Chapter Two: Who is He?

Speaker 1 00:00:02 Sam is panning, sweaty and unstable as he whips his steering wheel wildly left and right, his car is zips in and out of freeway, traffic, past angry. Honkers his police scanner, chirps to life Speaker 0 00:00:12 Phone available unit suspect's vehicle is headed northbound on the 4 0 5. Repeat northbound on the 4 0 5. Over Speaker 1 00:00:18 Sam is a 4 0 5 north sign. Up ahead. He spins his wheel, sending his vehicle across the freeway, an officer's voice crackles through the scanner. He looks from the road to the scanner and back Speaker 0 00:00:28 Just the Adam tan vehicle. Now he's down off the seven towards 15th Speaker 1 00:00:32 Street. He slams on the gas, turns the steering wheel and the car shoots down the next off ramp. He turns onto a busy street varying in and outta lanes. Occasionally he jumps onto the sidewalk, honking his horn passers by jump out of the way screaming. He looks up at a passing sign, which reads 18th street. Sam looks back to the road, congestion, a car slows his pace. He veers the wheel to the right again. Then back onto the sidewalk where a sidewalk cafe sits. He honk says people leap away from their tables, his car smashes through the now empty tables before turning back onto the street. Once it's clear, Speaker 0 00:01:08 Adam Tan's vehicle now heading westbound on 16th Speaker 1 00:01:11 Street, Sam passes a sign which reads 17th street, a traffic light turns red Sam notices just in time, but speeds up anyway. Oncoming traffic nearly clips his car as he makes a B-line through the light screeches and car horns and crashes that go throughout the intersection. As Sam turns left onto 17th street, he continues weaving between lanes of traffic. He steals glances to his right peering down random side streets, catching glimpses of the road. Parallel to his. He looks from the side streets back to the road ahead, barely making it through another light. The whale of sirens grow louder. Sam looks to the side streets again. He sees cop cars. Now lights flashing in a huddled sprint, headed down the parallel street. Sam's gaze returns to the street ahead of him. As he speeds up, he hears several tires, screeches behind him and checks his rear view Speaker 0 00:02:01 Vehicle had here. Place on place is over Speaker 1 00:02:06 In his mirror. The suspect's vehicle whip out of a side street and into Sam's view, barely missing surrounding traffic. As he approaches from behind Sam eases off the gas. Once the vehicle flies past his car, Sam slams on the gas again and takes off behind it. Every Bob and weave the suspect's vehicle makes Sam is right on a TA. The vehicle makes a screeching left into an alley. Sam beers his car down the alley after it, the homeless and drug dealers leave out of the way as the car is pass his car inches closer and closer to the suspect's bumper. As he steps on the gas, his car smashes into the suspect's rear bumper, the vehicle swerves for a few moments slamming into the neighboring walls before regaining control. Sam slams into him again, the pit maneuver twists the suspect's car. So it's stuck sideways between the alley walls perpendicular to Sam's smoke billows from Sam's hood in the suspect's vehicle. The van driver who has hit his head is wavering in and outta consciousness. Rashonda Kelson sits eerily calm in the passenger seat. Sam pushes for his car door to open, but it's pinned against the dumpster. He smashes his window with the butt of his gun falls out. He LIS toward the vehicle as if his left leg has been damaged. Gun held on the woozy driver. Don't Speaker 2 00:03:24 Move don't you move Speaker 1 00:03:26 Sirens. Grow louder, sweaty through gritted teeth, Sam shakes with pain and barely contained rage. He stares down the sight of the gun unsteady on his wounded leg. His sights shift slowly from the driver to Rashonda. The motion slowly creeps into her face. A slight smile. One of pride defiance and vengeance police vehicles pour into the alley from both sides, screeching into a halt. As they surround the scene. Several officers exit their cars, guns drawn, and take cover behind their doors. Speaker 2 00:03:57 This is L BT tell, drop it down. Drop your weapon down. Now your weapon now is he dead drop, drop it weapon and get down on your knee is dead. Put it down, drop it. Now. Drop your weapon and get down on your knees. Put it down now. Drop it. Now put your weapon down. Now. Is he dead? Is he dead? Officer Pierce, officer Samuel Pierce, please, to do weapon that as a direct order officer, is he dead hold to do weapon? Officer Speaker 1 00:04:33 The pause in the megaphone officer's voice gives Sam's answer. Officer, Speaker 2 00:04:37 Officer Speaker 1 00:04:38 His eyes shut tightly against the pain. Be lowers his gun. His eyes remain shut. As surrounding officers approach him chapter two, who is he? A younger clean shave in Frank Cole, Neils in a hallway in front of an apartment door. His voice is soothing and therapeutic. As he speaks, Speaker 3 00:05:02 I saved up for a year and a half. She said flashy gifts never impressed her, but who doesn't love a diamond ring, got that ring and held onto for six months. You know why? You know why Murphy Speaker 1 00:05:18 The wounded Wimber ring voice of Murphy is barely audible through the door. Speaker 2 00:05:23 No, Speaker 3 00:05:25 Because it was never the right time Speaker 1 00:05:27 Behind Frank. The hallway is lined on both sides with SWAT team members and full tactical gear. Some stand others crouch, but all are focused on the door beside which Frank is kneeling guns at the ready. Frank wears a regular suit minus tie with a Kevlar vest. A tactical headset is fitted over his head in front of Frank on the other side of the door. Stan commander Benson, a tall imposing figure whose mind is on everything at once. Speaker 3 00:05:55 I finally see my chance our first weekend getaway. And I see my moment after dinner just before dessert. I'm nervous as hell brother. I wasn't sure if I could go through with it. Speaker 1 00:06:08 The headset and commander Benson's helmet comes to life. Scott Speaker 0 00:06:11 Vision. Now commander Speaker 1 00:06:12 A top of building across the street, a rooftop swap member. Also wearing a headset, lies on his