Screen Genius - Down Will Come Script lyrics

TITLE SEQUENCE INT. VPD - IMPOUND The car Caspere was found in is lowered down in front of Velcoro and Bezzerides. EXT. SEMYON HOUSE Frank stand by a group of dying trees. FRANK: I paid for f**ing avocado trees and now you tell me “can't grow”? GARDENER: Man can come, test the dirt. FRANK: I thought one of you'd be able to taste it off your finger and tell me what's wrong. JORDAN: Frank, that's enough. FRANK: Like it f**ing matters. Can't deal with this sh** now. JORDAN: We should talk if we want to reschedule that doctor's appointment. FRANK: We'll get back on the kid when I get my feet under me. Frank kisses her. JORDAN: Maybe we've been going about it wrong. FRANK: How's that, specifically? Right now there's so many things for me to go about the wrong way, I'm losing my f**ing vision. INT. CASPERE HOUSE Frank pours himself a drink. JORDAN: The baby. Maybe we should talk alternatives. FRANK: Like what, another dog? JORDAN: Adoption. FRANK: No, you don't do somebody else's time. My own kid, I see. Yeah, it's my responsibility. But you don't take on somebody else's grief. JORDAN: A child's not grief. FRANK: I mean they all come in with their own. Don't you and I and every other hapless monkey on the planet? At least with your kid, it's your sins. JORDAN: What if I can't have a child? FRANK: Why wouldn't you? You got pregnant before, you said. JORDAN: Maybe that's-- the operation, it might have made things hard. I don't know. FRANK: You can have a kid. Look at you. JORDAN: But if. I'm saying if. FRANK: You should get more tests. Whatever they got. I gotta go to work. If I don't come up with a new play, the dead trees, the present from the stork are gonna be what they call moot points. JORDAN: All right, Frank. Go to work. Frank puts the drink down then exits the room. INT. BEDROOM Paul wakes up, shirtless and with his pants around his ankles. He gets up, leaves the bedroom, and walks to the living room. Miguel is sitting on the couch watching TV shirtless. MIGUEL: Hello, motherf**er. We put out some fires last night or what? PAUL: I, uh-- I drove here? Paul starts getting dressed. MIGUEL: You don't remember meeting me at Lux? PAUL: No. Miguel gets up and puts his arms around Paul. MIGUEL: I'm glad you did, man. DVR'd the game. Here, sit down. Have some waffles. PAUL: I got work. MIGUEL: You let yourself go, man. Be what you want. It ain't bad. Need a ride to your bike? No. Paul finishes dressing then leaves. INT. TAXI Paul grimaces to himself. EXT. SIDEWALK Paul puts his hands over his head and fights back tears. PAUL: No. f**. f**. f**. Come on. No. f**. (groans) f**. f**. fu*k! Paul lashes out in frustration then starts walking down the street. On his walk, he is accosted by reporters and photographers. REPORTER: Officer Woodrugh! What's your comment on the war crimes allegation? Were you involved with the securing of a village outside Habbaniyah? REPORTER: Would you say your behavior with Lacey Lindel follows a pattern given the accusations against Black Mountain operatives? REPORTER: Do you have a history of abuse with women? Paul starts running away from them down the street. INT. VPD - IMPOUND ANI: Say, about 5'10", maybe 160? What do you think? RAY: I think we f**ed up. ANI: So it wasn't the transpo guy. RAY: No, it was somebody who wanted us to think it might be dumping the car near his place. Listen, that thing at the mayor's house I respect the sack, but it's-- it's looking to come back on you. ANI: Ooh, the mayor of the sh**berg Landfill is gonna get me? RAY: His family's controlled this landfill for 100 years. And he lives in the biggest house on his street in Bel-Air. You think men like that exist without a long history of high-up friends? ANI: I don't think he's gonna have too many friends, the state investigation shakes out. Unless it's his cellmate. RAY: That's what I'm telling you, Bezzerides. State investigation, you don't think they've seen that before down here? Any member of that family ever gone to jail? Look. Detective, the