Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Baltimore Pictures and Fatima Productions in association with NBC Studios, all rights reserved. Homicide was created by Paul Attanasio and based upon David Simon's book Homicide: A Year on the Killing Streets. The following script is in no way a substitute for the show Homicide: Life on the Street, it's for educational purposes only. This script is not authorized or endorsed by Baltimore Pictures, Fatima Productions, or NBC. It was scanned by Pamela Rose and made available for your downloading enjoyment by Laurel Krahn at http://www.windowseat.org/homicide/scripts/.
HOMICIDE: LIFE ON THE STREET
Episode Ten:
"Every Mother's Son"
Teleplay by
Eugene Lee
Story by
Tom Fontana & James Yoshimura
EXECUTIVE PRODUCERS FINAL DRAFT
Barry Levinson Prod. #310
Tom Fontana September 29, 1994
CO-EXECUTIVE PRODUCER Rev. 10/5 blue
Henry Bromell
SUPERVISING PRODUCER
Jim Finnerty
PRODUCER
Gail Mutrux
DIRECTOR
Ken Fink
Please note Episode #310, "Every Mother's Son," takes place in the Winter. All
wardrobe, props, etc., should reflect the weather conditions of the Winter season in
Baltimore.
Also note that due to possible changes in the network schedule, any of the following
episodes, #309 through #313, could air prior to Episode #308 (the Christmas episode).
Excluding the Teaser, this episode begins in the day, continues through to the
following day and ends that evening.
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
DAVID SAYERS . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
PATRICE SAYERS . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Rhonda Stubbins White
RONNY SAYERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
JASON NAWLS . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MARY NAWLS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Gay Thomas
THERESA COUSART . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ALYSSA DYER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Harlee McBride
STATE'S ATTORNEY MAGGIE CARTER . . . . . . . . . . . . . . . . . . . . . .Helen Carey
LARRY RUNYON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
PENELOPE SMITH-HADDON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
JUDGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
SHERIFF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . .
WOMAN #1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
WOMAN #2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
WOMAN #3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
YOUNG GIRL #1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
YOUNG GIRL #2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
YOUNG MALE . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . .
SETS
EXTERIORS INTERIORS
Braznell's Caribbean * Braznell's Caribbean
Kitchen Kitchen
* Cavalier
The Daily Grind
East Baltimore Homicide Unit
Nawls Home "The Aquarium"
* "The Box"
* Giardello's Office
Memorial Stadium Squad Room
Mitchell Courthouse Medical Examiner's Lab
Patterson Park Lanes Mitchell Courthouse
Entrance Way Patterson Park Lanes
Warehouse Police Headquarters
The Waterfront Restaurant Hallway
West Baltimore Lobby
Sayers Home Processing Room
Sayers Home
Hallway
Kitchen
Living Room
The Waterfront Restaurant
"Every Mother's Son" 1
10/5/94
TEASER
FADE IN:
1 EXT. MEMORIAL STADIUM - NIGHT
1 Packed stands. Pre-game. The BAND is PLAYING.
CHEERLEADERS bounce from one end of the field to the other.
The Baltimore Canadian Football League TEAM stands along one
sideline. The Las Vegas POSSE of the CFL stands on the
sideline across the field. A couple of huge Baltimore
LINEMEN look down the sidelines, shaking their heads at KAY
HOWARD, BEAU FELTON, STANLEY BOLANDER, JOHN MUNCH, MELDRICK
LEWIS, FRANK PEMBLETON, TIM BAYLISS and AL GIARDELLO. A
DOZEN UNIFORMS stand nearby as well.
HOWARD
Gee, what the hell are we doing
here? We're Murder Police for
crying out loud. This is
ridiculous.
GIARDELLO
Detective Howard, this is the
City's way of recognizing the hard
working men and women of the
Baltimore City Police Department.
It's an honor really.
LEWIS
It's a joke. A photo-op and a
joke.
GIARDELLO
It's a chance for the taxpayers to
see their law enforcement personnel
face-to-face.
PEMBLETON
Face-to-face? With what? An eight
million power telescope? Those
folks in the nose-bleeds can't tell
me from Adam.
GIARDELLO
All right. Enough. We were
ordered here. Now go with the
flow.
MUNCH walks behind the PLAYERS, tapping them on the
shoulders and handing out business cards.
(CONTINUED)
"Every Mother's Son" 2.
10/5/94
1 CONTINUED:
MUNCH
Hey, fellas. I just wanted to
invite you and your friends to a
great new bar. The Waterfront. We
don't short pour and our wings are
hotter than the cheerleaders. Come
on down.
FELTON stands next to a huge LINEMAN, smiling.
FELTON
Hi. How are you?
The LINEMAN ignores FELTON.
FELTON (cont.)
You know I played a little high
school ball. Linebacker.
The LINEMAN gives FELTON a disdainful look, walks away.
BOLANDER sits on the end of the bench, elbows on knees, face
in his hands, thick with sad memories. He doesn't even look
up as BAYLISS sits down next to him with a water bottle.
BAYLISS squirts some water in his mouth, splattering the
front of his suit.
BOLANDER
Look at that grass.
BAYLISS
What? The grass?
BOLANDER
This soil is soaked with the sweat
and blood of . . . Johnny Unitas . . .
Alan Ameche . . . Tom Matte. Gino
Marchetti used to flatten Elroy
"Crazy Legs" Hirsch right there on
the forty-yard line.
BAYLISS
Stan, these guys play for us just
like all your old Baltimore Colt
heroes. Same City, same stadium.
Same game.
BOLANDER
(looks at BAYLISS for a moment)
So young... So ignorant.
(CONTINUED)
"Every Mother's Son" 3.
10/5/94
1 CONTINUED: 2 1
BOLANDER reaches down and pulls a few blades of grass from
the hallowed field and puts them in his pocket. Suddenly,
the PA Announcer's VOICE BOOMS through the Stadium.
PA ANNOUNCER (v.o.)
Ladies and gentlemen, in the
Baltimore CFL's continuing tribute
to the special people who serve our
city so well ... We are tonight
honoring those who keep Charm City
safe. Would you please stand and
give a big hand to the
representatives of the men and
women of the Baltimore City Police
Department.
GIARDELLO leads his PEOPLE in a home run trot through a
channel of CHEERLEADERS. BAYLISS runs, smiling at EACH
YOUNG LADY. The OTHERS follow behind, waving at the CROWD.
Then there's BOLANDER, who trots out last in line, his hands
in pockets, unable to forget his beloved Colts. As the
CROWD roars its approval,
FADE TO:
MAIN TITLES
"Every Mother's Son" 4.
10/5/94
ACT ONE
FADE IN:
2 INT. PATTERSON PARK LANES - DAY
TINKLING SOUNDS. Maybe wind chimes. CU on a blue sphere.
PULL BACK to REVEAL a bowling ball. PAN ACROSS to
outstretched fingers, a wrist, an arm, a shoulder, onto the
angelic FACE of a young thirteen year old Black male. His
eyes open, surprised. An angry red pool of blood halos his
head. ME ETCHES are pulling a body bag around the TORSO of
the thirteen year old, watched by ALYSSA DYER, Assistant
Medical Examiner. PATRONS, stunned, in shock, herded behind
yellow crime scene tape. The TINKLING SOUNDS comes from
automatic pin setting machines. PEMBLETON bends down to
count shell casings. BAYLISS examines BODY.
PEMBLETON
Three shell casings. Twenty-two
caliber.
BAYLISS
Powder burns. Close contact
wound. Half-circle muzzle imprint.
Someone jammed the barrel right up
against this kid's head.
PEMBLETON
(beat, sighs)
Serious intentions.
DYER hands BAYLISS a wallet.
DYER
We found this on the boy.
BAYLISS opens it, pulls out YMCA card, reads.
BAYLISS
Darryl Nawls.
On PEMBLETON, gazing down at the dead BOY,
CUT TO:
3 EXT. ENTRANCE WAY/PATTERSON PARK LANES - DAY 3
SERIES OF SHOTS: PEMBLETON and BAYLISS interviewing
WITNESSES. PEMBLETON with YOUNG GIRL #1.
PEMBLETON
He came out nowhere?
(CONTINUED)
"Every Mother's Son" 5.
10/5/94
3 CONTINUED:
YOUNG GIRL #1
Uh-huh.
PEMBLETON
What's "nowhere?"
YOUNG GIRL #1
He just walked in.
CUT TO:
BAYLISS with YOUNG MALE.
BAYLISS
You saw the shooter walk in?
YOUNG MALE
Just by himself. And he pulls out
this bad ass piece from his waist.
