NYPD Blue (1993–2005): Season 3, Episode 8 - Cold Heaters - full transcript

Simone and the men from Internal Affairs share the suspect after Simone gets some information from his incarcerated friend, Ray, about a case that Mike Roberts once worked on. Meanwhile, Fancy and Sipowicz both work on the case of a self-confessed gunman in a neighborhood shooting, once they get the story they help the shooter out. Medavoy investigates the assault case of an actor who was injured in a staged fight that went awry.

[ Man ]

[ Door Buzzes ]

Bobby Simone.

How's it going, Ray?

How do you think? I'm in
the system here, Bobby.

Yeah, they brought you down
for your appeal hearing, huh?

My appeal.
[ Scoffs ]

Hey, you never
know, right?
That's right.

'Cause you heard
about the trial, right?

That little genius
from Legal Aid gets me
three to five.

I'm just the lookout.
Meanwhile, the principals,

they mention
a few names, they're
on the street already.

I'm just talking
about justice here, Bobby.

And I asked you to help me
out at the time.
You turned your back.

Is this why you asked me
to come down here, so that we
can go over all of this again?

I'm sorry. I‐‐

I just‐‐

I don't think
so good, you know?

I'm upset all the time, Bobby.

I need your help, Bobby.
There's no way
I can help you, Ray.

Don't worry.

I'm bringing something
to the table‐‐ information.

This guy I've been hanging
with in the yard‐‐

he worked this job
some three years ago‐‐
an armored car heist.

A couple ex‐cops
were driving.
They both got killed.

‐ You talking about
the Grandpa Car?
‐ I heard him mention that.

That's what they called it.
Now, according to him,
they got away clean.

Him and three other guys.
Is this ringing any bells?

The Grandpa Car's
a real case, Ray.
You got any names?

I got a first and last on one
of the guys and a street name
on one of the others.

Do you think that's worth
something to the D. A.?

I'll see what I can find out.

You know, I don't
blame you for what's
happened to me, Bobby,

but I got to
get out of here.
[ Pager Beeping ]

I gotta go, Ray.
That's from my job.

Now, you tell the D.A.
I got those names.

‐ I will.
On the gate.
‐ [ Man ] Opening.

I'll let you know.
Yeah, sure.

Go ahead.
Walk out of here.

[ Chuckles ]

Hey, what's going on?

Yeah, two people shot.
One D. O. A.

Perp fled on foot.
Got a couple of
witnesses over there.

‐ Yeah, what's their story?
‐ Some guy showed up,
started shooting.

Guy shot in the shoulder's
just a flesh wound.

‐ Wanna talk to him
before they take him?
‐ Yeah, what's his name?

Samuel Velasquez.

I'm Detective Sipowicz.

This is Detective Simone.
What can you tell us about
the guy that shot you?

Oh, it was crazy, man.
Th‐This black dude,

he comes into the store, right,
and he starts screaming
all this racial trash.

Then all of a sudden,
I'm shot.
You were the first one shot?

No. He shot Luis first,
and then he started...

waving the gun around,
shooting everybody.

He shot you first, man.
Man, it was crazy.

It was all happening
at the same time.
All you guys were in there?

Yeah, man. He was drunk.
That's how come he didn't
just killed everybody.

He was a big guy.
No, he wasn't that big.

He was medium.
He was black.
Real, real, real black.

He was about 50, man.
You never seen this guy before?

Yeah, I've seen him
like maybe coming out of
the subway or something.

‐ So maybe he lives around here?
‐ Yeah, maybe.

We're not going to find out
this is about dope, right?

You think 'cause we're boricua
that means we deal dope?
What's wrong with you, man?

What's wrong with you?
I got shot over here.
All right.

Take it easy, huh?
James, what do you got?

We gave the place
a quick toss. We didn't
come up with anything.

These guys are half loaded.

‐ You want us
to start the canvass?
‐ Yeah. Keep your eyes open.

Happens that the mariachi troupe
over here is telling the truth,

we got a nut out there
with a gun.

You guys, we're gonna have to
go over to the station house.
James, take my car.

‐ Sure.
‐ But this better not take all
day, you know what I'm saying?

Hey, your friend Luis
here just got shot.

You gonna tell me about
Luis, man? I know the guy, man.

We don't feel up
to this, man, okay?
You're in mourning.

All right.
I understand.

