"In writing fiction, the more fantastic the tale, the plainer the prose should be. Don't ask your readers to admire your words when you want them to believe your story." - Ben Bova [ more quotes ]

HOMICIDE
LIFE ON THE STREET

Episode Fourteen: "Dead End"

FINAL DRAFT

Prod. #314 November 8, 1994

Teleplay by Jorge Zamacona & Julie Martin

Story by Henry Bromell & James Yoshimura

EXECUTIVE PRODUCERS
Barry Levinson Tom Fontana

EXECUTIVE PRODUCER
Henry Bromell

SUPERVISING PRODUCER
Jim Finnerty

PRODUCER
Gail Mutrux

DIRECTOR
Whitney Ransick

Please note that the following CHARACTER NAMES have been
changed:

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.

CAST

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

BOY.................................JAE KHOURY

SETS

EXTERIORS INTERIORS

Freighter Cavalier
Top Deck Freighter
Holton Building Engine Room
Alley Holton Building
Sidewalk Hallway
North Avenue Motel Lobby
Parking Lot Homicide Unit
Police Headquarters "The Box"
Roof Giardello's Office
Rowhouse Squad Room
Waterfront Maryland Shock Trauma
Bolander's Room
Warehouse Felton's Room
Hallway
Howard's Room
Television Room
Police Headquarters
Barnfather's Office
Hallway
Holding Cell
Subway Station
Locker Area
Trailer



TEASER

FADE IN:

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.

PEMBLETON
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
pumping.

SAMPIER
I don't know where he is. I swear to
God.

BAYLISS
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.

PEMBLETON
Where did he go, Manuel?

SAMPIER
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
went.

BAYLISS
Maybe he mentioned where he was going.
Maybe in all the excitement you just
forgot.

PEMBLETON
You've been around, Manuel. You're
on parole. I don't have to tell you
we got a situation here.

BAYLISS
You gave Holton shelter. You know
what that makes you? That makes you
an accessory.

PEMBLETON
Harboring a fugitive. That's a serious
crime. We don't even have to be
talking to you.

BAYLISS
What we could do is arrest you right
now. Is that what we should so? Send
you back to Jessup?

SAMPIER
I can't do back there. I got a family.

PEMBLETON
Okay, okay. Let's help each other
out. How about that?

BAYLISS
We can tell you're not a bad guy,
Manuel. We know Holton was into some
kinky misdeeds, but we know you're
clean now.

SAMPIER
He just needed a place to crash. I
didn't even know what he'd done, I
swear I didn't --

BAYLISS
Well, now's your chance to do the
right thing. Now's your chance to
redeem yourself.

PEMBLETON
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
that.

SAMPIER looks at PEMBLETON, then back to BAYLISS.

SAMPIER
If I tell you where he went, that's
it? You'll let me go?

BAYLISS
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?

PEMBLETON
No, we don't. We don't lock up heroes.

On PEMBLETON and BAYLISS, grim, SAMPIER wavering,

FADE TO:

MAIN TITLES

ACT ONE

FADE IN:

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.

WALKER
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 --

MUNCH
So, where do we find this guy?

WALKER
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
victim.

DRUMMOND
We've already staked out half the
City.

WALKER
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.

LEWIS
We only found a few magazine in his
apartment. Some photographs.

WALKER
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.

GIARDELLO
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
screw-up.

MUNCH
You got it, Gee.

GIARDELLO
Drummond, you go with him.

MUNCH
I know we're all blessed to have the
great Mitch in our midst, but I think
I can handle this myself.

GIARDELLO
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
into coat.

DRUMMOND
Have you heard how Stan and the others
are doing, Lieutenant?

GIARDELLO
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.

GIARDELLO
You think there's anything more we
can get from Holton's mother?

WALKER
I've talked to her twice since last
night... I don't think she knows
anything.

GIARDELLO
Let's try a third time.

WALKER
Looking for a hat trick?

LEWIS
Need some back-up?

WALKER
Sure... If you don't mind my driving.

As LEWIS and WALKER head out, on GIARDELLO, looking around
Squad Room Redball hustle and bustle,

CUT TO:

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
him.

BAYLISS
Holton checked out an hour ago.
Clerk's so stoned he doesn't know if
Holton left by cab, on foot, or by
wagon train.

PEMBLETON
He could have flown away on the wings
of Icarus. What difference does it
make? He's gone.

BAYLISS
You're tired, Frank.

BAYLISS goes to driver's side door of Cavalier, holds up
hand, as PEMBLETON takes out keys.

BAYLISS
Toss 'em.

PEMBLETON
I'll drive.

BAYLISS
Give me a break. You're all over the
road.

