Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Baltimore Pictures and Fatima Productions in association with NBC Studios, all rights reserved. Homicide was created by Paul Attanasio and based upon David Simon's book Homicide: A Year on the Killing Streets. The following script is in no way a substitute for the show Homicide: Life on the Street, it's for educational purposes only. This script is not authorized or endorsed by Baltimore Pictures, Fatima Productions, or NBC. It was transcribed by various people (as indicated) and made available for your downloading enjoyment by Laurel Krahn at http://www.windowseat.org/homicide/scripts/.


Executive producers: Barry Levinson, Tom Fontana and Jim Finnerty

Co-executive producer: Eric Overmyer

Director: Jean De Segonzac

Writers: James Yoshimura, Eric Overmyer, Tom Fontana

Unit production manager: Mark A. Baker

Director of photography: Jean de Segonzac

Production designer: Susan Kessel

Costume designer: Suzanne Schwarzer

Casting directors: Lou DiGiaimo and Brett Goldstein (New York); Pat Moran (Baltimore)

Editor: Jay Rabinowitz

Produced by: Baltimore Pictures and Fatima Productions in association with NBC Studios

Daniel Baldwin as Beau Felton
Ned Beatty as Stanley Bolander
Richard Belzer as Det. John Munch
Andre Braugher as Frank Pembleton
Reed Diamond as Mike Kellerman
Giancarlo Esposito as Mike Giardello
Michelle Forbes as Dr. Julianna Cox
Peter Gerety as Lt. Stuart Gharty
Isabella Hofmann as Megan Russert
Zelkjo Ivanek as ASA Ed Danvers
Clark Johnson as Det. Meldrick Lewis
Yaphet Kotto as Al Giardello
Melissa Leo as Sgt. Kay Howard
Toni Lewis as Det. Terri Stivers
Michael Michelle as Det. Rene Sheppard
Max Perlich as Brodie
Jon Polito as Steve Crosetti
Kyle Secor as Tim Bayliss
Jon Seda as Det. Paul Falsone
Callie Thorne as Det. Laura Ballard
Austin Pendleton as Dr. Griscom
Herb Levinson as Dr. Lausanne
Ralph Tabakin as Dr. Scheiner
Granville Adams as Officer Jeff Westby
Jay Spadaro as Officer Salerno
Gary D'Addario as QRT Lt. Jasper
Walt MacPherson as Capt. Roger Gaffney
Clayton LeBouef as Col. George Barnfather
Ellen McElduff as Billie Lou Munch
Sean Whitesell as Dr. Eli Devilbliss
Sharon Ziman as Naomi
With guest stars:
Ed Begley Jr. as Dr. Victor Ehrlich
Jason Priestley as Det. Hall
Eamonn Walker as Eric Thomas James
Reg E. Cathey as Bernard Weeks
Dina Napoli as herself
Helen Lucaitis as herself
Rhonda Overby as Dawn Daniels
Irma St. Paule as Nana
Elizabeth Berman as Shirley Dessasy

This transcription is woefully incomplete. And, of course, it contains spoilers for the movie (duh). If you want to take on a scene that's not here or not yet listed as taken on the main scripts page, please email me. Thanks to everyone who's working on this. - Laurel

[Following scene transcribed by ramius@gwis2.circ.gwu.edu]

Ext. Station House

LEWIS and FALSONE pull up under the building

FALSONE: Maybe we should go to the hospital.

LEWIS: Hey, Gee wouldn't want us keeping vigil, he'd want us at the Inner Harbor looking for the ebola what did this

BAYLISS pulls up

FALSONE: What about Joseph 'Yin-Yang' Hardwick?


FALSONE: Our day old dead drug dealer.

LEWIS: He'll keep.


FALSONE: Whoa. Look who's back from oblivion.

BAYLISS: Hey. You guys, you find the shooter?

LEWIS: Naw, we were waiting on you.

BAYLISS: Oh, well, I'm here to help.

FALSONE: Sabbatical's over?

BAYLISS: Yeah, for now.

LEWIS: That's weird, ain't it?

BAYLISS: What's that?

LEWIS: He just packs up his desk, doesn't say nothinā to nobody, just splits.

BAYLISS: I had things to think about... Issues.

LEWIS: That's the thing about you, Bayliss. You always did have... Issues.

FALSONE: We gonna stand here yapping?

The three move to enter station through crowd of reporters. PEMBLETON is in the background, looking up at the building. BAYLISS turns to look at him


PEMBLETON walks up stairs and the four enter the building.

Int. Squad Room/Homicide Unit


GHARTY: All right. Some of you came to homicide after Al Giardello left, some of you

worked along side him, like Kay Howard, now in the fugitive squad. Tim Bayliss - been on a leave of absence, Frank Pembleton retired a couple years ago.

HALL: You're the 'Almighty Pembleton.ä' We've all heard the stories.

PEMBLETON: Can we get on with this?

GHARTY: Yep. Okay. We got a homeless man, won't give us his name, he grabbed Giardello just before the shooting.

FALSONE: We swabbed his hands for gunpowder residue, he's clean.

HALL: As soon as the uniforms bring him up, I'm gonna interview him, find out what he saw.

STIVERS: We talked to everyone at the rally, and, um, all the vendors, and we brought in a few witnesses for further questioning.

PEMBLETON: And this event was covered by the press, right?

