INT. BURGLE RESIDENCE- BEDROOM
Gloria is in bed thinking about Ennis’s murder. Cut to flashback of Ennis’s dead body sitting in a chair in the kitchen with the freezer open. Cut to close-up of Maurice. Cut to Nathan in the kitchen.
NATHAN: Mom?
Flashback ends.
GLORIA: Right.
Gloria gets out of bed. Cut to her opening the metal box with Ennis’s sci-fi novels. She picks up a handful of them and goes through all of them. The superimposed text appears. Gloria gets the rest of the novels and puts them on the table, continuing to skim through them. A police cruiser pulls up to the house. Gloria gets a newspaper that was also in the box. There is a picture of an older man and a younger man outside a motel room. The latter is holding an award. It is titled “Sci-fi Scribe Wins Golden Planet.” The headline reads “NOVELIST— Thaddeas Mobley standing outside of the Hollywood Premiere after winning Golden Planet. The door opens. Gloria’s partner, Donny Mashman enters.
DONNY: Hey, Chief.
Gloria grabs a picture.
GLORIA: Thought we said 9:00.
The picture Gloria is looking at is of a young, beautiful woman. Donny clears his throat.
DONNY: Yeah. But new chief showed up early. Wants to gather the department together first thing. So, since the department is you and me, I figured I'd come and get you.
Donny looks at the kitchen. Gloria drinks her coffee.
GLORIA: Mmm.
Donny walks into the kitchen, grabbing a cup and pouring coffee in it.
DONNY (sniffing): Is that the box you took from Ennis'?
GLORIA: Uh-huh.
DONNY: Nathan at his dad's?
GLORIA: Hopefully.
Donny walks over to the table. Gloria continues examining the items in the box.
DONNY: Oh.
Donny picks up one of the books.
DONNY: Do you think this Thaddeus Mobley fella had something to do with the murder?
Donny puts the book back down.
GLORIA: I should say so, seeing as how Ennis Stussy and this Thaddeus Mobley are one and the same.
DONNY: Come again?
GLORIA: How's it you're in my kitchen again?
DONNY: Oh, the chief-- Well, the new chief.
GLORIA: Oh, right. The department.
Gloria sips her coffee.
GLORIA: Well, let's go see if I still have a job.
Gloria unzips her winter coat and gets up.
EXT. OUTSIDE-DAY
Theme music plays. Gloria and Donny are driving on the road.
INT. CAR-DAY
DONNY: You going by the autopsy later?
GLORIA: They glued his nose and mouth shut. Are we thinking cause of death is somehow a cliffhanger?
DONNY: Guess not.
GLORIA: Did you canvass the local? Any reports of strange customers?
DONNY: Well, Earl at the Gas N Go intimated he might have had a weird one.
GLORIA: Weird how?
Gloria gets on her cellphone.
GLORIA: Uh, Ron? It's-- Hello?
RON: - Hello.
GLORIA: - It's me.
RON: Hello?
GLORIA: - Ron? Can you hear me?
RON: - Is this you, Gloria?
GLORIA: I wanted to check on Nathan, make sure he was getting—
RON: Ah, I can't quite hear you.
GLORIA: - Ron, it's Gloria.
RON: - Hello?
GLORIA: - Hold on, I'll call you b-
RON: What's that?
Gloria sighs as the call ends.
GLORIA: Gosh. Does yours do that?
DONNY: Who?
GLORIA: Every time I make a call, it's like I'm in a silent movie.
Gloria sighs.
EXT. EDEN VALLEY POLICE STATION- DAY
Someone is pushing a small snow blower. Gloria and Donny pull up to the station. They are walking up to the entrance.
Donny sighs.
DONNY: Hold up, forgot my gun.
Donny heads back to the car. Gloria stands at the entrance but the door is not opening for her. She steps back and waves at the sensor. Nothing happens. Gloria takes a step forward and waves her arm in a circular motion.
GLORIA: I'm here, right? You see me.
DONNY: Is that a trick question?
As soon as Donny approaches the entrance, the door opens. Donny walks in. Gloria looks confused, then follows inside. The door closes.
INT. IRV’S OFFICE- DAY
IRV: "Keep it.”
SY: That's what he said.
Irv nods.
IRV: This VM Vargas?
EMMIT: Yes. And we should have-- At the time when we needed the loan, we should have come to you.
IRV: Any idea what the VM stands for?
Emmit and Sy exchange confused glances.
IRV: You borrowed $1,000,000 from a man without knowing his first name.
EMMIT: - I know how it-
IRV: - It's not a question. I'm just assessing the level of stupidity.
EMMIT: - Hey
SY: - Irv, come on, we don't have to-- You get a lot of business from us.
IRV: Which, boychik, will stop the moment they arrest you for money laundering. At which time, all your business goes to a criminal attorney. And might I recommend Bruce Lipshits in our Minneapolis office? -
SY: We're not asking for-
EMMIT: - Irv, stop screwing around.
