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Revisions 06/09/95

COPYCAT
by

David Madsen

Revisions by
Anne Biderman
Jay Presson Allen
Frank Pierson
Charles H. Eglee
Frank Darabont
Based on the book by David Madsen

No portion of this script may be performed, reproduced, or used

by any means, or quoted or published in any medium without the
prior written consent of New Regency Productions, Inc.

New Regency Productions, Inc. October 28, 1994

818/954-3044
4000 Warner Boulevard
Burbank, CA 91522
 (goldenroai 101 Z8t ::14 - l.

Al
Seen from overhead, coeds laze -=out on the lawn. It's a
bright sunny day, one made for Frisbees and sunbathing. As
the CAMEM slowly DESCENDS, we hear a WOMAN'S VOICE, her tone
almost matter of fact.
WOMAN (V.O.)
Sqciety creates tbese crippled
creatures and their revenge is
terrible. For a sbort while anyway
they find a kind of bleak beauty in
the torture of another huau being.
The CAMEM has moved.closer to the college girls. We can see
the youth in their faces, near the innocence in their soft
LAUGHTER, as they chat &bOut nothing in particular. The
CAMEM TRACKS through thee toward a lecture hall ...in I.G.
IIOll.\11 (V. 0 • )
The screau of tbeir own victilla
obliterate their Olla pain ••• !be
act of killi119 aaua tllea f•l alift
• • • But tbeA f:crea depnaaioa,
deapair, CJUilt. IDd a loeeli.Msa
.....
that cu only be a11...1ated bf
another victill.

1 INT. MCCLUSDY HALL• DAI 1

Th• voice belongs to Dll. D!D -IOII, 30'1, ftatuesque,
patrician. She 1taadl at a rMCrua at tbe front of tbe
packed auditoriur. lebtnd ber is a ~ oa wbic:11 can be
projected illage1, not. ., clietr. ., •c. llifbt "°"• tbe .
scrHn is filled vitll a 30•foot •se91 of berHlf speaking.
mn CCCIIT'D>
Lite dn9 addicts aftu tbelr nut
fia, Mrial kill-. craft tbe nah
tbeJ 91t froa takint anotber life.
a,,: lecauN tbeir aoti-. an
a&Ullted by year• of UNM and
njeetion early ia tbeir lift•. lut
wllat an tbe co-factors if any! An
tbef 91Mtic! lf so, wllat tri999r1
violenc:e in aaae people and not
other1! ••• llbat we don't IUIOW about
the aind of a Mrial killer is
enough fill a battlelbip alld link
it.
A beat as Helen looks out at tbe face• of her young audience,
listening in rapt attention.
 <goldenrodl L0/28/94 - 2.

l CONT!NTJEO: l
HELEN (CONT'D)
Would all the gentluen in the room
stand tor a moMnt.
The males in the crowd look around, suddenly more than a
little self-conscious.
HELEN (CONT'D)
Come on, indulge the girls and let
us get a look at you ••• It's only
fair, af~r all the tiM you guys
spend ogling us.
Murmurs, laughter, as one by on• tbe guys stand.
@!IN (CONT'D)
Okay, everybody under twenty and
over thirty-fi" ha" a Hat . . . If
you're of Aaiu or African Aaeric:an
descent you uy sit down ••• All
riqbt, 91rla . . .t d',a ...., Soaa . •,.
pretty cute fll1'8• If . . of tba
in•itecl you for• bNr, JOG aitbt
go. Maybe di OMY, clanc~. •YN
eYeO a clt.rtJ .,._,llad la llt SU . ..
•11, let• tell JOG •~ ■ ltllinf.
Ninety perceat of aerial killers are
wbite ul.. atN t-..&f to tllirtr
five, j u t 11M &MN ••• llaald you
know if one of CMN eute fllY9 is
addi"ecl to aarder'l Aaytla1nf in
their fac:ea ,1,,. you• clae'l
As we PAN ACIIOSS tbe face• of tbe aea in
tbe audience,
INTEltCUT with CM eqaallf ordlauf fac:eaof lundy, luono,
Bianchi, et al. pnjectecl la rapid nc:cuaioa on the screen
behind bier.
: · DID CCCIIT'DJ
Al.NCC DeSalYO, liwbi and 8aano,
ledrowita, Datz1T, Ted lundy •••
tbeJ ..r• quiet, uauauaJ.119, eYen
••••• !bey held clollll joba, Mdll
good MitbbOr•. 'ftleir •i"iM
traated tbaa. tbey let taeir
killer• belp carry 9roceri.. , wben
they offered. Nany tiMa t!Mir
invited their killer• into their
hoaea. Tbe n1 ••ti.Mt•• that there
could be••
any a• tbirty-five
serial killer• atalki119 their
victims right now. But ten thousand
tour hundred and seventy-nine agents
.- (MOU)
 (goldenrod> L0/28/94 - 3.

l CONTINUED: (21
l
HELEN (CONT'D)
can't find them. And five hundred
ninety-seven thousand police
officers can't stop th• fro■
killing.
(to the ■ales)
Ha"ybe you guys better sit down
before you scare everyone half to
death.
Nervous laughter. ;
HELEN (CCIIT'D)
Serial killers are a ~icularly
modern di•••••· And one tut
afflicts the United States 110re than
any ct.her country 1A t.Jle 110rld. But.
we won't. find t.Jle cure 1A police
science, whicb can only bope co
catcbin9 t.be pe~acor aft.er be'•
killed. !be &UIIU 11• 1A
PNffftt.ifll acleace. 1a
- .
.• I

wxterat.andlng t.Jle boner rwid1 ng 1A

t.Jleir beau, and.._ 1& toe u.n
••• Florida aplDC •IMd eitll&
alllion dollan &o electrocute Ted ·
-
Kavin9 spotted SOMt.lling in t.M NJ.COG)', ber wolce chokes
off. She star•• aot.ionl•••· A& GDe aide of t.Jle at.&9e, in
the wings, a heavyaec, ft.AI.:tOftlll cc», looks up at. t.hia
sudden interrupt.ion.

HELEN'S ,ov
DAllrLL La c:ut.za, a YOUIIIJ MD 1A Jlla 20'a, wit.b bri9bt. red
hair, elelDazately U t t ~ azaa, lew ap1Aat. t.Jle railin9,
list.enlat iaeeatlr, . .

HELEN

shoot.a a look Ofllr to tbe cop wbo'a oa Jlla fNt. now, alert. t.o
her alara. Ke is peek1119 around tbe proacuia, wit.bin an
inch of revealinq hie presence to t.Jle audience.

HELEN'S ,ov
of the balcony. Daryll'a gone.

;
 (go.lden:-::d) L0/28/94 - 4.

l CONTINUED: ( 3 l l
HELEN

perplexed. Oid she Sff the fi9Ure of Oaryll, or vas it the

product of her ovn imagination?• In any case, the audience is
waiting for her to continue.
HELIN
Florida spent eight ■illion dollars
executing Ted lundy. Money better
spent keeping hia confined for life,
the subj~ of intense scientific
scrutiny~ So that ve could have
perhaps understood vhy that one
particular baby bOy, out of all the
others bOrn on lk"TT■M• 24, 1946,
turned out to be a ■onater. Maybe
then ve'd be able to identify the
Ted lundya of tbe futun • • • before
they kill.
..•
2 INT. H&LLIIAY - DU
The audience spills oae iat.o tbe ball. a.01119 tJMa ia Helen,

...
accoapanied by tbe cop. 1eop1.:_abake bar band, t!Wlk her,
etc. Her ■ind 1a el....-n •.

(Uide to copJ
I neecS to fiad tbe ladies rooa.

3 INT. LADIES ROON - DU 3

A IQIOClt. Door Of?C?- !be cop call• 111.

cm
ADJl!Ollf 111 ban?
Then'• ao • He eaters, loou around.
.....r:. •
He opens the
door to a bcoaa closet - notbiftt. !Mn toe• down the line of
eapty Aalle. UCdsr ~ doOr of tbe last stall be spots a
pair of lec,e warin9 black putyboM and hip beela.
cm CC:Clft"D)
•scuee tbe 111true1oa, u•aa.
Cto ..len 111 tbe
doOrway)
All yours.
He exits past her aa sbe croaaea to a stall.
 (goldenrod) !0/28/94 - ~.
•

3 CONTINUED: 3
CLOSE ON THE HIGH HEELS
As the person inside stands, pant legs slide down, covering
the pantyhose. Noiselessly, the high heels are kicked off,
one at a time. And then the fHt disappear from view.

HELEN
A few stalls away, puts toilet paper around the rim of the
seat. She turns, aJ:>ou.t to sit, as a noose made of braided
wire looped through aft eyelet, drops over her head and is
violently yanked taut. Her airway cut off, she can't scream.
She kicks violently against the Mtal door of the stall.

4 INT. HALLWAY - DAY 4

The cop reacts to tbe noiH coain9 froa tbe ladies ro011.

5 INT. LADIES MON• DAY 5 ;

Th• cop pok•• hia head in.

cm·
Dr. Hudson? ~ ouy7
Getting no answer, be eoten, dl'a•ill9 bis wapon. a.hind
hia, we Sff Belen baft91D9 ill CM open .call. Tben the door
to the bro011 closet ••in98 open. Daryll -.f9e••grabs the
cop fr011 behind, aod prea... a blade -.aillsc his throat.
DAnLL LIi
That'• . , fJUII• . . . . .t ill tbe
world an·,oa cloiaf wiU., fllll?
He takea CM cop•• wapon, tban tuna Ilia around so tbe cop
can s• Mla ► cn&979 tben, papinf for air.
DAnLL LIi
- Doc, you• re tbe ....-~. llbat
dOea a sick fuck liu • do in this
aitaation7 Do I tut hia or sboOt
hia? llbat say, Doc? Maybe 1 do
both?
Without warning, Daryll 1Ae draws tbe blade Sharply across
t.he man's throat, inscribing a tllin red line. 1'be cop bang•
there for a 110■ 1nt in stunned horror, his ■outh opening and
closing silently. Thell Daryll puaps Tll0 SIIOTS int.o his
chest.. The cop slaaa into tbe wall, then slides to the
floor, leaving a red ...ar down the white tile. Daryll t.urns
 (go~~enrod) t0/28/94 - 6.

s CONTINUED: s
and grins at Helen, who kicks and flails so violently she
loosens the noose enough to get a gulp of air which fuels a
horrible scream.
OMIT SCENES 6, 7
8
.
INT. AUDITORIUM - OAY 8
SECOND COP runs in SLOW MOTION toward the ladies roo■.
Helen's weirdly distorted SCREAM OVEJUNS and STOPS --
:
ROLL HAIN TITLES
We HEAR a man, PETER, HUHNING tunelessly as his handS tap at
a computer keyboard.

V8A ON THE SaEEN VIA

is a ho- video of a YOUNG ll0IIU runni119 tbrOUl)ll a park.
She's dressed in sweat clotlles, lier bair in a braid. SIie's :
breathing heavily, appanatlJ at tbe end of a lOll9 j09. TIie
fila on the screen uvmtsU.

8A INT. PETER'S IASINDIT - DAY 8A

zcu
of just one of feter•s eyes beblncl 9lu"•· In tbe lens, SEE
the reflection of the caaputer scrNG as tbe fila goes
FOIUIAJU) once again, this tiM iD eJltnaely Stolt IIDTIOII.

ON THE SaEEN
As the frw nnns at a point lfben tbe joner•s aouth is
wide opea to catcll a clNI> bnatb, or perbaps to - saDN! lie
hear ti.. ecnaa ....... .
END laDI flft.11

INT. HELEN'S BIDIIGON - NIGllr

9

Helen bolts awake froa a niglltaare. She's pale, lier hair's a

'
-•s, circles under her eyes. Sbe gets ber bearings, calls --
H&LDI
Andy •••
She's out of bed now, 9oin9 fro■ rooa to rooa of her loft
apart-nt. ;
 (golden:oc1 i.0.'28/94 - ,

9A INT. KALLWAY - NIGHT 9A

HELEN (CONT'D)
Andy .•.
She looks into the study hoping to !ind him. It's empty.
She whimpers in frustration. She's alone. Reflexively, she
begins snappin9 the rubber band around her wrist.

98 INT. LIVING ROOM - NIGHT 9B

Helen turns on lights,.: television, anything to alleviate her
loneliness and calm her nerves. As she continues snapping
the rubber band, then reciting as if it vere a 11&11tra --
KELDI CCOIIT'Dt
George waahin~on, Jobn Adaea,
Thous Jefferson, J&Ma Madison --

9C INT. IIATHllOOM - NIGHT 9C . .

•
Reaching for the xanax 111 tlM MCU.clne cabinet, alle continues
reciting --
mn ·
.1. . . . Nonroe -
(takes OM)
Jobn Qu1Dcy ld•M. ~ Jacuon,
Martin vu aunn -
(nfUdlDt berHlf 111
tlM airnr)
111\at you looklftt at? ••• Willi•
ReMy llarriaon •••
OMIT SCIN& 90
9E INT. HZ? IN'S OffIC8 - ll0NIIIIG 9E
..
Later. ...... A •tter of Cotft&C 111 ooe b&Dd, abe goes to
her ,: : c . C• sca~i•, llblcb 1• arrayed 111 tJlne uni ta. on
the a c ~ • tile slpt slN types 111 a c..-nd and TD
STUSSLDa caa,tloa cmcsa up. SIN types in:
AIIYOB .IIIAD? IIUD TO TALK. SD DOC.
After a ao-nt the followi119 reply appears:
AIISWU
Hello SD DOC. Panic attack?
Helen's fingers fly aero•• the keyboard.
DI.Ill
No. :Nighture. You houaebOund?
9£ CONTINUED:. 9£
ANSWER
Six months. iou?
HELEN
Thirteen and countin9.
Helen's attention is diverted by her second computer, where a
chess game is in pro9ress. On the bottoa, a coauund flashes
from her opponent •czECR MATZ•:
. CZBCR MATZ
Hake a 9oddaan aove.
·she studies the board tor a aCMnt, then uses the aouse to
make her move.
CUCB MATS
Lousy aove. i..t•s drop it. Let's
. . .t. Like a date.

mn .. ..,
Can't date. ~ •lable Mterial.
Stop flirtint Md aow .
.
Pickin9 up her snifter of braaca,.sbe wud1r1 Ollt of lier
study, picks up a reaote lyiilf • tbe table and clicks it
BRIGHT SUNLIGHT floou into tbe roCIII tllrOUIJb tile b1,19e
revolvin9 blindS. SIie croa..., 1.-a ouc across tile s-.pin9
view of the bay to Narill Couatr ill tile distance. Tbe phone
RINGS, sbatterin9 lier reftrie. Ille beaitates, just lookin9
at it, as it continues IUIIGIIIG. rillslly, sbe picks up tbe
receiver, listens ill silence, tllm -

(beat, reacc.1at to
wbat . . . bean)
You soa of a bitcll •
•
Stiff wit.II f.ar uid r--,e, SM al. . tile pbone down.
DID (a■'t'D)
You file.by soa of a bitcll.
u Helen's provisional cala is destroyed --
OMIT SCENE l0
ll INT. TENEMENT BUILDING COUIDOll - DAY ll
INSPECTOR H.J. MONAHAN is in a tens• Situation. She is 34,
cute, tbou9h ri9ht now there is nothin9 cute abOut her.
wearin9 a belMt and a flak jacket, she aoves alon9 a din91
corridor, weapon drawn, on point. lebJ.nd Mr is INSPEC'l'O"-
-- • ••--•-- _ _ _ J _ _ ..,
 <goldenrod) 10/28/94 - 9.

ll CONTINtJEO: ll
H.J. stops at an intersecting hallway. Then, grasping her
weapon with both hands, she spins ott the wall, sweeps the
other corridor. Nobody. Ruben crosses behind her, flattens
himself against the wall on the other side. A beat.
Suddenly, a FIGURE juaps out of an open doorway down the
corridor past Ruben. Instantly, he drops into shooter's
stance, squeez•s off nine rounda froa his s•i-autoaatic
pistol. The smoke clears, M.J. reaoves her helMt, revealing
a look of displeasure. ror the first tiM, we realize that
they are not in an actual teaeMnt, but a trainin9 range.
H.J. regards what's left of Ruben's assailant who's ude of
particle board, mounted on a spring-loaded aruture.
M.J.
Th• good news ia you're still alive •.
NJ8III
You Sff a donaide ill tbat I tan it.
N.,J' • .
.
M.J.
Didn't anyone at tbe
acadeay teach you to
shoot surgically?
..., .... .....
Thia ia kiada r1e1dial Ruff, r:>11nn.
NJUII CCCIIIT' DI
,
Lee'• Nl'i• tlla scenario
••n 110rkiG9 •itb bare.
:

N.J.

-
You sbraddld Ilia.

llbat can I aar, l'e u intuitive cop.

N.,J' •
llitb poor illpulN control. Lee'•
a••- you didn't abDDt a . . . .
fi.,. rear old UD llbo c:ouldll't bear
t,-
Cbe wanint •c:auae be•• clllaf. · Lee••
Ml r,119nued tbe tu1 llllile be was

-
UJUII- to aurnnder.

Be j• fld out at M.
N.J.
Nov you're Oft adlliniRrative lea,,.,
pending an inq11iry. You frieada
are wondering if you really an a
psychopath. And the 911y•s junkie
wife's hired a lawyer lltlo sl... a
wrongful death action up your tail.
IWIIIII
Alright Surt Alice. Sbow - lfftat
va aot.
 <goldenrod> 10/28/94 - 10.

ll CONTINUED: (2 l ll
Another figure suddenly pops out of the corridor behind M.J.
It's a man holding a hostage at gunpoint. In a single fluid
move, H.J. whips around and puts THREE ROUNDS neatly into the
gunman's shoulder.
M.J.
Hit the brachial nerve, he drops the
weapon, you read hia his Miran~s.
Plus, you haven't taken a hwun
life, so your karaa•s still okay.
While she instructs IWben, the cell phone on his belt has
begun CHIRPING. He ignores it.
RU8III
Are you hungry? 'CAuse I' ■ starved.
N• .J.

--
Aren't you gonna uaver tut?

I'• sun it'• aotJLlat illportut.

..
;

■ .,1. . .

-
I'a sun..._ cbtnt•·it is.

How about Norocc:u1 Yw like

couscoua?
■ .,1.
(re: pbOM)
Don't yoa want to uow wbicb oae it

-
is?

CfiNllf ....,.rs)
Y'ello . . . . .,, beNyyy. Is this
01r1J telepathy or wbat1 I was
juac ,-u c.11 · you •••
M.J. rolla lier -,.e.
-•■ CCOIIT'D)
••• Ob, juat uual. LoDf clays
~
aui119 sun juatice pn.ails.
BLAM!BLAN!BLAN! N.J. puts three fast rouncla into the next
target.
IWBIN (CONT'D)
Listen, can I buzz you back? I' ■
kinda in the ■iddle of soaethin9 . . .
No, f proaise •••
 (goldenrod> l~/28/94 - ll.

ll CONTINUED: (31 ll
H.J. eakes a new clip her bele. Clicks ie home.
RUBEN
'!ou know, I'm ehinking, ehae you're
ehinking, ehae uybe I' ■ SOM kind
o! a . ..
M.J.
!Uke?
., RUBEN

M.J.
Rake, roaeo, claa-cU.99er, beaver
boy, horndo9, letch •••
M.J.'s pager B£US.
N.J.
(checlla pa91r)
It's a~iM.

12 EXT. APARTMENT BUILDING - DU 12

Criae scene is taped-off. Coroaer•• ••• police cars clog
strHt. Ruben and N.J. pull up i l l • _..rked car. The
Motown oldie blariNJ on tbeir IIDIO ia odd COUftterpoint to
eb.e gria proceedJ.119•.

INT. CAil - DAI

Ruben and M.J. baag ill tbeir CU' a 1 1ot. vaitift9 for tbe
song to end. lyeiaf tM acti•ltJ, ■ •.J. lfOC• a ff nevavan,

....
eh.en reporter svsu SCBlrrD and bar caeraaan a.k.a. TH&
KAiltCU'f.
:
N.J.
a.rue,

-
QII tbe Nouth 1• trien.

Y'knov, you baft tbe tec:bnol091 to

end tbia inc:a•a cazeer.
(off ber look)
Take out ber brachial aerft and sbe
won't be able to 11ft ber arc hiCJll
enougb to put on all tbat cateup.
M.J.
It's a ehougbt.
As ehey get out ot their car --
 (goldenrod) l0/28/94 - 12.

12 CONTINtJE:C: 12
E:XT. APARTMENT BUILDING - CAY
Susan m&Jces a beeline for M.J.
SUSAN H.J.
(to H.J.) I can't confirm
Can you confira the anythin9, Susan.
repons we're hearin9 Ne just 9ot here.
that this latest ■urder
fits the same ~ttern a•
the other two?
Susan do9s M.J. as she beads toward the apartment.
SUSAN (COIIT'DI
In your opinion, is there a serial
killer stalki119 the strffts of San
rrancisco?
■ .J'.
Aa 1 •aid,• :.,ug - ban Ud l' ■ .
not pnpand to uaae a stat.....t at ••
thia tiM.
M.J. and llulMn dUck andllr Ula ·,-11. tape ucS . .k. their
escape.
■ .J. Cc:alt'DI
ls tbat idiot trylat to acare tbe

--
dayli9bt• out of eftrybody7

Jeaua, QaiU's llen.

Ruben refers to lloaicicle CILl.ef QUO., •tucS1119 at the top of
tbe stairs confvrlat vitll a aifom. ■ .,1. ~Ms a police
PROTocaYm 11np1ck1at.bis tur, lwa Oftr to bi■.

-
, ....
.•. ■ .J.
ant1e, .,rab • • - oftrall• on
CM crolld will you? ■ice clear

tllO'IOGMfBD
CallllOJ9CI llf this)
tlby doD •t l ask eqryoae to ..,
c:Jwe••?
EWDen and M.J. IIOWlt •tepa to Qu1nil vbo addresses th-.
au1•
Landlady found her. front door was
open. Tenut didn't an•wer th•
doorbell. Tbe lady 9ot worried,
. (NONI
 (goldenrod1 l0i2Si94 - 13.

12 CONTINUEC: ( 2 l 12
QUINN (CONT'CI
went in, saw the body. Used the
phone to call 911, otherwise says
she didn't touch nothing.
H.J.
R.o'bbery?
QUINN
No sign of forced entry. Nothing
else was disturbed ••• It's all
yours, k£d, I'll take care of the
Mouth and the Haircut.
Quinn heads down the stairs. N.J. and 1'uben enter

13 INT. AIAllTMENT KOUS& - DAY 13

Oniforu ■ill around ball outaide victia•• apart11ent.
Inside, a CSI conduct• bi• au-w.r. •.J.
approadles, queri.. •!
a young unifomed cop, NIU, uaDt • dlatnlltbt WCI 1a · ·•
standing nearby, 9asint ••~1f out tbe ~11-dow.
N.J.
Tut CM landl.adf!
Mike noc:ta.
N.J. CcmT'D)
llbo ••• first on tba acene?
Mike answers twr question bf rap1yiDg to •
NIU
I vu.
N.J
Bel.le, O..r ben!
• coff bis bad9eJ
Jobaaoca .•• what'• tbe first bit?
NIU

N.J.
You touch anyttlincJ, Nike? tick up
anything? Open any doors? I daa't
want to get all ucited about a good
buncb of latents anct find tbey're
yours.
MID
No, l didn't.
 (goldenroci l0/29/94 - :4_

13 CONTINtJEO: lJ
She glances at him, at the SLIGHTLY 000 INFLECTION ON THE ·I
OION 1 T• out moves on.
M.J.
(of the landlady)
Ruben, want to get her stateHnt?
Ruben crosses to the woman. M.J. heacta into the apartment.

