Logline: When a girl is kidnapped, a detective must outwit a
criminal mastermind in order to get her back. The only
person who can help is the kidnapped girl's father, but he
faces the death penalty if he tells what he knows.
Author: Giacomo Giammatteo
Source: Adaption of my book by same name: Necessary Decisions
Contact Info: [email protected]
(281) 370-2233
Draft 6: April 10, 2022
A BLACK SCREEN
FADE IN:
EXT. TOWNHOUSE — SOUTH HOUSTON — NIGHT
GINO CATALDI (40, white, determined, early wrinkles and bags
under his eyes from still mourning his wife) and RIBS
DELGADO (late 30s, sarcastic, takes few things seriously)
sit in the front seat of a late-model Ford.
Gino opens the glove compartment and pops the trunk, then
gets out of the car. He places his holster under the spare
tire, then puts Ribs’ holster next to it.
GINO
Remember to keep your spare gun where
you can easily get to it.
Gino takes his wallet from his pocket, counts his money, and
kisses the picture of his long-dead wife.
RIBS
You’ll need more than luck from Mary
if you plan on winning in this game.
INT. TOWNHOUSE — NIGHT.
Inside are four poker tables seating eight players each.
Gino sits at table two and Ribs at table four. At table two,
PLAYER ONE (50s, heavy smoker) sitting right of Gino, pushes
a small stack of chips into the pot and lights a cigarette.
PLAYER ONE
Bet a hundred.
Gino studies the man, looks at the pair of queens he holds,
then tosses in three black chips.
GINO
Call your hundred and raise two.
Five people fold, PLAYER EIGHT (40, black, bald) studies the
men he faces and calls. There is a ruckus at the door. FOUR
PEOPLE enter, all wearing masks and gloves and holding guns.
MAN THREE
(gruff voice)
Nobody move! Stay calm.
He puts a gun against Gino's head.
MAN THREE (CONT’D)
Money and valuables. All of them.
Gino pulls out a wallet and shows the man it's empty. He
lays his money clip and wallet on the table. At other
tables, more armed men demand the same.
MAN THREE (CONT’D)
What else?
GINO
I've got nothing else.
MAN THREE
Your watch.
Gino looks at his watch. It has a plain black face with only
a second-hand showing.
GINO
This has no monetary value, only
sentimental. Not worth the bullet
you’d have to use to get it from me.
The man hits Gino on the side of the head with the butt of
the gun. Blood runs down Gino's face and neck and into his
mouth. The man hits him again and knocks him out of the
chair and onto the floor, blood pools under Gino's head.
MAN THREE
I don’t need to waste a bullet.
BOSS
Number Three! Enough.
NUMBER THREE
Yes, Boss.
NUMBER THREE (30s, tall, prone to violence) searches Gino
and finds a gun and a badge. He grabs the man sitting next
to Gino and puts a knife to his throat, pressing until he
draws blood.
NUMBER THREE (CONT’D)
I'm gonna slit throats until this
cop's partner comes forward.
Ribs stands slowly, hands in the air, holding a badge.
RIBS
I'm his partner.
BOSS (40, large man, wearing mask, a control freak, but
calm) walks to Ribs with his hand extended, palm up.
BOSS
Gun and badge, but don’t worry, we’ll
leave them at the door.
Ribs hands him the gun and badge, then gestures to Gino.
RIBS
I need to look after my partner.
Boss glances at his watch and nods.
BOSS
You have five minutes.
Boss turns to the others with him and snaps orders.
BOSS (CONT’D)
Tie everyone up. We need to move.
INT. TOWNHOUSE — NIGHT
COPS burst in, flashing badges and wielding guns. They
immediately untie people while others search the house.
RIBS
We need to get Gino to a doctor. He's
bleeding badly.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
2 -
Healing Wounds
INT. E.R. — HERMANN HOSPITAL — NIGHT
Ribs waits while Gino gets stitches. He jokes with the
DOCTOR (30s, black woman, talkative and compassionate).
RIBS
Take good care of him. He's my cuz.
GINO
Only by marriage.
The doctor smiles, then finishes putting stitches in Gino's
head and hands him some pills.
DOCTOR
Take one of these tonight and two
every six hours afterward. With 18
stitches, your head's going to hurt.
GINO
You can keep the pills, but I'll take
a kiss on the cheek.
The doctor holds her hand up, showing her wedding ring.
DOCTOR
The pills will have to do, Detective.
RIBS
Damn, that hurts, don't it, cuz?
(a beat)
You need to get smoother with your
pickup lines. Don’t be so direct.
GINO
Yeah, I know, Ribs, but I’m rusty.
Mary’s only been gone —
RIBS
She’s been dead for years. It’s time.
GINO
Whatever, let’s go to the station.
INT. POLICE STATION — NIGHT
Gino and Ribs walk into the office of CAPTAIN GLADYS COOPER
(40, glasses, barrel-chested, deep voice, a no-nonsense type
with a reputation for ruggedness).
Cooper removes her glasses, wipes her forehead on her
sleeve, and stares at Gino.
COOPER
I want answers, Cataldi. This is the
third game that's been hit, but it's
the first one that's turned violent.
GINO
They wanted my watch. I wouldn't give
it to them.
Captain Cooper sighs.
COOPER
And why the hell not?
GINO
Mary gave me that watch. No way I was
giving it up.
The captain puts her glasses back on, and looks over the
rims.
COOPER
But they got it anyway, didn't they?
GINO
For now, but I'll get it back.
COOPER
Let's get one thing clear, Cataldi. I
don't want any repeats of Rico Moreno
and his men.
Gino swallows hard, squelching the lump in his throat. Gino
looks at his wrist, where his watch was, then glances at the
clock on the wall.
GINO
You've got nothing to worry about.
CAPTAIN COOPER
Good. Go home, rest, and forget about
the watch. It'll be gone by tomorrow.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
3 -
A Hard Goodbye
EXT. CONSTRUCTION SITE — DAY
LONNY HACKETT (40, a heavily muscled black bricklayer and
dedicated father) finishes laying bricks, then comes down
from the scaffold, carrying a tool bag and a level.
LONNY
See you tomorrow, MR. Mattusek.
MATTUSEK (50s, white, firm but consoling) walks toward
Lonny.
MATTUSEK
Hang on a minute, Lonny.
LONNY
Sure. You need somethin' done? You
know I can use the work.
Mattusek turns his head to the side and mumbles. He faces
Lonny and stares with a pained look.
MATTUSEK
Lonny, I gotta let you go. I don't
know for how long, but you'll be the
first one I call back.
LONNY
(voice cracking)
What about the restaurant we were
supposed to get? And the --
MATTUSEK
We didn't get the contracts for
either one. Somebody undercut us.
Lonny gulps and shakes Mattusek's hand.
LONNY
Call me if you get anything. I mean,
anything.
MATTUSEK
I will. I’ll call you first.
Lonny gets in his truck, starts it, and drives away.
EXT./INT. LONNY'S CAR — DAY
Lonny's phone rings. He pulls a cell from his pocket. Caller
ID shows it's his wife, LUCIA (early 40s, black woman,
perpetual smile, lives for her kids).
LONNY
Hey, baby. I hope you have a few
fillets on the grill, and topped with
my favorite mushrooms.
LUCIA (V.O.)
How'd you know, old man? And just in
case your dreams come true, stop and
pick up some real milk to go with
those imaginary steaks.
Genres:
["Drama"]
Ratings
Scene
4 -
A Tough Choice
INT. CORNER STORE — DAY
Lonny enters the store, grabs a gallon of milk, counts his
money, then picks up a few candy bars for Lucia and his
kids. He sets the candy on counter for the CLERK (early 20s,
thin, tattooed).
CLERK
How's it going, Lonny?
LONNY
Shitty. Got laid off. I don't know
how I'm gonna tell Lucia, let alone
the kids.
CLERK
That sucks, man. Let me know if I can
do anything.
LONNY
You can tell me if you hear of anyone
needing work. Any kind of work.
The clerk looks around the store, checking for others.
CLERK
I know a guy, but he's kind of shady.
LONNY
Shady how?
CLERK
From what I hear, a person's gotta be
willing to do anything. Not murder,
but anything else.
LONNY
I’m not that desperate yet, but it
might get there quickly. How about
giving me his number?
The clerk shakes his head.
CLERK
Doesn't work that way. If you’re up
for it, I’ll give you a cell phone
and he’ll call you.
Lonny shakes his head slowly.
LONNY
I’ll think about it and let you know.
Genres:
["Drama","Crime"]
Ratings
Scene
5 -
Prom Proposal
INT. HIGH SCHOOL, THE WOODLANDS — DAY
JADA (17, long hair, black, typical teenager, humbly
dressed) walks down a long hall, her head hanging low. She
waves to her friend ALEXA (17, black, perennial party girl,
well-off and dresses the part).
ALEXA
Anybody ask you to the prom?
JADA
Nobody. Not even Kenny, though I'm
kinda glad about that. I might have
been tempted to say yes.
ALEXA
What’s wrong with Kenny?
JADA
Kenny’s nice, but he doesn't have it.
ALEXA
And you know you won't have that
problem with Jason.
Alexa accompanies Jada to English Lit class. About halfway
through, she taps her on the shoulder.
ALEXA (CONT’D)
Girl, you better quit dreaming about
Jason Rules and start thinking about
Pip ‘cause Mrs. Epson’s gonna quiz us.
EXT. HIGH SCHOOL BUS STOP — DAY
Jada waits at the bus stop, schoolbooks in her arms. She is
gossiping with Alexa, when a convertible filled with
teenagers pulls up. The horn beeps, and JASON (18, white,
antagonistic rebel) jumps out and runs toward Jada.
Alexa tugs Jada’s arm and whispers.
ALEXA
This is it. He’s gonna ask.
Alexa then steps away and gets in line for the bus. Jason
stands in front of Jada and smiles.
JASON
Been lookin’ for you, girl.
JADA
I guess you didn’t look hard enough.
The car horn beeps, and Jason waves them off. He leans over
and kisses Jada on the cheek, then takes hold of her hands.
JASON
Will you go to the prom with me?
Jada blushes and lowers her head, but then she nods.
JADA
(coyly)
I’d love to.
Jada waits until Jason is out of sight, then holds her hands
in front of her face and screeches. She giggles, runs for
the bus, and joins Alexa just as the bus pulls to the curb.
ALEXA
Girl, I saw you talking to Jason?
(a beat)
Jason Rules has got the tools.
Alexa and Jada laugh and hug each other as they get on the bus
and dance their way to a pair of empty seats. KENNY (black,
17, mannerly) walks to Jada, hands in pocket, head hung low.
KENNY
You going to the dance?
JADA
Jason asked me.
KENNY
Jason Rules? You could do better.
Kenny shakes his head and walks away. Alexa puts her hand on
Jada's arm, leans toward her, and whispers.
ALEXA
Don't worry. He can't ruin this day.
JADA
You’re right about that. Nothing can
ruin this day.
Jada rides the bus to Alexa's and waits while Alexa gets her
car from the garage. She then gives Jada a ride home.
Genres:
["Teen Drama","Romance"]
Ratings
Scene
6 -
Prom Dreams and Family Struggles
INT. HACKETT HOUSE — DAY
Jada walks into the house. Her mother is folding clothes.
LUCIA
How was your day, dear?
JADA
I got asked to the prom!
LUCIA
Kenny?
JADA
Jason asked me first, and I couldn't
say no; besides, he's adorable.
Lucia sets down her laundry basket and hugs Jada.
LUCIA
I’m happy for you, dear, but what
will you wear?
JADA
We’ll have to get something.
LUCIA
You know the money situation.
Nothing's changed.
JADA
Don't we have any money?
LUCIA
Where did you think we’d get money?
Did you bring any in this week?
Lucia grabs a dishtowel and tosses it to Jada as she walks
toward the kitchen.
INT. KITCHEN — DAY
LUCIA
You dry. I'll wash.
Jada dries dishes and puts them away noisily.
JADA
How come I get shafted? You knew
about the prom.
Lucia turns off the water, sets down the washcloth, and
glares at Jada, who avoids her mother's stare.
LUCIA
Yes, I knew about the prom, but I did
not know that your father's boss would
cut his hours in half, or that he
wouldn't be able to find more work.
Lucia looks ready to cry. She turns her head to the side.
LUCIA (CONT’D)
And I didn’t know that every damn thing
we need to live would go up in price.
Jada runs the towel across the bottom of the pan and wipes
the inside. She looks closely at the towel and scowls.
JADA
I'm so sick of dog hairs. I can't
wait till Scooter goes.
Lucia spins and glares at Jada.
LUCIA
I know you didn't mean that.
JADA
I’m sorry, Mom. I didn't mean to
upset you. And I really do love you —
and Scooter.
Genres:
["Drama","Family"]
Ratings
Scene
7 -
Unmet Expectations
EXT. HACKETT HOUSE — DAY
Lonny pulls into the driveway and washes his hands and arms
at an outside spigot. He brushes cement from his clothes,
puts on a fake smile, and enters the house.
INT. HACKETT HOUSE — DAY
Lonny walks into the kitchen and hugs Lucia and Jada.
LONNY
How are my favorite girls tonight?
Jada hugs back and kisses him on the cheek.
LONNY (CONT’D)
Whoa! Something's going on. I don't
get this kind of greeting unless a
person needs something, and badly.
JADA
Daddy, I got asked to the prom today
by the cutest boy in school. Maybe
the cutest in the world.
Lonny leans down and kisses her forehead.
LONNY
I’m sure you’re thrilled, but I don't
know if I want the cutest boy in the
world taking my baby to the prom.
LUCIA
I hate to interrupt this moment of
joy, but what your daughter isn't
telling you is that she needs a dress.
LONNY
You know we don't have money for a dress.
JADA
Sorry, Dad. I didn't know if —
LONNY
You knew. Sure as shit, you knew.
Lonny storms off and slams the bedroom door when he leaves.
INT. LONNY'S BEDROOM — DAY
Lonny sits on the bed and buries his head in his hands. He
shakes his head and punches the mattress several times.
INT. LIVING ROOM — DAY
Jada walks to the bedroom door and reaches for the doorknob.
She hears sobbing sounds from the other side, and stops,
turning to her mother.
JADA
I think Dad's crying, Mom.
Lucia hugs Jada and pats her back.
LUCIA
Your father's a proud man. Proud men
have a lot further to fall when
something goes wrong.
Genres:
["Drama","Family"]
Ratings
Scene
8 -
Balancing Worries and Warmth
INT. LONNY'S BEDROOM — NIGHT — LATER
Lucia enters the bedroom and sits next to Lonny. He’s lying
on the bed, staring at the ceiling. She rolls him over and
rubs his back.
LONNY
How the hell am I gonna feed everyone
and pay the mortgage? I can't lose
this house. I won't lose this house.
LUCIA
What's wrong?
LONNY
What's wrong? I need to make more
money and take care of this family.
(MORE)
LONNY (CONT’D)
I've got a truck with dents, the
engine sputters, and it's got 155,000
miles on it. How long’s it gonna last?
LUCIA
If it happens, we’ll deal with it.
LONNY
My baby girl’s going to that prom.
INT: KITCHEN — MORNING
Lonny walks into the kitchen, smiling.
LONNY
Good morning, ladies.
He kisses Lucia on the cheek and leans to kiss Jada on the
forehead. He walks past MARS (15, black, jock) and playfully
punches his arm.
LONNY (CONT’D)
Good morning to you too, tough-guy.
MARS
Be careful, old man. I’ll take you out.
LONNY
Don't even think you can come close.
MARS
Did you see my take-down at the last
competition? It had your name all over it.
JADA
Sit down, Dad. I'll get you
breakfast. I've got to keep you
healthy so you can get more work.
MARS
I can quit my lessons if that helps.
I can always go back later.
Jada leans down and kisses Mars on the head.
JADA
Not much means more than this prom,
but seeing you win competitions does.
Thanks for offering though.
Lonny takes the last bite from an egg sandwich, grabs his
boots, then heads out the door.
Genres:
["Drama","Family"]
Ratings
Scene
9 -
A Glimmer of Hope
EXT. VARIOUS CONSTRUCTION SITES — DAY
MONTAGE — LONNY LOOKING FOR WORK
-- Lonny drives to a building site and speaks to the foreman.
-- Lonny drives to the site of a new school being built.
-- Lonny joins a small crowd of day-laborers at a corner
store.
END OF MONTAGE
EXT/INT. CORNER STORE BY LONNY'S HOUSE — DAY
Lonny turns into the parking lot but just sits in his truck
and stares. Twice, he starts the engine and turns it off
again. He leans his head on the steering wheel, hits the
dashboard, then he starts the truck and drives home.
INT. HACKETT HOUSE — DAY
Lonny steps into the living room and wipes his boots on the
mat, then slips them off.
LONNY
Hello? Anybody home?
Crying sounds are heard in the bedroom, then Lucia steps
out, drying her eyes. Lonny runs to her and lays her head on
his shoulder, patting her back.
LONNY (CONT’D)
Hey, baby, what’s goin’ on? What’s
wrong? Are the kids okay?
Lucia pulls away from him and takes a letter from her apron
pocket. She hands it to Lonny.
LUCIA
This just came. A foreclosure notice.
(a beat)
What are we gonna do?
Lonny stares at the blank wall and holds her tightly.
LONNY
Don’t worry. I’ll think of something.
We are not losing this house. We
worked too hard to get here.
LUCIA
Unless you can work miracles, I don’t
know how we’ll manage. We’ve cut to
the bone as it is.
Lonny takes a step back, opens his wallet, and looks inside.
LONNY
Damn! I must have left my license at
the store. Be right back, babe. And
don’t worry. I’ll handle it.
INT. CORNER STORE — DAY
Lonny checks to see if anyone is in the store, then
approaches the clerk.
LONNY
Okay. I’m ready.
CLERK
You’re sure?
Lonny nods, and the clerk reaches under the counter and
pulls out a bag, which he hands to Lonny.
CLERK (CONT’D)
There’s a phone in the bag. A man
named Willard will call shortly.
Genres:
["Drama"]
Ratings
Scene
10 -
A Call to Shadows
EXT. CORNER STORE — DAY
Lonny gets in his truck and leaves the parking lot. His
phone rings almost immediately.
WILLARD (V.O.)
Are you willing to do anything?
LONNY
Who is this?
WILLARD (V.O.)
I'll ask one more time. Are you
willing to do anything?
LONNY
As long as I can make money, yeah.
WILLARD (V.O.)
I know a guy who needs a worker. But
you can't fuck with him. If you tell
him you’re in, you're in all the way.
LONNY
Give me the number.
WILLARD (V.O.)
Not how it works. If you’re in, tell me.
LONNY
I'm in.
WILLARD (V.O.)
He’ll call. Refer to him as Boss.
