Browse content similar to The Big Easy. Check below for episodes and series from the same categories and more!
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LIVELY MUSIC PLAYS | 0:00:10 | 0:00:13 | |
# Mais tout partout au ras du bayou | 0:00:46 | 0:00:49 | |
# La mousse-la balance Aux les gros chenes verts | 0:00:49 | 0:00:52 | |
# Le cocodris dormir Dans la cypriere | 0:00:52 | 0:00:54 | |
# Les bebes, filles Les grands bonard | 0:00:54 | 0:00:57 | |
# La fille belle crie Des loups devant | 0:00:57 | 0:01:00 | |
# Les cocos de grand-mere Mais touts la-bas | 0:01:00 | 0:01:02 | |
# Moune-la connait Y'ole zydeco | 0:01:02 | 0:01:05 | |
# Milattes ape Grouiller aux os | 0:01:05 | 0:01:07 | |
# Zydeco chaud Ape vini plus chaud | 0:01:07 | 0:01:10 | |
# Et gens de couleur Ole plus... | 0:01:10 | 0:01:12 | |
# La grande eau | 0:01:12 | 0:01:13 | |
# Plie Ben frette Qu'ape mouilli | 0:01:13 | 0:01:15 | |
# Pas capab' froidir Sang qu'ape... | 0:01:15 | 0:01:17 | |
# Bouilli | 0:01:17 | 0:01:18 | |
# Beaux et belles ape Fait zo projets | 0:01:18 | 0:01:20 | |
# Et maman fait grand... | 0:01:20 | 0:01:22 | |
# Gris-gris! | 0:01:22 | 0:01:23 | |
# Loin, loin En cypriere noire | 0:01:23 | 0:01:26 | |
# Tout quequ'n creole Crie pour plis... | 0:01:26 | 0:01:28 | |
# Zydeco! | 0:01:28 | 0:01:29 | |
# Rrrrr-aahh! Aahh! Aahh! # | 0:01:31 | 0:01:33 | |
SHIP'S HORN BLOWS | 0:01:49 | 0:01:53 | |
SHIP'S HORN BLOWS | 0:02:07 | 0:02:10 | |
All right, hold it. | 0:02:15 | 0:02:17 | |
Oh, sorry, Lieutenant. | 0:02:17 | 0:02:19 | |
RADIO DJ: 'It's two AM in New Orleans, | 0:02:21 | 0:02:25 | |
'the Big Easy, and we're stirring up that gumbo.' | 0:02:25 | 0:02:29 | |
Hey, Remy! | 0:02:29 | 0:02:31 | |
CAMERA CLICKING | 0:02:31 | 0:02:34 | |
Hey, where you at? | 0:02:34 | 0:02:36 | |
Where you been? Don't you ever go home? | 0:02:36 | 0:02:38 | |
Only when the music stops. | 0:02:38 | 0:02:41 | |
Hey, who's the dead meat? | 0:02:41 | 0:02:43 | |
Let's see if you can make him. | 0:02:43 | 0:02:45 | |
Oh, man, yeah. Hello, Freddie. | 0:02:48 | 0:02:50 | |
That's Freddie Angelo, wise guy, scumbag. | 0:02:50 | 0:02:52 | |
Works for Vinnie "The Cannon" d'Imoti. | 0:02:52 | 0:02:54 | |
Handles Mexican imports for the family. | 0:02:54 | 0:02:57 | |
Mama! | 0:02:57 | 0:02:58 | |
Can't find any bullet hits, spent shells. Very little blood. | 0:02:58 | 0:03:02 | |
We figure they lit him up someplace else, | 0:03:02 | 0:03:04 | |
then brought his body here. | 0:03:04 | 0:03:06 | |
Here's the wallet. They just got through liftin' the prints. | 0:03:06 | 0:03:09 | |
The driver's licence... is missing. | 0:03:09 | 0:03:13 | |
I guess they took it for proof of the hit. | 0:03:13 | 0:03:15 | |
Standard wise-guy procedure, right, Remy? | 0:03:15 | 0:03:17 | |
If you're gonna wrap him in a concrete overcoat | 0:03:17 | 0:03:20 | |
and dump him in Lake Pontchartrain, | 0:03:20 | 0:03:22 | |
but Freddie is in the middle of Piazza d'Italia. | 0:03:22 | 0:03:25 | |
What's that gonna tell us, huh, given the surroundings? | 0:03:25 | 0:03:29 | |
Somebody is sending a message. | 0:03:29 | 0:03:31 | |
To the president of the Italian-American Renaissance Association. | 0:03:31 | 0:03:35 | |
Vinnie "The Cannon" d'Imoti. | 0:03:35 | 0:03:37 | |
There you go. | 0:03:37 | 0:03:38 | |
Pick up Vinnie "The Cannon" tomorrow morning at his barbershop | 0:03:38 | 0:03:42 | |
and bring him in for questionin'. | 0:03:42 | 0:03:44 | |
Hi, Remy. | 0:03:51 | 0:03:53 | |
Cavanaugh, where you at? | 0:03:53 | 0:03:55 | |
I'm doin' it. | 0:03:55 | 0:03:56 | |
What is this? The Dodge and De Soto Follies? | 0:03:56 | 0:03:59 | |
Who would know what you were thinkin' about? | 0:03:59 | 0:04:02 | |
Captain, it was Andre's idea. | 0:04:02 | 0:04:04 | |
Is he the brains in the partnership now? | 0:04:04 | 0:04:07 | |
What did they do now? | 0:04:07 | 0:04:09 | |
Impounded a boat. They spent half their shift at the police dock. | 0:04:09 | 0:04:12 | |
What am I gonna do with them? | 0:04:12 | 0:04:13 | |
Why don't we shoot them? | 0:04:13 | 0:04:14 | |
Yeah! No. They're too much fun at Mardi Gras. | 0:04:14 | 0:04:18 | |
Who's that in my office? | 0:04:18 | 0:04:20 | |
Assistant District Attorney Anne Osborne. | 0:04:20 | 0:04:24 | |
Hmm, nice neck. | 0:04:24 | 0:04:26 | |
We have orders to cooperate. | 0:04:26 | 0:04:28 | |
Her be part of a special task force | 0:04:28 | 0:04:31 | |
that's investigating police corruption. | 0:04:31 | 0:04:33 | |
Corruption in the police department? Where'd she get that idea? | 0:04:33 | 0:04:36 | |
She says she's here about the Angelo murder. | 0:04:36 | 0:04:39 | |
I'm going to get some coffee. Give her whatever she needs. | 0:04:39 | 0:04:43 | |
She's in good hands, cher. | 0:04:43 | 0:04:45 | |
Excuse me. | 0:04:47 | 0:04:48 | |
Excuse me. | 0:04:50 | 0:04:51 | |
Anne... | 0:04:53 | 0:04:55 | |
Hi. | 0:04:55 | 0:04:56 | |
I'm Remy McSwain. | 0:04:56 | 0:04:57 | |
Oh! I'll get it. | 0:04:57 | 0:04:59 | |
Ow! Ow! | 0:04:59 | 0:05:01 | |
Your pencil. | 0:05:02 | 0:05:04 | |
Lieutenant - | 0:05:04 | 0:05:05 | |
Ah, ah...Remy. | 0:05:05 | 0:05:07 | |
Lieutenant, any progress on the Angelo murder? | 0:05:07 | 0:05:11 | |
What's your hurry? He's not even stiff yet. | 0:05:11 | 0:05:13 | |
He's dead though, isn't he? | 0:05:13 | 0:05:15 | |
Last time I saw him, yeah. | 0:05:15 | 0:05:16 | |
Is that it? You have no leads? | 0:05:16 | 0:05:20 | |
No. I've seen dozens of these wise-guy jobs. | 0:05:20 | 0:05:24 | |
We usually find out why the hit went down. | 0:05:24 | 0:05:26 | |
Sometimes who did it, but we never have enough to take to court. | 0:05:26 | 0:05:29 | |
DOOR OPENS | 0:05:29 | 0:05:30 | |
He wasn't at the barbershop, so we picked him up at home. | 0:05:31 | 0:05:34 | |
Bring him in. | 0:05:34 | 0:05:35 | |
Thank you for comin', Mr d'Imoti. | 0:05:35 | 0:05:37 | |
This is Miss Anne Osborne, | 0:05:37 | 0:05:40 | |
with the DA's office. | 0:05:40 | 0:05:41 | |
My lawyer's gettin' me out of here in five minutes. | 0:05:41 | 0:05:44 | |
I got nothin' to say till then. Nothin'. | 0:05:44 | 0:05:47 | |
Why? You're not under arrest. | 0:05:47 | 0:05:49 | |
Did McCabe give you that impression? | 0:05:49 | 0:05:52 | |
McCabe, apologise to Mr d'Imoti. | 0:05:52 | 0:05:53 | |
I'm sorry about the misunderstanding, Mr d'Imoti. | 0:05:53 | 0:05:57 | |
You're free to go any time you want, sir. | 0:05:57 | 0:06:00 | |
Again, we really do apologise. | 0:06:00 | 0:06:03 | |
Ohh! | 0:06:03 | 0:06:04 | |
We just wanted to express our sympathy about Freddie. | 0:06:04 | 0:06:07 | |
About who? | 0:06:07 | 0:06:08 | |
Freddie Angelo, the guy found floatin' in the fountain | 0:06:08 | 0:06:12 | |
behind your office. | 0:06:12 | 0:06:13 | |
He used to work for me. Terrible. | 0:06:13 | 0:06:16 | |
Nobody's got any respect for monuments any more. | 0:06:16 | 0:06:18 | |
Mr d'Imoti, isn't it true that Mr Angelo worked for you | 0:06:18 | 0:06:23 | |
for nearly 2O years, and was, in fact, | 0:06:23 | 0:06:24 | |
still in your employ at the time of death? | 0:06:24 | 0:06:26 | |
Can I go? | 0:06:26 | 0:06:29 | |
Kid, your father would never drag me down here. | 0:06:31 | 0:06:35 | |
He wanted to see me, he'd come to the house! | 0:06:35 | 0:06:38 | |
He knew a little something about respect. | 0:06:39 | 0:06:43 | |
DOOR SLAMS | 0:06:45 | 0:06:46 | |
Get out of my way! | 0:06:52 | 0:06:54 | |
I cannot believe you were so obsequious with him! | 0:06:54 | 0:06:57 | |
What does obsequious mean? | 0:06:59 | 0:07:01 | |
It means a high-ranking member of the Mafia | 0:07:01 | 0:07:04 | |
was in your office, and you kissed his ass. | 0:07:04 | 0:07:06 | |
Oh, yeah? Let me point out a few things. | 0:07:06 | 0:07:08 | |
First, nobody uses the word Mafia any more. We call them wise-guys. | 0:07:08 | 0:07:15 | |
You're not from here, are you? I only say this to save embarrassment. | 0:07:15 | 0:07:18 | |
I'll bear that in mind, Lieutenant. | 0:07:18 | 0:07:21 | |
Anything else? | 0:07:22 | 0:07:24 | |
Hey, you like spicy food? | 0:07:24 | 0:07:26 | |
Why don't we have dinner tonight? | 0:07:26 | 0:07:28 | |
Just relax, Romeo. | 0:07:28 | 0:07:29 | |
Just tell me what you've learned | 0:07:29 | 0:07:31 | |
from two minutes of ass-kissing. | 0:07:31 | 0:07:33 | |
Actually, I learned a lot from that little interview. | 0:07:33 | 0:07:36 | |
Oh, really? You read minds? | 0:07:36 | 0:07:38 | |
No, I read people. After seeing "The Cannon", | 0:07:38 | 0:07:41 | |
I can probably tell you why Freddie sprung a leak. | 0:07:41 | 0:07:43 | |
I suppose you know the killer, too? | 0:07:43 | 0:07:45 | |
No, but I bet we find him in Lake Pontchartrain soon. | 0:07:45 | 0:07:49 | |
Then what will you do? | 0:07:49 | 0:07:51 | |
Nothin'. We never have enough to take to court. | 0:07:51 | 0:07:55 | |
Hell, I'd close the case now, | 0:07:55 | 0:07:57 | |
except for one thing. | 0:07:57 | 0:07:59 | |
And what's that? | 0:07:59 | 0:08:00 | |
I'll tell you over dinner. | 0:08:00 | 0:08:02 | |
CAJUN MUSIC PLAYING | 0:08:14 | 0:08:16 | |
Hey, come on. We don't have to stand in line. | 0:08:22 | 0:08:26 | |
Hey! Hey! | 0:08:26 | 0:08:28 | |
This is embarrassing. | 0:08:29 | 0:08:30 | |
No, that's what's great about being a cop. | 0:08:30 | 0:08:33 | |
SINGING IN CAJUN FRENCH | 0:08:40 | 0:08:42 | |
All right, Willie! | 0:08:44 | 0:08:45 | |
Yeah! | 0:08:45 | 0:08:46 | |
We're gonna work up an appetite, all right? | 0:08:48 | 0:08:51 | |
I thought we were gonna discuss business? | 0:08:51 | 0:08:53 | |
Business and pleasure. | 0:08:53 | 0:08:54 | |
What's wrong with that, huh? | 0:08:54 | 0:08:56 | |
I can't do this. | 0:08:56 | 0:08:58 | |
Wait a minute. | 0:08:58 | 0:08:59 | |
Didn't they dance where you're from? | 0:08:59 | 0:09:01 | |
No. We barely spoke. | 0:09:01 | 0:09:02 | |
This is New Orleans, the Big Easy. | 0:09:02 | 0:09:05 | |
Down here, dancing's a way of life. | 0:09:05 | 0:09:08 | |
Feel the music. | 0:09:10 | 0:09:11 | |
Now you're gettin' it. | 0:09:15 | 0:09:18 | |
That's right. | 0:09:18 | 0:09:19 | |
# Look in your eyes | 0:09:38 | 0:09:41 | |
# Whoa, yeah | 0:09:41 | 0:09:42 | |
# Girl, I realise... # | 0:09:42 | 0:09:46 | |
My grandpapa on my mama's side, he was a real Cajun, | 0:09:46 | 0:09:51 | |
born and deaded on the bayou teche. | 0:09:51 | 0:09:53 | |
I thought you came from a family of Irish cops. | 0:09:53 | 0:09:57 | |
No. That was on my daddy's side. | 0:09:57 | 0:09:59 | |
He was the first one to become a cop. | 0:09:59 | 0:10:01 | |
Followed by three brothers, one son, and four nephews. | 0:10:01 | 0:10:04 | |
My cousin Terry joined the fire department. | 0:10:04 | 0:10:07 | |
He's the black sheep of the family. | 0:10:07 | 0:10:09 | |
You were the youngest detective | 0:10:09 | 0:10:11 | |
in the NOPD to make lieutenant. | 0:10:11 | 0:10:13 | |
I had an in in the department. | 0:10:13 | 0:10:16 | |
Careful who you say that to. | 0:10:16 | 0:10:18 | |
Yeah, that's right. | 0:10:18 | 0:10:19 | |
You bust cops... for a livin'. | 0:10:19 | 0:10:22 | |
I'm not embarrassed to put bad cops behind bars. | 0:10:22 | 0:10:26 | |
Why don't you tell me somethin' | 0:10:36 | 0:10:38 | |
about your life? | 0:10:38 | 0:10:40 | |
It's not as colourful as yours. | 0:10:40 | 0:10:42 | |
Oh, yeah? | 0:10:42 | 0:10:43 | |
You want me to tell you why | 0:10:50 | 0:10:53 | |
I'm not closin' the Angelo case? | 0:10:53 | 0:10:56 | |
That's supposed to be why I'm here. | 0:10:58 | 0:11:01 | |
It's you. | 0:11:01 | 0:11:02 | |
Oh, please! | 0:11:02 | 0:11:04 | |
No, no, no, no, no, chere. It's you. | 0:11:04 | 0:11:06 | |
I mean, er... | 0:11:11 | 0:11:14 | |
how come... | 0:11:14 | 0:11:15 | |
an Assistant District Attorney | 0:11:15 | 0:11:17 | |
and her corruption strike force | 0:11:17 | 0:11:19 | |
