Barney Miller (1975–1982): Season 7, Episode 7 - Resignation - full transcript

- HARRIS.
- HM?

COULD...

COULD I BUM YOUR SPORTS PAGE?

WALL STREET JOURNAL.

IT DOESN'T HAVE A SPORTS PAGE.

OH.

SO HOW'D GOLD DOING?

IT'S UP.

I READ THE OTHER DAY,
THOSE KRUGERRANDS...

THEY'RE COMING OUT
WITH NEW DENOMINATIONS

AND SIZES



SO THAT GUYS LIKE
ME CAN AFFORD THEM.

THERE GOES THE NEIGHBORHOOD.

RON, DO YOU NOTICE THAT
WE DON'T TALK ANYMORE?

WE DON'T?

NO. I MEAN AS FAR AS
GOLD OR YOUR BOOK

OR A CASE WE'RE WORKING ON.

YEAH, BUT AS FAR AS...

PERSONAL COMMUNICATION.

I THINK WE'VE SORT
OF DRIFTED APART.

WERE WE CLOSE?

WELL, I THOUGHT SO... SORT OF.

OH.

HEY, LOOK, MAN, WHAT CAN I SAY?

UM... YOU KNOW, A
COUPLE OF GUYS...



FRIENDS, YOU KNOW, THEY WORKED
TOGETHER FOR A LOT OF YEARS,

AND THING HAPPEN.

THEIR PRIORITIES SHIFT.

THEY DEVELOP NEW
AREAS OF INTEREST.

THEN ONE DAY THEY'RE JUST
NOT THE SAME PEOPLE ANYMORE,

STRANGERS SUDDENLY
WITH NOTHING IN COMMON.

NOBODY REALLY
PLANS ON IT THAT WAY.

IT JUST HAPPENS.

HOW WAS THAT?

NOT BAD.

GENTLEMEN.

- HEY, BARN.
- HEY.

ANYTHING HAPPENING?

YEAH, DIETRICH TOOK LEVITT
OUT ON A ROBBERY CALL.

UH, CAN I TAKE A LOOK
AT THE SPORTS SECTION?

I HAVEN'T SEEN IT MYSELF YET.

I THINK IT'S YOU.

WHO'S THAT?

THAT'S IRA RUSSO.

HE'S WANTED IN ARIZONA...
GRAND THEFT AND CHECK FRAUD.

TURNED HIMSELF IN THIS MORNING.

I WAS TIRED OF
RUNNING AND HIDING.

I JUST WANT TO GO BACK
AND MAKE THINGS RIGHT.

WELL, WE'RE GLAD
WE CAN BE OF HELP.

I CALLED ARIZONA, BUT
THERE'S NO ONE THERE.

I'M GONNA CALL LATER.

BARNEY, GOT A DISTURBANCE...

THE ODYSSEY PLAYHOUSE
OVER ON BLEECKER.

YOU AND WOJO.

I'LL GET IT.

12th PRECINCT. CAPTAIN
MILLER SPEAKING.

UH, IRA, I'LL TAKE CARE OF
YOU AS SOON AS I GET BACK.

I'LL WAIT RIGHT HERE.

IS HE DEAD?

ALL RIGHT, WELL,
YOU KEEP ME POSTED.

RIGHT, YEAH, OKAY.

YEAH, THANK YOU.

IT WAS LEVITT.

SOME KID TRIED TO
HOLD UP A LIQUOR STORE.

DIETRICH HAD TO SHOOT HIM.

WELL, THAT GIVES US
SOMETHING TO TALK ABOUT.

OKAY, LEVITT, AS SOON AS HE GETS
OUT OF SURGERY, YOU CAN BOOK HIM.

YEAH, RIGHT. WHERE'S...
WHERE'S DIETRICH?

WELL, WHEN HE'S
FINISHED CONSULTING

WITH THE OTHER DOCTORS,

WHY DON'T YOU TWO
HEAD ON BACK HERE?

NO, I WOULDN'T CARE FOR
SOMETHING FROM THE GIFT SHOP.

BUT THANK YOU ANYWAY.

THE BIG GUY... I GUESS
HE'S STILL OUT, HUH?

OH, UH, YEAH.

I JUST WANT TO GET
THIS THING OVER WITH.

I MEAN, WHAT I DID
WAS SO HORRIBLE.

THE GUILT, THE SHAME, MAN...

THEY'RE EATING AWAY AT ME
TILL I CAN'T EVEN SLEEP ANYMORE.

