Omega Station

TITLE SEQUENCE

INT. VELCORO HOUSE, BEDROOM - NIGHT

Velcoro and Bezzerides are in bed. She is smoking.

BEZZERIDES: Trees. That little place in the rock… in the trees. A cave. Is how I remember it. It's like a fairy tale.

VELCORO: Four days?

BEZZERIDES: No, maybe he gave me something. Maybe I blocked it out. It's a black hole. This empty space, those four days. And what I remember when I got-- I got in the car. He didn't force me. He didn't even get near me. He called me pretty.

Cut to Bezzerides washing her face in the bathroom, and cut back to the bed.

BEZZERIDES: I remember. I remember it made me feel I liked.

Cut to Bezzerides, with the lights out, seating on the chair next to the bed, where Velcoro sleeps.

BEZZERIDES (V.O.): I got in the van with a stranger. Every time I remember that feeling, like pride, I get sick to my stomach.

Cut back to them both talking in bed.

BEZZERIDES: I could lie to myself, but I felt proud. I was proud that he thought I was pretty. Makes me sick.

VELCORO: None of that was your fault.

They look at each other’s eyes. Cut to them having sex on the bed, with the lights on. Cut to Velcoro, with the white lights of the dawn, tucking Bezzerides, who’s already asleep, and seats on the chair, looking out the window.

VELCORO (V.O.): I walk up behind him.

Cut to them both talking in bed.

VELCORO: It's him. It's the guy. I've been thinking about him. I've been picturing him for months. I'm not sleeping. Passing strangers, wondering. He turned his head right as I was up on him.

Cut to Velcoro smoking while Bezzerides sleeps, and back.

VELCORO: I planned to say it but I didn't say anything. I got sick, and to keep from being sick, I raised up--

Velcoro makes a pause, and raises his hand as pointing a gun to the head.

VELCORO: Right when he was turning. And I--

Cut to Velcoro looking pictures of Chad in his cell phone, while Bezzerides sleeps, and back.

VELCORO: It didn't make anything better. It made it worse. And I know now, you know, the act, it described a trajectory.

BEZZERIDES: People, whole cultures wouldn't blame you. I don't.

VELCORO: It wasn't him. They got the real guy. Something in Venice, you know? Weeks ago.

Cut to them both dressing up at the dawn, and back.

BEZZERIDES: Who was he?

VELCORO: I don't even know if it matters.

Cut to them both dressing up at the dawn, and back.

VELCORO: So I haven't been like this in a long time. Years.

BEZZERIDES: I could tell.

VELCORO: Why?

BEZZERIDES: You seemed like you were making up for lost time.

Cut to them, already dressed, at dawn, sitting in awkward silence.

INT. HALL - DAY

Frank and Jorden talk next to an internal wall. A few steps away, Nails escorts them.

FRANK: I'd do anything for 10 more years. We should have met when we were young.

JORDAN: We said we wouldn't regret the past. Anyway, who said we don't have 10 more years?

FRANK: There's 100.000 there. You're gonna go with Nails. I'll meet you in two weeks or less.

JORDAN: Like hell! I'm not leaving you. I know about the clubs. I saw Blake. I'm not--

FRANK: You don't have a choice.

JORDAN: I always have a choice. And I'm not going anywhere.

FRANK: It's not gonna work, the you and me thing. The way I see it is you weren't up front with me. If you can't have a kid, then what good is the design, see? You had me on the fairy tale for a while, and it was good, but now it's time to go.

JORDAN: You can't act for shit. Take it from me. Where one goes, the other goes. That's what we said.

FRANK: That's not acting. Now take your payout and get the fuck on.

Frank opens a lateral door and throws out his wedding ring.

JORDAN: Your ring? What is that? You think that I-- Here. You think I give a fuck about rings?

Jordan throws her own ring through the door.

FRANK: That was a big diamond!

JORDAN: Fuck you. I am not leaving you. I know what you're doing, Frank.

FRANK: Stop reading into things. Listen to what I'm saying.

JORDAN: I am listening and you're not convincing. So you listen to me. Whatever they do to you, they do to me. Do you understand? There's us. There's us, and everything else is in the gray. So fuck your martyrdom. I came in this with my eyes open, same as you.

Frank takes Jordan’s hand and takes her to a bench in the middle in the hall.

FRANK: You have to go. I got us new cars. Nails is gonna watch out for you.

JORDAN: No. You come with me. 100,000 is more than enough.

FRANK: To start over?

JORDAN: To hold on to what's ours.

FRANK: I can't run. They'll come for me and they'll keep coming. I need to finish this.

JORDAN: You can't finish this. They made sure of that before they threw the first punch.

FRANK: I have a play. One thing they don't know.

JORDAN: It's not worth it.

FRANK: I cannot run. It'll never stop. If I do that and I come home and I find you-- No. No.

JORDAN: I'm not-- I'm not leaving you.

FRANK: Baby, you made it all mean something. Everything before we met. If they came to me through you, if they hurt you, I couldn't-- I wouldn't deserve to live. If you love me, I cannot do the things I have to do unless I know you're safe. If I don't think you're safe, I'm lost. They got me. Nails has two tickets. Venezuela out of Oregon.

JORDAN: Not unless you're with me. Otherwise the last six years are nothing.

FRANK: No, they weren't. Never nothing.

JORDAN: I know. I know. That was never our story.

FRANK: I got my ticket out. I'll meet you inside of two weeks, I promise.

Jordan is almost crying.

JORDAN: Two weeks.

FRANK: Or less. Barquisimeto.

JORDAN: You'll meet me in two weeks or less.

FRANK: El Obelisco. There's a park there. Wear a white dress.

JORDAN: You wear a white suit with a red rose in your jacket.

FRANK: I'll wear a red rose in my jacket.

JORDAN: I'll see you coming out of the crowd, a head higher than everybody else.

FRANK: At first I'm worried. I can't see you.

JORDAN: But then you do.

FRANK: I see the white dress.

They kiss.

EXT. HALL - DAY

Frank hands Nails a brown envelope with money.

NAILS: You don't have to do that, Frank. I mean the money. Couldn't see. Blood in my eyes. Nail in my fucking head. I heard him saying “leave me”.

FRANK: Fucking teamster. A nail gun. (Laughs.)

NAILS: Slung me over your shoulder. I don't forget that.

FRANK: I know you don't.

Nails looks to the parked car next to them, with Jordan inside.

NAILS: Nobody's gonna get near her. I promise. We'll see you in two weeks.

FRANK: Or less.