PEMBLETON
And you think you're more awake than
I am?

BAYLISS
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
Thank you.

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.

BAYLISS
Maybe we should call the hospital
again. Check in.

PEMBLETON
I'm not going to call.

BAYLISS
Maybe something's changed.

PEMBLETON
If it's changed for the worse, they'll
let us know.

BAYLISS
You mean if they die. That's not
going to happen.

PEMBLETON
How can you be so sure?

They drive in silence for a beat.

PEMBLETON
Stan and Kay could die. For that
matter, so could Beau. Bullet wound,
infection sets in, sepsis, you're
gone in twenty-four hours.

BAYLISS
You want to think that way, you go
right ahead. I'm going to think
positive. Nobody's gonna die.

PEMBLETON
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
shooter.

They drive in silence for a beat. PEMBLETON indicates fast
food joint up ahead on road.

PEMBLETON
Pull over.

BAYLISS
What?

PEMBLETON
I'm gonna get some coffee. And a
hamburger.

BAYLISS
They don't have hamburgers this early.
You won't be able to get a hamburger.

PEMBLETON
This is America. You can always get
a hamburger.

As BAYLISS pulls over, on PEMBLETON, determined,

CUT TO:

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.

LEWIS
Jeez. You weren't kidding.

WALKER
I'm not making you nervous, am I?

LEWIS
No, no... No problem.

They drive on for a few minutes, LEWIS looks at her.

LEWIS
Sex Crimes. That must get to you
sometimes, don't it?

WALKER
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.

LEWIS
You got a boyfriend?

WALKER
Well, fiancee, really.

LEWIS
Oh, yeah? What is he, a race car
driver?

WALKER looks over at LEWIS, smiles.

WALKER
He's a paramedic.

LEWIS
So's when the big day?

WALKER
What do you mean?

LEWIS
The wedding. He's your fiancee, right?

WALKER
We haven't actually set a date yet.

LEWIS
How long've you been engaged?

WALKER
(mumbles)
Eight years.

LEWIS
What?

WALKER
(changes subject)
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.

LEWIS
Eight years, huh? Your fiancee's got
a bad case of the commitment blues.

WALKER
Looks, it's me, okay? Not him. I'm
just not ready. Anything wrong with
that?

LEWIS
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.

WALKER
That's Holton's mother.

LEWIS
What's she given us?

WALKER
Not a thing. According to her, she's
up for Mother of the Year. And her
son's only problem is he's
misunderstood.

LEWIS and WALKER approach.

WALKER
Mrs. Holton, we need to ask you a
few more questions.

SHEILA
Who's he?

LEWIS
Detective Lewis, ma'am.

SHEILA
A good-looking police officer.
(to WALKER)
How come you never brought nobody
good-looking with you before?

WALKER
Good-looking? You need glasses, Mrs.
Holton. Have you heard from Glen
today?

SHEILA
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,

CUT TO:

EXT. POLICE HEADQUARTERS - DAY

MUNCH and DRUMMOND exit and approach Cavalier.

DRUMMOND
I don't want it to appear as if I'm
pushy but I've always been the driver.

MUNCH
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.

DRUMMOND
Stan exaggerates.

MUNCH
Not Stanley. He's the master of
understatement, if anything.

DRUMMOND
You ever go on vacation with him?

MUNCH
(pauses)
We could never work out our schedules.

DRUMMOND
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
house.

MUNCH
It was a yellowtail.

DRUMMOND
A what? It was a marlin. I was there.

as THEY get into Cavalier,

CUT TO:

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.

MUNCH
Stan showed me the pictures. He's
standing with a yellowtail.

DRUMMOND
(pauses)
It took me, Stan, and the boat captain
the whole day just to haul it out of
the water.

MUNCH
Hunh. 'Musta been a world record
yellowtail. "World"? It musta been
cosmic.

DRUMMOND
We about broke our asses bringing it
on deck.

MUNCH
The biggest yellowtail tops out at a
buck and a quarter.

DRUMMOND
It was at least five hundred pounds
if it was an ounce.

MUNCH
What, Stan didn't show me the
pictures?

DRUMMOND
(pauses)
Why do I remember him catching a
marlin?

MUNCH
It was a yellowtail.

DRUMMOND
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.

ROGERS
I heard you guys got close to Holton
last night.

MUNCH doesn't answer, continues staring at building as if
mesmerized. DRUMMOND turns to ROGERS.

DRUMMOND
We're looking for Detective Higby.

ROGERS
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.

MUNCH
I never even fired a shot. I had my
gun up, I aimed, and I skipped. I
couldn't get off a damn shot.

DRUMMOND
It happens.

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.

HIGBY
We found Holton's keys. We checked,
this one opens his apartment.

