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JUDGE OF CHARACTER
FADE IN:
CLOSE ON A TREMBLING HAND
A MAN'S hand, twirling his wedding band around his finger
with his thumb.
CLOSE ON A TV SET
A news ANCHOR falsely smiles through the screen, and reports
in an important tone.
ANCHOR
...And the vote is almost unanimous. New
Hampshire is officially a state to be
reckoned with in the world of crime.
Proposition 55B passed today with a
record of 85 percent voting in favor.
That means that from now on, any person
convicted in the first degree of two or
more murders will automatically be given
the death penalty. As we...
His voice fades out as WE PULL BACK to reveal:
INT. HOTEL ROOM - NIGHT
This place has the decor of a 70's brothel and it's being
used as one tonight. WE now see:
STANLEY MARSHALL, bound and gagged in a chair, bloodied from
a good beating, and wearing only boxer shorts. His muffled
cries go unanswered and he looks over at:
JESSICA ROBBINS, an escort whose arms are tied to each
bedpost. Her naked body is covered only by sheets and a gag
is jammed in her mouth.
The TV is clicked off and the unseen KILLER in black moves
towards Stanley, a wicked knife glinting in hand.
A quick SLASH across his throat and Stanley watches in horror
as blood cascades down his chest. He slumps over in his
chair.
Jessica's eyes light up in a new wave of fear and try as she
might, cannot struggle free. The Killer approaches her,
knife ready.
FADE OUT.
EXT. COLLEGE - DAY
Students mill back and forth from the impressive old
buildings on the campus. Across from the main building is a
huge theater under construction. Workers are sitting on a
concrete block, eating their lunch and eyeing the pretty
coeds.
INT. LECTURE HALL - COLLEGE
A small amphitheater. Students yawn and shuffle
uncomfortably in their chairs. Their teacher is:
MITCH JOHVAS, early forties, ruggedly handsome, intelligent.
He paces as he lectures.
MITCH
Now as you all may have heard,
Proposition 55B passed yesterday. Any
ideas on what this may achieve?
He scans the classroom carefully until his eyes fall on JOSH
HARPER, early twenties, who is drifting off.
MITCH (cont'd)
Josh. Any input?
JOSH
(stirring awake)
Wha...I dunno...higher taxes?
MITCH
Interesting....not quite the answer I was
looking for, but that is true.
Executions cost more than keeping a felon
locked up for life. Anybody else?
The class is silent, all thinking hard or looking away to
avoid attention.
CLAUDIA ENGLE, early twenties, pretty with a long mane of
fiery red hair, walks in quietly, looking at the floor.
Josh's attention perks up when he sees her.
She heads straight for BRIAN SETH, mid twenties, athletic
build, but not a jock. She sits down beside him, and
receives a small peck on the cheek.
MITCH (cont'd)
Anybody? You guys have to start thinking
about these things.
MITCH (cont'd)
If you think about nothing else in this
class, think about this: Is it better to
exact revenge...or to gain knowledge of
the killer's mind to prevent further
murders from occurring? When you turn in
your profiles next week, I'd like you to
talk about your answer to that question
in association to the person you're
profiling.
(checks his watch)
Okay, that's all for today.
The room rumbles with the sound of the students getting up.
Mitch waves and says good-byes as they file out past him.
Claudia and Brian try to sneak by, but Mitch steps in front
of them.
MITCH (cont'd)
Claudia, I'd like to talk to you for a
sec.
CLAUDIA
Um...okay.
MITCH
Your absences have-
CLAUDIA
I know. I'm sorry. I've been sick and I
know I'm behind.
MITCH
If you have a problem you can make an
appointment, and we'll talk about it.
You really need to do well on this paper
to survive this class.
BRIAN
Don't worry Prof. I'll help her on it.
Mitch eyes both of them warily.
MITCH
Okay, but no more ditching class.
College isn't supposed to be THAT fun.
He watches as they leave the classroom.
INT. OUTER ROOM - MITCH'S OFFICE
Behind the small desk sits JANICE GRAY, a student worker in
her mid- twenties. She's reading one of those "Men are
Jerks, Women are Great" self-help books.
She puts down the book when she hears Mitch come in, and
gives him a warm smile.
JANICE
Hey, Professor Johvas!
