Browse content similar to Snake Eyes. Check below for episodes and series from the same categories and more!
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THUNDER | 0:00:02 | 0:00:05 | |
This film contains some strong language. | 0:00:06 | 0:00:11 | |
WOMAN: Good evening, everyone, | 0:00:17 | 0:00:19 | |
and welcome to a Powell pay-per-view television event. | 0:00:19 | 0:00:22 | |
It's hard to believe, | 0:00:22 | 0:00:24 | |
but tonight's fight is the swan song | 0:00:24 | 0:00:26 | |
for the grand old Atlantic City Arena. | 0:00:26 | 0:00:29 | |
The final event to be held in this storied hall | 0:00:29 | 0:00:32 | |
before it is gutted and completely renovated | 0:00:32 | 0:00:34 | |
as part of Gilbert Powell's Millennium Hotel and Casino. | 0:00:34 | 0:00:38 | |
I'm eager to go ringside, along with 14,000 fight fans | 0:00:38 | 0:00:42 | |
who have braved Hurricane Jezebel... | 0:00:42 | 0:00:46 | |
MAN: Cut! Cut! Anthea, they want you to call it | 0:00:46 | 0:00:49 | |
a tropical storm. | 0:00:49 | 0:00:50 | |
But it is a hurricane! | 0:00:50 | 0:00:51 | |
It's also a holiday weekend, | 0:00:51 | 0:00:53 | |
so please just call it a tropical storm. | 0:00:53 | 0:00:56 | |
Please? I love this town. They even spin the weather! | 0:00:56 | 0:00:59 | |
All right, listen. > | 0:00:59 | 0:01:01 | |
We go live on this one, so don't screw up. | 0:01:01 | 0:01:03 | |
I think that's Powell going in there with Secretary Kirkland. | 0:01:03 | 0:01:05 | |
Zoom in on them during the intro. | 0:01:05 | 0:01:07 | |
Anyway, why can't I do this from inside? | 0:01:07 | 0:01:10 | |
Why do I have to stand out here like a weather bimbo? | 0:01:10 | 0:01:13 | |
3, 2, 1, go! > | 0:01:13 | 0:01:14 | |
Good evening, everyone, | 0:01:14 | 0:01:16 | |
and welcome to a Powell pay-per-view television event. | 0:01:16 | 0:01:19 | |
The lucky ones are already inside at the fight, | 0:01:19 | 0:01:23 | |
as the first taste of tropical storm Jezebel lashes the boardwalk | 0:01:23 | 0:01:27 | |
outside the grand old Atlantic City Arena. | 0:01:27 | 0:01:30 | |
It's hard to believe, | 0:01:30 | 0:01:32 | |
but tonight's fight is the swan song for this hall, | 0:01:32 | 0:01:35 | |
the final event to be held here. | 0:01:35 | 0:01:37 | |
MAN: What have we got, 30, 40 seconds? | 0:01:37 | 0:01:40 | |
Where's Shaneen? My hair looks like shit. | 0:01:40 | 0:01:42 | |
I'm on TV? I'm on TV? | 0:01:42 | 0:01:44 | |
Come on, Rick. I'm on in 30 seconds, will ya? | 0:01:44 | 0:01:47 | |
I think people would vote for this face. | 0:01:47 | 0:01:49 | |
Yeah. Blind people. | 0:01:49 | 0:01:50 | |
That's the only way you get anywhere - get your big, fat smile all over the tube. | 0:01:50 | 0:01:53 | |
Hi. Rick Santoro. Hello. Richard Santoro. | 0:01:53 | 0:01:55 | |
Aah! I'm Ricky! Hey, you down on the fight yet? | 0:01:55 | 0:01:58 | |
Shit. I forgot. You seen Jimmy George? | 0:01:58 | 0:01:59 | |
Yeah. He's down in the tunnel. | 0:01:59 | 0:02:01 | |
What tunnel? There's a million tunnels. | 0:02:01 | 0:02:02 | |
The tunnel of love. Over by Tyler's dressing room. | 0:02:02 | 0:02:04 | |
Here. Play 50 for me. | 0:02:04 | 0:02:06 | |
On who? | 0:02:06 | 0:02:07 | |
On who? On the bag of meat, on who. On Tyler! | 0:02:07 | 0:02:09 | |
Wow. The whole 50? | 0:02:09 | 0:02:10 | |
Up yours, Mr High Roller. | 0:02:10 | 0:02:12 | |
Why don't you just shoot it all? | 0:02:12 | 0:02:13 | |
A hundred. | 0:02:13 | 0:02:15 | |
Oh, asshole. Shaneen, would you fix this? | 0:02:15 | 0:02:18 | |
ANTHEA: ...His work with troubled youths, | 0:02:18 | 0:02:20 | |
take on the challenger, | 0:02:20 | 0:02:22 | |
Jose Pacifico Ruiz, | 0:02:22 | 0:02:23 | |
in a classic 12-round confrontation | 0:02:23 | 0:02:26 | |
between a counterpuncher and a brawler. | 0:02:26 | 0:02:29 | |
Isn't that right, Lou Logan? | 0:02:29 | 0:02:30 | |
TELEPHONE RINGS | 0:02:30 | 0:02:32 | |
LOGAN: Welcome, everybody. | 0:02:32 | 0:02:33 | |
Hello? Hey, baby. How are you? | 0:02:33 | 0:02:36 | |
I was hoping it'd be you. | 0:02:36 | 0:02:37 | |
Yeah. Happy almost birthday. | 0:02:37 | 0:02:39 | |
Of course I'm still coming. | 0:02:39 | 0:02:41 | |
I want to be there when it turns midnight. | 0:02:41 | 0:02:45 | |
Yes, yes, I'm bringing something with me. | 0:02:45 | 0:02:48 | |
Uh...it's a surprise. | 0:02:48 | 0:02:50 | |
Well, if I told you, then... | 0:02:50 | 0:02:53 | |
That's right, baby. | 0:02:53 | 0:02:55 | |
No. No way. I'm not going to give you a hint. | 0:02:55 | 0:02:58 | |
No. You're shameless! | 0:02:58 | 0:03:00 | |
Monique, you can't say that on a cell phone. | 0:03:00 | 0:03:02 | |
Yummy! | 0:03:02 | 0:03:04 | |
All right, I will give you a hint. | 0:03:04 | 0:03:07 | |
I know you really want one, and it's going to keep you very, very warm. | 0:03:07 | 0:03:11 | |
Give me five secs. I'll call you back. | 0:03:11 | 0:03:13 | |
Jimmy George, wait up a sec! | 0:03:13 | 0:03:15 | |
Come on. I got people waiting for me. | 0:03:15 | 0:03:17 | |
That's Tyler! What are you looking at? | 0:03:17 | 0:03:19 | |
That's Tyler! Where do you think you're going? | 0:03:19 | 0:03:21 | |
The AC Executioner's standing in front of me. | 0:03:21 | 0:03:23 | |
Were you talking to him? | 0:03:23 | 0:03:24 | |
Do I ask what you do at work? | 0:03:24 | 0:03:27 | |
The man bets on his own fights. That's confidence. What do you want, Rick? | 0:03:27 | 0:03:30 | |
What's up your ass? | 0:03:30 | 0:03:32 | |
I'm having a bad day, OK? | 0:03:32 | 0:03:33 | |
I want five large on Tyler. | 0:03:33 | 0:03:35 | |
Five large. You got it on you? Let me see it. | 0:03:35 | 0:03:36 | |
What are you, a bank now? I've got to put up front | 0:03:36 | 0:03:38 | |
for the privilege of betting on a lousy fight? | 0:03:38 | 0:03:40 | |
Take it or leave it because I don't need the aggravation. | 0:03:40 | 0:03:43 | |
Have I ever stiffed you one time? Name one time. | 0:03:43 | 0:03:45 | |
No, no. You never stiffed me. | 0:03:45 | 0:03:46 | |
It's just you take forever to pay. | 0:03:46 | 0:03:47 | |
Five grand. I'll see that a year from next Christmas. | 0:03:47 | 0:03:49 | |
The guy is ten to one to win, all right? I can't make any money if I lay less. | 0:03:49 | 0:03:53 | |
I got a very important birthday, and I got to be there. | 0:03:53 | 0:03:55 | |
I'm going to buy one of those shorty fur coats | 0:03:55 | 0:03:58 | |
over at Caesar's, the only place that will be open. | 0:03:58 | 0:03:59 | |
You know how overpriced they are. | 0:03:59 | 0:04:01 | |
I missed the part where this is my problem. | 0:04:01 | 0:04:03 | |
I made a promise. I gave my word to someone. | 0:04:03 | 0:04:06 | |
A man's word means nothing to you in your profession? Please. | 0:04:06 | 0:04:08 | |
Come on. Cash means something to me. | 0:04:08 | 0:04:10 | |
Words mean something to somebody else. | 0:04:10 | 0:04:12 | |
All right. Don't move. I'll be right back. | 0:04:12 | 0:04:14 | |
Cyrus! Hey! Hey! | 0:04:14 | 0:04:17 | |
Ha-ha-ha! | 0:04:22 | 0:04:24 | |
Oh! Ow! > | 0:04:25 | 0:04:26 | |
Hey, hold it, pal. Where do you think you're going? | 0:04:26 | 0:04:31 | |
On the job, sport. | 0:04:31 | 0:04:32 | |
Oh, shit. Sorry, sir. You need a hand? | 0:04:32 | 0:04:34 | |
No, no. I got it. | 0:04:34 | 0:04:35 | |
Shit! | 0:04:38 | 0:04:39 | |
You went the stupid way, didn't you, Cyrus? | 0:04:39 | 0:04:41 | |
Ow! Ow! Ow! I got a cut. I need a medic. Medic. Medic! | 0:04:41 | 0:04:47 | |
Well, that's a start. | 0:04:47 | 0:04:49 | |
What? What do you want? | 0:04:49 | 0:04:51 | |
What do you think? | 0:04:51 | 0:04:52 | |
No! Yes! | 0:04:52 | 0:04:54 | |
No. Come on, this is not fair. Come on. | 0:04:54 | 0:04:56 | |
Call a cop. No! | 0:04:56 | 0:04:58 | |
Hey! Get out of here, man! | 0:04:58 | 0:05:00 | |
Aah! | 0:05:00 | 0:05:02 | |
You got the wrong attitude about this. You gotta keep positive. | 0:05:02 | 0:05:06 | |
When we have these little visits, | 0:05:06 | 0:05:07 | |
I allow you, I permit you, I give you the opportunity | 0:05:07 | 0:05:12 | |
to pay for all the extra police work that you create! | 0:05:12 | 0:05:16 | |
Doesn't it feel nice to contribute to society for a change? | 0:05:16 | 0:05:20 | |
Come on, come on, man! Don't do that! Aw, come on! | 0:05:20 | 0:05:24 | |
You got a bad attitude, you hear? | 0:05:24 | 0:05:27 | |
What makes you think you're better than me?! | 0:05:27 | 0:05:30 | |
My friends, Cyrus. Everybody loves Rick Santoro. | 0:05:30 | 0:05:34 | |
Jimmy George... three grand on Tyler. | 0:05:34 | 0:05:39 | |
This one's a little sticky, but... | 0:05:39 | 0:05:41 | |
2,900. I don't want this one. | 0:05:41 | 0:05:43 | |
Why? There's blood all over it! | 0:05:43 | 0:05:46 | |
Well, aren't you delicate? | 0:05:46 | 0:05:48 | |
Tyler! Whoo! Neptune high, right? Check it out. | 0:05:48 | 0:05:52 | |
Right here. Go Sea Devils! You and me, Tyler! | 0:05:52 | 0:05:56 | |
Yeah! Go, Tyler! Go, Tyler! | 0:05:56 | 0:05:59 | |
Go, Tyler, go! Go, Tyler! Go, Tyler! | 0:05:59 | 0:06:02 | |
Whoa! Lincoln Tyler! Lincoln Tyler! Lincoln! | 0:06:02 | 0:06:05 | |
Oww! My lucky number's 7. | 0:06:05 | 0:06:07 | |
Gee, that's a new one, mister. | 0:06:07 | 0:06:08 | |
You are sunshine on a stormy day. | 0:06:08 | 0:06:10 | |
You should work in the casino. | 0:06:10 | 0:06:11 | |
I'm going to. I mean, I want to. This is just sort of temporary. | 0:06:11 | 0:06:13 | |
Let me make a few phone calls. Would you? | 0:06:13 | 0:06:16 | |
Yeah. Do you know how to deal blackjack? | 0:06:16 | 0:06:17 | |
No. All right. Call me. I'm Rick. | 0:06:17 | 0:06:20 | |
This goes straight to my special phone line. | 0:06:20 | 0:06:22 | |
TELEPHONE RINGS Bye, mister! Bye! | 0:06:22 | 0:06:24 | |
Hello? | 0:06:24 | 0:06:25 | |
BELL RINGS Oh, yeah. Hi, baby. | 0:06:25 | 0:06:27 | |
HE CLEARS THROAT | 0:06:27 | 0:06:28 | |
No. I just had something stuck in my throat. | 0:06:28 | 0:06:30 | |
Tell him to go to sleep. I'll talk to him in the morning. | 0:06:30 | 0:06:33 | |
No, I can't. | 0:06:33 | 0:06:34 | |
That's why. | 0:06:34 | 0:06:36 | |
All right, tell him I love him, and I'll... No, Angela, don't... | 0:06:36 | 0:06:39 | |
Hi, Mikey. I know. No, I didn't forget. | 0:06:39 | 0:06:42 | |
I haven't seen him yet, but as soon as I do, I'll ask him. | 0:06:42 | 0:06:44 | |
All right. I love you, too. No, no. Don't put Mommy... | 0:06:44 | 0:06:47 | |
Hi. I don't know. Late. Later than that. Yeah, sure, if they're open. | 0:06:47 | 0:06:51 | |
With extra cheese? I don't care. I don't care! I'm not going to eat it! | 0:06:51 | 0:06:54 | |
Pepperoni, sausage, listen, why don't you just get the deluxe and save time, all right? | 0:06:54 | 0:06:59 | |
Look, I got business. Call me back. There he is! | 0:06:59 | 0:07:02 | |
MAN: You got a pass, sir? | 0:07:02 | 0:07:03 | |
It's all right. He's with me. | 0:07:03 | 0:07:05 | |
There's the man whose life I want! | 0:07:05 | 0:07:07 | |
You're late. | 0:07:07 | 0:07:09 | |
You know me, always upholding justice. When did you get in? | 0:07:09 | 0:07:11 | |
Last night. I flew in from Norfolk with Powell and the Secretary. | 0:07:11 | 0:07:13 | |
Is that him? Tuck in your shirt. I'll introduce you. | 0:07:13 | 0:07:16 | |
Jesus! I get you a front-row seat, you show up looking like Don Ho. | 0:07:16 | 0:07:19 | |
Pardon my savoir-faire. Why are you so uptight? It's fight night! | 0:07:19 | 0:07:23 | |
Running security tonight. I got a lot on my mind. | 0:07:23 | 0:07:25 | |
Kirkland's high profile. He's all over the news | 0:07:25 | 0:07:27 | |
and brings the nut cases out of the woodwork. | 0:07:27 | 0:07:29 | |
He's a real publicity hound. Look at this. | 0:07:29 | 0:07:31 | |
...the Olympic games, and now the distinguished Secretary of Defence | 0:07:31 | 0:07:36 | |
of the united states of America, Mr Charles Kirkland. | 0:07:36 | 0:07:40 | |
And seated next to the Secretary is a man who needs no introduction... | 0:07:40 | 0:07:46 | |
Great idea. Put a flashing light on your head while you're at it. | 0:07:46 | 0:07:50 | |
Your host for the evening, Mr Gilbert Powell! | 0:07:50 | 0:07:53 | |
Maintain focus on the principal, mister. | 0:07:56 | 0:07:58 | |
Sorry, Commander. | 0:07:58 | 0:07:59 | |
Got your locator on? Yes, sir. | 0:07:59 | 0:08:01 | |
Go cover the west exit. Yes, sir. | 0:08:01 | 0:08:04 | |
Oh, and throw in a couple of martinis while you're at it! | 0:08:04 | 0:08:07 | |
It's fight night. | 0:08:07 | 0:08:08 | |
Look. See that blip? That's him. | 0:08:08 | 0:08:11 | |
Look at you. 007. | 0:08:11 | 0:08:14 | |
Man, I'm so impressed. I want to get your autograph. | 0:08:14 | 0:08:16 | |
I can picture us like yesterday, working summers on the beach, | 0:08:16 | 0:08:19 | |
carrying the oars back across the hot sand. | 0:08:19 | 0:08:21 | |
No. Me I can picture carrying the oars. | 0:08:21 | 0:08:24 | |
You were usually under the boardwalk with a cute piece of jailbait. | 0:08:24 | 0:08:27 | |
It's me, your lucky number! | 0:08:27 | 0:08:28 | |
Listen, I've got to hit you up for something. | 0:08:28 | 0:08:30 | |
Mikey's just crazy about submarines right now. | 0:08:30 | 0:08:32 | |
I mean, everything's submarines with him, | 0:08:32 | 0:08:33 | |
and he wanted me to ask you if you'd give him a ride on one. | 0:08:33 | 0:08:36 | |
Sure. We'll dock a polaris right out at the steel pier. | 0:08:36 | 0:08:38 | |
This is the kind of thing godfathers do. | 0:08:38 | 0:08:39 | |
I promise I won't embarrass the brass. | 0:08:39 | 0:08:41 | |
I haven't been on the water since the Renville, | 0:08:41 | 0:08:43 | |