GHARTY: We're way ahead of you, Frank. We've already requested video footage from the local news stations. Stivers and Ballard, I need you to collect those cassettes.

STIVERS: Sure, Lieutenant.

BALLARD: Lots of witnesses, what about suspects?

LEWIS: Gee's campaign for mayor knocked some noses out of joint, made him a few enemies.

HOWARD: Coupled with the ones he already had.


HALL: I'm up.

GHARTY: All right. Howard, Bayliss, I want you researching Gee's past. Get me everything on anybody he ever tangled with.

BAYLISS: How far back?

GHARTY: To his rookie days, if you need to. Pembleton, Lewis, Falsone, make me a list of people that he's pissed off on the campaign trail.

PEMBLETON: A list? I didn't come here to make lists.

GHARTY: Huh. Frank. Just like old times. [to everyone] Okay, we meet back in an hour.

Everyone leaves, leaving PEMBLETON alone in the squad room

Int. Squad Room/Homicide Unit

LEWIS is at his desk, PEMBLETON is at a desk, swinging sunglasses around his fingers.

BAYLISS is wandering the room.

LEWIS: Eh, here's one of Gee's from '82 looks promising.

PEMBLETON: Very blue. [to BAYLISS] You never told me the squad room was this blue.

BAYLISS: Sure I did.

PEMBLETON: Not this shade. This is excessively blue. Azure, cobalt... cerulean. Except the board. All these open cases, too much red. [PEMBLETON puts on sunglasses] Hurts my eyes, I'm seeing spots. What?

BAYLISS: Nothing.

PEMBLETON: No, something.


PEMBLETON: What's this, Ryland? Is this one of your open...

LEWIS: No, no, no. That stone cold sucker is mine Frank. Luke Ryland snuffed two women live on the Internet. [flashback to scene from Homicide.com] Then, Balto-more being Balto-less, got off on a technicality. Next day they found him, curbside, laying there, .44 slug in the back of his head [flashback to Forgive Us Our Trespasses, LEWIS standing over dead RYLAND]

PEMBLETON: You got a suspect?

LEWIS: Not a one. Naw, whoever did the deed knew how to execute an execution.

PEMBLETON: [to BAYLISS] And this sordid little tale makes you jumpy because...

BAYLISS: No, no, Frank. It doesn't make me jumpy.

PEMBLETON: [puts sunglasses on board] Oh, come on. You're jumpy, I know you.

BAYLISS: No. You know something? You don't know me. Things change, Frank. People... they change.

PEMBLETON: Kid still in the interview room with the homeless guy?

BAYLISS: Yeah, I guess.

PEMBLETON: Taking way too much time.

BAYLISS: Fade out.

Cut to: BAYLISS and PEMBLETON entering Observation Room.

[End scene(s) transcribed by ramius@gwis2.circ.gwu.edu]

[skip quite a few scenes]

[Following scene(s) transcribed by ramius@gwis2.circ.gwu.edu]

Int. Lieutenant's Office/Homicide Unit


BOLANDER: Stop it there.

Everybody moves in for a closer look

PEMBLETON: What are you looking at, Stan?

BOLANDER: Oh, uh, you see this guy right here, he's right on the edge of the stage. It's his body language, it doesn't look right.

HOWARD: I can't see anything.

BALLARD: You're looking for a gun. At this angle you can't even see his hand.

HOWARD: What we need is to enhance the tape.

FALSONE: Yeah, send a copy to the state police lab.


GAFFNEY: Lieutenant!

GHARTY: Captain.

GAFFNEY: My, my my, look at this. Sergeant Howard, Frank Pembleton. Munch, Bayliss, even the Big Man. All the old boys and girls gathered again. Everybody palsy-walsy. [to GHARTY] You interrupt one of my detectives in the course of interviewing a witness?

GHARTY: I was giving him some relief.

GAFFNEY: Relief, my ass. You just wanted to show him who's boss. That's your game.


GAFFNEY: But now I'm gonna show you who's boss. I order you to apologize to Detective Hall.

GHARTY: Apologize...



GAFFNEY: Go ahead.

GHARTY: I, uh, apologize.

HALL: No problem. [HALL exits]

GAFFNEY: Now what the hell are all of you doing in here?

MUNCH: We came to help.

GAFFNEY: This is your call? What are you, desperate?

BAYLISS: For Gee, we come on our own.

GAFFNEY: Truly noble. Get your ass in gear, Gharty. I want this Giardello shooting down today.

PEMBLETON: That's what we all want, Gaffney.

GAFFNEY: This is police business. You're not a cop anymore, is that right, Frank?

PEMBLETON: That's correct.

GAFFNEY: Then get lost.

PEMBLETON: Okay, sure, fine.

BOLANDER: Me too, then.

GAFFNEY: No, no Bolander. You can stay. That's the beauty of power. It's arbitrary. I have a press conference - two o'clock. I better have some startling new revelations to tell the media.


STIVERS: Somebody open a window.

LEWIS: That won't do any good, that's 'Eau De Gaffney,' lingers for days.

PEMBLETON goes to leave

GHARTY: Frank.

PEMBLETON: Don't worry about it. You don't have to say anything.

GHARTY: Well, if we get anywhere, I'll keep you posted.

PEMBLETON: Fine, fine. Give me a ring.


