A Pragmatic Study of the Flouted Grice’s

Conversational Maxims in the Dialogues of Lucifer

TV Series First Season

A THESIS

Submitted as a Partial Fulfillment of the Requirements for

Sarjana Pendidikan (S. Pd.) Degree in English Department
Faculty of Teacher Training and Education
Mataram University

By:

JAM’AL FAWA’ID
NIM. E1D 014 024

ENGLISH DEPARTMENT
FACULTY OF TEACHER TRAINING AND EDUCATION
MATARAM UNIVERSITY
2019
 APPROVAL

A Thesis Entitled :

A Pragmatic Study of the Flouted Grice’s Conversational Maxims in the

Dialogues of Lucifer TV Series First Season

By

Jam’al Fawa’id
E1D014024

Has been approved in Mataram on 2019 by:

First Advisor, Second Advisor,

Prof. Drs. Mahyuni, M.A., Ph.D. Muh. Isnaini, S.S., M.A.

NIP. 196312311988031023 NIP. 197908202005011002

Acknowledged by:

Head of Language and Art Department

Faculty of Teacher Training and Education
Mataram University

Dra. Siti Rohana Hariana Intiana, M.Pd.

NIP. 19660331199303 2 002
 KEMENTERIAN PENDIDIKAN NASIONAL
UNIVERSITAS MATARAM
FAKULTAS KEGURUAN DAN ILMU PENDIDIKAN
Jl. Majapahit No. 62 Telp. (0370) 623873 Fax. 634918 Mataram 83125

RATIFICATION

This thesis entitled:

A Pragmatic Study of the Flouted Grice’s Conversational Maxims in the

Dialogues of Lucifer TV Series First Season

Has been approved on 2019

By:

Jam’al Fawa’id
E1D014024

Has been accepted by the board of examiners as the requirement to achieve the
Sarjana Degree (S.Pd.) in English Education Program, Faculty of Teacher
Training and Education, Mataram University

The Board of Examiners

Chairman,

Prof. Drs. Mahyuni, M.A., Ph.D.

NIP. 196312311988031023

First Member Second Member

Muh. Isnaini, S.S., M.A. Dr. Lalu Muhaimi, M.Pd.

NIP. 197908202005011002 NIP. 196004161987031002

Acknowledged by:
The Dean of FKIP UNRAM

Prof. Dr. H. A. Wahab Jufri, M.Sc.

NIP.196212251987031001

iii
 CANDIDATE’S DECLARATION

I hereby declare that this thesis entitled “A Pragmatic Study of the Flouted

Grice’s Conversational Maxims in the Dialogues of Lucifer TV Series First

Season” is submitted as a partial fulfillment of requirement for the bachelor of

education’s degree and it is the result of my own work, except for the parts where

references are given and it has not been submitted to any other university or

institution.

Mataram, January 2019

Jam’al Fawa’id

iv
 MOTTO AND DEDICATION

MOTTO:

“The reward of goodness is nothing but goodness”

(Ar-Rahman: 60)

DEDICATION

This thesis is dedicated to:

1. My beloved parents who have never stop loving and supporting for my life

in world and my life in hereafter.

2. My brothers who have been trying my patience.

3. My lectures who have gave me valuable knowledge.

4. My friends and everybody that cannot be mentioned who help and support

me for my study.

v
 ACKNOWLEDGEMENT

First of all, I would like to thank to Allah SWT who has given us a great

life so that I could finish this thesis. Secondly, may Sholawat and Salam to our

Greatest prophet Muhammad SAW who has brought us from the darkness to the

brightness. In this beautiful opportunity, the writer also would like to send his

gratitude and thankfulness to:

1. Prof. Dr. H. Lalu Husni, SH., M.Hum, The Rector of University of

Mataram.

2. Dr. H. A. Wahab Jufri, M.Sc., The Dean of The Faculty of Teacher

Training and Education, University of Mataram.

3. Dra. Hj. Siti Rohana Hariana Intiana, M.Pd., The Head of Language and

Art Department of Faculty of Teacher Training and Education, University

of Mataram.

4. Dr. Muhammad Amin, S.Pd., M. Tesol., The Head of English Department

of Faculty of Teacher Training and Education, University of Mataram.

5. Dra. Hj. Henny Soepriyanti, M.A., Ph.d., The Academic Advisor of The

Faculty of Teacher Training and Education, University of Mataram.

6. Prof. Drs. Mahyuni, M.A., Ph.D., the first advisor who has supported,

suggested, and recommended me in writing this thesis from the beginning

until the end.

7. Muh. Isnaini, S.S., M.A., the second advisor who has educated, given me

advice and suggestion for the improvement of this thesis.

vi
8. Dr. Lalu Muhaimi, M.Pd., the examiner for his advice and crucial

contribution in the improvement of the result of this thesis.

9. My beloved parent and my family who always support, love and pray to

my success.

10. All the lectures of English department of Faculty of teacher Training and

Education, University of Mataram.

11. All my friends of B class English Department (Alam, Amry, Reza, Kikin,

Azhar, Wahyu, Atik, Wajhah, Nadnad, Natul, Nining, Esti, Sara, Ika,

Nadifa, Lilik, and Gita) who have struggled together until we meet again.

12. My KKN group (Deni, Dedy, Roby, Murdani, Akyun, Sukma, Jumi,

Debby, Mila and others) and PPL squad (Romy, Rizky, Hana, Juwita and

Eva) and all my friends that I cannot mention who helped and supported

me to finish this thesis.

vii
 TABLE OF CONTENTS

Cover……………,……………………………………………...……………… i

Approval ………………………………………………………...……………. ii

Ratification……………………………………………………….…………… iii

Candidate Declaration……………………………………………………….. iv

Motto and Dedication………………………………………………………… v

Acknowledgement……………………………………………………………. vi

Table of Contents…………………………………………………………… viii

Abstract……………………………………………………………………….. x

Chapter I Introduction

1.1 Background of the Study

1.2 Research Questions

1.3 Objectives of the Study

1.4 Significance of the Study

1.4.1 Theoretical Significance...........................................................................6

1.4.2 Practical Significance................................................................................6

1.5 Limitation of the Study

1.6 Definition of Key Terms

Chapter II Review of Related Literature

2.1 Previous Related Studies

2.2 Related Theories

2.2.1 Pragmatics

2.2.2 Implicature

2.2.3 Grice’s Cooperative Principle9

2.2.4 Flouted Maxim

viii
 2.3 Theoretical Framework8

Chapter III Research Methods

3.1 Research Design

3.2 Data and Source of Data30

3.3 Methods of Collecting the Data31

3.4 Methods of Analyzing the Data31

Chapter IV Findings and Discussion

4.1 Findings33

4.2 Discussion35

4.2.1 The Type of Flouted Maxim and Type of Implicature of the Flouted
Maxim in Lucifer TV Series35

4.2.2 The Implicature of the Flouted Maxim in Lucifer TV

Series46

Chapter V Conclusion and Suggestion

5.1 Conclusion51

5.2 Suggestion52

References

Appendices

ix
 ABSTRACT

A Pragmatic Study of the Flouted Grice’s Conversational

Maxims in the Dialogues of Lucifer TV Series First Season

By:

Jam’al Fawa’id
E1D014024

This study is aimed at examining and analyzing the flouted maxims in

Lucifer tv series first season. In specific terms, this study aims to examine and
describe types of implicature in the flouted maxim in the dialogue of the series of
Lucifer. Grice’s theory of cooperative principle and theory of implicature are used
to analyze the utterences which contain conversational implicature that found from
dialogue in Lucifer. Descriptive qualitative method was used to examine and
analyze the data gathered in this sudy. The data were collected by watching and
transcribing the utterences of dialogue from the series. The data found were
analyzed by using the theory of Grice’s Cooperative Principle and theory of
Implicature by classifying and describing the data. The results of this study show
that 5 existence of flouted maxim of quantity, 1 existence of flouted maxim of
quality, 3 existence of flouted maxim of relevance and 1 existence of flouted maxim
of manner.

Keywords: Pragmatics, Implicature, Flouted Maxim, Cooperative Principle

x
 CHAPTER 1
INTRODUCTION

This chapter describes background of the study, research questions, objectives of

the study, significances of the study, limitation of the study and definition of key terms

which are closely related to the main topic of this study.

1.1 Background of the Study

Language, in any aspect of human life, plays an important role. People

use language in communication to express feelings, share ideas and knowledge,

and also keep in touch with each other. Communication refers to the transmission

and reception of information between a source and a receiver using a signalling

system: in linguistic contexts, source and receiver are interpreted in human term,

the system involved is a language (Crystal, 2008: 89). In the daily interactions,

communication among people does not always run well. Sometimes, we find

ambiguity, irrelevant or uninformative conversation which can cause a problem,

confusion, even misunderstanding among the participants.

The participants in conversation sometimes do not create clear

conversation or effective communication among them. The speaker and hearer

may not understand each other which cause misinterpretation between them. To

be successful in communicating through conversation, speaker and hearer as the

participants of a conversation should be able to cooperate in order to avoid

1
misinterpretation and misunderstanding in the conversation. The speaker can lead

listener to get the points in the conversation clearly and the listener can

understand the meaning, even a hidden meaning, in the speaker’s utterance.

A good communication can avoid misunderstanding and misinterpretation

of utterances between the speaker and hearer. In communication, there is a theory

known as Cooperative Principle as a principle of conversation that was proposed

by Grice. Grice (1975: 26) states that participants will contribute in a

conversation such as is needed when the conversation occurs and each of them

can accept the purpose of the conversation or the talk exchange. The Cooperative

Principle explains how people interact with others in a concersation. People who

obey the principle will make sure what they say in their conversation gives

suuficient information about their talk exchange. Grice proposes four types of

Cooperative Principle that is called Conversational Maxims. Those kinds of

maxims are Maxim of Quality, Maxim of Quantity, Maxim of Relevance, and

Maxim of Manner.

When we notice a communication around us, we may find that many

people do not satisfy the Grice‘s Maxims appropriately because speaker and

hearer sometimes break the rule of maxim quality, quantity, relevance or even

manner in a conversation. Breaking the rule of the maxims can be called as

flouting. By flouting maxims, people seem to be uncooperative in conversation

but actually they are cooperative. Flouting maxim is not only found in daily

conversation but also it can be found in a movie dialogue. In dialogues of a

movie, flouting is often used by the characters to make dialogue in a movie be

colorful and to make people guess what the speakers’ purposes actually are. The

2
theory of flouting maxim is suitable for analyzing a movie that contains flouting

of conversational maxim.

Movie, also known as film, is a type of audio-visual storytelling which

uses moving pictures and sound to tell stories or inform. It can be a reflection of

human for understanding human conversation or communication since it

resembles real world of human languages. As Graham (2005: 117) states that a

movie or film has the ability to record real people and events around the

characters in a movie. It differs from a novel or written story in which we have to

imagine and visualize all narrations, conversations and circumstances that happen

in that story. As a result, by analyzing the flouted maxim in a movie, it can

represent an analysis of flouted maxim in the real world.

This study focuses on the conversations among the main characters of the

Lucifer tv series, therefore the object of this study is not the film but the

dialogues of the series. In IMDb website, Lucifer tv series is described as an

American fantasy police procedural comedy-drama television series. The series

focuses on Lucifer Morningstar, the Devil, who is bored and unhappy as the lord

of hell, and resigns his throne and abandons his kingdom for Los Angeles.

Lucifer runs a nightclub in Los Angeles called "Lux" with the assistance of his

demonic ally Mazikeen aka Maze. Lucifer becomes involved with the LAPD

when he began to assist Detective Chloe Decker in crime cases. He becomes

fascinated with Chloe when she appears to be immuned to his powers. Lucifer's

mother later escapes hell, and Lucifer's punishment for her is to stay on Earth,

and the celestial families are forced to deal with that ramifications. And also there

3
are Amenadiel and Dr. Linda Martin as supporting character in very first episode

but they by the time become important characters. Several conversations in the tv

series indicate to flout the conversational maxims. By Grice’s theory, person who

flouts the maxims of conversation or does not give the information as informative

means that she or he keep a hidden meaning which wants to be expressed. For

instance, it is found that the existence of flouted maxim of quantity in the

conversation of the tv series as shown in the following dialogues:

A : Jimmy Barnes! Remember me?

B : Hay man this is a private event.

On the conversation above, the utterances of speaker B is absence of

answering speaker A’s question. The speaker B does not want to talk about the

problem and B’s response is irrelevant to the topic in hand. Therefore, speaker B

changes the topic blatantly in that context of situation. It means that the maxim of

relevance is flouted by speaker B by looking at B’s answer.

The second dialogues below, one of the examples of the flouted maxim of

quality because the second speaker, B, is not giving the true answer when

replying the question of first speaker after A getting a shot, as follows:

A : How long have I been out?

B : Three years

Based on the example above, it can be concluded that flouted maxim

exists in the tv series entitled Lucifer. Therefore, this study is interested in

analyzing flouted maxims in tv series entitled Lucifer. Lucifer is chosen as the

object of study because of two reasons: first, the dialogues used by the characters

in the tv series contains the flouted maxim; second, the transcript of the tv series

4
 can be used as a material of learning, especially pragmatics. In communicating,

people tend to convey what is in their mind without paying attention to the rules.

So, the flouted maxim is the interest of study, which is the result of conversation

based on the context and the Grice’s Cooperative Principle is also intended to

apply toward Lucifer tv series.

In accordance with the explanations above, this study is interested in

studying the flouted of Grice’s Conversational Maxims. Therefore, according to

preceding statement, this study is conducted under the title “A Pragmatic Study

of The Flouted Grice’s Maxims in the Dialogue of Lucifer TV Series First

Season”.

1.2 Research Questions

This study attempts to answer the following questions:

1. What types of maxims are flouted in the dialogues of the tv series Lucifer?

2. What are the implicatures in the flouted maxims of the tv series Lucifer?

1.3 Objectives of the Study

In line with the research questions, the objectives of writing as follows:

1. To examine and describe types of flouted maxims in the dialogues of the tv

series Lucifer. This will be conducted by using Grice’s theory of Cooperative

Principle.

2. To identify and analyze the implicature in the flouted maxims of the tv series

Lucifer. This will be elaborated through the theory of Conversational

Implicature by Grice.

5
1.4 Significance of the Study
1.4.1 Theoretical Significance

a. This study is expected to give contribution to language use, in which the

cooperative principle theory is not always relevant in daily conversation,

even in the made up world. It will also be beneficial for the development of

analysis theory, in particular discourse analysis.

b. This study can be used as a reference for the other researchers who have the

same interest in Grice’s Conversational Maxims and its principle. This

research also provides data that can be used for further investigation.

1.4.2 Practical Significance

a. This study is expected to give understanding to readers about the concept of

cooperating with or without observing the Cooperative Principle.

b. This study informs the strategy for teachers who want to improve their

qualities and abilities in providing information and making effective

communication during learning process based on Grice’s Maxims.

c. This study can help readers to understand more the exact meaning of each

utterance of the characters in the movie.

1.5 Limitation of the Study

The scope of this study is restricted to analyze the conversations that found

in Lucifer tv series based on Grice’s Conversational Maxims and its principles.

This study focuses on conversational implicature which is used to analyze the

flouted maxims in the tv series. The flouted maxims occurs when one of the

participants in a conversation fails to observe the Grice’s Conversational Maxims

6
 by giving less, much, irrelevant or unclear information. Furthermore, this series

consists of some seasons and episodes. So, the data of this study is restricted by

taking the early episode of Lucifer, the first episode of season 1, because his

utterances indicate that he flouts one of the maxims while having conversation

with a police officer and there is interested story development and also there are

some situation in which the flouted maxim happens.

1.6 Definition of Key Terms

1.6.1 The maxims, in this current study, are general principle which are thought to

underlie the efficient use of language, and which together identify a general co-

operative principle (Crystal, 2008: 298).

1.6.2 In this study, flouting maxims refers to breaking maxim on purpose, when a

speaker appears not to follow the maxim but expect the listener to appreciate the

meaning implied (Cutting, 2002: 37). Thus, when a maxim is not followed by

speakers that means the maxim is flouted.

1.6.3 In this study, Cooperative Principles is described as a general principle of

conversation which has definition as ‘Make your conversational contribution

such as is required, at the stage at which it occurs, by the accepted purpose or

direction of the talk exchange in which you are engaged’ (Grice, 1975: 26).

1.6.4 Implicature, in this study, is meant to be something implied and meant from
what is said (Grundy, 2000: 273)

7
 CHAPTER 2
REVIEW OF RELATED LITERATURE

This chapter comprises previous related studies. Furthermore, it also comprises

related theories which consists of pragmatics, implicature, Grice’s Cooperative

Principle, flouted maxim and theoretical framework.

2.1 Previous Related Studies

In completing this study, this study is consulted with some studies related

to pragmatics. These related studies are kind of library research and presented on

the similar approach. Iskandar (2010) investigates Gricean Maxim in the scripts

of the Simpsons season 5. The purpose of his research is to find out the types of

the maxims which were written in the scripts and to categorize the violations or

deviations toward those maxims. In that study, he uses a qualitative method by

collecting and studying the data which are taken from many sources and using the

relevant theory to his study.

The result shows that the Griceans Maxims were applied and violated.

Most of the time, in the dialogues from the scripts, the speakers have fulfilled the

maxims. Nevertheless, they sometimes have unconsciously or deliberately defied

those maxims in their conversation. This fulfillment and violation happen due to

the speaker willingness whether they decide to use the maxims or defy it. In

addition, the violations toward those maxims are done by deliberately and

8
unconsciously giving misleads information, inability to fulfill one maxim without

violating the second maxim, and unwillingly to cooperate.

Meanwhile, Huzaiziah (2014) analyzes conversational implicature in John

Grisham’s novel entitled The Street Lawyer based on Gricean maxims of

conversation. Three points are discussed, description of the four maxims, the

conditions where the four maxims occurred, and the domination of certain

maxims found in the novel. The method used in her study is kind of descriptive

qualitative. In collecting the data, documentation method is used which consists

of three steps: reading, note taking, and mapping. In analyzing data, the research

also uses some steps. Five steps are done chronologically, identification,

classification, description, explanation, and conclusion.

The conclusion of the study is that there are some conversational

implicature found in the novel. The speakers mostly violates maxims of

conversation. Indeed, they infringed two or more maxim in same time. The

violation occurs in certain conditions. It is due to the aim of the speakers when

the conversation happened. Sometimes, the speaker infringes the maxim in order

to convey some other intention indirectly and politely. Besides, of those four

maxims, there are two types of maxims dominantly used in the novel. They are

maxim of quantity and manner. It is affected by the topic of the novel and the

writer’s purposes.

Another study was done by Nugraha (2013), her study discusses about the

violation of Grice Maxim of Cooperative Principle among the characters in Real

Steel Movie. The type of her study is descriptive qualitative, in the study, the data

9
were collected from the conversation in the movie which contains conversational

implicature in the character’s utterances. There are several steps are done in

analyzing the implicature. The steps were describing the data in the form of

dialogue and describing the context of conversation and the implicature of

speaker utterance. In order to know the kinds of maxims which are violated, the

steps were describing the data in the form of dialogue, describing the context and

analyzing how the characters used cooperative principle in their dialogue. The

result shows that the characters often violate the maxim of cooperative principle

by generating a conversational implicature. The first is violation that occurs in the

maxim quality with 5 occurrence which is generated by ignoring truthfulness in

the character’s utterance. The second kind of violation occurs by ignoring the

sufficiency of conversation which violates maxim of quantity with 1 occurence.

The third kind of violation occurs in maxim of manner with 7 occurence, the

characters ignoring the relevance of their utterance. The fourth is maxim violation

of manner with 7 occurence that is generated by ignoring perspicuous

conversation, in the violation of maxim manner the writer found 7 data. The

conclusion oh her study is that the characters often generate conversational

implicature by giving unrelated answer and unconnected answer in their

conversation

However, this study is different from those related studies where those

studies analyze kind of breaking maxim in terms of violation. Moreover, the

object of both studies were in the form script and a novel. So, the differences of

this study are in term of objectives which examine breaking maxim by flouting.

Moreover, this study also discusses the types of conversational implicatures based

10
 on Grice’s theory of conversational implicature, generalized conversational

implicature and particularized conversational implicature, and in term of object of

study which is directly transcribed from the source of data.

2.2 Related Theories

2.2.1 Pragmatics

Semantics and pragmatics are the two main areas of linguistic study that

concerns with the knowledge we use to interpret meaning when we hear or read,

and to convey meaning when we speak or write. However, Peccei (1999:2)

states that semantics focuses on meaning that comes from purely linguistic

knowledge, while pragmatics concentrates on those aspects of meaning that

cannot be predicted by linguistic knowledge alone and takes into account

knowledge about the physical and social world.

