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 transcript is in no way a substitute for the show Homicide: Life on the Street, it's for educational purposes only. This transcript is not authorized or endorsed by Baltimore Pictures, Fatima Productions, or NBC. It was transcribed by Cindy and made available for your downloading enjoyment by Laurel Krahn at http://www.windowseat.org/homicide/scripts/.

(Note: If anyone notices scenes missing from this transcription from Lifetime and wants to transcribe them, that'd be grand. Email Laurel if you do).

Teleplay: James Yoshimura
Story: Tom Fontana & Henry Bromell
Director: Kenneth Fink


(Note: This is merely a transcription from a Lifetime rerun. I realize there may be scenes missing. What else is new? Thank the editing gurus.)


(In mall. PATRICK GARBAREK is by the dinosaur display)

Patrick (to himself): The devil's toenail. An oyster?

(Cut to flashes of someone running)

Patrick: That's a dinosaur oyster?

(Enter Patrick's mom, JOAN GARBAREK)

Joan Garbarek: Come on, Patrick, we've gotta go.

(More flashes of someone running)

Patrick: Devil's toenail. Active during the...cree-tay-shee-us period?
Joan: Patrick? You want a blueberry muffin for breakfast tomorrow?
Patrick: Chocolate doughnut!
Joan: Blueberry muffin or nothin'.
Patrick: Come on, mom!
Joan (imitating): Aw, come on mom!

(Enter Patrick's dad, PAUL GARBAREK)

Paul (walking up to them): I got the tapes! Rockets-Magic final!
Patrick: Way to go, Dad, what else did you get?
Paul: A couple of movies.
Patrick: Anything with sex?

(He gives PATRICK a look)

Joan: Come ON, Patrick, we have to GO!
Patrick: Just one more minute, mom.
Joan: ONE (as she looks at her watch)
(People running, shots fired, Patrick turns around to his parents, mouths the word "mom," and falls down. Shot of blood on the glass of the dinosaur display, then all three of them in ambulance)


Opening credits


(Detectives FRANK PEMBLETON and TIM BAYLISS get out of car)

Bayliss: Smell that?
Pembleton: Hmm? What?
Bayliss (as he picks up a leaf and crumbles it): Winter's coming.
Pembleton: Aw, why do you get your dress in a bunch every year over winter?
Bayliss: Oh, that wet cold from last winter, huh? You forget that that was hell, man.
Pembleton: You said summer was hell.
Bayliss: Well...it was.
Pembleton: It's all mind over matter, Bayliss.
Bayliss: No, no, it's more than mind over matter. I know my mind and my mind remembers my ass melting into the tops of my shoes, all right? Summer was hell.
Pembleton: There's no humidity in Hell.
Bayliss: What, you do a field report?
Pembleton: By all reliable accounts, there's not a single drop of water to pass between Heaven and Hell. Hell is a dry heat.
Bayliss: Oh. Well, book me a flight.

(They approach the crime scene)

Officer: Oh, detectives.
Pembleton: What, uh, can we do for ya'll?
Officer: We got a shooting.
Bayliss: Okay, I'm the primary here.
Officer: A ten year old kid named Garbarek, Patrick, shot once. EMT rushed him over to Hopkins.
Bayliss: Okay (walks over to forensics worker) Whatcha got?
Forensics: (holding up bullet) Hits the kid, passes through him and the window, and lands here.
Bayliss: Oh. In the Cretaceous period, huh?
Officer: We've got shell casings all over the place.
Pembleton: How many shell casings?


Music starts, cut to Johns Hopkins hospital sign, then inside to show PATRICK GARBAREK on the operating table, cut back to mall, BAYLISS picking up a shell casing .back to hospital, JOAN and PAUL GARBAREK in waiting room, PATRICK on operating table back to mall, bullet being dug out of wall, BAYLISS looks at it)

(In Hospital Waiting Room)

Police Officer: Excuse me, but uh, either of you own a green Ford Taurus? It's blocking the fire lane, it's gonna be towed outta here. (He leaves)
Paul: I guess I should move the car. (Joan doesn't answer) I oughta move it or it's gonna get towed. That's all we need now, huh?
Joan: You should move the car.
Paul: The guy saved us a ticket. I'll be right back (He leaves).

(Cut to Mall...BAYLISS is questioning a witness)

Bayliss: You heard fireworks?
Old Man: Uh huh. Scared the DAYLIGHTS outta me. I spilled lemonade all OVER me!
Bayliss: Oh. And you see the kids?
Old Man: Can I tell you something? (Bayliss nods) Just between you and me?
Bayliss: Sure.
Old Man: This ain't all lemonade.
(BAYLISS clears his throat and leans back)

(To PEMBLETON, interviewing another witness)
Pembleton: And these kids were sixteen, seventeen, maybe?
Young Woman: I think. Maybe younger. I don't know.