state investigation's a shakedown. Do you understand? It's the attorney general with his f**ing hand out. ANI: Hand out for what? RAY: What's a hand usually out for? Caspere was in a lot of development money. These land deals floating around, those new corporations? You think this is about stopping Vinci doing the same thing it's been doing for a century? Nobody wants to stop it. Nobody gives a sh**. ANI: I'm here to solve a murder. RAY: And when our betters make nice and the money's traded hands and they need something to show for this big investigation, who do you think's gonna be first in the firing line? I'm gonna take a wild guess that you and Woodrugh ain't the most popular folks at your squads. Expendable, one might say. ANI: Well, you're not dirty, they shouldn't be able to hurt you. RAY: Well, I don't know about Ventura, but you can't be that naive down here. If there's a buyout with the state attorney, Chessani could make your a** part of the deal. ANI: Where's Woodrugh? He was working prosts last night. RAY: I hope he didn't fall in. Ray answers his cell-phone. RAY: Velcoro. Dixon walks up to the car. ANI: That a barroom sunburn? DIXON: Maybe I've just been out in the sun working bullsh** pawn details. You know what? I could give a sh**. ANI: I don't think there's any confusion about that, Detective. INT. BAKERY ARMIN: Frank, what you ask, you would need to be family just to avoid insult. FRANK: Family is blood. Blood spilled is blood. '99. '03. January 2010. I've done you favors. ARMIN: What you mention-- history. We paid for that. FRANK: You paid Osip back when he was around to be paid. Me? I just call it a favor. Frank dumps sugar into his coffee. ARMIN: And you think what, an old favor gets you free merchandise? FRANK: I don't want a handout. I wouldn't take it. I'm talking consignment. I've got the Lux back. I need product to move through it. Notice I'm not talking to the Mexicans or Russians. I'm talking to you. I'm offering 5% above your going rate. I need coke, crystal, and whatever the f** they call MDMA now. We move it through the club, you get paid plus five. ARMIN: It's a risk, Frank. FRANK: For me, not for you. ARMIN: Our men handle sales. FRANK: No, I run the club. I control who moves what and when and they answer to me. Your only concern is your money. ARMIN: Santos had his own arrangement. Mexicans. FRANK: I'll deal with it. ARMIN: And how have you dealt with things since you've been away, huh? Why you back to this, Frank? I think it's because your other plan, it somehow failed. Why now would we trust you not to fail in this, huh? FRANK: It's respectable, what I'm offering. I'll upscale your clientele, increase your market. And together we'll prosper. ARMIN: We don't do consignment, Frank. FRANK: 5% is not a one-time number. It's monthly. Month in, month out. It is a long-term investment in a mutually beneficial relationship. Armin looks to Leonid, the man to his left. Leonid nods, and then Armin nods to Frank. Frank stands up. FRANK: Then we're settled at five. Frank and Armin shake hands. LEONID: All that sugar, Frank, I wonder you haven't lost your teeth. Dental work's expensive. FRANK: It's the only way I can keep your coffee down. Frank walks over to Leonid and leans in close. FRANK: I never lost a tooth. Never even had a f**ing cavity. EXT. BUS STOP Velcoro drives to pick up Woodrugh. INT. CAR RAY: Glove box. Take a cure. Woodrugh opens the box to find pills, booze, and marijuana. Woodrugh takes the booze and takes a sip. RAY: Where's your bike? PAUL: Stolen. I checked city impound already. RAY: That hotel have a shower? PAUL: I couldn't get back in. Reporters mobbed me. Cameras and sh**. (sighs) My picture's gonna be everywhere, man. RAY: f** 'em. They lie without blinking. You know what one of those dog f**ers said to me once? I'd rather be wrong and first than right and second. That tells you all you need to know. I read about that actress. The Black Mountain stuff. Fallujah, Tikrit. You've seen sh**. After that, anything else should be a