[ Simone ]
Get in here.

Hey, man.
I can't believe this.

[ Simone ]
Just keep looking.

Excuse me. I‐‐ I was told
downstairs this is where
to make my complaint.

Oh. Um, uh‐‐

Detective Medavoy
can see you.
Detective, you're up.

Oh. Can I help you?
Yes. I'm the victim
of an assault.

Well, right this way.
Let's get some information
about what happened.

My name's, uh‐‐
My name's Peter Cahill.

Have a seat, Mr. Cahill.
Thank you.

Uh, how badly were you
hurt in this incident?

Uh, bruises
up and down my arms,

and, uh, feel this bump.

It's quite large.

It looks painful.
Were you struck
with a foreign object?

With a blunt‐edged sword.

D‐Do you know
the person who hit you?

The stage actor,
Raleigh Gibson.
You probably know him.

Uh, no, I don't get to
the theater too much.

Well, in the middle
of the sword fight last night,

he completely
abandoned the choreography
and attacked me.

[ Sighs ] I take it
you're an actor as well.

Yeah. Last week,
he nearly put my eye out.

Did you speak to anyone
at the theater about this?

They don't want to deal
with it. They tell
themselves he's box office.

They should tell
the empty seats. Meanwhile,
I take a nightly beating.

Procedure, Mr. Cahill‐‐
I look into your complaint,
talk to the relevant parties,

and then there will be
a decision on charges.

I work at
the Ludlow Theater.

Ask Roland Edmunds about him.
Ask Donna Stein.

Definitely. I'll check
the matter out.

Well, uh, thank you
for coming in.

Well, I was‐‐
I was on my way to
the doctor.

May I help you?
Yes, I'd like to speak to
the detective in charge.

Arthur Fancy.
I'm lieutenant in
charge of the squad.

‐ Louis Folsom. I'm pastor
at Bethel A. M. E.
‐ How do you do?

Why don't you come in?
Have a seat.


one of my parishioners
was involved in
a shooting this morning.

He says he shot two men.

There was a multiple
shooting at a bodega
on Third Street.

Sounds like the incident.
So what's the man's name?

He says when he fired the gun,
he was in fear for his life.

Well, if he was in danger,
that's a very important factor.

So, where can
we find him?

I'd like to be able to tell him
I spoke with the man
that he would be talking to.

You can tell him that.
So how can we find him, Pastor?

His name is Gregory Leight.

He's not far from here.
I'll go get him.


Your bodega
witnesses set up?

They want to know
do they get paid if they
pick out the shooter.

It's part of dealing
with their grief.

A suspect's coming
in with his minister.
We'll get his statement,

have the witnesses take a look.

Hey, Lieu. We turned up a
neighbor on the canvass. She saw
a kid running down the street...

screaming just
before the shots were fired.

[ Lesniak ]
Didn't know the kid,
but she saw him come out.

Somebody's gonna have to keep
these guys in the mug books.

‐Lieu says the shooter's coming.
‐Is that right?

As soon as you look at the guy,
James, get some fillers from
the shelters for a lineup.

And, Adrianne, run
a Gregory Leight through B.C.I.
I'm not sure of the spelling.

‐ Okay.
‐ Did the minister
say how it happened?

‐ No, but he said the guy'd
give a full statement.
‐ Can't hate a ground ball.

Okay, I'll be there
in the interview.
He asked for that.

Yeah, all right.

Lieu. Uh, that guy
Ray DiSalvo‐‐

The guy I grew up with,
took a collar last year
for moving coke.

Yeah, worked at
that rumba joint.

He's on the inside now.
Claims a guy on his tier
copped to...

sticking up the Grandpa Car
with three other skells.

Did he give any names?
He says he's got a full name
on one of the guys...

and another
guy's nickname.
That was Roberts's case.

The Grandpa Car?
Yeah. Yeah.

Well, see if the D. A.
wants to deal.
I'll call Sylvia.


This is Gregory Leight.

Uh, he's got the gun.

I'm Arthur Fancy.
I'll take your statement
with Detective Sipowicz.

[ Simone ]
I'm trying to reach
A. D. A. Costas.

I'll tell your wife that I saw
you go in with the lieutenant.

This way.

Have a seat, Mr. Leight.

Miles, put this
in evidence lockup.
Okay, Lieu.

So, uh, your pastor
said you wanted to
talk to us about a shooting.