Cut to: PEMBLETON heading down stairs of Stationhouse, with BAYLISS following.

BAYLISS: Frank, wait, wait, wait. You're just gonna leave:

PEMBLETON: Yes, and you're coming with me.


PEMBLETON: Well, if the bosses won't let us investigate officially, we'll do one on our own.

BAYLISS: Unofficially.

PEMBLETON: A citizensā brigade. Okay, let's start with the crime scene.

PEMBLETON and BAYLISS exit through crowd of REPORTERS and start to cross Thames Street

[Beginning of a scene that was cut, didn't make it to air]

BAYLISS: I... I'll drive (pointing to his car under the building)

PEMBLETON: You're not driving my car.

BAYLISS: Why do we have to take your car, Frank?

PEMBLETON: Because it's nicer. [unlocks car doors] You know I'm making forty-five thousand dollars a year teaching at Loyola?

BAYLISS gives PEMBLETON a snide look, and they get into the car.

[end of cut scene]

Int. Squad Room/Homicide Unit

HOWARD: We've got fifteen different descriptions of a possible shooter from twenty five different witnesses.

STIVERS: Some say he's black, some say white. Some say he's in his twenties, others, in his sixties.

BALLARD: Yeah, well, they all agree that the shooter's a man, right?

STIVERS: Well actually, a few of them think that maybe he's a woman.

MUNCH: I say it's a conspiracy.

LEWIS: Aw, Munch.

MUNCH: This guy that Gee's running against for Mayor, what's his name - Gessner, he sees he's gonna get his ass kicked, so he decides to take action, so he hires an assassin, like in 'The Manchurian Candidate.'

BOLANDER: What did I say about agitating, Munch?

HOWARD: I'm going to check out the widow of Raymond Desassy.

LEWIS: What, the guy Gee shot?

FALSONE: Gee shot someone?

HOWARD: Yeah, a couple. three years ago, Kevin Lugo, big shock radio personality...

FALSONE: I remember, he got whacked in the Mount Washington parking lot.

HOWARD: Yeah, uh, we get a tip Raymond Desassy is the murderer, Gee and I go to the house, Desassy draws a weapon, Gee shoots him dead. [flashback to scene from 'The Wedding'] Turns out our tip is from Raymond Desassy's best friend called it in as a practical joke. Desassy's wife was pretty bitter about the whole thing.

GHARTY: Okay, Howard. Mrs. Desassy it is.

FALSONE: Hey, you need backup?


GHARTY: Stivers, Ballard - Take the videotapes to the state lab, study every frame. Lewis, stop by the courthouse, grab Sheppard and, uh, go talk to Karl Miller.

LEWIS: Karl Miller, the pride of the Aryan Nation.

GHARTY: Yeah, he's been beating the drums, trying to start a race war over Gee's drug policy. [to BOLANDER] If you're volunteering, how about calling on John Komen?

BOLANDER: Whatever you need, Lieutenant.

FALSONE: Who's John Komen?

LEWIS: It was a mass suicide at the African Revival Movement.

BOLANDER: Yeah, I saw it on the news.

MUNCH: Yeah. QRT storms the place, finds sixteen bodies poisoned. A real Jonestown,

not like the other one where the CIA and the Military whacked those people.

GHARTY: Komen's taken over as the head honcho of the movement.

BOLANDER: So we talk to him.

MUNCH: You know, I say a black nationalist and two whiter-shades-of-pale detectives don't exactly interface, you catch my drift?

GHARTY: If you got a problem with it, Munch, make it easy on yourself. There's an Amtrak back to the Big Apple every hour. [LEWIS laughing at MUNCH] Stan, you know where the African Revival Movement Building is?

BOLANDER: If it's in Balto, I can find it.

HALL: What do you want me to do, L.T.?

GHARTY: Check the 800 tip line. Okay, we got forty-eight hours to catch this guy. Any longer than that, the odds get longer and you-know-what hits the fan. All right? We're a team! Let's go, let's catch this bastard.

MUNCH: [sighs] You could've handled this better, Stuie.

BOLANDER: Are you coming, De-tec-tive Munch?

MUNCH: Yeah, yeah, but I'm driving. You know I like to drive, as long as you don't smoke with the windows closed.

BOLANDER: I don't smoke.

MUNCH: What about the cigar?

BOLANDER: I've got a cigar THIS big.

MUNCH: Oh, man. Here we go again.


[skip some more scenes]

Int. Squad Room/Homicide Unit


BOLANDER: How many black nationalist groups are there in Baltimore?

MUNCH: Many. Sheppard and Lewis still checking the aryan angle?

BOLANDER: Yeah. Baltimore - City of Brotherly Love.

MUNCH: That's Philadelphia. Call me crazy, but donāt you think we should be switching with Sheppard and Lewis? I mean, what's Gharty thinking anyway?



MUNCH: Billie Lou.

BILLIE LOU: I heard you were in town. Why didn't you come to see me?

MUNCH: Billie Lou, this is my old partner, Stan Bolander.

BILLIE LOU: Pleased to meet you. I guess you have to eat your words about never coming back to Charm City...

MUNCH: When did I say that?

BOLANDER: Maybe I need a cup of coffee... [BOLANDER exits]

BILLIE LOU: And telling everybody I ran off with one of your colleagues.

MUNCH: New York cops. They'll believe anything.

