ACT TWO
FADE IN:
INT. "THE BOX"/HOMICIDE UNIT - NIGHT
SHANNON sits opposite PEMBLETON and BOLANDER.
BOLANDER
Shannon, we'd like you tell us
exactly what you remember. Don't
leave anything out, no matter how
trivial may seem.
PULL BACK to REVEAL BAYLISS in Observation Room.
SHANNON
Jim is a good man. A good husband.
A good, a great father.
BOLANDER
No one's attacking his character.
PEMBLETON
We need to hear what happened.
SHANNON
I'm not sure that what I remember
is what happened...
PEMBLETON
Where were you when the doorbell
rang?
SHANNON
In the kitchen, cleaning up.
On SHANNON, nervous,
FLASH BACK TO:
INT. KITCHEN/JIM BAYLISS HOME - EARLY EVENING
SHANNON puts the last plate in the dishwasher, turns it on.
PEMBLETON (V.O.)
Where was your husband?
SHANNON (V.O.)
In the den. Working, I guess.
PEMBLETON (V.O.)
Where were your children?
SHANNON (V.O.)
I'd just put the baby down for the
night. I don't know where the
other two were. No, wait, maybe
they were with Jim...
PEMBLETON (V.O.)
It's not important. Go on.
The doorbell RINGS.
SHANNON (V.O.)
I heard the bell. It rang a couple
times. I figured Jim wasn't going
to get it, so I went.
She crosses out.
INT. LIVING ROOM/JIM BAYLISS HOME - EARLY EVENING
SHANNON goes to front door, opens it, revealing GERSEL.
SHANNON (V.O.)
This young man was standing there,
with white makeup on. At first, I
was startled, so I let out this
yelp. He was laughing and dancing
and singing some song. But in a
foreign language. I asked him what
he wanted and he kept talking in
this odd language. So, I said,
"Wait a moment, I'll get my
husband" and I shut the door.
SHANNON shuts door.
SHANNON (V.O.) (CONT.)
He started knocking on the door and
laughing and singing again.
She exits.
INT. HALLWAY/JIM BAYLISS HOME - EARLY EVENING
SHANNON crosses to Den.
BOLANDER (V.O.)
Did he seem to be on drugs?
SHANNON (V.O.)
Yes. Maybe.
JIM comes out of Den as she approaches.
SHANNON (V.O.) (CONT.)
I told Jim what was going on. We
went back to the living room.
BOLANDER (V.O.)
You went back to the front door
with him?
JIM and SHANNON exit.
INT. LIVING ROOM/JIM BAYLISS HOME - EARLY EVENING
JIM and SHANNON enter.
SHANNON (V.O.)
Yes. Well, he went to the front
door. I stayed back aways.
She stands in archway between Hall and Living Room. JIM
opens door.
SHANNON (V.O.) (CONT.)
Jim tried to figure out what the
young man wanted. But he was being
so silly and loud and aggressive,
that Jim finally lost his patience.
With both hands, JIM shoves GERSEL, who falls backwards onto
sidewalk. JIM SLAMS door.
SHANNON (V.O.) (CONT.)
But the young man wouldn't go away.
He kept knocking and knocking,
yelling and singing. That's when I
went back to check on the kids. I
suddenly got very worried about
them. We've been having some
problems in our area.
INT. HALLWAY/JIM BAYLISS HOME - EARLY EVENING
SHANNON walks toward Den.
SHANNON (V.O.)
I was walking down the hall and --
this is inane, but -- the
floorboards squeaked.
I remember thinking about how the
floor was squeaking, when all of a
sudden I heard --
ECU of SHANNON's face. On the SOUND of the gun BLAST,
FLASH FORWARD
TO:
INT. "THE BOX"/HOMICIDE UNIT - NIGHT
ECU of SHANNON's face.
SHANNON
I'll never forget that sound. It
echoed through our house. It shook
the house, like an earthquake...
PEMBLETON
From what you're saying, the
situation at the door was tense but
explosive. How did things escalate
so fast?
SHANNON
Jim can get very frustrated by
people who don't speak English
well. He always says that the taxi
cab drivers in Baltimore only know
their way around Beirut.