Additionally, Yule (2010: 127) states that pragmatics is the study of what

speakers mean, or “speaker meaning”. Communication clearly depends not only

on recognizing the meaning of words in an utterance, but also recognizing what

speakers mean by their utterances. This type of study necessarily involves the

interpretation of what people mean in particular context and how context

influences what is said. It also involves the context or the circumstances in

accordance with what, when, where and with who they are talking to. For that

reason, Yule (1996: 3) describes that pragmatics is a study of contextual

meaning.

Yule (1996: 4) states that there is a distinction between pragmatics with

syntax and semantics in the way of pragmatics concerns about the relationships

11
of linguistic forms and the users of those forms. From that distinction, only

pragmatics allows human into analysis. The advantage of studying language via

pragmatics is that one can talk about people’s intended meaning, their

assumptions, their purposes or goals, and the kinds of actions that are performed

when they are speaking.

In line with Yule, Paltridge (2008: 53) states that pragmatics is the study

of meaning in relation to the context in which a person is speaking or writing.

This includes social, situational and textual context. It also includes background

knowledge context; that is, what people know about each other and about the

world. Pragmatics assumes that when people communicate with each other they

normally follow some kinds of principle; that is, they have a shared

understanding of how they should co-operate in their communications

According to Fromkin et al (2011: 207), pragmatics concerns with our

understanding of language in context. Two kinds of contexts are relevant. The

first is linguistic context—the discourse that precedes the phrase or sentence to

be interpreted; the second is situational context—virtually everything

nonlinguistic in the environment of the speaker. Speakers know how to combine

words and phrases to form sentences, and they also know how to combine

sentences into a larger discourse to express complex thoughts and ideas.

Based on the given definitions above, there are three important

components in pragmatics that have been concluded, namely; how speakers use

and understand what is being talked; how the interpretation and use of language

12
 depends on the common knowledge between the speaker and the hearer; and

how the interpretation of language counts on the users, context and language.

2.2.2 Implicature

The term of ‘implicature’ is derived from the verb ‘to imply’, as is its

cohnate’ implication. Originally, ‘to imply’ means ‘to fold something into

something else’ (from the Latin verb plicare ‘to fold”); hence, which is implied

is ‘folded in’ and has to be ‘unfolded’ in order to be understood (Mey, 2001:

61). Grice cited in Brown and Yule (1988: 31) states that implicature does

account for what a speaker can imply, suggest, or mean, as distinct from what

the speaker literally says. According to Gazdar (1979: 38), an implicature is a

proposition that is implied by the utterance of a sentence in a context even

though that proposition is not a part of nor an entailment of what was actually

said. Meanwhile, Yule (2010: 149) says that implicature is an additional

meaning which is conveyed by a speaker in order to maintain the cooperative

principle. Grice makes a distinction between what is said by speaker of a verbal

utterance and what is implicated. Based on Grice (1975: 24), “implicature” can

be described as an inferred meaning, typically with a different logical form from

the original utterance. Implicature is something implied and meant from what is

said (Grundy, 2000: 273). Implicature is generated intentionlally by the speaker

and may or may not be understood by the hearer (Thomas, 1995: 58).

Hearer in a conversation does not always understand what speaker says

because his utterance is different from what he means. It depend’s on the

interpretation and awareness of the hearer to imply the meaning. Levinson

13
 (1983: 126) makes a distinction between kinds of implicature on another

dimension; they are conventional implicature and conversational implicature.

2.2.2.1 Conventional Implicature

Conventional implicature is not based on the cooperative principle. It

does not have to occur in conversation, and it does not depend on special context

for their interpretation. Conventional implicature are not derived from the

maxims of conversation but simply attached by convention to particular

expressions (Crystal, 2008: 238). English conjunction “but” is one of these

words. Other English words such as ‘even’ ‘yet’ also have conventional

implicature. It does not depend on special context for their interpretation.

Furthermore, conventional implicature is associated with specific words and

results in additional conveyed meaning when those words are used. An example

is but in ‘He is poor but happy.’ The interpretation of this utterance will be he is

poor and he is happy plus an implicature of ‘contrast’ between the information.

Contrast is the conventional implicature of but. The sentence implies poverty

and happiness are not compatible but in spite of this he is still happy. So he is

poor but happy will always necessarily imply “Surprisingly he is happy in spite

of being poor”.Then, happiness is considered to be the opposite of having no

money.

2.2.2.2 Conversational Implicature

Conversational implicature which is based on cooperative principle. It

refers to the implications which can be deduced from the form of an utterance,

on the basis of certain co-operative principles which govern the efficiency and

normal acceptability of conversations (Crystal, 2008: 238). A conversational

14
implicature is, therefore, something which is implied in conversation, that is,

something which is left implicit in actual language use (Mey, 2001: 61). The

meaning of an utterance in conversational implicature is indirectly stated in the

utterance. However, conversational implicature is based on the cooperative

principle. It usually occurs in conversation. Copperative principle is a principle

which is used by the participants in a communication to be cooperative.

Cooperative principle includes four maxims, maxim of quantity, maxim of

quality, maxim of relevance and maxim of manner. These four maxims are

called maxim of conversation. Conversational implicature arises when

participants in a conversation break the maxims.

Conversational implicature deals with utterance meaning which is the

study of extra linguistics. According to Hurford et al (2007: 3), utterance

meaning is what speaker means or intends to convey when she or he uses a piece

of languge. Utterance meaning is also called pragmatics meaning that means the

meaning of a sentence when it is produced by the speaker. Then, sentence

meaning is the study of intra linguistics. Sentence meaning is what a sentence

means, it counts as the equivalent of in the language concerned (2007: 3).

Furthermore, conversational implicature can be described as an additional

pragmatics meaning of an utterance with respect to the literal meaning expressed

by that utterance (Mey: 2001: 46). This different meaning is intended by the

speaker and expected to be understood by the hearer. The basic assumption in

conversation is that the participants stick to the cooperative principle and

maxims of conversation.

15
 Conversational implicature occurs when one of the Grice’s maxim is

flouted. Flouting maxim takes place when speaker blatantly fails to fullfil the

maxims while still being cooperative (Grice, 1975: 49). In other words, flouting

maxim happens when the speaker conveys implicit meaning in addition to the

literal meaning of his utterance, and his implicit or additional menaing known as

conversational implicature. When flouting a maxim, the speaker does not intend

to mislead the hearer but wants him to lok for the conversational implicature,

that is, the meaning of the utterance not directly stated in the words uttered.

Besides, it is worth nothing that, in order to arrive at the implicature, the speaker

and the hearer have to recognize the context where the exchange occurs, and

know certain facts about the world is important too (adapted from Brown and

Yule, 1983: 32).

From the ways in which implicatures are calculated. Levinson (1983:

114-117) states that the properties of conversational implicatures are

distinguished into five. The first important property is that implicatures are

cancellable means they can be cancelled explicitly or contextually if it is

possible to add some additional premises to the original ones. Second property

of implicatures is that implicature are non-detachable. Implicatures cannot be

detached from an utterance simply by changing the words of the utterance for

synonyms because implicature is attached to the semantic content of what is

said, not to linguistic form. The third distinguishing feature of implicatures is

that they are calculable. For every implicature it should be possible to construct

an argument from the literal meaning or the sense of the utterance in

combination with contextual imformation and the maxims. Fourthly,

16
 implicatures are non-conventional, that is, not part of conventional meaning of

linguistic expressions.

The implicature which has been resulted by breaking the cooperative

principle is conversational implicature. To grasp the meaning of

conversational implicature, it should be related with situation or

context where it’s happening. Conversational implicature is distinguished into

two types, generalized conversational implicature and particularized

conversational implicature Levinson (1983: 126).

1. Generalized Conversational Implicature

Yule (1996: 41) states that generalized conversational is a conversational

implicature which does not require special knowledge in the context to calculate

additional conveyed meaning. In line with Yule, Levinson (1983: 126) states that

generalized conversational implicature arise without any particular context and

special scenario being necessary. Look at the example below:

A : Did you bring pencil and eraser?

B : I brought pencil.

By the example above, it means that the speaker B does not bring eraser and it

can be understood although the speaker B does not give information about that.

There is no special background knowledge of the implicature needed to

understand the meaning.

17
2. Particularized Conversational Implicature

Particularized conversational implicature is the one of dimension of

kind of Grice’s conversational implicature. The particularized

conversational implicature does require such specific knowledge

of any particular context (Levinson, 1983: 126). Particularized conversational

implicature arises because of some special factor inherent in the context of

utterance and are not normally carried by the sentence used. Look the example:

Context: A and B are talking about game Pokemon GO in android phone.

A : Have you tried playing Pokemon GO in your android?

B : It is only Gingerbread.

B’s answer implicates that B cannot install Pokemon GO in B’s android phone.

Special knowledge is needed to understand the implicature of the utterance

above. Knowledge about the minimum operating system of android platform for

running application like Pokemon GO. However, because the operating

system android of B’s phone is still the old type Gingerbread, so it is indirectly

answered the A's question.

In conclusion, conversational implicature is used by hearer to imply

hidden meaning behind the speaker’s utterance. In this case, the speaker‘s

intention is to convey certain meaning through his utterances based on a certain

common knowledge and context of situation.

18
2.2.3 Grice’s Cooperative Principle

The success of a conversation depends on the various speakers’

approaches to the interaction. One of the most basic assumptions we must make

for successful communication is that both people in a conversation are

cooperative. The way in which people try to make conversation work is

sometimes called Cooperative Principle. Cooperative Principle makes the

conversational contribution is in the right size and agrees with the accepted

purpose of the conversation in which a speaker is connected to. Grice (1975: 45)

states that make your conversational contribution such as is required, at the

stage at which is occurs, by the accepted purpose or direction of the talk

exchange in which you are engaged. The Cooperative Principle can be explained

by four underlying rules of maxims; maxims of quality, quantity, relevance, and

manner. Grice’s four maxims can be expressed in synopsis as be brief, be true,

be relevant, and be clear (Grundy, 2000: 97).

The conversational maxims which support this principle are as follows:

a. Maxim of Quantity

This maxim requires that we offer the appropriate amount of

information. The maxim of quantity provides that, in normal circumstances,

speakers say just enough, that they supply no less information—and no more

—than is necessary for the purpose of the communication: Be appropriately

informative (Finnegan, 2008: 288).

1. Make the contribution as informative as is required for the current purpose

of the exchange.

2. Do not make our contribution more informative than is required.

19
 Example:

A : Hi, what are you doing?

B : I am fixing my car.

In this case, A needs information about what kind of activity that B doing at

the time. B gives sufficient information without leaving a crucial piece of

information and does not give information more than is required as well. B’s

remark makes A understands that B is fixing his car.

Another example :

A : Are you going to hang out this evening?

B : Yes, I’m going to watch a movie at the cinema.
A : With whom you’ll go there?
B : With Andy and and Ivy.

The maxim of quantity proposes a speaker to contribute as informative as a

required and not to contribute too much or too little information than is

required. As Black (2006: 29) states that this maxim requires that we offer the

appropriate amount information.

b. Maxim of Quality

Speakers should tell the truth. They should not say what they think is false, or

make the statement for which they lack of evidence: Be truthful (Finnegan,

2008: 289).

1. Do not say what you believe to be false.

2. Do not say that for which you lack adequate evidence.

Example:

A : You look tired. What have you been doing?

B : Shooping for some new outfits.

20
 A : Can I see them?
B : Sure. You can see them in my room.
A : Wow! This one looks expensive.

In the example above, B gives the answer correctly. It can be seen from B’s

answer at the end of the conversation by letting her friend to see the outfits in

her room. As Black (2006: 30) states that this maxim has to do with the truth

of falsity of an utterance. The maxim of quality suggests a speaker to say

what he believes to be true and not to say something with lack of evidence.

Another example :

A : Where is my coat?
B : It is in the wardrobe.

In this case, B put the coat in the wardrobe. So that, when A asks where his

coat is, B can answer it truthfully because he can prove it.

c. Maxim of Relevance

In this maxim, the rule is being relevant (Leech, 1983: 93). The meaning of

“relevance” is the connection between what the speaker says and the

addressee hears are related each other. Moreover, this maxim directs speakers

to organize their utterances in such a way that they are relevant to the ongoing

context: Be relevant at the time of the utterance (Finnegan, 2008: 288).

Example:

A : Where is my box of chocolates?

B : It is in your room.

In these utterances, what the hearer answers is related with what the speaker

asks about place of his box of chocolates. The answer and the question are

relevant, and it fulfills the maxim of relevance.

21
 Another example :

A : Where are you from?

B : I’m from Mataram.
A : Can I see your driver license?
B : Yes sir. Here it is

The conversation above shows that B always gives relevant answer to A’s

questions. When someone’s responses are related to every question asked that

means he follows the rule of maxim of relevance.

d. Maxim of Manner

Maxim of manner suggests speakers to be clear. It refers not to what is said,

but to how it is expressed. This maxim dictates that speakers and writers

avoid ambiguity and obscurity and be orderly in their utterances: Be orderly

and clear (Finnegan, 2008: 288).

The rules are:

1. Avoid obscurity of expression.

2. Avoid ambiguity.
3. Be brief (avoid unnecessary prolixity).
4. Be orderly.
Example:

A : Where were you yesterday night?

B : I went to Laila’s house and borrowed her some money.

The example above shows that the maxim of manner is obeyed. B gives clear

explanation since he can explain orderly where he was yesterday.

Another example:

A: Where is my phone?
B: It is on the table in my bedroom.

22
 The conversation is clear without the appearance of misunderstanding. It was

perfectly brief and well ordered. The maxim theory can be beneficial for the

speakers and addressees who are obeying the rules of cooperative principle.

So, if they obey these maxims, the communication runs well and smoothly.

2.2.4 Flouted Maxim

The flouted maxim occurs when a speaker blatantly fails to observe a

maxim, not with any intention of deceiving or misleading, but because he or she

wants the hearer to look for the meaning of expression which is different from

the expressed meaning. It takes place when individuals deliberately cease to

apply the maxims to persuade their listeners to find the hidden meaning behind

the utterances; that is, the speakers employ “implicature” (Levinson: 1983: 104)

Implicature often happen in a conversation when the speaker are not

confidence to say in straight way. Grundy (2000: 78) states that flouting is a

particularly silent way of getting an addressee to draw an inference and hence

recover an “implicature”. It is also said by Cutting (2002: 37) that flouting the

maxims is when the speakers appear not to follow the maxims but expect hearers

to appreciate the meaning implied. Cutting (2002: 37-39) determined flouting of

maxims as follows:

a. Flouted Maxim of Quantity

Flouting maxim of quantity occurs when a speaker blatantly give more or

less information. Cutting (2002: 37) stated that “the speaker who flouts the

maxim of quantity seems to give too little or too much information. It means that

23
the speaker may give information not as it requires. Here, Cutting gives his

example:

A: Well, how do I look?

B: Your shoes are nice.

B’s answer is not giving all the information that A needs in order to fully

appreciate what is being said. B does not give his opinion about the whole

appearance of A, but B knows A will understand that implication, because A

asks about his whole appearance and only gets told about part of it.

Yule (1996: 40) provides another example of flouted maxim of quantity.

This example is a conversation between Charlene and Dexter in which the

requirements of quantity maxim is flouted:

Charlene : I hope you brought the bread and the cheese.

Dexter : Ah, I brought the bread.

In the second example, Charlene has to assume that Dexter is

cooperating and not totally unaware of quantity maxim. But he did not mention

the cheese. He tries to say that what is not mentioned is not brought. He

intentionally gives too little information in responding to Charlene’s utterance so

Charlene, as the hearer, is expected to understand the unimplied meaning of ‘Ah,

I brought the bread.’ By saying that utterance, Dexter has flouted maxim of

quantity because he does not give the required information.

Two examples above are showing that the maxim of quantity is flouted

because the information that is expected is not sufficient, B’s answer and

Dexter’s response are not complete, but A and Charlene of each example can

catch the meaning implied.

24
b. Flouted Maxim of Quality

The interlocutors can be mentioned as flouting the maxim of quality

when he or she implies the information which it is not suitable with the fact. The

maxim of quality is flouted when the speaker says something which blatantly

untrue or for which he or she lacks adequate evidence (Thomas, 1995: 67).

When we communicate there is an assumption that each communicant says or

writes something that will be truthful. For instance, speaker B flouts the quality

maxims by giving untrue information:

John : Winter is coming.

Bruce : You’re right and my house is a refrigerator now.

Here, John and Bruce is talking about the weather. The utterance of

Bruce, my house is a refrigerator, indicates that maxim of quality is flouted. It is

because he says something that is not suitable with the fact. Bruce is

exaggerating the condition of winter by saying his house is a refrigerator. In

terms of conveying unstated message, Bruce tries to express his agreement and

inform John that his house is very cold by saying that expression.

Another example, flom Levinson (1983: 110), of a maxim flouting of

quality is also provided as below. It is an example that breaks the maxim

requiring a speaker to say something is true and has adequate evidence.

A : Teheran’s in Turkey isn’t it, teacher?

B : And London’s in Armenian I suppose.

The example shows that the speaker of the conversation flouts maxim of

quality. Speaker B flouts maxim of quality by saying thing that

lacks adequate evidence. It makes his contribution one that is not true.

25
 Actually, this answer is false because London is not in Armenia but in England.

In this case, B's answer serves to suggest that A's utterance is absurdly incorrect.

c. Flouted Maxim of Relevance

The maxim of relevance (be relevant) is exploited by making a response or

observation which is very obviously irrelevant to the topic in hand (Thomas,

1995: 70). So, the speaker flouts the maxim of relation when he or she does not

give a response within the topic which is being discussed. However, being

irrelevant does not mean that the speakers do not want to be relevant.

Sometimes, speakers are being irrelevant because they want to hide something

or to say something indirectly as in the example below:

A : So what do you think of Mark?

B : His flat-mate’s a wonderful cook

B does not say that she was not very impressed with Mark, but by not

mentioning him in the reply and apparently saying something irrelevant.

Precisely B changes the topic by saying flat-mate which it is not relevant with

question that asked by A.

Another example of maxim flouted of relevance, from Yule (1983: 43), is

in the following exchange:

Bert : Do you like ice-cream?

Ernie : Is the Pope Catholic?

In this conversation, Ernie is being irrelevant. Ernie’s response does not provide

a ‘yes’ or ‘no’ answer. Bert must assume that is being cooperative, so he

considers Ernie’s ‘Pope’ question and clearly the answer is “Yes”. The maxim

of relevance is flouted to emphasize her answer of ‘yes.’ Here, by being

26
 irrelevant, Ernie flouts maxim of relevance and successful in conveying her

unstated meaning.

Next example of flouted maxim of relevance comes from Holmes (2013:

366). This example is a conversation between Harry and Joyce in which the

requirements of relevance maxim is flouted. The context of this conversation,

Harry does not like lending the family car to the children. Joyce knows this but

she has just lent their car to their son Dan:

Harry : Where’s the car?

Joyce : Dan needed to do some shopping

Joyce’s answer does not follow Grice’s conversational maxim of relevance, and

hence it generates a conversational implicature (i.e. we can infer more than is

literally said). Again the addressee infers, on the basis of logic and knowledge of

the world, that something additional is being conveyed to what is explicitly

stated.

d. Flouted Maxim of Manner

The speaker flouts the maxim of manner because he or she appears

utterances which to be obscure ambiguous. According to Cutting (2002: 39),

those who flout the maxim of manner may appear to be obscure. Here, the

example:

A: Where are you off to?

B: I was thinking of going out to get some of that funny white stuff for
somebody.
A: Ok, but don’t be long, dinner’s nearly ready.

27
 Cutting (2002: 39) analyzes that B speaks in an ambiguous way, saying “that

funny white stuff” and “somebody” because he is avoiding saying ‘ice-cream’

and ‘Michelle’ so that his Michelle does not become excited and ask for the ice

cream before her meal. Sometimes writers play with words to heighten the

ambiguity in order to make a point.

A further example of manner maxim flouting, from Yule (1983: 43) is in

the following conversation. The speaker is flouting the maxim by being

ambiguous, ambiguity occurs whether the speaker intends to make it or not.

Sam : Where are you going with the dog?

Ann : To the V-E-T.

In this conversation, Ann answers Sam’s question ambiguously. Instead of

saying ‘vet’ directly, he spells the word ‘vet’ by its letters. Here, maxim of

manner is flouted since Ann’s utterances contain obscurity of expression.

Related to the meaning and the reason for Ann saying that, context is an

important aspect to observe.

2.3 Theoretical Framework

Maxim flouting is a part of pragmatics concept that involve an act of

disobeying the rules of being cooperative in a conversation. Disobeying the rules

by flouting maxim is different from disobeying the rules by violating it.