but I'll pull some strings for Michael. How's Angela? | 0:08:43 | 0:08:45 | |
Fat, fantastic. I love her. What about the other one? What's her name? | 0:08:45 | 0:08:47 | |
Candy? Tiffany? | 0:08:47 | 0:08:49 | |
Monique. Skinny, mean, expensive. I love her! | 0:08:49 | 0:08:51 | |
ANNOUNCER: Tyler! | 0:08:51 | 0:08:52 | |
Oowww! Yeah! Oowww! | 0:08:52 | 0:08:55 | |
Come on. | 0:08:55 | 0:08:58 | |
Yeah, Lincoln! Yeah, baby! Go, baby! Yeah! | 0:09:00 | 0:09:07 | |
You got a wife, a kid, a house in Margate, | 0:09:07 | 0:09:10 | |
a girlfriend in an apartment. | 0:09:10 | 0:09:11 | |
Being a cop pays six figures now? | 0:09:11 | 0:09:13 | |
I save coupons. Are you my conscience? | 0:09:13 | 0:09:15 | |
You could use one. Does Angela know about Monique? | 0:09:15 | 0:09:18 | |
What are you going to do, turn me in again? | 0:09:18 | 0:09:21 | |
That was just to teach you a lesson. | 0:09:21 | 0:09:22 | |
You never shoplifted again, did you? | 0:09:22 | 0:09:24 | |
No. I never got caught again. Angela's happy. Trust me. | 0:09:24 | 0:09:26 | |
Angela's not happy. She's just uninformed. | 0:09:26 | 0:09:27 | |
Maybe if she knew the rules, she could play the game, too. | 0:09:27 | 0:09:30 | |
If Angela knew the rules, there would be no game. | 0:09:30 | 0:09:32 | |
Rule one - Angela can't know all the rules. | 0:09:32 | 0:09:34 | |
Look, I'm not like you, Kevin. | 0:09:34 | 0:09:36 | |
I can't have sex with the same woman for 20 years. | 0:09:36 | 0:09:38 | |
It's not natural. Terry likes to talk to me during sex. | 0:09:38 | 0:09:40 | |
Last night, she called me from a hotel. | 0:09:40 | 0:09:43 | |
Go, Lincoln! | 0:09:46 | 0:09:48 | |
That seem right to you? | 0:09:52 | 0:09:54 | |
Kevin, that is right in so many ways. | 0:09:54 | 0:09:56 | |
No, I mean who's she with? Not the guy next to her. | 0:09:56 | 0:09:58 | |
Beautiful woman alone at a fight? | 0:09:58 | 0:10:00 | |
Sexy lady. What's the problem? | 0:10:00 | 0:10:03 | |
You got to get out of this town. | 0:10:03 | 0:10:04 | |
You know that, don't you? | 0:10:04 | 0:10:06 | |
Would you stop going all Jiminy Cricket on me? | 0:10:06 | 0:10:08 | |
You can't help yourself, can you? No, really. Get your butt down to DC, | 0:10:08 | 0:10:12 | |
I call a few guys I know from Annapolis, arrange some interviews, | 0:10:12 | 0:10:14 | |
get you a GS rating, you're in our programme. | 0:10:14 | 0:10:16 | |
Bureau of Diplomatic Security pays about double what your salary is here. | 0:10:16 | 0:10:20 | |
All right. You got to fix my life later. | 0:10:20 | 0:10:22 | |
I got money on this. I want to stay in a good mood, you know? | 0:10:22 | 0:10:23 | |
Keep positive because this is fight night! | 0:10:23 | 0:10:25 | |
Don't make Michael grow up here. | 0:10:25 | 0:10:27 | |
This isn't a beach town anymore. It's a sewer. | 0:10:27 | 0:10:29 | |
But it's my sewer, Jiminy, and I love it! | 0:10:29 | 0:10:31 | |
I kick around about six square blocks. | 0:10:31 | 0:10:33 | |
Everybody knows me. I got the whole town wired. | 0:10:33 | 0:10:35 | |
Someday, if I manage to get my face on TV a few times, | 0:10:35 | 0:10:38 | |
maybe I'll run for mayor or something, but that's as far as I want to go | 0:10:38 | 0:10:41 | |
because I was made for this sewer, baby, and I am the king! | 0:10:41 | 0:10:45 | |
BELL RINGS | 0:10:45 | 0:10:46 | |
ANNOUNCER: Look at this. He's taunting the champ mercilessly! | 0:10:46 | 0:10:50 | |
'I haven't seen this kind of disrespect shown to a heavyweight champion...' | 0:10:50 | 0:10:56 | |
ALL SHOUTING AT ONCE | 0:10:56 | 0:10:58 | |
ANNOUNCER: Buster Douglas. Exactly. The condition he was in in some of the later... | 0:10:58 | 0:11:02 | |
'Look at Ruiz dance around...' | 0:11:02 | 0:11:03 | |
She's not even watching the fight. | 0:11:03 | 0:11:05 | |
'The crowd is loving it! Or hating it. Exactly.' | 0:11:05 | 0:11:07 | |
SECOND ANNOUNCER: What they came to see tonight | 0:11:07 | 0:11:09 | |
'was a professional heavyweight championship fight, | 0:11:09 | 0:11:11 | |
'and that is not what they're getting, | 0:11:11 | 0:11:13 | |
'and you better believe, they are letting these fighters know!' | 0:11:13 | 0:11:16 | |
FIRST ANNOUNCER: I wonder just how seriously the champ is taking this competition. | 0:11:16 | 0:11:20 | |
SHOUTING DROWNS OUT ANNOUNCERS | 0:11:20 | 0:11:22 | |
SECOND ANNOUNCER: The champ has shown up here tonight | 0:11:22 | 0:11:24 | |
'in the worst condition of his career.' | 0:11:24 | 0:11:25 | |
FIRST ANNOUNCER: Yeah, I got to agree with you. | 0:11:25 | 0:11:27 | |
'There was a lot of speculation about the kind of condition he was in.' | 0:11:27 | 0:11:31 | |
Hello? Hey, baby. Kind of a bad time right now. | 0:11:32 | 0:11:35 | |
What? All right, guess quick, OK? The hint was, | 0:11:35 | 0:11:37 | |
you really wanted it, and it'll keep you warm. | 0:11:37 | 0:11:40 | |
No, it's not that. I have that. It goes where I go. Hang on. | 0:11:40 | 0:11:44 | |
Oh, Jesus, Angela, the fight started! | 0:11:44 | 0:11:46 | |
What? The deluxe has meatballs, baby! | 0:11:46 | 0:11:48 | |
I got to go. The fight's started! | 0:11:48 | 0:11:50 | |
Listen, I got to go. The fight's started. | 0:11:50 | 0:11:54 | |
Hey, I dig affection, baby, but not while I'm driving. | 0:11:54 | 0:11:57 | |
Oh. I'm sorry. | 0:11:57 | 0:11:58 | |
That seat's taken. Oh, but you can sit here. | 0:11:58 | 0:12:02 | |
Well, I'll just need one minute. | 0:12:02 | 0:12:04 | |
Me, too. | 0:12:04 | 0:12:06 | |
It's in the pocket. | 0:12:08 | 0:12:09 | |
Have you been writing to me? | 0:12:09 | 0:12:11 | |
Yeah! Go, Sea Devils! | 0:12:11 | 0:12:13 | |
FIRST ANNOUNCER: Holy cow! The challenger's down! Ruiz is down! | 0:12:13 | 0:12:17 | |
'What a punch by Lincoln Tyler! Ruiz is cooking him! | 0:12:17 | 0:12:21 | |
'He head-butted him! He head-butted him!' | 0:12:21 | 0:12:22 | |
FIRST ANNOUNCER: It's a head-butt. We saw it clearly. | 0:12:22 | 0:12:25 | |
SECOND ANNOUNCER: This is a potentially devastating blow to the champ. | 0:12:25 | 0:12:28 | |
FIRST ANNOUNCER: I can't see if it's opened up a cut over his eye or not. | 0:12:28 | 0:12:31 | |
'We saw it in the Holyfield/Tyson match. We see it here! | 0:12:31 | 0:12:33 | |
'He's down!' Low blow him, Lincoln Tyler! | 0:12:33 | 0:12:36 | |
Listen to me, Mr Secretary. I am telling you. | 0:12:36 | 0:12:38 | |
You are the one that's going to be sorry. | 0:12:38 | 0:12:40 | |
REFEREE: Get back to your neutral corners. | 0:12:40 | 0:12:43 | |
TELEPHONE RINGS | 0:12:43 | 0:12:44 | |
< Neutral corners! | 0:12:44 | 0:12:45 | |
Hello? What? Who are you? | 0:12:45 | 0:12:48 | |
Where? | 0:12:48 | 0:12:49 | |
My lucky number? | 0:12:49 | 0:12:52 | |
GUNSHOT | 0:12:52 | 0:12:53 | |
What? | 0:12:53 | 0:12:54 | |
WOMAN SCREAMS | 0:12:54 | 0:12:56 | |
Aah! | 0:13:04 | 0:13:05 | |
PEOPLE SCREAM | 0:13:08 | 0:13:10 | |
Principal is down. | 0:13:16 | 0:13:18 | |
Hey! | 0:13:20 | 0:13:22 | |
GUNSHOTS | 0:13:24 | 0:13:26 | |
GUNSHOTS | 0:13:28 | 0:13:30 | |
GUNSHOTS | 0:13:33 | 0:13:36 | |
SCREAMING | 0:13:37 | 0:13:39 | |
Kevin! | 0:13:58 | 0:13:59 | |
Kevin, he's down! The man is down! | 0:14:00 | 0:14:03 | |
Get out of here! | 0:14:10 | 0:14:11 | |
Oh, yeah? Screw you, man. | 0:14:11 | 0:14:13 | |
Tommy! Get this scum out of here! | 0:14:13 | 0:14:16 | |
Oh, Jesus. | 0:14:23 | 0:14:24 | |
There were two hits. The girl next to me, she threatened him, | 0:14:24 | 0:14:27 | |
took something, got shot, and ran away! | 0:14:27 | 0:14:29 | |
Oh, my God! Shut down the arena! | 0:14:32 | 0:14:33 | |
Holy shit, is he dead? Get on your radio right now | 0:14:33 | 0:14:35 | |
and shut down the arena! | 0:14:35 | 0:14:37 | |
Hey! Be careful! Let go of me! | 0:14:47 | 0:14:49 | |
What happened to you? Please just... | 0:14:49 | 0:14:51 | |
What's going on? Let go of me! | 0:14:51 | 0:14:53 | |
Come back here! | 0:14:53 | 0:14:54 | |
MAN: Let's get this gurney up. Let's go! | 0:14:54 | 0:14:56 | |
Come on! Make a hole through there and get that crowd out of the way! | 0:14:56 | 0:14:59 | |
Tell them to bring that ambulance right through the main entrance into the arena tunnel! | 0:14:59 | 0:15:02 | |
You're going to be all right, Charles. | 0:15:02 | 0:15:05 | |
We're going to the hospital right now. | 0:15:05 | 0:15:07 | |
You're going to be OK. You have my word on that. | 0:15:07 | 0:15:09 | |
Come on! Come on! Get those people out of the tunnel! Move it there! | 0:15:09 | 0:15:12 | |
KEVIN: He's going to die, Rick. | 0:15:12 | 0:15:14 | |
This is my fault. I should never have left my seat. | 0:15:14 | 0:15:16 | |
I opened up a sightline. I was off the deck. What the hell was I doing? | 0:15:16 | 0:15:19 | |
This is my fault! | 0:15:19 | 0:15:20 | |
What the hell's the matter with you? | 0:15:21 | 0:15:23 | |
Don't talk shit like that where people can hear. | 0:15:23 | 0:15:25 | |
You don't understand. I pulled rank on the regular detail | 0:15:25 | 0:15:28 | |
and took command of security. | 0:15:28 | 0:15:29 | |
I told them he would be better protected | 0:15:29 | 0:15:31 | |
with me running the operation because I know the area, | 0:15:31 | 0:15:33 | |
the layout of the arena. I know local law enforcement. | 0:15:33 | 0:15:36 | |
I get assigned, I step out of position, | 0:15:36 | 0:15:38 | |
the Secretary takes a bullet in the throat! | 0:15:38 | 0:15:40 | |
Why were you out of position? | 0:15:40 | 0:15:41 | |
I should never have left him. | 0:15:41 | 0:15:42 | |
I could be court-martialed for this! | 0:15:42 | 0:15:44 | |
That is not going to happen! | 0:15:44 | 0:15:45 | |
We're not going to let that happen. Do you understand? | 0:15:45 | 0:15:48 | |
You're not going to prison, so you just forget about that! | 0:15:48 | 0:15:50 | |
Back up. Why were you out of position? | 0:15:50 | 0:15:54 | |
The girl - the redhead - I went over to check her out. | 0:15:54 | 0:15:56 | |
She ran, and I followed her up here. | 0:15:56 | 0:15:58 | |
Don't say redhead and don't say girl. That's all wrong. | 0:15:58 | 0:16:00 | |
What you say is suspicious character. | 0:16:00 | 0:16:02 | |
You followed a suspicious character, and when you got up here, | 0:16:02 | 0:16:04 | |
you saw an assassin fire, so you took him out. End of story. | 0:16:04 | 0:16:06 | |
Leaving my post is dereliction of duty. It's gross negligence. | 0:16:06 | 0:16:09 | |
You killed the assassin! | 0:16:09 | 0:16:10 | |
You saved the day! You're a hero, Kevin. | 0:16:10 | 0:16:13 | |
That's what happened, and that's how we'll spin it! | 0:16:13 | 0:16:15 | |
It wasn't procedure. | 0:16:15 | 0:16:16 | |
Screw procedure! | 0:16:16 | 0:16:18 | |
Look. Who do you think you're talking to? | 0:16:18 | 0:16:20 | |
I'm not some beat cop that needs you to plant a piece for him. | 0:16:20 | 0:16:23 | |
Kevin, if there's one thing I know, it's how to cover my ass. | 0:16:23 | 0:16:27 | |
I see this shit happen every day, | 0:16:27 | 0:16:29 | |
and what you say and do right this minute is going to change the rest of your life. | 0:16:29 | 0:16:34 | |
Go to confession later, but don't bury yourself now! | 0:16:34 | 0:16:37 | |
MAN: Clear it out! Coming through! | 0:16:37 | 0:16:39 | |
Come on, let's get up there. Come on. | 0:16:39 | 0:16:42 | |
RICK: OK, those are state cops. They're gaming enforcement. | 0:16:42 | 0:16:46 | |
They're going to try to muscle us, but we're not going to let that happen. | 0:16:46 | 0:16:49 | |
We're first contact. When the feds get here, everybody writes from our report, | 0:16:49 | 0:16:52 | |
and your story holds up because we say so. | 0:16:52 | 0:16:54 | |
We just got to keep all media out of here until then. | 0:16:54 | 0:16:56 | |
How long will it take the feds to get here? | 0:16:56 | 0:16:58 | |
MAN: No comment. | 0:16:58 | 0:17:00 | |
The FBI'S got to come from Trenton, so that's an hour, | 0:17:00 | 0:17:02 | |
maybe an hour and a half with the storm. | 0:17:02 | 0:17:05 | |
We just got to fight these guys for an hour and a half, and you're in the clear, OK? | 0:17:05 | 0:17:08 | |
I can't lie. It isn't lying! | 0:17:08 | 0:17:11 | |
You just tell them what you did right, and you leave out the rest! | 0:17:11 | 0:17:14 | |
MAN: Shouldn't even be here. This is a crime scene. | 0:17:14 | 0:17:17 | |
Or you can throw away your whole career. | 0:17:17 | 0:17:20 | |
Lorton Pritzger, division of gaming enforcement. | 0:17:27 | 0:17:28 | |
What the hell's going on here? | 0:17:28 | 0:17:30 | |
187 with an officer-involved shooting. Secretary Kirkland was shot in the neck. | 0:17:30 | 0:17:34 | |
Paramedics just wheeled him out, and that's the perpetrator. | 0:17:34 | 0:17:36 | |
Security detail leader took him out. | 0:17:36 | 0:17:38 | |
That's right. Commander Kevin Dunne. I'm with DOD. | 0:17:43 | 0:17:45 | |
Who are you? Atlantic City major crimes. | 0:17:45 | 0:17:47 | |
I'll take it now. No. Bullshit you will. | 0:17:47 | 0:17:49 | |
This isn't my blood, all right? | 0:17:49 | 0:17:50 | |
It's the Secretary's. I was sitting right in front of him. | 0:17:50 | 0:17:52 | |
I'm a homicide detective and a material witness. | 0:17:52 | 0:17:54 | |
This is mine in about six different ways! | 0:17:54 | 0:17:56 | |
AC cops got no business in the casino. | 0:17:56 | 0:17:58 | |
This is strictly DGE and state police. | 0:17:58 | 0:17:59 | |
We're not on the casino floor, Gordo! | 0:17:59 | 0:18:02 | |
And this arena ain't the Millennium yet. | 0:18:02 | 0:18:04 | |
It's Atlantic City and that belongs to me! | 0:18:04 | 0:18:06 | |