is suddenly so interested | 0:11:19 | 0:11:21 | |
in a routine Mafia hit? | 0:11:21 | 0:11:22 | |
Routine wise-guy hit, remember? | 0:11:22 | 0:11:24 | |
Whatever. What gives? | 0:11:24 | 0:11:26 | |
We have the jurisdiction | 0:11:26 | 0:11:28 | |
to investigate any crime we see fit. | 0:11:28 | 0:11:30 | |
You got some kind of police corruption angle? | 0:11:30 | 0:11:33 | |
No comment, Lieutenant. | 0:11:33 | 0:11:34 | |
You got any evidence? | 0:11:34 | 0:11:36 | |
No comment again. | 0:11:36 | 0:11:38 | |
Hey, Remy, how's everythin'? | 0:11:38 | 0:11:40 | |
You like that gumbo? | 0:11:40 | 0:11:42 | |
Remy's great-aunt Emeline, she teach me my gumbo. | 0:11:42 | 0:11:44 | |
She uses more sassafras filet in her gumbo. | 0:11:44 | 0:11:48 | |
Watch your mouth! You don't get no dessert! | 0:11:48 | 0:11:51 | |
We got dobosh cake. | 0:11:51 | 0:11:52 | |
No, thanks. | 0:11:52 | 0:11:54 | |
I have to be up very early tomorrow. | 0:11:54 | 0:11:56 | |
We gonna just take the check. | 0:11:56 | 0:11:58 | |
What you talkin' about? | 0:11:58 | 0:12:00 | |
I mean I want the check, Paul. | 0:12:00 | 0:12:02 | |
Remy done lost his mind. | 0:12:02 | 0:12:05 | |
He knows his money's no good here. | 0:12:05 | 0:12:07 | |
Why not give me the check? | 0:12:07 | 0:12:09 | |
Paul, have you met Anne Osborne with the DA's office? | 0:12:09 | 0:12:12 | |
Oh, really? | 0:12:12 | 0:12:13 | |
You lookin' for that check? Right here it is. | 0:12:13 | 0:12:16 | |
You honestly don't see the harm in any of this? | 0:12:18 | 0:12:22 | |
No, I don't. These are the perks. | 0:12:22 | 0:12:25 | |
But the restaurant will expect extra protection in return. | 0:12:25 | 0:12:27 | |
Oh, big deal. | 0:12:27 | 0:12:29 | |
And expect the officer to overlook code violations. | 0:12:29 | 0:12:32 | |
If all the codes were enforced, | 0:12:32 | 0:12:34 | |
every restaurant would be closed. | 0:12:34 | 0:12:35 | |
So now you're defending organised corruption. | 0:12:35 | 0:12:38 | |
I'm not defending anything. This is New Orleans, darlin'. | 0:12:38 | 0:12:41 | |
Folks have a way of doin' things down here | 0:12:41 | 0:12:43 | |
people like to show their appreciation. | 0:12:43 | 0:12:45 | |
Oh, really? How does it work? Do you get free suits? | 0:12:45 | 0:12:48 | |
You get an envelope from Chef Paul every week? | 0:12:48 | 0:12:51 | |
Are you wearin' a wire in there or somethin'? | 0:12:51 | 0:12:55 | |
ENGINE REVS | 0:12:58 | 0:13:01 | |
HORN BLARES | 0:13:01 | 0:13:02 | |
I'm serious. How far does this go? | 0:13:05 | 0:13:08 | |
Is everything for sale? | 0:13:08 | 0:13:10 | |
What's it cost to beat a murder rap these days? | 0:13:10 | 0:13:14 | |
Is that what you think about cops? | 0:13:14 | 0:13:17 | |
You got a real serious attitude problem. | 0:13:17 | 0:13:21 | |
Being around you for an evening hasn't improved it. | 0:13:21 | 0:13:24 | |
I've never seen one person | 0:13:24 | 0:13:25 | |
break so many laws in such a short space of time. | 0:13:25 | 0:13:28 | |
Forget the laws for a minute. It's simple on the street. | 0:13:28 | 0:13:31 | |
There's good guys and bad guys. | 0:13:31 | 0:13:32 | |
And you're the good guys? You're damn right! | 0:13:32 | 0:13:35 | |
We're all that stands between you and them. | 0:13:35 | 0:13:37 | |
Just drop me off at the corner up there. | 0:13:37 | 0:13:40 | |
Yeah. | 0:13:40 | 0:13:41 | |
BRAKES SQUEAL | 0:13:45 | 0:13:47 | |
Don't think that I'm naive. I know how the system works, | 0:13:47 | 0:13:51 | |
but things can change. | 0:13:51 | 0:13:52 | |
Oh, yeah? You gonna change it? | 0:13:52 | 0:13:55 | |
Don't you dare be amused at me. | 0:13:55 | 0:13:58 | |
Hey, is this your building? | 0:13:58 | 0:14:00 | |
No, I live up the street, but I need to get a few things. | 0:14:00 | 0:14:03 | |
I'll wait for you. I'll drive you home. | 0:14:03 | 0:14:06 | |
No, thank you. I'd rather walk. | 0:14:06 | 0:14:08 | |
Well, I'll walk with you. | 0:14:08 | 0:14:10 | |
No. | 0:14:10 | 0:14:11 | |
And thank you very much for a very illuminating evening. | 0:14:11 | 0:14:15 | |
FOOTSTEPS APPROACHING | 0:14:37 | 0:14:39 | |
< WOMAN: Stop! | 0:14:39 | 0:14:40 | |
My purse! | 0:14:40 | 0:14:41 | |
Ugh! Aah! | 0:14:42 | 0:14:44 | |
Aah! | 0:14:45 | 0:14:46 | |
Let's go, blood! | 0:14:46 | 0:14:47 | |
Somebody help! | 0:14:47 | 0:14:49 | |
Let go, woman! | 0:14:49 | 0:14:52 | |
Ugh! Aah! | 0:14:53 | 0:14:54 | |
Police! | 0:14:55 | 0:14:57 | |
Don't screw up! | 0:14:58 | 0:15:00 | |
Scumbag, get your face on the pavement now! | 0:15:02 | 0:15:05 | |
You stay down a second. | 0:15:05 | 0:15:07 | |
Uh! | 0:15:09 | 0:15:10 | |
Oh! | 0:15:10 | 0:15:11 | |
Aha! Aha! | 0:15:11 | 0:15:14 | |
You a cop? | 0:15:14 | 0:15:15 | |
Yes, ma'am. | 0:15:15 | 0:15:16 | |
Thank God you were here. | 0:15:16 | 0:15:17 | |
I just cashed my pay cheque. | 0:15:17 | 0:15:19 | |
Stay here. A patrolman will take your statement. | 0:15:19 | 0:15:22 | |
You think I'm crazy or what? | 0:15:22 | 0:15:24 | |
I'm not taking any chances! No police! | 0:15:24 | 0:15:27 | |
All right... | 0:15:27 | 0:15:30 | |
a patrol car is gonna come by for you. | 0:15:30 | 0:15:33 | |
Now, if you do anything to my car, | 0:15:33 | 0:15:36 | |
if you even get your fingerprints on it, | 0:15:36 | 0:15:39 | |
they are gonna beat the ever-livin' shit out of you. | 0:15:39 | 0:15:43 | |
Now, do you fully understand | 0:15:44 | 0:15:47 | |
each of these rights as I've explained them to you? | 0:15:47 | 0:15:50 | |
BOTH: Yes, sir! | 0:15:50 | 0:15:52 | |
Good thing I'm such a pushy guy, huh? | 0:15:57 | 0:16:00 | |
Hey, Remy, listen to this. | 0:16:09 | 0:16:10 | |
Remember Laverne Williams | 0:16:10 | 0:16:12 | |
who stabbed her husband last week? | 0:16:12 | 0:16:14 | |
We tell her, "Your husband died, | 0:16:14 | 0:16:16 | |
"and you're busted for homicide." | 0:16:16 | 0:16:18 | |
TELEPHONE BUZZES | 0:16:18 | 0:16:19 | |
She said, "That bastard! | 0:16:19 | 0:16:20 | |
"I stabbed him before, and he never died." | 0:16:20 | 0:16:23 | |
HE LAUGHS | 0:16:23 | 0:16:24 | |
Homicide, McSwain. | 0:16:24 | 0:16:26 | |
Hello, Lieutenant. | 0:16:26 | 0:16:28 | |
'Anne, you must be psychic.' | 0:16:28 | 0:16:31 | |
I was thinkin' about you. | 0:16:31 | 0:16:33 | |
'What's new on the Angelo case?' | 0:16:33 | 0:16:34 | |
Oh, not a thing. | 0:16:34 | 0:16:36 | |
'Why not? Aren't you working on it?' | 0:16:36 | 0:16:38 | |
I got a poisoned heiress in the garden district, | 0:16:38 | 0:16:40 | |
'a strangled transvestite in the French quarter, | 0:16:40 | 0:16:43 | |
'and a suspicious asphyxiation. | 0:16:43 | 0:16:45 | |
'Angelo has to wait his turn.' | 0:16:45 | 0:16:46 | |
The Angelo murder was supposed to take priority. | 0:16:46 | 0:16:49 | |
'When can I see your report?' | 0:16:49 | 0:16:51 | |
The Neville Brothers are playing at Tipitina's tonight. | 0:16:51 | 0:16:55 | |
'I could give it to you then, huh?' | 0:16:55 | 0:16:58 | |
I think that we ought to keep this relationship strictly professional. | 0:16:58 | 0:17:03 | |
'Hey, why? I thought we passed a good time last night, chere. | 0:17:03 | 0:17:06 | |
'Didn't you like the music?' | 0:17:06 | 0:17:08 | |
It was very nice. | 0:17:08 | 0:17:09 | |
'Didn't you like the crawfish?' | 0:17:09 | 0:17:12 | |
Food was delicious, | 0:17:13 | 0:17:14 | |
but, look, Remy, | 0:17:14 | 0:17:17 | |
let's just forget about last night. | 0:17:17 | 0:17:19 | |
There's too much possibility for conflict of interest. | 0:17:19 | 0:17:22 | |
'Oh, really?' | 0:17:22 | 0:17:23 | |
Why? You investigatin' me, chere, huh? | 0:17:23 | 0:17:25 | |
'Of course not.' | 0:17:25 | 0:17:27 | |
I'll pick you up at eight. | 0:17:27 | 0:17:29 | |
'And don't be late, huh?' | 0:17:29 | 0:17:31 | |
No. Just have somebody send me a copy of the report. | 0:17:31 | 0:17:35 | |
Thank you, Lieutenant. | 0:17:35 | 0:17:36 | |
Hmm... | 0:17:41 | 0:17:43 | |
THUNDER RUMBLES | 0:17:43 | 0:17:46 | |
ENGINE STARTS | 0:17:48 | 0:17:50 | |
HONKS HORN | 0:17:50 | 0:17:52 | |
Hey! | 0:17:52 | 0:17:53 | |
Annie! | 0:17:53 | 0:17:54 | |
HONKS HORN | 0:17:54 | 0:17:55 | |
What are you doing here? | 0:17:55 | 0:17:57 | |
HONKS HORN | 0:17:57 | 0:17:58 | |
MAN: What the hell you think you're doin'? | 0:17:58 | 0:18:01 | |
I got a large pizza. | 0:18:01 | 0:18:03 | |
Pepperoni, extra cheese. | 0:18:03 | 0:18:06 | |
HONKS HORN | 0:18:06 | 0:18:07 | |
Move your god-damned car, will you? | 0:18:07 | 0:18:09 | |
It's not that easy, Lieutenant. Where's my report? | 0:18:09 | 0:18:12 | |
Right here. | 0:18:12 | 0:18:13 | |
Where? | 0:18:13 | 0:18:14 | |
Under the pizza. | 0:18:14 | 0:18:16 | |
You got to eat the pie to get to the report. | 0:18:16 | 0:18:18 | |
Go on, girlie, | 0:18:18 | 0:18:20 | |
get in the car! | 0:18:20 | 0:18:21 | |
You write a pretty good report. | 0:18:33 | 0:18:37 | |
Does that mean we go to Tipitina's now? | 0:18:37 | 0:18:40 | |
No. | 0:18:40 | 0:18:41 | |
I'd like to ask you a few questions. | 0:18:41 | 0:18:44 | |
Now, Angelo was shot at a downward angle | 0:18:44 | 0:18:46 | |
with a Mac ten pistol. | 0:18:46 | 0:18:48 | |
What are you thinking? Dope smugglers? | 0:18:48 | 0:18:50 | |
Possibly, but a lot of your younger wise-guys | 0:18:50 | 0:18:54 | |
use Mac ten pistols, too. | 0:18:54 | 0:18:56 | |
You found his car on Tchoupitala Street. | 0:18:56 | 0:18:58 | |
Tchoupitoulas street. | 0:18:58 | 0:19:00 | |
Tchoupitoulas. | 0:19:00 | 0:19:02 | |
But you couldn't find any evidence of a crime? | 0:19:02 | 0:19:05 | |
Yeah, but what it doesn't say in there | 0:19:05 | 0:19:07 | |
is that Angelo's car was parked across the street | 0:19:07 | 0:19:09 | |
from a wharf warehouse owned by Carmine Tandino, | 0:19:09 | 0:19:12 | |
a well-known hit man | 0:19:12 | 0:19:14 | |
in the family of our mutual friend | 0:19:14 | 0:19:16 | |
Vinnie "The Cannon" d'Imoti. | 0:19:16 | 0:19:19 | |
I'll check out that warehouse tomorrow. | 0:19:19 | 0:19:22 | |
Why isn't that in your report, Lieutenant? | 0:19:22 | 0:19:24 | |
We're not supposed to draw conclusions. | 0:19:24 | 0:19:26 | |
You know that. | 0:19:26 | 0:19:28 | |
If someone asked you, | 0:19:28 | 0:19:30 | |
what conclusion would you draw? | 0:19:30 | 0:19:31 | |
Well...Freddie imported heroin for a livin'. | 0:19:31 | 0:19:36 | |
Carmine Tandino's warehouse is on the river. | 0:19:36 | 0:19:40 | |
Sometimes heroin comes up the river. | 0:19:40 | 0:19:43 | |
You draw your own conclusions. | 0:19:43 | 0:19:45 | |
What? | 0:19:51 | 0:19:52 | |
I'm impressed. | 0:19:52 | 0:19:54 | |
By what? | 0:19:54 | 0:19:56 | |
You've obviously given this a great deal of thought. | 0:19:56 | 0:19:59 | |
You're doing a really thorough job. | 0:19:59 | 0:20:02 | |
Oh, thank you! | 0:20:02 | 0:20:03 | |
You think I'd do a very lousy job? | 0:20:03 | 0:20:06 | |
No. I didn't mean that. | 0:20:06 | 0:20:07 | |
Why don't you like me, Anne? | 0:20:07 | 0:20:10 | |
I do like you. | 0:20:12 | 0:20:14 | |
Why don't you trust me? | 0:20:14 | 0:20:16 | |
Huh? | 0:20:16 | 0:20:17 | |
What? You think I'm a rotten, | 0:20:17 | 0:20:20 | |
don't-give-a-shit, | 0:20:20 | 0:20:22 | |
dishonest, | 0:20:22 | 0:20:24 | |
no-good, | 0:20:24 | 0:20:26 | |
dirty cop? | 0:20:26 | 0:20:28 | |
Is that what you think of me? | 0:20:28 | 0:20:31 | |
No. | 0:20:31 | 0:20:32 | |
I do trust you. I do. I- | 0:20:32 | 0:20:35 | |
THUNDER RUMBLES | 0:20:35 | 0:20:38 | |
# Lace curtain blowin' on a river breeze | 0:21:17 | 0:21:23 | |
# Slips across the bed and it rustles the sheets | 0:21:23 | 0:21:27 | |
# Seems everything nowadays | 0:21:28 | 0:21:33 | |
# Just reminds me of you | 0:21:33 | 0:21:36 | |
# Smell of the mornin' in a rainy land | 0:21:38 | 0:21:42 | |
# The touch of satin across my hand | 0:21:44 | 0:21:47 | |
# Just makes me... # | 0:21:49 | 0:21:50 | |
Aah! | 0:21:50 | 0:21:52 | |
