| 时间 | 英文 | 中文 |
|---|---|---|
| [00:01] | Jackson: There he is. Lopez: 7-Adam-07, show us Code 6 | |
| [00:03] | on a suspected mail theft, 2210 Rosemont. | |
| [00:06] | [ Siren chirps ] | |
| [00:08] | [ Brakes squeal ] | |
| [00:10] | [ Vehicle doors open, close ] | |
| [00:11] | Sir! | |
| [00:12] | Are those your packages? | |
| [00:15] | Totally. Where you taking them? | |
| [00:16] | My mom’s. | |
| [00:18] | You have an ID, says you live here? | |
| [00:19] | I forgot my wallet. | |
| [00:21] | How about opening the front door to prove that’s your house? | |
| [00:24] | Uh, I-I locked my keys inside. | |
| [00:26] | But I can jump the fence and I can get my hide-a-key. | |
| [00:28] | Sir, put down the packages. You’re under arrest. | |
| [00:30] | Oh, no, this is just gonna take a second, bro. | |
| [00:31] | Hey, hey! Stop! Give it a second. | |
| [00:32] | Why? | |
| [00:35] | “Beware of dog.” [ Dog barking ] | |
| [00:37] | Easy! | |
| [00:38] | No! No! N-No! | |
| [00:40] | [ Dog growling, snarling ] [ Screaming, groaning ] | |
| [00:42] | ♪ Whoa, oh, oh, oh, oh, oh, whoa, oh, oh ♪ | |
| [00:45] | ♪ I’m gonna win for you like I know you want me to do ♪ | |
| [00:52] | [ Gunshot ] | |
| [00:53] | Lopez: Get an ambulance! | |
| [00:55] | Ooh! Looking sharp. | |
| [00:58] | Thanks. I kind of missed wearing a suit. | |
| [01:00] | Liar. | |
| [01:02] | First day back at work. How you feeling? | |
| [01:03] | I feel great. Great. | |
| [01:05] | Because the couch is getting a you-shaped dent in it. | |
| [01:08] | Time to get back in the game, Counselor. | |
| [01:10] | My mom always says “Today’s a great day for a great day.” | |
| [01:15] | You got this. | |
| [01:22] | ♪ See it all ♪ | |
| [01:23] | ♪ Watch and learn ♪ | |
| [01:24] | ♪ Study the tape, the game overturn ♪ | |
| [01:27] | ♪ Picking it up, we on that vibe ♪ | |
| [01:30] | Would somebody please tell me the difference | |
| [01:31] | between Greyhound and Deep River? | |
| [01:33] | [ Knock on door ] | |
| [01:36] | Hey. Can I help you? | |
| [01:37] | Is Barbara here? | |
| [01:39] | Oh, I’m sorry, I think you have the wrong house. | |
| [01:40] | No, this was my house. | |
| [01:42] | Our house. | |
| [01:44] | When Barbara and I were married. | |
| [01:47] | Howard Green. | |
| [01:49] | Oh. John Nolan. Yeah, I just, uh — | |
| [01:50] | I just bought the place. Wow. Looking good. | |
| [01:54] | Barbara always said the bones were special. | |
| [01:57] | But we could never afford to do any work. | |
| [02:01] | You’re fixing it up yourself? | |
| [02:02] | Yeah, I sure am. | |
| [02:03] | And I don’t mean to be rude, but I do — | |
| [02:05] | I have to get ready for work. | |
| [02:06] | Sure. Uh… | |
| [02:08] | Sorry, uh, to trouble you. Uh… | |
| [02:14] | Everything okay, Howard? | |
| [02:17] | Not really. | |
| [02:19] | Five years ago, I walked out that door and never came back. | |
| [02:22] | Barbara gave me an ultimatum — | |
| [02:24] | my family or the drugs. | |
| [02:27] | Ohh. | |
| [02:29] | That’s rough. | |
| [02:30] | I’m dying. | |
| [02:32] | Brain cancer. | |
| [02:34] | [ Voice breaking ] I just found out. | |
| [02:36] | Maybe it’s selfish, | |
| [02:38] | but I want them to know that I chose wrong | |
| [02:43] | before I’m gone. | |
| [02:47] | So i-i-if you know where they are | |
| [02:51] | or how I can, uh… | |
| [02:52] | Howard, I’m so sorry. | |
| [02:54] | I bought the house in foreclosure from the bank. | |
| [02:56] | I don’t have any contact information | |
| [02:58] | for your family. | |
| [03:00] | ♪♪ | |
| [03:04] | Okay. | |
| [03:08] | Thank you for your time, and, uh… | |
| [03:11] | good luck with the renovation. | |
| [03:13] | Thank you. | |
| [03:14] | ♪♪ | |
| [03:20] | Nolan: I have to help him, though, right? | |
| [03:22] | That’s karma 101 — help the dying guy. | |
| [03:27] | What? | |
| [03:28] | Nothing. What’s got you a million miles away? | |
| [03:29] | Nothing. | |
| [03:33] | Judge granted me an overnight visit with Lila. Tomorrow night. | |
| [03:35] | That’s great. You must be so happy. | |
| [03:36] | If you equate debilitating anxiety | |
| [03:39] | with happiness, then sure. | |
| [03:41] | It’s been six months since I spent | |
| [03:42] | more than a couple hours a week with her. | |
| [03:44] | It’s just, she’s changed so much. | |
| [03:46] | And you’re afraid that you’ve forgotten how to be a mom? | |
| [03:49] | No. Don’t worry. | |
| [03:50] | She’s gonna be so excited just to hang out with you. | |
| [03:53] | You got her room all set up? | |
| [03:54] | Yeah, I’m doing that tonight. | |
| [03:56] | I have a stack of Swedish furniture to assemble. | |
| [03:58] | Well, if you need a hand… | |
| [04:00] | What, you think because I’m a girl, I’m not handy? | |
| [04:01] | Not what I said. I just know how challenging | |
| [04:03] | Allen wrench furniture can be. | |
| [04:05] | Fair point. | |
| [04:07] | Harper. Just got a call from a crime scene. | |
| [04:09] | Some woman was assaulted in her apartment. | |
| [04:11] | They took her to the hospital. Okay. | |
| [04:13] | Responding officer noticed a framed photo | |
| [04:16] | on the victim’s bookshelf — thought I should see it. | |
| [04:21] | That’s you, right? | |
| [04:23] | Yeah. In an undercover life. | |
| [04:26] | Crystal? Yeah. | |
| [04:28] | Who’s the other lady? | |
| [04:29] | It’s Eva Ruiz. | |
| [04:31] | We were tight for a while. | |
| [04:33] | I used her to get close to some bad people. | |
| [04:36] | Haven’t seen her in years. | |
| [04:38] | Any word on who beat her up? | |
| [04:40] | No. And she’s not talking. | |
| [04:42] | Is there any reason detectives should proceed carefully | |
| [04:44] | with their investigation? | |
| [04:45] | No, sir. [ Clears throat ] | |
| [04:47] | Eva is squarely in my rearview. | |
| [04:49] | Okay. | |
| [04:54] | You know, if you want, we can drop by the hospital, | |
