3ABC09 Heroin (englisches Transkript)
| Transcribed by Libby
Edited by Libby, Used with kind permission from Libby (www.chelonium.plus.com)
MLM-309 3ABC09 Human Essence
Night. Five-storey apartment building, graffiti on the walls, cheap, dirty. In an apartment, a woman, Elissa, prepares to self-inject. As the drug enters her system, she relaxes. Another woman, Tamra, comes into the room and sits beside her. The room is dirty and dilapidated.
TAMRA: You good?
ELISSA: Yeah. Go on.
Elissa groggily gets up and leaves while Tamra prepares the drugs for herself. In the bathroom, Elissa stumbles, pulls the light switch, sees herself in the grimy mirror - wild, staring eyes - and slams the door closed. Tamra holds a cigarette lighter under a spoon. She hears something falling and calls out to Elissa.
TAMRA: You OK, E?
Elissa doesn't answer. Tamra re-lights the cigarette lighter, but now there are sounds of yells and groans, and objects breaking. Carefully, Tamra puts down the spoon and goes to the bathroom door.
She pushes open the door. Elissa's face is blotchy, her eyes reptilian. Tamra screams. Elissa slams the door shut. Tamra runs off out of the apartment.
TAMRA: Somebody get somebody!
The front door opens and two men enter. Tamra runs down the stairs to them.
TAMRA: Get somebody! What'd you sell her? What you give me? What kind of smack?
One man, Johnny, grabs her and pushes her up against the wall.
JOHNNY: Hey! Freak. You shut the hell up or I'll smack you.
TAMRA: You want to see a freaking freak, you go see E.
The other man, Pulga, runs up the stairs, gun in hand. Johnny runs after him.
Tamra has gone up to the apartment. There's the sound of a lavatory flushing.
TAMRA: Where is she?
Pulga grabs her round the throat.
PULGA: Shut up.
TAMRA: Where's E? What you do?
Johnny comes out from the bathroom.
PULGA: You no say peep cocks his gun or next it's you.
The two men leave. Tamra goes through the apartment to the bathroom. There's no sign of Elissa. Tamra sees that a window is open, she goes over and looks out. On the ground is the body of Elissa, her face very blotched, reptilian eyes, lying in a pool of blood.
BALDWIN: Hollis. I ask you to stand up and stand back from your desk, please.
BALDWIN: I don't want to make this embarrassing for any of us.
HOLLIS: What are you talking about?
BALDWIN: Save whatever file you're working on. Turn off your computer. Stand up and step back from your desk please.
Other workers have noticed what's happening. Hollis stands up and goes to switch off her computer. Another agent ushers her back from her desk. The agents start loading a box with papers, and disconnecting her computer.
HOLLIS: What the hell's going on?
BALDWIN: I think you will find this will go easier on you if you just tell the truth.
HOLLIS: About what?
Baldwin doesn't respond.
HOLLIS: About what?
An agent has taken envelopes from Hollis's bag.
HOLLIS: That's my mail, Barry.
BALDWIN: Stay in town.
In an interview room, Hollis is sat at a table looking at her ID badge. Frank enters, he sits next to Hollis.
HOLLIS: I'm waiting for my Bureau rep. Who tells me not to talk to anyone.
FRANK: Anyone tell you anything?
HOLLIS: Not a clue. Have they told you?
Frank shakes his head.
HOLLIS: They took my computer. They took my mail, Frank.
FRANK: Well, technically anything in this building can be seized as government property.
HOLLIS: Personal mail?
Frank indicates yes.
HOLLIS: So the rights we're protecting, we don't even have ourselves.
Andy McClaren opens the door.
McCLAREN: Frank. Could I see you for a minute.
FRANK to Hollis: Hang tough.
Frank and McClaren leave, shutting the door.
McClaren talks as they go over to his office door.
McCLAREN: This is an OPR investigation. You know nobody can get the details.
FRANK: I've worked half a dozen cases with this woman. I know her. I know her enough to know that this is unwarranted.
McCLAREN: We didn't enter this lightly, Frank. We had enough indication on this - we had no choice, we had to move.
FRANK: Indications of what? Wait a minute, I still have enough contacts around here to find out, Andy. You're not going to do this just to slow me down?
McCLAREN: She failed a random drug test.
FRANK: That's absurd.
