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.
ext. club - night
A trendy place lit up with neon.  RICHARD CORMLY, a business man, and MANDY SIMS, an escort, walk out with their arms around each other.
RICHARD
So how should we end this night?
MANDY
That's up to you sweetheart.  How much money do ya have?
RICHARD
Enough.
MANDY
Well then, lead on honey.
RICHARD
You have a particular place you like to go?
MANDY
The Cheshire Inn is pretty nice. 
(seductively)
And it's not too far.
RICHARD
That's what I like to hear.
They walk down the street.  A SHADOW emerges from a nearby alley and follows them.
INT. HOMicide division - police station
Mitch sits impatiently at a desk.  Wes walks over while reading a report.
WES
We definitely have a wacko.  The perp scooped out the eyes; forensics said it was pretty professional work.  Both sets of eyes were switched, excess blood was cleaned off, and made it literally unnoticable.
MITCH
Do they have a possible murder weapon?
WES
(scanning the report)
Yeah...hunting knife, one jagged edge.  Blade is about eight inches long.  It's pretty vague at this point though.
MITCH
No fingerprints.
WES
Not a one.  We don't have much evidence to go on.  Just your letters.  
Mitch notices three MEN in suits step out of the elevator.  Mitch recognizes one of them.  He is WALTER KEMPER, a wiry man in his forties, with small burning eyes.
MITCH
Damn.
WES
What?
MITCH
Kemper's here.  They're FBI.
WES
Who's Kemper?
MITCH
Walter Kemper.  I worked with him in the profiling unit.  He's a complete leech.
Kemper talks to a cop, who points towards Mitch and Wes.  Kemper starts over.
MITCH (cont'd)
Shit, this case must be more serious than I thought.  Listen Wes, do me a favor.  Can you keep the letters quiet for a few days?  
WES
You're kidding me right?
MITCH
I need some time.  You can look at 'em all you want, but I don't Kemper knowing about them yet.  I'll explain later.
Kemper walks up to them, and recognition floods his face when he looks at Mitch.
KEMPER
Mitch.  Long time.
MITCH
It's been a while.
They shake hands, but not like old friends.  Kemper then greets Wes with a handshake.
KEMPER
Walter Kemper.  With the bureau.
WES
(mocking)
Wes Parker...with the force.
KEMPER
Are you in charge of the Parker/Robbins case?
WES
Yeah.
KEMPER
I know you guys hate this, but I'm afraid I have to take charge of the investigation.  You can stay on of course, but everything has to go through me.  Here's all the paperwork.
He hands Wes a file, who snatches it, trying to contain his anger.
WES
You want this mess?  You got it.
MITCH
This is a serial case, isn't it?
KEMPER
Two other pairs.  Say Mitch, what are you doing here?  I thought you were...a teacher.
WES
I brought him on as an advisor.
KEMPER
Well, we have our own guys to handle this now.  Mitch, sorry to have troubled you with all this.  Detective Parker, we'll see you in the morning to go over all this.  Good night gentlemen.
He gives Wes a snobbish grin as he walks back to the elevator with the two other agents behind him.
MITCH
Thanks.
WES
That guy's an asshole.
MITCH
More than you know.
int. kitchen - mitch's house - night
Mitch walks in looking tired.  Anna sits at the table solemnly eating a bowl of soup.
ANNA
I'm sorry. I didn't mean to start without you.  I didn't know when you'd be home.
MITCH
It's all right.
He gets a bowl out of the cupboard and gets some soup, sitting in a pot on the stove.
ANNA
How was your day?
MITCH
Okay.
ANNA
Did you go to your meeting?
MITCH
No.
ANNA
Why not?
MITCH
Something came up.
Anna looks disappointed, and goes back to eating her soup.  Mitch sits at the other end of the table.
MITCH (cont'd)
So anything happen today?
ANNA
No.
They both eat their soup quietly.
ext. cheshire inn - night
A medium size hotel. The streets outside are dead.
int. bedroom - cheshire inn
Richard unbuttons his shirt, lustfully eyeing Mandy.  She is also undressing, but more seductively.
MANDY
So what can I expect out of this...Dick?
RICHARD
My wallet has 300 dollars in it.  It's all yours if you're willing to work for it.
MANDY
Baby...you'll have a good time.  Don't you worry about that.
Her skirt comes down revealing a garter belt and black hose.  Richard trembles and sweats with anticipation.
MANDY (cont'd)
You just get all nice and comfy, and I'll be right back.
She swaggers off towards the bathroom, passing a window. Unnoticed by either of them, there is MOVEMENT outside.
Mandy closes the door to the bathroom, with Richard staring at her all the way in.
He quickly strips down to his boxers and jumps into bed.  He thinks for a moment and then leaps back out.
He checks his face in the mirror and puts his hand in front of his mouth to check his breath.
MANDY (O.S.) (cont'd)
Baby, are you in bed yet?  I'm almost ready to tuck you in.
Richard jumps back into bed with excitement, but then frowns.  He gets back out.
He takes his wallet out of his pants and puts it in the end table drawer by the bed.
He starts to get back under the covers, but frowns in puzzlement towards the closet.  His face reflects that something isn't quite right here.
He slowly moves towards the closet, checking it over with his eyes.  As he opens the door, the Killer in black bursts through the window behind him, sending shards of glass scattering.
int. bathroom - cheshire inn
Mandy fixes her make-up in the mirror, the fan going full blast.  It muffles the sound of the breaking glass.  She hears movement in the bedroom and sighs.
MANDY
What are you doing out there?  Aren't you in bed yet?
The noise continues and she shakes her head.
MANDY (cont'd)
I hope you're not doing something kinky.  I'm not into that stuff.
The noise stops and she smiles.  She finishes up and walks out.
int. bedroom - cheshire inn
Mandy is shocked to see Richard tied and gagged in a chair facing the end of the bed.  He struggles with all of his might to call out to her.
She steps towards him trembling, with the closet behind her.
MANDY
Richard, how'd you-
She is interrupted by the Killer, who runs from the closet.  All she can see is the mask of a demented looking ANGEL.
She tries to scream as the Killer covers her mouth.
cUT TO:
int. outer room - mitch's office
Mitch hustles in, straightening his tie.  Janice quickly puts out her cigarette.
MITCH 
Do you know how much you're torturing me?
Janice grins and waves some leftover smoke out of the air.
JANICE
Sorry.
MITCH
Just go outside.  The world won't end if you miss a call.
JANICE
I'll be right back, okay?  Are you okay in here?
MITCH
I can answer a phone.
She walks out quickly, already fumbling through her purse for her cigarettes.
Mitch glances through the mail.  There isn't another letter from Gabriel and he looks disappointed.  The phone rings.  He fumbles with the different line buttons and finally gets it right.
MITCH (cont'd)
(into phone)
Hello?
A sinister sounding male VOICE echoes through the phone.
VOICE
(over phone)
Dr. Johvas.
MITCH
Who is this?
VOICE
I was recently at the Marx Hotel.
Mitch suddenly goes rigid with fear and excitement.
MITCH
Gabriel.
VOICE
Yes.
MITCH
You said you wanted my help, right?
Let's talk.
VOICE
It's a matter of trust.  We have to be able to trust each other before you can help me.  You can't trust a murderer, and I can't trust someone who would hand me over to the electric chair.
