Screen Genius - Church In Ruins Script lyrics
INT. SEMYON HOUSE - KITCHEN
Frank and Ray sit across from each other at the table. Both have a gun in their laps pointed at each other.
FRANK: You want milk? Sugar?
FRANK: You bang down my door for a staring contest?
RAY: A long time ago, you gave me a man's name on a piece of paper.
FRANK: I did.
RAY: Because you knew what I'd do.
FRANK: I knew what I'd do. I didn't know you at all.
RAY: Who was he to you, that man?
FRANK: Me? Nobody. Some greaser crankhead. Info come to me, I pa** it on.
RAY: Because why not get blackmail on a sheriff's deputy?
FRANK: That didn't hurt. But I have a sense of justice. You know that.
RAY: That's why this was so surprising. That name on the piece of paper, whoever he was... he wasn't the man who hurt my wife.
FRANK: How's that?
RAY: They caught the guy last month. DNA.
FRANK: I didn't know about it. I thought the info was solid.
RAY: So none of this is a new development. You've never been in control.
FRANK: We gonna fight, Raymond?
RAY: I would have been different.
FRANK: Of all the lies people tell themselves, I bet that's the most common.
RAY: I could have. You f**ed me. I sold my soul for nothing.
FRANK: If you were selling, it wasn't me buying.
RAY: You wanted your hooks in a cop, so you used my wife's f**ing tragedy to get me to k** somebody.
FRANK: I didn't get you to do anything. I gave you a name and you made your choice. And that choice was in you before your wife or any of this other stuff. It was always there... waiting. And didn't you use that man to be what you were always waiting to become? (scoffs) This thing, your wife-- those are just excuses. You think you were Superman previous? And, hey, own it. You think I'd have done less? If that's the kind of thing that keeps you out of heaven, I don't want to go.
RAY: Who gave you the name?
FRANK: Guy one of my guys knew, as I remember. Told me your story. Gave up the crankhead talking up the rape. I never heard of the dude until then. Or you. He was scum, I know that.
RAY: I never even asked him anything. That guy, I just...
FRANK: You want out? You're free. You ain't had the nerve for this for a while.
Ray puts his finger on the trigger of his gun.
FRANK: I don't want a shoot-out in my f**ing kitchen, Raymond. And I don't want to see you die. By me or one of my other guys. I didn't set you up. And I ain't your suicide ticket.
INT. CABIN IN THE WOODS
Cameras click as the scene is photographed.
RANGER: State lands start at the forest. Mostly we watch for fires and weed farms. Some of these shacks have been here since the '30s.
TECH: Scene looks weeks old. Could be a lot more. Place is totally contaminated. We'll process, but we might not get anything else.
ANI: You have anything now?
TECH: The blood is female. Dead gonorrhea biophages.
ANI: All right, I want a grid search and a cadaver dog.
The team starts to spread out. Davis arrives at the door.
DAVIS: Jesus Christ. You don't have enough to do? Give this to Sonoma Sheriff's.
Ani gestures to Davis to step outside.
INT. SEMYON HOUSE - KITCHEN
RAY: Blake's been running girls behind your back outside the clubs.
FRANK: That's not a tremendous surprise. Ambition f**ed him up.
RAY: No, it's bigger than you think. He's got a special stable with Chessani's kid. Eastern Bloc girls. Surgery at the Pitlor Clinic, make 'em top gear.
FRANK: He'll fill me in on it. Don't worry.
RAY: You know about these parties they throw? Rich men. Politicians, developers. Caspere was going to these things. Deals get done. I need you to give up the man who tipped you to my rapist.
FRANK: Give me some time. I'll look him up.
RAY: You sure you got time?
FRANK: On the ropes ain't the same thing as bleeding out. You know that. I'm back in the corridor and we're legit. This past sh** you're worked up on, it can go away.
RAY: State's following up, too. On the DL. Want my help looking for the girl who pawned the sh** that sent us to the shoot-out.
FRANK: Irina Rulfo. We're looking for her, too. I'm gonna put my other hand up now. Don't you f**ing shoot me, Raymond.