As Lonny turns toward his house, the phone rings.
BOSS (V.O.)
I heard you want work.
LONNY
I do.
BOSS (V.O.)
Listen carefully. And don't write
this down. Nothing gets written down.
LONNY
Okay.
BOSS (V.O.)
Tomorrow morning, go to the coffee shop
at Louetta and Kuykendahl. Park in the
lot behind the shop next to a green
van. Get in the passenger side, put on
the mask that will be on the seat, and
slip through the curtains into the back
of the van. Talk to no one. Number
Three will provide training. Your name
will be Number Four.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
11 -
A New Path: Lonny's Descent
EXT. VAN — MORNING
Lonny gets in a van behind the coffee shop, and dons the
mask. Number Three is in the back and DRIVER (40, female) is
behind the wheel.
MONTAGE
-- Number Three takes Lonny to a remote site where he trains
him to scale walls, pick locks, and walk silently.
-- Lonny is dropped off at a corner store and handed a gun.
-- Lonny gets out of van, goes inside, and points the gun at
the clerk.
-- Lonny races from the store with a bag of cash.
END OF MONTAGE
INT. BOSS’S HEADQUARTERS — DAY
Driver drops off Numbers Three and Four, who enter the
building and go to the back to see Boss.
Boss reaches into his desk drawer and hands Lonny a packet
of cash.
BOSS
I heard you did well, Number Four, so
take this as an initial payment. There
will be more as we get new jobs.
Lonny smiles and tucks the cash into his pocket.
BOSS (CONT’D)
And speaking of new jobs, we have
something tomorrow. Make sure you’re
at the Starbucks near Louetta Road
and I–45 early — say eight.
INT. HACKETT HOUSE — DAY
Lonny walks in smiling. He pulls out a few hundred dollars
and hands it to Jada, then counts out more for Lucia.
Lucia stares, eyes and mouth agape.
LUCIA
Lonny, where —
Lonny puts his finger to her lips and shakes his head.
LONNY
I told you I’d handle things. There’s
enough for one mortgage payment, and
enough for a prom dress.
He turns to Mars, smiling.
LONNY (CONT’D)
You’re gonna have to wait.
Mars laughs and punches Lonny’s arm playfully.
MARS
No worries. I don’t need anything.
Genres:
["Crime","Drama","Family"]
Ratings
Scene
12 -
The Heist Begins
EXT. STARBUCKS — DAY
Lonny arrives on time and goes through the same process as
before. Numbers Two, Three, FIVE (40, Texas accent), and Boss
are already seated. A moment later, Driver opens the door and
starts the engine.
EXT. HOUSE ON MEMORIAL DRIVE — DAY
The van turns off Memorial Drive and down a street lined
with expensive homes. It pulls to a stop in front of a two-
story with trees and hedges that keep it secluded.
BOSS
This is a home invasion. Follow
procedure, and no one will get hurt.
LONNY
What do I have to do?
BOSS
Follow orders and only follow orders.
Driver taps the roof, indicating arrival and all is good.
DRIVER
We’re here, and it's time.
Boss hands a pamphlet and a knife sharpener to Lonny.
BOSS
Go to the door. Pretend you’re a salesman.
Lonny knocks on the front door and waits. Just as the door
opens, he turns and walks away.
Boss, dresses like a telephone repairman, walks to the back.
Driver pulls into the drive and everyone else exits the van.
A WOMAN (60s, frail, gray hair) opens the front door, but
Lonny is already walking away.
WIFE
Young man. Young man, what do you need?
INT. HOUSE ON MEMORIAL DRIVE — DAY
Number Two (30, female, controlled) comes from behind and
presses a gun to the wife's head.
NUMBER TWO
Please don't move or scream, ma'am.
We won't hurt you. We just want a few
of your items.
The wife trembles, and her knees almost buckle.
WIFE
Take what you want. Just don't hurt me.
INT. BOSS'S HEADQUARTERS — DAY
Boss sits in a chair studying plans when a door opens. He
pulls his mask down and reaches for his gun.
NUMBER TWO
Number Two coming in.
Boss relaxes. Number Two takes a seat next to him.
NUMBER TWO (CONT’D)
Everything ready?
BOSS
Double-checked and confirmed. Where
are the others?
NUMBER TWO
Should be coming any time.
Numbers Three, Four (Lonny), and Five arrive and go through
the details. Boss looks at his watch and stands.
BOSS
Remember your stations and remember
protocol. No one gets hurt. Clear?
ALL MEMBERS OF CREW
Clear.
NUMBER TWO
How much time do we have?
BOSS
From entry to exit, we have twenty-
five minutes. Driver will drop us off
and pick us up. No one will ever be
unmasked. If anyone has questions,
ask. If not, let's go.
EXT/INT. MARSHALL HOUSE — EVENING
Driver parks half a block from the house, next to an access
road. Lonny goes to the front of the house and rings the bell.
Boss checks his watch and begins the countdown.
BOSS (CONT’D)
Ten more seconds . . . Five, four,
three, two, one, go!
They step across the backyard and go through a sliding door.
Number Three moves quickly through the house. He holds a
knife to MRS. MARSHALL/mother (40, soccer mom). Number Two
grabs a GIRL (16, typical teenager).
NUMBER TWO
Don't scream.
Lonny grabs the BUTLER (60, white, English accent) from
behind and holds a gun to his head. Boss walks quickly
through the room.
BOSS
I'm going upstairs. Five, come with me.
Genres:
["Crime","Thriller"]
Ratings
Scene
13 -
Home Invasion: A Family's Desperate Struggle
INT. BATHROOM — EVENING
Boss enters the bathroom holding a knife while MR. MARSHALL
(40s, graying hair) is in the shower. He yanks the door open.
BOSS
Keep quiet. Your family is downstairs,
and we don't want anyone hurt.
Marshall uses a towel to cover himself, but Boss snatches it
from him and tosses it on the floor.
BOSS (CONT’D)
No need for this. We're all family.
INT. LIVING ROOM — EVENING
Number Two is standing with the mother, daughter, and SON
(18, jock) also naked.
BOSS
I want all jewelry, cash, and any
valuables that fit in these bags.
Number Three hands two bags to Mrs. Marshall. Her hand
trembles as she reaches for them. The daughter stands next
to her and cries.
NUMBER THREE
If you try anything, the men die.
MRS. MARSHALL
(voice quavering)
I won't. Please don't hurt us.
BOSS
Just get what we asked for.
Mrs. Marshall returns a few minutes later with the bags
stuffed and hands them to Boss. He turns to Mr. Marshall.
BOSS (CONT’D)
Where's the safe?
MR. MARSHALL
There is no safe.
Boss nods to Number Three. He strikes the son on the knee
with a tire iron. The boy falls, then Three kicks the boy in
the stomach until blood oozes from his mouth.
Mrs. Marshall rushes toward her son.
MOTHER
No!
Boss grabs her and looks to Mr. Marshall.
BOSS
If you want your boy to play football
again, tell us where the safe is.
MOTHER
Tell them, Charles! It's only money.
The son grabs Number Three's ankles and brings him down.
Number Three scrambles to his feet and beats the boy
repeatedly in the face with the tire iron.
NUMBER TWO
Number Three!
BOSS
That's enough.
MARSHALL
The safe's behind the bedroom
painting.
Boss nods to Number Three, who goes to the bedroom. Then
Boss and the others secure the family with duct tape. Number
Three returns in a few minutes. Boss looks at his watch.
BOSS
Let's go. Almost time.
EXT. MARSHALL HOUSE — EVENING
They leave through the back. Driver picks them up at the end
of the path and pulls out of the neighborhood.
LONNY
(raised voice)
Why'd you do that? You hurt that boy.
Number Three grabs Lonny's collar and yanks him forward.
Boss presses a gun against the back of Number Three's head.
BOSS
Sit back, Three.
Number Three hesitates and Boss cocks the hammer.
BOSS (CONT’D)
Either sit back, or your share of the
take pays to clean the van.
Boss turns to Lonny.
BOSS (CONT’D)
If you question what's done on a job
again, your share will go for
cleaning. Clear?
LONNY
Clear.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
14 -
Night of Terror
INT. GINO'S HOUSE — NIGHT
Gino stumbles from bed and answers the phone.
GINO
Hello?
CHIEF RENKIN (V.O.)
Cataldi, it's Chief Renkin. I hope
it's not too late.
GINO
No problem, sir. What can I do for you?
CHIEF RENKIN (V.O.)
We had another home invasion, but
this one escalated; they beat the son
pretty badly.
GINO
Where did it happen?
CHIEF RENKIN (V.O.)
Champions Forest. You live close,
don't you?
GINO
Not far, Chief. You think it's the
same group?
CHIEF RENKIN (V.O.)
Sounds like it. And I've already
cleared this with Captain Cooper. I
know it doesn't make a difference, but
the Marshalls are dear friends of mine.
GINO
I understand, sir. I'll get on it
right away. First thing.
CHIEF RENKIN
It's not too late tonight, Detective.
INT. MARSHALL HOUSE — NIGHT
Gino pulls into a drive that looks like the entrance to a
country club, and the house is big enough to be one. He
walks to the porch and rings the doorbell.
MR. MARSHALL
You must be Detective Cataldi.
GINO
Chief Renkin told me what happened.
How's your son?
MARSHALL
Not good. My wife is still at the
hospital. I came back to meet you.
Marshall steps aside and swings the door open.
MARSHALL (CONT’D)
Come in, Detective.
Gino steps into a huge foyer with a spiral staircase, then
follows Marshall and the butler to the kitchen. Gino sits
and takes out his notepad.
KITCHEN
GINO
Tell me what happened, Mr. Marshall,
and try to go through it slowly. No
detail is too small or insignificant.
MARSHALL
I picked Roger up from football
practice, and we came home and went
to our rooms to shower. I was in the
shower when they came in.
Marshall sips on a glass of wine and stares at Gino.
GINO
Was the patio door locked?
MARSHALL
No, but it never is, except at
bedtime. My wife checks the doors and
sets the alarm before going to bed.
GINO
Did they wear gloves?
BUTLER
All of them did. Surgical gloves.
GINO
What happened next?
MARSHALL
I didn't know anything until one of
them came into the bathroom. He
ordered me out, wielding a knife.
They took our jewelry and cash, then
asked where the safe was.
Marshall paused to sip from the wine glass again.
MARSHALL (CONT’D)
There were five of them, four white
and one black.
GINO
I thought they wore masks and gloves.
How do you know one was black?
BUTLER
His sleeve slid up when he grabbed me.
(a beat)
And one of them was female also. She
spoke only once — when the man struck
Roger — but I'm sure she was a woman.
GINO
What did she say?
BUTLER
She yelled 'Number Three.' After
that, she said nothing.
Gino tenses and clenches his fists. He sits upright.
GINO
She said ‘Number Three’? You're sure?
BUTLER
Positive. I thought it odd at the
time. It stuck in my head.
Gino grits his teeth and stares at the wall.
MARSHALL
Does that mean something to you?
GINO
We've had several home invasions, and
in one of them, a man named Number
Three was involved. I have to think
it's the same person.
(a beat)
Write down your insurance company's
name. Sometimes information leaks.
Marshall writes on a slip of paper and hands it to Gino.
MARSHALL
Do you think you'll find them?
GINO
I don't know how quickly we'll find
them, but I promise, we’ll find them.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
15 -
Masks and Consequences
INT. OFFICE OF DISPATCHER — DAY
DISPATCHER (50s, monotone voice) sits at his desk working.
The Caller ID reads ‘unknown caller.’ Dispatcher glances
around, then picks up the phone.
BOSS (V.O.)
I'm looking for help. Number Three
fucked up badly.
DISPATCHER
When do you need a replacement?
BOSS (V.O.)
As soon as you can.
DISPATCHER
One more thing. Number Four is no
longer available. He called earlier.
BOSS (V.O.)
Fuck! All right, send the new man to
replace Number Four. I'll make do
with Number Three for the time being.
And remind the old Number Four of the
consequences if he talks.
INT. BOSS'S HEADQUARTERS — NEXT DAY
Numbers Two, Three, Five, and the new NUMBER FOUR (30s,
thin, short hair) listen as Boss speaks. All have masks on.
BOSS
We had a good take on the last job,
but the next one will be even bigger.
(a beat)
We’re doing a kidnapping.
NUMBER FOUR
Kidnap? But --
BOSS
Easy, Four. I know it’s riskier, but
the payoff makes it worth the risk.
Number Four tugs at his mask.
NUMBER FOUR
Why do we have to wear these when
we're inside?
BOSS
If you don't like the rules, leave now.
NUMBER FOUR
It's hot.
BOSS
Prisons are hotter.
ALL MEMBERS OF CREW
Clear.
BOSS
Good, now let's go over the rules one
more time. First rule is no names. I
am Number One or Boss.
(MORE)
BOSS (CONT’D)
And going left to right, we have
Numbers Two, Three, Four, and Five.
NUMBER TWO
What's the next score?
BOSS
I’ll tell you when we’re ready.
Genres:
["Crime","Thriller"]
Ratings
Scene
16 -
Morning Rituals
INT. WINTHROP HOUSE — DAY
SUPER — “ONE WEEK LATER”
SCOTT (40s, black, rigid and professional) rolls over in
bed. He gropes about, as if looking for someone, then sits
up. Sounds of the shower running come from the bathroom.
SCOTT
Jennifer!
INT. SHOWER — WINTHROP HOUSE — DAY
Glimpses of JENNIFER’s (30, white, confident, poised) shapely
legs and butt are seen through the steamed-glass doors of the
shower. She gets out, wraps in a towel, and dries herself.
JENNIFER
I’m done, Scott. Be out in a minute.
INT. WINTHROP BEDROOM — DAY
Scott starts to get out of bed but a knock at the door stops
him.
ALEXA
Time to get up, Dad. You told me to
remind you of your meeting.
SCOTT
I'm up. Thank you.
ALEXA
You better be. I'm off to school.
Jennifer enters Scott's room clad only in a towel. Scott
turns to her and smiles.
JENNIFER
Feel free to turn your head while I
finish dressing, and then I need to go.
(a beat)
How am I getting home, by the way?
SCOTT
I'll send a car for you when I get to
work. Or you could stay until tonight.
JENNIFER
Sorry, I can't stay. But I promise
not to steal you blind while I'm
waiting for the car.
SCOTT
(laughing)
All right.
SCOTT (CONT’D)
I’m taking a shower. Put coffee on if
you like. Everything is on the counter.
INT. WINTHROP KITCHEN — DAY
Jennifer makes coffee while Scott takes a shower. The coffee
sits in a French press, then Scott enters the kitchen. He
kisses Jennifer on the cheek and heads out the door.
SCOTT
Gotta go, but I’ll send a car
shortly. Make yourself at home.
JENNIFER
Don't forget your phone. It's in the
charger. And don’t forget to call me.
Genres:
["Drama","Thriller"]
Ratings
Scene
17 -
Secrets and Stakes
EXT./INT. SCOTT'S OFFICE — DAY
Scott parks his Lamborghini in the space marked 'CEO,' then
walks to the conference room and puts his briefcase on the
table. He looks at each person sitting around the table.
SCOTT
I don't see many smiles. Is everyone in
a bad mood, or am I in for a surprise?
CHRIS REYNOLDS (30s, white), lowers her head.
CHRIS REYNOLDS
We just finished Sanjay's report. There
may have problems with the clinical data.
SCOTT
Explain.
CHRIS REYNOLDS
If Sanjay is right, the drug is
barely more effective than a placebo.
Scott pounds his fist on the table and glares at Chris.
SCOTT
Fuck! How did you miss this?
Chris stands, her hackles up.
CHRIS REYNOLDS
Because we rushed it. Remember?
SCOTT
I said rush it, not screw it up.
CHRIS REYNOLDS
When dealing with drug development,
'rush it' and 'screw it up' are
synonymous.
Scott stands and paces along the wall with floor-to-ceiling
windows. He draws the blinds to keep the sun from shining
through, despite a heavy concentration of trees.
SCOTT
How certain are we?
SANJAY
It will take two weeks to verify.
SCOTT
I thought this was a blind trial. How
do we know anything?
CHRIS REYNOLDS
Sanjay knows someone at the CRO.
SCOTT
So no one knows but us?
CHRIS REYNOLDS
That's right, but we --
Scott holds up his hand, silencing the room.
SCOTT
All right, listen. This doesn't go
outside this room. Tell nobody. Not
wives or husbands. Not anyone else in
the company.
FRED WRIGHT (CFO, white, 50s, no smiles) stands and speaks
adamantly.
FRED WRIGHT
Scott, we're required to report this.
If the --
SCOTT
Fred, I know you're the CFO, but if
you breathe one word of this to
anyone, you won't be with us any
longer. And let me remind everyone
that if this gets out, our IPO is
sunk. Those new houses you dreamed of,
the new cars, the vacations all over
the world ... kiss them all goodbye.
CHRIS REYNOLDS
I don't intend to ruin my career --
SCOTT
Whoa! Listen up. I'm not suggesting we
cover this up. If the data confirms
what Sanjay suspects, we'll report it.
But we can't afford to let something
like this ruin our position until we
know we’re wrong. Understand?
Scott looks around, then nods.
SCOTT (CONT’D)
All right, let’s get to work. Sanjay,
hang on a minute. We need to talk.
(a beat)
How did this leak?
SANJAY
Sir, I warned you about this.
SCOTT
And I told you to keep it quiet. I
said no one could know.
Scott slams his hand on the table.
SCOTT (CONT’D)
If you want your family to ever get
to this country, you better make sure
this stays delayed.
SANJAY
Yes, sir. I will.
Genres:
["Drama","Thriller"]
Ratings
Scene
18 -
Contrasting Lives
INT. BOSS'S OFFICE — DAY
Boss is at his desk. The phone rings, and Boss answers.
DISPATCHER (V.O.)
You know how dangerous this is. Few
succeed, and if they do, it's usually
because the mark is dead.
BOSS
All I need is a name.
DISPATCHER
I just got one. Woodlands biotech
guy — Scott Winthrop. He stands to
get up to eighty million from an IPO,
and he's got a teen-age daughter.
INT. POLICE STATION — DAY
Gino walks into the office of Ribs Delgado.
GINO
Hey, Ribs, looks like we'll be partners
again. We've got the same sons of
bitches that hit the poker game.
(a beat)
Same ones who took Mary's watch.
RIBS
How do you know it's them?
GINO
During the robbery, one of them
yelled “Enough, Number Three.”
RIBS
Good enough for me. Fill me in while
we drive. But stop for coffee.
EXT/INT. GINO’S CAR — DAY
Gino pulls into the drive-through lane and orders two coffees.
GINO
Ribs, I think this crew did the house
on Memorial too. Same M.O. down to
the duct tape.
RIBS
Dios mío. The poker game!