Those drunks down at
the bodega went after my son.

Tell us what happened.

Well, I sent him out for bread,
and after about 10 minutes,

I hear
all this yelling.

His friend
comes to my door,
crying and carrying on...

and saying that
Junior's in trouble.

So what was his friend's name?

My wife would know
his last name.

But he was yelling that
they were beating Gregory
down at the bodega.

He said, "Mr. Leight,
they're beating Junior!"

So I grabbed an old gun
I keep in the house.

And I went out
in the street, and here
comes my son running,

his face all
covered with blood.

‐ So how old is your son?
‐ Ten. Ten years old.

There's drunks
in that place.

I told him he's never
supposed to go near
that filthy place!

Just to save a half a block
to the grocery.
Now look at all this trouble.

So when you saw your son,
was he alone in the street?

Was anyone chasing him?

No, there was just somebody
looking out from the bodega,
but nobody was chasing him.

And you went
on to the bodega?
I sent him home.

Then I went in.
Did you have your gun out?

Not then. I said,

"Hey. Who beat my boy?"

And there was
a lot of yelling,
screaming back and forth.

And some racial stuff.
And one of them said
to the other some Spanish.

And the guy
behind the counter,
he grabbed beneath.

And then
the guy in the aisle
started coming at me.

And that's when
I pulled out my gun.

'Cause the guy behind
the counter was going
for a gun,

and the guy in the aisle
was coming at me.

I was so upset
about my boy.

And you shot 'em both.

I have been a longshoreman
for 25 years.

I've never even had
a parking ticket.

What do you want to do?

Talk to the son
and the friend
who came and got him.

Even if they back
the father's story,
he's looking at manslaughter.

‐ That's where I want
you to start, Andy.
‐ No problem.

Want me to run
the witnesses
through B. C. I.?

They don't look like
no choir boys.

Whoever's in with him,
I'll, uh‐‐

I'll make sure they don't
let him write nothing.

Yeah. Okay. Thanks.

Hey, no problem.

[ Door Buzzes ]

How'd the hearing go?

It was a joke, Bobby.
Judge didn't give us
five minutes.

Ray, this is Assistant D.A.
Sylvia Costas.

Ray DiSalvo.
How do you do?

Miss Costas wants to
talk to you about this
armored car job.

No problem.
I'm all for women's lib.

You got the D. A. sent me away
beat a mile.

Jewish guy,
big pot belly.

Maury Abrams.
I've been looking
over your file.

I meant no disrespect.

He was doing his job.

Mr. DiSalvo,
if the information
that you've offered...

on the Grandpa Car
produced arrests,

we'd support reducing
your sentence by half.


I'm not giving up names
on support.

She's gotta put it
that way, Ray.

What happens if you guys
blow the arrest? That's not my
fault if you guys screw this up.

‐ We won't screw it up.
‐ How do I know that, Bobby?

‐ Reduced by half?
‐ With the time served,
that's only four more months.

‐ Yeah, but I didn't do nothing.
I was just the lookout.
‐ Ray, Ray, Ray.

Do you want to
go through with this?

Do I have a choice?
Come on.


The guy I'm in with,
his name is Jimmy Fredo.

The guys he said
he did the job with‐‐

one is Tommy Rotella‐‐
is the full name I got.

And the second guy's
nickname is called Bic.

‐ First or last name
on the nickname?
‐ I don't know.

All right, this Jimmy Fredo's
the guy that you're
in jail with right now.

He gave you Tom Rotella
and another guy whose
nickname is Bic.

‐ Right.
‐ You said there were
three guys on the outside.

That's all I got.
They got away clean.

They're living good.
Jimmy's doing time.
I don't know the score.

All right, Mr. DiSalvo.

All right, Ray,
we're gonna look into this.

What, you're going to
send me back upstate now?
I gotta go back there?

They'll keep you
down here till we see
if this all works out.

You'll be in
administrative segregation.

But it's still jail, right?

[ Woman ]


The police are here.
They have to ask you
some questions.

I'm Detective Sipowicz,

How did you
get those bruises?

‐ Those guys hit me.
‐ Tell me the guys you mean.

‐ In the bodega.
‐ How come they did that?

‐ I don't know.
‐ He knows he wasn't
supposed to be down there.

He was supposed to
go to the Korean place.

Him and his friend didn't
want to walk the extra block.

