7x13: How To Save A Life
Recap by Misty Flores
PACO'S KITCHEN
As Montoya films, Don Lorenzo speaks to the camera, as Silvia is behind them, conducting an autopsy on the bodies they have found.
DL says as Montoya films that he's hoping that this will provide sufficient proof to open the Palenque Case.
DL: I'm recording this autopsy with Inspector Gonzalo Montoya and Inspector Silvia Castro as witnesses.
Gonzalo, not comfortable with this, breathes in unsteadily.
DL: Where are we, Silvia?
SILVIA: Based on the decomposition of the bodies, they've been buried about 8 months. The preliminary analysis of the soil around the bodies reveals that they could have been buried in two different locations. They moved the bodies for sure.
Silvia also finds what appears to be a bullet hole in the head of one of the bodies, but she can't tell. She finds something also in the chest cavity, and asks DL for a fork.
She jams the fork in the body, as Montoya grows increasingly uncomfortable with what's happening.
SILVIA: I don't see anything. Shine the light, will you?
She tries to open the cavity with the fork, but it's not working. DL notices identical bracelets on the body.
SILVIA: I don't have the strength. I need some proper instruments.
DL: Gonzalo, I think there's a spatula in that drawer. Get it, please.
Gonzalo is aghast.
GONZALO: Don Lorenzo, this is ridiculous. We're doing an autopsy here in a kitchen with a spatula that you fry eggs with!
DL: We've already talked about that. Do what I told you. Silvia, continue.
GONZALO: No.
DL: What do you mean, no? Why?
GONZALO: Because you're no one to be making these kind of decisions, Don Lorenzo. As a matter of fact, you're interfering directly with protocol.
DL loses his temper.
DL: Let's see, Gonzalo. I'm your superior. I've given you an order! So follow it!
GONZALO: I'm not going to complete any order knowing that it's illegal!
Silvia watches them both. Gonzalo looks at her, pleading for her help.
GONZALO: Silvia, we can't just ignore procedure – we could ruin the case! Tell him!
Silvia just looks at her father, then at Gonzalo.
SILVIA: Gonzalo, while you're standing there arguing, more boys could be dying.
She goes back to work.
DL: Do you understand, Gonzalo?
Montoya just grabs his jacket.
DL: Gonzalo, listen-
MONTOYA: No! Yesterday I did enough for you. And today you still want more. What you need is a penalty.
He storms out. DL is stricken, but swallows and continues.
DL: Let's go, daughter. You and I will continue.
He picks up the video recorder himself and continues filming.
LATER
It's three in the morning, and Don Lorenzo covers up the bodies on the table and waits.
OUTSIDE PACO'S HOUSE
Povedilla, Kike and Curtis stand vigil, keeping an eye on their suspected pedophile. Povedilla says that Silvia left and hour ago, and DL is probably asleep, but they blinks when they see a kid in a hoodie heading up the stairs to DL's apartment.
They glance up to the balcony as the kid takes a breath to gather his courage and presses the buzzer. DL opens the door, obviously battling with this premise. The kid, otherwise known as 'Queco' (remember him? The witness who came back to town?) wants to know what's wrong, if DL doesn't like what he sees. DL denies this, and so Queco kisses him. DL lurches back and brings the kid inside, but the Peeping Tom Trio downstairs are horrified.
Curtis instructs Povedilla to sneak upstairs and tell them what's going on.
INSIDE
DL asks Queco if he wants anything to drink, but Queco just asks for his money. Povedilla looks through the window that DL is giving the boy money.
The boy begins to caress DL, who struggles with it, until he sees a SHINY bracelet on the boy, the exact same bracelet that was on both of the dead bodies.
IN THE DESERT
Paco is awoken by Mariano, who explains that he tried to return the daughters that became his concubines to their father, but he got offended, so instead he was able to convince the father to give one of them away.
He asks Paco which one he wants.