Mitch returns the smile. If only she were older, she'd be a
great date.
MITCH
You know better than that.
JANICE
Well...
MITCH
You're no secretary and you know it. Call
me Mitch.
She grins at him. She hands a stack of mail to him.
JANICE
Here's your mail...boss.
MITCH
You're fired.
She cackles as he goes into:
INT. MITCH'S OFFICE
Cluttered with papers, but otherwise clean. He sits behind
the desk, shuffling through the mail. His keen eyes look
over the top of the desk, and he realizes that something is
missing.
MITCH
Janice?
She peeks her head around the corner, very proud of herself
for what she's done.
JANICE
Yes Mitch?
MITCH
Where's my ashtray?
JANICE
It's been two weeks, so I thought you
wouldn't be needing it anymore.
MITCH
I see.
JANICE
Don't worry, it's in a safe place. But
just say the word, and I'll throw it out.
Amused, he pulls out a stick of gum from his pocket, and
shoves it in his mouth.
MITCH
Give it a proper burial.
JANICE
(giddy and clapping)
Oohhh! I'm so proud of you!
She scoots out of sight and Mitch looks curiously at a letter
in his hand; the only handwritten one in the pile, with no
return address.
He opens it, his curious nature getting the better of him,
and in broad letters it reads:
I NEED YOUR HELP. I HAVE DONE SOME TERRIBLE THINGS THAT I
HAVE NO CONTROL OVER. THE MARX HOTEL HAS EVIDENCE OF MY
PROBLEMS. PLEASE TALK TO NO ONE. I HAVE NO ONE ELSE TO TURN
TO.
Not signed, and no other markings, it has certainly sparked
Mitch's interest. He doesn't notice LAURA WHITMAN, a fellow
teacher in her late thirties, attractive, but dressed
conservatively, walk up to his desk.
LAURA
Busy?
Mitch breaks away from the mysterious letter and gathers
himself. When he sees her he begins playing with his wedding
band.
MITCH
Laura! Didn't hear you come in.
LAURA
Obviously. Are you into something
important?
MITCH
Nothing that can't wait.
LAURA
Good. C'mon.
MITCH
What? Where are we going?
Mitch grabs his coat and follows Laura out into:
INT. OUTER ROOM - MITCH'S OFFICE
Janice smiles at them both, wishing them together.
MITCH
Janice, if anyone calls, I'll be back a
little later.
JANICE
No prob, prof-....Mitch.
He shoots her the evil eye as he walks out the door. Janice
waits a few moments, then takes out Mitch's ashtray from a
drawer in her desk. She lights a cigarette and leans back,
inhaling the smoke sensually.
EXT. BOOKSTORE - DAY
Laura practically drags Mitch up the sidewalk towards the
door.
MITCH
What are we doing here?
LAURA
It should've just been put out this
morning.
Mitch opens the door for her, and as she walks in, she
excitedly yanks him inside.
INT. BOOKSTORE - DAY
Laura is just short of running through the store and Mitch
can barely keep up. The clerks eye them curiously.
Laura stops in the History section and frantically searches
the shelves. Her eyes light up, and she pulls a book out and
looks over it lovingly.
LAURA
Oh my God. I think I'm going to cry.
Mitch looks at the cover. It reads: The Backbone of a
Nation: A History of America told through the eyes of women.
By Laura Whitman.
MITCH
Wow! It's out?
Laura nods trying to restrain herself.
MITCH (cont'd)
Didn't they send you an advance copy?
LAURA
I wanted to see what it felt like. I've
worked on this for over four years.
MITCH
You should be very proud.
Laura looks him over and frowns.
LAURA
You think I'm weird, don't you?
MITCH
Of course not.
Mitch is trying to suppress laughter, but Laura's face is
making it very hard.
LAURA
Yes you do. You think I'm weird. What's
so weird about buying a copy of my book?
MITCH
How many did the publisher send you?
LAURA
Twelve.
Mitch breaks out in laughter and Laura slaps him on the arm.
MITCH
I'm sorry.
LAURA
Are you telling me you've never done
this?
MITCH
Never.
Laura frowns and walks through the aisles to the True Crime
section, with Mitch following her.
LAURA
I'm not the only one who's gonna look
stupid today.