(To BAYLISS, interviewing yet another witness)
Bayliss: So you think that these two guys were older, right?
Witness: Yeah.
Bayliss: Well, what's older?
Witness: Well, you know how these older guys try to style down with what's playing? They can't pull it off.
Bayliss: Oh. So, maybe these two guys were...what?
Witness: Eighteen, nineteen.

(Back to PEMBLETON and still another witness)
Pembleton: What do you mean, "regular"?
Old Lady: About five ten, maybe. Is that regular?
Pembleton: You mean average.
Old Lady: Okay.
Pembleton: Anything else? Um...hair? Color of eyes, anything?
Old Lady (shaking head): They were regular. You know, they were white guys. Oh, did I mean average?

(To hospital waiting room...PAUL GARBAREK walks in)

Paul: I got a spot right in front, across the street. That's pretty good, huh? (no answer) You want coffee? There's a machine down at the end of the hall there. (no answer) Are you hungry? (no answer) Patrick's gonna be okay.
Joan: I can't remember if I turned out the lights in the kitchen before we left this morning.
Paul: I'm sure you did.
Joan: Are you sure?
Joan: Yeah, you...it's something you always do.

(Enter NURSE, followed by BAYLISS and PEMBLETON)

Joan: How's Patrick?
Nurse: He's still in surgery.
Joan: But how is he? He's been in there so long.
Nurse: It will be some time before we know. These two gentlemen are detectives (she indicates BAYLISS and PEMBLETON)
Bayliss: Detective Bayliss, this is my partner, Detective Pembleton.
Pembleton: Mrs. Garbarek, Mr. Garbarek, we're from the Homicide investigation unit with the Baltimore City Police.

(at the same time, the NURSE talks to JOAN GARBAREK)

(Nurse: Mrs. Garbarek, we're going to need you and your husband to sign these papers..)
Paul: You're homicide detectives?
Bayliss: yeah, we just need to ask you about what happened today.
(Nurse: These are simply standard consent forms authorizing us to treat Patrick.)
(Joan: But you're...already treating him.)
Paul: Somebody got killed over there today?
Pembleton: Sir, we're here about your son.
Paul: Well, my son's fine. You just said he was in surgery (indicates NURSE).
Nurse: Yes, he is, and we need you to sign for permission.
Paul: Well, then why are two homicide detectives here?
Bayliss: Mr. Garbarek, because this is just routine.
Paul: What is routine? For who is this routine?
Bayliss: Any special shooting incident we're called in to investigate.
Paul: Well, my son is hurt. That's it. All right? You understand that?
Joan (to Nurse): Are you telling us that Patrick is going to die?
Nurse: No.
Paul: Whoa, wait, wait, then you're telling me he's okay.
Nurse: No, everything possible is being done for your son.

(They all talk at once, as JOAN GARBAREK attempts to leave and find her son)

Nurse: Mrs. Garbarek, you can't see him!
Joan: He's my son!
Nurse (to PAUL GARBAREKas he grabs her arm): Stop, you're going to hurt me! You're hurting me
Bayliss: Mr. Gabarek? Mr. Garbarek! (BAYLISS restrains PAUL GARBAREK, hurting his back...once again) Listen, this isn't going to do any good! This isn't going to help your son.
Paul: Why are these people here? Why are these people talking to us? Under whose permission? Hmm? You gotta job to do, you can't wait, huh? You got no respect for what the two of us are going through? You want to do your job, huh? My son was shot today. All right? That is what happened. He wasn't doing ANYTHING, and they shot him anyway.


Bayliss: You know what? I just, I shouldn't have grabbed that guy.
Pembleton: You do what you do.
Bayliss: I threw my back out of whack again.

(Cut to parents walking down hallway)

Pembleton (to Doctor): We're investigating the shooting of a young boy.
Doctor: Patrick Garbarek?
Pembleton: Yeah.
Doctor: I'm writing up his chart. (PEMBLETON moves to take a look) Ten years old, brown hair, brown eyes...big eyes, like a doll. He has doll's eyes. (PEMBLETON looks at him quizzically) It means the little guy's brain dead.

(music as parents visit their son on the operating table)

(end Act I)


(JOHN MUNCH is in small back room in police station. Enter MEGAN RUSSERT.)