Frank takes his hand off his gun and places it on the table. Ray hesitates, looks Frank in the eyes, then does the same.
FRANK: You help me find that hard drive, I'll give you the man who put you wrong.
RAY: Who wants the hard drive?
FRANK: Corporate guy. Could be a lot of sensitive footage on that thing.
Ray gets up and starts walking towards the door.
FRANK: Where you going now?
RAY: To see about k**ing a man.
FRANK: You sit back down with a gun on me again... don't let me see you coming.
RAY: I'd like to avoid that, Frank.
FRANK: Good. You might be one of the last friends I got.
RAY: Wouldn't that be f**ed up?
Ray exits the house. Jordan enters from the other room and embraces Frank. He kisses her on the forehead.
Bezzerides and Davis walk away from the cabin.
ANI: This is part of it. Vinci, Caspere, those parties we've been talking about. The missing girl, Vera, she made her last phone call from that lodge a mile back. Caspere's GPS put him right here. Now we've got a scene where a girl's been butchered.
DAVIS: I'm interested in collusions.
ANI: And maybe those parties are where your collusions get sealed. This is important. Somebody died here.
DAVIS: Somebody dies every second of the day and they're not all lucky enough to do it California.
SHERIFF: Uh, ladies, I've been briefed. I think we've got this now, you don't mind.
DAVIS: This connects to a state's missing persons case, hm?
SHERIFF: And we'll be happy to share our findings.
Woodrugh walks up to the group.
PAUL: You know of any parties get thrown up here? A lodge a mile back, off the road?
SHERIFF: No, can't say we have. It's private property and not state forest. Sold it off a few years back.
ANI: No noise in the forest? Commotion?
SHERIFF: This is my scene, Miss Davis.
DAVIS: So get to it, Sheriff. (to Ani) Work the girls and the parties. (to Paul) You work the diamonds. Figure out where they came from originally. Maybe we can finger whoever took them. Velcoro?
ANI: He's on the Rulfo girl.
INT. PRISON - MEETING ROOM
Ray balls up his fists. A door opens and an inmate sits down across from him. They both pick up their phones.
RAY: I thought I k**ed you. 11 years ago. Thereabouts. Maybe I still will.
INMATE: That right? Who'd you really k**?
RAY: There was a woman, 29 years old. September 2004. An attorney. Dark brown hair. Underground parking garage downtown. Yeah, you remember.
INMATE: They're saying I did a lot of things. Got a brain condition. I forget things.
INMATE: I feel like I should have my lawyer here. How'd you get in to see me?
RAY: She was my wife. I used to be a cop. You have no idea what you cost me.
INMATE: Hey, look, man, I ain't talking to you whatever this is about.
RAY: You heard what this is about! I needed to look in your eyes.
Ray looks in his eyes.
It was you. You don't even look like him, either.
INMATE: Who? My eyes look same as yours, you ask me.
RAY: They're gonna burn you.
INMATE: That remains to be seen.
RAY: You better hope they do. Key on my eyes, dipsh**. See if I'm whistling Dixie. If they don't give you life, I will have every inch of your flesh removed with a cheese grater starting with your prick. I'll cut off your nose and your lips. Your nuts, too. And I'll make sure you live. Hell, they give you life, I might do it anyway. Like I said.
Ray hangs up and walks away. A guard opens the door for him.
INMATE: Hey. Hey, who are you? You got the wrong dude. I don't even know you, man.
RAY: You know me. You just didn't know you did.
The guard closes the door.
INT. BURNS & WILCOX INSURANCE OFFICE
CLIGGOT: When you said blue diamonds, I remembered something. '92, the riots. Bad time to be in the insurance business.
He clicks on his computer and pulls up a photo of blue diamonds that look just like the one Vera had.
CLIGGOT: This could be the same stones. Two and a half million in blue diamonds, Peruzzi-cut. That's what you got, I think. Sable Fine Jewelers in Hollywood. There was a robbery April 30, 1992.
