LIFE ON THE STREET
Episode Fourteen: "Dead End"
Prod. #314 November 8, 1994
Teleplay by Jorge Zamacona & Julie Martin
Story by Henry Bromell & James Yoshimura
Barry Levinson Tom Fontana
Please note that the following CHARACTER NAMES have been
Alice Grant to Alice Nance
Manuel Obregon to Manuel Sampier
Dr. Ryan to Dr. Rodney French
Uniform to Sargeant Sally Rogers
Also note "Dead End" commences the morning that follows the
end of Episode #313. The action continues through that day
and ends that night.
BEAU FELTON.........................Daniel Baldwin
JOHN MUNCH..........................Richard Belzer
FRANK PEMBLETON.....................Andre Braugher
MEGAN RUSSERT.......................Isabella Hofmann
MELDRICK LEWIS......................Clark Johnson
AL GIARDELLO........................Yaphet Kotto
KAY HOWARD..........................Melissa Leo
TIM BAYLISS.........................Kyle Secor
STANLEY BOLANDER....................Ned Beatty
MITCH DRUMMOND......................Tony Lo Bianco
THERESA WALKER......................Gloria Ruben
GLEN HOLTON.........................STEVE HOFVENDAHL
CAPTAIN GEORGE BARNFATHER...........Clayton LeBouef
COLONEL BERT GRANGER................Gerald F. Gough
DETECTIVE WILLARD HIGBY.............Beau James
QRT LIEUTENANT JASPER...............Gary D'Addario
SERGEANT SALLY ROGERS...............Kristin Rohde
WESLEY HOWARD.......................Michael Currie
ALLY FELTON.........................Brittany Franklin
ZACK FELTON.........................Connor Walsh
BOB REARDON.........................Robert Lafferman
DR.RODNEY FRENCH....................Gary Wheeler
SHEILA HOLTON.......................Joyce Flick Wendl
ALICE NANCE.........................Teresa Payne-Rohan
MANUEL SEMPIER......................John Ventimiglia
Top Deck Freighter
Holton Building Engine Room
Alley Holton Building
North Avenue Motel Lobby
Parking Lot Homicide Unit
Police Headquarters "The Box"
Roof Giardello's Office
Rowhouse Squad Room
Waterfront Maryland Shock Trauma
Warehouse Felton's Room
INT. "THE BOX"/HOMICIDE UNIT - EARLY MORNING
CU on FRANK PEMBLETON's face, etched with the righteous fury
of a man grievously wronged, as he takes a long, deliberate
drag on his cigarette, then slowly exhales the smoke.
Manuel, Manuel, Manuel. If I were
you, I'd start talking. I'd start
talking right now.
PULL BACK to REVEAL MANUEL SAMPIER, terrified, sitting across
from PEMBLETON. TIM BAYLISS paces behind them, adrenaline
I don't know where he is. I swear to
Glen Holton shot three Homicide
Detectives. We know you're his friend.
We know he was in your janitor's
room at Penn Station last night.
Where did he go, Manuel?
I was working, then all of a sudden
they're cops all over the place, you
guys drag me down here -- I didn't
see him leave. I don't know where he
Maybe he mentioned where he was going.
Maybe in all the excitement you just
You've been around, Manuel. You're
on parole. I don't have to tell you
we got a situation here.
You gave Holton shelter. You know
what that makes you? That makes you
Harboring a fugitive. That's a serious
crime. We don't even have to be
talking to you.
What we could do is arrest you right
now. Is that what we should so? Send
you back to Jessup?
I can't do back there. I got a family.
Okay, okay. Let's help each other
out. How about that?
We can tell you're not a bad guy,
Manuel. We know Holton was into some
kinky misdeeds, but we know you're
He just needed a place to crash. I
didn't even know what he'd done, I
swear I didn't --
Well, now's your chance to do the
right thing. Now's your chance to
Holton's no friend of yours. If he
was, he wouldn't have come to you.
He wouldn't have gotten you in trouble
like this. You're gonna sacrifice
your whole life, for him? He wouldn't
do it for you. Holton'd turn you in
in a heartbeat. I think you know
SAMPIER looks at PEMBLETON, then back to BAYLISS.
If I tell you where he went, that's
it? You'll let me go?
Technically, we have to charge you.
But if you cooperate, we can work
out a deal. You help us bring down a
cop shooter? Hell, you'll be a hero.
The Mayor'll probably thank you
personally. We don't lock up heroes,
do we, Frank?
No, we don't. We don't lock up heroes.
On PEMBLETON and BAYLISS, grim, SAMPIER wavering,
INT. SQUAD ROOM/HOMICIDE UNIT - EARLY MORNING
Full Redball alert, chaos, double shifts working. THERESA
WALKER sits at Pembleton's desk, briefs MELDRICK LEWIS, who
sits at desk, MITCH DRUMMOND, who paces Squad Room, drinks
coffee, and JOHN MUNCH, who sits at desk.
Holton's psychological profile doesn't
fit any stereotype. He's an organized
offender, highly intelligent, yet
he's shown instances of psychotic,
uncontrolled behavior. He's violent.
But he's also demonstrated
characteristics of a fixated pedophile --
So, where do we find this guy?
He's smart enough to know the police
are after him. He's smart enough not
to get caught, so far. What's he's
not smart enough to do is control
his impulses. He'll cruise for another
We've already staked out half the
The number one characteristic of a
fixated pedophile is an attachment
to their pornography collection.
Pedophiles will never destroy
pictures, magazines, videos. They'll
trade them among themselves, leave
them in their will to fellow
pedophiles. Their collection is the
most important thing they own.
We only found a few magazine in his
apartment. Some photographs.
My feeling is, he has to have a more
extensive collection stashed away
somewhere else. He's been doing this
for fifteen years. We find out where
his collection is, we'll find Holton.
GIARDELLO emerges from his office, approaches.
I just got a call from Higby at
Holton's apartment. They found a set
of keys -- looks like they belong to
Holton. Munch, you get down there. I
don't trust Higby. I don't want a
You got it, Gee.
Drummond, you go with him.