GINO
Exactly. I want the fucker who took
Mary's watch.
Ribs finishes swallowing and sets his coffee in a holder.
RIBS
Cuz, you know I love you, but don't
get wild on me. I know you've been
fucked up since Mary died, but I don't
want to have to visit you in prison.
GINO
I'm fine. Let's just solve the case.
INT. WINTHROP HOUSE — DAY
Jada and Alexa prepare for school in Alexa's huge bathroom.
They apply makeup, talk about boys, and giggle.
JADA
Prom's almost here. I can't wait.
ALEXA
Spoken like a girl who has a date. By
the way, I heard Jason knows how to
work that tongue of his.
JADA
Girl, you’re gross. He might know how
to use it, but I’m not finding out.
Jada sits in front of an eight foot mirror with magnifiers
built in for applying makeup.
She leans forward, purses her lips, and puts on lipstick.
She turns to the side and puts the finishing touches on
doing her hair into a bun.
JADA (CONT’D)
Your bathroom is bigger than my whole
bedroom. You know I could totally
live at your house.
Jada applies eyeliner, fixes her hair, and turns to Alexa.
JADA (CONT’D)
You like it?
ALEXA
It’s not about me liking it, you have
to worry about Jason.
JADA
(laughing)
He’ll love it. And don't forget, I'm
going shopping with him, so don’t
call me.
ALEXA
Shopping? Is that what you call it?
(laughing)
I won't bother you — as long as you
fill me in on the juicy details.
JADA
There won't be any juicy details.
ALEXA
Ha. All day and half the night with
Jason Rules. I guarantee there will
be juicy details.
Jada finishes her makeup and stands.
JADA
We should go, Alexa.
Alexa and Jada walk down the hall. Alexa bangs on her
father's door as she passes.
ALEXA
Get going, Dad. We’re off.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
19 -
The Abduction of Jada
EXT. WINTHROP HOUSE — DAY
Number Two parks on the side of the street. She checks the
surroundings, then dials Number Three.
NUMBER TWO
(concerned)
Number Three, there are two girls.
Repeat. There are two of them. If
they don't split, we have to abort.
NUMBER THREE
Which one is the target?
Number Two points to a girl as she approaches the bus stop.
NUMBER TWO
Her. The one with her hair in a bun.
NUMBER TWO (CONT’D)
Go. We've got less than two minutes.
NUMBER THREE
Pull up close, Driver. It's time.
Number Three grabs a pillowcase and makes sure his knife is
handy. Driver pulls close. Number Three opens the sliding
door, slips the pillowcase over the girl's head, and yanks
her into the van.
When she screams, he puts a knife to her throat.
NUMBER THREE (CONT’D)
Don't make me hurt you.
Number Three binds the girl’s hands and calls to Driver.
NUMBER THREE (CONT’D)
Everything's good. Get moving.
INT. BOSS'S HEADQUARTERS — DAY
Driver pulls into the base and taps on the roof, signaling
all is clear. Number Two grabs the girl and takes her inside.
On the way, the girl takes the cell phone from her purse, and
feels around for a trash can to toss it into.
NUMBER TWO
Don't try anything. You can't escape,
and we don't want to hurt you.
Number Two unties her hands and removes the gag.
NUMBER TWO (CONT’D)
You can scream if you like, but no
one will hear. There are no windows,
and the doors are locked. There is no
way to escape, so don't try.
The girl coughs several times, and drool oozes from the
corner of her mouth.
JADA
I feel sick.
NUMBER TWO
You'll get over it.
JADA
I feel like I'm going to throw up.
NUMBER TWO
Don't think because I'm being nice
that I won't hurt you. If you try to
take advantage —
JADA
Okay. I'm sorry.
NUMBER TWO
Sit down and relax. As soon as we get
your daddy's money, it will be over.
The girl shuffles her feet and starts to talk, then stops.
NUMBER TWO (CONT’D)
What is it, girl? Speak up.
JADA
Suppose . . . I don't know, suppose
my dad doesn't pay?
Number Two moves close to her, leans in, and whispers.
NUMBER TWO
I know your father can't pay, but the
others don't. Just make up a lie — a
good lie. And remember, the best ones
are based in truth.
JADA
How do you know this?
Number Two takes a few steps, walking away, then returns.
NUMBER TWO
One more thing. Don't get the idea
that I’m your friend. I just don't
want anyone hurt. Understand?
JADA
I understand. And thanks.
Number Two dials Boss.
NUMBER TWO
She's all yours.
Boss points his finger at Number Four.
BOSS
In fifteen minutes make the call and
be sure to stick to the script.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
20 -
Desperate Plea
INT. WINTHROP HOUSE — DAY
The phone rings as Scott prepares to leave. He picks up
quickly and speaks brusquely.
SCOTT
Michele, I'm on my way.
NUMBER FOUR (V.O.)
This isn't Michelle. Listen closely.
We have your daughter.
SCOTT
What? Who is this?
NUMBER FOUR (V.O.)
I said, we have your daughter.
SCOTT
What the hell are you talking about?
Is this you, Ted?
NUMBER FOUR (V.O.)
This is no joke. Get a pen and paper
and write this down.
SCOTT
Mister, I don't know who you are,
but —
NUMBER FOUR (V.O.)
Shut-up. Do you hear me? Shut the
fuck up or I'll kill her.
Scott pulls a pen and pad from his briefcase, then checks to
make sure the recorder is on.
SCOTT
Sorry. I'm listening.
NUMBER FOUR (V.O.)
Write this down. We want seven
million dollars and —
SCOTT
I don't have that kind of money.
NUMBER FOUR (V.O.)
Mister, we know you don't have it
yet, but you can borrow on it. Now
shut up and let me finish.
(a beat)
Seven million in hundred-dollar
bills, non-sequential serial numbers,
and no tracers on the money or in the
money. We’ll know if you try to track
us. Have it ready in forty-eight
hours. We’ll call tomorrow with
instructions.
SCOTT
Wait! I need to talk to my daughter.
NUMBER FOUR (V.O.)
The next time we call, you can.
Scott panics and dials Alexa's phone.
SCOTT
Come on, Alexa. Pick up.
When she doesn't answer, he dials the principal's office.
SCOTT (CONT’D)
This is Alexa Winthrop's father. I
need to speak with her.
SECRETARY (V.O.)
Hold one second, Mr. Winthrop. I'll
call her classroom.
The SECRETARY comes back on the line a few seconds later.
SECRETARY
No one is picking up. I'll send
someone down in a few minutes.
SCOTT
I need you to check now. Please, this
is an emergency.
SECRETARY (V.O.)
Of course, sir. Hold on.
She comes back on the line in a moment.
SECRETARY
I’m sorry, Mr. Winthrop, but Alexa
didn't show up today.
Scott hangs up and dials 9-1-1.
SCOTT
My daughter has been kidnapped!
OPERATOR (V.O.)
Sir, did you say she's been
kidnapped?
SCOTT
Yes, they just called. What do I do?
Who should I call?
OPERATOR (V.O.)
Hold on, sir. I'll patch you through
to someone who can help. Better yet,
I'll send someone over.
Scott calls Alexa again, but still gets no answer.
SCOTT
Where are you, Alexa? Where the hell
are you?
Genres:
["Thriller","Crime","Drama"]
Ratings
Scene
21 -
Reluctant Duty
INT. POLICE STATION — DAY
Gino walks into Captain Cooper's office and sits. CHIEF
RENKIN (late 40s, black, all business) is in another chair.
He stands and shakes Gino’s hand.
CHIEF RENKIN
Detective, I'm sure you're wondering
why I called you in.
GINO
If it’s about the status of the
Marshall case, not much has changed.
Renkin shifts in his seat, looks to the captain, then back
to Gino.
CHIEF RENKIN
It's not. We have a more pressing
matter. A girl has been kidnapped,
and she’s not just any girl.
(A beat)
She's Scott Winthrop's daughter.
Gino shoots a blank stare at the Chief, then the captain.
CHIEF RENKIN (CONT’D)
Scott Winthrop's is the CEO of a new
biotech firm in The Woodlands, and he
has a high-profile IPO getting a lot
of media attention, so we need this
handled properly.
GINO
Does he live up there?
CHIEF RENKIN
I know what you're thinking — not our
jurisdiction — but we've been asked in.
GINO
Why us? And why me?
Captain Cooper lifts a folder from her desktop and hands it
to the Chief. He opens it and reads.
CHIEF RENKIN
Detective, your file says you worked
a kidnapping case in Philadelphia.
GINO
I worked two of them, but I wouldn't
count them in the win column.
(a beat)
So I’ll ask again. Why me?
CHIEF RENKIN
Because I have no one familiar with
kidnappings, so I’m asking you.
GINO
I'd rather stay on the Marshall case;
besides, I prefer not to work kidnappings.
That’s the FBI's domain.
Chief Renkin nods.
CHIEF RENKIN
It is, Detective, but this is a
special situation. We've been asked
to handle this due to the potential
for bad publicity and how that may
affect the IPO.
Gino sits in silence, wringing his hands and looking at the
ceiling. Renkin sips his water, then turns to Gino.
CHIEF RENKIN (CONT’D)
Detective?
Gino looks at Renkin.
GINO
I heard you, Chief. I’m thinking.
FLASHBACK MONTAGE — PHILADELPHIA
– Gino searching a damp, grimy basement, with a flashlight.
– Gino finding MAE LIN (16, bloodied, clothes torn) huddled
in a corner.
– Gino covers Mae Lin with his coat and escorts her out.
– Gino sits by her bed in the hospital with her parents.
END OF MONTAGE
CHIEF RENKIN
Thinking of what?
GINO
There are a lot of reasons why I
don't want this case, but the biggest
is because of something that happened
when I was on the case in Philly.
CHIEF RENKIN
I know all about --
Gino shakes his head.
GINO
You might know about the case, but
you don't know what it did to me. I
haven't had a decent night's sleep
since it happened. I knew that girl
and her parents. They were friends.
Gino stares at Chief Renkin and shakes his head.
GINO (CONT’D)
I'm not going through it again.
CHIEF RENKIN
Detective --
Gino heads to the door.
GINO
I’m not doing it.
CAPTAIN COOPER
Hold on, Cataldi.
(a beat)
Have you given thought to what might
happen if you don't take the case?
Gino stops, then stares at the captain.
CAPTAIN COOPER (CONT’D)
The FBI will not be called in on
this, and we have nobody else who’s
worked a kidnapping.
Coop stares at Gino.
CAPTAIN COOPER (CONT’D)
In other words, whatever happens to
that girl, is on you.
Gino grits his teeth and slams his fist on Coop's desk.
GINO
You're a son of a bitch, Coop.
She continues to stare while Gino paces. He sits down again,
then points his finger at the captain.
GINO (CONT’D)
I'll take the kidnapping if you keep
me as the lead on Marshall's case.
Someone else can run the day-to-day.
CAPTAIN COOPER
No!
GINO
Then give the kidnapping to the Feds.
CHIEF RENKIN
Cataldi, you'll take the case I give you.
GINO
I said I'd take it, but you have to
let me keep the Marshall case.
CHIEF RENKIN
Why? What's so important about that?
Captain Cooper shakes her head.
CAPTAIN COOPER
Because they took his damn watch.
Gino lowers his head, shaking it vigorously, and his hands
ball into fists.
GINO
It’s not the watch, Captain, and you
goddamn know it. Mary gave that to me
just before she died.
Gino turns and stares at Renkin.
GINO (CONT’D)
I’m not changing my mind, Chief, so
what's it going to be?
CHIEF RENKIN
Since I need this done, I guess it's
a deal. Captain Cooper will give you
what you need.
Renkin stands to leave and Gino stands with him, but Cooper
stops him. She gestures to a chair.
CAPTAIN COOPER
Have a seat, Cataldi.
She moves some papers around on her desk and looks at Gino.
CAPTAIN COOPER (CONT’D)
The priorities on this case may be
different than what you’re accustomed
to. We need to catch these
kidnappers — true.
(MORE)
CAPTAIN COOPER (CONT’D)
And we need to bring this girl back
alive and unharmed — even more true.
Coop leans forward and whispers.
CAPTAIN COOPER (CONT’D)
But we need to keep this quiet — most
true of all.
GINO
So you don't want me calling the FBI?
CAPTAIN COOPER
Or the reporters, or your dead
mother, or anyone else.
GINO
I get the picture, but I'll need help:
Julie for research, Fat Charlie to
chase down leads, Ribs as my partner,
and a couple of foot soldiers.
(a beat)
I’m not doing this short-handed.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
22 -
Desperate Measures
INT. WINTHROP HOUSE — DAY
Gino parks on a cobblestone drive, then walks up a stone-
covered walkway. The house is a sprawling mansion, big
enough for five families. He rings the doorbell and waits.
Scott Winthrop greets him within seconds.
GINO
Mr. Winthrop, I'm Detective Cataldi.
SCOTT
Come in, Detective. Please.
GINO
Have there been any new developments?
SCOTT
Nothing new. I've tried her cell
phone a dozen times with no answer.
GINO
What did they say when they called?
SCOTT
They said they had my daughter, and I
had forty-eight hours to deliver
seven million dollars. They said
they’d call back with instructions. I
have it recorded.
GINO
We’ll listen to that in a few
minutes. About the money — seven
million is a lot. Do you have that
kind of money?
SCOTT
Not available. I can possibly get it.
GINO
And you're sure this isn't a prank?
Scott shakes his head.
SCOTT
Alexa wouldn't do such a thing.
GINO
Sir, parents like to think they --
The doorbell rings, and Scott opens it to see Jennifer. She
steps into the foyer with Scott and Gino.
JENNIFER
Scott, what's going on? I tried
calling but got no answer.
SCOTT
I’m sorry, but everything is a mess. My
daughter, Alexa, has been kidnapped.
JENNIFER
Kidnapped! Good God. When?
SCOTT
They called a while ago.
Gino enters the foyer and extends his hand to shake.
SCOTT (CONT’D)
Jennifer, this is ... Sorry,
Detective, I've forgotten your name.
Gino smiles and takes her hand.
GINO
Detective Cataldi, ma'am, and I don’t
mean to be rude, but Mr. Winthrop and
I need to get busy.
JENNIFER
No problem, Detective. I’m going to
leave so I’m not in the way.
She reaches up and kisses Scott on the cheek.
JENNIFER (CONT’D)
Good luck, and make sure to keep me
up to date. I’ll be praying for you.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
23 -
A Glimmer of Hope
INT. WINTHROP HOUSE — KITCHEN EATING AREA — DAY
Gino sits at the table talking on his cell.
GINO
Julie, I assume Coop filled you in, so
here's what I need. First thing is have
Charlie track the calls to Winthrop's
home number this morning. And if you
haven't done it already, send up Ribs
and a few techs. Gotta go.
SCOTT
Detective, what can we do now?
GINO
Not much until they contact us again.
We'll talk to neighbors and friends.
But the real work will have to wait.
Scott pounds his fist on the table.
GINO (CONT’D)
Mr. Winthrop, we'll get through this.
I think we're dealing with pros. They
gave you forty-eight hours to get the
money, which shows they know it takes
a while to gather so much.
Gino pats him on back.
GINO (CONT’D)
Don't worry, sir. I've handled
kidnapping cases before, and we
brought them back.
SCOTT
I better make some calls to see about
getting the money.
Scott picks up the cell phone and dials.
SCOTT (CONT’D)
Michelle, get me Fred, please.
FRED (V.O.)
Scott, what's going on? Where are you?
SCOTT
Alexa's been kidnapped.
FRED (V.O.)
What! When?
SCOTT
This morning. And they want a lot of
money. A lot.
FRED (V.O.)
Scott, remember the issue we spoke of?
Suppose things don't go as planned.
SCOTT
It will, Fred. Don't worry.
GINO
Problems?
SCOTT
No. I'll get it.
GINO
Mr. Winthrop, how does your daughter
get to school?
SCOTT
She catches the bus about three
blocks from here.
Winthrop answers the doorbell and returns with Ribs Delgado
and SEAN CONNORS (late 20s, a follower), another cop.
RIBS
Hey, cuz, this is Connors. Coop said we
needed help, and Tip vouched for him.
GINO
Anything on the Marshall case?
RIBS
Dead ends. Even Chicky hasn't heard.
GINO
If Chicky doesn't know, these guys
are keeping things close to the vest.
Winthrop leaves to get coffee for the new arrivals, and Gino
sits next to Ribs and Connors and whispers.
GINO (CONT’D)
All right, listen up. We’ve got a
teenage girl grabbed on her way to
school. Her father got the call
within the hour.
RIBS
What do you want us to do?
GINO
Winthrop will show you the route to
the bus stop. I want every person
within view of that route questioned.
(a beat)
Find out if they saw anything this
morning. If not, any morning for the past
week. A guy walking a dog they didn't
recognize. Cars passing by too often. A
jogger, an electric company van.
Winthrop returns with two cups of coffee and hands them to
Connors and Delgado.
SCOTT
The bus stop is three blocks due
north, where this road intersects
Branch Street.
Ribs nods, then he and Connors drink the coffee and leave
for the bus stop.
Gino waits for Scott to leave, then calls JULIE (late 20s,
purple hair, infatuated with 60s music).
JULIE (V.O.)
My favorite Philadelphia detective!
Are you looking for information?
GINO
I hope you have something.
JULIE (V.O.)
Not much. The call came in on an
untraceable line. As for finances,
Winthrop is clean. He stands to gain
tens of millions from his IPO. He
owes no one, and he has never had so
much as a ticket.
(a beat)
The guy may not be a saint, but if he
has issues, he hides them well.
Winthrop returns as Gino hangs up. He sits at the table and
stares at his cell phone.
GINO
Thinking of calling her?
SCOTT
I don't know what else to do. I want
to call her friends, but I don't even
know their names, except Jada.
Scott buries his head in his hands. He looks as if he’s
about to cry.
SCOTT (CONT’D)
Goddamn shame is what it is. Shows
what kind of father I am.
Scott looks up at Gino.
SCOTT (CONT’D)
Sad, isn't it?
The doorbell rings. Winthrop answers and shows the
TECHNICIANS to the kitchen so they can work their magic.
GINO
Give them your cell phone too.
Winthrop's cell phone rings. He answers it and smiles as he
talks, then he hangs up and turns to Gino.
SCOTT
The bank is giving us the money.
GINO
That's good news. And, sir, I called
the school. Jada isn't in either.
A few seconds later, one of the techs enters.
TECHNICIAN
We have the home phone ready. We’ll
be able to nail their position if we
can keep them on for three minutes.
GINO
How close can you get on location?
TECHNICIAN
Assuming it's a cell phone, and we get
all three towers, we can narrow it
down to less than one hundred feet.
Gino turns to Scott and explains.
GINO
What that means, sir, is you have to
stall. They'll probably time the
call, but we've gotten lucky before.
