VOTE | 13 fans

Script VO

Ce script VO a été migré dans le guide de l'épisode.

FADE IN:
1 INT. COFFEE HOUSE - DAY 1
Jess and Hunter are having coffee, quietly reading the
newspaper. Hunter keeps glancing up at her, clearly bugged
about something. Finally, he puts his paper down in
frustration.
HUNTER
You've been back for a week and you
haven't told me anything about
Chicago.
JESS
There's nothing to tell. Just a *
dull, boring case. Dull. Dull.
Dull.
She gives him a winning smile and goes back to her reading.
HUNTER
Even the part about going undercover
as somebody's wife? *
She lowers her paper and stares at Hunter.
JESS
You knew?
HUNTER
Some guy named "Jack" left a message *
on your machine while you were in
the shower. Said how much he enjoyed
being your husband... even if it was
only for a few days in a hotel room.
JESS
And you waited all this time to ask?
HUNTER
I wanted to see if you'd tell me.
He lets the obvious conclusion hang there...
JESS
See, that's exactly why I didn't
tell you. Because I knew you'd jump
to the conclusion you just jumped
to.
(CONTINUED)
PINK: 11-12-03 2.
1 CONTINUED: 1
HUNTER
I didn't jump to any conclusion.
You jumped there for me.
JESS
I'm not hiding anything.
That's when her beeper goes off. Damn.
JESS
Work. I've got to go.
HUNTER
Jess, wait --
She marches out, frazzled. Troubled, he watches her go.
2 INT. FBI HQ - CONFERENCE ROOM - DAY 2
Coyle has gathered Brooke, Sunny, and Jess.
COYLE
A few months ago, while investigating
the abduction of a Senator's wife,
we encountered a very special young
woman who had visions of missing
persons in her dreams... and we built
a task force around her.
Coyle glances at Jess, who leans over to Brooke and says:
JESS
He knows I'm sitting here, right?
COYLE
(smiles at her:)
It was a gamble, but it has paid
off. Our success rate has far
exceeded even the most optimistic
expectations. I'm proud to say the
good work you've done hasn't gone
unnoticed or unappreciated in DC.
SUNNY
Does that mean we're getting raises?
COYLE
Unfortunately, no.
JESS
Extra vacation?
(CONTINUED)
PINK: 11-12-03 3.
2 CONTINUED: 2
COYLE
We're getting a high-priority special *
assignment, directly from the deputy
director's office.
SUNNY
Oh, goody.
Coyle taps a few keys and a WOMAN in her LATE 20s appears on
the screens. She's attractive, impeccably dressed and
coifed...very corporate.
COYLE
This is Brianna Norton, 28, a New
York-based employment diversity
consultant. She disappeared on a
business trip to St. Paul a month
ago.
Jess glances at the screen...then gets up from her seat to
examine the image closer, her back to the others.
BROOKE
Do the police have evidence that she
was abducted?
COYLE
Ask them and find out.
BROOKE
You don't know?
COYLE
I've just told you everything DC
gave me.
SUNNY
They've been on this a month and
that's all they have?
COYLE
If they've got more, they aren't
sharing it. When I pressed them, I
was told the details are on a "need
to know" basis only.
SUNNY
That's ridiculous. We "need to know"
if they really expect us to find
her.
BROOKE
Unless they don't. Unless this is
some kind of test. *
(CONTINUED)
PINK: 11-12-03 4.*
2 CONTINUED: (2) 2
SUNNY
What is there to test?
BROOKE
Not what...who.
Brooke turns to Jess, who gazes back levelly. *
JESS *
Whatever it is, I can take it. *
BROOKE *
Then let's get started. *
Brooke and Sunny start to leave. Jess goes to follow them, *
but Coyle calls to her. *
COYLE *
Jess... hang on a second. *
(she turns back to *
him) *
Look... this is going to be high *
profile. There will be pressure. *
Jess looks a little... unclear. Preoccupied. *
JESS *
So... *
COYLE *
So I just want you to be ready for *
it.
JESS *
I'll be fine. *
But something serious is coming over Jess. Coyle looks at *
her closely. *
COYLE *
You don't look fine. *
And we SEE that Jess's HANDS are CLENCHED INTO FISTS... and *
she's TREMBLING.
Concerned, Coyle moves to her, but Jess is staring wide-eyed *
at the COMPUTER SCREEN, with the picture of Brianna on it, *
FROZEN. We PUSH INTO JESS' eyes and we're... *
IN THE DREAMSCAPE
Brianna is running across a BRIDGE in the heart of a CITY.
There are DISTINCTIVE STREETLIGHTS (or other architectural
features) on the BRIDGE. She is being chased by IDENTICAL
MEN in IDENTICAL BUSINESS SUITS carrying IDENTICAL BRIEFCASES.
(CONTINUED)
PINK: 11-12-03 5.
2 CONTINUED: (3) 2
One of the PURSUERS smiles, revealing his HIDEOUS, SHARKLIKE
TEETH. He flies at her with super-human agility,
tackling her face-first to the ground... he rolls her over...
but she's not Brianna anymore... she's JESS.
BACK TO SCENE
Jess SNAPS out of the vision with a SCREAM... scrambling
away from Coyle, landing on her back in a corner, hugging *
her knees to herself. Coyle goes to her, crouching beside *
her.
COYLE *
Jess... it's me. Alan Coyle. *
Jess glances up at him and, for a FLASH, COYLE HAS FANGS AND *
A FEROCIOUS FACE, just like in the dream. Jess blinks hard... *
looks at him again... AND HE LOOKS NORMAL, staring at her *
with deep concern.
JESS
I had a vision... just now, standing *
there... it attacked me...just like
they attacked her. *
COYLE *
Who are they? *
Jess shakes her head... FLASHES on her PURSUERS SHARK-TOOTHED
SMILE.
JESS
She's in horrible danger... if we
don't find her before they do, they'll
rip her apart.
And on her trembling fear, we FADE OUT.
END OF TEASER
PINK: 11-12-03 6.
ACT ONE
FADE IN:
3 INT. FBI HQ - NIGHT 3
Brooke leads Jess to the elevator, her arm around her.
BROOKE
Are you sure you don't want me to
drive you home?
JESS
I'll be fine. You have work to do.
BROOKE
You're still shaking.
JESS
I just need some rest.
BROOKE
If you don't feel right in any way
at all, you call me... no matter
what time it is...and I'll be there.
Jess smiles appreciatively and gets into the elevator. As
soon as the doors close, Brooke hurries back to Sunny's
office, where Sunny and Coyle are leaning over the computer.
SUNNY
I found a bridge that matches the
one Jess described from her vision. *
Look... it has these reproduction *
gas-lamp lights, just like she said. *
BROOKE
Where is it?
SUNNY
Philadelphia.
Coyle whips out his cell phone and glances at Brooke as he
speed-dials.
COYLE
I'll have the jet waiting for you on *
the runaway.
4 INT. FBI HQ - PARKING STRUCTURE - NIGHT 4
Jess walking to her car, talking wearily on her cell.
(CONTINUED)
PINK: 11-12-03 7.
4 CONTINUED: 4
JESS
I'm not ducking anything, Hunter. I
just need to get some sleep. Yeah,
tomorrow.
She drops the phone in her purse, takes out her keys, unlocks
the door, and opens it, not noticing that the INTERIOR LIGHT
DOESN'T GO ON... not noticing until she's inside that THERE'S
A WOMAN SITTING THE PASSENGER SEAT. Jess gasps in surprise
and starts to scramble out again when the woman grabs her...
WOMAN
Relax, Jess. Sit down.
Jess takes a good look at her... relaxing a little when she
sees the woman is not much more than her own age, dressed
conservatively.
WOMAN
Please. You might attract attention.
JESS
I might want to.
The woman flashes the FBI ID in her free hand.
KAREN
I'm Special Agent Karen Moore,
Inspector General's office.
JESS
Inspector general. Isn't that like...
Internal Affairs for the FBI?
KAREN
(nods:)
Now will you please close the door
and sit down?
Jess does.
JESS
Why were you in my car? Why did you
take out the light?
KAREN
This investigation has been going on
for months. Telling you even a piece
of it could jeopardize the whole
thing. But I can't just watch it
happen without warning you... or I'm
as guilty as they are.
(CONTINUED)
PINK: 11-12-03 8.
4 CONTINUED: (2) 4
JESS
What investigation? What are you
talking about?
KAREN
You have to understand, I can't give
you a lot of details.
JESS
Right now, one detail would be a big
step up.
KAREN
You came to the Bureau because you
had dreams about missing persons.
But recently, you've started to have
waking visions... and each one pushes
you closer to the edge of sanity.
JESS
How do you know that?
KAREN
We've accessed their computer files.
They're very precise about what
they're doing to you. Which drugs
they're giving you. Exact doses and
exact results.
JESS
Drugs? Who's doing this to me?
KAREN
The subjects of our investigation.
Brooke Haslett and Alan Coyle.
They had bounced to the bottom rung *
of the Bureau until they found you.
Now they're using you to resurrect
their careers.
JESS
(stunned:)
No. I don't believe it. I work
with these people.
KAREN
You work for them. And you mean as
much to them as the guy who cleans
the bathrooms. They're performing
unlicensed medical experiments on
you. Even the IG's office is willing
to watch you spiral into madness if
it lets them bring down Haslett and
Coyle.
(CONTINUED)
PINK: 11-12-03 9.
4 CONTINUED: (3) 4
JESS
Then what are you doing here?
KAREN
I want to bring them down, too. But
not at the cost of your sanity. If
we work together --
JESS
(interrupting)
I have a better idea. I'm going to *
tell Brooke everything you said, and *
let her clear it up. *
KAREN
If that's what you need to do, I
