* **_TABLE OF CONTENTS**_*
1. CAUGHT IN THE MIX
2. THE FLAME THAT STILL BURNS
3. HE'S BACK
4. PEAKS AND VALLEYS
> “CAUGHT IN THE MIX”
INT. BURGESSON THEATRE - MORNING
BEFORE SUNLIGHT: Sterling eases the heavy door open, revealing Luna beside him. The vast main hallway of Burgesson Theatre looms in absolute darkness.
LUNA STARLIGHT
Can you see anything? The switch, maybe?
Sterling runs his fingers along the textured wall until he locates a cold metal box. With a subtle twist and pull, the hatch creaks open. BAM! A sudden shuttering sound resonates, and a modest row of lights flicker to life atop them.
LUNA STARLIGHT (CONT'D)
There we go. Where do we go first? The dressing room?
STERLING SMITH
Yes, but not the main one. Do you remember Christian Hamilton?
Luna's eyes widen in recognition.
LUNA STARLIGHT
Hamilton? Of course I remember Hamilton. I worked with him quite a few time. Great theatre actor.
(realizing)
Oh, we're going to his dressing room.
STERLING SMITH
Exactly. He was given a custom room via his request and I think there might be something there we can use.
DOOR CREAKS OPEN: They step into a dim, dusty dressing room. Sterling aims a flashlight at the mirror, revealing a scene frozen in time.
LUNA STARLIGHT
You think Hamilton is in on the case? Why?
Sterling reaches for the light switch, finding it useless.
STERLING SMITH
No lights?
(beat)
Hamilton was a big suspect in the crime when the police ran an investigation. The biggest reason being his disappearance. Testimonies suggested that he left the theatre shortly after his last act.
Luna recalls a vivid image of Christian Hamilton: a tall, fair main with majestic blond hair and a pristine collection of jewels on his wrist, walking into the backstage, waving a small smile, with a faint smirk towards Luna. Sterling and Luna search the room more methodically.
LUNA STARLIGHT (VOICE OVER)
I think I remember that actually. Hamilton was set to play the lead role, but he was replaced when Shiva rolled around. Instead, he played a smaller role.
Luna stops at the desk, her hands disturbing the layers of dust. She rubs it between her fingers until it becomes a fine powder.
LUNA STARLIGHT (VOICE OVER)
His role ended quite early on into the play. I remember watching him leave maybe on the second to last act. He had this hideous smirk on his face. It was strange, but I didn't question it.
Sterling fiddles around with the wall until he encounters a portion that wobbles back and forth. Luna makes notice of the sound.
STERLING SMITH
A little help with this?
Luna assists Sterling in removing a thin sheet of wood, revealing a gaping hole in the wall. It was perfectly cut, too deliberate to be smashed through.
LUNA STARLIGHT
I remember now. Hamilton was never there when he about to do the last act. The director told me that he had an urgent family issue and had to leave.
STERLING SMITH
There's the problem. Christian Hamilton isn't married to anybody and all of his relatives live in the UK. If it was a family issue, it would have to really serious.
LUNA STARLIGHT
So, he left on purpose... And he used this door to escape. Quite clever. A fake door in your own personal dressing room, a request you made to the staff.
Sterling shakes his head, going through the "tunnel" and opening the real door. The faint sound of passing cars seeps in.
STERLING SMITH
Good guess. However, this was his entry, not exit. Someone should have definitely have seen him if he left backstage.
(MORE)
STERLING SMITH (CONT'D)
My suspicion is that this was the route Hamilton used to sneak in the weapon. At the time, there were countless metal detectors running through this place.
LUNA STARLIGHT
Entry? Weapon? Are you saying Hamilton ordered to kill Shiva-
STERLING SMITH
No. I'm saying he was involved in it. Whether or not he was jealous enough of Shiva to kill him is a different situation. Regardless, there's no way to catch him anymore. No one's talked to him since...
(pause)
Let's keep moving. Do you remember the way to the main dressing room?
LUNA STARLIGHT
I should.
COMMON DRESSING ROOM: The dressing room presents itself as a meticulously arranged museum, bathed in perfect lighting. Replicas of coats and dresses dangle from the coat rack, echoing the fashions of a bygone era. FOCUS on Luna's fake white dress. This time, we know definitely it's a replica.
STERLING SMITH
God, it really is a museum.
LUNA STARLIGHT
I know. It's exactly how it was 12 years ago. Except less crowded, I guess. What did you want here?
STERLING SMITH
Just wanted a look. There might be more entrances to this place similar to Hamilton. But I guess it's not a problem for this room.
(MORE)
STERLING SMITH (CONT'D)
If there were multiple people going in out, sneaking in just wouldn't be feasible. Let's leave.
Luna, curious, takes a seat, facing the mirror.
LUNA STARLIGHT
Sterling, I've been to ask you. Why are you so fascinated with this case?
Sterling turns around.
STERLING SMITH
You're not?
LUNA STARLIGHT
I am, but every time I think about it, I could ever find a way to prove anything else happened. I was always scared to go back to Burgesson.
STERLING SMITH
That is an issue, yes, but you needed to face your past, Luna. Apart from me, your the only other live witness I know. And you know the story better than anyone. So, I needed your help to confirm what I thought.
Luna blinks in surprise.
LUNA STARLIGHT
You were there? At the show?
Sterling looks at the ground and taps his foot.
STERLING SMITH
I was. I was very little when it happened, but I saw everything unfold in front of me.
LUNA STARLIGHT
Were you scared?
STERLING SMITH
Very. That was the first time I heard real gunshots. Someone died in front of my eyes. For days, I was scared sick. I wouldn't leave my room, eat food, or go anywhere. But that didn't kill me as much as regret did.
LUNA STARLIGHT
What regret?
Sterling takes a seat. Luna has never seen Sterling so mogged down before so she leans closer by surprise.
STERLING SMITH
I was a big theatre kid. I loved plays and shows so much. In fact, that's what I wanted to be when I grew up. This detective stuff didn't come until later.
(beat)
At the time, my favorite actor in the world was Christian Hamilton. I had watched every single one of his plays and memorized them to heart, so when I heard he was going to be “Murder In The Air,” I had to go.
POV -- KID STERLING We stroll back through kid Sterling's memories, walking upon the glorious red carpet, surrounded by pristine men and women all around -- a glorious smile plastered around his face. The theatre emerges as a grand spectacle through the eyes of young Sterling. The theatre lobby is adorned with crystal chandeliers that dangle like shimmering stars. The soft glow of ambient lights illuminates the intricate details of golden-framed mirrors. CLOSE on Christian Hamilton,a charismatic figure engaged in conversation with someone unseen. A heavy smirk graces his face.
STERLING SMITH (VOICE OVER)
When I got to front of the theatre, I got a chance to meet him.
(MORE)
STERLING SMITH (CONT'D)
I immediately ran towards him, thinking of all the questions I could ask him, but then...