Emmit leans forward.
EMMIT: I need you to do some digging on this guy, his outfit. Now, we gave you his card and the card his reps gave to us last year. You have the loan document, on which is a phone number and a mailing address. There's also a corporate ID number! So unless you got the brains of a monkey, you should be able to friend this cocksucker on Facebook, and reel him in.
IRV: And then?
EMMIT: Then we get him to take his money back and forget he ever met us.
EXT. OUTSIDE- DAY
Emmit and Sy are in Sy’s hummer on the road. They pass by a snow plow.
INT. CAR- DAY
Emmit sniffs.
SY: How's Stella?
EMMIT: Yeah, she's good.
Slight pause.
EMMIT: You think I was too hard on him?
SY: Irv?
EMMIT: Ray.
EMMIT: At the anniversary party.
SY: Look, he-- It's been a long time coming, you saying no to him.
EMMIT: - Haven't I always
SY: - Nuh-nuh-nuh.
Sy chuckles.
SY: Like a Swiss watch. Reliable. That's you. So he should have no –
EMMIT: Yeah, but-
Emmit sighs.
SY: - Lookit, don't go – We've been friends a long time. Don't go getting soft here. We talked about this. It's for his own good. A man like that, used to blaming others for his
EMMIT: Maybe I should just give him the stamp.
SY: To what end? You think that'll fix it? Next thing he's going to want is interest. It's envy, the green monster. Your brother's a loser.
EMMIT: He's not a loser.
SY: Well, he's doing a pretty good imitation. And you're the goddamn Parking Lot King of Minnesota. He doesn't want the stamp, pal. He wants your life.
INT. IRV’S OFFICE
Irv is typing VM Varga’s name slowly in google.
IRV: Deb?
In the back of Irv is a window, which Deb opens.
IRV: What's it doing?
DEB: You hit "Enter"?
IRV: What's "Enter"?
DEB: It's a—
Deb sighs. She walks over to Irv’s office and clicks search. The only search result is a link on V.M. Varga’s name.
IRV: Now what do I, uh-
Deb brushes Irv’s hand away from the mouse and clicks on the link. The page shows a large “I” icon where underneath it says “Click to Download Information.” Irv clicks on it.
DEB: Wait!
The computer is loading. Suddenly the screen is reflecting Irv and Deb. It takes a picture of them. The computer shuts down.
IRV: What happened? Did I-- What did I—
DEB: I don't know.
IRV:- It just went uh--
DEB: I'll check mine.
Deb goes back to her office.
DEB: Mine's out, too.
IRV: Is it the power?
Deb looks up.
DEB: I mean, the lights are on. I'll call the I.T. kid that Shirley knows.
EXT. STUSSY LOTS LTD- DAY
A large truck is pulling up to the Stussy compound, a black car leading it ahead. An Asian man is driving the car. They stop at a booth. The attendant inside the booth opens his window. VM Vargas is sitting in the back of the car, his window rolled down to talk to the man in the booth.
VARGAS: Zdraveyte, as the Bulgarians say.
ATTENDANT: Pardon?
VARGAS: Ni hao is the Chinese. The Corsicans use the simple salut. And guten Tag, if German's your thing.
The man in the booth looks at the truck.
ATTENDANT: Is that-- Are they with you?
VARGAS: Surmise.
ATTENDANT: What?
VARGAS: Because we arrived together, we are together. Surmise.
ATTENDANT: Well, are ya?
VARGAS: Yes.
The attendant is shaking his head.
ATTENDANT: Can't park that here. We got-- City's got an ordinance.
VARGAS: No, it's perfectly fine. Mr. Stussy himself gave me permission.
ATTENDANT: Who?
VARGAS: Your employer. You do see the sign above which you stand, and how a man with a keener sense of reason might extrapolate a connection with the name I just mentioned. Your boss.
ATTENDANT: Look, mister
VARGAS: We're done here.
The car drives forward, the truck following suit. The attendant is outside and can only look on in wonder as the two vehicles drive off. Cut to the truck driver stopping the truck. He grabs his bullwhip in the passenger’s seat and gets out. He bangs on the truck.
INT. STUSSY LOTS- SY’S OFFICE
Sy is on the phone.
SY: Okay then. Just-- It's fine. Like he said, he's got permission. No, I won't say "from Mr. Stussy." I'm not gonna create the implication of foreknowledge.
Sy listens to the person on the other end.
SY: Of Knowing before the fact. They have permission. They can park there. Thanks.
Sy hangs up. He looks anxious.
INT. STUSSY COMPOUND- EMMIT’S OFFICE
Emmit is reading the *Saint Cloud Herald* newspaper about Ennis Stussy’s murder. Sy enters.
