\\t\\t\\t\\t\\t\\t\\tCUT TO:\\n\\n\\tINT. HELEN'S BEDROOM - NIGHT\\n\\n\\tHELEN, her police scanner sounding distant tinny cries in\\n\\tthe night: Helen holding the phone, digesting that...\\n\\n\\t\\t\\t\\tSCANNER (VARIOUS VOICES)\\n\\t\\t987... Carol Meany, call your\\n\\t\\thome? We have... don't step on\\n\\t\\tme, damn it! Go to channel 8...\\n\\t\\tCode Red -- Homicide at 16th Avenue\\n\\t\\tand Horgan, woman dead in car. Can\\n\\t\\twe have homicide? All units go to\\n\\t\\tchannel 5. Leave channel 3 clear\\n\\t\\tfor homicide... etc.\\n\\n\\tEXT. HELEN'S STREET - NIGHT\\n\\n\\tA MAN parks a car. He gets out. He is dressed entirely in\\n\\tblack. Glancing around to be sure he is not observed, the\\n\\tMAN moves to cars, banging them hard with his hand until he\\n\\tSETS OFF A CAR ALARM. He trots silently to HELEN'S side of\\n\\tthe street and merges into the dark side of her building.\\n\\tTHE ALARM GOES INFURIATINGLY ON. A light comes on in an\\n\\tupstairs window...\\n\\n\\tINT. HELEN'S HALLWAY - NIGHT\\n\\n\\tBURT, the cop on guard, marginally irritated by the car\\n\\talarm, looks up briefly, then returns to his magazine.\\n\\n\\t\\t\\t\\t\\t\\t\\tCUT TO:\\n\\n\\tEXT. RICHMOND DISTRICT - NIGHT\\n\\n\\tCAR WHERE A WOMAN HAS BEEN SHOT DEAD. KLIEG LIGHTS PAINT\\n\\tHER FEATURES A BLEAK WHITE ON BLACK. M.J. and RUBEN work\\n\\tthe scene along with the CRIME TECH CREW.\\n\\n\\tOne of the TECH GUYS holds up a bullet.\\n\\n\\t\\t\\t\\tTECH GUY\\n\\t\\tPulled this out of the door, it's\\n\\t\\tbigger than a .38; it's a .44 or 9\\n\\t\\tmillimeter.\\n\\n\\tCLOSE: M.J. is crawling along the floor, looking at\\n\\teverything she can find -- gum wrappers, hobby pins, loose\\n\\tchange, etc. She lifts her head and finds the car radio and\\n\\ttape player right in her face.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tWas this on? When you found the\\n\\t\\tcar was the tape player on or off.\\n\\n\\t\\t\\t\\tCOP (V.O.)\\n\\t\\tIt was on, auto-reverse, over and\\n\\t\\tover.\\n\\n\\tM.J. has rubber gloves on. She switches on ignition and the\\n\\ttape player starts: ABBA. A phone rings...\\n\\n\\tON RUBEN standing beside the car; he answers his phone...\\n\\n\\t\\t\\t\\tRUBEN\\n\\t\\tYeah?... I can't talk now...\\n\\t\\tWhat?... No. There's no sexual\\n\\t\\tassault, it's a drive-by, a woman\\n\\t\\tin a car, it's not him.\\n\\t\\t\\t(mouths to M.J.)\\n\\t\\tHelen.\\n\\n\\tM.J. still pissed at the earlier phone call, turns away,\\n\\tdismissively...\\n\\n\\t\\t\\t\\tHELEN (V.O.)\\n\\t\\tIt's a woman shot in a car?\\n\\n\\t\\t\\t\\tRUBEN\\n\\t\\tYes. I have to go...\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tShe on the passenger side?\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\t\\t(shouting to be\\n\\t\\t\\t heard)\\n\\t\\tHelen, hang up, let Ruben get on\\n\\t\\twith his work...\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tWhat's that music. It's Abba. I\\n\\t\\tcan hear it. It's Abba.\\n\\n\\t\\t\\t\\tRUBEN\\n\\t\\tWhat's Abba?\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tBunch of Swedish women. You're too\\n\\t\\tyoung.\\n\\n\\tDread clouds HELEN'S face. She is calling up databases,\\n\\tscreens scrolling across her computer monitor.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tDon't hang up!\\n\\n\\t\\t\\t\\tRUBEN\\n\\t\\tWhat?...\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tListen to me. Is there a gas\\n\\t\\tstation nearby?\\n\\n\\tRUBEN look around, sees a gas station across the street and\\n\\tfurther down the block...\\n\\n\\t\\t\\t\\tRUBEN\\n\\t\\tYes.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tIs there a phone booth there?\\n\\n\\t\\t\\t\\tRUBEN\\n\\t\\tThey all have one...\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tGo and look for a note.\\n\\n\\tRUBEN hands the phone over to M.J.\\n\\n\\t\\t\\t\\tRUBEN\\n\\t\\tShe wants me to check the phone\\n\\t\\tbooth for a note.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tHelen... excuse me, we...\\n\\n\\tON HELEN'S SCREEN IS THE FACE OF BERKOWITZ... SHE CALLS UP\\n\\tADDITIONAL FRAMES SHOWING SCENES OF HIS CRIMES.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tShe was listening to Abba in her\\n\\t\\tparked car when she was shot with a\\n\\t\\tBulldog .44.\\n\\n\\tM.J. reacts: the scene of what Helen is saying hits her\\n\\thard. This is repeating the pattern of yet another\\n\\tkiller...\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tTony!\\n\\n\\tThe techie who pulled the bullet out of the door turns...\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tLet me see the slug outta the door!\\n\\n\\tHe pulls a baggie out his pocket and hands it to her...\\n\\n\\tRUBEN RUNNING across to the gas station. He's alone now,\\n\\tthe blazing lights of the crime scene recede.\\n\\n\\tEXT. HELEN'S BUILDING - NIGHT\\n\\n\\tA small annoyed crowd has gathered around the are whose\\n\\talarm is still shrieking.\\n\\n\\tINT. HELEN'S HALLWAY - NIGHT\\n\\n\\tBURT finally gets up, goes to window, sees situation,\\n\\tdecides to go and fix it.\\n\\n\\tEXT. CRIME SCENE - NIGHT\\n\\n\\tM.J. still on phone to HELEN. She's just got the bullet out\\n\\tof the baggie; Tony stands watching.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tWhat's that siren?\\n\\n\\t\\t\\t\\tHELEN (V.O.)\\n\\t\\tOne of those goddamned car alarms.\\n\\t\\tWhat's going...\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tRuben's gone to look... It's banged\\n\\t\\tup but it looks like a .44. It's\\n\\t\\tSon of Sam. Is it Son of Sam?\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tLook in the crowd. He liked to\\n\\t\\thang around and watch the cops at\\n\\t\\twork...\\n\\n\\tEXT. SHELL STATION - NIGHT\\n\\n\\tClosed. RUBEN at the phone booth.\\n\\n\\tA note lies on the shelf, handwritten in felt-tip pen. He\\n\\tputs on a rubber glove, picks note up by one corner.\\n\\n\\tCRIME SCENE:\\n\\n\\tRUBEN has taken phone back from M.J. He is reading the note\\n\\tto HELEN. M.J., agitated, stands by.\\n\\n\\t\\t\\t\\tRUBEN\\n\\t\\t\\\"Police: let me haunt you with\\n\\t\\tthese words: I'll be back.\\\"\\n\\n\\tM.J. notices that there is writing on the other side of the\\n\\tnote. She forces RUBEN'S gloved hand to turn note over.\\n\\n\\t\\t\\t\\tRUBEN\\n\\t\\tHold on a minute, Helen...\\n\\n\\tBy this time M.J. has seen that this part is addressed to\\n\\tHELEN. M.J. takes phone from RUBEN, forcing herself to\\n\\tsound casual.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tHelen, Ruben's going to drop by.\\n\\t\\tHe's got some questions.\\n\\n\\tShe hangs up, RUBEN is already on his way. M.J. calls a\\n\\tnumber...\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tAnswer me!!...\\n\\n\\tEXT. HELEN'S APARTMENT - NIGHT\\n\\n\\tThe beeper on Burt's belt is beeping, but his head is under\\n\\tthe hood of the car where the car alarm is blaring. He\\n\\tcan't hear the beeper... \\n\\n\\tBACK TO CRIME SCENE:\\n\\n\\tM.J. ends the call, yells to another Detective.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tI need a unit at 19809 Lorenda\\n\\t\\tDrive. Tell them to approach code\\n\\t\\t2 and wait for instruction. Find\\n\\t\\tthe goddamn officer supposed to be\\n\\t\\ton security. Ruben's on his way.\\n\\t\\tHe'll go in alone.\\n\\n\\tSHE TURNS AND SEES:\\n\\n\\tBEHIND YELLOW CRIME SCENE TAPE THE NIGHT IS FULL OF THRILL\\n\\tSEEKERS AND CURIOUS. WHICH OF THEM MIGHT BE THE KILLER?\\n\\tTHE GUY IN THE BACK OF THE CROWD WHO FOR NO APPARENT REASON\\n\\tSUDDENLY BEGINS TO RACE ALONG BEHIND THE ONLOOKERS? THE MEN\\n\\tWHO DUCKS TO TIE HIS SHOE WHEN A PHOTOGRAPHER SHOOTS A\\n\\tPICTURE?\\n\\n\\tINT. FRONT DOOR OF HELEN'S APARTMENT - NIGHT\\n\\n\\tThe horn blares across the street, (O.S.). No one notices\\n\\tthe MAN at HELEN'S door, swiftly fiddling the lock with a\\n\\tring full of burglars' keys and picks.\\n\\n\\tINT. HELEN'S BATHROOM - NIGHT\\n\\n\\tHELEN is putting on makeup (Ruben is coming). A small but\\n\\talarming noise at the front of the loft. She listens\\n\\tcarefully, and moves to the door looking down the hall\\n\\ttoward the front door. It is OPEN\\\" Burt is not there!\\n\\n\\tShe hesitates a moment, then turns off the lights and\\n\\tsprints for the front door, to escape.\\n\\n\\tINT. LIVING ROOM\\n\\n\\tTHE MAN IS PULLING A BALACLAVA UP OVER HIS FACE. AS HE HEARS\\n\\tHER HE STEPS TO THE...\\n\\n\\tINSERT: TELEPHONE\\n\\n\\tA HAND IN A FINE LEATHER BLACK GLOVE LIFTS THE RECEIVER OFF\\n\\tTHE HOOK.\\n\\n\\tHELEN RUNS DOWN THE HALL AND REACHES THE FRONT DOOR. SHE\\n\\tRUNS RIGHT OUT INTO THE HALL A FEW STEPS BEFORE RECOILING:\\n\\n\\tHER POV. THE WALLS AND FLOOR WEAVING AND CONTRACTING...\\n\\tAGORAPHOBIA HAS HIT.\\n\\n\\tHELEN FALLS. SHE SCRAMBLES IN TERROR BACK TO THE \\\"SAFETY\\\"\\n\\tOF HER WALL, NOW A CAVE OF DARKNESS.\\n\\n\\tSHE FALLS ON THE FLOOR OF THE HALL, GASPING FOR BREATH.\\n\\n\\tLIVING ROOM. THE MAN MOVES ACROSS THE ROOM TOWARD THE\\n\\tHALL.\\n\\n\\t\\t\\t\\t\\t\\t\\tCUT TO:\\n\\n\\tRUBEN: taking the hills fast.\\n\\n\\tTHE MAN: STEPS OUT INTO THE HALL.\\n\\n\\tHELEN: SHE HAS RUN BACK THE LENGTH OF THE HALL TO HER\\n\\tOFFICE. SHE IS JUST VANISHING AS THE MAN STEPS TO WHERE HE\\n\\tCAN SEE HER.\\n\\n\\tTHE MAN STARTS TO FOLLOW, NOT FAST, BUT WITH TERRIFYING\\n\\tSURENESS...\\n\\n\\tTHE POLICE SCANNER SUDDENLY COMES UP LOUD. HE HESITATES.\\n\\n\\tHELEN: HER REMOTE CONTROLS IN HAND SWITCHES ON TV SETS,\\n\\tLAMPS, ETC.\\n\\n\\tTHE MAN: HE STARTS TO MOVE AGAIN, TOWARD WHERE HE BELIEVES\\n\\tSHE IS. HE IS PASSING A WINDOW, WHEN THE CURTAINS SUDDENLY\\n\\tDRAW, RIGHT BESIDE HIM. HE PAUSES AGAIN, LOOKS DOWN AND WE\\n\\tAND HE/WE SEE THE STREET SCENE: BURT AND NEIGHBORS TRYING TO\\n\\tSILENCE THE CAR ALARM. THEN HE STARTS TO MOVE AGAIN.\\n\\n\\tTHE CURTAINS CLOSE.\\n\\n\\tHIGH ANGLE OVER THE MAZE OF THE APARTMENT WALLS. WE CAN SEE\\n\\tTHE MAN MOVING ALONG THE HALLWAY AGAIN -- TOWARD ANDY'S DEN,\\n\\tAND DIRECTLY TOWARD WHERE WE LAST SAW HELEN.\\n\\n\\tSUDDENLY, FOREGROUND, HELEN'S HEAD POPS UP, HUGE! SHE IS\\n\\tWRESTLING HERSELF UP OVER THE WALL TOWARD CAMERA, INTO\\n\\tANOTHER ROOM OUT OF HIS PATH. WE PAN WITH HER AS SHE WIGGLES\\n\\tHERSELF OVER THE TOP OF THE WALL AND UNTIL SHE FALLS INTO\\n\\tFURNITURE, MAKING A HUGE NOISE.\\n\\n\\tMAN STOPS, TRYING TO LOCATE DIRECTION. HE DECIDES. LEAPS\\n\\tWITH CATLIKE GRACE ONTO A PIECE OF FURNITURE AND FROM THERE\\n\\tONTO THE TOP OF THE WALL!\\n\\n\\tNOW HE STANDS ON THE PARTITION, LOOKING AROUND AT THE\\n\\tGROUNDPLAN (AS IT WERE) OF THIS APARTMENT MAZE FROM A HIGH\\n\\tANGLE POV.\\n\\n\\tHELEN: SHE CROUCHES IN HIDING. IN DEEP FOCUS, BEYOND HER,\\n\\tAND HIGH ABOVE HER, WE SEE THE MAN SILHOUETTED AS HE BEGINS\\n\\tTO WALK ALONG LIKE A CAT ON A GARDEN WALL, ABLE TO SEE ON\\n\\tBOTH SIDES INTO WHATEVER ROOMS HE IS PASSING.\\n\\n\\tHE DROPS OFF THE WALL FOR A MOMENT INTO HER BEDROOM.\\n\\tINTERCUT MAN AND HELEN. HE LOOKS FOR HER, PRODS THE BED\\n\\tCOVERS.\\n\\n\\tTHEN LEAPS BACK UP TO THE TOP OF THE WALL.\\n\\n\\tSHE TAKES A VASE AND THROWS IT OVER THE WALL INTO THE\\n\\tADJACENT ROOM. THE MAN'S FIGURE DOESN'T EVEN SLOW, HE'S\\n\\tALREADY FIGURED IT OUT: HE LEAPS CLEAR ACROSS AN OPENING\\n\\tONTO THE WALL THAT LEADS DIRECTLY TO HER.\\n\\n\\tSHE HITS THE REMOTE: THE CURTAINS SWEEP OPEN, AND MORE LIGHT\\n\\tCOMES IN NOW FROM THE STREET.\\n\\n\\tCLOSE, THE MAN: HIS FACE TURNS TO THE LIGHT: FROM THIS HIGH\\n\\tANGLE WE AND WE SEE DOWN INTO THE STREET, WHERE\\n\\n\\tRUBEN'S CAR SCREECHES TO A STOP. RUBEN charges into the\\n\\tbuilding.\\n\\n\\tBURT, COMING AWAKE, FOLLOWS RUBEN up the stairs three at a\\n\\ttime.\\n\\n\\tHALLWAY AND APARTMENT DOOR: THE MAN COMES RACING OUT AND\\n\\tTURNS TOWARD THE STAIRS, JUST AS RUBEN REACHES HELEN'S\\n\\tFLOOR. THE MAN TRIES TO DO A 180, BUT RUBEN THROWS A BODY\\n\\tBLOCK AND THE MAN FALLS BACK INSIDE THE APARTMENT.\\n\\n\\tLIGHT FROM HALL GIVES US OUR FIRST LOOK AS RUBEN TEARS THE\\n\\tBALACLAVA OFF HIS FACE. He is a middle-aged Afro-Asian with\\n\\ta knife-scarred face.\\n\\n\\t\\t\\t\\tMAN\\n\\t\\tI can explain!\\n\\n\\t\\t\\t\\tRUBEN\\n\\t\\tThe fuck you can!\\n\\t\\t\\t(shouts)\\n\\t\\tHelen! Are you okay? HELEN!\\n\\n\\tThen he sees her. In shock, she stares down at the MAN.\\n\\n\\t\\t\\t\\tRUBEN\\n\\t\\tDid this animal touch you?\\n\\n\\tShe shakes her head, turns and runs out of the room, as\\n\\tRUBEN catches sight of BURT.\\n\\n\\t\\t\\t\\tRUBEN\\n\\t\\tTurn on a light and call in the\\n\\t\\tunit. NOW!\\n\\n\\tBURT rushes to okay. RUBEN FRISKS THE MAN.\\n\\n\\t\\t\\t\\tMAN\\n\\t\\tNo gun!\\n\\n\\t\\t\\t\\tRUBEN\\n\\t\\tBullshit's gonna get your balls\\n\\t\\tstomped on! What's your name?\\n\\n\\t\\t\\t\\tMAN\\n\\t\\tChow. Conrad Chow.\\n\\n\\tThe improbability of this name makes RUBEN deliver an angry\\n\\tkick to the man's side.\\n\\n\\t\\t\\t\\tMAN\\n\\t\\tSwear to God! Conrad Chow. Never\\n\\t\\tcarry a gun.\\n\\n\\t\\t\\t\\tBURT\\n\\t\\tBackup's here...\\n\\n\\t\\t\\t\\tRUBEN\\n\\t\\t\\t(to Burt)\\n\\t\\tThen you get your ass outta here, I\\n\\t\\tdon't wanta see you again...\\n\\n\\t\\t\\t\\tCONRAD\\n\\t\\tI brought a present for the lady,\\n\\t\\tthere. I'm looking for her, to give\\n\\t\\ther the present...\\n\\n\\t\\t\\t\\tRUBEN\\n\\t\\tYou break into her apartment to\\n\\t\\tdeliver a gift? Where is it?\\n\\n\\t\\t\\t\\tCONRAD\\n\\t\\tThe door was open, swear to God,\\n\\t\\tI'm just looking for her when you\\n\\t\\tcome charging up the stairs...\\n\\n\\t\\t\\t\\tRUBEN\\n\\t\\tWhere is it?\\n\\n\\t\\t\\t\\tCONRAD\\n\\t\\tI'm trying to tell you. It's on the\\n\\t\\tlady's pillow...\\n\\n\\tRuben shoves Conrad into Backup Cop's hands.