You need to let us
ask the questions,
Mrs. Leight.

We're trying to find out
what happened with your dad.

[ Exhales ]
So we really need you
to think about this.

I don't know. They said
it was the change.

‐ The change?
‐ It was for a loaf of bread.

I had the exact change,
so I put it on the counter.

‐ He didn't like it there.
‐ Who didn't?

The guy behind the counter.
He pushed it back at me,
said put it in his hand.

Then 20 of the cents
went on the floor.

Then the other guy come up
behind me and told me
to pick it up.

And I said, "The counter guy
pushed it on the floor.
He should pick it up."

Then they started
beating on me,

him and a couple
other guys.

Delroy was looking in.
Then he ran.

After a couple of minutes,
I finally got out.

And then when did
you see your dad?

Delroy run and got him.
He was coming down the street.

When he saw me,
he started crying.
He said, "Get home."

Then I guess he
went in the bodega.

Do you need anything else?

Where can we
find Delroy Freeman?

‐ I can get you
his mother's number.
‐ Delroy in trouble too?

You're not in trouble, Gregory.
Your daddy's in trouble.

Yo, did Rico pick out
the right guy?

Don't worry about
what Rico did, Tonio.

The shade's gonna be lifted to
see six people. You can see in,
but they can't see out.

If you recognize any one person,
let me know who you
recognize and where from.

Yeah, yeah, all right.
[ Knocks ]

Yo, that's the guy
right there. Number Four.

‐ That's him right there.
‐ Where do you know him from?

He shot Luis, man.

‐ All but Four can go.
‐ Screw you, pendejo.

Shut up.
You takin' the juice
for Luis, man.

‐ Go grab some coffee,
all right?
‐ Yo, can I go home now, man?

Go grab some coffee.
I'll ask my lieutenant.

Poor guy, huh?
Sends his kid out
for some bread?

What kind of toss
you give that bodega?
We were moving pretty fast.

All right.
Keep the witnesses here.

Get Andy,
and toss it again.

Hey, uh, Lieu.

Listen, that
sword‐fighting complaint‐‐

I talked to the stage manager
from the theater,

and he said absolutely
this famous actor guy
was out of line.

Yeah, he says
this Gibson's like,

you know, one of those
larger‐than‐life kind of guys.

You know, he gives
everybody a hard time.
Okay. Bring him in.

Yeah, at the same time,
some of the other actors
said that, you know,

you always get bruised up
doing stunts and such
in a performance.

Also, according to them,
the complainant was
rather stiff in that scene,

which angered the
other guy, who's high‐strung
with very high standards.

Look, what do you
want to do with
the complaint, Greg?

I figured I'd, uh,
bring the other guy in.
Good. Do that.

You okay, boss?

A decent guy
shaping to get screwed
in this bodega homicide.

‐ Gentlemen.
‐ How's it going, Roberts?

Okay, Medavoy.
You still lobbing
scuds at the P. A. A.?

‐ I'll keep you posted, Lieu.
‐ Yeah.

We might have something
on the Grandpa Car.

Yeah. Bobby Simone
asked me to come in.

He said you had
some action on that.
There he is.

He'll run it for you.
How's your family, Lieu?

Good. You know
how yours is doing?

They're good.

Mike Roberts, Bobby.
Hey, Mike, thanks for coming in.

Sure. You're looking at
the Grandpa Car again, huh?

Yeah, yeah. You know,
I got a C.I. that
gave up some names.

Tryin' to see if they're live.
Yeah, I hated
not clearing that.

They whack two ex‐cops.

Mike, you did
an interview on that case
with a Brendan Bickles.

Yeah, he worked
for the security company.
Didn't go anyplace.

Yeah, well, see,
my guy says he was in it.

Well, shame on me then.
I think I talked to him...

in the Garfield
over on 23rd.

D.M.V. still
shows him over there.
We're going to pick him up.

Anything I can push him with
that didn't get into your five?

You know,
did he gamble? Use?

I only talked to him
off working for the company.
I had no reason to like the guy.

My C.I. also gave up
a Jimmy Fredo, Tom Rotella.
That do anything for you?

Nothing. Neither one.
Well, thanks for coming in.

I remember talking
to this Bic.

You know,
the Garfield Hotel.

You know, many as you did,
it's crazy how you can remember.

Yeah. I appreciate
your coming in, Ray.

