A neighborhood bar with neon beer signs glowing in the
windows. Television screens visible through the glass show a
basketball game in progress.
INT. SPORTS BAR - NIGHT
DON SIMME (48), Assistant District Attorney, well-dressed but
with a slightly disheveled appearance, watches a basketball
game intently. He sits with his ASSOCIATE (40s, casual
dress).
ON SCREEN: Final seconds of a close basketball game. One team
makes a three-pointer at the buzzer.
DON
(slapping the table)
Yes! That's game!
ASSOCIATE
(grimacing)
Lucky shot.
DON
Luck had nothing to do with it.
That's two
hundred you owe me.
ASSOCIATE
Speaking of owing ... You still
haven't paid me for the Rockets
game last week.
DON
(dismissive, signaling
for another drink)
You know I'm good for it. I'll get
it to you next week.
ASSOCIATE
That's what you said last time.
DON
(edge in his voice)
I said I'm good for it.
The Associate studies Don for a moment, then nods slowly.
ASSOCIATE
Sure, Don. Whatever you say.
Genres:
["Drama","Sports"]
Ratings
Scene
2 -
Pressure Points
EXT. DON'S HOUSE - NIGHT
Don parkes in his driveway. The house is a well-maintained
home in a nice Houston suburb. Lights glow from inside.
INT. DON'S HOUSE - HOME OFFICE - NIGHT
Don sits at his desk, reviewing case files. His phone RINGS.
DON
(answering)
Simme.
BOOKIE (V.O.)
(gruff)
Time's up, Don. I need my money.
DON
I told your guy I need another
week.
BOOKIE (V.O.)
And I'm telling you I need it now.
All of it.
DON
Look, I'm working on it —
BOOKIE (V.O.)
Fifty thousand, Don. Tomorrow. Or
we'll have a different kind of
conversation.
The line goes dead. Don stares at the phone, then throws it
onto his desk in frustration.
INT. COURTHOUSE HALLWAY - DAY
Don paces nervously. BURT CONNORS (45), social services
caseworker, approaches. Despite his rumpled appearance,
there's a natural charm about him.
DON
Burt. Thanks for coming by.
BURT
No problem. Just finished
testifying in
Ramirez case. What's up?
DON
(glancing around)
Not here. Let's grab lunch.
Genres:
["Drama","Crime"]
Ratings
Scene
3 -
Ethics for Sale
INT. RESTAURANT - DAY
Don and Burt sit in a corner booth, away from other diners.
DON
How are things at CPS?
BURT
Same old crap. Too many cases, not
enough caseworkers. Budget cuts
coming.
DON
And your ... side projects?
BURT
(lowering voice)
Going smooth. Ten ghost kids at two
grand a month. Could use more,
though.
DON
I've got a new idea.
BURT
What's up?
DON
You know those ghost children we've
been using? Suppose we used real
kids instead, then we could "sell"
them to rich people looking to
adopt. There are a hell of a lot of
them.
BURT
(shaking head)
I don't know, Don. That's messin'
with real
kids. I'm not keen on that.
DON
(scowling)
Since when do you shy away from
something because it's illegal? And
it's only a little illegal.
(a beat)
(MORE)
DON (CONT’D)
Besides, it's not like we're
hurting the kids. Damn, Burt. We're
doing them a favor. Instead of
being some poor kid stuck in the
system, we're putting them in a
rich person's home. They'll love
it.
BURT
(hesitant)
I still don't know.
DON
(sipping beer)
Think about it. If you set it up
under the PCSPs, it becomes
"hidden" foster care and the kids
are supposedly put with relatives
whether in Houston or not.
(beat)
C'mon, Burt. You know this. If it's
hidden, the arrangements bypass
court hearings and aren't even
tracked by the Feds.
(laughing)
You might as well. You've already
got a much more obvious scheme
going on here. If you're gonna get
caught, it's with this one.
Burt nods slowly, considering.
BURT
All right. I'll get started.
MONTAGE:
A) Burt at his computer, creating fake records for children.
B) Burt meeting with a FOSTER PARENT in a diner, passing an
envelope under the table.
C) Don in his office, signing paperwork without reading it,
then handing it to Burt.
D) Burt depositing cash at different banks.
E) Don writing a check for "Clearwater Care Center."
END MONTAGE
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
4 -
Under Scrutiny
INT. TEXAS DEPARTMENT OF FAMILY AND PROTECTIVE SERVICES - DAY
A busy office with caseworkers at desks, phones ringing. Burt
sits at his cluttered desk, drinking coffee from a "World's
Best Dad" mug.
LENNY FORDHAM (40s, perfectionist, all business) rushes
through the office, a man on a mission.
The OFFICE ADMINISTRATOR (55, Black, organized) greets him as
he passes by.
OFFICE ADMINISTRATOR
Good morning, Mr. Fordham.
LENNY
Glenda, I'll need a temporary
office set up ASAP.
He continues his rapid pace, down the hall.
INT. CAFETERIA - DAY
Lenny pushes open the doors leading to a small eating area,
where Burt sits with SEVERAL colleagues.
Lenny taps on a tabletop to draw attention.
LENNY
I'm Director Fordham from Dallas,
and I'll be accompanying all
workers who have calls today and
tomorrow. No need to prepare
anything special; I'll simply be
tagging along.
Burt and the others exchange nervous glances.
BURT
What's this about?
LENNY
It's about me assessing the jobs
you're doing. Now, whoever has
appointments today, Glenda will
show you to my temporary office.
He looks at his watch.
LENNY (CONT’D)
I expect to leave for the first
visit within the next few minutes.
Lenny turns and exits.
Burt checks the hallway after he leaves.
BURT
What the hell's this shit? We've
never had anybody "tag along."
A lot of mumbling is heard as the others gather items and
head out. Burt makes haste as he goes to his office. He pulls
out his phone and dials.
BURT (CONT’D)
Betsy, this is Burt Connors. We may
have a situation.
INT. BETSY'S HOUSE - DAY
BETSY (35, white, disheveled) panics.
BETSY
What kind of situation? Should I
call Richard?
BURT
(whispers)
Call who you need, but have the
kids there by nine tomorrow.
(beat)
Make sure they answer to the names of Steve and Carla 'cause
my boss will be with me, and he's a stickler for details.
Burt makes three similar calls, then he stands and looks
around before dialing the next one.
BURT (CONT’D)
Don, it's Burt Connors. Hate to
bother you, but my boss is in town
and he's riding with me tomorrow.
Genres:
["Drama","Thriller"]
Ratings
Scene
5 -
Reassurances and Ulterior Motives
INT. DON'S OFFICE - DAY
Don leans back in his chair.
DON
Why is that important to me?
BURT
(anxious whisper)
We're supposed to have an
appointment tomorrow.
(MORE)
BURT (CONT’D)
That means you need to have three
kids at your house, ready to snap
salutes or whatever else you have
them do.
DON
Don't worry. Josh, Nancy, and
Edmond will all be here, and
they'll be prepared.
BURT
(relieved)
You're sure?
DON
Count on it, Burt.
BURT
All right. Just remember, we're in
on this together. I can't have
anything go wrong.
DON
(laughing)
You worry too much. But I'll tell
you what - why don't you meet me
for a drink or two after work.
BURT
I don't know. I told my wife I'd be
home early.
DON
C'mon, Burt. Just two drinks. We
can meet at that place just south
of Mission Bend, the one with the
waitresses to die for.
BURT
You know I can't refuse that. I can
be there by seven.
DON
Sounds good. And I'm buying.
END INTERCUT
INT. DON'S HOME OFFICE - DAY
Don hangs up, then dials another number.
DON
Hey, I haven't talked to you in a
while.
(pause)
Yeah, we need to get together, but
not tonight. I'm meeting a friend
at the Cowboy Palace around seven.
(pause)
Yeah, you should try to make it.
(pause)
All right. Hope to see you.
Don hangs up, a calculating look on his face.
Genres:
["Drama","Crime","Thriller"]
Ratings
Scene
6 -
A Night at the Cowboy Palace
EXT. COWBOY PALACE - NIGHT
A faded roadhouse with a large neon sign showing a cowboy on
a bucking bronco. The animation makes it appear to be riding.
Country music spills into the gravel parking lot.
Burt pulls into the parking lot, looks into the rearview
mirror, and combs his hair - what little he has. He adjusts
his tie, pops a mint in his mouth, then gets out of the car
and enters the bar.
INT. COWBOY PALACE - NIGHT
Burt is barely in the door, when Don yells from a table near
the back. Burt makes his way to the table, turning to gawk at
the nearly naked dancers as he does.
He sits across from Don, and Don pours a large mug of beer.
BURT
Thanks. I needed a cold one today.
He stares at the girls again.
BURT (CONT’D)
And lookin' at them don't hurt.
DON
So who's giving you trouble?
BURT
It's some goddamn new boss we got.
He's in from Austin, and I guess he
wants to impress everybody, so he's
paying visits to all the families
to make sure the kids are okay.
Don nods, his gaze drifting.
DON
And that has you worried?
BURT
I'm fine with the paperwork. It's
the visits that could nail me. Me
and the families, you included.
Don lifts his mug and taps it against Burt's.
DON
No need to worry about me. Focus on
the others, and I'm sure things
will be fine.
Don takes a big gulp of beer just as a WAITRESS with a low
top and a very short skirt walks by. Burt's gaze follows her.
Don laughs loudly.
DON (CONT’D)
I told you things would be fine.
BURT
Things would be better if I could
take that home with me.
DON
I think your wife may object, Burt.
You'll have to be satisfied
dreaming about her.
Burt downs the rest of the second mug of beer, then stands.
BURT
Thanks for the beer, Don. And for
the chat.
DON
No problem. C'mon, I'll walk you
out.
Genres:
["Drama","Crime","Thriller"]
Ratings
Scene
7 -
Night of Violence at Cowboy Palace
EXT. COWBOY PALACE - NIGHT
Burt looks around, confused.
DON
Where did you park?
Burt points to a spot far to the left.
BURT
About halfway down the end aisle.
DON
Goddamn, that's where I am too.
Don and Burt walk toward the end, and move to the side when a
dark colored pickup goes by. The truck stops, then backs up
until it sits beside them.
A MAN wearing a cowboy hat pokes his head out the window.
MAN WITH HAT
Simme? You Simme?
Before Don responds, the man points a gun at them. Simme
ducks, pulling Burt down with him. He hears a LOUD, SHARP POP
just as they hit the ground.
The bullet hits Burt in the head, blood splattering
everywhere. Then the pickup spins its tires as it screeches
away, loose gravel flying everywhere.
Simme lifts his head, watching as it turns on Highway 6. Once
gone, he checks Burt, but he has a gaping hole in the back of
his head. He reaches into his pocket and removes his phone.
Don dials 9-1-1 on his own phone and gives them the address,
then runs back and yanks the bar door open.
DON
Any doctors here? A man's been
shot!
Don runs back and kneels next to Burt. He leans down to give
mouth- to-mouth resuscitation, but stops at the sight of his
mangled face, part of it missing.
Within a moment, a crowd gathers, then SIRENS sound. An
ambulance pulls in and two EMTs hoist Burt onto a gurney.
Two patrol cars pull up next to the ambulance, and as the
cops get out, a tech shakes his head.
Don is kneeling over Burt when OFFICER MIKE VINCENT
approaches.
When Don looks up, the officer steps back.
MIKE
ADASimme. I didn't recognize you at
first.
Don nods.
DON
Not the time for that anyway ...
Mike, isn't it?
The officer nods, smiling.
MIKE
Can you tell us what happened?
Don nods.
DON
Burt and I were walking to our cars
when a black pickup stopped next to
us. He asked, "You Simme?" After
that, he pulled out a gun. I dove
to the ground and pulled Burt with
me, but the shot hit Burt.
MIKE
Burt was his name?
Don nods, a somber look on his face.
DON
Yeah, Burt Connors.
The other OFFICER goes through Burt's wallet and pulls out
his license.
OFFICER 2
Got it right here. Burt Connors. He
was a caseworker - CPS.
Mike holds his notepad.
MIKE
What can you tell us, Mr. Simme?
Did you get a look at the man who
shot him? What about the truck?
Make, model, full bed, short?
Anything will help.
Mike shrugs.
MIKE (CONT’D)
Hell, you know the drill.
Don closes his eyes.
DON
I don't know the make, but it was a
dark-colored pickup, and it was an
8' bed.
Don pauses, then gets excited.
DON (CONT’D)
And it had big lights on top, all
the way across. And it had
oversized tires.
MIKE
That's good, sir. How about plates?
You get any numbers?
Don looks glum and shakes his head.
Mike looks to his partner, then back at Don.
MIKE (CONT’D)
Any reason why someone would wish
you harm?
DON
Not that I know of. At least not
since I moved out of Narcotics.
Certainly not something like this.
MIKE
All right, Mr. Simme. That should
do for now. Give us your name and
number, and we'll be in touch soon.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
8 -
Urgent Dispatch
INT. HOUSTON POLICE DEPARTMENT (HPD) - CAPTAIN COOPER'S
OFFICE - DAY
CAPTAIN GLADYS "COOP" COOPER (late 40s, glasses, solid build,
determined) nods as she listens on the phone. She hangs up
and calls to her assistant.
COOP
Get me Tip and Connie. And they
don't need to stop for coffee or
anything else.
TIP DENTON (late 30s, solidly built, sarcastic as hell with a
long Texas drawl, with a chin-to-ear scar on the left side of
his face) plops in a chair and kicks his boots up on Coop's
desk. CONNIE GIANELLI (30s, realistic but optimistic,
sometimes sarcastic) sits in another chair, her notebook
open.
CONNIE
I'd ask you to excuse my rude
partner, but
you already know what an ass he is.
COOP
(leaning forward)
We've got a body south of Mission
Bend.
Tip's cowboy hat is slanted down to cover his eyes, and his
hands are behind his head.
TIP
Fresh?
COOP
No, Denton, it's not *fresh*. It
happened
last night.
TIP
If it's Mission Bend, why are we
gettin' the
call? That's county business.
COOP
This is a caseworker - CPS, but he
was having
drinks with ADASimme. The guy who shot may have been
targeting him.
CONNIE
Give me the address, Captain. I'll
make sure
Tip's on his best manners.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
9 -
Unraveling Grief
INT. CONNOR'S HOUSE - DAY
Tip and Connie are shown to the living room where they sit
with MRS. CONNORS (40s, cropped hair, outspoken).
TIP
Ma'am, we're sorry about your
husband. That's a horrible thing to
deal with.
