All language subtitles for Chicago.PD.S13E14.1080p.x265-ELiTE_track3_[eng]

.

- Hello.
- Hi.

- You got in so late,
I don't think

I heard you come in.

[soft dramatic music]

How'd things go with Bob?

- Oh, he's stable.

But he didn't know who he was
at all last night,

so it was pretty brutal,
actually.

It's gonna be months,
not years.

- You're a good son, Adam.

- He's a good dad.

[chuckles softly]

- Are you sure
you want to go in?

I mean, I know Voight's
gonna give you

more time if you need it.
- No, I need it.

I need to go in.

I miss it, you know?
- I know.

[phones ringing]

Hmm.
- It's like a symphony in here.

Hello?
- [grunts]

- Yeah, this is Adam.

Yeah, that's the right address.

Well, thank you.
OK, yep.

You have a good day.
Bye now.

- What was that?

- It's Brighton Academy that--

just double-checking
our address.

- Yeah, it was for
Mack's application.

I couldn't find it,
and I was like, ah,

just send me a new one,
you know?

- Well, she hasn't--
she doesn't touch

those other applications
in her room.

- Yeah, I know.

- I don't know if
she's even looked at them.

- I know that too, Adam.

- She did say it's been better
this week with Victoria

and those other girls.
They've been nicer.

And Mrs. Winters said
the history lesson

went better too, so...

- Yeah, well, better might
just mean more PC, so...

- Well, if she moves
to another school,

there's always gonna be
insensitive teachers

and mean girls.
[phone dings]

- I don't know
what to tell you.

- You're very popular
this morning.

What's going on?

- I have in-service training
for newbie OCD officers.

- Today?
- Yes, today, I guess--

I don't know, I put it
in the calendar wrong.

I don't know if you've noticed,
but it's been a little

hectic around here, OK?

I don't even know
how it happened.

I gotta find a shirt.

OK.

- I'll go get the kid.

- Thank you.
- Yes, ma'am.

- That means your OT paperwork
has to be crystal clear.

'cause last year,
CPD overtime cost

taxpayers over $273 million.

- No crime solved
till overtime.

[laughter]

- You're only getting paid
for that overtime

with airtight paperwork.

So if you're working past
your regular tour of duty,

document it.

Keep your surveillance
logs tight,

notate when your shift starts,

and notate when
your shift ends.

- Oh.
[clears throat]

- What's your name?
- Officer Katy Wilson.

- Katy, CPD keeps what kind
of calendar year?

How many days?
How many months?

- 13 periods comprising of
28 days each period, ma'am.

- Why does CPD do that?

- To ensure consistent
staffing levels,

fairly distributed
furlough times,

RDOs, and shifts.

Sorry, I was texting.

That was disrespectful.

Uh, Detective Burgess,
are we talking

about the AFSCME
article 16 forms

or the C article 10 forms?

- I would say both forms have
to be filled out correctly.

OK, um,

turn to page six
in your curriculums,

and we'll get into
the cultivating of a CI.

- Thanks.

- Officer Burgess, hi, Wilson.

Sorry, I just wanted
to apologize again.

- At least you had
a good answer.

- It was a paper question.
I know paper.

They have me on
Administrative Services, so...

- Oh, yeah,
where do you want to be?

- Ooh, uh, anywhere else,

Narcotics, Vice,

Gang Enforcement,
Asset Forfeiture.

But they told me they want me
to move slow, so--

- Oh, slow, why?
- Uh, see if I fit.

I had kind of an
unconventional start here.

Two years ago, I was in
the corps at the Joffrey, so...

Yeah, I get that
most of the time.

- You gave up ballet
to become a cop?

- Uh-huh. Yeah.
Both my parents are artists.

They always loved ballet
more than I did.

So I kind of stuck
with it for them.

But I always wanted
to be police, you know?

Wanted to help.
Why'd you join?

Your family police?

- Uh, no, no,
far from it, actually.

Good luck.
Good luck, officer.

Yeah.
- Thanks.

- Hey.
- How'd it go?

- Fine. I just wish
I'd been better prepared.

- All right, listen up.

We got detail
to a roundup tonight.

- Excuse me.
How many we rounding up?

- None. We got
the short end of the stick.

- Hm. How short this time?

- Midnight babysitting tour.