EMMIT: Did you see this bullshit in the paper? Some old-timer out in the country, they push in his front door, tie him up. He runs a general store, and some hopped-up junkie thinks he takes the register money home.
Emmit sighs.
EMMIT: Ennis Stussy. Eighty-two years old.
Emmit puts down the newspaper.
EMMIT: Not the Minnesota I grew up in, I'll tell you that.
SY: It's a tragedy.
EMMIT: Do you need something?
SY: Oh, uh There's uh-
Sy closes the door.
SY: Maybe a problem, not sure yet. Just, this Vargas fella I got a call from the Oakbridge lot.
EMMIT: The raised one?
SY: No. Ground lot, under the highway. Doesn't get a lot of traffic.
Emmit stands and sits on the front of the desk.
EMMIT: Right. Why'd we buy that one again?
SY: Sprawl-wise, you thought it'd be a good investment long-term. Maybe turn it into condos one day.
EMMIT: Right. We should talk to Stan Grossman about that. Test the waters.
SY: Yeah. I'll make a note. Anyway, it seems there's a big rig parked there now.
EMMIT: In the lot?
SY: Mmm-hmm.
EMMIT: Well, that's against code.
SY: Well, okay. There's that, too. But more to the point, what's in it? And I'm a little troubled by the escalation. Money loaned is one thing, but this? A truck full of-- Well It could be anything. Booze, guns The kind of demeanor this fella has…
EMMIT: You think maybe it's-- I don't even wanna say it out loud.
SY: Slave girls?
EMMIT: What? No. I was gonna say drugs. You think it's slave girls?
Sy hesitates.
SY: No. I mean, he's capable, this Vargas fella, don't you think? Just from the one meeting.
Emmit stands.
EMMIT: We should probably drive over there, take a look.
SY: Or, and this is the other way to go, not. See, I'm thinking about deniability. What they call "plausible." 'Cause if we -
Indistinct chatter coming from outside the office.
SY: Look, if Irv's right, and we-
Sy pops his mouth.
SY: Then we know. Which, in a court of law-
EMMIT: Got it. That's-- You're-- Good thinking.
Emmit goes back to his desk.
EMMIT: So, what do we-
SY: I think we gotta wait and see what Irv turns up. Then, whatever dirt, we use to extricate ourselves overall.
Emmit sits down and picks up the newspaper again. He nods and sighs deeply.
INT- EDEN VALLEY POLICE STATION- OFFICE
Moe approaches Gloria.
MOE: This is the problem right here. It's not even a proper police station. Where do you keep prisoners?
GLORIA: There's a store room, computer boxes, paper towels, or we drive 'em 10 miles to Paynesville.
Gloria and Moe walk in another room. Donny is seated at the table.
MOE: Wait, you said computer boxes. Where are the computers?
DONNY: They're in the boxes. Chief doesn't like computers. Well, old chief. Sorry, Chief.
Gloria uneasily nods.
MOE: Oh, you don't like them?
GLORIA: It's not that I don't like them. I don't like them, but that's no-- The old way works just fine. Type out a report, send it via telex.
MOE: You do know what year it is, right? The future. We don't use t-- Who uses telexes anymore?
GLORIA: So that's why no one ever writes me back. The point is, if I need a record search or priors run, I just call Jerry at County.
DONNY: Yeah, or Lou-Ann, if Jerry's sick or out or something.
MOE: I'm sorry to be doing this today, with the loss of your father and all.
GLORIA: Stepfather.
MOE: But you need to get with the program. It's not the '50s anymore where people don't lock their front doors.
GLORIA: People don't lock their front doors. Not here.
DONNY: Although they might now, after what happened to Ennis. I'm just saying.
Awkward silence.
GLORIA: Chief as much as I want to hear about this future you've come from, I got a potential witness to interview who may have seen our perp gas up on his way out of town, so I’m gonna-
Gloria puts puts on her police sweater.
MOE: You know what? I'm gonna go ahead and pretend you didn't just mouth off to me like my teenage daughter. And I'm gonna go ahead and let you brace your witness. And then I'm gonna let you take a few days off to grieve. But this is a done deal. You're being absorbed by the county. You work for me now. So, when you get back, you and the Chief, me, are gonna have a long talk about the way things work around here.
Gloria exchanges a glance with Donny. She leaves. Donny uncomfortably looks to Moe.
EXT. ROAD- DAY
Suspencful music plays. Gloria pulls up to store that Maurice
visited.
INT. STORE- DAY
EARL: I told Donny. It was the Russians.
GLORIA: No. I think he would've mentioned that. This is Thursday night, yeah? 'Round 10:00 PM? Why don't you start from the beginning?
EARL: You know, it's, whaddaya, Thursday. I got the game on--
GLORIA: Vikings?
EARL: Gophers. And it's one of those nights. Miller, Miller Lite, cigarettes, cigarettes, motor oil. And then some twitchy kid comes in, wants a case of frozen orange juice concentrate, which -- is that -- Can you make meth from that?