(choking with regret)
I saw what appeared to be a revolver in his hand. He handed it over to another guy and then left.
RETURN BACK: The grandeur of the theatre lobby fades, replaced by the present reality of Sterling, his fingers clenched and forehead resting atop his hands.
STERLING SMITH (CONT'D)
Later that night, the guy who shot Shiva was confirmed to have done with a revolver, the same one that Hamilton had. I could have prevented it. I...
LUNA STARLIGHT
You were a kid. You were scared. You don't have to lam-
STERLING SMITH
No, no, you don't understand!
Sterling voice overpowers Luna, breaking down hysterically. It sounds like he's sobbing, but no tears come out.
STERLING SMITH (CONT'D)
My dad was still the Chief at the time! I could've told him. I could've told anyone. For God's sake, there was a million cops I could've called. I killed him! It's my fault he's dead!
Luna softly hugs Sterling.
LUNA STARLIGHT
The moment we start asking kids to fight justice is the moment we've lost it as a society. It's not your fault, Sterling. I blamed myself every day since his death, but that got me nowhere.
Sterling slowly lifts his head up.
LUNA STARLIGHT (CONT'D)
You know, someone told me what our lives are like canvases. Some our soaked in mistakes and blood, but that's only a part our lives -- our past. We still have so much more to add to that canvas to make it beautiful. And I think you've already done that.
STERLING SMITH
(a smile cracking through)
Did Indra tell you that?
LUNA STARLIGHT
Yes, but that's not important. I mean, who's done more work on this case than anyone on the force? Even if it is your fault, you're making a step to fix it.
(beat)
Come on now. Otherwise we'll be late to work.
MAIN THEATRE: Sterling and Luna climb the steps to enter center stage. The wood beneath then creaks as they make their way towards the curtain. The reach behind it and make it backstage. It's darkly light, but thanks to Lance's handy-dandy torch, they make their way through the back.
STERLING SMITH
If I'm correct, Hamilton left through the right side of backstage.
LUNA STARLIGHT
That's the last place I saw him. After that, I was on stage. There's a possibility, if he did escape, it's towards the back. I remember Elaina telling me Hamilton was doing something weird back then.
STERLING SMITH
Weird? Like what?
LUNA STARLIGHT
I don't know. Some strange noise came from there, but no one bothered to look. They were all too busy with their parts.
Sterling's hand reaches out towards the back wall, now obscured by large sacks of sand and towering brown boxes.
STERLING SMITH
Well, this is the end of the tunnel. Help me move this stuff.
After concentrated effort, Sterling and Luna shift the heavy sacks, revealing the obscured back wall. A gap starts to unveil itself, and as the last sack is thrown away: A 8-foot-gap, as if someone had crashed a truck through it, and left it there. Early sunlight streams into the room and brightens the scene.
LUNA STARLIGHT
You've got to be kidding me. How do people see a giant hole sitting here?
STERLING SMITH
It's on the back side. There's nothing behind the theatre anyway. This is most likely the escape route Hamilton used. He probably only moved a few boxes and then ran out from here. Then, he never showed himself again.
LUNA STARLIGHT
Don't you think someone would've saw him?
STERLING SMITH
Like you said, people were too worried about themselves. That was the biggest problem with this theater. It was a closed-off world filled with top class people. They couldn't be bothered with the problems of others as long as they benefited from it.
Sterling analyzes the gap closely.
STERLING SMITH (CONT'D)
This wall... I don't think was approved.
LUNA STARLIGHT
What makes you think that? Maybe the fact it looks like a plane crashed through it.
STERLING SMITH
Yes, this one though looks like if a plane crashed. The other door we saw in Hamilton's room... It was cut too perfectly to be made by Hamilton himself. Someone must have customized for him.
LUNA STARLIGHT
Theo Burgesson was the owner at the time, right?
STERLING SMITH
He was an honest worker, grew up in the working class. But he was also easily manipulated by the orders of others. I have feeling that the door in Hamilton's room was approved by Burgesson, but this hole was too much of a hazard to be okay-ed. Most likely, someone tore down the walls here and covered it up.
Sterling captures a quick photograph of the scene. Luna looks at it in disbelief.
STERLING SMITH (CONT'D)
Alright, let's head back to the station.
> “THE FLAME THAT STILL BURNS”
INT. TAMPA VALLEY POLICE MAIN STATION - DAY
The fluorescent lights overhead buzz with a sterile glow. A hectic day at work -- Papers shuffle, phones ring, and the distant echo of radios. Sterling is stuck playing UNO with Luna and Vanessa by the front desk. He glances at the cards in his hand with a sigh. He's clearly LOSING. Luna slaps a BLUE +2 down on the table and Vanessa tops that with an another +2 of her own. The cards pile up in front of Sterling, who can't catch a break.
LUNA STARLIGHT
(in a mocking manner)
Two plus twos. Not a luck day for, Mr. Sterling.
Sterling begrudgingly collects the cards. Luna confidently drops a blue 4 on the growing deck.
STERLING SMITH
Why are we playing this anyway?
LUNA STARLIGHT
We're stuck here until Lance calls the shots. And you said no one moves until then. So, UNO it is. Oh, and pick up another plus two.
STERLING SMITH
(grumbling)
Screw you.
Luna smirks as she shuffles her deck of plus twos and fours in hand.
LUNA STARLIGHT
I didn't pick your deck. Chance did.
STERLING SMITH
Then screw chance. How the hell are you two not out of plus two's?
Luna shrugs with a sly grin.
LUNA STARLIGHT
Luck, I guess.
CUT TO a backview of Luna, her arms crossed, an array of plus twos and fours shuffled in her hand.
STERLING SMITH
Sure. Vanessa, make a move.
As the game continues, Vanessa, a picture of concentration, contemplates her next move.
VANESSA DARTH
I'm trying, but I don't whether to change the color or... You know what, I'll just drop am plus two.
STERLING SMITH
(agitated)
Another one? I'm being hacked. There's no other explanation. God just hates me.
Sterling reluctantly picks up more cards. Luna, curious of the men passing by, looks around the office.
LUNA STARLIGHT
Have any of you seen Indra? I didn't see him this morning.
VANESSA DARTH
(indicating towards the door)
Indra is on patrol. He wanted to check out the event on the West Side of town. It's a Japanese festival.
STERLING SMITH
I've never understood that. Why do different sides of town celebrate different events? It's the same city, for crying out loud.
LUNA STARLIGHT
Maybe you just don't understand culture.
STERLING SMITH
I dare you to lecture me on culture.
LUNA STARLIGHT
What culture do you even have? Senior citizen?
FADE TO:
EXT. WEST SIDE TAMPA VALLEY - DAY
A beautiful festival heating up -- children and couples and families alike enter the breathtaking spectacles. The streets are alive with the sounds of joy. Food stalls are set up across the street; the visible smoke of fresh food flow through the air. Banners and posters line the scene with Japanese embroidery and culture. ENTER Indra, curiously looking around, a bit out of place in his detective outfit. A curious stall worker takes his attention.