MITCH
I wouldn't do that.
VOICE
I don't know that yet.  You can work without me present.  
MITCH
How?
VOICE
Go to the Cheshire Inn.  Room 122.  The key will be sticking out from under the door.  Show me your first sign of trust, and come alone.
The phone goes dead.  Mitch quickly walks out of the office.
ext. cheshire inn - day
Mitch steps up to the front, looking around cautiously.  
int. hallway- cheshire inn
Mitch hurries down the corridor, looking at the room numbers.  He stops at Room 122, and pulls out a card key slightly sticking out from under the door.
He opens the door and slowly enters.
int. bedroom - cheshire inn
He walks into a nightmare.  Richard is slumped over in his chair, his chest covered in blood.  Mandy is tied to the bed, the white sheets stained in red.
Mitch looks it over with a cold and desensitized stare.
He glances at the letter and cautiously peers around at the mirror.  Written in lipstick over bloodstains reads:  I DON'T REMEMBER DOING THIS.
He gasps and backs out of the room.
EXT. PHONE BOOTH - STREET - DAY
Mitch dials quickly and waits for an answer.
MITCH
(into phone)
Yes, I'd like to report a murder.  Cheshire Inn, room 122.
He hangs up and hurries down the street.
EXT. COUrtyard - college - day
Mitch gets out of his car and walks towards the main building.  He sees a Worker outside the Theater smoking.  He pauses for a moment and then walks up to him.  They nod a greeting.
MITCH 
Do you have a cigarette I can bum?
WORKER
Yeah sure.
He hands it over and Mitch desperately lights it up.  He inhales deeply.  The Worker gives him a funny look.
MITCH
It's been awhile.
WORKER
I figured.
Mitch looks up at the theater, which is still in the stages of construction.
MITCH
This thing is really coming together.
WORKER
Yeah, although you'd never know it.  The plans were all fucked up and now we're about three weeks behind.
Mitch puts out his cigarette.  He checks his watch and curses under his breath.  He jogs inside.
INT. HALLWAY - outside lecture hall - COLLEGE
Mitch rushes down the hall, trying to balance his papers and briefcase.  Not paying attention, he bumps into Claudia right before he gets to the door.  His paper fly everywhere.
MITCH
FUCK!
A bit surprised at his profanity, Claudia backs away from him.
CLAUDIA
I-I'm sorry.
When he sees who it is, he changes his demeanor immediately.
MITCH
Claudia....I'm sorry.  I didn't mean to yell.
She bends down and helps him pick up his papers.
CLAUDIA
You're running late too?
Mitch notices the dark circles under her eyes and her pale face.
MITCH
Are you feeling all right?
CLAUDIA
I guess.
Knowing that she's lying through her teeth, Mitch looks at her firmly.
MITCH
Go home.
CLAUDIA
But...I can't...I've missed so much.
MITCH
You're excused this time. Get some rest.
CLAUDIA
But what about...
MITCH
I'll give Brian an extra copy of everything.
CLAUDIA
(with genuine gratitude)
Thank you.
MITCH
Go see a doctor.
With all the papers picked up, Claudia hurries down the hallway, as fast as her weak body will let her.
int. LECTURE HALL - COLLEGE
Mitch walks in, completely composed and all business.  He sets his things on the desk and faces the class.
MITCH
Sorry I'm late. Pass this around and sign in please.
He passes an attendance sheet around and sees Brian looking anxiously towards the door.
MITCH (cont'd)
I sent Claudia home Brian.  She wasn't feeling well.
Brian nods his thanks.  Mitch begins.
MITCH (cont'd)
Any questions about the reading?
No one answers.  Mitch takes the attendance sheet back and browses it.  He sees someone is missing.
MITCH (cont'd)
Anybody seen Josh?
The class shakes their heads and Mitch looks troubled, but shakes it off.
MITCH (cont'd)
Okay, we were talking about the Bundy interviews...
The class takes out their notebooks and shift into listening mode.
INT. bedroom - cheshire inn - DAY
Wes walks into the room already filled with cops and the forensic team.  Kemper approaches him.
KEMPER
This is getting serious.  The murders before were spread out over three weeks.  
WES
Any witnesses?
KEMPER
None.
WES
You're kidding me.  The window was busted, and nobody heard anything?
KEMPER
This hall was pretty much deserted last night, and the Do Not Disturb sign was up, so the maid didn't check.
He points out beyond the window.
KEMPER (cont'd)
Nothing but a vacant lot out there.
WES
Who reported the murders?
KEMPER
Anonymous tip.
Wes frowns and heads for the door.
WES
I'll look at the report when I get back to the office.
KEMPER
Where're you going?
WES
I gotta see somebody.
He walks out, a man with a mission.
ext. courtyard - college - dusk
A lighter strikes up a flame and lights a cigarette dangling from Mitch's mouth.  He breathes in two weeks worth of nicotine and exhales deeply, the smoke swirling around him like a blanket. 
Laura walks up behind him, unnoticed.
LAURA
Busted.
With a start, Mitch whips around and lets out a nervous laugh.
MITCH
Rough day.
Laura shuffles nervously.
LAURA
Listen.....I don't know about tomorrow.
MITCH
What?  What's wrong?
Laura points to his wedding band.
MITCH (cont'd)
It's not like that.  I like you.  I'm not looking for anything but conversation.  Anna and I -- we don't talk much. Things haven't been the same since I left the bureau.
LAURA
Why did you leave?
MITCH
What is this, twenty questions?
Offended, Laura starts to walk away, but Mitch catches her.
MITCH (cont'd)
Whoa, slight moment of insanity there.  I'm sorry.
Still hurt, Laura studies his face.
LAURA
What does it take to get to know you?  It's bad enough, you being married.
MITCH
I guess I'm still a little shaky.  Look, I'll make it up to you on Friday, I promise.  You can ask me anything you want.
LAURA
I'll have my twenty questions ready.
They both smile at each other.  Apology accepted.  He watches her walk away with affection.
Wes suddenly approaches him, and grabs his arm, using some strength.
MITCH
What the hell are you doing?
WES
You got those letters with you?
MITCH
In my office.
WES
Get 'em.  We're going.
INT. WES' CAR - DRIVING - NIGHT
Wes looks over at Mitch angrily.
WES
What are you trying to do?
MITCH
What the hell are you talking about?
WES
That was you who called in those murders today, wasn't it?
MITCH
Wha-
WES
Don't lie to me!  A serial killer is out there and he's writing to you.  But for some personal bullshit with you and this Kemper guy, you want to keep all this quiet.  That's just not a good enough reason anymore.  Now did you call in those murders? 
MITCH
Yes.
WES
Then you saw the mirror.
Mitch sighs and nods.
WES (cont'd)
This is getting out of hand.  This....Gabriel or whatever his name is, is playing some serious mind games with you.
MITCH
It could be a split personality.  Off the top of my head that's the only possibility.  Where are we going?
WES
A guy I know.  He's gonna run those letters for prints.
Mitch starts to look panicked.
WES (cont'd)
Relax.  He'll keep it quiet.  Kemper's an asshole, but why are you keeping this from him?
MITCH
Kemper rushes in without thinking.  He could ruin my one chance of helping this guy.
WES
Jesus!  You're still considering that?  You are naive.
