Hell is a City (EN)

Hell is a City By Ender Nuri

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FADE IN EXT. ANTONIO’S ESTATE - NIGHT On the outskirts of LA County, a crowd ten acre field, where a stage has been out. As the final attendees take their enters on stage. She walks towards the Californian Republic flag and American the beam ceiling.

is gathering on the set and chairs laid seats, SARAH (40s), podium, past the flag, which hang from

The murmuring is silenced when she speaks into the microphone. She has the attention of a thousand people. SARAH Ladies and gentleman, thank you for attending tonight’s rally. We know for a lot of you travelling here is not easy, so we really appreciate you turning up and showing your support. Now I would like to welcome to the stage, the leader of the True Freedom Party, Antonio Garcia. The crowd applaud as ANTONIO GARCIA(40s) appears from the right wing. This is his estate. He’s handsome, with long, light brown hair. He dons a blue summer suit and has great posture. He waves to the supporters as he arrives at the podium. ANTONIO (a sincere tone) Thank you. Today I want to talk to you all about greed. Greed acts like a virus that infects the mind. It takes over your thoughts and strips you of any morality and sympathy you have for your fellow human... The speech continues as we CUT TO EXT. LOS ANGELES SKYLINE The sun is large, settled behind the skyscrapers. It scorches the city in an unhealthy, cancerous yellow light.

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2.

ANTONIO(V.O) You start to believe that the sure path to success is by denying others what they are rightly entitled to. INT. DINING ROOM - NIGHT A beautiful penthouse. A short, portly man, who we’ll know as BOSS(60s), entertains his wealthy guests from all over the world. Smiles all around. ANTONIO(V.O) Greed changes the rules to make sure it always wins and you always lose. INT. OFFICE JOEL TURNER(50s), the mayor of Los Angeles, is being offered a suitcase of cash from Boss. Joel smiles, shuts the case, puts it away and shakes his hand. ANTONIO(V.O) It divides us by encouraging cynical thoughts and creates a culture of selfishness. INT. WAREHOUSE Boss and a lanky man we’ll call H.O. (40s), are watching boxes being unloaded off a truck and stacked up in the warehouse. ANTONIO(V.O) Greed turns us into wild animals, but we’re not fighting over food... EXT. ANTONIO’S ESTATE - ON STAGE - NIGHT Antonio takes out a wad of cash from his inside pocket and holds it high for all the crowd to see. They’re clinging to every word. ANTONIO We’re fighting over green pieces of paper, with pictures on it! A man made system that only means something because we allow it to.

3.

He dismissively throws the money behind him. EXT. LA STREET - DAY A drug deal. Two LAPD officers appear from behind the dealer and tap him on the shoulder. They are offered the cash and they take it. ANTONIO(V.O) We are not wild animals. We are smarter than that. INT. HOME IN LA - DAY A TV broadcast shows mayor Turner making a speech, grinning like he’s won at life. The TV cuts off and is carried away by a faceless man, past a crying wife, hugging her children and a husband looking defeated. They all watch their belongings repossessed. ANTONIO(V.O) I’m not saying don’t enjoy the nice things in life. Sometimes we need a little of that. EXT. HOUSE IN LA - DAY Tactical officers surround a small house. DEA agent JORDAN LANCE (30s) leads the operation. He heads to the front door and breaks in. ANTONIO(V.O) I’m saying we should strive for something greater. Unity. INT. HOUSE IN LA - CONTINUOUS The house is empty, as in nothing at all. Mission failed, Jordan begins to remove his armour. We see him mouth the word "fuck". ANTONIO(V.O) Possessions will never be enough, but a life of harmony will leave you fulfilled.

4.

EXT. ANTONIO’S ESTATE - NIGHT In the crowd, the defeated husband is present. He’s entranced. ANTONIO This city, the world, is plagued by greed. We need to come together and cure it. EXT. AEROPLANE - NIGHT The plane flies through the night sky, over Los Angeles County. It’s lights blinking. SUPERIMPOSE: A MONTH LATER INT. AEROPLANE The plane is dimly lit, with mostly empty seats. The few passengers are scattered around. Some are watching the complimentary movie, featuring actor EDWARD P. HOWARD. Others are either sleeping, on laptops or are lost in their thoughts like HENRY BROOKES (50s), whom stares out the window as the LA lights appear in view. Everything’s so small. The seat belt sign is turned on. PILOT (announcement) Good evening ladies and gentleman, this is the captain. I have turned on the seat belt signs as we prepare to make our landing at LAX. The local time is nine-forty-five pm and the temperature is 86 degrees Fahrenheit, so it is hot out there. I want to thank you for for choosing... EXT. LAX - NIGHT The tires smoke when the plane lands.

5.

INT. LAX - BAGGAGE CLAIM Henry retrieves his suitcase from the moving belt. A sticker on it shows it travelled from LGA (New York LaGuardia) to LAX. EXT. MOTEL - NIGHT The neon signs illuminate the taxi as Henry takes his luggage and pays the driver. HENRY Keep the change. INT. MOTEL ROOM The door swings open and Henry’s silhouette switches on the light. The room is dull, everything’s brown. Old furniture, peeling wallpaper and a mouldy ceiling. Henry grabs a bottle of water from the yellowing mini fridge, where a cockroach lays dead. He walks over to the window, almost empties half the bottle in one gulp, and gazes on the city with tired eyes. After a moment, he shuts the curtains. INT. DEA BUILDING - BOARDROOM Seated by the table, Henry takes a folder from Jordan Lance. It contains photographs of a crime scene. Two men, in a diner, sit dead in their booth. It’s a bloody mess. A portrait photo from before their deaths is included. Henry flicks through them. JORDAN The victims are LAPD detectives Marcos Herrera and Phillip Jones. Both died from a single shot to the head. The wife of detective Herrera claimed that the Sanctus Cartel attempted to recruit them just before their murder. Henry puts the photos aside. HENRY Why are they called Sanctus Cartel?

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TED It was given by the media. Special agent in charge TED AINSLEY (50s) is sitting across from Brookes. TED Sanctus is Latin for ghost. It’s supposed to reflect the fact they are a relatively new and unknown organisation. But they’ve made a big impact. More narcotics are on the street, yet drug related arrests continue to decline. That’s why we suspect corruption amongst the LAPD. The mayor doesn’t seem to be taking it seriously, which has led to the appearance of political activist groups. There are rumours of a revolt. HENRY (a slight chuckle) Sounds more like eighties Colombia. AINSLEY That’s why I wanted you Henry. I need people I can trust. Someone that understands the situation. Henry nods. HENRY (To Jordan) What about the other victim, detective Jones? JORDAN No family, nothing. Herrera is our only link. HENRY We better get to work then. INT. MORTUARY A cold metal room. In the centre is a table where a covered body lays. A nurse wearing scrubs removes the cover to reveal the body of Marcos Herrera. A visible bullet wound in his head.

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Behind the exhibition window is a clearly distressed woman, sobbing. Two LAPD officers beside her. This is CATALINA HERRERA (30s). OTHER SIDE OF WINDOW OFFICER Ms Herrera, can you please confirm if this is your husband? Cat nods, wiping her tears with a tissue. EXT. MORTUARY - CAR PARK - DAY The two officers escort Catalina to their vehicle but are immediately bombarded by reporters throwing questions at Cat. The officers have to push some out the way. There is no respect for this recent widow. REPORTER Can you confirm to us that it is your husband? REPORTER 2 Do you plan to sue the LAPD? REPORTER 3 Is it true the so called Sanctus Cartel approached your husband? Cat keeps her mouth shut. She’s not going to indulge these animals. The officers finally get her inside the car and shut the door. EXT. CATALINA’S HOME - DAY The officers drop Cat outside her home. It’s a small bungalow. Flowers and messages adorn the tiny front yard. Cat picks up one of the cards. It reads: Your husband represented the good in this increasingly conflicted world. I hope you keep his faith and continue to champion the light in these dark times. A.R. She takes the card inside with her.

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INT. CATALINA’S HOME - LIVING ROOM The curtains are shut covering most of the room in shadow, forcing bright sunlight to seep through the gaps, lighting the ceiling and showcasing the dusty air. Cat drops the keys and card on the stained coffee table, next to a book titled ’a guide to getting pregnant.’ She collapses onto the sofa, curls up and begins to cry. After a moment... JORDAN Excuse me, Ms Herrera? She looks up to find Jordan Lance in front of her. This is a... FLASHBACK - NIGHT Sitting in the same spot, Catalina’s face is red from all the crying. An LAPD officer sits next to her for support. JORDAN My name is Jordan Lance, I’m with the DEA. I was informed that you may have some information regarding the Sanctus Cartel. CATALINA (sporadic) I already said everything. He came home terrified. Said they tried to get him to do a job. Something about runaway kids. He refused. He didn’t know who to trust or what to do. JORDAN Did he describe what they looked like? CATALINA No. INT. ANTONIO’S ESTATE - DINING ROOM A marble round table acts as the centre piece of this elegant dining area. A crystal chandelier dangles above, bathing the room in a dim, candle like light.

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Antonio, Sarah and JACKIE(40s) - the TFP members - are discussing plans over a steak dinner. Antonio parades a newspaper with a picture of Catalina from the mortuary. ANTONIO Have you seen this? SARAH Yeah? ANTONIO This woman has garnered more support and attention in the past forty-eight hours, than this party has since its founding. SARAH Well it’s a sad story. People feel sorry for her. We don’t have that. ANTONIO My point exactly. This is a real example of what is wrong with this city. It connects with the people and we need that. JACKIE (chewing) What? ANTONIO (emphasizing) Connect with the people. (He stands and circles the table) Right now, most of our support comes from conspiracy theorists and virgins that think it’s the governments fault they can’t get laid. Muffled laughter from Jackie, mouth filled with steak. ANTONIO If we are to even make a dent in the system, then we’ll need the general population on our side. We need to be rallying on Venice beach, not my back yard. We need her. Sarah bobs her head, she seems to get it. Jackie, on the other hand, has something to say, right after she finally swallows her food and belches. (CONTINUED)

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JACKIE That’s great and all, but even if she does join us, some may think it’s unethical to abuse this woman’s sad story and probably vulnerable emotions. It could back fire on us. ANTONIO That shouldn’t happen. JACKIE Why not? ANTONIO Because it will be her choice. INT. DANNY’S DINER - DAY We recognise this place from the crime scene photographs. It’s a small place, only four booths. Clearly inspired by 50s design, the red and white colours have faded, the chrome scratched away. The menu hasn’t changed in decades. Henry and Jordan share a booth with DANNY(60s) himself. Henry nurses a glass of water. DANNY (examining the seats) It took an entire day to clean all the blood off the seats and windows. I can’t afford professional help, or new seats. I tried all types of fancy product but, in the end, it was good old water and soap that did the trick. HENRY I’m sorry this happened to you Danny. What can you tell us about the victims? DANNY Nothing really. They came in about twice a week, that’s as regular as I get. Sometimes two others would join them. JORDAN Who were they?

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11. DANNY I don’t know. I’ve never been one to strike up conversation with my customers. The people that come here all have the same look, like they want to be left alone. JORDAN (becoming impatient) What about the killers? DANNY They had masks. I ran out the back as soon as they entered. I mean you’d be stupid not to do anything else. HENRY Don’t you have a security camera? DANNY Hell, no. I don’t want those government assholes spying on me.

Henry and Jordan turn to each other. They’ve probably heard all there is to hear. HENRY OK, Danny. Thanks for your help. They get up to leave, but not before Henry puts a couple of dollars on the table, HENRY And thanks for the water. As they open the door. DANNY Hey! If you find the guys that did it, tell them they owe me a days money! EXT. DANNY’S DINER - CONTINUOUS The sun is blazing. The buildings provide shade and cast sharp shadows. HENRY (to himself) No camera? That can’t be coincidence.

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JORDAN (frustrated) That was useful. HENRY Let’s split up, see if we can find something. The agents go opposite ways down the street. We follow Henry first. HENRY’S PATH The street is filthy, littered with brown bags, beer cans and food wrappings skirted along the sidewalk. Henry walks cautiously past a man raging at an ATM machine. Hard times. ATM GUY (hammering with his fists) That’s my money! Mine! You can’t have it! You ain’t got the right! You piece o’shit! Give it me! A little further along, an expensive, luxury 4x4 drives past, completely out of place from its surroundings. Henry eventually stops at a Laundromat. He stares inside. It’s dark but he’s made out the blinking red light of a security camera mounted on the wall. At the back, sitting behind the counter, the silhouette of a LARGE MAN. Henry enters. INT. LAUNDROMAT A BEEP accompanies his entrance. It’s an unappealing place. The Large Man, reading a dirty magazine, eventually looks up at him. Henry takes out his badge. HENRY Henry Brookes, DEA. I’m investigating the shooting at Danny’s Diner. LARGE MAN So? HENRY Do you know anything?

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LARGE MAN No. HENRY Can I take a look at your security footage? The Large Man sighs in annoyance and lazily gets up. He hasn’t had to stand in a while. LARGE MAN Follow me. He slowly disappears through a door, leading to the back. Henry follows him. INT. LAUNDROMAT - BACKROOM It’s a dark and cramped room. The Large Man walks over to a monitor and swipes away all manner of litter to reveal a mouse and keyboard. After a few clicks of the mouse, he opens a file, backs away and motions to Henry that he can use it. HENRY Thanks. But before he can leave Henry to do his job. LARGE MAN Do you want your shirt cleaned? I can give you a good discount. HENRY (awkward) No thanks, I’m kinda busy. LARGE MAN Whatever. The Large Man leaves. Henry scrolls through the files, opens one and fast forwards to the relevant time, around 13:00. CAMERA FOOTAGE: The Laundromat, grainy quality. The place is empty, the Large Man out of shot. You can make out a little of the sidewalk outside. For a moment there is no activity, but then a HOMELESS PERSON wanders across the street, wearing cardboard for shoes. After that, nothing. Henry doesn’t really know what to make of the footage, nothing really happens. He finds a blank disc on the desk and inserts it into the computer.

14. JORDAN’S PATH Walking, Jordan comes across an alleyway, fresh skid marks on the ground. He observes the area. Only a gas station across the street. He enters the ally. ALLEYWAY The only decor in the alley is a single dumpster. As Jordan inspects it he finds the HOMELESS PERSON in it, digging around. Jordan’s taken by surprise. JORDAN What the..! Startled by his voice, the Homeless Person stands up to face Jordan. Thanks to the dumpster, he towers over him. Incredibly dirty, his hair and beard so greasy we don’t know it’s true colours. JORDAN Um, hi. The Homeless Man begins to make strange, threatening noises at Jordan, throwing garbage at him, like a wild animal protecting it’s territory. HOMELESS MAN GAHAWA! GWAH! MAH! MAAH! JORDAN Jesus Christ! Jordan escapes the alley feeling perplexed. His shirt covered in trash stains. EXT. CONVENIENCE STORE - MOMENTS LATER A bell dings. Henry exits the store clutching a disc. Jordan catches up to him. HENRY (referring to Jordan’s shirt) What happened to you? JORDAN I’ll tell you later. (referring to disc) What you got?

