Yeah, I gotta go. I’ll see you tonight, Regi.

Sarah hangs up, takes him in: cardboard BOX in his arms. Fish out of water in his Fubu and baggy jeans. Amused—

SARAH (CONT’D)

Yeah. I’m Linden.

HOLDER

I thought you’d be outta here by now. But if you need more time, I can wait outside.

SARAH

No, it’s okay. No, no, come on in. I’m almost done.

Not much room to navigate. He drops his box on the desk, knocking over her box, spilling files everywhere.

HOLDER

Damn it—

SARAH

It’s okay, I got it.

Holder tries to help, making more of a mess.

HOLDER

My bad, my bad.

Hold picks up the box, she takes it.

HOLDER (CONT’D)

Here.

He moves to the other side of the desk. Starts unpacking his own box.

HOLDER (CONT’D)

So, I hear you’re moving to LA.

SARAH

San Francisco area.

HOLDER

Oakland?

SARAH

Sonoma.

HOLDER

Sonoma. It’s nice.

SARAH

Yup.

Beat. She continues to clean up, not interested in engaging.

HOLDER

Nice weather. Ocean. The beaches … Hate that shit.

Holder shoots a ball into a hoop/trash can. Sarah smiles grudgingly.

SARAH

You must love this place then.

HOLDER

Ouch.

He’s glancing at one of Sarah’s files. CLOSE ON gruesome crime scene PHOTO of an ADDICT — white, trashy, fatty (think Courtney Love) — cut ear to ear. Beneath, a SKETCH: a lonely grove of trees on the sand. Beautiful.

HOLDER (CONT’D)

Crack head thought she was Picasso?

SARAH

Crack head’s six year old son drew it.

HOLDER

He get iced, too?

SARAH

No.

Sarah takes the sketch. Puts it away. Holder waits for more. None coming. Fort Knox this woman.

HOLDER

So what happened to the kid—?

LT. OAKES — 50s, soft touch for Sarah — enters.

OAKES

Don’t waste your time moving in, do ya?

HOLDER

No. County cut me loose early. So, I …

OAKES

Well, you got a tough act to follow. You wrapped up here, Sarah?

SARAH

Yup. All done.

Oakes hands her a PAPER.

OAKES

Good. Got a call down at Discovery Park. Check it out.

SARAH

On my last day? My flights tonight—

OAKES

You’re still on the city’s dime.

(off her look)

You can hand it off end of shift. Six o’clock. Go on do your job. Take him. Show him how to work a scene.

HOLDER

(quietly)

I know how to work a scene …

Reluctantly, Sarah grabs her coat and a box—

SARAH

Grab a box. We’ll take my car.

HOLDER

Alright.

SARAH

(indicating a nearby box)

Over there.

As Sarah and Holder exit, boxes in tow, Holder shuts the door with his foot.

EXT. DOWNTOWN SEATTLE - AERIAL SHOT - DAY

Transition.

INT/EXT. SARAH’S CAR - DAY

Sarah drives, Holder yaks. Wipers flipping across the rain-soaked windshield. Squat factories — abandoned, graffii-marred — slide past their windows.

HOLDER