INT. OFFICE- NIGHT
Camera moves through the inside of a microphone. It zooms away from the microphone where we see a uniformed military officer sitting at his desk eating. It is snowing outside. The officer looks toward the window. A title card shows East Berlin, 1988. Someone knocks on the door.
OFFICER: ?
Someone is escorted in the office by a soldier. The soldier leaves.
OFFICER: ?
The person brought in nervously sits down. The officer folds the paper bag he was using and puts it in a drawer. He pulls out a folder from another drawer and goes through the contents in it. He turns on a tape recorder.
They are speaking German.
OFFICER: You are Yuri Gurka
JAKOB: No
Jakob sighs in relief.
JAKOB: My name is, thank goodness, Jakob Ungerleider. This is some misunderstanding.
OFFICER: You live at 349 HufelandstraBe.
JAKOB: Yes, sir.
OFFICER: Hmm. Yuri Gurka is the registered occupant of 349 HufelandstraBe. So if that us your address, then your name is Yuri Gurka and you are a twenty year old émigré from the Ukraine.
JAKOB: No. I am a German citizen. As you can plainly see, I have not been twenty years old for a long time.
The officer lights a cigarette.
JAKOB: Perhaps – if may – I have only lived at this address for six months. So, perhaps Yuri was the previous—
OFFICER: This is a problem. You understand? Because for you to be right, the state would have to be wrong. Is that what you’re saying? That the state is wrong?
JAKOB: No, sir
OFFICER: Good, good. Then you admit that you are Yuri Gurka and your girlfriends’s name is Helga Albracht.
JAKOB: No. No no no. I don’t have – I mean -- my wife, she is in fact named Helga, yes-
OFFICER: Excellent.
PERSON: but not – Albracht.
OFFICER: Now we are getting somewhere. Was it this morning or last night that you strangled her?
PERSON: What?
OFFICER: Your girlfriend, Helga Albracht. You killed her last night or this morning?
JAKOB: I do not have-- please this must be— as I said before, I do not have a girlfriend. I have a wife, and though she is coincidentally named Helga, yes, but Helga Ungerleider, and, believe me, she is very much alive. In fact, when your men came to pick me up only an hour ago, she was home, and offered them tea.
The officer shows Jakob a picture of a dead woman.
OFFICER: And yet here is a body, found earlier today. Helga Albracht. Strangled manually and left on the banks of the Spree. Hurr Gerka, be reasonable. I have shown you a body, cold to the touch, and blue in the face. I have seen this body with my own eyes. Her death is a fact.
Camera pans down to Jakob’s snow covered shoes. Water from the melted snow is running down a drain in the office.
OFFICER: What you are giving me are words. This “wife,” who is “alive,” with a “different last name.” That is called “a story.” And we are not here to tell stories. We are here to tell the truth. Understand?
Jakob looks defeated. The camera slowly moves to the background of a picture of a snowy area with some trees. The superimposed text appears, reading: “This is a true story. The events depicted took place in Minnesota in 2010. At the request of the survivors, the names have been changed. Out of respect for the dead, the rest has been told exactly as it occurred.” We move inside the picture which the entire show will take place.
EXT. OUTSIDE- DAY
Children are making a snowman. A woman yells “kids, come inside!” and the kids flock towards a mansion which has a banner reading “Happy 25th Anniversary.”
INT. EMMIT’S MANSION- OFFICE
Sy Feltz is seated in a chair lighting a pipe. Emmit Stussy is standing next to him, cigarette in hand.
EMMIT: Honestly Buck it’s a little embarrassing. I mean we called the number. They said if there was ever a problem we should call the number, and well we called it.
Buck is seated on a couch across from them.
BUCK: And?
EMMIT: A series of clicks and buzzers.
BUCK: A series of—
EMMIT: Clicks and buzzers. That’s what we got, which—
SY: Couldn’t even leave a message.
EMMIT: No message possible. So we thought—
SY: We thought get Buck back in here, after all he vouched for him.
Buck leans forward.
BUCK: Well now, let’s be, let’s call a spade a spade. I don’t know him, don’t vouch for him. I was just a conduit for information. Like you said “Buck we tried all the normal channels. We just need a bridge loan to—
Sy lights his pipe again. Emmit sits in his chair.
Buck chuckles.
BUCK: It was last year for Pete’s sake. I met him at the Shriner’s.
EMMIT: Sure, ok then. Everything went great when we met with the broker, Mr. Ehrmantraub, if I'm not uhh—
SY: Right, Rick Ehrmantraub. I got his card in my—
EMMIT: And now we're in the black again, so we called the number to arrange payback and clicks and buzzers.
SY: Maybe there's another number, we're thinking.
EMMIT: Another number where we can at least leave a darn message. It's a lot of money.
SY: A heck of a lot.
EMMIT: And it's just sitting there on the books which--
SY: Can't have that.
Slight pause. Buck signals confusion over what to do
EMMIT: Okay then well, thanks for coming in.
Emmit gets up to shake Buck’s hand.
BUCK: Of course. And did you think about what I asked?
Sy stands
BUCK: The widow Goldfarb she wants to meet.
EMMIT: - The who?
SY: I was gonna tell ya. She's the so called storage queen, sniffing around for a possible silent partner type arrangement.
BUCK: Seems like the real deal. Money to burn.
EMMIT: Where was she two years ago?
Emmit chuckles at Buck. Sy leaves as Emmit continues smoking.
INT. EMMIT’S MANSION- LIVING ROOM
People clapping. Emmit and his wife Stella are addressing a crowd full of people in the room
EMMIT: Friends, friends and Dave.