cakewalk. PAUL: (inhales, exhales) It's actually just the opposite. RAY: Well, you're a war hero is my outlook. You had a bad night and they don't need to hear about it. Paul starts fighting off tears. PAUL: I did everything they said, man. Army, PD. But it doesn't matter. You do what they say, it doesn't matter. (clears throat) Oh, f**. Been listening to them for so f**ing long that I don't even know who the f** I am. RAY: You're a survivor. Everything else just dust in your eyes. Blink it away, man. PAUL: I don't know. RAY: I'll get your stuff. Take it to another hotel, all right? PAUL: I just don't know how to be out in the world, man. RAY: Hey, look out that window. Look at me. Nobody does. (looks at bottle) Hit that again. We'll get you some Pedialyte. All right, enough of this monkey f**. Ray flips on his siren and starts speeding past traffic in the middle lane. EXT. APARTMENT COMPLEX Frank walks by an apartment complex with shades on. Everyone looks away from him. FRANK: Place runs strong, huh? How many beaners you got here? LUCA: It's like, I think, 200 or so. INT. APARTMENT FRANK: You need some help managing this place, Luke. My view. You need security, collections. LUCA: Collections. Frank, you sold the place, you got the cash. FRANK: Oh, sure. You own it, no question. Frank picks up a handheld fan. FRANK: No question. I'm thinking partnership. 30%. I'm thinking the next three months, we start pulling in what this place should. You'll do better. LUCA: This ain't right, Frank. I'm already paying Chessani. Place has expenses. FRANK: Nobody wants to feel taken advantage of. LUCA: I ain't, man. You set the price. So long as it's cash, you said. FRANK: 40%. We're gonna handle the collections from now on. We'll be knocking first of the month. And mow the f**ing lawn. I don't want any of these kids getting snakebit. EXT. CHESSANI HOUSE RAY: You want to give him new reasons to step on you, huh? A convertible pulls out of the driveway and drives away. ANI: That's the daughter. Bezzerides starts tailing her. INT. POT CLUB ANI: Did you know Ben Caspere, the city manager? BETTY: I knew him a little. He was nice to me. ANI: He know your brother very well? BETTY: I don't think so. Tony wouldn't have much in common with Mr. Caspere. ANI: Mr. Caspere was talking to someone on your second phone line a lot. Think that was your dad or Tony? BETTY: I don't know. How would I know? There's no rules, you see? It's how it's always been. ANI: Your father's wife, she's not your mom. BETTY: My mom died in a hospital in Nevada. When I was 11, she started manifesting schizophrenia. She became dangerous. Daddy had her committed. And that doctor... She hung herself in there. I really don't want to talk about these things. I don't want to talk about any of these things. ANI: I'm sorry. My mom, she died when I was 12. And your mom, who was her doctor? BETTY: His name's Pitlor. My father, he is a very bad person. I'm sorry, I shouldn't be talking to you. I just-- I have to go. Betty gets up and walks out. INT. BEZZERIDES HOUSE Ani picks up a statue and looks at it. Athena walks up from behind. ATHENA: I have this memory of her in the sand. ANI: Her big dresses. Ani puts the statue back down. ATHENA: Yeah. Polishing that driftwood till it shined like steel or something. ANI: I lost her in the light. The light off the water. ATHENA: Why do these memories stay so vivid when I can't even remember stuff from last week? ANI: Those moments, they stare back at you. You don't remember them, they remember you. Turn around, there they are. Camera cuts back to the statue. ANI: Staring. Ani picks up the statue again. ANI: Maybe I could get one back. Ani puts the statue back down. ATHENA: You took her knife. You said you didn't want anything else. ANI: Thena, this Web sh**, those outfits, you fall in with some bad people. ATHENA: I'm clean. I don't even drink anymore. I'm saving up to go to Cal Arts. I'm not a who*e. It's not like I would do one of those parties. ANI: What parties? ATHENA: Like the real hooking. No f**ing