BILLIE LOU: Who'd you have in mind - Stuart?

MUNCH: Stivers.

BILLIE LOU: Ooh. In your dreams.

MUNCH: Well, maybe I'll see you later, you see, I've got a lot of work to do now.

BILLIE LOU: You know where to find me.

BILLIE LOU leaves, passing GHARTY. BOLANDER returns

BOLANDER: Is that the fourth ex-Mrs. Munch?

MUNCH: Yeah. You think maybe I'm not cut out for the domestic life?

BOLANDER: Huh. Okay. Guys like you and me, work is where we shine.

MUNCH: Work.

MUNCH and GHARTY exchange looks.

[ more scenes skipped ]

[ the following scene(s) transcribed by Bolander3@aol.com ]

Mike Giardello awakens with a start from his dream, then stands and looks at his father's bed. He sighs and goes to Gee's bedside when Cox and Griscom enter.


MIKE: Hello, Dr. Griscom.

They shake hands.

GRISCOM: Hi. Do you know Julianna Cox? She was my predecessor as chief medical examiner.

Mike and Julianna shake hands.

JULIANNA: Hi. I'm really sorry to hear about your dad.

MIKE: Thank you.

GRISCOM: We've been talking to his doctor. We've been getting the full story. His prognosis sounds promising.

COX: Mmm. Knowing Gee the way I do, I'm sure he's gonna pull through.

MIKE: E-excuse me. I gotta take a walk.

He exits the room; Cox and Griscom walk to Gee's bedside. Griscom sighs.

Mike walks out into the hall, through double-doors, putting on his jacket. He sees Russert and Nonna.

RUSSERT: I'm gonna take your grandmother home. She's exhausted.

MIKE: Oh, thanks, Megan. Get some rest.

Mike speaks Italian to his grandmother; they kiss good-bye.

RUSSERT: Hey, speaking of rest, you look like you could use some. Why don't you grab some nap time?

MIKE: I'm a little too fired up to sleep.

RUSSERT: All right. Will you call me later?

MIKE: Yeah.

Russert and Nonna walk down the hall; Mike meets Kellerman from the opposite direction of the hall.


MIKE: Hey.

They shake hands.

KELLERMAN: They told me downstairs your dad's out of surgery.

MIKE: Yeah, yeah. He's in ICU.

KELLERMAN: You hear anything from homicide? They catch the shooter?

MIKE: Geez, I've been so caught up here. I don't know.

KELLERMAN: Hey, I'm sure they're all over it.

MIKE: Yeah, but I want to go down there for a while anyway. I have an idea I want to tell Gharty about.

KELLERMAN: I could go with you. Look, I know I'm not a cop anymore, and I know there's a lot of people who'd be just as happy to never see my mug again, but Gee was always good to me, and fair.

MIKE: Yeah, sure. C'mon.

They walk down the hall and run into Brodie.


BRODIE: Hey. Hey, I just filmed a triple-bypass operation. It was awesome, man. Did you guys know that this is the very hospital where Edgar Allan Poe died of rabies?

KELLERMAN: News to me. They must have remodeled.

MIKE: Hey, we're gonna head down to headquarters for a little while.

Mike hands his card to Brodie.

MIKE: If my dad comes to, would you beep me?


Cut to Cox and Griscom standing over Gee's bed. Cox is holding an x-ray up to the light.

GRISCOM: That kidney is definitely history.

COX: It is amazing how effectively they treat gunshot traumas nowadays. Even ten years ago, these bad boys would have been fatal.

GRISCOM: The upside of automatic weapons--they've expanded the boundaries of medical science.

COX: Right, talk about your silver lining.

Griscom chuckles.

COX: Wish I knew what caliber.

GRISCOM: What's your best guess?

Cox looks to see if anyone is watching, then lifts Gee's blanket.

COX: That's odd.


COX: I'm just not used to seeing a body that's still breathing.

GRISCOM: So judging from the damage, the internal damage, um, the assassin was how far away when he fired, would you say?

COX: Fifteen feet, max.

GRISCOM: Maybe as much as twenty-five?

COX: No, no, the injuries are much too severe for that. Much too severe for that distance.

GRISCOM: I would love to get in there and really have a good look around. Not that I want him...

COX: No, no, no, no, no. No, of course not. I know what you mean, though.

GRISCOM: I'm sure you do.

Griscom smiles at Cox; she grins ruefully at Gee.

[ end of the bit transcribed by Bolander3@aol.com ]

[ Bunch of missing scenes, you too could volunteer to transcribe them. ]

[Following scene(s) transcribed by ramius@gwis2.circ.gwu.edu]

Int. Lieutenant's Office/Homicide Unit


MGIARDELLO: When I first moved back to Baltimore, there were a series of murders in Little Italy.

GHARTY: Your cousin, right?

MGIARDELLO: Mario. [flashback to La Famiglia] Now, eventually we caught and we convicted the two children of one of Mario's enemies, Carlo Roletta.

GHARTY: Yeah, I remember.

MGIARDELLO: Well, maybe another member of Roletta's family is responsible for Dad's shooting.

GHARTY: It's possible.

MGIARDELLO: Well, put one of your guys on it.

GHARTY: Maybe I ought to put you on it.


GHARTY: Yeah. You know the people in that neighborhood. They'll talk to you.