| [04:56] | see how your friend is doing. | |
| [04:57] | She’s not my friend. She was a means to an end. | |
| [04:59] | Then why are you upset? | |
| [05:01] | ♪♪ | |
| [05:03] | [ Telephones ringing, indistinct talking ] | |
| [05:05] | Oh! Excuse me! Excuse me. Mm-hmm. | |
| [05:08] | I found this lost dog. | |
| [05:10] | Aww. Aren’t you sweet. | |
| [05:11] | Uh, but lost dogs are actually an Animal Control issue. | |
| [05:13] | Oh, of course. | |
| [05:15] | But I figured all this blood made it an LAPD issue. | |
| [05:19] | There isn’t a scratch on her. | |
| [05:21] | Where was she? Middle of Wilshire Boulevard. | |
| [05:24] | Little cutie was frantic, almost got herself squashed. | |
| [05:27] | [ Dog whines ] | |
| [05:28] | What’s the holdup? | |
| [05:29] | We need to swing by a vet, | |
| [05:30] | see if there’s a chip in this dog. | |
| [05:32] | She could’ve come from a crime scene. | |
| [05:33] | Jackson: Hey! | |
| [05:34] | [ Siren wailing ] | |
| [05:36] | [ Rapping ] ♪ Not to be confused with none of these other dudes ♪ | |
| [05:38] | [ Tires screeching ] ♪ Following the leader when they sent us off to school ♪ | |
| [05:40] | ♪ I rule, take a backseat, run it like an athlete ♪ | |
| [05:43] | ♪ Looking like a lit match, artists couldn’t match me ♪ | |
| [05:46] | [ Grunts ] | |
| [05:47] | You’re under arrest. | |
| [05:49] | [ Handcuffs click ] | |
| [05:50] | Sir, you should stay in your car. | |
| [05:52] | That was sick. | |
| [05:53] | Whoa. You’re Sterling Freeman. | |
| [05:55] | Wh– He’s Sterling Freeman. | |
| [05:57] | Who? | |
| [05:58] | I’m an actor. | |
| [05:59] | Good for you. Are you kidding? | |
| [06:01] | He’s the star of “Hot Suspect.” | |
| [06:03] | Sounds like a porno. [ Laughs ] | |
| [06:04] | It’s not, okay? It’s the highest-rated cop show on TV. | |
| [06:07] | You watch it? Oh, yeah. | |
| [06:08] | I mean, every single week. It’s amazing. | |
| [06:10] | It’s all right. It’s nothing like the work | |
| [06:11] | you do in the real world, Officer…? | |
| [06:13] | West. Jackson. | |
| [06:15] | Jackson. | |
| [06:16] | Well, good to meet you, Jackson. | |
| [06:18] | Maybe you could teach me that slide sometime. | |
| [06:20] | Sure. Yeah, I’d, uh — I’d be happy to. | |
| [06:22] | Let’s go, Hollywood. | |
| [06:29] | Eva was beaten pretty savagely. | |
| [06:31] | They broke her arm and four ribs, | |
| [06:33] | ruptured an eardrum. | |
| [06:34] | Luckily, there were no internal injuries. | |
| [06:36] | Uh, she told detectives she didn’t remember the beating. | |
| [06:39] | Is that possible? Sure. | |
| [06:40] | Although, medically speaking, | |
| [06:42] | I don’t think there was enough head trauma to explain that. | |
| [06:44] | So she could be lying. | |
| [06:45] | That’s more your department. | |
| [06:47] | You can go in and talk to her, if you want. | |
| [06:48] | No, I can’t blow my cover. | |
| [06:50] | If my real identity got out, it would put her in jeopardy. | |
| [06:53] | How so? She introduced me to a lot of bad people. | |
| [06:56] | They would think she was a snitch | |
| [06:57] | and they would kill her. | |
| [06:58] | So that’s it? We just walk away? | |
| [07:00] | Her attacker gets away with it? | |
| [07:04] | There is one person she might talk to. | |
| [07:07] | Does this place have a lost and found? | |
| [07:12] | Sgt. Grey: I hear you had a brush with fame this morning. | |
| [07:14] | Sterling Freeman? Yes, sir. | |
| [07:15] | Well, you must have made an impression, | |
| [07:17] | ’cause Mr. Freeman called in a favor with the Chief, | |
| [07:20] | asked if you can come be a technical advisor | |
| [07:22] | on his show today. Really? | |
| [07:24] | He wants a rookie to tell him how to be a pretend cop? | |
| [07:27] | No wonder Hollywood always gets it wrong. | |
| [07:29] | Which is why you’re going with him. | |
| [07:30] | And before you protest | |
| [07:32] | that you’d rather clean the drunk tank — | |
| [07:33] | With my tongue. I will let you work 10-hour shifts next week | |
| [07:36] | if you could please teach these actors | |
| [07:39] | how to properly clear a room — | |
| [07:41] | or at least use their radios. | |
| [07:43] | Luna makes you watch. | |
| [07:44] | Every week. | |
| [07:45] | It’s all I can do not to punch my fist through the TV. | |
| [07:48] | Just…please. | |
| [07:50] | Copy that. | |
| [07:53] | Never hung out with a celebrity before. | |
| [07:54] | You’re lucky. | |
| [07:56] | I might need you to get… | |
| [07:57] | I’ll meet you in the shop. Okay. | |
| [07:59] | …a few of those to me by the end of the day. | |
| [08:01] | Whoa. Sorry. | |
| [08:02] | [ Chuckles ] | |
| [08:04] | No problem. You just snuck up on me. | |
| [08:06] | Um, I’ll send the request when I get back to the office, okay? | |
| [08:09] | Thank you. | |
| [08:10] | How’s it going? | |
| [08:12] | It’s like I never left. | |
| [08:14] | Why does that sound like a bad thing? | |
| [08:16] | No, it’s fine. I’m just… | |
| [08:19] | trying to do what the doctor said — take things slow. | |
| [08:21] | We still on for lunch? | |
| [08:22] | I can’t. | |
| [08:24] | But I’ll make it up to you tonight. | |
| [08:25] | Okay? Okay. | |
| [08:32] | Control, show us Code 6 at 819 Rivera. | |
| [08:37] | [ Knock on door ] Police! | |
| [08:39] | We’ve got your dog. | |
| [08:43] | [ Knock on door ] Police. | |
| [08:49] | Body. | |
| [08:50] | ♪♪ | |
| [08:52] | [ Doorknob rattles ] | |
| [08:54] | ♪♪ | |
| [09:03] | [ Light clatter ] | |
| [09:05] | ♪♪ | |
| [09:15] | Clear. | |
| [09:18] | This is the police! We’re coming in, | |
| [09:20] | so get your hands where I can see ’em! | |
| [09:21] | ♪♪ | |
| [09:29] | ♪♪ | |
| [09:41] | [ Radio chatter, dog whines ] | |
| [09:43] | Lucy: Hey, Malcolm. | |
| [09:45] | That was a great hiding spot. | |
| [09:47] | You thought fast, and you kept yourself safe. | |
| [09:53] | Malcolm, can you tell me who hurt your mom? | |
