Due South: "Dead Guy Running"

[truepenny]

"Dead Guy Running" (DS 3.9 or DS 3.11, depending on how you order them)
Original air date: January 4, 1998
Favorite quote:
STANLEY SMITH: I ain't got to stay in no room with no dead guy, all right? This is cruel and unusual punishment, okay? This is America, and I know my rights.
RAY: Oh, they always know their rights. How about the rights of the guy with the Mercedes?
STANLEY SMITH: He don't need no rights. He got a Mercedes.

Spoilers.


We know that Guy Rankin died and was entombed in the wall ninety-two days before this episode happens. We know that Ray Vecchio was still Ray Vecchio at that time, and I think we have to draw the conclusion that Fraser was on the vacation from which he returns at the beginning of "Burning Down the House," because otherwise he could hardly have failed to notice (and disapprove of) Ray's vendetta against Guy Rankin. We don't know (do we?) how long Fraser's vacation was, but I'm assuming that it must have been at least a month, because I can't quite see cramming all of these events (Rankin attempts to rape Frannie; Ray arrests him, beats him up, and has to let him walk; Dinardo kills him and sticks him in the wall; Ray nearly loses his badge over l'affaire Rankin; Ray gets tapped for the Bookman undercover) into much less than that. So this episode takes place more than a month ("I Coulda Been a Defendant") and less than three months after "Burning Down the House."

(And we just aren't going to think about the logistics of the day Guy Rankin died. We just aren't.)

---

My favorite thing about this episode is the way that everyone in it has their own agenda; there's the B-plot with Kuzma (unless that's the A-plot and Fraser and Ray have gotten stuck with the B-plot), but there's also the desk sergeant's obsession with domestic fowl, the bearded guy in the wedding dress, Mort down in the morgue thinking about postal workers, and none of the people in these other plots are particularly interested in Ray and Fraser's plot:

MORT: You know, I've been thinking about the postal workers. And the problem is, they don't get any respect. Everybody tells jokes about the mailman.
FRASER: Our mailman used to wrestle grizzly bears for money.
MORT: Well-- [he notices what Fraser is doing with Rankin] Is he one of mine?
FRASER: No. He is material evidence in a criminal investigation, and I took the liberty of storing him here earlier.
MORT: Was he dead at that time?
FRASER: Very dead.
MORT: Oh. Then-- [sings] A dio, a dio ...

I love the sense of chaos and intricacy, the sense of stories colliding and going off in a million different directions. I love the black farce of Fraser and Ray and Frannie trying to keep Rankin's body undetected. And I love with pure delight the way the plot comes around like clockwork to Kuzma trying to take Rankin hostage.

And we never do find out (do we?) what happened to Welsh's thumb.

---

The other thing I particularly like about this episode is that it's the only time in the entire series when I really, sustainedly like Frannie. She's a human being in this episode, not a comedy routine, and I like her both for her vulnerability and for her unexpected (in fact unprecedented) display of competence in dealing with the corpse: "I can debone a whole chicken in under three minutes." And for her ability, just this once, to treat Fraser as a human being. (Although notice that even a sisterly kiss from Frannie makes Fraser deeply uncomfortable.)

---

This is another episode, like "Eclipse," that offers a somewhat different view of Ray Vecchio than we got when he was actually on screen, and it's once again a little difficult to know what to make of it:

FRANNIE: He just went crazy. He was like, um, Sonny in The Godfather, you remember? When Sonny found out that his sister Connie was being beaten up by Carlo?
[Fraser shakes his head]
FRANNIE [cont.]: Ray was just like that. I had to pull him off so that Guy could get out. Anyway, after that, he was just waiting for Guy to make a mistake. And when he found out he was shaking down some of the local merchants, he hauled him in.
FRASER: And you think Ray killed him?
[Frannie nods]
FRASER [cont.]: What makes you think that?
FRANNIE: Because he said he was going to.

Then later, we get some confirmation from Stella (doing a nice job of pretending to ignore Ray's high-school-hallway come-on technique): "Maybe the fact that Ray Vecchio used his face for a punching bag had something to do with it." And from Huey, "Ray Vecchio had some personal thing with Rankin. I didn't know and didn't ask. So he roughed him up a little. All I know is, Rankin walked out of here in one piece. Now, if no one has seen him since--guys like him, who misses 'em?" And from Welsh: "It almost cost Vecchio his badge. He almost did time. The only reason he's still a cop is that this guy Rankin disappeared. And it's best that he stay disappeared."