YOUNG MALE demonstrates pulling a gun from beneath his
jacket at his waistband.
BAYLISS
He say anything to this Darryl kid?
YOUNG MALE
Nope. Just strolls up, pulls his
piece out and Zip-Zip-Zip right
into the kid's head.. Right in his
ear. Like an assassination or
something, y'know. He was cold.
CUT TO:
PEMBLETON and BAYLISS with YOUNG GIRL #2, who is teary-eyed.
PEMBLETON
He was cold, huh?
(beat)
But this dead kid, Darryl, didn't
have any enemies? You don't know
anyone who was out to get him?
YOUNG GIRL #2
We come here every Friday after
school 'cause Darryl was teaching
me how to bowl.
PEMBLETON
Darryl didn't run with any gang?
(CONTINUED)
"Every Mother's Son" 6.
10/5/94
3 CONTINUED: 2
YOUNG GIRL #2
Darryl ain't down with that stuff.
He likes being himself, y'know. In
the library with his stories. He
liked to write stories.
PEMBLETON
He wrote stories?
YOUNG GIRL #2
'Bout how he's gonna get himself
out of East Baltimore.
BAYLISS
You never saw the kid who shot him
before?
YOUNG GIRL #2
Oh, yeah, I seen him before.
Name's Ronny Sayers.
On PEMBLETON and BAYLISS, exchanging glances, as PEMBLETON
writes down the name,
CUT TO:
4 EXT. - THE DAILY GRIND - DAY 4
MUNCH and LEWIS exit, each carrying a cup of coffee. They
head toward The Waterfront. LEWIS has a folder of papers
tucked under his armpit. MUNCH furiously stirs his coffee.
LEWIS
You musta dumped half a pound of
sugar into that cup. I thought you
hated sugar.
MUNCH
I need a glucose boost.
LEWIS
You're gonna end up with the sugar
blues, John.
MUNCH
I'm gonna end up with a coronary if
we don't get some decent beverage
servers for our bar hired today.
MUNCH pauses, drains half his cup of coffee, grimaces at the
sweetness. He and LEWIS continue walking.
(CONTINUED)
"Every Mother's Son" 7.
10/5/94
4 CONTINUED: 4
MUNCH (cont.)
It's a watershed moment, Meldrick.
We're taking on enormous
responsibilities. We are on the
threshold of becoming what I never
imagined in my wildest dreams. We
are about to become bosses.
LEWIS
We're hiring a couple of
waitresses, John. What are you
getting all wired out about?
They arrive at the entrance of The Waterfront.
5 INT. THE WATERFRONT RESTAURANT - DAY 5
MUNCH and LEWIS walk in. A half-dozen WOMEN of various ages
await them, sitting at tables just inside the door.
MUNCH
Good morning one and all.
The WOMEN remain expressionless, eyeing MUNCH and LEWIS.
MUNCH and LEWIS walk down to the end of the bar.
MUNCH (cont.)
Remember. Who we hire directly
reflects who we are. We proceed
with all due care and
consideration.
LEWIS
Right.
LEWIS opens a folder, takes out copies of an employment
application, walks over and hands them out to the WOMEN.
LEWIS (cont.)
If you would be so kind as to fill
out this paper. It concerns your
previous employment history.
WOMAN #1, a willowy, long haired brunette with translucent
skin, her eyes deep with pools of poetry, turns to LEWIS.
WOMAN #1
You got a pen?
LEWIS
Sure sure.
(CONTINUED)
"Every Mother's Son" 8.
10/5/94
5 CONTINUED: 5
LEWIS reaches into his pockets, searches for a pen. No pen.
He looks back to MUNCH, motions for a pen. MUNCH searches
through his pockets. No pen.
LEWIS (cont.)
Anyone here have a spare pen or
pencil?
WOMAN #2, mid-twenties, raises her hand.
WOMAN #2
I need something to write with,
too.
LEWIS
Anyone else?
The other remaining WOMEN all raise their hands. On MUNCH
and LEWIS, as the business grinds to a halt,
CUT TO:
6 EXT. NAWLS HOME/EAST BALTIMORE - DAY 6
BAYLISS and PEMBLETON approach a tiny rowhouse, BAYLISS
holding the dead boy's wallet. FOUR LITTLE GIRLS, ranging
in age from seven to ten, skip double-dutch on the sidewalk.
BAYLISS RINGS the doorbell. The GIRLS stop and stare at
BAYLISS. BAYLISS RINGS doorbell again, turns to take in the
stares from the GIRLS.
BAYLISS
Howdy.
GIRLS stand mute, staring holes into BAYLISS. PEMBLETON
stands tiptoe and looks into front window of rowhouse.
HIS POV: A small, battered color TV showing cartoons.
PEMBLETON
Somebody's home.
PEMBLETON RAPS lightly on the window.
HIS POV: JASON NAWLS, small ten year old boy, leans into
view, stares at PEMBLETON for a beat, leans out quickly.
BAYLISS
Someone there?
PEMBLETON
A little kid.
(CONTINUED)
"Every Mother's Son" 9.
10/5/94
6 CONTINUED: 6
The door opens. JASON stands in the threshold.
PEMBLETON (cont.)
Hi.
The little BOY stands mute, staring hard, puzzled at
BAYLISS.
BAYLISS
Is anyone else home?
JASON
No.
PEMBLETON
Your Mom or Dad here?
JASON
No.
BAYLISS
Do you know where they are?
No response.
PEMBLETON
Where can we find your Mom? We
need to talk to her about Darryl.
JASON
She's at work.
BAYLISS
How about your Dad?
No response.
PEMBLETON
What's your name?
JASON
Jason.
PEMBLETON
Mine's Frank. This is my partner
Tim.
BAYLISS
Hi, Jason.
JASON stares at BAYLISS.
(CONTINUED)
"Every Mother's Son" 10.
10/5/94
6 CONTINUED: 2 6
PEMBLETON
How can I talk to your Mom or Dad?
JASON
There ain't no Dad here.
On PEMBLETON and BAYLISS, gazing at JASON,
CUT TO:
7 INT. THE WATERFRONT RESTAURANT - DAY 7
MUNCH and LEWIS sit at table in the dining area. WOMAN #2
walks up to MUNCH and LEWIS, holding her employment
application. She hands it to LEWIS. He scans the form.
LEWIS
Thank you.
MUNCH
Please. Have a seat.
WOMAN #2 sits, nervously shifts around in her seat. LEWIS
reads application.
LEWIS
You've had a lot of jobs.
WOMAN #2
Uh-huh.
LEWIS
You've worked Duda's, John
Steven's, Fletcher's ...
WOMAN #2
Just about every restaurant and bar
in Baltimore.
MUNCH
(reading over LEWIS' shoulder)
Is there any reason you've never
worked any job longer than three
weeks?
CUT TO:
WOMAN #3, grandmotherly-type, beehive hairdo.
(CONTINUED)
"Every Mother's Son" 11
10/5/94
7 CONTINUED: 7
WOMAN #3
One rule I don't abide by is: The
customer is always right. The
customer is never right.
MUNCH and LEWIS arch their eyebrows.
CUT TO:
WOMAN #1 has a canvas tote bag slung over her shoulder.
WOMAN #1
I'm really not a waitress.
MUNCH
Oh?
WOMAN #1 rustles through her tote bag, extracts a thick
binder, hands it to MUNCH.
WOMAN #1
I write. One-acts.
MUNCH
Hunh, one-act plays.
WOMAN #1
Read them and we'll talk about
them, okay?
LEWIS
You're a writer and you had to ask
for a pen?
WOMAN #1
My life is total irony.
MUNCH
And all in one act, huh?
CUT TO:
WOMAN #3 sits in front of LEWIS and MUNCH.
WOMAN #3
At my tables, it's a two-drink
limit. I tell 'em, you want more,
there's the door. I do not
tolerate boozers, especially those
vodka drinkers. First drink,
they're so tall.
(MORE)
(CONTINUED)
"Every Mother's Son" 12.
10/5/94
7 CONTINUED: 2 7
WOMAN #3 (cont.)
(holds hands over head)
Second drink, they think they're
some kind of John Wayne giants.
When I hear, "Howdy, Pilgrim," I
know it's time to haul out the
baseball bat.
As MUNCH and LEWIS stare at WOMAN #3,
CUT TO:
8 EXT. BRAZNELLIS CARIBBEAN KITCHEN - DAY 8
PEMBLETON and BAYLISS exit the Cavalier. BAYLISS opens the
rear door. JASON tumbles out of the rear seat, goes running
for the entrance.