| [09:55] | [ Siren wailing ] | |
| [09:58] | [ Vehicle approaches ] | |
| [10:01] | I’ll be right back. | |
| [10:02] | [ Vehicle door opens ] | |
| [10:04] | He’s in shock. We got to get him to the hospital, | |
| [10:06] | make sure it’s not something worse. | |
| [10:07] | Heard there might be a witness. | |
| [10:09] | Malcolm Tucker. But he’s unresponsive. | |
| [10:13] | Mother was stabbed at least a dozen times. | |
| [10:15] | Not sure what he saw. | |
| [10:16] | So a crime of passion. | |
| [10:18] | Fits the history. | |
| [10:20] | I ran a record search. | |
| [10:21] | Between us and social services, this house was visited | |
| [10:23] | half a dozen times in the last year. | |
| [10:25] | Domestic strife between the victim | |
| [10:27] | and her boyfriend, Carson Gomes. | |
| [10:29] | I sent officers to his house and jobsite. | |
| [10:32] | Rachel was the caseworker. | |
| [10:35] | We’re dating. | |
| [10:36] | Well, good. Give her a call. | |
| [10:37] | Have her meet you at the hospital, | |
| [10:39] | and she can brief you on the history in person. | |
| [10:41] | There’s bound to be something she left out of her reports. | |
| [10:43] | You’re not coming? | |
| [10:44] | No. I still got work to do here first. | |
| [10:46] | You guys will fill me in after. | |
| [10:47] | Yeah. Okay. | |
| [10:49] | You know… | |
| [10:51] | as much as I love a witness, | |
| [10:53] | I just really hope he didn’t see anything. | |
| [10:55] | Yeah. | |
| [10:58] | [ Engine starts ] | |
| [10:59] | So, what do we got? | |
| [11:01] | [ Vehicle door opens ] | |
| [11:04] | [ Knock on door ] | |
| [11:09] | Crystal? | |
| [11:10] | In the flesh. [ Chuckles ] | |
| [11:13] | Um… | |
| [11:14] | Uh… | |
| [11:15] | Here. | |
| [11:18] | You stole these. | |
| [11:19] | Nah, I d– I did not. | |
| [11:20] | “To the best grandma ever”? | |
| [11:21] | She’s in a coma. She will not miss them. | |
| [11:24] | You’re going straight to hell. | |
| [11:26] | I will save you a seat. [ Chuckles ] | |
| [11:31] | So, um…what happened? | |
| [11:34] | Nuh-unh. | |
| [11:35] | You first. | |
| [11:37] | Where the hell you been? You just ghosted me? | |
| [11:39] | Look, I hit a rough patch. | |
| [11:40] | I had to skip out a moment. | |
| [11:42] | And you couldn’t call? | |
| [11:44] | I thought you were dead. | |
| [11:46] | I was. | |
| [11:48] | Just about. [ Chuckles ] | |
| [11:49] | For a while. | |
| [11:53] | Look, I only been clean a few months now, | |
| [11:56] | and, um… | |
| [11:57] | Look, I’m sorry. I-I didn’t — I didn’t mean to scare you. | |
| [12:01] | I heard you took a beating, and so I, um… | |
| [12:05] | I wanted to come check on you. | |
| [12:08] | Who did it? | |
| [12:11] | Ripper. | |
| [12:13] | He was entry level when you were crashing with me. | |
| [12:17] | Wilson used him as a runner | |
| [12:19] | at the stash house in Montgomery. | |
| [12:21] | Right. He was that big kid. | |
| [12:23] | He was always playing with that knife. Yeah. | |
| [12:25] | Worked his way up the food chain real fast after you left. | |
| [12:28] | He thought I was skimming off the take. | |
| [12:30] | ‘Cause you were? | |
| [12:31] | Not enough to get stomped on like this. | |
| [12:33] | Ripper’s always been Old Testament, | |
| [12:35] | but I should’ve known better. | |
| [12:36] | Did you tell the cops? | |
| [12:38] | What do you think? | |
| [12:39] | Look, the enemy of my enemy — | |
| [12:41] | Will get me killed. | |
| [12:45] | [ Chuckles ] You are the same old Eva. | |
| [12:47] | Damn straight. | |
| [12:49] | And I don’t need help from nobody. | |
| [12:54] | A’ight, I’m-a bounce, but, um… | |
| [12:57] | I will… check on you later, so… | |
| [13:00] | Don’t bother. | |
| [13:01] | You’re still dead as far as I’m concerned. | |
| [13:06] | Um… | |
| [13:08] | take care of yourself. | |
| [13:13] | Woman on P.A.: Dr. Lawrence, 5247. | |
| [13:17] | How’s Malcolm? | |
| [13:18] | Lucy: Uh, he’s still in shock. | |
| [13:20] | He’s lucky it wasn’t a lot worse. | |
| [13:21] | [ Sighs ] | |
| [13:23] | I can’t believe Julie’s dead. | |
| [13:25] | Did Carson do it? | |
| [13:26] | We don’t know yet. | |
| [13:28] | Was he abusive? | |
| [13:30] | Uh, not physically, as far as I could tell. | |
| [13:32] | He has a criminal record, | |
| [13:34] | but honestly, Mom was the eye of that storm. | |
| [13:36] | I tried to get Malcolm removed, | |
| [13:37] | but I couldn’t get a judge to sign off. | |
| [13:41] | What’s gonna happen to him now? | |
| [13:42] | Well, once we get clearance from the doctor, | |
| [13:44] | we’ll take him down to the station. | |
| [13:45] | We’ll need to get a statement. | |
| [13:46] | I’ll meet you. | |
| [13:47] | I have to reach out to family, see if anyone can take him | |
| [13:50] | so he doesn’t end up in a group home. | |
| [13:53] | Hey, Rachel. | |
| [13:56] | You did what you could. | |
| [14:00] | It wasn’t enough. | |
| [14:04] | [ Sighs ] | |
| [14:06] | I mean, I figured I could at least run a record search, | |
| [14:08] | you know, try to find Howard’s family. | |
| [14:10] | When did he move out of the house? | |
| [14:11] | Five years ago. | |
| [14:12] | I’m not sure how long his family stayed after that. | |
| [14:15] | Let me know if I can help somehow. | |
| [14:17] | I’m just, like, sitting around at home tonight, so… | |
| [14:22] | My ex took Oliver on a camping trip. | |
| [14:25] | He’s gone all week. | |
| [14:26] | I’ve never been away from him that long, | |
| [14:28] | and I’m, like, climbing the walls a little. | |
| [14:30] | Just — It’s too quiet, you know? | |
| [14:32] | Yeah, I know the feeling, but you should embrace that. | |
| [14:34] | Just go out, have some fun. | |
| [14:36] | I’m not familiar with that term. | |
| [14:38] | Let’s go. I got a name. | |
| [14:40] | I-I-I — Uh… See you later. | |
| [14:42] | I got to go. But do have some fun. | |