You'll be spread out
across the city

doing fixed surveillance
on the target houses

the night before the raid.

- Narcotics will be conducting

simultaneous breaches
0500 hours.

They're targeting 26 offenders.

All are members of a meth DTO
run by Eric Mosely.

- That's this jagoff.

Smart with the drugs, but
a loose cannon with his crew

and on the streets.
Makes lots of enemies.

- The goal is for Narcotics
to bust co-conspirators,

get 'em to flip.

All we got to do
is sit on 'em.

- Ocean, grab a coffee
and a bucket just in case.

- I see you're down a soldier.
Where's Imani?

- Something with
her new apartment.

She's taking a mini furlough.

- Well, it's a big sweep,

and Narcotics is gonna
need extra bodies

to fill all the spots,
so if you know anyone in OCD

that needs overtime,
bring 'em on board.

- Grab your target packs,
coordinate with your team.

Let's go.
- It's so cool.

- OK, talk to me after
you've been sitting

on your ass for five hours.

- Burgess?
- Yeah?

- I'm Parker.
This is Hara.

- Hey, what's up?

- It looks like we got
lucky target house 13.

- Copy here.
This is Officer Wilson.

- Hey, glad we can help.

- Radio channel four.
We cover the back.

- Sure.
- Good.

Now, I'm being punished
for beating

my sergeant's team
in basketball. You?

- Oh, as far as I know,
it's not personal.

- Mm, then you
don't know much.

End of shift,
breakfast is on this guy.

- Ooh, nice.

- [slurping]

- Wow.

- Gotta stay awake somehow.
- Yeah.

- [whispering]
Hey, you can take a break.

- No way.

It's like a James Bond movie,
you know, 2:00 a.m.?

- Sure.
- Can I check in with Narco?

- You should check in
with Narco.

- I'm gonna check in
with Narco.

Officer Parker, you copy?
- Go ahead.

- All quiet in front, sir.

- Copy that, officer.

But we got a big problem
back here.

We can't decide who's got
the better blueberry pancakes.

Duly's on Madison or
Sweet's in Bucktown.

What's your take?

- I'd say Duly's.

I mean, all my experience,
I think--

I think I have
to make this call.

- We're gonna make
a really refined decision

and go with Duly's here.

- Copy that.

- Hey, we--
we got movement.

Targets 18, 19.

Unknown.
- Good eye.

Let me see.

- Is that a duffel?

- Yes.
Parker, they're cleaning house.

We've got targets 18, 19,

and one unknown loading
weighted duffels

into a back of a gray pickup
that just pulled up, no plates.

It's got to be either money
or product.

- We can't let this go mobile.
Take them.

We got your back.
- Copy, we're approaching now.

Let's go.

Katy.
- Vest.

- Vest.
- Yep, I got it.

[tires squeal]

[suspenseful music]

♪ ♪

- Shut off your vehicle!

- You in the garage,
show me your hands!

Show me your hands!
Shut off that vehicle!

- Freeze!

Move!

5021 Eddie, I've got a gray
pickup fleeing southbound

on 104th towards Damen.

I believe
it's carrying narcotics.

Parker.
- Burgess.

- We saw the targets go inside.
We're breaching.

- Copy, we got the basement.

[gunfire]

10-1, 10-1,
shots fired by the police.

Offender down.
10456 Damen.

You good?
- Right here, yeah.

- Want you to get that gun.
- Got it.

- Clear that corner.

[gunfire]

Get that gun.
- I got it.

Gun clear.
- You good?

Move, get my right.
- All right, crossing.

- Parker.
- OK.

- Jesus, Parker.

Katy, Parker's down.

I want you to call it in
and stay with him.

Hara, you're with me.
- Move!

- All right, 10-1, 10-1
We have an officer shot.

We need an ambo at 10456 Damen.

- Chicago PD, drop that weapon.
[gunshots]

Drop--
go, go, go, move.

Clear that weapon.

- He's dead.

- Let's go.
Parker, stay with us.

Check that upstairs.
Call me as soon as it's clear.

Let's go.
- You're gonna be OK.

- You did good, Katy.
Talk to me, Parker.

Parker, I want you
to stay with me, OK?

You're good.
Stay with me, all right?

We're going home tonight,
all right?

We're going home.

Come on.

[dramatic music]

.

- Yep, he's in.
- OK, thanks.

