Screen Genius - Black Maps and Motel Rooms Script lyrics

INT. MOTEL ROOM Paul looks over a stack of documents. Vera writhes on the bed next to him. He checks his phone and sees 5 missed calls from Emily. INT. MOTEL ROOM Ani takes her wig off and hyperventilates. ANI: I feel so f**ed up. My head's so f**ed up. RAY: You want me to roll a joint? ANI: Oh, those f**ing f**s. Holloway was there. f**ing Geldof. The f**ing AG was shaking hands with the... That piece of sh** tried to choke me out. He put his hands on the wrong... I've been waiting my whole life for that. I think I even went looking. That's my whole life. And when I ran out of the woods and they found me-- RAY: The woods? ANI: What? What? RAY: You said-- ANI: Oh, God. Ani sits on Ray's lap and starts kissing him. RAY: Hey, look, I don't think... This wouldn't help you. ANI: It might. It usually does. RAY: All right. Ani pulls herself off him, laughs, and steadies herself. ANI: Oh, it's the d**. It's the d**. I'm f**ed up. RAY: Mmm. You're too far out of my league anyway. I'm gonna check out the other two. You and the girl, you should stay here through tomorrow. You know, we can see what the damage is and report all this to Davis. ANI: Yeah. RAY: You can call your sister. Ray exits the room. INT. MOTEL ROOM Ray and Paul flip through the documents. RAY: Addenda to corporate charters for holding companies, shares dispersed to new owners-- Eagle Iron LLC. President Osip Agranov. PAUL: Electralux Entertainment. President Anthony Chessani. RAY: It shows the holding company's a**ets. These are all land parcels in that corridor. Valley poisoned by mine runoff. There was some kind of buy/sell deal upon d**h. I mean, they just repurchased Caspere's shares for pennies and redistributed them. PAUL: Motive. RAY: Well, it's something. Paul checks his phone. He sees a text from an Unknown Caller with pictures of him and Miguel. Caption: “Busy night? Say Hi to Emily." RAY: Everything all right? PAUL: Yeah. Yeah. It's just my fiancé. There's a knock on the door. Ray looks out the window to see who it is, then lets Ani in. ANI: Okay, what's next? PAUL: I got to, uh-- I got to check in at home. Paul exits the room. RAY: We should drop this on Davis. You want to hold the fort? Question her when she comes up. ANI: Yeah. You think they could make me for that security guard? Would they? RAY: I don't know. INT. VINCI GARDENS CASINO Ray deals out cards to empty seats. Jordan sits down next to him. JORDAN: I hoped you'd make it home. But I guess here is good enough. FRANK: Took a couple kicks last night. JORDAN: Can you talk about it? FRANK: There'll be some new people operating at the clubs for a while, a few days a week. JORDAN: What people? FRANK: Mexicans. Something else to solve. In the midst of being g**ned by forces unseen, I figure I'd drill a new orifice, go on and f** myself for a change. JORDAN: Frank, what can you pull together? Liquid right now? FRANK: Maybe 200K. Three tops. JORDAN: We could just walk away from the table. FRANK: That's 45 years of my life. You see me managing an Applebee's? JORDAN: I worked at one once. They give you a shift meal. Frank chuckles. JORDAN: I'll handle the deliveries at Lux. Ray walks towards the table. Jordan gets up and walks by him. RAY: Mrs. Semyon. You look lovely this morning. JORDAN: Ray, dashing as ever. Keep it holstered. Ray sits down across from Frank. Frank starts shuffling the cards. RAY: I, uh… Had a little bit of a strange night. INT. CAR EMILY: You should just tell me what's going on, Paul. The men on the phone scared me. PAUL: He said, "Ask Paul about the pictures." That's all he said. He hung up. EMILY: What is this about? Tell me or I'm not going. PAUL: It was that case. I was undercover. I just want you to be safe for a couple days. EMILY: We are having a baby. PAUL: This will all be cleared up by then. EMILY: Why did you get with me, Paul? Why did you even ask me out? PAUL: I'm just trying to be a good man. EMILY: Well, you don't try right. INT. ATHENA'S HOUSE ATHENA: What happened? ANI: It was bad in there. If they think I was you, you need to disappear for a little while. ATHENA: What? How am I supposed to disappear? ANI: I'll give you some money. Go up north. Oregon, maybe. Dad knows some people. He should go, too, just-- just to be safe. ATHENA: For how long? I-- I'm seeing someone