\\n\\n\\tINT. BEDROOM - CONTINUOUS\\n\\n\\tRuben comes running in, sees a parcel lying on pillow... \\n\\tscoops it up, and rips it open. It's a book. He returns\\n\\tto Conrad, who is now surrounded by police. Ruben holds the\\n\\tbook up like a question.\\n\\n\\t\\t\\t\\tCONRAD\\n\\t\\tDaryll Lee Cullum, he wrote that\\n\\t\\tbook, he wanted the lady to have\\n\\t\\tit. They won't let him send it to\\n\\t\\ther, so I'm getting out, he asks me\\n\\t\\tto deliver it in person, he says,\\n\\t\\tput it on her pillow. It has all\\n\\t\\tabout how he tried to kill her.\\n\\n\\t\\t\\t\\tRUBEN\\n\\t\\tHe told you she was loaded, any-\\n\\t\\tthing you could steal you could\\n\\t\\tkeep, Conrad? You bought yourself\\n\\t\\ta return ticket to Quentin,\\n\\t\\tbreaking and entering.\\n\\n\\t\\t\\t\\tCONRAD\\n\\t\\tThe door was already open...\\n\\n\\t\\t\\t\\tRUBEN\\n\\t\\tWe know...\\n\\t\\t\\t(to a cop)\\n\\t\\tSend the book to evidence...\\n\\n\\t\\t\\t\\tCONRAD\\n\\t\\tShe's supposed to have it.\\n\\n\\t\\t\\t\\tRUBEN\\n\\t\\tShe don't want it.\\n\\n\\tINT. HELEN'S BATHROOM - NIGHT\\n\\n\\tHELEN is sitting on the floor, her knees pulled up to her\\n\\tchest.\\n\\n\\t\\t\\t\\tRUBEN (V.O.)\\n\\t\\tHelen? Open the door. The guy's\\n\\t\\tnothing. A burglar.\\n\\n\\tShe sits there, says nothing.\\n\\n\\t\\t\\t\\tRUBEN (V.O.)\\n\\t\\tOpen the door. Please.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tWhy don't you shoot off the lock?\\n\\n\\tShe starts to laugh. The sound is awful. After a moment,\\n\\tshe gets up on wobbly legs and opens the door. RUBEN takes\\n\\ther to the sink, sort of sits her down on it. Wets a\\n\\twashcloth, goes to sponge off her face. She is trembling.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tHe was in my apartment!\\n\\n\\t\\t\\t\\tRUBEN\\n\\t\\tI know, baby. I know.\\n\\n\\tWithout warning, in some sort of manic phase of a freak-out,\\n\\tshe breaks away from him, ricochets through bedroom, down\\n\\tthe hallway, RUBEN follows, tries to put his arms around\\n\\ther.\\n\\n\\t\\t\\t\\tRUBEN\\n\\t\\tIt's okay... you're safe with me!\\n\\n\\tHe pulls her down into a chair with him, his arms tight\\n\\taround her, holding her still. He smoothes her hair, rubs\\n\\ther neck, pets her like a frightened and resistant cat.\\n\\n\\t\\t\\t\\tRUBEN\\n\\t\\tWhen I was a little kid, and I'd be\\n\\t\\tin a state, my father would hold me\\n\\t\\ton his lap, until all the fight\\n\\t\\twould go out of me...\\n\\n\\tShe breaks free and whacks him across his nose.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tYou think you're my Daddy?\\n\\n\\tThere is something so perverse about this, so erotic, that\\n\\tRUBEN kisses her. She goes limp, kisses him back, then\\n\\tshe's suddenly sobbing. His nose is bleeding, but she's\\n\\tsmiling. Something between them has finally connected.\\n\\tBeen agreed upon.\\n\\n\\t\\t\\t\\tRUBEN\\n\\t\\tHelen...honey, you know I gotta go.\\n\\n\\tHe digs out his sneaky gun from whenever he keeps it.\\n\\n\\t\\t\\t\\tRUBEN\\n\\t\\tYou know how to use this?\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tThey taught me at the FBI. I was\\n\\t\\tvery good at it. It scared me... I\\n\\t\\tliked it.\\n\\n\\t\\t\\t\\tRUBEN\\n\\t\\tYou take it, hang on to it, it'll\\n\\t\\tmake you feel safer. Stay put.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tWhat else?\\n\\n\\tHe goes.\\n\\n\\tA SONG BEGINS, PRELAPPING THE FOLLOWING SCENES: \\\"MURDER BY\\n\\tNUMBERS\\\" BY THE POLICE...\\n\\n\\t\\t\\\"Once that you've decided on a killing\\n\\t\\tFirst you make a stone of your heart\\n\\t\\tAnd if you find that your hands are still willing\\n\\t\\tYou can turn murder into an art...\\\"\\n\\n\\tHELEN OPENS THE WEAPON, SEEMINGLY COMPETENT ENOUGH TO HANDLE\\n\\tIT WELL, AND EMPTIES OUT THE BULLETS. SHE LOCKS IT UP AND\\n\\tHEAVES A SIGH OF RELIEF.\\n\\n\\tTHE SONG CONTINUES...\\n\\n\\t\\t\\t\\t\\t\\t\\tCUT TO:\\n\\n\\tEXT. POLICE STATION - DAY\\n\\n\\tTHE FBI ARRIVES. High angle, looking down: three identical\\n\\tcars draw in front, park with military precision: all four\\n\\tdoors on the all three cars open at the same time and\\n\\tidentically dressed men, in suits, get out, slam the doors\\n\\tin sync., and march toward the front steps to HQ, ignoring a\\n\\tcouple of bemused cops smoking on the sidewalk...\\n\\n\\tINT. POLICE HQ - CONTINUOUS\\n\\n\\tAs the parade of FBI, led by their Commander SAKS, walk down\\n\\tthe corridor from the front door, toward CAMERA, performing\\n\\ta smart right angle turn, and (CAMERA PANNING TO FOLLOW)\\n\\tcontinue away from CAMERA down another corridor. Through\\n\\tthe glass partitions and in the halls they pass cops who\\n\\tpretend they aren't looking at them: no eye contact between\\n\\tcops and FBI. The cops are at ease; bellies slop over\\n\\tbelts; neatly pressed blouses strain over breasts; sweat\\n\\tstains; shirtsleeves. The marching men wouldn't sweat.\\n\\n\\tQUINN emerges from his office and sees them arriving. He\\n\\tgets his jacket off a hook on the back of the door, signals\\n\\ta few top officers to follow. He looks resigned...\\n\\n\\tINT. TASK FORCE ROOM - DAY (LATER)\\n\\n\\tM.J., RUBEN, NIKKO, and a number of other officers are being\\n\\taddressed by SAKS, an FBI agent. At the back are three more\\n\\tFBI AGENTS, suited and tied. QUINN stands off to one side.\\n\\tTHE SONG IS JUST ENDING, ON A CD PLAYER IN THE ROOM. A\\n\\tprojector beams up a copy of the note RUBEN found in the\\n\\tphone booth.\\n\\n\\t\\tDr. Hudson: Don't lose your head.\\n\\t\\t\\\"Once that you've decided on a killing\\n\\t\\tFirst you make a stone of your heart\\n\\t\\tAnd if you find that your hands are still willing\\n\\t\\tYou can turn murder into an art.\\n\\t\\tWell, if you have a taste for this experience\\n\\t\\tYou're flushed with your very first success\\n\\t\\tThen you must try a twosome or a threesome\\n\\t\\tBefore your conscience bothers you much less.\\n\\t\\tThen you can join the ranks of the illustrious\\n\\t\\tIn history's great dark hall of fame\\n\\t\\tAll of our greatest killers were industrious\\n\\t\\tAt least the ones that we all know by name.\\\"\\n\\n\\tSAKS speaks...\\n\\n\\t\\t\\t\\tSAKS\\n\\t\\tHello. I am (research title)\\n\\t\\tMeryhew Saks. The song is called\\n\\t\\t\\\"Murder By Numbers.\\\" The\\n\\t\\tperformers are a group called The\\n\\t\\tPolice. Adam here...\\n ... from Behavioral Science is\\n\\t\\tworking out exactly what this\\n\\t\\tperpetrator is trying to telegraph\\n\\t\\tin the note. This is an extremely\\n\\t\\tcomplex case, and we have a lot of\\n\\t\\tfancy theories floating around.\\n\\t\\tWe're not ruling out the possib-\\n\\t\\tility of three Copycat serial\\n\\t\\tkillers. We have Quantico working\\n\\t\\ton graphology, the Washington lap\\n\\t\\tis cloning DNA from the secretor.\\n\\t\\tIt's our feeling that the best lead\\n\\t\\twe have is the two sperm samples in\\n\\t\\tone of the victims. We have a team\\n\\t\\tsweeping sperm banks. Now I want\\n\\t\\tto say a few word to you local\\n\\t\\tpeople. Your Commissioner asked\\n\\t\\tfor our assistance. The Bureau\\n\\t\\tdoes not send us in on these cases\\n\\t\\tto lord it over the local police.\\n\\t\\tWe couldn't catch up on what you\\n\\t\\tpeople know if we had a year. We\\n\\t\\thave nation-wide resources and hard\\n\\t\\tstate of the art forensic science;\\n\\t\\tyou have the local savvy. Together\\n\\t\\twe can be unbeatable. Which one is\\n\\t\\tInspector Halloran?\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tOver here.\\n\\n\\tSAKS approaches M.J., guides her away from the others.\\n\\tTWO SHOT: Saks is unctuous and insincere, self-confident.\\n\\n\\t\\t\\t\\tSAKS\\n\\t\\tWe don't see too many lady homicide\\n\\t\\tdetectives. You have my respect.\\n\\t\\tHave you discussed the note with\\n\\t\\tDr. Hudson?\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tSomeone broke into her place last\\n\\t\\tnight. It wasn't connected to our\\n\\t\\tcase, but it shook her up pretty\\n\\t\\tbad so I haven't...\\n\\n\\tQUINN joins them, SAKS gives him a nod.\\n\\n\\t\\t\\t\\tSAKS\\n\\t\\tI was just about to advise the\\n\\t\\tInspector here not to show Dr.\\n\\t\\tHudson the note.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tSir, Doctor Hudson and I see a\\n\\t\\tpattern develop...\\n\\n\\t\\t\\t\\tSAKS\\n\\t\\t\\t(riding over her)\\n\\t\\tWe know Helen. She's not exactly a\\n\\t\\tcredible collaborator. Especially\\n\\t\\tlate in the day...\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tShe takes tranquilizers her doctor\\n\\t\\tprescribes.\\n\\n\\t\\t\\t\\tSAKS\\n\\t\\tWho prescribes the brandy?\\n\\n\\tM.J.'S look makes SAKS smile. QUINN is called to the phone.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tHow come you're so up on Dr.\\n\\t\\tHudson?\\n\\n\\t\\t\\t\\tSAKS\\n\\t\\tShe is a writer, writing best\\n\\t\\tselling books about serial killing.\\n\\t\\tGiving lectures she's well-paid\\n\\t\\tfor. Her interests are not the\\n\\t\\tinterests of law enforcement.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tOkay.\\n\\n\\t\\t\\t\\tSAKS\\n\\t\\tWe've put a tap on Dr. Hudson's\\n\\t\\tphone. I know you won't mention\\n\\t\\tit.\\n\\n\\tSo much for any trusting relationship, right? QUINN has\\n\\tarrived, addresses SAKS.\\n\\n\\t\\t\\t\\tQUINN\\n\\t\\tSorry to interrupt. I need a word\\n\\t\\twith my officer...\\n\\n\\tHe turns to M.J. Diplomatically, SAKS moves away.\\n\\n\\t\\t\\t\\tQUINN\\n\\t\\tM.J., I'm going to have to borrow\\n\\t\\tRuben. The alien-smuggling thing\\n\\t\\tin Chinatown is going down tomorrow\\n\\t\\tnight and Jack's kid got hit by a\\n\\t\\tcar. I gotta give Ruben to Nikko.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tWhat does this mean? Now we got\\n\\t\\tthe FBI, my team is expendable?\\n\\t\\tI'm working my ass off, is anybody\\n\\t\\tlistening? Why Ruben, anyway? He\\n\\t\\tand Nikko don't even get on\\n\\t\\ttogether...\\n\\n\\t\\t\\t\\tQUINN\\n\\t\\tTeach both of them a lesson in\\n\\t\\tcooperation and self-discipline.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tIf this is a first step in kicking\\n\\t\\tme off the case, just tell me, to\\n\\t\\tmy face, sir, don't waste time\\n\\t\\tbeing diplomatic.\\n\\n\\t\\t\\t\\tQUINN\\n\\t\\tJust, I need results. And -- I am\\n\\t\\tshort-handed. Who else am I gonna\\n\\t\\tgive him?\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\t\\t(looking at Saks)\\n\\t\\tGive him thatpompous son of a\\n\\t\\tbitch.\\n\\n\\tShe turns and leaves, brushing past Saks as she goes... Gigi\\n\\tmeets her...\\n\\n\\t\\t\\t\\tGIGI\\n\\t\\tLab called. They got a result on\\n\\t\\tthe drug test you requested...?\\n\\n\\tIt takes a moment to remember what it was...\\n\\n\\t\\t\\t\\tGIGI\\n\\t\\tThey said it was Windex?\\n\\n\\tIf there was any residual doubt about what's happening, it's\\n\\tgone now. She starts after Quinn, sees he is in spirited\\n\\tdialogue with SAKS and decides to wait.\\n\\n\\t\\t\\t\\t\\t\\t\\tCUT TO:\\n\\n\\tINT. HELEN'S LIVING ROOM - DAY\\n\\n\\tHELEN and M.J. Helen unfolds a xerox copy of the note, that\\n\\tM.J. has just given her.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\t...\\\"I'll be back...\\\"\\n\\n\\tAs she looks at the back of the note... she looks up into\\n\\tM.J.'S face.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tYeah. Addressed to you. \\\"Don't\\n\\t\\tlose your head.\\\"\\n\\n\\tHelen puts down the note. She is holding herself together\\n\\tby main will power... doesn't want to face that note...\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tThey put Merry Saks on it?!\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tHe said to send you his regards and \\n\\t\\tto tell you that the Bureau holds\\n\\t\\tyou in the highest esteem.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tWhat I can't believe is that in an\\n\\t\\tearlier life I slept with him!\\n\\t\\tChrist! Any God that loved his\\n\\t\\tpeople would give women a rewind on\\n\\t\\ttheir life and an erase button.\\n\\t\\t\\t(looks at M.J.)\\n\\t\\tJust give me a minute here. The\\n\\t\\tletter is addressed to me...\\n\\t\\t\\t(she's breathing\\n\\t\\t\\t fast, controls it)\\n\\t\\tYou don't feel fear, do you?\\n\\t\\tYou're young. You feel like you'll\\n\\t\\tlive forever. How wonderful.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tI put my ass on the line, giving\\n\\t\\tyou that.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tThey weren't going to show it to\\n\\t\\tme?! The arrogance! It's my life!\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tIt's also the major piece of\\n\\t\\tevidence, and it makes you a key\\n\\t\\tpart of his plan. You can't run\\n\\t\\taway from it anymore.\\n\\t\\t\\t(beat)\\n\\t\\tLook at the order he's doing\\n\\tthem... He did three as the Boston\\n\\t\\tStrangler just to tell us a copycat\\n\\t\\tserial killer was at work. Then he\\n\\t\\tdid one like the Hillside Strang-\\n\\t\\tler. And then one as Son of Sam.\\n\\t\\tTo lead us on -- to where and what\\n\\t\\tend? And he's doing more than that\\n\\t\\t-- he's imitating each killer's\\n\\t\\tmethod as closely as he can -- in\\n\\t\\tdetails. Injecting Windex. Using\\n\\t\\t.44. Playing Abba.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tIt's not chronological: Son of Sam\\n\\t\\twas before Hillside.\\n\\n\\tShe begins to read.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tIt's clear he thinks he knows me.\\n\\t\\tHe lives a fantasy. 'Helen, don't\\n\\t\\tlose your head.' Is that a threat?