InterpolA Screenplay by Sam Ammons When a kidnapping investigation turns into a human trafficking case, a newly promoted NYPD detective is recruited by Interpol, the largest police organization in the world.
INTERPOL
Pilot Episode: "LOST” by S. C. Ammons TEASER FADE IN EXT. DAYTONA BEACH - SUBURBS - NIGHT The camera drifts menacingly over a neighborhood of single family homes. SUPER: Sunday, August 23rd. 10 pm. EXT. DAYTONA BEACH - BRIGHTON HOME - NIGHT Down to street level, we stop in the front of one particular house. A darkened four door sedan pulls up in front with only it's parking lights on. The driver picks up her cell phone and from that light reveals her face. RYAN BRISK (late 20s, foreboding) texts on her phone. Moments later STEPHANIE BRIGHTON (19, college student) emerges from the shadows beside her home. She carries a backpack with her as she runs to the car. Stephanie drops her bag to the curb as she bends down looking in the passenger window. STEPHANIE I don't know, Ryan. I think I've changed my mind about going. INT. RYAN'S CAR - NIGHT RYAN Hey, it's no sweat. If you don't want to come to New York with me, that's fine. (beat) But, they're kinda expecting you, you know? They loved your demo tape and want to meet you. EXT. DAYTONA BEACH - BRIGHTON HOME - NIGHT Two men in dark clothing rush up behind Stephanie. She doesn't see them. One of them grabs her, putting his hand over her mouth to prevent her from screaming. 2. INT. RYAN'S CAR - NIGHT RYAN Hurry up! Get her in! EXT. DAYTONA BEACH - BRIGHTON HOME - NIGHT The two men climb into the backseat with Stephanie. The car speeds off turning on it's headlights a few houses away. Ryan swerves the car left onto another street and disappears into the night. CUT TO: EXT. DAYTONA BEACH - DAWN A rhythmic SOUND as the waves of the ocean SPLASH against the beach. Footfalls join in the crescendo as we see a pair of sneakers pass by leaving their tracks in the pristine shoreline. ABIGAIL GREYSTONE (30s, confident, alluring) jogs along the water's edge. She looks out to the horizon as the Sun rises, turning it a fiery orange, fading into vague purples and blues. A couple (70s) walks their dog on the beach. MAN Good Morning. WOMAN Good morning. ABIGAIL (As she passes) Morning. We follow along as Abigail jogs past a fisherman (60s) sitting in a lounge chair with a cooler beside him, the end of his fishing pole stuck in the sand. The customary greeting as she goes by. FISHERMAN Morning. ABIGAIL Morning. 3. EXT. ABIGAIL’S BEACH HOUSE, PATIO - LATER Abigail jogs up the steps to her pergola. A PUNCHING BAG hangs from the rafters in the corner with two KENPO ESCRIMA sticks balanced on top. She snatches a water bottle from the table and takes a long drought, breathing heavily afterward. She strides over to the bag and picks up the sticks. Abigail takes a defense pose, then unleashes a flurry of strikes. She times every blow and measures every MOVEMENT. She begins slowly, left hand, right hand. She speeds up her attack in a blinding flash of ACTION. The sticks blur, and it's impossible to count how many times she hits the bag. Abigail pauses as her cellphone on the table RINGS her attention. The display telling her it’s WORK. She answers. ABIGAIL (INTO PHONE) Greystone. MAN'S VOICE We’ve got a possible kidnapping. I'll text you the address. ABIGAIL I’m on my way. EXT. BRIGHTON HOME - SUBURBS - DAY Abigail pulls up a few houses from the victim’s home in an unmarked police car. Several patrol cars sit out front. She gets out of the car and approaches a group of patrol officers standing on the front lawn of the victim's house. They don't notice her until she's almost on top of them. OFFICER 1 (waves her off) Sorry, honey, this is a crime scene. (a look to the others) But, if you wanna create a scene with me, my shift ends in about twenty. He smirks and the rest look amused. ABIGAIL (annoyed) My name is not honey. (pulls out her badge) (MORE) 4. ABIGAIL (CONT’D) It’s Greystone, but you can call me Detective. A detective, JASON REESE (30s, clean cut, fit) walks out of the Brighton home. JASON Detective Greystone. We’re this way. Abigail moves toward the house. ABIGAIL (to officer 1) Prick. INT: BRIGHTON HOME, FOYER - DAY - CONTINUOUS JASON Nick and Margaret Brighton reported their daughter missing at 8 am. Jason flips through his notebook. He passes her a photograph of Stephanie. JASON (CONT’D) Stephanie Brighton. Nineteen years old. Her parents went to wake her for their drive to college and found her missing. ABIGAIL Any brothers or sisters who could have seen or heard anything in the night? JASON None. She’s an only child. And there's no sign of a break-in. ABIGAIL Where’s her bedroom? JASON It’s at the end of the hall. INT. BRIGHTON HOME, HALLWAY - DAY - CONTINUOUS Jason leads the way down a hallway. They pass the living room where NICK (50s) and MARGARET BRIGHTON (50s) sit on a couch. LIEUTENANT TODD JAMES (60s) consoles them. 5. The door at the end of the hall has a large sign: QUIT PLEASE WHEN THE RED LIGHT IS ON. Jason opens the door. Both put on gloves. INT. BRIGHTON HOME, STEPHANIE’S BEDROOM - DAY - CONTINUOUS Abigail looks around the room. A guitar leans against a PIANO keyboard. Tidy. Very organized. Except a small pile of clothes on the bed. Bands, and pop star posters on the wall. She looks out the window, checks to see if they're LOCKED. One is not and it has no screen. ABIGAIL Any sign of her cellphone? She points to the empty cradle charger on the desk. JASON No. ABIGAIL (opens a laptop) What about this? JASON Forensics is taking it with them. The computer boots up. ABIGAIL It isn’t password protected. Where's the backdoor? JASON This way. EXT. BRIGHTON HOME, BACKYARD - DAY Abigail exits the house, Jason follows. She looks at the ground underneath the open window to Stephanie's room. ABIGAIL It rained yesterday evening? JASON Yes. Half an hour. Around Nine o’clock as usual. ABIGAIL (points) Footprints in the grass and mud, leading to the street. 6. Abigail and Jason walk to the street. Abigail's attention falls on the house directly across from the Brighton home. She notices something and walks up to JACK and SUSAN FLEMMING (60s) as they talk to an officer. ABIGAIL (CONT’D) Excuse me? Is this your house? JACK Yes it is. ABIGAIL Is that a camera on your porch? SUSAN (nodding) We’ve had a few car break-ins recently around the neighborhood. JASON Was it recording last night? JACK I don’t know. It's motion controlled. There weren't any break-ins or damage, so I haven't checked. ABIGAIL Can we check it now? JACK Sure. INT. BRIGHTON HOME, FOYER - DAY - CONTINUOUS Lt James is standing in the foyer with other uniformed officers when Abigail and Reese enter the home again. ABIGAIL Excuse me Lt. James. We need to speak to Mr. And Mrs. Brighton. INT. BRIGHTON HOME, HALLWAY - DAY - CONTINUOUS Abigail is followed by Lt. James and Jason. INT. BRIGHTON HOME, LIVING ROOM - DAY - CONTINUOUS Stephanie's parents still sit on the couch. 