Homicide: Life on the Street
"Forgive Us Our Trespasses"
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 and archival purposes only. This script is not authorized or endorsed by Baltimore Pictures, Fatima Productions, or NBC. It was typed out by Kathy B. (IcyCape33@aol.com) with montage interpretation by Teri V. Valuable assistance was given by Tom. This transcript is made available for your downloading enjoyment by Laurel Krahn at http://www.windowseat.org/homicide/scripts/.
Note: The following is from the Court TV version of the episode. I'm sure they cut some scenes in order to allow more time for debt relief and Geico ads. If anyone wants to transcribe missing scenes, email Laurel (email@example.com).
Another note (I swear there's an episode transcript here, eventually): The montage transcribed at the end of this episode is based solely on the interpretation of two viewers who have frame by frame capabilities on their VCRs. We'd like to try to get as much of an exact interpretation as is possible. If you have any additions, deletions, episode names or general changes, please share them by contacting Laurel of Kathy B.
Written by Tom Fontana
Directed by Alan Taylor
Executive Producers: Barry Levinson, Tom Fontana, Jim Finnerty
Richard Belzer as Det. John Munch
Clark Johnson as Det. Meldrick Lewis
Yaphet Kotto as Lt. Al "Gee" Giardello
Kyle Secor as Det. Tim Bayliss
Peter Gerety as Det. Stuart Gharty
Jon Seda as Det. Paul Falsone
Callie Thorne as Det. Laura Ballard
Giancarlo Esposito as Michael Giardello
Toni Lewis as Det. Terri Stivers
Michael Michele as Det. Rene Sheppard
Sharon Ziman as Naomi
Zeljko Ivanek as ASA Ed Danvers
Michael Willis as Darin Russom
Ellen McElduff as Billie Lou McCoy
Jessica Hecht as Mary Catherine Foster
Audra McDonald as Teresa
Sagan Lewis as Judge Susan Aandahl
John P. Whitesell as Judge Devilbiss
Benjamin Busch as Luke Ryland
Robert Carlson as Officer Denys
Dan Morgan as Deputy Watson
Ruth Lawson Walsh as Janice McQueen
(and other familiar faces)
FORGIVE US OUR TRESPASSES
("LAST MARCH". SHEPPARD and BAYLISS get out of a car and walk up the steps to the Baltimore courthouse. They meet DEPUTY WATSON by the metal detectors.)
DEPUTY WATSON: Mornin' Sheppard.
DEPUTY WATSON: Bayliss.
DEPUTY WATSON: What brings you here so early and bright?
BAYLISS: Luke Ryland. The first day of what we hope will be a speedy trial.
SHEPPARD: Ending with a conviction.
BAYLISS: Ending with a death sentence.
DEPUTY WATSON: Any guy who killed two women over the internet deserves to fry.
SHEPPARD: Which courtroom are we in?
(DEPUTY WATSON rifles through his schedule.)
DEPUTY WATSON: I'm lookin'-- I don't see one here.
(BAYLISS, DANVERS and SHEPPARD are walking down a courthouse hallway.)
BAYLISS: What do you mean there's no courtrooms available?
DANVERS: What can I tell you? Crime is a growth industry. City puts more cops on the force, they make more arrests, we've got the same amount of court space.
SHEPPARD: So we waste a day sitting around waiting for another trial to end...
DANVERS: Or we toss the case back to the assignment judge. Get another date.
RYLAND: Hey detective.
(The trio notices LUKE RYLAND, sitting on a bench next to his lawyer.)
RYLAND: Nice pants.
BAYLISS: Well, we gotta go. We're trying to close that Belvins murder. (To SHEPPARD:) C'mon.
(As BAYLISS and SHEPPARD walk away:)
DANVERS: Well, see you in a couple of weeks.
("LAST APRIL". The Courthouse again. BAYLISS and SHEPPARD again walk up the steps, and again meet DEPUTY WATSON by the metal detectors.)
DEPUTY WATSON: Mornin' Bayliss, Sheppard. What brings you here so early and bright?
BAYLISS: Luke Ryland.
DEPUTY WATSON: The internet killer? Thought he already went to trial. Ryland, Ryland.
(DEPUTY WATSON finds it on his schedule:)
DEPUTY WATSON: Courtroom 2.
DANVERS: We got a courtroom. What we don't have is a defendant.
SHEPPARD: Where's Ryland?
DANVERS: Jail wagon forgot to bring him over.
DANVERS: Blame pre-trial services.
BAYLISS: So have them go back and get him!
DANVERS: Okay! But that'll take a few hours.
BAYLISS: But we gotta go. You know, I mean we're this close to closing the Belvins murder case.
(As BAYLISS and SHEPPARD walk away:)
SHEPPARD: Get a new trial date.
DANVERS: See you in a couple of weeks.
("THIS MORNING". A car pulls up to courthouse; we see someone running up the steps.)
SHEPPARD greets a waiting BAYLISS, who's sitting in the courtroom of JUDGE DEVILBISS.)
SHEPPARD: Sorry I'm late. How's it going?
BAYLISS: It's not.
SHEPPARD: Why not? We've got a courtroom, we've got a judge, we've got a defendant, what are we missing?
BAYLISS: (Pointing to Prosecutor's table) State's Attorney.
SHEPPARD: Danvers isn't here?
BAYLISS: Yeah, he got hung up in another trial.
RUSSOM: Your honor, may I ask how long we're going to wait for Mr. Danvers?
JUDGE DEVILBISS: Not a moment longer, counselor. This court is adjourned.
(BAYLISS blows a raspberry; SHEPPARD groans.)
JUDGE DEVILBISS: Defendant will be taken back to pre trial detention until a new date is set.
RUSSOM: Uh, Judge Devilbiss, I'd like to point out to the court that today is the one hundred and eighty-fourth day of Mr. Ryland's imprisonment without trial. Now, Hicks' Rule states that if a defendant is held for more than one hundred and eighty days without proceedings, it is a violation of his rights. Based on Maryland v. Hicks, I move for the immediate dismissal of all charges.
JUDGE DEVILBISS: Barring any evidence that this defendant has waived Hicks, I see no reason not to dismiss. Defendant is set free.
(The gavel sounds three times. Ryland rises.)
BAYLISS: Nah, I didn't hear right, did I?
SHEPPARD: Son of a bitch got off. The son of a bitch is goin' free.
RYLAND: (as he waves to SHEPPARD and BAYLISS) Be seeing you detectives. (We hear offscreen laughter).
(In the Courtroom of JUDGE SUSAN ANDAHL, proceedings are in progress.)
JUDGE ANDAHL: Ladies and Gentlmen of the Jury, during the course of this trial, testimony will be given in the form of questions and answers. Evidence --
(BAYLISS AND SHEPPARD burst into the courtroom, heading towards the prosecutor's table where DANVERS sits.)
JUDGE ANDAHL: -- consists of both the questions and answers coupled together, so --
BAYLISS: Danvers. We gotta talk.
SHEPPARD: Ryland walked.
SHEPPARD: His lawyer invoked Hicks.
(GHARTY, who's attending the trial, joins BAYLISS and SHEPPARD)
DANVERS: Hicks? It hasn't been 180 days.
BAYLISS: No, it's been 184.
(JUDGE ANDAHL stops her jury instruction due to the commotion.)
ANDAHL: Mr. Danvers?
DANVERS: Uh, yes, your Honor?
ANDAHL: Does the conversation you're having in any way relate to the State of Maryland versus Drell?
DANVERS: Uh, no ma'am.
ANDAHL: Then I will ask to refrain from speaking while I do.