EXACTLY WHAT IS IT
YOU DID, MR. RUSSO?

WELL, I STOLE $1,300.

WELL, THAT'S NOT
EXACTLY COMMENDABLE,

BUT, UH, THERE HAVE
BEEN WORSE CRIMES.

I TOOK IT FROM NUNS.

AH.

SEE, THEY RAN THIS ORPHANAGE
IN THE DESERT FOR INDIAN KIDS,

AND THEY HIRED ME.

THEY TRUSTED MEN, AND, WELL,
TWO DAYS BEFORE CHRISTMAS,

I TOOK THEIR BANK ACCOUNTS
AND STOLE THEIR BUS.

I SPENT THE MONEY ON
LIQUOR AND PROSTITUTES.

EXCUSE ME.

EVERYONE SAYS THAT.

ALL RIGHT, COME ON,
COME ON. IT'S CURTAIN TIME.

I HAD TO DO SOMETHING.
HE WAS MUTILATING MY CHILD.

I WAS TRYING TO SAVE IT,

TO GIVE IT SOME
DEPTH, SOME TEXTURE.

THAT'S WHAT I OUGHT
TO DO TO YOUR FACE!

WHAT DO WE GOT HERE?

IT'S A MUTUAL ASSAULT, BARN.

THIS IS JORDAN HEATH.

HE'S AN ACTOR.

ALLEGEDLY.

YEAH, AND THIS IS
MR. EDWARD NOVAK.

HE'S A WRITER.

HE'S A HACK!

WHOA!

OKAY, WHAT HAPPENED?

WELL, ACCORDING TO ACCOUNTS
FROM THE AUDIENCE AT RINGSIDE,

A PERFORMANCE
OF MR. NOVAK'S PLAY

IN WHICH MR. HEATH HAS A
LEADING ROLE WAS IN PROGRESS

WHEN MR. NOVAK
BOUNDED ON THE STAGE

AND BEGAN TO CHOKE MR. HEATH.

HE WASN'T SAYING THE WORDS.

I WASN'T MOTIVATED.

THE LINE WAS "IS
THAT THE PHONE?"

NOW, IS THAT SO HARD TO
SAY? "IS THAT THE PHONE?"

IN THE CONTEXT OF THE
MOMENT, THE PHONE WASN'T REAL.

IT WAS RINGING.

REGARDLESS, THE
PHONE WAS REAL ENOUGH

THAT MR. HEATH TRIED
TO SHOVE THE RECEIVER

DOWN MR. NOVAK'S THROAT.

IT GOT A LAUGH.

ANYWAY...

ANYWAY, WHILE THEY'RE STILL
ROLLING AROUND ON THE STAGE,

WOJO AND I MADE OUR ENTRANCE.

YEAH, WE GOT A
BIG HAND, TOO, BARN.

HARRIS.

YEAH. MR. HEATH, YOU WANT TO
TAKE A SEAT OVER THERE, PLEASE?

WE'RE GONNA HAVE TO BOOK YOU.

THAT'S ALL RIGHT
WITH ME, SERGEANT.

I CAN USE THIS.

MR. RUSSO, YOU WANT TO
HAVE A SEAT BACK HERE?

DID YOU CALL ANYONE YET?

NO, I'M GONNA HAVE
TO BOOK THIS GUY FIRST.

SURE, I UNDERSTAND.

HAVE A SEAT OVER HERE.

NOBODY REALIZES
WHAT WE GO THROUGH.

DO YOU HAVE ANY
IDEA HOW HARD IT IS

JUGGLING DIFFERENT
THOUGHTS, DIFFERENT ATTITUDES,

TRYING TO SPREAD
AROUND ENOUGH DIALOGUE

TO KEEP A CAST FULL
OF PRIMA DONNAS HAPPY?

I REALLY WOULDN'T KNOW.

SURE.

WHAT'S IT TO YOU?

- BARNEY.
- WE'RE BACK.

- HI, DIETRICH.
- HOW YOU DOING?

- DIETRICH.
- BARNEY.

HOW'S, UH...

THE KID? HE SHOULD BE ALL RIGHT.

WHAT HAPPENED?

WE PULLED UP TO THE LIQUOR STORE

JUST AS THE KID WAS RUNNING OUT.

SO I JUMP OUT OF THE
CAR, I YELL "FREEZE."

THE KID STARTS SHOOTING
AT US, SO I SHOT HIM.

PUT A BULLET IN HIS CHEEK...