Mrs. Connors uses a handkerchief to dry her eyes. Connie
leans toward her and speaks softly.
CONNIE
Ma'am, do you have any idea why
someone would do this?
She shakes her head.
CONNIE (CONT’D)
I have to ask. Did he have a
gambling problem? Or a drinking or
drug problem?
MRS. CONNORS
Heavens no. Burt might have
occasionally stopped for a few
beers which was really him stopping
to look at the young girls, but he
had no problem. He never came home
drunk, and he didn't gamble at all.
TIP
And there wasn't any marital
trouble? Affairs?
She shakes her head.
Connie stands and puts her notebook away.
CONNIE
All right, Mrs. Connors. That's all
for now. If we have more questions,
we'll come back.
(beat)
And call us if you think of
anything.
EXT. CONNORS HOUSE - DAY
Connie and Tip walk to their car.
CONNIE
We should go see Ben.
TIP
What for? Looks straightforward to
me, but
I'll give him a call.
Tip pulls out his phone and dials.
TIP (CONT’D)
(into phone)
Ben, you solve my case yet?
INT. MORGUE - DAY
BEN MARSH (40s, glasses, all about business) holds a phone
while examining Burt's body.
BEN
Looks like you'll have to do some
real work on this one. Guy was shot
in the back of the head - maybe
with a .45. Either way, I've got
nothing else for you.
TIP
I'm gonna make a report suggesting
we get a new damn coroner.
BEN
I hope it goes through. I'm due a
nice pension.
Genres:
["Crime","Drama","Mystery"]
Ratings
Scene
10 -
Unraveling Accountability
EXT. TEXAS DEPARTMENT OF FAMILY AND PROTECTIVE SERVICES - DAY
A nondescript government building with a small parking lot.
INT. JANET MILLER'S OFFICE - DAY
JANET MILLER (60, tired eyes, dedicated) sits behind a
cluttered desk. Connie and Tip sit across from her.
CONNIE
How long had Burt worked for you?
JANET
Almost fifteen years. He was one of
our most experienced caseworkers.
TIP
Any problems with his work?
Complaints?
JANET
(hesitant)
Nothing official. He carried a
heavy caseload, but we all do.
CONNIE
What about unofficially?
Janet shifts uncomfortably.
JANET
Look, Burt was good with the kids,
but there had been some ...
concerns recently.
TIP
What kind of concerns?
JANET
That's why Lenny Fordham is here.
He's conducting an audit of all our
placement files.
CONNIE
Any particular reason?
JANET
(sighs)
Sometimes I'd try to check on a kid
in Burt's caseload and couldn't
find them.
TIP
What do you mean, couldn't find
them?
JANET
The paperwork matched, but one time
Burt was out sick, so I sent
someone else to check on them. He
said they weren’t there.
CONNIE
You think he was falsifying
records?
JANET
I don't know. That's what the audit
is for. But with budget cuts
looming ... people get desperate.
TIP
How many kids in Burt's caseload?
JANET
Officially? Around fifty. But he
also has quite a few more that fall
under the “hidden foster care”
provisions. Children who need
homes, but have relatives in other
cities, so they are sent there.
INT. POLICE STATION - EVIDENCE ROOM - DAY
Connie signs a form while an EVIDENCE CLERK checks inventory.
EVIDENCE CLERK
And you need all of Connors'
personal effects?
CONNIE
Just his phone for now. We need to
check his recent calls.
The clerk looks through a box, then checks his clipboard.
EVIDENCE CLERK
That's weird.
CONNIE
What?
EVIDENCE CLERK
The phone wasn’t logged in when the
body was processed. And it's not in
the box.
CONNIE
Could someone have checked it out?
EVIDENCE CLERK
(checking records)
It wasn’t checked in, and no one’s
checked it out. Let me check the
safe.
The clerk unlocks a cabinet and searches through it.
EVIDENCE CLERK (CONT’D)
Not here either.
CONNIE
Who had access to this?
EVIDENCE CLERK
(defensive)
Just authorized personnel. But
that's a lot of people - officers,
techs, the ME's office.
CONNIE
I need a list of who checked the
evidence in, and anyone who
accessed it in the last 24 hours.
Genres:
["Crime","Drama","Mystery"]
Ratings
Scene
11 -
Uncovering the Fraud
INT. INTERVIEW ROOM - DAY
Lenny Fordham sits across from Connie and Tip. He has folders
and a laptop in front of him.
FORDHAM
Connors was under investigation,
but that was confidential. I'm
surprised his supervisor told you.
TIP
Murder has a way of loosening lips.
What were you looking for?
FORDHAM
Irregularities in the foster care
system. Misappropriation of funds.
CONNIE
You found something?
FORDHAM
(opening his laptop)
Fifteen children who don't seem to
exist, but the state is paying for
their care.
TIP
Paying who?
FORDHAM
Various foster families, most with
legitimate placements as well which
makes fraud harder to spot.
CONNIE
How much money are we talking
about?
FORDHAM
You ever look at the payment tiers?
(pulling up a
spreadsheet)
Basic Care amounts to $800 a month.
Moderate Care jumps to fourteen
hundred. If it’s Intense Care,
you're pushing twenty-seven
hundred. And that’s per kid.
TIP
That's not pocket change.
FORDHAM
No, it's not. And if you stack it —
say, three kids all rated as
"intense" — now you're looking at
eight grand a month for one
household. That's where things get
dirty. Especially if those kids
don't exist.
CONNIE
So Burt was classifying these ghost
children as needing intense care?
FORDHAM
Not all of them, but a lot, and at
an average of $2,000 plus per
month, per child — with fifteen
fake placements ... you do the
math.
TIP
Thirty grand a month.
CONNIE
Who was approving these placements?
FORDHAM
(hesitant)
That would have been through the
family court system.
CONNIE
Any particular judge or attorney
handle most of these cases?
Fordham shifts uncomfortably.
FORDHAM
I'm still compiling that data. I'd
rather not speculate until I have a
complete picture.
Tip and Connie exchange a glance.
TIP
This is a homicide. We're gonna
need that data. All of it.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
12 -
Unraveling Truths
INT. RESTAURANT - DAY
In a small diner off Highway 6, Connie and Tip sit across
from CAROLINE CONNORS (42, sharply dressed, composed). She
sips coffee, and her hands shake.
CAROLINE
I appreciate your thoroughness,
detectives, but I don't see how
divorce papers filed five years ago
has any relevance. I filed those
papers in a fit of anger, then
decided not to go through with it.
CONNIE
We're just trying to understand his
life, any potential enemies or
problems. Was there another woman?
CAROLINE
Nothing of the kind.
She narrows her eyes and stares at Connie.
CAROLINE (CONT’D)
And no man either.
TIP
When we spoke to his supervisor,
she mentioned financial
irregularities. And in the petition
for divorce, you cited gambling
problems.
Caroline looks down at her coffee.
CAROLINE
(after a pause)
Let’s get this clear first. There
was no divorce and no proceedings.
I filed a dismissal soon after the
petition, and it was granted. As to
the gambling, that wasn't true.
CONNIE
You lied about it?
CAROLINE
I wanted full custody but he
wouldn’t agree. I thought if I
cited gambling as a reason, he’d
give in.
TIP
Pretty serious accusation.
CAROLINE
(defensive)
I wanted my kids.
CONNIE
So Burt didn't have gambling debts?
CAROLINE
No. He had money troubles, but not
from gambling.
TIP
What kind of money troubles?
CAROLINE
His mother needed specialized care
that insurance wouldn't cover. And
he didn’t make a lot of money.
CONNIE
How expensive?
Caroline shrugs.
CAROLINE
I don’t know the number, but we
were drowning financially. And the
stress was killing us.
Connie studies her face, then hesitantly puts away her
notepad.
CONNIE
Okay, Mrs. Connors. That’s all for
now.
Genres:
["Crime","Drama","Mystery"]
Ratings
Scene
13 -
Unraveling Deceit
INT. POLICE STATION - BULLPEN - DAY
Tip approaches with coffee as Connie pins photos and
documents to a board.
TIP
What've we got?
CONNIE
Burt Connors, seemingly ordinary
CPS caseworker, running a fraud
scheme with fake foster children,
collecting at least thirty thousand
a month.
TIP
That's serious money. But he had to
be splitting that money with other
people. The foster parents
definitely got some.
(a beat)
(MORE)
TIP (CONT’D)
And he had to have a partner in the
system. I’m guessing they got a
fair share.
CONNIE
(suspiciously)
And his phone conveniently
disappears from evidence.
TIP
Somebody's covering tracks.
CONNIE
I've requested the call records
from the service provider, but
that'll take time.
(pinning up a photo)
Meanwhile, I'm curious about our
ADA friend who just happened to be
there when Burt was shot.
TIP
Don Simme? He's a respected
prosecutor.
CONNIE
Who was supposedly the intended
target, but the shooter didn't
recognize him? And he worked family
court cases, which would include
foster care placements.
TIP
(considering)
You thinking he's involved in
Burt's scheme?
CONNIE
I'm thinking we need to take a
closer look at all those placement
approvals and see whose signature
keeps showing up.
TIP
I know a guy who might be able to
help us with Simme.
CONNIE
One of your street contacts?
TIP
(grinning)
A man’s gotta have friends in low
places.
CONNIE
Just be careful. If we're right
about this, we're dealing with
people who don't mind killing to
keep their secrets.
TIP
Speaking of secrets ...
(nodding toward Captain
Cooper's office)
We gonna tell Coop our theories?
CONNIE
Not until we have something solid.
This involves an ADA and probably
others in the system. We need proof
before we start making accusations.
TIP
Fair enough. I'll go talk to my
guy.
CONNIE
And I'll see if I can get a warrant
for those placement files.
As Tip walks away, Connie studies the photo of Don Simme on
the board, her eyes narrowing with suspicion.
Genres:
["Crime","Drama","Mystery"]
Ratings
Scene
14 -
A Desperate Exchange
EXT. HOUSTON STREETS - NIGHT
Tip's cruises slowly along Westheimer Road, constantly
checking for signs of CHICKY (30s, rail-thin, nervous
energy). He scans the street corners and parking lots.
EXT. SHOPPING CENTER PARKING LOT - NIGHT
Tip pulls his car into a run-down shopping center. In the far
corner, a makeshift shelter of cardboard and tarps leans
against the building.
Chicky sits on a milk crate outside his cardboard home,
smoking.
Tip parks and approaches. Chicky immediately recognizes him
and straightens up.
TIP
Chicky, when the hell are you gonna
break down and get a decent place
to stay.
(MORE)
TIP (CONT’D)
Hell, you earn enough from me to
pay for one, and I know you talk
shit to a lot of others.
CHICKY
(scratching his arm)
Can't get that shit outta my arm,
Tipster. Besides, if I had a place
prolly couldn't get the skinny for
you.
TIP
Speaking of gettin' the skinny, I
need everything you can get on
ADASimme.
Chicky's eyes widen.
CHICKY
Whoa! I ain't steppin' in that.
TIP
I'll keep you out of it. I just
need the dirt. All of it.
Chicky looks to the side, then nods.
CHICKY
I’ll do it, but I didn’t do it.
Feel me?
Tip hands him a hundred dollar bill.
TIP
There might be more if what you
find is worth it.
Chicky bobs his head and sniffs.
CHICKY
Still the Man. Still the Tipster.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
15 -
Debt and Danger
EXT. SAME PARKING LOT - SEVERAL NIGHTS LATER
Tip's car pulls into the lot. Chicky paces nervously by his
cardboard shelter. Tip approaches, looking around to make
sure no one's watching.
CHICKY
Hope you got a few Franklins,
'cause I got you the shit. No cap.
Tip kneels on the parking lot next to Chicky.
TIP
Tell me about it.
CHICKY
Your boy owes some big money to a
few bookies. Nothin' real big, but
sizable.
TIP
What's sizable, Chick?
CHICKY
I'm talkin' 50 or 60gs. Enough to
make a man miss a night or two of
sleep.
TIP
Or a hell of a lot more.
(a beat)
You know who he owes it to?
CHICKY
One of 'em is Big Slick. I heard
he's into him for 35gs. The other's
Lobo. Owes him a little less, but
Lobo's mean. Mean as shit.
Tip hands Chicky two hundred-dollar bills.
TIP
Where can I find Big Slick?
CHICKY
(pocketing the money)
Back room at The Shack on Mondays
and Thursdays. Watches the fights.
Rest of the time, he's hard to pin
down.
TIP
What about Lobo?
CHICKY
(nervous)
Man, I wouldn't mess with Lobo if I
was you. He don't talk to cops.
Don't talk to nobody he don't know.
TIP
I’m not asking you to introduce us.
I just need to know where he
operates.
CHICKY
(hesitant)
Got a place off Navigation. Some
kinda "social club" but ain't
nothing social about it. You go
there, you better have backup.
Tip nods, stands up.
TIP
Good work, Chicky. Stay reachable.
CHICKY
Always for you, Tipster. Just
remember - you never heard none of
this from me. Especially about
Lobo.
Tip gives him a two-finger salute and walks back to his car.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
16 -
High Stakes Investigation
INT. TIP'S CAR - NIGHT
Tip sits in his car, making notes in a small notebook, then
he pulls away from the curb and drives home. On his way, he
dials Connie.
INT. CONNIE'S APARTMENT - NIGHT
Connie in casual clothes, going over case files spread across
the kitchen table. Her phone rings.
CONNIE
Gianelli.
TIP (V.O.)
I got something. Our ADA friend has
serious gambling debts. Fifty to
sixty grand.
CONNIE
To who?
TIP (V.O.)
Big Slick and Lobo - two big time
bookies.
CONNIE
Those are actual names?
TIP (V.O.)
Welcome to my world. The main thing
is, Simme's in deep. Deeper than
most people can climb out of.
CONNIE
That's motive.
TIPN (V.O.)
Let’s talk to Big Slick tomorrow
and see if I can get him to verify.
CONNIE
Be careful. If Simme was desperate
enough to set up a foster care
fraud scheme, who knows what else
he's capable of.
TIP (V.O.)
I always am. Tomorrow after we talk
to Big Slick, let's pay our ADA
friend another visit.
CONNIE
With what? We still don't have
anything concrete connecting him to
Burt's scam.
TIP (V.O.)
We got enough to make him sweat.
Genres:
["Crime","Drama","Mystery"]
Ratings
Scene
17 -
Uncovering the Truth
EXT. TIP’S CAR - NIGHT
Tip turns into his subdivision, and parks in his drive.