EXT. HOUSE - FRONT PORCH
DEIFFENBACH: You got to understand what it was like back then. Fires starting everywhere. Snipers taking potshots at cops. Tanks in the street. "f** the police" coming out of every... A lot of our guys just up and quit.
PAUL: The Sable Fine Jewelers robbery, that's two and a half million in blue diamonds.
DEIFFENBACH: Yeah, I was the one you talked to on the phone. Double homicide, husband and wife proprietors. Woman was pregnant. Margaret Osterman. I remember her name.
PAUL: Report doesn't list a suspect, zero people of interest. Nothing.
DEIFFENBACH: Yeah, well... Place was looted right after the actual robberies, so no crime scene integrity. Wasn't no looters, either. Security tape was missing. Those two people were executed. They knew what they were doing. Tactical, like. Then those poor kids.
PAUL: Leonard and Laura. They witnessed it or something, right?
Paul shows him a photo of the two young kids.
DEIFFENBACH: Christ. You had to show me this? They were hiding in one of the display cabinets. Had to stay like that for a long time. Hiding with their parents lying there like... I had quadruple my normal caseload. Riots overwhelmed the system. Something didn't close fast, you moved on.
PAUL: Kids couldn't offer up anything?
DEIFFENBACH: They could barely talk. Girl was maybe four. Boy a little older. Men wore masks. That's about it. Ended up in the foster system. You got kids?
PAUL: One on the way.
DEIFFENBACH: Oh, God. Those kids f**ed me up. Coming from where they did, going into the system. All that and the city burning to the f**ing ground.
INT. ANI'S HOUSE
Ani stabs at a wooden board the height of a man.
ATHENA: Be at the Kali Klub in Ventura next Saturday at 6:00 PM. Say you're me. Say you're there to see Bogdan. And you've got to dress like you're worth $2,000 a night. You're gonna need somebody's help with that.
Ani puts the knife down.
ATHENA: This bus is gonna take you up to wherever the party is, I heard. And they're not gonna let you take in a purse or a phone or anything. They're gonna make you turn all that stuff in.
Ani goes back to her knife practice.
ATHENA: You're gonna be around a lot of guys that expect easy s**. What are you gonna do about that?
ANI: I'll figure it out.
ATHENA: If those webcam guys were bad, this is way worse.
ANI: Thena, I'm police. I know how to take care of myself.
ATHENA: They're not gonna let you take in a knife or anything. They're gonna pat you down and make you strip. That's what I heard.
ANI: That all I need to know?
ATHENA: I made that for you.
Ani puts the knife down and looks at a painting Athena brought.
ATHENA: I was thinking about a woman drowning on dry land.
ANI: Well, I don't really get art.
Ani picks the knife back up.
ATHENA: I just don't understand why you work so hard to be alone.
ANI: I find it really doesn't take that much work.
ATHENA: I've been here for 10 minutes and you're just playing with knives just to keep me away.
ANI: I was working out when you knocked.
Ani stabs the cut-out in the head area then puts the knife down.
ANI: Okay. Anything else about this party?
ATHENA: Just that... whatever you plan, you get on that bus, and it's f** or run.
EXT. STAN'S HOUSE
Nails stands watch outside the house.
JOYCE: It's hard, I won't lie. He filled this house up, you know?
FRANK: He loved you both as much as any man I ever knew. He never wanted anything, but it was for his family.
JORDAN: It's ridiculous, I know.
Jordan hands her an envelope full of cash.
JORDAN: This isn't consolation. This was his, Joyce.
JOYCE: That Blake guy's not outside, right?
FRANK: Right now? No. You know Blake?
JOYCE: He turned up here right after the funeral. Asked how I was doing. Condolences and all that bullsh**.
FRANK: And when he got through the bullsh**?
JOYCE: Asked if Stan had shared anything with me, might help him figure out who k**ed him.
FRANK: Had Stan said anything like that?
JOYCE: No. I mean, he wasn't running things for you like that Blake guy, right?
FRANK: That's just sk**sets. I loved Stan.
JOYCE: Mikey doesn't know what to do. Stan was a great father. Not like a lot of-- of them. I think about my little boy not having-- (starts sobbing)
Jordan puts her arm around Joyce. Jordan looks at Frank and he gets up.