UPPER LEFT QUADRANT.

YOU SHOULD SEE
HIS WALLET, SIR...

GALE STORM RIGHT
BETWEEN THE EYES.

HOW ABOUT YOURSELF?

I'M ALL RIGHT.

LOOK, UH, YOU WANT TO TAKE
THE REST OF THE DAY OFF?

WHAT FOR?

UNWIND... REGROUP.

LOOK, I DID WHAT A
COP HAS TO DO, RIGHT?

RIGHT.

I GOT TO TYPE SOME THINGS UP.

SIR?

I, UH, I COULD REMAIN UP
HERE FOR THE REST OF THE DAY,

GIVE SERGEANT DIETRICH A
CHANCE TO REORIENT HIMSELF.

I DON'T THINK THAT'LL
BE NECESSARY.

HE SEEMS TO BE
HANDLING IT PRETTY WELL.

I KNOW, SIR, BUT SOMETIMES
IN THESE SITUATIONS,

THERE'S A DELAYED
PSYCHOLOGICAL REACTION.

I'LL, UH, KEEP AN EYE ON HIM.

I'LL BE AVAILABLE
IN CASE HE CRACKS.

UH, HE TOLD ME TO SIT HERE.

SIT OVER THERE.

NO PROBLEM.

YOU KNOW...

THIS PLAY IS MY FIRST
REALLY SUCCESSFUL EFFORT.

WE'VE BEEN RUNNING
ALMOST THREE MONTHS.

THERE'S TALK OF
TAKING IT UPTOWN.

WE'RE EVEN THINKING
OF HAVING T-SHIRTS MADE.

GREAT.

IF ONLY THERE WAS A WAY OF
DOING IT WITHOUT THE ACTORS.

YOU COULD JUST, UH,

GET UP THERE ON THE STAGE
BY YOURSELF AND READ IT.

I NEVER THOUGHT OF THAT.

WORDS.

PARDON ME?

THAT'S ALL WRITERS
EVER CARE ABOUT...

THEIR WORDS, THEIR
IMPRESSIONS, THEIR THOUGHTS.

ACTORS HAVE THOUGHTS,
TOO, YOU KNOW.

AND IS THIS ONE OF THEM?

YES.

OHHH.

YOU SEE, THE WRITTEN
WORD IS MERELY A FOUNDATION

UPON WHICH WE ACTORS BUILD.

THE ESSENCE OF THE
THEATER IS THE ACTOR,

AND THE ESSENCE OF
ACTING IS INTERPRETATION...

BREATHING LIFE
INTO STAGNANT IDEAS,

MOLDING THEM, CARESSING THEM
UNTIL THEY FIT EACH CHARACTER

LIKE A FINELY TAILORED SUIT.

AND IF THE PLAY HAPPENS
TO BE RUINED IN THE PROCESS?

HEY, I DIDN'T WRITE IT.

HEY, ARTHUR, DID YOU, UH,

CATCH ANY OF OLIVIER'S
ACT OVER THERE?

"HAVE PATIENCE
WITH THE JEALOUSIES

"AND PETULANCES OF ACTORS,

FOR THEIR HOUR
IS THEIR ETERNITY."

RICHARD GARNETT.

GOOD QUOTE, ARTHUR.

IT'S ONE FOR THE ROAD.

CAPTAIN.

HMM?

HERE YOU GO.

WHAT'S THIS?

JUST A LETTER OF RESIGNATION.

WHAT?

I'M RESIGNING.

I DIDN'T HAVE TIME TO MAKE
COPIES FOR EVERYBODY.

SHOULD I GO DOWNSTAIRS
AND CHANGE NOW, SIR?

"THUS, FOR THE COMMON GOOD OF
BOTH MYSELF AND THE DEPARTMENT,

"I HEREBY TENDER MY
RESIGNATION AS OF THIS DATE,

PENDING OFFICIAL
APPROVAL OF MY REQUEST."

SIGNED ARTHUR
DIETRICH, SERGEANT NYPD.

YOU THINK HE MEANS IT, BARN?

I DON'T KNOW. I DON'T
KNOW WHAT TO THINK.

OH, COME ON.

I MEAN, YOU KNOW
HOW DIETRICH IS,

YOU KNOW, ALWAYS KEEPING
EVERYTHING ALL PENT UP INSIDE.

I MEAN, THIS LETTER
IS NOTHING MORE

THAN HIS WAY OF LETTING
OFF A LITTLE STEAM.