GLORIA: Not last I heard. Maybe just a vitamin deficiency.
EARL: My point is, I'm already primed for -- And then this fella comes in –
GLORIA: "Fella" singular?
EARL: If singular means just one. And he's looking for, wants to know, do I have a phone book?
GLORIA: And you're saying this fella was Russian?
EARL: Yes, ma'am.
GLORIA: From, like, an accent, or…
EARL: Well, now, I can't rightly say. Maybe he told me. Well, like I said, I got the Gophers on. But it's strong, how I remember him. So, I showed him where the book was, keep it on a chain.
GLORIA: Why do you keep your phone book on a chain?
EARL: Well, remember in the '70s? People used to steal 'em. Anyhoo, he looks through it, and then just tears a page out. Which, it's a public book, which -- Meant for everyone. So, I raise a ruckus.
Gloria puts on a glove. Earl grabs the phonebook.
GLORIA: Can I see it?
Gloria examines the phonebook and finds the page that was ripped out. She cuts the chord it is attached to.
EARL: Hey!
GLORIA: Gotta take this as evidence.
EARL: Evidence of what?
GLORIA: Well, fella stopped in here, used your phone book, tore out the page with Ennis' information on it. Shortly thereafter, Ennis is asphyxiated. So, I'd say, evidence he was looking for Ennis' house but didn't know the address.
Gloria bags the phonebook and takes off her glove.
EXT. PAROLE OFFICE- DAY
View of parole office.
INT. PAROLE OFFICE- DAY
A seated parolee is speaking.
MAN: "And in time of great joy they had meat and fowl and grain. And in time of sorrow, they ate tears"
The parolee starts humming. Ray is underneath his desk unplugging something, panting from the effort. He leaves his office. Cut to Ray entering his boss, Scotty Pullover’s, office. Scotty’s feet are up on the desk and is eating.
SCOTTY: See the game?
RAY: Not really. Can I use your computer?
SCOTTY: What happened to yours?
RAY: Vermin.
Ray is on the computer, turning the monitor to his left where Scotty can’t see it.
SCOTTY: You still got that con with the rack?
RAY: The-- what's that, now?
SCOTTY: The brunette with the nutcracker caboose? I'm saying her back end's so fit, she could probably crack a walnut.
RAY: Swango.
SCOTTY: Right. Her swango.
Ray logs into the “Death Information Database,” scrolling down.
RAY: No, that's her name. Nikki Swango.
Ray finds Maurice LeFay’s name there.
SCOTTY: Well, whatever she calls it, I'd like to butter that bread.
Ray sees Maurice’s death is ruled as “Accidental”.
RAY: Look, I got a One of my cons blew his piss test, Maurice LeFay.
SCOTTY: What is he, Cajun?
RAY: No, he's from Wabasso, I think. Anyway, he's MIA for his 9:00 AM, and my thinking is he likely flew the coop. Saw the writing on the wall, if you know what I mean.
SCOTTY: So, issue a BOLO. Jesus. You need me to wipe your ass, too?
RAY: No. I'll do that.
Ray grins as he leaves the office.
EXT. OUTSIDE- DAY
Ray approaches the apartment complex. There is someone scrubbing Maurice’s blood on the sidewalk. Ray takes a moment to view it, then enters the building.
INT. APARTMENT- NIKKI’S ROOM
Ray enters, seeing a suitcase in front of him. He puts his keys on the dresser and looks to Nikki, who has cards laid out on the table.
NIKKI: Burt Lurdsman.
Ray approaches.
RAY: What?
NIKKI: - Is the name. His name. The sponsor I told you about. Potential. I'm trying to visualize.
RAY: I, uh-- They've got it listed as—The-- The initial report, as accidental. Maurice. His cause of death, misadventure by major appliance. Which is-- That's good, right?
NIKKI: He's in vacuum cleaners. Invented some kind of, whaddaya, filter out of Bismarck. And he's looking for a new team.
Ray grabs Nikki’s arm.
RAY: Babe, we gotta I need you to focus. We're not We dropped a 200-pound AC on an ex-con, and, yeah, it looks like the cover-up's working, but there's a long way to go before we're out of the woods here.
Nikki gives Ray a strange look. She slaps him.
RAY: Ow!
Nikki slaps Ray again.
RAY: What the-- The heck?
NIKKI: There's something wrong with your chi.
RAY: The-- what's that?
NIKKI: Like, your energy flow. You're—you’re all blocked up, babe. We can't have that.
Ray walks to the couch.
RAY: Well, I-- I've I never killed anybody before.
Ray sits on the couch. Nikki goes to the couch as well.
NIKKI: Well, me either. Life's a journey, you know?
RAY: I gotta be honest. I got some remorse.