STALL WORKER
Excuse me, sir. Do you happen to work for the police?
INDRA SUZUKI
Yes, I do. Detective Indra Suzuki.
The worker is a charismatic and vocal person. He continues the conversation with a broad grin.
STALL WORKER
Suzuki? You must be from the Kumano region?
INDRA SUZUKI
Actually, I grew up in Tampa Valley and I've never been to Japan before. So I don't know. Maybe my parents were from there.
STALL WORKER
It's alright, kid. I'm also born here. But trust me, you have to visit Japan at some point. The most beautiful place you'll ever go to.
(beat)
Anyway, would you like to try some Japanese sweets?
INDRA SUZUKI
Sure. What is it?
The worker hands Indra five dumplings stuck onto a skewer, served on a plastic tray. A sweet, vibrant sauce drips from over the skewer.
STALL WORKER
It's Dango. A type of dumpling. It's sweet. That brown stuff is syrup made from soy sauce, starch, and sugar. Go on. It's really good.
Indra reaches for his wallet.
STALL WORKER (CONT'D)
Oh, no, no, officer. There's need to pay.
INDRA SUZUKI
But you're giving me food. I'll play for it. How much is it?
STALL WORKER
No, it's alright. It's on the house. Think of a gift of gratitude for all the hard work you do.
A smile goes across Indra's face as he takes the Dango.
INDRA SUZUKI
Thank you.
(takes a bite)
Wow. It is pretty good.
(swallows, beat)
Can I ask you a question? I'm sort of new to this whole festival. Where should I go?
STALL WORKER
Well, there's a firecracker shop down that corner. Every year that place is booming. I would recommend that.
INDRA SUZUKI
Fireworks? Thanks.
Indra waves the worker goodbye and, when the worker is not looking, drops a 20 dollar bill onto the counter. The worker turns around and...
STALL WORKER
Wait. Sir! You forgot your money!
But Indra's already gone. The worker looks down at the green bill and smiles.
STALL WORKER (CONT'D)
$20? That dish was only worth seven.
FOLLOW Indra roaming through town. Every corner of the street is packed. Indra squeezes through the crowd the best he could. He finds the fireworks shop. A short, young woman walks up to him.
AKANE SUZUKI
Excuse me, officer.
Indra turns around to find the woman; she is short and fair. He skin glows radiantly and her hair is parted into bangs. She wears a red kimono with a yellow ribbon around the back. But her appearance is disguised by anguish. She is also out of breath, and exhausted.
AKANE SUZUKI (CONT'D)
You are an officer correct?
INDRA SUZUKI
Yes, I am. Wow. Asked that twice in one day. What do you need?
AMAYA SUZUKI
Please, I need help. I was going through this crowd and I lost my two kids. Please, can you help me find them?
A horror paints over Indra's face.
INDRA SUZUKI
Can you describe them for me?
AKANE SUZUKI
One girl. One boy. The girl is the older one. She's about eight. And boy is around six. Please... Here I have a picture of them.
Akane shows her the picture of the two on her phone. It is a recent picture, most likely taken right before the festival, as the two children are in the exact yukatas the woman described. Indra analyzes the photo closely.
INDRA SUZUKI
Do you remember where you last saw them?
AKANE SUZUKI
It was that way. I remember I got them some teriyaki squid. I didn't see them after that. Please, I can't lose them... There so young-
INDRA SUZUKI
It's okay, miss. I'll find them and bring them home safe. Promise.
AKANE SUZUKI
Thank you.
He opens his phone to the contacts page.
INDRA SUZUKI
Can I have your contact. I'll call you when I find them?
AKANE SUZUKI
Of course.
Akane begins dialing the number on Indra's phone. Indra stares at the contact.
INDRA SUZUKI
Akane Suzuki? Are you from the Kumano region?
AKANE SUZUKI
Yes. How did you know?
INDRA SUZUKI
Can't take the credit for it. Some guy said the same thing about my name. Detective Indra Suzuki.
Indra brings his out and Akane shakes it.
AKANE SUZUKI
It is a popular surname, after all. Very common in Japan.
INDRA SUZUKI
Well then. Shall we start looking?
Indra races around the crowded city, asking, no begging for more answers. He asks everyone -- street vendors, pedestrians, other officers on duty. SEQUENTIAL CUTS of Indra, in desperation, questioning civilians about the missing kids. A sense of worry overtakes Indra; maybe from fear, maybe from regret.
INDRA SUZUKI (CONT'D)
Please, sir, have you seen these two kids? || Mam, just a moment of your time. Have you seen these two anywhere? || Sir, please. I'm looking for two lost children that look this. Have you seen them?
SEQUENTIAL RESPONSES of confusion and rejection.
MALE CIVILIAN
No, sorry.
FEMALE WORKER
Never seen them, sorry.
PEDESTRIAN
No idea. Sorry.
Indra stands in the middle of a heavy intersection, defeat. He taps his foot, thinking of possibilities. Finally, he dials a number. Akane picks up:
AKANE SUZUKI
Hello? Mr. Suzuki, did you find anything?
INDRA SUZUKI
Not yet. Could I some information about your kids? Maybe what they like. The places you think they might go, where are those?
AKANE SUZUKI
They're little children; they like sweets. I always get Dango when I come home from work.
INDRA SUZUKI
Dango?
He turns back to the Dango Stall -- the workers hands a family a handful of dangos in a tray. Indra steps to the front of the line.
STALL WORKER
Hey, it's detective. Indra, was it?
INDRA SUZUKI
Yes. Listen, I need help with something. I'm looking for two lost kids. They look this. Have you seen them? Maybe they came up to ask for some sweets?
The worker looks at the photo:
STALL WORKER
Yeah, I did. I saw them go down there.
INDRA SUZUKI
Down the park, right?
STALL WORKER
Yeah. I think they might somewhere towards the right side or something.
INDRA SUZUKI
Thank you. Your a lifesaver. Literally.
Indra squeezes through to make it a spacious park. It's more quiet and empty. Apart from the ruckus of the noise from behind, you can hear the wind blowing. Indra moves forward, keeping his eyes and ears open. He hears a sound: muffled crying. It's coming from near a bush. Closer, no, it's a bench. There's a small boy, cuddled up, crying into his knees on the cold metal bench.
INDRA SUZUKI (CONT'D)
Hey, what's wrong? Are you okay?
The boy keeps crying. Indra puts a hand on his shoulder.
INDRA SUZUKI (CONT'D)
Hey, look at me. What's wrong?
The boy lifts his head up to reveal a sniffled face. Tears running through his reddened cheeks.
LOST BOY
I lost mommy... And big sis.
INDRA SUZUKI
You lost them? When did you lose them?