They shake hands. Frank touches Nails’ shoulder with affection. Nails gets into the car. Jordan rolls down the backseat window, raise two fingers and moves her lips as saying “Two weeks”. Frank nods, smiling, and the car goes. With sadden eyes, Frank looks the car leaving.

EXT. STREET - DAY

The camera shows the pale and blooded face of Woodrugh’s body, inside a black bag zipping up. Burris and some officers surround it.

OFFICER (V.O.): The security camera right down the street.

BURRIS: Yeah, he, uh-- He worked under the prosecutor for the AG that got murdered. (Burris’ phone buzzes.) Excuse me. (Walks away and picks up the phone.) Yeah?

INT. MOTEL ROOM - CONTINOUS, BACK AND FORTH

VELCORO: (Holding the phone.) Woodrugh?

BURRIS: He's no longer with us, I'm afraid. Hello, Ray.

Velcoro looks surprised. Bezzerides, behind him, approaches interested.

VELCORO: What happened?

BURRIS: Why don't you tell me, Ray? Hmm? Davis, Woodrugh. It's all you, right?

VELCORO: You know I know, right? The robbery in '92. Caspere kept some diamonds. He was holding them over you, yeah?

BURRIS: We should meet. Let's talk this over. You could come out of this good, Ray. (Sighs.) I can make it go away. Put you right. Get you paid.

VELCORO: Sure. Yeah, I'll drop by PD later today.

BURRIS: Where are you? Come on, Ray. You're one of us.

VELCORO: Why Woodrugh? There was no reason.

BURRIS: Why do you care? You know the guy was a fag, right?

Velcoro looks confused.

BURRIS: Come on, you're a player, Ray. Let's talk. We can work this out.

VELCORO: Yeah, sure thing, Lieutenant. (Velcoro turns off the phone.)

BEZZERIDES: What was that?

VELCORO: Woodrugh. He's dead.

BEZZERIDES: (Crying.) Who? Why? What-- Jesus Christ! He was gonna have a fucking kid!

VELCORO: It was Burris. They're putting it on me. First Davis, now-- fuck!

BEZZERIDES: I can't-- I can't—

VELCORO: Jesus, he was-- After everything else.

BEZZERIDES: (Groans.) Oh, fuck!

They seat, grieving.

BEZZERIDES: He was better than us. He saved our asses. Twice.

VELCORO: Three times, now. He deserved better.

BEZZERIDES: Who do we have now? The girl, Erica, she's in the wind.

Velcoro’s face shows he’s realizing something.

VELCORO: There was two of them. The kids-- boy, girl. (He stands up and reaches a box with documents.)

BEZZERIDES: What?

VELCORO: Field interviews, that movie set. We had a crew list. There was a guy there. Set photographer. She talked to him. (Hands Bezzerides a photograph of two latino kids.) The ages are right. Fuck, they even kind of looked alike. Set photographer. Lenny Tyler. That's the brother. Laura and Leonard. They might have the hard drive. Caspere's hidden camera.

BEZZERIDES: Caspere's murder, if it was them, it just opened up all this other stuff. We were always set up.

VELCORO: So was Frank.

BEZZERIDES: Your gangster buddy.

VELCORO: Yeah, he's actually not a bad guy, but, yeah, Caspere was playing him.

BEZZERIDES: So we find Osterman. Tyler.

VELCORO: Says here Lenny's with the union. They'd have some kind of address. (Goes and puts some documents on a table, then turns around and looks at Bezzerides.) Unless you just want to take off. I'm pretty sure I can get us out of the country.

BEZZERIDES: If there's a chance to get them, I want to take it.

VELCORO: (Nods.) I was never big on running myself.

BEZZERIDES: (Nods back.) Woodrugh wasn't.

EXT. CHESSANI HOUSE - DAY

Frank, with a gun in his hand, enters Chessani’s property. A white car is park with the driver’s door opened. He looks around. In the swimming pool, Chessani’s body is floating, fully dressed. In a table next to the pool, a liqueur bottle, a glass, and an open bottle with pills. Frank enters the house, whose doors are open, whistling.

FRANK: Hello!

Frank walks into Chessani’s studio, looks at a map on the desk that reads “California-Nevada High Speed Rail System”.

VERONICA (O.S.): Austin? Tony?

Frank walks into the living and meets Veronica.

FRANK: Where is he? Tony.

VERONICA: I don't know. What-- what day is it? There was yelling.

FRANK: Yelling about what?

VERONICA: A Russian man. Tony's parties. His new business or something. Hard to remember.

FRANK: How did you meet Austin, the Mayor?

VERONICA: Tony introduced us. He said his father lonely since mother got sick.

FRANK: But you were Tony's friend first?

Veronica nods. Frank grabs her by the arm and conduces her to the pool, where her husband’s body is floating. When she sees it, starts screaming and Franks covers her mouth. After she calms a little bit, Frank takes out his hand.

VERNOICA: How did this-- I-- I don't-- he kill himself?

FRANK: Where's the daughter Betty?

VERNOICA: Betty? She was there, I think. With the yelling. They talk about me. I hear them. She's sick like her mother. I can't believe Austin would do this.

FRANK: Are you fucking dense? This is your boy Tony. Made it look like some half-ass suicide. And my guess-- is you'll be taking the fall. Where's Tony now? Think. Where would he be?

VERNOICA: I-- I don't know. He's cold to me now.

FRANK: Is there a safe in the house? Do you have access to bank accounts?

VERNOICA: Austin handles those things. I have allowance.

FRANK: Then I hope you saved some of that Miss Ukraine money.

Frank walks out leaving Veronica astonished by the pool.

EXT. STREET, LENNY TYLER HOUSE - DAY

Velcoro and Bezzerides approach to the back of the house, both armed. Passing the backyard, Velcoro watches between the blinds, sees nobody inside but a raven mask on a shelf. They enter the house smoothly, draw some black curtains and see a computer, some cameras, what seems a photo developing equipment, a shotgun and bullets; black and white photographs, clinging by a string with clothespins, of Burris and Holloway.

ERICA (O.S.): Len? Len?

Velcoro and Bezzerides walk into the kitchen, where they find Erica, Caspere’s secretary, handcuffed to the stove.

ERICA: (Surprised.) You?

Cut to images of a opened handcuff and a cell phone recording sound. Erica is at the couch with Bezzerides, and Velcoro stands up next to them.

ERICA: (With wet eyes.) They split us up after. I had a foster family, but Len went into a group home. I ran away, at 16. Started working the streets.

BEZZERIDES: How did you meet Caspere?

ERICA: Through Tascha. She introduced me to Tony. Brought me into the parties. Then she told me about his diamonds. Then I met him… and I knew. He used to visit my mother. I remembered him.