Russert: Oh, hey John.
Munch: Nice to have the connects, huh?
Russert: What?
Munch: You've got the hottest ticket in town!
Russert: Oh, yeah, to see the Pope.
Munch: You up there on the dais with John Paul the Second. You're in the big time now, Captain.
Russert: Well, I'm honored to have been invited.
Munch: I hear the scalpers are getting five hundred dollars for a copy just to get a grandstand seat. Imagine having a seat on a dais close enough to see the color of the Pope's eyes. What are you gonna get for that ticket?
Russert: Wait a minute. What, you'd even consider selling this ticket if you were me?
Munch: For what you can get for that ticket, you can go out and buy a brand new, high definition, sixty inch stereo surround sound TV, and watch His Holiness descend upon Baltimore from the comfort of your own home.
Russert: Yeah, but that would be heresy. That would be like...selling a ticket into heaven!
Munch: The way I figure it, Sony will be telecasting the final judgement anyway, so, what's the worry?
(Russert gives him a look)

(Cut to squadroom. BAYLISS is talking, enter GEE and HOWARD)

Gee: Bayliss!
Bayliss: Hmm?
Gee: What's with the mall shooting?
Howard: You got any witnesses?
Bayliss: Yeah, well, we got em by the half dozen, by the dozen, but, uh, what they saw, we can't be sure.
Gee: The parents give you anything?
Pembleton: We're trying to get a statement.
Gee: What's "trying to get?" Either you have a statement or you don't. Period.
Pembleton: Gee, they were in a rough way!
Howard: Yeah, uh, how is the child?
Pembleton: The child is on a ventilator.
Bayliss: I think we should hand this case over to violent crimes.
Howard: But Tim, it sounds like his name should go up on the board, huh?
Bayliss: He's not dead yet. He might make it.
Pembleton: How's he gonna make it? He has no brain function. Where's he gonna make it to?
Bayliss (to Gee): We're jammed up with all these...cases. I think that Violent Crimes can handle this one.
Howard: Whoa, you're saying this isn't a Homicide on a technicality? That the machine is doing the breathing for him? I know the rules of the road but the bottom line is, it sounds like this kid's never gonna wake up. It should be investigated like a murder, plain and simple, huh?

(BAYLISS turns to appeal to GEE, who is interrupted by JUDY, the secretary)

Judy: Your daughter Charese is on line three, Lieutenant.
Gee: Thank you. (he gets phone)

(enter MELDRICK LEWIS with ice cube trays)

Lewis: Who used up all the ice?
Bayliss (turning around): Don't start with me!
Lewis (to PEMBLETON): I'm trying to put myself together some nice little iced tea and I come up shy one key ingredient (he looks at BAYLISS).
Bayliss: It is my BACK, all right, Lewis?
Lewis: Your BACK all the time! This ain't right, Gee!
Pembleton: Iced tea? It's almost winter!
Lewis: Iced tea keeps me in a summertime frame of mind, all right? (to GEE, who is still on the phone) Help me out here, Gee!
Bayliss: Look, look, Lewis, see, there (he puts bags of ice onto ice cube trays LEWIS is holding), is that nice? Okay? Now, you go and have yourself a good time, all right, because Frank and I...are BUSY. We're BUSY here!
Lewis: Bayliss? They're melted. All I'm asking, in a calm, reasonable tone of voice, is for you to fill up the ice cube trays before you put 'em back in the fridge.

(LEWIS leaves, GEE gets off phone)

Bayliss: Gee, what do you think, huh? What do you think? Violent crimes, huh?
Gee: I want you to stay on the case (he walks away).
Bayliss (wearily): Yeah?

(cut to GARBAREK kitchen)

Paul.: Tired?
Joan: You go to sleep. I'll put away the groceries.
Paul: Let me do this.

(JOAN GARBAREK looks at the chair where PATRICK'S game boy and unfinished breakfast sit. She takes out a frying pan.)

Paul: You gonna cook? I'm not hungry. (JOAN begins to make eggs) You, you don't eat eggs, so what did I just say? (She scrapes the eggs onto a plate, and puts it on the table. She gets the bag of PATRICK'S bloodied clothes) Joan, Joan.
Joan: I made eggs.
Paul: You don't have to do that. Please don't wash Patrick's clothes.
Joan: Eat your eggs before they get cold.
Paul: I can't eat.
Joan: Do I HAVE to worry about you, too?

(Cut to squadroom. BAYLISS is waving a pink memo in front of PEMBLETON'S face)


ayliss: We have the name of a possible suspect! Someone called it in!
Pembleton: But how is it that I screwed up?
Bayliss (pointing to memo): Suspect's name, Tommy Porton!
Pembleton: But you're saying that I screwed it up!
Bayliss: What I am saying...is that we forgot. Both of us. And that is not screwing up.
Pembleton: No, but you're the primary, it's your own responsibility to collect the kid's clothes from the hospital. That's standard procedure!
Bayliss: I figured that you had 'em, Frank.
Pembleton: Well if we ever to go a grand jury for an indictment in this shooting and they ask us for that one essential piece of evidence, we can always say, "Oooooh, I forgot!"
Bayliss: You know what? I was going to collect that evidence! I meant to! Then when I was going to ask the emergency room people, my back goes out.
Pembleton: Well I can just see the state's attorney doing cartwheels with that.

(Cut to BAYLISS and PEMBLETON in car)

Pembleton: Tommy Porton, he's our shooter?
Bayliss: I don't know for sure.

