ASH LAND

"Immigrants (Pilot)" Written by PaperFisherman

2013

TEASER FADE IN: EXT. NEW ASHLAND - NIGHT. Welcome to New Ashland, California, 1933. Halfway between San Francisco and the Oregon state line, halfway between heaven and hell. The city buzzes with life. At the edge of the city is the: EXT. DOCKS - NIGHT. Two men, one with a MUSTACHE (mid-40s) and the other smoking a CIGAR (late 20s), sit on the edge of the docks, bare feet in the water, staring out at the ocean. MUSTACHE I went down to San Fran last weekend. CIGAR Never been there. Really? MUSTACHE

CIGAR Yeah. Furthest south Ive been is Lakeport. MUSTACHE Youve gotta get out more. real city. CIGAR This is a real city. Mustache laughs. MUSTACHE You really gonna make that argument? CIGAR Sure. Hell, theres more people in New Ashland than in San Francisco. See a

2. MUSTACHE Just because theres people doesnt make it a city. CIGAR What? No shit, it does. What the hell do you think a city is, then? MUSTACHE Its all about the culture. We dont got a culture here. Just a big nothing. Lotsa people, lotsa tall buildings, no culture. You go two hours down to San Fran, you know what you get? CIGAR You get cold. MUSTACHE Youve never been there. CIGAR Ive been told stuff. MUSTACHE Its colder up here. CIGAR Not what I hear. MUSTACHE Anyway, I -- what was I saying? CIGAR Culture or something. MUSTACHE Ah, right. Yea. Culture. Ashland, whatda we got? CIGAR We got the seas. something. Here in

Thats gotta be

MUSTACHE A bunch of lakes doesnt make us a city. Mustache puts arms out.

3. MUSTACHE (CONTD) Seriously. Whatda we got here? What are we doing on a saturday night? CIGAR Were getting paid to do this. MUSTACHE And if we werent, whered we be? At home, listening to the radio til we fall asleep? CIGAR Have you been stalking me? MUSTACHE See, in San Fran, you got these clubs, see, and they -CIGAR So you went to a speakeasy down in San Fran, and now you think youre all cultured. I get it. Mustache looks vaguely OFFENDED. MUSTACHE Well, Jesus, dont have to be so pissy about it. CIGAR Ive spent my entire life in New Ashland. Im not just gonna let you shit all over it. MUSTACHE Good for you. Protector of this shitty city. CIGAR So it is a city. Fuck off. MUSTACHE

Theyre woken up by two bright lights that shine in their faces, from a medium-sized SKIPPER BOAT shimmies towards them from the dark water. Mustache and Cigar immediately stand up, putting their socks and shoes back on.

4. As the boat comes closer, a couple of BOATMEN come into view, standing at the bow. Each with a submachine gun strapped to their chest. The boat reaches the dock. boatmen in tying it up. Mustache and Cigar aid the

MUSTACHE (CONTD) Youre a good half hour late. Blow me. Lovely. BOATMAN 1 MUSTACHE

The Boatmen hop onto the dock. BOATMAN 2 Its yours now, gentlemen. gentle with her. CIGAR Thats what were paid for. The Boatmen give them a nod, fold the submachnine guns under their coats and walk away. Mustache and Cigar step onto the boat, and open a door leading to a CARGO AREA. EXT. DOCKS - AWAY FROM THE BOATS - NIGHT. The Two Boatmen turn a corner. a cigarette. FWIP! His throat is suddenly CUT OPEN. He stumbles back. The Other Boatman turns to face his assailant with his submachine gun, but is met with a knife to the back. He collapses to the ground. EXT. DOCKS - BOAT - NIGHT. They glance inside: Wooden crates filled with ALCOHOL BOTTLES and wrapped-up bricks of COCAINE. One of the boatmen lights up Be

5. CIGAR Last booze shipment. MUSTACHE Lord, I hope so. The other shits just so much easier to carry and dont break. Mustache grabs one of the crates, and nods for Cigar to do the same. Holding the crate, Mustache waddles to the side of the boat, stepping onto the dock -When the bottles inside the crate SHATTER loudly. The booze starts seeping out through the wood, dripping into the water. Mustache stares down, confused, shocked, woozy: blood begins to join the spilling booze. He stares out for a moment, coming to terms with his fate, or at least trying to. His knees buckle and he falls into the cold water. Cigar looks out from the Cargo area in time to see Mustaches splash. He looks up, in time to see two FIGURES on the dock walking towards the boat. A bullet hits the door, RICOCHETING loudly. Cigar immediately crouches beneath the side of the boat, pulling out his own revolver, breathing loudly and sweating profusely. JOHNNY? He hears nothing. assailants. CIGAR Johnny, are you okay!? Not even the footsteps of the unknown

Cigar peeks out, to see the two men standing only a few feet away silently. Ones a serious-looking TALL MAN, and ones a more amusedlooking FAT MAN. The Tall Man steps onto the boat, holding his silenced handgun Cigar panicks, crawling back, raising his revolver, and SHOOTING ALL HES GOT at the Tall Man. His aim is true. But the Tall Man doesnt budge. react. The bullets dont affect him. The Tall Man simply takes another step. Doesnt

6. Cigars bullets, their momentum somehow stopped, DROP to the deck as the Tall Man walks, clattering against the wood. And now Cigars out of bullets. and hes had his six. Its a revolver, after all,

The Tall Man steps closer, raises his pistol, and before Cigar can beg, or even truly comprehend whats about to happen, the Tall man shoots him. The Fat Man steps onto the boat. FAT MAN He gave a good fight. The Tall Man says nothing, just slides his pistol into a shoulder holster and walks over to the Cargo area. All business. The Fat Man steps over to Cigars body. sympathetic look. Too bad. FAT MAN (CONTD) Gives it a

In the Cargo area, The Tall Man grabs a wrench from a side compartment of the boat, and begins SMASHING the bottles. The spilt liquid flows quickly down onto the deck. The Fat Man reaches down and plucks the still-lit cigar out of Cigars mouth. Puffs on it. Nods in approval. The Tall Man steps out of the cargo area, nods to the Fat Man. The Fat Man offers him the cigar. FAT MAN (CONTD) It aint bad. The Tall Man considers it, but shakes his head. TALL MAN You enjoy it. FAT MAN Fine with me. The Fat Man leans down, and touches the burnt end of the cigar against the flowing alcohol... FLAME springs up. Immediate and spreading quickly.

7. The Tall Man and the Fat Man, still on the boat, dont seem at all concerned as the fire licks around them... They take a moment to watch the boat go up in flames around them, and, untouched, they STEP OUT OF THE FIRE, off of the boat, and walk away calmly. CUT TO BLACK. END TEASER

8.

