Movie
  • 6 months ago
Transcript
00:00Once upon a time, there were three little girls who went to the police academy.
00:16And they were each assigned very hazardous duties.
00:22But I took them away from all that, and now they work for me.
00:26My name is Charlie.
00:30Woooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo
01:00ooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo
01:30ooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo
02:00ooooooooattle
02:04alarm
02:11song
02:19bzzzzzzz
02:24ㅈㅉㅉㅉㅉㅉㅉㅉㅉㅉㅉㅉ
02:30Hey, what's going on?
03:27I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't
03:57know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know
04:27Oh, generous. A filmmaker. A regular Walt Disney. But Gus, his papa, he should rest in peace. He was a real starker. He was run down by a beer truck. Did Marvin tell you?
04:45He did say you were widowed, Mrs. Goldman.
04:48Gus almost survived that crash. If only the truck had been empty. Such a starker. After my stroke, Marvin built me this. My refuge. My salvation. Such a boy.
05:13Mama likes flowers.
05:15Did he tell you he was threatened last week?
05:18No, he didn't.
05:19Twice he was threatened.
05:21How were you threatened, Mr. Goldman?
05:23Call him Marvin.
05:25Phone calls, it meant nothing.
05:28It meant nothing. Last night they almost cooked him to a crisp. And still he wouldn't let me call professional help.
05:37I called the insurance company, they called the police, and what else is there to do?
05:43How can they help?
05:46How can they hurt?
05:54Angels, I've made arrangements for one of you to talk to a technician at the police lab.
05:59I'll get on it right away, Charlie.
06:01In the meantime, we're still wondering why Mr. Goldman was so reluctant to have his mother hire us.
06:06I did some checking on Mr. Goldman's business affairs.
06:10Call him Marvin.
06:12Well, Marvin has several silent partners. Maybe they can give you an angle about his reluctance.
06:19Well, check them out, Charlie.
06:22Charlie, whoever broke into Marvin's lab went for the film storage room specifically.
06:28Luckily it was airtight and Marvin got the door shut and smothered the flames.
06:32So whatever this is all about, Charlie, it must have something to do with that piece of film.
06:37Which means we're going to have to look at all of it.
06:40All of it?
06:42All of it.
06:44Good thinking. I'd pursue that.
06:47Oh, by the way, Charlie, how's Millicent?
06:49Not feeling too well, I'm afraid, Jill. She's still belly up.
06:53Gloria's with her now.
06:54Who's Gloria?
06:56An ichthyologist I've summoned. Very bright lady.
06:59We'll say a prayer for Gloria.
07:00You mean Millicent.
07:02Her, too. Bye, Charlie.
07:08Miss Monroe.
07:09Yes?
07:10Paul Baylor.
07:11Our Deputy District Attorney.
07:13Hi.
07:15You were in there asking questions about the fire in the Goldman lab.
07:18Well, my boss made arrangements.
07:20Your boss?
07:21Charles Townsend. He's a Townsend agent.
07:23I'm not used to private detectives getting involved in my cases.
07:26Well, I'm glad you're here.
07:28Well, I'm glad you're here.
07:29Well, I'm glad you're here.
07:30Well, I'm glad you're here.
07:31Well, I'm glad you're here.
07:32Well, I'm glad you're here.
07:33Well, I'm glad you're here.
07:34Well, I'm glad you're here.
07:36in my cases.
07:37Oh, you have a case.
07:38I mean, someone to prosecute?
07:39I mean, someone to prosecute?
07:41No.
07:43What I got is an anonymous phone call about a week ago.
07:46What I got is an anonymous phone call about a week ago.
07:47I'm not following.
07:48The caller said the Goldman lab was worth watching.
07:49The caller said the Goldman lab was worth watching.
07:50For what?
07:51Well, that he didn't say...
07:54and I've been playing it by ear.
07:55and I heard you were here asking questions.
07:56You thought I might have some information.
07:58Well, maybe I was hoping.
08:00Anyway, you're here, and if the
08:01You're here, and if the left hand knew what the right hand were doing?
08:05Maybe we could find some answers together.
08:07Would you mind?
08:08Are you kidding?
08:09You're the man with the terrific batting average.
08:11I mean, Mr. Crime Buster himself.
08:13Well, there are some who think I'm overly zealous.
08:17Oh, the Mineski case.
08:19You've been reading the papers?