DANVERS: Yes, Judge Andahl.
(DANVERS looks back towards the detectives.)
(On the top of the courthouse steps.)
BAYLISS: This is your damn fault.
DANVERS: My fault?
BAYLISS: Yeah, you should've been in the right courtroom.
DANVERS: I was in the right courtroom. I was prosecuting the Cymek murder! It's not my fault Andahl took so long instructing the jury. It's not my fault the state won't spend the money to hire more prosecutors. It's not my fault that I haven't had a day off or a full night's sleep in three months.
BAYLISS: Stop whining, Danvers. You screwed up!
SHEPPARD: Tim, relax.
BAYLISS: Don't tell me to relax, Rene. This is your case. You're the primary on this case.
SHEPPARD: I know that.
(BAYLISS starts walking away.)
BAYLISS: Killer's about to walk free. You're all just takin' this in your stride.
SHEPPARD: I'm not taking it in my stride.
DANVERS: Me neither - my office will appeal the ruling. We show cause, we might get the Court of Appeals to overlook the Hicks rule.
GHARTY: So meanwhile Ryland's back on the street.
(BAYLISS walks back up the steps.)
BAYLISS: And if he kills again, then what, huh? The blood of the next woman who dies is on your hands, Danvers!
(DANVERS steps toward BAYLISS.)
DANVERS: Yeah? Why don't you go close the Belvins murder, you asswipe.
(BAYLISS pushes DANVERS into the railing. DANVERS slides down the railing, and hits his head on the pavement. SHEPPARD runs up the steps to hold BAYLISS back. GHARTY runs down the steps to help DANVERS.)
SHEPPARD: What are you doing?
GHARTY: Danvers! Geez, you okay? C'mon! You alright? Huh? (To BAYLISS:) What are you, nuts?
(SHEPPARD watches BAYLISS as he walks down the steps without acknowledging GHARTY's question.)
(Outside Mike Giardello's house. MIKE is working on his car. An airport shuttle van pulls in, and a young African-American woman, TERESA GIARDELLO, steps out.)
MIKE: Teresa! What are you doing here?
TERESA: What am I doing here? Why weren't you at the airport?
MIKE: You told me Flight 105 at 3:15.
TERESA: 315 at 1:05, numbskull.
MIKE: Ahhhh... I am so sorry.
TERESA: Don't sweat it. (As they hug:) How you doin', handsome?
MIKE: God, it's good to see you.
(MIKE pays the van driver.)
TERESA: You know, Dad never told me about his being promoted to captain. Not a word. If you hadn't of called, I would've missed the entire ceremony. (MIKE shuts his car hood, picks up TERESA's luggage, and walk towards the house.) You got it?
MIKE: Yeah. He is gonna be so surprised you're here.
(In Mike's house)
TERESA: So what have you been up to?
MIKE: Well, I put down a new linoleum in the kitchen. Bought a new old car. Quit the FBI.
MIKE: The Bureau was getting hinky with a local murder case. Suddenly the greater good didn't seem so great. Handed in my badge.
TERESA: What are you doing now?
MIKE: (As he takes the bags to another room:) Nothin'.
(Squadroom. The phone bleats. LEWIS answers.)
LEWIS: Homicide, Lewis. Uh-huh. Yeah. I got it. (Avoiding SHEPPARD, LEWIS looks for anyone else available.) Hey Falsone. You free?
FALSONE: Yeah. What've you got?
LEWIS: Murder in Pigtown.
FALSONE: That's my favorite. Let's roll.
(As we see LEWIS and FALSONE prepare to leave the room, we see STIVERS at MUNCH's desk)
MUNCH: Billie Lou and I have been married three times each, so we want to keep the wedding party small. Just her, me, the witnesses and the priest.
STIVERS: The priest?
MUNCH: Father Puppapelli. He's a friend of Billie Lou's dad.
STIVERS: Wait. She can't be married Catholic if she's been divorced three times.
MUNCH: Annuled three times.
STIVERS: Well that's gotta be some kind of record, huh?
MUNCH: Yes, the woman has been unlucky with men - till now.
(A Cavalier, going to Pigtown. FALSONE is driving.)
FALSONE: Big doings today. Gee's promotion, Munch's wedding. Hey, I hear Munch asked you to be his best man.
LEWIS: Yeah. You know I gotta tell you, I'm kinda glad old Munchkin didn't invite the rest of us to his matrimonial shindig, you know? Don't get me wrong, you know, I wish him and Billie Lou truckloads of happiness. But, uh well you know, you been married, you know what I'm talking about. You know, you get up in that church, and the rabbi or the preacher, whatever. They start talkin' about how these two people should be together, and how swell it is that they're gonna be sharin' their lives, and how men and women oughta be two by two? And I'm thinkin' we had a shot at it - whatcha call it - wedded bliss? And we blew it. I blew it, you blew it, most people we know blew it. And I look at that couple walking up the aisle, and I think to myself, man you know that they got as much chance of surviving a nuclear holocast as they do staying happily married.
(BAYLISS is at his desk, playing with his Rubik's Cube. Giardello comes out of his office.)
GIARDELLO: Bayliss? Bayliss.
BAYLISS: Yeah Gee.
(BAYLISS steps into GIARDELLO's office and shuts the door.)
BAYLISS: Your big day, huh?
BAYLISS: Captain Giardello.
GIARDELLO: So they tell me.
(GIARDELLO sits behind his desk).
BAYLISS: Well, you look good, Gee.
(BAYLISS moves to sit down.)
GIARDELLO: Gee. Huh. You ever hear how I got that nickname? Gee? I was a rookie. Eager, naive. And uh, my first day out on the street (laugh), I walked out onto the crime scene, and the only thing come out of my mouth was, "Gee". (chuckle). I remember another rookie, stumbled into my squadroom, full of innocence. Full of himself.
GIARDELLO: I watched you grow from a boy to a man, Bayliss. I watched you do excellent work. Oh, there were some mistakes.
BAYLISS: I don't know what you're talking about.
GIARDELLO: Ed Danvers.
GIARDELLO: He's threatening to take you before the Department Trial Board.
BAYLISS: Oh, screw him, little midget!
GIARDELLO: No Bayliss. No. (As he gets up and starts pacing:) On this day I'm being elevated to Captain. It's a day I've worked hard for. It's a day I've waited for with great anticipation. I don't want anything to happen to spoil this day with unpleasantness. So I'm gonna ask you to apologize to Ed. Now I'm gonna put it to you in the form of a request, in the hopes that you will do me this favor, in honor of my promotion.
BAYLISS: I can't, sir.
(GIARDELLO sits behind his desk.)
GIARDELLO: Then I have to withdraw my request, and put it to you in the form of an order.
BAYLISS: I refuse.
GIARDELLO: My order?
GIARDELLO: (laughs and again rises from his desk) I'm gonna give you till this evening to reconsider. (GIARDELLO leads BAYLISS out of his chair and towards the door.) After that, the furies will be released. Ciao.
(BAYLISS opens office door, then turns back to GIARDELLO.)
BAYLISS: You know, seven years ago I walked in here with a file box and a lot of idealism. I had a clear vision of justice and morality. And no matter what has happened to me, whatever's happened around me, I still have that.
GIARDELLO. Maybe. (As he goes back behind his desk and sits down:) But on this job I've seen people change, and sometimes for the worse. And those that change the most are the ones that don't admit it.
(BAYLISS walks out and shuts door.)
(Doorway of McQUEEN residence.)
OFFICER DENYS: Victim's name was Joanna Foster McQueen. Female, white, drivers license says late 20's.