14 INT. BATHP.OOM - DAY 14

The young woman we saw j099in9, ber bair st.ill in a braid,
lies dead in the oatht.ub. lendin9 over ber is th• COP.ONER,
who withdraws what looks like a large M&t. t.beraoMt.er tro■
the girl's side. M.J. aquffz•• int.o t.ha -■all, crowded roo■,
goes to Coroner.
N• .J.
So Frank, 9ot. u eatiut.e?
.,
••

N • .J. .
I' ■a..ift9 liptun uru aa CM
neck, petechial baOrdlagiag in CM
eyes. Str&119led bull!
COIIOIIU
S&M as tbe oCMr two.
In the B.G. ptlone IUIIGS. TIie ac.■oapben in tbe roo■ suddenly
tenses. M.J. goes to.,....,... it.
WICUII
Sbe cu•t to CM pbNeo SIie's
COM
in CM tub •

- •
N • .J.
llboever writ.ea your Mterial
■u ••• Tou abould fin bi■•

She picks up tbe pllone vitb a tissue aa ■ 1one hancta her.

N • .J. (COIIT'D)

PROB YOICS
Gina Martinez here. Bow are you
this ■ornin9?
;
 <goldenrod) 10/28/94 - LS.

14 CONTINUED: 14
H.J.
Can I ask what this call is retarding?
PHONE VOICE
Would you like a new color TV
~solutely trH? All you have to do
is visit Sunburst TiM Share tor a
no oblig --
M. J. hangs up, res WMS. looking around the scene.
COltONU
Alright it I move her?
N.J.
Yeah, be nice to her.
H.J. exits.

15 INT. QI,I NAY - DAY

N.J. cros••• to llike. Be loou worried.
N.J.
Nike, wbere you tlle flrR one bare?
Illa
(bis worry d1quiD9)

N • .J.
Did you t.oucll Uytbi"t?
IUD
llo.
N.J.
-.&•a vront, Nike? S-t.bln9
botbu1D9 ,ou?
MID
llope.
N.J.
If you•r• boldi119 out. on•• 1•11
get. it. out. of you OH way or
anot.her. You know I will.
NID
<a beat, tun>
There was so• kind of stocki119
round her neck when I found her ••• I
don•~ know wbat happened to it.
 (goldenrod> 10129/94 - 16.

lS CONTINUED: LS

M. J.
Who else was in there before the
CSis showed up?
MIKE
L~eutenant Quinn.
She seems relieved. Brightly:
M.J.
Well that/s alright then, Mike.
Thanks •.

16 INT. QUINN'S OFFICE - DAY 16

The TV's on. It's the news, Susan Schiffer reponing.
Vl6 SUSAII (CIII TV) v1, ,
N.J. Ti• dye UCI peace si911a
You aind telli119 • wue tbe order of tbe
why you reaoved day ia Golelell GR• tart
evidence froa -- a tbe hft1•al of to..
9IIC ad1r way cc 1 ■ orati119
ca. Ci.CJ'• COUDCUCUltural
QUID puc. IC all vu 110C.
Shh. I wanna bear pe■c. ud l°" ia tCKrero
this. 11111 -.re baalcide detective•
di.aco"nd uotber grialy
aaner tOday.
SUSAII CCGlff'D ca TV)
Police would not c 1et but
infomed aource• ill tbe -■rc-,at
a1y tbe l1te1c CIIUb could be tbe
110rk of tbe 1W tiller n1pa111ible
for ca. deatha of cw oeber u 12 -
:-· N.3.
~- - N d witb tbe ffiduce.
QuiM tllftla off tbe TV ••t an,rily. N•.J. 1tuba out his
cigarette. Quiu 11 not happy .-Ut tb~•·
QUI•
SonebOcly around bere can't ll■-P
their bi9 fat yap abut UCI 1 wut to
know vbo it ia.
N.J.
What did you do witb the stocki119?
 (golaenrodl :0128/94 - :,

16 CONTINUED: 16
QUINN
Look, I tagged the d&Jllned stocking.
I just don't want some blabbermouth
leaking the M.O. to her --
<indicates TV>
-- so she can spread it all over the
airwaves, leaving us no cards to
play.
M.J.
All I in qbarge if this thing. Or
not?
QUINN
What are you so dalln prickly about
all of a sudden?
N • .J.
Thu I OQ9bt to be deeidi119 what
evidence to sequester ..• Sir.
QUDa
...
'•

Cfatiped)
Detective, 1• tben ffidlln-:e you
tbiu uould be aequeatend ill tbi•
c... ? .

N • .J.
'l'be •tockill9 around tbe neck.

QUI•
J••u•, you•n a ,.,.a&y broad.
M.J. sailes at tbi•.
N.J.
1'11 ute tut. u a cc.pliMat sir.
• . QUDa
Toa clldn•t. NJ serial killer aftd I
didll't uy Hrial killer, riCJbt?
N • .J.

And Quinn reliqhts his broken cl9arette.

l7 INT. HELEN'S AIAll'TMDff - DAI l7

Helen opens the door. In tbe hallway outside, a newspaper

lies perhaps six ffft away.
:
 <goldenrod) 10/28/94 - :a.

l7 CONT INllEO: . 17
INT. HALLWAY - DAY
Helen stretches her foot forward toward the paper, c&n't
reach it. As she moves out into the hall -

HEP. POV

The building seems to elongate, walls take on exaggerated

perspective. The newspaper recedes.

HELEN
r snapping the rubber b&nd on ber wrist, sbe drops to her knees
&nd crawls along tbe floor vbicb rolls in waves toward her.
She reaches for~ newapaper, wbich Mlta like tbe Dali
watch. Finally, witb aupr-. effort, abe graba it and
retreats back to --

11 INT. DJ IN'S UAllfllDIT - Dar

Gasping for breatil, sbe abuts .Ute door, coapoNs berself a
■o-nt, looks at tbe paper.

r
INSUT
POLICZ urn.&D DI DDTII a, TIIIIID 11011111
PUP
Idiots.
OMIT SCENE lt
20 INT. SQUAD 110011 - DU 20
Busy. Nmt?nll IIZCOL&TTI, 40, old aebOol, interrogates
HAllYSY. • ..

•ICOL&TTI
Yoa to11"9CI tbe girl lloae and then
·v11ac7

IIMVIY
I killed ber.
NICOLS1'Tl
Where did you kill ber?
HMVEY
In the bathtub.
 Cgoldenrod) l0/28/94 - 19.

20 CONTINUED: 20
NICOLETTI
Why d'you do that?
HARVEY
Because ahe vaa dirty. Because she
was a very dirty dirty girl .
.
NICOLETTI
So you reMllber hov many tiMs you
stabbed her, Harve?

,
I

I
HARVEY
Er ... Eighty-seven?
NICOLETTI
<atanda)
Get the fuct outa bere, Harvey. l
got vort to clo.
uavn·
Th• blood of tbe lDDOCfUlta 1• oa
the.. banda •••
111~1
&itber you acraa, oc l'• tonna Uke·
you stand ill uw cocner avaia.
r Thia sobers Harvey, wbo aliata off. Tben, to N•.J. arriving
at next desk vitb an an.load of filu •
. ■lCOLITTl CCOIIT'D)
Wu it aaaetbiaf l did 1a anotber
life?
•• .1.
trobabl~ aas1tbio9 you did 1a thla
life •••
Rubeo•'•• up co ■•.J. Nicoletti n9ar$ tbe loud tie he's

--
veario9 •l&II d1Rdda.

Narcer'• tone tbrOUIJb all ber

nceipta, MCllcal, clental, letal,
dry cleani119. ■otbift9 ia coaaon
vitb tbe otber two wict.laa.
NlCOLITTl
Cflicti119 '1aben'• tie)
What•• that round your neck, ltube?
IWIDI
I'd get one lite your ■, Nitto.
Sadly.7 I don't live near a It-Mart.
 (gol.denrod1 ::,;:a;~4 - 20.

20 CONT INtJEO : ! 2I 20
H.J.
· !ignoring thisl
How about friends, acquaintances?
RUBEM
Z~p-ola. The only Ching chase girls
had in co-on •.• Chey all owned
vibrators.
M.J.
Thac's not a lead ••• Ic's an
I implement of survival.

r Ruben scicks his congue ouc ac N.J., headS oft.

I NICOL&ftl
How can he show up at work veariNJ
soaechin9 like Cbat?
N.,7.
;
would you lay offa bill. •
■ICOLITTI
Hey, cope an auppoNd to look lill•
cope --
N • .7.
Yeah, y•all, ,-all.
coaJ.n9 co?
-.t•• cJle world
In I.G., PACHULSKI ia on pbw, c:oftr8 receiver, calls to M.J.
,IC8DLRI
It'• Deep Throat again ••• Nelles
tbne c:all• today, fourt:ND total.
N• .J.
tbW ca1151any aet up our cencrea
,-,:• Oft

JWUII
ftia •mint.
11 • .J.
Let'• put a tracer oa ber
<an•werint pbOMI
a••·
HoaJ.c!de. Iupec:tor NOnaba" speaking.
PACROU1tl
Ask her abouc the IIOOnbike.
M.J
I'• really incerested in your ideas.
Th• aoonbike. lftlat ia thac?
 (goldenrod) 10/28/94 - 21.

21 INT. HELEN'S APARTMENT - CAY 21

HELEN
Moontlike?? What are you ... "Lunar
cycle.• I said •1unar cycle"! I
ehought he might be on a lunar cycle
because the first two were tweney-
eiqht days apart .•. You want to make
jokes about moonbikes??
M.J.
No u•u .. This is no joke. And
neither ia tying up police lines
with crank calls when people .••
NJl!JDI
Are you calling• a crank?
N.,1 •
Do you haft any e•ideace to repon
Na'aa? Do you uow &DJ of tlae
victiu? I

•.
"'"
1 tbAn, tll.ia ia •• P1r
.,~
~•

Tbat ia u opiDi• ..- ..,. , ce,

Na I Uo Nay 1 . . . . . . 1 1 ■ IPIUint
witb?
But Helen han9a up. DIAL !OIIS.
A.a abe doe• ao, Giti coaaa ap to ■ .J. •ic.b a slip of paper •••
N.J. reads it, tlana at tacbulRi 1'b0'• atill piDDi119 and
slap• tile piece of paper oa Ilia . . .
tACIDI.Bl
-.•a ..1.. lludaoat
••
21A DIT. JCIUCI' LTPAU - DU 2a
V21 CLOS& 0a & ff V21

l.'ttoan (0a ff)

lo your e•aluation, you
c:barac:teriaecl u. afeodc~ u a
MJN&l 1adiat bec&UH be aatilfiecl
tour of tile tu criteria iD tbe DSN
III~. II that corr~,
ll&LIII (OIi TVJ
Yea.
 (goldenrod) 10/28/94 • 22.

2lA/V28 CONTINUED: 21A/V28

H.J. sits watching the video-taped proceedings on a VCR.
ATTORNEY (ON TV)
Four out of ten. Forty percent.
When I was in school, that was an r,
Ms: Hudson. Isn't it more accurate
to say Darryl IA• Cullua has failed
the teat that would have classified
him aa a sadist?
: HELIN (ON TV)
DSM IIIa ia only one of the factors
we look at in evaluating a subject.
M.J. fast forwards through the tape.
ll!IW (COIIT'D OIi TY)
-- individuals euffering froa aural

... .:
ballucinatiODS bear YOices ill both
eara. 11r. Clalla nported Ulat the
voices be beard al•,a apou to Ilia
ill Ilia left eu.
N.J. fast forwarda.
mn Ccmt'D GIi ff)
-- vu DOt clri,,_ br Md iapulN.
It vu ay coocluioa tut llr. Qallua
. .ta the N'. .Ulllt• nla for
sanity. ADd at tbe tiM of the
aurdera vu aware bis actioaa wen
aorallf RODI ud .iawtul.
Durin9 this Quiall .een •itll a MDila •"lope.
aura
Lab ZL.-.alts, ~ off tbe pnaa. IIO
apeza ...
•·
N• .J.
SUS-iN, aupriN. So W'"
defiAltely 9°' a Nrial •••
QUDM
You diclll't NJ it ••• -.O'a tllat'I
That the broad vbO 90t the cop
killed'I
N•.J.
I thoU9bt sbe aigbt be ueeful.
QUI*
Th••~•• a vronq nuaber! IIOrk
the clu••• for Chrisaues.
 (goldenrod) l0/29/94 - 23.

2lA CONTINUED: (2) 2lA

Noticing someone else in the library listening in, M.J. moves
out· into the corridor. Quinn follows.
M.J.
Sir, what clues? We got no clues!
No~ody in this depanment has ever
worked a serial case and I need
someone who ••••

,
:· QUINN
Whoa .•. llboa. I did.
I
M.J.
The Zodiac, right?
QUINN
Yeah.

N• .J.
TIiey effr catcb tbe IOCU.ac
did be die of old ...,
air? Or ..' .-
GIGI approacbea tbea.
GIGI
Lieutenant, C 1MiOMr OD tlfO.
About tbe Qt,na~ tb109 ... ?
She goes.
QUDa
Work tbe cluea.
Re 9oes. N•.J. tanaa beck to tlle aoaltor 111 tiM to ...
tbe cwra pu fna ..1 . to DADJL 1.11. • •U'!CIIIMU sa•s
A DDD WOICU All> aD1 •LDIAlffLT •
•
22 IIIT. wn•a lolVDS 1110011 • DU 22
Bela'• . .,.,., ... ff, bear• a coalcallf elaborate code IJIOCX.
Door opsae. ~ , 40'•• lier . . .iatut aDd friend, enters
with 9roceriea.
PIIP
r1Aallfl I Wben baff JOQ NU?
All)T
.. It's se..aty CN9Z'NS out, tba UV
index is eigtat, wincl'• out of tM
east at five ail•• an bOU and
••lls like cbocolate froa
Ghira.r;delli Square.
 (goldenrod) l0/28/94 - 24.

22 CONTINUED: 22
HELEN
You're late.
She trails him into --
OMIT SCENES 23,· 24
25 INT. KITCHEN - DAY 25
Where he begins putt.inf away the groceries.
ANDY
Someone broke the antenna off your
car. So I bad no au•ic all the way
to the ■tore and back ••• You really
shouldn't leave tbe car out there.
Particularly •illce you never drive •
. mn
I'a not payiDf for• pra,e. •
!

aan
Cbuft.llnldllgatdf
out of ue friellll)
Ny dear, •iU llllac fOII •sad• pate
alone you could .-rate tlle Qullll
Mary. ·-
mn
I 90t anotber call.

IIIP
Bia U.. bl apato to • ·

You and • "'"

• • • you ud • •••
All)Y
I hope you corncted bi• tr...,.r and
told bia it wa• you and I.
Hl'TIN
Andy,~would you call a9ain? Pl••••·
 (goldenrod) 10128/94 - 25.

25 CONTINUED: 25
ANDY
Please don't tnAke me call that
prison.
HELEN
Andy, if a thrff-year-old tells you
there's a monster under the bed, you
look .•• I'm three years old ...
Call the prison. Please.
Seeing th• fear in heriface, he puts his araa around her.
I After a moment --
I HELEN
I know, I'• a MSS.

MIDY
(fu••ift9 wltb lier balr>
No, no. 1'• •un tlle ■ice an very
happy in tben.

Belen can't llelp aailia9. fte dOodlell IDIIU, IueantlJ,

the sail• di ■app11r•, nplac:ecl.bf pule . . . tr1'9 Andy' ■
ara, wbite-lmuckled •
r
•••
All)Y
It'• jut tbe dOorbell. ••n IIOC
9oiff9 to cllel
Helen just folda lier uu and ncta •lowly. Andy 9lft• ber
an affectionate pa&.
All>Y Ccc■T'D)
ca. a pip. I'll ... wbo l& la.

Andy IN9- u
•:s
-
rs1.-'dilor, a,1n1 l&, flada N.J. and '111Mr.

-
N.J. •11 •teld.

IU rnac1ac:o 110a1c1c1e. 1,a

lnepec&or Goeta ••• tla1• ls lna, ■ etor
Nooaban_ ls ..1. lladaon llen?
All>Y
k, looll l'• sorry, tlais ls DOt
really •••
N.J
We'd really appreciate just a couple
of aiout•• of Dr. Buaon' ■ ti.M.
 (goldenrod) l0/28194 - 26.

25 CONTINUED: (2) 25
ANDY
Well ... come on in.
As he leads them through the hallway, M.J and Ruben take in
the space around them. Not your average pad .•. Helen is
awaiting them in the living roo■ already rigid with anxiety.
Andy gets halfway through introductiona before Helen
interrupts.
. HELEN
He's escaped again, h&an't he?
M.J.
I'm sorry?
HELIN
Look, ia be out or iu't be?
N • .J.
I' ■
not followift9, • • • · . . ,cl like
to talk to you .-Ut your pl'toM 1
calla to our office. ·
Pllffl .
llbat calla? 1 diclll'& . . . MY
calla.
UH
, ...
CpoiKecllJ &o . .lea)
. .11, iaa•t tbia aioe. Would
ewryoae like to ai& clom1 Sllall 1
au• coff"1
ISIW
Andr, ll'Ollld fOII 1ft • ar • a&uff.
UH

UDY 9N9•
N• .J
I taltecl to you C!lia •nin9 Dr.
Buclaoft. D'you r1 tet:1
mn
Of courH 1 r1n1nber, uien••
nothiacJ wr009 with ■r ■-or,.
You• n uie one Wbo called • a
crank.
N• .J.
Yea, ll&'aa.
 (goldenrod) l0/28/94 - 27.

25 CONTINUED: (31 25
HELEN
<sitting a!)ruptlyl
Well, I suppose I ui. You see, I
thought Darryl Lee Cullwn might have
gotten out of prison and as you
might Jcnow •.•
RUBEN
Ma'am, if Darryl Lee had escaped I
promise yau, you'd be the very first
to know. '.
HEI.DI
Nell ••• I 9Uess I,' ■ relieved.
N.,1
You called us, ~ o r BUdaon.
PIP
Y•• I did. I'• sorry. It won't
ups,en a9ain •
•• J. .

--
Would you ■ind t~llbf aa llby?

Bec:auM I ckNl't.uadentanca llby you

people iulat • bi.dint Cbe trlKJI •
•• J.
Bow so?
IIJD
Tben's a aerial lllller ouc uen.
Tbe pqbllc IIU. rltta& to imow.
Doll'C JW tbinll•
.. ..J.
.._ tt'tben's a cbain of fft.de.,...
Ill lc:&bf tbeN ~ s , n«biDf'S
..... nported in CM pn9s. IIOlr do
, - car ■ tc:c tbsa'I
Helen takes her ■eda. AndJ tallea CM -.,Cy water 9lass,
heada off into tbe llltc:ben.
IS!D
(beavy lroay)
Oh I don't tnow ••• .1\lst twenty years
of experience and serial killers on
the brain •••
; N.,1
Doctor Rudaon, would you work with
 <goldenrod> l0/28/94 - 28.

25 CONTINUED: (4) 25
HELEN
You must be joking.
M.J.
No.
REI.EN
Look s,.rhaps you don't realize.
I've not been well. I've retired.
M.J.
Is that why you called the station
fourteen times? ..cause you're
retired? Hey, wby don't I just 90
downstairs and call on the pbone and
we can pretend it'• not you. Coae
on, help• out bere. I really
adaire your work alld I fNl tut •••
.
mn
(to Paben) .... ..
routine often?
....
SIie play tJu.• ricllde.-.eJwedld little tirl
·

mn
(to N.J.)
..11 ._ today. ,1.... epan • tile
11a11•1t IDQlctor. ~- dOll't
adild.._M, you dOll't ■ftD lille • •
._. di f0'1 people dO. lllt tile
Nlatlhl part of it 1• • I dOll't
fiw a fuck. fllat'e tile ••■ idll of
llniDt. bnatdalflll. . . I nallf.
baw a lot to do •••
lut N.J. is already palllllf OUC . . . larva MDila filee froa
her attacM caH -
N.J •
..11, Na'•• it'• a bell of u
apartaent you got bere. I queaa the
books you wrote about tbeH acuaba9■
w■t haw paid pret"Y good. Now . .
cu't;afford to pay you your uaual
 (goldenrod) :0128194 - 29.

25 CONTINUED: !5l 25
HELEN
(over ehisl
No. Pl••••· I don'e wane ehose
here .••
. M.J
Bue if you'd be so kind•• eo look

,
ae eh••• piceur••···
. HELEN
Look I dan'e vane ehis. Could you
please qo.
M.J.
Ne can look at th• downtown if
you'd prefer.
IIDUII
Yeab I'll ui. ., if you'd be aon
coaton.able •••
i
•
At this sune•tion, ..1. NtiU lll•la9 Clifficultr c,,•cbi!lf
ber breaeb, calla -
ll!D
Andy •••

She strunl•• to bar fNt, ...appi!lf bar 9lu• tllaicb •batter•

on tbe table. Sbe start• nappiftf tbe nbber band oa Iler
wrist •• •be ata99er• tOlfUd tbe tit.cllea. e:ab1111 toe• to help

-
her.

llbat'• noag'I

-•
...
All)T
Okay. J'ut bnatbe. l 'a ban ..
.u he places the bat oftr ber DOH Uld aoueb, 8be breathes in
and out, inflatiftlJ Uld cleflatiftlJ tbe 1Mi9. Attu a •mace,
her eyes qently ClOH. N.J. Uld 111,1:1e.. look on, concerned,
but Andy is treatift9 Cbia like u .,,.ryc1ay event.
N.J.
Should VII call the paraaedica?
 (goldenrod> 10/28/94 - 30.

25 CONTINUED: (6) 25
ANDY
No. Juse a good old-fashioned panic
aeeack. She hyperveneilaees 'eil
she passes oue, ehen her breaehing
goes back eo no.rul and she's fine.
RUBEN
Whae did ve do?
ANDY
She's agolaphobic.
r
NJBEN
She's afraid of spiders eoo?
ANDY
(unfaaed)

...
Sbe hasn't left tbe bo\aM in ov.r a
, ..r.

I sun abe'• our1

~-
In a half bour, .-.•11 N •iatin9
i like a l&rk.
. ,.
N • .J •
..11, tell ber w•n HrrJ to Ila,,.
~ lier.
N•.7. stares to peber up ue scatted JbOtotrapu
~
Diel fCN wut ber to look at tMN?
If fCN n&llf clO, l•ft '•••• I'll
au an t1aer•n aato.
N•.1. 1N1U Ille ...l,ope back CIOIIII OD tbe t&ltle, l ..ftS a
busin••· can - tap.
N• .J.
Toa bow wbat? . .,,. ber call • if
abe foel• lia it.
As N•.1. and '11b1n leaft -

26 EXT. UJSN'S UUTNDl'r - DAI 26

.
Tb&t·1s -
Ruben and N.J. bead toward tbeir car •

one nrante raft99r.

 (qo.ldenrodl t0/28/94 - 31.

