February 21, 2004.
We open with…Vanessa Carlton’s “White Houses”! OMG I LOVE THIS SONG. So much so that I almost miss our case date. Anyway, we’re at a baby shower for “Bren,” who is played by Kathrine Narducci, whom you might know better as Charmaine Bucco on The Sopranos. Bren is opening gifts and everyone is laughing and seemingly having a good time. Dana, who looks like a blonder Mariska Hargitay and whose house I guess this is, picks up a fruit tart and tells the women, “Time to pack it on, girls.” Some blonde woman bemoans the diet she’s supposed to be on, while Bren celebrates the miracle of giving life–”You can eat like a horse.”
A man walks into the room, carrying an envelope and a piece of paper. A little girl protests, because boys aren’t allowed, and Dana reminds the man, whom she calls “babe,” that it’s ladies’ night. Or afternoon. Mr. Dana isn’t laughing, though. He holds up the letter and tells her it’s from the National Guard. The women look stunned and Dana asks if she is being deployed. She is being deployed and her husband tells her she’ll be leaving in three weeks. She wants to know who will take care of Lindsay, who I assume is the little girl. Wild guess, here, but maybe her father? Mr. Dana says that he will take care of their daughter and the daughter looks sad, probably because dads cook things like fried onions and mushrooms and expect you to eat that for dinner. Maybe that was just my dad.
Dana tries to lighten the mood in the room by saying that she’s a baker and will probably be given a cushy job, maybe in a former palace, doing something like cooking for senior officers. Yes, Dana. Because that’s what IEDs do–they say, “Oh, you’re a baker? Oh, my bad–sorry for the inconvenience!” and then you’re totally safe. Suffice it to say, no one is fooled. They try to pretend, though, and blonde woman offers to slice the tart, as Lindsay asks her mother if she’s going away. Dana tells her that she’ll be back before Lindsay knows it but the mother’s face betrays her as she exchanges a look with her husband. Lindsay doesn’t look like she’s buying it, either.
We freeze on Dana’s face and fade to black and white and then just black. We open on a shot of the Delaware. We go underneath the river until we reach the bottom, where Dana sits. Her right sleeve floats beside her, empty. We cut to a missing person flyer with a picture of Dana in uniform. It’s filed into a box marked “Missing Persons” and then we cut back to the Delaware.
Present day river. Lilly looks like she combed her hair with a fork. She greets Miller, who had to stop at the scene on her way to take her daughter to school. Veronica, her 8-year-old, is upset because she wants to come along on the crime scene. Miller says she’s a weird kid, which whatever. They greet Lt. Stillman and Lilly asks if they’re there for a floater. Negative! Instead a trawl pulled up a prosthetic arm. The serial number matches the arm made for a missing GI. “Guy couldn’t catch a break, huh?” Lilly asks and Stillman corrects her–”Gal.” We learn that she went missing three months after her return from Iraq. Lilly wants to know how long someone with a lost arm can stay missing and Miller namedrops The Fugitive, which–get over it, CBS. Let go. Stillman mentions that arms like those are expensive–custom-fit and made of titanium–so it’s not an accessory someone would just throw away. He figures that if the arm was in the river, it’s likely that the rest of her is, too, so they have divers searching the river. Lilly makes a lame crack about bringing daughters to work and I twitch. Credits.
The House. Vera and Lilly are walking through the evidence storage room and Vera doesn’t understand “lady soldier”s. Lilly doesn’t understand what he doesn’t understand. He alludes to Lynndie England and Lilly still doesn’t get it. “I just don’t get these chicks that want to tote guns and take prisoners for a living,” he says and then he remembers who he’s talking to. “No offense.” Luckily, Jeffries is down there, already suited up in the Magical Exposition Fairy leotard. We’re examining the case of 30-year-old Dana Taylor, who joined the Guard to pay for cooking school. She had six months left in her eight-year “bid” with the guard and spent three months in Iraq. While in Iraq, she lost her right arm in a grenade attack, during which she saved another soldier, earning herself a Ribbon of Valor. She returned from Iraq in June 2004 and disappeared in October. The last person to see her was her husband Geoff, who told the police that she went for a walk and never returned. Vera thinks the husband’s story is “lame,” but Jeffries thinks it might be lame enough to be true. Lilly points out that the couple was having problems, so It’s possible that Dana committed suicide or her DH served up the Scott Peterson special. Jeffries asks after Scotty and Lilly tells him that Scotty took the day off without saying why.
