Screenwriter Community |
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by Terry L. Perez (rudyp64@yahoo.com)
Rated:
Genre: Horror
User Review:
Women begin being identically murdered with no apparent connection. Detectives know they have a serial killer, but each case has different DNA and fingerprints. Focus narrows on a suspect, motive appears, but suspect is under surveillance when another murder is committed. A complicated and unbelievable scenario unfolds as the depths of depravity are uncovered. Do they have the right suspect?
This screenplay is copyrighted to its author. All rights reserved. This screenplay may not be used or reproduced without the express written permission of the author.
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FADE IN:
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EXT. NEW YORK CITY - NIGHT |
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Starts off with a unique musical score. A little jazzy but
slow and somewhat ominous to strike the mood that will
follow the rest of the film. Flowing piano chords and a slow
trumpet with a mix of old timey violin playing the ominous
notes. The music starts off strong, then blends in and
eventually fades out as closing in grid by grid to be
overheard by the city noises. |
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The city is brilliantly landscaped with lights from
extravagant buildings, cars, billboards and thousands of
tiny business that keep the city alive and unique. |
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Slowly focusing in grid by grid. |
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STREET |
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With lights of all colors illuminating stores and offices
and LOUD traffic bustling back and forth, |
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Slowly focusing in on two people walking up the street. |
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A well dressed young couple are walking up the street arm in
arm. They are laughing and kissing as they slowly walk up to
a door oblivious to the outside noises and well into each
other. The tall brown building seems to be like an apartment
but a business is on the first floor. It is flawlessly lit
with neon letters marked "Framers". The man pushes open the
door and allows her to walk in first, then follows. |
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INT. FRAMER'S ART GALLERY - NIGHT |
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As the couple enter the door closes behind them, replacing
the bright lights and loud sounds of the city with softer
mood lighting and GENTLY wafting classical music. There are
lots of people here for what is apparently an upscale art
show. People are smiling, drinking champagne, slowly
devouring expensive hor dourves that waiters and waitresses
are passing around. The art on the wall is a black and white
mix of painting and photos. A stark contrast to the color on
the gallery walls. Scanning the room slowly, focusing in on
two attractive women talking and looking at a painting as
their voices exclusively become more and more audible over
the music. |
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2.
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The first woman is a stunning brunette with short straight
hair and is perfectly manicured with long nails and a lofty
sexy voice. She is clearly upset and flailing her hands
around. |
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WOMAN #1 IN GALLERY
(Holding a glass
of champagne and
scowling her face)
I have been calling her all night.
I can't believe her! Where the
hell is she? |
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Woman two is very petite, blonde and more tonal than the
first. She is more placating and trying not to attract
attention from their guests. |
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WOMAN # 2 IN GALLERY
(Gesturing her
hand at othe
woman and
shrugging her
shoulders as she
looks around.)
Calm down, she'll be here. She
knows I'll kill her if she doesn't
show. |
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Panning around to all the art and patrons, shots of fewer
and fewer people as the night winds down. |
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LATER |
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Several hours have gone by and the once music and laughter
filled rooms are now empty and quiet. Only the two women
remain going over paperwork from the night's event in the
darkened office. |
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WOMAN # 2 IN GALLERY
(Looking worried)
I hope nothing's wrong it's not
like her. I'm stopping by her
place on my way home. |
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WOMAN # 2 IN GALLERY
(Holding up a her
keys)
I have a key. |
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WOMAN #1 IN GALLERY
(looking directly.)
Call me. |
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3.
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WOMAN # 2 IN GALLERY
(Walking out)
First thing. The show was great
tonight, good job. |
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WOMAN #1 IN GALLERY
Thanks |
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EXT. CAR - NIGHT |
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Woman #2 is driving while smoking a cigarette and listening
to the radio on her way to her friend's apartment. The New
York City streets are a lot quieter at four in the morning
than earlier but still busy with passing cars and taxis here
and there. She slows down and pulls in front of a
brownstone. She parks the car and turns off the engine. |
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EXT. FRONT OF APARTMENT - NIGHT |
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She gets out of the car and stomps out her smoke on the
ground looking around continuously as she approaches the
door hurriedly, afraid of who may be lurking about. It is
dark except for the outside porch light and the apartment
seems to be unlit as if no one is home. She puts her key in
the lock, but finds it unlocked. She slowly pushes open the
door as she calls out. |
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WOMAN # 2 IN GALLERY
(Loudly and
quickly yells)
Carol, it's me. |
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INT. APARTMENT - NIGHT |
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Inside as she quietly shuts door. |
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WOMAN # 2 IN GALLERY
(Scared)
Carol are you here, you know I
hate the dark. |
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Shutting the door behind her, you can hear her fingernails
as she fumbles for the light. The apartment is dark and
quiet, not a sound except some traffic outside. She FLICKS
the light. |
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The living room is shown as she wanders further and further
in, turning on every light she can find. It is clear to her
that Carol is not home. She walks passed each well designed
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4.
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and flawlessly clean room towards the bathroom. The
champagne has taken its toll. |
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BATHROOM |
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As she flicks the light on, it is very bright and she is
taken aback a little after the dark of night and alcohol. |
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The light illuminates the impeccably marbled bathroom as she
walks to the sink. Everything is in its place, clean towels
hanging as if no one ever actually lived there at all. She
looks in the mirror to adjust her contacts as she sees
something red on the floor in the mirror behind her. She
slowly turns and cautiously walks towards what appears to be
red water. As she follows the short trail around the corner
towards the fluid... she grabs the wall and sinks down to
the floor as she lets out a blood curdling scream. It
becomes clear to her that Carol is home... |
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Scene immediately snaps to bathtub to show a dead female
body lying in the slightly overflowed tub. The water is a
ruby red. The woman's eyes are open and she has a very
frightened look on her face with her mouth agape. |
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EXT. APARTMENT - DAY |
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Directly to the outside of the same apartment as the sun is
just coming up and the haze of morning is filling the air.
The sounds of passing cars, people talking and police radios
are mixed as if you almost cannot distinguish between them. |
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Police tape now covers the door where Carol Ferguson once
lived. It is now as busy as the gallery was the night before
only with police and forensics. Onlookers outside whispering
and staring with curiosity. A man walks past them and up to
the apartment door flashing his badge to police that stop
him as if he were unwelcome.
He is a rugged black man with brown hair and eyes, tall and
neatly, but not fashionably, dressed. Paul billings is 52
years old and has been a homicide detective for over 30
years and has all the wear and tear associated with that
job. He is hard to shock or surprise. There is a lot of
history with his personal life. He is very educated and
spends a lot of time alone, well versed and even tempered. A
single man with his only reason for getting up in the
morning being the job.
He spots another man inside whom he approaches. |
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5.
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INT. APARTMENT LIVING ROOM - DAY |
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Walking into the living room slowly as he looks around,
Billings approaches the man and it is clear he is his
partner. |
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BILLINGS
(Surprised in his
sexy gruff voice)
What the hell are you doing here
before me partner? |
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Kevin Holliday is a white male in his late 20's. Blonde
hair, blue eyes but not overtly handsome, sort of quirky
looking but definitely cute. Single, he is a real ladies man
complete with the latest styled wardrobe he probably can't
afford. He is smart and pays attention to detail which makes
him good at his job. Holliday is very carefree with a great
sense of humor. He and Billings get along well and
compliment each other although Billings is clearly the one
in charge. |
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HOLLIDAY
(Jokingly with a
wink as he looks
up at Billings)
Didn't come from my house this
morning. |
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BILLINGS
(With a sarcastic
grin)
One day you're gonna get more than
you bargained for. What do we got
here? |
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HOLLIDAY
Female...Carol Ferguson, single ad
ex, 41, lives alone and really,
really dead. |
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BILLINGS
Where's the body? |
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HOLLIDAY
(Nodding his head
in the direction
of the bathroom)
Let's go. |
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They both look around at the perfect home where once there
was life as they walk toward the bathroom, through the scene
dwellers and into the crime scene. |
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6.
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Snaps directly to the bathroom door. |
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INT. BATHROOM - DAY |
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The detectives enter the bathroom. As they look around they
see the trail of bloody water and follow it around the
corner and to the bathtub. The Medical Examiner is over the
body. |
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Joseph Cody is the Medical Examiner supreme...something out
of CSI. He is older in his 50's and has seen it all. Cody
wears glasses unwillingly as it shows his age and is a
little pudgy around the middle. Sarcasm describes his every
word. He goes way back with Billings. |
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HOLLIDAY
(Seemingly calm to
the M.E.)