LOST BOY
I don't remember. I was with sis... And then I lost sis, too.
INDRA SUZUKI
Don't worry. It's going to be okay. I know where your mom is. I'm a cop. Look.
Indra shows in the golden emblem on his coat. It's a shiny badge with bright red flames around the side. The words TVPD are stitched onto the top.
INDRA SUZUKI (CONT'D)
I'm here looking for you. We're going to find your sister and get you home.
LOST BOY
I'm scared. I've never been without my sister before. I can't do anything without her.
Indra gets closer to the boy and smiles.
INDRA SUZUKI
I know how you must feel. I've been like you before.
LOST BOY
Were you scared?
INDRA SUZUKI
Very. I had an older sister that I loved. I bet she was like your sister, too. Always taking care of us, making sure we're happy. And then, like you, came a day where I had be without my sister for the first time. I was so scared... I couldn't sleep for days. I thought, I should quit. I couldn't anything without my sister.
(MORE)
INDRA SUZUKI (CONT'D)
I even thought she would never come back... And I'd be alone forever.
A great pain controls Indra. He looks at the dim, hollow strips of metal that make up the bench.
LOST BOY
Then what?
A soft smile.
INDRA SUZUKI
Then, I remembered all the things my sister had done. I thought about what my sister would've done. What she would've wanted me to do. I'm sure your sister wouldn't want you to cry to yourself. She want you to be strong and brave, and go out do something.
LOST BOY
But I'm just a kid.
INDRA SUZUKI
And so is she. Sometimes we forget our siblings are like us. She's brave for you, so you have to brave for you. Alright?
LOST BOY
Where's your sister now?
Indra hesitates. There was something immediate he wanted to say, but he recalculates it in his head.
INDRA SUZUKI
She's... In a wonderful place now. Where there's trees made of gold, rivers made of sweet honey. There's not darkness, nor fear there. Just happiness. A place where anything you can get anything you want.
LOST BOY
Even unlimited candy?
INDRA SUZUKI
Even unlimited candy.
The boy's face lights and he jumps up on the bench.
LOST BOY
That places sounds amazing! I want to go where you sister went.
Indra quickly pulls the boy down.
INDRA SUZUKI
Hold on a second. You can't just go to that place. First, you have complete life. You have go through it being brave, kind, and honest. You have learn from your mistakes and you have others learn from theirs. Then, you can go that place. Okay? Promise me. You'll go though all of life first?
LOST BOY
Yes.
INDRA SUZUKI
No shortcuts?
LOST BOY
Yes. Then, I can get unlimited candy.
INDRA SUZUKI
Yes. Then you can get anything you want.
(beat)
Come on, let's get you home. I think you mom might have found your sister.
CUT TO Indra, at the the fair, talking with Akane Suzuki. Behind her, the lost boy from before and his older sister, a gleeful expression on their face. Akane bows to Indra.
AKANE SUZUKI
Thank so much for finding my son. It means so much.
INDRA SUZUKI
That's alright, miss. I'm a cop. It's kind of my job to do this.
(MORE)
INDRA SUZUKI (CONT'D)
Just make sure to hold on to them next time.
AKANE SUZUKI
Yes, of course. Akira, what do you say?
The boy runs to Indra and bows down.
AKIRA SUZUKI
Thank you for helping me, mister detective.
INDRA SUZUKI
Don't sweat it, kid. You remember what I said though?
AKIRA SUZUKI
All of life first.
INDRA SUZUKI
Good. No shortcuts. Well then, I'll be seeing you later. Enjoy the rest of your day.
AKANE SUZUKI
Thank you.
As the loving family walks off, CLOSE on Indra's face, sweating with guilt and regret. A deep, heavy pain in the heart.
INDRA SUZUKI
(voice breaking)
I didn't have the heart to tell them... I didn't have the heart tell him that my sister... She's dead. That an office fire took her life. That the place I told him... Was Heaven. I didn't have the heart to tell him... That the nights I was alone, I thought about killing myself. Just ending it all. Am I that stupid of a person... That I have to lie to a kid?
Indra stands by himself in the somber wind. A dark show casts over himself, forming into the shape of his former self.
INDRA SUZUKI (CONT'D)
I hate myself.
> “HE'S BACK”
INT. TAMPA VALLEY POLICE MAIN STATION - DAY
Continue the hectic day -- Indra walks into the station.
STERLING SMITH
Where the hell have you been?
INDRA SUZUKI
I thought Vanessa told you. I was at the festival.
STERLING SMITH
For three hours? I had delay all my plans because of you.
INDRA SUZUKI
I was helping a mother find her lost children. I'm sorry it took me three hours.
Sterling takes a deep sigh...
STERLING SMITH
Did the woman find her children?
INDRA SUZUKI
Yes. They're safe now.
STERLING SMITH
Good. That's very good. Are you ready?
INDRA SUZUKI
Yes.
Indra nods his head. Sterling turns to Luna.
STERLING SMITH
Luna. Get ready and start car. You're patrolling the theatre.
Luna waves the keys around.
LUNA STARLIGHT
Do you think he's going to even be at the theatre?
STERLING SMITH
You never know. You still remember the route?
LUNA STARLIGHT
With my heart.
STERLING SMITH
Alright. Then Indra, you will come with me to the hotel. Make sure you have your gun with you.
Lance bursts into the station.
LANCE STARR
Big issue. Burgesson is not at his hotel.
STERLING SMITH
What? How?
LANCE STARR
Don't know. He might have figured we're arresting him. I talked to some people and they saw him enter the theatre.
STERLING SMITH
Did you follow him?
Lance shakes his head.
LANCE STARR
It's locked. We'll have to force it open.
STERLING SMITH
No. There's a way. You help Luna patrol the theatre. Indra, your with me. Everyone needs to stick with their roles. If Burgesson makes a run for it, all forces need to focus on putting him in cuffs at all cost. Understood.
ALL THREE
Understood!
INT. EXT. BURGESSON THEATER - DAY
A quiet street. Two police cars dart around the theatre, their sirens turned off. They patrol in opposite directions, both eventually circling back around to the front of the theatre. ZOOM IN on Indra and sterling arriving at the entrance.
INDRA SUZUKI
Lance said the front door was locked. How are we going to get in? Should we at least try the the front door again? Maybe he opened in by accident.
STERLING SMITH
No, that would be foolish. Burgesson would definitely hear that. We're going in through the back.
Sterling cocks a 9MM service pistol. He looks at Indra.
INDRA SUZUKI
Do we have to use our guns?
STERLING SMITH
I wouldn't rule it off. Never do that. There are some people who won't hesitate to kill you and when that time comes, you can't play the pacifist.
INDRA SUZUKI
Alright. We're we going?
Indra copies Sterling, reluctantly, and holds his pistol by his hip.
STERLING SMITH
Through the back.