7. ABIGAIL Excuse me, Mr. And Mrs. Brighton, but do either of you recognize this woman? Abigail hands them a printout of a screenshot from the video. It's a photograph of the scene we saw earlier with Stephanie. Ryan in her car with the light from her cellphone illuminating her face. MARGARET Yes, that’s Ryan Brisk. Stephanie met her at The Treble. It's a local karaoke club. NICK Stephanie works next door at the internet cafe. ABIGAIL The neighbors have a motion activated camera on their porch. Stephanie was kidnapped by two unidentified men who got into Ryan's car. TODD So this Ryan was part of the kidnapping? JASON I think so, sir. MARGARET I don't understand? ABIGAIL Mrs. Brighton it looks like Stephanie was kidnapped by Ryan and two accomplices. Lieutenant Todd puts a hand on Nick's shoulder. TODD I'm sorry. CUT TO BLACK. END OF TEASER 8. ACT ONE FADE IN: EXT. DAYTONA BEACH SHERIFF'S OFFICE - SUNSET The office for the Florida Sheriff's Department and their detectives. Immaculate. Palm trees, well kept lawn. The words Daytona Beach Sheriff's Department on the side of the building. INT. POLICE STATION, SQUAD ROOM - SUNSET Abigail sits at her desk speaking on her phone. A file lays open in front of her and she's quickly jotting notes inside. ABIGAIL (INTO PHONE) Yes. Thank you very much for your help. She hangs up her phone, just as Jason walks up to her. JASON Ok. Forensics has dumped her phone, but it's still turned off. No sign of Ryan's car. I've got an APB out. ABIGAIL According to these emails, it looks like Ryan convinced Stephanie she had musical contacts in New York City. All of them are bogus. JASON I checked with the manager at The Treble. Ryan worked there less than six months. She rented one of the small apartments he owns above the club. (beat) A couple of uniformed officers went to check it out, but everything is gone. Detective Preston strolls past Abigail's desk. PRESTON You need help? (he looks her up and down) I could help you out. After drinks tonight. 9. Abigail looks sharply at him. ABIGAIL (calm) So, should I get a riding crop and spurs? PRESTON What does that mean? ABIGAIL It means, if you're going to act like a donkey, don't be surprised when you're treated like an a*s. The Lieutenant appears in his office door, arms folded. TODD Jason. Abigail. My office. INT. SHERIFF'S STATION, TODD'S OFFICE - DAY Todd doesn’t say anything, but walks to his desk, sits, and places a recorder on it before he pushes the play button. Abigail and Jason sit to listen. FROM THE DEVICE: STEPHANIE (O.C.) (hurried, upset) Mom I’m in trouble. MARGARET (O.C.) (desperate) Where are you, Stephanie? STEPHANIE (O.C.) I was kidnapped by two men and Ryan. They took me to New York. She lied to me. She said she knew people in the music business. Now, we're at some house and they won't let me. . . We hear a scuffle. An angry voice-- MAN’S VOICE What are you doing!? I thought you took her phone!? MARGARET (O.C.) Stephanie!? Stephanie!? 10. Abruptly the line goes dead. Todd leans forward and pushes the stop button. He looks to Abigail and Jason. TODD Special Unit had Mrs. Brighton's phone tapped as you requested. They got this call less than an hour ago. ABIGAIL I don’t think it’s Ryan’s first kidnapping, Lieutenant. TODD What do you mean? ABIGAIL I’ve contacted her former employers. Each one said she'd worked for them six months or less before moving on. (beat) I checked with local PDs and all of them have missing persons within the time frame of Ryan appearing and then moving on. JASON So what is she doing with them? ABIGAIL Only she knows that. We have to find this girl. I may be wrong, but... (beat) I think we've stumbled onto a kidnapping ring. Todd leans back in his chair. TODD That's a giant leap, detective. I realize you've only gotten your gold shield a few weeks ago-- ABIGAIL Sir, the first former employer I called thought I was calling because we had more information on his daughter, who's seventeen. She disappeared three months ago. On a hunch, I asked the others about missing persons. (MORE) 11. ABIGAIL (CONT’D) This makes it seven teens disappearing at or near where she worked. It can't be coincidence. And with the footage of Stephanie's abduction-- Todd is SOLD on her theory. TODD Detective Reese, do you still have contacts in the NYPD? JASON Sure. My brother is a detective. TODD Detective Greystone, I want you on the next flight to New York. Jason will continue to get information on those other disappearances from here. We'll coordinate with you once you're on the ground. I've notified the FBI, and they'll be sending out agents tomorrow. The lieutenant picks up his phone. TODD (CONT’D) Well, get going. (into the phone) Get me the Captain. Abigail and Jason leave the Lieutenant’s office. INT. POLICE STATION, SQUAD ROOM - DAY Abigail and Jason walk to their desks. She GATHERS the work she has been doing since they began their investigation, and hands him the folder. ABIGAIL This is all the information about her former employers along with the names and locations of the missing persons. JASON I'll call the local precincts and get the case files. I'll fax them up to New York. CUT TO: 12. INT. PASSENGER PLANE - NIGHT The interior of the plane is dark, most of the seats are in shadow, but one has their overhead light on. We close in to see it’s Abigail. She's lost in thought. A loud ping SNATCHES her back to the present. PILOT'S VOICE Good evening, ladies and gentlemen. I’ve just turned on the seatbelt sign to make our decent into JFK. Abigail fastens her belt, looking out the window at New York City. INT. J.F.K. INTERNATIONAL AIRPORT TERMINAL - NIGHT Abigail walks through the terminal with a single bag thrown over her shoulder. Two men standing close to the doors catches her attention. Both BEN REESE (30s, chiseled, stoic) and MIKE GRAY (50s, grizzled, tough) are wearing NYPD detective badges. Ben sees her approaching first. BEN (extents his hand) I’m Detective Ben Reese. This is my partner, Detective Michael Gray, NYPD. You're Abigail Greystone? She nods and shakes his hand, then Mike's. MIKE It's just Mike. ABIGAIL Good to meet both of you. MIKE It’s getting late. Our car is out front. They walk toward the exit. ABIGAIL (To Ben) You don't look like your brother. BEN He takes after mom. 13. EXT. JOHN F. KENNEDY INTERNATIONAL AIRPORT - NIGHT Their car is an unmarked police cruiser. A traffic officer is in the middle of WRITING them a ticket at curbside. MIKE (grumbles) It’s so important you don’t finish that ticket. Ben and Abigail climb into the car. MIKE (CONT’D) (growls) You see the plates, the blue light. What’s the matter with you? SNAP TO: INT. 12TH PRECINCT, SQUAD ROOM - NIGHT Ben and Mike lead Abigail into the squad room. There are only two detectives at their desks. YOLANDA JOHNSTON (50s, clever, leader) walks out of her office to meet them. BEN Abigail, this is Lieutenant Johnston. Lt. this is Detective Greystone. They shake hands. ABIGAIL Glad to meet you. YOLANDA Same here, detective. Mike trudges to the coffee pot. Uninterested. YOLANDA (CONT’D) I’ve talked to your Captain in Daytona Beach. We got a ping on Stephanie Brighton’s cell from this afternoon. Unfortunately it’s turned off now, so we can’t get a precise location. But, we did narrow it down to a general area. She walks to a map of the city on the wall. Yolanda circles an area with her finger. 14. YOLANDA (CONT’D) It pinged here. I’ve got pictures of both Stephanie and Ryan to every patrol officer. I'll also have more detectives canvassing the area in the morning. (beat) There are a few cots we keep in the dorm if you’re interested? It could be awhile before we find anything. ABIGAIL That would be great. Thank you Lieutenant. The lieutenant returns to her office. Abigail turns to Ben. BEN Over here. He opens the door. Inside are a few cots, a sink and lockers. INT. 12th PRECINCT, BACK ROOM - NIGHT Abigail goes to one of the beds, THROWING her bag on a top bunk. ABIGAIL Let me know if anything happens. BEN Will do. Abigail lies down. Her head no sooner hits the pillow than she’s out like a light. INT. 12TH PRECINCT, BACK ROOM - DAY - CONTINUOUS Abigail ROCKETS upright on the cot. She stares around blinking, UNSURE where she is for a moment. She sighs, throws her legs over the side and stands up, walking to the sink where she splashes water on her face and looks at herself in the mirror. Abigail takes her hair and pulls it back into a ponytail, slipping on a hair tie from around her wrist. The door opens. It's Ben. BEN Oh. You’re up. Better come on. Abigail follows him. 15. INT. 12TH PRECINCT, SQUAD ROOM - DAY - CONTINUOUS Officers run to and fro. HECTIC chatter. INDISTINCT. ABIGAIL I thought you were going to wake me if anything happened? BEN I was, but we just found out. ABIGAIL What do you mean? Found out what? They both walk through double doors. INT. 12TH PRECINCT, HALLWAY - DAY - CONTINUOUS Ben turns to a stairway. INT. 12TH PRECINCT, STAIRCASE - DAY - CONTINUOUS BEN Apparently someone in the 82nd Precinct found your Ryan Brisk. We just learned that S.W.A.T. is going in. INT. 12TH PRECINCT, FRONT DESK - DAY - CONTINUOUS SHOCK. ABIGAIL They’re going in? BEN Yeah. That’s what I’ve heard. The lieutenant said I should take you out to Brooklyn. So? You in or out? He holds open one of the double doors leading outside. ABIGAIL I’m in. Abigail opens the other door herself and exits the building. Mike is waiting for them in the driver's seat of their unmarked car. Abigail and Ben get inside. 