN US OUT OF TOWN, 509 00:22:42,094 --> 00:22:45,397 OR MAYBE YOU CAN STOP AND THINK ABOUT WHAT BROUGHT US TO TOWN. 510 00:22:45,432 --> 00:22:46,932 YOU GOT A JOB PLANNED? 511 00:22:46,965 --> 00:22:48,468 A BIG ONE. MM. 512 00:22:48,500 --> 00:22:49,469 THE VERMEER AT THE DMA? 513 00:22:49,501 --> 00:22:51,136 LOUSY ESCAPE ROUTES. 514 00:22:51,170 --> 00:22:53,673 HMM. THE HIRST SCULPTURE? 515 00:22:53,705 --> 00:22:54,773 TOO HEAVY. 516 00:22:57,108 --> 00:22:59,412 VIOLETS. 517 00:22:59,445 --> 00:23:02,048 GIVE THE MAN A CIGAR. HE'S A SHARP ONE. 518 00:23:02,080 --> 00:23:05,551 WELL, I GUESS YOU'VE GOT THREE OPTIONS. 519 00:23:05,585 --> 00:23:08,019 YOU CAN CUT ME IN ON THE JOB, 520 00:23:08,054 --> 00:23:10,557 YOU CAN GET OUT OF TOWN TONIGHT, 521 00:23:10,589 --> 00:23:12,759 OR I JUST HURT THE TWO OF YOU BADLY. 522 00:23:12,791 --> 00:23:13,692 WHAT DO YOU THINK? 523 00:23:13,726 --> 00:23:15,494 YOU KNOW, YOU SHOULD HAVE BEEN A SALESMAN. 524 00:23:15,528 --> 00:23:16,429 WHAT DO YOU SAY, DARLING? 525 00:23:16,462 --> 00:23:18,163 ARE WE GONNA CUT THIS THUG IN ON OUR PLAN? 526 00:23:18,196 --> 00:23:21,000 IT'S BETTER THAN HIM HURTING US BADLY. 527 00:23:25,203 --> 00:23:27,507 WELCOME TO THE TEAM. 528 00:23:27,539 --> 00:23:28,807 [ PATS ARM ] 529 00:24:16,154 --> 00:24:18,490 [ TELEPHONE RINGS ] 530 00:24:18,525 --> 00:24:19,625 THIS IS PIKE. 531 00:24:19,659 --> 00:24:21,093 LISBON: Hey. It's Lisbon. 532 00:24:21,126 --> 00:24:23,229 I'M JUST CHECKING IN BEFORE I GO TO BED. 533 00:24:23,261 --> 00:24:26,965 Okay, well, we, uh -- We shut down the inside cameras, 534 00:24:26,999 --> 00:24:28,134 SO YOU DON'T HAVE TO WORRY ABOUT ANY MORE PRYING EYES. 535 00:24:28,166 --> 00:24:30,836 AND, JUST SO YOU KNOW, THERE IS SOMEONE OUTSIDE THE HOUSE. 536 00:24:30,869 --> 00:24:32,904 WE'RE GUESSING IT'S ANOTHER ONE OF MacKAYE'S CREW. 537 00:24:32,939 --> 00:24:35,106 HUH. WELL, THAT'S GONNA MAKE ME SLEEP BETTER. 538 00:24:35,141 --> 00:24:37,009 No, we've got eyes on him. Don't worry. 539 00:24:37,042 --> 00:24:39,979 YOU'RE SAFE. I WOULDN'T LIE TO YOU. 540 00:24:40,011 --> 00:24:41,980 THAT'S A NICE CHANGE OF PACE. 541 00:24:42,013 --> 00:24:44,884 I FEEL LIKE EVERYTHING I'VE DONE TODAY IS A LIE. 542 00:24:44,916 --> 00:24:48,054 WELL, YOU WERE, UH -- YOU WERE REAL GOOD. 543 00:24:48,086 --> 00:24:50,122 I learned from the best. 544 00:24:50,155 --> 00:24:55,260 I'M STARVING, AND THERE'S NOTHING TO EAT IN THIS HOUSE. 