"EAST NEW YORK" Pilot
Draft 1/24/2022
Written by William Finkelstein & Mike Flynn
WBTV SKYEMAC PRODUCTIONS WONDER STREET
FADE IN:
PROLOGUE - DAY ONE
INT. NAIL SALON - MORNING REGINA HAYWOOD - Black, physically fit, hair and makeup deliberate but not fussy - getting her nails done by CAMI - * Vietnamese -- CAMI Big day for you. HAYWOOD Uh huh. CAMI You the boss now. HAYWOOD I’m a boss. I also have a boss. I * have lotsa bosses. Haywood’s phone pings - she reads a text -- * HAYWOOD * (CONT'D) Men are never too busy to think * about sex, are they. * CAMI * That’s a good thing, no? * HAYWOOD * Yeah I guess. * EXT. ATLANTIC AVENUE - MORNING Outside the nail salon. A so-called dollar van - unregulated passenger vans that cruise the avenues in Brooklyn, picking up mostly Black and brown passengers, charging less than the subways and a lot less than taxis; the driver - LYNTON MCKAY - thirties, Jamaican - lets on a family of German tourists -- GERMAN FATHER How much please? MCKAY * Two dollars adults, one dollar children. The German Father starts counting out bills --
2.
MCKAY
(CONT'D)
*
Close enough. Step up. Before McKay can pull the door shut, a guy with a ski-mask * gets on (McKay knows him) -- * SKI-MASK * Where are they, Rastaman? * MCKAY * Where my money at? * SKI-MASK * First you hand over. * GERMAN FATHER * What’s going on please? * MCKAY * Get outta my van, sucker, I ain’t * handin’ over nothin’. * Ski-Mask takes out a nine-millimeter, shoots McKay twice in * the torso, gets out. *
INT. NAIL SALON - MORNING Haywood hears gunshots, quickly heads for the door.
*
EXT. ATLANTIC AVENUE - MORNING * Ski-Mask, wanting to get in off the street, tries one door, * finds it locked; McKay, wounded, has gotten out of the van, * shoots at Ski-Mask; Haywood - gun drawn - goes toward McKay -- * HAYWOOD * I’m a police officer - put the gun * down. * German Father comes out of the van -- * GERMAN FATHER * (points toward Ski-Mask) * That guy shoot him. * Haywood takes McKay’s gun out of his hand as he starts to * lose consciousness -- * HAYWOOD (yells to people on the sidewalk) GET INSIDE. ANYWHERE. GET INSIDE.
(MORE)
3.
HAYWOOD (CONT'D)
(checks McKay’s pulse) Stay with me, Brother - it doesn’t look bad. Ski-Mask shoots at Haywood and McKay; Haywood pulls McKay * behind the van to take cover; German Father gets out of van -- * HAYWOOD * (CONT'D) SIR - STAY IN THAT VAN! * Too late - Ski-Mask fires, hits the German Father; Haywood * crawls under the van to get a shot at Ski-Mask; a PRIVATE SECURITY GUARD runs up -- HAYWOOD (CONT'D) GET DOWN...GET DOWN... From a prone position under the van, Haywood takes aim at Ski- Mask; the GERMAN FATHER’S WIFE and KIDS come out of the van, get in the way, causing Haywood to hold her fire; Ski-Mask * shoots Private Security Guard, takes off; runs into a tenement building; an OLDER MAN approaches with gun drawn -- HAYWOOD (CONT'D) Holster that gun, sir. OLDER MAN Relax, lady - I’m a retired cop. HAYWOOD (shows shield) I’m a police captain - call 9-1-1. * Haywood takes off into the tenement after Ski-Mask. INT. TENEMENT STAIRS - MORNING Haywood goes up the stairs; a LITTLE KID opens an apartment door -- HAYWOOD Go inside, honey. Go inside and stay away from the door. Sirens are heard from the street; Haywood hears a cat meow from above, goes up another flight of stairs, sees the cat scratching at a door; Haywood tries the door, goes in.
INT. TENEMENT APARTMENT - CONTINUOUS Haywood enters; an ELDERLY WOMAN sits in an easy chair --
4.
HAYWOOD Someone let the cat out just now?
The Elderly Woman nods --
HAYWOOD (CONT'D)
He in here? The Elderly Woman shakes her head no; Haywood moves through * the apartment cautiously, sees a window open in the kitchen. EXT. TENEMENT FIRE ESCAPE/ROOF - CONTINUOUS Haywood sees no sign of Ski-Mask, goes up to the roof; approaches water tank; suddenly pigeons roosting are * disturbed, fly off; Haywood, adrenaline pumping, goes around * the water tank expecting to find Ski-Mask but he’s not there; * As Haywood looks out over the Borough of Brooklyn, she knows * a cold-blooded killer has disappeared, catches her breath, * focuses her mind. * EXT. ATLANTIC AVENUE - LATE MORNING Crime scene. Street blocked off by police cars, fire trucks, ambulances, coroner vans and TV news trucks; Haywood being questioned by DETECTIVES TOMMY KILLIAN - white, forties, more reliant on charm than now-fading good looks and CRYSTAL MORALES - Puerto Rican, thirties, guarded -- HAYWOOD I’d put his height at five- * LIEUTENANT STAN YENKO - white, fifties, hums show tunes, runs through rosters of the New York Rangers among other lists apropos of nothing - approaches -- YENKO eight...stocky build...some kind of tattoos on his left forearm...gun looked to be a Glock Nine.
Van driver’s on the way to Kings County...two others who were shot both DOA. Yenko’s phone pings - he goes off to check it out --
*
HAYWOOD I didn’t have a clean shot or I
* *
would’ve taken it.
5.
MORALES No one’s gonna make you wrong for holding your fire, Captain.
* *
A beat --
*
HAYWOOD
*
Nice to meet you, Detective. * ANGLE ON Uniform Cops putting up crime scene tape, looking for shell casings, etc. Among them - MARVIN SANDEFORD - Black, fifties; his trainee ANDRE BENTLEY - Black, twenties; also RIVAS and LYLE; all but Sandeford sneak glances at Haywood, the new boss -- SANDEFORD (to Bentley) Pay attention - don’t just look on the ground for shell casings.
