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This film contains some violent scenes and strong language | 0:00:02 | 0:00:09 | |
TRAIN HORN TOOTS | 0:02:07 | 0:02:09 | |
What are you doing out here? | 0:02:32 | 0:02:34 | |
I'm lost. | 0:02:35 | 0:02:36 | |
This is a restricted area. | 0:02:36 | 0:02:38 | |
Oh, I didn't know that. There's no signs. | 0:02:38 | 0:02:40 | |
They're everywhere. | 0:02:40 | 0:02:42 | |
Let's see some ID. | 0:02:42 | 0:02:44 | |
Why? | 0:02:44 | 0:02:46 | |
There's a broken gate back there, you're trespassing. | 0:02:46 | 0:02:48 | |
Excuse me, sir, that gate was open | 0:02:48 | 0:02:50 | |
and I was under the opinion that this was a detour. | 0:02:50 | 0:02:53 | |
Let me see the ID. Take it out. | 0:02:53 | 0:02:54 | |
What kind of uniform is that? | 0:02:54 | 0:02:56 | |
I'll ask the fucking questions. | 0:02:56 | 0:02:59 | |
It's a private outfit, huh? | 0:02:59 | 0:03:00 | |
-I tried to get one of those jobs. I like guarding things. -Really(?) | 0:03:01 | 0:03:05 | |
Here you go, sir. I think what must have happened is, | 0:03:06 | 0:03:09 | |
I just must have gotten turned around, or... | 0:03:09 | 0:03:12 | |
GUARD CRIES OUT | 0:03:13 | 0:03:14 | |
TRAIN HORN | 0:03:14 | 0:03:17 | |
RADIO CHATTER | 0:03:18 | 0:03:20 | |
I guesstimate that I have about 50lb of copper wire, | 0:03:46 | 0:03:49 | |
100lb of chain-link fence | 0:03:49 | 0:03:51 | |
and two manhole covers - the nice thick ones. | 0:03:51 | 0:03:53 | |
I'll give 50 cents a pound for the wire, 15 for the fence | 0:03:53 | 0:03:56 | |
and ten for the covers. | 0:03:56 | 0:03:57 | |
That's below market value. | 0:03:57 | 0:03:59 | |
Market value? | 0:03:59 | 0:04:00 | |
You know the cops came by, asking about manhole covers? | 0:04:00 | 0:04:03 | |
I'd like to counter at a dollar a pound for the copper, | 0:04:03 | 0:04:06 | |
30 cents a pound for the fence | 0:04:06 | 0:04:08 | |
and 20 cents per for the covers. | 0:04:08 | 0:04:10 | |
Sell them somewhere else. | 0:04:10 | 0:04:11 | |
I'd feel good at 75, 25 and 15. | 0:04:11 | 0:04:13 | |
I'm not negotiating with you. | 0:04:13 | 0:04:14 | |
-I think we're close. -I'm done. | 0:04:14 | 0:04:16 | |
I'm willing to take less to establish a business relationship. | 0:04:23 | 0:04:25 | |
If that's your last best offer, then I guess I accept. | 0:04:25 | 0:04:28 | |
All right. Drive around back and unload them. | 0:04:28 | 0:04:30 | |
Excuse me, sir? | 0:04:32 | 0:04:33 | |
I'm looking for a job. | 0:04:35 | 0:04:36 | |
In fact, I've made up my mind | 0:04:36 | 0:04:38 | |
to find a career that I can learn and grow into. | 0:04:38 | 0:04:40 | |
Who am I? I'm a hard worker. | 0:04:40 | 0:04:42 | |
I set high goals and I've been told that I'm persistent. | 0:04:42 | 0:04:45 | |
Now, I'm not fooling myself, sir. | 0:04:45 | 0:04:46 | |
Having been raised with the self-esteem movement | 0:04:46 | 0:04:48 | |
so popular in schools, I used to expect my needs to be considered. | 0:04:48 | 0:04:51 | |
But I know that today's work culture no longer caters to the job loyalty | 0:04:51 | 0:04:54 | |
that could be promised to earlier generations. | 0:04:54 | 0:04:56 | |
What I believe, sir, is that good things come | 0:04:56 | 0:04:58 | |
to those who work their asses off, and that people such as yourself, | 0:04:58 | 0:05:01 | |
who reached the top of the mountain, didn't just fall there. | 0:05:01 | 0:05:03 | |
My motto is, "If you want to win the lottery, | 0:05:03 | 0:05:05 | |
"you have to make the money to buy a ticket." | 0:05:05 | 0:05:07 | |
Did I say that I worked in a garage? | 0:05:07 | 0:05:09 | |
So, what do you say? | 0:05:11 | 0:05:13 | |
I could start tomorrow, or even why not tonight? | 0:05:13 | 0:05:15 | |
No. | 0:05:15 | 0:05:17 | |
How about an internship, then? | 0:05:25 | 0:05:27 | |
A lot of young people are taking unpaid positions to get a foot in the door. | 0:05:27 | 0:05:30 | |
That's something I'd be willing to do. | 0:05:30 | 0:05:32 | |
I'm not hiring a fucking thief. | 0:05:32 | 0:05:33 | |
POLICE SIREN WAILS | 0:05:50 | 0:05:52 | |
RAISED VOICES AND SCREAMS | 0:06:05 | 0:06:08 | |
WOMAN SOBS | 0:06:29 | 0:06:31 | |
Let's go! | 0:06:42 | 0:06:43 | |
-We're first! -No shit. Get a shot on the other side. | 0:06:46 | 0:06:49 | |
All right, all right. | 0:06:49 | 0:06:51 | |
Get a shot inside the car. | 0:06:53 | 0:06:54 | |
Go around, get inside the car - the fuck I'm paying you for? | 0:06:58 | 0:07:01 | |
-Get back, Loder. Get back, get back. -I'm back, I'm back, I'm back. | 0:07:08 | 0:07:12 | |
POLICE AND AMBULANCE SIRENS WAIL | 0:07:21 | 0:07:24 | |
JET ENGINE OVERHEAD | 0:07:29 | 0:07:32 | |
Excuse me? | 0:07:35 | 0:07:37 | |
Will this be on television? | 0:07:37 | 0:07:39 | |
Morning news. If it bleeds, it leads. | 0:07:39 | 0:07:41 | |
What channel? | 0:07:41 | 0:07:43 | |
Whoever pays the most. | 0:07:43 | 0:07:44 | |
What do you get for something like this? | 0:07:44 | 0:07:47 | |
Not nearly enough. | 0:07:48 | 0:07:50 | |
Enough to buy all that gear. | 0:07:54 | 0:07:56 | |
Let me tell you something. | 0:07:56 | 0:07:58 | |
It's a flaming asshole of a job. | 0:07:58 | 0:08:00 | |
Can I ask you, are you currently hiring? | 0:08:01 | 0:08:03 | |
Fuck no. | 0:08:05 | 0:08:06 | |
Well... | 0:08:07 | 0:08:08 | |
thank you for taking the time to discuss what you do. | 0:08:08 | 0:08:11 | |
You've been very helpful. | 0:08:11 | 0:08:12 | |
-RADIO: -..Code 3 response needed, 2-11 in progress, 239 Rosecrest. | 0:08:12 | 0:08:15 | |
Hey, we got a 2-11 on Rosecrest! Hurry your ass! | 0:08:15 | 0:08:18 | |
ENGINE STARTS | 0:08:22 | 0:08:24 | |
Coming through. | 0:08:24 | 0:08:25 | |
NEWS CHANNEL FEEDS INTERMINGLE | 0:08:38 | 0:08:42 | |
-TV: -Any family would agree - | 0:09:06 | 0:09:07 | |
Birds Eye turns vegetables you want to serve | 0:09:07 | 0:09:09 | |
into vegetables they want to eat. | 0:09:09 | 0:09:12 | |
Birds Eye - now dinner's complete. | 0:09:12 | 0:09:15 | |
TV NEWS FANFARE | 0:09:15 | 0:09:17 | |
Live from the CBS Broadcast Center in Los Angeles, | 0:09:17 | 0:09:21 | |
this is CBS2 News at 6am - | 0:09:21 | 0:09:24 | |
coverage you can count on. | 0:09:24 | 0:09:26 | |
Good morning, everyone. Thanks for joining us. I'm Pat Harvey. | 0:09:28 | 0:09:31 | |
Hope your day's getting off to a good start. I'm Kent Shocknek. | 0:09:31 | 0:09:33 | |
An unclaimed mega-millions ticket sold at a 7-11 in south San Diego | 0:09:33 | 0:09:37 | |
is worth a whopping 266 million. | 0:09:37 | 0:09:39 | |
The question is, is it yours? | 0:09:39 | 0:09:41 | |
We'll have the numbers coming up... | 0:09:41 | 0:09:43 | |
..evidence has police hunting for one of their own. | 0:09:43 | 0:09:45 | |
A fast-moving bank robber in Sylmar didn't move fast enough | 0:09:45 | 0:09:48 | |
and we'll explain how the FBI... | 0:09:48 | 0:09:50 | |
A landmark court decision, Lisa, has cyber-music fans singing the blues. | 0:09:50 | 0:09:54 | |
Ouch! I may have to budget more for my music! | 0:09:54 | 0:09:57 | |
..closet space... | 0:09:57 | 0:09:58 | |
..twisted metal, a shattered life, all of it caught on tape last night, | 0:09:58 | 0:10:02 | |
at the scene of a fiery one-car collision, out on the 110. | 0:10:02 | 0:10:05 | |
Melinda Flores of Yorba Linda. She was severely injured, | 0:10:05 | 0:10:08 | |
but somehow managed to escape with her life, | 0:10:08 | 0:10:10 | |
thanks to the bravery of a couple of CHP officers. | 0:10:10 | 0:10:13 | |
The crash started a fire that then quickly consumed the entire vehicle. | 0:10:13 | 0:10:16 | |
And, as we see in this dramatic video, | 0:10:16 | 0:10:19 | |
CHP officers Mike Tully and John Wall | 0:10:19 | 0:10:21 | |
risked their lives to save the single mom. | 0:10:21 | 0:10:23 | |
Flores was transferred to St Joseph's hospital | 0:10:23 | 0:10:26 | |
in serious but stable condition, after suffering smoke inhalation. | 0:10:26 | 0:10:30 | |
LOCK CLICKS | 0:10:53 | 0:10:55 | |
I don't know. | 0:11:09 | 0:11:10 | |
I'll give you 500. | 0:11:10 | 0:11:11 | |
This is a custom racing bicycle, sir, | 0:11:11 | 0:11:13 | |
designed for competitive road cycling. | 0:11:13 | 0:11:15 | |
This bike has a lightweight, space-age carbon frame | 0:11:15 | 0:11:17 | |
and handlebars positioned to put the rider in a more aerodynamic posture. | 0:11:17 | 0:11:21 | |
It also has micro-shifters and 37 gears and weighs under 6lb. | 0:11:21 | 0:11:24 | |
I won the Tour de Mexico on this bike. | 0:11:24 | 0:11:26 | |
700 is as high as I'll go. | 0:11:26 | 0:11:28 | |
-It cost me over 8,000 new. -700. | 0:11:30 | 0:11:32 | |
2,500 and that's giving it away. | 0:11:32 | 0:11:34 | |
No bike's got 37 gears. | 0:11:34 | 0:11:35 | |
2,000? | 0:11:37 | 0:11:39 | |
No. | 0:11:39 | 0:11:41 | |
Could I please speak to your boss, please? | 0:11:41 | 0:11:43 | |
I'm the owner. | 0:11:43 | 0:11:44 | |
How about 800 in store credit? | 0:11:47 | 0:11:50 | |
What are you after? | 0:11:50 | 0:11:51 | |
A camcorder and a police scanner. | 0:11:51 | 0:11:53 | |
-DISPATCHER: -'7-8-76, Roger, David 1-0-9-9-9-6-5, | 0:11:56 | 0:12:01 | |
'checking into the IC.' | 0:12:01 | 0:12:02 | |
'8-8-59, 1 Lincoln Adam David Young, John 1. | 0:12:05 | 0:12:07 | |
'Auto not on file.' | 0:12:07 | 0:12:09 | |
SCANNER BEEPS | 0:12:14 | 0:12:15 | |
'Any north-east unit, 4-15, fight at 1-3-9-3-2 Tularosa Drive. | 0:12:15 | 0:12:19 | |
'Suspect number one, male, black. | 0:12:19 | 0:12:21 | |
'Suspect number two, male black juvenile. | 0:12:21 | 0:12:23 | |
'No further description. Code 2, Incident 3-6-7-9. RD 11-25.' | 0:12:23 | 0:12:27 | |
CHATTER ON RADIO | 0:12:32 | 0:12:34 | |
DISTANT SHOUTING | 0:12:36 | 0:12:38 | |
Hey, who the hell are you?! | 0:12:40 | 0:12:42 | |
-Freelance. -What are you doing? | 0:12:42 | 0:12:44 | |
-Uh, filming for TV. -No, back away. | 0:12:44 | 0:12:46 | |
-What's happening? -I said, turn around and leave. | 0:12:46 | 0:12:49 | |
-I'm fairly certain I'm allowed to film this. -Film what? | 0:12:49 | 0:12:53 | |
I don't know. What's happening? | 0:12:53 | 0:12:55 | |
Walk away or get arrested for obstruction! | 0:12:55 | 0:12:57 | |
-Yes, officer. -Hurry up. Get out of here. | 0:12:57 | 0:13:00 | |
Blow, blow, blow, blow, blow. Almost, almost. | 0:13:02 | 0:13:05 | |
Move that camera... Man, you'd better back up! | 0:13:05 | 0:13:08 | |
Leave! | 0:13:08 | 0:13:09 | |
You think I'm playing with you? | 0:13:09 | 0:13:11 | |
SCANNER BEEPS | 0:13:13 | 0:13:15 | |
'..units, a 2-11 just occurred, Western and 3rd. | 0:13:15 | 0:13:18 | |
'Suspect last seen northbound... Code 3, incident 4-2-5-9, ID 7-03.' | 0:13:18 | 0:13:25 | |
POLICE SIREN WAILS | 0:13:25 | 0:13:27 | |
-Breathing is very shallow. -Got a sucking chest wound here, guys. | 0:13:47 | 0:13:51 | |
-Get a dressing on it. -Yeah. | 0:13:53 | 0:13:55 | |
-We're losing him. -He's bleeding out. | 0:14:02 | 0:14:04 | |
-I got no pulse here. -Non-responsive. | 0:14:10 | 0:14:13 | |
Get back! You, get back! | 0:14:13 | 0:14:15 | |
Get the fuck back, now! | 0:14:16 | 0:14:18 | |
-Capisce? -OK. | 0:14:18 | 0:14:20 | |
Shit. | 0:14:20 | 0:14:22 | |
-Get back, 100 feet back! -Now! | 0:14:22 | 0:14:24 | |
You get back, too. 100 feet. | 0:14:24 | 0:14:26 | |
Fucking asshole, you shut it down. | 0:14:27 | 0:14:29 | |
I had a great fucking angle back there, till you crowded in. | 0:14:29 | 0:14:31 | |
Get the fuck home. There's people trying to do their fucking job. | 0:14:31 | 0:14:34 | |
Fucking asshole. | 0:14:34 | 0:14:35 | |
Yeah, it's Ace Video. Your lead's going to be at 1st and Western. | 0:14:38 | 0:14:41 | |
Yeah, you want to get there. | 0:14:41 | 0:14:42 | |
It's a shooting. I got some great footage of a victim being treated. | 0:14:42 | 0:14:45 | |
No, the LAPD hasn't released it, but a manager at a Walgreens | 0:14:47 | 0:14:49 | |
says it's a carjacking and the victim is the owner. | 0:14:49 | 0:14:51 | |
He's Asian and critical. All right. | 0:14:51 | 0:14:54 | |
Look, I got a 60-second cut with the manager and a neighbour. | 0:14:54 | 0:14:57 | |
500. Well, then, make me a deal - 400. | 0:14:58 | 0:15:01 | |
300? All right, deal. | 0:15:02 | 0:15:03 | |
Are you fucking kidding me? | 0:15:06 | 0:15:08 | |
Get out of here! | 0:15:08 | 0:15:09 | |
We're leading with the shooting in Downey. | 0:15:49 | 0:15:51 | |