| [14:43] | In the name of the law. | |
| [14:45] | [ Laughing ] Oh, my God. | |
| [14:53] | Wow. “The Maltese Falcon” was shot here. | |
| [14:56] | So was “Cop Rock.” | |
| [14:59] | Jackson. Welcome. | |
| [15:01] | Thank you so much for taking the time to help out. | |
| [15:04] | Yeah, happy to. | |
| [15:05] | Where’s catering? | |
| [15:06] | Behind that set. | |
| [15:10] | Should we wait for her to come back? | |
| [15:12] | I don’t think that’s happening. | |
| [15:13] | Okay. So, where do we start? | |
| [15:14] | Well, uh… | |
| [15:16] | this is all wrong. | |
| [15:17] | Yeah, the, uh, Taser and the gun | |
| [15:18] | should never be on the same side. | |
| [15:20] | Got to know what you’re going for. Right. | |
| [15:21] | Try to radio for help. Uh… | |
| [15:25] | Radio shouldn’t be in back? No. | |
| [15:26] | See, I’ve been wearing this for 36 episodes, | |
| [15:28] | and this is why we needed a technical advisor all along. | |
| [15:32] | You know, I would love for you to tell all this to Jim. | |
| [15:34] | He’s directing this episode. | |
| [15:35] | Does he know much about police work? | |
| [15:36] | Thinks he does. | |
| [15:38] | Apparently, directing a handful of procedurals | |
| [15:39] | makes you an expert. | |
| [15:41] | Wish I’d known. I would’ve skipped the academy. | |
| [15:43] | Sorry, this — this food isn’t for background. | |
| [15:45] | What? Uh, extras eat someplace else. | |
| [15:50] | O-O-Or you can eat here. I mean… | |
| [15:52] | W– W– | |
| [15:54] | Any– Anywhere. | |
| [15:56] | Nolan: You got a second? | |
| [15:58] | Yeah. Sure. Come on in. | |
| [16:01] | Hey, um, you ever run across a banger named Ripper | |
| [16:04] | back at the 77? | |
| [16:06] | [ Sighs ] Rings a bell. | |
| [16:07] | He used to be a runner for Wilson. | |
| [16:09] | Now, that name, I know. | |
| [16:10] | Ran half the crystal meth in Southern California | |
| [16:12] | till somebody split him up the middle. | |
| [16:14] | You know, let me check my records. | |
| [16:18] | No comment. | |
| [16:19] | I’ve been working this way a long time. | |
| [16:21] | Don’t trust computers. | |
| [16:24] | Ripper. Known to his mama as Curtis Danvers. | |
| [16:27] | What you into him on? | |
| [16:29] | Uh, he beat up someone I know. | |
| [16:30] | Yeah, I know a couple of detectives in my old gang unit | |
| [16:33] | wouldn’t mind talking to him with a little leverage. | |
| [16:35] | We don’t have that. Yet. | |
| [16:36] | Victim won’t testify — won’t even ID him to us. | |
| [16:39] | Harper managed to get the name by approaching her | |
| [16:40] | in an old undercover identity. | |
| [16:42] | Grey approved that? | |
| [16:44] | Never mind. I didn’t ask. | |
| [16:46] | Look, I don’t have to tell you — | |
| [16:48] | with no testimony, you got no case. | |
| [16:50] | Now, if you wanted to go back undercover | |
| [16:53] | and get him to brag about it to you, | |
| [16:55] | that’ll hold up in court. | |
| [16:56] | But to do that, you gotta go to Grey. | |
| [16:58] | It’s a bad idea. | |
| [17:00] | It’s the only way Ripper ends up in bracelets. | |
| [17:02] | It’s risking a lot | |
| [17:03] | for someone you said was just “a means to an end.” | |
| [17:06] | Says the guy trying to locate the family of a rando | |
| [17:08] | who showed up at his front door with a sob story. | |
| [17:10] | That’s different. I’m not judging you for wanting to help Eva out. | |
| [17:12] | What are you judging me for? | |
| [17:14] | For someone who gave up undercover work, | |
| [17:16] | you sure do it a lot. | |
| [17:17] | When the situation requires it. | |
| [17:18] | The situation or you? | |
| [17:20] | What, you think I’m looking for an excuse to go back undercover? | |
| [17:23] | I think you’re nervous about your first overnight with your daughter. | |
| [17:25] | Oh, and this is self-sabotage? | |
| [17:27] | A little, yeah. | |
| [17:30] | Look… | |
| [17:31] | when my marriage was on the rocks, | |
| [17:33] | I hid at work. | |
| [17:35] | I didn’t want to do the heavy lifting | |
| [17:37] | it would take to fix things, | |
| [17:38] | and I can see why you’d want to go down this road. | |
| [17:41] | As dangerous as it is, it’s danger you’re good at. | |
| [17:46] | But this is how you lost your daughter in the first place. | |
| [17:49] | ♪♪ | |
| [18:02] | Yeah, I think I was pushing the envelope with Harper, | |
| [18:04] | but I really think I got through to her. | |
| [18:05] | Oh. Really? | |
| [18:07] | Then why is she in the roll call room | |
| [18:08] | dressed as Crystal, preparing an op? | |
| [18:13] | And our CI will let us know when the target’s inbound. | |
| [18:16] | Once he lands, our UC will go in | |
| [18:19] | and attempt to get him talking. | |
| [18:21] | And we’re not traveling anywhere with this guy. Are we clear? | |
| [18:24] | [ Beep ] | |
| [18:26] | Surveillance van will be set up across the street here. | |
| [18:28] | Don’t say a word. | |
| [18:29] | I wouldn’t dream of it. | |
| [18:30] | …here and here. | |
| [18:33] | And, Officer Nolan, as our uniformed presence, | |
| [18:35] | we need you invisible, until we don’t. | |
| [18:37] | So hang with us until we call in for rescue. | |
| [18:40] | Copy? All due respect, | |
| [18:42] | I’d like to stick with my T.O. | |
| [18:43] | I think being by her side until go time | |
| [18:45] | would be a valuable learning experience. | |
| [18:50] | Fine. You’ll go plainclothes. | |
| [18:51] | But you don’t make a move without an order. | |
| [18:53] | Yes, ma’am. Can I have our UC come to the front | |
| [18:54] | so everyone can see what she’s wearing? | |
| [18:56] | Get a good look, people. | |
| [18:58] | If it goes sideways, do not shoot this person. | |
| [19:01] | Her trouble signs will be hands up, | |
| [19:03] | gun out, or running away. | |
| [19:04] | If you see her doing any of these, | |