26 CONTINUED: 26
H.J'.
Quinn said sh• was a crackpot. He
left out pill-popping, juice-head,
hyperventilating, agoraphobic
asshole.
RUBEN
I thought she was kinda sweet.
. M.J.
<gettinq into her car)
Sweet? ! IW.ben I swear to God •••

FROM HIGH ABOVE, in the unaiatuuly J'EUY MOVEMENTS or A

HOME MOVIE CAMERA, we s. . M.J. and twben drive off'; The
CAMERA PANS UP to Helen•• vindOw and ZOOMS IN.

27 INT. HEl.EN'S AIAllTNElff - DAY 27

Belen lies on the couch,.,.. clONCl. Sbe opus thea to .... :
.
Andy, vbo'• COM back to 1:b1c:IE • lier.
lllri ·.
An ~ , . . , ••·• ca ,._, ,._,
tuck ••• Diel I looll nally ft11Picl'I
~

UDY
No, DO, DO. I tbinlE J'CN loolE ratber
9ood With a N9 Oftr JOUr bead.

Ob. fuck. "'"

I vaDC to clie.
Aler

..., .-
I voaldll't. ... 11 lie
n:n
UDY
NCI£.

DaD't·lle coy. Yoa tilOUtbt lie was

cace too. Didn't you'I coae on, I
lulow you 10ft tboM Cllte brutal
types with tbe ~ &Dd
bend,:uffa.
Belen qrina and Andy starts to t1c:U• JIU.
UDY
coae on ••• adait ••• adait •••
Helen now lau9bin9 a little too bard. Sueldenly the laughter
changes to tears.
 rgolde!'lrodl 10/28/94 - 32.

27 CONTINUED: 27
ANDY
What? What I do?
HELEN
I miss men.
ANDY
What am I, chopped liver?
. HELEN
You know what I Man. I miss h&vin9
someone warm and strong to snuggle
up to.
ANDY
God forbid be anorea •••
IIJIM
And I really aJ.aa Ma!
MIDY
.....
.

Cbelplft9 ber co CM coucbt

Coae oo you al• •. 1!IO JOUDI 'CO,e for
you till you 1ft ricl of tlloM
alee. . . IIOW you cu a1t ben, look
at tbe piccuna, aDd 1•111ft tbe
coff...

Amt
. .11 llbJ don't you juac die tbea?
ftey'll flad you bodr ■ nac,pt CM
pil.. of llllftM papera aDd uan&d
Mil, Ud CMJ'll Af •taat•a tbe
old IIUllit lady llbo ate cat food
aDd c: ■ r NS'C. SM vu a nally
fJOOd Arink oace.•
C.1Jl91Dt Iliff tbe coff"t
au.•• your coff... llalle up your
aiad. Liwe or die.
Tbe phone IUNGS . . .len atana ac it like a frightened
rabbit. Andy 9oea to an... r it.

27A m. H!IIP'S UAllW - DAr 27A

Through the ,riewfinder of a CMICON)U aff Andy at tbe phone.
•• hear hia ,roice cbroufh tbe recei,rer.
AIIDY'S WICS
Mntf•en residence. . • Bello? •.•
 (goldenrod) 10/28/94 - 33.

27A CONTINUED: 27A

INStRT - CELLULAR PHONE
A.NOY'S VOICE (CONT'D)
Who is ehis?
A finger comes ·ineo frame and pr••••• ENt>, severing ene
conneceion.

28 INT. SQUAD ROOM - NIGll~ 28

r
Nearly empey. Ie's the end of ehe shife. N.J. sies ae her
desk, looking ae phoeoa of ehe victiu.
OMIT SCENE 29
30 IN'l'. DI.D'S LIVING ltOON - •tGIIT 30
Belen euea a dNp l:lreaell, a deep plp of coc,nac. And 01110•
ehe fil••· Grisly ~OCJl'apba of u. criae scenes fan acroaa,
her coffN table. TW_M"'ll.. :
In a SDIU or DOTS, lWiwut - facu of ..1. ud N.J.
and pboeoa of CM rictiM.
l'inally, Belen put• do.a CM pllotopaplla, etlndll, belda up
ebe stairs, Diftu ill b•nclr•• It£~ wtNdy.

30A EXT. HZIP'S UAlffllllft - Illa! JOA

seen ebrow;h a OIIICCND,, . .1• ataada at III u,etaira window.
The CANCON>lll IOmll 1W CLOla • Bel• u alle biea a button,
clo•1Af CM electric blincla.

Joa IRT. ern•s aarr ,, - man 308

•
Bel• wJb IP ~ atat.n. lanztZ1NJ d:laut tbe ao•1c1nt of
the C ........ u fNl miou for bar. lbc Cbin~• ....
hears a •1•:
ntn
Andy'! •••• Andy'!

30C
Helen enters, goes eo her clOMt, croaHa t.o tlM closet,
indecisive about •bat. t.o •ar. Pulls 011t an out.fit., eo••••
ie on eh• bed. ;
 <goldenrod> 10/28/94 - 34.

300 INT. SATBOOM - NIGHT 300

Kelen is in the Shower. In a SERIES OF SHOTS, she gives
herself over to the steu and hot water, letting it cleanse
the grisly images from her body i! not her mind.

30E INT. BATBOOM -· NIGHT - LATU 30£

Out o! the shower, wrapped in a towel, a towel around her

head. Something isn't right. She reaches !or the snifter,
exits into -- :

30F INT. BEJ:)ROOM - NIGHT 30F

Helen trHzes at what she affs, llllt JtZD ONSS, the.one not
worn since the fateful l~un, laid~ OD tM wbite
bedspread. A loncJ ■ a■ ent as abe tri.. to aake awe of tbia
througb the fatigue, aedicatioe, ucl alcobol. Did abe do
this? If ao, wily can't abe z stcr? a. loots around tM
roo■ •.. notbi.119 else is dis~ubud. Ab111dcnin9 lier co,nac,
ahe sits OD tM bed, lookiaf at ca. .... a lOll9 troubled
.
!

ao■ ant.

31 IIIT. SQUID 1110011 - ■IGIIT 31

Later. Still at Ila£' clesk, •·a.1.
C'II ••• a flegenail, now
lookin9 at a pboto of tM cariou Olllooan oatsicle tM
totrero Rill apartMDt. tu ac&'088 tM face. ill tM crovcl.

CLOSS 011 N• .J.

who loots up with • Raft at • CH ftUClt"" ~ ber, theA
recJisteriatJ relief.

It's lllooleUi,
~-~-- ..,1.
ao•e- etc;;ell bf• Ills •7 oat.
flCOJ.lflI
9anl1Df tM aidDitbt oilt
N.,1.
en: criM eceae
pboCOS)
Tbis stuff Mftr tets u7 easier.
llICOLITTI
That's why they pay us tM aall
bucks.
He cro•••• to her desk. tuts u envelope ill front of her.
 (goldenrod) :0128194 - 35.

31 CONTINUED: 31
NICOLETTI <CONT'D)
Here. Take a look.
H.J. picks it up, examines it.
M.J.
So you finally did it.
NICOLETTI
Yeah. It!s all l99al. Finished.
We just g~t to figure who gets
custody of the cat.
M.J.
How's Patty t&kift9 it?
NICOL&ffI
Okay. She'• okay.
N • .J.
CflU)
. .11 I' ■ l'NllJ plea1ecl for you,
Nik.
UCll.at'fl
••• LiRea, . . _ rw•n dODe !Min,
bow 'bout• to~ .roe•,• pa a
steak? celebrate.
N • .J.
I don't tblu eo. ft:lnare anyway.
UQWl'ffl
You tot otber plan or 1dlat7 llot
tbat i t ' • - , of., INaliaeaa •••
N• .J.
Yoa • tbat ri9bt.
·•·
Uc:m.nTI
- - \Ma ..• ?
N • .J.
Looar. • • .. '° one tblnt \UCla
Ollt,
to anotbllr •coa it &l•y• does, UICI
w• H beck llben . . R&rted.
NICOLftTI
So wllat you telli119 • ben? You •••
Nicoletti is interr,ipied by tbe arrival of Jwben, carrying
several boxes of tue•out food.
 (goldenrod) l0/28/94 - 36.

31 CONTINUED: (21 31
RUBEN
Bean curd. Smoked eel sushi. Prawn
tempura. Seaweed salad ... You
joining us, Nikko?
NICOLETTI
You kiss your mother after you eat
that stuff?
. RUHN
No, but l'll kiss you if you like.
NICOLETTI
Go fuck yourself Rube.
He goes.
NJRN
1lbo put tba buCJ up Ilia ua'I

I Mele u ~ 1 , , . declal•.
JapueH. ..ttu for , . r beut •
•• J.
You d1411't...,. tat• f ~ fries?
Pt•bce you• re ~ l f plaalDf • off.
nsmc
(ezncb1'11f)
ADJ won froa . .1a-,.-a1•r 09er-
ar11UC1-lludaoa1
•• J.
lut tban •111 be.

N.J.
r1ve tluell:a ,.. bear fraa 11ft toeifbt.
NJRN
Deal.
(pats bis pocll:et,
feigns surpriM)
• Now what is a quarter pounder with
cheese doin9 in ay pocket.?
 (goldenrod) 10/28/94 - 37.

3lA INT. HELEN'S LIVING ROOM• NIGHT 3lA

Helen reaches for the card left by H.J. with the photographs.
Thinks for a moment. Then takes th• telephone and dials.
HELEN
Inspector Monahan please.
OMIT SCENES 32, V32
33 INT. HELEN'S LIVING ROOM - NIGHT 33
Present are H.J., R~n ' and Helen. Helen reclines on the
couch, shuffling through criae acen• pbotographa, reading
them like tarot carda. Ruben deal• witb Helen. H.J. watches
intently.
91D
Tb••• th.rN an tM work of tbe • -
Cabe paca oae file uide)
Tbia one ia diffenat. D'you pu& it ,·
in to tut M7 •

•
beli.,,....
...
. .11, not cnc:rtl.f. .. . W
·

God l baft to pua teat•

oavoiat cue7
nuoa to

aowt la

-
this u

Abo~ •1•
...
ba- ••

(fUC SIICI factual -

abe'S . . . tlaiS Mllf
tiaa Nton)
ftle •1111e 1a ._, dieo..-aiaed. Tbe
taJ pc allablf 11.,_ wny - lie would
bew - - too d1eor1.-.s to driwe.
LoM fu •ass aoe 1'ltll a b.iatory of
aota1 lllWI, pcal/lablf - wlfan.
Look for a 1..-r, feailf r tar or
friend. SJSIOM WM lmetr bar and
Cenci UCIUt bar.

1"'?8-
The tur beet tlle alt oat of lier!
DID
Y••• but be felt reaorM. a.
covered tier afterwerda because be

..
felt.bad about what be'd done •.. Not
like tbia one.,~ flu.a
, is a very
 <goldenrod! 10/28/94 - 38.

33 CONT!NTJED: 33
HELEN (CONT'D)
different kettle of fish ... These
are highly organized. There was no
blood, no prints no stains no
nothing right?
RUBEN
Right •••
HELEN
p He's very:~a•tidiou•. Probably
I barely even broke a •w•at. No 8i9n•
of forced entry •o he probably
charmed his way in ••• No rape.
Th••• aren't &bout•••• They're
about power. Sff the aultiple th'Wlb
marks on the throac. - were c.be

-
tracheal bone• broken?

Yea they were.

RIP
Be nrUCJl•• tbla face to face eo ·
c.bey can ... llia.pa•u. n.a Ille .
rni"• c.lllea and Ntlu 191111. ror
tbat period of U.. Ille t•l• like
God. You're 1--iaf tor•
inte111..-, mi&e Mle, pratlablf
ated C.IIUC.Y to c.hil'c.y, socially
f~ional. 1 wic.11 a MjOI' i.Dc.ereat in
Meri.can tiRory.
,. but)
so •••

--
dlcl 1 paa1

...t eactly dlcl ,oa aeaD by

, Aauiaa

31
:,_i.

--
■istory1

- - is. c.be SC.OCkiaf c.baC. vu tied

id c.Jlia oae•a Wk1
N.J.
Bow d •you kDoW about c.bat1
D!IP
Tied in a bow like cilia - ri9bt1
N• .J.
Yes.
 (goldenroci l0/28/94 - 39.

33 CONT INUEO: ( 2) 33
HELEN
Oh for God's sake. It's the Boston
Strangler! He's imitating Albert
deSalvo right down to th• fine
details.
RUBEN
Whoa! You're telling us this guy's
copycatting a serial killer who's
ceen dead,·.. what •••
•
I M.J.
Twenty years.
ROHN
And why deSalvo? lftly not so•one
who's ~n in tbe new• recently like
Gacy or aaairea?
,rn
I dOD't Jmow. fllieN IQY8 an 11a ••
vinNS. Tben' • al•r• ... ..,
~•tioa.
N.J., wbo bU beu ftQ s t i l l ~ all tb18, 18
suddenly all actioa. Gatberill9 au stuff to l•ave.
~

N • .J.
TIWlk you for your belp Doctor.
very aucb appnc:iate it. nur,a.
we'll start bf ,ett1- tbe tall
nc:orda, ao.t.oa laaiclde 111. .,
autopa1. ., ~ • cu cli9 up
°""delal110. Doctor, , _ _ . i f •
could call you taonow •••
She bu stGPllld 1:lecaue . .1 . i• aillat to berMlf.

,rn
lloCJlla9••• It 1 8 jut t.Mt ,OU Cb1D11
you caa catcb 11111 bf beiDt
intelli.-nt UICI lf0rkill9 bard.
You'll tue stateaent, UICI ...rc11
tbe fil•• UICI lfOrll CM . . idence •.•
But you llnoW bow be'll ,et cauqbt?
He'll run a recs lipt, or tbere'll
be a bad IMll in tbe bU-nt.
It'll be due luck - and nothing you
or I or any of us did will bave
.
count~ for anyc.hift9 •
 (goldenrod) 10/28/94 - 40.

33 CONTINUED: <3l 33
H.J.
Well Ma'am, all I know how to do is
get up, take a shower, go to work
and hope if I don't nail th• little
shit today I'll nail him tomorrow
and they'll spell my name ri9ht in
the papers.
And without further ceremony M.J. walks away, leavin9 Ruben
to deal with the niceties. Helen, fired up now and unwillin9
to be left on her own,; rattles on to Ruben.
Hl:1.IN
Or you know the worst ••• ? The
killin9s 90 on, ,110nth after aonth •••
they get aore vicioua, 110re
bizarre ••• then one clay tbey juat
stop. Like tbe Gnea IU.ftr killer.
And you wonder vbat. bilppuecl? Did
be jut. decide be'el W •ouab? Diel
be pt. aick Md clie7 Diel be u .. u ••

off t.M-..
a~o accident.? lt. •• liu be •lad
of tlle eucll. alld J'OU
....r Ir.Dow ••• a. .....,. um f.ben~•
a body fouacl , - . v1r·1, .. - 1• be
back?
NJ tr
. .11, 9ooclni9bt.. W tbant you.
IIJD
Good luek. • • You' n 901Dt f.O need it.
And ■be clo••• tbe door.

V33A sn. GOLDD can •us - nGn V33A

of a roclr caa~, ~!lie r~1ftl of Loft.• tlll ta. audience,

soae of.._ an of t.ut. era, tbnlllb tbe ftft Mjority ia
youn9. •tea a Ud nu nn a ,0111& u it. ia puMCS froa
kid. in aisciea coat.- t.o a 9irl viU a Dass cut., ec al.
until the aNDA •tea ut ud nut nftl a Gtaz. auiftt
unateady proc,n•• tbrCN9b ~cro.&. ltr:r1nt aware ■be' ■ on
c...ra, she 9i99lea at. firat., a bit. all7, tben m19a - a funny
face, a sexy poae, sbe finiabea tbe peace sip.
QUIM (V.0.)
The thrN 110st. oqr-rated thi119s in
the world are r-.ular •••rcise,
young_. pussy, and the ni .
 (goldenrod> l0/28/94 - 4l.

338 INT. PO~ICE HEAOQUARTERS - OA~ 33B

As M.J. and Quinn stride purposefully down the corridor.
M.J.
Oh maaan .•.•
QUINN
What? I talk like a cop. This is
how I talk. I 9ot the Co•issioner
up my ass sayin9 we could use a
little he,lp.
M.J.
we could use a little help. lie need
the VICAI, we need their database
thin9ies... '
QUIIIII
The raI bury you witb fucki119 belp.
Nitb the fatty Hearst tbi119, soae
snouon in a C11111CUt took owcir ay
desk for a IIOIIUI •••
•• .1 • . .
So you•n aayiDf ••• .
QOml
ca~ u at tllia)
Look, you want belpt llitto 1•
nearly due - tbe Cbi~CMI tb~.
I'll put •t.kko ill wiUI you.
N • .J.
Tbat really IIOll 1 t - aeceaary,
sir •••
They bead into -

33C INT. .. . . •
MCIII - DU 33C
A wtlat la ~ s . f n ~ an hben. fadllllski,
INSISCTOU DUI, ICOITU UCI LAIIDII. •1tto ie ..ttin9 bis
gun out of bis ua..r, p.Rtint oa bis jacJ&ec.
IWID
So I'• CMCk~ uyoae wbo liftS
like delalwo, paycbiatric boapitals
witb uyone lfbO bu a si■ilar
profile ••• anyone witb a Gezaan
wife. • • anyone wearing 9reen
pants •••
(to N• .J. Ud QuiDA
; as they join)
Hey, we just started.
 (goldenrod) 10/28/94 - 42.

33C CONTINUED: 33c

H.J.
Files in from Boston yet?
I\UBEN
Fedex'd this morning. Be here
tomorrow first thing.
QUINN
· (casually>
Key Nikko .•here you going?
NIUO
Chinatown •.•
QUINN
Sit in her• for a llinute will ya?
M.J. and ~uben eacban9e loou.
N • .J.
;
Patcb, vbat'a up?

·~
Still l:'UIIIIUl9 pboM ncorda •
•• ,1.
On tlaia laft oee1
tM:IIJLSltl
No ••• tlle one• befon.

•aca.at
l pc ill for Oftft£.N buC notllJ.119
•1111-·....'"!._.

QUla
1' ■ OIi tbe boOk ban, M • .J.
M• .J.
GonM aue a gnat beadline.
•1nftati9ation Stalla, 9Udl•t-C:Uta
Blaaed.•
QODm
<relenting)
lfbatever you need. ht it together
any •!AY you want. Juat don't call
it a tuk f~~~•• OK? _.,_,,Draws
_ the
 (goldenrod) l0/28/94 - 43.

33C CONTINUED: (2) 33C

RUBEN
(to Kerby)
Herbie, anything turn up off
registered sex offenders?
DUY
So far on the nights in question all
the rapists, child-molesters,
weenie-wa~9ers, and toilet seat
lickers w•r• tucked up sat• in bed.
Only have several hundred cases to
go •••
IWBD
Any recents for anillal ■utilation?

KOST.IS
Only ca•• I tot•• ,uweftJ.le, ao tM
record.a are Haled. GOcta to to tM
cou~ with a naae. .
• I

QUU.
oat. Tbat it! ••• tllaak JOG 1adJ ucl
gutl--. .._,!' a it ••••
Ile stands, ..Cia9 cni.r. h9r,oae ptllera f11u, cbaira
scrape. .,
QUI•
You g9ttint aaythiftf froa tllat
lludaon broad!
N• .J •
...1du a belclaclle!
OMIT SCPII 34
35 IHT. P n• I anlCf ·• ■IGIIT 35
Helen nu at Mr alde-by-aide cc1112t•r•. OD tbe Internet,
-•••!JIU ue acz1t111nt bf,• c:eaNlu• flow of cbatter. on
the otMr, a cbua tw ia again ill pa:op•••· Belen Ult•• a
■ove, site baek, pl• ■ •d with berNlf. W, entera, =-••ed
to 90 out for tM eftlliftf.

DTP
. .t your••••
ANDY
(relieved to••• ber
chNrfull
 !golaenro<:1) :0128/94 - 44.

35 CONTINUED: JS
HELEN
Have fun.
Andy goes. Helen makes another move. T~s in "I'm cre&111ing
you.• Beside her, THE SMALL MAILBOX ICON SUDDENLY FLIPS UP
WITH A SMALL "PING•. Helen's engrossed in her ovn screen,
doesn't see it. She scrolls to the end of the article, then
leans back in her chair, stretches, rolls her neck, etc.,
catches a glimpse of other scrffn. Seeing she has a message,
she clicks in. Screen.reads --
A GAME FOR YOU. PLEA.SB IWN
•TOMOMON.AVI• FII.£ ON YOOJl
PLAYER.
Helen clicks on AVI player icon, types •TONOMON.AVt•, hits
enter.
A tICTUU UtE.MS. IT IS 1'D fKS OI 1'D GIJIL Ill TD
BATBTUB. TUN SLOWLY 1'D ,-NJGI STMfl TO mu■ . 1'D GIIIL'S
UN FLitS u, Ill AUIOST CClllCAL ftllllCII. ID rACS STAATS TO · •
CBNICa TO. • • 1'D SIIILllC rKS 0, TD Gll'L DI 1'D lll0Clt
CON@.,,. 1'D INJGI DIIICSI .JmJLI U 1TI IGDI DIDC'J1•osu
l'IUT, TIIDf 1'D l'KS. TD 17?11 nn••·,
Helen looks oa, pualyaed •it:b bonor. a. sbouts for Andy
but be's loaq 90N• .~
ONIT scarss 36, 31, 31
39 INT. DI.P'S OITICS - lllGIIT 39
M.J. and Ruben an lootint at tile•=~
soHd face on tbe
coaputer acreea . . .1 . sits awy fne it.
DID

a.caUM I
,,,.
IUlolr! ! I •tebed ber fa:.
cban9e to tbat.
N.J.
Bow did be Mad tbia to you?
NJIIN
Be'• backed into ber Internet
address.
; N.J.
Can we trace it?
 (goldenrod) l0/28/94 - 45.

39 CONTINUED: 39
RUBEN
Not unless he's actually on the
line.
M.J.
Can we play it back?
HELEN
At the bottoa of the screen there's
a rewind i~on. Click on th&t.
,·
M.J.
And can we get & copy of th&t face?
RUKII
Sure.
11 • .r.
Cbriat .,,bell\ ••• aaybe, juat aaylM we
cu . .,,. & life ben.
fQID
It•• too 1ti9 a file to copy t.o cliu,.
IIJP
Cllbo • • ..._ e1tt.ia9
""U9•
Back up t.o cape.
n:c!r!ft9)

N.J.
llbat.'I
r ■n
Sbe'• 90C a cape back-up. • caa
MU a copy ud t.ue it. riU ue •

111•., .e JoaU
•. ,
ill •ldeo ucadee ... 'I
Ct.o Ml•)
lfaftt. M t.O do it.?
.Helen autely nOde aaHat.. , .....,. 9oee to work. 11 •.r. turn• to
Helen.
11 • .r.
tlhy would be aend tbia to you!

Hl!SN
tlhy 4•you think!
 (goldenrod) l0/28/94 - 46.