Cut to Scotty, who’s visiting his brother. Brother, wife, and children are having breakfast in the kitchen. His brother teases him about being out of cornflakes and Scotty, in a magnificent show of exactly the wrong thing to say, asks, “I can’t visit my own brother without being abused?” Then, in a totally not obvious and/or awkward segue to breakfast talk, Scotty suggests that he and his brother “take a walk.” They take a long journey out of the kitchen door onto the back deck, where Scotty clumsily brings up the pending case against Bro’s boxing coach. Brother says he can’t help, in a way that screams “I can!!!” Scotty accepts it, although he looks like he doesn’t believe it, and they walk back inside.
Exterior shots of Philadelphia! I love this, because it reminds me of visiting my best friend there. We are at the Taylor home, where Jeffries and Miller are interviewing Geoff, Dana’s husband. He’s saying that his wife wanted to be as normal as possible and thus, she never took off the arm. Miller, who’s wearing an awesome Thor’s hammer necklace, asks if the lady Taylor came back “different.” At first Geoff takes offense, because duh. Her arm was blown off. Jeffries mentions that he and his wife had problems when he returned from Vietnam, to which Geoff replies that they were working out their issues until the night she went missing. Jeffries asks if she mentioned going to the river that night. Geoff answers that going on long, solitary walks became a hobby of hers and she never told him where she went. Miller asks about problems with neighbors but Geoff shrugs it off, saying that “Fishtown” is a military neighborhood, so people there respected what she did. Jeffries asks him if suicide could have been a possibility. Geoff doesn’t think so because they were working on their problems. He does admit, though, that her coming back different “threw” him.
Flashback, sponsored by Dido’s “White Flag.” Is there a theme going here? White houses, white flag? Anyway, we open on Geoff and Lindsay walking down a hall. Geoff is carrying flowers and smiling, at least until he catches sight of his wife. She’s talking to another soldier, who’s asking her if she knows what he misses the most. She suggests his leg. He laughs and after she suggests the food, he finally answers with “the danger.” He starts to say something else but notices the Taylors standing there and points them out to Dana. Excited, she stands up, holding her stump in her good hand. Lindsay is happy at first but as she runs to her mother, she notices her arm and asks about it. Geoff scolds her mildly and tells her to give her mother a hug, which she does, as Dana tells her that they’ll all have to get used to it. Lindsay isn’t on that train, however, and tells her mom that she doesn’t like it. “It’s weird.” Dana dismisses it as “just an arm” and tickles her with her left hand. She tells her family that she’s glad to be back as her husband says they’re glad to have her back and the other soldier stares at her with such obvious love that he might as well be wearing a t-shirt that says “I will be walked away by a detective in the final montage.”
Geoff finally says something to him, greeting him as “Tommy” and telling him that the neighborhood is much more pleasant without his loud-ass antics. Well, that’s how it came out. For his part, Tommy mentions that he’s been a little busy “kicking Iraqi ass.” Language, Tommy! The family continues talking and it’s obvious that Geoff can’t look at her, which he tells the detectives. Miller suggests that that might have been enough to make her suicidal, to which Geoff says that if anyone would know Dana’s secrets, it would be Tommy. It was him who Dana saved during the RPG attack.
Interview with Tommy. He tells Scotty and Lilly that he and Dana spoke on the phone every night, but it wasn’t what the detectives think. They were talking about the war, their rehab experiences, and their friend Frank, who died in the grenade attack. Lilly asks Tommy what they talked about the night Dana disappeared and he tells the detectives that their conversation was normal–talking about nightmares and people looking at them like they’re freaks. “No one else gets it,” he says, “so we tell each other.”
