1. INT. SEBU'S BEDROOM. DAY SEBU, thirteen years old, overweight, looks down at his school backpack.

He says nothing and puts the backpack on. INT. HASSAN APARTMENT DOOR. DAY HOYO kisses SEBU on the forehead. SEBU hesitates leaving. HOYO (in Somali, smiling) It'll be fun. SEBU reluctantly leaves. EXT. MIDDLE SCHOOL PLAYGROUND. DAY SEBU in fistfight with BULLY. BULLY lands a few punches on SEBU'S face. INT. MIDDLE SCHOOL HEAD OFFICE. DAY SEBU, face bruised, sits on a waiting bench across from BULLY. BULLY'S MOM walks out of the Principal's office and grabs BULLY by the arm harshly, taking him away. BULLY'S MOM (muttering) Tired of this shit--- every other week. INT. HASSAN DINNER TABLE. NIGHT HOYO angrily serves a rice dish from a pot onto the plates infront of SAHRA, five years old and in a small hijab, SEBU, face bruised, and ALI, seventeen and lean. (All dialogue Somali unless otherwise noted a.k.a. 'UON') HOYO What I would give for three sweet daughters. Sweet--and kind--and caring. ALI But you have two already, Hoyo. HOYO (ignoring ALI)

2. I could braid their hair--they wouldn't eat as much-ALI Have you seen how much Sahra eats? Three of those? HOYO Ey, you leave her alone. She's the only good one out of you three. (to ALI) At least you never got in fights. ALI (mutters) Not ones that you know about. HOYO is finished serving and takes a seat. HOYO Sebu, do you have any idea what they do with kids who get into fights at school? Do you? Ali, tell him what happens. ALI (promptly) Jail. Not even regular jail. The kind of jail where they play recordings of Hoyo shouting at you the whole day. HOYO And my other son's a clown. (to SEBU) Don't think you'll be sitting around watching TV these two days. The mall-- with me-- eight to six if you're lucky. ALI (whispers to SEBU) Special prison. HOYO (to ALI, sternly) And you--

3. SAHRA looks over at HOYO concerned. HOYO (to SAHRA, softly) Not you, Hoyo, you're the good one. (to ALI, sternly) You! What did you do in school today? ALI delays, picking away at his food. ALI I saw Officer Lee. HOYO Really? What did he say? ALI picks up his glass of water and begins a ridiculously long sip. INT. SCHOOL HALLWAY. DAY ALI cautiously maneuvers through the hallway, crouching when passing by classroom doors. His shoes are tied across his shoulder. At a corner, ALI comes to a complete stop-and then continues. INT. EMPTY CLASSROOM. DAY ALI pokes his head in and, ensured that the room is empty, makes his way over to the windows which lead out onto the parking lot. ALI slides out through a faulty window. EXT. PARKING LOT. DAY ALI sneakily cuts through the parking lot. EXT. SIDEWALK. DAY At a safe distance from the school, ALI kneels and puts his shoes on. He only gets one on before realizing that Officer LEE is standing infront of him. ALI stands straight, a shoe in hand and looks at LEE. LEE is scowling, hands at waist, and stares ALI down. LEE Hello, Ali. ALI

4. Officer. LEE Wonderful day isn't it? ALI Quite. LEE How's your mother? ALI (after a pause) I guess I'll be going back to school now. LEE You do that. INT. HASSAN DINNER TABLE. NIGHT ALI ends his ridiculously long sip of water and places the glass on the table. ALI He said, 'Hi.' HOYO (in English) He is a good man, no? (gesturing to Sebu, in Somali) Why can't you be like that? A knock on the door. HOYO gets up to open it. INT. HASSAN APARTMENT DOOR. NIGHT HOYO opens the door. ODAY, the energetic elder living across the hall, stands holding a clipboard. (Somali u.o.n.) HOYO Oday! How are you? ODAY Salaamwalaykum, sister, I'm fine. How are the kids?

5. HOYO Very good, mashallah. (pointing at clipboard) What do you have there? ODAY A petition! (lowers voice, leans forward) You know Ms. Adam down the hall? Her doormat--stolen! And kids keep knocking on my door and running off-- No boundaries, this generation! HOYO Ah, they'll learn like us, Oday, just give them some time. ODAY Let's hope so, but until then, I want a camera. A small, cheap one, but I think that should be enough to keep the hoodlums on their toes. HOYO Ah. And you're collecting signatures? ODAY Just so management knows the idea has support. HOYO I can't seem a harm in that. HOYO takes the clipboard and signs her name. ODAY God bless you, sister. Sorry to bother you. How are the kids? HOYO They're good, Oday. ODAY Ah. Wonderful. ODAY leaves abruptly. INT. HASSAN DINNER TABLE. NIGHT

6. HOYO returns to the table. HOYO A camera will be good. Keep an eye on you. HOYO points at ALI, then SEBU, and then SAHRA, who smiles, causing HOYO to smile. They all go back to their meal. INT. SCHOOL HALLWAY. DAY ALI, shoeless, maneuvers down the hall. He arrives at a corner and, hearing footsteps, comes to a complete stop. The footsteps begins to sound more and more distant and ALI returns to maneuvering down the hallway. INT. EMPTY CLASSROOM. DAY ALI enters the same empty classroom as before, puts his shoes on, and looks out the window to see if there is anyone in the parking lot. No one is there. He leaves through the same faulty window as before. EXT. BUS STOP. DAY ALI cautiously waits at a bus stop, constantly looking over his shoulders. INT. RASHID STORE. DAY HOYO talks with OWNER as SEBU sits deflated on a chair. SAHRA has her face pressed against a window display. On the counter in front of HOYO are two large duffel bags full of colorful clothing wrapped in plastic packages. She haggles with RASHID, the storeowner with a mean look. (Somali UON) RASHID The price is too high. HOYO But this is the best fabric. Go ahead, feel it. Pakistani. RASHID Everyone says theirs is Pakistani. I trust you, sister, but the price is still too high.

7. HOYO Well how much is reasonable? SEBU groans loudly in his chair. HOYO (sharply) Sebu. SEBU quiets down but doesn't look at HOYO. HOYO Sahra, get your face off the glass! SAHRA gets her face off the glass. HOYO (to RASHID) Last week you said you needed some higher-quality merchandise for Eid. RASHID But I only buy from you when there is a discount, sister. HOYO But just feel this fabric! It's much better than anything anyone else has. SAHRA walks away with neither HOYO nor SEBU noticing. RASHID feels the fabric. RASHID It is better. HOYO Yes. RASHID From Pakistan? HOYO Pakistan. RASHID Twenty percent discount?

8. HOYO I can't do that, brother. RASHID Then I think I'll have to pass. HOYO Ten percent? RASHID Fifteen. HOYO (upset) Okay. HOYO looks around for SAHRA HOYO (to SEBU) Where is Sahra? SEBU I don't know. HOYO You were supposed to look after her! SEBU doesn't respond. HOYO What is wrong with you?! SEBU doesn't respond. HOYO looks at RASHID, who nods to show it is alright for SEBU to stay in his store. INT. RESTAURANT. DAY HOYO is frantically searching for her SAHRA. Sitting at a table with a large platter of sambusas are ODAY and SAHRA. On the TV is a soccer match that has caught SAHRA's eye. The match has devolved into a fight. ***CHOREOGRAPHY: To SAHRA the fight looks like a Bollywood dance number, with the players all in colorful outfits.*** HOYO enters the restaurant. In Somali UON. ODAY

9. (to SAHRA) But the trick is to start from the middle of one edge and work your way down. That way the two sides-ODAY sees HOYO coming towards him. ODAY (to HOYO) Sister! I was wondering how this one got out. HOYO goes and picks SAHRA up onto her waist. SAHRA looks at the TV again. The soccer match fight has ended. HOYO I'm sorry, Oday, these kids are driving me crazy. Her school starts in a week and I've got the other one to take care of. ODAY Oh, I can look after this one, no problem! HOYO Really? ODAY Sure! I don't have much to do today besides talk to building management about that camera. I can look after her as long as you need. HOYO You're sure she won't be a hassle? ODAY (in English) A hundred percent! HOYO (to SAHRA, in Somali) You won't be a hassle, will you? SAHRA shakes her head 'no.' HOYO kisses SAHRA on the forehead and puts her back on the chair.

10. HOYO (to SAHRA) I'll see you at dinner. (to ODAY) Thank you, Oday. HOYO leaves. INT. MOVIE THEATER ALI sits in an empty theater with a large bucket of popcorn, attentively wathing a kids' cartoon movie starring Oscar, a Popeye-like character with a similar nasal, 50sesque voice. OSCAR O.S. (motivationally) --but you can't let them push you around, throw you down, make you feel blue! No, you gotta fight, sonny! And they're gonna come from the left and the right and the back and the front, and they're gonna come in close but that's the best news you could get, sonny, and ya know why? 'Cuz that means they can't get away from ya then! OSCAR laughs. INT. COFFEE SHOP. DAY ALI sits, sipping from a mug of hot chocolate, reading from a small copy of the Adventures of Huckleberry Finn. INT. HANNA STORE. DAY HOYO bargains with HANNA in Somali as SEBU sits on the ground visibly bored. HOYO (to HANNA) Just came in last week. Pakistani. I touched up all the edges but if there are any flaws left I'll fix them. HANNA

11. If there are any flaws I'll lose customers. Say, (pointing at SEBU) is he alright? HOYO (embarassed) He's fine. He's just acting up a bit. SEBU overhears and is enraged. He gets up and leaves the store. HOYO (to HANNA) Just a second, I'm sorry. INT. SOMALI MALL HALLWAY. DAY HOYO catches up to the brooding SEBU. HOYO Sebu! HOYO tries to grab him by the shoulder but SEBU shrugs and keeps walking. HOYO What's wrong with you?! SEBU keeps walking. HOYO stops and yells after him. HOYO Fine! Go ahead. See if I care. INT. ART MUSEUM. DAY ALI looks at a large Chuck Close work intently. From down the hall the voice of an elderly woman calls out to him. STAFF Excuse me, sir. ALI doesn't react. STAFF member comes closer. STAFF Excuse me, sir, how old are you? ALI

12. (without turning) Thirty-two. STAFF Truants aren't allowed during school hours. ALI (still not turning) I have the flu. STAFF You don't look like you have the flu. ALI doesn't respond. STAFF I'm going to have to ask you to leave. ALI (not turning, eyes on the picture) In a minute. STAFF member walks away. EXT. MUSEUM. DAY As ALI leaves, LEE pulls up in his patrol car. LEE exits the car, opens the door to the back seat, and stands waiting for ALI to enter. ALI calmly walks down the stairs and into the car. INT. POLICE CAR. DAY ALI sits in the back. LEE takes the drivers seat and pulls away. LEE You know when most kids skip school they go off to a friend's house to do drugs or drink. ALI

13. The drug supply was low and I'd already drunk before going to school, officer. What would you do in that situation? LEE I'd go to an art museum and manage to get kicked out. ALI They're so mean in there. LEE Museum guards are known for their brutality. A silence. ALI So, what, are you gonna throw me in the can? LEE doesn't reply. ALI Well, I guess school does tend to teach me something every now and then. LEE doesn't reply. ALI (concerned) Wait, why did you take a left? School's-Officer LEE smiles and doesn't reply. ALI looks out the window and comes to realize where LEE is taking him. ALI (whispers) Goddamn it. INT. IMAM'S OFFICE. DAY IMAM, an old, stern man in black religious gear, sits across from ALI. LEE stands behind IMAM, smiling.