I know we're all blessed to have the
great Mitch in our midst, but I think
I can handle this myself.
I'm sure you can. But take Drummond
anyway. The keys could be a lead to
Holton. We need this break.
MUNCH, not happy, shoots a glance at DRUMMOND, who slips
Have you heard how Stan and the others
are doing, Lieutenant?
Stan's got a fracture skull, he's
still unconscious. Beau's conscious.
He was shot through the neck and the
thigh, but there's no nerve or artery
damage. Kay's in critical condition.
She was shot through the heart.
DRUMMOND nods, exits, followed by MUNCH. GIARDELLO turns to
WALKER and LEWIS.
You think there's anything more we
can get from Holton's mother?
I've talked to her twice since last
night... I don't think she knows
Let's try a third time.
Looking for a hat trick?
Need some back-up?
Sure... If you don't mind my driving.
As LEWIS and WALKER head out, on GIARDELLO, looking around
Squad Room Redball hustle and bustle,
EXT. PARKING LOT/NORTH AVENUE MOTEL - EARLY MORNING
PEMBLETON lights cigarette, gazes around Parking Lot. In
b.g., through glass, SEE BAYLISS talking to MOTEL CLERK,
showing him photograph of Glen Holton. As PEMBLETON takes a
drag off his cigarette, BAYLISS emerges. PEMBLETON turns to
Holton checked out an hour ago.
Clerk's so stoned he doesn't know if
Holton left by cab, on foot, or by
He could have flown away on the wings
of Icarus. What difference does it
make? He's gone.
You're tired, Frank.
BAYLISS goes to driver's side door of Cavalier, holds up
hand, as PEMBLETON takes out keys.
Give me a break. You're all over the
And you think you're more awake than
Yeah, I do. Unlike you, I known I'm
mortal. I've been eating protein.
I'm wide awake. So toss me the keys.
A beat. PEMBLETON tosses keys across roof to BAYLISS.
BAYLISS opens door, gets in, as does PEMBLETON.
INT. CAVALIER - EARLY MORNING
BAYLISS turns on ignition, backs car out of Parking Lot.
PEMBLETON looks out window.
Maybe we should call the hospital
again. Check in.
I'm not going to call.
Maybe something's changed.
If it's changed for the worse, they'll
let us know.
You mean if they die. That's not
going to happen.
How can you be so sure?
They drive in silence for a beat.
Stan and Kay could die. For that
matter, so could Beau. Bullet wound,
infection sets in, sepsis, you're
gone in twenty-four hours.
You want to think that way, you go
right ahead. I'm going to think
positive. Nobody's gonna die.
Either way, there isn't anything I
can do. So I'm not going to call in.
I'm gonna do the only thing I can do
right now, which is bring down the
They drive in silence for a beat. PEMBLETON indicates fast
food joint up ahead on road.
I'm gonna get some coffee. And a
They don't have hamburgers this early.
You won't be able to get a hamburger.
This is America. You can always get
As BAYLISS pulls over, on PEMBLETON, determined,
INT. CAVALIER - DAY
WALKER drives like a maniac, weaving in and out of traffic
with the ease and confidence of a racing professional. LEWIS
hangs on for dear life.
Jeez. You weren't kidding.
I'm not making you nervous, am I?
No, no... No problem.
They drive on for a few minutes, LEWIS looks at her.
Sex Crimes. That must get to you
sometimes, don't it?
Yeah. My boyfriend hates it when I
bring the work home. But sometimes
you just have to talk about it. No
matter how depraved, you have to get
it out of your system.
You got a boyfriend?
Well, fiancee, really.
Oh, yeah? What is he, a race car
WALKER looks over at LEWIS, smiles.
He's a paramedic.
So's when the big day?
What do you mean?
The wedding. He's your fiancee, right?
We haven't actually set a date yet.
How long've you been engaged?
Here we are.
WALKER pulls Cavalier up to the curb. SHE and LEWIS exit.
EXT. ROWHOUSE - DAY
Walker and LEWIS emerge from Cavalier, cross street.
Eight years, huh? Your fiancee's got
a bad case of the commitment blues.
Looks, it's me, okay? Not him. I'm
just not ready. Anything wrong with
No, hey, it's cool.
They approach SHEILA HOLTON, fifties, overweight, wearing
rubber gloves, kneels on marble stoop, scrubbing with scrub
brush, which she dips in bucket of water and muriatic acid.
That's Holton's mother.
What's she given us?
Not a thing. According to her, she's
up for Mother of the Year. And her
son's only problem is he's
LEWIS and WALKER approach.
Mrs. Holton, we need to ask you a
few more questions.
Detective Lewis, ma'am.
A good-looking police officer.
How come you never brought nobody
good-looking with you before?
Good-looking? You need glasses, Mrs.
Holton. Have you heard from Glen
I'm on my knees. I got a scrub brush
in my hand.
(gestures with brush)
This is the hold I got on life. It
sucks. You suck. Glen sucks. Now
leave me alone, unless you wanna dip
your elbows in muriatic acid and
give me some help.
On WALKER and LEWIS, exchanging a frustrated glance,
EXT. POLICE HEADQUARTERS - DAY
MUNCH and DRUMMOND exit and approach Cavalier.
I don't want it to appear as if I'm
pushy but I've always been the driver.
Oh, of course. What's wrong with me?
How could I have forgotten? You're
the best wheel man in the Department.
Stan says so.
Not Stanley. He's the master of
understatement, if anything.
You ever go on vacation with him?
We could never work out our schedules.
The best time me and him had was a
three day trip down to Mexico. Just
zipped down there 'cause we dared
each other. We know the wives are
gonna have a conniption, but there
we are anchored off Acapulco on this
sixty-five foot charter. The sun,
the water, we have these beautiful
babes on the working crew. We're
knocking back tequila shooters and
caster out our lines. Checking our
poles for nibbles, y'know. And Stan
hooks into this marlin the size of a
It was a yellowtail.
A what? It was a marlin. I was there.
as THEY get into Cavalier,
EXT. SIDEWALK/HOLTON BUILDING - DAY
Police crime scene tape is still up and UNIFORMS guard the
entrance to the building as a Cavalier pulls up and parks in
front. MUNCH and DRUMMOND exit Cavalier and approach building.