stomach with a sniper rifle in his hands, aimed and ready. He looks down the sight of the rifle. When eye closed, he focuses on the window of a nearby building in that window. Murphy, a shaky sweaty bald man in his fifties, stumbles around and boxers, a tank top and socks as part of his body comes in the view. The rooftop SWAT sees one of Murphy's hands hold, a pistol Speaker 0 00:06:41 Suspects armed, possibly a Glock Speaker 1 00:06:44 Commander. Benson responds Speaker 3 00:06:46 The kid Speaker 0 00:06:47 Negative on the kid. Speaker 1 00:06:48 Benson looks around him at the team, waiting on his call before his eyes connect with Frank's. He gives Frank a look that says, what do you think? Speaker 4 00:06:57 Well then what? Speaker 3 00:07:00 Oh, well then I got down on one knee, asked her for her hand in marriage and she cried and she cried, but it wasn't joy. It was regret it that she led me down a road. She didn't want to take at least not with me. That's life Murphy. Can you pick yourself up, dust yourself off and you get on with it. Come on. What do you say? Murphy Speaker 1 00:07:30 Silence. Frank flash has Benson a concern. Look. The commander gestures for the two closest SWAT members, one armed with a battering Ram to flank both sides of the door. The rooftop SWAT tenses up as Murphy is now fully in view. A liquor bottle is held in his other hand, Speaker 0 00:07:48 Full visual. Now commander suspects carrying in his free hand. What appears to be a fist of Jim beam, whole part of this balanced breakfast. Speaker 1 00:07:59 Frank holds a hand up to the commander and he relays it to the two flanking swap members. Speaker 3 00:08:04 You do anything for that kid? Wouldn't you do it for him? Speaker 4 00:08:08 That bitch was everything to me. Speaker 3 00:08:11 You're wrong Murphy. That kid is everything to you. Speaker 1 00:08:15 A kid's voice is heard entering the room. Speaker 4 00:08:18 Daddy. I told you stay in a goddamn room. Speaker 1 00:08:22 Frank and commander Benson's concern grows Speaker 0 00:08:25 Seven 20. The kid we're losing the purpose. Speaker 1 00:08:27 Frank makes a split second call and gives the all approving nod to Benson the commander nods back. Speaker 3 00:08:33 Take Speaker 1 00:08:34 The shot. Simultaneously. Commander Benson gives the sign to the two closest SWAT members. The rooftop SWAT fires around the bullet, pierces the window and penetrates Murphy's shoulder in the hallway. The battering Ram SWAT member knocks down the door and his flank partner rushes in close behind, followed by the commander, Frank and the rest of the team in the apartment. Living room Murphy lies screaming on the floor. His kid crying hysterically by his side, blood pours from Murphy's shoulder and the gun lies beside him. SWAT moves through the rest of the apartment. Frank pulls the kid away. The kid kicks and screams. Frank hands, the kid off to another team member who pulls the kid out of the room, Benson yells to his team. Speaker 5 00:09:15 We clear great work, great work. Frank, Speaker 1 00:09:22 As the team knows about Frank moves through the window, which now sports a bullet size hole. He closes his eyes breathes deep. We can tell the tension has gotten to him, but he keeps it all in Frank watches. The parking lot as a swap member carries the kid, kicking and screaming all the way. He stares at the sobbing child. As he goes in the downtown LA federal building present day, Frank disheveled and scruffy bearded. As usual stands at the office. Doorway overlooking a patio. He watches Claudia who paces the length of the patio on her cell. Speaker 7 00:09:58 I'm having some former enlisted members reach out to you. They'll secure the perimeter and this nut job just murdered a cop in cold blood in front of the world who gives a shit with Joe thinks this is our family. Can I speak to Emma? No, don't wake her. I'll see her tomorrow. Speaker 1 00:10:22 Claudia notice is Frank. Speaker 7 00:10:25 I'll call you later. Speaker 1 00:10:26 She puts her phone away as Frank joins her on the patio. Speaker 3 00:10:30 Got kids. Speaker 7 00:10:32 Just the one. Emma. She's my little bean. Speaker 3 00:10:36 How old? Speaker 7 00:10:38 Six? No seven. Speaker 3 00:10:41 You sure Speaker 7 00:10:43 I've been gone a minute. Anyone you need to call Speaker 3 00:10:47 Probably what's this guy want with us anyway. Speaker 7 00:10:51 It's what these geniuses put us together for right? To figure it out. Now. What? One's Mia. Another shaking in the corner, like a crack head. Speaker 1 00:11:00 Claudia nods in the direction of a fidgety Martin looking worriedly at his phone. As he exits the office. Speaker 3 00:11:07 He'll come around. Speaker 7 00:11:08 That's SNY, little prick. Wouldn't fart without consulting his lawyer. We're gonna have to come at him a different way. Speaker 1 00:11:15 Claudia arises and heads off in the direction. Martin walked Speaker 3 00:11:19 Easy. You don't wanna make things worse. Speaker 7 00:11:22 Do I seem like the type who would make things worse? Speaker 1 00:11:27 Frank? Isn't sure how to take that. As he watches or go in the federal building office, Martin pants, hysterically, his legs, taking him in every direction at once until frozen in place. By a vibration in his pocket. He reaches in it and withdraws his vibrating phone judging from his terrified reaction. The name on the display is an unwelcome one. Martin's eyes dark between Oron and brew baker in the corner. Having a discussion and Frank and Claudia conversing on the patio. Just outside as all are distracted. He slips out of the room. Martin enters the bathroom, flicks on the light and locks the door behind him. As he speaks into his phone. Speaker 8 00:12:07 Hello? Speaker 9 00:12:09 Are we going to have a problem? What? Have you told them? Speaker 8 00:12:16 Nothing. I haven't said anything. Speaker 9 00:12:18 Then. Why did 40 officer just around my goddamn warehouse? Speaker 1 00:12:23 Martin's eyes go wide. Speaker 8 00:12:25 The warehouse is his Speaker 9 00:12:27 Ours. Speaker 8 00:12:29 I didn't know that. I don't know anything. Speaker 9 00:12:32 Well, you better find out who does Marty? Your family's lives depend on it. Speaker 1 00:12:39 The mysterious woman hangs up Martin regains his