Hey, I hope you
collar up on this.

Listen, opportunity
presents itself,

you might ask does
your lieutenant plan on
lightening up on me...

before the new century.

Take care.
All right, Mike.


Clerk said he went
to get some smokes.
He'll be back in a few minutes.

Didn't I hear
about this Roberts?
Had a junkie girlfriend.

Yeah, she killed herself.

I was driving
for the commissioner then,

but, uh, they said
they caught him
cleaning out her place.

Roberts was
robbing her apartment?
No, no. He was married.

So he was trying to get rid
of pictures. Anything that
could put him with her.

That's Bic. Not much
to look at, huh?


Check this out over here.
That's the rat squad.

‐ I. A. B.'s sitting on us?
‐ What is up with that?

I'll be right back.

You need me, Martens?

Why, you got
a guilty conscience?

‐ Answer the question.
‐ We're picking up a suspect.

It's got nothing
to do with you.

There's the guy
across the street.

‐ Hey, that's my guy.
‐ That's our guy.
You back off.

Take it easy.
Get your hands up.

I didn't do anything.
Put your hands up.

You Brendan Bickles?
I didn't do anything!

What are you
worried about?
He's our suspect, Simone.

This is our suspect.
We're taking him to our house.
I didn't do anything.

‐ Shut up.
‐ He's our collar, Simone.

Now, don't talk to him
till we straighten this out.
Yeah, right.

Even if he's begging
to confess.

What the hell good
are these cameras?
They don't tape anything.

Do you think they were
bluffing this black guy about
there being a gun back here?

Guy sticks a gun in
their face, they're gonna
pretend they got one too?

‐Yeah, that wouldn't make sense.
‐That gun was there.
They moved it.

Cigarettes, aspirins,
condoms, batteries.

Amazing variety of merchandise
they fit behind the counter
of these little stores.

Guys get tanked
all day long. Start at
8:00 in the morning.

I'm going to check
the Dumpster.

‐ Martinez.
‐ What do you got?

Here. Here,
you want a Popsicle?

They were in the freezer?
Yeah. Don't you keep
your guns there?

We've been on this Bickles
for three months...

and our information‐‐
he's involved with a cop.

Our information
is he's the cop killer.

‐ One don't leave
the other out.
‐ Let's stop playing footsie.

Come on.

[ Sighs ]
My C. I.'s name
is Ray DiSalvo.

He's doing time right now
with a Jimmy Fredo,
who claims...

that he pulled
the Grandpa shootings
with this Bic...

and a Tom Rotella,
who's locked up
right now in Ohio,

‐ and another guy that Ray
didn't have the name on.
‐ Which would make it your turn.

I'm not authorized
to share my information.

You know,
you guys are the best.

Look, you don't want
to share information?

This Bic isn't a cop.
So my guys will
run the interview...

until it's established
a cop's involved.

Stay out of my way.

Close the door
on those bodega guys.

‐ Are you Delroy?
‐ I'm Louise Freeman.
This is my son.

‐ How you doing?
‐ Delroy's interested
in the wanted flyers.

Policemen draw?
Yeah, some of them.

This is Delroy Freeman
and his mom. Detective Lesniak.
How do you do?

How you doing, Delroy?

Why don't you
come on in here, Delroy.

Take a seat
right there. Okay.

So, Delroy, you know
why we brought you here?

‐ Junior got into a fight.
‐ Can you remember
how that started, Delroy?

Junior had to buy
a loaf of bread, and we
didn't go to the grocery.

So "Junior"
is Gregory Leight Jr.?

So then they throwed
his change on the floor...

and Junior didn't like it,
then all of sudden they went
crazy, punching and kicking.

Did they punch and kick you?
They wasn't mad at me.

They mad at Junior.
Punching and punching.

So I ran down the street
to tell his dad,

"You gotta do something
'cause they're gonna kill him."
Is that what you said?

You told Junior's dad
they were killing him?

'Cause they was stomping him.
So he went down with
his gun and shot 'em dead.

But I didn't see
that part.

You got to look
in this bag.

Thanks for coming down.
I appreciate it.

You take care, all right?

I want you to tell me
this all again so I can
write it down.


Oh, man. Oh, man.

Is something wrong, Bic?
No. No.

You try to live your life,
you get dragged off the street,

army of people stand
staring at you.

