WHERE IS MICHELLE DALTON?!
(PANICKED SCREAMING)
MICHELLE!!!
ED: TEAM ONE, JAMES IS HEADED TO THE BANQUET KITCHEN.
JULES: COME ON, LET'S GO. RAF: EXCUSE ME.
(YELLING) WHERE IS SHE?!
WH-WHAT'S HE DOING?
ED?
ED: SECONDS AWAY.
MICHELLE?!!
MICHELLE: JAMES?
(MICHELLE GASPS, SCARED)
MOM...
(SIRENS WAIL IN THE DISTANCE)
WE CARRY MACHINE GUNS;
NINE MILLIMETERS, CORNERSHOTS.
AND WE ARE TRAINED TO FIRE THOSE GUNS...
(GUNSHOTS POP)
AND THEN WE ARE TRAINED NOT TO FIRE THEM.
NOW, THIS JOB ISN'T ABOUT FIRING GUNS,
THIS JOB IS ABOUT GETTING INTO THE SUBJECT'S HEAD.
(LOW MURMUR OF RAF'S VOICE)
ED: IT'S ABOUT LISTENING TO WHAT THEY HAVE TO SAY.
RAF: I'M GONNA HOLSTER MY GUN...
ED: YOU GOTTA CONNECT...
RESPECT AND PROTECT.
KEEP THE PEACE.
THAT'S RIGHT.
OKAY. (CLAPS)
YOU GUYS,
WHO HERE HAS THOUGHT ABOUT BEING A COP?
GOOD. GOOD, GOOD.
MY SON, CLARK, HE'S GOT OTHER PLANS;
I CAN RESPECT THAT.
ANYBODY ELSE?
(GUNSHOTS POP)
NOW, IN MY CASE, MY DAD WAS A COP,
MY BROTHER'S A COP,
AND I STARTED OUT WALKING THE BEAT.
AND IT WAS ACTUALLY THIS GUY'S DAD
WHO CONVINCED ME TO JOIN THIS NEW UNIT -
THE SRU.
WASN'T EASY - NOT FOR ANY OF US.
HUNDREDS APPLY, FEW MAKE IT IN.
FIRST YOU TAKE A PSYCH TEST,
MULTIPLE CHOICE -
WHAT KIND OF COP ARE YOU? WHAT KIND OF HUMAN BEING? -
1600 QUESTIONS.
AND YOU GET THROUGH THAT,
THEN IT'S FITNESS TESTS AND DRILLS.
WE SPECIALIZE IN MARKSMANSHIP...
(GUNSHOTS POP)
BOMBS, TECH, PSYCHOLOGY, NEGOTIATIONS.
EVERY DAY, YOU PUSH YOURSELF TO YOUR LIMIT...
GO! GO! GO! GO!
ED: PHYSICALLY, MENTALLY...
SO THAT YOU CAN HANDLE THE JOB WHEN THE JOB GETS TOUGH.
(GUNSHOTS POP)
BECAUSE THE JOB DOES GET TOUGH.
BUT YOU WORK HARD,
YOU DO YOUR BEST.
YOU DO WHAT YOU THINK IS RIGHT
AND YOU'LL FIND PEACE IN WHATEVER YOU CHOOSE TO DO.
(GRUNTS OF EFFORT)
AGHHH!
(EXHALES)
WOMAN: WATCH THE CORNER.
WE'RE ALMOST THERE.
WE ARE GETTING WAY TOO GOOD AT THIS.
YOUNGER WOMAN: SERIOUSLY.
OH MY GOD. OKAY.
WOMAN: SO I'LL TELL YOU WHAT I'M THINKING.
AFTER WORK, I'LL BUY A BOTTLE OF BUBBLY,
BRING IT BACK HERE, AND WE'LL CRACK IT OPEN
AND CELEBRATE YOUR SHOW TONIGHT.
JUST THE TWO OF US.
WELL, MAYBE NOT THE FIRST TIME.
SECOND MAYBE? I COULD SUCK.
SHUT UP! YOU SHUT UP.
YOU ARE MAY DALTON.
YOU'RE SMART, TALENTED.
WISE BEYOND YOUR YEARS,
AND YOU ARE THE BRAVEST PERSON
THAT I HAVE EVER KNOWN.
AND WHO DO YOU THINK I GOT ALL THAT FROM?
(CHUCKLES)
(PHONE CHIRPS) I GOTTA GO. BYE.
HEY.
TOBIAS: HEY, GODDESS.
SHOULDN'T YOU BE WORKING?
I'VE GOT ELEVEN POSTERS LEFT,
AND I DO NOT PLAN ON LETTING THEM GO TO WASTE.
TOBIAS, YOU'RE ALREADY LATE,
AND YOUR BOSS IS GONNA-
IT'S WHATEVER.
YOU'RE WORTH IT.
YOU KNOW, IT'S KILLING ME THAT YOU CAN'T BE THERE TONIGHT.
SO SING FOR ME NOW.
WHAT?
TOBIAS: PLEASE? I CAN'T JUST-
JUST SING IT LIKE YOU'RE UP THERE
AND I'M THE ONLY ONE WATCHING YOU.
(QUIET LAUGH)
OKAY, JUST HANG ON A SECOND.
¶ MY HEART HAS WINGS, LOVE ¶
¶ WINGS TO CARRY ME HOME ¶
¶ MY HEART IT SINGS, LOVE ¶
¶ YOUR NAME IS ITS SONG ¶
¶ THOUGH VALLEYS- ¶ (PHONE BEEPS)
HANG ON. CALL WAITING.
IT'S HIM. NOT TAKING IT.
UH, THAT'S GOOD. THAT'S GOOD, THAT'S GOOD.
YOU KNOW WHAT? I'M GONNA UM... I'M GONNA COME SEE YOU.
I NEED MY GOOD LUCK KISS.
(DOOR BUZZES)
(VOICEMAIL) HI, THIS IS MAY, LEAVE A MESSAGE.
HEY... IT'S ME.
(DOOR BUZZES)
UM... I JUST I WANTED TO CALL
AND GIVE YOU THIS CELL PHONE NUMBER.
I HAD TO GET A NEW CELL PHONE BECAUSE THE PHONE COMPANY...
(DOOR BUZZES)
ALL RIGHT, I JUST...
I JUST WANT YOU TO KNOW THAT I'M THINKING ABOUT YOU
AND...
AND HAPPY BIRTHDAY.
AND UH...
AND I WOULD REALLY LIKE TO HEAR YOUR VOICE, OKAY?
(DOOR BUZZES)
DAMMIT!
THE COUPLE MOVING IN'S BEEN MORE THAN PATIENT.
I TOLD YOU, I CAN PAY.
YOU WERE SUPPOSED TO BE OUT A WEEK AGO-
LOOK, THE NEW JOB, IT'S AS GOOD AS MINE-
NO WAY.
TWO WEEKS - FIRST PAYCHEQUE, IT'S ALL YOURS. COME ON-
I'VE HEARD IT BEFORE.
OKAY, LOOK, TAKE MY WATCH.
IT'S WORTH $300 BUCKS, ALL RIGHT?
