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Excuse me, sir. I thought there was going to be four of you. | 0:01:30 | 0:01:35 | |
Isn't one of me enough? | 0:01:35 | 0:01:38 | |
Come on, Isbecki. That's the worst line I've ever heard. | 0:01:38 | 0:01:43 | |
'Would you like to order? I was thinking of a little takeout.' This'll be worse! | 0:01:43 | 0:01:49 | |
TOGETHER: After work, if you're free. | 0:01:49 | 0:01:53 | |
I'm sorry. I'm not on the menu. | 0:01:53 | 0:01:56 | |
Very nice. Way to tell him, lady! | 0:01:56 | 0:01:59 | |
'I don't really care, but to tell you the truth, Christine Cagney,' | 0:01:59 | 0:02:05 | |
I long only for you. | 0:02:05 | 0:02:07 | |
'I pine for you. | 0:02:07 | 0:02:10 | |
'I yearn for you. I burn for you.' | 0:02:10 | 0:02:14 | |
Wake me when he says something interesting. 'I got some company.' | 0:02:14 | 0:02:19 | |
Are you from Tony Brown? | 0:02:19 | 0:02:22 | |
Yo. | 0:02:22 | 0:02:25 | |
Yo? Undercover Sylvester Stallone?! | 0:02:25 | 0:02:28 | |
Tony said you might have some chauffeur work. Maybe. | 0:02:28 | 0:02:33 | |
No ham in the egg foo yung! | 0:02:33 | 0:02:35 | |
I've been stealing cars all my life. | 0:02:35 | 0:02:38 | |
Why don't you cool it with the...? | 0:02:38 | 0:02:41 | |
I can't eat this spicy garbage. I'll get heartburn. | 0:02:41 | 0:02:45 | |
Give me your shopping list and I'll get it. | 0:02:45 | 0:02:48 | |
My problem's selling 'em. Where do you guys unload...? | 0:02:48 | 0:02:53 | |
It's none of your business! Don't be nervous. | 0:02:53 | 0:02:57 | |
Selling 'em is stupid. A new Porsche is worth 25 thou. | 0:02:57 | 0:03:01 | |
Chop that same car into parts and sell 'em separate | 0:03:01 | 0:03:05 | |
and you get 60 grand and no registration problems. | 0:03:05 | 0:03:09 | |
How much do I get? A hundred and a half per. | 0:03:09 | 0:03:13 | |
Two. What kind of Chinese is this? They don't even have chop suey! | 0:03:13 | 0:03:18 | |
Get off my case! Can't we go to Fung Ling, Joe? | 0:03:18 | 0:03:23 | |
All right, Fung Ling. | 0:03:23 | 0:03:26 | |
'Do you mind? Fung Ling?' | 0:03:26 | 0:03:30 | |
Where's that? This way. | 0:03:30 | 0:03:32 | |
Aren't we going to follow? I know Fung Ling. | 0:03:34 | 0:03:38 | |
We'll get there first, be less conspicuous. | 0:03:38 | 0:03:42 | |
I just had a taste for Italian. You know that new place? | 0:03:42 | 0:03:46 | |
Yeah, that sounds good. | 0:03:46 | 0:03:49 | |
Chinese, damn it! Go to Fung Ling! | 0:03:49 | 0:03:51 | |
'What about you guys? That's OK with me.' | 0:03:51 | 0:03:55 | |
Isbecki, find out where it is! | 0:03:55 | 0:03:58 | |
What's the name of the restaurant again? Why? Are you writing a book? | 0:03:58 | 0:04:03 | |
'I want to know where I'm eating. I only remember it's Italian.' | 0:04:03 | 0:04:09 | |
We've got to go back. Turn here. | 0:04:09 | 0:04:11 | |
Oh, my Lord! | 0:04:13 | 0:04:16 | |
Back it up, back it up! I can't! | 0:04:16 | 0:04:20 | |
HORNS BLARE Back it up! Move it, damn it! | 0:04:20 | 0:04:25 | |
Will you guys move out of the way? | 0:04:25 | 0:04:27 | |
Hey, wait, Joe. | 0:04:29 | 0:04:31 | |
You say you know Tony Brown from school, right? | 0:04:31 | 0:04:35 | |
Yeah, right. Where did you go to school, man? Harlem? | 0:04:35 | 0:04:40 | |
Yeah. You know what? You're a liar, man! | 0:04:40 | 0:04:44 | |
What do you guys think you're doing? | 0:04:44 | 0:04:48 | |
Wait, Joe, look. This guy's a cop! | 0:04:48 | 0:04:51 | |
'What are we going to do with a cop? | 0:04:51 | 0:04:53 | |
'Let me get the wires.' | 0:04:53 | 0:04:56 | |
Damn it, damn it! We've got an emergency here. | 0:04:58 | 0:05:02 | |
We got a 10-50... Come on! We got a kidnap in progress. | 0:05:02 | 0:05:07 | |
SIREN WAILS | 0:05:07 | 0:05:10 | |
We've got to assume his life's in danger. | 0:05:10 | 0:05:13 | |
These guys are small-time car thieves, not cop killers. | 0:05:13 | 0:05:17 | |
You back an animal into a corner, he becomes a killer. | 0:05:17 | 0:05:21 | |
I've got to figure they'll kill Isbecki. | 0:05:21 | 0:05:24 | |
Petrie, you know Tony Brown? Yeah, from my days in Harlem. | 0:05:24 | 0:05:28 | |
You find him cos he's the key. | 0:05:28 | 0:05:31 | |