Doc, tell me this is a suicide. |
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M.E.
(Looks up with a
smirk)
Not unless she hid the murder
weapon afterwards. Puncture wound
back of the head. I'd say been
dead no more than 12 hours. |
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The detectives both look at each other quickly. |
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BILLINGS
Shit. That's three Kev. |
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HOLLIDAY
(Angrily as he
BANGS his hand
against the wall.)
Dammit! |
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BILLINGS
Who found the body? |
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M.E.
Co-worker, she's in the bedroom.
She's pretty freaked out. |
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BILLINGS
(Looking at M.E.
with sarcasm)
Really. |
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7.
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HOLLIDAY
(Turns to M.E.)
You know the drill on this one,
just like the others. Call us when
you've got more. |
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M.E.
(Still focused on
the body)
Will do. |
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Billings pats Holliday on the back as they walk out of the
bathroom and into the bedroom. |
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BILLINGS
(With concern)
We'll get him. |
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VICTIM'S BEDROOM |
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The victims bedroom is prestine. Elaborate French design and
nothing out of place. |
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The woman from the gallery who discovered her friend's body
is sitting on the four poster bed crying. She is clearly
traumatized. |
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BILLINGS
(Walking up to
woman)
Hello ma'am, Im detective Billings
and this is my partner detective
Holliday. We need to ask you a few
questions. I know this is a bad
time but the sooner the better if
we're going to find out what
happened ok. |
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WOMAN # 2 IN GALLERY
(words interupted
by crying)
I don't understand. Did she commit
suicide? Why would she do that? |
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HOLLIDAY
We believe she was murdered here
last night. Can you tell us the
last time you saw or heard from
her? |
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8.
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WOMAN # 2 IN GALLERY
(Puzzled and
looking up)
Murdered, oh my god. Why? Who
would....I saw her yesterday about
noon. We had lunch to go over the
art show we had last night at the
gallery. She was supposed to be
there. |
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She stops and thinks for a few seconds |
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WOMAN # 2 IN GALLERY
(Hysterically)
That means we were at the gallery
while someone did this. We were
talking about how I would kill her
if she didn't show...... |
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HOLLIDAY
(Places his hand
on her shoulder
gently as if he
may get her
number later.)
Ma'am, please don't do that, it
was not your fault. |
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Billings gestures to a uniformed officer. |
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BILLINGS
(To officer)
Get her home. |
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The officer escorts her out of the room. |
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BILLINGS
(With sarcasm to
Holliday)
Don't call her. |
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HOLLIDAY
(To Billings)
What? She is in serious need of
consoling my friend. That's all. |
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BILLINGS
(Half smiling and
laughing)
Let's go. |
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Fades Out |
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9.
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EXT. CAR - DAY |
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The road seems endless as they search for where to begin in
their police standard four door dark blue chevy. |
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HOLLIDAY
I gotta think this guy is one hell
of a game fan. |
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BILLINGS
(Driving)
Everybody eventually strikes out. |
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Neither one saying another word, just the noise from the
other traffic can be heard. Scene fades out as car, seen
from behind, gets further away. |
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INT. FASTOW CLINIC - DAY |
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Scene fades to a medical business center. One long row of
clinics and labs. It is a very upscale neighborhood and the
landscaping is lush and green. The buildings are clean and
professional looking. |
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Focusing in on one office door as a woman opens the door and
walks in and up to the counter. |
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Only noises from the phone ringing and whispers of the
staff. |
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The waiting room of the office is bright and sterile
looking. From the front desk we see ladies in standard blue
clinic tops and pants. They are moving around slowly as the
scene moves from around the desk to the people waiting in
chairs. A few women only and reading magazines. One filing
her nails as focus moves in on her slowly. |
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She is startled and looks up as her name is called. |
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An older woman with glasses, the nurse appears very
professional and no sense of humor. |
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NURSE STEPHENS
(Stands up from
behind the
counter and over
to the door into
the back rooms.)
Ms. Jones you're next please. |
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10.
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Woman gets up from her chair and walks toward the Nurse. She
is in her mid 20's with long black hair and green eyes. She
is a beautiful hispanic woman. |
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NURSE STEPHENS
(Gesturing with
hand to walk
through the door)
This way please Ms. Jones |
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Following patient beside the desk and through the door down
a sterile hallway with minimal design. The Nurse stops and
opens a door as they both walk into a room. |
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NURSE STEPHENS
(Calmly)
Put this on please. The Doctor
will be with you shortly. Just try
to relax please. |
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The nurse exits shutting the door behind her. |
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Patient stares around room as she is changing into gown
looking at all the Doctor's certificates on the wall and the
medical supplies on the countertops. Everything is so
sterile as she sits to wait. |
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A few moments go by and then a knock at the door. |
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The door opens slowly as the Doctor walks in and takes a
seat on a small round swivel chair. |
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Doctor Benjamin Fastow. A renound abortion doctor with one
of the most reputable clinics in town. He has been a Doctor
for over 30 years. Dr. Fastow is a black male in his early
50's with black hair and brown eyes. Ben is a widower and
never remarried. He is a very calm and mannered man with
seeming precision in all he does and every move he makes.
There seems to be something always lurking just beneath the
surface as if he is constantly thinking of something else as
well. He is well dressed always with neatly trimmed short
hair and freshly shaven. |
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FASTOW
(Staring at chart)
Ms. Jones, how are we today? |
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MS. JONES
(quietly)
Fine, thank you |
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Fastow looks intently at her, then to her chart. |
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11.
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FASTOW
(Emotionless)
Well let's get you evaluated shall
we? |
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Shot backs slowly out towards door. |
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The door closes slowly and shows the outside of door as you
hear it shut. |
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Shot moves back down hallway into lobby and out the front
door and fades out. |
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INT. DR. FASTOW'S HOME - NIGHT |
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Pans to night and slowly moves in on a beautiful but modest
home. You can see the home is dimly lit and closes in on a
window and through to a room. |
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Once inside, straight to Fastow sitting in a dark brown
leather recliner in front of a fireplace in the living room.
He is drinking a scotch, his drink of choice exclusively.
The room is not well lit but for the fireplace and a small
lamp on a wood table next to the chair. It is a typical
Doctor's den area with lots of rugs and leather, dark wood
and degrees. There are lots of photos hung on the wall and
on the mantle of the fireplace. Focus on Fastow's face as he
seems to be quietly pondering.... |
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Shot reveals he is having a flashback of a child running and
playing in his head. The child is a black perfectly healthy
child 4 or 5 years old and is smiling. Sounds of the child
laughing and playing in the background. Flashback fades out
slowly and back to Fastow. |
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Closing in on him as he lifts his glass for another drink, a
tear runs down his face. One can only imagine. |
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EXT. VICTIM #4'S HOME - DAY |
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It is a beautiful and clear day. Narrowing in on a large
home and property, bright yellow crime scene tape now
partitions off what once was a serene looking property. Lots
of trees provide shade for this country home and its yard.
Closing in on a beautiful white wood country style home with
a wrap around porch to the open front door. |
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Sound grows louder and louder the closer in. All police,
cars, radios and talking. An all too familiar scene unfolds
yet again. |
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12.
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Following to the front door, through the police and crime
scene detectives. The living room is very large and like the
others, empty of the life it once held close. Following the
path of police through a few more rooms and finally to a
bathroom. |
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INT. VICTIM'S BATHROOM - DAY |
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Billings and Holliday are already inside the bathroom
looking around. The womans dead body lie in a tub like the
others in a pool of darkened bloodied water. The tub is a
four clawed old fashioned one in the center of the room. The
room is very neat and white with the exception of a pool of
bloodied water on the floor around the tub.
The detectives begin speaking to each other. |
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BILLINGS
(Knealing over the
body.)
M.E. here yet? |
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HOLLIDAY
(Looking up at
Billings)
Not yet but it's pretty
clear...looks like we've got vic
#4. |
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HOLLIDAY
(Gesturing in a
circular motion
with hand.)