Sorry. I'm not very good at this. | 0:21:52 | 0:21:56 | |
Shh! | 0:21:56 | 0:21:58 | |
# ..Closer to you | 0:21:58 | 0:22:00 | |
# Closer to you... # | 0:22:03 | 0:22:06 | |
I can't do this. | 0:22:08 | 0:22:10 | |
I'm-I'm, er, too nervous. | 0:22:10 | 0:22:12 | |
I can't relax. | 0:22:12 | 0:22:14 | |
I'm very embarrassed. | 0:22:21 | 0:22:23 | |
Oh, no... | 0:22:23 | 0:22:25 | |
don't be embarrassed, chere. | 0:22:25 | 0:22:28 | |
Just relax, darlin'. | 0:22:28 | 0:22:30 | |
This is the Big Easy. | 0:22:30 | 0:22:33 | |
Folks have a certain way | 0:22:33 | 0:22:35 | |
of doin' things down here, huh? | 0:22:35 | 0:22:38 | |
I noticed. | 0:22:38 | 0:22:39 | |
Oh, stop that. | 0:22:46 | 0:22:48 | |
Stop what? | 0:22:48 | 0:22:49 | |
That. | 0:22:49 | 0:22:50 | |
What? | 0:22:50 | 0:22:51 | |
That. | 0:22:51 | 0:22:53 | |
What? That? | 0:22:53 | 0:22:54 | |
Or that? | 0:22:54 | 0:22:55 | |
Ohh! | 0:22:58 | 0:23:00 | |
Ah! | 0:23:03 | 0:23:04 | |
Ahh! | 0:23:08 | 0:23:10 | |
Uhh! | 0:23:10 | 0:23:11 | |
Ahh! | 0:23:13 | 0:23:15 | |
Ahh! Ah! | 0:23:16 | 0:23:19 | |
Uhh! | 0:23:19 | 0:23:20 | |
# If I said that I loved you | 0:23:20 | 0:23:23 | |
# Would you turn away? | 0:23:23 | 0:23:25 | |
# Afraid of what you think you're supposed to say | 0:23:27 | 0:23:31 | |
# Well, that's all right, baby | 0:23:33 | 0:23:37 | |
# Cos I already know | 0:23:37 | 0:23:39 | |
# I can see it in your eyes | 0:23:41 | 0:23:43 | |
# I can hear it in your voice | 0:23:43 | 0:23:46 | |
# Believe me, baby | 0:23:47 | 0:23:50 | |
# You got no choice... # | 0:23:50 | 0:23:52 | |
PAGER BEEPS | 0:23:52 | 0:23:55 | |
ANNE: Yours or mine? | 0:23:55 | 0:23:57 | |
REMY: Mine. | 0:23:57 | 0:23:58 | |
Shit! | 0:23:59 | 0:24:01 | |
McSwain. This better be good. | 0:24:12 | 0:24:15 | |
What? Slow down a minute! | 0:24:15 | 0:24:17 | |
All right, I'll be right there. | 0:24:17 | 0:24:21 | |
Shit! | 0:24:21 | 0:24:22 | |
What is it? | 0:24:22 | 0:24:24 | |
Triple murder... in Storyville. | 0:24:24 | 0:24:29 | |
I'm sorry. | 0:24:29 | 0:24:31 | |
I'm really sorry. | 0:24:31 | 0:24:33 | |
It's OK. | 0:24:33 | 0:24:35 | |
I never did have much luck with sex, anyway. | 0:24:35 | 0:24:39 | |
You're luck's about to change, chere. | 0:24:39 | 0:24:42 | |
Ooh-la-la! | 0:24:47 | 0:24:49 | |
Ooh! | 0:24:49 | 0:24:50 | |
How long does a murder take? | 0:24:51 | 0:24:54 | |
Oh... | 0:24:54 | 0:24:56 | |
a couple of hours at least. | 0:24:56 | 0:24:58 | |
Come back. | 0:24:58 | 0:25:00 | |
What? | 0:25:01 | 0:25:03 | |
You sure? | 0:25:03 | 0:25:05 | |
I'm sure. | 0:25:05 | 0:25:07 | |
We'll, er, talk about the Angelo case. | 0:25:10 | 0:25:15 | |
Sure! | 0:25:15 | 0:25:16 | |
Oh! | 0:25:18 | 0:25:19 | |
SIREN | 0:25:21 | 0:25:23 | |
Get out of the way! | 0:25:23 | 0:25:25 | |
Get out of the car, man! | 0:25:25 | 0:25:28 | |
Get out of our neighbourhood! | 0:25:28 | 0:25:31 | |
Hey, Hollywood! | 0:25:31 | 0:25:33 | |
Why don't you call your mother on the telephone? | 0:25:33 | 0:25:36 | |
She hasn't heard from you in over a week. | 0:25:36 | 0:25:37 | |
When you gonna make an honest woman | 0:25:37 | 0:25:39 | |
out of her, cher? | 0:25:39 | 0:25:40 | |
She ain't gonna marry me until I retire. | 0:25:40 | 0:25:43 | |
Oh, yeah? That'll be the day. | 0:25:43 | 0:25:45 | |
BOTTLE CRASHES | 0:25:45 | 0:25:46 | |
What? We got a carnival goin' on here? | 0:25:46 | 0:25:49 | |
Hey, what the hell's goin' on? | 0:25:49 | 0:25:52 | |
There's a rumour that the killers | 0:25:53 | 0:25:56 | |
were in an unmarked police car. | 0:25:56 | 0:25:58 | |
Great. That's all we need. | 0:25:58 | 0:26:00 | |
MAN: Y'all be lookin' at us, | 0:26:02 | 0:26:04 | |
but y'all did it! | 0:26:04 | 0:26:06 | |
OK to roll him over? | 0:26:12 | 0:26:14 | |
Yeah, roll away. | 0:26:14 | 0:26:16 | |
WHISTLES | 0:26:19 | 0:26:20 | |
Jamaal Washington, huh? | 0:26:20 | 0:26:23 | |
Hey, Jack! | 0:26:25 | 0:26:26 | |
Everything under control out there? | 0:26:26 | 0:26:29 | |
Oh, yeah. Our riot's turned into a party. | 0:26:29 | 0:26:32 | |
I love this town. | 0:26:32 | 0:26:33 | |
You remember Miss Anne Osborne? | 0:26:36 | 0:26:38 | |
It's nice to see you again. | 0:26:38 | 0:26:40 | |
Yeah, you, too. | 0:26:40 | 0:26:42 | |
The DA'S office is interested | 0:26:42 | 0:26:45 | |
since there's an allegation of police involvement. | 0:26:45 | 0:26:48 | |
You believe every rumour you hear? | 0:26:48 | 0:26:50 | |
Do you have evidence one way or another? | 0:26:50 | 0:26:52 | |
Oh, right now, we got two unknown white suspects- | 0:26:52 | 0:26:56 | |
not officers, suspects- | 0:26:56 | 0:26:57 | |
and one unsubstantiated rumour. | 0:26:57 | 0:26:59 | |
Anything on the victims yet? | 0:27:01 | 0:27:04 | |
Yeah. | 0:27:04 | 0:27:05 | |
You don't want to see him. | 0:27:06 | 0:27:09 | |
He kind of lost his face. | 0:27:09 | 0:27:12 | |
We're goin' to have to wait | 0:27:12 | 0:27:15 | |
for a fingerprint ID on him. | 0:27:15 | 0:27:17 | |
The third victim- a Nobilier brother. | 0:27:17 | 0:27:19 | |
Also narcotics, also a runner for Daddy Mention. | 0:27:19 | 0:27:22 | |
Who's Daddy Mention? | 0:27:22 | 0:27:24 | |
He handles the black side of New Orleans' narcotics. | 0:27:24 | 0:27:27 | |
Vinnie's got the white action. | 0:27:27 | 0:27:29 | |
Why don't you believe the killers were cops? | 0:27:31 | 0:27:34 | |
If they were cops, they'd have stayed here. | 0:27:34 | 0:27:37 | |
When we arrived, we'd have found plants- | 0:27:37 | 0:27:40 | |
guns, knives, evidence that they resisted arrest. | 0:27:40 | 0:27:43 | |
Every cop knows how to do that. | 0:27:43 | 0:27:45 | |
That doesn't surprise me. | 0:27:45 | 0:27:46 | |
You probably know how to bribe jurors, | 0:27:46 | 0:27:49 | |
though you probably never have. | 0:27:49 | 0:27:51 | |
Hey, Remy! | 0:27:51 | 0:27:52 | |
Look what I got. | 0:27:52 | 0:27:54 | |
Feels like about a key. | 0:27:54 | 0:27:56 | |
Well, that's really great work, dodge, | 0:27:56 | 0:27:58 | |
really great work. | 0:27:58 | 0:28:01 | |
Let's just pass it around | 0:28:01 | 0:28:03 | |
and get everyone's fingerprints on it. | 0:28:03 | 0:28:05 | |
What's this? | 0:28:05 | 0:28:06 | |
Heroin. Mexican brown. | 0:28:06 | 0:28:08 | |
Somebody's been using shotguns here, | 0:28:08 | 0:28:10 | |
so... | 0:28:10 | 0:28:11 | |
I figure Tandino. | 0:28:11 | 0:28:13 | |
Mm-hmm. | 0:28:13 | 0:28:14 | |
Carmine Tandino, | 0:28:14 | 0:28:16 | |
hit man for Vinnie "the Cannon". | 0:28:16 | 0:28:19 | |
Shotguns are his signature. | 0:28:19 | 0:28:21 | |
Resulting in... spaghetti sauce. | 0:28:21 | 0:28:23 | |
Captain, you want to take over here? | 0:28:26 | 0:28:29 | |
I'll take Miss Osborne home. | 0:28:29 | 0:28:31 | |
Oh, thank you. | 0:28:31 | 0:28:32 | |
Watch your step. | 0:28:38 | 0:28:39 | |
Don't they make a lovely couple? | 0:28:44 | 0:28:46 | |
Hey, we'll go to my apartment. It's closer. | 0:28:46 | 0:28:49 | |
All right? Huh? | 0:28:49 | 0:28:51 | |
After a while, you get used to it. | 0:28:51 | 0:28:54 | |
You get hardened. | 0:28:54 | 0:28:55 | |
Everybody gets sick the first time. | 0:28:55 | 0:28:58 | |
Don't be embarrassed, huh? | 0:28:58 | 0:29:00 | |
I'll be fine. | 0:29:00 | 0:29:01 | |
If you're gonna throw up, | 0:29:01 | 0:29:03 | |
I'll pull over. | 0:29:03 | 0:29:04 | |
I'm not going to throw up. | 0:29:04 | 0:29:07 | |
THROWING UP | 0:29:07 | 0:29:08 | |
Ugh! | 0:29:08 | 0:29:09 | |
You think that Carmine Tandino | 0:29:09 | 0:29:11 | |
killed those men tonight? | 0:29:11 | 0:29:13 | |
Even with your head in the toilet, | 0:29:13 | 0:29:16 | |
you still want to talk business? | 0:29:16 | 0:29:18 | |
Yeah, I think that Carmine Tandino | 0:29:18 | 0:29:20 | |
killed those boys tonight. | 0:29:20 | 0:29:22 | |
Therefore they must have murdered Angelo. | 0:29:22 | 0:29:23 | |
What does that do to your theory | 0:29:23 | 0:29:26 | |
that Angelo's murder was a message for Vinnie to retire? | 0:29:26 | 0:29:29 | |
Now we know who sent it- Daddy Mention. | 0:29:29 | 0:29:32 | |
Now we're dealin' with somethin' more | 0:29:32 | 0:29:34 | |
than one wise-guy killin' another wise-guy. | 0:29:34 | 0:29:37 | |
We sure are. | 0:29:37 | 0:29:39 | |
What's that mean? | 0:29:39 | 0:29:40 | |
Is Carmine Tandino the only person in the world | 0:29:40 | 0:29:42 | |
who uses a shotgun to kill people? | 0:29:42 | 0:29:44 | |
No, but he's one of the few | 0:29:44 | 0:29:47 | |
who turn a profit at it. | 0:29:47 | 0:29:49 | |
You don't think the cops had anything to do with this? | 0:29:49 | 0:29:52 | |
No. Cops don't do that sort of thing. | 0:29:52 | 0:29:55 | |
People accuse cops of everythin'. | 0:29:55 | 0:29:57 | |
Hey, hey, hey, hey, hey! | 0:29:57 | 0:29:59 | |
How do you feel now, huh? | 0:29:59 | 0:30:02 | |
Does this stuff ever get to you? | 0:30:03 | 0:30:06 | |
Who, me? | 0:30:06 | 0:30:07 | |
Bullets bounce off me. | 0:30:07 | 0:30:10 | |
You're never afraid? | 0:30:10 | 0:30:12 | |
All the time. | 0:30:14 | 0:30:16 | |
Look out for the gator, baby! | 0:30:24 | 0:30:27 | |
Hee hee hee! | 0:30:27 | 0:30:29 | |
Gotcha! | 0:30:30 | 0:30:31 | |
# Allons danser, colinda | 0:30:43 | 0:30:46 | |
# Danser colle, colinda... # | 0:30:46 | 0:30:47 | |
SQUEAK SQUEAK | 0:30:47 | 0:30:49 | |
# Allons danser colle, colle | 0:30:49 | 0:30:52 | |
# Pour faire facher les vieilles gens | 0:30:52 | 0:30:55 | |
# Mais c'est pas tout le monde qui connait | 0:30:55 | 0:30:58 | |
# Danser les danses de bons temps | 0:30:58 | 0:31:01 | |
# Allons danser colle, colle | 0:31:01 | 0:31:04 | |
# Ah, va c'est legere | 0:31:04 | 0:31:06 | |
# Allons danser | 0:31:07 | 0:31:11 | |
# Allons danser | 0:31:11 | 0:31:13 | |
# Allons danser | 0:31:13 | 0:31:16 | |
# Allons danser | 0:31:16 | 0:31:19 | |
# Allons danser... # | 0:31:19 | 0:31:21 | |
Aah! | 0:31:21 | 0:31:22 | |
Oh! Shit! | 0:31:22 | 0:31:24 | |
Who are you? | 0:31:24 | 0:31:25 | |
I'm Bobby. Remy's brother. | 0:31:25 | 0:31:27 | |
You scared the hell out of me. | 0:31:27 | 0:31:28 | |
Where did you come from? | 0:31:28 | 0:31:29 | |
I spent the night here on the couch. | 0:31:29 | 0:31:31 | |
Oh, my God! | 0:31:31 | 0:31:33 | |
Excuse me. | 0:31:33 | 0:31:34 | |
I'm sorry if I embarrassed you. | 0:31:34 | 0:31:37 | |
# Allons danser | 0:31:37 | 0:31:38 | |
# Yeah, yeah. # | 0:31:38 | 0:31:41 | |
Hey, chere! | 0:31:44 | 0:31:46 | |
I was getting us some breakfast. | 0:31:46 | 0:31:48 | |
I'm late for a meeting. | 0:31:48 | 0:31:50 | |
I have to get to work. | 0:31:50 | 0:31:52 | |
I'll drive you. | 0:31:52 | 0:31:53 | |
It's OK. I'll take a cab. | 0:31:53 | 0:31:55 | |
You meet my brother? | 0:31:55 | 0:31:57 | |
Kind of. | 0:31:57 | 0:31:59 | |
Hey, sugar, somethin' wrong? | 0:31:59 | 0:32:01 | |
# Allons danser | 0:32:06 | 0:32:08 | |
# Allons danser... # | 0:32:08 | 0:32:10 | |
What's for breakfast? | 0:32:10 | 0:32:11 | |
# Allons danser. # | 0:32:11 | 0:32:12 | |
Your ass! | 0:32:12 | 0:32:14 | |
# Allons danser. # | 0:32:14 | 0:32:16 | |
Jesus Christ! You scared the shit out of me! | 0:32:22 | 0:32:24 | |
Don't walk into an interrogation room without knocking. | 0:32:24 | 0:32:27 | |
Where are the Storyville witnesses? | 0:32:27 | 0:32:30 | |
I heard you saw somethin' | 0:32:33 | 0:32:35 | |
last night in Storyville | 0:32:35 | 0:32:37 | |
when those three guys got stovepiped. | 0:32:37 | 0:32:39 | |
You saw an unmarked police car? | 0:32:39 | 0:32:42 | |
We don't know what you're talking about. | 0:32:42 | 0:32:43 | |
Me and my brother was home watchin' TV. | 0:32:43 | 0:32:44 | |
We didn't see nothin'. | 0:32:44 | 0:32:46 | |
Yeah? Andre, you take their statements, | 0:32:46 | 0:32:48 | |
you let them go home. | 0:32:48 | 0:32:50 | |
Be nice to Andre. | 0:32:50 | 0:32:52 | |
That's "we didn't see nothin'. | 0:32:52 | 0:32:53 | |