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HENRY Camera footage. Haven’t found anything, but we should look at it properly back at the office. Jordan nods and together they head to their car, parked on the side of the road. HENRY (humouring himself) If you want that shirt cleaned, I know a place that can give you a good discount. INT. FOODSTUFFS SUPERMARKET - MANAGERS OFFICE A small office, the desk takes almost the entire space. Catalina is with the store manager STEVE(40s). STEVE You know I didn’t expect you to return to work so soon. What happened to you was horrible. I totally understand if you want more time off. CATALINA Thanks Steve, but to be honest, I need the money. Plus getting back to a routine might help me. STEVE I understand. INT. BAKERY SECTION - MOMENTS LATER A bland, cold supermarket that hasn’t been refurbished in twenty years. Catalina is helping out her colleague ROSIE (40s) mark the prices of bread. ROSIE What ever happened to just bread? Plain white loaf. Rosie is the type of person that has something to say about everything. Cat has learned to simply nod and agree, but the lack of interest shows in her eyes. ROSIE(CONT’D) Now there’s all this wholegrain and gluten free crap. Gluten is (MORE) (CONTINUED)

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ROSIE(CONT’D) (cont’d) actually good for you, you know. Source of protein. Unless you have coeliac disease, there’s no reason for you not to eat gluten. But no, lets all listen to those skinny, Hollywood porn stars, with their computer generated bodies. INT. CATALINA’S HOME Cat has arrived from work, still wearing the green and brown Foodstuffs outfit. The doorbell rings as soon as she sits down. She wanted to rest, but it looks like it’ll have to wait. Cat answers the door to find Antonio Garcia standing in front of her. ANTONIO Ms Herrera, my name is Antonio Garcia, I’m the leader of the True Freedom Party, maybe you’ve heard of us? CATALINA Um, no, not really. Antonio can’t help but produce a disappointed face. ANTONIO Then I was right to come here. I was hoping to talk to you about your husband. About the people that killed him. INT. CATALINA’S HOME - LIVING ROOM - MOMENTS LATER Catalina arrives from the kitchen with a cup of coffee for Antonio, who’s seated. He thanks her and places it on the coffee table. He notices the pregnancy book, which produces a thought. ANTONIO Ms Herrera, are you pregnant? Catalina sees the book and realises the origin of that question.

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CATALINA Oh, no. We were trying. Instead of creating life, they lost one. ANTONIO I’m sorry to hear that. CATALINA You said you know something about my husbands killers? ANTONIO Have you noticed how, since the mayor came to office, this city has been slowly dying. Criminals thriving, families kicked out of their homes, there’s almost no water for us to use. Life has become unaffordable for so many and it’s only increasing in price. CATALINA I don’t understand. ANTONIO I’m saying mayor Joel Turner killed your husband. Maybe not directly, but he has allowed the people that did to call Los Angeles their home. And he’s destroying the lives of many others. Cat is starting to feel like he’s Rosie in a costume. ANTONIO(CONT’D) Your story needs to be heard. People need to know what he has done. My party can spread your story, take this man down and send these criminals to prison, where they belong. CATALINA Sorry, but I’m not interested in the mayor and your political agendas. ANTONIO Do you want justice for your husband?

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18. CATALINA Of course I do. ANTONIO You’re not going to get it working at a supermarket and your not going to get it chasing after the cartel. They have no face, nobody knows anything about them. The mayor is a real target, he’s the catalyst.

Antonio pulls out a pen from his jacket and begins to write his number on the napkin given with his coffee. ANTONIO Oh, by the way, we’ll pay you triple whatever your getting at Foodstuffs. Money. That is something worth considering. INT. DEA BUILDING - HENRY’S DESK CAMERA FOOTAGE: A convenience store, 13:00. The camera is above the entrance. A single customer browses the fridges. Cashier behind the till. A slight part of the sidewalk in view. Again, nothings really happening, other than the customer’s tough time of choosing which beer to purchase. Seconds later, the Homeless Man appears again, walking past the store. Henry freezes the footage, keeping the Homeless Man in view. HENRY Jordan come here a second. Jordan pulls up a chair alongside Henry. HENRY (pointing at the Homeless Man on screen) You see this guy? He’s appears in the other footage, walking down the street at the time of the shooting. JORDAN (realising) Yeah, that’s the guy who threw trash at me. He’s homeless I think. HENRY Wait, he was there? We need to find him.

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JORDAN Even if we do, his brains are fried. HENRY He might have seen something, I think it’s worth a shot. EXT. OUTSIDE ALLEYWAY - DAY Jordan parks the car on the side of the road. They get out and enter the alley. EXT. ALLEYWAY A lone dumpster. The agents arrive to find nobody home. JORDAN He was in there when I saw him. HENRY You reckon he lives here? As they continue to talk, a rasping sound becomes noticeably louder. It’s coming from the street. Henry and Jordan turn to see the Homeless Man entering the alley. His cardboard shoes scraping the ground. Jordan takes out his badge. JORDAN We want to talk to you. The Homeless Man stops in his tracks, alert. He turns around, back towards the street and walks off in a hurry. The agents go after him. EXT. STREET - CONTINUOUS They catch up with him instantly. Henry grabs him gently by the shoulder, as to not encourage him to go running off again. HENRY We’re not going to hurt you, we just want to talk. It doesn’t work. The Homeless Man wriggles free but is met with Jordan in front of him. Jordan grabs him tight. He begins to scream and lash out, kicking. It’s attracting the (CONTINUED)

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attention of a few people at the gas station across the street. It doesn’t look good from where they’re standing and they head towards the agents, angry. ANGRY STRANGER (from across the street) Hey! Hey! Let him go! Alerted, the agents decide to act quick. JORDAN Let’s just get him in! Henry opens the door and together they push him inside, but one of his kicks lands on Jordan’s groin. JORDAN SON OF A..! Jordan slams the door on him. Henry is pulled around by the... ANGRY STRANGER What do you think you’re doing? HENRY (tapping his badge, collected) Relax, DEA business. We’re taking him in for questioning. ANGRY STRANGER 2 (demanding) What has he done? JORDAN (vexed, in pain) He said DEA business. (grasping his gun) Now leave. Jordan stares at them hard and, for a moment, the angry strangers return the look, but eventually wise up and head back to the gas station. The agents get in the car and drive off. INT. DEA BUILDING - INTERROGATION ROOM Photographs of the crime scene are spread across the table, laid in front of the Homeless Man. He sits, static, staring at the floor, lost in his mind. Across from him, Henry can only wonder what is going on in that head of his. (CONTINUED)

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Jordan comes through the door with a sandwich and glass of water. He places them next to the Homeless Man. JORDAN Anything happen? HENRY Nothing. He’s a statue. For a moment, the two simply stare at him. He’s unmoved, paying no attention to the food. JORDAN What did we expect, really? HENRY We had to try, but what now? We can’t just dump him back on the street. JORDAN I can take him to a shelter, where they can look after him. Henry nods. INT. SHELTER Infirm people are scattered around a makeshift-esque social area. Mismatching furniture, probably donated. The walls feature faded cartoon style paintings of sunny fields. Claire (40s) is tending to someone, when the sound of the entrance door opening grabs her attention. Jordan enters with the Homeless Man, still catatonic. Claire immediately gets up and calls for her colleague, whom appears from another room and takes him to be cared for. JORDAN Thank you. Claire leads Jordan to the reception desk. CLAIRE You need to register him. JORDAN Sure thing. Claire opens up a form on the computer.

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22. CLAIRE What’s your name? JORDAN Jordan Lance. CLAIRE Do you know the name of the gentleman you brought with you? JORDAN No, he can’t speak. CLAIRE Well, you have to give him one. JORDAN (hopeful realisation) Hey, could you teach him to talk? CLAIRE We can certainly try. Is it important? JORDAN He’s a potential witness to a crime I’m investigating. CLAIRE You’re a cop? JORDAN DEA. CLAIRE DEA huh? Well you’re not doing a very good job. JORDAN Excuse me? CLAIRE Most that come through here are addicts. I’m sick of it, using up our resources. It would be less of a problem if the drugs were kept off the street.

Jordan doesn’t really know what to say, other than... JORDAN I’m sorry. A moment of reflection as Claire types on the keyboard. (CONTINUED)

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CLAIRE Kirk Michael. JORDAN What? CLAIRE Kirk Michael. That’s the name I’m giving him. JORDAN OK... CLAIRE You wanna change it? JORDAN No, Kirk Michael is fine. CLAIRE Good. Can I have your contact details please? INT. FOODSTUFFS SUPERMARKET Catalina is stocking cans of food, when her colleague Rosie shoves a mop in her face. ROSIE Some kid threw up on aisle 3. Cat resentfully takes the mop. AISLE 3 Cat is mopping up an astonishingly large amount of vomit. Like chunky vegetable soup. A clear look of disgust on her face, it seems never ending. She quits and throws the mop away from her. Cat reaches into her pocket and pulls out her cellphone, along with the napkin with Antonio’s number on it. She dials it. EXT. ECHO PARK - DAY Mayor Joel Turner, sporting an apron over his suit, shovels the ground, attempting to appear hard at work in front of the observing reporters.

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Behind him are teams of workers, digging and planting trees. The park itself is dried up. Dirt instead of grass. The lake void of any water. Every item that has been thrown in the there is visible for all to see, glistening in the harsh sunlight. Turner rests his foot on the shovel as he addresses the reporters. MAYOR TURNER As you can see behind me, today we are proving once again that Los Angeles takes the risks of climate change seriously. With over a hundred trees and plants being brought in, this park will take us one step closer to cleaner living; and the great people of this city can come here to enjoy themselves once more. Questions. REPORTER 1 Mayor Turner, there is a sense, growing amongst the people, that you are purposefully diverting attention away from the more serious matter of the narcotics problem, by making unnecessary announcements like today. What’s your response? MAYOR TURNER First of all, I believe tackling global warming is important, as do the majority of people. Secondly, I’m fully aware of the narcotics problem and it is a big priority. Another question, someone else. REPORTER 2 What actions are you taking to deal with the rise in narcotics exactly? MAYOR TURNER I am working continuously with the LAPD to ensure the rise of illegal drugs stops. Does anyone have a question regarding the parks renovation? Silence, filled with the occasional awkward cough. All hands stay down.

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MAYOR TURNER I guess that’s it then. Thank you. Mayor Turner removes his apron and heads to his vehicle in frustration. Security provides distance between the pursuing reporters. INT. MAYORS VEHICLE - CONTINUOUS Turner slams the door shut. Peace and quiet. MAYOR TURNER Assholes. (to driver) Take me home. DRIVER Yes sir. As the car the driver his inside finger and relaxes.

sets off, Turner puts up the partition, removing from his sight. He takes out a small pouch from pocket. Filled with a white powder, he dabs his rubs some on his teeth. He leans back and

EXT. LUMIÈRE FILM STUDIOS - ENTRANCE - DAY Henry exits a taxi and approaches the security box. The SECURITY GUARD slides his window open. SECURITY GUARD How can I help? HENRY I’m here to see Edward Howard, he invited me. My name’s Henry Brookes. The guard runs his finger down a printed list of names and finds Henry Brookes. He hands Henry a temporary pass clipped to a lanyard. SECURITY GUARD OK Mr Brookes, it’s Stage 6, just follow the signs. I must also ask you that you do not enter the other stages and cause disturbance. HENRY (nodding) Thank you.

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EXT. THE STUDIO’S It’s a whole other world. Henry sees people in costumes, golf karts zipping by, large stage lights, equipment trucks labelled Studio Lights, constructed film sets, crew members enjoying their breaks and runners going somewhere in a hurry. EXT. STAGE 6 The stage doors are shut, so Henry enters through a narrow side door, a large no-smoking sign stuck on it. INT. STAGE 6 - CORRIDOR Making his way along, Henry doesn’t really know where to go and luckily sees an open door which leads to the... INT. STAGE 6 - COSTUME DEPARTMENT The room is packed with portable hanging rails, each of them carrying costumes for every character. Pieces of material on the floor. In the middle, sat down, two employees chat and smoke. HENRY Excuse me, I’m looking for Edward Howard. EMPLOYEE He’s on set, it’s the last door down. HENRY Thanks. Henry turns to leave, but he can’t help himself. HENRY By the way, should you be smoking inside? EMPLOYEE (snickering) What are you police? HENRY (reveals his badge) Kinda, yeah. (CONTINUED)

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Embarrassed, the two employees scurry outside, with their cigarettes, past a smirking Henry. INT. STAGE 6 - ON SET Henry enters through a small back door to find they’re recording a take. Everyone is frozen, besides the actors, as they record a scene. Green screens surround the stage. EDWARD The orb of Zioney belongs here, in my kingdom, Harashesh. I will not let you take it. SOME ACTOR Then war it shall be! DIRECTOR Cut. That was fantastic, really amazing. Take ten everyone! All cast and crew scurry around. EDWARD (40s), dressed in a Nordic inspired costume, is requesting coffee from the runner as Henry heads towards him. EDWARD A caramel latte please, I’m crashing here. HENRY Hey Eddy. EDWARD Henry! Oh my god, you came! They hug. EDWARD Let’s catch up in my trailer. INT. EDWARD’S TRAILER It’s luxurious. Leather furniture, large TV, bath tub, double bedroom, air con. Edward lays on the sofa, Henry standing. EDWARD I can’t tell you how much of a whiny baby the director is. Henry forces out a little laugh.

(CONTINUED)

CONTINUED:

28.

HENRY How’s LA treating you? EDWARD I can’t complain really. The work is no where near as dignified and satisfying as Broadway, but the pay is a million times better. I do miss the New York weather though, it’s too hot here sometimes. What brings you to the west coast? HENRY Work. Seems like Los Angeles has a cartel problem. EDWARD Typical. I move here and the city turns to crap. I don’t know why people are so upset about drugs all of a sudden. We’ve had it for years. (to himself) Where’s my latte. HENRY This time it seems less controlled, more dangerous. A loud knock on the door. RUNNER(O.S) You need to be in make up in five minutes! EDWARD (yelling) Yes, thank you, and I still haven’t got my latte! (to Henry) No one has manners anymore. It’s good to see you again Henry. How long are you here for? HENRY For a while it looks like. EDWARD Good, I’m having a party at my house. You should come, it will be fun.

(CONTINUED)

CONTINUED:

29.

HENRY If time allows, sure. EDWARD Fantastic. Now I have to go, or make up will be moaning. EXT. ANTONIO’S ESTATE Another rally is being held. Antonio is on stage, performing his obligatory monologue. EXT. ANTONIO’S ESTATE - BACK STAGE A small open tent has been constructed for the TFP members, which includes a new face, Catalina Herrera. Antonio can still be heard over the microphones. Wires connect all electrical devices to a humming generator. A few seats and a table with some refreshments. Cat takes a peek at the crowd, it’s bigger than she expected. She turns to Sarah. CATALINA How many are there? SARAH Around a thousand. Anxiety strikes Catalina, perfect timing, as Antonio announces her to the stage. ANTONIO (through speaker) Now I want to bring on a friend of mine, who’s got something very important to say and I think we should all hear her out. Please welcome, Catalina Herrera. Cat’s nerves tense up, but Sarah nudges her on stage. SARAH It will be fine. Go.