This doesn't quite match, for me, with Ray as we saw him in Seasons 1 and 2--although the later we get in Season 2, the more plausible it starts to sound. But I think it's significant that Frannie describes Ray in terms of a movie, and not just any movie, but The Godfather and all the baggage movies about the Italian Mob are going to have for the Vecchios. I wonder how much of Frannie's account is colored by her--and Ray's--expectations about how an Italian-American man acts in that situation.

---

The perfectly surreal moment of Mort and Bob in the morgue shows that Bob exists outside the immediate frame of reference of Fraser (or Buck Frobisher). That is, we can see him even when Fraser isn't there.

Which is interesting mostly because this episode is concerned with questions of reality. There's a lot of discussion of "the real Ray Vecchio," and I think one of the questions Frannie's story brings up is who, exactly, this "real Ray Vecchio" is. There's the question of Kuzma: is he pretending to be crazy, is he a flaming nutbar, is he a flaming nutbar pretending to be crazy? There's the intense surreality of the bullpen (the bearded man in the wedding dress, for the recurring example), and the parareality of the farce with Rankin's body. There's the everpresent reminder of Dief. Smith's question is a reasonable one, as is Ray's answer:

STANLEY SMITH: Yo man, what's up? You guys for real?
RAY: We ask the tough questions around here.

Without any of its major elements being contrareal, this episode nevertheless is pushing very hard at the boundaries of realism, in several different directions at once.

---

I am not particularly fond of Stanley Smith, because I dislike that particular character type of the brash and opportunistic young punk. (I like the actor, Richard Chevolleau, and I like him even more when he returns as Davie Abelard in "Say Amen" in Season 4.) But I like the way the episode uses him, balancing him against the horrific white supremacist and cop-killer Adolph Kuzma. And also, of course, balancing him against Stanley Raymond Kowalski. Ray and Stanley Smith have more than a little bit in common, and I think Ray's awareness of that makes him uneasy and defensive--which of course gets expressed as impatience and aggression (Fraser's choice of post-hypnotic suggestion in "Seeing Is Believing" makes more and more sense the longer I think about it.)

Ray's aggression is also center stage in this episode; it's that punch to the wall that starts the whole A-plot moving. And I think just as the episode balances Smith against Ray and Kuzma, it balances Ray against Kuzma and Smith. Just as Ray has some of Kuzma's violence, he has some of Smith's opportunistic amorality, as we see in this conversation with Fraser:

RAY: Look, I didn't kill the guy. The real Ray Vecchio killed the guy.
FRASER: I didn't say he killed him. I said he is a suspect.
RAY: Well, pass it over to Internal Affairs and let them sort it out.
FRASER: No, I'm afraid I can't do that, Ray, because if Internal affairs investigates, the--[Ray is distracted by a passing woman in a short skirt] Ray. Ray. Ray. Ray. Ray. [Ray's back on board]--if Internal Affairs investigates, they will undoubtedly discover that you are not the real Ray Vecchio.
RAY: Maybe. Personally, I don't give 'em that much credit.
FRASER: Well, perhaps. But let's just say that it becomes public that you're not the real Ray Vecchio. That will probably put the real Ray Vecchio's life at risk.
RAY: Well, what am I supposed to say? Better him than me?
FRASER: No, of course not.
RAY: What are we supposed to do?

But Ray is willing to let Fraser be his moral compass. "What are we supposed to do?" And it isn't that Ray is completely amoral--witness his objection to suppressing evidence--but he isn't the pillar of rectitude that Fraser is, a truth that they both recognize later in the episode:

FRASER: He's coming in.
RAY: What'd you tell him?
FRASER: Well, it pains me to admit it, but I lied to him.
RAY: Oh, nothing happened, did it? You know, you weren't struck by lightning, the sky didn't fall in?
FRASER: Well, not yet, but it might. It might well be the start of a slippery slope.
RAY: Oh, yes, I believe you're going to hell in a handcart.
FRASER: It's not something to laugh about. I might well be.