9 INT. BRAZNELLIS CARIBBEAN KITCHEN - DAY 9
A small, twenty-seat storefront establishment. Bob Marley
Posters on the wall. A tall, thin Black woman, MARY NAWLS,
late thirties, wipes down a table. She looks up at the
SOUND of the door opening, sees JASON here. She spies
PEMBLETON and BAYLISS following on JASON's footsteps.
JASON
Momma. These two guys are
detectives.
NAWLS
(to PEMBLETON)
Yes?
PEMBLETON
You're Mrs. Nawls, Darryl's mother?
NAWLS
I'm his mother.
NAWLS looks to PEMBLETON and BAYLISS, reading their faces.
BAYLISS glances away.
NAWLS (cont.)
Where's Darryl? Is he in trouble?
(beat, terrified)
Is he okay?
JASON comes around to NAWLS' hip.
NAWLS (cont.)
Has he been in an accident or
something?
(CONTINUED)
"Ever Mother's Son" 13.
10/5/94
9 CONTINUED: 9
PEMBLETON
Mrs. Nawls, I'm a Homicide
Detective.
NAWLS
Homicide? What, homicide?
NAWLS folds in at her waist as if her breath has been
punched out of her On NAWLS as WE HEAR Muddy Waters
PLAYING "Who Do You Trust",
CUT TO:
10 INT. MEDICAL EXAMINER'S LAB - DAY 10
SONG CONTINUES. ATTENDANTS move about, preparing for the
autopsy on Darryl Nawls. His BODY lies on a steel table,
covered by a sheet. PEMBLETON raises the sheet to REVEAL
Darryl's FACE. NAWLS forces herself to look at Darryl's
FACE. NAWLS gently touches Darryl's eyes, turns and exits
the room.
PEMBLETON's POV: NAWLS walking out into the corridor, being
met by JASON. JASON looks into the Examining Room. NAWLS
shields his face from seeing Darryl's BODY.
On PEMBLETON, saddened,
CUT TO:
11 EXT. SAYERS HOME/WEST BALTIMORE - MAGIC HOUR
SONG CONTINUES. PEMBLETON, BAYLISS and UNIFORMS in Kevlar
vests, shotguns, sidearms drawn move quickly around the
front and back of a rowhouse. Other UNIFORMS move to cordon
off the area, redirect traffic, move PEDESTRIANS out of the
way. NEIGHBORS stick their heads out of their windows to
see what's going on. PEMBLETON crouches into a shooting
position, KNOCKS on the door.
PEMBLETON's POV: A PRESENCE throws a shadow across the
window of the front door. A pair of eyes peek out of the
front door's window. The door opens slowly.
PEMBLETON leads the charge into the rowhouse.. BAYLISS and
UNIFORMS follow.
12 INT. LIVING ROOM/SAYERS HOME - NIGHT 12
SONG CONTINUES. A middle-aged woman, PATRICE SAYERS, is
knocked backwards as PEMBLETON charges in, BAYLISS behind
him. she SCREAMS. A UNIFORM pulls her out of the way.
BAYLISS charges upstairs. UNIFORMS with shotguns burst
into the bathroom.
"Every Mother's Son" 14.
10/5/94
13 INT. HALLWAY/SAYERS HOME - NIGHT 13
SONG FADES. Harshly lit, full of shadows. BAYLISS comes
up the stairs. A SHADOW moves. BAYLISS instinctively jumps
away, raising his drawn gun to aim at the SHADOW. A seven
year old boy, DAVID SAYERS, appears.
BAYLISS
What are you doing?
DAVID
I have to get something.
Unconcerned, DAVID walks past BAYLISS.
BAYLISS
Where are you going?
DAVID
To get my spelling.
DAVID walks into the back bedroom. BAYLISS glances in,
sees DAVID reach under a pile of papers on a nightstand and
grab a schoolbook.
BAYLISS
You do good in spelling?
DAVID
Yes.
(re: BAYLISS' drawn gun)
I wasn't going to hurt you.
BAYLISS
I know that.
DAVID comes out of the bedroom, pauses as he passes
BAYLISS.
DAVID
No, you didn't.
On BAYLISS, holstering his gun,
CUT TO:
14 INT. KITCHEN/SAYERS HOME - NIGHT 14
PEMBLETON and BAYLISS with SAYERS. DAVID sits at kitchen
table, doing his spelling homework.
PEMBLETON
Where's your son Ronny now?
(CONTINUED)
"Ever Mother's Son" 15
10/5/94
14 CONTINUED: 14
SAYERS
He's with his friends.
BAYLISS
Where's his friends?
SAYERS
(to PEMBLETON)
What did he do?
PEMBLETON
We want to talk to him about a
shooting this afternoon.
SAYERS
A shooting? My Ronny?
BAYLISS
Where is he?
SAYERS
(to PEMBLETON)
Is he okay?
PEMBLETON
We need to find him.
SAYERS
He's okay, though?
BAYLISS
He may be involved in the shooting
of a thirteen year old boy this
morning.
PEMBLETON
He was identified by several
witnesses at the bowling alley
where the murder took place. Where
is he?
SAYERS
He said he was going over to his
friend Henry's house after school
and then they were going to play
some basketball. How can my Ronny
be involved in any of this? He's
only fourteen years old.
BAYLISS
He's how old?
(CONTINUED)
"Every Mother's Son" 16.
10/5/94
14 CONTINUED: 2 14
SAYERS
(to PEMBLETON)
Fourteen.
PEMBLETON
When did you see him last?
SAYERS
This morning, here at the breakfast
table. He had a bowl of cereal.
Raisin Bran. He always has a bowl
of Raisin Bran. Every morning.
PEMBLETON
Where does this friend Henry live?
SAYERS
(pausing)
I'm not sure.
PEMBLETON
How can you not-be sure?
SAYERS
Over on Eutaw Street? I think it's
on Eutaw Street.
BAYLISS
What's Henry's last name?
SAYERS
Crayton? Clawson?
On PEMBLETON, frustrated, lighting a cigarette,
CUT TO:
15 OMIT 15
16 INT. CAVALIER - NIGHT 16
PEMBLETON drives, intent. BAYLISS rides shotgun.
BAYLISS
I had my gun pointed at that
little boy back there. But for the
grace of God...
(pause)
Could you slow down, Frank?
PEMBLETON
You don't like my driving?
(CONTINUED)
"Every Mother's Son" 17.
10/5/94
16 CONTINUED: 16
BAYLISS
This isn't driving. This is
hurtling. You're reckless. A
threat to society.
PEMBLETON
Hey, you've got something against
how I drive, you can take your turn
at the wheel. And then I'll do the
play-by-play critique and ride the
rules of the road all over your
ass.
PEMBLETON slows down, exhales.
BAYLISS
All we gotta do is find this Henry
kid and then we find our shooter.
PEMBLETON stares straight ahead as he drives.
BAYLISS (cont.)
Fourteen years old... When I was
fourteen, jeez, I was in the ninth
grade, and I don't remember much of
what I was doing, but I know I was
never thinking anything close to
picking up a gun and shooting
another kid.
PEMBLETON
How old should our shooter be?
BAYLISS
Not fourteen.
PEMBLETON
So if he's what, fifteen,-sixteen
years old, it makes any more sense?
BAYLISS
No.
PEMBLETON
How old should he be then? What's
the cut off age? Seventeen?
Eighteen?
BAYLISS
I don't know.
(CONTINUED)
"Every Mother's Son" 18.
10/5/94
16 CONTINUED: 2 16
PEMBLETON
When you find out, clue me in,
awright? I'd like to know when any
of this killing, at any age, from
six to sixty, makes any sense. I
love that line the papers and TV
news always run about "senseless"
violence. one time I want to hear
about a murder that makes sense.
Just one time. For any reason.
BAYLISS
I was so lucky tonight, Frank.
On PEMBLETON, looking at BAYLISS, nodding,
FADE OUT.
END OF ACT ONE
"Every Mother's Son" 19.
10/5/94
ACT TWO
FADE IN:
17 EXT. WAREHOUSE - MORNING 17
An abandoned warehouse area next to the Proctor and Gamble
Company. A dozen HOMELESS are clustered around a garbage
can burning wood scraps. RONNY SAYERS, a small, skinny
Black kid, dressed in a Starter's Jacket, rests fitfully
against a wall, out of the wind. A hand reaches down to
rouse RONNY. PULL BACK to REVEAL PEMBLETON hovering over
him. BAYLISS stands to the side, a couple of UNIFORMS in
the background, HENRY, another young Black teenager dressed
in a winter parka, in their grasp.