A dark sedan watches from a block away, its headlights off.
UNKNOWN MAN
Looks like he’s settled in for the
night.
INT. POLICE STATION - CONFERENCE ROOM - DAY
The room is dominated by a large table covered with stacks of
file folders. Whiteboards line one wall with names, dates,
and addresses written in different colors.
Connie sits surrounded by open files, making notes. Tip
stands at the whiteboard, connecting addresses with lines.
CONNIE
(frustrated, rubbing her
eyes)
There's something here. I can feel
it.
TIP
Other than the fact that my ass
went numb two hours ago?
CONNIE
Look at these placement patterns.
Burt had kids placed all over the
state, not just Houston.
TIP
Is that unusual?
CONNIE
For one caseworker? Yeah. Most
stick to their region.
Tip walks over, looks over her shoulder at a particular file.
TIP
What's this one?
CONNIE
Jeremy Walton, age 7. Supposedly
placed with a foster family in San
Antonio last year.
TIP
And these?
Connie pulls several more files.
CONNIE
Lisa Reeves, age 5. Michael Torres,
age 9. Samantha Wilson, age 6. All
placed in San Antonio.
Tip takes the files, flips through them.
TIP
All approved by Don Simme.
CONNIE
All rated as "intense care" cases.
Maximum payments.
TIP
Why San Antonio?
CONNIE
Far enough that Houston caseworkers
wouldn't routinely check in person,
close enough to be plausible for
"family reunification" cases.
TIP
Smart. Cross-jurisdiction makes
verification harder.
CONNIE
(pointing to more files)
There's a whole cluster here. Six
kids placed within a three-block
radius in San Antonio. All Burt's
cases, all approved by Simme.
TIP
That's too convenient.
Connie stares at an address list.
CONNIE
We need to check these addresses.
See if these kids actually exist.
TIP
We can't just drive to San Antonio
on a hunch. Cooper would have our
badges.
CONNIE
No, but I know someone who can help
us.
TIP
Who?
CONNIE
Gino's cousin, Ribs. Didn't he grow
up in San Antonio?
TIP
Yeah, he has family there. Good
idea.
Connie is already dialing her phone.
Genres:
["Crime","Mystery","Drama"]
Ratings
Scene
18 -
Undercover Plans
INT. BAR - NIGHT
Connie and Tip sit in a booth with RIBS DELGADO (late-30s,
thin, optimistic, talkative). A map of San Antonio and
several pages of addresses are spread on the table.
RIBS
So you want me to check these
addresses in San Antonio and see if
these kids are really there?
CONNIE
We need someone unofficial. Someone
who won't raise flags.
TIP
We're not asking you to do anything
illegal. Just confirm if these kids
are at these addresses.
RIBS
That's it? Just drive by, ask some
questions?
CONNIE
Talk to neighbors, local bodegas.
School bus drivers are usually good
sources. And of course playgrounds.
RIBS
What if someone asks what I’m
doing? Or reports me as a pervert?
TIP
Tell them you’re thinking of moving
there and you’re concerned about
what kind of families live nearby.
Ribs studies the list of addresses.
RIBS
Some of these are in my old
neighborhood. My cousin still lives
a few blocks from here.
He points to an address.
CONNIE
That's perfect. It makes your cover
even more believable.
RIBS
When do you need this?
CONNIE
As soon as possible. If these kids
don't exist ...
TIP
It means we've got our motive for
Burt's murder.
RIBS
I'll leave tomorrow morning. It
shouldn’t take more than a couple
days.
TIP
Don't draw attention.
RIBS
(smirking)
I know how to be invisible when I
need to be.
TIP
Be careful. We're dealing with
people who've already killed once.
RIBS
Got it.
Genres:
["Crime","Mystery","Thriller"]
Ratings
Scene
19 -
Uncovering Ghost Children
INT. POLICE STATION - SMALL MEETING ROOM - TWO DAYS LATER
Connie and Tip sit waiting. Ribs enters, looking tired from
the drive. He tosses a small notebook on the table.
RIBS
You want the good news or the bad
news?
TIP
There's good news?
RIBS
I didn't get shot.
CONNIE
And the bad?
RIBS
I checked every address. Neighbors
never seen any foster kids at any
of these houses.
Tip leans forward.
TIP
You're sure?
RIBS
I talked to neighbors, mail
carriers, a school bus driver. Even
chatted up a lady who's lived on
Fresno Street for forty years. Says
she knows every kid on the block.
CONNIE
What about the families that are
supposed to be fostering?
RIBS
Most addresses are real, but the
family names don't match your
records. 5423 Fresno Street? The
Johnsons aren't fostering two kids
like your file says. It's the
Martinezes, and they've got no
foster kids.
Connie picks up a file.
CONNIE
What about 1892 Highland Park?
RIBS
That one doesn't even exist. The
street numbers skip from 1880 to
1904.
TIP
Son of a bitch.
CONNIE
(flipping through files)
Ghost children. That's what we're
dealing with. Kids who only exist
on paper.
TIP
But the money for their care is
very real.
CONNIE
Two thousand per month per child.
With just these six...
TIP
Twelve grand a month. And we're
just looking at the San Antonio
placements.
Connie stands, paces.
CONNIE
Burt creates fake foster children
or redirects real ones on paper.
TIP
Simme approves the placements.
CONNIE
They split the subsidies with the
fake foster parents or just pocket
it all with completely fictional
addresses.
RIBS
And if anyone starts asking
questions...
TIP
They end up like Burt.
Ribs looks at them both.
RIBS
You two are into something
dangerous here.
CONNIE
We know. That's why we need to be
careful how we proceed.
TIP
We need to talk to Big Slick first.
Get confirmation on Simme's
gambling debts. Then we take
everything to Cooper.
CONNIE
Thank you, Ribs. This helps more
than you know.
RIBS
(standing)
Just watch your backs. These people
play for keeps.
As Ribs leaves, Connie and Tip look at the pile of files with
new understanding.
CONNIE
How many more of these are there?
TIP
Fordham said fifteen ghost kids
total. At two grand each...
CONNIE
Thirty thousand a month. Now we
know why Burt had to die.
.
Genres:
["Crime","Drama","Mystery"]
Ratings
Scene
20 -
Information Under Fire
EXT. "THE SHACK" SPORTS BAR - NIGHT
Tip and Connie drive down a narrow road, until they see a
blinking neon signs advertising beer brands. A hand-painted
banner reads "FIGHT NIGHT MONDAY."
TIP
Unless you see another one, I think
we’re at “The Shack.”
INT. "THE SHACK" SPORTS BAR - NIGHT
They walk into a crowded, smoky interior. A boxing match
plays on multiple TVs and PATRONS cheer and groan with each
punch.
Tip and Connie, dressed in plain clothes, navigate through
the crowd. Tip nods to the BARTENDER, who points toward a
door in the back.
TIP
(to Connie)
Let me do the talking. Big Slick's
known me for years.
CONNIE
Just don't forget we need
information, not a confrontation.
TIP
Where's the fun in that?
INT. BACK ROOM - NIGHT
A private room with a large TV showing the same boxing match.
A poker table sits unused in the corner.
BIG SLICK (50s, heavyset, well-dressed despite his
surroundings) sits in a leather chair, watching the fight.
TWO BODYGUARDS stand nearby.
Tip knocks on the open door.
BIG SLICK
(without looking)
We're full up tonight.
TIP
Even for an old friend?
Big Slick turns, breaks into a grin when he sees Tip.
BIG SLICK
Detective Denton! Been a while.
TIP
How's business, Slick?
BIG SLICK
Can't complain. Who's your friend?
TIP
Detective Gianelli. She's good
people.
Big Slick studies Connie, then nods to his bodyguards.
BIG SLICK
Give us the room.
The bodyguards exit, closing the door.
BIG SLICK (CONT’D)
(gesturing to chairs)
Sit. Drink?
TIP
We're good.
Big Slick mutes the TV.
BIG SLICK
So, this isn't a social call. What
can I do for Houston's finest?
TIP
Don Simme. Heard he's into you for
thirty-five large.
Big Slick's expression doesn't change, but his eyes narrow
slightly.
BIG SLICK
Client confidentiality is important
in my business, Tip.
CONNIE
We're not here about your business,
Mr. Slick. We're investigating a
murder.
BIG SLICK
And that connects to one of my
clients how?
TIP
Burt Connors. CPS caseworker. Shot
outside The Cowboy Palace three
nights ago.
BIG SLICK
Name doesn't ring a bell.
TIP
How about this - Simme's gambling
problem gets him in debt to you. He
needs money fast, sets up a fraud
scheme with Connors. Something goes
wrong, Connors gets killed.
Big Slick looks between them, then sighs.
BIG SLICK
You're way off base. Simme's got
his issues, but murder? Not his
style.
CONNIE
You seem to know him well.
BIG SLICK
Been taking his action for years.
TIP
And he owes you thirty-five?
BIG SLICK
(pause, deciding)
Thirty-seven as of yesterday. Plus
vig.
CONNIE
That's a lot of money for a public
servant.
BIG SLICK
He always paid before. Sporadic,
but he paid.
TIP
Until recently?
BIG SLICK
(nodding)
Last few months, he's been dodging
me. Making promises, small payments
to keep me off his back.
CONNIE
Was he afraid of you?
BIG SLICK
(smirking)
Everyone's afraid of their bookie,
Detective. It's a healthy business
relationship.
TIP
You threaten him?
BIG SLICK
Nothing serious. Gave him
deadlines, the usual warnings.
CONNIE
He ever mention Burt Connors to
you?
BIG SLICK
(thinking)
Not by name. He did say he had a
new revenue stream a few months
back. Said he'd be square with me
soon.
Tip and Connie exchange looks.
TIP
When's the last time you talked to
him?
BIG SLICK
Week ago. Seemed more desperate
than usual.
CONNIE
Desperate enough to kill someone?
Big Slick shrugs.
BIG SLICK
People do crazy things when they're
drowning in debt. But like I said,
doesn't seem his style.
TIP
What about his other debts? Heard
he owes Lobo too.
Big Slick's expression darkens.
BIG SLICK
Lobo's different. I give people
time, options. Lobo gives them
nightmares.
CONNIE
Where can we find him?
BIG SLICK
You don't want to.
TIP
We need to talk to him.
BIG SLICK
(sighing)
Your funeral.
He writes an address on a napkin.
BIG SLICK (CONT’D)
Social club on Navigation. But you
didn't get this from me.
Tip takes the napkin.
TIP
Appreciate it, Slick.
BIG SLICK
One more thing - if Simme is mixed
up in something bad, you might want
to move fast.
CONNIE
Why's that?
BIG SLICK
Word is, Lobo's patience ran out.
He's not the "wait for payments"
type.
Genres:
["Crime","Mystery","Drama"]
Ratings
Scene
21 -
Confrontation at the East End
EXT. EAST END SOCIAL CLUB - NIGHT - LATER
Tip and Connie sit in their unmarked car across the street
across the street from a nondescript building with barred
windows and a heavy metal door. A small sign reads "MEMBERS
ONLY."
CONNIE
You sure about this? Lobo sounds
dangerous.
TIP
That's why we're here. If Simme was
really desperate, it would be
because of Lobo, not Slick.
CONNIE
Let's keep this brief.
They exit the car and approach the club.
INT. EAST END SOCIAL CLUB - NIGHT
The club is dimly lit with a long bar and pool tables. A few
older MEN play dominoes while others play backgammon. The
place goes quiet when Tip and Connie enter.
A BOUNCER (massive, expressionless) blocks their path.
BOUNCER
Members only.
TIP
(showing badge)
We need to speak with Lobo.
BOUNCER
No one here by that name.
A voice calls from the back.
LOBO (O.S.)
Let ‘em through.
The bouncer steps aside and Tip and Connie walk toward a
corner booth where LOBO (40s, lean, cold eyes, immaculately
dressed) sits alone, drinking espresso.
LOBO (CONT’D)
Detectives. You're either very
brave or very stupid.
TIP
A bit of both, they tell me.
LOBO
Sit.
They slide into the booth. Lobo studies them.
LOBO (CONT’D)
You're not Vice or Narcotics.
Homicide?
CONNIE
That's right.
LOBO
I don't kill people, Detective. I
just motivate them to pay their
debts.
TIP
We're here about Don Simme.
Lobo's expression hardens.
LOBO
What about him?
CONNIE
He owes you money.
LOBO
He owes many people money. His
problem is he can't stop betting on
games where he doesn't know the
outcome.
TIP
How much does he owe you?
LOBO
(cold smile)
That's between me and him.
CONNIE
A man connected to Simme was
murdered three nights ago. Shot in
the head.
LOBO
And you think I had something to do
with it?
TIP
Did you?
Lobo laughs, genuinely amused.
LOBO
If I wanted Simme dead, he'd be
dead. Not some random friend.
CONNIE
The victim might have been mistaken
for Simme. Shooter asked for him by
name before firing.
Lobo's amusement fades.
LOBO
Not my style. When I send a
message, there's no mistaken
identity.
He sips his espresso, considering.
LOBO (CONT’D)
Twenty-three thousand, plus
interest. That's what he owes me.
TIP
You threatened him?
LOBO
I explained the consequences of non-
payment.
CONNIE
Which are?
LOBO
First I take your possessions. Then
your dignity. Then your health. I
rarely need to go beyond step two.
TIP
Where were you Tuesday night?
LOBO
(amused again)
Really, Detective? You think I do
my own wet work?
CONNIE
Just answer the question.
LOBO
I was here, as I am every Tuesday.
Two dozen witnesses will confirm.
He leans forward.
LOBO (CONT’D)
Let me save you time. I didn't kill
this man. I didn't order him
killed. Whatever Simme's involved
in, it's not related to his debt to
me.
TIP
How can you be sure?
LOBO
Because Simme came to me the
morning after the murder with
fifteen thousand cash. He said he'd
have the rest by end of month.
This gets their attention.
CONNIE
Where would he get that kind of
cash suddenly?
LOBO
(shrugging)
I didn't ask.
He pushes his empty cup aside.
LOBO (CONT’D)
Now, unless you're planning to
arrest me, our conversation is
over.
TIP
One last question. Did Simme ever
mention a CPS worker named Burt
Connors?
LOBO
(thinking)
Not by name. But he said he had a
partner in some venture, and he
said it was "a guaranteed money-
maker."
CONNIE
When was this?
LOBO
A few months ago. He sounded
desperate to convince me to give
him more time.