Stan showed me the pictures. He's
standing with a yellowtail.
It took me, Stan, and the boat captain
the whole day just to haul it out of
Hunh. 'Musta been a world record
yellowtail. "World"? It musta been
We about broke our asses bringing it
The biggest yellowtail tops out at a
buck and a quarter.
It was at least five hundred pounds
if it was an ounce.
What, Stan didn't show me the
Why do I remember him catching a
It was a yellowtail.
It was a crappy vacation anyway. We
argued the whole time. He snored. He
insulted the waitresses. Stan can be
such a monumental jerk.
MUNCH shoots DRUMMOND a surprised look, then glances up at
building. Sergeant SALLY ROGERS approaches.
I heard you guys got close to Holton
MUNCH doesn't answer, continues staring at building as if
mesmerized. DRUMMOND turns to ROGERS.
We're looking for Detective Higby.
He's around back in the alley.
MUNCH and DRUMMOND go around building.
EXT. ALLEY/HOLTON BUILDING - DAY
MUNCH and DRUMMOND come around the corner of the building.
MUNCH looks up at building, reflects.
I never even fired a shot. I had my
gun up, I aimed, and I skipped. I
couldn't get off a damn shot.
MUNCH and DRUMMOND continue down alley. MUNCH and DRUMMOND
walk up to Detective WILLARD HIGBY, no toothpick in mouth,
who holds a plastic evidence bag.
We found Holton's keys. We checked,
this one opens his apartment.
Where'd you find them?
Next to the dumpster.
MUNCH gazes up at roof of neighboring building, separated
from Holton's building by a chasm of about ten feet.
You're telling me Holton jumped from
his roof... to that roof?
The keys must have fallen out of his
HIGBY hands them plastic bag, DRUMMOND looks inside.
There are four keys on this ring.
What are the others?
We haven't identified them yet, except
for this small one. It's a subway
locker. We traced the number to the
Calvert Street entrance of the subway.
Radio Frank Pembleton. Tell him to
meet us at the subway station.
As MUNCH and DRUMMOND head off,
END OF ACT ONE
INT. FELTON'S ROOM/ MARYLAND SHOCK TRAUMA - DAY
FELTON sits up in bed, eyes open. BOB REARDON, Beth's brother,
appears in doorway, holding the hands of ZACK FELTON and
ALLY FELTON. REARDON addresses FELTON, awkward.
FELTON looks at his KIDS, breaks into a grin. As he holds
his arms open, SACK and ALLY run to him, jump on bed.
Ally, Zack, be careful.
FELTON holds his CHILDREN in his arms, tight.
Beth asked me to bring the kids.
How're you feeling?
FELTON kisses his KIDS.
Daddy, you look ugly.
I look kinda tough, don't you think?
(makes a face at ALLY)
ALLY shrieks with laughter, buries her head in blanket. ZACK
pulls on FELTON's arm.
Dad, when're you gonna come home? I
wanna show you how good I can throw
You've been practicing, huh?
That's good, kiddo.
FELTON gives ZACK a hug, gathering him and ALLY in his lap.
He turn to REARDON.
How's my partner, Kay Howard? Have
you heard anything? The doctor's
won't tell me.
REARDON looks at ZACK and ALLY, gets change from his pocket.
Zack, take your sister down the hall
to the snack machine. You can each
get a candy bar.
Hey, hey, none of that, alright? You
do what your uncle says.
ZACK helps ALLY down off bed.
Get a candy bar for me too, okay?
The food in this joint's lousy.
ZACK takes ALLY by the hand, they exit. FELTON turns to
Talk to me.
Kay's out of surgery... But she's
still in critical condition.
Critical condition? What does that
She had a bullet through her heart,
Beau. She was in surgery for six
hours. They don't know if she's going
to make it.
What do you mean? Kay could die?
REARDON looks FELTON in the eye, nods his head. FELTON leans
She might die...
As FELTON stares into nothingness.
INT. SUBWAY STATION - DAY
MUNCH, DRUMMOND, PEMBLETON and BAYLISS with UNIFORMS descend
Looks like "Clockwork Orange" down
"Clockwork Orange". That's with Ronald
Reagan in it, right?
No, Mitch. Ronald Reagan is not in
"Clockwork Orange". You're thinking
of "Bedtime for Bonzo."
They reach the ground floor and approach the locker area,
UNIFORMS fanning out, guns drawn. The Detectives search for
the locker number.
This is it. Seven-three-four-two-
Mitch, you got the key?
DRUMMOND takes key out of plastic bag, tries to open the
DRUMMOND struggles as WALKER and LEWIS approach.
The station manager said there's
only one key to this locker.
DRUMMOND struggles with key until locker pops open. There's
a duffel bag inside. WALKER slips on gloves, opens the bag.
MUNCH, LEWIS, BAYLISS, and PEMBLETON lean in.
Awh, jeez. Look at this.
Holton's pornography collection.
You said this stuff is valuable to
Holton. Valuable enough that he'll
come back here?
Yeah, it's a good bet.
I want all the entrance and exits
covered. I want every single janitor,
ticket taker and passenger in this
place to be one of our people.
As the DETECTIVES get to work,
INT. BARNFATHER'S OFFICE/POLICE HEADQUARTERS - DAY
MEGAN RUSSERT stands in doorway of office. Captain GEORGE
BARNFATHER sits behind desk, Colonel BERT GRANGER stands.
You wanted to see me?
Come in, Megan.
RUSSERT enters, sits in empty chair in front of desk.
You're not going to like it, but we
want you to review Giardello.
I don't follow.
Three police officers were shot during
what should have been a routine lock-
up. Was Giardello negligent? Was
anything overlooked or omitted that
should have been taken care of?
You're asking me to investigate
You're of equal rank. We wouldn't
ask you to investigate.
The shootings occurred on Giardello's
shift. That makes him responsible,
fault or no fault.
I don't think I'm the best person
for the job.
We need a full report and we need it
as soon as possible.
