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INT. HALLWAY - DORMITORY
Mitch and Wes hear screams and run down the hallway towards
Josh's room.
INT. JOSH'S DORM ROOM - NIGHT
Wes and Mitch kick down the door. Wes has his 9mm drawn and
ready. They react in horror to Josh, slumped in a chair,
who has knife wounds all over his body, including his slit
throat.
The Girl is laying across the bed, her throat cut as well,
but that is the only wound on her.
Wes sees movement by the window.
WES
Freeze!
The Killer runs down the fire escape. Wes goes through the
open window to give chase.
Mitch checks Josh, whose eyes just barely flutter open. He
talks, blood flowing freely out of his mouth.
JOSH
C-C-C...
MITCH
Don't talk Josh. Help is coming.
JOSH
C-C-Clau-Claudia.
He dies and Mitch closes his eyes in sorrow. He looks to the
bulletin board and sees pictures of Claudia all over the
room. Blood is smeared on them.
Sirens are heard in the distance.
Wes comes back in through the open window. He takes a CB
radio off of his belt.
WES
(into radio)
All units be advised, suspect is out in
the four block area between Combs Street
and 4th. Combs Street and 4th. And
where's my damn ambulance?
He gets a response that it's on its way. But Mitch just
shakes his head at him.
MITCH
He's already gone.
WES
Son of a bitch!
Wes kicks the wall in frustration.
WES (cont'd)
This looks like the same guy doesn't it?
MITCH
He tried to put the girl in her position.
But this is strange. Why would he kill
them? He only goes for escorts?
Suddenly it clicks for him.
MITCH (cont'd)
Shit! Wes, I know who it is.
INT. HALLWAY - OUTSIDE ANOTHER DORM ROOM - NIGHT
Wes is breathing heavily as he draws his weapon.
WES
You had better be right Mitch. You just
ran me all the way across the campus.
MITCH
It's him, I'm sure.
Wes bangs on the door. A tired voice replies.
VOICE
Who is it?
WES
Police! Open up!
VOICE
This had better not be a joke.
Brian Seth opens the door wearing only sweat pants. It looks
like he just woke up.
BRIAN
What do you want?
WES
We need you to come with us to answer
some questions.
BRIAN
What? Dr. Johvas? What's all this
about?
WES
You'll find out. Now get dressed.
INT. INTERROGATION ROOM - POLICE STATION - NIGHT
Kemper sits inside the dank room with a very frustrated
Brian.
KEMPER
Look, just tell us what we need to know.
BRIAN
I can't tell you anything because I don't
know anything!
KEMPER
C'mon Brian. You and Josh both worked
campus security. You get along for
awhile, but then you notice that Josh is
moving in on your girlfriend. That
pisses you off. Shit, that would piss me
off too. So you make a mistake. You
killed him. It just so happens that you
kill him with the same knife that's been
killing escorts and their dates for the
past two months. The blade marks match
up.
BRIAN
Escorts? Date? What the fuck are you
talking about?
KEMPER
Don't dress me up and try to fuck me. You
know what I'm talking about. You think
about it and try to remember. I'll be
back.
He walks out of the room. Brian just sits there with a blank
expression on his face.
INT. OUTSIDE INTERROGATION ROOM - NIGHT
Kemper walks over to Mitch and Wes, who are standing near the
one way mirror that they have looking at Brian through.
KEMPER
I dunno Mitch.
MITCH
It's gotta be him. He fits the profile
in every way.
KEMPER
Well, we know that the knife that killed
Josh and that other girl killed the other
victims, and we know Brian had motive to
kill Josh, but nothing else fits. The
girl was an escort.
MITCH
Josh hired an escort?
KEMPER
Maybe he couldn't have Claudia, so he got
the next best thing. I dunno what he was
thinking. We didn't find a knife in his
room. Only some chloroform. That could
have been used to incapacitate the
victims, but none of the victims had any
in their systems. Brian says he uses it
to get high and go to sleep. That's
possible. Without hard evidence we don't
have a lot to go on.
MITCH
Wait a minute! Gabriel told me on the
phone that he was going to E-mail me
tonight. We could trace the E-mail back
to him.
KEMPER
All right.
INT. HOMICIDE DIVISION - POLICE STATION
Mitch hurries to a computer terminal with Kemper and Wes
close behind. Mitch logs on to the internet with his ID and
password.
It greets him with a "You've Got Mail". Mitch opens it and
reads the note from Gabriel. It reads:
MEET ME TOMORROW NIGHT AT THE TRINITY CROSS CHURCH. 10:00.