(They get out of car)

Pembleton: Okay, you, uh, run down the lead on the Porton guy, I'll get the clothes.
Bayliss: And you'll be waiting for me here, right?
Pembleton: Right here.
Bayliss: Right here, there? (Points to the ground)
Pembleton: Right HERE! Here! (He points, too)

(They go separate ways...cut to hospital hallway, with PEMBLETON and PAUL GARBAREK)

Paul: No, nobody told us that the clothes were evidence!
Pembleton: Well, someone in the ER should have.
Paul: And nobody in this whole hospital knows that?
Pembleton: Well, these things happen. Believe me, we're not, we're not happy about this mix-up. We're ALL embarassed.


Joan: Well, I've already washed them. And they're just rags from the way they cut them off Patrick.
Pembleton: Ma'am, I need these for my investigation.
Joan: I put them away!
Pembleton: I need you to give me these clothes.
Joan: I can't.
Pembleton: You have to!
Joan: I HAVE TO? Let me tell you what I HAVE to do today, okay? I have to go in there (she points to PATRICK'S room) and I have to watch the doctors pinch Patrick's legs. I have to watch them stick pins at the bottoms of his feet. I have to watch them pour cold water, first in his right ear, then in his left, to see if his eyes moved today? And I have to hear them tell me that they don't. His eyes don't. I hear them say this. Nothing else can be done. And this is just a little BOY! And they have to say this about him? YOU have to have his clothes? YOU have to know what we saw yesterday? I have to remember...Patrick standing there, he HAS to see the dinosaurs! He HAS to go to that window! It's always "one more minute!" He ALWAYS has to do what he wants! And then he falls down and I think he's just teasing and he's going to get up in a minute and I'm going to yell at him to just get up and not get dirty! I WANT to see him get up...from his OWN bed. (Turns to PEMBLETON) Do I have to think that he can lay there like this for another fifty or sixty years? Do I have to think that this is what he wants? (Starts crying) Why do I have to? Why do I think that it can't be Patrick in there? (She goes into his room)
Paul: The clothes are at the house. You can come by for them later. (He follows his wife).
Pembleton: Okay.

(Cut to BAYLISS driving in car. He spots a kid who matches description)

Bayliss (to kid walking on sidewalk): Excuse me? Tommy? Hey, uh, Tommy Portand, right? (kid starts walking faster) You're Tommy Porton aren't you, huh? (PORTON begins running, BAYLISS jumps out of car and gives chase PORTON takes off down an alleyway, trips over skateboarder)
Bayliss (with gun pulled): Halt! Baltimore Police, freeze! Keep your hands and face down! Put your hands behind your head! BEHIND YOUR HEAD!

(Cut to squadroom. BAYLISS is holding up back of shirt, putting a bag of ice on his back, and rummaging through the first aid kit)

Munch (looking at BAYLISS'S back): That is one beaut of a burn! (he touches it)
Bayliss: Ah! You mean, you can see it, there?
Munch: Uh, yeah. So that's what mustard plaster does, huh? Didn't they outlaw that stuff?
Bayliss: Listen, could you, uh, could you put this burn ointment on there for me? (He hands MUNCH a tube of ointment)
Munch: What? On your back? A little personal, don't you think?
Bayliss: What?

(enter LEWIS with ice cubes trays)

Lewis: I knew it! Bayliss, you wanna make some more ice cubes, please? (He throws the trays down on Bayliss's desk and looks at his back)
Bayliss: Hang on, I've got a suspect that's waiting on me, Lewis!
Munch (handing LEWIS the ointment): Be gentle.
Bayliss: It's, it's a burn.
Lewis (sighs): Never a dull moment with you, is it? (He puts the entire unopened tube on top of Bayliss's back and leaves)


Pembleton (to Bayliss): Where the hell have you been? I've been waiting all this time for you to pick me up at the hospital!
Bayliss (sighs): I'm sorry.
Pembleton: You owe me six bucks!
Bayliss: I do?
Pembleton: Yeah! What, what, cabs are free? Or am I supposed to walk?
Bayliss: You know something, Frank, I was on my way to meet you, I swear, and, and then I got this feeling like I was on fire. And I got a suspect in here, so if you wanna come?

(Cut to temporary box scene)

