black - 1x01 - eso si que es - draft 2
TRANSCRIPT
COPABILITY
1X01 – “IT IS WHAT IT IS”
by
Chasey Ridgley
1
TEASER
EXT. SHIPYARD – NIGHT
People are SILHOUETTES in the fog. SHOUTS are heard
occasionally - directions for the WORKERS.
We see THREE MEN, two of which have the other by the
armpits, DRAGGING him on his KNEES. The ground is WET. The
CAPTIVE’S CRIES fill the air.
He is taken to a WAREHOUSE DOOR. Once PUSHED INSIDE, the
sounds of the night resume.
INT. WAREHOUSE – NIGHT
The SHOUTS from outside are muffled. The CAPTIVE groans in
pain as he’s pushed to the middle of the floor.
Age 37, defeated, and bloody, our CAPTIVE drops to his
knees underneath HARSH LAMPLIGHT. The LARGER of the CAPTORS
leaves.
Our captive sobs.
CAPTIVE
Please... I didn’t do anything. I
kept up with the quota.
His CAPTOR kicks him between his shoulder blades; this
sends the captive SPRAWLING face-first into the floor.
Lifting himself back up is easier said than done.
Our CAPTOR steps out of the SHADOWS. This is DIEGO COSTA
(28), and he’s full of youth and hate; both qualities drip
out of him like blood seeping from a wound. He GLARES at
the man on the floor, raising his foot for another.
WOMAN (O.S)
Basta. (Enough).
Our captive shakes. TEARS drip down his cheeks and FALL
into the puddle of blood on the ground.
Diego stalls, his leash pulled back by…
2
MARIANA COSTA (29). She’s his sister, and whether he
realizes it or not, she’s holding the reigns. She is hard
around the edges, as she gazes down at the man cowering on
the floor.
DIEGO
He’s a pig.
Diego pulls a BADGE out of his pocket and holds it for her
to see.
DIEGO (CONT’D)
He was working undercover for
months.
Mariana takes the badge from him and EXAMINES it.
Whatever she finds hidden in plates of gold, it DISGUSTS
her. She TOSSES the badge away without a second glance.
MARIANA
And did you find what you were
looking for, paco?
The captive’s sobs ECHO in the warehouse rafters.
Diego kicks him, and he COUGHS blood. Our captive’s hands
land in the puddle of blood with a SPLASH.
MARIANA
(slower)
Did you find what you were looking
for?
DIEGO
Answer her.
CAPTIVE
I didn’t. Not until now.
Diego LAUGHS. Too loud. Bemused by their captive, this
ridiculous man who he knows isn’t going to make it out
alive.
Mariana remains COLLECTED; she is the polar opposite of her
brother. The calm before an eventual storm.
3
MARIANA
What do you mean?
CAPTIVE
I found who was running things.
Everyone thinks the Costas are
dead, but here you are. Alive.
Diego pulls himself together enough to deliver another kick
to the captive’s side.
DIEGO
You think you’ll be able to tell
anyone, huh? You’re a dead man.
Our captive manages stand on his knees and stare Mariana in
the face, unafraid.
And Mariana stares back.
FLASHBACK - INT. HOUSE – KITCHEN – DAY
A LITTLE GIRL (9) sits at the kitchen table. She swirls her
spoon in her bowl and avoids eating.
CHYRON: 20 years ago.
Her FATHER (41) comes into view. Dressed in a suit, he
stands out amongst the decorative, bright wallpaper. He
smiles at the girl.
FATHER
(in Spanish)
Have you finished your homework?
The little girl nods.
FATHER (CONT’D)
(in Spanish)
Count back from one hundred.
A sigh.
4
LITTLE GIRL
(in English)
One hundred, ninety-nine, ninety-
eight, ninety-seven – May I stop
now?
FATHER
(in Spanish)
Yes.
LITTLE GIRL
(in Spanish)
I know how to speak English, papa.
Diego is the one who doesn’t.
Speak of the devil – DIEGO (8) comes running into the room,
spoiling their time together. He is a ball of energy, and
he throws himself at his father.
DIEGO
(in Spanish)
I can speak English. Better than
you, even.
MARIANA
(in Spanish)
Do it!
DIEGO
(in English)
My name is Mariana Costa and I am
a tiny girl.
Mariana sticks her tongue out at Diego. Diego takes the
opportunity to climb into his father’s lap.
Their father shakes his head and laughs.
IVAN (O.S.)
(in Spanish, from
the other room)
Andres, we need you in here.
Their father, ANDRES, changes demeanor immediately. Diego
hops off his lap. With a quick, apologetic smile, Andres
makes for the door.
5
Mariana watches him go.
DIEGO
(in Spanish)
Come play outside. I think Eddy is
out there.
MARIANA
(in Spanish)
I need to finish this. You go.
I’ll be out soon.
Diego shrugs. He runs out the BACK DOOR, as little kids do.
Mariana stares thoughtfully at her food.
She keeps glancing toward the hallway her father
disappeared down.
She gets up slowly, avoiding the creaks in the kitchen
floor, and starts after her father.
FLASHBACK – INT. HOUSE – HALLWAY – DAY
Mariana EDGES her way toward a closed door. The only one
shut. We hear MUFFLED VOICES on the other side.
Her feet are close to the WALL, to once again avoid
inadvertently creaking the wood. When she reaches the door,
she turns the KNOB slowly.
INSIDE: Andres is standing with THREE MEN we don’t
recognize. Mariana watches, not breathing.
On the floor is another MAN. Bloody and beaten, he can’t
stand up. Mariana WATCHES as Andres levels a gun between
his eyes.
PRESENT – INT. WAREHOUSE – NIGHT
Mariana’s eyes have a different, harder GLINT to them.
MARIANA
You are the second detective to
break our ranks.
(beat)
6
Your name is Ricardo Montoya, and
you have been selling our gear for
five months and two weeks.
Ricardo realizes he has lost this fight. Diego GRINS,
elated.
MARIANA (CONT’D)
And you are never going to see
anyone you’ve ever known ever
again.
Diego pulls a gun from his waistband and holds it at
Ricardo’s temple. At the contact, Ricardo closes his eyes,
the sad truth sinking into his skin.
The metal DIGS into his forehead. Sweat DRIPS down his
brow.
MARIANA (CONT’D)
This is the way the world works,
Detective. The cops chase after
the dealers, the dealers chase
after the money, but in the end,
it is what it is.
DIEGO
Eso si que es, bitch.
Ricardo recognizes the phrase.
RICARDO
He had that on his body. The one
who -
DIEGO
Si, you should have listened the
first time.
Ricardo is paying Diego no attention; his eyes are only for
Mariana. He is PLEADING.
RICARDO
It was carved into it. It was –
Diego pulls the trigger.
7
FLASHBACK – INT. HOUSE – HALLWAY – DAY
The gunshot sounds. Mariana lets out a BREATH, backing only
an inch away from the crack in the door. The THUMP of a
body hitting a tarp follows moments later.
INSIDE THE ROOM: Mariana watches Andres’ hand drop. The man
he shot is dead.
Mariana stares at him for too long. She isn’t scared,
merely interested.
PRESENT – INT. WAREHOUSE – NIGHT
Mariana pulls a KNIFE from a holster on her hip. She gives
it to Diego.
MARIANA
Clean this up. Leave him somewhere
the cops will find him.