30.

EXT. ON STAGE - CONTINUOUS Catalina appears, trying to mask the nerves behind a smile. Antonio is there to greet her. ANTONIO (whispers) You’ll do great. Cat adjusts the microphone. A thousand eyes and ears on her. She clears her throat. CATALINA Good evening. My name is Catalina Herrera. Some of you may have seen my picture in the news recently. My husband Marcos was murdered by the so called Sanctus Cartel. He was a detective, a good man and didn’t deserve to die like that. I haven’t been able to stop thinking about his death. The crowd are fully tuned in, a sympathetic glow in their eyes. CATALINA(CONT’D) I kept asking myself, why? Why did it have to be my husband? I didn’t understand. But then I started looking at the bigger picture and began to ask, how? How did it come to this? That a criminal organisation is allowed to operate in this city and get away with murder. I figured out the answer. Mayor Joel Turner. People nod and voice their agreement, "yeah." CATALINA(CONT’D) This city used to lead the nation, even the world, towards a progressive future. But since Turner came to office, we’ve been going backwards. He has turned this city into an environment fit for criminals, and has left the everyday men and women hung out to dry...

31.

EXT. BACK STAGE - MOMENTS LATER The crowd are pumped, chanting "out with Turner!" Antonio jumps off the stage with a pure rush of energy, his face beaming. ANTONIO Listen! Listen to them! The sound of revolution! Cat follows him off, a combination of tense nerves and adrenaline. Antonio grabs her. ANTONIO Cat, you were amazing! This is the start of something great. A new time is upon us. We must continue to spread your message. Antonio embraces her. Cat doesn’t know what to make of it. INT. DETECTIVE BUREAU - CHIEF’S OFFICE CHIEF DETECTIVE Maybe I’ve just become cynical in my old age, but people don’t seem to care about morality anymore. They’ll reason with themselves to get anything, if they want it badly enough. The CHIEF DETECTIVE(60s) has a hoarse voice. He’s peeking through the drawn blinds, spying on his workforce, but eventually returns to his desk where Henry sits. The room has an old school, noir vibe to it. CHIEF DETECTIVE Be careful who you talk to Mr Brookes, there aren’t a lot of good people out there, not anymore. A knock at the door. CHIEF DETECTIVE Come in. DETECTIVE JACOBS (30s), baby faced, enters with a folder. JACOBS (offering the folder to the Chief) The case files you asked for. (CONTINUED)

CONTINUED:

32.

The chief points at Henry, to indicate it’s for him. Jacobs hands it over. HENRY Thank you. JACOBS So you’re working the Herrera, Jones murder. (points to folder, he read it) I couldn’t help it. HENRY I am. JACOBS They were colleagues of mine, you know. Anything interesting turn up? HENRY I’m sorry, DEA business. CHIEF DETECTIVE Keep your nose out of it detective. INT. DEA BUILDING - HENRY’S DESK Henry, legs leaning on the desk, is reading the case files. The sound of DEA agents chatting, keyboards tapping and water coolers bubbling, make up the background noise. A puzzled, curious look from Henry. He sits up straight and throws the files over to Jordan, who’s desk is in front of him. HENRY Read that. JORDAN (reading) Felix Santi...suicide...five years old. HENRY You ever heard of a five year old killing himself? JORDAN I’m not sure, it is strange.

(CONTINUED)

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33.

HENRY Pretty much unheard off. I want to check it out. JORDAN OK. (reading) Says here he resided at Edmund Pevensie’s Orphanage. EXT. EDMUND PEVENSIE’S ORPHANAGE A mansion, old and gothic in style. It stands out from it’s more contemporary, working class surroundings. All the greenery that adorned it are dead, crumbling to dust. Whatever grandeur that graced this place in a previous time is gone. Circled by a large wall, a plaque by the front gate reads: Edmund Pevensie’s home for orphaned children. The agents drive through. EXT. EDMUND PEVENSIE’S ORPHANAGE - FRONT DOOR Henry leads the way up the steps and on to the porch. He rings the doorbell. After a moment, a YOUNG ORPHAN (10) answers the door. Henry bends down to his eye level, trying to be friendly. HENRY Hi there. My name is Henry Brookes and this is my friend Jordan Lance. Is there an adult we can talk to... Before he can finish his sentence, the child has spotted the agents badges and slams the door shut. Henry and Jordan share a look of bemusement. The door opens again, this time it’s one of the carers, a weary face. CARER (an overly pleasant tone) Hi, sorry about that, how can I help you? HENRY We’re DEA and we’re hoping to talk to someone about the death of Felix Santi.

(CONTINUED)

CONTINUED:

34.

CARER Of course, come inside. INT. ORPHANAGE - LIVING ROOM A clock tells 14:30. Jordan watches, almost like a concerned parent, as orphans roller blade around the place, chasing each other, fighting over video games and breaking furniture. None of the present staff seem to care. INT. ORPHANAGE - STAFF ROOM In the much quieter staff room, Henry is talking with the carer. CARER It was a big shock. We couldn’t believe it. Such a horrible thing to happen. HENRY Felix never displayed any signs or strange behaviour? CARER No. If he did we would have done something. He was like everyone other kid here. Full of life, living in the moment. HENRY How did he kill himself? CARER I...I don’t know HENRY How do you not know? CARER I mean, he... The window. I think he jumped out the window. He "thinks?" Henry gives him a hard look.

35.

INT. ORPHANAGE - LIVING ROOM Jordan pulls over one of the rollerskating kids, realising something. JORDAN Hey, shouldn’t you guys be in school? A member of staff immediately steps in. STAFF They’re homeschooled. JORDAN Are they on recess? HENRY (outside the room) Thanks for your time. We may contact you soon. Henry steps in the room. HENRY (to Jordan) We’re done here. INT. SHELTER - SHOWER ROOM Kirk Micheal sits in the shower, unrecognisable. His hair much shorter and cleaner. His face now shaven, his defined cheek bones visible. A nurse washes his body with a sponge. INT. SHELTER - CAFETERIA Kirk is being fed by another nurse, like a baby, and he’s eating. INT. SHELTER - SOCIAL ROOM Claire is getting Kirk to do some simple exercises. She holds a piece of laminated card, with different coloured circles. CLAIRE Green. Slowly, Kirk places his scrawny finger on the green circle.

(CONTINUED)

CONTINUED:

36.

CLAIRE Good. Red. He slides his finger over to the red circle. CLAIRE Well done. He’s making progress. CLAIRE Blue. NEWS ANCHOR(V.O) We’ve talked quite a bit about your husband... INT. TV STUDIO - FBS NEWS - LIVE BROADCAST Catalina is being interviewed live on FBS 24hr news. Antonio is sitting next to her, supporting, supervising. A banner of the day’s headlines runs underneath them. The NEWS ANCHOR has a face that isn’t complimented by HD. NEWS ANCHOR But what was he actually like? CATALINA Selfless. He was kind hearted and told me he loved me everyday. He cared for his job and helping others. And he was a great cook, that’s how he won me over. A subtle smile. Cat has become used to talking about her husband, she can hold back the tears. The anchor nods, like on autopilot. NEWS ANCHOR You’ve been accusing Mayor Turner for allowing his death to happen, but what about the people that actually killed him? CATALINA Of course I want them behind bars, I want them to be punished, but the police are handling that. I’m looking at the bigger picture. You have to ask, how did it all come to this? The Mayor, our politicians, are the peoples responsibility, not (MORE) (CONTINUED)

CONTINUED:

37.

CATALINA (cont’d) the police’s. That’s why I joined the TFP. ANTONIO (interjecting) The system needs to be updated to serve the people of the twenty-first century. To get rid of bureaucrats damaging the lives of everyday people, with their egotistical personalities. That is what the True Freedom Party aims to accomplish. EXT. FANCY RESTAURANT Mayor Turner exits the building to find the usual gang of reporters waiting to greet him. Security wrestle to pave a path to his car. REPORTER What do you have to say about Ms Herrera’s striking accusations? MAYOR TURNER (cool, rehearsed) While I sympathise with Ms Herrera for the loss of her husband and the terrible ordeal she has been through, the notion that I am ultimately responsible for her husbands death is unjustified. He retreats into his car, security closing the door. EXT. EDMUND PEVENSIE’S ORPHANAGE - ACROSS THE ROAD - NIGHT Parked at an unnoticeable distance, Henry and Jordan are in the car, surveilling the orphanage. INT. CAR Jordan sleeps, his chair pulled back. Henry is leaning on the dashboard, keeping his eyes on the orphanage. The radio quietly plays in the background, a quiz show. GAME HOST For one-thousand dollars. Named after the original Dukes of (MORE) (CONTINUED)

CONTINUED:

38.

GAME HOST (cont’d) Hazzards character, what are Daisy Dukes? A, Denim Shorts. B, Denim Jacket. Or C, Denim Bra. HENRY (to himself) Denim shorts. CONTESTANT I believe it’s A, Denim Shorts. A pleasant, harp like sound. GAME HOST Correct, you’ve got a thousand dollars in your bank. HENRY (whispering) Damn straight. GAME HOST Next question for two-thousand dollars. Cinnabar is the common ore of which metal? Is it, A, Aluminium. B, Mercury. Or C, Gold. EXT. EDMUND PEVENSIE’S ORPHANAGE Exiting the front door is the Young Orphan. He carries a package, which he deposits in the basket of his bicycle and rides out the orphanage, heading down the street, away from the agents. INT. CAR Henry is alert to it and smacks Jordan awake. HENRY Get up! The kids moving. It takes a second for Jordan to realise what Henry is talking about, but when he does, he springs to action and starts the engine. HENRY Keep your distance. Jordan steers the car, following the young orphan.

39.

EXT/INT. CAR It’s dark. The streetlights illuminate sections of the road. The young orphan is cycling on the side walk. It’s a long straight road, so Jordan drives at a slow place, lights off, to avoid getting spotted. The kid ends up turning right at an alleyway. HENRY Get there! Jordan speeds up to arrive at the alley. Henry gets out. HENRY You go around, I’ve got my phone. Henry shuts the door and heads to the alley entrance. EXT. ALLEYWAY The path goes between houses. It’s almost pitch black, except for the child’s fluttering bike light, which grows fainter in the distance. Dogs bark ominously. Henry can’t go spotted if the the other side full speed and

in just yet, it’s a long alley, and he’ll get kid turns around. The young orphan reaches and takes a left. Now clear, Henry sprints at reaches the...

EXT. OTHER SIDE OF ALLEY Henry see’s the orphan crossing the street. Jordan has come around to find himself driving directly past the child. EXT/INT. CAR Jordan keeps his eyes away from the child’s vicinity, hoping to attract as little attention as possible. But as the child cycles past him, he curiously takes a look at the car squinting his eyes. Jordan jerks his head, so he can only see the back of it, and continues driving ahead. Nothing happens, carry on. Jordan spots Henry approaching the car and stops for him. Henry get’s in and looks out the rear window to see the child disappearing behind a sharp bend. HENRY Turn around, hurry!

(CONTINUED)

CONTINUED:

40.

Jordan performs a speedy three point turn and drives quickly round the bend to find the kid gone. They slow down, checking every house they pass, until... JORDAN There! Jordan points to the bike, parked outside a small house. The child knocking on the door, package in hand. They park the car to watch. EXT. SMALL HOUSE The door opens and a SKINNY MAN greets the child. He hands the kid a roll of cash and receives the package. Done deal, the Skinny Man returns inside. EXT/INT. CAR The agents watch with an intense look in their eyes as the child hops back on the bike and cycles past them, presumably heading back to the orphanage. The agents keep silent until the stuttering lights of the bike disappear from view. HENRY Lets go. EXT. SMALL HOUSE - FRONT DOOR The agents ring the bell and seconds later the Skinny Man answers. Closer up you can make out his cracked skin, bloodshot eyes and dirty face, not unlike Kirk’s. He’s always got an itch. Henry presents his badge. HENRY DEA. Can we please take a look at the package the child gave you? SKINNY MAN Sure, yeah, no problem. I’ll just be a moment. He leaves the agents at the front. JORDAN (humouring) What if it’s just cookies or something?

41.

They share a laugh. EXT. SMALL HOUSE A moment later the Skinny Man appears from the back of the house, attempting to sneak past the agents, still waiting at the front door. Unfortunately for him, he clumsily bumps in to the dog house and tumbles over, attracting the agents. Luckily there isn’t a dog inside to trouble them. JORDAN Are you for real man? For a second, the agents can only look in amusement. HENRY I’ll deal with him, you get the package. Jordan heads inside. INT. SMALL HOUSE - LIVING ROOM Grimey. Hazy. Cartoons play on the TV. The package lays on the messy table, already open. A smoking crack pipe next to it. Jordan picks it up. EXT. SMALL HOUSE Henry is pinning the Skinny Man to the ground, who’s not making much of an effort to leave. Jordan shouts from the front door, holding the package. JORDAN It’s crystal meth! HENRY (to Skinny Man) You’re under arrest my friend. INT. DEA BUILDING - TED’S OFFICE A contemporary modern office, fit for the special agent in charge. The package of crystal meth is on the dark oak desk. Henry and Jordan watch Ted Ainsley pacing the room, angry, disturbed.

(CONTINUED)

CONTINUED:

42.

TED Children! I remember when criminals wouldn’t dream of putting that stuff anywhere near children. I want these people arrested. Even if there are no links to the cartel, they’ve got kids selling drugs, they deserve to be behind bars. How many staff were there? HENRY Four, maybe five. Jordan nods in confirmation. TED Round up a tactical unit, for precaution. Who knows what else they’ve got these kids doing. HENRY You got it. EXT/INT - DEA CONVOY - DAY A warm, bright day. Jordan and Henry lead the way to the orphanage. Following them is an armoured van with five, fully suited, tactical officers, loaded with sub-machine guns. The tactical officers are silent, focused. They fight of the sharp turns like a ship on rough seas. EXT. EDMUND PEVENSIE’S ORPHANAGE They park on the drive way. The sun gleaming. They exit their vehicles and Henry leads the way up the stairs to the... EXT. ORPHANAGE - FRONT DOOR Henry rings the bell. We can hear it echo through house. It’s eerily quiet. No one answers. Henry spreads a vigilant look at his colleagues. Henry presses the bell again, BOOM! A double-barrel blast, through the door, sends Henry flying down the stairs.

43.