She looks through the books and sees half a row with five
different titles, all about criminal profiling, and all by
Mitch Johvas.
LAURA (cont'd)
Which one should you get?
MITCH
I'm not doing this.
LAURA
Oh yes you are. No one calls me weird
and goes away unpunished.
She picks one from the shelf and walks up to the counter
where the CLERK is eyeing her.
She sets the books on the counter and the Clerk picks them
up. He turns them over to scan and is surprised to see Mitch
and Laura's picture on the back of the two books.
LAURA (cont'd)
(to Clerk)
Does this strike you as weird?
CLERK
Look lady, I just work here.
MITCH
He thinks you're weird.
She smiles playfully and Mitch's eyes glow as he returns it.
EXT. MITCH'S HOUSE - EARLY EVENING
A modest two story home, not revealing how much money he
really has. Mitch walks up the steps and opens the front
door.
INT. LIVING ROOM - MITCH'S HOUSE
Quaint and very organized. Mitch scoops up his mail from the
slot in his door, and is greeted enthusiastically by his
Siberian Husky named BRUCE.
INT. KITCHEN - MITCH'S HOUSE
ANNA JOHVAS, late thirties, is putting dishes into the
dishwasher. She's beautiful, but tired.
Mitch and Bruce walk in. Mitch immediately goes to the
kitchen table and thumbs through the mail. He notices her
droopy eyes.
MITCH
Tough day?
ANNA
Aren't they all?
MITCH
Guess so.
ANNA
Are you writing tonight?
MITCH
Probably.
He opens a letter and sees that it's the same handwriting as
from the first letter.
MITCH (cont'd)
(muttering to himself)
Christ.
He opens it up and it reads:
THE MARX HOTEL. I HAVE NO CONTROL OVER MY ACTIONS, AND I
NEED YOUR HELP. I KNOW YOUR HISTORY AND THAT IS WHY I NEED
YOU. I WILL CONTACT YOU SOON. GABRIEL.
Mitch shudders a bit at the urgency of the letter. He thinks
about it, and then picks up the phone, dialing it quickly.
WES
(over phone)
This is Wes. I'm not here. Leave a
message.
There is a BEEP.
MITCH
Hey Wes, it's Mitch. I need to talk to
you about something. Meet me at the
diner tomorrow. Nine. Okay? See ya.
He hangs up the phone. Anna looks at him, a little worried.
He starts to say something, but changes his mind. Then he
finally speaks.
MITCH (cont'd)
I'm gonna take Bruce for a walk. Would
you like to come?
ANNA
No thanks.
He leaves the room with Bruce following. The tension still
hangs in the air.
INT. DINER - MORNING
A lively 50's style restaurant with memorabilia plastered
everywhere. Mitch walks in and spots WES PARKER, mid
forties, a kind, weathered face.
He is sitting in their familiar booth. Mitch sits down
across from him.
WES
You know, you always assume I have spare
time to meet you.
MITCH
You're always here aren't you?
A perky WAITRESS walks briskly to their table.
WAITRESS
Hi boys. Same as usual?
MITCH
Yeah, but could you go ahead and bring
some coffee now?
WES
Couch again?
Mitch flashes a look that says "Don't ask". The Waitress
brings over a pot of coffee and two mugs.
WES (cont'd)
Thanks.
She smiles and moves on to her other customers. Both men
pour themselves a cup of coffee as they talk.
Mitch tosses the two letters on the table. Wes picks them up
and reads them quickly.
WES (cont'd)
So...you think they're real?
MITCH
I wouldn't be here if I didn't.
The Waitress comes over with their breakfast. She sets down
two plates of eggs and bacon. Mitch immediately drowns his
in tabasco sauce.
WES
Would you like some eggs with your
tabasco?
MITCH
I read somewhere that spicy food helps
cut down on my cravings.
WES
Does it?
MITCH
Yeah, I think so. It numbs my tongue.
Mitch gulps his coffee.
MITCH (cont'd)
Look, maybe it's some wise ass.
WES
That's my first guess. Reminds me of my
Scott. He comes home the other night and
asks me how babies are born.
MITCH
Isn't he twelve now?
WES
Yeah. He knows about sex. He knows that
I know that he knows about sex. But he
asks me anyway, to put me on the spot.
MITCH
Check it out anyway, will ya?