McCLAREN: I have had them run it twice, Frank.
FRANK: What was she tested for?
McCLAREN: Heroin. Now we are not being stupid here, and we're not being hasty. We won't press charges until we're absolutely certain.
FRANK: Just the accusation could ruin her.
McCLAREN: I will do everything in my power to make sure this investigation is thorough and fair, but when she's finished with the Bureau rep, they want me to send her home.
FRANK: I want to talk to her privately about it.
McCLAREN: Frank, if you talk to her, anything you hear will go straight to the OPR, you know that. I don't think you want to put yourself in that kind of position.
FRANK: I'll make up my own mind about what position I'll be put in, Andy, OK?
McClaren's phone rings.
McCLAREN: McClaren. Yeah. Are you sure? Well, you be double sure before put that out to anybody. Understand? Good.
McCLAREN: It's Baldwin. He says they found a small bindle of white powder in her personal effects.
Hollis has collected her belongings in a box and is walking through the bullpen.
FRANK: Agent Hollis. pause Emma.
HOLLIS: I've been instructed not to talk to anyone.
FRANK: I know. I also know you're not good at following instructions.
Frank leads her to the interview room.
HOLLIS: Yeah, well, why don't you tell the gestapo in there raising her voice that I'm not a junkie either.
FRANK: Why don't you give me some help.
HOLLIS: Look, I've got nothing to say.
FRANK: Vancouver, Canada. A re-sealed envelope with that postmark was addressed to you.
HOLLIS: It's personal business.
FRANK: The contents as well? Come on, are you going to talk to me, Emma?
HOLLIS: I think I'll take the advice I was given and wait for my lawyer.
Frank opens the door for her.
Vancouver, British Columbia
Night. Hollis stops her car in a deserted street. She checks her map. There's a knock on her window - a young dealer.
HOLLIS: I'm not looking to score. I'm trying to find someone.
DEALER: What are you looking for - a date?
HOLLIS: No. I'm looking for a girl. Tamra Caffrey.
DEALER: Ah, see, I don't know no names.
HOLLIS: I've got a picture.
DEALER: Yeah, well, put it on a milk carton.
He walks away. Hollis gets out the car.
HOLLIS: Look, hey! I'm tired, I've come a long way. I could pay you.
She opens her purse.
DEALER: Jeez, lady, you're brave. And stupid.
HOLLIS: How much?
DEALER: How much you got there.
She hands him a bundle of notes.
DEALER: US! What's that name again?
HOLLIS: Tamra Caffrey.
DEALER: Tamra. She on the street?
HOLLIS: I don't know.
DEALER: Just give me a minute, OK?
He runs off.
As Hollis waits on the sidewalk, a car comes round the corner and stops. Tamra gets out, somewhat unsteady.
HOLLIS: T! I've been looking everywhere for you.
TAMRA: Don't look at me, Em.
HOLLIS: Tamra, it's OK.
TAMRA: Don't hate me, Em.
HOLLIS: I don't hate you, T. You just had me thinking the worst, that's all.
TAMRA: This ain't far from it.
HOLLIS: You have a choice, T.
TAMRA: You got a choice. My mind makes itself up.
HOLLIS: What about your friend? You said on the phone you were afraid.
TAMRA: I don't know anything right now, I don't know if I'm more afraid of living than dying.
Hollis bangs on the door of a rehabilitation shelter.
HOLLIS: Emma Hollis. I called about Tamra Caffrey. Can we come in.
STAFFER: We're not no girls dormitory.
HOLLIS: She's in serious need.
STAFFER: I'm sure you're serious. But I've been there before with Miss T.
TAMRA: See, I told you, Em. Let's just go.
HOLLIS: She's hurting out here.
The door opens.
STAFFER: I got one bed. She tightens up, or she loses it.
Inner area of shelter. TV, people watching cartoon. The Staffer unlocks a barred door and enters, sits down at a desk. Hollis is sat in a chair nearby. Her cell phone rings.
FRANK: What are you doing, Hollis?
FRANK: I just got a call you that left the country.
HOLLIS: A call. From who?
FRANK: They told you to stay home.
HOLLIS: I'm not under house arrest, Frank. If I'm not mistaken, I haven't been charged.
FRANK: These people don't have margins. They don't make allowances.
HOLLIS: I'm finding that.