545 00:24:55,294 --> 00:24:56,461 WELL, THAT'S A SHAME. 546 00:24:56,494 --> 00:24:59,198 THERE'S A PRETTY GOOD DINER JUST DOWN THE STREET FROM YOU -- 547 00:24:59,230 --> 00:25:01,166 BISCUITS AND GRAVY, IF THAT'S YOUR THING. 548 00:25:01,200 --> 00:25:02,769 NOT REALLY. 549 00:25:02,801 --> 00:25:04,636 ALL RIGHT, WELL, WHAT ABOUT PANCAKES? 550 00:25:04,671 --> 00:25:07,640 I COULD GO FOR SOME PANCAKES. 551 00:25:07,673 --> 00:25:11,076 THEY HAVE ABOUT SIX KINDS -- CHOCOLATE CHIP, BANANA, 552 00:25:11,109 --> 00:25:12,278 all that good stuff. 553 00:25:12,310 --> 00:25:14,614 NOW YOU'RE JUST TRYING TO TORTURE ME. 554 00:25:14,646 --> 00:25:16,615 MAYBE. JUST A LITTLE BIT. 555 00:25:16,648 --> 00:25:18,150 I COULD HAVE SOME SENT OVER TO YOU. 556 00:25:18,183 --> 00:25:20,952 YOU SAID THERE'S A GUY WATCHING THE HOUSE, REMEMBER? 557 00:25:20,987 --> 00:25:22,755 YEAH, YOU'RE RIGHT. I WON'T TEASE YOU ANYMORE. 558 00:25:22,788 --> 00:25:24,155 I WON'T EVEN MENTION THE WAFFLES. 559 00:25:24,190 --> 00:25:25,924 [ LAUGHS ] I'M GONNA GO DOWNSTAIRS 560 00:25:25,958 --> 00:25:28,294 AND SEE IF THERE'S SOME CANAPéS LEFT FROM THE PARTY. 561 00:25:28,326 --> 00:25:29,961 ALL RIGHT, WELL, I DON'T KNOW WHAT A CANAPé IS. 562 00:25:29,996 --> 00:25:32,898 BUT BON APPéTIT. GOOD NIGHT, LISBON. 563 00:25:32,932 --> 00:25:34,601 GOOD NIGHT. 564 00:25:42,709 --> 00:25:44,343 FISCHER. 565 00:25:44,375 --> 00:25:46,846 GOOD JOB ON GETTING PULASKI TO THE BEDROOM. 566 00:25:46,878 --> 00:25:49,715 CANDY FROM A BABY. HOW DID WE DO? 567 00:25:49,749 --> 00:25:51,217 THIS GUY PAID JANE AND LISBON A VISIT 568 00:25:51,250 --> 00:25:52,652 AFTER THE PARTY WAS OVER -- EDWIN MacKAYE. 569 00:25:52,684 --> 00:25:55,320 LOOKS LIKE HE'S THE ONE WHO KILLED HENNIGAN. SO WHAT'S OUR NEXT MOVE? 570 00:25:55,354 --> 00:25:57,656 JANE'S PLAN'S WORKING SO FAR, SO WE STICK WITH IT. 571 00:25:57,690 --> 00:25:59,659 YEAH. I WANT YOU TO HANDLE THE TAKEDOWN. IT'S GONNA BE DANGEROUS. 572 00:25:59,692 --> 00:26:01,227 YOU GOT IT. ALL RIGHT. 573 00:26:01,259 --> 00:26:04,730 FISCHER, I WANT YOU TO HANDLE THE STREETS. 574 00:26:04,763 --> 00:26:08,099 JANE GAVE US A LIST OF THINGS THAT HE NEEDS. 