I would prefer this be assigned to
This isn't a request, Megan. Are you
saying you're refusing to follow a
On Russert, conflicted,
INT. HALLWAY/HOLTON BUILDING - DAY
The Shooting Area is still taped off. Broken plaster and
holes pockmark the walls. Large dark stains of dried blood
paint the walls and carpet. MUNCH stares down at the floor
at the vague shape of a body outlined in blood. DRUMMOND
measures blood splatters on the wall, then pins lengths of
string to each stain.
Hold this up that hole.
DRUMMOND hands MUNCH the end of a long piece of string, points
to a large shattered hole in the mortar of the wall.
So this is like, what, pin the tail
on the Crime Scene?
I'm gonna reconstruct what happened,
so when we catch out good friend
Holton, which we will eventually do,
we got enough evidence to put him
What're you talking about? I was
here. I know what happened.
You're an unreliable witness.
DRUMMOND pins the other end of the string to a point on the
Stanley was standing there.
You're right, but how do you know
Because he took a shot to the left
temporal lobe. The bullet grazed the
skull and fractured it. Head wounds
bleed like crazy. Wall's clean there
above and below.
MUNCH turns and looks at the wall. It is clean. He looks a
foot farther over. Another impact hole with a faded yellow
stain just below.
Blood always reacts in a given way
depending on the weapon. Bullets
spray blood faster and farther than
a baseball bat would. Knife wounds
drip more often.
We went to the same Police Academy,
how did I miss this course?
You didn't. I just did some extra
credit work. Went to the Corning
Forensic Institute in upstate New
DRUMMOND pins another string up over a smaller dark red stain.
Felton went down here.
Why isn't there more blood?
His wounds hit muscle and fat. They
closed up fairly fast.
He ain't no Mr. Macrobiotic, that's
for sure. Being a little tubby might
have saved his life. Howard suffered
the most blood loss.
(pointing to floor)
That's where she went down. Felton
grabbed the banister here.
(point out bloody
Gotta hand it to him. He was probably
trying to stand up and give back a
little of what he got.
(looks at bloodstain)
That's Stan's blood, huh?
Blood is blood. Don't get emotional
DRUMMOND goes up the stairs and looks down at the scene. He
considers something and then goes up one more stair.
The shooter was standing here.
MUNCH looks up at DRUMMOND as he points imaginary pistols
down at him.
I'm scared. The cops are coming to
bust me. I got nothing to lose. They
see me. I got no choice. The first
shot misses. Then I get the woman in
the chest. Before she goes down --
her partner turns with his Glock. I
pop him twice. The older cop's eyes
get real big. He knows what's coming.
I hit him in the head. I stop
And I run upstairs.
He looks at MUNCH, who is both mesmerized and amazed.
What in the hell must your dreams be
Usually my wife's just caught me en
flagrante with Sharon Stone.
She joins us.
Stan never mentioned your psychotic
As Drummond shrugs,
EXT. ROOF/POLICE HEADQUARTERS - DAY
RUSSERT stands with LEWIS.
Tell me about the clerical error.
Two-oh-one instead of two-one-oh.
They went to the wrong apartment.
The numbers were transposed from the
original file to the arrest warrant
So maybe Gee initialed the memo, so
what? You know hot it is, how many
pieces of paper cross your desk in a
Wait, wait, wait. Giardello initialed
Sure, he initialed it, like any other
He signed off an arrest warrant,
printed with the wrong address?
You're talking like what happened
was somehow Gee's fault.
I'm just supposed to put together a
report, that's all.
Nailing Gee's butt to the wall.
I've got no choice, Meldrick. I was
ordered. By Barnfather and Granger.
The bosses are looking for someone
to blame. And they're using you to
do their dirty work. How can you do
that to Gee?
I don't want to do anything to him.
If he made a mistake, he made a
mistake. God knows we've all made
And God knows there's always gotta
be a fall guy, right?
LEWIS exits. On RUSSERT, conflicted,
INT. LOCKER AREA/SUBWAY STATION - DAY
BAYLISS and PEMBLETON sit on bench, staking out Locker Area
Can you think of any place more
depressing than a subway station?
A lot of people take the subway.
Yeah, I know, but, still.
Still, what? Taking the subway is a
very economical, efficient way to
get to work. When I lived in New
York, I took the subway everyday.
Airports, they're kind of exciting.
Train stations have a certain glamour.
Even bus stations have some ambiance.
Subways are just... drab.
You're telling me you're too good to
take the subway?
I'm not saying that. I'm saying if I
had a choice, I would take the bus.
Or rent a car.
Well, you know, not everybody takes
the subway because they've got no
choice. Some people take the subway
because they enjoy taking the subway.
I'm looking around here, Frank. The
one thing I do not see is anybody
having a good time.
You're a snob, you know that?
I'm not a snob.
Yeah, you are. And you're the worst
kind of snob because you refuse to
accept that you are a snob. You truly
believe you're one with the common
man. But I bet you'd rather walk
than take the subway.
BAYLISS' attention is caught by a YOUNG WOMAN, plain, anxious,
as she walks towards lockers, looks around.
Frank what do you think?
They watch the YOUNG WOMAN stop at Holton's locker.
Is that him? Wearing a dress?
Sure, a disguise. Maybe.
The YOUNG WOMAN pulls out a key, fumbles with it nervously
at the locker.
Where'd the key come from?
Holton made a copy. Let's go.
BAYLISS and PEMBLETON move toward the locker, pulling out
their guns. More UNDERCOVER COPS materialize from the walls.
PEMBLETON throws ALICE NANCE, the young woman, against the
wall. BAYLISS pats her down. They see her face. She is indeed
a young woman. Kind of pretty.
Who the hell are you?
You're hurting my arm.
You know Glen Holton?
Know him? I love him. He's my
On BAYLISS and PEMBLETON, surprised,
INT. FELTON'S ROOM/MARYLAND SHOCK TRAUMA - DAY
FELTON sits in bed. LEWIS appears in doorway, holding a
Hey, Beau. How're you doing?
That's good to hear.
A beat, as LEWIS hands in the doorway.