\\n\\t\\tDoes he want to cut off my head?\\n\\t\\tDahmer cut off heads. Who else?\\n\\t\\tKemper. Did Gacy? Rivkind? I\\n\\t\\tthink Rivkind did.\\n\\n\\tShe puts the note down on the table, smoothes it out. She\\n\\tcloses her eyes for a moment. We begin to see certain\\n\\tfiltered images. As they come, we INTERCUT them.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tHe attacks what he feels he can't\\n\\t\\thave. What he feels excluded\\n\\t\\tfrom...\\n\\n\\tEXT. UNIVERSITY CAMPUS - DAY\\n\\n\\tLush, pastoral green. We see PETER sitting by himself. He\\n\\twears a WHITE LAB COAT, like one we saw hanging in his\\n\\tbasement.\\n\\n\\tHIS POV: of students on the green, playing Frisbee,\\n\\tstudying together, picnicking. Women sunbathe, their straps\\n\\tpulled down on their shoulders, their tops rolled up to\\n\\texpose their midriffs.\\n\\n\\t\\t\\t\\tHELEN (V.O.)\\n\\t\\t'First you make a stone of your\\n\\t\\theart.'... Oh yes! He doesn't\\n\\t\\tsuffer. That's past. Now it's our\\n\\t\\tturn.\\n\\n\\tOne of the sunbathing girls sits up and looks round, then\\n\\ttakes her top off entirely.\\n\\n\\t\\t\\t\\tHELEN (V.O.)\\n\\t\\tKemper said in order to have the\\n\\t\\texperience he wanted with them, he\\n\\t\\tneeded to evict them from their\\n\\t\\tbodies. By making the body a\\n\\t\\tcompletely passive object, he\\n\\t\\treleases himself from passivity.\\n\\n\\tCLOSE: HELEN, DEEP IN THOUGHT...\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tBut the relief he feels is only\\n\\t\\ttemporary. '...Before your\\n\\t\\tconscience bothers you much\\n\\t\\tless...' But the tension always\\n\\t\\tcomes back.\\n\\t\\t\\t(she now picks out\\n\\t\\t\\t the words:)\\n\\t\\t'You can join the ranks of the\\n\\t\\tillustrious...' He wants to be\\n\\t\\tlike them. The best. To become\\n\\t\\tthe best. But, he has his own\\n\\t\\tdesires, his own compulsions apart\\n\\t\\tfrom theirs.' His own horrors...\\n\\n\\t\\t\\t\\t\\t\\t\\tCUT TO:\\n\\n\\tFLASHBACK: PETER'S CHILDHOOD HOME - DAY\\n\\n\\tAn incremental flash of a SMALL BOY standing by his bed\\n\\twhich he has wet. His pajamas are soaked. His powerful\\n\\tMOTHER grabs him by the hair and drags him with her.\\n\\n\\t\\t\\t\\tHELEN (V.O.)\\n\\t\\tSome horrors that are all his\\n\\t\\town...\\n\\n\\tThe SMALL BOY is flung into an under-stairs closet where\\n\\tfirewood and stacked papers are kept. The door is slammed\\n\\thard. He gropes around in the darkness, finds a big box of\\n\\tmatches, lights one. Then, angrily, he sets fire to a pile\\n\\tof newspapers. They start to burn. We see, but do not,\\n\\thear, his screams for help.\\n\\n\\t\\t\\t\\tHELEN (V.O.)\\n\\t\\tHe needs to prove they don't\\n\\t\\tcontrol him, that he's the one in\\n\\t\\tcontrol. But the feeling of power\\n\\t\\tnever lasts. He can control his\\n\\t\\tvictims, but he can't control\\n\\t\\tanything else... his place in the\\n\\t\\tworld. He want s to be recognized.\\n\\t\\tHe puts messages in my computer; he\\n\\t\\tsends me a letter...\\n\\n\\tINT. HELEN'S APARTMENT - DAY\\n\\n\\tShe picks out the lines... \\\"then you must try a twosome or a\\n\\tthreesome.\\\"\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tOf course he wants to do a\\n\\t\\tthreesome! Only Bundy did three in\\n\\t\\tone day. Is Bundy next? But Bundy\\n\\t\\tshould be last... the grand finale.\\n\\t\\tWhat about Kemper and Ramirez?\\n\\t\\tGacy, Dahmer, Williams? Rivkind?\\n\\t\\tWho else is on his list? In what\\n\\t\\torder?\\n\\n\\tEXT. CITY STREET - DAY\\n\\n\\tPETER in his car. Ahead, he see TWO GIRLS at a bus stop.\\n\\tWe see PETER take a long bladed-knife and carefully conceal\\n\\tit under his right thigh. The TWO GIRLS are wearing\\n\\tbackpacks. 'FESTIVAL OF LOVE' stickers decorate the bags.\\n\\tPETER pulls his nondescript sedan up to them and says\\n\\tsomething. They giggle, shake their heads. He laughs,\\n\\tholds up his hands to level of his shoulders in a 'Not\\n\\tguilty!' gesture, then makes a peace sign. The girls giggle\\n\\tagain, but do not get in.\\n\\n\\tPETER drives off.\\n\\n\\tINT. HELEN'S APARTMENT - DAY\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\t'...great dark hall of fame... all\\n\\t\\tour greatest killers...' His\\n\\t\\tgreatest heroes? He wants to be\\n\\t\\tfamous. When they're caught and\\n\\t\\tpeople like me write about them, we\\n\\t\\tgive them a kind of immortality.\\n\\t\\tThey get thousands of letters.\\n\\t\\tRamirez kills eight women and gets\\n\\t\\ta hundred marriage proposals a\\n\\t\\tmonth. They're like film stars.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tThey get fan letters...\\n\\n\\t\\t\\t\\t\\t\\t\\tCUT TO:\\n\\n\\tINT. PRISON - DAY WARDEN FELIX MENDOZA IN HIS OFFICE\\n\\n\\t\\t\\t\\tFELIX\\n\\t\\tWe keep records of any threatening\\n\\t\\tor illegal correspondence, like\\n\\t\\trelatives of victims who might want\\n\\t\\tto send the condemned man some\\n\\t\\tstrychnine cookies. So it's only a\\n\\t\\tpartial list, but you're still\\n\\t\\tlooking at about forty pages...\\n\\n\\tMONTAGE OF PICTURE AND SOUND: WE BEGIN TO SEE MOVING LISTS\\n\\tOF NAMES -- LIKE SCHINDLER'S LIST -- SUPERIMPOSED OVER THE\\n\\tSHORT SNIPPETS OF SCENES... A WATERFALL OF NAMES...\\n\\n\\tINT. HELEN'S OFFICE\\n\\n\\tINSERT FAX MACHINE: LISTS OF NAMES BEING EXCRETED.\\n\\n\\t\\t\\t\\tHELEN (V.O.)\\n\\t\\tWould you fax those pages to me?\\n\\n\\tINT. TASK FORCE ROOM - DAY\\n\\n\\tM.J. on the phone. On the desk in front of her, is a list\\n\\tof killers, complementary to HELEN'S.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tThank you for your help, Warden\\n\\t\\tHillyer. As soon as you can.\\n\\n\\tShe hangs up as GIGI puts a long fax sheet of names on\\n\\tM.J's desk.\\n\\n\\t\\t\\t\\tGIGI\\n\\t\\tHot off the fax. Mr. Rivkind's\\n\\t\\tfans.\\n\\n\\tM.J. doesn't look at the Rivkind list, just crosses his name\\n\\toff the killer list and picks up the phone, dials, waits.\\n\\n\\t\\t\\t\\t\\t\\t\\tCUT TO:\\n\\n\\tINT. HELEN'S OFFICE - LATE AFTERNOON\\n\\n\\tCLOSE: FAX OF A LIST OF NAMES AND ADDRESSES IS SCANNED BY A\\n\\tSCANNER; UNIQUE SOUND OF SCANNER AND FLASHING LIGHTS.\\n\\tANOTHER PAGE IS SCANNED IN.\\n\\n\\tCOMPUTER SCREEN: CALERA WORDSCAN: SAME PAGE APPEARS AND IS\\n\\tREAD BY COMPUTER (A FILM OF COLOR MOVES OVER THE PAGE\\n\\tSHOWING AREA SCANNED.) PAGE THEN REAPPEARS WITH ERRORS\\n\\tMARKED BY COLOR;\\n\\n\\tON SCREEN THE NAMES AND ADDRESSES SCROLL BY -- THERE ARE\\n\\tHUNDREDS, MAYBE THOUSANDS OF NAMES... IMPOSSIBLE TO READ AND\\n\\tCOMPARE...\\n\\n\\tA COMPUTER SCREEN MIXES WITH THIS: -- BOOLEAN SEARCH TERMS\\n\\tBEING TYPED IN, MEANING \\\"LOOKING FOR LAST NAMES, IGNORING CASE,\\n\\tOCCURRING ON MORE THAN ONE LIST, AND/OR MORE THAN ONCE,\\n\\tCOUNT NUMBER OF HITS.\\\"\\n\\n\\tTHE COMPUTER SCREEN SCROLLS NAMES FASTER AND FASTER, EVERY\\n\\tONCE IN WHILE HALTING A SPLIT SECOND ON A NAME, AND\\n\\tRESUMING. SUPERIMPOSED IS A FLASHING LEGEND:\\n\\n\\tPLEASE WAIT. DO NOT TOUCH KEYS OR SEARCH DATA WILL BE LOST.\\n\\n\\t\\t\\t\\tHELEN (V.O.)\\n\\t\\tIf we keep going and work till\\n\\t\\tmidnight...\\n\\n\\t\\t\\t\\tANDY (O.S.)\\n\\t\\tSorry, Luv. I've got a date.\\n\\n\\t\\t\\t\\tHELEN (O.S.)\\n\\t\\tYou've got a date right here, Andy.\\n\\t\\tThis has got to...\\n\\n\\tWE NOW SEE ANDY is feeding the scanner, he has a thick sheaf\\n\\tof faxed lists...\\n\\n\\t\\t\\t\\tANDY\\n\\t\\tIt's almost six. And guess what?\\n\\t\\tHall likes me bathed and shaved.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tStop acting like a silly little\\n\\t\\tfag!\\n\\n\\tHis eyebrows arch, but his smile stays in place.\\n\\n\\t\\t\\t\\tANDY\\n\\t\\tMy life to live, darling, try to\\n\\t\\tremember what it was like way, way\\n\\t\\tback when you were young and sexy\\n\\t\\tand alive.\\n\\n\\tHe gets up and walks toward the door.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tYou bastard!\\n\\n\\t\\t\\t\\tANDY\\n\\t\\tBut alive!\\n\\n\\tTHE DOOR SLAMS (O.S.) HELEN angrily hits the keys:\\n\\n\\t\\t\\t\\t\\t\\t\\tCUT TO:\\n\\n\\tTHE ENDLESS LIST FLOWS LIKE MUDDY WATER ACROSS THE SCREEN...\\n\\n\\tHELEN -- HER FACE REFLECTS THE SCROLL OF NAMES (AS THOUGH\\n\\tTHEY WERE PROJECTED ON HER FACE IN REVERSE.) SHE IS TOTALLY\\n\\tFOCUSSED, BUT NERVOUS; SHE LIGHTS A CIGARETTE AS\\n\\n\\tCAMERA DOLLIES IN CLOSER AND CLOSER TO HER EYES AND THEN TO\\n\\tONE EYE ONLY UNTIL THE EYE, THE IRIS AND FINALLY THE PUPIL\\n\\tFILL THE SCREEN: IN THEM IS REFLECTED THOSE NAMES POURING\\n\\tPAST IN THEIR THOUSANDS, UNTIL WE HEAR A GASP. A KEYSTROKE\\n\\tOFFSTAGE, AND THE NAMES STOP: ANOTHER KEYSTROKE AND ONE NAME\\n\\tAMONG THEM ALL SUDDENLY FREEZES IN HER PUPIL:\\n\\n\\tPETER KURTEN\\n\\n\\t\\t\\t\\tHELEN (V.O.)\\n\\t\\tThe dirty bastard! More games!\\n\\n\\t\\t\\t\\t\\t\\t\\tCUT TO:\\n\\n\\tINT. HELEN'S APARTMENT - DAY\\n\\n\\tM.J. is entering at front door, let in by a new Guard FRED.\\n\\n\\t\\t\\t\\tHELEN (O.S.)\\n\\t\\tIt's not a real name: it's the name\\n\\t\\tof a mass murderer in Germany in\\n\\t\\tthe 1930s. They called him the\\n\\t\\tMonster of Dusseldorf.\\n\\n\\tM.J. is turning into the Office; she carries a portfolio of\\n\\tlists of her own.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tLet's speed up the game plan...\\n\\t\\tcall all the living serials to ask\\n\\t\\tif they've had contact with a Peter\\n\\t\\tKurten. We could use some help on\\n\\t\\tthe phones...\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tThey're not talking to me. Saks\\n\\t\\tlooks right through me. I ask him\\n\\t\\tfor some bodies, for the phones --\\n\\t\\the's so encouraging: \\\"you make that\\n\\t\\tyour little job.\\\" Condescending\\n\\t\\tbastard.\\n\\t\\t\\t(careful)\\n\\t\\tHelen, on your lists to call is San\\n\\t\\tQuentin. Daryll Lee Cullum?\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\t\\t(beat)\\n\\t\\tYou do that one, I don't want it...\\n\\n\\t\\t\\t\\t\\t\\t\\tCUT TO:\\n\\n\\tINT. SAN QUENTIN WARDENS' OFFICE\\n\\n\\t\\t\\t\\tMITCHELL\\n\\t\\tSergeant Halloran is it? I've\\n\\t\\tgot a list of Daryll Lee's\\n\\t\\tcorrespondents. There is a\\n\\t\\tPeter Kurten among them.\\n\\t\\tDaryll Lee claims he has\\n\\t\\tinformation about Kurten, but\\n\\t\\the'll only talk to Dr. Hudson\\n\\t\\tpersonally. Nobody else. The\\n\\t\\tcreep's been studying his\\n\\t\\tamendments. My guess is he\\n\\t\\tdoesn't have zip. Just\\n\\t\\tangling for a chance to ask if\\n\\t\\ther bra size is still the\\n\\t\\tsame. We get this shit all\\n\\t\\tthe time, but it's her call.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tThanks, Warden.\\n\\t\\t\\t(determined)\\n\\t\\tShe'll talk to him.\\n\\n\\tINT. HELEN'S OFFICE - NIGHT\\n\\n\\tHELEN, M.J. They are waiting, Helen tense, smoking,\\n\\tatmosphere charged...\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tDo those things really help?\\n\\n\\tLike she really wished they might, so she could have one.\\n\\tHelen looks at her cigarette as though she'd never seen one\\n\\tbefore... grinds it out...\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tNot a damn bit...\\n\\n\\tAnd unconsciously lights another during following...\\n\\tPHONE RINGS. M.J. PICKS IT UP, LISTENS, HANDS IT TO HELEN...\\n\\tGestures encouragement; fist in victory gesture...\\n\\n\\t\\t\\t\\t\\t\\t\\tINTERCUT TO:\\n\\n\\tINT. PENITENTIARY INTERVIEW ROOM\\n\\n\\tDARYLL LEE CULLUM is on the phone, a Warden is attendance,\\n\\tbut not on the phone line. On this rare contact with the\\n\\toutside world HE IS MANIC...\\n\\n\\t\\t\\t\\tDARYLL LEE\\n\\t\\tHey, Doc! How you doing?\\n\\n\\tShe turns on speakerphone.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tHello, Daryll Lee.\\n\\n\\t\\t\\t\\tDARYLL\\n\\t\\tYou read my book which as you know,\\n\\t\\thit the stands a couple of weeks\\n\\t\\tago. You read it yet.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tWhat book?\\n\\n\\t\\t\\t\\tDARYLL\\n\\t\\t\\t(indignant)\\n\\t\\tI sent it by private courier, he\\n\\t\\tdidn't give it to you? That son of\\n\\t\\ta gun...!\\n\\n\\tHelen looks at M.J., who indicates 'tell you later.'\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tI'll look for it, Daryll Lee.\\n\\n\\t\\t\\t\\tDARYLL\\n\\t\\tBet you never figured I'd follow in\\n\\t\\tyour footsteps. It's real well-\\n\\t\\twritten. You should read it --\\n\\t\\tyou're in it.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tI will. I'll call you, Daryll, and\\n\\t\\ttalk to you about it after I've\\n\\t\\tread it. Right now I have a\\n\\t\\tquestion... Peter Kurten.\\n\\n\\t\\t\\t\\tDARYLL\\n\\t\\tKurten! Is he bothering you? I\\n\\t\\ttold that son I'd send him what he\\n\\t\\twanted if he leave you alone.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tAh ha. What did he want?\\n\\n\\t\\t\\t\\tDARYLL\\n\\t\\tSomething personal. Is he bothering\\n\\t\\tyou?\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tI don't know. I'd like to know\\n\\t\\twhere he is.\\n\\n\\t\\t\\t\\tDARYLL\\n\\t\\tListen, you want my advice? Steer\\n\\t\\tclear. He's writing me he's gonna\\n\\t\\tfinish 'my unfinished symphony.'\\n\\t\\tHe's gonna give me $550 for some of\\n\\t\\tmy cum, he says he's in a position\\n\\t\\tto see that I will be immortal if\\n\\t\\the has some of my spunk. I'm\\n\\t\\toffended. Right away I smell\\n\\t\\tfreak. Writin' about him and me\\n\\t\\tand you bein' joined and he's gonna\\n\\t\\tfinish my symphony? I didn't care\\n\\t\\tfor his drift. I sent some liquid\\n\\t\\tsoap in a sandwich baggie with a\\n\\t\\tmessage from Jesus to mend his\\n\\t\\tways. You hear I found Jesus? And\\n\\t\\twhat's funny is, now I don't mind\\n\\t\\tbein' inside. If I was out, even\\n\\t\\tBorn Again, I'd probably get\\n\\t\\trestless again. It's maybe better\\n\\t\\tI stay here, what do you think?