This, in fact, is the core of the episode; Fraser's non-situational ethics have suddenly become ever so slightly situational, and it's not surprising that this brings on an attack of Bob:

R. FRASER: You're getting roped in, son.
B. FRASER: Look, I know what you're thinking. Ordinarily, I would agree, but these are very special circumstances.
R. FRASER: Oh, they always are, but concealing evidence in a murder investigation--I thought I taught you how to uphold the law.
B. FRASER: And I will.
R. FRASER: When?
B. FRASER: . . . Later today.
R. FRASER: You've got to live by the principles you protect. Otherwise everything caves in like an igloo during spring thaw.

This exchange is one of the moments at which Bob most explicitly voices Fraser's Superego; the voice of the Father is the voice of the conscience.

B. FRASER: Ray didn't kill anybody.
R. FRASER: If that's true, stay within the law.
B. FRASER: I don't have any choice.
R. FRASER: That's where you're wrong.
B. FRASER: You want to know something, Dad--

But Bob, having finally provoked his son into a human response, has disappeared.

(It's just occurred to me that this question--is it possible for Fraser to bend slightly--is going to come back in "Good for the Soul.")

This episode is all about questions of ethics. The ethics of Fraser suppressing evidence in order to find the truth, the ethics of Welsh taping the FBI, the ethics of the FBI trying to strike a deal with Kuzma in the first place. The different kinds of unethicality demonstrated by Smith and Kuzma--and by Rankin and Dinardo for that matter. And by Ray's distinctly cavalier treatment of Smith. And by Ray Vecchio, 92 days ago. Nobody's ethics are perfect, but Fraser does in fact come as close as he can.

---

An imponderable: When did Fraser measure Ray Vecchio's nose?

---

I had a dream--a long time ago--about Ray Kowalski going undercover in a daycare center, and the other day, my brain threw out a snippet of dialogue to go with it.

FRASER: But I thought you wanted children, Ray.
RAY: My kids, Fraser. My kids with Stella. Those were the kids I wanted. Not these other people's kids.

Comments

[ellen-fremedon.livejournal.com]

I love this episode a lot.

Another neat bit of parallelism between Ray and Stanley Smith was the names. The dialog hangs a hat on it, with Ray's "How many Stan Smiths do you know?" He's one of them-- Kowalski is Polish for 'smith.'

[truepenny.livejournal.com]

I did not know that. Thank you!

That makes Stanley Smith stealing Ray's badge at the end (the badge that Ray uses to demonstrate his identity as Ray Vecchio to Fraser in "Burning Down the House") even more pointed. Smith's been trying all episode to steal, or at least share in, Ray's identity as a cop and as Fraser's partner.

[nigeltde]

I really love these essays; thanks for posting!

[innocentsmith.livejournal.com]

And we never do find out (do we?) what happened to Welsh's thumb.

I always assumed that the reason various people at the 2-7 are nursing injuries is that they'd all had some kind of run-in with Kuzma. Which was part of why they're all especially set against him - the main part being, obviously, that he's a cop-killing psycho - and also why none of them want to talk about how they sustained their injuries.

Fraser was presumably not around when all this went down, which is why he's curious and keeps trying to draw the subject back around to Ray's injuries with the "ear anecdote"s and so on. (Which seems very Fraser, being dogged in pursuit of a mystery, and also kind of adorable.) I could be wrong, though, as I don't remember how they explain Kuzma's capture.

[sesshiyuki.livejournal.com]

Watching this episode was like watching a beautifully coordinated dance!

Bob and Mort's weird moment in the morgue makes a weird kind of sense to me. The ability to 'see' Bob isn't an ability reserved only for Fraser family and friends, because in Call of the Wild, Bob chooses to reveal himself to Muldoon and punches him in the head without problems. What made me giggle about the morgue scene: how perfect is it that Mort, this guy who's life work is handling dead bodies, would be able to see Bob?

Hi, by the way! I've been enjoying your Due South analyses so much I friended you, and started uh, watching the show as of three days ago. Fun times.

[truepenny.livejournal.com]

That was what I thought the first time around, but this time I'm not so sure. Because the first person to ask about Welsh's thumb is Dewey, who's sporting a black eye from another perp--not Kuzma, because they haven't brought Kuzma in yet. Ray had him and lost him (on account of nearly having his ear bitten off) and Frannie's about to come tell Welsh that Huey's bringing him in. Besides which, Welsh and Dewey both know about Ray's ear, so if Welsh's injury was from the same incident, Dewey wouldn't need to ask.

... I think. Trying to sort out the backstory in this episode makes my head hurt.