"We was home watchin' TV." Is that right? | 0:32:53 | 0:32:56 | |
# You say you love me once | 0:32:56 | 0:33:00 | |
# But I want to hear it twice. # | 0:33:00 | 0:33:01 | |
Get me out of here. I hate this job! | 0:33:01 | 0:33:04 | |
Property's a dirty job. You're next in line. | 0:33:04 | 0:33:07 | |
Remember the guy who lost his face last night? | 0:33:07 | 0:33:11 | |
The morgue guys found this in his pocket. | 0:33:11 | 0:33:12 | |
Ah, Freddie Angelo's driver's licence. | 0:33:12 | 0:33:15 | |
Beautiful! I knew those guys killed Freddie. | 0:33:15 | 0:33:18 | |
All right! | 0:33:18 | 0:33:19 | |
What time did he leave? | 0:33:19 | 0:33:20 | |
You're sure? | 0:33:20 | 0:33:22 | |
# Scoo do do do | 0:33:23 | 0:33:24 | |
# Bop bop a do. # | 0:33:24 | 0:33:26 | |
Carmine Tandino has an airtight alibi. | 0:33:26 | 0:33:28 | |
He was at Mosca's with his wife till 4am. | 0:33:28 | 0:33:32 | |
I got 12 witnesses who corroborate his story. | 0:33:32 | 0:33:34 | |
You know who owns Mosca's? | 0:33:34 | 0:33:36 | |
Carmine Tandino's nephew. | 0:33:36 | 0:33:37 | |
It's a popular spot for alibis. | 0:33:37 | 0:33:38 | |
I'll talk to Carmine myself. | 0:33:38 | 0:33:40 | |
I got Anne Osborne on line. | 0:33:40 | 0:33:42 | |
You want me to tell her you're not here? | 0:33:42 | 0:33:45 | |
No. I'll take it myself. | 0:33:45 | 0:33:47 | |
I can tell her you're not here. | 0:33:47 | 0:33:49 | |
No. I'll take it. | 0:33:49 | 0:33:51 | |
Yeah, Miss Osborne, | 0:33:51 | 0:33:53 | |
I haven't got the forensics | 0:33:53 | 0:33:55 | |
or the ballistics reports back yet. | 0:33:55 | 0:33:58 | |
ANNE: I didn't call about that. | 0:33:58 | 0:34:00 | |
I'm sorry about this morning, | 0:34:02 | 0:34:04 | |
the way I just ran out. | 0:34:04 | 0:34:06 | |
Me, too. | 0:34:06 | 0:34:09 | |
I'm just sort of confused. | 0:34:09 | 0:34:11 | |
Oh, no. Don't be confused, chere, no. | 0:34:11 | 0:34:15 | |
'Things like last night don't happen to me.' | 0:34:15 | 0:34:18 | |
Me, either. | 0:34:18 | 0:34:19 | |
Oh, please. | 0:34:19 | 0:34:21 | |
No, I mean it. I really do. | 0:34:21 | 0:34:23 | |
I know too much about your reputation to believe you. | 0:34:23 | 0:34:27 | |
DIAL TONE | 0:34:27 | 0:34:28 | |
Gol! | 0:34:28 | 0:34:30 | |
You want get out of my office, huh? | 0:34:32 | 0:34:35 | |
Jesus. | 0:34:36 | 0:34:38 | |
TELEPHONE RINGS | 0:34:38 | 0:34:40 | |
Anne Osborne. | 0:34:42 | 0:34:43 | |
Look, I'm gonna take you to lunch. | 0:34:43 | 0:34:46 | |
You look into my eyes, | 0:34:46 | 0:34:47 | |
and you tell me whether you believe me or not. | 0:34:47 | 0:34:50 | |
No, I can't. | 0:34:50 | 0:34:53 | |
Great! I'll make us a reservation | 0:34:53 | 0:34:55 | |
for Antoine's at 1.00. | 0:34:55 | 0:34:57 | |
What did she want? | 0:35:01 | 0:35:03 | |
Who, Anne? | 0:35:03 | 0:35:04 | |
Anne he calls her. | 0:35:04 | 0:35:06 | |
She's got everybody scared shitless, | 0:35:06 | 0:35:08 | |
and he's calling her Anne. | 0:35:08 | 0:35:10 | |
She's using the Angelo murder | 0:35:10 | 0:35:12 | |
as an excuse to sniff around our widows- | 0:35:12 | 0:35:15 | |
Shh! | 0:35:15 | 0:35:16 | |
Widows and orphans' fund. | 0:35:16 | 0:35:18 | |
Why don't you relax? | 0:35:18 | 0:35:20 | |
Remy's got the lady wrapped around his finger. | 0:35:20 | 0:35:22 | |
Which reminds me... what's the beef? | 0:35:22 | 0:35:25 | |
I got a call from the sho-bar. | 0:35:25 | 0:35:28 | |
The new owner's having some trouble. | 0:35:28 | 0:35:30 | |
He wants to talk to you. | 0:35:30 | 0:35:32 | |
I got laryngitis. | 0:35:32 | 0:35:34 | |
He's got this thing about rank. | 0:35:34 | 0:35:36 | |
He don't talk to no sergeant or flatfoot. | 0:35:36 | 0:35:39 | |
Don't look at me, Lou. | 0:35:39 | 0:35:41 | |
I got to go talk to Carmine Tandino. | 0:35:41 | 0:35:44 | |
For the widows and orphans. | 0:35:44 | 0:35:46 | |
It's right on your way. | 0:35:46 | 0:35:48 | |
All right, dude, but you owe me one. | 0:35:48 | 0:35:51 | |
Oh, come on! | 0:35:51 | 0:35:53 | |
Watch out! Loose ball. | 0:35:53 | 0:35:55 | |
Aah! | 0:35:55 | 0:35:56 | |
Hey, that's 200 bucks! | 0:35:56 | 0:35:59 | |
HONKY-TONK PIANO PLAYING | 0:36:13 | 0:36:18 | |
Hi, darling. | 0:36:18 | 0:36:19 | |
I'm lookin' for George Joel. | 0:36:20 | 0:36:22 | |
You got him. | 0:36:22 | 0:36:24 | |
I think your mother's callin' you. | 0:36:25 | 0:36:28 | |
I wanted to see the captain. | 0:36:28 | 0:36:30 | |
Hey, wait a minute. Come back. | 0:36:30 | 0:36:32 | |
I didn't mean to offend you. | 0:36:32 | 0:36:35 | |
I got a different cop in here every night | 0:36:35 | 0:36:37 | |
shaking me down. | 0:36:37 | 0:36:38 | |
I can't stay in business like that. | 0:36:38 | 0:36:39 | |
You got cops botherin' you? Just send them to me. | 0:36:39 | 0:36:43 | |
I want to pay one guy one amount once a month, | 0:36:43 | 0:36:46 | |
not half the cops in the city. | 0:36:46 | 0:36:49 | |
Settle down. I'll take care of it. | 0:36:49 | 0:36:51 | |
I'll give you a number you can call any time. | 0:36:51 | 0:36:54 | |
I knew I should talk to you. | 0:36:54 | 0:36:57 | |
What's this? | 0:36:58 | 0:36:59 | |
It's my way of saying thanks. | 0:36:59 | 0:37:06 | |
You wearin' a wire? | 0:37:06 | 0:37:07 | |
Help! | 0:37:07 | 0:37:08 | |
Hold it! Freeze! | 0:37:08 | 0:37:10 | |
Get down! | 0:37:11 | 0:37:13 | |
Internal affairs! Hold it! | 0:37:16 | 0:37:18 | |
What's he chewin'? | 0:37:23 | 0:37:24 | |
Spit it out! | 0:37:24 | 0:37:25 | |
Chew all you want, asshole. | 0:37:25 | 0:37:27 | |
We've got everything on videotape. | 0:37:27 | 0:37:30 | |
GULPS | 0:37:30 | 0:37:32 | |
Miss Osborne? Telephone call. | 0:37:36 | 0:37:38 | |
SIGH | 0:37:38 | 0:37:39 | |
Jesus, Hugh, | 0:37:41 | 0:37:42 | |
can't I leave the office for an hour? | 0:37:42 | 0:37:45 | |
What? | 0:37:47 | 0:37:48 | |
I'm sorry. What? | 0:37:52 | 0:37:53 | |
Keep movin'! Go! | 0:37:55 | 0:37:57 | |
Step up, boys. | 0:37:57 | 0:37:59 | |
Hey, hold up! | 0:37:59 | 0:38:00 | |
I got to talk with this man. | 0:38:00 | 0:38:03 | |
What's the special treatment? | 0:38:03 | 0:38:05 | |
Come on, man! | 0:38:05 | 0:38:06 | |
It's a cop. | 0:38:06 | 0:38:08 | |
What the hell happened? | 0:38:08 | 0:38:10 | |
They set a trap. I got caught, Jack. | 0:38:10 | 0:38:13 | |
The thing that Dodge was talkin' about? | 0:38:13 | 0:38:16 | |
That was supposed to be me. | 0:38:16 | 0:38:18 | |
I can handle it. | 0:38:18 | 0:38:20 | |
Lamar Parmentel's defending you. | 0:38:23 | 0:38:25 | |
Lamar? | 0:38:25 | 0:38:27 | |
I know, he's beat your brains 1,000 times, | 0:38:27 | 0:38:28 | |
but he knows what he's doing. | 0:38:28 | 0:38:30 | |
The guys have agreed | 0:38:30 | 0:38:31 | |
the widows and orphans' fund | 0:38:31 | 0:38:33 | |
is payin' his fees. | 0:38:33 | 0:38:34 | |
You want to keep your voice down, huh? | 0:38:34 | 0:38:37 | |
Thanks. | 0:38:37 | 0:38:38 | |
MAN: Look at them shoes. | 0:38:40 | 0:38:41 | |
Make room for the clyde. | 0:38:41 | 0:38:43 | |
Remy... | 0:38:43 | 0:38:44 | |
We take care of our own. | 0:38:49 | 0:38:51 | |
Remember that. | 0:38:51 | 0:38:53 | |
I'll take care of you. | 0:38:55 | 0:38:56 | |
We got the bribery conviction locked up. | 0:38:56 | 0:38:59 | |
I don't know. | 0:38:59 | 0:39:01 | |
It skirts the edge of entrapment. | 0:39:01 | 0:39:03 | |
The wrong judge will throw it out. | 0:39:03 | 0:39:06 | |
Maybe he'll make a deal. | 0:39:06 | 0:39:08 | |
We shouldn't offer a deal now. | 0:39:08 | 0:39:10 | |
I think we should get a conviction. | 0:39:10 | 0:39:12 | |
Then we can offer a deal. | 0:39:12 | 0:39:13 | |
Anne, ask for very high bail. | 0:39:13 | 0:39:15 | |
Let him sweat. | 0:39:15 | 0:39:17 | |
Help! Help! | 0:39:17 | 0:39:18 | |
BAILIFF: All rise. | 0:39:38 | 0:39:40 | |
JUDGE: These are the custodies? | 0:39:41 | 0:39:43 | |
Be seated. | 0:39:43 | 0:39:45 | |
OK, what have we got? | 0:39:45 | 0:39:47 | |
Thibodeaux. | 0:39:48 | 0:39:50 | |
Two Thibodeauxs, your honour. | 0:39:50 | 0:39:52 | |
Unrelated cases. | 0:39:52 | 0:39:53 | |
Sit down. We'll get back with you. | 0:39:53 | 0:39:56 | |
You. | 0:39:56 | 0:39:57 | |
You look familiar. | 0:39:57 | 0:39:58 | |
I'm certainly sorry to see you before me, Lieutenant. | 0:40:00 | 0:40:03 | |
Extortion, bribery. | 0:40:03 | 0:40:06 | |
Do you have counsel? | 0:40:06 | 0:40:08 | |
I'm his counsel, Your Honour. | 0:40:08 | 0:40:09 | |
We waive rights and plead not guilty. | 0:40:09 | 0:40:12 | |
We petition the court | 0:40:12 | 0:40:14 | |
for the earliest possible date | 0:40:14 | 0:40:15 | |
for a preliminary hearing. | 0:40:15 | 0:40:17 | |
The 22nd is the earliest date I've got. | 0:40:17 | 0:40:20 | |
Your Honour, | 0:40:20 | 0:40:21 | |
every day my client | 0:40:21 | 0:40:23 | |
is suspended from the force | 0:40:23 | 0:40:24 | |
does great damage to his reputation | 0:40:24 | 0:40:26 | |
as well as his investigations. | 0:40:26 | 0:40:28 | |
All right. All right. | 0:40:28 | 0:40:30 | |
We can get you in day after tomorrow, | 0:40:30 | 0:40:32 | |
before Judge Garrison, | 0:40:32 | 0:40:34 | |
if that's all right with the State. | 0:40:34 | 0:40:37 | |
We're ready, Your Honour. | 0:40:37 | 0:40:38 | |
Giving due weight to the seriousness of the charges | 0:40:38 | 0:40:41 | |
against a public official, | 0:40:41 | 0:40:42 | |
the state asks for 50,000 bail. | 0:40:42 | 0:40:45 | |
Your Honour, | 0:40:45 | 0:40:46 | |
defendant has been a police officer | 0:40:46 | 0:40:48 | |
for 11 years | 0:40:48 | 0:40:49 | |
and has very strong ties to the community. | 0:40:49 | 0:40:52 | |
Bail is set at 500. | 0:40:52 | 0:40:55 | |
All right. Thibodeaux, Andrew. | 0:40:59 | 0:41:02 | |
That girl's after your ass. | 0:41:02 | 0:41:04 | |
Why don't you let me make a deal? | 0:41:04 | 0:41:07 | |
What kind? | 0:41:07 | 0:41:09 | |
Plead you guilty to an unlawful | 0:41:09 | 0:41:11 | |
acceptance of a gratuity. | 0:41:11 | 0:41:12 | |
Is that a misdemeanour? | 0:41:12 | 0:41:14 | |
A felony. You get maybe three months' jail time. | 0:41:14 | 0:41:17 | |
One felony conviction, and I'm off the job. | 0:41:17 | 0:41:20 | |
I'm a cop. It's all I know. | 0:41:20 | 0:41:23 | |
Remy, Remy, they've got a videotape. | 0:41:23 | 0:41:25 | |
You ever seen a juror watch a videotape? | 0:41:25 | 0:41:28 | |
It's like watching Mike Wallace | 0:41:28 | 0:41:30 | |
on 60 Minutes. | 0:41:30 | 0:41:31 | |
Lamar! | 0:41:31 | 0:41:33 | |
I can't go to jail. | 0:41:33 | 0:41:35 | |
WHISTLING | 0:41:43 | 0:41:45 | |
Help you? | 0:41:45 | 0:41:46 | |
Yeah, I called about, | 0:41:46 | 0:41:48 | |
er... | 0:41:48 | 0:41:50 | |
alnico magnet. | 0:41:50 | 0:41:51 | |
I got it. Are you wearing a quartz watch? | 0:41:51 | 0:41:55 | |
What? | 0:41:55 | 0:41:56 | |
Uh... | 0:41:56 | 0:41:57 | |
it's a powerful magnet it will ruin a quartz watch. | 0:41:57 | 0:41:59 | |
I ain't got time for no watch. | 0:41:59 | 0:42:01 | |
Good. 183. | 0:42:01 | 0:42:03 | |
Yeah, I know. | 0:42:03 | 0:42:04 | |
ALARM RINGS | 0:42:22 | 0:42:24 | |
# Oohh, ohh, oh, oh | 0:42:38 | 0:42:41 | |
# Er! Uh! Uh! Uh! Uh! Uh! Uh! Uh! | 0:42:41 | 0:42:43 | |
# Ho, haa! # | 0:42:43 | 0:42:44 | |
Hey, brother. | 0:42:44 | 0:42:45 | |
Don't you recognise | 0:42:45 | 0:42:48 | |
your own brother, brother? | 0:42:48 | 0:42:49 | |
Jesus, Remy. | 0:42:51 | 0:42:53 | |
You know Mardi Gras ain't till February. | 0:42:53 | 0:42:56 | |
What are you doin' in that get-up? | 0:42:56 | 0:42:59 | |
A little undercover work. | 0:42:59 | 0:43:01 | |
I thought you was suspended. | 0:43:01 | 0:43:03 | |
Who told you that? | 0:43:03 | 0:43:05 | |
Mama. | 0:43:05 | 0:43:07 | |
She said you were framed. | 0:43:07 | 0:43:09 | |
Look, bro, | 0:43:09 | 0:43:10 | |
this is hard for me to explain to you. | 0:43:10 | 0:43:13 | |
You don't have to explain. | 0:43:13 | 0:43:15 | |
I want to be honest with you. | 0:43:15 | 0:43:18 | |