Tip and Connie stand.
TIP
Thanks for your time.
LOBO
Detective?
They pause.
LOBO (CONT’D)
If Simme is running some kind of
scam, I'd be interested to know.
People who scam others often try to
scam me.
TIP
We'll keep that in mind.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
22 -
Uncovering Shadows
EXT. EAST END SOCIAL CLUB - NIGHT
Tip and Connie walk back to their car.
CONNIE
Fifteen thousand cash the morning
after Burt's murder.
TIP
And coincidentally, Burt's phone
with all his evidence is missing
from the property room.
CONNIE
If it was ever there. We need to
talk to Cooper. Now we've got
enough to bring Simme in.
TIP
Connors creates the ghost kids,
Simme approves the placements, they
split thirty grand a month.
CONNIE
Then Connors gets cold feet or
wants more money ...
TIP
And ends up with a bullet in his
head.
They get in the car.
CONNIE
What'd you make of Lobo?
TIP
Scary son of a bitch. But I believe
him. This wasn't about Simme's
gambling debts.
CONNIE
It was about protecting their
scheme.
Tip starts the car.
TIP
And fifteen thousand in cash tells
me there's more money where that
came from.
Genres:
["Crime","Mystery","Drama"]
Ratings
Scene
23 -
Uncovering Suspicion
INT. POLICE STATION - CONFERENCE ROOM - DAY
Stacks of folders cover a large table and case files,
photographs, and documents are scattered everywhere. A
whiteboard on the wall shows a complex web of names and
connections.
Connie sits surrounded by open files, making notes. Tip
stands at the whiteboard, marker in hand.
CONNIE
(rubbing her eyes)
This is weird.
TIP
What've you got?
CONNIE
These placement files from Burt's
caseload.
(pointing to a stack)
Six different kids, all placed with
foster families in San Antonio
within the last year.
Tip picks up one of the files, flips through it.
TIP
That's not that unusual, is it?
Kids get placed where there's
availability.
CONNIE
In San Antonio? When Houston has a
waitlist of foster families? No,
that's not normal.
She pulls out a map, points to several marked locations.
CONNIE (CONT’D)
And look at the addresses. All
within a few blocks of each other.
What are the odds?
TIP
(examining the map)
Pretty slim.
CONNIE
And every one of these placements
was approved by our friend Don
Simme.
TIP
Still circumstantial.
CONNIE
Unless we can prove these kids
aren't actually at these addresses.
TIP
We can't just drive to San Antonio
on a hunch. Cooper would never
approve it.
CONNIE
(thinking)
Doesn't Gino's cousin Ribs have
family in San Antonio?
TIP
Yeah, he grew up there. I think he
still visits his grandmother every
month.
CONNIE
Maybe he could check these
addresses for us in an non-official
capacity.
TIP
It’s worth a shot.
Connie pulls out her phone, dials.
CONNIE
Hey Ribs, it's Connie. Listen, we
need a favor on this case ...
Genres:
["Crime","Mystery","Drama"]
Ratings
Scene
24 -
Uncovering the Truth
INT. DINER - THREE DAYS LATER - NIGHT
Connie and Tip sit in a corner booth at a quiet diner — after
the dinner rush. Ribs slides in across from them, looking
tired.
CONNIE
Thanks for coming, Ribs.
RIBS
I just got back from San Antonio.
TIP
Any luck?
RIBS
(leaning forward, voice
low)
I checked every address and the
neighbors never saw any foster kids
at any of the houses.
Connie and Tip exchange glances.
CONNIE
You're sure?
RIBS
I talked to everyone - neighbors,
mail carriers, even the ice cream
truck guy who runs that route. At
1842 Cypress Lane, the Petersons
don't have any foster kids. Never
have.
TIP
What about the family on Fresno
Street?
RIBS
That address exists, but no kids
lives there. It's an elderly couple
named Martinez, and they’ve been
there thirty years.
Connie checks her list.
CONNIE
And 2410 Highland Park?
RIBS
That address doesn't even exist.
The street numbers jump from 2400
to 2420.
TIP
Son of a bitch.
CONNIE
What about the Wilsons on Oakwood
Drive?
RIBS
House has been vacant for months
and the neighbor said the previous
owners moved to Florida last year.
Connie sits back and shakes her head.
CONNIE
Ghost children.
TIP
What?
CONNIE
They're not real placements.
They're fictitious kids supposedly
placed with fictitious or unaware
families.
TIP
But the money for their care is
real enough.
Connie pulls out a document.
CONNIE
According to Fordham, each child
classified as needing "intense
care" gets the state to pay over
two thousand a month.
TIP
And with six fake kids just in San
Antonio ...
CONNIE
That's twelve thousand a month,
minimum.
RIBS
And how many more are there?
TIP
Fordham said fifteen total. At two
grand each ...
CONNIE
Thirty thousand a month. Tax-free.
TIP
Split between Simme and Connors.
With probably a small amount to the
families that participate.
CONNIE
That explains why Simme suddenly
had fifteen grand in cash for Lobo
the morning after Burt was killed.
RIBS
You think Simme killed him?
TIP
Or had him killed. Either way, he
had motive.
CONNIE
And with Burt gone, he could keep
all the money for himself.
RIBS
That's cold.
CONNIE
That's murder for profit.
She gathers the files.
CONNIE (CONT’D)
We need to take this to Cooper. Now
we've got enough to bring Simme in
for questioning.
TIP
(to Ribs)
Thanks. We owe you one.
RIBS
Just nail the bastard. Anyone who
would steal from kids' programs
deserves whatever they get.
They part ways, Connie and Tip heading toward their car with
renewed determination.
Genres:
["Crime","Drama","Mystery"]
Ratings
Scene
25 -
Uncovering Corruption in Foster Care
INT. POLICE STATION - FINANCIAL CRIMES UNIT - DAY
Connie and Tip stand behind DETECTIVE MARTINEZ (40s,
financial crimes specialist) in a specialized room with
multiple computer screens displaying financial records,
spreadsheets, and transaction histories.
Martinez who points to various streams of data.
MARTINEZ
The payments from the State go
first to the regional distribution
center, then to approved foster
care providers.
TIP
Can you trace specific payments?
MARTINEZ
If I have the case file numbers,
yes.
Connie hands him a list.
CONNIE
These are the ghost children cases
we identified.
Martinez inputs the numbers and watches as data populates the
screen.
MARTINEZ
Here we go. Each case receives
approximately two thousand per
month. In these cases ...
(pointing to the screen)
(MORE)
MARTINEZ (CONT’D)
The funds are routed to a
management company called New
Horizons Family Services.
CONNIE
What's New Horizons?
Martinez types rapidly and pulls up business registration
records.
MARTINEZ
The first one is a private foster
care management corporation. It was
registered in Texas four years ago.
They handle administrative services
for foster families.
TIP
Who runs it?
MARTINEZ
(reading)
The Board of Directors ... CEO is
listed as James Wilson. The rest
are ... wait, this is interesting.
He zooms in on a name.
MARTINEZ (CONT’D)
One of the board members is William
Reynolds.
CONNIE
Deputy Mayor Reynolds?
MARTINEZ
Same address, same middle initial.
It has to be him.
TIP
(to Connie)
That's a hell of a coincidence.
CONNIE
Where do the payments go after New
Horizons?
Martinez follows the money trail.
MARTINEZ
They're dispersed to various
individual bank accounts. Supposed
foster parents, I'm guessing.
TIP
And those accounts?
MARTINEZ
Most have minimal activity. The
funds come in, then most of the
money transfers out within 48
hours.
CONNIE
To where?
MARTINEZ
(typing faster)
Different accounts ... but many end
up at the same place. Cayman
Islands bank. Untraceable after
that.
TIP
What about the paperwork? Who
approved these placements?
MARTINEZ
That's not in the financial
records.
CONNIE
We need to check the original
placement forms.
Genres:
["Crime","Mystery","Thriller"]
Ratings
Scene
26 -
Uncovering Corruption
INT. RECORDS ROOM - TEXAS DEPARTMENT OF FAMILY SERVICES - DAY
Connie and Tip examine physical file folders with placement
forms. They lay several side by side on a large table.
TIP
Look familiar?
He points to a signature line. Every form bears the same
signature: "Donald Simme, A.D.A."
CONNIE
Simme signed off on every single
one.
TIP
All fifteen ghost kids.
CONNIE
That's not all. Look at the
approval dates.
Connie arranges the forms in chronological order.
CONNIE (CONT’D)
Monthly approvals, going back
almost two years. That's ...
TIP
Over half a million dollars.
Connie pulls out one particular form.
CONNIE
And look who certified the
placements as "high need" cases
requiring maximum support payments.
TIP
(reading)
"William Reynolds, Placement Review
Board."
CONNIE
The Deputy Mayor himself.
TIP
And board member of New Horizons
Family Services.
CONNIE
We've got them.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
27 -
Tension in the Office
INT. ASSISTANT DISTRICT ATTORNEY'S OFFICE - DAY
Don Simme sits behind his desk, the picture of professional
composure as Connie and Tip sit across from him. His office
is impeccably neat, law degrees on the wall.
DON
What can I do for Houston's finest
today?
TIP
We have some follow-up questions
about Burt Connors.
DON
I told the responding officers
everything I know. It was a tragic
case of mistaken identity. The
shooter was looking for me.
CONNIE
That's what we're not clear on. Why
would someone want to shoot you?
DON
I've put away a lot of criminals in
my career, Detective. Many hold
grudges.
TIP
Any specific threats recently?
DON
Nothing out of the ordinary.
Connie places copies of several placement forms on his desk.
CONNIE
Do you recognize these?
Don barely glances at them.
DON
Foster care placement approvals. I
sign dozens every month.
CONNIE
These particular ones interest us.
All for children placed in San
Antonio.
DON
(shrugging)
If you say so. Is there a point to
this?
TIP
We checked those addresses in San
Antonio. No foster children at any
of them. Some addresses don't even
exist.
Don's expression doesn't change, but his posture stiffens
slightly.
DON
Sounds like an administrative
error. You should take it up with
Family Services.
CONNIE
We did. The payments for these non-
existent placements - about two
thousand per child per month - have
been going to a company called New
Horizons Family Services.
TIP
Ring any bells?
DON
Should it?
CONNIE
Maybe you know one of their board
members - Deputy Mayor Reynolds?
A flicker of tension crosses Don's face.
DON
Bill Reynolds? We've worked
together on various city
initiatives. What's that got to do
with anything?
TIP
Thirty thousand a month. That's
what these fake placements
generate. Perfect way to pay off
gambling debts.
DON
(standing)
I don't appreciate what you're
implying, Detectives. If you have
actual questions about Burt's
murder, I'm happy to help.
Otherwise, I have work to do.
CONNIE
Tell us about your relationship
with Burt outside of work.
DON
We were professional colleagues.
Nothing more.
TIP
Then why meet him for drinks at the
Cowboy Palace?
DON
He wanted advice on a case. I was
being collegial.
CONNIE
And your relationship with Deputy
Mayor Reynolds?
DON
(tense)
As I said, professional. Now,
unless you're charging me with
something, I think we're done.
TIP
For now.
They stand to leave. Don forces a smile.
DON
Good luck with your investigation.
I hope you find whoever killed
Burt. He was a valuable public
servant.
Genres:
["Crime","Mystery","Drama"]
Ratings
Scene
28 -
Confrontation in the Conference Room
INT. POLICE STATION - HALLWAY - DAY
As Connie and Tip return to their desks, LIEUTENANT REGA (45,
polished, political) intercepts them.
REGA
Detectives. A word?
He gestures to a nearby conference room.
INT. CONFERENCE ROOM - CONTINUOUS
Rega closes the door, his friendly demeanor evaporating.
REGA
I understand you two paid a visit
to ADA Simme this morning.
CONNIE
That's right. We were following up
on the Connors homicide.
REGA
And somehow this follow-up involves
questioning the Deputy Mayor's
business dealings?
TIP
The evidence led us there,
Lieutenant.
REGA
Evidence? Or speculation? Because
I'm hearing you've been making
serious accusations without proper
clearance.
CONNIE
We've discovered a potential fraud
scheme involving ghost foster
children, with ADASimme and Deputy
Mayor Reynolds connected.
REGA
Those are prominent city officials,
Detective. You need more than
"potential" before throwing around
accusations.
TIP
We're building the case.
REGA
Well, you've now alerted your
suspects that you're onto them.
This is exactly why chain of
command exists.
CONNIE
We were following the evidence. And
the last I checked, we don’t report
to you.
REGA
(stern)
And the last I looked, I’m a
lieutenant, and you’r not.
(loud and angry)
So back off the high-profile
targets. Focus on conventional
angles - local criminals, revenge
motives. If you want to pursue this
... political angle, bring me
solid, irrefutable evidence first.
TIP
With all due respect —
REGA
(cutting him off)
That's an order, Detectives.
Rega exits, leaving them fuming.
CONNIE
What the hell was that?
TIP
That was someone with connections
to City Hall.
CONNIE
We need to talk to Coop.
Genres:
["Crime","Drama","Mystery"]
Ratings
Scene
29 -
Caution in the Shadows
INT. CAPTAIN COOPER'S OFFICE - LATER
CAPTAIN COOPER (50s, no-nonsense, respected) sits behind her
desk as Connie and Tip lay out their discoveries. The blinds
are closed for privacy.
COOPER
Let me get this straight. You have
evidence of a foster care fraud
scheme involving ADASimme, possibly
Deputy Mayor Reynolds, and the
murdered caseworker?
TIP
Yes, ma'am. Fifteen ghost children
at two grand a month. That's thirty
thousand monthly, split between
them. I’m sure they need to pay
forgers for documents, and a tech
guru who can make a digital trail,
but still ... there’s plenty to go
around.
CONNIE
And Simme has gambling debts of
about sixty thousand - which gives
him motive.
COOPER
What hard evidence connects Simme
directly to Connors' murder?
CONNIE
He was there when it happened. The
shooter allegedly asked for Simme
by name, but shot Connors instead.
TIP
Plus, Simme paid a bookie fifteen
grand cash the morning after
Connors was killed.
COOPER
(skeptical)
That's circumstantial.
CONNIE
It's a pattern, Captain. And Burt's
phone mysteriously disappeared from
evidence after his death.
COOPER
(thinking)
What did Rega tell you?
TIP
To back off the high-profile
targets. Focus on "conventional
angles."
COOPER
And if I order the same?
Connie and Tip exchange glances.
CONNIE
We'd respectfully request transfer
to another division.