EXT. ORPHANAGE - FRONT Gunfire hails from the windows. The tactical officers retreat to the cover of their van. Jordan has left himself stranded under a window, firing blind shots inside. We can’t see the attackers, just the bursts of light from their weapons. JORDAN (ordering the officers) I need three round the back, try to flank them! The officers nod. Two of them rain bullets on the house, allowing the other three to run for the back yard. Jordan radios for back up. Henry still lies at the bottom of the stairs, unconscious. EXT. ORPHANAGE - BACK YARD The three officers have made it round. They shoot down the french doors, shattering the glass, and enter into the... INT. ORPHANAGE - KITCHEN They are welcomed by a group of attackers and react quick, diving for cover behind the island and dining table. That’s when they realise, the orphans are firing at them. EXT. ORPHANAGE - FRONT Still where we left them, a message comes through the radios: "Be advised, orphans are armed and dangerous." Jordan hatches a plan. JORDAN (to officers) When I move, you grab Brookes! The officers nod in affirmative. After a few heavy breaths, Jordan summons his courage and lunges over the porch, running towards the cover of the car. He manages to draw fire towards him, allowing the officers to go for Henry, shooting at the house as they do so. They reach Henry and proceed to carry him back behind the van.

44.

INT. ORPHANAGE - KITCHEN Despite taking out some of the attackers, the three officers are pinned down. The officer by the dining table needs to move quickly, his cover is being blown to pieces, large splinters flying everywhere. He jumps towards the island and makes it, as a dead man, lying beside his colleagues. EXT. ORPHANAGE - FRONT "Man down!" comes through the radio. Jordan and the two officers have dealt with most of the attackers. Henry’s being checked when he bursts awake, gasping, recollecting his memories. The armour did it’s job. Only a few scratches and small cuts from the doors shrapnel. Remembering the events, Henry dusts himself off. HENRY I’m fine, I’m fine. Let’s move! The four of them head to the front door and inform the others, "we’re moving in." They take out the last of the attackers by the windows and make it to the front entrance, now dealing with shooters inside the entrance hallway. After a number of exchanges, the two surviving officers appear from the kitchen door. Now flanking their aggressors, the six of them finish them off swiftly. INT. ORPHANAGE - ENTRANCE HALLWAY A quiet moment, they regroup inside the house. Henry motions to move upstairs and as they do, BANG! Another officer goes down (that’s two). Everyone runs for cover, behind furniture and into other rooms. INT. ORPHANAGE - LIVING ROOM Lying flat on his stomach, Henry has taken temporary refuge in the living room. He looks up to see a group of young children huddled on the other side of the room. They’re incredibly frightened, some crying. INT. ORPHANAGE - ENTRANCE HALLWAY Henry peeks out the room. The officers have dealt with the upstairs attackers.

(CONTINUED)

CONTINUED:

45.

HENRY (command) Alright, upstairs. Once again they move for the stairs and once again BANG! There are still assailants downstairs, in the staff room. Nobody gets hit, but the group split. Jordan and two officers head upstairs. Henry and the remaining officer stay down to deal with the remaining attackers. INT. ORPHANAGE - UPSTAIRS CORRIDOR Jordan leads the way. The three of them move efficiently, taking out the attackers that sporadically pop out the bedrooms. They reach the final bedroom at the end of the corridor. Jordan slowly opens the door and BOOM! A chunk of the door comes flying off. Jordan luckily avoids the bullet and he can see inside thanks to the newly adjusted door. INT. ORPHANAGE - BEDROOM Inside the bedroom is the CARER, weary faced, holding a toddler hostage. JORDAN Come on man, let the kid go. Too many people have died today. CARER (shaking) I won’t go with you! INT. ORPHANAGE - STAFF ROOM Downstairs, Henry finishes off the last attacker and runs to catch up with Jordan. INT. ORPHANAGE - UPSTAIRS CORRIDOR Jordan is still by the door. JORDAN Listen! If you’re scared we can talk about it.

(CONTINUED)

CONTINUED:

46.

CARER(O.S) That’s not going to happen. Henry arrives to rejoin the group. HENRY (to officer) What’s going on? OFFICER Kids been taken hostage. JORDAN We can give you protection! BANG! The last one. INT. ORPHANAGE - BEDROOM The Carer turned the gun on himself. The toddler cries next to the dead body. INT. ORPHANAGE - UPSTAIRS CORRIDOR The sudden silence hurts, the ringing in their ears now audible. Henry, feeling defeated, looks down to find the Young Orphan dead, by his feet. It almost looks like he’s reaching to him for help. He looks along the corridor to find a dozen bodies, mostly children, lying on the floor. EXT. ORPHANAGE - FRONT YARD The sun is blazing. The sound of sirens grow louder. Henry exits the building, visibly shaken by the events. He slides down the brick wall, to sit, head in his knees. The sirens cut off, back up has arrived. They scatter around the area. INT. ORPHANAGE - BEDROOM The Carer’s body is still present, but is covered up. Amid all the frenzy, Jordan is searching around, under beds and in drawers. He opens the closet to find it jammed by a wall, from top to bottom, of toys and clothes. He gets stuck in and tears it down, to reveal a large hole in the wall, filled with stacks of cash and drugs.

47.

EXT. EDMUND PEVENSIE’S ORPHANAGE Outside the entrance, FBS reporter RUTH WILSON is getting into position so all the police activity is behind her. She quickly checks herself over with the cameraman. RUTH Hair? Teeth? The makes up not to... CAMERAMAN (not interested) You’re on! RUTH I am outside Edmund Pevensie’s Orphanage in Lawndale, Los Angeles, where a DEA operation has left dozens of orphans killed and critically wounded. INT. A BAR - SOMEWHERE IN LA The staff and customers, which includes Steve the Foodstuffs manager, are glued to the TV above the bar. RUTH (on TV) What we know so far is that the DEA discovered narcotics were being sold from the orphanage and that the children were involved. INT. LA METRO A group of young commuters are gathered around a phone, streaming the report. RUTH (on phone) Today the DEA tried to put a stop to it but were met with heavy resistance. Unfortunately the orphans were participating in the attack.

48.

INT. A HOME IN LA A mother watches the report from her sofa. Horrified, she kisses her two children sitting next to her, distracted by their devices. RUTH (on TV) The result of the conflict has left two officers, members of staff and many orphans dead. Some as young as four, five years old. EXT. APARTMENT BUILDING Dropping down the building, looking through the windows, we can see everyone tuned to the report. RUTH(V.O) A large stash of money and drugs has been found inside, which is currently in the custody of the DEA. INT. HENRY’S MOTEL ROOM Sitting on the bed, Henry is viewing the broadcast on the small TV. RUTH (on TV) A serious investigation is already underway in an attempt to understand how this happened. The question is being asked, is this the work of the so called Sanctus Cartel? Henry switches the TV off. Dejected, he falls on his pillow. INT. ANTONIO’S ESTATE - LIVING ROOM Catalina is fixated on the television. Behind her, Antonio, Sarah and Jackie are already discussing how to take advantage of the events. RUTH (on TV) In a city where narcotics are an ever growing concern, the people (MORE) (CONTINUED)

CONTINUED:

49.

RUTH (cont’d) will want to know just as much as the police. JACKIE (eating) Are you sure abut this, isn’t it too early? ANTONIO No, are you kidding me? Emotions are high right now and the people want to project their anger onto something. It’s the perfect time. Cat, come here please. Cat switches off the TV and joins them. ANTONIO We need to make a statement about what’s happened at the orphanage and I think it should be you. People connect with you. CATALINA (nodding) OK, what’s the idea? INT. HOME IN LA The mother of two is on her laptop when she receives a link from a friend. She opens it and it takes her to the official TFP website, where their latest video has been uploaded. She clicks play. In the video, Catalina is sitting behind a table, the Californian and United States flags are pinned to the wall. There’s a vigilante vibe. CATALINA(V.O) I’m sure you’re all aware of the tragic events that occurred earlier today. It’s another reminder that this city is in dark times and action needs to be taken.

50.

INT. WAITING ROOM - SOMEWHERE IN LA One of the young commuters from the metro is sitting, watching the video on his phone. CATALINA(V.O) Children died today. They’re supposed to be our future, yet we’ve got them dealing drugs and shooting at law enforcement. Is that the future you want? EXT. LOS ANGELES On the streets, everyone is tuned to their devices. CATALINA(V.O) We all know the source of the problem. So get out of your homes and start doing something. It is our responsibility. INT. DEA BUILDING - INTERROGATION ROOM - MONTAGE The agents are having to question the surviving orphans. They’re supported by a social worker at all times. Henry and Jordan take turns. JORDAN Why did you shoot at us? ORPHAN(13) You were shooting at us! The police are bad, you ruin lives! HENRY Did they ever make you deliver drugs? ORPHAN(9) Yeah. HENRY Why, don’t you know it’s illegal? ORPHAN(9) They give me candy. JORDAN Who taught you how to use a gun?

(CONTINUED)

CONTINUED:

51.

ORPHAN(15) This guy, I don’t remember his name, came to us and taught us how to use them. HENRY Did you know Felix Santi? ORPHAN(10) He’s stupid, he doesn’t listen. JORDAN Where did the drugs come from? ORPHAN(13) Your mom, probably. SOCIAL WORKER OK, I think maybe we should end it there. INT. DEA BUILDING - TED’S OFFICE Ted is sitting on his desk, looking a little saddened, in pain. Henry and Jordan stand in front. TED This is not right. I mean what kind of people are we, interrogating these children, after what they’ve been through? HENRY No one’s enjoying it Ted. The circumstances forced us. JORDAN Yeah. Anyway these kids don’t have anymore to say. It’s better if we moved on. INT. SHELTER - CAFETERIA Kirk Michael is eating by himself. He looks healthier, a bit more meat in his cheeks, a light in his eyes.

52.

INT. SHELTER - SOCIAL ROOM Kirk is playing a game of connect four with another patient. They come across as two war veterans, recovering together, saying nothing. Claire enters the room, passing by and takes notice. EXT/INT. MAYORS CAR Mayor Turner is being driven to the Getty House, where he resides, only to find a group of protesters outside the gates. They’re waving picket signs and chanting anti-Turner messages. As they drive through the gates, passing the protesters up close, he notices some are wearing t-shirts with Catalina’s face, in the style of a Che Guevara poster. Turner is displeased. INT. GETTY HOUSE - OFFICE Mayor Turner is on the phone, pacing. He’s wiping his nose, he’s just treated himself to a hit. MAYOR TURNER Things have became a little heated recently. I don’t think it’s wise to expand at this moment in time. If anything we should scale things down until everything cools off. H.O. (through phone) Not a chance! INT. WAREHOUSE H.O., the lanky man, walks past the workers as they package the product for distribution. He takes a small sample with his hands and tastes it, like a wine connoisseur, moving it around his mouth. H.O. We’ve got a good momentum going and we’re not about to kill it because your job just got a little harder. BOSS (through phone) Agreed.

53.

INT. PENTHOUSE Beautifully decorated. Boss is sitting by the obligatory aquarium all wealthy people must own. BOSS The investors will never green-light a decision that cuts profit. Besides, you’re a politician, if there’s something in your way, get rid of it the best way you know how. He hangs up. INT. GETTY HOUSE - OFFICE H.O. hangs up leaving the line dead. Turner follows suit and is left frustrated by the conversation. EXT. EDWARD’S HOUSE Tonight is Edwards house party. A modern mansion on the hills, it’s practically one giant window with a great view. Looking smart, Henry makes his way past a pretty group on the front lawn and heads inside. INT. EDWARD’S HOUSE The decor inside is contemporary, simple and sleek. None of the furniture is more than a year old. Amongst the ’A-list’ crowd, Henry manages to locate Ed, circled by his friends, and taps him on the shoulder. EDWARD Henry! How are you? Fashionably late, you haven’t changed. I want you to meet my friends. Everybody this is Henry Brookes, a close friend of mine back from my New York days. Henry this is Janet, my agent... Henry nods and smiles as Edwards introduces his friends. JANET How’s it going?

(CONTINUED)

CONTINUED:

54.

EDWARD (continued) She knows everyone in the industry. This is Clarissa, her album has just gone gold. HENRY Congrats. CLARISSA Thank you. EDWARD You might recognise this man, Andrew Williams, we co-starred in that transgender picture a few years back. HENRY I think I remember that one. EDWARD And this is Bert Steinberg, the acclaimed Hollywood director. BERT So Henry, what is it you do for a living? HENRY I work for the DEA. BERT No kidding. I’m making a movie about the DEA. What do you do over there? HENRY I’m a special agent. Basically it’s my job to get the bad guys. BERT Yeah I remember reading about that on Wikipedia. INT. EDWARD’S HOUSE - UPSTAIRS CORRIDOR Heading up the stairs, a PRODUCER and ACTOR are locking tongues, in search of a room. They open one of the many doors to the many bedrooms.

55.

INT. EDWARD’S HOUSE - BEDROOM They launch the door open with their twined bodies, to discover it’s occupied. A short, muscular man named ZURGER is selling drugs to two partiers. PRODUCER (laughing) Looks like this one’s taken. They shut the door. INT. EDWARD’S HOUSE Henry is still stuck with Bert. BERT I would just love the actors to shadow a special agent, get a real feel for it, you know? Is that something you could possibly help with, maybe? HENRY I’m going to get a drink. AT THE BAR - CONTINUOUS A white marble bar. HENRY Can I get a soda water please? BARTENDER Coming up. The bartender hands Henry his drink. As Henry sips, he can’t help but go over the events at the orphanage, which has left him in a sad state. VOICE(O.S) I’ve not seen you before. Henry turns to see PARTY GIRL(30s), short dress, champagne in hand and can’t help but sound seductive. HENRY I’m Henry Brookes, a friend of Ed.

(CONTINUED)

CONTINUED:

56.

PARTY GIRL What you drinking? HENRY Oh it’s just a soda water. PARTY GIRL Soda water! C’mon, loosen up, have some fun. HENRY I don’t really drink. PARTY GIRL That’s cool, I’m vegan. Anyway, there are other ways to party. (she takes his hand) Follow me upstairs? HENRY Oh, I’m not interested, thanks. PARTY GIRL Hey! That’s not what I meant. HENRY What did you mean? PARTY GIRL (wiping her nose) You know, party. HENRY (contains a laugh) Lead the way. INT. EDWARD’S HOUSE - BEDROOM Party Girl opens the door and, holding his hand, leads Henry inside towards Zurger. Henry notices the two partiers, they’re now on the floor, writhing together, laughing. Zurger is by the bed with his bag of products. PARTY GIRL (doing a little dance) Hey, we want to party, you got any coke? ZURGER Absolutely, how much you want?

(CONTINUED)

CONTINUED:

57.

PARTY GIRL Enough to last the night. ZURGER All right! Zurger opens up his bag and Henry takes a peek to see a variety of drugs, along with needles and pipes. HENRY Wow, that’s quite the stash you’ve got there. ZURGER Only the best, you see something you like? HENRY I’ll take all of it. Zurger laughs, Henry joins in. ZURGER Sure, that will be fifty-thousand dollars please. They continue to laugh but then Henry stops, anger in his eyes. He grabs Zurger by his shirt and pulls him close. HENRY I’m taking you too. Zurger reacts instantly and releases himself from Henry’s grip. He punches Henry square in the jaw, knocking him down. Zurger grabs his bag, still open, and makes for the door. But Henry recovers in time to grab him and throws him on the bed, launching the drugs and needles into the air, scattering around the area. Party Girl grabs some of the coke and runs out the room in a hurry. Henry get’s on top and wails on him, connecting a few punches before Zurger pulls him in for a head butt and kick’s him off. Zurger, now above Henry, is chocking him out. Henry, eyes popping, can’t shake him off and needs to think fast. He grabs some of the needles and stabs him but it’s not enough. He manages to reach the bedside lamp and smashes it on his head. It does the trick and frees him, giving him a couple seconds to catch his breath.