In this particular case... | 0:43:18 | 0:43:21 | |
it was a set-up. | 0:43:21 | 0:43:23 | |
But I been on the take | 0:43:23 | 0:43:27 | |
in little bitty ways since practically | 0:43:27 | 0:43:30 | |
the first day on the job. | 0:43:30 | 0:43:32 | |
I know that. | 0:43:32 | 0:43:34 | |
Oh, yeah? Who told you? | 0:43:34 | 0:43:37 | |
What? Do you think I'm stupid? | 0:43:37 | 0:43:39 | |
Nobody had to tell me. | 0:43:39 | 0:43:41 | |
I know you give Mama the money for my tuition. | 0:43:41 | 0:43:46 | |
It sure don't come out of your salary. | 0:43:46 | 0:43:49 | |
I'm just glad I can finally thank you. | 0:43:52 | 0:43:55 | |
I didn't want you | 0:43:55 | 0:43:57 | |
to know about that. | 0:43:57 | 0:43:59 | |
Shit. | 0:43:59 | 0:44:00 | |
I remember once... | 0:44:00 | 0:44:02 | |
I must have been about six or seven... | 0:44:02 | 0:44:05 | |
and I was looking in Daddy's pocket | 0:44:05 | 0:44:07 | |
for a candy bar, | 0:44:07 | 0:44:09 | |
and I found 78 10 bills. | 0:44:09 | 0:44:14 | |
You knew about Daddy? | 0:44:14 | 0:44:16 | |
Yeah, about Daddy and the relatives. | 0:44:16 | 0:44:19 | |
I just... I figured it was understood. | 0:44:19 | 0:44:22 | |
I didn't understand it. | 0:44:22 | 0:44:24 | |
I didn't know Daddy was on the take | 0:44:24 | 0:44:27 | |
till I was on the job myself. | 0:44:27 | 0:44:29 | |
You serious? | 0:44:29 | 0:44:30 | |
You were eight when Daddy died. | 0:44:30 | 0:44:33 | |
I should have asked you. | 0:44:33 | 0:44:34 | |
Want to ask me about anything else? | 0:44:34 | 0:44:37 | |
Sex? | 0:44:37 | 0:44:39 | |
Drugs? | 0:44:39 | 0:44:41 | |
You been having sex? | 0:44:46 | 0:44:48 | |
Ha ha ha! | 0:44:48 | 0:44:51 | |
Ha ha ha! | 0:44:51 | 0:44:52 | |
Don't you want to introduce your mama | 0:44:53 | 0:44:56 | |
to your lawyer, cher? | 0:44:56 | 0:44:57 | |
Mama, this is Lamar Parmentel. | 0:44:57 | 0:44:59 | |
The renowned queen of the McSwain clan. | 0:44:59 | 0:45:02 | |
Delightful to meet you in the flesh. | 0:45:02 | 0:45:05 | |
I know all about you. | 0:45:05 | 0:45:06 | |
You got the governor acquitted. | 0:45:06 | 0:45:08 | |
You gonna do a fine job defending my Remy. | 0:45:08 | 0:45:11 | |
Yeah, Mama, yeah. | 0:45:11 | 0:45:13 | |
You know his outstanding record, | 0:45:13 | 0:45:15 | |
but did he tell you about when he saved that drowning boy... | 0:45:15 | 0:45:18 | |
He knows- | 0:45:18 | 0:45:20 | |
Hey, there. | 0:45:20 | 0:45:21 | |
Who is that? | 0:45:23 | 0:45:25 | |
The prosecuting attorney, Mama. | 0:45:25 | 0:45:27 | |
Ain't she cute? | 0:45:27 | 0:45:28 | |
Oh, yeah. | 0:45:28 | 0:45:30 | |
BAILIFF: Oyez! Oyez! Oyez! | 0:45:30 | 0:45:31 | |
Criminal district court | 0:45:31 | 0:45:32 | |
for the parish of Orleans is now in session. | 0:45:32 | 0:45:34 | |
The Honourable Jim Garrison presiding. | 0:45:34 | 0:45:36 | |
ANNE: What occurred next? | 0:45:36 | 0:45:38 | |
I clearly saw George Joel | 0:45:38 | 0:45:40 | |
hand the defendant the white envelope. | 0:45:40 | 0:45:42 | |
And what did the defendant do? | 0:45:42 | 0:45:44 | |
He accepted the envelope. | 0:45:44 | 0:45:46 | |
And from the balcony | 0:45:47 | 0:45:49 | |
you were unable to hear the conversation | 0:45:49 | 0:45:52 | |
between this George Joel | 0:45:52 | 0:45:53 | |
and the defendant, right? | 0:45:53 | 0:45:54 | |
Yes. | 0:45:54 | 0:45:56 | |
You testified that there were eight | 0:45:56 | 0:45:57 | |
50 bills in the envelope. | 0:45:57 | 0:45:59 | |
Correct. | 0:45:59 | 0:46:00 | |
Can you produce this money in court? | 0:46:00 | 0:46:03 | |
The defendant dropped the money in the bar. | 0:46:03 | 0:46:05 | |
The people in the bar took the money, | 0:46:05 | 0:46:08 | |
but we couldn't search everybody who was there. | 0:46:08 | 0:46:11 | |
Thank you. | 0:46:11 | 0:46:12 | |
MURMURING | 0:46:12 | 0:46:14 | |
LAUGHTER | 0:46:14 | 0:46:16 | |
Mr Joel, | 0:46:16 | 0:46:18 | |
did the defendant promise that uniformed officers | 0:46:18 | 0:46:19 | |
would stop harassing you? | 0:46:19 | 0:46:21 | |
Yeah. If I paid him, he would. | 0:46:21 | 0:46:24 | |
What would happen | 0:46:24 | 0:46:25 | |
if you didn't pay the defendant? | 0:46:25 | 0:46:27 | |
If I don't pay, the police close me down. | 0:46:27 | 0:46:30 | |
Have you ever been arrested? | 0:46:33 | 0:46:35 | |
The prosecution will stipulate | 0:46:35 | 0:46:37 | |
that the witness is under indictment. | 0:46:37 | 0:46:38 | |
I don't have to remind the court | 0:46:38 | 0:46:41 | |
that clergymen and bankers are seldom witnesses | 0:46:41 | 0:46:43 | |
at criminal trials. | 0:46:43 | 0:46:45 | |
Is it not true that you would say anything | 0:46:45 | 0:46:48 | |
the prosecution wanted you to | 0:46:48 | 0:46:50 | |
to avoid being sent to prison? | 0:46:50 | 0:46:52 | |
Yeah. | 0:46:52 | 0:46:52 | |
Objection! | 0:46:52 | 0:46:53 | |
I mean no. | 0:46:53 | 0:46:54 | |
Sustained. | 0:46:54 | 0:46:56 | |
ANNE: Lieutenant, you said you went to the tavern | 0:46:59 | 0:47:02 | |
to see an informer. | 0:47:02 | 0:47:03 | |
Yes, ma'am. | 0:47:03 | 0:47:04 | |
Why did you run away | 0:47:04 | 0:47:06 | |
from the internal affairs officer? | 0:47:06 | 0:47:08 | |
He did not identify himself as a police officer. | 0:47:08 | 0:47:12 | |
I thought he was a mugger. | 0:47:12 | 0:47:14 | |
LAUGHTER | 0:47:14 | 0:47:16 | |
Were you armed? | 0:47:16 | 0:47:18 | |
Yes, I was. | 0:47:18 | 0:47:19 | |
And you ran away from a mugger? | 0:47:19 | 0:47:21 | |
I was calling for assistance, | 0:47:21 | 0:47:23 | |
which is proper police procedure. | 0:47:23 | 0:47:24 | |
Was it also proper police procedure | 0:47:24 | 0:47:26 | |
for you to swallow the envelope? | 0:47:26 | 0:47:28 | |
What envelope? | 0:47:28 | 0:47:31 | |
Lieutenant, earlier today, Officer Krinkey swore under oath | 0:47:31 | 0:47:34 | |
that he saw you accept an envelope. | 0:47:34 | 0:47:36 | |
Were you here for that testimony? | 0:47:36 | 0:47:38 | |
Yes, I was. | 0:47:38 | 0:47:40 | |
Are you calling your fellow police officer a liar? | 0:47:40 | 0:47:42 | |
No. I just don't know what envelope you're talking about? | 0:47:42 | 0:47:45 | |
The envelope Mr Joel gave you | 0:47:45 | 0:47:48 | |
that contained eight 50 bills. | 0:47:48 | 0:47:50 | |
Objection, Your Honour! | 0:47:50 | 0:47:51 | |
Counsel is drawing conclusions. | 0:47:51 | 0:47:53 | |
Sustained. | 0:47:53 | 0:47:54 | |
The eight 50 bills that you threw into the air. | 0:47:54 | 0:47:57 | |
The envelope that you ate. | 0:47:57 | 0:47:58 | |
Objection! | 0:47:58 | 0:47:59 | |
Sustained. | 0:47:59 | 0:48:01 | |
MURMURING | 0:48:01 | 0:48:03 | |
I have no further questions. | 0:48:03 | 0:48:05 | |
The witness may step down. | 0:48:05 | 0:48:07 | |
Tomorrow the prosecution will present a videotape | 0:48:13 | 0:48:16 | |
that will not only corroborate every state's witness, | 0:48:16 | 0:48:20 | |
but will refute every statement the defendant has made | 0:48:20 | 0:48:23 | |
and show that in addition to the crime charged, | 0:48:23 | 0:48:26 | |
the defendant has perjured himself | 0:48:26 | 0:48:28 | |
before this court. | 0:48:28 | 0:48:29 | |
This court is adjourned until 10.00 tomorrow morning. | 0:48:29 | 0:48:33 | |
TELEPHONE RINGS | 0:48:56 | 0:48:58 | |
RING | 0:49:00 | 0:49:02 | |
It's 3.00 in the morning. | 0:49:05 | 0:49:07 | |
'Yes, but this is McCabe, Remy.' | 0:49:07 | 0:49:09 | |
Somebody blew up Carmine Tandino's warehouse, | 0:49:09 | 0:49:11 | |
with him in it. | 0:49:11 | 0:49:13 | |
No kidding. | 0:49:13 | 0:49:14 | |
There's another body. No ID. | 0:49:14 | 0:49:16 | |
Maybe you can make him. | 0:49:16 | 0:49:18 | |
I'll be right down. | 0:49:18 | 0:49:20 | |
You'd better not, Remy. | 0:49:20 | 0:49:21 | |
Deputy supe's talkin' to the TV guys. | 0:49:21 | 0:49:24 | |
Film at 11.00? | 0:49:24 | 0:49:25 | |
Meet us at the morgue in an hour. | 0:49:25 | 0:49:28 | |
I'll meet you at the scene in 15 minutes. | 0:49:28 | 0:49:32 | |
CLASSICAL MUSIC PLAYING | 0:49:32 | 0:49:36 | |
TELEPHONE RINGS | 0:49:37 | 0:49:39 | |
Anne Osborne. | 0:49:39 | 0:49:40 | |
Carmine Tandino was just killed | 0:49:40 | 0:49:42 | |
at his warehouse down on the Third Street wharf. | 0:49:42 | 0:49:45 | |
I thought you'd want to know. | 0:49:45 | 0:49:48 | |
Hey, Remy! | 0:49:52 | 0:49:54 | |
SHIP'S HORN BLOWS | 0:49:58 | 0:50:00 | |
Psst. Hey! | 0:50:01 | 0:50:03 | |
Come here! Come here! | 0:50:03 | 0:50:05 | |
I told you not to come. | 0:50:05 | 0:50:07 | |
I'm not here. Where are the bods? | 0:50:07 | 0:50:10 | |
This way. It looks like this- | 0:50:10 | 0:50:11 | |
the killer sets the fire to destroy the bodies, | 0:50:11 | 0:50:14 | |
the fire explodes a drum of paint thinner, | 0:50:14 | 0:50:17 | |
the explosion blows out the fire. | 0:50:17 | 0:50:19 | |
How'd you identify Tandino? | 0:50:19 | 0:50:21 | |
Oh, yeah! | 0:50:21 | 0:50:23 | |
He had a glass eye. | 0:50:23 | 0:50:25 | |
Ain't that a beautiful shooter? | 0:50:25 | 0:50:27 | |
This is the guy we can't make. | 0:50:27 | 0:50:30 | |
He must have been hiding back here. | 0:50:30 | 0:50:33 | |
Oh, God. | 0:50:33 | 0:50:34 | |
I know who that is. | 0:50:34 | 0:50:37 | |
It's Tandino's older brother. | 0:50:37 | 0:50:39 | |
I didn't know he had a brother. | 0:50:39 | 0:50:42 | |
Yeah. Poor guy's retarded. | 0:50:42 | 0:50:43 | |
Family kept him at home. | 0:50:43 | 0:50:45 | |
Did a little work | 0:50:45 | 0:50:46 | |
sweeping up the warehouse. | 0:50:46 | 0:50:48 | |
Now they killin' retards! | 0:50:48 | 0:50:50 | |
Then why ain't you dead? | 0:50:50 | 0:50:51 | |
They work up floats here- | 0:50:52 | 0:50:55 | |
watch your step- | 0:50:55 | 0:50:57 | |
Mardi Gras stuff and all that. | 0:50:57 | 0:50:59 | |
Some of these- hold it! | 0:51:01 | 0:51:02 | |
CRASH | 0:51:02 | 0:51:04 | |
You OK? | 0:51:04 | 0:51:05 | |
Who does this remind you of? | 0:51:05 | 0:51:08 | |
That's part of the world's fair. | 0:51:08 | 0:51:10 | |
Let me show you this one. | 0:51:10 | 0:51:12 | |
When I was a kid, we used to... | 0:51:12 | 0:51:15 | |
Wait! Hey! | 0:51:15 | 0:51:17 | |
Miss Osborne... | 0:51:17 | 0:51:19 | |
Look, are you sure | 0:51:19 | 0:51:22 | |
that you want to see this? | 0:51:22 | 0:51:24 | |
What the hell is this man doing here? | 0:51:24 | 0:51:27 | |
What the hell is this man doin' here? | 0:51:27 | 0:51:30 | |
Better yet, what are you doin' here? | 0:51:30 | 0:51:33 | |
Yeah. What are you doin' here? | 0:51:33 | 0:51:36 | |
I got an anonymous phone call. | 0:51:38 | 0:51:41 | |
Anne. | 0:51:41 | 0:51:42 | |
They ripped the heart right out of his chest. | 0:51:44 | 0:51:48 | |
Why? | 0:51:48 | 0:51:49 | |
Voodoo. | 0:51:49 | 0:51:50 | |
Daddy Mention. | 0:51:50 | 0:51:51 | |
The heroin dealer? | 0:51:51 | 0:51:52 | |
And voodoo priest. | 0:51:52 | 0:51:54 | |
Black magic... gris-gris. | 0:51:54 | 0:51:55 | |
That's Daddy Mention's thing. | 0:51:55 | 0:51:57 | |
The heart of your enemy makes you strong. | 0:51:57 | 0:52:00 | |
What you're saying is | 0:52:00 | 0:52:02 | |
that Daddy Mention killed Carmine Tandino, | 0:52:02 | 0:52:04 | |
supporting your theory | 0:52:04 | 0:52:05 | |
that Tandino murdered Daddy Mention's men. | 0:52:05 | 0:52:08 | |
We got a cute little drug war. | 0:52:08 | 0:52:09 | |
Doesn't satisfy you, Miss Osborne? | 0:52:09 | 0:52:11 | |
Not particularly. | 0:52:11 | 0:52:13 | |
I'll see you in court tomorrow, McSwain. | 0:52:13 | 0:52:16 | |
CRASH | 0:52:18 | 0:52:19 | |
That's women for you, Jack. | 0:52:21 | 0:52:23 | |
Never satisfied. | 0:52:23 | 0:52:24 | |
BAILIFF: Order in the court. | 0:52:30 | 0:52:32 | |
All remain seated. | 0:52:32 | 0:52:33 | |
What's her problem? | 0:52:39 | 0:52:40 | |
It seems her key piece of evidence was erased | 0:52:40 | 0:52:43 | |
when a powerful magnet was placed beside it | 0:52:43 | 0:52:45 | |