BRING NO ONE ELSE. YOU ARE MY LAST CHANCE.
WES
We got him.
KEMPER
Where did he send it from?
Mitch checks the address and sighs.
MITCH
Just from the general school computers.
WES
No way to trace it?
MITCH
I'm afraid not.
Mitch looks closer at the log and rears back in surprise.
MITCH (cont'd)
Goddammit!
WES
What?
MITCH
It's not Brian!
KEMPER
How do you know?
MITCH
This letter wasn't sent until ten twenty
tonight.
KEMPER
Brian was in custody at nine thirty!
WES
He could have had it timed to send it
later.
Mitch shakes his head in frustration.
MITCH
No, you can't do that on the school
computers. You can only send mail
immediately.
KEMPER
What about his girlfriend? Claudia is
her name?
MITCH
She wouldn't do anything like that. Too
shy. Besides, I think they broke up.
KEMPER
So we're looking for somebody different.
MITCH
It's probably nobody I even know. How
long can we hold Brian?
KEMPER
Twenty four hours. Thirty six at most.
MITCH
Keep him here as long as you can. Just
in case.
WES
Are you gonna meet Gabriel?
MITCH
Yes.
KEMPER
Not without us.
MITCH
No, don't worry. You'll still get your
collar. But I want to talk to him first.
Kemper thinks on this.
KEMPER
All right. But you're gonna be wired.
And if he so much as breathes on you,
we're moving in.
MITCH
Fine.
EXT. LAURA'S HOUSE - DAY
Mitch walks timidly up the front steps and knocks on the
door. After a moment, Laura answers. She doesn't look very
happy to see him.
MITCH
Hi.
LAURA
Thought you didn't want to see me.
MITCH
That was never the case. I
just...couldn't.
LAURA
I've heard that before. I heard about
Brian. Is this what you've been working
on?
MITCH
Yes. I wanted to tell you...
LAURA
But you didn't want me to be in any
danger. Mitch, this is all sounding
pretty generic to me.
MITCH
I'm sorry. I'm not very good at...I just
don't know what to say. That was generic
too, wasn't it?
Laura nods, but now she's trying to hide a smile.
MITCH (cont'd)
I guess I'm just a generic kinda guy.
That's weird. I used to be so creative.
Now Laura giggles, but she wipes it right off and again gets
a stoic face.
LAURA
You really hurt me.
MITCH
I know. What can I do to make it up?
LAURA
Tap back into your creativity.
Mitch smiles and she returns it.
LAURA (cont'd)
Come inside before the neighbors see what
an idiot I'm being seen with.
They walk inside.
INT. LIVING ROOM - LAURA'S HOUSE - DAY
Mitch and Laura are sitting on the couch, but none of the
affection is there like before.
LAURA
I don't know Mitch. Meeting Gabriel
could be pretty dangerous.
MITCH
I know. But I have to do it. I have to
try.
LAURA
Do you think you can actually help him?
MITCH
Anything's possible.
LAURA
What about Mr. FBI?
MITCH
I don't know. If I can break through
with Gabriel, I'll do whatever I can to
keep him away from Kemper.
LAURA
Just be careful. Do you think we should
be together right now? I know what I
want, but I'm not sure about you.
MITCH
I just need time. Let's take it slow, so
I can put the pieces back together again.
Losing Anna never changed my feelings
about you.
This is what Laura was waiting to hear. She holds him
tighter and kisses him gently on the forehead.
LAURA
Take your time. I can be your friend
until you're ready.
INT. HOMICIDE DIVISION - POLICE STATION
Two Detectives are wiring Mitch for sound. Wes and Kemper
are nearby, watching.
MITCH
This thing's pretty clear, right?
KEMPER
Not a problem. We'll be able to tell if
you're picking your nose.
MITCH
I'll keep that in mind.
KEMPER
Now we're gonna be right across from the
church. We'll get there plenty early so
Gabriel won't have a clue.
MITCH
Now remember, don't move in until I give
the word.
KEMPER
What's the word?
MITCH
Don't fuck with me. I'm nervous enough
as it is.
KEMPER
What exactly do you hope to accomplish by
talking to this guy?
MITCH
I don't know. An answer. No answer. I
don't know.
One of the Detectives pulls on a strap that's going around
Mitch's chest.
MITCH (cont'd)
Ow! Too tight!
DETECTIVE
Sorry.
WES
You be careful.
MITCH
Don't say that. It's a death warrant.
WES
Just had to get in that old cop cliche.
MITCH
Thanks a lot.
(to Detectives)
You ready?
They nod and step away. Mitch buttons up his shirt.
