We watch in real time as McNulty loses visual contact with his kids for about thirty seconds, trying to pull around to the front of the market, and gets delayed by someone trying to get into his parking spot without letting him by first.

At the front door, Stringer's outside; the junior McNulties flank him unobtrusively. Stringer suddenly makes a tongue click like he just realized he forgot something, and heads back in, with the kids all over him.

McNulty pulls the car up and parks at a curb. He's now been away from the kids for about a minute, and when he looks up the street and can't see them anywhere, he rushes back inside.

Stringer comes out a different door, moving fast; Sean and Mikey trail behind, together now. Sean looks around, presumably for their dad, and Sean kind of spreads his hands, like, "I don't know." And then there's the "peep" of a car alarm, and the boys look up to see Stringer getting into his car -- an unremarkable burgundy coupe. How unremarkable? You guys, I think it's American. "I got him," says Sean, hurrying over. As Stringer starts the car, Sean stands behind a garbage can, and uses a handy crayon to write down Stringer's license-plate number on the front page of the Baltimore City Paper.

McNulty is in a security office at the market, shitting a brick as he describes his lost children. He's not being that helpful, though, because he can't really remember what they were wearing. The security guy there makes an announcement for Sean and Mikey to come to the office. The camera pans across the market so we can see that they aren't in there before fading into the credits. I don't know why the writer and director are trying to make it out like Sean and Mikey might be in some kind of danger here. We've seen Stringer with Wallace and Bodie and stuff -- he's great with kids!

"Come at the king, you best not miss." -- Omar. Or, just come at him with a pawn, maybe.