RONNY
What do you want?
PEMBLETON
Ronny, we're police.
RONNY sees BAYLISS blocking him in. RONNY scrambles to his
feet, sees other UNIFORMS coming from all sides, encircling
him. He then sees HENRY.
RONNY
Henry?
HENRY shakes his head, looks to the ground.
RONNY (cont.)
Henry, you gave me up?
PEMBLETON
C'mon, Ronny, let's go.
RONNY
Go where? I'm not going anywhere.
RONNY pulls out a twenty-two caliber semi-automatic handgun
from beneath his jacket. PEMBLETON and BAYLISS back away,
reaching for their guns.
RONNY (cont.).
What'd'ya gonna do, shoot me? Go
'head, shoot me.
BAYLISS
Easy, Ronny. No one's shooting
anyone here.
RONNY waving the gun around, yells at HENRY.
(CONTINUED)
"Every Mother's Son" 20.
10/5/94
17 CONTINUED:
RONNY
How come you did this to me, man?
You're my friend.
PEMBLETON
(his gun raised halfway)
Ronny, you have to put the gun
down.
RONNY
No.
BAYLISS
Please.
RONNY
What, you think I'm gonna shoot
you? Okay, back up then.
PEMBLETON
No one's backing up.
RONNY begins to wave his gun around at the UNIFORMS.
RONNY
What'd'ya want, huh?
HOMELESS STRAGGLERS rouse themselves from their places
watch transfixed for a moment, then move away as the
UNIFORMS take cover.
PEMBLETON
No one needs to get hurt here, son.
RONNY
Is that right?
RONNY puts the gun to his own head.
RONNY (cont.)
I ain't going with you.
PEMBLETON
Whoa, whoa, easy.
RONNY
I can't go. You can't take me.
PEMBLETON
Put the gun down.
(CONTINUED)
"Every Mother's Son" 21.
10/5/94
17 CONTINUED: 2 17
RONNY
Why? Cause I'm gonna hurt myself?
What'd'ya care?
(to HENRY)
Henry, you turned me out, man. You
ain't my friend.
PEMBLETON
(to RONNY)
Tell us about Darryl.
RONNY
Who's Darryl?
PEMBLETON
You know.
RONNY
I don't know any Darryl.
BAYLISS
That's the kid who got hurt in the
bowling alley.
RONNY
(pausing)
His name is Basil.
PEMBLETON
Who?
RONNY
Basil. Some punk who said he was
going to get me.
PEMBLETON
The kid who got hurt, his name is
Darryl.
RONNY
I know who got hurt. Basil.
BAYLISS
(pausing)
His name wasn't Basil.
RONNY
It wasn't?
RONNY slowly lowers his gun, confused. PEMBLETON and
BAYLISS rush in and grab the gun from RONNY and wrestle him
to the ground. On RONNY, offering no resistance,
CUT TO:
"Every Mother's Son" 22.
10/5/94
18 INT. THE WATERFRONT RESTAURANT - DAY
LEWIS and MUNCH follow Interior Designer LARRY RUNYON,
thirties, who looks around bar, makes notes in notebook.
MUNCH
We don't want to go crazy with the
renovations.
LEWIS
The place just needs some sprucing
up... Right?
RUNYON shakes his head, not impressed, as he walks around,
making notations in notebook.
MUNCH
Talk to us, Larry.
RUNYON
Well, I love the glazed headers.
LEWIS
Excuse me?
RUNYON
(indicates back wall)
The original brick work. They used
glazed headers. It's fabulous.
MUNCH
Okay. Sure. Fabulous. What else?
LEWIS
You wanna know what I don't like?
MUNCH
Not really.
LEWIS
All this wood paneling. Makes the
place so dark.
MUNCH
It's a bar. It's supposed to be
dark.
LEWIS
It's a little depressing.
MUNCH
Didn't you just say "a little
sprucing up"?
(CONTINUED)
"Every Mother's Son" 23.
10/5/94
18 CONTINUED:
LEWIS
(re: RUNYON)
John, we have a professional
present among us.
RUNYON
(looks at walls)
We could always paint the paneling.
A nice eggshell semi-gloss.
Elegant, yet warm... I'm gonna
check out the facilities.
RUNYON exits into bathroom as MUNCH calls after him.
MUNCH
If you start talking about brass
fixtures and hanging ferns, you're
fired.
LEWIS
(to MUNCH)
We class up the joint, we broaden
our customer base.
MUNCH
This is supposed to be a cop bar.
Not some kind of cyber-singles
hangout.
LEWIS
What're you saying, cops wouldn't
appreciate a little class?
RUNYON emerges.
RUNYON
We definitely gotta do something
about the bathroom. It's like from
the Civil War or something. I
think we should rip everything out
and start from scratch.
The front door opens and PENELOPE SMITH-HADDON, genteel
Baltimore County woman, fifties, enters.
SMITH-HADDON
Excuse me? I'm looking for the new
owners.
MUNCH
You found two of them.
(CONTINUED)
"Every Mother's Son" 24.
10/5794
18 CONTINUED: 2 18
SMITH-HADDON
I'm from the Baltimore Landmark
Preservation Society... This
building is a historical landmark.
I'm here to protect the integrity
of the site.
LEWIS
What does that mean? The integrity
of the site?
SMITH-HADDON
That means if you were planning on
making any renovations, you should
stop. Immediately.
On MUNCH and LEWIS, confused,
CUT TO:
19 INT. SQUAD ROOM/HOMICIDE UNIT - DAY 19
CU on "The Board". "N-A-W-L-S" in RED under Pembleton's
name. PAN to PEMBLETON and BAYLISS leading RONNY into the
Squad Room. RONNY is wide-eyed with anxiety. BAYLISS
intercepts GIARDELLO as PEMBLETON continues into "The Box"
with RONNY.
BAYLISS
We've got the shooter, Gee.
GIARDELLO looks into "The Box", studying RONNY.
GIARDELLO
My God, how old is he?
BAYLISS
He's supposed to be fourteen, but
jeez, he looks so small.
GIARDELLO
Notify Juvenile. If this kid is
the shooter, we have to step
carefully.
BAYLISS
Right.
BAYLISS grabs phone. GIARDELLO steps closer to "The Box".
"Every Mother's Son" 25.
10/5/94
20 INT. "THE BOX"/HOMICIDE UNIT DAY 20
GIARDELLO leans in.
GIARDELLO
Frank.
PEMBLETON
This is Ronny Sayers.
GIARDELLO
Hey, Ronny.
RONNY
This room smells funny.
GIARDELLO turns to PEMBLETON.
GIARDELLO
I told Tim. By the numbers on this
one.
GIARDELLO exits.
PEMBLETON
You want anything, Ronny?
RONNY glares at PEMBLETON.
21 INT. SQUAD ROOM/HOMICIDE UNIT - DAY 21
BAYLISS hangs up phone. GIARDELLO comes up to him.
BAYLISS
The State's Attorney office is
sending over Maggie Carter. He
said held call Juvenile for us.
SAYERS enters.
SAYERS
Someone called and said you have my
son? Where is he?
BAYLISS
Ma'am, we've placed him in custody.
SAYERS
(to GIARDELLO)
I want my son.
GIARDELLO looks over at "The Box", SAYERS heads for it.
"Every Mother's Son" 26.
10/5/94
22 INT. "THE BOX"/HOMICIDE UNIT - DAY 22
SAYERS rushes in, BAYLISS and GIARDELLO behind her. RONNY
and PEMBLETON look to door.
SAYERS (cont.)
Ronny?
BAYLISS reaches to restrain SAYERS from entering any
further. SAYERS pushes his hand away.
SAYERS (cont.)
Ronny.
RONNY
Mom?
RONNY catches himself, resumes tough-guy attitude.
RONNY (cont.)
You don't have to be here.
SAYERS
Where have you been?
RONNY looks away.
SAYERS (cont.)
Where have you been, dammit?
RONNY
Nowhere.
SAYERS
I've been worried sick.
RONNY
You can stop worrying, awright?
SAYERS
Your little brother's home with a
fever. He didn't sleep all night.
RONNY
You should be at home with David
then. I'm okay.
SAYERS
Come here, baby.
SAYERS puts her arms around RONNY, who squirms to get out of
her grasp. He motions to PEMBLETON.
RONNY
Does she have to be here?
(CONTINUED)
"Every Mother's Son" 27.
10/5/94
22 CONTINUED: 22
SAYERS
I'm your mother, Ronny.
RONNY bolts out of the chair, away from SAYERS.
RONNY
You can't help me. I don't want
you in here, awright? I shot that
kid.