I want you to secure the house.

No one goes in till IRT
and techs arrive.

OK?
- Yes, ma'am.

- Nice work.

[indistinct chatter]

- How bad?

- Got shot just under the vest,
lots of bleeding.

- All right,
bring me up to speed.

- We got a BOLO out
on that truck.

No hits yet,
two dead targets inside.

- Yeah, well,
I spoke to Narcotics.

They think the targets
were tipped off.

Could be a rogue CI.
Could be one of their own.

There's a lot
of finger pointing.

Ivory tower is pissed.
- We're taking over.

- Yeah.
- Good.

- So get the team back
to the district.

Start digging into the
two dead offender's phones.

Find anything that
connects them to Mosely.

Let's bury this prick.

- Thanks for the update.
That was Med.

Officer Parker's
out of surgery.

Stabilized, looking good.
- Good.

All right, where are we?

- All right,
our dead offenders are

Tony Ellis and Marissa Hall.
Marissa was a driver.

Ellis was a mid-level dealer.

- OCD lab dumped
both of their phones.

Neither one of them
connected to Mosely today.

- All right, anything on that
pickup truck with the product?

- It was abandoned and torched
at La Villa Park.

We ran the VIN, came back
to a fictitious owner.

- I got something.

I drove by a bar Mosely owned.

Saw some of his guys
selling nearby.

- So Mosely's already
back in business.

- One guy popped, Karl Nash.

Narcotics briefed me.
They got him documented.

He sells a little
but also recruits

the female drivers for Moseley,
one of them being Marissa Hall.

Nash is a bit of a mess.

He gambles,
he's always in debt,

and he's been beefing
with Mosely about getting

a bigger cut for the girls.

- OK, well,
he could be ripe for a flip.

- Yeah,
Mosely is down a driver.

- Narcotics says Mosely
is very specific.

He likes his girls
really young, white,

early 20s, innocent looking.

- Officer Wilson
fits that bill.

She did good last night.

- She ever been under?
- No.

But if she does good,
we have a fast in.

- Just run it by her sergeant.

If she's in,
give her a crash course.

- Yeah.

- All right,
I got eyes on Officer Ruzek.

Now what?

- Now you watch
Ruzek's every move.

So the key to undercover work
is blending in.

You got to feel like
you belong.

You have to talk the talk.

So what's an eighth called?
- Slice.

Eight ball.
- A quarter ounce?

- Quad.
- Half an ounce?

- Half a zip.
- Keep looking at the screen.

- Sorry.

- Thank you.
Keep the change.

'Sup, Karl?

Hey, man,
I need 100 worth of ice.

- Do I know you?

- Really, we got to
do this every time?

Man, I took, like,
three Ls to get here.

Come on, man.
Why do I do that?

'Cause your candy takes me
to a very happy place.

Ooh, bullseye.

This is the part where you
tell me to meet you

out back in five minutes.

- Now we see if Nash bites.

- Ten minutes.

- My man.

- He's good.

[tense music]

♪ ♪

- All right?

- This makes me feel
very positive.

- Relax. Money.
- I just get a little--

- I know, I know.
Money first.

Thank you.
- Boom.

- Whoa--
- In you go.

- What the hell?
- Lay down.

Go.

♪ ♪

- And now we try and flip him.

- Look, I already told you,

I ain't never heard
of no Mosely.

I'm freelance.
- Karl, please stop talking.

Please.

This police officer was shot.

We know one of
Mosely's crew shot him.

We also know that you are
part of Mosely's crew.

Now, who do you think is going
down for shooting that cop?

- What?
- Yep.

- No, no, no.
I'm no killer, man.

I'm in it for the ladies
a-and t-the Benjamins, man.

No, I didn't shoot no cop.
That ain't me.

- Then who are you?

- I'm just a dude that
gives Mosely girls to drive.

Look,
he don't even pay me right.

- Oh, no,
so you want to get paid?

- What?
- Let's do a little math.

If you work for us
as a confidential informant,

help us bust Mosely,

we will seize product.

You will get $1,000

for every pound of product
that we seize.

So if we seize 20 pounds
of product,

what does that come to?

- 20 Gs.
- And how does that sound?

- Like it ain't true.
- Mm-hmm.

- You're telling me
I'm gonna make 20 Gs

for sticking it to Mosely?
- Maybe more.