(she holds the
knife out of his
reach, making sure
he hears her)
Make sure our message is clear.
DIEGO
(in Spanish)
Gladly.
Mariana walks away and leaves Diego standing in the
spotlight. He makes a face at the body and the growing
puddle of blood surrounding Ricardo’s head like a halo.
8
ACT ONE
PRESENT – INT. CAR – PARKING LOT – DAY
A WOMAN (30) grips the steering wheel too tight. The car is
turned OFF. This is ISABELLA “ACE” ACERBI. Driven,
calculated, and terrified of going back to work – she has
just finished a PERSONAL VACATION.
She looks at a BUILDING just across the street.
A SIGN READS: Police Department. 11th Precinct.
ACE
I can do this.
She reaches for the car door.
FLASHBACK – INT. GIO’S APARTMENT – KITCHEN - DAY
The cupboards are OPEN, and a YOUNGER Ace zips around,
attempting to clean. Her efforts are futile; there is
CLUTTER everywhere.
CHYRON: Three years ago.
The tables and counters are stacked with every kind of
takeout – pizza, Chinese, and even the occasional Indian.
She makes a face of DISGUST as she dismantles the LEANING
TOWER OF TAKEOUT.
GIO (O.S.)
(from the other
room)
Ace!
ACE
Coming!
On the way to the bedroom, Ace stops in front of a MIRROR.
She pulls at her appearance, picking an unidentifiable
piece of food from her hair. She straightens the confines
of her POLICE UNIFORM.
She nods at her reflection. Everything is in order.
9
FLASHBACK – INT. GIO’S APARTMENT – BEDROOM – DAY
Ace appears in the DOORWAY.
GIOVANNI ACERBI (29) sits on the edge of the bed. He is
Ace’s older brother, and he is too stubborn for his own
good.
He holds a hand to his SIDE, pressing it deep into a
BANDAGED WOUND.
She rushes to him. It’s almost pathetic.
ACE (CONT’D)
You’re all right.
Gio grins. Painfully.
GIO
Of course I am.
But Gio isn’t. Ace presses a hand to the wound and Gio
grits his teeth; she isn’t being gentle.
ACE
You do know that bullets bite
back, right?
(beat)
You have to stop throwing yourself
into danger.
GIO
It’s just a scratch.
It doesn’t work. Ace isn’t soothed. Her hands slide back
into her own lap.
GIO (CONT’D)
I’m fine, Isabella.
(points to his
stomach)
This? It was a through and
through. I’ll be back on desk duty
in no time.
Ace understands, but she’s obligated to worry. Family
burden.
10
GIO (CONT’D)
I’ll be fighting crime again
before you know it.
Gio shoots her with a FINGER GUN, grinning. Ace shakes her
head and PUSHES him away too roughly.
He winces, a hand falling to his side.
ACE
We should redress that.
Ace stands. She holds a hand out for him.
Gio TRIES to get up on his own, but it doesn’t take. He
takes her hand, and he lets her support him.
GIO
I’m lucky I’ve got you helping me
and not Ma.
ACE
She’d have you tied to the bed.
GIO
(laughing)
Definitely better off, then.
Ace helps Gio HOBBLE over to the bathroom with an arm
looped around his waist.
FLASHBACK – INT. GIO’S APARTMENT – BATHROOM - DAY
Gio hops onto the counter with difficulty. Ace REGARDS him.
Ace pulls the bandage away from his skin, taking her time.
Doing this is getting to her. She STOPS for moments at a
time when she catches a glimpse of the WOUND. The STITCHES
are sore and RED.
Gio cranes his NECK to look at his wound in the MIRROR.
GIO (CONT’D)
Damn.
Ace shakes her head. She’s caught up in the moment.
11
GIO (CONT’D)
Hey.
Ace looks up at him.
GIO (CONT’D)
Thank you. For taking care of me.
I mean it. Getting hurt is all
part of the job. You’ll learn that
when you make Detective.
Ace meets his gaze, and we see the indecision in her eyes.
She’s hurting, but her brother is alive, and that is all
that matters.
PRESENT – EXT. PRECINCT – STREET - DAY
ACE (30) stands outside of the 11th PRECINCT. She’s OLDER.
Dressed in a DARK SWEATER instead of a uniform; she looks
like she belongs anyway.
CHYRON: Present day.
Ace lets out a DEEP BREATH. She LICKS her lips.
ACE
(to herself,
echoing her
brother’s words)
It’s all part of the job.
Ace crosses the street and takes her time walking up the
steps. She straightens the strap of her bag on her SHOULDER
one last time before she walks in.
Her hand pauses just before she grabs the door handle.
SOMEONE ELSE walks out before she can walk in. Ace steps to
the side, and she SMILES to be polite. She slips inside
BEFORE the door closes.
INT. PRECINCT – LOBBY - DAY
Standing at the front desk is DEANDRE DAVIS (34). Tall and
smiling, he attempts to CHARM the RECEPTIONIST (27).
12
He looks up when the double doors swing open. He rushes to
Ace’s side when he spots her and throws an ARM over her
shoulders.
Ace laughs. Leans into him.
DAVIS
God, I missed you.
ACE
Right back at you.
DAVIS
Where have you been lately? All
I’ve gotten is your voicemail.
ACE
Just healing my gut.
Ace lifts her sweater and REVEALS a BANDAGE.
DAVIS
No tackling criminals on the
streets for you.
ACE
No kidding. And sorry, by the way,
about the avoidance. I don’t
really do well when I’m cranky and
hurting.
The two walk to the ELEVATOR, and Davis punches the UP
BUTTON.
DAVIS
I get it.
(beat)
I might’ve done something bad.
ACE
Really? You did something bad?
Davis rolls his eyes. He leads the way into the elevator.
13
INT. PRECINCT – ELEVATOR - DAY
DAVIS
I kind of told everyone you were
coming.
ACE
That’s okay, so long as Larissa
isn’t part of the welcoming party.
I don’t think I could stand her
pretending to care right now.
The elevator dings.
DAVIS
She doesn’t even pretend anymore,
honestly.
ACE
She creeps me out.
The elevator doors slide open.
DAVIS
She creeps everyone out. It’s the
hot kind of creepy, though. The
attractive creepy.
ACE
Does that even exist?
DAVIS
It can.
INT. PRECINCT – HOMICIDE BULLPEN - DAY
Ace and Davis walk into the bullpen and are greeted with
thunderous applause.
Ace flushes under the approval. A CROWD of detectives and
officers gather in the too-small area to welcome her back.
There’s even a cake.
Davis raises his arms to stall the applause.
14
DAVIS
Okay, all right. We all know my
partner is a hero and all, but the
real hero is whoever brought the
cake.
Davis wags his eyebrows and points his two thumbs at
himself.
DAVIS (CONT’D)
No, no. Kidding. Kind of. This
asshole is a bonafide hero. Shot
in the line of duty, living to
tell the tale, and now she wants
more of the shitty breakroom
coffee? The public should be
kissing her feet.
IN THE CROWD: DETECTIVE RYAN KING (35) stands off to the
side with his arms crossed. He catches Ace’s eye and
smiles. He gives her a nod.
Davis starts a slow clap.
DAVIS (CONT’D)
So, let’s give it up for our very
own... Detective freakin’ Ace
Acerbi!