BEZZERIDES: And you got him to hire you?

ERICA: I changed my name. Dyed my hair red. He didn't recognize me from the parties. I started digging into all of his stuff.

BEZZERIDES: And Len, your brother?

ERICA: We found each other years back. He'd been through a lot. The places he grew up. I got him a job on the movie set.

VELCORO: And what happened with Caspere-- exactly?

ERICA: I went to his place. His other place. I left the door unlocked. Put a pill in his drink. Len came in. He saw inside the house. He knew what I'd been doing. He went… bad. He was gonna use the acid to get Ben to talk, to tell us who else had robbed us, who had killed our parents, but he got carried away. He was too angry.

BEZZERIDES: He put him out there on the road. Why?

ERICA: I don't know. I think he thought it was funny. Caspere was confessing everything. Begging. (Sniffles.) He told him about the rail corridor. He drove around with Ben's body through all those places.

BEZZERIDES: Why'd he leave you like this?

ERICA: Because I was trying to stop them.

BEZZERIDES: From what?

ERICA: He's gonna meet up with that chief, Holloway. He's gonna trade him the hard drive from Ben's place for the diamonds.

BEZZERIDES: What's on the hard drive?

ERICA: Would have been footage of important men--

VELCORO: You said would have.

ERICA: We didn't have the password. And the hard drive erased itself. Some kind of security feature. It's blank.

VELCORO: He's going there to kill Holloway. (Erica nods.) Where's him meeting Holloway? How long ago did he leave?

ERICA: A couple of hours. He wanted to get there early.

VELCORO: Where?

ERICA: The train station here. The big new one. He wanted a public place.

VELCORO: We got her testimony. (To Bezzerides.) You stay with her until we can walk her into a precinct. (Velcoro rushes outside the house, and Bezzerides tries to stop him.)

BEZZERIDES: Ray. Ray, wait! (The door closes, and Bezzerides turn around to look at Erica.)

INT. CAR, ON THE HIGHWAY - DAY

Frank drives his car while talking on the phone, hands free, with Osip.

FRANK: Saw the mayor went for a swim. Thought I should say good-bye.

OSIP (O.S.): What are you doing, Frank? This was very unlike you. (Now we see Osip standing in the middle of his bedroom.) Lashing out, childish. Now I have to answer.

FRANK: Like I had to answer this, you patronizing old fuck?

OSIP: Are you still in LA, Frank?

FRANK: Oh, I'm long gone, cue ball. But we'll settle up later.

OSIP: We certainly will.

FRANK: Good luck with that, you KGB kike motherfucker. I'll only need the one bullet. Maybe not today and maybe not tomorrow, but, Osip, when the lights go out, that's me.

Frank turns off the call pressing a button. After a few seconds, his phone rings, and press again the button.

FRANK: Who is this?

VELCORO (O.S.): Velcoro.

FRANK: Ray. I was just thinking about you.

EXT. BUS STATION - DAY

Laura is standing between numbered stops, with a bag on her shoulder and another on the floor. Bezzerides, with a cap, approaches her with a paper in her hand and hands it to Laura.

LAURA: Where are you taking me?

BEZZERIDES: Me? Nowhere. This bus goes to Seattle. Hits a couple stops in between. You get out of here. Forget this. Maybe it can blow over for you.

LAURA: This is never gonna blow over. My life ended that day--

BEZZERIDES: Except it didn't. You can lay it down. I'm giving you that.

LAURA: Why?

BEZZERIDES: Because… whatever debt there was, you're not the person who needs to be punished now.

LAURA (Moping.): What about Len?

BEZZERIDES: Lay him to rest. Sounds like you lost him years ago.

LAURA: What am I supposed to do?

BEZZERIDES: I don't know.

Laura picks up the bag on the floor and goes inside the bus.

INT. RESTAURANT, KITCHEN

Felicia enters the kitchen and holds the door to Frank, who holds two heavy bags. Felicia opens a big refrigerator door, then slides a the fake bottom wall and climbs some stairs, followed by Frank.

INT. RESTAURANT, HIDDEN ROOM

It’s all dark, a door opens and Felicia enters, turning on the light. Three improvised beds can be seen, along with a cabinet and a small bathroom. Frank enters behind her.

FELICIA: Nobody is here right now. I just move a group through.

FRANK: Anybody come around asking about me?

FELICIA: No.

Frank puts the bags on a bed, opens them and starts getting out heavy weapons and aligning them on the bed.

FELICIA: What are you doing, Frank?

FRANK: Taking off soon. And I'm signing the place over to you. All the way. It's yours.

FELICIA (Doubtful.): Thank you. I was always grateful for your help. (Frank nods.)

FRANK: You heard about Ray? (Felicia nods.) It's a frame-up. He'll be back here, everything goes all right. They're gonna need transport to Mexico.

FELICIA: They?

FRANK: Him and a woman.

FELICIA: What is going on? I heard about the poker room.

FRANK: Everything's ending. Time to wake up. (Frank turns his head, listening to the music coming from below.)

INT. RESTAURANT - DAY

The female singer is playing a song to an empty room, with the chairs upside down on the tables. The song goes on during the next scenes.

EXT. TRAIN STATION - DAY

Velcoro gets down his car, in the Station’s parking lot. He wears a cowboy hat and sunglasses. He’s going into the Station.

INT. RESTAURANT, HIDDEN ROOM

Felicia opens a small window at the floor level from which Frank can see and hear more clearly the music coming from the stage below.

INT. TRAIN STATION - DAY

Velcoro enters the Station, crowded with people and some police officials. While he climbs up the electric stairs he watches in a TV screen a Fox news program in which a picture of himself is shown, with the title below “Breaking News: State wide manhunt”. He looks around suspicious, afraid of being recognized. After he reaches the first floor, he climbs another electric stairs. As soon as he’s in the second floor, he sees Lenny Tyler leaning against a wall, with a bag in his hands and watching people passing by. Velcoro walks around and approaches Lenny from behind, pointing a gun at him at close range.

VELCORO: Don't turn around or I'll cut you in half before the show even starts. Just listen closely. You're fucking this up, kid.

LENNY: Who are you?

VELCORO: The guy you blasted with a fucking shotgun in your little bird mask.

LENNY: That was Caspere's. Sick fuck. Could have killed you.

VELCORO: Well, you don't need to worry about that right now. I know what they did. Why you're here.

LENNY (Angry): You know what they did? To my father? To me and my sister? Executed. Turned my sister into a whore.

VELCORO: I know everything. I want them, too. But suicide ain't gonna get that. You want revenge? Drag their shit out into the light.