| [19:06] | the op is down and we send in rescue. | |
| [19:09] | Rescue response time is 30 seconds, | |
| [19:11] | so for that long, you’re on your own. | |
| [19:12] | Okay. | |
| [19:14] | Unless any of you have any questions, | |
| [19:16] | let’s head out. | |
| [19:19] | Hey, listen, if you want to stay behind, just say the word. | |
| [19:22] | No way. You’re my T.O. I got your back no matter what. | |
| [19:25] | You know, it’d be a lot easier to hate you | |
| [19:26] | if you weren’t so damn honorable. | |
| [19:29] | I know. | |
| [19:30] | [ Sighs ] | |
| [19:33] | Jackson: Okay, go into your stance. | |
| [19:34] | Okay. Pull your weapon. | |
| [19:36] | Not your real weapon — your fake weapon. Put it away. Okay. | |
| [19:38] | All right, now look at me for a signal, okay? | |
| [19:39] | I’m gonna say “LAPD. Open up.” | |
| [19:40] | I’m gonna kick it in. You’re gonna cross in. | |
| [19:42] | Ready? Yes. | |
| [19:43] | LAPD. Open up! | |
| [19:45] | Nice. Oh. [ Chuckles ] | |
| [19:46] | Sorry. Sorry, ladies. | |
| [19:48] | One more time. Okay. | |
| [19:49] | [ Door closes ] | |
| [19:51] | Hey. | |
| [19:53] | I hear you’re a real cop. | |
| [19:54] | Yep. | |
| [19:56] | [ Chuckles ] | |
| [19:57] | I’m Mandy Cross. I’m Sterling’s co-star. | |
| [19:59] | I was wondering if I can ask you something. | |
| [20:01] | Is this about a scene? | |
| [20:02] | ‘Cause Officer West is handling that crap. | |
| [20:04] | O-Oh, no. | |
| [20:05] | It’s, uh…personal. | |
| [20:09] | I think I have a stalker. | |
| [20:11] | And it’s kind of freaking me out. | |
| [20:13] | Have you filed a police report? | |
| [20:14] | Not yet. | |
| [20:16] | I just — I don’t know if it’s something I should be worried about or not. | |
| [20:18] | I have cards and letters in my trailer. | |
| [20:20] | Can I show them to you? | |
| [20:21] | Sure. Let’s go. | |
| [20:23] | ♪♪ | |
| [20:28] | [ Indistinct talking ] | |
| [20:34] | Mandy: I started getting them a few months ago. | |
| [20:36] | All unsigned, without a return address, | |
| [20:38] | one every couple of days. | |
| [20:41] | But in the last month, they’ve been showing up daily. | |
| [20:43] | Sometimes twice a day. | |
| [20:45] | What do they say? Are there any threats of violence? | |
| [20:47] | No. | |
| [20:48] | They’re actually sweet. | |
| [20:50] | In a disturbing way. | |
| [20:52] | He’s in love with me, | |
| [20:53] | or he thinks I’m the greatest actress he’s ever seen. | |
| [20:59] | Something else happened, didn’t it? | |
| [21:01] | Yeah. | |
| [21:04] | I think someone broke into my house. | |
| [21:06] | The other morning, I woke up, and I saw my side door unlocked. | |
| [21:09] | I could swear it was not like that when I went to bed. | |
| [21:11] | Did you call the police? | |
| [21:12] | No. [ Sighs ] I felt silly. | |
| [21:14] | There was nothing missing. | |
| [21:15] | I just… got a weird feeling. | |
| [21:18] | Unfortunately, there’s not a lot we can do | |
| [21:20] | without a verifiable threat. | |
| [21:21] | But you should definitely take this seriously. | |
| [21:23] | Get an alarm system, try not to go to places alone, | |
| [21:25] | and at the first threat, call 911. | |
| [21:27] | Okay. | |
| [21:29] | I’m officially freaking out now. | |
| [21:33] | Would you mind staying close to me while you’re here? | |
| [21:36] | It’d make me feel better. | |
| [21:38] | Of course. | |
| [21:41] | I know this is painful. | |
| [21:42] | I promise I’ll make it as quick as possible, okay? | |
| [21:46] | Okay. | |
| [21:48] | Did you see what happened? | |
| [21:51] | They had a fight, Mom and Carson. | |
| [21:55] | About what? Do you know? | |
| [21:59] | Hey. | |
| [22:00] | It’s okay. Take your time. | |
| [22:03] | About me. | |
| [22:04] | Mom was mad ’cause I left out the peanut butter. | |
| [22:07] | She yelled at me, sent me to my room. | |
| [22:10] | But we were supposed to play Xbox. | |
| [22:13] | “We” who? | |
| [22:15] | Me and Carson. | |
| [22:16] | Carson was nice to me. | |
| [22:18] | He spent time with me. | |
| [22:20] | He yelled at her, told her she was being a bitch. | |
| [22:23] | [ Sighs ] She started screaming. | |
| [22:26] | Had he ever hit her before? | |
| [22:26] | No. Never. | |
| [22:28] | He’s never hit her. | |
| [22:29] | O-Okay. | |
| [22:31] | Tell me more about the fight. | |
| [22:32] | Did you see it or — or just hear it? | |
| [22:34] | I heard it. A door slammed. | |
| [22:38] | My mom threw a plate. | |
| [22:40] | She was so mad when he left. | |
| [22:45] | Uh… | |
| [22:46] | When who left? Carson? | |
| [22:47] | Yeah. | |
| [22:48] | Mm. I’m s– | |
| [22:50] | And she was still alive? | |
| [22:52] | Yeah. | |
| [22:54] | Uh… | |
| [22:55] | And — And did Carson come back? | |
| [22:58] | No. | |
| [22:59] | She chased him away. | |
| [23:01] | Did anybody else come over? | |
| [23:03] | Um, w-we should stop. | |
| [23:05] | Rachel — No. | |
| [23:07] | Malcolm needs a lawyer. | |
| [23:09] | Miss Hall, you don’t have standing to make that request. | |
| [23:12] | Ask for a lawyer. Tim: Rachel. | |
| [23:13] | Miss Hall. | |
| [23:14] | She’s right. | |
| [23:16] | Malcolm should have a lawyer, | |
| [23:18] | and we should want him to have one. | |
| [23:19] | ♪♪ | |
| [23:25] | It’s your right, son. | |
| [23:27] | Do you want a lawyer? | |
| [23:32] | I guess so. | |
| [23:35] | Officer Chen. | |
| [23:37] | Would you take Malcolm to the break room? | |
| [23:42] | Yes, sir. | |
| [23:45] | This way. | |
| [23:53] | So, you got a lawyer in mind, Miss Hall, | |
| [23:54] | or are we calling legal aid? | |
| [23:57] | [ Hip-hop music plays ] | |
| [23:59] | ♪♪ | |
| [24:04] | Is there a new ETA on Ripper from the CI? | |
| [24:06] | Not since the last time you asked, five minutes ago. | |
| [24:11] | That is so weird. | |
| [24:13] | What? | |
| [24:14] | That guy Howard I told you about | |
| [24:15] | who dropped by my place this morning. | |