The applause crescendos and Ace sinks into a crowd of back
claps and handshakes. This is her home. Her family.
INT. PRECINCT – SHOOTING RANGE
Ace stands alone in a stall and shoots off five rounds of a
9-millimeter glock. She reloads. Shoots again.
When the target swings back toward her, the shots are all
in the head and chest. Ace slides the GLASSES from her eyes
to the top of her head.
IN THE DOORWAY: Davis appears. He sneaks up on her. Taps on
her shoulder... she JUMPS out of her own skin.
She slides standard-issue EARMUFFS from her head and
SCOWLS. She places the gun on the table.
15
DAVIS
Sorry. Probably shouldn’t sneak up
on someone with a gun in their
hand.
ACE
No, it’s just, y’know. The gunshot
wound.
DAVIS
Still hurts?
ACE
Still hurts.
(beat)
It probably won’t do you much good
if your partner can’t do her job.
DAVIS
You were already faster than I
was. Guess now, if you’re limping,
maybe I can finally keep up with
you.
Davis has a look in his eye that she recognizes.
ACE
This isn’t your fault, Deandre.
You know that, right?
DAVIS
I know.
ACE
It’s not mine, either. As much as
I’d like to blame this monumental
screw up on shitty police work,
some asshole shot me. Now I’m
back. So you can stop being weird.
Ace pats him on the shoulder, smiling.
DAVIS
I wasn’t being weird.
16
ACE
You were. You know how I know
that? Because I know you. Also
because I’m awesome.
DAVIS
Yeah, and you have an ego bigger
than your ass.
ACE
Ouch.
STONE (O.S.)
I hope it’s big enough to do your
job correctly.
IN THE DOORWAY: LT. NINA STONE (51) with her arms crossed.
She raises an eyebrow at them both.
STONE
Detective Davis, a word with
Detective Acerbi, if I may?
DAVIS
Of course, Lieutenant.
Davis makes a hasty exit, sending Ace a wide-eyed gaze
before he goes.
Ace reaches for the gun; it’s a nervous habit. She checks
the ammunition, sliding the clip out and then back into
place.
STONE
Shots to center mass and the head.
(on Ace’s
confusion)
Your practice. You seem to be
doing very well.
ACE
Oh. Thank you, ma’am.
STONE
I trust you’re back into shape?
Ready to work again?
17
ACE
Of course.
STONE
Good.
(beat)
And emotionally? I understand you
passed your psych evaluation?
ACE
I did, yes.
STONE
That’s good. You know, Ace, I was
very close with your father when
he was here. We were in the same
division.
ACE
He mentioned you.
STONE
That’s good. I know I’m new – not
to the job, but new to this
division. It will take some
getting used to. But it would be
nice to have a detective on my
side.
ACE
That shouldn’t be a problem. We’re
pretty easy going around here.
STONE
So I’ve heard. Anyway. Anything
you need, you come to me, and I’ll
see what I can do.
ACE
I appreciate that. Really. It
means a lot to have the brass
looking out for us.
Stone smiles at Ace, and then heads toward the door.
18
STONE
Oh, and Detective?
ACE
Yes, ma’am?
STONE
I’ll have your paperwork forwarded
to your desk. It’s been sitting on
mine for weeks.
Ace forces a smile, watching Stone leave.
EXT. STREETS – NIGHT
This is a bad part of town. There aren’t many cars, just a
few bodies corrupting street corners. They stand in the
SHADOWS.
BAILEY MITCHELL (19) rides her bike right down the middle
of the street; she is not worried about any cars.
Her hoodie hugs her, and her hands grip the handlebars as
she passes a group of TEENAGERS huddled on a corner. ONE OF
THEM notices her.
ROCKY
Yo, Braxton!
Bailey stops her bike.
BAILEY
How many times I gotta tell you
that ain’t my name?
ROCKY
It’s Bailey, right?
LANCE
We didn’t mean nothing. Your old
man’s been apeshit, though. He’s
got all the minions searching the
streets for you.
Bailey rides up to them. The first boy, ROCKY (17), offers
his hand for a HANDSHAKE. She takes it. LANCE (16) is less
forthcoming. He only offers her a nod.
19
They are her friends from before.
BAILEY
And how’s Beck? I haven’t seen him
on the streets.
ROCKY
Little one’s square. Papa
Mitchell’s keeping him outta
trouble. Probably to hide him from
you.
LANCE
Yo, you want us to tell him we saw
you?
A long pause. Bailey thinks about it.
BAILEY
Don’t. He’ll just tell his dad.
ROCKY
You know, we got something that
might interest you.
Lance HITS Rocky’s shoulder. They’re hiding something from
her.
ROCKY (CONT’D)
(to Lance)
What? Girl’s living on the
streets.
Lance looks both ways. He pulls out a small, plastic bag
from his pocket.
LANCE
We heard you was looking for a
job.
Bailey studies the drugs Lance offers her. She chews on her
bottom lip.
ROCKY
You’re riding empty now, ain’t ya?
We know a man who can hook you up.
20
Bailey is homeless. Has only the clothing on her back. She
folds easily.
BAILEY
What do I have to do?
INT. PRECINCT – HOMICIDE BULLPEN - NIGHT
Ace sits at her desk. The piles of paperwork are taller
than she is. She hunches over a sheet right now, pen
scrambling.
Across the room, RYAN KING stands in the doorway. He
watches Ace for a long moment.
There’s history in his eyes, in the way he waits before
approaching. His hesitancy is telling. He misses her.
RYAN
Hey.
Ace jolts in her chair.
ACE
Oh, it’s you.
RYAN
Sorry, I didn’t mean to startle
you.
Ryan pulls a bag of takeout from behind him.
RYAN (CONT’D)
I brought you dinner.
ACE
You’re a lifesaver.
Ryan walks over. He sits in the chair next to her desk. Ace
dives into the food and sighs around her noodles. Ryan is
content with watching her.
RYAN
You know, you never called me
back.
21
ACE
Ryan. I was shot. I was either too
high to think or I was sleeping.
RYAN
The nurses said you didn’t want me
visiting you.
ACE
I didn’t have a choice. It was
family only.
Ryan returns to his noodles. He takes a large bite and
shuts up.
ACE (CONT’D)
Tonight, though, it’s no family
allowed. Once I’m done with this
paperwork, it’s just you and me,
okay?
Ryan grins. He glances around to make sure they are alone,
and then sets his takeout to the side. He leans forward and
sets his hand on her knee.
RYAN
Oh? Your place or mine?
He’s almost too easy. Ace glances at his hand, still
perched on her knee.
Her phone rings before she can respond. She answers.
ACE
Acerbi.
(beat)
Yeah, I’ll be there soon.
Ace hangs up, and stands. Ryan’s hand slips off her knee.
ACE
We’ll have to postpone.
RYAN
Murder?
22
ACE
Murder.
Ryan stands up and gathers the takeout boxes. He shrugs.
RYAN
Gotta love the timing of this
city.
ACE
Come on, Romeo. Let’s catch a
killer.
RYAN
You go ahead. I’m going to sit
this one out.
ACE
Okay. Also, this is definitely a
raincheck. We’ll make plans.
Ace is almost to the door with her coat slung over her arm.
RYAN
I’ll count on it.