JOYCE: I'm sorry.
JORDAN: It's okay.
JOYCE: I'm sorry.
JORDAN: It's okay, Joyce.
Frank looks outside the window to see Stan's son, Mikey, throwing a ball against the garage door.
INT. RAY'S HOUSE
Ray pulls out a model set.
RAY: And this is a stealth bomber. Yeah. It can carry 80 smart bombs. Means they never miss.
Ray starts taking the model out of its case.
It's called "The Spirit." You-- maybe you're not that interested in this stuff anymore, huh? That's okay.
CHAD: It k**s people.
The supervisor takes notes in her notepad.
RAY: Yeah. Maybe some TV, then? You want to watch anything? I DVR'd the Cardinals.
CHAD: We could watch "Friends." It's always on.
RAY: "Friends"? That show that's like 20 years old? I had an old girlfriend that used to watch it.
The supervisor starts taking notes again.
RAY: What-all you scribbling over there? There some high drama happening I don't see?
SUPERVISOR: Please limit our interaction. I have a mandate to observe.
RAY (to Chad): By all means, buddy, find "Friends."
EXT. STAN'S HOUSE
Frank walks up to Mikey who is throwing a ball off the garage door to himself.
FRANK: Your dad teach you that? My old man never had time for sports. You want to sit for a second? Your father... was a good, good man. He was one of the best.
MIKEY: I know that. Everybody doesn't need to keep saying.
FRANK: Things are gonna be hard for a while, but you'll come out. 'Cause you got him in you. His fight is in you. Sometimes-- sometimes a thing happens, splits your life. There's a before and after. I got like five of them at this point. And this is your first. But if you use it right-- the bad thing-- you use it right and... it makes you better. Stronger. It gives you something most people don't have. Bad as this is, wrong as it is... this hurt... it can make you a better man. That's what pain does. It shows you what was on the inside. And inside of you... is pure gold. And I know that. Your father knew that, too. Pure, solid gold. That's what you got.
Mikey starts crying. Frank embraces him.
INT. RAY'S HOUSE
Ray and Chad are watching TV.
RAY: You enjoy this? You like your job?
SUPERVISOR: Please refrain from interacting with me, Mr. Velcoro.
RAY (to Chad): Hey, your mom, she-- she mention anything changing?
CHAD: She said I might not be seeing you as much.
RAY: You okay with that?
CHAD: I guess not.
RAY: Look, things, if they change... they might-- they might tell you things about you and about me. And the things they say, whatever they-- whatever they say, whatever stories you hear, I am your father, you are my son. I will always love you.
INT. RAY'S HOUSE - LATER
Ray rushes into the house and drops a bag of c**aine and a brown bag filled with booze on the table. He starts blaring music.
MUSIC: One, two, three, four... well, if you don't like it go ahead, find yourself a saint, go ahead now, try to find a boy who's gonna be what I ain't. Now what you need is a plastic doll with a fresh coat of paint. Who's gonna sift through the madness and always acts so quaint. I said, yeah, yeah, yeah… well, with your new friend you're really making a scene and I see you bouncing around...
Ray pours himself a drink then begins cutting up lines of c**aine and snorting them. He lights a cigarette and head bangs to the music, then goes back to drinking and coke.
Later, he is gasping for air on the couch. He looks at a picture of Chad and then rips his jacket off and grabs his heart. He finishes his drink.
INT. RAY'S HOUSE - LATER
Ray is whimpering on his floor. He looks at a model he and Chad made then takes it off the shelf.
INT. GENA'S HOUSE
Her phone rings. She answers it.
GENA: What happened tonight, Ray? I mean, you send him home early? You think that helps?
INT. RAY'S HOUSE
[Lyrics from: https:/lyrics.az/screen-genius/true-detective-season-2-scripts/church-in-ruins-script.html]
Ray walks over the debris on his floor.
RAY: I, uh-- I want to-- I want to make a deal with you.
GENA: I'm hanging up.