\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tI think whatever is best for you,\\n\\t\\tDaryll. And maybe you're right,\\n\\t\\tthat's the place.\\n\\n\\t\\t\\t\\tDARYLL\\n\\t\\tYou come and visit.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tWhere did you send the message to\\n\\t\\tPeter Kurten?\\n\\n\\t\\t\\t\\tDARYLL\\n\\t\\tDamn! I gave that to Conrad, too!\\n\\t\\tThat guy! I told Conrad deliver to\\n\\t\\tKurten and keep the 500 bucks in\\n\\t\\treturn for getting my book to you.\\n\\n\\tAt this mention of Conrad, M.J. leaps to another phone...\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tHow was Conrad supposed to find\\n\\t\\tKurten?\\n\\n\\t\\t\\t\\tDARYLL\\n\\t\\tConrad has the phone number.\\n\\t\\tConrad, where is he?\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\t\\t(from M.J.'s pantomime)\\n\\t\\tIn jail.\\n\\n\\t\\t\\t\\tDARYLL\\n\\t\\tThat Klutz. They send him back\\n\\t\\there, I'll kick his ass good.\\n\\n\\t\\t\\t\\tDARYLL LEE\\n\\t\\tHelen, how is life, you okay? Come\\n\\t\\tsee me, talk to me. I think about\\n\\t\\tyou, worry about you all the time.\\n\\t\\tI am so glad Jesus didn't let me\\n\\t\\tkill you. You know -- you're\\n\\t\\tblessed by Jesus. That's why you\\n\\t\\tneed to come talk to me, because\\n\\t\\tJesus kept you alive for a reason,\\n\\t\\tand I was his sacred instrument...\\n\\t\\tIn the moment Satan was in my heart\\n\\t\\traising my hand to kill you, Jesus\\n\\t\\ttook my hand to spare you. I am\\n\\t\\tboth death and life to you...\\n\\n\\tHelen hangs up. M.J. has already left...\\n\\n\\t\\t\\t\\t\\t\\t\\tCUT TO:\\n\\n\\tINT. SQUAD ROOM - NIGHT\\n\\n\\tPandemonium: the Chinatown raid has been carried off and\\n\\tNIKKO AND RUBEN and a dozen other cops are booking a group\\n\\tof Chinese gangsters of all ages, and a group of frightened\\n\\tand confused Chinese illegal aliens. TOTAL UPROAR.\\n\\n\\tTHROUGH IT, WE MOVE WITH M.J. SHE PASSES RUBEN WHO IS\\n\\tGRABBING A CHINESE KID STRUNG OUT ON SOMETHING, OUT OF A\\n\\tLINE OF SUSPECTS... HE ASIDES:\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tI brought back a gin-seng popper\\n\\t\\tfor you. Guaranteed all-night\\n\\t\\torgasms.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tSave it for Helen.\\n\\n\\t\\t\\t\\tRUBEN\\n\\t\\t\\t(enough already!)\\n\\t\\tWait a minute, wait a goddamn\\n\\t\\tminute...\\n\\n\\tHe manhandles the KID INTO DOCILITY WHILE...\\n\\n\\t\\t\\t\\tRUBEN\\n\\t\\tThe woman was in shock. She was\\n\\t\\ttotally out on ranks. I stayed\\n\\t\\tbecause I didn't want her to wake\\n\\t\\tup alone in a place where she'd\\n\\t\\tjust been under attack.\\n\\t\\t\\t(to the Kid who is\\n\\t\\t\\t restless)\\n\\t\\tStop that, you son of a bitch!\\n\\t\\t\\t(back to her)\\n\\t\\tThe place wasn't secure. I was\\n\\t\\tdoing my goddamn job! And, for the\\n\\t\\tsecond time, I slept in her living\\n\\t\\troom.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tDon't try to lie, Ruben. You don't\\n\\t\\thave the face for it. I need you\\n\\t\\tto help interrogate the burglar in\\n\\t\\tHudson's place...\\n\\n\\t\\t\\t\\tRUBEN\\n\\t\\tTalk to Nikko...!\\n\\n\\tSHE MOVES ON TO FIND NIKKO\\n\\n\\tNIKKO sites at his desk, processing the papers for the sullen\\n\\tYOUNG THUG who is handcuffed to a chain next to NIKKO'S\\n\\tdesk. Nikko unholsters his gun... he shoves it into his\\n\\tdesk drawer...\\n\\n\\t\\t\\t\\tNIKKO\\n\\t\\tYou speak English?\\n\\t\\t\\t(Chinese)\\n\\t\\tYou need an interpreter?\\n\\n\\tQUINN, walking past the ILLEGALS, speaks to GIGI.\\n\\n\\t\\t\\t\\tQUINN\\n\\t\\tI didn't want the Illigals, I wanted\\n\\t\\tjust the bastards dumping them in\\n\\t\\tthe harbor. What's keeping those\\n\\t\\tbums at Immigration? Nightmare in\\n\\t\\there...\\n\\n\\tM.J. STANDS OVER NIKKO\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tI gotta have Ruben, and a...\\n\\n\\tHARROWING SCREAM!!! ILLEGAL WOMAN IS SCREAMING --\\n\\tPANDEMONIUM AMONG THE DETAINEES. COPS RUSH TO CONTROL THE\\n\\tPROBLEM.\\n\\n\\t\\t\\t\\tNIKKO\\n\\t\\tOutta your mind? Look at this...\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\t\\t(to Quinn)\\n\\t\\tLieutenant...?\\n\\n\\tJust at that moment the kid Ruben was booking goes totally\\n\\tbananas; M.J. goes to his assistance, wrestling this wild\\n\\tkid.\\n\\n\\tNIKKO starts from his chair, looking for the key to the\\n\\tdrawer, but is isn't there... he goes to help Ruben get the\\n\\tkid under control. Quinn steps in...\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tThe prowler in Hudson's apartment\\n\\t\\tturns out to have a meeting with a\\n\\t\\tsuspect...\\n\\n\\t\\t\\t\\tQUINN\\n\\t\\t\\t(amazed)\\n\\t\\tYou got a suspect...\\n\\n\\tTHEY MOVE BACK TO NIKKO'S DESK.\\n\\n\\t\\t\\t\\tQUINN\\n\\t\\tHow'd you get in on the deal?\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tI'm gonna drop charges on the\\n\\t\\tbreak-and-enter at Hudson's...\\n\\n\\t\\t\\t\\tQUINN\\n\\t\\tYou have no authority to make a\\n\\t\\tdeal like that. That' s for the\\n\\t\\tD.A...\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tOr the F.B.I.?\\n\\n\\t\\t\\t\\tQUINN\\n\\t\\tSaks. If he knew you did that!\\n\\t\\tThey're all asking me, 'what is she\\n\\t\\tdoing,' as it is.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tGive me Ruben back...\\n\\n\\t\\t\\t\\tQUINN\\n\\t\\tNikko?\\n\\n\\t\\t\\t\\tNIKKO\\n\\t\\tWe get through this shit, let 'em\\n\\t\\tall go.\\n\\n\\tNIKKO has stood and moved the handcuffed THUG toward the\\n\\tdoor to jail cells. M.J. checks her time, (WALL CLOCKS HELP\\n\\tUS HERE: 8:47)\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tI'll talk to Conrad myself. I'll\\n\\t\\tbe in the jail when you wind this\\n\\t\\tup...\\n\\n\\t\\t\\t\\tRUBEN\\n\\t\\tI gotta get something to eat, I\\n\\t\\thaven't eaten all day.\\n\\n\\tM.J. goes... RUBEN can't find a desk to work at, and\\n\\tcommandeers Nikko's. He slams the KID into NIKKO'S chair\\n\\tand cuffs him. KID starts to rattle his chairs, spew\\n\\tChinese epithets, then bends over the desk and, with his\\n\\tteeth picks up some paper, tries to shake it to shreds.\\n\\n\\tRUBEN yanks the papers out of the KID'S mouth, pulls the\\n\\tKID'S chair from the side to the front of the desk, shoves\\n\\tthe KID into place facing away from the desk, so that he\\n\\tcan't do any more damage. Then RUBEN can't figure out where\\n\\the can work. At the next desk, where he has been working,\\n\\tMAC rises.\\n\\n\\t\\t\\t\\tMAC\\n\\t\\tHere... I'm finished...\\n\\n\\t\\t\\t\\tRUBEN\\n\\t\\t\\t(to Kid)\\n\\t\\tI'm going to the coffee machine.\\n\\t\\tHold the fort.\\n\\n\\tHe moves off, the KID'S eyes move calculatingly around the\\n\\troom. He twists against the cuffs, trying anything to get\\n\\tfree, and discovers he can pull out the desk drawer.\\n\\n\\tCLOSE UP: The KID'S FREE HAND rifling through the drawer\\n\\tbehind his back, finding the gun. PULL BACK to show the\\n\\tKID. He is as Ruben positioned him, his back pressed\\n\\tagainst the desk.\\n\\n\\t\\t\\t\\t\\t\\t\\tCUT TO:\\n\\n\\tINT. CITY JAIL CELL - DAY\\n\\n\\tCONRAD is brought in by a Guard. Lightly shacked. M.J.\\n\\tstands. Conrad sits.\\n\\n\\t\\t\\t\\tCONRAD\\n\\t\\tWho are you?\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tInspector Halloran. Homicide.\\n\\t\\tYou were supposed to contact a\\n\\t\\tPeter Kurten?\\n\\n\\t\\t\\t\\tCONRAD\\n\\t\\t\\t(cagey)\\n\\t\\tI was? How you spell that?\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tCut the crap. You got a sheet the\\n\\t\\tlength of my arm...\\n\\n\\t\\t\\t\\tCONRAD\\n\\t\\t\\t(interrupting)\\n\\t\\tI never hurt nobody...\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tShut up -- I'm talking. You got\\n\\t\\tfelony breaking and entering,\\n\\t\\tburglary, felonious...\\n\\n\\t\\t\\t\\tCONRAD\\n\\t\\t\\t(interrupting)\\n\\t\\tI never carried a gun!\\n\\n\\tShe slaps him hard! He is shocked.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tYou don't listen very good. This\\n\\t\\tbreak in -- I can call it a felony --\\n\\t\\tthree strikes, and you got about\\n\\t\\tsixteen strikes already, and you're\\n\\t\\tin jail for the rest of your life,\\n\\t\\tno parole. Or I could see it gets\\n\\t\\tforgotten.\\n\\n\\t\\t\\t\\tCONRAD\\n\\t\\tYou get me out first.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tDoesn't work that way. You had your\\n\\t\\tchance, now fuck yourself...\\n\\n\\tShe's walking to the door... Conrad holds out just one more\\n\\tbeat to see if she's bluffing... her hand is on the door\\n\\tknob...\\n\\n\\t\\t\\t\\tCONRAD\\n\\t\\tTell me what you want me to say.\\n\\t\\tAnything.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tYou were going to make a delivery\\n\\t\\tto Peter Kurten for Daryll Lee\\n\\t\\tCullum. I want Kurten's phone\\n\\t\\tnumber.\\n\\n\\t\\t\\t\\tCONRAD\\n\\t\\tI don't have it...\\n\\n\\tM.J. starts to open the door...\\n\\n\\t\\t\\t\\tCONRAD\\n\\t\\tWait... wait... I already called\\n\\t\\thim, I threw it away.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tYou already made the delivery?\\n\\n\\t\\t\\t\\tCONRAD\\n\\t\\tNo, that's still in my jacket I was\\n\\t\\twearing. We were supposed to meet\\n\\t\\ton the docks, that number 47 wharf,\\n\\t\\t10 o'clock Friday. He's gonna hand\\n\\t\\tme 500 bucks.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tWhat Friday?\\n\\n\\t\\t\\t\\tCONRAD\\n\\t\\tWhat day is this? In jail you lose\\n\\t\\ttrack. This week. Friday.\\n\\n\\tM.J. is already on her way...\\n\\n\\t\\t\\t\\tCONRAD\\n\\t\\tDon't forget me, please. I told\\n\\t\\tyou what you wanted -- don't forget\\n\\t\\tme.\\n\\n\\t\\t\\t\\t\\t\\t\\tCUT TO:\\n\\n\\tEXT. WATERFRONT - NIGHT\\n\\n\\tDESERTED. A LONG SHADOW OF A MAN STRETCHES OUT ACROSS THE\\n\\tDOCK. IT IS PETER, WALKING LEISURELY FROM THE WATERFRONT\\n\\tDRIVE TOWARD THE HUGE WATERHOUSE AT THE END OF THE DOCK. HE\\n\\tSTEPS INTO THE DEEP SHADOWS AND SEEMS TO VANISH.\\n\\n\\tCLOSE: PETER. HE CHECKS HIS WATCH AND TURNS TO WATCH THE\\n\\tDOCK AND THE SHORE. HE CAN SEE AND NOT BE SEEN. HE IS \\n\\tENTIRELY ALONE NOW.\\n\\n\\tINT. SQUAD ROOM - NIGHT\\n\\n\\tRUBEN takes coffee and doughnuts out of a box, then leans\\n\\tover the KID who seems to have calmed down. He uncuffs him\\n\\tfrom the chair.\\n\\n\\t\\t\\t\\tRUBEN\\n\\t\\tBehave. You refuse my hospitality,\\n\\t\\tI'm putting you to bed.\\n\\n\\tHe pushes the coffee toward the Kid, who WHIPS NIKKO'S GUN\\n\\tOUT FROM UNDER THE DESK, where it was hidden, and lays it up\\n\\tunder Ruben's ear. KID moves behind RUBEN and puts a skinny\\n\\tarm around RUBEN'S neck, pulling him upright. RUBEN still\\n\\tclutching the doughnut box. It takes a moment for the\\n\\tothers to SEE. Then the room is absolutely motionless.\\n\\n\\t\\t\\t\\tNIKKO\\n\\t\\tTake it easy, Kid. Nobody's gonna\\n\\t\\tdo anything. Just let the gun\\n\\t\\tdown, so it don't go off...\\n\\n\\tA CHINESE DETECTIVE REPEATS THE SAME IDEA IN CHINESE...\\n\\n\\t\\t\\t\\tKID\\n\\t\\t\\t(screams)\\n\\t\\tNobody comes through the door...\\n\\n\\tBehind the KID, as he backs through the door, across the\\n\\tcorridor we LOOK STRAIGHT DOWN A CORRIDOR TO WHERE M.J. IS\\n\\tCOMING ALMOST AT A RUN -- SHE SEES what is happening.\\n\\n\\tThe KID doesn't see her, yet, as he is backing away from the\\n\\tothers... M.J. DRAWS HER GUN AND STANDS IN FIRING POSITION.\\n\\n\\tIF SHE FIRES FROM HERE RUBEN IS DIRECTLY BEHIND THE KID, AND\\n\\tOTHER OFFICERS, IN THE LINE THE BULLET WOULD TAKE ARE STILL\\n\\tSCRAMBLING OUT OF HER LINE... SHE CAN'T FIRE.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tHey, you...\\n\\n\\tThe KID turns, sees her, exposing his shoulder to her... SHE\\n\\tFIRES AND HITS THE KID.\\n\\n\\tHE IS THROWN TO THE FLOOR AND TWISTED AROUND BY THE IMPACT,\\n\\tLANDING BEHIND RUBEN SO SHE CAN'T MAKE A SECOND SHOT.\\n\\n\\tRUBEN GOES FOR HIS OWN GUN, BUT THE KID'S GUN THAT FELL FROM\\n\\tHIS HAND IS RIGHT BY HIM STILL. THE KID GRABS IT AND FIRES\\n\\tBEFORE RUBEN HAS HIS GUN ALL THE WAY OUT OF HIS HOLSTER. THE\\n\\tKID SHOOTS RUBEN IN THE THROAT AT AN ANGLE THAT TAKES THE\\n\\tBULLET STRAIGHT INTO HIS BRAIN.\\n\\n\\tTHEN THE KID THROWS THE GUN AWAY, AND STANDS, HIS HANDS UP\\n\\tIN SURRENDER, A GRIN ON HIS FACE. THIS ENTIRE ACTION HAS\\n\\tTAKEN ABOUT SIX SECONDS. THE KID GOES DOWN, FLATTENED BY\\n\\tBODIES OF THE COPS WHO HAVE RUSHED HIM.\\n\\n\\t\\t\\t\\tKID\\n\\t\\tI'm a juvenile! I'm a juvenile!\\n\\n\\tM.J. RUSHES TO RUBEN.\\n\\n\\tEXT. WATERFRONT - NIGHT\\n\\n\\tPETER, STANDING AS BEFORE. CHECKS HIS WATCH, LIGHTS A\\n\\tCIGARETTE.\\n\\n\\tINT. SQUAD ROOM - NIGHT (LATER)\\n\\n\\tThe KID has been taken away. PARAMEDICS are removing\\n\\tRUBEN'S body. M.J. stands frozen as RUBEN'S stretcher is\\n\\tcarried out of the room. Her hand holds the doughnut box.\\n\\n\\tFinally, M.J. blinks, her head turns as if she can't imagine\\n\\twhat to do, where to go. Then, suddenly conscious of the\\n\\tdoughnut box, she clutches it tight against her chest.\\n\\n\\tCLOSE: M.J.\\n\\n\\tShe abruptly remembers: the rendezvous with Peter Kurten!\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tGigi! Dock 47. I need a couple\\n\\t\\tunits to drag the area...\\n\\n\\t\\t\\t\\t\\t\\t\\tCUT TO:\\n\\n\\tEXT. WATERFRONT - NIGHT\\n\\n\\tWIDE FULL SHOT: DEEP SHADOWS AND HIGHLIGHTS. IN THE BLACK\\n\\tCAVERN OF THE DOCK, FOOTSTEPS BEGIN TO ECHO, THEN OUT OF\\n\\tSHADOW INTO LIGHT COMES\\n\\n\\tPETER. HE WALKS AWAY INTO THE NIGHT. FAR FAR AWAY SIRENS\\n\\tBEGIN TO SOUND -- THEY'LL BE TOO LATE.