AT PACO'S APARTMENT
DL tries to make small talk with Queco, questioning him about his clients, but Queco is not interested in that. He tries to relax him by taking off his shirt and giving him a massage. DL uses the opportunity to question Queco about his friends, the two dead suspects.
Povedilla freaks out because DL is receiving a naked massage.
Queco, however, is more and more agitated as DL brings up the boys who died. He freaks out and tries to leave and give DL back his money. DL grabs him.
Povedilla is not afraid that DL is going to rape the boy. He reports this and can't watch anymore, skidding down the stairs.
DL drags the boy to the kitchen and reveals the bodies.
IN THE DESERT
Mariano and Paco pray with the other men, and argue about Sara and Paco's obsession with her marriage with Lucas and her relationship with Aitor.
Mariano tells him he's got no right to interfere in her relationships.
SARA'S APARTMENT
Sara receives another text from 'Lucas'. She's happy at first, but something confuses her. She's troubled.
PACO'S APARTMENT
DL shows the boy his badge and tells him that he'll be next unless he helps DL. The boy is terrified and doesn't want to help. Dl reaches to try and comfort him, but Queco backs up into the counter suddenly and bruises himself.
DL tells him he'll let him go home, but says he wants the boy to think about it – he'll help him and won't let anything happen to him, he just has to tell him where the men are. DL gives him his card and lets him go.
DOWNSTAIRS
The trio of Peepers watch fitfully as the boy comes out and hobbles away. The guys think DL has fucked the guy to the point of pain. Kike thinks they need to do something drastic like electro therapy but Curtis decides that it'll be up to Paco. For now they need to distract him with someone else. They elect Povedilla.
SARA'S APARTMENT
Sara sits on her couch, contemplating as night turns to day. Aitor's phone rings, but he's getting out of the shower. She answers it, and it's a guy speaking in Arabic. Aitor comes back in and flinches when she presses the phone to his ear. She wants to know how long he's been speaking Arabic and is furious with him for pretending to be Lucas. He asks if she didn't' want him to do anything then why was she complaining to him and showing him little graphs.
She tells him because she thought he was her friend. Curtis shows up and demands the files of the Arabs. Sara pleads for more time. Curtis wants them on Paco's desk by noon. He leaves, and Sara sits down, still silently furious with Aitor.
CACHIS
While the new manager of Cachis blathers on to Silvia about improvements she wants to make to the store, Silvia attempts to take notes. In reality, she can't keep from staring at Pepa, who, across the way, is staring at her blatantly.
Though Pepa has eyes for no one but Silvia, Kike and Curtis across the way, are eyeing her, with their closed case 'Palenque'. Curtis tries to gather his courage.
Pepa keeps staring. Silvia is once again pulled in.
CACHI'S MANAGER: Are you listening?!
Silvia jerks as the Cachi's manager taps her.
SILVIA: What?
Kike and Curtis approach. Curtis almost loses his nerve, but approaches and slams the folder down in front of Pepa, forcing her attention away from Silvia and making her blink in surprise and confusion.
CURTIS: This afternoon we have a stake out on the Palenque Case.
Now Pepa's even more confused.
PEPA: But hasn't the Palenque Case been close for… 7 months?
KIKE: ANOTHER one. ANOTHER Palenque.
Pepa frowns. Kike uses the distraction of a bartender to smooth things over.
KIKE: Oh look! A warm snack! Very nice. And bring us some beers, okay? Thanks!
Pepa goes back to smirking in Silvia's direction, in between distantly listening to Curtis. Silvia can't stop staring.
CURTIS: It's a really dirty case. Assassins. Extortion. Prostitution. Drug Trafficking. The whole shebang.
Pepa's eyes remain fixated on Silvia. Silvia has given up pretense and is simply staring, completely turned on by Pepa, until she realizes what she's doing and shakes herself out of it, breathing in deeply.
CURTIS: And I'll tell you one thing. It can get hardcore. Really hardcore.