39 CONTINUED: ( 2) 39
H.J.
I don't know. Nobody's mentioned
your involvement in this •..
HELEN
Th•re is no involvement! I am not
involved!! This is a g&M they
play. They hang around at the scenes
watching the cop•. He's watching
you - and. you've led hi■ straight to
me! .:
M.J.
But he didn't write to•• he wrote
to you. Nby?
HIIP
lecau•• I'• tuir daan piA-up tirl
tut•• llbyl !bey all lmolr • • TIiey
coll~ clippiJlt•••• I' ■ tbelr .
••.
■uM.. . I •a tllelr -woftlay o;; ,MK •••
Pubeft ■uddenly iater~• bar wlCII • ..Uencl:

Bello! ••• -.t lll I

tJIII llell ••• 1
~

-IGQ-·
They turn to look at tJIII ■cw. & la D U.UU:

NOifA GIUlllflllG SIDLL unus &!W a t&Dl a, C •¥-LIU HANDS.

IT TONIS 111D SCQftLII DU 111ft ta IGIIID a, DDISIW
LAllGlffD 111D IS _,LICD a,r ta IICIIDI;

- taQ DQll'T

DTP

· Cto r:•••
IC 1 8 toNI tM file'• not ben.
llbat did you CI01
,mn
I clidn • t do uyui119 I I :iUft Mt up
to copy to tape INC tbe . _ tJlillt
ne-..r ran. It :,uac did tut .••.
N• .J •
.Je•ua Chri ■t Jwbln, tut vu bard
evidence. How can it be 9ooe?
 (goldenrod) 10/28/94 - 47.

39 CONTINUED: (31 39
Helen has been working feverishly. She"s getting nothing but
error messages: •cannot find. File TOMOMOW.AVI does not
exist."
HELEN
It's gone. It's not on the C drive,
it's not in list. None of the
utilities are retrieving it ...
: I\UBIII
You think:he put a virus in there?
KEt.EH
Haa to be •••

11 • .J.
Would SQ■ lbody lliftd ••• ,

a. ~ote a Hlf-clutnce •lrua into .

tbe PA9Z'•· You tZ7 co copy le. le •
eruea l&Nlf.
U.1111,zuMCI 111 aplce of
b1Nelf) .
GoC&a baDd it co·bia••••

err
Sbe . . . a 9lrll - loolllecl llk• a
111111• OCber prla. l Nnly saw
bar •••

•ca.t•••1 ..,1.
co
99& back
mrccv· lDCo Ula.
U.. office.
Tben •• toC
to lie a ay •••
a.la ia • lier , . . . . . beb1NI tlle C &4tlr a&ar&incJ to
pull pluta oat of aockata •
•• ,1.
llba& an you doiDl7
DTP
I' ■no& lea•incJ &bis oa. Tbia
thift9'• like a fuckincJ open window.
He can get ill any CiN be wantat
 (goldenrod) l0/28/94 - 48.

39 CONTINUED: (4) 39
ijELEN
<a crescendo ot !earl
Great! So wnat am I? The lamb tied
to the stake here? You don't
understand this is the only space I
ha.,,. in the world ••• I am not going
to let you •.•
M.J.
I'll get •guard over here tir1t
thing •••
HELEN
I'm not having anyone else here ...
IWBIII
Hey, hey ••• We're on tbe s ... te...
We'll turn tbe IIODitor back on.
I'll stay and vatcb it till w can
fiture soaetbin9 out, Oil! .
:
(to N• .J.) .
Go on.

M.J. loou at .,,ben and Belen t.oiet!i,er. W ta.a after a

flffting aoaent of beaitatioo:
N• .J._
(to Pub•)
C&tcb you later.
And abe goes.
OMIT SCDKa 40, 41, 42, 43, 44
45 U'l'. DY IN'S UU'IIID'T • lltGa 45
,ov thlDllgb a Cl ■ Col'der. ,1ca W N • .J., Mr back towards 1.11,
about te • illto IIIU car. fte cwra suaep• towards her
like a lll'ldlCO&y . .,.,. in a avddan fri911tenl.A9 ruab. N.J.
vbipe LC id I.a ~ i M .

MV'UL
Susan Sebiffer, vbo aao..a a llicro11t.ono at IMlr. N•.J. keep•
aoving, not vantin9 to fift bar~ tiM.of clay.
SUSAN
Detective Monahan, ■orry to stan:le
you. Doe• the fact tbat y011 an
leaving tile boaa of Dr. Helen Hudson
MM you are now treating tbia a••
■eria:l case?
 (goldenrod) l0/28/94 - 49.

45 CONTINUED: 45
M.J.
<attempting to get into
her car)
I have no statelNnt to make at this
time. Now I'• sorry I have .•.
SUSAN
Is it true that a task force is
currently bein9 set up to
investigate th••• killin9a? Nill
you be headin9 up ••• ?
M.J.
I have no atat ...nt to Uke at this
time.
SUSAN
Look 91- a break, 11.J. - • n botb
9irla tryiJlcJ to do a :job ban.
11 • .J. .•
I' ■ aorzy Sau.
N.J.'• in ber car, fine up U. eDtifte, acnec:bea away froa
the curb.
SOSU CCGllf'DI
Bitch!

46 INT. DIIN'S S'l'QDY - ■IGn 46

Ruben ia sitting in fnac of u. _. nacciYated Iaternet
Mnitor. TM old flow of cut ,,... acnes tbe screen.
Belen pac:ea IMbtlld, tGua benelf a copae.
DID
. . . . aa& toin9 to ead ~ elH

-
• •, .... 1• ....,

I dil,a&· it.

Want a drink!

No tbanJr•.
..,..
PIJW

DIP
Always on duty huh?
IW8DC
 <goldenrod) L0/28/94 - so.
46 CONTINUED: 46
HELEN
(sitting back down
next. to hill)
So •.• how about you and M.J. then ••.
RUBEN
How about us?
HELEN
Are you.~ .• ?
RUBEN
We're partners.
DI;IN
Partner• in every way ••• ?
lWID
Not yet.
IP!ff
You'n pnttf Rn of ,OUNlf
areA~t JOQ!

Tbe probl• foe.-•

•
NO, actuallf l' ■ - ud Nlecti...
la ... well, l
fiDcl ayNlf ... ud ,-u•n 111 CJle

--
witness catetorJ•

w.11 ••• 111 llfttu tiaN •JN•

She 91... Ilia juet tile 11--- U.. • &be c'leek and IIOYea
in front of tile c q ctu.
mn ccan•D,
. _ . . _ i f - , IIUcl . n jU& to
ellp . . . tun off Cbe c 1 ; at.er •
.,._ f • toai-. Could \Mt be our
IICnt'I
llUNn 91.,.. bar Cbe lcaut•• a.or sip. ne e: s nt•r fliclla
off.

4'7 INT. PtlM'S 111011T D00ll - •lGn 4'7

P.@en st.ands just outside door.

lWID
Sur• you'll be okay?
Helen sail••• noda.
 <goldenrod) 10/28/94 - 51.

4i CONTINUED: 4i
RUBEN (CONT'D)
We'll have someone her• in the
morning.
HELEN
I'm really fine. Really.
Ruben smiles, turns, heads oft. Helen standa in the doorway
watching him go. Ke stops m&ybe ten ffft down the hall ...
P.tJBEN
Key .•.
Ke turns, reaches tor his wallet, taxes out a card, as he
goes to hand it to her --
IWaDI CCOIIT'D)
The nl.lllber of ay cellular, in caN
you nffd • ·
Helen doesn't budp froa CM cloO=r• loolt
r flits aero•• !lube,.'• face aa Ille 1••A lliec111e,,ou
tllla 1• Iller llubicoa.

Any tiM.
•••••
Day or llltM.
•

Be holda out t.he card to lller:.llaC --•t CON u, cloNr.

mn
Allot.her teft?
Ruben grins by war of nplr. . . i . • caa all Iller nene,
lets go of CM cloOr trw, ud t••• a abUJ atep toward Ilia,
another, ancS anotber. DII n1aa f • tllle cud, tuea it. A
aoMnt of aclulowl1~1111nt NC. . . dlla, ud P: • • wallla away
down CM corri.dor. a.l• tuaa i.:t to CM cloOr ud nali•••
with riaJ.Dt puic tut CM cloN'a ...-clON clffice bU cloM
its jolt. a. clOOs.""8 locked. rnatic, allle tuna back to
Rub"'tll, - . w 101 1 • ftat cliftaace mr, llaYiAg llea-4 off~
The ball-,, llaftOW, tbaft eapanda _

117P
oa904 ••• BelP•···
As lluben races back toward Iller.

4iA INTUCUT ru.,,nM:S OI' TD C:C. C(llllll; TO ID USCUS I■ 4'7A

THE U.TDOOIC.
4'7B Helen's breathin9 is becoai.119 aore and aore labOrecl. 4iB

47C FLUKBACJ: CLOSZ-utor TIGIITDIIIIG IIOOS& 4'7C

 (goldenrod) l0/28/94 - 52.

470 RUDen is close now. He kicks the door. It won't give. 470
He moves to Helen, trying to support her.
HELEN (C0NT'0l
Ruben ... I can't •.. Please ... I'm
falling.
And as her legs· start to buckle ...
47E FLASHBACX ON ONE HIGH-HEELED SHOE TEETERING ON THE EDGE 47E
or THE TOILET SEAT
,.
47F RUBIN 47F
I got you ••• I'• rigbt here ...
And he bolds her, tight up a9ainat the wall in a kind of
frisk position. Tb• effect la awkward but reassuring. Ruben
has a brief and powerful desire to kiss the hack of her neck.
auaa
ht your banda ewer your eua.
lWben unholat•r• bis 9Ull, t••• a1a at Cbe lock and rtus.
f
4'7J n.A.•RBACK DUllYL LD'S -
MaDIST TBS IGLL.
rDD,11. !Ba cm am•• UCK 4'7J

And •• Belen pa•••• out, l"'irt• plcka bar up ~ carries her

into the apartaent.

48 INT. HEI,Df' S LIVJ:IIG JIOCIN - 111GB 48

puca lier cloa OD ue coucb. lie sffa
lWben carries Belen ill,
the xanu bottle, 91"8 lier a couple. poc-eta Cbe bottle.
Helen lies Cben, -,ea c1011111t cepoupiaf, tblll -
PITP
Ob 91N1••• Mf door •••
••
• N 11£
.,.. Nfff uac tut .•••

"'"
Catutiail to 9l991e .

....
UDC~roi1ab1J) .
You abot off -, lockl t

Cri•iaf to 90 to tbe pbOne)

I'll call a lockaith.
Helen grabs bl.a am hard..
· HELD
Pl••·· dOn't 90. I'• afraid •••
 1golc:1enroc:1, 10/28/94 - 53.

48 CONTINUED:. 48
As Rutlen pulls a chair up next to the sota ... exhaustion
starts to take Helen over. She closes her eyes. A.I th•
camera starts to move closer to her tac•, 110vin9 into her
mind ...
HELEN
He's in my head •.. I don't want him
in my head •.•
RUBEN
Who? I

Almost by way of reply a diatant voice calla --

NONNl'S VOICE (V.O.)
Peter. . • Peter, •••
aoss FADI TO: .

49 INT. BEDROOM - NIGHT 4t

.. ,
A lfOIWI, 30'• ~ lootifl9 older, aita prapped up iA a bed iA
front of the ff. SIie -.ra a neck nac:e Uld bolda a little ~

--
dOCJ in her lap. . .

Peter •••
Peter enters with a 91••• of water. Younter, boyiably non-
descript..
11011111 (CCIIT'Dt
I'" been ca11i09 Uld callift9.
Didn't yoa bear M7

..... r&iU

Yoa dlliipletely for90t about lier

diclD't you?
And •tie•• puttiat tbe 9lua to tbe little dot'• face.
W (CCIIT'D)
Sbe vu very tbiraty •ren•t you IIY
little a...t1e7 -.can you cl0ift97
D'you vut to vatcb Letteraan with M?
PITU
Well I •••
lf0MAN
You iu,ov I hate vatchin9 talk shows
on my ovn.
 (goldenrod) 1:/:ZS/;4 - =~-
49 CONTINUED: 49
PETER
Yes •.. well I •..
WOM.\H
Oh 90 on, get back to your silly
c~aputers ..•
Peter, clearly relieved, starts to 90 ...
lf0IWI (CONT'D)
Haven't you forgotten soaething?
Peter goes to her, ignoring the little dog who yaps at him,
avoids th• lips already foraed in a saoocby kiss, kisses her
on the forehead. ·-
WOIWI
lluv you.
Peter absently strokes tbe hair back froa Mr forehead.
tlTD
Loft you too.

INT. KOOS& - •IGBT

Peter caain9 dollD tbe stairs ~o a dzur, little li•inq
rooa, throuqb a •••Y
kitc:hea.

so INT. BASEMUT - ■IGIIT 50

Peter, lockin9 tbe cellar cloor bebiod Ilia, continues down th•
stair• into a ba•1 n• full of c s 4&n, bitb tec:b 9ad9ets,
etc. As be . . . . . . a Wll YidN IICl'88D. W tbe fOl&D9 9irl
froa tbe rock ooaceR diapla,-d 1A fneae frw. teter goes
to :becll • Ula -
table, MS aoaU- ..,.cl
9irl, llbo now 11. . atrapped onto a
abut. & plastic- uq co,,ers bar head.
She 1• . - l CIMl8Clou, slowly tlein9 upbyaiated by de9rffs.
Peter
for a
ptdt•-. • mcto knife, lloYers Oftr tbe 9irl'• face
11•. tba, with a sin9le deft stroke, be ■akea a
slit thro11gb tbe plastic and tbe tape aero•• her ■outh. The
girl drawa a sb&rp bnatb.
tlTU
Tbere. Dic:111 't I tell you I'd take
care of you?
And he strokes Mr fonbead juat •• he did bis wif•'•·
Over this we hear M.J.'s voice:
 (golden:od) 20/28/94 - 55.

50 CONT:NUEO: so
M. J. (V. 0. I
So you received the call from
dispatch at 6:35 AM. You arrived on
site fifteen minutes later ...

51 EXT. HILLSIDE•- DANN 51

A stony hill-top swept by the wind with a breath-taking view
of San Francisco beyond it. The CANE1'A finds M.J., who is
talking to the patrolaaan first on the acene. Behind thu
lies the body of the.~ow mad 9irl. Doc is packin9 up his
things. The coroner•• Mn with their yellow body bag stand
waiting.
M.J. (COIIT'D)
You isolated CM tida wbo found her?
They claia tbey diclft't touc:b
anythint ••• ?
over thia we've ~ to ... a poup of oalootera watchint tbe .
lonely fiqurea 011 tbe billtop. leb:':md ca. Jubal' arrivea ill''
I a taxi. TMeada bia war t.uOQlb tbea and up tbe billaide
paat Nicoletti wbo ia tatiaf ft&t...,.ta froa a.forlorn 9rOUP
of nsTIVAL or i.ovas. S..ial i tn11~ ■ikko bnata away •••
IIICOlo&ffl
AfterDOOD.
He takes in Ruben'• cr,apled nit, unallaftd appearance.·
■ICOl.&ffl CCClft''Dt
Stud too fu froa roar raaor?
r-n
Up all llitllt witll a sick friend.
Aa ,.,bell walu put
.,.
bia, ■ikko paaa. bia ua-.
•~ IIICOlo&ffl
..,, cw ban, I WON talk to you.
Ruben pull,.a b1a am away iA irritation but pauaea.
11111&11

NICOLITTI
You got a tbiJ19 901119 witb N.J.?
Ruben, astonished by tbia question, snorts derisively and
continues up the hill, followed by Nitto.
. IW9III
I don't believe this!
 (goldenroel) l0/28/94 - 56.

51 CONTINUEO: 51
NICOLETTI
You stink, m•n. Where you been l•st
night. You screwing •round on her?
RUBEN
What's wrong with you .•• ?
NICOU:TTI
You treat her right, 01? Don't 90
ruMin9 a.round on her - she don't
deserve ,that •.•
RUBEN
It's none of your business Nikko.
NICOLftTI
You••• her all up - I' ■ 9onna ■ake
it ■y buaineaa.
IUJIIII
Hey Nikko - naiad - Idly .... P"
you tbe ~ , •111 yoa?l
And aa Ruben approac:bea N•.J~ ■bto but• baek •

••••
11bat the hell'• he doiD' llen?
H.J. s .... not to notice..,...,,,. appearance, abe'a all business.
N • .J.
so vbK do yoa . .,
Ruben squats to look at tbe clead 9irl. N • .J. stands over hia.

.....
Nikko hovers 1n tbe back9round •

11e11 ••• looks 11ke abe'• bNn

NP!llj\J uaaulted. IIO at--.
so rilii. IIO 119atun ark.a or
bniaiDt 11u tbe ouue, but abe'•
... ~ cyanotic. Aapbplation, aybe?
'1111• ain't our py •••
N• .J.
Look at her beels.
IW8III
No bleeding. You think aybe she
was draned up hen post aort•?
H.J.
Maybe. On this stuff --
;
Cahe 9eaturea to the
rocky terrain>
 <golaenroci :0128194 - 57

Sl CONTIN!JEC :. (2 l s1
She reaches down, pulls a hair off RuDen's shoulder.
H.J.
Long night?
1\09111
C9n't you start •••
H.J.
What &bout her U1U.
RuDen, momentarily t~own by th• sudden change of subject,
recovers.
IWBD
Needle aarka. . • lut abe doean 't loo"- ..
like a user •••
Nicoletti has COM up behind tlla.
Nleot.nTI
Probably 80 "CIMd abe dlclll't. lmow ...
I what hit. ber, ell llube7
N.J.· .
I bope ao.
NICOLnfl
All~.. lit.t.le llipple-dlppiea.
All wut.1D9 t.o lie beSSi. All
want.i119 t.o MU· 1"'9 ••• Tour t.r,e
. heh Jlubie7
Ruben an9rily puabea Nicolet.t.1. Ntno nfluively pushes bill
back harder and lb1bea ai-.t. 90U apra•lift9 oa t!le stony
hillside. N.J . . . . Nt.WNll u., farloua.
N.J.
-.at,Clle bell JOU tblnlg you•n
doioi,"f ··yoa wuna lie on tM al•
o•ct.lca aewa7
And inel1ed Clowa NJ.ow SUND SCbiffer and tM Haircut are
intervi•lft9 rut.i••l of Lo9era.
N.J.
Nicoletti, you want. to fialab tuin9
their atat....nt.a - now7
And Nikko 9oea.
N.J. (CONT'D)
I.et'• get out of here.
She turn• and at.arts down the hillside - lwben following.
 (goldenrod) l0/28/94 - 58.

Sl CONTINUED: <3 l Sl
H.J.
Godd&mlllit, Ruben.
RUBEN
Look I'm sorry, o~?
M.J.
I ought to put you on report.
RUUN
I'• sorr7. I can't stand tut
bastard.
They move down the path past Nikko.
SUSAII
What's all this uout tM lo.ton
Strangler, N.J.?
N.J.
I'• sorry, suau, ,-•n oa tJle
wro119 aide of tJle upe. ••n ..•
lookiff9 for .-,1111noa ben. ••11 be
auiag a fonaal ata-"t121M luer.
SUUII
Iupector, will JOQ coatlm tut
aCMOM ia copycattiaf tJle aoetoa
Strangler aDd Ctia la Ilia fautlt
victim?
•• ,1.
•• re going to l:ffiew all ue
ffidellce " r f c:antully before
aakift9 uy aca~121re.
M.J. and •ube.. to• suau Mku a clsclaloa, calla the
Haircut.
.. SOSAII

S2 INT. CM - DAT •
-•
r · 52
M.J. drives in stony silence.. ....,. looka at her, hangdog.
In her rearview mirror, N.J. sNa suau•• car pullift9 towarda
her. M.J. '• face ••ta: ·
M.J.
Put the light up will you?
IWUN
 (golcenroci 10128/94 - 59.

52 CONTINtJEO: 52
M.J.
Just do it Ol? I don't vane the
Mouth tailing us to Helen Hudson's.
ROBIN
We're going to Helen Kuc:taon's?
M.J.
I am.
The lights now on, N.J. is slowly putting her foot co the
floor. Susan behind'is startint to speed up too.
1WUlf
What aa I ••• ?
N.J.
You're 9onna lean on the lab• for a
really faat pnlia oa tbe apeni •..

Ia tbi• a tnat t"!:t- ..

because if
it la tben'• W f t f rou Ned to
•I

r know •••
N.J.
IIO, tben'• w tb1Df JOU Ned to
Jmov. ~- ....r, ~ . ~ .
Mftr SVD wa wltll •am body lulde
tbeCaN.
r-r
hc:uae M'I kcuN •?! . .t do you •••

N.J.
Yoa clla ..11 Nth!: atut 110rki119
oa tllat illpalM coatrol. A wcasn
llbO I.a implicated la caJ.a cue?

N.J.
SOMON wbo'• prac:ticallf a piece of
evidence? It'• Pate one, saD. faqe
one.
lWNII .
It'• page one to try.and c•fort a
vltneas vbo'• scared sbitless!?
Who' a •••
_. M.J.
Ob you contorted ber, did you ••. ?
 cgolaenroai l0J:29/94 - 60.

52 CONTINUED: (2) 52
RUBEN
Ouan right I did.
M.J.
Well sure you ude ber very
I' ■
co■fortable ••••

RUBIN
Look I swear, nothing hap .••
N.J.
Don't trx:to lie to•• Rw,en. You
don't have the face for it.
IWBIII
You're jealous! · I can't believe it! ...
My drea■a COM true!
N • .J.
Jealous of you? lube, you an your
own bi919at fu. TIM. • ,- 's
unatable. Toa c:aal.d lriad ap wlell a
I harUaMftt cbarte• aa,tbint.
You•n lile . _ boar little
teenager. · ..•
.,. .•
I cu•t bell... &1119• •,,,. thinks
I' ■ ill tbe Na Id.Cb,-. Toa think
.'

I' ■ acl:9W1'19 Bel•, ad l ba..a't

beeD laid ill week•-

■ •.J.
,oar Mac belt OD, ·for Cbrlst's
.......
ht

Ruben bucklu bls Nae belt •••

NI I
111d .-at tbe bell ls •1tto dOiftt?
le 1 S. Mt1'19 liMI 1111 OIIDS you •••
...
■ ..r.
■lldlo ls ar busilless.

-
of lt.

You're neftr 90ftM 91t a social life

with bill acti119 lite •••
N.J.
Like what?
IUJBIII
Lik• SOM. • • bull ■oo.. on heat.
 <goldenrod) 10/29/94 - 6l.

52 CONTINUED: (31 52
oespit• herself H.J. starts to smile.
H.J.
What the hell do you care if I have
a social life? We'r• talking uiout
your social life, O~? Leave aine
alone.
H.J. takes another two-whffl corner. In the rear view
mirror, H.J. watches Suaaa lose control of bar car as she
tries to follow. M.,1. aailea. Pllbet''a bAn9in9 on for dear
life... '
M.J.
Anybody who'• ever watched 'fV knows
about that corner.
OMIT SCENES 53, 53A, 54, 55, 51, 5Q
568 INT. HEI.Elf'S UAllTNIJIT - MrDOCN - DU
Close on a pill boetle. D•k1Df Node eaptJ out pills. ·i
rour, ais ••• two pue baek. TIie Med nplecu tbe bottle,
sbuta the Mdicine cuiMC. l8VIII.Dla . .len. !be cloomell
I\INGS.
DJW
Andy, wbere 1D ~ lle11 ~ ,oa'I
The question ia rbetoric:al. Sbe aa•• Andy'• out.
Grud9in9ly abe 9"•·
57 INT. HEI,EN'S u.ummrr - Ut!PJ' - DU 57
Helen opens tbe cloOr to N.J., ... tlklN 1D lier diShevelecl
appearance.
RJW
l IIINlli·yoa fOUnd uotaer one. ...
lt_tbt Dallciftf Girl'I
•
-: N.J.
Row cl'you lulow'I llol,111 tol~ you'I Ob
..u ...
DJW
No, I beard it oa the 1c•nner.
N.J.
can I COM in. I need •••
REUN
Yeah they want you to c:all tbe
offi~• •cause your radio'• dOtffl.
 1;oldenrod) 10/28/94 - 52.