WES
If it's a shithunt, you owe me.
INT. LECTURE HALL - COLLEGE
Mitch stands at the front of the class. He picks up a mug of
coffee and takes a huge gulp.
MITCH
Anybody have any questions about their
profiles?
A STUDENT raises his hand, and Mitch points at him.
MITCH (cont'd)
Yes?
STUDENT
What do you look for in a crime scene to
gather information about the killer?
MITCH
You mean shaping the profile?
STUDENT
Yeah, I just can't figure it out.
MITCH
You have to learn to look at every little
detail. A simple example would be a
victim that was naked, covered up by a
blanket. Anybody have a guess about
that?
Josh raises his hand. Mitch points to him.
JOSH
Covering up the body protects the
victim's dignity in the killer's eyes.
MITCH
And that means what?
JOSH
The killer was probably a relative or a
lover of the victim.
MITCH
Good. That's exactly right. These types
of patterns are seen in homicides every
day. It's from these past cases that we
are able to make an educated guess.
Occasionally we get sidetracked by the
gruesome nature of some of the crimes,
but when you look at it from a distance,
the pattern is always there.
EXT. MARX HOTEL - DAY
Wes pulls up to the curb and steps out of his car. The hotel
used to be elegant, but is old and falling apart.
INT. LOBBY - MARX HOTEL
Wes approaches the DESK CLERK, who eyes him suspiciously. He
pulls out a detective badge and flashes it at him.
WES
Anybody supposed to check out today, but
didn't?
CLERK
Yeah. So what?
WES
Could I have their room number please?
CLERK
You have a fuckin' search warrant?
Wes grabs the bell from the desk and holds it up.
WES
Don't make me shove this up your ass.
He DINGS the bell to make his point.
INT. LECTURE HALL - COLLEGE
Mitch wraps up his lecture.
MITCH
Okay, see you all next time.
As the class is leaving, Mitch walks over to Claudia, who
quietly gathers her books. Brian gives her a quick kiss and
leaves ahead of her.
MITCH (cont'd)
Claudia?
CLAUDIA
Y-yes?
MITCH
I've got a spare hour later this
afternoon.
CLAUDIA
What time?
MITCH
Three?
CLAUDIA
All right.
MITCH
Bring anything you've done on your
profile, and we'll work on it.
CLAUDIA
Thanks.
She moves through the students quickly to catch up with
Brian.
EXT. HALLWAY - OUTSIDE LECTURE HALL
Mitch walks out into the hall, and Laura comes down the hall
looking stressed out.
MITCH
Hey! How are you?
LAURA
Late. Today is always jam-packed.
She starts to wave her good-bye, but Mitch stops her.
MITCH
Well...do you teach a class on Friday
night?
LAURA
Of course not.
MITCH
Would you like to grab a bite to eat?
LAURA
You're not asking me on a date, are you?
MITCH
Not yet.
LAURA
Pick me up at eight.
She moves quickly down the hall, giving him a great smile.
Mitch struts back into his classroom.
INT. HALLWAY - MARX HOTEL
Wes walks down the dark, musty looking corridor. He stops at
door 217 and knocks firmly.
WES
Hello? Police, open up.
No answer. He glances down to the doorknob where a "Do Not
Disturb" sign hangs. He uses the key and once he looks
inside, his expression darkens.
WES (cont'd)
Aw shit Mitch.
INT. MITCH'S OFFICE - DAY
Mitch sits lazily at his desk, looking up at his wall clock.
It reads: 3:15. He starts to gather his things when Janice
steps in.
MITCH
Still no sign?
JANICE
No. Sorry.
MITCH
All right. Go home.
JANICE
Okay. Bye!
She walks out and Mitch calls out to her.
MITCH
And quit smoking in there!
Mitch grabs his briefcase and walks out.
INT. HALLWAY - COLLEGE
Mitch walks down the deserted corridor. He passes the
nurse's office and stops in his tracks. He backs up and
looks through the window. Claudia sits inside.
INT. NURSE'S OFFICE - COLLEGE
Claudia is surprised to see Mitch walk in, and she lowers her
head shyly.
MITCH
What are you doing in here? You okay?
CLAUDIA
Just not feeling real well. Sorry I
didn't show up.