WELL, THAT'S STUPID.

AND YOU WONDER
WHY WE DON'T TALK.

ANY QUESTIONS?

YEAH.

HOW COME YOU'RE QUITTING?

IT'S SIMPLE... I JUST DON'T
FEEL I HAVE THE RIGHT

TO TAKE THE LIFE OF
ANOTHER HUMAN BEING.

YOU DIDN'T.

I WAS LUCKY.

COME ON. WHAT ARE YOU
GONNA DO, LET HIM SHOOT YOU?

CONSIDERED IT.

THIS IS AN ABSOLUTELY
NORMAL REACTION

TO A SITUATION LIKE THIS.

YOU KNOW THAT.

BY TOMORROW, YOU'LL...

WHAT, FEEL LIKE BLOWING
SOMEBODY ELSE AWAY?

LISTEN, I'VE THOUGHT
THIS OUT VERY CAREFULLY.

I'VE JUST DECIDED

THAT MY PERSONAL
INTEGRITY AND MORAL CODE

IS WORTH A HELL OF A
LOT MORE THAN ANY BADGE.

SO, YOU FINISHED
READING THE COMPLAINT?

OH, YES, SERGEANT. I WAS
JUST MAKING A FEW CHANGES.

OH?

IT JUST NEEDS A LITTLE
PUNCHING UP, YOU KNOW?

GIVE ME THAT!

HMM?

I FINISHED PROCESSING
NOVAK, AND I REACHED ARIZONA.

SHERIFF'S DEPARTMENT'S
GONNA GET IN TOUCH WITH ME

ABOUT THE EXTRADITION.

HEY... DID YOU, UH, TALK
WITH DIETRICH ANY MORE?

NO.

I-I-I DON'T GET WHY HE'S
BEING SO HARD ON HIMSELF.

IT'S THE WAY HE
FEELS AT THIS MOMENT.

EXCEPT IT DOESN'T
MAKE ANY SENSE.

WELL, THE MAN OBVIOUSLY
HAS CERTAIN CONVICTIONS

ABOUT THE SANCTITY
OF HUMAN LIFE,

CERTAIN ETHICAL
PRINCIPLES THAT HE FEELS

ARE IN CONFLICT WITH HIS
ROLE AS A POLICE OFFICER.

YEAH, BUT THEN WHAT
HE'S REALLY SAYING

IS THAT THE ONLY GUYS THAT
CAN BE COPS ARE THE GUYS

WHO ARE UNPRINCIPLED,
TRIGGER-HAPPY SLOBS.

LIKE US.

CAN I HELP YOU?

YEAH, DO SOMETHING WITH THESE.

I'M IN A HURRY.

PRODUCER.

IF YOU WANTED TO KILL ME,

WHY DIDN'T YOU JUST STICK
A KNIFE IN MY HEART, HMM?

HELLO, LEONARD.

"HELLO, LEONARD."

AH!

AN HOUR AGO, I WAS SITTING HOME

SIPPING A MARTINI... HAPPY MAN.

HMM?

I GOT MY HEALTH.

I GOT A HIT PLAY RUNNING.

MY WIFE FOUND OUT ABOUT
VICKY AND DOESN'T MIND.

I'M THINKING, "LIFE IS GOOD."

THEN... THE PHONE RINGS.

THEY TELL ME, "LEONARD,

"YOUR AUTHOR WAS JUST TRYING
TO KILL ONE OF YOUR ACTORS,

AND THE PEOPLE ARE
DEMANDING THEIR MONEY BACK."

AND I GOT 20 CASES OF ORANGEADE

I GOT TO FLUSH DOWN
THE SEWER AT 1.75 A CUP!

SO TELL HIM TO LEAVE
MY WORDS ALONE.

I NEVER WENT NEAR THEM.

Shh, shh, shh, shh!

IS THIS THE WAY PROFESSIONAL
THEATER PEOPLE BEHAVE?

OHH... OF COURSE NOT.

IF YOU HAVE A DISAGREEMENT,

YOU DON'T ATTACK ONE
ANOTHER DURING A PERFORMANCE.

YOU WAIT TILL LATER AND
DO IT IN A RESTAURANT.

MY CONTRACT GUARANTEES
ME CREATIVE CONTROL.

AND I HAVE AN ARTISTIC
OBLIGATION TO...

B-B-BOTH OF YOU!

I HAVE HAD IT UP TO HERE

WITH THIS ARTISTIC,
CREATIVE-CONTROL GARBAGE!