and I'm starting school in the fall. ANI: We just need to put this case down. And then you're okay. But you gotta go. Both of you. Now, like today. You get somebody to put some of your things together for you. You don't go back home. ATHENA: What did you do? ANI: I saved a girl. She's in the next room coming off of whatever they had her on. ATHENA: Did they give you something? Did you go all the way in? Inside the party? ANI: Yeah. Did you? EXT. MOTEL Paul carries Emily's luggage into a motel room. CYNTHIA: I don't see how you can expect us to stay here. EMILY: Paul, if something this wrong is going on, maybe you should go to your bosses. Tell them you need out. PAUL: It's more complicated than that. The less you know, the better. I can't go to the bosses, not yet. This op I did, it might be nothing. But I just want you both to be safe if my cover was blown, that's it. Two, three nights tops. EMILY: And what are we supposed to do? PAUL: Room service. Don't answer the door or the phone if it isn't me. And, you know, just relax. INT. VINCI GARDENS CASINO FRANK: Okay. You bring someone up, invest time and emotion, personal attachment, and hope for what? Parity. RAY: Well, this is way bigger than Blake. You got probable future governor and current Attorney General Geldof there. And that guy from Catalast, McCandless. He closed the deal. FRANK: What deal? RAY: We got these documents from one of Catalast's holding companies, transferred ownership of a**ets, land in that rail corridor. Now, they sold Caspere's shares in two other companies. One of them's owned by the mayor's kid, Tony Chessani. FRANK: Him? Kid's a twist. I fixed a hit and run for him once-- motherf**er. RAY: Well, the other company's owned by this older cat. He was at the party. I saw him at the warehouse where they dropped the girls last week. Looked European. Papers said his name was Osip Agranov. FRANK: He's Russian Israeli. RAY: Blake was listed as the holding company's treasurer. So to me, it looked like your man helped Tony and this other guy f** you out of Caspere's shares. It could be they k**ed Caspere for them. My old chief Holloway, he was there, too. FRANK: The girl, Irina Rulfo, she's had a cop gave her Caspere's stash. Paid her to pawn it. She said he was white. RAY: You found Irina? FRANK: Sort of. She's gone. RAY: You got a name for me? The man who put you on my wife's attacker? FRANK: I'll have it for you by the end of the day. Word of honor. RAY: I guess I'll continue with the belief it wasn't you. FRANK: Uh-huh. Ray go ahead and show yourself out just now. I need a few minutes alone, process the ins and outs of all this. RAY: Sure. I gotta go anyways. Ray exits the casino. EXT. VINCI GARDENS RAY (over phone): Woodrugh, Velcoro. The Rulfo girl said a policeman paid her to pawn Caspere's stuff. Look in LAPD service records, all right. Find out where Holloway was in '92 and who else was in his squad. Davis is meeting me this afternoon. I want her to see those signatures in person. INT. MOTEL ANI: Your sister put me onto you. Said you were missing. Vera scoffs. ANI: And then this was delivered to her. Contents of a mailbox you kept. I need you to look at this stuff. These pictures. Ani hands Vera the stack of photos. Vera flips through them. VERA: Oh, sh**, man. Forgot I kept that box. Right. Yeah, Tascha must have sent these. ANI: Tascha? You know Ben Caspere? He had a girl he introduced as Tascha. VERA: Yeah. I met Ben at the Panticapaem Institute when I was a maid. He was the one. He hooked me up on the circuit. Tascha. God, was his, like, favorite. She's Hungarian. But she had these plans. Photos of these parties. I warned her. f**, maybe she sent these as backup. b**h tried to involve me in that sh**. ANI: She tried to blackmail them. VERA: I warned her. Dudes like this don't play. ANI: All right, what about these diamonds? They mean anything to you? VERA: Those must be-- Yeah, she had said once that Caspere had shown her these diamonds. Said they were special like. ANI: What happened to Tascha? VERA: Wherever we were, it was someplace up north. They found a camera. So I think there was a cabin out back. It was Tony C and their guys. They took her into the woods. ANI: Will you testify? VERA: f**, no. I was hammered anyway. You know what? Thinking about it, I don't know what I've seen. ANI: Is that when