Sometimes they go into tires which is why you wanna look for flats. RIVAS Anyone know anything about our new commandante? LYLE (sarcastic) She was the most qualified candidate, that’s all. SANDEFORD You bucking for the job, Lyle? LYLE Not me, Marvin. I’ll be one of the enlisted swine to the day I die. I also don’t have affirmative action
*
* * * * * * * * * * * *
going for me.
SANDEFORD
That excuse good till you hit mandatory retirement age or are you gonna come up with something new?
LYLE
(backing down)
Nothing against you , Marvin.
SANDEFORD
Right.
Sandeford goes off --
*
6.
RIVAS She was awarded the Combat Cross when she was with Anti-Crime.
*
LYLE
Shut up. * ANGLE ON CHIEF WALTER UNSELD - middle-aged, white, wears two * stars signifying Borough Commander - stands with other * Bosses. ANGLE ON Sandeford and Bentley -- * BENTLEY * Who are those guys? SANDEFORD Bosses. The one in the middle’s * Chief Unseld - he’s our new * Captain’s rabbi. * An SUV with black-out windows pulls up; COUNCILMAN RAYMOND O. * SHARPE - sixties, Black, expects to be center of attention - gets out, along with his bodyguard ALPHONSE and ARI LUSTIG - * white, forties, trim, dressed casual but expensive; Bosses go to Sharpe as soon as they see him -- SHARPE What are we looking at, Chief? UNSELD Attempted car-jacking. Driver of a * dollar van shot and wounded...two fatalities. The new Precinct * Commander of the Seven-Four happened to be on the scene when it jumped off. ANGLE ON Haywood (Sharpe’s POV) -- SHARPE That her? UNSELD Yeah. SHARPE Bring her over here. UNSELD (calls to Haywood) Captain? Haywood starts over --
7.
SHARPE
*
Police captains never used to look like that, did they Alphonse?
*
ALPHONSE
* *
No they did not.
Haywood approaches --
UNSELD Councilman Sharpe - Regina Haywood. HAYWOOD Councilman. SHARPE This is Ari Lustig. LUSTIG How do you do. SHARPE Ari’s a major real estate developer in East New York. LUSTIG (to Haywood) You’ve had one helluva morning. SHARPE How is it that you let him get UNSELD Councilman, we’re just now starting to piece this together... HAYWOOD I was under fire on the street, pursued him into a building from which there was more than one way out - any other questions? away, Captain? (to Unseld) We have our best people on this? UNSELD Absolutely. SHARPE Wherever you have to bring them from. SHARPE
* * *
* * * *
8.
Sharpe and Lustig stride off; Haywood stews --
*
UNSELD (lets her know they’re in the same boat) Welcome to East New York, Captain.
* Haywood processing the carnage of the shootout, the failure * to apprehend the shooter and the insult meted out by Sharpe -- * HAYWOOD * Thanks, Chief - glad to be here. * MAIN TITLES
9.
ACT ONE - DAY ONE HOSPITAL CORRIDOR - MORNING
Sandeford and Bentley accompany OPAL MCKAY - Black, thirties - as they move quickly toward the ICU. Two UNIFORM COPS guard the door; a NURSE blocks the doorway -- NURSE Sorry, you can’t go in there right now. SANDEFORD This is his wife. NURSE Check back in a half-hour. They go toward a seating area -- SANDEFORD (to Bentley)
There’s vending machines downstairs - why don’t you get some coffees.
*
Bentley nods, goes off --
SANDEFORD (CONT'D) Anyone you can think of your husband might’ve had a dispute with...maybe another driver...? OPAL He’s a good man, my husband. SANDEFORD He work for himself or somebody else? OPAL He work for Al Sayso.
*
EXT. HOSPITAL - EARLY AFTERNOON Sandeford and Bentley head toward their car -- SANDEFORD
One of the most important things you can have going for you’s the ability to remember. People, places and things. I haven’t seen him in years but I remember Al Sayso. I remember where he lives.
*
10.
BENTLEY I got thirteen-fifty on my SATs - that’s all about memory. Sandeford looks over at his young charge.
*
INT. PRECINCT FRONT ROOM - LATE MORNING Haywood enters, approaches JIMMY KEE - Asian, Desk Sergeant, Precinct Rule Enforcer - head down -- * HAYWOOD * Sergeant Kee. * KEE (snaps to) * Captain Haywood. I heard what happened - y’alright? HAYWOOD I’m fine. Which way’s my office? * KEE * Down the hall. Lieutenant Yenko’ll * show you around. *
INT. PRECINCT HALLWAY - LATE MORNING Haywood being shown around by Yenko -- YENKO
Little bit of everything in East New York. A few stops on the L- train past where the “creatives” want to live at present but some excellent new restaurants
* * *
nonetheless.
HAYWOOD
Good to know.
YENKO Have you made a determination as to your Executive Officer?
*
HAYWOOD
I haven’t.
YENKO Might I throw my hat in the ring?
11.
HAYWOOD It’s not a bump in salary and you’re already a lieutenant - why do you want it? YENKO I irritate people. I know this about myself. People write me off because I make mention of getting a Mercury dime in my change or recount the plot of a Twilight Zone episode or - as at present - maybe go on a little too long about a car I’m looking to buy. I’d like them to take a second look at what I’m capable of, i.e. executive functions of an Executive Officer...
* * *
*
HAYWOOD
Okay.
YENKO
* * * *
Okay...?
HAYWOOD
You’re hired.
YENKO
(shocked)
Really? Haywood shows no emotion, keeps moving.
*
INT. MUSTER ROOM - MORNING Day Tour has assembled, Sgt. Jimmy Kee holds court among Sandeford, Bentley, Rivas, Lyle, et al. as Haywood and Yenko * enter -- KEE
I’m sure you’re all aware we had a shooting this morning with multiple fatalities. At this point we don’t know if we’re looking at some kind of war between van drivers or what. Special attention to dollar vans generally, most of them un-licensed and un-inspected. You may or may not be aware that we have a new Commanding Officer starting today. She wants to say a few words - Captain Regina Haywood.
* *
12.
Some tepid applause as Haywood takes a deep breath -- HAYWOOD I’ve been a street cop my whole
career. Like a lot of you, I’ve had all kinds of ideas - what could be done differently...what could be done better. That means no more quotas on traffic tickets...if it doesn’t threaten public safety, I don’t wanna know about it. Penny- ante pot busts, selling loosies or loitering - not what we’re here for. I also want to have Members of the Service living where they work. RIVAS Live in East New York? HAYWOOD Right. SANDEFORD Rivas just managed to move out of the Bronx.