OFFICER DENYS: Joanna.
LEWIS: (As they walk through the door.) Jo Mama.
(The body of JOANNA McQUEEN lies on the floor.).
OFFICER DENYS: Stabbed at least ten times.
FALSONE: Someone was tryin' to make a point.
LEWIS: You sure you read her ID right? She looks closer to 40.
(OFFICER DENYS shows ID to Lewis.)
OFFICER DENYS: Here.
LEWIS: Huh. Musta led a rough and tumble life. Check out these needle marks.
(FALSONE picks up a packet of drugs, presumably heroin, from a nearby table.)
FALSONE: And this.
LEWIS: Goes hand in hand.
FALSONE: Anyone else in the house?
OFFICER DENYS: Nope.
OFFICER DENYS: Got a neighbor who likes to talk. She's got nothin' but background.
(We see six flashes of the photographer's bulb as pictures are taken of various parts of McQUEEN's body.)
(The NEIGHBOR's backyard. The NEIGHBOR and FALSONE and LEWIS are on opposite sides of a fence.)
NEIGHBOR: All day all night, they got people goin' in and outta there.
NEIGHBOR: Her and her husband. Shane.
LEWIS: Shane McQueen is his name?
NEIGHBOR: Yeah, though it should be Shane McLowLife.
FALSONE: They do drugs?
NEIGHBOR: Do drugs, sell drugs. You think maybe she was killed by some drug dealer Shane screwed over?
LEWIS: It's too soon to postulate, ma'am.
(The NEIGHBOR looks confused, mouthing "postulate" and apparently tying to figure out what it means.)
FALSONE: Thanks for your time.
(LEWIS tips his hat as he and FALSONE walk away. NEIGHBOR calls after them.)
NEIGHBOR: If you ask me he murdered her. Shane. He's a low life, I tell you.
(Once LEWIS and FALSONE are out of the NEIGHBOR's earshot:)
(The Board. We see a hand write "280 McQueen" in red under LEWIS' name.)
(Residence of Janice McQueen. LEWIS and FALSONE are on the steps. LEWIS knocks on the door.)
LEWIS: Miss McQueen? Miss McQueen!
LEWIS: Baltimore City Po-leece, ma'am. May we come in for a moment?
LEWIS: Ma'am, we gotta talk to you about something.
McQUEEN: I don't open this door for nobody.
FALSONE: We need to talk to you about your daughter-in-law Joanna.
McQUEEN: Go ahead and tell me.
FALSONE: It's not the kind of thing you want screamed through the door.
McQUEEN: She dead?
McQUEEN: Okay thanks, goodbye.
FALSONE: No. Mrs. McQueen. We need to ask her about her death. You see, she was murdered.
McQUEEN: Stupid bitch.
FALSONE: We need you to come identify the body.
MCQUEEN: Nah, I can't get around. I'm in a wheelchair.
FALSONE: Maybe your son can come.
McQUEEN: Shane's out of town.
FALSONE: Where is he?
McQUEEN: Er... Alaska.
FALSONE: Maybe there's some other relative?
McQUEEN: He's got a sister. Teaches in a Catholic school up in Philly.
FALSONE: What's his sister's name?
McQUEEN: Mary Catherine, I think. Last name's Foster.
LEWIS: Mrs McQueen? Do you have any idea who might have murdered Joanna?
LADY: Talk to her druggie friends.
LEWIS: Uh, we'd like to talk to your son.
McQUEEN: Well, like I said, he ain't here.
LEWIS: As much as I'd like to believe you, I'm gonna have to ask you to open up this door so we can come in and talk to you.
LEWIS: Look, open up the damn door...
McQUEEN: I got a shotgun in my hand.
(LEWIS and FALSONE move away from the door. LEWIS shuts the screen door.)
LEWIS: Now lookit, we're gonna come back here with a warrant and you are gonna let us in.
McQUEEN: You get a warrant then. till then, get yourself lost.
(LEWIS and FALSONE rush off the steps and away from the property. LEWIS' coat belt gets stuck. He gets unstuck and heads for the car.)
LEWIS: Uh look -- I'm gettin' us a radio car come down here keep an eye on old Shane there in case he decides to take a powder. Then we need to get a warrant signed by a judge pronto.
(As the detectives get into the car:)
FALSONE: Yeah, we still need somebody to eyeball the body. I'll go back to Joanna's house and look for an address book; get a lead on his sister.
MUSIC: "Sissyneck" (Beck)
(FALSONE looks through the messy house for an address book. LEWIS gets a warrant, signed by JUDGE ANDAHL, to get into JANICE McQUEEN's home. Two UNIFORMED OFFICERS amuse themselves while staking out the house, while Pigtown residents look on. FALSONE finds an address book. The police use a battering ram to enter JANICE McQUEEN's home. They are wearing flak jackets and have their guns drawn. MRS. McQUEEN is in her wheelchair, holding a golf club for protection. LEWIS puts his gun away, gets the golf club from a UNIFORMED OFFICER, and hands MRS. McQUEEN a warrant. LEWIS proceeds to practice his golf swing in the doorway.)
(Squadroom. FALSONE is on the telephone.)
FALSONE: Sorry about your loss. Um, we're gonna need you come down to identify the body. As soon as possible. Thanks.
(LEWIS walks by, on his way to his desk.)
FALSONE: Hey. I located the sister. She says she'll get a car and drive down right away.
LEWIS: Uh huh. Shane is not at his Mama's house.
FALSONE: Maybe he is in Alaska.
LEWIS: Yeah, and I'm Nanook of the North. (As he walks towards Stivers' desk:) Hey, Stivers?
LEWIS: Got anything on Shane or Joanna McQueen?
STIVERS: Yeah, I know 'em. Small timers, use more than they sell.
LEWIS: You got any idea where Shane might linger?
STIVERS: Used to be Cross and Light Streets, but I don't know.
FALSONE: Well, maybe we'll get lucky. Maybe his habits haven't changed.
(LEWIS and FALSONE prepare to leave, passing by BILLIE LOU as she enters the squadroom.)
LEWIS: Hey, it's the blushing bride!
FALSONE: Have fun at your wedding.
BILLIE LOU: Thanks boys.
MUNCH: (Standing up). Missus Munch!
BILLIE LOU: Missus Munch... Billie Lou Munch.
(MUNCH and BILLIE LOU kiss).
MUNCH: It has a ring to it, huh baby?
BILLIE LOU: (as she sits down:) Actually my full name now will be Billie Louise Pardine Cushman Petrosky McCoy Munch.
BALLARD: Yee-ikes. That's gonna be hard to monogram.
BILLIE LOU: Did you sign the papers?
MUNCH: (picking up a document:) Right here.
BALLARD: What papers?
MUNCH: Since I don't subscribe to Billie Lou's religion, the church has made me promise to respect her obligation to raise our kids Catholic.
BALLARD: Your kids? Well, are... are you guys...
BILLIE LOU: No.
(BALLARD swallows, realizing her faux pas.)
MUNCH: So I figure, why fight the Vatican? Patriarchy that's been virtually unassailable for two thousand years. Don't get me started about the mysterious death of Pope John Paul the First...
BILLIE LOU: John.
(BILLIE LOU gives MUNCH a stare.)
MUNCH: Yes, dear.
(MUNCH and BILLIE LOU kiss)
(Stationhouse Hallway/Ramp. BAYLISS is leaning against a wall, as SHEPPARD walks up.)
SHEPPARD: Hey Partner. Got a call. Slamdunk -- cornerboy kills cornerboy, gets caught holdin' the gun. Let's say we head over to Fayette Street and wrap this baby up.