575 00:26:09,367 --> 00:26:11,202 A MARCHING BAND? 576 00:26:11,237 --> 00:26:14,140 YEAH. A MARCHING BAND. 577 00:26:14,173 --> 00:26:16,107 YES, SIR. 578 00:26:18,376 --> 00:26:21,113 [ BOTH CHUCKLE ] 579 00:26:22,114 --> 00:26:25,384 WELL, YOU JUST LOVE POPPING UP PLACES, DON'T YOU? 580 00:26:25,416 --> 00:26:26,818 LET'S GO. 581 00:26:26,853 --> 00:26:29,721 AND GOOD MORNING TO YOU, TOO. 582 00:26:30,990 --> 00:26:32,991 SHOTGUN. 583 00:26:34,393 --> 00:26:36,061 [ ENGINE TURNS OVER ] 584 00:26:46,673 --> 00:26:50,409 Patrick: MANET PAINTED IT AS A GIFT FOR HIS BROTHER'S WIFE, 585 00:26:50,442 --> 00:26:53,244 HIS FORBIDDEN LOVE. 586 00:26:53,278 --> 00:26:55,114 HE COULDN'T EXPRESS HIS LOVE TO HER IN WORDS, 587 00:26:55,146 --> 00:26:58,718 SO HE DID IT A DIFFERENT WAY -- WITH A PAINTING. 588 00:26:58,750 --> 00:27:01,887 IT'S WORTH MAYBE $100 MILLION IF IT EVER WENT TO AUCTION. MM. 589 00:27:01,921 --> 00:27:03,288 YOU HAVE SOMEONE WHO WANTS IT? 590 00:27:03,321 --> 00:27:04,790 WE'VE GOT A CUSTOMER LINED UP. 591 00:27:04,824 --> 00:27:06,291 HOW MUCH? $5 MILLION. 592 00:27:06,325 --> 00:27:07,759 50/50 SPLIT. 593 00:27:10,429 --> 00:27:11,730 FAIR ENOUGH. 594 00:27:11,763 --> 00:27:14,400 NOW, YOU'VE PROBABLY GOT SOME, UH, 595 00:27:14,432 --> 00:27:16,035 CUTE, LITTLE PLAN TO GET US IN AND OUT, 596 00:27:16,067 --> 00:27:17,737 NO FUSS, NO MUSS, HUH? 597 00:27:17,769 --> 00:27:21,007 WELL, I DO LIKE TO KEEP MY MUSS TO A MINIMUM. 598 00:27:21,039 --> 00:27:23,009 I DON'T DO CUTE. 599 00:27:23,041 --> 00:27:25,310 TRICKS, CLEVERNESS -- IT'S A WASTE OF TIME. 600 00:27:25,344 --> 00:27:26,813 YOU'D BE SURPRISED. 601 00:27:26,846 --> 00:27:28,681 AH, FAST AND SIMPLE. 602 00:27:28,714 --> 00:27:30,148 Edwin: THAT'S THE WAY TO DO THINGS. 603 00:27:30,182 --> 00:27:32,151 Patrick: AND YOU'RE THE ONE BEHIND THE WHEEL. 604 00:27:32,183 --> 00:27:33,685 THIS IS THE PART I DON'T UNDERSTAND. 605 00:27:33,720 --> 00:27:35,153 WE'RE NOT GONNA ROB THE MUSEUM. 606 00:27:35,186 --> 00:27:36,422 NO. WHY NOT? 607 00:27:36,454 --> 00:27:39,692 I MEAN, HE ROBS THE PAINTING FROM THE MUSEUM, 608 00:27:39,726 --> 00:27:41,794 WE CATCH HIM RED-HANDED, CASE CLOSED, WE ALL GO HOME. 609 00:27:41,827 --> 00:27:43,762 BUT THEN WE WOULDN'T BE ABLE TO PROVE 610 00:27:43,796 --> 00:27:45,698 THAT HE MURDERED JOHN HENNIGAN. 611 00:27:45,731 --> 00:27:48,934 BESIDES, JANE SAID THAT MacKAYE DOESN'T WANT TO ROB THE MUSEUM. 