Original subtitles

[sirens wailing in distance]

[Barnfather] I don't care what you say, Al.

I don't think Frank Pembleton

should be allowed back into the Homicide Unit.

[Gaffney] Maybe we could assign him to Evidence Control.

Evidence Control is for the mopes

the Department wants to bury.

Pembleton's doctors and the Department's doctors

have given him the okay.

He's been greenlighted.

It's a medical recommendation.

Simply that, nothing more.

They say he's capable of returning to work.

- Maybe physically. - They say so.

What do doctors know about the demands of this job?

And then there's Russert.

Goes and gets herself knocked up by what,

some French diplomat? Geez.

Between her and Pembleton,

another banner day for the Homicide Unit.

I never heard Megan was pregnant.

Why else would she fly off to be with this guy?

What does Megan have to do with Pembleton's status?

Well, what is next, Al?

You got a pregnant detective--

Where are you getting your information?

Pembleton who's gimped in the head. So then what?

Lewis and Kellerman show up wearing dresses?

Lewis in a dress?

This interests you?

The Department's own rules

give Pembleton the right to return to duty.

He was hurt on the job.

It's not like he was shot out on the street, Al.

[Giardello] He was hurt on the job.

And we are obligated to give him every opportunity

to demonstrate he can perform his duties on the job.

When it's convenient for you, Al,

you can quote chapter and verse on Department regulations.

Otherwise, you make the rules up as you go along, is that it?

[Giardello] The doctor's report said

they're very optimistic about his progress.

And doctors are never wrong, are they?

So, Pembleton comes back--

He gets himself worked up.

And you know how pissed off he gets.

- And he has another stroke. - Yeah.

But this time he's not so lucky.

And he drops dead right out there in the squad room.

Then it'll be on you, Lieutenant.

You know, Al, it's a good thing Russert runs off.

Between her and Pembleton, it's like an episode of Nash Bridges around here.

[phone ringing in distance]

[theme music plays]

[indistinct chatter over radio]

[phone ringing]

[man] Homicide.

[Lewis] So what, we just let him flop around

on the deck like a lake trout?

That's a hell of a way to celebrate

Frank's first day back on the gig.

If Pembleton does have another seizure,

he should be allowed to complete it.

Allowed? Says who?

The experts.

Keep him away from glass and anything else

that he can hurt himself with and--

I mean, he's gonna have problems talking

and he'll slur his words,

and there will be these times when he doesn't remember something.

- We all have those. - He'll slur his words?

- Yeah. - So he'll talk like you?

I don't slur. I mumble.

You buy this bundt cake when you know

I can't stand anything with nuts on it?

I forgot, all right?

No, it's not all right, all right?

- All right. - All right.

So. Frank.

He gotta be on some kind of medication, right?

- Yeah. - All right.

So, let's say he just short-circuits

and starts doing the mambo-fandango.

We just pop one of them pills in his mouth and everything'll be copacetic.

You don't wanna do that when he's having a seizure.

You'd lose your fingers, he'd snap 'em right off.

- [Bayliss] Guys. - [Brodie] Hey, Tim.

[Lewis] Hey, Tim. Big Day.

Yeah, big day.

- Where the hell's the donuts? - Exactly.

Pembleton would've brought donuts.

No.

Wouldn't have brought this bundt cake either.

If you all think you can do better, knock yourselves out, all right?

I ain't here on this planet to make life à la carte for you.

- You're a sadist. - [Howard] No, no, no.

Good morning, detective.

- Sarge. - [Munch] Tim? Tim?

Big day for Frank, eh?

[Bayliss] Well, we'll see.

I'm fine, Tim. How are you?

What's on your mind today?

- Nice talking to you. - [Howard laughs]

Bayliss a little jumpy, or what?

- [Howard] I guess. - I don't see why.

It didn't take a wizard to figure out

that Pembleton was headed for a stroke.

He let the job get to him and the job ate him up.