BAYLISS: No, no. You, uh, you go ahead, Rene.
(BAYLISS starts to walk away.)
SHEPPARD: Still stewing about Luke Ryland?
BAYLISS: (Turning back:) Yeah.
SHEPPARD: Me too. Gives me the dry heaves, knowing a guy like Ryland's out on the street. What can we do? Right? 'Cept move on to the next case.
SHEPPARD: Did I say something funny?
BAYLISS: You just sounded like Frank.
SHEPPARD: The Almighty Pembleton.
BAYLISS: Yeah. Yeah, you can't believe how many times Frank and I chewed over a case, spat it out, tried to get that nasty taste out of our mouths. We'd weigh the value of every life lost; tried to figure out what it all really means, you know, uh, this whole life thing.
SHEPPARD: He was your partner.
SHEPPARD: He was your best friend.
BAYLISS: No, Frank didn't have best friends. I worked with him for six years. And we spoke maybe two times since he left here. That's it. You know, and he quit here once before. Got on his high horse, he rode on out of here. So I thought, you know, he'd come back this time too, but uh, ah, he's really gone for good now.
SHEPPARD: And you need his advice.
SHEPPARD: Give him a call.
BAYLISS: Hmm. Yeah, maybe I'll call.
(BAYLISS walks away).
SHEPPARD: I'm sorry I'm not Frank.
(BAYLISS turns around.)
SHEPPARD: I'm sorry I'm not someone you can talk to.
BAYLISS: What are you talkin' about? I can talk to you.
SHEPPARD: Yeah, I know. But it's different. I mean you loved him, didn't you.
BAYLISS: Yeah. I did. Um, I loved him. So you said it was a slamdunk, huh? (As he starts following SHEPPARD down the hall:) Good, good. I could use a little righteous justice about this time. I'll drive. Frank hated when I drove.
SHEPPARD: (Laughs) Alright.
(The Black Olive Restaurant. GIARDELLO and his children are having lunch.)
TERESA: You're moving to property crimes?
TERESA: You're not gonna be in homicide anymore.
GIARDELLO: Hm. You go where the vacancies are.
TERESA: Al Giardello out of homicide. This is the end of the millenium. Aren't you gonna miss it, Dad?
GIARDELLO: Sure, but...
MIKE: Well, uh, they do good work in property crimes.
GIARDELLO: What do you mean by that?
MIKE: Nothin', Nothin'. Just that they'll keep you busy.
TERESA: You okay?
GIARDELLO: It's this uniform. I'm not used to wearing it.
MIKE: You better get used to it.
GIARDELLO: Reminds me of when I was on the street as a patrolman.
TERESA: I was always so proud seeing you in dress blues.
GIARDELLO: You know, there's nothing like walking the beat. I used to know every criminal in the neighborhood on a first name basis. Big Sammy, Tony Two Thighs, Carl the Jew. The shopkeepers. Old Man Tortitelli used to give us that, give you that baked bread, that was run over for you and your mama. Some good times.
MIKE: (raising a glass in toast:) Here's to good times.
TERESA: (as she and her father raise their glasses:) Here's to these good times.
(Pigtown streetcorner, probably Cross and Light. LEWIS and FALSONE are talking to one of the locals.)
RICKERT: I ain't seen Shane in a couple days.
LEWIS: You aware of any business transactions of his that might've gone sour recently?
RICKERT: I don't know what you mean.
FALSONE: Look, we're Homicide. We don't care about anything else.
RICKERT: (Sighs) Shane's never gonna win any awards with the Better Business Bureau. So, yeah, there's a lot of guys who mighta gone to the house lookin' for him, done the wife bodily harm. Course, she's no prize neither. Stealin' drugs, goin' around behind his back. She's been nailin' his best friend. Teague Ford.
LEWIS: Where's Mr. Ford live?
RICKERT: Over on West Street, Montgomery.
(RICKERT takes a drag off of his cigarette.)
LEWIS: Well, thank you very much, Mr. Rickert. You've been very helpful.
(LEWIS and FALSONE walk away.)
RICKERT: (Calling after them:) Tell it to my parole officer.
(LEWIS and FALSONE walk towards the Cavalier.)
LEWIS: So I guess now is the time to go pay Mr. Teague Ford a visit. What the hell kind of name is that anyway? Teague? Teague!
FALSONE: First we gotta go back to Headquarters.
LEWIS: What for?
FALSONE: Gee's promotion.
(Police Headquarters; large room. A banner on the wall reads "Congratulations Capt. Giardello." Those gathered, including most of GIARDELLO's squad, seem to have been waiting for a while. MIKE leaves the room. He opens the door to his father's office and walks in, having found GIARDELLO staring at himself in his bathroom mirror.)
MIKE: It's almost time.
GIARDELLO: How do I look?
MIKE: You look ready.
GIARDELLO: I feel like a fool. (As he walks into his office:) I think I wanted this promotion becuase it's there. Because Russert and Gaffney got promoted over me. Because it's time for black men to rise up! It's my ego that wants this promotion.
(GIARDELLO leans on his desk.)
MIKE: But your heart doesn't.
GIARDELLO: No, Mike. The higher I go up in this building, the further I get away from the streets. I know the streets of Baltimore, the avenues and the alleys, every corner. I don't want the bird's eye view.
(MIKE sits on the arm of the opposite chair, arms crossed.)
MIKE: You know at lunch? We were waxing nostalgic about the old days? But Dad, the old days weren't happy or quaint. This city was poor, broken. It hated us because of the color of our skin. And that enraged us. So it burned. What's changed?
GIARDELLO: (As he paces:) Even more reason for me to stay on the streets. I'm needed down there.
MIKE: (standing up:) So?
GIARDELLO: So, I'm afraid I'm gonna disappoint a lot of people.
MIKE: Well, you always do. (Starts to walk out, but turns around:) But let me tell you something -- I've never been prouder of you than I am right now.
(Squadroom. GIARDELLO's detectives are coming through the door after the aborted ceremony.)
LEWIS: Ain't that a kick in the head?
LEWIS: Well we go through all that trouble to rearrange our lives, we go out and buy Gee expensive going-away presents an' all, and he ain't even goin' away. Where I come from, that's called inconsiderate.
GHARTY: You didn't buy him a present.
LEWIS: Well, now I'm glad I didn't.
NAOMI: Falsone? Someone here to see you. Says she's the sister of your murder victim. (In the waiting area we see a young woman, MARY CATHERINE FOSTER. She's a nun. FALSONE and LEWIS take in the new development.)
MARY CATHERINE: Joanna and I, we were the only two left. So even though we lived in different cities, we stayed in touch. We'd talk every single Saturday. She'd come up to visit on holidays. A year ago April I had a conference in San Francisco and Joanna came along. We'd... We had great fun together.
LEWIS: I see. Now, sister, what can you tell us about her husband Shane?
MARY CATHERINE: They've been together about a year. I haven't met him yet. Is he here? I'd... I'd like to talk with him.
LEWIS: We're hopin' he's on his way.
FALSONE: Did she ever say anything about her relationship with Shane?
MARY CATHERINE: Only that they were having the usual first year ups and downs. From what I understand that, that they were separated a lot because of his job.
LEWIS: His job?
MARY CATHERINE: He's an architect. Designs office buildings all over the world. Hong Kong, Paris.
MARY CATHERINE: What's the matter?
FALSONE: Nothing, Sister. Uh, can we have a second? Meldrick?
LEWIS: Excuse us.
(LEWIS and FALSONE walk out. Outside interview room)
FALSONE: Know what? I got a feeling that she doesn't know anything about what her sister's been into. The drugs, or anything.