612 00:27:48,968 --> 00:27:50,769 THEN WHY IS HE AT THE MUSEUM WITH JANE? 613 00:27:50,802 --> 00:27:53,105 'CAUSE HE WANTS TO GET JANE AND LISBON OUT OF THE HOUSE. 614 00:27:53,138 --> 00:27:55,741 THAT'S OKAY, 'CAUSE WE KNOW WHAT THEY'RE GONNA DO NEXT. 615 00:28:05,483 --> 00:28:08,686 [ ALARM BEEPING ] 616 00:28:23,035 --> 00:28:25,037 [ BEEPING STOPS ] 617 00:28:36,883 --> 00:28:40,051 [ SIGHS ] 618 00:29:00,538 --> 00:29:01,740 [ BUZZER ] 619 00:29:06,545 --> 00:29:09,315 [ SIGHS ] WELL, DAMN. 620 00:29:36,375 --> 00:29:38,176 [ SNIFFS ] 621 00:29:38,210 --> 00:29:41,913 [ CAR DOOR OPENS ] 622 00:29:46,051 --> 00:29:48,354 SO, THEY HID ALL THE PAINTINGS. 623 00:29:48,386 --> 00:29:49,888 YEP. 624 00:29:49,922 --> 00:29:51,423 THINKS HE'S SMART. 625 00:29:51,457 --> 00:29:53,224 THINKS HE'S PULLING ONE OVER ON ME. 626 00:29:53,259 --> 00:29:55,426 SO, WHAT DO WE DO? 627 00:29:55,461 --> 00:29:58,564 WE HIT THEM -- THE OLD-FASHIONED WAY, HARD AND FAST. 628 00:29:58,596 --> 00:30:00,566 I FIGURE FOUR MINUTES. 629 00:30:00,598 --> 00:30:02,500 WE GET IN, WE OPEN THE SAFE, WE GET OUT. 630 00:30:02,534 --> 00:30:04,502 AND WHAT IF THIS PATRICK GUY STALLS 631 00:30:04,536 --> 00:30:06,172 IN GIVING US THE COMBINATIONS? 632 00:30:06,204 --> 00:30:09,842 WELL, HE ACTS LIKE HE DOESN'T CARE ABOUT ANYTHING, 633 00:30:09,875 --> 00:30:12,178 BUT I SEE THE WAY HE LOOKS AT HIS GIRLFRIEND. 634 00:30:12,211 --> 00:30:14,512 SEE, THAT -- THAT'S THE SOFT SPOT. 635 00:30:14,546 --> 00:30:16,515 HE GIVES US ANY TROUBLE, 636 00:30:16,548 --> 00:30:19,919 I SHOOT THE BRUNETTE IN THE HEAD. 637 00:30:32,163 --> 00:30:33,464 WE NEED TO KEEP AT LEAST ONE OF THEM ALIVE 638 00:30:33,499 --> 00:30:34,400 UNTIL WE GET THE SAFE OPEN. 639 00:30:34,432 --> 00:30:37,603 AFTER THAT, IF ONE OF THEM GETS IN THE WAY, 640 00:30:37,635 --> 00:30:39,538 IT'S OPEN SEASON. [ GUN COCKS ] 641 00:30:45,510 --> 00:30:47,445 [ TIRES SCREECH ] 642 00:31:01,593 --> 00:31:03,394 UP, NOW! 643 00:31:03,429 --> 00:31:05,564 WHOA, SORRY. DIDN'T HEAR THE DOORBELL. 644 00:31:05,596 --> 00:31:06,565 NO TALKING. 645 00:31:06,597 --> 00:31:07,566 TO THE BEDROOM -- NOW. 646 00:31:07,598 --> 00:31:10,669 STAY WITH HER. IF I GIVE THE WORD, KILL HER. 647 00:31:10,701 --> 00:31:11,903 LET'S GO! 648 00:31:11,938 --> 00:31:14,673 I'LL BE BACK IN TWO SHAKES, BABE. 649 00:31:14,705 --> 00:31:16,541 MOVE. 650 00:31:16,575 --> 00:31:18,144 OH, SO DEMANDING. 