you tried to get out? VERA: I never tried to get out. Girl f**ed up. All you gotta do is follow the rules. I didn't want to get out. You feel me? I was never missing. ANI: You didn't look like you wanted to be where you were when I found you. VERA: I took too much Molly on top of champagne. So what? It happens. ANI: All right, so who's the other girl? VERA: Her name is Laura, maybe. I ain't seen her in like five, six months. ANI: Maybe they took her out to the cabin? VERA: No, she wasn't dumb like Tascha. Look, can I just get a ride? Or call somebody? ANI: Your sister's on her way. VERA: What the f**? You don't think my sister's f**ed up? The way she waits hand and foot on that panty-sniffing motherf**er? ANI: Better than being strung out. VERA: Yo, I have a place. I got nice things. I had a good thing with Tony and his people. ANI: Maybe-- and this is just a thought, maybe you were put on Earth for more than f**ing. VERA: Everything is f**ing. Someone knocks on the door. Ani lets her in. DANI: Oh, thank God. Dani goes to hug Vera. Vera pushes her back. VERA: No, stop. I am not going with you. f** your pervertido husband. DANI: He's different now. ANI: You need to lay low, Vera. Stay with your sister. I'll let you know when it's safe. Till then, you're in danger. VERA: You f**ing putas. You put me in danger. ANI: And I'm the only one who can get you out. You reach out to those men, I'll let them know you talked to a cop and they'll paint a cabin with you. INT. LAPD Paul searches for the 1992 robbery/homicide on his computer. He sees that Dixon and Burris were the arresting officers, and Holloway was the watch commander. PAUL: You motherf**ers. Paul prints out the case file. Someone creeps up behind Paul. Paul continues searching through the database and sees that Benjamin Caspere was a former Chief Accountant in the Internal Audits division. Paul clicks on the APB/BOLO alerts and sees that Ani is wanted for questioning for the murder of a security guard. PAUL: Holy f**. sh**. Paul picks up the pages he printed and makes a call. INT. CASINO - OFFICE Blake is escorted into Frank's office by Nails. FRANK: Late today. Had to get Ivar covering the pit. BLAKE: Sorry, boss. I was taking care of some stuff. The girls had a little private thing last night. 15 Gs. Yours. FRANK: Holy cow. You must be what they call a natural-born pimp. Me, I always saw a difference between a who*e and a pimp. A who*e can still have integrity. BLAKE: You want to move me up, let me know. FRANK: That's the thing, right? There's nothing to move you up to. Frank starts pouring drinks. FRANK: Is there? I mean, all my sh**'s been taken down to the street. BLAKE: You'll get it back, boss. Everybody knows you will. FRANK: Stan was following you. And he wasn't the subtlest guy in the world, so I'm guessing that you spotted the tail. BLAKE: Hey, look, boss, I don't know-- FRANK: What did he see you doing caused you to punch his ticket like that? You took his eyes. Why? To make it look connected to Caspere? Blake starts to get up and Frank blocks him. FRANK: Truth is your only play right now, because you f**ed up letting yourself be alone in this room with me. BLAKE: Look, Frank, there's been a mistake somewhere. FRANK: You're arrogant. Or else you never would have walked in here. Frank takes a step back. Blake starts to take a drink, then Frank smashes his gla** against Blake's head. EXT. PLANT Ray pulls up next to Davis' car and gets out with the contracts in hand. INT. CAR Ray gets into Davis' car. RAY: Have I got a f**ing story for you. Ray turns to see that Davis has been shot in the chest. He sprints to his car and pulls out. INT. CASINO - OFFICE Frank kicks Blake around the room. He holds his shoe on top of his head. BLAKE: Please-- ah! Please. Frank, please. I can-- FRANK: You can what? Talk? Osip? His crew? Caspere? Stan? BLAKE: Osip's people, they've been running Eastern Bloc girls through Southern California for over a year, Frank. Osip's been moving to take your spot ever since your meeting in Paris. FRANK: With your help, huh? Frank presses on Blake's head harder with his shoe BLAKE: They reached out. All these moves you were making, you'd have done the same. You think they give a sh** about handshakes? You never should have brought this to Osip. Frank throws Blake against the wall. He crushes his head