can't stop you.
JESS
No, you can't.
KAREN
I accepted that risk when I chose to
reveal myself to you. But do me one
favor before you destroy our
investigation.
JESS
What's that?
KAREN
Take a hard look around you.
And with that, she turns and gets out. Jess watches after
her, wondering.
5 EXT. BRIDGE - NIGHT 5
CHYRON: PHILADELPHIA. The bridge is exactly as it was in
Jess' dream... only now Brooke is standing on it, alone, her
car parked behind her, the HEADLIGHTS on, back-lighting her.
It's not so much a bridge as it is an OVERPASS. Brooke walks
along, not quite sure what she is looking for. She hears a
CAT screech below the bridge. She glances over the side and
sees a CAR parked in the shadows.
6 EXT. UNDER THE BRIDGE - NIGHT 6
Brooke approaches the car and right away the SMELL hits her.
She covers her nose and aims her FLASHLIGHT at the
car...revealing a cat who HISSES at her, then runs away. We
also see a ENCORE RENT-A-CAR sticker on the bumper. As she
get closer, she casts her beam into the car TO REVEAL...
RATS scurrying away... away from A DEAD MAN IN A SUIT sitting
behind the wheel, his THROAT SLIT. And we DISSOLVE TO:
PINK: 11-12-03 10.
7 INT. FBI HQ - DAY 7
Jess comes in... and things look just a little different.
She walks past an AGENT, who closes a file just as she gets
close to him... TWO OTHER AGENTS deep in conversation stop
talking as she walks past... a THIRD AGENT closes a laptop
as she approaches. Jess tries to ignore all this as she
marches over to Brooke's office... but Brooke's not there.
Just a COMPUTER TECH who's working on Brooke's computer...
and who blanks the monitor as she comes in.
JESS
I was looking for Brooke...
He just stares at her. She backs out and goes to Sunny's
office. As Jess approaches, she sees Sunny whispering to
someone on the phone. Sunny sees her and quickly hangs up.
Jess eyes her suspiciously.
SUNNY
Hey, how are you feeling?
JESS
I've got to talk to Brooke.
SUNNY
She's in Philadelphia. That's where
the bridge is -- you know, the one
in your vision.
JESS
Then shouldn't I be there, too? Why
didn't somebody call me?
SUNNY
You went home to rest.
JESS
That never stopped anyone before. *
Jess turns and marches out, heading for Coyle's office, when
she spots him in the KITCHEN, having a HUSHED CONVERSATION
with ANOTHER AGENT, which abruptly ends the instant Jess
comes in. Coyle covers quickly.
COYLE
(to agent:)
That's a good lead, Erskine. You
follow up on that.
The agent hurries out, Jess not buying the performance.
JESS
What was that all about?
(CONTINUED)
PINK: 11-12-03 11.
7 CONTINUED: 7
COYLE
Another case. Nothing that concerns
you.
He gets up and POURS THEM EACH A CUP OF COFFEE.
JESS
Like whatever is going on in
Philadelphia? Why are you keeping
me out of it?
COYLE
I'm not.
JESS
Then why wasn't I called when you
got a lead?
COYLE
Because I was concerned about you.
We all were. Besides, we didn't
have much then.
He hands her a CUP. She drinks from it.
JESS
Does that mean you do now?
Coyle shrugs and heads for the door.
COYLE
That's what Sunny's trying to figure *
out. Let's ask her.
Jess follows him and we cut to:
8 INT. FBI HQ - ANALOG BOARD - DAY 8
Jess, Coyle, and Sunny stand by the ANALOG BOARD, which is
covered with PHOTOS of BRIANNA, the CAR, the BRIDGE, and
other details relating to the murder in Philadelphia. Jess
sees a photo of the VICTIM... JACK BOYD...and FLASHES to her
VISION... he's ONE OF THE FANGED MEN who was chasing Brianna.
COYLE
You recognize him?
JESS
From my vision. He was one of the
monster-men who was chasing me... I
mean, he was chasing Brianna. *
COYLE
He's not chasing anyone now.
(MORE)
(CONTINUED)
PINK: 11-12-03 12.
8 CONTINUED: 8
COYLE (CONT'D)
He's a corpse. His name is Jack
Boyd, a sales rep for a tile company.
He was stabbed to death and left in
his rental car. The M.O. fits a
string of unsolved killings of
business travelers in Cincinnati,
Des Moines, and Kansas City.
He points to photos of the victims. We recognize them and
so does Jess.
JESS
I've seen them before. They were
all in my dream. What's their
connection to Brianna?
SUNNY
We don't know. We can't even figure
out how they're connected to each
other. Ernest Faron was an investment
advisor for mid-size municipal
governments. Frank Waterman designed
industrial computer systems. Ward
Kemp sold insurance.
COYLE
Did they ever get employment diversity
training from Brianna?
SUNNY
No, and neither did anyone else at
their companies.
JESS
They are connected. Somehow. I saw
them together. I saw -- I felt --
them chasing me. I knew what they
were going to do if they caught me.
COYLE
You mean Brianna. They were chasing
Brianna.
JESS
Whatever. They were part of
something... something big, something
dangerous, something... evil.
SUNNY
If they were, they sure did a good
job of keeping it quiet.
(CONTINUED)
PINK: 11-12-03 13.
8 CONTINUED: (2) 8
JESS
I'm serious. I don't see why you
won't --
She glances at HER OFFICE...only now it's a HOTEL ROOM.
Brianna lies on the bed, her arms tied to the bedposts...a
MAN IN A SUIT standing at the foot of the bed, his back to
us. A TOY CAR races around a track on the floor. Jess takes
a step towards the room, and the man (DAN SLATER) whirls
around...his HANDS are BEAR CLAWS... his teeth are RAZOR
SHARP. He snarls and lunges at Jess, who shrieks, staggering
back and throwing her arms protectively over her face...
COYLE
Jess?
Jess lowers her arms... HER OFFICE is just an OFFICE. Coyle
and Sunny are staring at her.
JESS
He's going to kill her...
And on Jess, disoriented and afraid, we CUT TO:
9 INT. FBI HQ - SUNNY'S OFFICE - LATER 9
Coyle fills a coffee cup and puts it down in front of Jess,
who is sitting in a chair, knees drawn up, hugging herself.
Sunny types at her computer.
JESS
...his hands were claws.
SUNNY
Like a hawk? A crab?
JESS
No, they were hairy. Paws. Like a
wolf or -- no, a bear.
SUNNY
What about the hotel room? Can you
remember anything about it?
JESS
It was just a hotel room. There was
a bed... and a bedspread. It was
blue, with gold flowers. But not
real flowers, that French design.
SUNNY
Fleur-de-lys?
(off her nod)
Something like this?
(CONTINUED)
PINK: 11-12-03 14.
9 CONTINUED: 9
Sunny shows her a computer image of the bedspread. Jess
nods -- That's it. Sunny continues typing and clicking as
she explains:
SUNNY
Makes life a little easier. Hotel
chains order bed linens designed
exclusively for them. The FBI *
maintains a database of the patterns *
and fiber compositions. *
JESS
Why?
SUNNY
Same reason we keep track of *
anything...tire treads, inks, Colonel *
Sander's secret blend of eleven herbs *
and spices. For identification *
purposes.
JESS
You know the Colonel's secret blend?
Sunny looks up triumphantly from her screen.
SUNNY
Is this the bedspread?
Jess looks.. it is.
SUNNY
It's made by Delcourt Linens for the *
Belmont Crest hotel chain. There *
aren't more than a couple dozen across
the midwest.
COYLE
(to Jess:)
Do you remember anything else?
JESS
There was a toy car on the ground,
running along a track.
SUNNY
There's a Belmont Crest hotel at the
racing grounds in Madison, Wisconsin.
COYLE
I'll get Brooke there.
JESS
I have to go, too.
(CONTINUED)
PINK: 11-12-03 15.
9 CONTINUED: (2) 9
COYLE
I need you here. We'll get a sketch
artist in to work up a description
of your man-bear. In the meantime,
try to relax.
He hands her the coffee cup.
10 INT. FBI - JESS'S OFFICE - DAY 10
Jess comes in, carrying her coffee. Nearly drops it when
she finds Karen Moore standing inside.
KAREN
That vision certainly came at a
convenient time.
JESS
What are you doing here, Agent Moore?
KAREN
I'm an agent from Denver, working on
a routine fugitive case... and oops,
I just accidentally wandered into
the wrong office. Which way to the
lounge?
JESS
You're taking a big risk talking to
me here.
KAREN
I saw what happened and I'm worried.
My bosses sent me here to gather
evidence against Coyle and Haslett.
And that's all I'll do... unless you
want my protection.
JESS
I don't need any protection from
Brooke.
KAREN
No, I guess you don't. I'm sure
you've already talked this all over
with her, and everything's fine.
JESS
I will. As soon as she's back.
Karen walks to the door, then stops.
KAREN
By the way, how's the coffee? I
hear Coyle brews it nice and strong...
(CONTINUED)
PINK: 11-12-03 16.
10 CONTINUED: 10
JESS
It's fine.
KAREN
Kind of makes you wonder, though...
why he didn't drink any while he
kept pouring it down your throat?
And with that disturbing thought, she goes. Jess watches
her, dismissing the thought... she starts to take a sip of
the coffee... then puts it down. Staring at it. Wondering.
Then POURS IT into the nearest potted plant.
11 INT. BELMONT CREST HOTEL - DAY 11
CHYRON: BELMONT CREST HOTEL, MADISON WISCONSIN. Think the
Ritz Carlton or The Four Seasons. This is in the same league.
Brooke marches up to the front counter with several FBI agents
in tow. She FLASHES her ID at the startled DESK CLERK, 30s.
BROOKE
Brooke Haslett, FBI.
She holds up an amazingly accurate COMPUTER RENDERING of the