Mitch lights a cigarette.
WES (cont'd)
When did you start that shit again?
MITCH
Since my life started going down the crapper.
INT. LABORATORY - POLICE STATION
Mitch and Wes gather around a table where FRED, a technician, runs the letters for fingerprints.  Mitch can't help but notice Fred's admiring stare.
MITCH
Do I know you?
FRED
No.  But I know you.
WES
Old Fred here is your biggest fan.
FRED
I've read all your books.  They're great.
MITCH
Thanks.
Wes looks over the letters without touching them, reading them carefully.
FRED
Are you ever gonna write fiction?  I really love murder mysteries.
MITCH
Probably not.
FRED
I'm a writer too, you know.
MITCH
That's great.
FRED
Listen, if I send you a copy of your book, will you sign it?  
MITCH
Uh....sure.  Look, are we getting somewhere here, or not?
FRED
(looking over the results)
Nope.  Clean.
WES
Hey Mitch, I looked over all the letters.  The one that tells about the Cheshire Inn isn't here.  That's the only one I haven't seen.
MITCH
He didn't send a letter.  He called me.
Wes takes a moment, as he is in stunned disbelief.
WES
He did what?
MITCH
This morning.
WES
And you just thought to tell me this?  Are you fuckin' nuts?
FRED
Hey!  I don't like cursing!
WES
(to Fred)
Shut the fuck up!
(to Mitch)
Jesus Mitch!  Are you even using your brain?  Gabriel could've been there waiting for you.  That note on the mirror?  It was written over dried blood.  A while after the murders.
MITCH
Gabriel came back?
ext. parking lot - college - NIGHT
Wes' car pulls up and Mitch steps out.  He leans back in.
MITCH
We'll get this straightened out soon.  You have my word.
WES
Just watch it.  No book is worth your life.
Mitch nods, shuts the door and Wes drives off.  Mitch walks to his car.  He feels his pockets for his keys and frowns when he can't find them.
He looks through the window of the car and sees them dangling from the ignition.
MITCH
Oh no.
He heads back across the courtyard.
int. security office - college
Brian and Josh are both in security uniforms, looking carefully at each other.  Neither one looks very happy.
BRIAN
I know what you're doing.
JOSH
I don't know what you're talking about.
BRIAN
Just stop the bullshit!  Leave it alone.
JOSH
Leave what alone?
BRIAN
Quit messing with me.  I'm trying to be nice.  Just cut out the letters.  They're not working.
JOSH
Don't worry about it.  It's out of your hands.
BRIAN
No, it's not.  You'll see that.
JOSH
Just deal with it.
BRIAN
Mind your own business and stay out of ours.  Final warning.
JOSH
Is that a threat?
Brian can't help but notices that Josh has taken a sinister tone.  But before he can say anything, Mitch walks up to them.  The anger quickly fades from their faces.
MITCH
Hey guys.  I didn't know you were working here.
JOSH
Gotta pay for college somehow.
MITCH
Are both of you going into law enforcement?
BRIAN
Maybe.
JOSH
Not sure.
BRIAN
Did you need something?
MITCH
Oh yeah.  My keys are locked in my car.  You have a slim jim or something like that?
JOSH
I think so.
BRIAN
This job is so exciting.
Josh goes in the back to look for the slim jim.
MITCH
How's Claudia doing?
BRIAN
Better I guess.
MITCH
That's good.  How are your profiles coming?
BRIAN
Still doing research.
MITCH
Good.  Then I'll be expecting something great.
BRIAN
And you'll get it.
Josh comes back with the slim jim in hand.  
JOSH
I think this'll do the trick.  Let's see if we can break into your car.
int. kitchen - mitch's house
Anna is balancing her checkbook at the kitchen table, looking frustrated.  She doesn't even hear Mitch walk in.
MITCH
Hello.
She looks up with a start and then grins sheepishly.
ANNA
I didn't hear you come in.
MITCH
Money troubles?
ANNA
I just can't get the damn thing to come out right.
MITCH
It happens.  I haven't met a single person who can balance one to the penny.
ANNA
I'd like to be the first.
Mitch walks to the sink and takes his wedding band off.  He sets it on the counter and begins washing his hands.
ANNA (cont'd)
Are you home for dinner tonight?
MITCH
Nope.  I have to go back to the office and do some things.
ANNA
Can you go to the store for me later?  I've got a ton of things to do tonight, and I have to get up early.
MITCH
What time?
ANNA
Ten?
MITCH
I should be back by then. Leave a list on the table, okay?
Mitch finishes washing his hands and turns the water off.  He wipes some water on his face, and then dries them on a towel.
ANNA
Are you all right?
MITCH
Yeah.  Just a lot of work.
ANNA
Okay.
He kisses her on the cheek and starts out the door when Anna clears her throat.  Mitch turns around and sees that her eyes are on the counter where his wedding band still lies.
MITCH 
Oops.
He picks it up and puts it back on his finger, gives her one more look, and then walks out the door.
int. posh restaurant - night
Mitch and Laura are seated across from each other near a big picture window showing the illuminated city.
LAURA
Nice place.
MITCH
I'm glad you like it.  I kind of guessed.  I don't eat out very often.  Unless you count takeout.
Laura smiles, her eyes glowing like candles.
LAURA
Well you did good.
The WAITER comes over and hands them both menus.  
WAITER
Would you care for some wine before you order?
MITCH
No thank you.  Water's fine.
LAURA
I'll have a glass of Chablis.  You're not having any Mitch?
MITCH
No, I'm fine.
LAURA
Oh c'mon, live a little.  One glass isn't going to kill you.
Mitch doesn't like where this is going and he takes on a firm tone.
MITCH
No thank you.
Laura catches the hint and waves the Waiter away.
LAURA
I'm...I'm sorry.  I was acting like an idiot, and-
Mitch cuts in with a soft gentle voice.
MITCH
No you weren't.
LAURA
I should have known-
MITCH
How could you have?
LAURA
Because I'm very good at picking things up.
MITCH
It's okay.
LAURA
Somebody told me a long time ago and...
MITCH
Who?
LAURA
Professor Smith.
MITCH
That dirty bastard...
Laura calms from her embarrassment, and she becomes very tender.
LAURA
When I meet a man for the first time, I usually know everything about him in thirty seconds.  But you...I couldn't read you.
MITCH
Am I that mysterious?
LAURA
No, it's nothing like that.
The Waiter returns with her wine, but she shakes her head at him.
WAITER
Here's your wine, ma'am.
LAURA
I'm sorry.  I uh, changed my mind.  I'd like a Pepsi if you don't mind.
MITCH
Pepsi...Pepsi sounds good.  Make that two.
The Waiter whisks the wine away, rolling his eyes.
WAITER
I'll have it right out.
int. homicide division - police station
Wes hunches over at his desk looking over files.  He doesn't notice Kemper approach him.
KEMPER
Working late?
WES
What?  Oh, it's you.
KEMPER
I'm a late worker myself.
WES
What do you need?
KEMPER
Just some information.
WES
Such as...
KEMPER
I need you to be honest with me.
WES
I am a cop.
KEMPER
(laughing)
That's a good one.  Look, I'm playing on a hunch here.  I think Mitch Johvas knows more than he's telling me.  Do you know anything about that?
