is that a detective? yes, uh-huh. morning. i have to get to work, but, um, i want to report a bullet in my wall. well, why don't we talk over here? no, no. i have to get to work. but i'm saying this person has had fights and loud arguments and music. and he frightens you, even politely asking to be considerate in the hall. tell me about the bullet. four nights ago, there was a noise from his apartment. which he says is electrical. he says it's a kitchen appliance.

ll the time! ma'am, i want you to try to calm down, because we're absolutely gonna look into this. i've had it. i can't stand this anymore. i need your name and d dress. james liery, 4-c. - that's his name? - 854 mercer. - and what's your name? - i'm not saying. i have to get to work. ma'am, i need to look at the bullet in your wall, and i need your name. james liery, and he's a dangerous man. i'm sure he's a criminal. i'llllet shot or die from fear. did you hear what that woman just said? [clears throat] dying from fear? found a bullet in her wall. says james liery put it there. [sighs]

[shakes sweetener packet] would you, uh, mind if i worked it? no, uh-uh. thanks. how are you gonna do at your promotion ceremony?

detective, clerk grabbed this kikiwalking out a silk shirt. ah, expensive taste, huh? what's your name? marco ramirez. tell the detective what you told me. i know where a body's at, but you gotta drop the shoplifting. thanks, donny. and you're not the one put it there, you got a deal. all right, then. there's a dead man laying on the floor in apartment 3-d, 947 fourth street. how'd you come to know this? some guyuyrought me up there saying he was gonna give me a boom box, only the son of a bitch ain't give it to me. - what's the guy's name? - some guy i met on the street.

- who said i was gonna do anynying? - how old are you? - sixteen. - no, you're not. - well, not yet. i'm 15. - i don't think you're 15.5.? - don't have none. they're dead. - you dealing drugs? no. so you're on the street? yeah. and you're gonna let this boom box guy... get over on you so you could get aids and die? i'm taking care of business. i'm making g living. yeah, you're doing great, kid. you don't know nothing. you're a damn fool. okay, marco, you're gonna stay here and, uh, we're gonna check out the corpse at the apartment you gave us. when he gets in, can you tell the boss? sure. where you putting me? the youth h fice. - detective sipowicz. - walter hoyt. ththe bastards stole my paintings. which bastards? two years' work. they ransacked my place, stole my paintings... so i wouldn't be a witness at that murder trial. that bastard frank pisciotta sent 'em. there's no question in your mind it was pisciotta?

pisciotta said he'll l ke some calls, and if he gets my paintings back, then i should go see the great art in italy. he'd buy the plane ticket? he'd have the ticket with the paintings. [sighs] walter, we want to convict pisciotta's soldiers for that murder you saw. but i know how important them paiaiings are to you, so, you gotta do what you gotta do. well, i was thinking. when i go to pisciotta to get my work back, arrest him. that'd be a plan. man,n,mell that grease. why do people eat all that fried food? i like fried eggs. i fry my burgers. you shouldn't. too much fat. i shshldn't eat hamburger?

[cttering continues] [man] how much you want for that? [man #2] four bucks, four bucks. police! hands over your heads! get back, everybody.y.ack. turn around. hands against the wall. who's the dead guy on the floor? huh? who's that on the floor? it's his place, i guess. i got nothing to do with this. i just come up here to buy some stuff. - [medavoy] who's auctioning this stuff off? - him. what's your name? arnie schreiber. what happened here? how'd that man d d? i don't know. heart attack? get down. what's your name, pal? tommy mullen. yeah? i wasn't here. i don't know what happened to him. it doesn't bother you? auctioning off effects in the corpse's presence? we don't know the man. oh, oh! i didn't know you weren't acquainted.

hey, what's up? new york city detective. - what's it about? - come on. open the damn dodo here. hey, why don't you kiss my ass? [groans] flatten out! it was about your next door neighbor getting a bullet in her wall. - i don't know about no bullet. - now it's about you being a smart-mouth. oh. you're gonna pop me for a personality disorder? sit down over here. [sighs, breathing heavily] now, try again how that bullet got in your neighbor's wall. you ever look to protect a broad? you know how that goes? throws a shot.

now, i know this battle-ax ain't hurt, 'cause here she comes running out into the hall. sold her on the toaster blowing up, but i guess she found the evidence. so, here's protecting someone buying me a broken nose. sure hate to have to give up the broad's name. - where are you going? - someone's screaming in here. you don't need to flake me. i'm not looking to jam you for the face-lift. this an ak-47. what are you? with the russian military? da. get up and turn around.

k this is holding up, uh, you're dreaming. yeah? what you think? i'm punchy? maybe somebody slipped me a xxxxey. come on.