MUNCH
Where'd you find them?

HIGBY
Next to the dumpster.

MUNCH gazes up at roof of neighboring building, separated
from Holton's building by a chasm of about ten feet.

MUNCH
You're telling me Holton jumped from
his roof... to that roof?

HIGBY
The keys must have fallen out of his
pocket.

HIGBY hands them plastic bag, DRUMMOND looks inside.

DRUMMOND
There are four keys on this ring.
What are the others?

HIGBY
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.

MUNCH
Radio Frank Pembleton. Tell him to
meet us at the subway station.

As MUNCH and DRUMMOND head off,

FADE OUT:

END OF ACT ONE

ACT TWO

FADE IN:

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.

REARDON
Hey, Beau.

FELTON looks at his KIDS, breaks into a grin. As he holds
his arms open, SACK and ALLY run to him, jump on bed.

REARDON
Ally, Zack, be careful.

FELTON
It's okay.

FELTON holds his CHILDREN in his arms, tight.

REARDON
Beth asked me to bring the kids.
How're you feeling?

FELTON
Better, now.

FELTON kisses his KIDS.

ALLY
Daddy, you look ugly.

FELTON
I look kinda tough, don't you think?
(makes a face at ALLY)
Kinda scary.

ALLY shrieks with laughter, buries her head in blanket. ZACK
pulls on FELTON's arm.

ZACK
Dad, when're you gonna come home? I
wanna show you how good I can throw
now.

FELTON
You've been practicing, huh?

ZACK
Yeah.

FELTON
That's good, kiddo.

FELTON gives ZACK a hug, gathering him and ALLY in his lap.
He turn to REARDON.

FELTON
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.

REARDON
Zack, take your sister down the hall
to the snack machine. You can each
get a candy bar.

ZACK
Awh --

FELTON
Hey, hey, none of that, alright? You
do what your uncle says.

ZACK
C'mon, Ally.

ZACK helps ALLY down off bed.

FELTON
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
REARDON.

FELTON
Talk to me.

REARDON
Kay's out of surgery... But she's
still in critical condition.

FELTON
Critical condition? What does that
mean?

REARDON
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.

FELTON
What do you mean? Kay could die?

REARDON looks FELTON in the eye, nods his head. FELTON leans
back.

FELTON
She might die...

As FELTON stares into nothingness.

CUT TO:

INT. SUBWAY STATION - DAY

MUNCH, DRUMMOND, PEMBLETON and BAYLISS with UNIFORMS descend
on escalator.

MUNCH
Looks like "Clockwork Orange" down
here.

BAYLISS
What?

DRUMMOND
"Clockwork Orange". That's with Ronald
Reagan in it, right?

MUNCH
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.

BAYLISS
This is it. Seven-three-four-two-
nine.

PEMBLETON
Mitch, you got the key?

DRUMMOND
Right here.

DRUMMOND takes key out of plastic bag, tries to open the
locker.

DRUMMOND
It's stuck.

DRUMMOND struggles as WALKER and LEWIS approach.

LEWIS
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.

LEWIS
Awh, jeez. Look at this.

WALKER
Holton's pornography collection.

BAYLISS
(to WALKER)
You said this stuff is valuable to
Holton. Valuable enough that he'll
come back here?

WALKER
Yeah, it's a good bet.

PEMBLETON
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,

CUT TO:

INT. BARNFATHER'S OFFICE/POLICE HEADQUARTERS - DAY

MEGAN RUSSERT stands in doorway of office. Captain GEORGE
BARNFATHER sits behind desk, Colonel BERT GRANGER stands.

RUSSERT
You wanted to see me?

GRANGER
Come in, Megan.

RUSSERT enters, sits in empty chair in front of desk.

BARNFATHER
You're not going to like it, but we
want you to review Giardello.

RUSSERT
I don't follow.

GRANGER
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?

RUSSERT
You're asking me to investigate
Giardello?

BARNFATHER
You're of equal rank. We wouldn't
ask you to investigate.

GRANGER
The shootings occurred on Giardello's
shift. That makes him responsible,
fault or no fault.

RUSSERT
I don't think I'm the best person
for the job.

BARNFATHER
We need a full report and we need it
as soon as possible.

RUSSERT
I would prefer this be assigned to
someone else.

GRANGER
This isn't a request, Megan. Are you
saying you're refusing to follow a
department order?

RUSSERT
(beat)
No.

On Russert, conflicted,

CUT TO:

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.

DRUMMOND
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.

MUNCH
So this is like, what, pin the tail
on the Crime Scene?

DRUMMOND
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
away.

MUNCH
What're you talking about? I was
here. I know what happened.