She wants a stand-up in every story. | 0:15:51 | 0:15:53 | |
Oh, excuse me. | 0:15:59 | 0:16:01 | |
Excuse me, I have video footage. | 0:16:02 | 0:16:05 | |
Er, down the hall, to the right. | 0:16:05 | 0:16:06 | |
-Right. -OK. Put the neighbour here | 0:16:11 | 0:16:13 | |
and the kids with their mother by the door. | 0:16:13 | 0:16:15 | |
You can get it back from 2:16. | 0:16:15 | 0:16:16 | |
-Yeah. -And then I want to lay in some nat sound. | 0:16:16 | 0:16:18 | |
Let's loop the neighbour's dog barking and then try taking | 0:16:18 | 0:16:21 | |
the crying kid from B roll and dropping that in the background. | 0:16:21 | 0:16:24 | |
Got it. | 0:16:24 | 0:16:25 | |
You my fill-in operator? | 0:16:25 | 0:16:26 | |
I don't think so. | 0:16:26 | 0:16:28 | |
I'm Lou Bloom. I have some footage for sale. | 0:16:28 | 0:16:30 | |
A stringer? | 0:16:30 | 0:16:32 | |
-What? -Who do you work for? | 0:16:32 | 0:16:33 | |
At the moment, I work for myself. | 0:16:36 | 0:16:38 | |
See Frank - out there, the way you came. | 0:16:38 | 0:16:41 | |
-Uh, what's it timed to? -1:06. | 0:16:41 | 0:16:44 | |
What do you have? | 0:16:44 | 0:16:46 | |
Something I'm fairly certain you'll be very excited about. | 0:16:48 | 0:16:51 | |
What is it? | 0:16:51 | 0:16:52 | |
It's a shooting. | 0:16:52 | 0:16:54 | |
A man was shot, several times in fact. | 0:16:54 | 0:16:56 | |
He's laying on the ground. He's bleeding on the ground. | 0:16:56 | 0:16:58 | |
I'd be surprised if he survived, honestly. | 0:16:58 | 0:17:00 | |
He was shot during a carjacking. | 0:17:00 | 0:17:02 | |
Western and 1st? | 0:17:02 | 0:17:03 | |
Yes, that's right. | 0:17:03 | 0:17:04 | |
OK, well, we're getting that from Ace. | 0:17:04 | 0:17:06 | |
I was there - I was much closer to what happened. | 0:17:06 | 0:17:09 | |
HE CHUCKLES | 0:17:09 | 0:17:10 | |
OK, OK. Let's see it. | 0:17:10 | 0:17:12 | |
Fast forward through this. | 0:17:16 | 0:17:18 | |
Keep going, keep going. | 0:17:20 | 0:17:22 | |
-'Walk away or I'll arrest you for obstruct... -Get out of here!' -A minute-and-a-half in. | 0:17:22 | 0:17:26 | |
VOICES BLUR IN FAST FORWARD | 0:17:26 | 0:17:28 | |
Uh, there. | 0:17:29 | 0:17:31 | |
-'I got no pulse here.' -Oh, fuck. | 0:17:31 | 0:17:33 | |
I need you to see something. | 0:17:36 | 0:17:37 | |
-Yeah? -Lou Bloom, Frank Kruse, our assignment editor. | 0:17:45 | 0:17:49 | |
Play it back. | 0:17:49 | 0:17:50 | |
'I got no pulse here.' | 0:17:53 | 0:17:54 | |
That's the lead. | 0:17:56 | 0:17:58 | |
I want to break it up and do a wraparound from the scene. | 0:17:58 | 0:18:00 | |
I want a walking stand-up, teaser at five, repeat on the half | 0:18:00 | 0:18:03 | |
and I want the copy to start with a warning. | 0:18:03 | 0:18:04 | |
-You're going to show this? -With a warning. | 0:18:04 | 0:18:06 | |
-It's excessive. -We should have packages like this every day. | 0:18:06 | 0:18:09 | |
People are eating breakfast. | 0:18:09 | 0:18:10 | |
And they'll talk about it at work. | 0:18:10 | 0:18:12 | |
Tie it in with the carjacking last month in Glendale | 0:18:12 | 0:18:14 | |
and the other one, the van in Palms. | 0:18:14 | 0:18:16 | |
-When was that? March? -March, yeah. | 0:18:16 | 0:18:18 | |
It's a carjacking crime wave. That's the banner. | 0:18:18 | 0:18:22 | |
Call the victim's family. | 0:18:22 | 0:18:23 | |
-Get a quote, mic it - you know what to do. -Yeah. | 0:18:23 | 0:18:25 | |
How much? | 0:18:27 | 0:18:28 | |
I'm selling this particular piece for 1,000. | 0:18:28 | 0:18:30 | |
Not even close. This late, you have nowhere else to go - | 0:18:30 | 0:18:33 | |
and the quality's for shit. | 0:18:33 | 0:18:35 | |
I'll give you 250, that's the most I'll do. | 0:18:35 | 0:18:37 | |
Now, let's get you paid. | 0:18:37 | 0:18:38 | |
Here you go. | 0:18:40 | 0:18:42 | |
Buy yourself some better equipment, a directional mic, | 0:18:42 | 0:18:44 | |
and get interviews when you can. | 0:18:44 | 0:18:46 | |
-You have a good eye. -Thank you. | 0:18:46 | 0:18:47 | |
I'm just beginning, so praise from someone such as yourself - | 0:18:47 | 0:18:50 | |
well, you can imagine that it means quite a lot. | 0:18:50 | 0:18:52 | |
Well, I'll help in any way I can. | 0:18:52 | 0:18:54 | |
And, of course, you can help me by calling us first. | 0:18:54 | 0:18:57 | |
I want you to contact me when you have something. | 0:18:57 | 0:18:59 | |
-Something like this? -That's right. | 0:18:59 | 0:19:00 | |
Bloody? | 0:19:00 | 0:19:02 | |
Well, that's only part of it. We like crime - not all crime. | 0:19:02 | 0:19:06 | |
Carjacking in Compton, for example - that isn't news, now, is it? | 0:19:06 | 0:19:09 | |
We find our viewers are more interested in urban crime | 0:19:09 | 0:19:12 | |
creeping into the suburbs. | 0:19:12 | 0:19:15 | |
What that means is a victim or victims, | 0:19:15 | 0:19:17 | |
preferably well-off and white, | 0:19:17 | 0:19:19 | |
injured at the hands of the poor or a minority. | 0:19:19 | 0:19:22 | |
Just crime? | 0:19:22 | 0:19:24 | |
No. Accidents play - cars, buses, trains, planes, fires... | 0:19:24 | 0:19:27 | |
But bloody? | 0:19:27 | 0:19:29 | |
Well, graphic. | 0:19:30 | 0:19:32 | |
The best and clearest way that I can phrase it to you, Lou, | 0:19:32 | 0:19:34 | |
to capture the spirit of what we air, | 0:19:34 | 0:19:37 | |
is think of our newscast as a screaming woman | 0:19:37 | 0:19:40 | |
running down the street with her throat cut. | 0:19:40 | 0:19:42 | |
I understand. | 0:19:42 | 0:19:43 | |
I'm a very, very quick learner. | 0:19:44 | 0:19:46 | |
You will be seeing me again. | 0:19:46 | 0:19:48 | |
I believe you. | 0:19:48 | 0:19:50 | |
TV NEWS FANFARE | 0:19:54 | 0:19:57 | |
'Live from the KWLA Broadcast Center in Los Angeles, | 0:19:57 | 0:20:00 | |
'this is KWLA 6 News at 6am - | 0:20:00 | 0:20:03 | |
'coverage you can count on. | 0:20:03 | 0:20:05 | |
A tragic drugstore visit to help his ailing wife | 0:20:07 | 0:20:10 | |
claimed the life of a loving husband last night, | 0:20:10 | 0:20:12 | |
near Hancock Park. | 0:20:12 | 0:20:13 | |
Reporting from the scene is Ron de la Cruz. | 0:20:13 | 0:20:16 | |
An act of kindness turned into a savage, deadly attack, | 0:20:16 | 0:20:19 | |
just outside this market on Western and 1st around 2am, | 0:20:19 | 0:20:22 | |
when 68-year-old Richard Cho of Mar Vista | 0:20:22 | 0:20:25 | |
was walking towards his car with a prescription for his sick wife, | 0:20:25 | 0:20:28 | |
when he was confronted right here by a man with a 9mm handgun | 0:20:28 | 0:20:32 | |
police believe wanted to take his vehicle. | 0:20:32 | 0:20:35 | |
The vicious tragedy and senselessness | 0:20:35 | 0:20:37 | |
of the brutal shooting as well as the victim's final moments | 0:20:37 | 0:20:40 | |
were all caught in graphic video, which we are about to show. | 0:20:40 | 0:20:43 | |
Viewer discretion is advised. | 0:20:43 | 0:20:46 | |
Paramedics worked feverishly to save the life of Richard Cho. | 0:20:46 | 0:20:49 | |
But, despite heroic efforts, the husband and father of three | 0:20:49 | 0:20:53 | |
was pronounced dead at Good Samaritan Hospital. | 0:20:53 | 0:20:55 | |
Alarmingly, this is the third violent carjacking in the area | 0:20:55 | 0:20:59 | |
in recent months and residents here are growing concerned, | 0:20:59 | 0:21:02 | |
as police are still without any leads. | 0:21:02 | 0:21:05 | |
This is Ron de la Cruz, reporting live. | 0:21:05 | 0:21:07 | |
POLICE SCANNER CHATTER | 0:21:23 | 0:21:26 | |
'22-20 South Beverly, Glen Boulevard.' | 0:21:46 | 0:21:49 | |
'Burglar alarm, all companies return course.' | 0:21:49 | 0:21:51 | |
'Any Hollywood unit, Code 37, last seen northbound La Brea, | 0:21:55 | 0:21:58 | |
'blue Prius, no suspect description. | 0:21:58 | 0:22:01 | |
'Code 2, incident 2-4-7-5, RD 6-9-3.' | 0:22:01 | 0:22:03 | |
LOU LAUGHS | 0:22:16 | 0:22:18 | |
Hey, I'm sorry I'm late. | 0:22:36 | 0:22:38 | |
-Are you Richard? -Uh, Rick. | 0:22:38 | 0:22:39 | |
I'm Louis Bloom. | 0:22:39 | 0:22:41 | |
-Hey, Lou. -Louis. | 0:22:41 | 0:22:43 | |
Sit down. | 0:22:43 | 0:22:44 | |
The situation is that I lost an employee | 0:22:48 | 0:22:51 | |
and I'm interviewing for a replacement. | 0:22:51 | 0:22:53 | |
OK, uh, the ad didn't say what the job was. | 0:22:53 | 0:22:56 | |
It's a fine opportunity for some lucky someone. | 0:22:56 | 0:23:00 | |
OK. | 0:23:00 | 0:23:01 | |
I'd like to know about your prior employment and hear, | 0:23:01 | 0:23:04 | |
in your own words, what you learned from each position. | 0:23:04 | 0:23:07 | |
My old jobs? | 0:23:07 | 0:23:08 | |
I did landscaping for a couple months. | 0:23:10 | 0:23:13 | |
Like, mow, blow and go, you know. | 0:23:13 | 0:23:15 | |
I learned that I had hay fever, so I quit. | 0:23:18 | 0:23:21 | |
Other jobs? | 0:23:22 | 0:23:23 | |
I don't know, like, a week here, week there. | 0:23:24 | 0:23:27 | |
Why hire you? | 0:23:28 | 0:23:29 | |
Sell yourself. | 0:23:31 | 0:23:33 | |
Go. | 0:23:34 | 0:23:35 | |
OK. Well, I'm Rick, of course. | 0:23:35 | 0:23:38 | |
Uh... | 0:23:38 | 0:23:39 | |
..I took three buses to get here. | 0:23:41 | 0:23:43 | |
I finished high school. | 0:23:43 | 0:23:45 | |
I need a job. I'll do pretty much anything. | 0:23:45 | 0:23:48 | |
That's me. Hire Rick, so... | 0:23:48 | 0:23:49 | |
What's your address, Richard? | 0:23:51 | 0:23:53 | |
I don't have one. Not a permanent one, I mean, right now. | 0:23:53 | 0:23:56 | |
You're homeless? | 0:23:56 | 0:23:57 | |
I was, for a while. | 0:23:57 | 0:23:59 | |
You trick. | 0:23:59 | 0:24:01 | |
-Work the street? No. -Wasn't a question. | 0:24:01 | 0:24:03 | |
I'm straight. | 0:24:03 | 0:24:04 | |
Plenty of straight guys trick. Do you have a driver's licence? | 0:24:04 | 0:24:07 | |
Yeah. | 0:24:07 | 0:24:09 | |
Do you know Los Angeles? | 0:24:09 | 0:24:10 | |
Yeah, I grew up all around here. | 0:24:10 | 0:24:12 | |
Can you start tonight? | 0:24:12 | 0:24:14 | |
Doing what? | 0:24:14 | 0:24:15 | |
I run a successful TV news business. | 0:24:18 | 0:24:21 | |
We film breaking stories. | 0:24:21 | 0:24:23 | |
Maybe you saw my item this morning of a fatal carjacking? | 0:24:23 | 0:24:27 | |
No, I mean, I don't have a TV, but that sounds cool. | 0:24:27 | 0:24:30 | |
Do you have a cellphone? | 0:24:30 | 0:24:32 | |
Yeah! | 0:24:32 | 0:24:33 | |
-Does it have GPS? -Yes, it does. | 0:24:33 | 0:24:36 | |
Congratulations, you're hired. | 0:24:36 | 0:24:37 | |
OK! | 0:24:37 | 0:24:39 | |
Your job will be to listen to the emergency radio, | 0:24:40 | 0:24:43 | |
learn police codes, | 0:24:43 | 0:24:44 | |
help navigate and watch the car. | 0:24:44 | 0:24:47 | |
OK. And what does it pay? | 0:24:48 | 0:24:50 | |
It's an internship. | 0:24:50 | 0:24:52 | |
I, uh... | 0:24:55 | 0:24:57 | |
I can't do that. I need money. | 0:24:57 | 0:25:00 | |
I'm giving you a chance to explore career options | 0:25:00 | 0:25:02 | |
and gain insight into my organisation. | 0:25:02 | 0:25:04 | |
It's not at all unusual for me | 0:25:04 | 0:25:06 | |
to make full-time-job offers to my interns. | 0:25:06 | 0:25:08 | |
No, I know, I just... | 0:25:08 | 0:25:09 | |
I...I got to get paid, like, something at least, you know? | 0:25:11 | 0:25:15 | |
I'll give you 30 cash per night. | 0:25:20 | 0:25:22 | |
OK. OK. | 0:25:23 | 0:25:25 | |
Thank you. Thanks. | 0:25:27 | 0:25:29 | |
'4-8-27 at Main and Washington, requesting Code 10 for 1. | 0:25:31 | 0:25:35 | |
'Hollenbeck, stand by. 4-8-27, go ahead.' | 0:25:35 | 0:25:38 | |
4-8-27 has requested a Code 10, | 0:25:38 | 0:25:40 | |
to clear the frequency for warrant information. | 0:25:40 | 0:25:43 | |
'4-81 prowler complaint. 6th and Rampart. | 0:25:43 | 0:25:45 | |
'Male Hispanic wearing a blue shirt. | 0:25:45 | 0:25:47 | |
'Code 2. Incident 2-1-5-6, RD 235.' | 0:25:47 | 0:25:50 | |
Code 2 is respond immediately, no lights and sirens. | 0:25:50 | 0:25:53 | |
And Code 3 is? | 0:25:53 | 0:25:54 | |
The lights and sirens...on. | 0:25:54 | 0:25:57 | |
Very good. | 0:25:57 | 0:25:59 | |
'2-A-1 responding, 6th and Rampart, Code 2.' | 0:25:59 | 0:26:02 | |
-So should we go? -No. | 0:26:02 | 0:26:04 | |
We want victims, and not the kind that live on 6th and Rampart. | 0:26:04 | 0:26:07 | |
LOU LAUGHS | 0:26:07 | 0:26:08 | |
POLICE SCANNER CHATTER | 0:26:10 | 0:26:12 | |
I'm going to go get some water. You want anything? | 0:26:20 | 0:26:23 | |