LENNY: They won't get punished. (Looking straight to Velcoro’s eyes.) I am the blade and the bullet.

VELCORO: Then listen carefully to me.

The camera shows, at ground level, Holloway entering the Station, looking around, and climbing electric stairs. When he reaches the first floor, he sees Burris at his right, pretending to read a folded newspaper, who nods to Holloway. When Holloway reaches the second floor, we see Burris starts walking. Velcoro whistles and Holloway recognizes him, with Lenny’s bag on his hand. Holloway looks surprised and turn his head searching for something or somebody. After a few seconds, he starts walking towards Velcoro. Velcoro seats on a bench and Holloway seats next to him. As the camera shows both of them backs, we see Lenny’s seated behind them, back to back, with the jogging suit’s hood on.

VELCORO: The hard drive is in this bag. Lot of interesting things on there. A man with this, buy himself a lot of juice. (Holloway looks at Velcoro with a half-grin, and then looks to the front.) What? What, a wire? See, I don't need a wire, Chief. I got plenty of insurance. What I need is a payout.

HOLLOWAY: The land documents.

VELCORO: They're in the bag, too.

HOLLOWAY: The man who wanted to meet, he killed Caspere?

VELCORO: Correct. One of the Osterman kids. All grown up.

HOLLOWAY: Where is he now?

VELCORO: In a Vinci landfill. I got copies of everything. Something happens to me on the way out, that shit hits the cloud. News agencies.

HOLLOWAY: What do you want?

VELCORO: Any chance you brought the stones?

Holloway takes a transparent bag with four diamonds from his jacket.

HOLLOWAY: Plastic. Had I known you were coming, we could have made different arrangements.

VELCORO: I want out from under. I want my name cleared.

HOLLOWAY: For the hard drive and land documents?

VELCORO: (Nodding.) Mm-hmm.

HOLLOWAY: And Bezzerides? Where is she?

VELCORO: Fuck should I know? She and that Woodrugh guy both thought I did Davis. Think I've been working for you the whole time.

HOLLOWAY: Too bad you weren't. Honestly, Ray, nobody had an idea you were this competent.

VELCORO: You all bought your way into Vinci with the stones. Caspere made a deal with Chessani.

HOLLOWAY: Ben had a talent for dissembling.

VELCORO: And Dixon? He wasted his part of the take, yeah? He was looking to, what? Blackmail you guys for a new piece?

HOLLOWAY: Where is this going, Ray?

VELCORO: Amarilla. The shoot-out. How did that happen?

HOLLOWAY: He may have gotten a tip about the raid. Closed everything out, didn't it?

VELCORO: Now you got a piece of that central corridor. You know Chessani's dead, right?

HOLLOWAY: Not the Chessani I work for. Cut the shit, Ray. Whatever happened in '92 isn't the issue. You want clear, we put this on Bezzerides. Geldof is already on board.

The camera shows Burris, watching the scene, hiding behind a wall. Velcoro noticed him, and make the movement of standing up.

HOLLOWAY: No sudden movements, son. You're public enemy number one. Don't even need a reason to vaporize you.

VELCORO: Couldn't you have just taken the stones? Way back? Did you have to kill those people?

HOLLOWAY: The Osterman woman had been seeing Ben for years. She was pregnant and she knew things. When he tried to break it off, she threatened him. (Camera shows Lenny’s face getting furious.) Ben didn't even want the first kid, much less another one.

VELCORO: The first one?

HOLLOWAY: The girl. The little one. That was Ben's illegitimate daughter.

Lenny jumps to the other side of the bench, screaming angrily, takes Holloway from his jacket and starts attacking him with a knife. Holloway defends, and the knife cut him in the forehead. While they struggle Velcoro begins taking his gun from his side and a bullet crashes the glass behind him. Velcoro’s hat falls to his left, and the gun and digital recorder fall to his front at some distance, and, while he tries to reach them, Burris shots him, missing. Lenny and Holloway engage in wrestling, fighting for the knife. Burris aims his gun to shot Velcoro, but before he can do it, receives a shot from the side, and the camera focus on Bezzerides, with a cap and sunglasses aiming at Burris. Lenny starts slashing Holloway repeatedly. Burris, wounded, run down the stairs along with the bystanders. Velcoro finally reaches his gun, but when he almost reaches the recorder, someone, running away from the scene, steps on it and crashes it. Velcoro shouts “No”, and Bezzerides takes him by his arm and tries to get him out of the place. Some uniformed cops run up the stairs shouting “move, move” to the crowd trying to escape running the stairs down. Velcoro and Bezzerides manage to escape before the cops reach the floor. Holloway, still alive, struggling with Lenny, takes a gun from his jacket (Holloway’s) and shots him in the body. Three uniformed cops stand some steps away, aim and shot repeatedly, hitting Lenny, who is on top, and also Holloway in the heart, killing them both. Burris is goes down the stairs, in civil clothes, among the crowd, trying to go unnoticed. Velcoro and Bezzerides are running away already outside the Station.

The music of the female performer begins sounding again. Images of the city, the desert, the factories and the highway, in big long shots, are passing by as the lights of the day go down. We also see the singer performing.

INT. RESTAURANT, KITCHEN

Felicia is taking small pieces of glass from Velcoro’s forehead, living red blooded marks on his skin.

INT. RESTAURANT, HIDDEN ROOM - CONTINUOUS

Frank, sitting on a cot, reads a map pointing with a finger. Bezzerides stands by the cabinet, lighting a cigarette. Frank looks Bezzerides upside down, and she looks him back.

FRANK: We met? You're a cop, right? Lady cop.

BEZZERIDES: What gave me away? The tits?

FRANK: I meant you're a lady. You have dignity. You like Ray? I like Ray.

BEZZERIDES: Sure that means a lot to him.

FRANK: Relationships are important. Maybe you disagree. (They look at each other as arguing. Frank stands up.) You take this Venezuela deal we're talking, you make it to Barquisimeto, there'll be this lady there in two weeks. At this park, El Obelisco. Her name is Jordan. If she's there and I'm not, maybe you can give her a message. (Frank takes a folded photograph from his pocket and Bezzerides looks down at it.)

BEZZERIDES: What's that?

Frank unfolds the picture a looks at Jordan face in it.

FRANK: Tell her I wanted to be there. And that story we told, it's still true.

Frank hands the picture to Bezzerides, who doubts a seconds before taking it. She looks at it and keeps it in her back pocket. Frank seats again on the cot and continue charging the weapons. Felicia, followed by Velcoro, enters the room. Velcoro sees alarmed the guns displayed on the bed, and looks to Frank.)