ACT ONE FADE IN: THE CHARRED, DEAD FACE OF CIGAR. Pull back to reveal: EXT. DOCKS - DAY. Cigars body is on a stretcher, haphazardly placed in a cheaplooking bodybag, ignored by the POLICE, who have swarmed the dock. Hes dead, theres no rush. One person is taking interest, a trenchcoated DETECTIVE SOPHIE WEISS (early 30s), looking at Cigars body with little more than morbid interest. Weiss is a rarity in the New Ashland P.D. -- young and female. Shes determined to not let that affect her, and shes mostly succeeding. MALE VOICE (O.S.) Making sure hes dead? Weiss looks up to see DETECTIVE BILL SAMPSON(late 40s) step towards her. Sampsons an old hand at this, rapidly approaching burn out, a chain smoker who knows hes not going to live too long. WEISS They didnt close his eyes. So? SAMPSON

WEISS I always wanted to know what happened to your eyes if they catch on fire. They melt. that. SAMPSON I couldve told you

WEISS I didnt feel like asking. Weiss covers Cigars body with the bodybag.

9. SAMPSON Three dead. Two shot, one got his throat cut open, one survivor who got stabbed. Boat half-burned up. WEISS Its lucky. We still have a bit of a crime scene. Barely. it. SAMPSON The fire still got most of

WEISS Gang-related? SAMPSON Its a gang boat. Which? WEISS

SAMPSON Dunno. Probably the Benjamins. Seems like their kind of thing. But theyre not exactly going to come forward claiming ownership of a boat with enough booze and drugs in it to send half of New Ashland to Alcatraz. WEISS If theyre not going to come forward, whats the point of investigating? Sampson pats the body. SAMPSON Its our turn on the rotation. WEISS Oh, good. For a second there, I thought there was some noble reason for it. SAMPSON Were doing a job, no one said it had to be noble. WEISS Good advice. Sampson laughs.

10. INT. HOSPITAL ROOM - DAY. The surviving Boatman, lying on his side in a hospital bed, COMES TO, coughing into his pillow. He takes a second to take in his surroundings, and turns onto his back. Thats when he notices ELIAS BENJAMIN sitting silently in the corner of the room. Elias is an intimidating, balding man in his early 50s. Just by looking at him, you can tell hes not to be fucked with. The Boatman certainly knows it. to talk -BOATMAN Mr. Benjamin. I -ELIAS No, dont try to talk. Not yet. Just listen for right now. The Boatman visibly gulps. Hes survived being stabbed in the back, but being alone in the same room as Elias Benjamin scares him more. ELIAS (CONTD) I lost three men last night, plus an entire boats worth of merchandise. You survived, so right now Im depending on you. I want you to understand how important the next questions I ask you are. Do you understand? The Boatman nods. ELIAS (CONTD) Good. First question: did you get a good look at the men who did this? BOATMAN No, I... not really. ELIAS Any idea what they look like? BOATMAN I think one of them was... was fat, you know? Big. He coughs again as he tries

11. ELIAS Thats good. Thats helpful. Second question. Who did they attack first? BOATMAN Sammy. They -- the fat one -- got him in the throat. I tried to fight back, but the other one got me in the back right after. ELIAS Immediately? BOATMAN Yeah, I think so. I dont remember anything after that, Im sorry. I blacked out, you know? (cold) ELIAS

Yes.

The Boatman watches Eliass expression expectantly, but it doesnt change at all. INT. HOSPITAL - HALLWAY - DAY. Elias steps out of the hospital room and closes the door. nods to a POLICE GUARD standing outside of it, and begins walking away. He

Joining him is a slick young man named DANNY RUSSO, 33. Hes not from New Ashland originally, as his thick New York accent reveals immediately. A talkative guy who knows when to shut up. RUSSO Did he say anything? ELIAS Nothing important. And hes not the kind to squeal, so I dont think we have much to worry about with the cops. RUSSO Speaking of, theyre taking their sweet time on this. ELIAS As is their wont.

12. RUSSO Abnormally slow. ELIAS Whatre you saying, Danny? RUSSO Maybe they found something on the boat, so they dont need to run right to the eyewitnesses like chickens with their heads cut off. ELIAS The boat got torched. Theres nothing they couldve found. RUSSO You sure about that? They reach the end of the hallway. Elias and Russo push through the HOSPITAL DOORS leading to the outside. INT/EXT. NEW ASHLAND HOSPITAL - DAY. As the step through, something catches Eliass eye -An older asian man. They make eye contact. recognition, immediate hostility. This is FRANKLYN YEE, 58. 27. Immediate

Beside him is his son, TOM YEE, Elias

Quickly, they are both through and into the hospital. stops walking, as if momentarily dazed. RUSSO You all right, Eli? The gears are very visibly turning in Eliass head. and looks back at the hospital doors.

He turns

Finally he takes a breath and goes back to his normal, focused state. ELIAS Lets get back, come on. INT. HOSPITAL - HALLWAY - DAY. Frankly and Tom Yee walk briskly down the hallway silently.

13. They come to a stop at the same door that Elias walked out of. Franklyn hands a small tied-up roll of bills to the Guard, who nods to him. Franklyn and Tom enter -INT. HOSPITAL ROOM - DAY. The Boatman is sitting up in his bed when the Yees step in. Hes immediately frightened. BOATMAN How -- how did you get in here? FRANKLYN Im going to assume that question was rhetorical. It was. Now. you. FRANKLYN (CONTD) I have a few questions for

BOATMAN Im not telling you anything. FRANKLYN ...That answers the first question. Franklyn looks up to Tom. He beings to speak in heavily American accented Chinese (unsubtitled). FRANKLYN (CONTD) Tom, zhr. Xinzi. Beat. Tom looks back at him blankly. Tries to figure out what Franklyn just said, but comes up with nothing. TOM (clearly struggling) Uh, Ni nng chngf -Franklyn cant take the horrible pronunciation any more. FRANKLYN Inject, Tom. As soon as he hears that, the Boatman practically JUMPS out of the bed, trying to squirm away. Franklyns on him in an instant, holding him down with more strength than wed expect.

14. Tom removes a HYPODERMIC NEEDLE from his pocket and checks it. Hesitates. FRANKLYN (CONTD) Tom, hurry. TOM Theres another way here. FRANKLYN There isnt. Dad -DO IT NOW. TOM FRANKLYN

With no other choice, Tom plunges the needle into the Boatmans neck. The effect is immediate. The Boatman loses all energy, eyes go wide, and he falls back, collapsing onto the pillow. Franklyn stands back up, straightening his jacket. Glances at Tom. Tom looks at the floor, clearly expecting some sort of reprimand. But Franklyn says nothing. follows. EXT. COLLEGE QUAD - DAY. The smoggy buildings of New Ashland can still be seen in the background, but in the foreground, the quaint campus of MEADOWBROOK COLLEGE -- an all-girls institution -- is an oasis from the rest of the city. DEBORAH DEB YEE sits at a small table in one corner of the quad, across from SAM HERNANDEZ. The two of them are engaged in a stirring game of MANCALA. SAM He says its not worrying him but I can tell its got him spooked. He doesnt want so much bull attention. DEB What do you mean? He walks out of the room. Tom

15. SAM You know him. He worries. Deb makes a move. Goes around the mancala board, picking up the marbles and putting them back down. SAM (CONTD) Anyway. Fuck, nevermind. killed the conversation. DEB It was a mercy killing. Sam laughs. SAM You heard about the repeal? Yeah. DEB I just

SAM You for it? DEB I dont drink. SAM Just because you dont drink doesnt mean you cant have an opinion. Deb makes a couple moves. I win. DEB Wins the game.