MGIARDELLO: Oh, yeah. A casual conversation between me and some old friends...

Cut to:

MGIARDELLO pushes MAN1 down steps and into a sign while KELLERMAN eats pizza

MGIARDELLO: You wanna talk to me now? You wanna talk to me now?

Cut to:

MGIARDELLO chases MAN2 down alley, punches and kicks him as KELLERMAN eats canolli.

Cut to:

MGIARDELLO stuffs MAN3 into a trash can while KELLERMAN eats soup.

Cut to:

MGIARDELLO holding onto MAN4's jacket

MGIARDELLO: Tell me what I need. Tell me! Tell me what I want to know!

MGIARDELLO pulls his gun on MAN4. KELLERMAN stops drinking his espresso to interrupt.

KELLERMAN: Mike! Mike, enough. Enough. One of the things your father taught me was how to recognize a dead end.


KELLERMAN: Uh huh. And this is a dead end.

[more skipped scenes]

Int. Lieutenant's Office/Homicide Unit

Camera pulls out from video footage of Gee's shooting. PEMBLETON, BAYLISS and GHARTY are talking.

GHARTY: You're saying the shooter was the cameraman from WYAT?

PEMBLETON: Maybe, maybe. Now this is tape from Channel 11. See that? See that puff of white smoke?

GHARTY: Yeah, I see it.

BAYLISS: It's with the pop-pop-pop.

GHARTY: Nothing showing him with the gun?

PEMBLETON: No, no. Of all the tape that we looked through, there's no gun visible from any angle.

GHARTY: You feel there's something to this?

BAYLISS: Could be, yeah. Frank and me, we'll go suss it out.

GHARTY: Well, Bayliss, you go. But, Pembleton, I think you should back off right now.

PEMBLETON: Right now?

GHARTY: Not my decision. You saw. I had my lunch handed to me for letting you take

over that homeless guy. When Bayliss called in the tip on Easy Eddie Moe, I knew you guys were working out there. I didn't saw squat. But this, this is...

PEMBLETON: Okay, look. It's not like I ever had a lot of respect for you, okay? But what are you doing? Putting up with this nonsense from Gaffney.

GHARTY: I had to get off the street. I could smell it - I wasn't going to last. I live with Gaffney and the rest of the brass Īcause that's what this job is. I'm just a stooge. I know that. But it's better than being out there.

PEMBLETON: Al Giardello had nothing but respect for you. He stood up for you. For the rest of his men. Covered our asses. And he didn't give a crap about Gaffney or

anybody else, because it was all about putting down the cases. So, take a cue from Gee. See, you're heading a detective squad. And they're looking to you. Give them something... or else walk the hell away. [PEMBLETON goes to leave]

GHARTY: All right, all right, wait, wait, wait, ho. Go over to YAT and find out who this guy is.

PEMBLETON and BAYLISS leave office

BAYLISS: Spoken like a champ. Like a true murder police.

PEMBLETON: Kiss my ass.

[more skipped scenes]

Int. Lieutenant's Office/Homicide Unit

Video footage of shooting is playing in background. PEMBLETON, BAYLISS, GHARTY and DANVERS are talking.

PEMBLETON: He had the gun attached to his camera, which is why no one saw it. And it's right here, that, uh, he keeps the camera rolling after he shoots Gee. Although he neglected to turn the cassette in to YAT.

DANVERS: We show this tape in court, Eric Thomas James is done. We've got two counts of attempted murder - Giardello and Dr. Williams - 30 years each. Not to mention the spare change he'll pick up for killing the drug dealer. Congratulations. [DANVERS shakes PEMBLETON's hand.]

PEMBLETON: Thanks. [PEMBLETON and BAYLISS go to leave.]

DANVERS: I'll need you BOTH to testify.

BAYLISS: Yeah, yeah, we'll be there.

Fade to black and cut to: Roof scene.

[Following scene transcribed by Teri V.]

BAYLISS: (VO as Bayliss and Pembleton walk out of Gharty's office) I know how James feels. You gotta stop those that are gonna hurt the innocent.

Night. Bayliss and Pembleton are standing at the fence on the roof of police headquarters, overlooking the water. Bayliss is pacing a little.

PEMBLETON: James is a lunatic. He's certifiable.

BAYLISS: His son gets killed, he's gotta do something. (faces Pembleton) Hey, say uh..say one of your kids gets hooked on drugs.

PEMBLETON: One of my kids what?

BAYLISS: Gets hooked.

PEMBLETON: They wouldn't.

BAYLISS: Well, just say that they did.

PEMBLETON: They're not going to. It's not going to happen. Case closed.

BAYLISS: Oh, so you have no sympathy for James, for what he's going through.

PEMBLETON: James is trying to lay the blame on Gee because in his heart of hearts he knows that he's responsible for what happens to his kid.

BAYLISS: I appreciate how he feels.

PEMBLETON: Well, you could appreciate it all you want to, Tim. But there's a line between right and wrong.

BAYLISS: Yeah, well you're the expert on that, Frank. Nothing lumpy about you. You know all.

Pembleton glances at Bayliss, then looks out over the city, Bayliss is staring at the ground in front of him.

PEMBLETON: (looking out) City looks clean tonight.

BAYLISS: (looking down) We can't all be you, Frank.

PEMBLETON: (looking out) Think I'm gonna take my wife out to dinner in the harbor.