You can come in. What I got, it ain't
LEWIS, uncomfortable, enters, sits in chair next to bed. He
hands FELTON giraffe.
I got this for you.
It's from the gift shop downstairs.
It was either a stuffed animal or
This is great.
FELTON holds giraffe.
Thanks for coming. I know everybody's
busting their ass, looking for Holton.
We're gonna get him. Soon.
I wanted to ask you a question.
Shoot. I mean... Y'know what I mean.
FELTON fiddles with the giraffe, then looks up.
When Crosetti died... How'd you get
Awh, Beau... Kay's not gonna die.
I don't know that.
You can't think about it.
Because you just can't.
Kay might die. I'm not gonna close
my eyes and pretend that nothing
bad's gonna happen. Because you know
what? It already did. So you gotta
tell me, what're you supposed to do
when your partner dies on you?
What you do is... You keep going.
What do you mean, you keep going?
You get up, you do your job, you
make it through every day... And you
hope that one day you're gonna wake
up and it won't hurt so much. Then
the next day it will hurt a little
less, and the next day, even less
LEWIS takes a beat, searches for the words.
It's not like you forget them, you
know? Your life is changed forever.
It's not ever gonna go back to the
way it was... But you get through
it... You just keep going on.
A beat, as FELTON contemplates this advice.
That's it? Keep going?
FELTON looks at giraffe in his lap, then up at LEWIS.
Meldrick, that's the stupidest thing
I ever heard.
You're spitting on my advice. You
call me down here, I open my heart
to you, and now you're spiting on
what I got to say.
Then gimme back the giraffe.
What? Forget it.
You don't like my advice, you ain't
getting the giraffe.
On FELTON, stubborn, as he holds onto the giraffe,
INT. "THE BOX"/HOMICIDE UNIT - DAY
PEMBLETON, BAYLISS and WALKER interrogate NANCE.
Holton loves you, huh?
Glen. His name is Glen. Yeah, he
Alice -- Is it alright if we call
Alice, do you know where Glen is?
How long have you been Glen's
We met at the Hollywood Diner. That's
where I work. He used to come in all
the time. He didn't tip so great,
but he talked to me. He's very
intelligent. Knows about cosmology.
The stars and stuff.
Have you talked to him recently?
I thought you didn't know where he
What did he tell you?
He said the cops are gonna kill him.
He said you think he shot three cops
and he was dead meat.
No one wants to kill him.
What we want to do, Alice, is protect
Glen. But we can't do that if we
don't know where he is.
You want to protect him?
What did he tell you would happen to
him if he stayed on the street?
He said he's gonna get killed.
Did you believe him?
Everybody thinks he shot those cops.
But he told me he didn't. And I
believe him. That's why he came to
me instead of his stupid, ugly mother.
He knows I love him better'n anybody.
So you and Glen went out, dated, for
Well, we never actually went out or
Then how do you know he loves you?
I can tell. He would never say
anything, but I can tell. He needs
The DETECTIVES exchange glances.
You want Glen to be safe, alive?
Glen had a terrible childhood, you
know. His stepfather abused him.
If you tell us where he is, Alice,
he'll be off the street. He'll be
You're gonna put him in jail.
If he's in jail, no one's gonna kill
him. We can watch over him.
You're gonna watch over him?
Yeah, we are. We're gonna watch over
him. We're gonna make sure he's safe.
That's what he needs. Someone to
take care of him. Someone to love
him. Like that Beatles song: "All
You Need Is Love".
If you love Glen, Alice, you'll tell
us where he is. You'll protect him.
You'll help us make sure he's safe.
His father was a carpenter. His real
father, I mean. He died when Glen
was five... He used to take Glen
down to the shipyard, you know, where
he worked on boats. Glen says his
favorite smells in the whole world
are sawdust and coffee and cigarettes,
because they remind him of his dad.
Which shipyard, Alice?
Over by Proctor and gamble.
As PEMBLETON stands and leaves, followed by BAYLISS and
END OF ACT TWO
INT. TRAILER - DAY
PEMBLETON and BAYLISS enter. QRT Lieutenant JASPER is setting
up a stakeout post. Windows overlook a rundown section of
the old working harbor of the Patapsco Bay. The object of
the stakeout is a Freighter, tied to a pier. JASPER lowers
his binoculars as PEMBLETON approaches.
Any sign of him yet?
No. I sent two guys down into the
ship an hour ago. They found a
sleeping bag and some empty soda
You sure he's coming back?
Yeah. He's got a picture of his mother
down there. He's calling this place
home. If you want to, you can go
back downtown and I'll call you when
We're not going anywhere.
As PEMBLETON and BAYLISS hunker down for the long wait,
INT. GIARDELLO'S OFFICE/HOMICIDE UNIT - DAY
GIARDELLO walks in and sees RUSSERT sitting behind the desk.
Hello, Megan. I was just over at the
hospital. Stanley's a little better.
He's still unconscious, but the
swelling's gone down in his brain.
That's good news. I hear Frank's
staked out the shipyard over by
Proctor and Gamble.
Yeah. Finally a break. I think I can
send you and your people home for a
well deserved four hours of sleep
before your regular shift starts.
Al, we gotta talk.
Barnfather and Granger asked me to
write up a report. They want to know
why three detectives we ambushed.
GIARDELLO pauses; looks at RUSSERT, realizing what she's
You're going to grade my homework?
They gave me no choice.
You're a good soldier. You do what
Al, come on --
So far this year, I had three of my
officers shot down. I've had a
suicide. This place is going to hell
all around me and all I'm trying to
do is keep things together. So why
don't you tell me what you want to
Did you initial the arrest warrant?
You didn't notice that the secretary
had transposed the numbers on the
I'll need all your case folders, the
paperwork requesting a warrant for
Glen Holton's arrest, whatever you've
I'll have Naomi take care of it.
RUSSERT stands, walks out. As GIARDELLO sits down, agonized,
INT. HALLWAY/MARYLAND SHOCK TRAUMA - DAY
A NURSE pushes FELTON, who lies on a gurney, back to his
room. FELTON'S eyes are open, his neck immobilized. They
turn a corner as WESLEY HOWARD see them and approaches.