SAM Itll happen one day. DEB What, repeal? No. SAM Me beating you.

DEB I wouldnt say that youre a lost cause, but... SAM Ive come close to winning a couple times, give me that, at least.

16. DEB Historys written by the victor. Sam looks over Debs shoulder and notices a man getting out of a car on the street behind them. He wears a dark longcoat and fedora that covers the top half of his face. This is WILL YEE. SAM Your couriers here. Deb turns and sees Will. turns back to Sam. Will nods to her. Deb sighs and

DEB See you tomorrow, yeah? SAM Ill be here. Deb stands, grabs her bag, and walks over to Will. DEB (baby voice) Picking me up from school, Uncle Will? WILL Trust me, I hate nanny duty as much as you hate being nannied. DEB I doubt that. They climb into the car. EXT. ROOFTOP - DAY. Danny Russo and a woman stand on a rooftop overlooking the city. The womans name is ARIELLE ARI GRAM, 28. In the 1920s, she would have been a flapper, but in depression, her independence has folded inwards. Russo lights up a cigarette and offers one to Ari.

RUSSO Ever read the Bible?

17. ARI What do you think? RUSSO What. Sorry. Fine. (beat, then:) I was just reading about the rapture, you know? ARI Yeah, we dont -- we dont believe that. RUSSO Really? Then what do you believe? About how the world will end. Ari shrugs. ARI I guess were not really supposed to care. RUSSO The big question is, pre-trib or post-trib. Trib? ARI

RUSSO Tribulation. When the antichrist comes down and tortures the earth. ARI Sounds wonderful. RUSSO All the good people are supposed to get raptured out before that happens. Go to heaven and enjoy all the free cheese and crackers for eternity and whatnot. ARI Good Christians, you mean. RUSSO (ignoring her) But I was listening to the radio, right? (MORE)

18. RUSSO (CONT'D) And some of the priests on there, they say well have to suffer through the tribulations like everyone else. And that got me thinking... ARI You think youre a good person? Russo is taken aback in mock offense. RUSSO Is that an attack on my character? ARI Just asking a question. RUSSO I am a great person, Ms. Gram. If I wasnt, what would be the point? ARI May need to re-think the whole good person thing if you want to keep working for my uncle. RUSSO Im not gonna tell him you said that. I dont wanna be collateral damage here. Russo lights up another cigarette. Ari. This time, she takes one. Offers one once again to

The door to the roof opens, and Elias Benjamin strides towards them. Russo immediately snaps to attention. This is when he shuts up. ELIAS She been talking shit about me? No, sir. RUSSO

ELIAS Youre not a good liar, Danny. He smiles at Ari. Smiling looks weird on Elias. Unnatural.

ELIAS (CONTD) How are you doing? ARI Why am I here?

19. ELIAS Im not allowed to talk to my niece? ARI I have a phone. ELIAS Never liked phones. into peoples eyes. Cant look

ARI Thats why I like them. ELIAS Hows secretary school? ARI I dropped out four months ago. mother didnt tell you that? My

ELIAS No. But she did tell me you needed some... financial help. Ari blows smoke at Elias. ARI So thats why Im here. ELIAS I promised your mother after your father died that I would be there for you if you needed help. ARI I dont need help. ELIAS You have a job right now? ...No. ARI

ELIAS Then you need help. Look, were in a depression, theres no shame in needing a hand.

20. ARI What was it -- fourth of July, four years ago, just after the funeral -I told you I didnt want anything to do with the business. ELIAS And yet youre still here. I remember you went around the barbeque, telling everyone you were gonna move to San Francisco. What happened to that? Beat. Elias knows hes hit a nerve. Ari. ELIAS (CONTD) Come on.

Ari turns and looks out at the New Ashland skyline. ARI Just cause I need the money. No other reason. And this isnt a career. Fine. ELIAS

Elias nods to Russo, and turns to leave. ELIAS (CONTD) Dannyll drive you back to your apartment. (beat) It was good to see you. After Elias exits, Ari takes a few deep breaths, calming herself. She throws her still-burning cigarette off of the roof. Russo laughs nervously. RUSSO Hes a scary sonofabitch, isnt he? ARI Screw you, Danny. RUSSO Whatd I do?

21. EXT. YEE BUILDING - DAY. Will and Deb step out of the car and walk into the Yee building, a humble brownstone-style building on a street bordering the waters of the Pacific Ocean. They step into INT. YEE BUILDING - DEN - CONTINUOUS In the room already are Tom and CORRINNE YEE, 55. Corrines an extremely serious woman who looks like she hasnt smiled since the Great War. Shes also caucasian. Hey, sis. Hey. TOM DEB

(to Corrine) Mother. Corrine simply nods at Deb. Deb tries to smile, but cant.

Will, meanwhile, has receded to a lounge chair in the back, pulling a flask from his jacket. Tom and Deb talk in hushed tones. TOM Dad wants to talk all three of us together. DEB Special occasion? TOM You could say that. Emergency would be more like it. Debs expression shows a subtle hint of concern. DEB How much of an emergency? TOM Enough that he wants me to go get Peter. Jesus. DEB

22. TOM Yeah. Im already up to speed, but Dadll... fill you in on whats happened. I should be back later tonight. INT. YEE BUILDING - FRANKLYNS OFFICE - DAY. Deb enters the office, followed by a silent Corrine. Franklyn sits behind a large wooden desk, phone to his ear. He nods to Deb as she takes a seat. He hangs up. FRANKLYN (to Corrine) Natural causes. No autopsy. Good. CORRINE

DEB What is this? Franklyn clears his throat. FRANKLYN Last night, a supply boat was hit on the docks. Three dead -- four now. Entire shipment torched. DEB One of ours? No. FRANKLYN One of Benjamins.

DEB ...But you ordered it. Beat. Franklyn swallows a bit of anger. FRANKLYN No. But were... Slightly worried that it might appear that way. DEB Sounds like you have a public relations problem.