- Ah, what about my charges?

- You work them off too.

- Again.
- I'm Krissy.

I went to high school
with Nash.

My life sucks.
I left an abusive relationship.

I'm hard up for cash.
I know the game.

I just want a chance
to prove myself.

- Good.

Nervous?

- Honestly, yeah.

- And that's OK.

Overconfident cops
have short careers.

- Burgess.

Officer Wilson,
someone would like to meet you.

This is Jamie Parker.

- Hi, I'm Don Parker's wife.

The surgeons told me that
if you hadn't moved so fast,

then we would have lost him.

- Jamie, we were just
doing our jobs--

- Yeah, no, please spare me.

Don told me it was
really bad in there.

- So he's coming around?

- Oh, he'll spend
a few more days at Med,

but he's out of the woods.

Look, I know you're in it.

I just want to say thanks.

Now go get the scumbag
who started this mess.

- We will.
- We'll go out this way.

- I'm telling you,
it was great.

Poker till sunrise,
flush on the flop.

I nearly soaked
the bottom of the table.

There's nothing like winning.
You should have been there.

- Yeah, I've been kind of busy.

You know, in case
you haven't noticed,

I got some disloyal crew
on my hands.

- They're just antsy.

Everyone who was playing
was in a good mood.

- This Nash dude needs
to get to the point.

- She'll press.

- And at one point, I'm
sitting across from this guy.

I got pocket queens--

- All right, are we really
gonna talk poker for hours?

- How'd you two meet?

- Oh, high school.
- Hmm.

- Both dropped out.

And then I bailed on Chicago.

For some stupid reason,
I thought

Cleveland was the answer.
- Cleveland?

- Yeah, it's not.

No, not the city,

not the man,
not the football team.

So I came back,
like, last month.

- Where are you staying?

- My friend's got this place
in Garfield Park.

It's a rat hole.

So trying to get some
quick cash going,

get my own place.

- Hm.

[tense music]

- Look,

I know what's up.

I'm ready for anything.

- She's got a license,
no sheet.

When she puts her hair up,

she looks like one of the
cheerleaders at the ball.

I'm telling you,
this is the girl.

- Hey, what high school
did you go to?

- Milton,
or as we like to call it,

hope you don't get killed in.

- Mm.
- Mm.

[phone buzzing]

- I gotta go.

♪ ♪

- All right.

- I don't know, just like,
maybe I talked too much.

Maybe--
maybe I talked too much,

and I should have
let Nash lead more.

- Why?

- But then again,
he wouldn't shut up.

- Nash would have talked
about poker all night.

[phone buzzing]
You did good.

- He would have talked about--

- You gotta trust
your instincts.

What?

- "Delivery tomorrow.
Are you free?"

Am I free?

[laughter]
Am I free?

- Yeah, you're free.
[phone chimes]

OK, text back.
I mean, you're in.

It's gotta be Mosely, right?
- Yeah.

This is Burgess.

Yeah, it's perfect.

OK.

[somber music]

♪ ♪

That was Med.

Officer Parker relapsed.

He suffered a septic shock.

He's dead.

♪ ♪

.

- It's never easy
losing one of our own.

Parker died protecting
the city he loved.

So to honor his legacy,
we work.

All right, we know
Tony Ellis shot him,

but we also know
that he was just

a lowlife following orders.

This is the prick
who really killed him.

All right, Kim, where are we?

- Looking good with Katy,

standing by
for pickup location.

- All right, and Nash?
- He's on the streets.

[phone buzzing]
Mosely still trusts him,

so we're good.

- All right, here we go.

Mosely just reached out
to Katy.

Parking lot on Jackson,
one hour.

- Let's move.

[keys jingle]

- For real?

She was a ballet dancer?

- Do not be judging a book
by its cover, Kev.

Mm-mmm.

She's just--

she's green, that's all.

- OK.

[door shuts]

[zipper whirs]

- Burgess.

- Go.

- I got it.

- OK, now confirm
what you're carrying.

We can't be delivering dope.

- Copy, stand by.

OK.

Uh, it's definitely cash.

[phone buzzes]

Wait, I got a text coming in.

"West Adams and 91st, red cap."

- OK, perfect.
Head over there.

We've got you covered.
- Copy

- OK, good job.
- Mm-hmm.

Sarge, Katy just arrived
on Adams.