NIKKI: 'Course you do. You're not a heartless killer.
Nikki sighs.
NIKKI: You got the soul of a poet.
RAY: I do?
NIKKI: You bet. You're my honey bear.
Nikki sits on Ray, facing towards him.
RAY: What if they catch us? You know what happens to ex-law enforcement in the clink?
NIKKI: They're not gonna catch us. Like you said, it was an accident. Plus, we'll be out of here today. I gave a fake ID to the cops. The apartment's rented under an assumed name. Anybody thinks to follow up, and it's just a dead end.
RAY: What about the fella that Maurice killed? The other Stussy? Wasn't he really old?
RAY: So?
NIKKI: Hon, they don't look at those cases as close as the young ones.
RAY: I don't think that's-
NIKKI: - It's just common sense. What with them being so close to the grave and all. Besides, you said yourself, he messed up, your man, killed some random geriatric in the sticks who happened to have the surname. So, even if they wanted to solve it, the police, what possible solve is there, besides unfathomable pinheadery?
Ray exhales, smiling at Nikki.
RAY: You've thought of everything.
Nikki kisses Ray.
NIKKI: That's us. Thought and action. The next Burt Lurdsman Grand National Champions.
Nikki and Ray kiss again. Ray moves his hands further up Nikki’s body.
NIKKI: Don't get any ideas, mister. I'm on my period. Just remember, when the BOLO for Maurice turns up a dead body, you write "Case Closed," and file the papers at the dead-letter office.
Ray is feeling Nikki’s butt.
RAY: Scotty's right. You got a real nutcracker back there.
NIKKI: Who?
RAY: My boss. We were talking, and-
NIKKI: You were talking about my ass with your boss?
RAY: No.
Nikki gets off Ray.
RAY: I-- He just-- I was using his computer on account of vermin ate through my cord, and—And-- And he just-- He asked if I still had you as a con, and I—I said-
Nikki walks back to the table. Ray stands up.
NIKKI: I hate that word, "con." It's so negative.
RAY: We weren't talking about your ass, hon.
Nikki collects the cards on the table.
NIKKI: I don't know what I was thinking. We're never gonna land Burt Lurdsman with your chi all blocked up like this.
RAY: Well, okay, how do I unblock it?
NIKKI: We gotta find some sort of psychic Drano, or You know what it is, don't you? The blockage? It's your stupid brother. The history between you two and how it made you go crazy, and hire a doofus to break into his house.
RAY: Hey, hon, I didn't hire him, I was blackmailing him.
NIKKI: My point is, this is a blood feud. We can't be fightin' a blood feud while we're trying to land a big-time sponsor. We're just gonna have to do it ourselves.
Ray: Do?
Nikki puts the cards down on another table.
NIKKI: - The stamp. Get the stamp back.
RAY: Now, hon Well-
NIKKI: - it's either that, or make peace with him. Are you willing to do that? Forgive and forget? Bygones?
Ray looks curious.
EXT- EMMIT’S MANSION- NIGHT
Doorbell rings. Emmit opens the door to find Ray.
EMMIT: Who died?
RAY: When?
EMMIT: It's 10:30!
RAY: Shit. Did I wake you?
EMMIT: No. It's fine. Stella's sleeping, though, so let's talk over there.
Emmit points downward. Ray looks behind himself. The brothers go to two benches in front of the mansion. They both wipe off excess ice and sit across from each other.
RAY: I should've called.
EMMIT: Nah, it's-- Ray?
Ray has two different shoes on.
RAY: Oh. Sometimes when you do a piss test, they—
EMMIT: Why not just put on both the other pair?
RAY: Well, it happens a lot. Basically, this is now my only non-micturated footwear.
CUT TO. INT. EMMIT’S HOUSE- NIGHT
Nikki entering the mansion from the backdoor with a flashlight in hand. She heads upstairs.
CUT TO. EXT. EMMIT’S MANSION- NIGHT
EMMIT: It's late, Ray.
RAY: It's 10:30. Fine.
Ray sighs.
RAY: I felt bad about how we left things, you know, the thing between us, and always fighting.
EMMIT: Me, too. I felt bad, too.
RAY: And now, you know, my chi's all backed up, Nikki says. And I know it's late, but I thought I'd come out here and say I want to make up. Bury the hatchet, you know, put the past behind us, bygones.
CUT TO. INT. EMMIT’S MANSION- EMMIT’S OFFICE
Nikki enters Emmit’s office, quietly closing the door. She approaches Emmit’s desk, but stops and points her flashlight at a picture of a donkey on the wall where the stamp used to be. Nikki looks puzzled.
CUT TO. EXT. EMMIT’S MANSION- NIGHT
EMMIT: Well, I can't believe you're saying this, kid, after all-
Ray stands.
RAY: - Let me finish. It's not, you know, easy. You've done good here, real good. With Stella, and the business-- And I just wanna say, I'm proud of you, and you don't owe me anything.