FRANK: Talk to you a minute? (Velcoro nods and turns around to Bezzerides.)

INT. RESTAURANT, HIDDEN ROOM - LATER

Frank and Velcoro are sitting on the cots, one in front of the other.

FRANK: Venezuela works. Shit extradition. We could have good lives.

VELCORO: Well, I don't have much choice at this point. Anaheim went to shit. Yeah, but a heist?

FRANK: You got money to run? Can't even access a bank. No credit cards. Even if retreat was my inclination, which it fucking is not, you want to stay alive, you and yours, you need money. (Velcoro nods and stands up.)

VELCORO: You promised me the guy who set me up.

FRANK: It was Blake. The guy you clipped was some shit stain had it in for him. Blake's gone. He did not go nicely. (Frank stands up and talks close to Velcoro.) Maybe I spared you that one. These fucks will never see it coming, man. (Frank points in the map.) Place is so far up the mountain, it'll be a day before anybody realizes what happened.

VELCORO: This is just information, right? Shit in the air.

FRANK: That guy they're saying you killed, he was your buddy, right?

VELCORO: Actually, I don't think I knew him that well. But yeah, yeah, he was my friend.

FRANK: Maybe that means something. Call it what you want-- revenge, justice, a retirement package.

VELCORO: Men like this… they always skate.

FRANK: Not with me they don't. I did not live my life to go out like this. You?

INT. RESTAURANT, KITCHEN

Bezzerides, standing up, takes a tequila cup from the table and drinks it. Felicia, standing up across the room, talks to her, with a tequila cup in his hand.

FELICIA: We use a short cruise, tourists to Ensenada. From there, we go south to San Miguel. My people are there. We find someone. We get you all to Venezuela.

BEZZERIDES: You've done this a lot?

FELICIA: Much easier to bring people in than out. I've been trying to get Ray to see San Miguel.

BEZZERIDES: How do you know them?

FELICIA: The man that hurt me years ago, Ray took care of him. (Bezzerides raises her eyebrows.) Put him in prison, I mean. Disabled wing. Frank gave me the money to buy this place. Never asked for it back. How do you know Ray?

BEZZERIDES: Well, I guess… we saved each other's lives.

INT. RESTAURANT

The female singer is leaving the empty room with the guitar case in a hand and a bag on the other.

INT. RESTAURANT, HIDDEN ROOM - LATER

Velcoro and Bezzerides sitting next to each other on a cot, alone in the room. Velcoro is smoking.

BEZZERIDES: Tony and Betty. Pitlor, I want him on the record. His files. We can get confessions.

VELCORO: I've heard enough confessions today.

BEZZERIDES: Venezuela?

VELCORO: We got nothing to run on. And I owe these filth. I owe Woodrugh.

Velcoro hands Bezzerides the cigarette he was smoking.

BEZZERIDES (Whispering.): Would you run? Now? If I asked, would you?

VELCORO: I might. I just might.

Bezzerides hands back the cigarette to Velcoro, then takes his free hand.

INT. CAR - NIGHT

Frank drives the car along the highway, passing the headlights. Velcoro, at the passenger’s seat, looks out the window.

INT. PITLOR CLINIC - NIGHT

A sign hanging from a chain, closing the entrance, reads “The Pitlor Clinic. Close for renovation”. The clinic is in the dark, Bezzerides appears from the side handing a flashlight in a hand, a gun in the other. After opening a door, she turns off the flashlight. Walks into an office, where she finds Pitlor sitting on a chair, with sunglasses, his arms wide open lying on the armrests, both his wrists cut, with dry blood. Bezzerides opens a drawer and finds all the patient’s files empty.

EXT. CABIN IN THE WOODS - NIGHT

VOICE (O.S.): … a very strong foundation on which to build a future.

The camera shows McCandless and Osip through the windows smoking and drinking, then two men guarding the front door.

OSIP: There's a point to the waltzing in. I do not like beginning something unfinished.

MCCANDLESS: Mr. Agronov, have you ever heard of moderation?

Velcoro, dressed all black, crouches behind the bushes carrying a machine gun. He puts on a gas mask. Frank, from another side of the cabin front door, has his gas mask on his head, as a cap. One of the guards talks to the other in Russian. Frank moves quickly and shot each guard on the head with a silent gun. Velcoro stands up and, while he’s walking towards the cabin, starts shooting smoke grenades through the windows. Frank, kneeling in front of the front door, shoots armed men while they’re coming out. Velcoro does the same from a side door. After no one else comes out, they enter the cabin.

INT. CABIN IN THE WOODS - NIGHT

The cabin is full of smoke, the shapes are blurry. McCandless creeps to the door, where he encounters Frank, who shoots him. Velcoro shoots another bodyguard. Frank walks around and finds a coughing Osip crawling and with his eyes red. In one knee, Osip looks up to Frank, who takes out his mask.

FRANK: Guess I was wrong. It was today.

OSIP (Begging.): Old times, Frank. I saved you. You're like my son.

Frank, with the machine gun in his right hand, takes a gun from the side with the left and shoots him in the head. After Osip falls back, Frank keep shooting him after the cartridge is empty. Velcoro and Frank meets between the fog and nod to each other. They start loading stacks of money, placed on a table, into their bags.

EXT. PARKING LOT - NIGHT

Only two cars are parked. The Range Rover with Frank and Velcoro arrives and the stand down. Each one takes a money bag and puts it inside a different car.

FRANK: Stay down south.

VELCORO: Yeah.

FRANK: You're going, right? We got to get out.

VELCORO: Yeah, that's the plan.

FRANK: Thinking about your boy? (Velcoro nods, worried.) Now you can send him to Yale.

VELCORO: Sure. You taking the boat?

FRANK: I made other arrangements. But I'll be there.

VELCORO: All right.

Frank offers his hand to Velcoro, who is with his hands on his waist. Velcoro looks at Frank, then at his hand, then at him, and firmly shake his hand. They look each other in the eyes, determined, and nod. Velcoro walks to his car, and Frank starts pouring gasoline inside the Range Rover. While Frank gets into his car, the Range Rover bursts into flames. They both take off.

INT. RESTAURANT, HIDDEN ROOM - DAWN

Felicia is sitting on a cot. Bezzerides, stand up, talks on the phone.

BEZZERIDES: They suicided Pitlor. Loose ends. No sign of Betty or Tony anywhere.

INT. CAR - DAWN

Velcoro drives on the road, and with his left hand talks on the phone.

VELCORO: Fuck it. Later for them. Maybe one day we get it to the press. Maybe that "Times" guy who wrote about Vinci. We got a hell of a retirement bonus. I'm on my way now. You understand?