\\n\\n\\t\\t\\t\\t\\t\\t\\tCUT TO:\\n\\n\\tINT. INTERVIEW ROOM - NIGHT\\n\\n\\tNIKKO sits, numb. If possible, NIKKO is more devastated than\\n\\tM.J. She speaks to NIKKO, but does not look at him.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tQuinn will be here any minute. What\\n\\t\\tare you going to say?\\n\\n\\t\\t\\t\\tNIKKO\\n\\t\\tChrist. I didn't lock the fucking\\n\\t\\tdrawer! You spend twenty years\\n\\t\\tthinking some perp's gonna whack\\n\\t\\tyou... you'll crash your car... but\\n\\t\\twhat happens is, you fuck\\n\\t\\tyourself...\\n\\t\\t\\t(a chocked laugh)\\n\\t\\tYou can't imagine how many times I\\n\\t\\tsaw you two... your head together,\\n\\t\\tI wish him dead. Every time...\\n\\t\\tWant to hear something weird? I\\n\\t\\tfeel like I'd give my life to bring\\n\\t\\thim back.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tYou're in terrible trouble, Nikko.\\n\\n\\t\\t\\t\\tNIKKO\\n\\t\\tWho gives a fuck? In all the years\\n\\t\\tI never seen you cry.\\n\\t\\t\\t(beat)\\n\\t\\tYou loved him.\\n\\n\\tM.J. looks away.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tWho gives a fuck?\\n\\n\\tQUINN enters to find his two senior officers in tears. Pays\\n\\tno attention to Conrad.\\n\\n\\t\\t\\t\\tQUINN\\n\\t\\tNikko. My office? M.J., I wanna\\n\\t\\tsee you later.\\n\\n\\tNikko stands, and he and Quinn exit. M.J. SITS STARING INTO\\n\\tHER MISERY.\\n\\n\\t\\t\\t\\t\\t\\t\\tCUT TO:\\n\\n\\tINT. GAY NIGHTCLUB - NIGHT\\n\\n\\tVery crowded with a generally young clientele. Big dance\\n\\tscene. A number of men wear 70's costume... an occasional\\n\\tbit of drag.\\n\\n\\tANDY and HAL dancing... ANDY with great abandon. HAL seems\\n\\tto need a break. He leads a good-naturedly protesting ANDY\\n\\tback to their table. They find a stranger sitting there.\\n\\n\\tIT IS PETER.\\n\\n\\t\\t\\t\\t\\t\\t\\tCUT TO:\\n\\n\\tINT. QUINN'S OFFICE - NIGHT\\n\\n\\tM.J. ENTERS AND CROSSES TO HIS DESK.\\n\\n\\tOn his desk lie a badge and a gun -- Nikko's. M.J. is\\n\\tlooking at them as\\n\\n\\t\\t\\t\\tQUINN\\n\\t\\t\\t(nothing her look)\\n\\t\\tHe's on temp leave with pay. I\\n\\t\\ttalked the Commissioner out of no\\n\\t\\tpay.\\n\\n\\tM.J. pulls her badge out and puts it down in front of Quinn.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tYou want mine, too? You take his,\\n\\t\\tyou take mine. I'm the one fucked\\n\\t\\tit up...\\n\\n\\t\\t\\t\\tQUINN\\n\\t\\tSo I'm maybe gonna lose three good\\n\\t\\tcops? You fucked up on this\\n\\t\\toccasion, but don't be so hard on\\n\\t\\tyourself. There's something I want\\n\\t\\tyou to think about. The book says\\n\\t\\tif you use your gun, use it to\\n\\t\\tkill, that's what it's meant to do.\\n\\t\\tYou tried to pick this punk off\\n\\t\\twith fancy shooting, to keep him\\n\\t\\talive. To what end? You're not\\n\\t\\twilling to kill, you can't be a\\n\\t\\tcop. Go get drunk. I am.\\n\\n\\t\\t\\t\\t\\t\\t\\tCUT TO:\\n\\n\\tINT. HELEN'S OFFICE - NIGHT\\n\\n\\tHelen is lying wide awake. THE PHONE RINGS. HER ANSWERING\\n\\tMACHINE -- SHE CAN HEAR IT CLEARLY IN THIS LOFT APARTMENT...\\n\\n\\t\\t\\t\\tANDY (V.O.)\\n\\t\\tIf yo dialed carefully you've\\n\\t\\treached your dream number. Now,\\n\\t\\tyou know what to do.\\n\\t\\t\\t(beep)\\n\\n\\t\\\"THE POLICE\\\" SINGING \\\"YMCA\\\" IS HEARD!\\n\\n\\tINT. NIGHTCLUB PAYPHONE NEAR THE MEN'S ROOM\\n\\n\\tPETER IS THERE ON A PAYPHONE: HE NOW HOLDS UP A WALKMAN\\n\\tTAPE RECORDER TO THE MOUTHPIECE... PRESSES A BUTTON...\\n\\n\\tINT. HELEN'S BEDROOM\\n\\n\\tHELEN'S OWN VOICE IS HEARD. ECHOING THROUGH THE LOFT SPACE\\n\\tFROM THE OFFICE. \\\"YMCA\\\" HEARD IN B.G. Helen leaps out of\\n\\tbed and runs down the hall, as:\\n\\n\\t\\t\\t\\tHELEN (V.O.)\\n\\t\\t... their compulsion is less about\\n\\t\\tsex than it is about control.\\n\\t\\tPower. Action. Release from\\n\\t\\tpassivity. Albert DeSalvo, Bianchi\\n\\t\\tand Buono, Berkowitz, Dahmer...\\n\\tDahmer killed his first victim\\n\\t\\tbecause the boy just wanted to go\\n\\t\\thome. Bundy said he wanted to\\n\\t\\tmaster life. And death...\\n\\n\\tShe has reached the machine: she picks up the phone...\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tPeter Kurten!\\n\\n\\tINT. CLUB PAYPHONE - NIGHT\\n\\n\\tPETER HANGS UP THE PHONE, SLIPS THE TAPE RECORDER IN HIS\\n\\tPOCKET AND TAKES A FEW STEPS TO THE MAIN FLOOR OF THE\\n\\tNIGHTCLUB. OVER HIS SHOULDER WE CAN SEE: ANDY AND HAL\\n\\tDANCING. Andy is wearing a bright and distinctive jacket.\\n\\n\\t\\t\\t\\t\\t\\t\\tCUT TO:\\n\\n\\tINT. HELEN'S APARTMENT - NIGHT\\n\\n\\tA new guard, FRED, is letting M.J. in. FOR THE FIRST TIME,\\n\\tHELEN IS GLAD TO SEE HER. As M.J. walks down toward her...\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tYou were right! He knew me! He\\n\\t\\twent to my lectures. He recorded\\n\\t\\tthem! Listen to this...\\n\\n\\tShe is too full of her own shock to wonder why M.J. is here\\n\\tat this hour and to notice the state M.J. is in... she has\\n\\tturned back to the answering machine and hits the play\\n\\tbutton, M.J. standing beside her... She also has the text of\\n\\tthe lecture on her computer screen:\\n\\n\\t\\t\\t\\tANSWERING MACHINE\\n\\t\\t...Action. Release from passivity.\\n\\t\\tAlbert DeSalvo, Bianchi and Buono,\\n\\t\\tBerkowitz, Dahmer... Dahmer killed\\n\\t\\this first victim because the boy\\n\\t\\tjust wanted to go home. Bundy said\\n\\t\\the wanted to master life. And\\n\\t\\tdeath...\\n\\n\\tAND THE MUSIC FROM THE NIGHTCLUB BLARING IN THE B.G.\\n\\tHelen has turned and now sees M.J.'s condition. SHE STOPS\\n\\tTHE TAPE...\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tWhat happened to you?!\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tRuben's dead. So stupid, a cop\\n\\t\\tthing, a crazy kid and a buncha\\n\\t\\tdumb mistakes... I'm sorry...\\n\\t\\tbecause you and he...\\n\\n\\tTears start again, just running down, no sobs, but she can't\\n\\twill them away. She brushes at them angrily...\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tI just thought it was so --\\n\\t\\tunprofessional. Of you both!\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tHe felt sorry for me. It was so\\n\\t\\tnice to flirt. He was a darling\\n\\t\\tman.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tA man? I thought he was a boy.\\n\\t\\t\\t(bursting out)\\n\\t\\tThis last Christmas was the\\n\\t\\thappiest Christmas I had in the\\n\\t\\tlast ten years... you know why? It\\n\\t\\twas the first Christmas in six\\n\\t\\tyears I was not in love. Son of a\\n\\t\\tbitch married men! Who cares about\\n\\t\\tmarriage, the bed just gets crowded\\n\\t\\tand noisy?!\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tYou're exhausted. Let me get you a\\n\\t\\tbrandy.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tWhere's the john? Let me clean up\\n\\t\\tthis mess, and get back to work.\\n\\n\\tHelen has stepped to her brandy decanter; M.J., too dejected\\n\\tto move, sits, staring now at the only thing to stare at: the\\n\\tcomputer screen.\\n\\n\\t\\t\\t\\tHELEN (O.S.)\\n\\t\\tWho's the married man?\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tWhat does it matter? This guy, you\\n\\t\\tchecked your course records, who\\n\\t\\tsigned up?\\n\\n\\tHelen returns with the brandy. M.J. holds it, doesn't drink,\\n\\tjust stares at the computer screen, emotionally dead...\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tThe University computer is down for\\n\\t\\tmaintenance, but I've been going\\n\\t\\tthrough my own notes...\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\t\\t(her voice is dead)\\n\\t\\tLook. There's the order: you\\n\\t\\twrote it: DeSalvo, Bianchi &\\n\\t\\tBuono, Berkowitz and Dahmer. It's\\n\\t\\tgoing to be Dahmer next. Which\\n\\t\\tmeans he'll kill a man.\\n\\n\\tWith an effort of will M.J. moves to the phone, putting the\\n\\tbrandy down.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tYes. Dahmer! And after that...\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\t\\t(dialing)\\n\\t\\tBundy. That's the last one in your\\n\\t\\tspeech...\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tMaybe you should...\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tI'm working on it! It's what I do.\\n\\t\\t\\t(into phone)\\n\\t\\tQuinn...Halloran. I'll wait.\\n\\t\\t\\t(to Helen)\\n\\t\\tWhere's Andy, can we get some\\n\\t\\tcoffee in here?\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\t\\t(she's going through\\n\\t\\t\\t records)\\n\\t\\tOut. Where does he go? Nowhere.\\n\\t\\tWhat does he do? Nothing.\\n\\n\\t\\t\\t\\t\\t\\t\\tCUT TO:\\n\\n\\tEXT. BAYSIDE RESTAURANT - BELVEDERE OR SAUSALITO - DAY\\n\\n\\tA BRIGHT LOVELY DAY, PEOPLE DINING AND DRINKING IN THE SUN,\\n\\ton a deck that faces the Bay and San Francisco's towers\\n\\tbeyond. Young people, drinks in hand, dressed to go to a\\n\\tsummer wedding, mingle and laugh and chatter. A young woman\\n\\tstands leaning back against the wooden rail, her back to the\\n\\tBaby. A young man faces her, talking, laughing. HE LEANS\\n\\tCLOSE TO WHISPER IN HER EAR AND SHE LEANS BACK, DRAWING HIM\\n\\tCLOSER TO HER -- SEXY! AS HE WHISPERS HE CAN SEE OVER HER\\n\\tSHOULDER INTO THE WATER BELOW.\\n\\n\\tREVERSE, CLOSE: YOUNG MAN -- His face registering horror at\\n\\twhat he sees: he stops speaking, and the GIRL turns to look\\n\\tdown to see what is it he's looking at, and begins to\\n\\tSCREAM...\\n\\n\\tTHEIR POV.\\n\\n\\tBelow, floating in the water is ANDY, wearing his bright\\n\\tjacket, except it's not all of Andy. HIS HEAD IS MISSING.\\n\\n\\t\\t\\t\\t\\t\\t\\tCUT TO:\\n\\n\\tREVERSE: (TIME HAS PASSED). FROM WHAT WOULD BE ANDY'S POV\\n\\t-- FACES LOOKING DOWN. M.J., QUINN, SAKS AND CORONER'S\\n\\tMEN...\\n\\n\\tTHEIR POV. NOW RUBBER BOATS HAVE BEEN TIED IN A RING\\n\\tAROUND THE BODY. DOC IS DOING HIS WORK, PREPARATORY TO\\n\\tLIFTING THE BODY OUT OF THE WATER...\\n\\n\\tHE PULLS A WALLET OUT OF THE POCKET AND HOLDS IT UP TO THE\\n\\tPEOPLE ABOVE.\\n\\n\\tM.J. TAKES IT. BEGINS TO LOOK THROUGH IT. SHE IS NUMB WITH\\n\\tEXHAUSTION AND SORROW.\\n\\n\\t\\t\\t\\t\\t\\t\\t\\tCUT TO:\\n\\n\\tINT. HELEN'S APARTMENT - DAY\\n\\n\\tHer teeth chattering, HELEN tries to talk.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tI am not going to talk about it.\\n\\t\\tHow do you know it was Andy if the\\n\\t\\thead was gone? Where is the head?\\n\\t\\tAre you looking for it? Oh, God,\\n\\t\\twhy him? Because of me. I can't\\n\\t\\ttalk about it. I write about\\n\\t\\tthings like this, stuff it all in\\n\\t\\tbooks and bury it in libraries.\\n\\t\\tThis is the first person close to\\n\\t\\tme who's ever died. And it's\\n\\t\\tbecause of me. This monster killed\\n\\t\\thim because I loved him.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tI've got to go. I've got to go.\\n\\n\\tM.J. hands HELEN her bottle of Xanax.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tHow many do you need to sleep.\\n\\t\\tReally sheep?\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tW-We had a fight. I called him...\\n\\t\\tcalled him a name...\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tChrist, Helen. The first time,\\n\\t\\twe're ahead of the son of a bitch!\\n\\t\\tI can't leave you like this -- and\\n\\t\\tthere's no time. Knock yourself\\n\\t\\tout.\\n\\n\\tOffers the Xanax again. Helen looks at the bottle...\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\t\\t(beat)\\n\\t\\tRight. Well. He's going to do\\n\\t\\tBundy. Bundy faked injuries, wore\\n\\t\\ta plaster cast, or walked on\\n\\t\\tcrutches, and asked college girls\\n\\t\\tfor help -- carrying his books,\\n\\t\\tpushing his car...\\n\\n\\tM.J. starts for the door... Helen has turned to her\\n\\tcomputer and types... meanwhile we are HEARING.\\n\\n\\t\\t\\t\\tM.J. (V.O.)\\n\\t\\tLike the others -- he'll pick the\\n\\t\\tmost extravagant murder -- Bundy's\\n\\t\\tthree murders in one night at a...\\n\\n\\tAnd we SEE Helen's message on the computer screen...\\n\\n\\tPETER KURTEN, PLEASE CONTACT INTERNET HUDSONHEL@UNIVOLD.COM.\\n\\n\\t\\t\\t\\t\\t\\t\\tCUT TO:\\n\\n\\tINT. TASK FORCE - DAY\\n\\n\\tM.J. IS MOVING FROM DESK TO DESK... ISSUING INSTRUCTIONS, in\\n\\tcontinuous segue from above...\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\t...Chi Omega sorority house. Find\\n\\t\\tout how many Chi Omegas there are\\n\\t\\ton college campuses this area.\\n\\n\\t\\t\\t\\tDETECTIVE\\n\\t\\tHow far out?\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tHundred mile radius.\\n\\n\\tTo the next...\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tWhat are the FBI doing?\\n\\n\\t\\t\\t\\tDETECTIVE 2\\n\\t\\tThey were combing Fertility\\n\\t\\tclinics.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tYou want to get onto the DMV, we\\n\\t\\twant records on all gold or yellow\\n\\t\\tcolored VW bugs, any year. I want\\n\\t\\tan in-person check on every\\n\\t\\tregistered owner. If it's rental --\\n\\t\\tcheck rental first -- get names and\\n\\t\\tlocation of who is driving one now.\\n\\n\\tNext station. QUINN has appeared and is listening.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tAlert Campus Security on college\\n\\t\\tcampuses, all of them. They should\\n\\t\\twarn all female students with long\\n\\t\\tstraight dark hair parted exactly\\n\\t\\tin the middle -- I'm serious! -- to\\n\\t\\tavoid any strange male contacts and\\n\\t\\treport any man with an apparent\\n\\t\\thandicap who tries to get them to\\n\\t\\tcarry groceries or books, or push\\n\\t\\this car...