The crowd laughs
EMMIT: I'm not lying when I tell ya, I still remember the first date. 25 years ago. Took her to Fjords in St. Paul, my Stella. I brought her a lobster the size of a car.
The crowd laughs
EMMIT: Cost me two weeks wages at the Red Robin, but it was worth it.
The crowd and Emmit laughs
EMMIT: And so over shellfish she says "So, where do you live?" You know, just making conversation and I tell her the address 213 Monroe. And she gets this funny look on her face. And she says "Which apartment?" So I say "16. " And now the look gets even funnier and she says—
STELLA: I say "What are the odds?" I lived in that same apartment for three and a half years, I still had the key.
Stella, Emmit, and the crowd all laugh. Nikki Swango and Ray Stussy are among the crowd. They glance at each other. Nikki touches Ray’s arm affectionately and sips from her glass.
EMMIT: Of course she never told me that part. So I come home a week later and what the heck? She'd moved in!
The crowd laughs. Sy is also in the crowd laughing. He stops when he looks behind to see Ray and Nikki further back.
EMMIT: And now somehow it's 25 years later and here we are. And we've got Grace and her husband Dennis. And life has been to us, more than good.
A server offers oerd’ouvers to Ray and Nicki. Ray shakes his head no while Nikki grabs a few.
NIKKI: Okay.
The server leaves.
EMMIT: - Raise a glass to my Stella. Still lovely as the day we met.
The crowd slowly raises their glasses. Ray dumps his drink behind him in a plant and tosses the glass there. The crowd toast.
STELLA: Thank you.
Emmit and Stella kiss. The crowd applauds.
EMMIT: Enjoy yourselves come on.
Sy approaches Ray and Nikki.
SY: I got you five minutes.
Sy looks from Ray to Nikki suspiciously. Jazz music plays.
NIKKI: Go get him tiger.
RAY: Yeah.
Ray walks to the stairs. Emmit is greeting people. He shakes hands with someone.
EMMIT: How we doing? Good to see you, thanks for coming.
Emmit looks slightly worried as he sees his brother going upstairs.
INT. EMMIT’S MANSION- WAITING ROOM
Ray is seated outside Emmit’s office waiting to see his brother.
Sy opens the doubledoors to Emmit’s office..
SY: Ray.
Music plays. Ray straightens his jacket and approaches the office.
INT. EMMIT’S MANSION- OFFICE
Close-up shot of a stamp on a mirror. The camera pans away from the stamp. Emmit is seated at his desk with Sy standing close by. Ray is seated across from his brother. He looks from Sy to Emmit.
RAY: You know, congratulations and all that.
EMMIT: Thanks.
RAY: Place looks good.
EMMIT: We had the floors re-done.
RAY: Oh ya. That's, uh So you said Grace got a-- That's her, her husband now? Dennis.
SY: There was nothing. Barely even a wedding.
EMMIT: We did in Cabo on a beach. They said, invitation said "No Shoes." Imagine wearing a suit and no shoes. Still real nice.
SY: But small, only like 10 people.
RAY: Ah but you went?
EMMIT: We had some meetings.
SY: The next day. Potential investors.
RAY: In Cabo?
SY: It's like a resort, super high end.
EMMIT: International businessmen and the like.
SY: Exclusive.
RAY: Not for parole officers you mean.
EMMIT: Don't take offense.
SY: Ya, Ray. Geez, don't take offense. We're just explaining what happened.
Ray nods disapprovingly.
EMMIT: How's the Corvette?
RAY: It's a car. Look I'm getting engaged.
EMMIT: Again?
RAY: Don't say that.
EMMIT: I'm sorry I just—
RAY: She's real sweet, Nikki. We're in, you know—
SY: You meet her at work?
Upbeat jazz music plays. Cut to flashback of Nikki walking and taking a seat in Ray’s office. Ray stares at her. Cut to Nikki in a police line-up. An officer tries escorting her but she resists. Cut back to Nikki in Ray’s office. She pops gum in her mouth. Flashback ends.
RAY: At work yeah.
SY: So, embezzler? Drug mule?
RAY: Why is he here? He doesn't need to be here.
EMMIT: Sy's always here when the conversations about money.
That's what this is right? A conversation about money?
RAY: I wanna buy her a ring.
EMMIT: So, serious.
RAY: And the way I figure it, - is you still owe me from—
EMMIT: - I owe you?
RAY: From what happened when we were kids.
SY: Well now Ray, that's… I gotta say, your math seems shaky there. I mean, after the, what was it last quarter, we fronted you 850 for car repairs.
EMMIT: On top of co-signing your mortgage so you could get your apartment. Not that I mind, happy to help really. But where does it—
RAY: See that's not the way I see it. That's you paying me back for—
EMMIT: Ray.
SY: The thing is Ray, even if we wanted to, we're—
EMMIT: What Sy's saying is, it's not the best time.
Ray scoffs.
RAY: How about you just give me back my stamp and we'll call it square.
SY: Ray.
RAY: No, I'm talking to my brother. Look, you are lucky I don't sue. I mean, a legal document which delineates things. Bequeaths them to specific parties. A father, dead in a driveway. An older boy taking advantage of a younger playing—
EMMIT: Nobody took advantage. It was a trade. If I had a time machine, you'd see I'd play back the tape. "Emmit come on, I'm begging ya. Take the stupid stamps already. Give me the car.”
RAY: No, that's not, that was you tricking me.
EMMIT: Ray.
RAY: How much did you get for them anyway? The whole collection? I never asked. What two, three dozen stamps? Vintage.
SY: - Ray.
RAY: - No. She's a nice girl, a catch. And she deserves a sweet ring, pricey, so are you gonna do what's right here? Are you gonna do what's right?