way. ANI: Where are these parties? ATHENA: I mean, all over. Up north. But I don't mess with that. Like I'm saying, two more months and I'm walking. ANI: I should have been there for you. ATHENA: Babe, you couldn't even be there for yourself. INT. DINER EMILY: Look, I know how we left it, but-- PAUL: Look, I don't f**ing blame you. I ain't easy, I know. And what you said, I mean I think you were right. EMILY: I'm pregnant. PAUL: Uh (clears throat). Weren't you on the pill? EMILY: It's not 100%. Look, you didn't want this. But I don't believe in abortion. I'm-- I'm keeping it, Paul. PAUL: I want you to. And I think we should get married. Emily shakes her head. EMILY: I don't want you to do this because you think it's the right thing or something. PAUL: I'm not. I don't. I love you, Em. And I didn't know and I wasn't sure until just this minute right here, hearing this. I love you. EMILY: I guess I love you, too. PAUL: I... Paul stands up and kisses her. PAUL: This is the best thing that could happen. EXT. PANTICAPAEUM INSTITUTE ANI: Met a man said he knew you. Said he knew me when I was little. This psychiatrist, Irving Pitlor. Does that ring a bell? ELLIOT BEZZERIDES: Pitlor? Ooh, yes. He was around for a time, early '80s. Researching dynamics of communal living. Part of Chessani's lodge, I think. ANI: Chessani's lodge? What the f**? You knew Chessani, too? ELLIOT: I'm sorry, your case, it involves these men? Theo Chessani, he would have to be somewhere in his 90s by now. ANI: His son. RAY: We have a dead body. Benjamin Caspere. Velcoro hands him a photo of Caspere. ELLIOT: I recognize him. Never spoke. He attended some seminars here, I believe. ANI: You remember anything about them? Those times, Chessani, Pitlor? INT. PANTICAPAEUM - OFFICE Elliot pulls out a scrap book, and turns to a faded photo of a group of boys playing by the lake. He points out one boy in particular. ELLIOT: That's Pitlor. Ani points to another boy in the picture. ANI: Hard to tell, but I think that's the Vinci mayor as a kid. Jesus, that's some f**ing coincidence. ELLIOT: Well, a lot of spiritual movements cross-pollinated in these parts. Being that I kept exclusively to such company, it's not so unusual. More unusual is that my daughter became a sheriff's detective. Oh. Elliot turns the page to a picture of Ani as a child. ELLIOT: Your mother took this, you know. An old soul right from the start. Elliot turns to look at Ray. ELLIOT: Excuse me. You have one of the largest auras I've ever seen. Green and black. It's been taking up this whole room. I just-- I had to say something. You must have had hundreds of lives. RAY: I don't think I can handle another one. EXT. PANTICAPAEUM Ani and Ray are walking towards the car. RAY: What do you think green and black means? ANI: I don't know. You're a mood ring? INT. CAR RAY: We're driving to Fresno. It's not that I don't enjoy our time together, but... ANI: When I was in Chessani's house, there were all these soil readings for Fresno land. GPS shows Caspere in the same areas. EXT. FIELD They get out at an open field marked off with stakes. A sign reads “PRIVATE PROPERTY - SITE MAY BE HARMFUL TO THE PUBLIC HEALTH” RAY: Now I get why nobody lives out here. ANI: Chessani's map went all the way to the Lost Coast. (sighs) So what is all this? RAY: Maybe this is where the bodies are buried. An EPA man arrives on the scene. ANI: Hi there. EXT. FIELD - LATER EPA MAN: It's our biggest issue in the county. Mine tailings, runoff. He pulls out a map. EPA MAN: We're constantly finding new contamination. Like in this area here. A lot of these mines have been closed for decades. Companies are bankrupt. There's really no one to do the cleanup. State doesn't have the resources. ANI: Can you think of any reason why our victim would visit so many of these sites? EPA MAN: I don't know. Um… (circles a spot on the map) Unsafe levels of lead, (circles another spot), cadmium, arsenic, and/or mercury (circles a third spot). It's contaminated the water table to such a degree, the farmland here is