Emmit smiles.
CUT TO. EXT. EMMIT’S MANSION- EMMIT’S OFFICE
Nikki is searching for the stamp, looking through the table behind Emmit’s desk. She goes to search Emmit’s desk, looking through the drawers. There is nothing. Nikki looks through the drawers on the other side, taking off her coat and taking hair pins out of her wallet.
CUT TO. EXT. EMMIT’S MANSION- NIGHT
Ray and Emmit are standing by Emmit’s corvette.
EMMIT: Well, I gotta say, it's a huge relief. With the week I'm having, and after all these years.
RAY: Me, too.
Ray chuckles. He initiates a hug, but Emmit sticks his hand out, both instead shaking hands. Emmit pats Ray’s arm. Ray gets inside his car.
EMMIT: Get home safe.
Ray turns on the car and closes his door, leaving. Emmit smiles, sighing in relief.
CUT TO. INT. EMMIT’S MANSION- EMMIT’S OFFICE
Nikki finds Emmit’s passbook in a drawer. There is a paper inside it reading “Rental- **Safety Deosit Box. Nikki is agitated, slamming the passbook and her flashlight on the desk. She unzips her pants.
CUT TO. INT. EMMIT’S MANSION- NIGHT
Emmit comes back inside, taking off his jacket and putting it on a chair. Upstairs, he is about to go into his room, but looks suspicious about something. There is light emanating from his office. He opens the door and sees the lamp on his desk is on. Emmit turns it off, but turns it back on when notices something on his wall. Walking up to the picture of the donkey, he sees a message marked in red on it: “Who’s the ass now? Emmit quickly turns around and notices his desk drawer open. There is a used tampon in it.
EMMIT: Ugh.
EXT. PARKING GARAGE- NIGHT
Irv is heading to his car. Vargas’s henchman Yuri Gurka is seen leaning on it.
YURO: Irvig?
IRV: Do I know you?
YURI: It's Yuri, back from the old country.
IRV: Da YURI: Am I not right?
YURI: You grew up in Ukraine.
IRV: No. My bubbe, her people You know, you hear the old stories, how she fled from the Cossacks in the middle of the night. Five years old. The men on horseback.
YURI: That is me.
IRV: I'm sorry?
YURI: Cossack. When I saw your name. You searched for Mr. Vargas, yes? I thought, I know these Blumkins. We rode them down like animals back in old days, raped their women, ate their babies.
Yuri and another of Vargas’s henchmen, Meemo, grab Irv. Both henchmen throw him over the railing. Irv screams.
Russian music plays. Yuri and Meemo are walking back to their car. Yuri pushes Meemo and Meemo kicks him back.
EXT. OUTSIDE- NIGHT
Nikki is walking to Ray’s corvette. Ray opens the door and Nikki gets inside.
INT. CAR- NIGHT
RAY: Did you get it?
NIKKI: Now, before you have a feeling, let's just both agree, this is gonna be a process.
RAY: What are you-
NIKKI: He's a worthy opponent, I'll give him that. Not only does he hide the trump card, he rubs our faces in it with a burro. I bet he was all sweetness and cream when you talked to him.
RAY: Well, actually, you know what? It felt kind of good. We really-- We talked, and I think we got past it.
Nikki seems surprised.
NIKKI Oh.
RAY: What do you-
NIKKI: No. Just-
RAY: No, you didn't-- I mean, no trace, right? In and out. That's what we-
NIKKI: Well-
RAY: No. Come on.
NIKKI: Look at me. It's clear now, I'm clear. My chi, I can feel it. And I did what you said. We put it behind us. Bygones. So-
NIKKI: Okay, to be fair, that wasn't the plan. You were supposed to-- While I broke in, you would pretend-- And you didn't see it, Ray. He moved the stamp, your brother. He didn't trust you. So he hung up, in its place-- If you saw what he hung up-- A donkey is what.
Ray seems surprised.
NIKKI: So, you see the symbolism.
Ray nods.
NIKKI: Oh, he's good. It's like I said, he's got the physical and the mental game. Well, he may have won this round, but two can play at that-
Sirens are wailing in the distance.
NIKKI: We should-- You should drive.
RAY: Why?
NIKKI: Just go.
Ray starts the car and drives off.
INT. EMMIT’S MANSION- EMMIT’S OFFICE
Emmit and Sy are staring into the drawer where the tampon was.
SY: I don't-
EMMIT: It's a message. He sucker-punched me, Ray. You were right. Kept me talking in the driveway while the shifty fiancee breaks in looking for the stamp.
SY: Where's the stamp?
EMMIT: The cleaning lady broke the frame, so I'm getting it fixed. But he doesn't know that. So they concoct this genius strategy. I should've seen it. All these years, and suddenly he gets a conscience? I don't think so.