No, thank you. | 0:26:23 | 0:26:25 | |
'Rampart units, domestic violence, restraining-order violation. | 0:26:25 | 0:26:28 | |
'Suspect last seen on foot on 5th Street, towards Virgil...' | 0:26:28 | 0:26:31 | |
SCANNER BEEPS | 0:26:41 | 0:26:43 | |
'Structure fire, station 58, engine 58, | 0:26:43 | 0:26:46 | |
'task force 58, task force 43, | 0:26:46 | 0:26:48 | |
'engine 43, battalion 10. 1642...' | 0:26:48 | 0:26:52 | |
Structure fire! | 0:26:52 | 0:26:53 | |
Seat belt, seat belt, seat belt. | 0:27:00 | 0:27:02 | |
Where are we going? | 0:27:08 | 0:27:09 | |
Uh, we're taking the next right coming up. Slow down, man. | 0:27:09 | 0:27:13 | |
That's too fast, dude! | 0:27:13 | 0:27:14 | |
Talk to me, Richard. Talk to me, Richard. What next? | 0:27:18 | 0:27:21 | |
Uh, next left, coming up. | 0:27:21 | 0:27:22 | |
TYRES SQUEAL AND HORNS BLARE | 0:27:23 | 0:27:25 | |
I need more warning next time. Where are we going? | 0:27:27 | 0:27:29 | |
Talk to me! What's next? | 0:27:29 | 0:27:31 | |
OK, keeping on this - five, no, six blocks, then a right... | 0:27:31 | 0:27:34 | |
On what? | 0:27:34 | 0:27:36 | |
I made a mistake! It's right five blocks back! | 0:27:36 | 0:27:39 | |
It's just five blocks. | 0:27:41 | 0:27:43 | |
Did they bring them out? | 0:27:56 | 0:27:57 | |
Ambulance left two minutes ago. You're a lifetime too late. | 0:27:57 | 0:28:00 | |
Nice camera! | 0:28:00 | 0:28:01 | |
LODER CHUCKLES | 0:28:01 | 0:28:03 | |
I bet I wasted 5 of gas just getting here, | 0:28:20 | 0:28:22 | |
or don't you think that's a lot of money? | 0:28:22 | 0:28:24 | |
I'm sorry. I couldn't see the screen, you were driving so fast. | 0:28:24 | 0:28:28 | |
OK, first of all, Richard, | 0:28:29 | 0:28:31 | |
don't answer me by telling me a problem. | 0:28:31 | 0:28:34 | |
I have enough of those already. | 0:28:34 | 0:28:35 | |
Bring me a solution and then we can make a decision together. | 0:28:35 | 0:28:39 | |
Look, maybe if you didn't rush me... | 0:28:39 | 0:28:41 | |
Don't rush you? OK. I can use that. | 0:28:44 | 0:28:46 | |
See, Rick, they've done studies, | 0:28:47 | 0:28:50 | |
and they found that in any system that relies on cooperation - | 0:28:50 | 0:28:52 | |
from a school of fish, say, | 0:28:52 | 0:28:54 | |
or even a professional hockey team, for example - | 0:28:54 | 0:28:56 | |
these experts have identified communication | 0:28:56 | 0:28:59 | |
as the number one single key to success. | 0:28:59 | 0:29:01 | |
Do you know what fear stands for? | 0:29:08 | 0:29:11 | |
What? | 0:29:11 | 0:29:12 | |
False Evidence Appearing Real. | 0:29:12 | 0:29:14 | |
You're going really fucking fast, dude. | 0:29:17 | 0:29:19 | |
Get out of your head, Rick. It's a bad neighbourhood. | 0:29:19 | 0:29:22 | |
Now, when you get a chance, I'd like to know where we're going. | 0:29:22 | 0:29:25 | |
Uh, left on 3rd, six blocks. | 0:29:25 | 0:29:26 | |
TYRES SQUEAL | 0:29:28 | 0:29:29 | |
Find a more appropriate place to park the car, don't get blocked in. | 0:29:32 | 0:29:36 | |
Sir, what's going on? | 0:29:44 | 0:29:46 | |
Who the fuck are you? | 0:29:46 | 0:29:47 | |
TV news. What happened? | 0:29:52 | 0:29:54 | |
There was a shooting. | 0:29:54 | 0:29:56 | |
I told the cops that he was waving a gun last week, | 0:29:56 | 0:29:59 | |
but they didn't fucking care. | 0:29:59 | 0:30:01 | |
Can you try one more time, without swearing? | 0:30:01 | 0:30:03 | |
-I'm not doing it again. -This is for... This is for TV. | 0:30:03 | 0:30:06 | |
Yeah? I don't have a TV. | 0:30:06 | 0:30:08 | |
It's over. | 0:30:17 | 0:30:19 | |
Shot the place to shit. | 0:30:19 | 0:30:21 | |
Great shot. | 0:31:39 | 0:31:40 | |
Oh, that's fantastic. | 0:31:43 | 0:31:45 | |
Oh, that's a great piece of tape. | 0:31:45 | 0:31:48 | |
You didn't get an interview with the couple? | 0:31:48 | 0:31:50 | |
I have footage of them. | 0:31:50 | 0:31:52 | |
I have an interview with a neighbour. | 0:31:52 | 0:31:53 | |
She curses, but you can cut that out. | 0:31:53 | 0:31:55 | |
How did you get inside the house? | 0:31:55 | 0:31:56 | |
-The door was open. -They allowed you? | 0:31:56 | 0:31:58 | |
I heard somebody yell to come in and when nobody was inside I left. | 0:31:58 | 0:32:01 | |
And the only shot of the couple is through a window? | 0:32:01 | 0:32:03 | |
-The police were shutting it down. -No, I don't like it. -Like what? | 0:32:03 | 0:32:06 | |
The footage looks like he broke in. | 0:32:06 | 0:32:07 | |
There's no close-up of the homeowners and he's giving us | 0:32:07 | 0:32:10 | |
-their name off a piece of private correspondence. -Excuse me, that's junk mail. | 0:32:10 | 0:32:13 | |
-Well, I have a problem with that. -We'll knock out a killer package. | 0:32:13 | 0:32:16 | |
-This is my job. -No - your job's writing the tweet of the day | 0:32:16 | 0:32:19 | |
and getting Deb to turn sideways during the weather forecast. | 0:32:19 | 0:32:22 | |
We're running it. | 0:32:22 | 0:32:24 | |
I like how you handled Frank. | 0:32:24 | 0:32:26 | |
You didn't soften the truth or dilute it. | 0:32:26 | 0:32:28 | |
I think being clear with your objectives is more important | 0:32:28 | 0:32:30 | |
than trying to present your ideas in a non-confrontational manner. | 0:32:30 | 0:32:34 | |
Do you have experience in an office? | 0:32:34 | 0:32:36 | |
Myself? Not presently, no. | 0:32:36 | 0:32:38 | |
Where'd you get all that? | 0:32:38 | 0:32:39 | |
-I study a lot online. -Yeah? Like what? | 0:32:39 | 0:32:42 | |
All sorts of things, actually. I'm on my computer all day. | 0:32:42 | 0:32:44 | |
I haven't had what you'd call much of a formal education, | 0:32:46 | 0:32:48 | |
but you can find most anything if you look hard enough. | 0:32:48 | 0:32:51 | |
Last year, I took an online business course, for example. | 0:32:58 | 0:33:01 | |
And I learned that you have to have a business plan | 0:33:01 | 0:33:05 | |
before starting a business. | 0:33:05 | 0:33:06 | |
Why you pursue something is equally as important as what you pursue. | 0:33:06 | 0:33:10 | |
The site advised you to answer the following question, | 0:33:12 | 0:33:16 | |
before you decide where to focus your abilities. | 0:33:16 | 0:33:19 | |
The question was, "What do I love to do?" | 0:33:19 | 0:33:22 | |
The site suggested making a list of your strengths and weaknesses - | 0:33:23 | 0:33:26 | |
what am I good at? What am I not good at? | 0:33:26 | 0:33:29 | |
Maybe I want to strengthen and develop knowledge | 0:33:29 | 0:33:31 | |
about the things I'm already good at, | 0:33:31 | 0:33:33 | |
maybe I might want to strengthen my weaknesses. | 0:33:33 | 0:33:35 | |
I recently remade my list... | 0:33:41 | 0:33:42 | |
..and I'm thinking that television news... | 0:33:44 | 0:33:48 | |
..might just be something I love, | 0:33:49 | 0:33:51 | |
as well as something I happen to be good at. | 0:33:51 | 0:33:54 | |
On TV, it looks so real. | 0:34:07 | 0:34:09 | |
Yes, it does. | 0:34:10 | 0:34:11 | |
Well, I have a show to do. | 0:34:14 | 0:34:15 | |
Your cheque's at the desk. | 0:34:15 | 0:34:17 | |
Outstanding work, Lou. Really, just great. | 0:34:18 | 0:34:21 | |
Thanks, Nina. That means an awful lot. | 0:34:21 | 0:34:23 | |
(OK.) | 0:34:25 | 0:34:26 | |
It's every parent's nightmare. | 0:34:50 | 0:34:51 | |
Imagine singing a lullaby to your infant | 0:34:51 | 0:34:54 | |
and tucking them into bed and then having to shield them, | 0:34:54 | 0:34:56 | |
as a barrage of high-calibre bullets | 0:34:56 | 0:34:58 | |
literally blast into your home. | 0:34:58 | 0:35:00 | |
For the Cahills of Echo Park, | 0:35:00 | 0:35:01 | |
that fear became a terrifying reality, | 0:35:01 | 0:35:04 | |
when an adjacent house became the setting for a scene | 0:35:04 | 0:35:07 | |
right out of the Wild West. | 0:35:07 | 0:35:09 | |
Rick, I'm very pleased with how you've progressed | 0:37:05 | 0:37:08 | |
and you're doing a great job. | 0:37:08 | 0:37:09 | |
However, you just spilled gasoline on my car, which will eat the paint. | 0:37:09 | 0:37:12 | |
I need you to tighten up a bit on this, because if you fill it like that again, | 0:37:12 | 0:37:15 | |
I will terminate you immediately, I promise you. | 0:37:15 | 0:37:18 | |
POLICE SCANNER CHATTER | 0:37:30 | 0:37:32 | |
Bed, Bath and Beyond. | 0:37:50 | 0:37:53 | |
Oh, that's a good store. | 0:37:53 | 0:37:55 | |
Making peace with what you don't have - that's what it's all about. | 0:37:57 | 0:38:01 | |
Living with what you ain't got, right? | 0:38:01 | 0:38:04 | |
Don't you think? | 0:38:04 | 0:38:05 | |
'Traffic units, ambulance traffic, Benedict Canyon. | 0:38:05 | 0:38:08 | |
'Overturned vehicle with injuries...' | 0:38:08 | 0:38:10 | |
Crash with injuries, good neighbourhood... | 0:38:10 | 0:38:12 | |
ENGINE ROARS | 0:38:12 | 0:38:13 | |
TV news. What happened? | 0:38:15 | 0:38:17 | |
Uh... I think it was a head-on collision | 0:38:17 | 0:38:19 | |
and then there's a guy who's dead, who's over there, there's a woman... | 0:38:19 | 0:38:22 | |
-Did you see it happen? -I didn't see, I came after. | 0:38:22 | 0:38:24 | |
Can you tell me exactly what happened? | 0:38:24 | 0:38:25 | |
Will you get that camera out of my face?! Get it out! | 0:38:25 | 0:38:28 | |
I'm trying to talk to 911! | 0:38:28 | 0:38:30 | |
No, it's at... The guy's down... | 0:38:30 | 0:38:33 | |
SIRENS APPROACH | 0:39:57 | 0:39:59 | |
Son of a bitch... | 0:40:31 | 0:40:32 | |
Ah, fuck this. | 0:40:34 | 0:40:35 | |
Here you go. | 0:40:37 | 0:40:39 | |
Ben Waterman wears the same gold tie on Fridays. | 0:40:42 | 0:40:45 | |
We're leading with it. That's your third start this week. | 0:40:45 | 0:40:49 | |
I'm focusing on framing. | 0:40:49 | 0:40:51 | |
A proper frame not only draws the eye into a picture, | 0:40:51 | 0:40:54 | |
but keeps it there longer, dissolving the barrier | 0:40:54 | 0:40:56 | |
between the subject and the outside of the frame. | 0:40:56 | 0:41:00 | |
Is that blood on your shirt? | 0:41:00 | 0:41:02 | |
I don't think so. | 0:41:03 | 0:41:04 | |
You know, I recently heard about a Mexican restaurant called Cabanita. | 0:41:05 | 0:41:08 | |
Have you heard of it? | 0:41:08 | 0:41:09 | |
It's also on your sleeve. | 0:41:09 | 0:41:11 | |
Oh, I didn't see that. | 0:41:12 | 0:41:14 | |
What I'm asking is, do you like Mexican food, Nina? | 0:41:16 | 0:41:20 | |
Yes. | 0:41:20 | 0:41:21 | |
Cabanita has been called an authentic taste of Mexico City. | 0:41:24 | 0:41:27 | |
Do you want to go with me? I think we could have fun together. | 0:41:30 | 0:41:33 | |
Thanks, but I'm busy. | 0:41:33 | 0:41:35 | |
Saturday's your night off, isn't it? | 0:41:35 | 0:41:36 | |
I have a rule, Lou. I... | 0:41:36 | 0:41:38 | |
I don't date people I work with. | 0:41:38 | 0:41:40 | |
And I'm twice your age. | 0:41:40 | 0:41:42 | |
I like older women. | 0:41:42 | 0:41:44 | |
Besides, I don't work with you, you're someone I sell to. | 0:41:44 | 0:41:47 | |
And I don't want to fuck that up. | 0:41:47 | 0:41:48 | |
What if, by saying "no", you fuck it up? | 0:41:48 | 0:41:50 | |
Is that what you're saying? | 0:41:53 | 0:41:55 | |
I didn't SAY that. | 0:41:56 | 0:41:58 | |
HE CHUCKLES | 0:41:58 | 0:41:59 | |
Well, I don't know what to say. | 0:42:01 | 0:42:03 | |
Good morning, thank you for joining us, I'm Lisa Mays. | 0:42:04 | 0:42:07 | |
And I'm Ben Waterman. First up this morning on KWLA News, | 0:42:07 | 0:42:10 | |
a horrible car crash over in Benedict Canyon - | 0:42:10 | 0:42:13 | |
it's claimed the life now of one man, severely injured a young woman. | 0:42:13 | 0:42:16 | |
Hey, Lou! | 0:42:18 | 0:42:19 | |
Hey, man. Joe Loder. Mayhem. | 0:42:21 | 0:42:24 | |
Great get tonight. | 0:42:24 | 0:42:25 | |
They were closing it down by the time we showed up. | 0:42:25 | 0:42:28 | |
Were you waiting for me out here? | 0:42:28 | 0:42:30 | |
No, I was driving by and saw your car. | 0:42:30 | 0:42:32 | |
You're not dropping your shit off, are you? Nobody does that. | 0:42:32 | 0:42:35 | |
You need an AirCard if you want to be in the game. | 0:42:35 | 0:42:37 | |
Import the video to your laptop, cut the video, upload to your FTP site | 0:42:37 | 0:42:42 | |
and notify the stations you got something for sale. | 0:42:42 | 0:42:44 | |
Boom-boom-boom. | 0:42:44 | 0:42:46 | |
Otherwise, it's a nice ride. | 0:42:46 | 0:42:47 | |
Listen, man. You got a good run going, | 0:42:48 | 0:42:51 | |