against the wall then grabs him by the throat. FRANK: You k** Caspere? Or did Osip? BLAKE: No, no. Nobody knows who that was, man. Nobody. FRANK: So where's the money I gave him? BLAKE: Caspere was always gonna f** you, Frank. Osip was backing the play. FRANK: Osip and Tony Chessani, they're absorbing Caspere's action? Why'd you k** Stan? BLAKE: He saw me meeting Osip and his guy. He wanted a payoff, Frank. He tried blackmailing me. FRANK: Bullsh**. BLAKE: What the f**? It's bullsh**. You got all these big plans, land deals. Where was that supposed to leave us? You taught me, "Make your own opportunities.” FRANK: That guy way back, Velcoro's wife, who was that guy you gave up? BLAKE: What? Velcoro? Frank, what-- Ray tightens his grip on Blake's throat. FRANK: He didn't hurt Ray's wife. Who was he? BLAKE: This f**ing meth head. He said I ripped him off. He was gonna come after me. I heard about this deputy's wife. I saw a chance to step up for you, get noticed. FRANK: Look me in the eyes. I want to watch your lights go out. Frank lifts Blake in the air with his hands around his neck. BLAKE: I can get money back. I know where there's money. Frank lets Blake back down. BLAKE: Osip and Catalast, there's a big cash exchange tomorrow night up in Ojai. McCandless's place. Crystal Ranch. Osip's turning over 12 million for Caspere's shares. 12 million, Frank. FRANK: Who's gonna be there? BLAKE: I don't know for sure. It's a handoff. Security. Osip, he'll be there. FRANK: All right. Get yourself together. Frank pats Blake on the shoulder then gets a drink for him. FRANK: Anything else you can tell me? Anything? Might help. BLAKE: They're taking it all, Frank. Osip's people bought the liens on the clubs. FRANK: My people won't go along with that. BLAKE: You don't have any people, Frank, that's what I'm saying. Nails, they never approached him. But anybody else, they already bought. Ivar. FRANK: Anything else? BLAKE: Look, they don't know you got me now. I can work on the inside for you, man. Triple-cross. FRANK: Do this for me instead. Frank shoots Blake in the stomach. BLAKE: I can-- Blake starts choking on his blood. FRANK: Remember where I found you? Pushing Baby Aspirin to club kids. Johnny Mank wanted to cap you in the alley. I said, "Nah, there's potential here.” Now you just sh** my carpet. Frank takes a drink as Blake bleeds out. EXT. PANTICPAEUM WOODS Ani shows Eliot the picture of Chessani, Caspere, and Pitlor as kids. ANI: Can't remember anything? Something I can use? ELIOT: Well, I grouped them as hedonists. And they seemed very close in a secretive way. And they did not stay long. We had no real relationship. ANI: You seem pretty friendly here. ELIOT: Well, at the time everyone was a pilgrim. You understand? Everyone was pa**ing in their separate journeys. And not all looking for the same thing. Some exploit openness and freedom. It was a shadow of our best intentions. But people came and went, faces lost. I regret so much of that time. ANI: I remembered his face, finally. The man who took me away. ELIOT: You always said you couldn't remember anything. ANI: People came and went. But there was a man and I remember his face. And I think I always remembered it. ELIOT: We couldn't sleep. I wandered the forest for four days. ANI: Can't see it, those four days, but I remembered his face. ELIOT: I wish I could-- if I could just give you back. My father, you see, my father, he was-- He was a harsh man. He was strict. I wasn't going to be like him. Oh, God. God damn everything. ANI: That's what I say. ELIOT: Are you gonna turn yourself in? ANI: No. I can't. But I can fix it. ELIOT: I wish your life had been easier. ANI: You didn't ask me if I did it. ELIOT: It doesn't matter. You're the most innocent person I've ever known. Elvis' car pulls up. Ani's father starts loading his luggage into a car as Ani switches out the license plates. ANI: Thank you. I won't forget this. ELVIS: The APB on you, they're watching your house. ANI: I should have trusted you with more of this. ELVIS: I think with that hara**ment, I could have stepped up more. Helped you out. ANI: It's all right. ELVIS: I was jealous. I'll say it. I should have stopped thinking of you that way or switched partners. ANI: No, I f**ed up there. You didn't. I think I-- I think I might be unfair to people sometimes. Eliot and Athena walk