14. IMAM (in rapid Somali) 'Go even as far as China for an education,' and you can't even go a few blocks down the road? What do you expect will happen with your life? Do you think your forefathers would have given up a chance to receive a proper education? Wallahi, your generation doesn't seem to understand how blessed it is-LEE (in English, to IMAM) He's all yours, Imam. IMAM (in English, to LEE) Thank you for bringing him in, Officer-- I won't let him skip again. LEE Yeah, it's my job I guess. LEE nods and leaves abruptly. IMAM (in Somali) Do you realize how embarassing that is? You are one of our kids. If you skip school-- do drugs-- if you drink, do you know how that reflects on us? ALI tries to interrupt but IMAM talks over him. IMAM I don't want to involve your mother. She has enough trouble as it is trying to raise three children by herself. Shame on you, adding to her burdens. Prayer and education! That's what you need. Make a good man out of you--

15. IMAM opens a desk drawer and pulls out a book. IMAM Here-IMAM hands ALI the book. IMAM Come to me in, let's say, two weeks. We'll discuss it then. ALI examines the book cover. IMAM And prayer--asr [afternoon prayer] every day after school. Skip school again and I'll make maghreb mandatory, too. ALI is disheartened at the sentence but doesn't protest. INT. SOMALI MALL COURT. DAY SEBU sits on a bench staring downwards, upset. HOYO approaches and speaks to him in Somali. HOYO I know it's boring, Sebu, but I have to do it. SEBU doesn't turn around. HOYO Come on. I'll buy you a sambusa. There's only a few more stores left to do. HOYO leaves. SEBU gets up and follows her. INT. MOSQUE WASHROOM. DAY ALI washes for prayer. INT. PRAYER FLOOR. DAY ALI dries his wet face with his sleeve and enters the praying floor. A small number of older men are scattered over the floor. Towards the back is a CREW of four young

16. Somalis (TALIB, KHALID, MUSA, BARAK), all around ALI'S age. ALI walks over and sets his prayer rug down next to them. TALIB (looking at ALI) Another prisoner for Imam Mutalib. ALI smiles and nods as he sits down on his rug. TALIB What, is he going to take another hour to start? KHALID It's midnight in Mecca already! Might as well skip today. TALIB Wallahi, I could go up there and start it right now, and no one would say a thing. MUSA Do it. TALIB Want me to? MUSA I dare you. KHALID Wallahi, I'll buy you a coke if you do it. TALIB Like a two-liter? KHALID No, man, a can. TALIB (quietly but forcefully) Man fuck that! CREW laughs. TALIB

17. A two-liter or nothing. KHALID Costs too much. TALIB What? KHALID A two-liter costs too much. TALIB It's two bucks, you cheap piece of-KHALID Shh--shh--he's on. IMAM stands up front, back to the congregation, and begins calling out to prayer. IMAM O.C. (incantation) Alllaaaaahuaaakbar--INT. MANAGER'S OFFICE. DAY MANAGEMENT sits across from SAHRA and ODAY. Dialogue is in English though ODAY's accent is often difficult to understand. MANAGEMENT But we already have a camera in the lobby. ODAY Yes, but not in the hallway. MANAGEMENT And why do we need one in the hallway again? ODAY Because of the hoodlums! These-these kids, they are stealing. They are making noise. They might rob! If we have a camera, they will start to behave.

18. MANAGEMENT Mhmm. And you're the only one to complain. ODAY No, no--(ODAY pulls out clipboard with petition) see? Signatures. Many signatures. MANAGEMENT takes the clipboard and looks over the petition. MANAGEMENT Mhmm. These are all people in your hallway. ODAY Yes. MANAGEMENT There are sixteen hallways in this building. ODAY Yes. MANAGEMENT We can't put a camera in one hallway and not all sixteen. We just don't have the money. ODAY contemplates. ODAY Fine. I'll put one. MANAGEMENT What's that? ODAY I will put one in. I'll buy a camera and put it in the hall. MANAGEMENT I'm afraid that doesn't fix the problem. ODAY Why not?

19. MANAGEMENT Well people will still come to me and tell me that there's a camera in your hallway and not theirs. ODAY But I'll buy it. MANAGEMENT But, see, they won't know that you bought it. ODAY I'll put a sign on it. MANAGEMENT You'll put a sign on it? ODAY Yes. I will say it is mine. MANAGEMENT But that doesn't change anything. People will ask why you had to buy it and why we couldn't just pay for it. It'll be a mess. We have cameras in the lobby and there hasn't been a break-in for as long as I can remember. All I'm saying is just sleep on it--you'll realize that there's nothing to really worry about and a camera isn't necessary. Now, you'll have to excuse me-MANAGEMENT gets out of seat and starts towards the door. MANAGEMENT I have to use the bathroom. MANAGEMENT leaves the room. ODAY looks at SAHRA. INT. MOSQUE. DAY ALI in prayer alongside the CREW. They are prostrate on the ground. All talk in English quietly, so as not to catch the IMAM's attention.

20. KHALID Barak, you ever wash your ass? TALIB Quit sniffing his ass, man. Prostration ends and everyone returns to the kneeling position. TALIB Barak, your ass smells fine. All return to prostration. TALIB You should really brush your teeth though. INT. QURAYSH CLOTHING STORE. DAY HOYO smiles as she finishes a transaction with the owner, QURAYSH. SEBU stands next to her and helps repack the duffel bags. EXT. SOMALI MALL PARKING LOT. DUSK HOYO and SEBU put the duffel bags away in the trunk. EXT. MOSQUE. DUSK ALI, TALIB, BARAK, KHALID and MUSA leave the mosque. ALI goes off his own way. KHALID (to ALI) See ya, man. ALI smiles and nods, then walks away. For only the briefest moment an unmarked white van parked at the end of the block catches his eye. He pays it no further attention and walks away. INT. APARTMENT BUILDING HALLWAY. NIGHT HOYO and SEBU, each carrying a heavy duffel bag, walk down the hall to find ODAY and SAHRA staring at a certain point in the ceiling. Somali UON.

21. HOYO What are you looking at Oday? ODAY turns around as SAHRA runs over to HOYO, who picks her up on her waist. ODAY It's the placing for our new surveillance camera, sister. HOYO opens the door to her apartment. HOYO Oh. Did management say it was alright? ODAY In a way. HOYO Hmm. Well thank you so much, Oday, for taking care of Sahra for the night. ODAY It wasn't a problem. You said her school doesn't start for another week, right? Do you need me to take care of her tomorrow? HOYO I wouldn't want to bother you. ODAY Nonsense! She's an angel! I don't have much to do other than this camera business. HOYO I'll drop her off with you in the morning, then? ODAY That'd be wonderful. INT. HASSAN DINNER TABLE. NIGHT

22. HOYO serves spaghetti from a pot as SAHRA, SEBU and ALI sit in their usual arrangement. HOYO (in Somali) How was your day, Ali? ALI (in English) Good. Nothing special. HOYO finishes serving and takes a seat. HOYO (in Somali) Nothing? ALI (in Somali) I went to the mosque. HOYO (taken aback) Really? ALI (in Somali) Yeah. Imam gave me a book to read. HOYO (pleased) Really. (to Sebu) See, this is the kind of thing that good boys do. (to Sahra) And you? You didn't make trouble did for Oday did you? SAHRA shakes her head 'no.' HOYO Good girl. INT. CLASSROOM. DAY In a class full of fisheyed STUDENTS, ALI reads his book. TEACHER Alright, let's circle up. Discussion time.

23. STUDENTS groan and get out of their seats. ALI is tapped on the shoulder. INT. CLASSROOM. DAY ALI is now halfway through his book. CLASSMATE (whispering loudly) Psst. Ali. ALI doesn't respond. CLASSMATE Psst. Ali! ALI (sharply) What? CLASSMATE What're you doing? ALI Reading. CLASSMATE What're you reading? ALI A book! CLASSMATE Let me see it. ALI No. CLASSMATE Man, you suck. INT. CLASSROOM. DAY ALI still reading his book. A spoken word ARTIST is about to give a presentation to the class. ARTIST begins her performance. ALI lowers book and stares in disbelief.

24. INT. SCHOOL HALLWAY. DAY ALI kicks his shoes off and slowly starts maneuvering down the hall. INT. EMPTY CLASSROOM. DAY ALI sneaks in as before and is just about to head out the window when he hears a voice call from the back. COUNSELOR Nu-uh! INT. HOYO STORE. DAY HOYO sits at a sewing machine as SEBU sits next to her bored. HOYO talks to him in Somali. HOYO Why do you keep getting in fights? SEBU doesn't react. HOYO Kids can be mean. They're mean all over. Don't you go and start being mean. I didn't raise a bully. SEBU unresponsive. HOYO Do you want something? A coke? SEBU still doesn't respond. INT. ODAY APARTMENT. DAY ODAY puts the finishing touches on an elaborate meal with SAHRA sitting at the dinner table. He brings the plates over and takes a seat himself. ODAY (in Somali) Now this is one I learned in Kenya. They don't cook rice the way we do, you know. Sometimes it's even better. See, I was in Mombassa--

25. SAHRA Mombassa! ODAY Yes, yes, Mombassa. I was living in a small room there and-SAHRA Mombassa! SAHRA smiles. ODAY It's a funny name isn't it? The house phone rings. ODAY goes over and answers it. ODAY (into phone) Hello? ... Yes, Abdi? ... (elated) How are you? How have you been? How is Hodan? ODAY is happy beyond words and leans over the counter, beaming with child-like joy. ODAY And how is Muskaan? ... Wonderful! ODAY goes to the fridge and passively examines a gallon of milk. SAHRA looks on. ODAY What? Friday? ODAY closes the fridge door and hurriedly finds a pen and a piece of paper. ODAY Yes, yes ... Three o'clock ... Park Ave. I will be there ... yes, bye ... oh, and-ODAY hangs up the phone and looks over to SAHRA with a joyful expression. ODAY Ice cream?