58.

INT. EDWARD’S HOUSE Back downstairs, Party Girl, clutching her drugs, scurries through the crowd and eventually finds who she’s looking for. PARTY GIRL Ed, your friend is upstairs causing trouble. EDWARD (annoyed) Who is it this time? PARTY GIRL (trying to remember) ...Harry something. I don’t know. EDWARD Dear lord, just take me there. INT. EDWARD’S HOUSE - BEDROOM Henry and Zurger are wrestling again. Zurger pins Henry down with his entire body. Too heavy, Henry can’t move him. Zurger grabs one of the needles and inserts a large dose of heroin. He then injects the entire quantity into Henry’s leg. Henry tries desperately to wriggle free but he quickly becomes weaker, falling into darkness. INT. EDWARDS HOUSE - UPSTAIRS CORRIDOR Edward is following Party Girl up the stairs. INT. EDWARD’S HOUSE - BEDROOM They open the door to find Henry lying on the bed dead still, surrounded by narcotics and needles. The two partiers are still on the floor, having a great time. Edward runs to Henry and checks his pulse and temperature. EDWARD Henry! Call an ambulance!

59.

INT. FOODSTUFFS SUPERMARKET Catalina is back, but this time she’s just shopping. She pushes the trolley which is filled to the top thanks to her new job, and comes to a stop at the rice. As she reaches down to grab a bag, she notices two women watching her behind the end of the aisle. Cat doesn’t think much of it, they’ve probably just recognise her from the papers. Cat is now picking some carrots, when again she notices the two women watching her from a distance. A little creeped out now, Cat goes to pay for her items, walking at a brisk pace. Out of nowhere the two women appear in front of her and Cat has to stop the trolley from crashing into them. CATALINA (attacking) What do you want? WOMAN Sorry, we didn’t mean to scare you. We are just huge fans of yours, the things you say really make sense to us and we think you’re so brave for doing what you do after what happened. CATALINA (laughing it off) Um, thanks. WOMAN 2 Can we get a selfie? CATALINA Yeah, sure. Catalina poses with the two fan-girls and gives them their selfie and they leave her be. WOMAN Thank you so much. VOICE(O.S) OMG, can I have your autograph, Ms Big Shot? Cat turns around to find Rosie, who walks off with a rolling her eyes.

60.

INT. CATALINA’S HOME - KITCHEN Catalina is cooking up a meal. She’s got a spring in her step, humming a tune, as she dances around the kitchen grabbing ingredients and equipment. A smile on her face, this is the happiest she’s been in a while. Then the doorbell rings. EXT/INT - CATALINA’S HOME - FRONT DOOR Cat opens the door to see Mayor Turner with a huge grin. All the joy she had is now replaced with anxiety. MAYOR TURNER Ms Herrera, I’m Joel Turner... CATALINA (interrupting) I know who you are. What are you doing here? MAYOR TURNER Surely you knew this day would come. Catalina, left stunned by the visit, can’t think of anything to say. MAYOR TURNER I know you don’t like me but it’s still rude to leave me standing here. Let’s be civilized about this. INT. CATALINA’S HOME - LIVING ROOM The room has had an update since we last saw it. Turner is sitting in the same spot Antonio did. Leaning back in the chair, his relaxed attitude comes from years of experience being in this situation. Despite being in her own home, it’s throwing Catalina off. She’s a rookie. MAYOR TURNER It smells lovely, what is that? CATALINA It was my husbands recipe.

(CONTINUED)

CONTINUED:

61.

MAYOR TURNER I’m sure you husband was a fine cook. Look let’s get straight to it. You’ve been spreading some serious accusations about me. Murdering your husband and now orphans. Complete lies of course. There are murders in every city in the world, do you blame all those mayors to or am I special? CATALINA You’ve allowed this city to become a safe haven for the criminals... MAYOR TURNER (snapping) Don’t give me that rehearsed bullshit! Those aren’t your words. Do you really believe spreading hate and starting riots will give you the change you want? Antonio is a mad man, he want’s blood spilt. Come on Catalina, you’re surely smarter than that. Catalina contemplates his words. CATALINA (finding courage) I believe that the system is broken and outdated, and if we’re going to fix it, we need to get rid of people like you. MAYOR TURNER I’ve been doing this for a long time. You’re not the first rival I’ve fought against and you won’t be the last. (he stands) Thank you for your hospitality. I’ll show myself out. Turner leaves. Cat feels a little shaken but defiant. INT. MAYORS VEHICLE Turner gets into his car and they drive away. He takes his phone out and dials.

(CONTINUED)

CONTINUED:

62.

MAYOR TURNER (on phone) Hey. I want you to dig up any files you can on the TFP. I want to show the people they’re just as dirty as everyone else. INT. HOSPITAL - HENRY’S ROOM A faint beeping. Henry wakes up from a deep slumber. He looks pale and dry. Wires connect him to various machines. It takes a moment for his eyes to adjust to the light, but he manages to make out the figure of Jordan, seated next to him. HENRY Hey. JORDAN Damn, Brookes, welcome back. HENRY How long have I been here? JORDAN Just a day, but it did not look good. Heroin overdose. Edward enters the room with some coffee. EDWARD The queue was long but I exercised my celebrity rights and skipped ahead. (notices Henry) Henry! Oh it’s good to see you awake, I was so worried. Henry’s weak, but he has no trouble showcasing his anger at Ed. HENRY Why was there a dealer at your house? EDWARD (handing Jordan his coffee) I’s not like I invited him Henry. I mean it was a Hollywood party, don’t act surprised. All that yoga and organic stuff is just talk.

(CONTINUED)

CONTINUED:

63.

HENRY (to Jordan) Alright, get me out of these things. We need to get back to work. JORDAN No man. You’re in bad shape. Doctors said you need to stay here for a while. EDWARD You know Henry, when they discharge you, you’re welcome to stay at my place for the remainder of your time here. It’s the least I can do. Henry falls back on his pillow. INT. TAXI Catalina sits at the back with Sarah. Antonio is in the front next to the driver. Cat doesn’t know where they’re taking her. She keeps looking out the window for reference. INT. TFP HEADQUARTERS - MAIN OFFICE DING! The elevator door opens and Cat walks out to a small office, where around fifty people are in a frenzy. CATALINA Where am I? ANTONIO Our new home. Antonio takes Cat around the office, some of the workers stop to take a look at Cat as she passes, including the mother of two. Cat wonders, did she really help achieve this? ANTONIO Thanks to you our support has more than tripled. I felt we needed a legitimate place of work. We can’t keep meeting at my house. Antonio stops at a desk and picks up a poster with the image of a bear and eagle in graceful stances, and the words ’True Freedom’ written around them.

(CONTINUED)

CONTINUED:

64.

ANTONIO What do you think? Cat looks at Antonio as if to say "what am I looking at exactly?" ANTONIO This is one of our logo designs. CATALINA I like it. INT. DEA BUILDING - JORDAN’S DESK Jordan sits at his desk, ciphering through piles of documents, hoping he’ll find something. He’s been doing it for a while and hasn’t found anything. Tired, Jordan stops reading and rests his head on the table. Just before he’s about to doze off, his phone vibrates. Jordan answers... JORDAN Hello. OK. OK, yeah, I’m on my way. Energized by the phone call, Jordan grabs his stuff and leaves. INT. SHELTER - SOCIAL ROOM Jordan enters with Claire. The room is empty. She guides him to a table. CLAIRE He’s made great progress. He’s not talking just yet, but he can understand you and communicate with you. I ask that you be patient with him. JORDAN No problem. CLAIRE Good, you wait here, I’ll go get him. As Claire wanders off, Jordan sits. After a moment Claire returns with Kirk. Jordan is taken aback by the stunning change. He stands to greet him.

(CONTINUED)

CONTINUED:

65. JORDAN Wow, Kirk. You look well. CLAIRE Kirk, you remember Jordan. He’s the gentleman that brought you to our care.

Kirk nods and they all sit. CLAIRE Now, Jordan just wants to talk a little bit. (Jordan gives a smile of acknowledgment) He needs your help. Can you do that? Kirk nods. CLAIRE Good. (to Jordan) Go ahead. JORDAN Kirk, I’m investigating the murder of two LAPD detectives. They were killed at Danny’s Diner. You were in the area when it happened. Can you tell me if you saw anything? Kirk looks to Claire. CLAIRE It’s OK. Kirk begins to think, looking around, trying to figure out how to tell Jordan. Eventually he leans over the table and grabs Jordan’s badge. He then puts it in the front pocket of his robe and pretends to shoot Jordan with his fingers. Jordan doesn’t quite get it. JORDAN Um, one more time please. Like a magic trick, Kirk takes out the badge from his pocket and this time holds it the air in an attempt to signify it’s importance. He places it back in the pocket and shoots at Jordan again. A spark ignites in Jordan’s mind and he takes his badge back. (CONTINUED)

CONTINUED:

66.

JORDAN Did these people have badges like mine? Kirk nods. INT. HOSPITAL - HENRY’S ROOM HENRY Hold on. Let’s go back to what we know. Herrera’s wife claimed the cartel tried to recruit him the day before his death. Now it’s possible that the killers were law enforcement. JORDAN Maybe they worked for the cartel... Remember what Danny said? (Henry shakes his head) He said two other people would join the detectives. Maybe they were colleagues. HENRY When I went down to the bureau, I met a detective Jacobs. He told me he was a friend of the victims. Call the bureau, maybe he can help. Jordan takes out his phone and dials. A moment later... JORDAN Hi, this is special agent Jordan Lance, can you put me through to detective Jacobs please? OK...Yeah, OK, thanks. Jordan hangs up. The conversation has left a unsettled look on his face. HENRY What? JORDAN Jacobs is at Danny’s. Jordan heads out in a hurry. HENRY (shouting after him) Be careful!

67. INT. DANNY’S DINER - DAY Sitting in a booth, as the only customers, detective Jacobs enjoys a high calorie meal whilst his partner Asmund waits for his. Danny is working on it in the kitchen. The sound of the door opening attracts their attention to Jordan Lance approaching them. JORDAN Excuse me detectives. I’m special agent Jordan Lance, I believe you’ve met my partner Henry Brookes. JACOBS (eating) Oh yeah, how is he? JORDAN Actually he’s in hospital, got attacked. JACOBS I’m sorry to hear that. JORDAN Can I join you, do you mind? Jacobs shimmies along to allow Jordan to sit down. JORDAN You’ve probably figured out I’m not here by coincidence. You know I’m investigating the murders of detectives Herrera and Jones. Well, I recently received some information that the attackers are possibly LAPD. Jacobs and Asmund exchange look. JORDAN I also know that the victims would frequent here with two others ... Jordan stops, he’s just heard the sound of a gun being cocked. He looks down to Jacobs’ hands and indeed he’s pointing a .32 revolver at him. JACOBS OK smart ass, we get it. You know, I was starting to believe that this day wouldn’t come. I was starting to relax. (CONTINUED)

CONTINUED:

68.

JORDAN You’re a detective, you should know better. Jacobs looks for Danny, he’s still in the back cooking. JACOBS (prodding Jordan with the gun) Let’s continue this outside. Jordan obliges and the three leave. EXT. ALLEYWAY - DAY The detectives have taken Jordan to the same alley Kirk was found, where they’ve parked their car. It covers the skid marks. Asmund pulls out handcuffs. ASMUND Your hands. Jordan sticks his arms out to allow Asmund to cuff him. Jacobs opens the door and prods Jordan to get inside the back. Jacobs joins him, whilst Asmund takes the wheel. INT. CAR - DAY Jordan remains cool as they drive through Los Angeles. Jacobs still keeping him in check with the gun. JORDAN You should’ve kept cool, I wasn’t one hundred percent sure about you guys. But thanks for doing my job. JACOBS How did you know it was police? JORDAN Kirk Michael. MATA Who the fuck is Kirk Michael? JORDAN A homeless man. ASMUND (interjects) The guy with the cardboard shoes?

(CONTINUED)

CONTINUED:

69.

JORDAN That’s the one. ASMUND (to Jacobs) I told you we should’ve done something about him! JACOBS Just keep you eyes on the road! Jordan looks out the window and sees the sign for the Interstate 5 North. They’re taking him out the city. JORDAN Why did you do it? JACOBS Money. Jordan shoots a look of disgust at Jacobs. JACOBS (defensive, offended.) What, money’s not a legitimate reason? Money’s not good enough for you? Money is everything, it decides everything. Food, shelter, education, your entire standard of living, that’s money. So don’t give me that fucking look like it isn’t important. Money is the be all and end all. EXT/INT. CAR - HIGHWAY They’ve turned onto the interstate, heading north. It’s quite busy. They’re travelling around 80mph when Jordan decides to take action. Jacobs loses his focus for a split second and Jordan takes advantage by slapping his gun away, landing under the passenger seat, out of reach. Jordan lunges at Jacobs, but the handcuffs make it difficult to land any punches. Asmund notices the scuffle and urgently reaches for his gun. In that second, Jacobs manages to throw Jordan off and begin his attack, pinning Jordan underneath him. But it’s his bad luck as Asmund turns and shoots in haste, only to hit Jacobs.

(CONTINUED)

CONTINUED:

70.

Jordan launches Jacobs towards Asmund, using him like a shield to block the remaining gun fire. He wraps his handcuffs around Asmund’s neck, strangling him. Asmund slams on the breaks sending Jordan flying forward. In his effort to soften the landing against the dashboard, Jordan grabs the steering wheel and sends the car onto the path of a truck. They collide, flipping the car over, sparking the road as it comes to a stop. Inside Jacobs lies dead on the roof. Asmund is unconscious, hanging upside down thanks to the seat belt. Jordan, still cuffed, crawls out through the shattered windscreen. He leans against the barriers, bloodied, waiting for help. INT. HOSPITAL - ASMUND’S ROOM Detective Asmund sleeps in the intensive care unit. Covered in bandages from head to toe. Morphine is the only thing keeping the agony away. The cardiac monitor beeps reassuringly. INT. HOSPITAL Outside Asmund’s room, Jordan is getting information from the DOCTOR. His left arm has been placed in a splint. Scars circle his wrists and bruises cover the right side of his face. DOCTOR He’s in a critical state, but he’s not in comatose. So as soon as he’s fit to talk I can contact you. JORDAN How long will that be? DOCTOR Normally it takes a couple days. JORDAN OK, thanks. INT. HOSPITAL - HENRY’S ROOM Henry sits by the window, looking out at the city, drinking water. He’s looking much better, colour in his cheeks. Jordan enters and takes a seat next to him.

(CONTINUED)

CONTINUED:

71.