Bayliss: Frank, this is Tommy Porton. He says he knows about the shooting.
Pembleton: You know about the shooting?
Porton: I heard about it.
Pembleton: What's your name?
Porton: Tommy.
Pembleton: Tommy what?
Porton: Porton.
Pembleton: Tommy Porton?
Porton: Right.
Pembleton: You go by Thomas?
Porton: I like Tommy.
Bayliss; Yeah, yeah, Thomas, that'd be too serious, wouldn't it? It be...what? Mopey? (to PEMBLETON) Mopey? (back to PORTON) You a mope, Tommy?
Porton: No.
Bayliss: Oh. Tommy. That's...that's cute (he plays with PORTON'S earring). It's kinda peppy!
Pembleton: Kind of a nickname. And a nickname is sign of affection from someone. Someone has to LIKE ya. Can't give yourself a nickname, can ya?
Portand: Everybody who knows me calls me Tommy.
Bayliss (smiling away): So everybody likes you, right? You know something, tell me about the shooting, all right? I want to like you, too.
Porton: I heard about it. These two people were talking about it.
Pembleton: Who were these two people?
Porton: I don't know.
Bayliss: Come on, come on there's no two people, huh?
Porton: Yeah! They were saying how this one dude chasing this other dude.
Bayliss: Uh huh, so these two people, they're talking about it, yeah?
Porton: Something about this girl...about how the other dude is hitting on the first dude's girl.
Pembleton: Who are these...DUDES?
Porton: I don't know.
Bayliss: Tommy, come on.
Portand: Swear to God.
Bayliss: Tommy!
Porton: It's over some chick. That's all.
Pembleton: A chick, huh? This chick have a name?
Bayliss: Well, these two dudes were shooting each other over some chick, she has a name.
Porton: Never heard any name.
Bayliss: No? I'll bet she had a nickname.
Pembleton: You want a lawyer?
Porton: What, me?
Pembleton: He know his rights?
Bayliss: Oh yeah, yeah, I read them to him.
Pembleton: You want them read again?
Porton: No, I'm all right.
Bayliss: You know, you know about this shooting, huh, and you hear it's over some chick, but you don't come to us, we have to come for you. I have to HUNT for you! I have to chase your miserable ass over half this damn city because you don't know ANYTHING? Nothing!
Porton: I hear people talking, and I figure it's their business, not mine!
Bayliss: Aw, Tommy.
Pembleton: Who had the gun?
Porton: Did I say I don't know?
Pembleton: YOU HAD THE GUN!
Porton: No.
Pembleton: Well, then this other dude, he's running around with a gun.
Porton: I told you, I don't know any guy with any gun!
Bayliss: Forget it. Forget it. I'm locking him up!
Porton: You're gonna put me in jail?
Bayliss: Yep!
Porton: But I didn't shoot anyone!
Bayliss: You're STILL going!
Porton: So what did I do?
Bayliss: YOU have a nickname.
Porton: What?
Bayliss: You have a nickname! See, everyone in this whole WORLD has a nickname except for me, and it pisses me off! (He grips PORTON loosely around the neck) What do you KNOW? You know about that little boy who was shot, yeah? You heard about him, didn't ya? Didn't ya?
Porton: Uh huh.
Bayliss: Right, right. Now, maybe he should have a nickname? Hmm? His name is Patrick. Hmm? You think he ought to have a nickname? His doctors, they call him Patrick, all right? His parents, they call him Patrick. I only KNOW him as Patrick! You could show him that you mean him well, huh?
Porton: I WANT him to get better.
Pembleton: He never will, Tommy, he's brain dead.
Bayliss (whispering): brain dead.
Porton: He's brain dead?
Bayliss: Yeah. So what do you think, huh? Tommy, huh? Now, what do you think we should call him? Patty?
Porton: I don't know.
Bayliss: Oh, Sleepy?
Porton: No!
Pembleton: Dopey.
Porton: Come on!
Bayliss: Droopy?
Pembleton: Wheezy?
Bayliss: Wheezy!

(BAYLISS and PEMBLETON nod their heads in agreement)

Porton: What's wrong with you guys? I'd never say anything like that about that kid!
Pembleton: You put him there. You put him in the hospital, Tommy.
Porton: No!
Pembleton: Is he there? Is he there, Tommy? Huh?
Porton: I didn't have the gun! I was being chased!
Bayliss: By who?
Porton: I can't. I won't! If you were me, you'd understand! You WOULD! I KNOW you would!
Bayliss: So, what do you think Patrick's name should be? Huh?

(PORTON pauses for a second, then gives in)

Porton: My brother.
Pembleton: Your brother what?
Porton: He was mad at me. Cause she had to tell him.
Pembleton: It's your brother who was shooting at you?
Porton: It's my older brother, and so all right, maybe I shouldn't be messing with his girl, but she hit on me first! I swear! She comes after me, and she tells him I did!
Bayliss: Where is he?
Porton: I don't know where they are. I hadn't seen him since he was chasing me.
Bayliss: Since yesterday?
Porton: Yeah.
Bayliss: I want names, now.
Porton: Don. His girlfriend's name is Jesse.
Bayliss: Is this short for Jessica? (To PEMBLETON) What did I tell you, everyone has a nickname.