PEMBLETON rubs his hand across his bald head.
BOLANDER
Well, uh, thank you.
SHANNON
I'm done?
BOLANDER
You're done. I'll have an officer
drive you home.
SHANNON
If you don't mind, I'd rather wait
for my husband.
BOLANDER turns from SHANNON to PEMBLETON, then back to
SHANNON. BOLANDER smiles his friendliest smile.
BOLANDER
No problem.
SHANNON rises.
INT. OBSERVATION ROOM/HOMICIDE UNIT - NIGHT
BAYLISS watches SHANNON and BOLANDER exit. KAY HOWARD
enters, carrying a cup of coffee. BAYLISS turns to face her.
HOWARD offers cup.
HOWARD
Thought you could use this.
BAYLISS
Thanks.
(sips)
It's black.
HOWARD
I wasn't sure how you take it.
BAYLISS
Usually with a little cream.
HOWARD
Oh. Sorry. You want me to get you
some cream?
BAYLISS
No.
BAYLISS turns, looks back into "The Box". Howard exits.
INT. "THE BOX"/HOMICIDE UNIT - NIGHT
PEMBLETON and BOLANDER sit opposite SCHOLTZ, still wearing
whiteface and leather jacket.
BOLANDER
You were friends with Hikmet and
Gersel.
SCHOLTZ
Yes, he goes to my high school...
He came in this past September.
PULL BACK to REVEAL BAYLISS in Observation Room.
PEMBLETON
You two were going to a party
tonight?
SCHOLTZ
A Kiss party.
BOLANDER
What is that? A make-out party?
SCHOLTZ
Kiss, the rock group? This is the
way they used to dress. A bunch of
us are hardcore Kiss fans. Hikmet
thought Gene Simmons was the
coolest. One of the girls in our
school decided to have a costume
party... Do you think I could get a
towel? The makeup is starting to
cake. I'd like to take it off.
BOLANDER rises, calls out door.
BOLANDER
Can we get a towel, please?
BOLANDER closes door, sits.
PEMBLETON
So you're going to this party...
SCHOLTZ
We got lost. We thought we were on
Hickory Lane, not Hickory Avenue.
On SCHOLTZ, remembering,
FLASH BACK TO:
EXT. HICKORY AVENUE/ROLAND PARK - EARLY EVENING
Pick-up truck drives along.
SCHOLTZ (V.O.)
Hikmet was really excited about
going to the party.
The pick-up stops in middle of street.
INT. PICK-UP TRUCK/HICKORY AVENUE - EARLY EVENING
GERSEL and SCHOLTZ sit side-by-side. GERSEL points to
house.
SCHOLTZ (V.O.)
We were so happy when we finally
found the place. Hikmet couldn't
wait, he jumped out of the truck.
GERSEL leaps out. SCHOLTZ laughs.
EXT. HICKORY AVENUE/ROLAND PARK - EARLY EVENING
GERSEL runs up to the house.
SCHOLTZ (V.O.)
I drove around the corner to park.
Pick-up pulls away.
INT. PICK-UP TRUCK/HICKORY AVENUE - EARLY EVENING
SCHOLTZ drives with one hand, pulls out bottle of Jack
Daniels.
SCHOLTZ (V.O.)
I... Hikmet and I had both been
drinking. A lot.
SCHOLTZ parks.
EXT. HICKORY AVENUE/ROLAND PARK - EARLY EVENING
SCHOLTZ exits pick-up, crosses to bushes.
SCHOLTZ (V.O.)
And I suddenly got sick.
On SCHOLTZ, leaning over, puking,
TIME CUT TO:
EXT. JIM BAYLISS HOME/HICKORY AVENUE - EARLY EVENING
SCHOLTZ walks across street.
SCHOLTZ (V.O.)
I was crossing the street when I
saw Hikmet standing at the front
door of the house. And a guy in
the doorway was holding a gun.
They were both yelling loud. The
guy aimed the gun at Hikmet's
chest, Hikmet put his hand's up.
Then the guy --
ECU of SCHOLTZ's face. On the SOUND of the gun BLAST,
CUT TO:
INT. "THE BOX"/HOMICIDE UNIT - NIGHT
ECU of SCHOLTZ, who wipes his face with towel.