*
* *
Some laughs --
HAYWOOD I’ve so far gotten the New York City Housing Authority to provide two one-bedroom apartments - rent- free - in Ruskin Gardens.
*
LYLE This is strictly voluntary, right? HAYWOOD It’s strictly voluntary but I’d want at least a six-month commitment. BRANDY QUINLAN - white, twenties, working-class origin -
* *
raises her hand --
QUINLAN
I’ll do it. Various cops react --
*
HAYWOOD Why don’t you take some time to think about it.
13.
QUINLAN I don’t need any time, Captain. You asked for volunteers - I volunteered. I’ll do fine.
*
Haywood’s stuck - conceals her concern.
*
INT. PATROL CAR - MORNING Sandeford drives, Bentley in the passenger seat -- BENTLEY How long’s that white girl gonna last in Ruskin Gardens? SANDEFORD About as long as you would. BENTLEY I’m not white. SANDEFORD Ever live in public housing? BENTLEY
I dated a girl who lived in the Chelsea projects my freshman year of college. I slept over.
*
Sandeford looks over at Bentley -- SANDEFORD
Your collar brass is upside down. BENTLEY (turns down visor) No mirror?
EXT. RUSKIN GARDENS - EARLY AFTERNOON Quinlan approaches a group of old Black men playing dominos -- * QUINLAN Mr. Rivera around? SANTO RIVERA - burly, Dominican - acknowledges -- RIVERA I’m Rivera.
14.
QUINLAN I was told I could pick up a set of keys for Six-A?
Rivera shakes his head, goes off to get the keys; after an awkward beat, another domino player - WINSTON speaks up -- WINSTON You the cop movin’ in here? QUINLAN Uh huh.
(notices shopping cart full of water bottles)
You sell these?
WINSTON Why? You gon’ confiscate them too? QUINLAN I’m thirsty. She puts a dollar on the table, takes a water; another domino player - JUNIOR - pipes up -- JUNIOR Sandeford done took everything else. The Domino Players continue playing. * INT. SAYSO ROW HOUSE - LATE MORNING Sandeford and Bentley are let in by a nervous ALBERT SAYSO - middle-aged, perpetually indignant that he’s going to be accused of something he’s actually done -- SANDEFORD
I have to say, Albie - you’ve come a long way from boosting air bags and selling cherry bombs. SAYSO You’re talking the deep dark past now. SANDEFORD (to Bentley) Untaxed gasoline was a year ago. SAYSO I beat that, Marvin - c’mon. Innocent until proven guilty.
15.
SANDEFORD What can you tell us about Lynton McKay, Al? SAYSO Good guy. No problems. I was just on my way to see him. SANDEFORD Tough racket these dollar-vans. Probably have to spread enough cash around so Traffic Control doesn’t bury you with tickets. SAYSO I give a stiff from Taxi & Limousine a twenty at Christmas, you gonna crucify me? SANDEFORD No, I’d let that go. But if you had a driver who wasn’t kicking back and you had him clipped - that I would take an interest in. SAYSO Sandeford...on the lives of my children... BENTLEY (noting a rack of down jackets) How come these Moncler jackets still have tags on them? SAYSO They’re seconds. Friend of mine sells ‘em at flea markets. He got a disability so I help him out.
*
* * *
* * *
SANDEFORD You gonna help us out?
*
SAYSO Maybe Lynton owed money. I dunno. He was short a lot of the time. SANDEFORD He go to the shylocks? SAYSO I don’t know where he went.
16.
SANDEFORD
(to Bentley) Grab one end of the rack. Sandeford and Bentley each take one end -- SANDEFORD (CONT'D)
Hopefully these don’t turn out to be stolen. Just on behalf of your
* *
disabled friend...
Sandeford and Bentley start toward the door --
*
SAYSO Okay, okay - you didn’t hear it from me - I’m guessing Lynton owed money to the Russian. SANDEFORD Which Russian are we talking about?
*
INT. GOODY’S - EARLY AFTERNOON Neighborhood bar. GOODY GAINES - Black, sixties, owner, * stalwart presence behind bar; Killian and girlfriend CORINNE * MOYNAHAN - white, thirties, leather jacket - in a booth -- * CORINNE I want you to be proud of me. KILLIAN I am proud of you. CORINNE
I know how much trust you’d be putting in me, Tommy. If we buy this place, I want it to succeed.
* *
KILLIAN I’m not worried about it. Morales, just off the phone, comes over, sits down -- MORALES Lynton McKay’s still sedated. GOODY (coming over; to Morales)
*
How you doin’, Gorgeous? MORALES I get a b-l-t, Handsome?
17.
GOODY (calling to the kitchen) Lou-Ann, you wanna come out and take some orders? As LOU-ANN - Black, Goody’s cook - enters -- KILLIAN (to Lou-Ann) Turkey club, Lou-Ann? LOU-ANN (to Corinne) What about you, baby? CORINNE I’m good. GOODY
* * * * * * * * * * * * * * * * * * *
(to Killian)
I got an all-cash offer this morning from a restaurant chain.
KILLIAN
Oh yeah?
GOODY
The number’s higher than the one we agreed on and they’ll buy the fixtures and Dodger memorabilia which it breaks my heart to sell but my kids’ll have me committed if
I don’t do it.
KILLIAN
So is that it? We’re out?
GOODY
They wanna close on Friday. Come up with thirty-thousand by then, the
joint’s yours.
Goody goes off --
*
CORINNE How are you going to do that? KILLIAN (feigning confidence) I’ve got a few possibilities.
* * * * *
CORINNE
Should we think about going to my
dad?
18.
KILLIAN
*
Absolutely not. * Morales knows Killian’s playing for time; ANGLE ON Sandeford and Bentley entering; Sandeford stops by to let Lou-Ann kiss his cheek -- * SANDEFORD What’s the special today? * LOU-ANN * What’s the difference - you always * order the same thing. * SANDEFORD * Don’t mess with success, baby. * Sandeford goes to Killian and Morales -- * BENTLEY * (hanging back) * I’d like to hear the specials. * SANDEFORD * (to Killian and Morales) * INT. PRECINCT HALLWAY - AFTERNOON * ROCCO - middle-aged German Shepherd, leash attached to his * collar - heads toward the Captain’s office. * INT. CAPTAIN’S OFFICE - AFTERNOON Haywood and Yenko go over an enlarged spread sheet of crime statistics on a bulletin board -- YENKO For the past twenty-eight days The guy you wanna talk to’s Nickie Dushkin. Small-time loan shark. It’s possible the van driver missed one payment too many.
we’ve had a fourteen-percent spike in felonious assaults but a sixteen percent improvement from the previous twenty-eight days... HAYWOOD You call six murders in twenty- eight days an improvement?