EXT. EMMIT’S MANSION- DAY
Ray and Nikki exit the mansion.
NIKKI: What happened? Did you get it?
RAY: I need a real drink.
A man and woman get out of their car as a valet gets in.
RAY: Here's the er-- It's not the best time. He said. Don't worry, I'm gonna-- I'll handle it.
Ray and Nikki nod. The valet drives away to park. Another valet brings Ray’s car to the front, which is a worn-out corvette. Rock music starts playing. Nikki puts her glass on a tray being held by a server. The valet exits the corvette. Ray and Nikki head to the corvette. Nikki stands by the car as Ray walks over to the driver’s side. She looks slightly annoyed.
NIKKI: Ray?
RAY: Sorry.
Ray runs over to open the door for Nikki. The valet holds the driver’s door open for Ray. Rays gets in on his side and tries to close the door, but the valet is still holding it open.
VALET: No tip?
RAY: Ya. Get a real job.
Guitar music plays. Ray closes the door. We see the license plate on the car reading "ACE HOLE" as it drives off.
INT. CAR-DAY
NIKKI: So then we use the Dentist Coup or play a canapé. And watch out for the Cuthberts, I don't think that cough of his is real. Whatever happens don't let the Swedes force the trump check again. –
Ray is not listening .
NIKKI: Babe?
RAY: What?
NIKKI: I'm talking about the Wildcat regional on Thursday. Top three mixed pairs we qualify for the Upper Wisconsin semi professional next month. Which top three in that, the sport really opens up for us.
RAY: Now hun, you know you're not supposed to leave the state.
NIKKI: I know but couldn't you fix it? I mean as PO isn't there a form you could sign?
RAY: Well see there's a lot of sticky. I mean, with the first being, technically we're not supposed to be, you know, dating. And I'm saying it's mission critical to keep that a secret. So when it comes to signing official forms, I mean, talk about showing your cards.
Nikki looks confused.
NIKKI: What are you saying?
RAY: No, just as to the legalities. I mean parolee, parole officer et cetera. I mean, we're right on the line here.
NIKKI: There's big money to be won hun.
RAY: I know.
NIKKI: I'm not just talking a few regionals. We get ourselves on the map, bridge wise locally in the next few months and I'm talking sponsorship opportunities bordering on six figures. Then we don't need to borrow money from your stupid brother or nobody else. Right?
Ray nods
RAY: Yeah.
NIKKI: Baby look at me. We're a team you and me. Simpatico to the point of spooky. Like how I always know when you're gonna lead with a hard or backwards finesse.
Ray smiles.
NIKKI: And you got that putter's instinct for when to drop the Marie Applebaum Discovery Play.
RAY: That's true.
NIKKI: You're the hand and I'm the glove.
RAY: You're the bottle and I'm the beer.
NIKKI: Or the beer and the glass in my case.
RAY: Oh yeah, but I mean it comes in—
NIKKI: No, I know.
RAY: Yeah.
Nikki turns up the radio. She grabs Ray’s hand.
NIKKI: Simpatico.
INT. RED OWL MARKET- DAY
Nathan Burgle is pricing fruits while his grandfather Ennis Stussy is helping a customer at the register. Cut to Ennis on arranging alcohol on a shelf while the child is playing on his phone. He glances to see if the child is paying attention, and takes a few sips from one bottle. Ennis coughs. Cut to Ennis sleeping and Nathan still playing on his phone. Nathan’s mother Gloria Burgle is outside. The automatic door is not opening for her. Gloria waves at the sensor yet nothing happens. She pushes the door yet it does not budge. She knocks on the door looking at her son. Nathan sees her. Gloria waves at the sensor again. Nathan walks to the door and pushes a button that controls the door. Gloria walks in.
GLORIA: That's weird huh?
NATHAN: There's a sensor.
GLORIA” You ready?
NATHAN: Yeah.
Nathan goes to get his things. The door automatically closes. Ennis wakes up.
GLORIA: See you tonight pops?
ENNIS: If macaroni and cheese don't float your boat, might as well stay home.
Music plays. Nathan opens the automatic door. He and Gloria leave the store.
INT. PAROLE OFFICE- BATHROOM
Montage of Ray in a bathroom with parolees doing a urine test.
CUT TO. PAROLE OFFICE- RAY’S OFFICE
Ray is in an office with someone.
RAY: So what happened?
MAN: What could I do? The land was fallow and we needed grain.
Ray picks up his coffee cup.
RAY: The land was what?
INT. PAROLE OFFICE- BATHROOM
Ray is leaning against a urinal stall waiting for the man to pee in a cup. The man gives the cup to Ray, who covers it. Both shake hands.
CUT TO. PAROLE OFFICE- RAY’S OFFICE
Ray is playing with his phone as a woman speaks with him.
WOMAN: I didn't even know that was illegal, 'cause who makes the laws anyway. A person in her own home, on her own property, I mean short of murder, shouldn't you be able to, you know, just about anything?
The woman puts away her lipstick. Ray tosses his phone on his desk. Cut to Ray wondering about his office, thinking about what to do. Cut to Nikki sitting on her bed putting nail polish on her toes. Cut back to Ray in his office leaning against the wall.
EXT. OUTSIDE- DAY
Ray parks his car at a bar. There is another car two spaces next to his which is parked crooked. Ray walks over to the bar.
INT. BAR- DAY
Ray enters. He scans the bar until he sees Maurice LeFey at a table. Ray approaches him. Maurice is fiddling with a lighter as he has his eyes closed.
RAY: Maurice?
Maurice groans.
RAY: Maurice?
MAURICE: Huh?
Maurice opens his eyes. Ray shows him a piece of paper.