DRUMMOND
You're an unreliable witness.
Hysterical. Biased.

DRUMMOND pins the other end of the string to a point on the
staircase.

DRUMMOND
Stanley was standing there.

MUNCH
You're right, but how do you know
that?

DRUMMOND
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.

DRUMMOND
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.

MUNCH
We went to the same Police Academy,
how did I miss this course?

DRUMMOND
You didn't. I just did some extra
credit work. Went to the Corning
Forensic Institute in upstate New
York.

DRUMMOND pins another string up over a smaller dark red stain.

DRUMMOND
Felton went down here.

MUNCH
Why isn't there more blood?

DRUMMOND
His wounds hit muscle and fat. They
closed up fairly fast.

MUNCH
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
handprint.)
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?

DRUMMOND
Blood is blood. Don't get emotional
about it.

DRUMMOND goes up the stairs and looks down at the scene. He
considers something and then goes up one more stair.

DRUMMOND
The shooter was standing here.

MUNCH looks up at DRUMMOND as he points imaginary pistols
down at him.

DRUMMOND
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
shooting.
(turning, looks
upstairs)
And I run upstairs.

He looks at MUNCH, who is both mesmerized and amazed.

MUNCH
What in the hell must your dreams be
like?

DRUMMOND
Usually my wife's just caught me en
flagrante with Sharon Stone.

MUNCH
And?

DRUMMOND
She joins us.

MUNCH
Stan never mentioned your psychotic
libido.

As Drummond shrugs,

CUT TO:

EXT. ROOF/POLICE HEADQUARTERS - DAY

RUSSERT stands with LEWIS.

RUSSERT
Tell me about the clerical error.

LEWIS
Two-oh-one instead of two-one-oh.
They went to the wrong apartment.

RUSSERT
The numbers were transposed from the
original file to the arrest warrant
memo?

LEWIS
So maybe Gee initialed the memo, so
what? You know hot it is, how many
pieces of paper cross your desk in a
shift.

RUSSERT
Wait, wait, wait. Giardello initialed
the memo?

LEWIS
Sure, he initialed it, like any other
warrant --

RUSSERT
He signed off an arrest warrant,
printed with the wrong address?

LEWIS
You're talking like what happened
was somehow Gee's fault.

RUSSERT
I'm just supposed to put together a
report, that's all.

LEWIS
Nailing Gee's butt to the wall.

RUSSERT
I've got no choice, Meldrick. I was
ordered. By Barnfather and Granger.

LEWIS
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?

RUSSERT
I don't want to do anything to him.
If he made a mistake, he made a
mistake. God knows we've all made
mistakes.

LEWIS
And God knows there's always gotta
be a fall guy, right?

LEWIS exits. On RUSSERT, conflicted,

CUT TO:

INT. LOCKER AREA/SUBWAY STATION - DAY

BAYLISS and PEMBLETON sit on bench, staking out Locker Area
across Station.

BAYLISS
Can you think of any place more
depressing than a subway station?

PEMBLETON
A lot of people take the subway.

BAYLISS
Yeah, I know, but, still.

PEMBLETON
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.

BAYLISS
Airports, they're kind of exciting.
Train stations have a certain glamour.
Even bus stations have some ambiance.
Subways are just... drab.

PEMBLETON
You're telling me you're too good to
take the subway?

BAYLISS
I'm not saying that. I'm saying if I
had a choice, I would take the bus.
Or rent a car.

PEMBLETON
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.

BAYLISS
I'm looking around here, Frank. The
one thing I do not see is anybody
having a good time.

PEMBLETON
You're a snob, you know that?

BAYLISS
I'm not a snob.

PEMBLETON
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.

BAYLISS
Frank what do you think?

They watch the YOUNG WOMAN stop at Holton's locker.

PEMBLETON
Is that him? Wearing a dress?

BAYLISS
Sure, a disguise. Maybe.

The YOUNG WOMAN pulls out a key, fumbles with it nervously
at the locker.

BAYLISS
Where'd the key come from?

PEMBLETON
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
Hold it.

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.

BAYLISS
Who the hell are you?

NANCE
Alice Nance.
(to PEMBLETON)
You're hurting my arm.

BAYLISS
You know Glen Holton?

NANCE
Know him? I love him. He's my
boyfriend.

On BAYLISS and PEMBLETON, surprised,

CUT TO:

INT. FELTON'S ROOM/MARYLAND SHOCK TRAUMA - DAY

FELTON sits in bed. LEWIS appears in doorway, holding a
stuffed giraffe.

LEWIS
Hey, Beau. How're you doing?

FELTON
Good.

LEWIS
That's good to hear.

A beat, as LEWIS hands in the doorway.