RAY: Wait, please wait. Just don't go. You win.
GENA: I'm not trying to win, Ray. I really think at this point we should leave it to the lawyers.
RAY: Just listen. Don't-- I won't contest custody. Okay? He's yours. I know he'll be happy with you and-- and Richard.
GENA: Are you serious? You're drunk again.
RAY: No, listen. Just forget the paternity thing. Don't tell him. Don't ever tell him what happened or-- or where he comes from. He shouldn't have to know. Just-- just let him believe I'm his father... and I'll go away.
GENA: It's for-- it's for me, Ray. I have to know.
RAY: Please...? Please. Never tell him and I'll stay away. I won't contest a thing. I'll never see him again.
RAY: Just say yes. Please? Please. Just-- just say yes. And I'll leave your lives forever.
GENA: Okay. Yes, Ray, I will-- I will do that.
RAY: You swear to me.
GENA: I swear.
RAY: Thank you. Thank you. Thank you.
A Mexican dealer is handcuffed to a table, surrounded by Frank and his men.
FRANK: The name is Irina Rulfo. Sometime girl to one of your guys got taken in that shoot-out here a while back. You're Santa Muerte. You know her?
DEALER: It's not like that. It's not a gang like you thinking.
FRANK: Whatever the f**. It's a book club. You were Ledo Amarillo's boy. Moving that cheap Mexican brown. Where could I find Irina?
Nails walks up to the dealer, puts his hand on the table, and sticks a nail through it.
FRANK: There's other appendages, won't heal up that easy.
DEALER: Motherf**er! I don't know.
FRANK: Where would I look?
Frank gives Nails a nod and he shoves a nail through his shoulder.
FRANK: Where's them wetback hoochies hole up? Where's she stay?
The dealer pants but says nothing. Frank pulls out a wad of bills.
FRANK: A flat G... or the next nail... goes through your eye.
DEALER: They got a place, El Monte.
Frank gets up, puts the money on the table, then starts walking away..
FRANK: This is gonna hurt.
Nails starts removing the nails from his body as he screams.
INT. RAY'S HOUSE
Paul plays around with Ani's knife.
PAUL: Diamonds came from an unsolved robbery during the '92 riots. Jewelry store, double homicide.
Ani gives him a dirty look. He gives her the knife back.
PAUL: No suspects.
ANI: You make headway on the Rulfo girl?
PAUL: You sure you want to work this party?
ANI: I don't want to bring this to Davis till we have something. Type of men at these things-- I mean, who knows?
RAY: It's your a** is what he means.
RAY: We've got your back.
PAUL: We'll double-tail the bus.
ANI: I can't bring a phone in or anything else.
Paul pulls out a transponder and puts it on the table.
RAY: Transponder. You stick that somewhere. Like in your shoe.
EXT. KALI CLUB
Girls are lined up and getting into a bus.
PAUL (V.O.): We'll follow. We'll set up a perimeter around the place. And if I have to, I'll get in. Only try not to stab anyone.Unless you have to.
Ani is at the front of the line. Her hair is dyed black.
BLAKE: What's your name again?
BLAKE: You're a little older than you said, but you got something. Okay, on the bus.
BOGDEN: Good, arms.
Bogden pats her down.
BOGDEN: Okay, go.
Ani enters the bus.
A man walks down the aisle with a basket collecting purses.
MAN: Let's go. Okay, let's see it. Let's go. Come on. Good.
He gets to Ani. She doesn't give him her pocket book.
MAN: You get back tomorrow. Do not be arguing, b**h.
Ani gives him the pocket book.
INT. APARTMENT - EL MONTE
Frank and his men search the apartment. They come to a shrine to Santa Muerte. They hear a gun click and all raise their weapons to see the two men that visited Frank at the club and their men.
GONZALES: You come here to talk some more?
FRANK: Didn't know this was your place. That's one off the bucket list-- Mexican standoff with actual Mexicans.
Frank starts to lower his gun.
INT. CAR - HIGHWAY
Paul is trailing the party bus.
PAUL: She's on the bus ahead of us. You can catch up now.