JORDAN Looks like we’re playing the waiting game. HENRY Waiting is not the worst part of this job. They share a moment of reflection, thinking about the past events, their injuries, when Jordan is struck with curiosity. JORDAN How do you know Ted? HENRY (chuckling) We met in Afghanistan. Sent to work as part of the Foreign-Deployed Advisory and Support team, or simply FAST. The country is the largest producer of heroin. We saw first hand the impact drugs can have, not just on people, but entire cities. It turns them to ruins. The war was already lost by the time we arrived, but it wasn’t back home. So we decided to take the job to New York and yadda yadda yadda a few years later Ted takes the job in LA and here we are. Jordan chuckles. INT. TFP HEADQUARTERS - BOARDROOM Catalina sits as Antonio chairs a meeting. He’s discussing who to target. A picture of the chief of police is project behind him. ANTONIO This man has done nothing to stop the rise in crime and corruption. Another man, like the mayor, that has allowed... But Cat isn’t paying attention. Her heads down, fiddling with her fingers. Somethings weighing on her mind. A concerned feeling.

72.

INT. HOSPITAL - ENTRANCE A balloon with the message ’get well soon’ is carried by Zurger, along with a large, wrapped gift. INT. HOSPITAL - RECEPTION Zurger walks up to the large semi-circular desk and is greeted with a practiced smile. ZURGER Excuse me, where I find detective Asmund, he’s a dear friend of mine. RECEPTIONIST I’m sorry, no one is allowed in. ZURGER That’s a shame. Would it be possible to give these gifts to him? RECEPTIONIST I can get a nurse to do that. ZURGER (handing the gifts) Thank you so much, I really appreciate it. Zurger turns to head out the hospital. The cheery face transforms to stone cold as he brushes past Jordan, who has just entered with a plastic bag. INT. HOSPITAL - HENRY’S ROOM Henry is seated by the window again, observing the city and the tiny people getting on with their lives. A knock at the door. Henry get’s up to open it for Jordan. HENRY Hey Jordan. JORDAN Hey man, how you feeling? HENRY I’m ready to leave this place.

(CONTINUED)

CONTINUED:

73.

JORDAN (handing the bag) Cool, I brought your clothes, like you asked. HENRY Thanks, I’ll just get changed and we’ll go. Henry disappears behind the curtains surrounding the bed. INT. HOSPITAL - ASMUND’S ROOM Still wrapped up and asleep under the aid of modern medicine, Asmund has no sense of his surroundings, so he isn’t disturbed when the nurse walks in and places Zurger’s gifts on his bedside. INT. HOSPITAL - HENRY’S ROOM Henry is still getting changed behind the curtain. JORDAN I can’t believe your living at the place, they’ve got a serious roach problem. You should take up Edwards offer. Beverly Hills, king size bed, maids, swimming pool. Like staying in a five star hotel. Henry reappears from the curtains, now in new clothes. HENRY No thanks, I’ve had enough of Hollywood for one lifetime. BOOM! A deafening sound. The ceiling comes crashing down. One of the lights almost hits Jordan. Dust engulfs the room. INT. TFP HEADQUARTERS - BOARDROOM The smoke is visible from the window. Everyone heard the explosion. ANTONIO (demanding) What was that?

(CONTINUED)

CONTINUED:

74.

SARAH (on computer reading social media) Looks like an explosion at the Los Angeles Hospital Medical Centre. ANTONIO (to Sarah) Brilliant, get the details and start drafting a statement. This city just keeps feeding us ammunition. Cat stands up, disgusted by his words. CATALINA Don’t say thing like that! There are people dying, scared over there and all you can think about is how to use them for your agenda. You sound just like the politicians we’re fighting against. ANTONIO OK, what’s wrong with you? CATALINA Nothings wrong with me. You need to show more respect. ANTONIO OK, I apologise. INT. HOSPITAL Henry and Jordan appear from a cloud of dust to find doctors, nurses and patients running around in panic. Henry spots one patient rocking on her bed, unable to move, helpless. Henry runs to her. HENRY (to Jordan) Help me out! Together they unlock the wheels and Henry pushes from the back, while Jordan guides from the front. HENRY (to patient) We’re going to get you out. They move the bed through the mass hysteria and reach the (CONTINUED)

CONTINUED:

75.

elevators. Jordan rapidly presses the buttons but they won’t light up. JORDAN C’mon! HENRY Forget it, it’s broken. Let’s try the stairs. INT. HOSPITAL - STAIRWELL It’s empty and you can see why. Rubble from the upper floors is falling from a dangerous height. One hits you and it’s lights out. The door opens. The agents see the devastation. They know the bed won’t work. HENRY We need to carry her. Jordan grabs her legs and Henry supports under her arms. On the first step down, they are almost immediately crushed by a large boulder of rubble. It lands just in front of them. They move down quickly, moving around the settled debris and avoiding the newly arriving ones. Half way down they are stopped by a large screeching sound which shakes the building. The agents look up to see masses of rocks hurtling towards them. JORDAN Move! They try to move quickly but with the patient and Jordan’s injured arm, they’re still slow. Rocks are hitting the floor, breaking on impact, shards hitting the three of them. They just have to push through. At the last flight of stairs a giant block of rubble crashes right next to them, sending all three rolling down the stairs. Henry gets up quick. Jordan writhes in pain. HENRY (picks up Jordan) C’mon! Jordan gets up, slowly, to help Henry pick up the patient. They make it out.

76.

INT. HOSPITAL - GROUND FLOOR They escape the stairwell to find a crowd all pushing their way to the exit and emergency services fighting their way in. Jordan spots an abandoned wheelchair and together the agents help the patient in. They join the rush and head for the main doors. On the way out, Henry spots a camera above them. EXT. HOSPITAL Henry wheels the patient out, away from the horde of escapees, to safety, Jordan following. They take a moment to catch their breath and shake of the dust, but Henry quickly runs back inside. JORDAN (shouting after him) Wait! What’re doing? No response, Henry is lost in the swarm. INT. HOSPITAL On the ground floor, Henry weaves through the stampede of people, most heading in the opposite direction. He reaches the reception desk to find it deserted. He checks the back room, nobody there. He stops a SCARED DOCTOR running past him. HENRY Where’s the security room? But the doctor is hell-bent of getting out of this place. SCARED DOCTOR Get off me! Henry spins around, thinking quickly, and spots the signs for the paediatric ward. He runs for it. INT. HOSPITAL - PAEDIATRIC WARD Henry, running down the corridor, comes to a stop outside a room where nurses are evacuating newly born babies, wheeling their cots. He stops a nurse. HENRY Hey! Where’s the security room?

(CONTINUED)

CONTINUED:

77. NURSE I’m busy! HENRY (shows his badge, determined) Where’s the security room? NURSE (notices badge) Try administration, follow the grey line.

Henry spots the grey line on the floor and follows it. INT. HOSPITAL - ADMINISTRATION Henry arrives out of breath. He spots a door labelled ’security’ and wastes no time by barging in. INT. HOSPITAL - SECURITY Nobody in. Monitors and computers take up most of the room. Henry shakes the mouse, taps the keyboard but the monitors stay black. He finds the tower and presses the power button but it doesn’t work. All of a sudden, Henry feels himself getting soaked. The fire sprinklers have turned on. He needs to act quick before the computers become useless. He runs out the room. EXT. HOSPITAL Jordan is still outside with the patient. Agitated, he can’t stand still. Constantly darting looks at the patient who seems concerned for him. JORDAN (muttering) He’s crazy. Out of his mind. PATIENT (pointing) Look there he is! Jordan spins to see Henry, soaking wet, wheeling computer parts in a babies cot. Henry sits on the ground, breathing heavily. JORDAN (referring to the cot) What’s that?

(CONTINUED)

CONTINUED:

78.

HENRY Camera footage, I hope. JORDAN You didn’t throw a baby out for this did you? Henry chuckles. INT. PRESS CONFERENCE Mayor Turner enters, through a back door, into a room crammed with reporters. He steps onto the slightly raised stage to address them. Recorders and phones adorn his podium and TV cameras are stationed at the back. LAPD officers provide security. MAYOR TURNER (clears his throat) Ladies and gentleman, members of the press. As you are probably aware a large explosion occurred at the Los Angeles Hospital Medical Centre. At this moment in time we do not know what caused the explosion, but a large scale investigation is underway and answers will hopefully be provided soon. On behalf of the people of this great city, I want to thank the emergency services for their quick response and bravery. I can confirm that the hospital has been fully evacuated and the fires have been contained... His statement is interrupted when a small group of protesters bursts through the doors, behind the reporters. They separate to avoid security. One protester get’s in the face of the camera... PROTESTER 1 Don’t believe his lies! He knows what’s happening, he knows who did it, he’s lying to us, hiding information. He’s ruining this city! Turner remains calm and professional. Security chase after them but it’s proving difficult as they move quick around the room. They chant: "get Turner out!" and "Resign already!" (CONTINUED)

CONTINUED:

79.

One of the protesters manages to get to the front and throws monopoly money at Turner. It rains down on him. Security manages to grab him and escorts him out. He’s still shouting as he’s being dragged. EXT. VENICE BEACH A massive crowd, at least ten-thousand, has rallied in front of a stage where Antonio stands making his latest fired up speech. The new TFP logo of a bear and eagle hangs behind him. ANTONIO (coming through speakers) Standing here, looking at you all today, it’s amazing. I can feel the hunger, the desire for change. For revolution. The crowd roars in support. EXT. VENICE BEACH - ON STAGE - CONTINUOUS Catalina stands behind Antonio, watching him fill the people with a violent energy. In the crowd, she makes out the face of Steve, her former manager, going wild. Everyone’s face is beaming or scrunched up in anger but she looks concerned. It’s become real, the anger, the hate. ANTONIO This city has finally opened it’s eyes. We’re not going to give in to the fear. We’ve had enough of Turners lies. We know he’s hiding the truth about LA medical. How much does this city need to suffer before we take action? Catalina, unsettled, walks off stage. No one seems to notice or care. INT. GETTY HOUSE - OFFICE The mayor hurtles into the room and immediately collapases on the chair, letting out a big sigh of frustration. He closes his eyes for a moment and focuses on his breathing, trying to tame his emotions.

80.

Eyes open, he feels calmer. He notices a folder on the desk. He must have ignored it during his angry state. He opens it to find a mugshot of a much younger Antonio Garcia, but under his name it reads Anthony Rossi, and under conviction, drug trafficking. Turner smirks. INT. DEA BUILDING - BOARDROOM Henry, Jordan, and Ted are waiting on the technician to set up the hospital computer. JORDAN I don’t get it. Why would they do something like this? It only attracts attention to them. TED Perhaps because they feel we don’t expect such an attack from them. Or to send a message. HENRY Or maybe they got scared and felt us closing in on them. The desktop window flickers onto the wall, from the projector. TECHNICIAN Alright, it’s good to go. The technician leaves and Jordan goes to operate. After a few clicks Jordan opens some camera footage. It’s black. Jordan rewinds and the black screen becomes a bright white which gets dimmer, revealing the hospital corridor on fire and scattered debris. The debris flies in the air to create the walls and the fire is gone. Soon we see the camera is outside detective Asmund’s room. The flash of light disappears. Jordan continues to rewind. For a while, there is no activity in the room, just people passing by. Then a nurse enters. HENRY Slow it down. Jordan does so. The nurse stays in the room for a moment and then exits with a balloon and a wrapped gift.

(CONTINUED)

CONTINUED:

81.

TED Freeze it. The nurse stands still outside the room, balloon and gift in hands. TED That balloon, follow it. Find out where it came from. Jordan rewinds but the nurse disappears prompting him to switch camera footage. HENRY Try the reception desk. Jordan opens up the camera footage above the reception desk. He rewinds fast until the nurse arrives, walking backwards, with the balloon and gift. The nurse hands the items to the receptionist, who in turn leaves them beside her. Still rewinding, everyone’s eyes are locked on screen waiting for the inevitable moment. Jordan is seen leaving the hospital with a plastic bag, walking backwards. JORDAN There’s me. The receptionist picks up the items and hands it to a short, muscular man who walks backwards with them to the entrance. Jordan brings up the camera in the corner of the entrance. They see Zurger, from the front, walking out the hospital, balloon in hand. Jordan freezes it. HENRY That’s the man that attacked me. TED He’s our link. JORDAN I’ll get it run through the facial recognition software, see if any records come up. INT. TFP HEADQUARTERS - ELEVATOR Cat stands anxiously, gripping a letter.

82. INT. TFP HEADQUARTERS - MAIN OFFICE DING! The doors slide open and Cat finds the place mostly empty. The few that are present seem deflated and unenthusiastic. Confused, Cat spots Sarah and Jackie in the boardroom. INT. TFP HEADQUARTERS - BOARDROOM Cat enters to find Sarah and Jackie in distress. CATALINA What’s going on? JACKIE (snappy) How can you not know! Have you been avoiding the news? Sarah slides a newspaper across the table, Cat picks it up. The headline reads ’Criminal & Conman’ accompanied with the mugshot photo of Antonio and a recent photo of him from the rally at Venice Beach. SARAH Drug trafficking. Looks like he made fools of all of us. Our supporters are angry, they want an explanation. CATALINA Have either of you spoken to him? JACKIE Hell no! We can’t been seen near that man again, or we can kiss our careers goodbye. Sarah notices the letter in Cat’s hand. SARAH What’s that? CATALINA (hesitant) It’s my letter of resignation. SARAH (grabs Cat) No, no, no. You can’t leave! The people love you, they trust you. We need you more than ever.

(CONTINUED)

CONTINUED:

83. CATALINA Sorry Sarah, but you must be able to see, that all this is insane and not the way to progress. SARAH You’re totally right, it was insane. In fact Jackie and I were just talking about the need to go in a different direction and we want you to lead us. CATALINA I don’t think I can... SARAH Yes you can! None of this would be possible without you. Antonio, Anthony, whatever the fuck his name is, he could never have taken us this far. This is all you. This is your party. What you say goes.

This has come out of nowhere for Cat. It’s difficult to process. EXT. ANTONIO’S ESTATE - FRONT DOOR Catalina walks up to the double entrance doors and rings the bell. It chimes through the house before Antonio answers in his pyjamas. His hair ungroomed and face unshaven. INT. ANTONIO’S ESTATE - CONSERVATORY A high ceiling allows for large plants to decorate the long room. Plenty of sunlight coming through the glass roof. Antonio pours himself a whisky. ANTONIO It’s not fair. I served my time and I worked hard to become a better man. I guess none of that matters. CATALINA But Anthony Rossi? ANTONIO Being born with a silver spoon doesn’t help when you’re preaching to the elite. Plus, you know, the drug trafficking.

(CONTINUED)

CONTINUED:

84.