I'm acting case agent until relieved by appropriate federal authority. | 0:18:06 | 0:18:09 | |
Now, you want to help? | 0:18:09 | 0:18:10 | |
You tell your men to get all the media out. | 0:18:10 | 0:18:13 | |
Unless you want the news to give the Secretary's wife and kids | 0:18:13 | 0:18:15 | |
a close-up look at his internal organs! | 0:18:15 | 0:18:18 | |
Phil, Jim, make this whole arena a crime scene. Shut it down! | 0:18:18 | 0:18:21 | |
Nobody goes in or out | 0:18:21 | 0:18:22 | |
until the main investigating party gets here. | 0:18:22 | 0:18:24 | |
You the one that told them to seal the doors? | 0:18:24 | 0:18:25 | |
You can't hold 14,000 people in these goddamn exit tunnels! | 0:18:25 | 0:18:30 | |
Yes, we did, and yes, we can. | 0:18:30 | 0:18:32 | |
Those are 14,000 eyewitnesses! | 0:18:32 | 0:18:34 | |
We can detain them for as long as it takes | 0:18:34 | 0:18:36 | |
to get 14,000 addresses and 14,000 phone numbers, | 0:18:36 | 0:18:39 | |
and take 14,000 pictures, now that I think about it. | 0:18:39 | 0:18:43 | |
Let's get the hell out of here. | 0:18:43 | 0:18:46 | |
We're home free, baby. | 0:18:48 | 0:18:49 | |
All right. | 0:18:49 | 0:18:51 | |
The woman who ran away, you said she took something. What was it? | 0:18:51 | 0:18:53 | |
A manilla envelope about this big. | 0:18:53 | 0:18:55 | |
What did she look like? | 0:18:55 | 0:18:57 | |
Caucasian, dressed in white, blood everywhere. | 0:18:57 | 0:18:59 | |
She had a blond wig, dark hair underneath. | 0:18:59 | 0:19:01 | |
All right. You stay here with every uniform you can get, | 0:19:01 | 0:19:03 | |
I'll run a top to bottom and find her. | 0:19:03 | 0:19:05 | |
You guys come with me. | 0:19:05 | 0:19:07 | |
LOGAN: Excuse me, Commander Dunne, sir, | 0:19:07 | 0:19:10 | |
could you give us the identity of the assassin, please? | 0:19:10 | 0:19:12 | |
Sir, how does it feel to be a hero? | 0:19:12 | 0:19:14 | |
MAN: Hey, you! Get out of here! | 0:19:14 | 0:19:15 | |
We told you you can't be talking with people here. No press in the arena. | 0:19:15 | 0:19:19 | |
RICK: I said no press inside the arena, Lou. Not in the arena! | 0:19:19 | 0:19:22 | |
I can see why you want these others out of here, but I didn't think you were talking about me. | 0:19:22 | 0:19:25 | |
You know what kind of break this is for me? | 0:19:25 | 0:19:27 | |
You can't show this. Look at the mess! | 0:19:27 | 0:19:29 | |
The guy's got a family. Have a heart, for Christ's sakes. | 0:19:29 | 0:19:32 | |
All right, I won't shoot the spaghetti then. | 0:19:32 | 0:19:34 | |
Come on. Whenever they make statements, | 0:19:34 | 0:19:36 | |
they always have one pool reporter asking all the questions. | 0:19:36 | 0:19:39 | |
That's the way they do it. Come on. Let me be the guy. | 0:19:39 | 0:19:42 | |
They got the playback up there? | 0:19:42 | 0:19:44 | |
Yeah. It's right up here. Look, you don't know what this would mean to me. | 0:19:44 | 0:19:47 | |
You think I want to do this pay-per-view shit for the rest of my life? | 0:19:47 | 0:19:50 | |
You know how Rather got his break? | 0:19:50 | 0:19:52 | |
The goddamn Kennedy assassination! | 0:19:52 | 0:19:54 | |
You make me sick, Lou! | 0:19:54 | 0:19:56 | |
If you're going to be on TV, | 0:19:56 | 0:19:58 | |
who better asking you the questions than your old pal Lou, huh? | 0:19:58 | 0:20:01 | |
Plus I can have two grand cash in an hour and a half. | 0:20:01 | 0:20:04 | |
You are a disgusting human being. | 0:20:04 | 0:20:05 | |
Hey, five grand in an hour. | 0:20:05 | 0:20:08 | |
Congratulations, Lou. | 0:20:08 | 0:20:09 | |
Yes! | 0:20:09 | 0:20:10 | |
You're the guy! Hook up out in the hallway. | 0:20:10 | 0:20:11 | |
I don't want to see one TV camera inside. | 0:20:11 | 0:20:13 | |
This whole arena's a crime scene. | 0:20:13 | 0:20:15 | |
Rick, I got to tell you, I will always be there for you, my friend. | 0:20:15 | 0:20:18 | |
Oh, yeah, and see if you can find me another shirt. | 0:20:18 | 0:20:20 | |
I don't want to look like this. | 0:20:20 | 0:20:22 | |
Got to be, you know, classy like you, Lou. | 0:20:22 | 0:20:24 | |
Yeah. | 0:20:24 | 0:20:26 | |
And, er, yeah, here's your hundred back. All bets are off. | 0:20:26 | 0:20:31 | |
Secretary of Defence gets his head blown off, | 0:21:02 | 0:21:04 | |
and you want to look at the knockout punch? | 0:21:04 | 0:21:07 | |
Whoa, whoa, whoa. Back up. | 0:21:07 | 0:21:09 | |
Stop. | 0:21:11 | 0:21:12 | |
How many cameras do you have on it? | 0:21:14 | 0:21:17 | |
I got four. | 0:21:17 | 0:21:18 | |
All right. Let me see them all. | 0:21:18 | 0:21:20 | |
I'll be damned. | 0:21:33 | 0:21:34 | |
Air ball. | 0:21:34 | 0:21:36 | |
What kind of a Sea Devil is that? | 0:21:36 | 0:21:39 | |
Oh, God. What did you get yourself into? | 0:22:02 | 0:22:05 | |
Look here, Mr Tyler- he ain't in the mood to talk to nobody. | 0:22:08 | 0:22:12 | |
You see where your hand is? That's a felony! | 0:22:12 | 0:22:15 | |
Meow. | 0:22:30 | 0:22:32 | |
Give me a "C." Give me an "H." Give me an "a-m-P." | 0:22:36 | 0:22:42 | |
What's that spell? Everybody! Champ! | 0:22:42 | 0:22:44 | |
Lincoln, how you doing? Good to see you again. | 0:22:44 | 0:22:46 | |
What, am I supposed to know you? | 0:22:46 | 0:22:48 | |
Rick Santoro, Neptune High, fellow Sea Devil, class of '80. | 0:22:48 | 0:22:52 | |
I don't remember you. | 0:22:52 | 0:22:54 | |
Come on. You must have seen me plenty. | 0:22:54 | 0:22:55 | |
My hair was long then, but whose wasn't, right? | 0:22:55 | 0:22:58 | |
Mr Santoro... | 0:22:58 | 0:22:59 | |
Detective. Detective Santoro. | 0:22:59 | 0:23:01 | |
I know it might be a bad time, | 0:23:01 | 0:23:03 | |
but can I get you to sign an autograph for my son? | 0:23:03 | 0:23:05 | |
He thinks you're the greatest, just the greatest. | 0:23:05 | 0:23:07 | |
To Mikey. | 0:23:07 | 0:23:08 | |
I bet if you saw my graduation picture, the face would ring a bell. | 0:23:08 | 0:23:12 | |
Look, I don't know you, OK? | 0:23:12 | 0:23:15 | |
Lincoln, you hurt my feelings, | 0:23:15 | 0:23:17 | |
and after I dropped ten grand on you. | 0:23:17 | 0:23:19 | |
I think it would show more respect if you addressed my client as Mr Tyler. | 0:23:19 | 0:23:23 | |
I'll call him Mr T the night he beat Rocky Balboa if he wants. | 0:23:23 | 0:23:27 | |
He's a bad pony. I don't have to tell you, right? | 0:23:27 | 0:23:30 | |
Yeah. Yeah, I saw Jimmy George - you know, the bookie. | 0:23:30 | 0:23:34 | |
He was coming out of here before the fight. | 0:23:36 | 0:23:38 | |
How much did you lose? Or did you win? Know what I mean? | 0:23:38 | 0:23:42 | |
Wasn't his night. | 0:23:42 | 0:23:43 | |
I'll say. | 0:23:43 | 0:23:45 | |
They guy was a great fighter. | 0:23:45 | 0:23:46 | |
You know, wow. | 0:23:46 | 0:23:48 | |
You've never been knocked out your whole career. | 0:23:48 | 0:23:51 | |
I mean ever - since your first golden gloves. | 0:23:51 | 0:23:53 | |
I'd know. I've seen all your fights, | 0:23:53 | 0:23:55 | |
what with us both being from the same school and all | 0:23:55 | 0:23:58 | |
and both being Sea Devils and all. | 0:23:58 | 0:24:00 | |
The man head-butted me, and I don't remember anything after that. | 0:24:00 | 0:24:03 | |
Excuse me, would you drink a glass of water? | 0:24:03 | 0:24:04 | |
You're lying so much, your mouth dried up, | 0:24:04 | 0:24:06 | |
and you're making that funny smacking sound. | 0:24:06 | 0:24:08 | |
Let me remind you who you're talking to, hotshot. | 0:24:08 | 0:24:12 | |
Lincoln Tyler is a significant public figure. | 0:24:12 | 0:24:14 | |
He's a goddamn pillar of this community. | 0:24:14 | 0:24:16 | |
Now, let's keep that in mind, | 0:24:16 | 0:24:17 | |
or this little interview that we're having here is over. | 0:24:17 | 0:24:20 | |
Look, the Secretary - he's dead, isn't he? | 0:24:20 | 0:24:22 | |
If you have a question, let me ask it for you. | 0:24:22 | 0:24:24 | |
Look, Mickey, I just want to know if the guy is dead. | 0:24:24 | 0:24:28 | |
Is he dead? | 0:24:31 | 0:24:32 | |
Um, the smart money ain't on him. | 0:24:32 | 0:24:35 | |
That's it. That is it. Ha-ha! | 0:24:37 | 0:24:41 | |
Do you know who you remind me of out there? Sonny Liston! | 0:24:41 | 0:24:44 | |
Remember in '65, they said, | 0:24:44 | 0:24:46 | |
"Sonny, don't take any chances. Ali almost killed you the first time. | 0:24:46 | 0:24:50 | |
"Take the payday. First punch, you go down." | 0:24:50 | 0:24:52 | |
Flop! Splat! That's you! | 0:24:52 | 0:24:54 | |
Detective, you either arrest him, or I'm going to ask you to leave. | 0:24:54 | 0:24:57 | |
What would I arrest him for? | 0:24:57 | 0:24:58 | |
What would I arrest you for, getting up too quick? | 0:24:58 | 0:25:01 | |
What? | 0:25:01 | 0:25:01 | |
What?! I saw you, and you saw me. | 0:25:01 | 0:25:03 | |
And don't pretend you don't know who I am, girlie man. | 0:25:03 | 0:25:06 | |
You wanted it to look like a knockout, | 0:25:06 | 0:25:08 | |
but when you heard the gunshot, your eyes were open in half a second. | 0:25:08 | 0:25:11 | |
Now you fall - understandable reaction | 0:25:11 | 0:25:12 | |
but it kind of ruined the performance. | 0:25:12 | 0:25:14 | |
Look, what the hell do you want from me? The man knocked me out! | 0:25:14 | 0:25:17 | |
I went through the fight tape! Yeah! It was a phantom punch! | 0:25:17 | 0:25:22 | |
A little bad Hollywood acting, | 0:25:22 | 0:25:24 | |
but the athletic commission might find it interesting. | 0:25:24 | 0:25:26 | |
And a second after you go down, an assassin fires. | 0:25:26 | 0:25:28 | |
Wow. That's some coincidence. I guess they don't call you The Executioner for nothing! | 0:25:28 | 0:25:32 | |
And you sign my kid's autograph! | 0:25:32 | 0:25:34 | |
All right, that's it. Everybody, get out. | 0:25:34 | 0:25:37 | |
Listen to me. | 0:25:37 | 0:25:38 | |
Mickey! What don't you understand about this? Get the hell out of here! | 0:25:38 | 0:25:42 | |
Go on! Get out! | 0:25:42 | 0:25:44 | |
His name. | 0:25:53 | 0:25:54 | |
Michael Santoro. | 0:25:54 | 0:25:57 | |
MAN: This is a crime scene. | 0:25:59 | 0:26:02 | |
'In order to exit the arena, we must see an authentic picture ID. | 0:26:02 | 0:26:07 | |
'If you cannot produce one, you must step to the left, | 0:26:07 | 0:26:11 | |
'where the officer will take your photograph and record your name and address. | 0:26:11 | 0:26:14 | |
'I'll say this one more time. | 0:26:14 | 0:26:16 | |
'No-one, and there will be no exceptions, will be allowed to exit the arena | 0:26:16 | 0:26:21 | |
'until your identity has been recorded. | 0:26:21 | 0:26:24 | |
'Everyone's co-operation will be greatly appreciated.' | 0:26:24 | 0:26:27 | |
Uh! | 0:26:30 | 0:26:32 | |
MAN: All right. Watch your step. | 0:26:34 | 0:26:37 | |
Hey! Hey! Hey! We said no press in the arena, goddamn it! | 0:26:39 | 0:26:45 | |
Go to your right. | 0:26:45 | 0:26:47 | |
Clear the way. | 0:26:47 | 0:26:48 | |
SIREN BLARES | 0:26:48 | 0:26:50 | |
SHOUTING | 0:26:50 | 0:26:52 | |
That punk fights like a bitch. | 0:27:01 | 0:27:03 | |
He got no snap in his punches. | 0:27:03 | 0:27:05 | |
He swings with his arm, no shoulder muscles. | 0:27:05 | 0:27:07 | |
You threw the fight. | 0:27:07 | 0:27:09 | |
If I say yes, can we cut some kind of deal? | 0:27:15 | 0:27:17 | |
You don't need a deal. | 0:27:17 | 0:27:19 | |
I'm not going to say anything to anybody. | 0:27:19 | 0:27:21 | |
You pay me back the ten grand I lost | 0:27:21 | 0:27:23 | |
plus 500 for shaming the ring, and I forgive you. | 0:27:23 | 0:27:25 | |
What did you do it for? | 0:27:26 | 0:27:28 | |
You can't need the money. | 0:27:28 | 0:27:29 | |
You got to be worth millions. | 0:27:29 | 0:27:31 | |
They didn't tell me they were going to kill somebody. | 0:27:31 | 0:27:33 | |
Who? Who didn't tell you? | 0:27:33 | 0:27:35 | |
Look, man, see, you just don't understand. | 0:27:39 | 0:27:42 | |
I just gave away the one thing I know that makes me me... | 0:27:42 | 0:27:46 | |
The Heavyweight Championship. | 0:27:49 | 0:27:51 | |
Now I don't even have that. | 0:27:53 | 0:27:56 | |
I don't even know who I am anymore. | 0:27:56 | 0:27:58 | |
What did they have on you? | 0:27:58 | 0:28:00 | |
Get them out of here, Cyrus. | 0:28:00 | 0:28:03 | |
Oh, yo! Pay-per-view, huh? | 0:28:03 | 0:28:05 | |
Man, great shot, buddy. | 0:28:05 | 0:28:06 | |
Yeah, great shot, great shot. Terrific. | 0:28:06 | 0:28:08 | |
Go on. Take a hike, OK? | 0:28:08 | 0:28:10 | |
There's cameras everywhere, for Christ's sake. | 0:28:10 | 0:28:12 | |
What if the guy from the commission comes in here, | 0:28:12 | 0:28:14 | |
he wants to check your gloves, what are you going to do? | 0:28:14 | 0:28:16 | |
Retire and live on your savings, huh? What savings? | 0:28:16 | 0:28:19 | |
You got to have this freak show in here tonight of all nights? | 0:28:19 | 0:28:21 | |
Mickey, Mickey. Come here, Mickey. | 0:28:21 | 0:28:23 | |
Forget about it, Cyrus. | 0:28:23 | 0:28:25 | |
I did not go to law school for this. | 0:28:25 | 0:28:27 | |
Mickey, I... | 0:28:27 | 0:28:28 | |
Keep your shirt on, Cyrus. | 0:28:28 | 0:28:30 | |
Come on, Mickey. I'm trying to do this here. | 0:28:30 | 0:28:33 | |
Four, right? | 0:28:33 | 0:28:34 | |
MICKEY: No, no, no. We said three. | 0:28:34 | 0:28:36 | |
The deal was three. We agreed. | 0:28:36 | 0:28:38 | |
Hey, Mick. | 0:28:38 | 0:28:39 | |
What do you want, Jimmy? | 0:28:39 | 0:28:41 | |
Give me 35. | 0:28:41 | 0:28:42 | |
If I could just get a second. | 0:28:42 | 0:28:44 | |
Take a hike. I'll get you later. Get out of here. | 0:28:44 | 0:28:46 | |