That feigned warning is enough to distract Pepa.
CURTIS: If that's too much for you, I can take Kike. It doesn't matter to me.
PEPA: Hardcore? Hardcore for me? Listen, Curtis. I take hardcore stakeouts and turn them into family entertainment.
She goes back to staring at Silvia.
CURTIS: Perfect. If things get hard core, I'll cover you.
The phrasing throws her. Curtis fumbles.
CURTIS: Your back. But now because you're a woman. You can also cover me.
Pepa once again gives him an odd look.
CURTIS: … Not because you're a lesbian. It's just that-
Kike smacks Curtis on the shoulder, keeping him from rambling too much.
CURTIS: I mean as companions and coworkers – I cover you, you cover me, and we'll cover each other.
PEPA: Sure, Curtis. Count on me. We'll go, we'll look, and we'll see what's going on.
She gets up to go, just as Silvia gathers her things across the way. Curtis watches her adoringly.
As he does – the symphony, cheesy music swells again, and time slows down as Pepa and Silvia head toward each other.
As they pass, their hands BRUSH – Silvia's hand curls, tingling at the contact.
Curtis watches, stricken by the moment as Silvia passes, and slows.
Silvia, unable to ignore Pepa's presence, finally turns to look back at her love.
Pepa stops, and does the same.
Their eyes meet.
Ever so slightly, Silvia SMILES, before turning and continuing on her way.
Pepa's smile is hopeful, and bittersweet, as she turns back and heads on.
Curtis, having witnesses this, shifts uncomfortably.
CUT TO-
THE LOCKER ROOM
Curtis rants on what he's witnessed as Kike gets ready for their 'mission'.
CURTIS: And I'll tell you one thing. I'll bet on my life that the reign of Silvia is over! But fuck, they had in the bar such a huge moment that- AUGH.
He paces some more.
CURTIS: It looked like a fucking perfume commercial, dammit! And you keep telling me to go for it – and are you serious with those salt bullets?
KIKE: If you want I'll put in the real ones. Don't whine. These bullets will give you superficial marks when they hit you.
Curtis sighs. Kike stands up and squeezes his shoulder helpfully.
KIKE: You're going to war! You need to be like Bruce Willis in the jungle!
Curtis sucks in his breath and nods.
Povedilla comes out of the shower, dressed in a little boy's school uniform and holding a lollipop. He's extremely unhappy with this look and thinks DL will not be attracted to him this way.
He goes back in and changes into a hip hop boy (looking pretty cute I might add), and then into a rocker, with tight black pants and a shiny belt. Curtis and Kike don't approve and finally he comes out in a basketball uniform.
They like that one and they think so will DL. Povedilla hesitates but Curtis asks him to do this for the boys. Povedilla sucks in his breath and heads out.
SARA'S APARTMENT
Sara is still giving Aitor the silent treatment, when Paco calls from the Desert. He asks how she's doing and she replies that she's fine. She has someone who loves her and people who care about her and want to see her smile. As she says this to him she realizes that Aitor was just being a good friend.
Paco silently picks up another phone and dials Aitor's number, and is stricken to hear Aitor answering in the background. He hangs up. Mariano is disgusted that Paco would spy on his little girl instead of just asking her for the truth.
LATER, Sara and Aitor silently sit together. She hands him a paper, forgiving him. Aitor smiles.
THE BULLPEN
Curtis walks toward the bullpen. He hears a random guy call out to Pepa.
RANDOM GUY: Hi Pepa!
PEPA: Hello, good morning!
RANDOM GUY: You look gorgeous today!
PEPA: Thank you!
Once again, Curtis' love addled eyes trigger the slow motion symphony, as he watches Pepa (who does look gorgeous today) walking happily toward the stairs.
But for Pepa, the symphony-slow-motion inspirer is Silvia, and she's at the top of the stairs, handing off a file. Pepa slows down and stares up in adoration and unspoken love.