They seem to have it all until we
show up. |
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BILLINGS
(Sighing)
Yeah, makes ya think about who
YOUR enemies are. |
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HOLLIDAY
(Jokingly)
I don't have to worry, all mine
are female. |
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BILLINGS
(Sarcastically)
Oh yeah, women aren't dangerous at
all. |
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13.
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HOLLIDAY
(Pausing then
confused)
I don't get it, we know we have a
serial but each scenes prints and
DNA are all different. What the
hell are we missing? |
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BILLINGS
(Knowingly)
He doesn't bother hiding them
cause he knows we cant trace them. |
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HOLLIDAY
(Inquisitive)
Think we got more than one working
together? |
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BILLINGS
Well, there have been serial
killers in pairs before, but I've
never seen a group like this.
Besides, the odds that none of
them would have priors for
anything is remote. No something
else is going on here, I can feel
it. |
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BILLINGS
Don't know just yet, but it'll
come to me. I just hope its soon. |
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They walk out of the bathroom and through the other rooms
passing the M.E. and towards the front door. |
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BILLINGS
(Gesturing to M.E.)
She's all yours Doc. |
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M.E. nods and continues walking. |
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Billings and Holliday walk out the front door and get into
their vehicle. Fades to next scene. |
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14.
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INT. POLICE PRECINCT - SMALL ROOM - DAY |
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The room is small and dank. A old smoke covered window lets
in just enough light to see ok. It smells of cigarettes and
stale coffee. There is one table with four chairs in the
center of the room, an old wooden one. |
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Slowly shows pictures of three victims and crime scenes on
one wall. Each woman in a tub. In the background you hear
the two detectives begin talking. Slowly moving from picture
to picture. |
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BILLINGS
(Gesturing around
with his hand.)
Ok, what do we got? |
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HOLLIDAY
(Pointing at the
photos on the
wall.)
Assuming this last one fits too we
got four dead vics, four sets of
prints, four DNA profiles and no
connection other than all the vics
are black. That's what we got. |
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BILLINGS
In other words, everything.....
yet nothing. |
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Shifts to table topped with more pix and folders. Gruesome
and detailed the sound of a picture being taken with each
shot shown. Both detectives standing but leaning on table. |
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BILLINGS
(Looks from table
to partner.)
How the hell is he getting prints
and DNA to the scene? Do you know
how long it would take to do that
and not make it look planted? |
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HOLLIDAY
(Looking back at
partner.)
Are we wrong on this one? Tell me
it's not different guys with the
same M.O. |
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BILLINGS
No, it's him alright... |
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15.
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Holliday looks at partner slowly as if he doesn't want to
say it.. |
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HOLLIDAY
(With hesitance.)
Maybe a cop? |
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BILLINGS
(Snaps head
towards Holliday)
You better not say that too loud
if you wanna career around here. |
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HOLLIDAY
Come on, tell me you haven't
thought about it. Makes sense with
the evidence. |
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BILLINGS
Yeah, I thought about it. It'll be
hard catchin this one if it is. |
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They look at each other as if they are about to embark on
something sinister. Camera shows photos on wall as they
continue talking. |
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BILLINGS
What connects these women? |
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HOLLIDAY
They all pissed someone off real
bad. |
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BILLINGS
Let's go see the Doc. |
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FADES OUT |
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INT. M.E.'S OFFICE - DAY |
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The morgue is cold and sterile looking as always. Silver
slabs and not too brightly lit, there are a few bodies on
top of tables. The M.E. and the detectives are standing
beside vic #4. |
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The M.E. is holding her head up and turns it to one side to
show the detectives the wound. You can tell she used to
attractive, but not any more. |
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M.E.
(Pointing to
opening in head.)
Here we have a punture wound. One
(MORE)
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16.
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M.E. (cont'd)
clean shot with a long sharp
object straight through the back
of the head. I can't identify the
object yet, it's like nothing I've
seen before. |
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HOLLIDAY
What do you mean like nothing
you've seen before? |
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M.E.
Well, it could be a spike of some
sort or a maybe a...... ya know I
just can't say. I can't find any
traces of it in the wound tract
which tells me it's probably a
high polished very hard metal. It
tapers to a point at the end or
beginning whichever was used. |
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BILLINGS
Same as the others? |
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M.E.
You got it. We're in deep here
fellas. This one means business.
The vics were all alive when he
did this. |
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M.E.
Other than that, not a scratch on
them. |
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They all look at each other. No one says a word. |
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Fades out black with sounds starting in background. Water
running, kids playing... |
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EXT. FASTOW'S HOME - YARD - WEEKEND - DAY |
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Fades onto Fastow's front pretty green yard, water getting
louder, shows two young boys running around in the yard
playing with each other. Dr. Fastow is standing with garden
hose watering plants in a small garden on one side of the
yard. He is wearing a pair of nice blue shorts and a
collared pullover white shirt. |
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17.
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FASTOW
(Yelling)
I'm going inside for a minute,
stay out of the street. You hear
me? |
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The boys are yelling and running but acknowledge. |
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JUMPS STRAIGHT TO THE KITCHEN. |
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INT. FASTOW'S KITCHEN - DAY |
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Fastow goes into fridge and pulls out some lemonade in a
round pitcher. He gets a glass from the cabinet and pours
lemonade and begins to drink. He is standing at the sink
looking out the window into the backyard as he drifts off
into another flashback... |
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Flashback to same child as before only older by a few years.
Fastow is in this one this time. The child is smiling at him
as Fastow swings him around in a circle in a beautiful park.
They are both laughing and seem to have a very close bond. |
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Fades back to Fastow again as he just stares emotionless. |
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Fades out |
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INT. POLICE PRECINCT - LATER - DAY |
|
Both detectives are at their desks next to each other going
over files and folders. There is noise from the phones and
other cops and people being interviewed. The police precinct
is large and busy. |
|
Panning in on Billings as he is on the phone. |
|
|
BILLINGS
(On the phone.)
Ok, thanks. |
|
|
Billings hangs up phone. |
|
|
HOLLIDAY
(Looks over at
partner.)
What the Doc say? |
|
|
|
BILLINGS
Said he ran cross check on DNA and
killers not related. There's no ID
on the murder weapon yet. I can't
get a grip on this one Kev it's
(MORE)
|
|
18.
|
|
BILLINGS (cont'd)
eating me up. There is something I
am missing. |
|
|
|
|
|
BILLINGS
(Looks up at
partner.)
Yeah, all the vics had at least
one pregnancy. |
|
|
|
HOLLIDAY
(Surprised.)
What? I thought none of the vic's
had kids. |
|
|
|
BILLINGS
(Looking ominous
and confused.)
They don't. |
|
|
|
HOLLIDAY
What do ya mean they don't? Are
they dead? |
|
|
|
BILLINGS
I mean there is no birth
certificate for any child
belonging to any of our vics. |
|
|
|
HOLLIDAY
Then what the hell happened to the
kids? |
|
|
|
BILLINGS
Well my friend, I believe that may
be the key to our case. Let's find
out shall we. |
|
|
|
HOLLIDAY
Let's check out #4. Says she has a
mother outside of town. |
|
|
They stand up and walk through the station.....fades out
into next scene. |
|
|
INT. FASTOW'S CLINIC - DAY |
|
It opens up with in a small room. It is bright and sterile
like all Doctor's offices. There are three people. The same
|
19.
|
older nurse, one patient, Ms. Jones from before (laying on a
table on her back with her legs in stirrups) and Dr. Fastow. |
|
|
FASTOW
(Sitting in front
of woman's open
legs. He is
wearing gloves.)
Suction tube. |
|
|
In background you can hear faint crying from patient along
with sounds from the suction tube. |
|
|
NURSE STEPHENS
(To patient.)
He's almost done dear. |
|
|
Sounds of the suction tube. |
|
|
FASTOW
(To patient.)
Almost finished, relax please. |
|
|
Shows side shot of Fastow and patient. Fastow wheeling back
on chair. |
|
|
FASTOW
(Snapping off
gloves.)