Disobeying by flouting happens when speakers appear not to follow the maxims

but expect hearers to appreciate the meaning implied. While, disobeying the rules

by violating occurs when speakers intentionally generate a misleading

implicature and know that the hearer will not know the truth and will only

28
understand the surface meaning of the words (Cutting, 2002: 37-40). This study

focuses on utterances that indicate flouted maxim conveyed by main characters in

Lucifer tv series.

In flouting maxims, people are intentionally breaking the rules of

Cooperative Principle to convey unstated meaning. People have possibilities to

flout one or more maxims of Cooperative Principle. Grice’s theory of

Cooperative Principle is used to answer the first objective of this study than

related to flouted maxim. Grice states that there are four types of maxim:

quantity, quality, relevance, and manner. Those maxims are explained orderly

and shortly as to be brief of form and informative in meaning, be truthful and

factual of information, be relevant with current context, and be clear and explicit

of expression. In a conversation, speaker may say something indirectly wich

means that his utterance carries more information than what is said. That

additional conveyed meaning is called an implicature and should be implied to

grasp the contextual meaning. Therefore, Levinson’s theory of conversational

implicature is used to answer the second objective of this study.

In sum, maxim flouting is a social phenomenon in linguistics. In this study,

two theories mentioned above are taken into account for the analysis. By

combining those theories, this study is hopefully able to present the appropriate

comprehensive findings of flouted maxim in Lucifer tv series.

29
 CHAPTER 3
RESEARCH METHODS

This chapter discusses the method of study which includes research design, data

and source of data, methods of collecting the data and methods of analyzing the data.

3.1 Research Design

This study applied descriptive qualitative method. The use of descriptive

qualitative method is to describe the phenomena in the conversation which

related to the flouting of Gricean conversational maxims. The conversations

among characters in Lucifer tv series were described based on Grice’s maxims.

This study focused on conversational implicature and flouted maxims of

conversation which is found in the tv series. It is aimed to examine and describe

the types of flouted maxim in the tv series and to identify types of implicature

and analyze the conversational implicature in the flouted maxim of tv series

Lucifer.

3.2 Data and Source of Data

The source of data of this study was from drama television series entitled

Lucifer from season 1 episode 1 and the data were gained from the conversation

among the characters in Lucifer. Lucifer is an American fantasy police

procedural drama television series directed by Len Wiseman and developed by

Tom Kapinos that premiered on Fox on January 25, 2016. This tv series is

30
 adapted from comic book series entitled The Sandman written by Mike Carey.

The duration of this episode is about 44 minutes. The data of this study were the

utterances which contain conversational implicature expressed by Lucifer,

Chloe, Maze, Amenadiel, and other main characters in the tv series.

3.3 Methods of Collecting the Data

In collecting the data of this study, documentation method was applied.

Furthermore, the process of collecting data follows some steps below.

1. Downloading Lucifer tv series along with its script.

2. Watching the selected episode for several times. In the process of watching,

attention is given to the utterances in the tv series which contain flouted

maxim of conversation.

3. Transcribing the utterances produced by main characters of tv series Lucifer.

It helps to remember the scene where flouted maxim occurs and is useful in

analyzing the implicature of utterances.

3.4 Methods of Analyzing the Data

Data in this study were examined by using the theoretical framework of

Grice’s conversation maxims and its principle to investigate whether the

conversation in the tv series obey or disobey the principle of maxims of quantity,

quality, relevance and manner. Furthermore, the data also were analyzed by using

theory of implicature to find out the implicature and type of implicature.

Descriptive method was used to describe the whole events that occur to seek out

31
the answer of the research questions. In analyzing data, some steps were applied.

These steps are done chronologically, as follow:

1. Classifying

The first step is classifying the flouted maxim based on Grice’s

Concersational Maxims and its principle. As stated before, there are four

maxims of conversation. In this study, the data were classified in terms of the

types of maxim.

2. Describing

After classifying, the data were analyzed in order to describe the situation

where flouted maxim occurs and the context of the conversation is also

considered in order to obtain its background knowledge of the conversation.

Moreover, the conversation in the flouted maxims of tv series Lucifer were

interpreted to obtain the implicature and its type.

32
 CHAPTER 4
FINDINGS AND DISCUSSION

This chapter presents the data description and analysis. In this chapter, the data

were analyzed based on Grice’s theory of Cooperative Principle and its maxims. To

answer the problems, the data are classified and analyzed into flouted maxim and

conversational implicature.

4.1 Findings
After reading and highlighting the Lucifer’s script dialogue, the flouted

maxim and conversational implicature were found. The data were obtained by

watching the selected episode several times and by reading the Lucifer’s script

dialogue. Additionally, some notes were made to mark the utterances of the

characters in the movie that contain conversational implicature. In this case, the

Cooperative Principle is the focus of attention which has four maxims, Maxim of

Quality, Maxim of Quantity, Maxim of Relevance, and Maxim of Manner.

This section provides the data that have been gathered to accomplish the

objectives of the study. Then, the results of analysis are presented which are

related to the objectives of the study by using table that covers number of data,

types of maxim, types of implicature and the utterance.

No. The Type of The Conversational

The Utterance Found
Extract Flouted Maxim Implicature

Extract 1 Quantity Particularized Obviously you felt the need

33
 to exercise your limited
power and punish me for
ignoring the speed limit…
Holed up at the Chateau.
Extract 2 Quantity Generalized Copulating with a young
woman named Faith…
Your return to The
Relevance Particularized Underworld has been
requested.
Oh, right, okay, let me just
Extract 3 check my calendar. Yeah,
here it is. Uh.. The seventh
Manner Generalized
of Never through to the
fifteenth of Ain’t Gonna
Happen
No. But we did have an
Extract 4 Quantity Generalized interesting little chat just
before he kicked off…
Hay man this is a private
Extract 5 Relevance Particularized event. How did you get in
here? (yoire not invited)

Extract 6 Quality Generalized Three years

Jimmy? Jimmy got what he

Extract 7 Quantity Particularized
deserved.

Wildly irritating as well, but

Extract 8 Quantity Generalized
yes.

I’ve been watching you,

Extract 9 Relevance Generalized
Lucifer.

34
4.2 Discussion
4.2.1 The Type of Flouted Maxim and Type of Implicature of the Flouted Maxim
in Lucifer TV Series

After classifying the data based on their flouted maxim, the explanation

of the data classified is presented in this section. Additionally, the situation

where flouted maxim occurs is described by considering the context of the

conversation in order to obtain its background knowledge of the conversation.

Moreover, the utterances in the flouted maxims is classified into its type of

implicature.

a. The Flouted Maxim of Quantity

Extract 1

Context : This conversation is between Lucifer and an officer. It happens when

Lucifer was speeding up his car and turning on music on high volume

and a cop approached to pull over his car.

00:00:59 - 00:01:21
Officer : Turn the music down, sir. Hey, cut the music.
Lucifer : I’m sorry.
Officer : You know why I pulled you over?
Lucifer : Obviously you felt the need to exercise your limited power
and punish me for ignoring the speed limit. It’s okay. I
understand. I like to punish people too. Or at least I used to.

Based on the conversation above, the maxim of quantity is flouted since

Lucifer tells the cop more information than required. It is enough for Lucifer to

answer cop’s question by replying “yes or no” but he does not say so. He also

says more about what he loved to do. In this case, Lucifer does not observe the

maxim of quantity, so the response he gave is more informative than that is

required in the exchange then the quantity maxim is flouted. In order to fulfill

35
the maxim of quantity, he could answer the question by giving alternative

possible answers, such as, because I was driving at excessive speed, the music

was too loud or I wasn’t wearing a seatbelt.

Lucifer’s utterance, obviously you felt the need to exercise your limited

power and punish me for ignoring the speed limit. It’s okay. I understand. I like

to punish people too or at least I used to, is interpreted as Particularized

Conversational Implicature because special knowledge is needed to draw the

implicature. And the utterance also does occur in a particular situation or

particular context, so the implicature cannot be generated from the utterance

itself.

Extract 2
Context : This conversation is between Maze and Lucifer and happens in the

LUX bar. When Lucifer came in to the bar and he was asked by

Maze about his temporary disappearance.

00:03:29 - 00:03:35
Maze : Where’ve you been?
Lucifer : Holed up at the Chateau. Copulating with a young woman
named Faith. It’s Ironic, isn’t it?

In the conversation above, it can be seen that maxim of quantity is

flouted by Lucifer. He gives too much information to Maze by answering the

question with too informative response. In answering the question, Lucifer just

need to mention the place where he has been. However, he is more informative

than that is required in that exchange. He does complete his answer by

mentioning the place where he has been while actually Maze does not need to

36
know what he was doing at that time. The first sentence of this conversation is

the required information. Meanwhile, the second sentence is not the required

information. By conveying the second sentence, Lucifer fails to fulfill the

maxim of quantity. The quantity maxim is flouted by Lucifer because he breaks

the requirement of quantity maxim, make a contribution as informative as is

required for the current purpose of the exchange.

If Lucifer observed maxim of quantity, he would stop after the first

sentence is finished. The second sentence should be omitted in order to make a

contribution as informative as is required for conveying the purpose, then the

maxim of quantity would not be flouted. For generating the implicature, we do

not need to relate the utterance with the context because there is no relation

between the contexts for generating implicature from the utterance. The

utterance is not in the particular context, so the implicature is classified as

generalized conversational implicature.

Extract 4

Context : This conversation is between Lucifer and Chloe in the LUX club. It

happens after he and Delilah, victims, were riddled with bullets but

only him who got survived without any scratch. Chloe, homicide

detective, was questioning Lucifer as a witness for that accident.

00:11:14 - 00: 11:38

Lucifer : You look familiar. Have we met before?

Chloe : Yeah, five minutes ago and I’m asking the question. Talk to
me about your relationship with the victim.

37
 Lucifer : She used to work here a few years back. I would occasionally
accompany her while she sang. Then she became a big star and
someone decided to end her life.
Chloe : Do you know the shooter?
Lucifer : No. But we did have an interesting little chat just before he
kicked off. I asked him why he did it.

The conversation above, the maxim of quantity is flouted by Lucifer. He

gives more information to the detective by responding the question with a long

response. In answering the question, it is enough for Lucier replying “no”, but he

does not. Hence, his information is more informative than that is required in that

exchange. Lucifer’s reply “no” from the utterance is the required information.

Meanwhile, the utterance after that sentence is not the required information. By

uttering a long response, Lucifer fails to fulfill the maxim of quantity. The

quantity maxim is flouted by Lucifer because he breaks the requirement of

quantity maxim, do not make our contribution more informative than is required.

For generating the implicature, we do not to relate the utterance with the

context because there is no relation between the context and the utterance to

generate an implicature. The utterance is not in the particular context, so the

implicature is classified as generalized conversational implicature.

Extract 7

Context : This conversation is between Chloe and Lucifer. It happens in a

hospital room, where Chloe had been unconscious for a few hours and

she is taken care after she was shot by Jimmy when trying to arrest a

suspect of a shooting case.

0040:33 - 00: 40:51

38
 Chloe : What happened to Jimmy?
Lucifer : Jimmy? Jimmy got what he deserved.
Chloe : Well, I'm pretty sure I'd be dead if you hadn’t helped me. So,
thank you.
Lucifer : Sorry. What was that? The last bit. I can’t quite get that.
Chloe : I’m sorry.

The situation from this exchange is that Chloe asks Lucifer about what

happen to the suspect, Jimmy, after she was unconscious. Here, Lucifer does not

give an appropriate contribution to the conversation. Lucifer should responds to

the question by giving an informative explanation as expected. However, in this

exchange, Lucifer does not do that. He chooses to give too little amount of

information.

In terms of flouted maxim, the maxim of quantity is flouted because

Lucifer does not make his contribution to be sufficient for the purpose of the

exchange. Lucifer is intentionally breaking the maxim to convey unimplied

meaning. In this case, the implied meaning can be generated by sharing the

common knowledge and knowing the context of the utterance. So the

implicature is generated as particularized conversationa implicature.

Extract 8

Context : This conversation is between Chloe and Lucifer in a new scene. It

happens in a hospital room, where Chloe had been unconscious for a

few hours and she is taken care after she got shot when trying to arrest

a suspect of a shooting case. When she wake up on a bed , she asks

Lucifer why he saved her life from fire of bullets.

0040:57 - 00: 41:07

Lucifer : And besides, you know. You’re far too interesting to let die

39
 Chloe : You saved my life because I’m interesting?
Lucifer : Wildly irritating as well.

In the conversation above, the maxim of quantity is flouted by Lucifer.

He gives more information than required to the detective by giving a little bit

long answer. Lucifer in his utterance is uncooperative by

giving more information than required. Lucifer can simply replies “yes” to

answer the Chloe’s question. Lucifer’s word“yes” from the utterance is the

required information. Meanwhile, the words that before it are not the required

information.

To understand the implicature, we do not must relate it with the any

context because the utterance is presented not in particular situation, so the

implicature can be generated from the utterance itself. When special knowledge

is not exist in an utterances, then type of the conversational implicature must be

a generalized conversational implicature.

b. The Flouted Maxim of Quality

Extract 6

Context : This exchange is between Chloe and Lucifer in a new scene. It

happens in a hospital room, where Chloe had been unconscious for a

few hours and she is taken care after she got shot when trying to arrest

a suspect of a shooting case.

00:39:52 - 00: 40:08

Lucifer : Well, look who’s back
Chloe : How long have I been out?
Lucifer : Three years

40
 In the exchange above, maxim of quality is flouted when Lucifer says

something that he believes is false. Lucifer exaggerated this situation as if Chloe

had been unconscious for a long period of time. Taking a look at the fact that

Chloe has been unconscious for a few hours. When Chloe asked for how long

she had been out, Lucifer replies with an exaggerating utterance by telling her

that she had been out for three years. Of course Lucifer knew that it was not the

truth. He makes a contribution that is not true and intentionally breaks the

maxim of quality to imply how hard his feeling about her current condition.

Lucifer’s utterance, Three years, is classified as Generalized

Conversational Implicature because there is no special knowledge needed to

know the implicature. And the utterance does occur not in a certain context, so

the implicature can be generated from the utterance itself.

c. The Flouted Maxim of Relevance

Extract 3
Context : This conversation is between Lucifer and Amenadiel in a bar. When

Lucifer and Maze are having a conversation, Amenadiel pay a visit to

the bar and time is suddenly slow down because Amanediel, an angel,

has a power to make time runs slowly. He asks Lucifer to go back to

hell for doing his job.

00:03:29 - 00:03:35
Lucifer : Amenadiel! How’s it hanging, big guy? Huh?
Amenadiel : Your return to The Underworld has been requested.
Lucifer : Oh, right, okay, let me just check my calendar. Yeah, here
it is. The seventh of Never through to the fifteenth of Ain’t
Gonna Happen? How does that work for you guys?

41
 In the dialogue above, Amenadiel does not observe the cooperative

principle. Maxim of relevance is flouted by giving irrelevant response than what

Lucifer needs. Lucifer asks about his condition, but Amanediel replies with a

statement about the request of the underworld. He intentionally emphasizes his

main purpose of coming to the club. Instead of stating his intention directly,

Amenadiel can answer Lucifer’s question in order to obey maxim of relevance,

such as by saying “I am fine”.

Amanediels’ utterance Your return to The Underworld has been

requested is not relevant with the question and it rises an implicature. The

special knowledge is needed to infer types of conversational implicature of the

utterance, then the implicature is classified as particularized conversational

implicature. Hence, for generating its implicature we have to know what the

underworld is. In its archaic sense, the term Underworld refers to hell, a deep pit

or distant land of shadows where the deaths are gathered (Britannica.com).

Extract 5

Context : Lucifer is visiting to a wedding of his old friend to look for any

information about a homicide case. When he just arrived at the

wedding, he is yelling to disturb the wedding ceremony. In this

conversation, Lucifer asks Jimmy whether he has a connection with

his ex girlfriend’s death.

00:13:59 - 00: 14:08

Lucifer : Jimmy Barnes! Remember me?

42
 Jimmy : Hay man this is a private event. How did you get in
here?
Lucifer : Yeah, and quite a lavish one for a record provider on the
outs

From the conversation above, an implicature is raised from Jimmy’s

utterances. It means that he does not observe maxim well. The maxim of

relevance is flouted by Jimmy. He flouts maxim of relevance by giving an

irrelevant statement where he supposed to answer Lucifer’s question first and

then he can ask a question to Lucifer. In order to satisfy Lucifer’s question he

could answer by saying “of course I remember you” or “yes I do”.

The flouted maxim of relevance occurs when speaker expects listener to

conclude an inference from the previous utterance. And to generate the

implicature, we need to relate the utterance with the context because there is

relation between the context and the utterance. The conversation happens in a

particular context, so the implicature is classified as particularized

conversational implicature.

Extract 9

Context : This conversation happens when Lucifer just arrived at his club and

Amenadiel pays a visit for the second time to talk with him. As ususal,

time is suddenly slow down because Amanediel is using his porew

again. He asks Lucifer to consider his offer for going back to hell for

doing his job.

0042:07 - 00: 41:15

Lucifer : What do you want from me?
Amenadiel : I’ve been watching you, Lucifer.
Lucifer : You perv.

43
 Amenadiel : And I’m not sure I like what I see. You’re showing
restrain, mercy.

In this exchange, the maxim of relevance is flouted by Amenadiel. He

flouts maxim of relevance by stating something which is not relevant. He fails to

fulfill the maxim of relevance which requires a speaker to be relevant in a

conversation. Amenadiel should pays attention to Lucifer’s question when

giving his statement. Moreover, his answer does not answer Lucifer’s question

relevantly. Since his answer does not seem to fulfill the indicator of maxim of

relevance, so Amenadiel has flouted maxim of relevance.

We do not must relate it with the any context in order to understand the

implicature because the utterance is presented not in the particular situation or

we do not need to know the participants, so it could be said that we could

generate the implicature from the utterance itself. When no special knowledge is,

then type of the conversational implicature must be a generalized conversational

implicature.

d. The Flouted Maxim of Manner

Extract 3
Context : This conversation is between Lucifer and Amenadiel in a bar. When

Lucifer and Maze are having a conversation, Amenadiel, an angel,

pays a visit to the bar and time is suddenly slow down because

Amanediel has a power to make time runs slowly. He delivers a

message from the Father of theirs about asking Lucifer to go back to

hell for doing his job.

00:03:29 - 00:03:35

44
 Lucifer : Amenadiel! How’s it hanging, big guy? Huh?
Amenadiel : Your return to The Underworld has been requested.
Lucifer : Oh, right, okay, let me just check my calendar. Yeah,
here it is. The seventh of Never through to the fifteenth
of Ain’t Gonna Happen. How does that work for you
guys?

In the dialogue above, Lucifer does not observe the cooperative

principle. Maxim of manner is flouted by giving excessively long and trivial

response. Since Lucifer breaks the maxim of manner which requires him to be

clear and avoid long utterance. He is being obscure so that Amenadiel cannot

understand his statement directly. Instead of saying “The seventh of Never

through to the fifteenth of Ain’t Gonna Happen”, he may say it clearly that he

will never back to hell so the message can be understood quickly and clearly.

Here, his prolixity is the one that causes the misunderstanding. However, he

flouts maxim of manner by giving long expression but he does not say a lie.

Lucifer’s utterance, The seventh of Never through to the fifteenth of

Ain’t Gonna Happen, has implicature because the utterance does occur not in a

particular situation or particular context and there is no special knowledge

needed to know the implicature. So, the imolicature can be inferred from the

utterance itself and the utterance does occur not in a particular situation or

particular context, so the implicature can be generated from the utterance itself

and interpreted as Generalized Conversational Implicature.

4.2.2 The Implicature of the Flouted Maxim in Lucifer TV Series

After classifying the types of flouted maxim and its types of

implicature. This section presents further information about the interpretation of

45
 meaning that can be implied from utterances in previous section. This section

presents the implicature of the utterences that contains flouted maxim.

a. The Implicature of Flouted Maxim of Quantity

Extarct 1

The Lucifer’s utterance in extract 1 raises a conversational implicature

because he gave too much information than required. Lucifer could say I do or I

don’t. But he replies obviously you felt the need to exercise your limited power

and punish me for ignoring the speed limit. It’s okay. I understand. I like to

punish people too, which implies that Lucifer indirectly admits that he breaks

the speed limit. And also his utterances imply that the cop wants to give him a

fine for violating the traffic rule that can endanger other people. Besides, by his

utterance he wants to convey that he is much more powerful than the cop

because he is devil who ruled the hell and loved torturing souls for their sins

long time ago before he left to earth.

