In the lounge, Samantha is still telling Luka -- now joined by a non-uniformed man I can only assume is a detective -- that Paul is innocent, and that the cops don't know anything for sure. The detective agrees, but says that they really need to find him anyway. UC2 comes in to tell everyone that Paul isn't at his home address, and no one's seen him at the diner he told Lucy he'd come from. The detective asks Samantha whether there's anywhere else he might go if he wanted to feel safe. Evasively, Samantha tells Luka, and not the detective, that just because Paul's been "a little depressed, it doesn't mean he's crazy." Luka has no response other than to stare at her. The detective agrees to that too, but tells her that they have to assume that, at the moment, Paul may be a danger to himself and to others. Samantha says that doesn't make any sense, and once again directs her remarks to Luka: "If he was that dangerous, why did they leave him alone?" The detective delivers a pointed look at Luka, who instead of yelling, "I didn't even see him! I was working that mom and dad who both died in the car crash, remember? And then I had to go tell their freaking kids that both their parents were dead! So don't even think about blaming me for your batshit husband, lady -- if you ask me, you are the one who should go home with the Chrysler LeBaron and the trip to Acapulco for winning today's installment of The Blame Game, so you can see how your continual obfuscation is really chapping my sweet, sweet Croatian ass!" says, "I understand. This doesn't make much sense to any of us. But if Paul's in trouble, he needs help, and it's better if we can find him now." Samantha sets her jaw, and reluctantly admits, "Sometimes he goes to the roof when he wants to be alone." Luka asks, "The roof?" and she adds, "Of our apartment building." UC2 takes off, and Samantha repeats, "He didn't do this." Yeah, I've heard that tune. And you know what? I didn't request it. I wanted to hear "Sledge Hammer."
Upstairs, Romano and Elizabeth continue working on Lucy. She seems to be stabilized, and the camera starts at the foot of her bed and keeps pulling further and further back, which, at the time, I thought was the director's really subtle way of representing Lucy's soul being pulled out of her body. Or something.
Then the camera is closing in on Carter's face as Benton and Anspaugh wrap up his surgery. It turns out that Benton was freaking out over nothing before, and he freely and graciously admits that Anspaugh was right. Things must be looking up for Carter, because Anspaugh jokes, "He could have lived without a kidney. I just didn't want to tell him." Of course, I spoke too soon; a hematoma is forming...somewhere...in Carter's guts. Benton asks if it's forming in the lumbar area, and Anspaugh says he hopes so. Benton says, "You hope so? If we tie it off, it could paralyze him!" Anspaugh says, "It's better than his aorta!"