What's he trying to prove by coming back, anyway?

Probably the same thing I'd do.

Prove I'm still a good detective.

You want a cup of coffee there, John?

It's the first time in weeks,

no, months, that a woman has asked me if I had any needs.

The offer was a cup of coffee, not a Vestal Virgin.

More's the pity. A splash of milk.

[Howard] Two Sweet'n Lows coming up.

- Thank you. - [Howard] Mm-hmm.

- He here? - No, not yet.

- Where is he then? - Uh, Mary's bringing him in.

Frank doesn't need any kind of special treatment.

Oh, this? This uh, it's for me.

[phone rings]

Yeah, Homicide.

Okay, Kuper and what?

All right, we'll be right there.

When Frank gets in, tell him to see me first thing.

[Bayliss] Yeah, I'll leave a note.

John, take a little ride with me?

Oh, so now I'm good enough to talk to?

- Forget it. Lewis! - I didn't say no, Tim.

- Lewis! - Who's yelling for me now?

[Bayliss] Got a victim down in Sowebo.

- I said I'd go. - I got Lewis.

[Munch] I got it, Meldrick.

- You going? Who's going? - Who's going?

- I'm going. - [Bayliss] You're going?

- Yes. - So go.

- I'm going. - [Bayliss] You coming?

- Here I come. - [Bayliss] Let's go.

- Brodie! - Yeah, what?

[Bayliss] Come on, come on, come on, come on.

[indistinct chatter over radio]

He wants to punish himself, that's up to him,

but Pembleton shouldn't put the load on us.

He'll recover quickest by getting back to his regular routine.

Since when do you have an opinion about this?

About anything? Take a walk.

We're running a homicide unit here,

not a special rehab program for Frank Pembleton.

Excuse me. What is your problem?

Your problem, not mine.

Detectives, the victim is a woman, Frances Uba.

I'm just saying what everybody else is thinking.

- No sign of forcible entry. - So, what?

You're the-- uh, the voice of the people now?

The backdoor locks are okay, too.

Oh. Wait, where's the old lady?

Back in the kitchen. Watch out, it stinks.

What stinks is my partner gets shot,

he gets hurt, and where's Pembleton then, huh?

Uh-huh. I visited Stan.

I'm talking about Pembleton. He didn't visit.

They weren't exactly drinking buddies,

but Stanley retires,

and Pembleton doesn't even give him a courtesy call,

and now we're supposed to be all touchy-feely about your partner?

You want to bitch about Frank? Is that it?

Why don't we meet somewhere after work

and you can suck my wind then. All right?

[indistinct chatter over radio]

[tense instrumental music plays]

Ugh, smells terrible.

A single bullet to the chest.

Yeah, there's stippling where the bullet entered.

See this, pinpoint hemorrhages?

- Yeah, from the powder burns. - Uh-huh.

And the...

powder comes off easily,

so the gun was near her when she was shot.

Okay, we should hold her clothes for the lab.

Open that door, will you, please?

Why does the victim smell so bad?

The odor's not emanating from the victim.

It's emanating from over here!

Oh! Is that a pig?

[pig grunting softly]

What were you expecting, a striped pony?

What's a pig doing here?

I don't know you're the detective, detective.

I think we have our motive. Bacon.

Our porcine buddy was about to join these eggs

in the morning repast.

Is it a he or a she?

The way this thing's hung, he's definitely a he.

His name is, uh, let me see.

An-- Angie. Angie's a girl's name.

Hey, Angie.

What do you think? Should we read him his rights?

- It's a pig. - Who could be the perp.

Look at the beady, shifty little eyes on this guy.

You know, I'm just surrounded by genius.

[shutter clicking]

Okay, and you've been Mrs. Uba's neighbor for how long?

For forever.

We grew up together on this street.

Me and Frances were just at the flea market yesterday.

Look at this. A Milliken original.

- Ten bucks. - Bargain, huh?