Look, man, I'm getting a lot of bets, OK? | 0:28:46 | 0:28:49 | |
Very large bets against Lincoln, that is, OK? | 0:28:49 | 0:28:52 | |
I'm just wondering... Would you please lower your voice? | 0:28:52 | 0:28:55 | |
Yeah. OK, look, I'm sorry. | 0:28:55 | 0:28:56 | |
Everybody knows that Lincoln likes the action, right? | 0:28:56 | 0:28:58 | |
What I'm saying is, Lincoln likes to gamble, right? | 0:28:58 | 0:29:02 | |
It's not a secret. Never on boxing. | 0:29:02 | 0:29:03 | |
I've been through all this shit with the commission. | 0:29:03 | 0:29:05 | |
I do not have to explain it to you. Never on boxing. | 0:29:05 | 0:29:07 | |
You're right. Yeah, that's right. It's OK. | 0:29:07 | 0:29:09 | |
It's just he's in heavy to some of the casinos. | 0:29:09 | 0:29:12 | |
And some people are saying that maybe he's looking | 0:29:12 | 0:29:13 | |
to clean up the books a little bit. | 0:29:13 | 0:29:15 | |
Like, maybe Lincoln's decided tonight's not his night. | 0:29:15 | 0:29:17 | |
You actually come into a fighter's dressing room | 0:29:17 | 0:29:19 | |
to tell him there's a lot of action against him? | 0:29:19 | 0:29:21 | |
And then you have the nerve to accuse him of what? | 0:29:21 | 0:29:23 | |
I've never been this offended in my life. | 0:29:23 | 0:29:24 | |
I want you to tell Lincoln what you just said to me. | 0:29:24 | 0:29:27 | |
No, no, no. | 0:29:27 | 0:29:28 | |
Lincoln! Listen. | 0:29:28 | 0:29:29 | |
Jimmy's got something really interesting to tell you. | 0:29:29 | 0:29:31 | |
Listen to this. Tell him. Come on. | 0:29:31 | 0:29:33 | |
Forget it. Hey, forget everything I said. | 0:29:33 | 0:29:36 | |
Knock 'em dead, champ. | 0:29:36 | 0:29:37 | |
RICK: Jimmy George! | 0:29:37 | 0:29:39 | |
Wait up a second. | 0:29:39 | 0:29:40 | |
Come on, Rick. I got people waiting for me. | 0:29:40 | 0:29:42 | |
Hey, that's Tyler! Ha-ha! | 0:29:42 | 0:29:44 | |
What are you looking at? Go buy a ticket. | 0:29:44 | 0:29:46 | |
You are never going to get away with this. | 0:29:48 | 0:29:49 | |
Get out of my face, Mickey! | 0:29:49 | 0:29:51 | |
Look at me. Look at yourself. | 0:29:51 | 0:29:53 | |
No, no, no! Bleed, Mickey! Bleed! | 0:29:53 | 0:29:55 | |
You taught me that. | 0:29:55 | 0:29:57 | |
Remember, Mickey? | 0:29:57 | 0:29:58 | |
No way, man. You got yourself into this. | 0:29:58 | 0:30:01 | |
You get caught, you lose my phone number. | 0:30:01 | 0:30:03 | |
I told you, you can't live like you do. | 0:30:03 | 0:30:06 | |
You make yourself vulnerable. | 0:30:06 | 0:30:07 | |
Everybody wants a piece of you. | 0:30:07 | 0:30:08 | |
Look at this, man. They got all of you now. | 0:30:08 | 0:30:11 | |
Unh! | 0:30:11 | 0:30:12 | |
That's beautiful. | 0:30:13 | 0:30:15 | |
That is... that's terrific. That's great. | 0:30:15 | 0:30:17 | |
That's great. Jesus Christ. | 0:30:17 | 0:30:18 | |
CYRUS: Mickey? | 0:30:18 | 0:30:19 | |
Yeah. Come here. All right, Cyrus, look. | 0:30:19 | 0:30:21 | |
Here it is, pal. Take it. Get lost, OK? | 0:30:21 | 0:30:23 | |
Bets for the best, right, Mr Tyler? | 0:30:23 | 0:30:25 | |
MICKEY: Come on. Get out of here. | 0:30:25 | 0:30:27 | |
Tyler, Tyler... | 0:30:27 | 0:30:29 | |
Tyler, Tyler. | 0:30:29 | 0:30:31 | |
Uh! Uh! Tyler, Ty... | 0:30:31 | 0:30:33 | |
All right, don't move. | 0:30:35 | 0:30:36 | |
I'll be right back. | 0:30:36 | 0:30:38 | |
Cyrus! | 0:30:38 | 0:30:39 | |
Yo, yo! | 0:30:39 | 0:30:40 | |
Cyrus! | 0:30:40 | 0:30:41 | |
Yo! | 0:30:41 | 0:30:42 | |
How much were you into the casinos for? | 0:30:43 | 0:30:46 | |
Enough. | 0:30:48 | 0:30:50 | |
The people that set this up said if I drop this one, | 0:30:50 | 0:30:53 | |
they'd square everything I owed. | 0:30:53 | 0:30:55 | |
Plus, if I lose to an underdog, | 0:30:55 | 0:30:57 | |
it would set me up for a rematch, | 0:30:57 | 0:30:59 | |
and a rematch is where the real money is. | 0:30:59 | 0:31:02 | |
They didn't say what round they wanted it in. | 0:31:02 | 0:31:04 | |
They were going to let me know during the fight. | 0:31:04 | 0:31:07 | |
There was a guy in the front row. | 0:31:07 | 0:31:08 | |
They told me what he was going to say, | 0:31:08 | 0:31:10 | |
and it was going to be the signal to go down. | 0:31:10 | 0:31:13 | |
I ain't never going to forget those words. | 0:31:13 | 0:31:15 | |
"Here comes the pain." | 0:31:15 | 0:31:17 | |
It was all I could do to keep from taking him out. Just one punch, | 0:31:20 | 0:31:24 | |
shove that radio right through the side of his head. | 0:31:24 | 0:31:26 | |
Radio? | 0:31:26 | 0:31:28 | |
Yeah. He had one of those things in his ear. | 0:31:28 | 0:31:30 | |
Anyway... | 0:31:30 | 0:31:32 | |
the fight started. | 0:31:32 | 0:31:34 | |
Come on, old man. | 0:31:34 | 0:31:35 | |
See what you got. See what you got, old man. | 0:31:35 | 0:31:37 | |
LINCOLN: 'I couldn't get that sucker | 0:31:37 | 0:31:40 | |
'to take a decent swing at me. | 0:31:40 | 0:31:42 | |
'He wouldn't stop talking, | 0:31:42 | 0:31:43 | |
'like he was going to bullshit me to death.' | 0:31:43 | 0:31:45 | |
You got to do better than that. Come on, baby. | 0:31:45 | 0:31:47 | |
Ohh! Come on, now. | 0:31:47 | 0:31:48 | |
You're too slow, man. Come on. | 0:31:48 | 0:31:51 | |
RUIZ: What you going to do to me, huh? | 0:31:51 | 0:31:52 | |
Ha ha! That's what I'm talking about. | 0:31:58 | 0:32:01 | |
Whoo hoo hoo! | 0:32:01 | 0:32:02 | |
Yeah! Come on, baby. | 0:32:02 | 0:32:04 | |
Come on. Let's see what you got. | 0:32:04 | 0:32:06 | |
Let's see what you got, old man. | 0:32:06 | 0:32:08 | |
Come on. Bring it to me. | 0:32:08 | 0:32:11 | |
Come on. Yeah! LAUGHING | 0:32:11 | 0:32:14 | |
Yeah, I'm right here. | 0:32:24 | 0:32:25 | |
I'm right here. | 0:32:25 | 0:32:26 | |
Let me try that good stuff you got. | 0:32:26 | 0:32:28 | |
Come on. You're too slow. | 0:32:28 | 0:32:30 | |
LINCOLN: 'I was just trying to shut him up. | 0:32:30 | 0:32:34 | |
'I barely even tapped him, and I almost won the fight.' | 0:32:34 | 0:32:37 | |
REFEREE: Neutral corner. | 0:32:37 | 0:32:39 | |
1... | 0:32:39 | 0:32:41 | |
2... | 0:32:41 | 0:32:44 | |
3... | 0:32:44 | 0:32:47 | |
4... | 0:32:47 | 0:32:50 | |
5... | 0:32:50 | 0:32:53 | |
6... | 0:32:53 | 0:32:56 | |
7... | 0:32:56 | 0:32:59 | |
8... | 0:32:59 | 0:33:01 | |
REFEREE: are you OK? | 0:33:05 | 0:33:07 | |
Yeah. Yeah. | 0:33:07 | 0:33:09 | |
CROWD CHEER | 0:33:09 | 0:33:12 | |
Get it on! | 0:33:12 | 0:33:13 | |
You punch like a bitch. | 0:33:15 | 0:33:17 | |
This is a fight. Keep your... | 0:33:17 | 0:33:19 | |
LINCOLN: 'And he did head-butt me. I wasn't lying about that. | 0:33:20 | 0:33:24 | |
'Everything went wrong. It was like he was trying to screw up the deal.' | 0:33:24 | 0:33:27 | |
I'm stopping the fight. | 0:33:27 | 0:33:28 | |
Right after that, I got the signal. | 0:33:28 | 0:33:30 | |
It was quicker than I thought. | 0:33:30 | 0:33:32 | |
I don't know. Maybe they were getting nervous. | 0:33:32 | 0:33:35 | |
Let's get it on. | 0:33:35 | 0:33:36 | |
Here comes the pain, baby! | 0:33:36 | 0:33:38 | |
Here comes the pain! | 0:33:38 | 0:33:41 | |
Here comes the pain! | 0:33:41 | 0:33:43 | |
I showed you what it's about. | 0:33:43 | 0:33:45 | |
LINCOLN: 'I wasn't supposed to go down right away. They were very clear about that. | 0:33:45 | 0:33:48 | |
'I had to take a punch, fall back into the corner, | 0:33:48 | 0:33:49 | |
'let him charge in and knock me out. | 0:33:49 | 0:33:51 | |
RICK: 'because they wanted everybody up on their feet, distracted, | 0:33:51 | 0:33:54 | |
'giving them a clear shot right through the crowd. | 0:33:54 | 0:33:56 | |
LINCOLN: 'But that punk-ass son of a bitch didn't swing through the punch, | 0:33:56 | 0:34:00 | |
'and I was so far into the act in my own head, you know, | 0:34:00 | 0:34:03 | |
'by the time I realised he didn't connect, | 0:34:03 | 0:34:05 | |
'I was already in the corner.' | 0:34:05 | 0:34:07 | |
RICK: You're a bum, Tyler! | 0:34:10 | 0:34:12 | |
How could you do this to me? | 0:34:12 | 0:34:14 | |
He's a bum! | 0:34:14 | 0:34:15 | |
Get back. | 0:34:15 | 0:34:17 | |
Neutral corner. | 0:34:17 | 0:34:18 | |
Get back, man. Stay there. | 0:34:18 | 0:34:20 | |
1... | 0:34:20 | 0:34:22 | |
2... | 0:34:22 | 0:34:24 | |
3... | 0:34:24 | 0:34:26 | |
4... | 0:34:26 | 0:34:27 | |
GUNSHOTS | 0:34:27 | 0:34:28 | |
5... | 0:34:28 | 0:34:29 | |
6... | 0:34:29 | 0:34:30 | |
GUNSHOT | 0:34:30 | 0:34:31 | |
7... | 0:34:31 | 0:34:32 | |
8... | 0:34:32 | 0:34:34 | |
GUNSHOT | 0:34:34 | 0:34:35 | |
9... | 0:34:35 | 0:34:36 | |
But nobody was supposed to die. | 0:34:36 | 0:34:38 | |
She never said anything about that. | 0:34:38 | 0:34:39 | |
She? | 0:34:39 | 0:34:41 | |
She? | 0:34:41 | 0:34:42 | |
You hear that storm out there? | 0:34:42 | 0:34:44 | |
THUNDER | 0:34:44 | 0:34:45 | |
I wish it would blow this whole town away. | 0:34:45 | 0:34:47 | |
No, no, no. Who's she? | 0:34:47 | 0:34:48 | |
She's the one who came to me in the first place, | 0:34:48 | 0:34:50 | |
told me I was supposed to go down. | 0:34:50 | 0:34:52 | |
I never met anybody else but her. | 0:34:52 | 0:34:54 | |
Did you get a name? | 0:34:54 | 0:34:55 | |
Yeah. Name, address, serial number, 8" x 10" colour picture. | 0:34:55 | 0:34:57 | |
You want to look at that, too? | 0:34:57 | 0:34:59 | |
Do you remember anything unusual about her? | 0:34:59 | 0:35:01 | |
Her hair maybe. | 0:35:01 | 0:35:02 | |
What about it? | 0:35:02 | 0:35:04 | |
It was bright red, like it was on fire. | 0:35:04 | 0:35:06 | |
A Palestinian who's lived in the United States | 0:35:08 | 0:35:10 | |
for the last six years. | 0:35:10 | 0:35:12 | |
He's believed to be linked to a series of threatening letters | 0:35:12 | 0:35:15 | |
written to various defence secretaries | 0:35:15 | 0:35:17 | |
expressing outrage over the sale of missile systems | 0:35:17 | 0:35:19 | |
and other weaponry to Israel. | 0:35:19 | 0:35:21 | |
A handwritten note was found | 0:35:21 | 0:35:23 | |
on Rabat's body. | 0:35:23 | 0:35:25 | |
Could you hold that up, too, please? | 0:35:25 | 0:35:27 | |
Apparently he intended it to be found after the shooting. | 0:35:27 | 0:35:30 | |
Commander, what's in the note, sir? | 0:35:30 | 0:35:32 | |
I can't disclose that until it's been studied by investigators. | 0:35:32 | 0:35:35 | |
Commander, could you give us the condition of the Secretary, please? | 0:35:35 | 0:35:38 | |
He was taken to Atlantic City medical centre, | 0:35:38 | 0:35:40 | |
but I have no other information at this time. | 0:35:40 | 0:35:43 | |
That's all I can say until the FBI joins the investigation. | 0:35:43 | 0:35:46 | |
LOGAN: Thank you, commander. | 0:35:46 | 0:35:47 | |
That was commander Kevin Dunne. | 0:35:47 | 0:35:49 | |
You find her? | 0:35:49 | 0:35:51 | |
No. She might have gone into the casino. | 0:35:51 | 0:35:52 | |
There's a dozen service doors from here to there. | 0:35:52 | 0:35:54 | |
We couldn't watch all of them. | 0:35:54 | 0:35:56 | |
Double the men you have at the casino exits. | 0:35:56 | 0:35:58 | |
I've got to talk to you. | 0:35:58 | 0:35:59 | |
What is it? | 0:35:59 | 0:36:00 | |
Let's go somewhere private. | 0:36:00 | 0:36:01 | |
Just because a guy has | 0:36:02 | 0:36:04 | |
something plugged into his ear... | 0:36:04 | 0:36:06 | |
I asked. Tyler says it was a radio. | 0:36:06 | 0:36:08 | |
OK, we'll check it out, | 0:36:08 | 0:36:10 | |
but a compulsive gambler who admits he took a dive | 0:36:10 | 0:36:12 | |
might not turn out to be the best witness... | 0:36:12 | 0:36:14 | |
It's not just him. I'm betting that the redhead you followed | 0:36:14 | 0:36:16 | |
is the same person who told Tyler to throw the fight. | 0:36:16 | 0:36:18 | |
She's one, shooter's two, Tyler's three, | 0:36:18 | 0:36:20 | |
the drunk who shouted the signal's four, | 0:36:20 | 0:36:22 | |
and whoever was on the other end of that radio is five. | 0:36:22 | 0:36:25 | |
Five people make a conspiracy, right? | 0:36:25 | 0:36:28 | |
Yeah, yeah. Look, anything's possible, | 0:36:28 | 0:36:30 | |
but I got to tell you. | 0:36:30 | 0:36:31 | |
We've got a file an inch thick on this guy Rabat. | 0:36:31 | 0:36:34 | |
He's a well-known nut case. | 0:36:34 | 0:36:35 | |
It's clear he was ready to die for his cause. | 0:36:35 | 0:36:38 | |
That's a suicide note. | 0:36:38 | 0:36:39 | |
You know, "I fly into the arms of Allah" | 0:36:39 | 0:36:42 | |
and shit like that. | 0:36:42 | 0:36:43 | |
He was all worked up about our missile sales to Israel, | 0:36:43 | 0:36:46 | |
and it's conceivable that he found out | 0:36:46 | 0:36:49 | |
about the Norfolk test. | 0:36:49 | 0:36:50 | |
Norfolk test, what's that? | 0:36:50 | 0:36:52 | |
THUNDER | 0:36:52 | 0:36:54 | |
Kevin, I know it's classified, | 0:36:54 | 0:36:56 | |
but I am the investigating officer on the murder now. | 0:36:56 | 0:36:59 | |
All right. | 0:37:02 | 0:37:03 | |
But what are you chasing this for? | 0:37:03 | 0:37:05 | |
You don't get out of bed | 0:37:05 | 0:37:07 | |
unless there's an angle in it for you. | 0:37:07 | 0:37:09 | |
Guys get elected president | 0:37:09 | 0:37:10 | |
just for being in the right place at the right time, | 0:37:10 | 0:37:13 | |
and I want to be mayor. | 0:37:13 | 0:37:15 | |
Look... | 0:37:17 | 0:37:19 | |
part of what I'm going to tell you - it could bury me. | 0:37:19 | 0:37:24 | |
I hope you can keep this between us. | 0:37:24 | 0:37:27 | |
Kevin, you're talking to your best friend, | 0:37:27 | 0:37:30 | |
and loyalty's my only vice, so what's the problem? | 0:37:30 | 0:37:33 | |
The problem is that I was in too good a mood. | 0:37:33 | 0:37:37 | |