Extract 2

Maxim of quantity is flouted when one of participants in a conversation

gives too much or too less information to other participant. In that occasion,

Lucifer gives too much information rather than gives the answer directly to let

maze find the implicature beyond what is literary said. Lucifer’s utterance,

Holed up at the Chateau. Copulating with a young woman named Faith. It’s

Ironic, isn’t it?, contains implicature. The implicature from the senctence is that

he cannot stand any longer for staying at his place alone. It can be interpreted

from the first and the second sentence which have opposite meaning by what are

said. The first sentence is interpreted as no one wants to be bothered when she or

46
he exiles themselves in a room or any place, meanwhile in second sentence

Lucifer says that he has a woman as an accompany at his place. Lucifer

indirectly stated his intention by conveying ironic statement.

Extract 4

The utterance of Lucifer in extract 4 indirectly raises conversational

implicature. Lucifer answers Chloe’s question by saying no. But we did have an

interesting little chat just before he kicked off. I asked him why he did it. It

means that Lucifer was introgating the shooter before he is dead, the utterance

before he kicked off is seen not by its literal meaning but its hidden meaning.

Lucifer asks for a reason why he shot Delilah

Extract 7

In the exchange, Lucifer flouts the maxim of quantity where he does not

give informative contribution as required in his utterance. He possibly thought

that Chloe, as a detective, already knew as usual what happens to criminal like

Jimmy. Lucifer replies Jimmy got what he deserved which implies that Jimmy is

not the threat anymore because the police have handled the case and arrested

him in prison. So, the case that has connection between Delilah and Jimmy

which she has been doing is over.

Extract 8

Lucifer flouts the maxim of quantity which means that he gives more

information than what is required, he could answer the question by just saying

yes. Lucifer says wildly irritating as well, but yes which causes an implicature.

47
 Lucifer replies Chloe by indirectly saying that she is not only interesting but also

annoying person because she is different from all person he has met. She is not

easy to persuade like most of people that is why Lucifer compliments her by

saying something opposite instead of saying she is challenging.

b. The Implicature of Flouted Maxim of Quality

Extract 6

Lucifer causes a conversational implicature in his utterance. He does not

give true information about how long she has been unconscious. He flouts the

maxim of quality by saying three years to hide something beyond his answer.

His utterance implicates that he does not want Chloe to know truth. From his

answer he wants to settle down her feeling by making a joke and to entertain her

by shocking her as well. In order to fulfill the question and the maxim of quality,

Lucifer should responds the question with truthful answer as it is supposed to be,

like she has been unconscious for 12 hours.

c. The Implicature of Flouted Maxim of Relevance

Extract 3

Amenadiel has conversational implicature in his utterance because he

does not observe the maxim of relevance. Amenadiel flouts the maxim of

relevance by giving a statement to Lucifer where he should answer Lucifer’s

question first then he can deliver his statement. Amenadiel’s utterance

implicates that Lucifer should stop his business on earth and go back to the hell

for doing his job to punish the dead souls under his surveillance as he did long

time ago when he was a king of hell.

48
 Extract 5

In the talk exchange, Lucifer aks Jimmy whether Jimmy still recognizes

him or not. But Jimmy gives irrelevant answers. Thus, Jimmy’s utterances raise

implicatures because he does not answer Lucifer’s question directly and anlso

his answer also is not relevant with question being asked. What can be implied

from Jimmy’s utterances is that Lucifer should not be in there because the

wedding event is restricted only for close families and he also is not invited to

his wedding ceremony.

Extract 9

In the conversation, Lucifer asks Amenadiel about what he wants, but

Amenadiel responses something else. Amenadiel expresses that he has been

watching Lucifer. In his utterance, he uses a present perfect progressive tense so

the meaning can be interpreted that Amenadiel is watching over Lucifer all the

the time. I’ve been watching you, Lucifer means that Amenadiel has given a duty

to keep Lucifer from involving with humanity. Because if Amenadiel does not

obey the command, he will get a punishment from the Father.

d. The Implicature of Flouted Maxim of Manner

Extract 3

In the conversation, Lucifer flouts the maxim of manner and

intentionally raises an implicature by giving long utterance. Hence, Oh, right,

okay, let me just check my calendar. Yeah, here it is. The seventh of Never

through to the fifteenth of Ain’t Gonna Happen which means that he does not

want to accept the request. Besides, he is not going back to hell forever because

he was sick and tired of doing the same thing time by time that is torturing souls

49
and playing a part of the Father’s plans. In order to satisfy the question and the

maxim of manner, Lucifer should answers with clear expressions. Lucifer could

say No. It won’t gonna happen or No. I don’t want to back to the Hell.

50
 CHAPTER 5
CONCLUSION AND SUGGESTION

This chapter presents two sections, conclusion and suggestion, which are drawn

after analyzing and interpreting the data. The conclusion was made based on the

formulated research questions, while suggestion was addressed to give additional

information to the next researchers who are interested in doing further research in the

same field of research in the future.

5.1 Conclusion

According to Grice’s cooperative principle theory, speaker and listener

should follow a set of rules to avoid misunderstanding between them. If the

speaker and the listener do not follow the Cooperative Principle, the non

observance maxims will be generated that cause implicature. According to the

findings and discussion, some conclusions related to the flouted maxim uttered by

main characters Lucifer tv series can be drawn.

Regarding to the data analysis dealing with the types of flouted maxim,

the main characters of Lucifer perform four types of flouted maxim; quantity,

quality, relevance, and manner. The occurrences of each type of flouted maxim are

different in the episode. The most occurring type of flouted maxim is quantity

maxim with 5 occurences. The fouted maxim of relevance is on the second rank

51
 with 2 occurrences. The followed by flouted maxim of Quality and Manner with 1

occurrence of each.

Based on the findings, the existence of two types of conversational

implicatures by Grice theory is found in this movie, generalized and particularized

conversational implicature. In the data analysis, nine implicatures were found from

the main character’s dialogue that are very imbalanced in which there are seven

generalized conversational implicatures and two particularized conversational

implicatures. Most of conversational implicature rised because the maxim of

quantity is flouted by main characters. Furthermore, the main characters make

contribution to be more informative than required. It happens because the

characters want to convince what they exactly meant to another participant of the

conversation and also they expect hearer to find the implied meaning beyond what

is said.

5.2 Suggestion
In this section, some suggestions in regard to the study are provided for

some related parties as follows:

1. For readers, this study is expected to enrich their knowledge about the flouted

maxims and conversational implicature. By reading this study, the readers are

expected to understand and relize more about Cooperative Principle and

implicature in Pragmatics and can interpret the interlocutor’s real meanings

which are frequently uttered by speakers in their utterances.

52
2. For English learners, this study is expected to be a source of learning to study

about Pragmatics, especially Cooperative Principle in which maxims are flouted

that becomes an important point to be aware of. And also by learning

implicature, learners do not only broaden their knowledge of language but also

improve their sensitivity of producing words.

3. For further researchers, who want to make a betterment study, they can

investigate another issues that related to another topics such as, conventional

implicature, hedging, violating, or speech act from another source such as a

novel or a talkshow.

4. Hopefully, this study is expected be beneficial for everyone who has interest in

the same field of study.

53
 REFERENCES

Black, Elizabeth. 2006. Pragmatic Stylistics. Edinburgh: Edinburgh University Press.

Brown, Gillian and Yule, George. 1988. Discourse Analysis. New York: Cambridge
University Press.

Crystal, David. 2008. A Dictionary of Linguistics and Phonetics 6th Edition. Oxford:
Blackwell Publishing.

Cutting, J. 2002. Pragmatics and Discourse: A Resource Book for Student. London:
Routledge.

Encyclopedia Britannica. Hell., Access from

http://www.britannica.com/topic/hell on 3 October 2018 at 10:00 AM

Finnegan, Edward. 2008. Language: Its Structure and Use 5th Edition. Boston:
Thomson Wadsworth.

Fromkin, Victoria. Rodman, Robert and Hyams, Nina. 2011. An Introduction to

Language 9th Edition. New York: Heinle

Gazdar, Gerald. 1979. Pragmatics: Implicature, Presupposition and Logical Form.New

York: Academia Press.

Graham, G. 2005. Philosophy of the Art 3rd Edition. New York: Routledge.

Grice, H.P. 1975. Logic and Conversation, in P. Cole and J.L Morgan (eds) Syntax and
Semantics. vol.3: Speech Acts. New York: Academic Press.pp: 22-57.

Grundy, P. 2000. Doing Pragmatics. New York: Oxford University Press.

Holmes, Janet. 2013. An Introduction to Sosiolinguistics 4th Edition. New York:

Routledge.

54
Hurford, James. R. Heasly, Brendan and Smith, Michael, B. 2007. Semantics: A
Coursebook. New York: Cambridge University Press.

Huzaiziah. 2014. The Analysis of Conversational Implicature in John Grisham Novel

Entitled “The Street Lawyer”. Mataram: Mataram University.

Iskandar, D. 2010. The Gricean Maxim Analysis in the Scripts of the Simpsons Season
5. Jakarta: State Islamic University of Syarif Hidayatullah.

Leech, G. 1983. Principle of pragmatics. London and New York: Longman group
Limited.

Levinson, S. C.1983. Pragmatics. Cambridge University Press.

Mey, Jacob L. 2001. Pragmatics: An Introduction 2nd Edition. United Kingdom:

Blackwell Publishing.

Nugraha. Risma Ardiansyah. 2013. Maxim Violation in Real Steel Movie: A Pragmatics
Approach. Surakarta: Muhammadiyah University of Surakarta.

Paltridge, B. 2008. Discourse Analysis: An Introduction. New York: Continuum.

Peccei, Jean Stilwell. 1999. Pragmatics. New York: Routledge

Thomas, J. 1995. Meaning in Interaction: Introduction to Pragmatics. Harlow: Pearson

Education.

Yule, G. 1996. Pragmatics. New York: Oxford University Press.

Yule, G. 2010. The Study of Language 4th Edition. Cambridge: Cambridge University
Press.

55
56
APPENDICES
 The Movie’s Script

1 11
00:00:02,104 --> 00:00:04,538 00:00:33,835 --> 00:00:35,263 22
("Ain't No Rest for the ♪ He put a gun up to my head ♪ 00:00:56,829 --> 00:00:58,636
Wicked" ♪ I got bills to pay,
by Cage the Elephant playing) 12 I got mouths to feed ♪
00:00:35,305 --> 00:00:38,286
2 ♪ He made it clear he wasn't 23
00:00:13,831 --> 00:00:15,287 looking for a fight ♪ 00:00:58,711 --> 00:01:00,409
♪ I was walking Turn the music
down the street ♪ 13 down, sir.
00:00:38,391 --> 00:00:39,944
3 ♪ He said, 24
00:00:15,322 --> 00:00:16,921 "Give me all you got ♪ 00:01:00,444 --> 00:01:02,344
♪ When out the corner ♪ There ain't nothing
of my eye ♪ 14 in this world for free... ♪
00:00:39,979 --> 00:00:41,531
4 ♪ "I want your money, 25
00:00:16,956 --> 00:00:19,933 not your life ♪ 00:01:02,379 --> 00:01:04,813
♪ I saw a pretty little thing Hey, cut the music.
approaching me ♪ 15
00:00:41,566 --> 00:00:42,924 26
5 - ♪ But if you try to make a 00:01:04,848 --> 00:01:06,448
00:00:19,968 --> 00:00:21,772 move, (chuckling):
♪ She said, - (siren wailing) I'm sorry.
"I never seen a man ♪
16 27
6 00:00:42,959 --> 00:00:44,523 00:01:06,483 --> 00:01:07,883
00:00:21,807 --> 00:00:22,945 I won't think twice" ♪ (music volume decreases)
♪ "Who looked so all alone ♪
17 28
7 00:00:44,627 --> 00:00:46,129 00:01:07,918 --> 00:01:09,451
00:00:22,980 --> 00:00:26,103 ♪ I told him, You know why I pulled you
♪ Oh, could you use "You can have my cash ♪ over?
a little company?" ♪
18 29
8 00:00:46,164 --> 00:00:47,519 00:01:09,486 --> 00:01:11,920
00:00:26,138 --> 00:00:29,045 ♪ "But first you know Well, obviously, you felt
♪ Not even 15 minutes later, I got to ask ♪ the need to exercise
I'm
still walking down the street ♪ 19 30
00:00:47,593 --> 00:00:50,674 00:01:11,955 --> 00:01:13,622
9 ♪ What made you want to live your limited powers
00:00:29,134 --> 00:00:32,234 this kind of life?" ♪ and punish me
♪ When I saw the shadow of a
man 20 31
creep out of sight ♪ 00:00:50,709 --> 00:00:53,960 00:01:13,657 --> 00:01:15,123
♪ He said there ain't no rest for ignoring
10 for the wicked ♪ the speed limit.
00:00:32,416 --> 00:00:33,800
♪ And then he swept up 21 32
from behind ♪ 00:00:54,081 --> 00:00:56,794 00:01:15,159 --> 00:01:17,492
♪ Money don't grow on trees ♪ It's okay. I understand.
 00:01:39,983 --> 00:01:42,904
33 (chuckles) You people are
00:01:17,528 --> 00:01:19,828 funny
I-I like to punish people, too. about your laws, aren't you?
34 46
00:01:19,863 --> 00:01:21,329 00:01:43,320 --> 00:01:46,988
Or at least I used to. You break the law sometimes,
don't you?
35
00:01:21,365 --> 00:01:23,665 47
License and 00:01:47,024 --> 00:01:49,424
registration. ♪ I said, "You're such
a sweet young thing..." ♪
36
00:01:23,700 --> 00:01:25,467 48
(sighs) 00:01:49,460 --> 00:01:51,026
Coming right up. Sometimes...
37 49
00:01:25,502 --> 00:01:27,035 00:01:51,061 --> 00:01:53,028
♪ Man creep out of sight ♪ I put my siren on
and drive really fast
38
00:01:27,070 --> 00:01:28,670 50
♪ And then he swept up... ♪ 00:01:53,063 --> 00:01:54,696
for no reason at all,
39
00:01:28,705 --> 00:01:31,106 51
Are you trying 00:01:54,731 --> 00:01:56,231
to bribe me, sir? just 'cause I can.
40 52
00:01:31,141 --> 00:01:32,450 00:01:56,266 --> 00:01:57,232
Yes, of course. Right?
41 53
00:01:32,485 --> 00:01:35,343 00:01:57,267 --> 00:01:58,800
♪ He said, And why wouldn't you? It's
"Give me all you got..." ♪ fun.
42 54
00:01:35,379 --> 00:01:36,344 00:01:58,836 --> 00:02:01,203
Is that not enough? It feels good to get away
with something, doesn't it?
43
00:01:36,380 --> 00:01:38,447 55
Take more. It's only money. 00:02:01,238 --> 00:02:03,305
Yeah.
44
00:01:38,482 --> 00:01:39,948 56
It's against 00:02:04,908 --> 00:02:07,042
the law, sir. Uh, it's okay,
Officer.
45
57
00:02:07,077 --> 00:02:08,477
People like to tell me things,
58
00:02:08,512 --> 00:02:12,581
those deep, dark, naughty little
desires that are on their mind.
59
00:02:12,616 --> 00:02:14,282
It's a gift.
60
00:02:14,318 --> 00:02:16,184
Must be something
about this face.
61
00:02:17,354 --> 00:02:18,854
You're tempted
to keep that, aren't you?
62
00:02:18,889 --> 00:02:21,156
Well, what are you
waiting for, permission?
63
00:02:21,191 --> 00:02:23,225
Go on, take it, buy yourself
something pretty.
64
00:02:23,260 --> 00:02:24,359
You deserve it.
65
00:02:26,163 --> 00:02:28,864
But if you don't mind,
I really must be on my way.
66
00:02:28,899 --> 00:02:30,532
Oh, yeah, of course.
67
00:02:30,567 --> 00:02:32,934
Hey, have a nice evening.
68
00:02:32,970 --> 00:02:35,770
You, too, Officer.
69
00:02:35,806 --> 00:02:37,339
- You, too.
- (music volume increases)
70
00:02:37,374 --> 00:02:40,001
♪ "You can have my cash, but
first you know I got to ask ♪
71
00:02:40,036 --> 00:02:42,932
♪ What made you want to live
this kind of life?" ♪
72
00:02:43,038 --> 00:02:46,448
♪ He said there ain't no rest
for the wicked ♪
73
00:02:46,483 --> 00:02:49,037
♪ Money don't grow on trees ♪
74
00:02:49,141 --> 00:02:52,274
♪ I got bills to pay,
I got mouths to feed ♪
75
00:02:52,309 --> 00:02:55,306
♪ There ain't nothing
in this world for free ♪
76
00:02:55,341 --> 00:02:58,554
♪ Oh, no, there ain't
no rest for the wicked ♪
77
00:02:58,589 --> 00:03:01,443
- ♪ Until we close our eyes for
good. ♪
- Hey, boss.
78
00:03:01,478 --> 00:03:04,546
("Fame" by David Bowie
playing)
79
00:03:10,741 --> 00:03:16,144
♪ Fame makes a man
take things over ♪
80
00:03:16,179 --> 00:03:21,490
♪ Fame lets him loose,
hard to swallow ♪
81
00:03:21,525 --> 00:03:26,537
♪ Fame puts you there
where things are hollow ♪
82
00:03:26,572 --> 00:03:29,157
♪ Fame... ♪
83
00:03:29,192 --> 00:03:31,026
Where have you been?
84
00:03:31,061 --> 00:03:32,610
Oh, holed up
in a château,
85
00:03:32,645 --> 00:03:34,930
copulating with a young
woman named Faith.
86
00:03:34,965 --> 00:03:36,298
It's ironic, isn't it?
87
00:03:36,333 --> 00:03:39,601
Thank you, Patrick.
You can go.
88
00:03:42,406 --> 00:03:43,705
(chuckles)
89
00:03:43,740 --> 00:03:45,240
You little devil.
90
00:03:45,275 --> 00:03:46,274
What?
91
00:03:46,310 --> 00:03:48,043
I dropped something.
92
00:03:48,078 --> 00:03:49,678
Well, I'm sure you did.
93
00:03:49,713 --> 00:03:52,714
Now, Lucifer,
I am a big fan of sex.
94
00:03:52,749 --> 00:03:53,782
Obviously.
95
00:03:53,817 --> 00:03:56,685
But I didn't leave Hell
to be a bartender.
96
00:03:56,720 --> 00:03:58,687
Shouldn't you be spending
your valuable time
97
00:03:58,722 --> 00:04:01,957
doing something
more significant?
98
00:04:01,992 --> 00:04:03,172
(scoffs)
99
00:04:03,207 --> 00:04:05,927
You're the lord of Hell,
for crying out loud.
100
00:04:05,963 --> 00:04:08,296
I am retired, Maze.
I've got nothing but time.
101
00:04:08,332 --> 00:04:09,731
Thank you.
102
00:04:13,337 --> 00:04:15,470
(music plays in slow motion)
103
00:04:18,909 --> 00:04:22,377
(echoing):
♪<i> Fame, fame...</i> ♪
104
00:04:22,412 --> 00:04:24,980
I think you have a visitor.