SAYERS
You didn't do any such thing.
RONNY
(to PEMBLETON)
I shot The wrong kid too, didn't I?
SAYERS
He couldn't have shot anyone. This
is my son here.
(to RONNY)
You didn't do anything. Tell them.
PEMBLETON
Ronny, you've made an admission and
I have to read you your rights.
SAYERS
What's wrong with you? Tell them
you didn't shoot anyone.
RONNY
(to BAYLISS)
Do I have the right not to have her
in here?
SAYERS
He doesn't mean it. He doesn't
know what he's saying.
RONNY
(to GIARDELLO)
Do I?
GIARDELLO
You have that right.
RONNY
Then I want her Putta here.
SAYERS, crushed, lets herself be lead away by BAYLISS and
GIARDELLO. PEMBLETON turns to RONNY.
(CONTINUED)
"Every Mother's Son" 28.
10/5/94
22 CONTINUED: 2 22
PEMBLETON
Good move.
RONNY
Hey, it's my right, okay?
PEMBLETON
I'd've done the same thing.
RONNY swings his feet up onto the table.
PEMBLETON (cont.)
Comfy?
RONNY
I'm tired.
PEMBLETON
God knows.
RONNY shrugs, smiles.
PEMBLETON (cont.)
You must be some kind of ballbuster
to sneak up behind someone and
shoot him.
RONNY
When do I get to go home?
PEMBLETON
Two shots right in the back of his
left ear.
RONNY
I didn't sneak up on him. I
walked right up to him.
PEMBLETON
You shot him in the back of the
head.
RONNY
If I had gotten who I meant to, I
can see you coming down on me, but
I shot the wrong kid.
PEMBLETON
You just made a mistake, huh?
(CONTINUED)
"Every Mother's Son" 29.
10/5/94
22 CONTINUED: 3 22
RONNY
Hey, if you're driving a car and
you hit someone you don't mean to,
it's an accident.
PEMBLETON
(pausing)
Ronny, you shot an innocent kid.
RONNY
Car accidents kill innocent people
all the time, don't they? How's
this any different then?
PEMBLETON
Get your damn feet off my table.
As RONNY swings his feet from the table and lays his head
down on it,
CUT TO:
23 EXT. THE WATERFRONT RESTAURANT - DAY 23
MUNCH and LEWIS stand with SMITH-HADDON, looking at
architecture of building.
MUNCH
Let me get this straight. We own
this bar. But we're not allowed to
renovate.
SMITH-HADDON
Renovate, yes. Preserve, yes.
What you cannot do is anything that
would destroy the historical value.
LEWIS
It's old. You want to keep it old.
SMITH-HADDON
Your restaurant is a piece of
Baltimore history, Mr. Munch. It's
assumed to be the second brick
structure built in the City. It's
over two-hundred years old.
LEWIS
If these bricks could talk, huh?
(CONTINUED)
"Every Mother's Son" 30.
10/5/94
23 CONTINUED: 23
SMITH-HADDON
Surely you can understand our
desire to protect that history,
especially in connection to George
Washington.
MUNCH
George Washington?
SMITH-HADDON
George Washington... In 1793, he
was traveling from Mount Vernon to
Philadelphia. He stopped here.
MUNCH
He stopped here?
SMITH-HADDON
Of course, it was a residence at
the time ...
LEWIS
George Washington slept here?
SMITH-HADDON
Well, no ...
MUNCH
He had dinner?
SMITH-HADDON
No.
LEWIS
So what did he do here?
SMITH-HADDON
Apparently the President, just
coming from a dinner party where he
had consumed quite a bit of wine,
was in something of a bind. He had
no time to seek out a public
chamber pot.
MUNCH
Are you telling us the reason we
can't tear down the bathroom is
that it's where George Washington
once took a whizz?
SMITH-HADDON, embarrassed, can only nod.
(CONTINUED)
"Every Mother's Son" 31.
10/5/94
23 CONTINUED: 2 23
LEWIS
I guess when you gotta go, you
gotta go ... Even if you're the
Father of our Country.
On MUNCH and LEWIS, looking at The Waterfront with new
respect,
CUT TO:
24 INT. "THE AQUARIUM"/HOMICIDE UNIT - DAY 24
NAWLS is led into "The Aquarium" by BOLANDER. She has JASON
in tow. JASON is carrying a comic book.
BOLANDER
I'll find Detective Pembleton for
you.
JASON
I'm thirsty, Momma.
NAWLS
Wait until I talk to the detective,
Jason.
BOLANDER
I can get him something. What do
you want, Jason?
JASON turns away, shy.
BOLANDER (cont.)
C'mon, I'll show you where the soda
machine is and you can help me find
the detective for your mom. You
can pick whatever soda you want.
How about a Coke?
JASON
Yeah.
NAWLS
I don't like the caffeine in it for
him.
(CONTINUED)
"Every Mother's Son" 32.
10/5/94
24 CONTINUED: 24
BOLANDER
We have root beer and, I think,
strawberry soda.
(points toward Coffee Room)
The soda machine is right over
there. Your mom will watch you the
whole way over. I like root beer.
It's been my favorite since I was
your age ...
JASON looks up into his MOTHER's face. NAWLS reaches into
her purse.
BOLANDER (cont.)
No, no. It's on the house.
(to JASON)
I know how to get all my sodas for
free. I got a secret way.
BOLANDER waves his hands "Houdini" style. JASON smiles,
hands his comic book to his MOTHER, heads out of "The
Aquarium" with BOLANDER.
25 INT. SQUAD ROOM/HOMICIDE UNIT - DAY 25
BAYLISS and SAYERS pass by BOLANDER and JASON.
SAYERS
Don't let my son say he did
anything.
BAYLISS
Mrs. Sayers, that's up to him, not
me.
SAYERS
He's only a child.
BAYLISS
So was the other kid.
SAYERS
I have to be in there with my
Ronny.
BAYLISS
I'm sorry.
SAYERS
You know he doesn't know what he's
saying.
(CONTINUED)
"Every Mother's Son" 33.
10/5/94
25 CONTINUED: 25
BAYLISS sees Assistant State's Attorney MAGGIE CARTER
entering from the Elevator Area.
BAYLISS
You'll have to excuse me, Ma'am.
SAYERS watches BAYLISS go over and confer with CARTER. She
stands, framed by "The Board", adrift. PICK UP BAYLISS and
CARTER crossing the Squad Room, headed toward "The Box".
BAYLISS (cont.)
The kid admits to the shooting.
CARTER
How'd you get this from him?
BAYLISS
He volunteered the information.
CARTER
You advised him of his rights
before he confessed?
BAYLISS
We never got the chance. He beat
us to the punch. His mother comes
in there with him, he doesn't want
her there, he cops to the shooting
so she'll leave him alone.
CARTER
The mother's here?
BAYLISS gestures to SAYERS as they cross the Squad Room.
BAYLISS
Right there.
CARTER pauses, looks at SAYERS, continues into "The Box",
BAYLISS on his heels.
26 NT. "THE BOX"/HOMICIDE UNIT - DAY 26
PEMBLETON sits across from RONNY as CARTER and BAYLISS
enter.
CARTER
Frank.
PEMBLETON nods a silent greeting to CARTER, who approaches
RONNY.
(CONTINUED)
"Ever Mother's Son" 34.
10/5/94
26 CONTINUED: 26
CARTER (cont.)
I'm Maggie Carter, an Assistant
State's Attorney.
PEMBLETON
This here is Mister Bad Boy and
all of fourteen years old.
RONNY
I did the shooting, didn't I?
CARTER
Ronny, I'm going to advise you not
to say another word until we have
someone here to represent you.
RONNY
Whatever.
As CARTER looks at PEMBLETON,
CUT TO:
27 INT. "THE AQUARIUM"/HOMICIDE UNIT - DAY 27
SAYERS pushes through the swinging doors. NAWLS sits,
clutching Jason's comic book tightly in her fist. SAYERS
sits down, a few seats from NAWLS. SAYERS looks at NAWLS.
They exchange a polite nod of the head.
SAYERS'-POV: BAYLISS comes out of "The Box", exchanges a
look with SAYERS as he passes by.
NAWLS
You okay?
SAYERS
My boy.
NAWLS
He's in trouble?
(CONTINUED)
"Every Mother's Son" 35.
10/5/94
27 CONTINUED: 27
SAYERS
He was missing for a day and now...
NAWLS
But they found him alright?
SAYERS turns to NAWLS, then sees the comic book.
SAYERS
What're'ya reading?
NAWLS
This is my little boy's comic.
He's with one of the detectives.