That trip to Norfolk was for a weapons test | 0:37:39 | 0:37:42 | |
for the air guard, | 0:37:42 | 0:37:43 | |
Powell's new anti-missile defence system. | 0:37:43 | 0:37:46 | |
It's light-years ahead | 0:37:46 | 0:37:47 | |
of the Sea Sparrows our ships have now. | 0:37:47 | 0:37:49 | |
If we had this in the Gulf when the Renville... | 0:37:49 | 0:37:51 | |
after the Renville incident, | 0:37:53 | 0:37:55 | |
the old man picked me to sell it to Congress. | 0:37:55 | 0:37:57 | |
Everybody at DOD wanted it to work, and it did. | 0:37:57 | 0:38:00 | |
The test went beautifully. | 0:38:00 | 0:38:01 | |
By the time we got to the fight tonight, | 0:38:01 | 0:38:04 | |
we were all high as kites. | 0:38:04 | 0:38:06 | |
I let the excitement get to me. | 0:38:06 | 0:38:08 | |
I lost my edge. | 0:38:08 | 0:38:10 | |
KEVIN: Can I see your ticket, please? | 0:38:10 | 0:38:12 | |
My what? | 0:38:12 | 0:38:13 | |
Your ticket, ma'am. I need to see your ticket for this seat. | 0:38:13 | 0:38:16 | |
Oh, my ticket. | 0:38:16 | 0:38:17 | |
Yeah, sure. I think I have it here. | 0:38:17 | 0:38:20 | |
< PUNCHING | 0:38:20 | 0:38:21 | |
CROWD CHEER | 0:38:21 | 0:38:23 | |
KEVIN: Hey! | 0:38:27 | 0:38:28 | |
KEVIN: Hold on a minute. | 0:38:47 | 0:38:49 | |
I was talking to you back there. Where do you think you're going? | 0:38:49 | 0:38:51 | |
I'm going to the ladies' room. Is that OK with you? | 0:38:51 | 0:38:54 | |
In the middle of the first round? | 0:38:54 | 0:38:55 | |
You're not much of a fight fan, I guess. | 0:38:55 | 0:38:57 | |
Look, Sarge, I don't know who you are, | 0:38:57 | 0:39:00 | |
but you have no right to hassle me like this. | 0:39:00 | 0:39:02 | |
Look, I get paid to hassle people, ma'am. | 0:39:02 | 0:39:04 | |
Show me your ticket, or I'll have you escorted out. | 0:39:04 | 0:39:07 | |
OK, OK. I don't have a ticket. | 0:39:07 | 0:39:09 | |
I mean, I have a ticket, | 0:39:09 | 0:39:11 | |
but it's way up there in the nose bleed seats, | 0:39:11 | 0:39:14 | |
and I couldn't see a thing, so... | 0:39:14 | 0:39:16 | |
Listen, I do this all the time. | 0:39:16 | 0:39:18 | |
They always let me get away with it. | 0:39:18 | 0:39:20 | |
Come on. It's no big deal. | 0:39:20 | 0:39:22 | |
It is tonight. | 0:39:22 | 0:39:24 | |
What's so special about tonight? | 0:39:24 | 0:39:26 | |
A very important man in the crowd. | 0:39:26 | 0:39:28 | |
Oh. And you're, er... | 0:39:28 | 0:39:30 | |
what? His bodyguard? | 0:39:30 | 0:39:33 | |
That must be a very exciting job. | 0:39:33 | 0:39:36 | |
Yeah. It's got its moments. | 0:39:36 | 0:39:38 | |
GUNSHOTS | 0:39:38 | 0:39:40 | |
CROWD SCREAM | 0:39:42 | 0:39:44 | |
I was three feet away from a known terrorist, | 0:39:50 | 0:39:53 | |
and I had my eyes buried in some broad's tits. | 0:39:53 | 0:39:57 | |
Kevin, this might not make you feel better, but don't you see? | 0:39:59 | 0:40:01 | |
That's what she was there for. | 0:40:01 | 0:40:03 | |
That was the plan - to give you a boner. | 0:40:03 | 0:40:05 | |
Ha! And you got one. | 0:40:05 | 0:40:07 | |
Congratulations. You're human. | 0:40:07 | 0:40:09 | |
Come on, Rick. | 0:40:09 | 0:40:11 | |
Look on the bright side. | 0:40:11 | 0:40:13 | |
I like you better. Golden boy screwed up. | 0:40:13 | 0:40:15 | |
Wait a minute. | 0:40:15 | 0:40:17 | |
We need to be very, very careful with this. | 0:40:17 | 0:40:19 | |
We go out there and yell conspiracy, | 0:40:19 | 0:40:21 | |
it's like waving a lunatic flag. | 0:40:21 | 0:40:23 | |
We got to get our hands on the redhead | 0:40:23 | 0:40:25 | |
or the guy that shouted the signal. | 0:40:25 | 0:40:27 | |
If they're still in the building. | 0:40:27 | 0:40:28 | |
And the woman who was talking to the Secretary. | 0:40:28 | 0:40:30 | |
I'll stay after her. You try to find the other two. | 0:40:30 | 0:40:33 | |
RICK: No, no. This is wrong. | 0:40:33 | 0:40:34 | |
We're never going to find anything just walking around the arena. | 0:40:34 | 0:40:36 | |
What if they've gone into the casino? | 0:40:36 | 0:40:37 | |
I'm going to go up to surveillance. | 0:40:37 | 0:40:39 | |
They've got cameras all over the place, just bitchin' technology. | 0:40:39 | 0:40:41 | |
All right, you do that | 0:40:41 | 0:40:42 | |
while I double-check with security, | 0:40:42 | 0:40:43 | |
see if they found anything. | 0:40:43 | 0:40:45 | |
THUNDER | 0:40:47 | 0:40:49 | |
Well, I finally understand | 0:41:26 | 0:41:28 | |
why you didn't want me to worry about your shooter. | 0:41:28 | 0:41:31 | |
KEVIN: One less terrorist in the world. | 0:41:31 | 0:41:33 | |
At least he did something productive on his way out. | 0:41:33 | 0:41:37 | |
Did he know he was on a suicide mission? | 0:41:37 | 0:41:39 | |
He does now. | 0:41:41 | 0:41:42 | |
With all due respect, sir, | 0:41:42 | 0:41:44 | |
we should have been out of here 11 minutes ago. | 0:41:44 | 0:41:46 | |
Things have changed. | 0:41:49 | 0:41:51 | |
We need to make an adjustment. | 0:41:52 | 0:41:55 | |
KEVIN: A local cop made both of you. | 0:41:57 | 0:41:59 | |
What?! | 0:41:59 | 0:42:01 | |
He made us? How? | 0:42:01 | 0:42:02 | |
It's not important. | 0:42:02 | 0:42:04 | |
He's searching the building for you right now. | 0:42:04 | 0:42:06 | |
So what do we do? Take them out? | 0:42:06 | 0:42:08 | |
KEVIN: That's not an option. | 0:42:08 | 0:42:09 | |
That's the only option. | 0:42:09 | 0:42:11 | |
Negative. | 0:42:11 | 0:42:12 | |
Not with this guy. | 0:42:12 | 0:42:14 | |
Let's move out. | 0:42:14 | 0:42:15 | |
Yes, sir. | 0:42:15 | 0:42:16 | |
You do have a contingency plan, | 0:42:16 | 0:42:18 | |
don't you, sir? | 0:42:18 | 0:42:20 | |
Yes, but I don't like it. | 0:42:20 | 0:42:22 | |
Why not? | 0:42:22 | 0:42:23 | |
Because a soldier deserves better. | 0:42:23 | 0:42:25 | |
SILENCED GUNSHOT | 0:42:25 | 0:42:26 | |
Jesus Christ. | 0:42:26 | 0:42:28 | |
I've been shot. | 0:42:32 | 0:42:34 | |
I've been shot. | 0:42:34 | 0:42:36 | |
I'm shot. | 0:42:36 | 0:42:38 | |
I'm sorry. | 0:42:38 | 0:42:39 | |
SILENCED GUNSHOT | 0:42:39 | 0:42:40 | |
THUNDER | 0:42:40 | 0:42:42 | |
MAN: I got 1,500 cameras - | 0:42:47 | 0:42:49 | |
800 on the casino side, 720 on the hotel side, | 0:42:49 | 0:42:52 | |
quadruple redundancy on the gaming floor. | 0:42:52 | 0:42:54 | |
If they're down there, we'll find them. | 0:42:54 | 0:42:56 | |
I appreciate it, Walt. | 0:42:56 | 0:42:57 | |
No problem. You think one of these people is your shooter? | 0:42:57 | 0:42:59 | |
We already got the shooter. | 0:42:59 | 0:43:01 | |
Then what are you looking for? | 0:43:01 | 0:43:03 | |
Where do we start? | 0:43:03 | 0:43:04 | |
You tell me. | 0:43:04 | 0:43:05 | |
Lobby. | 0:43:05 | 0:43:06 | |
118. | 0:43:06 | 0:43:08 | |
Can you go to the right? | 0:43:08 | 0:43:10 | |
154. | 0:43:10 | 0:43:11 | |
Keep moving. | 0:43:11 | 0:43:13 | |
Let's go by section. | 0:43:13 | 0:43:14 | |
HE PRESSES BUTTONS | 0:43:14 | 0:43:16 | |
RICK: Keep going. | 0:43:17 | 0:43:18 | |
No. | 0:43:21 | 0:43:22 | |
CJ, punch up 383, | 0:43:22 | 0:43:24 | |
the guy in the checkered shirt. | 0:43:24 | 0:43:26 | |
What about him? | 0:43:26 | 0:43:27 | |
Coin cup grabber. Look. Watch the money. | 0:43:27 | 0:43:29 | |
You know him? | 0:43:29 | 0:43:31 | |
Nah. You just get to read body language. | 0:43:31 | 0:43:33 | |
There he goes. There he goes. | 0:43:33 | 0:43:35 | |
WALT: See, somebody who wants to play the slots, | 0:43:35 | 0:43:37 | |
they're staring at the machines, | 0:43:37 | 0:43:39 | |
trying to guess which one is lucky. | 0:43:39 | 0:43:41 | |
A grabber could care less. He checks out the people. | 0:43:41 | 0:43:43 | |
He's like a pickpocket, only crude. | 0:43:43 | 0:43:45 | |
You know, no skills. | 0:43:45 | 0:43:47 | |
Keep going? | 0:43:47 | 0:43:48 | |
Keep going. | 0:43:48 | 0:43:49 | |
KEVIN ON TV: 'The identity of the assassin | 0:43:49 | 0:43:51 | |
'is Tarik Ben Rabat, 37 years old, | 0:43:51 | 0:43:53 | |
'a Palestinian who's lived in the United States | 0:43:53 | 0:43:56 | |
'for the last six years.' | 0:43:56 | 0:43:58 | |
MAN: Excuse me. | 0:43:58 | 0:43:59 | |
Excuse me. Are you down on the race? | 0:43:59 | 0:44:02 | |
KEVIN ON TV: 'Expressing outrage over the sale...' | 0:44:02 | 0:44:04 | |
WOMAN: Oh. | 0:44:04 | 0:44:06 | |
Yeah. | 0:44:06 | 0:44:07 | |
MAN: Me, too. | 0:44:07 | 0:44:09 | |
MAN: We've got two men covering every casino exit door. | 0:44:09 | 0:44:12 | |
Nobody's seen her yet. | 0:44:12 | 0:44:13 | |
SECOND MAN: Keep them there. | 0:44:13 | 0:44:15 | |
We'll search the floor section by section. | 0:44:15 | 0:44:17 | |
You are hot. | 0:44:17 | 0:44:19 | |
So you want to come back to my room | 0:44:19 | 0:44:21 | |
and have a little fun together? | 0:44:21 | 0:44:23 | |
Um...who's, er... | 0:44:24 | 0:44:28 | |
who's winning? | 0:44:28 | 0:44:30 | |
Looks like the number four horse, daddy's hobby. | 0:44:30 | 0:44:33 | |
Yeah? | 0:44:34 | 0:44:36 | |
UNZIPPING | 0:44:36 | 0:44:38 | |
Whew. God, I'm hot. | 0:44:38 | 0:44:42 | |
Do you have air conditioning? | 0:44:45 | 0:44:47 | |
Huh? | 0:44:47 | 0:44:48 | |
In your room - air conditioning. | 0:44:48 | 0:44:51 | |
Oh, yeah. Yeah. | 0:44:51 | 0:44:52 | |
I keep it turned down real low. Ha ha! | 0:44:52 | 0:44:55 | |
GIGGLES | 0:44:55 | 0:44:56 | |
What you want? | 0:45:00 | 0:45:01 | |
I need a word with Mr Tyler. | 0:45:01 | 0:45:04 | |
ZIPPING | 0:45:20 | 0:45:23 | |
I want to apologise, sir, | 0:45:29 | 0:45:31 | |
for not securing the infrareds. | 0:45:31 | 0:45:33 | |
The shooter missed the girl. | 0:45:34 | 0:45:36 | |
There was nothing you could do. | 0:45:36 | 0:45:38 | |
Walter, I think we got another hooker in the Princess Lounge. | 0:45:49 | 0:45:53 | |
Punch up 596. | 0:45:53 | 0:45:54 | |
Excuse me a second. | 0:45:54 | 0:45:55 | |
She hasn't been there five minutes, she can't take her hands off him. | 0:45:57 | 0:46:00 | |
Oh, my God, that's her. | 0:46:06 | 0:46:08 | |
You said she had red hair. | 0:46:08 | 0:46:09 | |
No, not that one. Somebody else. Where's that bar? | 0:46:09 | 0:46:10 | |
They're leaving! | 0:46:10 | 0:46:12 | |
Don't worry, Ricky. No problem. I'll stay with them. | 0:46:12 | 0:46:14 | |
Come on. Grab a radio. Stay on channel 3. | 0:46:14 | 0:46:17 | |
Here we go! | 0:46:17 | 0:46:19 | |
Yeah, yeah. | 0:46:19 | 0:46:20 | |
SHE GIGGLES | 0:46:20 | 0:46:22 | |
THEY TALK SOFTLY | 0:46:22 | 0:46:24 | |
That's her. | 0:46:30 | 0:46:31 | |
We've located the girl. | 0:46:31 | 0:46:33 | |
OK. | 0:46:33 | 0:46:34 | |
Come on. | 0:46:34 | 0:46:35 | |
Where is she? | 0:46:42 | 0:46:44 | |
Over there by the elevators. | 0:46:44 | 0:46:46 | |
I got it from here. Thanks. | 0:46:47 | 0:46:49 | |
Done, sir. | 0:46:49 | 0:46:51 | |
I don't see her, Walt. | 0:47:14 | 0:47:16 | |
Walt, where is she? | 0:47:16 | 0:47:17 | |
Walt! | 0:47:17 | 0:47:18 | |
WALT: You're on the opposite side of the floor. | 0:47:18 | 0:47:20 | |
They're playing the magnificent seven near the lobby elevators. | 0:47:20 | 0:47:23 | |
Got 'em. | 0:47:23 | 0:47:25 | |
I'm just playing my spare change. | 0:47:31 | 0:47:32 | |
Yeah? Um, I want to go upstairs. | 0:47:32 | 0:47:34 | |
Yeah, yeah. Me, too, me, too. | 0:47:34 | 0:47:36 | |
Yeah. Um, I want to go... | 0:47:36 | 0:47:38 | |
Yes! | 0:47:38 | 0:47:39 | |
MACHINE BELL RINGS | 0:47:39 | 0:47:41 | |
CHANGE FALLS INTO CUP | 0:47:48 | 0:47:51 | |
Hey! | 0:47:53 | 0:47:55 | |
I want to go upstairs now, | 0:47:55 | 0:47:57 | |
and if you don't come with me, I'm sure somebody else will. | 0:47:57 | 0:48:00 | |
WALT: Change of plans. | 0:48:04 | 0:48:06 | |
They're at the elevators. Hang a right. | 0:48:06 | 0:48:08 | |
Wait a minute! | 0:48:08 | 0:48:09 | |
Shit! | 0:48:16 | 0:48:18 | |
I missed her. | 0:48:21 | 0:48:22 | |
You got her in the box? | 0:48:22 | 0:48:24 | |
WALT: Yeah, Ricky, I got them. | 0:48:24 | 0:48:25 | |
I'm taking this elevator. Tell me what floor they're on. | 0:48:25 | 0:48:29 | |
So what kind of music do you like? | 0:48:29 | 0:48:31 | |
Ow! What? | 0:48:31 | 0:48:32 | |
I'm sorry. I just wanted a hug. | 0:48:32 | 0:48:34 | |
What floor? | 0:48:37 | 0:48:38 | |
35. What? What? | 0:48:38 | 0:48:41 | |
Nothing. | 0:48:41 | 0:48:42 | |
I just want to get upstairs. | 0:48:42 | 0:48:45 | |
Walt, I got to know what floor. | 0:48:47 | 0:48:49 | |
I can't make out the buttons. | 0:48:49 | 0:48:51 | |
It's a high one. | 0:48:51 | 0:48:53 | |
RICK: Can you pick them up when they get off? | 0:48:53 | 0:48:55 | |
I'd have to check floor by floor. I'd lose 'em. | 0:48:55 | 0:48:57 | |
WALT: Hang on. | 0:49:00 | 0:49:01 | |
I got an idea. | 0:49:01 | 0:49:03 | |
Come on, Walt. | 0:49:17 | 0:49:19 | |
WALT: Yeah. This is McGahn of security. | 0:49:19 | 0:49:22 | |
We have a Ned Campbell staying at the hotel. | 0:49:22 | 0:49:25 | |
LIFT PINGS | 0:49:26 | 0:49:27 | |
WOMAN: No, honey. That's going up. | 0:49:30 | 0:49:32 | |
Walt! | 0:49:35 | 0:49:36 | |
LIFT PINGS | 0:49:39 | 0:49:40 | |
What room? | 0:49:40 | 0:49:42 | |
3517. | 0:49:49 | 0:49:51 | |
You're a genius. | 0:49:51 | 0:49:53 | |
MAN: OK! Man, this is going to be so much fun! | 0:50:11 | 0:50:15 | |
LAUGHTER | 0:50:15 | 0:50:17 | |
Come on. Come on. | 0:50:17 | 0:50:20 | |
MEN TALK | 0:50:20 | 0:50:21 | |
WOMAN LAUGHS | 0:50:23 | 0:50:25 | |
WOMEN TALK | 0:50:25 | 0:50:26 | |
< MAN AND WOMAN LAUGH | 0:50:41 | 0:50:43 | |
WOMAN: Honey, come on. | 0:50:53 | 0:50:55 | |
WOMAN ON TV: 'In the tri-state weather centre...' | 0:50:55 | 0:50:58 | |
Oh, the weather is more important than me, baby? | 0:50:58 | 0:51:01 | |