16. INT. UNMARKED POLICE CAR - DAY He starts the engine, and Abigail wonders aloud-- ABIGAIL Anything happen last night? BEN As a matter of fact we looked into Ryan Brisk. Did a thorough check on her. Mike guns the engine, SQUEALING into traffic. Ben hits the lights and siren of the cruiser. Mike STOMPS his foot on the brake when a taxi cuts him off. BEN (CONT’D) A year ago, this woman doesn’t exist. ABIGAIL What!? They continue racing down the FDR until they come to the BROOKLYN BRIDGE. Mike expertly swerves around traffic, and gets ahead of it to continue racing across the bridge. Ben hands her a file, barely, when the car swerves unexpectedly. BEN Yeah. A month later and, there she is. Gets a drivers license, buys a used car off a car lot, then disappears. Based on the info you and my brother gave us, (hands her more files) she reappears a month later in Virginia Beach, Virginia. Just in time to work as a lifeguard for the summer. EXT. UNMARKED POLICE CRUISER - DAY We see the car take an off ramp. It swerves around traffic and down a side street with brownstones on either side of the road. EMERGENCY lights from other unmarked cruisers, a few NYPD patrol cars and ambulances ominously fill the street ahead. 17. INT. UNMARKED POLICE CRUISER - DAY ABIGAIL (from the files) Then she gets down to Nags Head, North Carolina a few weeks later working as a waitress. MIKE Exactly. She works her way south over the next few months or so, not staying in one place long. They’re close to a particular brownstone now. So many police vehicles are in the street they have to park a block away. They get out. EXT. BROOKLYN, STREET - DAY A few uniformed NYPD officers talk to pedestrians, and a number of residents who came out into the street. Others knock on doors questioning people. Abigail, Ben and Mike continue along the sidewalk. They pause when they meet two police officers walk down the stoop of a brownstone. Ben shows them his badge and hangs it from his neck. BEN Ben Reese. 12th Precinct. What’s going on here? OFFICER 1 Federal case. We were told to canvass the neighborhood. MIKE Thanks. (to Ben and Abigail) Let’s go. They continue along the sidewalk. When they get close to the brownstone, it’s cordoned off with yellow CRIME SCENE tape. A few people in blue windbreakers are standing on the other side. The words INTERPOL Incident Response Team is emblazoned on their backs. BEN I’m Detective Ben Reese, 12th precinct. This is Detective Abigail Greystone. We need to speak to the agent in charge. 18. AGENT 1 Sure. He goes up the street and speaks with a group who point to the brownstone. A group is being led out at that very moment. A man wearing a blue windbreaker helps them to a black and white bus. He's MATT THOMPSON (40s, clean cut, professional). For the most part, the people he leads out of the apartment are young girls. Their clothes tattered. Their hair in disarray. A woman, LOREN JONES (late 30s, poised) in an identical windbreaker is last to come out. She talks to a young man, just as disheveled, with her arm around his shoulder. None of them are Stephanie Brighton. The bus leaves and an agent speaks with Matt and Loren, pointing to the three detectives. They walk over. MATT I’m special agent Matt Thompson, and this is agent Loren Jones of Interpol. What can we do for you detectives? ABIGAIL Interpol? BEN Detectives Reese, Gray, and Greystone. LOREN (a look) Abigail Greystone? You’re the detective from Florida, right? ABIGAIL Yes. I’m here investigating a kidnapping. A nineteen year old girl named Stephanie Brighton. Was she inside? MATT No, I’m afraid not. Six girls and one boy. All mid-to-late teens. All from Europe, Asia, or illegal immigrants. LOREN But thanks to you, Abigail, we were able to save those people and shut down a human trafficker named Elizabeth Alexandrova. 19. An agent leads a woman out of the brownstone. Her hands are HANDCUFFED behind her. We recognize her as Ryan Brisk. On Abigail as we-- BOOMF TO BLACK. END OF ACT ONE 20. ACT TWO FADE IN: EXT. UNITED NATIONS HEADQUARTERS - ESTABLISHING - DAY The United Nations Building in Manhattan. INT. INTERPOL NATIONAL CENTRAL BUREAU, WAITING AREA - DAY Abigail, Ben, and Mike sit in chairs. The words INTERPOL NATIONAL CENTRAL BUREAU in bold letters HANG on the wall. Ben TAPS his foot repeatedly, while Abigail crosses and uncrosses her legs. She studies the case folders Ben gave her in the car. Mike looks asleep. Ben turns to see CATHERINE FLETCHER (late 50s, distinguished) striding toward them. CATHERINE Detectives? I’m Catherine Fletcher. She offers her hand to each of them. CATHERINE (CONT’D) I’m Chief of the Interpol National Central Bureau here in Manhattan. ABIGAIL Nice to meet you, Catherine. I was sent here from-- CATHERINE (interrupting) The Florida Sheriff's Office. Yes, I know. If you'll follow me? They follow Catherine down a hallway. INT. INTERPOL NCB, HALLWAY - DAY Catherine considers Abigail for a moment. CATHERINE (CONT’D) (to Abigail) Your search for Ryan Brisk aka Elizabeth Alexandrova gave us a major lead in one of our investigations detective. 21. ABIGAIL When I ran Ryan Brisk’s I.D. Interpol was notified. You realized Ryan was really Elizabeth? CATHERINE Yes. You've stumbled upon a human trafficking organization with international ties. This is the first real progress we’ve made. They stop in front of a door with INTERPOL stenciled on it. Catherine holds the door open. INT. INTERPOL NCB, BRIEFING ROOM - DAY If the police precinct looked like a sorority dorm PACKED with desks, Interpol looks more akin to the bridge of a STARSHIP. Large video screens line one wall and this is where Catherine LEADS the three DETECTIVES. BEN Impressive. Catherine taps the screen calling up files, and reports with pictures. We can’t make out the details, but she enlarges a mugshot of Elizabeth. CATHERINE Interpol received a Red Notice on Elizabeth. She's wanted in Russia on several charges including kidnapping, extortion, money laundering. . .a few others. This man-- Another mugshot MARK SONREIR (40s). Catherine sends his picture sliding across the screen with a flick of her wrist. It slides to the edge of her screen and disappears, then reappears on the monitor in front of Abigail and Ben. Matt materializes behind them. MATT Is her employer Mark Sonreir. He was born in Russia, but adopted by a wealthy couple with political connections in Russia and China. He graduated from Oxford University, then went on to graduate with a PhD in Global Business from Brandeis University here in the U.S. (beat) (MORE) 22. MATT (CONT’D) From there he started a technology company for cell networks across Europe and Asia. He purchased a number of construction, and shipping companies, some of which are in China. He made himself integral to the expansion of the Chinese economy. ABIGAIL He works for the Chinese? CATHERINE Sonreir is technically a liaison officer for the Russians, but he travels under diplomatic credentials from both the Chinese and Russian Governments. Matt enlarges some of the files on the screen. We can only make out headlines, and a few report titles are visible. ARMS