The NURSE stops a moment.
I'm Kay Howard's father.
Oh. Hi. I'm sorry... about Kay.
WESLEY walks next to the gurney as they continue on.
How's she doing?
She's stable. She's maintained a
steady body temperature for eight
hours now. But she hasn't woken up
yet. How are you?
Better. Waiting to see if the swelling
does down around my spinal cord.
Waiting to see if I get the feeling
back in my legs.
THEY get to Felton's room.
INT. FELTON'S ROOM/MARYLAND SHOCK TRAUMA - DAY
The NURSE sidles the gurney up next to the bed.
Let me help.
WESLEY and the NURSE lift FELTON off the gurney. FELTON
touches WESLEY's arm for steadiness. They lay FELTON back
down in his bed. WESLEY pulls the covers back up to keep
FELTON warm. The Nurse leaves. WESLEY pulls a chair over to
Kay... She'll be alright?
I hope so.
All my life I've thought I was bullet-
proof. Now I'm lying here... And the
only person I'm missing is the
sonofabitch who left me when I was a
kid. My dad. Instead, it's my
partner's father sitting by my side.
I'm just hoping my kids are still
young enough that they won't
understand how scary this is...
FELTON is struggling to get something out.
I'm sorry. About... for what happened
You didn't pull that trigger.
I know, but I... opened the door for
her to walk in first.
It got her shot.
You seen her yet?
No. I can't. I've tried a couple of
times, but I can't. It's my fault
she's in there.
Let me tell you something... If you
hadn't opened that door for Kay, she
would have opened it herself.
FELTON manages a weak smile. WESLEY stands, pats FELTON on
the hand, then walks out. As FELTON looks outside,
INT. TRAILER - DAY
PEMBLETON and BAYLISS, binoculars in hand, are looking all
over the are outline and the pier leading up to the old
Freighter. BAYLISS stops in mid-pan. He taps PEMBLETON.
He just came home.
PEMBLETON takes another look through his binoculars POV
THROUGH BINOCULARS: HOLTON walking up the gangway leading
into the ship. PEMBLETON turns to JASPER.
I'll call my people.
TIME CUT TO:
EXT. WAREHOUSE/WATERFRONT - DAY
Cold and misty. A half a dozen Police Cruisers, lights off,
engines cut, roll up to the pier next to the Freighter. The
QRT OFFICERS get out and start running silently up the ramp
to the ship. PEMBLETON, BAYLISS, MUNCH, DRUMMOND, WALKER and
LEWIS follow the QRT OFFICERS.
EXT. TOP DECK/FREIGHTER -DAY
As the QRTs and our GUYS quietly storm the ship. PEMBLETON
and BAYLISS follow a QRT OFFICER down some steps into the
bowels of the ship. The OTHERS descend into the ship from
other gangways and staircases.
INT. FREIGHTER - DAY
QRTs and DETECTIVES scramble through the dark, dank cabins
and storage areas looking for Holton. Flashlights dance strobe-
like across the screen and then whip-pan down long menacing
INT. FREIGHTER - DAY
PEMBLETON and BAYLISS make their way deeper into the ship
and enter one of the holds. PEMBLETON motions toward a corner
of the hold and spots his flashlight on a bag of fast food.
PEMBLETON looks at BAYLISS. PEMBLETON quietly speaks into
He's in here.
PEMBLETON and BAYLISS keep moving.
INT. FREIGHTER - DAY
MUNCH, WALKER, DRUMMOND, and LEWIS move quietly down another
cramped companion way following a QRT OFFICER. MUNCH hears
something. He turns his flashlight into the darkness of a
nearby cabin. HOLTON scrambles away out of the flashlight's
beam and runs down another companion way. MUNCH talks into
I found him. He's running toward the
As the entire ship explodes in SCREAMING VOICES of QRT
OFFICERS and DETECTIVES,
INT. FREIGHTER - DAY
HOLTON, terrified, slides down the railing of the ladder.
FOOTSTEPS running out of the darkness behind HOLTON turn out
to be PEMBLETON and BAYLISS, who come racing behind.
INT. FREIGHTER - DAY
QRT OFFICERS and DETECTIVES are swarming down companions
ways and stairs, closing in for the kill.
INT. ENGINE ROOM/FREIGHTER - DAY
The engines are solid hulks of rusting iron. HOLTON comes
running in and darts behind one of the old turbines. MUNCH,
WALKER, DRUMMOND, LEWIS and SIX QRTs come running in after
him. PEMBLETON and BAYLISS enter from another door. PEMBLETON
holds his flashlight and his pistol up.
HOLTON's trapped like rat in the beam of Pembleton's light.
BAYLISS grabs HOLTON, who struggles. BAYLISS hits him with
his fist. Stops himself. Gazes at PEMBLETON, wired, adrenaline
pumped. Beat. BAYLISS cuffs HOLTON.
Glen Holton, you are under arrest
for the attempted murder of three
Baltimore City Police Officers.
As PEMBLETON continues to Mirandize HOLTON,
INT. BARNFATHER'S OFFICE/POLICE HEADQUARTERS - DUSK
BARNFATHER sits at his desk as RUSSERT lays a file folder
and report in front of him. BARNFATHER reacts to the thin
folder and few pages of report.
This is it? Your full report?
Yes, sir. It's all there. Al was
This was a routine arrest of the
suspect who never demonstrated any
proclivity for use of firearms. Our
people had more than adequate back-
up. They were wearing their vests.
The administrative assistant who
typed the arrest warrant transposed
the apartment number. Instead of
knocking on two-one-oh and thereby
facing the stairway where the suspect
was lying in wait, the detectives
turned the other way to knock on two-
Why didn't Al double check the
specifics? Why didn't he catch the
He's a busy man...
Megan, did Al initial the orders to
GIARDELLO comes into the office, faces BARNFATHER.
If you want to ask me any questions,
ask them directly.
Al, it's okay, we're almost done --
I review and initial all warrants. I
reviewed and initialed the warrant
for the arrest of Glen Holton. I
That's not what Megan told me.