man Jess saw in her vision, minus the fangs and claws.
BROOKE
Is this man a guest here?
CLERK
Yes, ma'am. That's Dan Slater.
Suite 2410.
12 INT. BELMONT CREST HOTEL - CORRIDOR - DAY 12
As Brooke approaches room 2410 with several agents as backup.
There's a DO NOT DISTURB placard hanging from the
doorknob. She takes out her gun, slips the card-key into
the lock, and KICKS THE DOOR open.
13 INT. BELMONT CREST HOTEL - ROOM 2410 - DAY 13
She moves through the suite, heading for the bedroom. It's
the SAME BEDROOM we saw in Jess' vision... only the victim
gagged and tied to the bed isn't Brianna... it's SLATER...
and he's been stabbed to death. And on Brooke's confusion,
we CUT TO:
14 INT. BELMONT CREST HOTEL - BAR - DAY 14
Very slick, very swanky. Brooke is talking to the BARTENDER,
a good-looking, male-model type in his 20s. Behind her, the
LOBBY is filled with FBI agents, cops, CORONERS, etc. The
hotel has become a crime scene. She shows the bartender
Slater's DRIVER'S LICENSE, which is in an evidence baggie.
(CONTINUED)
PINK: 11-12-03 17.
14 CONTINUED: 14
BROOKE
This is Dan Slater. Do you remember
him? According to his hotel bill,
he had dinner and drinks down here
last night.
BARTENDER
Yeah, he sat on the same stool you're
sitting on.
BROOKE
Was he alone?
BARTENDER
I wish.
Brooke looks at him quizzically.
BARTENDER
I was chatting up this hot woman,
really thought I was getting some
where with her, if you know what I
mean...
BROOKE
(ironic) *
A guy like you must do all right. *
BARTENDER
(not getting it) *
Yeah, it's a killer job from that *
angle. But then this guy sat down. *
You would've thought he was Tom Cruise
the way she dumped me and scooted
over to him.
BROOKE
Did you happen to hear what they
were talking about?
BARTENDER
He was doing all the talking. Mostly
whining about how he was too artistic
to be wasting his life hawking sofas.
Who knew women got off on self-pity?
BROOKE
What makes you think this one did?
BARTENDER
She went up to his room with him,
glued to his arm. I watched them go
to the elevator. I'm a big loser,
pity me, that was his approach. I *
mean, that never works. It was weird. *
(CONTINUED)
PINK: 11-12-03 18.
14 CONTINUED: (2) 14
Brooke considers this a moment, then reaches into her purse,
pulls out a photograph, and shows it to the bartender.
BROOKE
Is this her?
BARTENDER
Yeah. Only her hair was shorter...and
she's got blue eyes now.
Brooke turns the photo around to look at it again...and we
see it's BRIANNA.
BROOKE
Thanks for your help.
She slides off the stool and takes out her cell phone, her
face tightening in anger and she speed-dials.
BROOKE
(into phone:)
Alan, it's Brooke. We're being played
by D.C. Brianna Norton isn't a
victim. She's the killer.
And on her look, we FADE OUT.
END OF ACT ONE
PINK: 11-12-03 19.
ACT TWO
FADE IN:
15 INT. BELMONT CREST HOTEL - ROOM 2410 - NIGHT 15
The crime scene crew is gone. It's dark. Only a table lamp
is on, illuminating the BLOODSTAINED BED. A man in his 40s
comes in, stands at the foot of the bed, and looks at the
stained sheets.
WYRICK
I don't know what smells worse...
the decomp or the dead guy's cologne.
What do you think, Agent Haslett?
He turns deliberately to see Brooke sitting in a chair in
the corner.
BROOKE
Let's see some ID.
He reaches carefully into his jacket, takes out his ID, and
tosses it to her. She catches it with one hand, glances at
it.
BROOKE
Edward Wyrick, Deputy Assistant
Director, FBI. I figured whoever
assigned us this case would show up
here eventually.
She tosses the ID back.
BROOKE
Brianna Norton isn't a missing person.
WYRICK
Do you know where she is?
BROOKE
No.
WYRICK
Sounds like a missing person to me.
BROOKE
You forgot to mention that Brianna
is a serial killer.
WYRICK
Because I didn't want to clutter *
your psychic's mind with anything *
that might disrupt her reception of
(MORE)
(CONTINUED)
PINK: 11-12-03 20.
15 CONTINUED: 15
WYRICK (CONT'D)
the signals... or whatever it is she *
gets. *
BROOKE
You used her.
WYRICK
We pay her, don't we?
Brooke tightens with ANGER.
BROOKE
You are trying to twist her abilities
to suit your needs.
WYRICK
And the problem with that would be... *
BROOKE
Did you even consider the damage you
could do to Jess? You have no idea
how this manipulation might affect
her.
WYRICK
Neither do you. I think the situation
justifies the risk... and so does
DC.
BROOKE
What's so unique about this case *
that it's worth toying with Jess's *
mind?
He walks out of the bedroom. Brooke follows. Wyrick takes
a seat on the couch in the living room. She remains standing.
WYRICK
Most female serial killers are black
widows or angels of mercy. They *
murder their husbands, or let the *
sick die a little easier... whether *
they want to or not. Brianna Norton's
almost one of a kind -- as vicious,
brutal, and terrifying as Ted Bundy
or Richard Ramirez.
BROOKE
How long have you been chasing her?
WYRICK
24/7 for three months. *
(MORE)
(CONTINUED)
PINK: 11-12-03 21.
15 CONTINUED: (2) 15
WYRICK (CONT'D)
It took us ten weeks to notice her *
business travel coincided with each
of the murders... and by then, she'd
cleared out her bank accounts and
disappeared. She knows we're on to
her... so she's amped up.
BROOKE
Amped up?
WYRICK
She was killing one businessman a *
month. Now it's one a week. By the
time we find the bodies, the trail
is cold and she's already on another *
hunting ground. We were tracking *
roughly two weeks behind her...until
now. Thanks to Mastriani, we've
narrowed the gap to eight hours.
BROOKE
Then you don't need Jess any more.
WYRICK
The hell we don't. Another body is
going to drop in six days... and we *
don't know where. *
BROOKE
You have your work cut out for you.
I wish you luck.
Brooke walks away. Wyrick doesn't get up.
WYRICK
From what I've read on Mastriani,
once she starts on a case, the visions
keep on coming until the missing
person is found.
Brooke stops, gives him a cold look.
WYRICK
She couldn't stop dreaming about
Brianna now even if we wanted her
to. And we don't.
Wyrick smiles. Brooke walks out.
16 INT. FBI HQ - COYLE'S OFFICE - NIGHT 16
Brooke meets with Coyle and Sunny.
(CONTINUED)
PINK: 11-12-03 22.
16 CONTINUED: 16
COYLE
I don't like what Wyrick did any
more than you do, but he outranks us
both. Our orders, straight from the
Deputy Director in D.C., are to
continue the investigation, report
our findings directly to Wyrick...
and keep the truth about Brianna
from Jess.
SUNNY
That's not fair to Jess.
COYLE
Washington is more concerned about
saving the next victim -- who is
going to die in less than five days
if we don't find him... or Brianna...
first.
BROOKE
And they think deceiving Jess is the
best way to do it?
COYLE
Brianna is smart. She's moving fast,
paying for everything in cash,
changing her appearance everywhere
she goes. Right now, Jess is the
only edge they've got... and our *
bosses in DC don't want to do anything
that might provoke an emotional
reaction from Jess that could prevent
her from having visions.
BROOKE
It's wrong, Alan.
COYLE
We have our orders.
In the CORRIDOR, Jess is approaching Coyle's office when she
overhears:
COYLE
Jess can't know the truth, is that
clear? Her needs are irrelevant
measured against what's at stake
here.
That stops her in her tracks. It rocks her almost as hard
as a vision would.
(CONTINUED)
PINK: 11-12-03 23.
16 CONTINUED: (2) 16
COYLE
Fill me in on where we are on the
case.
Jess ducks into the nearest office and hides in the shadows
as Coyle, Brooke and Sunny pass by on their way to the ANALOG
BOARD. Once they are gone, she slips out and goes down the
stairwell. Sunny motions to the pictures of the MEN.
SUNNY
There have been five killings in
five cities. All the victims have
been white men in their late 20s to
early 30s, all good looking, all
business travelers, murdered in their
cars, apartments or hotel rooms.
The latest victim is Dan Slater, a
sales rep for a sofa manufacturer.
He's married, has two kids, and lives
in Toledo.
BROOKE
I'm interviewing his wife tomorrow
morning. What does Wyrick know?
SUNNY
They haven't turned up any connections
between the victims. Neither have
I.
COYLE
Now you know why Wyrick -- why we --
need Jess' help on this.
Coyle walks away. And on Brooke's grim look, we CUT TO:
17 INT. FBI HQ - PARKING GARAGE - NIGHT 17
Jess is going to her car when a FIGURE steps out of the
shadows. It's Karen Moore.
KAREN
You didn't tell Coyle and Haslett
about our talk.
JESS
How do you know?
KAREN
Because I haven't been yanked off
the investigation.
(CONTINUED)
PINK: 11-12-03 24.
17 CONTINUED: 17
JESS
If Coyle and Brooke are as corrupt
as you say they are, why let them
keep working?
KAREN
Because we have a lot of
circumstantial evidence. What we
need is someone who can testify
against them.
JESS
If you expect me to cooperate, I
want to see the evidence.
KAREN
Haven't you seen enough already?
JESS
Convince me.
KAREN
We've got surveillance photos of
them buying psychotropic drugs on
the black market. We've got e-mails *