Look at me. Look at me! | 0:51:01 | 0:51:03 | |
Look, honey, there's a hurricane on. | 0:51:03 | 0:51:06 | |
So what?! I'm hot! Come on! | 0:51:06 | 0:51:08 | |
You want to play rough, huh? | 0:51:08 | 0:51:11 | |
I'll give you a little hurricane! | 0:51:11 | 0:51:13 | |
Ha ha ha ha! | 0:51:13 | 0:51:15 | |
ANCHORMAN ON TV: 'Secretary of defence Charles Kirkland | 0:51:15 | 0:51:17 | |
'is in critical condition | 0:51:17 | 0:51:19 | |
'at the Atlantic City medical centre | 0:51:19 | 0:51:21 | |
'after being struck by an assassin's bullet | 0:51:21 | 0:51:23 | |
'while attending a boxing match at the Atlantic City arena. | 0:51:23 | 0:51:26 | |
'We've been getting live updates from the only reporter | 0:51:26 | 0:51:29 | |
'allowed inside the arena, | 0:51:29 | 0:51:31 | |
'a Lou Logan of Powell pay-per-view television.' | 0:51:31 | 0:51:34 | |
MUSIC PLAYS LOUDLY | 0:51:34 | 0:51:35 | |
MEN SHOUT | 0:51:35 | 0:51:36 | |
NED: Hold it down in there! | 0:51:47 | 0:51:49 | |
People are trying to sleep! | 0:51:49 | 0:51:51 | |
ANCHORMAN: And we've also learned that Rabat left what may have been a suicide note, | 0:51:51 | 0:51:55 | |
which was found on his body by police in the moments after the shooting took place. | 0:51:55 | 0:51:58 | |
HE TURNS OFF TELEVISION AND TURNS ON MELLOW JAZZ MUSIC | 0:51:58 | 0:52:01 | |
Ohh. | 0:52:11 | 0:52:13 | |
OK. | 0:52:19 | 0:52:21 | |
Hi. | 0:52:33 | 0:52:34 | |
Hi. Ha ha! | 0:52:34 | 0:52:36 | |
I hope you don't mind. I borrowed your shirt. | 0:52:36 | 0:52:38 | |
Oh, not at all. | 0:52:38 | 0:52:39 | |
I happen to think women look very sexy in men's shirts. | 0:52:39 | 0:52:42 | |
Oh. Ha ha! | 0:52:42 | 0:52:43 | |
Ha ha ha! | 0:52:43 | 0:52:45 | |
OK. | 0:52:45 | 0:52:46 | |
Um, can you just hold on one minute, OK? | 0:52:46 | 0:52:50 | |
Oh, OK. | 0:52:50 | 0:52:51 | |
Oh, please. | 0:52:53 | 0:52:55 | |
NED: Excuse me. | 0:52:55 | 0:52:56 | |
You're the one who was practically giving me the knob job | 0:52:56 | 0:52:58 | |
down in the bar. | 0:52:58 | 0:53:00 | |
I'm sorry. I need a place where I can just wait, | 0:53:00 | 0:53:01 | |
and then I'll go. | 0:53:01 | 0:53:03 | |
A place where you can just wait and go. | 0:53:03 | 0:53:05 | |
What do you think this is - a bus stop?! | 0:53:05 | 0:53:07 | |
What, are you on drugs or something? Yeah. | 0:53:15 | 0:53:17 | |
I should've figured this out. You look like hell. | 0:53:17 | 0:53:19 | |
Did you come up here to rob me? Is that what you were thinking? | 0:53:19 | 0:53:21 | |
Look, I'm in trouble. Somebody shot at me, OK? | 0:53:21 | 0:53:23 | |
Great. Now I've heard everything. Let's go. | 0:53:23 | 0:53:25 | |
Wait. Do you know what's going on tonight? Have you heard? | 0:53:25 | 0:53:27 | |
Listen, I am a very happily married man, | 0:53:27 | 0:53:29 | |
and I don't need your kind of trouble, so let's go. | 0:53:29 | 0:53:32 | |
Just a half an hour. No, wait. Please! | 0:53:32 | 0:53:34 | |
Get out! | 0:53:34 | 0:53:35 | |
Aah! | 0:53:35 | 0:53:36 | |
Sorry. | 0:53:36 | 0:53:36 | |
Who are you? | 0:53:36 | 0:53:37 | |
Take a walk. | 0:53:37 | 0:53:38 | |
What the hell's going on here? | 0:53:38 | 0:53:40 | |
I said, take a walk! | 0:53:40 | 0:53:41 | |
It's my room, damn it! | 0:53:45 | 0:53:47 | |
Hi. Remember me? I'm Detective Santoro. | 0:53:47 | 0:53:49 | |
I shoved you out of the way of that bullet. | 0:53:49 | 0:53:51 | |
Yeah. Can you please help me? | 0:53:51 | 0:53:52 | |
I need to get out of this building. | 0:53:52 | 0:53:54 | |
The first thing we're going to do is get you out of this room. | 0:53:54 | 0:53:56 | |
So you can calm down. We're going to have a little talk, OK? | 0:53:59 | 0:54:01 | |
Yeah. | 0:54:01 | 0:54:02 | |
This hotel sucks! | 0:54:04 | 0:54:05 | |
What's the problem? | 0:54:05 | 0:54:06 | |
Some guy just busted into my room. | 0:54:06 | 0:54:08 | |
What guy? Where? | 0:54:08 | 0:54:09 | |
Come on. I'll show you. | 0:54:09 | 0:54:11 | |
There I am, minding my own business, | 0:54:15 | 0:54:17 | |
writing a letter to my lovely wife, | 0:54:17 | 0:54:19 | |
and some guy just busts in. | 0:54:19 | 0:54:21 | |
She must have gone with him. | 0:54:35 | 0:54:37 | |
Hey, is that a silencer? | 0:54:37 | 0:54:39 | |
What did he look like? | 0:54:39 | 0:54:41 | |
Where are you going? What's the matter with you? | 0:54:43 | 0:54:46 | |
He's following me. | 0:54:46 | 0:54:47 | |
You're with me now. You're safe. | 0:54:47 | 0:54:49 | |
I'm your cop. I'm going to protect you. I'm going to serve you. | 0:54:49 | 0:54:52 | |
We got a very cosy little step here, | 0:54:52 | 0:54:54 | |
so why don't we just sit down? Calm down. | 0:54:54 | 0:54:56 | |
Take a deep breath. How's your arm? | 0:54:56 | 0:54:58 | |
Oh, it's fine. Thanks. | 0:54:58 | 0:55:00 | |
You're not going to die on me? No. | 0:55:00 | 0:55:02 | |
We can talk for a minute? | 0:55:02 | 0:55:03 | |
Yeah. OK. | 0:55:03 | 0:55:05 | |
No, thank you. | 0:55:07 | 0:55:09 | |
THUNDER | 0:55:09 | 0:55:10 | |
Um, why'd you run away from me? | 0:55:10 | 0:55:14 | |
You know what? I don't know. | 0:55:15 | 0:55:17 | |
I don't know what I'm doing. | 0:55:17 | 0:55:18 | |
All right. I'm not interested in what you don't know. | 0:55:18 | 0:55:21 | |
What I'm interested in is what you do know. | 0:55:21 | 0:55:23 | |
Please. | 0:55:23 | 0:55:25 | |
OK. Um... | 0:55:25 | 0:55:28 | |
I, er, I work at Powell Aircraft. | 0:55:28 | 0:55:31 | |
I put together the ballistics reports | 0:55:31 | 0:55:34 | |
we issue after weapons tests. | 0:55:34 | 0:55:35 | |
You're talking about missiles? | 0:55:35 | 0:55:37 | |
Right. Now, the newest missile, the air guard, | 0:55:37 | 0:55:39 | |
I've been tracking its results | 0:55:39 | 0:55:41 | |
for the past couple months, and they are perfect. | 0:55:41 | 0:55:44 | |
These tests are never perfect, | 0:55:44 | 0:55:46 | |
so I knew something was wrong, | 0:55:46 | 0:55:48 | |
but I didn't know who I could trust. | 0:55:48 | 0:55:50 | |
I sent an anonymous e-mail to Secretary Kirkland | 0:55:50 | 0:55:53 | |
telling him that I suspected | 0:55:53 | 0:55:54 | |
that these results were doctored. | 0:55:54 | 0:55:56 | |
He actually wrote me back, and he told me to get him proof. | 0:55:56 | 0:56:00 | |
Yesterday I got it, and I told him that I wanted | 0:56:00 | 0:56:03 | |
to give it to him in person. | 0:56:03 | 0:56:05 | |
He told me to bring it to the fight tonight. | 0:56:05 | 0:56:08 | |
WOMAN: Secretary Kirkland, welcome to Atlantic City. | 0:56:08 | 0:56:10 | |
Are you here on official business? | 0:56:10 | 0:56:11 | |
Not for a couple of hours. I'm just another fight fan. | 0:56:11 | 0:56:14 | |
JULIA, VOICE-OVER: I couldn't get near him | 0:56:14 | 0:56:16 | |
when they first came in. Powell was all over him. | 0:56:16 | 0:56:18 | |
The South Jersey worker we are interested in tonight | 0:56:18 | 0:56:20 | |
is the Atlantic City executioner! | 0:56:20 | 0:56:22 | |
So I decided to wait until the fight started, | 0:56:22 | 0:56:24 | |
and I had no idea where they were sitting, | 0:56:24 | 0:56:27 | |
so I went up top to get a better view. | 0:56:27 | 0:56:29 | |
RICK: All right. Hold it. Hold it. Stop right there. | 0:57:20 | 0:57:23 | |
This is Dunne you're talking about. | 0:57:23 | 0:57:26 | |
Naval uniform. Commander Kevin Dunne. | 0:57:26 | 0:57:28 | |
Right. | 0:57:28 | 0:57:29 | |
Talking with Rabat before he shoots Kirkland. | 0:57:29 | 0:57:30 | |
Yeah. I recognised him. I had just seen him come in. | 0:57:30 | 0:57:33 | |
Then you saw wrong. It wasn't Dunne. He could not be a part of it. | 0:57:33 | 0:57:37 | |
Will you just listen to the rest? | 0:57:37 | 0:57:39 | |
WOMAN: I'm sorry. | 0:58:06 | 0:58:07 | |
RICK: That seat is taken. | 0:58:07 | 0:58:09 | |
Oh, but you can sit here. | 0:58:09 | 0:58:12 | |
I'll just need one minute. | 0:58:12 | 0:58:14 | |
Me, too. | 0:58:14 | 0:58:15 | |
It's in the pocket. | 0:58:15 | 0:58:17 | |
Excuse me. Did you say something? | 0:58:17 | 0:58:19 | |
It's in the pocket. | 0:58:19 | 0:58:20 | |
Possible make. | 0:58:20 | 0:58:22 | |
So you've been writing to me. | 0:58:22 | 0:58:23 | |
Just look in the envelope, Mr Secretary. | 0:58:23 | 0:58:25 | |
What is it? | 0:58:25 | 0:58:26 | |
It's the satellite infrareds from yesterday's tests. | 0:58:26 | 0:58:28 | |
They gave me those. | 0:58:28 | 0:58:29 | |
They showed convergent impact. | 0:58:29 | 0:58:30 | |
Then they gave you doctored copies. | 0:58:30 | 0:58:32 | |
Make this good. Stand by. | 0:58:32 | 0:58:34 | |
Please just look for yourself. | 0:58:34 | 0:58:36 | |
OK. I need you to look at the heat flashes | 0:58:37 | 0:58:39 | |
here at the moment of impact. | 0:58:39 | 0:58:41 | |
Start the car. | 0:58:41 | 0:58:42 | |
Copy. | 0:58:42 | 0:58:43 | |
But there's two every time. | 0:58:43 | 0:58:45 | |
The target blows up, | 0:58:45 | 0:58:46 | |
but the air guard never gets within ten metres of it. | 0:58:46 | 0:58:48 | |
Then why would the target blow up? | 0:58:48 | 0:58:50 | |
Because they rigged it, Mr Secretary. | 0:58:50 | 0:58:51 | |
They put on a fireworks display for you. | 0:58:51 | 0:58:53 | |
The air guard doesn't work, and the company knows the system doesn't work, | 0:58:53 | 0:58:56 | |
but they're pushing it through anyway. | 0:58:56 | 0:58:58 | |
I know what they're thinking - | 0:58:58 | 0:59:00 | |
we get it approved now, we say we're sorry, and we fix it later, | 0:59:00 | 0:59:02 | |
but I am telling you, you're the one that's going to be sorry. | 0:59:02 | 0:59:05 | |
Jesus Christ. Bert Powell is out of his mind. | 0:59:05 | 0:59:06 | |
If you deploy that weapons system and a war breaks out - | 0:59:06 | 0:59:09 | |
All right. I get the picture. | 0:59:09 | 0:59:11 | |
Don't make any plans for the next | 0:59:11 | 0:59:12 | |
six months, young lady. | 0:59:12 | 0:59:13 | |
You're going to be sending | 0:59:13 | 0:59:15 | |
some people to jail. Oh! | 0:59:15 | 0:59:16 | |
Oh! | 0:59:18 | 0:59:19 | |
PEOPLE SCREAMING | 0:59:21 | 0:59:24 | |
No. That's not what happened. | 0:59:34 | 0:59:36 | |
That's not what happened. | 0:59:36 | 0:59:37 | |
WOMAN: I'm sorry. I wish I didn't know any of this, either. | 0:59:37 | 0:59:41 | |
Who the hell do you think you are, lady? | 0:59:41 | 0:59:43 | |
Sticking your nose in where it doesn't belong. | 0:59:43 | 0:59:46 | |
You're a number-cruncher. | 0:59:46 | 0:59:48 | |
Just crunch the goddamn numbers! | 0:59:48 | 0:59:50 | |
I was doing my job. | 0:59:50 | 0:59:52 | |
We were creating a defence system | 0:59:52 | 0:59:54 | |
that was supposed to save people's lives. | 0:59:54 | 0:59:56 | |
They're building the factory | 0:59:56 | 0:59:58 | |
in a disadvantaged part of the state. | 0:59:58 | 1:00:00 | |
This was a good thing to do. | 1:00:00 | 1:00:01 | |
"It was a good thing to do." | 1:00:01 | 1:00:03 | |
Jesus, somebody hands you a line, you just swallow it whole, don't you? | 1:00:03 | 1:00:06 | |
Just a little goody two-shoes. | 1:00:06 | 1:00:07 | |
Yeah. I believed in what we were doing, | 1:00:07 | 1:00:08 | |
and they corrupted it, so somebody had to speak up. | 1:00:08 | 1:00:10 | |
I mean, it's important. | 1:00:10 | 1:00:12 | |
Does it feel important now? | 1:00:12 | 1:00:13 | |
Did it feel important when the bullet hit? | 1:00:13 | 1:00:16 | |
I had no choice. I can't live with the blood | 1:00:16 | 1:00:18 | |
of innocent soldiers on me, OK? Whose side are you on? | 1:00:18 | 1:00:21 | |
My side. | 1:00:21 | 1:00:23 | |
An e-mail. You let them know you were coming. | 1:00:23 | 1:00:26 | |
They just sat back and waited for you to show your face. | 1:00:26 | 1:00:28 | |
I was careful. I waited till Powell left. | 1:00:28 | 1:00:30 | |
I didn't sit down till it was clear. | 1:00:30 | 1:00:32 | |
No. You sat down exactly when they wanted you to. | 1:00:32 | 1:00:35 | |
They opened the door, | 1:00:35 | 1:00:36 | |
and you walked on through right on cue. | 1:00:36 | 1:00:38 | |
They didn't miss him with that second shot. They missed you. | 1:00:38 | 1:00:40 | |
I thought I'd get fired, not...killed. | 1:00:45 | 1:00:49 | |
What do we do now? | 1:00:51 | 1:00:54 | |
Well, are you a cop, or aren't you? | 1:00:54 | 1:00:57 | |
I can't get past the men at the doors by myself, | 1:00:57 | 1:00:59 | |
but with you, I'd be fine. You just get me outside, | 1:00:59 | 1:01:02 | |
you don't have to think about me again. | 1:01:02 | 1:01:03 | |
I can take care of myself. | 1:01:03 | 1:01:05 | |
You did a hell of a job so far. | 1:01:05 | 1:01:07 | |
Look, I'm sorry if I - | 1:01:08 | 1:01:10 | |
Who gives a shit if you're sorry?! | 1:01:10 | 1:01:12 | |
What are you mad at me for? | 1:01:12 | 1:01:14 | |
Because I didn't have to know! | 1:01:14 | 1:01:16 | |
You decided to have this problem, not me! | 1:01:16 | 1:01:18 | |
My world would have gone on turning just fine, | 1:01:18 | 1:01:20 | |
but now either way I look, | 1:01:20 | 1:01:22 | |
I have to do something I don't want to do. | 1:01:22 | 1:01:24 | |
Do you understand what I'm saying? I do not want to do this! | 1:01:24 | 1:01:27 | |
Do what? | 1:01:29 | 1:01:30 | |
THUNDER | 1:01:32 | 1:01:34 | |
How old are you? | 1:01:48 | 1:01:49 | |
I'm 26. | 1:01:51 | 1:01:53 | |
Do-Do you have, er, family around here? | 1:01:53 | 1:01:56 | |
My mother in New York. | 1:01:56 | 1:01:58 | |
Do you have a husband? | 1:01:58 | 1:02:00 | |
No. | 1:02:01 | 1:02:03 | |
Boyfriend? | 1:02:03 | 1:02:04 | |
Why are you asking me all this? | 1:02:04 | 1:02:06 | |
Kevin. Kevin Dunne. | 1:02:06 | 1:02:09 | |