RAY: You blew your piss test pal.
Maurice scoffs. Ray puts the paper on the table and
Maurice grabs it. Ray takes his jacket off and sits down.
MAURICE: Oh bummer. Look—
RAY: Thing like that, normally that gets you right away revoked but I thought call him up, see what he has to say.
MAURICE: Cool. Cool. Hey, why are we meeting in a bar? I mean not in your office.
Ray takes a glass of beer and drinks it. Maurice points at Ray.
MAURICE: Hey, I was drinking that.
Ray finishes the beer and puts the glass down.
RAY: Let's cut to the quick here. Your last stretch was six and a half for breaking into rich folks' digs and stealing their flat screens.
Maurice points.
MAURICE: Allegedly.
RAY: No moron. How it works is when they convict you, it turns into a fact.
Ray looks around the bar..
RAY: Now look, I gotta, I gotta pla—
Maurice is falling asleep.
RAY: Hey! Dickhead!
MAURICE: Huh?
RAY: I gotta place, turns out a place that needs some robbing. A little robbing, not wholesale burglary, just a specific-- Just looking for a certain item. And if you do it, well let's just say your little problem goes up in smoke.
Ray holds up the paper and puts it in his pocket. He looks around the bar.
MAURICE: What are we talking about?
RAY: A stamp.
MAURICE: A stamp? Like a postage stamp?
Maurice licks his finger.
RAY: Yeah.
MAURICE: Cool. Cool. So I mean, I know I'm the moron but—
RAY: It's not that kind of stamp numb nuts. It's a vintage stamp, it's got you know, sentimental value for me. It's my stamp.
MAURICE: Hmm, your stamp.
RAY: But it's, you know, at someone else's house temporarily.
MAURICE: Cool, cool. So why not just ask for it back?
RAY: Well it's, you know, complicated. Just get the damn stamp.
Ray hands Maurice a piece of paper. It is the address of
Ray’s brother, Emmit.
EXT. OUTSIDE- NIGHT
Outside view of Emmit’s mansion. A phone rings.
INT- EMMIT’S MANSION- DINING ROOM
Emmit answers the phone. Sy is on the other end.
EMMIT: What's cooking?
SY: You need to come down here.
Emmit looks at his watch.
EMMIT: Nine o'clock at night isn't it?
SY: Er number, ticks and buzzers. He came.
EMMIT: Who?
SY: Well now, the fella from the—
EMMIT: Ehrmantraub?
SY: No, different fella. Don't wanna say too much on the phone just-- You better come down here.
EMMIT: Mm
Emmit hangs up.
STELLA: Everything okay?
Stella is taking dishes to the sink.
EMMIT: Gotta go to the office, hun.
Emmit grabs his coat and keys.
STELLA: Hun? You're in your house shoes.
Emmit looks down at his shoes.
EMMIT: Oh, good call.
EXT. OUTSIDE- NIGHT
Emmit is driving out. We see his home address at the entrance.
EXT. OUTSIDE- NIGHT
Maurice is speeding on the road. The paper containing Emmit’s address is right next to him.
INT. CAR- NIGHT
Maurice is speaking with his shrink on the phone.
MAURICE: You ever think about how they never put the morgue on the top floor of a hospital? I notice stuff like that. It's always in the basement. It's like its own elevator.
SHRINK: And how does that make you feel?
MAURICE: Huh? No. You asked me how I define the person called me. And I'm saying, I'm always having thoughts of-- What do ya? Insightful. For example, where does the President of United States buy his clothes? Do they shut down like a whole JC Penney? Just so he can try on a suit.
SHRINK: There's a tailor, he comes to the White House.
MAURICE: Now see, I didn't know that.
SHRINK: Let's focus. So when you say your parole officer was mean to you before, how did that make you feel?
MAURICE: You know, just not good, you know. I mean here I am, I'm trying, you know. Not hurting anybody, anymore. So…
Maurice puts his cigarette in his mouth but starts coughing.
SHRINK: Are you getting high?
Maurice is still coughing.
MAURICE: No.
Maurice flicks his cigarette out the window, except his window is still up and some of the cigarette ashes falls on his pants .
MAURICE: Oh shit.
Maurice rolls down the windows. The car slightly zig-zags, causing the paper to be lifted off the seat and on
Maurice’s leg.
SHRINK: Maurice?
MAURICE: Ah hell.
Maurice flicks the cigarette out the window. The paper flies out the window. Maurice tries grabbing it.
MAURICE: No, no, no, no! Goddammit. Son of a bitch.
Maurice screeches the car to a halt. Cut to Maurice’s car parked off the road as he looks for the paper.
MAURICE: What the shit?
Mauice scratches his head. He trips and falls backwards.
MAURICE: God blast.
Maurice gets back up.
MAURICE: Ah screw it, I remember.
Upbeat dramatic music plays as Maurice walks away. The paper is seen not too far from where he was.
INT. STUSSY LOTS LTD- ROOM
Emmit walks inside. He gets out of an elevator. He puts his coat down and seems concerned seeing a man in his office. Emmit walks over .
SY: I put him in your office.
Emmit is startled from Sy.
EMMIT: Oh geez. Who?
SY: Didn't get a name. Here from the lender he said. I told him it was late, but he just got off a plane so—
Emmit and Sy walk in the office.
EMMIT: Hey there. Emmit Stussy, thanks for a—
Emmit moves to shake the stranger’s hand. The stranger doesn’t accept.
EMMIT: Well. Honestly we didn't know if our message had—
VM VARGAS: You called the number?
EMMIT: Ya, we uh, like I said we didn't—
Emmit sits on his desk.