This time, Silvia doesn't bother to look away as she catches Pepa's eye and smiles.
Curtis watches Pepa's love struck face, and suddenly remembers VIA FLASHBACK, how Silvia and Pepa's hands touched in the café, and the resulting perfume commercial.
He flexes his hand and contemplates his strategy.
Meanwhile, Pepa and Silvia have their own Romeo & Juliet on the balcony moment as Pepa stares up unabashedly at Silvia. Silvia smiles down at her, glancing back to look at her another time before heading up the stairs.
Pepa watches her go.
Curtis takes a deep breath and holds out his hand as he walks toward Pepa, prepared to let it brush with hers and recreate that moment she had with Silvia.
But Pepa's moving up the stairs. Curtis turns and follows her, hand outstretched.
Pepa's moving fast, but stops in her tracks when someone else comes down the stairs to help him with the files.
Curtis, who has his eyes closed, doesn't realize this, and ends up CLAMPING his hand against PEPA'S ASS.
The SYMPHONY STOPS.
Pepa blinks, and jerks her head back, to discover a stunned Curtis still standing there with his hand on her ass. Kike notices from the bullpen.
Pepa is FURIOUS. And Curtis' hand is still on her ass.
PEPA: What the fuck are you doing, Curtis!?
He snatches his hand away, searching for an explanation.
CURTIS: No-
He stumbles, and ROLLS down the stairs.
PEPA: Curtis!
He lands in a heap on the floor. Pepa, hand on her mouth, is horrified. Cops cluster around Curtis. Curtis groans and pushes himself up, touching the big bloody welt near his eye.
RANDOM COP: Are you okay?
CURTIS: Yes, yes, yes.
Pepa breathes a sigh of relief.
CURTIS: Yes, yes, I'm okay. Relax.
He glances up at Pepa. Pepa gives him a 'what the fuck is wrong with you?!' hand gesture.
He glances at Kike. Kike arches a disbelieving eyebrow.
Curtis realizes everyone is still staring.
CURTIS: What the hell! People can go down the stairs anyway they want to!
KIKE: Curtis! [hisses] Come here!
Pepa rolls her eyes and continues on her way. Curtis stumbles to Kike and sits down.
CURTIS: As you were! As you were!
He grabs headphones and slams them on, mortified.
DL'S OFFICE
Povedilla enters DL's office and with the instruction of Kike and Curtis, tries to seduce DL. Very unsuccessfully. He tries to offer himself to DL by telling him he sometimes fantasized about being with an older man like DL.
DL is furious and tells him he has a fantasy too. Curtis and Kike realize they're losing him, and instruct Povedilla to kiss DL.
He does.
THE BULLPEN
There is a HUGE smacking sound, the sound of glass breaking, and the basketball rolls down the stairs as Povedilla is kicked out of DL's office.
DL'S OFFICE
DL is furious from Povedilla, but answers the phone when it rings.
He hears heavy breathing, and realizes it's Queco, who is scared and panicked.
Povedilla sneaks up to the broken window and eavesdrops.
Queco tells DL that he's scared they're going to kill him tonight. DL promises him nothing will happen to him, and to just tell him where he is and he'll go get him right now.
Povedilla sneaks away.
Queco tells him that he's where they do the prostitution: Forjadores 36 is the address. DL realizes it's the same place as it was before, where they looked when the case was open and found nothing.
Queco hears something and hangs up.
THE BULLPEN
Pepa and Curtis get ready for the stake out. Curtis writes down the very address that DL was just given.
CURTIS: Forjadores 36 . This is where the stake out is! You're really up for this, right?
PEPA: What do you think, Curtis?
CURTIS: Well, let's go!
PEPA: Wait, one thing.
CURTIS: Mmhmm?
PEPA: Promise me that you're not going to grab my ass in the car, okay?
He blinks and stares at her. Pepa's teasing smile turns into a warning stare, as she heads off.