* *
* *
19.
YENKO
* *
No I definitely do not.
Yenko’s phone pings, distracting him --
*
HAYWOOD
* * * * * * *
Something you have to deal with?
YENKO
No, I’m just following a car on
Ebay Motors...’78
Cordoba...beautiful color they call Russet Sunfire...last hour’s when a
lot of bids come in. * Rocco is let off-leash, runs to Haywood as Yenko - fearful of * dogs - stands; REVEAL VIRGIL HAYWOOD - Black, sixties, * Haywood’s father, retired cop, looks like he never shied away * from physical confrontation -- * HAYWOOD * Hey Daddy. * VIRGIL * How you doin’, Regina? * HAYWOOD * I’m okay. * YENKO * (approaching Rocco) * He friendly? * Rocco bares his teeth, snaps, causing Yenko to jump back, * lose his balance, knocking over a table and lamp -- * HAYWOOD * Y’alright? * YENKO * Fine. I’m fine. * HAYWOOD * This is my dad. * YENKO * How do you do, sir? * HAYWOOD * Once he gets to know you, he’s * alright. * YENKO * No, of course. *
20.
VIRGIL
* * * * * *
She means the dog.
YENKO
(as though it’s a joke) Good one. Anyway I’ll leave you two. I’m outside if you need me...have some things...
* Yenko cautiously moves toward the door, keeping his eye on * Rocco until he exits -- * HAYWOOD * You heard about the shooting? * VIRGIL * Why I’m here. * HAYWOOD * I have Expert rating with a * handgun...I can hit a target at a * thousand yards with an M-24. Maybe * I was right to do it but I held my * fire...part of me wishes I hadn’t. * VIRGIL * And what you gotta do now is forget * all about that. * HAYWOOD * I might need a little time on that, * daddy. * VIRGIL * You don’t have no time. What * happened on the street stays on the * street - in here you’re a boss. * The weight on Haywood suddenly feels unbearable -- * VIRGIL * (CONT'D) Keep the dog with you. * HAYWOOD * Am I allowed to? * VIRGIL * Who’s gonna say you’re not? * Virgil exits, leaving Haywood holding Rocco’s head in her * hands. * FADE TO BLACK.
21.
ACT TWO - DAY ONE
EXT. PRECINCT - AFTERNOON
*
Haywood talks to Rocco as she walks him --
*
HAYWOOD
* * * * * * * * *
Tell me again, Rocco, why did I want to be a boss? I was happy working cases...being an ordinary cop. Suddenly I gotta keep track of a precinct full of cops. I’m a
nanny...a hospital
adminstrator...what did I want this
for?
Yenko runs up to her --
*
YENKO
* * * *
I would’ve walked him.
HAYWOOD
That’s alright.
Rocco growls at Yenko --
*
YENKO
* * * * * * * * * * * * * * *
I took the liberty of calling your old precinct to see if anything needed to be picked up - they said you were vegetarian but no
dairy...no eggs...
HAYWOOD
I’m vegan, right.
YENKO
So I’d like to make sure we have vegan-approved snacks and
condiments...
HAYWOOD
You don’t need to make a special trip - I’ll bring some in with me.
They head back to the precinct --
*
YENKO
* * * *
I’m guessing you won’t want any of the liverwurst Slovak brings back
from Wisconsin.
22.
HAYWOOD
*
Probably not. * Haywood keeps a poker face but doesn’t mind Yenko’s teasing. *
INT. SPORTS BAR - AFTERNOON Many TVs, sports memorabilia on the walls, patrons at the bar * and at tables; Killian enters, waves to one of the Bartenders, proceeds to a private office.
INT. SPORTS BAR PRIVATE OFFICE - CONTINUOUS Killian enters; ZEV SITT - thirties, swarthy good looks - rides a Peloton in workout clothes --
* *
SITT What’s up, Tomster? KILLIAN The bar in Brooklyn I told you about? The guy just got an all-cash offer - I have to come up with thirty-grand by Friday. SITT (indicates Peloton screen) Lookathis - I’m in Patagonia. KILLIAN I’ve been moonlighting here for more than six years. I’m coming to you because East New York is gentrifying and I wanna get in on
* *
* * * * * * * * * * * * * *
the action.
SITT
It’s got a long way to go, babe.
KILLIAN
That’s why now’s when to get in.
SITT
Best thing you can do, Tommy - stick to detective work and leave investment strategy to the
professionals.
23.
INT. PRECINCT HALLWAY - AFTERNOON Bentley waits for Sandeford to emerge from the bathroom; when he does, they start walking -- BENTLEY Why can’t we pick up this guy? SANDEFORD We’re not detectives. BENTLEY But we got the guy’s name. SANDEFORD We have our job, detectives have their job. Quinlan sees Sandeford -- * QUINLAN Hey Sandeford. Sandeford and Bentley stop; Quinlan approaches -- QUINLAN (CONT'D) (light-hearted)
I was talking to this guy Winston at Ruskin Gardens - he says you’ve been doin’ some confiscatin’. SANDEFORD He tell you he was selling t-shirts in front of a clothing store? And that I told him three times to move somewhere else. QUINLAN I’m not saying you were wrong... SANDEFORD What a relief. QUINLAN Be good if you could help me out here, Marvin. SANDEFORD I’ll help you out when I have to go into those projects to save your
*
ass.
24.
QUINLAN Cause I’m just a weak little white girl who needs a big strong man to save her, right? SANDEFORD Something like that. QUINLAN (now furious) The day I need you to save me’s the day I hang it up for real. Haywood - returning with Rocco and Yenko - overhears --
*
HAYWOOD
* *
(to Sandeford)
Can I see you for a minute? * Haywood goes into her office; Quinlan, her face set in rage, * walks off; Yenko’s phone pings; Kee approaches from direction * of Front Room, holds out Tupperware container -- * KEE * (to Bentley) * Your mother dropped off your lunch. * Sandeford clocks Bentley - his face burning with * embarrassment; Sandeford goes into the Captain’s office; * Yenko shows Bentley and Kee the screen of his phone -- * YENKO * I’ve got the high bid. * KEE * (to Bentley, ignoring * Yenko) * You gonna take it or what? * Bentley takes the Tupperware; Kee goes back toward Front * Room; Yenko goes into Captain’s office. *
INT. CAPTAIN’S OFFICE - CONTINUOUS Yenko enters; Haywood and Sandeford present --
*
HAYWOOD You and Quinlan have a difference of opinion about something?