- Copy. Any sign of Mosely?

- No.
No sign of anyone.

Here we go.
Here we go.

Red cap.

- Yo.

Yo, in here.

You deaf, woman?
Get in here.

- Come on, Katy,
you got to go in.

- You talk to your mom
like that?

Just waiting for
a little respect.

Joke's on me, I guess.

Lead the way.

- We know who that is?

- I got him.

Yo, Sarge.

Katy was just waved in
by Jose Delgado.

He's a known money launderer

for the Estrada-Iglasias
Cartel.

- Let it play.
This is all about Mosely.

- Copy you.

- Bitch, why are you staring?

I'd run your lily white ass
along now if I was you.

- All right.
[chuckles]

- The ballerina's
a good book, Burgess.

[phone buzzes]

You did good.

What's up?

- Val Holt at the ME's office,

she wants to meet
with me privately.

- Yeah, why?

- She didn't say.

[engine turns over, car starts]

Val?

- Detective Burgess.
- Hey.

How you been?

- This is the ballistics report
of the slug we removed

from Officer Parker's abdomen.

- OK?

- The lands and grooves
are identical to bullets

fired from Officer
Katy Wilson's service weapon.

- What?
Wait, what did you--

no, that's actually impossible.

- Eh, Kim--
- What?

- You know this is as
conclusive as a fingerprint.

I wish there was
another explanation,

but Officer Wilson
shot Officer Parker.

[soft dramatic music]

- Just give me a second.

♪ ♪

Oh, my God.

It was friendly fire.

- I'm sorry, Kim.

I'm obligated to inform
the officer involved

as soon as possible.

I thought since you brought her
in, you might wanna--

- Yeah, I will tell her.

♪ ♪

.

[knocks]

- My heart is beating...
- Hey.

- Like, a mile a minute
right now. Like, I can't--

How do you usually, like, come
down from something like this?

- Slowly, usually.

We need to talk.

- Mm.

Yeah, what's up?
- Um...

Katy, the bullets
that were recovered

from Officer Parker's body
came from your service weapon.

- That's impossible.

- It's not.

I saw the ballistics report.

♪ ♪

- OK, but we saw Ellis
shooting at Parker.

- No.

We saw Ellis running
from Parker's direction.

I think Parker was already
down at that point.

And you--

you probably hit Parker

during that initial firefight.

[tense music]

♪ ♪

Katy...

I'm sorry.

- Oh--

oh my God.

- It was dark,
and it was really chaotic.

OK, that is not your fault.
It's--it's--

it's--it's friendly fire.
It happens in the military.

It happens on this job.

It happened--

♪ ♪

The FOP and the CPD,

they are supportive of officers
in this situation, OK?

As long as you didn't lie
about what happened,

you're good.

You give IAD a statement,
but that's it.

♪ ♪

- [sighs]

- I was right next to you,
Katy.

You did nothing wrong.

- You--

♪ ♪

- Next step, we talk to Mosely.

We tell him you had to
go back to Cleveland.

- No, hey--
no, we're not doing that.

We're not doing that.
- Katy.

- No, we need to keep moving.

We're so close.

No, I'm not doing that.

♪ ♪

- I don't know.
Are you sure?

- Yeah.

Absolutely.

♪ ♪

- OK.
- OK.

♪ ♪

- How's Katy doing?

- [clears throat]

She's saying
all the right things.

Tower make a statement?

- Not yet.

This gets out,
Mosely will go dark.

The team knows.

- Parker's widow?

- Yeah.

- Christ.

- It is not just talk.

Mosely might as well
have pulled that trigger.

- Yeah.
- We stay focused.

[phone buzzes]

We get this prick
off the street.

- I got an email.

Trap and trace alert
from Katy's UC phone.

- What did you tell Katy?

- She did nothing wrong.
- Neither did you.

- Here we go,
text from a burner.

It's got to be from Mosely.

"You ready for
delivery tomorrow?"

All right.

Give him a simple yes, Katy.

- Come on.

All right, try her work phone.

- Straight to voicemail.

Her burner just shut off.

What is going on?

Should we text Mosely back?

- No, he could be watching her.
Could be a test.

- Right.

- Wait, where's her UC car?

[tense music]

♪ ♪

- Still parked at
her UC apartment.

- All right,
get back over there.