MITCH (cont'd)
Let's do it.
EXT. TRINITY CATHEDRAL - NIGHT
Gothic and magnificent in every way. It's over five stories
tall with a huge bell tower on the roof. Lights shining up
from the ground make it look eerie and forbidding.
Mitch drives up and parks in front of it. He gets out and
walks up to the massive doors.
INT. ANTIQUE SHOP - NIGHT
Wes, Kemper, and other assorted Cops are stationed here by
the window. They can see Mitch walking up to the church.
The store is littered with valuable looking items.
WES
You could've picked a better place for
the stakeout.
KEMPER
She was the only one who agreed to let us
into her shop. And then it was only
because we promised to wipe some old
parking tickets off her record.
WES
Nothing like good old blackmail to fight
for justice.
KEMPER
Fuck you.
A Cop's elbow hits an old looking vase. It wobbles and tips
over, but Kemper catches it.
KEMPER (cont'd)
You break it, you buy it.
INT. FOYER - TRINITY CATHEDRAL - NIGHT
Mitch opens the door with an ominous squeak. The noise
echoes throughout the church. His footsteps echo on the
floor as he walks into:
INT. SANCTUARY - TRINITY CATHEDRAL
Grand and elegant. It's shaped like a cross in the old
Gothic style. Lavishly decorated with a huge vaulted
ceiling.
Mitch walks down the center aisle looking in the pughs on
both sides. He stops in the middle of the sanctuary and
looks around.
MITCH
Hello?
Only his echo answers him.
INT. ANTIQUE SHOP - NIGHT
Kemper listens intently to Mitch's wire setup. He shakes his
head.
WES
Anything?
KEMPER
No. I don't like this.
INT. SANCTUARY - TRINITY CATHEDRAL
Mitch walks up towards the alter, noticing the intricate
carvings on either side. The church is still deathly silent.
MITCH
Hello?
VOICE
Dr. Johvas.
The Voice echoes all around him. It sends a chill down his
spine. But there is something else. The Voice is distinctly
female.
Mitch turns around and Claudia is standing there. It
startles him.
MITCH
Claudia? What....what are you doing
here?
CLAUDIA
I think you know.
MITCH
It's you...
He can't believe it. He sits down in one of the pughs trying
to sort it out in his head.
CLAUDIA
I know it's strange. I can't figure it
out either. That's...why I'm here.
MITCH
Oh Claudia...
Claudia sits down in the pugh ahead of Mitch. Tears begin to
form in her eyes.
CLAUDIA
I don't know what's happening to me.
INT. ANTIQUE SHOP - NIGHT
Kemper, Wes and the other Cops are in utter shock. They keep
looking at each other as if to say, "Is this for real?"
WES
It can't be.
KEMPER
This has to be a setup. There's no way
that girl is Gabriel.
He starts to get up, but Wes holds him back.
WES
Listen.
They both listen to Mitch through the wire tap.
MITCH
(over speaker)
Now Claudia, I have to ask. Am I in any
danger right now?
CLAUDIA
(over speaker)
No, I just want to talk.
WES
He's telling us not to move in yet.
Kemper sits back down, but he doesn't look happy about it.
INT. SANCTUARY - TRINITY CATHEDRAL
Mitch looks Claudia over with sympathy.
MITCH
How did this happen?
CLAUDIA
I don't know...well, I think I know. It
just all happened.
MITCH
Why me?
CLAUDIA
You were so against Proposition 55B. I
thought with you I might have a chance.
I don't want to die. I just want all
this to go away.
MITCH
It's not going to go away. You have to
be responsible for your actions.
CLAUDIA
I know. God, I know. But how can I take
responsibility for something I don't even
remember doing?
MITCH
So that was true? You really don't
remember doing any of this?
Claudia shakes her head. Her tears are flowing freely.
CLAUDIA
When I wrote that message to you on the
mirror?
MITCH
I remember.
CLAUDIA
That was the first time I remember being
there.
MITCH
That doesn't make sense. How did you
know to go there?
CLAUDIA
I found the room key in my bed the next
morning.
MITCH
And the night before? You don't remember
anything?
Mitch hands her a handkerchief. She wipes her face, but is
still crying.
CLAUDIA
No. I was in my room studying. I went to
bed. Then I woke up the next morning.
There was blood on my clothes and on me.
And I found the room key.
MITCH
So you just black out.
Claudia nods.
MITCH (cont'd)
Do you remember when they started?
CLAUDIA
Not too long ago.
MITCH
Are you aware of multiple personality
disorder?
CLAUDIA
I've heard of it...