BEZZERIDES: Yeah. I understand. (Felicia looks at her worried.)

VELCORO: All right. You packed?

BEZZERIDES: Yeah, I'm all set. Boat leaves at 3.

VELCORO: All right. I'm 40 miles out. Plenty of time.

BEZZERIDES: Well, hurry anyway.

VELCORO: All right. I, uh-- (Pauses, insecure to speak.)

BEZZERIDES (Smiling.): I'll see you in a bit.

BEZZERIDES: Yeah. (Smiles, awkward.) Yeah. (They turn off their phones.)

BEZZERIDES: He's okay. He's on his way. (Felicia nod, and hands her a dyeing product.) Thanks.

INT. MOTEL ROOM - DAY

Frank closes a suitcase full of money and attaches a gun to his ankle.

INT. JEWELRY STORE

A Jeweler employee verifies the authenticity of a wad of cash and nods to his boss. The Jeweler drops a bunch of transparent diamonds on his desk.

JEWELER: They have a total valuation of $3.5 million. I will stand by their grading anywhere in the world.

Frank keeps the diamonds in a sachet, staring at the Jeweler, puts it on his suit’s pocket and leaves.

INT. CAR - DAY

Velcoro drives his car along the highway. Passes a sign that reads “Laurel Canyon Blvd 1 - Ventura Fwy 2 - Hollywood Fwy 2 - Tujunga Ave 2 ¼”. Opens the parasol and takes a photograph of a younger Chad. Passes a sign that reads “Laurel Canyon Blvd ½ mile”, hesitates, and turns to the right.

INT. ARMENIAN SPOT, KITCHEN

Frank, Armin and Leonid stand up around a table.

ARMIN: Meets your bio data.

Armin hands Frank a passport. Frank opens it and reveals a picture of him, under the name “Daniel Hammet”.

ARMIN: You're even a premium club member in United and American.

Frank grabs the bag of money from the floor and puts in on the table.

FRANK: That's your two plus five.

Armin opens the bag and verifies the amount.

ARMIN: Frank, you're full of surprises.

LEONID: The Russians? I wonder when we will hear about what you've done.

FRANK (Looking right into Leonid eyes, whispering and raising an eyebrow.): Another 500 when I'm where I need to be.

Armin nods in agreement.

EXT. ARMENIAN SPOT - DAY

Leonid opens the outside door. Behind him, exits Frank and Armin. Armin offers Frank his hand and they shake.

ARMIN: Safe travels.

Frank nods. Opens the backseat door and throws the money bag inside. He gets into the car, starts it and leaves. Armin and Leonid look at each other and enter.

EXT. SCHOOL, NEARBY - DAY

Velcoro seats inside his parked car. Through binoculars, watches the movement of some kids playing in the school playground. He gets down the car and walks unsure towards the school. The camera shows a black car turning into the street where Velcoro parked his car. Velcoro walks along the school playground’s fence, watching the kids. He spots Chad, sitting around a table, playing a board game with some kids. Next to chad, on the table, is the police badge Velcoro gave him.

KID 1: So Chad crossed the bridge and lost Calvin's farm.

After a few seconds staring at him, Chad turns his head and recognizes his father looking at him. Velcoro is uneasy and after a few frustrated attempts of making a movement, salutes him. Chad salutes back.

KID 1: Under five, you're supposed to use the names. 17, that's within your maximum power threshold.

KID 2: Under five, you need 18 or higher to use…

Velcoro, with his hands on the wrist, nods, and slowly walks away. Chad watches him leaving. Velcoro exhales relieved.

VELCORO: Yeah. Yeah, all right.

Velcoro approaches his car, and stays still, alarmed by a red spot coming out of his car’s bottom. He looks around. Crouches under the car and tries to remove the GPS transponder, first with his hand, then with a pocket knife, but can’t. He stays near the car for a minute or so, smoking, hesitating, looking around. Then, he gets in the car and leaves. After a few seconds, the black car appears from behind a tree and follows Velcoro.

INT. CAR, STREETS - DAY

Frank drives his car. A red light stops him, and is caught between a car ahead and a pickup coming from behind. He begins to suspect and reaches for the gun attached to his ankle. Before he can take it, three armed men brake his glass and force him to stop.

Now he is in the passenger seat. Three Mexicans with sunglasses are with him, the two on the backseat pointing a gun to his head.

FRANK (To the driver.): Why? (The driver ignores him.)

INT. RESTAURANT, HIDDEN ROOM, BATHROOM

Bezzerides, with her hair dyed black, looks at her at the mirror. Her phone rings and takes the call.

BEZZERIDES: Hey, cutting it a little close.

Velcoro is driving on the road, looking through the rear view mirror at the black pickup that follows him.

VELCORO: I, uh-- I'm gonna be late.

BEZZERIDES: The fuck are you talking about?

VELCORO: Get on that boat.

BEZZERIDES: Wh-- what?

VELCORO: You hear me? You get on that boat. I'll catch up.

BEZZERIDES: Wait. What-- what is-- No, just get here.

VELCORO: I just wanted—(Ashamed, apologizing.) I thought we had time.

BEZZERIDES: What?

VELCORO: I just wanted to see my boy again.

BEZZERIDES: What?

VELCORO: There's a transponder on my car. Maybe they were watching from school. I don't know.

BEZZERIDES (Desperate.): Dump it. Come on, get rid of it. Put it—put it on a truck headed north. Come on-- shit, Ray.

VELCORO: I can't. They could have already been watching, see? And-- and if they got eyes on me, it won't matter what I do with the tracker. I'd just lead them to you. You understand?

BEZZERIDES: So what-- what are--

VELCORO: You just get on the boat! Just take the files, take the recordings and get on that boat. Look, I'll ditch the car in a parking garage. I'll jack another one. I'll be right on your heels.

BEZZERIDES: Then I'll wait!

VELCORO: You stick to the plan! Please.

Felicia enters the hidden room.

VELCORO (Begging.): Please get onto the boat. Trust me. I can lose these assholes with a tricycle.

BEZZERIDES: Okay.

VELCORO: Yeah. Listen, let me talk to Felicia. Please. All right? Just for a second.

BEZZERIDES: I'm gonna talk to you again, right? We're gonna see each other again?

VELCORO: Are you kidding? You're gonna need a restraining order.

BEZZERIDES (Tries to laugh, but can’t.): No. No, I won't. Okay.

Bezzerides hands the phone to Felicia, who is with her eyes wet.

FELICIA: Hello.

VELCORO: I'm not gonna make it. Don't ask, just listen to me. You owe me, right? You owe me. I don't care if you have to tie her up, you make sure she gets out. You get her out.