[truepenny.livejournal.com]

The way I understand that scene is that Mort can't see Bob, because while Bob getting inserted into the corpse's role (Mort taking scrapings from his nails instead of the body's) is purely surreal and defies all explanation (although it's weirdly consistent with Bob's habit of inserting himself into Fraser's cases--compare his story at the end which even he is forced to admit isn't "exactly relevant"), it makes no sense from a character perspective if Mort knows he's there. Why would Mort take scrapings from under Bob's nonexistent nails?

[innocentsmith.livejournal.com]

Maybe there were several run-ins, in which various people were involved at different times? Or not; maybe they're just all having a really bad week.

I hear you on the backstory. And let's not even get into why Ray's totally okay being in close proximity to a corpse all day...

[truepenny.livejournal.com]

Dammit, I knew there was something I forgot to mention.

Because I think it does make sense that Ray's okay with the corpse. It's the morgue that freaks him out, not dead bodies per se--the clinical aftermath of death, in which the human body becomes meat for Mort to dissect. That's the part Ray can't handle. Which is why when Mort asks him if he's squeamish, he corrects him: "Human."

[truepenny.livejournal.com]

Also, I think it's funnier if Welsh's massively bandaged thumb is nothing to do with Kuzma at all.

[sesshiyuki.livejournal.com]

Hm I see what you mean. When Mort and Bob interact, Bob isn't corporeal to Mort. But there have been instances in the show where characters act like they can "hear" Bob's voice, all the while willfully ignoring that the the rest of him doesn't exist. I'm reminded of the Captain in Mounty on a Bounty, who tells a story about himself and Bob Fraser, with Bob making peanut gallery comments and the Captain echoing those comments. It's almost in the rare cases when Bob's heard, he's usually mistaken for a thought-voice. Or suggestion of a thought. So maybe Mort see Bob as an imaginary set of fingernails and the song in his head.

And on another note, how much did I love Fraser trying to calm Ray's temper with ear stories? The first two were scoffed at, but looks like the third story worked.

[belmanoir.livejournal.com]

I agree, I am always a little puzzled by this plotline. Actually, this episode has several holes. It tells us Stella and Vecchio know each other, for one thing, but in Call of the Wild that's ignored. Anyway. Do I believe Vecchio would go crazy and beat the crap out of a guy who hurt his sister?...Probably not, but I'm WILLING to believe it. Especially if it was more of a calculated move to scare the guy off rather than a spontaneous reaction, because yeah, we've seen Ray's spontaneous angry/protective reactions with Carver in "The Duel," and they involved shoving and detective work. But setting that aside, what I really don't get is how Frannie says Vecchio was just WAITING for his chance to arrest Guy, but then when he DID arrest him, he completely sacrificed any chance to prosecute and incarcerate him. THAT makes no sense to me. I can't see him being SO spontaneously angry that he would do that.

[truepenny.livejournal.com]

1. I'm not 100% convinced we can trust Frannie's interpretation of Ray. She does, after all, have a long history of seeing what she wants to see wrt Fraser, and I think the invocation of The Godfather tells us more about Frannie's expectations and interpretations than it does about what actually happened.

2. My assumption (and this is speculation, not anything supported by the text) is that Rankin said something about Frannie and made Ray lose his shit. I.e., beating the crap out of him wasn't the plan.

3. Continuity? We scoff at it. (But you can even get around that if you argue that in the meeting about Rankin, Stella saw Ray only as just another thuggish cop and Ray saw Stella only as an ASA chewing his ass. Given Ray's well established and spectacularly bad attitude towards authority, I think it's possible that neither of them actually saw each other until CotW, when they weren't locked into the adversarial cop-lawyer scenario.)

[belmanoir.livejournal.com]

2. No, I completely agree that that's the idea. I just don't find it that plausible based on what we've seen of Vecchio.

3. Yeah...except Ray actually introduces himself in Call of the Wild and says "I don't believe I've had the pleasure." And while this episode suggests nothing about the NATURE of their relationship, she clearly knows his NAME and would recognize him if she saw him again, and one would assume that the reverse is also true.

[truepenny.livejournal.com]

I agree with you--I'm just playing the "make it fit" game.

---

It's consistent with Ray as we see him in "Juliet Is Bleeding." The fact that it's inconsistent with Ray in the rest of Seasons 1 & 2 . . . well, there's part of my problem with "JIB" in a nutshell.