651 00:31:20,946 --> 00:31:22,381 WOULD YOU LIKE A DRINK? 652 00:31:22,413 --> 00:31:24,916 WE HAVE SOME CHAMPAGNE RIGHT HERE. 653 00:31:24,951 --> 00:31:27,153 [ KNOCK ON DOOR ] 654 00:31:28,720 --> 00:31:31,222 DON'T SAY A WORD. DROP THE GUN NOW. 655 00:31:41,700 --> 00:31:45,171 OPEN THE SAFE. 656 00:31:45,203 --> 00:31:46,672 OH, YOU KNOW ABOUT THE SAFE. 657 00:31:46,704 --> 00:31:49,307 THAT'S A DEPRESSING DEVELOPMENT. 658 00:31:51,109 --> 00:31:53,278 [ BUZZER ] 659 00:31:53,311 --> 00:31:54,579 FASTER! 660 00:31:54,613 --> 00:31:59,218 YEAH, SLOW AND STEADY OPENS THE SAFE. 661 00:32:06,458 --> 00:32:10,328 VOILà. 662 00:32:13,765 --> 00:32:16,602 [ SIGHS ] HERE. 663 00:32:25,644 --> 00:32:28,079 HOLD ON. WHAT? 664 00:32:29,615 --> 00:32:32,218 I DON'T LIKE THE LOOK ON HIS FACE. 665 00:32:39,125 --> 00:32:40,959 TRACKING DEVICE, YEAH? 666 00:32:42,661 --> 00:32:43,862 YOU THINK I'M STUPID? 667 00:32:43,894 --> 00:32:46,498 ASK ME THAT QUESTION AGAIN WHEN YOU DON'T HAVE A GUN. 668 00:32:51,502 --> 00:32:54,105 OKAY. 669 00:32:55,773 --> 00:32:57,542 YOU STAY UP HERE FOR A FULL MINUTE AFTER WE'RE GONE. 670 00:32:57,576 --> 00:32:58,609 YOU UNDERSTAND? 671 00:32:58,644 --> 00:33:00,112 YEP. 672 00:33:04,782 --> 00:33:07,653 ONE, MISSISSIPPI... 673 00:33:11,690 --> 00:33:13,491 [ GUN COCKS ] SHOULDN'T HAVE CAME BACK, FELLAS. 674 00:33:13,525 --> 00:33:16,228 NOW, WHY DON'T YOU PUT THE GUNS DOWN SO WE CAN DISCUSS IT? 675 00:33:16,261 --> 00:33:17,528 [ GRUNTS ] 676 00:33:25,203 --> 00:33:26,538 BASTARD. 677 00:33:41,752 --> 00:33:43,088 HE'S IN THE BACK! 678 00:33:49,861 --> 00:33:52,730 [ TIRES SQUEAL ] 679 00:33:55,834 --> 00:33:58,604 [ GARBAGE TRUCK BEEPING ] 680 00:33:58,636 --> 00:34:00,038 [ HORN BLARES ] 681 00:34:17,889 --> 00:34:21,193 [ HIP-HOP MUSIC PLAYING IN DISTANCE ] 682 00:34:38,643 --> 00:34:41,146 [ MARCHING BAND PLAYING ] 683 00:34:43,782 --> 00:34:46,751 [ TIRES SQUEAL ] 684 00:34:46,784 --> 00:34:48,786 [ "THE YELLOW ROSE OF TEXAS" PLAYS ] 685 00:35:10,275 --> 00:35:11,777 HEY! 686 00:35:14,179 --> 00:35:16,181 [ SIGHS ] 687 00:35:17,949 --> 00:35:19,918 OKAY. 688 00:35:19,951 --> 00:35:22,887 2235 FRITZ STREET, OFF SINGLETON. 689 00:35:22,920 --> 00:35:24,789 YES, SIR. 690 00:35:40,938 --> 00:35:43,275 KEEP THE CHANGE. THANKS. HAVE A NICE DAY. 691 00:35:46,677 --> 00:35:47,679 [ KEYS JINGLE ] 692 00:36:17,309 --> 00:36:20,945 FBI! PUT YOUR HANDS ON YOUR HEAD! 693 00:36:20,978 --> 00:36:23,581 DO IT NOW! 694 00:36:31,021 --> 00:36:33,992 ALL RIGHT. 