Find her.

♪ ♪

- Come on, come on,
come on.

- Burgess, you got ears?

- What's up, Kev?

- I ran what you asked.

Got a hit on Katy's
personal vehicle.

It's parked on
Randolph and Wabash.

That mean anything to you?

- Maybe.

I think I know where she is.

- Need me to start
heading that way?

- I got it.

- Good night.
- OK. Thank you.

- You're Tyler, right?

You are friends
with Katy Wilson?

- Yep.

You sitting at the bar tonight?

- No. T-thanks.

- Mm-hmm.

[upbeat pop music playing]

♪ ♪

- Katy

- Oh, my God.

I'm sorry.
I was just taking a break.

I promise
I was just taking a break--

- That's fine.
You took a break.

But Mosely texted.
We need to respond.

I want you to do it.
- OK.

- Give me that.

- [sighs, mutters indistinctly]

Thumbs up.
He said thumbs up, he said.

- Good, we're still in it.

That's good.

- She, uh--
she called me.

- Who called you?

- Parker's widow.

She said that, um,

that I knew that I shot him.

She called me a murderer.
- Katy.

- Said I was a coward.

And that's what I am, right?

- No.
- I'm a coward.

- Hey, you're not a coward, OK?

Parker's widow is grieving
and really angry.

She needs to
put that somewhere.

- Yeah.
- OK? That's all.

- Yeah.

- Can we get out of here?

- Please.

.

- Hey.
- You let me sleep in.

- Yeah, you had a late one.

- Yeah.
- Mack made the bus.

She only forgot
three things this time.

How was Katy?

- Holding up.

- Keeping her in play?
- Hopefully.

I'm gonna see how
she's feeling this morning.

You know?
- I don't know.

It's tough to come back from.
- Yeah.

- Not everyone's good
in the mess.

- How was Mack last night?

- Well, she got an A
on her history test.

- That's awesome.

Did she fill out any of
those school applications?

- No.

- What?
- I sat with her.

I tried to help.
She was not interested.

It's like pulling teeth.

I'll try again tonight.

I don't know, maybe
she's good where she's at.

She keeps saying
she still likes her school.

- She doesn't know
any different.

We talked about this, Adam.
We agreed.

- Yeah, well, we did.

You know,
she's got her own thoughts.

- You can't--you can't let
a kid have a final say.

She's 12.

She--she doesn't know
what's right for herself.

- Yeah.

- Look--

look, I know that this
is a hard time with your dad.

Like, I know it's not
perfect timing here, but--

- Hey.
We're gonna figure it out.

You and I, we're good
in the mess, right?

- Yeah.

It is such a mess, isn't it?

Like, how do we have
this much stuff?

- [chuckles]

[phone buzzes]

- Adam, it's Katy.
She's in.

This is it.
- All right.

- We got eyes on Katy
coming your way.

- Copy.

[distant train horn sounding]

[knocking on door]

- Follow me.
- Hey. Yeah.

- You're here.

- Yeah. Yeah, yeah.

- Hey, wait a second.

- Yeah, whenever you're ready.

- Jesus.

- That's gotta be, like,
30 or 40 pounds of meth,

super class X felony.
We could take him now.

Kev, Torres, we're good to go.

As soon as Katy's out
of there, we move.

- Copy you. Standing by.

- What the hell is this?

- I don't know.

[tense music]

I think I recognize them.
They were in the target pack.

♪ ♪

All right, two of Mosely's guys
just showed up.

We got number 14,
Mickey Gregory.

Number 20, Richie Bertucci.

- Gun, we gotta move, move.

- Let's go. Let's go.

- Mosely!

How long you been
sitting on this, huh?

- Whoa, whoa, whoa.
- This was promised to me,

and you're giving it
to the 5th Street Crew?

- Slow down, all right?
Drop your weapons.

- Slow down? I got people
that prepaid already,

- I bought this.
- OK, I ain't taking nothing

without permission.

Everyone drop
your damn guns, OK?

- Chicago PD! Drop the guns!
Get down on the ground.

- Get down! Get down!

- On the wall!
On the wall!

- Hands! Hands!
- Hug the wall right now!

- Hey! You got him?

- You want to go to jail?

[indistinct shouting]

- Stop!

[suspenseful music]

♪ ♪

Hands behind your back.