PEMBLETON
Hikmet had his hands up?
SCHOLTZ
Yes, sir.
PEMBLETON turns to BOLANDER. SCHOLTZ finished wiping off the
makeup. Underneath is a sweet-faced teenager.
SCHOLTZ (CONT.)
I think I'd better call my mom.
BOLANDER nods.
INT. GIARDELLO'S OFFICE/HOMICIDE UNIT - NIGHT
GIARDELLO sits, as BAYLISS and PEMBLETON face off.
PEMBLETON
He held up his hands.
BAYLISS
Says who? That little freak? He
was across the street, in the dark.
And drunk. You gonna believe his
word over my cousin?
PEMBLETON
The law says a homeowner is
justified in using lethal force if
he perceives a threat to his life
or the lives of his family. If
Hikmet Gersel had his hands up,
then we've got a whole lot more
going on here than justifiable
homicide.
BAYLISS
What're you saying, Frank, that my
cousin murdered the kid?
PEMBLETON
I'm saying I got three different
versions of the same story. I can
understand Scholtz's version being
different from Jim's, but not his
own wife's.
BAYLISS
Shannon's a great girl, but she's a
little flaky.
PEMBLETON
(to GIARDELLO)
I want another crack at Jim.
BAYLISS
C'mon, Gee, it's nearly midnight.
Let me take him home. Let him get
some rest. Whatever else you need,
you get in the morning.
PEMBLETON
You let him walk out now, we lose
whatever chance we have of finding
the truth.
BAYLISS
We already know the truth.
GIARDELLO
(rises)
Go ahead with the interview, Frank.
PEMBLETON exits. BAYLISS rages.
BAYLISS
I know what this is about. You and
he have always had this father-son
thing going. You have always
favored him over me.
GIARDELLO
What're you talking about?
BAYLISS
You know exactly what I'm talking
about.
GIARDELLO
What? You mean because you're
white?
BAYLISS
Bingo.
GIARDELLO
That's not true.
BAYLISS
It is true, whether you want to
admit it to yourself or not.
GIARDELLO
Listen to me: When the sun comes
up on this shooting, I'm going to
have -- not just the bosses and the
media on my ass -- but the boys in
Washington, the Turkish Embassy.
We have the potential here for an
international incident.
BAYLISS
Oh, I see, this is all about saving
your ass --
GIARDELLO
Careful, Bayliss --
BAYLISS
Eat me, Gee.
GIARDELLO
I'm gonna let that pass, Bayliss.
Now get out.
BAYLISS turns and goes.
INT. "THE BOX"/HOMICIDE UNIT - NIGHT
PEMBLETON and BOLANDER stand watching as JIM enters, cuffed,
escorted by UNIFORM.
BOLANDER
Take those handcuffs off.
UNIFORM obliges.
BOLANDER (CONT.)
Everybody been treating you okay?
JIM
Yes.
BOLANDER
You want something to eat or drink?
You hungry?
JIM
No, thanks. I never eat this late.
BOLANDER
That's probably wise. For me,
about this time of night, all I
want is a bag of Utz.
UNIFORM exits. BOLANDER sits.
BOLANDER (CONT.)
Have a seat.
JIM sits.
JIM
You've got more questions?
BOLANDER
I don't. Frank does.
PEMBLETON
Well, y'know how it is, you think
you've asked every possible
question, then suddenly you go,
"What an idiot I am. I forgot
about this or that"...
JIM
Like what?
PEMBLETON
Hikmet Gersel, that's the name of
the boy you shot. Since last fall,
he's been an exchange student at
Polytech High School. That' not
far from your house. You ever see
him before?
JIM
No.
PEMBLETON
At the supermarket? The mall?
JIM
No.
PEMBLETON
Okay, good.
BOLANDER
You said that when Hikmet came to
your door you were afraid he might
be a burglar.
JIM
That's right.
PEMBLETON
In your experience, do burglars
usually come and ring the front
doorbell?
JIM
These days, who knows? Just when I
think I've heard about the most
twisted perverted crime possible,
the morning paper delivers a more
twisted, more perverted one on my
doorstep. My law firm has dockets
full of crimes that make no sense.