FRANK: This looks bad. Bad for the FBI. This makes it even look worse, Emma. I don't want you to throw your career away.
The Staffer man taps his wrist watch.
HOLLIS: I've got to go, Frank.
She hangs up. Frank, at home, is frustrated. Hollis goes into the dorm. One of the beds in the far corner is occupied. Hollis goes over. Tamra is lying covered with a blanket. She's suffering withdrawal symptoms.
TAMRA: Dying don't seem so bad as this.
HOLLIS: You sent me an envelope.
TAMRA: You get it?
HOLLIS: I need to know, T, exactly what happened while you're straight.
TAMRA: You won't believe me.
HOLLIS: I'd just like to make sure it wasn't a case of the yips.
TAMRA: Emma, please. I want off of it. I'm whacked right now but I didn't make it up. It's bad stuff, Em. It turns people into monsters.
HOLLIS: Where'd you get it.
TAMRA: I can't tell. I'm afraid.
HOLLIS: Who sold it to you.
TAMRA: Emma, please.
HOLLIS: I just need a name.
Hollis sits patiently. Eventually, Tamra responds.
TAMRA: His name is Pulga.
Night. Hollis draws up outside the apartment block. Inside, she walks down a dingy corridor. In one of the rooms a TV is playing loudly X-Files: Kill Switch. She knocks on the door, which is partly opened by a woman.
HOLLIS: Hi. I'm sorry to bother you. I heard your TV on. Do you know Pulga?
The woman closes the door without answering. Hollis knocks the door again but doesn't get a response. She walks further down the corridor. Pulga appears in the corridor behind her and stands watching.
Hollis travels down a large rickety cargo elevator to the ground floor. She exits and goes out onto the street. There's still a large bloodstain on the ground. She notices the elevator again moving downwards, then a car approaching. She realizes the car is aiming straight for her and runs for cover. The car stops and as she runs away the driver, Johnny, gets out the car and fires at her. Hollis runs back into the building and hits the button for the elevator. Johnny runs in and sees the elevator disappearing upwards. Hollis attacks him from behind but he retaliates and punches her, leaving her slumped against the wall. He goes over to pick up his gun and Hollis attacks him again and pushes him into the elevator shaft. The elevator is descending, and Hollis pulls down the elevator cage door.
JOHNNY: Hey, you crazy bitch.
HOLLIS: You want to see how crazy? Are you Pulga?! Are you Pulga!
Hollis pushes up the cage door and grabs Johnny out of danger. The elevator comes to a stop, and Hollis sees Pulga in the elevator. She is distracted and Johnny grabs her round the throat.
HOLLIS: I could have left you on the elevator.
PULGA: Who the hell are you? Poking your nose into the wrong holes, lady cat.
HOLLIS: Is your name Pulga?
PULGA: Where'd you hear that name?
HOLLIS: From a junkie who says you're selling bad smack.
Pulga aims his gun.
PULGA: Say it again. Say it again, and I'll kill you dead.
HOLLIS: I just don't want her dead.
Police sirens. The two men repeatedly kick Hollis and then run into the elevator.
fade to black
polaroid fade up
Vancouver Police Department
Interview room. Hollis sits alone, nursing the cuts and bruises to her face. A police woman opens the door.
POLICE WOMAN: Emma Hollis? There's a Frank Black asking to talk to you.
HOLLIS: On the phone?
Frank walks in. Hollis turns to hide her face from Frank but he leans over the table to look at her.
FRANK: They say you refuse to let a doctor see that cut.
HOLLIS: How'd you find me, Frank?
Frank moves to stand with his back to the wall.
FRANK: One Vancouver address on your Rolodex. Tamra Caffrey. The RCMP is very familiar with that name.
He moves back to the table.
HOLLIS: Look, Frank. This doesn't concern you.
FRANK: They're going to say you failed to mention her in your Academy interview. When you were asked about family, any history of felony convictions, you were less than candid.
HOLLIS: I didn't know about her. Not until two years ago when my cousin died. No-one was supposed to ever find out. An illegitimate child isn't exactly something that traditionally appears in family photo albums.
FRANK: It's your responsibility to inform your Bureau rep.
HOLLIS: What about my responsibility to someone in trouble. Who's got one person who even cares enough to take her phone call. No-one wants to hear --
FRANK: That doesn't explain your positive drug test, does it.
