INT. BALLISTICS/POLICE HEADQUARTERS - NIGHT
SOUND of a gun BLAST, REVEAL WESTMORELAND MAXWELL test firing
Jim's revolver. REVEAL PEMBLETON, BAYLISS and Assistant
State's Attorney ED DANVERS watching. MAXWELL approaches
The bullet that killed Hikmet
Gersel was definitely fired from
We already knew that.
Or are you thinking that Jim shot
the kid then switched guns?
Surrendered a different gun? What
kind of case are you trying to
Bayliss, why don't you go break
some more windows.
Does he have to be here?
I don't think we're compromising
anything by his presence. Go on.
Okay. Theoretically,a woman can
lead a man on, go up to his room,
take off her clothes, jump into bed
-- it becomes rape the moment she
says stop. Jim may have feared for
his life at some point during the
confrontation, but he wasn't afraid
at the moment he fired the fatal
He made a bad judgment call.
You're gonna crucify him for making
This is more than a bad judgment
call. He killed Gersel for some
What other reason?
I think it's racially motivated.
Why does that not surprise me,
Frank? Why am I not stunned that
you've unearthed yet another racial
I guess you know me too well, Tim.
Danvers, will you put a stop to
I could deem the incident
accidental, a misunderstanding
established by circumstances. I
could decide that the suspect not
be charged. But I'm not sure I
should take on the burden of
determination... I'm going to
recommend we go before a Grand Jury
On what charge?
Because you're a cop. Because your
cousin's white. I don't want it to
look like we're showing any
Oh, I see. In an effort not to
show favoritism, Jim's being overly
BAYLISS walks away. On DANVERS, turning to PEMBLETON,
INT. HOLDING CELL/POLICE HEADQUARTERS - NIGHT
JIM sits, cramped together with two PRISONERS. BAYLISS
enters, followed by TURNKEY, who opens cell door.
Man, I'm glad this is all over.
Jim... It's a lot of bull, but
there are some unanswered questions
What're you talking about?
The State's Attorney is putting the
case before a Grand Jury.
You're not serious. I thought the
creep was going to hurt my wife --
What can I say? Everybody's trying
to cover themselves.
C'mon, we'll talk about this on the
ride home. We just gotta go down
to the Court Commissioner's Office
to sign you out.
TURNKEY takes out handcuffs.
No. He's not putting those on me
Teege, man, I'm telling you, you
don't know what it's like wearing
those things -- it's like you have
no control, it's like they can do
anything they want to you.
Can't we lose these?
You know the rules.
I'll be right with him. I'll be
You gonna be responsible to feed my
kid when I lose this job?
TURNKEY grabs JIM's wrist. JIM flings the TURNKEY's hand
Get away from me. I'm warning you
Hold on --
TURNKEY grabs JIM. PRISONERS start CHEERING, WHISTLING, as
JIM deftly pushes TURNKEY, who falls hard to the floor. From
behind, BAYLISS wraps his arms around JIM, who pushes him
back into cell. JIM turns, out of control, facing BAYLISS,
who is calm. They peer into each other's eyes.
Trust me, Jimmy, this is the only
JIM's rage diminishes. He looks around, sees TURNKEY getting
He holds out his wrists to be cuffed. On the cuffs
tightening around JIM's wrists again,
INT. SQUAD ROOM/HOMICIDE UNIT - NIGHT
HOWARD and LEWIS work at their desks as MUNCH enters,
Well, I did it. I fired Henri.
I've never had to fire anyone
before. I hate being a boss.
He took it badly, huh?
He stared at me with those sad,
sweet, Gaulish eyes, so full of
hope, so eager to please... But I
didn't beat around the bus. I told
him, flat out, "Mon aim, vous tees
What'd he do?
That's the incredible thing -- he
simply held out his colander to me
and left. What dignity. What
Well, the good news is -- I hired
us a cook. Not a chef. A cook.
She starts tomorrow.
Where'd you find someone so fast?
In my own backyard. Literally. I
hired my grandmother.
We went from employing Henri de
Segonzac, a graduate of Le Cordon
Blue, to Granny Lewis?
She's spent the past twelve years
making hash at Down Home Soul
Cooking. She has, what we call, a
I love her to death.
PEMBLETON and BOLANDER enter.
Hey, what's the latest on Tim's
I'm going home.
PEMBLETON gets his things. BOLANDER moves to MUNCH, HOWARD
Danvers is sending the case to the
How's Tim about that?
PEMBLETON SLAMS desk drawer, exits. LEWIS calls after him.
BOLANDER sits at his desk, depressed.
What's the matter, Big Man?
Am I the only one around here who
thinks we are having an incredibly
Am I the only one who thinks that
God or Fate or the Furies, whoever
deals out the cards, keeps dealing
off the bottom of the deck? Lewis
loses a partner, I get a bullet in
the brain, Kay gets one in the
heart and you, Munch, you had that
incredibly dumbass idea about
buying the restaurant...