Even at twice the price.

You wait a season, the world is your oyster.

- Uh-huh. - It pays to have patience.

Sure.

So you didn't hear anything unusual

coming from the Ubas' household early this morning,

any, kind of, shouting, yelling?

No, not at all.

Yeah, they were always yelling and screaming at each other.

The deceased and her son, you say the son's name is Gerry?

Yeah, Gerry Uba.

They were always hollering about the pig.

But the pig was okay with me. He never pooped on my steps.

Yeah, I hate dogs, too.

No, I'm talking about Gerry.

And does-- uh, does Gerry have a girlfriend?

I see him hanging out with this older woman all the time.

Oh, well, what's this woman's name?

[witness] I don't remember.

But I do remember talking to her once

about Gerry and his pig.

I think she might work over at the zoo.

The zoo. Okay.

[Kellerman] Giverny? Where's that?

Somewhere in France.

Bon, bon, bon. That's where Megan ran off to?

Yeah, well, the story I got is that Tim Russert,

that's her cousin, that hotshot, "Mr. Meet The Press,"

He introduced her to some French diplomat down in DC.

Next thing you know,

she runs off and elopes with the guy.

- When was that? - About a week ago.

Nah, I didn't hear anything about this.

Trust me. Around here, the less you know, the better off you are.

Why the hell do I have to clean out her damn desk?

Well, because you're the sergeant, sergeant.

- Yeah, it's a union thing. - [Lewis] Yeah.

It comes with the territory. Here, let me help you.

Get outta there.

You know, this desk is bad luck.

Huh? Russert, Bolander,

and before him, remember Slackjaw Johnson?

Slackjaw Johnson? What's his story?

Well, the name says it all.

This desk is cursed. Whoever sits here is doomed.

Well, I'm sitting in a dead man's spot.

And why you want to say that for, huh?

Why? You're evil.

Where's Pembleton? His shift started an hour ago.

We've got a damn revolving door.

Megan runs off with Pepe Le Pew, Stan retires,

Pembleton's late.

Yeah, well, Pembleton was always late,

so why should now be any different?

Maybe something happened to him.

Don't say that.

[Lewis] He'll be here.

He'll be here, all right?

[soft folk music plays]

[Lewis lisping] Do you think Frank's gonna talk like this?

[Kellerman in shrill voice] Maybe he'll talk like this.

[Lewis] N-- n-- no.

L-- li-- like this.

[Kellerman in Spanish accent] No, like this.

[in squeaky voice] No, like this.

[Lewis laughs]

Welcome back.

Hey, Frank.

Good to see you, Frank.

You, too...

Mike.

You-- you look disappointed.

No. You were expecting what?

- Something... - No.

I talk funny?

- No. - You sound great.

Y-- you sound great.

Yeah, uh, I like your I like your look.

Your-- your hairdo, y-- your hair.

I-- I didn't want-- want you to have to-- to see the scars.

[inhales and exhales sharply]

Frank!

You guys got something to do?

Check, please.

There was no sign of forcible entry.

This is not a burglary.

Gerry's mom had problems with him.

I'd say this is a mother-son thing.

Well, some of neighbors say the two of them got along famously.

Maybe too famously.

- Angie. - [Angie grunting in distress]

Poor Angie, she's suffering from anxiety displacement.

- What? - Anxiety displacement.

You know, the Legend of Pigtown.

Way back when, they used to run the pigs through these streets

here on the way to the slaughterhouses

and the local sharpies would hide in their cellars

and reach out and grab a pig or two for dinner.

Angie's reliving that nightmare.

The only nightmare here is that a woman's shot dead

while she's making breakfast.

[Angie screaming]

[tense instrumental music plays]

Keep walking.

I-- I have had enough.

If the doctors tell you to walk, walk.

- Pick up the pace. - I'm trying.

I-- I have eight-- 85%

of my strength back in my arm.

A-- a-- almost a full range of motion, see?