SY: All you get when call—
EMMIT: Clicks and buzzers. Which, hard to leave a-- But good news, you're here and we're in the black now. Stussy Corp and well your firm was nice enough to-- Mr. Ehrmantraut, your broker, he, well, he arranged for your firm to lend us that money last year. We're happy to say we're ready to pay it back in full.
VM VARGAS: That's alright.
EMMIT: I'm sorry.
VM VARGAS: You keep it.
Emmit laughs.
EMMIT: Keep it?
A confused Emmit looks to Sy and back Vargas. Sy looks at Emmit and slightly approaches Vargas.
SY: I apologize, I didn't catch your name.
VM VARGAS: I'm VM Vargas.
SY: And you work for—
VM VARGAS: With Narwhal yes.
SY: Well now. It's, see your firm, Narwhal, like I said last year, we borrowed a hefty sum. And I know you're not bona fide FDIC, but I mean, unless you boys do business differently in-- where you from?
VM VARGAS: America.
Emmit and Sy look at Vargas strangely.
SY: Well in America normally when you lend somebody money—
Emmit gets back up and pats Sy on the shoulder. He sits at his desk.
EMMIT: If that were us, he's saying, in your shoes, well I'd expect the money back with interest. Which we're happy to-- Like I say we got it. I just need to know where to send the check.
SY: Or a wire transfer if you—
EMMIT: Exactly just give us the digits.
VM VARGAS: Investment.
SY: One more time?
VM VARGAS: Well you called it a loan, it wasn't a loan, it was an investment. We are investors.
EMMIT: Investors?
VM VARGAS: The problem I think, is you're confusing the word singularity with the word continuity.
EMMIT: What's that now?
VM VARGAS: The word begin and the word end, are these the same?
EMMIT: No but—
VM VARGAS: Then why talk about ending something that's only just begun.
SY: See now, the document we signed last year—
Sy walks over to Emmit.
EMMIT: When we met with your broker.
SY: Mr. Ehrmantraut.
EMMIT: Buck Olander introduced us and he said, your broker--
We were very specific about a short term—
SY: And nowhere in the document did it say anything about, and believe me, I'm a lawyer, so you know, I vetted it very—
VM VARGAS: A document is just a piece of paper.
SY: Ahh legally binding, actually. A contract.
VM VARGAS: To be clear, you had a problem as you said last year. The real estate business, well this is a bad business. So you tried the normal channels, the banks, but you're companies still failing so you come to us.
SY: For a loan.
VM VARGAS: You never thought to ask why we might lend you one million dollars with no collateral required?
SY: See, no, we were under the impression—
EMMIT: Our fundamentals are strong. Our holdings—
VM VARGAS: My point is that was the time for questions yes. Not this. Now we've taken the past year to study your business. Properties, cash flow, so we can better disguise our activities.
Emmit and Sy look at each other with concern.
EMMIT: Look, we just wanna pay the money back and you know, be on our way.
VM VARGAS: As I said, the first sum was an investment for you to keep. All future funds will be run through the front office, the same as other Stussy income. A few thousand a month, more or less, now I can get you the specs and instructions. We'll have to account for the comings and goings in your software. We already have access to your-- To your system. So we can monitor your activity. Make sure you're adjusting.
Vargas grabs his coat and heads out of the office. Emmit stammers.
EMMIT: Uhh
Vargas turns around.
VM VARGAS: And it goes without saying, you're not to mention this to anybody.
Emmit and Sy stand there in disbelief, looking at each other.
Dramatic music plays. Vargas exits. .
EXT. ENNIS’S HOUSE- NIGHT
Shot of Ennis’s home.
INT. ENNIS’S HOUSE- DINING ROOM
Ennis and Nathan are at the table while Gloria is preparing food. Ennis pulls up a box and gives it to Nathan.
ENNIS: Happy Birthday or whatever.
Nathan opens the box and pulls out a statue carving of two people.
NATHAN: Uh, cool.
ENNIS: The trash is under the sink, if you hate it.
NATHAN: No it's-- What is it?
ENNIS: It's nothing. Just a dumb thing I made.
Gloria brings three plates of cake.
GLORIA: Something special for the clean plate club.
ENNIS: I told you, I don't like strawberries.
GLORIA: More for me then.
Gloria takes Ennis’s plate and sits at the table.
GLORIA: So the thinking is absorb the local precinct into the larger county force.
ENNIS: Leaving you jack shit.
GLORIA: Language? No, I'd still be highest ranking local officer just not—
ENNIS: Chief.
GLORIA: Right. What'd you get there?
NATHAN: A model grandpa made me.
ENNIS: Like I said, it's a stupid carving. Remember when the time we went camping.
GLORIA: So don't forget you're at your dad's this weekend. He and Dale are gonna take you to the symphony.
NATHAN: So is Dale my other dad now
GLORIA: Well no. I mean he and your dad haven't been together that long. But if they got married.
ENNIS: Not legal. Is it two men?
Song plays. Ennis finishes his beer. Gloria gives him another one.
INT- BRIDGE TOURNAMENT- PLAYING ROOM
A dealer is shuffling the deck and dealing. Many people are gathering inside the room.
EXT. BRIDGE TOURNAMENT- NIGHT
Slow motion shot of Nikki and Ray walking towards the sign-up table.
NIKKI: Swango and Stussy.
INT. BRIDGE TOURNAMENT- PLAYING ROOM
Ray and Nikki find a table with an old man and a younger one with a toothpick in his mouth.
NIKKI: Hello boys.
Ray pulls up a chair for Nikki. Ray sits on the other side. The younger man slightly smiles. Ray looks at Nikki to the younger man. They start playing. Ray pulls out his phone.