23. FRANKLYN What we have is a problem of trust. The Benjamins have been here for less than five years, theyll be more willing than anybody to pounce on a rumor. Prove themselves. DEB So let them. FRANKLYN I cant allow that to happen. They do have the Eastern Mob behind them. DEB The same Eastern Mob that exiled them here? FRANKLYN Youre missing the key element here. DEB And whats that. FRANKLYN The question of: Why am I telling you this? DEB Maybe you felt the paternal need to keep your daughter informed in the family business. FRANKLYN That would be awful generous of me. Especially coming from you. DEB Which is why my response is: What do you want from me? FRANKLYN Thats more like it. Franklyn leans in. FRANKLYN (CONTD) The Hernandez girl. Samantha. told youre friends. DEB Were classmates. Im

24. FRANKLYN I would very much appreciate it if you asked Samantha if her father would be open to meeting with me. DEB You should know that she and her father arent on the best of terms. Shocking. FRANKLYN

In the back, Corrine stares on in emotionless silence. Franklyn slides his phone across the desk towards Deb. Call her. (beat) Please. FRANKLYN (CONTD)

Deb reaches for the phone -- thats when it RINGS, startling them both. CUT TO: INT. PHONE BOOTH - DAY. A single, bloodied hand grasps at the jagged glass corner of a delapidated PHONE BOOTH. Bare feet scrape against the floor. Heavy breathing. of blood hit ripped pages of the phone book. Another hand holds on barely to the phone, shaking. belongs to SAM HERNANDEZ. Bleeding to death. END OF ACT ONE Drops

The hand

25.

ACT TWO EXT. STREET - DAY. Wills car -- with Deb in the drivers seat -- SCREECHES up to the phone booth. She gets out, frantic, rushes over to the booth. Sam has collapsed onto the floor of the booth, the door ajar. Blood everywhere. Deb pulls her up. DEB Sam, Jesus, what happened? SAM (barely conscious) It went bad. It went bad. DEB I have to get you to the hospital. Can you stand? Sams eyes BUG OUT in terror. SAM No. Not the hospital. know. He cant. DEB What are you -SAM I was pregnant. It dawns on Deb. Oh shit. He cant

DEB Damnit, Sam. God-fucking-Damnit. With all her might, Deb pulls Sam up to her feet and halfcarries her to the car. INT. PRISON - DAY. Tom sits back against a metal bench in the Visitors Hallway of the prison, playing CATS CRADLE with some string.

26. Prison doors open with a clang. leading PETER YEE, 24, out. Peters a wreck. Tom looks up to see guards

He looks half-dead, and feels it, too. Despite

Tom stands and steps up to Peter as hes uncuffed. it all, hes very happy to see him. Peter. TOM Hey.

Peter half-squints at Tom. Cigarette. PETER

TOM Yeah, sure. Tom offers him a cigarette and lights it for him. Lets go. TOM (CONTD) Dad wants to see you.

PETER He got me outta jail because he wants to say hello? TOM Whats wrong with that? PETER Rot in prison or talk to Dad. Im not sure Im getting the best deal here. EXT. PRISON - CONTINUOUS. Tom leads Peter out to the car. PETER Is Deb there? TOM Shes waiting for us. PETER Great. Its a little family reunion. Peter opens the back car door. the eye. Tom closes it, looks Peter in

27. TOM Dads gonna say the same thing, but Ill say it first. PETER Im a disappointment? TOM Get your shit together. Peter snorts. PETER (Fuck you) Fine. INT. HOSPITAL - DAY. MARCUS HERNANDEZ, 36, appears in the hallway, racing down as fast as he can. Marcus has spent the last thirty years of his life insulating himself from violence and conflict. He doesnt have a sarcastic bone in his body. He avoids smashing into a couple of gurneys, nearly topples over a wheelchair... but he makes it without much damage. He steps into the INT. SAMS HOSPITAL ROOM - DAY. He immediately comes face to face with Deb and a curtain. Theres one visible bed in the room, and its empty. DEB Youre Marcus? MARCUS Yeah, I am. Can I see her? DEB She didnt want to be seen by anyone. Especially anybody from her family. MARCUS What the hell are you talking about? DEB You were the only one. I need to know, for Sams sake, that you can keep a secret. All right?

28. MARCUS Of course I can. Deb reaches back and pulls the curtain, revealing Sam sleeping in the second hospital bed. Marcus steps over, looks at her sadly. MARCUS (CONTD) (to Deb) What happened? DEB She called me. Didnt even want to be taken to a hospital. MARCUS A couple days ago she asked for a couple hundred to make ends meet. You dont think...? Deb cant help but smile at Marcuss earnest confusion. DEB You got conned. I always thought shed make a good grifter. EXT. HOSPITAL ROOM - DAY. Marcus steps out of the hospital room, rubbing his temples. FEMALE VOICE (O.S.) Is she going to live? Sitting to Marcuss right is MATHILDA, 55. the best of terms. MARCUS How did you get in here? MATHILDA Were family. MARCUS No, youre not. MATHILDA Is that how you talk to your mother? Marcus seethes for a second, but composes himself. his strategies of avoiding anger, and he uses them frequently. He has Theyre not on

29. MARCUS You need to leave. concern you.

This doesnt

MATHILDA You tell me to leave, Ill leave. No arguments. Mathilda stands up. For a second, it looks as if she actually will make good on her promise. She stops. Of course she wont. MATHILDA (CONTD) Just one more thing... Marcus takes a deep breath. Prepares for the worst.

MATHILDA (CONTD) Im sure you heard about what happened on the docks last night. I havent. MARCUS

MATHILDA Just consider this a fair warning. Franklyn Yee might try to reach out to you -- do you know who that is? No. MARCUS

MATHILDA Hell make himself known. And unless youd like this to get more ugly, Id suggest saying no to whatever he offers. Mathilda smiles at him. MATHILDA (CONTD) You should call more often. I miss hearing your voice. It passes for something close to motherly love. EXT. REESES HOUSE - DAY. The home of REESE HERNANDEZ, 52, is as humble as they get. Its all painted-over rotted wood, broken down fences and overgrown grass. Close.

30. But its home, dammit, and it has been for decades. survived earthquakes, fires, and gentrification. Its

Reese himself sits on a rusty porch swing, rocking it ever so slightly, reading a copy of Don Quixote through a pair of thick-rimmed, slightly out-of-character READING GLASSES. Marcus appears on the porch, looking down at his father with far more reverence than he showed his mother. Afternoon. MARCUS

REESE (without looking up) What were you doing at the hospital? MARCUS Visiting a friend. The lie comes easily enough. Reese takes off his reading glasses and looks Marcus in the eye. Sit. REESE

Marcus takes a seat on the porch swing. MARCUS My mother came to see me. Reese smiles nostalgically. REESE How is she? You know. MARCUS The same.

REESE Im going to give you a piece of advice I wish someone had given me at your age. MARCUS Whats that? REESE Mathilda Benjamin is a crazy bitch. The two laugh. Finally: A parent-child relationship that isnt completely fucked.