As Gino takes notes, Delgado and Connors return from questioning
people. Ribs sits at the table and looks up at Gino.
GINO (CONT’D)
Get anything?
Ribs shakes his head.
RIBS
We wasted two hours talking to people
who saw nothing.
SCOTT
I should have warned you. This
neighborhood doesn't watch for
trouble. I've lived places where they
did: Bogota, Caracas, Mexico City. I
thought we'd found paradise when we
moved here. And now ...
One of the techs walks in.
TECHNICIAN
Mr. Winthrop, I need that cell phone now.
GINO
That reminds me. We should let Ribs
and Connors hear the recording.
SCOTT
I’ll get the recorder.
Scott enters with the recorder and sets it on the table. He
is rewinding it, when Alexa calls from the entry.
ALEXA (O.S.)
Dad? What are all the cars about?
Winthrop jumps up and races past Gino toward the door.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
24 -
A Race Against Time
INT. WINTHROP HOUSE, ENTRY — DAY
SCOTT
Alexa! Are you all right? How did you
get away?
ALEXA
(confused)
Get away from what?
Gino steps up beside Scott, and Ribs joins him.
GINO
Alexa, I'm Detective Cataldi. Someone
told your father you'd been kidnapped.
ALEXA
Dad, I'm sorry. Nothing happened to me.
SCOTT
But we called school, and . . .
Alexa lowers her head.
ALEXA
Sorry, Dad. Lisa and I skipped.
Scott wraps his arms around Alexa and squeezes.
SCOTT
I don't care about school. I'm just
glad you're safe.
He turns to Gino and clasps his hand.
SCOTT (CONT’D)
Detective, I'm sorry for putting you
through this. Thank God it was nothing.
GINO
(dumbfounded)
Mr. Winthrop, you don't seem to
understand. They might not have your
daughter, but they have someone.
RIBS
How do kidnappers get the wrong girl?
INT. WINTHROP HOUSE, KITCHEN EATING AREA — DAY
Gino leads Ribs into the kitchen, sits down, and stares.
GINO
Good question, Ribs? I’ve never seen
it. I think we need to talk to Alexa.
(a beat)
Alexa, come in here, please.
Alexa walks into the kitchen, grabs a bottle of water from
the fridge, and sits next to Ribs. Gino looks at her.
GINO (CONT’D)
How many female friends do you have
who are black?
ALEXA
(indignant)
What kind of question is that?
GINO
These kidnappers have somebody they
think is you, so it must be one of
your friends. One of your black
friends.
A shocked expression appears on Alexa's face.
ALEXA
Oh, my God. It's Jada. They've got Jada!
She grabs her cell and starts to dial, but Gino snatches it.
GINO
Don't do that! If they see a call
coming in from Alexa Winthrop, they'll
know they have the wrong girl.
ALEXA
But I already called her.
GINO
Did you use your cell or the home phone?
ALEXA
The home. Just a few seconds ago. Why?
GINO
The home phone will show your
father's name. They would count on
that, but not yours. Now tell me why
you think they have Jada.
ALEXA
She's my best friend, and she's
black. And she walked to the bus stop
with me this morning, but I caught a
ride with someone. I was going to
skip school, and Jada was going to
meet a friend and go shopping.
(a beat)
But even more, she did her hair in a
bun this morning, a bun like mine.
Alexa runs to her father and throws her arms around him.
ALEXA (CONT’D)
Daddy, I think they have Jada.
SCOTT
What? Dear God.
GINO
Alexa, where does Jada live?
ALEXA
Not far. Come on, I'll show you.
EXT. GINO’S CAR — NIGHT
Gino crosses the freeway, takes a few turns, then pulls into
an older subdivision. He parks, then walks to a small ranch
house and knocks on the door. Mars Hackett answers.
MARS
Can I help you?
GINO
I'm Detective Gino Cataldi. Is your
mother or father home?
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
25 -
Desperate Measures
INT. HACKETT HOUSE — NIGHT
Mars opens the door and Gino and Alexa enter. Lonny Hackett
comes forward. Lucia is in the background.
LONNY
Can I help you?
Alexa steps out from behind Gino.
LONNY (CONT’D)
Alexa, is that you? Where's Jada?
ALEXA
(crying)
Oh, God, Mr. Hackett, I think they
have Jada.
LONNY
Who's got Jada? What's she talking
about, Detective? Are you holding my
girl for something?
Lucia rushes in from the kitchen.
LUCIA
What's going on? What's wrong?
GINO
Sir, ma'am. We have reason to believe
that your daughter's been kidnapped.
LONNY
What?
Lonny rushes to the table and grabs a phone. He starts
dialing but Gino moves quickly and grabs the cell.
GINO
Don't do that, sir! Please? If your
daughter was kidnapped, it's because
they think she's Alexa. If they see a
call from you it may worsen things.
Lucia pulls Mars to her and hugs him.
LUCIA
What makes you think it's our girl?
GINO
They called Mr. Winthrop this morning
and said they had Alexa.
(a beat)
We assumed they did until Alexa came
home. Then she told us Jada had spent
the night and walked to the bus stop
this morning.
LUCIA
I thought she was shopping for a
dress with you, Alexa.
ALEXA
That's what she told you, but she was
going with Jason.
LONNY
Who's Jason?
LUCIA
The boy who's taking her to the prom.
LONNY
All right. Sit down and let the
detective tell us what to do.
GINO
I think we should all go back to
Alexa's house in case they call.
Besides, I want you to hear the tape.
LONNY
Let's go.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
26 -
Ransom Demands and Parental Fears
INT. WINTHROP HOUSE — NIGHT
Gino, Lonny, Lucia, Mars, and Ribs sit at the table while
Scott prepares the recording.
GINO
Scott, start it from where the
kidnapper asks for the ransom.
Gino faces Lonny and Lucia.
NUMBER FOUR
You are to get seven million dollars
and --
SCOTT
What? I don't have that kind of money.
NUMBER FOUR
Mister, we know you don't have it
yet, but you can borrow on it. Now
shut up and let me finish.
(a beat)
Seven million in hundred-dollar bills,
non-sequential serial numbers, and no
tracers on the money or in the money.
We’ll know if you try to track us.
Have it ready in forty-eight hours.
We’ll call tomorrow with instructions.
SCOTT
Wait! I need to talk to my daughter.
NUMBER FOUR
The next time we call, you can talk.
When the recording finishes playing, Lonny seems
disappointed and worried.
LONNY
I thought they'd let her talk.
GINO
This isn't the movies, Mr. Hackett.
These people want to control things. Not
letting her talk keeps you guessing.
LUCIA
Do you think ... ?
Gino smiles warmly as he looks at Lucia.
GINO
Yes, ma'am. I think she's safe.
LONNY
What are we going to do about the
money? How does this work?
GINO
I'm working on it.
LONNY
Working on it? You've had all day.
Gino takes a few deep breaths and leans forward.
GINO
Earlier, when we thought it was
Alexa, Mr. Winthrop was going to
provide the money.
LONNY
(angry, frustrated)
And now we’re screwed because we’re
poor?
Lonny gets up and paces, shaking his head.
LONNY (CONT’D)
Bad enough bein’ black, but black and
poor . . .
GINO
I've asked my captain.
Lucia closes her eyes, sighs, and pats Lonny's hand.
LUCIA
Don't worry, dear. The Lord won't let
anything happen to our girl.
LONNY
The Lord sure as hell better keep her
safe. That's my baby girl.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
27 -
Connections Unveiled
EXT. WINTHROP HOUSE — NIGHT
Gino steps outside and calls Captain Cooper.
GINO
Captain, I told you I didn’t want this
damn case from the beginning. I can’t
take another failure like Philly, and
this one is going south already.
CAPTAIN COOPER
Cataldi, this isn’t about what you
can or can’t take. Just do your job.
GINO
Fine, but I'll need a stand-in for
Winthrop to make the drop. He's about
6'2", 200 pounds and black.
CAPTAIN COOPER (V.O.)
I've got someone in mind. What else?
GINO
Let me have Tip.
CAPTAIN COOPER (V.O.)
No way I'm putting you and Denton on
another case. Get that thought out of
your head. Use who you have and get this
case solved. And do it successfully.
INT. WINTHROP HOUSE — NIGHT
Gino dials RAMIREZ (35, female, Latino) as he steps back
inside and sits next to the Hacketts.
GINO
Anything new?
RAMIREZ (V.O.)
The Marshall boy is worse than before.
GINO
Turn up the heat. If that boy dies,
they're all going down for felony
murder. Shake people up. Tongues
loosen up when it's a murder rap.
Gino disconnects and puts the cell back in his pocket.
LONNY
Was that about the boy that was hurt
in that robbery?
Gino nods.
GINO
He's not doing well. Why? You know him?
LONNY
Not personally, but he goes to school
with the kids.
Gino looks at Mars, brow furrowed.
GINO
You go to school in The Woodlands?
LUCIA
He's not supposed to, Detective, but
Mr. Winthrop lets us use his address
so the children go to a better school.
GINO
I thought they compared addresses to
tax records.
LUCIA
They do, but Mr. Winthrop knows
people.
Gino snaps his fingers, and his eyes light up.
GINO
Does Jada's license have Winthrop's
address on it?
LUCIA
Yes, why do you ask?
GINO
I wondered why they didn't realize
they made a mistake when they saw her
license. Still, the name's different.
Lonny leans forward, showing signs of hope.
LONNY
She may have concocted a story about
the name. That girl can tell a story.
GINO
Let's hope she can keep it up.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
28 -
Forced Departure
INT. BOSS'S HEADQUARTERS — NIGHT
Boss, Two, and Four are in the back room, talking.
BOSS
I wasn't happy with the call, Four.
NUMBER TWO
Maybe you should make the next call.
BOSS
I will. And we need to transfer the
girl to the motel.
NUMBER FOUR
Who's gonna rent the room?
BOSS
We have three rooms rented — the
girl's and one on each side. Three
and Two will watch her tonight. I'll
send you and Five to relieve them in
the morning.
INT. BOSS'S HEADQUARTERS — NIGHT
Jada sits in a hard-backed chair crying, trembling. A door
opens and she shivers as a cool breeze chills her sweaty body.
JADA
Is somebody there?
NUMBER TWO
My name is Number Two. I’m not here
to harm you.
Number Two gently pats Jada's head.
NUMBER TWO (CONT’D)
You may not believe me, but I’m here
to help. You’re going to need to tell
a lot of lies, so make sure you tell
them convincingly.
(a beat)
And get ready to go. We're moving you.
JADA
Am I going home?
NUMBER TWO
Not yet. It won't be long though.
A door opens and footsteps are heard. Number Three enters
and opens Jada's purse, lying on the table.
NUMBER THREE
Why does your license say Jada
Hackett? Why not Winthrop?
JADA
My parents are divorced. I took my
stepfather's name, then decided to
move back with my dad.
Number Two looks over Three's shoulder at the license.
NUMBER TWO
The address is the same. It adds up.
Number Three grabs Jada's arm and yanks her toward him.
NUMBER THREE
All right, let's go.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
29 -
A Fragile Alliance
EXT./INT. MOTEL — NIGHT
Driver parks the car, opens the motel rooms, then alerts
Number Two. Number Two leads Jada to the center room, unties
her hands and removes her gag but keeps the blindfold on.
NUMBER TWO
Do you need to use the bathroom?
Jada shakes her head.
NUMBER TWO (CONT’D)
Don't say that for spite. You won't
be able to go for a long time.
JADA
Maybe I should go.
NUMBER TWO
Don't make me go through this shit
again. I'm trying to help.
Jada uses the restroom, then returns and sits on the bed.
Number Two sits next to her and whispers.
NUMBER TWO (CONT’D)
If you do anything stupid, we'll
sedate you. Then you'll mess your
pants, and no one will clean it.
She places her hand on Jada's arm.
NUMBER TWO (CONT’D)
You can make this time go easy, or
you can make it really tough.
JADA
What are you going to do with me?
NUMBER TWO
As long as your father pays, we won't
hurt you, and you'll be home soon.
Number Two leans close and whispers.
NUMBER TWO (CONT’D)
Remember what I said, stick to your
story. You did great with the license.
Number Two turns to leave, then goes back beside Jada.
NUMBER TWO (CONT’D)
Some of the men are looking at you
the wrong way. Don't give them an
excuse to do anything. Follow orders,
and I’ll make sure nothing happens.
JADA
Thank you.
NUMBER TWO
No problem. See you in the morning.
Number Two goes to the room next door and takes a shower. As
she is falling asleep, footsteps sound from Jada's room. She
dons her mask, steps silently to the door, and opens it.
Number Three is sitting on Jada's bed, about to remove his
mask. Number Two steps behind him and places a gun to his head.
NUMBER TWO (CONT’D)
Take off that mask, and I'll kill you.
NUMBER THREE
Easy, Number Two. I was just --
NUMBER TWO
No matter what you finish that
sentence with, it's wrong. If you pull
your pants down, I'll blow your cock
off. The girl is off limits. Got that?
Number Three gets up and leaves. Number Two waits until he's
gone, then removes Jada's gag and sits on the bed with her.
JADA
(fearful)
Is he gone?
NUMBER TWO
He's gone, but I want you to sleep in
my room tonight. I'll sleep here.
JADA
Thank you. But why are you helping?
NUMBER TWO
I was treated wrong by men one time.
I don't want that to happen to you.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
30 -
Tension at the Winthrop House
INT. WINTHROP HOUSE — NIGHT
Lucia Hackett gathers dirty dishes from the table and walks
to the sink. Gino picks up a dishtowel and moves beside her.
LUCIA
No need for a detective to be doin'
dishes. I got this covered. Anyway, I
need something to take my mind off
things. I’ll go crazy if not.
GINO
I was doing dishes long before I was
a detective; besides, if my wife were
here, she'd argue that bit about no
need for a detective to do dishes.
LUCIA
Call her up. Sounds like I'd like her.
Gino lowers his head and sighs.
GINO
I wish I could, Mrs. Hackett, but my
wife passed away years ago.
LUCIA
I"m sorry. I didn't know.
Gino sets the dishtowel down and looks at her.
GINO
Mrs. Hackett, I know you and Lonny are
worried sick over Jada, but I want you
to know I’m working this case like
it's my own child. And there is
nothing I wouldn't do for my child.
Lucia wipes tears away, leans over, and kisses Gino’s cheek.
LUCIA
That's for good luck, Detective. I’m
gonna trust you to bring my girl home.
INT. BOSS'S HEADQUARTERS — DAY
Numbers Two and Three take Jada inside.
BOSS
How'd it go?
NUMBER THREE
No problem.
NUMBER TWO
He's lying. He'd have probably raped
her if I hadn't stopped him. Ask her.
Boss throws a lightning-quick jab to Three's face. He
follows it with a kick to the groin and a massive punch to
the left kidney. Number Three falls on the floor and curls
up, gasping. Blood drips from his nose.
BOSS
Disobey orders again, you die. You
only rape if I tell you to. Now, get
ready, we're making the call.
NUMBER FOUR
Why so soon?
NUMBER TWO
We moved the timetable up. They
should have the money.
Jada moves toward the sound of Boss's voice.
JADA
I don't want my dad delivering the
money. He's got a bad heart.
BOSS
A lot of people do. He'll live.
JADA
But he's got a bad temper. I'm afraid
he'll try something and get hurt.
BOSS
Now we get to the heart of it. Who do
you suggest, little girl?
JADA
Uncle Eddy.
NUMBER TWO
I don't care who delivers the money.
BOSS
All right, girl. We'll play this out,
but if you try anything, I'll give
you to these perverts.
INT. WINTHROP HOUSE — DAY
Lonny, Lucia, Gino and the others gather in the kitchen.
LONNY
What time do you think they'll call,
Detective?
GINO
I don't know. They said forty-eight
hours, but they could call anytime.
LONNY
But we have no money to give them.
How you gonna catch them?
GINO
A lot of what we do will depend on
the instructions they give. We'll
have plenty of surveillance.
LONNY
What about my girl? Am I gonna talk
to her?
GINO
That's not a good idea, Lonny. They
think they have Alexa, and somehow,
Jada has convinced them they do. She
needs to talk to Mr. Winthrop.
The phone rings. The tech nods, meaning it's an unknown
caller. Gino leads Winthrop toward the kitchen.
GINO (CONT’D)
That may be them. Don't fuck this up.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
31 -
Ransom and Revelations
INT. WINTHROP HOUSE, KITCHEN — DAY
Scott picks up on the third ring, holding a script in front
of him. He seems nervous.
NUMBER FOUR (V.O.)
Is the money ready, Mr. Winthrop?
SCOTT
You said forty-eight hours.
NUMBER FOUR (V.O.)
Let's do it today. I’m sure you want
your little girl back, and I know she
wants to go home.
Scott looks to Gino, who scribbles on a piece of paper and
hands it to him.
SCOTT
I can probably have it ready by
three. Is my daughter there? I want
to speak with her. I won't do
anything unless I know she's safe.
NUMBER FOUR (V.O.)
You've got thirty seconds. Clear?
Gino leans close and whispers.
GINO
You’re too casual. Show emotion.
JADA (V.O.)
Daddy! Daddy, is that you?
SCOTT
Alexa! Are you all right? Did they
hurt you?
JADA (V.O.)
Daddy, listen. I don't have much time. I
don't want you to deliver the money. Not
with your blood pressure. Send Uncle
Eddy. You know how calm he is. Even my
friends say that about Uncle Eddy.
Scott looks at Gino with a 'what the fuck' expression. Gino
shakes his head.
SCOTT
No! I'm doing it.
JADA (V.O.)
Dad, you're not well enough. Send
Uncle Eddy. Please?
Gino taps Scott's arm and nods.
SCOTT
Okay, I'll get Eddy to do it. Stay
safe, baby, and don't worry.
NUMBER FOUR (V.O.)
It's me again.
SCOTT
If you hurt her, I'll —
NUMBER FOUR (V.O.)
Easy. It's natural to worry, but
there's no need to if you do your job.
Listen up. We don't have much time.
(a beat)
Get the money. Put it in a duffel bag.
Drive to the Denny's restaurant on
Research Forest Blvd. Be there at
three o’clock. Park near the back.
(a beat)
Go in and enjoy some coffee and
breakfast, but do not come out before
half an hour. Are we clear?
SCOTT
What else?
NUMBER FOUR (V.O.)
Let's keep it simple. We'll call you
once you're inside, so don't forget
your phone, and the money of course.
SCOTT
I'll have to check if the bank can
get it ready.
NUMBER FOUR (V.O.)
They have it ready. Don't mess up.
And tell the police not to try
anything. We'll know.
Gino is dialing his phone while Scott is still talking. He
walks away from the table, out of earshot.
GINO
Coop, they want the drop today.