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m gonna put all the cards on the table here, about what happened in the apartment, don't look too good for me, okay? i like your attitude. now, i know this don't look good, but, uh, we wererdoing drugs. [medavoy] is that right? yeah. and we were smoking a lot of rock. all weekend, we were just smokin' and smokin'. where'd you get the money for the crack? you got a job?

but-but then, neil, he had to go to work. that's when me and tommy left. but then we came back, a-and that's when we found him. he just crashed on his bed and died. i-i'm sorry we sold that stuff of his. ust we were all shook up, and we wanted to make another buy. - straighten our nerves. - sure. my guess-- his-his heart just conked out. in other words, uh, you're innocent. guilty of bad judgment maybe, otherwise, yes. you ever offer anyone a boom box to handle your johnson, arnie? not to my recollection. give me a smile. keep an eye on him for a second? right there.

gina. yeah, it's detective simone. i'm calling from downstairs. what interviews are open? okay. i'm gonna take the pokey. do me a favor. tell detective russell to be in the locker room for the next few minutes... and let the boss know that i need to see him. great. up this way. i'm james liery! it's 11:24 a.m! requesting an attorney in front of witnesses! tell 'em about your nose. hey, boss. who's this? this is james liery. i was investigating a complaint on a firearms discharge. he had an ak-47 on hisised. yeah. i use it for a pillow. james liery requesting his prprious right to counsel.

[knocks] why'd he want me out of sight? - he just brought in jimmy liery. - what? you don't know anything about it. - hank's bringing him a phone. - what are you doing, bobby? i was working a complaint. liery answered the door. -so you turnrn around and left. -he had a machine gun. in plain sight. we took a complaint on this xxxxxxx about a week ago, lieu, for almost beating a guy half to death. nt's gonna hold, then bring in the vic. have him pick out liery for the assault. never mind i'm working the guy undercover. call jane wallace. we need to figure how we're gonna do this. hohowe should do it is put the guy back outside. i want to talk to her, diane. [sighs] and don't try to sell popping this guy as a coincidence, bobby. he's a psycho, lieu. he needs to be off the street.

hoho's wired. all right, catch bobby up. then the two of you take hoyt to pisciotta's restaurant. - i'm not going to be here for the other conversation? - take russell too. i borrowed medavoy and martinez off that stiff auction. take simone and russell too! soft close. i collared liery. they're gonna let him go. they figure their way to him through russell collars him and his crew. - what do you want to do? - [sighs] i thought we were supposed to take this painter.

[man on radio] walter hoyt looking for frank pisciotta. [man #2] yeah. hang on. just a minute. sylvia's catching today at the 27. might have a sitter problem. - is that right? - if i'd be unable to make the ceremony-- no, i-- i understand. andy, you know you're supposed to be getting it too. [scoffs] i got a fan club at one p.p. meets in a storage closet. only thing, i'd hoped that guy put me up. - fancy? - where he was past hating me. [sighs] he put you up, andy. you know that? he went out of his way to say so.

i heard her say the bar where they've been at. we straighten walter out, maybe we make a stop. [man on radio] mr. hoyt. that's right. yeah, sorry to hold you up. here, come here with me. this way. what's your name? walter? yeah. right this way, walter. i'm not going anyplace without my work. k would be in the car. it's in the trunk. get your hands off me! get in there. they're gonna whack him. james, pull up and block the street. [martinez on radio] 10-4. [tires screech] [tires screech] - hey! open the door! - get out of the car! get on the trunk!