Flashback. “Chocolate” by Snow Patrol plays as we arrive at what looks to be a backyard Fourth of July party. Dana is carrying a tray of cupcakes outside, as Tommy trails her, telling her that he contacted the Guard to ask them to send him back to Iraq. Dana thinks he’s kidding but Tommy is serious, saying that he’s walking well again. “Why not?” he asks her and she has a flashback of an unseen person in black walking on a dirt road sandwiched by wild vegetation, which we can assume is in Iraq. It’s nowhere in Pennsylvania, at least. Tommy notices Dana is shaken and asks her about but she shakes him off and starts to offer cupcakes around. Blonde woman from the shower earlier condescendingly assures her they’re sweet. Dana offers them to Bren, the expectant mother from the shower, but is rebuffed with a scowl. Dana looks sad and passes the cupcakes off to the blonde woman, then starts to moon over Bren’s baby, who we learn was Frank’s. Bren tells her that she missed Dana at Frank’s memorial but not in a way that means she actually missed her–more in a “I’m glad you didn’t come so I can blame my rage on that and not the fact that my husband died in a rocket-powered grenade attack” kind of way. Bren proves it when she snarls that Dana must have had something better to do and then agrees when Dana says that she thought Bren didn’t want her there. Dana asks what would have been appropriate since Bren didn’t want her there and is angry that she wasn’t there. “Just don’t act like we’re friends,” Bren crabs. “We’re not. And we never will be again!” Tommy tries to tell Bren that she’s drunk, because that always goes over well, and she shrieks at him about not being at the memorial, either. He attempts to tell her that it’s hard for him and Dana too but Bren whips out a wee violin because neither of them lost anyone. “We lost Frank,” Dana says. Bren tucks the violin in her purse and pulls out a dagger, pinning Dana to the ground with “I can’t stand to see you alive when he is nothing but ashes at the bottom of that river.” Well, then. Dana’s face crumples and she walks away.
Back to present. Lilly wants to know why Bren was being so hard on Dana and Tommy tells the detectives that Dana was driving the truck they were all in when they were hit by the grenade. Brenda, Tommy tells them, was a crazy drunk back then, as if that’s supposed to shield her from the detectives’ suspicion. Lilly and Scotty exchange a look. A “Bitch, is he for real?” look.
They hath heard my cries! Well, kind of. For as we open in Lilly’s House of Ick, there’s the Fugitive Whatshisface (ick) with…at least one of Lilly’s cats! Ol’ One Eye, to be exact, and he’s my favorite. Lilly is burning breakfast. Fugitive tries to make a joke about it but Lilly goes directly to “I Have Issues” and does not collect $200. “Who left you, Lil?” Fugie asks. Who cares? Can we get back to A-plot? Anyway, if you care, Lilly’s dad left when she was six and she’s way emo about it.
The house. Stillman and Scotty are interviewing Brenda, who asks if they found Dana, since they told her she was the purpose of the interview. Scotty’s all, we found her arm but we figure the rest of her is worm food. Brenda is no longer a crazy drunk and asks if he skipped his sensitivity seminar. Scotty proves he did, by ignoring her question and asking about the Fourth of July party instead. Brenda says that back then, hey…crazy drunk. “I was grieving, not homicidal.” She tells the detectives that she was home with the baby the night Dana went missing and Scotty reminds her that babies can’t testify in court, because they are dirty, dirty liars. She asks what she would have had to gain by killing Dana, since it wasn’t going to bring back Frank. Then she tells them that she and Dana made up after Brenda stopped being a crazy drunk and that things had gotten back to normal between them. Stillman mentions that “normal” isn’t the easiest thing in the world for a vet and Brenda agrees, saying that a part of Dana seemed stuck in Iraq.