FELTON
Meldrick.

LEWIS
What?

FELTON
You can come in. What I got, it ain't
catching.

LEWIS
Right, sure.

LEWIS, uncomfortable, enters, sits in chair next to bed. He
hands FELTON giraffe.

LEWIS
I got this for you.

FELTON
Thanks.

LEWIS
It's from the gift shop downstairs.
It was either a stuffed animal or
wilted begonias.

FELTON
This is great.

FELTON holds giraffe.

FELTON
Thanks for coming. I know everybody's
busting their ass, looking for Holton.

LEWIS
We're gonna get him. Soon.

FELTON
(nods, beat)
I wanted to ask you a question.

LEWIS
Shoot. I mean... Y'know what I mean.
Anyway.

FELTON fiddles with the giraffe, then looks up.

FELTON
When Crosetti died... How'd you get
over it?

LEWIS
Awh, Beau... Kay's not gonna die.
She's not.

FELTON
I don't know that.

LEWIS
You can't think about it.

FELTON
Why not?

LEWIS
Because you just can't.

FELTON
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?

LEWIS
What you do is... You keep going.

FELTON
What do you mean, you keep going?

LEWIS
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
than that.

LEWIS takes a beat, searches for the words.

LEWIS
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.

FELTON
That's it? Keep going?

LEWIS
That's it.

FELTON looks at giraffe in his lap, then up at LEWIS.

FELTON
Meldrick, that's the stupidest thing
I ever heard.

LEWIS
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.

FELTON
Basically, yeah.

LEWIS
Then gimme back the giraffe.

FELTON
What? Forget it.

LEWIS
You don't like my advice, you ain't
getting the giraffe.

On FELTON, stubborn, as he holds onto the giraffe,

CUT TO:

INT. "THE BOX"/HOMICIDE UNIT - DAY

PEMBLETON, BAYLISS and WALKER interrogate NANCE.

BAYLISS
Holton loves you, huh?

NANCE
Glen. His name is Glen. Yeah, he
loves me.

WALKER
Alice -- Is it alright if we call
you Alice?

NANCE
Sure.

WALKER
Alice, do you know where Glen is?

NANCE
No.

BAYLISS
How long have you been Glen's
girlfriend?

NANCE
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.

PEMBLETON
Have you talked to him recently?

NANCE
Sure. Yesterday.

BAYLISS
I thought you didn't know where he
is?

Silence.

WALKER
What did he tell you?

NANCE
(pauses)
He said the cops are gonna kill him.
He said you think he shot three cops
and he was dead meat.

WALKER
No one wants to kill him.

PEMBLETON
What we want to do, Alice, is protect
Glen. But we can't do that if we
don't know where he is.

NANCE
You want to protect him?

PEMBLETON
What did he tell you would happen to
him if he stayed on the street?

NANCE
He said he's gonna get killed.

PEMBLETON
Did you believe him?

NANCE
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.

BAYLISS
So you and Glen went out, dated, for
how long?

NANCE
Well, we never actually went out or
anything.

WALKER
Then how do you know he loves you?

NANCE
I can tell. He would never say
anything, but I can tell. He needs
me.

The DETECTIVES exchange glances.

PEMBLETON
You want Glen to be safe, alive?

NANCE
Glen had a terrible childhood, you
know. His stepfather abused him.

WALKER
If you tell us where he is, Alice,
he'll be off the street. He'll be
safe.

NANCE
You're gonna put him in jail.

PEMBLETON
If he's in jail, no one's gonna kill
him. We can watch over him.

NANCE
You're gonna watch over him?

WALKER
Yeah, we are. We're gonna watch over
him. We're gonna make sure he's safe.

NANCE
That's what he needs. Someone to
take care of him. Someone to love
him. Like that Beatles song: "All
You Need Is Love".

BAYLISS
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.

NANCE
(pauses)
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.

PEMBLETON
Which shipyard, Alice?

NANCE
Over by Proctor and gamble.

As PEMBLETON stands and leaves, followed by BAYLISS and
WALKER,

FADE OUT:

END OF ACT TWO

ACT THREE

FADE IN:

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.

PEMBLETON
Any sign of him yet?

JASPER
No. I sent two guys down into the
ship an hour ago. They found a
sleeping bag and some empty soda
bottles.

BAYLISS
You sure he's coming back?

JASPER
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
he shows.

PEMBLETON
We're not going anywhere.

As PEMBLETON and BAYLISS hunker down for the long wait,

CUT TO:

INT. GIARDELLO'S OFFICE/HOMICIDE UNIT - DAY

GIARDELLO walks in and sees RUSSERT sitting behind the desk.

RUSSERT
Hello, Al.