SAYERS
He's in trouble, too?
NAWLS
Oh, no. He went to get a soda.
(opens the comic book)
I don't know what he reads these
days.
(reading the cover)
What's this X-Men?
SAYERS
My littlest one reads that. He's
home probably going through one of
those right as we speak.
NAWLS
(glancing through the pages)
Super heroes who fight Evil in the
world. We could use some real
X-Men in this town.
SAYERS
Don't I know it.
SAYERS scoots over next to NAWLS, offers handshake.
SAYERS (cont.)
I'm Patrice.
NAWLS
Mary.
They shake hands. SAYERS motions to Squad Room.
(CONTINUED)
"Every Mother's Son" 36.
10/5/94
27 CONTINUED: 2 27
SAYERS
This is the first time I've ever
been in this place. I imagined it
to be a lot noisier.
NAWLS
I thought it'd be bigger somehow.
On SAYERS and NAWLS, shy smiles,
FADE OUT.
END OF ACT TWO
"Every Mother's Son" 37.
10/5/94
ACT THREE
FADE IN:
28 INT. SQUAD ROOM/HOMICIDE UNIT - DAY 28
CARTER, GIARDELLO and BAYLISS huddle outside the open door
of "The Box". THERESA COUSART, mid-thirties, Public
Defender, comes up to them.
CARTER
Theresa.
COUSART
Ed.
CARTER
Al. Tim. This is Theresa Cousart,
out of the Public Defender's
office.
GIARDELLO
We've met.
COUSART
Is Juvenile here?
CARTER
Waiting on 'em. I put the call in.
COUSART
I'm on City pension before they get
here.
COUSART leans around them, peeks into "The Box".
HER POV: RONNY, asleep, his head leaned back against the
back of his chair.
29 INT. "THE BOX"/HOMICIDE UNIT - DAY 29
COUSART enters. GIARDELLO, CARTER and BAYLISS follow.
PEMBLETON is leaning up against the mirror. RONNY slowly
wakens, irritated.
RONNY
What?
COUSART
Ronny? Theresa Cousart. I'm a
Public Defender here to provide you
with legal representation.
(CONTINUED)
"Every Mother's Son" 38.
10/5/94
29 CONTINUED: 29
RONNY
I was sleeping, y'know.
COUSART
(to GIARDELLO)
I'd like some privacy to consult
with my client.
RONNY
What for? I've already told 'em
what they want to know.
(to PEMBLETON)
Clue the lady in, will ya?
PEMBLETON
(to COUSART)
Ronny here has made a statement.
COUSART
Ronny, it'd be in your best
interests not to say anything in
front of these officers.
RONNY
My "best interests"? Ain't you too
cool, lady.
(to PEMBLETON)
You tell her.
PEMBLETON
It's not for me to say, Ronny.
RONNY
Do I have to have her in here, too?
CARTER
Hey, kid, you've got a serious
charge facing you.
RONNY
What, that I shot that kid?
COUSART
Ronny.
RONNY
Hey, what's the deal? I meant to
shoot this other kid. I made an
honest mistake. You can't blame me
for that.
As COUSART leans back, her work cut out for her,
CUT TO:
"Every Mother's Son" 39.
10/5/94
30 INT. "THE AQUARIUM"/HOMICIDE UNIT - DAY 30
NAWLS and SAYERS sit side-by-side.
SAYERS
Where are all the men these days,
that's what I'd like to know.
NAWLS
Well, there's Gerald, he lives two
houses down from me. He's
twenty-six. And then there's
Marcus. He's gotta be eighty years
old. That's it in my neighborhood.
SAYERS
I think there's one guy, maybe he's
in his thirties, just around the
corner, but I haven't seen him in
awhile so I don't know, maybe
something happened to him... How
many kids you got?
NAWLS
(hesitates)
Two. I had two. Darryl and Jason.
SAYERS waits.
NAWLS (cont.)
Darryl was shot. He was killed.
Sympathy floods SAYERS' face.
SAYERS
I'm sorry... Was Darryl the oldest?
NAWLS
(nods)
Jason's a quiet fella, but Darryl
was the one for adventures. He
says to me just the other day,
"Momma, I'm gonna join up with
something, the Army, the Navy, and
I'm gonna see the World." He tells
me he's gonna go see people in
Japan and Ireland and Italy, see
how they all live ...
SAYERS
I'm trying to get my two boys out
the city, but every place I can
think of takes money. Ronny and
David.
(CONTINUED)
"Every Mother's Son" 40.
10/5/94
30 CONTINUED: 30
NAWLS
Excuse me?
SAYERS
That's their names. My sons.
NAWLS
Those are nice names.
SAYERS
Thank you.
(beat, sighs)
Maybe I could get Ronny and David
to Canada. Get away from all this
killing.
NAWLS
I've been to three funerals this
year for Darryl's friends. It's
almost like this is how we have our
socials now.
SAYERS nods, lost in thought.
SAYERS
My Ronny... He's a country boy
living in the city. He teaches me
how to tell if rain is coming. The
leaves on the trees, especially the
sugar maples, these leaves would
turn over so's to take up all the
rain so that the rain wouldn't fall
onto the ground and wash away the
topsoil.
Pause.
NAWLS
Canada, huh?
SAYERS
I don't know a thing about it
except it's supposed to have a lot
of snow and cold. Maybe they don't
kill each other so much up there.
Maybe the cold keeps a lid on
things. Do you think?
NAWLS
Could be.
As SAYERS and NAWLS share a small smile,
CUT TO:
"Every Mother's Son" 41.
10/5/94
31 INT. SQUAD ROOM/HOMICIDE UNIT - DAY 31
PEMBLETON and BAYLISS lead RONNY out of "The Box". RONNY is
now handcuffed. CARTER and COUSART huddle with GIARDELLO.
CARTER
He's fourteen, so he's at the
magic cutoff point. He could go
juvenile, but with this kid's
attitude I'm strongly inclined to
get him charged as an adult.
COUSART
Ed, he doesn't realize the
severity of what he's done. He
thinks he's innocent because he
shot the wrong guy.
CARTER
He's given a "resgesti" statement.
He's waived his rights.
COUSART
He doesn't know what he's saying.
GIARDELLO
So what are we supposed to do? Let
him go? Then next week, next
month, next year, we haul his ass
back in here for another murder?
PICK UP PEMBLETON and BAYLISS as they lead RONNY across the
Squad Room. JASON passes them with BOLANDER, holding a bag
of potato chips and a can of root beer.
32 INT. "THE AQUARIUM"/HOMICIDE UNIT - DAY 32
SAYERS gets up with a startled expression as she spies RONNY
being escorted by PEMBLETON and BAYLISS.
NAWLS
What's the matter, Patrice?
SAYERS hurries out.
33 INT. SQUAD ROOM/HOMICIDE UNIT - DAY 33
SAYERS hurries toward PEMBLETON, BAYLISS and RONNY,
panicked.
SAYERS
Ronny. What's going on?
(to PEMBLETON)
Where are you taking my boy?
(CONTINUED)
"Every Mother's Son" 42.
10/5/94
33 CONTINUED: 33
NAWLS-comes out of "The Aquarium".
PEMBLETON
(to SAYERS; without slowing his steps)
Ronny is going to Processing. He's
a big boy now. He's confessed to
murder.
NAWLS
Detective Pembleton? I came to see
you.
JASON comes up to NAWLS, holding up potato chips and the
root beer.
JASON
Momma, see what the detective got
me?
PEMBLETON
Mrs. Nawls, it'll be awhile.
BAYLISS
We have to take him down for
processing.
SAYERS
Ronny didn't shoot that boy.
NAWLS
What boy?
THEY all pass through the swinging door.
34 INT. LOBBY/POLICE HEADQUARTERS - DAY 34
PEMBLETON and BAYLISS lead RONNY through the swinging door
out of the Squad Room, NAWLS and SAYERS right behind them.
NAWLS (cont.)
This is the bastard who killed my
Darryl?
(turn on SAYERS)
He's your boy?
Elevator doors open. BAYLISS and PEMBLETON lead RONNY into
elevator. SAYERS gets on elevator, starts to face NAWLS
again, quickly turns away. Elevator doors close.
(CONTINUED)
"Every Mother's Son" 43.
10/5/94
34 CONTINUED: 34
JASON
Momma, momma, look what I got ...
JASON tugs at NAWLS' blouse, trying to get her to see his
soda pop and potato chips. As NAWLS stares at the elevator
doors,
CUT TO:
35 INT. GIARDELLO'S OFFICE/HOMICIDE UNIT - DAY 35
NAWLS charges in, dragging JASON behind her, confronts
GIARDELLO behind his desk. Her face is a mask of pure rage.