LaGuardia, Davidson, hit the files. | 0:05:31 | 0:05:33 | |
We're looking for felons recently released or on parole. | 0:05:33 | 0:05:37 | |
Cagney, Lacey, check out salvage operators. | 0:05:37 | 0:05:40 | |
We're staying on this until we get Isbecki! | 0:05:40 | 0:05:45 | |
'We're looking for a front end on a '76 Stingray.' | 0:05:46 | 0:05:50 | |
Let me call you back. Can we stick to the subject? Did he say a front end? Yeah. Can we get back to...? | 0:05:50 | 0:05:58 | |
I've got a rear end '75, but you wouldn't want that. | 0:05:58 | 0:06:02 | |
PHONE RINGS Hello? He hung up. He'll call back. | 0:06:02 | 0:06:06 | |
We're talking about chop shops in the area. | 0:06:06 | 0:06:10 | |
They got 'em everywhere. I know. Very big operation in Chicago. | 0:06:10 | 0:06:16 | |
PHONE RINGS They'll call back. | 0:06:16 | 0:06:20 | |
You've got a bad attitude, bright eyes. | 0:06:20 | 0:06:23 | |
I'm just trying here. I don't run a chop shop here. | 0:06:23 | 0:06:27 | |
I would if I had the Mediterranean back-up. So you'd be a felon if you could get away with it? | 0:06:27 | 0:06:34 | |
They're making out a lot better than I am! Cos they underbid? Bingo! | 0:06:34 | 0:06:40 | |
A call comes over that speaker for a part, Joe Blow offers bottom-line price. | 0:06:40 | 0:06:46 | |
Then the chop shop guys drop the price by 100. | 0:06:46 | 0:06:49 | |
They might not even have the part, but they get one of their boppers to go and steal that part. | 0:06:49 | 0:06:56 | |
PHONE RINGS That's my telephone! | 0:06:56 | 0:07:00 | |
Do you know anybody in the area doing heavy underbidding? Everyone. No-one. Cut the tap dance. | 0:07:00 | 0:07:07 | |
A cop's life is in danger. So the world stops turning? | 0:07:07 | 0:07:12 | |
'Anybody got a five-speed transmission for an old Fox?' Mr Boston, if you hear anything | 0:07:12 | 0:07:18 | |
over the loudspeaker... I'll call. | 0:07:18 | 0:07:21 | |
After I call them to see if they'll sell ME a franchise! | 0:07:21 | 0:07:25 | |
PHONE RINGS Hello? | 0:07:25 | 0:07:28 | |
Another three inches. | 0:07:30 | 0:07:33 | |
Keep going, that's it. | 0:07:33 | 0:07:35 | |
Thanks. | 0:07:49 | 0:07:51 | |
My cousin's been looking for a door for his Maserati for six months. | 0:07:51 | 0:07:56 | |
Yeah? We get 'em in here all the time. | 0:07:56 | 0:07:58 | |
How much? I don't know, but you won't find a better deal. | 0:07:58 | 0:08:03 | |
Hey, Dave! Come in here a second! | 0:08:03 | 0:08:06 | |
We gotta snuff him. | 0:08:12 | 0:08:15 | |
I ain't gonna murder nobody. | 0:08:15 | 0:08:17 | |
Just check yourself. It could come down to you or him. | 0:08:17 | 0:08:21 | |
Our benefactors are in no mood to play. Billy? | 0:08:21 | 0:08:25 | |
Wait, Joe. Your good friend, Tony Brown. | 0:08:25 | 0:08:29 | |
Yeah? Did he burn us? | 0:08:29 | 0:08:33 | |
Huh? | 0:08:33 | 0:08:35 | |
Mr Fisher? What's the word now? | 0:09:13 | 0:09:17 | |
Officer Petrie, long time no see. | 0:09:19 | 0:09:22 | |
Detective. You know I copped a gold shield, brother. | 0:09:22 | 0:09:26 | |
I heard. Congratulations. | 0:09:26 | 0:09:28 | |
I'm looking for Tony B. | 0:09:28 | 0:09:31 | |
You been over to his place? Yeah. | 0:09:31 | 0:09:35 | |
Well, I haven't seen him. | 0:09:35 | 0:09:38 | |
Well, if you do, give me a holler, man. | 0:09:38 | 0:09:42 | |
I'm over at 14th. | 0:09:42 | 0:09:45 | |
Mm-hm. | 0:09:47 | 0:09:49 | |
Help! Help! | 0:09:59 | 0:10:02 | |
Help this woman. | 0:10:05 | 0:10:07 | |
Police! | 0:10:10 | 0:10:14 | |
Halt! Halt! | 0:10:16 | 0:10:19 | |
Police! | 0:10:23 | 0:10:25 | |
Excuse me, Officer. Excuse me, Officer. | 0:10:25 | 0:10:29 | |
Excuse me, Officer. | 0:10:29 | 0:10:31 | |
Police! | 0:10:32 | 0:10:34 | |
Halt! Don't do it! | 0:10:45 | 0:10:47 | |
Don't do it! GUNSHOT | 0:10:49 | 0:10:52 | |
Try salvage yards, repair shops, see who underbids. | 0:11:28 | 0:11:33 | |
Did you find anything? No luck. Anything here? | 0:11:33 | 0:11:36 | |
Petrie shot an 18-year-old purse snatcher up in Harlem. Kid's dead. | 0:11:36 | 0:11:41 | |
Oh, Lord! How's Marcus? OK. Can you help me out? | 0:11:41 | 0:11:45 | |