Cooper studies them, then sighs.
COOPER
No need for that. I've known you
both long enough to trust your
instincts.
TIP
So we can continue?
COOPER
Cautiously. I don't know Rega's
angle in this, but we follow the
evidence wherever it leads.
CONNIE
Thank you, Captain.
COOPER
Don't thank me yet. Do this by the
book. No corners cut, no procedural
mistakes. I want solid evidence
that will stand up in court.
TIP
What about Rega?
COOPER
I'll deal with the Lieutenant. You
two focus on building an airtight
case. Interview the foster families
listed on those forms. Track every
dollar. Find the murder weapon.
Cooper leans forward.
COOPER (CONT’D)
And watch your backs. If these
people killed once, they won't
hesitate to do it again.
Genres:
["Crime","Mystery","Drama"]
Ratings
Scene
30 -
Desperate Plea
EXT. DON SIMME'S HOUSE - DAY
Tip and Connie pull up to an upscale home in a nice Houston
suburb, sitting on a five-acre lot. Two patrol cars are
parked by the curb.
Tip looks at Connie quizzically.
TIP
You call them here?
Connie shakes her head and increases her pace.
INT. DON SIMME'S HOUSE - LIVING ROOM - DAY
Don paces frantically, disheveled and agitated. The room
shows signs of disarray - cushions thrown, a broken vase.
A UNIFORMED OFFICER takes notes while KAREN SIMME (40s) sits
on the couch, eyes red from crying.
When the doorbell rings, Don practically sprints to open it.
DON
Thank God you’re here. Please tell
me you have news.
CONNIE
(confused)
News?
DON
About my kids! Have you found them?
Connie and Tip exchange puzzled glances.
TIP
What are you talking about? We’re
here for —
DON
(desperate)
My children! Josh, Nancy, and
Edmond ... they're gone.
(a beat)
You're not here about that?
CONNIE
We had no idea.
TIP
Any witnesses?
DON
Nothing useful. One of Josh’s
classmates said he saw a dark van
in the parking lot, and he thought
he saw Josh get in.
CONNIE
What about the others?
DON
That’s the weirdest thing. Karen
was shopping with them. They were
with her one minute, and then gone.
She looked everywhere but they
weren’t around, and no one saw
anything.
CONNIE
Have you received any ransom
demands?
Don shakes his head.
DON
Do you think this is related to the
cartel threats.
TIP
What cartel threats?
DON
A few months ago, the DA mentioned
there had been death threats
against me and another ADAHe said
it came from the Solano cartel.
(MORE)
DON (CONT’D)
Probably stemming from when I
prosecuted their Houston narcotics
operations.
Don rubs his face, exhausted.
DON (CONT’D)
I don't know what to do. My kids
...
His voice breaks and Karen reaches for his hand.
The doorbell rings again, and one of the officers opens it to
reveal Gino and Ribs.
GINO
We're here about the kidnapping.
DON
(relieved)
Thank God. Come in and sit.
As Gino and Ribs enter, Connie leans toward Tip and whispers.
CONNIE
(whispering)
Were we wrong about him?
Tip shrugs, uncertain.
GINO
(to Tip)
Coop called us in.
Ribs nods to Connie and Tip, then focuses on Don.
RIBS
Have you gotten a ransom call?
DON
Nothing yet.
GINO
You'll get one soon. No matter how
much they ask for, stall them.
DON
(laughing bitterly)
That's all I can do because I don't
have any money.
RIBS
How much can you raise?
DON
I doubt I can raise much if
anything.
Karen suddenly straightens up.
KAREN
How about what your boss told you a
while ago? About the kidnap
insurance?
Don's eyes widen. He snaps his fingers.
DON
Damn, I forgot.
Genres:
["Crime","Mystery","Drama"]
Ratings
Scene
31 -
Threat Assessment
FLASHBACK - INT. CITY HALL - DEPUTY MAYOR'S OFFICE - SIX
WEEKS EARLIER
Don sits across from DEPUTY MAYOR REYNOLDS (60s,
distinguished, authoritative). The DISTRICT ATTORNEY (50s,
sharp suit) stands nearby.
REYNOLDS
The threat assessment came back,
and it's serious enough that we're
taking precautions.
DON
How serious?
DISTRICT ATTORNEY
The Solano cartel has put out
feelers. They have sights set on
prosecutors who handled their
cases.
REYNOLDS
You and Sarah Choi from Narcotics
are the most at risk.
DON
(concerned)
What kind of precautions?
REYNOLDS
We're authorizing Kidnap and Ransom
insurance policies for both of you,
and full coverage for your
families.
DISTRICT ATTORNEY
Five million in coverage. If
anything happens, the insurance
company handles the ransom
negotiations and payment.
DON
You really think they'd go after
our families?
Reynolds slides a folder across the desk.
REYNOLDS
That's their playbook. Targeting
family members puts enormous
pressure on officials. It’s often
enough to hit one person, then the
others fall in line.
Don looks at the document
DON
And this covers everything?
DISTRICT ATTORNEY
It’s full coverage, and the city
pays the premiums. You never even
see a bill.
BACK TO PRESENT
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
32 -
Ransom Demands
INT. DON'S HOUSE - LIVING ROOM - PRESENT
DON
The city took out a five-million-
dollar K&R policy on my family. It
was related to cartel threats.
GINO
That's a hefty policy.
DON
Reynolds and the DA pushed it
through. They said it was standard
procedure for prosecutors who
worked major cartel cases.
Connie and Tip exchange glances.
The phone RINGS, cutting through the tension. Everyone
freezes.
DON (CONT’D)
(to Karen)
Start recording.
Karen nods and activates a digital recorder. Don answers on
speaker.
DON (CONT’D)
This is Don Simme.
ELECTRONICALLY ALTERED VOICE (V.O.)
We have your children, Mr. Simme.
DON
What do you want?
Laughter sounds are heard through the phone.
ELECTRONICALLY ALTERED VOICE (V.O.)
What everyone wants.
DON
Let me speak to them. I need to
know they're okay.
ELECTRONICALLY ALTERED VOICE (V.O.)
(after a pause)
Very well.
A moment later, a child's voice comes on the line.
JOSH (V.O.)
(scared)
Dad?
DON
(voice breaking)
Josh! Are you okay?
JOSH (V.O.)
I’m okay, but I want to come home.
The electronic voice returns.
ELECTRONICALLY ALTERED VOICE (V.O.)
Satisfied? They will remain
unharmed if you follow our
instructions precisely.
DON
What do you want?
KIDNAPPER (V.O.)
Five million dollars. Cash. You
have 48 hours.
DON
I don't have that kind of money!
ELECTRONICALLY ALTERED VOICE (V.O.)
Do not play games. We know about
the insurance policy.
Don looks shocked. Connie narrows her eyes.
ELECTRONICALLY ALTERED VOICE (V.O.)
We will call tomorrow with delivery
instructions. Be ready.
The line goes dead.
DON
(stunned)
They knew about the policy. How
could they know?
GINO
Likely someone inside the system.
This doesn't sound like a cartel
operation.
TIP
(to Don)
Who knew about this insurance
policy?
DON
Deputy Mayor Reynolds, the DA, and
maybe a few administrators.
CONNIE
And the insurance company.
DON
What do we do now?
GINO
We prepare. When they call with
instructions, we'll be ready.
RIBS
Mr. Simme, you need to call the
insurance company immediately and
get the process started.
DON
I'll call the DA too.
As Don makes calls, Connie pulls Tip aside.
CONNIE
(whispering)
This doesn't feel right. He never
even asked about his other kids.
TIP
Let’s keep watching and see how
this plays out.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
33 -
The Tense Negotiation
INT. DON'S HOUSE - LIVING ROOM - NEXT DAY
A command center is been established with sophisticated
recording devices and tracing equipment. Gino and Ribs talk
with SEVERAL OFFICERS while Connie and Tip observe.
Don, looking haggard, sits by the phone and Karen brings him
coffee. When the phone RINGS, everyone goes silent. Don
answers on speaker.
DON
This is Simme.
KIDNAPPER (V.O.)
Do you have the money?
Connie whispers to Tip.
CONNIE
No electronic voice this time.
DON
I’ll have it tomorrow. The
insurance company arranged it.
KIDNAPPER (V.O.)
Good. Here are your instructions.
Everyone leans in.
KIDNAPPER (V.O.)
Go to the corner of Richmond and
Fondren. There is a garbage can
close to the corner.
(a beat)
Bring the money in a duffel bag
that will accommodate about 2.5
cubic feet.
(MORE)
KIDNAPPER (V.O.) (CONT'D)
The money should be in $100 bills,
with no tracers, no sequential
numbers, and no marked bills.
(a beat)
Place the bag into the garbage bin
at precisely 12:00 PM, that's noon.
DO NOT set up surveillance or have
the police or FBI there to follow.
(a beat)
Once we have the money secured, we
will instruct you on where to pick
up the children.
DON
How do I know you'll release them?
KIDNAPPER (V.O.)
You don't. But if we see any
police, any followers, or any
helicopters, you'll never see your
children again.
The call ends. Don looks to the others.
GINO
(thoughtful)
I know the area well. We can set up
across the street on the south side
of Richmond, not where they'd
expect. When they pick it up, we'll
have cars set to follow them both
further down Richmond, and north
and south on Fondren.
RIBS
And we'll set up two hours early to
make sure we're covered.
TIP
They're too confident. Something's
off.
CONNIE
We should search the area
thoroughly before the drop.
GINO
Agreed. Let's move.
Gino and Ribs drive toward the drop.
RIBS
I listened closely to that call,
and I didn’t hear a trace of a
Mexican accent in there. Not a
trace.
GINO
You don't think the cartel has a
damn thing to do with it, do you?
RIBS
I don't know who kidnapped the
kids, but I'd bet it has nothing to
do with the cartel.
GINO
I’m with you Ribs, and it makes me
wonder more about Simme since he
didn’t ask about his other kids.
RIBS
I’m with you, cuz. Just thinking
about this pisses me off. All I
want to do is get these sons of a
bitches.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
34 -
The Money Drop Chase
EXT. RICHMOND AND FONDREN INTERSECTION - DAY
The drop is at a busy commercial intersection in Houston.
It’s right next to the city’s busiest shopping destination,
and the surrounding area is packed with stores and
restaurants, and loads of traffic.
Multiple unmarked police vehicles are positioned
strategically around the area where officers in plain clothes
blend with pedestrians.
INT. SURVEILLANCE VAN - PARKED ON RICHMOND
Gino and Ribs monitor screens showing various angles of the
intersection. Ribs speaks into a radio to test reception.
RIBS
All units check in.
Various confirmations come through the radio.
GINO
(checking watch)
Thirty minutes to drop time.
Everyone stay sharp.
EXT. INTERSECTION - NOON
Karen drives up in a van with Don in the passenger seat. She
pulls alongside the trash can, and he gets out and deposits
the duffel bag with the money in the trash can, then he gets
back in the van and she drives away.
INT. SURVEILLANCE VAN
RIBS
(into radio)
The drop's been made. We’re waiting
on the subject now.
They watch the monitors intently. A TOUR GROUP with SCHOOL
CHILDREN approaches, led by a TOUR GUIDE with a microphone.
TOUR GUIDE
(heard through
directional mic)
The Galleria area has transformed
Houston's economy since its
construction ...
As the tour group nears the corner, a van pulls to the curb
next to the trash can.
RIBS
Keep watch. My view is blocked.
SPOTTER (V.O.)
(on radio)
I've got it. A woman in her
twenties just grabbed the bag.
She’s wearing a blue hoodie and has
long blonde hair. She's carrying
the bag north on Fondren.
RIBS
Stay with her on foot. We'll drive
ahead of her.
The van pulls away to pursue.
One of the "parent" chaperones discreetly picks another bag
from the trash can, rejoins the tour group, and hands the bag
to someone in a car that pulls alongside the van. He then
rejoins the tour group.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
35 -
Caught in the Act
EXT. FONDREN ROAD - MOMENTS LATER
Police converge on the BLONDE WOMAN (20s) walking with the
duffel bag. She looks surprised as they surround her.
Ribs jumps from the van and approaches her.
RIBS
Police! Stop right there.
He grabs the bag and unzips it, but inside there is nothing
but newspaper.
RIBS (CONT’D)
(angry)
Why did you take this?
BLONDE WOMAN
It was a perfectly good bag, and it
was in the trash, so I figured I
could take it.
RIBS
Who put you up to this?
BLONDE WOMAN
(confused)
Nobody! I'm a college student. I
pick up things people throw away.
It's called freeganism.
Ribs' radio crackles.
OFFICER (V.O.)
(on radio)
Lost visual on the tour group. They
dispersed at the mall entrance.
Ribs stares at the woman, then at the worthless bag.
INT. POLICE STATION - INTERROGATION ROOM - LATER
The blonde woman sits across from Ribs, scared but defiant.
RIBS
One more time. Who told you to take
that bag?
BLONDE WOMAN
Nobody! I swear. I saw it when I
was walking by. It looked new, so I
took it.
RIBS
You just happened to be walking by
that exact trash can at noon?
BLONDE WOMAN
I was going to the thrift store
down the street.
Ribs stares at her, frustrated. After a moment, he stands.
RIBS
Don't leave town.
He exits the room.
INT. POLICE STATION - HALLWAY
Gino waits outside. Ribs approaches, holding his head in
frustration.
RIBS
We got played, cuz. They screwed
us. Now the money's gone, and we
don't have the kids.
GINO
The tour group was a setup from the
beginning.
RIBS
And we fell for it. But how did
they know we'd be watching?
A thought occurs to Gino.
GINO
Maybe someone knew we'd be there.
Someone on the inside.
They exchange grim looks, the implications settling in.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
36 -
Tension and Betrayal
INT. DON'S HOUSE - NIGHT
Tip and Connie sit with Don and Karen. The atmosphere is
tense. Don paces anxiously while Karen sits, staring blankly
ahead.
KAREN
(voice breaking)
It's been eight hours since the
money was taken. Why haven't they
called?
Don paces, wringing his hands.
DON
(agitated)
They will. They have to.
Tip studies Don's face carefully, noting his expressions.
TIP
Mr. Simme, earlier, when the
kidnapper called, you only spoke
with Josh. What about Nancy and
Edmond?
Don freezes momentarily, then continues pacing.
DON
(defensively)
What are you implying, Detective?
CONNIE
We're just trying to establish
facts. You never asked to speak to
your other children.
Karen looks up at Don, confusion in her eyes.