I DON'T WANT YOUR DAMN WATCH-
$300 BUCKS, ALL RIGHT?
YOU CAN HAVE THE RING AS WELL. IT'S WHITE GOLD, ALL RIGHT?
I SURE AS HELL DON'T NEED IT ANYMORE. TAKE IT.
JAMES...
COME ON.
ALL RIGHT, LOOK...
HERE. TAKE THIS.
IT'S REAL CRYSTAL.
IT'S REAL.
YOU GOTTA BE ABLE TO GET SOMETHING FOR THIS.
COME ON, TAKE IT. TAKE IT!
(SHATTERING SMASH)
(PANICKED BREATHS)
YOU'RE GONE BY TONIGHT.
DON'T MAKE ME CALL THE COPS.
YOU WILL SHOW ME SOME RESPECT!
(OVERWHELMED BREATHS)
¶¶¶
HOW WAS CLASS, ED?
YOUR KID'S SCHOOL, RIGHT?
YEAH. BOSS'S KID GOES THERE TOO.
DEAN SEEMED PRETTY INTO IT.
OH, YEAH?
WELL, MORE THAN CLARK DID.
THAT'S BECAUSE YOUR BOY'S HAD SEVENTEEN YEARS
LIVING WITH A COP.
MINE'S JUST GETTING STARTED.
YEAH, WE'LL SEE.
SPIKE: WHAT'S NOT TO LOVE ABOUT BEING A COP?
THE HOURS, THE GLAMOUR, THE GIRLS...
JULES: THE GIRLS?
SPIKE: KING STREET, SATURDAY NIGHT?
I'M JUST SAYING, I SAW YOU.
HEY, I WAS JUST MAKING SURE THE LADIES GOT HOME SAFE.
BOTH LADIES.
(SHOCKED LAUGH)
RAF.
RAF: YEAH, BOSS.
SO, UH, COMING UP ON A YEAR NEXT WEEK.
YEAH, I KNOW.
SO HOW IS IT GOIN'?
YOU TELL ME.
I THINK YOU'RE DOING GREAT.
BUT IT'S A TWO-WAY RELATIONSHIP, YOU AND THE JOB.
YOU KNOW WHAT I'M SAYING?
I THINK SO.
AFTER A YEAR,
YOU GET A TASTE OF HOW THE JOB'S DOING FOR YOU.
I HEAR YOU, BOSS. IT'S ALL GOOD.
GOOD. OKAY.
SO TWO GIRLS, HUH?
RAF: ACTUALLY, IT WAS THREE, BUT WHO'S COUNTIN'?
(TECHNO MUSIC PLAYS)
DAVID: YO! TOBIAS!
THE NEW GRAPHICS LOOK GOOD.
JUST FINISHED PROGRAMMING.
DAVID: SWEET! HOW'S MAY? BIG NIGHT.
SHE'S GONNA BE AWESOME!
WON'T BE LONG TILL SHE'S PLAYING HERE.
TOBIAS: YOU KNOW IT!
CAN I HELP YOU?
HEY, WE'RE NOT OPEN YET!
JAMES: I'M HERE FOR HIM.
HEY!
WE NEED TO TALK.
DOING HERE? I NEED SOME INFORMATION.
I'M NOT GONNA TALK TO YOU.
YES, YOU ARE GONNA TALK TO ME.
(SIRENS WAIL)
WINNIE, GO FOR THE 911...
DAVID?
DAVID, THIS IS SERGEANT GREG PARKER,
I'M WITH THE STRATEGIC RESPONSE UNIT.
CAN YOU IDENTIFY THE GUNMAN?
NO IDEA.
HE CAME IN, WENT STRAIGHT FOR MY FRIEND.
PARKER: OKAY. DOES HE KNOW HIM?
I DON'T KNOW. HE'S SHOUTING AT HIM-
JAMES: TELL ME WHERE SHE IS!
YOU GOTTA GET HERE.
OOF!
OH MY GOD!
PARKER: WHAT'S GOING ON?
I DON'T WANT TO HURT YOU! TELL ME WHERE SHE IS!
COME ON, DAVID, TALK TO ME. WHAT'S HAPPENING?
TELL ME NOW!
(FIGHTING GRUNTS)
UNGH!
AGHHHH!
(GUNSHOT FIRES)
EDDIE...
GET UP! GET UP!
GET UP NOW!
START WALKING!
DAVID! DAVID!
I'M HERE.
DON'T ENGAGE HIM, PLEASE!
I JUST NEED YOU TO TELL ME WHAT HE IS DOING?
HE'S TAKING HIM OUTSIDE. HE'S GETTING AWAY.
ALL RIGHT, WE'RE ALMOST THERE. YOU HANG TIGHT.
(GUNSHOT POPS)
I HEARD ANOTHER SHOT!
DAVID, STAY INSIDE!
ED: SAM, TAKE THE ENTRANCE ON RICHARDSON.
SAM: COPY THAT.
HE'S GETTING AWAY,
I THINK HE'S GOT TOBIAS IN THE CAR.
WHAT KIND OF CAR IS IT?
GREY SEDAN. I CAN'T MAKE OUT THE PLATE.
ENDS IN A ONE. SIXTY-ONE.
SAM, YOU GET THAT?
(SIRENS WAIL)
AFFIRMATIVE. WE GOT HIM.
RAF: ONLY ONE PERSON IN THE CAR.
(TIRES SCREECH)
RAF: (OVER SPEAKER) THIS IS THE STRATEGIC RESPONSE UNIT!
THIS IS THE POLICE! PULL OVER IMMEDIATELY!
I REPEAT, PULL YOUR VEHICLE OVER!
(SIREN WAILS)
SPIKE: WE GOT AN IMAGE FROM THE CCTV, IT'S GONE TO YOUR PHONES.
JULES: NO SIGN OF TOBIAS.
ED: IF TOBIAS TOOK A BLOW TO THE HEAD,
HE COULD HAVE PASSED OUT IN THE CAR.
PARKER: YOU HEARD THREE SHOTS, RIGHT?
DAVID: YEAH.
ED: SO ONE WHEN YOU LAND, AND THE SECOND HIT HERE...
AND THEN ONE OUTSIDE.
I'LL CALL IN FORENSICS,
SEE IF THEY CAN ACCOUNT FOR THE THIRD.
JULES: WE DIDN'T SEE ANY IMPACT OR RICOCHET MARKS OUTSIDE.
YOU THINK HE'S BEEN SHOT?
WHAT'S GOING ON?
EXCUSE ME, WHO ARE YOU?
MAY DALTON. THE COP OUTSIDE TOLD ME TO COME IN
AND TALK TO YOU.
HIS GIRLFRIEND.
WHERE'S TOBIAS?
JULES: LISTEN, MAY, YOUR BOYFRIEND WAS TAKEN BY SOMEBODY.
WHAT? SOMEBODY CAME IN HERE, TOOK HIM OUTSIDE.
HE WAS ARMED.
ED: OKAY, MAY, SIT DOWN-
MAY: NO, I DON'T NEED TO SIT DOWN,
I NEED TO KNOW WHAT'S GOING ON.