between Coyle and Haslett discussing
the progress the drugs are having on
their friend's "dreams."
JESS
I need to see it. All of it.
KAREN
I'll have to clear this with my
superiors.
JESS
You do that.
Jess gets in her car and drives off, stealing a glance in
her rearview mirror as she goes. Karen is already gone.
18 INT. SLATER HOUSE - NIGHT 18
CHYRON: TOLEDO, OHIO. MARNIE SLATER, 30s, stands at the
kitchen counter, assembling lunchboxes for two children.
She glances at the photos of the OTHER VICTIMS that Brooke
has laid out for her.
MARNIE
I've never seen any of them. Who
are they?
(CONTINUED)
PINK: 11-12-03 25.
18 CONTINUED: 18
BROOKE
Other businessmen who became victims
of the woman who killed your husband,
Mrs. Slater. All of them were on
the road when they were murdered.
We're trying to understand what the
connection is.
MARNIE
There is no connection. Dan wasn't
anything like the other salesmen.
BROOKE
Because...
MARNIE
He hated the whole culture... sitting
around hotel bars, boasting... picking
up women.
Brooke studies Marnie closely -- is this woman really so
completely deluded?
BROOKE
You are aware of the circumstances
of your husband's death?
MARNIE
(staring straight
ahead)
I know he died working for his family.
BROOKE
(a deep breath)
But he was... in company... with a
woman...
MARNIE
(swallowing hard)
Who needed his assistance. Or had a
business question.
BROOKE
Mrs Slater...
MARNIE
Look... agent... my husband is dead.
I have to... keep him with me...
keep his memory, for me and the
children... as best I can. And I'm
going to do that. I'm going to keep
him in the best way I can. Is that
all right?
(CONTINUED)
PINK: 11-12-03 26.
18 CONTINUED: (2) 18
BROOKE
That's, um... that's fine, Mrs Slater.
Fighting tears, Marnie turns back to the lunchboxes.
19 INT. MASTRIANI'S RESTAURANT - DAY 19
Toni Mastriani walks quickly through the closed restaurant
to answer an urgent KNOCKING at the door.
TONI
Sorry, we don't open for a couple of --
She breaks off, surprised to see it's Hunter.
TONI
Hunter?
HUNTER
I'm sorry to bother you, Mrs.
Mastriani, but I can't find Jess.
She's not at work or at her apartment,
and she's not answering her cell.
TONI
And last time you saw her, you had a
fight?
HUNTER
It wasn't really a fight. But I was
kind of a jerk and --
TONI
Don't tell me. Tell her.
Toni moves out of the way to reveal that Jess is in the dining
room, setting up tables for lunch. She barely looks up as
he goes over to her. And when she does, she's a wreck.
It's clear she hasn't slept.
HUNTER
Jess, are you all right? What are
you doing here?
JESS
Thinking.
That's when Doug walks by carrying a sack of onions to the
kitchen.
DOUG
No time for thinking. Work!
(CONTINUED)
PINK: 11-12-03 27.
19 CONTINUED: 19
HUNTER
Your brother Doug is a natural born
boss. And speaking of bosses,
shouldn't you be at your real job?
JESS
I can't go back there.
HUNTER
Does this have something to do with
Jack Burgess? Because if it does,
I'm fine with that. I came to say I
understand and respect your
professional relationships and --
JESS
I don't know who's involved. Karen
Moore won't tell me how high up it
goes.
HUNTER
How high what goes?
JESS
Does Sunny know? She must. Coyle
can't calibrate drug dosage. Neither
can Brooke. So they bring in Sunny...
an "evidence specialist" with a psych
degree. Why didn't I see it before?
HUNTER
What you're talking about?
JESS
They're destroying my mind, Hunter.
Drugging me. The waking visions are
their doing.
HUNTER
I could see the government drugging
somebody to get what they want out
of them...but why do it to you?
It's not like you're aren't
cooperating with them...you're sharing
everything you dream about, no matter
how intimate, right?
JESS
Are you saying I'm crazy?
HUNTER
No, of course not. I was just
wondering why they'd want to drug
you, that's all. You're an asset to
them... why screw with it?
(CONTINUED)
PINK: 11-12-03 28.
19 CONTINUED: (2) 19
Jess studies him anew.
JESS
How did you know I was here?
HUNTER
I didn't, I called your office and --
JESS
You talked to them.
HUNTER
You weren't there. You weren't at
home. This is where you go when
you're hurting.
JESS
So they sent you.
HUNTER
No.
JESS
Get out of here. Go file your report.
HUNTER
Jess, I --
Jess throws a dish on the floor, breaking it.
JESS
Get out!
That's when Toni steps up between them.
TONI
I think you should go now, Hunter.
He doesn't want to -- but he does. Doug sticks his head out
from the kitchen and playfully chides Jess.
DOUG
That's coming out of your paycheck,
little lady.
Toni turns to Jess, who starts cleaning up the mess.
TONI
When you came in, you were so upset,
I assumed you and Hunter were
fighting... but after hearing what
you just said, I'm really worried
about you.
(CONTINUED)
PINK: 11-12-03 29.
19 CONTINUED: (3) 19
JESS
You're spying on me now, too?
TONI
Listen to yourself, Jess. I'm a
spy. Everyone is lying.
JESS
They are.
TONI
Your friends are conspiring against
you. The government is trying to
control your mind with drugs. What
does that sound like to you?
JESS
The truth.
Mom lowers her voice to a whisper.
TONI
The paranoia. The sudden distrust
of the people closest to you. It
sounds just like Doug used to before
he'd lose it completely... and try *
to hurt himself. *
JESS *
This is really happening.
TONI
I can see you're scared... and
hurting... and alone. You don't
have to be. I'm here...and I love
you.
(then:)
Come home, stay with us for a while.
You'll be safe. We can talk... and
sort out whatever is going on in
your life together...please.
JESS
They're lying to me, Mom. And they're
going to stop. Now.
And with that, she pushes away from the table and marches to
the door. And on Toni's concern:
20 INT. FBI HQ - DAY 20
Brooke comes in to see Wyrick waiting for her in her office.
BROOKE
What are you doing here?
(CONTINUED)
PINK: 11-12-03 30.
20 CONTINUED: 20
WYRICK
I've got 175 agents nationwide working
around the clock on this... and we've
got nothing. Brianna has vanished.
Her trail is smoke...and we only
have four more days, assuming she
doesn't speed up her timetable. We
need a vision.
BROOKE
We can't force Jess to have one.
WYRICK
Sure you can. I read all your case
files. Sleep deprivation, drugs and
hypnosis worked once before. Try it
again.
BROOKE
She won't do it.
WYRICK
Don't ask.
BROOKE
What do you suggest I do, drug her
coffee?
WYRICK
Whatever works.
He walks out, nearly colliding with Jess on her way in.
WYRICK
Pardon me.
Once he's gone, Jess turns to Brooke and asks pointedly:
JESS
Who was that?
BROOKE
An agent from out of town...he wanted
directions to a good sushi joint.
JESS
You're lying to me... again.
Brooke just looks at her, taken aback.
JESS
Partners need to trust each other.
When did you stop trusting me?
(CONTINUED)
PINK: 11-12-03 31.
20 CONTINUED: (2) 20
BROOKE
I haven't.
JESS
Then tell me something I can believe
for a change.
BROOKE
I've always been honest with you.
JESS
Like you are now?
(off her silence)
I'm finished with the FBI. Give me
a call when you remember how to tell
the truth.
She starts off down the hall. Brooke considers, makes a
decision.
BROOKE
You were misled by DC.
That stops Jess.
BROOKE
We all were, by Deputy Assistant
Director Edward Wyrick, the man who
just walked out of here. Brianna
Norton is a serial killer. The men
in your dreams are her victims.
JESS
No, they were after her... she's the *
one in danger. *
BROOKE
You weren't told because they were
afraid it would affect your visions.
If we don't find her in four days,
another man will die.
JESS
I know what I saw...I know what I
felt. Those men were monsters.
They wanted to kill her. Why won't
you tell me the truth?
BROOKE
I am. Why would I lie to you about
this?
(CONTINUED)
PINK: 11-12-03 32.
20 CONTINUED: (3) 20
JESS
Because you're afraid I'll find out
how you've been using me, playing
with my head to further your own
miserable careers.
BROOKE
It was wrong to mislead you and I'm
sorry. We were trying to save a
life. We still are.
Jess shakes her head, not believing a word, and storms out.
Brooke looks after her, bewildered. Jess is heading for the
elevator when she spots Karen Moore in the coffee room.
Jess goes in, makes herself a cup of coffee. Karen whispers
surreptitiously to her.
KAREN
I got approval to show you our
evidence...but it meant admitting I
broke cover. I put my career on the
line for you.
JESS
Let me see what you've got.
KAREN
Tonight. Somewhere remote, where we
won't be seen.
JESS
I know just the place.
And we go to:
21 INT. FBI HQ - SUNNY'S LAB - DAY 21
Brooke wanders in. Sunny looks up from her microscope.
SUNNY
Slater's background is done.
BROOKE
And...
SUNNY
Good financial shape, house mostly
paid, no consumer debt. Good health
except for blood pressure and contact *
dermatitis. *
BROOKE
What's that?
(CONTINUED)
PINK: 11-12-03 33.
21 CONTINUED: 21
SUNNY
Extremely sensitive skin. You
blister, peel... it's no fun.
Commonly set off by rubber, perfume,
some kinds of metal... it doesn't
kill you. Just makes you be careful.