KAREN
She's right. You didn't ask about
Nancy or Edmond.
The phone RINGS. Don lunges for it, putting it on speaker.
DON
Hello?
KIDNAPPER (V.O.)
We have your money, Mr. Simme.
DON
Where are my children?
KIDNAPPER (V.O.)
That's the question, isn't it?
DON
(shouting)
Stop playing games. Where are they?
KIDNAPPER (V.O.)
Ask your partner.
DON
What? What partner?
The line goes dead. Don stares at the phone in disbelief.
KAREN
What did he mean by partner?
Connie and Tip exchange glances.
TIP
(to Don)
Is there something you're not
telling us, Mr. Simme?
DON
(defensive)
I have no idea what he meant.
KAREN
Don, what's going on?
DON
Nothing.
He kneels beside Karen, taking her hands.
DON (CONT’D)
I would never do anything to put
our children at risk. You know
that.
KAREN
(pulling away)
I thought I knew a lot of things.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
37 -
The Reluctant Agreement
EXT. DON'S HOUSE - NIGHT
Ribs sits in an unmarked car, watching the house. A dark
sedan pulls up across the street. A man in a suit exits and
approaches Don's house.
INT. DON'S HOUSE - CONTINUOUS
Don opens the door to find INSURANCE ADJUSTER PHILLIPS (50s,
meticulous, suspicious by nature).
PHILLIPS
Mr. Simme? Frank Phillips, Guardian
Insurance.
DON
(surprised)
Insurance? Now?
PHILLIPS
I'm the kidnap response specialist.
The company sent me as soon as the
payment was processed.
Connie steps forward.
CONNIE
Detective Gianelli, Houston PD.
You're with the insurance company
that issued the policy?
PHILLIPS
That's right. Five million dollars,
K&R coverage for the Simme family.
TIP
We already got the money.
PHILLIPS
I know. I'm here to investigate the
claim and assist with recovery
efforts.
He looks at Don with practiced scrutiny.
PHILLIPS (CONT’D)
In my experience, the first 24
hours after payment are critical.
Don shifts uncomfortably.
DON
We're hoping to hear something
soon.
PHILLIPS
Mind if I set up here? I'll need
access to your phone records,
financial statements, and any
communication with the kidnappers.
CONNIE
(watching Don's reaction)
That sounds like an excellent idea.
DON
(hesitant)
Is that really necessary?
PHILLIPS
Standard procedure, Mr. Simme. Five
million dollars is a substantial
claim. We need to verify
everything.
Karen stands.
KAREN
Whatever helps get our children
back.
Don looks trapped but nods reluctantly.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
38 -
Unraveling the Simme Case
INT. POLICE STATION - CONFERENCE ROOM - LATER THAT NIGHT
Gino and Ribs show up, then they gather around a table with
Tp and Connie examining evidence. Captain Cooper enters.
COOPER
What's the latest?
CONNIE
The insurance investigator showed
up and it threw Simme off balance.
GINO
We've been digging into his
financial records. Beyond the
gambling debts, he's got three
offshore accounts that have seen
significant activity over the past
18 months.
RIBS
That roughly matches the timeframe
of the foster care fraud.
COOPER
What about the children? Any leads?
CONNIE
We've been cross-referencing every
placement that Burt Connors
supervised in the last five years.
Something interesting came up.
She pulls out three files.
CONNIE (CONT’D)
Josh, Nancy, and Edmond Simme.
According to these records, they
were placed with the Simme family
as foster children five years ago.
(a beat)
But the records are inconsistent.
There are adoption papers, but the
court records don't fully match up.
GINO
And I checked hospital records.
There are no records of biological
births.
Cooper ponders the information.
COOPER
So Simme either adopted those kids,
or he’s using them to collect money
from the system.
(a beat)
And probably from more than one set
of foster parents.
TIP
It’s all connected to what he and
Burt had going on.
CONNIE
What if Coop’s right, and they used
real children in their scheme,
moving them around to different
placements — if needed, and all the
while collecting benefits for each
location?
COOPER
That would be beyond fraud - that's
child trafficking.
RIBS
Which would explain why someone
might want Connors dead if he was
getting cold feet.
GINO
(looking up from his
laptop)
You need to see this. I just got a
report from the techs I asked for
help.
(a beat)
(MORE)
GINO (CONT’D)
Karen Simme had a miscarriage seven
years ago. According to medical
records, she was unable to have
more children after that.
TIP
So none of the Simme children are
biological.
COOPER
Follow the children. Find out where
they really came from and who they
really are.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
39 -
Unraveling the Past
INT. HOUSTON LIBRARY - NEXT MORNING
Connie sits at a computer terminal, scrolling through
digitized newspaper archives. She clicks on a headline:
"LOCAL FAMILY KILLED IN TRAGIC CRASH, ONLY CHILD SURVIVES."
She reads the article, then checks the date compared to
Simme’s kids’ birthdays. Her expression changes to
realization.
CONNIE
(to herself)
Josh Pearson ...
She prints the article and continues searching.
INT. POLICE STATION - BULLPEN - DAY
Connie pins newspaper clippings to a board. Tip stands beside
her, examining the images.
TIP
What've you got?
CONNIE
Josh Simme was born Josh Pearson.
His parents died in a car crash
seven years ago when he was just
three. He became a ward of the
state.
(a beat)
It’s still speculation at this
point, but I’d bet on it.
She points to another clipping.
CONNIE (CONT’D)
Nancy was originally Nancy Torres.
Her mother was deported and her
father was unknown. She entered the
system six years ago.
TIP
And Edmond?
CONNIE
Edmond Chen. Mother died of a drug
overdose, and the father was in
prison for armed robbery. He was
two when he entered foster care.
TIP
So all three were legitimate foster
children.
CONNIE
Until they disappeared from the
system. Official records show they
were placed with families in
different cities, but those
placements were fabricated.
Instead, Simme took them in.
TIP
While continuing to collect
benefits for their "official"
placements elsewhere.
CONNIE
Exactly. But here's where it gets
complicated. Simme officially
adopted Josh four years ago, but
not Nancy or Edmond.
TIP
Why not all three?
CONNIE
That's what we need to find out.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
40 -
Financial Secrets Unveiled
INT. DON'S HOUSE - HOME OFFICE - DAY
Phillips methodically goes through Don's files while Karen
watches anxiously. Don paces in the background.
PHILLIPS
Mrs. Simme, do you have access to
your husband's financial records?
KAREN
Some. Don handles most of our
finances.
PHILLIPS
And you never questioned where the
money came from for your lifestyle?
KAREN
(defensive)
Don is an Assistant District
Attorney. We live within our means.
PHILLIPS
(showing a document)
Your husband's salary is a matter
of public record. Yet your mortgage
is twice what he could reasonably
afford.
Karen looks confused.
KAREN
There must be some mistake. Don
told me we received help from his
parents' estate.
Phillips looks up with professional skepticism.
PHILLIPS
His parents are still alive, Mrs.
Simme. They live in a retirement
community in Florida.
Karen's face pales. She turns to look at Don, who stands in
the doorway, expression dark.
DON
That's enough. I'd like to speak
with my wife alone.
Phillips gathers his documents.
PHILLIPS
Of course. I've seen what I needed
to see.
As Phillips exits, he passes Connie and Tip, who are just
arriving. He gives them a meaningful look.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
41 -
Confrontation in the Living Room
INT. DON'S LIVING ROOM - MOMENTS LATER
Karen confronts Don, tears in her eyes.
KAREN
What else have you lied about?
DON
Calm down. I can explain.
KAREN
Can you explain why you didn't ask
about Nancy and Edmond during the
ransom call? Or why that kidnapper
said to ask your partner?
DON
(desperate)
You're being paranoid. Our children
are missing, and you're turning on
me?
Connie and Tip enter, having overheard.
CONNIE
Mrs. Simme, we need to ask you some
questions about the children.
Karen turns, wiping tears.
KAREN
What about them?
TIP
When did Josh, Nancy, and Edmond
come to live with you?
KAREN
(confused by the
question)
Josh is our son. He's seven.
CONNIE
Is he your biological child?
KAREN
(hesitant)
No ... we adopted him after I
couldn't have children. Then we
fostered Nancy and Edmond with the
intention to adopt, but ...
She trails off, looking at Don.
KAREN (CONT’D)
Don said there were complications
with their paperwork.
CONNIE
Mrs. Simme, are you aware that Josh
was in the system? His real name is
Joshua Pearson. His parents died in
a car crash.
Karen looks shocked.
KAREN
That’s not right. Don handled the
adoption ...
She turns to Don, who looks cornered.
DON
(to Tip)
Stop this! My family is in crisis
and you're trying to turn my wife
against me?
TIP
We're trying to find your children,
Mr. Simme. But we need the truth.
DON
Get out of my house.
CONNIE
(to Karen)
Mrs. Simme, we'd like you to come
to the station to make a formal
statement.
KAREN
(resolute)
Yes. I think I should.
DON
Karen ...
KAREN
I want our children back, Don. If
these detectives think there's
something I should know, I'm going
to hear it.
She grabs her coat and follows Connie toward the door. Don
moves to stop her, but Tip steps between them.
TIP
I wouldn't.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
42 -
Unraveling Deceit
EXT. DON'S HOUSE - CONTINUOUS
As they exit, Ribs approaches quickly.
RIBS
(quietly to Connie)
We just got a hit on the money.
Five hundred thousand was
transferred to an account in Aruba
this morning.
CONNIE
(to Karen)
Mrs. Simme, does your husband have
connections in Aruba?
KAREN
(bewildered)
W've never even been there.
Connie glances back at the house, where Don watches from the
window.
CONNIE
Let's go.
INT. POLICE STATION - INTERVIEW ROOM - DAY
Karen sits across from Connie. A box of tissues is on the
table and several used ones are crumpled nearby.
KAREN
(devastated)
So Josh, Nancy, and Edmond were all
taken from foster homes? And Don
falsified the adoptions?
CONNIE
Not entirely. The adoption for Josh
was legal, but Don used his
position to fast-track it, and
bypass some of the normal checks.
KAREN
And Nancy and Edmond?
CONNIE
They were officially placed with
other families on paper. Don and
Burt Connors were collecting
benefits for their care at multiple
locations.
KAREN
(confused)
But they've been living with us for
years. I thought we were their
legal guardians.
CONNIE
According to the system, you're
not. And that's why Nancy and
Edmond couldn't be formally adopted
- they were already "placed"
elsewhere.
Karen puts her head in her hands.
KAREN
I don't understand. Don loves those
children. Why would he do this?
CONNIE
We believe it started as a fraud
scheme for the money. But it's
possible he grew attached to the
children.
KAREN
(looking up)
Is that why they were kidnapped?
Because of what Don was doing?
CONNIE
Mrs. Simme ... we don't believe
there was a kidnapping.
KAREN
(shocked)
What?
CONNIE
We're still investigating, but
evidence suggests the kidnapping
was staged to collect the insurance
money.
Karen sits back, stunned.
KAREN
That's not possible.
CONNIE
When was the last time you actually
saw the children?
KAREN
The day they went missing.
CONNIE
And where were they?
KAREN
Josh was at school. Nancy and
Edmond were with me at the mall ...
and then they weren't.
CONNIE
Did you see them get taken? Did
anyone else witness it?
KAREN
I don’t know. I was looking at
something in a shop window. When I
turned around, they were gone.
(horrified)
Are you saying Don planned this?
CONNIE
We believe they're safe. Don
wouldn't harm them. But we need to
find them.
Karen stands abruptly.
KAREN
I need to speak with my husband.
Genres:
["Crime","Drama","Mystery"]
Ratings
Scene
43 -
Desperate Confessions
INT. POLICE STATION - OBSERVATION ROOM - SAME TIME
Tip, Cooper, and Ribs watch through one-way glass as Gino
interrogates DIEGO RODRIGUEZ (23, nervous, out of his depth).
A laptop sits on the table between them.
GINO
Tell me about your relationship
with Don Simme.
DIEGO
(fidgeting)
I don't know any Don Simme.
GINO
Really? Because your phone records
show twelve calls between you in
the past week.
DIEGO
(hesitating)
Maybe he called the wrong number.
GINO
(sliding a photo across)
Is this you at the Richmond and
Fondren intersection yesterday?
The photo shows Diego as part of the tour group.
DIEGO
(panicking)
I want a lawyer. I'm not saying
anything else.
In the observation room, Ribs turns to Cooper.
RIBS
He's the one who made the real
pickup, but he's small-time.
TIP
Let me take a crack at him.
Coop nods and Tip enters the interrogation room.
INT. INTERROGATION ROOM - MOMENTS LATER
Tip enters, casual and friendly, as Gino steps out.
TIP
(sitting down)
Diego, I'm Detective Denton. I
think we got off on the wrong foot.
DIEGO
I already said I want a lawyer.
TIP
And you'll get one. But first, you
should know what you're facing.
He slides a paper across the table.
TIP (CONT’D)
The first charges will include
three counts of kidnapping. That's
federal, and it’s twenty-five to
life, minimum.
Diego pales.
TIP (CONT’D)
Then there’s insurance fraud for
five million dollars. Federal
again, so tack on another fifteen.
DIEGO
But I didn't kidnap anyone!
TIP
(leaning forward)
We know that, but it won’t matter.
When the Feds come in, they're not
going to care about the details.
They'll bulldoze everyone involved.
DIEGO
(desperate)
What do you want from me?
TIP
Tell me where the kids are. That's
all I care about.
DIEGO
(hesitating)
I don't know exactly. I just picked
up the money. That was my only job.
TIP
But you know who does know.
DIEGO
(after a long pause)
My aunt Martha lives in San
Antonio. She sometimes watches
them.
TIP
Martha Rodriguez?
Diego nods.
TIP (CONT’D)
Who told you to pick up the money?
Simme?
DIEGO
No. It was the other guy. The
important one.
TIP
Who? Reynolds or Rega?
DIEGO
It was Reynolds. He said it was
just a money thing and that no one
would get hurt.
TIP
That was a smart move, Diego. You
just saved yourself a lot of time.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
44 -
Betrayal at the Police Station
INT. POLICE STATION - MAIN AREA - DAY
Karen confronts Don, who has been brought in for questioning.
Officers stand nearby.
KAREN
(furious)
Where are they, Don?
DON
(maintaining innocence)
I don't know. That's why we're
here.
KAREN
For once, stop lying. The police
know about the fraud, the fake
kidnapping, all of it.
DON
(lowering voice)
Karen, please. I can explain
everything, but not here.