GIARDELLO understands quickly that RUSSERT must have just
lied for him.
If you had allocated funds for a new
computer system, it might have slowed
down the endless piles of paperwork
Al and I have to deal with. As a
result of those piles, we sometimes
have detectives out making arrests
before we can initial the warrants.
BARNFATHER considers this.
It was Granger's idea to save money
by not buying the new computer system.
I'll remind him of that. Al, Megan.
Dismissed, GIARDELLO and RUSSERT walk out the door, leaving
BARNFATHER to stare at the files.
INT. HALLWAY/POLICE HEADQUARTERS - DUSK
GIARDELLO and RUSSERT walk away from Barnfather's Office. A
moment of silence before GIARDELLO speaks.
You didn't have to do that.
Lie for me.
I probably misunderstood the question.
The truth is, I should have caught
GIARDELLO stops, looks at RUSSERT.
You shouldn't have lied, but thanks.
Lying to those guys? They're only
getting what they give.
LEWIS appears, looking for them.
We got the shooter, Gee.
As GIARDELLO and RUSSERT hurry after LEWIS,
END OF ACT THREE
INT. SQUAD ROOM/HOMICIDE UNIT - NIGHT
Three dozen or so OFFICERS and DETECTIVES, including
GIARDELLO, RUSSERT, WALKER, DRUMMOND, MUNCH and LEWIS, are
looking over at "The Box", trying to glean some hint of how
the interrogation is going. MOVE IN toward the window as
PEMBLETON closes the blinds.
INT. "THE BOX"/HOMICIDE UNIT - NIGHT
PEMBLETON closing the blinds, turns to HOLTON. HOLTON is
handcuffed to the interrogation table. There is a welt on
his right cheek. His lower lip is split. PEMBLETON leans
across the table hovering inches above HOLTON. BAYLISS leans
against the wall directly behind HOLTON.
What? You guys gonna bash me around
some more? Where's my lawyer?
Do you need a lawyer? What are you
HOLTON smirks, leans away from PEMBLETON.
I don't have to be guilty of anything
to have a lawyer. I know the routine,
HOLTON strains to look back at BAYLISS.
Do you gotta stand in back of me?
What, my partner makes you nervous?
Why would you be nervous? You haven't
done anything. What I think and why
you're nervous are two separate items.
I know the routine, too, okay?
Why are you so nervous?
I heard about that kid who was killed
And that makes you nervous?
I had nothing to do with it.
Who here says you did?
Then why am I here?
You shot three police officers.
I didn't shoot anybody. I ain't even
got a gun. I don't like guns.
I don't like people standing behind
Why, it reminds you?
I just don't like it, awright?
Anyone doing time up at Jessup, they
know about someone standing in back
of them, don't they? It's a kind of
instinct you develop, huh?
I didn't do anything to that kid and
I didn't shoot any cops.
You're going for one or the other.
Take your pick.
The cops are still alive. The kid is
dead. Your choice.
I didn't do anything.
They why were you on the run?
Gimme an aspirin. I got a helluva
If you're innocent, why run?
I was scared, awright?
About the three cops, huh? You knew
if you were caught, it'd be your
ass, right? But you're here now and
nothing wrong can happen to you.
If it was me, I'd cop to shooting
the three detectives. In Jessup, I
might be given a little space. A
All of those guys in Jessup, they
didn't put themselves in there. A
cop who put 'em in there and someone
who shoots three of them, jeez,
there's someone with special light
on him. There's someone with a
There's no way I'm copping to either
of these deals, fellas. Where's my
We're just thinking out loud, awright?
If I killed that kid, I'd demand to
be put in isolation. I'd need
But then who could you trust? Who
else is in protective isolation with
I'd be there with special guards.
But I wouldn't trust them. They'd be
the last guys I'd trust.
They have families, too, don't they?
They have kids. Anyone with kids, I
wouldn't want them guarding me.
I see your point. Mistakes are made
all the time.
Someone turns their head for a second.
Some guard leaves a security door
unlocked for a moment. Real wrong
things can happen.
How 'bout you two don't think out
loud anymore, awright?
On HOLTON, looking miserable,
INT. FELTON'S ROOM/MARYLAND SHOCK TRAUMA - NIGHT
FELTON struggles to move his injured leg. DR.RODNEY FRENCH
stands at the foot of Felton's bed. A NURSE applies an ice
compress to FELTON's shoulder.
I'm telling you, it's the foot, not
Your shoulder is awright?
It's my foot. I can't move it.
Any pain in the foot?
My whole damn leg is on fire.
Pain is a good sign? You make a living
for saying things like that?
RUSSERT enters, watches from doorway. FRENCH reads chart.
All of the tests on your leg show
there's been no damage to the major
arteries or to the bone structure.
Then why the hell can't I move it?
It's psychological pain.
Hey, here's my head, there's my leg.
My head is fine, awright? What did
anatomy classes get canceled when
you were in school?
Naw. I just flunked 'em. That's why
I'm your doc instead of someone else.
I'm scheduling Detective Felton for
therapy on his neck and shoulder
FRENCH and NURSE walk out. RUSSERT comes to Felton's bedside.
You'll be dancing soon.
She can't stand to see me, weak or
strong. Hard to blame her, really.
RUSSERT sits down.
You know, I've been lying here...
thinking... not my strong point,
but... You tend to see things clearly
when you think your life is ending...
And what I know is... Beth and I
don't love each other anymore. We
shouldn't be together.
You're not in the best condition to
be making major decisions, Beau.
My parents tried to stay together as
long as they could for the sake of
my brothers and me. And it was the
worst kind of screwed up thing they
could have done to us. Because all
the while they played kissy face all
we heard was yelling, all we saw was
RUSSERT doesn't know what to say.
I don't want my children to ever
hear me yell at their mother again.
I don't want my children to ever lie
awake late at night and hear me
crying... I just pray she doesn't
use custody of the kids as a weapon.
You've told her?
On the phone. Today.
RUSSERT pours a glass of water from a pitcher on the bedside
table and holds the cup to FELTON's lips. As FELTON drinks,
INT. "THE BOX"/HOMICIDE UNIT - NIGHT
BAYLISS remains, like a vulture, behind HOLTON. PEMBLETON
throws his hands in the air.