INT. ANTIQUE SHOP - NIGHT
Kemper sits back in disgust.
KEMPER
Ah, man! She's playing with his dick!
WES
It's a put on?
KEMPER
It has to be! There's no way that she
committed those murders! She's working
with someone.
WES
Should we stay put until she tells who it
is?
KEMPER
Or until he shows up.
WES
(softly)
Shit.
INT. SANCTUARY - TRINITY CATHEDRAL
Claudia is still crying a little, but her interest has perked
up.
CLAUDIA
So I might have...it?
MITCH
You could have another personality that's
acting out your aggression. It's rare to
appear so late in life, but it's
possible.
People develop multiple personalities to
cope with some sort of severe traumatic
event that their own persona just can't
deal with.
CLAUDIA
But I'm pretty normal...I don't get it.
MITCH
We could run some tests on you. See what
happens. But you have to turn yourself
in.
CLAUDIA
What?
MITCH
That's the deal. If you're telling the
truth, and I think you are, then you have
nothing to worry about.
CLAUDIA
As far as I know I am. Brian, you know
him, said that sometimes I don't act like
myself. I never know what he means by
that, but I guess it's...possible.
MITCH
So Brian witnessed some of your changes?
CLAUDIA
Sometimes I remember him in the room with
me at night, but when I wake up in the
morning he's gone. He always tells me
that I was acting weird so he left.
MITCH
You're very sick Claudia. You can be
helped and made better, but you have to
trust me.
CLAUDIA
I...do.
MITCH
There's something about the murders that
I want to know about.
CLAUDIA
But I don't know anything.
MITCH
But you've seen the aftermath of your
hidden...rage.
INT. ANTIQUE SHOP - NIGHT
Kemper sighs and takes a sip of coffee.
KEMPER
How much more of this shit do I have to
take? Jesus, let's just bust her.
She'll talk.
WES
Wait. Give Mitch a chance.
KEMPER
To do what? Get her to say she's sorry?
He's got five minutes. Then we move in.
INT. SANCTUARY - TRINITY CATHEDRAL
Claudia has relaxed a bit. Mitch is talking to her in a
soothing voice.
MITCH
Why escorts? Why their dates?
CLAUDIA
I don't know...
MITCH
Yes you do. Trust me Claudia. Talk to
me.
CLAUDIA
I don't...my father.
MITCH
Your father?
CLAUDIA
He cheated on...my mother. She was a
stewardess.
MITCH
She was gone a lot?
CLAUDIA
Yes. My father...he got escorts to come
over while she was gone.
MITCH
You didn't like that.
Claudia begins crying again softly.
CLAUDIA
No, I hated him. I got locked in a
closet...sometimes he made me watch.
MITCH
Jesus...
CLAUDIA
He said...he said he'd kill me if I ever
told. I was only four. My father left a
year later. Not a goodbye. Not an
apology to me or Mom. She killed herself
two years ago.
MITCH
Claudia, I'm sorry. I do want to ask you
one more thing.
Claudia wipes her eyes and nods.
MITCH (cont'd)
The eyes. Why did you switch the eyes?
Claudia looks completely confused.
CLAUDIA
The eyes? Switched?
MITCH
Yes, you put the escort's eyes into the
man and vice versa. Why?
CLAUDIA
I never knew about that.
MITCH
You always cleaned it to make it
unnoticable.
CLAUDIA
Jesus...it all makes sense.
MITCH
What?
CLAUDIA
A fantasy. I wish escorts and men could
see the pain they caused. I wish the
escort could see that she was a
homewrecker...catering only to men with
cold hearts...and the man could see
himself betraying his wife, the woman who
loved him.
MITCH
That's where you came up with your plan.
Your other personality made it happen for
you. Where did the name Gabriel come
from?
CLAUDIA
I don't know. The name just popped into
my head.
MITCH
I think Gabriel might be your other
personality. It makes sense. An
avenging angel.
Claudia completely breaks down crying and Mitch comforts her.
CLAUDIA
Oh my God...those poor people. I'm so
sorry....so sorry.
MITCH
It's all right. We'll set things right.
Suddenly the doors burst open and Kemper and his Cops are
standing there guns blazing.
KEMPER
All right! Don't move!
MITCH
Kemper no!
Wes runs up behind Kemper.
WES
Listen to him. Please.
Claudia uses the distraction to run for a door to the side of
the sanctuary.
MITCH
Claudia!
KEMPER
After her!
MITCH
Wait, you don't know what you're doing!
But he can't stop the stampede of Cops running down the
aisle. Mitch runs out the same door that Claudia did.
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