\\n\\n\\tSAKS has appeared and stands by Quinn: they both stare at\\n\\ther and she becomes more and more self conscious and aware\\n\\tof how impossible this is...\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\t\\t(to them)\\n\\t\\tThat was Bundy. He killed forty of\\n\\t\\tthem, identical, long hair, parted\\n\\t\\tin the middle, alike as Barbie\\n\\t\\tdolls.\\n\\t\\t\\t(breaks off)\\n\\t\\t...this is hopeless. Let's try to\\n\\t\\tget time for a police spokesman to\\n\\t\\tappear on college radio and TV\\n\\t\\thookups and broadcast a warning?\\n\\n\\t\\t\\t\\tQUINN\\n\\t\\t\\\"Spokesperson.\\\"\\n\\n\\t\\t\\t\\tSAKS\\n\\t\\tWhat about auto body and paint\\n\\t\\tshops; any recent VW bug repainted\\n\\t\\tto gold or yellow?\\n\\n\\tM.J. is mildly surprised at help from this source.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tYou or us gonna do it?\\n\\n\\tQUINN AND SAKS TURN TO EACH OTHER: TURF WAR.\\n\\n\\t\\t\\t\\t\\t\\t\\tCUT TO:\\n\\n\\tFERTILITY CLINIC - DAY\\n\\n\\tNITROGEN FOG swirls as a Stainless steel tubule is lifted\\n\\tout its bath of liquid nitrogen, with a long pair of tongs.\\n\\tCAMERA FOLLOWS TO REVEAL PETER FOLEY, in white lab coat.\\n\\tThrough a glass partition, he SEES two unmistakable FBI men\\n\\tenter and begin talking to the receptionist in an outside\\n\\toffice. HE CONTINUES ABOUT HIS WORK. CAMERA STAYS ON THE\\n\\tFBI MEN AND RECEPTIONIST. CUT BACK TO WHERE PETER WAS\\n\\tWORKING. THERE IS ONLY A PAIR OF RUBBER GLOVES AND LAB COAT\\n\\tLYING ON THE WORK SPACE. A BACK DOOR IS CLOSING...\\n\\n\\t\\t\\t\\t\\t\\t\\tCUT TO:\\n\\n\\tINT. HELEN'S BEDROOM \\n\\n\\tHELEN'S BED IS EMPTY, COVERS THROWN BACK. A GLORIOUS\\n\\tMORNING. THE TV'S LEAP INTO LIFE. WE HEAR OVER: HORRIBLY\\n\\tCHEERFUL VOICE:\\n\\n\\t\\t\\t\\tTV (V.O.)\\n\\t\\tWelcome to weekend gridlock on the\\n\\t\\tFreeways! Everybody heading for\\n\\t\\tthe mountains and or the sea,\\n\\t\\t\\t(sings)\\n\\t\\t\\\"by the sea, by the sea, by the\\n\\t\\tbeautiful sea,\\\" and my-oh-my what a\\n\\t\\tmess! On 101 south of Burlington,\\n\\t\\twe have a big rig over the side,\\n\\t\\tblocking the on-ramp...\\\"\\n\\t\\t\\t(etc., blah, blah)\\n\\n\\tINT. HELEN'S OFFICE - CURTAINS DRAWN - STILL NIGHT HERE...\\n\\n\\tHelen at her computer... which says\\n\\n\\tBACK ON LINE -- SORRY FOR THE DELAY.\\n\\n\\tTHESE ARE CONFIDENTIAL UNIVERSITY RECORDS\\n\\tREQUIRING APPROVED AUTHORIZATION\\n\\tPLEASE TYPE YOUR PASSWORD:\\n\\n\\tHelen types -- 'xxxx xxxx' appears on screen. Then a\\n\\tmessage:\\n\\n\\tDOCTOR HELEN HUDSON, YOUR ACCESS LEVEL IS THERE.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tAny student name registered in\\n\\t\\tCrime-Psych 137 matched to titles\\n\\t\\tof term papers with any mention of\\n\\t\\t'Peter Kurten.'\\n\\n\\tWhat she types on SCREEN is the text for a Boolean search\\n\\tfor such items (research needed). She waits for a second.\\n\\n\\tSEARCH COMPLETED\\tSTUDENT NAMES:\\t342\\n\\t\\t\\t\\tCRIME-PSYCH 137\\t 11\\n\\t\\t\\t\\tTERM PAPERS\\t\\t736\\n\\t\\t\\t\\tPETER KURTEN\\t\\t 1\\n\\n\\tMATCHING ALL CRITERIA: PETER FOLEY\\n\\n\\t'PETER FOLEY, DOCTORAL CANDIDATE, 1991 TERM PAPER,\\n\\t'PSYCHOPATHOLOGY OF SERIAL KILLER PETER KURTEN AS A SYMPTOM\\n\\tOF SOCIAL UPHEAVAL AND POLITICAL VIOLENCE IN GERMANY CIRCA\\n\\t1936,' UNPUBLISHED.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tPeter Foley. Good God. You poor\\n\\t\\tsad little bore. I failed you, is\\n\\t\\tthis what...?\\n\\n\\tSOUND: HER FRONT DOOR OPENS. She starts, turns. Feet\\n\\tmoving toward her, but quietly, cautiously. As the\\n\\tfootsteps turn into the hall. She stands, reaching for\\n\\tanything to defend herself with: a paperknife. She moves to\\n\\tthe door, raising the knife... footsteps closer... A man\\n\\tturns into the office, and she launches herself, only\\n\\tstopping the stab of the knife at the last split second...\\n\\n\\tANDY. She SCREAMS!\\n\\n\\t\\t\\t\\tANDY\\n\\t\\tStop screaming!\\n\\n\\tShe screams again. Then smothers him with kisses and\\n\\thugs...\\n\\n\\t\\t\\t\\tANDY\\n\\t\\tFor God's sake, stop -- my head! I\\n\\t\\thave the Iraqi mother of all hang-\\n\\t\\tovers. Very quiet in the hospital\\n\\t\\tzone, please.\\n\\n\\tShe clings to him.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tWhere have you been? What happened\\n\\t\\tto your wallet?\\n\\n\\t\\t\\t\\tANDY\\n\\t\\tHal has it.\\n\\n\\t\\t\\t\\t\\t\\t\\tCUT TO:\\n\\n\\tINT. SQUAD ROOM - NIGHT\\n\\n\\tSAKS is sitting on edge of a desk. M.J. is standing, and\\n\\tQUINN is sitting almost knee-to-knee with ANDY.\\n\\n\\t\\t\\t\\tANDY\\n\\t\\t...then he gave me a popper and I\\n\\t\\tstarted to feel really wild... all\\n\\t\\tover the dance floor. Then\\n\\t\\tsuddenly I was just s o stoned. And\\n\\t\\tsick? I had to race for the\\n\\t\\tjohn... horribly sick. Over and\\n\\t\\tover and over. I was in there a\\n\\t\\tvery long time. And when I came\\n\\t\\tout they were gone. So was my\\n\\t\\tjacket which I'd tossed to Hal when\\n\\t\\tI was dancing. Hal was my...\\n\\t\\tCould I have a glass of water?\\n\\n\\tAn FBI man intrudes... with a printout of a driver's\\n\\tlicense. He shows to Andy...\\n\\n\\t\\t\\t\\tFBI\\n\\t\\tMister Saks. We gotta Peter Foley,\\n\\t\\tmedical technician in a fertility\\n\\t\\tclinic in Oakland. We got a home\\n\\t\\taddress in Daly City.\\n\\n\\t\\t\\t\\tANDY\\n\\t\\t\\t(looking at license)\\n\\t\\tThat's him.\\n\\n\\t\\t\\t\\tSAKS\\n\\t\\tGot him!\\n\\n\\tTHE FBI AND THE COPS ALL RISE AND ARE ON THEIR WAY OUT.\\n\\n\\t\\t\\t\\tQUINN\\n\\t\\tI called our SWAT Commander...\\n\\t\\t\\t(to Saks)\\n\\t\\tHe's ours now... You come watch\\n\\t\\tour boys in action...\\n\\n\\tAnd walks away...\\n\\n\\t\\t\\t\\tSAKS\\n\\t\\t\\t(under his breath)\\n\\t\\tWell, thank you, too.\\n\\n\\t\\t\\t\\t\\t\\t\\tCUT TO:\\n\\n\\tEXT. OLD FRAME HOUSE, DALY CITY - NIGHT\\n\\n\\tSWAT TEAM SURROUNDING THE HOUSE, WITH GREAT QUIET AND EFFORT\\n\\tTO CONCEAL THE OPERATION. QUINN in command over a SWAT\\n\\tCOMMANDER -- JENSEN. There are ambulances, a fire truck,\\n\\tsearch lights. SWAT TEAM, AND FBI all wear bulky flack\\n\\tjackets, with yellow ID stencilled on the back. Quinn sees\\n\\tM.J., huddled in her old oversize jacket, gestures M.J.\\n\\tshould have a flack jacket like theirs. She taps her chest,\\n\\twhere she has a bullet-proof vest under her shirt.\\n\\n\\tTHE HOUSE: VARIOUS SHOTS, SILHOUETTED FIGURES MOVING TO\\n\\tVANTAGE POINTS FOR THE ASSAULT.\\n\\n\\tON A VIEW INCLUDING A CELLAR WINDOW: LIGHT INSIDE. AS\\n\\tCROUCHED SWAT MAN RUNS BY WE SEE: PETER INSIDE, PASSING BY,\\n\\tGLANCE OUT...\\n\\n\\tINT. PETER'S BASEMENT\\n\\n\\tPETER HESITATES, LOOKING OUT. HE FLICKS OFF LIGHTS. MOVES\\n\\tPURPOSEFULLY OUT OF FRAME... WE HEAR A MOAN (O.S.).\\n\\n\\tA HAND GASPS THE HANDLE OF WHAT LOOKS LIKE A GUN; AS IT IS\\n\\tBROUGHT UP INTO A WIDER VIEW IT HAS A LONG BARREL WHICH\\n\\tSUDDENLY SHOOTS FLAME: A PROPANE BARBECUE LIGHTER...\\n\\n\\tEXT. HOUSE\\n\\n\\tTHEY ARE ALMOST READY FOR THE FIRST MOVE; THREE SWAT MEN BY\\n\\tTHE DOOR. ANOTHER TWO PREPARING TO MOVE FORWARD AND\\n\\tANNOUNCE THEMSELVES.\\n\\n\\t\\t\\t\\tSWAT COMM\\n\\t\\t\\t(on bullhorn)\\n\\t\\tPeter Foley, we are the police.\\n\\t\\tWill you please come to your front\\n\\t\\tdoor, and come out with your hands\\n\\t\\tabove your head...(etc.)\\n\\n\\tINSIDE A SMOKE ALARM BEGINS TO GO. LIGHT FLICKERS IN CELLAR\\n\\tWINDOWS.\\n\\n\\tSWAT MEN AT THE DOOR: THEY SMASH THE LOCK AND CHARGE IN. M.J.\\n\\tAND OTHER DETECTIVES WITH THEM.\\n\\n\\tINT. HOUSE\\n\\n\\tA dozen men pour into the house from front and back,\\n\\tconverging in the dimly lit living room. SMOKE OBSCURES\\n\\tEVERYTHING. The dining room and kitchen are empty. M.J.\\n\\tFOLLOWS CONTINGENT THAT RACES UPSTAIRS. OTHERS FAN OUT\\n\\tTHROUGH THE WHOLE STRUCTURE. FIREMEN COME BEHIND LOOKING\\n\\tFOR THE FIRE.\\n\\n\\tINT. PETER'S BEDROOM - NIGHT\\n\\n\\tSMOKE IS THINNER HERE. The room lighted only by the\\n\\tglowing TV screen. The WIFE still in bed, shot through the\\n\\thead. Others crowd in, kicking in closet and bathroom\\n\\tdoors. M.J. IS BY THE BED JUST TURNING TO START ABACK\\n\\tDOWNSTAIRS LOOKING FOR PETER.\\n\\n\\tSWAT MAN emerges from the bathroom with the body of NASTY\\n\\tLITTLE DOG, holding it by the tail:\\n\\n\\tTHEN THE FIRE DEPARTMENT'S WARNING SIRES SHRIEK: THEY MEAN\\n\\tEVERYBODY OUT... FIREMEN CHARGE FOR EXITS...\\n\\n\\tAS THEY CHARGE THROUGH DOWNSTAIRS...\\n\\n\\tM.J. CAN SEE TWO FIREMEN AT THE BASEMENT DOOR. SMOKE BILLOWS\\n\\tFROM UNDER IT. BEHIND IT WE HEAR SCREAMING. THE FIREMEN\\n\\tSMASH THE DOOR, DROPPING TO THE FLOOR AS THEY DO...\\n\\n\\tM.J'S POV: BLACK SMOKE BILLOWS OUT ACROSS THE CEILING\\n\\tTHEN EXPLODES INTO WHITE HOT FLAME. SHE HAS STEPPED FORWARD\\n\\tSO SHE CAN SEE OVER THE FIREMEN DOWN INTO THE BASEMENT: IN\\n\\tTHE SUDDEN FLARE SHE SEES A MAN, WITH TIN-RIMMED GLASSES AND\\n\\tBLACK LEATHER CLOTHING ENTIRELY ENGULFED IN FLAME RUNNING UP\\n\\tTHE BASEMENT STAIRS; BEHIND HIM THE BASEMENT IS BURNING.\\n\\n\\tINT. BASEMENT\\n\\n\\tLOW ANGLE LOOKING UP STAIRS: FLAME ALL AROUND -- PETER'S \\n\\tPHOTO COLLAGES ON THE BULLETIN BOARD BURNING. THE MAN \\n\\tRUNNING UP THE STAIRS ALMOST MAKES IT TO THE TOP BEFORE\\n\\tHE FALLS BACK DOWN INTO THE CAMERA. AT THE TOP, WE SEE M.J.\\n\\tAND THE FIREMEN'S APPALLED FACES. THE SCREAMING DIES OFF...\\n\\n\\tEXT. HOUSE\\n\\n\\tFLAME NOW ENGULFING THE BASEMENT AND GROUND FLOOR: FIREMEN\\n\\tAND M.J. RACING OUT COUGHING AND CHOKING.\\n\\n\\tTHEN: A HUGE HOT FLOOM OF AN EXPLOSION: FLAMES THREATEN TO\\n\\tCONSUME THE ENTIRE HOUSE. FIREMEN SWARM BACK TO KNOCK DOWN\\n\\tFLAME FROM OUTSIDE.\\n\\n\\tM.J., QUINN, ETC., WATCHING THE EVIDENCE GO UP IN SMOKE.\\n\\tTHEIR FACES LIGHTED BY THE FLAME.\\n\\n\\t\\t\\t\\t\\t\\t\\tCUT TO:\\n\\n\\tINT. HELEN'S OFFICE - NIGHT\\n\\n\\tShe has now changed into a pair of sweat pants and a\\n\\tT-shirt. SUSAN SCHIFFER IS ON TV: WITH SHOTS OF THE FIRE\\n\\tBEING SNUFFED OUT.\\n\\n\\t\\t\\t\\tSUSAN\\n\\t\\tI am here with Lieutenant Quinn of\\n\\t\\tthe Homicide Division and (title)\\n\\t\\tSaks of the FBI. Can you tell us\\n\\t\\twhat happened here, tonight?\\n\\n\\tDuring the following we move to PETER'S HOUSE where Quinn\\n\\tand Saks are being interviewed.\\n\\n\\t\\t\\t\\tQUINN\\n\\t\\tSusan, the San Francisco Police\\n\\t\\tDepartment, assisted by the FBI,\\n\\t\\tdeveloped evidence that the serial\\n\\t\\tkiller, referred to as the Copycat\\n\\t\\tkiller was an individual who\\n\\t\\tresided at this address. Upon\\n\\t\\tbeing asked to step out of the\\n\\t\\thouse to be interviewed, the\\n\\t\\tsuspect set fire to the house\\n\\t\\tpossibly to destroy evidence of his\\n\\t\\twife's murder. We found her dead\\n\\t\\tof gunshot wounds in an upstairs\\n\\t\\tbedroom. He himself died in the\\n\\t\\tfire.\\n\\t\\t\\t(to shouted\\n\\t\\t\\t questions)\\n\\t\\tNo, we'll wait until we've located\\n\\t\\tany relatives who should be\\n\\t\\tnotified. Witnesses saw the\\n\\t\\tindividual burn to death, they were\\n\\t\\tunable to reach him in time to save\\n\\t\\thim. We're glad, as the entire\\n\\t\\tcity must be glad, this reign of\\n\\t\\tterror is ended. No, no more at\\n\\t\\tthis time. Thank you...\\n\\n\\tEND OF HELEN STARING STONILY AT THE SCREEN: SHE DOESN'T\\n\\tBELIEVE IT FOR A MOMENT.\\n\\n\\t\\t\\t\\t\\t\\t\\tCUT TO:\\n\\n\\tINT. TASK FORCE ROOM - NIGHT\\n\\n\\tM.J., wearily enters. Others quietly entering, slipping out\\n\\tcoats, talking and drinking at some distance. M.J. takes\\n\\toff her shoulder holster and gun and puts them down on her\\n\\tworkspace. NIKKO is at little distance cleaning out his\\n\\tdesk. He comes down to her as she sits...\\n\\n\\t\\t\\t\\tNIKKO (V.O.)\\n\\t\\tI heard. Good police work.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tJust horseshit luck.\\n\\n\\t\\t\\t\\tNIKKO\\n\\t\\tDon't ever forget how good you are.\\n\\n\\tHe is standing behind her and leans over to almost touch her\\n\\thair with his lips...\\n\\n\\t\\t\\t\\tNIKKO\\n\\t\\tI love you.\\n\\n\\tHe goes. M.J. twists in misery and fury... Her phone is\\n\\tringing on another line; she punches it...\\n\\n\\t\\t\\t\\tNJ\\n\\t\\tHalloran.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tI don't believe it.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tHelen.\\n\\t\\t\\t(beat)\\n\\t\\tI saw him die. I saw him burning on\\n\\t\\tthe basement stairs, he never\\n\\t\\treached the top.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tThey never kill themselves. How do\\n\\t\\tyou know it was him. You never met\\n\\t\\thim. You never even saw a\\n\\t\\tphotograph...\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tHelen -- let go. You've got to let\\n\\t\\tgo.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tHe hasn't done Bundy. He's done\\n\\t\\tevery one of the others, hasn't he?\\n\\t\\tIf there are three dead Chi Omega\\n\\t\\tcollege girls tomorrow, how will\\n\\t\\tyou feel? Go there. See if there\\n\\t\\tcould be any way for him to escape.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tThis has been the worst 48 hours of\\n\\t\\tmy life. I'm going home. I'm going\\n\\t\\tto try to get drunk.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tIf there's a one percent possibil-\\n\\t\\tity, can you live with yourself\\n\\t\\twhen he kills again?\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tOh, shut up, and don't be so damn\\n\\t\\tself righteous.