Si CONTINtJEO: 57
H.J.
IAdy, you are some pieee of work.
ouring this, Helen has been following H.J. into the study.
Glad of the eompany, chatting obliviously.
HELEN
I turn my daan scaMer off and then
I turn it on again. I can't listen
to it, but I can't not listen to it
either . . So I aake Andy listen to
it. Onl~ he's not here so •••
H.J.
Are you on Mdication? leeause I
need your whole brain on duty.
DIIN
I'a not on duty. llor is ay brain.
They've reached tbe office. N.J. ia clialiaf tbe office. .
• •.
N.J.
swrycbint'• d1ffe~. It'• a
d1ffenat tuJ. ,_ _. qpbysiated
not strangled, ► 5d outdOOn,
sexually uaaulted •••
nrn
So notllift9 like delalft'a.
N.J.
C011Pletelf d1ffe~.
Cto pb-)
Koa•b•n, wae9N plMN •

so..., an .. IIIP
,oa ben?
.
~-
. -••=•~•
. -• .
;,.vi
.. . •·-'·
l tbink l'a •rODf. Tben's
artificial about it. Like
•a■ ntZ1"'9
pa1ecl. ey drq a bocly all tbe way
apa ld.11 lfben it'• toiat to be
found bJ touriata at first lifbt?
DTP
Do you tbiftk b e ' • ~ Ilia
routine? Tllat doesn't bappaa.
N• .J.
(to phone, not really
listeDil\9 to Helen>
Hell.o ••• Yes •••• No ••• Monahan.
 (gold.en::;d.) l0/28/94 - 63.

Si CONTINUED: !2) Si
HELEN
These men are robotic. The murder
is like a ritual. The method itself
is part of the pleasure ...
H.J.'s eye c:atc:hes ao..thin9 ••• the Internet computer is
dark. The games one is alive with a screen saver of so..
exotic: sort. ·
M.J'.
Why is that
_, coaputer turned off?
HILDI
I turned it off.
M.J'.
You can't dO that.
Qtp
I believe.I cu. lfould you like•
to tun it NCJE oa7
."
Yea.• ··"·
(iato pbart,)
Olt, tbaak YCN. •
Belen sita, and with tbll can of A"I one undlift9 a
rattleanu:e, boot• up. M• .J. ill tbe •utm ua dialed
another nWlber.

Hello. ··"·
P71'• ...
(liateu, llode)

Iii-.
RIP·
Cfroa tlle c,, mter)
,1.... •bank !Plilr:tOI' ~- for
.....
tal!tl•-c:an of• lUt
•·
N.J'. dllli'Nn tbe •••ate atnl--faced.
-·
,. . N.J •
• .. , •• Dr. IIUdlOII want• - to tbank
you for t&ll:ift9 can of lier lut nipt.
(bup up)
Lab report oa tbll new oae. Tbere
were two kind• of -,en.
(Nat)
So - well - it lookalike a 9&119
thin9. • • Tbanka for tbe UH of tbe
phone.
M.J. starts to leave but Belea u• coae alert to the wordS
•two kinda of spera.•
 <goldenrod) 10/28/94 - 64.

Si CONT !NtJEO :. I 3 I Si
HELEN
Tvo kinds of sperm - they said one
was a secretor and the other was
not?
Helen starts typing coaaands .••
M.J'.
How d'you know that?
HII.ZII
There were needle urka? On her
left ara?
M.J'.
So far nothin9,they teat for coaea
up positive.
Hl!SN
Wu CM body found NU a DO-duaping
sip!
:"
M • .J.
Y. . .

Pin·
Liu CIiia?
On the coaputer acnea: a ratber palnf pictun of a dead
girl spread out ill a SUftefti" poee ill an eapcy field. A
sign rigbt by bier aaya -.0 Dapia9.•
N.,J.
I could IMI" taua tut pic:tun,
CIiia •n1DIJ.

BPJIP •
Couiatucy is tlW hotlgoblill of
mll ■ iDda. Tell c.- to t ..t for
tbe :bo•1~•1• found ia W:Lades.
That's a product for cl.Uift9 via •••
N.J'.
I know Willdex, for God'• sake, I
clean ■y own wincSowa •••
 <g0laenr0d) l0/28/94 - 65.

57 CONTINUED~ <4) 57
MEI.EN
It's what Bianchi and Buono injected
into one of their victias.
M.J.
Nhy Bianchi and Buono? Why in such
detail?
Klt,IN
He's a perfectionist. And he's
getting ~red. Ile nffdS to up the
stakes ..;.
M.J.
L&st night, for a jut a vbile, 1
thought l had a cbance to save a
life. Find tbe aequeace, crack tbe
code, save a life. llolf, all l ltllOW
is f.haf. l don't. llacw a claal tblftl~
RID
(-,nued 111 bu c ; at.er) ..
:
=,
.
l wisb l could tift , - . . . better
news lnapectol'. Ille•••
wery
a u t . . . 11ue Ilia wn ud •••
.
9oin9 to do 1& , ..... - ,
Helen looks up but N •.J. 1• . - .. . .1 . sbnp, tbeD reaches
over and tuna off be&' la&uoa& c s1t-ar.
OMIT saNS 51
59 INT. fETEJl'S JIUW • •1Gn 59
There's a pictun of . .lea • Illa II zuter ~ . scanned
froa a newapaper article s mn .. ,cu 1• buildlllt a
aorph; bUide . .l • ia a !cs .. of tile cllaclllf 9irl. Oain9 a
aouae, • plac:ea a ncl doe 1a c.- ~ of tbe daaein9
girl'• left .,.. aoti. lsn12• an riddled •itb otber, alailar
dot.a lllaiCII look alaoR 11M nd pull plu. OIi anouer
coapa&er 8C&IID 8'ubr, ... ffrioaa files diaplayed OD
table, a.-..
scrND,·lzclad1D9 1Mf'IS of tbe daaein9 91r1 s&rasi111cl to t.be
Dazltt.at• sip, ~ . . . - tJU:outb tbe window oa
t.he te111looe, e&c. OIi a ff ae& 111 a.G., suau SClliffer is
report.ifl9 ~- ....,,;
SUSAII (c■ ff)
-- in an apparent a t t ~ to re ■na«
aurders ca.aitted 111 tbe ltlO's bf
A.U,ert. . . . lYO, tbe lllfnrue ■oROll
.Strangler. 1D reepooH to gnwin9
public alara, inforaed source•
report. f.hat a special t.aak force ia
being set. up wide tbe police
dep&ft,Mftf. to direct tbe Mn!lunf. for
JUN 2 '95 17:44 FROM NEW REGENCY F'AGE.001
,.. • li!I 1

6/1/95 - 66,

61 E}('l' - GAS STATION - NIGHT

ANGL! ON PUMP HOZZL! !:leing inserted. TILT UP to a WOMNI ••
she get• the gas flowing, She's nervous, single, and hates
doing this sort of thing alone at night.
She notices a SCRUFFY TRIO or BIXERS at the tar puaps,
checking her out. one ot the• •alt•• so■e c0111111ent. Another
LAUGHS. She circl•• back to the driver's side, gets in the
ear, closes the door, locks it••
INT - CAR - NIGH'I'
-- and waits for the tanJt to fill, Behind ber, innocuous,
a car pull• in, An unreurkable-looJting DI qets out with
a map, puttering at tbe puap, She glanca baek, vaguely
reassured by hi• presence.
She vatc:h- the bikers. '!h9f tnow they aake ber nervous,
which they find hilarious. They aount up, 9etting ready to
pull out. one of tba 11BIS'l'Ll8 at bar, Another flan•• a - ·
i,eace sign. Now tbey're rum»lin9 off into th• night, all
aaeho c:brou and vanialling,tall llflbts •••
••• and•• she vatc:b.. th• to, lllle'• unaware of the -n
with the up approachiDCJ he window. we can't ... his
face, just nerdy-lOClkiJIIJ clotbea. a.•• even wearing a
plastic pocket protector. He 1tnOc:b on tbe glass, causing
her to juwp.
Dar (O.S.)
Sorry! D14 I - ~ l • yau?
Be leans dovn. It' ■ Petar, looleiDCJ belplus with bis ■ap.

PB'l'a
I'• really loat. can yoll help M?
Sll• besitat.. , bUt only for a IIOMftt. lb• roll ■ th• window
down as we
 <goldenrod) ::126/94 - ,n.

61A INT. HELEN'S APARTMENT - NIGHT 61A

HELEN
You aqrffd to protect my privacy. I
ude the mistake of believing you.
Now every psychopath in town thinks
I'm involved. Don't you ever come to
me aski119 for help again because ...

618 INT. SQUAD ROOM - NIGHT 618

. N.J.
Helen ••• '.Belen ••• llbat do you want
m• to do? Life's a bitch. Go take
another pill, OK?
M.J. slams th• receiftr down in frustration.

62 INT. HELEN I s HDN)QN - IIIGBI 62

Later. Belen li•• ia Nd. .,.. clued, tryiil9 to sleep, la ·
vaia. In I.G., aAlt tbe aoft cnckle of police scanner. n."
catalogue of a troubled nitbC fi~l• CM •ilenc:e.
fCiJ M. CVUIOUS WICU)
Su•pect 99blcle pcocssd'Df wt.bound
on Bay ar1c1ge, 'ftane Ocr\ie-f'ifteen
in pursuit • • • a.&• find, nquen
back-up • • • D 1 Ric cU.Rubuce,
2116 eutro ••• r-.ie Dal at
Sixteeath &Del Jlo&"pll, request CSU
ud coroaer • • • --..r that. Do you
need &dditiooal alu for cl'Olld
control? ••• Affuau1. . . . . Victia
vu fouad ia ..aalcle, califoni&
lic:M/H taablr ..lrer-lpple-5eftn-
ftZM .••
This la&tu tnnewJ••ion bU . .1. bolt upript in bed, as we
COT TO: • .

63 EXT. mn•t MAltllDT - IIIGBI 63

A HAN parka a car, 911t• out . . . . . dnaaed entirely in black.

He pops the hood. Witll a Mfligbt be locates tbe car alani,
makes• fev adju•taents, tbeO cloNa tbe hood. 1'IMa going to
the side window of tbe ftbicle, be --•bes glass with on• end
of the aa9li9ht. CAil ALIM be9ins cycliq tbrouqb • noisy
repertoire of wamint s i ~ . Tbe ua trots silently to the
side of Helen's buildiD9, disappears into the shadows.
 (goldenrod) 1012a;94 - 68.

64 INT. !iALLWA:t OUTSIDE KELEN'S APARTMENT - NIGHT 64

The unitora on guard, BURT, looks up briefly from a newspaper
at the sound of the alarm outside, then goes back to reading.

65 EXT. RICHMOND DISTRICT - NIGHT 65

Another crime scene. A woman has been tound dead in her
parked car. Gunshot wounds. Present are uniforms, CSU team,
coroner's assistants, Ruben, M.J. A CSU TECH r ..oves a large
slug from tbe car door, holda it up tor inspection.
:
CSU TECH
(to nobody in particular>
Gotcha. It's a beauty.
Tech drops the slug in a baggie, continues survey-, as Ruben's
cell phone ringa.
IWAII
(into pbooe)
Yeah? 81! ••• Loot t!lia really iaa•t
a IIO, loou llu a
qreAt ti.M •••
driw-by. Victla'• ill a parted car,
no aezual uaault -
Caoutu to :~.J. >
Helen.
M.J., still annoyed by tbe earlier call, roll• ber eyea,
continue• her icapectiOD of tbe dl'1"r'a aide area of th• car.
IUJRII (CGft'D)
(into pbo11e)
Loot, I really toe to 90 ••• Wbat? •••
She vu 011 tbe paaaeapr aide ••• I
don't lalow.
(call• to a uaifon>
wu bee cuHtte player 011 wbu you
c,uya tot bare?
•• QIIUOM
Teall,I tlU'Ded it off. Couldll • t

-
bear a,Hlf tbint.

(into pbooe)
Yea it vu ... Olt •••
Ruben leans in to N.J. inaide the car.
IWAII (CONT'D)
Would you aind putting the tape
player on a second? •.•
M.J.
Are you kidding•?
 lgolaen~odl l0/28/94 - ..
"-~
65 CONTINUED: 65
RUBEN
little sheepish)
(a
Helen thinks it might be Abba.
With a withering look M.J. coaplies, and the TAPE PLAYER in
the car begins PU.YING a rock confection by Abba.

65A INT. HELEN'S OFFICE - NIGHT 65A

Helen sits at coaputer, scrolling through a data bank, phone
receiver cradled agaiast her shoulder. A look of dread
spreads across her face as she listens to the music playing
over the phone. She keys in a cn-•nd to call up a file. A
picture of a man's face appears on the scrNn in front of
her. It belongs to David Berkowitz, Son of Saa.
HltlN
Yes, I tbouqbt. so ••• Bold on •••
don't Mft9 up! Ju:• you Mar a 9aa
stat.ion? Ia tun a pboDe boot.b
nearby?

658 IXT. CJWII SCIIIS - WIGll'l' fi51

Ruben bands t.be phone to N•.J., llllo IIU IIOW bffft Sitting very

-
st.ill, in deep tbougbt.

Here, I've got to 90 cbec:k tu pllone

booth •••
Ruben jogs over to a pbooe booth at a wrby 9u station.
N• .J.
(ifttO pbW)
• Bel•-·· It'• ..rkowita iSll't it?
Be'• doiDIJ
•
Soll of Saa •
•
65C INT. fflP'1 ClffIC8 - ■IGll'l' fi5C

Helen doea•t w r 1-1diately. Trwfiaed by a series of

criM scene pbotograpba flubift9 oa ber screen, eacb one the
handiwork of Son of SM •.
mu
Cinto phone)
SIM was listenin9 to ibba 1ft a
parked car when sbe was sbot with a
Bulldog .44.
 (goldenroa, ~o,zs,94 - io.
J50 E:XT. CRIME SCENE - NIGHT 650
H.J. calls to CSU tech --
M.J.
Tony, lemme see that slug.
<into phone>
What's that siren I can hear?
Y•~h .•• they oughta be baMed ...
The tech hands M.J. the baggie. She exaaines it.
M.J. (CONT'D)
It's bUied up but it look• like
it's bigger than a .31. Could be a
.44.

65E EXT. PHONE SOOTH - NIGHT 651

Ruben finda a handwritten note lyiDIJ on tbe abelf. He aupa
on a latex glove, carefully picka it up by one corner,
exuinea it, tbeD beada back to tbe criM acene.

65!' INT. VIIAY OUTSIDS mn•s UA&flaff - UGIIT

Burt looka up a9ain at tbe ,enl-.t•t alU:iu ot·t11e car
alarm, goea to tbe window.

66 HIS POV 66
of several annoy• neipbora c,atllerM around tlle car trying
to silence tu alan.
u Burt leave• I l l a ~ to iawatic,ate, CUf tO:

67 INT. Hst D'S Oft'IC:S - ■IGIIT 67

DIP
(into pboneJ
LOok ill tbe crowd. lerkowita likN
to MDI around Uld wetcll tbe cope
won.
68 EXT. CRIN& scam - IIIGRT 61
PAN the facea of tbe crowd bellincl tbe ,.11ow tape. Sucldenly
illuainated by tu l't.lS8 of a police pllot09rapber'• atrobe,
FQEZI on a IUD hoverin9 furtiftly Dell tu back, r••UM
PANNING acrosa 110re facea. Another FLASH and we FRIEZE on a
tall youth juat a• he start• to race off for no apparent
reason. Is he eacapin9 or juat runnin9 late? !'LASH and Fl\11:ZE
on other faces, t11• curioua, tlle arucious, perhaps tlle killer.
 (goldenrod) l0/28/94 - 71.

68 CONTINtJEO: 68
ON H.J.
Searchinq the tacea tor an anaver, but tindinq none, aa Ruben
returns. When she sees that he's bold.inq a note --
M.J.
(into phone>
we found a note.
Ruben takes the phone troa her and reada the note to Helen.
,·
RUBIN
(into phone>
It reada, •tolice: Let• baunt you
with theae words, I'll be back.•
Ruben bolds the back of tbe note up to face N.J., vbo •"•
the words •To Helen.• •11bea and N.J. esct:,age a look of
concern. Ruben beads off toward.a bia cu, N.J. tak•• tbe
phone, doin9 her u~at.to aOUIICI CC111Pletely casual --
; ,l
N.J.
Ciato pbw)
Yeab, Bel• UU•, I lmolr it'a late
but hbe"l I a tolaf tit clnp - Vitia a
couple of quuti_.. ~eab. • • baft
to 90 now. a,..
M.J. bark• at a detective -
N.J.
I nMCI a unit to tiu One ro~ NUon
now, approacJI coc:te two, wait for
inatructiona. And._ if you cu
raiN tllie 9crt1ae officer llbo'• oa
security detail owu tben.
OMIT saws,,,,•
•
71 £X1'. W:P'1 UAFTT"'T - •IGBT
The b• If 1r • 8lart • • tlelt ia tleeplaf be Ilia bead ia under
the hood of tllie car, sina blarlaf. lie cu•t ~ ue
beeper •••

72 EXT. HELEN'S LIVING l'00II -·•IGIIT 72

Expert ~ds pick tbe lock of hlen'• apertMftt. l'ut a saall
wedge to atop the door froa cloain9.
 <goldenrod> 10/28/94 - 72.

73 :NT. HELEN'S BATHROOM - NIGHT 73

Helen is in the process of putting on make-up in &nticipation
of Ruben's arrival. Alerted by a noise, Helen crosses the
catwalk &nd looks down to the hallway. Sffa that a crack of
light is coming through the open front ctoor ..•

73A INT. LIVING ROOM - INSERT - TELEPHONE 73A

A hand in a fine leather black glove lifts the receiver off
the hook.

738 INT. LIVING ROOM - NIGHT 738

~

As Helen glides along the wall of her darkened living roo■,

she rounds the corner. Opens the door,•"• thak-Jurt's
chair is upty. She picu up tbe pboM on tbe table in the
corridor. It'• dead.

73C EXT. REI.DI'S UUTIIDIT - M1Glft'

Burt is under tbe hood, pulliftf fuaea, bu& tbe siren keepa
73C
.
,•:
blaring.

73D INT. LIVING 1100N - 111Glft' 73D

Helen bear• a noiH, ducltc bobind CM c:oam u a fituro,
dressed entirely in black, Cl&rea ,._ ber. fllo fltur• pauses
in tho ■iddle of tbe rooa, loolta uoaa4, tJaoe beada toward
the stairs. Belen alowly croop1 t..anl t.bo frmt door. She
makes it halfway t.boro, tJaoe ~ l y II so ifto u end table,
on which is a laap. fllo laap'• pall cbala ..1119a against its
ceraaic baae, ukiftf a alifbt tiallliftf aouad. fllo figure on
the ataira atopa, turna. After a Nat, be diaaiaHs the
noise and c~laua upnaira . ..1• fiaally ukoa it to the
front door, qiata to bu foat and bell!da ouc into -

73£ INT. Dl!ftJ - lllat 73&

She taJrae .. a f • atopa out into tbe ball, tbea aa9a a9ainat
the wall.
HER POV: of tbe walls el0ntatiftf and coatractint.
Helen slides to the floor, gaapi119 for breath, trying
desperately to shake off tbe a90rapbobic episode.
HER POV: as the floor rolls toward ber 1D vavoa.

74 EXT. STUETS - NIGHT 74

Ruben drivino. Takin9 the bills fast •••
79 INT - APARTMENT CORRIDOR - NIGHT
Ruben comes racing down the hallway with Burt huffing and
puffing up the stairs behind him. Ruben careens into --
79A INT - HELEN'S APARTMENT - ENTRYWAY - NIGHT
where he finds Helen pointing and terrified:
HELEN
Upstairs.
A CRASH OF BREAKING GLASS from above. He darts past her.
798 INT - BEDROOM - NIGHT
Ruben lunges in with gun drawn. curtains billow on the
breeze at a broken window. He looks out, sees Mr. Ski Mask
racing down the alley.
'RUBEN
(tight) .
Son of a bitch--
He heaves himself out the window in pursuit --
79C EXT - APARTMEN'l' BUILDING - NIGHT
-- and comes CRASHING down on a dumpster. He slides off,
hits the ground running, trying to find his aim --
RUBEN
POLICE! FREEZE!
-- but the figure darts from view at the end of the alley.
TRAVELING WITH RUBEN
as he runs full-out, truly hauling ass --
79D EXT - MARINA - NIGHT
Mr. Ski Mask does some ass-hauling of his own, racing onto
tbe docks, passing boat after boat.
ROB2M

appears, drops into a crouch, weapon raised --

RUBEN
FREEZE, GODDAMMIT!
Nothing doing. Ruben FIRES --

(CONTINUED)
 TRAVELING WITH SKI MASK
-- and the bullet misses by inches, tearing a concrete
chunk from an abutment. Ski Mask ducks out of the line of
fire, leaping onto a boat. Keeps going. Leaping from boat
to boat. Heading for the end of the quay.
RUBEN

races down the dock, passing boats, catching up fast --

RUBEN
Give it up! You got nowhere to go!
and hears a HUGE SPLASH up ahead. He vaults onto the
last boat, clambers to -the bow, finds himself alone. He
pulls his flashlight, sveeps the beam over the water.
He sees nothing but dark, lapping waves.
He notices something at his feet. He pulls a pen from his
pocket, stoops down, snags it. Revealed in the beam of his
flashlight is a necklace dangling from the pen •••
CUT TO:
80 INT - HELEN'S BEDROOM - NIGB'l'
ANGLE ON NECKLACE in a clear baggie as Ruben holds it up
for M.J.'s benefit. Helen is pacing, agitated, furious as:
RUBEN
Guy was a home invader after soae
loot, that's all.
HELEN
Bullshit! You really believe that?
RUBEN
Some asshole ransacks your rooa and
makes a quick exit, I say he's a
junkie looking for his next fix.
H.J. intervenes, still trying to get the whole picture:
H.J.
Did the intruder actually attack
you?
HELEN
He never got the chance. He heard
the sirens and took off.
RUBEN·.
Yeah, like a scared rabbit.

(CONTINUED)
 0/0/;7J - ,..1.

Ruben tosses the necklace to M,J, for emphasis.