08:21Paul Baylor, the avenging angel.
08:24Yeah.
08:27Listen, I've got to run.
08:30Can we, uh, lunch later?
08:33Compare notes?
08:34That's a good idea.
08:36How about Donatello's?
08:38Twelve-thirty?
08:40You're on.
08:57Is that her?
08:59That's her.
09:01So, what does she know?
09:03Nothing.
09:04Yet.
09:05If she gets too close, then what?
09:09I guess we'll just have to use, uh, these again.
09:14Hey, old boy.
09:15I'm telling you, my eyes hurt.
09:17Have you got something in this eye?
09:19I don't think so.
09:20I think it hurts.
09:21Oh.
09:22You, too, look bloodshot.
09:23Yeah.
09:24Marvin's been showing us enough footage for a minor film festival.
09:27Did you come up with anything at the police lab?
09:29No fingerprints.
09:30No ties.
09:31No fingerprints.
09:32No ties.
09:33No fingerprints.
09:34No ties.
09:35No fingerprints.
09:36No ties.
09:37No fingerprints.
09:38No ties.
09:39No fingerprints.
09:40No ties.
09:41No fingerprints.
09:42No ties.
09:44I think they're looking for car marks that they can isolate in the parking lot, but they're
09:46still trying to trace the contents of the canister.
09:48Yes.
09:49Check run this.
09:50The clients are waiting in the waiting room.
09:56Marvin?
09:57Hmm?
09:58You know those threatening phone calls that you received?
10:00Can you tell me exactly, again, what the caller said to you?
10:03Well, he warned, warned me to shut down my business.
10:06And do what?
10:07Well, he didn't suggest a new line of work.
10:10Paul Baylor, the deputy D.A., also received an anonymous phone call about this lab.
10:15He did?
10:16Last week. He said the caller told him that the film lab would bear watching.
10:20Bear watching? What?
10:22What does that mean?
10:23He didn't know it.
10:25Jill, do me a favor.
10:41No, you're not hallucinating.
10:44That was Little Bo Peep, wasn't it?
10:46In a shape.
10:47I think so.
10:49We have a soundstage in the back.
10:51We rented out.
10:53They're filming some children's stories.
10:56After you, ladies.
11:03I never realized Little Bo Peep was so mature.
11:16Well, what's he gonna do?
11:19Baylor, I mean.
11:20Nothing yet.
11:22Do you have any idea what he's gonna do?
11:24No, I don't, Marvin.
11:27I gotta go.
11:58Uh, Marvin, what is this?
12:25Thank you, Carl.
12:37Interesting film, Marvin.
12:42Who's the guy with the earring with the white bread?
12:45Who knows? Who knows?
12:47Look, I don't make movies. I develop film.
12:49A lot of crazies come in here all the time.
12:52That was, uh, Tolchek.
13:07Little Bo Peep?
13:10She meets a shepherd.
13:13She meets a shepherd.
13:15Let's get to me.
13:18I'll be back in a minute.
13:29We're really groping, you know?
13:30Yeah.
13:31I mean, it's strange that all that film Marvin keeps feeding us and we don't even know what we're looking for.
13:35Well, I'm having lunch with Paul Baylor this afternoon.
13:37Maybe he can help us get a handle on this.
13:40Thanks.
13:41Love to meet him, right?
13:42Right.
13:43Bosley and I have to check out a list of Marvin's silent partners.
13:47Well, I think I better do this one solo.
13:49Let me explain why.
13:50Uh-huh.
13:51If he finds out Charlie has three of us working on his side of the street, he's liable to get a little uptight.
13:55Logical.
13:56Ah, you mean he looks as good as his news photos and you don't want to share him.
13:58Well, ugly he isn't.
14:00See you later.
14:01Have a nice lunch.
14:02I will.
14:04She gets Baylor and I get Marvin.
14:06Listen, suffering, it builds character.
14:09Right.
14:11Yeah.
14:24Excuse me.
14:25Excuse me.
14:27Uh, excuse me.
14:29Told ya.
14:30How do you know told ya?
14:31Uh, your earring.
14:33I saw your film.
14:35I didn't understand it.
14:36You weren't supposed to understand.
14:38It wasn't cold.
14:40Oh.
14:43Well, you think you could explain it to me then?
14:46Why should Tolchek talk to you?