composure. He exits the bathroom and runs right in the Claudia. Speaker 7 00:12:48 Hey geez, Martin, right? Claudia? Speaker 8 00:12:54 Yes. Hello. Speaker 7 00:12:55 This is some shit. Huh? What do you think is going on? Speaker 8 00:13:00 I don't know anything about this. Speaker 7 00:13:02 I didn't ask what you know, I asked what you think, any idea who this guy could be? Speaker 8 00:13:09 My legal representation has directed me not to speak on this. Speaker 7 00:13:12 Right? Right, right. The thing is, I don't know if you've been watching the news lately, but some guy's face was just blown off on national TV and we don't know who's next. If we know something that could stop him, we have to stop him. You have a family, don't you? Speaker 8 00:13:35 Excuse me. Speaker 1 00:13:36 He starts down the hallway, but Claudia blocks him. Speaker 7 00:13:39 Did you know? I'm a Marine serve two tours in Afghanistan. You ever kill anyone? Speaker 1 00:13:49 Martin grows concerned as he shakes his head. Speaker 7 00:13:52 One moment you couldn't possibly end someone's life. The next you have to give yourself reasons not to. Speaker 8 00:14:03 Is this a threat? Speaker 7 00:14:06 <laugh> no Martin. We're just getting to know each other. Speaker 1 00:14:12 Claudia steps aside. Martin passes. Delicately. Speaker 7 00:14:17 Whose warehouse was it? Speaker 1 00:14:19 Martin stops in place and turns back, giving her a brief, but incriminating look before continuing off Claudia watches him disappear. She's got his number. Frank sits on the patio bench. Looking at his phone. It's display, reveals a text from Nora. He opens the message and reads hints of a smile creep into his face. The patio door opens, pulling him back into the world. He looks in its direction and finds captain Orson, leaning out the doorway. Hey Speaker 10 00:14:50 Kid, we're back. Speaker 1 00:14:53 Frank pockets. His phone leaves the bench in the heads. Orson direction. Frank Claudia and Martin join Orson in front of the monitor. FBI agent brew baker lingers behind them on the monitor plays police body cam footage of officer Guzman, who converses with the person wearing the body. Cam. That person is officer Sam Pierce Speaker 11 00:15:16 Twins. Speaker 12 00:15:17 A twofer way to go Guzman. Speaker 11 00:15:20 Sure. This is me grateful. Speaker 1 00:15:22 Sam gestures behind Guzman at officer Mac Devlin and officer Pope questioning Josiah Kelson. Speaker 13 00:15:28 It's my mother. I don't care if it's God himself get out of the car. Speaker 12 00:15:34 What's this about Speaker 11 00:15:36 Probably found a crack pipe or something. Hey, you think kids are so great to loan you one or mine? You wouldn't last an hour. My kids are horror. You Speaker 12 00:15:44 Look, who's raising them. Wait, Speaker 11 00:15:46 What did Speaker 13 00:15:46 I do? I'm not gonna tell you again to calm down. I didn't do Speaker 11 00:15:49 Anything. You'll resisting. That's what you're doing. What Speaker 1 00:15:52 The hell? The body cam footage jots forward. As if Sam is attempting to run toward the scene, but is halted and placed by Guzman. Speaker 11 00:15:59 Relax. The voice is just having a little fun. You gonna cooperate. Answer me. Speaker 1 00:16:14 Guzman's face is drained. As he stares at Sam, realizing what they just allowed to happen. His eyes look to Sam's body cam and he reaches for it. Speaker 11 00:16:23 Turn that shit off. Speaker 1 00:16:24 As Guzman's hand grips the body cam his hand, engulfs the frame and the image shakes. Before the monitor goes, black replaced with the familiar audio wave Speaker 10 00:16:33 For evil to succeed. All good men have to do is nothing. Congratulations. Officer Pierce, congratulations for doing nothing. Speaker 1 00:16:49 And officer opens the office door hears in and nods toward captain Orson, Orson scrunches his face concerned and rushes over to meet the officer at the door. Speaker 10 00:16:58 Soon, the world will learn how powerful just one of us can be. Frank Claudia Martin. Your days of freedom are numbered. <laugh> until next time Speaker 1 00:17:20 The monitor goes black. Speaker 11 00:17:22 Next time. What the Speaker 8 00:17:23 Hell does he think this is? I hate staying here all night Speaker 1 00:17:27 Horse. Some hus back across the room. Speaker 10 00:17:29 Just got an anonymous chip. Speaker 1 00:17:31 Brewbaker shoots him my look Speaker 11 00:17:33 On what Speaker 10 00:17:34 The first. No, Speaker 1 00:17:37 The swarm of squad cars, SWAT vans, bomb squad units, and fire engines. Rush through the city in formation, blowing through intersections with lights and sirens wearing along the way. Frank Claudia Orson and Brewbaker watch from a bomb disposal, text, body cam Martin, half watches. As he fixes himself to leave the swarm pulls up to and surrounds a non-descript office. Building the disposal text camera gives a full clear view of the office building as she approaches it. Officers assure out the building occupants of the bomb squad rushes in Claudia's jaw drops effort. So slowly at the site of the building as if she recognizes it, the bomb squad enters the building and marches up the stairs as a team member of the voice crackles through the disposal text walkie-talkie Speaker 14 00:18:23 Paul Speaker 9 00:18:24 Roger, that sending Northeast sterile Speaker 1 00:18:26 The squad reaches the third level and opens a door. Once in the hallway. The bomb squad assists with fitting the disposal tech into her blast suit. The squad vacates the hallway, leaving the disposal tech to herself. She kneels down and removes a floor vent inside the vent sits the cylindrical metal object mini flashlight in hand, the disposal tech checks around the object sides, finding nothing attached. She lifts the case from the vent with delicate precision Speaker 9 00:18:54 Accessing internals, Speaker 1 00:18:56 The disposal tech removes the casing to reveal a metal tube, orange and blue wires. Leading out of each side. The tech takes a pair of side cutters and grips the blue wire. She takes a beat to herself. Then snips it. She breathes a momentary sigh of relief. As the side cutter switch hands. She wraps her cutters around the blue wire on the opposite side with equal precision grips. It takes a B to herself and