Curtis tries to laugh. He wants to cry instead. He begins to lose his nerve.
CURTIS: Fuck I can't. I can't I can't.
KIKE: Come on! I'm your backup!
Curtis tries to psyche himself up and leaves. Povedilla comes running down the stairs and tells Kike that DL didn't like him, but has made a date with another boy, and is on his way to get him now. They look up to see DL arguing with Montoya.
Kike decides electrocution is their only option.
IN THE DESERT
Mariano has traded the sisters for a camel, and tells Paco that now they go their own way. Paco tells him he wants to take care of his daughter, but Mariano tells him he has no reason to be butting into his daughter's relationships, and that Paco failed already with Lola.
Paco loses it when Mariano keeps pressing him about Lola and attacks him. They start fighting, as the other men watch.
SARA'S APARTMENT
As Sara and Aitor discuss the case, they begin to text each other to discuss the texts. Sara apologizes for being furious and admits the texts made her feel good. Aitor says he was happy to be her Cyrano if it made her happy. She says he can text her whenever he wants, he says that the calls are international and he's going broke, so Cyrano's mobile will now be silent. They laugh and get back to discussing the case.
THE BULLPEN
Montoya chases after DL and demands to speak to him. He asks if DL has reported the bodies yet, and if he won't then Montoya will.
DL wants to know what the hell Montoya's after – his position? Montoya just wants to make sure no one in this precinct thinks they can be above the law. DL gives him the number and tells him to go obey protocol, but he's going to go save lives.
Montoya, frustrated and battling himself, settles on the stairs.
IN THE GARAGE
Kike sets up the homemade 'electroshock therapy' while Povedilla tries to convince him that this is not the way to go about it. Kike tells him that they won't hurt DL; it'll be fine.
He makes Povedilla drink some yogurt as DL comes down the stairs. Povedilla lurches in front of him and pretends to puke on his shoe. Povedilla tries to take the shoe off as Kike begins to put a puddle of water toward DL's foot. DL tries to get Povedilla off of him, but he steps in the water and Kike SHOCKS him.
The entire precinct flickers and DL falls to the floor, not breathing. Povedilla panics and tries to give him CPR. DL wakes up to see Povedilla's lips close to his.
DL: Again, you faggot?
He staggers up, wondering what happened. Kike escapes, but Povedilla tries to keep him upright. DL whispers that he has to save the boy.
IN THE DESERT
Paco and Mariano lie on the sand, spent, as a soldier rides up with two horses and says he's Lucas's companion. Lucas is 25 minutes away on horseback and has sent him to find them and bring them, because he couldn't find them in the storm.
Paco gets ready to go but stops, and instead says they're not going to see Lucas if he's busy. They're happily on vacation and will see him when he comes back to San Antonio. The soldier is flummoxed and annoyed that they won't see Lucas when he's so close, but Mariano agrees. They ask him to tell him that they miss him but they'll see him in San Antonio.
Mariano and Paco hug, best friends again.
THE STAKEOUT
Pepa and Curtis are laughing as they talk on their 'stake out'.
PEPA: Curtis, why did you become a policeman?
CURTIS: For the awesome paycheck.
Pepa laughs.
CURTIS: I entered the police force to become rich!
PEPA: Sure, me too! Only we can buy that bullshit!
He laughs.
CURTIS: But! When I got the first check, I realized I was wrong! If I had known you 15 years ago, you know what I'd be now? A rich son of a gun! I'd have my big house, my fancy car!
PEPA: I bet you would! I bet you would, but, you know what? I prefer you as the great poor guy.
She caresses his face affectionately. Curtis is dazed.
CURTIS [VO]: Fuck. She prefers me like this! And if I give up on the false operation and tricks, and I plant on her neck a kiss like she's never seen?
IN THE DESERT
Paco and Mariano pack up their camel and leave as the soldier and the nomads see them off. They happily begin to chat about the desert.