ED: WE'RE TRYING TO FIGURE THAT OUT, ALL RIGHT? SPIKE.
DO YOU KNOW THIS MAN?
OH GOD...
MAY, DO YOU KNOW THIS MAN?
THAT'S MY FATHER!
(SIREN WAILS)
STILL IN PURSUIT. THIS GUY'S NOT SLOWING DOWN.
(TIRES SQUEAL)
(SIREN WAILS)
(NERVOUS BREATHS)
RAF: PULL OVER!
I REPEAT, PULL YOUR VEHICLE OVER!
YOU SEE THAT?
LET'S SEE IF WE CAN FORCE HIM OFF GERRARD.
GET UP CLOSE.
(ENGINE ROARS, SIREN WAILS)
(GASPS)
WINNIE, SET UP A ROADBLOCK ON JARVIS.
SAM!
PULL BACK! PULL BACK!
OOF!
(PAINED GRUNTS)
RAF: WINNIE, WE NEED EMS, RIGHT NOW!
¶¶¶
(GROANS IN PAIN)
RAF: WINNIE, GIVE US AN APB,
GERRARD HEADING EAST FROM ONTARIO.
WHERE'S EMS?
TOBIAS, KEEP STILL, WE'RE GONNA TAKE CARE OF YOU.
TOBIAS: YOU GOTTA TELL MAY... SAM: EASY, EASY, EASY...
HE'S GONNA FIND HER, OKAY?
HE'S GONNA FIND BOTH OF THEM-
WHAT DO YOU MEAN? BOTH OF WHO?
HE SAID HE WANTED TO KNOW WHERE MAY WAS,
BUT I WOULDN'T TELL HIM, AND THEN HE SAID
HE'D ASK HER MOM, SO I TOLD HIM...
TOLD HIM WHAT, TOBIAS?
ROYAL YORK HOTEL, WHERE SHE WORKS.
HE'S GOING THERE NOW. HE'S GOT A GUN!
JULES: I'M CALLING THE HOTEL.
EVERYTHING WE CAN ON ANY JAMES MITCHELL
MATCHING HIS DESCRIPTION. COPY.
TOBIAS. TOBIAS IS GONNA BE OKAY,
BUT WE GOTTA GET TO YOUR MOM AND DAD
AND MAKE SURE THEY'RE GONNA BE OKAY, TOO.
YOU CAN'T LET HIM NEAR MY MOM.
I HEAR YOU.
WHAT'S YOUR NAME?
IT'S ED. ED LANE.
ED, YOU CAN'T LET THIS HAPPEN.
YOU DON'T KNOW MY FATHER.
CAN YOU HELP US KNOW HIM, MAY?
MAY, CAN YOU RIDE WITH US?
YEAH. LET'S GO.
SAM: TOBIAS IS WITH EMS.
WE'RE ON OUR WAY TO THE HOTEL,
SQUAD CARS EN ROUTE.
JULES, ANY LUCK REACHING THE MOTHER?
JULES: SHE WORKS THE BANQUETS,
THEY DON'T KNOW IF SHE'S SHOWED UP TO WORK YET.
THEY'RE LOOKING FOR HER.
ED: SO YOU AND YOUR MOM LEFT LAST YEAR?
IS THAT RIGHT?
IT SHOULD'VE BEEN SOONER.
WHAT HAPPENED?
IT WASN'T JUST ONE THING, IT WAS EVERYTHING.
THEN IT JUST GOT WORSE.
WERE YOU AFRAID OF YOUR DAD?
YEAH.
HE THOUGHT I DIDN'T KNOW WHO HE WAS.
I KNEW WHO HE WAS.
JAMES: (MENACING) YOUR PROBLEM IS YOU JUST DON'T THINK.
MICHELLE: JAMES, I TOLD YOU ABOUT IT LAST WEEK.
JAMES: YOU TOLD ME...
MICHELLE: YOU SAID IT WAS OKAY.
THE SHEETS WERE ONLY ON SALE FOR THE WEEKEND-
JAMES: I SAID IT WAS OKAY.
YOU DID.
ARE YOU TELLING ME WHAT I REMEMBER NOW?
MICHELLE: OH, PLEASE... JAMES: ARE YOU?!
MICHELLE: NO!
JAMES: BECAUSE NOW I HAVE A CAR PAYMENT THAT BOUNCES.
I HAVE A CAR PAYMENT UNCES
BECAUSE YOU NEED NEW (SMASHES PLATE) SHEETS!
YOU KNOW WHAT? FROM NOW ON,
YOU SIGN YOUR CHEQUES OVER TO ME, MICHELLE.
I GIVE YOU WHAT YOU NEED.
YOU DON'T NEED TO DO THAT.
WHY NOT?
YOU PLANNING ON MAKING A MOVE, MICHELLE?
DON'T YOU LIKE TO ME!
DAD?
HEY, MAY-BE.
UH, YOU FINISH YOUR EGYPTIAN PROJECT?
YEAH... YEAH, ALMOST.
HEY, UM... DO ME A FAVOUR?
HELP YOUR MOM CLEAN UP THE PLATES SHE BROKE.
YOU KNOW HOW SHE GETS.
THANK YOU, SWEETIE.
(MICHELLE SOBS)
HE TOOK AWAY ALL HER MONEY SO SHE COULDN'T LEAVE,
MADE HER THINK SHE WAS CRAZY,
AND THAT HE WAS THE NORMAL ONE.
MAY, MOVING OUT, THE RESTRAINING ORDER,
YOUR MOM CHANGING HER NAME,
THOSE ARE ALL THINGS THAT BOTH OF YOU DID RIGHT,
AND THAT PAST IS BEHIND YOU.
BUT IT'S NOT! I MEAN, LOOK WHERE I AM.
I'M IN A CAR WITH TWO COPS.
I MEAN, NO OFFENCE, GUYS,
BUT YOU REALLY HAVEN'T DONE THE BEST JOB
OF KEEPING HIM AWAY.
HE CALLED ME TODAY 'CAUSE IT'S MY BIRTHDAY.
HOW'D HE GET MY CELL PHONE NUMBER?
HE EVEN TRACKED DOWN WHERE TOBIAS WORKS.
NOW HE KNOWS WHERE MOM WORKS.
I MEAN, WHAT ARE WE SUPPOSED TO DO?
TOBIAS HAS DONE EVERYTHING SO THAT WE CAN FEEL SAFE.
BUT I GUESS THAT'S JUST NOT GONNA HAPPEN.
(PATRONS CHATTER AND LAUGH)
HELLO. HI.
JAMES: (READING HER NAMETAG) UH, HEATHER,
I WONDER IF YOU CAN HELP ME, I'M LOOKING FOR SOMEONE.
HEATHER: OF COURSE. IS THIS PERSON A GUEST WITH US TODAY?
NO. AN EMPLOYEE.
OH, OKAY.
YOU'D NEED TO SPEAK TO THE RESIDENT MANAGER.
SHALL I CALL HIM?
YOU KNOW, ACTUALLY, I JUST CAME IN TO SAY HI.
IT'S THE MANAGER I'M LOOKING FOR...