BAYLISS: (looking down) Sometimes you can lose your bearings. Sometimes the line isn't so clear.

PEMBLETON: (turns back to Bayliss) Of course the line is clear. There's good, there's evil.

BAYLISS: You never shot anyone, did ya?


BAYLISS: No. And you never would.

PEMBLETON: I never had to. I've been lucky.

BAYLISS: Yeah. The righteous cop. The line's always been clear to you. (walks away)

PEMBLETON: (quietly) Not always. (turns around)

BAYLISS: (has stopped walking and has turned back to face Pembleton) Time for one more confession, Frank.

[B/W Flashback from "Forgive Us Our Trespasses"]

(Bayliss in front of Ryland's place, the flash of light, Ryland walking away from him)

JUDGE (VO): Defendant is set free (gavel pounding).

PEMBLETON: Confession?

[B/W Flashback from "Forgive Us Our Trespasses"]

(Bayliss standing up in court when Ryland is released, Ryland laughing)

BAYLISS: I killed a man.

PEMBLETON: (laughs) I'm not in the mood, alright?

BAYLISS: Luke Ryland.

[B/W Flashback from "FUOT"]

RYLAND: (on his way out of court, waving) Be seeing ya, detectives.


BAYLISS: I shot the bastard dead.

[B/W Flashback from "Zen & the Art of Murder," though it's probably supposed to represent FUOT]

Bayliss shooting someone.

PEMBLETON: (still amused) Good, um..go to jail. Go directly to jail. Do not pass go--

BAYLISS: Nah..I'm not kidding, Frank. I killed him.

[same flashback from "Zen"]

PEMBLETON: (smiling) Come on, Tim. You couldn't kill anybody.

BAYLISS: Frank, he got off on a technicality.

[B/W Flashback from "FUOT"]

JUDGE: Defendant is set free (gavel pounding).

BAYLISS: The bastard had to die, before he went out and he murdered another innocent woman.

Screen flashes between Bayliss and Ryland, rapid-fire, about 10 times. Ends on Pembleton's face.

PEMBLETON: (Blinks, no longer amused) Don't screw with me. You killed this uh..whoever?

BAYLISS: Luke Ryland.

PEMBLETON: Internal cleared you?

BAYLISS: Frank, I'm saying that I hunted the bastard down, and when I found him I blew his brains out. I executed him in cold blood.

PEMBLETON: And I'm saying, Internal rules this as a good shooting?

BAYLISS: No. No, Internal doesn't know crap about me killing Ryland.

PEMBLETON: So you..you're standing here and you're telling me you killed somebody?

BAYLISS: (whispers) Yes.

PEMBLETON: In self-defense.

BAYLISS: (normal voice) No.

PEMBLETON: So you're standing there with your weapon and it went off and you don't remember how..

BAYLISS: ..Frank..

PEMBLETON: ..'Cause guns go off accidentally. It happens all the time..

BAYLISS: It was no accident.

PEMBLETON: No, I'm saying this is an accident. For you to shoot somebody, it's gotta be a mistake.

BAYLISS: No, no, no, it's no mistake. No accident.


BAYLISS: Frank, you're a good cop.

PEMBLETON: I'm not a cop anymore.

BAYLISS: No, no, no, you're always gonna be a cop.

PEMBLETON: (backs away from Bayliss) No, no, I'm a teacher. I teach. A civilian.

BAYLISS: (walking toward Pembleton, who is still backing away and holding his hands up) Now, I murdered this son-of-a-bitch, because he was a predator, Frank. He preyed on women.

PEMBLETON: (turns away from Bayliss, waving him off) What..why are you doing this?

BAYLISS: (positions his fingers like it's a gun and aims it at the back of Pembleton's head) I put the gun right up the mother's brain and I pulled the trigger—-

PEMBLETON: (whirls around) SHUT UP! JUST SHUT UP! (calms down, but angry) You put this on me. You son-of-a-bitch.

BAYLISS: (puts his hand over his heart) In here, I know that I did right. (Pembleton looks away. Bayliss touches his temple) But for here..

PEMBLETON: So you waited till I came back so you could um..unload this? Unburden yourself? What's supposed to happen now?

BAYLISS: You tell me.

PEMBLETON: (shakes his head) I'm not bringing you in. (walks away)

BAYLISS: (walks alongside) No, huh?

PEMBLETON: I'm not a cop. It's not official.

BAYLISS: (steps in front of him to stop him) Oh really, now what are you gonna do, Frank? Not say a word? Are you gonna keep my little secret to yourself?


BAYLISS: I executed him, Frank.

PEMBLETON: Who's the primary?


PEMBLETON: You talk to him?

BAYLISS: No. I came to you first. Who else would I tell, Frank?

PEMBLETON: (slower) But did you talk to Lewis?

BAYLISS: About this case, no.

PEMBLETON: So nobody suspects that you're the shooter?

BAYLISS: (laughs) No, man. They're gonna suspect me? Good ol' Tim Bayliss, huh, the Zen detective.

PEMBLETON: (considers a moment) Ah..

BAYLISS: So..you'll take me in?

PEMBLETON: I'm gonna take you in, are you wild?

BAYLISS: No. You'll take me in, Frank.


BAYLISS: (walks toward Pembleton, punctuating his words with a finger pointed at him) Did I take..a bullet for you?

