In the final episode of the final season of the series, ex- detective Jimmy
McNulty has retrieved a catatonic homeless man from a halfway house
in Philadelphia. The man had been hidden out of the way while McNulty
pretended he was dead—the victim of a serial killer preying on the
homeless. On the drive back, McNulty stops his car at a vantage point
overlooking the skyline of Baltimore. A final montage accompanied by
one last version of “Way Down in the Hole” plays out. As McNulty looks
out over the city we revisit the (multi)sites we have become familiar
with over the course of the serial: cops, corners, docks, city government
prison, courts. All continue in the manner we might expect except that
an indeterminate amount of time has passed—the gap between that
makes seriality possible: a new group of corner boys carries on business
against a mural with the names of some of the fallen dealers on it; Lester
Freamon, retired, continues to make miniature furniture under the ad-
miring eye of Charlene; Herc (now working for Levy and equipped with
an expense account) buys drinks for cops in a bar; Dozier, one of the
worst of the cops is prominent among them; Templeton feigns modesty
as he receives his Pulitzer at Columbia University; Slim Charles confers
with the “Greek”; Carcetti, ever the ambitious politician, runs for gover-
nor; Fletcher carries on reporting for the Sun under the watchful eye of a
demoted Gus; Valchek is promoted by the new mayor, Nerese Cambell,
to police commissioner; Dukie shoots up at the Arabers; Rhonda’s first
act as a judge is to recuse herself from a case Daniels, now a public de-
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