105
00:04:31,321 --> 00:04:32,111
(sighs)
106
00:04:32,146 --> 00:04:35,097
Amenadiel,
how's it hanging, big guy?
107
00:04:35,132 --> 00:04:36,169
Huh?
108
00:04:36,482 --> 00:04:39,894
Your return to the Underworld
has been requested.
109
00:04:39,930 --> 00:04:41,731
Oh, right, okay.
110
00:04:41,766 --> 00:04:43,483
Let me just, uh,
check my calendar.
111
00:04:43,518 --> 00:04:45,100
Yeah, here it is.
112
00:04:45,135 --> 00:04:47,068
Uh, the seventh of never
113
00:04:47,104 --> 00:04:49,004
through to the 15th
of ain't-gonna-happen.
114
00:04:49,039 --> 00:04:50,572
How does that work
for you guys?
115
00:04:50,607 --> 00:04:51,914
(sighs)
116
00:04:51,949 --> 00:04:54,574
Look, remind Dad
that I quit Hell
117
00:04:54,609 --> 00:04:57,112 129
because I was sick and tired 00:05:19,936 --> 00:05:21,036
of playing a part in his play. What exactly do
you think happens
118
00:04:57,147 --> 00:04:58,313 130
I'm gonna warn you 00:05:21,071 --> 00:05:22,137
when the Devil
119 leaves Hell?
00:04:58,348 --> 00:04:59,881
against disrespecting 131
our father, Lucifer. 00:05:22,172 --> 00:05:23,963
(scoffs)
120
00:04:59,916 --> 00:05:01,583 132
Yeah, well, our father's 00:05:23,998 --> 00:05:26,007
been disrespecting me All of those demons,
121 133
00:05:01,618 --> 00:05:02,784 00:05:26,043 --> 00:05:29,210
since the beginning of time, all of those tormented
and tortured souls,
122
00:05:02,819 --> 00:05:05,320 134
so pot-kettle, don't you think? 00:05:29,246 --> 00:05:30,578
where do you think they go?
123
00:05:05,355 --> 00:05:09,090 135
You are a mockery of 00:05:30,614 --> 00:05:33,982
everything divine. Don't know, don't care.
124 136
00:05:09,126 --> 00:05:10,925 00:05:34,017 --> 00:05:35,216
Thank you. Not my problem, brother.
125 137
00:05:10,961 --> 00:05:13,928 00:05:35,252 --> 00:05:38,353
Thank you, but lately I've been So consider the position
doing a fair amount of officially open.
thinking.
138
126 00:05:39,623 --> 00:05:41,923
00:05:13,964 --> 00:05:15,930 And you, my feathered friend,
Now, do you think can go to Hell.
I'm the Devil
139
127 00:05:43,460 --> 00:05:44,726
00:05:15,966 --> 00:05:17,232 (chuckles)
because I'm inherently evil,
140
128 00:05:44,761 --> 00:05:47,328
00:05:17,267 --> 00:05:19,901 Yeah, try it.
just because dear old Dad
decided I was? 141
00:05:47,364 --> 00:05:49,764
You think Father's upset now.
142
00:05:49,800 --> 00:05:51,599
(chuckles)
143
00:05:54,571 --> 00:05:59,007
You know, he will not be
merciful for much longer.
144
00:06:05,649 --> 00:06:07,749
(music resumes at normal
tempo)
145
00:06:18,628 --> 00:06:20,261
Hey, you.
146
00:06:20,297 --> 00:06:21,763
Remember me?
147
00:06:21,798 --> 00:06:24,332
- You're famous, aren't you?
- GIRL: Delilah!
148
00:06:24,367 --> 00:06:26,933
- LUCIFER: Delilah, isn't it?
- GIRL: I love you, Delilah!
149
00:06:27,471 --> 00:06:28,603
Can I have your autograph?
150
00:06:28,638 --> 00:06:31,306
(chuckles)
If I can have a drink.
151
00:06:31,341 --> 00:06:33,775
LUCIFER: So are you gonna
tell
me why you really came back?
152
00:06:33,810 --> 00:06:35,910
There's something
I need to know.
153
00:06:35,946 --> 00:06:37,412
And what's that?
154
00:06:37,447 --> 00:06:41,449
Did I... sell my soul
to the Devil?
155
00:06:41,485 --> 00:06:44,018
(chuckles)
Well, that would imply
156
00:06:44,054 --> 00:06:44,986
the Devil's actually
interested in your soul.
157
00:06:45,021 --> 00:06:48,356
Look, all I did
was introduce you
158
00:06:48,391 --> 00:06:50,792
to a few key people who
owed me favors, that's all.
159
00:06:50,827 --> 00:06:54,028
I mean, with all the good
came a hell of a lot of bad.
160
00:06:54,064 --> 00:06:56,631
Oh, right, so the Devil
made you do it, did he?
161
00:06:56,666 --> 00:06:59,000
The alcohol and the drugs,
the topless selfies.
162
00:06:59,035 --> 00:07:00,769
The choices are
on you, my dear.
163
00:07:00,804 --> 00:07:02,737
I mean, Jimmy Barnes?
164
00:07:02,773 --> 00:07:05,406
I can't believe you almost
married that sweaty little imp.
165
00:07:05,442 --> 00:07:06,407
He produced my album.
166
00:07:06,443 --> 00:07:07,809
You introduced me to him.
167
00:07:07,844 --> 00:07:09,878
I suggested you work with him,
not sleep with him.
168
00:07:09,913 --> 00:07:11,412
Well, I got confused.
169
00:07:11,448 --> 00:07:12,580
And then you left him
at the altar.
170
00:07:12,616 --> 00:07:13,815
Yeah, that was rude of me.
171
00:07:13,850 --> 00:07:15,150
No, actually, I quite
enjoyed that bit.
172
00:07:15,185 --> 00:07:16,451
(both chuckle)
173
00:07:16,486 --> 00:07:18,686
You know, he trapped me
in the bathroom at the
Grammys,
174
00:07:18,722 --> 00:07:20,054
said he wanted
to get back together.
175
00:07:20,090 --> 00:07:21,122
Then I hear he's marrying
176
00:07:21,158 --> 00:07:22,690
a supermodel...
this weekend.
177
00:07:22,726 --> 00:07:24,359
And I'm jealous.
178
00:07:24,394 --> 00:07:26,928
Oh, God, I'm a mess.
179
00:07:26,963 --> 00:07:29,097
God has nothing to
do with your mess.
180
00:07:29,132 --> 00:07:30,832
Look...
181
00:07:32,102 --> 00:07:35,069
You didn't sell
your soul, Delilah.
182
00:07:35,105 --> 00:07:36,504
You do owe me a favor.
183
00:07:36,540 --> 00:07:38,206
I'm scared.
184
00:07:38,241 --> 00:07:39,641
You should be.
185
00:07:39,676 --> 00:07:40,975
Because what
I'm about to ask you
186
00:07:41,011 --> 00:07:42,544
is gonna be
quite difficult for you.
187
00:07:43,947 --> 00:07:45,847
Pull yourself together.
188
00:07:45,882 --> 00:07:48,683
That's it, that's
all I'm asking.
201
189 00:08:56,152 --> 00:08:58,275
00:07:48,718 --> 00:07:51,820 Oh, no, no, no, not yet.
'Cause you're wasting
your talent, your life. 202
00:08:58,310 --> 00:08:59,888
190 (gasps)
00:07:51,855 --> 00:07:54,222
Hmm? 203
00:08:59,923 --> 00:09:01,155
191 What did you do?
00:07:56,293 --> 00:07:58,860
You're human, darling. 204
(chuckles) 00:09:01,191 --> 00:09:02,690
I'm sorry.
192
00:07:58,895 --> 00:08:01,095 205
I'm gonna do 00:09:02,726 --> 00:09:04,692
as you asked. "Sorry."
193 206
00:08:01,131 --> 00:08:03,498 00:09:04,728 --> 00:09:06,794
I'm gonna get Why did you end her life?
it together.
207
194 00:09:06,830 --> 00:09:08,830
00:08:03,533 --> 00:08:05,800 Why else?
Promise, Lucifer.
208
195 00:09:08,865 --> 00:09:10,265
00:08:05,836 --> 00:08:07,735 Money.
Look, it's not about me.
209
196 00:09:10,300 --> 00:09:12,233
00:08:07,771 --> 00:08:11,206 "Money."
What happens now,
that's up to you. 210
00:09:12,269 --> 00:09:15,603
197 Oh, it's times like this
00:08:11,241 --> 00:08:13,575 I wish I was still in Hell.
- Okay?
- Yeah. 211
00:09:15,639 --> 00:09:18,907
198 All the fun activities
00:08:13,610 --> 00:08:15,043 I'd have planned for you.
Come here, you.
212
199 00:09:18,942 --> 00:09:21,476
00:08:17,948 --> 00:08:19,247 Hey, man, I just
(tires squealing) pulled the trigger.
200 213
00:08:33,997 --> 00:08:36,097 00:09:24,180 --> 00:09:26,414
(gasps) (gasps, exhales weakly)
214
00:09:30,654 --> 00:09:32,587
(siren wails in distance)
215
00:09:43,400 --> 00:09:45,266
(helicopter whirring)
216
00:09:45,302 --> 00:09:47,936
♪♪
217
00:09:52,309 --> 00:09:54,375
(indistinct chatter)
218
00:09:54,411 --> 00:09:57,412
(siren whooping)
219
00:10:04,554 --> 00:10:06,821
(camera beeping, clicking)
220
00:10:06,856 --> 00:10:09,757
(sirens whooping)
221
00:10:12,295 --> 00:10:14,495
MAN: Want to hear
what I've got so far?
222
00:10:16,766 --> 00:10:18,833
Lieutenant said
this is my case.
223
00:10:18,868 --> 00:10:21,703
Yeah, Chloe,
it is your case,
224
00:10:21,738 --> 00:10:23,338
but try not to take
too much time.
225
00:10:23,373 --> 00:10:24,572
It's an easy one.
226
00:10:24,607 --> 00:10:25,773
That's our bad guy.
227
00:10:25,809 --> 00:10:28,977
Eddie Deacon, he's
a low-level drug dealer.
228
00:10:29,012 --> 00:10:30,411
I found these in his pocket,
229
00:10:30,447 --> 00:10:32,447
and I found this
in Delilah's purse,
230
00:10:32,482 --> 00:10:33,781
so obviously drug-related.
231
00:10:33,817 --> 00:10:35,783
She probably owed him
a bunch of cash or something.
232
00:10:35,819 --> 00:10:38,419
She's not exactly selling out
stadiums these days.
233
00:10:38,455 --> 00:10:39,587
How do you know
he's low-level?
234
00:10:39,622 --> 00:10:41,689
Look at his car.
235
00:10:41,725 --> 00:10:43,391
Did you look at his watch?
236
00:10:43,426 --> 00:10:44,425
That thing ain't cheap.
237
00:10:44,461 --> 00:10:46,461
MAN:
It's probably fake.
238
00:10:46,496 --> 00:10:48,363
Look...
239
00:10:48,398 --> 00:10:51,466
there's gonna be a lot of
attention on this one, Chloe.
240
00:10:51,501 --> 00:10:53,434
I wouldn't pick at it too hard.
241
00:10:53,470 --> 00:10:55,069
Not after Palmetto Street.
242
00:10:55,105 --> 00:10:58,206
I asked for this case
because of Palmetto Street,
Dan.
243
00:10:59,364 --> 00:11:02,377
So, anyway, any witnesses?
244
00:11:02,412 --> 00:11:05,179
LUCIFER:
Lucifer Morningstar.
245
00:11:05,215 --> 00:11:07,849
"Lucifer
Morningstar"?
246
00:11:07,884 --> 00:11:10,885
Is that, uh,
a stage name or something?
247
00:11:10,920 --> 00:11:12,754
(chuckles)
God-given, I'm afraid.
248
00:11:12,789 --> 00:11:13,988
You know,
249
00:11:14,024 --> 00:11:15,056
you look familiar.
250
00:11:15,091 --> 00:11:16,324
Have we met before?
251
00:11:16,359 --> 00:11:19,060
Yeah, five minutes ago.
252
00:11:19,095 --> 00:11:20,294
And I'm asking the questions.
253
00:11:20,330 --> 00:11:23,031
Talk to me about your
relationship with the victim.
254
00:11:23,066 --> 00:11:25,466
Well, she used to work here
a few years back.
255
00:11:25,502 --> 00:11:27,969
I would occasionally
accompany her while she sang.
256
00:11:28,004 --> 00:11:31,406
Then she became a big star and
someone decided to end her
life.
257
00:11:31,441 --> 00:11:32,673
Do you know the shooter?
258
00:11:32,709 --> 00:11:34,876
No, but we did have
an interesting little chat
259
00:11:34,911 --> 00:11:36,911
just before he kicked off.
260
00:11:36,946 --> 00:11:39,047
I asked him why he did it.
261
00:11:39,082 --> 00:11:41,099
Huh, like to play cop, do you?
262
00:11:41,134 --> 00:11:41,816
(laughs)
263
00:11:41,851 --> 00:11:44,018
No, I just like to play
in general, Detective.
264
00:11:44,054 --> 00:11:45,787
What about you?
265
00:11:45,822 --> 00:11:48,856
So, you had a conversation
with a dead guy?
266
00:11:48,892 --> 00:11:50,158
Oh, no, he wasn't quite dead.
267
00:11:50,193 --> 00:11:51,934
His soul hadn't
crossed the threshold.
268
00:11:52,796 --> 00:11:55,129
I see.
Did he tell you why he did it?
269
00:11:55,165 --> 00:11:56,998
Why, money, of course.
270
00:11:57,033 --> 00:11:59,267
You humans, you love your
money,
don't you?
271
00:11:59,302 --> 00:12:00,902
Yes.
272
00:12:00,937 --> 00:12:02,270
Yes, we do.
273
00:12:02,305 --> 00:12:04,405
And, uh, what planet
are you from... London?
274
00:12:04,441 --> 00:12:05,640
(laughs)
275
00:12:05,675 --> 00:12:08,176
Yes, he also said,
"I just pulled the trigger."
276
00:12:08,211 --> 00:12:10,578
Now, don't you think
that's interesting?
277
00:12:10,613 --> 00:12:12,680
Delilah was shot to death
by a drug dealer.
278
00:12:12,715 --> 00:12:15,683
And looks like Delilah herself
kept the guy pretty busy.
279
00:12:15,718 --> 00:12:18,252
You know, it's sad, it's ugly,
but it's not rocket science.
280
00:12:18,288 --> 00:12:20,121
Something probably
went south between them.
281
00:12:20,156 --> 00:12:21,089
She gets riddled with bullets,
282
00:12:21,124 --> 00:12:23,391
and a nice little act of God
takes him out.
283
00:12:23,426 --> 00:12:25,460
You know, it doesn't work
like that, Detective.
284
00:12:25,495 --> 00:12:27,361
It's quite a neatly wrapped
little present
285
00:12:27,397 --> 00:12:28,896
for the LAPD, don't you think?
286
00:12:28,932 --> 00:12:30,698
Why don't you tell me
something?
287
00:12:30,733 --> 00:12:32,166
How does she end up
288
00:12:32,202 --> 00:12:33,434
dying in a hailstorm of bullets,
289
00:12:33,470 --> 00:12:35,203
and you get away
without a scratch?
290
00:12:35,238 --> 00:12:36,971
I think that's interesting.
Don't you?
291
00:12:37,006 --> 00:12:38,272
The benefits of immortality.
292
00:12:38,308 --> 00:12:39,407
"Immortality."
293
00:12:39,442 --> 00:12:40,441
Mm, of course, uh,
294
00:12:40,477 --> 00:12:42,376
you spell that
with one or two M's?
295
00:12:42,412 --> 00:12:43,711
I always forget.
296
00:12:43,746 --> 00:12:46,280
What will your corrupt little
organization do about this?
297
00:12:46,316 --> 00:12:48,483
Excuse me?
298
00:12:48,518 --> 00:12:49,984
Will you find
the person responsible?
299
00:12:50,019 --> 00:12:51,085
Will they be punished?
300
00:12:51,121 --> 00:12:52,653
Will this be a priority for you?
301
00:12:52,689 --> 00:12:54,322
Because it is for me.
302
00:12:54,357 --> 00:12:55,957
You got some balls
on you, pal.
303
00:12:55,992 --> 00:12:58,292
Oh, thank you very much, but
they're really quite average.
304
00:12:58,328 --> 00:12:59,594
I bet.
305
00:12:59,629 --> 00:13:01,429
Now, are you sure
that we haven't met?
306
00:13:01,464 --> 00:13:03,698
I could swear
I've seen you naked.
307
00:13:03,733 --> 00:13:04,632
Have we had sex?
308
00:13:06,136 --> 00:13:07,935
We're done here.
309
00:13:07,971 --> 00:13:08,836
Uh, Detective, wait!
310
00:13:08,872 --> 00:13:10,304
Someone out there
needs to be punished.
311
00:13:10,340 --> 00:13:12,840
- We're not done.
- Yeah. Yeah, we are.
312
00:13:19,968 --> 00:13:22,835
♪♪
313
00:13:25,953 --> 00:13:29,609
♪ Once in the evening ♪
314
00:13:29,724 --> 00:13:31,649
♪ There was harmony... ♪
315
00:13:31,684 --> 00:13:34,633
If there is anyone here that
would oppose this holy union,
316
00:13:34,669 --> 00:13:36,368
speak now or forever
hold your peace.
317
00:13:36,404 --> 00:13:38,470
Excuse me. Yeah,
I have a problem.
318
00:13:38,506 --> 00:13:40,839
Has-has anyone else noticed
319
00:13:40,875 --> 00:13:42,341
how incredibly, jaw-
droppingly,
320
00:13:42,376 --> 00:13:44,710
loin-stirringly beautiful
this young woman is
321
00:13:44,745 --> 00:13:46,412
and how short, sweaty
322
00:13:46,447 --> 00:13:48,781
and altogether fugly
this homunculus is?
323
00:13:48,816 --> 00:13:50,849
I mean, what is this...
a wedding or a kidnapping?
324
00:13:50,885 --> 00:13:52,217
Do you know what I mean?
325
00:13:53,988 --> 00:13:55,721
Yeah, good luck
with that, Padre.
326
00:13:55,756 --> 00:13:57,289
Ooh, why you're at it,
say hey for me.
327
00:13:57,325 --> 00:13:59,491
It's been a while.
(chuckles)
328
00:13:59,527 --> 00:14:01,060
Jimmy Barnes!
329
00:14:01,095 --> 00:14:01,994
Remember me?
330
00:14:02,029 --> 00:14:03,595
Hey, man,
this is a private event.
331
00:14:03,631 --> 00:14:04,863
How did you get in here?
332
00:14:04,899 --> 00:14:06,065
Yeah, and quite a lavish one
333
00:14:06,100 --> 00:14:08,567
for a record producer
on the outs.
334
00:14:08,602 --> 00:14:10,169
You do remember me, don't
you?
335
00:14:10,204 --> 00:14:11,704
Yeah, yeah, I remember you.
336
00:14:11,739 --> 00:14:14,173
Now, what do you want?
I'm a little busy.
337
00:14:14,208 --> 00:14:16,442
Well, I can't believe
that you're getting married
338
00:14:16,477 --> 00:14:19,111
the day after your ex-fiancée
and once brightest star
339
00:14:19,146 --> 00:14:20,879
was murdered in cold blood.
340
00:14:20,915 --> 00:14:22,381
JIMMY: Yeah,
that's very sad.
341
00:14:22,416 --> 00:14:24,483
But you know what,
she ruined my wedding once.
342
00:14:24,518 --> 00:14:26,185
I'm not about to let
that happen again.
343
00:14:26,220 --> 00:14:27,853
It's hard to be rejected,
isn't it, Jimmy?
344
00:14:27,888 --> 00:14:29,121
Twice.
(chuckles)
345
00:14:29,156 --> 00:14:30,289
JIMMY:
What?
346
00:14:30,324 --> 00:14:31,924
Well, you tried
to get her back recently.
347
00:14:31,959 --> 00:14:33,726
I mean, I'd kill someone
if they denied me once.
348
00:14:33,761 --> 00:14:35,027
Not that that's possible.
349
00:14:35,062 --> 00:14:37,830
So, come on,
what do you say, Jimbo, huh?
350
00:14:37,865 --> 00:14:39,398
Did you want her dead?
351
00:14:39,433 --> 00:14:42,234
Look, stop looking at me
that way, you freak.
352
00:14:42,269 --> 00:14:44,303
I am not playing that
mind game with you.
353
00:14:44,338 --> 00:14:45,471
No, of course not!
354
00:14:45,506 --> 00:14:46,872
I was furious and
I was humiliated
355
00:14:46,907 --> 00:14:49,174
when she dumped me,
but I think, I-I think
356
00:14:49,210 --> 00:14:50,876
I've rebounded pretty well.
357
00:14:50,911 --> 00:14:53,045
Yes, clearly.
Respect.
358
00:14:53,080 --> 00:14:54,947
JIMMY: Should go
play your mind games
359
00:14:54,982 --> 00:14:56,081
with 2Vile.
360
00:14:56,117 --> 00:14:57,750
- The rapper?
- Come on.
361
00:14:57,785 --> 00:14:59,551
Delilah dumped me
for that lunatic.
362
00:14:59,587 --> 00:15:00,853
They were always fighting.
363
00:15:00,888 --> 00:15:02,187
He slapped her
around a bunch.
364
00:15:02,223 --> 00:15:04,723
He surrounds himself with
gun-toting morons 24-7.
365
00:15:04,759 --> 00:15:06,692
He is the real deal.
366
00:15:06,727 --> 00:15:08,560
Right.
367
00:15:09,497 --> 00:15:10,763
Sorry, how rude.
368
00:15:10,798 --> 00:15:12,664
Allow me to introduce myself.
369
00:15:12,700 --> 00:15:15,534
Lucifer Morningstar.
370
00:15:15,569 --> 00:15:18,637
I really don't want to
have sex with him tonight.
371
00:15:18,672 --> 00:15:20,606
(congregation gasping)
372
00:15:20,641 --> 00:15:22,441
Oh, my...
373
00:15:22,476 --> 00:15:23,575
I'm sorry, I...
374
00:15:23,611 --> 00:15:25,044
I can't believe
I just said that.
375
00:15:25,079 --> 00:15:26,879
LUCIFER: Oh, no, no, no.
Let's be honest here.
376
00:15:26,914 --> 00:15:28,881
I mean, you're not
marrying this human stain
377
00:15:28,916 --> 00:15:30,916
'cause you're actually
in love with him, right?
378
00:15:30,951 --> 00:15:32,284
- God no.
- No.
379
00:15:32,319 --> 00:15:33,419
Right.
380
00:15:33,454 --> 00:15:34,887
(claps)
Well, I should get going.
381
00:15:34,922 --> 00:15:36,221
Ooh!
382
00:15:36,257 --> 00:15:38,590
Best of luck
with you crazy kids, all right?
383
00:15:38,626 --> 00:15:40,667
("Devil's Haircut" by Beck
playing)
384
00:15:40,702 --> 00:15:44,337
♪ Something's wrong
'cause my mind is fading ♪
385
00:15:44,465 --> 00:15:48,434
♪ And everywhere I look,
there's a dead end waiting ♪
386
00:15:48,569 --> 00:15:52,371
♪ Temperature's dropping
at the rotten oasis ♪
387
00:15:52,406 --> 00:15:53,919
- (doorbell rings)
- ♪ Stealing kisses from
388
00:15:53,954 --> 00:15:56,462
the leperous faces... ♪
389
00:15:56,844 --> 00:15:58,310
Good afternoon, sir.
390
00:15:58,345 --> 00:15:59,812
Yes, I'm here to see the man
391
00:15:59,847 --> 00:16:01,513
sadly known as 2Vile...
is he in?
392
00:16:01,549 --> 00:16:03,549
I'm sorry, sir.
He's unavailable.
393
00:16:03,584 --> 00:16:05,084
He's in mourning, I'm afraid.
394
00:16:05,119 --> 00:16:08,000
Right.
I have narcotics for him.
395
00:16:08,355 --> 00:16:10,355
Right this way, sir.
396
00:16:10,391 --> 00:16:13,602
♪ Hold up, it's the game,
it chose us ♪
397
00:16:13,637 --> 00:16:16,801
♪ Pioneers started on my
corner
like the Cold Crush ♪
398
00:16:16,836 --> 00:16:19,965
♪ Had smokers lining up
the block like a gold rush... ♪
399
00:16:20,000 --> 00:16:22,234
Here you go, baby.
400
00:16:22,269 --> 00:16:25,571
Can someone please turn down
this god-awful music!
401
00:16:25,606 --> 00:16:26,738
Hello, disc jockey!
402
00:16:26,774 --> 00:16:28,674
Thank you.
403
00:16:28,709 --> 00:16:30,242
Who's this clown?
404
00:16:30,277 --> 00:16:32,344
He has narcotics
for you, sir.
405
00:16:32,379 --> 00:16:35,514
My name is Lucifer
Morningstar.
406
00:16:35,549 --> 00:16:37,616
"Lucifer Morningstar"?
407
00:16:37,651 --> 00:16:39,084
(laughs)
408
00:16:39,120 --> 00:16:40,919
Now, that's a good hip-hop
name.
409
00:16:40,955 --> 00:16:42,221
Well, that offends me.
410
00:16:42,256 --> 00:16:45,424
What, you don't like hip-hop?
411
00:16:45,459 --> 00:16:46,925
No, I most certainly do not.
412
00:16:46,961 --> 00:16:49,728
Well, that offends me.
413
00:16:51,732 --> 00:16:54,166
You have a problem
with black people?
414
00:16:54,201 --> 00:16:55,367
No, not in the slightest.
415
00:16:55,402 --> 00:16:56,468
I just hate your music.
416
00:16:56,504 --> 00:16:58,203
- (laughs)
- And when I say
417
00:16:58,239 --> 00:16:59,705
"your music,"
I mean<i> your</i> music.
418
00:16:59,740 --> 00:17:01,440
Not the music made
by other black people.
419
00:17:01,475 --> 00:17:04,476
Without the blues, there'd be
no devil's music whatsoever.
420
00:17:04,512 --> 00:17:06,478
There are, of course,
many giants in the field.
421
00:17:06,514 --> 00:17:08,046
Just not you...
am I being clear?
422
00:17:08,082 --> 00:17:09,615
(chuckles) Yeah, you're
being clear all right.
423
00:17:09,650 --> 00:17:11,717
- Good.
- If you're looking
424
00:17:11,752 --> 00:17:13,152
to get yourself killed.
425
00:17:13,187 --> 00:17:16,622
(guns clicking)
426
00:17:16,657 --> 00:17:18,824
Yes, well, don't waste
your munitions... I'm immortal.
427
00:17:19,693 --> 00:17:21,193
Tell me about Delilah.
428
00:17:21,228 --> 00:17:23,028
You ain't seen the news?
429
00:17:23,063 --> 00:17:24,830
Bitch is dead.
430
00:17:26,634 --> 00:17:28,233
(others gasping, murmuring)
431
00:17:28,269 --> 00:17:30,269
(gunshots)
432
00:17:31,972 --> 00:17:33,338
Don't shoot, you idiot!
433
00:17:34,575 --> 00:17:36,542
- I didn't kill her.
- Why should I believe you?
434
00:17:36,577 --> 00:17:38,243
Because I loved the girl.
435
00:17:38,279 --> 00:17:40,279
People sometimes kill people
with whom they're in love.
436
00:17:40,314 --> 00:17:42,181
The heart's mysterious.
437
00:17:42,216 --> 00:17:43,949
- So I'm told.
- Ain't like that.
438
00:17:43,984 --> 00:17:46,318
Girl made me crazy!
439
00:17:46,353 --> 00:17:47,553
Women can do that.
440
00:17:47,588 --> 00:17:49,188
Doesn't mean you should
beat them up, does it?
441
00:17:49,223 --> 00:17:50,689
We worked that out
a long time ago.
442
00:17:50,724 --> 00:17:53,923
I hit her once 'cause I found
out she was cheating on me.
443
00:18:00,634 --> 00:18:01,800
All right.
444
00:18:01,835 --> 00:18:03,101
With whom?
445
00:18:03,137 --> 00:18:04,436
I don't know.
I don't know.
446
00:18:04,471 --> 00:18:05,837
She wouldn't tell me,
all right?
447
00:18:05,873 --> 00:18:07,139
Said it was a big secret,
448
00:18:07,174 --> 00:18:09,608
some-some, uh, rich married
guy.
449
00:18:09,643 --> 00:18:11,510
Well, does she have a friend
that she might've confided in?
450
00:18:11,545 --> 00:18:12,844
She didn't trust no one, man.
451
00:18:12,880 --> 00:18:14,413
Uh, uh, her therapist.
452
00:18:14,448 --> 00:18:16,215
Her therapist is probably
the only one who knows.
453
00:18:16,250 --> 00:18:18,283
She-she's some, uh, uh,
Dr. Linda
454
00:18:18,319 --> 00:18:19,418
in-in Beverly Hills.
455
00:18:19,453 --> 00:18:21,687
Saw her, like,
five times a week on the DL.
456
00:18:21,722 --> 00:18:23,589
Used a fake name, everything.
457
00:18:23,624 --> 00:18:25,791
Oh, did she now?
458
00:18:25,826 --> 00:18:28,527
Well, thank you for your time.
459
00:18:28,562 --> 00:18:31,063
CHLOE:
LAPD! Guns down.
460
00:18:31,098 --> 00:18:32,197
On the floor, down!
461
00:18:32,233 --> 00:18:33,665
You two against the wall.
462
00:18:33,701 --> 00:18:36,134
Detective, welcome to the
party.
463
00:18:36,170 --> 00:18:37,736
Grab the bucket,
collect the guns.
464
00:18:37,771 --> 00:18:39,638
Now!
465
00:18:39,673 --> 00:18:41,573
You sly dog,
you did listen to me.
466
00:18:41,609 --> 00:18:42,574
I ran the dead guy's cell phone.
467
00:18:42,610 --> 00:18:43,842
2Vile was the last person
he called.
468
00:18:43,877 --> 00:18:45,811
Come on, man.
469
00:18:45,846 --> 00:18:47,980
What I find
highly interesting
470
00:18:48,015 --> 00:18:49,915
is how you made the
connection on your own.
471
00:18:49,950 --> 00:18:51,617
Well, I've been busy, my dear.
472
00:18:52,519 --> 00:18:53,719
Talk to me about Delilah.
473
00:18:53,754 --> 00:18:55,787
We've been over that one,
Detective.
474
00:18:55,823 --> 00:18:57,322
And why you called
the shooter
475
00:18:57,358 --> 00:18:58,790
two days before
she was murdered.
476
00:18:58,826 --> 00:19:01,560
Fine. Yeah, I called Eddie
'cause he hooks me up
sometimes.
477
00:19:01,595 --> 00:19:02,961
He met Delilah through me.
478
00:19:02,997 --> 00:19:05,197
Whatever.
Don't make me a killer, do it?
479
00:19:05,232 --> 00:19:07,799
No, but it does
make you a suspect.
480
00:19:07,835 --> 00:19:10,168
What, so everyone on Eddie's
phone's a suspect?
481
00:19:10,204 --> 00:19:11,403
Are you joking?
482
00:19:11,438 --> 00:19:13,905
You gonna drag
half of Hollywood downtown.
483
00:19:13,941 --> 00:19:15,674
Be like the Oscars or
something.
484
00:19:15,709 --> 00:19:18,076
Wait, aren't you
that chick from that film?
485
00:19:18,112 --> 00:19:19,611
Hmm, what's this?
What film?
486
00:19:19,647 --> 00:19:20,748
You used to be an actress
or something, right?
487
00:19:20,783 --> 00:19:21,553
Yeah.
488
00:19:21,588 --> 00:19:23,415
That teen movie...
I forget what it's called.
489
00:19:23,450 --> 00:19:26,118
Of course.
<i>Hot Tub High School.</i>
490
00:19:26,153 --> 00:19:27,419
That's where
I know you from.
491
00:19:27,454 --> 00:19:29,021
Let's just stick to my
questions, shall we? So...
492
00:19:29,056 --> 00:19:30,255
The one with
the famous nude scene,
493
00:19:30,291 --> 00:19:31,456
coming out of the hot tub!
494
00:19:31,492 --> 00:19:33,358
It was, like, a complete
<i>Fast Times</i> rip-off.
495
00:19:33,394 --> 00:19:34,926
She was, like,
the new Phoebe Cates!
496
00:19:34,962 --> 00:19:36,395
Thanks, I appreciate that.
497
00:19:36,430 --> 00:19:37,429
That was quite a nude scene.
498
00:19:37,464 --> 00:19:38,630
I have far too many bullets
499
00:19:38,666 --> 00:19:40,032
in this thing
for you to still be talking.
500
00:19:40,067 --> 00:19:41,933
You, we need to have a
conversation right now.
501
00:19:41,969 --> 00:19:43,402
LUCIFER: That's a waste
of time, Detective.
502
00:19:43,437 --> 00:19:45,304
I've just threatened his life...
he's not our guy.