DEALER, DIPLOMATIC TRADE ROUTES, BILLIONAIRE MAKES GOOD ON TRADE, and HUMAN TRAFFICKING are among them. MATT Mark Sonreir's mother is a high ranking official in the Russian government. That's why Interpol had so much trouble identifying him as a person of interest in this case. BEN Until now. ABIGAIL What's his connection with Elizabeth? Another flurry of motions from Catherine as she pulls up more files. This is a photograph of a man and woman GREGORY and ISABELLA SONREIR (60s) standing together at what looks like a dinner party. A young girl is standing next to them. Mark is standing to the side. It's a decade old. CATHERINE Gregory Sonreir and his wife Isabella. Gregory was born in Spain. Isabella is Russian. They adopted both Mark and Elizabeth as infants. Beth changed her name back to Alexandrova. ABIGAIL Where is she now? 23. MATT She's in interrogation. CATHERINE How would you detectives like to join us? A little interagency cooperation? The FBI has agreed to allow us to handle the investigation, including Stephanie Brighton's kidnapping. Abigail looks questioningly at Ben and Mike. They nod. ABIGAIL (to Matt) So you're FBI? MATT Yes, I am. Loren is a US Marshal. INTERPOL is the world’s largest police organization made up of over a hundred and ninety member countries. Each NCB recruits members from the host country's law enforcement and trains them to be agents for Interpol. BEN So what do we do now? MATT We question Elizabeth. INTERCUT INT. INTERPOL INTERROGATION, OBSERVATION ROOM - DAY Abigail, Ben and Catherine WATCH through a two way mirror. A technician is sitting at a desk with various RECORDING equipment. We see Beth Alexandrova handcuffed to a metal table. Matt and Loren enter the room and sit across from her. LOREN So, Miss Alexandrova, may I call you Beth? BETH Whatever. MATT Beth, who is Ryan Brisk? She shifts in her seat. Her gaze never leaves the mirror. 24. INT. INTERPOL INTERROGATION ROOM - DAY Matt and Loren exchange a look. LOREN Let's start somewhere easier. Where's Stephanie Brighton? INT. INTERPOL OBSERVATION ROOM - DAY Abigail steps CLOSER to the glass, locks eyes with Beth. INT. INTERPOL INTERROGATION ROOM - DAY Beth just stares ahead at the MIRROR. Hardly even blinking. Matt SLAMS his hand on the table. MATT HEY! He rages, yanking Beth's attention. MATT (CONT’D) Then maybe you can explain this? He spreads photographs on the table. He puts the one undoubtedly showing her at the Brighton home directly in front of her. MATT (CONT’D) Where is she? BETH (beat) They took her. LOREN Who are they? INT. INTERPOL OBSERVATION ROOM - DAY Everyone gets closer to the mirror. INT. INTERPOL INTERROGATION ROOM - DAY LOREN Tell us NOW! Beth shoots a defiant look at her. Then slowly turns her gaze back to the mirror. 25. MATT Where did they take her? No response. LOREN Well, then maybe you can tell us where the other seven young women are who disappeared up and down the East Coast? She pushes their pictures in front of Beth. BETH The same place where this Stephanie is, I'd assume. MATT And where is that? INT. INTERPOL OBSERVATION ROOM - DAY All hold their breath. BETH (beat) Lost. MATT We're done here. He and Loren gather up the contents of their file and exit the room. A moment later they enter the observation room. ABIGAIL She knows we have her, but she hasn't asked for a lawyer, so-- CATHERINE What can we do? BEN We'll lean on her. Get more evidence. Do you have her car? LOREN No. It's no where to be found. We should go to the lab and see if they have anything new. CATHERINE Go ahead, but keep me appraised. END INTERCUT 26. INT. INTERPOL FORENSICS LAB - DAY A CHEMISTRY lab taken to the Nth degree. A central space with a couple of desks with a large table screen in the center. The outlying rooms are encased in glass, which we assume are explosion proof, and sealed off for any chemical or biological contaminants. We find Mike standing at the table with JORGE RAMIREZ (40s, lovable). MIKE Anything? BEN No. They gather around the table. MATT This is Jorge our senior forensic scientist. JORGE All right. We have eight missing young women from along the Eastern seaboard. He taps the table screen, and each of their faces pop up. Along with information file tabs behind each picture. JORGE (CONT’D) We assumed Beth Alexandrova abducted each of them, but thanks to Detective Gray-- MIKE She didn't. BEN What do you mean? She took the Brighton girl. MIKE Yes, but in all the other cases, Beth had already started working in another state. It checks out. She was nowhere near the other abductions. ABIGAIL Then we have almost nothing? 27. JORGE Not quite. We have-- (beat) This. A series of sketches as he works the screen. They look similar. Two different men, but almost the same in each of the sketches. JORGE (CONT’D) Two men wanted as Persons of Interest in connection with each disappearance. MIKE Black panel van, and later, a white work truck. Being driven by two men matching these descriptions. Sound familiar? ABIGAIL The two men who grabbed Stephanie? We couldn't get a clear image of their faces and there's no way to run a facial ID match on a drawing. JORGE (indelicate sound) You think so little of me? I'm hurt. (beat) Actually, there is. I created software in my game designing days that can take a scanned drawing and create a 3D image. LOREN How long? JORGE Few hours, tops. ABIGAIL So we just sit and wait? We don't have a lot of time. MATT True. So why don't the four of us visit Mark Sonreir. ABIGAIL He's here in New York? 28. MATT Yes. He has offices here in Manhattan. MIKE I'll stay here and work on those facial IDs when they come in. INT. SONREIR BUSINESS OFFICE, WAITING AREA - DAY We see the four of them sitting in an upscale waiting room. Abigail is flipping pages from an internal publication put out by the company. A stack sits on the table. Ben is looking at the photographs on the walls (cellphone towers, CONTAINER SHIPS at sea, the inside of shipping warehouses), while Matt and Loren. . . MATT So, you think this is a waste of time? LOREN Yes. No law enforcement agency, anywhere, has ever linked him to any wrongdoing. We know he's involved, everyone knows, but there's no proof. Matt considers this and-- MATT We're not here because we have proof, and I'm not expecting to find evidence sitting right here. BEN (slides lower into chair) He's sitting in his castle tower doing what he wants, when he wants because we're all beneath him. I'd say it would be kinda cool to stick a pin in him and see what comes out when he pops. ABIGAIL We'll have to-- SONREIR (O.C.) Special agent Matt Thompson. . . They look up to find Mark Sonreir striding from the back offices. 29. SONREIR (CONT’D) I'm Mark Sonreir my assistant said you wanted to speak with me. MATT Do you know this woman? He shows Mark Sonreir a photograph of his adoptive sister, Beth. SONREIR Yes, I do. She's my sister. Has something happened to her? ABIGAIL I'm afraid she's been arrested on the charge of kidnapping. MARK SONREIR Kidnapping? That's preposterous. ABIGAIL Then maybe you can tell us her whereabouts for the last twelve months? SONREIR She's attending The University of Georgetown to finish her Bachelor of Science degree in Foreign Service. ABIGAIL So, you've spoken to her in the last year and a half? He shows no outward sign he's uncomfortable. SONREIR Of course. We spoke. . .let's see, when was it now. . .three months ago. She was doing a final term paper on the role women played in Babylonian society. (a beat) You realize women were allowed to learn to read and write? ABIGAIL I do. I did a thesis once on a Akkadian poet, a woman, who wrote an epic about sibling rivalry. Titled, loosely translated of course, The Battle of Suma-usur. (MORE) 30. ABIGAIL (CONT’D) It was a tale of two princes who fought for control of their father's kingdom. Turns out, there was a mistake in the translation. It