NIKKI: Dummy. Sorry. You're the dummy.
RAY: Right yeah.
Gentle music plays.
EXT. OUTSIDE-NIGHT
Maurice is still on the road.
MAURICE: Okay, I got this. Guy's name was Stussy on something lane. Midnight Lane? Ah hell, it was erm, was it Midnight, no.
Maurice coughs. He stops the car.
MAURICE: And the town was ah goddammit. And the town was something biblical like Eden Village or
Maurice is looking around.
MAURICE: Eden… Eden Valley!
In front of him is a street sign pointing to the left.
MAURICE: Triple goddam bingo.
INT. ENNIS’S HOUSE- NIGHT
GLORIA: Night pops
Gloria and Nathan are going to the police cruiser.
NATHAN: Can I run the siren?
GLORIA: Once, on the highway.
Gloria and Nathan get inside.
EXT. OUTSIDE- NIGHT.
Maurice pulls up at a gas station. He goes inside the store there.
MAURICE: Hey you got a phonebook?
CASHIER: Ya.
MAURICE: Can I borrow it?
CASHIER: No.
MAURICE: What do you mean no?
CASHIER: Gotta buy something.
MAURICE: I'm not buying anything, just give me the phone book.
CASHIER: No.
MAURICE: Give the phone book.
CASHIER: No.
Maurice grabs the cashier shirt and slams him to the counter.
MAURICE: Give me the damn phone book.
CASHIER: Okay.
The cashier reaches under the counter for the phone book and hands it to Maurice. Maurice is skimming through it.
MAURICE: Stussy, hot damn.
Maurice rips out a page and leaves.
CASHIER: Hey! That's a public book you know!
Maurice gets in his car. He skims through the page again, eying the address: “Stussy E 15 Malta Rd".
EXT. ENNIS’S HOUSE- NIGHT
Shot of Ennis’s mailbox with his name on it.
INT. ENNIS’S HOUSE- LIVING ROOM
Ennis is asleep in his chair. The tv is on. He wakes up and goes to the kitchen. The model he gave Nathan is on the table. Ennis grabs a cold bottle of alcohol from his freezer. Car lights shine through the kitchen window. Ennis looks out.
INT. POLICE CRUISER- NIGHT
GLORIA: You see now that always make me feel queer reading in the car. What'd you think about that model your grandpa made ya?
Nathan looks around for the model.
GLORIA: It was pretty sweet huh. He's a good guy. I know he drinks too much, but I think deep down we've all of us got something positive inside us, don't cha think?
Gloria sees Nathan searching.
GLORIA: What's going on?
NATHAN: It's the model. I left the model.
GLORIA: Hun. It's late, swing by in the morning and maybe pick it up huh.
NATHAN: No, he made it for me. I have to—
GLORIA: Okay. Okay, let me flip a b-ward.
Gloria makes a U-turn at an intersection. Eerie dramatic music plays.
EXT. ENNIS’S HOUSE- NIGHT
Gloria pulls up to Ennis’s house.
GLORIA: Back in a sec.
Gloria gets out of the car and is on the porch. She sees the front door open and looks around, then enters the house.
INT. ENNIS’S HOUSE- ENTRANCE
GLORIA: Ennis?
Gloria scans the living room. The tv is static and the room is a messy with papers on the floor. A picture on the wall is crooked.
GLORIA: Oh geez, I better
Gloria grabs something on the table as a weapon and carefully looks around the house. She sees Ennis sitting in front of the window in the kitchen. The freezer is still open. Gloria slowly goes into the kitchen.
GLORIA: Ennis?
We see Ennis’s face, his nose and mouth glued shut. Gloria runs up to him, putting down the weapon. She takes her gloves off and checks for a pulse. There is nothing, and she is shocked. She hears footsteps in the attic. Nathan is also in the kitchen, model in hand.
NATHAN: Mom?
GLORIA: Go outside! Go outside now! - Leave.
Gloria quickly takes Nathan out of the house.
NATHAN: Mom! Mom!
EXT. ENNIS’S HOUSE- NIGHT
Gloria has Nathan put in the police cruiser. She turns on the police lights.
GLORIA: Lock the door. Call Donny and tell him to radio the state police. I'm gonna search the rest of the house.
NATHAN: No, no mom!
GLORIA: I gotta, I'm chief. Like I said lock the door. If you see anyone you lean on the horn okay. Anybody tries for you, use the pepper spray just like I taught you, it's in the glove.
Gloria closes the door. She puts her coat in the trunk and pulls out a shotgun. She closes the trunk and cocks the shotgun, going into the house. Song plays.
INT. ENNIS’S HOUSE- LIVING ROOM
Gloria searches the house, shotgun pointing. She heads up the stairs and starts scanning each of the rooms, breathing heavily. There is a light on the ceiling that she turns on. Gloria continues scanning. She kicks open one door, going in and coming back out. She goes back down stairs and locks the backdoor. Song ends. Gloria turns on a lamp on a desk covered in papers.
GLORIA: He was looking for something.
The floorboard creaks. Gloria jumps on it.
GLORIA: What the?
Gloria removes the carpet away from the floor. She opens a secret compartment.
INT. CAR- NIGHT
There are police sirens wailing in the distance, likely from Nathan dispatching in it..
INT. ENNIS’S HOUSE- DESK
Gloria pulls out a small metal box from the floor. She unlocks it.
GLORIA: Huh.
Gloria takes out a few novels. There is something familiar to her about one of them.
GLORIA: What the heck?
Gloria takes out the model from her pocket. She notices it looks similar to the cover of one of the novels.
EXT. OUTSIDE- NIGHT
Ray and Nikki are on the sidewalk laughing, holding hands.