Y-- you give me a couple of weeks, Gee,

I'll be as good as new.

Department regulations restrict you

from going on the street till you can draw and fire your weapon.

I have to show that I can-- I can handle my weapon?

You've got to qualify on the range all over again.

I've always been a l-- lousy shot, Gee.

What difference should that make?

You'll be working in half-shifts during the day until then.

I-- I still work cases?

If I can't put you back on the streets,

how can you work a case, Frank?

So-- so I'm stuck in the squad room?

- Yes. - Chained to my desk.

No, you'll walk and get better.

- I answer phones? - Yes.

And uh, what-- what else?

There'll be times when your fellow detectives will run a case by you.

For your advice.

[both laughing]

You'll give them the benefit of your experience.

[laughing continues]

And-- and after my experience, after my advice,

I uh-- I'll run and get coffee?

[stammering]

I, uh, do-- do the mail?

[giggling] I, uh, re-- refill the uh, um...

The-- the copy machine, huh?

You assume you have the right to be here.

I-- I earned the right to be here.

I put my ass on the line,

13-- 13 years.

I don't owe any-- anybody anything.

I-- I chose this to happen to me?

I go through-- I go through this!

[Giardello] You go through this alone, Frank?

- Who calls your doctor every day? - When?

Who checks with your physical therapist

to keep track of your progress?

When? When is this?

The Department wants you out of Homicide into Evidence Control.

Who covers your back, Frank?

Who?

Evidence Control?

You don't have enemies, Frank, huh?

Not one, Frank?

[Kellerman] Lieutenant!

I've cashed in all my chips on this one.

I've burned all my IOUs.

So don't you for one second believe

that it's just your ass on the line.

There's been a shooting at a school.

The shooter's barricaded himself inside.

- He's got hostages. - What?

Come on.

[tense instrumental music plays]

We got two dead on the scene unconfirmed.

Where's Howard?

I think she's downstairs shipping Russert's stuff.

Judy, find Howard, tell her to meet me...

Parkview School, National Boulevard.

- How many hostages? - We don't know.

- QRT's responding. - What kind of school is this?

It's a middle school, sixth, seventh and eighth graders.

[sirens wailing]

Hey, it just wasn't appropriate leaving Brodie there.

Appropriate? Leaving Brodie with a pig, what's wrong with that?

It's not his job to pig-sit.

Well, I wasn't gonna wait around all day for Animal Control.

Anyway, I thought he and the pig were kind of getting along.

Did you notice the eye contact?

- With the pig? - Yeah, Brodie kinda charmed the pig.

He was touching the snout, kissing him.

[Bayliss] Oh, is that what the glistening was?

- [Munch] I guess. - [Bayliss] The pig was charmed?

There's a big age difference there.

- [Munch] The pig's older or younger, you think? - [Bayliss] Oh, much older.

- [Munch] Older? - [Bayliss] Oh, yeah.

So you got the girlfriend's name?

Yeah, it's Maureen Tarkoff.

She's supposed to work at the zoo.

Anyway, you check her out.

I'm gonna take the son, this, uh, Gerry Uba.

What kind of name is Uba? Is it Italian?

[in Italian accent] What do I know?

Hey, hey, partner. How's it going?

Welcome back.

Hey, look at this.

Come on. Try it out. It's a present.

I-- I don't want a present.

I talk funny when I'm tired.

I can understand you just fine, Frank.

You got some--

Uh, I-- I'm all right.

Come on, Frank. You're all sweated up.

Come on, do it. Here. Here.

Drink this.

If-- if-- if I wanted water, I could get my own water.

[Bayliss] Okay, Frank.

You need to replenish your fluids.

There you go.

Drink it slow. Drink it slow, slow, slow, slow!

You're-- you're-- you're a pain.

[clears throat] You take your medicine?

What are you working on?

You know, routine case.

How soon before you have to--

- [Frank exclaims] Bayliss! - [Bayliss] What?