BACK OF THEATRE: BOXES MOVE SIDE, bringing in light. FIND Sterling and Indra squeezing through the gaping hole.
INDRA SUZUKI
Was there-
Sterling quickly shushes him. WHISPER FROM STERLING AND INDRA HERE ON OUT:
STERLING SMITH
Quiet. You hear that?
The voice of someone talking, similar to Burgesson, can he hear in the backdrop. Indra slowly nods his head.
STERLING SMITH (CONT'D)
Good. Let's move.
The duo steps inside the theatre. Burgesson's voice still echoes in the background, growing louder as they approach the main stage. Small creaks emerge from the floorboard, but they're underpowered in comparison to Burgesson's frustation:
VAN BURGESSON
What part about backup do you not understand? The plan is toast! Okay, it's like the Titanic. Except we're all drowning in oil with a guy holding a match above out heads.
Sterling and Indra hurried around the corner; their eyes locked onto Burgesson. Sterling peeks around the corner and spots Burgesson, standing center stage, on the phone with someone.
VAN BURGESSON (CONT'D)
The hell you mean I'll get it in three days? I don't have three days. The police are knocking on my door and and I've already pulled ever excuse.
STERLING SMITH
(re; Indra)
Record this.
Indra pulls out his phone and presses record.
VAN BURGESSON
No. It's not me. It's the new guy. He's over here busting my balls.
STERLING SMITH
New guy?
VAN BURGESSON
Every plan I have-He's screwing with me. That's what he's doing. I thought you said he was supposed to be of help. Oh. Screw you. Don't give me that BS.-What the hell?
THAWCK! Indra's phone drops on the hardwood floor. Van takes immediate notice, his hand reaching for his gun.
VAN BURGESSON (CONT'D)
Hey, I'll call you back. Don't go on MIA on me.
Burgesson hangs up and points his gun forward. He inches towards the curtains.
VAN BURGESSON (CONT'D)
Who's there?
No response. Sterling looks at Indra. CUT BACK TO VAN.
VAN BURGESSON (CONT'D)
Look. I've had a long day ahead of me, so if you just be nice and come out, maybe I'll think twice about letting it rip.
Sterling watches Burgesson's shadows get closer. He puts his hand on the trigger and... BAM! The bullet just grazes Burgesson, but the sudden shot causes him to drop the gun and hit the floor. He desperately reaches for the gun, but Sterling's foot stands in the way. He points the gun to Burgesson's head.
STERLING SMITH
You don't how long I've waited for this.
Burgesson tries backing up, but hits a hall. He even-
STERLING SMITH (CONT'D)
Don't try running at all. You see him. You've met him before. And he doesn't like you.
(MORE)
STERLING SMITH (CONT'D)
So, if you try anything stupid, I might show you mercy, but he won't hesitate to “let it rip.”
VAN BURGESSON
What do you want?
STERLING SMITH
What do I want? Answers. I want some fucking answers. Who's the guy you're calling?
VAN BURGESSON
You wanna know. Here. Look through my phone.
Sterling takes the phone off Burgesson and dials the most recent contact.
VOICEMAIL
Sorry, the person your calling is no longer available. Sorry, the person your calin-
Sterling throws the phone.
STERLING SMITH
Impossible. You were just calling him a second ago.
VAN BURGESSON
He changes his number every phone call. Once you hang up, you have go through a whole rollercoaste to talk to him again. Untraceable.
STERLING SMITH
Name. Now.
VAN BURGESSON
I can't you tell you that. I don't know the name.
Sterling lunges at Burgesson, grabs him by the collar, and touches the tip of his pistol to his head. He digs it in with great force. His voice has a deep inflection, with intense venom, as if a darker symbiote was fueling off his breeding anger.
STERLING SMITH
Don't play stupid games with me, Burgesson. Tell me the name of the guy you were calling or I'll stick nine millimeters of metal through your skull.
Van Burgesson chuckles maniacally.
VAN BURGESSON
I can't! I physically can't! I don't know the guy. No one knows the guy!
Indra, his gun pointed, cautions Sterling.
INDRA SUZUKI
I don't think he's lying, Sterling. If his boss takes the effort to change numbers every call, he can definitely keep his identity hidden.
STERLING SMITH
What kind of guy works for a person he doesn't even know?
Sterling hurls Burgesson against the wall, leaving him crumpled at its base.
VAN BURGESSON
Oh... Power and fear are a great influence. But money is even greater. You don't understand what money can do. It separates people, keeping them in their own isolated word. People with it can do anything they please.
STERLING SMITH
So, it's for money? All this... This stupid show you're running! It's all for money? Hell, how much you making? A million? Two million a year?
VAN BURGESSON
Far more.
STERLING SMITH
Then give me a good reason why I shouldn't blow your every cell of brain off.
A cold glint enters Burgesson's eyes, followed by a slow, unsettling smile.
VAN BURGESSON
Because I have connections... Who are willing to kill to survive!
POP! A bullet zips through the air like Max Verstappen, but like Ferrari fails to complete it's mission.
STERLING SMITH
Indra! Watch my back, will ya?
INDRA SUZUKI
I swear to God he just showed up. Turned the corner and everything.
STERLING SMITH
You deal with him. I stay with Burgesson.
VAN BURGESSON
Like me that much.
STERLING SMITH
Yes. Let's so how much you cover for your friends when you're missing an arm.
Indra points his pistol towards the figure cloaked in midnight black from head to two -- a complete dissapearance into darkness. The two begin exchanging bullets, but never quite hitting one another (Stromtrooper aim). The figure turns the corner, running to safety. Indra follows -- the two exchanges gun shots one after the another. Indra, take the cover of the wall. He dials a number, the gun in his other hand.
INDRA SUZUKI
Come on, Lance. Pick up.
ZIP! Another flies through.
INDRA SUZUKI (CONT'D)
Listen, can you just make this easier for me and quit.
The figure runs another corner, this one leading into pitch blackness that disguises him.
INDRA SUZUKI (CONT'D)
Or run away. Sure, make me go to hell to find you.
Indra approaches the corner and points his gun forward.
INDRA SUZUKI (CONT'D)
I'm sure we both have long days, so let's just end peacefully. No one gets hurt.
MYSTERIOUS FIGURE
Oh, really?
The mysterious figure has a gun pointed to Indra's back. How did he get there? BACK WITH BURGESSON running on fours, back against the wall. He winces as the blood trickles down his face, his hand instinctively reaching up to touch the wound. Sterling marches up to him.
VAN BURGESSON
I'm telling you. I won't say a word! I don't know anything about anyone!
Sterling knees Burgesson in the face, definitely misaligning many teeth.
STERLING SMITH
For three years I've worked on this case. You know damn well, I won't stop without some answers. It doesn't matter if I have to go hell and back, tumble Mount Everest, or collapse the sun. If doesn't matter if you die and reincarnate over and over again. I will keep backing for answers. I will haunt you until there's nothing left in your head that I don't know.