And Citizen Cope’s “Bullet and a Target” is our symbol that we’re flashing back, so please secure your lapbelt. We land in the Taylor minivan, which is being driven by Dana. Brenda is in the passenger seat and Lindsay is in the second row. Lindsay is annoying. “Why isn’t Daddy taking me to gymnastics? Daddy always lets me sit in the front seat,” etc. Dana suggests she braid her doll’s hair and stifle, then Brenda mentions that she stopped drinking. Um, okay. That’s an odd segue, unless you’re planning to finish the sentence “until this car ride.” She tells Dana that she’s going to counseling and she asks Dana if she thought about it. Dana laughs it off, but Brenda says that Geoff told her that Dana’s never talked about the attack. Brenda would like to know what happened. Dana starts, “We were driving, like we are now.” She mentions their orders to keep moving and answering Brenda’s next question, tells her that Frank was “looking out” for anything out of place. A group of boys runs into the road ahead of them and are playing ball. And can I just say how utterly contrived this is? Dana’s van is like, twenty feet away from them–what idiot kids would be like, “Game on!” at this point?
Dana slams on the brakes, honking and yelling at the kids. She screeches to a stop and gets out. The kid closest to her gives her the “Watch it, you freak!” treatment. He probably could have said something dumber, but I don’t know how. Dana continues to berate him. “Didn’t you see me coming? Are you a complete moron?” The kid pulls away from her and the boys run off. Dana turns back to the van, as if she’s just then remembering where she is. She tearfully apologizes to Brenda and Lindsay, saying, “I keep forgetting I can’t act like that here.” Dana tries to compose herself outside the van, while Brenda tries to reassure Lindsay inside. Lindsay says matter-of-factly, “She’s always doing that. Making people mad.”
Back to present. Scotty thinks Dana’s personality change was “quite a flip,” but Stillman the war vet thinks it was “classic PTSD.” Scotty wonders who else Dana had run ins with and Stillman suggests they talk to Lindsay.
Taylor house. Jeffries and Lilly sit with Lindsay in her backyard, Jeffries on the slide and the ladyfolk on the swings. Lindsay asks if they know where her mother is. They do not and ask about when her mom came back, about the times she made people mad. At first Lindsay tries to fake like she doesn’t know what they’re talking about but after Lilly assures her she won’t get in trouble for telling them, she mentions a man at Lindsay’s school assembly.
Flashback to a school assembly, where some woman is droning on about honoring war heroes. Tommy and Dana are seated together with Lindsay. Tommy looks bugged and Dana asks him what’s wrong. He tells her that his petition to return to Iraq was denied and he was medically discharged. Dana tries to tell him that it was a long shot but he’s riding the good ship Pity Party. Dana takes off a medal that looks to be her Ribbon of Valor and asks him to hold it for her, as the school lady asks everyone to welcome Dana. Dr. Rocky Bronzino from The X-Files episode “Lord of the Flies” is sitting behind them. Dana goes to the stage to speak. She tells the crowd that she was in Iraq for three months and that she was scared when she went but she was determined to do her duty. Then “this happened to me,” she says, showing the crowd her magic arm. She tells them that she has “confused feelings about the war” and in lieu of speaking further, will instead take questions. Some doofus kid immediately shoots his arm into the air. Dana calls on him and he excitedly asks her if she ever “wasted” anyone. Dana has the same flash she had at the Fourth of July party, of the person in black on the dirt road. She says that she did not but that a good friend of hers was wasted. That’s the ideal word, innit? As in, what a waste. She tells the crowd a totally not kid-friendly story, about how one minute Frank was asking them what’s brown and sticky and the next minute, well…he was, telling the audience that Frank’s “blood and his insides were all over the truck, all over me.” She finishes with, “It’s not like a video game or a movie. It breaks your heart right in half.” She walks offstage, as Dr. Rocky Bronzino looks totally pissed.