GIARDELLO
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.

RUSSERT
That's good news. I hear Frank's
staked out the shipyard over by
Proctor and Gamble.

GIARDELLO
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.

RUSSERT
Al, we gotta talk.

GIARDELLO
About what?

RUSSERT
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
just said.

GIARDELLO
You're going to grade my homework?

RUSSERT
They gave me no choice.

GIARDELLO
You're a good soldier. You do what
you're told.

RUSSERT
Al, come on --

GIARDELLO
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
know?

RUSSERT
Did you initial the arrest warrant?

GIARDELLO
Yes.

RUSSERT
You didn't notice that the secretary
had transposed the numbers on the
address?

GIARDELLO
No.

RUSSERT
(hesitates)
I'll need all your case folders, the
paperwork requesting a warrant for
Glen Holton's arrest, whatever you've
got.

GIARDELLO
I'll have Naomi take care of it.

RUSSERT stands, walks out. As GIARDELLO sits down, agonized,

CUT TO:

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.

WESLEY
Detective Felton?

The NURSE stops a moment.

WESLEY
I'm Kay Howard's father.

FELTON
Oh. Hi. I'm sorry... about Kay.

WESLEY walks next to the gurney as they continue on.

FELTON
How's she doing?

WESLEY
She's stable. She's maintained a
steady body temperature for eight
hours now. But she hasn't woken up
yet. How are you?

FELTON
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.

WESLEY
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
the bedside.

FELTON
Kay... She'll be alright?

WESLEY
I hope so.

FELTON
Funny...

WESLEY
What?

FELTON
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.

FELTON smiles.

WESLEY
His loss.

FELTON
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.

FELTON
I'm sorry. About... for what happened
to Kay.

WESLEY
You didn't pull that trigger.

FELTON
I know, but I... opened the door for
her to walk in first.

WESLEY
Chivalry.

FELTON
It got her shot.

WESLEY
You seen her yet?

FELTON
No. I can't. I've tried a couple of
times, but I can't. It's my fault
she's in there.

WESLEY
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,

CUT TO:

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.

BAYLISS
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.

PEMBLETON
I'll call my people.

On Pembleton,

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
companion ways.

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
his radio.

PEMBLETON
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
radio.

MUNCH
I found him. He's running toward the
stern.

As the entire ship explodes in SCREAMING VOICES of QRT
OFFICERS and DETECTIVES,

CUT TO:

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.

PEMBLETON
Don't move.

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.

PEMBLETON
Glen Holton, you are under arrest
for the attempted murder of three
Baltimore City Police Officers.

As PEMBLETON continues to Mirandize HOLTON,

CUT TO:

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.

BARNFATHER
This is it? Your full report?

RUSSERT
Yes, sir. It's all there. Al was
extremely forthcoming.

BARNFATHER
And?

RUSSERT
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-
oh-one.

BARNFATHER
Why didn't Al double check the
specifics? Why didn't he catch the
transposition?

RUSSERT
He's a busy man...

BARNFATHER
Megan, did Al initial the orders to
arrest?

RUSSERT
(hesitates)
No.

BARNFATHER
No?

RUSSERT
No.

GIARDELLO comes into the office, faces BARNFATHER.

GIARDELLO
If you want to ask me any questions,
ask them directly.

RUSSERT
Al, it's okay, we're almost done --

GIARDELLO
I review and initial all warrants. I
reviewed and initialed the warrant
for the arrest of Glen Holton. I
screwed up.

BARNFATHER
That's not what Megan told me.

GIARDELLO understands quickly that RUSSERT must have just
lied for him.

BARNFATHER
Megan?

RUSSERT
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.

BARNFATHER
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.

GIARDELLO
You didn't have to do that.

RUSSERT
(innocent)
What?

GIARDELLO
Lie for me.

RUSSERT
I probably misunderstood the question.

GIARDELLO
The truth is, I should have caught
that mistake.

RUSSERT
Bull.

GIARDELLO stops, looks at RUSSERT.

GIARDELLO
You shouldn't have lied, but thanks.

RUSSERT
Lying to those guys? They're only
getting what they give.

LEWIS appears, looking for them.

LEWIS
We got the shooter, Gee.

As GIARDELLO and RUSSERT hurry after LEWIS,

FADE OUT:

END OF ACT THREE

ACT FOUR

FADE IN:

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.

HOLTON
What? You guys gonna bash me around
some more? Where's my lawyer?

PEMBLETON
Do you need a lawyer? What are you
guilty of?

HOLTON smirks, leans away from PEMBLETON.

HOLTON
I don't have to be guilty of anything
to have a lawyer. I know the routine,
awright?

HOLTON strains to look back at BAYLISS.