Hollis pulls up her sleeves to show her arms.
FRANK: Stop it.
HOLLIS: What do I have to do?
FRANK: I believe you. That's why I'm here.
HOLLIS: She sent me an unmarked envelope in the mail. I opened the packet and took a taste on the end of one finger. It was ...
HOLLIS: It was stupid. It was just thinking about how I was going to get it tested.
FRANK: Tested for what?
HOLLIS: Tamra says that junkies here are disappearing. That there's heroin on the streets that's turning people into monsters.
Frank picks up a chair and sits down.
FRANK: It's an old urban myth.
HOLLIS: Well, she says she's seen it. A friend of hers who she says a couple of dealers killed to cover it up.
FRANK: Who did this to you? You're unarmed Emma. You come up here investigating with no legal authority whatsoever.
HOLLIS: I'm afraid for her, Frank. I don't know if she can stay straight.
The shelter. Hollis knocks on the door. The Staffer checks then opens the door and lets Hollis and Frank in.
HOLLIS: How's she doing?
STAFFER: She hates the treatment, but they all do. I don't see her looking to bolt, though.
HOLLIS to Frank: Let me get her.
Frank's pager beeps: McClaren 703 555-0100.
McClaren's office. He answers his phone.
McCLAREN: McClaren. listens Where are you?
FRANK: I'm with Hollis.
McCLAREN: You went out there.
FRANK: It was on my dime.
McCLAREN: Come on, Frank. It's got nothing to do with money, I'm just catching flack left and right here over how this thing's being handled.
FRANK: I think there are mitigating facts.
McCLAREN: Well, good. Because they're ready to push a button on Hollis after this latest stunt.
FRANK: The dope you found was sent to her for testing.
McCLAREN: Well, it's been tested now.
FRANK: Did you find anything strange.
McCLAREN: What? Stranger than eighty percent pure street-grade heroin?
FRANK: Nothing besides that?
McCLAREN: It was cut with lactose and mannitol - baby laxative. What, that's not the mitigating circumstance you're referring to?
Frank sees Hollis and Tamra.
FRANK: I'll get back to you, Andy.
Photographs of Tamra and Elissa. Hollis and Tamra are in a park, Frank at a short distance from them while they talk. Hollis' cut now covered with steristrips.
TAMRA: Her name was Elissa. I called her E, she called me T, just like you Em. We met at Essence House. She was trying to kick. All these pictures were taken last summer after we both got clean.
FRANK: Emma. There have been seven unclaimed or unidentified bodies over the past three weeks. Six John Does. None of them match the description you gave us.
TAMRA: They pushed her out the window. I saw her lying there.
FRANK: You saw them push her?
TAMRA: I know they did it. She didn't jump if that's what you're thinking.
FRANK: How strung out were you, Tamra?
TAMRA: I wasn't even high yet.
Frank looks at Tamra. Vision: Tamra injecting herself.
TAMRA: You're looking at me like I'm making it up.
FRANK: Listen, you put her in a very difficult situation.
FRANK: What she needs is the truth.
TAMRA: I'm telling the truth. I saw my friend turn into a monster. You told me you're going to help me, Emma. I believed you.
Tamra is distressed. She runs off.
FRANK: Let her go.
HOLLIS: This isn't what she needs.
FRANK: What she needs is attention. Maybe that's what this whole story is about. Because none of it is making very much sense.
HOLLIS: She's really afraid, Frank.
FRANK: Look at what you're risking for what might turn out to be a junkie's delusional fantasy. You can't save her, you can't fix her, but maybe you can save yourself, Emma.
HOLLIS: From what? The delusional fantasies of McClaren and the FBI? I believe her.
FRANK: There isn't one shred of evidence to support what she's telling you.
HOLLIS: You and I - we'll go on living. Every day of that girl's life is a gamble.
FRANK: And now your life is becoming part of the stakes.
Hollis's phone rings.
HOLLIS: Emma Hollis. Yes. listens Thank you.
HOLLIS: They found the body.