Done. |
|
|
We move down the hall slowly back out to the waiting area
and shows all patients waiting. |
|
Fades out to black. |
|
|
EXT. VICTIM # 4'S MOTHER'S HOME - DAY |
|
Billings and Holliday are walking up to a beautiful brick
home and ringing the doorbell. They wait for a few moments
before it opens. |
|
|
HOLLIDAY
(Fiddling with his
hair)
How's my hair? |
|
|
|
BILLINGS
I don't like blondes. |
|
|
A woman opens the door. |
|
20.
|
She is older but very refined. A distinguished looking black
woman with brown hair pulled back in a bun. She is wearing
very little makeup and elegant but simple jewelry. You can
tell she was once very beautiful. |
|
|
MRS. CAULDER
(Calmly)
May I help you? |
|
|
|
BILLINGS
(Respectfully)
Yes Ma'am. My name is Detective
Billings and this is my partner
Detective Holliday. We are here
about your daughter's death. We
have a few questions please. |
|
|
Woman steps back and gestures with hand for detectives to
enter. |
|
|
MRS. CAULDER
Please, won't you come in. |
|
|
|
BILLINGS
(As he walks
through doorway
and into living
room.)
Thank you. |
|
|
SHIFTS TO EVERYONE SITTING ON COUCHES IN LIVING ROOM. |
|
Detectives are seated across from woman. Her home is elegant
to say the least. Well decorated and looks as if no one
lives in it. It is filled with antiques and there is no dust
in sight. |
|
A woman approaches from the back. She is the family
housekeeper. |
|
|
MRS. CAULDER
(Politely)
May I offer you gentlemen some
refreshments? |
|
|
|
HOLLIDAY
Oh no Ma'am thank you. We need to
go over some information about
your daughter's background. We are
very sorry to have to be here
under these circumstances but we
hope you understand. |
|
|
21.
|
|
MRS. CAULDER
(Talking to
housekeeper.)
Thank you Doris, but we won't be
requiring anything. |
|
|
Doris politely nods as she turns and walks away. |
|
Mrs. Caulder turns back to Billings. |
|
|
MRS. CAULDER
Yes of course
Detective.....Billings was it? |
|
|
|
BILLINGS
Yes Ma'am. Did your daughter have
any children? |
|
|
|
MRS. CAULDER
No, I already told that to the
police. |
|
|
|
HOLLIDAY
Is it possible ma'am that she may
have given a child up for adoption
and you not know about it? |
|
|
|
MRS. CAULDER
(Emphatically)
Absolutely not. We shared
everything with each other. She
was pregnant once but had an
abortion when she was very young.
It was the right thing to do at
the time. |
|
|
The detectives look at each other then back at her. |
|
|
BILLINGS
We're not here to judge her,
ma'am. We're here to find her
killer. This information helps us
do that. How long ago did this
happen? |
|
|
|
MRS. CAULDER
About 20 years ago. She was dating
this man and he was very cruel to
her. I begged her to leave him.
She finally listened, but she was
already pregnant. He never knew
about the baby. It was best. |
|
|
22.
|
|
HOLLIDAY
Mrs. Caulder, do you know where
she had the abortion? |
|
|
|
MRS. CAULDER
Yes, of course. The Fastow clinic.
I went with her. I'll never forget
it. He is quite prominent in the
community. His clinic is still
open downtown. |
|
|
|
BILLINGS
Thank you ma'am. I know this is
difficult. We are doing all we
can. We will keep you abreast of
any changes. |
|
|
Mrs. Caulder grabs Billings hand. |
|
|
MRS. CAULDER
(Beggin on the
verge of tears.)
Please do, she was all I had. |
|
|
|
HOLLIDAY
You can count on it Ma'am. Thank
you for your time. |
|
|
She sees them to the door and says goodbye. |
|
OUTSIDE BY CAR |
|
Standing by the car, the detectives stop before they get in
and talk across the hood. |
|
|
HOLLIDAY
What are the odds the other vics
had abortions too. We may have our
first break Paul. |
|
|
|
BILLINGS
The Fastow Clinic. Well let's see
if our other vic's may have gone
there if they did. |
|
|
|
EXT. DETECTIVES CAR - LATER - DAY |
|
Billings is driving and talking to Holliday. |
|
23.
|
|
HOLLIDAY
(Reading a folder.)
So this Fastow, ya think he could
be the same Doc for all four? |
|
|
Billings is smoking with window rolled down. Sounds of the
street permeate the car. |
|
|
BILLINGS
(Taking drag of
Cigarette.)
We'll soon find out. |
|
|
Billings and Holliday are tired from minimal sleep. This
case is taking its toll on them. It's taking a toll on the
whole city. |
|
They arrive at the clinic and get out of the car and move
toward the door. Opening it and holding it for a woman
before walking in themselves. |
|
INSIDE FASTOW CLINIC |
|
They look around as they walk in and to the front desk. All
of the women are staring up at them as if they don't belong.
They don't. Holliday looks back at them and waves anyway
with a polite smile thinking he is cute. |
|
Billings grabs Holliday's collar and gently directs him
forward to pay attention. |
|
|
BILLINGS
(To woman behind
counter.)
We are here to see Dr. Fastow
please. |
|
|
|
NURSE STEPHENS
(Looking up at
Billings.)
I'm sorry, you'll have to set an
appointment. |
|
|
|
HOLLIDAY
(Reaches in and
pulls out badge
and shows it to
the nurse.)
How's now? |
|
|
24.
|
The nurse looks flustered as she looks around at the
patients in the chairs. She knows they do not need
publicity...it's bad for business. She quietly motions them
through the door next to the counter and into the hallway. |
|
|
NURSE STEPHENS
(Waving to them.)
Come with me please. |
|
|
She walks them down the hall into an office. She motions for
them to sit. |
|
|
NURSE STEPHENS
The Doctor will be with you as
soon as he can. |
|
|
She shuts the door as she disappears. |
|
FASTOW'S OFFICE |
|
|
HOLLIDAY
(Creeped.)
Jesus, it's like a morgue in here
its so quiet. |
|
|
The room spans from the detectives viewpoint to all the
walls and cabinets. There are many photos of children,
diplomas and various other personal items. Everything is in
its proper place and clean. |
|
|
HOLLIDAY
Man, this guy would just love my
apartment. |
|
|
|
BILLINGS
(Jokingly)
Pigs love your apartment. |
|
|
|
HOLLIDAY
I always wonder if these Docs feel
safe coming to work everyday with
all the fringe out there. Never
knowing when ya might take one to
the head. |
|
|
|
BILLINGS
There's a fringe for everyone,
even us.... |
|
|
Billings is cut off as the door opens slowly and Fastow
walks in. |
|
25.
|
Fastow is wearing a white Doctor's coat and black slacks. he
is wearing a tie as always. |
|
|
FASTOW
(Shaking both
their hands.)
Please don't get up. I only have a
few moments. I have patients
waiting. How may I help you
gentlemen? |
|
|
Fastow sits down at his desk. He places his hands properly
in front of him on the desk as if with forethought. |
|
|
BILLINGS
(Without wasting
time.)
We have been investigating a rash
of homicides in the city and we
believe they may have been
patients of yours. |
|
|
|
FASTOW
(Without
flinching.)
Are you certain? |
|
|
|
BILLINGS
No, that's why we are here. They
were all as far back as 20 years
and we are hoping you still have
records so we can check. |
|
|
|
FASTOW
(Looking directly
at Billings)
20 years...is this a joke? You
gentlemen think someone is killing
these women because they had
abortions 20 years ago? |
|
|
|
HOLLIDAY
(As he tosses a
folder onto his
desk with
pictures of the
victims. (alive))
Yes, it's possible. That's why
we're here Dr. Have you seen any
of these women lately? |
|
|
Fastow reaches for folder and opens to look. He gazes at
them as if he had remembered each one. |
|
26.
|
|
FASTOW
(Looking up as he
stands.)
I wouldn't recognize these women
after 20 years. If you will give
the names of these women to my
nurse, she will tell you if they
were patients. I have all records
since my clinic opened. I'm sorry
gentlemen but if there is nothing
else I really must get back to
work. |
|
|
Extending to shake their hands again. |
|
|
HOLLIDAY
(Looking at
Fastow.)
Not at the moment. We'll be in
touch if we need anything further.
Thank You. |
|
|
Looking at Fastow's face for a second then Fastow walks out
of the room. |
|
The nurse walks in as the Doctor walks out partially enters.