BROOKE
All right. What else?
SUNNY
I'm analyzing particles from the
carpet in Slater's hotel room...hoping
Brianna left something behind we can
trace.
BROOKE
Did she?
SUNNY
Probably...but hundreds of people
have been through that hotel room.
It's almost impossible to sort out
which traces are hers...and which
came from someone else.
BROOKE
(beat)
Have you noticed anything odd about
Jess lately?
SUNNY
You mean beyond the fact she's
delusional?
BROOKE
She has visions.
SUNNY
That's the polite way of saying she's
delusional... but we don't call it
that because we don't want to freak
her out...and what she's seeing is
useful to us.
BROOKE
You sound like her... minus the *
paranoia.
Sunny looks at her, suddenly very concerned.
SUNNY
What paranoia? *
(CONTINUED)
PINK: 11-12-03 34.
21 CONTINUED: (2) 21
BROOKE
She just flew into a rage...accused
us of conspiring against her... she
didn't sound like herself at all.
(off Sunny's look:)
What?
SUNNY
Look... considering her family history *
of mental illness, paranoia could be *
a serious warning sign. We need to
do something to help her.
BROOKE
Like what? *
SUNNY
The bureau has a psychiatrist who
specializes in this kind of thing. *
BROOKE *
What... paranoia? *
SUNNY *
No. The gifted. The unusual. The... *
empowered. People like Jess. I'll *
get her out here. In the meantime, *
you better keep an eye on Jess... a *
very close eye.
And on Sunny's grave concern, we CUT TO:
22 EXT. RIVER BRIDGE - NIGHT 22
It's a cold, dark night. Jess stands on a bridge, staring
down at the RIVER below. She hears something... and turns
to see Karen Moore walking toward her.
JESS
Where's your car?
KAREN
Parked in the woods, in case I was
followed. What is this place?
JESS
Where it all began.
She glances at the IRON RAILING... and FLASHES BACK to a few
months ago, when the bridge was under construction, when she
was standing there and got STRUCK BY LIGHTNING.... then she
turns to Karen.
JESS
You should know.
(CONTINUED)
PINK: 11-12-03 35.
22 CONTINUED: 22
KAREN
I know what's happened since.
She hands Jess a FILE.
KAREN
Their secret little research program
started when you had insomnia in the
middle of a serial killer
investigation.
JESS
They were desperate to get me to
dream. They drugged me.
KAREN
They've been refining their drug
cocktail ever since. Modifying the
dosage for optimum effect. Charting
the frequency and clarity of your
visions. It's all in the file.
Jess opens up the file and begins looking through the pages.
BROOKE'S VOICE
What are you doing here, Jess?
Jess looks up, surprised to see Brooke walking towards her
on the bridge.
JESS
You followed me.
(to Karen:)
Sorry.
KAREN
The investigation is over now any
way... if you're willing to testify.
BROOKE
You weren't thinking of hurting
yourself... were you?
JESS
On the contrary... I was just reading
up on how you're hurting me. It's
all in this file.
BROOKE
What file?
As far as Brooke can see, Jess isn't holding anything.
JESS
The one she gave me.
(CONTINUED)
PINK: 11-12-03 36.
22 CONTINUED: (2) 22
Jess motions beside her... but Brooke doesn't see anyone.
JESS
This is Special Agent Karen Moore,
from the Inspector General's office.
Jess glances at Karen... who is standing right beside her.
The reason Jess can see her and Brooke can't is because...
Karen Moore is a figment of Jess' imagination. We now
INTERCUT between the POVs.
JESS
They know all about the drugs you've
been giving me to provoke my visions.
Brooke takes a tentative step forward.
BROOKE
There is no file.
JESS
I'm holding it.
BROOKE
There's only the two of us on this
bridge.
Jess looks at Karen.
KAREN
We should leave. Now.
BROOKE
Listen to me, Jess. When you found
your brother Doug here... what was
he doing?
JESS
Talking to my Dad....but Dad had
been dead for months.
BROOKE
Do you remember how you felt as you
approached him?
JESS
I was afraid if I said the wrong
thing I would lose him... but I knew
I had to say something... I had to
convince him that what he thought
was real...
Jess looks down at her hands...suddenly aware that the file
is gone.
(CONTINUED)
PINK: 11-12-03 37.
22 CONTINUED: (3) 22
JESS
...wasn't.
She whips around to look at Karen... but Karen has
disappeared. Jess turns fearfully to Brooke as she realizes
her worst nightmare comes true. She's lost her mind.
JESS
Oh God. No.
And as Jess lowers her head to the railing, sobbing... and
Brooke comforts her, we FADE OUT.
END OF ACT TWO
PINK: 11-12-03 38.
ACT THREE
FADE IN:
23 INT. MASTRIANI'S RESTAURANT - DAY 23
It's empty, not yet open. Jess and Doug sit at a table,
talking quietly. Toni is in the BACKGROUND, watching them.
She's on the phone, her voice low.
TONI
Jess is talking to her brother. She
seems calmer now.
INTERCUT WITH:
24 INT. FBI HQ - BROOKE'S OFFICE - DAY 24
Brooke is on the phone.
BROOKE
I'm glad to hear that, Mrs. Mastriani.
TONI
She's staying with us...and she's
agreed to see Doug's doctor on Monday.
Thank you for being there, Agent
Haslett. I appreciate everything
you've done for her.
Brooke feels a stab of guilt. How much of this is her fault?
BROOKE
I'll stop by later to see how she's
feeling.
They hang up, the conversation leaving Brooke troubled, and
we GO TO:
25 INT. MASTRIANI'S RESTAURANT - DAY 25
Jess and Doug in the booth.
JESS
I talked to Karen Moore. I touched
her.
DOUG
I know.
JESS
When she handed me the file, I noticed
she had a small blister on her ring
finger. I remember thinking, how
would you get a blister there?
(CONTINUED)
PINK: 11-12-03 39.
25 CONTINUED: 25
DOUG
And you think, this must be real.
If I made this up, I'd never think
of those details.
She smiles. That's exactly what she was thinking.
JESS
Is this... what it was like for you?
DOUG
All that crazy stuff I did? It only
looks crazy to you... because you
didn't see what I saw.
JESS
But it was just hallucinations.
Doug takes her hand and squeezes.
DOUG
Did I just squeeze your hand?
JESS
Of course.
DOUG
How do you know?
JESS
Because I felt you. And I saw you.
And --
She breaks off, realizing what he's saying. She's horrified.
JESS
You never know?
DOUG
I'm pretty good at guessing. If it
feels too terrific to be real, it's
probably not. Though I did enjoy
the week I was married to Jennifer
Lopez.
JESS
But this, right now, you and me, you
have to know that's real, right?
DOUG
Maybe none of it is. Maybe there's
no Doug and no Jess and no Mom, and
I'm really in a loony bin somewhere.
(CONTINUED)
PINK: 11-12-03 40.
25 CONTINUED: (2) 25
JESS
You don't believe that.
DOUG
No. Because the one thing I can
always count on, the one person who
can bring me back... is you.
Jess rests her head on his hand and closes her eyes.
JESS
Not anymore.
BRIANNA'S VOICE
Get me out of here -- fast.
Jess' eyes flash open -- but she's not seeing the restaurant.
She seeing the
DREAMSCAPE - INSIDE A TAXI
Brianna hurries inside, slamming the door shut behind her.
The cabbie's back is to her.
CABBIE
Where to?
BRIANNA
Sixth! Hurry!
The driver turns around and smiles... HE'S GOT FANGS!
BACK TO SCENE
Jess jumps away from the table. Doug stares at her, truly
shaken by what he's seen... his sister out of control, seized
by a vision. She sees the shock on his face.
JESS
Still think you can rely on me?
He holds his hand out to her.
DOUG
We can rely on each other.
She goes back to the table... and takes his hand.
26 INT. FBI HQ - DAY 26
Coyle and Brooke confront Wyrick.
COYLE
We can't use Jess any more.
(CONTINUED)
PINK: 11-12-03 41.
26 CONTINUED: 26
WYRICK
That isn't for you to say.
BROOKE
She's delusional...she seeing people
who aren't there.
WYRICK
I don't see what's changed.
BROOKE
She's losing her grasp on reality...
we push her any further on this case
and she could lose her mind.
WYRICK
And some guy out there is a few hours
away from losing his life. As long *
as Mastriani is the least bit lucid,
we need to know what she's seeing. *
The fact is, she's not going to stop *
anyway. *
ELLY (V.O.)
There are no facts when it comes to
this kind of thing.
Brooke turns to see DR. ELLY TANNER, 30s, being escorted in
by Sunny.
SUNNY
This is Dr. Elly Tanner, the FBI
shrink I told you about. She
specializes in the paranormal.
ELLY
You're making assumptions about her *
visions based on past behavior. *
That's a mistake.
COYLE
So what do you suggest we do?
ELLY
Let me talk to her. Get a sense of
how strong her hold on reality is. *
JESS (V.O.)
It's a loose grip at best.
They turn to see Jess walking in.
JESS
I had another vision.
(MORE)
(CONTINUED)
PINK: 11-12-03 42.
26 CONTINUED: (2) 26
JESS (CONT'D)
(off their looks:)
About Brianna. Someone is going to
kill her... I know it.
27 INT. FBI HQ - CONFERENCE ROOM - LATER 27
They are all gathered around the table, except for Sunny,
who is at a computer terminal.
JESS
...she told the cabbie "sixth."
BROOKE
The driver... did he have fangs and
bear claws like the others?
JESS
Fangs, no claws... you've got to
help her!
WYRICK
Did you catch his name or the taxi
number on his back license?
JESS
I didn't see his name... but the