Burgesson's crooked fingers make a gesture. His voice croaks.
VAN BURGESSON
Be-
(coughs)
Behind you.
Indra walks into the theatre, arms in the air, with the mysterious figure holding a gun to his head. Sterling leaves Burgesson and strolls to the ledge.
MYSTERIOUS FIGURE
You gave him quite a beating.
The figure's speech was tinged with a hint of Britishness, barely noticeable but unmistakable to the keen ear.
STERLING SMITH
Let the kid go. I ran this investigation. He doesn't have to hurt.
MYSTERIOUS FIGURE
Not leaving without my... Partner, I guess.
Sterling lunges back to Burgesson and drags him across the stage. He frames him towards the figure which illuminates all his gruesome injuries.
STERLING SMITH
Let's make this simple. I give your guy, you give me mine. Fair.
MYSTERIOUS FIGURE
Fair? You beat him worse than any red I've seen. I think I should take this kid's arm off or something. What do you think, kid?
STERLING SMITH
This is ridiculous. Indra, kick him in the balls.
Reacting, Indra flicks his heel back and there goes the future generation of kid. The mysterious figure lunges backwards, knowing sure well that his kids will be born with 17 legs.
MYSTERIOUS FIGURE
You son of...
He groans.
INDRA SUZUKI
That surprisingly effective.
STERLING SMITH
You're a grown man. How do you not know that?
Sterling tosses Indra a .45 ACP pistol.
STERLING SMITH (CONT'D)
If he shoots again, hold him down.
But the mysterious figure didn't shoot. Instead, he RAN AWAY.
INDRA SUZUKI
Ah crap. He's going to the front exit!
STERLING SMITH
Then chase him.
Both Sterling and Indra chase after the figure. Indra shoots a bullet, but the figure slams the door shut in time. The bullet goes through the wood, but never reaches him. But on the other side - BANG! A body drops. Door opens to reveal Lance Start, standing above the fallen body.
STERLING SMITH (CONT'D)
Lance? What are you doing here? You're supposed to be outside patrolling with Luna.
LANCE STARR
Indra texted me. Said he needed a hand.
STERLING SMITH
That... That was a good decision. You saved us some trouble, Lance. How'd you get in?
LANCE STARR
The same way he tried to get out.
INDRA SUZUKI
Speaking of which, is he dead?
LANCE STARR
He shouldn't be. I only shot him in the foot. Worst case, he won't walk for a while... Oh, I also kicked him in the head so he would shut up.
STERLING SMITH
That's manageable. Indra, you go round up Burgesson. Make sure he hasn't run away. Doubt he could though.
Indra leaves the scene. Sterling turns the body.
STERLING SMITH (CONT'D)
Time to Scooby-Doo unmask this villain.
LANCE STARR
You want to do the honors?
STERLING SMITH
No, no. You took him down. He's all yours.
Lance kneels besides the body and unwraps the face mask, revealing an all too familiar face to Sterling Smith. Dramatic pause.
STERLING SMITH (CONT'D)
What the fu-
INT. TAMPA VALLEY POLICE MAIN STATION - DAY
CHIEF'S OFFICE: Sterling's face -- annoyed and tired. His eyes dart from side to side like restless butterflies. On the opposite, fuming with disappointment, Colin Smith.
COLIN SMITH
What possibly made you do this? You were supposed to the catch the criminals, not paralyze them!
STERLING SMITH
In my defense, Dad-
COLIN SMITH
Chief.
STERLING SMITH
Right, Chief. Christian Hamilton was running away and we had to stop him.
COLIN SMITH
Then what about Burgesson? He's bleeding from every corner of his body. You wanted to solve Case Shiva, I denied, but I let you do your own thing. But this... This is a step too far.
STERLING SMITH
Sir, please, I am so close.
COLIN SMITH
Close? If this how you're going to get close to solving the case, then forget it. I didn't let you join this agency so you could beat your criminals to death. You're a detective!
Colin Smith checks his watch. He's running late for something.
COLIN SMITH (CONT'D)
Sterling. Chase Shiva is done. You're never allowed to work on it.
STERLING SMITH
What? Wait. No you can't do that.
COLIN SMITH
I can. Responsibility and actions are two the most important things I look for in a person. You showed me you lack both.
Colin Smith reaches for the door. He looks back at Sterling who, in deep frustration, clenches his body and presses against the desk.
COLIN SMITH (CONT'D)
You have this last interrogation and that's it.
(MORE)
COLIN SMITH (CONT'D)
If you pull another stupid stunt again, I'll drop you from the station itself. Meet me in five.
Colin leaves the room. A few moments later, Luna peaks her head in. She's see Sterling anguished by himself and takes a seat next time.
LUNA STARLIGHT
Hey. I'm going to assume that things didn't go well.
Silence.
LUNA STARLIGHT (CONT'D)
Indra told me what happened. Burgesson was talking with someone important, and then Christian Hamilton showed him to help him. It must've hurt... Seeing your favorite actor try to kill you. But we're all-
STERLING SMITH
Luna, please. Hamilton is the least of my concerns.
A shudder runs through Sterling as he takes a deep breath.
STERLING SMITH (CONT'D)
I got dropped from the case. I'm not allowed to work on it anymore.
LUNA STARLIGHT
That sounds more painful.
STERLING SMITH
It is. Do you know how long I've been chasing this case? Three years. For three years, every day, every hour, I've been chasing nothing but more clues. And when I get this close to finding out what happened, it's gone. I give up, Luna. What am I supposed to do?
LUNA STARLIGHT
Look at you, so hypocritical. You always tell me to lift my head up.
(MORE)
LUNA STARLIGHT (CONT'D)
Ignore the past, Luna. You have to face it. Do you ever think about me? For the past week, all I've heard is screaming, telling me how stupid of a job I'm doing. The only person who actually cared was Indra and Vanessa. Do you think about me sometimes, Sterling? I sacrifice myself, through hell and back, to help you! You think I do this fun? That I like putting myself through pain. The case is as about you as it is about me.
Sterling doesn't respond to the question. He doesn't know how to respond.
STERLING SMITH
I thought... If I solve this case -- it's so stupid of me to think this, but -- if I solve this case, it would bring peace to me. That I'll forget the regret and fear I felt that night. It would bring me peace from the death of my mother. I'm sorry, Luna. I didn't think of anybody else.
A small silence ensues.
LUNA STARLIGHT
Your mother died in an accident, right?
Luna finds a portrait resting on the Chief's desk. There's a tall, fair woman, with long black hair and bangs, holding a baby Sterling.
LUNA STARLIGHT (CONT'D)
Is that her? She looks beautiful. I think you got her eyes.
STERLING SMITH
No. My mother had eyes of bliss and joy.
LUNA STARLIGHT
But when you smile, they look exactly like her.