FELICIA (Looking at Bezzerides.): Okay. I promise.

Velcoro nods and ends the call.

BEZZERIDES: What did he say?

FELICIA: To make sure you get on that boat.

EXT. DESERT - DAY

A grey car is parked in the middle of the dessert, guarded by two men. From the distance we see two cars and a pickup, all black, arriving. Mexicans get down from every car, and also is Frank. Then, the gang’s leader, Gonzales, gets down from the grey car, with a cigarette on his mouth.

FRANK: You? What the fuck is this?

INT. CAR, ON THE ROAD – DAY

Velcoro drives his car along the road, talking to his digital recorder.

VELCORO: A turn here, a turn there, and it goes on for years. Becomes something else. I'm sorry, you know, for the man I became, the father I was. I hope you got the strength to learn from that.

Parked beside the road is a white police pickup, and Velcoro glances it.

VELCORO: And I hope you got no doubts how much I loved you, son.

Velcoro sees the black pickup follow him through the rear view mirror.

VELCORO: And you're better than me. If I had been stronger… I would have been more like you. Hell, son if everyone was stronger, they'd be more like you.

EXT. HARBOR - DAY

Bezzerides and Felicia get down from a white bus, with bags in their hands.

EXT. DESERT - DAY

One of the Mexicans puts Frank’s suitcase on the floor. Frank talks to Gonzales.

FRANK: You taking me out? I was already gone. What the fuck did you come out to say?

GONZALES: You made a deal. No clubs, no locations for us.

FRANK: The clubs burned down. What was I supposed to do? Armenians, Russians, this is their thing.

GONZALES: Where do the Armenians get their supply, what they gave to you?

FRANK: You want to get square? There's a flat million in the suitcase. That's my trade.

One of the members of the gang opens the suitcase.

EXT. ROAD ON THE WOODS - DAY

Velcoro is speeding his car on a road surrounded by woods, while he tries to send his recorded message to Chad with his phone.

VELCORO: God damn it.

He goes off the road and leaves his car in the middle of the woods. He gets down the car seeing if the phone signal gets any better. He takes a shotgun and a bag full of money from the backseat. After a few steps running, the bag falls open, the money comes out, and Velcoro trips on it. He lefts it on the floor a continue running with the gun in his hand.

EXT. HARBOR - DAY

Bezzerides and Felicia, among other people, begin boarding a ship. A man is asking tickets to every passenger, but after a meaningful look, the man nods to Felicia and Bezzerides, letting them pass.

EXT. DESERT - DAY

The man with the suitcase takes a wad of money from it a shows it to Gonzales.

FRANK: We're square, then, our business?

GONZALES: That'll buy you something.

Everyone, except Frank, start getting in the cars.

FRANK: A million dollars doesn't buy me a ride back to town?

The Mexican opening the door to Gonzales looks at him and says:

MEXICAN 2: Qué padre es el traje, compa. (What a badass suit, pal.)

GONZALES: He wants your suit. Give it to him.

Mexican 2 approaches to Frank with a goofy smile. He stands in front of Frank and starts touching the suit, pleased with the new acquisition.

FRANK: You want my suit?

MEXICAN 2: Ándale, apúrate. Ándale, güey. (Come on, hurry up. Come on, buddy.)

FRANK: All right. (Taking off his suit and mumbling.) I didn't even wear a suit till I was 38.

Frank suddenly hits Mexican 2 in the nose, and he falls. Frank goes after him and they start struggling on the floor. Some Mexicans run to the fighting men, and one of them slashes Frank in the left side, just below his arm, and turns the knife.

GONZALES: Alto, alto, ¡alto! (Stop, stop, stop!)

Frank is screaming in pain.

MEXICAN 3: Pues lo tronamos. (Let’s whack him.)

GONZALES: ¿Para qué? (What for?) We made a nice bed for you. Lie down, Frank.

Everyone get on the cars and leave. Frank is left alone, lying on the floor, on a blood puddle.

FRANK: Oh, fuck.

He slowly gets up, opens his suit and takes a look to the wound, invisible behind the white shirt turned red.

FRANK: Fuck. It's okay. It's okay.

Grasping for air, Frank starts walking step by step towards the city, dragging his left leg.

EXT. THE WOODS - DAY

Velcoro is on the run, with a gun in a hand and a shotgun on the other. Sounds of car doors opening are heard, and five policemen appear, Burris with a splint on his left arm among them, going after Velcoro.

EXT. SHIP - DAY

The ship is moving and Bezzerides watches the harbor as she and Felicia leaves.

EXT. DESERT - DAY

Frank walks, leaving a trail of blood behind his left leg, screaming in pain, closing his eyes against the wind. Frank’s father, and hallucination, walks along with him. First the voice, then he is seen.

FRANK’S FATHER: I don't know, boy. I don't think them other kids like you. I don't think anybody does. Who the fuck wants some lanky loudmouth pissing in their ear, huh? Your mother sure didn't. It's what made her sick. Your fucking whining, that's why she's gone.

FRANK: Shut up. Shut the fuck up.

FRANK’S FATHER: Faggot. Scared of the dark. Yeah, I never loved you.

FRANK: I never asked you to. Shut up. Shut the fuck up.

EXT. THE WOODS - DAY

Velcoro hides behind a thick tree, and the policemen walk slowly through the woods looking for him.

BURRIS: Still got time, Ray. Where's the papers? Where's the woman?

Velcoro shoots repeatedly hitting a cop in the head, and starts running. Behind another thick tree, shoots another cop and runs. Bullets start hitting floor and trees among which Velcoro is running. He makes it to another tree.

EXT. SHIP - DAY

The ship is moving and Bezzerides watches the harbor as she and Felicia leaves.

EXT. DESERT - DAY

Now five black men dressed like the ’70-‘80 surround Frank as he walks through the desert.

BLACK MEN: Yes, yes, gawky motherfucker. I told you not to come around here. You fucking retarded or something? Told you what would happen to you. Fuck your shit up, Larry Bird. Stop and lie down, you dumb motherfucker.

FRANK: Fuck you. Never lie down.

EXT. THE WOODS - DAY

Velcoro is hiding behind a tree, heavily breathing and trying to send the recorded message to Chad with the phone. The three policemen left surround him, with the tree between them.

BURRIS: Last time, Ray. Let me help you.

Velcoro looks up to the sky and the tall treetops peacefully.

BURRIS: Bezzerides. Where is she?

VELCORO (Whispering, unheard to Burris.): In a better place.