over to Ani. Eliot hugs her. ANI: Stay safe. And stay alive. ATHENA: Please be careful. Please get out of this. Athena hugs Ani. Athena and Elliot get in the car. ANI (to Elvis): Follow them to Eugene. They're gonna exit. Better if you don't know where. And watch for tails more than anything. ELVIS: Copy that. ANI: Had to toss my phone, so I'll call you on a burner, check in. Thank you for this. Again. Ani offers her hand for a handshake. ELVIS: f** you, Bezzerides. Elvis gives her a hug. ELVIS: Got three in one day. Bet that's a record. He gets into his car and starts following father and Athena. INT. CASINO - OFFICE FRANK: Delegate nothing. It's worse than we thought. We've been in a secret war here the last six months or so. Everybody's bought. NAILS: Ivar? FRANK: Don't tip, either. Better they think we're in the dark. NAILS: Jordan just walked in. I'll catch her. FRANK: No. Bring her inside. Nails lets Jordan into the room. FRANK: Here we are. Under the bright lights. They're taking everything, even what we got left. They'll come for me. JORDAN: What can I do? Frank kisses Jordan on the forehead. FRANK: Pack a bag. Nails is going with you. You can't stay at home any more. JORDAN: All right. I'll meet you tomorrow. FRANK: I love you. JORDAN: I love you. INT. JEWELER'S JEWELER: This is GIA graded with a dossier. It tests excellent in optical and symmetry an*lysis. Five carats, $700,000. FRANK: It'll be between five and six million. I'd rather split the total among more stones. They don't all need to be that high-end. But I'll need the exchange to happen fast. JEWELER: Then it is not about the stones. It is about the money behind the stones. You are changing money you are not supposed to have. We do not engage in such practices. FRANK: The money will be untraceable in itself. Abner Ehrman told me I could work with you. The j**eler looks up. FRANK: Please, articulate the percentage you'd require in order to transact with me. JEWELER: 40%. And all exchanges happen here. As we have not done business, like today, you will come alone. It includes my guarantee of quality and a secure exchange. The j**eler looks to 2 bodyguards standing near the door. Frank nods and stands up. The j**eler exits the room. INT. TRAVEL AGENCY AGENT: Have your friends ever been to Venezuela? FRANK: No, they've talked about going. I wanted to treat them. Engagement present. AGENT: Barquisimeto is beautiful. I've got them both booked out of Portland in five days. FRANK: And the tickets are alterable? We can change them up if we need to? AGENT: Yes, sir. For that price, they let you do what you want. INT. LEONID'S BAKERY Frank looks over the pa**ports Armin and Leonid handed to him. ARMIN: Ours are the best. Digital everything, including the chip. But you still owe us for the consignment, Frank. FRANK: Which I'll pay the day after tomorrow. With an extra five on top. LEONID: With what? Frank places 2 stacks of money on the table. FRANK: You know about the Russians? They're dropping roots-- women, d**. Taking a chunk of development along the rail corridor. You'll be taken over inside a year. Give me what I need, I'll help them choke on their piece of pie. Frank looks at the money stacks. FRANK: That's 100 now, seven, day after tomorrow. LEONID: And this buys what? FRANK: I need two clean cars that are fast and some firepower. Frank hands over a list of requirements for the car and weapons. LEONID: Why trust we'd ever see you again? FRANK: Because I need that clean pa**port. Then I'm moving on. I get where I'm going, I got another half mil for you. LEONID: What are you planning, Frank? FRANK: You might say my ship's come in. And who sails this ship? INT. MOTEL PAUL: You got an APB on Davis's murder? RAY: Davis was supposed to meet me and get the whole story. Found her there dead. They probably did it with one of the pieces I keep at home. I switched license plates at a f**ing mall. PAUL: That's it, then. She was our only authority. You and her are fugitives. RAY: Well, it doesn't make sense. PAUL: It was cops. Back in the '92 robbery, Burris and Dixon were serving under Holloway. Caspere worked at the same station. Jewelry store was their district. Caspere probably helped them move the stones. They were all working together. Orphaned two kids. Leonard and Laura. ANI: So that's how they bought in. The diamonds and