Did you take your medicine this morning?

I know when to take my medicine!

[Bayliss] Good. Good.

Frank, if you're not too busy, uh,

Tim and I have a very difficult case.

We've got this really uncooperative witness.

Could you give a call down to Animal Control?

Okay, knock it off, Munch.

Well, let Frank take a shot at Angie.

See if he still has

his crackerjack interview skills.

You still walk on water, don't you, Frank?

[Judy] Munch, line five.

Who-- who's Angie? Who's Angie?

No one, you know, Munch is just wising off.

I--- I-- I can't hear

what you're working on, huh?

Well, it's some woman, and she was shot, Frank.

- You-- you-- you have a witness! - No.

He says that you have a witness!

[chuckles] It-- it's a pig.

A pig?

What-- what do you mean, a pig pig?

Yeah, a pig, you know. [oinks] And the-- [imitates pig screaming]

Yeah. A real one, a pig pig.

Y-- y-- [scoffs]

You! You!

You're the one-- you're the wise-off, you.

I swear, it's-- it's a pig.

Tim, that was the zoo.

That Tarkoff woman is working today.

- Wanna go, Dr. Bayliss? - Oh. Yeah, sure.

Would you like to talk to a woman who loves a man who loves a pig?

Sure would.

Frank, take your medicine.

[tense instrumental music plays]

[sirens wailing]

[officer 1] I have someone looking out behind the shade.

Third floor, second to last window.

[Jasper] We're too far back here in the command post.

We have no clear line of sight.

Do you have a clear target?

[officer 1] Negative.

I can't make out exactly who it is.

[Jasper] We have no line of sight,

so you're our eyes.

[officer 1] You're in the clear.

You're not in the field of fire.

He's gone now.

[Jasper] Keep me informed

of whatever you observe from your position.

[officer 2] Colonel Jasper, the Homicide Unit's here.

[Jasper] Great, that's all I need.

Any life in that body in the field?

[officer 1] Negative. He's dead.

[indistinct chatter over radio]

[indistinct chatter over radio]

[sirens wailing]

[indistinct chatter]

Officer Berti, my men on the roof are telling me

the man out there is dead.

What about that woman, Jasper?

Our eye in the sky reports no movement.

[Howard] She could be alive!

We're not picking up any sounds from her.

You can't have her lying out in the open

with all these kids around.

Do we have contact with whoever's holding the hostages inside?

- No. - That's why we haven't gone in.

The only thing we can do is maintain a perimeter.

What about your people on the roof?

Did they hear anyone else in the building

who may have been hurt?

We're working on that.

- Start working on that woman. - She's dead.

We have to look at her as if she were a piece of broken furniture.

We should focus on the hostages inside.

- We'll get to that woman when we can. - Yeah, when you have a minute.

This is QRT's call, not Homicide's.

You're a guest here, as far as I'm concerned. So don't get in the way.

Who are you to talk to one of my detectives like that?

Hold on, Al, just a second.

This is QRT's red ball.

Homicide can pack up and go home.

You'll be notified when we've finished up business here.

- So we can come in and clean up your mess. - Wait a second.

I'm not gonna listen to any pissing contest!

All right? Jasper, it's your show to run.

Al, lend support.

Get your detectives going on finding witnesses

to what happened inside.

[fire truck siren wailing, honk blaring]

Okay, colonel.

Sergeant Howard tell Lewis and Kellerman

to start interviewing witnesses right away.

So, we don't know how many hostages there are.

Do we know who they are?

Mostly kids.

[tense instrumental music plays]

[Lewis] Was it a rifle?

No. He was holding a gun in his hands.

It was...

grey and black.

[Lewis] And what about the man? Did you see him?

Young, I think he had brown hair.

I'm not sure about his clothes.

[teacher] There were shots, like firecrackers.

And then someone comes into the room,

Mr. Jenkins, the Assistant Principal.