31. REESE (CONTD) Whyd she see you? MARCUS She tried to warn me about something. Franklyn Yee. Something about the docks. Reese stares out at the empty, sun-baked street in front of him. Takes a long, full breath. REESE The Benjamins have been here a few years. The Yees a few more. We were here before the both of them. Our family was here when California became a state, we were here when this land was still Mexico. And when it was Spanish. Hell, if we go even further back, there were probably a few of us around who fought Cortez. Cursed all the Europeans with runny shit for the rest of their lives. Marcus laughs. REESE (CONTD) Best thing to do, Marcus, is keep out of their way. Theyll destroy each other eventually. Im sure theyre sitting back, scheming, planning... but the best laid schemes, and all that. MARCUS Thats what she told us to do. She said to ignore the Yees, if they call. REESE Then maybe your mother and I agree. For the first time since you were conceived. MARCUS Id rather not think about that. REESE I dont blame you. Hey, I think it turned out all right for me. A black car pulls up to the curb. CHRIS, a burly looking man, looks out of the window and nods to Reese.

32. REESE (CONTD) (to Marcus) Duty calls. Reese pats Marcus on the back before walking to the car. REESE (CONTD) Ill see you soon. Marcus smiles and nods as Reese slides into INT. CHRISS CAR - DAY. Reeses demeanor immediately changes. All sense of fatherly love is gone. Replaced by something colder, deeper. Chris starts driving. Any news? REESE

CHRIS No changes. REESE The Yees take responsibility yet, or are they staying quiet? CHRIS My people are telling me that they didnt do it. Reese cant help himself but laugh. REESE They have balls, Ill give them that. CHRIS And if theyre telling the truth? REESE It wasnt the Benjamins, obviously. And it wasnt us. If it wasnt the Yees, than who the hell could it have possibly been? Chris shrugs. Good point.

33. INT. POLICE BULLPEN - DAY. Sampson and Weiss lay out crime scene photos on a large wooden table. SAMPSON Its amazing how quick they can develop these nowadays. WEISS How old are you? SAMPSON Do you really want to know? Yes. WEISS

SAMPSON The answer was supposed to be no, of course not, Mr. Sampson, Im sorry for asking. WEISS I guess I missed the memo on tact in the police department. Sampson stifles a laugh. Glances over them. Finishes laying out the photos.

SAMPSON So what do you think, Detective? WEISS I think it was a hell of a hit. And? SAMPSON

WEISS And they wanted to send a message. Not just destroy the contraband. And...? Weiss shrugs. SAMPSON

Thats all shes got.

SAMPSON (CONTD) You dont see anything else? WEISS Enlighten me.

34. Sampson picks up one of the less-interesting looking photos: a shot of several bullets sitting on the deck of the boat. Well notice these from the teaser: Theyre the bullets that seemed go right through the Tall Man. Sampson passes it to Weiss, who stares at it. WEISS (CONTD) What is it? SAMPSON Its where experience trumps beginners luck. Those bullets were fired from a gun. No casing. And yet -- they havent hit anything. Its as if they stopped in mid-air. WEISS Maybe he shot directly upwards? SAMPSON The bullet coming back down to the boat would have at least cracked the wood. WEISS Magic bullets. SAMPSON I guess so. INT. SITTING ROOM - DAY. Elias sits all on his lonesome, staring out through the window at the bustling street below. Mathilda steps into the room. MATHILDA I talked to him. ELIAS And he brushed you off. MATHILDA He got the message. ELIAS And you think hell take it?

35. MATHILDA I do. ELIAS

Yeah. Why?

MATHILDA Because Im his mother. Benjamin.

And hes a

ELIAS And yet Hernandez is the name on the birth certificate. Elias walks close to Mathilda. ELIAS (CONTD) Hes your son. My nephew. But that doesnt make him one of us. Dont ever think you can trust him to do whats right for the family just because you gave birth to him. Hes fathers a Hernandez. Hes a Hernandez. Thats how this works. MATHILDA Blood is blood. ELIAS You dont really believe that. you? INT. HOSPITAL ROOM - DAY. Deb helps Sam take a sip from a glass of water. she can take, though. DEB You need to drink. Im fine. SAM Thats all Do

Deb puts the glass back on the nightstand. DEB Marcus came by. asleep. SAM (terrified) What? When you were

36. DEB He -- you asked for him. got here.

When we

SAM I dont remember. I -- no, no, this is bad, this cant happen... Its fine. anyone. DEB He promised not to tell

SAM It doesnt matter what you made him promise. If he was here, my father will know he was here. And hell know about what I did. Sam lays back, eyes closed, as if trying to accept her fate. SAM (CONTD) You dont understand. You dont know my father. What hes done. DEB (quietly) I understand. EXT. EAST LAKE SHORE - DAY. The black car drives up to a quiet shore of the EAST LAKE, a medium-sized body of water on the edge of the city. A sign reads EAST LAKE PIER. The car comes to a stop. Reese and Chris step out and begin walking towards the pier, a narrow wooden walkway that leads into the middle of the lake. Three figures wait at the end of the pier. one SCARED MAN, dressed only in overalls. Two THUGS, and

Reese walks up to the three of them and nods. REESE (to the thugs) Whered you find him? THUG 1 Park in North Crossing. wares. Plying his

37. REESE You sure hes the guy? THUG 1 He admitted to it. The scared man says nothing. Reese kneels down to see him eye-to-eye. A slight bit of his friendliness returns. But now, its truly TERRIFYING. REESE Whats your name? SCARED MAN ...Adrian... Adrian Spalding. REESE Adrian Spalding. you a doctor? I -- no. Good name. Are

SPALDING No, Im not.

REESE Youre not lying. Thats good, Adrian. So, if youre not a doctor, Adrian, why are you trying to act like one? SPALDING Im not trying to be a doctor. just trying to help -Im

Reese nods to the Thugs. Thug 1 pulls out an almost COMICALLY LARGE PISTOL and presses it against Spaldings ear. REESE (to Thug 1) Jesus, man, couldnt you have brought something a little quieter? THUG 1 It is quiet. REESE (under his breath) Compensating, eh? What? THUG 1

38. REESE Never mind. Where was I? Ah yes. Adrian. So we, we have a mutual friend. My daughter, Sam. You know her? No. SPALDING I dont. REESE Lying makes it worse.

Dont lie. Beat.

Spalding, practically pissing himself in fear, nods. REESE (CONTD) And no matter what you do, dont admit to lying. Thats worse than lying. Just a piece of advice. Gotta be committed to the lie, Adrian, or else it doesnt work.

Shit. REESE (CONTD) Shes in the hospital now. Want to tell me why? Sam.

SPALDING It wasnt my fault, she just didnt -REESE I dont want to hear it. dont. He looks to Thug 1. pistol. OK? I

Thug 1 pulls the hammer back on the

Reese signals for him to put it away, and for them to move behind him. REESE (CONTD) Come on, Ill do it myself. Spalding knows whats coming. NO. SPALDING NO! PLEASE! Ill do anything!

REESE I really dont like begging. At least have the strength to go out with dignity.