whatever they got for them went to Chessani. Next couple of years, they migrate into six-figure salaries in Vinci. Their own private fiefdom. RAY: Except Dixon. He was just a regular dick. PAUL: Dixon was checking in on those diamonds before we ever found them. Maybe he knew Caspere held onto them. Maybe it meant leverage for him. But Dixon taking that headshot, I checked every arrest record. Burris busted Ledo Amarilla in '06. Released after interrogation, no notes kept. That whole day was a setup. ANI: Amarilla, too. He thought it was gonna go a different way, I think. RAY: That's what Caspere's place was tossed for. Burris, Holloway, Dixon, whoever, they were looking for those diamonds. ANI: The last piece of evidence for a 23-year-old double murder. Tascha was gonna blackmail Caspere. RAY: So Holloway, Burris, they k**ed Caspere. ANI:That doesn't make sense. Him dying bought them all exposure, kicked this whole thing off. And if they had Caspere, why wouldn't they torture him for the f**ing diamonds? I mean, it's-- Ani groans then starts smoking. Paul gets another text of him and Miguel. Caption: “Hall of Records midnight tonight… Pics for sale.” PAUL: I gotta head home soon. RAY: All right. ANI: Could you take this to State? RAY: State? Davis is dead. Geldof was at the party. How about Ventura Sheriff's? ANI: Oh. They're looking to do me. And what have we got? Some documents for a holding company? A theory on some rogue cops from '92? Feds? RAY: Not without more. Unless one of you guys got a friend there, I don't see protection. INT. VINCI GARDENS Mayor Chessani is talking up a girl. CHESSANI: That ain't a f**ing mayor. That's a homunculus state corporations slid into office. Who the f** even is Los Angeles? Nobody can say. See? Nobody knows. Nobody expects sh** to actually work. Me, my family, we are Vinci. We're a goddamn political dynasty. Like the Kennedys. Do me a favor, hum my balls a little, huh? Frank walks over. The girl leaves. CHESSANI: Maybe later. Frank. Chessani puts down his drink. CHESSANI: Another gin. FRANK: Time to hit the road, Austin. CHESSANI: (laughs) You don't tell me what time it is. FRANK: I'm just thinking you might want to get home and take care of business. CHESSANI: What the f**'s that mean? FRANK: Your boy Prince Tony has been greasing the skids to slide into your chair. Buying the attorney general with his hookers. Working with a Russian named Osip Agranov, Jacob McCandless from Catalast. All this in your house behind your back. Sober up. You might realize you're getting f**ed. Now get out of here. Closing time all around. Chessani gets up from the bar and walks out. Frank pulls a gun out of his belt and sets it down. Osip and his men show up. FRANK: I'd have known, I'd have gotten the red carpet out. Let me make you a drink. OSIP: Our company bought the lien here, Frank. Same thing at the Lux. The clubs are ours. FRANK: The clubs? sh**, man, I'm working just to stay in the black, here. OSIP: We think we can do better. Bringing in our own girls, move our own products, wash our own money. We're going to be doing a lot of business in California now. FRANK: Good for you. I tell you, hindsight, I was out of my element with that land stuff. Stick to what you know, right? OSIP: I must say, you're taking this better than expected. Is Mr. Churchman around? FRANK: Blake? sh**, no. Guy's been around less the last three months than my wife's period. Frank and Osip laugh. OSIP: You know, Frank, my board, they thought we should take you out. I said, "Frank Semyon understands business. He'll adjust." FRANK: So what are my prospects? Straight up. OSIP: You can manage the day-to-day of the casino and the club. We put you on salary. I said, "Frank knows clubs." FRANK: I had ideas of getting out of this, you know. OSIP: There's no such thing for you, Frank. That world isn't yours. You manage clubs. In time, we find something new to build on. FRANK: Well, what can I say to that? After all, no fighting what you can't change. Frank pours Osip and himself a drink. FRANK: Look, I ain't lasted this long without some knowledge of my own limitations. And it is my hope that we can f**ing build on this. Going into the future. Frank and Osip clink gla**es. EXT. HALL OF RECORDS Paul is ducked down in a staircase outside of the building. PAUL (over phone): Velcoro. RAY: What's