wasn't two princes, but a brother and sister. A prince and princess. So as the story plays out, there is an invading army. The king demands they protect the kingdom by any means necessary, so the two advance with their own armies. The princess waits until the invading army, and her brother's army is nearly wiped out in a direct attack, then her army destroys both. She is the one who returns to her father's palace victorious, and eventually became queen. Mark Sonreir looks ANGRY, about to RETORT, but, before he can speak, the moment is ruined. SONREIR'S ASSISTANT Excuse me, sir? Your car is out front, and you wanted me to remind you of your meeting. He recovers quickly. SONREIR Of course. Thank you. (to the four) If you'll excuse me, I'm late for a meeting. I'll be in touch about the release of my sister. And he starts to leave hurriedly. ABIGAIL (Russian) We'll see each other again. Mark Sonreir stops in his tracks, but doesn't look back. He's motionless a moment before he leaves the building. Abigail follows him, and the others trail behind. BEN Was that Russian? What did you say to him? 31. EXT. SONREIR OFFICE BUILDING - DAY As the four leave the building-- ABIGAIL That we'll see each other again. They watch as Mark Sonreir crosses the street to a waiting limousine with two flags of the Russian Federation on the hood. The driver jumps out, and opens the door for him. ABIGAIL (CONT’D) That man. I recognize him! She starts to rush to the car, but Matt catches her arm. Loren takes out her phone, and quickly starts taking pictures. MATT Wait. ABIGAIL (incredulously) Wait!? Mark Sonreir is already in the car, and the driver jumps in behind the steering wheel. The driver's side window is down. We'll learn later this is PETER YURLOV (40s, hired muscle). LOREN It's a consulate car. You can tell by the flags on the hood. BEN So? We could do something! Pull them over, and arrest him! MATT The car is Russian soil under diplomatic law. No one can be removed from inside without creating an international incident. They watch as the car from the Russian embassy merges into traffic. The limo turns a corner and is GONE. On the four as we-- CUT TO BLACK END OF ACT II 32. ACT III INT. INTERPOL NCB, BRIEFING ROOM - NIGHT Matt leads Abigail and Ben into the room. Mike is standing behind Jorge at one of the computer terminals. He turns around as they enter. MIKE Any luck? ABIGAIL I think we've found one of the men on one of those sketches. She walks over to the table and enlarges the image. ABIGAIL (CONT’D) This one. MIKE You're kidding? Is he in one of the interview rooms? BEN No. He got inside a consulate car, and we couldn't arrest him. JORGE Consulate car? That narrows it down. Jorge works his MAGIC on the computer keyboard. BEN What about the victims rescued from the brownstone? Anything new from them? LOREN (O.C.) No. They turn as Loren walks up. LOREN (CONT’D) They were all drugged and heavily sedated. ABIGAIL Any news on Stephanie or the other seven girls? 33. LOREN None. JORGE We sent out all of their info-- MIKE To all the airlines, bus stations, Canadian and Mexican borders, Port Authority. . .it's covered. MATT I'd suggest we break for the night. There's nothing more we can do right now-- JORGE No. We've done all we can for now. I'm running a check on any diplomatic credentials of that man in the sketch. It could take until morning. ABIGAIL Tomorrow is seventy two hours. JORGE What? ABIGAIL If a missing person isn't found within seventy two hours the chances of finding them drops to almost zero. MATT We'll find them. BEN Gives us a breather. Sometimes a lead can come when you're thinking about something else, and not worrying over the case. MIKE (to Ben) Drop me off at my house? BEN Sure. (to Abigail) I have a spare room if you don't want that bunk in the dorm room. 34. ABIGAIL Uh, no thanks. INT. BEN'S APARTMENT - MORNING Someone HAMMERS on Ben's apartment door. He stumbles out of bed. No shirt, barefooted, but wearing jeans. His one bedroom apartment is small. Embarrassing small, really. Damn it's early. BEN Just a minute. The knocking continues. And as he opens the door. BEN (CONT’D) I said just a da-- It's Abigail. She doesn't wait to be invited in, and BARGES in anyway. ABIGAIL Are you ready to go? She's talking fast. BEN Where? ABIGAIL Interpol. We've been looking for the seven missing girls. Checking all flights, trains, buses, whatever, right? BEN Yes. (a beat) How many cups of coffee have you had? ABIGAIL None. Why? BEN (mumbles) Great. A morning person. He walks over and starts the coffee machine. BEN (CONT’D) Let me get some coffee. 35. INT. INTERPOL NCB, BRIEFING ROOM - DAY Catherine and Matt are at the center display. CATHERINE So, you put a detail outside the Russian consulate? MATT Yes. Mr. Sonreir never left again. I've also put a team on his offices. CATHERINE Has the limo driver been identified yet? MATT No. Jorge is running his facial ID on all diplomats and personnel who entered the country. We see Loren enter with Abigail and Ben. CATHERINE Detectives. ABIGAIL I'd like to interview a few of the victims from the brownstone. MATT You won't get any new information. They were pretty out of it when we rescued them. CATHERINE I'll have the translators brought down. ABIGAIL There's no need. BEN You're kidding, right? How do you know how to speak Spanish, Chinese and Russian? ABIGAIL (smiles) It's required in all NSA NOC training. 36. BEN Come on. ABIGAIL Would you believe classes and a college roommate? BEN That, I would believe. CATHERINE What are you thinking, Abigail? ABIGAIL We've been trying to discover how they were going to get the women out, I thought maybe they were getting them out, the same way they got the group from the brownstone in. INT. INTERPOL INTERVIEW ROOM - DAY Two Asian woman sit at a table. They're nervous when Abigail and Ben enter the room. She smiles at them. ABIGAIL Hello. My name is Abigail and this is Ben. We're detectives working with Interpol. BEN Hi. The two woman glance at each other. ABIGAIL (Chinese) Do either of you speak English? One works up the courage. WOMAN 1 She doesn't speak English, but I do. ABIGAIL I just wanted to ask both of you if you remembered anything before you were in the house where you were rescued? 37. WOMAN 1 Not really. No. ABIGAIL It could help other women. Eight are missing. Just like you. Can you tell us anything? Anything at all might help us find them. A beat. WOMAN 1 I woke up for just a a couple minutes. I thought I was dreaming. ABIGAIL What did you see? WOMAN 1 It was dark. She closes her eyes to remember. When she opens them we awake to-- INT. DARKENED ROOM - NIGHT We're in a dark room. The walls are covered with the pointy styrofoam of an anechoic chamber. Mattresses are on the floor with unconscious people lying on them. WOMAN 1 (V.O.) There's was a man sitting at a table with one lamp. The rest of us are lying on mattresses. We see that as she rises up on an elbow to look around. She reaches out to touch the cones on the walls. WOMAN 1 (V.O.) (CONT’D) The walls are covered with styrofoam points. I sat up to get a closer look. BEN (V.O.) How big was the room? 38. INT. INTERPOL - INTERVIEW ROOM - DAY WOMAN 1 It was about two meters wide and maybe six meters long. ABIGAIL Then what happened? RETURN TO: INT. DARKENED ROOM - NIGHT WOMAN 1 (V.O.) The man looked up and saw I was awake. We see this as it happens. WOMAN 1 (V.O.) (CONT’D) He grabs a syringe and comes over to me. He pushes me back on the mattress and injects something into my arm. HER EYES GLASS OVER, SHE FALLS UNCONSCIOUS INTO-- INT. INTERPOL INTERVIEW ROOM - DAY ABIGAIL Do you recognize anyone? She shows them the sketch of one man, and Loren's photograph of the other along with photographs of random people. WOMAN 1 Yes. That is the man who was sitting at the table. She points to the photograph. BEN Thank you, very