| [24:16] | I did a records check on his wife. | |
| [24:19] | She seems to have dropped off the face of the Earth | |
| [24:20] | a couple years ago. | |
| [24:21] | Okay. What could that mean? | |
| [24:23] | Maybe she got remarried, changed her name legally. | |
| [24:26] | The government doesn’t track names. | |
| [24:27] | They track Social Security numbers. | |
| [24:28] | Maybe she stopped working? | |
| [24:31] | Or maybe there’s more to the story than Howard’s letting on. | |
| [24:34] | I’d go with that. | |
| [24:35] | Why are you still pursuing this, anyway? | |
| [24:37] | I told you — good karma. | |
| [24:40] | You know, you’re nice, but you’re not that nice. | |
| [24:42] | ♪♪ | |
| [24:47] | My dad walked out on us when I was 10, | |
| [24:49] | and my mom used to spin these wild stories | |
| [24:51] | about where he was. | |
| [24:52] | But the moral to all the stories was | |
| [24:54] | “We’re better off without him.” | |
| [24:57] | And you didn’t think so. | |
| [25:00] | So you thought you’d give Howard’s family | |
| [25:02] | the closure that you never got. | |
| [25:05] | Something like that. | |
| [25:07] | I guess the universe doesn’t work like that. | |
| [25:09] | No. It really doesn’t. | |
| [25:14] | That was the best scene we have ever done on this show, | |
| [25:17] | hands down — all because of you. | |
| [25:19] | So, can you come every day, please? | |
| [25:20] | No. | |
| [25:22] | I had my watch commander contact North Hollywood police. | |
| [25:24] | They’ll have a unit meet you at your house | |
| [25:26] | and then cruise by your place every few hours. | |
| [25:28] | Oh, thank you so much. | |
| [25:29] | No problem. | |
| [25:31] | Uh, maybe we can arrange some sort of private training? | |
| [25:33] | Sure. Yeah, I’d, uh — I’d love to train you on my off days. | |
| [25:36] | Mandy: [ Screams ] | |
| [25:37] | Stay here. | |
| [25:38] | ♪♪ | |
| [25:52] | Malcolm didn’t do it. He couldn’t have. | |
| [25:53] | I hope you’re right. | |
| [25:54] | But you think I’m wrong. | |
| [25:57] | Wesley. Thanks for coming. | |
| [25:59] | Of course. Where’s my client? | |
| [26:00] | Break room with Chen. | |
| [26:02] | She’s not questioning him. | |
| [26:03] | No. She knows the rules. | |
| [26:05] | I’m gonna go talk to him. Great. | |
| [26:06] | You can’t come with me. | |
| [26:07] | I’m his advocate. | |
| [26:09] | Rachel, you work for the county. I work for Malcolm. | |
| [26:12] | Sorry, but you’re on the outside now. | |
| [26:14] | [ Sighs ] | |
| [26:17] | I’m guessing I’m on the outside with you, too, huh? | |
| [26:20] | Not with me personally. | |
| [26:23] | He’s just a traumatized kid, Tim. | |
| [26:25] | [ Sighs ] | |
| [26:27] | Yeah. | |
| [26:28] | ♪♪ | |
| [26:32] | So, here’s where we stand, Malcolm. | |
| [26:34] | You admitted that you saw your mother | |
| [26:36] | after her boyfriend, Carson, left the house. | |
| [26:39] | Did you get into a fight with her, too? | |
| [26:40] | You don’t have to answer that. | |
| [26:45] | She said she was done with him. | |
| [26:46] | It wasn’t fair. | |
| [26:48] | Are you mad at me? | |
| [26:49] | For insisting on a lawyer? | |
| [26:52] | You gave the kid time to think, strategize, | |
| [26:54] | get his story straight. | |
| [26:56] | If he killed her and we can’t convict, | |
| [26:58] | it’s on you. | |
| [26:59] | He’s a child. | |
| [27:01] | And kids can’t be monsters? | |
| [27:04] | Hey. | |
| [27:06] | How’s he doing? | |
| [27:07] | Wesley? Oh, he’s fighting the good fight. | |
| [27:10] | You recognize this knife, Malcolm? | |
| [27:12] | ♪♪ | |
| [27:16] | You don’t have to answer that. | |
| [27:17] | He’s right. You don’t. | |
| [27:19] | But I think you want to. | |
| [27:21] | I think the truth is eating at you. | |
| [27:24] | And you need to let it out. | |
| [27:32] | Do you recognize this? | |
| [27:35] | Malcolm: It’s from the kitchen. | |
| [27:38] | Let’s go back to what we know, okay? | |
| [27:40] | Carson leaves the house. It’s just you and your mother. | |
| [27:43] | Then what? | |
| [27:50] | She…left the room. | |
| [27:54] | And I grabbed it. The knife. | |
| [27:56] | I picked it up and followed her. | |
| [27:59] | She was yelling about how it was over. | |
| [28:02] | Carson was gone. We’d never see him again. | |
| [28:05] | [ Voice breaking ] I started crying. | |
| [28:08] | ♪♪ | |
| [28:12] | And she laughed at me. | |
| [28:14] | She laughed at me. | |
| [28:17] | What’d you do to make her stop? | |
| [28:19] | Malcolm — I hit her with the knife. | |
| [28:21] | You hit her with the knife? | |
| [28:23] | You mean you stabbed her? | |
| [28:24] | Yeah? Where? | |
| [28:26] | Her back. Then what? | |
| [28:28] | She turned to me. | |
| [28:29] | Uh-huh. | |
| [28:31] | Not even mad. | |
| [28:33] | Like she didn’t even feel it. | |
| [28:36] | Did she cry out? Get an ambulance! | |
| [28:37] | I guess so. You guess so? | |
| [28:39] | Which hand did you use? Right. | |
| [28:42] | How many times did you stab her? | |
| [28:44] | Okay, that’s enough. We’re done for now, okay? | |
| [28:46] | Do you need a break? | |
| [28:47] | No. I just want it over. Okay. | |
| [28:49] | You stab her in the back. She turns and looks at you. | |
| [28:51] | Then what? | |
| [28:53] | [ Voice breaking ] I stabbed her again — in the front. | |
| [28:55] | And then I couldn’t stop. | |
| [28:57] | [ Voice fading ] | |
| [28:59] | ♪♪ | |
| [29:01] | [ Door opens ] | |
| [29:02] | [ Breathing heavily ] | |
| [29:04] | Wesley. | |
| [29:05] | Baby, are you okay? Mnh-mnh. | |
| [29:07] | Just breathe. [ Breathing shakily ] | |
| [29:09] | In through your nose, out through your mouth. Mm-hmm, mm-hmm, mm-hmm. | |
| [29:12] | [ Door opens ] | |
| [29:14] | What’s going on? | |
| [29:15] | I just need a minute. | |
| [29:20] | Let’s call it a night, okay? It’s late. | |