AT THE STAKEOUT
Curtis is still debating.
CURTIS [VO]: She said that she prefers me the way I am. And she could have said nice. But she said great! And with a great guy, you go have drinks, you flirt with him and you sleep with him! You don't sleep with a nice guy, or make love to him until you're nuts or fall in love with him, but with a great guy? You do!
Pepa, oblivious, cleans her gun.
CURTIS [VO]: And when the bullets start flying, who is going to head out there with a pair of balls? The great guy! Awesome, crazy, great guy!
AT SARA'S
Sara makes fun of the movie on Aitor's shirt and wants to know why he loves it so much. He says he likes the movies where the underdog gets the girl. They have an awkward moment, and then the doorbell rings. Thinking that it's Curtis, Sara gets up to answer it, but there's no one there. As she steps outside, the hitman who hijacked her car points a gun at her, warning her to keep quiet.
Aitor wants to know what's wrong with Sara, and the gunman pushes inside.
IN THE BULLPEN
Montoya sits on the stairs, struggling, until he gets up and pulls out his phone. He reports DL for opening the Palenque case without authorization.
Someone on the phone immediately gets a call and hangs up, and then calls THE BAD GUYS, who are at the location where Pepa/Curtis are staking out.
He tells him that they've reopened the case and are probably watching them. One of them looks outside and sees the car that Pepa and Curtis are sitting in.
BAD GUY ONE: What are we going to do?!
AT THE STAKEOUT
DL and Povedilla pull out. DL is clearly shaken up, but takes out his gun, determined to save the boy. Povedilla tries to talk him out of it but DL gives him a gun and says he's going to back him up, but with the GUN, not … in a homo way.
IN CURTIS' CAR
Curtis phone starts ringing.
CURTIS: It's my phone, isn't it?
Pepa nods. Curtis checks – it's Kike
CURTIS: Fuck, it's an ex who keeps calling me – she wants a date, she wants to try again –get back together-
PEPA: I'll leave you alone, okay?
CURTIS: No-nononono! Don't bother.
He answers the phone.
CURTIS: Yes?
Kike's on the roof of the building, ready to take his shots at them.
KIKE: I think the electrshock we've given Don Lorenzo has cured him, but it nearly killed him.
CURTIS: But WHAT-
He glances at Pepa, and calms down.
CURTIS: uh… tell me, because I don't understand…
KIKE: If we do it again we'll end up killing him.
CURTIS: Right, I agree, we did have a great time in … [he glances at Pepa] in bed making love.
Pepa smirks.
CURTIS: But… woman, the other things were never good.
KIKE: What are you saying? I'm in position with the bullets made of salt, okay?
CURTIS: Right, that's it exactly – it's pouring salt in old wounds! And we've already talked about it, we've already tried, and it doesn't work. You need to try to forget about me , find someone new, find yourself… [he stares longingly at Pepa] a great guy.
DL AND POVEDILLA –
DL: Get ready. We're going in. NOW!
They go!
KIKE keeps giving Curtis instructions.
KIKE: Listen to me, when I shoot a bullet in the air, run out of the car, and shoot for the dummy, understood?
CURTIS: Yes, doll. Kisses. A kiss, okay?
DL AND POVEDILLA reach the gate. DL nearly keels over, but keeps his footing.
CURTIS talks to Pepa
CURTIS: She's not over it. She's won't get over it, and I left her, and she doesn't understand that … that some things come to an end…
He's talking about Silvia. Pepa, smiling at him in amusement, does not get the message.
CURTIS: … and there are other things that are just beginning.
Pepa turns away, and begins to get a little uncomfortable.
INSIDE THE HOUSE
The BAD GUYS are freaking out.
BAD GUY TWO: I'll tell you what we're going to do.
He grabs his gun and heads for the window.
BAD GUY TWO: We're going to blow their brains out.