much. (beat) You've helped more than you know. INT. INTERPOL NCB, BRIEFING ROOM - DAY Catherine turns to see Matt walk in with Abigail and Ben. 39. CATHERINE Did you get any new information? ABIGAIL Shipping containers. They brought them to the country in shipping containers. BEN They sound proof the container, and load the people inside. That way, if any of them wake up, the crew can't hear any cries for help. ABIGAIL And this man (She holds up his picture) is inside with them to make sure they stay asleep. Matt's cell phone RINGS. He answers. MATT (into phone) What is it, Jorge? (as he hangs up) We're on our way. INT. INTERPOL, FORENSICS LAB - DAY Matt, Abigail, Ben, enter the lab. Loren and Mike are already with Jorge who looks excited. JORGE I found them! Jorge expands the files and pictures on the table screen. Peter Yurlov and MAX LARIN (40s, brooding, hired muscle). JORGE (CONT’D) Peter Yurlov is the man in Loren's photograph driving the limo, and Max Larin is the sketch artist rendering. ABIGAIL Who are they to Sonreir? MIKE Peter is just a low level assistant with the Russian government. Max is a licensed seaman. (MORE) 40. MIKE (CONT’D) Both ex-military, Spetsnaz. Russian special forces. JORGE The reason I could never find them is because they shouldn't be here. There are no records of either of them entering the country. MATT What? How? MIKE Max is a seaman certified deck hand on the cargo ship Raspolof. JORGE (corrects him) The Raspopov. A look. MIKE The point is New York was it's first port of call. Customs checked all the crew, papers, IDs, everything checked out, no crew left the ship, and it continued on it's route. It offloaded it's last containers in California, then came back along it's route. Texas, Louisiana, Florida. It's picking up empty containers for the return trip to Russia. JORGE Right, and according to maritime and Customs laws in the U.S. A ship doesn't have to be checked if they don't make another stop in a different country between ports. He pulls up another photograph. This man looks very similar to Max. JORGE (CONT’D) Texas customs decided to recheck the ship. Everything was in order, papers, crew, etc. This man (points to the picture) passed as Max Larin. They didn't notice it wasn't the same man who was checked in New York and the ship was allowed to continue. 41. MIKE The most important thing, though, is that the ship is owned by Sonreir Inc. He has shipping offices at the container port here in New York. CATHERINE Where is the ship now? MIKE It arrived this morning. I talked to the loading master at the port, and he said containers are being loaded as we speak. It'll set sail for Russia when that's finished. EXT. NEW YORK CITY STREETS - VARIOUS - DAY A string of Interpol SUVs races across the bridge. They THUNDER along side roads. EXT. SONREIR PORT OFFICES - DAY The SUVs SCREECH to a stop in front of the office buildings. SWAT members pour from the vehicles, along with our agents and detectives. Matt goes to the back of a sedan and opens the trunk. He hands Abigail, Ben, and Mike INTERPOL emblazoned bulletproof vests. LOREN The search warrants. She takes them from inside her vest. MATT Let's go. (To SWAT Commander) Lieutenant you follow us in. LIEUTENANT Sir? Matt doesn't answer and is already halfway to the door of the office buildings. He opens them and we're inside. INT. SONREIR PORT OFFICES - DAY The front offices look the same as his building in the city. A guard and secretary sit behind a large desk. They stand as the swarm of officers enter. Matt points at them. 42. MATT Don't move! Raise your hands. They do so. Ben and Mike go to the security guard and take his weapon. ABIGAIL Where are the shipping containers? SECRETARY (insultingly) You're kidding, right? A menacing look from Abigail. SECRETARY (CONT’D) Yeah, no, no this is a shipping warehouse. All the containers are in the port. LOREN We have warrants to search the premises. Lieutenant leave a man here to watch them. Don't let them contact anyone. MATT (to everyone) You know who, and what we're looking for, so let's get this done. INT/EXT. SONREIR SHIPPING OFFICES, WAREHOUSE - DAY - LATER Abigail comes out of a door leading from the offices into the open warehouse in the back of the building. Small assorted boxes sit on shelves. Huge doorways are open to the port. Ben, and Matt are there with the SWAT Lieutenant. BEN Anything? ABIGAIL Nothing. Even the containers that had already been loaded. She gestures toward the port. Loren walks in from outside. LOREN Well, the news is out. The security guard just told me Sonreir's lawyers are enroute. 43. Abigail SLAMS her fist into one of the boxes on a shelf. MATT It doesn't matter. We have federal warrants. Sonreir himself has diplomatic immunity. That doesn't include his businesses. BEN It may not come to that. He motions toward Mike who enters through the open doors of the warehouse. AARON (50s) follows close behind. He's wearing a hardhat and a neon yellow reflective vest. MIKE This is the container loading supervisor on duty. Aaron. He nods in greeting. Aaron needs encouragement to speak. Mike gives it. MIKE (CONT’D) Tell them what you were telling me about loading the containers onto the Raspopov. AARON Like I was telling the detective here, we've been loading the ship the last couple of hours. Now they're only taking empty containers, so when we pick them up, we know they're empty. No way they could smuggle anyone alive in one. ABIGAIL You're sure? There's no way they could load a container with someone in it? AARON Yeah, I'm sure. Unless- ABIGAIL Unless what? AARON Well, I was going to say, unless they've been sitting in a mislabeled one for the past two months. 44. BEN Mislabeled one? AARON Sure, it happens sometimes. A container will be pulled off the ship, and it's missing it's shipping manifest. No ID on it or anything. Customs misses them sometimes, but they catch it eventually. Before it leaves the port anyway. MATT So what happens to those containers. AARON They're put in a holding section by the port authority. They either open them up, or if the shipping company wants it kept sealed, they'll notify them to keep it sealed. The captain has the seal locks on board. He'll come down and lock the container from the outside. The container owner is the only one with the keys to open it. Then it's just loaded back on the ship. Kinda like the mail: Return to Sender. MATT And you say it could take up to a month before it's reloaded onto the ship? AARON Sure. A few days, weeks, a month or longer. It really depends on the ships route, and if that particular ship is returning at all. Sometimes another ship for the same company will come sooner on it's way back home. ABIGAIL Where is the holding section? AARON Follow me and I'll show you. 45. EXT. CONTAINER HOLDING - DAY Aaron leads the way along the containers. He's talks their ears off. AARON I wouldn't want to wish that on anyone. You know? Stuck in a metal container the whole time at sea? No thanks. Aaron is leading them around one container when Matt suddenly GRABS him by the shoulder and YANKS him back behind the edge of the container. Matt touches his finger to his lips. He then signals him to stay, and urges the others to follow. Matt stealthily peeks out from the side of the container. We see a group of men walking toward them along the containers. Peter is one of them. We see they're all carrying weapons. Matt leans in close to Aaron. MATT (whispers) Go back to the warehouse where you met us, and stay with those officers. Aaron nods, and leaves quietly, making sure to stay out of sight. Matt keys his radio after putting his earpiece in place. MATT (INTO COMM) (CONT’D) Lieutenant, we've found them. Approximately half a dozen armed men. LIEUTENANT'S VOICE Roger that, sir. Coming as fast as we can. The voices speaking Russian tells us that there's