(End ACT II)



Bayliss: What I'm saying, is, is, that, is that this whole leg (he gestures to his right leg) has got to be shorter than the other. See, because that is what throws my back out of alignment, and it's just causing me all my problems.
Pembleton: It's your wallet.
Bayliss: What?
Pembleton: Where's your wallet?
Bayliss: Frank, please don't go on about the six bucks anymore, all right?
Pembleton: You're sitting on your wallet, right?
Bayliss: Yes.
Pembleton: Okay, I carry mine here (He pulls his wallet out of his shirt pocket and begins to gesture with both hands). Right? We're at our desk, we're sitting in a car, we're sitting half our days. Thinking your back is a very delicate structure of cartilage and bone, you're sitting on your wallet, you're tilting your back at an angle. Basically, you're walking around like the leaning tower of Pisa.
Bayliss: Put your hands back on the WHEEL, Frank.

(They stop outside the GARBAREK house and get out of the car)

Bayliss: If wallets were meant to be carried in the front pocket, they'd have been made that way.
Pembleton: They are.
Bayliss: Who said?
Pembleton: The info never gets around to you, does it?
Bayliss (walking up sidewalk): Mr. Garbarek. (shakes hand) How are you doing?
Paul: Joan has Patrick's clothes in the house.
Bayliss: Okay. I'll go get them. (he runs up steps)
Paul: Knock hard, I gotta fix the bell. (To PEMBLETON) I'm just cleaning up (he holds up his rake and starts walking towards the back yard. PEMBLETON follows).

(BAYLISS knocks)


Joan: This is his room. (Gets clothes) I washed them.
Bayliss: That's okay.
Joan: I just...had to wash them. (She looks around room) Did you have a room like this when you were growing up?
Bayliss: No. I wish.
Joan: I hate the color paint we put on the walls.

(Cut to backyard)

Paul: So, then, uh, you know who you're looking for?
Pembleton: Yeah, we have a team of tactical officers searching for this kid.
Paul: You gonna catch him?
Pembleton: Yeah, he's probably still in the city. He doesn't have many resources.
Paul: So you've come up against this kid before?
Pembleton: We checked, and he has no record.
Paul: But he's dangerous?
Pembleton: Since he has no prior, it is very difficult to make that sort of call.
Paul: But he used a gun.
Pembleton: He did.
Paul: So, then, uh, you catch up to him, he's got the gun, he resists...
Pembleton: Let's hope he doesn't.
Paul: But what if he does?
Pembleton: Why? You want him to?

(To kitchen)

Bayliss: It would cost fifty to a hundred thousand dollars a year?
Joan: If we put Patrick into what they call an extended care facility. If we take care of him here, it's maybe half that, but then we would have to learn how to deal with his IV's , and his ventilator, and his feeding pump.
Bayliss: Where do they come up with these kind of numbers? I mean, really. Who could afford that, right?
Joan: I wouldn't care what the cost was as long as the doctors could tell us that Patrick was getting better.

(cut to back yard)

Paul: But he...he never will. He developed pneumonia overnight, and they started him on antibiotics. The doctor says that Patrick is...deteriorating. (To PEMBLETON) Do you believe in God?
Pembleton: You're talking to the wrong guy.
Paul: Maybe there's a miracle out there somewhere for Patrick.

(Back to kitchen)

Bayliss: There's that many kids on the waiting list, huh?
Joan: Um, fourteen hundred...all of them, needing a donor. Across the whole country, at this very minute. (Pauses) More coffee?
Bayliss: Oh, no I've had plenty, thanks. Um, I should get going.
Joan: You don't like my coffee?
Bayliss: No, no, I do. It's great.
Joan: No, that's okay. Um, this woman who coordinates the program went over every detail of how Patrick could be a donor. They have to do tests to type and match his blood, check the size of his kidneys, his liver, his heart, his um, lungs, and his...pancreas.
Bayliss: Mrs. Garbarek, I'd, um, about that small coffee?

(Cut to backyard)

Paul: There's a little boy at the hospital, right on the floor above Patrick, he needs a new kidney. And the doctor...um....I can't remember his name...
Pembleton: I'm bad with names, too.
Paul: Anyway, he, he says that this little boy has been on the waiting list for over a year. A year is a long time in a little boy's life. And there's a chance that Patrick could be a match for this kid.

(Back to kitchen)

Joan: Why should Patrick be that chance? I can't talk to Paul about this. The doctors come in, and I have to ask all the questions. I ask him, "What do you think?" and he says, "What do you think?"
Bayliss: Well, maybe he needs to know from you first.
Joan: But I know. There's something in me that says it is WRONG to take something from Patrick and put it into someone else. Your body is sacred, right? It reminds me of grave robbers! If this was something that was right, then why are there so many PROBLEMS with transplants? Because it's not natural. A heart gets rejected because it's NOT NATURAL.

(To backyard)

Pembleton: You and your wife should sit down and talk.
Paul: She doesn't listen to me.
Pembleton: She'll listen.
Paul: She has never listened to me EVER, all right? I mean, you read about these medical miracles all the time. So, so say we go ahead and do this thing with Patrick, and then I pick up the paper the next day, and I see that some doctor has come up with a way to fix him. They come up with these things all the time. Maybe we should just wait.