Fastow speaks to the nurse. |
|
|
FASTOW
Please escort these detectives to
the file room. They need to know
if the women on their list were
patients here please. They have
our full cooperation. |
|
|
|
NURSE STEPHENS
Certainly Doctor. |
|
|
The nurse changing focus from Fastow to Billings and
Holliday. |
|
|
NURSE STEPHENS
Please come with me detectives. |
|
|
Billings and Holliday arise from their chairs and head
towards the nurse |
|
|
|
They are all walking back down the hallway. |
|
27.
|
|
HOLLIDAY
(To nurse as they
are walking.)
We need to know if any of these
women were patients. |
|
|
|
NURSE STEPHENS
(She turns around
and takes the
list from
Holliday)
Of course. |
|
|
They come to a door which the nurse opens and they all walk
in. It is a large office that seems to be mostly used for
paperwork and storage. There are many file cabinets neatly
arranged as well as everything else. |
|
|
NURSE STEPHENS
I swear you detectives are wasting
your time and ours..there is
nothing going on with our
patients. |
|
|
|
BILLINGS
(Looking at
holliday with a
small smile.)
Yes Ma'am. None the less we
appreciate your help. |
|
|
The nurse starts fumbling through the files as if she is
certain she will find nothing. She stops as if taken aback. |
|
|
NURSE STEPHENS
(With surprise.)
Here's one. |
|
|
Thumbing through a few more files, she stops again. |
|
|
NURSE STEPHENS
(Surprisingly and
slightly more
humbled than
before.)
Yes this one as well. |
|
|
Holliday is watching her thumb through and notices her
pulling up Caulder's (vic #4) file. He is looking at all the
names and sees a a few inches in front the name Billings.
Sarah Billings. He says nothing. He looks over at his
partner and notices that Billings does not see the name. |
|
28.
|
|
NURSE STEPHENS
(Looking at
Detectives.)
Yes, all of these women were
patients here. |
|
|
The detectives look at each other. |
|
|
NURSE STEPHENS
(Concerned)
My goodness, what does this mean?
I have to notify the Doctor right
away. |
|
|
|
BILLINGS
Yes Ma'am, we will be speaking to
him again as well. |
|
|
|
HOLLIDAY
(To Nurse)
We need to have copies of those
files please? All of the
information sheets. |
|
|
|
NURSE STEPHENS
Well, yes of course, Dr. Fastow
said to give you what you needed.
It'll take about 10 minutes or so. |
|
|
|
HOLLIDAY
I'll wait for them here please. |
|
|
|
BILLINGS
I need a smoke. I'll wait for you
outside. |
|
|
|
|
Billings leaves the room and Holliday makes a directive to
the nurse. |
|
|
HOLLIDAY
I need a copy of the Sarah
Billings file too. |
|
|
The Nurse takes the file and leaves the room. |
|
Pans to front door of clinic. |
|
|
29.
|
EXT. OUTSIDE FASTOW CLINIC - DAY |
|
Holliday walks outside to Billings. Billings stomps out his
cigarette and they both start walking towards the car. |
|
|
|
|
HOLLIDAY
(Reluctantly)
Yeah. |
|
|
|
BILLINGS
Man, that nurse is a real piece of
work. Finally a woman you didn't
hit on. |
|
|
Holliday smiles at Billings as they walk towards the car. |
|
They both get into the car and it shows it driving away from
behind and fades out. |
|
|
INT. FASTOW'S HOUSE - LIVING ROOM - LATER - NIGHT |
|
Straight into Fastow's den. |
|
Fastow again seated in his recliner by the same fireplace
having a drink. He is looking towards the fireplace mantle
at photos of children. Spans back and forth to show all
photos. He slips into another flashback. |
|
Flashback to the same boy only older this time. Fastow is at
the young man's graduation. Fastow is taking a picture of
the young man with some of his friends. The young man is
smiling as he walks towards Fastow opening up his arms as if
he will hug him. Fades out before hug. |
|
Camera shows Fastow is crying as he stands up and becomes
angry. He THROWS his glass into the fireplace and YELLS out
with anger. He is a truly broken man with a secret. |
|
|
INT. POLICE PRECINCT - AT DESKS NEXT DAY - DAY |
|
Detectives both seated at their desks going through files. |
|
|
BILLINGS
(Flipping to a
page.)
Ok, let's see what kind of guy the
Doc is shall we? |
|
|
30.
|
|
HOLLIDAY
(Looking over at
partner.)
You think it's him? |
|
|
|
BILLINGS
Maybe, but it's hard to think he
would be against abortion and
perform them. It doesn't add up.
Ok, Married once, wife deceased
ruled accidental, no criminal
record, perfect credit..yada,
yada, yada....DAMMIT! |
|
|
Billings looks puzzled as he fumbles through more papers. |
|
|
BILLINGS
Hold on here...ya think it's a
coincidence his wife died 20 years
ago? |
|
|
|
HOLLIDAY
(Snapping his head
towards partner
knowing Billings
wife also died
about 20 years
ago.)
No. How did it happen? |
|
|
|
BILLINGS
Says here she drove off an
embankment, car caught fire and
that was that. |
|
|
|
HOLLIDAY
We need to get a look at that
body. |
|
|
|
BILLINGS
We don't have enough for a warrant
for exhumation. |
|
|
|
HOLLIDAY
Well then now what? |
|
|
|
BILLINGS
We do have enough to get a tail on
him. |
|
|
31.
|
|
HOLLIDAY
Sounds good. You mind doing that,
I've got something to check out
here. |
|
|
|
BILLINGS
Anything I can help ya with? |
|
|
|
HOLLIDAY
Nah, it's personal, no big deal. |
|
|
|
BILLINGS
Yeah ok,be back in a couple of
hours then.. |
|
|
Billings stands and walks out of the precinct. |
|
Panning back to Holliday. |
|
Holliday begins typing on his computer, the screen shows him
looking up his partner's information. The standard stuff,
school, his first precinct and awards he has been issued. He
gets further into files about his past. Holliday knows
Billings wife died 20 years ago. A fact he didn't like
hearing then, but certainly doesn't like being reminded of
now. Information shows his wife died in an car crash ruled
accidental death. The same as Fastows. |
|
Holliday sits back in his chair thinking about the obvious
and realizes he has to check it out but does not want to,
after all it is his partner. They did think the killer may
be a cop... |
|
|
EXT. FASTOW CLINIC PARKING LOT - DAY |
|
It's a rainy day, darker than most, perhaps symbolizing the
mood of the detectives as they desperately try to unravel
the mystery before them.
Billings and Holliday are in their car pulled up next to
another with two other detectives. Billings and the driver
of the other car roll down their windows and begin talking. |
|
|
BILLINGS
Appreciate this guys. Need a tight
leash on this one, do not let him
out of your site. I want pix of
everywhere he goes, everything he
does and everyone he talks to. Got
it? |
|
|
32.
|
|
TAIL DETECTIVE
You got it chief. |
|
|
They wave bye and roll up their windows as Billings and
Holliday drive off in the haze of the day. |
|
Fades out to next scene. |
|
|
INT. LOCAL DINER - DAY |
|
A local diner where Billings and Holliday often eat or have
coffee. It is small and everyone knows each other. |
|
Billings and Holliday are seated in a booth. It is still
gloomy outside as they just sit and wait for something to
give in the case. You can tell they are exhausted and
getting punchy. |
|
A young attractive waitress approaches the table. |
|
|
WAITRESS
(Looking at
Holliday with a
shy flirtatious
smile.)
Hey guys, what can I get for ya? |
|
|
|
HOLLIDAY
(Winking)
Hey there. Guess we'll just take a
couple of cups of coffee. |
|
|
|
WAITRESS
Two coffees coming right up
fellas. |
|
|
As the waitress walks away, Holliday is leaning out a bit
from the booth watching her walk away. |
|
|
|
|
HOLLIDAY
(Looking confused
at Billings)
What? |
|
|
|
BILLINGS
(Smugly but with
humor)
I figured you were wondering what
kind of pie she has today. Apple |
|
|
33.
|
|
HOLLIDAY
Ha Ha, so I think she's
attractive. |
|
|
|
BILLINGS
You think everyone's attractive.
Don't come crying to me when it
falls off. |
|
|
|
HOLLIDAY
Hey, hey, hey don't say stuff like
that. I always use protection ok. |
|
|
|
BILLINGS
Well thank god for small miracles. |
|
|
The waitress approaches the table with the coffees. She sets
them down . |
|
|
WAITRESS
(Looking at
holliday.)