WE ARE DOING A
PLAY, NOT "HAMLET"!

YEAH, OKAY.

I'LL BE HERE.

BYE.

SO, WHEN AM I LEAVING?

HE'S GOT TO TALK TO THE D.A.

HEY, I WOULDN'T MAKE THIS UP.

WELL, WE KNOW THAT.

BUT, UH, THESE
THINGS JUST TAKE TIME.

I WAS HOPING TO
BE IN JAIL BY FRIDAY.

WE'RE DOING THE BEST WE CAN.

HEY, WOJ.

HEY, WHAT?

THIS IS, UH...

THIS IS THE FILE ON THOSE
BURGLARS WE WERE WORKING ON.

YOU CATCH THEM.

WELL, I'LL LET YOU
KNOW WHAT HAPPENS.

ALL RIGHT.

ARTHUR, THERE'S SOMETHING I
WANT TO... SAY BEFORE YOU GO.

YOU'RE NOT GONNA TRY AND
TALK ME OUT OF IT, ARE YOU?

NO. NO, I THINK YOU SHOULD QUIT.

YEAH?

YEAH, 'CAUSE I THINK THAT, UH...

WELL, I THINK A PERSON
WITH YOUR HIGH MORAL CODE

SHOULDN'T HAVE TO
ASSOCIATE WITH PEOPLE

THAT ARE ON OUR LOW LEVEL.

I SAID THAT?

WELL, I MEAN, IT'S
LIKE YOU'RE SAYING

THAT WE MUST BE MORALLY
DEFICIENT OR SOMETHING.

HEY, WOJO, TAKE IT EASY.

ALL HE...

ALL HE SAID WAS THAT
HE COULDN'T KEEP THIS JOB

AND MAINTAIN HIS
INTEGRITY AT THE SAME TIME.

WHAT MAKES YOU SO DAMN SPECIAL?

SIR, HARRIS AND WOJO ARE
GANGING UP ON SERGEANT DIETRICH.

HUH?

I THOUGHT YOU MIGHT WANT TO
GET IN A FEW SHOTS OF YOUR OWN.

SOMEBODY'S GOT TO
TAKE THE RESPONSIBILITY.

OR MAYBE YOU DON'T THINK SO.

GENTLEMEN.

IS THIS MY PARTY?

WHAT'S GOING ON?

WE'RE JUST TALKING TO HIM.

ABOUT WHAT?

ABOUT WHAT WE WERE
TALKING ABOUT IN THE OFFICE.

LOOK, THE MAN HAS
MADE HIS DECISION.

WE SHOULD RESPECT THAT...

REGARDLESS OF HOW
IT REFLECTS ON US.

I APPRECIATE THAT.

HOWEVER, I'M SURE
YOU CAN UNDERSTAND

THAT THOSE OF US
WHO REMAIN BEHIND

MIGHT TAKE A CERTAIN OFFENSE

AT THE IMPLICATION OF SOME
OF THE THINGS YOU'VE SAID.

SURE, I CAN UNDERSTAND IT.

MAYBE BECAUSE IT'S TRUE.

MAYBE I DO HAVE
DIFFERENT VALUES.

MAYBE I JUST HAPPEN TO HAVE

A STRONGER
PHILOSOPHICAL FOUNDATION

THAN THE REST OF YOU.

WELL, IS THAT MY FAULT?

SO WHY DID YOU BECOME
A COP IN THE FIRST PLACE?

I STOOD IN THE WRONG LINE.

YOU KNOW, IT OCCURS TO ME

YOU STOOD IN A LOT OF
WRONG LINES IN YOUR LIFE.

WHAT DO YOU MEAN?

WEREN'T YOU A MEDICAL STUDENT?

YEAH.

WHAT HAPPENED?

I QUIT.

OH, YEAH, AND HOW LONG DID
YOU, UH, STAY IN LAW SCHOOL?

COUPLE OF WEEKS.

TEACHER.

ACTOR.

YOU LEFT OUT BEEKEEPER
AND LUMBERJACK.

THAT WAS MY WILDERNESS PERIOD.

SEEMS TO ME YOU'VE HAD
A CONTINUING DIFFICULTY

COMMITTING TO ANYTHING.

YEAH. SO?

SO MAYBE THE HIGH MORAL
CODE AND THE INTEGRITY

ARE REALLY JUST AN
INTELLECTUAL SMOKE SCREEN

TO RATIONALIZE AWAY THE FACT
THAT YOU'RE QUITTING AGAIN.