| [29:23] | We’ll get Malcolm squared away in a juvenile facility. | |
| [29:25] | ♪♪ | |
| [29:29] | It’s okay. | |
| [29:31] | It’s okay. | |
| [29:38] | [ Cellphone chimes ] | |
| [29:40] | Word is, Ripper’s not coming tonight. | |
| [29:41] | Word could be wrong. | |
| [29:43] | We should sit tight. | |
| [29:45] | Detective. | |
| [29:47] | Shift’s over. | |
| [29:51] | All right. Let’s call it. | |
| [29:52] | But we are back here first thing. | |
| [29:55] | ♪♪ | |
| [30:03] | ♪♪ | |
| [30:12] | ♪♪ | |
| [30:21] | [ Yawns ] | |
| [30:26] | [ Sighs ] | |
| [30:29] | ♪♪ | |
| [30:53] | ♪♪ | |
| [30:57] | Howard? | |
| [30:58] | ♪♪ | |
| [31:05] | Howard? What are you doing here? | |
| [31:07] | I put everything I had into buying this house. | |
| [31:11] | I drained my savings, | |
| [31:13] | worked two jobs. | |
| [31:15] | But they took it all for granted. | |
| [31:18] | They took me for granted. | |
| [31:19] | The ingrates! | |
| [31:22] | Howard… | |
| [31:24] | you need help. | |
| [31:26] | So we’re gonna call someone who can help you. | |
| [31:27] | No! | |
| [31:28] | Okay. Okay. | |
| [31:30] | We don’t have to do that. | |
| [31:31] | She said they were afraid of me. | |
| [31:34] | [ Voice breaking ] Me. | |
| [31:37] | So afraid, they went into hiding. | |
| [31:41] | [ Crying ] Where are they? | |
| [31:43] | Come on, Howard. Where are they? | |
| [31:45] | I don’t know where your family is. | |
| [31:47] | I don’t even know your family. | |
| [31:48] | Where are they?! | |
| [31:50] | Howard. | |
| [31:52] | [ Grunting ] | |
| [31:53] | [ Coughing ] | |
| [31:55] | Easy. Easy. Easy. | |
| [31:57] | Easy. | |
| [31:58] | [ Sobbing ] | |
| [32:03] | [ Birds chirping ] | |
| [32:06] | So, how did the bed building go last night? | |
| [32:08] | Pretty good. | |
| [32:10] | Not sure if the bourbon helped or hurt, but… | |
| [32:13] | How’s your, uh, house crasher? | |
| [32:16] | You heard about that? | |
| [32:17] | When units go Code 3 to a cop’s house, | |
| [32:19] | they wake up the Chief. | |
| [32:21] | Yeah. This is the part where you say “I told you so.” | |
| [32:24] | Harper would say that. | |
| [32:25] | But I’m Crystal. | |
| [32:28] | Our forensic team dusted your house for prints, | |
| [32:30] | and Threat Management went through all your cards and letters. | |
| [32:32] | Mostly what you expect — | |
| [32:33] | an escalating pattern of obsession. | |
| [32:35] | But there were several mentions of someone “keeping you two apart.” | |
| [32:38] | Are you dating anyone? | |
| [32:40] | Only on TV. | |
| [32:41] | [ Door opens ] | |
| [32:42] | ♪ I get the feeling I’m due me time ♪ | |
| [32:44] | Knock, knock. You’re back. | |
| [32:46] | Yeah, just until the reinforcements arrive. | |
| [32:48] | [ Sighs ] | |
| [32:49] | How’s Mandy? | |
| [32:50] | Safe, with my T.O. | |
| [32:52] | Cool. | |
| [32:53] | Yeah. | |
| [32:55] | So, uh, what are you up to this weekend? | |
| [32:59] | The…private training thing. Right. | |
| [33:02] | Yeah, uh, this weekend could work. | |
| [33:04] | Great. | |
| [33:05] | But also… we should eat. | |
| [33:09] | Can’t learn on an empty stomach. | |
| [33:10] | ♪ Please don’t tell me lies ♪ | |
| [33:13] | Right. Yeah. | |
| [33:14] | And I…guess since we have to eat anyway, | |
| [33:17] | we…might as well pick a nice spot. | |
| [33:20] | [ Chuckles ] | |
| [33:21] | Yeah. | |
| [33:22] | And… | |
| [33:24] | I have so much to learn. | |
| [33:27] | You have so much to teach me. | |
| [33:28] | We should probably block out several hours. | |
| [33:32] | All night, even. | |
| [33:34] | ♪ Ain’t got to deal with what I won’t do, won’t do ♪ | |
| [33:37] | [ Knock on door ] | |
| [33:38] | [ Both chuckle ] | |
| [33:40] | Come in. | |
| [33:44] | Hey. Uh, they need him on set? | |
| [33:46] | Oh! Jackson! | |
| [33:48] | You can’t have her. | |
| [33:49] | Wait. Wait. She’s mine! | |
| [33:50] | [ Taser crackling ] | |
| [33:53] | [ Crackling stops ] Jackson! | |
| [33:55] | Are you okay? | |
| [33:57] | Jackson! | |
| [33:58] | [ Breathing heavily ] [ Grunts ] | |
| [34:00] | Vest caught it. | |
| [34:01] | Thank God. | |
| [34:02] | Are you okay? | |
| [34:04] | Ow. | |
| [34:06] | That hurt. | |
| [34:09] | Look alive. Ripper’s here. | |
| [34:10] | [ Static crackles ] | |
| [34:13] | [ Echoing ] Test, test, 1, 2. | |
| [34:14] | Good to go. | |
| [34:17] | Uh, Harper. | |
| [34:19] | You know, you don’t have to do this. | |
| [34:21] | Relax, 5%. This is what I do. | |
| [34:25] | [ Van door opens ] | |
| [34:27] | ♪♪ | |
| [34:35] | ♪♪ | |
| [34:43] | What do you want? | |
| [34:44] | Ripper. | |
| [34:46] | You know me. | |
| [34:47] | No, I don’t. Get lost, junkie. | |
| [34:49] | Dude, hey! We used to hang out | |
| [34:51] | at the stash house on Montgomery back in the day. | |
| [34:54] | Dude — Crystal. | |
| [34:56] | [ Rock music plays ] | |
| [34:58] | ♪♪ | |
| [35:03] | Long time. Too true. | |
| [35:05] | So, what do you want? | |
| [35:07] | I hear you’re the man now. | |
| [35:08] | [ Chuckles ] | |
| [35:09] | Now, look, I-I’m down for anything. | |
| [35:13] | Anything, huh? Mm-hmm. | |
| [35:15] | ♪♪ | |
| [35:18] | All right. [ Chuckles ] | |
| [35:19] | Come on. | |
| [35:21] | ♪♪ | |
| [35:23] | ♪ I am the least of your problems ♪ | |
| [35:28] | ♪ But I don’t mind ♪ | |
| [35:36] | Who are your friends? | |
| [35:37] | Trust me, you don’t want to know these guys. | |
| [35:39] | ♪♪ | |
| [35:46] | Hey, uh…you used to hang with Eva, right? | |
| [35:52] | Yeah, for a minute. | |
| [35:54] | Hmm. | |
| [35:55] | Because she stole from me, you know. | |
| [36:00] | You here to steal from me, too? | |
| [36:01] | ♪♪ | |
| [36:09] | Look, I told you, I-I haven’t seen Eva in years. | |
| [36:11] | Eh– We — We ended ugly. | |
| [36:13] | We got to get in there. | |
| [36:14] | We won’t get there in time. She’s got to get herself out of this. | |