Anything else? |
|
|
|
HOLLIDAY
Yeah, what kind of pie you got
today? |
|
|
Billings spits out a small amount of coffee is has just
sipped with a short snort of laughter. |
|
|
WAITRESS
We have Apple today, would you
like a slice? |
|
|
|
HOLLIDAY
(Wink)
Maybe later, thanks. |
|
|
|
BILLINGS
Ok, we need to get Fastow's wife's
body exhumed. |
|
|
|
HOLLIDAY
(Adding cream and
sugar to his
coffee.)
How do we do that with no evidence
tying him to these murders? |
|
|
|
BILLINGS
We don't. Not on these murders
anyway. I think we can get one on
the possible murder of his wife.
(MORE)
|
|
34.
|
|
BILLINGS (cont'd)
It's more than a coincidence she
starts the timeline. |
|
|
|
HOLLIDAY
Ok, well let's talk to the
original investigators in her
death and see what we can get.
Maybe he was a suspect back then
and they just couldn't prove it. |
|
|
|
BILLINGS
I'll get the original files and
see what we can dig up. |
|
|
|
HOLLIDAY
I been thinking about what you
said earlier about something not
being right. It would seem odd
that he is an abortion Doctor that
doesn't believe in abortions. |
|
|
|
BILLINGS
(Taking a sip of
coffee then
speaking.)
You thinking maybe it's someone
else? |
|
|
|
BILLINGS
I think at this point it's
possible, I mean it's not unusual
for a killer to hunt from the same
ground. What do you think? |
|
|
|
BILLINGS
I think it all depends on how his
wife died. You ready? |
|
|
|
|
The detectives stand as Billings puts a few dollars on the
table. They start to walk out as they wave to the waitress
and exit the Diner. |
|
|
INT. POLICE PRECINCT - DAY |
|
Billings and Holliday are again at their desks. They have a
few files they are going through as they begin talking. |
|
35.
|
|
BILLINGS
Ok, files indicate Fastow was not
a suspect at all. Death was ruled
accidental....wait a minute! |
|
|
|
|
|
BILLINGS
There was no autopsy. Says here no
cause for suspicion, woman veered
off road and off an embankment.
They drew blood and found no drugs
or alcohol. Case closed. Hot Damn! |
|
|
|
HOLLIDAY
Looks like we got our warrant. |
|
|
|
BILLINGS
You bet your ass we do. |
|
|
The detectives are smiling as if they may have just broken
the case. Finally a moment of relief to celebrate.
|
|
|
HOLLIDAY
This could be our first real break
Paul. |
|
|
|
BILLINGS
It's him, Kev, I can feel
it...it's him. |
|
|
|
HOLLIDAY
(Wanting it to be
Fastow.)
Well it sure looks like it may be. |
|
|
Billings and Holliday look at each other with satisfaction. |
|
|
BILLINGS
Let's go get us a warrant partner! |
|
|
|
EXT. UNDERCOVER CAR - DAY |
|
From the viewpoint of the inside of a car you can see photo
separated shots of Fastow walking from his car to inside the
clinic. You can hear backgound noise of photos being taken.
It does not show the car or the detectives asigned to tail.
There is no talking either, just snapshots.
|
36.
|
Fades out. |
|
|
EXT. CEMETARY - DAY |
|
Panning from afar zooming in on the beauty of the lush green
grass perfectly maintained. You can see many tombstones of
the once living. Closing in on a sound of a large motor and
focusing in on a bulldozer. The two detectives are standing
close by talking. |
|
|
HOLLIDAY
I hope this was a homicide or we
are back to square one. |
|
|
|
BILLINGS
Too much of a coincidence. No,
this woman was murdered I can feel
it. |
|
|
|
HOLLIDAY
I can't even begin to think these
women may be killed for having an
abortion. Doesn't make sense that
our perp may have known them all
personally, he would have popped
up by now. |
|
|
|
BILLINGS
Yeah, and the right to lifers
usually go after the clinics or
Dr.s. This isn't about that. This
is personal. |
|
|
|
HOLLIDAY
Personal? Even if he killed his
wife, why the others? |
|
|
|
BILLINGS
(As if he can see
inside the
killers mind.)
Maybe one just didn't satisfy him. |
|
|
Fades out |
|
|
INT. M.E.'S OFFICE - DAY |
|
The detectives are standing next to medical examiner and a
coffin. |
|
37.
|
|
BILLINGS
(To M.E.)
We're looking for anything that
indicates she was murdered but
particularly maybe a punture wound
to the back of the head Doc. |
|
|
|
M.E.
(Surprised)
You think this may be related to
our guy? |
|
|
|
HOLLIDAY
That's what you're gonna tell us
Doc. |
|
|
|
M.E.
(Opening the
coffin lid.)
I'll check. Can't promise you
anything, looks like it was a
pretty bad burn. Bones cracked,
pretty nasty. I'll let ya know. |
|
|
|
HOLLIDAY
You do that Doc, number one
priority on this one please. |
|
|
|
M.E.
You got it. I'll call as soon as I
find anything. |
|
|
|
BILLINGS
(To M.E.)
Thanks Doc. |
|
|
Billings and Holliday walk out. |
|
Fades out |
|
|
EXT. UNDERCOVER CAR - NIGHT |
|
Same viewpoint from undercover car looking at Fastow's home
watching him go from room to room. The same snapshot
viewpoints. There are a couple of children playing through
the house. It is dark and only the lights from the home are
visible.
The camera continues to snap.
|
|
38.
|
Fades out. |
|
|
INT. POLICE PRECINCT - DAY |
|
Shows detectives sitting at desks thumbing through
paperwork. Billings phone rings. |
|
|
BILLINGS
(Picking up phone)
Billings |
|
|
|
BILLINGS
(Talking on phone)
Yeah Doc what ya got? |
|
|
|
BILLINGS
(Excited)
You sure, same as the others.
Goddamn! I owe ya Doc. |
|
|
Holliday intensly looking at Billings. |
|
|
BILLINGS
(Looking at
Holliday)
Looks like the Doc's wife stabbed
herself in the back of the head
before she drove off that
embankment. |
|
|
|
HOLLIDAY
Wanna pull him in on his wife? |
|
|
|
BILLINGS
No, not yet I don't wanna tip him
off. Besides he's not going
anywhere. Lets just pay him a
follow up visit. |
|
|
|
EXT. FASTOW'S HOME - DAY |
|
Billings and Holliday at front door ring the bell |
|
Door opens, it is a young man. |
|
|
BILLINGS
(Asking young man
as he holds out
his badge)
Hello, we would like to speak to
Dr. Fastow, is he in? |
|
|
39.
|
Young man remains silent as he opens the door to reveal Dr.
Fastow seated in the living room. |
|
Billings and Holliday enter front door and proceed towards
Dr. Fastow. |
|
|
FASTOW
(Remains seated)
Please come in Gentlemen. |
|
|
|
FASTOW
(Gesturing with
hand)
Please be seated. How may I help
you? |
|
|
|
HOLLIDAY
(Taking seat on
couch)
I'm sure you know what we are here
about. |
|
|
Pan quickly to Fastow |
|
|
FASTOW
(Inerrupting
Holliday)
My dead patients. |
|
|
Holliday shoots a glance at Billings |
|
|
BILLINGS
(To Fastow)
Doesn't that bother you Doc? |
|
|
|
FASTOW
(Takes a sip from
his drink and
looks back up at
Billings)
I cannot control fate Mr.