KAREN
There's nothing to explain. You
used those children in your scheme.
You made me believe we were a
family.
DON
We are a family. Everything I did
was for us.
KAREN
For us? Lying? Stealing? Using
innocent children?
She slaps him hard across the face.
KAREN (CONT’D)
(through tears)
I want a divorce.
(MORE)
KAREN (CONT’D)
And when they find those children,
I'm going to fight for custody.
DON
(desperate)
Karen, please? You don't
understand.
KAREN
I understand perfectly. You're a
monster.
She walks away, leaving Don standing helpless as officers
approach to take him to interrogation.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
45 -
A Mother's Dilemma
EXT. RURAL ROAD - SAN ANTONIO - DAY
Several police vehicles travel down a country road. Gino
rides with Ribs.
GINO
Diego confirmed that Reynolds was
calling the shots on the fake
kidnapping.
RIBS
So Simme was just following orders?
GINO
It doesn't make him innocent. He
still used those kids as pawns.
RIBS
Speaking of which, how did they
explain it when the kids had to be
used at other addresses?
GINO
Simme told the school Josh had a
family emergency. And Nancy and
Edmond are homeschooled, so there
was no one to question their
absence.
The cars turn down a dirt road toward a modest farmhouse in
the distance.
RIBS
That’s Martha’s house up ahead.
GINO
Let's hope the kids are still here.
INT. MARTHA RODRIGUEZ'S FARMHOUSE - DAY
MARTHA RODRIGUEZ (50s, kind face, worried eyes) rushes around
the kitchen preparing lunch. THREE CHILDREN - Josh (7), Nancy
(6), and Edmond (5) - sit at the table drawing pictures.
MARTHA
Coman su almuerzo, niños. (Eat your
lunch, kids.)
The sound of cars approaching down the gravel drive cause
Marth to look nervously out the window. She sees police cars,
and fumbles for her phone.
EXT. MARTHA'S FARMHOUSE - CONTINUOUS
The police vehicles park. Gino and Ribs approach the house
with SEVERAL OFFICERS.
Children’s laughter comes from inside. Gino and Ribs exchange
relieved looks.
GINO
Sounds like they're okay.
RIBS
(to officers)
Remember, these are children who've
been manipulated. Let's keep this
calm and non-threatening.
They approach the door and knock.
INT. MARTHA'S FARMHOUSE - CONTINUOUS
Martha freezes at the sound. She looks at the children,
conflicted.
MARTHA
(whispering to herself)
Dios mío ... what do I do?
She goes to the door and opens it slightly.
MARTHA (CONT’D)
(nervous)
Can I help you?
RIBS
(showing badge)
Señora Rodriguez? I'm Detective
Delgado from Houston PD.
(MORE)
RIBS (CONT’D)
We'd like to speak with you about
the children you're caring for.
Martha glances back at the kids, then opens the door fully.
MARTHA
They've done nothing wrong.
RIBS
We know. We're here to help them.
Martha steps aside, letting them enter.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
46 -
A Safe Return
INT. MARTHA'S FARMHOUSE - LIVING ROOM - MOMENTS LATER
Ribs kneels to eye level with the children, who look confused
but not frightened.
RIBS
Hi there. They call me Ribs. What
are your names?
JOSH
(suspicious)
My dad says we're not supposed to
talk to strangers.
RIBS
That's smart advice. But we're
police officers. We're here to
help.
NANCY
Are we in trouble?
GINO
(gentle)
Not at all. We just want to make
sure you're okay.
EDMOND
(blunt)
Dad said we're on vacation. But I
think we're hiding.
Martha looks alarmed.
GINO
Why do you think that, Edmond?
EDMOND
Because he said not to tell anyone
where we are. Even Mom.
Gino and Ribs exchange glances.
GINO
Your mom is very worried about you.
JOSH
Is she here?
GINO
Not yet, but we can take you to
her.
Martha steps forward.
MARTHA
They were told to stay here for a
week. I didn't know ... Don said it
was a family matter.
RIBS
Martha, we need you to come with us
and answer some questions.
MARTHA
Let me pack the children's things.
As Martha helps the children gather their belongings, Ribs
pulls Gino aside.
RIBS
(quietly)
They seem well cared for. No signs
of trauma.
GINO
They've been pawns in this game for
years without knowing it.
RIBS
At least they'll have Karen. She
seems to genuinely love them.
GINO
(nodding)
Let's get them home.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
47 -
Desperate Confessions
INT. INTERROGATION ROOM - HOUSTON PD - DAY
Don sits alone, defeated. The door opens, and Tip enters with
a file.
TIP
We found the children.
Don looks up, a mixture of relief and fear on his face.
DON
Are they okay?
TIP
They're fine. They were with Martha
Rodriguez in San Antonio, just like
Diego said.
Don puts his head in his hands.
DON
Thank God.
TIP
(sitting down)
Time to come clean, Simme. We know
about the fraud scheme. We know
about the fake kidnapping. And
we're closing in on Burt Connors'
murder.
DON
I had nothing to do with Burt's
death.
TIP
Then who did?
DON
(after a long pause)
Reynolds. It was all Reynolds. He
said Burt was getting nervous and
he was threatening to expose
everything.
TIP
And you just happened to be at the
bar that night?
DON
Reynolds told me to keep Burt
occupied. He suggested I have a few
drinks with him. I didn't know what
he was planning.
TIP
But you benefited from Burt's
death. You got to keep all the
money from the fraud scheme.
DON
(desperate)
I was in too deep. I owed money to
dangerous people. When Burt died,
Reynolds said we needed to
accelerate our exit plan.
TIP
The fake kidnapping.
DON
(nodding)
Five million in insurance money.
Reynolds said we'd split it, then
go our separate ways.
TIP
Where's your cut?
DON
I haven't received it yet. Reynolds
handles the offshore accounts.
TIP
I find it hard to believe you're
just an innocent pawn in all this.
DON
(breaking down)
I'm not innocent. I know that. But
I swear I didn't kill Burt. And I
love those kids, Detective. I
really do. They weren't just part
of the scheme to me.
TIP
Then why use them this way? Why put
them through a fake kidnapping?
DON
(voice cracking)
The money. It's always been about
the money. I got in over my head
with gambling, then the fraud
scheme seemed like an easy
solution. Then Reynolds suggested
the kidnapping plan ...
TIP
And you went along with it.
DON
(ashamed)
Yes.
TIP
Where's Reynolds now?
DON
(surprised)
You don't have him?
TIP
Should we?
DON
(panicking)
He said he was leaving for Aruba
this afternoon. With the money.
Tip stands quickly, heading for the door.
TIP
We'll continue this later.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
48 -
Race Against Time: The Chase for Reynolds
INT. POLICE STATION - BULLPEN - MOMENTS LATER
Tip rushes in, finding Connie and Cooper.
TIP
Reynolds is making a run for it.
He’s taking a flight to Aruba this
afternoon.
COOPER
(grabbing phone)
I'll alert airport security and
border patrol.
CONNIE
What about the kids?
TIP
They’re reunited with Karen and
Simme's singing like a canary. He
claims Reynolds ordered Burt's
murder.
CONNIE
Do you believe him?
TIP
(considering)
I think there's more to it than
he's admitting. But Reynolds is
definitely the mastermind.
GINO
(approaching quickly)
We've got a problem. Reynolds isn't
on any commercial flight manifests.
RIBS
(checking his phone)
My contact at the airfield says he
has a private plane on standby at
Houston Executive Airport.
COOPER
(decisive)
Move now. Take tactical. I'll
coordinate with airport police.
INT. HOUSTON EXECUTIVE AIRPORT - PRIVATE HANGAR - DAY
A sleek private jet sits on the tarmac, engines starting.
Reynolds and a PILOT complete pre-flight checks while the
GROUND CREW loads luggage.
Reynolds checks his watch impatiently.
EXT. AIRPORT ACCESS ROAD - SAME TIME
Several police vehicles speed toward the airport, lights
flashing. Tip and Connie are in the lead car, with Gino and
Ribs following.
TIP
(to radio)
Airport police, what's your status?
AIRPORT POLICE (V.O.)
Units in position at main terminal.
Proceeding to private hangars.
CONNIE
(checking tablet)
Hangar 7. North side of the
airfield.
TIP
(accelerating)
He's not getting away.
INT. REYNOLDS' PRIVATE JET - CONTINUOUS
Reynolds settles into a plush leather seat, pouring himself a
scotch. The PILOT enters from the cockpit.
PILOT
We're cleared for takeoff, sir.
Five minutes to departure.
REYNOLDS
Good. Let's not waste any time.
His phone RINGS and he checks it. Caller ID shows "DON SIMME"
on the display. Reynolds declines the call.
EXT. HOUSTON EXECUTIVE AIRPORT - MOMENTS LATER
Police vehicles screech to a halt outside Hangar 7. Officers
deploy, taking positions. Tip, Connie, Gino, and Ribs assess
the situation.
AIRPORT POLICE CAPTAIN
The plane is about to taxi. We need clearance to stop it.
TIP
We have a fugitive with five
million in stolen funds onboard.
The Captain nods, relaying the order to the control tower.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
49 -
Standoff on the Tarmac
EXT. AIRPORT TARMAC - CONTINUOUS
The private jet begins to move. Suddenly, AIRPORT SECURITY
VEHICLES converge on the runway, blocking its path.
INT. REYNOLDS' PRIVATE JET - CONTINUOUS
The pilot's voice comes over the intercom.
PILOT (V.O.)
Sir, we have a situation. Air
traffic control has revoked our
clearance.
Reynolds looks out the window and sees the police vehicles
approaching.
REYNOLDS
(furious)
Damn it!
He grabs an oversized briefcase, handcuffed to his wrist.
EXT. REYNOLDS' PRIVATE JET - MOMENTS LATER
Officers surround the plane as the door opens and the pilot
emerges, hands raised.
PILOT
Don't shoot! I'm just the pilot.
Tip approaches cautiously.
TIP
Where's Reynolds?
The pilot points back toward the plane.
PILOT
Still onboard. He's got some kind
of case handcuffed to him.
Tip signals to the tactical team, who move into position.
INT. REYNOLDS' PRIVATE JET - CONTINUOUS
Reynolds frantically accesses a hidden compartment and
retrieves a handgun. He checks the magazine, then positions
himself away from the door.
EXT. REYNOLDS' PRIVATE JET - CONTINUOUS
Connie speaks through a megaphone.
CONNIE
Deputy Mayor Reynolds, this is
Detective Gianelli. The plane is
surrounded. Come out with your
hands up.
When they get no response, Tip confers with the tactical
leader.
TIP
He might be armed.
TACTICAL LEADER
We'll go in. Stand back.
The tactical team approaches the plane cautiously.
INT. REYNOLDS' PRIVATE JET - MOMENTS LATER
Reynolds hears the tactical team boarding. He presses himself
against a partition, gun raised.
As the first OFFICER enters, Reynolds fires. The officer
falls back, hit in the vest.
REYNOLDS
(shouting)
Stay back!
EXT. REYNOLDS' PRIVATE JET - CONTINUOUS
Everyone takes cover at the sound of gunfire.
TACTICAL LEADER
Officer down. Suspect is armed and
dangerous.
Tip and Connie exchange worried glances.
TIP
This just got complicated.
CONNIE
We need to talk him down.
INT. REYNOLDS' PRIVATE JET - CONTINUOUS
Reynolds grabs his phone and makes a call.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
50 -
Betrayal and Threats
INT. POLICE STATION - INTERROGATION ROOM - CONTINUOUS
Don's phone RINGS. He answers cautiously.
DON
Hello?
REYNOLDS
(furious)
You sold me out, you son of a
bitch!
DON
What are you talking about?
REYNOLDS
The police are here. They've
surrounded the plane.
DON
(panicking)
I didn't tell them anything.
REYNOLDS
Then how did they know? Who else
knew about the flight?
DON
(hesitant)
Just Diego. But he wouldn't ...
REYNOLDS
(cutting him off)
That little rat. I should've known
better than to trust your judgment.
Outside the interrogation room, an OFFICER listens, recording
the conversation.
DON
Bill, just surrender. It's over.
REYNOLDS (V.O.)
(mocking)
Surrender? Is that your legal
advice, counselor? No, I'm not
going to prison.
DON
What are you going to do?
REYNOLDS (V.O.)
One way or another, I'm getting out
of here. And if I go down, you're
coming with me.
DON
What does that mean?
REYNOLDS (V.O.)
I've kept evidence, Don. On
everyone. It's my insurance policy.
DON
(terrified)
Don't do anything stupid.
REYNOLDS (V.O.)
Too late for that. We've been doing
stupid things for years.
The line goes dead. Don stares at the phone in horror.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
51 -
Desperate Measures
EXT. REYNOLDS' PRIVATE JET - CONTINUOUS
Tip's phone RINGS.
TIP
Denton.
OFFICER (V.O.)
Detective, we just recorded a call
between Reynolds and Simme.
Reynolds says he has evidence
implicating everyone.
TIP
Did he say what kind of evidence?
OFFICER (V.O.)
No, but he called it his "insurance
policy."
TIP
(to Connie)
Reynolds has some kind of evidence
stashed away. Probably in that
briefcase.
CONNIE
(taking megaphone)
Deputy Mayor Reynolds, we know
about the evidence. It's over.
INT. REYNOLDS' PRIVATE JET - CONTINUOUS
Reynolds paces, growing more desperate. He clutches the
briefcase tightly.
REYNOLDS
(shouting)
I want a helicopter and clear
passage to Mexico. No tracking.
EXT. REYNOLDS' PRIVATE JET - CONTINUOUS
The tactical team has regrouped. The injured officer is being
treated nearby.
TACTICAL LEADER
He's getting desperate. Desperate
men make mistakes.
TIP
Or they become more dangerous.
Connie's phone RINGS. She steps away to answer.
CONNIE
Gianelli.
COOPER (V.O.)
Connie, we just got a warrant for
Reynolds' home and office. Evidence
teams are moving in now.
TIP
Good. Maybe we'll find something to
use as leverage.
Connie returns to the megaphone.
CONNIE
Deputy Mayor Reynolds, we have
teams searching your home and
office right now. Whatever evidence
you think you're protecting won't
stay hidden.
INT. REYNOLDS' PRIVATE JET - CONTINUOUS
Reynolds reacts with visible panic, his composure cracking.
REYNOLDS
(muttering)
No, no, no.
He looks at the briefcase, then toward the emergency exit.