CAPTAIN COOPER
What do you need?
GINO
Lots of bodies for surveillance and
whatever the techs need for tracking.
And send me someone who can handle
undercover, as long as they're black.
Winthrop walks toward the front door. Gino grabs his arm.
GINO (CONT’D)
You did a great job on the phone. An
Oscar-winning performance.
SCOTT
Thanks. I've got to run to work for a
few minutes. I'll be back.
GINO
Mr. and Mrs. Hackett, you should
listen to the tape? I'll start from
when Jada comes on.
JADA (V.O.)
Daddy! Daddy, is that you?
SCOTT
Alexa! Are you all right? Did they
hurt you?
JADA (V.O.)
Daddy, listen. I don't have much time. I
don't want you to deliver the money. Not
with your blood pressure. Send Uncle
Eddy. You know how calm he is. Even my
friends say that about Uncle Eddy.
SCOTT
No! I'm doing it.
JADA (V.O.)
Dad, you're not well enough. Send
Uncle Eddy. Please?
SCOTT
Okay, I'll get Eddy to do it. Stay
safe, baby, and don't worry.
NUMBER FOUR (V.O.)
It's me again.
SCOTT
If you hurt her, I'll --
NUMBER FOUR (V.O.)
Easy. It's natural to worry, but
there's no need to if you do your job.
Listen up. We don't have much time.
Gino reaches over and shuts off the recorder, then turns to
face Lonny.
GINO
That's it, Mr. Hackett.
Lonny shakes his head and appears shocked, then confused.
GINO (CONT’D)
What's up, Lonny? You hear something?
LONNY
Jada doesn't have an Uncle Eddy.
GINO
Anybody she would call Uncle Eddy?
LONNY
Nothing even close.
GINO
Maybe Alexa does. Alexa!
RIBS
She's on the patio. I'll get her.
Ribs returns with Alexa.
GINO
Alexa, who's Uncle Eddy?
Alexa lowers her head and appears to be hiding something.
ALEXA
What do you mean?
GINO
Don't play around, Alexa. Jada is
obviously trying to send us a message.
She mentioned Uncle Eddy and her
friends. Now tell me what it means.
ALEXA
'Uncle Eddy' isn’t a person; it's our
code for a motel.
(MORE)
ALEXA (CONT’D)
It started when one of our friends
said the guy at one of the motels
looked like her Uncle Eddy.
(a beat)
After that, whenever we wanted to fool
around with our boyfriends, we’d say,
let's go to Uncle Eddy's. Or if we
wanted to leave a message we'd say I'm
going to Uncle Eddy's; want to go?
Lonny moves toward Alexa, but Lucia grabs his arm.
LONNY
Are you telling me that Jada is —
LUCIA
Does it matter what she did or didn't
do? We've got a lot more to worry
about than her having sex.
Lucia hugs Alexa and pats her back.
LUCIA (CONT’D)
Thank you, Alexa. You did right.
GINO
Did you use hotels or just motels?
ALEXA
Just motels. The hotels were too
expensive, and we were afraid we
might see our parents at the hotels.
And we never used motels close by in
case someone spotted our cars.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
32 -
Tension Under the Night Sky
EXT. WINTHROP HOUSE — NIGHT
Gino steps outside to call Julie.
GINO
Julie, I need a list of all motels
along I-45 — Greenspoint to Conroe.
JULIE
That's gonna be a big list, Gino.
GINO
I know. And coordinate with Ribs.
Find all the motels that rented rooms
two to three days ago to people who
haven't checked out yet.
Headlights shine on Gino, and then a car parks on the street.
Mars Hackett steps out and walks up to Gino as he's talking.
MARS
Detective, I talked to some friends,
and one of them said he saw the same
car drive by here two or three days
in a row before the kidnapping.
GINO
Son of a bitch! I told you not to say
anything. You may get your sister killed.
(a beat)
If they find out they don't have Alexa,
your sister's life means nothing.
Gino takes a deep breath and faces Mars.
GINO (CONT’D)
Let's hope nothing happens. Now tell
me what they said.
MARS
(gulps)
One of my buddies works valet at the
steak house. He said he saw a car
belonging to one of the regulars driving
past Alexa's house several times.
GINO
How does he know it's the same one?
MARS
He recognized the license plate because
it starts with VNA, which he and his
buddies said stands for 'very nice
ass.' The lady who drives it, has one.
GINO
That's it? The lady driving by has a
very nice ass? Okay, Mars. Thanks.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
33 -
Urgent Mission: The Kidnapping Crisis
INT. WINTHROP HOUSE, KITCHEN — NIGHT
Gino goes back inside. Mars follows. Gino's phone rings as
he walks into the kitchen.
GINO
Ramirez, what's up?
RAMIREZ
The Marshall boy is dead.
Gino slams his fist on the table.
GINO
Son of a bitch! Get some help and
catch these guys. And nobody gets a
deal. They're all going down for
felony murder.
RIBS
What's the matter, Gino?
GINO
Everything — the Marshall boy died.
Lonny turns and heads toward the living room.
LONNY
I gotta see Lucia. I'll be back.
Ribs taps Gino on the shoulder as he pulls out his keys.
RIBS
I'm going to have to move it. We're
setting up base in a mobile unit by
45 & 1960. I've got three teams
heading in different directions, and
Julie's team is working the phones.
GINO
Sounds good. All we have to do is stall
the kidnappers until we get the girl.
RIBS
I know, cuz. Not much of a plan, but
it's all we've got.
GINO
Ribs, there's one thing bothering me
about this. The kidnappers said they'd
call once Eddy is inside Denny's but
they never asked for his number.
RIBS
Beats me, cuz. But I gotta go. Julie
got us a lead, and SWAT just got there.
The doorbell rings, and in walks JOSH DORAN (35, black,
shaved head). He moves to the kitchen and introduces
himself.
DORAN
I’m Josh Doran. I understand I’ll be
undercover on this case.
Gino shakes his hand.
GINO
I’m Gino Cataldi. And you are no
longer Josh Doran. You’re Uncle Eddy,
the kidnapped girl's uncle.
Gino turns to Connors.
GINO (CONT’D)
Everyone ready? They should call soon.
CONNORS
We're ready, sir.
GINO
What about you, Doran? Ready?
OFFICER DORAN
Uncle Eddy's ready.
Winthrop's home phone rings, and the tech announces it's an
'unknown caller.' Doran answers the phone.
BOSS (V.O.)
Is this you, Winthrop?
DORAN
No, this is Eddy.
BOSS (V.O.)
Ah, the famous Uncle Eddy. We'll be
meeting soon enough, so I'll save the
pleasantries until then.
(a beat)
In the meantime, you'll find a phone
in the mailbox. Take it with you to
Denny's. We'll call that number. And
make sure to be on time.
DORAN
What should --
The line goes dead. Doran looks to Gino.
DORAN (CONT’D)
They said a phone is in the mailbox.
An officer returns a moment later holding a cell phone and
hands it to Gino. He grimaces.
GINO
Listen up. They've already thrown a
wrench in the mix, so we need to get this
right. Only assigned cell phones. No
radios. No reading. And no donut runs.
(a beat)
If you need to take a piss, take your
phone with you. A girl's life is at
stake; her name is Jada. Look at the
pictures I gave you and imagine she's
your daughter or sister. The goal is
to bring Jada home safe.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
34 -
Tension at Denny's
INT. DENNY'S RESTAURANT — THE WOODLANDS — DAY
Doran parks near the back of Denny's and goes inside. A
waitress seats him, then fills his coffee cup.
DORAN
Pancakes and bacon. Nothing else.
The waitress doesn't go ten feet when Doran's phone rings.
BOSS (V.O.)
Listen closely. Do not make me repeat
things. Go to the restroom. In the trash
can you will find another phone in a
bag. When it rings, answer it. Stay on
the line with me until you get there.
Doran goes to the restroom and picks up the ringing phone.
BOSS (V.O.) (CONT’D)
Place the old phone in the toilet.
Once you do that, go back and eat.
Talk to no one. We'll be watching.
(MORE)
BOSS (V.O.) (CONT’D)
(a beat)
If you disobey, I'll let my sex-
starved men have their way with your
niece. Don't bother eating, just go
to your car, and we'll call you.
Doran takes the last sip of coffee, then goes to his car and
answers the phone.
BOSS (V.O.) (CONT’D)
Get on I-45 going south. Take the
Hardy Toll Road toward the airport.
And oh, yes, place this phone on the
seat beside you and put it on speaker.
I want to hear things.
INT. WINTHROP HOUSE — DAY
Gino’s cell phone rings and he quickly answers.
CAPTAIN COOPER
Cataldi, have you talked to Vasquez?
GINO
Not recently. Why?
CAPTAIN COOPER
Because the media is all over the
Marshall case. That boy dying has
them in a frenzy, and it won’t be
long before they wonder why Vasquez
is on it instead of you.
(a beat)
And that’s exactly what I told you we
can’t have — publicity.
GINO
What the hell do you expect me to do?
CAPTAIN COOPER
I don’t know yet, but you better
think of something. We can’t have
word of this kidnapping get out.
Gino disconnects the call and slams his phone on the table.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
35 -
Descent into Compliance
EXT. DORAN’S CAR — DAY
Doran gets on Hardy Toll Road in the right lane. A few
seconds later the kidnapper's voice is heard.
BOSS (V.O.)
When you see the airport exit, head
for terminal “C” as in Charlie.
Gino monitors the conversation from Winthrop's house.
GINO
All right. Did everybody hear that?
They're heading to terminal "C."
(MORE)
GINO (CONT’D)
I want two cars to follow Doran, but
everyone else spread out at “C.”
Doran makes the turn from the toll road onto JFK. He picks
up his phone as he approaches the airport.
DORAN
I'm on JFK.
BOSS (V.O.)
The next instructions are critical. If
you fuck them up ... well, you don't
want to do that. I'll be whispering so
it may be difficult to hear. Take the
phone off speaker and listen closely.
Turn off the radio and air conditioner.
(a beat)
Do not. I repeat — do not, repeat what
I say and question nothing. Clear?
DORAN
(gritting teeth)
Clear.
BOSS (V.O.)
You will answer me with simple
sentences. Yes. No. Okay. And one more
thing — take the other cell phone and
drop it out the window.
Doran punches the seat next to him, then drops the phone out
the window.
BOSS
Now go to Terminal "B" parking.
DORAN
I thought you said go to "C."
BOSS (V.O.)
Don’t question me. Go to "B."
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
36 -
High Stakes in the Garage
INT. WINTHROP HOUSE — DAY
Gino sits beside the technician as he monitors the hidden
GPS data.
TECHNICIAN
Doran's in the garage at "B," not
"C." He's still moving, but slowly.
Gino slaps his hand on the table, frustration showing.
GINO
We've only got three cars watching
the exits. This isn't good.
INT. AIRPORT — PARKING GARAGE B — DAY
As Doran enters the garage, the kidnapper's voice comes
through the phone, smooth and confident.
BOSS (V.O.)
Continue driving slow. Exit the ramp at
the first level and turn right. Slow
down to five miles an hour. Someone will
approach the car. Do not stop. They will
get in. Keep going at the same speed.
As Doran navigates the first turn, a man appears from behind
a car. He is wearing a mask, and he pushes a gun against the
driver's window, level with Doran's head.
NUMBER 3
Don't stop. Unlock the doors.
Number Three climbs in the back seat. Through the mirror,
Doran sees a gun aimed at his head.
DORAN
I’m not armed.
NUMBER 3
I am. Keep going. Same speed.
A few seconds later, another masked person approaches the
car. He gets in the front seat.
BOSS
Where's the money?
When Doran doesn't answer, the man in the backseat puts a
gun to his head and presses firmly.
DORAN
They didn't have time. The bank --
Backseat hits him with the butt of his gun. Blood gushes
from above Doran's right ear. Doran's head falls to the
side, and he reaches for his ear.
DORAN (CONT’D)
Goddamn!
NUMBER 3
(to boss)
Should I kill him?
DORAN
Scott said he can get it tomorrow.
That's when you asked for it.
BOSS
Why didn't you say that on the phone?
DORAN
Scott thought it would be better to
tell you in person.
BOSS
Scott, my ass. Tell Detective Cataldi
he made a big mistake. And tell him
if he makes any more, it will be
worse than Philadelphia.
DORAN
He didn't --
Boss leans close and whispers.
BOSS
Bullshit. I know the money is ready.
DORAN
The money was tainted. They put chemical
tracers on it. He figured you'd be more
pissed if we came with that.
BOSS
He's right. Next time, I want no
mistakes. By the way, aren't you going
to ask how your niece is, Uncle Eddy?
DORAN
How is she?
BOSS
(laughing)
I think we both know she's not your
niece. Next time Winthrop delivers.
Boss looks around the garage and grabs the door handle.
BOSS (CONT’D)
Keep driving at the same speed. Do not
stop. Go to level two and repeat the
procedure. Same speed. Someone may
approach you again. If not, proceed to
level three. Continue until you reach
the roof or get new instructions. In
any case, do not stop.
Boss checks that no one is watching, then steps behind a van
and changes clothes.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
37 -
Desperation and Deceit
INT. WINTHROP HOUSE — DAY
The Hacketts mob Doran when he walks in.
LUCIA
What happened? Did you get her?
Gino goes to Lucia and asks her to sit down.
GINO
No. All we did was stall them for a
while. They’ll call again.
Lucia cries.
LUCIA
What are they calling about? We don't
have any money?
Alexa waits for Lonny to take Lucia away.
ALEXA
What's going to happen to Jada?
GINO
I don't know, Alexa. Without a
ransom, we'll have to get lucky.
Alexa nods and walks off. Doran looks to Gino.
DORAN
Gino, sorry about today, but it
couldn't be helped. They knew
everything. I told him the money
wasn't ready, but he said he knew it
was. Then I told him the money had
tracers, and he said 'Tell Detective
Cataldi he made a big mistake.'
GINO
He mentioned me by name?
DORAN
And he knew I wasn't Uncle Eddy.
GINO
What the hell is going on? These sons
of bitches have been a step ahead of
us the entire time.
Gino pounds his fist on the table over and over.
GINO (CONT’D)
It’s Philadelphia all over again.
A car pulls into the driveway, the car door closes, then the
house door opens. Winthrop walks in.
SCOTT
How'd things go, Detective?
GINO
It went like shit. They said they
knew the money was ready, and they
knew that Doran wasn't Uncle Eddy.
(a beat)
Who'd you tell, Winthrop?
SCOTT
I didn't tell anyone anything. You
better look in your own ranks.
Scott pours a drink of Scotch and walks toward the patio.
Gino's phone alerts him that a text has arrived.
INSERT
Detective Cataldi, stand by for a
Kodak moment.
GINO
Oh, no. Goddamn, no!
Gino looks down at a picture of Jada, tied to a bed and
naked. Her left eye is bruised, and her lip is bleeding.
He lowers his head, walks to the side wall, and punches it
repeatedly.
INT. BOSS'S HEADQUARTERS — DAY
Boss smiles as he addresses the others.
BOSS
If he doesn't pay after seeing this,
the man has no heart.
NUMBER TWO
(grabs phone)
Let me see.
Number Two stares at the photo, then checks the timing of
the calls.
NUMBER TWO (CONT’D)
That was way too quick. There's no
way Five got her naked and tied up
from the time you called till the
time he sent the picture; it was only
one minute.
(a beat)
He must have already had her naked.
She turns and heads toward the door.
NUMBER THREE
Tell Five I'll take seconds.
Number Two stops, turns, and glares at Three.
NUMBER TWO
I can put a bullet in your head just
like I'm going to do to him. Your call.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
38 -
Justice at the Motel
EXT/INT. MOTEL — DAY
Number Two removes her mask and exits the van, then puts it on
before entering the room. Number Five is sitting on the bed,
his hand resting on Jada's leg. He jumps when Two enters.
NUMBER TWO
What happened, Five?
NUMBER FIVE
Bitch tried escaping.
Number Two glances at the scene. The nightstand is
overturned and the lamp broken. Jada's lip is bloody and her
eye swollen. Number Five's zipper is down.
NUMBER TWO
Get things cleaned up and be quick.
We're leaving.
NUMBER FIVE
Did we get the money?
NUMBER TWO
They're making the switch now.
Number Five turns away. Two reaches behind her and pulls a
silenced Beretta from the back of her waistband.
She takes two steps toward Five, raises the gun to his head,
and fires twice. Five drops to the floor. She moves to
Jada's side.
NUMBER TWO (CONT’D)
No need to worry. We'll get you a
shower.
Number Two walks Jada to the bathroom and removes her gag
and blindfold. She hands her a towel.
NUMBER TWO (CONT’D)
Did he do anything to you?
JADA
No, but he would have if you didn’t
show up.
NUMBER TWO
Sorry you had to go through that. Take
a shower and tell me when you're ready.
While Jada is showering, Number Two calls Dispatcher.
NUMBER TWO (CONT’D)
We need a cleanup at the motel.
DISPATCHER (V.O.)
What kind of mess is it?
NUMBER TWO
A big mess. And it needs doing now.
Tell the cleaners it's room #180.
She hangs up the phone and dials Boss.
NUMBER TWO (CONT’D)
I need a replacement to babysit.
BOSS (V.O.)
What happened to Five?
NUMBER TWO
He broke the rules.
INT. BOSS'S HEADQUARTERS — DAY
Boss hangs up and turns to Number Four.
BOSS
You’ll need to go to the motel. I
strongly suggest you don’t try
anything or you’ll end up like Five.
NUMBER THREE
Was that Two?
BOSS
Yeah. Five is not with us now.
NUMBER THREE
Looks like the shares of this pot
keep getting bigger. And when I'm
done with Two, it'll be bigger yet.
BOSS
I'd like to see you try to fuck with
Number Two. It would be like a
Chihuahua trying to fuck a wolf.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
39 -
Desperate Choices
INT. WINTHROP HOUSE, KITCHEN — DAY
Gino stares at the text they sent — a picture of Jada,
naked, tied to the bed, and bloodied.
GINO
Connors, this picture may have clues.
Find details we can use to ID the motel.
And see if we can get GPS on the pic.
Connors uses an app on his iPhone to find what Gino needs.
CONNORS
It's been scrubbed, so no GPS. And
the room had no identifiable
headboard, carpet, or bedspread. All
we've got is a plain vanilla bed.
GINO
Find something, goddamnit!
Alexa walks in and sees the picture. She recoils in shock.
ALEXA
Oh, God, Daddy. It's Jada.
SCOTT
It's all right. She'll be okay.
ALEXA
(crying)
How will she be okay? Do you see that
picture? You know what they probably
did? She'll never be okay.
(a beat)
Do something, Daddy.
SCOTT
Like what? What can I do?
ALEXA
Give them the money so they can get
her back.