snips, nothing. She breathes the final, deeper, Speaker 9 00:19:29 Clear. Who's fine. Speaker 1 00:19:32 Her squad is heard cheering in her headphones. The transmission ends in the federal office building Frank Claudia Orson and Brewbaker share her relief. Even Martin still lingering trans fixed on the moment is visibly relieved. He nevertheless makes his way to the door. Speaker 8 00:19:48 Well, I guess that's that then? Sorry, I couldn't be of more assistance. Guess now we wait for the next shoe to drop. Huh? Going forward. I would appreciate if you reach out to my legal representation for further assistance, we get it on rest, Speaker 14 00:20:03 Man. Okay. Jesus Speaker 1 00:20:05 Martin exits. Speaker 15 00:20:06 Where was the driver taken? He's the only lead we've got Speaker 14 00:20:09 Long beach PD on Broadway. Same as the mother. I'm heading to long beach Memorial check in on officer Pierce. I'll drop you on the way. Speaker 15 00:20:17 No need I'll manage Speaker 1 00:20:18 Brewbaker withdrawals, his phone and heads out the door or some calls after him. Speaker 14 00:20:22 I'll circle back there. When I'm done Speaker 15 00:20:24 That won't be necessary. Captain. The bureau will take it from here. Speaker 1 00:20:28 Brewbaker raises his phone to his ear as he hus out Oron shares. And excuse me, look with the Claudia and Frank, Speaker 14 00:20:35 The bureau. What can I say was worth a shot at the moment? This loon resurfaces will be in touch. Your kids need a ride. I'm fine. Speaker 1 00:20:46 Claudia gestures so long and goes Speaker 3 00:20:49 And can use a lift to Norris Speaker 1 00:20:51 Orson brightens up upon hearing her name. Speaker 14 00:20:54 Yeah, I like the sound of that. Speaker 1 00:20:57 Frank forces, a smile as Orson pets him on the back. Frank rides, shotgun watching the world pass Oron drives, taking a casual peak in Frank's direction. Speaker 14 00:21:09 It's not that I wasn't concerned about you, Frank. I've never been good at that stuff. Consoling. I didn't know how to help. Speaker 3 00:21:19 I get that. Speaker 14 00:21:21 That's what makes you so good at your job? You know your empathy. The world could use that. Now. Speaker 3 00:21:29 Don't make me walk from here. Speaker 14 00:21:31 Okay? All right. I'll back off. Speaker 1 00:21:33 Orin's car pulls to a stop in front of a two story. Home lights illuminating the walkway towards the door and flowers along each side. Make it feel at once homely and desolate, Orin places, a hand on Frank's shoulder. Speaker 14 00:21:47 Hey kid, whatever this voice has in mind for you. Once this is over, you say the word and you're disappeared. You hear me? You got my word on that. Speaker 3 00:22:01 Maybe I have it coming. Speaker 1 00:22:03 Worse is perplexed, but things better pursuing it. Speaker 14 00:22:06 Give Nora my best. Speaker 1 00:22:08 Frank smiles and gets out of the car. Orson pulls off. As Frank walks the lid sidewalk. He approaches the door and rings the bell. The sound carries with it. Bittersweet nostalgia. As a memory comes flooding back the door swings open and Zoe Cole, four years old, sad. I teary eyed runs and jumps into Frank's arms. Frank is now the younger clean cut. Frank who wears a police shield in his suit jacket, a younger stern. Nora Cole sits at a dining room table, nearby glasses on her nose, tapping away at a laptop. Daddy, Speaker 3 00:22:44 Daddy, whoa. What's wrong, sweetie. Speaker 16 00:22:48 Mommy's being mean? Speaker 17 00:22:50 What did mommy ask you to do? Speaker 3 00:22:53 Zoe? Speaker 16 00:22:54 Pick up my toys. Speaker 3 00:22:56 And did you Speaker 1 00:22:57 Zoe shakes her head? Speaker 3 00:22:59 Ah-ha I think I solved the problem. Why don't you go pick up your toys and when you come back, like magic mean mommy we'll turn back into huggy. Kissy, mommy, just like that. Okay. Speaker 1 00:23:12 She nods and Frank puts her down. Speaker 3 00:23:15 All right, go on. Speaker 1 00:23:16 Zoe runs up the stairs. Frank crosses to Nora, rubs her shoulders and kisses her head. She smiles and closes her eyes transported from work if only briefly. Mmm. Speaker 17 00:23:28 Where we, this fussy as kids Speaker 3 00:23:31 Probably Speaker 1 00:23:32 Frank pulls up a seat beside her, pulls her feet into his lap and rubs them. Speaker 17 00:23:36 Mm that's. Some pampering for a Wednesday. Speaker 1 00:23:41 Nora looks into Frank's eyes notices something heavy. Weighing on him. Speaker 17 00:23:46 What are you running from up there? Speaker 1 00:23:48 Frank smiles and focuses on the massage. Speaker 17 00:23:51 You wanna talk? Speaker 1 00:23:52 He shakes his head. Speaker 12 00:23:54 Well Speaker 17 00:23:56 Talk to someone. Speaker 1 00:23:57 Finally. Frank raises his eyes to meet hers. The door opens for real this time and present day. Frank now stands at the door. Present day. Nora opens it and offers him a pleasant. If difficult smile. Speaker 17 00:24:12 Hey Speaker 1 00:24:13 Frank returns an equally difficult one at long beach Memorial. Sam lies in a hospital bed in the gown, his left leg encased in an orthopedic cast from the knee down. Oron stands by Sam's bedside, taking notes, a tense brooding officer, Pope lingers by the door behind him, looking on with skepticism. Speaker 14 00:24:35 Get a good look. Speaker 12 00:24:37 Oh yeah. Speaker 14 00:24:38 Ever see him before. Speaker 12 00:24:40 I don't think so. We ID him yet. Speaker 14 00:24:44 Any minute brew Baker's on his way. Now, Sam, did you ever have any contact with a mom or her son prior to the traffic stop? Speaker 12 00:24:54 The father? Speaker 13 00:24:55 Yeah. This Ray baiting prick, lawyer, Armstrong Nicholson, Speaker 1 00:25:00 Orson, briefly glances behind him in pops direction. Then back to Sam, Speaker 14 00:25:04 What's that about? Speaker 12 00:25:05 I think M had a history with the Speaker 13 00:25:07 Guy, whatever it was. It was probably frivolous. Army is just a civil rights show. Always has been, Hey Speaker 12 00:25:14 Pope. Why don't you give us a minute? Speaker 13 00:25:17 Why? So you can throw another one of us under the bus. Speaker 12 00:25:21 The hell. Does that mean? Speaker 13 00:25:22 Just wondering which one of us is next? Me Guzman. Who Speaker 12 00:25:27 You think I killed my own