25.
SANDEFORD What is it you’re hoping to accomplish putting a patrol officer with less than three years on the Job in one of the highest crime housing projects in the borough. HAYWOOD Have Community Policing take the next step...change perception of the police as an occupying army... YENKO Been tried other places, Marvin. Portland, Maine...Tacoma, Washington... SANDEFORD There are people in that housing project who, first chance they get, HAYWOOD When a guy in a ski mask murders two people in broad daylight and there are people who know who he is, I want them to feel like they can tell us. SANDEFORD And they’ll be only too happy to do that because a cop moved in next HAYWOOD Officer, if you can’t keep your skepticism to yourself, at a minimum, I’d ask you not to undermine my decisions with younger officers who don’t share it. are going to test her. door?
* * *
* * *
Sandeford goes off seething --
*
YENKO While I don’t thoroughly discount his point of view, I don’t appreciate the sarcasm.
* * *
(phone pings)
Damnit. Sorry, Captain.
(MORE)
26.
YENKO (CONT'D)
There’s this guy - and I know who he is - every time I get close on an Ebay item - whether it’s this Cordoba...last week a vintage beach umbrella...before that a snare drum signed by Buddy Rich...he swoops in and drives up the price and I’m convinced it’s just to keep me from
* * * * * * * * * * * * * * * * * * *
getting it.
HAYWOOD
Hey Stan - you’re going to have to leave the world of Ebay for right
now, okay?
YENKO
Right. Sorry.
HAYWOOD
I want you to make up notices of a tenants meeting at Ruskin Gardens
for tomorrow night.
INT. HOSPITAL ROOM - AFTERNOON Killian and Morales enter; McKay’s still somewhat sedated, hooked up to monitors; Opal sits by his side -- KILLIAN How you doin’, Lynton? OPAL Said he feelin’ better today. KILLIAN Can we ask you some questions? McKay nods -- KILLIAN (CONT'D) The name Nickie Dushkin mean anything to you? McKay shakes his head -- MORALES
* *
We should explain the situation to you both - Lynton was in possession of an illegal handgun. He fired that handgun inside the geographic boundaries of New York City.
27.
OPAL He was bein’ shot at hisself. KILLIAN He cooperates, they may go easy on him. But he will be charged. MORALES Where can we find Nickie Dushkin, Lynton? MCKAY I don’t know no Nickie Dushkin. KILLIAN You think they won’t send you to prison cause they feel bad for you? You think those two cops are sitting outside your door to keep you company?
*
MCKAY I don’t know the dude.
Opal slaps McKay’s face -- OPAL
You gon’ protect us now.
INT. CONSTRUCTION TRAILER - AFTERNOON NICKIE DUSHKIN at a desk reading a Russian-language magazine, smoking; Killian and Morales enter -- KILLIAN Nikolai Dushkin - put out your * cigarette - we need to take a ride. * DUSHKIN What you’re wanting? KILLIAN We want to ask you some questions. DUSHKIN * Ask question you have question. * KILLIAN (leans in)
If we gotta take you outta here in handcuffs, that’s what we’ll do.
Dushkin puts down the paper.
28.
INT. RUSKIN GARDENS LOBBY - EVENING Quinlan tapes a notice of a tenants meeting on a glass panel by the entrance; Winston and Junior stop to read it -- * QUINLAN Tenants meeting. Tomorrow night at seven-thirty. You gonna be there? WINSTON Hell no. Quinlan picks up her suitcase and lamp, goes to the elevator, pushes the button -- JUNIOR You gon’ wait a long time. Been * busted goin’ on a year. * Winston and Junior start away -- QUINLAN You wouldn’t be willing to give me a hand with my suitcase by any chance, would you? Winston takes suitcase, Junior takes lamp; start up stairs -- JUNIOR What floor? *
INT. SIXTH FLOOR LANDING - EVENING Quinlan, Winston and Junior get to the Sixth Floor -- QUINLAN Thanks. Don’t think I’d’ve made it
*
myself.
WINSTON What are you doing here? QUINLAN I’m gonna be living here. WINSTON Cause you wanna live around Black people? QUINLAN I grew up in Yonkers, man. And not the white section of Yonkers.
29.
JUNIOR You here cause you po-lice. QUINLAN
You’re right. My bosses want me - and other cops - here so people who live here get to know us and hopefully cooperate with us and maybe the crime rate comes down.
*
*
WINSTON People live here already know you. Winston and Junior start down the stairs -- QUINLAN Thanks for the help.
They keep going. Quinlan lugs the suitcase and lamp to her apartment door on which someone’s spray-painted “PIG”.
INT. PRECINCT INTERVIEW ROOM - NIGHT Killian and Morales with Dushkin; Haywood behind glass -- MORALES How do you know Lynton McKay? DUSHKIN I don’t know him.
*
MORALES We heard he might’ve borrowed money from you, maybe couldn’t pay it back. Any truth to that? DUSHKIN I already tell you I don’t know this guy. KILLIAN What do you think the chances are that we won’t get your DNA out of the car you drove this morning? DUSHKIN Same as chance I don’t fall for trick - hundred-percent. I think now I talk to lawyer, yes?
From Haywood’s POV --
30.
KILLIAN Whaddya think a lawyer’s gonna do?
*
Haywood knocks on the glass.
INT. PRECINCT HALLWAY - NIGHT Haywood, Killian and Morales meet in the hallway -- HAYWOOD
You gotta kick him. You have no basis for holding him and he asked for a lawyer. KILLIAN Eventually we’ll get around to letting him have one but c’mon, Captain - this is a double homicide and we’re just getting started. HAYWOOD What’ll you say when you’re asked about it on the witness stand? MORALES Captain, we know what to say... HAYWOOD I’m sure you do, Detective, but as long as I’m your Commanding Officer, you’ll only say it if it’s
* * * * *
true.