14:48Well, you see, I'm a reporter for the Brown Earth Gazette and every year we do an annual
14:53and I thought this year maybe we could use you on the cover.
14:55I mean, well, the back of your head.
15:02The film is about white bread.
15:06White bread?
15:07The rape of the wheat.
15:11How do you rape wheat?
15:12Not me.
15:13Them.
15:14Oh, I didn't mean you.
15:15I didn't mean you.
15:24The great energy comes from the god Sun.
15:28And it hammers its rays into the earth.
15:32And the great water god in the sky spits down the rain.
15:39And the plow ruptures the dirt.
15:43And out of the anguish and the agony the seed quietly explodes.
15:53And then it becomes wheat.
15:56And it sacrifices its virgin stock under the deadly blade of the scythe.
16:03And then this rich gold and bounty is raped by your modern processing plant.
16:18I never thought of it that way.
16:20Comes the revolution.
16:23You will.
16:51I'm telling you, she's getting too close.
16:54We're going to have to waste her.
17:20I'm going to have to waste her.
17:51Then she'll come back.
17:52I'm going to have to waste her.
18:10Mrs. Devers?
18:12Yes?
18:14I stopped by your house and your maid told me you were here, so I took a small liberty.
18:18small liberty. Did you enjoy it? Enjoy what? Taking a small liberty with my
18:25maid. No, no, not with her, with you. What I mean is, she, I wanted to talk with you
18:35and so I took the small liberty of coming down. I'm glad we worked that out.
18:41I understand that you have an associate, Mr. Goldman.
18:45Goldman? No, no, I don't know anyone by that name.
18:49Well, from the information I've received, you've helped finance Mr. Goldman.
18:54Now look, I told you I don't know a Mr. Goldman. And if you don't leave me alone,
18:59I'll make certain you regret having taken that small liberty.
19:04He has a smooth stroke. He had two.
19:34Mr. Parmador. That's me.
19:50I am in the market for a gift. What sort of gift did you have in mind?
19:55Well, a gift of information, actually, about Mr. Goldman.
19:59I don't know anybody by that name. Well, you're one of his investors, aren't
20:08you? You're mistaken.
20:11I don't think so. Lady, get the hell out of here before you
20:14get hurt. I'll give Marvin your regards.
20:29Excuse me. I'm holding that seat for you, young lady.
20:59White wine, please. I'm sorry I'm late.
21:02You're looking well. Hello?
21:04What's left for me to say? You can tell me you've got vital information
21:08that'll help us get a handle on this case. What I've got is another anonymous phone
21:11call about your client. When?
21:13About an hour ago. And?
21:16And the same vague reference about watching the lab.
21:19Listen, this could be dangerous. If you come up with something, I want you
21:22to call me immediately. If there's no answer at my office, call this
21:27other number. Which is?
21:29I've asked for help from the police department. An officer can be reached at that number at
21:33all times. This case, every time I turn a corner, I come
21:41up staring at myself. When you stare at yourself, what do you feel?
21:48Confusion. It's hard to see ourselves as other people
21:52see us, as they think we are. But you and I, to do our jobs, we've really
21:56got to know ourselves, make decisions. It's tough.
22:00But you do it so well. You've got the best rate of conviction in
22:04the state. Well, let's hope we have as much luck with
22:08our little puzzle. Let's hope.
22:26♪♪
22:57♪♪
23:25Mark. Look, when can we see the film we shot yesterday?
23:28We'd better hold off a couple of days. And will you try to keep the sheep out of
23:32the hallway? Yeah, yeah, yeah.
23:34Just get me the film, will you?
23:37♪♪
23:47♪♪
24:07♪♪
24:29Is, uh, that what you call a photo play?
24:38Is it? What?
24:42A photo play for making movies. A script, you mean?
24:48Are you in the movies? I'm a director.
24:53Yeah? Guess what?
24:57You always wanted to be an actress.
25:00How'd you know that?
25:03Guess you might say I've got an eye for talent.
25:07I'm famous for it.
25:10I bet you are.
25:15You know, I'd do anything to get in the movies.
25:20You would, huh?
25:23Yeah.
25:29What kind of movies do you make?
25:35Freeform.
25:38Yeah. Freeform.
25:43What exactly is freeform?
25:47Show them, Bosley.
25:50Now, here's some film Marvin didn't want us to see.
25:59♪ Little Bo Peep has lost her shepherd.