but there's valleys out there. | 0:42:51 | 0:42:52 | |
Take it from me, I've been nightcrawling 14 years. | 0:42:52 | 0:42:55 | |
You heard I'm adding a second van? | 0:42:55 | 0:42:56 | |
Oh, I didn't hear that. | 0:42:56 | 0:42:58 | |
Going to be a game changer - | 0:42:58 | 0:43:00 | |
cut my on-scene time in half. | 0:43:00 | 0:43:02 | |
I'm setting up a dedicated dispatch, too. | 0:43:02 | 0:43:04 | |
No more listening and driving, that's for suckers. | 0:43:04 | 0:43:06 | |
You like the Canon 305s? | 0:43:06 | 0:43:08 | |
-Never used one. -Six thou' a piece. | 0:43:08 | 0:43:10 | |
2.4 megapixels, night vision, 18-to-1 zoom. | 0:43:10 | 0:43:15 | |
I got one of those puppies with your name on it. | 0:43:15 | 0:43:17 | |
I have a camera. | 0:43:17 | 0:43:18 | |
I want you running my second van. | 0:43:18 | 0:43:21 | |
Two crews, half the area to cover. | 0:43:21 | 0:43:22 | |
Now, I know what you're thinking - half the money, right? | 0:43:22 | 0:43:25 | |
You should be thinking twice the sales, | 0:43:25 | 0:43:27 | |
cos we're going to be the first at every scene. | 0:43:27 | 0:43:30 | |
Why compete when we can work together? | 0:43:30 | 0:43:32 | |
You can share my press cards, puppy dog off my police connections. | 0:43:32 | 0:43:36 | |
This is the big move. The next level. | 0:43:36 | 0:43:38 | |
We can corner this whole thing. | 0:43:38 | 0:43:39 | |
I'm talking about putting some heavy digits in our pocket, bro. | 0:43:39 | 0:43:42 | |
Thank you for offering me the position, | 0:43:42 | 0:43:44 | |
but working for myself is more in line | 0:43:44 | 0:43:46 | |
with my skills and career goals. | 0:43:46 | 0:43:48 | |
Take a few days to think about it. | 0:43:49 | 0:43:51 | |
No. | 0:43:51 | 0:43:52 | |
You'll need to hire someone else and I don't want to hold up the process. | 0:43:52 | 0:43:55 | |
You want to be on the inside of this, man, | 0:43:55 | 0:43:57 | |
cos I'm going to be tag-teaming every call. | 0:43:57 | 0:44:00 | |
You keep talking like... | 0:44:00 | 0:44:02 | |
it's something I may be interested in, but I'm not. | 0:44:02 | 0:44:04 | |
You don't even understand the offer. | 0:44:04 | 0:44:07 | |
If you did you'd be fucking sucking my dick! | 0:44:07 | 0:44:09 | |
You're asking me questions - | 0:44:09 | 0:44:10 | |
what does this mean? What does that mean? | 0:44:10 | 0:44:12 | |
I feel like grabbing you by your ears right now | 0:44:12 | 0:44:16 | |
and screaming in your face, | 0:44:16 | 0:44:18 | |
"I'm not fucking interested." | 0:44:18 | 0:44:20 | |
Instead, I'm going to drive home and do some accounting. | 0:44:22 | 0:44:24 | |
Fuck you! | 0:44:29 | 0:44:30 | |
Twerp! | 0:44:30 | 0:44:31 | |
MEXICAN MUSIC PLAYS | 0:44:36 | 0:44:39 | |
I didn't wake up till five. | 0:44:44 | 0:44:46 | |
My body's so off, I feel like it's time for breakfast. | 0:44:47 | 0:44:50 | |
I bet you're beautiful any time of the day. | 0:44:54 | 0:44:57 | |
In fact, | 0:44:57 | 0:44:58 | |
I'd say you're much prettier than Lisa Mays. | 0:44:58 | 0:45:01 | |
NINA LAUGHS | 0:45:01 | 0:45:02 | |
I like the dark make-up on your eyes. | 0:45:03 | 0:45:06 | |
I also like the way you smell. | 0:45:06 | 0:45:07 | |
So where are you from, Lou? | 0:45:10 | 0:45:11 | |
The north end of the valley. | 0:45:13 | 0:45:15 | |
Some of the calls sometimes take me over there, | 0:45:17 | 0:45:19 | |
but nobody I know still lives out there. | 0:45:19 | 0:45:21 | |
You're from Philadelphia, Pennsylvania. | 0:45:21 | 0:45:23 | |
How do you know that? | 0:45:23 | 0:45:25 | |
It's online. | 0:45:25 | 0:45:26 | |
Everything about you is online. | 0:45:28 | 0:45:29 | |
Not everything, but definitely a lot. | 0:45:29 | 0:45:31 | |
I've watched all the videos from when you were a reporter. | 0:45:31 | 0:45:34 | |
-I'm sure you look at those, of course. -No! | 0:45:34 | 0:45:36 | |
No, God, no. Not without a drink in my hand. | 0:45:36 | 0:45:38 | |
I watch my work all the time. | 0:45:38 | 0:45:41 | |
-Yeah? Do you want to become a reporter? -No. | 0:45:41 | 0:45:43 | |
Most of you guys want airtime. | 0:45:44 | 0:45:46 | |
Not me. | 0:45:46 | 0:45:48 | |
I want to be the guy that owns the station that owns the camera. | 0:45:48 | 0:45:51 | |
The business is going well, but in order to grow to the next level | 0:45:51 | 0:45:55 | |
I need to stay one step ahead of my competition and take risks. | 0:45:55 | 0:45:58 | |
I also need financial support to implement expansion. | 0:45:58 | 0:46:02 | |
Would you like another margarita? | 0:46:02 | 0:46:04 | |
One's enough. | 0:46:05 | 0:46:07 | |
Thanks for coming out to talk. | 0:46:07 | 0:46:10 | |
The place I'm in now is that I want a relationship | 0:46:10 | 0:46:14 | |
with someone I can team up with and share, | 0:46:14 | 0:46:16 | |
like we share the same job and hours and whatnot. | 0:46:16 | 0:46:18 | |
I could go down a laundry list, but you get the idea. | 0:46:18 | 0:46:21 | |
Yes. Well, I hope you find someone. | 0:46:21 | 0:46:23 | |
Here's the thing about that, Nina. | 0:46:25 | 0:46:28 | |
I'm quite certain I already have. | 0:46:28 | 0:46:29 | |
OK... | 0:46:33 | 0:46:34 | |
Let me put this politely. | 0:46:34 | 0:46:36 | |
I only came out to dinner with you, Lou, | 0:46:36 | 0:46:38 | |
purely as a professional courtesy. | 0:46:38 | 0:46:41 | |
Thank you. | 0:46:43 | 0:46:44 | |
Because I don't think it's any secret that I've single-handedly | 0:46:46 | 0:46:49 | |
raised the unit price of your ratings book. | 0:46:49 | 0:46:51 | |
Our ratings-book price? | 0:46:53 | 0:46:55 | |
Whoa! | 0:46:55 | 0:46:57 | |
I'm a very fast learner. | 0:46:58 | 0:46:59 | |
We had a conversation where I specifically mentioned that. | 0:46:59 | 0:47:02 | |
Do you remember that? | 0:47:02 | 0:47:03 | |
-Well, do you? -Yes. | 0:47:04 | 0:47:06 | |
I recently learned, for instance, | 0:47:06 | 0:47:08 | |
that most Americans watch local news to stay informed. | 0:47:08 | 0:47:11 | |
I also learned that the average half hour | 0:47:13 | 0:47:15 | |
of Los Angeles television news | 0:47:15 | 0:47:16 | |
packs all of its local government coverage - | 0:47:16 | 0:47:18 | |
including law enforcement, budget, transportation, | 0:47:18 | 0:47:21 | |
education and immigration - into 22 seconds. | 0:47:21 | 0:47:24 | |
Local crime stories, however, not only usually led the news, | 0:47:24 | 0:47:27 | |
but filled 14 times the broadcast, | 0:47:27 | 0:47:28 | |
averaging five minutes and seven seconds. | 0:47:28 | 0:47:30 | |
KWLA relies heavily on such stories. | 0:47:30 | 0:47:32 | |
With Los Angeles crime rates going down, | 0:47:32 | 0:47:35 | |
I think that makes items like mine particularly valuable, | 0:47:35 | 0:47:37 | |
like rare animals. | 0:47:37 | 0:47:39 | |
I can only imagine that your needs will increase | 0:47:40 | 0:47:43 | |
during next month's rating-sweeps' period. | 0:47:43 | 0:47:45 | |
-Phew! -THEY LAUGH | 0:47:46 | 0:47:49 | |
Yeah, well...we certainly appreciate what you do. | 0:47:50 | 0:47:54 | |
There's certain good things about being alone. | 0:48:00 | 0:48:03 | |
You have time to do the things you want to do, like study and plan. | 0:48:05 | 0:48:08 | |
But you can't have dinners like this, or be physical with a person - | 0:48:08 | 0:48:11 | |
I mean, outside of flirtationship. | 0:48:11 | 0:48:13 | |
Where are you going with this? | 0:48:15 | 0:48:17 | |
I want that... | 0:48:19 | 0:48:21 | |
..with you. | 0:48:22 | 0:48:24 | |
Like you want to keep your job and your health insurance. | 0:48:27 | 0:48:30 | |
Look, just for starters, | 0:48:32 | 0:48:35 | |
I don't need you to keep my fucking job. | 0:48:35 | 0:48:37 | |
You're the news director on the vampire shift | 0:48:38 | 0:48:41 | |
of the lowest-rated station in Los Angeles. | 0:48:41 | 0:48:44 | |
We have what could be considered an almost exclusive relationship. | 0:48:47 | 0:48:51 | |
There are many other places I could go. | 0:48:51 | 0:48:53 | |
I have to think you're invested in this transaction. | 0:48:54 | 0:48:57 | |
-Here you are. -(Wow.) | 0:48:57 | 0:48:59 | |
-Enjoy. -Thank you. | 0:48:59 | 0:49:01 | |
Where did you get the balls to even suggest something like this? | 0:49:04 | 0:49:08 | |
We're still talking. | 0:49:08 | 0:49:10 | |
-No, there's nothing more to say. -You can leave. | 0:49:10 | 0:49:12 | |
OK, look, | 0:49:19 | 0:49:21 | |
you've done well, OK? | 0:49:21 | 0:49:24 | |
We pay you well - very well. We always have. | 0:49:24 | 0:49:27 | |
If you like, I could get you an exclusive retainer - | 0:49:27 | 0:49:31 | |
that would be on top of your segment fees. | 0:49:31 | 0:49:34 | |
I could maybe even get you a job at the station, | 0:49:34 | 0:49:36 | |
starting as a production assistant, | 0:49:36 | 0:49:38 | |
so that you could learn the business from the inside - | 0:49:38 | 0:49:40 | |
that's where you said your interests lie. Mm-hmm. | 0:49:40 | 0:49:43 | |
You're not listening, Nina. | 0:49:43 | 0:49:45 | |
I happen to know you haven't stayed at one station | 0:49:46 | 0:49:48 | |
for longer than two years at a time | 0:49:48 | 0:49:50 | |
and you're coming up on two years soon. | 0:49:50 | 0:49:52 | |
I can imagine that your contract is for that length of time | 0:49:55 | 0:49:57 | |
and that next month's ratings directly affect that. | 0:49:57 | 0:50:00 | |
So you're threatening that if I don't... | 0:50:00 | 0:50:03 | |
-I'm negotiating. -..you're threatening to stop selling to me? | 0:50:03 | 0:50:06 | |
That's YOUR choice. | 0:50:06 | 0:50:07 | |
The true price of any item is what someone's willing to pay for it. | 0:50:08 | 0:50:11 | |
You want something... | 0:50:11 | 0:50:13 | |
and I want you. | 0:50:13 | 0:50:15 | |
To fuck you. | 0:50:15 | 0:50:16 | |
And as a friend. | 0:50:16 | 0:50:18 | |
Jesus Christ. Friends don't pressure friends to fucking sleep with them. | 0:50:18 | 0:50:22 | |
Actually, that's not true, Nina. | 0:50:23 | 0:50:25 | |
Because, as I'm sure you know... | 0:50:27 | 0:50:29 | |
...a friend is a gift you give yourself. | 0:50:31 | 0:50:34 | |
OK, left on Roth and then six blocks to the ramp. | 0:51:06 | 0:51:09 | |
You're putting me on the 5? | 0:51:09 | 0:51:10 | |
Yeah, the 2 to the 5 then the 110 to the 10. | 0:51:10 | 0:51:13 | |
Did you read my traffic memo yesterday? | 0:51:13 | 0:51:15 | |
Did I read it? | 0:51:15 | 0:51:16 | |
Yeah, I read it. | 0:51:17 | 0:51:19 | |
What did it say? | 0:51:19 | 0:51:20 | |
-About the 5? -OK, I looked at it. OK, what? | 0:51:20 | 0:51:23 | |
Well, for one thing, it included that the 5 has floating construction | 0:51:23 | 0:51:26 | |
in the fast lane for the next three weeks. So given that, | 0:51:26 | 0:51:29 | |
I expect you to put me on the 2 to the 101 to the 110 to the 10. | 0:51:29 | 0:51:32 | |
That's half of one, six of the other. | 0:51:32 | 0:51:33 | |
It's half-dozen of one, six of the other. What I'd like you to do | 0:51:33 | 0:51:36 | |
is admit that you didn't read what you said you did. | 0:51:36 | 0:51:38 | |
You know I'm a reasonable person, but nobody likes to be lied to. | 0:51:38 | 0:51:41 | |
OK, well, when am I going to get my raise? | 0:51:41 | 0:51:43 | |
That's reasonable, right? | 0:51:43 | 0:51:44 | |
You keep talking about this performance review - | 0:51:44 | 0:51:46 | |
when's it going to happen? | 0:51:46 | 0:51:47 | |
I've been out here two months already, busting my ass every night. | 0:51:47 | 0:51:50 | |
I'm tired of your promises for more pay, man. | 0:51:50 | 0:51:52 | |
-I'm sleeping in a garage... -Rick, trying to leverage your salary | 0:51:52 | 0:51:55 | |
in this economic environment is near impossible. | 0:51:55 | 0:51:57 | |
Most firms have set starting wages. | 0:51:57 | 0:51:59 | |
Ideally, you could leverage with other offers, | 0:51:59 | 0:52:01 | |
but that's just not the case in your situation right now. SCANNER BEEPS | 0:52:01 | 0:52:04 | |
'Task force 98, engine 91, North Division, battalion 12. | 0:52:04 | 0:52:06 | |
'Heavy rescue 56, air ops, respond to reported plane down, | 0:52:06 | 0:52:09 | |
-'Whiteman Field, south of Foothill.' -Re-route us to that. | 0:52:09 | 0:52:12 | |
We're like, 22 minutes from Foothill and only five from a hit and run. | 0:52:12 | 0:52:15 | |
They're rolling heavy rescue and an air ambulance. Get me there, please. | 0:52:15 | 0:52:18 | |