partner? Speaker 13 00:25:29 I don't know whose side you're on. Speaker 12 00:25:31 Fuck you. He was my friend, Speaker 13 00:25:32 But this voice is protecting you. Speaker 12 00:25:34 I put my ass on the line. Not us every night. Just like you. Speaker 13 00:25:36 You're nothing like us Speaker 14 00:25:38 Not get off Speaker 1 00:25:39 Or some steps to Pope's face deadly serious Speaker 14 00:25:42 Officer. This country is under a terrorist attack and we need answers. If you continue impeding this investigation and thousands lose their lives. As a result, I'll do everything in my power to make sure you are penalized to the fullest extent of the law. Is that understood? Are we clear? Speaker 13 00:25:59 Yes, sir. Speaker 1 00:26:01 Disgusted with both of them. Pope exits the room, slamming the door behind them, horse and Sam breathe. The collective size, the tension dissipates Oron pulls up a nearby chair and sits by Sam. Speaker 12 00:26:13 They said they were just scaring the kid. I didn't know. M was part of a drug bust at a residence on Crenshaw a few years back, turned out to be the wrong house and he infant was shot and killed. Speaker 14 00:26:31 I remember that. Speaker 12 00:26:32 Yeah. Well, M was the shooter. Apparently Mickelson's prosecution led to all sorts of litigation against the precinct that still echoes today. Speaker 1 00:26:42 The door opens and max widower, Cheryl enters holding herself together, but barely Sam leans into Orin's ear. Speaker 5 00:26:51 Max's wife. Speaker 1 00:26:53 Oron nods. Understanding Speaker 5 00:26:55 Gets him rest. Sam, Speaker 1 00:26:57 He pets Sam on the shoulder, rises from the chair and nods a condolence to Cheryl. As he goes, Cheryl runs to Sam's bedside and collapses into his arms. Speaker 18 00:27:07 Sam, oh God, Sam, knock back. Speaker 1 00:27:13 Sam sobs with her. As the door closes at the long beach police department, a black tinted window car pulls up to the security gate. A guard steps out of the security booth. As the driver's window rolls down, revealing agent brew baker. He flashes his badge Speaker 15 00:27:30 Special agent brew baker for Lieutenant Dorsey, CIS division, Speaker 1 00:27:34 The guard nods and retracts into the booth. A moment later, the gate raises and brew baker drives through Lieutenant Dorsey, mid forties and all business leads, brew baker down the precinct hallway, both moving at a risk pace and dodging between coworkers brew baker. Peruses a folder full of papers. As she speaks Speaker 17 00:27:54 Names. Harrison galley 52 steel factory worker served two years in federal correctional for petty theft, four years in the military, before that Speaker 15 00:28:04 No other priors, Speaker 17 00:28:06 None and no ties to any known terror cells. So far, Speaker 1 00:28:11 They approach an interrogation room and enter on the dark inside of the reflective window. On the other side, cuffed to a table sits Harrison galley, AKA the van driver brew baker glares long and hard at him. Speaker 15 00:28:25 Well, keep digging Speaker 17 00:28:27 We're on it. I'll have security escort you in Speaker 15 00:28:30 No need. This is a confidential interrogation. Speaker 17 00:28:33 Understood. Speaker 1 00:28:34 Lieutenant Dorsey moves off as brew Baker's eyes linger on galley. Galley sits patiently in his chair, quiet and reserved brew baker enter enters with two cups of water places. One in front of galley and one in front of an empty chair where he takes a seat. Speaker 5 00:28:49 Got anything stronger. Speaker 15 00:28:52 I do a nice metal chair comes with about 1700 volts. I'm not sure you survived the hangover though. So who are you Speaker 5 00:29:01 Sure you've doing your homework by now. Speaker 15 00:29:04 I'm not interested in this. Speaker 1 00:29:06 Brewbaker holds up the folder before driving it onto the table. Speaker 15 00:29:10 I want to hear it in your words, Speaker 5 00:29:12 Who I am is insignificant. My actions are what define me Speaker 15 00:29:18 That from a fortune cookie or a self-help book, Speaker 5 00:29:22 It's from a place of enlightenment, Speaker 15 00:29:25 A hippy terrorist, huh? That's new. Speaker 5 00:29:29 You think I'm a terrorist Speaker 15 00:29:31 At the very least. I think you're an accomplished a murder Speaker 5 00:29:34 At the very least. We all are. Speaker 15 00:29:38 Tell me about your leader. Speaker 5 00:29:40 He's not my leader. He's my friend. Speaker 15 00:29:44 You help friends commit murder often. Speaker 5 00:29:47 I don't have friends. Often. Speaker 15 00:29:50 He's running free. You're in here. You're not his friend. You're his Patsy. Speaker 1 00:29:57 Galey regards a brew baker with pity. Speaker 5 00:29:59 It's a Testament to your character that you mistake, sacrifice for weakness. Speaker 15 00:30:04 You want to be in prison. Speaker 5 00:30:06 This is temporary. Speaker 15 00:30:09 Really Speaker 1 00:30:10 Galey leans in points to his and brew. Baker's white skin. Speaker 5 00:30:14 This system isn't built to punish people like us. Speaker 15 00:30:18 Where does that leave? The kid's mother she's facing life. Speaker 5 00:30:22 She will be walking out of here right along with me. Speaker 15 00:30:27 How's that. Speaker 5 00:30:29 Now, if I told you the whole plan, what fun would it be? Agent Brewbaker Speaker 1 00:30:37 Brewbaker is taken aback by the mention of his name, smiles at his confound man, the door to a trailer, home opens and squeak steps in before he even turns on the lights in the pitch, black trailer, squeak heads straight for the fridge, retrieves a beer and pops open the can. He takes a big gulp and exhales eyes closed and contentment. Speaker 7 00:30:59 You should lock your door. Speaker 1 00:31:01 Squeak drops the beer and it sprays all over the floor. Claudia lounges at a table like she lives there. Speaker 13 00:31:07 Jesus Claudia. I will now Speaker 1 00:31:11 He grabs a towel and begins to clean up. Speaker 7 00:31:13 How'd the voice know I saw you at the shop. Speaker 13 00:31:16 You choked me out in public Claudia. Everybody knew Speaker 7 00:31:21 Catch that televised execution Speaker 13 00:31:23 Till they cut away. Yeah. Speaker 1 00:31:25 Squeak grabs another beer and opens it and sits across from Claudia. As soon as he does, she