When she reaches her seat, the school lady starts the next introduction like the previous speaker wasn’t totally awkward and Dr. Rocky leans forward to ask Dana what kind of soldier she is. She snaps back that she’s kind that tells the truth, not the truthiness, but Dr. Rocky wants to know how she thinks his child feels now, since he’s returning to Iraq in a week. Dana suggests to her daughter that they leave but no, that’s not good enough for Rocky. “You should have stayed in the damn kitchen, you know that? You got no business doing a man’s job!” Then a stiff breeze made Dr. Rocky fall over because only cardboard standees say things like that and expect to be taken seriously. Dana tells the cardboard that she’s a soldier just like he is and at first he doesn’t say anything, because he’s made of coated board but then someone props him back up and he tells her that someone “ought to teach [her] a lesson.” Then his daughter leads him away, his clumsy cardboard body falling on her head every few steps.
Back to present. Jeffries asks who the man was and Lindsay tells them it was “Penny Kozlowski’s dad.” The little girl is worried that her mother went away because she found out Lindsay thought her arm was scary but Lilly reassures her. They thank Mr. Taylor for the time and walk off, planning to interview Kozlowski.
Kozlowski’s house. He’s lifting weights in his garage and doesn’t have a sixteenth of the charm of Lester Burnham, another garage lifter. He’s more like Frank Fitz. Miller and Vera tell him they’re there investigating Dana’s disappearance and that they suspect homicide, which doesn’t surprise Kozlowski, because that Dana was one mouthy broad. They mention the school assembly and he says that he was angry with her for “traumatizing” the children there but if he killed her, he’d tell them. Vera mentions that Mr. Friendly specializes in aggravated assault and asks after an alibi. Apparently this douchenozzle keeps “good calendars,” which he offers to show the detectives. Vera agrees and Miller hangs back to chat up Mrs. Kozlowski, who’s tending flowers and who looks like she spends a lot of time blending coverup makeup, if you know what I mean. Miller gives her a gardening tip and then asks if she has any tips to trade. Mrs. Kozlowski says that she knew Dana but then corrects herself, saying that she “knew of her.” Miller asks what she means and she tells the detective that she knew Mr. Taylor.
Flashback to what looks like a support group. “Grazed Knees” by Snow Patrol is playing as Mrs. Kozlowski is asking Paula, the blonde woman we’ve seen twice, who her friend is. Paula introduces Geoff to the group, which seems to be for military spouses. Geoff, upon Paula’s prompting, tells the group (who are all female excepting him) that he and Dana have been involved since they were 15. He says that Lindsay is all he has right now, since he’s not allowed to know his own wife’s location overseas. He becomes choked up as he tells the group that he feels lost. Mrs. Kozlowski suggests a coffee break. Most of the women get up but Paula stays and boy, have they tarted her up for this. Geoff feels weird because he’s a man and therefore, supposed to be stoic. Paula tells him that she knows he’s a man and the camera pans down her front, where she’s wearing a leopard print cardigan over a pink floral top that seriously, is unbuttoned to like, her navel. She holds his hand and he gives her a funny look as she smiles at him. Mrs. Kozlowski, standing behind them at the coffee urn, looks down at them warily.
Present. Mrs. Kozlowski is telling Miller that many stay-at-home spouses had “Jodys.” In case you were wondering, wikipedia, which is never, ever wrong says:
In the United States, these [cadence] songs get the name jody call or jody (also jodie) from a recurring character, a civilian named “Jody” whose luxurious lifestyle is contrasted with military deprivations in a number of traditional calls. Jody is the person who stays at home, drives the soldier’s car, and gets the soldier’s sweetheart while the soldier is in recruit training or in country. (Serendipitously, the name works just as well for female soldiers.)
Miller assumes then that Paula and Geoff’s relationship wasn’t serious but Lady Kozlowski thinks Paula wanted it to be. It goes without saying that the return of Mrs. Geoff would put a kink in that plan but Mrs. Kozlowski says that Paula is like one of those women that used to be on like, Jenny Jones and Ricki Lake and stuff. To wit, she’s so HOTT that your man can’t resist!!! Snore.