SIRENS WAIL | 0:52:21 | 0:52:23 | |
Whoa, whoa, whoa. All over here, buddy. Turn around. Let's go. | 0:52:39 | 0:52:43 | |
We're late. | 0:52:45 | 0:52:46 | |
Hey, bra! Five fatals - | 0:52:48 | 0:52:50 | |
come screaming out of the fucking sky. | 0:52:50 | 0:52:52 | |
All lit up with the brush on fire. | 0:52:52 | 0:52:54 | |
Mine! Exclusive! | 0:52:54 | 0:52:56 | |
I'm banging! | 0:52:56 | 0:52:59 | |
Oh, and my other van's in Carson, getting the jumper. | 0:52:59 | 0:53:02 | |
You know, | 0:53:02 | 0:53:04 | |
I was trying to hook you up, man. | 0:53:04 | 0:53:06 | |
I was trying to teach you something. | 0:53:06 | 0:53:08 | |
Welcome to the future, bra! | 0:53:11 | 0:53:13 | |
A car crash. | 0:53:28 | 0:53:30 | |
Well, none of this is going to knock anybody out. | 0:53:30 | 0:53:33 | |
I can't use any of this in my rundown. | 0:53:33 | 0:53:35 | |
Is this it? | 0:53:35 | 0:53:37 | |
No, I have a stabbing in Corona. | 0:53:37 | 0:53:39 | |
Where's the plane crash at Foothill? | 0:53:39 | 0:53:41 | |
I don't mind saying that I'm trying to bring you stories | 0:53:41 | 0:53:43 | |
that happen here, on the ground. | 0:53:43 | 0:53:45 | |
2 has it. It'll be their lead. | 0:53:45 | 0:53:46 | |
Well, I hope that works well for them. Now, let me show you the stabbing in Corona. | 0:53:46 | 0:53:50 | |
I don't give a goddamn about fucking Corona! | 0:53:50 | 0:53:53 | |
You know how important this week is. | 0:53:53 | 0:53:55 | |
This shit is fucking death to me. | 0:53:55 | 0:53:58 | |
I understand your frustration. | 0:53:58 | 0:53:59 | |
I was just trying not to be too hard on myself. | 0:53:59 | 0:54:01 | |
I sold you upstairs as some kind of fucking sweeps saviour | 0:54:01 | 0:54:04 | |
and I'm leading with a goddamn stabbing in Corona. | 0:54:04 | 0:54:09 | |
So you want that, then? | 0:54:09 | 0:54:10 | |
I want you to get in the goddamn game! | 0:54:10 | 0:54:12 | |
I want something people can't turn away from. | 0:54:12 | 0:54:15 | |
I want what you fucking promised me! | 0:54:15 | 0:54:17 | |
DOOR SLAMS | 0:54:23 | 0:54:24 | |
'Good morning, everyone. Thanks for joining us. I'm Pat Harvey. | 0:54:29 | 0:54:32 | |
'Hope your day's getting off to a good start - I'm Kent Shocknek. | 0:54:32 | 0:54:35 | |
'We begin with the tragedy last night | 0:54:35 | 0:54:36 | |
'in the foothills of Santa Susana pass, | 0:54:36 | 0:54:38 | |
'where a private plane crashed with no survivors. | 0:54:38 | 0:54:40 | |
'CBS2 has obtained this exclusive video. | 0:54:40 | 0:54:42 | |
'We want to remind you now that what you're about to see is graphic. | 0:54:42 | 0:54:46 | |
'Viewer discretion is advised.' | 0:54:46 | 0:54:48 | |
HE SCREAMS | 0:54:48 | 0:54:50 | |
Since when did Coldwater become faster than Laurel? | 0:55:44 | 0:55:47 | |
What was the thinking there? | 0:55:47 | 0:55:49 | |
I didn't ask that to hear myself speak. | 0:55:49 | 0:55:51 | |
Because, you know, Coldwater only has six lights. | 0:55:51 | 0:55:54 | |
Yeah, but Laurel has places to pass. | 0:55:54 | 0:55:55 | |
I can't get around this person until Ventura. | 0:55:55 | 0:55:58 | |
It's the same argument. I said this route - | 0:55:58 | 0:55:59 | |
if you wanted to take Laurel, you should have said something. | 0:55:59 | 0:56:02 | |
I thought you worked in other factors! | 0:56:02 | 0:56:04 | |
If I didn't think you could do better, | 0:56:04 | 0:56:05 | |
I wouldn't ride you so hard about the routes. | 0:56:05 | 0:56:07 | |
I think you know that, Rick. | 0:56:07 | 0:56:09 | |
I think it may just be possible that I have a higher opinion of you | 0:56:09 | 0:56:11 | |
than you have of yourself. | 0:56:11 | 0:56:13 | |
Goddammit! | 0:56:14 | 0:56:16 | |
HORN BLARES | 0:56:16 | 0:56:17 | |
Seriously?! | 0:56:17 | 0:56:19 | |
To get to a van crash on Moorpark? Who cares? | 0:56:19 | 0:56:23 | |
What's the rush? | 0:56:23 | 0:56:24 | |
Why aren't we at the rape in Griffith Park, like everybody else? | 0:56:24 | 0:56:27 | |
SIRENS WAIL | 0:56:31 | 0:56:33 | |
Oh, fuck! | 0:56:34 | 0:56:36 | |
Oh, fuck me, oh, God. That's the fucking Mayhem van! | 0:56:36 | 0:56:40 | |
Joe Loder and the other dude, what's his name, fucking Marcus? | 0:56:40 | 0:56:43 | |
Park the car and get your camera. | 0:56:43 | 0:56:45 | |
What the hell happened? | 0:57:01 | 0:57:03 | |
According to witnesses, they were driving at a high rate of speed, | 0:57:04 | 0:57:07 | |
probably toward Griffith Park, | 0:57:07 | 0:57:09 | |
when, apparently, they ran head-on into this light pole. | 0:57:09 | 0:57:11 | |
No other cars. Single-vehicle. | 0:57:11 | 0:57:14 | |
How do they just run into a pole? | 0:57:14 | 0:57:16 | |
Hey, don't film that, man - he's one of us. | 0:57:24 | 0:57:26 | |
Not any more, Rick. We're professionals. | 0:57:26 | 0:57:29 | |
He's a sale. | 0:57:29 | 0:57:31 | |
Man, we are way the hell out here. | 0:58:21 | 0:58:23 | |
SCANNER BEEPS | 0:58:29 | 0:58:31 | |
Any mission unit, residential 2-11 in progress, 37 Bonhill Road, | 0:58:31 | 0:58:35 | |
receiving 2-11 activation... | 0:58:35 | 0:58:37 | |
Armed response on a home invasion. | 0:58:37 | 0:58:40 | |
We're five blocks away - pull a U-turn. | 0:58:40 | 0:58:42 | |
End of the street, coming up. | 0:58:52 | 0:58:55 | |
4808...here. | 0:58:55 | 0:58:56 | |
We beat the police. | 0:59:02 | 0:59:03 | |
-What do you want me to do? -You know what to do, Rick. | 0:59:03 | 0:59:06 | |
HOUSE ALARM BLARES | 0:59:10 | 0:59:13 | |
GUNSHOTS | 0:59:24 | 0:59:27 | |
GUNSHOT | 0:59:33 | 0:59:34 | |
ENGINE STARTS | 0:59:50 | 0:59:52 | |
'38-21, go ahead.' | 1:01:25 | 1:01:26 | |
'38-21, confirm address on the 211 at Bonhill Road.' | 1:01:27 | 1:01:30 | |
MUSIC BOX PLAYS BRAHMS' LULLABY | 1:01:33 | 1:01:36 | |
What is going on? | 1:02:29 | 1:02:31 | |
We're leaving. | 1:02:31 | 1:02:33 | |
What's in there? What's going on? | 1:02:33 | 1:02:35 | |
-What happened in there? -You should have walked in and looked, Rick, | 1:02:35 | 1:02:38 | |
if you were half-curious. | 1:02:38 | 1:02:39 | |
That's what I'm paying you to do. You need to show initiative. | 1:02:39 | 1:02:42 | |
There is no better way to achieve job security | 1:02:42 | 1:02:43 | |
than by making yourself an indispensable employee. | 1:02:43 | 1:02:46 | |
-I heard gunshots! -All the more reason! You might have helped me! | 1:02:46 | 1:02:49 | |
You might have learned a new skill that made you more useful | 1:02:49 | 1:02:51 | |
and put us on a track toward growth. SIRENS WAIL | 1:02:51 | 1:02:54 | |
-Stay in the car. -Why? | 1:03:29 | 1:03:30 | |
Because I said so. | 1:03:30 | 1:03:32 | |
I've been trying to reach you for the last hour. | 1:04:29 | 1:04:31 | |
In the future, when you don't have anything, | 1:04:31 | 1:04:33 | |
man up and don't dodge my fucking calls. | 1:04:33 | 1:04:35 | |
I do have something. | 1:04:35 | 1:04:37 | |
What? | 1:04:37 | 1:04:39 | |
Home-invasion triple murder in Granada Hills. | 1:04:39 | 1:04:42 | |
That's just breaking now. | 1:04:42 | 1:04:44 | |
We got there before the police. | 1:04:44 | 1:04:46 | |
You have it? | 1:04:48 | 1:04:49 | |
I'm not going to list the many benefits of this piece. | 1:04:52 | 1:04:54 | |
I think it's probably best if you just watch it for yourself. | 1:04:54 | 1:04:57 | |
I could have had someone out there by now, why didn't you call it in? | 1:04:57 | 1:05:00 | |
To increase your need and improve my bargaining position. | 1:05:00 | 1:05:03 | |
Frank, Jenny - bay two, now. | 1:05:03 | 1:05:05 | |
Get Linda in here. | 1:05:33 | 1:05:35 | |
Home invasion in Granada. He got there before the cops. | 1:05:46 | 1:05:49 | |
We have ten minutes to airtime - how much of this can we show? | 1:05:49 | 1:05:52 | |
You mean legally? | 1:05:52 | 1:05:54 | |
No, morally. Of course legally. | 1:05:54 | 1:05:56 | |
Have they been identified? | 1:05:56 | 1:05:57 | |
It just happened, so you have to assume no - | 1:05:57 | 1:05:59 | |
and that's just one of the issues. | 1:05:59 | 1:06:00 | |
We can't broadcast their identities without notifying the next of kin. | 1:06:00 | 1:06:04 | |
-We're not identifying them. -You are by proxy by showing their faces. | 1:06:04 | 1:06:07 | |
We pixelate the faces. | 1:06:07 | 1:06:09 | |
-Where did you get this? -Stringer. | 1:06:09 | 1:06:11 | |
Hi, Linda, I'm Lou. | 1:06:11 | 1:06:12 | |
Oh, Jesus, is there a dead baby inside of there? | 1:06:12 | 1:06:15 | |
No, the crib was empty. | 1:06:15 | 1:06:16 | |
Oh, for Christ's sake - are we breaking the law by showing this? | 1:06:16 | 1:06:19 | |
Block the faces, don't give out the exact address - | 1:06:21 | 1:06:24 | |
do that, I guess... | 1:06:24 | 1:06:25 | |
I don't know, I wouldn't think so, no. | 1:06:25 | 1:06:28 | |
-Journalistically and ethically... -This isn't Hartford. | 1:06:28 | 1:06:31 | |
..we are beyond all broadcast standards. | 1:06:31 | 1:06:33 | |
Have you seen the overnights? I'll risk the fine. | 1:06:33 | 1:06:36 | |
What did you pay for this? | 1:06:36 | 1:06:38 | |
The price hasn't been negotiated yet. | 1:06:38 | 1:06:41 | |
Oh, give us a minute. Thanks. | 1:06:41 | 1:06:43 | |
How much? | 1:06:48 | 1:06:49 | |
100,000. | 1:06:49 | 1:06:50 | |
-How much? -50,000. | 1:06:50 | 1:06:52 | |
I need a number. Nine minutes. I need a number. | 1:06:52 | 1:06:54 | |
-I just gave you two. -3,000. | 1:06:54 | 1:06:57 | |
I got 3,000 for the food-truck stabbings. | 1:06:57 | 1:06:59 | |
There were more dead. | 1:06:59 | 1:07:00 | |
Those were poor Mexican people in a roach coach. | 1:07:00 | 1:07:02 | |
Two of them were illegals. | 1:07:02 | 1:07:03 | |
These are three wealthy white people shot and killed in their mansion, | 1:07:03 | 1:07:06 | |
including a suburban housewife shotgunned in her bed. | 1:07:06 | 1:07:09 | |
I know you, Nina. | 1:07:09 | 1:07:10 | |
I know your interest and excitement in this product | 1:07:10 | 1:07:12 | |
is greater than the amount you're offering. | 1:07:12 | 1:07:15 | |
-5,000. -30,000. | 1:07:21 | 1:07:23 | |
-7,000. -25,000. -8,000. -15,000. | 1:07:23 | 1:07:25 | |
-9,000. -15,000. | 1:07:25 | 1:07:27 | |
-10,000. -15,000. | 1:07:27 | 1:07:28 | |
Give me a serious number. | 1:07:28 | 1:07:30 | |
-15,000. -Can't do it. Never happen. There's the matter of precedent. | 1:07:30 | 1:07:33 | |
-10's my last, best offer. -OK. | 1:07:33 | 1:07:36 | |
Really? Where are you going? | 1:07:36 | 1:07:39 | |
7's approached me at least several times. | 1:07:39 | 1:07:41 | |
The ND there gave me his number. | 1:07:41 | 1:07:43 | |
They'll make me a better offer. | 1:07:43 | 1:07:45 | |
-It's a five-minute drive. -Hold on! | 1:07:45 | 1:07:47 | |
12. | 1:07:54 | 1:07:55 | |
-15. -I can't spend a month's budget on a single story. | 1:07:55 | 1:07:59 | |
What if the story's not over? | 1:07:59 | 1:08:00 | |
The people who did this escaped. | 1:08:02 | 1:08:03 | |
They're still out there, walking around with the rest of us. | 1:08:03 | 1:08:06 | |
If I had a family and I lived in a home, that might make me nervous. | 1:08:06 | 1:08:09 | |
I'd want updates on what was going on. | 1:08:09 | 1:08:11 | |
With this footage, people would turn to your channel for the story. | 1:08:11 | 1:08:15 | |
Now, I like you, Nina, | 1:08:15 | 1:08:16 | |
and I look forward to our time together, | 1:08:16 | 1:08:19 | |
but you have to understand - 15,000 isn't all that I want. | 1:08:19 | 1:08:23 | |
From here on, starting now, | 1:08:23 | 1:08:25 | |
I want my work to be credited by the anchors and on a burn. | 1:08:25 | 1:08:27 | |
The name of my company is Video Production News, | 1:08:27 | 1:08:30 | |
a professional news-gathering service. | 1:08:30 | 1:08:32 | |
That's how it should be read and that's how it should be said. | 1:08:32 | 1:08:34 | |
I also want to go to the next rung and meet your team | 1:08:34 | 1:08:37 | |
and the station manager and the director and the anchors, | 1:08:37 | 1:08:39 | |
and start developing my own personal relationships. | 1:08:39 | 1:08:42 | |
I'd like to start meeting them this morning. | 1:08:42 | 1:08:44 | |
You'll take me around, you'll introduce me as the owner | 1:08:44 | 1:08:46 | |
and president of Video Production News | 1:08:46 | 1:08:48 | |
and remind them of some of my many other stories. | 1:08:48 | 1:08:50 | |
I'm not done. I also want to stop our discussion over prices. | 1:08:50 | 1:08:53 | |