useless. Family farms have been selling out for years. Whole county's turning over. People have just given up. INT. CLUB Frank covers up 2 stains on the table with his cup of coffee. MALKIN: It's about trust, right? The people in my industry, they can't even tell when they're lying half the time. Entitled. Jordan walks in. MALKIN: Hey, doll. Look at you. Malkin gives her a kiss. Frank stares at him. MALKIN: This place does all right, huh? FRANK: Six-figure weekends. On paper, you come in as part owner. The club's equity guarantees the land investment. MALKIN: How's the capital multiplied? In dry farmland in the middle of the state? FRANK: The rail puts the land in line for commercial zoning and development. Fed money means cost overages. This is the last pork barrel outside of defense. MALKIN (to Jordan): Ah, man, we were young once, huh? I was so focused on my career. JORDAN: I think things worked out well for us both. MALKIN: Let me talk to my business manager, see how liquid I can go. And I wasn't looking for any land, you understand, but I'll definitely give it serious consideration. Frank stands up and gets in Malkin's face. FRANK: I wanted to drag my heels, I'd go to a credit union. You aren't interested, why'd you take the meeting? MALKIN: Well, this lady asked. And I am interested. We'll kick the tires, Frank. (pats him on the shoulders) Trust takes time. (to Jordan) Beautiful, you call me. Lunch. JORDAN: I told you he was a dipsh**. FRANK: But not too much of one to avoid this colorful shared history. JORDAN: I was a kid and he never pulled anybody's teeth out. FRANK: This gonna get f**ing worse, what I gotta do. You get that, right? JORDAN: But just like that, you're back here. FRANK: Have I somehow given you the impression I've got a choice? Caspere, my f**ing life's savings, Stan. Congratulations, we're club owners again. JORDAN: I'm saying it seems fast. Maybe we should take some time for ourselves, talk this through. FRANK: Things move fast now, babe. Someone hit the f**ing warp drive and I'm trying to navigate through the blur. It's moment to moment and you just wasted my time on your fairy producer boyfriend. JORDAN: Your time, is it? Your time. FRANK: Mm-hmm. JORDAN: My boyfriend. Here's an idea. Let's be one of those couples that fights a lot. That's a f**ing great idea. INT. PAWN SHOP Paul looks at a 2 watches and 2 pairs of cuff links. He picks up one of the watches and matches it up to a picture. PAUL: Yeah. Yeah, this is them. DIXON: Guy that pawned these, you got video? STORE OWNER: It was a girl. Still got the tape. Store owner walks to the back room to get the tape. INT. SHERIFF'S OFFICE Bezzerides hands O'Neal a folder. ANI: Car gets processed, we might get something. But that was him. And I'd like state to know Velcoro put himself in harm's way for me. Where's Davis? I want to talk to her. O'NEAL: Anything you want to tell me? About you and Velcoro? ANI: No. Why? O'NEAL: Detective. (sighs) Look, honey, there's been a formal complaint lodged. Sexual misconduct. ANI: Against who? O'NEAL: You, for Christ's sake. ANI: Wait, what? O'NEAL: Deputy Steven Mercer. Conducting a relationship with a subordinate. That's called coercion. You attended the seminar. ANI: Is this for real? You do realize they're all giving Mercer high fives out there, right? What I do outside work-- O'NEAL: This isn't outside work. This is an IA complaint. And I was subsequently made aware of your relationship with Detective Ilinca. ANI: Oh, for f**-- once. Once. Partners? I mean... What, you're telling me that's some kind of first for this place? O'NEAL: Unofficially, admin doesn't stick its nose in until a situation's created that disturbs the department. ANI: Okay, so if I had married Mercer, this'd be okay? O'NEAL: Imagine that. You adopting a position of righteous indignation. He was your subordinate. That means you had power over him. County has to investigate. ANI: This would not be happening to a man. O'NEAL: If a complaint were lodged, you bet it would. They just wouldn't be able to