Drugs lab. Dimly lit warehouse. Looks like a big operation - many packets of drugs on shelving. A man, Mr. Ho, sits carefully putting powder into a plastic bag. He has a large tattoo on the back of his hand. His face has the same blistered look as Elissa's. A beeping attracts his attention. Large hangar doors are opened and a van backs in, accompanied by several men. One is smartly dressed - this is Kai Lam, the drugs baron. The van doors open and two armed men get out. The van is packed with packets of drugs which other men start unloading. All the men are oriental-looking.
Kai Lam goes over to Mr. Ho who is standing in the shadows. They speak in a Chinese dialect.
KAI LAM subtitles: A thousand pounds for Laos through the mainland. Very difficult to transport. Many hands want money. Price goes up. Profit goes down.
MR. HO subtitles: I make more product. You make more profit.
Kai Lam notices the Chemist's skin and moves closer.
KAI LAM subtitles: Are you sick?
MR. HO subtitles: No.
KAI LAM subtitles: What's wrong with you?
MR. HO subtitles: Western fast food.
Kai Lam smiles and walks back to the van. Light briefly illuminates Mr. Ho's face, showing his reptilian-like eyes.
fade to black
polaroid fade up
Morgue. Elissa's body.
DET. RONDELL: She's a floater. Came up under the docks. The body had been weighted down, clothed as you can see, but no jewelry or other identification.
FRANK: Any distinguishing marks?
DET. RONDELL: Just this "E" tattooed here on the back of her hand. Doctor?
The Medical Examiner talks into a dictaphone while examining the body.
MEDICAL EXAMINER: The body's been identified, but not by immediate family, as Elissa Zaritzski. There's water distension of the dermal layers consistent with prolonged immersion, along with some evidence of invertebrate scavenging on the exposed skin. No signs of any de-gloving of the epidermis of the hands. Should be no problem making a positive print ID. Subject is caucasian, twenties, with some fairly quality dental work some time in her life. Last few years have been high mileage. A lot of IV drug use, probably a big history. Jumps out as a dump, not a drowning.
HOLLIS: There's nothing else in her outward appearance that suggests another cause of death?
MEDICAL EXAMINER: Such as?
HOLLIS: Before she died, someone who was close to her said she'd taken on the characteristics of a monster.
MEDICAL EXAMINER: Riding the monster.
HOLLIS: I don't understand.
MEDICAL EXAMINER: Well, we've had a wave of heroin overdoses that were people looking for that monster. It's become a sort of mythological high, like seeing God.
FRANK: You've never seen any physical manifestation?
MEDICAL EXAMINER: I see a lot of these.
He pulls back the cover to reveal a tattoo just below Elissa's collar bone.
MEDICAL EXAMINER: It's an emulation of the Chinese animus concept of body decoration. You take on the characteristics of the animal or the demon you wear on your skin.
Frank looks closely at the tattoo. Vision: Tamra, screaming, strange eyes.
HOLLIS: So this girl was actually looking for the monster.
MEDICAL EXAMINER: I don't know if she found it, but she definitely got to see God.
HOLLIS: Excuse me.
Hollis walks away. Frank follows.
HOLLIS: She lied to me, Frank.
FRANK: I'm not so sure now.
HOLLIS: You're not so sure? You're the one who accused her.
FRANK: Someone went to the trouble of weighing Elissa's body down. Someone trying to hide something.
HOLLIS: But there's nothing to hide, you heard what the Coroner said.
FRANK: He said there's no physical manifestation of the effect. What if the effect is temporary? Temporary distortion of the human form. A monster within brought on by the drug.
HOLLIS: McClaren said the FBI drug test turned up nothing special.
FRANK: Maybe because they don't know what they're looking for.
Warehouse. A car arrives and drives slowly over to where two other cars are parked. The two cars switch on their headlights. In the car just arrived are Pulga and Johnny. In one of the parked cars is Kai Lam. Men from the parked cars get out and stand guard. Kai Lam gets out and walks over to Pulga and Johnny's car and bangs his hand on the hood and indicates for them to get out.
JOHNNY: What's he want?
PULGA: He wants to talk to me.
Pulga gets out. He's anxious.
KAI LAM subtitles: You ask for a meeting alone, but you don't come alone. You come with someone I don't know.
PULGA subtitles: He's okay. He works for me.
KAI LAM subtitles: How do we know he isn't a cop?
PULGA subtitles: I'd never betray you, big brother.
KAI LAM subtitles: Then why ask for a meeting?
PULGA subtitles: We buy only from you, but the product is bad. Something is wrong.