This will save time. So when I say a particular number is | 1:08:53 | 1:08:56 | |
my lowest price, that's my lowest price and you can be assured that | 1:08:56 | 1:08:58 | |
I arrived at whatever that number is very carefully. | 1:08:58 | 1:09:01 | |
Now, when I say I want these things, | 1:09:01 | 1:09:04 | |
I mean that I want them | 1:09:04 | 1:09:06 | |
and I don't want to have to ask again. | 1:09:06 | 1:09:08 | |
And the last thing that I want, Nina, | 1:09:08 | 1:09:10 | |
is for you to do the things that I ask you to do | 1:09:10 | 1:09:12 | |
when we're alone together in your apartment, not like the last time. | 1:09:12 | 1:09:15 | |
So... | 1:09:18 | 1:09:20 | |
I'll tell you what. | 1:09:21 | 1:09:23 | |
I have the van crash on Moorpark tonight. | 1:09:24 | 1:09:26 | |
It was a couple of stringers, actually. | 1:09:26 | 1:09:28 | |
That could lead by itself on an average night. | 1:09:28 | 1:09:31 | |
I'd be willing to throw that in for free. | 1:09:31 | 1:09:33 | |
So what do you say? Do we have a deal? | 1:09:35 | 1:09:37 | |
Lisa Mays, Ben Waterman - Lou Bloom. | 1:09:41 | 1:09:43 | |
-Hi, pleasure to meet you. -Hi, how are you, Lisa? Pleasure, Ben. | 1:09:43 | 1:09:46 | |
You remember Lou from the Benedict Canyon crash? | 1:09:46 | 1:09:48 | |
-Oh, yeah - amazing stuff. -That was my company, Video Production News. | 1:09:48 | 1:09:51 | |
-Great job. -I would just like to say | 1:09:51 | 1:09:52 | |
that I think what the two of you do is incredibly valuable. | 1:09:52 | 1:09:56 | |
-Thank you. -That's nice of you to say. We appreciate it. | 1:09:56 | 1:09:58 | |
-BELL RINGS -I don't know how long this tape runs, we might dump out. | 1:09:58 | 1:10:01 | |
20 seconds to back, Ben and Lisa, 20 seconds to back. | 1:10:01 | 1:10:04 | |
Set up the sting to go to camera two on a two-shot. | 1:10:04 | 1:10:06 | |
Where's the banner? | 1:10:06 | 1:10:07 | |
Did we decide on one? | 1:10:07 | 1:10:08 | |
"Horror house". What did we talk about? | 1:10:08 | 1:10:10 | |
Can you bill that? Put it on CG1. Back in ten seconds. | 1:10:10 | 1:10:13 | |
nine, eight, seven, six, | 1:10:13 | 1:10:17 | |
five, four, three, two, one. | 1:10:17 | 1:10:21 | |
Sting it. | 1:10:21 | 1:10:22 | |
Lights, dissolve, cue. | 1:10:24 | 1:10:26 | |
Hello, everybody. This is KWLA with breaking news. | 1:10:26 | 1:10:28 | |
Over the last half hour or so, we've now received word of an apparent | 1:10:28 | 1:10:31 | |
home-invasion triple homicide | 1:10:31 | 1:10:34 | |
in the Granada Hills area of the San Fernando Valley. | 1:10:34 | 1:10:36 | |
-Now, at present, the number of those dead... -Preset camera two. | 1:10:36 | 1:10:39 | |
..hasn't been confirmed yet by the police, but KWLA | 1:10:39 | 1:10:41 | |
has obtained exclusive footage from inside the crime scene, | 1:10:41 | 1:10:44 | |
in which at least three bodies can be observed. | 1:10:44 | 1:10:47 | |
Now, we're going to show you segments of that footage | 1:10:47 | 1:10:50 | |
throughout the rest of this broadcast, of course, but also throughout the day... | 1:10:50 | 1:10:53 | |
Lisa, I have a tape. When you're ready just throw to it, I'll follow you. | 1:10:53 | 1:10:56 | |
Again, we're about to show you exclusive KWLA video | 1:10:56 | 1:10:59 | |
from inside the actual crime scene. | 1:10:59 | 1:11:01 | |
It's graphic - repeat it. | 1:11:01 | 1:11:03 | |
Before broadcasting this video, | 1:11:03 | 1:11:04 | |
we want to warn our viewers that these are extremely graphic images. | 1:11:04 | 1:11:08 | |
I'm hearing from our control room that we have that video | 1:11:08 | 1:11:10 | |
-and we're going to show it now. -Well, let's roll it now. | 1:11:10 | 1:11:13 | |
This is footage that we've obtained exclusively by KWLA, | 1:11:13 | 1:11:16 | |
from Video Production News. | 1:11:16 | 1:11:17 | |
This is a professional news-gathering service. | 1:11:17 | 1:11:19 | |
And this is what appears to be a shotgun - | 1:11:19 | 1:11:21 | |
something you might use for home defence. | 1:11:21 | 1:11:23 | |
You can see the pistol grips on the front and the back there - | 1:11:23 | 1:11:26 | |
quite possibly the murder weapon. | 1:11:26 | 1:11:27 | |
And now, Lisa, as we move inside... This is a beautiful home. | 1:11:27 | 1:11:30 | |
A beautiful home in a very safe neighbourhood - | 1:11:30 | 1:11:33 | |
or what most people think is a safe neighbourhood | 1:11:33 | 1:11:35 | |
and it appears that that is the first body, on the sofa. | 1:11:35 | 1:11:38 | |
A young woman, I'm guessing, from this angle. | 1:11:38 | 1:11:40 | |
A young woman on a sofa, there. | 1:11:40 | 1:11:41 | |
All of the faces, though, have been blurred out, we want to... | 1:11:41 | 1:11:44 | |
They've escaped. They're on the loose. | 1:11:44 | 1:11:46 | |
That is the first of what we understand are three bodies | 1:11:46 | 1:11:48 | |
in the home in Granada Hills | 1:11:48 | 1:11:50 | |
and this was committed by a suspect or suspects, | 1:11:50 | 1:11:52 | |
who are still out there - they're believed to have escaped | 1:11:52 | 1:11:55 | |
and if you think about that, that is a very frightening thought. | 1:11:55 | 1:11:58 | |
-Repeat that. -Yes, scary and very concerning, | 1:11:58 | 1:12:01 | |
particularly given what we're looking at here - | 1:12:01 | 1:12:03 | |
the savagery of what these pictures show. | 1:12:03 | 1:12:05 | |
And now, look, there on the floor, I'm guessing... | 1:12:05 | 1:12:07 | |
What is that? A bloodied article bloodied article of clothing? | 1:12:07 | 1:12:10 | |
Looks like a silk shirt, maybe a woman's silk blouse. | 1:12:10 | 1:12:12 | |
-It's just so sad. Now, as we move to one of the bedrooms... -Standby to dissolve two. | 1:12:12 | 1:12:15 | |
..and there, obviously, is the second body. | 1:12:15 | 1:12:18 | |
-They've escaped - repeat it. -The person or people | 1:12:18 | 1:12:20 | |
who committed all of this brutal home-invasion robbery - | 1:12:20 | 1:12:23 | |
they're presently unidentified and at large, still on the streets... | 1:12:23 | 1:12:26 | |
-Hit it again, harder. -..this has got to be a huge worry - | 1:12:26 | 1:12:28 | |
not only to the residents in this neighbourhood - | 1:12:28 | 1:12:30 | |
the Granada Hills area... | 1:12:30 | 1:12:32 | |
All of Los Angeles, if you think about it. | 1:12:32 | 1:12:34 | |
The entire Southland, really, tonight, absolutely. | 1:12:34 | 1:12:36 | |
An apparent family attacked, savagely killed. | 1:12:36 | 1:12:38 | |
We believe this is their own home, in what is one of the quieter | 1:12:38 | 1:12:42 | |
-and, frankly, more upscale and affluent neighbourhoods... -Roll A. | 1:12:42 | 1:12:45 | |
-..in the whole Valley... -In all of Los Angeles. | 1:12:45 | 1:12:48 | |
-And now, as we're moving, this is a nursery and you hope... -Build it. | 1:12:48 | 1:12:52 | |
-..there's not a baby in that crib. -Yeah, you're just praying that | 1:12:52 | 1:12:55 | |
that crib is empty, cos this is definitely a child's room. | 1:12:55 | 1:12:58 | |
And now, as we look there... Thank goodness. | 1:12:58 | 1:13:00 | |
In fact, our understanding right now | 1:13:00 | 1:13:02 | |
is that there was no baby found in the house | 1:13:02 | 1:13:04 | |
or any baby that was seen at all by the people who filmed this for us. | 1:13:04 | 1:13:08 | |
That's Video News - | 1:13:08 | 1:13:10 | |
this is a professional news-gathering service that we use. | 1:13:10 | 1:13:12 | |
Apparently, what we're hearing from their photographer | 1:13:12 | 1:13:15 | |
is that they arrived even before the police did | 1:13:15 | 1:13:18 | |
and then entered this home to help, | 1:13:18 | 1:13:20 | |
or at least offer some sort of assistance | 1:13:20 | 1:13:22 | |
and then came upon what you're looking at here - | 1:13:22 | 1:13:24 | |
-the gruesome crime scene. -They came upon three bodies. | 1:13:24 | 1:13:26 | |
-And that right there is the third body. -..is the third body. | 1:13:26 | 1:13:29 | |
And obviously, this is a man, grey hair... What would you think, Lisa? | 1:13:29 | 1:13:32 | |
-Maybe 40s, 50s? -Yeah, 50s... -Vicious attack. | 1:13:32 | 1:13:34 | |
..and the only thought I have, we've been looking at | 1:13:34 | 1:13:36 | |
all this graphic footage and just the viciousness, | 1:13:36 | 1:13:39 | |
the severity of the violence. | 1:13:39 | 1:13:40 | |
Standby, we're going to come to a break here. | 1:13:40 | 1:13:42 | |
We're going to commercial then cutting to Joel and a police statement. | 1:13:42 | 1:13:45 | |
And I'm getting word right now that the police | 1:13:45 | 1:13:47 | |
are getting ready to issue a statement from the scene... | 1:13:47 | 1:13:49 | |
-Ready camera two. -..and Joel Beatty is there for that | 1:13:49 | 1:13:52 | |
-and I think right now we're going to take a quick break... -Take two. | 1:13:52 | 1:13:55 | |
Ready to break in five, four... Music... | 1:13:55 | 1:13:57 | |
three, two, one... Fade to black, roll your break. | 1:13:57 | 1:14:00 | |
-That's a ten share. -BELL RINGS | 1:14:00 | 1:14:02 | |
I want theme music on the return. | 1:14:02 | 1:14:04 | |
The cut we used for the Simi rail crash. | 1:14:04 | 1:14:06 | |
Audio, cut 32, please. Cut 32 when we come back. | 1:14:06 | 1:14:08 | |
PHONE RINGS | 1:14:08 | 1:14:10 | |
Hello? | 1:14:13 | 1:14:15 | |
Thank you. | 1:14:15 | 1:14:17 | |
Well, actually he'd like to meet you. | 1:14:17 | 1:14:19 | |
-Heads up, you guys... -I got to go. | 1:14:22 | 1:14:23 | |
..the police spokesman's making an announcement in 60 seconds. | 1:14:23 | 1:14:26 | |
Nina, we are getting a tonne of heat | 1:14:26 | 1:14:28 | |
from the police out here about that video. | 1:14:28 | 1:14:30 | |
-Tell them to call the station. -15 seconds. | 1:14:30 | 1:14:32 | |
They want to talk to the person who shot it. | 1:14:32 | 1:14:35 | |
I shot it. Joel, it's Video Production News. | 1:14:35 | 1:14:37 | |
Tell them to call me. | 1:14:37 | 1:14:39 | |
Lou, they can't hear you. | 1:14:39 | 1:14:40 | |
Coming back in five, four, | 1:14:40 | 1:14:43 | |
three, two, one... | 1:14:43 | 1:14:45 | |
Fade up. | 1:14:45 | 1:14:47 | |
'We have more information coming in from the Granada Hills area | 1:14:51 | 1:14:55 | |
'and the scene of an apparent home invasion | 1:14:55 | 1:14:57 | |
'that has left a husband and wife and their housekeeper... | 1:14:57 | 1:15:00 | |
What we know at the moment is that at some time | 1:15:00 | 1:15:02 | |
around five this morning, gunmen broke into this upscale... | 1:15:02 | 1:15:05 | |
..are disturbed and concerned by the brutal triple murder... | 1:15:05 | 1:15:07 | |
..the way we got it, though, is the video production crew | 1:15:07 | 1:15:10 | |
that we work with from time to time. | 1:15:10 | 1:15:11 | |
They apparently arrived on the scene in Granada Hills | 1:15:11 | 1:15:14 | |
-before the police ever got there... -Before anybody. | 1:15:14 | 1:15:16 | |
..and the photographer who took those pictures told us earlier | 1:15:16 | 1:15:19 | |
that he walked up to the door - he saw what we all saw in his videotape | 1:15:19 | 1:15:23 | |
and he then started to look inside, | 1:15:23 | 1:15:25 | |
so that he could help or render assistance to someone. | 1:15:25 | 1:15:27 | |
That's when he walked into the house and started shooting the video... | 1:15:27 | 1:15:30 | |
KNOCKING | 1:15:30 | 1:15:31 | |
He found the three deceased in the house, the two females... | 1:15:31 | 1:15:34 | |
HE SWITCHES THE TV OFF | 1:15:34 | 1:15:36 | |
-Hello. -Hi, I'm Detective Frontieri. | 1:15:45 | 1:15:48 | |
This is my partner, Detective Lieberman. | 1:15:48 | 1:15:50 | |
-Are you Louis Bloom? -Yes, I'm Lou. | 1:15:50 | 1:15:52 | |
You live here? | 1:15:52 | 1:15:54 | |
-Yes, that's right. -May we come inside? | 1:15:54 | 1:15:56 | |
-Why? -Why not? -You want to? | 1:15:56 | 1:15:58 | |
-Yes. -I don't care. | 1:15:58 | 1:16:00 | |
Wonderful. | 1:16:00 | 1:16:01 | |
-You were in Granada Hills last night. -Yes, that's right. | 1:16:06 | 1:16:09 | |
You shot the video in the house? | 1:16:09 | 1:16:11 | |
Yes, ma'am. I did. That's right. | 1:16:11 | 1:16:14 | |
You went inside the house, you filmed all through the house - | 1:16:14 | 1:16:18 | |
you even filmed the bodies. | 1:16:18 | 1:16:19 | |
All before the police came. | 1:16:19 | 1:16:21 | |
-That door was open, ma'am... -Detective. | 1:16:21 | 1:16:23 | |
The door was open and what I did was, | 1:16:23 | 1:16:26 | |