695 00:36:34,025 --> 00:36:36,894 LET'S BE VERY CLEAR ABOUT SOMETHING. 696 00:36:36,927 --> 00:36:39,465 WE DON'T NEED YOU TO SAY ANYTHING. 697 00:36:39,498 --> 00:36:42,300 WE ALREADY HAVE THE REST OF YOUR CREW IN CUSTODY. 698 00:36:42,333 --> 00:36:45,237 WE HAVE FBI WITNESSES FOR ARMED ROBBERY, 699 00:36:45,271 --> 00:36:48,574 ASSAULT, KIDNAPPING. 700 00:36:48,606 --> 00:36:51,777 WE HAVE ENOUGH STOLEN ART TO START A MUSEUM. 701 00:36:51,809 --> 00:36:54,579 AND, BEST OF ALL, 702 00:36:54,612 --> 00:36:57,748 WE HAVE THE PAINTINGS THAT PROVE YOU KILLED JOHN HENNIGAN. 703 00:36:57,782 --> 00:36:59,918 LAWYER. 704 00:36:59,951 --> 00:37:02,753 LAWYER. 705 00:37:02,788 --> 00:37:05,257 WELL, UM, THAT IS YOUR RIGHT. 706 00:37:05,291 --> 00:37:08,327 OH, WHAT SONG WAS THE MARCHING BAND PLAYING, BY THE WAY? 707 00:37:08,360 --> 00:37:09,927 HMM? 708 00:37:09,960 --> 00:37:12,030 THE MARCHING BAND THAT, UH, BLOCKED OFF THE ALLEYWAY. 709 00:37:12,063 --> 00:37:13,331 WHAT SONG WERE THEY PLAYING? 710 00:37:13,364 --> 00:37:15,266 WHAT ARE YOU TALKING ABOUT? 711 00:37:15,300 --> 00:37:17,469 WELL, I REQUESTED "THE YELLOW ROSE OF TEXAS." 712 00:37:17,503 --> 00:37:19,338 WERE THEY PLAYING "THE YELLOW ROSE OF TEXAS"? 713 00:37:19,371 --> 00:37:22,307 [ "THE YELLOW ROSE OF TEXAS" PLAYS ] 714 00:37:28,646 --> 00:37:31,650 THE GARBAGE TRUCK, THE MARCHING BAND -- YOU DID ALL THAT? 715 00:37:35,786 --> 00:37:39,291 YOU STEERED ME TO THE CAB, HUH? 716 00:37:39,324 --> 00:37:40,958 THE ILLUSION OF CONTROL. 717 00:37:40,992 --> 00:37:44,028 IT MADE YOU FEEL SAFE ENOUGH TO GO WHERE YOU KEPT THE PAINTINGS. 718 00:37:44,061 --> 00:37:47,666 NOW, UNLESS YOU HAVE ANY FURTHER QUESTIONS 719 00:37:47,699 --> 00:37:50,568 ABOUT HOW I PLAYED YOU LIKE A BIG, OLD BASSOON, 720 00:37:50,601 --> 00:37:53,672 I HAVE SOMEPLACE... FABULOUS TO GO. 721 00:37:57,074 --> 00:38:00,277 AU REVOIR. 722 00:38:05,083 --> 00:38:07,552 YUM. 723 00:38:07,585 --> 00:38:08,519 WHAT'S THIS? 724 00:38:08,554 --> 00:38:10,922 IT'S CASE-CLOSED PIZZA. IT'S AN OLD TRADITION. 725 00:38:10,956 --> 00:38:12,557 THOUGHT I'D BRING IT BACK. 726 00:38:12,590 --> 00:38:15,059 HUH. NEXT TIME, IT'S ON ME. 727 00:38:15,092 --> 00:38:16,594 DEAL. 728 00:38:18,429 --> 00:38:19,431 HOW IS IT? 729 00:38:21,500 --> 00:38:22,967 IT'S ALL RIGHT. 