WES
What could Mitch possibly know about all this?
KEMPER
I've just got a feeling.  You see, Mitch and I go way back.
WES
At the FBI.  Yeah, I know.  You were both agents in the profiling unit.
KEMPER
And I still am.
WES
I gathered that.
KEMPER
Mitch and I weren't that fond of each other and I'm afraid he might be keeping information from me because of our past.
WES
If he knows anything, he's not talking to me about it.
KEMPER
I'm sure.  But if he does and you don't tell me, I'll have you both brought up on charges.  Understand?
WES
Perfectly.
Kemper leaves and Wes' face becomes troubled.  He calls out after Kemper.
WES (cont'd)
Wait!
KEMPER
Yes?
WES
Look, Mitch is in way over his head.  I only want to help him.
KEMPER
As do I.
int. kitchen - mitch's house - night
Anna sits at the table looking impatiently at the clock on the wall.  It reads: 10:59 P.M.  She checks her watch against it.
ext. driveway - mitch's house - night
Anna gets in her car and drives away with a burst of angry speed.
ext. laura's house - night
Mitch and Laura walk up the front steps to her house.  Laura turns around to face him.
LAURA
I had a wonderful time.
MITCH
Me too.  It's been a long time since I've felt this comfortable.
LAURA
I'm not sure I want it to end yet.
MITCH
I don't know what to do. I've never been in a situation like this before.
LAURA
Don't ask me.  I'm in it for selfish reasons.
MITCH
(amused)
Selfish reasons?
LAURA
There's just something about you...we make a good team.
They are move closer to each other.
MITCH
I can agree with that.
LAURA
Can you agree with this?
They kiss, slowly and tenderly at first, but then it turns to passion.  They break, and Laura takes Mitch's hand and leads him towards the door.
int. hOTEL ROOM - lexington inn
The room is very elegantly decorated.  LARRY, a middle-aged business man wearing an expensive suit, checks his tie in the mirror.
JENNY, his escort comes out of the bathroom and wraps her arms around him from behind.
JENNY
Are you ready honey?
LARRY
I'm always ready.
Jenny begins unbuttoning her blouse.
LARRY (cont'd)
You are a very beautiful woman.
JENNY
You ain't seen nothing yet.
Suddenly the Killer bursts out of the door from the adjoining room wielding a wicked knife.  The Killer grabs Jenny and throws her across the room, slamming her head against the wall.
She falls down, unconscious.  Larry fearfully tries to run, but the Killer grabs him.
ext. lexington INN - night
All the rooms are quiet.  Then Larry's arm crashes through the window.  His screams are silenced by the Killer, who pulls him back inside.
With a quick motion, the Killer closes the curtains.
ext. mitch's house - morning
Mitch walks up to the door, noticing a familiar car in the driveway, but Anna's car is missing.
int. living room - mitch's house
Mitch steps inside and is surprised to see Wes sitting in a chair looking somber.
MITCH
Wes, what are you doing here?  Where's Anna?
WES
Mitch, sit down,
Mitch is starting to panic, looking for any sign of hope in Wes' eyes.
MITCH
No.  What the hell's going on?
WES
Take it easy.  Sit down.
MITCH
TELL ME!!!  TELL ME NOW!!!
WES
There was an accident.
Mitch stumbles and props himself up on the couch.
MITCH
What?
WES
Anna's dead, Mitch.
MITCH
What? Oh no...
Tears begin to form in his eyes.
WES
She was in a car wreck.  She died instantly.
MITCH
Oh God!
WES
I'm sorry Mitch.
Mitch sits on the couch and puts his head in his hands.
dissOLVE TO:
ext. mitch's house - day
Laura walks up the steps, noticing that Mitch's car is parked half off the driveway, on the lawn.
She knocks softly on the door.
LAURA
Mitch?
MITCH (O.S)
Go away!  No one's home!
LAURA
Mitch, it's Laura.
MITCH (O.S.)
Who?
Puzzled by that reply, Laura steps inside.
int. living room - mitch's house
The place is a wreck.   Books that lined the walls are strewn everywhere.  Laura sees Mitch, sitting in his chair, half-dressed and chugging down a bottle of whiskey.
LAURA
Mitch?
Mitch strains to see her through blurry eyes.
MITCH
Laurie?  Is that you?
LAURA
Yes, it's me.
MITCH
What the hell are you doing here?  My wife will be home any second.
Laura notes that his bottle is almost empty.
LAURA
Mitch, are you drunk?
A cheerful belch is her reply.
LAURA (cont'd)
I know what happened.
His voice turns downright mean.
MITCH
You don't know shit!
LAURA
You don't have to do this.  I know you're hurting.
MITCH
What the fuck do you know?
LAURA
Just give me the bottle and we'll work through this.
She approaches him slowly.
MITCH
Are you gonna tell me what to do too?
He stands on wobbly legs, taking the bottle with him.
LAURA
No, I just-
MITCH
You think you can just come in here and boss me around?
LAURA
Mitch-
He hurls the bottle across the room, shattering it against the wall.  Whiskey drips down the wall like blood.
MITCH
FUCK YOU!!! FUCK  YOU!!
He raises his hand to slap her, but when he sees her cowering away, he turns into a baby.
MITCH (cont'd)
Oh Jesus!  Oh sweet Jesus!
He sinks to his knees and begins sobbing uncontrollably.  Laura kneels down with him and takes him into her arms.
MITCH (cont'd)
I'm sorry...I'm so sorry...
LAURA
It's okay.
He grabs on to her for dear life, and she holds him tight.
MITCH
I just wanted to tell her I was sorry.  It woulda only took a few minutes.
LAURA
I know.
Laura cradles and rocks him like a mother holding an infant.
dISSOLVE TO:
int. bedroom - mitch's house - later that night
Mitch is laying fully clothed in the bed, with Laura draped over him like a blanket.  She strokes his hair gently.
MITCH
I didn't treat her right...I let my job take me over.
LAURA
Is that when you started...drinking?  
MITCH
I know it's not an excuse.  Plenty of guys do my job and they're fine.  I couldn't take all the death I saw, day in and day out.  So much death and cruelty....I become a different person when I drink...I hit her twice.  You know what the worst part is about that?  I don't even remember doing it.  I was so drunk and feeling sorry for myself, I don't even remember...we were never the same after that.  Even after I quit the bureau and stopped drinking, it wasn't the same.  I tried everything, I did the meetings...the damage was already done.  There's just some things that can't be forgiven...
He falls into an exhausted sleep, and Laura lays holding him, wide awake.
dISSOLVE TO:
ext. graveyard - day
A cold rain falls over the group surrounding Anna's grave. The cemetery is surrounded by trees making it somewhat of a tomb itself.
Mitch stands near the grave, tears streaming from his eyes.  Laura is comforting him.
A PREACHER is in the middle of his eulogy.
PREACHER
And even though Anna is gone from this world, her presence will always surround us, and she will be with us for all time.  Her generous nature will come through in all who loved her...
As the Preacher continues talking, Mitch steps forward and pulls a rose out of his jacket.  He tenderly lays it on top of the coffin, and whispers, barely getting the words out.
MITCH
I'm sorry Anna.
Another wave of tears hits him, and he stands on wobbly legs, Laura helping him up.
PREACHER
...be with you, and with the Holy Spirit forever.  A-men.