I went in to see if I could help, because the alarm was ringing. | 1:16:26 | 1:16:29 | |
An active crime scene. | 1:16:29 | 1:16:30 | |
I didn't know it was a crime scene. | 1:16:30 | 1:16:32 | |
You knew what it was. | 1:16:32 | 1:16:34 | |
I know that an alarm means someone's in trouble. | 1:16:34 | 1:16:36 | |
And you sold it to be shown on TV. | 1:16:36 | 1:16:38 | |
We're a professional news-gathering service. | 1:16:38 | 1:16:41 | |
What did you see when you arrived? | 1:16:41 | 1:16:43 | |
Uh, two men leaving in a vehicle. | 1:16:43 | 1:16:45 | |
-You saw two men? -They were just shapes, really. | 1:16:45 | 1:16:48 | |
I was afraid, so I hid and then I saw the shapes of two men, | 1:16:48 | 1:16:51 | |
moving inside the vehicle, if that helps. | 1:16:51 | 1:16:53 | |
Describe the men. | 1:16:53 | 1:16:55 | |
It was dark and then they drove away, I... | 1:16:55 | 1:16:57 | |
-Black, white, tall...? -I couldn't see. | 1:16:57 | 1:16:59 | |
What were they driving? | 1:16:59 | 1:17:01 | |
An SUV - dark coloured. | 1:17:01 | 1:17:04 | |
Rims, tinted windows? | 1:17:04 | 1:17:06 | |
Maybe - not that I saw. | 1:17:06 | 1:17:08 | |
Do you have any film on the men or the car? | 1:17:08 | 1:17:10 | |
No, I don't. I only started filming when I was inside. | 1:17:10 | 1:17:13 | |
I'd like a copy of that footage. | 1:17:14 | 1:17:16 | |
Do I have to give it to you? | 1:17:16 | 1:17:18 | |
Is there any reason why you wouldn't? | 1:17:18 | 1:17:21 | |
No, no. I made you a copy. I expected someone to come. | 1:17:21 | 1:17:24 | |
GUNSHOTS ON VIDEO | 1:17:34 | 1:17:36 | |
What's up, man? | 1:18:30 | 1:18:31 | |
I'm tired. Aren't you tired? | 1:18:32 | 1:18:35 | |
Why are we starting so early? | 1:18:35 | 1:18:37 | |
One of the people in the house last night was alive. | 1:18:37 | 1:18:40 | |
I cut that part out. | 1:18:42 | 1:18:44 | |
I also cut out the men leaving in their car. | 1:18:44 | 1:18:46 | |
I have a name and an address. We're going to drive there, | 1:18:46 | 1:18:48 | |
we're going to find the person that drove that car. | 1:18:48 | 1:18:52 | |
So you know who killed those people? | 1:18:52 | 1:18:54 | |
One of them, quite possibly, yes. | 1:18:54 | 1:18:56 | |
You got to call the cops. | 1:18:58 | 1:18:59 | |
And we will - at the right time. | 1:18:59 | 1:19:01 | |
I'm offering you a real opportunity here, Rick. | 1:19:09 | 1:19:13 | |
To do what? | 1:19:13 | 1:19:14 | |
I don't usually share my business plan with you... | 1:19:18 | 1:19:22 | |
but a moment has arrived that could allow the company | 1:19:22 | 1:19:25 | |
to make enough money to expand to the next level. | 1:19:25 | 1:19:27 | |
We could call this... | 1:19:29 | 1:19:30 | |
..the critical moment. | 1:19:34 | 1:19:35 | |
I'm inviting you, Rick, | 1:19:36 | 1:19:38 | |
to be a part of the team that pounces on this opportunity. | 1:19:38 | 1:19:41 | |
You've been asking a lot about your performance review. | 1:19:41 | 1:19:44 | |
-Yeah. -Well... | 1:19:44 | 1:19:46 | |
for starters... | 1:19:46 | 1:19:49 | |
I've been seeing a great improvement | 1:19:49 | 1:19:50 | |
in your overall focus and order following. | 1:19:50 | 1:19:53 | |
Given complex problems, | 1:19:53 | 1:19:54 | |
you're developing a real ability to find clear and simple solutions. | 1:19:54 | 1:19:57 | |
I'm also aware of your increased enthusiasm. | 1:19:57 | 1:20:00 | |
It's great to see your eyes light up when you're working on a new idea. | 1:20:00 | 1:20:02 | |
I hope you'll be inspiring us | 1:20:02 | 1:20:04 | |
with your innovative thinking for years to come. | 1:20:04 | 1:20:07 | |
Thank you, man. I'm trying, you know? | 1:20:08 | 1:20:10 | |
Which is why I'm promoting you | 1:20:12 | 1:20:14 | |
to executive vice president of Video News. | 1:20:14 | 1:20:18 | |
What am I now? | 1:20:21 | 1:20:22 | |
You're an assistant. | 1:20:23 | 1:20:25 | |
That's... | 1:20:27 | 1:20:28 | |
Does it come with a raise? | 1:20:34 | 1:20:36 | |
Absolutely. | 1:20:36 | 1:20:38 | |
How much? | 1:20:38 | 1:20:39 | |
Pick a number. You pick a number. | 1:20:41 | 1:20:43 | |
A hun...hun... | 1:20:48 | 1:20:50 | |
..75...a night. | 1:20:52 | 1:20:56 | |
Agreed. | 1:20:58 | 1:20:59 | |
Wait, uh, what about more, you know? | 1:21:00 | 1:21:03 | |
Not now. | 1:21:03 | 1:21:04 | |
We closed the deal. | 1:21:04 | 1:21:06 | |
I could've gotten more, couldn't I? | 1:21:09 | 1:21:11 | |
Absolutely. | 1:21:11 | 1:21:12 | |
It's coming up on the left - | 1:21:15 | 1:21:17 | |
halfway down the block. | 1:21:17 | 1:21:19 | |
1701 North Burns. | 1:21:19 | 1:21:21 | |
Is that the car? | 1:21:31 | 1:21:32 | |
-That's the car. -Oh, shit. | 1:21:32 | 1:21:34 | |
You think there's a reward? | 1:21:55 | 1:21:57 | |
There is a reward. | 1:21:57 | 1:21:58 | |
-How much? -50,000. | 1:21:58 | 1:22:00 | |
Do I get any of that? | 1:22:02 | 1:22:03 | |
I just gave you a raise. | 1:22:03 | 1:22:05 | |
That's like, salary - I mean like a bonus, you know? | 1:22:06 | 1:22:09 | |
Bonuses come at the end of the year. | 1:22:09 | 1:22:11 | |
-So we're going to call it in? -We're going to wait. | 1:22:19 | 1:22:21 | |
-For what? -First, we want to see if he's actually inside. | 1:22:21 | 1:22:24 | |
Then we want to find a more interesting place | 1:22:24 | 1:22:26 | |
to film the arrest. | 1:22:26 | 1:22:28 | |
Like where? | 1:22:28 | 1:22:29 | |
Anywhere we want. | 1:22:31 | 1:22:33 | |
What we're going to do is, | 1:22:33 | 1:22:34 | |
we're going to wait and then we're going to follow him. | 1:22:34 | 1:22:37 | |
And then when he reaches what would be considered a better | 1:22:37 | 1:22:39 | |
or more populated neighbourhood, | 1:22:39 | 1:22:41 | |
then we'll report his location to the police. | 1:22:41 | 1:22:43 | |
He's a violent, wanted criminal. | 1:22:43 | 1:22:44 | |
I can't believe that he's just going to peacefully surrender. | 1:22:44 | 1:22:47 | |
OK, I want more money - | 1:22:53 | 1:22:55 | |
a lot more. | 1:22:55 | 1:22:57 | |
What makes a job desirable, Rick, | 1:23:05 | 1:23:07 | |
isn't just the dollar amount attached to it. | 1:23:07 | 1:23:09 | |
You're at the ground floor of a growing business. | 1:23:09 | 1:23:11 | |
Your reward is a career. | 1:23:11 | 1:23:13 | |
Fuck that. You're talking about some seriously messed-up shit - | 1:23:13 | 1:23:16 | |
and you're just expecting me to just go along with it. | 1:23:16 | 1:23:19 | |
-I want more. -I can't make people do things, Rick. | 1:23:19 | 1:23:21 | |
You have a choice if you want to do this | 1:23:21 | 1:23:23 | |
and I have a choice if you don't. | 1:23:23 | 1:23:25 | |
You threatening to fire me? | 1:23:26 | 1:23:29 | |
Hey, I got something too. | 1:23:29 | 1:23:30 | |
How about not calling criminals, waiting for them to start some shit | 1:23:30 | 1:23:33 | |
so you can film it - that's against the fucking law. | 1:23:33 | 1:23:36 | |
Yeah, cops would be majorly interested in that, no doubt. | 1:23:36 | 1:23:39 | |
OK? So I...I want more money. | 1:23:39 | 1:23:41 | |
We can reopen negotiations, Rick, | 1:23:45 | 1:23:47 | |
but remember, when it comes to your work reputation, | 1:23:47 | 1:23:50 | |
you can't un-ring the bell. | 1:23:50 | 1:23:53 | |
Well, I want half of whatever we make tonight. | 1:23:53 | 1:23:56 | |
How did you arrive at that number? | 1:23:56 | 1:23:59 | |
There's two of us sat here. | 1:23:59 | 1:24:01 | |
So, 50-50. | 1:24:01 | 1:24:03 | |
I'll counter at 10,000. | 1:24:03 | 1:24:05 | |
You don't set the numbers on this. I want half. I want half. | 1:24:05 | 1:24:08 | |
If you're saying I can't negotiate, then I guess I'm... | 1:24:09 | 1:24:12 | |
..just going to have to give it to you. | 1:24:20 | 1:24:22 | |
Well, all right, then. | 1:24:25 | 1:24:26 | |
Now I can feel good about it. | 1:24:28 | 1:24:30 | |
At least now, I can... I'll go the extra mile. | 1:24:30 | 1:24:32 | |
That's what you never understood, man, | 1:24:33 | 1:24:35 | |
that's been the problem the whole time. | 1:24:35 | 1:24:37 | |
You got to bring people in, Lou, seriously. | 1:24:38 | 1:24:41 | |
You got to talk to them like they're fucking human beings. | 1:24:41 | 1:24:43 | |
I'm saying this for you, dude, for the future, to help you. | 1:24:43 | 1:24:47 | |
Cos you got a seriously weird-ass way of looking at shit. | 1:24:47 | 1:24:50 | |
You know you do. | 1:24:50 | 1:24:52 | |
I mean, you know what your trouble is, man? | 1:24:53 | 1:24:55 | |
You don't fucking understand people. | 1:24:55 | 1:24:57 | |
-OK? -Mm-hmm. | 1:24:58 | 1:25:00 | |
I'll take the first watch. | 1:25:02 | 1:25:04 | |
(OK.) | 1:25:05 | 1:25:07 | |
DOOR OPENS | 1:25:23 | 1:25:25 | |
Rise and shine. | 1:25:30 | 1:25:31 | |
He's leaving. | 1:25:32 | 1:25:34 | |
CAR DOOR UNLOCKS | 1:25:34 | 1:25:36 | |
Is that him? | 1:25:37 | 1:25:38 | |
That's one of them. | 1:25:38 | 1:25:39 | |
ENGINE STARTS | 1:25:50 | 1:25:52 | |
You're too fucking close, man. | 1:26:21 | 1:26:23 | |
Oh, shit... | 1:26:23 | 1:26:24 | |
You're too fucking close. | 1:26:26 | 1:26:27 | |
This guy might've already seen us and he's bringing us here as a trap. | 1:26:27 | 1:26:30 | |
You ever think of that? | 1:26:32 | 1:26:33 | |
Oh, shit. | 1:26:38 | 1:26:39 | |
They're going to see us - we're in a red fucking car. | 1:27:17 | 1:27:20 | |
Lower your window, please. | 1:27:22 | 1:27:24 | |
ENGINE STARTS | 1:27:43 | 1:27:45 | |
-Keep your window down. -I'm fucking cold. | 1:27:53 | 1:27:55 | |
Shit, they're parking. | 1:28:05 | 1:28:07 | |
Keep going. | 1:28:07 | 1:28:08 | |
DIALLING TONE | 1:28:20 | 1:28:22 | |
'911, what's your emergency?' | 1:28:26 | 1:28:28 | |
Yes, good evening, hello. | 1:28:28 | 1:28:29 | |
I'd like to report the location of two men responsible | 1:28:29 | 1:28:31 | |
for the triple murder in Granada Hills last night. | 1:28:31 | 1:28:34 | |
-'What's your address?' -I followed them and they just pulled into | 1:28:34 | 1:28:36 | |
the Chinatown Express at Western and 3rd. | 1:28:36 | 1:28:39 | |
I can see them inside. | 1:28:39 | 1:28:40 | |
'OK, it's a restaurant called Chinatown Express at Western and 3rd?' | 1:28:40 | 1:28:43 | |
That's right. I can see them at the counter and they're ordering. | 1:28:43 | 1:28:46 | |
-These men are wanted for the triple murder in Granada Hills last night. -'What's your name, sir?' | 1:28:46 | 1:28:50 | |
-Louis Bloom. -'Do you have a description of the men?' | 1:28:50 | 1:28:52 | |
Yes, I do. They're both Latin American men, | 1:28:52 | 1:28:54 | |
probably what you would call Hispanic. | 1:28:54 | 1:28:57 | |
One's big, very much on the heavy side | 1:28:57 | 1:28:59 | |
and the other's face is scratched. He has scratches on his face. | 1:28:59 | 1:29:02 | |
'How old are the men?' | 1:29:02 | 1:29:04 | |
30... Perhaps, maybe 35. | 1:29:04 | 1:29:07 | |
'What are they wearing?' | 1:29:07 | 1:29:09 | |
The big man's wearing light pants and a striped sweater | 1:29:09 | 1:29:11 | |
and the man with the scratches is wearing brown pants and a vest - | 1:29:11 | 1:29:14 | |
he looks like he has a...gun. | 1:29:14 | 1:29:16 | |
-'You say the suspect is armed?' -I believe so, yes. | 1:29:18 | 1:29:20 | |
I'm sorry, I have to go, otherwise they might see me. | 1:29:20 | 1:29:23 | |
SCANNER CHATTER | 1:29:28 | 1:29:31 | |
'All Wilshire units, possible 187 suspects | 1:29:34 | 1:29:37 | |
'are now at Western and 3rd at the Chinatown Express. | 1:29:37 | 1:29:40 | |
'Suspects are two male Hispanics. Number one - large build, | 1:29:40 | 1:29:43 | |
'number two with scratches on his face - | 1:29:43 | 1:29:45 | |
'inside the location, possibly armed. | 1:29:45 | 1:29:47 | |
'Code 3, incident 3-5-7 and RD 7-53.' | 1:29:47 | 1:29:50 | |
There's fucking people in there. | 1:29:50 | 1:29:52 | |
I count...six. | 1:29:52 | 1:29:55 | |
Oh, shit. They could start shooting. | 1:29:55 | 1:29:58 | |
They could. | 1:29:58 | 1:29:59 | |
You said we were waiting for a better neighbourhood | 1:29:59 | 1:30:02 | |
with more people - not a fucking restaurant. | 1:30:02 | 1:30:04 | |
We work with what we're given. | 1:30:04 | 1:30:06 | |
You're going to go down the street and get an angle inside, | 1:30:06 | 1:30:09 | |
from over there. | 1:30:09 | 1:30:11 | |
Steady hands, use the zoom, no fast pans. | 1:30:11 | 1:30:14 | |
I'll be filming from here. | 1:30:14 | 1:30:15 | |