EXT. REYNOLDS' PRIVATE JET - CONTINUOUS
Ribs notices movement through a window.
RIBS
He's on the move.
The tactical team tenses, ready to breach.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
52 -
Desperate Escape
INT. REYNOLDS' PRIVATE JET - CONTINUOUS
Reynolds makes a decision. He fires two shots through the
cabin window, shattering it. As the tactical team breaches
the main door, he dives toward the emergency exit.
TACTICAL OFFICER
Freeze!
Reynolds fires wildly in their direction, forcing them to
take cover. He then pulls the emergency exit lever.
EXT. REYNOLDS' PRIVATE JET - CONTINUOUS
The emergency door flies open. Reynolds appears in the
doorway, gun in one hand, briefcase still handcuffed to the
other.
REYNOLDS
(shouting)
Stay back.
He jumps from the aircraft, landing roughly on the tarmac. He
staggers to his feet and runs toward a nearby fuel truck,
limping slightly.
Tip and Connie pursue on foot, weapons drawn.
TIP
(shouting)
Stop. Drop the weapon.
Reynolds fires backward without aiming. Tip and Connie dive
for cover behind luggage carts.
CONNIE
(into radio)
Suspect is armed and moving toward
the fuel depot. Cut him off.
Reynolds reaches the fuel truck, yanking open the door and
pulling out the startled DRIVER.
REYNOLDS
Get out.
The driver scrambles away as Reynolds climbs in, struggling
with the briefcase still attached to his wrist.
TIP
We can't let him reach the main
road.
CONNIE
Or that fuel truck becomes a
weapon.
They race toward their vehicle as Reynolds starts the truck.
Genres:
["Action","Thriller"]
Ratings
Scene
53 -
Desperate Escape
INT. FUEL TRUCK - CONTINUOUS
Reynolds fumbles with the controls, finally getting the truck
moving. He looks in the mirrors and sees police vehicles
mobilizing behind him.
REYNOLDS
(desperate)
Not like this.
He accelerates toward the airport perimeter fence.
EXT. AIRPORT TARMAC - CONTINUOUS
The fuel truck picks up speed, heading straight for the
fence. Police vehicles give chase.
From their car, Tip and Connie watch in alarm.
CONNIE
He's not stopping.
TIP
(into radio)
All units, maintain distance. Fuel
truck is a hazard.
The truck crashes through the perimeter fence, shredding
metal and bursting onto a service road beyond.
INT. FUEL TRUCK - CONTINUOUS
Reynolds grips the wheel with determination, blood trickling
from a cut on his forehead. Through the windshield, he sees a
major highway approaching.
REYNOLDS
(to himself)
Should've taken the bribe from the
cartel when I had the chance.
Retirement in Costa Rica would've
been nice.
He glances at the briefcase, then back to the road.
EXT. SERVICE ROAD - CONTINUOUS
The police pursue at a safe distance as the fuel truck weaves
dangerously, approaching the highway interchange.
TIP
(to Connie)
If he hits that highway at rush
hour, we've got a catastrophe.
CONNIE
(into radio)
Dispatch, we need roadblocks.
Highway 8, all entrances.
DISPATCH (V.O.)
Units responding. ETA three
minutes.
TIP
We don't have three minutes.
He accelerates, pulling alongside the fuel truck.
CONNIE
What are you doing?
TIP
Getting his attention.
He hits the siren and lights, trying to force Reynolds to
look over.
Genres:
["Crime","Thriller","Action"]
Ratings
Scene
54 -
Highway Showdown
INT. FUEL TRUCK - CONTINUOUS
Reynolds sees Tip's car alongside. Tip gestures for him to
pull over.
REYNOLDS
(laughing bitterly)
Not a chance.
He swerves toward Tip's car, forcing it onto the shoulder.
EXT. SERVICE ROAD - CONTINUOUS
Tip's car fishtails, barely staying on the road.
CONNIE
(grabbing dashboard)
That was too close.
TIP
(regaining control)
He's not thinking straight and that
makes him more dangerous.
Ahead, they see the highway entrance approaching, with no
roadblock in sight.
TIP (CONT’D)
We're out of time.
He makes a decision, accelerating hard to overtake the fuel
truck.
INT. FUEL TRUCK - CONTINUOUS
Reynolds sees Tip's car pulling ahead.
REYNOLDS
(furious)
No!
He floors the accelerator, the truck's engine roaring.
EXT. SERVICE ROAD - CONTINUOUS
Tip's car pulls in front of the fuel truck, slowing to force
Reynolds to brake.
CONNIE
This is insane.
TIP
Trust me.
The fuel truck looms in their rear window, gaining.
At the last moment, Tip swerves left while braking hard. The
fuel truck tries to follow but overcompensates.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
55 -
Crash and Consequence
INT. FUEL TRUCK - CONTINUOUS
Reynolds struggles with the wheel as the truck begins to
jackknife.
REYNOLDS
No.
EXT. SERVICE ROAD - CONTINUOUS
The fuel truck skids sideways, tires smoking. It tips onto
two wheels, then crashes back down and slides off the road
into a drainage ditch.
Tip brings their car to a stop as other police vehicles
converge on the scene.
TIP
(exhaling)
That was too close.
They exit the car, weapons drawn, approaching the crashed
truck cautiously.
The cab is crushed on one side. Reynolds is slumped over the
wheel, blood on his face. The briefcase is still attached to
his wrist.
CONNIE
(calling out)
Reynolds. Show me your hands.
No response. Tip approaches carefully while Connie covers
him.
TIP
(checking pulse)
He's alive. Get an ambulance.
CONNIE
(into radio)
We need medical at our location
ASAP.
Tip reaches for the briefcase and examines the handcuff.
TIP
We need bolt cutters for this.
He finds Reynolds' gun on the floor of the cab, secures it.
CONNIE
What do you think is in there?
TIP
Five million dollars' worth of
trouble.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
56 -
Critical Evidence in the ICU
INT. HOSPITAL - INTENSIVE CARE UNIT - NIGHT
Reynolds lies unconscious, connected to various machines. A
GUARD stands at the door while Tip and Connie speak with a
DOCTOR in the hallway.
DOCTOR
Multiple fractures, internal
bleeding, serious concussion. He's
stable but critical.
TIP
When can we question him?
DOCTOR
If he regains consciousness? Maybe
tomorrow.
The doctor walks away and Connie turns to Tip.
CONNIE
The briefcase?
TIP
Forensics is working on it now.
They should have something soon.
Gino approaches from the elevator.
GINO
You need to see this. We found a
safe in Reynolds' home office.
He shows them photos on his phone.
GINO (CONT’D)
Documents, photos, recordings —
it's all there. Every detail of the
foster care fraud scheme, going
back three years.
TIP
Evidence against Simme?
GINO
Him and at least a dozen others.
Foster care administrators,
government officials, even two
judges.
CONNIE
This is bigger than we thought.
GINO
And there's more. We found records
connecting Reynolds to Burt
Connors' murder. He hired someone.
TIP
Who?
GINO
A guy named Marcus Lyle. Ex-
military who works as "security"
for some sketchy businesses.
CONNIE
Do we have him in custody?
GINO
Not yet. But we've got his photo
and details out to all units.
TIP
What about the money from the
kidnapping?
GINO
Most of it was in the briefcase.
The rest is being traced through
offshore accounts.
Connie's phone RINGS. She answers, listens, then ends the
call.
CONNIE
That was Ribs. Diego Rodriguez is
ready to testify against Reynolds
and Simme in exchange for immunity.
TIP
Smart kid. What about Martha
Rodriguez?
CONNIE
She claims she didn't know about
the fraud. She thought she was just
helping care for the children
during family emergencies.
TIP
That could be true. We'll have to
sort it out.
GINO
At least the children are safe.
Karen's with them now.
CONNIE
Let's put the rest of this puzzle
together.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
57 -
Unraveling the Fraud: A Call to Justice
INT. POLICE STATION - BULLPEN - DAY
A large evidence board shows the connections between all
players in the scheme. Photos, documents, and timelines cover
the wall.
Coop addresses the assembled team.
COOPER
Good work, people. The DA is
preparing charges against fourteen
individuals connected to this fraud
scheme.
TIP
What about Connors' murder?
COOPER
We've located Marcus Lyle in New
Orleans. Local police are bringing
him in now.
CONNIE
And the children?
COOPER
Child Protective Services is
working with Karen Simme. Given the
circumstances, they're recommending
she retain custody pending home
studies and evaluations.
RIBS
What about the other ghost children
in the system?
COOPER
CPS and FBI are conducting a full
audit. So far they've identified
fifty-three fictitious placements
across three states.
GINO
That's millions in taxpayer money.
COOPER
Money that should have gone to
legitimate foster care.
(MORE)
COOPER (CONT’D)
These people stole from the most
vulnerable in our society.
TIP
All for want of a dollar.
Coop looks at him questioningly.
TIP (CONT’D)
It all started with Simme's
gambling debts. If he'd just
stopped betting ...
CONNIE
But he didn't. And now children are
traumatized, Burt Connors is dead,
and the entire foster care system
is under scrutiny.
COOPER
Let this be a reminder of why we do
this job. Not just to catch
criminals, but to protect those who
can't protect themselves.
The team nods in agreement.
COOPER (CONT’D)
Let's wrap this up tight. I want
every “i” dotted and every “t”
crossed. No mistakes.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
58 -
Justice Served
INT. COURTHOUSE - DAY - THREE MONTHS LATER
A packed courtroom falls silent as the JUDGE prepares to
issue a sentence. Don Simme stands before the bench in a
prison jumpsuit, looking defeated.
JUDGE
Donald Simme, you have been found
guilty of conspiracy to commit
fraud, misappropriation of public
funds, filing false documents, and
conspiracy to commit insurance
fraud.
Don stares at the floor.
JUDGE (CONT’D)
More disturbing than these
financial crimes is your
willingness to use innocent
children as pawns in your scheme.
(MORE)
JUDGE (CONT’D)
Children who trusted you as their
father.
In the gallery, Karen watches stoically, holding a tissue.
JUDGE (CONT’D)
I hereby sentence you to twenty-
five years in state prison, with
the possibility of parole after
serving fifteen years.
The gavel strikes. Don is led away by BAILIFFS.
In the hallway outside, Tip and Connie speak with the
PROSECUTOR.
PROSECUTOR
Reynolds will be sentenced next
week, assuming he's well enough to
appear.
TIP
And Marcus Lyle?
PROSECUTOR
Took a plea deal. Fifteen years for
Connors' murder in exchange for
testimony against Reynolds.
CONNIE
What about the other officials
involved?
PROSECUTOR
Trials are scheduled for the next
six months. Most are looking at
plea deals. This case has already
prompted a federal investigation
into foster care systems
nationwide.
Karen approaches, looking tired but resolute.
KAREN
Detectives, I want to thank you for
finding the children, and
everything else.
CONNIE
How are they doing?
KAREN
Better. The therapist says they're
resilient. They ask about Don
sometimes.
TIP
What do you tell them?
KAREN
The truth, in terms they can
understand. That he made bad
choices and has to face
consequences.
CONNIE
How are you holding up?
KAREN
One day at a time. The court
granted me permanent custody last
week.
TIP
That's great news.
KAREN
We're moving to San Antonio next
month. There we can get a fresh
start, away from the memories.
CONNIE
You're a strong woman, Karen.
KAREN
I'm a mother. I don't have the
luxury of being anything else.
She shakes their hands and walks away.
TIP
Think they'll be okay?
CONNIE
I hope so. They deserve that much.
Genres:
["Crime","Drama"]
Ratings
Scene
59 -
After the Verdict
EXT. COURTHOUSE STEPS - DAY
Tip and Connie walk down the steps together. News vans are
parked outside, reporters doing stand-ups about the case.
REPORTER (O.S.)
... in what authorities are calling
one of the largest public
corruption cases in Texas history
...
CONNIE
Fifty some children who never
existed, millions in stolen funds,
and one man dead.
TIP
All because Simme couldn't pay his
bookie.
CONNIE
Like you said, Tip. “For want of a
dollar.”
TIP
You know that's from an old poem,
right? “For want of a nail, the
shoe was lost. For want of a shoe,
the horse was lost ...”
CONNIE
And on and on until the kingdom was
lost. Small choices, big
consequences.
TIP
Makes you think about the choices
we make every day.
CONNIE
Some more than others.
They reach their car.
TIP
Buy you a coffee? Coop says we've
earned a break before the next
case.
CONNIE
(smiling)
Sure. But you're paying.
TIP
(mock offense)
Why me?
CONNIE
Because I know you won that bet
with Ribs about when the verdict
would come in.
TIP
(laughing)
Fair enough.
They get in the car and drive away, leaving the courthouse
and the case behind them.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
60 -
Family Ties and Reflections
INT. CHILDREN'S BEDROOM - SAN ANTONIO - NIGHT - SIX MONTHS
LATER
Karen tucks Nancy and Edmond into bed and Josh sits nearby
already in pajamas.
NANCY
Mommy, will we ever see Daddy
again?
Karen sits on the edge of the bed, considering her words
carefully.
KAREN
Someday, perhaps. When you're older
and can understand things better.
JOSH
Is he still in that place where bad
people go?
KAREN
He's in prison, yes. Remember what
we talked about? Sometimes good
people make very bad choices.
EDMOND
But he's still our daddy?
KAREN
(gentle)
He'll always be part of your story.
But family is about more than just
who your parents are. It's about
who loves you and takes care of you
every day.
She kisses each child goodnight.
KAREN (CONT’D)
And I will always be here for you,
no matter what.
JOSH
Promise?
KAREN
I promise.
She turns off the light, leaving a small nightlight glowing.
KAREN (CONT’D)
Sweet dreams, my loves.
EXT. KAREN'S NEW HOME - SAN ANTONIO - NIGHT
Karen moving about the living room in her modest house. She
tidies up after the kids and then does dishes. She picks up a
framed picture of the kids playing in their new front yard,
holds it up, and kisses it.
KAREN
Good night, my sweethearts.
INT. PRISON CELL - NIGHT
Don sits alone on his bunk, staring at a family photo from
happier times.
INT. HOSPITAL ROOM - NIGHT
Reynolds lies in a hospital bed, handcuffed to the rail, and
staring emptily at the ceiling. A guard is positioned outside
his door.
INT. CEMETERY - DAY
Caroline Connors places flowers on Burt’s grave, blessing
herself before walking away.
EXT. POLICE STATION - DAY
Tip and Connie walk toward the entrance, ready for a new day.