(beat)
Don’t let him outta your sight. * Chief Unseld stands down the hall with a couple of Bosses -- * UNSELD * (beckons) * Captain. * Haywood goes over there -- * UNSELD * (CONT'D) Could this be the guy? * HAYWOOD * Why they’re gonna tail him. * Unseld nods. Haywood shows no uncertainty in her decision. *
31.
EXT. BUSHWICK AVENUE - NIGHT Killian and Morales stay several car-lengths back from a Mercedes; Mercedes stops in front of a bodega; Dushkin - wearing a black leather coat, goes in.
INT. UNMARKED CAR - NIGHT
KILLIAN You thought buying a bar was stupid, right? MORALES You weren’t doing it ‘cause it was smart - you were doing it for Corinne. I get it. Black-Leather-Coat comes out, gets in Mercedes, drives off. * EXT. BUSHWICK AVENUE - CONTINUOUS Killian and Morales following; Mercedes takes a red light; Morales flips on lights and siren; Mercedes pulls over; Killian and Morales approach; DRIVER - Dominican, late teens - wearing Dushkin’s coat; Killian grabs him -- * KILLIAN Where’s the other guy? MORALES (in Spanish) Who gave you the car, papi? DRIVER (in Spanish) Russian guy give me fifty to drive around the block. * Killian walks to his car, controls his emotions (we think); pops trunk, takes a crowbar, smashes Mercedes windshield; he * and Morales walk back to their car -- * MORALES * Feel better? * KILLIAN * I’d feel a lot better if it were * our captain’s car.
* *
FADE TO BLACK.
32.
ACT THREE - DAY TWO
EXT. COMMERCIAL STREET - MORNING * Officers Lyle and Rivas are rolling yellow police tape across * an intersection; Yenko stands nearby; BUZZ POMERANTZ - * thirties, hipster entrepreneur - approaches -- * POMERANTZ * What’s happening, guys? * LYLE * Ask the Lieutenant. * POMERANTZ * (to Yenko) * Why are you closing off the street? * YENKO * Problem? * POMERANTZ * Yeah it’s a problem - I have a wine * and cheese shop on this street - * nobody can get through if it’s * closed off. * YENKO * Some people like to bid up prices * on E-bay for sport, some people * like to close off streets. You * never know what makes someone tick. * Pomerantz gets it, takes out his phone. * EXT. RUSKIN GARDENS PLAYGROUND - MORNING Sandeford and Bentley cross the playground where some TEENAGERS are shooting a basketball at a chain basket -- SANDEFORD Wait here for me. Sandeford goes into the building -- BENTLEY (to Teenagers) National holiday? The Teenagers don’t respond --
33.
BENTLEY (CONT'D) How come you’re not in school? FIRST TEEN Starts at eleven. BENTLEY C’mon man - it doesn’t start at eleven. SECOND TEEN Yeah it do.
*
BENTLEY Gimme that rock. First Teen hesitates then throws Bentley the ball; Bentley shoots - it goes in -- BENTLEY (CONT'D) That’s “H”. Bentley goes to what would be the top of the key, sets, throws his hat on a bench then shoots - it goes in -- BENTLEY (CONT'D) That’s “O”. Ya boy’s hot. As Bentley goes to the next shooting position, First Teen grabs his hat, runs off -- BENTLEY (CONT'D) Hey. (in pursuit) Come back here. The other Teens scatter, Bentley lags behind. INT. RUSKIN GARDENS HALLWAY Quinlan has a hand on RONNIE MOE - Black, late teens - in front of her spray-painted door -- QUINLAN
You said you live on the Fourth Floor - what are you doing on the Sixth Floor? RONNIE MOE My cousin lives on the Sixth Floor.
Sandeford comes out of the stairwell --
34.
SANDEFORD Ronnie Moe - what’s up? RONNIE MOE This lady cop harrasin’ me for no reason, Sandeford. QUINLAN I find out you’re lying, I’m gonna run your name through the database - any felony convictions you’re outta that apartment. RONNIE MOE (to Sandeford) I can go? Thanks for showing up - I don’t know what I would’ve done without you. SANDEFORD Some of what I said yesterday I shouldn’t have said. But I worry about people cause that’s what I do. I don’t want you not calling for backup to make a point cause I know that’s what you’d do.
Sandeford nods; Ronnie Moe goes off -- QUINLAN (bitterly sarcastic)
* *
A beat while Quinlan considers -- QUINLAN You want coffee?
INT. PRECINCT FRONT ROOM - MORNING * Kee behind the desk; Sharpe enters with Alphonse trailing -- * SHARPE Sergeant Kee - the man to see. KEE How you doin’, Councilman. SHARPE Sittin’ on top of the world, my * brother. Your esteemed new Captain * in her lair?
35.
KEE I believe she is. ALPHONSE I know the way, Jimmy.
* *
Sharpe and Alphonse head toward the Captain’s office.
*
INT. CAPTAIN’S OFFICE - MORNING Sharpe tussles affectionately with Rocco --
*
SHARPE
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
What a good boy.
HAYWOOD
He doesn’t take to most people.
SHARPE
I have a way with dogs. Call it animal instinct. Why I sometimes judge people too quickly.
HAYWOOD
We’ve all done that.
SHARPE
I didn’t think you were up to this job. So I made some calls to check my thinking - I couldn’t have been more wrong. You headed up a task force credited with taking seventy- three guns off the street in a year’s time...your arrests put away a dozen members of MS-Thirteen.
HAYWOOD
We had some help from the Feds...
SHARPE
Those collars were your collars. So
my apologies.
HAYWOOD
Apologies accepted.
SHARPE
As far as your initiative to put cops into public housing - I applaud it...I salute it...I would only ask that you coordinate with my office before making any more
arrangements.
36.
HAYWOOD I’ve been going through the Housing Authority... SHARPE My office, Captain. Always my office. Anyway, finding out about some of your accomplishments puts to rest the kind of rumors that attribute your career advancement
* * * * * * * * * * * * * * * * * * *
to other factors.
HAYWOOD
What kind of factors?
SHARPE
The usual kind of thing. (indicates Rocco)
He fixed?
HAYWOOD
Uh uh.
SHARPE
I know a bitch you can mate him with if you’re interested.
Sharpe opens the door revealing Alphonse standing there; leaves Haywood to ponder what he’s after.