EXT. RIVERBANK – CRIME SCENE - NIGHT
Ace shows up at the crime scene. She greets the OFFICER
standing at the tape at the edge of the scene.
No one will look her in the eye.
She walks up to the CROWD of officers and a few DETECTIVES
surrounding the body. One of them FLINCHES when she
APPEARS.
ACE
What do we have?
The crowd parts like the RED SEA. Ace looks for herself.
She stares at the body and FREEZES with her gloves halfway
on.
Footsteps are the only sound. Davis appears beside her.
23
DAVIS
Sorry, I’m late.
Davis looks from the body to Ace, and then to the body
again.
DAVIS (CONT’D)
Shit.
Detective MONICA NHIAL (30) stands off to the side with a
pad of paper. She hesitates.
NHIAL
Uh, we have a John Doe. Wounds
consistent with the murder of
Detective Giovanni Acerbi.
Davis is shaking his head.
DAVIS
No. He’s not a John Doe.
Davis walks around to the other side of the body. He shines
a flashlight on the MAN’S face.
DAVIS
He’s a cop.
Ace can’t tear her eyes away from the body.
FLASHBACK – INT. GIO’S APARTMENT – BATHROOM
Ace dabs antiseptic into Gio’s wound, and he HISSES.
ACE
You’re a baby.
GIO
Whatever.
ACE
Do you think I’ll get Detective
soon?
24
GIO
Yeah, definitely – also, ow.
Haven’t you been taking all the
night classes?
ACE
Everything I can.
Gio gives Ace a smile.
GIO
My little sister? You’re the 11th
precinct’s ace in the hole. You
and that dumbass partner of yours
are bound to be promoted any day
now.
(beat)
Also, did you see what I did
there? Ace in the hole, and like,
Ace as in your nickname?
Ace punches him in the shoulder and laughs.
END ACT ONE
25
ACT TWO
FLASHBACK – EXT. WAREHOUSE – NIGHT
CHYRON: One year ago.
Headlights ILLUMINATE the side panels of a WAREHOUSE. They
belong to a PATROL CAR.
Out slides ACE, with her gun at the ready. In uniform and
ALONE. She pulls out a FLASHLIGHT and points it toward the
doors of the warehouse.
ACE
(to herself)
No backup. You’ve got this.
Ace walks up to the doors and walks in.
INT. WAREHOUSE – NIGHT, ONE YEAR AGO
The place is filled with various MACHINERY. Ace whips her
FLASHLIGHT around. Takes it all in.
CHAINS hang from the ceiling. Creepy. Trademark of the
meatpacking district, HOOKS hang on the walls.
Her breath catches in her throat when the flashlight runs
across a BLOOD on the floor.
She makes her way toward it, and it’s quickly revealed to
be a BODY. Completely naked, Ace walks up to its backside.
ON THE BODY’S SHOULDER: A tattoo. The Ace of Spades.
Ace GASPS and shines the light on his face just to be sure.
The body on the ground is GIO ACERBI.
ACE
Oh God.
The flashlight FALLS to the ground. Ace GAGS. She falls to
her KNEES, scrambles to find a pulse. She doesn’t.
Ace attempts to flip him onto his back and resuscitate him,
but he’s stiff. Cold.
26
She kneels next to his body and starts to hyperventilate.
Tears don’t come. She holds his HAND.
WITH HER OTHER HAND: She reaches for her RADIO.
ACE
10-52. Officer down. I repeat,
officer down.
WRITTEN ON GIO’S CHEST: the words “ESO SI QUE ES”. Carved
into it like a brand.
INT. LARISSA’S LOFT – KITCHEN - NIGHT
From behind, we come up on a WOMAN. Her shoulders are
HUNCHED.
This is LARISSA DURANT (32), and she’s got the barrel of a
gun in her mouth.
She adjusts her grip on the handgun.
OUTSIDE: We can see the windows of other tenants across the
street THROUGH THE BLINDS over Larissa’s windows.
She lets her teeth scrape against the metal. Her eyes fall
shut. A TEAR escapes the corner of her eye.
Her phone rings on the other side of the room.
She doesn’t jump, only listens to the familiar RINGING. She
pulls the gun from her lips and sets it on the counter.
Her fingers release from the METAL like suction cups.
She gets slowly. She picks up the phone just as the machine
is going to answer.
LARISSA
This is Larissa Durant.
EXT. RIVERBANK - CRIME SCENE – NIGHT
Davis stands off to the side, away from the CROWD. He holds
his finger in his ear, whilst holding his phone to the
opposite.
27
DAVIS
Hey, I know you’re not on the
clock, but –
INTERCUT BETWEEN DAVIS AND LARISSA
LARISSA
Usually sentences like that end
with an opposite party being
upset. Am I going to end this
conversation upset?
DAVIS
Define ‘upset’.
Larissa takes a sidelong look at the GUN resting on her
counter. She presses her LIPS together.
LARISSA
What do you need?
DAVIS
You.
(beat)
To come in. This one’s bad.
Victim’s a detective I used to
know.
LARISSA
What happened to your perfectly
capable partner?
DAVIS’ GAZE: He looks at ACE. She stands twenty feet away
from the body, staring at nothing with her arms wrapped
around her torso. Her eyes are glazed over.
DAVIS
She’s indisposed. Look, I’ll
explain more when you get here.
Larissa stands up. A hand lingers, fingers dancing near the
gun.
LARISSA
I’ll be there in ten. Have
dispatch give me the address.
28
Larissa hangs up on him.
She stands in the middle of her living room. She takes a
long moment. She presses a FLAT PALM on the COUNTERTOP.
After a moment of consideration, she grabs the gun.
She slides the gun into the holster on her hip. She grabs a
badge from a shelf on the wall. She grabs her keys and a
motorcycle helmet.
She heads out the door and into the bright light of the
hallway.
INT. CRACK HOUSE - HALLWAY – NIGHT
BAILEY walks through the hallway. She double-checks a sheet
in her hand.
ON THE SHEET: The address. Written in scrawled handwriting.
Courtesy of Rocky.
In the doors she looks through, JUNKIES occupy the rooms.
She skirts her eyes. These are not the people she wants.
At the end of the hallway, Bailey checks the sheet again.
ON THE SHEET: ‘Last door on the top floor’.
Bailey knocks on the door, and HECTOR VALDEZ (42) opens it.
His shirt is unbuttoned, and he is wearing SANDALS.
BAILEY
Hector?
HECTOR
Who are you?
BAILEY
A friend said you had some gear I
could sell.
Hector looks past her, over her shoulder. Then, he pulls
her into the room and shuts the door behind her.
INT. CRACK HOUSE – HECTOR’S ROOM - NIGHT
29
HECTOR
Cops, man. They always around
here.
(beat)
Who told you that?
BAILEY
A friend.
Hector goes deeper into the room. Drugs are spread out on
the table, the kinds Bailey doesn’t even know the name of.
HECTOR
It was that shit. What’s his name?
Brick...
(snapping his
fingers)
No, Rock. Rocky. That little shit.
BAILEY
I just need some cash.
Bailey stands near the door. Hector sits down on the couch.
HECTOR
What are you, sixteen?
BAILEY
Nineteen.
Hector raises an eyebrow like he doesn’t believe her. He
readies a line of cocaine on the table.
HECTOR
So nineteen, then. Old enough for
prison.