39. Spalding doesnt like the sound of that. to JUMP into the water. He stands and tries

Reese is on him, SCARY FAST, throwing him back against the pier. Pulls a small revolver and places it against Spaldings skull. REESE (CONTD) Sorry about this. Reese shoots him. Steps back. Spalding squirms, choking, gurgling, trying desperately to squeak out one last word... And then hes dead. Silence on the pier. END OF ACT TWO

40.

ACT THREE EXT. SPEAKEASY - NIGHT. Its just past sundown, which means the New Ashland nightlife has just begun to wake up. Ari steps through a crowd of glamorous partiers and rich folk, checks a paper note, and steps up to a large, yet unmarked building. She watches as a RICH COUPLE walk up to the door, knock three times, and are ushered in by a brute of a DOORMAN. She steps up to the door and copies the knocks. eyes her suspiciously. ARI Im here to see Wallace. DOORMAN Theres no Wallace who works here. ARI My names Benjamin. Beat. The Doorman allows her in. The Doorman

INT. SPEAKEASY - WALLACES OFFICE - NIGHT. From the window, Ari looks down at the drinking and debauchery happening on the main floor of the speakeasy: Several DANCERS gyrate mostly-naked on the stage, drinks passed around freely, confetti litters the floor, a fiveperson band plays their hearts out. Up on the second-floor office, though, the music is just a quiet hum. WALLACE, a heavyset gentleman in his early 40s, looks over Ari from behind his desk. Stares at her ass. Hes a classy fellow. WALLACE So... Lemme ask you a question: What kind of career are you looking for here, Ms. Benjamin? Ari takes a seat.

41. ARI Im not really sure. WALLACE Because, Im going to be honest here, we dont have a lot of need. People are practically killing to get a job at these places all over town. Cause, you know, were expanding soon. After repeal day. Already got plans. ARI Mr. Wallace... WALLACE Its a employers market, thats all Im saying. So there may not be the kind of opportunities that you would want. ARI Dont forget who my uncle is. WALLACE You can pull rank all you want. Your uncle gives us the booze but very soon we wont need him. ARI Why dont you call him up and tell him that. WALLACE I owe him now. I know. And this is a favor to... honor our relationship, I guess. He wants you to earn a living here, Im happy to oblige. But he didnt specify what kind of living. Ari frowns. like it. She knows where this is going, and she doesnt ARI WALLACE Lets see here. Hes probably

Go on. Well.

Wallace checks the random papers on his desk. looking at stuff thats completely unrelated.

42. WALLACE (CONTD) You like cleaning bathrooms? ARI Not particularly. WALLACE How about dancing? We are always in need of good dancers. And I can tell you right now, you have what it takes. ARI Im not interested. WALLACE It pays better than almost anythinge else here. ARI Thats not an option. the table. Take it off

WALLACE Thats not really a wise move. ARI Im not working down on the floor. WALLACE Lemme ask you a question: where else would you? Up here? She stays silent. Wallace lets off a big belly laugh.

WALLACE (CONTD) Sorry, but thats just... well, its -What? ARI

WALLACE Lets be realistic here. Youre not getting a job in the administration. You dont have what it takes. Shes had enough. Stands up.

ARI Whats my last name?

43. WALLACE

Excuse me?

ARI What is my last name? WALLACE ...Benjamin. ARI And whats yours? Wallace. Beat. WALLACE

Wallace, for a second, shows a flash of fear. ARI Ill be working here. In the administration. As your secretary. I will not dance. I will not clean bathrooms. And I will be paid a fair salary. Do you understand, Wallace?

Wallace nods.

He knows his place. ARI (CONTD) Ill be starting on Monday.

Good. Damn.

INT. COFFEE SHOP - DAY. Peter hungrily devours a burger and fries while Tom watches. Peter offers Tom some fries. Tom shakes his head. PETER Are you on a diet or something? TOM Im not hungry. PETER Do I disgust you? TOM A little, yeah. Peter stops eating. Plunks the burger down on the plate with defiance. Sits back.

44. PETER Come on. TOM

Lets go. What?

PETER You and me. Lets work out our problems. Right now. TOM Just finish eating. PETER I havent seen you in six months, you pick me up from the big house, and now you wont talk to me. Youre throwing out wildly mixes messages. Toms still silent. Peter sighs.

PETER (CONTD) I miss when we used to be friends. TOM Youre the one did what you did, all right? Dont expect anyone else to like it. PETER And now you cant talk to me? Am I that much of a disappointment? TOM You should hear how Mom and Dad talk about you. PETER I cant wait. Beat. TOM (softly) They told me that after you come and talk to us, Im supposed to bring you back to jail. Withdraw the bail money. And then... were going to stop paying the lawyers fees. Peters face drops.

45. PETER Are you... are you serious? TOM Were cutting you off. Completely. We all agreed that it was good for you, that maybe youd realize... PETER Do you know how much time I could get? Do you? TOM ...if we let you face the consequences of what you... PETER Ten years, Tom. Ten fucking years. That shuts Tom up for a second. Peter picks up the burger.

PETER (CONTD) I should enjoy the food while I can, right? INT. HOSPITAL ROOM - NIGHT. Deb stares out at the night as she puts on her coat. watches, worried, from the bed. SAM Youre going? I have to. DEB Sam

SAM Im sure the chairs are comfortable enough to sleep on. DEB That slipped disc will have to wait. She walks to the door. DEB (CONTD) Ill visit tomorrow. SAM Lock the door on your way out.

46. Deb smiles. Slips out the door. Sam stares at the darkness of the empty room, and begins to breathe heavily. INT. HOSPITAL HALLWAY - NIGHT. Deb steps quickly down the hallway. a man in a long coat -- REESE. Doesnt recognize him. As she does, she passes

Keeps walking.

Reese reaches the Sams hospital room door, and walks inside. INT. HOSPITAL ROOM - NIGHT. Sam practically SEIZES as she walks in. heavy steps towards her. Hi. He smiles at her. Sam says nothing. REESE (CONTD) I... I took care of it. He tries to hold her hand. Sam slides away from him. REESE The friendly Reese is back. Reese takes long,

REESE (CONTD) Im very sorry this happened to you. She looks away from him. To the window.

The cold shoulder gets to Reese. Nothing else might be able to, but this fazes him. Far more than he wants to admit to himself. REESE (CONTD) If you need something. Anything. Please tell me. Theres nothing else to say. He strides back to the door. Takes one last look at her. Leaves. Sam closes her eyes and her breathing slows.

47. EXT. HOSPITAL - NIGHT. Reese walks from the hospital doors towards the car when a figure emerges from the shadows. Deb. Reese takes notice. REESE I dont believe weve met. DEB We have a mutual friend. daughter. Your

REESE I know who you are, Deborah. DEB So you know why Im here. REESE Your father using you as a messenger? DEB Something like that. He wants to meet you. In person. REESE As I would expect. Tonight. DEB

REESE Such haste. Why would he need me so desperately? DEB Like you said. Im just the messenger. (beat) 188 Parulski Boulevard. Nine Oclock. Hes waiting for you. Reese smiles, and walks to the car. REESE Have a good night, Ms. Yee. Deb walks back into the shadows of the night.