RAY: Copy that. We'll take my car once they land.
FRANK: A guy, Ledo Amarillo, got blown up by the cops a couple months back. Came to that 'cause his lady sold some hot items. I'm looking for her. That's it.
GONZALES: Sounds like you want to make a deal. But you told us you don't need partners.
FRANK: Her name is Irina Rulfo. Amarillo used to pimp her out. I just want to talk to her. You know where she is, or you can put me in touch, we can talk about deals.
GONZALES: Well, we no longer need to make a deal.
FRANK: I got two protected clubs. If you help, you can push your stuff through there three nights a week for a year. End of the year, we renegotiate. Based on mutual performance.
GONZALES: Why do you need this girl, if we can locate her?
FRANK: I want her to answer some questions. This guy her man ripped off, he was in possession of something. First year, I don't take a percentage. You keep what you make. 100%.
GONZALES: We'll get her to call you-- maybe.
FRANK: It's a start. But we need to meet face-to-face at some point.
A group of older men in suits file into the mansion. Nearby, a guard smokes a cigarette. Ray tackles him into the ground then looks up. A camera is pointed at him.
Cla**ical music plays in the background. Blue pills are dumped into a bowl in front of them as champagne gla**es are filled. The girls next to Ani spray themselves in the mouth.
ANI: Um, what-- what is that?
ESCORT 1: Like, pure Molly. It's pretty great.
ESCORT 2: Keep you in good mood.
A woman steps in front of Ani.
Ani opens her mouth. The woman sprays her.
Ray duct tapes the guard's mouth closed and ties his hands together. Paul approaches the mansion.
RAY: All right, I want eyes on her.
PAUL: Copy. Moving.
BLAKE: Enjoy yourselves, gentlemen.
Ani and the rest of the escorts file into the room. The older men eye them, smiling.
INT. SEMYON HOUSE
NAILS: Phone call, boss. It's a girl. Sounds Spanish.
Frank tunrs on speakerphone.
FRANK: Frank Semyon.
IRINA: My name is Irina. You wanna talk to me?
FRANK: Yes. Yes, Irina. Can we meet? I'd like to talk to you about Ledo and what happened to him. I can pay you for your time.
IRINA: No, we talk on phone.
FRANK: Police said you pawned things from Ben Caspere's house. That's how they got your man Ledo. How did you get that stuff? Ledo really k** Caspere?
IRINA: A man gave them to me. Paid me $500 plus whatever I got to pawn them.
FRANK: Can you describe him?
IRINA: Thin, white. He was a cop. Didn't wear a uniform.
FRANK: How do you know he was a cop?
IRINA: I know a cop. Think I've seen him before. He's like a jefe.
FRANK: Meet with me, I'll show you some pictures. You pick him out.
IRINA: I ain't talking to no more white men. They make me call, I call.
Frank picks up the phone.
FRANK: You can get your people to come with you. No tricks. You'll be safe. And I'll give you a thousand to point the man out.
IRINA: Si. Okay.
EXT. CONSTRUCTION SITE - NIGHT
Frank and his men file into the site. They find Irina on the ground, dead, with stab wounds around her neck. Car lights turn on and Gonzales' men start getting out.
GONZALES: As promised, you've seen her. We take Thursday, Friday, Saturday night at the clubs. No fee. Like you said. Next year we renegotiate. Like you said.
FRANK: Why the f** did you do this? Why hurt the girl? The f** is wrong with you?
GONZALES: You heard her. b**h was working for cops.
The men get back in their car.
The car engines start.
Most of the escorts are with the men. Ani walks through the room and her vision starts blurring. She steadies herself on the table then starts walking. She sees McCandless, Osip, Chief Holloway and Tony Chessani.
ANI: f**. sh**.
WYMAN: I've been watching you, miss. You know, I said to myself, now there is a real woman. Not like these little girls. Oh, they try to make like they understand, but it's just empty eyes. You see, for me, it's just as much about the dialogue.
Ani grabs a knife used to carve a roast pig as he takes her on his arm upstairs.