LEWIS: Well, I agree. It's gonna be hard to give her the sordid details.
FALSONE: Do we have to? I mean, c'mon, look at her -- she's been livin' her life serving God, doing good works. Protected, you know? I mean, do you wanna be the one to shatter all that and tell her that Joanna was a lying, thieving crack whore?
LEWIS: I don't wanna, but I gotta.
FALSONE: Yeah, but if she doesn't know anything about her sister's life, well, wh-what is she gonna tell us about the murder?
(GHARTY comes up to them with a phone message.)
GHARTY: Lewis! Stivers just called from the crime scene. Says you boys might me interested in goin' over. Victim's name is Teague Ford.
LEWIS: Teague? Damn. Stabbed to death?
GHARTY: Yeah. Yeah. (as he walks past:) And she's got the suspect. Shane McQueen.
LEWIS: We're there.
FALSONE: (glancing at MARY CATHERINE:) What about her?
(LEWIS AND FALSONE return to the interview room.)
LEWIS: Okay, sister, thank you very much for coming down. We got all we need at this point.
FALSONE: Thank you so much for coming so quick.
LEWIS: And we'll keep you posted as the case develops.
MARY CATHERINE: I'll... I'll be staying at the convent over at St. Stan's until the funeral. (She writes address down.) When you talk to my brother-in-law, would you ask him to phone me?
FALSONE: Yeah. Uh huh.
LEWIS: Absolutely. Thank you Sister.
(MARY CATHERINE walks out of room.)
LEWIS: See I told you we shoulda told her the truth about her sister, man.
FALSONE: She's gonna find out soon enough. Let her live the lie a few more hours.
(Stationhouse Archway. LEWIS and FALSONE pass by the returning BAYLISS and SHEPPARD, who apparently have the Fayette Cornerboy in tow.)
LEWIS: I heard about what happened with Luke Ryland. It's a doggone shame.
LEWIS: Uh, especially knowing how important it is to you. You know, your first red-ball, your first real case since the beatdown.
SHEPPARD: I'll see you upstairs, Tim.
(SHEPPARD walks away with the Cornerboy.)
BAYLISS: Why do you keep doin' that?
LEWIS: Doin' what?
BAYLISS: You know, bringing up the beatdown every time you get a chance.
LEWIS: Because it happened, Bayliss. And no amount of wishful thinkin' or good karma is gonna change any of that.
BAYLISS: You're such an ass.
(BAYLISS starts to walk away.)
LEWIS: I'm an a--? You callin' me an ass?
BAYLISS: (turning around:) Yeah.
LEWIS: I didn't kick Ed Danvers down a flight of stairs, did I?
(LEWIS starts to walk away.)
BAYLISS: Hey hey hey hey!
(LEWIS turns around.)
BAYLISS: Uh, you remember uh, the James Felder murder?
LEWIS: Yeah. Yeah.
BAYLISS: Right, right. You didn't want me involved in the investigation cause you thought that I get a little too wrapped up in certain cases. That I can't let go of the past. That *I* can't let go of the past.
LEWIS: (to FALSONE, who's leaning on a Cavalier.) You hear of Adena Watson?
LEWIS: That's this chump's first case. It's deader than dead, and he's still trying to clear it!
BAYLISS: You see, you're doing the same thing, Meldrick. You're not letting go. The Sheppard beatdown, that is ancient history, man!
LEWIS: No, no. Let me just tell you the difference here. Sheppard almost got me killed. Now that's an ugly fact, plain and clean, and I got a right to my feelings about that. But you, on the other hand, you been around this dump for seven years and you still ain't learned the key to good murder police, which is this: whatever you see, whoever's around you, you keep them away. You keep them at a distance. But not you. You come up on a crime scene, the first thing you wanna do is put a chalk outline around yourself.
(LEWIS walks to his Cavalier:)
LEWIS: (To FALSONE, who's still leaning on the other Cavalier:) Well, you comin'?
(FALSONE looks at BAYLISS, then follows LEWIS, leaving BAYLISS by himself.)
(Day turns to night. Catholic Church. MUNCH, BILLIE LOU, BALLARD and GIARDELLO are in their wedding finery.)
MUNCH: (Shaking the Father's hand:) Father Puppapelli, I really appreciate you taking time out of your busy schedule to do this.
FATHER: My pleasure, John. Hello, Billie Lou.
BILLIE LOU: (Shaking the Father's hand and curtesying:) Hello, Father.
MUNCH: This is Laura Ballard, our Maid of Honor.
FATHER: Pleased to meet you.
MUNCH: And of course, you know Al Giardello.
FATHER: (Shaking GIARDELLO's hand:) Yes, of course. Shall we begin? Dearly beloved, we are gathered here today to join this man and this woman in Holy Matrimony.
(Residence of Teague Ford. As the following is heard:)
FATHER: John Munch and Billie Lou McCoy have come here today through the grace of God and the blessing of their love for one another. We are carried by the love of their families, friends, and their commitment will not be shaken. Do you John Munch, take this woman to be your lawfully wedded wife?
MUNCH: I do.
FATHER: Do you Billie Lou McCoy, take this man to be your lawfully wedded husband?
(A photographer is taking pictures of Teague Ford's body. FALSONE and LEWIS arrive at the crime scene. We see a stretcher being rolled onto the crime scene, which is teeming with police. STIVERS walks by, looking towards a squad car, into which SHANE McQUEEN is placed.)
FATHER: Now repeat after me: I, John Munch, take you, Billie Lou McCoy, to be my lawfully wedded wife.
(Squadroom. As the following is heard:)
MUNCH: I, John Munch, take you, Billie Lou McCoy, to be my lawfully wedded wife.
FATHER: I, Billie Lou McCoy, take you, John Munch, to be my lawfully wedded hubsand.
BILLIE LOU: I, Billie Lou McCoy --
(DANVERS, with a bandage on his forehead, is in the squadroom when BAYLISS enters. They eyeball each other, but both walk away without exchanging words.)
BILLIE LOU: -- Take you, John Munch, to be my lawfully wedded hubsand.
(Interview Room. As the following is heard:)
FATHER: To have and to hold, to honor and obey, in sickness and in health, from this day forward, till death do us part.
BILLIE LOU: To have and to hold, to honor and obey, in sickness and in health -- (LEWIS interrogates SHANE McQUEEN as FALSONE looks on.)
(Interview room, as the following is heard:)
BILLIE LOU: --from this day forward, till death do us part.
(BAYLISS stares into the one-way mirror.)
(Catholic Church. MUNCH places a ring on BILLIE LOU's finger.)
FATHER: With this ring, I thee wed, with my body, I thee worship. And with all my earthly goods I thee endow.
(Medical Examiner's Office. As the following is heard:)
FATHER:If anyone can see fit why these two should not be joined in Holy Matrimony, speak now or forever hold your peace.
(A sheet-covered body is rolled into the office. A man in a trenchcoat is taking notes. Scheiner is seen examining a body in the background. Sister MARY CATHERINE takes in the scene.)
FATHER: I now pronounce you man and wife. You may kiss the bride, John.
(MUNCH kisses BILLIE LOU. BALLARD and GIARDELLO smile.)
(The Board. "285 FORD" and "280 McQUEEN" are both written in black.).
(Convent of St. Stanislaus. LEWIS knocks on the door, FALSONE waiting to the side.)
(MARY CATHERINE, LEWIS and FALSONE are sitting at a table inside the convent).
MARY CATHERINE: You must be wrong. My sister is a good soul.