You're positive he's the one you saw with Rabat | 1:02:09 | 1:02:11 | |
before the shots were fired? | 1:02:11 | 1:02:12 | |
Let me tell you a little something about Kevin Dunne. | 1:02:12 | 1:02:15 | |
You know him. | 1:02:15 | 1:02:16 | |
He is one of the most honourable dudes on the planet! | 1:02:16 | 1:02:19 | |
Yeah, I know him, and you could be wrong. | 1:02:19 | 1:02:22 | |
Yeah, you could. There were people rushing in front of you, | 1:02:22 | 1:02:25 | |
and you were nervous, and you were scared. | 1:02:25 | 1:02:27 | |
You could be wrong. Isn't it possible? | 1:02:27 | 1:02:29 | |
Yes. | 1:02:29 | 1:02:30 | |
Isn't it so? | 1:02:30 | 1:02:31 | |
Yeah. Now that I think about it, | 1:02:31 | 1:02:33 | |
I think I could be wrong. | 1:02:33 | 1:02:34 | |
You remember, I told you that my glasses, | 1:02:34 | 1:02:36 | |
they had fallen off, and I couldn't quite focus. | 1:02:36 | 1:02:39 | |
I don't think it was him. | 1:02:39 | 1:02:41 | |
Your glasses didn't fall off till after the gunshots - | 1:02:41 | 1:02:43 | |
Ah, shit. | 1:02:44 | 1:02:46 | |
POWELL: What happened with the girl? | 1:02:46 | 1:02:48 | |
The cop shoved her out of the way, | 1:02:48 | 1:02:51 | |
and he's got her now somewhere. | 1:02:51 | 1:02:53 | |
The cop? | 1:02:53 | 1:02:55 | |
You mean, your cop? | 1:02:55 | 1:02:57 | |
Yes. | 1:02:57 | 1:02:59 | |
But it's all good, right? | 1:02:59 | 1:03:01 | |
Because you've said he's controllable. | 1:03:01 | 1:03:02 | |
Absolutely. He's only chasing this down | 1:03:02 | 1:03:05 | |
because he thinks it's a career opportunity. | 1:03:05 | 1:03:08 | |
Chasing it down? What? You said he'd sit back. | 1:03:08 | 1:03:12 | |
This doesn't sound like he's sitting back. | 1:03:12 | 1:03:15 | |
It sounds like he's conducting an active investigation, | 1:03:15 | 1:03:17 | |
a very dangerous investigation. | 1:03:17 | 1:03:19 | |
THUNDER | 1:03:19 | 1:03:21 | |
Kirkland died ten minutes ago. | 1:03:21 | 1:03:22 | |
Five minutes from now, I got to be on TV. | 1:03:22 | 1:03:24 | |
What is it? Yes or no? We got a goddamn Columbo running around loose? | 1:03:24 | 1:03:28 | |
No operation goes exactly as planned. | 1:03:28 | 1:03:30 | |
You don't panic. | 1:03:30 | 1:03:32 | |
You stay calm and tie up loose ends. | 1:03:32 | 1:03:35 | |
What do you think I've been doing for the last hour? | 1:03:35 | 1:03:37 | |
Jesus Christ! This is not the plan I invested in! | 1:03:37 | 1:03:41 | |
In the plan I bought, that prairie populist | 1:03:41 | 1:03:45 | |
who was criminally dismantling the entire armed forces goes down! | 1:03:45 | 1:03:49 | |
The disloyal employee, she goes down with him! | 1:03:49 | 1:03:52 | |
The fanatical terrorist, he takes the rap! | 1:03:52 | 1:03:56 | |
The air guard missile contract is approved, | 1:03:56 | 1:03:58 | |
and I-I get enough money to finish the goddamn Millennium! | 1:03:58 | 1:04:03 | |
It was a good plan! | 1:04:03 | 1:04:05 | |
No humiliation. No scandal. No prison! | 1:04:05 | 1:04:09 | |
We're still contained. | 1:04:09 | 1:04:11 | |
Once the girl is gone, it's only me... | 1:04:15 | 1:04:18 | |
and two men I trust. | 1:04:18 | 1:04:20 | |
Two? I thought there were four. | 1:04:20 | 1:04:23 | |
Did we have another acceptable loss? | 1:04:24 | 1:04:27 | |
I'm not on that list, am I? | 1:04:30 | 1:04:33 | |
We'll be safe in here. | 1:04:40 | 1:04:42 | |
Safe? | 1:04:42 | 1:04:43 | |
I'm giving you a place to hide. | 1:04:43 | 1:04:45 | |
I don't want to hide. I want to get out, OK? | 1:04:45 | 1:04:47 | |
I'll be back in ten minutes, | 1:04:47 | 1:04:49 | |
take you out through the casino. | 1:04:49 | 1:04:50 | |
Where are you going? | 1:04:50 | 1:04:52 | |
Rick? | 1:04:52 | 1:04:53 | |
Rick, the door is locked. | 1:04:53 | 1:04:55 | |
BANGING | 1:04:55 | 1:04:57 | |
Rick! | 1:04:57 | 1:04:58 | |
Rick, let me out, please! | 1:04:58 | 1:05:00 | |
Rick, please, just let me out, OK? | 1:05:00 | 1:05:03 | |
I'll get out on my own. | 1:05:03 | 1:05:05 | |
Rick! | 1:05:07 | 1:05:08 | |
Hey, Rick. | 1:05:08 | 1:05:10 | |
Here. | 1:05:10 | 1:05:12 | |
Come on. It's the five grand for letting me be the guy. | 1:05:12 | 1:05:16 | |
Oh. A little something extra here. | 1:05:16 | 1:05:19 | |
You're all heart, Rick. | 1:05:19 | 1:05:21 | |
MAN: I can't believe we got called out in this rain! | 1:05:21 | 1:05:24 | |
Sir, this entire area is now the site | 1:05:34 | 1:05:36 | |
of an FBI investigation. You'll have to leave. | 1:05:36 | 1:05:38 | |
Oh, OK. | 1:05:38 | 1:05:39 | |
Log in Santoro. He's AC police. | 1:05:42 | 1:05:45 | |
Here comes the pain, baby! | 1:05:51 | 1:05:53 | |
Here comes the pain! | 1:05:53 | 1:05:55 | |
Here comes the pain! | 1:05:55 | 1:05:57 | |
BOXERS PUNCHING | 1:05:57 | 1:05:58 | |
You're a bum, Lincoln Tyler! | 1:06:01 | 1:06:04 | |
How could you do - He's a bum! | 1:06:04 | 1:06:06 | |
TELEPHONE RINGS | 1:06:06 | 1:06:09 | |
Hello? | 1:06:09 | 1:06:10 | |
WOMAN: Hi, Ricky! It's me! | 1:06:10 | 1:06:11 | |
Up here, sweetie! Over here, sweetie! | 1:06:11 | 1:06:13 | |
It's me - your lucky number. | 1:06:13 | 1:06:15 | |
My lucky number? | 1:06:15 | 1:06:16 | |
Up here! | 1:06:16 | 1:06:17 | |
Aah! Aah! Aah! | 1:06:17 | 1:06:22 | |
THUNDER | 1:06:26 | 1:06:28 | |
CAMERAMAN: It's called the zero-gravity flying eye. | 1:06:37 | 1:06:40 | |
New camera. Got it in this morning. | 1:06:40 | 1:06:42 | |
So nobody knew you had it? | 1:06:42 | 1:06:44 | |
Well, I knew. It's remote control. | 1:06:44 | 1:06:46 | |
It floated all around the arena to get crowd reaction. | 1:06:46 | 1:06:49 | |
Let me see its tape. | 1:06:55 | 1:06:57 | |
I-I need to look at this part alone. | 1:07:08 | 1:07:12 | |
Come on. | 1:07:12 | 1:07:13 | |
STOPS TAPE | 1:07:13 | 1:07:14 | |
You're the man. | 1:07:14 | 1:07:16 | |
PLAYS TAPE | 1:07:32 | 1:07:34 | |
GUNSHOTS | 1:07:40 | 1:07:43 | |
RICK: Oh, man. | 1:07:43 | 1:07:44 | |
Oh, man. | 1:07:47 | 1:07:49 | |
KEVIN: They were specifically told | 1:08:02 | 1:08:03 | |
they couldn't have a camera up there. | 1:08:03 | 1:08:06 | |
Don't give me that wounded look. | 1:08:16 | 1:08:18 | |
You haven't got the face for it. | 1:08:18 | 1:08:20 | |
POWELL: I just received word | 1:08:20 | 1:08:22 | |
Secretary Charles Evans Kirkland is dead. | 1:08:22 | 1:08:25 | |
He passed away at 10:48 pm. | 1:08:25 | 1:08:28 | |
At this time, I'd like to extend my deepest sympathies | 1:08:28 | 1:08:31 | |
to the secretary's family... | 1:08:31 | 1:08:33 | |
and to the nation, to the people | 1:08:35 | 1:08:38 | |
that he so faithfully and proudly served. | 1:08:38 | 1:08:41 | |
And, er... | 1:08:45 | 1:08:46 | |
I have something else to say. | 1:08:49 | 1:08:51 | |
To those that would try to bully us or to terrorise us, | 1:08:53 | 1:08:58 | |
to divert us from the causes | 1:08:58 | 1:09:00 | |
of peace and justice... | 1:09:00 | 1:09:01 | |
Kevin. | 1:09:01 | 1:09:03 | |
I want you to know that in spite of what's happened here tonight, | 1:09:03 | 1:09:07 | |
we are not deterred. | 1:09:07 | 1:09:09 | |
Production of the air guard missile system | 1:09:09 | 1:09:12 | |
will go ahead, in accordance | 1:09:12 | 1:09:15 | |
with Secretary Kirkland's wishes. | 1:09:15 | 1:09:17 | |
That's called the first draft of history. | 1:09:17 | 1:09:21 | |
It's going to hold. | 1:09:21 | 1:09:23 | |
Why did it have to be me? | 1:09:25 | 1:09:28 | |
Why did you want me next to him? | 1:09:28 | 1:09:31 | |
One - I needed a cop to back up my alibi. | 1:09:31 | 1:09:35 | |
Two - | 1:09:35 | 1:09:36 | |
I knew you could be bought if anything went wrong. | 1:09:36 | 1:09:39 | |
No offence, pal, but I never thought you'd get as far as you did. | 1:09:39 | 1:09:44 | |
You're my best friend. | 1:09:44 | 1:09:46 | |
You used me... | 1:09:46 | 1:09:49 | |
made me a sucker. | 1:09:49 | 1:09:51 | |
And that hurts me | 1:09:53 | 1:09:55 | |
because I would have done anything for you. | 1:09:55 | 1:09:58 | |
Then tell me where the girl is. | 1:09:59 | 1:10:02 | |
She didn't do nothing wrong. She was just trying | 1:10:04 | 1:10:06 | |
to save some guys' lives, soldiers, like you used to be. | 1:10:06 | 1:10:09 | |
Who the hell are you now, anyway? | 1:10:09 | 1:10:11 | |
Don't talk to me about soldiers. | 1:10:11 | 1:10:12 | |
What do you know about being a good soldier, | 1:10:12 | 1:10:14 | |
a guy who finds an envelope full of cash | 1:10:14 | 1:10:16 | |
in his squad car every Friday? | 1:10:16 | 1:10:18 | |
What do you think I've been doing for the last ten years? | 1:10:18 | 1:10:20 | |
Strutting on the boardwalk and picking up hookers? | 1:10:20 | 1:10:22 | |
When The Renville took that Iraqi missile hit below decks, | 1:10:24 | 1:10:27 | |
do you know what happened? | 1:10:27 | 1:10:29 | |
A hole ripped open in her bulkhead, | 1:10:29 | 1:10:31 | |
and the sea flooded in. We had 60 seconds | 1:10:31 | 1:10:34 | |
to maintain watertight integrity. | 1:10:34 | 1:10:35 | |
I had to go below and give the order to dog the hatches. | 1:10:35 | 1:10:40 | |
That meant the 28 men that were still | 1:10:40 | 1:10:43 | |
in the main engine space were trapped. | 1:10:43 | 1:10:45 | |
You ever listen to a man drowning? | 1:10:48 | 1:10:51 | |
They don't die quietly. | 1:10:53 | 1:10:56 | |
Those men deserved a decent point-defence system. | 1:10:57 | 1:11:01 | |
The air guard is it. | 1:11:01 | 1:11:03 | |
Yeah, it has glitches, | 1:11:03 | 1:11:05 | |
but you don't abandon the whole system | 1:11:05 | 1:11:08 | |
because of a few bugs. You fix it. | 1:11:08 | 1:11:11 | |
Charles Kirkland was a politician - | 1:11:11 | 1:11:15 | |
a baby-kisser, not a soldier - | 1:11:15 | 1:11:18 | |
and when the political winds said cut defence spending, | 1:11:18 | 1:11:21 | |
he started playing political games with real soldiers' lives. | 1:11:21 | 1:11:25 | |
He forced Powell into an early test. | 1:11:25 | 1:11:27 | |
He positioned the system to fail | 1:11:27 | 1:11:29 | |
because he didn't want to pay for it. So we pay! | 1:11:29 | 1:11:32 | |
We die. | 1:11:34 | 1:11:35 | |
We need the air guard, | 1:11:41 | 1:11:43 | |
and that girl is in the way now, Rick. | 1:11:43 | 1:11:46 | |
Just - Just tell me where she is. | 1:11:46 | 1:11:49 | |
All right, Rick. | 1:11:58 | 1:12:00 | |
Pick a number. | 1:12:00 | 1:12:02 | |
How much is it going to take for you to look the other way | 1:12:02 | 1:12:05 | |
like you have all your life? | 1:12:05 | 1:12:07 | |
300 grand? 500? | 1:12:07 | 1:12:09 | |
750? | 1:12:10 | 1:12:12 | |
A million dollars? | 1:12:13 | 1:12:15 | |
One million. A million bucks. | 1:12:17 | 1:12:21 | |
You hit the jackpot here. | 1:12:21 | 1:12:22 | |
All you have to do is cash in the ticket. | 1:12:22 | 1:12:25 | |
Don't you think Angela would like a few nice things | 1:12:26 | 1:12:29 | |
for once in her life? | 1:12:29 | 1:12:30 | |
Don't you think she deserves them? | 1:12:30 | 1:12:32 | |
QUIETLY: I never killed nobody. | 1:12:55 | 1:12:58 | |
What? | 1:12:58 | 1:13:00 | |
I said I never killed nobody. | 1:13:01 | 1:13:04 | |
You won't have to. She's my problem. | 1:13:04 | 1:13:08 | |
You just tell me where she is. | 1:13:08 | 1:13:10 | |
You'll never hear another word about her. | 1:13:10 | 1:13:12 | |
One million dollars. | 1:13:17 | 1:13:20 | |
Kevin, that's a whole shitload of money, but... | 1:13:43 | 1:13:46 | |
I can't do it. | 1:13:46 | 1:13:48 | |
Kevin, you just pulled a gun on me. | 1:13:51 | 1:13:55 | |
Get back. | 1:13:55 | 1:13:57 | |
Oh, boy. | 1:13:59 | 1:14:02 | |
Oh, god. | 1:14:02 | 1:14:03 | |
Goddamn it. I'm under a lot of pressure here, all right? | 1:14:06 | 1:14:10 | |
Be smart. | 1:14:14 | 1:14:15 | |
Just take the money. | 1:14:17 | 1:14:18 | |
Please, Rick. You're all alone on this. | 1:14:20 | 1:14:23 | |
What about Tyler? | 1:14:23 | 1:14:25 | |
Yeah. If he talked to me, | 1:14:25 | 1:14:27 | |
he'll talk to somebody else. | 1:14:27 | 1:14:28 | |
KEVIN: Lincoln and I | 1:14:42 | 1:14:44 | |
have come to an understanding. | 1:14:44 | 1:14:45 | |
You got nothing, kiddo. | 1:14:49 | 1:14:51 | |
Snake eyes. | 1:14:51 | 1:14:53 | |
The house wins. | 1:14:53 | 1:14:55 | |
Now, where is she? | 1:14:56 | 1:14:58 | |
Fuck you. | 1:14:58 | 1:15:00 | |
RICK SCREAMING | 1:15:00 | 1:15:02 | |
KEVIN: Don't make it so he can't talk. | 1:15:05 | 1:15:07 | |
Why don't you at least try, man? | 1:15:07 | 1:15:10 | |
I'll try. | 1:15:10 | 1:15:11 | |
RICK: That's not a punch. | 1:15:13 | 1:15:15 | |
Come on, girlie-man! | 1:15:15 | 1:15:16 | |
Show me what you got, champ! This is the champ? | 1:15:16 | 1:15:19 | |
Look, why don't you just shut up, man? This will go a lot easier. | 1:15:19 | 1:15:22 | |
Sounds like three broken ribs to me. | 1:15:28 | 1:15:31 | |
What is this - a heroic stand? | 1:15:31 | 1:15:33 | |
You're the wrong guy for it, Rick. | 1:15:33 | 1:15:35 | |
You'll be all alone in the spotlight, | 1:15:35 | 1:15:37 | |
and guys like you can't stand up to that light. | 1:15:37 | 1:15:40 | |
You'll burn up under it. | 1:15:40 | 1:15:41 | |
The press starts looking for dirt on you - | 1:15:41 | 1:15:43 | |
and they will - it will be a mudslide. | 1:15:43 | 1:15:45 | |
Forget about your job, your sweet life in Margate. | 1:15:45 | 1:15:47 | |
Start thinking about jail! | 1:15:47 | 1:15:49 | |
Your girlfriend will be gone, too, | 1:15:49 | 1:15:50 | |
at the first sign of trouble, | 1:15:50 | 1:15:52 | |
but not before she has a little chat with Angela, | 1:15:52 | 1:15:54 | |
so say goodbye to your wife, too! | 1:15:54 | 1:15:56 | |