NAWLS
You the boss?
GIARDELLO
On a good day, yes.
NAWLS
I want him dead. Now.
GIARDELLO
Who?
NAWLS
That bastard that shot my son.
GIARDELLO
You're the mother of the boy Ronny
Sayers shot?
NAWLS
I want him dead. Cold as my boy.
Cold in the ground.
GIARDELLO
Ronny will have to stand trial.
NAWLS
What good are you people? You
can't protect us, least you can do
is make things right. I want
justice. Kill him, do you hear
me?
JASON gapes at NAWLS, as she takes a swing at GIARDELLO.
JASON
Momma?
(CONTINUED)
"Every Mother's Son" 44.
10/5/94
35 CONTINUED: 35
NAWLS
(in a rage)
Kill him, kill him. Kill the
sonofabitch--
BOLANDER, concerned, leans into the office.
BOLANDER
You alright, Gee?
GIARDELLO waves BOLANDER away.
NAWLS
My son is dead.
As JASON stares at NAWLS, clutching his soda and potato
chips, tears in his eyes,
CUT TO:
36 INT. HALLWAY/POLICE HEADQUARTERS - AFTERNOON 36
PEMBLETON leads RONNY toward the Processing Room as BAYLISS
holds off a distraught SAYERS.
SAYERS
He didn't kill anyone. Tell 'em,
Ronny. Explain things. Ronny,
tell 'em. Tell 'em.
RONNY remains stone-faced. They reach the Processing Room.
PEMBLETON
Mrs. Sayers, you're gonna have to
wait here.
SAYERS starts ripping at PEMBLETON and BAYLISS, claws at
them to reach RONNY.
SAYERS
Give me back my boy. Give me back
my boy.
BAYLISS restrains her. On PEMBLETON, leading RONNY off,
CUT TO:
37 INT. THE WATERFRONT RESTAURANT - AFTERNOON 37
LEWIS and MUNCH sit around table, drinking beers.
LEWIS
George Washington. Huh.
(CONTINUED)
"Every Mother's Son" 45.
10/5/94
37 CONTINUED: 37
MUNCH
So the guy who owns what used to be
this house, Cumberland Dugan --
LEWIS
Cumberland Dugan? That's his name?
MUNCH
Cumberland's sitting having dinner
with his wife and kids and he gets
a knock on the door. Who is it?
It's George Washington. It's the
President of the United States.
And he wants to tap a kidney in
his bathroom. That'd be kind of
an honor, I guess. To have your
porcelain christened by the pee of
a prez.
LEWIS
Maybe we should have that printed
on our napkins. "Come drink where
George Washington drained."
MUNCH
(raises glass)
Here's to George.
LEWIS
To George. And his lovely wife,
Dinah.
As THEY clink glasses, drink,
CUT TO:
38 INT. PROCESSING ROOM/POLICE HEADQUARTERS - AFTERNOON 38
A PROCESSING OFFICER wipes RONNY's fingers free of
fingerprint ink. RONNY is then walked over to two Holding
Cells. one is filled with three ADULT ARRESTEES. The
PROCESSING OFFICER opens the empty cell. RONNY takes a step
in. The PROCESSING OFFICER stops him, unbuckles RONNY's
belt, takes it from him. PEMBLETON stands at RONNY's side.
PEMBLETON
We're gonna put you here in
isolation, Ronny. Away from the
adults.
(CONTINUED)
"Every Mother's Son" 46.
10/5/94
38 CONTINUED: 38
The ADULT ARRESTEES stir in the next cell.
RONNY
I ain't scared of them.
O.C., the ADULT ARRESTEES laugh, send up CATCALLS and
THREATENING GESTURES to RONNY and PEMBLETON. RONNY poses
defiant to the ADULTS. PROCESSING OFFICER kneels next to
him and removes RONNY's shoelaces.
RONNY (cont.)
What'd'ya doing? Leave me my
laces, man.
PEMBLETON
We don't want you trying to hurt
yourself again.
RONNY
I should've done it when I had the
chance.
The PROCESSING OFFICER finishes removing RONNY's shoelaces,
takes RONNY by the arm and sets him inside the cell, then
closes the cell door.
RONNY (cont.)
This is the "big time," huh?
PEMBLETON
Your life is over, Ronny.
RONNY
Naw.
PEMBLETON
Get clear, kid. This is no joke
anymore. If it comes down that
you're charged as an adult, you're
gonna have to realize that you'll
probably die in a cell just like
this one.
RONNY
Better than on the street.
PEMBLETON
(pausing)
You figure you're safer in jail?
CUT TO:
"Every Mother's Son" 47.
10/5/94
RONNY
Well, ain't I?
On PEMBLETON, looking away,
CUT TO:
39 INT. SQUAD ROOM/HOMICIDE UNIT - AFTERNOON 39
As a HAND erases "N-A-W-L-S" in RED on "The Board" and
rewrites it in BLACK,
FADE OUT.
END OF ACT THREE
"Every Mother's Son" 48.
10/5/94
ACT FOUR
FADE IN:
40 INT. MITCHELL COURTHOUSE - AFTERNOON 40
PEMBLETON and BAYLISS watch from back of courtroom. RONNY
stands facing JUDGE with COUSART. CARTER also stands.
SAYERS sits nearby, listening attentively.
CARTER
Your Honor, given the severity of
the crime, and the fact that the
defendant made a confession and
shows no signs of remorse, State
asks that he be denied bail.
COUSART
Your Honor, my client is only
fourteen years old. We move that
he be remanded to the custody of
his mother. Given his age and his
lack of financial resources, we do
not consider him a flight risk.
JUDGE studies papers, considers.
JUDGE
Despite the defendant's youth, the
crime he's accused of committing is
a capital offense. Defendant is
hereby denied bail and will remain
incarcerated until trial.
SAYERS bows her head, defeated. PEMBLETON turns to BAYLISS.
PEMBLETON
I'll be right back.
PEMBLETON walks over to RONNY, who's being escorted away by
UNIFORMS. SAYERS also approaches.
PEMBLETON (cont.)
Ronny.
RONNY glances up. PEMBLETON looks at UNIFORMS, signals them
to back away.
PEMBLETON (cont.)
Mrs. Sayers, I'd like a moment
alone with your son.
(CONTINUED)
"Every Mother's Son" 49.
10/5/94
40 CONTINUED: 40
SAYERS hesitates, backs off.
RONNY
What'd'ya want?
PEMBLETON
You kept me awake last night. I
resent that. I need my sleep.
RONNY
Sorry for nothing.
PEMBLETON
I didn't sleep, but I had
nightmares. Kids your brother's
age singing "Ring Around the
Rosey." Only they didn't have any
faces.
RONNY stares at his feet.
PEMBLETON (cont.)
You know now, don't you?
No response.
PEMBLETON (cont.)
You got the fear, don't you?
RONNY nods.
PEMBLETON (cont.)
Keep to yourself. Don't be a
politician. Don't be a warrior.
You understand?
RONNY nods.
PEMBLETON (cont.)
You like to read?
RONNY shrugs.
PEMBLETON (cont.)
Then read. Go out with your mind.
RONNY gives PEMBLETON a long look, then turns and walks to
waiting UNIFORMS. SAYERS approaches.
SAYERS
Ronny?
(CONTINUED)
"Every Mother's Son" 50
10/5/94
40 CONTINUED: 2 40
RONNY glances at her, all boldness gone, for once a
fourteen year old boy.
RONNY
Goodbye, Momma.
UNIFORMS lead him off. SAYERS gazes after him. On
PEMBLETON, not sure where to put his feelings,
CUT TO:
41 EXT. MITCHELL COURTHOUSE - AFTERNOON 41
PEMBLETON and BAYLISS walk down the front stairs.
BAYLISS
We should find out when Darryl's
funeral is.
PEMBLETON
You know, the wife and I were
talking the other day about
children. About maybe having a
kid.
BAYLISS
You, a father?
PEMBLETON
Something wrong with that?
BAYLISS
No. No, I think it'd be great.
PEMBLETON
How do I bring a child into this
world when we have to charge
children with first-degree murder?
BAYLISS
Ah, but it'd be different for you.
PEMBLETON
Different?
BAYLISS
Yeah. You ... y'know...
PEMBLETON
What?
They head off toward the parking lot. BAYLISS shrugs.
"Every Mother's Son" 51.
10/5/94
41 CONTINUED: 41
BAYLISS
You know...
PEMBLETON
Spit it out, Tim.