I've got a thousand of these things. You got Manhattan? | 0:11:45 | 0:11:49 | |
Yeah. I'll take Queens. | 0:11:49 | 0:11:52 | |
Yeah, hello, I'm looking for a transmission for an '81 380 SL. | 0:11:53 | 0:11:58 | |
What's your lowest bid? | 0:11:58 | 0:12:00 | |
Did you find anything? No. Are you OK? | 0:12:00 | 0:12:03 | |
He drew, I fired. What did the Duty Captain say? Justifiable. | 0:12:03 | 0:12:08 | |
I've got to find Tony Brown. They're making me wait for the review board interview! | 0:12:08 | 0:12:14 | |
You want to do the Bronx? Sure. We're looking for the lowest bidder. | 0:12:14 | 0:12:19 | |
Detective Petrie, can I have a word with you? Daniels, can I help you? | 0:12:19 | 0:12:25 | |
We need Detective Petrie's photo. | 0:12:25 | 0:12:27 | |
Press release. Towards what end? | 0:12:27 | 0:12:30 | |
Community relations, image enhancement. | 0:12:30 | 0:12:34 | |
Black child killed by a cop, but show my face, everyone'll stay cool. | 0:12:34 | 0:12:40 | |
We don't want incidents like that in Miami. | 0:12:40 | 0:12:43 | |
I'm the poster boy in a racist publicity game? I need this | 0:12:43 | 0:12:47 | |
for this afternoon's paper. No, you don't! | 0:12:47 | 0:12:51 | |
Hold it. I need Petrie in Harlem. His partner is missing. | 0:12:51 | 0:12:55 | |
Print his photo and you take his shield away! | 0:12:55 | 0:12:58 | |
We're dealing with a case of greater evil. | 0:12:58 | 0:13:02 | |
You wouldn't want my picture if I were white! | 0:13:02 | 0:13:06 | |
Maybe you wouldn't have shot so fast if the kid was. | 0:13:06 | 0:13:10 | |
I'm not going to debate. This order comes from the top. | 0:13:10 | 0:13:15 | |
Either Detective Petrie complies or I bring him up on charges. | 0:13:15 | 0:13:20 | |
Detective Petrie? What? | 0:13:20 | 0:13:22 | |
Give me that! | 0:13:22 | 0:13:24 | |
Easy, easy. | 0:13:24 | 0:13:26 | |
Right, get out of here! | 0:13:26 | 0:13:29 | |
Sorry. I lost my temper. | 0:13:29 | 0:13:31 | |
Al Burnley. The last address we had was 39... | 0:13:33 | 0:13:37 | |
Don't give me that, Wilson. I'll do it myself! | 0:13:37 | 0:13:41 | |
PHONE RINGS 14th Squad, Detective Lacey, may I help you...? | 0:13:41 | 0:13:46 | |
Just a moment, sir. | 0:13:46 | 0:13:47 | |
Christine, pick up on three. Petrie, trace on three. | 0:13:47 | 0:13:51 | |
Yes, sir? My partner's on the line. This is Cagney. | 0:13:51 | 0:13:55 | |
I know where your cop is. Where? | 0:13:55 | 0:13:58 | |
Slow down. I'm a cutter in a chop shop. You know what that is? | 0:13:58 | 0:14:03 | |
Yes. I'm greedy, but no killer. | 0:14:03 | 0:14:06 | |
Is he going to be killed? Unless you can give me immunity. We can try. | 0:14:06 | 0:14:12 | |
You better do it! We can do it. | 0:14:12 | 0:14:14 | |
The DA's office will want you to testify. No way. | 0:14:14 | 0:14:19 | |
You want to play? | 0:14:19 | 0:14:20 | |
I want it on the immunity paper that I don't turn state's evidence! | 0:14:20 | 0:14:25 | |
I'm gonna call you back at three o'clock. | 0:14:25 | 0:14:28 | |
I want you to bring the papers over and I'm going to read 'em. | 0:14:28 | 0:14:33 | |
If they're OK, you get your cop. | 0:14:33 | 0:14:36 | |
LINE GOES DEAD Nothing. | 0:14:36 | 0:14:40 | |
Three. | 0:14:40 | 0:14:42 | |
Do you think he'll deliver? It's the only lead we've got. | 0:14:42 | 0:14:45 | |
We need it by three. I'll get it. | 0:14:45 | 0:14:49 | |
He wants no state's evidence on the papers. You agreed to that? | 0:14:49 | 0:14:52 | |
He gave us no choice. | 0:14:52 | 0:14:55 | |
Sorry, sir. The DA's going to want a pound of flesh? | 0:14:55 | 0:14:58 | |
That I wouldn't mind. He'll want my soul! | 0:14:58 | 0:15:00 | |
I'll go check the back-up. | 0:15:04 | 0:15:07 | |
Marcus! Well? The Duty Captain says you can't go on back-up until you've finished the FRB interview. | 0:15:11 | 0:15:19 | |
What the hell do I do? If Samuels isn't back in 12 minutes, | 0:15:19 | 0:15:23 | |
it won't make a difference. | 0:15:23 | 0:15:25 | |
Hey, Marcus, can I talk? | 0:15:27 | 0:15:29 | |
I know we're in an emergency situation, so you haven't had time to sort out your stuff. What stuff? | 0:15:29 | 0:15:36 | |
About the shoot. What stuff about the shoot? The perp had a gun. | 0:15:36 | 0:15:42 | |