PEMBLETON
You told us that you said to
Hikmet, "Get away fro here," then
"Get away from my house," and
finally, "Get away."
JIM
Uh-huh.
PEMBLETON
Were those the only words you said
to him?
JIM
No, I'm sure I said a lot more,
like, "What do you want?"
BOLANDER
When you brought out the gun did
you say anything?
JIM
Yes, I think I said, "Back off or
I'll shoot," something like that.
BOLANDER
Did Hikmet respond?
JIM
He was muttering away, I couldn't
understand him.
PEMBLETON
Did you know he was speaking a
foreign language.
JIM
For all I know he was on PCP. He
was talking in a singsong kid of
way. Real crazy.
PEMBLETON
You had no idea he was speaking in
a foreign language?
JIM
He said some words in English that
didn't make sense.
BOLANDER
Like what?
JIM
Something like, "That's the kind of
sugar Pappa likes."
BOLANDER
When you pointed the gun at him,
did he do anything?
JIM
He laughed this bizarre laugh, then
he tried to grab it. I told you
that already.
PEMBLETON
He laughed because he thought you
were joking?
JIM
I don't know what he was thinking,
you'd have to ask him.
PEMBLETON
Unfortunately, I can't...
JIM
What the hell is that supposed to
mean? Look, I've been straight
with you guy since the start. If
you're accusing me of something,
come out and say it. Quit the
games.
PEMBLETON
We're not here to judge you, Jim,
we're simply trying to get the
clearest possible picture of what
went on.
We don't decide right or wrong.
Only you know whether or not you
did something wrong. If there's
anything you're holding back,
anything you'd like to get off your
chest --
SOUND of BANGING, coming from the other side of the mirror.
INT. OBSERVATION ROOM/HOMICIDE UNIT - NIGHT
BAYLISS stands, BANGING on glass. PEMBLETON turns, stares
into the Observation Room. BAYLISS stops.
INT. "THE BOX"/HOMICIDE UNIT - NIGHT
PEMBLETON turns back to JIM and BOLANDER.
BOLANDER
Can you do me a favor? Can you
show me how he reached for the gun?
Stand up and show me.
JIM
I...
BOLANDER
(stands)
C'mon, please. I'll be you. You
be the kid.
JIM stands.
BOLANDER (CONT.)
Okay.
(mimes gun)
I've got the gun. What does he do?
Act it out.
JIM raises one arm to reach for the imaginary gun.
JIM
Like that. But quicker.
BOLANDER
I see. Okay. Let me do it. You
be you.
JIM mimes the gun. BOLANDER reaches for it, holds both arms
up as if to surrender, then grabs gun.
BOLANDER (CONT.)
Like that?
JIM
This arm was lower. Like this.
He brings both of BOLANDER's arms up, but keeps one lower.
BOLANDER
Thanks. I see now, yeah. Please,
sit down.
Beat. PEMBLETON opens a file.
PEMBLETON
Your youngest brother, Kurt, was in
Kuwait, right? During the Persian
Gulf war?
JIM
Yes.
PEMBLETON
He got shot, he died.
JIM
Yes.
PEMBLETON
How did that make you feel?
JIM
You are a bright guy, Detective,
how do you think it made me feel?
More BANGING on mirror from BAYLISS, then silence.
PEMBLETON
You said earlier that you'd never
had cuffs on before tonight. Yet I
found a prior -- aggravated
assault.
JIM
I wasn't arrested per se. Teege
took into the Police Station
PEMBLETON
What had happened?
JIM
I was drinking in those days. We
were in a bar. Some punk said
something I didn't appreciate, I
let him have it.
PEMBLETON
This punk was named Parviz Nejhat.
He was Iranian.
Another BANG.
JIM
What's your point?
PEMBLETON
My point, Jim, is why -- after you
closed the door in Gersel's face --
why didn't you just call the cops?
Why was your first impulse to get
the gun? Why was your only impulse
to shoot the boy?
JIM reacts. A SERIES of BANGS -- harder and harder.
Suddenly, the mirror EXPLODES, shattering all over the floor.
BAYLISS stands on the other side. On PEMBLETON, facing
BAYLISS,
FADE OUT.