Billings. |
|
|
|
BILLINGS
(Shocked)
Fate? Are you saying these women
were destined to be murdered? |
|
|
|
FASTOW
(Pleasingly)
I am stating that we reap what we
sow. Fate is a funny thing, it has
a way of reconciling that which
needs to be reconciled does it
(MORE)
|
|
40.
|
|
|
|
HOLLIDAY
(Calmly)
Reconcilliation or retribution? |
|
|
|
BILLINGS
(Direct)
Your wife Dr. Fastow, what was her
fate? |
|
|
|
FASTOW
(Stands abruptly)
I think it is time you gentlemen
left. I am afraid I can be of no
further assistance. |
|
|
|
INT. CAR - DAY |
|
Inside detective's car. Billings and Holliday begin
conversation. |
|
|
HOLLIDAY
(Puzzled)
What the hell was that about his
wife? I thought we weren't gonna
mention her yet. |
|
|
|
BILLINGS
(Turning slowly to
face Billings)
I think he killed her. I think he
killed her for aborting his child
and I think he is killing the
others for aborting theirs as some
kind of revenge. I don't know how
he is doing it, but let's get a
warrant to search his house. |
|
|
|
HOLLIDAY
You're not getting a warrant, he
has an alibi for the last
murder.....us. |
|
|
|
BILLINGS
Well we can get one for his wife's
murder. |
|
|
Billings looks at Holliday as if he has been punched in the
gut. |
|
41.
|
FADES OUT |
|
|
INT. POLICE PRECINCT - DAY |
|
INSIDE SAME OFFICE WITH EVIDENCE |
|
Billings and Holliday both silent looking around at photos,
slowly moving towards table. |
|
Holliday sits down at table, looking up at Billings |
|
|
HOLLIDAY
(Uncertain)
What are we missing? What the hell
are we missing? The Doc fits here
somehow, but no evidence. |
|
|
Billings looking at surveillance photos |
|
Billings takes seat |
|
|
BILLINGS
(Inquiring)
I thought Fastow didn't have any
kids. |
|
|
|
|
|
BILLINGS
(Pointing to young
people in photos)
Then who are these kids? |
|
|
|
HOLLIDAY
(Fumbling through
photos)
You remember all those pix of kids
at his office? They were all the
same kids at different ages. Maybe
nephews? |
|
|
|
BILLINGS
(Throwing photos
down on table)
File shows no siblings so let's
sure the hell find out who they
are. |
|
|
An officer walks into the office to let them know they have
a call on line two. |
|
42.
|
|
BILLINGS
(picks up phone)
What! I thought we had him under
surveillance. OK |
|
|
|
HOLLIDAY
Who the hell was that? |
|
|
|
BILLINGS
We got another vic. |
|
|
|
HOLLIDAY
How the hell did that happen.
Don't tell me this isn't our guy. |
|
|
|
BILLINGS
This is the last one Kev, the last
one dammit. |
|
|
|
INT. POLICE HEADQUARTERS - DAY |
|
Holliday at his desk again looking through paperwork and his
computer. He sees Billings wife got an abortion only months
after Fastow's wife died. He knows the Doc has an alibi for
the last murder and is wondering if his partner does. This
would be the perfect setup. The Doc is a perfect patsy if
Billings is involved. It has been well planned out and
executed. He hopes he is wrong but knows he has to pursue
the possibility that Billings may be involved. |
|
Holliday picks up the phone and dials a number. |
|
|
HOLLIDAY
(To M.E.)
Hey Doc, what's it take to get
another body exhumed? |
|
|
|
EXT. FASTOW'S HOUSE - DAY |
|
Focusing on front of home as a car pulls up. A young man
exits vehicle and enters home as Fastow has door open to
greet him with affection. |
|
Fades out |
|
|
INT. M.E.'S OFFICE - DAY |
|
Holliday and the M.E. are at Dr. Fastows wifes body. |
|
43.
|
|
M.E.
Same as the others Kevin. |
|
|
|
HOLLIDAY
Yeah, I figured. |
|
|
|
M.E.
What's bothering you. What's this
about another body being dug up? |
|
|
|
HOLLIDAY
I have another possible suspect
that needs checking out. I really
can't say now but I'll be in
touch. |
|
|
|
INT. POLICE HEADQUARTERS - DAY |
|
|
BILLINGS
(Approaching his
desk)
Hey Kev, sorry bout that, had some
business to take care of. What do
we have? |
|
|
|
HOLLIDAY
Docs wife same as the others.
Listen Paul, I gotta ask you a few
questions ok? |
|
|
|
|
|
HOLLIDAY
It's about your wife. |
|
|
|
BILLINGS
(Snaps his head
towards Holliday)
What about my wife partner? |
|
|
|
HOLLIDAY
(Throwing a file
on Billings desk.)
Tell me you didn't know. |
|
|
|
BILLINGS
(As he looks
through file)
Know what? |
|
|
44.
|
|
HOLLIDAY
That she was the Docs patient 20
years ago just before she died. |
|
|
|
BILLINGS
Son, you better watch what you say
here. |
|
|
|
HOLLIDAY
That's why I am coming to you.
Answer me please. Did you know? |
|
|
|
BILLINGS
(Almost broken
hearted)
No. |
|
|
|
HOLLIDAY
This is not a coincidence Paul.
What's going on? |
|
|
|
BILLINGS
I don't know Kev. I swear to you I
don't know. |
|
|
|
HOLLIDAY
Can you see my problem here
partner? We talked about it being
a cop and now your wife turns up
in our Docs office. Talk to me. |
|
|
|
BILLINGS
You've gotta believe me Kev, I
didn't know. |
|
|
|
HOLLIDAY
Well then there is a strong
possibility your wife was one of
his first vics along with his
wife. You willing to go with me on
this? |
|
|
|
BILLINGS
You bet your ass I am. |
|
|
|
HOLLIDAY
Paul, we have to exhume her body
to know for sure. Can you handle
that? |
|
|
|
BILLINGS
Yes. Let's do it. |
|
|
|
45.
|
EXT. CEMETARY - DAY |
|
Familiar scene only this time it is very personal. Billings
and Holliday are again watching a body being dug up. |
|
Billings standing on the verge of tears remembering in a
flashback. The day of his wifes funeral, a day he will never
forget and with no children to remember her by...alone and
now the revelation she had aborted his child....it is too
much. Billings covers his face and walks away. |
|
Holliday lets him go and remains for the exhumation. |
|
|
INT. M.E.'S OFFICE - DAY |
|
Sarah Billings lie on a cold table awaiting her turn.
Billings is not there, only Holliday and the M.E. |
|
|
HOLLIDAY
The body looks pretty good. |
|
|
|
M.E.
Yeah. It's held up well. I can
give you a cursory eval but to be
sure I'll need some time. |
|
|
The M.E. turns her head and looks for a wound like the
others. He is not disappointed. |
|
|
M.E.
Looks like we may have another. I
can't tell for sure but the wound
looks the same, it was definitely
not caused by a car crash. How's
Billings holding up? |
|
|
|
HOLLIDAY
Taking it pretty hard. Thanks Doc. |
|
|
FADES OUT |
|
|
INT. POLICE HEADQUARTERS - DAY |
|
Holliday walking up to his desk. Billings is silent and
dazed alreay seated at his desk. |
|
|
HOLLIDAY
I'm sorry Paul. M.E. says it looks
the same. |
|
|
46.
|
|
BILLINGS
(Banging his hand
on his desk)
God Dammit Kev. He killed my
wife...he killed my Sarah. |
|
|
|
HOLLIDAY
Now we can get that search
warrant. |
|
|
|
BILLINGS
Now we can nail his ass. |
|
|
|
HOLLIDAY
I'm sorry about Sarah, Paul. I
know this is rough. We all have
things to hide. All of us. |
|
|
|
BILLINGS
I never wanted kids, had a tough
enough time with a wife with this
job. I don't know why she didn't
tell me. |
|
|
|
HOLLIDAY
Cause you didn't want kids, that's
why and apparently neither did
she. What would you have done if
she had told you anyway? For what
it's worth, I think she did the
right thing for both of you. |
|
|
|
BILLINGS
And it got her killed. |
|
|
|
INT. FASTOW'S HOME - DAY |
|
Panning around home in different areas, detectives going
through paperwork and drawers. They seize photos and boxes
full of various items. |
|
LIVING ROOM |
|
|
HOLLIDAY
(Taking photos)
We need to know who these kids
are. |
|
|
|
BILLINGS
How the hell are we supposed to do
that when there is no record of
him having any kids or family? |
|
|
47.
|
|
HOLLIDAY
Well they didn't just pop out of
thin air, they come from
somewhere. |
|
|
|
BILLINGS
We can start with the ones that
live with him and go from there. |
|
|
|
INT. POLICE PRECINCT - DAY |
|
Billings and Holliday sitting at their desks going over
paperwork when phone rings. |
|
|
BILLINGS
(Answering phone)
Billings |
|
|
|
BILLINGS
(Puzzled)
What? Are you sure? Let me get
back to ya. |
|
|
|
BILLINGS
(Looking over at
Holliday)
You'll never guess who that was.