Don't play me off, Petrie. I know. I killed a kid last year, remember? | 0:15:42 | 0:15:47 | |
I know all about that Superman on the job business. You do? Yes. | 0:15:47 | 0:15:53 | |
Once we find Isbecki, you must go over your feelings about shooting that boy. It's my job. | 0:15:53 | 0:16:00 | |
Punch in, have a coffee, take a life, punch out? | 0:16:00 | 0:16:03 | |
You better get back in there. You'll miss the call. | 0:16:07 | 0:16:10 | |
We'll find him, Chris. | 0:16:29 | 0:16:32 | |
I should have waited at the restaurant. I blew it. | 0:16:32 | 0:16:36 | |
A simple tail and I blew it. | 0:16:36 | 0:16:39 | |
It was a judgement call. And I blew it. | 0:16:39 | 0:16:42 | |
Isbecki could die cos I screwed up. We will find him! | 0:16:42 | 0:16:46 | |
PHONE RINGS | 0:16:46 | 0:16:48 | |
He's five minutes early. Where is Samuels? I don't know. Stall. | 0:16:50 | 0:16:54 | |
This is Detective Cagney. | 0:16:56 | 0:16:58 | |
Yes, I have the papers right here. | 0:16:59 | 0:17:02 | |
I'm here. | 0:17:02 | 0:17:04 | |
Yes, I have them right in my hand. | 0:17:04 | 0:17:07 | |
Exactly as you asked. No testimony. | 0:17:07 | 0:17:10 | |
All right, give me the address. | 0:17:10 | 0:17:13 | |
I know where it is. | 0:17:13 | 0:17:16 | |
All right, 20 minutes. We'll be there. | 0:17:16 | 0:17:20 | |
Where? Soho. Here's the address. Warn the back-up. | 0:17:20 | 0:17:24 | |
I got it, but it's contingent on him being a material witness. | 0:17:24 | 0:17:28 | |
The DA wasn't interested in my flesh. | 0:17:28 | 0:17:31 | |
The pick-up is in Soho. He won't go for it. Convince him. | 0:17:31 | 0:17:33 | |
Follow him if you have to. Just get Isbecki back. | 0:17:33 | 0:17:38 | |
'Testing, testing. Can you hear me?' I read you loud and clear. | 0:17:38 | 0:17:43 | |
What's the plan? | 0:17:43 | 0:17:45 | |
I don't know. | 0:17:45 | 0:17:48 | |
We'll figure it out when we get there. | 0:17:48 | 0:17:51 | |
If we get there! | 0:17:51 | 0:17:54 | |
HORN BLARES | 0:17:56 | 0:17:59 | |
If he knows we're looking for him and I'm sure he does... | 0:18:05 | 0:18:10 | |
Did you try Silky's? What about Dee Hawkins. She should know... What? | 0:18:10 | 0:18:15 | |
You're a detective. Use your imagination. Tony Brown is no fool! | 0:18:15 | 0:18:20 | |
Taubman... Yeah, yeah. | 0:18:20 | 0:18:23 | |
Yeah, yeah! What's going on around here? This place is like a morgue. | 0:18:23 | 0:18:28 | |
I saw your photograph on the City desk. What happened out there? | 0:18:28 | 0:18:33 | |
Read the press. Marcus, I need a story. | 0:18:33 | 0:18:36 | |
I can't discuss the circumstances of the shooting. | 0:18:36 | 0:18:41 | |
Let's talk about your reaction to the incident. Let's not. | 0:18:41 | 0:18:44 | |
It's bad enough having my picture in the papers. | 0:18:44 | 0:18:47 | |
That was done without your consent? I can't talk to you. | 0:18:47 | 0:18:52 | |
Off the record, then. Why? | 0:18:52 | 0:18:55 | |
I'm curious. No. I've got work. | 0:18:55 | 0:18:59 | |
They're running your photo to cool off tempers uptown. | 0:18:59 | 0:19:03 | |
You're a political pawn. | 0:19:03 | 0:19:05 | |
It wasn't my idea. What about allegations that cops enter a black area with a hand on their revolvers | 0:19:05 | 0:19:13 | |
and the other hand over their eyes? | 0:19:13 | 0:19:15 | |
That wouldn't apply in my case. | 0:19:15 | 0:19:19 | |
Had dinner in Harlem recently? Three Sundays ago. Why? | 0:19:19 | 0:19:23 | |
A thoroughly assimilated black man like yourself | 0:19:23 | 0:19:27 | |
could be diseased with the same fears as a white man. | 0:19:27 | 0:19:30 | |
You're reaching. Am I? I don't go uptown without a whistle and mace in my tennis shoes. | 0:19:30 | 0:19:37 | |
I admit it. Why can't you? Miss Sutter, you have to leave. | 0:19:37 | 0:19:42 | |
The cavalry. | 0:19:42 | 0:19:44 | |
Take care, Detective Petrie. | 0:19:45 | 0:19:48 | |
The Lieutenant from the Firearms Review Board is here for your interview now. | 0:19:51 | 0:19:56 | |
Don't worry about it. Looks good. | 0:19:56 | 0:19:59 | |
Any word on Tony Brown? No, not yet. | 0:19:59 | 0:20:03 | |
That kid thinks we're being silly. | 0:20:20 | 0:20:23 | |