I HAVE A JOB INTERVIEW.
A FRIEND SET IT UP.
I HAVE HIS NAME HERE SOMEWHERE...
FLOYD MATHER.
MR. MATHER. RIGHT.
TAKE THOSE STAIRS UP TO THE MEZZANINE,
THEN ALL THE WAY AROUND AND LOOK FOR THE SIGNS.
THANK YOU SO MUCH.
CONCIERGE: GOOD LUCK!
SPIKE: BOSS, JAMES SERVED TWO 30-DAY SENTENCES LAST YEAR -
ASSAULT AND VIOLATING A RESTRAINING ORDER.
DOMESTIC OFFENSES GO BACK FOUR YEARS,
AND HE'S BEEN OUT OF WORK FOR OVER A YEAR.
THERE'S GONNA BE MONEY ISSUES.
I TALKED TO TOBIAS.
MICHELLE AND MAY HAVE MOVED THREE TIMES
IN THE LAST YEAR
AND JAMES KEEPS FINDING THEM,
AND EVERY TIME HE ESCALATES.
PARKER: DOMINATING PERSONALITY, MULTIPLE STRESSORS,
HIS LIFE IS OUT OF CONTROL.
HE PICKS TODAY TO LASH BACK AT THE ONE PERSON HE CAN BLAME.
AND WE KNOW HOW THESE THINGS OFTEN GO.
JULES: YEAH, THAT'S WHAT I'M AFRAID OF.
MURDER-SUICIDE.
(HEAVY BREATHING)
I'M LOOKING FOR THE MANAGER.
CAN I HELP YOU?
YES. WHERE'S MICHELLE DALTON?
MAY, WE'RE GONNA DO EVERYTHING WE CAN
TO KEEP YOUR MOM SAFE.
ED: THIS IS WHAT WE DO, MAY.
NOBODY NEEDS TO GET HURT TODAY.
TELL ME YOUR NAME AGAIN.
GREG PARKER.
GREG.
GREG AND ED.
I WANNA BE ABLE TO HOLD YOU
TO WHAT YOU JUST TOLD TO ME, OKAY?
OKAY, MAY.
OKAY.
(SIRENS WAIL)
ED: LET'S GO!
WHERE IS MICHELLE DALTON?!
(STAFF SCREAMS)
MICHELLE!
WHERE IS SHE?
MICHELLE!
MICHELLE: JAMES...
(FRIGHTENED WHIMPERS)
(SIRENS WAIL)
IS THAT HIM?
YEAH. THAT'S DEFINITELY HIM.
SPIKE, WE GOT A POSITIVE ID ON JAMES.
CONCIERGE SAYS HE'S LOOKING FOR THE HR MANAGER.
THANK YOU, HEATHER.
HEATHER, WHERE CAN I FIND THE MANAGER?
UH, MEZZANINE. UP THOSE STAIRS.
THANK YOU. SPIKE, TRANSPONDERS ON.
LET'S MOVE.
(TYPES FURIOUSLY, COMPUTER TRILLS)
UP THE STAIRS, LEFT AND LEFT.
(DOOR BANGS SHUT) MAY'S GONNA HELP US PROFILE.
NO PROBLEM.
MAY? SPIKE. HAVE A SEAT.
THANKS.
OKAY?
(WHIMPERS, FRIGHTENED)
THIS WASN'T NECESSARY, MICHELLE?
YOU KNOW THAT NONE OF THIS HAD TO HAPPEN,
DON'T YOU?
ALL YOU HAD TO DO WAS TALK TO ME.
YOU KNOW WHAT DAY IT IS TODAY.
(PLATE BREAKS)
(STAFF SCREAMS)
FOUR, SEVEN, BRAVO, KILO
UNDERSCORE TANGO X-RAY. THANK YOU.
THOSE DOTS, IS THAT YOUR TEAM?
YEP, AND IF MY MOM WAS IN TROUBLE?
THEY'RE THE ONES I'D WANNA SEE COMING THROUGH THE WINDOW.
THAT'S-THAT'S INSIDE. HOW DID YOU...?
IT'S MAGIC.
OR HOTEL SECURITY JUST GAVE YOU THEIR ACCESS CODE
AND WI-FI PASSWORD.
SHE SEES RIGHT THOUGH ME.
SIR, THE MAN WHO ATTACKED YOU, WHERE DID HE GO?
MICHELLE DALTON, HE WENT AFTER HER.
SHE WAS JUST IN THE BANQUET KITCHEN.
BANQUET KITCHEN?
THROUGH THAT DOOR, TWO FLIGHTS DOWN.
SAM: OKAY, GO BACK TO YOUR OFFICE.
WE'LL GET YOU HELP AS SOON AS WE CAN.
ED: TEAM ONE, JAMES IS HEADED TO THE BANQUET KITCHEN.
SPIKE: COPY THAT.
BOSS, YOU'RE CLOSE. DOWN THE STAIRS TO YOUR RIGHT.
OKAY. HERE WE GO.
HE'S GOING TO SHOOT HER.
NO, THIS IS TEAM ONE WE'RE TALKING ABOUT MAY.
MAY: I NEED TO HEAR. CAN WE HEAR?
SPIKE: NO. YOU KNOW, IT CAN GET A LITTLE BIT INTENSE-
SPIKE, I'M NOT A KID, OKAY?
YOU SAID SO YOURSELF, SHE'LL BE FINE.
NOW AM I HERE TO HELP OR AM I NOT?
BOSS, OKAY IF I PATCH MAY INTO THE CONVERSATION?
PARKER: OKAY, SPIKE, BUT USE YOUR JUDGMENT.
SPIKE: COPY THAT.
OKAY, I'M GONNA PUT IT ON SPEAKER.
YOU'RE GONNA HEAR THE TEAM'S MICS
AND WHATEVER WE CAN PICK UP
FROM THE KITCHEN INTERCOM SYSTEM.
JAMES: I'VE BEEN MORE THAN REASONABLE WITH YOU.
THIS IS WHAT HAPPENS
WHEN YOU PUSH A REASONABLE MAN FOR TOO LONG!
NO PROBLEM, JAMES. IT'S NO PROBLEM.
PUT THE GUN AWAY
AND YOU AND I CAN HAVE A REASONABLE TALK, OKAY?
ALL RIGHT.
LET'S START WITH THIS:
WHERE IS MY DAUGHTER?
WHERE IS SHE?!
PARKER: LET'S GET THE OTHER CIVILIANS OUT OF THE KITCHEN
AND GET HIM TALKING.
JULES: THIS MAN NEEDS TO FEEL IN CONTROL.
PARKER HE'S NOT A FAN OF COPS TELLING HIM WHAT TO DO.
HE DOESN'T LIKE ANYONE TELLING HIM WHAT TO DO.
HE HAS TO BE IN CHARGE.
BOSS, YOU COPY THAT?
PARKER: YEAH, SPIKE, I HEARD.
RAF: LET'S CLEAR THE ROOM.
JULES: YEAH.
JULES: EXCUSE ME. WE NEED YOU TO LEAVE.
RAF: SIR, I NEED YOU TO LEAVE RIGHT NOW.