SY: Why a tampon, though? Not that it-
EMMIT: - I'll tell you what, boy. The gloves are off now. He is D-O-N-E, done.
SY: Like I said, it's about time. And so, here's what's gonna happen. I'm gonna step in and make this problem go away.
EMMIT: Don't-- I mean-
SY: I won't. Just give him the lay of the land. He's dead to you. To us. We see your brother again, he calls, we go straight to the cops. Rat him out to the city. Dating a parolee. Her parole officer. There's gotta be a law against that. So, believe you me, he'll scare. That will be the end of that.
The phone rings. Emmit answers.
EMMIT: Hello?
Emmit checks his watch. The caller is Deb. Her voice is quivering in sadness.
EMMIT: Yeah?
DEB: Oh, Irv-- he is dead. He jumped off the parking garage.
Emmit looks surprised at the news.
EMMIT: Okay, Deb. Thanks for calling.
Emmit hangs up.
SY: What's-
EMMIT: Irv. He jumped off the garage.
Sy looks surprised at the news.
INT. CORONER’S OFFICE- DAY
Gloria and Nathan are sitting across from the coroner at his desk.
CORONER: It's a tragedy.
GLORIA: It is.
NATHAN: He was 82.
CORONER: So, a good life.
GLORIA: Did you know him?
CORONER: I did. A horrible man.
Gloria and Nathan awkwardly look at each other.
CORONER: Have you notified his next of kin?
GLORIA: We are his next of kin.
CORONER: Of course. I meant any other family that he might have had, outside of Minnesota. I know he wasn't from around here.
GLORIA: It's kind of, to be honest, a mystery. I mean, as far as I can figure, Ennis moved to Eden Valley in 1980. Married my mom in '82. I was six. And they were only together for four years. So, I mean, honestly, we're not even family, really, but I thought Nathan should have the influence of a male elder in his life, seeing as how his dad left.
CORONER: You should ask your mother, perhaps.
GLORIA: I would, except she's dead.
CORONER: Of course. I'm sorry. She's in the 21-J in ash.
GLORIA: So, if you know of any friends Ennis may have had, or-
CORONER: He didn't talk much. Except to curse.
GLORIA: I think he may have changed his name before he moved here. Did you ever hear of Thaddeus Mobley out of Los Angeles?
CORONER: No, I'm afraid not.
The coroner pulls out a large book from his drawer.
CORONER: Shall we choose a vessel?
EXT. OUTSIDE- DAY
Ray parks at a lounge.
INT. LOUNGE- DAY
Ray is having a meal and reading a newspaper. A waitress takes his plate away.
RAY: No, I’m not-
The waitress is not listening. Ray continues reading the paper. He drinks his coffee. Outside, we see Sy parking his hummer and heading for the lounge. Ray is quietly reading the paper. The door is heard opening and closing. Sy approaches and sits across from Ray. Ray closes the paper and looks to Sy.
SY: There's a problem.
RAY: Is it you?
SY: No, Ray. It's you. You and your disgusting girlfriend.
RAY: Hey now.
SY: Sorry. Fiancee.
RAY: Look, there was, you know, some mixed signals last night, but I'm gonna call Emmit-
SY: No. You're not. In fact, you and Emmit will never speak again.
RAY: Don't be, you know, dramatic.
SY: Oh, I'm serious. This is non-negotiable after the stunt you pulled. Feminine hygiene deployed as a weapon?
RAY: I don't know what you're-
Sy angrily slams his fists on the table. The patrons gasp.
SY: Are you listening to me?
RAY: You wanna watch your tone when you talk to me, errand boy.
SY: My tone?
RAY: Your tone.
SY: My tone.
RAY: Yeah, your-- This is between me and my brother.
Sy shakes his head.
SY: Never gonna happen.
RAY: Oh, yeah, it's gonna happen all right.
Sy pulls out money from his pocket. He puts a $20 bill in front of Ray.
SY: You see that? That's the last dime you're ever gonna see from the Parking Lot King of Minnesota.
Sy stands, heading out.
RAY: Yeah? Well, I got something to show you, too.
Ray reaches into his pocket, pulling his hand up to flip Sy off. Sy sees this as he leaves. Ray knocks on the window to get Sy’s attention, flipping him off once again. Ray is shocked when Sy backs up into his corvette. .
RAY: Oh what the shit!
Sy drives forward, then speedily backs up.
SY: AHHHHHH!
Sy backs up into Emmit’s corvette with more force.
RAY: Aww!
Sy puts up hand through the sunroof, flipping off Ray as he drives off. Unfortunately, he loses control and hits a car in the parking lot.
SY: Oh, jeez!
Sy tries regaining control of his hummer. Ray can only gaze at his damaged corvette.
WAITRESS: My car! Look what that animal did to my car!