26:05Oh, Little Bo Peep.
26:09That is not the Little Bo Peep I knew and loved as a child.
26:13Yeah, well, this is the unabridged edition.
26:21How do they do that?
26:24Very carefully.
26:35I'm confused.
26:37All right, ask questions and I'll try to explain.
26:40Oh, no, this plot I got figured.
26:42The question is, what do we do when our client turns out to be a liar and a pornographer?
26:46Well, we're not here to examine his moral fiber.
26:49We're supposed to find out who's trying to burn him out of business and why.
26:52That's true, but there is a law against this sort of thing.
26:56She's right. Joe's got Paul Baylor's confidence.
26:59If he finds out what Marvin's been doing...
27:01And he will. Give me the phone.
27:03Meaning you're going to tell him.
27:04You got it.
27:07♪ His tale behind him.
27:17♪
27:21♪
27:45Mm-hmm.
27:48Mm-hmm.
27:50I'll take care of it.
27:52I'm sorry.
27:54You were saying...
27:55I was saying, you realize I'm in a difficult position with my client.
27:59I was hired to protect him.
28:01And now I'm going to blow the whistle on him.
28:03You can't cover for him if he's breaking the law.
28:06I guess that's true.
28:09You bust drugs, prostitution, you get organized crime.
28:13It's the same thing with pornography.
28:15Maybe Marvin got mixed up in some heavyweights.
28:18That would explain his reluctance in hiring us.
28:24I would be willing to slap his wrists, confiscate the film and let it go at that.
28:29If he'll cooperate.
28:31That surprises me.
28:33Because I'm willing to deal?
28:36Uh-huh, and because I think compromising is difficult for you.
28:40I admit I've never made an offer like this before.
28:43And you're right, it's not easy for me.
28:46Why then?
28:49Call it a favor.
28:52For me?
28:53Do you mind?
28:55Should I?
28:56No.
28:57I'm the one with the devil in his back.
28:59The devil?
29:02My old man was a preacher.
29:06A sure enough Texas-born hellfire dust road preacher.
29:09And he always told me, walk briskly towards the Lord.
29:13Because if you look back, you'll see the devil's face and turn to stone.
29:19So I guess I've been fast forward all my life.
29:21I think you've done great in fast forward.
29:27I'm gonna have a little heart to heart with Marvin.
29:30And I'll get back to you, okay?
29:32Can you put a rush on that?
29:34A rush?
29:35In getting back to me?
29:39Compliment noted.
29:41And accepted.
29:44When this is all cleared up, I haven't got a clock at my back.
29:51I'm gonna come at you like a freight train.
29:54Oh, you are?
29:55I am.
29:58Listen, I've got to run.
30:00That late meeting with the grand jury.
30:02Oh, the Menescu case.
30:04We go to trial next week.
30:06The avenging angel back in action.
30:09Keep in touch?
30:13Watch out for the devil.
30:35Hi Bree, it's Jill.
30:37I think everything's gonna be okay.
30:40Hey, I'm too tired to drive out to the beach tonight.
30:42Can I stay at your place?
30:44I have my garage key.
30:46Ah, thank you.
30:47I'll tippy toe.
30:48Bye.
31:07Bye.
31:37Bye.
32:37Hi.
33:07Hello?
33:37Hello?
34:08You know the price of an imported filly in Absa-Zamabilis?
34:14I never drove one.
34:16Ah, you don't drive it, you smell it.
34:18It happens to be a rare white orchid that can only be found in Malaya.
34:21As you probably noticed, my mother acquired a fondness for them last year.
34:26Oh, come on, Marvin.
34:28You're not gonna blame all this on your mother and her flowers?
34:31Look, Marvin, we appreciate your expenses.
34:33But Jill was nearly killed last night.
34:36Now, you have got to level with us.
34:38I was gonna tell you.
34:40I really was.
34:42But if my mother ever knew what I was doing...
34:44Marvin, I talked to an investor of yours, Mrs. Evers.
34:50Well, how did you get to know her?
34:52There's also a certain Mr. Parmedor.
34:54Now, he nearly fed himself to his fish when I mentioned your name.
34:57Well, they have no complaints with me.
34:58They made money with me.
35:00Do you get along with him?
35:01No problems?
35:03Why, yes.
35:06It took a little persuading to get them to agree to invest.
35:13What kind of persuasion, Marvin?