\\n\\n\\t\\t\\t\\t\\t\\t\\tCUT TO:\\n\\n\\tINT. M.J'S CAR - NIGHT\\n\\n\\tM.J. is now almost dead with fatigue. She barely misses\\n\\thitting another car. She drives on until she is forced to\\n\\tstop at a traffic light. All during this:\\n\\n\\t\\t\\t\\tRADIO NEWS\\n\\t\\t...You're on the air, who's\\n\\t\\tthis...Ron, that's not my right\\n\\t\\tname... that's okay, Ron. What are\\n\\t\\tyou afraid of?... I don't want\\n\\t\\tanybody to know my name, because\\n\\t\\tI'm a friend of Peter Foley? I \\n\\t\\tknow him from the gay community? He\\n\\t\\twas cruising the night...\\n\\n\\tM.J. switches stations, channel surfing... bits of music,\\n\\tRush Limbaugh, back to Ron droning on.\\n\\n\\t\\t\\t\\tRADIO NEWS\\n\\t\\t...that I resent the tone of the\\n\\t\\tPolice and their attitude? That\\n\\t\\tthis is just some weird queer\\n\\t\\tevent, just because they couldn't\\n\\t\\tstop this guy until he did himself,\\n\\t\\tif you even believe that...\\n\\n\\tM.J. turns off the radio... when light turns green,\\n\\tinstead of moving ahead, she just sits for a moment. Then,\\n\\tfurious with HELEN, with everything, she swears and wheels\\n\\tthe car into a tight illegal u-turn.\\n\\n\\t\\t\\t\\t\\t\\t\\tCUT TO:\\n\\n\\tEXT. NIGHT BERKELEY CAMPUS - NIGHT\\n\\n\\tIt is extra time, which means party time or those who've\\n\\tfinished and solitary and group study time for the rest.\\n\\tAnd there are celebrants of the Festival of Love, who were\\n\\tbeing born about the time of the original event. TRACKING\\n\\tSHOT TO ESTABLISH THIS SCENE, MOVING, SEARCHING ALONG THE\\n\\tAVENUES, PASSING KNOTS OF STUDENTS AND PARTY-GOES... WE\\n\\tHAVE SEEN A PEACEFUL CAMPUS, QUIETLY CELEBRATING. AND WE\\n\\tHAVE DRAWN UP BEFORE CHI OMEGA. THERE IS NO PLACE TO PARK.\\n\\tM.J., WHOSE POV THIS HAS BEEN LOOKS AT HER WATCH.\\n\\tDECIDES: FUCK IT, THIS IS CRAZY AND IS ABOUT TO DRIVE AWAY,\\n\\tSHIFTING INTO GEAR WHEN SHE SPOTS:\\n\\n\\tPOV. A GOLD COLORED VW BUG\\n\\n\\tIt is parked under a tree some distance across a parking lot\\n\\tjammed with student cars. It is partly in shadow, so she\\n\\tcould easily have missed it. She jumps out of the car and\\n\\tmoves fast up the steps through students, drinking, kissing,\\n\\tstudying, arguing...\\n\\n\\tINT. CHI OMEGA - NIGHT\\n\\n\\tMAIN MEETING ROOM. Full of people milling about. Music is\\n\\tplaying. SEES THE BACK OF A TALL MAN ON CRUTCHES TALKING TO\\n\\tA COED. HE HAS A LOAD OF BOOKS SHE TAKES FROM HIM; SHE IS\\n\\tLAUGHING. M.J. moving fast toward them, she runs into a\\n\\tgirl, spilling the girls' drink on her blouse...\\n\\n\\t\\t\\t\\tGIRL\\n\\t\\tGoddamn it! This is brand new!\\n\\t\\tWhere're you going?\\n\\n\\tAs M.J. continues to move the Girl grabs her...\\n\\n\\t\\t\\t\\tGIRL\\n\\t\\tNo, you don't spill all over\\n\\t\\tsomebody and just walk away, you\\n\\t\\tdamn well pay the cleaning bill...\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tPolice business -- take your heads\\n\\t\\toff.\\n\\n\\t\\t\\t\\tGIRL\\n\\t\\tBullshit!\\n\\n\\tM.J. holds up the badge...\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tDon't make me pull the gun...\\n\\n\\tShe jerks away, almost knocking the Girl down. The Girl is\\n\\tyelling, beginning to attract attention. As M.J. turns back\\n\\tto SEE.\\n\\n\\tPETER AND THE COED are just moving off, the Coed holding his\\n\\tbooks, he hobbling on the crutches. M.J. runs through the\\n\\tcrowd toward him, and those who notice are pissed... she is\\n\\tgetting close when, just as he and the coed would pass from\\n\\tsight behind a wall, PETER looks around, straight at M.J..\\n\\n\\tIT ISN'T PETER AT ALL.\\n\\n\\tM.J. LOOKING AROUND, MOVES TO STAIRS TO SECOND FLOOR...\\n\\n\\tM.J. EMERGING FROM STAIRS INTO THE CORRIDOR -- SHE RUNS DOWN\\n\\tTHIS CORRIDOR OF ROOMS, PUSHING OPEN ANY THAT ARE SHUT.\\n\\n\\tA SCARED COUPLE MAKING LOVE CONFRONT HER GUN. SHE\\n\\tREHOLSTERS IT AND RACES DOWN THE HALLWAY...\\n\\n\\tOVER THE PARTY NOISE AND MUSIC WE HEAR A SCREAM. M.J. RACES\\n\\tDOWN CORRIDORS, TRYING TO FIND THE SOURCE. ANOTHER SCREAM.\\n\\tIT SEEMS TO COME FROM BEHIND A CLOSED DOOR. M.J. KICKS IT\\n\\tOPEN, BURSTING IN:\\n\\n\\tINT. ROOM\\n\\n\\tA BUNCH OF STONED STUDENTS PASSING A JOINT: ON A TV PLAYER\\n\\tIS THE IMAGE OF JAMIE LEE CURTIS IN AN EARLY SHOCKER: THEY\\n\\tARE PLAYING AT WHO CAN OUT-SCREAM JAMIE LEE CURTIS.\\n\\n\\tWHEN JAMIE LEE CURTIS SCREAMS --\\n\\n\\tTHEY ALL SCREAM BACK! AND BURST INTO HOWLS OF LAUGHTER. THE\\n\\tSIGHT OF M.J. WITH HER GUN OUT ONLY MAKES THEM HOWL LOUDER.\\n\\n\\t\\t\\t\\tSTUDENT\\n\\t\\tSwallow the joint! It's Barney\\n\\t\\tPhyfe -- in drag!\\n\\n\\tTHEN ALTOGETHER THEY SCREAM AT HER! AND HOWL WITH LAUGHTER.\\n\\n\\tTHE HALL. \\n\\n\\tM.J. walks out of the room and down the corridor.\\n\\n\\tEXT. CHI OMEGA FRONT STEPS\\n\\n\\tSHE LOOKS OUT ACROSS THE PARKING LOT: THE GOLD VW BUG IS \\n\\tGONE.\\n\\n\\tSHE WALKS TO HER CAR, RELIEVED. THE WHOLE THING SEEMS LIKE\\n\\tA NIGHTMARE FROM WHICH SHE HAS NOW AWAKENED.\\n\\n\\tINT. M.J'S CAR\\n\\n\\tAS SHE OPENS THE DOOR, REACHES IN AND GRABS HER PHONE. SHE\\n\\tACTIVATES PHONE, WHEN SHE IS BLINDSIDED BY PETER WHO SLAMS\\n\\tHER INTO THE CAR, FACE DOWN ACROSS THE FRONT SEAT. HE \\n\\tDISARMS HER, TWISTS HER INTO THE PASSENGER SEAT...\\n\\n\\tTHERE ARE STUDENTS AT SOME DISTANCE, BUT SHE CAN'T MAKE\\n\\tHERSELF BE HEARD. SHE IS GROGGY FROM THE BLOW SHE'S TAKEN.\\n\\tHE HANDCUFFS HER TO THE CAR, FIND HER KEYS, AND BEGINS TO\\n\\tDRIVE AWAY... PETER'S HAIR IS NOW BRIGHT RED -- LIKE DARYLL\\n\\tLEE CULLUM'S.\\n\\n\\t\\t\\t\\t\\t\\t\\t\\tCUT TO:\\n\\n\\tINT. HELEN'S APARTMENT - NIGHT\\n\\n\\tHelen lies wide awake in the dark. PHONE RINGS.\\n\\n\\tINT. TASK FORCE ROOM - NIGHT\\n\\n\\tINSERT: TAPE RECORDER ATTACHED TO PHONE. IT STARTS TO TURN.\\n\\tAT THE FAR END OF THE ROOM AN FBI DETECTIVE IS POURING HIMSELF\\n\\tSOME COFFEE. HE WOULDN'T BE ABLE TO HEAR WHAT WE HEAR:\\n\\n\\t\\t\\t\\tHELEN (V.O.)\\n\\t\\t\\t(thinking it's M.J.)\\n\\t\\tWhere are you?\\n\\n\\t\\t\\t\\tPETER (V.O.)\\n\\t\\tHi. It's your worst student, Peter\\n\\t\\tFoley -- how do you grade me now,\\n\\t\\tDoctor?\\n\\n\\tHELEN ON PHONE\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\t\\t(beat)\\n\\t\\tWho was the man in the basement?\\n\\n\\t\\t\\t\\tPETER\\n\\t\\tYou like that action? Didn't that\\n\\t\\tcop on TV look solemn? The guy in\\n\\t\\tthe basement doesn't matter,\\n\\t\\tanyway, just another lonely heart.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tWhere are you, Peter?\\n\\n\\t\\t\\t\\tPETER\\n\\t\\tYou thought I was going to do Ted\\n\\t\\tBundy next, so you sent your\\n\\t\\tpartner...\\n\\n\\tHelen gasps with the implications of that...\\n\\n\\t\\t\\t\\tPETER\\n\\t\\tWhat was that? What am I hearing?\\n\\t\\tThe sound of an epiphany, a sudden\\n\\t\\tblinding insight?\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tIt's Daryll Lee Cullum, isn't it?\\n\\n\\t\\t\\t\\tPETER\\n\\t\\tMm-hmm. I can't get to you. You\\n\\t\\thave to come to me.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tYou know I can't do that.\\n\\n\\t\\t\\t\\tPETER\\n\\t\\tOh, I think you will.\\n\\n\\tPeter rips duct tape off M.J.'s mouth...\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\t\\t(yelling)\\n\\t\\tCall the police! Now! Call Qui...\\n\\n\\tPeter punches M.J. who is handculled in her car; they are\\n\\tparked in front of the Lecture Hall.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tFor God's sake Peter, leave her out\\n\\t\\tof it. You don't want her, you\\n\\t\\twant me.\\n\\n\\t\\t\\t\\tPETER\\n\\t\\tI need her; she's a cop. I have to\\n\\t\\tkill a cop, and then...\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tYou've been perfect. Don't spoil\\n\\t\\tthe symmetry -- you have to have a\\n\\t\\tmale cop.\\n\\n\\t\\t\\t\\tPETER\\n\\t\\tI don't care -- she's a cop. That's\\n\\t\\tthe important thing. Cop-ness, not\\n\\t\\tsex-ness. It won't be perfect, but\\n\\t\\tit'll be good.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\t\\t(yells)\\n\\t\\tCall Quinn and Saks.\\n\\n\\t\\t\\t\\tPETER\\n\\t\\tI'm tired. I want it to end\\n\\t\\ttonight, don't you?\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tYes. I do. I want it to end now.\\n\\t\\tLet her go. I'll come -- just let\\n\\t\\ther go. She's not important.\\n\\n\\t\\t\\t\\tPETER\\n\\t\\tYou know where.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tWhere it began -- McCluskey\\n\\t\\tAuditorium.\\n\\n\\tHe hangs up.\\n\\n\\tINSERT: TAPE MONITOR. WE HEAR HELEN HANGING UP. A SMALL\\n\\tCOMPUTER CHIP VOICE IS HEARD. THE FBI MAN IS MEASURING\\n\\tSUGAR INTO HIS COFFEE AT THE OTHER END OF THE ROOM. HE CAN'T\\n\\tHEAR:\\n\\n\\t\\t\\t\\tCOMPUTER VOICE\\n\\t\\tTime Zero-hundred and twenty -- two\\n\\t\\tminutes and sixteen seconds June\\n\\t\\ttwelve 1994 Helen Hudson 415 320\\n\\t\\t1854 Court order Alpha Bravo\\n\\t\\t9765910...\\n\\n\\tBATHROOM DRAWER\\n\\n\\tIt is pulled open: metallic sounds of bullets rolling on the\\n\\twooden drawer: her hand bats away the usual bathroom drawer\\n\\tgarbage and pull Ruben's gun out; HER TREMBLING FINGERS\\n\\tRELOAD IT.\\n\\n\\tEXT. HELEN'S OUTSIDE HALL - NIGHT\\n\\n\\tHelen wearing loose coat, jeans and sneakers opens the door.\\n\\tFRED snaps out of a sound sleep.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tIt's all over, Fred. They got the\\n\\t\\tguy. You go home to your own bed\\n\\t\\tnow.\\n\\n\\t\\t\\t\\tFRED\\n\\t\\tI got to have that from my\\n\\t\\tsuperior. One guy fired off this\\n\\t\\tjob already.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tCall in. Use my phone. They'll\\n\\t\\ttell you -- it's all over.\\n\\n\\tFRED GOES. HELEN STEPS RESOLUTELY INTO THE HALL, FOR\\n\\tREASSURANCE BRACES HERSELF WITH A HAND ON THE WALL.\\n\\n\\tTHE HALLWAY (HER POV). IT SEEMS MILES LONG. SOUND: HER\\n\\tFRONT DOOR CLICKING SHUT -- THE SAME ESSENTIAL EVENT AS SO\\n\\tLONG AGO WHEN RUBEN HAD TO SHOOT OFF THE DOOR LOCK...\\n\\n\\tHELEN LOOKS BACK AT THE DOOR. BRIDGES BURNED. TURNS BACK.\\n\\n\\tHER HAND ON WALL: AS SHE MOVES A TENTATIVE STEP HER HAND\\n\\tPRESSES HEAVILY, SLIDING ALONG THE WALL. THEN HER HAND\\n\\tMOVES A LITTLE FASTER, AND FASTER.\\n\\n\\tHER POV. THE HALL SEEMS MORE NORMAL. MOVING SHOT PICKS UP\\n\\tSPEED...\\n\\n\\tHER HAND NOW BRUSHES THE WALL WITH ONLY FINGERTIPS.\\n\\n\\tHELEN MOVES WITH MORE AND MORE CONFIDENCE: HER AGORAPHOBIA\\n\\tIS GONE... HER HAND DROPS TO HER SIDE...\\n\\n\\tEXT. HER BUILDING - NIGHT\\n\\n\\tThe door opens and Helen appears in it. She confronts the\\n\\tstreet and the night... One more threshold to cross...\\n\\n\\tSTREET: HER OLD SAAB IS PARKED. THE ANTENNA IS GONE, AND\\n\\tIT'S COVERED WITH CITY GRIME. The night seems to roar; the\\n\\tlights blur and flare. A truck comes past too fast, \\n\\tstirring up dust and buffeting her with wind.\\n\\n\\tHELEN steeling herself and running the few steps to her car.\\n\\n\\tINT. CAR as she slides into the driver's seat, slamming the\\n\\tdoor and locking it. She drives off into the night.\\n\\n\\tEXT. MULUSKEY AUDITORIUM - NIGHT\\n\\n\\tA broad view through shadowy trees shows it's lighted\\n\\tfacade. Parked in front of is M.J.'s car. SUDDENLY FROM\\n\\tBEHIND THE TREES, SAKS STEPS OUT IN FRONT, BLOCKING THE WAY!\\n\\n\\tREVERSE: HELEN'S CAR IS COMING UP THE STREET TOWARDS US.\\n\\tSAKS (AND NOW WE SEE OTHER SWAT TYPES IN THE SHADOWS, HIDDEN\\n\\tFROM THE VIEW OF THE AUDITORIUM) STANDS IN THE STREET\\n\\tFLAGGING HER DOWN --\\n\\n\\tSHE STOPS, PUTTING DOWN WINDOW. SAKS RESTS HIS HAND ON THE\\n\\tDOOR... He shoves no sign of recognizing her...\\n\\n\\t\\t\\t\\tSAKS\\n\\t\\tMa'am, please get out of your\\n\\t\\tvehicle...\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tMerry, how... oh, Christ, of\\n\\t\\tcourse, you had my phone tapped.\\n\\n\\t\\t\\t\\tSAKS\\n\\t\\tJust get out of your vehicle...\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tHe's got Sergeant Halloran in\\n\\t\\tthere. He'll kill her the minute\\n\\t\\the sees or hears your people...\\n\\n\\t\\t\\t\\tSAKS\\n\\t\\tYou've been very useful, Doctor, we\\n\\t\\tappreciate all you've done, and now\\n\\t\\tthe professional will take over...\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tHe wants me, he doesn't care about\\n\\t\\ther. Let me...\\n\\n\\tSAKS HAS THE DOOR OPEN AND IS REACHING TO PULL HER FROM THE\\n\\tDRIVER'S SEAT... HELEN SUCKS IN HER BREATH AND JAMS ON THE\\n\\tGAS. SAKS IS ALMOST DRAGGED AWAY WITH HER, SPUN AROUND AND\\n\\tFALLING ON THE PAVEMENT. SHE SLAMS THE DOOR AS SHE SPEEDS\\n\\tTOWARD THE AUDITORIUM...\\n\\n\\tSAKS, CURSING, LEAPS TO HIS FEET; A SWAT TYPE AIMS HIS GUN\\n\\tAFTER HELEN, BUT SAKS PUTS HIS HAND ON THE WEAPON STOPPING\\n\\tHIM FROM SHOOTING.\\n\\n\\tNEW ANGLE: Helen's Saab speeds out of the tree shadowed\\n\\tstreet into the bright plaza in front of the auditorium, and\\n\\tbrakes behind M.J.'s car.\\n\\n\\tCLOSE: HELEN. Sudden silence when she kills the car engine.\\n\\tShe gets out of the car. As she walks even her sneakers\\n\\tmake an echo from the silent stone facade... She walks up\\n\\tthe wide stairs...\\n\\n\\tINT. AUDITORIUM - NIGHT\\n\\n\\tThe huge doors creak open and Helen enters. She stands,\\n\\tlistening: light streams in from the exterior through tall\\n\\twindows, otherwise it's all back shadows, weird enough\\n\\twithout the distorted vision, the vertigo that momentarily\\n\\treturns...\\n\\n\\tHelen wills herself to move into the deep space before her.\\n\\tShe stands listening: we HEAR the creaks and tiny snaps of a\\n\\tbuilding cooling in the night air. Or is the movement of\\n\\tPeter somewhere in the room?\\n\\n\\tShe whirls to face a distance sound that echoes in the\\n\\tauditorium...\\n\\n\\tCLOSE: HELEN staring, trying to SEE. NOTHING.