CATALINA For a moment, people thought you were the real deal. ANTONIO (upset by her words) And I still am! A past mistake doesn’t change that. I meant every word I said and I haven’t quit. Just because I’m labelled the bad guy now, it doesn’t make Turner good. The system still needs changing. CATALINA Yes it does, but not your way. Spreading hate and anger, that will only lead to conflict and separation. We need to listen to the people, echo their voices and bring us together. ANTONIO That is just childish, idealistic, ignorant bullshit. Wake up! They have taken our power and we must put them back in their place. Remind them that they serve us, not own us. CATALINA You are blinded by anger and hell-bent on spilling blood. You’re not fit to lead anything. ANTONIO Why did you come here exactly? CATALINA I came to tell you that a decision has been made for me to lead the party and I accepted. Starting today we are going to do things my way. ANTONIO (mocking) Let me guess, you’re going to spread the love and create a world where everything is sunshine and lollipops. Get real you stupid bitch!

(CONTINUED)

CONTINUED:

85.

CATALINA I think it’s best I leave now. ANTONIO Something we can agree on. Catalina walks away, head held high. EXT. GRIFFITH OBSERVATORY - DAY Henry and Jordan are enjoying the city’s skyline from a quiet spot, trying to take a moments peace from the recent chaos. JORDAN I haven’t been out here in years. I forgot how nice it is. Growing up here I thought things would just stay the same, but it’s changed so much. The world feels unstable. HENRY You’ll get used to it. A tone comes from Jordan’s pocket. He takes out his phone and reads the new message: FR search complete. Found nothing, sorry. Jordan sighs in disappointment and shows the message to Henry, who simply shrugs at it and looks back at the city. HENRY Far away, everything seems so pointless, the violence, the anxiety, but when you’re in there, we forget how small we really are and make our problems bigger than reality. EXT. LOS ANGELES - DAY - MONTAGE The TFP members have taken camera crews around the city, with the aim to interview the people and attempt to better understand their troubles. Cat is interviewing a FATHER outside his apartment, which he’s moving from. FATHER (distressed) Life costs too much. Rent prices are too much. I was already having (MORE) (CONTINUED)

CONTINUED:

86.

FATHER (cont’d) to commute almost two hours to work and now I’ve got to travel further out the city to find a place I can afford. My wife can’t work, so she looks after the kids, and I can’t afford to quit and look for another job. Only the rich can live here, but the workers that make this city have to live outside. I’ve been here all my life goddammit, it’s not right. Sarah is talking to a MOTHER, in her home, holding up a framed picture of her deceased child. MOTHER (crying, angry) He was only six years old. I mean what kind of world is this, that a six year old can buy drugs off the street? Sometimes I wonder, maybe I could have done more, but this was not an issue when I was his age. Nobody seems to care. It’s like people love to suffer. This city is going to hell. Jackie is chatting with an ANGRY WOMAN. ANGRY WOMAN I’ve given up. There’s no respect anymore. There’s no trust. Everybody is selfish and cynical. The government doesn’t care about us, they lie to our faces. The system is outdated, it needs reform, but god knows it will take a miracle for that to happen. EXT. TEMPORARY SHELTER - DAY The TFP have set up a tent to help the homeless. Some are taking food, others are enjoying showers and haircuts and everyone is given new clothes. There are also free health examinations. All of this is an attempt to connect with the people and, more importantly, earn back the trust of their supporters.

87.

INT. HENRY’S MOTEL ROOM Henry is treating himself to a lie-in. Blanket over his head as the curtains barely stop the blinding sunlight. Henry is woken up by his phone vibrating. HENRY Hello. CHIEF DETECTIVE (through phone) Mr Brookes, I told you, people aren’t as good as they used to be. I’m sorry it was my men, but I may have something that can help you. INT. DEA BUILDING - AINSLEY’S OFFICE Ted and Jordan are sitting. JORDAN Did he say what it was? TED No, but... Ted is interrupted by Henry’s entrance. He’s brought a folder with him. HENRY We’ve got another lead. This time it’s two college students... TED Wait a second, this is a new case? I thought you had information on your attacker. HENRY No, listen. Two college students reported missing, Marcus and Jesse, and here’s the catch, they grew up in Edmund Pevensie’s Orphanage. TED When were they reported missing? HENRY A couple days ago.

(CONTINUED)

CONTINUED:

88.

TED It’s worth a shot, go and check it out. Start at the college. Henry leaves, Jordan follows. INT. COLLEGE - HEADMASTERS OFFICE Henry and Jordan are seated in front of the HEADMASTER and a PROFESSOR. HEADMASTER Thank you for coming detectives we are really concerned... HENRY We’re not detectives. We’re DEA. HEADMASTER What does DEA want with our students? HENRY It’s a possibility these students are linked to the so called Sanctus Cartel. HEADMASTER My word, this is awful. JORDAN Any idea when they went missing? PROFESSOR At least two weeks ago but it could be longer. JORDAN How much longer? PROFESSOR It could be a couple months. We just came back from summer vacation, this is our third week, so we don’t know if they went missing during their summer vacation or when classes started again. HENRY What were they like?

(CONTINUED)

CONTINUED:

89.

PROFESSOR Marcus and Jesse were close. They took the same classes and were always seen together. They weren’t the brightest students but they were not trouble makers. JORDAN Any reason why they might have disappeared? PROFESSOR I have no idea. They seemed fine. HENRY What class would they be in right now? HEADMASTER (checking through papers) Just a second, I’ve got it here. They would be in philosophy. INT. COLLEGE - PHILOSOPHY CLASS The class is half full. A lecture is being given on the story of Rabbit Calls a Truce, which is written on the white board. Typically some students are engaged and others distracted. The agents enter which stops the professor in his tracks. The whole class turning to look at them. HENRY Sorry to interrupt your class professor. We’re from the DEA, I’m Henry Brookes and this is my partner Jordan Lance. We would like to borrow some of the your students, if that’s alright with you? PHILOSOPHY PROFESSOR Yeah, go ahead. HENRY (addressing students) Hands up, who knew Marcus and Jesse? Four students slowly raise their hands.

(CONTINUED)

CONTINUED:

90. HENRY Come with us.

INT. COLLEGE - CORRIDOR The four students are sitting on a bench by the wall. The agents standing in front of them. The occasional student or staff walks past. STUDENT 1 I only knew them from class. They were always sitting together, trying to talk to other students. JORDAN About what? STUDENT 1 Whatever, just talking, random stuff. Jordan rolls his eyes impatiently. JORDAN Anything else? STUDENT 2 They weren’t really into the studies, more like parties and clowning around. But they weren’t like, douchbags, you know? JORDAN (sarcastic) That’s good to know. HENRY Any ideas why they could be missing? STUDENT 3 Maybe they felt college wasn’t for them and decided to do something else? STUDENT 2 Or they just wanted to extend their summer vacation. JORDAN (irritated) Does anyone know anything else about them, other than they were (MORE) (CONTINUED)

CONTINUED:

91.

JORDAN (cont’d) friends and didn’t care about class? Please! STUDENT 4 (hesitant) Um, they sold drugs. HENRY How do you know? STUDENT 4 Because I bought from them. HENRY What did you buy? STUDENT 4 (defensive) Not a lot. Just like some coke, LSD and maybe some meth. And speed. Jordan points to students 1,2 and 3. JORDAN You three can leave. (points to student 4) You, what’s your name? WAYNE Wayne. JORDAN Thanks for coming clean Wayne. WAYNE Am I in trouble? JORDAN Not if you help us. HENRY Wayne, if Marcus and Jesse are gone, who are you buying drugs from now? WAYNE Some freshmen. HENRY How do you get drugs from them?

(CONTINUED)

CONTINUED:

92.

WAYNE I call them and we agree on a time and place. JORDAN Can you call them now, arrange a meet up? WAYNE Um, OK. Wayne takes out his phone and picks out a number from his contacts. JORDAN Try not to sound like you’ve got two DEA agents standing in front of you. The phone is answered. WAYNE Yo, what’s up? Listen dude I need a fix up, today was a dud... Cool, cool, see you there. (hangs up) There going to be at a dorm party tonight, said to meet them there. INT. COLLEGE - STUDENT DORMS Wayne leads the agents through the corridor of students, a cloud of smoke hovering above. Everyone has a red cup in hand and all the doors are open. As the agents walk through, past one of the rooms, they see a COLLEGE GIRL downing a keg of beer. CONCERNED FRIEND You’ve got to take it easy or you’ll pass out, or worse, alcohol poisoning. COLLEGE GIRL (extremely wasted) I’m paying a hundred K to be here, I’m making the most of it!

93.

INT. COLLEGE - DORM ROOM In one of the dorm rooms, two srawny Asian freshmen, RICK and NICK, are selling drugs to a couple of fellow students, when Wayne enters, followed by the agents. RICK Wayne, yes! Dude brought some extra business. Jordan shows his badge. JORDAN (not messing around) We’re not customers, we’re DEA. The music is louder for a second as Rick and Nick process what they’ve just seen. They simultaneously try to make a run for it, but the only way out is the door behind the agents. They simply run straight into Henry and Jordan and are thrown back on the bed. JORDAN I’m not in the mood. You’re going to do as we say, or it’s prison for the rest of your lives. Got it? Rick and Nick nod in sync. JORDAN Marcus and Jesse, what happened? NICK We don’t know them. JORDAN They used to do your job, but now they’re missing, probably dead. They shake their heads, they don’t know who they are. HENRY Who do you get the drugs from? RICK Zurger. (off Henry’s look) He’s a guy that delivers the drugs to us? HENRY Does he bring them here?

(CONTINUED)

CONTINUED:

94.

NICK No we have our own place. We call him when we’re empty. Jordan looks inside their bag of narcotics, it’s full. JORDAN Looks like your running low on stock. INT. RICK AND NICK’S PLACE - NIGHT A lovely bungalow. It’s dark. Business must be doing well. Arcade, pinball and soda machines. Large TV and funky furniture. The floor is a mess, food, clothes and even money lying around. Henry is hiding between a sofa and window, peeking through the curtains. Jordan is crouching behind an arcade machine Nick is playing, but on closer inspection, he’s quite idle, nervous. Through the curtain, Henry is blinded by the lights of a vehicle entering the driveway. Somebody exits, gets something out the trunk and heads for the door. HENRY Someone’s coming! Sure enough, the door bell rings and Rick answers it. It’s Zurger, with some packages. RICK Z, my man! ZURGER You boys ran out quickly this week. RICK What can I say, we’re just too good at this. Rick accepts delivery of a few small boxes. Jordan recognizes Zurger and gives Henry a look but he’s met with a signal to wait. Rick hands Zurger some cash. He counts it, slowly. Rick waits anxiously. ZURGER OK. Keep up the good work.

(CONTINUED)

CONTINUED:

95. RICK You know it.

Rick closes the door. Henry takes a last look through the curtains and then springs to action. Jordan follows suit. JORDAN It’s the guy from the hospital. The agents cuff Rick and Nick to the house so they can’t leave. NICK What if I need to pee? Jordan throws him an ashtray from the table, hitting his stomach. NICK Ow! The agents leave. EXT/INT. CAR - NIGHT Radio quietly playing in the background. The agents are following Zurger’s vehicle, Jordan driving, keeping a good distance. His vehicle looks familiar and printed on the side is Studio Lights. HENRY When he stops don’t rush, we need to scope out the place, make sure he doesn’t get away this time. JORDAN (focused on Zurger) I know. EXT. LUMIÈRE FILM STUDIOS - NIGHT Zurger turns inside the studio and the barriers open for him. He disappears behind the stages. Jordan parks the car across the street. They’re astonished. HENRY Unbelievable. JORDAN How? A beat as the agents think out their next steps. (CONTINUED)

CONTINUED:

96. JORDAN Are we going to scope the place or what? HENRY No, it’s too quiet. We’ll easily stand out. But I have an idea.

INT. EDWARD’S CAR - DAY A luxury sedan. Edward is in the back sipping a latte, a little shaky. Henry drives, Jordan in the passenger seat. EDWARD Can I change my mind? HENRY (annoyed) Why? EDWARD I’m nervous. HENRY You do this for a living. EDWARD Not like this, we could get in trouble. HENRY With who, we’re the DEA, you’re doing a good thing. Jordan can only be amused by the conversation, kind of glad he doesn’t have friends like this. EDWARD What if they suspect something. HENRY (angry) Pull yourself together, it will be over in seconds. Ed hasn’t seen Henry snap at him before and is a little shocked. The pull up to the security box of Lumière Studios. JORDAN Alright, it’s showtime. Ed takes a deep breath and puts a smile on as the windows come down.

97.

EXT/INT. EDWARD’S CAR - LUMIÈRE FILM STUDIO - DAY The window comes fully down and Edward is face to face with the Security Guard. EDWARD Morning! SECURITY GUARD Good morning Mr Howard. Who are these gentleman with you? EDWARD Oh they’re my new assistants. You know, coffee, fan mail, foot massages. I thought I’d spoil myself a little. SECURITY GUARD OK Mr Howard, have a nice day. EDWARD Thank you, you to. The barriers go up and they drive through. EDWARD I should really try to remember their names, they’re always so polite. HENRY See, over in seconds. EDWARD I nailed it! EXT. LUMIÈRE FILM STUDIOS - DAY They park outside stage six and drop off Edward. Henry and Jordan walk through the lively studio, searching for something. They turn a corner, past a group of costumed people, smoking. Jordan stops Henry. JORDAN There! Jordan is pointing to a van with the words ’studio lights’ on the side.

(CONTINUED)

CONTINUED:

98. HENRY That’s the one.

Parked near stage four, the place is quiet compared to the rest. The main stage doors are slightly open and the agents slip through. INT. LUMIÈRE FILM STUDIOS - STAGE FOUR Inside they find organised stacks of boxes, forklifts and rows of work benches. They’re using it as a warehouse. Luckily for for the agents, it seems to be after hours, hardly anyone working. They sneak around through the boxes and under the work benches, taking pictures of the place and the few workers. Henry opens one of the boxes and finds packages of cocaine, he snaps a picture and takes it. A tall lanky man comes down the stairs from his office above, talking on his phone. H.O. (on phone) You’ve seemed to take care of it, well done. I can’t imagine people will take them seriously from now on, hang on a second... (to a sleeping worker) Wake up! We don’t pay you for nap time, get back to it! Henry snaps a picture of him. INT. DEA BUILDING - BRIEFING ROOM Henry, Jordan and Ted circle a large table along with tactical officers, inlcuding those that survived the orphanage shootout. On the table are the photographs of stage four, aeriels of the studio and blueprints. HENRY We don’t know how many there will be at night so we should probably go in large numbers and a heli if possible. TED Remember we need them alive for questioning. This is a great opportunity to really attack the cartel head on. Jordan points to a photo of H.O. (CONTINUED)

CONTINUED:

99. JORDAN Especially this guy. He seems he’s in charge of the place. TACTICAL OFFICER Alright, we’ll have a squad at each point of entry, that totals five plus aerial. We’ll need plenty of officers outside to transport them once we’re done.