503
00:19:45,339 --> 00:19:46,605
He would've said, trust me.
504
00:19:46,640 --> 00:19:48,774
You did what?
505
00:19:48,809 --> 00:19:50,909
Yeah, isn't that illegal?
506
00:19:50,944 --> 00:19:52,678
Uh, little bit, yeah.
507
00:19:52,713 --> 00:19:54,046
You stay put.
508
00:19:54,081 --> 00:19:55,247
You, you're coming with me.
509
00:19:55,282 --> 00:19:56,848
What? Ooh.
(laughs)
510
00:19:56,884 --> 00:19:58,583
With pleasure.
511
00:19:58,619 --> 00:20:00,452
At least, perhaps now,
you'll listen to me.
512
00:20:00,487 --> 00:20:02,788
Although, I'm not quite sure
why I'm being arrested.
513
00:20:02,823 --> 00:20:05,223
Because you're interfering
with a police investigation.
514
00:20:05,259 --> 00:20:07,693
You've broken I can't
even count how many laws.
515
00:20:07,728 --> 00:20:08,860
And you pissed me off.
516
00:20:08,896 --> 00:20:10,395
Right, I can get
out of these, you know?
517
00:20:10,431 --> 00:20:11,663
Funny.
518
00:20:13,100 --> 00:20:15,200
How'd you do that?
519
00:20:15,235 --> 00:20:16,501
(sighs)
Come on, we're wasting time.
520
00:20:16,537 --> 00:20:18,303
We should be out there
solving a homicide
521
00:20:18,339 --> 00:20:20,205
and punishing those
responsible.
522
00:20:20,240 --> 00:20:21,606
"We"?
You're insane.
523
00:20:21,642 --> 00:20:23,575
I'm taking you in.
Get in the car.
524
00:20:23,610 --> 00:20:24,743
No, that's boring.
525
00:20:24,778 --> 00:20:25,911
Not to mention pointless.
526
00:20:25,946 --> 00:20:28,113
Come on, I'll help you.
It'll be fun.
527
00:20:28,148 --> 00:20:29,748
How could you possibly help
me?
528
00:20:29,783 --> 00:20:31,016
I have a certain skill set.
529
00:20:31,051 --> 00:20:33,085
I can be very persuasive
with people
530
00:20:33,120 --> 00:20:35,520
and tend to see things
that others cannot.
531
00:20:35,556 --> 00:20:37,289
So, you're psychic or
something?
532
00:20:37,324 --> 00:20:39,758
No, I can't read people's minds.
I'm not a Jedi.
533
00:20:39,793 --> 00:20:41,326
People just like
to tell me things.
534
00:20:41,362 --> 00:20:43,095
Hmm, just-just tell you things?
535
00:20:43,130 --> 00:20:44,763
Just confess their sins,
just like that?
536
00:20:44,798 --> 00:20:45,864
No, not their sins.
537
00:20:45,899 --> 00:20:47,332
I have no power
over people's sins.
538
00:20:47,368 --> 00:20:49,034
I actually get
a bad rap for that.

539
00:20:49,069 --> 00:20:50,235
I have the ability
540
00:20:50,270 --> 00:20:52,771
to draw out people's
forbidden desires.
541
00:20:52,806 --> 00:20:54,072
The more simple the human,
542
00:20:54,108 --> 00:20:55,273
the easier it is.
543
00:20:55,309 --> 00:20:56,675
The more complex,
the more challenging
544
00:20:56,710 --> 00:20:58,176
and exciting, really.
545
00:20:58,212 --> 00:21:00,612
But no, the actual sins,
the sins are on you people.
546
00:21:00,647 --> 00:21:02,114
"You people"?
547
00:21:02,850 --> 00:21:04,149
I got it.
548
00:21:04,184 --> 00:21:05,784
I got it! The name?
549
00:21:05,819 --> 00:21:07,018
The whole Lucifer thing?
550
00:21:07,054 --> 00:21:08,987
And desire's, like,
your superpower.
551
00:21:09,022 --> 00:21:11,423
Mm, it's more like
a gift from God really.
552
00:21:11,458 --> 00:21:13,658
Okay, look.
553
00:21:13,694 --> 00:21:16,094
Tell me, Detective,
554
00:21:16,130 --> 00:21:19,264
what do you desire more than
anything else in this life?
555
00:21:19,299 --> 00:21:22,134
This is it?
This is your big trick?
556
00:21:28,108 --> 00:21:29,708
(sighs)
557
00:21:29,743 --> 00:21:32,010
I guess,
when I was a little girl,
558
00:21:32,045 --> 00:21:35,781
I... always wanted to be a cop
like my daddy,
559
00:21:35,816 --> 00:21:40,018
so that... that one day
I could help people and...
560
00:21:40,053 --> 00:21:42,491
and be taken seriously...
561
00:21:42,601 --> 00:21:46,091
...when I say to shut up
and get in the damn car.
562
00:21:50,230 --> 00:21:52,497
You're not, like, a Jedi
or something, are you?
563
00:21:52,533 --> 00:21:54,599
Get in the car.
564
00:21:54,635 --> 00:21:55,934
No, no, no, no, no.
Look.
565
00:21:55,969 --> 00:21:57,102
I know something you don't
know.
566
00:21:57,137 --> 00:21:58,870
Really? What's that?
567
00:21:58,906 --> 00:22:00,472
Won't say unless you
take me with you on this.
568
00:22:00,507 --> 00:22:03,975
Please, come on.
I got to 2Vile, didn't I?
569
00:22:04,011 --> 00:22:05,710
Why do you care
about this so much?
570
00:22:05,746 --> 00:22:06,945
About Delilah?
571
00:22:08,849 --> 00:22:12,117
Look, I just... I just do.
572
00:22:12,152 --> 00:22:13,785
Look, if I hadn't meddled
with her career,
573
00:22:13,821 --> 00:22:16,121
maybe she wouldn't
have died.
574
00:22:16,156 --> 00:22:17,122
Okay.
575
00:22:17,157 --> 00:22:18,657
Okay, fine...
but if this
576
00:22:18,692 --> 00:22:20,625
little clue thing of yours
doesn't pan out,
577
00:22:20,661 --> 00:22:23,028
these are going back on,
and they're gonna stay on.
578
00:22:23,063 --> 00:22:24,765
Is that a promise?
579
00:22:33,548 --> 00:22:35,045
CHLOE: <i>Yeah, therapist
in Beverly Hills</i>
580
00:22:35,080 --> 00:22:36,213
<i>with the first name
Linda.</i>
581
00:22:36,248 --> 00:22:37,681
See if Delilah
was a client.
Delilah may have gone
by Penny Lane. Thanks.
587
00:22:49,765 --> 00:22:51,161
Don't look so smug.
588
00:22:51,196 --> 00:22:52,195
Nothing's
panned out yet.
589
00:22:52,231 --> 00:22:53,430
No, no, no, it's not that.
590
00:22:53,465 --> 00:22:55,131
It's just that I knew
that I recognized you.
591
00:22:55,167 --> 00:22:56,800
Right.
592
00:22:56,835 --> 00:22:58,468
Right, you've seen my boobies.
593
00:22:58,503 --> 00:22:59,436
It's exciting.
599
00:23:07,879 --> 00:23:10,146
Attractive female cop
struggling to be taken seriously
600
00:23:10,182 --> 00:23:11,815
in a man's man's world...
that it?
601
00:23:11,850 --> 00:23:14,484
Yeah, something like that.
602
00:23:14,519 --> 00:23:15,819
Well, they're
threatened.
603
00:23:15,854 --> 00:23:18,755
You're clearly smart
and have notable instincts.
604
00:23:18,790 --> 00:23:20,819
Ignore them. Trust yourself.
605
00:23:21,526 --> 00:23:22,826
(cell phone rings)