We look silly. I didn't think they had these things. He's watching us. | 0:20:23 | 0:20:28 | |
He wants us both in the same booth. PHONE RINGS | 0:20:28 | 0:20:33 | |
I wish I knew where he was calling from. Your guess is as bad as mine. Back-up, stand by. | 0:20:33 | 0:20:40 | |
You take it. You've got the wire. | 0:20:40 | 0:20:42 | |
'Hello?' OK. So far, so good. This is how we're going to do this thing. 'Hold it.' | 0:20:43 | 0:20:50 | |
You're probably watching us, so you can see I have the papers. | 0:20:50 | 0:20:54 | |
We'll start doing things differently. | 0:20:54 | 0:20:58 | |
Forget it. You could be charged | 0:20:58 | 0:21:00 | |
with conspiracy to murder a police officer. You want a dead detective? | 0:21:00 | 0:21:06 | |
Not to mention prosecution for transporting stolen goods | 0:21:06 | 0:21:10 | |
across state lines. At least 30 years. | 0:21:10 | 0:21:13 | |
The deal's off! Wait a minute. Let's not blow this! | 0:21:13 | 0:21:18 | |
I'm just saying you can't get total immunity without some concessions. | 0:21:18 | 0:21:23 | |
We're going to do this thing my way or we ain't going to do it at all. | 0:21:23 | 0:21:28 | |
What's your way? | 0:21:28 | 0:21:29 | |
OK, listen. You have your partner open the door. | 0:21:29 | 0:21:34 | |
Open the door. He says open the door. | 0:21:34 | 0:21:38 | |
'OK, good. There's a little girl with a ball. She's gonna come over. | 0:21:42 | 0:21:47 | |
'I want you to give her the papers. | 0:21:47 | 0:21:50 | |
'OK, she's gonna bring the papers over to me. Sit tight. You and your friend wait there in the booth.' | 0:21:52 | 0:22:00 | |
LINE GOES DEAD | 0:22:00 | 0:22:03 | |
He'll never accept those papers. | 0:22:03 | 0:22:06 | |
The kid went round the corner. | 0:22:06 | 0:22:09 | |
Next move? I don't know. We can't wait here. We'd better take the kid while we can. | 0:22:09 | 0:22:16 | |
Back-up, we're moving. Get her! | 0:22:16 | 0:22:18 | |
SIRENS WAIL | 0:22:22 | 0:22:25 | |
Hey! Hey, come here! | 0:22:25 | 0:22:28 | |
Watch the car! Watch the car! | 0:22:31 | 0:22:33 | |
He told me if you followed me to run round the corner and give this back to you! | 0:22:33 | 0:22:39 | |
Where is he? He was in a coffee shop. | 0:22:39 | 0:22:43 | |
All right. Easy. | 0:22:43 | 0:22:46 | |
Damn it! | 0:22:46 | 0:22:48 | |
Hey, Joe! | 0:23:14 | 0:23:17 | |
How about some water? | 0:23:17 | 0:23:20 | |
OK. | 0:23:46 | 0:23:48 | |
Aagh! | 0:23:49 | 0:23:52 | |
Hey, come here! | 0:23:52 | 0:23:55 | |
Yeah, do it! | 0:24:06 | 0:24:09 | |
PHONE RINGS | 0:24:15 | 0:24:18 | |
Detective Cagney? | 0:24:18 | 0:24:20 | |
'Which one are you?' Excuse me? | 0:24:20 | 0:24:23 | |
This is Mel Boston, Advance and Boston Salvage. | 0:24:23 | 0:24:27 | |
You have something for us? 'Is this the one with the blue eyes?' What is this garbage? | 0:24:27 | 0:24:34 | |
That's you! Cagney, Lacey, Lacey, Cagney. | 0:24:34 | 0:24:38 | |
'It's all the frick and frack to me.' Mr Boston, do you have anything for me or not? | 0:24:38 | 0:24:44 | |
You have eyes like a Siberian husky. I'm hanging up. Wait! | 0:24:44 | 0:24:49 | |
The guy's name is Stobbart. He runs an operation called Stallion Salvage. | 0:24:49 | 0:24:56 | |
Is he an underbidder? Yeah, one of them. You didn't get that from me. | 0:24:56 | 0:25:01 | |
Thank you. 'Hey, wait. You know, you've got a very cute nose too.' | 0:25:01 | 0:25:07 | |
Hello. What can I do for you? We'd like to look around. | 0:25:12 | 0:25:16 | |
You have a warrant? Do we need one? | 0:25:16 | 0:25:19 | |
No, I'm a little tired. What are you looking for? | 0:25:19 | 0:25:24 | |
Stolen vehicles. If you find any, it'll be news to me, but be my guest. | 0:25:24 | 0:25:29 | |
Thank you. If I can help you in any way, I'll be inside. | 0:25:29 | 0:25:34 | |
Where do we start? Do I know? | 0:25:40 | 0:25:43 | |
If Stobbart is involved in this, he sure is cool about it. | 0:25:47 | 0:25:52 | |
What are we doing here? | 0:25:52 | 0:25:54 | |
Wasting our time. He wouldn't be hiding Isbecki here. | 0:25:54 | 0:25:58 | |
So we're back to square one. Let's see what the computer turns up on Stobbart. That's gruesome! | 0:25:58 | 0:26:05 | |