no time left and Matt realizes this too. He gives the others a look before PEEKING around the corner of the container. MATT Drop your weapons! I'm a special agent with Interpol. Ben signals for Abigail and Mike to FOLLOW him to the other end of the container. They nod in agreement and Loren takes position behind Matt. 46. Ben takes position similar to Matt's, but in a kneeling position offering as little of himself as a TARGET as possible. Abigail does the same, but in a standing position above Ben. Mike takes cover behind a nearby dumpster. BEN NYPD! Put your weapons on the ground! NOW! In a FLASH, they fire their weapons. Ben drops the first man with two shots to the chest. Abigail hits Peter in the arm, causing him to drop his rifle. He abandons his six compatriots and sprints along the container. Sparks ricochet off the container in PROTEST as he darts behind the row of containers and is out of sight. ABIGAIL Cover me! I'm going after him! She doesn't wait and sprints across the open. Sparks are kicked up at her feet. Matt see's what's happening and takes out another shooter with a couple of well placed hits. Abigail makes it behind the containers where Peter disappeared. We go along with her, as she follows a blood TRAIL on the ground. Then a hand print on a container. She CAUTIOUSLY keeps going, staying in the gap between the stacked containers and the wall of the warehouses. She's in a MAZE of shipping containers. Abigail pauses at each gap. EXT. CONTAINER HOLDING - MOMENTS LATER Abigail takes a breath and takes a quick look around the corner of a container, then darts back behind the corner. We see nothing, and she proceeds into the space, heading toward the back of the next group of shipping containers. Abigail's POV: Peter steps out from behind the container ahead. He raises his pistol to fire. BAM! She drops into a kneeling position, and raises her own WEAPON in one fluid motion. She returns fire. BAM! BAM! BAM! Her rounds strike him in the chest throwing him backwards out of sight behind the container. Abigail rushes to the container, weapon at the ready. He's lying on the ground. Still. She bends down to take his vitals. It's over. She stands and hears gunfire in the distance. 47. Abigail hurries along the container. She comes to the front to find it open, a large LOCK sitting on the ground. She looks inside. It's a sound proofed container. Abigail is SLAMMED through the container doorway, and-- INT/EXT. CARGO CONTAINER - DAY --crashes onto the floor. Her pistol flies from her hand. SONREIR I'm surprised. To find you here. Alone. Just as my plan crumbles at my feet. Abigail stands. Sonreir walks toward her into the container. Slowly. MENACINGLY. INT. CARGO CONTAINER - DAY ABIGAIL So the prince falls. Immorality always leads to destruction. SONREIR Yes. Yours. He lunges at her and they trade blows. He's bigger, but she's a more experienced fighter. He throws her facedown onto the table. Sonreir crashes down on top of her and tries to pin her in place. Abigail STOMPS down on his foot. He reels back in pain, and she throws back her head, smashing it into his face. He staggers backward. Blood pours from his nose. She takes the seconds of opportunity to take her keys from her pocket. Abigail holds them in her fist with one key protruding from between her fingers. ABIGAIL Come on! I'm not through with you yet. SONREIR (spits) Oh, we are far from finished here! 48. He STALKS toward her and swings a FIST. She's ready, and punches his incoming blow. The protruding key sinks into his hand. He SCREAMS, yanking his hand away from the pain. The keys dangle from his bleeding fist. He clenches his teeth staring at her with the pure hatred of a rabid ANIMAL. Sonreir JERKS the key out of his hand. Abigail takes two batons from her belt. She extends them to their full length. Sonreir doesn't see them, or just doesn't care. He runs at her again, swinging his bloody fist. Just as we saw earlier when she practiced at her home in Florida, Abigail uses the batons as kenpo escrima sticks. She strikes his incoming FIST. Sonreir stops in his tracks, stunned by the pain. Abigail doesn't pause, she gives him two blows to the upper torso, followed by two blows to his legs. She attacks again, faster this time, except for the last blow, she drops down, and slams the butt of one of her batons HARD against his knee. -- CRACK! Sonreir's knee buckles, and he drops like a heap to the floor, holding his leg and writhing in pain. He tries to stand, but immediately collapses. ABIGAIL It's over. SONREIR You think so? Sonreir laughs. ABIGAIL You're done. And I'm- SONREIR What? Going to arrest me? I have diplomatic immunity! ABIGAIL They'll be revoked. You're going to prison for what you've done. She walks to the back of the container putting the batons back into their pouch on her belt and retrieves her keys. 49. Her SIG lies under the table, and she picks it up as well, replacing it into her holster. SONREIR My credentials will be revoked. So what? Do you know what happens then? She pauses. Abigail actual doesn't KNOW what will happen. He sees this, and cackles. She takes out her HANDCUFFS. SONREIR (CONT’D) I'll go to jail, but after your State Department gets involved, I'll be released the same day. They'll be a hearing in a month or two. Again, so what? By that time, I'll be home at my estate in Russia. Laughing at you. ABIGAIL Laughing at me? SONREIR Yes! At you! Because some woman detective thought she could stop me. To change the world. Nothing will change! In fact, I'll return to Russia earning millions, and there's nothing you can do. She remains quiet. Thinking as she stares at him. ABIGAIL (finally) You're right. Abigail puts away the handcuffs. Sonreir smiles thinking he has WON. That he'll escape. Again. But, Abigail turns to leave. SONREIR (mirthlessly) You're going to leave me sitting here and just walk away? ABIGAIL As a matter of fact, that's exactly what I intend to do. Abigail walks out of the container. 50. EXT. CARGO CONTAINER - DAY She bends down and picks up the impressive looking lock off the ground. The smile on Sonreir's face slides away. She grabs a door pulling it closed then walks to the other and goes to close it as well. SONREIR Wait! What are you doing!? He KNOWS already. Just as Abigail does. But, she rubs his face in it for the CORRUPT has CORRUPTED. ABIGAIL Sure. The State Department will be notified. Trials and complaints held, and filed, but, you'll have disappeared for parts unknown. This ship will sail back to Russia. You'll have no food or water. How long? A week? Three? She closes the container doors as we hear him scream out. SONREIR No. You can't leave me in here. You can't just leave me to- Then abrupt-- --SILENCE. Abigail brings the doors tightly together and turns the handle into it's locked position. She takes the lock she found on the ground and slides it into place before snapping it closed. She turns and walks back the way she came. EXT/INT. SONREIR WAREHOUSES - DAY Abigail walks past the taped crime scene where they first encountered Sonreir's men in the exchange of gunfire. Their bodies cover in WHITE sheets. The container they took shelter behind is open, and it's almost identical to the one she had just left Sonreir locked inside. She gets to the warehouse where the Interpol SUVs sit outside the bay doors. Ben is inside with Matt, Loren, and Mike. 51. BEN There she is. They turn. MIKE Did you catch up with, Peter? ABIGAIL He's DOA. About a quarter of a mile further up the port. LOREN I'll take care of it. Loren bustles away. ABIGAIL What happened here? MATT SWAT arrived and helped us in the gunfight. Sonreir's men fought to the last man. ABIGAIL What about the seven missing women? What about Stephanie? BEN Yeah. SWAT found them when they cleared out the adjoining building. (motions) Look there. Abigail turns to see the group