WYMAN: I could talk to you all day about the oil business, but I'm sure you'd like to do something else.
Ray and Paul approach the mansion and sneak past another guard. As they walk past a window, they see Osip and McCandless talking in a side room.
OSIP: $12 million doesn't fit in a briefcase.
MCCANDLESS: The exchange will be secure. We can enter the money into the system as marketing costs, investment overlay.
OSIP: Like you did with Semyon?
MCCANDLESS: That was between him and Caspere. And your people's investments are worth considerably more to us. Now, please, enjoy the evening. Full moon is the best time to ratify alliances.
They shake hands and leave the room. Paul opens the window and he and Ray enter.
RECORDING: A nation's strength is determined by two things. Its energy resources... and its capacity for war.
Ani looks around the room and sees everyone having s**. Her vision is blurred and her hearing is distorted.
WYMAN: Oh, yes, here we are. You care to watch for a while? I do so enjoy the natural state.
Ani walks further into the room.
LONG HAIR MAN: You're the prettiest little girl I ever seen. I heard there's a unicorn in those woods.
The background behind Ani goes white.
MAN: You want to help me look for it?
Ani starts panting.
WYMAN: Why don't you partake and I'll join you momentarily?
ANI (in Russian accent): Excuse, please. I-- bathroom. I return.
WYMAN: You come right back here, now. Don't make me have to find you, miss.
ANI: Splash of water. Perfume.
Ani looks around at the orgy going on around her, panicked. The long-haired man appears again, and the white background comes back. The long-haired man takes Ani into a van in a flashback as a raven flies by.
Ani returns to reality. She forces herself to puke into the sink.
INT. MANSION - OSIP'S ROOM
Paul picks the lock on the drawer as Ray stands guard outside. He picks out a stack of folders then returns outside. A guard approaches them.
Ray approaches the guard, nods, then pistol whips him bloody.
Ani looks through the room.
ANI: Vera? Vera. Vera Machiado? Oh, my God.
Ani walks over to Vera to see her nearly pa**ed out.
ANI: I'm a friend of your sister Dani's. We got to get you out of here.
VERA: No. No...
ANI: Come on. Come on. Get up. Come on.
Ani picks Vera up and helps her out of the room. She finds Mr. Wyman waiting in the doorway.
WYMAN: Now, I know I said don't make me have to come and find you, but--
Ani grabs him by the arm, stabs him, then kicks him off of her. Another man approaches.
MAN: f**ing whore!
Ani stabs him in the stomach but he grabs her by the neck before she can finish him off. She starts choking as he raises her off the ground, but then he goes to his knees as blood drips down his leg and drops Ani.
MAN: f** you do?
Ani picks up Vera and drags her to the door. Paul is waiting for her.
ANI: Oh, God. Take her. Take her, take her. Go, go, go, go. Move.
Paul takes Vera and carries her towards the car.
PAUL: Who is she?
ANI: My missing person.
PAUL: Take her.
Men start yelling at them from the balcony.
PAUL: Velcoro's getting the car. Go. f**.
Guards start closing in. Ani takes Vera and runs her to the car.
Ani: Okay, you got to run. You got to run. Go, go, go.
Ani, Vera, and Paul sprint away from the mansion towards the street.
RAY: f**. Come on!
EXT. STREET - NIGHT
Ani, Vera, and Paul run towards the street.
PAUL: Look. That's him.
Ray screeches to a stop and the three get in the car as gunshots go off around them.
ANI: Get down! Get down!
INT. CAR - NIGHT
Ray speeds away from the mansion as the guards shoot at the car.
PAUL: k** the lights.
RAY: Who's the girl?
PAUL: Bezzerides's missing person.
Vera is slouched in the backseat next to Ani, who is hyperventilating.
PAUL: I got this stuff. Some kind of deal going down. Same land area as we were talking.
RAY: f**. What happened?
ANI: They gave me something. I don't know. I think I k**ed someone. Oh, Jesus. Those Motherf**ers.
Paul pulls out the folder.
PAUL: These contracts... signatures all over them.
Ray pulls onto the street and speeds away under a full moon.