I don't think the cars feel it. | 0:26:05 | 0:26:09 | |
Hey, Joe. | 0:26:31 | 0:26:34 | |
If it was for me, I hope you told her I was all tied up tonight. | 0:26:34 | 0:26:39 | |
Hey, you could at least laugh. | 0:26:40 | 0:26:43 | |
When you're finished with the Porsche, we go. | 0:26:53 | 0:26:57 | |
You go. | 0:26:57 | 0:27:00 | |
WE go. All of us. | 0:27:00 | 0:27:02 | |
Hey, Joe. How come we all have to go? | 0:27:02 | 0:27:06 | |
That's how the order came down. I don't like it. | 0:27:06 | 0:27:10 | |
Who gives a damn? Hurry up with that car! | 0:27:10 | 0:27:14 | |
They haven't found a thing! Lieutenant! They won't! | 0:27:39 | 0:27:43 | |
They're not making any progress. Juvenile care. They've got a suspect - grand larceny auto. | 0:27:43 | 0:27:50 | |
Worked in a chop shop. Isbecki's mother called. Thanks. | 0:27:50 | 0:27:54 | |
I can find Tony Brown. Taubman's got your list. | 0:27:54 | 0:27:59 | |
Brown won't surface without some first-hand information. I'll get it. | 0:27:59 | 0:28:04 | |
Have you reached Morgan? Not yet. Stay on it. | 0:28:04 | 0:28:08 | |
What do you say? No. You're on modified assignment until the FRB completes that report. | 0:28:08 | 0:28:14 | |
That's a technicality. Look at this and tell me how much good you'll do in Harlem! | 0:28:14 | 0:28:21 | |
Anything? No, sir. We're waiting on the Feds. Chop shop, got out a month ago. | 0:28:21 | 0:28:28 | |
It's a long shot, but... I want you to go over and see Isbecki's mother. | 0:28:28 | 0:28:33 | |
What are we looking for? He left some case notes there. Petrie, interrogate this kid. What kid? | 0:28:33 | 0:28:40 | |
GLA suspect, stealing cars for a chop shop. Thank you, sir. | 0:28:40 | 0:28:45 | |
Wait. Cagney, you see Mrs Isbecki alone. Lacey, you go with Petrie. | 0:28:45 | 0:28:51 | |
Why does she have to go with me? Because I said so. | 0:28:51 | 0:28:55 | |
I don't need a baby-sitter. Don't be the great white father. I have my own father! | 0:28:55 | 0:29:02 | |
Why won't you people let me do my job? Enough! Lacey, watch out for him. | 0:29:02 | 0:29:08 | |
He's gonna hate it. I gave you an order. Watch out for him! Yes, sir. | 0:29:08 | 0:29:13 | |
My boy isn't talking, so truck on back to the Precinct. Pardon? | 0:29:25 | 0:29:30 | |
I'm the court-appointed counsel for Alfred Perdiz | 0:29:30 | 0:29:34 | |
who is exercising his constitutional right to remain silent. | 0:29:34 | 0:29:39 | |
There's a detective out there whose life is in danger! | 0:29:39 | 0:29:44 | |
The only life I'm concerned with is Alfred's. We're not gonna hurt him. | 0:29:44 | 0:29:49 | |
And you got some nice story about the tooth fairy? See you in the courthouse. | 0:29:49 | 0:29:55 | |
You enjoy this! Petrie! | 0:29:55 | 0:29:57 | |
You're lucky I got a bad memory. I'm gonna forget you ever laid a hand on me. | 0:29:57 | 0:30:03 | |
I'm gonna find Tony Brown. You can't go to Harlem. It's dangerous. | 0:30:03 | 0:30:08 | |
Isbecki will die. Go back to the Precinct. I'll grab a cab uptown. | 0:30:08 | 0:30:13 | |
No. Come back to work with me or I'm going up there with you. You and me, fella. | 0:30:13 | 0:30:19 | |
Hey, baby. | 0:30:39 | 0:30:41 | |
Yo, Jimmy, what it be like? | 0:30:43 | 0:30:45 | |
Don't shoot! Back off that stuff! You know me. | 0:30:45 | 0:30:50 | |
Yeah. | 0:30:50 | 0:30:52 | |
I'm looking for Tony B. Tony B, Tony B... Who? | 0:30:52 | 0:30:58 | |
Who? | 0:31:00 | 0:31:03 | |
Do you always use black as a second language when you come uptown? | 0:31:06 | 0:31:11 | |
Yes. | 0:31:11 | 0:31:13 | |
I suppose we make an attractive couple - killer cop and his white broad. | 0:31:13 | 0:31:19 | |
I bet. | 0:31:19 | 0:31:22 | |
I hope you don't hate me for saying this, Marcus. I'm scared. | 0:31:28 | 0:31:33 | |
So am I. | 0:31:33 | 0:31:35 | |
What did Mrs Isbecki say? She hopes Victor will settle down with a nice girl. Come on! I'm telling you! | 0:31:42 | 0:31:49 | |
Victor wanted to be a Wild West gunfighter, not a policeman. If you live in Brooklyn, what can you do? | 0:31:49 | 0:31:57 | |
Did she have anything on his case notes? Yeah. | 0:31:57 | 0:32:01 | |