The small crowd disperses, talking to one another, but no one comes up to Mitch.
LAURA
Come on. Let's go.
Mitch looks up through the trees, and sees a FIGURE in the back of the forest, looking at them! 
Mitch's instinct tells him that this is Gabriel.
MITCH
I'll be right back.
LAURA
What?  Mitch, where are you going?
Mitch walks quickly across the graveyard towards Gabriel.  He still can't get a good look.
Gabriel suddenly turns and runs through the forest, with Mitch giving chase.
Trees whips by Mitch's face as he desperately tears through the brush.  He can see Gabriel's black cloaked frame in the distance.
Gabriel turns a corner and Mitch loses sight of him.  The trees break into a clearing and Mitch looks all around, but Gabriel has vanished.
MITCH
What do you want from me?
The only sound is the rain falling.
ext. outside graveyard - day
Laura is standing by her car.  A light drizzle still falls.  Relief floods over her face when she sees Mitch.
LAURA
What happened?  Are you all right?
MITCH
I'm fine.
LAURA
Where did you go?
MITCH
It's not important.  Look Laura, I'm not sure how to say this.
She takes his hand, but he slides it away from her.
MITCH (cont'd)
I don't think we should see each other anymore.  Not for a while.
LAURA
Mitch, let me help you through this.
MITCH
You can't.  I'm a....I was a married man, and I did a horrible thing.  Jesus, I practically killed her myself.  Anna and I weren't okay, not for a long time, but what I did was still wrong.  And if I'm with you, then I've ignored it.
LAURA
Mitch, please.
MITCH
I'm sorry.
He walks away from her.  The raindrops on her face mix with her tears.
INT. LIving room - mitch's house
Mitch is sitting on the couch looking at a picture of Anna.  The phone rings and he picks it up.
MITCH
(into phone)
Hello?
GABRIEL
(over phone)
Hello Professor.
MITCH
Gabriel?
GABRIEL
Did you go to the Cheshire Inn?
MITCH
You know I did.  Why were you at my wife's funeral?
GABRIEL
To offer my condolences.  I didn't expect to be seen.
MITCH
As long as you're telling the truth...why me?  Why do you think I can help you?
GABRIEL
You're against Proposition 55.  I saw your editorial in the paper, and it affected me.  I don't want to kill anymore.  I don't think I should be put to death for murders I don't remember doing.  
MITCH
But you have to take responsibility for them. 
GABRIEL
And I intend to.  But I have to know what's wrong with me first.  I have to go, and I hate to do this....Lexington Inn, room 402.
Mitch closes his eyes and sighs.
MITCH
Are you bragging, Gabriel?
GABRIEL
No!  I am not proud for what I've done.  
MITCH
I can try to help you, but if this is a game, I'll pour the pellets in the gas chamber myself.
The phone goes dead.  Mitch thinks for a moment, then gets up to leave.
EXT. LIBRARY - DAY
Mitch walks inside a huge old library, guarded by statues of angels.
INT. LIBRARY - DAY
MONTAGE of Mitch doing research.  He goes to various aisles and takes psychology and crime books.  It ends with Mitch looking at a legal pad.
At the top it reads: Inside the Mind of a Serial Killer.  By Mitch Johvas.  He looks over it one last time, wads it up and throws it in the trash.
He goes back to his other legal pad, working on a profile of Gabriel.
EXT. COUrtyard - college - day
Claudia is sitting on a bench, writing on a legal pad, referring to a book on her lap from time to time.  She doesn't notice Josh walk up.
JOSH
Getting that profile done?
Claudia jumps slightly, but when she sees him, her face brightens.
CLAUDIA
Among other things.
JOSH
Too much homework?
CLAUDIA
Not enough hours in the day.
JOSH
I know the feeling.
A moment of awkward silence.
JOSH (cont'd)
That new movie 'Fatal Jury' is coming out this weekend.
CLAUDIA
I know.  I really want to see it.
JOSH
I heard.  I got some tickets to a sneak preview tomorrow.  It wouldn't be a date or anything, I just knew you wanted to see it...
CLAUDIA
I'd love to go.
JOSH
I'm not trying to step on Brian's toes or anything...
CLAUDIA
He'll understand.  
JOSH
Great.  Well...I'll see you in class.
He walks away with a final wave.  Both of them have glowing smiles on their faces.
int. homicide division - police station
One section of the office is devoted entirely to Gabriel.  Pictures of the murder scenes are plastered everywhere.
Wes, Kemper, and other assorted agents and detectives are doing busy work.  Wes notices Mitch first and looks guilty.
WES
Mitch.  What are you doing here?
Kemper sees him and smiles.
KEMPER
Well, well.  Mitch.  Been holding out on us I hear.
Mitch turns to Wes.
WES
I'm sorry.
Mitch smiles an apology.
MITCH
I shouldn't have put you in that position.
KEMPER
What do you have to say for yourself?
MITCH
I was protecting Gabriel from you.
KEMPER
What?  I'm not the one out there killing people!
MITCH
You might as well be.  Now listen.  I'm willing to tell you everything I know and draw up a profile for you on one condition.
KEMPER
You're in no position to demand anything.
MITCH
Cut the shit Kemper.  Now either you want to catch this guy or you don't. I'm a direct link and the best chance you've got.
KEMPER
What do you want?
MITCH
I get to talk to this guy before an arrest is made.  He came to me for help, and I believe I can.  I run the show.  Got it?
WES
Are you all right to be doing this?
MITCH
I'm fine.  Now Kemper?  Do we have a deal?
Kemper considers the offer, then reluctantly nods his head.
KEMPER
Now hear my condition.  No one is put in harm's way.  That includes you.  First sign of danger and the deal's off.
MITCH
Done.  Gabriel has informed me that there is another murder at the Lexington Inn.
KEMPER
You're walking a dangerous line Mitch.
The office comes alive as cops head for the door.
ext. lexington INN - day
The rain continues to fall.  The outside of the hotel is a mess of police cars.  The curtain from the murder victim's room blows in the wind.
int. hotel ROOM - lexington inn
Mitch, Wes, and Kemper step inside the room.  Larry is tied to a chair facing the bed, slumped over.  Blood is all over his chest and on the floor.
Jenny is tied to the bed, her throat cut as well.  She has bruises on her face and dried blood around her swollen nose.
Forensic teams and Detectives are all around the scene looking for evidence.  Wes calls out to one.
WES
Hey Frank.  Are the eyes like the others?
The Detective nods and resumes his work.  Mitch turns to Wes and Kemper.
MITCH
I need to be alone in here.
WES
Why?
KEMPER
That's how he works.  How he comes up with his profiles.
WES
Okay.
(calls to everybody)
All right, everybody out!
They all groan and mutter under their breath.
WES (cont'd)
Come on!  Take a smoke break or somethin'.  We just need a couple of minutes.
In a few moments , the room is empty except for the three men.
WES (cont'd)
Take your time Mitch. 
He and Kemper leave the room, shutting the door behind them.  Mitch is alone with the two victims.
MITCH
Well, well.  Alone at last.
He walks around the room, inspecting it carefully.  He notices a blood stain on the wall and looks back at Jenny's body.  He is lost in deep thought and talks softly to himself.
MITCH (cont'd)
What do you have to tell me?  C'mon Gabriel, talk to me.