in the police property room. | 0:52:45 | 0:52:47 | |
Really? | 0:52:47 | 0:52:48 | |
What? The videotape? | 0:52:48 | 0:52:50 | |
Unusable? | 0:52:50 | 0:52:52 | |
New Orleans is a marvellous environment | 0:52:52 | 0:52:54 | |
for coincidence. | 0:52:54 | 0:52:55 | |
Your Honour, because the key piece of evidence in this case | 0:53:00 | 0:53:05 | |
has been suspiciously tampered with, | 0:53:05 | 0:53:06 | |
the state is compelled | 0:53:06 | 0:53:08 | |
to withdraw its charges against Lieutenant McSwain. | 0:53:08 | 0:53:12 | |
JUDGE: The defendant is ordered released, | 0:53:12 | 0:53:14 | |
and bond is vacated. | 0:53:14 | 0:53:16 | |
Court is adjourned. | 0:53:17 | 0:53:19 | |
Praise God! | 0:53:25 | 0:53:27 | |
Lamar, Lamar. | 0:53:34 | 0:53:35 | |
Told you I'd get him off! | 0:53:42 | 0:53:45 | |
# Look at my king all dressed in red | 0:53:46 | 0:53:48 | |
# Iko, iko, unday | 0:53:48 | 0:53:51 | |
# I betcha five dollars he'll kill you dead | 0:53:51 | 0:53:53 | |
# Jockamo fee nane | 0:53:53 | 0:53:55 | |
# Talkin' 'bout hey, now | 0:53:55 | 0:53:56 | |
# Hey, now Hey, now | 0:53:56 | 0:53:57 | |
# Iko, iko, unday | 0:53:57 | 0:53:59 | |
# Oh | 0:53:59 | 0:54:00 | |
# Jockamo feeno ai nane | 0:54:00 | 0:54:02 | |
# Jockamo fee nane | 0:54:02 | 0:54:04 | |
# Talkin' 'bout hey, now | 0:54:04 | 0:54:05 | |
# Hey, now Hey, now | 0:54:05 | 0:54:07 | |
# Iko, iko, unday | 0:54:07 | 0:54:08 | |
# Oh | 0:54:08 | 0:54:09 | |
# Jockamo feeno ai nane | 0:54:09 | 0:54:11 | |
# Jockamo fee nane... # | 0:54:11 | 0:54:12 | |
Miss Osborne. | 0:54:12 | 0:54:14 | |
Yes? | 0:54:14 | 0:54:15 | |
Would you come with me, please? | 0:54:15 | 0:54:17 | |
What? Where? | 0:54:17 | 0:54:18 | |
Well, I really can't tell you right now. | 0:54:18 | 0:54:21 | |
Is this a joke? | 0:54:21 | 0:54:23 | |
No, it's no joke. | 0:54:23 | 0:54:25 | |
Well, am I under arrest? | 0:54:25 | 0:54:27 | |
What are the charges? | 0:54:27 | 0:54:29 | |
Well, you were jaywalking over there. | 0:54:29 | 0:54:31 | |
Then when you run across the bridge, that's trespassing. | 0:54:31 | 0:54:35 | |
Get out of my way! | 0:54:35 | 0:54:37 | |
That I'm gonna call resisting arrest. | 0:54:37 | 0:54:39 | |
You don't happen to be Remy McSwain's relative? | 0:54:39 | 0:54:43 | |
Look, chere. Listen to your uncle Sos. | 0:54:43 | 0:54:46 | |
Put your pretty face in the car, huh? | 0:54:46 | 0:54:49 | |
# He negresse! | 0:54:58 | 0:55:01 | |
# Quoi tu veux, mon homme? | 0:55:09 | 0:55:14 | |
# Ayou toi t'as ete hier au soir | 0:55:15 | 0:55:18 | |
# Ma negresse? | 0:55:18 | 0:55:19 | |
# J'ai ete au bal, negre | 0:55:22 | 0:55:26 | |
# T'as arrive a ce matin | 0:55:28 | 0:55:32 | |
# Quelle heure! | 0:55:32 | 0:55:33 | |
# Que t'es toute passe? | 0:55:33 | 0:55:35 | |
# Ca me fait de la peine pour toi. # | 0:55:35 | 0:55:37 | |
Whoo! | 0:55:40 | 0:55:41 | |
Do these Cajuns know how to throw a party or what? | 0:55:43 | 0:55:46 | |
Yeah! | 0:55:46 | 0:55:48 | |
I want to be serious for a minute. | 0:55:48 | 0:55:51 | |
Most of y'all know that a policeman's life | 0:55:51 | 0:55:53 | |
is made up of short pay, long hours, mortal danger, | 0:55:53 | 0:55:57 | |
and little thanks from the public which we serve, | 0:55:57 | 0:55:59 | |
but once in a while, we win one. | 0:55:59 | 0:56:02 | |
Once in a while, justice triumphs! | 0:56:02 | 0:56:04 | |
Remy, come here. | 0:56:04 | 0:56:05 | |
I want you to raise your cup or your glass. | 0:56:05 | 0:56:09 | |
Raise your nose if you have to. | 0:56:09 | 0:56:12 | |
I give you the New Orleans police department! | 0:56:12 | 0:56:16 | |
< And the fire department! | 0:56:16 | 0:56:17 | |
Oh, yeah. Fire department, too! | 0:56:17 | 0:56:20 | |
Get some of this food over here. | 0:56:20 | 0:56:23 | |
Come on, let's party! | 0:56:23 | 0:56:26 | |
MUSIC PLAYS | 0:56:26 | 0:56:27 | |
Now you're adding kidnapping | 0:56:27 | 0:56:29 | |
and false arrest to your crimes! | 0:56:29 | 0:56:31 | |
You're not under arrest. | 0:56:31 | 0:56:33 | |
Uncle Sos give you that impression? | 0:56:33 | 0:56:35 | |
Uncle Sos, you apologise. | 0:56:35 | 0:56:37 | |
I'm sorry. | 0:56:37 | 0:56:38 | |
Now you'll tell me I'm free to go anytime? | 0:56:38 | 0:56:40 | |
Absolutely. Anytime you want. | 0:56:40 | 0:56:42 | |
Where's the telephone? | 0:56:42 | 0:56:44 | |
On the porch. I'll show you. | 0:56:44 | 0:56:46 | |
I'll get it myself. | 0:56:46 | 0:56:47 | |
Whoo! | 0:56:47 | 0:56:49 | |
That pretty girl kind of mad, huh? | 0:56:49 | 0:56:52 | |
MAN: Where is she comin' from? | 0:56:52 | 0:56:54 | |
WOMAN: She got some nerve. | 0:56:54 | 0:56:56 | |
Annie, you were great in court today. | 0:56:56 | 0:56:58 | |
I want to be a lawyer... | 0:56:58 | 0:57:00 | |
I lost. | 0:57:00 | 0:57:02 | |
What the hell is she doin' here? | 0:57:02 | 0:57:05 | |
She's a pushy broad. I told you. | 0:57:05 | 0:57:07 | |
Look at this. | 0:57:09 | 0:57:11 | |
She don't look bad in those short shorts. | 0:57:11 | 0:57:14 | |
When can you be here? | 0:57:14 | 0:57:16 | |
Fine. | 0:57:16 | 0:57:17 | |
You were sayin' some pretty hard things | 0:57:21 | 0:57:24 | |
about my boy in that courtroom today. | 0:57:24 | 0:57:26 | |
Yes, I did. | 0:57:26 | 0:57:28 | |
He's a good boy. | 0:57:28 | 0:57:30 | |
Could be a hell of a lot better. | 0:57:30 | 0:57:33 | |
What you gonna do? You gonna help him? | 0:57:33 | 0:57:35 | |
You got your work cut out for you, chere. | 0:57:37 | 0:57:40 | |
What did he do, chere? | 0:57:41 | 0:57:43 | |
Drag you out the bathtub or what? | 0:57:43 | 0:57:46 | |
No. I was running. | 0:57:46 | 0:57:48 | |
Running? | 0:57:48 | 0:57:49 | |
MUSIC PLAYS | 0:57:49 | 0:57:53 | |
# You used to call me in the mornin' | 0:58:00 | 0:58:03 | |
# You used to call me late at night | 0:58:03 | 0:58:06 | |
# Now you don't call me anymore | 0:58:06 | 0:58:10 | |
# Talk all night long | 0:58:12 | 0:58:14 | |
# On the telephone | 0:58:14 | 0:58:17 | |
# But now you don't call me anymore | 0:58:17 | 0:58:20 | |
# You know you used to call me daddy | 0:58:22 | 0:58:25 | |
# Oh, Daddy | 0:58:25 | 0:58:26 | |
# Oh, Daddy | 0:58:26 | 0:58:28 | |
# But now you don't call me anymore | 0:58:28 | 0:58:33 | |
# Why, oh, why? | 0:58:33 | 0:58:36 | |
# Why? | 0:58:36 | 0:58:37 | |
# Tell me why | 0:58:37 | 0:58:39 | |
# Why you don't call me anymore... # | 0:58:39 | 0:58:42 | |
Et toi! | 0:58:42 | 0:58:44 | |
Et toi, fille moi, | 0:58:49 | 0:58:51 | |
danse avec moi. | 0:58:51 | 0:58:53 | |
Dance with me. Come on. | 0:58:53 | 0:58:55 | |
No. | 0:58:55 | 0:58:56 | |
I cut a hell of a rug, you know? | 0:58:56 | 0:58:59 | |
Take your hand off of me! | 0:58:59 | 0:59:01 | |
Dance with him, chere. | 0:59:01 | 0:59:03 | |
He's a good dancer. | 0:59:03 | 0:59:05 | |
Allons danser, everybody! | 0:59:05 | 0:59:07 | |
# Quoi fa? Quoi fa? | 0:59:16 | 0:59:20 | |
# Chere, quoi fa? | 0:59:20 | 0:59:22 | |
# Toi, qui m'appelle plus d'un telephone... # | 0:59:22 | 0:59:27 | |
Aren't you going to look at me? | 0:59:29 | 0:59:31 | |
# Talk all night long | 0:59:39 | 0:59:41 | |
# On the telephone | 0:59:41 | 0:59:44 | |
# But now you don't call me anymore | 0:59:44 | 0:59:49 | |
# Why, oh, why? | 0:59:49 | 0:59:52 | |
# Why? | 0:59:52 | 0:59:53 | |
# Tell me why | 0:59:53 | 0:59:55 | |
# Why you don't call me... # | 0:59:55 | 0:59:56 | |
Are you satisfied? | 0:59:56 | 0:59:58 | |
You still mad at me, chere, huh? | 0:59:58 | 1:00:00 | |
You don't get it? You're a cop. | 1:00:00 | 1:00:03 | |
You're supposed to uphold the law. | 1:00:03 | 1:00:05 | |
Instead you bend it | 1:00:05 | 1:00:07 | |
and twist it and sell it. | 1:00:07 | 1:00:09 | |
I saw you take that bribe, | 1:00:09 | 1:00:11 | |
resist arrest, tamper with evidence, | 1:00:11 | 1:00:13 | |
and perjure yourself under oath. | 1:00:13 | 1:00:15 | |
Don't forget I ran a red light, too. | 1:00:15 | 1:00:18 | |
You still think it's funny. | 1:00:18 | 1:00:20 | |
HORN HONKS | 1:00:20 | 1:00:22 | |
You're not one of the good guys anymore. | 1:00:22 | 1:00:25 | |
KNOCK ON DOOR | 1:01:12 | 1:01:14 | |
Remy, good to see you back. | 1:01:15 | 1:01:17 | |
I want you to do me favour. | 1:01:17 | 1:01:19 | |
Sure, Remy. | 1:01:19 | 1:01:20 | |
Take me off the widows and orphans' fund. | 1:01:20 | 1:01:24 | |
Jesus Christ, Remy. | 1:01:24 | 1:01:25 | |
What do you mean, take you off? | 1:01:25 | 1:01:28 | |
I don't mean nothing. Just take me off. | 1:01:28 | 1:01:31 | |
Widows and orphans will do fine without me. | 1:01:31 | 1:01:34 | |
Hey, don't even think about it. | 1:01:38 | 1:01:41 | |
Remy. | 1:01:41 | 1:01:42 | |
Yeah. | 1:01:42 | 1:01:42 | |
Look at this. | 1:01:42 | 1:01:44 | |
What's this? Retirement papers? | 1:01:44 | 1:01:46 | |
You finally did it? No! | 1:01:46 | 1:01:48 | |
As of December 31st, | 1:01:48 | 1:01:50 | |
you're the ranking officer of the homicide bureau. | 1:01:50 | 1:01:53 | |
I don't believe you. | 1:01:53 | 1:01:54 | |
Your mother didn't believe it either. | 1:01:54 | 1:01:56 | |
You're finally gonna marry the girl? | 1:01:56 | 1:01:58 | |
New Year's Day. Will you be my best man? | 1:01:58 | 1:02:01 | |
You bet I would, you huggie bear! | 1:02:01 | 1:02:03 | |
Bye, Daddy! | 1:02:03 | 1:02:05 | |
What's so funny? Come here. | 1:02:05 | 1:02:06 | |
Dodge, De Soto, McCabe, Foster - my office. | 1:02:06 | 1:02:09 | |
Welcome back, Remy. > | 1:02:09 | 1:02:11 | |
APPLAUSE | 1:02:11 | 1:02:12 | |
Foster has an interesting angle on the Angelo murder. | 1:02:12 | 1:02:16 | |
Two floaters were pulled from the canal last night. | 1:02:16 | 1:02:19 | |
Turned out to be Mexican deep-sea fishermen. | 1:02:19 | 1:02:22 | |
Sufferin' from lead poisoning. | 1:02:22 | 1:02:24 | |
Worked out of Veracruz. | 1:02:24 | 1:02:25 | |
Long records of smuggling. | 1:02:25 | 1:02:27 | |
So what's this got to do Freddie Angelo? | 1:02:27 | 1:02:29 | |
Mexican customs was wiretapping them. | 1:02:29 | 1:02:31 | |
Guess who their last phone call was from. | 1:02:31 | 1:02:34 | |
Angelo. | 1:02:34 | 1:02:35 | |
Right. | 1:02:35 | 1:02:36 | |
Angelo was in Veracruz three days before his death. | 1:02:36 | 1:02:40 | |
Narcotics said he never dealt | 1:02:40 | 1:02:41 | |
personally with less than 20 or 30 keys. | 1:02:41 | 1:02:42 | |
That can explain a gang war. | 1:02:42 | 1:02:45 | |
One kilo of heroin always seemed smalltime | 1:02:45 | 1:02:48 | |
for all these people to get killed over. | 1:02:48 | 1:02:51 | |
20 or 30 keys makes more sense. | 1:02:51 | 1:02:53 | |
So where's the rest? | 1:02:53 | 1:02:54 | |
Did anybody talk to Daddy Mention? | 1:02:54 | 1:02:57 | |
What is he gonna tell us? | 1:03:01 | 1:03:04 | |
"Come on in, fellas. It's under the sink." | 1:03:04 | 1:03:07 | |
Come on. | 1:03:07 | 1:03:08 | |
Hello in there! | 1:03:08 | 1:03:10 | |
It's not what he says, it's what you hear. | 1:03:10 | 1:03:13 | |
Daddy Mention's the number one suspect. | 1:03:13 | 1:03:15 | |
You don't talk to him? | 1:03:15 | 1:03:18 | |
Daddy Mention's trying to move in | 1:03:18 | 1:03:20 | |
on Vinnie's action. | 1:03:20 | 1:03:21 | |
That sounds neat, but I don't buy it. | 1:03:21 | 1:03:24 | |
Why not? Works for me. | 1:03:24 | 1:03:26 | |
Anne Osborne. | 1:03:26 | 1:03:28 | |
What the hell does she know? | 1:03:28 | 1:03:30 | |
She knows somethin', which is more than you guys. | 1:03:30 | 1:03:33 | |
You haven't done shit since I been gone. | 1:03:33 | 1:03:35 | |
They're doin' our job for us. | 1:03:35 | 1:03:38 | |
One kills creep another creep. | 1:03:38 | 1:03:40 | |
Why not let them wipe each other out? | 1:03:40 | 1:03:41 | |
Because we're the police, that's why. We got guns. | 1:03:41 | 1:03:44 | |
We're supposed to be good guys. | 1:03:44 | 1:03:46 | |
I'll go talk to Daddy Mention myself. | 1:03:46 | 1:03:50 | |
You still don't know what Anne Osborne knows? | 1:03:50 | 1:03:52 | |