use that line. ANI: I don't have anything to apologize for. O'NEAL: I'd consider altering that tune before professional standards talks to you. And until their investigation is concluded, you cannot enter this building. ANI: Wait I-- I'm suspended? O'NEAL: Since you got this state detail, you'll keep working on that as a special investigator, but right now you're on departmental leave pending investigation. Listen, there's some word you got gambling debts. That comes up, they'll want to look at your bank records. I'd straighten them out if you can. ANI: Does this have anything to do with that mayor? Vinci? Chessani? O'NEAL: Look, I don't care who you sleep with so long as you find them outside this department. Ani, come on. You know as well as I do no grown woman in her right mind would date a cop. EXT. SHERIFF'S OFFICE Ani starts walking away. Ilinca follows her. ELVIS: Hey. You're gonna leave just like that? ANI: Not allowed in the building. ELVIS: And it never hit you this might come back some way you don't like? You talked to them? ANI: They asked questions. And Mercer, really? This has to do with you and me, doesn't it? ELVIS: Hey, I didn't slap no complaint on you. Forget my f**ing busted marriage. ANI: Oh, your marriage was busted years ago. Or you never would have been in that hotel. ELVIS: You didn't even give it a chance. ANI: There was no chance. f**! f** this, partner. f** off. Ani gets into the car. ELVIS: f** off? I've been a friend to you. ANI: With friends like these… Ani pulls out of the parking lot. INT. VPD Woodrugh presents a slideshow to the other officers, starting with a mug shot of Ledo Amarilla. PAUL: Call came in from an El Monte pawnshop. Irina Rulfo. Ani walks into the room. PAUL: Priors-- solicitation, possession. DIXON (to Ani): Who's your f**ing Sherlock now? PAUL: She pawned the stuff taken from Caspere's house. No history of B&E or a**ault, but. Ledo Amarilla. Priors for a**ault, B&E, pandering, possession of a deadly weapon. We had prints run ASAP. Jewelry came back with Caspere's, Rulfo's and Amarilla's prints. ANI: This is real? PAUL: APBs out in Los Angeles and Ventura County. Our job now is to locate and arrest on the charges of murder. DIXON: Idea, of course, is that chica was turning tricks with Caspere. Got a look at how he lived. Ledo and possible accomplices tortured him for his valuables. RAY: We've got known KAs for Ledo and Irina listed. Let's check them out. Hit up working girls for anything about Irina and Caspere. The other officers walk up and get away. Ani flips through papers. ANI: Dixon, follow up with canva**. Split those KAs up with the other dicks. Woodrugh, work prosts looking for Irina. Anything come from hookerland? PAUL: Tascha was a hooker. Hasn't been around. Rumors of elite parties Caspere might have attended. High-end girls. That's about it. ANI: All right, well, we got this to focus on anyway. INT. RESTAURANT SINGER: My bed is now a cylinder of steel cold and hard and shiny to match the way I feel... Frank looks at the Amarilla mugshot. RAY: His name is Ledo Amarilla. FRANK: Mexican. RAY: Mm-hmm. Guy's a pimp. Pawnshop has one of his girls selling Caspere's stuff. FRANK: So he's pawning sh**. May be safe to say this guy ain't got my money. RAY: Not unless Caspere had it in a suitcase at his f** pad. FRANK: What the f** would this spic have to do with Stan? RAY: What happened to Stan? SINGER: You were there to see me beg and kneel, what kind of man would ask me then if he could make a deal? When lovers of the future read these lines, the sound of steel and thunder will echo in… FRANK: So I'm getting back into some things. Got my club again. Some other stuff. RAY: Thought that was behind you. FRANK: I thought being poor was behind me, too. RAY: That sh** never leaves you. Doesn't matter how much money you make. Ray takes a sip of beer. FRANK: I'm enjoying this soberish you where your head doesn't dip and fall when I talk. Things I got coming, I could use you in a fuller capacity. Maybe it's time to put this cop sh** to