PEMBLETON: No, no, cut it out--

BAYLISS: (gets in Pembleton's face) DID I TAKE A BULLET FOR YOU?

PEMBLETON: I'm not taking you in--

BAYLISS: DID I TAKE A BULLET FOR YOU? I take a bullet for you, and you take a bullet for me, now that is square business, Frank.

PEMBLETON: This is not about taking a bullet for you. This is about you wanting me to toss your ass in the jackpot. You're confessing to a murder, Tim. Do you understand that?

BAYLISS: (point to the door) So you want someone else should take me in? Someone..


BAYLISS: ..else should bust me..


BAYLISS: Is that what you want?


BAYLISS: Then it has to be you.

PEMBLETON: No! No! (trails off as a whisper) No..

BAYLISS: (grabs Pembleton by his coat lapels) Frank, listen..

PEMBLETON: (whispers) No..

BAYLISS: Listen to me. I've thought about eating my gun, and I'm gonna EAT THAT GUN RIGHT NOW if you don't do the right thing for

me, Frank! For right here! (again touches fingers to his head) I have no other..no other option, Frank. (whispers) Please.

Bayliss and Pembleton are holding each other by the arms and coat sleeves.

PEMBLETON: (quietly) So you thought about putting a gun to yourself.

BAYLISS: (quietly) Yeah. You'd be saving my life. I don't know for how long. But for now, at least you would.

PEMBLETON: I believe that you did not mean to do this killin'.

BAYLISS: (pause) Yeah, you believe what you wanna believe. That's OK.

PEMBLETON: So we're gonna turn around, right now, and we're gonna go back inside. OK?

BAYLISS: (glances at the door and looks back at Frank, looking like he's about to cry. Takes off his shield) I've put off the inevitable, Frank. (traces his fingers over the shield) It's gotta be what it's gotta be. (puts the shield in Pembleton's hand and closes his hand over Pembleton's, the other hand clasping his wrist)

PEMBLETON: (looking down, almost crying himself) Son-of-a-bitch.

Bayliss puts his hand on the back of Pembleton's neck and brings them together so their foreheads are touching. Both are looking down, eyes closed.

BAYLISS: (whispers) Frank. Do you absolve me?

PEMBLETON: Absolve you? (Bayliss nods, Pembleton laughs sadly as they both look up) I can't.

BAYLISS: You can't? (Pembleton shakes his head) That's remarkable, I mean..'cause I was certain that you could.

Bayliss pulls back and looks away, around. Pembleton looks down before taking a slow, cleaning breath.

PEMBLETON: I think maybe, Mary and I are going to stay home tonight. Have dinner with the kids.

Bayliss turns back to him, then the scene cuts to Bayliss and Pembleton walking back toward the door. As the scene fades out, someone erases 289 RYLAND and rewrites it in blue at the bottom of the column of names that comprise Lewis' current caseload.

[ End of scene as transcribed by Teri V.]

[ the following scene was transcribed by Bolander3@aol.com ]

The Waterfront. Lewis, Stivers and Billie Lou are behind bar. Gathered around the bar are Kellerman, Cox, Howard, Danvers, Munch, Bolander, Falsone, Ballard, Sheppard, Griscom and Lausanne. Scheiner is sitting at a table behind the group.

Billie Lou hands a bottle of beer to Cox.

Laughter and chatter all around.

COX: Thank you. I would like to make a toast actually. To Al Giardello--too badass to die.

MUNCH: Hear, hear!

Cheers all around.

BALLARD: And to Bayliss and Pembleton.

STIVERS: Where are Bayliss and Pembleton?

Ballard shrugs.

KELLERMAN: Oh, come on. You really expect to see the notoriously antisocial Frank Pembleton here?

DANVERS: And Bayliss--who knows?

LEWIS: Yeah, really, who does know? What's up with that Bayliss anyway? I mean, is he pitching or is he catching?

Groans all around.

HOWARD: Meldrick, who cares?

BALLARD: Hey, hey! I'm making a toast. It's bad luck not to finish a toast.

LAUSANNE: Says who?

BALLARD: Says me. So, to Bayliss and Pembleton, who doggedly pursued the case, despite interference from the bosses, and brought the shooter to justice!

Cheers all around; Falsone woofing.

SHEPPARD: And to new friends.

LEWIS: And old friends.

MUNCH: Old friends.

GRISCOM: To pathological friends.

More cheering.

FALSONE: Hey, Lewis, I really love this joint. Maybe I will be your partner.

LEWIS: You serious, man?

FALSONE: Really.

MUNCH: I'll sell you my third in a New York minute.

BILLIE LOU: Not so fast. We're still married. I own half of your third.



LEWIS: Hey, hey, hey! Brodie!

MUNCH: Brodie!

Everyone shouting at Brodie.

BRODIE: I was at the hospital.

BOLANDER: So what's the latest?

Brodie pauses.

BRODIE: He died. Lieutenant Giardello died.

BOLANDER: That's not funny, son.

BRODIE: It wasn't meant to be funny.

Howard starts to cry, grips Danvers' shoulder.

BRODIE: The doctor said it was some kind of aneurysm. It was fast. There was no pain.

Lewis behind the bar with his mouth open in shock.

BOLANDER: No pain, huh?

BRODIE: That's what the doctor said.