BAILEY
I’m willing to take the risks.
HECTOR
You know who runs this thing? La
Familia, that’s who. They don’t
fuck around. So you got to be
willing to play straight.
30
BAILEY
Isn’t the point of this whole
thing that I’m willing to break
the law?
HECTOR
You know, whatever, man! You want
the gig or not?
BAILEY
Very much, yes.
Hector leans over the table and SNORTS the line of cocaine.
He leans back into the couch.
HECTOR
You’re Robbie’s kid, aren’t you?
The tranny runaway. The one he
been crackin’ down on the streets
for.
BAILEY
I don’t know what you’re talking
about.
HECTOR (CONT’D)
Relax. I know what it’s like to
have an old man breathing down my
shit.
(beat)
How about I’ll give you some
product, and you’ll have it sold
by the end of the week. Sound
good?
Bailey nods and steps forward. Hector puts the drugs in her
hand, little PLASTIC BAGS of powder.
BAILEY
Thank you.
HECTOR
Don’t be saying thanks until I’m
handing over your cut, chica.
Rates are on the inside.
31
Bailey makes for the door.
HECTOR (CONT’D)
One more thing? If you don’t hit
the quota, you report to Diego
directly, comprende?
BAILEY
Si.
HECTOR
Aye. Get the fuck out of here.
Little shit.
Bailey slips out the door.
INT. CRACK HOUSE – HALLWAY – NIGHT
Bailey leans against the wall with the bag of drugs tight
against her chest.
She stuffs the bag into her hoodie. She puts her hood up.
She jams her hands into her pockets and starts down the
hallway with revitalized determination.
DAVIS (V.O.)
It is what it is.
EXT. RIVERBANK - CRIME SCENE – NIGHT
Ace barely holds back tears.
ON THE VICTIM’S CHEST: the same carved words as GIO, “ESO
SI QUE ES”.
ACE
The words, they look, uh, more
jagged this time.
DAVIS
Okay, so serrated edge, maybe.
Ace shakes her head. She turns on her heel, shouldering
through the CROWD.
32
LARISSA shows up and gets a shoulder-check from Ace when
she arrives. She gives Ace a glare, but continues toward
the crime scene.
LARISSA
All right.
DAVIS
Meet Detective Ricardo Montoya.
We’ve got officers at his wife’s
house right now. He’d been
undercover with La Familia.
(beat)
Seems like they figured that out.
LARISSA
What’s up with her?
Nhial sniffs from where she’s kneeling next to the body.
Davis cringes.
Larissa scoffs.
LARISSA
Seriously? The rookie’s more in
the loop than I am?
DAVIS
A year ago, Ace’s brother was
killed by La Familia. No evidence,
no conviction. He was undercover
for months.
NHIAL
Two more days, and we would’ve
nailed the leaders to the cross.
DAVIS
Ace found him. Just like this. He
was going to tell her what he
knew. But someone else found him
first.
LARISSA
Crime is whipping our ass.
33
DAVIS
Yeah. And they’re only getting
stronger. One cop kill at a time.
Larissa kneels next to Montoya and snaps her gloves into
place. She already knows there won’t be any evidence.
LARISSA
And Acerbi? How’s she doing?
DAVIS
You don’t have to act like you
care.
LARISSA
Regardless of my personal
feelings, she’s one of our own.
She looks down at Ricardo Montoya.
LARISSA (CONT’D)
Just like he was. It’s a
brotherhood, Davis.
Her words hang in the silence.
DAVIS
She’ll be okay. It’ll be hard. She
won’t like getting benched for
this one.
LARISSA
Which is why you brought me on.
DAVIS
Doesn’t mean I like you.
He cracks a sad smile; a bad attempt at a joke. She raises
an eyebrow.
LARISSA
No one likes me, Davis. It’s
important you understand that.
34
INT. PRECINCT – LIEUTENANT’S OFFICE - MORNING
Ace sits in a chair in front of Stone’s desk. Her hands are
in her lap. She’s wearing the same clothing as earlier; she
hasn’t had the chance to go home yet.
The office around her is decorated minimally. The bookshelf
is sparse. On the desk, there is a picture of Lieutenant
Stone and her family: a seemingly happy one.
Ace doesn’t fidget. She sits and waits.
Lieutenant Stone walks in with a file in her hand and
glasses perched on her nose.
STONE
I apologize for the wait,
Detective.
Stone settles in the chair on the other side of the desk.
ACE
Not a problem.
STONE
I understand tonight there was a
body found that is believed to be
related to the murder of Detective
Giovanni Acerbi.
(beat)
Is that correct?
ACE
Um. Yes, ma’am.
Stone sets the file down on the desk and sighs.
STONE
Your brother... was a fantastic
detective. The day Guns and Gangs
stole him from my division was
terrible.
(beat)
The day he was killed was
cataclysmically worse.
Ace lifts her head up.
35
ACE
If you’re asking if I’m fit for
duty, I am.
STONE
Physically, maybe. Emotionally,
I’m not so sure. You’re obviously
very close to this case.
Stone picks up the file from her desk.
IN THE FILE: Crime scene photos from the murder. She pulls
out one with the CARVINGS on Montoya’s chest.
STONE (CONT’D)
That’s why I must insist that you
step away from this case.
Ace knew it was coming. She bites her tongue anyway.
ACE
Yes, ma’am.
STONE
Detectives Durant and Davis will
take over for now. That will be
all.
Ace holds Stone’s gaze for a long moment. She doesn’t say
another word before leaving.
END ACT TWO
36
ACT THREE
FLASHBACK - INT. HALLWAY – NIGHT
Ace stands outside of GIO’S APARTMENT. The hallway is dimly
lit. Her fist BANGS on the door over and over.
ACE
C’mon, Gio. Open the door.
She almost falls in when the DOOR swings open. Gio has a
beer in his hand.
Gio gives her the sympathy vote, waving her into the
apartment and closing the door behind her.
FLASHBACK - INT. GIO’S APARTMENT – LIVING ROOM - EVENING
ACE
Today was terrible.
Ace falls FACE-FIRST into the couch.
GIO
Couldn’t have been that bad.
ACE
(voice muffled by
the couch)
I shot at a suspect and he shot
back. My vest has a bullet hole in
it and my squad car needs three
new windows.
GIO
So it was bad.
(beat)
Come on, sis. Everyday has the
potential to be terrible for us.
We’re cops. Almost everyone hates
us.
Gio grabs another beer from the fridge. Ace pushes herself
up and sits cross-legged.
37
ACE
I thought it would be easier. Dad
always had the time of his life.
GIO
Dad was a drunk. They always have
fun.
Gio sits on the couch next to her. Hands her a beer. The
two of them are silent, REFLECTING.
GIO (CONT’D)
Okay, Dad had it easier because he
was a nice guy. People on the
force liked him.
ACE
Are you saying that I’m a bitch?
GIO
I’m saying that you don’t have any
friends.
Ace doesn’t argue with that. She rolls her shoulders.
GIO (CONT’D)
Do the officers at your division
ever go out to a bar? You need to
put yourself out there.
ACE
It’s not as if they invite me.
GIO
What is this, middle school?
You’re a cop, for Chrissakes. You
don’t need to be invited to go out
to a bar with your colleagues.
Ace raises her eyebrows; she begs to differ. Her brother
has always been more likeable, and she’s always been quiet.