Fuck that, I'm not getting out the car! | 1:30:15 | 1:30:18 | |
I need a second angle from down the street. | 1:30:20 | 1:30:22 | |
We'll cut it together - two angles. | 1:30:22 | 1:30:25 | |
Believe me, it's more dangerous here in the car. | 1:30:25 | 1:30:28 | |
I don't believe anything you say. | 1:30:28 | 1:30:29 | |
Man, this is fucked! | 1:30:29 | 1:30:32 | |
Do you know, I've never once sworn in front of an employer? | 1:30:32 | 1:30:34 | |
I'm not doing it - I'm not getting out the car. | 1:30:34 | 1:30:37 | |
You're making a mistake. | 1:30:37 | 1:30:39 | |
I don't care about the fucking job title. | 1:30:39 | 1:30:41 | |
What if my problem wasn't that I don't understand people, | 1:30:47 | 1:30:49 | |
but that I don't like them? | 1:30:49 | 1:30:51 | |
What if I was obliged to hurt you for something like this? | 1:30:54 | 1:30:57 | |
I mean, physically. | 1:30:58 | 1:31:00 | |
I think you'd have to believe afterwards, if you could, | 1:31:01 | 1:31:04 | |
that agreeing to participate... | 1:31:04 | 1:31:06 | |
and then backing out at the critical moment was a mistake. | 1:31:06 | 1:31:10 | |
Because that's what I'm telling you.... | 1:31:10 | 1:31:12 | |
..as clearly... | 1:31:15 | 1:31:17 | |
..as I can. | 1:31:19 | 1:31:20 | |
'78-14, we're Code 6 to location.' | 1:32:36 | 1:32:39 | |
Oh, God... | 1:33:40 | 1:33:42 | |
78-21, we're Code 6 to 78-14. | 1:33:51 | 1:33:53 | |
Oh, God. | 1:34:11 | 1:34:13 | |
Oh, God. | 1:34:15 | 1:34:16 | |
GUNSHOTS | 1:34:24 | 1:34:25 | |
SCREAMS | 1:34:25 | 1:34:26 | |
Oh, God! Oh, fuck! | 1:34:26 | 1:34:28 | |
GLASS SHATTERS | 1:34:28 | 1:34:30 | |
ENGINE STARTS | 1:34:30 | 1:34:31 | |
'Gunfire, gunfire, officer down! Officer needs help!' | 1:34:33 | 1:34:37 | |
-Go, go, go! -ENGINE STARTS | 1:34:40 | 1:34:44 | |
GUNSHOTS | 1:34:44 | 1:34:46 | |
Fuck! | 1:34:55 | 1:34:57 | |
Did you get it? | 1:34:57 | 1:34:58 | |
There's people dead in there! | 1:34:58 | 1:35:00 | |
'78-27, I am behind vehicle, we are in pursuit.' | 1:35:00 | 1:35:03 | |
Aim the camera at the car and start filming. | 1:35:08 | 1:35:10 | |
Rick, start filming! | 1:35:17 | 1:35:18 | |
-Stay on the police car. -You're right up his ass! | 1:35:29 | 1:35:31 | |
Wide angle - we want all of this. | 1:35:31 | 1:35:33 | |
RICK WHIMPERS I got it. | 1:35:37 | 1:35:39 | |
Steady hands, Rick. | 1:35:46 | 1:35:47 | |
Red light, that's a red light! Red light! | 1:35:47 | 1:35:50 | |
-HORN BLARES -Oh, shit! | 1:35:50 | 1:35:52 | |
Fuck! | 1:35:57 | 1:35:59 | |
Oh, shit! | 1:36:11 | 1:36:12 | |
Oh, my... Did you see that? Did you see that? | 1:36:14 | 1:36:17 | |
Look out, look out! | 1:36:22 | 1:36:24 | |
No, no, no, please - we're way too close! | 1:36:30 | 1:36:33 | |
This guy's crazy! Fucking shit! | 1:36:35 | 1:36:37 | |
No matter what, keep shooting. | 1:36:43 | 1:36:44 | |
Fuck! | 1:36:46 | 1:36:48 | |
Shit, shit! | 1:36:48 | 1:36:50 | |
Oh, my God! | 1:36:50 | 1:36:52 | |
'707, come in.' | 1:37:01 | 1:37:02 | |
-'707, come in.' -Turn off the car. | 1:37:05 | 1:37:07 | |
'707...' | 1:37:09 | 1:37:10 | |
He's dead. Get this shot. | 1:37:31 | 1:37:33 | |
Steady hands! | 1:37:48 | 1:37:49 | |
Use your zoom. | 1:37:55 | 1:37:56 | |
GUNSHOTS | 1:38:00 | 1:38:02 | |
SIRENS APPROACHING | 1:38:13 | 1:38:16 | |
-Put the gun down! -GUNSHOTS | 1:38:30 | 1:38:33 | |
RICK GASPS FOR BREATH | 1:38:49 | 1:38:51 | |
You saw him. | 1:38:59 | 1:39:00 | |
You saw him. | 1:39:04 | 1:39:06 | |
I can't jeopardise my company's success | 1:39:08 | 1:39:13 | |
to retain an untrustworthy employee. | 1:39:13 | 1:39:17 | |
You're crazy. | 1:39:19 | 1:39:20 | |
You're crazy. | 1:39:22 | 1:39:24 | |
You took my bargaining power, Rick. | 1:39:25 | 1:39:28 | |
You used it against me. | 1:39:28 | 1:39:29 | |
You would have done it again. Just admit it. | 1:39:29 | 1:39:32 | |
I don't know... | 1:39:34 | 1:39:36 | |
I don't know... | 1:39:38 | 1:39:40 | |
I know. | 1:39:40 | 1:39:41 | |
(I know.) | 1:39:44 | 1:39:45 | |
Are you on that traffic accident on the PCA? | 1:40:23 | 1:40:25 | |
Hello, Juliana. | 1:40:25 | 1:40:26 | |
Hello, Willie. | 1:40:28 | 1:40:29 | |
-Hello, Ben. Hello, Lisa. -Hi! | 1:40:35 | 1:40:36 | |
-Hey - it's Lou, right? -Yes, that's right. | 1:40:36 | 1:40:39 | |
-Video News? -That's right. -Got something good for us tonight? | 1:40:39 | 1:40:41 | |
I think so. I'm about to show Nina, right now. | 1:40:41 | 1:40:44 | |
I can tell by your tie, it's Friday! | 1:40:44 | 1:40:46 | |
THEY LAUGH | 1:40:46 | 1:40:47 | |
GUNSHOTS ON VIDEO | 1:40:51 | 1:40:53 | |
You can leave. | 1:41:22 | 1:41:24 | |
DOOR OPENS AND CLOSES | 1:41:28 | 1:41:29 | |
Wasn't that your partner? | 1:41:34 | 1:41:35 | |
As a matter of fact, that's him. | 1:41:37 | 1:41:39 | |
Well, I'm floored. | 1:41:41 | 1:41:44 | |
I mean, it's amazing. | 1:41:44 | 1:41:45 | |
Thank you. | 1:41:47 | 1:41:48 | |
I mean, just amazing... | 1:41:49 | 1:41:52 | |
Thank you. | 1:41:54 | 1:41:56 | |
No, thank you. | 1:41:56 | 1:41:58 | |
Thank you for bringing it to me. | 1:41:59 | 1:42:00 | |
You're welcome. | 1:42:02 | 1:42:03 | |
I want it, obviously. | 1:42:05 | 1:42:07 | |
How much do you want it? | 1:42:07 | 1:42:08 | |
You tell me. | 1:42:10 | 1:42:12 | |
Get this to graphics. | 1:42:14 | 1:42:16 | |
-Who's in charge here? -Who are you? | 1:42:16 | 1:42:18 | |
LAPD, major case. | 1:42:18 | 1:42:20 | |
-Pull the footage from these screens. Round it up. Let's go - all copies. -Excuse me... | 1:42:20 | 1:42:24 | |
I'm the news director, can I help you? | 1:42:24 | 1:42:26 | |
You can help yourself, by collecting up every copy of the shoot-out, | 1:42:26 | 1:42:29 | |
-the chase, the crash - all of it, now. -It's KWLA property. | 1:42:29 | 1:42:32 | |
-It's evidence. -Of what? | 1:42:32 | 1:42:34 | |
I got a cop near death in the hospital, | 1:42:34 | 1:42:37 | |
three dead, four wounded | 1:42:37 | 1:42:38 | |
and a dozen major crimes stretching a mile of Third. | 1:42:38 | 1:42:41 | |
This tape is evidence. | 1:42:41 | 1:42:42 | |
It's news footage, bought and paid for from an independent contractor. | 1:42:42 | 1:42:45 | |
-And how do you think he got it? -If there's an issue, speak to him. | 1:42:45 | 1:42:48 | |
Don't get in the way of this. | 1:42:48 | 1:42:49 | |
Unless you have a judge's order, we're going with it in four minutes. | 1:42:49 | 1:42:52 | |
Hey, isn't that him? | 1:42:52 | 1:42:54 | |
BELL RINGS | 1:42:56 | 1:42:59 | |
Camera one, stay centred up. | 1:42:59 | 1:43:00 | |
Camera two, we'll do a zoom out when we come out. | 1:43:02 | 1:43:06 | |
Joel's got a source on the task force who says | 1:43:06 | 1:43:08 | |
they've found drugs at the Granada Hills house. | 1:43:08 | 1:43:10 | |
Cocaine in wrapped packages, hidden in crawl spaces - over 50lb. | 1:43:10 | 1:43:13 | |
And he confirmed it with an investigator at the scene. | 1:43:13 | 1:43:16 | |
It wasn't a home invasion, it was a drug robbery. | 1:43:16 | 1:43:19 | |
Give it to the noon crew. | 1:43:19 | 1:43:20 | |
-This is news. -It detracts from the story. | 1:43:22 | 1:43:24 | |
It IS the story. | 1:43:24 | 1:43:26 | |
The story is urban crime creeping into the suburbs. | 1:43:26 | 1:43:29 | |
That's the story. | 1:43:29 | 1:43:31 | |
-Jesus, you sound like Lou. -Ten seconds to back... | 1:43:31 | 1:43:34 | |
I think Lou is inspiring all of us to reach a little higher. | 1:43:34 | 1:43:38 | |
..five, four, three, two, one... | 1:43:38 | 1:43:42 | |
Sting it. | 1:43:42 | 1:43:43 | |
Lights, dissolve... | 1:43:44 | 1:43:46 | |
You understand that you've been read your rights | 1:43:57 | 1:43:59 | |
and you're here voluntarily? | 1:43:59 | 1:44:01 | |
That's right, yes. | 1:44:01 | 1:44:03 | |
And this is being recorded and filmed? | 1:44:03 | 1:44:06 | |
Yes, from the camera up there - | 1:44:06 | 1:44:08 | |
in wide angle. | 1:44:08 | 1:44:10 | |
Hmm. | 1:44:10 | 1:44:12 | |
Would you tell me how it is | 1:44:14 | 1:44:16 | |
you were at the Chinatown Express tonight and called the 911? | 1:44:16 | 1:44:19 | |
Of course - it began earlier in the day. | 1:44:19 | 1:44:21 | |
I was watering my plant. | 1:44:23 | 1:44:25 | |
I looked out my window, at my apartment - | 1:44:26 | 1:44:29 | |
the one you visited - | 1:44:29 | 1:44:31 | |
and I saw a dark-coloured vehicle with two men inside, | 1:44:31 | 1:44:34 | |
parked across the street. I didn't think anything of it, | 1:44:34 | 1:44:36 | |
otherwise I would have reported it then. | 1:44:36 | 1:44:39 | |
We began our night, my... | 1:44:39 | 1:44:41 | |
..employee and myself... | 1:44:44 | 1:44:45 | |
..and around approximately 12:38, | 1:44:46 | 1:44:49 | |
I looked in my rear-view mirror and I saw what looked like | 1:44:49 | 1:44:52 | |
the same men in the same vehicle, following us. | 1:44:52 | 1:44:55 | |
I made an evasive manoeuvre, circled back | 1:44:55 | 1:44:58 | |
and tailed them to the restaurant, | 1:44:58 | 1:44:59 | |
at which point I saw them go inside and recognised them | 1:44:59 | 1:45:02 | |
as the same men from the home invasion. | 1:45:02 | 1:45:04 | |
You told me you didn't see the men, | 1:45:05 | 1:45:07 | |
that you didn't get a good look at them. | 1:45:07 | 1:45:09 | |
Well, it all came back to me when I saw them going in - | 1:45:09 | 1:45:11 | |
their shapes and their movements. | 1:45:11 | 1:45:14 | |
And then I saw that one of the men had a gun under his shirt | 1:45:14 | 1:45:17 | |
and so, I immediately got my phone and dialled 911. | 1:45:17 | 1:45:20 | |
That's your story? | 1:45:20 | 1:45:21 | |
That's what happened. That's why I'm sitting here with you. | 1:45:21 | 1:45:24 | |
I think that the men saw my footage and they tracked me down. | 1:45:24 | 1:45:28 | |
You want to know what I think? | 1:45:29 | 1:45:31 | |
Yes, please. | 1:45:32 | 1:45:33 | |
I think you withheld information. | 1:45:34 | 1:45:37 | |
I think you saw the two men in the murder house in Granada Hills | 1:45:37 | 1:45:41 | |
and you saw the car | 1:45:41 | 1:45:42 | |
and you sat on it - | 1:45:42 | 1:45:45 | |
to get something you could film. | 1:45:45 | 1:45:47 | |
What do you think about that? | 1:45:47 | 1:45:49 | |
I think that would be... | 1:45:51 | 1:45:53 | |
a very unprofessional thing for me to do in my business. | 1:45:53 | 1:45:55 | |
It would be murder. | 1:45:55 | 1:45:57 | |
I can understand why you're looking into it, | 1:45:57 | 1:45:59 | |
but I didn't do anything like that - nothing that could be considered wrong. | 1:45:59 | 1:46:02 | |
-You don't fool me for a minute. -I'm glad. | 1:46:02 | 1:46:05 | |
I think everything you've said is a lie. | 1:46:05 | 1:46:08 | |
I wish my partner was here to back up what happened. | 1:46:08 | 1:46:10 | |
You left your dead partner. | 1:46:10 | 1:46:12 | |
The ambulances arrived. They're trained professionals. | 1:46:12 | 1:46:15 | |
Yeah, and you seem real broken up about that. | 1:46:15 | 1:46:18 | |
No, he died doing what he loved. | 1:46:18 | 1:46:20 | |
You filmed him dying. | 1:46:22 | 1:46:24 | |
Hey, that's what I do, it's my job. | 1:46:26 | 1:46:28 | |
I like to say that if you're seeing me, | 1:46:28 | 1:46:30 | |
you're having the worst day of your life(!) | 1:46:30 | 1:46:32 | |
'Any Rampart unit, ambulance 211, Rampart and Second Avenue. | 1:47:04 | 1:47:07 | |
'Victim female, white, unknown property...' | 1:47:07 | 1:47:10 | |
'Congratulations.' | 1:47:27 | 1:47:29 | |
Congratulations. | 1:47:31 | 1:47:32 | |
Your selection by Video Production News | 1:47:34 | 1:47:36 | |
is evidence of the hiring committee's recognition of your | 1:47:36 | 1:47:38 | |
employment history and unique personal qualities. | 1:47:38 | 1:47:41 | |
It is my hope that through hard work and commitment | 1:47:41 | 1:47:43 | |
you will move through the intern programme | 1:47:43 | 1:47:45 | |
and continue to pursue your career goals | 1:47:45 | 1:47:47 | |
as full-time employees of Video Production News. | 1:47:47 | 1:47:51 | |
I can tell you from experience | 1:47:51 | 1:47:53 | |
that the surest way up the ladder | 1:47:53 | 1:47:54 | |
is to listen carefully and follow my orders. | 1:47:54 | 1:47:58 | |
You may be confused at times and other times unsure, | 1:47:58 | 1:48:02 | |
but remember - | 1:48:02 | 1:48:04 | |
I will never ask you to do anything | 1:48:04 | 1:48:07 | |
that I wouldn't do myself. | 1:48:07 | 1:48:09 |