HOLTON
Do you gotta stand in back of me?

PEMBLETON
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?

BAYLISS
Why are you so nervous?

HOLTON
I heard about that kid who was killed
last week.

BAYLISS
And that makes you nervous?

HOLTON
I had nothing to do with it.

PEMBLETON
Who here says you did?

HOLTON
Then why am I here?

BAYLISS
You shot three police officers.

HOLTON
I didn't shoot anybody. I ain't even
got a gun. I don't like guns.
(to BAYLISS)
I don't like people standing behind
me, either.

PEMBLETON
Why, it reminds you?

HOLTON
I just don't like it, awright?

PEMBLETON
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?

HOLTON
I didn't do anything to that kid and
I didn't shoot any cops.

PEMBLETON
You're going for one or the other.
Take your pick.

BAYLISS
The cops are still alive. The kid is
dead. Your choice.

HOLTON
I didn't do anything.

PEMBLETON
They why were you on the run?

HOLTON
Gimme an aspirin. I got a helluva
headache.

BAYLISS
If you're innocent, why run?

HOLTON
I was scared, awright?

BAYLISS
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.

PEMBLETON
(to BAYLISS)
If it was me, I'd cop to shooting
the three detectives. In Jessup, I
might be given a little space. A
little respect.

BAYLISS
(to PEMBLETON)
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
different energy.

HOLTON
There's no way I'm copping to either
of these deals, fellas. Where's my
lawyer, huh?

BAYLISS
We're just thinking out loud, awright?
(to PEMBLETON)
If I killed that kid, I'd demand to
be put in isolation. I'd need
protection.

PEMBLETON
(to BAYLISS)
But then who could you trust? Who
else is in protective isolation with
you?

BAYLISS
I'd be there with special guards.

PEMBLETON
But I wouldn't trust them. They'd be
the last guys I'd trust.

BAYLISS
They have families, too, don't they?

PEMBLETON
They have kids. Anyone with kids, I
wouldn't want them guarding me.

BAYLISS
I see your point. Mistakes are made
all the time.

PEMBLETON
Someone turns their head for a second.
Some guard leaves a security door
unlocked for a moment. Real wrong
things can happen.

HOLTON
How 'bout you two don't think out
loud anymore, awright?

On HOLTON, looking miserable,

CUT TO:

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.

FELTON
I'm telling you, it's the foot, not
the shoulder.

FRENCH
Your shoulder is awright?

FELTON
It's my foot. I can't move it.

FRENCH
Any pain in the foot?

FELTON
My whole damn leg is on fire.

FRENCH
Good sign.

FELTON
Pain is a good sign? You make a living
for saying things like that?

RUSSERT enters, watches from doorway. FRENCH reads chart.

FRENCH
All of the tests on your leg show
there's been no damage to the major
arteries or to the bone structure.

FELTON
Then why the hell can't I move it?

FRENCH
It's psychological pain.

FELTON
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?

FRENCH
Naw. I just flunked 'em. That's why
I'm your doc instead of someone else.
(to NURSE)
I'm scheduling Detective Felton for
therapy on his neck and shoulder
starting tomorrow.

FRENCH and NURSE walk out. RUSSERT comes to Felton's bedside.

RUSSERT
Hi.

FELTON
Hi.

RUSSERT
You'll be dancing soon.

FELTON
Any day.

RUSSERT
Where's Beth?

FELTON
She can't stand to see me, weak or
strong. Hard to blame her, really.

RUSSERT sits down.

FELTON
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.

RUSSERT
You're not in the best condition to
be making major decisions, Beau.

FELTON
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
fighting.

RUSSERT doesn't know what to say.

FELTON
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.

RUSSERT
You've told her?

FELTON
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,

CUT TO:

INT. "THE BOX"/HOMICIDE UNIT - NIGHT

BAYLISS remains, like a vulture, behind HOLTON. PEMBLETON
throws his hands in the air.

PEMBLETON
Alright. That's enough. We got him
on the killing of Borkin, let's just
charge him.

BAYLISS
Frank, what're you talking about?

PEMBLETON
We have the Indian-beaded belt from
the Borkin kid. We found it in his
closet. We know the kid was in his
apartment.

BAYLISS
Well, you got the point. This way,
he goes up for murder.

PEMBLETON
Exactly. Murder. We convict, he goes
away for life. Maybe even gets the
gas chamber.

BAYLISS
Let's do it.

PEMBLETON stands.

PEMBLETON
On your feet, Holton.

HOLTON
Hold it, hold it.

PEMBLETON
What?

HOLTON falls silent. PEMBLETON sits back down. BAYLISS leans
over HOLTON's shoulders.