Here. | 0:32:01 | 0:32:03 | |
"Warriors, plus 5?, Clippers, Jazz plus 10, Celtics plus 6..." What the hell is this? | 0:32:04 | 0:32:11 | |
His basketball points spread. That's terrific(!) | 0:32:11 | 0:32:15 | |
GENTLE JAZZ MUSIC | 0:32:23 | 0:32:26 | |
WHISPERING | 0:32:28 | 0:32:30 | |
It's quarter to four. | 0:32:45 | 0:32:47 | |
I'll give him three more minutes. If he doesn't deliver an address, we move on. | 0:32:47 | 0:32:54 | |
I don't know where. We've hit all the spots I know. | 0:32:54 | 0:32:58 | |
Tony knows we're looking for him unless the chop shop boys found him. | 0:32:58 | 0:33:03 | |
How's Lauren? | 0:33:03 | 0:33:06 | |
Well... | 0:33:06 | 0:33:08 | |
Yeah, Lauren... She already has a twinkle in her eye, just like Claudia. | 0:33:08 | 0:33:14 | |
She sees everything. | 0:33:15 | 0:33:18 | |
I think she senses when I'm not all together. She gives me this look. | 0:33:19 | 0:33:24 | |
Somehow I know that she knows | 0:33:25 | 0:33:28 | |
and I feel like I've... I feel like I've already got a new best friend. | 0:33:28 | 0:33:34 | |
He has to be around here somewhere. Harlem's not that big. | 0:33:35 | 0:33:40 | |
It's big enough to get lost in. That's true. | 0:33:40 | 0:33:44 | |
This place seems so different now. | 0:33:48 | 0:33:51 | |
I used to think Harlem was the only place in the city that didn't smell like old tar. | 0:33:54 | 0:34:01 | |
When I walked the beat up here, it was like preserving a shrine, you know? | 0:34:06 | 0:34:12 | |
I knew there was a lot wrong here. There's too many people. | 0:34:12 | 0:34:16 | |
Too few jobs, no money, | 0:34:16 | 0:34:19 | |
bad housing, but I'd walk past the Schomburg Library | 0:34:19 | 0:34:23 | |
or the Apollo and... | 0:34:23 | 0:34:26 | |
magic. | 0:34:26 | 0:34:28 | |
Now it just seems like a slum to me. | 0:34:30 | 0:34:33 | |
A slum? Not the place, the people. | 0:34:34 | 0:34:37 | |
Where is this man? | 0:34:37 | 0:34:39 | |
Maybe we oughta try Silky's again. | 0:34:39 | 0:34:42 | |
Can I have the check, babe? Be right there, honey. Patience is a virtue, Marcus. Give him a few minutes. | 0:34:42 | 0:34:49 | |
You're right. Slow down, Marcus. | 0:34:49 | 0:34:52 | |
I'm really messing up. You're the best detective in the squad. Everybody knows it. Not today. | 0:34:52 | 0:34:59 | |
When that boy attacked that old woman... | 0:34:59 | 0:35:03 | |
I almost wanted to walk away from it. | 0:35:03 | 0:35:07 | |
I didn't care. | 0:35:07 | 0:35:09 | |
Not about the old woman or the boy. I just did my job. | 0:35:09 | 0:35:14 | |
Maybe I could have talked the kid down. | 0:35:16 | 0:35:21 | |
But I didn't try. | 0:35:21 | 0:35:23 | |
I wanted to make sure I didn't die at the hands of someone I had no respect for. | 0:35:23 | 0:35:30 | |
I shot quickly because I... | 0:35:30 | 0:35:32 | |
No, I sh... | 0:35:34 | 0:35:37 | |
No. | 0:35:37 | 0:35:39 | |
I killed a boy because he was black. | 0:35:41 | 0:35:45 | |
Harlem hasn't changed. I've changed. | 0:35:47 | 0:35:50 | |
I've become like everybody else on the outside - prejudiced, afraid, even repulsed. | 0:35:50 | 0:35:57 | |
Claudia and I have accomplished a lot. Yes. We've tried so hard to make it. | 0:35:57 | 0:36:04 | |
Now I can't see the magic. | 0:36:04 | 0:36:06 | |
You want my two cents? You didn't shoot that kid because he was black, but because he had a gun. | 0:36:09 | 0:36:17 | |
I don't know that. | 0:36:21 | 0:36:24 | |
He had a gun and he would have killed Lauren's best friend. Here you go. | 0:36:24 | 0:36:31 | |
Thank you. | 0:36:31 | 0:36:33 | |
We've got it. | 0:36:39 | 0:36:42 | |
BANG ON DOOR | 0:37:17 | 0:37:19 | |
Who is it? Marcus Petrie. | 0:37:19 | 0:37:22 | |
Go to hell, John Wayne! Hi, Tony. | 0:37:24 | 0:37:27 | |
Back up two steps. | 0:37:27 | 0:37:30 | |
Brother Petrie, what seems to be the problem? | 0:37:33 | 0:37:38 | |
We've been looking for you. You have? You know we have. Are you hiding from us, Tony? | 0:37:38 | 0:37:45 | |
No, man. This is my lady's place. I'm here. | 0:37:45 | 0:37:50 | |
The set-up with Isbecki fell apart. You're kidding? | 0:37:50 | 0:37:54 | |
They're gonna kill him now. | 0:37:54 | 0:37:56 | |