INT. STUSSY CORP.- EMMIT’S OFFICE
Emmit is typing on his laptop. He pushes a button on his landline.
EMMIT: Madeline, call my wife, will ya?
Emmit get no response from his secretary. He contacts her again.
EMMIT: Madeline?
Madeline is seen getting up from her seat. Emmit is going to check on his secretary. He is about to exit his office, but sees VM Vargas and Yuri at her desk. Hoping not to be seen by them, Emmit hides behind his glass wall. He peaks from his office, but is spotted by Vargas and Yuri. Emmit smiles and waves at them, having no choice but to see them. Meemo is also present, listening to music with earphones.
MADELINE: Mr. Stussy-
EMMIT: It's okay, Madeline, I got it.
Madeline walks back behind her desk.
EMMIT: What can we do for you, friend?
VARGAS: Mr. Stussy, what a day. What a day! I was hoping to show the boys their new office.
Emmit is confused.
EMMIT: Their-
VARGAS: It's this way, if I'm not mistaken.
EMMIT (to Madeline): Call Sy.
Vargas points to a door. He and his henchmen approach it. Emmit rushes to them.
EMMIT: Uh, we don't-
Emmit rushes up to them.
EMMIT: We're pretty full right now.
Meemo leans against a wall.
VARGAS: No, no, no. It says on the blueprints there's an entire wing you've just rented. Expanding, are we?
EMMIT: Well, that-- We acquired some new lots.
VARGAS: Yeah, and who have you got to thank for that, eh?
Vargas opens the door and turns on the lights.
VARGAS: There we go. Perfect!
Vargas speaks a foreign language to Meemo. Meemo claps his hands. The elevator bell dings. People are bringing boxes into the room.
EMMIT: This is not-- You can't just-- Stop! Look Come on! Stop! We have rights!
VARGAS: Emmit. Emmit.
Vargas touches Emmit’s shoulder.
VARGAS: You're making a scene, all right? Now, let's talk in your office.
Emmit looks baffled at everything. He glances at Meemo, who leans off the wall. The elevator dings. Sy comes out and is astonished seeing people bringing in boxes.
SY: What's-
MADELINE: - They just-- I'm sorry, Mr. Feltz, they just pushed their way in.
Sy sees Emmit and Vargas in Emmit’s office.
SY: Oh, good. They're here. Uh, nothing to worry about, Madeline. Remember how I said we were expanding our IT department?
MADELINE: No.
SY: Well, we are. So…
Sy goes into Emmit's office.
SY: Sorry, I was dealin' with the-
EMMIT: What?
SY: Your-
VARGAS: Did I tell you what I like about this place, Minnesota? It's so perfectly, sublimely bland. Have you been to the Danube? Or Gansu? And the African continent? Forget it. North and south. Anarchy. And, yes, you can still find some relative stability in the brutal nation states, North Korea Putin's done some great things with Russia. You just have to know which palms to grease. But one wearies of the constant remunerations and the petty shakedowns Meet the new boss, same as the old boss. Am I right?
Vargas playfully taps Sy at the stomach.
SY: Mr. Vargas?
VARGAS: Please, Sy, Call me VM. Eh? We're partners now.
EMMIT: We are not partners. That—This-- You lent us some-
SY: - Capital. Which we've told you, we're happy to pay back with interest.
Vargas speaks French. Emmit gestures in confusion to Sy. An equally confused Sy shakes his head.
VARGAS: You see, that's the problem with you Americans. You watch too many movies, and you think the deal can always be changed, and it can't. We're partners now, and that's all there is to it. So, you might as well just lie back, as they say, and enjoy yourselves.
Emmit and Sy continue to look at Vargas curiously.
VARGAS: Let me tell you what it is that attracts me to the parking lot business, yours in particular. It's three things. It runs on cash. You don't use technology. And that makes your income impossible to verify. 'Cause who's to say how many cars parked in which spots and for how long?
Emmit shakes his head. Sy steps in.
SY: Mr. Vargas, VM, if I may-- We show, in our books We show a very consistent, very steady, predictable income from lot to lot, consistent with several urban volume factors. And if you start goosing those numbers-
VARGAS: Well, so we buy more lots. Maybe branch out, start developing some multi-function commercial and residential properties, a new stadium, perhaps.
Emmit and Sy still look anxious.
VARGAS: There. There you go. Now you're seeing it. The inescapable reality. You're trapped. Don't look so sad. By the time we're done, you'll be billionaires. On paper, at least.
Yuri knocks on the door.
VARGAS: Good. Well, that's that out of the way. Now, you may not see much of me for a couple of days, brutal nation states and all, but Yuri and Meemo will be here to make sure everything runs smoothly. And, oh, yes, condolences on your attorney. What makes it so tragic is how avoidable it was. But you understand, I can't have people out there investigating things.
Rock music plays. Emmit and Sy watch as Vargas leaves.
[End Credits]