FALSONE: Well, we're not sure how long she's been involved in this nonsense. I mean, maybe it's only been since she married Shane McQueen.
MARY CATHERINE: As kids, Joanna and I were like two peas. How could our lives have ended up so differently? How could I not have known about her distress? Not have heard it in her voice during those calls? We spoke every week.
FALSONE: Well, she was probably putting her best foot forward so you wouldn't worry.
LEWIS: Sometimes when you love somebody, you know, you want to think the best of them.
MARY CATHERINE: Yes.
FALSONE: We'll let you be.
(FALSONE stands up.)
MARY CATHERINE: Would it be possible for me to see Shane McQueen?
LEWIS: (Clears throat.) Uh, Sister, uh... in all honesty, I don't think you wanna put yourself through that.
MARY CATHERINE: Joanna loved him. At least for a while they shared a bed, a life. It might help me to make sense of all this if I could at least meet him. Talk a little. Offer him my forgiveness.
LEWIS: You wanna forgive the man?
MARY CATHERINE: Yes.
LEWIS: Sister, I... uh, with all due respect, the man is a piece of crap.
MARY CATHERINE: This has less to do with who he is than who I am, with what I believe about the frailty of man, about the love of God.
FALSONE: I'll take you down there, Sister.
MARY CATHERINE: Thank you. I'll get my coat.
(MARY CATHERINE stands up and walks out of the room.)
LEWIS (Sighs.) Forgiveness. That's a hell of a concept, huh?
FALSONE: You should ask Sheppard about that.
(FALSONE walks away, leaving LEWIS alone to ponder.)
(Giardello residence. Gee is standing in the living room.)
MIKE: The dishes are done.
GIARDELLO: That sauce was good.
(MIKE walks out of the kitchen, dishtowel thrown over one shoulder.)
MIKE: Yeah, I make a mean pesto.
GIARDELLO: Where's your sister?
MIKE: (as he sits down:) Well, she's, uh, on the phone.
(They hear a police siren. Officers get out of a squad car, and move towards a house across the street. GIARDELLO and MIKE are standing on their front porch.)
MIKE: Whatta ya think?
GIARDELLO: Domestic squabble. That couple in there, they don't get along.
MIKE: (Lighting a cigarette:) Well, I guess I'll be headed home.
GIARDELLO: So what have you got tomorrow?
MIKE: Thought I'd take Teresa to the airport, and uh, well, after that, I'm not sure.
GIARDELLO: Mike, there's only so many times you can visit the National Aquarium.
MIKE: Yeah. Yeah, I know.
GIARDELLO: So what are you gonna do with yourself?
MIKE: Dad, I have spent my entire life trying not to be like you. Here I am.
MIKE: You say you belong to the streets? So do I. Now I just have to figure out a way to get back there.
(MIKE walks down the steps.)
GIARDELLO: I can help.
MIKE: (looking back at his father:) Yeah, I know. Good night, Dad.
GIARDELLO: Night. Drive carefully.
(At his car, MIKE pauses to look at the police action taking place across the street. A man is being led to the squad car.)
DOMESTIC SQUABBLER: Get your hands offa me! You wait till I get back you bitch. Get offa me! I'm gonna kill you, you bitch!
(A woman can be seen from an upper-level window; she's watching the squad car roll away. MIKE gets into his car.)
(Balitmore City Jail. A Uniform lets FALSONE and MARY CATHERINE inside. They are led to the cell where SHANE McQUEEN is held.)
MARY CATHERINE: Hello, Shane. I'm Mary Catherine. Would you mind if I come in?
(SHANE gestures to the other half of the cot. MARY CATHERINE walks into the cell and sits down. MARY CATHERINE offers her hand to SHANE, which he accepts, as FALSONE looks on.)
(Outside Luke Ryland's residence -- possibly Fourth Avenue. RYLAND walks across the street towards his place. BAYLISS is waiting for him.)
BAYLISS: Hey, Ryland.
RYLAND: (unlocking his gate:) What do you want?
BAYLISS: To warn you. I'm gonna be watching. All day. Every day. Just waiting for you to screw up.
RYLAND: I hope you like New Orleans then, cause that's where I'm moving. Hear the chicks down there are beautiful. Friendly. Easy. The best part is, if you don't come along, you can still see everything I'm gonna do -- on the internet.
(A white flash-- and RYLAND walks into his place, shutting the gate behind him three times, eyeballing and winking at BAYLISS. An angry BAYLISS is left to ponder.)
(The Waterfront. LEWIS is behind the bar reading the newspaper; a lone patron is sleeping, using the bar as a pillow. MUNCH walks in.)
MUNCH: Meldrick. I see it's business as usual - crappy.
LEWIS: What are you doin' here? It's your wedding night.
MUNCH: (as he sits:) I know that. Wasn't that me, standing next to Billie Lou, saying those two words I've said so many times before - "I do"?
LEWIS: (getting MUNCH a glass and coaster, pouring a drink:) Yeah, uh huh. And those other three times that you said those words, didn't you spend the night with your bride?
MUNCH: Sure, but in order to break the pattern, and avoid divorce, I figured I'd stay away from her. Maybe, you know, get a load on.
LEWIS: Something happened.
MUNCH: Your powers of detection are astonishing.
LEWIS: You had a fight.
LEWIS: Then what?
MUNCH: You sure he's asleep?
(MUNCH throws a beer nut at the bar patron. The patron doesn't stir.)
MUNCH: Ohhh, 'bout six or so weeks ago I agreed in a moment of imbecility that I wouldn't have sex with Billie Lou until our wedding night? As you might suspect, I've been anticipating nightfall with rising expectations. We get back to our place, we got our clothes off, we got in bed...
LEWIS: Expectations failed to rise?
MUNCH: Worse. I'm in the World Series. Bottom of the ninth. Bases loaded. I swing before she pitches the ball.
LEWIS: Ouch. But you still got two more strikes.
MUNCH: Not at my age. (Gesturing to glass:) Pour.
(BAYLISS walks into the bar.)
LEWIS: (as he's pouring:) Ah, look what the wind blew in. How you doin' there, Timmy?
BAYLISS: John, uh, you got a second?
MUNCH: Seconds, minutes, hours, weeks, months, years...
BAYLISS: Well, come take a walk with me.
MUNCH: (Takes a sip of his drink; sets it down.) Keep that warm for me.
(MUNCH follows BAYLISS out of the bar. LEWIS watches them leave, then throws another beer nut at the bar patron. He still doesn't move.)
(Outside the Waterfront. BAYLISS is looking at the Stationhouse. MUNCH soon joins him.)
BAYLISS: It's a grand old building, isn't she, John?
MUNCH: Yeah, it's grand, if you like a leaky roof and a men's room with a backed-up toilet.
BAYLISS: All the men and women who've walked into this building over the last 85 years, not just cops, but everybody. All of them with their lives involving some sort of crime -- robbery, fraud, missing persons, homicide. Criminals, victims...
MUNCH: I'm getting a chill.
(BAYLISS and MUNCH walk down the street.)
BAYLISS: You know what I started thinking about today? Gordon Pratt.
MUNCH: Gordon Pratt? That little weasel who shot Bollander, Felton and Howard?
MUNCH: What the hell are you thinkin' about that little scumwad for?
BAYLISS: Well, when he got released, um, Pratt was found shot to death, and I was put in charge of the investigation.
MUNCH: And a swell job you did, too.
BAYLISS: I never really closed that case, John.
MUNCH: That's what I mean. Somebody shoots three of our own, they deserve to have an unavenged death.
(They stop walking.)
BAYLISS: You really believe that?