26. SAHRA Ice cream! INT. COUNSELOR'S OFFICE. DAY ALI sits across the COUNSELOR at her desk. COUNSELOR Fourteen. ALI It's not that bad. COUNSELOR It's the first month of school! ALI We don't do anything the first month anyways. We had some person come in doing spoken word in English class. Is that a graduation requirement? COUNSELOR At your rate you won't graduate. ALI You don't mean that. COUNSELOR Ali, listen to me. You can go to any college you want to--but not if you keep this up. We'll be forced to kick you out. (relaxes) Where were you going anyways? ALI I don't know. To some coffee shop. Do you how hard it is to read a book in this school? COUNSELOR See, shit like that. You could read at home and pay attention in class and you'd be fine. ALI But it's so damn boring.

27. COUNSELOR Yeah, well we all had to do it. INT. HOYO STORE. DAY SEBU doodles on a piece of paper. HOYO uses the sewing machines while holding her cell phone with her shoulder. HOYO (in to phone) Yes, but the deadline wasn't until Friday ... Yes, but I sent it in the mail by Friday ... please my daughter was very sick that week ... yes, okay, I'll hold. EXT. SCHOOL. DAY ALI has just left the school. SCHOOLKIDS walk past him, among them the KHALID, TALIB, MUSA and BARAK. KHALID You coming to prayer today? ALI nods. TALIB You better. Or else we gonna tell Imam Mutalib on you--have your ass beat, medieval style. He'll do it, too. ALI follows them. INT. MOSQUE WASHROOM. DAY ALI washes for prayer. INT. MOSQUE. DAY ALI walks onto praying floor to find the CREW mesmerized by RAZAKAR at the far end. ASAD When'd he come in? BARAK

28. My cousin saw him over in Columbia Heights a few days ago. KHALID Man, your cousin saw everyone in Columbia Heights a few days. TALIB Well the guy's gone to Harvard, written like a hundred books. MUSA How old is he? KHALID Fuck if I know. I'm still trying to figure out where he's from. TALIB India. BARAK Naw, man. Iran. TALIB How'd you know? BARAK You just know. KHALID Think he'll wanna go to the party tonight? TALIB Why don't you go ask him? KHALID Can't man. I'd piss my pants and we're out of bleach. TALIB You going Ali? ALI Where? KHALID

29. A little party. My cousin's in a frat by the U, said we should go over. ALI hesitant. KHALID Come on, man, it'll be good. TALIB Yeah, man. An experience. IMAM begins prayers. CREW stands and gets into a line. EXT. ROAD. DAY HOYO brings car to a sputtering stop with SEBU in the passenger seat. HOYO tries restarting the car but it won't start. HOYO tries again. EXT. MOSQUE. DAY CREW and ALI leave the mosque. ALI notices the white van again. RAZAKAR emerges from the mosque and stops infront of the CREW. RAZAKAR Know where I can get a good sambusa around here? No one in CREW can respond. RAZAKAR They still make them here? Haven't had one in a while. KHALID is the only who can answer. KHALID There's a good place at the corner. RAZAKAR What's your name? KHALID Khalid. KHALID extends his hand and shakes with RAZAKAR.

30. BARAK (shaking hands) Barak. MUSA (shaking hands) Musa. TALIB (shaking hands) Talib. BARAK (shaking hands) Barak. ALI (shaking hands) Ali. RAZAKAR Ali. (smiles) So this place is just down the corner? KHALID Yea. TALIB No, man, the best one is at Haweeya over on Nicollet. KHALID What you wanna make him walk ten miles? TALIB It's five blocks! RAZAKAR I think I'll try the one close by for now. KHALID It's better anyways. TALIB Man shut up.

31. RAZAKAR walks away. ASAD (mesmerized) What a cool motherfucker. EXT. SIDEWALK. DUSK HOYO and SEBU, each carrying a duffel bag, are walking home. HOYO (in Somali) It's not so bad is it? SEBU doesn't respond. HOYO (in Somali) You know, this is a lot easier than what you'd have to do back home. SEBU looks at her angrily. HOYO (in Somali) Yeah. You'd have to walk ten miles to get water. And then you'd have to carry the bucket on your head as you walked back ... swinging your hips at each step ... then we'd send you out to kill a lion for dinner. You could do it, too-SEBU smiles. INT. APARTMENT BUILDING HALLWAY. NIGHT HOYO and SEBU walk in. HOYO comes to ODAY's door and knocks. INT. HASSAN DINNER TABLE. NIGHT HOYO serves dinner, aware that ALI isn't there. Her phone rings and she answers. HOYO Hallo.

32. ALI OVER PHONE Hoyo. HOYO (in Somali) Ali, what are you doing--why aren't you here? ALI OVER PHONE (in Somali) Sorry, Hoyo. Imam Rashid was talking to me and I couldn't get away. Anyways, he says I should stay for isha. I'll come home afterwards, okay? HOYO visibly enraged simply hangs up the phone. HOYO tells SAHRA to go invite ODAY. INT. ODAY APARTMENT. NIGHT ODAY startled by a knock on the door and immediately grabs the phone. He cautiously opens the door. SAHRA Hoyo says to come eat with us. ODAY overjoyed, joins them. EXT. FRAT HOUSE. NIGHT ALI puts his phone in his pocket and is called over by the CREW. TALIB knocks on the door. FAISAL opens the door and excitedly greets TALIB. FAISAL Cousin! We-- are gonna get-- fucked up! EXT. APARTMENT BUILDING. NIGHT ALI finishes vomiting outside the building entrance and then goes in. INT. APARTMENT BUILDING HALLWAY. NIGHT ALI stumbles down the hall and drunkenly goes up to his own door. He decides to turn around towards ODAY's door. He

33. bangs heavily. INT. APARTMENT BUILDING HALLWAY. NIGHT ALI stops banging. Turns around and knocks on HOYO's door. INT. HASSAN APARTMENT. NIGHT In a darkened room, HOYO sits on the sofa. She hears ALI knocking and takes a moment before getting up to answer it. INT. HASSAN APARTMENT DOOR. NIGHT HOYO opens the door to see a scared and drunk ALI. ALI wobbles on his heels. HOYO slaps him. ALI looks down and starts to cry softly. HOYO hugs him. INT. ALI BEDROOM. DAY Next to the sleeping ALI, HOYO presses a button on the alarm that blares the radio. ALI wakes up violently. HOYO places a glass of water on the bedside table. HOYO (in Somali) Drink water. INT. APARTMENT BUILDING HALLWAY. DAY ODAY goes over to HOYO's door and knocks. (Somali UON) HOYO FROM INSIDE Just a minute, Oday! HOYO opens the door and fixes SAHRA's hijab. HOYO Are you sure she's not being a bother? ODAY No, not at all, sister! Don't be ridiculous. HOYO She's usually very well-mannered. She was sick a few weeks ago.

34. ODAY Oh no. HOYO But she's all better now. ODAY Thank god. ALI, in school gear, walks past HOYO, ODAY and SAHRA. ODAY Salaamwalaykum, Ali. ALI (without looking at anyone) Walaykulasalaam, Oday. ALI walks out. HOYO (sternly, in Somali) Walk your brother to the bus. ALI doesn't protest and walks back in. INT. SEBU'S BEDROOM. DAY ALI finds a half-dressed SEBU fallen back into bed. ALI wakes SEBU up. ALI helps SEBU get dressed. EXT. BUS STOP. DAY ALI and SEBU stand looking out into the street. ALI I know it's tough, but just try not to hit them. Unless they hit you, then you hit them back really really hard, but don't lose control. SEBU doesn't respond. ALI

35. Let them talk. They're nothing. But don't get suspended again. Bus pulls up and SEBU gets on. Bus leaves. ALI stands considering whether or not to go to school. INT. ELECTRONICS STORE. DAY ODAY and SAHRA look for a surveillance camera. STAFF comes to help. STAFF Can I help you find anything? ODAY (in broken English) Ah. Yes, please. We need a camera for a building. STAFF Like a surveillance camera? SAHRA intently looks around the store. ODAY Yes, please. STAFF Well, we have those over here. STAFF walks a little further down the aisle. STAFF (holding a box) Now these will run for months on one charge and records 24/7 on microSD cards at a max frame rate of one frame per second, but of course you can modify that to anything down to a frame a day. ODAY didn't understand any of that and the STAFF member realizes. STAFF (slowly) It's a very good camera.

36. ODAY (pointing at the price tag) Yes. Very good. Very much price. STAFF Well, we have a two-hundred dollar camera. ODAY (shaking his head) No. No. Too much. STAFF Well, this one is a hundred but I'll be honest, it's not that good. ODAY Do you have one for twenty? STAFF Uh. No. ODAY Fifty? STAFF No. ODAY contemplates his options. STAFF You could install a shell. ODAY What is a shell? STAFF It's basically the outer casing. STAFF member holds up the black eyeball-like structure that usually surrounds surveillance cameras. STAFF A lotta places just put one of these up. Tends to work just fine if you're trying to scare people or whatever.