The NURSE comes in from another office and attends to
Claudia.
MITCH
What's wrong?
NURSE
Probably just a mild case of the flu,
mixed in with too much coffee.
(to Claudia)
Just take some Tylenol and go to bed
early for a few days and you'll be fine.
The Nurse goes back into her office.
MITCH
Sensitive, isn't she?
Claudia smiles and stands up.
CLAUDIA
She's probably right.
MITCH
You've looked pretty wiped out lately.
CLAUDIA
I just need a good night's sleep.
MITCH
Not to beat a dead horse here, but-
CLAUDIA
I'm gonna work on it this weekend.
A deep breath from Mitch as he starts with the bad news.
MITCH
You're grades are slipping. I know
you've been sick, but my hands are tied.
I can fudge the attendance points, but
you flunked the last test.
Mitch's pager starts beeping, and he glances at it.
MITCH (cont'd)
Look, you can still pass, but you have to
nail this paper.
CLAUDIA
I'll try my best.
INT. HOTEL ROOM - DAY
Wes steps through the hoards of the forensics team, and other
assorted officers. He heads for SERGEANT TANNER, who looks
over Stanley Marshall's body, which is laying with his head
back over the chair.
WES
Hey Tanner.
TANNER
Parker.
WES
This is a mess. Got the ID's yet?
Tanner points towards Marshall, unaffected by all the blood
around him.
TANNER
Yeah, a Stanley Marshall here and-
He nods over to Jessica Robbin's body, still tied to the bed.
Her throat is cut, and the white sheets are a dark red.
TANNER (cont'd)
Jessica Robbins.
WES
She's an escort. We called her in as a
witness a few months ago. That Andreas
thing, remember?
TANNER
Oh yeah.
Wes looks over both scantily clad bodies.
WES
Guess she was going for that extra tip.
Cause of death?
He pulls on latex gloves and begins looking over Marshall's
body.
TANNER
Both necks were cut. So far that's the
only visible trauma, except for a few
bruises and lacerations on Marshall.
Probably tried to put up a fight.
WES
Perp had to have a gun to get them both
tied up.
TANNER
That's what I thought.
Wes extracts a wallet from Marshall's pants and thumbs
through it.
WES
Looks like this guy worked for an
investment firm.
He hands up a business card to Tanner, who looks it over
carefully.
TANNER
Think there's a connection there?
WES
Doubt it.
He looks over Marshall's drivers license and frowns. He
lifts Marshall's bald head up and looks it over.
WES (cont'd)
He's missing his toupee.
TANNER
What?
Wes calls out to everyone in the room.
WES
Anybody find a toupee in here?
A muffled response of "no's" comes from them.
TANNER
Our killer took a totem.
WES
His version of scalping him I guess.
They laugh dryly. Mitch walks into the room, and shakes his
head in disbelief. Wes walks up to him.
WES (cont'd)
Looks like your gut was right.
MITCH
Christ.
They walk around the murder scene taking everything in.
WES
We're going through the motions on this.
Maybe we'll turn something up.
MITCH
Maybe. I'm betting the killer was a
stranger though.
WES
Why do you say that?
MITCH
This wasn't a crime of passion. This
scene was set up.
WES
Couldn't somebody they knew set it up?
MITCH
Possibly. In most cases where the
suspect is a relative or friend, they set
up the murder scene to look like a
robbery...something like that. This is
different.
Mitch kneels down and inspects Marshall's body, looking over
every detail. Wes bends down toward Mitch and lowers his
voice to a whisper.
WES
Are we looking at a possible serial case
here?
MITCH
Could be.
WES
Shit.
Mitch looks at Marshall's driver's license. His face
crinkles into a frown.
MITCH
It says here that his eyes are blue.
WES
So?
MITCH
His eyes are brown.
Mitch stands up, using the chair to leverage his weight.
There is a soft, sickening, THUMP, THUMP. He looks into
Marshall's eyes and only sees empty sockets.
Wes looks down and sees Marshall's eyes on the floor.
WES
Son of a bitch!
Mitch looks warily over to Jessica's wide lifeless blue eyes.
MITCH
I'm betting she used to be a brown-eyed
girl.
Every cop in the room turns to stare into Jessica's eyes.
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Script created with Final Draft by Final Draft, Inc.