582 594 606

00:22:37,716 --> 00:22:38,982
Ah-ah, actually,
she had a pseudonym,
583
00:22:39,017 --> 00:22:40,217
which I also
happen to know.
584
00:22:40,252 --> 00:22:41,651
I'm quite good
at this, aren't I?
585
00:22:41,687 --> 00:22:44,421
- Uh, Penny Lane.
- Okay.
586
00:22:44,456 --> 00:22:46,656
00:22:59,471 --> 00:23:00,503 00:23:22,861 --> 00:23:25,495
What, are you 12? Detective Decker.
595 607
00:23:00,539 --> 00:23:01,638 00:23:25,530 --> 00:23:26,796
So is the, uh... is the movie All right,
text it to me.
596
00:23:01,673 --> 00:23:03,440 608
why you've got such 00:23:26,832 --> 00:23:28,331
a chip on your shoulder? Thanks.
597 609
00:23:04,676 --> 00:23:05,909 00:23:28,367 --> 00:23:29,899
Uh, it's low on the list What's that?
598 610
00:23:05,944 --> 00:23:07,844 00:23:29,935 --> 00:23:30,965
- of things I have to live down, (sighs)
I guess.
- Right. 611
00:23:31,000 --> 00:23:32,869
What you were
saying stands up.
612
00:23:32,904 --> 00:23:34,170
There's a Penny
Lane who sees
613
00:23:34,206 --> 00:23:35,905
a Dr. Linda Martin
in Beverly Hills.
614
00:23:35,941 --> 00:23:38,141
Excellent.
I'll clear my schedule.
615
00:23:38,176 --> 00:23:39,337
(cell phone rings)
616
00:23:39,372 --> 00:23:40,477
Ooh, someone's popular.
617
00:23:40,512 --> 00:23:41,511
Please stop talking.
618
00:23:41,546 --> 00:23:43,313
Hello.
619
00:23:43,348 --> 00:23:45,412
What? You're kidding me.
Is she okay?
620
00:23:46,518 --> 00:23:48,385
Oh, of course he's not there.
621
00:23:48,420 --> 00:23:49,719
Thanks.
622
00:23:49,755 --> 00:23:51,755
We got to make
a pit stop.
623
00:23:51,790 --> 00:23:52,856
What?
No, absolutely not.
624
00:23:52,891 --> 00:23:55,325
My kid got into a fight.
I got to pick her up.
625
00:23:55,360 --> 00:23:57,027
What, can't she get
herself home?
626
00:23:57,062 --> 00:23:58,361
She's seven.
627
00:23:58,397 --> 00:23:59,863
Look, I'm not here
to help you run errands.
628
00:23:59,898 --> 00:24:01,364
I'm here to help you
solve a homicide.
629
00:24:01,400 --> 00:24:03,166
Really?
630
00:24:05,270 --> 00:24:08,204
("Sinister Kid"
by the Black Keys playing)
631
00:24:14,346 --> 00:24:15,512
CHLOE:
<i>All right.</i>
632
00:24:15,547 --> 00:24:17,080
Wait here.
633
00:24:17,115 --> 00:24:18,381
With pleasure.
634
00:24:18,417 --> 00:24:19,949
Despise children.
635
00:24:19,985 --> 00:24:21,453
♪ Yeah ♪
636
00:24:21,488 --> 00:24:25,074
♪ A sinister kid is a kid who ♪
637
00:24:25,109 --> 00:24:28,310
♪ Runs to meet his Maker ♪
638
00:24:28,345 --> 00:24:31,762
♪ A drop-dead sprint
from the day he's born ♪
639
00:24:31,797 --> 00:24:34,798
♪ Straight into
his Maker's arms ♪
640
00:24:34,833 --> 00:24:38,636
♪ And that's me, that's me ♪
641
00:24:38,671 --> 00:24:41,943
♪ The boy with a broken halo.
♪
642
00:24:55,087 --> 00:24:57,663
I don't think you're allowed
to smoke in here.
643
00:24:58,924 --> 00:25:01,324
Oh, dear, what will
become of me?
644
00:25:01,360 --> 00:25:03,393
My mother is
a police officer.
645
00:25:03,428 --> 00:25:05,128
She could arrest you.
646
00:25:05,163 --> 00:25:06,156
(lighter snaps shut)
647
00:25:06,191 --> 00:25:09,328
Oh, I think I might
know your mother.
648
00:25:09,363 --> 00:25:10,433
What's your name?
649
00:25:10,469 --> 00:25:12,135
Lucifer.
650
00:25:12,170 --> 00:25:13,937
(whispering):
Like the Devil?
651
00:25:13,972 --> 00:25:15,705
Exactly.
652
00:25:15,741 --> 00:25:19,642
My name's Beatrice, but
everybody calls me Trixie.
653
00:25:19,678 --> 00:25:21,644
That's a hooker's name.
654
00:25:21,680 --> 00:25:22,979
What's a hooker?
655
00:25:23,014 --> 00:25:24,948
Ask your mother.
656
00:25:24,983 --> 00:25:27,951
So... why are you
in trouble?
657
00:25:27,986 --> 00:25:30,120
See that girl
over there?
658
00:25:30,894 --> 00:25:32,722
She was bullying me.
659
00:25:32,758 --> 00:25:34,391
She created a fake
Snapchat account
660
00:25:34,426 --> 00:25:36,025 673
and used it to 00:26:15,657 --> 00:26:17,691
make fun of me. (school bell rings)
661 674
00:25:36,061 --> 00:25:40,663 00:26:21,239 --> 00:26:22,672
So... I kicked her in the Hi, Daddy.
no-no-touch-touch square.
675
662 00:26:22,707 --> 00:26:24,007
00:25:42,134 --> 00:25:44,134 Hi, munchkin.
Oh. Oh, I see.
676
663 00:26:24,042 --> 00:26:25,175
00:25:44,169 --> 00:25:47,036 CHLOE: Wow, shocker,
Well played. you're late.
664 677
00:25:47,072 --> 00:25:48,505 00:26:25,210 --> 00:26:26,342
Well played, indeed. Come on, give
me a break.
665
00:25:51,710 --> 00:25:53,449 678
Hello, mean girl. 00:26:26,378 --> 00:26:27,644
I'm putting
666 a case to bed.
00:25:54,579 --> 00:25:56,946
Did you know there's a 679
special section of Hell 00:26:27,679 --> 00:26:29,145
Right, like I'm not
667 working a case, too.
00:25:56,982 --> 00:25:58,081
reserved for bullies? 680
00:26:29,181 --> 00:26:31,781
668 Oh, yeah, the one
00:25:58,116 --> 00:26:00,450 you tried to steal from me.
So have fun.
681
669 00:26:31,817 --> 00:26:33,216
00:26:02,059 --> 00:26:03,492 You mean the open and shut
(screams) one.
670 682
00:26:06,825 --> 00:26:07,991 00:26:33,251 --> 00:26:36,252
What did you do? You did open and shut it,
right?
671
00:26:08,026 --> 00:26:09,959 683
Oh... 00:26:36,288 --> 00:26:38,121
I'm being diligent, Dan.
672 It's a high-profile case.
00:26:09,995 --> 00:26:12,896
I just think someone's feeling 684
a little guilty. 00:26:38,156 --> 00:26:39,956
Exactly, which is why you
need to be smart about it.
685
00:26:39,991 --> 00:26:41,891
She is smart.
You're the dimwit.
686
00:26:41,927 --> 00:26:44,961
Perhaps you should refrain
from
arguing in front of the child.
687
00:26:44,996 --> 00:26:46,129
It's unbecoming.
688
00:26:47,432 --> 00:26:49,499
I don't know whether to laugh
or to shoot you.
689
00:26:49,534 --> 00:26:51,434
Surprise me.
690
00:26:51,470 --> 00:26:53,058
Isn't he funny, Daddy?
691
00:26:53,677 --> 00:26:55,538
CHLOE: Hey, can you, uh,
drop Trix at my mom's?
692
00:26:55,574 --> 00:26:57,040
We got to go. Thank you.
693
00:26:57,075 --> 00:26:59,142
Trixella, give
Mommy a kiss.
694
00:26:59,177 --> 00:27:01,044
I love you so much.
695
00:27:01,079 --> 00:27:02,779
Good job standing up
to the mean girl.
696
00:27:02,814 --> 00:27:04,147
Thanks, Mommy.
697
00:27:04,182 --> 00:27:06,082
What's a hooker?
698
00:27:09,287 --> 00:27:11,354
Daddy will tell you.
699
00:27:15,494 --> 00:27:16,759
Bye, Lucifer.
700
00:27:16,795 --> 00:27:18,261
It was nice meeting you.
701
00:27:19,397 --> 00:27:20,897
CHLOE:
Hmm.
702
00:27:20,932 --> 00:27:22,232
Think she likes you.
703
00:27:22,267 --> 00:27:24,909
Of course she does...
what's not to like?
704
00:27:36,661 --> 00:27:39,128
Was your offspring
planned or a mistake?
705
00:27:40,798 --> 00:27:42,131
Planned, sort of.
706
00:27:42,166 --> 00:27:43,566
Really?
707
00:27:43,601 --> 00:27:45,234
'Cause I've never understood
the human desire to procreate.
708
00:27:45,270 --> 00:27:47,036
That's probably
a good thing.
709
00:27:47,071 --> 00:27:48,771
I mean, children are
hideous little creatures,
710
00:27:48,806 --> 00:27:50,139
terrible, taxing burdens.
711
00:27:50,174 --> 00:27:52,241
- Mmm.
- Mmm.
712
00:27:52,277 --> 00:27:53,976
Oh, um, yours is fine.
713
00:27:54,012 --> 00:27:56,379
I mean, you know,
nothing to crow about,
714
00:27:56,414 --> 00:27:57,913
but nothing to be too
embarrassed about, either,
715
00:27:57,949 --> 00:27:59,048
so that's quite good, isn't it?
716
00:27:59,083 --> 00:28:02,018
Are you at all aware
of how dickish you sound?
717
00:28:02,053 --> 00:28:03,185
No.
718
00:28:04,289 --> 00:28:07,356
Speaking of dicks...
719
00:28:07,392 --> 00:28:08,824
why was that ex-husband of
yours
720
00:28:08,860 --> 00:28:10,845
pressuring you
to close the case?
 00:28:41,392 --> 00:28:42,558
721 Yes, I wouldn't
00:28:11,817 --> 00:28:13,417 recommend it.
No reason.
734
722 00:28:42,593 --> 00:28:43,859
00:28:14,999 --> 00:28:16,266 I'm like walking heroin.
Strange.
735
723 00:28:43,895 --> 00:28:45,861
00:28:16,301 --> 00:28:18,445 Very habit-forming.
Yes, you are. It never ends well.
724 736
00:28:19,292 --> 00:28:21,104 00:28:45,897 --> 00:28:46,962
Did my father send you? (sighs)
725 737
00:28:21,139 --> 00:28:22,538 00:28:46,998 --> 00:28:49,598
(door opens) I'm sorry, do... do you two
know each other?
726
00:28:22,573 --> 00:28:25,274 738
Okay, Detectives, 00:28:49,634 --> 00:28:51,267
I'll see you now. No, no, but I know that look.
727 739
00:28:25,310 --> 00:28:26,709 00:28:51,302 --> 00:28:54,203
CHLOE: I don't know
Thank you. what you're talking about.
728 740
00:28:26,744 --> 00:28:28,244 00:28:55,139 --> 00:28:56,472
Oh. "Detectives." That is interesting
729 741
00:28:29,614 --> 00:28:31,247 00:28:56,507 --> 00:28:59,208
CHLOE: Dr. Martin, 'cause... you don't
I'd like to ask you look at me that way.
730 742
00:28:31,282 --> 00:28:33,082 00:28:59,243 --> 00:29:01,243
a few questions - What way?
about Delilah. - With carnal fascination.
731 743
00:28:37,689 --> 00:28:40,189 00:29:01,279 --> 00:29:02,645
You're thinking That's 'cause
about it, aren't you? it doesn't exist.
732 744
00:28:40,224 --> 00:28:41,357 00:29:02,680 --> 00:29:04,847
What? No, you see, that's just it...
with most women, it does.
733
745
00:29:04,882 --> 00:29:06,649
I tend to appeal to the
dark, mischievous hearts
746
00:29:06,684 --> 00:29:09,885
in all of you, but
you, Detective,
747
00:29:09,921 --> 00:29:12,054
you seem oddly
immune to my charms.
748
00:29:12,090 --> 00:29:15,091
Referring to them as "charms,"
I think, is a bit of a stretch.
749
00:29:15,126 --> 00:29:16,726
Truth be told,
I find you repulsive.
750
00:29:16,761 --> 00:29:18,427
Like, on a
chemical level.
751
00:29:18,463 --> 00:29:19,628
That's fascinating.
752
00:29:20,912 --> 00:29:22,398
LUCIFER:
Now, tell me, Linda...
753
00:29:22,433 --> 00:29:23,999
You say it's fascinating,
754
00:29:24,035 --> 00:29:27,069
and yet I can see that it
disturbs you, doesn't it?
755
00:29:27,105 --> 00:29:29,538
Deeply.
756
00:29:29,574 --> 00:29:31,140
CHLOE:
Dr. Martin,
757
00:29:31,175 --> 00:29:33,476
we know that, um, Delilah was
having a clandestine affair
758
00:29:33,511 --> 00:29:35,311
with a wealthy married man,
so if you just
759
00:29:35,346 --> 00:29:37,413
tell us his name,
we will be on our way.
760
00:29:37,448 --> 00:29:39,315
I'm sorry, I can't do that.
761
00:29:39,350 --> 00:29:41,083
Oh, she's one of
the complex ones.
762
00:29:41,119 --> 00:29:42,318
Linda,
763
00:29:42,353 --> 00:29:44,920
darling, why don't
you tell me? Hmm?
769
00:29:53,030 --> 00:29:55,297
(chuckles)
Correct.
770
00:29:55,333 --> 00:29:56,966
Now, come on, Dr. Martin.
771
00:29:57,001 --> 00:29:58,334
I know you want to.
772
00:29:58,369 --> 00:30:01,604
Oh, man, and it's really,
really juicy, too.
773
00:30:01,639 --> 00:30:02,772
Ooh, I bet it is.
774
00:30:02,807 --> 00:30:04,073
No, I can't.
775
00:30:04,108 --> 00:30:05,408
What did you do to her?
776
00:30:05,443 --> 00:30:06,375
Did you roofie her?
00:30:12,450 --> 00:30:14,784
we can take a trip
to pound town if we must,
782
00:30:14,819 --> 00:30:18,754
but first, you're gonna have
to tell us, Linda, okay?
783
00:30:18,790 --> 00:30:20,456
(moaning):
Um...
784
00:30:20,491 --> 00:30:23,025
(chuckles)
785
00:30:23,060 --> 00:30:27,623
Okay... (chuckles)
it's Grey Cooper.
786
00:30:27,658 --> 00:30:28,765
Grey Cooper?
787
00:30:28,800 --> 00:30:29,732
Seriously?
788
00:30:29,767 --> 00:30:31,200
That is juicy.

764 777 789

00:29:44,956 --> 00:29:46,078 00:30:06,411 --> 00:30:07,410 00:30:31,235 --> 00:30:32,468
Well, I can't. Oh, no, it's Grey Cooper, the actor?
not her fault.
765 790
00:29:46,113 --> 00:29:47,123 778 00:30:32,503 --> 00:30:34,069
(Lucifer chuckles) 00:30:07,445 --> 00:30:08,778 The one who's married
She's just to Amanda what's-her-chops?
766 reacting to me.
00:29:47,158 --> 00:29:49,558 791
I want to, but I can't. 779 00:30:34,105 --> 00:30:35,404
00:30:08,813 --> 00:30:11,147 Yeah, yeah.
767 Just watch
00:29:49,594 --> 00:29:50,659 and learn, okay? 792
(laughs) 00:30:35,440 --> 00:30:37,206
780 Oh, no,
768 00:30:11,182 --> 00:30:12,415 he's horrible.
00:29:50,695 --> 00:29:52,995 Right, the answer is yes,
(laughing): 793
Oh, you're the devil. 781 00:30:37,241 --> 00:30:40,761
So square-jawed,
so handsome, so vanilla.
794
00:30:40,796 --> 00:30:42,478
Oh, I'm really quite
disappointed in Delilah.
795
00:30:42,513 --> 00:30:46,015
That's truly terrible taste
in the opposite sex.
796
00:30:46,050 --> 00:30:47,450
Thank you very
much, Dr. Martin.
797
00:30:47,485 --> 00:30:48,451
We'll be in touch.
798
00:30:48,486 --> 00:30:49,752
All right,
we got to go.
799
00:30:49,787 --> 00:30:51,353
Yes, of course,
but I... I made a deal,
800
00:30:51,389 --> 00:30:53,289
so I'm gonna have to hold up
my end of the bargain.
801
00:30:53,324 --> 00:30:55,391
You wouldn't mind
waiting outside?
802
00:30:55,426 --> 00:30:56,992
Are you seriously talking
803
00:30:57,028 --> 00:30:58,694
about having sex
with her right now?
804
00:30:58,729 --> 00:31:00,896
- Well, it won't take long.
- I do yoga.
805
00:31:01,833 --> 00:31:05,634
Hot... yoga.
806
00:31:05,670 --> 00:31:08,304
I'm freakishly flexible.
807
00:31:08,339 --> 00:31:09,772
Want to see?
808
00:31:12,310 --> 00:31:13,876
Wow!
809
00:31:15,646 --> 00:31:17,580
(chuckles)
810
00:31:17,615 --> 00:31:20,316
I really tried
to keep that one in.
811
00:31:20,351 --> 00:31:23,018
Well, you tried...
that's what matters.
812
00:31:23,054 --> 00:31:24,453
Uh, look,
I'm really sorry,
813
00:31:24,489 --> 00:31:26,455
but I'm gonna have
to take a rain check.
814
00:31:26,491 --> 00:31:27,590
I will be back, okay?
815
00:31:27,625 --> 00:31:28,824
I certainly hope so.
816
00:31:29,727 --> 00:31:31,994
My word is my bond.
817
00:31:35,399 --> 00:31:37,603
♪ It's always something ♪
818
00:31:37,638 --> 00:31:39,401
♪ Before the late night ♪
819
00:31:39,527 --> 00:31:41,170
♪ Around the corner... ♪
820
00:31:41,205 --> 00:31:43,506
LUCIFER:
Excuse me! Excuse me.
821
00:31:43,541 --> 00:31:45,908
Ah, excuse me. Thank you.
822
00:31:45,943 --> 00:31:48,210
Hey, hey, sir.
823
00:31:48,246 --> 00:31:50,479
(tires squealing, gunfire)
824
00:31:54,685 --> 00:31:57,219
Who the (bell rings)
is this guy?
825
00:31:57,255 --> 00:31:59,622
What the hell are you doing?
826
00:31:59,657 --> 00:32:00,856
CHLOE: Excuse me.
Excuse me.
827
00:32:00,892 --> 00:32:02,258
Sorry. Excuse me.
828
00:32:02,293 --> 00:32:04,527
Sorry, he's with me.
829
00:32:05,630 --> 00:32:07,830
That's not Grey Cooper.
830
00:32:07,865 --> 00:32:09,164
No, of course not.
831
00:32:09,200 --> 00:32:10,399
What the hell is this?
832
00:32:10,434 --> 00:32:12,434
We need to speak
with Mr. Cooper.
833
00:32:14,977 --> 00:32:18,073
God, Delilah, yeah,
heard about that this morning.
834
00:32:18,109 --> 00:32:19,141
I can't believe it.
835
00:32:19,176 --> 00:32:21,510
We did a movie
together last year.
836
00:32:21,546 --> 00:32:22,545
Got pretty close.
837
00:32:22,580 --> 00:32:24,680
- Lovers?
- Friends.
838
00:32:24,715 --> 00:32:26,248
Friends who were lovers?
839
00:32:26,284 --> 00:32:27,383
CHLOE:
Settle down.
840
00:32:27,418 --> 00:32:28,684
I'll handle
the questions.
841
00:32:28,719 --> 00:32:30,619
Mr. Cooper, when did you last
have contact with Delilah?
842
00:32:30,655 --> 00:32:32,154
Well, actually, I just
have one more question
843
00:32:32,189 --> 00:32:33,756
before you proceed
with the boring ones.
844
00:32:33,791 --> 00:32:36,358
Tell me, Mr. Cooper,
845
00:32:36,394 --> 00:32:38,627
what do you want more
than anything in this world?
846
00:32:38,663 --> 00:32:40,663
What's your deepest,
darkest desire?
847
00:32:40,698 --> 00:32:43,933
You close your eyes,
what do you see?
848
00:32:43,968 --> 00:32:48,470
I'm the president of the
United States of America.
849
00:32:48,506 --> 00:32:49,705
Ha!
850
00:32:50,863 --> 00:32:52,808
Well, who's the Devil now, eh?
851
00:32:52,843 --> 00:32:54,777
Those are some pretty big
aspirations there,
852
00:32:54,812 --> 00:32:57,279
- Mr. Cooper.
- (chuckles) Well, after the
acting
853
00:32:57,315 --> 00:32:59,148
- and stuff.
- No need
854
00:32:59,183 --> 00:33:01,550
to be embarrassed. Hell,
if Arnold can do it, right?
855
00:33:01,586 --> 00:33:02,572
- (chuckles)
- Now, you wouldn't
856
00:33:02,607 --> 00:33:03,486
want any nasty secrets
857
00:33:03,521 --> 00:33:05,054
screwing that up for you,
though, would you?
858
00:33:05,089 --> 00:33:06,622
Is there a point to this?
859
00:33:06,657 --> 00:33:09,024
Mr. Cooper, were you having
an affair with Delilah?
860
00:33:09,060 --> 00:33:10,059
AMANDA:
Honey!
861
00:33:10,094 --> 00:33:11,560
Have you been
getting my texts?
862
00:33:11,596 --> 00:33:12,962
I thought they were
breaking you for lunch
863
00:33:12,997 --> 00:33:14,563
like a half hour ago.
864
00:33:15,466 --> 00:33:16,465
What's going on?
865
00:33:16,500 --> 00:33:18,968
These people are detectives.