Also, given the fact that Rankin was extorting money from people and generally being a criminal scumball (witness the file and, in point of fact, the murder), there may not have been any cunning and calculated vendetta. That's Frannie's interpretation, which as I said, I don't trust.

---

About CotW I can do nothing. *g*

[belmanoir.livejournal.com]

There is much in CotW2 that puzzles me, so...yeah. If you COULD do something about it that would be pretty awesome.

There may not have been any cunning and calculated vendetta.

Interesting...I hadn't actually thought about that, but it would make a lot of sense. ::ponders::

Another thing I find really interesting about this episode is how Kowalski's violence towards Kuzma parallels Vecchio's violence towards Rankin. I would find it entirely plausible if Kowalski beat the crap out of a perp. And yet, we've never seen him do it (although he's a bit scary at the beginning of Ladies' Man), so how much of that loose-cannon stuff is a posture? It seems like (like Fraser's integrity) it sort of goes on a spectrum from real to calculated presentation--it's both at the same time, but sometimes it's more real (and less under his control) than others.

[truepenny.livejournal.com]

Ooh, interesting point.

Ray's loose cannon status is definitely a posture. He uses it, and frequently uses it with the utmost transparency. (Ray is very meta about his brinksmanship.) But it's also clear that his aggression issues are real, witness the passion for boxing, and the punching walls, and other acts of physical violence--culminating, of course, in punching Fraser. (Although there, I think there's an element of Fraser calling Ray's bluff when Ray wasn't bluffing.) And I agree, I think sometimes Ray's in control of it and sometimes not.

And I think it's interesting how the violence question and the ethics question and the cop-identity question kind of tangle around each other. Ray Vecchio isn't, generally, violent, but he does tend to be ethically a little sloppy, whereas Ray Kowalski may be violent, but he is, as Welsh says, "a real good cop." So Kowalski gives a much greater impression of being dangerous and unpredictable, but there's never a shred of doubt that he'll do the right thing, and Vecchio, whose presentation is much more low key and reasonable, needs at least a little nudging from Fraser to stay on the straight and narrow.

[(Anonymous)]

On the subject of names, I was just thinking the other day that Ellen Fremedon would be a great name, and you beat me to it!

-- KSC

[ellen-fremedon.livejournal.com]

Is this the ep where Mort is taking fingernail scrapings while humming "Che gelida manina"?

[truepenny.livejournal.com]

I don't know what he's singing, as my ability to recognize arias is pretty much limited to Carmen plus some Wagner, but he is taking fingernail scrapings, yes.

[ellen-fremedon.livejournal.com]

And I am now drawing a complete blank on which episode that bit with "Che gelida manina" was in, but it was one of the slyest jokes they ever did; the lyrics to the aria translate to "What a cold little hand."

[truepenny.livejournal.com]

Oh dear. That's brilliant.

[belmanoir.livejournal.com]

I don't really see Vecchio as needing Fraser to keep him on the straight and narrow. Prior to ambiguous situations in season 3, when Vecchio isn't there to explain himself (the kilos of heroin and Guy Rankin), Vecchio never does anything all that questionable that I can think of apart from ignoring warrants sometimes (which Fraser, while not openly encouraging, takes shameless advantage of). In fact, in "The Duel" it's made very clear that while IA seems to have it in for him and many people, including his own ex-wife, believe that he would plant evidence, he himself is horrified by the idea. The one instance I can think of that gets mentioned a lot is the garment buyer thing in the Pilot. But as far as I can tell, that's fairly straightforward undercover work, NOT entrapment by any legal definition I've seen. What examples are you thinking of?

[truepenny.livejournal.com]

The sidestep around the warrant(s), his volunteering to look the other way while Fraser murders Gerard in cold blood in "A Bird in the Hand," the vendetta he does engage in in "Juliet Is Bleeding," his resistance throughout "White Men Can't Jump to Conclusions" until Fraser finally forces him to pay attention to his own memory. Even his choice to let Suzanne go in "You Must Remember This."

I'm not saying that's the only interpretation of Ray, but I think it follows from what we learn about him in "North" (both the utterly rotten example his father set for everything ever and Ray's somewhat sketchy relationship with telling the truth, both to Fraser and to himself, which we also see in "The Deal").

I'm also not suggesting for a second that Ray would plant evidence, or purloin nine kilos of heroin, or murder a guy by shellac and drywall. Because he wouldn't.