KAI LAM subtitles: Our product is the best.
PULGA subtitles: People are sick from it. People are starting to talk bad.
KAI LAM subtitles: You show me evidence. Proof of this sickness.
Pulga looks back at Johnny.
Computer screen. Representation of molecule, graphs. Police lab. Frank is talking on the phone while Det. Rondell and Hollis are checking data.
FRANK: It wouldn't have shown up in your drug test, Andy. Your tests are not specific enough to find what I'm looking at.
McCLAREN: What are you looking at?
FRANK: A tissue sample from a hardcore user showing an accumulation of a strange and foreign hormone in the woman's skin cells.
McCLAREN: OK, I trust you.
FRANK: The hormones have been chemically attached to either the lactose or the opiate itself, using some very sophisticated science. This is what Emma was trying to investigate. This is the reason she was in possession of drugs.
Det. Rondell has handed Hollis photographs of Johnny and Pulga. She nods.
McCLAREN: Yeah. Frank, just hold on. I know you're on to something there, but there's no need.
FRANK: What do you mean, no need?
McCLAREN: The OPR investigation of Agent Hollis has been dropped.
Frank indicates to Hollis to pick up an extension phone.
FRANK: Since when?
McCLAREN: Well, I got the call when I was on my way home. They want me to draft a full apology to Emma.
FRANK: Where did this come from?
McCLAREN: I don't know. Frankly, I don't care.
FRANK: Wait a minute. The OPR did this independently?
McCLAREN: Well, I guess it comes from DoJ, maybe higher.
FRANK: The Department of Justice? Don't you find that weird, Andy?
McCLAREN: Look, I just want you to get your behinds on the next plane home. OK?
Frank and Hollis replace their phones.
FRANK: Hey. Go find Tamra.
FRANK: Because her life's in danger.
The shelter. Hollis bangs on the door.
STAFFER: Hold on! Hold on! I'm coming.
He slides back the grille.
HOLLIS: I need to see T.
He opens the door and lets Hollis in.
STAFFER: T's out. She didn't make curfew.
HOLLIS: She's not in her room?
STAFFER: It's not her room anymore. Those are the rules.
HOLLIS: Out with who? Did she say?
STAFFER: Didn't ask. She didn't say.
Pulga and Johnny in their car.
PULGA: You want to see the monster.
In the back of the car is Tamra.
Hollis parks her car and gets out.
PULGA: Johnny's gonna show you where the monster lives.
Pulga taps Tamra's arm, Johnny hands Pulga a syringe.
Hollis enters the apartment block.
HOLLIS: T! Tamra!
In the car, Pulga injects Tamra.
In the apartment block, Hollis continues to search.
HOLLIS: Tamra Caffrey!
In the car, Tamra closes her eyes, in a drugged stupor.
fade to black
polaroid fade up
Warehouse. Johnny and Pulga drive in. Kai Lam's car pulls up behind them. Kai Lam and his minions get out, as do Johnny and Pulga.
PULGA subtitles: Big brother. We brought what you asked for.
KAI LAM subtitles: Proof?
PULGA subtitles: See for yourself.
Kai Lam looks in the back of the car. Tamra has her hands over her face, is rocking backwards and forwards, whimpering.
KAI LAM subtitles: I see nothing.
Pulga bangs on the window.
PULGA: Hey! Look up!
JOHNNY: Hey! Freaking monster.
Johnny opens the car door and turns Tamra to face Kai Lam, who recoils at the sight.
KAI LAM subtitles: Leave her.
PULGA subtitles: Where?
KAI LAM subtitles: Leave the car. We'll take you where you need to go.
Police station. Frank is checking something out on the computer. He's looking through police cords. Looking at one, Wing Ho, he has a vision - reptilian eyes, the face of the Chemist, white powder, the tattoo on his hand.
FRANK: Detective, I asked you for the prime movers of the heroin in BC and you gave me this man. Why?
DET. RONDELL: Wing Ho. He's a chemist for one of the oldest Hong Kong triads.
FRANK: There's a mugshot but no record, no information.
DET. RONDELL: I believe he's a deep cover informant for your US DEA.
FRANK: How did they turn him?