37. ODAY Hmm. STAFF It's pretty cheap. INT. COFFEE SHOP. DAY ALI sits reading the Farah book. LEE's patrol car slowly goes by. They make eye contact. ALI nonchalantly packs up his backpack and walks out. INT. POLICE CAR. DAY LEE smiles as he turns the car around. EXT. SIDEWALK. DAY ALI maneuvers around into an alley. INT. POLICE CAR. DAY LEE turns car again, having difficulty finding ALI. He sees him turn into an alley and smiles again. EXT. ROAD. DAY ALI crouches infront of a parked car, behind the white van. LEE drives past, not seeing ALI as he stays perfectly still. The doors of the van swing open; inside are ALPHA and BETA. ALPHA Did you just run from a cop? BETA shows his badge. BETA Get in, kid. INT. VAN. DAY ALPHA and BETA smile, sitting across from ALI. BETA Sorry, Ali, we're not really mean. People just don't take us seriously (MORE)

38. beta (CONT'D) unless we act a bit tough, you know? ALPHA Yea, this guy's got an apartment full of mice cuz he doesn't wanna hurt em. BETA What, you ever laid out a trap? See that tiny little furball wriggling around, trynna get loose? I'd rather have live mice than half dead ones. ALI How do you know my name? ALPHA Listen, you're in a tough spot. Look here... ALPHA hands ALI a photograph showing RAZAKAR talking to him and the CREW. ALPHA You know that man? ALI No. ALPHA The man that's talking to you. ALI I don't know him. BETA Really. INT. IMAM'S OFFICE ENTRANCE. DAY LEE knocks on IMAM's half-open door. Visible inside are BARAK'S MOTHER and FATHER. BARAK'S FATHER (in Somali)

39. We just don't know what to do. IMAM is heard excusing himself and comes to the door and steps outside, closing the door behind him. IMAM Salamwalaykum, officer. How are you? LEE Walaykumasalam, Imam. I'm looking for Ali. IMAM He's not coming to pray until after school--wait, is he skipping again? LEE Uh-IMAM That boy! I told him--I told him-LEE No, no, I'm sorry to bother you Imam, I just need him for a little assignment. I forgot he was in school. IMAM Is that true? LEE nervous. LEE Yes--sir. I'll come back later. LEE leaves. INT. MOSQUE. DAY LEE sees RAZAKAR sitting and speaking with a group of YOUNG MEN in a corner and approaches. LEE Excuse me. RAZAKAR

40. Yes, officer? LEE You wouldn't happen to have seen a young guy walk in here? Ali? RAZAKAR Ali... Ali... Well no one has come in for at least half an hour but I think I know who that is. I'll tell him you were looking for him officer. LEE Thank you. LEE leaves. INT. VAN. DAY ALPHA Listen, we need you to keep going to the mosque. ALI You 'need' me? BETA Yea, just for a bit of time. ALI I go there anyways. ALPHA That's great. We need you to not stop. BETA Just for a little while. ALI perplexed. ALPHA And every now and then, drop by our van. Like today, after prayer, we'll be here so just come talk to us. Is that okay?

41. ALI I don't want to. BETA (sternly) Why not? ALI I just don't. BETA (anger rising) Is there any special reason? ALPHA puts a hand on BETA's shoulder. ALPHA (to ALI) Well you're in a tough spot, Ali. I don't know what to tell you. If you don't talk to us every now and then--well, we just can't help you. ALI Help me with what? ALPHA With anything. ALI silent. BETA (smiling) See you at (looks at watch) fivethirty, Ali. EXT. ROAD. DAY LEE driving by sees ALI standing on a sidewalk, looking down, confused and angry. LEE pulls up next to him and gets out. LEE I warned you about this, Ali. LEE taken aback. LEE

42. You alright? ALI nods slowly. LEE Well. Get in the car. INT. POLICE CAR. DAY LEE drives ALI. LEE (cautiously) What happened, Ali? ALI doesn't respond. LEE drives, growing more and more confused. EXT. SCHOOL. DAY Police car pulls up. INT. POLICE CAR. DAY LEE And, Ali--don't do this anymore. This is the last time. ALI nods and gets out of the car. INT. MIDDLE SCHOOL SEBU enters a noisy lunchroom and gets food, accompanied by no one. SEBU sits on an empty side of a long lunch table and begins to eat his meal. The conversations around him grow louder until it is obvious that he is being talked about. INT. RASHID STORE. DAY HOYO is in an argument with the RASHID in Somali. HOYO But the product is fine. RASHID

43. It's just not what I was looking for, I'm sorry. HOYO But you cut fabric out of all of them. RASHID For sampling. HOYO You need yards of samples?! RASHID Be calm, sister. HOYO What am I going to do with them now? They're not full even full reams. RASHID Somebody will buy them. HOYO Would you buy anything but a full ream? RASHID No. But that's none of my problem. HOYO None of your problem?! CUSTOMERS start to gather around the door. HOYO Well I refuse to refund you! RASHID (suddenly enraged) What?! Do you know how a business works, woman? HOYO is genuinely scared. RASHID

44. You think you can do just whatever you want?! CUSTOMER 1 steps forward. CUSTOMER 1 Brother, brother, what's wrong? RASHID This woman's sold me bad merchandise and she won't give me my money back! CUSTOMER 1 (to HOYO) Sister, just give him his money back. RASHID Right! HOYO But there's nothing wrong with it! RASHID Nothing wrong with it?! You sell me the wrong thing and you think you can get away with it? CUSTOMER 2 chimes in. CUSTOMER 2 Don't be greedy, woman! Other CUSTOMERS agree in unison. CUSTOMER 3 Give him his money back! EXT. SCHOOL. DAY ALI leaves school and meets up with CREW and they all start walking. EXT. MOSQUE. DAY ALI notices white van as he enters with CREW.

45. INT. MOSQUE WASHROOM. DAY ALI prepares for prayer. INT. MOSQUE. DAY In the prayer room, IMAM speaks as all listen. IMAM But if there is one man I could ever have the pleasure to introduce, it would be him--brother Razakar, please. RAZAKAR takes the podium. There is no applause as he prepares himself. RAZAKAR (in passionate, captivating voice) SPEECH ON FAITH. EVERYONE IN MOSQUE applauds, including ALI, much to his own surprise. INT. VAN. DAY ALPHA and BETA sit across from ALI. ALPHA Was he there? ALI Yes. ALPHA Did he do anything? Like give a speech? ALI Yeah. He gave a speech. BETA What'd he talk about? ALI Why we should try to be good muslims and all that.

46. ALPHA Ah. BETA Did you talk to him? ALI No. BETA Did he talk to you? ALI No. BETA Are you sure? ALI Yes. ALPHA Thank you so much, Ali. ALI That's it? ALPHA That's it. INT. HASSAN DINNER TABLE. NIGHT HOYO, SAHRA, SEBU and ALI all eat in morose silence. SAHRA is confused by it. INT. LIVING ROOM. NIGHT HOYO watches a bollywood movie with SAHRA. HOYO Are you having fun with Oday? SAHRA Yes. HOYO Good. Good.

47. INT. SEBU'S BEDROOM. NIGHT SEBU sits deflated on his bed. In a corner he notices a roll of black tape. He goes and picks it up. INT. ALI BEDROOM. NIGHT ALI sits on his bed. He hears footsteps and HOYO taking SAHRA to sleep. HOYO comes in to check on ALI, who is sitting on his bed. HOYO Are you ok? ALI Yes, Hoyo. HOYO stands at doorway. ALI Hoyo-- was he angry? HOYO Sometimes. Never cruel, though. HOYO comes in and kisses ALI on the head. HOYO You're a good boy, Ali. You aren't an angry boy. HOYO turn. HOYO I just wish you got better grades. ALI smiles. HOYO leaves. INT. IMAM'S OFFICE. DAY IMAM sits across from ALI, talking on the phone in English. IMAM (into phone) Asbestos removal? ... Why did they have asbestos in the first place? ... Huh. So no school? ... Yes, thank you.

48. IMAM hangs up. He talks to ALI in Somali. IMAM You should feel ashamed I have to check everything you say. ALI I do. IMAM So no school, huh? Well how far are into it are you? ALI I'm done. IMAM You finished? ALI Yes. IMAM So. What do you think? ALI It's a good book. IMAM I thought you would like it. What do you think of the main character? ALI (smiles) Reminds me of my mom. IMAM laughs. IMAM She is strong. ALI Why does she want to go back? IMAM It's home. ALI

49. Do you want to go back? IMAM More than anything else. INT. ART MUSEUM. DAY Out of the corner of his eyes, ALI sees RAZAKAR examining a distant work of art. RAZAKAR sees ALI, smirks, and walks over to him. ALI's eyes are pinned on a tapestry on the wall. RAZAKAR joins him. RAZAKAR A policeman was looking for you a few days ago. Am I standing next to a wanted man? ALI Evidence, sir. They lack it. RAZAKAR Do you like art? ALI What's there to like? RAZAKAR smirks. RAZAKAR Colors are nice. ALI Some are nicer than others, and others are less nice than some. RAZAKAR Wise words. RAZAKAR turns around to examine a miniature in a glass case. ALI joins him. ALI What do you do? RAZAKAR I'm a writer.

50. ALI Like a religious writer? RAZAKAR The pure craftsmanship--- yes, I write. ALI Like instruction manuals, or--RAZAKAR Mostly political stuff. ALI You like politics? RAZAKAR What's there to like? ALI and RAZAKAR move to a mannequin wearing medieval mail armor. RAZAKAR So much hate. ALI Yea? RAZAKAR Whoever wore this-- how many people do you think they killed? ALI Depends on how long he took to reload his gun. RAZAKAR smirks and looks over at ALI and then back to the mannequin. RAZAKAR I've written some things that've gotten me into trouble. ALI Yea? With who? RAZAKAR

51. Those in power, Ali. Do you know what the written word is capable of? ALI stays silent. RAZAKAR If you want peace, never write about injustice, Ali. Open a coffee shop and decorate it really well. You'll make enough money to have a good life and you'll meet interesting people, but for God's sake, never write about injustice. ALI I don't like coffee. RAZAKAR Ice cream, then. ALI Do you have a book? RAZAKAR (smiles) I'll get you a copy. INT. ALPHA BEDROOM. DAWN ALPHA's alarm rings and he quickly reaches over and quiets it. Next to him, his WIFE moves but doesn't awake. INT. ALPHA BATHROOM. DAWN ALPHA quietly brushes his teeth in his boxers and undershirt. INT. ALPHA BEDROOM. DAWN ALPHA, dressed in work clothes, adjusts his tie as he bends over to kiss his WIFE, who turns out to be awake. WIFE (quietly) Farmers don't even get up this early.

52. ALPHA If a farmer had drive out to Minneapolis-WIFE Be safe. Love you. ALPHA Love you too. WIFE cozies into her pillow. ALPHA kisses her cheek goodbye. INT. ALPHA SON ROOM. DAWN SON is asleep as ALPHA kisses his head goodbye. INT. VAN. DAY ALPHA and BETA sit across from ALI. They are midinterrogation. ALI appears frustrated. ALPHA Did he tell you what was in the book? ALI No. BETA Did he tell you anything about all that 'injustice,' stuff? What kind of injustice? ALI I have no idea. ALPHA Well what did you guys talk about after that? ALI Nothing, really. BETA (sharply) Nothing?