I NEED YOU TO LEAVE NOW.
JULES: COME ON, LET'S GO. RAF: EXCUSE ME...
SPIKE: SUBJECT'S STANDING TWENTY FEET FROM THE BANQUET DOORS,
FACING AWAY.
JAMES: (MUFFLED) HOW COULD YOU DO THIS TO ME?!
MICHELLE: JAMES, I DON'T KNOW WHAT YOU'RE TALKING ABOUT!
JAMES: DON'T LIE TO ME!
MICHELLE: I'M NOT!
JAMES: DON'T STAND THERE AND LIE TO MY FACE!
DON'T TRY TO TURN THIS AROUND!
YOU KNOW DAMN WELL THIS IS YOUR FAULT!
MICHELLE: PLEASE PUT THE GUN DOWN.
I DON'T KNOW WHAT YOU WANT ME TO SAY.
JAMES: I WANT YOU TO TELL ME THE TRUTH!
PARKER: JAMES?
MY NAME IS GREG PARKER.
I'D LIKE TO TALK TO YOU IF THAT'S ALL RIGHT?
THIS IS NO ONE ELSE'S BUSINESS.
I APPRECIATE THAT, BUT WHAT I'D LIKE TO DO-
JAMES: WHO THE HELL ARE YOU?
MY NAME IS GREG, LIKE I SAID,
I'M A PROFESSIONAL NEGOTIATOR.
WHAT I'D LIKE TO DO HERE
IS MAYBE HELP FACILITATE A DIALOGUE.
JAMES: A CONVERSATION IS WHAT I AM TRYING TO DO HERE!
I DON'T NEED A PROFESSIONAL NEGOTIATOR
TO HAVE A CONVERSATION WITH MY OWN EX-WIFE,
FOR GODSAKE!
ALL RIGHT?
WHAT I NEED IS A LITTLE PRIVACY.
PARKER: OKAY, THAT'S GREAT. LET'S DO THAT.
I MEAN, YOU'RE IN CHARGE HERE.
WHY DON'T YOU JUST TELL THE OTHER PEOPLE IN THE ROOM
THAT IT'S TIME FOR THEM TO GO.
JAMES: I JUST WANNA TALK TO MY WIFE!
PARKER: I HEAR YOU, JAMES.
ED, WHAT'S YOUR STATUS?
ED: SECONDS AWAY.
PARKER: IT'D BE EASIER TO HAVE THAT CONVERSATION...
IN POSITION.
PARKER: YOU'RE CALLING THE SHOTS HERE.
THEY'LL DO WHATEVER YOU SAY.
JUST ASK THEM TO LEAVE.
SAM: IN POSITION.
PARKER: YOU WANT PRIVACY? THAT'S REASONABLE.
YOU WANT THEM TO GO? THAT'S FAIR.
JUST TELL THEM.
JAMES: OKAY, OKAY. GET OUT OF HERE!
EVERYONE GET OUT!
EXCEPT FOR YOU.
GET OUT NOW!
GET OUT!
THANK YOU, JAMES, THAT'S A GOOD CHOICE.
I SAID, GET OUTTA HERE, NOW!
KEITH: I'M NOT GOING ANYWHERE.
YOU'VE GOT SOMETHING TO SAY, YOU CAN SAY IT NOW.
NO.
WHAT'S WRONG?
HOLD IT!
YOU HOLD IT RIGHT THERE!
THAT'S KEITH; THAT'S MY MOTHER'S BOYFRIEND.
YOU'RE HIM, AREN'T YOU?
JAMES. HE IS, ISN'T HE?
YOU'RE THE WORKPLACE BOYFRIEND.
(TO HIMSELF) OH BOY...
JAMES: CONGRATULATIONS. HOW IS IT?
KEITH: W-W-WHAT'RE YOU TALKING ABOUT?
MY EX-WIFE.
HOW IS IT?
IT'S MY FAULT.
LAST TIME I TALKED TO HIM, I WAS JUST TRYING TO HELP.
YOU MENTIONED YOUR MOTHER WAS SEEING SOMEONE?
I JUST SAID WE HAVE TO STOP DWELLING ON THE PAST,
ON GRUDGES, AND WE HAVE TO MOVE ON...
AND THEN I MENTIONED KEITH.
OH MY GOD!
MAY! YOU DIDN'T MAKE THIS HAPPEN.
PARKER: HEY, JAMES, WHY DON'T WE JUST STAY ON TRACK-
JAMES: I AM TALKING HERE!
DON'T YOU TAKE ANOTHER STEP!
KEITH: LOOK, IF IT'S ME YOU GOT A PROBLEM WITH-
YOU BACK OFF!
PARKER: JAMES, YOU WANNA HAVE A CONVERSATION WITH MICHELLE,
LET'S JUST DO THAT!
LET ME GIVE YOU A FRIENDLY WARNING:
YOU WATCH YOUR BACK.
MICHELLE: I'M SERIOUS, JAMES, THIS IS BETWEEN YOU AND ME-
JAMES: (VOICE RISING) WATCH YOUR BANK ACCOUNT, WATCH YOUR WALLET,
WATCH YOUR GODDAMN DOG!
(SCREAMING) BECAUSE THIS WOMAN,
SHE WILL TAKE EVERYTHING FROM YOU!
(FIRE ALARM RINGS)
YOU MAKE 'EM STOP THAT! YOU SHUT IT OFF!
PARKER: YUP.
JAMES: GET 'EM TO TURN IT OFF RIGHT NOW!
JAMES?
LET'S YOU AND I JUST GO AND TALK. JUST...
NO PROBLEM.
JUST THE TWO OF US.
I KNOW THE BEST WAY...
WAY OUT OF HERE, OKAY?
(FIRE ALARM RINGS)
OKAY.
I WANT NICE AND SLOW.
LET'S GO.
ED: NEW DEAL. SUBJECT'S PREPARING TO EXIT.
RAF, JULES, GO AROUND,
ISOLATE MICHELLE, AND CUT HIM OFF.
JULES: COPY THAT. RAF: COPY.
(RUNNING FOOTSTEPS)
MAY: WAIT. W-W-WHAT'S HE DOING?
SPIKE: ED?!
(TROLLEY RATTLES AND SLAMS INTO JAMES)
(JAMES SCREAMS)
(HOT OIL IGNITES AND ROARS)
ED: GET DOWN!
SAM: CLEAR THE ROOM! ED: NO SHOT! GET DOWN!
ED: JAMES MITCHELL! RIGHT THERE!
JAMES MITCHELL!
THEY'RE IN THE ELEVATOR.
WE LOST 'EM! THEY'RE GONE!
MOM!
SAM: UNIS HAVE TAKEN CARE OF THE EVAC,
GETTING THE FIRE UNDER CONTROL.
ED: SPIKE, THE SUBJECT AND HIS HOSTAGE
HAVE TAKEN THE SERVICE ELEVATOR.
SPIKE: I KNOW, AND I'M ON IT.
THE ELEVATOR THEY TOOK IS THE ONLY ONE
WITH ROOFTOP ACCESS.
RAF: YOU GOT CONTROL? SPIKE: I DO.