SARA'S APARTMENT
The hitman has pushed Sara back into the apartment is now pointing his gun at Aitor. Aitor tells him they don't know where the witness is. He says he's not interested in the witness. He needs protection. He begins to put the gun down.
Aitor grabs him as Sara grabs the gun and pushes him to the railing. He tells him he's under arrest for attempted murder.
AT THE STAKEOUT
DL picks the lock as the Bad Guys aim at the police car.
BAD GUY ONE: Are you crazy?! We can't fire at the police!
BAD GUY TWO: And let them find what we have in here?!
ON THE ROOF, Kike loads his fake bullets.
DL opens the gate.
BAD GUY TWO: NOW!
They shoot.
SHOTS ring off the car. Pepa JUMPS, startled, ducking against Curtis.
Kike jerks, and checks his gun, making sure it didn't go off.
DL and Povedilla jerk away from the gate.
PEPA: FUCK! They're shooting at us!
Curtis REMEMBERS what Kike told him.
KIKE [flashback]: Pepa is a woman of action, and here in San Antonio, she's bored! But if you put her in Vietnam, with the bombs trashing the trees and the bullets whizzing by your ass? The story changes!
Curtis looks down as Pepa clings to him, ducking the bullets.
Kike looks down and sees the bad guys firing at them from the window. He also sees Povedilla and DL just outside the gate.
POVEDILLA: Let's call for back up!
DL: No! Let's go!
Pepa also thinks back up is the way to go. She tries to reach the radio.
PEPA: BACK up!
CURTIS: Fuck that! Before I need back up I can handle four of these guys!
SARA'S APARTMENT
The hitman pleads that he can help them. They're going to kill him if they don't protect him because he failed the kill the witness. Sara, believing him, lowers the gun and tells Aitor to loosen up.
AT THE STAKE OUT
The shooting continues. DL and Povedilla jerk inside the gate and head for the house.
Pepa huddles with Curtis in the car.
CURTIS: Stay in the car until I tell you it's safe, okay?
PEPA: Are you crazy? Look outside! It's fucking raining bullets!
Curtis grabs her head tenderly.
CURTIS: I have to, because I couldn't bear it if anything happened to you.
FLASHBACK-
KIKE: You're going to war! You have to be like Bruce Willis in the jungle!
/FLASHBACK
Still thinking this is just a set up, Curtis gets out of the car.
PEPA: No! No, Curtis! Curtis NO!
She tries to grab for him. He ignores her and valiantly (and stupidly, not even covering himself) runs for the house with his gun.
Kike watches in horror as Curtis approaches the house. He shouts his warning.
KIKE: Curtis! CURTIS! Don't!
The bad guys watch as Curtis approaches them. THEY FIRE.
Curtis is SHOT IN THE ARM.
Pepa recoils in horror. Kike shouts in agony.
KIKE: NO!
Curtis is stunned, grabs hold of his arms, and remembers what Kike said.
KIKE [flashback]: The salt ones won't hurt you when they hit you.
CURTIS: Fuck these salt bullets! They sure as fuck hurt like the real thing!
He staggers forward.
The bad guys SHOOT AGAIN. This time they get him in his upper chest.
Pepa and Kike are agonized and paralyzed as Curtis staggers.
DL AND POVEDILLA enter the house, and are just outside the room where the bad guys are shooting.
Pepa can't take it anymore and fumbles for her gun.
Kike runs to help Curtis.
Curtis is shot again. He howls in agony.
Pepa steels herself and heads out of the car, gun drawn, trying to save Curtis.
Kike runs desperately, Pepa gets closer.
Curtis is shot AGAIN, in the gut.
IN THE HOUSE –
DL and Povedilla get ready.
DL: Let's go!
They turn the corner, guns drawn.
DL: Freeze! Guns on the floor!
Bad Guy One immediately lowers his gun. Bad Guy Two points it at DL. They're in a stand off.