And he yells at us, "Get up and run,"

to get the hell out of the school.

So I-- I hustled the kids out the door,

and we're running.

And then I see him.

He looks me right in the eye.

Why didn't he shoot me?

I was looking out over the football field,

and there was this guy.

He was arguing with Tom Maggio.

Uh, Tom, he's our janitor.

And then I saw him with this gun.

Describe the gun.

[indistinct chatter over radio]

[Kellerman] What's your name?

It's okay. You can tell me your name.

My name is Mike.

Listen, I understand how you feel,

but it's really important that you and I talk.

Because I need to know what you saw,

so we can help everyone, all right?

Come on, just tell me your name.

Wanna tell me what grade you're in?

Are you filming this?

Yeah.

You're making a movie?

[Kellerman] Why don't you tell us your name?

Are you making a movie?

Um, yes.

- Cool. - [Kellerman] Yeah.

Then this isn't really happening, is it?

This isn't real. This isn't really happening.

It's not real. This isn't really happening.

This isn't really happening. This isn't really happening.

This isn't real. This isn't really happening.

This isn't real. This isn't real.

Then all my friends here, they're not hurt, are they?

Rachel, come on, get up.

- This is just a movie. - Let them do their thing.

You lied to me.

[Kellerman] Okay. Let's go find your teacher.

Come on.

[Pembleton] I-- I understand.

Yeah, the-- the hosta-- hostage situation, uh-huh.

Oh! You're the uncle of one of the students?

Oh. You can't get in contact with the family?

Pembleton, you're calling in a lunch order, right?

H-- h-- hang on-- hang on one second.

- What? - A lunch order.

I'm talking to somebody here!

Okay.

Hello?

Um, t-- t-- to whom am I speaking, please?

You're who?

No. Excuse me. Excuse-- Hey!

Huh? Excuse me!

You're gonna have to exp--

He hung up.

Everybody wants pizza for lunch.

I-- I get the-- I--

Oh, okay. Okay. Ok--

Here's everyone's money.

You know, I think there's enough for a tip.

[Pembleton] Pizza. Right.

Pizza.

P-E-T--

P-E-T-E-S-A.

Pe-- peets--

Pizza.

[Maureen] Gerry's mother's dead?

She was shot.

Um...

Maureen Tarkoff? How do you spell that?

Uh, T-A-R-K-O-F-F. It's Russian.

So how long you and Gerry been going together?

[chuckles] Oh, I'm not his girlfriend.

Well, that's not what the neighbors told us.

He'd come around to see me.

I felt sorry for him.

You the hippo custodian?

- I'm the mammals' curator. - [Bayliss] Oh.

Do you curate Gerry's pig?

Gerry bought Angie to help him sleep.

Well, Angie is certainly no name for a boy pig.

Oh, the formal name is Andrzej. It's Polish for Andrew.

She's Peaches.

- She sure is. - Hippos and pigs are related.

That's why Gerry came to see me.

He said we're of the same soul.

So Gerry and Angie are sleeping together?

Yeah, after Gerry's father committed suicide last year--

[Bayliss] Wait a minute, wait a minute.

The father was a suicide? Is that right?

Because the neighbors we talked to, they never mentioned suicide.

They just said that the father had died.

Put his head in the oven, turned on the gas.

In my book, that's suicide.

Me and Gerry came by, found him dead.

Gerry saw his father lying half-way out of the oven,

calls 911 and goes out and starts to mow the lawn.

No emotion at all.

- Where is Gerry now? - I don't know.

But if you had to find him, you'd know where to look?

I'd have no idea.

I know he feeds Angie at 12:00 sharp,

and Angie always knows when it's 12:00 sharp.

Pigs are the smartest animals around.

So Gerry would go back to his house to feed the pig?

Angie's smart, but not smart enough to feed himself.

- Thank you. - Thank you.

[helicopter whirring]

[Giardello] The man is?

[principal] It's Tom Maggio, our janitor.