Twice a month with Michael won't be so bad, | 1:15:56 | 1:15:58 | |
if you can get him to spend the night in your shitty apartment! | 1:15:58 | 1:16:01 | |
You will lose it all, my friend - | 1:16:01 | 1:16:04 | |
everything! | 1:16:04 | 1:16:05 | |
And your whole connected life will fall the hell apart. | 1:16:05 | 1:16:07 | |
Is that what you want? | 1:16:07 | 1:16:09 | |
All you got to do is be consistent, for Christ's sake. | 1:16:09 | 1:16:11 | |
Do what you always do. Take the money! | 1:16:11 | 1:16:13 | |
You want to be a hero? You want to do something for your country? | 1:16:13 | 1:16:17 | |
Then tell me where the girl is! | 1:16:17 | 1:16:19 | |
Aah! | 1:16:31 | 1:16:33 | |
If it was anybody but me, you'd be dead. | 1:16:48 | 1:16:51 | |
I'll be back in half an hour. | 1:17:05 | 1:17:07 | |
THUNDER AND RAIN | 1:17:16 | 1:17:17 | |
GRUNTING | 1:17:17 | 1:17:19 | |
GROANING | 1:17:30 | 1:17:32 | |
MAN: Lower. | 1:17:54 | 1:17:56 | |
Stop. | 1:17:56 | 1:17:57 | |
Lower. | 1:17:57 | 1:17:59 | |
Stop. | 1:17:59 | 1:18:01 | |
Lower. | 1:18:01 | 1:18:03 | |
Stop. | 1:18:03 | 1:18:05 | |
Oh! | 1:18:32 | 1:18:34 | |
CRASH | 1:18:53 | 1:18:54 | |
CRASH | 1:18:56 | 1:18:57 | |
LOGAN: Wow. This is great stuff. | 1:19:32 | 1:19:34 | |
You know, we could sell this to local. | 1:19:34 | 1:19:37 | |
Who could we get outside for a stand-up? | 1:19:37 | 1:19:39 | |
THUNDER | 1:19:43 | 1:19:45 | |
Package is on the boardwalk. | 1:20:01 | 1:20:03 | |
KEVIN: Needs pickup at the Millennium entrance. | 1:20:03 | 1:20:05 | |
Let's go. | 1:20:05 | 1:20:07 | |
RICK GROANING | 1:20:15 | 1:20:17 | |
METAL BENDING | 1:20:22 | 1:20:30 | |
THUMPING | 1:20:30 | 1:20:31 | |
WIND WHIPPING | 1:20:31 | 1:20:33 | |
Aah! | 1:20:41 | 1:20:42 | |
Goddamn it! Shit! | 1:20:49 | 1:20:51 | |
I'd like to know what I did wrong to get all the shit assignments! | 1:20:53 | 1:20:56 | |
Just roll so we can get out of here! | 1:20:56 | 1:20:59 | |
In 5, 4, | 1:20:59 | 1:21:00 | |
3... | 1:21:00 | 1:21:02 | |
Well, it looks like tropical storm Jezebel | 1:21:04 | 1:21:07 | |
just may be a hurricane after all. | 1:21:07 | 1:21:10 | |
We're live on the boardwalk. | 1:21:38 | 1:21:40 | |
As you can see behind me, | 1:21:40 | 1:21:43 | |
the huge metal globe that is the emblem | 1:21:43 | 1:21:45 | |
of the Powell Millennium lies shattered. | 1:21:45 | 1:21:48 | |
Oh, Anthea, you look great, hon. | 1:21:48 | 1:21:49 | |
Wait. Could you get any closer to the globe? | 1:21:49 | 1:21:51 | |
Julia. | 1:21:54 | 1:21:56 | |
Julia. | 1:21:58 | 1:21:59 | |
This is an extremely hazardous - | 1:22:08 | 1:22:10 | |
Hang on! | 1:22:12 | 1:22:13 | |
The police emergency unit should - | 1:22:13 | 1:22:15 | |
I think I see their truck. | 1:22:15 | 1:22:17 | |
Julia! | 1:22:20 | 1:22:21 | |
Julia! | 1:22:23 | 1:22:25 | |
Julia! | 1:22:26 | 1:22:28 | |
Tell her to unlock the door and come out. | 1:22:43 | 1:22:45 | |
No. | 1:22:45 | 1:22:47 | |
I won't tell her to unlock it. | 1:22:48 | 1:22:51 | |
Get out of the way! | 1:22:51 | 1:22:53 | |
ANTHEA: The police are here | 1:22:58 | 1:23:00 | |
and are waving us off the boardwalk. | 1:23:00 | 1:23:02 | |
All right. | 1:23:03 | 1:23:05 | |
OK. | 1:23:05 | 1:23:07 | |
She's all yours. | 1:23:07 | 1:23:09 | |
SIREN | 1:23:13 | 1:23:15 | |
What the hell is that? | 1:23:15 | 1:23:16 | |
SIREN | 1:23:18 | 1:23:20 | |
KEVIN: Goddamn it, Rick! I don't want to kill you! | 1:23:21 | 1:23:24 | |
OK. | 1:23:24 | 1:23:26 | |
Ugh! | 1:23:26 | 1:23:27 | |
JULIA HAMMERING AND GRUNTING | 1:23:27 | 1:23:29 | |
Look out! | 1:23:38 | 1:23:39 | |
TYRES SCREECHING | 1:23:39 | 1:23:41 | |
Put the gun down! | 1:23:49 | 1:23:50 | |
On the ground right now! | 1:23:50 | 1:23:52 | |
Lower your gun now, sir! | 1:23:52 | 1:23:53 | |
No. Wait. Wait a minute. Wait! | 1:23:53 | 1:23:55 | |
KEVIN: I'm with DOD! Listen to me! | 1:23:55 | 1:23:58 | |
Put the gun down! | 1:23:58 | 1:23:59 | |
This - This woman is a suspect! | 1:23:59 | 1:24:01 | |
We'll be forced to fire! | 1:24:01 | 1:24:03 | |
No! She's a suspect, goddamn it! | 1:24:03 | 1:24:05 | |
I am Commander Kevin Dunne, | 1:24:05 | 1:24:07 | |
and this woman is a threat | 1:24:07 | 1:24:09 | |
to the security of the United States! | 1:24:09 | 1:24:11 | |
Rick, tell them! | 1:24:11 | 1:24:13 | |
Please! For god's sake! | 1:24:13 | 1:24:16 | |
Tell them what we got here! | 1:24:16 | 1:24:18 | |
Ain't no "we," Kevin. | 1:24:19 | 1:24:20 | |
You got snake eyes. | 1:24:22 | 1:24:24 | |
Put the gun down, sir! | 1:24:24 | 1:24:26 | |
POLICEMAN: Drop the gun, sir! | 1:24:26 | 1:24:27 | |
Put the gun down. Now put it on the ground! | 1:24:27 | 1:24:30 | |
Put the gun down! | 1:24:30 | 1:24:31 | |
Sir, please, look at me. You need to pay attention! | 1:24:31 | 1:24:34 | |
Now! | 1:24:34 | 1:24:35 | |
Now, put the gun on the floor, sir! | 1:24:35 | 1:24:37 | |
Sir, put the gun down! | 1:24:37 | 1:24:39 | |
Please! We know who you are! | 1:24:39 | 1:24:40 | |
No! Don't move! | 1:24:40 | 1:24:41 | |
Take your hand off the handle! | 1:24:41 | 1:24:43 | |
Back away from the door slowly and turn around! | 1:24:43 | 1:24:45 | |
Slowly back up! | 1:24:45 | 1:24:47 | |
We need to take the gun away! | 1:24:47 | 1:24:49 | |
Put your hands where I can see them! | 1:24:49 | 1:24:50 | |
Sir, please! Please put it down on the ground right now! | 1:24:50 | 1:24:54 | |
POLICEMEN SHOUTING | 1:24:54 | 1:24:56 | |
Argh! | 1:24:56 | 1:24:58 | |
Get a paramedic quick! | 1:24:58 | 1:24:59 | |
Call for a paramedic now! | 1:24:59 | 1:25:01 | |
Get this camera out of here! | 1:25:01 | 1:25:04 | |
JULIA SOBBING | 1:25:04 | 1:25:06 | |
REPORTER: Today in Brighton Park, | 1:25:07 | 1:25:08 | |
Richard Santoro - | 1:25:08 | 1:25:10 | |
Atlantic City's new police hero - | 1:25:10 | 1:25:11 | |
received a special valour award for heroism | 1:25:11 | 1:25:14 | |
from mayor Frank Sanchini. | 1:25:14 | 1:25:15 | |
The mayor extended the public's thanks to Santoro | 1:25:15 | 1:25:17 | |
for his lifesaving efforts on behalf of Julia Costello, | 1:25:17 | 1:25:20 | |
the Powell Aircraft researcher | 1:25:20 | 1:25:22 | |
who exposed the deadly conspiracy | 1:25:22 | 1:25:24 | |
that led to the assassination | 1:25:24 | 1:25:26 | |
of defence secretary Charles Kirkland. | 1:25:26 | 1:25:27 | |
APPLAUSE | 1:25:27 | 1:25:28 | |
MAN: Hey, Rick! Over here! | 1:25:28 | 1:25:30 | |
REPORTER: Hero cop Richard Santoro | 1:25:30 | 1:25:31 | |
took a well-deserved break from police work today | 1:25:31 | 1:25:34 | |
with his son. | 1:25:34 | 1:25:35 | |
Meanwhile, the air guard investigation | 1:25:35 | 1:25:37 | |
continued in Washington, | 1:25:37 | 1:25:38 | |
and Gilbert Powell announced more firings at Powell Aircraft | 1:25:38 | 1:25:40 | |
as he cleans house in the wake of the assassination. | 1:25:40 | 1:25:43 | |
MAN: There he is. | 1:25:43 | 1:25:45 | |
REPORTER: Richard Santoro's moment in the public eye | 1:25:45 | 1:25:47 | |
produced an unexpected backlash this week | 1:25:47 | 1:25:48 | |
as allegations of corruption swirled around him. | 1:25:48 | 1:25:51 | |
Whoa, whoa. Would you back off? | 1:25:51 | 1:25:52 | |
MAN: Mr Santoro, there's been some - | 1:25:52 | 1:25:53 | |
Out! I'm Ricky, all right? Come on! | 1:25:53 | 1:25:56 | |
Some allegations of bribery coming out of the mayor's office. | 1:25:56 | 1:25:58 | |
Could you - Could you comment on those? | 1:25:58 | 1:26:00 | |
And what about the cocaine? | 1:26:00 | 1:26:02 | |
Cocaine my ass! | 1:26:02 | 1:26:03 | |
REPORTER: Santoro was unwilling to comment | 1:26:03 | 1:26:05 | |
on the reports which have come from numerous sources, | 1:26:05 | 1:26:07 | |
both in the police department and elsewhere. | 1:26:07 | 1:26:10 | |
REPORTERS SHOUTING | 1:26:10 | 1:26:11 | |
We're waiting here | 1:26:11 | 1:26:13 | |
outside the Atlantic County Superior Court | 1:26:13 | 1:26:14 | |
for Richard Santoro, who's just been indicted | 1:26:14 | 1:26:16 | |
on charges stemming from incidents that have been - | 1:26:16 | 1:26:18 | |
Where are you going? Hey, hey, hey, Rick! | 1:26:18 | 1:26:20 | |
Could you stop - Mr Santoro! | 1:26:20 | 1:26:22 | |
Mr Santoro, could you comment on this indictment, sir? | 1:26:22 | 1:26:25 | |
Mr Santoro! | 1:26:25 | 1:26:26 | |
BUCKET FALLS | 1:26:49 | 1:26:51 | |
Whoa! What are you trying to do, kill me? | 1:26:51 | 1:26:53 | |
Yeah, nice going, Al. | 1:26:53 | 1:26:55 | |
Hey, that's what hard hats are for! | 1:26:55 | 1:26:56 | |
A reporter told me where to find you. | 1:26:56 | 1:26:58 | |
I came twice before, but you were out. | 1:27:00 | 1:27:02 | |
Yeah. | 1:27:02 | 1:27:04 | |
I've had a lot of social engagements lately. | 1:27:04 | 1:27:07 | |
Yeah. I was surprised you stayed in town. | 1:27:07 | 1:27:10 | |
I thought you'd want to move away. | 1:27:10 | 1:27:12 | |
Actually, I'm going to be spending some time upstate. | 1:27:12 | 1:27:15 | |
Upstate? | 1:27:15 | 1:27:16 | |
Oh. | 1:27:16 | 1:27:18 | |
Hmm. | 1:27:18 | 1:27:19 | |
I keep dreaming I'm back in that tunnel... | 1:27:21 | 1:27:24 | |
underwater... | 1:27:24 | 1:27:26 | |
only in my dream I drown. | 1:27:26 | 1:27:28 | |
I wonder what they would have said about me then. | 1:27:30 | 1:27:33 | |
You didn't have to do what you did, | 1:27:33 | 1:27:35 | |
and I know what it cost you, and if it helps, I - | 1:27:35 | 1:27:38 | |
Don't try to make a hero out of me. It won't fit. | 1:27:38 | 1:27:41 | |
If I hadn't put a face to you, | 1:27:41 | 1:27:43 | |
things probably would have gone a whole lot different. | 1:27:43 | 1:27:45 | |
But they didn't. | 1:27:45 | 1:27:47 | |
I testified this morning at the air guard hearings. | 1:27:49 | 1:27:51 | |
Yeah, how did it go? | 1:27:51 | 1:27:53 | |
Very well, I think. The whole system is being dumped. | 1:27:53 | 1:27:56 | |
The company's being completely restructured. | 1:27:56 | 1:27:57 | |
There are going to be all sorts of indictments | 1:27:57 | 1:28:00 | |
up and down the administration, and... | 1:28:00 | 1:28:01 | |
things have really changed. | 1:28:01 | 1:28:03 | |
I know you may not want to see it right now, | 1:28:03 | 1:28:06 | |
but it's true. | 1:28:06 | 1:28:07 | |
It's going to be so different | 1:28:07 | 1:28:09 | |
in Atlantic City. Ha ha ha! | 1:28:09 | 1:28:11 | |
You know, they say back 200, 300 years ago, | 1:28:12 | 1:28:16 | |
pirates put phoney lighthouses | 1:28:16 | 1:28:17 | |
right out by those big rocks - | 1:28:17 | 1:28:20 | |
right out there. | 1:28:20 | 1:28:21 | |
Ships would set a course by the lights | 1:28:21 | 1:28:24 | |
and crash on the rocks. | 1:28:24 | 1:28:25 | |
Then everybody would go out and rob them blind. | 1:28:25 | 1:28:28 | |
Only one thing's changed since then. | 1:28:28 | 1:28:31 | |
Lights are brighter. | 1:28:31 | 1:28:33 | |
I'm naive. | 1:28:35 | 1:28:36 | |
There's worse things to be. | 1:28:36 | 1:28:38 | |
Yeah. | 1:28:39 | 1:28:41 | |
How old are you? | 1:28:45 | 1:28:47 | |
35. | 1:28:48 | 1:28:50 | |
You have family around here? | 1:28:50 | 1:28:52 | |
Yeah. | 1:28:52 | 1:28:54 | |
You got a wife? | 1:28:54 | 1:28:56 | |
She ran away. | 1:28:56 | 1:28:58 | |
Girlfriend? | 1:28:59 | 1:29:01 | |
Well, she ran away, too. | 1:29:01 | 1:29:03 | |
Sorry. | 1:29:03 | 1:29:05 | |
Well, it could have been worse. | 1:29:05 | 1:29:07 | |
How? | 1:29:07 | 1:29:08 | |
They could have run away with each other. | 1:29:08 | 1:29:11 | |
Ha ha ha! Uh, yeah. | 1:29:11 | 1:29:13 | |
So... | 1:29:13 | 1:29:15 | |
maybe in about 12 to 18 months from now, | 1:29:15 | 1:29:18 | |
I'll give you a call. | 1:29:18 | 1:29:20 | |
Yeah. I'd like that. | 1:29:20 | 1:29:22 | |
Hey. | 1:29:27 | 1:29:28 | |
Oh, what the hell. | 1:29:49 | 1:29:51 | |
At least I got to be on TV. | 1:29:51 | 1:29:53 | |
MAN: Let's go. Get back to work. | 1:29:55 | 1:29:57 | |
We got to get this done. | 1:29:57 | 1:29:58 | |
Come on, everybody up. Let's go. Come on. | 1:29:58 | 1:30:02 | |
MEREDITH BROOKS: _ In this town of pain _ | 1:30:02 | 1:30:05 | |
_ You could be the lucky one _ | 1:30:05 | 1:30:09 | |
_ Fate turns on a dime _ | 1:30:09 | 1:30:12 | |
_ The only thing _ | 1:30:16 | 1:30:17 | |
_ That will change _ | 1:30:17 | 1:30:19 | |
_ Are the lights _ | 1:30:19 | 1:30:21 | |
_ And they get brighter _ | 1:30:21 | 1:30:23 | |
_ They replace the sun _ | 1:30:23 | 1:30:27 | |
_ Out the door you get burned _ | 1:30:30 | 1:30:34 | |
_ And there is no way back in _ | 1:30:34 | 1:30:37 | |
_ You got nothin' _ | 1:30:37 | 1:30:39 | |
_ Snake eyes _ | 1:30:39 | 1:30:40 | |
_ The house always wins _ | 1:30:40 | 1:30:44 | |
_ A drowning man _ | 1:30:44 | 1:30:46 | |
_ Does not die silently _ | 1:30:46 | 1:30:48 | |
_ You can feel the final warning _ | 1:30:48 | 1:30:52 | |
_ And the black money follows _ | 1:30:52 | 1:30:56 | |
_ Through the veins of the shallow _ | 1:30:56 | 1:30:59 | |
_ Change the name _ | 1:30:59 | 1:31:00 | |
_ To protect the guilty _ | 1:31:00 | 1:31:02 | |
_ You'll never leave Sin City _ | 1:31:02 | 1:31:06 | |
_ Just one kiss from the shadow _ | 1:31:06 | 1:31:10 | |
_ Will be the touch _ | 1:31:10 | 1:31:12 | |
_ Of an angel _ | 1:31:12 | 1:31:14 | |
_ Just one kiss _ | 1:31:14 | 1:31:15 | |
_ Is all that you need _ | 1:31:15 | 1:31:17 | |
_ If you never leave _ | 1:31:17 | 1:31:19 | |
_ Sin City _ | 1:31:19 | 1:31:21 | |
_ You'll never leave Sin City _ | 1:31:21 | 1:31:25 | |
_ You'll never leave Sin City..._ | 1:31:25 | 1:31:31 | |
Subtitles by The National Captioning Institute. | 1:31:31 | 1:31:34 | |
E-mail [email protected] | 1:31:34 | 1:31:37 |