As he makes his way around the room, he can actually see the murders in his mind.  It is told through QUICK FLASHES.
JENNY GETS SLAMMED AGAINST THE WALL.
Mitch looks at Larry's body.
LARRY SCREAMS AS GABRIEL TIES HIM TO THE CHAIR.
Mitch shudders and walks to Jenny's body.
JENNY IS TIED TO THE BED AND GETTING HIT ACROSS THE FACE.
Mitch focuses on Jenny's neck wound.
GABRIEL'S KNIFE QUICKLY SLASHES ACROSS JENNY'S THROAT.
Mitch looks back to Larry's neck.
QUICK KNIFE SLASH ACROSS LARRY'S NECK.
Mitch closes his eyes, trying to block the horrifying images out.
A KNIFE GOES CLOSER AND CLOSER TO JENNY'S EYE.
Mitch shakes off the images and opens his eyes, breathing heavily and sweating.
int. hallway - lexington INN
Kemper and Wes stand outside the room, bored and not talking.  The door to the room opens, and Mitch hurries out.
MITCH
I know why he switches the eyes.
int. hallway - outside mitch's office - day
Laura walks down the hall, looking very distracted.  She hears a knocking and focuses on Claudia, who is knocking on the door looking very upset.  Her knocking becomes frenzied until she sees Laura.
LAURA
Can I help you?
Claudia is startled and backs away from her.
LAURA (cont'd)
It's all right.  I'm a friend of Mitch's.
CLAUDIA
Do you know where he is?
LAURA
No, I don't.
CLAUDIA
I really need to talk to him.
LAURA
You and me both.  Listen, why don't you let me buy you a cup of coffee and we'll talk, okay? We better have decaf though.
Claudia manages a weak smile.
CLAUDIA
Okay.
int. homicide division - police station
A group of Cops, including Kemper and Wes, gather around Mitch, who stands near all the murder photos hanging on the wall.
MITCH 
You're looking for a male, early to late twenties; he's tall, powerfully built, but I imagine he tries to hide his strength from the general public.  In other words, he's not a show off.  We know from the previous murders that he like to kill males and their escorts.  I assume you have the escort services staked out already?
KEMPER
Yeah, we got that covered.
MITCH
You're gonna have to you put your best men out there. His methods indicate thoughtfulness and planning.  Our guy either used to be in law enforcement or tried to become a police officer at some point.  He's gonna be looking for shadows.  First of all this is a ritual killing.  It is a fantasy, but not in the general sense.  He doesn't get any sexual pleasure out of killing.  These murders are done purely out of revenge and rage.  Gabriel switching the eyes put it all together for me.  He takes out both sets of eyes, and switches them, taking the time to clean the bodies to make it not that noticeable. He wanted us to be shocked and surprised by it.  The eyes are his message.
WES
What the hell does it mean?
Mitch points to five photographs, all of different sets of victims, each showing a broad picture of the murder scene.
MITCH
You see how Gabriel set up the murder scene each time?  He had the man and the escort facing each other.
Mitch scans through a file quickly to check a reference for his next statement.
MITCH (cont'd)
All the men who were murdered were married.  Gabriel switched the eyes so the two people could see what they were doing to each other.
A Cop has a dazed expression on his face.
COP
Huh?
MITCH
Don't you see the message?  He put the escort's eyes in the man so she could see herself for the dirty slut and homewrecker that she was.
COP
That's a pretty fuckin' rude thing to say.
MITCH
I'm not saying it.  That's what's going through the killer's head.  Then Gabriel puts the man's eyes into the escort so he can see himself cheating on his wife.  Whoever Gabriel is, came from a broken home, and I'm willing to bet, his father cheated on his mother  frequently, and he knew about it.  But something else more tragic and severe had to happen before the murderous impulses began.  Also, Gabriel puts the blame for his hatred on the escorts.
KEMPER
How do you know?
MITCH
More of Gabriel's rage seems focused on the woman.  She was more savagely beaten.  The killer will be driving some sort of car that resembles a police unit.  Also, this guy will be social, but very limited in the relationships he can have.  That's all I can tell you right now.  Any questions?
There is no response, so Wes stands up to address them.
WES
Okay guys, back to work.
The group gets up and goes back to their work stations.  Wes walks up to Mitch.
WES (cont'd)
Why'd you ever quit the FBI?  You're pretty good at this.
MITCH
That was the problem. 
ext. coffee shop - day
Laura and Claudia are sitting at one of the outside tables.  Claudia seems very nervous and distracted, but she had calmed down.  She takes a sip of coffee and it relaxes her a bit.
CLAUDIA
I needed this.
LAURA
Never underestimate the power of coffee.
This makes Claudia smile and warm up to her a little more.
LAURA (cont'd)
You're a very pretty girl when you smile.
CLAUDIA
Thanks.
A tear falls from her eye.
LAURA
What's wrong?
CLAUDIA
I just don't know what to do.  My boyfriend Brian, he can be so sweet...
LAURA
But...
CLAUDIA
Other times I feel like his puppet.
LAURA
He doesn't...hurt you or anything does he?
CLAUDIA
No, nothing like that.  I just feel like I can't do anything without him knowing about it.
LAURA
He sounds very controlling.  It's doesn't sound like a very healthy relationship.
CLAUDIA
I know.  And well....there's this other guy...
LAURA
Ah, I see.  Someone else on the horizon.
CLAUDIA
Well, maybe.  He's a little weird, but Josh is really nice.  I caught him taking pictures of me once.
LAURA
I assume Brian doesn't like that very much.
CLAUDIA
Not at all.  I know Brian's not right for me, but he's the only boyfriend I've ever had.
LAURA
I find that hard to believe.
CLAUDIA
I didn't date much in high school.  Not at all really.  God, I just don't understand all this.
LAURA
(sarcastically)
Me either honey.  I've been dealing with men for a long time, and I still don't have a clue.
Claudia laughs.  Laura raises her coffee mug in a toast.
LAURA (cont'd)
To men.  They say we're the ones with all the mystery, but who could understand all their primitive ways?  Don't worry Claudia, you'll find what you're looking for.
They each take another drink.
LAURA (cont'd)
Man, I could use some cognac in this.
Both women smile warmly at each other.
int. LECTURE HALL - COLLEGE
Mitch's class is waiting patiently.  Mitch bursts in and hastily sets his briefcase on the desk.
MITCH
Sorry I'm late guys.  I'm not gonna keep you very long today.  By the way, thank you for all the cards.  I appreciate that.
Mitch's voice fades out as he talks about the rough draft that is due next class.  Josh looks over at Claudia, who is sitting by Brian.  He smiles at her and she smiles back.
Brian focuses on Josh with daggers in his eyes, and finally Josh looks away.
MITCH (cont'd)
...and that's all for now. If there are no questions....okay.  Good luck on your rough drafts.
The class gets up to leave.  Josh walks up to Mitch.
JOSH
I'm not gonna be able to make it to class next time, but I'll turn in the rough draft before then.  Watch your mailbox.
Mitch nods and Josh walks out, but not before Brian pushes past him with his shoulder.  Mitch notices this.
int. outer room - mitch's office
Mitch walks in and Janice smiles warmly at him.
JANICE
Mitch!  I'm glad you made it.