(MORE)
LUNA STARLIGHT (CONT'D)
Kind of like when you have to pick up six plus fours in UNO.
Sterling snorts, eventually growing into laughter.
STERLING SMITH
What? Why did you have to mention that?
Luna snaps a photo of Sterling.
LUNA STARLIGHT
You smiled though. Ohh that's going to be my new profile for you.
(shows him the photo)
See what I mean. When you smile, you look exactly like her. The same bliss and joy of a kid. I make fun of you for being so grumpy at a young age because it's true. There's so much of life left for you. You shouldn't be grieving at this stage.
Sterling stares at the photo until it becomes akin to looking at a mirror. A mirror to one's own past, providing a connection between the age-old innocence of childhood and the wisdom and experience of today.
LUNA STARLIGHT (CONT'D)
Like I told you at the theatre, our lives are canvases. Your's, like mine, may be filled with blood, but that's not to say it's finished. You have new friends, people who care for you, support you, sacrifice for you. I didn't come this far for you to give on this case. No one has ever worked harder to bring justice to my husband than you. So, please. Don't give up.
Sterling stands up, his eyes filled with a newfound determination.
STERLING SMITH
You're right. You're absolutely right! The interview. It's not over.
(MORE)
STERLING SMITH (CONT'D)
I have a chance still to solve this case one and for all. Thank you, Luna. Thank you really!
LUNA STARLIGHT
Wait. Maybe slow down a little and... He's gone.
With a quick first step, Sterling runs out of the office and towards his father.
LUNA STARLIGHT (CONT'D)
Go live the childhood you never had Sterling.
> “PEAKS AND VALLEYS”
INT. INTERROGATION ROOM - DAY
A cold, desolate room with nothing but a wooden table and chairs. Ice cold walls, dusty and cracked, and well-lit, too. Burgesson has a seat in handcuffs. Sterling seat opposite. But this is a different Sterling, calm, collected, calculated.
STERLING SMITH
Before we being this interview, I would like to once again remind you Mr. Burgesson that anything you say can be used against you. Additionally, while your arrest was pushed for under the assumption of embezzlement, you are now being interrogate about recent events that occurred at Burgesson Theatre. Understood?
VAN BURGESSON
For the most part.
Sterling smirks. OUTSIDE THE ROOM: Looking through the window, Lance and the Chief. They watch through their narrows eyes as Sterling conducts the interrogation.
LANCE STARR
Are you sure you want to place them in the same room? You know what happened last time.
COLIN SMITH
Yes, but if there's anything Sterling does right, it's interrogations. He can squeeze water out of stone without showing the slightest bit of emotions.
LANCE STARR
...And?
COLIN SMITH
I believe that there's more to this case than it seems.
LANCE STARR
So, if you share the same belief as your son, why deny the case so many times?
COLIN SMITH
Because his methods are not there. He has the skills and the brains, but he needs to learn the difference between a rogue and a detective.
BACK WITH STERLING: He flips the first page of the document.
STERLING SMITH
Is is true, Mr. Burgesson, that you stole money that was raised by Mr. Starlight and intended for the HSCC?
VAN BURGESSON
Nope.
STERLING SMITH
Starting in denial. I like it. Next question. Were you aware that money had been stolen from the HSCC?
VAN BURGESSON
Not a clue. I don't care what other's make. I just want to make my money and go.
STERLING SMITH
Money has power?
VAN BURGESSON
Tons. But if I want to steal money, I'd go for a bigger target. Something that draws in mass amounts of people.
STERLING SMITH
Such as the theatre. That's perfect. You'll answer the next question. Were you or were you not running a purposeful fictitious re-enactment of the death of Shiva?
Burgesson thinks for a while. He nods his head.
VAN BURGESSON
I was.
STERLING SMITH
Were you aware that Luna Starlight would visit your theatre?
VAN BURGESSON
Definitely. I knew she was going to come eventually. That's why I told you about the re-enactment.
STERLING SMITH
Were you aware the words you said to Miss Starlight were highly disrespectful and offensive?
VAN BURGESSON
Yup.
OUTSIDE THE STATION: The radio team does their best to capture this particular moment in all it's glory. Cameras fixated on Burgesson's heavy smirk.
COLIN SMITH
He's confessing?
LANCE STARR
There's nothing for him to hide. He got caught. There's no going out of this.
COLIN SMITH
Still, should we believe his word? He could be covering for someone.
LANCE STARR
Burgesson doesn't seem like that type of guy. He goes first, then everyone else.
CUT TO SOME TIME LATER:
STERLING SMITH
Mr. Burgesson. During a recent phone call, you mentioned a “new guy” that had joined. Is this correct?
VAN BURGESSON
I did mention him, yes.
STERLING SMITH
And can you tell me about this person? A name, face, perhaps method of contact.
VAN BURGESSON
Oh, I can't a thing about this person. Boss, and yes, boss, loves him too much. He'll kill us if we mention even a hint of his name.
STERLING SMITH
So, you're afraid of death?
VAN BURGESSON
Who isn't?
CUT TO CHRISTIAN HAMILTON: Sterling cracks his knuckles and faces the actor. He has a broad face, cleanly shaven, and pristine golden hair. His right leg is wrapped in bandages and a pair of crutches are lined against the desk.
STERLING SMITH
Mr. Christian Hamilton. It's a pleasure to see you person, but not like this.
CHRISTIAN HAMILTON
I'll take that as a compliment.
STERLING SMITH
My first question to you is simple. Were you involved in death of Shiva Starlight?
CHRISTIAN HAMILTON
I was the biggest part of it. I had the center stage; I was set to be the star of the show. And then, this low-life, good for nothing, scuffed shoes, patchy clothes wearing lunatic shows up and takes my role. Now, if you like to know, my jealousy did not come from his love for Luna, but rather the opposite.
STERLING SMITH
Explain.
CHRISTIAN HAMILTON
Here I am, the most talented actor on stage. Years of experience are at my fingertips. Yet they pick a guy who's never even picked up a play to be the main role. Why? Because he's Luna's husband. That's why.
STERLING SMITH
So, it is jealousy that caused you to kill him? Or more specifically, aid in killing him. Mr. Hamilton, on that night, did you happen to hand Alegerie Ferugsson the very revolver he used to kill Shiva?
CHRISTIAN HAMILTON
I did. And after that, I ran away.
STERLING SMITH
Why is that? Did you feel guilty for what you did
CHRISTIAN HAMILTON
Sort of. A little to say the least. But no, I was too worried I was going to get caught. My life was conflicted at at moment and whether I chose the right decision, I would never know.
STERLING SMITH
Well, then you start by doing something for me. Would you tell me the name of your boss?
CHRISTIAN HAMILTON
I can't do that. Strictly prohibited. But I will tell you something interesting about your force.
STERLING SMITH
My force? You mean the station?
CHRISTIAN HAMILTON
Yes. But first, they have to leave.