35:15Well, they asked to see examples of my work.
35:19They must have liked what they saw.
35:23Not really.
35:24Then why did they invest?
35:27Well, they committed certain indiscretions at a motel that I own.
35:35And those indiscretions were captured cinematically.
35:43Wait a minute. Wait a minute.
35:45Are you saying that your investors were unknowing participants...
35:51in the examples that you showed them of your work?
35:56Yes.
35:57Oh, boy.
35:59Oh, Marvin, you are a very enterprising fellow.
36:03Not to mention a liar, pornographer, blackmailer.
36:08Well, I never said I was perfect.
36:11Okay, where do we go from here?
36:14Well, first we try to tie up a few of these pieces.
36:19Okay.
36:22You say you received the first threatening phone call ten days ago.
36:25Yes.
36:26Were you shooting one of your epidermal epics then?
36:30Sally of Sin City.
36:32That is a very provocative title.
36:34I thought of it myself.
36:36Oh, I've got a title for you, Marvin.
36:38It's called Show Us the Naughty Film.
36:41Yeah, well, I've got a title for you, too.
36:43It's called Go Tell Charlie What's Going On.
36:46Yes.
36:49Carl, run Sally of Sin City, alias Little Bo Peep.
36:54Little Bo Peep?
37:00Marvin, really?
37:03Well, these are just scenes.
37:04We haven't put the picture together yet.
37:06Tacky, Marvin.
37:07This is very tacky stuff.
37:21Hey, wait a minute.
37:22What's wrong?
37:23Run the film back.
37:24Oh, no, no, no, no.
37:26This man, he wasn't supposed to be in this shot.
37:28No, there's a better segment coming up.
37:30I don't care about that.
37:31Run the film back.
37:32I want to see that man's face.
37:34Run the film back, Carl.
37:36And keep rerunning it.
37:37I want to get a closer look at him.
37:38Keep rerunning it, Carl.
37:40What is it?
37:41You know, that man who shot at me the other night in the garage?
37:44Yeah.
37:45It was about that same size, that same blonde hair.
37:48You sure?
37:49No, it's just a feeling I have.
37:51That blonde hair.
37:53Well, wait.
37:54So what you're saying is that this is a piece of film that was supposed to be burned in the fire?
37:58Maybe.
37:59Well, why?
38:00You can't even see his face.
38:01Well, that man doesn't know that.
38:03Right.
38:04And for some reason, he doesn't want to be seen there now.
38:11Marvin, stop the film this time.
38:21Marvin, what's up the hill from that building?
38:24Nothing.
38:25Just an old apartment house.
38:26I'm going to go there and have a look.
38:28What for?
38:29I don't know.
38:30It's just a feeling.
38:31Marvin, can you get me a blow-up of that piece of film?
38:34A close-up on the car?
38:35Sure.
38:36The license plate?
38:37Listen, Kelly.
38:38What's that guy's name that we went to the academy with?
38:40Where's the DMV?
38:41Lieutenant Cantrell.
38:42Ed Cantrell.
38:43Okay, listen.
38:44I'll call him.
38:45He can probably put a rush on it for us.
38:46Okay, look.
38:47I'll stay here.
38:48Get the blow-up.
38:49Call your Cantrell's office.
38:50That way, we'll save time.
38:51Right.
38:52We've got two more minutes on this reel, and I think we have a better angle.
38:53Okay, I'll look at it.
38:54I'll look at it.
38:55Here, let me know if you find something.
38:56All right.
38:57Why don't you roll the rest of it in?
38:58Keep on rolling it, Colonel.
38:59All of it.
39:00All of it.
39:01All of it.
39:02All of it.
39:03All of it.
39:04All of it.
39:05All of it.
39:06All of it.
39:07All of it.
39:08All of it.
39:09All of it.
39:10All of it.
39:11All of it.
39:12All of it.
39:13All of it.
39:14All of it.
39:15All of it.
39:16All of it.
39:17All of it.
39:18All of it.
39:19All of it.
39:20All of it.
39:21All of it.
39:22All of it.
39:23All of it.
39:24All of it.
39:25All of it.
39:26All of it.
39:27All of it.
39:28All of it.
39:30All of it.
39:32All of it.
39:33All of it.
39:34All all of it.
39:35All all all all all all of it.
39:36All of it.
39:37All of it.
39:38All of it.