takes the beer out of his hand and chugs it, squeak size and goes back to the fridge for another. Then returns to his seat. Speaker 7 00:31:37 It went down in front of a desert warehouse in long beach on Anaheim. Speaker 13 00:31:42 Okay. Speaker 7 00:31:43 The place is dirty. I need to know who owns. It Speaker 13 00:31:47 Sounds like no one does. I'll look into it. Are we done? Speaker 1 00:31:51 Claudia's mood goes grave. Squeak knows that. Look, Speaker 13 00:31:55 We're not done Speaker 7 00:31:57 The building. They found the Newin. It's a government black site. It's where they detain persons of interest, who they deem a threat off the books. I don't think the others know. Not even the agent. Speaker 13 00:32:11 You didn't tell them Speaker 7 00:32:13 The government is so nuclear arms to terrorists by mistake, squeak. They're the reason we're in this shit. Forgive me. If I'm a little skeptical. Speaker 13 00:32:24 How do you know it's a black site? Speaker 1 00:32:26 Her eyes go distant for a moment. Speaker 7 00:32:29 Let's just say I was a visitor. Speaker 13 00:32:31 Why plant it there? Right? I'll look into it. Speaker 1 00:32:36 Claudia holds up her beer. Speaker 3 00:32:39 Cheers. Yeah, whatever Speaker 1 00:32:41 He cheers. Begrudgingly Frank Peru's Nora's living room shelf admiring her teaching certificates and trophies. Nora sits at the dining room table nearby, which is littered with remnants of a takeout dinner finishing off dessert Speaker 3 00:32:58 Teacher of the year finalist. Huh? Speaker 17 00:33:02 <laugh> this close. It was between myself and Rita Warez. Sweet old lady on the verge of retirement. But I'm not bitter. Speaker 3 00:33:13 Of course not. That's why you recall her full name. Speaker 17 00:33:16 <laugh> personally. I think she played up the age card. Speaker 3 00:33:22 Ah, the old reverse ageism. You may be on something. <laugh> why didn't you tell me? Speaker 17 00:33:30 Huh? We weren't in the best place. Then Speaker 1 00:33:34 Frank faces her and they take each other in for a moment. Speaker 17 00:33:38 I'm sorry. Speaker 3 00:33:39 You don't ever have to be sorry. Speaker 1 00:33:41 They share a silence before Nora busys herself gathering dishes from the table and slipping into the kitchen. Speaker 17 00:33:48 I ran into a Elias the other day. Speaker 1 00:33:51 Frank has a peculiar reaction to that name. As he moves to a couch and takes a seat. Nora returns briefly for more dishes. Speaker 3 00:33:58 Yeah. It's random. How is he Speaker 17 00:34:02 Putting himself back together? Just like us has his good and his bad days. Just like us. Speaker 1 00:34:12 She disappears into the kitchen. Again. Speaker 17 00:34:15 I look forward to a day when we can interact without him feeling compelled to apologize. Speaker 1 00:34:22 Frank makes a pain expression until she returns, drying her hands and taking a seat beside him. He wraps an arm around her and she leans her head on his shoulder. Speaker 17 00:34:31 He asked about you, have you spoken? Since Speaker 3 00:34:36 We had some words after the hearing, haven't spoken to anyone really just you. Speaker 17 00:34:43 Hmm? You try to anyway. <laugh> <laugh> Speaker 3 00:34:48 Boy do I, Speaker 1 00:34:49 He kisses the top of her head and her eyes closed. Speaker 17 00:34:54 I miss this. Speaker 3 00:34:56 I miss it more. Speaker 17 00:35:00 Can we stay like this? Just like this Speaker 1 00:35:06 Frank kisses, her head again. And she wraps her arms around him. Speaker 1 00:35:12 Martin's car pulls to his stop in front of his house and he gets out stealthy. He takes a long, hard look around the yard. He rears his head to inspect the roof. PI is behind him across the street. He tiptoes up to the door, unlocks it and enters as delicately as he can. Angelo watches a news broadcast the living room lights, dimmed Martin tiptoes passed her and up the staircase. She looks after her. Oddly then returns her attention to the TV on the TV. A black interviewee is on the street. Speaking to news reporter, Patty Durham. Speaker 19 00:35:49 It's sad. But at the end of the day, how much more can we take? Speaker 20 00:35:53 Are you saying you support vigilantism Speaker 19 00:35:57 I'm saying give us another option. Speaker 1 00:36:00 Martin peeks into his son. Miles' bedroom looks around miles lies in bed, fast asleep ever. So gently Martin makes his way across the room into miles' closet, which sits slightly a jar. He looks around the room and grabs a baseball bat. With his other hand, he reaches slowly for the closet door, whips it open and raises the bet in preparation. The closet is empty. Martin is relieved. Martin sneaks back down the stairs and passes Angela again. As he searches other rooms in the house. Speaker 20 00:36:35 Well there you have it. Some emotional reactions to this mystery voice and this horrible officer involved tragedy from a wounded community whose temperature has reached its boiling point. This is Patty Durham for CT. Speaker 1 00:36:53 She registers Martin's odd behavior and turns down the TV. As he returns to the living room and sits beside her. Speaker 21 00:36:59 What Speaker 8 00:36:59 You doing? Listen to me. I want you to pack a few things and take miles to your father's. Do you understand Speaker 21 00:37:07 What for Speaker 8 00:37:08 I'll explain everything later. Please just do this for Speaker 1 00:37:11 Me. Martin gets her up with him and moves her toward the stairs. Speaker 21 00:37:14 Is this about dad? Voice. Why did you smash your computer? Speaker 8 00:37:18 Oh, I uh, had a virus, a virus. Please. Just go Speaker 21 00:37:23 Marty. Stop it. You'll be acting like a maniac lately and you are not telling me anything. Why are we whispering? What's Speaker 8 00:37:30 Going on? Okay. Okay. Okay. You know the clients whose investments I manage? Yes. Okay. Well like that only with guns, please let's Speaker 1 00:37:40 Go. Angela sends the stairs and frustration with Martin close behind in their bedroom. Angela pulls a suitcase from a closet shelf and tosses it onto a bed. She pulls dresser, drawers, open and tosses clothing into it. Martin stands over miles' bed and shakes him awake Speaker 8 00:37:58 My house miles. Hey buddy, come on, get up. We're gonna go for a little trip. Okay. Speaker 