M.J.
Is anything else missing?
HELEN
Missing? How about the goddamn cop
that was supposed to be guarding my
door! Where the hell was he?
M.J.
He'll be properly reprimanded, but
that's not the point --
HELEN
That is exactly the point! You're
supposed to be protecting me! You
dragged me into this, remember?
Ruben eases between them, trying to make peace:
RUBEN
Seems to me the killer might have
had something to do with that, but
we're not talking al:lout him --
HELEN
We're not? So what made you come.
galloping to my rescue?
(off his look)
It was the note, wasn't it? There
was something about me in the note.
Ruben is caught, looks to M.J. for help.
M.J.
(reluctant)
The first line of the note was:
"Helen, don't lose your head." It
was enough to concern us,
Helen pauses as this sinks in, finally admitting:
HELEN
He'• been in my apartment before.
M.J.
What?
HELEN
He laid out my red dress. The one I
was wearing when Darryl Lee CUllum
tried to kill me.

(CONTINUED)
 C/C/':J:> - I\J•

M,J.
You never mentioned it.
HELEN
At the time I thought was imagining
things. Now I know better.
(beat)
You say it was a burglar? I say
bullshit. So stop patronizing me
and start telling me the truth,
M,J.
(hesitates)
The truth? I think we're dealing
with the most brilliant, meticulous
son of a bitch ever. If murder were
an Olympic event, they'd give this
guy the gold medal. If I were you,
I'd be terrified. I'd change my
locks and beef up my security
system. I'd pray.
(off Helen•• look)
Feel better?
Pause. Helen considers it.
HELEN
Well ••• no. But I appreciate your
candor.
H.J.
What I think and what I can prove
are two different things. I'll put
an extra man on your door. It's the
best I can do.
COT TO:
OMIT SCENE 81
RETAIN SCENES 82, 83, 83A, 84
ONIT SCENES 85, 86, 87, 88, 88A
RETAIN SCENES 89, 89A
OMIT SCENE 91
RETAIN SCENE 92 (Shortened version now ends with M.J.'s
line, "So you can write a book about him.")
OMIT SCENES 92A, 93
RETAIN SCENE 94 (Shortened version features Andy and Hal
leaving for SUl'IIJller of Love Festival, but eliminates

(CONTINUED)
 6/8/9!:> - ,,.

Helen's computer search.)

CUT TO:
95 INT - HELEN'S BEDROOM - NIGHT
WE SEE THROUGH THE HALF-OPEN BATHROOM DOOR: Helen at the
sink, brushing her teeth. It's still quite early, but
she's already wearing her robe. She rinses the toothpaste
from her mouth ••. and pauses, noticing --
EXTREME CLOSEUP ON SINK
-- an ant scurrying along the porcelain. As we watch, a
second ant comes over the lip, wandering aimlessly.
HELEN
grabs a Kleenex, brushes both ants into the sink, runs
water to flush them down the drain. Innocuous enough. She
stows her toothbrush and exits into --
THE BEDROOM
-- where she grab• a notebook and a stack of files,
heading tor the bed --
TIGHT ANGLE ON FLOOR
-- ADQ n .IU 1112a ants, perhaps half a dozen, unnoticed
by Helen as her bare feet walk through frame ..•
HELEN
sprawls on the bed, getting comfortable, arranging the
papers around her. She settle• in tor an evening's read •••
••• and finds an ant crawling along her arm. She quickly
brushes it off •••
••• and realizes there are some more ants on the pillow
next to her. And a few more on the coverlet. And even some
on her paperwork •••
••• AJld aha th9 sh1et1 bask, revealing Ant.a srnwlina
throw■
eyarywhere, Freaking, she lunge• off the bed, frantically
brushing herself off.
She looks to the bed, riveted. Where the fuck are they
coming from? And then she sees it •••
••• lines of ants are swarming around the crack between
mattress and box-spring. There's something under the
mattress they're after. She eases closer ••• torn between
disgust and dread ••• working herself up to it •••

(CONTINUED)
 6/S/'>l::J - 10.

She heaves the mattress aside --

TIGHT ANGLE
-- revealing~ paperback .QQ2k ldJ;h ~ severed finger
protruding .frn !.lli pages,
CUT TO:
96 INT - HELEN'S BEDROOM - NIGHT
WE STEADICAM M.J. carrying a styrofoam cup of coffee
through a swirl of activity, cellular phone to her ear.
POLICE and LAB PERSONNEL are everywhere, dealing with
evidence, checking for prints. A CAMERA STROBE IS
FLASHING as M.J. murmurs into the phone •••
M.J.
-- yes sir, that seems to be the
situation -- no idea yet, but at
least this confirms it wasn't a
burglar who broke in here -- yes, I
think that would be wise --
••• and she moves past the bed where FRANK THE CORONER is
examining the f.inger and paperback book,. carefully
brushing ants away as a POLICE PHOTOGRAPHER takes photo
after photo ••• past a COP meticulously vacuuming up ants
with a dustbuster ••• to Helen looking shell-shocked in the
midst of it all.
M.J.
Take it, it's hot.
Helen accepts the coffee, sips, says nothing. Just watches
the activity.
M.J.
(softly)
You all right?
HELEN
I slept with that ••• artifact under
my mattress last night. I'd say I'm
far from all right.
(beat)
I haven't heard-of any victims
showing up with a finger missing.
M.J.
(tight, bitter smile)
Not yet.
CORONER
Step aside, coming through •••

(CONTINUED)
Their attention goes to the coroner as he transfers the
finger to the gurney in a steel pan, Pachulski is right
behind him, carefully examining the paperback book with
plastic gloves and a tweezer as:
PACHOLSKI
Sick fucker was using the finger as
a bookmarker. The chapter where
Darryl Lee attacks Dr, Hudson.
M.J •
I'd like to know why a book written
by Darryl Lee CUllum shows up under
your mattress.
PACHOLSKI
I'll go you one better •••
He holds up the book, carefully displaying the title page.
PACHOLSKI
.,,how come it's personally
autographed?
Helen moves close, stunned, peering at the inscription:
HELIN
"Hey there, Doctor Hudson! Hope you
like the book! Love and sloppy
kisses, Darryl Lee CUllum,"
Helen and M,J, share an astonished look,
K,J,
Patch, clear everybody out soon as
you can •••
(glances to Helen)
••• we need to make a call,
She reads uncertainty and fear on Helen'• face. Softly:
M,J.
I'll do the talking.
Beat. Helen nods. CAMERA POSHES in on th• l>ack of the
book. Darryl Lee's face star•• from th• author'• photo.
COT TO:
97/98 INT - HELEN'S APARTMENT - NIGHT
M.J. watches Darryl Lee sit into frame on Helen's
monitor:
DARYLL LEE
Hey, Warden, how you doin'?
WARDEN (O.S.)
Hey, Darryl Lee. Darryl Lee, I want
you to look into this little camera
here, and then you speak into this
microphone.
DARYLL LEE
She goMa be able to see me through
that? Really? How's she goMa hear me?
WARDEN (O.S.)
You speak into' th• microphone.
DARYLL LEE
Hey Doc, 00000-WJ:!EEl How 1 11 I goMa
hear bar? Hello? Hello? Hey Doc:1
How you doin'?
M,J,
'l'bi• is Inspector Monahan, I'll be
speaking for Dr. Hudson. •
DARYLL I.D
I'• bangin' up •. I ain't talkin' to
no cop. Hey, Warden, you lied to me •••
H.J.
Dr, Hudson just received your book.
You know anything ~out that?
DARYLL LEE
I surely do. IUt that's all I'a
sayin' till that foxy lady gets on
the born. Put ber·on.
Belen l• herself,
■t. . ■ it■ before the c011puter.
HELEN
Hello, Mr, CUllu:m,
DARYLL LU
Hey, Doc. so tell me, one author to
anotbu, bov'd you like my book?
HELEN
I haven't had a chance to look at
it yet.

(CONTINUED)
 5/19/95 - 91.

DAR'iLL LEE
It's real well written, 'iou oughtta
read it sometime. 'iou're in it.
HELEN
I want to talk about the man who
delivered it.
DARYU. LEE
Peter Kurten? What aDout him?
HELEN
"Peter Kurten?M What is that, some
kind of joke?
DARYU. LEE
I ain't jokin' on you, that's the
man's namel I'll show you bis
letters, you don't Delieve me.
RBI.EN.
(mostly to M.J.)
Peter Kurten was the name of a
serial killer in Germany during the
30'•· He was fuous for changing *
his H.O, to throw off the police. *
DARYLL LU *
Ain't that somethin'l This fella
goes DY the sue handlel
(leana in)
He Dotherin' you?
HELEN
He Droke into my apartment to leave
your DOOk,
DARYLL LU
Kind of a hlDsl delivery, huh?
Belen and H.J. exchange a look, Was that an intentional
pun or just a choice of wordll? H.J. leans in:
K,J,
Why would lturten do that, Mr,
CUllua? Did you set him up to it?
DARYLL LEI
Hey, was I talkin' to you? What'd I
say Defore, huh? Get your ugly cop
ass off the linel
K.J. pulls back, Helen proceeds:

(CONTINUED)
 5/19/95 - 92.

HELEN
w..&l you set him up to it?
DARYLL LEE
Hey, these folks here wouldn't even
let me uil you a copy. This Kurten
fella, he's been writin' me letters
like I said, so I ask him to do me
a little favor. I say drop off my
book. Didn't say break in, though.
That was rude, you ask me.
HELEN
I want to get in touch with him.
Any ideas?
DARYLL LEE
Yeah, I got plenty of ideas. You
oughtta steer clear of that son of
a gun. He's a freak! He says he's
gonna give me five.hundred bucks
for some of my ••• spirit. He says he
can make me i1111110rtal if I give hia
some of my, •• spirit, You know what
I'm saying? This is kinda .-barrasin',
I don't wanna say it right out,
HBLEN
I think I know what you're referring
to, What did you do about it?
DARYLL LU
What I did, I sent SOiie liquid soap
in a sandwich baggie with a musage
froa Jesus to mend hi• ways, You
hear I found Jesus?
HELEN
Hov were you going to contact Kurten?
DARYLL LEE
Buddy of mine just got paroled few
days back, he took the baggie out
with hill, KUrten was gonna hook up
with the boy.
M.J. is prompting Helen, mouthing "When? Where?"
HELEN
00 you know when and where?
DARYLL LU
(cagey, enjoying himself)
Maybe I do ••• maybe I don't. I'd say
that depends.

(CONTINUED)
 HELEN
On what?
DARYLL LEE
On if you could do me a little
favor in return.
(leans in, confidential)
Gets lonesome in here, Doc. I think
about you all the time. some little
personal token is all I ask.
HELEN
Like what?
DARRYL LEE
Let's see now. Somethin' lacy and
delicate.
(snaps his fingers)
I Jcnow. A pair of your pantie■•
HELEM
I beg your pardon?
DARYLL LU
Is this thing on, or what?
(blows into aicrophone)
I said pam;i••· You wear, . . ,
don'cha? That'• what I want.
The women trade a look between uusuent and disgust.
HELD
Why, Mr. CUllUII, I didn't know you
were into woaen'• underwear.
DARYLL LD
Not to put onl I look like a
pervert to you? No, just to have.
A ...ento like. And I want you to
autograph 'a personal to••· Deal?
HILD
I'll express ui~ th• toaorrow.
DARYU. LD
That•• a promise now.
HELEN
Promise.
DARYI.L LU
Okay then. My buddy, h•'• goM&
meet up with Peter K\lrten at
Panver•s Meat Packing at midnight,
That's midnight tonight.

(CONTINUED)
 TO

ALTQDTI QQDIG l!3 97/98 <PARBXL .LU nog CALLI;

ll.J. is cm t.h• phone i:lme<tiat:ely, dialing

I
as;
DARYLl. I.I! J: . .
SO Doc, how is life, you ou.y'\
. _ M, ~011111 talk to me. I think
c*
about you, worry about you all the
tilNt. You kncv, YOU'r• ,bl-ae~ by
J••ua. •. ~-
<W•rlappin9 thi• 1• Jt.J. •• oall:
H.J.
(into phone)
Rl:lben? Hov'd you like to ;et off
Chinatown detail?
(beat)
•• got a lead, I think we can pop
1:bi• guy. '
(beat:)
Y..h. I'll be right d~.
X.J. MD99 up and Mld9 out tH door, •i9r1&ling: g ~
90, j u t haft9 up. Jut Helen l• fa-cinated deapite :
henal.f, vata1Uft9 Darryl :i:.ee,
CARYU.t.n
.•• tut•• wti.y you n..s 1:0 ooae tall
to ae, bec&UM JUU. - ~ YCN eli,,._
for a r ..son. Satan vu nia1n; ar
MDII to ICJ.11 yoa, DUt J..U
band to apare ycu. r• we•
for
tog..,.
tbat, I>ocl, YOll ave M bif•tiae. I
. . 4-ath and lite tO you, lady,
~ t h 11114 life, and I ;ot thing• to

(lu.na in)
••• ..,. don• t need 1:0 l:le ••nclln • any
aoir:e ~ l:lcya, <10 ,...?

De lt!nat:■ the Q01111Ut:er down u,,.

c:m' '1'0!

TOTAL P.03
 O ✓ J. _,_

99 INT. SQUAD ROOM - NIGHT 99

Crowded with Chin••• -n: tong GANGSTERS, robust and well-

fed, the organizers of the smuggling operation, and
frightened TJ,LEGM.S, unwashed and undernourished. M.J. is
making her way tbSOU?h the uproar toward Ruben, who is
talking to a Chinhe police officer, SERGEANT NG.
NG
No can do, bro. I speak Mandarin,
these folks are Cantonese.
RUBEN
How am I supposed to get a
statement?
NG
j Wish I could help.

I Ng goes. H.J. to Ruben --

i
 <goldenrod) 10/28/94 - 93.

99 CONTINUED: 99
M.J.
I need you downstairs for an
interview. Can you do it?
RUBEN
You get Quinn to release me from the
curse of the Fu Manchus here. I'll
do anything you want.
M.J.
(on her way to Quinn's)
Anything?!
Ruben is already grabbing a young THUG from a line of
suspects.
RUBEN (CONT'D)
Over here, you.
M.J. passes Nikko who's unholstering his gun and putting it
into his desk drawer. He's flllllbling in his pocket for his
keys as he talks to a sullen young KID.
NiltltO
You speak English?: •• You speakee
ENGLISH?
(the kid continues to
scowl at hia)
Well screw you too, Boo Boo.
He shrugs at M.J. who walks into QuiM's office. He's
screaming into the phone to his Chief.
QUINN
I didn't want the fuckin' illegals,
I just wanted the bastards dullping
th- in the Bay! .
He grimaces in frustration at M.J •
•
•
QUINN (CON'l''D)
••• Look Sir, just tell those prissy
little shits in I-igration to get
down here a.s.a.p. will you ••• Hold
on a second •••
A disturbance has broken out. The thug Ruben was questioning
has gone berserk, kicking a COP who has fallen backwards into
Nikko's desk, knocking the Kid off his chair. Nikko goes to
help subdue the thug. The key to his desk drawer is still in
the lock, unturned. Ruben breaks from the melee to sit the
Kid back in his chair, pushes him back out of the way against
Nikko's desk. The Kid, his back now to the desk, opens the
drawer with his handcuffed hands and rifles its contents.
Quinn comes back into his office with M.J. still in tow.
 (goldenrod) 10/28/94 - 94.

99 CONTINUED: ( 2) 99
M.J.
I gotta have Ruben ....
But Quinn remembers the unattended phone.
QUINN
(into phone)
Hello Sir ... No .•. everything•s
fine ...
He turns to deal with H.J. but she's already gone.
H.J.
Ruben! I'll be down in the holding
cage with the Chow guy. Get down
there as soon as maybe, OK?
RUBEN
You hungry?
She's already on her way. He calls after her.
RUBEN (CONT'D)
I'll bring you soaethin9.

100 INT. JAIL CELL - NIGHT 100

Silent in contrast to pandeaoniua in the squad room. Conrad
is seated, shackled. M.J. moves around hi■•
CONRAD
(beat)
347-6868. 415 area code.
H.J. moves into th• shot •.•
M.J.
Okay~: That's good, Conrad. You're
gonna call Kurten and QJl:e a date to
....t him. I'm gonna be on the
line •••
CONRAD
You make the call. Ask for Mike
Katz. You talk to him.
M.J.
(disgusted laugh)
A lawyer?! Right now you don't need
a lawyer! I looked you up, man. A
judge takes one look at your priors
and you're going down. And I'm
gonna make sure you go down hard ...
 <goldenrod) 10/28/94 - 95.

100 CONTINtJ£0: 100

CONRAD
I never hurt nobody, I never carried
a gun •.•
H.J.
Shut up Conrad, I'm talking. Now
you --
CONRAD
<interrupting)
I never lurt nobody •••
M.J •
.•. I looked you up, I never Sffn
such a sheet, I can't believe I
never arrested you. You got felony
breaking and enteri119, burglary,
felonious •••
G'OIIJIIID
( iater~ill9) .
I never carried a 91111!
She slaps hill bard! Be ia tbocted.
N • .J.
You don't liatee ftr7 900d. Tbia
break-ill, l CUI call it a felony -
three strikes, Uld yoa tot about
sixteen strikes already - with tile
new laws you're ia jail for all af
it. Or. l could ... it gets
forgotten.
COllll.\D

She goea to tile door and preaM• a button. Her back to

Conrad. Conrad ....ta. so does abe. After a beat ••.
•
CCIIMD
TM door was already open •••
N.J.
Not the dOwnataira door, you picked
the lock.
CONIW)
rroa here I want ay Miranda rights.
M.·J.
You got••·
• CONRAD
You got no authority to ult• a deal.
 <goldenrod) l0/28194 - 96.

100 CONTINUED: (2) 100

H.J.
You got nothin' to deal with,
Conrad.
CONMO
I want to talk to sOMbody in
charge.
H.J.
I don't see anybody talking to you,
Conrad, ~xcept • · Get used to it.
C()NlW)
347-6868, talk to ttatz. He'll tell
you, I never hurt anybody. Never
carried a gun. ,
N.J.
Don't ain9 • no aad aon9a.
The TURNUY appears and at&r1:a to unlock tbe door ••.
· C: L\D
Let• out first •••
N • .J.
Cabe'a ouc tbe door>
It don• t work tbat wy. You ud
your cbance. IIOlr tuck yourNlf.
c:allll\D
(yelliDf after ber)
Tbe 9llf ia auppo.ed to 9ift • ssoo.
CU I kNP it7
N• .J.
You called bill already?
• COIIR.\D
I'• ••+"aed to w t bill 10 o'clock
rridaf at Danwr•• NeatpackiNJ, the
loldl ft9 doeka •
N • .J.
llbat Friday?
COIIIW)
What day ia this? In jail you lose
track. Thia week. Friday.
M.J. is already on her way ••.
CONIW>
Don•~ forget M, pluae. I told you
what you wanted - don't forget•·
 (golcenrod) l0/28/94 - 97.

101 EXT. MEATPACKING PLANT - NIGHT 101

oesert.ed. Peter, walking leisurely from the meatpacking
plant drive toward the huge warehouse. He steps into deep
sha.dows · and seems to vanish. CLOSE: Peter. He checks his
watch and turns: He can see and not be seen.

102 INT. SQUAD ROOM - NIGHT 102

Ruben takes coffee and doughnuts out of a box, then leans
over the Kid who seas to have calaed down. He uncuffs him
from the chair. Off,rs hia a doughnut. The kid glares
sullenly.
RUBEN
Behave. You refuse ay hospitality,
I'm putting you, to bed.
As Ruben brings hi■ to bia fHt the Kid wbipa Niklco'• gun out
from under the desk. Kid aovea behind bben and puts a
skinny aria around PJmen • • nec:k, pullint bia uprigbt. PJ•!Mll . ·
still clutching the dougbnut boa. It takea a meant for~;
others to•••· Tba tbie roaa ia abaolutely ■otionleaa.
JW9III .
Take it euy, kid •. ■obady'• gonna
do anything. Just let tbe 91111 down,
so it don't go off.
Inspector Ng repeats the ■- idN in Chin•••···
KID
Nobody cGMa tJ1rOU9b tbe door •••
Behind the Kid, u be backa tbroufb t!le door, aero•• the
corridor we look straight down a corridor to where N.J. is
coming allloat at a run - abe .... Wbat ia bappe'"ing.

103 IIIT. IOLlCS c:c»allClll - ■IGBT 103

•
The Kid"-daaani~ ... her, yet, u be ia backing away from the
otbera ••• N.J. draw• her 91111 and standa 1ft firing position.
If she fires froa here ,Ube,\ ia directly behind the Kid, and
other officers, in the line the bullet would take, are still
scr-■l:lling out of her liDe ••• She can't fire.

N.J.
Hey, ¥DU• ••

The Kid turns, sees her, exposing hi• shOulder to her ... she
FIRES and hits the Kid.
He is thrown to the floor and twisted around by the impact,
landing behind Ruben so ab• can't ..ke a second shot.
 (goldenrod) 10/28/94 - 98.

l03 CONTINUED: 103

Ruben goes for his own gun, but the Kid's gun that fell from
his hand is right by him Still. The Kid grabs it as Ruben
reflexively reaches for his sneaky gun - it isn't there: he
gave it to Helen. The Kid SHOOTS, hitting Ruben in the back.
The bullet bursts out ot his chest in a great flower of
blood ...
The Kid throws the gun away and stands, his hands up in
surrender, a grin on his face. The Kid goes down, flattened
by bodies of the cops_ who have rushed him 1
ltIO
I'm a juvenile! I' ■ a juvenile!
H.J. rushes to Ruben.

104 EXT. MEATPACKING PLANT - NIGHT 104

Peter, standing as before. Cbeeks bis watch, lights a
cigarette. .:

105 INT. SQUAD ROOM - NIGHT (LATIIU· 105

The ltid has been taken away." PU,WDTCS an rwving Ruoen's
body. H.J. stands froaen u ,Uber'• atntcber is carried out
of the rooa.

CLOSE - H.J.
She abruptly r1a12be~s: tbe nnclaavoua vitb Peter lturten!
She tore•• herself into actioa.
N• .J.
Gi9i! call dispatch. I need all
available units to drag tbe area
~Danver•• Neatpackin9, Cllina
laaill. Look for a aale, probably
caucutan, probably aged twenty to
thirty five. U••• the alias Peter
lturten •••

106 EXT. HEATPACltING PLANT - NIGIIT l06

WIDE rut.I, SHOT, DIU SHADOWS AND HIGHLIGHTS. In the black
cavern ot the loading dock, footsteps begin to echo, then out
ot shadow into light co. .a
PETER. Re walks away into the night. Far far away SIRENS
begin to sound - they'll be too late.
 (goldenrod) l0/28/94 - 99.

107 INT, OUTSIDE QUINN'S OFFICE - NIGHT 107

H.J. speaks to Nikko, but does not look at him.
H.J.
Quinn will be here any minute. What
are you going to say?
NIKJ(O
Christ. I didn't lock the fucking
drawer! You spend twenty years
thinking some bad guy's gonna whack
you ..• you'll crash your car ••. but
what happens? •.• you fuck
yourself •••
<a choked laugh)
You can't imagine how aany tiaes I
saw you two •••. fooling around,
laughing at SOM dullb shit, and God,
I wished hiJI dead. Every tiM ...
But you want to hear SOMthinq
weird? I fffl like l'd give ■y lite
to bring hia back.
N • .J.
You're in terrible ~rouble, Nikko.
Re begins to wep silent tears •••
NIDO
liho giffs a fuck?
N.J.
I give a fuck.
She fights tears •••
NIDO
All tbe years I known you, I neqr
HeD JOU cry.
•.. (beat>
D'you-.iove hi■?
M.J.
1lho 9iffs a fuck?
Quinn enters to find bis tvo senior officers in tears.
QUINN .
Nikko. Ny office? N.J., I wanna
see you after.
Nikko stands, and he and QuiM exit. N.J. walks to a window
and looks down.
 ! go ldenrodl 1oi2e194 - ••oo •

108 EXT, OUTSIDE eOLICE STATION - eov - NIGHT 108

In the street below, the paramedic ambulance pulls away and
drives off down the street.