BAYLISS
You know what I'm saying.
PEMBLETON
But let me hear you say it.
BAYLISS
It would just be different. You
have different ... circumstances.
PEMBLETON
Because I don't live in the ghetto?
'Cause I'm not living in Ronny's
neighborhood?
BAYLISS
Well, don't you have the means to
give a child a better chance?
PEMBLETON
My kid would be safe. That's what
everyone believed about drugs. It
won't happen in my neighborhood.
AIDS came along, same thing. It
won't happen in my neighborhood.
They pass a County Prison Bus parked by the side entrance of
the courthouse, a line of PRISONERS in County Jail jumpsuits
boarding. They're locked down in hand and leg irons and
attached to a chain. A County Jail OFFICER pushes RONNY
onto the bus. SAYERS watches from the side entrance.
PEMBLETON (cont.)
That ain't a school bus Ronny's
going on.
As RONNY stares back at SAYERS,
CUT TO:
"Every Mother's Son" 52.
10/5/94
42 EXT. THE WATERFRONT RESTAURANT - NIGHT 42
Establishing. A crudely-lettered "Under New Ownership" sign
is posted on one of the windows.
43 INT. THE WATERFRONT RESTAURANT - NIGHT 43
Stacks of cocktail napkins, beer coasters, jars of
maraschino cherries and green olives line the bar. The bar
has been polished. The floors have been washed down. A
liquor DELIVERY MAN trucks in cases of beer and bourbon.
MUNCH and LEWIS are in casual day-off clothes. They push
selection buttons on the jukebox.
MUNCH
This place doesn't need renovation.
It needs a theme.
LEWIS
A "theme"? This is a bar, not a
prom night.
MUNCH
I've asked the fellas on the Unit
and they voted for Country 'n
Western on the jukebox. That could
very well be the determining factor
on what the theme of this bar is.
LEWIS
I ain't having my jukebox in my bar
play any cracker-assed music.
MUNCH
Hey, my sentiments exactly, but
business is business and Country 'n
Western, that's what punches up the
old cash machine in this town.
BAYLISS enters, stops, smiles, stunned by the progress of
the bar.
BAYLISS
Hey, we're almost ready for the
grand opening. Everyone wants to
come. I heard even the brass. Gee
says to save him a seat at the bar.
MUNCH
Glad you could join us, Tim.
LEWIS
We're discussing musical selections
for the jukebox.
(CONTINUED)
"Every Mother's Son" 53.
10/5/94
43 CONTINUED: 43
BAYLISS
How 'bout maybe a little blues, a
little Koko Taylor, maybe some
Billie Holiday, Etta James or Buddy
Guy?
MUNCH
We need songs which remind our
customers that it's better to be in
here than out there. We need
someone singing ditties about a
cheatin, wife. We want our
customers crying into their beers.
(beat, brightens)
Whatever the music, we play it
loud.
BAYLISS
I don't want our place to turn into
a headknocker's bar.
MUNCH
The louder the music, the more
people drink. I've done my
research.
LEWIS
(beat, smiles)
Well, then we'll crank up the
speakers until their ears bleed.
A Deputy City SHERIFF enters, mid-thirties, the workout
king of Baltimore, fit and tanned.
SHERIFF
Evening. May I speak to the
owners, please?
LEWIS
You're looking at all three of 'em.
SHERIFF walks over to the bar.
SHERIFF
You're the owners?
MUNCH
We're the new owners.
Bright-eyed-and bushy-tailed.
(CONTINUED)
"Every Mother's Son" 54.
10/5/94
43 CONTINUED: 2 43
SHERIFF
Well, I got old news for you new
owners. I'm gonna have to shut you
down.
SHERIFF extracts an inch-thick envelop of documents.
SHERIFF (cont.)
I'm the Deputy City Sheriff and
I'm here to serve papers of
delinquency on back taxes on the
building.
MUNCH
Back taxes? But we complied with
every rule and regulation in the
contract.
SHERIFF
Well, I don't know what to say to
you boys, but obviously someone
didn't do a thorough enough search
on the property for you.
LEWIS
Look, we're Police officers, just
like you. Maybe there's some way
you could help us out on this ...
SHERIFF
You're cops? The three of you?
MUNCH
We work Homicide.
SHERIFF
Well, then you have no excuse.
You're detectives and you should
have investigated the building more
aggressively.
BAYLISS
We have our life savings invested
in this bar.
SHERIFF gestures to framed liquor license.
SHERIFF
That'll have to come down. You'll
have to hand it over to me.
MUNCH
Have a heart.
(CONTINUED)
"Every Mother's Son" 55.
10/5/94
43 CONTINUED: 3 43
SHERIFF
I do. This pains me to no end,
'specially knowing you guys are
fellow officers, but I got my job.
You go down, settle with the City
Property Tax Division, and you're
back in business in a month, six
weeks.
MUNCH
By that time, the tourist season is
over.
SHERIFF
You have a point. You really do.
(beat, smiles)
But it's so much nicer when them
tourists ain't around. Tell me
that's not the truth.
On MUNCH, BAYLISS and LEWIS, blood pressure rising,
CUT TO:
44 INT. BRAZNELL'S CARIBBEAN KITCHEN - DAY 44
Filled with DINERS. A fresh fruit display of mangoes and
melons graces the counter. NAWLS clears a table of dirty
dishes. JASON wipes the table down, setting silverware and
paper placemats. REVEAL SAYERS walking in, her son DAVID at
her side. NAWLS looks up, sees SAYERS. NAWLS picks up
dirty dishes, busing them to the counter. Pause.
SAYERS
I asked the detectives how I could
find you.
NAWLS says nothing, keeps working. JASON and DAVID eye each
other.
SAYERS (cont.)
I wanted to tell you how ... "Sorry"
isn't enough of what I need to say
to you ...
NAWLS
(beat)
I thought you'd be in Canada by
now.
SAYERS
Oh no. I'm stuck here in
Baltimore ...
(CONTINUED)
"Every Mother's Son" 56.
10/5/94
44 CONTINUED: 44
The moment is broken by laughter. SAYERS and NAWLS look up
to see JASON and DAVID goofing around with the fresh fruit
display. JASON holds up a mango, places it on his head,
trying to balance it. DAVID laughs, imitates JASON, picking
up another mango and holding it on his head.
NAWLS
He's a fine-looking boy.
SAYERS
Thank you.
JASON and DAVID begin to wrestle playfully. SAYERS looks at
them, alarmed.
SAYERS (cont.)
David what are you doing?
DAVID pauses.
SAYERS (cont.)
Stop it. You tell that little boy
you're sorry.
DAVID
We're only playing, Momma.
JASON
We're not fighting, Momma.
SAYERS grabs DAVID by his collar, hauls him away from JASON.
SAYERS
You don't play rough.
(to NAWLS)
He didn't mean it.
NAWLS
No, it's okay. Kids are kids and
kids hafta play...
SAYERS lets go of DAVID. He drifts back toward JASON.
NAWLS (cont.)
How's your son Ronny?
SAYERS
I don't know. They won't let me
see him 'til Sunday. I'll take him
some food.
SAYERS reaches into her jacket pocket, pulls out a wide
envelope, holds it out to NAWLS.
(CONTINUED)
"Every Mother's Son" 57.
10/5/94
44 CONTINUED: 2 44
SAYERS (cont.)
I bought this Mass card for your
Darryl.
NAWLS doesn't know what to say.
SAYERS (cont.)
Take it. Please.
NAWLS takes the card, gazes at it.
NAWLS
I know my son is in a good place.
It's not Canada, but still ... I
don't think they shoot each other
in Heaven.
The TWO WOMEN look deep into each other's eyes.
NAWLS (cont.)
Thank you for the mass card.
Again, the sound of laughter. JASON and DAVID toss a melon
back and forth, pretending to shoot three-pointers with it.
NAWLS (cont.)
They like-to play with each other,
don't they?
SAYERS
(pausing)
They do.
NAWLS
(calling to JASON)
Jason, we've got tables to clean.
NAWLS turns to clear another table of dirty dishes.
SAYERS
Maybe they could get to know each
other.
NAWLS
And what would they do if they did
that? What would happen if they
got to know about each other's
older brother?
(CONTINUED)
"Every Mother's Son" 58.
10/5/94
44 CONTINUED: 3 44
NAWLS turns and walks off.
SAYERS
David, let's go. I mean it.
SAYERS walks to the door. DAVID trots after her. On JASON
and DAVID, exchanging smiles and laughs, making goofy faces
at each other as the distance grows greater between them,
FADE TO BLACK.
THE END