BAYLISS: You believe that he deserves to die?
MUNCH: (more emphatic) Yes.
BAYLISS: And that his murderer should go free.
MUNCH: (chuckle) Yes.
BAYLISS: Oh. You know, when I got shot, my whole perception of the universe just completely changed. But when I shot that, that homeless guy, that Larry Moss? Suddenly, I knew what it was like to take another person's life. Suddenly, I was just like the person who killed Adena Watson. See, Frank said that I would never be a good homicide detective because I didn't have the killer's instinct. Frank was wrong.
(BAYLISS starts walking again. MUNCH sighs and follows.)
BAYLISS: You know, I always suspected you.
MUNCH: Of what?
BAYLISS: Killing Gordon Pratt.
(MUNCH stops walking)
MUNCH: Why in God's name, after all this time, you dredge Gordon Pratt out of the muck?
BAYLISS: I don't know. It just -- came into my mind. (As he pats the back of MUNCH's neck:) Good night, John Boy.
(BAYLISS walks away, leaving MUNCH to ponder.)
(Danvers' residence. DANVERS is sitting at a table, reading, drinking a beer and eating Chinese food. He hears a knock at the door. He gets up to answer, and sees who it is through the blinds -- it's BAYLISS, dressed casually.)
DANVERS: (Opening the door:) What do you want?
BAYLISS: To tell you -- that I'm sorry. I'm truly sorry for what I've done.
(BAYLISS holds out his hand. After a pause, DANVERS accepts the handshake.)
DANVERS: Apology accepted.
(BAYLISS starts to leave.)
DANVERS: We'll get Luke Ryland, Tim.
BAYLISS: Yeah, I know. These things, they just take time. (As he moves back towards DANVERS:) Patience. Course, being a murder police I've learned one inescapable truth -- justice is a bitch.
(DANVERS raises an eyebrow.)
BAYLISS: See ya.
(BAYLISS walks away as DANVERS shuts the door.)
(Squadroom. Next day. STIVERS and BALLARD walk in.)
STIVERS: I start my vacation tomorrow.
BALLARD: That's right. Where you goin'?
STIVERS: Paradise Island.
GHARTY: (From his desk:) Aw geez, that's sounds nice. Paradise Island.
MUNCH: (Hanging his coat:) Sure sounds a hell of a lot nicer than Baltimore.
GHARTY: I start my vacation too. I'm going to the Towson Mall.
FALSONE: (From his desk:) Hey Ballard, you know with Teri gone and Stu gone, we're both gonna need partners.
BALLARD: ( From her desk:) That's right.
(FALSONE and BALLARD exchange glances. The phone bleats. LEWIS answers.)
LEWIS: Homicide, Lewis. Yup. Uh huh. A'ight. Got it. (As he hangs up phone:) Hey Sheppard. You busy?
(LEWIS throws a football to SHEPPARD; she catches it and sits at her desk.)
SHEPPARD: No, why?
LEWIS: Got a murder over on Fourth Avenue.
SHEPPARD: And what, you want applause?
LEWIS: Nah, I'm just wondering if maybe you wanna join me. On the case. Be my partner.
SHEPPARD: That's not funny, Lewis.
LEWIS: I'm bein' serious. (As he puts on his coat:) Why is it that nobody ever can tell the difference between when I'm being serious, and when I'm jokin' around?
SHEPPARD: You really want me to come?
LEWIS: Not if it's gonna take any more beggin'.
SHEPPARD: I'm there. Let's go.
(SHEPPARD gets up; LEWIS grabs his hat.)
LEWIS: Let's go.
(They walk out of the squadroom.)
(BAYLISS is cleaning his desk. He places a framed picture in a gray file box marked "Office Stuff". GIARDELLO walks out of his office as BAYLISS places a Rubik's Cube in the box.)
BAYLISS: Hey, Lieutenant.
GIARDELLO: I just got off the phone with Ed Danvers. You worked out things with him, right?
BAYLISS: Yeah, yup. Came to my senses on that one.
GIARDELLO: Spring cleaning?
BAYLISS: Yeah, just gettin' rid of a few things here I don't need anymore.
GIARDELLO: Good. It's good in May to sweep things clean.
(As GIARDELLO walks away, BAYLISS throws a Rubik's Cube in the box. He picks up a nameplate that reads "Det. Tim Bayliss", looks at it, and throws it into the box, three times. He picks up the box and walks over to the Board. He ponders for a bit and walks to the door. At the door, he turns around for a look at the squadroom. With a flash, we see a montage of the events of Homicide over the past seven years:)
Tim walking into the squadroom with his box (Gone for Goode)
Frank and Tim in the bar (same)
Frank and Tim observing the kid sleeping in the Box (same)
Adena in the rain (end of Goode)
Tim walking around her (Ghost of a Chance)
Tim writing her name on the Board (same)
Gee "clearing" off a desk for Tim (same)
Looking through the blinds into the Box (Gone for Goode)
(The images begin overlapping.)
Gee and Kay talking to someone
A smiling Pembleton.
Frank walking into the squadroom
Meldrick saying good night at the bar (end of Shot in the Dark)
Beau toasting the others at the bar (same)
Felton and Lewis and the candle (Night of the Dead Living)
Frank and Tim yelling at the Araber (Three Men & Adena)
Munch and Gee laughing
More yelling at the Araber (Three Men & Adena)
Stan holding the baby (Night of the Dead Living)
Pictures of Adena on the wall (Three Men & Adena)
Gee hosing down Frank (Night of the Dead Living)
Tim looking down at someone or something, but not Adena
Tim and Frank sitting in the diner (Smoke Gets in Your Eyes)
Munch and Kay walking
Lewis in the squadroom
Munch examining the weed in the evidence room (Smoke Gets in Your Eyes)
Gee talking to Frank and Tim at the CC Cox murder scene (See No Evil)
Bollander and Munch sitting at their desks in the squadroom
Tim enjoying Frank's secondhand smoke in the diner (Smoke Gets...)
Gee in his office, angry (Black and Blue)
Meldrick and Beau facing off in front of the Box (See No Evil)
Meldrick crying, Stan holding him (Crosetti)
Gee and Frank in Gee's office
Rewriting Angela Frandina's name in black (A Many Splendored Thing)
Funeral procession (Crosetti)
Gee and Tim watching Frank interrogate Cox's friend (See No Evil)
Frank's salute (Crosetti)
Tim sitting at his desk wearing the leather jacket (A Many Splendored..)
Tim and Gee looking up to see Frank in dress blues (Crosetti)
Meldrick and Beau seated, Tim standing and talking
Tim saluting after the chewing out for the "cuffoon" (A Model Citizen)
Frank staring up at the crucifix (Extreme Unction)
Tim and Emma kissing in the morgue (Happy to Be Here)
Gee telling Tim to fall in love on his own time (same)
Tim pulling the gun on the clerk (same)
*Frank and Tim in the car, "You're just not lucky" (same)
Munch and Stan walking in the squadroom (All Through the House)
Tim as security guard (Happy to Be Here)
Gee waving to everyone (All Through the House)
Meldrick walking through squadroom (All Through the House?)