NIKKI: Third place.
RAY: I know.
NIKKI: We played so good.
RAY: I know it was amazing.
NIKKI: So good.
Nikki squeals as she excitedly hugs Ray.
NIKKI: Oh my God, I am so proud of you.
Nikki takes Ray’s hand and both move quicker.
NIKKI: You made such a good job of it.
RAY: You're last hands, you played those cards and you were on fire.
Nikki hugs Ray again, both still laughing. Someone in a car smoking spying on them. Piano music plays.
INT. NIKKI’S APARTMENT- BATHROOM
Ray and Nikki are in the bathtub together. Both are on their phones. Ray exhales.
RAY: This is nice.
NIKKI: Huh? Oh, yeah, amazing.
Nikki puts her phone down and grabs her wine glass.
NIKKI: Third runner up, Wildcat regionals.
Ray chuckles.
NIKKI: Just posted it to my Facebook.
Nikki drinks.
RAY: We played good.
NIKKI: We didn't just play good. That hand I got, ten hearts, that doesn't just happen. That's, what have you, fate or luck.
RAY: Plus my steely gaze. Striking fear into the hearts of the elderly.
Nikki puts her hands on Ray affectionately.
NIKKI: I'm proud of you mister. You really, you focused. It's like I said, simpatico. Third runner up.
RAY: In the Olympics that's bronze.
NIKKI: Now see, that's the kind of thinking that's gonna take us straight to the top.
Ray and Nikki kiss. They are alerted to the door opening. Someone approaches. Ray and Nikki look to each other. Maurice enter the bathroom and sits on the toilet.
MAURICE: Oh. So, I got 'em Ray. I did. But I won't lie, it didn't go smooth.
NIKKI: Ray, there's a man in my bathroom.
RAY: That’s- le- let's not jump to any conclusions.
NIKKI: Are you saying he's not a man or he's not in my bathroom?
RAY: I'm saying, I can explain.
Maurice tries lighting a cigarette.
MAURICE: I had to- there was some acting required, in throwing the gas station attendant off my scent but—
NIKKI: There's no smoking in here.
MAURICE: And also, if I'm being honest. I sure hope that that fella with the stamps wasn't a friend of yours Ray. 'Cause well, let's just say-- When an ex-con threatens ya, demands the goods. The smart money says co-operate.
Ray gets out of the tub and puts a towel on.
RAY: Now- that wasn't part of the-- Nobody said anything about hurting—
Ray stands in front of Maurice.
NIKKI: Ray! Look at me, what did you do?
RAY: Nothing. Just give me a second.
Ray shakes up Maurice.
RAY: Hey! Shitbird! What did you do?
MAURICE: Nothing, just what ya asked. Drove out to Eden Valley and robbed your guy, the rich one. Although I gotta say the place wasn't exactly a palace.
RAY: Prairie.
MAURICE: Come again?
RAY: Eden Prairie.
MAURICE: Huh?
NIKKI: Ray, did you hire one your parolees to steal money from your brother?
RAY: No. Not money. Just-
Maurice is snorting. He takes toilet paper and blows his nose.
RAY: Just taking back what's mine. The stamp. I told you that, how he bamboozled me out of a fortune and I just-- All these years I just Let it go, but no more. You need a ring. This is our time.
Nikki looks at Ray in surprise.
NIKKI: That is so… romantic. Come here.
Ray and Nikki kiss passionately.
Maurice is digging his ear with his thumb.
MAURICE: That is so sweet. Although I gotta say, brother must have been from another mother 'cause man was he old.
RAY: What are you talking about?
MAURICE: What matters is, is I got what you asked.
Maurice gives Ray the paper.
MAURICE Now you can, we can tear up the piss test and you can—
Ray is aghast at the papers. He shows them to Nikki. Maurice gets up.
MAURICE: I should probably get out of town for a while. If I'm being honest given the level of uncooperation and consequences thereof
RAY: What the shit is this?
MAURICE: It's, what are ya, it's stamps.
Ray pins Maurice him against the wall and puts up his fist.
RAY: What did you do?
Maurice pulls out a gun and Ray backs off.
MAURICE: Listen, don't be-- putting your hands on me! You're raising the tone of your voice! not after the night I had. You didn't, do-- The risk I took on account of you. Your needs.
RAY: Emmit Stussy. Eden Prairie, it's a short drive. I wrote it down.
MAURICE: No you said-- Look I did what you said. The address on the Eden Valley, I looked it up. And now-- I'm out of pocket here Ray. I've got-- I think I covered my tracks pretty good. And look, since you touched me, I'm gonna have to demand a dollar value. Five thousand. Which is more than fair, considering the fella we robbed is probably dead.
NIKKI: What's your name handsome?
Ray looks at Nikki. Maurice looks at Nikki then to Ray.
MAURICE: Well now, I'm not sure I should tell ya. On account of
I've gotta think about covering my tracks here.
NIKKI: Darling I've seen your face. And Ray knows your name so—
MAURICE: It's Maurice.
MAURICE: Okay Maurice-
Nikki stands up, catching Ray and Maurice’s attention.
NIKKI: You get me a towel and maybe we can discuss this in the living room, like civilized people.
Maurice slowly grabs for the towel on the sink. Nikki’s eyes shift from Ray to Maurice’s gun.
NIKKI (whispering): Ray… the gun.
RAY: Ohh-
Ray charges at Maurice, trying to disarm him. Maurice pushes him off, gun pointing.
MAURICE: You tricked me. You got-- I'm giving ya 'til tomorrow to get my money. Five thousand. Otherwise, well maybe I turn you into the cops. Or shoot ya, or her. Robbing your own brother. That's just low.