MITCH
Thanks for sending the flowers.  It meant a lot.  Where's my ashtray?
JANICE
Oh Mitch, no.
MITCH
This hasn't been a very good week for me.
JANICE
Please don't.  You've been such an inspiration to me.
MITCH
Did you quit?
JANICE
No, but I'm going to.
MITCH
Give me the ashtray.
Janice reluctantly pulls the ashtray out of her desk and hands it to him.
int. mitch's office
Mitch sits at his desk and lights up a cigarette.  He inhales deeply and leans back in his chair.  He notices something peculiar on the far end of the desk.
He leans over and is surprised to see another letter from Gabriel.  He opens it quickly and it reads:  I WILL CONTACT YOU SOON ABOUT MEETING.
Mitch runs back into:
int. outer room - mitch's office
He walks up to Janice and waves the letter in front of her.
MITCH
Where did this come from?
JANICE
I dunno.  The mail?
MITCH
This was hand delivered.  How did it get here?
Janice is nervous over Mitch's imposing tone.
JANICE
I have no idea.  I guess someone could've brought it when I went outside.
MITCH
Jesus!
JANICE
You told me not to smoke in here anymore, so I just went outside for a few minutes.
MITCH
From now on when you go outside, you lock the office up.  Understand?
Janice nods and looks like she's about to cry.  He walks out.  Janice lights up a cigarette, wiping a tear from her eye.
JANICE
I guess he does need those goddamn cigarettes.
ext. courtyard - college - day
Mitch walks outside towards his car.  He sees Claudia heading towards the main building.
He then notices someone behind a tree, taking pictures of her.  The camera comes down and now he can see that it's Josh.
Mitch walks over towards him, but Josh spots him and hurries away, out of sight.
int. kitchen - mitch's house - Day
Mitch is eating a sandwich at the table.  He moves aside a piece of paper and sees the list that Anna left for him. He wipes tears from his eyes.
He picks up a picture of Anna that's on the counter and looks at it sadly.  The phone rings, startling him.  He picks it up.
MITCH
Hello?
GABRIEL
Hello Mitch.
MITCH
I think it's time to stop playing games.
GABRIEL
I'm not playing games.
MITCH
Then what are you doing?  Either you want my help or you don't.  Which is it?
GABRIEL
You sound troubled.
MITCH
Stop the bullshit!  Now either let me try to help you, or leave me alone!
There is a moment of silence.
GABRIEL
Check your E-mail tonight.
Gabriel hangs up.  Mitch throws the phone across the room.
ext. courtyard - college - day
Mitch walks across the courtyard when he sees Brian and Claudia.  They both look upset.  Mitch hears part of the conversation.
BRIAN
What the hell Claudia?  Everything was fine yesterday and then suddenly you're dumping me?
CLAUDIA
I'm sorry.  It's not you.  It's me.
BRIAN
That's what they all say!  It's Josh, isn't it?  You like him.
CLAUDIA
No, that's not it.
BRIAN
Don't lie to me!  I see you looking at him.  It's just like a woman.  Go for the new deal when the old doesn't look as good.
CLAUDIA
No Brian.
BRIAN
I see how it is.  Don't worry Claudia, you'll want me back.  I promise you that.
He walks away from her right past Mitch.  He gives him an ugly gaze.  Mitch looks to Claudia, who runs off another way.
int. wes' car - outside escort service - night
Mitch and Wes sit in the dark watching the escort service.  The streets are quiet.
WES
You know, we should just arrest everybody that comes outta there.
MITCH
It'd keep 'em safe.
WES
Everybody knows it's really a prostitution ring.
MITCH
How does that work anyway?
WES
It's strictly on a volunteer basis.  The client pays for the escort, and that's all the girl is obligated for.  It's her choice whether or not she has sex.  But they all do.  You see they give half of their escort fee to the owner.  But whatever they make in tips is their's to keep.  How do you think they afford those fur coats?
MITCH
How do you know all this?
WES
Field work.
They both laugh.
WES (cont'd)
Thanks for coming along tonight.  I couldn't stay awake by myself.
MITCH
No problem.  I've been thinking about that letter I got today.
WES
Sounds pretty spooky to me.
MITCH
I think Gabriel might be a student.
WES
Really?  Can serial killers really be that social?
MITCH
Bundy was.  Man, I'm hungry.  You got anything to eat?
WES
Donuts in the back.
Mitch reaches back and gets a donut bag.
WES (cont'd)
You have any possibles?
MITCH
A kid named Josh.  I caught him spying and taking pictures of a girl in my class.  I dunno though.
He takes a bite of the donut.  Wes sees a MAN and his ESCORT walk out of the escort service.
WES
Anything other than that?
MITCH
Well, he's kind of withdrawn.  That would  fit the profile, but I could be wrong.  Jesus!  These donuts are stale as hell!  How long have they been back there?
WES
A week or so.
Wes spots a dark FIGURE following the Man and Escort down the street.
WES (cont'd)
Shit, we could have him!
Mitch looks out the window and sees the Figure carefully shadowing the couple.
MITCH
Just take it easy.  We don't want to give ourselves away.
The Figure suddenly stops and turns around.
WES
Can you see a face?
MITCH
No.  He's wearing some kind of mask.
The Figure turns on a flashlight and shines it right into their car.  Both men react to the bright beam of light.
WES
Smart little fucker.
They get out of the car and give chase to the Figure who runs off down an alley.
ext. alley - night
The Figure is running very fast.  Mitch and Wes are keeping steady pace.
The Figure reaches a high fence and gracefully climbs, then vaults over.  It takes a little more time for Mitch and Wes to get over it.
They run into:
ext. street - night
Mitch and Wes burst out of the alley and look down the deserted streets.  The Figure has vanished.
WES
Dammit!
int. josh's dorm room - night
Josh is sitting on his bed, reading.  His window is open, and beyond that, a fire escape.  There is a knock on the door.
Josh opens the door and a pretty GIRL is there.  She smiles sweetly at him.
GIRL
Hi.  Are you Josh?
Josh is awestruck by her beauty and by the fact that she is talking to him.  He manages to nod.
GIRL (cont'd)
Good.  Then I'm at the right place.
The Girl closes the door behind her and Josh nervously steps back.
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.
int. stairwell - trinity cathedral
A dusty staircase leading up to the roof.  Mitch sees an old desk stuffed into the narrow space and scoots it up, placing it in front of the door.
He starts up the stairs after Claudia.
int. sanctuary - trinity cathedral
The Cops converge on the door with Kemper right behind.  They try the door, but can't get it open.
COP
He blocked it!
KEMPER
Well, break it down!
Wes grabs Kemper's arm and turns Kemper around to face him.
WES
Just let Mitch handle this.  If you go up there it can only end badly.
KEMPER
Don't you tell me what to do!  Your job is done here.  Go home and I'll send you a goddamn commendation.
WES
You take that commendation and you shove it up your ass.  If you fuck this up, you're going down.  I'll see to it.
The Cops start breaking through the door.
int. another part of the stairwell
Mitch continues to run up the staircase.  He looks down briefly and balks at how high up he is.  He finally reaches the top and opens the door.
ext. roof - trinity cathedral - night
Mitch runs out into the cold night air.  An enormous bell rests in its awning nearby.  Mitch searches for Claudia.
