Disco Computer is sitting on Wallace's desk again. It winks at me and spins around, flashing fuschia and yellow lights. He's recalling Roth's semi-racist attitude, the kids pushing each other around and Braxton's wounding (which he didn't see, but whatever - I stopped caring about this storyline half an hour ago). Mrs. Braxton appears in his office, having finagled her way past security. "I was married to a cop for twenty-two years," she scoffs when Wallace wonders how she accomplished this. A family man, Braxton was. Mrs. B. admits she's here to ask Wallace not to write the story. "He gave every part of himself to that job," she insists urgently. Wallace asks why Braxton killed Miguel. Mrs. B pulls out a photo of daughter Toni -- they call her "Raye," but who cares -- and says she's sixteen now. When Toni was twelve, Miguel -- then, "El Tiberon," meaning "The Shark" -- took her at knifepoint, cut her, and raped her. "She was twelve years old," Mrs. B repeats slowly. "Ed only did what you would have done." Wallace demurs that he doesn't know how he'd have handled that, but that he isn't the issue. "So every time he sees a Puerto Rican kid, he sees an animal, he sees another Miguel, he sees a potential rapist," Wallace theorizes aloud. Mrs. Braxton insists Miguel was an animal and defends her husband's state of mind. Wallace counters by insisting cops should arrest people, not execute them at will. "Hold onto the picture," Mrs. B says. "I know you'll do the right thing." She leaves, and Wallace stares after her. He gazes at the photo, then the whiskey, then the photo. He drinks whiskey and checks the photo again on the off-chance that it looks different this time and features at least three naked, nubile twentysomethings. It doesn't. Wallace picks up the phone. "Masucci, it's Benton," he says. "We have our story."

No word yet on what he wrote or the angle he took. I think they ran over budget with the two new cop-actors that replaced Sammy Klein. And with that, we limp our way toward episode four.