48. INT. YEE BUILDING - FRANKLYNS OFFICE - NIGHT. Will leans back, tilting the wooden chair hes sitting on, balancing on the back two legs. He tosses a grape in the air, tries to catch it in his mouth. Misses. Franklyn watches from behind his desk impatiently. FRANKLYN Youre picking that up. Will looks at the ground. WILL Itll be fine. Franklyn rolls his eyes. Glances at the clock. 7:45. Shrugs.

FRANKLYN Think hell come? WILL You know him better than I do. FRANKLYN Which is to say, not at all. Exactly. WILL

FRANKLYN What would he gain by allying with the Benjamins? Money? Influence? Muscle? WILL

FRANKLYN I doubt it. The phone rings. Franklyn picks it up.

Go. Now?

FRANKLYN (CONTD) (on phone) (listens)

(listens) Thanks. He hangs up.

49. FRANKLYN (CONTD) (to Will) Youre being summoned. South Crossing, 4th and Moreland. Me? WILL By who?

FRANKLYN Tom. He and Peter need you to pick them up. Car trouble. WILL Jesus christ. I keep telling Tom, his cars a piece of shit. FRANKLYN I dont want to hear it, okay? Just go get them here. Will stands up. Heads out.

WILL Just know that I go grudgingly! He exits. Stepping in as soon as he leaves is Corrine. silently takes a seat. Franklyn looks at his phone for a long time. FRANKLYN Peters back. I know. CORRINE She

FRANKLYN How do you want to handle this? CORRINE Just as we discussed. Franklyn looks conflicted. INT. REESES HOUSE - NIGHT. The inside of Reeses house fits exactly the outside -- old but very homey. Reese loosens his tie as he steps in. front room into the KITCHEN He walks through the Corrine is icy.

50. Where KATYA HERNANDEZ, 37, is cooking dinner. Katya was once a bombshell, but now her beauty is fading and shes not on board with that plan. Hey. He walks up to her. him a quick kiss. REESE She smiles when she sees him and gives

KATYA How was your day? REESE Fine. (beat) I had to kill a guy. Whoa. But it doesnt faze Katya. She turns back to the cooking.

KATYA Did he deserve it? Yeah. REESE He, uh... he hurt Sam. KATYA

How bad?

REESE Shes in the hospital. But the doctors said shed be fine. Oh my god. KATYA What happened?

Reese considers for a moment. REESE Dont worry about it. Katya considers prying. Stares at Reese, tries to read his face. Decides not to. She goes back to cooking. REESE (CONTD) I may have to go back out after dinner. Why? KATYA

51. REESE Just something I have to take care of. INT/EXT - TOMS CAR - BRIDGE - NIGHT. Tom and Peter sit in Toms car, stuck in traffic on a long suspension bridge that goes across a large lake. PETER Taking the bridge? TOM Great choice.

Shut up.

PETER Hey, Im not complaining. I enjoy sitting silently. Its not like I have anything to look forward to once we get where were going. Thats it. Tom cant take it any more. TOM Do you have any idea what youve done to us? No. PETER Tell me.

TOM Moms stopped talking. To me, to Deb... even to Dad, sometimes. She cut herself off. To everyone. (beat) Everythings... cold. And thats because of you. Tom grips the steering wheel. Stares forward intensly. Refusing to look at Peter.

PETER So you know how it feels. What? TOM

PETER To have them ignore you. Fuck you. TOM

52. Peter gets out of the car. Peter. Only now does Tom look over --

TOM (CONTD) PETER! Get back here!

Peter ignores him, walking over to the side of the bridge. He looks out at the water. And then he CLIMBS ONTO THE BARRIER. drop of over two hundred feet. Shit. TOM (CONTD) Only a step away from a

Tom pulls the car over onto the side of the road, gets out, and rushes over to Peter. TOM (CONTD) What the hell are you doing?! PETER You try and pull me back, Ill jump. Get down. TOM

PETER You said I destroyed the family? That its all my fault? Peter looks back at Tom with a devilish smile. PETER (CONTD) Everything would be better without me, wouldnt it? Wouldnt it? Tom frowns angrily at Peter. TOM So go ahead. Jump. Peter wasnt quite expecting that. Shakes his head. TOM (CONTD) Thats what I thought. (beat) Now get back in the car. Peter moves as if to step back off the barrier -PETER Say goodbye to Deb for me. Tom takes a step back.

53. And then he JUMPS. END OF ACT THREE

54.

ACT FOUR EXT. LAKE - NIGHT. Black water. Hands. Land. PETER is pulled onto the dirt on the shore of the lake on one side of the bridge. Peter -- impossibly -- is alive. GROANS in pain. He COUGHS UP Water and Black sky. Floating.

Dragging.

Pulling.

MALE VOICE (O.S.) Congratulations on surviving. The voice is eerily familiar... Peter looks up to see his rescuer. Its the FAT MAN, who gives him a friendly smile and walks away, very quickly out of view. Rustling. shocked. Tom bursts out of the bushes. Stares at Peter,

As Tom rushes towards him, Peter PASSES OUT. EXT. YEE BUILDING - NIGHT. A black car speeds away from view, leaving Reese Hernandez staring out at the building. After one last moment of thought, he walks to the door and knocks. INT. YEE BUILDING - FRANKLYNS OFFICE - NIGHT. Franklyn pours Reese a drink. Sits back in his chair.

FRANKLYN I must admit. Im surprised you came alone. That takes guts. REESE A show of good faith.

55. FRANKLYN It could have been a trap. REESE You dont strike me like that kind of man. FRANKLYN Im glad to hear that. REESE The question I have... is are you the kind of man whod order a hit on a rival cargo shipment? FRANKLYN (frowning) That wasnt us. I want to make that emphatically clear. REESE So youre seeking to ally with me for... what? FRANKLYN You immediately assumed the hit was mine. So might others. So might the Benjamins. REESE And if you wanted to have me and my family ally with you against them... all this would have been a brilliant plan. Attack the Benjamins, claim innocence. FRANKLYN If I wanted to truly turn you against them, I would have attacked one of your shipments and blamed it on them. This would be a backwards way of doing it. REESE With less risk. FRANKLYN With more risk. The Benjamins are - right now -- planning on retribution. REESE You know this for a fact.

56. FRANKLYN

Yes.

INT. HOSPITAL ROOM - DAY. Marcus sits against the window, smoking a cigarette. Sams sitting up against the headboard of her bed. The lights are dark. Its quiet. MARCUS He mustve been following you. SAM I dont blame you. MARCUS I just dont understand why hed do that. SAM For exactly this situation. Marcus nods. The lights flip on, the peace is shattered by the sounds of two nurses wheeling in a strecher. On the stretcher is PETER. Following the stretcher is Tom.