up, man? PAUL: I wanted to call. I think-- I ain't told anybody about this other thing. But somebody sent me these pictures. Pictures of me. RAY: What, of our thing? PAUL: No, it's something else. This is mine. I think I might be walking into something. RAY: Then don't. PAUL: I'll call you back. RAY: Listen, hold on-- Paul hangs up. He starts walking towards the building. Miguel, dressed in all black, greets him. PAUL: Wait What the f** is this? MIGUEL: Orders. I gotta take your gun. Don't make a thing of it. You've got eyes all over you. Miguel takes Paul's gun off him. MIGUEL: Come on, I can get you through this. Miguel starts walking Paul towards the building. PAUL: Black Mountain? MIGUEL: Not anymore. Ares Security. We rebranded. We just service one client now-- Catalast Group. PAUL: When you got in touch, what was that? MIGUEL: I had orders to check on you. After all that press stuff, make sure you kept confidentiality. This is your situation. I didn't make it. Let's go. They just want to talk. Paul walks into the building. Miguel pulls out his gun and shuts the door behind them. They walk downstairs towards the basement. INT. MOTEL ROOM RAY: That was Woodrugh. Something's up with him. ANI: What? RAY: I don't know. He said he'd call me back. We need an exit strategy. Get out of the country. There's no way they'll let us go to trial. You hear me? ANI: Vera said this girl's name was Laura. Does she look-- she look familiar? I swear, there's something-- Ani points out a girl in one of Vera's photos. RAY: No. Her name is Erica. From the city manager's office. She was Caspere's secretary. You met her on the movie set. ANI: Yeah. Woodrugh said one of the orphans in that robbery, her name was Laura. Ray and Ani look at each other. Ray goes to get the picture of the two orphans that Paul left. ANI: You got it? RAY: Yeah, it's here. ANI: Let me see. Ani compares the picture of the orphan girl to the picture of Laura, modern day. RAY: I don't know. What do you think? INT. HALL OF RECORDS - BASEMENT Paul is escorted by Miguel and 3 other men into a dimly lit basement. A figure walks towards him, blinding Paul with his flashlight. When he lowers the flashlight, Paul sees that it's Police Chief Holloway. HOLLOWAY: You've been looking for information about me, son. Well, here's your chance to ask. INT. MOTEL ROOM ANI (over phone): All right, Mr. Patterson. Thank you. No, this was very helpful. Ray enters the room. ANI: Moved out of her apartment six weeks ago. RAY: Quit the city manager's office around that time. ANI: Woodrugh could do a trace on her. Credit cards, whatever. Figure out where she went. RAY: I just tried him again. Voicemail. Ani sighs. ANI: What now? RAY: Ride it out till morning. ANI: Guess we'll wait for Woodrugh. INT. VINCI GARDENS Frank walks up to a bouncer. FRANK: We got a gas leak spilling into the AC. Need to clear the place for three hours or so. BOUNCER: Are you serious? FRANK: Just f**ing do it. The bouncer walks to a microphone. BOUNCER: Everybody out. Ladies and gentlemen, due to a sudden safety issue, we need to request that you cash out your chips and vacate the premises. The patrons at the casino get up and leave. INT. HALL OF RECORDS - TUNNEL HOLLOWAY: These tunnels exist under the entire city. Most people don't know that. Holloway looks at Miguel and Paul. HOLLOWAY: The pictures of you two were a happy coincidence we came across when clearing Detective Dixon's apartment. Apparently he was keeping an eye on you. Teague always had a nose for secrets. MIGUEL: If you had just been honest about who you are, nobody'd be able to run you. You know that, right? PAUL: And this is what? HOLLOWAY: Some documents were stolen from a private gathering of citizens in Monterey. I believe you have these documents. Do not bother lying. PAUL: Not on me. HOLLOWAY: Mm-mm. Velcoro? Bezzerides? Where are they? PAUL: I don't know. HOLLOWAY: Oh. PAUL: Velcoro has the papers. He's turning them into the feds. Paul raises a hand and slowly reaches into his pocket. He takes out his phone and holds it up. PAUL: But I can call him. We set up a meeting. But I skate. And I get every f**ing copy of those pictures. HOLLOWAY: That's accommodating. Maybe too much. PAUL: Velcoro don't mean sh** to me. This f**-up dragging down. He had me look you up. Davis used all of us and she's f**ing