bed. Come with me. RAY: I'm not muscle, Frank. FRANK: You're smart. Keep your head out the bottle. It's just... all your talent's going to waste. In the things I'm planning black rage goes a long way. Frank stands up. RAY: A long way to where? FRANK: Sometimes your worst self is your best self. You know what I'm saying? EXT. BACKYARD Ray holds his father's badge. RAY: I wanted to give you this. It's your grandfather's. I thought you should have it. You know, remember me with. CHAD: Are you going away? RAY: Oh... And don't let Mom or Richard see that. All right? You hide it. You can look at it when you want to remember me. CHAD: It's Grandpa's. RAY: Yeah, my father, me, you. Come here. Come here. Chad hesitantly walks over to Ray and Ray puts his arm around him. RAY: Where you come from, that'll mean something to you one day. CHAD: Okay. RAY: All right. Gena opens the backdoor. Ray starts backing away. Gena: Chad? Chad, what are you doing out there? Come back inside. CHAD: Just a minute. Chad looks back to where Ray was standing. He's gone. INT. CASINO - OFFICE Frank hands the Amarilla mugshot to Nails and Churchman. FRANK: Looks like maybe we got an answer here. Ledo Amarilla. A pimp. Some Santa Muerte a**ociation. BLAKE: And this was Mexico? FRANK: Find this f**. He owes me a long conversation. Come back with hard targets. Nails and Churchman get up. FRANK: (to Churchman) You stay. Nails exits the room. FRANK: I'm looking for an outside read, events, and you go out of pocket? CHURCHMAN: You know how I can get with a girl. Pull myself together and Ivar's banging on my door about Stan. JORDAN: You and Osip talked a while when he was at the Soho. When he showed up, he was pleased to see you. CHURCHMAN: I don't know what that's supposed to mean. You tell me entertain him, I entertain. FRANK: You got this Roger Moore thing, huh? Johnny Unflappable. CHURCHMAN: Must be my predilection for virtue. FRANK: You know the word louche? Somebody's pulling me out on the streets and you're louche? Stay up here. You're pit boss tonight. CHURCHMAN: What? Frank, come on. I haven't bossed in, like, three years. FRANK: Maybe get used to it. Till you show me something. Churchman exits the room. JORDAN: There's something there. FRANK: This new generation, everybody wants to go straight to the top. Last week Chessani said somebody wants the poker room. JORDAN: Who? FRANK: He was vague. He implied he was choosing sides now that I'm broke and all. Frank and Jordan look down at the casino. JORDAN: People take chances. Is this worth sticking out? FRANK: We walk away now what do we walk with? EXT. FACTORY Workers start filing in. Protestors protest outside. Dixon observes with binoculars from his car. INT. VPD Officers start putting bullet proof vests on. ANI: One of Dixon's old CIs tipped us to Amarilla. Cousin rents a warehouse off 6th. That's where they crash. Dixon's called in surveillance. Our man just got home. Now, state can't get us a tactical squad till later, but we don't want to lose him. BURRIS: You feel all this manpower is warranted? ANI: Better safe than something else. All right. CHESSANI: Let's be careful out there. Officers start filing out of the room. Ray takes one last look at a map of the area then follows. Holloway and Burris give him a nod as he leaves. EXT. FACTORY A group of men collect trash from a garbage pile. Nearby, a group of protesters are waving signs and chanting. CROWD: Save our transit! Save our transit! REPORTER: Citizens who rely on public transit are protesting a shortage of bus routes and maintenance in order to subsidize a rail system that does not service their communities. One such area of controversy is the city of Vinci where opponents argue that the subway serves no purpose. EXT. 6TH STREET - ALLEY ANI: Ani: All right, you two at the door with Velcoro and me. Woodrugh and Dixon will back us. Everybody else form up a perimeter. DIXON: He's still in there. We might wait for him to exit. ANI: No, bosses said take him. Let's go. The officers walk towards the main street