WE GET HIM TO THE ROOF, IT'S CONTAINED,
WE KEEP HIM AWAY FROM CIVILIANS.
OKAY, GOOD. NICE.
IS THERE A SECURITY CAMERA IN THERE TOO?
THAT'S JUST WHERE I WAS GOING.
AND WE ALSO GOTTA HAVE A PHONE THAT WE CAN HEAR THROUGH.
(TYPING FURIOUSLY)
WHAT IF HE GETS OUT AT THE LOBBY
AND MAKES A RUN FOR IT?
I'VE GOT FULL OVERRIDE AND THEY GO WHERE I SAY.
GUYS, I'M GONNA SEND DOWN ANOTHER ELEVATOR.
IT DOESN'T GO TO THE ROOF
BUT I CAN GET YOU THROUGH A WINDOW.
ED: SPIKE, GET THE UNIFORMS TO THE STAIRS
WITH REMMY'S FOR ME AND SAM.
COPY THAT.
SAM: 'KAY, THERE'S VENTS FOR COVER. YOU TAKE THE LOW ONE;
I'LL GET A HIGHER VANTAGE FROM THE 18TH FLOOR.
ED: LET'S MOVE.
PARKER: THERE'S STILL A CHANCE WE CAN TALK HIM DOWN.
JULES IF HE WANTED TO KILL MICHELLE, HE ALREADY WOULD'VE DONE IT.
THERE'S SOMETHING ELSE HE WANTS.
(ELEVATOR WHIRS)
JAMES: (STRESSED, BREATHLESS)
COME ON, COME ON, COME ON...
JULES: OKAY, LET'S BREAK IT DOWN.
THIS IS A GUY WHO'S LOST EVERYTHING.
I THINK WHAT HE'S FIGHTING FOR IS A SITUATION
WHERE HE'S BACK IN CONTROL AGAIN.
EVEN IF IT'S THE LAST THING HE CONTROLS.
SPIKE: THIS MIGHT NOT BE A DEAD END.
HE'S GOT MAY.
IT'S ME HE WANTS.
HE DOESN'T BELIEVE I DON'T LIKE HIM.
HE WANTS ME, NOT HER.
SPIKE: SHE'S THE ONE THING STANDING BETWEEN HIM AND GIVING UP.
SHE IS THE LIGHT AT THE END OF HIS TUNNEL.
THE TALK'S GOTTA BE ABOUT HER.
(ELEVATOR WHIRS)
WHAT THE HELL...?
(STABS LOBBY BUTTON REPEATEDLY)
WHAT THE HELL?
COME ON! NO, NO, NO, NO.
MICHELLE: SOMEONE ELSE MUST'VE CALLED THE ELEVATOR.
JAMES: I REALIZE THAT, BRIGHT-EYES!
IT STILL SHOULD'VE STOPPED AT THE LOBBY
ON THE WAY UP!
(STABBING BUTTON REPEATEDLY) JAMES, JUST CALM DOWN.
WE'RE GONNA GET THERE ONE WAY OR ANOTHER.
STAY CALM, OKAY?
(WHIMPERS)
THE MOST...PRECIOUS THING IN THE WORLD TO ME...
AND YOU TOOK HER FROM ME!
WHY WOULD YOU DO THAT?
JULES: HE THINKS COPS ARE MESSING WITH HIM.
IF WE WANT HIS ATTENTION,
HE'S MORE LIKELY TO LISTEN TO THE DAUGHTER.
USE MAY AS A T.P.I.?
THIRD PARTY INTERMEDIARY;
A CIVILIAN INVOLVED IN NEGOTIATIONS.
RAF: IT GIVES HIM A REASON TO LOOK TO THE FUTURE.
SHE'S JUST A TEENAGER.
WHY WOULD YOU DO THAT TO ME?!
JAMES...
(SCREAMING) WHY?!
AGGGHHHHH! T GETTING AWAY NYMORE!
MICHELLE: (TERRIFIED) JAMES, PLEASE!
SPIKE, TURN THE SPEAKER OFF.
(JAMES' SCREAMING VOICE SUDDENLY CUTS OUT)
WHAT'RE YOU DOING?
WHY ARE YOU TURNING IT OFF?
I'M SORRY.
GUYS, THIS COULD BE EMOTIONALLY TRAUMATIC.
DO WE WANNA PUT HER THROUGH THAT?
I'LL DO IT! HE'LL LISTEN TO ME.
USUALLY, WE TRY NOT-
I'M EIGHTEEN, OKAY? I CAN MAKE THIS CHOICE.
PLEASE, LET ME HELP MY MOM,
OR THIS WILL NEVER BE OVER.
BOSS, SHE IS OLD ENOUGH TO KNOW WHAT SHE'S DOING.
SPIKE: RAF'S RIGHT; MAY'S NOT A KID.
SHE'S PRETTY TOGETHER.
LET ME TALK TO HIM.
(OPENS COMM LINK) GO AHEAD.
(INTO MIC) GREG, I WON'T EVEN TALK TO HIM IF YOU DON'T WANT ME TO,
BUT IF HE SEES ME UP THERE, WATCHING...
HE CARES A LOT MORE ABOUT MY RESPECT
THAN HE DOES YOURS.
(ELEVATOR DINGS OPEN, MICHELLE WHIMPERS)
SUBJECT'S ON THE ROOF.
(MICHELLE CRIES OUT, STRUGGLING)
JAMES: (POUNDS THE LOBBY BUTTON) COME ON!
(MICHELLE YELPS IN PAIN) COME!
COME ON! COME ON!
PARKER: MAY, WE CAN'T CONTROL WHAT YOUR FATHER MIGHT DO.
ED: YOU GOT ME AND SAM ON SIERRA.
THERE'S NO WAY WE'LL LET JAMES HARM HER.
JULES: IT'S WORTH A TRY.
HE'S HEADING INTO AN ENDGAME...
IF HE FEELS THAT HE CAN REVIVE HIS RELATIONSHIP
WITH HIS DAUGHTER...
SAM: EVEN IF IT'S FROM JAIL, IT'S SOMETHING TO HOPE FOR.
IT'LL FEEL MORE WITHIN REACH IF HE CAN SEE HER.
ALL RIGHT, MAY.
BUT YOU HAVE TO FOLLOW OUR INSTRUCTIONS
AND STICK TO THE SCRIPT.
PROMISE.
PARKER: SPIKE, BRING HER TO THE ROOF.
SPIKE: COPY THAT. LET'S GO, BELLA.
(HARD PUNCH, MICHELLE CRIES OUT)
AGGGHHHH!
PARKER: SAM, YOU GOT EYES?
SAM: IN POSITION. I SEE 'IM.
JAMES YOU KNOW IT'S OVER, RIGHT?
EVERYTHING CHANGES TODAY.
MICHELLE: WHAT CHANGES?
JAMES: THIS GAME YOU PLAY, THIS POWER GAME,
WHERE YOUR ATTORNEY SUCKS MY ACCOUNT DRY,
WHERE YOU SABOTAGE MY REPUTATION,
WHERE YOU PLAY HIDE AND SEEK ALL OVER THE DAMN CITY,
AND YOUR FAVORITE PART -
WHERE YOU WRITE DOWN THE RULES
ABOUT WHEN I CAN SEE MY OWN DAUGHTER.