Velcoro comes out from behind the tree weaving a gunshot and after shooting a single bullet that hits nowhere, the policemen riddle him, the bullets coming through his body, leaving holes on the back of his suit. Velcoro lies on the floor, with blood coming out of his mouth, his eyes open looking up the sky and the treetops.

EXT. SHIP - DAY

Bezzerides, desperately, grasps for air and starts crying, leaning on the ship’s rail.

EXT. THE WOODS - DAY

The dead body of Velcoro still lies with his eyes open. Burris approaches pointing him with the gun, and puts it down after seeing Velcoro’s dead. The camera shows the screen of Velcoro’s phone: “3:21 – Failed to Upload Recording”.

EXT. SHIP - DAY

Bezzerides cries and Felicia looks at her.

EXT. DESERT - DAY

A white man in suit, with his tie loosen, is kneeling on the floor talking to Frank as he passes by.

MAN (Begging.): Please, Frank. They don't have to do this. Tell them. Tell them I'll make it up. I got stupid. Please. Frank, you could let me go. They'll never know.

FRANK: It's not me. I didn't put you here.

MAN: But you could get me out! Please, Frank, I got a family!

FRANK: It isn't me.

Frank’s vision is blurred.

JORDAN (O.S.): Hi there, handsome.

Frank looks around trying desperately to find her in the desert. Then he sees her, a few steps afar from him, dressed in white.

FRANK: You made it. You okay?

JORDAN: I did. I'm fine. I'm safe.

FRANK: I'm coming. Hold on.

Frank, grunting, walks to her. Although we can see the blood trail behind him, Frank, with each step, is recovering the well function of his leg.

JORDAN: What's a guy like you doing in a place like this?

FRANK: (Breathing heavily but walking normally.) Just making my way, baby. I told you I'd make it.

JORDAN: You did. You made it. You can rest now.

FRANK: No rest. Never stop moving.

JORDAN: Babe. Oh, babe. You stopped moving way back there.

Frank looks at her estranged, his bottom lip trembling in fear. He turns around and sees himself lying down on the floor, unconscious. He turns back to Jordan but she disappeared. The camera cuts to a close up on Frank, with a constrained face. He falls, dead weight, on the ground, and lies there.

EXT. THE WOODS - DAY

The camera zooms out from the floor out to the woods, and fades to black.

INT. EDDIE VELCORO HOUSE

Eddie is sitting on the sofa, watching TV and shaking, close to the tears. A whisky bottle and a soda can are seen on a table next to him.

TV REPORTER (O.S.): The former sheriff's deputy and City of Vinci detective was the chief suspect in the murder of a state attorney and a state police investigator.

Cut to the TV screen: an ID picture of Velcoro, “Porterville, CA - Pursuit of former cop wanted for murder ends in deadly shoot out”.

TV REPORTER (O.S.): He was employed as a security consultant at a Vinci casino, which recently burned down. After a lengthy pursuit, the fugitive engaged a tactical squad of state and city police in a firefight which resulted in his death.

INT. GENA HOUSE

Gena opens an envelope and takes a letter that reads “Genetic Test Report - Alleged Father: Raymond Velcoro - Probability of Paternity: 99.99%”. She starts trembling and weeping. She sees old pictures of her with Velcoro, and one in which Velcoro sleeps on a sofa, and a baby Chad is on his chest. Trying to hold back the tears, put the letter back in the envelope and, along with the pictures, keeps it in a plastic box.

EXT. ROAD - DAY

A sign is unveiled and reads: “CHP Officer - Paul C. Woodrugh - Memorial Highway”. We can see a scaffold, in which Woodrugh’s boss is speaking, and next to him are Cynthia Woodrugh and Emily holding a baby.

BEZZERIDES (V.O.): A lot of the rest was in the papers over the next year if you know where to look.

EXT. VINCI GOVERNMENT’S BUILDING

Tony Chessani swears as Mayor of the City of Vinci. Next to him, in the podium, are Burris, Geldof and, as bodyguards, Gonzales and his sidekick.

BEZZERIDES (V.O.): These facts were paid for in blood so honor that.

EXT. DESERT

Surrounded by photographers, Geldof shakes hands with a man in a suit and a white helmet on his head, at the inauguration of the “California High-Speed Rail”. Fade to black.

BEZZERIDES (V.O.): I don't know if it'll make any difference, but it should because we deserve a better world.

EXT. STREETS OF BARQUISIMETO - NIGHT

The screen is black. We hear fireworks whistling and a band playing Caribbean music. In fade in: a crowd partying in the streets of Barquisimeto, Venezuela. Between the people, a figure of the Virgin Mary is passing by. The camera shows, through a window, Bezzerides watching the parade.

INT. BARQUISIMETO DEPARTMENT

BEZZERIDES: And I owe him that. I owe his sons that.

In front of her, sitting in the couch, a Venezuelan with a ponytail and bearded, listens.

BEZZERIDES: Anyways… this is evidence.

On the bed are a bunch of papers, maps, photographs, folders and boxes.

BEZZERIDES: Most of it's here, some of it's not. The truth is naked larceny, open murder, and cascading betrayals.

Bezzerides sniffles and begin leaving the room.

JOURNALIST (Whispering.): Come with me. Testify. I can bring this to the Times.

BEZZERIDES: It's your story now. I told it.

JOURNALIST: But wait, there's—

BEZZERIDES: Stay here. Don't leave this room until I've been gone for an hour. Understand?

JOURNALIST (Nodding, without sound.): Ok.

Bezzerides walks out, leaving the journalist alone in the room, looking the pile of evidence.

INT. BARQUISIMETO DEPARTMENT TWO

Jordan is sitting on a chair, holding a baby, playing and talking calmly to him. Bezzerides enters the room, nods at her and Jordan nods back. Bezzerides approaches to the baby, gently touches his face and says “Hi”.

JORDAN: He's restless.

BEZZERIDES: Long trip ahead.

JORDAN (To the baby, giving him to Bezzerides.): Ready? Okay. Mm-hmm, here we go.

BEZZERIDES (To the baby, kissing him.): You okay?

Bezzerides takes one of her knifes from the table and puts it on her boot. As Jordan walks out the room, with a couple of bags on her shoulder, Bezzerides covers with her blouse the gun stuck in his lower back.

EXT. STREETS OF BARQUISIMETO - NIGHT

Bezzerides and Jordan get down the stairs and get into the streets, both of them with large hats. Nails, with a bag on his shoulder, is waiting for them. Jordan hands one of her bags to Nails, and the three start walking among the crowd. Bezzerides looks around at the people and the statue of the Virgin Mary. From a higher angle shot we see them entering the crowd and losing among it. The camera defocuses and fades to black.

THE END