You're losing your touch. | 1:03:52 | 1:03:54 | |
You really should become a defence lawyer. | 1:04:05 | 1:04:08 | |
You meet a more colourful class of people. | 1:04:08 | 1:04:11 | |
You're gonna love Daddy Mention. | 1:04:11 | 1:04:13 | |
He's a doctor of roots, fruits, and snoots. | 1:04:13 | 1:04:15 | |
You don't have any scruples, do you, Lamar? | 1:04:15 | 1:04:18 | |
Is there anybody you wouldn't represent? | 1:04:18 | 1:04:21 | |
Every man's entitled to the best defence | 1:04:21 | 1:04:22 | |
money can buy. | 1:04:22 | 1:04:24 | |
Oh, there you are. | 1:04:33 | 1:04:35 | |
I thought I'd lost you. | 1:04:35 | 1:04:37 | |
Why does Daddy Mention want to see me? | 1:04:37 | 1:04:39 | |
Actually, it was my idea. | 1:04:39 | 1:04:41 | |
I thought you might be interested | 1:04:41 | 1:04:44 | |
in what he had to say about the killings. | 1:04:44 | 1:04:47 | |
I know you've been looking into one or two. | 1:04:47 | 1:04:51 | |
Daddy's expecting us. | 1:04:59 | 1:05:01 | |
CHILDREN YELLING | 1:05:12 | 1:05:13 | |
Daddy, here's the woman I told you about, Anne Osborne. | 1:05:13 | 1:05:17 | |
How do you do, Mr Daddy, er, Mention? | 1:05:17 | 1:05:20 | |
Excuse my left hand. | 1:05:20 | 1:05:22 | |
Are they all yours? | 1:05:22 | 1:05:24 | |
21 children and 14 grandchildren. | 1:05:24 | 1:05:26 | |
I got lost in one of those Bible verses | 1:05:26 | 1:05:29 | |
that says, "be fruitful and multiply." | 1:05:29 | 1:05:32 | |
I just didn't read any further. | 1:05:32 | 1:05:35 | |
You kids run out. Daddy's gonna talk business. | 1:05:35 | 1:05:38 | |
You're a very lovely lady. | 1:05:38 | 1:05:40 | |
Thank you very much. | 1:05:40 | 1:05:42 | |
Let's get down to business. | 1:05:42 | 1:05:44 | |
You're lookin' into the murder of them Italian boys. | 1:05:44 | 1:05:47 | |
Carmine Tandino and Freddie Angelo, | 1:05:47 | 1:05:49 | |
as well as Jamaal Washington, Michael and Darnell Nobilier - | 1:05:49 | 1:05:53 | |
all of whom allegedly worked for you. | 1:05:53 | 1:05:55 | |
That's what I want to talk to you about. | 1:05:55 | 1:05:57 | |
The police are puttin' out this story | 1:05:57 | 1:06:00 | |
that there's a gang war going on. | 1:06:00 | 1:06:02 | |
Do you believe that? | 1:06:02 | 1:06:03 | |
What do you believe? | 1:06:03 | 1:06:05 | |
My people didn't kill no Freddie Angelo | 1:06:05 | 1:06:08 | |
or no what's-his-name Tandino. | 1:06:08 | 1:06:11 | |
Then who did? | 1:06:11 | 1:06:12 | |
I don't know, | 1:06:12 | 1:06:13 | |
but they're killin' my people, too. | 1:06:13 | 1:06:16 | |
Why didn't you tell the police? | 1:06:16 | 1:06:18 | |
LAMAR: Daddy's had some unfortunate experiences | 1:06:18 | 1:06:21 | |
talking with the police. | 1:06:21 | 1:06:23 | |
Policeman here to see you, Daddy. | 1:06:23 | 1:06:25 | |
Give me a minute. | 1:06:25 | 1:06:27 | |
Thanks, son. | 1:06:28 | 1:06:30 | |
Lamar. | 1:06:31 | 1:06:32 | |
I didn't know | 1:06:32 | 1:06:34 | |
you represented this sleaze bag. | 1:06:34 | 1:06:36 | |
I only represent sleaze bags. | 1:06:36 | 1:06:38 | |
What are you doing here? | 1:06:38 | 1:06:40 | |
I came to talk to chubby. | 1:06:40 | 1:06:43 | |
He might not want to talk to you. | 1:06:43 | 1:06:46 | |
I didn't know you two were like that. | 1:06:46 | 1:06:47 | |
There are a lot of things about me that you don't know. | 1:06:47 | 1:06:49 | |
GUNSHOTS | 1:06:49 | 1:06:50 | |
Aah! | 1:06:50 | 1:06:52 | |
Stay here! | 1:06:52 | 1:06:54 | |
Help! | 1:06:54 | 1:06:55 | |
Help! Big Daddy's been shot! | 1:06:55 | 1:06:58 | |
No! | 1:06:58 | 1:06:59 | |
No! | 1:06:59 | 1:07:01 | |
No! | 1:07:01 | 1:07:02 | |
Oh! | 1:07:04 | 1:07:06 | |
Ah! | 1:07:50 | 1:07:51 | |
HONK HONK | 1:07:58 | 1:07:59 | |
What's the big secret, Anne? | 1:08:19 | 1:08:22 | |
Don't you bullshit me now. | 1:08:22 | 1:08:23 | |
What evidence do you people got | 1:08:23 | 1:08:25 | |
on the Freddie Angelo murder? | 1:08:25 | 1:08:26 | |
You're beginning to think cops were involved. Why? | 1:08:26 | 1:08:29 | |
That was an unmarked police car. | 1:08:29 | 1:08:31 | |
Besides, you know anybody that can drive like that? | 1:08:31 | 1:08:32 | |
Only cops drive like that! | 1:08:32 | 1:08:34 | |
Now, what do you know? | 1:08:34 | 1:08:36 | |
An eyewitness saw two men | 1:08:36 | 1:08:38 | |
in an unmarked police car | 1:08:38 | 1:08:40 | |
dump Freddie Angelo's body | 1:08:40 | 1:08:42 | |
in the Piazza d'Italia. | 1:08:42 | 1:08:44 | |
Why did they think it was a police car? | 1:08:44 | 1:08:47 | |
They saw a blue light and a radio | 1:08:47 | 1:08:49 | |
in the front seat. | 1:08:49 | 1:08:50 | |
Why did you withhold this information | 1:08:50 | 1:08:52 | |
from the police? | 1:08:52 | 1:08:54 | |
The police are the suspects. | 1:08:54 | 1:08:56 | |
SIREN | 1:08:56 | 1:08:58 | |
All right, what we got here? | 1:09:08 | 1:09:10 | |
Hey, hey, get back. | 1:09:10 | 1:09:11 | |
Get back, man. Come on. | 1:09:11 | 1:09:14 | |
Off the street. | 1:09:14 | 1:09:16 | |
There is no gang war. | 1:09:17 | 1:09:20 | |
Is there? | 1:09:21 | 1:09:23 | |
So what are you going to do about it? | 1:09:25 | 1:09:29 | |
I don't know. | 1:09:29 | 1:09:31 | |
The police department is my family. | 1:09:31 | 1:09:33 | |
These people are killers, Remy. | 1:09:33 | 1:09:36 | |
What do you want me to do? | 1:09:37 | 1:09:40 | |
Go undercover in my precinct house? | 1:09:40 | 1:09:42 | |
No. I have a better idea. | 1:09:42 | 1:09:45 | |
Come on. | 1:09:46 | 1:09:48 | |
Anne, this is my cousin Frank, | 1:10:00 | 1:10:03 | |
my Uncle Ernest. | 1:10:03 | 1:10:04 | |
You remember Uncle Sos, | 1:10:04 | 1:10:06 | |
cousin Pete. | 1:10:06 | 1:10:07 | |
Hey, guys, thanks for helping out. | 1:10:07 | 1:10:09 | |
Uncle Sos, check everybody | 1:10:11 | 1:10:13 | |
comin' in or out. | 1:10:13 | 1:10:15 | |
You got it, Remy. | 1:10:15 | 1:10:16 | |
Hey, Remy, what's going on? | 1:10:16 | 1:10:19 | |
Ask her. | 1:10:19 | 1:10:20 | |
Come on. | 1:10:20 | 1:10:21 | |
Are you the desk sergeant on duty? | 1:10:21 | 1:10:24 | |
Do I look like | 1:10:24 | 1:10:26 | |
the king of Mardi Gras? | 1:10:26 | 1:10:28 | |
Then this is for you. | 1:10:28 | 1:10:29 | |
What the hell? | 1:10:31 | 1:10:33 | |
Hey, Captain. | 1:10:33 | 1:10:35 | |
Some broad up here with a search warrant. | 1:10:35 | 1:10:38 | |
Can you believe this shit? | 1:10:43 | 1:10:45 | |
Anybody who does not co-operate | 1:10:48 | 1:10:50 | |
fully and cheerfully with this investigation | 1:10:50 | 1:10:53 | |
will wish his mother and father never met! | 1:10:53 | 1:10:56 | |
Was your car damaged? | 1:10:56 | 1:10:58 | |
Yes. It was in the lot for two days. | 1:10:58 | 1:10:59 | |
What was the nature of the damage? | 1:10:59 | 1:11:02 | |
If you'd told me about this, | 1:11:02 | 1:11:04 | |
we could've sent out invitations. | 1:11:04 | 1:11:06 | |
Is your car 17? | 1:11:06 | 1:11:08 | |
That's right. | 1:11:08 | 1:11:09 | |
Hey, Sos. | 1:11:09 | 1:11:11 | |
Sorry. I got orders to pat everybody down. | 1:11:11 | 1:11:14 | |
This lawyer is leadin' Remy around | 1:11:14 | 1:11:16 | |
by his nose. | 1:11:16 | 1:11:17 | |
Try his dick. Higher, Sos. | 1:11:17 | 1:11:19 | |
Don't touch me, you dirty old man. | 1:11:19 | 1:11:23 | |
Everything. | 1:11:23 | 1:11:24 | |
Andre's afraid of the dark. | 1:11:27 | 1:11:29 | |
Ha ha ha! | 1:11:29 | 1:11:31 | |
Dark, my ass. | 1:11:31 | 1:11:32 | |
It's a jungle out there. | 1:11:32 | 1:11:34 | |
If that don't work, I piss on 'em. | 1:11:34 | 1:11:37 | |
There it is, right there. | 1:11:39 | 1:11:40 | |
Uh-uh. Those are junkers over there. | 1:11:40 | 1:11:43 | |
That baby hasn't been out of here | 1:11:43 | 1:11:46 | |
in three months. | 1:11:46 | 1:11:47 | |
Uh-huh. | 1:11:47 | 1:11:49 | |
Not a bad shot. | 1:11:49 | 1:11:50 | |
Thanks. | 1:11:50 | 1:11:51 | |
I want this car impounded and dusted for fingerprints. | 1:11:51 | 1:11:54 | |
Mine are all over the hood. | 1:11:54 | 1:11:57 | |
You want to come over | 1:11:57 | 1:11:59 | |
and clean up my house? | 1:11:59 | 1:12:01 | |
I hope you feel good about this. | 1:12:01 | 1:12:04 | |
Eat or work? | 1:12:06 | 1:12:08 | |
Work. | 1:12:08 | 1:12:09 | |
My place or yours? | 1:12:09 | 1:12:11 | |
Yours. That way I can leave anytime I want. | 1:12:11 | 1:12:14 | |
Did you find something? | 1:12:35 | 1:12:36 | |
Hmm? | 1:12:36 | 1:12:38 | |
You look a little strange. | 1:12:38 | 1:12:39 | |
Oh, no. Just fried oysters | 1:12:39 | 1:12:41 | |
at 1.00 in the mornin'. | 1:12:41 | 1:12:43 | |
Why don't we just call it a night? | 1:12:45 | 1:12:48 | |
Mm-hmm. | 1:12:50 | 1:12:51 | |
Who are you callin'? | 1:12:55 | 1:12:56 | |
A cab. | 1:12:56 | 1:12:58 | |
Why don't you just stay here? | 1:12:58 | 1:13:00 | |
I'll sleep on the couch. | 1:13:00 | 1:13:02 | |
Thanks, anyway. | 1:13:02 | 1:13:03 | |
Oh, now. | 1:13:03 | 1:13:05 | |
No, hey, ma'am. | 1:13:05 | 1:13:07 | |
You're just gonna be over here | 1:13:07 | 1:13:10 | |
first thing in the mornin'. | 1:13:10 | 1:13:12 | |
Hey, I won't try no cha-cha. | 1:13:12 | 1:13:15 | |
I promise. | 1:13:15 | 1:13:16 | |
The bed is yours if you want it. | 1:13:16 | 1:13:19 | |
No, thank you. I'd rather go home. | 1:13:19 | 1:13:22 | |
Annie, you gonna be pissed off at me | 1:13:22 | 1:13:25 | |
for the rest of your life? | 1:13:25 | 1:13:28 | |
Maybe. | 1:13:30 | 1:13:32 | |
Can I get you anything? | 1:13:33 | 1:13:35 | |
No, thank you. | 1:13:35 | 1:13:37 | |
I'll be asleep | 1:13:37 | 1:13:38 | |
as soon as my head hits the pillow. | 1:13:38 | 1:13:41 | |
Hey. | 1:13:43 | 1:13:45 | |
If I can't have you... | 1:13:45 | 1:13:47 | |
can I have my gator? | 1:13:47 | 1:13:49 | |
SQUEAK | 1:13:53 | 1:13:54 | |
# If you wa-ant | 1:13:59 | 1:14:05 | |
# Somethin' to play with | 1:14:05 | 1:14:07 | |
# Go and find yourself a toy | 1:14:07 | 1:14:11 | |
# Cos, baby, my time is too expensive | 1:14:14 | 1:14:19 | |
# And I'm not a little boy | 1:14:22 | 1:14:27 | |
# Whoa oh, whoa oh... # | 1:14:27 | 1:14:30 | |
DOOR LOCK TURNS | 1:14:30 | 1:14:32 | |
# If you | 1:14:34 | 1:14:36 | |
# Are serious... # | 1:14:36 | 1:14:38 | |
Freeze! | 1:14:41 | 1:14:42 | |
What is this? Scare Bobby week? | 1:14:42 | 1:14:45 | |
You're gonna give me a heart attack! | 1:14:45 | 1:14:47 | |
Annie's sleepin' in the bedroom. | 1:14:47 | 1:14:49 | |
Be quiet. | 1:14:49 | 1:14:51 | |
And you're sleepin' on the couch? | 1:14:51 | 1:14:53 | |
Yeah. What about it? | 1:14:55 | 1:14:56 | |
Where am I supposed to sleep? | 1:14:56 | 1:14:59 | |
I thought college boys liked sleepin' on the floor. | 1:14:59 | 1:15:02 | |
# Tell it like it is... # | 1:15:02 | 1:15:05 | |
Yeah, well, we don't. | 1:15:05 | 1:15:07 | |
# Don't be ashamed | 1:15:07 | 1:15:10 | |
# Let your conscience be your guide... # | 1:15:10 | 1:15:14 | |
SQUEAK | 1:15:14 | 1:15:15 | |
THUNDER | 1:15:15 | 1:15:18 | |
# I know that deep down inside of me | 1:15:18 | 1:15:21 | |
# Oh, I believe | 1:15:21 | 1:15:23 | |
# I believe you love me | 1:15:23 | 1:15:25 | |
# Forget your | 1:15:25 | 1:15:27 | |
# Foolish pride | 1:15:27 | 1:15:30 | |
# Ooh | 1:15:32 | 1:15:33 | |
# You know life is too short | 1:15:37 | 1:15:39 | |
# To have sorrow, yeah, yeah, yeah | 1:15:39 | 1:15:43 | |
# You may be here today and gone tomorrow... # | 1:15:45 | 1:15:48 | |
Morning. | 1:15:49 | 1:15:50 | |
Mornin'. | 1:15:50 | 1:15:52 | |
Is the coffee ready? | 1:15:52 | 1:15:53 | |
We're out of coffee. | 1:15:53 | 1:15:55 | |
Why don't you go get some? | 1:15:55 | 1:15:57 | |
But it's pouring. | 1:15:57 | 1:15:59 | |
Here, take my raincoat. | 1:15:59 | 1:16:00 | |
I have no money. | 1:16:00 | 1:16:02 | |
Here's some money. | 1:16:02 | 1:16:03 | |
Take a cab to the farthest place you can find. | 1:16:03 | 1:16:07 | |
Have a nice large breakfast. | 1:16:07 | 1:16:09 | |