WHEN DID YOU GET SO SMART?

LOOK, DIETRICH, YOU
WALK OUT OF HERE TODAY,

YOU AND YOUR PRINCIPLES

ARE GONNA BE RIGHT
BACK WHERE YOU STARTED...

ALL DRESSED UP
AND NO PLACE TO GO.

YOU KNOW, I DON'T HAVE TO
SIT HERE AND LISTEN TO ALL THIS.

THEN AGAIN, I HAVE NO
GOOD REASON TO GET UP.

LOOK, MAYBE EVERYTHING
YOU GUYS SAID IS RIGHT, OKAY?

BUT I STILL HAVE TO HOLD
ON TO MY PRINCIPLES.

AND MAYBE I STILL HAVE
TO HOLD ON TO THIS JOB.

SO WHAT ARE YOU GONNA DO?

WELL, I'M EITHER
GONNA GO OR STAY.

GREAT.

WELL, WELCOME BACK, IF YOU ARE.

THANKS FOR NOTHING!

PERFORMANCE OF
"DETECTIVE STORY" OVER NOW?

YOU GONNA DO SOMETHING
ABOUT THESE OR WHAT?

OH, I WAS JUST WAITING
FOR YOU TO ASK SO NICELY.

UH-HUH.

WELL, UH, JUST HOLD ON A
SECOND HERE, ALL RIGHT?

I'M GONNA PUT YOU ON HOLD.

UH, IT'S THE D.A.'s
OFFICE IN PHOENIX.

THEY DON'T WANT TO
COME BACK FOR RUSSO.

WHY NOT?

THEY SAID THAT THE
NATURE OF HIS CRIME

ISN'T SERIOUS ENOUGH

TO MAKE IT WORTH THEIR WHILE
TO COME BACK AND GET HIM.

I STOLE FROM NUNS.

BUT IF HE WANTS TO PAY
HIS OWN EXPENSES BACK,

THEY'LL BE WILLING TO PROSECUTE.

I DON'T HAVE THE MONEY.

HONEST.

ALL RIGHT, PREPARE TO
MOVE OUT, YOU CRIMINALS.

Novak: OH, THANK HEAVEN.

UH-HUH.

YOU GONNA BEHAVE YOURSELF,

START ACTING LIKE
ADULTS NOW, HMM?

WELL, THAT DEPENDS.

ON WHAT?

ON WHAT HE SAYS TOMORROW NIGHT.

SO TELL HIM WHAT YOU'RE
GONNA SAY TOMORROW NIGHT.

I WON'T KNOW UNTIL IT COMES OUT.

OH!

LOOK, ARTHUR, DON'T
BE SO SENSITIVE!

EVERYTHING YOU WRITE
ISN'T CARVED IN STONE!

EXACTLY.

AND, YOU... ACTOR!

TRY HAVING A LITTLE RESPECT
FOR THE WRITTEN WORD.

THE MAN WROTE YOU A NICE PLAY.

SAY SOME OF IT!

ALL RIGHT?

I'LL TRY.

GOOD.

BUT IT WILL BE AN EFFORT.

AND WHILE YOU'RE AT IT,

WHY DON'T YOU DROP
THAT SNOTTY ACCENT?

YOU'RE FROM ST.
LOUIS FOR GOD'S SAKE!

LOOK, THE POINT IS...

EXCUSE ME, THE POINT
IS, THERE'S A MAN HERE

WHO IS TRULY REPENTANT

AND SINCERELY WANTS TO
PAY HIS DEBT TO SOCIETY,

AND YOU'RE TELLING HIM
YOU'RE NOT INTERESTED.

I MEAN, WHAT'S THE
MAN SUPPOSED TO THINK?

YEAH.

YEAH, I GOT IT.

THEY'RE NOT GONNA COME GET ME?

I'M AFRAID NOT.

MAYBE YOU COULD TAKE ME BACK.

I'M SORRY. WE DON'T
HAVE THE AUTHORITY.

I SEE.

SO, WHAT HAPPENS NOW?

WELL... WE HAVE NO
REASON TO HOLD YOU, DO WE?

NO, HE'S CLEAN HERE.

YOU MEAN, YOU'RE
ASKING ME TO LEAVE?

WELL, WE APPRECIATE
YOU COMING IN.

SURE.

WELL, SO LONG.

HEY, GOOD LUCK.

THANKS.

I'M GLAD YOU'RE STAYING.

THANKS.