BAYLISS
We're all human. Fear makes us crazy.

PEMBLETON
You didn't want to shoot those cops,
did you, Glen?

BAYLISS
You were scared.

PEMBLETON
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.

HOLTON
You know.

PEMBLETON
I do.

HOLTON
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.

BAYLISS
How'd it get out of control, Glen?

HOLTON
(pauses)
It just did.

BAYLISS
I'm trying to understand.

HOLTON
I just come out of my apartment. One
of the cops, he sees me, he calls me
to stop.

PEMBLETON
Which guy?

HOLTON
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.

PEMBLETON
So before you get to the roof, what
happens?

HOLTON
I'm scared of heights, fellas, and I
got nowhere to go.

BAYLISS
You're not on the roof, Glen.

HOLTON
I'm on the roof.

BAYLISS
You're still in the hallway.

HOLTON
(pauses)
I know where I was. You're trying to
screw with me.

PEMBLETON and BAYLISS exchange a glance. HOLTON notices the
glance.

HOLTON
These three cops had their guns aimed
at me.

PEMBLETON
You saw this.

HOLTON
Three of 'em.

PEMBLETON
On the roof.

HOLTON
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.

BAYLISS
So you pull out a gun, huh?

HOLTON
(pauses)
I don't remember. I think I had my
gun already out.

PEMBLETON
But you don't like guns. You're scared
of 'em. How do you end up with a
gun?

HOLTON
(pauses)
All's I know is I have this gun --

BAYLISS
-- What kind of gun?

HOLTON
A gun.
(beat, grimaces)
One of those guns you get on the
street.

PEMBLETON
One gun?

HOLTON
(beat, smiles)
Why do you keep screwing with me?
Yeah, one gun.

BAYLISS
And you shoot the three detectives.

HOLTON
(pauses)
It happened so fast. I don't know.
And then I ran back down the stairs.

BAYLISS leans into HOLTON's face.

BAYLISS
You didn't shoot anyone.

HOLTON
No, I'm saying I shot the cops.

PEMBLETON
(frustrated)
You're lying. You killed Borkin. End
of story.

PEMBLETON and BAYLISS get up, exit "The Box".

INT. SQUAD ROOM/HOMICIDE UNIT - NIGHT

PEMBLETON and BAYLISS emerge, address GIARDELLO.

BAYLISS
He's not the one.

GIARDELLO
What?

PEMBLETON
Holton didn't shoot Bolander, Howard
and Felton.

GIARDELLO
If he didn't, then who did?

On PEMBLETON, BAYLISS and GIARDELLO, upset,

CUT TO:

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
body.

DRUMMOND
Just got off the phone with Giardello.
Holton wasn't the shooter.

MUNCH
What?

DRUMMOND
He's just been charged with he murder
of the kid. He's didn't pop Stan or
the other two.

MUNCH
What the hell. So somewhere there
tonight the real killer's having
some buffalo wings and the beer and
laughing his ass off.

DRUMMOND
No one died.

MUNCH
He shot to kill. That makes him a
killer.

DRUMMOND looks at BOLANDER.

DRUMMOND
Look at him. He's a damn vegetable.

MUNCH laughs. DRUMMOND looks up.

DRUMMOND
That cracks you up?

MUNCH
Stan hates vegetables. Carrots
especially. He breaks out in hives.

DRUMMOND
Your partner is lying here, maybe
never to open his eyes again and
you're laughing? How the hell do you
do that?

MUNCH
He's always said I have a sick sense
of humor.

MUNCH looks at BOLANDER.

MUNCH
He never liked me as much as he liked
you.

DRUMMOND
I'm not sure that's anything to
regret.

MUNCH
He ever make you eat sour beef and
dumplings at Rollos?

DRUMMOND
Yeah, all the damn time.

MUNCH manages a smile.

MUNCH
He never took me.

DRUMMOND
Really?

MUNCH
Not once.

DRUMMOND
Then he does like you, John. He made
me eat that slop three times a week.

They consider BOLANDER. Beat. MUNCH stands.

MUNCH
Want to... get a beer, or something?

DRUMMOND stands.

DRUMMOND
Sure.

As DRUMMOND and MUNCH walk out together,

CUT TO:

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,

CUT TO:

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.

CUT TO:

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.

FELTON
Are you enjoying this?

BOY
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
reach it.

FELTON
Cool car they drive anyway. Red and
white seventy-four Gran Torino.

BOY
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
himself out.

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
him.

FELTON
How you doing, Kay?

HOWARD
(beat; with great
difficulty)
Better.

He reaches for HOWARD's hand and gently holds it in his. As
the two PARTNERS look at each other in the darkness,

FADE OUT:

THE END

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