[weird-cowgirl.livejournal.com]

I actually just watched Mounty on the Bounty, and at least once when Bob says something, the captain thinks that Benton had said it. I don't remember exactly what it was, but the captain repeats what Bob had said and asks Benton "How did you know?" or something similar. So Bob's comments are explained-to-one's-self as both thought voices and the comments of others.

(This amuses me greatly, because people often try to compare Benton and Ray to Carrot and Angua of Discworld, but I rarely see any comparisons of Bob and Gaspode the Wonder Dog, who uses people's refusal to accept a dog talking to convince them they've just thought "I should give that dog a bone.")

[leonandra.livejournal.com]

I might be a bit late, but I still wanted to comment.

I watched the episode this weekend (before I've read your analysis just now) and it struck me that Ray Kowalski treats Stan Smith like an annoying younger brother pretty much throughout the whole episode. He lets Stan tag along and engages with him in a very playful way (e.g., he growls at him in the beginning).

Vice versa, Stan behaves like a younger brother as well in that he clearly doesn't see Ray as an authority figure and whines at him to let him do stuff (like calling the morgue). It all ends with Stan stealing Ray's badge in a way he must know that Fraser or Ray will notice and then runs away with Ray chasing him, bringing their interactions finally to the level of a playground.

[thatratorpheus.livejournal.com]

Just sneaking in to say how much I enjoy reading your thoughts on these episodes. Yes, this is the episode in which Mort sings "Che gelida manina" while taking nail scrapings from a corpse. There are so many kinds of dead in that scene. And how very strange is Bob, leering down at Fraser and Frannie as she's getting turned on by her brush with the forbidden. I love Bob's story at the end - Caroline dragging him away from a late night of dancing with Joe Morgan and the fur trappers - it's like the Mountie uniform can try to confine the crazy into a respectable shape, but it can't help but leak out the edges

Morality/Amorality

[themadblonde]

I think BOTH Rays have sliding morality scales, really. From the beginning, Ray K is more than willing to confront Ellery on a totally il-legal (super-legal? un-legal?) footing. & his stalking of Stella, even though the writers pay lip-service to its borderline nature by inserting "You always knew where to draw the line," is pretty clearly wrong-footed. You even note a few examples above:

Just as Ray has some of Kuzma's violence, he has some of Smith's opportunistic amorality...

& But Ray is willing to let Fraser be his moral compass. "What are we supposed to do?" And it isn't that Ray is completely amoral--witness his objection to suppressing evidence--but he isn't the pillar of rectitude that Fraser is...

& in general, his threats of violence (POLICE ACADEMY COMMANDANT: What do we do after we've controlled the suspect?
RAY: Uh, kick him in the head?) are on SERIOUSLY shakey legal/moral ground. So he is both violent & morally a little sloppy.

[myalexandria.livejournal.com]

I think this is the right episode--where Fraser has to drive the GTO and can't get "gas" and "brake" straight. The same thing happened with the Riv at some point in Season 2. But we know Fraser can drive perfectly well--he drove Thatcher (slowly and carefully, but not erratically) to the theater. And didn't he drive a jeep at some point in the pilot?

I love, love, love the Stanley Smith line about the Mercedes that you pull as your favorite quote for this one.

[bghost.livejournal.com]

Fraser's erratic relationship to driving is interesting to me... cars are a symbol of masculine power, that Fraser is less than consistent with it tells us something about him. (Perhaps that he is more nervous driving in a city? Because yes, he can drive in the pilot, and we do see him drive well (if insanely legally) in other parts of the series. (I love his passive aggressively obedient to the law chauffering of Thatcher.)

Any ideas on why (other than inconsistent scripting) Fraser might be a less than perfect driver?

Re: Morality/Amorality

[themadblonde]

Also, why WOULDN’T Ray want to get a potential rapist in on something more solid than assault? Of course he watched him after that, possibly with the intention of making Frannie feel safer with this dirtbag on the street. I agree with your thought that, whatever was SUPPOSED to happen with the actual arrest went south due to unexpected temper flair.

Re: Morality/Amorality

[themadblonde]

Odds: (Kowalski) No. We're gonna break in, look through her personal possessions, & use her can without a warrant.

Re: Morality/Amorality

[themadblonde]

Odds: (Kowalski) No. We're gonna break in, look through her personal possessions, & use her can without a warrant.