♪ ♪

[gunfire]

- Katy, let's move.

Katy, we gotta move.
- [groaning]

- Mosely's in the basement.

I need backup.
- Get up.

Copy you. We're on the way.

- Katy, listen to me.
OK, you are fine.

You were born for this.
You were born to be police.

So you get up,
and you have my six.

- Yeah.
- On my shoulder.

Three, two, one, go.

♪ ♪

Crossing.

Move.

♪ ♪

[gunshots]

We move as one.
Three, two, one, go.

Show me your hands!
Put your hands up!

Put your hands up right now!
Move.

♪ ♪

- Chicago Police!

- Hey, take him.
Kev.

- We got runners
and shots fired.

Hold this down.
- You got it.

♪ ♪

- Hold.

Move.

[gunfire]

Katy, you good?
- Yeah, I'm here.

- Move.
- All right.

[gunfire]

- He's down.

- Mosely's down.

Adam, you copy?

Adam, do you copy?

Adam?

♪ ♪

- Kim.

You all right?

- He's gone.

[soft dramatic music]

Yeah.

♪ ♪

- 5021 David, shots fired by
the offender and the police.

The offender's down.
Roll the crime lab.

- Copy.

[indistinct radio chatter]

.

- Hey, I'm sorry
I froze in there.

I don't know what happened.

I just, like,
couldn't move, you know?

Has that ever happened to you?

- Have I ever been scared?
Yes, of course.

- That's not
what I'm asking.

Have you--
I froze.

- And then you moved.
That's what matters.

- I read a lot
of incident reports.

A lot of paper in
Administrative Services.

I can read between the lines.

There's a difference
between being afraid

and being a coward.

- No, Katy.

We're not robots here.

We're just--
we're just people.

We should be afraid.

It's scary.

That piece of it's all normal.

- Yeah.

- It is.

- Yeah.

OK.

- You good?
- Yeah.

Just finishing up
the Mosely paper.

- All right.
Good night.

- Hey...
- Mm.

- When Katy hesitated,

I include that in the report?

- It happened.

- Yeah, but it could
derail her career

before it ever really started.

- Hm.

- I mean,
she's just young and raw.

She could be good police.

- It's your call.

- Right.

I'm not gonna include it.

- Good night, Kim.
- Good night.

Hey, Sergeant,

Detective Burgess,
Intelligence.

I'm really sorry
to bother you so late.

Thanks. No, I was just--

I'm trying to track down
a report

officer Katy Wilson made
regarding the Moseley bust,

and I thought maybe
she slipped it to you.

She what?

No, I-I didn't.

[soft dramatic music]

Um, no, that's OK,

but thanks.

♪ ♪

You turned in your badge?

- Yeah.

I, um--

I really thought I knew
what I wanted.

I thought that I was
meant to be police.

When I hesitated, you know
what I was thinking of?

All the stuff
I thought I hated,

you know, the classes,
the dancers talking crap

about the sore muscles,
and the bad stage lights,

the laughing,

all this stuff
I thought was frivolous,

I missed it.

But I mostly just missed
feeling safe.

Look, I appreciate everything
that you've done for me,

but I'm not cut out for this.

I don't want this.

And I'm sorry.

I probably should have
said something--

- It's your life, Katy.

- Yeah.

- OK, um, well,

if you need anything...

- Thank you.

♪ ♪

- How'd it go with Katy?

- She made up her mind.
She's quitting.

- That's too bad.

Well, listen, hey,
go check the desk there.

The young lady's
been very busy.

She filled them out herself.

I didn't even have to ask.

She had them done
right after dinner.

- "If you could go back in
time, where would you go?

Tell me a story about it."

"If I could go back in time,
I would go back to my old home

"and try and stop
the bad things

"that happened to
my birth parents.

"And when they were safe,
I would hug them,

"and then I'd introduce them
to my other parents

in Canaryville."

What does that mean, Adam?

W-what does that mean?

Does she want to go?
Does she want to stay?

- I got no idea.

♪ ♪

- God.

♪ ♪

- I always knew, you know?

I always knew, like,
so concretely,

what was right for me,

when I joined the police,

when I met you, Mack.

So why is it
so damn hard to know

what's right for your kid?

- Yeah, I don't know.

I don't know.

But it is.

♪ ♪

[wolf howls]

[dramatic music]

♪ ♪