(To kitchen)

Joan: You don't want to be kept alive by any machine?
Bayliss: No. I have it written down. You know, I've told my family and my friends. Joan: If you were me, what would you do?
Bayliss: I don't know.
Joan: But if it's okay for you, then it should be the same for him (tears in eyes)?

(To backyard. PEMBLETON and PAUL GARBAREK walking towards flower garden)

Paul: It's nice, huh?
Pembleton: Yeah, beautiful! Who has the green thumb?
Paul: Joan. Finally got a break in the weather.
Pembleton: Finally.
Paul: I love evenings like this.

(Music. Cut to city of Baltimore picture, then BAYLISS and PEMBLETON in car).

Pembleton: You had coffee and you didn't bring me any?
Bayliss: She offered me the coffee. I thought I was just being polite.
Pembleton: Yeah, as long as you get yours, right?
Bayliss: She asked if I had a son, would I be able to end his life?
Pembleton (mumbling): No coffee on top of six buck for the cab
Bayliss: I mean, could you answer a question like that?
Pembleton: I want my six bucks NOW, okay?
Bayliss: What, you think I'm not good for it?
Pembleton: Well, you know, I've been listening to a guy expecting a miracle!
Bayliss: You give me that receipt, I will give you the six bucks!
Pembleton: AND he wants revenge on the kid who did this. You know, revenge and miracles, they don't quite go together! (pauses) I didn't get a receipt all right?
Bayliss: Then how do I know?
Pembleton: What, you think I'm going to lie to you for SIX BUCKS?!
Bayliss: How do I know?

(PEMBLETON slams on the brakes)

Pembleton: Get outta my car!
Bayliss: What?!
Pembleton: Get out of my car! You don't believe me, get out of my car!
Bayliss: You don't think I can walk?
Pembleton: WALK!
Bayliss: I can walk!
Pembleton: GOOOOO!
Bayliss: I can go...
Pembleton (at the same time): Go walk, go walk...

(at this point, BAYLISS opens his door to get out, and PEMBLETON slams on the gas)

Bayliss: WHOA! ARE YOU NUTS?!!! (as he quickly tries to pull his door closed)
Pembleton: Why did she have to ask, if you had a son, could you, could you end his life? Jesus!
Bayliss: Exactly. I mean, this is why I didn't want the case, this is why I wanted to send the case to violent crimes!
Pembleton: What if they do decide to pull the plug, and the doctors come up with a cure? You never know what science is going to come up with.
Bayliss: There's no cure for being brain dead, Frank. This I know.
Pembleton: Well, that's not what you said the other day. I hear about things happening. And Lourdes and Fatima. Miracles. No one thinks THAT's strange.
Bayliss (sighs): Shoulda brought you your coffee.

(end ACT III)



Joan: These are the transplant people?
Doctor: Yes.
Paul: How much time do we have?
Doctor: You take as much as you need.
Paul: Uh, you will be in the operating room with Patrick?
Doctor: I'll be at his side the whole time.
Paul: I want somebody there who was there when he was first treated.
Doctor: I'll be the one who turns off his ventilator.
Joan: And he won't feel any pain?
Doctor: No.
Joan: And does everybody around him have to make so much noise?
Paul: We would like some privacy.
Doctor: Absolutely. (Addresses nurses) People?

(Nurses and DR. DEVILBLISS leave)

Joan: Maybe we should wait. We could do this tomorrow.
Paul: We'll just have to come back and face this again.
Joan: Tell me this is right.
Paul: It's for Patrick.
Joan: I wish he could hear us. Patrick, I wish you could hear me. (She touches him) He's still warm. Patrick? You are the love of my life. And your father's. Oh, I wish you could just wake up. I know you'd try to if you knew how much my heart hurt. You are breaking my heart. Thank you for being my son. For being who you've been all your ten years, three months and eight days. You give me so much happiness. And I will miss you every minute of every day. (She kisses his head)
Paul: I can't, uh, I can't let them do it like this. (Gets DOCTOR) How does this turn off?
Doctor: You don't need to worry about that.
Paul: Show me.
Doctor: I can't, it's against hospital policy.
Paul: Then I want you to do it.
Doctor: Mr. Garbarek, it would be better if you let us handle it in the OR.
Paul: (through tears) I cannot let Patrick die away from his mother. His heart is from us, and if his heart is gonna stop, then I want it to be here, with us, and not with you, and not with anybody. So, I've never asked anybody for a favor, but I am asking this now, please.
Doctor: I can only give you fifteen seconds before they have to take Patrick.
Paul: Patrick, I'm going to give you to Mommy, now. (Picks him up, they both hold onto him. Then, to the doctor..) Okay.

(DOCTOR shuts off ventilator, JOAN GARBAREK utters a cry of anguish as her son goes flatline, transplant people try to walk in)

Doctor: Hold on, folks, hold on.