I wouldn't say it was dumbass,
You and me, we argue all the time.
But never about the big stuff.
Pembleton and Bayliss, this thing
with Jim, this is big, this is
ugly. I don't know how two
partners could ever come back from
something like this...
With that, BOLANDER goes to work. On LEWIS, HOWARD and MUNCH
exchanging a glance,
INT. TIM BAYLISS' CAR - CONTINUOUS
BAYLISS drives, JIM sits in passenger seat, SHANNON is in
My name was Captain Lightning.
I was Zapman.
You guys were how old?
None of us had hit puberty.
What was Kurt's super identity?
Ultra King, right.
You obviously had been reading too
many comic books.
We decided to dedicate ourselves to
fighting crime. Real crimes. We
were very serious about it. Even
set up a kind of Batcave in our
We'd run around the neighborhood,
with beach towels tucked into the
neck of our shirts, jumping off
porches and stuff, looking for
You ever find any?
No. Though we did beat the snot
out of this Jap kid. We thought he
was a spy.
How long did you boys keep fighting
'Til my dad died.
JIM looks out window.
JIM's POV: His house coming up.
Then all the fun and games stopped.
JIM focuses on the house, as BAYLISS pulls into driveway.
EXT. JIM BAYLISS HOME/HICKORY AVENUE - NIGHT
The Car pulls into driveway. BAYLISS, JIM and SHANNON get
out. The driveway and lawn are a mess -- trampled through,
paper strewn. They walk to front door. JIM stops.
JIM's POV: The chalk line around the body of Gersel; inside
the circle are the remains of his blood and guts.
I would've though you cops would
clean up after yourselves.
That's not our job. I'll bet the
inside of the house is a mess, too.
Y'know, you could start a company,
a cleaning company. After the cops
leave the scene of a crime, they
come in, clean up everything.
In Balto, you'd make a fortune.
I'm going to check on the kids,
send my folks home.
SHANNON faces JIM, who's staring at the chalk line.
You should go to bed.
JIM nods, still staring. SHANNON kisses BAYLISS.
SHANNON goes into house. BAYLISS puts his palm on JIM's
shoulder. Beat. JIM turns to him. Without thinking, they
hug each other -- a spontaneous act of forgiveness, comfort,
Shannon's right, you should get
In a minute.
JIM crosses to side of house, gets hose. He turns on spigot.
He crosses back to front door. He turns down the nozzle,
water spews forth. He starts hosing down the sidewalk,
washing away the chalk line, the blood, the guts.
Who'd've thought his guts would be
the same color as ours...
BAYLISS reacts. On the TWO of THEM watching the blood and
guts flow in a stream to the curb,
INT. BEDROOM/PEMBLETON APARTMENT - NIGHT
MARY WHELAN-PEMBLETON lies sleeping. PEMBLETON enters.
Trying not to wake her, he tip-toes around. He bumps into
MARY wakes up, startled.
Oh jeez, Frank --
I thought it was a burglar.
(slips off his jacket)
What would you have done if it was?
I don't know. Wake you up.
But I'm not always here, especially
when I'm working the night shift.
What would you do if someone broke
in and you were alone?
Scream. Hide. Pray.
(takes off his gun)
Maybe I should get you one of
One gun in the house is plenty,
I want you to be able to protect
You give me a gun, I'm more likely
to shoot myself in the foot.
(exits into Bathroom)
You're not afraid?
Well, sure, I've got a healthy
amount of fear. But choose to live
in the City. That means a certain
amount of risk. I could have a
gun, an alarm system, big thick
bars on the window, twelve locks on
the door, by lying her all safe and
sound -- and the ceiling could fall
on my head.
PEMBLETON comes out, ready for bed. He climbs in next to
MARY, kisses her.
Oh no, you don't.
You don't come in here, wake me out
of a sound sleep, then turn the
lights off unless you've got a lot
more in mind than catching some Zs.
MARY leans over, kisses him passionately.
I just got my second wind.
One the TWO of THEM, kissing,
EXT. BALTIMORE - DAWN
INT. MASTER BEDROOM/JIM BAYLISS HOME - DAY
JIM lies asleep, a smile on his face. His eyes flutter,
waking up. He takes a moment, listening to his own breath,
his own heartbeat. He's not sure for a moment -- was it all
CAMERA PANS to find SHANNON in the doorway, holding the BABY.
The other CHILDREN clutch her legs.
You'd better come.
INT. LIVING ROOM/JIM BAYLISS HOME - DAY
SHANNON holds the CHILDREN back as JIM, in bathrobe, goes to
front door, opens it.
EXT. JIM BAYLISS HOME/HICKORY AVENUE - DAY
Five TV news trucks are parked side-by-side. The lawn is
covered with REPORTERS, CAMERAMEN, SOUNDMEN, who lunge at JIM
the moment they see his face. Totally disoriented, JIM spins
around, the CAMERA following him. On JIM, his head spinning,