license was blue. And there was an
arch on it. *
SUNNY
(recalling) *
Blue cabbie license. An arch emblem. *
...She's in St. Louis. *
Wyrick is already on the move.
WYRICK
Sixth Street. St. Louis. We're on
it.
JESS
You've got to save her.
WYRICK
I'm going to save him... whoever the
poor bastard is. *
JESS
No! She's the one in danger! How
can you not see that?
(CONTINUED)
PINK: 11-12-03 43.
27 CONTINUED: 27
BROOKE
(to Jess:)
I'll make sure nothing happens to
her.
Brooke starts to follow, but Wyrick stops her.
WYRICK
The task force will take it from
here, Agent Haslett.
He goes, leaving Brooke behind. Jess is distraught.
JESS
Why won't anyone help her?
ELLY
I want to help her... and you, too.
Is there some place we can talk?
And on Jess, making a decision, we DISSOLVE TO:
28 INT. FBI HQ - SUNNY'S LAB - LATER 28
Sunny is at the microscope, studying something, as Brooke
wanders in.
BROOKE
Anything I can help with?
SUNNY
You just can't take it, can you?
BROOKE
What?
SUNNY
Being kept out of it. You aren't in
the room with Jess and the doc...
and you aren't in St. Louis for the
endgame.
BROOKE
I like to see things through. So do
you.
SUNNY
I can let go.
BROOKE
Uh-huh. I'll bet you a Value Meal
that's fiber evidence from Slater's
hotel room that you're looking at.
(CONTINUED)
PINK: 11-12-03 44.
28 CONTINUED: 28
SUNNY
How did you know?
BROOKE
Your whole lab smells like his awful
cologne.
SUNNY
Tell me about it. He must have
spilled the entire bottle on the
bed...
She slides off her stool to follow Brooke out... when Brooke
suddenly stops.
BROOKE
Slater couldn't have...
SUNNY
Couldn't have what?
BROOKE
Worn cologne. He had a skin
condition... *
SUNNY *
Contact dermatitis. *
BRIANNA *
So why was he covered in cologne? *
SUNNY *
You're right. It would have been
unbearable for him.
BROOKE
Find out if the other victims wore
cologne, too...
Brooke heads out.
SUNNY
You aren't rushing out to get me a
burger, are you?
BROOKE
I'm going to Chicago to re-interview
Brianna Norton's mother.
And on Sunny's confusion, we CUT TO:
29 INT. GENIA NORTON'S HOUSE - CHICAGO - DAY 29
GENIA NORTON, 50s, reluctantly lets Brooke into her house.
(CONTINUED)
PINK: 11-12-03 45.
29 CONTINUED: 29
GENIA
I've talked to you people fifty times
already. There isn't anything I can
say I haven't said already.
BROOKE
Not to me, Mrs. Norton.
GENIA
What's wrong with you? Don't you
take notes? Or do you keep making
me tell it again to punish me?
BROOKE
Why would we want to punish you?
GENIA
Because I let him into this house...
so you think it's my fault Francie
is dead... and Brianna is killing
all those men.
BROOKE
Who was Francie?
GENIA
Brianna's twin sister. She was killed
when they were ten. Do you know how
much it hurts to remember? But that's
what you want, isn't it? To make me
hurt. To make me pay for what she's
doing.
BROOKE
She's killing men, Mrs. Norton. I
don't have access to the interviews
you've done... and I need to know
what happened if I'm going to stop
her.
GENIA
(then, reluctantly:)
I was a single mother...a hostess at
the Park Lane Hotel restaurant. I
wasn't looking to get tied up in any
relationships, but I still got lonely
sometimes...so I used to... meet
people. Sometimes I brought them
home... the nicer ones. The
businessmen.
BROOKE
And one of these men killed Francie.
(CONTINUED)
PINK: 11-12-03 46.
29 CONTINUED: (2) 29
GENIA
Yes. He tied me up, then went into
the girls' room. He made Brianna
watch while he killed Francie. Then
he told Brianna he'd come back and
do the same thing to her someday.
BROOKE
Is he still out there?
GENIA
No. He was caught... tried. He
hanged himself in jail. It didn't
bring Francie back. Didn't help
Brianna.
BROOKE
How did she handle it?
GENIA
She withdrew...wouldn't talk to anyone
except the imaginary playmate she
and Francie used to share. I had to
institutionalize her. And then one
day, Brianna just snapped out of it.
She looked her doctor in the eye and
said: "I'm ready to leave this place.
I have things I need to do." And she
did. Brianna blasted through college
and landed a terrific job.
BROOKE
The man who killed Francie -- do you
remember if he wore cologne?
GENIA
Oh, yeah. It's what attracted me to
him. I always loved a man who smelled
like Kodiak. It was so masculine.
Thank God they don't wear it any
more. It repulses me.
That's it. The pieces are falling together for Brooke.
BROOKE
The claws...
(then:)
Thank you very much, Mrs. Norton.
If you talk to Brianna, would you
let me know right away?
GENIA
I haven't heard from her in years.
(MORE)
(CONTINUED)
PINK: 11-12-03 47.*
29 CONTINUED: (3) 29
GENIA (CONT'D)
When she stopped talking to Karen
Moore, she stopped talking to me,
too.
Brooke stares at her, senses suddenly ablaze.
BROOKE
Karen Moore?
GENIA
Brianna and Francie's imaginary
playmate. Strange name for a child
to come up with, but then, that's
kids for you.
And as Brooke frantically tries to process this:
30 INT. FBI HQ - COYLE'S OFFICE - DAY 30
Dr. Tanner comes in. Coyle looks up from his work. *
COYLE
How is she? *
ELLY
Remarkably strong. *
COYLE *
Jess is tougher than she looks. I *
knew she couldn't be as bad off as
Brooke made it seem. *
ELLY *
She's not. She's much worse. *
Coyle digests this, then goes to close the door of his office *
for greater privacy. But she stops him. *
ELLY *
Sorry. I've got a thing. *
COYLE *
What thing? *
ELLY *
Closed doors. Locks. Psychiatrists *
are neurotic too, you know. It helps *
us understand. *
He adjusts the door so that it remains open a crack. *
COYLE *
How's that? *
(CONTINUED)
PINK: 11-12-03 48.*
30 CONTINUED: 30
ELLY *
Better. *
COYLE *
Okay. Headline it for me. *
ELLY
Well... I'd bet this isn't just *
starting now. Jess has been been *
slipping out of contact with reality *
for some time. Several weeks at *
least. She's been able to stay in *
control of herself because she's *
seen her brother go through this for *
years. She's afraid she'll become *
like him, and the fear gives her *
strength, and the strength hides the *
symptoms... even from herself. But *
she can't maintain that control much
longer. No one could. *
COYLE
And then... *
ELLY
The paranoia and delusions take *
over... and the Jess you know will *
be gone. *
COYLE *
Unless... *
ELLY *
She gets help now. *
COYLE
So talk her through it.
ELLY
Talk won't be enough. She needs to
be hospitalized and medicated.
COYLE
For how long?
ELLY *
We won't know till we're there. *
And on Coyle, digesting this, we go to: *
31 INT. FBI HQ - JESS' OFFICE - DAY 31
Jess comes in, slumps into her chair, exhausted...then senses
another presence in the room behind her. She speaks without
looking back.
(CONTINUED)
PINK: 11-12-03 49.
31 CONTINUED: 31
JESS
I know you're not real.
Karen Moore steps out of the darkness.
KAREN
What makes you think the shrink is *
any more real than me? *
JESS
Nothing.
KAREN
At least I haven't lied to you... at
least I listen. How many times have
you told them Brianna is in danger?
But do they hear you?
JESS
No.
Jess looks up and sees Brianna running STRAIGHT FOR HER across
the office... a FANGED MAN (RICH COLLABELLA) chasing after
her. Brianna runs RIGHT THROUGH THE GLASS and falls in a
bloody heap in front of Jess on the floor...which is a BED
OF SHAMROCKS. Jess looks up again... the MAN is LUNGING FOR
HER! She throws her arms up defensively... But when she
lowers them, the glass is whole and Brianna and the man are
gone. Jess staggers over to the computer on her desk, starts
typing.
KAREN
What are you doing?
JESS
They think Brianna is in St. Louis.
I'm checking for any fancy restaurants
or hotels there with shamrocks as a
name or motif and printing out a
list.
KAREN
They aren't going to help her. No
one is.
JESS
I will. I'll save her.
KAREN
Not if they put you in a padded cell
first.
Karen may not be real -- but she makes a lot of sense anyway.
Jess snatches the PRINT-OUT from her PRINTER, gathers up her
things and, as she slips out of the office, we FADE OUT.
END OF ACT THREE
PINK: 11-12-03 50.
ACT FOUR
FADE IN:
32 INT. CAR - NIGHT 32
Brooke is on the phone.
BROOKE
Karen Moore isn't a figment of Jess'
imagination... she's a figment of
Brianna's.
INTERCUT WITH:
33 INT. FBI HQ - CONFERENCE ROOM - NIGHT 33
Coyle, Sunny and Dr. Tanner are gathered around the speaker.
COYLE
I don't understand.
BROOKE
Karen Moore was Brianna's imaginary
playmate when she was a child.
ELLY
Has Brianna ever been treated for
mental illness?
BROOKE
She was institutionalized for two
years...after her sister was raped
and murdered by a businessman from
out-of-town.
ELLY *
That would do it. *
SUNNY
That's why Jess' visions are so
overwhelming... she's channeling
Brianna's paranoid delusions. Jess
isn't losing her mind... Brianna is.
ELLY
For now... but Jess is under enormous
mental stress. She could snap at *
any moment. That's why it's
imperative we find her quickly. *
BROOKE
She's gone?
(CONTINUED)
PINK: 11-12-03 51.
33 CONTINUED: 33
COYLE
Disappeared last night. We checked *
her credit card activity, so we know