109 INT. QUINN'S OFFICE - NIGHT 109

On his desk l~e a badge and a gun - Nikko's. H.J. is looking
at them as she enters ••.
QUINN
(notinq her look)
He's on ~eave with pay. I talked
the Coaaissioner out of no pay.
H.J. pulls her badge out and puts it down in fron;_ of QuiM.
N.,1.
You take his, you take aine.
QUIIIII
So I'• 9011M lON Ul.ree 9ood cops?
••
t .
N.J.
Sir, I tried to control tbe
situation. I tried- to c:oatrol it •••
I Ude a cboice. It didll't wort
out ••• and u officer got tilled.
QUDa
Mary Jue. You Mde a decision. It
was the rigbt dec:iaioa. You got the
wrong result ia all. llolf 90 get
drunk. I ••

110 INT. HELEN'S OfflCS - ■IGIIT 110

Helen opena the cloOr ••. 11.J. atanda tben. It is really
late. ·•·
•
N • .J •
. . ld.ssed bill.
VIIN
For God's sate - bow did you let
th&t happen?! I don't believe it!
N.J •
It's ay fault. so stupid . . . bad a
proble■ at headquarters. A crazy
kid ..• and ••• Ruben's dead.
lfll,IN
Oh, dear God! What ••• coae inside.
Come ...
 (goldenrod) '.0/28/94 - :01.

110 CONTINtJtO:· llO

M.J.
No. Really, I'm OK. I just thought
you ought to hear it !rom somebody
and not see it on the news. I know
you and him ..• you and he ... had a
thing •.•
Tears start again, just rUJ'lning down, no sobs, but she can't
will them away. She brushes at them angrily ... The new
guard, FRED, takes a few steps away to give them privacy ...
HELEN
Ruben and ae ... ? I think he felt
sorry for•· He let .. flirt with
him and he was sweet enough to flirt
back. He was a darling un.
M • .J.
I thought he was a bOy.
(buratincJ out)
Thia last OU-iatau wu tbe happiest
Chriatua I had iD six ,-ars ... you
know wby? Xt wu tbe first
·-
Christ•• I was noc, 11110ft. Son of
a bitch urried MD! llbo cans.
about aarriaqe,·tbe Nd jaat gets·
crolldad UICI noisy? l tour pboM is
ringing. I've 9QC to 90 •••
The answering aacbine is heard way in the b.g ••.
ANDY (V.O.)
If you dialed carefully, you've
reached tbe rigbt auaber. Now, you
know wbat to dO.
(beep)

•
. PUP
Let • get you a brandy. Coae in,
for God• s sake. • . • llbo • • tbe
auried un?
Once again she tries to pull N.J. in UICI N.J. resists ...
N.J.
Wbat does it aatter? Anawer your
phone.
. . . M. J. starts to go when they hear the .ANSllERING MACHINE -
The Village People singing •YMCA•!
OVER THAT, Helen•.• own voice is heard. Echoing t.hrough t.he
loft space from the office. •YMCA• continuing in b.g.
 (goldenrod) 10/28/94 - 102.

110 CONTINUED: (2) 110

HELEN'S VOICE
(on answering machine)
Alright, girls. What d'ya see?
Some pretty cute guys. If one of
them invited you out for a beer, you
might go. Maybe dinner, dancing.
Maybe even a dirty weekend in Big
Sur ..• Well, let IN tell you
something. Ninety percent of serial
killers are white males aged twenty
to thirty-five just like these ...
Would you know if one of these cute
guys is addicted to ■ureter? Anything
in their faces give you a clue?
A.s the haunting message echoes throughout the lof~, Helen and
H.J. move toward its source, faster and faster.
NEID'S vora (CONT'D)
con answeri119 ■acbine)
Albert deSalvo, Bianchi and Buono,
Berkovitz, DabMr ••• •

llOA INT. HELEN'S OffICS - lllGBT 110A

A.s H.J. and Helen race in.
KUD'S VOICS (CONT'D)
con answeriDf ■ac:hine)
. • • Ted Bundy. !bey were quiet,
unassuai119, even sveet. !My held
down joba, Ude fOOd neigbbors.
Their victias truted t!lea.·
Reaching the ■ac:hiae first, Mlea traba the receiver.
DI.BIi
.• .
.-.~.Kurten
lll INT. lllGim:LuB • fADIIONU NUil TD Nlll'S N)0N 111
Club DISC ~OCJC&t is playi119 the DIC:A ausic ••. teter bolds a
Walkllan tape recorder to the paypbOM ■outhpiece ••• It is
playing Helen•• voice ••• Nov teter tuna it off. He hangs up
and takes a step towards tbe ■ain floor of the nightclub.
Over his shoulder we can SH: a ■ad dance scene. The ■usic
has changed to Lou "-ad's •walk on the Wild Side.•
DOLLY with hi■ as he ■oves through the dancing ■en, being
jostled, ignoring the scene, a slHk tiger intent on his
prey. As Peter walks, he empties a ..ull quantity of white
powder into one o.f tbe two cocktails he'• carrying. He moves
through the crowd to where
 (goldenrod> 10/28/94 - 103.

lll CONTINUED: lll

Andy and Hal sit waiting. Andy drains the proferred drink
and gets up to dance with Peter. Leaving Hal sitting
forlornly with Andy's jacket.

112 INT. HELEN'S APARTMENT - NIGHT 112

H.J. is on the telephone, finishing dialing. Helen is
playing back the answering machine and entering co•ands into
her computer.
,
M.J.
<into phone)
This is Inspector Monahan. Get the
tap on Hudson's pbone. SN if it
backtraced a call about two ainutes ··
ago.
(checkift9 watch)
Yeah. Just this second, be bun9 up.
Don't fuckin9 a ~ with•• just do
it, now! . .
"''"
You wre ript. !bat'• tbe
coMection. Be aiati..bawe bND soae
kind of Uudent·of alae.
N• .J'.
Where did yoa 9iwe tut lecture?
Ml!D
I 9aft it doaena of tiau. All o"r
the country. It ... ay uar turn •••
N•.J.
Nben vu tbe luc tiae you 9&" it
in SU rranciaco?

,c11Z.:ed,
··11 ··
IA IIU'teler lut yur • .Juat
l:lefon •••
Helen h&s aoved to ber coaputer. and pulled up the text of the
lecture: the n...s are diaplayed on the scrffft •••
HSI.Ill
There's the order. I 9ave it to bi■•

N.J.
(read1n9 over her shoulder)
Desalvo, Bianchi and Buono,
Berkowitz and Da.baer .•• It's going
to~ Dabaer neat.
 <goldenrod) l0/28/94 - 104.

112 CONTINUED: ll2

HELEN
Which means he'll kill a man. And
after that ...
M.J.
Bundy. That's the last one in your
speech .•.
<someone speaks on her
phone)
Yeah. The Sound Factory! Perfect!
No, I know where it is! I' ■ going
straighr there, g i - so• backup ...
(hangs UPI
Christ, Helen. Maybe, just
maybe ••• !

M.J. is on her way to the door. Helen ia calling up course

records as ...

113 EXT. NIGHTCLUB - NIGHT 113 :

As M. J.skidS to a atop and leapa out. . . tbe place ia
closing, inside waitera and bU:teaclera clean up ...

114 INT. NIGHTCLUB 114

As someone lets H.J. ill: c:baira OD tables, etc.
HBADIIUTlll
llby don't you CJUY• jau leave us in
peace un?
N.J.
llben are your pay plloDu •••
Sh•'• already..,.. the aip: - • • 110011, beads for it, and
arouncl • partitiOJI to aN: TD tAnmt IS: a GIJU. ia llid-
arq,:sant witb ber boyfriend. llo prints toni91lt. H.J. turna
away. ror tbe firat tiM" ... tbe clapth of her deapair.

11S EXT. IAYSIDB USTADIWIT - NLYIDIU Oil SAUSALITO - DAY 115

A bright morning dawna. In a dingy bay-aide diner, a lone
DINER raises an oozing burger to bis ■outh and atopa aa he
sees some unuaual activity down by tbe doek. A saall crowd
gathers aa a MAN atanding in a rotting dinghy 9affa in a
body. By the jacket we know it'a Wlllistakably ANDY, ucept
it's not all of Andy. Hia head ia ■iaain9.
OMIT SCENE 116
 114A, EXT - ALLEY - NIGHT
ON THE CUT: A thick styrene bag comes down lightning-fast
over somebody's head. PETER spins his VICTIM wildly
TOWARD CAMERA, trashcans CLATTER-BANGING as he rams the
man's head repeatedly into the brick wall, He jerks the
victim upright, arms flailing, blood now smearing the
inside of the semi-opaque plastic, and slams him face-
first to the ground --
LOW ANGLE ON PAVEMENT
-- where he straddles his back. The victim thrashes
weakly, face obscured through plastic, desperately trying
to breathe, dazed but still hellishly aware --
-- as Peter, unhurried now, pulls a hacksaw from a small
gym bag. He positions the blade carefully at the back of
the victim's neck •••
WIDE ANGLE OF ALLEY
••• and goes to work, sawing methodically away as we
DISSOLVE TO:

l"lHY :3 l ''35 17:21 0 PAGE.001

 (gold.enroai 10/28 / 94 - 105.

117 INT. HELEN'S APARTMENT - CAY 117

Helen sits, her face buried in her hands, willing herself
quietly not to fall apart. M.J. has the bottle of xanax.
M.J.
Helen ...
HELEN
I don't want to talk about it.
N.J.
How many,,do you need to sleep. Really
sleep? I hate to leave you like this
- but I have to go. Helen ...
Offers the Xanax again. Helen looks at the boc.c.le...•
UllN
He's CJOUl9 to do Ted Bundy. Bundy
was the last Oft tbe list.
(villa berMlf c.o action)
And he'll pick tbe aoat extrava9anc.
aurder. Tba SOQf talked about a
..
tbrNSOM. 1111:atJ killed three 9irls
in one nipt at a aorority houM.
Chi 01119& r tbi~. · 9undy faked
injuries, won a cut on bis an,
used crutcbea and would uk 9irl• for
help. Be drfl9 a 9V7 distinctive
car wbat vu it, ob yea ••••

ll8 INT. TASK roaa AOON • DU lll

M.J. is briefin9 a full ua tly of boaicide inspect.ors and
unifonaed poli~1 ■ 1n_
N • .J •
• • • a 90ld V. W. but. .. need to 9ec.
want~• ~ oato tbll DNV, we want
ncorda on all 90ld or yellow
colored v.w. bulJS, any year. I vane.
an in-person cbllclt oo every
re,utered owner •••
OMIT SCENES 119, 120
l2l INT. HELEN'S STUDY• DAY 121
Helen sic.s facin9 the darkeaed Internee. scrNn. A ■oNnt's
thought. then she turns it. on. over which, we HEAR:
N • .J. (V.O.)
... If it's rant.al - check rent.al
tirK - get na.a and location of
(NOD)
 (goldenrod) 10/28/94 - 106.

121 CONTINUED: 121

M. J. (CONT' 0 V. 0.)
who is driving one now. Contact
campus security at every college
within fifty miles ...

121A INT. SQUAD ROOM - OAY 121A

H.J. is moving from desk to desk briefing her teu.
, M.J.
They need to warn all female
students, especially those with
long, straight, dark hair parted in
the middle - that's who BWldy went
after - to avoid any contact with
males t.hey don't know.
Quinn enters, watches N.J.
N.J. (COIIT'D) . ,
Also to repon uy Mil with an
injury or handicap wbo uta tben for
help, carryift9 boota, 9roceriea,
an~hin9 lite that·•.

1218 IN'l'. HELEN'S STUDY - DAI 1218

Helen has made a kind of pictun poatcard on her screen: a
wedding photo of a bride and grooa 1D classic pose. On the
bride's face she has pasted bar om face. lfOW abe is aovin9
a death's head skull into poeitioa Offr tba 9rooa•• face, and
sizing it, and paatin9 it, eo it ie an iaage of herself
•married• to death. Ae aba woru ... • IIIIA:
N.J~ (Y.O.)
. . Deed to arr111199 a pre••
coaf-,.nce, to 99t tbie out to TV
and nclio, penicululy tba colle9e
atatiou. can we get a police
qokener up here so 1 cu brief
bia7 Contact law ~orc1m1nP. and
every neigtmoriDCJ area that has a
Chi ONga cupter and have tbea post
a security detail. That'• probably
where he'll ■ake bis aove.
On screen Helen is typing uncler the wedding cake iaage ...
PETER KURTEN. I'N RSAOY~
HUOSONKELIUNIVOU>.CON
.
She taps keys that send tbia to open bulletin boards.
 (goldenrod> L0/28/94 - 107.

l2lB CONTINUED: l2lB

SOUND! HER FRONT COOR OPENS. She starts, turns. Feet
moving toward her, but quietly, cautiously. As the footsteps
turn into the hall, she stands, reaching for anything to
defend herself with: a paperknife. She moves to the door,
raising the knife •.• footsteps closer ... A man turns into the
office, and she launches herself, only stopping the stat, of
the knife at the last split second ...
ANDY!
She SCREAMS!
ANDY
Stop screuing!
She screams again. Tben saotbers hi■ with kissesand hugs ••.
ANDY
For God's sake, stop - ay head! I
have the aother of all ban90vers.
Very quiet UI tbe boapital &OM,
please.
·,
She clings to hia.

122 INT. TASIC FORCE R00N - SVDIING 122

M.J. is standing, and Quiftll is sitting alaost knff-to-kn••
with Andy.
AIIDT
. . • tbea be 9aft • tbis pifta colada
and I started to f ..l reallf wild •••
UICI sort of stoaed ••• tbeD I 90t
real.19 nauaeous, ... I'• aller9ic to
paiaJllllers and sleeping pills and
all tbat kind of Raff. . . Anyway I
bad to really race for tlM jou. I
vu borribly sick. ~ and over
and oqr.
QUI•
You were sick. llbat b•~ned then.
ANDY
I have to tell it ■y way. I was in
there a very long ti■-. And when I
cue out they were gone. So was my
jacket, wbicb I gave to Hal when I
was dancing. Hal was •Y••· Could I
have a glass of water?
 <golcenrod.> L0/28/34 - :as.

122 CONTINUED: 122

Gigi has entered with a sheaf of printouts of drivers
licenses.
GIGI
M.J ... OMV printouts on gyys sold or
rented gold v.w.•s in the last six
months.
M.J. hands them to Andy.
ANDY
· <looking at license)
That's him.
QUINN
OK. Let's go •. Patch, call the
• SWATS, will you. With this little
shitkicker I' ■ not taking chuces.
The cops all rise and are on their way out.
.i
. N.J.
Gi9i. ~11 Belen lludaon and let Mr
know ..•

122A INT. SQUAD ROON - NIGHT 122A

M.J. enters, goin9 to get reNY fort.be raid. SM puts on
her bullet proof vest, one tut fits under clothing. Nikko
is at little distance cleaning out bia cleat. In his casual
civilian clothes be looks atraDgely vulnerable.
N.J.
Kinda defeats t.be purpoH of ■y
■iracle bra. But vbo'a looking?
IIIDO
I be.-: you're onto hill. Good work.
N.J.
Just borseshit luck.
NIDO
I don't think so. You take care out
there.
N.J.
Don't I always?
Re is standing behind her and leans over to almost touch her
hair with his lips ..•
NIUO
I love you, you know.
 <goldenrod) lC/28/94 - 109.

l22A CONTINtJEO: 122A

H.J.
Yes I know.
He goes. H.J. twists in misery and fury ...

123 EXT. CLO FRAHE·HOUSE, OALY CITY - NIGHT 123

CLOSE ON A BLACK DOOR or A BLACK BUS
which opens, and a ski-masked figure, all in black, heavily
armed, pops out. Followed by another, and another, and
another, and another. SWAT disembarks fro■ their jet black
transport at a staging area.

123A EXT. FRAME HOUSE - NIGHT 123A

As silhouetted figures take up positions for the assault --

123B IN'l'. SWAT BOS NIGHT 1238'

Quinn, N.J. watch on tbe infra~red surv.illance ■onitor
inside the bus as the sudovy figures tu• up ~•itions. Th•
radio crackles witb wbiapered infonaation.

124 IN'l'. PETER'S BASINDIT 124

POV througb a cellar window of a 1badovy figure ■oving behind
the trees. PETD hesitates, 10011:1119 out. Re flick• off
lights. Mov•• purpoHfully out of fraM .•• . . IIDR a MOAN
(O.S.).
A band grasps tbe b•n-tl• of vbat looks like a gun; as it is
brought up into a wider view it baa• 10119 barrel wbich
suddenly aboots flaM: a propane barbecue lighter .•.
~
•
125 EXT. ll00S8 - •IGlft' 125
SWAT .,. .rs an lD place.
SWAT CCIIIMDlll
Con bullhorn)
Peter Foley, this is the police.·
Pl•••• COM to the front dOOr and
co• out witb your handa &bOve your
head.
SOUND of a SMOKE ALANt going off inside. Flaaes flicker in
the cellar. The signal is given, SWAT ■ova• in, kicking in
the front door, break through a rear window.
 (goldenrod) 10/28/94 - llO.

126 INT. HOUSE - NIGHT 126

Filling with smoke as SWAT team pours in to the empty
downstairs.

126A INT. SWAT COMMAND - NIGHT l26A

M.J. listens to radio traffic: reporting the scene inside. A
VOICE reports that there's gasoline all over. The place is a
bomb waiting to explode.

127 INT. PETER'S BEDROOM - NIGHT 127

As the door's kicked in. SWAT M■beP enters, sees Peter's
wife sitting up in bed, dinner tray in front of her, TV on, a
bullet through her temple.' Another SWAT M■ber goes to check
the bathroom, pokes door open with barrel of bis ••••ult
rifle, sees the little d09 struftC) up fro■ the shower rod.

127A EXT. HOUSE - NIGHT 121A •

The fire is spread1n9 rapidly tlu:ougbout tbe structure. SWAT
personnel exit as the order is tiven to pull back.
I

128 EXT. DOWNSTAillS - NIGHT 128

Sc:reua are heard coain9 frOII bellind tbe cellar door. SWAT
teaa member kicks in baaeMnt door, looks doWn the stairs
into a wall of fl .... Suddenly out of tbe inferno below, th•
figure of a MAN, bair and clotbea afl&M, lurches up tbe
stairs. He ■akes it balfway up, tllan tbe staircase collapses
and the figure disappears into tbe blaae. Tbe S11AT tea■
member evacuates.

128A INT. SGT BUS NIGIIT 128A

••
•
M.J. ~ 1 1 9 on CM mnitor s"• fl--• be9in to lick out of
th• lCNer 11indi,wa of the house. Rears the :omt"ld to
evacuate and be9ins to run ••• throU9b the bus and out to th•
scene outside where -

129 EXT. HOUSE - NIGHT 129

Coughing SWAT teu Nabers ■ake it to safety before the house
explodes in an enoraous fireball. ·.
CLOSE ON M.J. as she watches everything go up in smoke.
 6/2/95 - lll.

INT. HE~EN'S A?AATMENT - NIGHT

Helen watches the news. Quinn is being interviewed in front o!
the burning house:
QUINN
... nothing official until we dig
through the rubble, but at this
point we think the suspect may have
perished in the fire ...
HELEN
Idiots.
The DOOR BUZZER sounds. Disgusted, she hits the mute button
and crosses to the door, places her eye to the peephole.
HELEN POV - PEEPHOLE
The fisheye effect. TWO UN!FORMED COPS outside.
HELEN
Mike?

COF fl turns. It's Mike. We catch an innocuous glimpse of COP

t2, badge glistening, face obscured beneath the shiny black
brim of his hat. We get the impression they were conferring.
HELEN
The PHONE STARTS RINGING b.g. as she unlatches the door,
starts to swing it open --
HELEN
Don't tell me you both need to use
the boys room.
·-- .a..o.d ~ hit. ldt.ll a .fan~ blood i l Mike's throat i.s.
slasb~ct. Helen reels back SCREAMING as he goes down. Cop t2
leaps over him, sailing through the door like a huge black
bat, blade glittering in his fist. She turns to run, but the
cop broadsides her with a flying tackle that slams her face-
first to the floor. She desperately tries to twist out from
under him, but he's got her struggling and pinned --
~! ~! HHAM! He punches her in the face three times,
methodical and brutal, taking the fight out of her. She
blinks up in terror, nose bloody, dazed and trying to focus,
as her ANSWERING MACHINE clicks on:
M.J. (filtered)
It's M,J. I'm sure you heard on your
.•·.,., scanner. Something's not sitting. I
.v know it's late, but I'm on my way
over. We need to talk.
 6/2/95 - 112.

HELEN'S POV
?eter grins down at her. A hypo seems to materialize out of
nowhere, long and awful, tip glittering and wet --
PETER
Hey Helen, company's coming! We gotta
get you ready. Now, I won't lie to
you, this is really going to hurt.
-- and he plunges the hypo down at us as we
CRASH TO BLACK.
FADE UP FROM BLACK:
EXT. HELEN'S APARTMENT - NIGHT
M.J. pulls up behind the black & white police car parked near
the entrance. She gets out 'Of her car.
ANGLE ON PATROL CAR
as M.J. comes abreast of it and realizes it's empty. Door
open. Coffee in paper cups still on the dash.
M.J.
What the hell.
Annoyed, she heads into the building
INT. APMTMENT BUILDING STAIRWELL - NIGHT
M.J.
Mike?
-- and is halfway up the stairs before she freezes. Rivulets
of drying blood stain the steps above. She unsnaps her
holster and fades againt the wall, gazing up, straining to
listen. She draws her sidearm and thumbs her radio:
M.J.
Officer requesting assistance at Pier
One Fort Mason. Possible breaking
and entering. Need medical backup,
VOICE (filtered)
Copy request !or backup.
She steadies herself, proceeds up the steps
INT. UPSTAIRS HALLWAY - NIGHT
-- and finds a hallway stained with blood. walls streaked and
spattered. There's a long smear on the floor, from one end of
the corridor to the other, A UNIFORMED COP, Mike's partner,
lies contorted where he died. She moves up the hallway, gun
 6/2/95 - 113.
:eveled, eyes riveted co the open door. Nothing there but a
huge red stain across the threshold •. , and darkness beyond.
INT. HELEN'S APARTMENT - ANGLE ON DOOR - NIGHT
M.J. eases into view. Mike's body is gone. We hear the FAINT
BUZZING OF A FLY, She lunges in, swinging her gun in all
directions, trying to cover the entire apartment.
Darkness. Silence.
She ventures further in, flinching at shadows, expecting
demons to come pouring out of the dark.
something moves. She :'l 0 ios .u2 shoot ...
..• and finds herself staring at herelf. She stands for a
breathless beat, pointing her gun ..•
It's a television set. Her' own image grows large on the
screen as she draws close. A camcorder rests atop the TV,
wired in, the image live. Attached to the camcorder is a
post-it note that reads: "Press Pl.ay."
She hesitates, tracking the shadows with her gun, taking no
chances .•. and presses play. An image pops up on the TV screen:
-:"'·•.
Helen in her red dress, unconscious in an easychair. A DARK
.~. ]. FIGURE moves in frame, humm~ng tonelessly, buttoning up the
front of her dress.
With dread fascination, M.J. glances to the same easychair some
eight feet away, now empty. Her eyes go back to the screen as
the dark figure backs up toward camera, appraising Helen, his
body an unfocused blur shifting this way and that •.•
. • . .and he ~uddenlv turns and stoop:; ~ , staring risht .intll
~ .J.e.rLs. ~ a .fQ.a.t. ~ . The autofocus grabs the image, face
monstrously close and distorted.
PETER
Hi there. We join our program
already in progress.
(backing up)
Inspector Monahan. Don't you ever
get tired of being a day late and a
dollar short?
He moves to Helen, crouches next to her, fastening her last
button, his tone conversational:
PETER
You probably think I'm going to
just slit her throat right here and
now. Cut my losses, so to speak.
He gets his face close to Helen's, intimate, smoothing her
collar:
 6/2/95 - 114.