BLAME! DID YOU SAY SOMETHING?
SPIKE: WE'RE ALMOST THERE, GUYS.
JAMES MY LITTLE GIRL IS EIGHTEEN, FOR CHRIST SAKE!
I JUST WANNA HEAR HER VOICE.
I CALL HER
AND NONE OF MY MESSAGES GET THROUGH.
SO, I'M SORRY, BUT I GOTTA WONDER WHY.
YOU HAVE HER CELL PHONE NUMBER?
JAMES: YOU MADE ME DO IT!
I HAD TO TRACK YOU DOWN AND ASK YOU,
WHERE THE HELL IS MAY?!
(DOOR BURSTS OPEN)
JULES: COME ON.
ALL RIGHT, LISTEN TO ME. I WANT YOU TO TALK ABOUT HOPE,
I WANT YOU TO TALK ABOUT THE FUTURE.
LOOK AT ME.
I NEED YOU TO STAY POSITIVE, ALL RIGHT?
THAT'S ALL YOU NEED TO DO.
WE'RE GONNA BE RIGHT THERE WITH YOU,
OKAY?
OKAY.
OKAY. LET'S DO IT.
MICHELLE: IF SHE'S NOT RETURNING YOUR CALLS,
SHE'S CHOOSING NOT TO.
T NO! YOU'RE A LIAR!
MAY: DADDY?!
MAY!
I'M RIGHT HERE, OKAY? I'M RIGHT HERE.
JAMES: (HISSES) LOOK WHAT YOU'VE DONE!
(RAGES) LOOK WHAT YOU'VE DONE!
THE COPS, AGAIN!
YOU BITCH!
I NEED YOU TO GET HIM TO FOCUS ON THE TWO OF YOU.
ALL RIGHT. OKAY.
PLEASE, DAD, JUST LET HER GO, OKAY?
IT'LL JUST BE YOU AND ME
AND WE CAN TALK AS MUCH AS YOU WANT.
(RAGING) I HAVE SURVIVED, I HAVE PULLED THROUGH,
AND EVERY TIME I THINK I'M CLOSE,
YOU DO IT AGAIN!
MAY: DAD, I WANNA HEAR WHAT YOU'RE FEELING, OKAY?
WHY DON'T YOU TELL ME!
JAMES: WHEN WILL IT BE ENOUGH?! WHEN?!
TELL ME!
ED?
WEAPON'S NOT IN PLAY.
JAMES: WHAT DO YOU WANT?! YOU WANT ME TO GIVE UP?!
WHAT'RE YOU DOING?! YOU HAVE TO STOP IT!
MAY, WHEN WE SHOOT, WE SHOOT TO KILL.
IT'S A LAST RESORT.
CAN'T YOU JUST SHOOT HIM IN THE LEG,
OR DO SOMETHING?
IT'S TOO RISKY. HE COULD FIRE BY REFLEX.
DON'T GIVE UP ON WORDS.
JAMES DO YOU WANT ME TO DIE, MICHELLE?
WOULD THAT MAKE YOU HAPPY?
WOULD THAT WORK FOR YOU?
SIERRA TWO, STAND BY. ON MY GO.
COPY.
MICHELLE: (SOBBING)
DON'T YOU DARE!
MAY!
BOSS?
MAY'S GOT A WEAPON. SHE'S GOT A WEAPON.
MAY: DON'T YOU DARE!
JULES: MAY, DROP YOUR WEAPON!
PARKER: HOLD FIRE!
MAY: LEAVE HER ALONE! THIS ENDS NOW!
PARKER: OKAY, SHE'S CROSSED THE LINE.
I'VE GOT... I'VE GOT MAY.
I HAVE JAMES!
JULES: MAY, DROP YOUR WEAPON NOW!
MICHELLE: MAY, BABY, NO!
PARKER: MAY, DON'T DO IT! JULES: DROP YOUR WEAPON!
JULES: DROP YOUR WEAPON! DROP YOUR WEAPON NOW!
SPIKE: MAY! BACK AWAY! BACK AWAY RIGHT NOW!
PARKER: MAY, YOU PUT THAT WEAPON DOWN
OR WE WILL HAVE TO SHOOT YOU!
(TIME SLOWS, SOUNDS BECOME DISTORTED)
(SLOW PULSING HEARTBEAT, SLOW, MEASURED, DEEP BREATH)
(GUNSHOT POPS AND PINGS OFF CONCRETE)
BOSS?
JULES: DROP IT, MAY!
(GUNSHOT POPS AND PINGS, MISSING)
BOSS, SHE'S ACTIVE.
GREG, SHE'S GONNA KILL HIM.
(GASPS)
DROP IT!
SCORPIO.
(LOUD CRACK)
(MELANCHOLY CELLO MUSIC PLAYS)
¶¶¶
(MICHELLE SHRIEKS AND SOBS)
(MICHELLE SHRIEKS, GRIEF-STRICKEN)
OH MY GOD... OH MY GOD...
(JAMES SOBS)
(SOBBING) I JUST WANTED TO SEE HER...
(MICHELLE SHRIEKS, GRIEF-STRICKEN)
JAMES: NOOOO!
MICHELLE: OH MY GOD... OH MY GOD...
MY BABY!
JAMES: YOU SON OF A BITCH! YOU KILLED HER!
ED: WHO KILLED HER?! JAMES: YOU KILLED HER!
ED: YOU DID IT!
YOU DON'T CALL ME A KILLER, YOU SON OF A BITCH!
YOU DID THIS!
(SOBBING)
¶¶¶
KOWALSKI: SO IT WAS A COMPLEX SITUATION.
ED: IT WAS A COMPLEX SITUATION.
KOWALSKI: IN THE AUDIO LOG, IN THE LAST TWO MINUTES
BEFORE SCORPIO COMMAND,
THERE WERE NUMEROUS VOICES, RAISED VOICES,
SHOUTED INSTRUCTIONS.
THE IMPRESSION IT GIVES IS...
LOSS OF CONTROL.
(IN A LOW, MENACING VOICE) WE HAD COMPLETE CONTROL.
WHAT YOU HEARD WAS COMMUNICATION
BETWEEN MEMBERS OF MY TEAM.
THE RAISED VOICES WERE OUR INSTRUCTIONS
TO MAY DALTON, WE WERE...
TRYING TO AVOID THE USE OF LETHAL FORCE.
THERE WERE... TWO GUNSHOTS BEFORE SCORPIO CALL.
YES.
YOU ALLOWED HER TO FIRE BEFORE SCORPIO CALL.
SHE RAISED HER WEAPON,
HER GRIP WAS UNSTEADY-
YOU ALLOWED HER TO FIRE TWICE.
ISN'T THAT A BREACH OF PROTOCOL?
YOU HEARD THE AUDIO.
WE WERE TRYING TO GET HER TO STOP.
NOTED.
YOUR SERGEANT, GREG PARKER, STATES...
SHE WAS IN THE "TUNNEL."