she took a plane to St. Louis. But
don't worry... we've got a 100 agents
on the ground there.
BROOKE
Make it 101... I'll take the jet. *
Sunny -- were the other victims *
wearing cologne?
SUNNY
All five... but none of them had the
bottle spilled in the room like Slater
did, so the smell didn't linger.
There was no cologne in Slater's
shaving kit, so I'm having the traces
chemically analyzed to--
BROOKE
Don't bother. It's Kodiak.
SUNNY
Do they still make that stuff? I
thought it went out with mood rings
and fern bars.
BROOKE
Brianna saw her twin sister murdered
by a traveling businessman who wore
Kodiak cologne. Now she's recreating
that night every time she picks up a
guy. She douses him with Kodiak so
she can turn him into the killer --
SUNNY
Only now she wins and he dies. She
needs the cologne to complete the
fantasy.
BROOKE
Find out where it's sold in St. Louis.
If Brianna splashed it on all five
men, she'll use it...
(realizing:)
...on the sixth. Oh God. She's not
on Sixth Street...she's on her sixth
victim. We're out of time.
And as the realization sinks in with the others, we CUT TO:
PINK: 11-12-03 52.
34 INT. THE HILGARD - NIGHT 34
TIGHT ON A COCTAIL NAPKIN with a SHAMROCK on it... and the
words THE SHAMROCK ROOM AT THE HILGARD. A drink is SET DOWN
ON IT. A woman's HAND takes the glass, and we PULL BACK,
following the drink up to
JESS
Sitting in a booth in a dark corner of a CROWDED, HIGH-END,
CLASSY BAR. She takes a sip of her drink and, through the
crowd, spots BRIANNA. She's ravishing in a dress with a *
plunging neckline, chatting up RICH COLLABELLA, 30s, the man *
we saw chasing her in Jess' last vision. He whispers
something intimately into her ear...she smiles. SUDDENLY a
group of people obscure Jess' view... and when the people
pass... Brianna and Rich are gone.
Jess gets up and works her way to the table. On the table
top is a SIGNED RECEIPT...she sees RICH'S SIGNATURE and his
ROOM NUMBER. And on Jess, nervous but determined, we CUT
TO:
35 INT. CAR - NIGHT 35
CHYRON: ST. LOUIS. Brooke is driving. Her cell phone rings.
BROOKE
Haslett.
INTERCUT WITH:
36 INT. FBI HQ - SUNNY'S OFFICE 36
Sunny is at her computer.
SUNNY
There are a dozen places in St. Louis
that still sell Kodiak cologne, mostly
barber shops and a men's clothing
stores.
BROOKE
Any of them near a five-star hotel?
SUNNY
How about inside one? The men's
store at The Hilgard.
BROOKE
Call Wyrick. Tell him to prepare an
assault team. I'll meet him there.
And on Brooke, FLOORING IT, we CUT TO:
PINK: 11-12-03 53.
37 INT. THE HILGARD - SUITE - NIGHT 37
The lights are out. Rich Collabella is naked, GAGGED and
TIED to the bed. Brianna, half undressed, is straddling
him, SLAPPING some COLOGNE on his cheeks. Rich squirms with
fear.
BRIANNA
Ssh. You'll wake up your sister.
She reaches into her purse and pulls out a RAMBO KNIFE.
Rich's eyes go WIDE with TERROR. She raises it above his
chest... and is about to stab him with it when SOMEONE POUNDS
ON THE DOOR. She freezes. The POUNDING CONTINUES.
JESS' VOICE
Brianna...I know you're in there
with him. You aren't safe. You
have to get out. He's going to hurt
you.
Brianna is shaken. She gets off the bed and, holding the
knife behind her back, goes to the door. She peers through
the eyelet and sees JESS.
BRIANNA
I'm fine. Go away.
JESS
Open the door, Brianna. Please. I
need to see you...I need to know
you're okay...or I'm going to call
the police and scream at the top of
my lungs until they get here.
Brianna turns behind her and asks:
BRIANNA
What should I do?
But she isn't asking the guy on the bed. She's asking KAREN
MOORE, who is standing right there...only she's no longer
dressed like an FBI agent...she's dressed in casual clothes
which, like her hair, are about a decade out of date. And
we can see, thanks to the MIRROR ON THE WALL, that this Karen
doesn't exist either.
KAREN
Let her in...maybe she's telling the
truth... if she's not, you'll
know...and you can kill her.
Brianna opens the door and pulls Jess into the room, slamming
the door shut.
(CONTINUED)
PINK: 11-12-03 54.
37 CONTINUED: 37
JESS
Are you all right? Has he hurt you?
BRIANNA
He's not going to hurt anyone again.
It's dark, so it takes Jess a moment for her eyes to adjust
before she sees the man on the bed, who is pleading with her
with his eyes...but them he becomes ONE OF THE FANGED, BEARCLAWED
MEN from her visions. Jess rears back, terrified.
BRIANNA
You see what he really is, don't
you?
Jess glances at the man, who is a SNARLING BEAST..
JESS
He's a monster. He wants to kill
us... just like the others.
Brianna turns to Karen.
BRIANNA
She's Francie. She's come back.
KAREN
Yes, she has. We aren't alone any
more.
Jess doesn't see Karen... it looks to her like Brianna is
talking to herself. Brianna offers Jess the knife.
BRIANNA
You kill him.
Jess stares at the knife in Brianna's hand...and is HIT WITH
A BLAST of VISIONS...a LIGHTNING QUICK MONTAGE of one DEAD
BODY AFTER ANOTHER...all FIVE of the VICTIMS.
JESS
This is wrong. What we're seeing...
it isn't real. It can't be. They
aren't monsters... they're innocent
men.
BRIANNA
They are all monsters. You aren't
Francie. She knows that. Better
than anybody.
Karen whispers in Brianna's ear.
(CONTINUED)
PINK: 11-12-03 55.
37 CONTINUED: (2) 37
KAREN
She's trying to trick you. She's
one of them.
Brianna looks at Jess... and sees A FANGED MONSTER! Brianna
raises the knife and CHARGES AT JESS, grabbing her by the
throat with one hand, and raising her knife with the other.
That's when the DOOR IS KICKED OPEN and Brooke BURSTS IN,
gun drawn. Brooke SHOOTS... and Brianna releases Jess...
who scrambles to her feet as Wyrick and the other agents
pour in. Brooke checks Brianna. The killer is DEAD.
BROOKE
(to Jess:)
Are you all right?
Jess glances over at the man on the bed...and sees a
FRIGHTENED MAN. No more monster. Just an innocent victim.
JESS
That depends if you're real or not.
BROOKE
I am.
And on Jess, shaken, we DISSOLVE TO:
38 INT. FBI HQ - DAY 38
As the elevator doors open and Jess and Hunter step out.
JESS
You really didn't have to ride up in
the elevator with me.
HUNTER
You were pretty freaked about coming
back here yesterday. Having a friend
along just makes it easier.
JESS
Besides, this way you might get a
look at Jack Burgess.
HUNTER
The day I start to act like I can't
trust you, that's the day you know
I'm channeling the delusions of a
paranoid lunatic.
JESS
Thank you.
(CONTINUED)
PINK: 11-12-03 56.
38 CONTINUED: 38
HUNTER
Of course, if the guy got a look at *
me, he'd know he doesn't stand a *
chance...
She gives him a playful shove back into the elevator.
JESS
See you tonight.
The doors close and Jess moves down the hall.
39 INT. FBI HQ - COYLE'S OFFICE - DAY 39
Elly Tanner reports to Coyle, as Brooke looks on dubiously.
COYLE
So you're sure it's all over? Jess
isn't delusional?
ELLY
She never was. Brianna Norton was *
delusional. And somehow Jess' visions *
were channeling Brianna Norton's
paranoid fantasies.
BROOKE
Somehow.
ELLY
You've worked more closely with Jess
than anyone else, Agent Haslett. Do
you have any idea how her visions
work?
BROOKE
No.
ELLY
Then I'm not unique. *
(to Coyle)
I'd like a chance to learn more.
BROOKE
Jess barely survived the FBI's last
attempt to test her powers. I'm not
sure she's ready for another one.
ELLY
I'm not the FBI, Agent Haslett, I'm
a doctor. I might be able to help
Jess master her abilities, to keep *
something like this from ever
happening again.
(CONTINUED)
PINK: 11-12-03 57.
39 CONTINUED: 39
The two women stare at each other, a wall of mistrust between
them. Finally, Coyle cuts through it.
COYLE
It's Jess's call. *
ELLY
I wouldn't do it any other way.
BROOKE
And if she does agree, she's going
to know everything you're doing before
you do it. I'll make sure of that.
And with that, she leaves.
40 INT. FBI HQ - JESS' OFFICE - DAY 40
Jess comes in, starts to go to her desk, then goes over to
where Karen Moore once stood. Looks at it, tries to imagine
how she could have seen something that wasn't there. Brooke
comes in behind her.
BROOKE
How are you feeling?
Jess jumps, startled.
JESS
Still a little jumpy, obviously.
But fine.
BROOKE
Good.
JESS
Listen, Brooke, I'm really sorry.
Brooke is taken aback, to say the least.
BROOKE
You have no reason to be.
JESS
Oh, yes I do. What I said... what I
thought about you. I know you'd
never let anyone hurt me.
BROOKE
You're wrong, Jess. Everything you
said was true. The FBI was using
you, feeding you lies and playing
with your mind...and I betrayed you
by helping them do it.
(CONTINUED)
PINK: 11-12-03 58.
40 CONTINUED: 40
JESS
I don't know if I can ever trust the
FBI again... but you... you were
trying to save lives...and it meant
making some hard choices. I understand
that. Whatever you think you did to
me...it's okay. I forgive you.
Brooke tries to control her emotions, but it isn't easy.
She doesn't like herself much right now.
BROOKE
I'm not so sure I can forgive myself.
And on their looks, and their renewed bond, we FADE OUT.
THE END