Tom takes a long look at Marcus and Sam as the Nurses lift Peter onto the hospital bed. Deb isnt far behind, stepping into the hospital room after Tom. Smiles at Sam. The feeling is uneasy. EXT. HOSPITAL - NIGHT. ARI sits on the curb, smoking a cigarette. The hospital doors open, and Marcus steps out. him. Rough day? ARI Ari smiles at

MARCUS You could say that. Ari offers him a cigarette, which he takes.

57. MARCUS (CONTD) Did Mom talk to you? No. ARI Whatd she say to you? MARCUS Nothing important.

Nothing. Beat.

ARI Hows Sam doing? Shes OK. tomorrow. MARCUS Probably going home Maybe the next day.

ARI Thats good. MARCUS Have you ever met her? ARI No. Mom always... didnt want to talk about the other side. Marcus laughs despite himself. Yeah. MARCUS I know.

After a few quiet moments, Marcus stands. Come on. lives. MARCUS (CONTD) See how the other half

INT. HOSPITAL ROOM - NIGHT. Marcus leads Ari into the hospital room. moment. Its quiet for a Marcus

Deb and Tom stay quiet. Dont introduce themselves. and Ari walk over to Sam. Ari extends her hand to Sam. ARI Hi. Im Ari. Im Marcuss other half-sister.

58. Sam shakes. SAM Its a pleasure to finally meet you. Its quiet again. Deb. Finally, Deb steps over to Ari.

DEB Deb Yee.

ARI Nice to meet you. They shake. INT. POLICE BULLPEN - NIGHT. Sampson and Weiss have been poring over documents for hours, and the exhaustion is starting to show. Papers are everywhere, coffee mugs are half-finished and the lights have begun to shut off for the night. LIEUTENANT AMES WATERSON, 57, gruff but polished, walks up to their table, clearly on his way out. WATERSON Please tell me you have something. Weiss shrugs. Sampson yawns. WATERSON (CONTD)

Come on.

SAMPSON Honestly, Lieutenant, weve been looking over all the evidence, and theres not a sliver of a lead, let alone a suspect. WATERSON What about the survivor? WEISS Died this morning. from the stabbing. Shit. Beat. WATERSON Complications

Watersons gears are turning in his head.

59. WATERSON (CONTD) Well, its gotta be gangaffiliated, right? Figure out who stands to profit. SAMPSON Sure. But theres nothing to narrow it down to. It couldve been the Yees. Theyre the Benjamins most direct competiion. It could have been the Hernandezs, who are trying to get a bigger piece of the pie by taking out the Benjamins. Hell, it couldve been the Benjamins themselves, trying to get one of the families to ally themselves against the other. Waterson rubs his forehead. WATERSON Well, shit. Yeah. SAMPSON

WATERSON ...Fucking immigrants. Ruining this goddamn country. (beat) Get me something tomorrow morning. I dont care if its so bad the Keystone cops mightve come up with it. Give me something. Waterson walks away, leaving Sampson and Weiss just as helpless as before. INT. YEE BUILDING - HALLWAY - NIGHT. Franklyn and Corrine stand in the hallway, both anxiously looking towards the door leading to Franklyns office CORRINE He cant say no. FRANKLYN Yes, he can. But he wont. INT. YEE BUILDING - FRANKLYNS OFFICE - NIGHT. Reese is using Franklyns phone.

60. REESE (on phone) Yes, I think its mutually beneficial. (listens) The Benjamins will just have to find another way. INT. YEE BUILDING - HALLWAY - NIGHT. FRANKLYN If he says no, hell be siding with the Benjamins. Hes better off staying with us. CORRINE And if he wants to remain neutral? FRANKLYN There is no neutral. The door to Franklyns office opens. Offers his hand. Franklyn takes it, smiling. FRANKLYN (CONTD) (to Reese) You made the right decision. INT. HOSPITAL ROOM - NIGHT. Marcus, Ari, Deb, and Tom stand near Sams bed. ARI Marcus was a shitty kid growing up. Marcus reacts with mock offense. MARCUS I was an angel. ARI You threw me into the pool at my Bat Mitzvah. While I was in my dress. MARCUS You were asking for it. They laugh. Reese steps out.

61. DEB If he was anything like my brother, it mustve been hell. ARI Which brother? DEB Both of them. Hey. TOM

SAM I cant imagine growing up with two brothers. DEB You learn how to punch pretty quickly. TOM I think Peter has you beat on that. DEB Not possible. Look at them. All getting along swimmingly.

Linger on them -- Deb, Ari, Marcus, Tom, Sam -- enjoying each others company. Being friendly. Peaceful. Because it sure as hell wont last very long. INT. YEE BUILDING - FRANKLYNS OFFICE - NIGHT. Franklyn pours champagne. Hands Reese a glass.

FRANKLYN To a bright future. They drink. The phone rings. Franklyn picks it up.

Go.

FRANKLYN (CONTD) (on phone) WILL (V.O.) It was bullshit.

Frank.

FRANKLYN (on phone) What do you mean?

62. EXT. PHONE BOOTH - STREET - NIGHT. Will stands in a phone booth. WILL Tom and Peter were never at South Crossing. They took the bridge. INT. YEE BUILDING - FRANKLYNS OFFICE - NIGHT. Something dawns on Franklyn. His eyes go wide. He drops the phone. Looks at Reese, whos understandably confused... Franklyn looks to the window. IN SLOW MOTION... A bright orange light SPINS outside the window. It gets closer and closer until its finally in focus. Its a MOLOTOV COCKTAIL. It smashes through the window, hits the ground, and EXPLODES. Reese and Franklyn are KNOCKED BACK as the flames JUMP high into the air, lighting everything on FIRE... INT. YEE BUILDING - HALLWAY - NIGHT. Corrine turns and sees the flames beginning to lick underneath the door to Franklyns office. She immediatley begins RUNNING down the hall with all her energy, trying desperately to escape. EXT. YEE BUILDING - NIGHT. The whole building goes UP IN FLAMES. Wood crumpling and falling. Windows blown out.

And watching it, calmly, all are the FAT MAN and the TALL MAN. FAT MAN Do you know why its called New Ashland? No. TALL MAN

63. FAT MAN It used to be just Ashland. Like all the other cities named Ashland in this country. But then some poor bastard went to bed with a lit cigarette in his mouth. That little light turned into a flame. Which turned his house into a furnace. And then it spread. The whole city burned. All of it? TALL MAN

FAT MAN Most of it. They had to rebuilt almost everything on the ashes of the old and destroyed. And then it was decided: this wasnt Ashland any more. This was New Ashland, rising from the ashes like a phoenix. The Fat Man laughs to himself, finding this story funnier as he continues to tell it. FAT MAN (CONTD) And like the phoenix, one day this city will once again burn itself alive. You think? TALL MAN

FAT MAN Its inevitable. LINGER on the two of them, silhouettes watching as the fire SPREADS. CUT TO BLACK. THE END