GIO (CONT’D)
If that doesn’t work out, make
friends with the non-cops.
38
ACE
Okay, wait a second. I have
friends.
GIO
That idiot partner of yours
doesn’t count.
ACE
Of course Deandre counts. Why
doesn’t he count?
GIO
He only started talking to you
because he had that dumb crush on
you in the academy.
(off Ace’s look)
Look, I’m just saying, you’ve got
to use your charm. People like us,
or at least they like me.
Ace doesn’t answer. She sips her beer.
GIO (CONT’D)
You’re not taking any of this in.
ACE
No, I understand. Be nice. Sleep
your way through difficult
situations. Use the Acerbi charm.
Easy.
Gio tilts his beer in Ace’s direction.
GIO
Essentially.
PRESENT – INT. PRECINCT – HOMICIDE BULLPEN - MORNING
Ace sits at her desk and sifts through PAPERWORK given to
her by STONE. She sighs, leans back into her chair. She’s
never getting any of this done.
Not with her brother on her mind.
IN THE DOORWAY: Davis walks through looking clean-shaven.
He gives her an ONCE-OVER.
39
DAVIS
Rough night?
ACE
Rough morning, more like. I’ve
been reassigned to...
(reads off files)
Cyber-crime.
DAVIS
You know, sometimes cyber-crime is
pretty fun. A needle in a haystack
kind of job.
Davis sits in the chair next to Ace’s desk.
ACE
I never liked county fairs when I
was a kid.
The weight of the night rests heavily on their shoulders.
ACE (CONT’D)
Any leads?
DAVIS
It’s probably best if I keep it to
myself.
ACE
Well, if you can’t appease my
nagging sense of foreboding, how
about you help me out with this
one?
DAVIS
Shoot.
ACE
If I wanted to hire a hitman, how
would I do it?
Davis raises an EYEBROW. Challenge accepted.
40
INT. LARISSA’S LOFT – KITCHEN - DAY
Larissa sits at the counter in her kitchen. Her head is
down, forehead pressed against the counter. A phone is
glued to her ear.
Larissa slides so that her eyes can see the floor, but her
forehead still sits on the edge of the counter. She’s just
barely sitting on the barstool.
LINLEY (O.S.)
Larissa?
LARISSA
I’m here.
INT. LINLEY’S HOUSE – KITCHEN - DAY
LINLEY ALEXANDER, Larissa’s TWIN SISTER, stands at the
sink. Washing dishes with the phone pressed between her ear
shoulder and ear, she is still.
LINLEY
You know Lari wants to see you all
the time, now. She won’t shut up
about how you’re a cop.
INTERCUT BETWEEN LARISSA AND LINLEY
LARISSA
Being an aunt has its privileges.
Linley makes sure she’s still connected.
LINLEY
You can’t visit. Not until you go
see that doctor I told you about.
LARISSA
I don’t need to see a doctor, Lin.
LINLEY
You’re not well. You know that.
LARISSA
I’m fine.
41
LINLEY
That’s what mom used to say.
LARISSA
What else am I supposed to say,
Linley?
LINLEY
I don’t know! Let a doctor decide
if you’re okay! You have a gun
with you 24 hours a day and you’re
expected to use it. Not on
yourself, might I add.
LARISSA
What is that supposed to mean?
LINLEY
It just means I want you to be
safe.
Larissa doesn’t respond. She sits up. She puts a hand over
her eyes and forehead and rubs away her problems.
When she removes her hand, there is just a hint of tears in
her eyes.
LINLEY
I want my daughter to know you.
She’s named after you, for God’s
sake.
(beat)
We haven’t seen you for months,
but that’s not going to change if
you haven’t gotten some help. Call
me back when you do.
The line goes dead. Larissa lets go of the phone and it
FALLS to the counter.
She rubs her hands through her hair and over her face. An
earthquake shatters her insides.
She’s falling apart.
42
MONTAGE
EXT. ALLEY – AFTERNOON
Bailey stands with her hands in her hoodie pockets. She’s
in the BAD PART OF TOWN.
She has no idea how to sell drugs.
Around a corner, a MAN in SUNGLASSES watches her.
EXT. PARK – AFTERNOON
Bailey stands near a fountain. She watches a TRANSACTION
take place. Can it really be that easy?
No one takes her bait.
In the middle of the park, a WOMAN is watching her from
afar.
EXT. PARKING LOT – LATE AFTERNOON
Bailey finally has a bite. She sells exactly one tiny bag
of cocaine. Afterwards, she almost smiles.
She is being watched by the woman and man alike. The same
ones from before.
END MONTAGE
EXT. CORNER – EARLY EVENING
Bailey meets up with Rocky, desperate to rid her pockets of
drugs and fill them with money.
BAILEY
I’m horrible at this.
ROCKY
You’re good if you aren’t getting
caught.
BAILEY
I’m not even sure I’m managing
that. I feel like I’m on fire.
43
ROCKY
Sniff out the junkies. Get some
sleep and try again tomorrow.
EXT. STREETS – EVENING
Bailey rides her bike down the MIDDLE OF THE STREET. She
spots the man and woman and slows down when they duck down
an ALLEY.
EXT. ALLEY – EVENING
Bailey follows them into it.
MAN
You got any gear?
BAILEY
Depends.
Bailey steps off her bike.
WOMAN
We’ve got cash. Just... get us
some stuff. Please.
Bailey digs out her pockets and holds out two plastic
baggies of cocaine.
Before she knows it, she is AMBUSHED.
The man holds her ARMS while the woman SEARCHES HER
CLOTHES. They take EVERYTHING SHE HAS: money and drugs. The
man pushes her to the ground.
They run away as Bailey struggles to her feet. She runs
after them, but they’re already around the corner.
BAILEY
Fuck... Oh, fuck.
INT. PRECINCT – HOMICIDE BULLPEN – NIGHT
Ace and Davis sit alone. Davis has his feet up on her desk,
and the stack of paperwork is left forgotten.
44
ACE
So, Gio goes right up to her and
says, ‘So, my sister is recently
single and kind of in the need of
a good lay’.
DAVIS
He doesn’t.
ACE
He does. The first night I tell my
brother I’m into girls as well as
guys, and he’s setting me up five
minutes later.
DAVIS
He always was smooth.
Ace tips her COFFEE MUG in agreement. She looks at the
paperwork spread out in front of her and fatigue spreads
through her.
ACE
You being here means there aren’t
any leads, doesn’t it?
DAVIS
We’re running cold, but we’re
still running. I think Larissa was
supposed to get the autopsy
scheduled today. We’re still
backlogged in the ME’s office.
Ace stares into her coffee.
ACE
Has she been helpful? Larissa?
DAVIS
Pretty much. She shut her mouth
really quick when we told her
signature matched Gio.
ACE
I don’t know what it is about her.
45
DAVIS
You guys have never gotten along.
ACE
Maybe I’ll reach out. Wouldn’t
want her screwing up the case just
because she doesn’t like me.
Davis reaches over and puts his hand on her shoulder.
DAVIS
She wouldn’t do that. She’s a good
detective.
ACE
I know, I’m just...
DAVIS
I know.
INT. CRACK HOUSE – HECTOR’S ROOM – NIGHT
Bailey PACES in front of a dazed Hector. She’s FREAKING.