There's nothing wrong.
You know why. You've been
waiting for this day.

No, I don't.
I don't know.
Okay, Bic.

This is connected
with two guys who did
20 years on this job...

before they started
working security.

Two ex‐cops who were making
an armored car delivery...

‐ with the firm that
you happened to be working.
‐ This is crazy.

‐ What's crazy?
‐ I had nothing to do
with that robbery.

‐ I was talked to at the time.
‐ Look around, Bic. You think...

anyone here thinks
it's crazy liking you
for those homicides?

I can't help
what you people think!

So Jimmy Fredo is lying?

‐ What?
‐ And Tom Rotella, he's lying?

'Cause they
gave you up, Bic.

They say you shot
those cops. Both of them
say it was you.

No way.
Forget it. No way!

Two ex‐cops.

You know how that means
we'll go at you, right?

Leave me alone!
What, are they lying?
Fredo and Rotella,

they lying?
Anyone told you that is lying.

That's crazy
what they told you!

I don't think so.
Two ex‐cops.

And I think that
you killed them.
I killed no one.

You're looking at
an injection here, Bic.

What you say in this
room right now, what you say
gets you a way out. Okay?

[ Sniffling ]

I gave them
some information.

Delivery times.

I was nowhere near
that robbery, all right?

[ Martens ]
Give up Ernie Kowalski.

You give up the cop,
and you'll skate.

You get me a lawyer,
and you put that in writing,
and then we'll talk.

That's it.

He was gone. I had him.
You didn't have to
give him squat.

‐You'd have got the two in jail.
‐I would have had him
for the package.

If I had that cop's name,
I could've moved him
for it all.

‐Who's the riding D. A.?
‐You give this guy a walk before
you trust me to do my job?

'Cause I'm not as good
as you, Martens?
You only trust I. A. B.


You trust any of us?

Who's the riding D. A.?


I'll call her.
I'll get this guy
someone from Legal Aid.

I had him.

How long am I going to
have to be here?
Someone call my agent.

Mr. Gibson,
if you'll just cooperate,
things will go a lot easier.

Strange men in little suits
appear at the door
of your dressing room...

and suddenly you're in
some... dirty office,
no one knows why.

It's Pinter.

God, is that
Raleigh Gibson?
I don't know.

My God,
it is Raleigh Gibson.

I gotta get my Brownie.

Mr. Gibson, I'd like you
to make a statement regarding
Mr. Cahill's complaint.


The little turd got
just what was coming to him.

Where do I sign?
Mr. Gibson,

did you strike Mr. Cahill
with a broadsword?

I was acting, Detective.
Are you aware of the distinction
between theater and reality?

So you're saying that you‐‐
y‐you didn't intend to harm him.

I intended to kill him,
in the context of the scene.

His intention should have been
to defend himself.

But you have been hitting
Mr. Cahill with a sword.
You admit that.

[ Sighs ]
I was trying to engage him,
to make him commit...

instead of drifting about
the stage in a terrified haze.

Truth to tell, I was doing
the bloody fool a favor.

By hitting him?

Mr. Cahill shows some
mild promise as an actor.

By bringing charges,
which can serve only
to curtail his career,

he demonstrates a staggering
lack of imagination.

I intended to provoke him.
I meant him no harm.

Now, with due respect,

the very limited appeal
this conversation has for me
is now exhausted.

May I go?

Uh, I don't know if
charges will be laid.

I have to talk
with my boss.

In the outcome,
you obviously know
where to find me.

Mr. Gibson‐‐ Uh,
I'm sorry for intruding.

But I am such a fan.
Would you mind?

Um, Miss Abandando‐‐


Right here.

I may soon be posing
with little numbers
across my chest.

You guys hold me forever
just 'cause I'm on parole?

That's my boss.

We're going to talk about
this morning again, Rico.

The guy came in shooting.
He killed Luis. Okay?

How many times do you
need to hear it?
Start with the assault.

‐ He came looking to fight.
‐ Start when you beat his son.
That assault.

‐ Nobody beat his son.
‐ That man sent his boy out
for a loaf of bread,

and you and your friends
kicked him around.

You're gonna get collared
for that, and then we're
gonna violate your parole.

Man, I don't believe this.
You owe, what,
three years on your last bit?

What, you think you can
kick this kid around without
getting your parole violated?

I wasn't even back there.
I was standing on the aisle.