[martinez] all right, sit down. [simone] don't you move! they don't have my paintings. - i got a gun. - walter, you okay? i think i'm okay. my heart's fluttering. can we check the trunk? - diane, pop the trunk. - you got some set of balls there, walter. [walter] they're not there. - can you help me find my paintings? - yeah, we'll help you, walter. let's get out of here before the guys in the restaurant see what's going on. i'll take this back to the house. andy, this is a mistake. then get the hell out. i'm telling you. it's a mistake. now you want to tell me in chinese? well, what do you need? you to pay attention. i'm all ears. yeah? and your pal's all mouth, then he bitches up in a minute and a half. - i don't follow. - hey, give us a second, huh?

walk to the other side of the bar there, or i'm gonna wind up padlocking this rathole! andy, i'm saying this one last time. you are gonna buy yourself every jackpot you can imagine trying to give this xxxxxxx up. where am i on the case now, huh? liery's a collar. he's giving up this douche bag. o.c.c.b.'s gonna take all the credit in this, and my hand's on my joint. if this guy doesn't work with you, what are you gonna do? live in switzerland? i'm getting crocked, and i'm making my play. hey, tube steak! get over here. you hear it once. we collared up on your pal, jimmy liery. very tough guy. took 14 seconds to stick the pin in your donkey-ass for those ak-47's... and the fun coming up at the airport. ignorant as you look, liery's probably got another partner...

no. no, huh? two donkeys but only one rat? i don't know what you're talking about. are you happy now? sure. perfect. 'cause if you had half a brain, i'd have half a chance at a career. - so, you guys are cops, huh? - [scoffs] give me a bottle of scotch. dump on my play and break my balls? i don't know any jimmy liery. well, he knows you, pal, and he turned you over good. oh, man. do what you gotta do. we going, or you want to wring your hand some more? you're a pain in the ass. must be why i never get promoted.

[door opens] i wanna get outta here. okay. i got sidetracked a little while, marco. this is that dirty bastard that beat me out the boom box. he's a dope fiend. he give you the dope? just one hit. he smoked all the rest having himself a master blaster. what's that? a b.j. and a pipe. a b.j. and a pipe? kids doing what you're doing, they don't last long, marco. i wanna get you in some kind of program. i don't want no program.

oh, so your parents are alive? [sighs] my old man's always beating on me. got so bad, i had to take off. he's goin' crazy. you tell him what i've been doing, he's gonna kill me. well, we won't tell him. is your mother with him? yeah. you want to see her? sometimes. what's her name? angela romero. that's your name? romero? yeah. ramirez is my fake name. all right. write down your address and the apartment number, okay? [knocks] james. yeah. uh, that dead guy on the floor? neil rutledge? uh, m.e. says that he died from a fractured skull and a cerebral hematoma. got that cracked on the back of the head with some kind of blunt object, didn't break the skin.

okay. marco, you mind staying here a little while longer? hang on. there's some, uh, comic books in one of those cabinets out in the hallway. yeah, okay. that could've been the murder weapon, that bottle we found on the floor. champagne bottle. what was the brand? i don't remember. cold duck? it was cold duck. let's go at mullen with that. here's the comic books. we're gonna pick your stuff up on the way. pisciotta said the work would be in the car. it's in the trunk. get your hands off me! get in there. [tape squealing] [simone] hey! open the door! [sipowicz] get out of the car! that's you busting 'em? that's nothing on pisciotta. he doesn't even say he's buying a ticket. i guess we could charge the two in the car with unlawful imprisonment. unlawful imprisonment the best you can do... off of getting one mope telling the other, "don't do nothing here"?

i understand that's how you're feeling mr. hoyt, but my best look at a conviction's prosecuting the busboys... who actually did kill that graffiti artist. that is gonna guarantee i'm not gonna get my paintings. truth is, walter, looking to croak you how they were, that means they already destroyed the paintings-- getting rid of the evidence. try flipping one of the busboys again? - off what new leverage? - it's what we got, all right, cohen? meanwhile, we want guards with walter around the clock. i'm ducking a call from a steven monohan of council to jimmy liery? [fancy] yeah, i spoke to inspector wallace at o.c.c.b. we're going to void liery's arrest. folks ought to get your left and right hands introduced. i can get the one busboy in without his lawyer wrapped around him. - panetti. - keep mr. hoyt with you till the d.a.'s squad shows up. really bothers me to lose everything i worked for off trying to help.