Alright. That's enough. We got him
on the killing of Borkin, let's just
Frank, what're you talking about?
We have the Indian-beaded belt from
the Borkin kid. We found it in his
closet. We know the kid was in his
Well, you got the point. This way,
he goes up for murder.
Exactly. Murder. We convict, he goes
away for life. Maybe even gets the
Let's do it.
On your feet, Holton.
Hold it, hold it.
HOLTON falls silent. PEMBLETON sits back down. BAYLISS leans
over HOLTON's shoulders.
We're all human. Fear makes us crazy.
You didn't want to shoot those cops,
did you, Glen?
You were scared.
Fear makes us do strange things.
Things we wouldn't do if there wasn't
all this weight pounding down out
brains. All this terror.
I don't do crazy things, but
sometimes, it's out of my hands. I
don't have control, y'know.
BAYLISS finally comes around to face HOLTON.
How'd it get out of control, Glen?
It just did.
I'm trying to understand.
I just come out of my apartment. One
of the cops, he sees me, he calls me
I don't know. The first guy. I figure
I've got nothing to lose, so I run
up to the roof and they come after
me. I'd heard about that kid and I
knew they'd be pissed.
So before you get to the roof, what
I'm scared of heights, fellas, and I
got nowhere to go.
You're not on the roof, Glen.
I'm on the roof.
You're still in the hallway.
I know where I was. You're trying to
screw with me.
PEMBLETON and BAYLISS exchange a glance. HOLTON notices the
These three cops had their guns aimed
You saw this.
Three of 'em.
On the roof.
You go up there. You take me there.
I'll show you exactly where I was.
Right by the drainpipe. And they had
their guns and they weren't saying
"stop" of anything to me. They had
this look in their eyes.
So you pull out a gun, huh?
I don't remember. I think I had my
gun already out.
But you don't like guns. You're scared
of 'em. How do you end up with a
All's I know is I have this gun --
-- What kind of gun?
One of those guns you get on the
Why do you keep screwing with me?
Yeah, one gun.
And you shoot the three detectives.
It happened so fast. I don't know.
And then I ran back down the stairs.
BAYLISS leans into HOLTON's face.
You didn't shoot anyone.
No, I'm saying I shot the cops.
You're lying. You killed Borkin. End
PEMBLETON and BAYLISS get up, exit "The Box".
INT. SQUAD ROOM/HOMICIDE UNIT - NIGHT
PEMBLETON and BAYLISS emerge, address GIARDELLO.
He's not the one.
Holton didn't shoot Bolander, Howard
If he didn't, then who did?
On PEMBLETON, BAYLISS and GIARDELLO, upset,
INT. BOLANDER'S ROOM/MARYLAND SHOCK TRAUMA - NIGHT
MUNCH sits in a chair, elbows on knees watching BOLANDER,
who breathes with the assistance of a machine. DRUMMOND walks
in and pulls up a chair across from MUNCH on the other side
of Bolander's bed. They look at each other over BOLANDER's
Just got off the phone with Giardello.
Holton wasn't the shooter.
He's just been charged with he murder
of the kid. He's didn't pop Stan or
the other two.
What the hell. So somewhere there
tonight the real killer's having
some buffalo wings and the beer and
laughing his ass off.
No one died.
He shot to kill. That makes him a
DRUMMOND looks at BOLANDER.
Look at him. He's a damn vegetable.
MUNCH laughs. DRUMMOND looks up.
That cracks you up?
Stan hates vegetables. Carrots
especially. He breaks out in hives.
Your partner is lying here, maybe
never to open his eyes again and
you're laughing? How the hell do you
He's always said I have a sick sense
MUNCH looks at BOLANDER.
He never liked me as much as he liked
I'm not sure that's anything to
He ever make you eat sour beef and
dumplings at Rollos?
Yeah, all the damn time.
MUNCH manages a smile.
He never took me.
Then he does like you, John. He made
me eat that slop three times a week.
They consider BOLANDER. Beat. MUNCH stands.
Want to... get a beer, or something?
As DRUMMOND and MUNCH walk out together,
INT. SQUAD ROOM/HOMICIDE UNIT - NIGHT
CU on "The Board". As "B-O-R-K-I-N" in RED is erased and
rewritten in BLACK under Howard's name,
INT. HOLDING CELL/POLICE HEADQUARTERS - NIGHT
HOLTON is eating a sandwich and having a carton of milk off
a stainless steel tray. As he eats, he's humming "Pop Goes
The Weasel". The GUARD outside the cell just watches him and
shakes his head.
INT. TELEVISION ROOM/MARYLAND SHOCK TRAUMA - NIGHT
A twelve-year old BOY, in a leg-cast, in a wheelchair with
an IV hooked up, is watching an old "Starsky and Hutch"
episode on TV. FELTON, in wheelchair, slowly wheels himself
in and looks up at the TV. He watches for a moment, then
looks over at the BOY.
Are you enjoying this?
No. But I can't reach the remote.
They both look over at a shelf where the remote lies. And
then look back at each other knowing neither of them can
Cool car they drive anyway. Red and
white seventy-four Gran Torino.
Yeah, but it's so fake. Real cops
don't drive like maniacs all over
the place, acting scared.
(turns to FELTON)
Real cops don't get scared.
They sit in silence for a moment while bad tough-guy dialogue
wafts from the old television set. FELTON turns, wheels
INT. HALLWAY/MARYLAND SHOCK TRAUMA - NIGHT
FELTON pushes his wheelchair down the hall.
INT. HOWARD'S ROOM/MARYLAND SHOCK TRAUMA - NIGHT
HOWARD lies still, her breathing even and getting stronger.
A shadow spills in from the doorway. It's FELTON, in his
wheelchair. He slowly pulls into the room. As he gets closer
he sees that her eyes are open and she's looking right at
How you doing, Kay?
(beat; with great
He reaches for HOWARD's hand and gently holds it in his. As
the two PARTNERS look at each other in the darkness,
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