866
00:33:19,003 --> 00:33:19,969
Real ones?
867
00:33:20,004 --> 00:33:22,071
We have some questions
about Delilah.
868
00:33:22,106 --> 00:33:24,173
Oh. Oh. Yes, it's so sad.
869
00:33:24,208 --> 00:33:26,343
Yeah. Very sad.
870
00:33:26,644 --> 00:33:28,547
Your watch,
where'd you get that?
871
00:33:28,846 --> 00:33:30,312
Oh, it's a prop.
872
00:33:30,348 --> 00:33:31,347
AMANDA:
No, that's the one
873
00:33:31,382 --> 00:33:32,314
Delilah gave you, isn't it?
874
00:33:32,350 --> 00:33:33,682
For<i> Time Will Tell?</i>
875
00:33:33,718 --> 00:33:36,118
GREY: Right.
That's the movie
876
00:33:36,153 --> 00:33:38,387
that we did.
It was a wrap gift.
877
00:33:38,422 --> 00:33:40,723
(chuckles)
Yeah. She buy a $10,000
watch
terrible liar.
878
00:33:40,758 --> 00:33:42,291 890
- for the whole crew? 00:34:10,521 --> 00:34:11,754
- Uh, no. And actor, by the way.
879 891
00:33:42,326 --> 00:33:44,493 00:34:11,789 --> 00:34:13,122
Just me, as far as I know. - You knew?
- Of course.
880
00:33:44,528 --> 00:33:46,829 892
'Cause we were, 00:34:13,157 --> 00:34:16,659
you know, Why else do you think I've
been
881 sleeping with Bobby?
00:33:46,864 --> 00:33:48,430
costars and everything. 893
00:34:16,694 --> 00:34:17,826
882 Are you serious?
00:33:48,466 --> 00:33:50,766
You know, you're gonna have 894
to get much better at lying 00:34:17,862 --> 00:34:19,762
Oh, yeah. And it is good.
883
00:33:50,801 --> 00:33:52,134 895
if you want to be president. 00:34:19,797 --> 00:34:22,331
Mmm. I climb that man
884 like a tree.
00:33:52,169 --> 00:33:54,370
I know, right? 896
00:34:22,366 --> 00:34:23,298
885 Right, Bobby?
00:33:54,405 --> 00:33:56,952
So you were sleeping 897
with her, then, yeah? 00:34:23,334 --> 00:34:25,034
GREY:
886 My bodyguard?
00:33:57,545 --> 00:34:00,494
- Oh, yeah. (chuckles) 898
- (laughing) 00:34:25,069 --> 00:34:26,902
What a cliché.
887
00:34:05,316 --> 00:34:07,116 899
Crap. I just said that 00:34:26,937 --> 00:34:29,004
in front of people. Oh, I'm a cliché?
Well, you're a dick.
888
00:34:07,151 --> 00:34:08,717 900
Whatever. 00:34:29,040 --> 00:34:30,172
It's not like I didn't know. Oh, boy.
889 901
00:34:08,753 --> 00:34:10,486 00:34:31,542 --> 00:34:33,242
God, you are a - Hey, guys...
- Come on!
902
00:34:33,277 --> 00:34:35,778
Hey, guys. Arrest them.
903
00:34:35,813 --> 00:34:38,047
- Seriously?
- (grunting)
904
00:34:38,082 --> 00:34:40,983
One of them's got
to be guilty.
905
00:34:46,279 --> 00:34:48,346
♪♪
906
00:34:50,223 --> 00:34:53,972
♪ Hit me point-blank,
hit me point-blank ♪
907
00:34:54,007 --> 00:34:55,551
♪ Hit me point-blank... ♪
908
00:34:55,587 --> 00:34:58,154
Thanks.
(sighs)
909
00:34:58,189 --> 00:35:02,492
So, Grey and Amanda have
zero connection to the shooter.
910
00:35:02,527 --> 00:35:05,395
(sighs) But the shooter had
the same watch as Grey.
911
00:35:05,430 --> 00:35:07,063
That can't be a coincidence.
912
00:35:07,098 --> 00:35:11,768
Maybe Delilah gave him one,
too,
like kind of a go-to gift. I...
913
00:35:11,803 --> 00:35:13,236
Well, that would imply
she was actually
914
00:35:13,271 --> 00:35:14,337
sleeping with that maggot.
915
00:35:14,372 --> 00:35:16,139
Really?
916
00:35:16,174 --> 00:35:19,142
Jimmy, 2Vile,
Grey Cooper.
917
00:35:19,177 --> 00:35:20,610
That's three other maggots
she's sleeping with.
918
00:35:20,645 --> 00:35:22,745
I don't think there's a lot
of discretion going on with her.
919
00:35:22,781 --> 00:35:24,180
Yeah. I suppose you got a
point.
920
00:35:25,083 --> 00:35:26,482
(chuckles softly)
921
00:35:26,518 --> 00:35:28,618
God, what am I doing here?
922
00:35:28,653 --> 00:35:31,220
Wrong deity, but, yes,
that is the eternal question.
923
00:35:31,256 --> 00:35:34,023
(chuckles)
No. I mean here, in a bar,
924
00:35:34,058 --> 00:35:35,358
- with you.
- Well, I don't know.
925
00:35:35,393 --> 00:35:37,160
You tell me, Detective.
926
00:35:37,195 --> 00:35:39,529
I mean, despite
your proclaimed revulsion,
927
00:35:39,564 --> 00:35:42,131
you can't deny that
there's a connection between
us.
928
00:35:42,167 --> 00:35:45,201
Tell me, what do
you actually want?
929
00:35:45,236 --> 00:35:48,204
You mean what do I desire
more than anything else
930
00:35:48,239 --> 00:35:49,572
- in this life?
- Yes.
931
00:35:49,607 --> 00:35:50,796
- Mm-hmm.
- No tricks. Not that they work
932
00:35:50,831 --> 00:35:52,041
on you, you freak.
933
00:35:52,076 --> 00:35:53,376
(chuckles)
934
00:35:54,312 --> 00:35:56,913
Seriously. I'm curious.
935
00:35:56,948 --> 00:35:58,448
I don't know.
936
00:35:58,483 --> 00:36:00,149
What-what I told you's true.
937
00:36:00,185 --> 00:36:03,286
I-I really do want
to help people.
938
00:36:04,189 --> 00:36:05,822
My father was a cop.
939
00:36:05,857 --> 00:36:07,356
He was a great cop.
940
00:36:07,392 --> 00:36:09,125
My mother was an actress.
941
00:36:09,160 --> 00:36:10,626
Really cheesy one.
(chuckles)
942
00:36:10,662 --> 00:36:13,830
I tried the acting thing.
I took off my top.
943
00:36:13,865 --> 00:36:16,365
Wasn't really contributing
to the betterment of society.
944
00:36:16,401 --> 00:36:18,501
I disagree. I love that movie.
945
00:36:18,536 --> 00:36:19,769
(chuckles)
946
00:36:19,804 --> 00:36:20,837
So I quit.
947
00:36:20,872 --> 00:36:22,538
Decided to become a cop
like my dad
948
00:36:22,574 --> 00:36:25,208
and, uh, dealt with the whole
<i>Hot Tub High School</i>
thing,
949
00:36:25,243 --> 00:36:26,876
until, um,
950
00:36:26,911 --> 00:36:29,078
I became a detective
and found a whole new way
951
00:36:29,113 --> 00:36:31,447
- to ostracize myself.
- Ah, the...
952
00:36:31,483 --> 00:36:33,950
reason your ex-maggot
was pressuring you
953
00:36:33,985 --> 00:36:35,585
to close this?
954
00:36:35,620 --> 00:36:37,153
Yeah. Yeah.
955
00:36:37,188 --> 00:36:39,355
Exactly. There was a case,
956
00:36:39,390 --> 00:36:42,191
a shooting on Palmetto Street
where a cop was shot,
957
00:36:42,227 --> 00:36:44,460
and I saw it differently
than pretty much everyone
958
00:36:44,496 --> 00:36:46,596
in my department,
including my ex.
959
00:36:46,631 --> 00:36:48,297
And I stuck
my neck out,
960
00:36:48,333 --> 00:36:50,399
and it backfired.
961
00:36:50,435 --> 00:36:52,468
And, uh, now...
962
00:36:52,504 --> 00:36:55,204
(chuckles)
no one wants to work with me.
963
00:36:55,240 --> 00:36:57,206
Well, I'm available.
964
00:36:58,681 --> 00:37:00,409
Too bad your little protégé
965
00:37:00,445 --> 00:37:01,744
isn't around
to collect the check.
966
00:37:01,779 --> 00:37:03,045
REPORTER:
The soundtrack album
967
00:37:03,081 --> 00:37:04,347
for the movie<i> Time Will
Tell</i>
968
00:37:04,382 --> 00:37:07,083
has reached number 15
on the Billboard charts
969
00:37:07,118 --> 00:37:08,851
and is still climbing.
Song and record sales...
970
00:37:08,887 --> 00:37:10,219
Oh, wow.
971
00:37:11,222 --> 00:37:12,688
What?
972
00:37:14,025 --> 00:37:16,726
Delilah didn't give that watch
to the drug dealer.
973
00:37:21,649 --> 00:37:24,133
♪ Got a heavy load,
sometimes I wonder... ♪
974
00:37:24,169 --> 00:37:25,160
- Stop, stop, stop!
- (music stops)
975
00:37:25,195 --> 00:37:28,052
What is it? You got a gerbil in
your throat? What's going on?
976
00:37:29,941 --> 00:37:31,107
Hello, Jimmy.
977
00:37:31,142 --> 00:37:32,842
Really?
978
00:37:32,877 --> 00:37:34,477
How's the album sales doing?
979
00:37:34,512 --> 00:37:35,811
What album?
980
00:37:35,847 --> 00:37:38,114
Soundtrack to<i> Time Will
Tell,</i>
which you produced.
981
00:37:38,149 --> 00:37:41,584
Whitney Houston hit the top
ten
for album sales after her death.
982
00:37:41,619 --> 00:37:43,553
Michael Jackson hit
the stratosphere.
983
00:37:43,588 --> 00:37:46,556
Not sure you'll achieve such
heights having Delilah killed,
984
00:37:46,591 --> 00:37:49,792
but that sure is a boatload of
royalty checks headed your
way.
985
00:37:49,827 --> 00:37:53,296
Guess you really
needed the cash, huh?
986
00:37:53,331 --> 00:37:56,566
Which is why you had to pay
the shooter with your watch.
987
00:37:56,601 --> 00:37:58,868
The watch Delilah gave you.
Now, that's just sick.
988
00:37:58,903 --> 00:38:00,636
But then you are, so...
989
00:38:02,040 --> 00:38:03,562
(gun clicks)
990
00:38:03,597 --> 00:38:04,807
Hey, Jimmy?
991
00:38:04,842 --> 00:38:06,309
I made her,
and she ruined me.
992
00:38:06,344 --> 00:38:09,278
She humiliated me.
She owes me.
993
00:38:09,314 --> 00:38:11,809
You're not God, Jimmy.
You didn't make her.
994
00:38:12,076 --> 00:38:13,482
But you did destroy her.
995
00:38:13,518 --> 00:38:15,384
So I'm gonna punish you.
996
00:38:15,420 --> 00:38:18,054
You back off,
you freak. I mean it.
997
00:38:18,089 --> 00:38:20,323
I am not going to jail
for that bitch. No chance.
998
00:38:20,358 --> 00:38:21,691
Listen to him,
Lucifer. Back off.
999
00:38:21,726 --> 00:38:23,759
I told you, it's fine.
I'm immortal.
1000
00:38:26,364 --> 00:38:28,664
Why did you do that?
1001
00:38:28,700 --> 00:38:30,733
- He was gonna kill you.
- No, no, no,
1002
00:38:30,768 --> 00:38:33,669
no, no, no. You just...
you just let him off too easy.
1003
00:38:33,705 --> 00:38:35,738
He needs to pay!
He needs to suffer!
1004
00:38:35,773 --> 00:38:37,373
He needs to feel the pain,
1005
00:38:37,408 --> 00:38:39,842
- not escape it!
- Don't worry.
1006
00:38:39,877 --> 00:38:42,244
I'm sure where he's going,
the pain's coming.
1007
00:38:42,280 --> 00:38:44,080
No. No, it's not, actually.
 00:39:23,421 --> 00:39:24,620
1008 JIMMY: 1033
00:38:44,115 --> 00:38:46,215 No, please! No, no, 00:40:12,770 --> 00:40:14,370
And you know why? You're such an ass.
Because I'm here and he's... 1021
00:39:24,656 --> 00:39:26,756 1034
1009 please! Please. 00:40:14,405 --> 00:40:16,539
00:38:46,250 --> 00:38:48,451 - Thank you.
- (gunshots) 1022 - Oh, God.
- (gasps) 00:39:26,791 --> 00:39:29,225
Please don't kill me. 1035
1010 00:40:19,847 --> 00:40:21,963
00:38:53,391 --> 00:38:54,890 1023 He was firing at you.
(gasping) 00:39:29,260 --> 00:39:30,559
Oh, Jimmy. 1036
1011 00:40:22,373 --> 00:40:24,059
00:38:54,926 --> 00:38:57,593 1024 Why aren't you...
Chloe. 00:39:32,563 --> 00:39:34,263
You're gonna wish 1037
1012 that's all 00:40:24,182 --> 00:40:26,041
00:38:57,629 --> 00:38:58,861 more dead?
(gasping) 1025
00:39:34,298 --> 00:39:36,999 1038
1013 - I did to you. 00:40:26,076 --> 00:40:28,384
00:38:58,896 --> 00:39:01,631 - (screaming) You're having a very hard time
(weakly): with the immortal thing,
I don't want to die. 1026
00:39:51,516 --> 00:39:52,882 1039
1014 LUCIFER: 00:40:28,419 --> 00:40:30,519
00:39:01,666 --> 00:39:04,367 Well, aren't you?
I won't let you.
1027 1040
1015 00:39:52,917 --> 00:39:55,685 00:40:30,555 --> 00:40:32,088
00:39:05,803 --> 00:39:08,510 look who's back. (sighs)
Your father will just have
to wait for you. 1028 1041
00:39:57,989 --> 00:39:59,789 00:40:33,391 --> 00:40:35,491
1016 (groans) - What happened with Jimmy?
00:39:09,240 --> 00:39:11,741 - Jimmy?
- (gunshots) 1029
- (groaning) 00:40:02,160 --> 00:40:04,393 1042
How long have I been out? 00:40:35,526 --> 00:40:37,960
1017 Jimmy got what he deserved.
00:39:13,285 --> 00:39:16,345 1030
Just... give me one second. 00:40:04,429 --> 00:40:07,396 1043
(sighs) 00:40:37,995 --> 00:40:39,895
1018 Three years. Hmm?
00:39:16,381 --> 00:39:19,215
(gunshots) 1031 1044
00:40:08,299 --> 00:40:09,598 00:40:41,199 --> 00:40:43,666
1019 What? Well, I'm pretty sure
00:39:22,286 --> 00:39:23,386 I'd be dead
(grunts) 1032
00:40:09,634 --> 00:40:10,866 1045
1020 (chuckling) 00:40:43,701 --> 00:40:45,201
if you hadn't helped me, I've obviously proven myself
so... 1070
1058 00:41:35,753 --> 00:41:37,887
1046 00:41:13,231 --> 00:41:14,597 - God.
00:40:45,236 --> 00:40:47,336 to be an invaluable - Are you hurt?
thank you. crime-fighting tool.
1071
1047 1059 00:41:37,922 --> 00:41:39,121
00:40:47,371 --> 00:40:49,271 00:41:14,632 --> 00:41:17,032 I'm okay.
Sorry, what was that? You're a pariah
That last bit. in the department. 1072
00:41:39,157 --> 00:41:40,823
1048 1060 LUCIFER: Right.
00:40:49,307 --> 00:40:51,373 00:41:17,068 --> 00:41:18,200 Well, I'd stay for
I didn't quite I think this could be the start
get that. 1073
1061 00:41:40,858 --> 00:41:42,958
1049 00:41:18,236 --> 00:41:19,335 the family reunion,
00:40:52,243 --> 00:40:54,143 of a beautiful friendship. but it's giving me terrible IBS.
Thank you. Don't you?
1074
1050 1062 00:41:42,994 --> 00:41:45,528
00:40:55,079 --> 00:40:57,179 00:41:19,370 --> 00:41:21,470 So, look forward
You're welcome. Who the hell are you? to seeing you soon, Chloe.

1051 1063 1075

00:40:57,215 --> 00:40:58,981
And, besides, you know,
1052
00:40:59,016 --> 00:41:02,182
you're far too interesting
to let die.
1053
00:41:02,520 --> 00:41:04,754
You saved my life
because I'm interesting?
1054
00:41:04,789 --> 00:41:06,889
Wildly irritating as well,
but yes.
1055
00:41:06,924 --> 00:41:08,124
(chuckles softly)
1056
00:41:10,428 --> 00:41:11,594
So what now?
1057
00:41:11,629 --> 00:41:13,195
Well, I mean,
00:41:21,506 --> 00:41:23,739 00:41:45,563 --> 00:41:47,530
I told you, I'm... - I don't.
- Bye, now.
1064
00:41:23,775 --> 00:41:25,441 1076
Lucifer! 00:41:47,565 --> 00:41:49,064
Glad you're not dead.
1065
00:41:26,277 --> 00:41:28,577 1077
Uh, yes. Hello, child. 00:41:51,702 --> 00:41:55,576
♪ Always something
1066 before the late night ♪
00:41:28,613 --> 00:41:30,613
Um, just... Why don't you save 1078
00:41:55,611 --> 00:41:57,706
1067 ♪ Around the corner,
00:41:30,648 --> 00:41:32,448 there's always ♪
some of this unpleasantness
for your mother, yeah? 1079
00:41:57,741 --> 00:41:59,809
1068 (distorting):
00:41:32,483 --> 00:41:33,716 ♪ Something waiting for you...
- (groans) ♪
- Ooh.
1080
1069 00:41:59,844 --> 00:42:02,378
00:41:33,751 --> 00:41:35,718 (groans)
- Sorry. Bloody hell.
- Oh.
1081 I would love a war. Well, there's...
00:42:07,652 --> 00:42:09,952 something different about her
What do you want 1093
from me? 00:42:38,683 --> 00:42:40,783 1105
(chuckling) 00:43:25,830 --> 00:43:28,364
1082 that I don't quite understand,
00:42:09,987 --> 00:42:12,421 1094 and it vexes me.
I've been watching you, 00:42:40,818 --> 00:42:43,619
Lucifer. Oh, Luci. 1106
00:43:28,399 --> 00:43:30,933
1083 1095 Maybe it's not her
00:42:12,456 --> 00:42:14,423 00:42:43,654 --> 00:42:47,156 that's different.
- You perv. My hatred for you grows
- And I'm not sure stronger 1107
with every visit. 00:43:30,968 --> 00:43:33,569
1084 (chuckles) Is this
00:42:14,458 --> 00:42:16,058 1096 where I'm supposed to ask,
I like what I see. 00:42:47,191 --> 00:42:50,459
Well, I wouldn't have it 1108
1085 any other way, pal. 00:43:33,604 --> 00:43:35,304
00:42:16,093 --> 00:42:18,761 "Whatever do you mean?"
You're showing restraint, 1097
mercy. 00:42:50,494 --> 00:42:53,596 1109
I look forward 00:43:35,339 --> 00:43:38,007
1086 to eating your heart one day. I'm worried the humans
00:42:18,796 --> 00:42:21,897 are rubbing off on you.
You scared I'm turning my 1098
back 00:42:53,631 --> 00:42:55,297 1110
on the dark side, bro? Peace. 00:43:38,042 --> 00:43:40,442
Stop caring.
1087 1099
00:42:21,933 --> 00:42:25,634 00:43:00,037 --> 00:43:03,205 1111
Lucifer, there is a balance here (wings flapping) 00:43:41,412 --> 00:43:43,545
that we must maintain. You're the Devil.
1100
1088 00:43:03,241 --> 00:43:05,441 1112
00:42:25,670 --> 00:42:28,304 Ugh. 00:43:45,816 --> 00:43:47,616
I strongly suggest you do Yes, I am.
what I told you to do 1101
00:43:13,718 --> 00:43:15,885 1113
1089 I sense your 00:43:47,652 --> 00:43:49,885
00:42:28,339 --> 00:42:29,738 disapproval, Maze. ♪♪
and go back to Hell.
1102 1114
1090 00:43:15,920 --> 00:43:17,853 00:44:01,198 --> 00:44:03,265
00:42:29,774 --> 00:42:32,741 What is it? - Okay. Right.
Don't threaten me, Amenadiel. - Uh...
1103
1091 00:43:17,889 --> 00:43:23,292 1115
00:42:32,777 --> 00:42:35,377 I just can't understand 00:44:03,301 --> 00:44:05,534
I mean, you don't want why you would save a human Here's the deal.
to start a war. life. We can have as much naked

1092 1104 1116

00:42:35,413 --> 00:42:38,647 00:43:23,327 --> 00:43:25,794 00:44:05,569 --> 00:44:07,603
cuddle time
as you desire, but...
1117
00:44:07,638 --> 00:44:09,838
you're gonna have
to listen to me, too.
1118
00:44:09,874 --> 00:44:13,142 1120
There's a few things that 00:44:16,514 --> 00:44:17,680
I'd like to discuss with you. Deal?
1119 1121
00:44:13,177 --> 00:44:16,478 00:44:17,715 --> 00:44:20,215
You know, just a... - Yes.
an existential dilemma or two. - Lovely.