Hector, on the other hand, leans back into the couch
calmly.
BAILEY
I screwed up so bad.
HECTOR
It happens to the best of us. Keep
it out of the ears of the big
dogs, and we stay alive.
BAILEY
But what if the big dogs hear?
Hector waves her away.
HECTOR
They’re not listening to us. You
need to relax.
BAILEY
I lost all my money. I lost my
only chance. I lost everything.
46
SOMEONE knocks on the door. POUNDS on it. Hector FLINCHES.
Whoever it is, they don’t wait for Hector to answer. The
door is KICKED in.
IN THE DOORWAY: Diego cracks his KNUCKLES. His grin is
amused, stupid. He’s way too happy about this.
A MAN behind him SHOOTS Hector on the spot, and Bailey
can’t help but SCREAM. They grab her by the arms and DRAG
her out.
INT. PRECINCT – PARKING GARAGE – NIGHT
Ace walks to her car in the dimly lit GARAGE, but is caught
off guard when a MOTORCYCLE roars past her. The flash of
BLONDE HAIR reveals the drive to be LARISSA.
Ace gets in her car and FOLLOWS HER.
EXT. STREETS – NIGHT
Larissa weaves in and out of traffic.
Ace is one car behind her, but hot on her tail. There’s
something not right about this woman.
EXT. ALLEY – NIGHT
Larissa ditches her bike and walks TWO BLOCKS. Ace parks
and follows on foot.
EXT. STREETS - NIGHT
Larissa puts her HOOD up and covers her hair.
Ace FOLLOWS at a safe distance on the other side of the
street.
EXT. OFFICE BUILDING – NIGHT
Larissa stands outside of a BUILDING. She ducks her head
before walking in the security entrance.
ON THE SIGN: ‘Sebold Enterprising’.
Ace follows after her.
47
INT. SEBOLD ENTERPRISING – SECURITY BOOTH - NIGHT
Ace finds three GUARDS knocked out in their chairs. The
MONITORS are turned off for the 21st FLOOR and the ELEVATOR.
Ace turns them on again.
ON THE SCREEN: Larissa is in the elevator. Her face is
obscured, but Ace knows her well enough.
Ace watches her make her way past cubicles on the 21st floor
and into...
ON THE SCREEN: ‘MALCOLM SEBOLD’S OFFICE’
INT. SEBOLD ENTERPRISING – MALCOLM SEBOLD’S OFFICE – NIGHT
When Larissa ENTERS, MALCOLM jumps. He sits up at his desk,
palms flat on the wood, and regards her like a deer in the
headlights.
MALCOLM
I’m sorry, but you can’t be in
here. Our office hours are -
LARISSA
Are you Malcolm Sebold?
MALCOLM
Um. Yes.
Larissa raises a GUN. She shoots him point-blank in the
head. Right between the eyes.
Larissa swallows. She lowers the gun. After a long moment
of standing and waiting, she tilts her head.
Larissa leaves.
END ACT THREE
48
ACT FOUR
FLASHBACK – INT. CONVENIENCE STORE – DAY
CHYRON: Twenty years ago.
ACE (10) and GIO (12) cling to one another in a BUSY store.
Near the COUNTER, their FATHER (41) is picking up a SIX-
PACK of beer. He’s having a friendly conversation with the
CLERK.
YOUNG GIO
I dare you to tap that guy.
Gio points to a MAN seated and reading the paper.
YOUNG ACE
Why him? He looks mean.
YOUNG GIO
Don’t back down. I won’t talk to
you for a week if you back down.
Ace sticks her tongue out at GIO. She does not back down,
instead inches toward the man.
She TAPS his knee. The man doesn’t even notice. Ace returns
to Gio’s side.
YOUNG ACE
I dare you to eat those M&M’s.
YOUNG GIO
I haven’t paid for them yet.
YOUNG ACE
You mean Dad hasn’t paid for them
yet.
YOUNG GIO
Whatever. It’s the same thing. I
can’t eat them until they’re mine.
That’s stealing.
YOUNG ACE
Are you backing out?
49
YOUNG GIO
No! You have to change the dare.
Ace presses her lips together.
YOUNG ACE
It’s not that big of a deal.
YOUNG GIO
‘Course it is. It’s breaking the
law.
PRESENT – INT. SEBOLD ENTERPRISING – SECURITY BOOTH – NIGHT
ON THE SCREEN: Larissa shoots Malcolm Sebold and walks from
the room.
Ace scrambles to turn the monitors off. As an afterthought,
she WIPES HER PRINTS from the buttons.
ACE
Jesus Christ, okay.
INT. SEBOLD ENTERPRISING – HALLWAY – NIGHT
Ace is running, trying to beat Larissa back to the outside.
EXT. SEBOLD ENTERPRISING – NIGHT
Ace makes it to her car. She slams the door SHUT and slides
down in the DRIVER’S SEAT. She WATCHES.
OUTSIDE THE BUILDING: Larissa walks down the steps casual
as can be. She’s on the other side of the street, with her
hands in her pocket, and after she disappears down an
alley, she reappears a moment later on her MOTORCYCLE.
Ace watches her light fade down the street.
Finally, Ace can breathe.
ACE
What the fuck.
50
MONTAGE
INT. LARISSA’S LOFT – LIVING ROOM – NIGHT
Larissa lies down right in the middle of the floor with her
arms spread eagle. She stares at the ceiling.
A breath shudders from her CHEST.
INT. ACE’S APARTMENT – LIVING ROOM – NIGHT
Ace PACES back and forth. She runs her FINGERS through her
hair.
Every so often, she PAUSES, shakes her head, and resumes
her PACING. She is UNRAVELING.
INT. LARISSA’S LOFT – KITCHEN – NIGHT
Larissa sits at her COUNTER and pulls her handgun apart
piece by piece. She is methodical; she’s obviously done
this before.
This is her after-killing ritual. Her hands begin to shake,
and she STOPS.
She presses her PALMS flat on the counter. Takes a breath.
INT. ACE’S APARTMENT – KITCHEN – NIGHT
Ace pulls a BEER from the fridge and doesn’t bother
SHUTTING the fridge door.
She slides to the floor. She throws the bottle-top of the
beer to the side. Her hands are SHAKING; she wraps them
around the bottle to hold them STILL.
ACE
(to herself)
Am I going crazy?
INT. LARISSA’S LOFT – BATHROOM – NIGHT
Larissa PACES. As she walks, she STRIPS. First goes her
HAIRTIE, then her SHIRT, then her PANTS. Her underwear
follows in a heap shortly after.
51
She steps into a cold shower. The water washes over her.
She stands under the spray. It feels good. Her eyes drift
close, and her back ripples with both water and tension.
The stress falls from her muscles like PAINT CHIPPING. She
flexes her arms, her back; she DIGS her fingers into her
EYES.
The water bounces off her skin. She stands under the SPRAY
for several minutes, not bothering to step out of the way.
She turns off the water. She steps out of the shower and
lifts up a towel, wiping off her face.
SHE GETS DRESSED: pajama pants and a loose tank top.
She picks up her phone and DIALS.
EXT. ACE’S APARTMENT – BALCONY – NIGHT
ON THE CHAIR: Ace’s phone VIBRATES.
Ace looks over at it. Away from the horizon, the buildings.