Maurice walks out of the room.
MAURICE: You don't tell Maurice what to do.
RAY: Now hun, let me explain.
Nikki quickly gets out of the tub, grabs her robe, and speeds off somewhere. Ray grabs his robe and follows.
RAY: Hun? Hun?
NIKKI: Three floors, 10 seconds per floor.
RAY: Hun, what-- what are you--
Nikki is looking frantically through her kitchen drawers.
She finds nothing and walks out.
NIKKI: Cross the front hall, eight seconds
She passes Ray.
Nikki walks in the living room to search for something.
She picks up a screw driver.
RAY: Babe.
NIKKI: - Not now.
Nikki walks to the air-conditioner.
RAY: Hun what are—
NIKKI: Quiet, I'm counting.
Nikki uses the screwdriver to loosen the air-conditioner..
NIKKI: 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49--
Cut to Maurice walking down the stairs as Nikki continues counting. He stops as he tries lighting his cigarette. It isn’t lighting up, so he tosses it behind him and gets out another one. He continues downstairs.
Cut back to Nikki’s apartment. Ray puts on his trousers.
RAY: Can you believe this guy? I gave him a simple-- I even wrote down the damn—
Ray angrily throws down his towel. He puts on his belt.
RAY: And now just my-- Just my damn luck.
NIKKI: 64, 65, 66, 68, 69, 70, 71 72, 73, 74, 75, 76.
Cut back to Maurice walking downstairs. His shirt gets caught in the stair railing.
MAURICE: Son of a—
Maurice’s shirt has a few holes. He continues downstairs.
MAURICE: Short drive my ass.
Cut back to Nikki’s apartment. Nikki rips out tape holding the air-conditioner in place.
NIKKI: Is he out?
RAY: What?
NIKKI: The other window, do you see him?
Ray looks out the window. Dramatic percussion music plays as Maurice exits the apartment. He finally lights his cigarette and stands in the middle of the sidewalk. The air-condition is three floors above him.
RAY: Ya. He's coming hurry.
Cut to Ray and Nikki trying to push the air-conditioner out. Cut to Maurice still standing and smoking on the sidewalk. Ray kicks the air-conditioner out, causing it to fall outside. We see from the air-conditioner’s point of view of it as it continues falling. Ray eagerly looks out. Nikki looks from the window. Maurice blows out some smoke. The air-condition lands on Maurice, killing him. The alarm of a car close by blares.
Ray sticks his head back in the apartment.
RAY: Did you see that?
Nikki nods. Ray sticks his head back out.
RAY: Oh my God!
Nikki pulls Ray away and both duck.
NIKKI: Get down, or someone'll see.
RAY: I mean right in the-- No way-- Game over. Holy shit.
Nikki goes to her phone and starts dialing. Ray gets up as well.
RAY: What are you?
Nikki is on the phone.
NIKKI: Yes 911. There's been an accident, on the sidewalk, the air conditioner!
Nikki puts her hand on the phone speaker.
NIKKI: Get dressed you've gotta go.
RAY: What?
Nikki gets back on the phone.
NIKKI: Oh thank God. It's 940 Hannover Street, hurry please!
Nikki lowers the phone. Ray buttons up his shirt.
NIKKI: It was an accident. I've been trying to get the landlord to take that unit out for like six weeks, it's on record. And tonight I don't know, it must have come loose somehow.
Nikki nods. Ray does as well. She taps him on the
shoulder.
NIKKI: You're his parole officer, you can't be here.
RAY: Ya but-- what happens when?
Ray grabs his jacket.
NIKKI: I gave a fake name when I rented the place. I got ID.
RAY: Now that's-- Babe, that's a violation of your probation.
NIKKI: Ray?
RAY: Oh right yeah. Good call.
Ray puts on his jacket.
NIKKI: We'll talk about this later.
RAY: You, you're sexy.
Nikki seems flattered. She snaps her fingers at Ray, signaling him to go. She gets back on the phone.
NIKKI: Yes officer, I'll stay on the line.
Ray puts on his boots. Nikki uses her hand to block the speaker on the phone.
NIKKI: Don't forget the stamps.
RAY: What?
NIKKI: The stamps.
RAY: Stamps.
Ray gets the stamps from the bathroom.
NIKKI: Burn 'em, okay.
RAY: Okay.
Nikki signals Ray over to her. Ray walks over and they kiss.
NIKKI: I love you.
RAY: Baby you have no idea.
Ray heads to the door. Sirens wail in the distance. Nikki gets back on the phone.
NIKKI: Yes I hear the sirens. Thank you.
Nikki lowers the phone.
NIKKI: Back stairs.
Ray and Nikki blow a kiss to each other. Ray leaves. Nikki gets back on the phone.
NIKKI: Yes, I'll hold.
Song starts playing. There are some people viewing Maurice’s dead body. The police arrive.
EXT. ENNIS’S HOUSE- NIGHT
Gloria is looking after Nathan, both sitting on the steps. The police are inspecting Ennis’s house. A car pulls up.
GLORIA: Your dad's here.
Ron Burgle and Dale walk over to Gloria and
Nathan.
GLORIA: You take him to Dale's, I'm not sure how long—
RON: Whatever you need. I already turned the lights on in his room.
Gloria nods. She looks to Nathan.
GLORIA: Come here.
NATHAN: I wanna stay with mom.
GLORIA: No hun, mommy's gotta work now.
Gloria hugs Nathan. She whispers something to him. Nathan nods in understanding. He takes his leave.
GLORIA: Let's say no school tomorrow, huh?
RON: Yeah.
Ron leaves with Nathan and Dale. Gloria looks on as they leave. She turns back to the house.