EXT. GOODY’S - MORNING Liquor delivery in progress. Goody helping the DRIVER carry cases of liquor down to the basement from a sidewalk entrance when Sandeford and Bentley pull up, get out of the car -- SANDEFORD Ain’t you too old t’be doing this? * GOODY
I’d ask you to gimme a hand but I’d say you’re too old your own damn self. SANDEFORD You still in good standing with Future Felons of America? GOODY Whaddyou need?
37.
SANDEFORD One of them over at Ruskin Gardens snatched my partner’s hat. GOODY How the hell you let ‘em do that?
*
BENTLEY
* * * *
I was playing basketball.
SANDEFORD
His sport’s tennis.
Sandeford and Goody exchange a look --
*
GOODY
* *
Check back with me tonight.
INT. HOSPITAL CORRIDOR/HOSPITAL ROOM - EVENING Outside McKay’s room. DIDIER TOURE - late teens, African, strikingly handsome - approaches Quinlan --
*
DIDIER This Lynton McKay’s room? QUINLAN Who wants to know? DIDIER I’m his friend. QUINLAN
*
What’s your name? DIDIER Didier. Quinlan opens the door --
*
QUINLAN
(to Opal) Didier’s here? Quinlan indicates Didier should go in, decides to go in after * him. * INT. HOSPITAL ROOM - CONTINUOUS McKay hooked up to monitors; Opal styling her husband’s dreadlocks with difficulty; Quinlan and Didier enter --
38.
DIDIER
Hey.
OPAL
Hey Didier.
QUINLAN Why don’t I leave you guys - the nurse’ll probably be by to throw you out in a few minutes so enjoy the visit while you can. Quinlan stealthily sets the Record function on her phone, leaves it, exits. * Morales sits in the car, parked in front of a bank; Killian * comes out of the bank -- * KILLIAN * No dice. * MORALES * The branch manager told me that * size loan shouldn’t be a problem. * KILLIAN * He told you . He’s in love with you. * MORALES * You gonna tell your girlfriend? * KILLIAN * I dunno. * MORALES * She might figure it out when * somebody else buys the bar. * Killian looks at Morales as the bearer of bad news. * EXT. UNMARKED CAR - LATE MORNING EXT. ODEON - AFTERNOON * Unmarked car pulls up in front; Killian gets out, goes in; * Morales stays in the car. *
INT. ODEON - CONTINUOUS * Hip, upscale. Corinne’s at hostess station; Killian enters -- *
39.
CORINNE
* *
Hey baby.
Killian kisses her on the cheek --
*
CORINNE
(CONT'D)
* * * *
You hear from the bank?
KILLIAN
Not yet.
A beat - Corinne looks at him --
*
CORINNE
* * * * * * * * * * * * * * * * * * *
You come all the way here to tell
me that?
KILLIAN
I came to see you.
CORINNE
I can read you like a book, Killian - they turned you down.
KILLIAN
Alright, they turned me down.
CORINNE
Looks like Plan B.
KILLIAN
Forget it. I don’t wanna take money
from your father.
CORINNE
He offered. It’s a loan.
KILLIAN
I don’t care. I don’t want it.
Killian heads to the bathroom.
*
INT. MENS ROOM - CONTINUOUS * Killian enters; before he can lock the door, Corinne pushes * her way in - she locks the door -- * CORINNE * Listen you idiot - I’ve been * working in restaurants since I’m * nineteen. I wanna own this place. I * wanna own it with you. *
(MORE)
40.
CORINNE (CONT'D)
If you can’t come up with the money by tonight, I’m taking my father up
* * *
on his offer.
She kisses him, exits. PRE-LAP hospital monitor alarm.
*
INT. HOSPITAL ROOM - CONTINUOUS
*
Quinlan rushes in; Opal’s thrown herself on top of McKay
* *
whose monitor shows a flat line --
OPAL Don’t leave me, Lynton...don’t you leave me.
INT. CAPTAIN’S OFFICE - AFTERNOON Killian and Morales play recording from Quinlan’s phone for Haywood -- DIDIER (O.S.) Brenda Sykes callin’ me. Askin’ where is it. OPAL (O.S.)
Don’ you be tellin’ her nothin’. That devilish woman’s why my Lynton be lyin’ in this hospital bed.
Sound of a monitor flat-lining --
OPAL (O.S.)(CONT'D)
Oh my God...oh my God...
Morales shuts phone off -- HAYWOOD Bring her in. Morales goes to the door, indicates Opal should come in; Opal enters -- HAYWOOD (CONT'D)
I’m sorry for your loss, Ms. McKay, but every hour that goes by makes it harder to find the man who killed him. OPAL (tearful) He with God now.
41.
HAYWOOD
Who’s Didier?
*
OPAL My husband’s friend. HAYWOOD Who’s Brenda Sykes?
*
*
OPAL Real estate broker. She have a office on Atlantic Avenue. Now may I go tell my children that their daddy’s gone? HAYWOOD (to Killian and Morales) See that she gets home. Killian and Morales escort Opal out as Quinlan comes to the doorway -- QUINLAN You wanted to see me? HAYWOOD
That was some quick thinking setting your phone to record. QUINLAN I had a gut feeling their conversation might prove useful. HAYWOOD Let’s talk about what else you had a gut feeling about - Ronald Morrison’s mother filed a complaint with the Civilian Review Board - says you threatened to evict him. QUINLAN I needed him to know I took graffiti on my door seriously. HAYWOOD The way to do that’s to act tough?
*
QUINLAN One way I guess. HAYWOOD Why’d you volunteer for this, Quinlan?
42.
QUINLAN I think it’s a good idea.
*
HAYWOOD A shortcut to a gold shield maybe? QUINLAN If it is, it’ll mean I did a good job, right? HAYWOOD The purpose of the program isn’t career advancement - yours or anyone else’s. It’s to demonstrate to the people who live in East New York that we consider ourselves part of the same community they’re a part of. If you don’t actually believe that, it’s going to be that much harder to act like it. QUINLAN I grew up in Section Eight housing with a drug addict mother, I ran away and lived on the street and didn’t consider myself part of any community at all. Now I’m only too happy to be part of whatever community’ll have me. Is that all,
* * * * * * * *
Captain?
Haywood nods; Quinlan exits; Haywood considers that there might be more to Quinlan than she thought.