We go back to the house for Paula’s interview with Scotty and Lilly. If Lilly’s makeup is applied with a shotgun, then Paula’s is done with a bazooka. They ask her if her husband is overseas and she charmingly describes his location as “ass-deep in the Sunni triangle.” Too bad it’s not balls-deep, because that’s a sign of true love. Anyway, the detectives allude to “lonely nights,” which Spackleface says are nonexistent because she “keep[s] busy.” They ask about Geoff Taylor and she admits they had a “thing.” When Lilly tries to clarify it as an affair, she gets cutesy and suggests they were doing crosswords. Her makeup is horrendous. Who is she trying to fool with her jacket buttoned to her neck and forty layers of blue eyeshadow? They suggest that after Dana came home, hell hath no fury like Paula but she says that she was not, in fact, scorned upon Dana’s return. Apparently, Dana didn’t want to have sex so Paula and Geoff kept up the status bone until, as Paula says, “…it all blew up.”
Flashback to the Taylor bedroom. Geoff is sitting on the bed looking and being impatient as Paula trowels on her last twelve layers of makeup. She asks about meeting at her house the next day and he asks what they’re doing there. Not in a “I missed tenth grade health class” kind of way but “why the hell am I boning you?” kind of way. Paula answers that they are “living” but she just sounds bored and Geoff dismisses her with “yeah.” She suggests that they could make it permanent and Geoff says, “Sometimes I think…I get dark thoughts, about changing my life.” Then the bedroom door opens and whoops! They’re busted by Dana.
Geoff’s immediate response is so pathetic I hate recapping it. He actually says, “I thought you were at rehab.” She tells him that Lindsay’s school called her because the girl had a fever and then gets back to the business of giving him a piece of her mind. She tells him that she can’t believe she’s been struggling at rehab to relearn basic tasks while he’s been boning Spackleface. Then she says that she’ll let them get back to what they were doing but she’s taking Lindsay because come on? Only a moron would want Paula as a role model. She finishes by telling Geoff, “I can’t believe you threw it all away” and she leaves the room, as Geoff follows her. The flashback ends with Paula looking sad and are we supposed to feel sorry for her because not.
Back to present. “You probably think I’m some bimbo homewrecker,” Paula is saying. There’s the windup… Scotty grins and says, “Pretty much.” And the pitch! Paula tells Scotty, who is pretty much the only person she’s focused on the entire interview, that she and Geoff were just lonely and that once Dana found out, the affair was over. They remind her that Dana was over that night, too, leaving Geoff a single man but she again says that that night was the end. Don’t cry for Paula, though, because she has a new Jody. “You can go, Paula,” Lilly says, with no small measure of bemusement. After she leaves, Lilly points out that Geoff said Lindsay was the only thing he had to hold onto while his wife was gone. Were Dana to take Lindsay away…”Maybe those dark thoughts got the best of him,” Lilly finishes.
Reinterview with Geoff. Scotty asks why he didn’t mention his affair with “the skank” and Geoff cops to being ashamed. Scotty points out that it’s motive for murdering Dana, to which Geoff replies that he didn’t kill his wife. He says that he loved her and Scotty responds that Geoff loves his daughter too and perhaps he was threatened by Dana’s possibly taking her away. Geoff says that he was going to take his medicine like a big boy, however it went, and that something good came out of the mess of the affair. “We finally talked about it,” he says. The “it” being what happened in Iraq to break Dana’s heart in half.