Okay. Okay, now we're
gonna deal with the guns.

Gun? There wasn't
no guns, man.

There were guns.
You stashed them in the freezer.

We're sending these
to the lab, Rico.

‐ They lift your prints,
you're done.
‐ I wasn't even back there.

I threw one afterwards.
That's how my prints got on.

From throwing it
in the freezer.
Luis yelled.

Samuel went for the gun.
I'm only a witness.

‐ Give it up then.
‐ What did Luis yell?

To Samuel.
He said, "Kill him."

He told him in Spanish.

[ Fancy ]
What you write now is going to
be as important for...

how you live the rest of
your life as what happened
this morning.

You need to give a clear picture
of what you saw and did...

and what you were feeling
as things took place.

If you were afraid for your son,
and your own fear once
you were inside,

then that's something
you should talk about.

I was afraid.
And I was angry.

If your fear was
the most important thing,

if it guided your actions,

then that's definitely
something you should say.

You don't want to
clutter it up‐‐
10 different feelings.

To be afraid for your life,

and what made you
feel that way,
the specific events.

‐ When he reached
under the counter.
‐ The shouting.

Hearing the other man
shout to him,

then seeing the man
behind the counter‐‐

Uh‐huh. I didn't see the gun,
but I knew he was going for it.

You knew from what
the other guy shouted.

The other man
shouted "kill him,"

so you knew the counterman
was reaching for a gun,

that that's what
he had shouted in Spanish.

For the district attorney
to know that you understood
the expression,

that you knew "mรกtalo"
meant "kill him" in Spanish,

and that put you in fear
for your life.

That's big,
your understanding that.

That's why I was afraid.

He was reaching
for the gun...

'cause the other fellow
shouted "kill him."

‐ In Spanish.
‐ Mรกtalo.


Present in the room,
Detective Kowalski,

assigned to
Narcotics Division, his counsel
and a union delegate.

Also present,
Sergeants Laski and Martens...

with the Internal
Affairs Bureau.

you acknowledge
being given your rights?


Detective Kowalski,
do you know a Jimmy Fredo,

a Tom Rotella
or a Brendan Bickles?

I decline to answer that...

as is my right
under the Fifth Amendment.

Your name has come up
in connection with
an armored car robbery...

that took place
September 9, 1992.

‐ What was your involvement
in that incident?
‐ I decline to answer.

And accomplish what?
You decline an answer if you
know guys that we know you know?

‐ What, you think
I'm an asshole?
‐ That one I'll answer.

No, you won't.

You realize if you fail
to answer, under G.0.‐15,
you're suspended.

I'll live.

Detective Kowalski,
you're now suspended.

I'll relieve you of
your shield and your weapon.

‐ Can he go now?
‐ No.

I'm placing him
under arrest.

[ Martens ]
Stand up.

Don't look at your
lawyer for help, Kowalski.

You thought you were
walking out of here
with just a suspension?

Well, you're going to jail.
Now we'll see
who the asshole is.

Oh, Mr. Cahill.

‐ Thanks for coming in again.
‐ Are you gonna charge him?

Have a seat.

My investigation, Mr. Cahill‐‐
uh, there's a basis
to file for assault,

which I doubt would get far
in court, but he'd definitely be
put in the system, Mr. Gibson.

He'd be in jail briefly,
with a need to make bail,
so forth.

That's what I want.

Mr. Cahill, I'm obviously
ignorant, but, um,

couldn't filing charges
like this be negative
on your career outlook?

You know, rather than
some form of compromise,
some try at discussion?

There'd be no point.
He‐‐ He won't stop.

He hates me. He‐‐ He has
no respect for my acting.

He said you had promise.
Who did?

Mr. Gibson.
His account was...

you were promising
on stage, but in a haze,

which he was trying to
prod you out of.
Do you think he meant it?

Or was he just trying
to avoid charges?

No, I don't think he was
too worried about the charges.

And I'd say he was sincere
about your promise,

while seeming not to like you
too much personally.

I thought he was just
trying to humiliate me,

to show that I had
no business onstage.

We can charge
third‐degree assault,
Mr. Cahill.

Do you want
to go forward?

No. No, I don't.

All right.

I'm sorry
I took up your time.

Actually, I enjoyed
it somewhat. I had an
experience in the theater.

Well, thank you
very much.

Excuse me?