INT. LARISSA’S LOFT – BATHROOM – NIGHT
Larissa perches on the edge of the toilet with the phone
pressed against her EAR. The line is still RINGING.
EXT. ACE’S APARTMENT - BALCONY – NIGHT
Ace finally picks her PHONE up.
ACE
This is Detective Acerbi.
INT. LARISSA’S LOFT – BATHROOM – NIGHT
MYSTERY MAN (O.S.)
Hello?
LARISSA
It’s done.
MYSTERY MAN (O.S.)
Good. We’ll be in touch.
52
Larissa hangs up the phone. A moment later, she THROWS UP
in the SINK until she’s only DRY HEAVING.
Her shoulders QUAKE over the sink.
EXT. ACE’S APARTMENT – BALCONY – NIGHT
ACE
I told you, Mom, I’m fine.
Ace picks at the LABEL on her beer bottle.
MOM (O.S.)
You know how I get worried.
ACE
I appreciate it, I really do. I
should get to sleep soon. I’ve got
a lot of work.
MOM (O.S.)
Your brother’s birthday is coming
up. I’m cooking something this
weekend.
Ace closes her EYES.
ACE
I’ll be there. Goodnight.
MOM (O.S.)
I love you, Isabella.
ACE
Love you, too.
Ace HANGS UP. She throws her phone back into the chair next
to her. She takes a GULP of beer. It’s good stuff.
INT. LARISSA’S LOFT – BATHROOM – NIGHT
Larissa pulls out a toothbrush. She stares at her
reflection as she brushes her teeth, daring herself to talk
back.
When she spits, blood coats the ceramic.
53
INT. WAREHOUSE – NIGHT
Bailey wakes up with her cheek pressed to the ground.
Around her is a puddle of BLOOD. Her ears are ringing. We
hear this.
DIEGO
(from above)
Get up.
Diego’s words are MUFFLED for us. Bailey can’t move.
Diego drags her to her feet. He has to hold her up. Her
head slumps forward, and blood drips from her face and
lips.
MARIANA (O.S.)
What’s your name?
Bailey scans the darkness. Mariana is nowhere. Shadows.
DIEGO
Your name.
Bailey coughs blood.
BAILEY
Bailey.
MARIANA
Who told you that you could sell
for us, Bailey?
Bailey has no allegiances anywhere. She folds easily.
BAILEY
His name was Hector.
Diego laughs. Mariana steps out of the shadows with a knife
in her hand. Diego lets go of Bailey, and she drops to the
floor, onto her KNEES.
MARIANA
(to Diego)
Take care of this.
54
Mariana hands him the knife.
MARIANA (CONT’D)
And we’ll have to deal with
Hector, too.
Mariana disappears in the shadows once again. A DOOR opens
on the other side of the floor, and Bailey can see just
enough for the light to flood in for the moment it’s open.
DIEGO
No one messes with La Familia.
BAILEY
Some family.
Bailey watches Diego’s reflection in the blood on the
floor. He puts a hand on her shoulder from behind, and she
sees the GLINT of a KNIFE.
Just before he slits her throat, she ELBOWS him in the
crotch. She’s shaky, the blood loss going to her head.
Diego falls to his KNEES; Bailey SCRAMBLES away from him.
DIEGO
(in Spanish)
She’s running!
She runs for her life with a hand pressing into her side.
INT. ACE’S APARTMENT – LIVING ROOM - NIGHT
Ace sits down at her couch with her beer.
ON HER COFFEE TABLE: She has the CASE FILES and crime scene
photos for RICARDO MONTOYA.
Holding up a photo of his chest, she swallows the rest of
her beer.
The case is really getting to her.
She stands up, and walks over to a wardrobe against the
wall. She opens the DOUBLE DOORS.
55
INSIDE: A board of newspaper clippings and connect-the-
dots.
The newspaper clippings read “COP KILLED IN GANG SHOOTING”
and “DETECTIVE UNDERCOVER FOR MONTHS, TURNS UP DEAD” and a
picture of GIO ACERBI is circled in red marker.
Ace has obviously been working on this board for a while.
She begins to work now, putting copies of the case files
from Ricardo’s shooting next to the case files of Gio’s
shooting.
ON THE BOARD: A space. Ace writes “Larissa Durant – a
killer?”
There is another blank space at the TOP of the board, right
under “La Familia”.
Ace stares at the board for a long moment once she’s done
updating it.
She sits down on the couch once again and sips her beer.
It’s going to be a long night.
EXT. SHIPPING DOCKS – NIGHT
Bailey RUNS.
Behind her, she hears FOOTSTEPS and YELLING. They’re
FOLLOWING HER. She can’t get away.
GUNSHOTS.
BAILEY IS SHOT. She TRIPS, STUMBLES, but she CONTINUES,
nonetheless. She’s not dying tonight. She knows these
streets better than most, and that’s what saves her life.
Bailey RUNS. Keeps running. Doesn’t stop.
INT. PRECINCT – PARKING GARAGE – MORNING
It’s a new day. Ace sits in her car with her hands WRAPPED
around the STEERING WHEEL. She’s lost.
SOMEONE taps on her WINDOW and she JUMPS. It’s RYAN KING.
56
ACE
(under her breath)
You have to be kidding me.
RYAN
Hey, stranger.
Ace slowly gets out of her car. Glances around. They’re
ALONE.
ACE
Hey, Ryan.
RYAN
Look, I was wondering if you
wanted to catch dinner tonight. I
kind of saw you sitting in your
car just now and –
ACE
I’m actually dealing with a lot
right now.
Ryan wasn’t expecting that. His mouth closes.
ACE (CONT’D)
Sorry.
RYAN
So, that’s a no.
ACE
Yeah.
RYAN
Okay. Just... call me, then.
Whenever you feel up to something
better than takeout.
Ryan walks away like a kicked PUPPY. Ace watches him go.
LARISSA (O.S.)
What’s his problem?
Ace JUMPS again, but for an entirely different reason; the
woman she saw kill a man last night is standing right next
to her.
57
She wasn’t expecting to see Larissa this soon.
ACE
Rejection.
LARISSA
And yours?
Larissa raises a BROW. Ace’s nerves are TRANSLUCENT. She’s
an open book.
Larissa is wearing a LEATHER JACKET and holding her
MOTORCYCLE HELMET. Ace SIZES HER UP. She could take her.
ACE
I, um. I had kind of a rough
night.
LARISSA
Me, too. This case has really done
a number on me.
Larissa starts to walk past Ace, towards the PRECINCT
ENTRANCE.
ACE
I saw you.
Larissa stops.
ACE (CONT’D)
Last night.
Larissa turns around, a smirk playing at her lips.
LARISSA
Unless you’ve suddenly become a
Peeping Tom, I’m sure I don’t know
what you’re talking about.
ACE
You killed someone.
LARISSA
I was at home last night.
58
ACE
I have it on tape. You killed
someone, and unless you help me,
I’m going to turn you in.
LARISSA
Help you?
ACE
I can’t do what I need to do
alone.
LARISSA
You can’t exactly trust someone
that you’re blackmailing.
ACE
You’re not exactly my first
choice.
Larissa looks down at the GROUND. Ace has her – hook, line,
and sinker.
LARISSA
On tape?
ACE
Security monitors.
Larissa nods. Of course.
LARISSA
What do I have to do?
Fade to black.
END OF PILOT