SCOTT
That's seven million dollars!
ALEXA
It's only money — not like you don't
have enough. And Jada's my friend. My
best friend.
SCOTT
No life is worth seven million
dollars.
Alexa shakes her head and storms off.
ALEXA
Who didn't know you’d say that?
The phone rings, and Scott reaches to answer it.
GINO
It's them, so I’m putting it on
speaker. Keep looking at the notepad.
If I need to tell you things, I'll
write them there. And act like you're
still waiting on the money.
SCOTT
Hello?
BOSS (V.O.)
You messed up by sending that cop.
SCOTT
I'm sorry. I --
BOSS (V.O.)
Bad as that was though, you really
fucked up by not sending the money.
SCOTT
He said the money was --
BOSS (V.O.)
Bullshit! Tell Detective Cataldi to
stop feeding you lines. And just to
show I'm a reasonable man, I won't
kill your daughter. But if she was a
virgin before, she won't be for long.
(a beat)
Your greed did that.
Lonny rushes in from the living room, but Lucia puts her
hand over his mouth.
LUCIA
(whispering)
Don't say a word. They'll kill her.
SCOTT
No! I’ll pay you an extra hundred
thousand dollars.
BOSS (V.O.)
I'm afraid --
A woman interrupts from the background. Arguing is heard,
then the kidnapper comes back on the phone.
BOSS (V.O.) (CONT’D)
A nice surprise, Mr. Winthrop. We're
not unreasonable people.
(MORE)
BOSS (V.O.) (CONT’D)
We reward creativity. Make sure you
add the new money to the bags.
SCOTT
What about my daughter? When will I
see her?
BOSS (V.O.)
When we get the money. Oh, and please
come yourself this time. Don't send
someone pretending to be Uncle Eddy.
SCOTT
Don't worry. I'll be there.
BOSS (V.O.)
A wise decision. We'll call tomorrow.
Lucia removes her hand from Lonny's mouth, and he moves to
the table.
LONNY
What about Jada? Do you think --
SCOTT
Don't worry. Jada will be all right.
I'm giving you the money.
GINO
In that case, I think Mr. Winthrop's
right. She'll be okay.
Lucia runs to Scott and hugs him.
LONNY
So that's all it takes is money? What
would have happened to my girl if he
didn't give it to us?
(a beat)
Is this how it's going to be forever
in this country — that poor people
get screwed all the time?
SCOTT
What the hell do you want, Hackett?
I”m giving you the money.
Lucia grabs an apron from the island and puts it on.
LUCIA
Lonny, leave that for another day and
be happy with how things are.
GINO
Listen to your wife, Lonny. And get
some rest. Tomorrow will be a long day.
Gino turns to address the other cops.
GINO (CONT’D)
Everybody go home and get rest. Be
back here by seven A.M.
Ribs walks up to Gino.
RIBS
Want to come over for dinner?
GINO
Thanks, anyway, but I’m going home.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
40 -
Confronting the Past
INT. GINO'S HOUSE — NIGHT
Gino is getting wine from the bar when he sees headlights in
the driveway. He looks out the window, and sees Ribs getting
out of his car.
Ribs knocks on the door, then walks in. Gino is on the couch
with his wine.
GINO
What the hell are you doing here?
Ribs shrugs and sits in a chair across from Gino. He looks
around, sees an the empty wine bottle and a horrible mess in
the kitchen.
RIBS
I see you’ve been thinking of
Philadelphia again.
GINO
You don’t know anything about
Philadelphia.
RIBS
I know it worried Mary enough that
she talked to me about it, and that
she gave you that watch to help you
get over it.
(a beat)
Cuz, I came here because you're
fucked up, and you don't even know
it. You're letting this case get to
you, and it's affecting your job.
GINO
Bullshit!
Ribs shakes his head and pops the top on a beer he brought.
RIBS
It’s not bullshit. And it's not just
me saying this. You need to get your
shit together.
GINO
I'm fine, Ribs. We'll get ‘em.
RIBS
I'm not worried about catching them.
I'm worried about what it's doing to
you. You're letting what happened in
Philadelphia affect your attitude and
your judgment.
GINO
Fuck you. You don't know anything
about Philadelphia.
RIBS
I know. Mary told me years
ago. She had me swear I wouldn't
tell you, but she was worried.
(A beat) )
She said you had nightmares, cold
sweats, and that you couldn't get
over it. Blamed yourself for what
happened.
Gino sets his glass on the table and leans forward.
GINO
She told you that?
Ribs nods.
RIBS
Only because she worried about you.
(A beat)
So what are you gonna do?
Gino rubs his eyes and shakes his head.
GINO
Ribs, if you knew what they did to
her . . . And to make it worse, Mary
gave me that watch to help me deal
with it.
(a beat)
And now it’s gone.
RIBS
I don't need to know what happened in
Philly. We just need to make sure it
doesn't happen to Jada.
(A beat)
So I'll ask again — what are you
gonna do?
GINO
We’re going to get ‘em, Ribs. Every
damn one of them.
Ribs smiles and reaches over and pats Gino on the back.
RIBS
That's what I like to hear, cuz. Now
put some damn coffee on and let's
make a plan.
Gino turns on the stove and puts the coffee on.
GINO
Have a seat. I’m calling Coop.
RIBS
You're calling at this time of night?
She's gonna be pissed.
The phone rings four times before Coop answers.
CAPTAIN COOPER (V.O.)
Cataldi, I swear to the Lord in
heaven, this better be an emergency.
GINO
It is an emergency, Captain. I’m
giving you a heads up that I’m going
to need a lot more bodies. I’ll call
in the morning.
CAPTAIN COOPER (V.O.)
It is the damn morning.
Gino sits back down with Ribs. After a few sips of beer, he
stands and paces.
GINO
I just thought of something, Ribs.
What do they do about the maids?
RIBS
What?
GINO
The maids! Motel rooms are cleaned
every day. These guys can't have
maids coming in with Jada there.
Delgado jumps up, a light in his eyes.
RIBS
Hijo de puta! (son of a bitch) A do-
not-disturb sign.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
41 -
Breakfast Tensions
INT. WINTHROP HOUSE — KITCHEN — DAY
Lucia is cooking breakfast for Alexa, Lonny, and Scott when
Gino enters. He goes to the kitchen and pours a cup of coffee.
GINO
I’m surprised you feel up to cooking.
LUCIA
This takes my mind off things.
Lonny enters from the living room and stands beside Gino.
LONNY
Where's your partner?
GINO
He's with a SWAT team. They're
waiting on information.
LONNY
You know where she is?
GINO
Easy, Lonny. We don't know yet, but I
think we will shortly.
Gino turns to Scott.
GINO (CONT’D)
In the meantime, we're going to need
that money.
EXT. MOTEL PARKING LOT — DAY
Ribs has a team assembled and prepped. All he needs is a
location. His phone rings. Sixties Julie is on the line.
JULIE (V.O.)
Get a pen. I’ve got an address. It's a
motel on FM 1960 not far from you. They
rented adjacent rooms three days ago.
RIBS
And?
JULIE (V.O.)
And there's been a do-not-disturb sign
on both doors since check-in. They
even promised a bonus to the maids.
RIBS
Hijo de puta!
JULIE (V.O.)
I don't know what that means,
Detective, but I hope it means that
you’re hurrying on over there.
RIBS
We’re on our way.
Ribs hangs up and calls Gino.
RIBS (CONT’D)
Cuz, we got ‘em. Julie found the motel.
GINO (V.O.)
Goddamn! That's great. Keep me
informed. I'm just pulling up to
Scott's house with two bags of money.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
42 -
Desperate Escape
EXT. KIDNAPPER'S VAN — DAY
Number Two sits in the back of the van with Three. She wears
her mask and has gloves on. A cell phone is to her ear.
NUMBER TWO
Shit!
She frantically dials a number.
NUMBER TWO (CONT’D)
Dispatcher, we need Four and the girl
picked up now! Cops are on the way.
DISPATCHER (V.O.)
It will take me twenty minutes. If
you need it faster, make other plans.
NUMBER TWO
Okay, I'm clearing them out.
NUMBER THREE
Why do you have Dispatcher's number?
NUMBER TWO
Shut-up, Three. We've got problems.
Number Two dials the phone again.
NUMBER TWO (CONT’D)
Four, get out now. Cops are on the way.
NUMBER FOUR (V.O.)
What? Where?
NUMBER TWO
Take the girl. Get in the car and go
somewhere private. Forget about masks.
Boss will call with instructions.
NUMBER FOUR (V.O.)
What if she gives me trouble?
NUMBER TWO
Undo the gag and put her on the line.
Jada gets on the phone, her voice timid and weak.
JADA
Hello?
NUMBER TWO
You know who I am, so you know I'm not
trying to hurt you. Listen close. Do
everything Number Four asks, and do it
without fuss. If you make noise or try
to escape, he'll kill you. After that,
we'll kill your father and your mother.
(a beat)
Is that clear?
JADA (V.O.)
Yes.
NUMBER TWO
Good. Put Number Four back on.
NUMBER FOUR (V.O.)
Yeah?
NUMBER TWO
She'll cooperate. Hurry and get out.
Two hangs up and dials another number.
NUMBER TWO (CONT’D)
Cops are on the way to the motel. Four
is pulling out. Bring him back to the
house if you have to. If we leave him
alone on the streets, they’ll find
him. He's too stupid not to be tailed.
Number Two hangs up, puts the phone away, and leans against
the side of the van.
NUMBER THREE
Is that the way you talk about me
when I’m not here?
NUMBER TWO
I don't talk about you at all.
INT. MOTEL — NORTH HOUSTON — DAY
Four shuts the phone, puts it on vibrate, then looks around
nervously. He races to the bed and takes off Jada's blindfold.
NUMBER FOUR
Hurry up. We have to leave.
JADA
What's going on? Am I going home?
Four smacks her in the face and glares.
NUMBER FOUR
Hurry up and dress.
Jada stands and puts on her pants and a top.
NUMBER FOUR (CONT’D)
Hurry, goddamnit!
Four yanks her by the arm. He removes his mask but before
opening the door, he hears a noise that causes him to pause.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
43 -
Desperate Measures
INT. WINTHROP HOUSE — DINING ROOM - DAY
Gino and Scott walk in. The phone rings and the tech signals
it's the kidnappers. Gino nods at Scott.
SCOTT
Hello.
BOSS (V.O.)
I'm glad to hear it's you, Mr.
Winthrop. I didn't like dealing with
that cop pretending to be Uncle Eddy.
SCOTT
Don't worry. I'll deliver the money.
BOSS (V.O.)
Good. Set your cell phone on the
table and get the money ready. I pray
for your daughter's sake the money
isn't tainted. Do not take your cell
phone, or any cell phone, with you. I
want to find no extra cell phones.
(a beat)
Do you have paper and pen?
SCOTT
Yes.
BOSS (V.O.)
Write this down. It is imperative
that you make no mistakes as you
won't have a phone. If you make a
mistake, we will cut off one of her
nipples.
SCOTT
I won't make a mistake.
BOSS (V.O.)
Head south on I-45. Exit onto the
Hardy Toll Road. Go to the airport,
Terminal “C” parking garage.
Gino looks at Connors and whispers.
GINO
Do they think they can get away with
this again?
BOSS (V.O.)
When you enter the garage, park in
the first space you find. Take the
bags and go to ground transportation.
Take the shuttle bus to the Four
Seasons Hotel. Am I going too fast?
SCOTT
No, I've got it.
BOSS (V.O.)
Talk to no one. Say nothing. You will
be tested. The hotel's front desk has a
package for Mr. Scott Winthrop that
requires ID. If your ID and picture
don't match, we will remove one of your
daughter's nipples. If we have already
removed one, we will remove the other.
(a beat) )
If Detective Cataldi and his crew get
there before you and examine the
package, we will know. We will cut
off a nipple. If anything goes wrong,
we will cut off a nipple. If we run
out of nipples, we will cut off
something else. Clear?
SCOTT
Clear.
BOSS (V.O.)
Good. Inside the package will be more
instructions. Follow them exactly.
Read them carefully. That's all for
now. I'll tell you when to leave.
Gino gathers the detectives, surveillance team, and the
techs at the table and addresses them.
GINO
All right, people. This is it. We've
got a GPS tracker hidden in the car
and another in his shoe. Be alert. We
can't fuck this up.
CONNORS
What's the plan?
GINO
We're sending six cars to the airport
and three to the hotel. But do not
engage anyone.
Gino looks at the surveillance team.
GINO (CONT’D)
Think hard, people! Think about how
they might fool us. How they might
trick us?
He looks at MORRISON (20s, technician, nerdy but confident
with technology).
GINO (CONT’D)
I don’t want any surprises, Morrison.
Plant three bugs on the car. If the
kidnappers find one, we need backups.
(a beat)
Put ‘em in the wheel well, backseat,
and engine.
(a beat)
All right, let’s get it done.
Gino turns and mumbles.
GINO (CONT’D)
Those sons of bitches aren’t getting
me this time.
The phone rings, and the tech pops his head in the room.
TECHNICIAN
It's them.
SCOTT
Hello?
BOSS (V.O.)
Good morning, Mr. Winthrop. You sound
relaxed. I must warn you though, if
you are counting on Detective Cataldi
to get you out of this mess, ask him
what happened in Philadelphia. We
don't want a repeat of that disaster.
(a beat)
Are the instructions clear?
SCOTT
Yes.
BOSS (V.O.)
Good. I want you to leave in exactly
one minute.
SCOTT
Okay.
BOSS (V.O.)
One more thing, Mr. Winthrop. Take
Detective Cataldi's car. Not yours.
The line goes dead. Gino continually pounds his fist on the
table until Morrison stops him.
GINO
Fuck! Fuck! Fuck! We haven't even
started and they're pulling shit.
(a beat)
I shouldn’t have taken this case.
Scott holds his hand out.
SCOTT
Keys, Detective. I've got to go.
After Scott leaves, Gino turns to see Lonny staring.
LONNY
What did he mean by 'ask you about
Philadelphia'? You told us you worked
a kidnapping case in Philadelphia.
GINO
I did. And I said I brought the girls
back alive, and I did.
(a beat) )
But they were hurt.
Lonny clenches his fists and storms off to the living room.
He sits beside Lucia on the sofa. Lucia holds his hand and
leans on his shoulder.
LUCIA
I know it seems like nothing is going
right, but the Lord will take care of
our girl. We’ve got to believe that.
LONNY
I’m not waiting for the Lord to
intervene. We need to take this into
our own hands.
Lonny whispers in her ear.
LONNY (CONT’D)
I heard something on that recording
that makes me believe I might know
the people responsible. I’m going
after them, but you can't say
anything to anybody. Understand?
LUCIA
(panicked)
Lonny, you can't do that! You’re not
a cop. Tell the detective and let him
take care of it.
LONNY
Lucia, this is our daughter, and we
need to get her back; besides, if I
tell what I know, I’ll be in deep shit.
Lonny kisses Lucia's cheek, then gets up and heads toward
the front door.
LUCIA
Lonny!
He turns and looks at Lucia.
LONNY
I got to do it, baby. I got to.
Lonny walks toward the door, keys in hand.
Gino enters from kitchen just as Lonny is leaving. He looks
at Lonny, then looks at Lucia, but she turns her head.
GINO
Where are you going, Lonny?
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
44 -
Desperate Confessions
EXT. WINTHROP HOUSE — DAY
Lonny opens the front door and goes outside.
Gino rushes after him, moving quickly down the walk. He gets
to Lonny before he reaches his truck.
GINO
Lonny, where the hell do you think
you’re going? And why?
LONNY
Just killing time. Clearing my head.
GINO
That's bullshit. You're a father. I
understand your concern. What I don't
understand is what’s bugging you.
(a beat)
And don’t tell me nothing. I saw a
look in your eyes when you heard the
tape. You know something, and you
need to tell me.
Lonny shifts weight from one foot to another and grits his
teeth, then clenches his fists.
LONNY
I know that a bunch of crazy fuckin'
crackers got my girl. And I know
you’re not doin’ shit about it.
GINO
You say that like you know who has her?
Lonny bangs the hood of his truck and paces.
LONNY
I don't know anything.
GINO
Lonny, I can't imagine what you're
going through, but I can relate. My
son almost died last year. He was in
the hospital with tubes up his nose
and down his throat, barely
breathing, and his blood pressure
hardly registering.
(a beat)
When I saw him, I told God I'd
trade — me for my son.
Gino watches as Lonny paces.
LONNY
I didn’t know you had kids.
GINO
I almost didn’t. He got into drugs
and damn near died.
Gino punches the car and screams at Lonny.
GINO (CONT’D)
And you know why? Because I was too busy
trying to save other people’s kids, and
I didn’t pay attention to my own.
Lonny lowers his head and turns away.
LONNY
Sorry, Detective.
GINO
Don’t be sorry, just do what’s right.
Gino shakes his head.
GINO (CONT’D)
I have no idea what kind of trouble
you're in, but you have to decide if
you're willing to trade for Jada. And
you have to do it now.
Lonny remains silent. He paces more, squeezes his hands, and
hangs his head low.
GINO (CONT’D)
Now, Lonny! They could be raping her
while you make up your mind.
Lonny turns and stares, tears run down his face.
LONNY
Lucia always said I was a man who
could make the necessary decisions.
GINO
Lucia is a wise woman.
LONNY
I was with the people who did the
Marshall break-in. It's them. I
recognized them on the recorder.
(a beat)
But I had nothing to do with hurting
that boy. You've got to believe me.
GINO
All right. We’ll figure out what to
do with you later. For now, let’s
focus on getting Jada home.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
45 -
Desperate Measures
INT. MOTEL — DAY
Number Four cracks the curtains and peeks outside. A car
pulls into a space at the far end of the lot.
A man gets out of the car, conspicuously holding a hotel-
room key as he walks toward the motel. Four grabs Jada and
moves into the adjacent room, the one they used for decoys.
He gags Jada and puts her in the bathroom, then he tucks
himself against the wall and draws his gun.
EXT. MOTEL — DAY
Ribs gets everyone assembled in front of the motel. Both
exits are blocked. He shows his badge to the MANAGER (50s,
Indian ancestry).
RIBS
We need the keys to #180 and #182.
LANCE (30s, black, soldierly) takes three men and advances
on the room. They sneak up the steps, open the door to #180,
and go in. Then they search #182. A moment later, Lance
pokes his head out the door and shouts to Ribs.
LANCE
No one here now, but they were here.
We've got blood and signs of struggle.
Ribs races to the room. A broken lamp is on the floor, and
there is blood, along with a bra and a pair of panties.
LANCE (CONT’D)
Should we leave?
RIBS
You can go, but leave someone next
door. Just in case.
Ribs dials the phone as Lance leaves.
GINO (V.O.)
What have you got, Ribs?