INT. LUMIÈRE FILM STUDIOS - STAGE FOUR - NIGHT Working hours. Another day on the job. Staff are inpecting newly arrived product, checking for any signs which may make it unsuitable for resale. Others are operating forklifts, stacking the boxes, whilst their colleagues fill out delivery sheets. Zurger wanders around, patrolling. The normality is disturbed when a sound, like the wind being chopped, comes from high above. People turn to each other, wondering what it is. Shortly after, shouting can be heard from the other side of the stage walls, accompanied with the occasional scream. The workers stand up in panic, helpless. Frightened, one of them runs for the stage doors but it opens as soon as he reaches it, revealing a small army of DEA officers, in silhouette against the red and blue lights. They move in, swift to make arrests. OFFICER On the ground! OFFICER 2 Let me see those hands! OFFICER 3 Out the vehicle! Zurger pulls out his gun but is immediately shot down. More officers pour in from the side entrances, no escape. INT. LUMIÈRE FILM STUDIOS - STAGE FOUR - H.O. OFFICE In his office, situated high above the stage, H.O. is listening to music and going over some paper work, oblivious to the situation. A large banging on the door startles him, which in turn infuriates him. He runs to open the door... (CONTINUED)

CONTINUED:

100.

H.O. Who the fuck..! He swings backed up pulls out only look

the door open to find Henry and Jordan smiling, by four, heavily armed, tactical officers. Jordan handcuffs and dangles them infront of H.O. who can to the heavens in disbelief.

INT. DEA BUILDING -

INTERROGATION ROOM

A camera in the corner of the room points to H.O. sitting alone, tapping on the table, when Henry enters with a folder. He sits and takes out the contents. They are photographs of various moments: the crime scene of the Herrera and Jones murder, the aftermath of the orphanage, pictures of the missing students and the photos of stage four. Henry spreads the photos neatly for H.O to see, whom raises his eyebrows in slight amazement. HENRY Let’s start here. Henry taps on the photo of the detectives murder but is interrupted by Jordan entering, holding the door open. JORDAN (rolling his eyes) His lawyer is here. Jordan lets go of the door so that it hits the LAWYER as he walks through. LAWYER (to Jordan) Funny. (to H.O.) OK don’t say a word to them, they cannot hold you here. Have they asked you anything? H.O. gives the lawyer a hard stare and then turns to Henry. H.O. I don’t want him. HENRY You don’t want your lawyer?

(CONTINUED)

CONTINUED:

101.

H.O. As far as the cartel are concerned, I am a dead man walking. (montions to lawyer) He’s one of them. I want him out. HENRY (to lawyer) Your services are not required here, thank you. Jordan gladly removes the lawyer, who protests. Now it’s just the two of them again, they can get back to it. Henry taps on the same photo to continue. H.O. I want protection and if it comes to it, a choice of prison. Somewhere they can’t get me. Henry considers, then nods. H.O. (referring to photo) We tried to get them to do a job. They refused so we couldn’t let them talk. We ended up getting others to do it. HENRY Who? H.O. I know one of them was called Jacobs, can’t remember the other, sounded scandinavian though. HENRY Asmund. H.O. I think so. HENRY What was the job? INT. DEA BUILDING - MONITORING ROOM Ted and Jordan watch in a nearby separate room, through monitors. They can hear everything.

(CONTINUED)

CONTINUED:

102.

H.O. A few months ago I was ordered to deliver three million in cash and some product to San Francsico. I hired these two kids to do it. They had been with us for a while and I thought I could trust them. INT. DEA BUILDING - INTERROGATION ROOM H.O.(CONT’D) But I was wrong, they took the money and went hiding. The job was to find them, get the money back and kill them. Henry holds up a picture of Marcus and Jesse. H.O. Yeah that’s them. They’re dead, but I don’t know where they bodies are, Jacobs took care of that. HENRY How can you talk so casually? H.O. If I could chose my life, be born to a middle class family, have a good education, get a respectable job, I would do it. But I can’t. I was born in poverty, resorting to crime when I was five. This was my best opportunity to have a decent living. Henry takes a second to digest these words. HENRY Let’s skip all this and get straight to it. How can we take them down? H.O. You will never completely destory them. They are too powerful. But I can help you do some damage. There are two guys. First is Mayor Joel Turner, he helps them with the legalities and diverts the publics attention, although it’s not been working. The second, and more (MORE) (CONTINUED)

CONTINUED:

103.

H.O. (cont’d) importantly, is a man in charge. I only know him as Boss. I’ve only met him once but we are in frequent contact. He is in San Francisco right now, working with the mayoral candidate Fred Bould. HENRY What does he look like? H.O. (trying hard to remember) He’s short, tanned, balding a little and overweight. I think he’s around sixty. INT. DEA BUILDING - MONITORING ROOM Jordan and Ted waste no time. TED (to Jordan) Put out an arrest for Turner and get me SF HQ on the phone now! EXT. GETTY HOUSE Dozens of raging protesters are outside the house walls. Riot officers form a barrier to stop them entering the premises. They all want a piece of Turner. The front door opens and Joel Turner, cuffed, is escorted to the police car waiting on the driveway. INT. POLICE CAR Turner keeps an emotionless expression as they drive out the gates, past the protesters. He knew the risks when he made his choice. Some are banging on the car, yelling and throwing stuff. Officers are having to force them away to allow the car to drive off.

104. INT. TFP HEADQUARTERS - BOARDROOM JACKIE It’s ours for the taking. Catalina, dressed smartly, has Jackie and Sarah sitting across from her. Out the window, the main office seems livelier then the last time we saw it. They’re gaining back support. CATALINA But do we have the numbers to back us up? We’re in a period of recovery. SARAH We can get the support. Soon this city will have to vote for a new mayor and right now they’re craving for something different, a new direction and that’s you. Cat doesn’t seem assured. JACKIE Worst that can happen is you end up losing the vote, but you’ll gain more support along the way. A beat as Cat considers: If that’s the worst that can happen... CATALINA OK, prepare a statment. Sarah is right on it. SARAH Yes boss. JACKIE You’ve made the right choice. INT. ANTONIO’S ESTATE - LIVING ROOM Antonio appears to be stuck on the sofa, looking worse for wear. A glass of vodka in hand, it’s become a habit, reinforced by the multitude of empty beer cans around him. He is still finding comfort in pyjamas and his beard has grown thicker, patches of brown and white. He’s watching a live broadcast of Catalina, courtesy of FBS news. (CONTINUED)

CONTINUED:

105.

CATALINA (form TV) The great people of this city demand change, modern ideals. We’ve had enough of the same old story. Politcians regulating our lives and forcing their values upon us. The trust in the system is dead. It only serves the wealthy, the greedy and deprives the everyday citizen which this city relies on. It’s time to move forward to a fairer, progressive future where the government work for the people. The TFP, under my leader ship, will shape this city around the peoples voices, not their money. The words are met with applause. Antonio cracks a villainous smile. Maybe he’ll get what he wanted in the end, or perhaps he simply found a humourous side to it all. INT. DEA BUILDING - TED’S OFFICE Henry and Jordan, sit, waiting. Ted Enters. TED I just got off the phone with our colleagues in San Francisco. They’re making a move on Fred Bould tonight. He’s hosting a formal gathering on a yacht, a few miles out on the Pacific. Plenty of one percenters will be attending. If the "boss" is really working with him, then this is probably our best bet of catching him. JORDAN We need to be there. TED That only seems fair. HENRY It will be difficult. We only have a vague description of him, old and fat. TED I know, but we have to act now or he’ll slip through our fingers.

106. Henry nods. EXT. SAN FRANCISCO - NIGHT The moon bathes the city in a cool silver light. We hover over the skyline until the land is no more, continuing out over the Pacific Ocean, through darkness, until there is nothing but the lights of a yacht. INT. YACHT - NIGHT A formal event. Guests of extreme wealth are in attendance, chatting to one another over the sedating classical music. Amongst a circle of attendees is Boss, a confident smile across his face. Standing next to him is mayoral candidate FRED BOULD, who we’ll recognise later. INT. DEA SAN FRANCISCO - BREIFING ROOM. Rows of chairs are occupied by DEA officers. Henry and Jordan are at the front. The LEAD OFFICER is talking through the mission. Behind him is a picture of Fred Bould, stuck to the whiteboard, along side a question mark labelled "BOSS." LEAD OFFICER We’re all familiar with Mr Bould, candidate for the upcoming mayoral election. He’s wanted for links to the Sanctus Cartel operating mainly in Los Angeles. (points to question mark) But this man is a mystery. He’s known as Boss. Estitmated to be five-seven, 180 pounds and around sixty years of age. INT. DEA SAN FRANCISCO - LOCKER ROOM Henry and Jordan are getting suited up with the rest of the tactical unit, putting on body armour. LEAD OFFICER(V.O) We’re going in four boats plus aerial assitance with a heli. We’ll board the yacht from all sides. First priority is to gather and contain the guests. Make sure no one is hiding or attempting to escape.

107.

INT. DEA SAN FRANCISCO - ARMOURY One by one each officer selects their weapon of choice from the racks. Jordan decides to stick with what he knows, a pistol modded with a flash light. Henry takes the same along with a bolt action sniper rifle. He pulls the bolt handle and checks over the barrel and chamber. He seems familiar with it. LEAD OFFICER(V.O) Pick out anyone that matches the description. It’s going to be messy and impractical so patience is key. Remember, we want them for questioning, use of weapons is only for self defense. Alright lets hustle. INT. YACHT - NIGHT Back at the party, things seem to be going smoothly. Boss leads Fred to a quiet spot for a quick chat, grabbing some hors d’oeuvre as they pass a waiter. BOSS (stuffing his mouth) I think it’s safe to say tonight is a success. People seem to like you. Those silicon valley geniuses are pledging there support. Undoubtedly they’ll manipulate the information online in your favour. They share a devious chuckle. Fred spots something and points out towards the shore, the city lights dim. FRED What is that? Boss stops laughing and looks to where Fred is pointing. A single bright spot of light, hovering over the water, is getting closer, stronger. Boss makes out the figure of a helicopter and a few boats underneath. They’re heading straight towards them, fast. Boss leaves Fred and makes a run for it.

108.

EXT. PACIFIC OCEAN - DEA CONVOY Henry and Jordan are on the same boat, behind the rest. The four boats position themselves around each side of the yacht and begin to board. The helicopter hanging directly above. INT. SPEEDBOAT Boss has hurridly hopped on the speedboat, untying the rope that attaches it to the yacht. Staying low, he can see the officers boarding above him. He starts the engine and heads off further out the ocean, into darkness. INT. HENRY AND JORDAN’S BOAT As Jordan boards, Henry spots the fleeing speedboat. HENRY (to pilot) Hey! Someone’s making a break for it! The PILOT turns the boat around and follows the speedboat, leaving Jordan on the yacht. As they gain speed, the wind rushes loudly over them, but they can’t see anything. HENRY We need that chopper! The pilot of the boat radios the helicopter. INT. YACHT The chopper leaves the yacht and heads off towards Henry’s direction. The music has stopped. The calm demeanour of the event has turned frantic. Officers are sheparding the guests to the main deck, forming a flock of rich folk. Jordan spots Fred Bould, almost blending in with the crowd and arrests him, looking incredibly embarrassed. INT. HENRY’S BOAT The lights of the yacht are distant, behind them, as they continue to give chase. The helicopter’s search light the only thing keeping the speedboat in view.

(CONTINUED)

CONTINUED:

109.

PILOT He’s too fast, we won’t catch him with this! Henry takes out his sniper and loads the chamber. He looks through the scope. VIEW THROUGH SCOPE: The fluctuations of the boat cause the scope to bounce up and down. Henry can just make out a fat face and a comb-over. PILOT You see anything? HENRY A bald head! He’s probably our man! Henry loads the chamber. PILOT What are you doing? We need him alive! HENRY I’m going to try and take out his engine! Henry takes a deep breath and holds it as he looks down the scope again. VIEW THROUGH SCOPE: The cross hair bobbles. The boat is smaller, he’s further away. Henry aims in front of the boats path, hoping the bullet will meet, and a little higher, accounting for the bullet drop. The speedboat is in the bottom left of the scope. BOOM! Henry pulls the trigger. Nothing. Must have hit the water. He loads another bullet and aims again. BANG! Contact. The bullet hits the back of the boat, sparking it, but it doesn’t show signs of slowing down. Another bullet, Henry takes aim. VIEW THROUGH SCOPE: Everytime he looks down the scope the boat gets smaller. He’s getting away fast. He’s having to aim higher and further away each time. He lines up the shot. POW! Nothing again. Attempt number four. Bullet ready, he aims and fires.

110. INT. SPEEDBOAT Boss is gripping the wheel with his life, going full speed. All of sudden the window shatters forcing Boss to duck low to avoid the glass and the strong wind burning his eyes. INT. HENRY’S BOAT HENRY (to himself) Damn it! Henry locks and loads for a fifth time. PILOT Hey! The heli needs to return back, it can’t keep chasing! Henry aims for the final time. VIEW THROUGH SCOPE: The boat is practically a speck. Henry is having to use the copters light to guess it’s location. BOOM! Henry puts the gun down and after a moment a message comes in. PILOT They said he’s slowing down. The heli leaves the speedboat and makes it’s way back, flying over Henry. INT. SPEEDBOAT Pitch black. Nothing but the noise of the swaying ocean. After a moment we can hear the sound of a boat apporaching. A small light comes into view. It’s Henry, the light coming from his pistol. On the floor, the light reveals Boss, dead. A bullet wound in his head. Henry closes his eyes. His expression is off great disappointment. A message comes through the pilot’s radio, behind Henry. JORDAN (through radio) Brookes, we got Fred, whats the situation? Henry doesn’t respond.

(CONTINUED)

CONTINUED:

111.

JORDAN (through radio) Hey Brookes, what’s going on man? FADE TO BLACK. EXT. LOS ANGELES INTERNATIONAL - DEPARTURES - DAY It’s raining. Jordan pulls over by the entrance and gets out with Henry. He helps him take out the luggage from the trunk. They stand outside the departures entrance to say their goodbyes. JORDAN You sure you don’t want to take the celebrity bus tour before you leave? They share a laugh. JORDAN So thats it? Bad guys gone, new mayor, everything’s going to be OK now? Henry chuckles and places a reassuring hand on Jordan’s shoulder. HENRY Maybe for a bit, but nothing lasts forever. He pulls him in for a hug. HENRY I wouldn’t worry about it too much. Jordan nods. Henry grabs his belongings and heads inside, giving one last wave. HENRY Take care of yourself. JORDAN Yeah, you to. The doors slide close and Henry disappears. Jordan returns to the car.

112.

INT. CAR Jordan turns on the window wipers and drives off, wondering what the future will hold for him and this city. INT. AEROPLANE Sitting by the window, rain patting, Henry reads a paper with the headline New Mayor Promises Change and below it, a picture of Catalina Herrera from her victory speech. It’s the same old story. The plane takes off. Henry puts the paper away and takes one last look at the Los Angeles landscape, getting smaller and smaller. Henry can’t help but think how, from a distance, life seems so pointless and there’s a comfort in that. EXT. LOS ANGELES - DAY The plane disappears behind a cloud, leaving us with the LA skyline, being washed clean by the rain. FADE TO BLACK THE END.