INT. BRENDA SYKES APARTMENT - MORNING High-floor apartment, view of Manhattan and bridges over the East River. Killian and Morales with BRENDA SYKES - middle- aged, very tan, very blond -- KILLIAN You’re handling rentals in the project by the Navy Yard? BRENDA SYKES Yes I am. You interested? * KILLIAN Not sure I could manage the down- payment. BRENDA SYKES Maybe we could work something out.
43.
MORALES Have you spent any time in the Ivory Coast, Ms. Sykes? BRENDA SYKES I’ve been there. I’ve been to a lot of countries in Africa since I got involved with the Save the Lions
* * * * * *
Foundation.
(to Killian)
I’m a Leo.
MORALES A kid from the Ivory Coast named Didier Toure, said he knows you.
* *
BRENDA SYKES
I know Didier. Sure. MORALES How do you know him?
BRENDA SYKES I met him when I was over there. He tried to sell me a carving, had those gorgeous eyes I couldn’t stop looking at and so one thing led to another. We actually stayed in touch for a while. MORALES When’s the last time you saw him? BRENDA SYKES It’s been years. KILLIAN He says he’s been in touch with you recently. BRENDA SYKES
Probably he had a dream. Africans don’t always distinguish between what’s a dream and what’s real. Morales notices a picture of Brenda and a man -- MORALES That’s Ari Lustig, isn’t it? BRENDA SYKES Uh huh.
44.
MORALES They say he’s going to transform
* *
East New York.
BRENDA SYKES If all goes according to plan, he
* *
absolutely will.
INT. LUSTIG RECEPTION - AFTERNOON * Slick, expensively furnished. Architectural models of various * projects and a model of a Boeing Business Jet. Killian and * Morales in front of receptionist CHARISMA - twenties, Black, * memorable hair and nails -- * CHARISMA * Can I get you anything? * KILLIAN * Thanks, we’re good. * CHARISMA * Let me see if he’s free. * Charisma goes toward an inner office -- * KILLIAN * Why would a guy with this set-up be * mixed up in a car jacking? * MORALES
Why would Miss Coppertone 1995 lie about the last time she saw the African kid?
INT. ARI’S OFFICE - AFTERNOON Lustig shows off a model of the mixed-use development he’s building in East New York -- ARI LUSTIG
Retail space on the ground floor...eighty-five units above...space for what I hope will be a culinary school and yoga studio. MORALES What’s your relationship with Brenda Sykes, Mr. Lustig?
*
45.
ARI LUSTIG She handles sales of residential units for me. MORALES That’s it? ARI LUSTIG What do you mean “that’s it”? MORALES Do you have any other business arrangements with her? Are you involved romantically? ARI LUSTIG No and no. Next question. KILLIAN Her name’s come up in regard to this drive-by shooting - we thought maybe you could shed some light on that. ARI LUSTIG I wish I could. MORALES Name Nickie Dushkin mean anything? ARI LUSTIG No. MORALES Russian...about five-eight... ARI LUSTIG Don’t know him. MORALES You sure? ARI LUSTIG Y’know you have an accusatory manner and for the life of me I don’t know why that is. MORALES It’s a little curious that you don’t know Nickie Dushkin since he’s a site foreman on the East New
*
*
* * * *
York project..
46.
ARI LUSTIG Site Foreman means he works for a Contractor. I don’t supervise him...I don’t pay him...I have nothing to do with him. I also have a conference call starting so I
* *
need to wrap this up.
MORALES You know a Didier Toure? ARI LUSTIG Do not. MORALES Brenda Sykes knows him.
*
KILLIAN There’s some discrepancy about the last time she spoke to him - we’re wondering if you could shed some light on that. ARI LUSTIG Do me a favor, guys - play Sherlock Holmes on your own time. KILLIAN One thing I learned from Sherlock Holmes was that people who suddenly get uncooperative usually have something to hide. ARI LUSTIG Excuse me.
*
Lustig dials a number --
LUSTIG I hate doing this.
COMMISSIONER’S ASSISTANT (O.S.)
Commissioner’s Office. LUSTIG Hi Rochelle - he there?
COMMISSIONER’S ASSISTANT (O.S.)
One moment.
LUSTIG (to Killian and Morales)
You flex - I flex back.
47.
POLICE COMMISSIONER (O.S.)
What’s going on, Ari? LUSTIG
Hate to bother you, John - I have two detectives here. I told them what I know about the shooting in East New York - which is nothing - but they seem intent on getting me to say something incriminating or intimidating me...I don’t know what they have in mind. POLICE COMMISSIONER (O.S.) Put ‘em on. KILLIAN Commissioner, this is Detective Tom Killian with the Seven-Four Squad. Nobody’s trying to intimidate anyone... POLICE COMMISSIONER (O.S.) Ari Lustig a suspect, Detective?
* *
KILLIAN
No sir.
POLICE COMMISSIONER (O.S.) Then sounds like maybe you can wrap things up - am I right? KILLIAN Yes sir. LUSTIG Thank you, John. POLICE COMMISSIONER (O.S.) Talk soon.
The Police Commissioner ends the call -- MORALES
If you’re lying, it’s not gonna matter who you can get on the phone.
Morales and Killian exit.
FADE TO BLACK.
*
48.
ACT FOUR - DAY TWO
INT. SPORTS BAR OFFICE - AFTERNOON Sitt eating at his desk; Killian enters -- KILLIAN I covered for you when you got jammed up with Immigration...I
* * * * * * * * * * * * * * * * * * * *
covered for you when the Sales Tax Authority was gonna shut you down. Whatever it was, I covered for you.
SITT
I don’t have thirty-grand I can spot you, Tommy. I’m over my head
as it is.
KILLIAN
What about some of the stuff you got hanging on the wall - any of it worth anything? Not that you’d tell
me if it was.
SITT
It’s decor - how much could it be
worth?
KILLIAN
(points to bat)
What’s the bat?
INT. NYPD GARAGE - AFTERNOON McKay’s van on a lift. POLICE MECHANICS drain and remove the gas tank as we hear in VOICEOVER -- DIDIER (V.O)
I work in a diamond mine in Cote d’Ivoire. One day we find blue diamonds. My boss introduce me to Miss Sykes who want me to take it to New York. She pay me one- thousand-five-hundred, another one- thousand-five-hundred when I deliver. KILLIAN (V.O.) How’d you get it past Customs? DIDIER (V.O.) I swallow.
* *
*
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