We need to know where. | 0:37:56 | 0:37:59 | |
What makes you think I...? Who did you make contact with? I don't know these people. This was set up | 0:37:59 | 0:38:06 | |
by a friend of a friend. I don't even know who owns that chop shop. | 0:38:06 | 0:38:11 | |
There is very little time. | 0:38:14 | 0:38:17 | |
I'm sure you have some idea, at least a guess, of who's on top. | 0:38:17 | 0:38:22 | |
And you're gonna tell us because if Isbecki dies, | 0:38:22 | 0:38:27 | |
man, we ain't gonna care who we expose to find out who did it. | 0:38:27 | 0:38:32 | |
Now, Tony! | 0:38:32 | 0:38:35 | |
A guy named Stobbart. | 0:38:39 | 0:38:42 | |
Stallion Salvage? Yeah. | 0:38:42 | 0:38:45 | |
Hey! | 0:38:59 | 0:39:01 | |
Someone get me outta here! | 0:39:13 | 0:39:15 | |
SIRENS WAIL | 0:39:17 | 0:39:20 | |
Stop it! | 0:39:24 | 0:39:27 | |
Get me out! | 0:39:45 | 0:39:48 | |
Freeze, buddy! | 0:39:57 | 0:39:59 | |
You're under arrest! Right, cuff him! | 0:39:59 | 0:40:03 | |
Against the car! | 0:40:13 | 0:40:16 | |
Hey! | 0:40:20 | 0:40:23 | |
Freeze! Hold it! | 0:40:23 | 0:40:26 | |
Get your hands over your head! Over your head! He's in the crusher! He's in the crusher! | 0:40:26 | 0:40:33 | |
Take him. | 0:40:33 | 0:40:36 | |
Hey! Stop this thing, hey! | 0:40:36 | 0:40:39 | |
Don't shoot! Please don't shoot! | 0:40:44 | 0:40:47 | |
Somebody get me out of here! | 0:40:53 | 0:40:56 | |
Help! Somebody help me! | 0:40:56 | 0:40:59 | |
Stop! Stop it! Does anybody know how to work this thing? | 0:41:00 | 0:41:05 | |
Stop! | 0:41:06 | 0:41:10 | |
Damn it! | 0:41:10 | 0:41:12 | |
Stop! | 0:41:13 | 0:41:15 | |
Victor! Victor! | 0:41:22 | 0:41:24 | |
Ohh! Oh, God, you're all right! Watch your head. Be careful. | 0:41:24 | 0:41:29 | |
How are you? He may have broken bones. Where are the paramedics? | 0:41:29 | 0:41:35 | |
Get him out as fast as you can. This thing isn't gonna hold. Easy. Watch his legs! Careful. | 0:41:35 | 0:41:42 | |
I got his legs. | 0:41:42 | 0:41:44 | |
Set him down. I think I can walk. Let me untie his hands. I've got him, I've got him. | 0:41:44 | 0:41:51 | |
Put your hand... I got it, I got it. Get some help, somebody! | 0:41:51 | 0:41:56 | |
How's your back? Huh? | 0:41:56 | 0:41:58 | |
It's OK. Look...I'm all right. | 0:41:58 | 0:42:02 | |
Are you sure you can walk? Let's just wait for the paramedics. | 0:42:02 | 0:42:06 | |
I can walk if you help me. OK. | 0:42:06 | 0:42:09 | |
Lean on me. We'll take it slow, OK? | 0:42:09 | 0:42:12 | |
Yeah. | 0:42:12 | 0:42:14 | |
Victor, I'm sorry. I'm the one who blew the tail. | 0:42:14 | 0:42:18 | |
It wasn't your fault. Yes, it was my fault and I'm sorry. | 0:42:18 | 0:42:22 | |
Forget it. What did they do to you? | 0:42:22 | 0:42:25 | |
Everything. | 0:42:25 | 0:42:27 | |
I can't believe how close we came to losing you. | 0:42:27 | 0:42:31 | |
Hey, it's over. Wait a minute, wait a minute. I'm glad you're OK. | 0:42:31 | 0:42:36 | |
Then tuck me in tonight. | 0:42:38 | 0:42:40 | |
Ugh! I cannot stand that man! | 0:42:43 | 0:42:46 | |
Cagney, it's unbelievable. You wouldn't believe what they did to me. | 0:42:46 | 0:42:52 | |
They had me in this room tied up, face down. Then they chained me to this barbed wire post. | 0:42:52 | 0:42:59 | |
Then they ran the soles of my feet over this bamboo. You wouldn't believe it. | 0:42:59 | 0:43:05 | |
They did this Japanese war torture across my neck. Don't let him in! | 0:43:05 | 0:43:10 | |
Cagney is so ticked off at Isbecki, SHE wants to kill him! | 0:43:10 | 0:43:15 | |
LAUGHTER | 0:43:15 | 0:43:17 | |
Hey, Petrie, wait. | 0:43:18 | 0:43:21 | |
The woman... The mother of the boy you shot is here. | 0:43:21 | 0:43:27 | |
She came in a couple of hours ago. She wants to talk to you. | 0:43:27 | 0:43:32 | |
She didn't seem too crazy, so I told her to wait in Samuels' office. | 0:43:32 | 0:43:38 | |
Listen, Petrie, if you want to, go on home. I'll talk to her. | 0:43:42 | 0:43:47 | |
No. You weren't there. | 0:43:47 | 0:43:50 | |
I'm Detective Petrie. | 0:44:32 | 0:44:34 | |
I understand you wish to speak with me. | 0:44:34 | 0:44:38 | |
Subtitles by Subtext for BBC Broadcast 2003 | 0:45:27 | 0:45:32 |