Ecrit par marylouise 
Ne manque pas...

Vote pour les HypnoAwards 2018 jusqu'au 26 août !
Jusqu'au 26/08 | Votez nombreux !

Découvre notre nouveau numéro d'HypnoMag, notre webzine, avec Christopher Gorham en couverture !
HypnoMag | Découvre le numéro 9 !

Activité récente
Actualités
Calendrier Avril 2018

Calendrier Avril 2018
Après une très longue absence, le quartier accueille de nouveau un calendrier. Et ce mois ci, Justin...

Joyeux anniversaire !

Joyeux anniversaire !
Aujourd'hui 30 mars 2016, c'est l'anniversaire de l'un des acteurs principaux de Missing, à...

Diffusion de la 4ème et dernière saison de Motive

Diffusion de la 4ème et dernière saison de Motive
Toutes les bonnes choses ont une fin ! La diffusion de la quatrième et dernière saison de Motive,...

Sharkando II | Vivica A. Fox

Sharkando II | Vivica A. Fox
Un an après le premier film, Sharkando reviendra pour un deuxième volet, phénomène sur les réseaux...

The November Man | Caterina Scorsone

The November Man | Caterina Scorsone
Le 13 août dernier, Caterina Scorsone assistait à la première du Relativity Media's 'The...

Newsletter

Les nouveautés des séries et de notre site une fois par mois dans ta boîte mail ?

Inscris-toi maintenant

Sondage

Que faudrait-il pour que le quartier devienne attractif?

Total : 36 votes
Tous les sondages

Téléchargement
Partenaires premium
HypnoRooms

mnoandco, Hier à 20:25

Hello, le quartier Cold Case propose un sondage concernant la diffusion de Reverie, série dans laquelle a joué Kathryn Morris

mnoandco, Hier à 20:25

Pas besoin de connaître la série...

mnoandco, Hier à 20:26

A partir de demain, TMC rediffuse Cold Case le samedi après-midi et le dimanche soir.

mnoandco, Hier à 20:26

Vous pouvez venir commenter cette nouvelle sir le quartier. Merci

mnoandco, Hier à 20:27

*sur* c'est mieux

Viens chatter !

Change tes préférences pour afficher la barre HypnoChat sur les pages du site