53. ALPHA puts a hand on BETA to calm him. ALI Yea. We talked a bit more about art and why people make it and all that and then he said he had some place to go. BETA Where did he go? ALI I don't freaking remember. ALPHA Did he say he was going to the mosque? ALI I don't remember. BETA What do you mean you talked about art? ALI (shrugs) We just talked about art. BETA Who the hell does that? ALPHA The whole time, did he say anything about any foreign country, or anything like that? ALI No, why? ALPHA sighs and BETA sits back. ALPHA Get going kid. INT. HOYO STORE. DAY

54. HOYO stitches in her store. The phone rings and she answers. HOYO Hallo? There is a murmur on the other end of the line. HOYO Yes. Yes. I will be there very soon. INT. CAR. DAY HOYO drives with a worried expression. INT. PRINCIPALS OFFICE. DAY HOYO walks in to find SEBU slouched in a chair, visibly saddened. The PRINCIPAL gives a slight shrug. HOYO goes over to SEBU and puts a hand on his shoulder. PRINCIPAL I don't know what it is. He just came to the office and started crying. HOYO is extremely concerned. PRINCIPAL Is everything alright at home? HOYO nods quickly. PRINCIPAL carries a doubtful, concerned expression. PRINCIPAL Our counselor is free in ten minutes. If you wait outside he'll come get you. INT. OFFICE WAITING ROOM. DAY HOYO sits on a bench next to, but slightly away from, SEBU. SEBU abruptly straightens up. It is clear he has stopped crying. He picks his backpack up and resolutely marches out the room and off to class. HOYO sits, confused and proud. INT. ODAY APARTMENT. DAY

55. MANAGEMENT ASKS ODAY ABOUT THE CAMERA SHELL PRICE. INT. HASSAN DINNER TABLE. NIGHT ODAY has joined HOYO, ALI, SAHRA and SEBU at the dinner table. ODAY (to SEBU) What happened to your face, Sebu? SEBU (quietly) I got in to a fight. HOYO clicks her tongue. ODAY Oh. That's a shame... did you win? HOYO and ALI both chuckle. INT. SOMALI RESTAURANT. DAY ALI and the CREW are sitting around a table eating sambusas and watching a basketball game on TV. ALI notices BARAK isn't there. ALI Ey, where's Barak? TALIB (eyes fixed on the game) Probably taking a shit. HABIB Must be a long shit, wallahi, haven't seen him for a week. ALI A week? TALIB Eh, who cares, man? INT. VAN. DAY

56. ALI wears a worried expression as he sits across from ALPHA and BETA. ALI Do you guys know anything about one of my friends--Barak? There is a very slight pause. As this dialogue progresses we become more and more aware of the efforts by the agents to conceal some pertinent information. ALPHA Skinny guy? ALI Yeah. He's Somali. ALPHA Ah. No, I don't really remember. BETA No, he's the guy--he goes to the mosque a lot, right? ALI (aware of a dissonance) Right. BETA Yeah, don't know anything about him. INT. ART MUSEUM. DAY ALI walks past an aggresive work of art. INT. MOSQUE WASHROOM. DAY ALI washes up for prayer in religious garb. INT. PRAYER FLOOR. DAY ALI comes over to CREW who are sitting in a circle, talking quietly. ALI What's going on?

57. TALIB Barak, man. ALI He alright? ALI takes a seat. KHALID Apparently no one's seen him in a while. ALI How long? KHALID Two weeks. Not in school or nothing. ALI Did y'all go check his house? KHALID I'm not going over there, wallahi, his parents are crazy. ALI considers. INT. PRECINT OFFICE. DAY ALI sits and observes the police officers at work in the office. Phones ring and many uniformed and uniformless people walk by. A person comes to a stop infront of ALI in casual clothes. It is Officer LEE. LEE They told me a skinny Somali boy was waiting for me. ALI Yeah, that kid was holding my place. LEE What do you need? ALI Why are you in golf clothes?

58. LEE I was playing golf. ALI Oh-- I, uh-- I'm worried about a friend. LEE Huh. Is it an immediate emergency? ALI No, no. Why? Do you need to get back to golfing? LEE What? No. If it was an emergency I'd call up someone to take care of it. ALI grins as if he has gained a small victory. LEE (catching on) Oh. Ha ha. You hungry? INT. RESTAURANT. DAY ALI sits across from Officer LEE at a table with two plates of breakfast on it. LEE Alright, kid, so what's the problem? ALI See I don't really know if it's a problem-LEE What does your gut tell you? ALI Gut tells me... that the steak's undercooked. LEE Yeah, yeah, cut it out. Say what's on your mind.

59. ALI No one that usually hangs out with him has seen him in a few weeks. LEE How many? ALI Two weeks, I hear. LEE Hm. See him at school? ALI No, but I don't usually see him, anyways. People who usually see him say they haven't either though. LEE What about the parents? ALI pauses. INT. DIRTY APARTMENT HALLWAY. DAY ALI knocks on an aged door with a peephole. He waits For a moment before knocking again. No one answers. A slender ray of light coming from the peephole is interrupted irregularly. He looks down at the bottom edge of the door and sees an unmistakable shadow of footsteps moving near the door. ALI goes to knock again but understands the situation and stops. ALI looks around for a clean spot in the hallway and takes a seat. ... ALI waits, sitting in the hall. Occassionally, the shadow of feet can be seen coming back to the door. It is clear that he is being watched through the peephole. ... ALI hears a soft voice from inside the room. BAKAR'S SISTER (from inside, in Somali)

60. He's been there for an hour. BAKAR'S FATHER (from inside, angrily, in Somali) Who is it? BAKAR'S SISTER I don't know. I think a friend. BAKAR'S FATHER Well tell him to leave! BAKAR'S MOTHER (from inside, with sadness, in Somali) Oh leave him alone. Silence. BAKAR'S FATHER groans angrily and swings the door open, surprising ALI. BAKAR'S FATHER (angrily, in Somali) Get out of here! ALI remains calm, not moving. BAKAR'S FATHER Go home! ALI calmly rises and walks away slowly, catching a glimpse of the interior of the apartment. Inside are four women, including BAKAR'S MOTHER and BAKAR'S SISTER, all crying quietly. BAKAR'S MOTHER prays over rosary as BAKAR'S SISTER quietly reads from the Qur'an. ALI leaves under the glare of BAKAR'S FATHER. INT. RESTAURANT. DAY LEE has stopped eating. ALI looks downward, confused. LEE breaks the silence. LEE Maybe he ran away. ALI not convinced.

61. LEE (jokingly) That's what you kids do every now and then, right? ALI, not feeling playful, doesn't answer. LEE (sternly) The problem is, Ali, that I can't officially file a missing persons report without parental consent-but I'll look into it. Officer LEE and ALI both reluctantly go back to eating. LEE The steak is terrible. ALI We should've asked for beef. INT. APARTMENT HALLWAY. NIGHT ALI, thoughts occupied, walks to his door. ODAY rushes up to him with a worried expression. ODAY (in Somali) Ali! Have you seen Sahra? ALI is visibly petrified, stunned into silence. ODAY (with a hint of playfulness) I can't find her anywhere! SAHRA giggles. ODAY moves aside and feigns surprise at finding her. ODAY Oh there you are! ALI recovers from the shock and briskly walks past ODAY, who is unsettle by ALI's quietness. INT. DINNER TABLE. NIGHT

62. HOYO yells at SEBU at the dinner table about report card. SAHRA and ALI eat cautiously. HOYO (in Somali, harshly, anger growing into a sort of maniacal rage) Do you even try? What, do you need a tutor? Should I spend every last penny we have so that you can pass the sixth grade?! Huh? What is wrong with you? What kind of son did I raise? Wallahi, what is wrong with you? Huh?! SEBU (whispering almost inaudibly) Fuck you. HOYO, utterly enraged, stares at SEBU. HOYO (growl) What did you say? SEBU (staring back and loudly) Fuck you, Hoyo! HOYO almost instantaneously slaps SEBU strongly across the face and sits back in her set, glaring at her. SEBU grips his glass of water. ALI's eyes catch that motion. ALI Don't! ALI goes to stop his throw but fails. The glass goes flying past HOYO's face and shatters on the wall behind her. ALI grabs SEBU's wrist. SEBU uses his free arm to take a punch at ALI. [[[SAHRA sees the following events in the fashion of a Bollywood dance]]] ALI throws SEBU out of the chair and at the sofa. SEBU goes into a fit of rage and comes charging at ALI. ALI and SEBU wrestle, SEBU throwing punches aimed at ALI's abdomen.

63. ALI Stop! SEBU doesn't stop. ALI pushes him into the couch and grips SEBU's wrists tightly and lays into him. ALI Stop! Stop! SEBU calms down. ALI (quietly) Stop. SEBU stops resisting. ALI lets him go and stands up. ALI (imperatively) Go to your room. SEBU grudingly goes off. ALI looks back at HOYO who is sitting at the table, gripping SAHRA tightly on his lap. HOYO looks up at ALI. HOYO (in Somali) What did I do? INT. SEBU'S BEDROOM. NIGHT SEBU sits on a chair, seething with anger. He opens a drawer and withdraws a gun-shaped object wrapped in black tape. He takes a roll of tape and continues to wrap around the object. INT. CLASSROOM. DAY ALI sits amongst a full class when Mr. BURKE, a young teacher, walks in. BURKE Excuse me, excuse me. CLASS quiets down. BURKE

64. The following students, if you wouldn't mind, are needed in room 204... CLASS starts a long, unenthusiastic bout of "ooooooh" BURKE Mohamed Bilad, Ismail, Mohamed Rahman, Jamal, Halima, Ashan, and Ali. CLASS quiets down and students look at one another, confused by why all the Somali students were called. BURKE Oh, and, uh... Thomas, let's take you, too. THOMAS, a white student, puts his arms up in confusion. INT. LARGE CLASSROOM. DAY ALI along with the others from his class and Mr. BURKE enter a noisy room. The large gathering of students is all Somali except Thomas. In one corner are the CREW, excepting the missing BARAK. ALI and THOMAS go over to that corner and take two empty seats. TALIB Wallahi, they're trying to send us back to Somalia. KHALID Hey, Tom! THOMAS smiles. Mr. BURKE, at the front of the room, begins to speak. BURKE Guys...Guys! CLASS quiets down. KHALID Ey, Mr. B, it's like Mogadishu in here! What's going on? CLASS laughs.