39:39All of it.
39:40All of it.
39:51Oh, hello, yes.
39:52Can I have Lieutenant Ed Contrell's office, please?
39:55Thank you.
39:56Marvin, what was it again?
39:582-9-4-O-D-L.
40:07Sabrina, I've got it. License number 2-9-4-O-D-L.
40:12Okay, you start on it. I'll be down in a minute. Bye.
40:19Marvin, we may pull you out of this shed.
40:26Okay.
40:56Menescu, that's Baylor's case.
41:26Marvin, we may pull you out of this shed.
41:56Marvin, we may pull you out of this shed.
42:21Operator.
42:32Yeah.
42:33Uh, this is Jill Monroe. Paul Baylor gave me this number.
42:37I understand.
42:38Oh, then you know about the Goldman case.
42:40Yes. And I've been alerted to help you in any possible way I can, Miss Monroe.
42:44Great. I'm at the corner of 8th and the Grand.
42:47Would you like me to come right down there?
42:49Yes, um, I think I've stumbled on something.
42:53I'm on my way.
42:54Thank you.
43:20Did you find out who's licensed the horse?
43:34Yeah, we've got to get to Jill fast.
43:36Hello, mobile.
43:38Mobile operator, this is an emergency.
43:49I'm on my way.
44:20Miss Mirage?
44:21Yes.
44:22I'm Detective Sergeant Danner.
44:24This is Detective Lembeck.
44:25Good. I appreciate y'all coming.
44:28You said that you stumbled on something.
44:30Yes, Paul Baylor told you we were studying the Goldman film.
44:33Yes. Did you find something?
44:35Well, let me show you.
44:39When they were filming, a man came out of this alley, sort of panicked when he saw the camera.
44:46He turned around, got into a car that was parked right there, and drove away with another man.
44:50A man. Could you identify him?
44:52No, other than he had blonde hair.
44:54It was dark, so I figured I'd come out here and look around for myself.
44:58Look around? For what?
45:00Well, I didn't know.
45:01But look, I found out in that rear apartment in the corner, that's where Manescu lives.
45:08Manescu?
45:09You know, Manescu.
45:11That's a man Paul Baylor indicted for murder.
45:16His trial is due to start sometime next week.
45:19That's right. Manescu is supposed to live here in this area, right?
45:24Oh, I'm sorry. I'm not familiar with that case.
45:27Oh. Well, Paul Baylor told me he received some calls telling him to keep an eye on the Goldman lab.
45:35And I knew he was in the middle of the Manescu trial, so I figured there was some sort of connection.
45:42Possible.
46:06Um, well, the newspapers say that Manescu claimed the evidence was planted in his apartment.
46:16I'm not following you.
46:18Well, the blonde man, you know, he, uh...
46:25I explained it when he was...
46:31Well, let me show you, okay?
46:43Don't!
46:45Hold it.
47:00Hold it.
47:20I'm sorry.
47:22Me too.
47:24All those years.
47:26Fast forward.
47:31Now I guess I'll have to look back.
47:34Watch out for the devil.
47:46Before you condemn Baylor, and us, remember he's got the best damn conviction rate in the state.
47:53How many times with planted evidence?
47:55He did what was necessary, when it was necessary.
47:59And that's the most frightening thing I've heard today.
48:11You okay?
48:13Had better days.
48:15Yeah.
48:25Jill, the anonymous phone calls Baylor claims to have received, there were none.
48:31No, he was just baiting me into working with him so he'd know if I was getting too close.
48:36Esther Goldman called me. She's very grateful.
48:38I take it she doesn't know about Marvin's cinematic indiscretions.
48:43Marvin's taken her on a short cruise.
48:45Hopefully by the time he gets back, the media will have moved on to some other form of, um, current events.
48:51Since Marvin was so cooperative, there won't be any charges filed.
48:54By the way, Charlie, how's Millicent?
48:56You're a fish.
48:58Still belly up, I'm afraid.
49:00Mmm. What about the ichthyologist Gloria?
49:04All about the same.
49:06I'm still saying a prayer for her, Charlie.
49:08Gloria?
49:09No, Millicent. Gloria's prayers have already been answered by now.
49:13I'm doing my best to keep her faith intact.
49:17By the way, what is an ichthyologist?
49:20It doesn't matter, Bosley. It doesn't matter.
49:46You
50:16You