730 00:38:23,001 --> 00:38:25,570 YOU PROBABLY LIKE THAT CHICAGO-STYLE STUFF, RIGHT? 731 00:38:25,603 --> 00:38:27,539 PIZZA'S PIZZA. 732 00:38:27,572 --> 00:38:30,476 MM. I'M NOT REALLY IN THE MOOD FOR PIZZA. 733 00:38:30,509 --> 00:38:32,110 YOU KNOW WHAT SOUNDS GOOD? 734 00:38:32,143 --> 00:38:34,713 THOSE PANCAKES WE WERE TALKING ABOUT BEFORE. 735 00:38:34,746 --> 00:38:35,713 THOSE DID SOUND GOOD. 736 00:38:35,746 --> 00:38:37,483 DO YOU WANT TO GO? RIGHT NOW? 737 00:38:37,516 --> 00:38:39,485 YEAH. 738 00:38:39,518 --> 00:38:41,452 DINNER IS THE BEST TIME FOR BREAKFAST. 739 00:38:41,487 --> 00:38:43,054 WHAT DO YOU SAY? 740 00:38:45,123 --> 00:38:48,626 THAT'S REALLY SWEET, BUT... 741 00:38:48,659 --> 00:38:50,695 LOOK, IF YOU DON'T WANT TO GO, JUST SAY SO. 742 00:38:50,728 --> 00:38:52,697 WE'RE COOL. IT'S GOOD. 743 00:38:52,731 --> 00:38:54,032 BUT I LIKE YOU, 744 00:38:54,065 --> 00:38:55,367 AND I THINK YOU'RE A HELL OF A GOOD-LOOKING WOMAN, 745 00:38:55,400 --> 00:38:57,001 AND I'D LOVE TO GET TO KNOW YOU BETTER. 746 00:38:59,471 --> 00:39:00,739 LET'S DO IT. 747 00:39:00,771 --> 00:39:01,840 LET'S GO. 748 00:39:01,873 --> 00:39:04,376 ALL RIGHT. 749 00:39:10,748 --> 00:39:13,452 EXCUSE ME. I WAS TOLD TO COME HERE. 750 00:39:13,485 --> 00:39:15,353 OH, YES. PLEASE, COME IN. 751 00:39:16,887 --> 00:39:18,989 IS IT TRUE YOU GOT THE MAN WHO KILLED JOHN? 752 00:39:19,023 --> 00:39:22,427 YES, I DID, AND I ALSO GOT THIS. 753 00:39:26,697 --> 00:39:28,900 [ GASPS ] 754 00:39:34,204 --> 00:39:36,875 DON'T -- DON'T THEY NEED IT FOR THE TRIAL? 755 00:39:36,907 --> 00:39:39,077 OH, NO. DON'T WORRY ABOUT THAT. 756 00:39:43,514 --> 00:39:46,485 IT'S TRUE WHAT YOU SAID. 757 00:39:46,518 --> 00:39:47,952 HE'S, UM... 758 00:39:47,985 --> 00:39:50,655 HE'S STILL HERE. [ SNIFFLES ] 759 00:39:55,527 --> 00:39:57,528 [ SIGHS ] 760 00:39:59,530 --> 00:40:01,532 OKAY, SO, WHERE ARE WE GOING? 761 00:40:03,233 --> 00:40:04,769 AH. 762 00:40:04,802 --> 00:40:07,505 UM...WELL -- UH, Y-- 763 00:40:07,539 --> 00:40:10,108 OH, NO, NO. YOU -- YOU KIDS GO AHEAD AND HAVE FUN. 764 00:40:10,141 --> 00:40:12,543 GOOD NIGHT, JANE. 765 00:40:12,577 --> 00:40:14,913 GOOD NIGHT. OKAY. 766 00:40:14,945 --> 00:40:16,748 HAVE FUN. 767 00:40:18,684 --> 00:40:20,518 [ ELEVATOR BELL DINGS ] 768 00:40:20,552 --> 00:40:23,021 [ SIGHS ]