65. BURKE Give me a second and I'll explain! KHALID raises his hand. BURKE Yes, Khalid? KHALID (lowers arm) I'm sorry for not raising my hand the last time I spoke. CLASS laughs. BURKE That's alright. Alright guys, I--I, uh, have been instructed to ask you guys if you---hmm. If you are aware of our country's foreign policy. A din of confusion arises in the class. TALIB You deserve better than this Mr. B! They can't keep giving you all the shit jobs! BURKE I agree, but--but--this one's important. KHALID raises his hand. BURKE Goddamn it, yes Khalid? KHALID (monotonically) Sir, I am perfectly aware of America's foreign policies may I go back to class now please Mr. Burke sir. BURKE Well, let's talk about it. I mean, what do you guys think it is? Is it (MORE)

66. burke (CONT'D) the right one to have and all that... STUDENT 1 (angrily) Man, fuck America's foreign policy! BURKE (sternly) Hey, watch your language! STUDENT 1 They just hate Muslims and keep on trying to mess up the world and all that. CLASS vaguely agrees. BURKE Well, what makes you say that? KHALID I am just dying to find out what Thomas feels about America's foreign policy? Entire CLASS turns toward THOMAS who stutters emptily and is at a loss for words. BURKE (frustrated) Alright, alright. Go back to your classes. STUDENT 2 Thank god! CLASS begins to file out. The CREW and THOMAS are amongst the last to leave. KHALID (as he passes BURKE) Sorry, Mr. B. BURKE (smiling) It's alright.

67. ALI is the last in line and stops to talk to Mr. BURKE. BURKE What's up, Ali? ALI Why'd we do that? BURKE It's-- uh, they've been bothering me with e-mails. ALI Who? BURKE I--uh--I can't really say, Ali, sorry. Everyone's just paranoid, I guess. ALI Have you seen Barak recently? BURKE No. ALI nods and walks out. BURKE comes to realize the connection. INT. MOSQUE. DAY ALI sits on the prayer floor, looking downwards. RAZAKAR approaches. RAZAKAR You seem concerned, Ali. ALI Really? I was going for a more contemplative look. RAZAKAR takes a seat next to ALI. RAZAKAR Something happen at school? ALI We talked about foreign policy.

68. RAZAKAR Really? Gotta love that American school system. RAZAKAR hands ALI a book. RAZAKAR This is the first one I wrote. I think you'll like it. ALI examines it. ALI You've travelled a lot, right? RAZAKAR Quite a lot. ALI You believe any of the stuff about Americans being at war with Muslims? RAZAKAR (contemplates) No. No, I used to think that when I was receiving my education overseas. I used to think there are two sides and they fight it out and whoever has enough bullets or patience to overpower the other ends up placing their flag on the hill-- and then they move on and fight for the next one. And then, one day, I tried something-- I was in a small town in Ohio visiting my uncle-- this was while I was on a break from my studies in Riyadh-this town had ten thousand people at most-- almost all white, except for my uncle and his wife and kids. I was trying to grow this thick, bushy beard-- it wasn't going too well-- and I was young and so when they told me, 'Raj, let's go watch Tariq's football game tonight'-(MORE)

69. razakar (CONT'D) Tariq is my cousin--It was the last few minutes and I looked at the scoreboard and though I had no idea, really, how the game worked but the score was close and everyone was on the edge of their seat. And then, all of a sudden-Tariq's team won and everyone was happy and shouting and cheering and then there was this girl--this is really what the story is about-this young girl-- She hugged me, and-- you have to understand, not many hugs were passed around in Riyadh-- but the real peculiar thing was that she knew. She knew the whole story. She glanced at me, and she knew that she shouldn't and that if one of her grandaunts or mom's friends saw her hug me, they wouldn't be too happy, or at the very least, they'd think less of her. She saw that I wasn't one of, you know, her people, but that didn't matter. See, at that very moment, she and I were on the same side of the football field and she was happy about the game and so she hugged me-- Now, "Why am I telling you this?" you may poignantly ask... because that's how Americans are, Ali. At the core, that's how every single one of them are. You know what happens when I lecture and they ask me about drones and I tell them? When I tell them exactly what happens when a drone flies overhead in the middle of the night and mothers run to their children and grab them and hold them tight, waiting for death-- going through death-- every time that low buzz slowly come close-- you know what they do? They cry. They weep. They (MORE)

70. razakar (CONT'D) call a terrible tragedy, an awful waste of life-- then they wipe their tears away, and then regather themselves and then life goes on. The CREW arrive and take a seat around them. All are now listening intently. RAZAKAR But these same Americans vote for war-eager politicians and they build bases in Saudi Arabia, provide support for the most brutal dictators until the last second and then all is said and done--and then there's the resistance. They see these men, these angry men, who have figured out how to pull triggers on AK47s and know a few Russians that are looking to sell-and these angry men throw pebbles at this giant in red, white, and blue that keeps talking of freedom with a sarcastic grin and they keep throwing and sometimes the giant bleeds-- but he'll be alright. He comes back, he thumps his fist into an enclave and the angry men are smushed against the walls, but then what? Well, those angry men have brothers, and friends, and they take up guns and bombs and they become angry. So the giant smashes into the ground again. It's a game, Ali. Hate has very little to do with it. America's foreign policy would be the same for Canada or Brazil or China or the Czech Republic if-- and this is a very important if-- if they had the same vested interest in the various corners of the world-- if they had the resources, the same trade routes, the same geopolitical (MORE)

71. razakar (CONT'D) threats--you understand? There is something to be said about will, and America has plenty of it-- but at the end of the day, it's the circumstances, Ali. So where do you and I fit in? (looks around) And I don't mean you and I as in Americans, I mean you and I as in intelligent, reflective human beings who are blessed to find ourselves at this very moment in relative peace ... This is all you have to remind yourself. There is no neutrality. There's the one side and the other because the nature of this game makes it so that those who sit back and spectate are on the side of the giant. Are the angry men saints? God no-- God no. But why are they angry? Ask yourself that, gentlemen-- why are they angry? RAZAKAR grins. RAZAKAR Well... EXT. PAYPHONE. DUSK ALI talks to LEE. LEE OVER THE PHONE No sign, Ali. ALI Did you talk to their parents? LEE OVER THE PHONE Tried. They didn't answer for me either. Look, I'm going to talk to my lieutenant about it tomorrow, see what we can do without parental consent. Don't worry too much, bud. ALI

72. Alright. Thank you. LEE OVER THE PHONE No problem. ALI hangs up. INT. DIRTY APARTMENT HALLWAY. DUSK ALI walks up to the door of Barak's family. He hears the dull reverberations of a conversation between men within. The door opens and ALPHA and BETA walk out, almost right into ALI. ALPHA and BETA walk away down the hall, as if ALI wasn't there. ALI follows them. EXT. ROAD. DUSK ALPHA and BETA realize ALI's not going to stop following them. The agents arrive at the van. ALPHA opens the door and gets in. BETA stays out and holds the door open for ALI in mock courtesy. INT. VAN. EVENING ALI sits, visibly angry, across from ALPHA and BETA. ALI (sharply) Where's Barak? BETA Easy, easy, Ali. No need to get all hostile on us. ALI Where is Barak? BETA Ali... we have no idea. ALI Why were you talking to his parents? ALPHA

73. We were concerned-- after you asked about him. ALI Uhuh. And did they say anything? ALPHA Nothing important. ALI Hmm. Nothing about whether or not their son has been missing for nearly a month? ALPHA and BETA sit back, silent. ALI (frustrated) Where is Barak? BETA (snaps) Damn it, kid, we don't know! ALI You're lying! ALPHA Don't you get it? Do you really not get it? ALI is confused and doesn't answer. ALPHA Whatever happens to you, Ali, is what happened to Barak. ALI (perplexed) What? BETA A letter. You got one from Razakar and we need to see it. ALI What're you talking about?

74. BETA The letter, Ali! You really care about Barak, we need to see it, right now. ALI What fucking letter? BETA Hey, watch your language, kid. ALPHA We know he gave you one, Ali. ALI I don't have any fucking letter-BETA A book! There was a letter inside of it. Our guy saw you take it from him-ALI Your guy? ALPHA and BETA sit back. ALI You have someone in the mosque? ALPHA (sincerely) It's our job, Ali. ALI is lost for words. ALI (with a slight quiver) Where's Barak? ALPHA Ali... ALI Tell me what happened to him or I'm never entering this van again. BETA

75. (falsely sincere) You want to help your friend, Ali? Just show us the letter. Did you open it? Well then just tell us what was in it. That's all you have to do. ALI grits his teeth and his anger visibly rises. He gets worked up to the point of leaving and opens the van door. As he is about to leave... BETA Tomorrow after prayer, Ali, be here. Otherwise, we're the ones who are done. Not you. ALI, still angry, leaves. EXT. PARK PARKING LOT. DAY HOYO parks her car. The back seat is jammed with merchandise and the overflowing trunk is shoddily closed with rope. SEBU sits in the passenger seat. EXT. PARK WALKWAY. DAY SEBU starts to put together the rod framework for their booth as HOYO carries over heavy boxes and dropping them with strained breaths. EXT. SOCCER FIELD. DAY BULLY and TEAM arrive at the pitch and COACH signals them to start warming up. BULLY and some TEAM MEMBERS notice the small fair setting up near the park building. BULLY walks towards the booth that SEBU is setting up. EXT. PARK PARKING LOT. DAY HOYO gets a box out of the car and turns to see that, at the walkway, BULLY is talking to SEBU. SEBU stands perfectly still as BULLY tells him something, smiling. EXT. PARK WALKWAY. DAY

76. SEBU stands alone as HOYO approaches carrying the box. HOYO (in Somali) Was that a friend? SEBU doesn't respond and goes back to assembling the booth. INT. MOSQUE. DAY ALI stands among CREW, bowing and rising in prayer as IMAM calls out in Arabic. INT. ABDI APARTMENT DOORWAY. DAY ABDI opens the door to see ODAY and SAHRA. ODAY holds a small plastic grocery bag. [Somali UON] ODAY Abdi! ABDI (unenthusiastically) Dad. ABDI looks at SAHRA. ODAY This is my neighbor's daughter, Sahra. I'm taking care of her this week. ABDI Oh. Well, come in. INT. ABDI APARTMENT. DAY ODAY and SAHRA are led in by ABDI. The apartment is impressively well furnished with a modern kitchen and designer furniture. [Somali UON] ODAY This is much better than the last place. So far from Cedar. ABDI

77. Yea. We thought we should expose Hanad to more of the world, you know. ODAY Where is Hanad? ABDI points to HANAD sitting on the floor infront of the TV, playing a videogame. ODAY (to HANAD, loudly) My sweet young child! Come to grandpa! HANAD doesn't even turn around. ABDI (to HANAD, in English) Henry! Come here! SOFIA, dressed in capri pants, a floral haltertop, and a hijab, enters from the far end. SOFIA (to ABDI, in English) Let him play. (to ODAY, in Somali) How are you, dad? ODAY Wonderful, Sophie-SOFIA Was it hard getting here? With the bus? ODAY No, it wasn't too hard-SOFIA (pointing at SAHRA) Who's this? ODAY Sahra. SOFIA Huh.