1 00:38:04 Miles sits up rubbing his eyes. All three, make their way outside to the car. Martin struggles with three suitcases. As he reaches the car trunk, Angela hus close behind with a carry on over one shoulder and miles in her arms. She places him in his car seat. And as Martin shuts the trunk and jumps behind the wheel, as Martin drives Angela stews in the passenger seat, looking out the window in a foul mood. Speaker 8 00:38:31 I swear when this is over, I will tell you everything. Speaker 21 00:38:34 And when will that be Speaker 8 00:38:36 Soon? Speaker 21 00:38:37 How will I know it's the truth? It's like, I don't know who you are anymore. Speaker 8 00:38:42 I haven't changed. I'm still me. Speaker 21 00:38:45 Whoever that is. Speaker 1 00:38:47 Martin's car pulls up the curve driveway of a lavish mansion. Angela gets out with the carry on and retrieves miles from the backseat. Martin grabs the suitcases from the trunk and they meet at the front door. Angela rings the doorbell, the door opens and Mr. Han sixties, gray bearded and clearly irritated at being awaken. This late opens the door. Speaker 21 00:39:10 Hi daddy. I'm so sorry. Speaker 1 00:39:13 He hugs and kisses his daughter and lets her and miles pass through Martin places. The suitcases on the inside of the door and steps back out. Mr. Hahn looks him up and down with disappointment. Speaker 8 00:39:24 Good evening, Mr. Hun, sir, I cannot thank you enough. This is just temporary. Things will be back to normally in no time. Speaker 1 00:39:33 Mr. Hahn slams the door on Martin mid-sentence Speaker 8 00:39:37 That went better than I expected. Speaker 1 00:39:39 He heads back to the car in the interrogation room. Galey finishes his cup of water. Brewbaker studies him. Speaker 15 00:39:48 How do you know my name? Speaker 5 00:39:49 What was it like agent sifting through the rubble of that rickety old Jack searching for a body. You'd never find. Speaker 15 00:39:58 I knew it'd be a matter of time. Speaker 5 00:40:01 Did you? Speaker 15 00:40:02 Lackies like you get thrown to the wolves. Eventually. Speaker 5 00:40:06 If we live through this agent Brewbaker I hope you realize that you're on the wrong side. Speaker 1 00:40:11 Brewbaker grows, concerned, Speaker 15 00:40:13 Live through what Speaker 1 00:40:15 Galey makes a gesture to indicate locking his mouth and throwing away the key Speaker 15 00:40:19 Live through Speaker 5 00:40:20 What I think I should leave the rest to my court appointed attorney. Hmm. Thank you for the beverage agent brew baker. When I get out, I'll tell my friend, you said hi. Speaker 15 00:40:32 Oh, don't bother. I'll see him soon. Speaker 1 00:40:35 Brew baker smiles. As he rises and crosses to the door, knocking on it, to get the guards attention. Two guards in her unlock galley's cuffs from the table and flank him as they escort him out. Speaker 15 00:40:46 Oh Galey Speaker 1 00:40:48 Galey and the guards stop and turn Speaker 15 00:40:50 In case we don't live through this. I'll see you in hell. Speaker 1 00:40:54 Galey grins from ear to ear. As he's led away on a rainy night, just off the freeway in a heavily wooded area, a pile of twisted metal and shattered glass is all that's left of a car that lies on its side, twisted against the tree in the woods. Frank approaches slowly and precariously. A stream of blood runs down the side of his face. The person shouts in the distance. Speaker 5 00:41:20 Are Speaker 22 00:41:20 You okay? Is everyone okay? Speaker 1 00:41:25 Frank reaches the car and looks over the smashed out windows in the back is an empty car seat. Speaker 21 00:41:31 Daddy Speaker 1 00:41:33 Frank turns and sees Zoe beside him bruised and blooded with an unnervingly serene expression. Frank awakens from the nightmare leaping from Nora's arms and waking her from her sleep. Speaker 21 00:41:45 Oh God, no. Hey. Oh God. Oh God. Oh God. It's okay. Oh God. I'm so sorry. So I'm here. I'm here. Oh my God. I'm so sorry. Hey, look at me. Look at me. Speaker 1 00:42:02 He slowly calms down and looks into her eyes and she strokes his face. Her calm brings him back to his senses. Speaker 21 00:42:10 It's all right, baby. Speaker 1 00:42:16 They share a kiss than another. It continues with a deepening passion as they fall back into each other's arms. Speaker 21 00:42:27 Hm. Speaker 1 00:42:27 Back in his driveway, Martin sits in his car, looking down at his phone, worried and drained his face tear stained on his phone, plays a greeny video taken from inside miles' closet. The camera zooms in on miles' face. As he sleeps before zooming back out and cutting the black Martin tears. His eyes away from the screen and looks helplessly at the sky at long beach Memorial, a pretty RN pushes Sam in a wheelchair, out the door into the curb where a car awaits a walking cane lays across his lap. Speaker 12 00:43:03 I got a prescription for Vicodin and a two week medical leave up for a little happy hour tonight. Speaker 23 00:43:09 It's a federal and state violation to Shep prescription drugs officer. Speaker 12 00:43:14 Now that is a horrible bedside manner, but bonus points for professionalism, Speaker 1 00:43:20 A driver exits the car and helps Sam out of the wheelchair and into the back. Speaker 23 00:43:25 Do I need to be worried about you? Speaker 12 00:43:27 I'll be a good boy. I could use some registered nursing though. Speaker 1 00:43:32 The RN shakes her head playfully Speaker 23 00:43:35 Take good care of yourself. Officer Pius, Speaker 1 00:43:38 The driver, places him in the back and shuts the door. As the RN and her wheelchair go back inside and a public aquarium. Claudia holds a child's size stuff, bunny in her lap. As she sits on a bench in the middle of the room, her parole officer Joe enters and approaches Claudia from behind. Speaker 24 00:43:57 Hello Claudia. Speaker 1 00:43:58 Claudia turns to her and rises as her eyes scan the crowd. Speaker 7 00:44:03 Where's Emma. Speaker 24 00:44:04 I requested that your visitation privileges be temporarily suspended. Speaker 1 00:44:09 Claudia's rage slowly starts to boil. Speaker 7 00:44:12 I don't think I heard you, right? Speaker 24 00:44:14 Your current situation poses an unknown risk to your child. And as your parole officer, it is my duty