[Giardello] And the woman?

[principal] That's Jennifer Clark, the dietician.

I saw her just ten minutes before this started.

We talked about next month's lunch menu.

How do we handle notification of next-of-kin?

I wanna hold off on that

until we have this situation under control.

No, we should reach the families before TV and newspapers

get ahold of that kind of information.

Principal Smith, you can help us with address and phone numbers?

- Yes. - Good.

Now, do we have a number on the wounded?

- [Howard] Six. - How many critical?

We're waiting for word from the hospital.

Sergeant, work on notification to the families

of the confirmed dead.

Okay, sure.

Hostage negotiators got contact with the guy inside.

- All the kids are okay? - [Lewis] We don't know.

Do we have a face-to-face with him?

Nah, they say they got him on cellphone.

- He did what? - He put a call into headquarters.

Says he's calling on a cellular phone.

Downtown patched him through to us.

How do we know it's real?

It could be some twit making a crank call.

He says he's using the cellphone of a Mrs. Digrazi.

- D-l-G-R-A-Z-- - Digrazi, sure.

That's my sixth grade history.

[Lewis] He says Digrazi's making him nervous.

Let me have the phone. I need to speak to the commissioner.

Who are we talking to in there?

- He won't identify himself. - Why not?

He's already murdered two people. What's he got to be shy about?

He's holed up there with one teacher and 15 kids.

- He's got 15? - Yes.

Are we in contact with him now?

- Not at the moment. - What's he want?

He hasn't asked for anything.

If he's holding them kids, then he must want something.

Any word yet on the condition of the hostages,

the commissioner wants to know.

I've asked repeatedly, he won't give me an answer.

Do we know who the kids are?

No, we're checking on that right now, colonel.

This history teacher, is it her class?

Yeah, Digrazi's. But from the interviews we've done,

she's got 17 sixth graders during the period

the shooter went into the school.

But you said he was holding 15.

That's what he told me.

Why say he's holding 15 when he's really holding 17?

Maybe two of the kids are absent.

- Find out. - Well, that's gonna be tough,

the attendance records are inside the building.

Maybe he's saying he's holding 15 instead of 17 because...

two kids are dead.

Maybe they're hurt.

We need to know exactly the number of the kids in that class.

Lewis and Kellerman, get hold of that principal we were talking to.

- What's her name? - Smith.

Tell her it's absolutely essential

we know the names of the kids in that classroom.

Then get Sergeant Howard to interview

the teachers and the students to find out if any of Digrazi's kids got out.

Maybe we can find the names of the kids

that could have been absent.

Yeah, we do it by process of elimination.

That's a lousy choice of words!

Knew it as I said it, Gee.

[tense instrumental music plays]

[Bayliss] So our friend Uba comes up clean, huh?

Yeah, except for a bunch of tickets

for walking his pig without a leash.

Huh.

Hey, Frank. Heading home early?

Yeah.

[Munch] Must be sweet to work half-days, Frank.

Can I have that job?

All right, okay. That's it, all right?

Appreciate you returning all my calls, Frank.

What?

When you were home, laid up, sick.

If I called 50 times, I called once.

I sent flowers, I talked to your wife.

I-- I heard you called.

I was the one yelling for a doctor

when you went down with the stroke.

You can't even return a phone call?

I-- I didn't-- I didn't think it was important to you.

Why would you? It's always all about you.

[tense instrumental music plays]

[fast-paced, percussion music plays]

Do you have a clear sight of him?

Heard all the windows, where the gunman is, face west.

With the sun positioned as it is right now,

we've got nothing but glare.

You have some sort of Polaroid lenses

on your scopes, don't you?

No such animal exists, sir.

The commissioner wants to know if we need to get

the governor involved with this.

If they have a way to get those hostages out of there safely,

tell them to get their asses down here.

They couldn't find their asses with a road map and a mirror.

There's no way we're gonna be able to come up with the names

of which kids are inside the school.