Flashback. Dana is sitting with a sleeping Lindsay and telling Geoff that her fever has dropped. “You’re going, huh?” she asks and we see that Geoff has a bag on his shoulder. He kisses Lindsay and leaves the room, with Dana following. The couple stops in their living room and Geoff asks her what happened to them. He tells her that he feels like he lost her in Iraq, that he’s “so sorry” and that he’ll leave if she wants. First, though, he wants to know what wrecked his wife. Dana has her person in black, dirt road flashback and shakes her head, telling her husband that he doesn’t want to know. He tells her does. She tells him that he’ll hate her, to which he says that he never could. She says that she doesn’t deserve the Ribbon of Valor because Frank’s death was her fault. Then she tells the story. They’d made a delivery and were driving back. Frank was telling a joke. Then, Dana the driver saw someone in the road. We go back to her person in black flashback and zoom up on the person until we can see that it’s a young girl. Dana explains to her husband that she’d been trained to run down anyone in the road. “Even a kid?” her husband asks. She tells him that children are used as bait to make the convoys stop. Dana, seeing not a trap but a child like her daughter, slowed down. And that’s when they were hit. “Typical girl soldier, right?” she asks. Her husband reassures her that her response was wholly human and that he would have done the same thing. He reminds her that an RPG killed Frank. They hug and she tells him she doesn’t want her Ribbon. He tells her to get to get rid of it, then. She remembers Frank and says that “we” have to tell him goodbye. She asks her husband if he’ll watch Lindsay and he’s like, duh. She turns to leave but before she goes, he tells her, “You’re my girl.”
Back to present. That was the last time he ever saw her. Scotty wants to know who she meant by “we.” Outside the interrogation room, Vera remembers that Tommy didn’t go to Frank’s memorial, either, while Stillman points out that Tommy had the Ribbon. Also, Frank’s ashes are in the river. Dun dun dun!!!
At the house, reinterview of Tommy by Lilly and Jeffries. They’re asking him about Dana’s plans that night and he’s playing dumb. They have your phone records, stupid. Lilly thinks he didn’t mention their plan for that night because something had gone wrong. Jeffries points out that Dana saved Tommy after the RPG and doesn’t understand then why he’d want to hurt her. Tommy says that hurting Dana was in fact, the last thing he’d want to do. Lilly says, “I believe you, Tommy, because I think you wanted more of her than you could have.” The war, rehab, phone calls every night… But she was married, as Jeffries reminds everyone. Tommy thinks that doesn’t matter, since Geoff was stepping out, as he found out the night Dana disappeared. He thought that Dana felt the same way he did and that that night was “going to be the start of a new life.”
Flashback. Tommy walks up to Dana, who’s standing on the bridge. He gives her the Ribbon and she says they’re going to move on, that it’s time to leave their memories behind. She tells Frank to rest in peace and then she drops the Ribbon into the river. Tommy looks at her. “New chapter, huh?” he asks. “So about how you and me?” Dana is confused. He tells her that there’s a reason they talk every night. She tells him that she has a family and yes, Geoff cheated on her, and they might not recover from that but they have to try. She tells him, against his protests, that of course they became close–they almost died together. Tommy thinks that he has nothing but Dana says that they’re special because they’re vets. “We’re finding our way back, Tommy,” she says, “and we’re going to make it.” He chokes back his tears and looks at her. “You will. Not me. Not me!” he answers and pushes her away from him. Unfortunately, he pushes like Leigh Tiffin kicks and accidentally pushes her over the railing and down into the Delaware. She screams as she falls and he keeps yelling, “No!” instead of oh, I don’t know…getting help?
Back to present. Our final montage song this time is Oasis’s “Little by Little.” Jeffries leads Tommy through the station. Cut to a group of divers carrying a body bag toward a waiting ambulance, as Miller and Stillman look on. One of the men gives Stillman Dana’s Ribbon of Valor. Cut to Vera, storing Dana’s evidence box. Cut to a television showing footage of the “The War in Iraq” as Paula looks on. Cut to boys exiting a boxing gym, as Scotty drives by. Cut to Dana’s military funeral. Geoff, Lindsay, Brenda and Mrs. Kozlowski are in attendance, as are Lilly and Jeffries. Geoff is presented with Dana’s flag and Lindsay is given the godforsaken Ribbon. That thing’s like the gorram monkey paw. Lindsay steps forward to her mother’s casket and salutes it. Then she turns to the photo of Dana in uniform that’s looking over the proceedings. GhostDana is standing in front of the photo, wearing her desert gear and saluting. The camera pans back to the photo and we fade to black.