SHE STEADIED HER RIGHT HAND WITH HER LEFT,
AND PREPARED TO FIRE A THIRD TIME.
SHE CROSSED THE LINE, I TOOK THE SHOT.
AFTER YOUR SERGEANT'S SCORPIO COMMAND?
AT THE SAME TIME.
AND ARE YOU CONVINCED THAT ALL OPTIONS WERE EXHAUSTED
BEFORE THE USE OF LETHAL FORCE?
(THREATENING TONE) WHAT DID I JUST SAY?
KOWALSKI: WELL, THANK YOU FOR YOUR TIME.
YOU KNOW THE PROCESS.
SPIKE: SHE WAS RIGHT BESIDE ME IN THE TRUCK,
HOW COULD I NOT HAVE KNOWN?
JULES: SPIKE, WHAT,
ARE WE SUPPOSED TO FRISK ALL OUR WITNESSES?
SAM: OKAY, MAY SAID SHE AND HER MOM NEVER FELT SAFE, RIGHT?
THAT THE COPS COULDN'T PROTECT THEM?
SPIKE: THAT HE COULD TRACK THEM DOWN ANYWHERE.
I REMEMBER THAT.
PARKER: "TOBIAS HAS DONE EVERYTHING SO THAT WE CAN FEEL SAFE."
COME ON, FROM THAT, WE'RE SUPPOSED TO KNOW
THAT TOBIAS PROCURED HER AN ILLEGAL GUN,
WHICH SHE KEPT WITH HER AT ALL TIMES, JUST IN CASE?
PARKER: SHE SHOULD NEVER HAVE BEEN ON THAT ROOF;
THAT WAS MY FAULT.
SPIKE: BOSS, DON'T GO THERE.
WE ALL SIGNED OFF ON IT.
SAM: IT WAS A JUDGMENT CALL.
SPIKE: SHE INSISTED - YOU ALL HEARD THAT, RIGHT?
SHE SAID, "LET ME GO UP THERE, LET ME TALK TO HIM."
PARKER: THAT'S IRRELEVANT; SHE WAS EMOTIONALLY INVOLVED.
THAT WASN'T HER CHOICE TO MAKE.
WE MADE THAT CHOICE.
SPIKE: SHE KNEW WHEN SHE SAID IT THAT SHE HAD A LOADED WEAPON.
I'M JUST SAYING.
SAM: ALL RIGHT, BEAN BAG ROUNDS. RAF AND SPIKE,
IF WE SENT YOU FROM HERE AND HERE, AND WE TIMED IT-
SAM, WE DON'T TAKE THAT RISK,
NOT WHEN THE SUBJECT HAS A WEAPON
INCHES FROM THE VICTIM!
SAM: I KNOW, BUT WHAT I'M SAYING IS WE MISSED AN OPPORTUNITY
WHEN HE WAS DISTRACTED BY MAY COMING TOWARDS-
JULES: I WAS THE ONE WHO LET HER RUN.
(EMOTIONS RISING) I HAD HER, HAND ON SHOULDER.
SHE WAS SAFE.
AND NEXT THING I KNOW
SHE'S RUNNING INTO THE LINE OF FIRE.
ED: ALL RIGHT, STOP! JUST STOP.
WE DID NOTHING WRONG. WE FOLLOWED PROTOCOL.
AN EIGHTEEN-YEAR-OLD GIRL'S DEAD
AND THERE'S NOTHING RIGHT ABOUT THAT.
SHE WAS A BRAVE GIRL.
SHE DESERVED TO LIVE,
AND IT IS A TRAGEDY THAT SHE'S GONE.
BUT SHE KNEW WHAT SHE WAS DOING;
SHE WAS ARMED.
SHE WAS AN ACTIVE SHOOTER,
AND WE HAVE A CODE, WE HAVE RULES,
SO THAT WHEN WE ARE UNDER PRESSURE
WE FUNCTION AS A TEAM AND WE KNOW WHAT TO DO.
THIS ONE TIME, WE COULD'VE MADE AN EXCEPTION.
WE COULD'VE TAKEN THE RISK.
WE COULD'VE SHOT TO WOUND.
JULES: RAF, THAT'S A SLIPPERY SLOPE.
RAF: OKAY, YOU KNOW WHAT? HOW 'BOUT I JUST DO US ALL A FAVOR
AND SAY WHAT WE'RE ALL THINKING.
WE COULD'VE JUST HELD FIRE AND...
LET HER KILL HIM.
(THE TEAM'S SILENT)
(DEADLY QUIET) NO, WE COULDN'T.
BECAUSE THAT'S NOT HOW IT WORKS.
WE ARE NOT JUDGES, WE ARE COPS.
WE'RE COPS AND WE ALL - ALL OF US -
HAVE TO BE ON THE SAME PAGE.
PARKER: OKAY, LET'S ALL SIT DOWN.
RAF: I GET IT, ALL RIGHT? I GET THAT'S THE JOB-
NO, NO, NO! WE DON'T GET TO WING IT.
WE DON'T GET TO CHOOSE WHICH RULES WE'RE GONNA FOLLOW;
THAT'S WHAT THE BAD GUYS DO.
WHAT WE DO... WE SERVE THE LAW.
NOW, ARE YOU GOOD WITH THAT?
RAF: ED, I RESPECT THAT THIS IS WHAT YOU'VE GOTTA BELIEVE
TO GET THROUGH THIS, AFTER WHAT YOU HAD TO DO.
OH MAN...
RAF: I'M JUST SAYING, IF THAT'S THE JOB...
(FIGHTING HIS EMOTIONS)
LOOK, I AM VERY SERIOUS ABOUT SERVING THE LAW,
AND THIS LAST YEAR HAS BEEN THE PROUDEST OF MY LIFE,
BUT...
I JUST DON'T THINK THIS IS THE BEST PLACE FOR ME
TO KEEP THE PEACE.
RAF, IT'S BEEN A LONG DAY.
RAF, WE'VE ALL HAD DAYS WHERE WE'VE QUESTIONED THE JOB-
RAF: I KNOW, I GET THAT, BOSS.
IT'S JUST, FOR ME, THIS...
THIS CAN'T HAPPEN AGAIN.
IT WON'T HAPPEN AGAIN.
WHY DON'T YOU SLEEP ON IT?
GIVE US A CHANCE TO TALK YOU OUT OF IT.
I APPRECIATE THAT, GUYS. IT'S UM...
IT'S JUST NOT A PLACE THAT I CAN GO.
¶¶¶
May: ¶ My heart has wings, love ¶
¶ Wings that carry me home ¶
¶ My heart, it sings, love ¶
¶ Your name is its song ¶ (MICHELLE SOBS)
¶ Should we be parted ¶
¶ By winter winds blowing cold ¶
(SOBBING)
¶ I'll give my hand, love ¶
CLARK: HEY, DAD. HOW WAS YOUR DAY?
DID YOU KEEP THE PEACE?
May: ¶ The waters be wide, love ¶
¶ Though they be mighty and fast ¶
¶ I will ford over ¶
¶ Held in your arms at last ¶ (SHAKY, EMOTIONAL SIGH)