Scanning the crowd. Cox swallows, Scheiner adjusts his glasses, Sheppard walks away from the bar, Ballard begins to cry. Danvers holds Kay, Falsone holds Ballard. Sounds of weeping. Munch sniffs, Bolander stares at the bar.

In the window of the Waterfront is a "Giardello for Mayor" sign. Lewis walks outside, sees Mike Giardello across the street, standing on the balcony of the stationhouse. Mike sees Lewis. Lewis taps two fingers against his heart. Mike nods, goes back into the building, and writes his father's name on the board in black ink.

[ end of scene transcribed by Bolander3@aol.com. thanks ]

[Following scene transcribed by ramius@gwis2.circ.gwu.edu]

Int. Squad Room/Homicide Unit

MGIARDELLO enters Lieutenantās Office, picks up rosary off desk, and hangs it on picture of GEE. PEMBLETON knocks on door, enters and shakes MGIARDELLO's hand.

PEMBLETON: Hello, I'm Frank Pembleton.

MGIARDELLO: Mike Giardello.

PEMBLETON: I heard about Gee. I'm sorry.

MGIARDELLO: Thanks... for catching the man who killed my father.

PEMBLETON: Yeah. I'm good at catching the bad guys. Caught me a couple tonight. A lot of people have worked in this squad room over the years. A lot of them have died. Beau Felton got killed in the line of duty. Steve Crosetti comitted suicide. To this day, nobody knows why.

MGIARDELLO: Do you miss it - homicide?

PEMBLETON: I don't know. It's not like you could escape it, you know. Death is every day. Death goes on... and on and on and on.

MGIARDELLO: And that's because life goes on and on.

PEMBLETON and MGIARDELLO shake hands and walk out of the squad room, side by side, passing GEE.

[End scene transcribed by ramius@gwis2.circ.gwu.edu ]

[ The following scene(s) transcribed by Kayleigh19@aol.com ]

Gee walks into squad room, passing Frank and Gee Junior on the way out. They do not notice him.

Lights fade to blue.

Figures pass by, some in uniform, some in clothing from other eras. A little girl in a school uniform skips through the crowd. She skips up to Gee, and circles him, smiling and waving.

Gee: (whispers) Adena?

Girl skips into old coffee room, and past Detective Steve Crosetti.

Crosetti: Hey, hey, hey....

Gee enters coffee room. Crosetti crosses to table and sits down with Detective Beau Felton. Felton is sitting at the table, playing cards and smoking a cigarette.

Beau: Gee.

Gee: Felton?

Gee advances forward.

Crosetti: We been waitin' for ya....

Gee: Crosetti.

Crosetti: Have a seat. Okay. Jack of spades for Mr. Beau Felton, a Ten of Diamonds for my esteemed Lieutenant, and a whole lot of nuthin' for the little Italian salami-brain.

Gee sits.

Gee: What are we playing?

Crosetti: Five card stud.

Gee: Who's the fourth chair for?

Camera pans to chair.

Beau: We don't know yet. But, they'll be here sooner or later.

Gee: Anybody I know?

Crosetti: Maybe. It's....it's not like it's written in stone. It's not preordained or anything, Lieutenant.

Gee looks down at the table.

Gee: (standing) I certainly got worried. (He touches fourth chair.) My son. He's a cop. I thought, maybe...

Crosetti: I wouldn't worry, Lieutenant. Life is short. And once you're dead, you're a long time dead. If you know what I mean.

Beau: Your son? (to Gee)

Gee: Michael?

Beau: He's a good kid?

Gee: Yes.

Beau: You taught him well.

Gee covers his mouth with his hand.

Gee: I tried my best. (Gee stands and begins to pace.) I wish....

Crosetti: Gee....no regrets, huh?

Beau: You know what the best thing about this place is? All our worries and cares that we had in life? They don't matter anymore. Rest in peace... means what it says.

Crosetti: Lieutenant. Do you want some coffee?

Gee begins to smile.

Gee: Coffee. Coffee would be good. Do you have any espresso?

Gee moves to table and sits.

Crosetti: No espresso! What do you think you are? Heaven? Sit.

Cards are being dealt.

Beau: Twenty to you, Gee.

Gee: I'm in.

Crosetti: Okay, we got one more card comin' up here, and one over here...

Fade to white.
Music starts ("Crestfallen" by Smashing Pumpkins, off their "Adore" album).
Montage begins.

Shot of Board, and Gee showing Board to Rookie Bayliss.
Gee, talking to Frank.
Gee, in his office, talking to Crosetti.
Gee, dressing down Felton.
Gee, with Brodie and Kellerman, watching Brodie's documentary.
Gee, talking to Megan.
Kellerman, talking to a tuxedoed Gee.
Gee, speaking with Cox.
Gee talking to Falsone.
Squad toasting Gee's never to materialize promotion
Gee, talking to Sheppard after the beatdown.
Gee with Ballard at press conference.
Leaving Headquarters during the snow ("All Through the House").
Out of door steps: Stan
and Gee.

On the rooftop, Gee hosing down squad ( from "Night of the Dead Living")
Gee, hosing Frank
Gee and Frank, grappling for the hose.
Gee holding hose and laughing.

Fade to sepia.
Fade out.
Credits roll.

[ final scene as transcribed by Kayleigh19@aol.com ]

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