of women being escorted to the SUVs. We see Stephanie among them. Abigail walks over to the group just as they're getting inside the vehicles. ABIGAIL Stephanie Brighton? She nods. ABIGAIL (CONT’D) I'm Abigail Greystone. I'm a detective with the Florida Sheriff's office. I was sent here to find you. STEPHANIE Are you the one who found us? 52. ABIGAIL With a lot of help from Interpol. We can get you all back home. Impulsively, Stephanie hugs Abigail in thanks, as we ascend to see the others looking on. END OF ACT III 53. ACT IV INT. 12TH PRECINCT, MAIN FOYER - DAY Abigail is standing with Ben and Stephanie. Mike is speaking with Lieutenant Johnston by the intake desk. The other rescued women sit in chairs. There is a flurry of excited activity. Officers entering the building reveal a group of hungry reporters trying to get in, but are KEPT from doing so by the officers outside. BEN Your parents are on their way from the airport. STEPHANIE I'm nervous. ABIGAIL Don't be. You didn't do anything wrong. You only trusted someone you thought you could. A den of chatter as the doors open and Stephanie's parents are the first to arrive. She sees them, and runs to their arms. The hug her tightly. Other parents come in just after and they all replay the same emotion as they are REUNITED with their families. YOLANDA (to Abigail) It's great what you did, detective. You too, Reese. BEN Abigail did most of the leg work. ABIGAIL I had help. Your brother, you, the N.Y.P.D., Interpol. We all helped to get this done. YOLANDA He's right, you know? It started with you. Don't sell yourself short. The Brighton's walk up to Abigail. They're in tears. 54. NICK Detective Greystone, (shakes her hand) Thank you so much for finding Stephanie. MARGARET Yes. Thank you so much for getting Stephanie back to us. The Brighton's turn and walk away, arms around each other. MIKE Well, I've got those reports to finish up. BEN Me too. They enter the elevator and Abigail jumps in after them. INT. 12TH PRECINCT, SQUAD ROOM - DAY - LATER BEN About done? MIKE Yeah. Just have to sign it. They're both at their desks facing each other. Mike writes in a large file folder. Ben tosses a baseball in the air as he waits. Abigail exits the BACK room carrying her single bag. She's changed clothes ready to take her flight. She PLOPS her bag in a vacant chair. ABIGAIL You're a fan of course? MIKE More than that. He was scouted by the Yankees just out of college. Ninety eight mile per hour fastball. ABIGAIL Really? BEN Yup. Best tryout I've ever had. I just couldn't do anything wrong that day. Then- (MORE) 55. BEN (CONT’D) (a sigh) I'm on my way home and WHAM! MIKE Drunk driver clips him on his motorcycle. BEN Lucky I had a helmet on, though I doubt it would have done any damage. I've got a thick skull, I'm told. Collar bone was another story. It was shattered. Game over before it started. It was how I met Mike, actually. ABIGAIL Seriously? (to Mike) You responded to the call? MIKE No. I was the drunk driver. Mike picks up the file, and takes it to Ben. MIKE (CONT’D) Here you go, just need you two to sign. I have to go hit the head. He leaves. Abigail watches him go. ABIGAIL I didn't mean to pry. Ben signs the file. BEN (shrugs) No. No, it's fine. We worked it out a long time ago. You want to sign this? Abigail signs the forms. Lieutenant Johnston comes out of her office. YOLANDA Those reports ready? Chief Fletcher of Interpol wants you to bring it over to them. BEN (a beat) We're on our way. 56. INT. INTERPOL NATIONAL CENTRAL BUREAU, WAITING ROOM - SUNSET Abigail, Ben, and Mike stride into the waiting room. Matt and Loren are waiting for them. LOREN Are those the reports? Great, if you two can follow me, I'll take you to Catherine. She's waiting in the briefing room. MATT A moment, Abigail. Ben and Mike follow Loren. Abigail looks at Matt, puzzled. MATT (CONT’D) I just wanted to say, it was great work you did Detective Greystone. It was a pleasure working with you. Matt extends his hand. ABIGAIL (shakes his hand) You too, Agent Thompson. MATT Well, let's not keep Catherine waiting. The two of them follow the others. INT. INTERPOL, BRIEFING ROOM - SUNSET Ben and Mike are talking to Catherine along with another man, OLIVER WOLF (40s, distinguished) when Matt and Abigail enter. CATHERINE So, I'll see you two Monday morning? BEN Sure thing. She takes the report from him, and shake his and Mike's hand. CATHERINE Outstanding. Thank you for your help gentlemen. A look as Ben and Mike leave. 57. MATT I've got that other matter, Catherine. CATHERINE Of course, Agent Thompson. Agent Jones is already there. They watch him go. Then Abigail looks at Catherine. ABIGAIL So what can I do for you, Chief Fletcher? CATHERINE (smile) Let me introduce you. This is Oliver Wolf. He's our British liaison officer to the Interpol Headquarters in Lyon, France. ABIGAIL Nice to meet you. OLIVER The pleasure is mine, Detective Greystone. (beat) Catherine. I'll speak with you tomorrow. Oliver neatly strides away. CATHERINE Well, I'll just get to the point, Abigail. How would you like to work for me? ABIGAIL Me? CATHERINE Certainly. You handled yourself very well in this case, from beginning to end. I think anyone would look on you as a tremendous asset. ABIGAIL What would I have to do exactly? 58. CATHERINE Uphold the law. The same you do now, except you would have to receive some additional training. For international law. So technically speaking, like Matt and Loren, who I recruited from the FBI, and the US Marshals service, you'll be a member of the national police. An agent or special agent of Interpol. ABIGAIL Sounds like I'd be making a big difference in law enforcement. On a global stage. CATHERINE You would. And I may point out, you already have made a difference. She gestures. Abigail turns to see Matt, and Loren escorting a group of people in the hallway. Abigail sees Elizabeth Alexandrova in their midst wearing shackles. CATHERINE (CONT’D) They are representatives of the Russian consulate. She's being placed into their custody and being returned to Russia. (a look from Abigail) It can't be helped. The State Department was adamant that the Red Notice from the Russian government takes precedence. Elizabeth turns and sees Catherine and Abigail watching her. She gives them a smirk. ABIGAIL Why do I get the feeling she's getting exactly what she wants? CATHERINE Perhaps. So, what do you say, Abigail? Do you want to work for Interpol? Abigail considers it. ABIGAIL I've got to be honest with you, Catherine. I've had to fight and claw my way into being a detective. (MORE) 59. ABIGAIL (CONT’D) No one believed I should be there, including me for the longest time. (a beat) Don't get me wrong. I'm not trying to talk you out of it. CATHERINE (laughs) It sure sounds like it. ABIGAIL No. It's just. . .there are some people who I work with that think that I was only made a detective because I'm filling some sort of quota. That I didn't really deserve getting my gold shield. CATHERINE You don't actually give that any merit do you? ABIGAIL Still. CATHERINE (laughs) Don't worry about that. Walk with me? They walk down the hall. INT. INTERPOL NATIONAL CENTRAL BUREAU, WAITING ROOM - SUNSET CATHERINE So what do you say, Abigail? Are you joining my team? ABIGAIL Yes. Can you do that? CATHERINE Of course. I'm the Chief of Interpol in the United States, I can hire whoever I want. They shake hands sealing the deal. We ascend out over the headquarters building, looking down at the city, the country, and finally we see all the lights from different cities around the globe. END OF PILOT © 2019 Sam AmmonsAuthor's Note
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1 Review Added on August 28, 2019 Last Updated on August 28, 2019 Tags: Interpol, Crime Investigation, Procedural, TV Pilot Author
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