Tim dumping snow on Frank (same)
Gee and Tim playing Hearts (same)
Gee reading paper at desk
Tim trying to get Frank to return to work (From Cradle to Grave)
Frank shoving Munch (Endgame) (overlapping the following:)
Beau hugging Kay (From Cradle to Grave)
Tim walking by Frank's abandoned desk (Partners)
Gee telling Meldrick to go out on a case with Tim (same)
Frank and Tim waiting for Holton at the station (Dead End)
Tim, Munch and Meldrick in their tuxedos at the bar (Partners)
Tim (drunk) and Frank at the bar's opening (same)
Tim turning back to the reporters and putting his hand over the camera (Endgame)
(Rapid fire, some overlap:)
Same image of Tim putting his hand over the camera lens (Endgame)
Kay getting shot (City That Bleeds)
Frank in the breakroom, offering his alibi to Tim (Law and Disorder)
Munch hugging someone (City That Bleeds)
Beau getting shot (City That Bleeds)
Frank and Tim reviewing Pratt's school records (Endgame)
Tim giving Munch his gun back (Law and Disorder)
Stan getting shot (City That Bleeds)
60's picture of Munch (Law and Disorder)
John tripping over the others during the shooting (City That Bleeds)
Tim walking away from the Board, Pratt left in red (Law and Disorder)
Tim and Frank seated outside morgue
Tim smashing the glass; Frank and Tim facing off (Colors)
Frank walking through squadroom
Frank and Tim talking about bringing a baby into this world (Fire 2)
Moving the Board out of the squadroom during the gas leak (Autofocus)
Tim at target practice (Thrill of the Kill)
Catching the suspect in the shopping mall shooting (A Doll's Eyes)
Tim, Frank, Meldrick and Mike in a bar (Thrill of the Kill)
Tim on the phone, hearing the final shot (same)
Frank and Tim in the car at night (A Doll's Eyes or I've Got a Secret)
Long list of names in red under Tim's name (Sniper 1)
Tim and Frank playing with the black cat in the breakroom (Heartbeat)
Megan trying to get Tim's attention, then trying to catch him as he slides down the wall (Sniper 1)
Meldrick seated, looking up and back (A Doll's Eyes)
Tim (with facial hair)
Frank watching Tim as he finds the grilled cheese sandwiches (Justice 2)
Tim talking to Kay about Adena, trying to cry (Stakeout)
Frank and Tim walking into squadroom
Frank having his stroke (Work Related)
Tim reaching over table to help him (same)
Everyone standing around Frank's bed (same)
Meldrick at his desk with the bowling ball (same)
Tim, a shot with 4th season hair
Mike and Munch seated
Another shot of Tim, with 5th season hair
Julianna smiling in the ME lab (ME, Myself and I)
Tim staring out onto the water (Prison Riot)
Mike and Frank on the roof, looking up (Heart of a Saturday Night)
Frank and Tim in the squadroom
Frank and Kay and Tim in the squadroom
Frank at target range, Tim behind him (The True Test)
Tim and Frank looking down
Munch, Mike, Meldrick at soda machine
Mike and Meldrick watching Mahoney walk out of HQ
Tim walking out of the Box
Tim telling Frank about his uncle (Betrayal)
Frank reading, glancing up in the direction of Tim and/or his desk (Have a Conscience)
Mike and Meldrick in the locker room (Have a Conscience)
New Year's Toast (The Documentary)
Frank and Tim on the roof, sitting
Frank in the Box (The Documentary)
Munch and Tim in the Box (same)
Gee, Barnfather, Gaffney
Watching Brodie's film (The Documentary)
Meldrick meeting Barry Levinson (same)
Barry Levinson (same)
Mike, Julianna, Munch (Kaddish)
Mike in Luther's condo, holding a gun, Luther down
Frank and Tim at dinner (Kaddish)
Terri, Mike and Meldrick walking into the squadroom (Deception?)
Tim putting a hat on Frank's head
Julianna at a nighttime crime scene
Tim and Mike walking into squadroom (Valentine's Day)
Frank talking to seated Munch
Gee talking to Gaffney
Meldrick yelling, fingers pointed like a gun
Tim, Meldrick, Munch and Frank talking
Danvers in the Box
Frank and Tim in breakroom (Deception)
Tim breaking up fight between Falsone and someone else
Everyone learning about rotations (Strangers and Other Partners)
Meldrick and Falsone talking
Munch and Mike ducking (Blood Ties)
Mike talking to Julianna
Tim, Frank, Meldrick and Falsone (Subway)
Frank walking in squadroom
Laura walking in squadroom
Frank waving as he walks out of bar
Tim at a crime scene, outside and daylight
Tim and Julianna kissing (All Is Bright)
Mike pulling gun on guy who he thinks is Mahoney (Something Sacred 2)
Tim investigating (Closet Cases)
Falsone and Meldrick in the morgue (Sins of the Father)
"You poor schmucks" (Fallen Heroes 1)
(More rapid fire, some scenes fly across rather than fade in/out:)
Junior Bunk shooting through glass (Fallen Heroes 1)
Someone in a white jacket, running
Munch and Stu sitting in the bar
Stu getting shot (Fallen Heroes 1)
Tim and Frank in the car (Full Court Press)
Stu and Falsone looking down at a body
Laura shot (Fallen Heroes 1)
Mike shooting Junior Bunk (Fallen Heroes 1)
Tim and Laura at dinner (Secrets)
Meldrick shooting Junior Bunk (Fallen Heroes 1)
Tim shooting Junior Bunk (Fallen Heroes 1)
The shooter firing at Frank and Tim (Fallen Heroes 2)
Tim hit, spinning around; Tim and Frank facing each other before Tim falls (same)
Tim in the ER, convulsing (same)
Sheppard, Tim and Meldrick in the bar (early 7th season)
Mike and Frank yelling at each other in the Box (Fallen Heroes 2)
Tim in post-Op (same)
John talking to Tim (La Famiglia)
Walking into the new squadroom, Mike's POV (Kellerman PI 1)
Frank walking over to take Tim's hand in post-Op (Fallen Heroes 2)
Tim at the bar
Gay 90's sign (Truth Will Out)
Stu in squadroom
Beatdown Sheppard in hospital (Shades of Grey)
(The montage continues, as the following is heard:)
BAYLISS: Let me just say something, sir. This is where I've always wanted to be. Stu and Laura in squadroom
Everyone in the squadroom
Tim in the squadroom
Stu and Paul
Killer on the internet (homicide.com)
Tim yelling at Sheppard in the Box (homicide.com)
Tim shutting down his webpage (Truth Will Out)
Tim shooting Moss (Zen & the Art of Murder)
Gee Jr. on the ramp
Tim and Meldrick on the roof after Moss (Zen and the Art of Murder)
Tim staring through the blinds (Gone for Goode)
Yelling at Danvers, then the push. (FUOT)
(We see BAYLISS as we saw him on his first day in the squadroom.)
BAYLISS: Homicide. Thinking Cops. Not a gun. (Pointing to head:) This.
(Another flash. Back to present day. BAYLISS smiles; then leaves the squadroom.)
(Fourth Avenue. Night. A flashlight beam illuminates a body. SHEPPARD and LEWIS eyeball the corpse.)
SHEPPARD: Luke Ryland. Looks like justice finally caught up with him.
(An alley. LEWIS and SHEPPARD walk through, using flashlights to look for evidence.)
LEWIS: No witnesses, no fingerprints, no shell casings, no clues of any kind, no leads of any sort.
SHEPPARD: Whoever killed Ryland sure knew what he was doin'.
LEWIS: He or she.
(LEWIS kicks the ground, looking for something, anything.)
LEWIS: If I could only just find this thing I could go home.
SHEPPARD: You won't find what you're looking for.
LEWIS: What? Why not?
SHEPPARD: It's a mystery.
SHEPPARD: Life is a mystery. Just accept it.
LEWIS: Yeah, well that's what's wrong with this job. It ain't got nothin' to do with life.
(We see SHEPPARD and LEWIS continue down the alley towards the crime scene, as:)