There's too much confusion going on.

- [indistinct chatter over radio] - [helicopters whirring]

Let's go.

Go where?

You-- you find this guy?

[Bayliss] Gerry Uba? No, he never returned home.

Let's go find him.

Frank, you know that I can't use you on this case.

It's okay.

I know. I-- I talk funny.

I walk funny.

I'm a little bit slow.

But I still know this job.

Me and you, we-- we can find this guy.

Frank, go home.

Okay?

You just gotta take it light and easy for now.

Hmm?

Does he have a girl?

Why, she call in?

Girls never give up the boy.

We go to her place...

we can find him.

Nine times out of ten, huh?

- Huh? - Frank, go home.

You-- don't-- you don't think

I'm good enough to be your partner.

- Do you? - [Bayliss] That's not true.

I-- I'm the same man.

- Frank-- - I'm the same man.

You-- you don't think I'm the same man, do you?

You-- you think...

I'm never gonna be the same.

You kiss my ass.

[slow, solemn synthesizer music]

[fast-paced percussion music plays]

And Olivia turned her head and watched me walk across the room.

[Pembleton] Hmm.

- Sounds great. - Yeah.

She's getting so big.

How was your day?

[sighs]

- It was there, there. - Hmm.

Hmm.

Take a right.

A right? You mean left.

Go right.

Frank, home is left.

[screaming] Mary, would you take a right turn?

[quietly] Okay.

We have contact. We got him on speaker?

[suspect over speakers] I want beer.

- He wants what? - Beer.

This is new news.

[suspect] I want a six-pack of beer, cold.

Come on, talk to him. Talk to the man.

You want beer? Is that correct?

[suspect] What are you, deaf?

It's difficult to hear you.

We're having problems with the connection.

[suspect] What's wrong with your phone?

Listen, hey, hey, hey. Talk to me now.

[suspect] [indistinct]

My phone is going out because of the battery.

The moron didn't charge up the battery!

All this can be worked out. Don't worry about the battery.

We'll get you another phone, fully powered, brand spanking new.

[suspect] I don't want a phone. I want a six-pack.

Your call, sir.

If he wants beer, we want him

to release the kids and the teacher.

Okay, you want beer, all right, I'm working on that.

But when I get you your beer,

I need you to show me some good faith, okay?

[suspect] Good faith, what the hell are you talking about?

He has to release the hostages.

You don't need those kids in there with you.

[suspect] Is that right?

Hello. Are you still there?

Did we lose him?

[Jasper] Bring the throw phone out.

And get a squawk box,

so we can talk this bastard into taking the phone.

I-- I can--

I can get out of a car, Mary.

[Mary] I don't know why you're doing this.

The doctors told you to take it slow.

Frank, there is time for all of this later.

I won't-- I won't be long.

[stammering]

Swing-- swing by in an hour and, um,

we'll-- we'll take Olivia out to dinner,

um, to-- to celebrate her-- her big day.

[gunshots banging]

[tense instrumental music plays]

All right, so you give him the beer and then the throw phone.

That's in the order in which he wants things handed to him.

Guy asks for a six-pack

and you give him one lousy Natty Bumppo?

He shows me some good faith,

he can negotiate a whole damn brewery.

I'm not sure about giving him beer.

He gets crazy, he'll start shooting the hostages.

The Commissioner wants to know if we're ready to go in.

Take him by force if necessary.

- Yes, sir. - And nighttime is best?

We'd be able to operate better under the cover of darkness.

He's already killed two people.

We don't know how many are dead inside.

He'll kill more hostages if we storm the place.

We gotta keep talking to this guy.

If he drinks a beer maybe he'll pass out.

What, on one beer?

- Yeah, maybe he's a cheap drunk. - It'll buy us time.

[fast-paced percussion music]

[indistinct chatter over radio]

So what we gonna do now, Gee?

We wait.

[music continues]

[theme music plays]