I‐‐ I saw you at the Public
in the Scottish play.

‐ Thank you for the evening.
‐ You're welcome.

He was really good.

How much of this
is corroborated?

The son's being beaten
was witnessed.

Plus the friend confirms
telling the father he thought
the kid was being killed.

A witness in the bodega

one of the victims shouted
in Spanish for the counterman
to kill Leight.

‐ Mรกtalo.
Which Leight understood.
‐ Yeah.

‐ And you recovered the weapon
the counterman reached for?
‐ Yeah.

The grand jury's gonna
have to look at this,

but I doubt that
we'll wanna indict this man.

‐ He might get charged
with the unregistered gun.
‐ Thanks, Sylvia.

I'll tell this guy
her impression, huh?
Yeah. All right.

Try and follow this.

By me not giving up that name,
that's supposed to make
your life easier.

You don't have
Kowalski's name,

even if you and him went
through the academy together,

your partner bowls
with him, you had pizza
once on retreat,

any pals you might be
where you'd want
to protect him,

you don't got to
make that mistake.

You're looking out for me.
You're keeping me
from temptation.

Crack wise all you want.
If you would've queered
that interview with Bic,

and you
had Kowalski's name,

then I gotta come
looking at you.

Well, thanks for
being in my corner.

no one's always a liar,
and no one's always corrupt.

Everything is a situation.
You keep people out
of situations,

and you keep them
out of trouble.

I just hope that my informant
don't lose out on his
sentence reduction...

because you people
took over the case.

Why is that funny?

Who do you think
our informant was?

Your buddy, DiSalvo,

he shopped us this package
three months ago
with all the names.

He came to you when he got
afraid we weren't moving.

He left Kowalski out
because he knew you'd
have to notify us.

Yeah, okay.

You might want to know‐‐

he shopped you to us too.

Said you reached out
to an arresting cop
on a coke collar.

Got the cop to
let him walk.

[ Scoffs ]

So where am I with that?

You're all right.

I looked into it.

Everything's a situation.

[ Clears Throat ]
You worked that good.

‐ Yeah, I felt like
he deserved a break.
‐ Yeah.

Not 'cause of who he was.
Straight up.

You mean, that wasn't one of
those affirmative action

‐ No.
‐ No.

I didn't think so.
Good night.

Good night.
You worked that good too.

[ Door Buzzes ]

They collared
those guys, Ray.

One of them confessed.
Is that right?

That's great.


And you know that third guy,
the one that you didn't
have the name on?

Turns out he was a cop.
He's behind the whole thing.

Huh. Interesting.

‐ Guy's name is Kowalski.
‐ Uh‐huh.

Of course you knew that
already, right, Ray?

And you made me the jerk
holding it back.

Whoa, now,
that was not my intention.

Your intention was playing
all the angles for yourself.

I spoke
to police Internal Affairs
several months ago,

but they disappeared
from the picture.

I never heard from them.
That was a free ball
what I gave you.

They were sitting
on that cop, Ray.

They moved the same time
that we did.

‐ I had no knowledge of that.
‐ Neither did I.
You didn't give it to me.

Oh, come on, Bobby.
I know how cops feel
about collaring their own.

‐ I wanted to spare you that.
‐ [ Laughs ]

You would say
anything, Ray, huh?

"The moon is made
of green cheese."

Hey, I don't like
the tone of this.

Now, my information
produced arrests.

I.A.B.'s collaring.
You should look
to them to deliver.

Just a minute.
Just a minute now!

You people
better not welsh!

Maybe you can sweeten
the pot with I.A.B.
You can offer 'em me again.

Offer them you? What are
you talking about, Bobby?

Ray, let me
tell you something.

I know who offered me
to them, all right?

You stand there right now
and lie to me,
I will break your jaw!

Oh, my God. My God.
I'm going to be screwed.
I know it.

You're going to
stick the knife in me,
aren't you, Bobby?

No, Ray. You are
gonna get your deal.

I am? Oh!

I am so grateful.
Move your hands.

Yeah, sure.
I understand.

I just ask that you
would understand as well
about me giving you up.

I mean, I‐‐ I was
in a situation, Bobby.

Hey, Ray, I‐‐

I don't want to see you
on the outside, Ray,
all right?

I don't care what
your situation is.

On the gate.

[ Door Buzzes ]

I'm sorry, Bobby. Y‐‐