78. ABDI Sahra is his neighbor's daughter. ABDI and SOFIA stare at SAHRA. SAHRA cautiously waves her hand. INT. ABDI LIVING ROOM. DAY ABDI and SOFIA sit across a coffee table from ODAY and SAHRA. HANAD plays video games the entire time. [Somali UON] ABDI It's been a long time. ODAY Yes, yes. (pointing at HANAD) He's gotten a lot bigger! HANAD He's the biggest in his class, the teacher wouldn't believe that he was only-ODAY He goes to school now? ABDI understands that ODAY's feelings are hurt. SOFIA He started last week. ODAY goes silent and becomes sad. ABDI I was going to call you, dad, but-you know-ODAY sinks down, then recollects himself and forces a smile. ODAY My grandson goes to school now. That's wonderful. The room is silent, excepting the sound of HANAD's controller.

79. ABDI So what are you up to these days? ODAY Well-- (patting SAHRA's head) we got cameras installed in my entire apartment building. ABDI Huh. That's nice. (to SOFIA) Isn't it? SOFIA Very nice. Again, a silence. ODAY (holding up plastic bag) I got ice cream. SOFIA Ooh! ODAY We can have it after lunch. SOFIA Did you want lunch? ODAY taken aback. ODAY Well, I-ODAY doesn't finish. ABDI We ordered chinese fifteen minutes ago. We could call them, and see if they can add a few orders. SOFIA Well, what if they sent the guy over, already? ABDI Then we could get another order.

80. A silence. ABDI and SOFIA look at ODAY for a decision. ODAY looks over at SAHRA, who smiles. ODAY is re-animated and smiles at ABDI and SOFIA. ODAY No, no, that's fine. Me and Sahra were going somewhere anyways. ABDI Are you sure? ODAY and SAHRA get up. ABDI does as well. SOFIA stays seated. ODAY Yes, yes! In fact, we should leave now. SOFIA (pointing at packet) What about the-ODAY Keep it. Or throw it away. Maybe Hanad will like it. HANAD plays on, seemingly not even realizing that ODAY or anyone else is in the room. ODAY and SAHRA walk to the door, ABDI follows them. SOFIA stays in the sofa. INT. ABDI APARTMENT DOORWAY. DAY ABDI talks with ODAY at the door. SAHRA is in the hall outside. [Somali UON] ABDI Look, Dad, I didn't know you wanted to. ODAY smiles. ODAY I'm fine, son. I had a big breakfast anyways. But you know where I live, don't you? It's the same place as before. People there ask about you a lot. I'll have something to tell them now.

81. ABDI remains silent as ODAY keeps his smile. ODAY Be well, son. ABDI I will, dad. ABDI slowly closes the door. On ODAY's side, SAHRA notices ODAY's despondence and grips his ring and little finger. ODAY smiles and the two walk away. EXT. PARK WALKWAY/BOOTH. DAY HOYO talks to two CUSTOMERS about a particular necklace. SEBU looks back to see BULLY on the soccer field. OPPOSING TEAM is now there also. BULLY takes a practice shot at the goal. EXT. VAN. DAY ALI walks up to the van's back door and knocks aggressively. ALPHA opens the door and ALI swiftly gets in. EXT. BOOTH. DAY HOYO is rearranging her merchandise when ODAY walks up, accompanying SAHRA. HOYO (to SAHRA, in Somali) Hoyo! (to ODAY) Did she miss me? ODAY She didn't cry or anything, but I knew. Where's Ali? HOYO He has a meeting with the Imam. ODAY Ah. And Sebu? HOYO Well, he'sHOYO turns around to see that SEBU is nowhere near the booth.

82. EXT. SOCCER FIELD. DAY SEBU aggressively walks towards the pitch. The match is already under way and players from both sides shout at SEBU to get off the field. BULLY turns to see SEBU standing close with his fist cocked. Just as SEBU throws his punch, CUT TO: [[[SAHRA imagines a large bollywood number to replace the violence that takes place when the two teams of middleschool kids start fighting. SAHRA envisions the two sides of the field occupied by two groups wearing the colors of the respective teams. The large-scale choreography takes shape as a quintessential 80s Bollywood boy-woos-girl number.]]] INT. POLICE STATION. DAY HOYO and Officer LEE stand over the bruised and bloodied SEBU who sits on the bench. HOYO (crying-shouting) What is the matter with you?! LEE takes HOYO by the elbow and gestures for her to wait outside. LEE (to HOYO) I'll drive him over, Ms. Hassan, you've got that booth to take care of... Don't worry, don't worry, I'll talk to him. HOYO leaves. LEE takes a seat on the bench and talks to SEBU. LEE Sebu I know we don't know each other too well. I wish we were friends and maybe we will be, maybe starting today. But I have seen you when you were little and I've seen you grow up and there is one thing I know about you and that is that (MORE)

83. lee (CONT'D) you think. Now-- sure-- not the best decision-maker. But you know what's right and wrong and you think about it. So that's what I'll do-- let you think about it. Come get me in my office when you're ready to go home, bud. LEE gets up and walks off, leaving SEBU on the bench. EXT. VAN. DAY ALI, just as angry as when he entered, exits the van and storms off towards an alley. EXT. ROAD. DAY LEE and SEBU, driving past the white van, see ALI storm out of it and walk away. LEE pulls over. LEE (to SEBU) Stay in the car. EXT. VAN. DAY The backdoors having been left open, LEE walks up to see ALPHA and BETA deflated on a bench inside. They look at LEE and then pay him no special attention. LEE is understandably bewildered. LEE (pointing at his car) I've got to drop that boy off. Then I think you gentlemen and I should have a talk. INT. CAFE. DAY LEE sits across from ALPHA and BETA. The agents eat pancakes; LEE has a cup of coffee infront of him. LEE There was something about the van that'd been bothering me for some time now.

84. ALPHA We asked for a Ferrari but they bureau said no for some reason. LEE (sternly) Ah. What were you doing with Ali? ALPHA and BETA put their utensils down and sit back. ALPHA I have to say, Officer, I don't think I appreciate that tone. LEE I don't think I appreciate men who spend alone-time with boys in the back of their van. BETA Would ya look at the mouth on this one... ALPHA You'll be happy to know we're doing your job for you. LEE And how is that, exactly? BETA Your precinct's got quite a few boys missing these days, doesn't it, officer? LEE Kids running off every now and then isn't exactly a rare phenomenon. BETA If I had a dollar for every time. LEE But you're getting off the point. Why was Ali in the back of your van and why did he leave angry? ALPHA

85. Because the boy's hiding something. LEE looks at them with doubt. LEE Do I have to keep asking for you to explain or can you just tell me what you're doing and save us both some time? BETA (sighs) There's a man, probably sitting in that mosque right now, and everywhere he goes, we find some boys missing. We look into it, most of them have hopped on a plane to sub-saharan africa or the middle east. Now--that ain't illegal. Problem is, the reports are starting to come in, and we're finding these same boys dead, all the way from Waziristan to northern Mali and that includes Mogadishu. And what color are these dead kids wearing, officer? Al Qaeda of the Maghreb, mercenaries for the Taliban, Jihadists in Syria, Al Shabaab and the last one, officer, is the one that should scare you the most. This fucker's sending them over there. We just don't have enough evidence to prosecute him and the piece of shit's been naturalized so we can't take the enemy combatant route. ALPHA There's a letter. He always gives them a letter. A young guy captured in Yemen told us his process but due to some ... questionable ... methods used to gain that information-BETA

86. Your boy, Ali, has a letter like that. Our guy in the mosque saw the recruiter hand one to him. ALPHA A lotta the recruits are under 18, like Ali. So we're thinking there might be a permission slip for the airlinesand an itinerary of some kind. But whatever's in it, we need to see it. It's the last piece to bring this bastard down. BETA That thorough enough for ya, officer? ALPHA and BETA go back to their meals. LEE (stunned) How're you going to get it?-- the letter. BETA (nonchalant) We're gonna raid his house tonight. LEE You guys serious? BETA Why would we joke about that? LEE You're going to raid Ali's house? BETA Yea. Get the letter and we're out. LEE The kids got a mom, you try talking to her? ALPHA We aren't fluent in Somali, unfortunately.

87. LEE We have translators. BETA We just need the letter. LEE I don't want you guys raiding their apartment. ALPHA and BETA break out into laughter. BETA You don't want us to? ALPHA What makes you think we care? LEE There's no report at headquarters about any raid plans. ALPHA We're federal, we don't have to warn anybody. LEE Then a few squad cars will be reporting to a break-in tonight. ALPHA and BETA sit back, realizing LEE is serious. ALPHA Look, we're not going to hurt the kid. LEE File a report with the precinct. BETA Do you realize this kid on a plane by tomorrow? LEE I know him. He's not a terrorist. ALPHA

88. Look. Tell you what-- tag along tonight. BETA What? ALPHA No, yeah, be a part of the team on this one. That way you can be sure everything's alright, and we'll have our letter. LEE contemplates the offer. INT. ARMORED BUS. NIGHT Raid TEAM gears up. LEE suits up next to them, wearing the same gear. ALPHA and BETA smirk as LEE has difficulty strapping in his vest. ALPHA and BETA gather TEAM around them. ALPHA Easy in, easy out. We raid the kid's bedroom--all the nooks and crannies-BETA Keep it low, keep it quiet. This kid might be as dangerous as they get. LEE notices a few TEAM MEMBERS loading assault rifles. LEE is enfuriated and marches over to ALPHA and BETA. LEE What the hell are the rifles for? BETA Jesus Christ... ALPHA pulls LEE over to the side. ALPHA (aggressively) Do you understand what's going on? LEE It's a kid.

89. ALPHA Yeah, yeah-- do have any idea what a young man is capable of? Have you looked into one of their eyes? They can do much more damage than you and me combined, officer, and it's not because they're more capable or stronger but it's because they fight like they have no choice. And if that kid has a handgun for some reason-- (calms himself) These recruiters-- they push 'em into corners and start shouting their-their propaganda at them, and there's two kinds of kids, officer-- the one that pushes back and gets the hell out of there and tells someone what happened, and then there's the kid who sits there and listens-- there is no middle ground, and anyone in this line of work will tell you the same. And THIS kid, officer, hasn't said a single word to a soul-- all I'm saying is don't think you know everything. And try to understand why we're carrying rifles. INT. HASSAN DINNER TABLE. NIGHT HOYO watches as SEBU doesn't touch his meal. SAHRA and ALI cautiously eat theirs. After a prolonged observation, HOYO snaps. HOYO (in English) Eat your food! SEBU doesn't. HOYO (in Somali) You have been like this for weeks and it's just too much! You can't keep hating me for no reason at all! Ungrateful! Utterly ungrateful!