Then take in a movie | 1:16:09 | 1:16:11 | |
and give me a phone call. | 1:16:11 | 1:16:13 | |
# But | 1:16:18 | 1:16:19 | |
# I know | 1:16:19 | 1:16:21 | |
# Deep down inside of me | 1:16:21 | 1:16:25 | |
# I believe you love me... # | 1:16:25 | 1:16:28 | |
Annie? | 1:16:28 | 1:16:29 | |
# Oh, believe me | 1:16:29 | 1:16:32 | |
# Oh, believe me | 1:16:32 | 1:16:33 | |
# Oh oh, oh oh | 1:16:33 | 1:16:36 | |
# Tell it like it is | 1:16:36 | 1:16:39 | |
# Oh, I love you | 1:16:39 | 1:16:40 | |
# Oh, I love you, oh, I love you | 1:16:40 | 1:16:43 | |
# Oh, I love you... # | 1:16:43 | 1:16:45 | |
Oh. | 1:16:45 | 1:16:47 | |
We have to get back to work. | 1:16:49 | 1:16:52 | |
Absolutely. | 1:16:52 | 1:16:54 | |
# Why, oh, why, you wanna break my heart? | 1:16:54 | 1:16:57 | |
# Girl, you know, you know, you know | 1:16:58 | 1:17:01 | |
# That I love ya that I love ya | 1:17:01 | 1:17:03 | |
# Yeah | 1:17:03 | 1:17:07 | |
# Tell it | 1:17:07 | 1:17:08 | |
# So long, so long, so long, so long, so long | 1:17:08 | 1:17:12 | |
# So long | 1:17:12 | 1:17:14 | |
# Tell it like it is... # | 1:17:14 | 1:17:18 | |
GUNSHOT | 1:17:18 | 1:17:20 | |
What was that? | 1:17:22 | 1:17:24 | |
Get away from the window! | 1:17:24 | 1:17:26 | |
Do you see anything? | 1:17:26 | 1:17:27 | |
Dial 911. Tell them shots fired, this address. | 1:17:27 | 1:17:31 | |
I'll meet them on the street. | 1:17:31 | 1:17:33 | |
I'm a cop! | 1:17:35 | 1:17:37 | |
Bobby! | 1:17:39 | 1:17:40 | |
Bobby! | 1:17:40 | 1:17:41 | |
He's dead. | 1:17:41 | 1:17:43 | |
No, look, he's breathing. | 1:17:43 | 1:17:45 | |
Oh, please! | 1:17:45 | 1:17:47 | |
Oh, my God! | 1:17:47 | 1:17:48 | |
Bobby! | 1:17:48 | 1:17:50 | |
Hold that! | 1:17:50 | 1:17:52 | |
Hold that tight! | 1:17:52 | 1:17:54 | |
SIREN | 1:17:54 | 1:17:55 | |
Stop! | 1:17:55 | 1:17:56 | |
Get out of there! | 1:17:57 | 1:17:59 | |
Call Trinity Hospital! | 1:17:59 | 1:18:01 | |
Tell them we're on our way! | 1:18:01 | 1:18:02 | |
God, please. | 1:18:05 | 1:18:06 | |
Move over! | 1:18:16 | 1:18:17 | |
SIREN | 1:18:19 | 1:18:22 | |
WOMAN ON PA: Dr Lebowitz, | 1:18:22 | 1:18:24 | |
please report to OR six. | 1:18:24 | 1:18:26 | |
Oh, oh, God! | 1:18:28 | 1:18:29 | |
Jack, they tried to kill my baby. | 1:18:29 | 1:18:32 | |
Is he gonna be all right? | 1:18:32 | 1:18:34 | |
I got to talk to you, Jack. | 1:18:34 | 1:18:37 | |
What is it, chere? | 1:18:37 | 1:18:39 | |
Nothin', mama. Just police business. | 1:18:39 | 1:18:41 | |
Come on. | 1:18:41 | 1:18:43 | |
Come on. | 1:18:43 | 1:18:45 | |
THUNDER | 1:18:48 | 1:18:50 | |
I was goin' over the logs last night. | 1:18:50 | 1:18:52 | |
Yeah? | 1:18:52 | 1:18:54 | |
Some of them been tampered with. | 1:18:54 | 1:18:56 | |
Vehicle logs, patrol logs, arrest logs... | 1:18:56 | 1:19:00 | |
all different departments. | 1:19:00 | 1:19:02 | |
So what's that tell you? | 1:19:03 | 1:19:05 | |
Only someone in command has access to them files. | 1:19:06 | 1:19:10 | |
That's either me or you. | 1:19:10 | 1:19:12 | |
Was it you? | 1:19:13 | 1:19:15 | |
Who is it, Jack? | 1:19:15 | 1:19:17 | |
You got a wire on? | 1:19:21 | 1:19:24 | |
No wire. | 1:19:24 | 1:19:26 | |
Just you and me... | 1:19:26 | 1:19:28 | |
family. | 1:19:28 | 1:19:30 | |
You got a friend in Mexican customs? | 1:19:38 | 1:19:40 | |
You got that right. | 1:19:40 | 1:19:42 | |
What happened? | 1:19:42 | 1:19:44 | |
Once you found out | 1:19:44 | 1:19:45 | |
about Freddie Angelo's heroin deal, | 1:19:45 | 1:19:47 | |
decided to rip him off, | 1:19:47 | 1:19:49 | |
go into business for yourself? | 1:19:49 | 1:19:50 | |
It was a good idea. | 1:19:50 | 1:19:52 | |
We got a lot of scum off the street. | 1:19:52 | 1:19:54 | |
Somebody shot my brother, Jack! | 1:19:54 | 1:19:57 | |
They thought it was me! | 1:19:57 | 1:19:59 | |
You think I had somethin' to do with that? | 1:19:59 | 1:20:02 | |
You're all like my own flesh and blood. | 1:20:02 | 1:20:04 | |
I don't know what happened. | 1:20:04 | 1:20:06 | |
Somebody panicked. | 1:20:06 | 1:20:07 | |
Who panicked? | 1:20:07 | 1:20:09 | |
You were behind this thing | 1:20:14 | 1:20:16 | |
all the way from the beginnin', weren't you? | 1:20:16 | 1:20:18 | |
Freddie Angelo and the Mexicans... | 1:20:18 | 1:20:20 | |
Yeah, and Carmine Tandino | 1:20:20 | 1:20:22 | |
and the boys in Storyville. | 1:20:22 | 1:20:24 | |
And Daddy Mention. | 1:20:24 | 1:20:26 | |
Garbage! | 1:20:26 | 1:20:27 | |
Where's the heroin, Jack? | 1:20:29 | 1:20:31 | |
If I told you, | 1:20:31 | 1:20:33 | |
you wouldn't believe me. | 1:20:33 | 1:20:35 | |
It must be worth more than 5 million. | 1:20:43 | 1:20:47 | |
That's a very big pie. | 1:20:47 | 1:20:50 | |
You're entitled to a fair slice, | 1:20:50 | 1:20:51 | |
so why don't you take it? | 1:20:51 | 1:20:53 | |
Walk away. | 1:20:53 | 1:20:54 | |
You taught me a lot | 1:21:01 | 1:21:03 | |
when I first came on the job... | 1:21:03 | 1:21:06 | |
what was OK, what wasn't OK. | 1:21:06 | 1:21:09 | |
Dealin' heroin OK, Jack? | 1:21:09 | 1:21:12 | |
Murder OK? | 1:21:12 | 1:21:14 | |
I just wanted to go out a winner. | 1:21:16 | 1:21:19 | |
30 years. | 1:21:21 | 1:21:24 | |
Your daddy never cared anything about that. | 1:21:26 | 1:21:28 | |
All he wanted to do was chase the girls, | 1:21:28 | 1:21:32 | |
and he caught the best one. | 1:21:32 | 1:21:34 | |
I just want to spend my life with her. | 1:21:34 | 1:21:38 | |
Touch her again, I'll kill you! | 1:21:38 | 1:21:40 | |
You can't talk to me that way. | 1:21:40 | 1:21:41 | |
GUN COCKS | 1:21:43 | 1:21:45 | |
He's gonna be all right! | 1:21:45 | 1:21:47 | |
# Oh, oh, oh, pass... # | 1:21:53 | 1:21:57 | |
Jack. | 1:22:01 | 1:22:02 | |
# Ooohhh | 1:22:03 | 1:22:05 | |
# Pass me not | 1:22:05 | 1:22:09 | |
# Oohhh oohhh | 1:22:09 | 1:22:10 | |
# Ooohhhh... # | 1:22:10 | 1:22:11 | |
ENGINE STARTS | 1:22:11 | 1:22:14 | |
# Gentle saviour | 1:22:15 | 1:22:21 | |
# Oh, lord | 1:22:22 | 1:22:23 | |
# Oohhh, oohhh, oohhh... # | 1:22:23 | 1:22:25 | |
OK, so Kellorn has an alibi | 1:22:25 | 1:22:28 | |
for every one of the killings. | 1:22:28 | 1:22:31 | |
Well, then somebody's | 1:22:31 | 1:22:32 | |
pulling that trigger for him. | 1:22:32 | 1:22:35 | |
Don't you have any idea who it is? | 1:22:35 | 1:22:37 | |
# Just listen... # | 1:22:37 | 1:22:39 | |
I've run out of ideas, Annie. | 1:22:39 | 1:22:42 | |
# Ple-ee-ase | 1:22:42 | 1:22:45 | |
# Hear my | 1:22:45 | 1:22:47 | |
# Oooh | 1:22:47 | 1:22:51 | |
# Humble cry... # | 1:22:51 | 1:22:55 | |
Trinity Hospital. | 1:22:55 | 1:22:57 | |
Give me intensive care. | 1:22:57 | 1:22:59 | |
Mrs McSwain... | 1:23:00 | 1:23:02 | |
please. | 1:23:02 | 1:23:03 | |
# I say... # | 1:23:05 | 1:23:07 | |
MRS MCSWAIN: Remy, I still can't believe it. | 1:23:07 | 1:23:10 | |
I can't either. | 1:23:10 | 1:23:11 | |
He admitted it right to my face. | 1:23:11 | 1:23:13 | |
He was so good to us. | 1:23:13 | 1:23:16 | |
Take care of Bobby. | 1:23:16 | 1:23:17 | |
I'll call you later. | 1:23:17 | 1:23:20 | |
Bye, Mama. | 1:23:20 | 1:23:21 | |
# Our lovin' | 1:23:21 | 1:23:23 | |
# Lovin', lovin' | 1:23:23 | 1:23:26 | |
# Saviour | 1:23:26 | 1:23:29 | |
# It's not any harm to call the name | 1:23:29 | 1:23:32 | |
# Yeah... # | 1:23:32 | 1:23:33 | |
SHIP'S HORN BLOWS | 1:23:33 | 1:23:36 | |
# Ooohhhhh | 1:23:36 | 1:23:40 | |
# Don't pass me by... # | 1:23:40 | 1:23:42 | |
There's somethin' you should know. | 1:23:42 | 1:23:44 | |
SHIP'S HORN BLOWS | 1:23:46 | 1:23:48 | |
I had that magnet placed in the property room... | 1:23:48 | 1:23:55 | |
next to the videotape. | 1:23:55 | 1:23:57 | |
A guy owed me a favour. | 1:23:57 | 1:24:00 | |
And you promoted him. | 1:24:00 | 1:24:03 | |
You knew that, too, huh? | 1:24:05 | 1:24:08 | |
Before I got promoted, | 1:24:08 | 1:24:10 | |
I used to be a bagman for Kellorn... | 1:24:10 | 1:24:14 | |
just nickel and dime stuff. | 1:24:14 | 1:24:16 | |
You figure... | 1:24:20 | 1:24:22 | |
it's the system... | 1:24:22 | 1:24:24 | |
that it's not gonna make any difference | 1:24:24 | 1:24:28 | |
if you take a few hundred here and there. | 1:24:28 | 1:24:32 | |
You figure you deserve a good life... | 1:24:33 | 1:24:36 | |
a decent livin' for doin' a dirty job. | 1:24:38 | 1:24:42 | |
You tell yourself | 1:24:45 | 1:24:47 | |
that you can be just as good a cop. | 1:24:47 | 1:24:51 | |
I know. | 1:24:52 | 1:24:54 | |
But you can't. | 1:24:54 | 1:24:57 | |
ANNE: Wait a minute. | 1:25:41 | 1:25:42 | |
Maybe we should look at this another way. | 1:25:42 | 1:25:45 | |
How did those two Mexican smugglers | 1:25:47 | 1:25:49 | |
end up in the industrial canal? | 1:25:49 | 1:25:53 | |
Floated down from Lake Pontchartrain, I guess. | 1:25:53 | 1:25:56 | |
And how did they get there? | 1:25:58 | 1:26:01 | |
On a fishin' boat... | 1:26:01 | 1:26:03 | |
probably. | 1:26:03 | 1:26:05 | |
Well, where's the boat? | 1:26:05 | 1:26:07 | |
How are we supposed to find the boat? | 1:26:48 | 1:26:51 | |
Dodge and De Soto impounded a boat | 1:26:51 | 1:26:54 | |
the night Angelo was killed. | 1:26:54 | 1:26:55 | |
They're the killers? Those two clowns. | 1:26:55 | 1:26:58 | |
CRYING | 1:26:58 | 1:27:00 | |
Hey, captain! | 1:27:00 | 1:27:02 | |
You're cryin' all over our future. | 1:27:04 | 1:27:06 | |
We don't have any future, boys. | 1:27:06 | 1:27:08 | |
Maybe you don't. | 1:27:08 | 1:27:10 | |
We got a plane to catch. | 1:27:10 | 1:27:12 | |
We got to get rid of this shit. | 1:27:12 | 1:27:15 | |
Captain, put the stuff down, and get out of here. | 1:27:15 | 1:27:19 | |
We're dumpin' it. | 1:27:21 | 1:27:23 | |
We don't have to listen to you anymore. | 1:27:23 | 1:27:25 | |
I'm not tellin' you again! | 1:27:25 | 1:27:27 | |
Uh! | 1:27:28 | 1:27:29 | |
Oh, shit. | 1:27:33 | 1:27:34 | |
Just stay here. Stay put. | 1:27:54 | 1:27:57 | |
CREAK | 1:28:13 | 1:28:14 | |
Oh! | 1:28:14 | 1:28:15 | |
Jesus. | 1:28:15 | 1:28:16 | |
Jack! | 1:28:35 | 1:28:36 | |
Aagh... | 1:28:47 | 1:28:49 | |
Oh! | 1:28:49 | 1:28:50 | |
Remy, where you at? | 1:28:55 | 1:28:57 | |
Throw the gun up on the deck. | 1:28:59 | 1:29:01 | |
THUMP | 1:29:03 | 1:29:04 | |
Climb up on out of there. | 1:29:06 | 1:29:07 | |
We had a perfectly good situation, | 1:29:12 | 1:29:14 | |
and you had to go screw it up. | 1:29:14 | 1:29:17 | |
You turned on us, Remy. | 1:29:17 | 1:29:19 | |
Hey, I didn't turn on you. | 1:29:19 | 1:29:22 | |
We're all family here, aren't we? | 1:29:22 | 1:29:25 | |
Couldn't we work somethin' out? | 1:29:25 | 1:29:27 | |
That's that old Remy. | 1:29:27 | 1:29:29 | |
What do you say? What's it gonna be? | 1:29:29 | 1:29:32 | |
Move out on the dock. | 1:29:32 | 1:29:34 | |
You know, I got to hand it to you guys... | 1:29:36 | 1:29:39 | |
the way you handled that situation. | 1:29:39 | 1:29:41 | |
It was genius... | 1:29:41 | 1:29:44 | |
real genius. | 1:29:44 | 1:29:45 | |
What do you take us for? | 1:29:45 | 1:29:47 | |
Assholes! | 1:29:47 | 1:29:48 | |
GUNSHOT | 1:29:48 | 1:29:50 | |
See them? | 1:29:51 | 1:29:53 | |
Can't see a goddamn thing! | 1:29:53 | 1:29:54 | |
They got to come up for air sometime. | 1:30:00 | 1:30:03 | |
The bitch is over here! | 1:30:38 | 1:30:40 | |
Come on. Come on. | 1:30:40 | 1:30:42 | |
What's that? | 1:30:52 | 1:30:54 | |
He's on the other boat! | 1:30:54 | 1:30:56 | |
Come on, you mother! | 1:30:57 | 1:30:58 | |
Aah! | 1:31:22 | 1:31:23 | |
We got them now! Next stop, Tahiti! | 1:31:26 | 1:31:29 | |
FOOTSTEPS | 1:31:29 | 1:31:32 | |
Oh! | 1:31:37 | 1:31:38 | |
Andre! | 1:31:43 | 1:31:44 | |
Aaah! | 1:32:01 | 1:32:02 | |
Aaaaah! | 1:32:10 | 1:32:12 | |
ANNE: Remy! | 1:32:20 | 1:32:22 | |
You all right? | 1:32:29 | 1:32:30 | |
Uh-huh. | 1:32:30 | 1:32:32 | |
Jesus Christ! It's gonna blow! | 1:32:34 | 1:32:35 | |
Run! | 1:32:35 | 1:32:37 | |
MUSIC PLAYING | 1:32:53 | 1:32:58 |