OUTSIDE –
Curtis stumbles forward, but collapses. Pepa finally makes it to him, and is in a panic.
PEPA: Curtis! Curtis! Curtis no!
Kike runs up, gasping for air as he sobs.
PEPA: Curtis! Curtis!
They stare at each other in panicked hysteria.
IN THE HOUSE
The stand off continues.
DL: Give me a fucking reason to close the Palenque case once and for all. Give it to me, asshole.
He's an intimidating furious man. Bad Guy Two finally lowers his gun. DL motions Povedilla to the bedroom.
DL: Pove!
OUTSIDE
Pepa scrambles to try and stop the bleeding as Kike pulls out his phone, calling for an ambulance.
KIKE: Now!
Curtis is in really bad shape. Pepa is desperate to try and stop the bleeding but there are too many bullet wounds.
IN THE HOUSE
DL takes control of the situation.
DL: Face the wall!
Povedilla busts open the bedroom door.
POVEDILLA: Freeze!
He's horrified when he sees two old naked men and two naked boys huddled on the bed.
Another man tries to rush out of another room, but runs right into DL's gun.
DL: Face the wall.
He does so. In the room is QUECO, the young prostitute boy who DL promised to save. He stares at DL, afraid to believe he's safe.
Povedilla struggles to maintain his composure at the horror of this.
POVEDILLA: … Put on your clothes.
He looks at DL, and watches as Queco stumbles off the bed and sobbing, runs to DL, wrapping his arms around him.
DL grabs hold of him with one hand, comforting him as the boy sobs gratefully.
Povedilla FINALLY gets it. DL stares at him, and rolls his eyes at Povedilla's assumptions. Eyes filled with tears, Povedilla smiles meekly and nods in regard for his commissioner.
Still holding the boy, DL nods back.
AT SARA'S
With information from the hitman, Sara and Aitor realize that the terrorists are planning to strike at the G8 Summit.
AT THE STAKEOUT
Pepa and Kike hover, destroyed over Curtis.
The ambulance comes and rips open his shirt, trying to stop the bleeding.
Kike comforts Pepa.
They load Curtis into the ambulance. Kike, seeing how destroyed and alone Pepa is, motions her into the ambulance. She jumps in.
IN THE AMBULANCE
PEPA: Curtis, hang on.
MEDIC: he's losing a lot of blood.
The ambulance speeds along as Pepa stares down at Curtis, in tears, trying to understand.
PEPA: Curtis, you have to tell me. Why did you do it? Why did you do it? Why the fuck did you run out of the car, Curtis?
Curtis shakily lifts the air mask off his mouth.
CURTIS: To impress you.
Pepa is stunned.
CURTIS: You left me branded when you kissed me.
He starts to fade.
Pepa is stricken, overwhelmed with guilt as she realizes that her reckless action has unknowingly put this tragedy in motion. Curtis sees the look on her face.
CURTIS: But you weren't there with me.
Pepa doesn't know what to say. She tangles her fingers with Curtis.
CURTIS: you-
PEPA: Shh. Don't try to speak. Okay?
She puts the mask on his mouth. He pulls it off again, looking at her pleadingly.
CURTIS: You weren't branded. No?
He's shaking, nearly dead.
Pepa will not break his heart now.
PEPA: Yes I was, Curtis. I was there with you.
He stares at her.
CURTIS: Pepa, I-
He winces, and she tries to stop him, shushing him tenderly.
PEPA: Don't talk.
But he struggles through his agony –
CURTIS: I love you.
His heart rate begins to drop.
MEDIC: We're losing him!
Pepa has nothing else she can say but -
PEPA: I love you too.
He FLATLINES.
The medics scramble as Pepa and Kike clutch each other, sobbing as they try again and again to shock Curtis' heart and bring him back to life.
Again. And again.
Curtis won't live.
Another shock.
Curtis' lifeless eyes stare up toward the roof of the ambulance.
End EPISODE