90. ALI (quietly) Hoyo... HOYO Go away! ALI What? HOYO I need to talk to Sebu alone! Sahra, go over to Oday. And, Ali, go! ALI Where?! HOYO Go get milk! ALI We have milk! HOYO Go get more! INT. APARTMENT BUILDING HALLWAY. NIGHT SAHRA knocks on ODAY's door who opens and greets her. ODAY (in Somali) Come in, sweetheart, come in! ALI appears and closes the door behind him. ODAY (in Somali) Everything alright? ALI (in Somali) Yes, Oday, but-- when she stops shouting could you bring Sahra back? That way she won't go crazy. ODAY nods understandingly and closes the door.

91. ODAY FROM INSIDE Ice cream? SAHRA Ice cream! ALI smiles and walks down the hall. INT. HASSAN DINNER TABLE. NIGHT HOYO gets up from her chair and walks up close to SEBU, who sits and stares at his plate. HOYO (in Somali, voice quivering) Why have you been like this? Why don't you talk to me? I'm your mom! HOYO takes a seat at the table next to SEBU. HOYO I work hard! I work very, very hard! And I can't even get the love of my own son? SEBU gets out of his seat and begins to walk to his room. HOYO stands up and yells after him. HOYO Talk to me! Why do you this?! Why do you keep fights?! Why do you do school?! Why don't you SEBU stops and turns around. SEBU (abruptly, in Somali) It's because of you, Hoyo! They make fun of me because of you! HOYO doesn't understand. SEBU Do you know why that kid bullies me? Because he says-- he says my mom's a whore and that you go (MORE) do all getting in so bad in talk to me?!

92. sebu (CONT'D) around stores at the mall and he goes around telling everybody! (HOYO begins to weep behind her hand) And why do you keep taking me with you?! Everyone laughs! Why can't you get a real job?! SEBU's begins to tear up and goes towards his room. EXT. APARTMENT BUILDING. NIGHT [Dolly] ALI leaves the building and walks across the road. [Stop Dolly] ALI has left the shot. The ARMORED BUS pulls up to the front of the building and stops. The raid TEAM files out, ALPHA, BETA, and Officer LEE are last in line. [Reverse Dolly] TEAM rushes up to the building entrance. INT. APARTMENT STAIRWELL. NIGHT From LEE's point of view, we feel the speed of the movement as the TEAM charges up the stairs. INT. HASSAN APARTMENT. NIGHT HOYO sits on the sofa, despondent. ODAY and SAHRA cautiously knock on the door and enter. ODAY closes the door behind him. ODAY (carefully, in Somali) How are you, sister? SAHRA runs over to HOYO and sits next to her on the sofa. INT. HALLWAY. NIGHT TEAM take a formation around HOYO's door. LEE notices everyone gripping their weapons tightly. He grabs his own. INT. SEBU'S BEDROOM. NIGHT SEBU sits on his bed, looking downwards, the remorse apparent on his face. INT. CORNER STORE. NIGHT

93. ALI pays for a gallon of milk. INT. HALLWAY. NIGHT ALPHA kicks the door open and everyone charges in. INT. HASSAN APARTMENT. NIGHT [[[We see the raid from SAHRA's point of view on the sofa. The door is kicked open and in charges a large troupe of Bollywood DANCERS with only a few of the Raid TEAM members mingled. The TEAM splits apart quickly and head off in different direction. Some of the TEAM members point their rifles in SAHRA's general direction. The DANCERS dominate though the TEAM's shouts can be heard through the loud music.]]] INT. SEBU'S BEDROOM. NIGHT SEBU sits on his bed. The roar of the raid TEAM comes through the walls and SEBU immediately and frightfully runs to the door. Realizing that there may be danger outside, he rushes back to his desk drawer. INT. HASSAN APARTMENT. NIGHT Emerging from the edge is the frightened SEBU with arms stretch infront of him holding the gun-shaped black object. He is shot and immediately collapses to the ground. The shooter was Officer LEE. Everyone in the TEAM and ODAY, HOYO and SAHRA are stopped in their tracks by the gunshot. [[[In SAHRA's imagination, the DANCERS, too, have stopped their number and are now staring at LEE]]] Officer LEE seems as startled as to what happened. He looks around in an apologetic way, looking for someone to recognize that he didn't mean to. ALPHA and BETA approach to reassure him ALPHA (soothingly) Easy... easy... BETA (soothingly)

94. You didn't mean to... LEE catches a glimpse of HOYO's petrified face. His own turns into a grimace. Quickly, and despite ALPHA and BETA's attempt to stop him and surprised shouts from TEAM members, LEE puts his handgun into his mouth and pulls the trigger. HOYO screams. [[[In SAHRA's imagination, the DANCERS run infront to obstruct a full view of Officer LEE just as he puts the gun in his mouth. After the gunshot is heard, ODAY rushes over to cover SAHRA's view with his hands]]] INT. HASSAN APARTMENT DOOR. NIGHT ALI stands at the door, unable to move. ALI's fingers start to loosen their grip on the gallon of milk but tighten into a fist just as it is about to fall. INT. HOSPITAL. NIGHT Under bright white lights, HOYO loses control and starts breaking things. ALI rushes over, himself overflowing with tears, and wraps around HOYO, who gives up. SAHRA crouches in the corner and watches. In her imagination, Bollywood DANCERS are crying alongside HOYO and the DANCERS eventually leave the room altogether. EXT. MOSQUE PARKING LOT. DAY Many PRAYERGOERS surround the wrapped body of SEBU. Tears fall from the eyes of HOYO, SAHRA, and ALI, who is standing with the men, next to RAZAKAR and ODAY. INT. LIVING ROOM. NIGHT HOYO's friends surround her as she weeps. ALI in corner looks down, having no one to comfort him. INT. GOVERNMENT BOARD ROOM. DAY HOYO handed a check by a government official as other people in suits look on. Photographers' flashes hit HOYO's face, who is plainly bewildered. INT. LIVING ROOM. NIGHT

95. ALI sees HOYO, face bare of any emotion, grip SAHRA tightly as they watch a Bollywood movie. (He watches for an extended period of time) INT. IMAM OFFICE. DAY IMAM tries to console the stonefaced ALI. IMAM (in Somali) But there is almost nothing as terrible as what happened to you. I know you must be hurt, son. Are you hurt? ALI No. INT. MOSQUE WASHROOM. DAY ALI washes for prayer. INT. MOSQUE FLOOR. DAY ALI enters and takes a seat next to RAZAKAR, who looks over at him understandingly. RAZAKAR hands him a book with an envelope portruding from it just slightly. RAZAKAR Go see the world, Ali. It's an adventure. EXT. SEBU GRAVE. DAY ALI stands over the grave. EXT. LIGHTRAIL STATION. DAY Carrying a single duffel bag, ALI waits with hardened face for train to arrive. INT. ALI BEDROOM. DAY HOYO enters ALI's room to find a piece of paper sticking out from underneath ALI's pillow.

96. EXT. ROAD. DAY HOYO runs infront of a taxi. DRIVER angrily honks horn. HOYO gets in the back. INT. TAXI. DAY HOYO enters and rapidly starts speaking in Somali. DRIVER looks East African. HOYO (in Somali) Please, I need to go quickly, my son has run away and he might do something very bad-DRIVER (confused) Oromo! Oromo! HOYO Airport! Airport! DRIVER Ok! LEE V.O. What did he say? Right before he stormed out. ALPHA V.O. Look, we're already letting you in on the raid, let's leave it at that. LEE V.O. Tell me what you talked about. INT. VAN. DAY FIX!!!! THERE NEEDS TO BE MORE MENTIONS OF THE THEME OF AMERICANNESS AND ITS DUTIES. IN THEIR FIRST ENCOUNTER, WHEN ALI INITIALLY REFUSES TO COOPERATE, BETA SHOULD ASK HIM IF HE IS AMERICAN, AND FROM THERE ON OUT THAT THEME CAN BE A PART OF THEIR EXCHANGES IN THE WHITE VAN. ALI sits, face warped by anger, speaking to ALPHA and BETA.

97. ALI (shouting) Leave me alone! You're making my life hell! I'm not your snitch, I never wanted to be, and you obviously don't give a shit about me or any of my friends! Leave me alone! ALPHA (calmly) Kid, this country needs each of its citizens to cooper-ALI (shouting) This country?! Don't tell me about this fucking country! I'm more of an American than you are!--yeah--My family's worked harder! I'll work harder! And my kids are gonna work harder and their kids and none of them are gonna treat people like shit--no matter where they come from or whatever the fuck they look like! So don't tell me about this country! You fucks! ALI angrily leaves. INT. TAXI. DAY HOYO sits in back, eyes overflowing with tears as she recites prayers over a rosary. DRIVER is unsettled by her presence. EXT. AIRPORT. DAY TAXI pulls up, HOYO rushes out and into the airport. DRIVER yells after her for the fare. INT. AIRPORT. DAY ALI stands trembling as he looks at the departure gate, bag in hand. HOYO rushes in from behind and wraps him up.

98. HOYO (hysterical) Hoyo! Hoyo! ALI (hysterical in a crescendo) I don't want to go. I don't want to go, Hoyo! I don't want to go. ALI collapses onto his knees, sobbing. HOYO collapses with him. They sit in the middle of the terminal, sobbing. INT. AIRPORT BAR. DAY RAZAKAR sits at the bar, sipping from a glass of dark liquor, observing ALI and HOYO from a distance. Realizing ALI won't go, RAZAKAR smiles, takes another sip, pays the bill, and walks out the gate, going somewhat close to ALI and HOYO still on the ground. INT. AIRPORT. DAY GUARD approaches HOYO and ALI, who are collapsed on the ground. GUARD (sternly) I'm sorry, folks. You all will have to move along now. Eyes wet, HOYO looks up at GUARD and nods quickly. GUARD grows sympathetic but eventually feels obliged to insist. GUARD I'm sorry. You can't sit in the middle of the terminal. ALI and HOYO, both weak, pick each other up and start to walk away slowly. INT. GUARD POST. DAY GUARD comes back to station, saddened by the sight, and takes a seat. GUARD begins to read a newspaper and turns a page. FIN