and down the sidewalk. EXT. 6TH STREET ANI: (gesturing towards a side door) Cut through and cover the back. A few officers take the door. Bezzerides, Velcoro, Woodrugh, Dixon, and a few other officers keep walking. Suddenly, machine gun fire comes from a window on the second floor. A few officers are hit, and the rest scramble behind cars. PAUL: Contact! Second floor! The shooter keeps firing, and the officers return fire. They shatter the windows, and eventually the top floor of the building explodes with fire. Debris falls everywhere, smoke covers the area, and alarms start sounding. EXT. PROTEST The protesters recoil in shock at the sound of the blast. Frank and Jordan step outside and look at the explosion from a few blocks down. FRANK (to Jordan): Go inside. Now. EXT. 6TH STREET Ray and Ani are ducked behind a car. Dixon and Paul are behind the car across from them. RAY: Was this a cookhouse? The shooter continues to fire from the second floor. Paul and Ray make eye contact. PAUL (to Dixon): Moving. Paul walks over to Ray's car. As Dixon follows, he is shot in the head and bleeds out. PAUL: Oh, f**. Ani fires at the window. Ray gets next to Paul. RAY (to Paul): Cover? Paul covers Ray, as Ray sprints across the street and presses himself against the building the shooter is shooting from. The shooter continues firing. Paul fires at him and takes him out. ANI: Rog, take the alley! Ani walks over to Paul. ANI: Cutting through. Ani cuts through the factory. Paul sprints to the building with Ray. INT. FACTORY Ani sprints through with her gun up. ANI: Out of the way! Out of the way! Out of the way! Move, move! Get down! Get down! EXT. 6TH STREET - WAREHOUSE Ray and Paul walk alongside the building, guns pointed at the windows above. Paul arrives at a door into the warehouse. RAY: Locked? Ray tries it and it doesn't open. EXT. ALLEY Ani sprints through the factory and arrives in an alley as a SUV is firing away. A man fires at her through the window and she returns fire. ANI (over radio): Dark SUV, southbound through the alley. EXT. 6TH STREET - WAREHOUSE RAY: Go! Ray and Paul sprint towards Ani. EXT. ALLEY Ani is being fired at. ANI: f**! f**! Ani sprints towards the car and fires at it. As Ani chases it down, Paul and Ray approach the car from another direction. EXT. PROTEST The SUV comes flying by and scatters the protesters. As the driver tries to leave, it collides with a bus. Ani, Ray, and Paul converge on the crash site. THUG: Everybody get back! The driver and Amarilla get out of the car, open fire into the crowd, and hit a few of them. The detectives sprint towards the shooters. ANI: Get down! Get down! Get down on the ground! Down, now! The thugs and the detectives exchange shots. The cops get two of Amarilla's men, but Amarilla k**s an officer. Ray and Paul try to corner Amarilla while Ani exchanges shots with one of his men. Amarilla sprints into the bus. AMARILLA: No se muevan! Ani shoots at the thug. As they are exchanging shots, an officer next to Ani is hit. ANI: Oh, sh**! f**, f**. Ani's gun clicks. She's out of ammo. The thug starts getting closer. Paul tries to line up a shot on him from behind, and Ani pulls a knife out of her sock. As Ani starts inching towards him, Paul shoots him from behind and k**s him. Ani exhales in relief. Amarilla exits the bus with a hostage. He backs away from Ray and Paul with a gun to the hostage's head. AMARILLA: Escoge lo que pase! Ray and Paul start closing in on him. AMARILLA: La made de la muerta me encuentra! Amarilla k**s the hostage. Ray and Paul k** Amarilla. Ray runs to the body, flips it over, then starts hyperventilating. Ani puts the knife back in her sock then walks over to them. The three of them exchange looks. Ani surveys the dead bodies and starts panting. Ani and Ray slump over, breathing heavily. Helicopter blades start whirring in the distance. RAY: Christ. ANI: f**. f**. f**. Cop cars converge on the scene to find Ani, Paul, and Ray standing alone amongst the dead bodies. Camera freezes on this final shot. END EPISODE