\\n\\n\\tTHEN:\\n\\n\\tPETER IS STARING BACK. HIS FACE BECOMES DARYLL LEE. THE\\n\\tVISION SNAPS.\\n\\n\\tHELEN: SHE TURNS AND WALKS PAST THE ROSTRUM OF THE STAGE TO\\n\\tA DOOR UPSTAGE LEFT... OPENING INTO A LONG AND DARK\\n\\tCORRIDOR. SHE GROPES FOR LIGHT SWITCHES, CAN'T FIND OUT ANY.\\n\\tTHE CORRIDOR LEADS TO THE LADIES' ROOM ON THE RIGHT. AS SHE\\n\\tWALKS DOWN THE HALLWAY, IT BEGINS TO RESEMBLE TO HER THE\\n\\tSAME WALK SHE TOOK AT THE BEGINNING: AND SUDDENLY AT THE\\n\\tDOOR TO THE LADIES' ROOM SHE SEEMS TO SEE THE FAT COP. SHE\\n\\tSHAKES HER HEAD AND THE VISION IS GONE.\\n\\n\\tREPLACED BY INT. LADIES' ROOM. THE COP IS NOW HELD FROM\\n\\tBEHIND BY DARYLL LEE - SMILING AT HELEN. IN REVERSE, WE SEE\\n\\tFOR THE FIRST TIME THAT HELEN HAS THE ROPE WELL AWAY FROM\\n\\tHER NECK. WE REALIZE SHE HAS AMPLE TIME TO WARN THE COP,\\n\\tBUT SHE IS PARALYZED, FASCINATED BY WHAT IS HAPPENING IN\\n\\tTERRIBLE SLOW MOTION INTERCUTS BETWEEN DARYLL LEE GRINNING\\n\\tAT HER, HELEN'S HELPLESS HORROR, THE COP'S APPEALING LOOK TO\\n\\tHER AND BACK TO DARYLL LEE AS (BELOW THE FRAME) HE SLITS THE\\n\\tCOP'S THROAT AND LETS HIM FALL TO THE FLOOR.\\n\\n\\tHELEN (FLASHBACK) AT LAST BEGINS TO SCREAM!\\n\\n\\tCLOSE: HELEN (PRESENT) RECOVERING. (SHE HASN'T SCREAMED AT\\n\\tALL.) SHE PULLS RUBEN'S GUN FROM HER POCKET AND SHOVES OPEN\\n\\tTHE DOOR INTO THE LADIES' ROOM.\\n\\n\\tAS THE DOOR OPENS. THE LIGHTS ARE ON: IT IS BRILLIANT,\\n\\tBLINDING IN HERE. SHE STEPS IN. THERE IS A SOUND THAT\\n\\tDRAWS HER ROUND, HER GUN COMING UP: BACK OF THE DOOR IS THE\\n\\tBROOM CLOSET... SHE FIRES TWO ROUNDS INTO THE CLOSET DOOR.\\n\\tIT SPRINGS OPEN AND MOPS AND PAILS FALL THUNDEROUSLY OUT\\n\\tONTO THE TILE FLOOR.\\n\\n\\tSHE WHIRLS TO COVER HER BACK; FACES THE STALLS.\\n\\n\\tEXT. SAKS' ROADBLOCK - NIGHT\\n\\n\\tTHEY REACT TO ECHOES OF THE GUNFIRE.\\n\\n\\t\\t\\t\\tSWAT\\n\\t\\tOh, man?! Let us in there.\\n\\n\\t\\t\\t\\tSAKS\\n\\t\\tGo. Go. Go!\\n\\n\\tMen begin moving cautiously out of the trees and shadows\\n\\ttoward the Auditorium...\\n\\n\\tINT. LADIES' ROOM\\n\\n\\tHELEN MOVES ALONG THE STALLS PUSHING DOORS OPEN. UNTIL SHE\\n\\tSHOVES ONE OPEN AND SEES:\\n\\n\\tM.J. IS HANGING BY A NOOSE, DANGLING THE SAME WAY HELEN DID\\n\\tIN THE OPENING SEQUENCE. SHE IS ALIVE, HOLDING THE NOOSE\\n\\tFROM HER NECK BY ONE HAND...\\n\\n\\tHELEN STARTS TO RUSH TO HER ASSISTANCE, WHEN THE LIGHTS GO\\n\\tOUT. PETER TAKES HER FROM BEHIND, SWIFTLY DISARMING HER,\\n\\tREGARDING THE GUN WITH AMAZEMENT.\\n\\n\\t\\t\\t\\tPETER\\n\\t\\tYou cheated! You said you'd come\\n\\t\\tdie with me.\\n\\n\\tWITHOUT PAUSE HE PUMPS TWO BULLETS INTO M.J. WHERE SHE\\n\\tHANGS. HER BODY JUMPS FROM THE IMPACT OF THE BULLETS, HER\\n\\tHEAD FLIES BACK AND SHE SLUMPS, THE NOOSE TIGHTENS; THE DOOR\\n\\tOF THE STALL SWINGS SLOWLY SHUT, AS PETER TURNS ON HELEN,\\n\\tWHERE SHE LIES ON THE FLOOR, HORROR-STRUCK.\\n\\n\\tEXT. AUDITORIUM - NIGHT\\n\\n\\tWITH EFFICIENCY AND CAUTION FBI SWAT TYPES MOVE TOWARD THE\\n\\tAUDITORIUM. A GRAPPLING HOOK IS THROWN HIGH OVER THE ROOF;\\n\\tTHEY PREPARE FOR AN ASSAULT. A HELICOPTER SWOOPS IN, BATHING\\n\\tTHE SCENE IN ITS BRILLIANT LIGHT...\\n\\n\\tINT. AUDITORIUM STAGE - NIGHT\\n\\n\\tPETER HAS HELEN ON THE STAGE WHERE CHAIRS ARE RANDOMLY\\n\\tSCATTERED AND PUSHED HER TO A SEAT FACING HIM, ALMOST KNEE\\n\\tTO KNEE... HELEN WILL USE HER PSYCHOLOGICAL WILES TO TRY TO\\n\\tTAKE AWAY PETER'S CONTROL OF THE SITUATION... PETER LOOKS UP\\n\\tAT THE SOUND... HE IS PROUD AND THRILLED.\\n\\n\\t\\t\\t\\tPETER\\n\\t\\tListen to them! We'll be on all\\n\\t\\tthree channels.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tKill me, Peter, do it, now.\\n\\n\\t\\t\\t\\tPETER\\n\\t\\tNo. Not yet.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tDo it. If that's what all this\\n\\t\\tcarnage is about, then do it. Have\\n\\t\\tenough guts to do it.\\n\\n\\t\\t\\t\\tPETER\\n\\t\\tDon't talk to me about courage. I\\n\\t\\tknow death, what it's like to kill.\\n\\t\\tYou're not a killer -- you watched\\n\\t\\tDaryll Lee kill that cop and you\\n\\t\\tdidn't make a peep, because you\\n\\t\\twere paralyzed with fear. You\\n\\t\\tchocked. I know something else about\\n\\t\\tyou.\\n\\n\\tPeter is jerking about with amphetamine energy; he pops a\\n\\tpill into his mouth and swallows...\\n\\n\\t\\t\\t\\tPETER\\n\\t\\tYou want one? No? There was\\n\\t\\tsomething in you that was\\n\\t\\tfascinated, that wanted to see what\\n\\tit was like for a man to die.\\n\\t\\tEverybody feels it. Like every\\n\\t\\tperson who slows to see a bad\\n\\t\\taccident, or runs to see a fire.\\n\\t\\tThat's true. I see it in you...\\n\\t\\tyou're the same as me.\\n\\n\\tTHERE IS NOISE OUTSIDE... LIKE SOMEONE BREAKING IN.\\n\\n\\t\\t\\t\\tPETER\\n\\t\\tOh, no.\\n\\n\\tHE GRABS HER, AND SHE MOVES WITH HIM, WITHOUT RESISTANCE, AS\\n\\tHE TURNS OUT THE LIGHTS INSIDE.\\n\\n\\tFLOODLIGHTS SUDDENLY ILLUMINATE THE FACADE OUTSIDE,\\n\\tINCREASING THE BRILLIANCE OF THE LIGHT STREAMING IN AND\\n\\tDARKENING THE SHADOWS FURTHER. GERMAN EXPRESSIONISM.\\n\\n\\tHe leads her back to the stage... he pushes her into a chair\\n\\tfacing him... He looks into her face and smiles...\\n\\n\\t\\t\\t\\tPETER\\n\\t\\tWe'll keep talking. Until they get\\n\\t\\there. Then...\\n\\t\\t\\t(smiles)\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tI have no life anymore. I ruined\\n\\t\\tyour life, make me pay for it.\\n\\n\\t\\t\\t\\tPETER\\n\\t\\tWhy did you do that? Didn't you\\n\\t\\thave any idea how hard it was for\\n\\t\\tme, to get that far? I worshipped\\n\\t\\tyou. You inspired me. I thought\\n\\t\\tyou could understand me the way you\\n\\t\\tunderstood the others. I knew that\\n\\t\\tabout you -- the ones you admired\\n\\t\\twere the great murderers; they\\n\\t\\tfascinated you.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tThat's not who I admire -- I admire\\n\\t\\tpeople who are good at what they\\n\\t\\tdo, great artists, writers,\\n\\t\\tthinkers...\\n\\n\\t\\t\\t\\tPETER\\n\\t\\tI don't have the talent for any of\\n\\t\\tthose things. All I have a talent\\n\\t\\tfor is death. And I am one of a\\n\\t\\tkind. What do you think of your\\n\\t\\tstudent now? I have made you\\n\\t\\tfamous, I am your creation and your\\n\\t\\tmonument.\\n\\n\\tBEHIND HIM A SHADOWY FIGURE DARTS FROM HIDING SPOT TO A\\n\\tVANTAGE POINT: WE CAN'T MAKE OUT THE FIGURE... HELEN SEES\\n\\tBUT PETER DOES NOT.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tIf you let me, I can make you more\\n\\t\\tfamous than any of them.\\n\\n\\t\\t\\t\\tPETER\\n\\t\\tOh, please. I know what's coming,\\n\\t\\tnow. \\\"Let me help you...\\\"\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tDo anything you want to me. I give\\n\\t\\tmyself to you. Only put the knife\\n\\t\\tdown. Isn't this what you always\\n\\t\\twanted? I know it's what we all\\n\\t\\twant, to love and to loved. I\\n\\t\\tcould love you. You could work\\n\\t\\ttogether in some safe place, learn\\n\\t\\tto really understand you, help you,\\n\\t\\tgive you some peace of mind, some\\n\\t\\thappiness...\\n\\n\\t\\t\\t\\tPETER\\n\\t\\tBack in the driver's seat again,\\n\\t\\tDoctor? That old dream -- study us\\n\\t\\tto see what makes us sick. So you\\n\\t\\tcan find a cure -- they'd name it\\n\\t\\tafter you? Death is the only cure\\n\\t\\tfor people like me.\\n\\n\\tHe leans toward her with the knife. This might be the\\n\\tmoment. His gun lies on the floor beside him.\\n\\n\\tHER EYES HAVE FLICKED TO THE SHADOW BEHIND HIM; HE SEES IT\\n\\tAND STOOPS TO PICK UP THE GUN AND FIRES INTO THE SHADOWS,\\n\\tTWO OR THREE QUICK ROUNDS. HE TURNS BACK TO HELEN, DROPPING\\n\\tTHE GUN TO REACH FOR THE KNIFE.\\n\\n\\tHELEN HEAD BUTTS HIM WITH ASTONISHING STRENGTH, KNOCKING HIM\\n\\tBACKWARD. SHE STANDS... HE COMES UP WITH GUN... AND AIMS AT\\n\\tHER...\\n\\n\\tBEHIND HIM M.J. STEPS OUT OF THE SHADOWS HAVING NOW A CLEAN\\n\\tSHOT.\\n\\n\\tHELEN DOESN'T GIVE A CLUE, JUST LOOKS INTO PETER'S EYES AS\\n\\tM.J. AND PETER IN SLOW MOTION DETAILS AS SHE LINES UP HER\\n\\tSHOT: SHE COULD KILL HIM OR GO FOR THE EXPOSED SHOULDER.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tDo it. For God's sake, now...\\n\\n\\tM.J. FIRES.\\n\\n\\tPETER IS SPUN AWAY FROM HELEN BY THE IMPACT, STANDS THERE,\\n\\tSHAKING WITH THE SHOCK OF THE HIT... HE STARES AT HER.\\n\\n\\t\\t\\t\\tPETER\\n\\t\\t\\t(surprised, like a\\n\\t\\t\\t child)\\n\\t\\tYou hurt me!\\n\\n\\tM.J. HOLDS HER GUN ON HIM, READY TO SHOOT AGAIN, BUT HE JUST\\n\\tGOES DOWN ON ONE KNEE, HIS BODY VIOLENTLY SHUDDERING... AS:\\n\\n\\tTHERE IS A HUGE SOUND OF BREAKING GLASS AND THEN AN ENORMOUS\\n\\tEXPLOSION THAT THROWS THEM TO THE GROUND.\\n\\n\\tTHE BIG FRONT DOORS ARE BLASTED OPEN, AND THE FLAK VESTED\\n\\tSWAT TEAM SWARMS THROUGH... SMOKE FROM THE CONCUSSION\\n\\tGRENADE SWIRLS IN THE CHIAROSCURO OF FLOODLIGHTS AND\\n\\tSHADOWS.\\n\\n\\tOUT OF THE SMOKE COME SKI-MASKED SWAT MEN...\\n\\n\\t\\t\\t\\tM.J. & HELEN\\n\\t\\tNo!!\\n\\n\\tPETER TURNS TO THE SWAT TEAM, OFFERING HIMSELF, AS THE WOMEN\\n\\tSCREAM TO THE SWAT MEN'S WOUNDED AND HARMLESS...\\n\\n\\tA PATTERN OF RED DOTS FROM LASER BEAM SIGHTS ON THE SWAT\\n\\tTEAM RIFLES DAPPLE PETER'S HEAD AND TORSO.\\n\\n\\tSWAT TEAM\\n\\n\\tLIKE A FIRING SQUAD THE TEAM FIRES.\\n\\n\\tPETER'S BODY FLIES THROUGH THE AIR FROM THE IMPACT AND\\n\\tSLIDES SPRAWLING ACROSS THE STAGE TO A STOP.\\n\\n\\t\\t\\t\\t\\t\\t\\tCUT TO:\\n\\n\\tINT. AUDITORIUM - LATER\\n\\n\\tM.J. SITS AS PARAMEDIC GENTLY PULL OFF HER SHIRT AND THE\\n\\tBULLET PROOF VEST THAT SAVED HER LIFE.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tJesus that hurts. You think the\\n\\t\\trib is busted?\\n\\n\\t\\t\\t\\tPARAMEDIC\\n\\t\\tThat looks like just a bad bruise.\\n\\t\\tI'll tape it up if you want to...\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tI'll take some Tylenol and codeine,\\n\\t\\tinstead, how about a lot of number\\n\\t\\tsix?\\n\\n\\tThe medic turns to his medicine bag. Cops swarm around\\n\\tthem. Helen sits down next to M.J. M.J. begins to put on\\n\\ther shirt, wincing at the movement. Helen helps her.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\t\\t(it hurts)\\n\\t\\tOh, God.\\n\\n\\tSAKS AND QUINN EMERGE THROUGH THE CHIAROSCURO OF SMOKE AND\\n\\tLIGHT AND SHADOW. When M.J. sees him she takes out her gun\\n\\tand hands it to him. It is what he expects, but she\\n\\tmisunderstands -- she is offering it to him as her\\n\\tresignation from the cops. He takes it only as a part of\\n\\tofficer related shooting routine. SHE LOOKS INTO HIS FACE\\n\\tAS HE SMELLS THE MUZZLE, KNOWS SHE FIRES IT, APPROVED.\\n\\n\\t\\t\\t\\tQUINN\\n\\t\\tI'll take it, kid. You take two\\n\\t\\tweeks paid leave. Don't waste a\\n\\t\\tsecond thinking about that shitbag.\\n\\t\\tThen come back. You're a cop, M.J.\\n\\n\\tHe nods to Helen...\\n\\n\\t\\t\\t\\tQUINN (cont'd)\\n\\t\\tGet the civilians outta here.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tShe's in no shape to give her\\n\\t\\tstatement tonight...\\n\\n\\t\\t\\t\\tQUINN\\n\\t\\tNo, she can come in tomorrow...\\n\\t\\tgonna want to know a lot of\\n\\t\\tthings...\\n\\n\\tB.G. the cops have pulled PETER'S BODY BY THE FEET, LETTING\\n\\tHIM BUMPITY BUMPITY BUMPITY DOWN THE STEPS from the stage\\n\\tand lifted him onto a gurney. The body is wheeled past\\n\\tthem, as...\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tThe only one who could tell you\\n\\t\\twhat you really need to know is\\n\\t\\tdead.\\n\\n\\t\\t\\t\\tQUINN\\n\\t\\tYeah, it's a thought...\\n\\n\\tOf no importance to him, he turns away...\\n\\n\\tINT. AUDITORIUM - NIGHT\\n\\n\\tIn the LOBBY area between the auditorium proper and the big\\n\\texterior doors (now the worse for wear from the concussion\\n\\tgrenades). Outside, through the glass we SEE a media circus\\n\\tunder the BRIGHT LIGHTS put up for the assault. M.J. and\\n\\tHELEN SQUINT AGAINST THE LIGHT, AND TURN...\\n\\n\\tTHE AUDITORIUM (POV).\\n\\n\\tThe cops and technicians are working away; at one side is a\\n\\tsmall door -- easy escape. They run toward it...\\n\\n\\tEXT. MCCLUSKEY AUDITORIUM - NIGHT\\n\\n\\tIt is dark where they step out into the night. Around the\\n\\tcorner of the building we see the light from the MEDIA\\n\\tCIRCUS. THEN HELEN STEPS OFF DOWN INTO THE DARK CAMPUS.\\n\\tM.J. LOOKS AT HER: REALIZING: HELEN IS NO LONGER AFRAID.\\n\\tSHE CATCHES UP TO HER. HOLD ON THEIR BACKS AS THEY WALK\\n\\tAWAY...\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\tYou could use a long hot bath, you\\n\\t\\tknow that? You better get somebody\\n\\t\\tto drive you home.\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tWhy can't I drive home? I will.\\n\\t\\tYou. Look at you. You need a ride\\n\\t\\thome. And you don't even know it.\\n\\n\\t\\t\\t\\tM.J.\\n\\t\\t\\t(beat)\\n\\t\\tWell, thanks.\\n\\n\\tThe two women continue down toward Helen's car, just outside\\n\\tthe circle of media. CAMERA RISES AND RISES TO A HIGH FULL\\n\\tSHOT.\\n\\n\\tTHE MOUTH AND THE HAIRCUT spot them and race toward them.\\n\\n\\t\\t\\t\\tSUSAN\\n\\t\\tHey! Halloran! What's the story\\n\\t\\there?\\n\\n\\tOn the two women getting in the car...\\n\\n\\t\\t\\t\\tHELEN\\n\\t\\tIf she has to ask, she's never\\n\\t\\tgonna know.\\n\\n\\tHIGH FULLSHOT OF THE CAMPUS AS THEY DRIVE AWAY INTO THE\\n\\tNIGHT.\\n\\n\\t\\t\\t\\tTHE END\\n\\n\\n
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| \\n\\t | Copycat\\n\\t Writers : Frank Pierson Ann Biderman Jay Presson Allen \\n \\tGenres : Crime Horror Mystery Thriller \\n\\t\\t\\n\\t\\tUser Comments\\n\\t | \\n
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