The M.E. |
|
|
|
|
|
BILLINGS
They did DNA matches on all the
evidence found. |
|
|
|
HOLLIDAY
Yeah, I know, we got the results
back already. No matches to
Fastow. |
|
|
|
BILLINGS
Right, not to Fastow. But matches
for sure. |
|
|
|
HOLLIDAY
(Angry)
Matches to who goddammit? |
|
|
48.
|
|
BILLINGS
(Ominously)
Each killer was related to their
victim. |
|
|
|
HOLLIDAY
What? What do you mean related?
how can that be. How close a
relative? Did he say? |
|
|
|
BILLINGS
Preliminary DNA only, he's running
full tests a.s.a.p. |
|
|
|
HOLLIDAY
So let me get this straight, each
vic was killed by a family member.
What the hell is going on here? |
|
|
|
BILLINGS
I don't know, but this doesn't
look like anything we have ever
seen before or will ever see
again. |
|
|
|
INT. M.E.'S OFFICE - DAY |
|
M.E., Billings and Holliday standing in front of various
scientific materials on a metal countertop. |
|
|
M.E.
The four new vics share 50% DNA
with their killer gentlemen. |
|
|
|
BILLINGS
So....a kid right? |
|
|
|
M.E.
Definitely a son. I thought you
said these vics had no kids. |
|
|
|
BILLINGS
(looking at
Holliday)
They don't. |
|
|
|
INT. POLICE PRECINCT - DAY |
|
Back in the same room with photos and files, the two
detectives are staring at the wall of photos. |
|
49.
|
|
HOLLIDAY
(Confused.)
What are we missing chief? |
|
|
|
BILLINGS
It's not what we are missing. It's
what the Doc is missing. A son. |
|
|
|
HOLLIDAY
If he is stealing babies we would
have missing persons reports, we
have nothing for infants unsolved
in this area. |
|
|
|
BILLINGS
(Putting his hand
under his chin.)
Yeah I know. He got them from
somewhere. If it was private
adoption though he would have
birth certificates. There is
nothing illegal with that. But he
has no record of any child
belonging to him. |
|
|
|
HOLLIDAY
Maybe he went out of town and
thats why we have nothing here. |
|
|
|
BILLINGS
(Puzzled.)
There is no indication that these
women had any children, there
would be a birth certificate. I
can't see these women not filing a
report if he talked them out of
abortions and waited for them to
give birth and took the child. It
just didn't happen. |
|
|
|
HOLLIDAY
Well the files all indicate that
an abortion was performed. Do you
think he lied on the paperwork
somehow? |
|
|
|
BILLINGS
(Pointing to a
couple of files.)
Let me see those. |
|
|
Billings glances closer at Fastow's patient files and
notices something. |
|
50.
|
|
BILLINGS
Tell me this isn't what I think it
is. |
|
|
|
HOLLIDAY
(Excitedly.)
What? |
|
|
|
BILLINGS
These women didn't just have
regular abortions at all. Holy
Shit partner. We need to bring
Fastow in and now. |
|
|
|
INT. POLICE PRECINCT / INTERROGATION ROOM - DAY |
|
Billings and Holliday staring through the glass at Fastow
seated at a table. |
|
|
BILLINGS
Both of us or just one? |
|
|
|
HOLLIDAY
What the hell ...double or nothin. |
|
|
Billings and Holliday walk out of room and into room with
Fastow. |
|
They both take seats across from Fastow and remain silent
for a few seconds. Fastow breaks silence. |
|
|
FASTOW
(Looking up at
detectives)
Well gentlemen, it seems you have
succeeded in your task. I must say
I have no regret. |
|
|
|
HOLLIDAY
(To Fastow)
Wanna lay it out for us Doc, cause
I gotta tell ya, I'm real unsure
about this one. |
|
|
|
FASTOW
I knew it would come to an end
eventually. I only have so many
lives to justify. I had to stop in
my selections as I grew older. |
|
|
51.
|
|
BILLINGS
(Curiously)
Selections? |
|
|
|
FASTOW
Yes. The invisible. The ones know
one would ever know about, the
ones those women wanted to forget.
So close to term,
viable...children. My children. |
|
|
Billings and Holliday look at each other stunned at what
they are hearing. |
|
|
HOLLIDAY
(To Fastow)
You're talking about late term
abortions? Your wife have one Doc,
is that it? |
|
|
|
FASTOW
(Angry)
My wife. She took away the only
thing that ever mattered to me, my
son. She murdered him and I could
not allow that to go unpunished.
The others were all the same. They
didn't care about them only I did.
I took them and raised them as if
they were my own. |
|
|
OTHER INTERROGATION ROOMS |
|
Panning to a young person in each of the 4 other rooms as
Fastow is speaking. Then back to Fastow. |
|
|
FASTOW
They knew what they had to do. I
waited for the right moment, for
them to be old enough and let
their mother see what she had
thrown away. To know the very
death she had intended.
I killed the first two but I knew
I couldn't keep that up. So I
waited. I took the boys from their
mother's bodies and raised them as
if they were my own, hell they are
mine. I had fake birth
certificates so no one would
question them through school until
they were ready. |
|
|
52.
|
|
BILLINGS
Your second victim was Sarah
Billings? |
|
|
|
FASTOW
Ah yes, Sarah. She was a
particular pleasure. She simply
didn't want children. Just wanted
it to go away. Well it did, didn't
it and so did she. |
|
|
|
BILLINGS
The women...punctured through the
head, that's the procedure used
for late terms. |
|
|
|
FASTOW
Quite fitting don't you think? |
|
|
Billings and Holliday leave room and back to looking at
Fastow through glass. |
|
|
HOLLIDAY
That is one sick bastard. Why
didn't you tell him that Sarah was
your wife? |
|
|
|
BILLINGS
I didn't want to give him the
satisfaction. That's not what
bothers me though. |
|
|
|
HOLLIDAY
What bothers you? |
|
|
|
BILLINGS
There have been five murders. |
|
|
|
|
|
BILLINGS
So, there were at least 10
different children in the
photos..... |
|
|
FADE OUT. |
|
|
|
|
Feedback |
From Alcera Gomez |
Date 11/22/2013 |
|
I read this script and fell in love with it! Super scary the hairs on the back of my neck are still standing up :) I am a HUGE crime buff and really think this one is a keeper. You write very well but it seems like you get a little lost. Please finish it soon. I can't wait. |
From Derrick H. Mohre |
Date 6/13/2010 |
|
Dialogue is a bit strange. The plot is solid. Character development is evident. Overall, big screen worthy. Nice job. |
From David Brown |
Date 4/3/2005 |
|
This is one of the best scripts I have read in a long time. Granted, it needs a lot of character development, but WOW. I don't think there has ever been a movie with this plot or ending in history. I wish I thought of it. I hope you get recognized with this one.. But...shape it up, you really need a lot of work. |
From Cayleigh |
Date 3/11/2005 |
|
Four stars, two thumbs up. Some weird things going on with the dialogue, other than that, encore! |
From Sonia Doogle |
Date 2/22/2005 |
|
OK, I have never heard of such a storyline. It is very original and freaky scary. I see it says WIP..I think it needs a lot of shaping up but it looks like from the first parts they are working their way down and are well on their way. I would LOVE to see this movie. The ending is very good. Good luck |
From Robert Hyland |
Date 1/25/2005 |
|
I thought it was generally good, but to start with I was a little confused - maybe it'll be clearer on screen for the audience, maybe I'm just a little stupid, lol.
OK, maybe padding out a bit. You've got a good plot there, and the two detective go well together - just needs a bit more, perhaps introduce another suspect. I dunno, no doubt you've got plenty of ideas.
Nice note to end the script, leaving it open ended. Nice one. |
From S.M. McNair |
Date 1/24/2005 |
|
Most people hate my reviews, especially newbies to SB. But while there's some arguable questions on characters/dialogue, the story itself is original and fresh. You catch on to the horror cliche and know how to reach an audience and this is what makes this script work. For once in my long extended time here, I can't argue about a newbie's script because it's pure horror magic that is waiting for the audience to die over with. |
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