to ensure you're no longer a threat to yourself or others. Speaker 7 00:44:23 Oh bullshit. Speaker 24 00:44:24 Joe Claudia, Speaker 1 00:44:25 Claudia shakes her head and walks away from Joe. Speaker 7 00:44:28 You've been up my ass since the moment I got out, you've been looking for an excuse. Speaker 24 00:44:33 I don't have to look far. You're not permitted to carry a firearm or anything resembling one. Yet. I track you to a gun range, not 24 hours. After your monitors removed Claudia, that alone could get you sent back. Speaker 7 00:44:45 I'm not supposed to protect my family. Speaker 24 00:44:47 You aren't prepared to protect anyone. Speaker 1 00:44:50 Joe approaches, Claudia who lingers at a window of passing Marine life. Speaker 7 00:44:55 What do you want from me? Speaker 24 00:44:57 Let this pass. Once you get through this and the thread has been neutralized. I'll see to it that your visitation rights are reinstated. Speaker 7 00:45:07 And then you'll start trusting me. Speaker 1 00:45:10 Joe regards, Claudia, with disbelief. Speaker 24 00:45:12 You wanna talk about trust? All right, where's the body Claudia. Where's the body Claudia, Speaker 1 00:45:23 An entire history passes before Claudia's eyes, which carry a hint of pleading, but she remains silent. Joe straightens up and studies her. She prepares to leave. Speaker 24 00:45:35 Hmm, well maybe this voice will have something to say about that in the meantime, try and stay out of trouble. Speaker 1 00:45:44 Joe starts to walk away, then stops and turns back. Speaker 24 00:45:47 Shall I? Speaker 1 00:45:49 She gestures to the stuff bunny and Claudia's arms. Claudia looks at the bunny. After a moment. She reluctantly raises the bunny out to Joe. Joe takes it and goes leaving Claudia to her disappointment. Sam sits on his apartment couch watching the news on the screen Mac Devlin's officer photo flashes by as well as photos of him with his three kids being awarded at a police function and getting married to Cheryl. Sam turns the TV off deep in thought. He grabs his cane and pushes himself off the couch. He hobbles to his bathroom. Sink turns the faucet on and looks at himself in the mirror. He places the cane to the side and lowers his head into the sink behind him. His shower curtain is slowly pulled open by a gloved hand, Sam splashes water on his face. His head raises from the sink and he takes a deep, relaxing breath. Speaker 1 00:46:46 A figure in full black attire and ski mask grabs Sam from behind and smashes his head against the mirror, cracking it. Sam pushes back and they both tumble to the floor. Sam elbows the figure twice in the face. It breaks the figures grip long enough to crawl to the shower curtain. As Sam grabs onto the curtain and pulls himself up. The figure pulls Sam back toward him. And the curtain is torn from its rungs. As they both fall back to the floor. Sam takes the curtain, wraps the figures, head in it and slams his head into the floor. Sam proceeds to attempt suffocating the figure, but the figure pushes him off the figure removes the curtain from his face grabs Sam's cane and pins. Sam's neck against the wall with it. Sam Gass for air. As the figure leans into his ear. This is what it's like to be on the other side. How does it feel? The figure presses the cane in the Sam's neck. A few moments longer to drive the point home before dropping the cane and running out Sam lingers on the ground. Regaining control of his breathing and clutching his leg. Blood begins to stream down from a forehead laceration with all the energy he can muster. Sam lets out a rageful yell Speaker 1 00:48:03 At the long beach police department. A correctional officer approaches a holding cell in it. Galley lies on a bench facing the wall. The co grabs his keys and unlocks the door. Speaker 25 00:48:15 Wakey, wakey, eggs. And Bakey let's go pal. Your attorney's here to see you. Not that you deserve one. Speaker 1 00:48:23 The co stands at the open door galley doesn't budge. The co moves over to him. Speaker 25 00:48:29 Hey Galey Speaker 1 00:48:31 With this Baton, the CEO pokes Galey a couple times. There's still no movement. The CEO rolls Galey over towards him and finds his face. Pale his eyes wide in a permanent state of shock. The CEO presses his fingers against galley's neck. No pulse Speaker 25 00:48:47 Shit. Speaker 1 00:48:47 The CEO rushes outta the cell. As he shouts into the mic adoring his shoulder, Speaker 25 00:48:51 We got a 10 54 and 1 0 3. I need a medic stack. This is an emergency. I repeat. This is an emergency. We got a 10 54 and cell 1 0 3, Speaker 1 00:49:02 The CEO rushes off leaving galley's lifeless body and alarms echoing throughout the building in his wake in a hotel room brew Baker's eyes are glued to the TV while he buttons his shirt and ties his tie on the TV. The front entrance of the long beach police department is overrun with police cameras and reporters. As we hear the voice of a news anchor, Speaker 27 00:49:26 We have breaking news this morning, out of long beach, California, the driver arrested in connection with the murder of an LAPD officer. Last night was discovered dead mere hours ago while in police custody. Our very own Patty Durham is at the scene. Patty, Speaker 1 00:49:41 The broadcast cuts to a shot of Patty Durham who stands in front of the chaos microphone in hand Brewbaker finishes tying the knot. The longer he watches the broadcast, the bigger his smug grin grows Speaker 20 00:49:55 A authorities say the driver real name Harrison galley was found unresponsive in his cell in the early morning hours here at long beach PD cause of death is still unknown. However, the chief of police is expected to give a press conference with further updates. Later this afternoon, Speaker 1 00:50:13 Brew baker slips his suit jacket on. He couldn't be more pleased with himself. He calls out to the voice wherever he is, your move asshole. That concludes chapter two of no other way. I am its creator, James Dinkins. If you enjoyed this episode and you'd like to hear more, please feel free to donate to our production at paypal.me/dinkins film. That's paypal.me/d I N K I N S F I L M. And be sure to follow us on social media at no other way, pod that's no other way. P O D. Thank you for listening.