RIBS
We’ve got blood — lot of it — and
we’ve got her socks ...
GINO (V.O.)
And?
RIBS
And her bra and panties. And the
panties were ripped off.
GINO (V.O.)
Son of a bitch! If they left that
evidence, it means they were in a
hurry. How the hell are they doing
this? How did they know we'd be there?
RIBS
What's happening up there?
GINO (V.O.)
Scott's preparing to deliver the
money. And there’s all kinds of shit
with Lonny.
RIBS
I'm on my way up there. Fill me in
when I get there.
INT. MOTEL — DAY
Number Four waits until he hears no sounds, then steps
silently across the room, signaling Jada to keep quiet too.
He listens at the door to the next room, then he looks out
the window again and sees an HPD crime-scene van pulling up.
Two men get out. Number Four backs away and dials his phone.
NUMBER FOUR
Need a place to roost, Boss. I'm
stuck. Cops are in the other room.
BOSS (V.O.)
Where's the girl?
NUMBER FOUR
Right here.
BOSS (V.O.)
Has she seen your face?
NUMBER FOUR
Yeah, we were on our way out,
remember?
BOSS (V.O.)
Stay put. They have no reason to
search that room; it was rented in a
different name. Just don't make noise.
NUMBER FOUR
What about —
BOSS (V.O.)
Kill her.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
46 -
Power Play and Betrayal
EXT. WINTHROP HOUSE — DAY
Scott leaves, carrying two bags of cash. He puts them in
Gino's car and climbs behind the wheel. Two blocks away, he
stops at an intersection. A man jumps out from behind a van
on the side of the road. He is wearing a mask and is
carrying a poster-board sign.
INSERT
Don't move, Scott. Don't say a word.
Scott nods and swallows hard. The man holds up another sign.
INSET
Roll down the window.
A second person moves up and removes the bags of money from
Scott's car. He takes them to the van and empties the cash.
He refills them with paper and puts them back into the car.
The first person hands him a cell phone and holds up a new
sign.
INSERT
This phone is on speaker. Do not
talk.
More signs flash in rapid succession.
INSERT
Follow all instructions. Do not turn
off the speaker. Place the phone in
your shirt pocket. Do not take the
elevator at the airport or the hotel.
We will be listening. And watching.
INT. WINTHROP HOUSE — DAY
Gino walks into room where techs are monitoring Winthrop's
activity.
GINO
Please tell me you have him.
TECHNICIAN
All good, sir. He stopped for a
minute a few blocks from here, but
that could have been traffic. Ever
since then, it's been smooth sailing.
GINO
Where is he now?
TECHNICIAN
Nearing the airport, and our tail
picked him up about a mile ago.
GINO
Okay, let me know if anything
changes.
EXT. KIDNAPPER'S VAN — DAY
After Scott drives off, Driver removes the mask and turns
into the left lane of the parkway. Number Two sits in the
back with Number Three. Number Two continually looks for
anyone following.
NUMBER TWO
Keep watching for tails.
DRIVER
No one saw us.
NUMBER THREE
Would you look at all this cash?
NUMBER TWO
A lot of money.
NUMBER THREE
It would be a lot more money if we
didn't have to split it so many ways.
Two turns to glare at him and is staring at a gun.
NUMBER TWO
What are you doing, Three?
NUMBER THREE
Driver and I decided splitting the
cash two ways was more profitable.
NUMBER TWO
I can't believe you'd betray Boss.
NUMBER THREE
Money's money.
NUMBER TWO
And you're going to shoot me?
NUMBER THREE
You're catching on quickly.
His hands shake as he moves the gun closer. Then he points
at her face and squeezes the trigger. Nothing happens.
NUMBER TWO
I'm ashamed of you, Three. You should
always check your ammo. I unloaded
your gun this morning.
She pulls her gun out and points it at him.
NUMBER THREE
How? Why?
NUMBER TWO
Because I knew you'd try something
like this.
NUMBER THREE
Boss won't like it if you off me.
NUMBER TWO
You never were smart, Three. I am
Boss.
FLASHBACK MONTAGE — BOSS
-- Boss looking at Two before deciding on the kidnapping.
-- Two telling Boss what to do.
-- Boss looking at her before answering.
END OF MONTAGE
Number Two shoots Three two times.
NUMBER TWO
I don't know where you stand on this,
Driver, but I’d suggest you abandon
any alliance you had with Three. He's
dead, and you’re no match for me.
DRIVER
(gulps)
Where to?
NUMBER TWO
The warehouse.
Two empties Three's pockets. She puts his wallet aside and
looks at the watch he has. It has an inscription on the
back. As she reads, a tear forms in her eye.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
47 -
Uncovering Connections
INT. WINTHROP HOUSE — DAY
Gino grabs the phone as soon as it rings.
GINO
Yeah, Charlie?
CHARLIE (V.O.)
Gino, we might have something. I cross-
referenced everything you gave me, and
one connection came up. The Memorial
house and the Marshall house both made
claims in the past two years.
GINO
Didn't Julie already check that? They
were different insurers.
CHARLIE (V.O.)
They were, but the insurers used the
same investigator.
(MORE)
CHARLIE (V.O.) (CONT’D)
It's a company called Lone Star
Recovery, and it's owned by a former
police officer named Sue Masterson.
I'm looking into her now.
Gino hangs up and answers the incoming call.
JULIE (V.O.)
Gino, we did more digging, and it
looks like an ex-cop named Ed
Harbough is hooked up with Masterson.
GINO
Should that mean something to me?
JULIE
It should. He's the guy Tip suspects
of knowing about his mother's murder.
GINO
So if Lone Star Recovery is involved
with the kidnappers, then chances are
Harbough is. Text me his address.
The technician walks in smiling. He grabs Gino by the arm
and leads him to the entrance hall.
INT. WINTHROP HOUSE — ENTRANCE HALL — DAY
The technician looks around suspiciously, then whispers.
TECHNICIAN
We found a bug in Winthrop’s cell.
GINO
For God's sake, that should have been
the first place you looked.
TECHNICIAN
We did, but it wasn't a regular bug.
They had spyware on his cell phone.
GINO
What the hell are you talking about?
TECHNICIAN
Good stuff. It lets them listen to
anything, even when the phone is off.
If you were wondering how they were a
step ahead of you, wonder no more;
they were listening to you.
GINO
How did you miss this?
TECHNICIAN
This stuff is almost impossible to
detect. We had to get into the code
to find it.
GINO
Who could have put it there?
TECHNICIAN
Anybody who had access to the phone
for a few minutes and who knew
Winthrop's password and personal
information.
(a beat)
It's not difficult. And once it's in
there, the things they can do with it
are amazing — keep track of him with
GPS, see who he texts and what he
says, listen to calls, listen to
conversations near the phone.
GINO
Son of a bitch! That explains a lot.
TECHNICIAN
What do you want me to do? The
phone's in the kitchen.
GINO
Nothing for now, but make sure to
tell anyone who comes here. I've got
to go check on something. And I'm
taking Lonny with me.
Gino walks back to the kitchen. As he prepares coffee, Lonny
enters. Gino grabs Lonny's arm and heads toward the door.
GINO (CONT’D)
Lonny, you mind taking a ride with
me? I might have a lead. You'll have
to drive though. Scott has my car.
Lonny and Gino leave the house and get in Lonny's truck.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
48 -
Desperate Measures
EXT. LONNY’S CAR — DAY
Lonny drives and Gino is in the passenger seat.
LONNY
Where we goin', Detective?
GINO
I'm gonna give you a chance to get
your girl back, Lonny.
Lonny turns to Gino, staring blankly.
LONNY
What are you talkin' about?
GINO
We're going to talk to a guy who's
connected to the kidnappers. I know
that because he's connected to the
ones who did the Marshall house, and
as you said, they're the same.
Lonny stares straight ahead, focusing on driving.
GINO (CONT’D)
You need to make up your mind, Lonny.
He's our best shot at finding Jada,
so we need to get some information.
The muscles in Lonny's arm tense and he grips the steering
wheel tightly.
LONNY
If this guy knows where my baby girl
is, just give me five minutes with him.
GINO
Lonny, you're going down for the Marshall
case, no matter what. It's up to you if
you want to help find Jada, but I can't
let you go Rambo on the guy.
INT. LONE STAR RECOVERY — DAY
Gino and Lonny walk into the storefront marked: Lone Star
Recovery. Ed Harbough sits behind a desk typing. He looks up
as they approach, his hand creeping toward a desk drawer.
ED HARBOUGH
May I help you?
GINO
You can keep away from the gun that's
probably in that drawer, and you can
tell me where the girl is.
Harbough scrunches his eyebrows and brings his hand back.
ED HARBOUGH
What girl? What are you talking about?
GINO
It's past time for denying you're
hooked up with the kidnappers. You're
gonna tell me where to find the girl.
ED HARBOUGH
Or what?
Gino points to Lonny.
GINO
Or I'm gonna leave you here with
Lonny, who is the girl's father. He
can have a stab at getting you to
talk until Tip Denton gets here.
Harbough's eyes open wide at the mention of Tip's name.
ED HARBOUGH
I can tell you where the base is.
That’s all I know.
GINO
Write it down.
Harbough scribbles an address on a slip of paper and hands
it to Gino, then Gino cuffs him to a pipe on the wall.
GINO (CONT’D)
Stay put. Somebody will come for you.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
49 -
The Mysterious Call
EXT. LONNY'S CAR — DAY
Gino's phone rings as they drive north on I—45.
NUMBER TWO (V.O.)
Have you found what you’re looking for?
GINO
Who is this?
NUMBER TWO (V.O.)
It doesn't matter. If you haven't
found her, go over where you've been.
GINO
You mean the motel?
NUMBER TWO (V.O.)
A motel has more than two rooms.
GINO
Why are you telling me this? How do I
know it's real?
NUMBER TWO (V.O.)
The girl reminds me of myself; besides,
if he's in jail, there will be one less
person to share the money with.
GINO
Listen, I --
NUMBER TWO (V.O.)
Goodbye, Detective.
The line goes dead, and Gino looks behind him, then makes a
quick U-turn and steps on the gas while he dials a number.
GINO
Ribs, who do you have at the motel?
RIBS (V.O.)
One of Lance's guys. And I’m sure the
crime scene guys are there by now.
GINO
Call Lance's guy and tell him to watch
the rooms on both sides, but don't do
anything. I'm ten minutes away.
RIBS (V.O.)
What's this about, cuz?
GINO
An anonymous tip. And I think it's good.
RIBS (V.O.)
Shit, I'm heading your way.
GINO
No need to, but have Lance get his
crew back there.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
50 -
Betrayal and Escape
EXT. KIDNAPPERS VAN — DAY
Driver exits the freeway with Number Two in the back.
DRIVER
Is he really dead?
NUMBER TWO
Want to check?
DRIVER
No, I just ... He told me Boss gave
him the idea. He said Boss was the
one doubting you.
NUMBER TWO
Tell me when we get close.
Number Two takes cash from one bag and puts it in the other.
The van turns right, and the sound of driving down a gravel
road is heard.
DRIVER
Almost there.
The van slows, then comes to a stop. The engine shuts off.
NUMBER TWO
Stay in the van, Driver. Move, and
I'll kill you.
Number Two exits the van with one bag and enters the
warehouse. Her gun is in the back of her waistband. Boss
stands in the middle of the room next to Number Five's body.
NUMBER TWO (CONT’D)
Why is that still here?
BOSS
Haven't had time to dispose of it. I
was thinking the forest up by
Crockett. If we bury it shallow, the
wild hogs and coyotes will get it.
Number Two nods, then sets the bag down.
BOSS (CONT’D)
That's all of it?
NUMBER TWO
It's your share. Three is no longer
with us.
BOSS
What happened?
NUMBER TWO
He imagined a different split would
be better than what we had set up.
Speaking of splits, Four is stuck in
the motel. Cops all around.
BOSS
I know. He called. I told him to kill
the girl if he has to.
NUMBER TWO
You told him to kill her?
BOSS
The girl saw his face, so yeah, I
told him to kill her.
Number Two doesn't hesitate. She reaches behind her back,
pulls her gun, and shoots Boss twice, then dials the phone.
NUMBER TWO
Four, what's the status?
NUMBER FOUR (V.O.)
Where's Boss?
NUMBER TWO
Boss is dead. You're talking to me.
NUMBER FOUR (V.O.)
If I get caught, I'll tell them
everything.
NUMBER TWO
Four, you know nothing.
NUMBER FOUR (V.O.)
I'll ... I'll, I'll tell them ...
NUMBER TWO
Calm yourself and listen. You can
escape this if you stay calm.
NUMBER FOUR (V.O.)
Okay, what do I do?
NUMBER TWO
Understand that things can still go
wrong, so listen closely. First, let
me talk to the girl. We have to make
sure she stays quiet.
Number Four removes Jada's gag and hands the phone to her.
Number Two whispers into the phone.
NUMBER TWO (CONT’D)
Can he hear me?
JADA (V.O.)
No.
NUMBER TWO
Good. Listen closely. While I’m
talking, pretend you’re scared. In ten
minutes, ask to go to the bathroom. He
will probably have you gagged. Once
inside, lock the door. he won't break
in for fear of making noise.
With the door locked, make all the noise you can. Kick the
walls, scream if you can get the gag off, slam the toilet
seat up and down. Break something.
JADA (V.O.)
Okay.
NUMBER TWO
Give the phone back to him.
Four takes the phone from Jada.
NUMBER TWO (CONT’D)
She won't give you any trouble now.
And remember, stay calm.
Number Two hangs up and starts back toward the van, then
stops. She turns and exits through a side door and creeps to
the front of the building. She peeks through a window and
sees Driver waiting to ambush her. She moves to the door
quietly, opens it, then points her gun at Driver.
She leads Driver to the van and cracks her head with a pipe.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
51 -
The Hostage Rescue Plan
EXT. MOTEL — DAY
Gino pulls into the parking lot with Lonny. Lance and his
crew are already there. Gino gets out of the car and walks
to Lance.
GINO
Everybody ready?
LANCE
Good to go. Just give the word.
GINO
Lance, consider this a hostage
situation. As far as we know, we’ve
got one kidnapper in the room with
the girl. He’ll be desperate, feeling
trapped.
Gino's phone rings. He signals Lance to wait.
NUMBER TWO (V.O.)
Detective, in a few minutes, you will
hear noise from inside room #178 —
screaming or banging on the wall. The
girl will be in the bathroom. That will
be your opportunity. Don't miss it.
(a long beat)
And one more thing. Winthrop was the
one who orchestrated this.
(MORE)
NUMBER TWO (V.O.) (CONT’D)
He knew the wrong girl was taken, and
he put the spyware on his own phone.
GINO
Why are you telling us this?
NUMBER TWO (V.O.)
Because I don’t want him to get away.
(a beat)
After what he put Jada through, he
doesn’t deserve it.
GINO
Wait! Before you hang up. Tell me how
you knew about Philadelphia.
NUMBER TWO
The spyware. Winthrop made sure the
cell phone was near when you were
talking to the other cops.
(a beat)
Have to go now. Good luck.
The line goes dead. Gino turns to Lance.
GINO
That was one of the kidnappers.
They're in room #178, and the girl
will give a signal when she's out of
harm's way.
LANCE
They're giving up their own?
GINO
Along with the girl. I guess she
doesn't want any witnesses. These
people are cold.
Gino starts for the motel but stops and turns to Lonny.
GINO (CONT’D)
Lonny, stay in the car. Don’t move.
I’m giving Lance's men permission to
shoot you if you try anything.
Gino catches up to Lance and resumes his walk to the motel.
GINO (CONT’D)
Let's go, Lance, but remember, we
want this guy alive.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
52 -
Desperate Measures
INT. MOTEL ROOM — DAY
Number Four paces in front of the window and Jada sits in a
chair across the room. She walks to Four and taps his
shoulder. She gestures toward the bathroom. Four closes his
eyes and sighs.
NUMBER FOUR
Can't you wait?
Jada shakes her head.
NUMBER FOUR (CONT’D)
You’re gonna have to.
Jada shakes her head vigorously and points to the bathroom.
NUMBER FOUR (CONT’D)
Goddamnit!
Four grabs her arm and leads her toward the bathroom, then
speaks in a low whisper.
NUMBER FOUR (CONT’D)
If you make any noise, I'll have
Number Two kill your parents.
Jada nods, then goes into the bathroom, pulls her pants
down, and sits. She motions for Four to turn his back, and
when he does, she kicks the door closed, spins around, and
locks it.
Number Four taps lightly on the door.
NUMBER FOUR (CONT’D)
You better open this.
Jada rubs her face on the wall to get the gag from her
mouth, then begins screaming, banging the toilet seat, and
kicking the wall.
JADA
Help! Somebody please help?
INT. MOTEL ROOM — DAY
Lance's man calls Gino.
LANCE'S MAN
We've got a signal. It's a go.
EXT. MOTEL PARKING LOT — DAY
Gino looks at Lance and gives a thumbs up.
GINO
Go!
Lance's men sneak toward the door and up to room #178.
INT. MOTEL — DAY
Number Four hears footsteps and rushes to the window. Cops
are sneaking forward. He waits till they get about ten feet
away, then fires, taking the lead cop down.
The door from room #180 bursts open and two cops enter. The
one who enters low, fires. The first shot blows out Four's
chest. The second rips a chunk of his head off.
Gino rushes into #178 behind Lance's other men. Gino bangs
on the bathroom door.
GINO
Jada, it's the police. Open the door.
The bathroom door bursts open and Jada runs out, crying. She
wraps her arms around Gino and hugs him.
JADA
Oh, my God. Thank you. Thank you.
GINO
It's over, Jada. Now, let's go see your
parents. They're in the parking lot.
EXT. MOTEL PARKING LOT — DAY
Jada exits, looks around, then races to her parents. Gino
joins them in the parking lot and pulls Lonny aside.
GINO
Lonny, we've got to go.
LONNY
Detective, I know this isn't how it
works, but I'd like to have the night
to tell my family what's going on.
Gino stares for a long time. He looks to Lonny's family,
then back to him.
GINO
Every bit of good judgment I have is
telling me no. But if I have your
word that you won't go anywhere, I'll
pick you up in the morning.
Lonny grabs Gino and hugs him.
LONNY
Detective, you got it. I'll be waiting.
GINO
An ambulance is on the way. They'll
want to check Jada out, then we'll
need to talk to her. But for now, go
enjoy your family. I'm going to check
that address Harbough gave us.
Gino gets in the car and leaves, heading north on I—45. His
phone rings as he leaves the parking lot.
GINO (CONT’D)
Cataldi.
JULIE (V.O.)
Gino, it's Julie. That address you
gave me earlier? Firemen were just
called there.
GINO
Aw, shit. Okay, I'm on my way.