!?ETER
Wrong. You really think I'd get ~er
all dressed up with no place to go?
(lets this sink in)
If you're a smart cop, you'll know
where to find us. And if you're
really smart, you'll come alone ...
(beat)
..• 'cause if you storm in with the
troops, I'll see she dies in
incredible pain. Sincerely,
He raises the tiny camcorder remote, preses a button .•• and
the image vanishes. M.J. is left staring at snow as we
CUT TO:
TIGHT CLOSEUP ON HELEN
as a black bag is pulled off her head. She's drugged, out of
it. A hand reaches into frame, cracks a vial of ammonia under
her nose. She catches a whiff and flinches back.
Peter exits, a dark blur wiping frame. Still in TIGHT CLOSEOP,
Helen starts to come around, but the cobwebs are hard to
shake, Her eyes flutter, trying to focus, trying to figure out
where she is. She looks around, realization dawning, and just
as the horror of recognition creeps into her eyes --
-- .tM ~~St"''") nn ciocb,s tisbt around b u ~ and
jerks h.e.i:: t..2 bu .w.t il CAMERA, RQCKf,TS rn --
INT. BATH~OOM - NIGHT
-- revealing the location for the first time, deja vu in
overdrive, her legs drumming the sides of the stall as she's
hoisted kicking and choking into the air --
STALL #2
Peter's hand slams the wire home, jerking it taut.
STALL tl
·Helen dangles, gaspin<; for breath, clawing at the wire
encircling her throat. Her feet desperately trying to find
the rim of the toilet bowl, toes scrabbling for purchase,
things going from bad to flat-out fucking awful as she sees:
MIKE
slumped against the far wall with his throat slashed, posed
like the cop that Darryl Lee killed. He's being used as
nothing more than a ghastly prop ••.
 6/2/95 - 115 .

..• and here comes Peter looming slowly around the corner,
filling the stall doorway. Over the policeman's uniform, he's
wearing a white lab technician's coat.
l?ETER
No. This is wrong.
He enters, stands very close, pulls off her right shoe, lets
it drop to the floor just as before. He steps back, studying
the composition.
l?ETER
Better.
He turns from the stall, moves to Mike.
PETER
What about him?"Did I get the pose
right? I did the best I could from
the photos.
(no response)
C'mon, help me out here. lll.d i ~
ll.i..nt right?
Helen manages a nod. Peter smiles, calming,
PETER
Good. Everything has to be just so.
He turns to the sinks where a camcorder waits on a tripod. He
peeks through the eyepiece, squares up the shot as:
PETER
God Helen, I used to watch you on
that big screen ••• in your red
dress •.• You always looked so - huge!
Now look at you ••• so sad .•• But look
on the bright side, Helen. I'm going
to make you the world's most famous
victim. And guess what that makes
me?!
He press~s ftrecord,N A red light comes on. He turns to a
sink, grabs a roll of tightly wound fabric
· PETER
You know more books have been
written about Jack the Ripper than
Abraham Lincoln?
TIGHT ON FABRIC
-- and unrolls it to reveal his gleaming array of
surgical
tools, needle-sharp in their sleeves. TILT UF to Peter's
reflection in the mirror in TIGHT CLOSEUP. Gazing at her.
 6/2/95 - ll6.

~E:Tl::P-
Sick world, isn't i~?
CUT TO:

INT. M.J.'S CAR - NIGHT

M.J. has the pedal floored, running every light, police radio
garbled and c::-ackling, dialog overlapping:
QUINN (filtered}
-- you are not to go in alone, you
got that? You are to wait for
proper backup! I want SWAT teams on
site, a hostage negotiator --
M.J.
-- just make sure all units respond
code two
QUINN (filtered}
-- and you acknowledge my order!
I've got one officer.dead and
another missing! You stay out of
that building until backup arrives!
Copy that, M.J.? ~ ?
,-. ,
I.
She floors it, and as the car powers into the-dark mouth of
--
\, ' the Broadway tunnel, we
CUT TO:
INT. BATHROOM - NIGHT
IN TIGHT, SWEATY CLOSEUFS:
A scalpel enters frame, excruciatingly slow, drifting closer
and closer •..
... to the front of the red dress. One by one, the red buttons
spill to the floor like drops of blood. The jacket falls open
to reveal a creamy silk camisole. The scalpel advances again -
puncturing the silk •••
••• and then begins slicing downward with a sinewy whisper of
parting fabric, unveiling a white stomach convulsing with
panic and shallow breaths .•.
PETER (0. 5.)
Careful. Careful •
••. and the scalpel nicks the skin, drawing a drop_ of blood ..•
PETER
See? Now you've gone and cut yourself.
and the scalpel continues to descend ••.
 6/2/95 - 117 .
... as Helen hyperventilates, rapid and shallow, operating
,:)) now on pure animal fear. She clamps her eyes shut, wishing
~iJ this nightmare would go away, knowing it won't ...
l?ETER
{softly)
Helen. I want you to watch. If you do
not, I shall slice off your eyelids,
like Kemper did to that girl. Then
you'll~ to watch, won't you ...
WON' t l.O.l.l ! ! !
Helen, in spite of herself, manages to lift her gaze and lock
eyes with her reflection in the bathroom mirror.
PETER
Good. Good girl. Watch in the
mirror, and you'll see how good I am.
(resumes slicing)
See, old Darryl Lee was going to
take his Bowie and dress you like a
deer, Very backwoods ••• No finesse.
Tongue protruding, engrossed in his work, Peter continues
slicing through the silk camisole. Helen holds her own gaze
in the mirror, scarcely breathing.
PETEii. (CONT'D)
But I've been practicing, You want
to know the trick? ••
He holds the scalpel in front of her face,resting the blade
on her cheek for a moment.
PETER
.•. Small incisions. With a fine
instrument. That way I can make it
laSt'!Or hours. And you will not
believe how long a minute can feel,
Helen.
She shudders as he looks up to her face, then lays his cheek
against her stomach. His upper lip is beading with sweat, his
voice has dropped to a husky incarntation. The scalpel moves
in lazy parabolas, a hair's breadth from his skin.
PETER
We've gotta cut the crap, Helen. Cut
right through it. See, you're going
to do a little striptease for me.
We're going to peel away the skin,
then we're going to cut through all
that fatty stuff till we get to the
deep tissue, Helen. The linea alba.
(MO'RE)
 6/2/95 - 118.
!?ETE:R (CON':'' !J)
The transversus abdominus.The linea
semilunaris ... We've got to get to
the heart of you, Helen. Find out
what makes you tick •..
(suddenly factual)
You know that entrails will steam if
the surrounding air is cooler? I've
seen that, you know.
He sniffs the air suddenly, the connoisseur.
l?ETER
Mmm, Helen, what's that perfume
you're wearing? Really turns me on!
Could it be Eau de :E:.eil?
It is fear. But Helen is desperately trying not to succumb
to that. She's growing more calculated •.• and now brings him
up short with:
HELEN
<icy)
Fuck you.
PETER
(looks up, flustered)
. What?
HELEN
What part of that didn't you
understand? I said fuck you. You
think you inspire my fear?
PETER
I know I do.
HELEN
I'm over it. You want the truth?
You couldn't inspire a bowel
movement, you pathetic, impotent
little shit.
Peter wheels from the stall, his face a mask of pure rage. He
moves towards her, frighteningly angry, He pauses suddenly,
reining it in:
PETER
Oh. Oh. Okay, I get it, I see,
(turns, smiles)
Nice try, Pelen, but here's a little
secret.· I'm on to you ..•
,2) She starts to speak, but he jerks his hand up for silence.
 6/2/95 - 119.
l?ETER
I won't kill you fast, no matter how
much you want me to. This is~ game
and we play by mJi: rules. Understand?
She hesitates, nods. He turns suddenly as a distant EEEP-BEEp-
BEEP-BEEp is heard --
:NT. AUDITORIUM SIDE ENTRANCE - NIGHT
-- which turns out to be a cheap plastic Radio Shack motion
detector BEEP-BEEP-BEEPING away. TILT UP to M.J. staring
down at it, gun leveled, having just come through the door.
M.J.
(tight)
Shit.
She lunges, shuts the gizmo off
INT. BATHROOM - NIGHT
-- as Peter, adrenalin kicking in, grabs a roll of duct tape
from the floor of the stall, tears off a strip
PETER
See, here's where Darryl Lee got
sloppy, he wasn't expecting the
second cop. But I am. And this time,
we do it right.
-- and reaches up, jamming the duct tape over her mouth.
INT. AUDITORIUM CORRIDORS - VARIOUS ANGLES - NIGHT
M,J, moves through the corridors ••• weapon raised and sweeping
the shadows ••. nerres working overtime ••• nearing the bathroom ...
INT. BATHROOM - NIGHT
The door kicks open, An automatic pistol looms into view.
M.J. appears, fierce and determined. She glances in, sees
nothing but Mike's corpse, enters past the privacy screen,
her reflection rippling •••
.•• and finds Helen strung up in the stall, mouth duct-taped,
eyes hellishly alive and frightened, jerking and frantic.
M,J. motions her to be calm just like another cop once did •..
.•• and scans the bathroom, trying to figure out where Peter
is. In one of the stalls? Maybe. But first .••
,.-,~ •.. she eases to the janitor's closet and wrenches open the
-.,..,,.'/
·-' door. A ~ .Q.f ™ .ang janit Oria 1 sm:ip) i es ~ trn'!lbl i pg
.Q.1.1.t, ~carreriog acro~s the floor. M,J., shaken, turns to
face th·e stalls. That's the. only place he could be.
 6/2/95 - 120.
She kicks the first door open, gun leveled. Empty, She moves
on, blinking sweat, tense as a live wire ..•
TRACKING HER FEET
as she moves to the next stall, kicks it open --
ANGLE ON STALL
-- revealing it empty as well.
M.J.
proceeds past Helen's stall, where Helen is twitching and
jerking :furiously, trying to get her attention. M.J. barely
takes notice, assumes she's just panicking --
TRACKING HER FEET
-- and moves carefully to the next stall. Behind her, we see
the dead cop ~lumped against the wall ..•
••• AC.a th.a corpse starts~ mcxe,·ris'o; swiftly and
silently~ his. fiAt .a.s. --
M.J.
~- kicks the stall open, gun leveled, stunned to see --
·.:::'
.f,,,.""'
ANGLE ON STALL
-- w u..u W.U propped .on the toilet lilth .f.e.e.t. ~ .a.ru:i
throat sla~hed, ~~staring.
TIGHT ON M.J.'S GUN
We hold :for a long, frozen beat •••
••• and a tbird hand eases into frame, moving up her wrists to
take the gun from her hands in an exact echo of Darryl Lee.
PAN TO REVEAL Peter standing close behind her, bowie knife
pressed to her throat.
PETER
That's my·gun. Now what in the world
are you doing with my gun?
Eye contact between the women, hopeless and stunned
PETER
C'mon, Ooc. You're the expert. What
do I do in a situation like this? Oo
I stick her or shoot her, shoot her
or stick her?
 6/2/95 - 121.

and M.J. tries to break free, smashing her heel down on his
~ instep, not ready to give her life up to this motherfucker,
J) and he bellows in pain, spins her away, and --
BI,AM! The first round passes through her collarbone in a
stunning spray of blood, BULLET SHATTERING THE HUGE MIRROR
behind her in a cascade of spinning fragments and --
~ ! Peter puts the second bullet dead center in her chest,
sending M.J. sliding down the wall in a long red smear --
He spins to Helen, f~ying high:
PETER
Watch Helen, this is perfect!! ••.
Helen screams under the duct tape, a high keening whine,
helpless, unable to do anything but watch •..
•.. as Peter turns. M.J.'s bleeding like hell, passing out,
going into shock. Peter moves towards her, blade gleaming in
his fist, pieces of broken mirror CRUNCHING under his heels ...
Peter looms over M.J., grabs a handful of hair, slams her head
back against the wall to expose her pulsing throat ••.
.•• and eases the blade down for the kliling stroke •••
.• , TIGHT ON HELEN
Her eyes go cold, calculating, glacial. It's like a sheet of
ice descends in her gaze. Enough of this shit .••
••• .a.o.a ~ s~eps ill .tlle. .tim S2.! thA toilet. hanging bcrself.
PETER
whips around, sees Helen strangling
PETER
What are you doing?
-- and he leaves M.J., hurrie~ to the stall --
PE'l'ER
.•• no, no, no. You don't get out·
that easy. Not even close.
-- puts his arms around her, trying to hoist her back up --
PETER
Get up there! Get your feet up there!
but Helen stays limp, won't find her footing --
PETER
HELEN, I MEAN IT!
 6/.2/95 - 122.
but she still refuses to cooperate, Peter, panicky now,
lets her go and dashes into
STALL 12
-- where he wrenches wildly at the release buckle, but the
tension is too tight
STALL #l
-- and Helen's really ~traogljng now, face going dark --
STALL #2
-- and Peter, desperate, raises the gun and FIRES point-blank,
blowing the buckle away in an explosion of bathroom tile --
STALL #l
-- which sends Helen CRASHING massively to the floor in a
tangle of steel wire and shattering porcelain. She rips the
tape off her mouth and tugs at the loop around her neck,
gaining a few precious inches of slack, sucking a great
ragged lungful of air down her bruised windpipe, desperately
trying to remain conscious now that it really counts --
-- and it really d.Q.e.s count, because here come Peter's feet,
...., exiting the next stall, and she knows she's got only a second
~ or two to snatch one of the gleaming shards of mirror off the
floor, and she makes a grab for it, cutting her hand but not
caring
-- and Peter enters the stall to find her gasping and weak,
leans down to help her --
PETER
Good try, Helen ...
-- and she lunges up with a furious cry, slashing the shard.
of mirror deep into Peter•s·thigh.
Peter falls in writhing agony to the bathroom floor, clutching
his leg as bloon pours through his fingers onto the tile -- .
Helen wrenches the wire loop off her neck, lunging to her
feet, racing from the stall past Peter toward the exit --
HIS HAND
lashes out, grabs her ankle --
HELEN
falls, slamming to the floor, Peter trying to grab her
thrashing legs as she desperately erawls away, evading the
mirror shard as she tries to slash at him --
 6/2/95 - 123.
PETER
YOU WANNA PLAY? YO!J WANNA PLAY?
He goes for bowie knife, pulls it from his belt
but she's quicker by a heartbeat, thrusting a seeking hand
up to the sink, grabbing a glittering scalpel, twisting around
and driving it into his face, carving a deep gash in his
cheek. Peter falls back SCREAMING, trying to work the scalpel
free. Helen pushes to her feet, slamming out the door --
INT. CORRIDOR - NIGHT
- and flees up the hallway, limping, the shard of mirror
still clutched in her bleeding hand. Behind her, Peter bursts
from the bathroom with the knife, raging and half-blind,
staunching his wounds with his sleeve --
-- and she presses on, losing him in the corridors, twisting
and turning in one direction after another like a hot-wired
rat in a maze, not sure which_way to go --
INT. STAIRWELL - NIGHT
-- and she finds herself going up some steps, turning a corner
at a landing, going up some more steps, heading toward:
~ 1 A DOOP..
~i
The emergency kind, with a bar handle that you have to push.
She shoves against it, the door swings open --
-- ,..evealing t.b.A ~ outside world, .c.i.t¥ lights rwioklinq u
tu i:au .c.an .sJ:.e. The roof. Helen freezes, panic
.f.al: .a.s.
slamming through her. The world beyond the door weaves and
dances before her eyes. She flails out with her hand, grabs
the door, slams it shut again. Safe now. Safe ••.
..• and then she hears him coming up the steps, huffing and
puffing, footsteps echoing and hollow. She· turns, ever so
slowly, sees his shadow spilling up the wall from below •.•
... and he comes into view at the landing, a dark silhouette
with a gleaming knife, peering up at her.
He starts trudging up the steps. She holds out the shard as
if to ward him off. He laughs softly and just keeps coming:
PETER
This is funny. I mean, all you gotta
do is go out that door. But you
can't, can you?
@ No. She can't. She presses further back into the shadows.
 6/2/95 - 124.
PETER .
Has it occurred to yo~, Helen ...
you might be the first person in
history .•. to die of agoraphobia?
He laughs once, a harsh echo in the stairwell ..• and keeps
corning up, closer, almost within reach now ...
HELEN
closes her eyes, hand trembling, seeking, trying to make the
toughest decision of all, hand finding the door ...
. . . .an.a ~ slarnf it. .Qiail i l E'"'ter J unges w;i. --

EXT. ROOF - NIGHT

Helen throws herself out the door, trying to run, the panic
making her knees rubbery --
Peter exits the stairwell behind her, his face a tattered
bleeding ruin, following her --
-- and she keeps going, world spinning queasily, roof tilting'
beneath her feet, grabbing a ventilation pipe to keep from
falling, staggers dizzily on, grabs the next one, keeps going,
still trying to escape --
-- but he catches up easily, hobbling beside her gleefully as
she lurches unsteadily on-~
PETER
Helen! Great news! Looks like I
cured you!
-- taunting her with the knife, making quick threatening jabs
like a kid tormenting an animal with a stick
PETER
You've been locked up in the house •••
for over a year,,,
-- and she lashes out with the mirror shard, trying to strike
back, but he evades it easily, knocks it from her hand, keeps
circling like a schoolyard bully, jabbing and taunting with
the blade --
PETER
And yon'r;e ~ ~ sonna tbank me?
-- and we realize that the trees are THROBBING WITH RED AND BLUE
LIGHTS. We hear cars SCREECHING to a stop. Suddenly, a brilliant
~~... spotlight erupts from the sky above their heads, probing,
3_..: turning night into day. The glare is harsh, incredible, surreal.
Peter b~inks up, covering his eyes as it ROARS overhead with a
CLATTER OF ROTORS, pinning them in a circle of holy white light.
 6/2/95 - 125.
PETER
Whoa. Look ...
He grabs her, gets her in a chokehold from behind, spins her
around and around in a circling glare
PETER
.•. it's the news! Perfect. We're
going out live, Helen!!!
-- and he raises his bowie knife to her throat for the final,
quick, violent slash --
-- and we barely hear the gunshot above the helicopter noise,
but a bullet shears through his shoulder, leaving a gaping,
bloody hole. He drops his knife, goes to his knees. Helen
turns, sees:
M.J. in the shadows, shivering, gun wavering in her textbook
two-handed grip. She glances to Helen. Come toward me.
Helen starts forward, but M.J.'s gaze snaps past her --
M.J.
Don't!
Helen looks back and sees Peter groping for the knife, sees
~'; him struggling to rise --
':i.:X.
PETER
starts laughing, his grin mirthless and bloody.
PETER
You stupid bitches are all the same.
CLOSEUP ON M.J.
Trembling. She's weak from shock, loss of blood, her gun arm
droops with the burdening weight of the pistol ..• Then --
PETER
snatches up the knife, lunging to his feet and hurtling
toward Helen with a PROLONGED WAIL of lunatic rage--.
M.J.
starts FIRING. Emptying the clip.
PETER (SLOW MOTION)
takes every round, SCREAMING and getting shredded to pieces,
bullets chewing through him, driving him to his knees --
-- and the last shot takes him right between the eyes,
snapping his head back, slamming him flat.
 6/2/95 - 126.

ANGLE LOOKING STRAIGHT DOWN

at Peter's dead face. Or what's left of it. All we hear now is
the GHOSTLY CHATTER of police radios and the surreal THUMPING
OF HELICOPTER ROTORS. CAMERA RISES SLOWLY, DRIFTING UP AND UP,
leaving Peter sprawled and lifeless on the roof as we
DISSOLVE TO:
EXT. AUDITORIUM - NIGHT
M.J. is trembling, covered with blood from the wound in her
collarbone. PARAMEDICS lift her kevlar vest away, revealing a
massive bruise where the fatal shot was deflected. She's
dopey with shock, unaware how hurt she is:
M,J.
I think I maybe busted some ribs.
l?AAAMEDIC
I think maybe you did.
(to his partner)
Gimme a pressure pad here.
·rhey apply the pad to her wound, easing her back on the
gurney. She blinks up, seeing Quinn.
""'.'-; QUINN
....... Good work, Inspector •
M.J.
(voice small)
I don't think so, sir.
QUINN
Don't you give that shit-stain
another thought, M.J. Not another
thought. You hear me?
The Medics rush the gurney to the ambulance, loading her in.
Quinn turns and sees Helen, a blanket draped around her.
HELEN
Can I ride with her?
Quinn takes her arm, guides her through the crush of bodies --
QUINN
Let the lady through.
-- and helps her into the ambulance. The doors are slammed.
The vehicle departs in a glare of minicam lights as Susan
Schiffer hungrily delivers a live report •••
,. ,,
~\
s;;;,,' INT. AMBULANCE - NIGHT
Helen rides alone with M.J., save !or a watchful paramedic.
M.J. looks up, recognizes Helen, gives her a smile:
 6/2/95 - 127.
M.J.
Hey. You got out of the house.
Helen laughs, trying not to cry.
HELEN
Yeah, I guess I did.
M.J. takes Helen's hand, gives it a comforting squeeze.
M.J,
Gonna l:>e okay?
Helen has to laugh again, l:>ut this time the tears~ come.
HELEN
Gonna try,
EXT, RISING AERIAL SHOT - NIGHT
We follow the aml:>ulance as it speeds through the city
streets, l:>laring through intersections, turning corner,
growing smaller and smaller l:>elow us as:
OAAAYL LEE (V.O,)
Dear Conrad. Got your letter, and
can't tell you how much it meant to
me. I can see you're a very sensitive
person, which is why folks don't
understand you. Folks just don't
appreciate a sensitive man •.•
SLOW DISSOLVE TO:
INT. PRISON CELL - DAY
We find Darryl Lee hunched over his tiny desk, scril:>bling away
as ANGLE WIDENS SLOWLY OUT.
DARRYL LEE (V. 0. )
••• I'm pleased you share my keen
interest in Or. Helen Hudson. Just
so happens, I have a pair of her
undies that she signed personal to
me, a priceless .collectors item I'm
sure you will agree. Now remember,
Conrad, the disciples of Jesus went
forth and spread his holy word
throughout the land. So in return, I
would like you to attend to a little
unfinished business of mine ••• I
like to think of her as my
unfinished symphony •••.
FADE TO BLACK,
THE END