| [36:17] | You say she stole from you. I’m gonna make her pay. Rescue detail, stand by. | |
| [36:20] | I’ll cut her face off with a razor. | |
| [36:22] | You say the word. | |
| [36:23] | ♪ I am the least of your problems ♪ | |
| [36:27] | ♪ But I… ♪ | |
| [36:28] | [ Chuckles ] | |
| [36:30] | You always were hardcore. | |
| [36:33] | Anyway, Eva already caught her beating. | |
| [36:36] | But since you’re feeling so generous, | |
| [36:39] | I do have a job you could help with. | |
| [36:41] | Sure, sure. Anything. | |
| [36:43] | [ Music stops ] | |
| [36:44] | Cool. Let’s take a ride. | |
| [36:50] | What is she doing? You said no traveling. | |
| [36:51] | He’s not giving her a choice. | |
| [36:53] | But her survival odds go way down inside a car. | |
| [36:55] | We roll in strong, they’ll just kill her. | |
| [36:57] | What’s wrong? Don’t you want to come? | |
| [37:00] | Nah, nah. I’m cool. | |
| [37:02] | Sarge, what do you want us to do here? | |
| [37:04] | ♪♪ | |
| [37:12] | Sarge. Sgt. Grey: Did Harper demonstrate any of the trouble signs? | |
| [37:14] | Negative, but she was given orders | |
| [37:16] | not to travel with the subject. | |
| [37:17] | Can you engage without further jeopardizing her safety? | |
| [37:20] | Negative. | |
| [37:21] | Do I engage rescue? | |
| [37:22] | Not yet. | |
| [37:24] | But put a follow car on them and stay alert. | |
| [37:26] | Hey — What are you doing?! | |
| [37:32] | Whoa! | |
| [37:33] | Where you goin’?! | |
| [37:34] | Yo! Don’t touch the ride! | |
| [37:36] | Crystal, you told me to wait for you. | |
| [37:37] | Where you goin’? | |
| [37:38] | Yo, you know this fool? | |
| [37:40] | Uh, that’s my old man. | |
| [37:41] | “Old” is right. | |
| [37:43] | Yo…walk away. | |
| [37:45] | Yo, make me. | |
| [37:47] | Crystal, let’s go. | |
| [37:49] | ♪♪ | |
| [37:55] | Let her out. | |
| [37:56] | [ Vehicle door opens ] | |
| [37:57] | ♪♪ | |
| [38:02] | See you around. | |
| [38:04] | You too. | |
| [38:09] | [ Tires squeal ] | |
| [38:14] | You got a death wish, Boot? | |
| [38:15] | I get it from you. | |
| [38:17] | [ Jesse and the Wolf’s “Talk to Me” plays ] | |
| [38:19] | ♪♪ | |
| [38:24] | ♪ Uh! ♪ | |
| [38:25] | Here. | |
| [38:28] | ♪ All so much that it feels right ♪ | |
| [38:30] | ♪ All I’m making up, but I can’t lie ♪ | |
| [38:34] | You want to talk about anything? | |
| [38:35] | ♪ Well, I’m all ears ♪ | |
| [38:37] | No. | |
| [38:40] | ♪ You’re like a kiss and tell ♪ | |
| [38:43] | We’re gonna get through this. | |
| [38:46] | ♪ Tell me what’s on your mind ♪ | |
| [38:47] | [ Sighs ] | |
| [38:48] | Yeah, I know. | |
| [38:50] | ♪ Oh, yeah, I got time ♪ | |
| [38:53] | ♪ Tell me what’s on your mind ♪ | |
| [38:55] | ♪ What’s on your mind ♪ | |
| [38:56] | ♪ Hey, hey ♪ | |
| [38:57] | ♪ Talk, talk, talk to me ♪ | |
| [39:00] | ♪ Talk, talk, talk to me ♪ | |
| [39:01] | It’s not your fault. | |
| [39:04] | There has to be something I could’ve done differently. | |
| [39:09] | Tragedies happen, | |
| [39:11] | no matter how hard we try to stop them. | |
| [39:14] | Doesn’t mean you give up. | |
| [39:15] | But you have to accept the fact | |
| [39:17] | that some things really are out of our control. | |
| [39:22] | All we can do is cherish the small victories. | |
| [39:25] | ♪♪ | |
| [39:29] | That was… almost inspirational. | |
| [39:34] | [ Chuckles ] Well, stick around. | |
| [39:36] | I’m full of surprises. | |
| [39:38] | ♪♪ | |
| [39:44] | ♪♪ | |
| [39:50] | ♪ Hmm, hmm, yeah ♪ | |
| [39:55] | ♪ Hey ♪ | |
| [39:58] | [ Both laugh ] | |
| [39:59] | [ Door closes ] | |
| [40:01] | You’re — He’s — | |
| [40:03] | Yeah, way to not make it weird. | |
| [40:05] | Yeah, Sterling, this is Lucy. | |
| [40:08] | Lucy. So nice to meet you. | |
| [40:09] | Yeah. H-Hi. | |
| [40:11] | Would you like some wine? Yes! | |
| [40:12] | Jackson was just telling me how awesome you are. | |
| [40:14] | Hmm. Well, that — that is true. | |
| [40:17] | [ Laughs ] Get a glass. Come on. | |
| [40:19] | Okay. | |
| [40:20] | Thank you. | |
| [40:22] | ♪ Tell me what’s on your mind ♪ | |
| [40:24] | ♪ Oh, yeah, I got time ♪ | |
| [40:26] | So? What do you think? | |
| [40:30] | ♪ Yeah, talk, talk, talk to me ♪ | |
| [40:31] | It’s awesome. | |
| [40:33] | ♪ Talk, talk, talk to me ♪ | |
| [40:36] | [ Bed creaks, screw clinks ] | |
| [40:40] | Uh…[ Chuckles ] | |
| [40:42] | How about we… read a book? | |
| [40:44] | Okay. | |
| [40:47] | [ Sighs ] | |
| [40:50] | Let’s see. | |
| [40:53] | Chapter one — | |
| [40:54] | [ Clank ] Oh, my God! | |
| [40:56] | [ Laughs ] | |
| [40:58] | [ Laughs ] | |
| [41:02] | Ah, Grace! | |
| [41:04] | Hey! What are you doing here? | |
| [41:05] | Well, there is a new photography exhibit at LACMA. | |
| [41:08] | There is a midnight showing of “Candyman” | |
| [41:11] | on a rooftop in Koreatown. Whoa. | |
| [41:13] | And there is an Armenian festival in Echo Park. | |
| [41:16] | I got you a ticket to all three. | |
| [41:17] | You’re gonna find fun at at least one of them. | |
| [41:20] | That is very sweet. I agree. | |
| [41:22] | But I don’t want to go alone. | |
| [41:22] | I’m so glad you said that. | |
| [41:24] | I say we start at the Armenian festival for some fasulye, | |
| [41:27] | we hit the exhibit, wrap it up with the midnight show. | |
| [41:29] | Isn’t that a little ambitious? Not at all! | |
| [41:31] | It’s actually… super ambitious. | |
| [41:33] | So, really, we should go. | |
| [41:34] | [ Chuckling ] Okay. | |
| [41:35] | Lead the way. Excellent. | |
| [41:39] | [ Clears throat ] | |
| [41:41] | Is — Is this a date? | |
| [41:44] | [ Elevator bell dings, elevator doors open ] | |
| [41:46] | Uh… | |
| [41:47] | well, do we have to name it? | |
| [41:49] | No. | |
| [41:50] | I-I guess we don’t. | |
| [41:52] | Good. | |
| [41:53] | ♪ Tell me what’s on your mind ♪ | |
| [41:55] | What the hell is fasulye? | |
| [42:01] | ♪♪ | |
| [42:10] | ♪♪ | |
| [42:19] | ♪♪ |