Gino turns on the siren and steps on the gas.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
53 -
Inferno of Deceit
EXT. BOSS'S HEADQUARTERS — DAY
When Gino arrives, the building is on fire. Flames are
reaching into the sky and four firetrucks are there.
He shows his badge to a FIREMAN (40, solid build, full
uniform) standing to the side.
GINO
What have you got?
FIREMAN
Bad one. Lot of accelerants in there.
GINO
Arson?
FIREMAN
Can't be sure yet.
GINO
Any bodies?
FIREMAN
Four so far. Three male and one female.
Gino shakes his head and hands him his card.
GINO
Do me a favor and call me when you
know something. This may be connected
to a case we're working.
He gets in his car and backs out, heading toward Winthrop's.
EXT. GINO'S CAR — DAY
Gino calls Ribs.
GINO
We found the base, but it's burnt
down, and it has several bodies in it.
Ribs walks outside onto the patio.
RIBS (V.O.)
Had to wait to get clear. Sanjay, the
scientist who works for Scott, got scared
and broke. According to him, things
aren't so rosy with Winthrop's IPO.
GINO
How so?
RIBS (V.O.)
They have problems with the clinical
trials, and if that gets out, the IPO
disappears which means Scott's money
disappears. The company also gave him
several interest-free loans.
GINO
Okay, we've got motive for the guy to
do something. We could even go out on
a limb and say he was in with the
kidnappers except for one thing —
they got the wrong girl.
RIBS (V.O.)
Did they? With the spyware they had
on the phone, they should have known
everything. Maybe Jada is who they
wanted all along.
Gino smiles at Ribs.
GINO
Exactly, Ribs. I don’t know the
details yet, but one of the
kidnappers, the one who tipped us off
to the motel, said Winthrop planned
it all, but I don’t know why.
RIBS (V.O.)
I was already thinking about that, and
I remembered Scott said he'd lived in
some dangerous places: Mexico City,
Bogota, Caracas. If he lived there, he
probably had kidnap insurance.
GINO
I'm still puzzled as to how that
helps. Jada's not his daughter.
RIBS (V.O.)
Call Charlie. He knows a lot about
insurance.
GINO
All right. I'll call on the way.
Gino calls Charlie as he drives.
GINO (CONT’D)
Charlie, what do you know about
kidnap insurance?
CHARLIE
You mean K&R policies? A lot. My
brother-in-law sells a lot of them to
international clients.
GINO
How would we find out if Scott had one?
CHARLIE
Give me the company name and I'm sure
my brother-in-law can find out.
Before Gino reaches Winthrop's house, Charlie calls back.
CHARLIE (CONT’D)
He's got one all right, and it's a doozy.
GINO
Explain.
CHARLIE
It not only covers him for ten
million, but the policy covers
guests, which means Jada would have
been covered because she was staying
at his house.
GINO
Son of a bitch. Charlie, I owe you one.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
54 -
Tensions Rise at the Winthrop House
INT. WINTHROP HOUSE — DAY
Gino walks in the door. Ribs is sitting at the kitchen table
with Connors, and the techs are in the dining room. Gino
sits next to Ribs and whispers.
GINO
Did you tell Winthrop about the
spyware and the money being gone?
Ribs looks around and nods.
RIBS
Told him everything. He wasn't happy
about the money.
GINO
Charlie wrapped this up and put a bow on
it. Winthrop has kidnap insurance, and
Jada is covered. Let's see how he reacts
to the realization the money's gone.
Gino calls one of the techs into the kitchen.
GINO (CONT’D)
I'm leaving. I want you to rig Scott's
phone so we can hear it. We'll tell
him the phone's clean, and once he
hears that, I'd bet he makes a move.
Gino goes outside and makes a call downtown.
GINO (CONT’D)
I want an immediate redirect on Lone
Star Recovery's phone number to a
private line at the station. If a
call comes in, give it to Harbough
and have it recorded. And make sure
he cooperates.
Gino goes back inside, drinks a cup of coffee, then gets his
keys from Winthrop and leaves. Ribs takes the cell phone to
Winthrop and hands it to him.
RIBS
It's clean now, sir. Sorry for all the
trouble, but at least we got them.
SCOTT
But they didn't get the money?
Ribs shakes his head.
RIBS
The money burnt, and it looks as if
the kidnappers died in the fire also.
Anyway, I've got to go. Thanks for
everything, but especially the money.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
55 -
Cornered Truth
EXT. POLICE VAN — DAY
Delgado leaves the house and gets in the van. They drive a
few blocks away, then park on the side of the road.
RIBS
You think he'll call?
CONNORS
If he wants to know what happened to
his money, he'll have to.
The technician taps Ribs on the shoulder and hands him
headphones.
TECHNICIAN
He's calling Harbough.
ED HARBOUGH (V.O.)
Lone Star Recovery.
SCOTT (V.O.)
We need to talk.
ED HARBOUGH
Who is this?
SCOTT
You know who it is. The detectives
left. They said the money's gone. I
want to know who the fuck set the
fire? Did you? Do you have the money?
The line goes dead. Ribs turns to Connors, eyebrows raised.
RIBS
Think that's enough?
CONNORS
Enough for what we need.
Ribs and Connors go back to Winthrop's house and knock on
the door. Scott appears surprised when he sees them.
SCOTT
Detective, I didn't expect to see you
again.
RIBS
We were wondering who might have put
the spyware on your phone. Do you know?
SCOTT
I have no idea what you mean.
CONNORS
You think it could have been Harbough?
SCOTT
I don't know any Harbough.
Connors leans close, narrowing his eyes.
CONNORS
Ed Harbough? You don't know him? He
investigated an insurance claim you
had about a year ago.
SCOTT
I don't remember. Why? Do you think
he did it?
CONNORS
You must think so, Mr. Winthrop,
because you just called him.
Ribs pushes the button on the recorder.
RECORDER
SCOTT
Harbough, we need to talk.
HARBOUGH
Who is this?
SCOTT
You know who it is. The detectives just
left here. They said the money's gone.
Winthrop's face loses all expression. He sits still.
RIBS
I think we need to talk, Mr. Winthrop.
Winthrop looks at Ribs, then Connors, and gulps.
SCOTT
I don't think you can use that.
RIBS
You’re probably right. I’d bet with a
good lawyer this would be thrown out
in court, so we’re not even gonna
try. We just wanted you to know that
we understand what's going on.
SCOTT
I need to call my lawyer.
CONNORS
You could do that. And I could arrest
you and read you your rights, but I'm
not going to.
(MORE)
CONNORS (CONT’D)
What I'm going to do is drive you
over to Lonny's house and tell him
what we know. I'll let him give you
your rights.
SCOTT
You wouldn't do that, I’ll --
Connors gets in his face and sneers.
CONNORS
You'll what? If you can still talk
after Lonny's done, I'll charge you
with felony murder.
RIBS
I'm going to read your rights, then
you better start talking.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
56 -
Facing the Consequences
INT. HACKETT HOUSE — NIGHT
Lonny, Lucia, Jada, and Mars sit around the kitchen table.
Lonny is holding Jada's hand and smiling.
LONNY
Whatever you want for dinner, young
lady, name it, and it's yours.
LUCIA
As long as it doesn't cost more than
six dollars.
Mars reaches into his pocket and pulls out some change and
counts.
MARS
And forty-two cents.
Jada leans forward and kisses her brother's cheek. Lonny
walks into the kitchen wearing a chef's hat.
LONNY
Gonna cook up Lonny Hackett's
specialty — jalapeño hot dogs.
Lucia, Jada, and Mars laugh.
LUCIA
We should have known that's what we'd
get. It's the only thing Dad can cook.
The family eats dinner, then Lonny pushes his chair back and
stands.
LONNY
I’m gonna take a shower.
INT. BEDROOM — HACKETT HOUSE — NIGHT
Lonny walks into the bedroom, but instead of showering, he
pulls clothes from his drawer and stuffs them into a
suitcase. As he closes the lid, Lucia walks in.
LUCIA
I'm assuming that detective let you
come home to be with your family.
Lonny spins around and stares.
LONNY
What are you talking about?
LUCIA
I'm talking about whatever it is you
been hiding. Don't think I haven't
noticed. And don't pretend you been
working all this time.
Lucia walks slowly toward him and kisses him.
LUCIA (CONT’D)
I'd have gone with you, you know.
Lonny pushes her away some and looks at her.
LONNY
You know?
LUCIA
I know you haven't been the man I
married for some time. And I know
that all those nights you came home
with money, you didn't get it working
honest labor.
LONNY
How did you know?
LUCIA
I didn't smell cement on you or see
stains on your arms.
Lonny sighs and sits on the bed.
LONNY
You should have said something.
LUCIA
What kind of trouble are we in?
LONNY
No we. It's me. I did some bad
things. Now I got to pay for them.
Lucia sits beside him. Her fingertips trace the muscles on
his arms. She kisses him softly.
LUCIA
It will always be we. No matter what.
LONNY
I'll be going to jail. For how long,
I don't know.
Lonny holds back tears, then he hugs Lucia and cries.
LONNY (CONT’D)
What am I gonna tell the kids? All
these years of preaching to do things
right, and now ... now this.
LUCIA
These kids are old enough. We'll tell
them together, and you can show them
how a man handles his business.
LONNY
They're gonna hate me.
LUCIA
They might be embarrassed. Maybe even
angry. But they'll love you like they
always have. You can't take that away.
Get some sleep, and we'll tell them in the morning.
Genres:
["Drama"]
Ratings
Scene
57 -
Consequences and Concerns
INT. HACKETT HOUSE — DAY
Lonny and Lucia leave the bedroom and sit on the sofa, the kids
across from them. Lonny folds his hands and leans forward.
LONNY
Sometimes people do wrong. I did
wrong, and I've got to pay for it.
A knock on the door interrupts them. Lucia answers it.
LUCIA
Detective Cataldi, come in.
GINO
No thanks. I need to get Lonny and go.
Lonny stands and walks to the door.
LONNY
I'm ready.
Lucia grabs Gino by the shoulders, a serious look on her
face.
LUCIA
Do you have to take him? He was only
trying to help his family.
GINO
I know, but yes, I have to take him.
EXT. GINO'S CAR — DAY
Gino and Lonny are in the car driving away. He exits the
subdivision and gets on the freeway. Lonny looks at Gino.
LONNY
I know it's not fair to ask, but
would you mind looking in on the kids
now and then. They'll need guidance.
GINO
I'm sure Lucia can handle it.
LONNY
I'm not sure. She pretends to be a
rock, but she's gonna break when I'm
gone.
GINO
Lonny, I've got my own son, and my
own problems too.
LONNY
I'm sorry. Like I said, it's not
fair.
Gino drives a few miles on the freeway, heading away from
the city.
LONNY (CONT’D)
Still, I'm askin'.
Gino mumbles something, then exits the freeway and pulls
into a diner.
GINO
You hungry?
LONNY
I ain't eaten yet.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
58 -
Homecoming and Misunderstandings
INT. DINER — DAY
Gino sits at a booth near the window. Lonny across from him. A
WAITRESS takes their orders. Gino stares at Lonny as he eats.
GINO
I guess I owe the world more than
another prisoner in Huntsville.
LONNY
What are you talking about?
GINO
I'm saying you're going home. But if
you ever get in trouble again, I'll
see to it you go in for life. I'm
holding this over you.
Lonny wipes his mouth with a napkin, then gets up and hugs
Gino. Then he hugs him again.
LONNY
Detective, I don't know what to say.
Gino stands and throws a twenty on the table, looks at what
he has left: a ten and a five, and leaves that too.
GINO
Let's get you home to Lucia.
EXT. HACKETT HOUSE — DAY
Gino and Lonny pull up and Gino beeps the horn. Lucia opens the
front door, then, looking shocked, races out. The kids follow.
Gino smiles as the family hugs in the drive. He watches a few
seconds, then starts to back out. Lucia stops him.
LUCIA
Detective, come in for coffee.
GINO
I can't. I have to get going.
LUCIA
Then at least step outside and let me
kiss you.
When Gino steps out, Lucia grabs him and squeezes, then
kisses him on the cheek.
LUCIA (CONT’D)
Detective, if I weren't a married
woman, I'd ... You're a good man,
Gino Cataldi. A damn good man.
EXT. GINO'S CAR — DAY
Gino leaves Lonny's house and drives slowly out of the
subdivision. He picks up the phone and dials.
GINO
Julie, did you ever get me the
addresses for those plates?
JULIE
If you'd bother to check your texts,
you'd see I sent them last night.
GINO
Shit! Okay, thanks, Julie.
Gino checks his messages and goes to the first address on
the list. It's a large ranch house at the end of a cul-de-
sac. He walks up and knocks on the door. A young BLACK WOMAN
about thirty answers.
GINO (CONT’D)
Sorry, ma'am. Wrong house.
He drives off, checks his messages again, then heads to the
next one. A large, MID-FORTIES WHITE WOMAN answers.
GINO (CONT’D)
Sorry, ma'am. Wrong house.
Gino moves on to the next address. This time, a GORGEOUS
BRUNETTE answers. She has long, dark hair, and wears
glasses. Gino takes a step back.
GINO (CONT’D)
Hello, Jennifer. May I come in?
JENNIFER
Of course, but my name isn't
Jennifer; it's Marissa.
Genres:
["Crime","Drama","Mystery"]
Ratings
Scene
59 -
Flirtation and Frustration
INT. MARISSA'S HOUSE, THE WOODLANDS — DAY
Gino steps into a large foyer with marble floors.
GINO
Scott introduced you as Jennifer.
MARISSA
I don't use my real name at nightclubs.
That's where we met, you know.
Gino stands in a marble entrance hall with brick arches
leading to a large living room and dining room. A huge
kitchen sits at the other end.
MARISSA (CONT’D)
Would you like a drink?
GINO
Since I'm off duty for the day, I'd
love one. Whatever you're having.
INT. LIVING ROOM, MARISSA’S HOUSE — DAY
She walks through the living room to a bar that seats six.
MARISSA
I'll make it a surprise.
GINO
Fine by me, Number Two.
MARISSA
What did you say, Detective?
GINO
I said you’re good, Number Two.
Marissa mixes the drinks and hands one to Gino, a confused
look on her face. She sits in a chair next to him.
MARISSA
Number Two? I don't quite understand.
GINO
I've been working a kidnapping case.
Remember? One of the kidnappers calls
herself Number Two.
Marissa crosses her long legs and her skirt rises up high.
MARISSA
How original. Did you finish the case?
GINO
Almost. We got the girl back but one
of the kidnappers got away.
MARISSA
How did he get away?
GINO
Actually, it's a she. But we’ll get her.
MARISSA
I certainly hope so.
GINO
We'll have your DNA from the motel.
MARISSA
My DNA? I see. You're role playing.
Okay, I'm game. Which motel is it?
GINO
Off the freeway at Ritchie Road.
MARISSA
Let's see, DNA at the motel. Hmm. Let
me think.
(a beat)
I must have stayed there before. You
know they don't clean those rooms often.
GINO
If you stayed there, they'll have
records.
MARISSA
Yes, they will. I was coming home from
a club and had too much to drink. I
pulled in and spent the night.
GINO
We've got your voice on the recorder
when you agreed to the extra hundred
thousand.
MARISSA
A voice on tape? Not conclusive.
GINO
How about Harbough's testimony?
MARISSA
I don't know the name, but it sounds
as if he's a criminal.
And a criminal cutting a deal to turn
another in, won't fly.
Gino slams his glass on the table and stands.
GINO
This is no goddamn game, lady. A girl
was kidnapped.
Marissa stands and walks toward the door.
MARISSA
I had fun, Detective, but it looks as
if you are losing control.
She opens the front door, gesturing for him to leave.
MARISSA (CONT’D)
Come by anytime.
Gino walks to the door and turns.
GINO
The way I figure it, Harbough was the
link, and his sidekick was the one who
died in the fire. You had us going for a
while. The whole thing with the masks. I
have to take my hat off to you.
Marissa smiles and opens the door wider.
MARISSA
It was nice seeing you again,
Detective.
GINO
Burning so much money was another
smart move. Most people would have
tried to keep it all. You burnt
enough to make it look real, but not
too much.
Gino shakes his head.
GINO (CONT’D)
What I can't figure out is why? You
obviously don't need the money. And
how did you get involved with
Winthrop? Did you know him, or did
Harbough arrange it?
MARISSA
I see you're back to your game again.
I'd like to help, but I'm afraid I
have no answers. Sometimes, things
don't wrap up as we want.
Marissa pecks Gino on the cheek and shows him out.
Genres:
["Crime","Mystery","Thriller"]
Ratings
Scene
60 -
Echoes of the Past
EXT. MARISSA’S HOUSE — THE WOODLANDS — DAY
As Gino walks down the sidewalk, Marissa steps onto the
porch.
MARISSA
Detective, I had a thought. If this
person really did get away with all
that money, I suspect they'd be done
with crime.
Gino nods and opens his car door. As he's getting in, she
calls again.
MARISSA (CONT’D)
Detective, I forgot to ask — did you
ever find your watch?
Gino's fists clench. His muscles tighten.
GINO
What watch?
MARISSA
The day we met you were telling Scott
that you'd lost your watch.
Gino relaxes and continues getting in the car.
GINO
No, I didn't.
INT. HACKETT HOUSE — DAY
Super — “Two months later”
Jada receives an overnight letter. She sits on the sofa and
opens it, her brow furrowed.
INSERT (NOTE)
Dear Jada: I hope you are doing better and dealing with the
pain. Sometimes it takes a while to heal, but with the
proper help, the healing works. Trust me. I know.
I did my best to protect you, but sometimes things don't go
as planned. Unfortunately, this was one of those times. I
would give anything to take away your pain, but that is
beyond my capabilities. Since I can't do that, I offer the
only thing I can — a check for $250,000 drawn on a bank in
the Antilles. Perhaps it will help soothe your pain.
Good luck,
A friend
INT. GINO'S HOUSE — NIGHT
It is dark when Gino gets home. There is a Fed-ex package on
the porch. Gino takes the package inside and opens it. Lying
in the box, surrounded by packing peanuts, is Mary's watch.
He walks to the bedroom, opens a hand-carved music box, and
carefully unfolds a letter, and reads:
INSERT (NOTE)
Dear Gino: I am dying. God has decided I am needed up here
more than there. He must know you’ll be good for Ron. I know
you will. We had good times together and before long we’ll
be together again. And remember, if you have trouble dealing
with something, focus on the watch and think of me.
My love forever,
Mary
Gino sips on a glass of wine, wipes tears away, and stares
at the watch — a plain black face with only a second hand.
He holds it, then flips it over and reads the inscription.
INSERT
Each tick of the clock is one less second we are apart.
Gino smiles, then he wraps the watch in the letter, and
places them both back in the music box and closes the lid.