(Music. Show scenes of organs being transported to various hospitals. Cut to BAYLISS, PEMBLETON surrounding pickup truck containing sleeping suspect, DONNY PORTON. BAYLISS knocks on window with gun.)

Bayliss: Hey! Over here!
Pembleton: Hold it!
Bayliss: Put your hands on the wheel, hands on the wheel! Take your left hand, and open the lock! Easy.. let's see the hands. (door opens) You're Donny Porton?
Porton: Yeah!
Bayliss: You're under arrest.
Pembleton: Where's the gun, Donny?

(PEMBLETON finds gun in truck and shows it to PORTON)

Bayliss: Oh!
Pembleton: NO GUN? Huh?
Porton: It's not mine!
Bayliss: That's not yours?
Pembleton: This is the gun you used to kill Patrick Garbarek, huh?
Porton: Who's he?

(PEMBLETON hits him in the head)

Bayliss: He's the kid you killed, man.
Porton: He died?
Bayliss: Yeah.
Porton: I heard on the radio that he's alive!
Bayliss: They pulled him off life support this morning.
Porton: WHY? Hey, I ain't responsible for that, man! That wasn't up to me! It wasn't up to me!
Bayliss: Wasn't up to YOU?

(End ACT IV)


(GARBAREK house)

Paul: Patrick gets around, doesn't he? One of his kidneys went upstairs to that little boy in the hospital.
Joan: I'm exhausted. I could sleep for a million years.
Paul: The other one went across town to Bayview for the little girl.
Joan: Should we...try one of those pills the doctor gave us?
Paul: The lungs went to Atlanta, the heart to Chicago, and the liver to Buffalo
Joan: Come to bed.
Paul: They took the body from the hospital to the morgue so they could officially rule it a homicide. There's always one more little thing.
Joan: Come to bed. I think we should sleep together.

(PAUL grabs magazine)

Joan: Paul?

(He ignores her, she stomps upstairs)

(Cut to BOARD...erasing red name Garbarek, replacing with black...cut to PEMBLETON watching Pope on TV...cut to BAYLISS in squadroom. Enter WILLIAM LOFTUS.)

Loftus: Pardon me?
Bayliss: Huh?
Loftus: Are you detective Bayliss?
Bayliss: Uh, yeah.
Loftus: Uh, she directed me to you (indicates secretary).
Bayliss: Well, she directly you correctly, what can I do for you?
Loftus: You're the detective for Patrick Garbarek?
Bayliss: Yeah. You're two for two, now.
Loftus; I wanted to get in touch with his parents. The hospital said that they couldn't, but that you might be able to tell me.
Bayliss: Well, I can't give out that kind of information.
Loftus: It's my son who received Patrick's kidney this morning. Oh, excuse me, I'm William Loftus.

(They shake hands)

Bayliss: So, how's your son doing?
Loftus: Oh, great! Matthew's doing tremendous! His face isn't doing so good, his color's off, but the puffiness has gone down. One hell of an operation! But he's going to make it!

(Cut to PEMBLETON watching Pope)

TV Announcer: The Pope is being driven into the parking lot at Camden Yards. An estimated 75,000 people line the parade going into Camden Yards and cheering the Pope and receiving his special blessing.

(Back to BAYLISS)

Loftus: I wanted to know if there was any chance I could say thank you to his parents. I looked up the last name in the phone book. There were only two of them. One didn't know what I was talking about, and the other, well, there was no answer. I was trying to be kind of a detective myself.
Bayliss: It doesn't take much, does it?

(Back to PEMBLETON watching TV. The phone rings.)

Pembleton: Homicide. Yeah. Calbert and what?

(Back to BAYLISS)

Loftus: I hear you caught the guy who did this.
Bayliss: Yeah, we did.
Loftus: Matthew was on the operating table this morning, and a lot of things go through my mind. If this killer isn't in the world, what? And he decides not to go to the mall a couple of days ago, what? If Patrick isn't there at the same time, or maybe he decides to go somewhere else that day, or maybe it rains, and he stays home, then what?


Pembleton: Bayliss, we've got a body down on the parkway, let's go.
Bayliss: Yeah, okay.
Man: Will you be seeing the parents any time soon?
Bayliss: Well, I might. You see, there's an arraignment of the shooter in a few days.
Man: They have to go and sit through that?
Bayliss: They don't have to, but they might want to.
Pembleton: Come on, Bayliss, let's get out of here.
Bayliss: Yeah, okay.
Man: Well, if you do see them, will you tell them that me and you talked?
Bayliss: Sure.
Pembleton: COME ON, I'm GOING!
Bayliss: Okay, Frank! Um, anyway, uh, it's a good thing about your son.
Man: Another little boy has to die so my son can live.
Bayliss: Yeah. I gotta...go, I gotta get back to my job (he walks toward PEMBLETON who is waiting in the doorway impatiently. They walk out, and the door closes behind them. Cue end credits.)