dead. The other, this Ventura dyke, she's been on my a** from the jump. I could give a sh** about either of them. HOLLOWAY: Call Ray. Set a meeting. INT. VINCI GARDENS Frank empties money from a wall safe into a bag. As Frank walks back to the bar, one of Osip's men approaches him. ALEX: Osip wants to know where is gas leak. FRANK: It's, uh… Frank points off in the distance. When Alex turns his head, Frank shoots him. Frank walks into the kitchen. There, he pulls open a pipe to create a gas leak, then lights a towel on fire and throws it in a basket. EXT. VINCI GARDENS Smoke starts coming from out of the building. INT. MOTEL ROOM Cynthia watches TV with Emily. DEANIE (TV): I'm just tired. I want to go to bed now. CYNTHIA: There. That's "Splendor in the Gra**. I love that one. DEANIE (TV): You tell Bud Stamper to bring you home earlier. EMILY: Looks old. CYNTHIA: It is. Sad. TV: Good night, sleep tight, don't let the bed bugs bite. DEANIE (TV) : Good night. INT. HALL OF RECORDS - TUNNEL PAUL: I don't get any service down here. HOLLOWAY: Let me see. Paul slowly walks towards Holloway, phone extended, then lurches at him at the last moment. He takes Holloway's gun off of him and points it at his head. HOLLOWAY: Oh, boy, you f**ing up. Cut the sh**, son. PAUL: Shut up. Toss all the guns. k** the f**ing lights. Now! HOLLOWAY: Do it. PAUL: Now. Kick 'em forward. The men drop their guns and kick them towards Paul. Paul drags Holloway behind a pillar, pistol whips him unconscious, then starts running as the men open fire on him. INT. MOTEL ROOM RAY: This is gonna be hard on my son. The things he'll hear about me. ANI: We can get out of this. We get that girl's story, walk her into the feds. f**ing CNN. I'm sorry. I brought you back in this. RAY: No, I made a choice. A long time ago. I, uh I thought everything came from something else. But it came from there. You had something like that, too, once, right? ANI: It's not something I talk about. RAY: Well. It's one of the things I admire about you. Ray pours himself and Ani another drink. ANI: You're not a bad man. RAY: Yes. I am. Do you miss it? ANI: What? RAY: Anything? They sit in silence. After a while, Ani takes Ray's hand. INT. HALL OF RECORDS - TUNNEL The four men disperse to look for Paul. Paul sees one of their flashlights, walks towards him, then shoots him and throws him onto the adjacent train tracks. Another man comes at Paul from the other direction. Paul shoots him as soon as he rounds the corner, then jumps onto the train tracks and starts running. He finds a opening on the sides of the railroad, ducks under it, and reloads. Miguel and one other man walk over the place Paul is ducking under. As Miguel pa**es, Paul sweeps his leg out, and uses him as a shield as he shoots the other man. Paul k**s the last guard, and the guard k**s Miguel. Paul looks at Miguel's body and starts breathing heavy. After a moment, he composes himself and heads towards a ladder. INT. MOTEL ROOM Ray and Ani kiss pa**ionately. INT. LUX INFINITUM Frank grabs money out of the safe, then starts pouring alcohol on the floor. He tosses a match on the floor then walks out of the room. INT. LUX INFINITUM - KITCHEN Frank turns all of the stoves on then walks out. EXT. PARKING LOT - NIGHT Frank takes a drink from a spot on the hill overlooking the city as he watches the club burn down. INT. MOTEL Ray and Ani are kissing on top of the bed. INT. HALL OF RECORDS Paul sprints towards the exit then shoulders through the door. When he exits, he smiles and takes out his phone. Burris steps out from behind the door and shoots Paul through the stomach. Paul goes to the ground and starts crawling for his gun. PAUL: f** you. No. No. No. f** you. As Paul reaches for his gun, Burris shoots him again, and Paul goes limp. INT. MOTEL ROOM Emily and Cynthia are watching TV. Close up on Emily. DEANIE (TV): Oh, what a fine boy you are. Cut to the TV screen: Deanie is holding a baby. ANGELINA (TV): So now we're expecting another child. I hope it's a girl this time. Emily looks at the screen, smiling and crying. DEANIE (TV): You're a fine boy. Well, I have to go now. ANGELINA: Oh. You'll come back again sometime? Will you come back for dinner? EXT. HALL OF RECORDS Burris grabs Paul's phone and hustles to his car. Burris pulls out and the camera trains on Paul's lifeless body. END EPISODE