DET. RONDELL: He patriated here from Canton province in 1993. His brother was ordered executed by the Dai Lo in Taiwan. Ordinarily their Kuan Ti code would keep him quiet, but Ho couldn't forgive his brother's death.
FRANK: Couldn't forgive the Dai Lo.
Frank picks up the phone.
DET. RONDELL: Who are you calling?
FRANK: The Assistant Director of the FBI. Put some pressure on the DEA. Find a twenty on their informant. Get Agent Hollis back here. We're going to need some backup.
Warehouse. Drug lab. Mr. Ho is working. Kai Lam enters with some of his minions.
KAI LAM subtitles: You are a good chemist, Ho. Very careful.
MR. HO subtitles: Yes.
KAI LAM subtitles: But you have made a terrible mistake. There is a girl outside. There's something very wrong with her. Perhaps you'd like to see.
MR. HO subtitles: No.
KAI LAM subtitles: You did this to her. Step forward!
Ho steps into the light.
KAI LAM subtitles: How much have you poisoned? How much?!
MR. HO subtitles: All of it.
Later. Cars arrive outside the warehouse. Frank and Hollis are in the leading car, other police cars behind them.
Frank and Hollis investigate the darkened warehouse shining their flashlights around on equipment, wooden crates. They split up. Hollis stumbles on the body of Johnny, his hands tied behind his back. He's been shot in the head.
Frank runs over.
HOLLIS: It's the dealers.
In Frank's flashlight, Pulga can be seen. He's also been shot through the head.
FRANK: I smell gasoline.
They move further into the warehouse. Frank discovers empty gasoline cans.
FRANK: The building's been doused.
HOLLIS: Their own product?
FRANK: It's no good. It's been chemically contaminated. You gotta get out of here now.
HOLLIS: Where are you going?
FRANK: To look for Tamra.
HOLLIS: It's my responsibility.
FRANK: No. Go on, go.
Hollis goes off while Frank continues to search. Hollis runs out to the awaiting police officers.
HOLLIS: Get the Fire Department out here, the building's set to go!
Frank searches further, then hears a whimpering. He smashes the glass in a door.
Unlocking the door, he goes in and sees Ho, the Chemist.
FRANK: Where is she?
Ho doesn't respond. Frank hears the whimpering again, and sees Tamra curled up on the floor.
FRANK: It's OK.
As he starts to pick her up, there's the sound of firecrackers. Frank looks back into the warehouse and sees flames.
FRANK: Come on.
He helps her to her feet. He shines his flashlight over her face - her skin is blotchy.
TAMRA: No! Don't look at me!
Frank calls to Ho.
FRANK: Come on! We gotta go! We gotta get out of here!
Outside, the wall of the warehouse explodes. Hollis and officers duck down behind the cars. Out of the smoke, Frank carries Tamra.
Frank carries Tamra over to Hollis, who sees Tamra's face.
Bullpen. Hollis walks to her desk. Baldwin is walking behind her. Hollis's desk is empty.
BALDWIN: Hey. Just got off the phone to OPR. Your things should be returned by this afternoon.
HOLLIS: Thank you.
BALDWIN: How's your friend?
HOLLIS: She's getting better. Thanks.
BALDWIN: Emma. I'm glad that this misunderstanding got sorted out. I hope you learned something from it.
HOLLIS: Learned something?
Frank enters the bullpen and goes over to McClaren's office.
HOLLIS: You were saying?
BALDWIN: You make the same mistake.
HOLLIS: As who?
Baldwin indicates Frank.
BALDWIN: You don't trust the system. You take your own counsel. People see you as an outsider.
HOLLIS: I trust the system, Barry. Just not everyone in it.
BALDWIN: You got lucky this time, Emma. Next time he might not be there to save you.
Baldwin walks away.
McCLAREN: What am I looking at here, Frank?
FRANK: A chemical model of a synthetic hormone that was laced into heroin, injected into Tamra Caffrey.
McCLAREN: Now look, wherever you're going with this - it's all over now.
McCLAREN: If you were thinking about making an accusation or turning this into some kind of crusade, I would warn against it, Frank.
FRANK: Isn't that was the FBI was ready to do to Emma Hollis?
McCLAREN: I don't make the rules.
FRANK: There are no rules, Andy. Only expedience and necessities.
McCLAREN: Look, Frank. All's been forgiven.
FRANK: No, Andy. It hasn't.
fade to black