Hamilton gestures towards Colin and Lance. Colin looks at Hamilton with devilish eyes.
STERLING SMITH
Please, Chief. And Lance. If you could...
COLIN SMITH
I understand.
CHRISTIAN HAMILTON
And the radio team. They've got to go, too.
STERLING SMITH
Hold on. That's a little too much to ask for.
COLIN SMITH
That's alright, Sterling.
(re; radio team)
Turn that the recording, but leave the camera running. We'll back soon.
Colin and Lance leave the scene. The radio engineer flicks a handful buttons and mutes the recording.
STERLING SMITH
Alright, they've left. Now, tell me. What do I need to know about my force?
CHRISTIAN HAMILTON
Of course. You take great pride in your team, don't you.
STERLING SMITH
They do their best to find justice in a garden that lacks it.
CHRISTIAN HAMILTON
So, you like poems. Good. Then I've got one for you. You might not know this, Sterling, or you might have thought this but never given it your full attention. But somewhere in your station lies a mole, wearing his own skin as a mask. I have a riddle for you. Solve it and you'll find your traitor.
Hamilton leans closer and in a low tone.
CHRISTIAN HAMILTON (CONT'D)
What do you get when you combine a warrior's spirit, a knight's valor, and a shaft of steel?
STERLING SMITH
A warrior. A knight. Steel. You-
CHRISTIAN HAMILTON
Uh-uh. I don't need the answer, I already know. But it seems, in your mind, you already know it.
STERLING SMITH
But I know them. They couldn't possibly be.
CHRISTIAN HAMILTON
You knew me. And look where I turned out.
STERLING SMITH
But that's different.
CHRISTIAN HAMILTON
Is it? Do you really know this person as good as you think you do? What you see and what they think. Are they same?
INT. TAMPA VALLEY POLICE MAIN STATION - DAY
Sterling walks out the interrogation room, a notebook in his hand. Hamilton's words repeat in his head.
LUNA STARLIGHT
How did it go?
STERLING SMITH
Surprisingly well. Burgesson didn't want to say anything, but Hamilton spilled most of the tea.
LUNA STARLIGHT
That's good. So, where you going to go with this lead?
STERLING SMITH
That's tough to tell. On one hand, he might be lying and we're running into another dead end. Worse, a trap. But I'm willing to trust the information. Where's everyone else?
LUNA STARLIGHT
Break. They're at Napoli's. Do you want head out?
STERLING SMITH
Sure, but I have to hand over a couple reports real quick. Get Indra. Ask him to come too.
Vanesa voices breaks through the conversation. She peers ove rthe computer screen, the phone in her hand.
VANESSA DARTH
Hold off that on that thought. We've got a hostage situation down at Tampa VIST.
Steling drops his papers.
STERLING SMITH
Where and how much is he demanding?
VANESSA DARTH
By the Student Services Office. He wants 20 million.
STERLING SMITH
20 million? Is he out of his mind?
VANESSA DARTH
There's nothing we can do. He said he's got over a dozen students hostage.
Sterling holds his face.
STERLING SMITH
Why today of all days? Fine. Tell him we'll get him his money. Luna, head to the bank. My team and Coby's team, head to Tampa VIST! Hurry, get a move on!
Everyone shuffles around, heading to their cars. Indra rushes to Sterling with a choked throat and out of breath.
INDRA SUZUKI
Mr. Sterling. Mr. Sterling. Tampa VIST. I know that place. I went there. If it's the Student Services building, I know a way we can get in. There's two entrances; a student found a couple year ago one of them is always open. We might not have to give him the money.
STERLING SMITH
Are you sure that's the case?
INDRA SUZUKI
Yes.
STERLING SMITH
And you can reach the hostages?
INDRA SUZUKI
Positive, sir. Please, sir. Let me take this one.
Sterling looks around. There's nothing else to do.
STERLING SMITH
Alright. I'm giving you the reigns. Run the show. But if you go dying on me, I swear to God, your grave won't hear the end of it.
INDRA SUZUKI
Yes, sir. Thank you, sir.
COLIN SMITH
Sterling. One second.
Sterling looks at his father, standing outside his office. There's no anger, no frustration on his face. Sterling nods, then turns to Indra.
STERLING SMITH
Uh, yes. Tell Lance you're in charge. He'll round up everybody. I'll be there soon.
INDRA SUZUKI
Yes, sir.
Indra softly bows and leaves the station. Sterling walks over to his father.
STERLING SMITH
What did you want to talk about? Was it what Hamilton said?
COLIN SMITH
No. I'm sure whatever he said was meant for you only. Listen, Sterling... I know I've been harsh on you for the last couple of weeks. I was wrong to say you were wrong. I always suspected that something bigger went on at Burgesson, but when your mother came to me, with you in her arms crying, I was too scared to look into it. You're braver than me, Sterling, and you're smarter, too.
STERLING SMITH
You keep saying I'm the next generation and whatnot.
COLIN SMITH
You are. Which is why I couldn't let you make careless mistakes. I was really tempted to the drop case, but you proved to me you can be trusted. That you are ready and your willing to grow to solve this case. That's why... No matter what happened in the past, go finish this situation and then... I'll officially hand you Case Shiva.
Sterling's eyes lit up. A childish grin formed his face. He can't believe. The culmination of years of dedication has built up to this moment.
STERLING SMITH
You will? Thank you. Thank you, Dad. And... I'm sorry, too. For what I said about being a bad father. I just missed mom so such.
COLIN SMITH
I missed her too.
Colin pats his son on the back.
COLIN SMITH (CONT'D)
Come on now. You're team is waiting for you.
STERLING SMITH
Right.
Colin leaves the scene and Sterling makes his way to the front door.
STERLING SMITH (CONT'D)
Vanessa, did Lance leave already?
VANESSA DARTH
With everybody else.
STERLING SMITH
Ah crap. He left his laptop open. This is the one, right?
VANESSA DARTH
Does it have means Mean Girls on? I swear he's watched that movie too many times.
STERLING SMITH
Maybe that's why he thinks like that... What?
Sterling stops at Lance's computer. The reflection of the blue and white screen is present in his eyes. Small flickers of words can be made out, but none distinguishable. Of course, Sterling can see what they are. He scrolls vigorously through the page. His eyes flicker from left to right. Over and over and over and over and...
VANESSA DARTH
Are you going to go, Sterling? Your team is waiting.
Sterling flutters his eyes.
STERLING SMITH
Oh.
(blinks repeteadly)
Yeah. Yeah. I am. Hey, when we come back, do you want something from Napoli's?
VANESSA DARTH
Oh, definitely. I want the carbonara.
STERLING SMITH
I'll see what I can do.
Sterling walks out the station, but he stops to turn back. As the sun is setting in the evening, Sterling stares at the reflective sign.
STERLING SMITH (VOICE OVER)
What the hell, Lance?