MITCH
Claudia!  Claudia, where are you?
CLAUDIA (O.S.)
Go away!  Leave me alone!
Mitch spots her on the far end of the roof.  She is looking over the edge, tears streaming from her cheeks.
MITCH
Claudia, I'm trying to help.
CLAUDIA
Shut up!  You lied to me!  You set me up!
MITCH
This was not my idea.  I want to help you.
CLAUDIA
Just leave me alone!
MITCH
There are cops coming up those stairs right now.  I am your only chance.  Please!
CLAUDIA
I trusted you...
MITCH
You still can.  I can keep them away from you.
CLAUDIA
No.  You'll hand me over.
MITCH
No, I won't.
Kemper and his men come through the door and spot them.  They run over, guns drawn.  Mitch is standing in between Kemper and Claudia.
KEMPER
Mitch, get out of the way!
MITCH
Walter, stop it.  You don't know what you're doing.
KEMPER
I know goddamn well what I'm doing.  Now shut up and get out of the fuckin' way!
MITCH
I can't do that.
While Kemper and Mitch have been talking, Claudia has climbed up on the ledge and is looking over side.  Mitch turns back to her and his eyes go wide with horror.
MITCH (cont'd)
Claudia no!
CLAUDIA
I....have...to....
She is bawling hysterically, looking over the edge, contemplating her fate.
MITCH
No you don't!  I can help you!  PLEASE!
CLAUDIA
I'd rather die on my own terms.
MITCH
They won't hurt you.
KEMPER
Miss, step away from the ledge and come down with your hands up!
MITCH
KEMPER SHUT THE FUCK UP!!!
KEMPER
She's not gonna do anything.  She's playing you Mitch.
CLAUDIA
I can't take this anymore...
MITCH
Claudia no!
Instinctively, he moves closer to her.
CLAUDIA
DON'T COME NEAR ME!!
Mitch stops and holds his hands up in surrender.
MITCH
I'm stopping.  Claudia, don't do this. Please let me help you.
KEMPER
Claudia, if you don't come down from there right now, I will come and get you myself.
CLAUDIA
NO! YOU STAY BACK!!
KEMPER
Fuck this.
He starts walking towards her rapidly.  Mitch tries to stops him, but Kemper pushes him aside.
MITCH
Kemper, NO!!
Before Kemper can reach her, Claudia jumps off the roof and out of sight.  Mitch rushes to the edge.
He sees Claudia flying through the air, gracefully.  Her dress flows in the wind giving her an angelic look.
Mitch closes his eyes and hears the sickening THUD.
Tears of sadness and anger fill his eyes.  He looks over the edge and grimaces when he sees Claudia's crumpled lifeless body.
Kemper walks away from the edge shaking his head.
KEMPER
Crazy bitch did it.
Mitch rushes him.  He tackles Kemper and flips him over to face him.
MITCH
You sonofabitch!! You fuckin' sonofabitch!!
He punches Kemper hard and keeps doing it until Wes pulls him off.  Mitch collapses and Wes holds him.
MITCH (cont'd)
She was just a kid...Jesus, she was just a child....
Kemper slowly sits up, bloodied and beaten.  He nurses his busted lip.
The sound of sirens converging on the scene can be heard.
int. living room - mitch's house
Mitch is sitting on the couch, being held by Laura.
MITCH
It's not right.
LAURA
I know.
MITCH
I could have helped her.
LAURA
Yes you could've. But it's not your fault she died.
MITCH
I still feel like shit.
There is a knock at the door.  Wes comes in and sees them on the couch.
WES
I'm sorry.  I didn't mean to interrupt.
LAURA
You didn't.  Come on in.
Wes sits down on the opposite couch.
WES
I thought you might wanna know what we found in Claudia's room.
MITCH
What?
WES
A lot of items from the different murder scenes.  The toupee from the first one...things like that.  We never did find the murder weapon though.
MITCH
You couldn't find the knife?
WES
She coulda dumped it somewhere.  Also, the escort that came to Josh's room?  She was hired over the phone and cash was sent. 
LAURA
It's all so horrible.
WES
I know.  She's got no family.  We checked.  I don't know how they're gonna do the funeral.
MITCH
I'm paying for it.
LAURA
What?
MITCH
It's the least I can do.  I owe her that.
WES
They released Brian this morning.
MITCH
How's he taking it?
WES
As well as can be expected I guess.
MITCH
I hope he's okay.
int. mitch's office - DAY
Mitch is sitting at his desk, trying to grade papers, but his mind keeps wandering.
Janice walks in with a stack of papers.  She sets them on the desk.
JANICE
Here's some more papers for you.
MITCH
I hate the end of the semester.
She laughs but gets a serious expression.
JANICE
Ummm....
MITCH
Yes?  Just say it.
JANICE
I just wanted to tell you I think you tried to do a good thing with Claudia.
MITCH
How do you know about that?
JANICE
You can't keep something like that quiet around here.
MITCH
I see your point.
JANICE
I feel terrible for her.  I can't imagine the terror of having a force like that controlling me.
Mitch suddenly perks up.
MITCH
Really?
JANICE
Yeah, it must be awful.
MITCH
It all comes down to control, doesn't it?
JANICE
I'm sorry?
MITCH
Janice, could you excuse me for a moment?  I have to make a call.
JANICE
Uh, okay.
She walks out looking bewildered.
Mitch picks up the phone and dials quickly.  He waits impatiently for an answer.
MITCH
(into phone)
Coroner's office please.
int. LECTURE HALL - COLLEGE
Mitch walks in distracted.  The class is waiting for him.
MITCH
Hello everybody.  I know this is a hard day.  I'll be back in a minute, and we'll talk about it.  But first, uh, Brian?  Could I talk to you out in the hallway for a moment?
Brian nods and gets up, a little unsure.  He follows Mitch out of the classroom.
int. hallway - outside lecture hall
Mitch stops Brian a little ways down the hall and looks him over carefully.
MITCH
It's a tough thing to lose a loved one.
BRIAN
I know.
MITCH
I know you really cared for Claudia.  She was a great girl.
BRIAN
Yeah.
MITCH
You had no idea she was coming to me for help, did you?
BRIAN
No, I didn't.
MITCH
We arrested you on a gut feeling, and I'm sorry for that.
BRIAN
Hey, it's all right.  We all make mistakes.
MITCH
We didn't make a mistake.
BRIAN
What?
MITCH
You fit my profile perfectly, but I couldn't put the pieces together.
BRIAN
What are you talking about?
MITCH
In my profile, I said that the killer didn't kill for any kind of sexual gratification, and I was right.
BRIAN
Sexual....what?
MITCH
It was all about control.  Controlling the escorts, controlling the men....and controlling Claudia.
BRIAN
You're not making any sense.
MITCH
You had chloroform in your room.  None of the victims had any trace of chloroform in their systems.  I checked the autopsy reports myself.
BRIAN
What does that have to do with anything?
MITCH
I had the coroner do an autopsy on Claudia this morning.
This shakes Brian a little.  His tone becomes more panicked.
BRIAN
You what?
MITCH
She had chloroform in her system.  That surprise you?
No answer from Brian, but his eyes are growing more hateful.
MITCH (cont'd)
That's why she was always sleeping late, and why she was nauseous all the time.  You used the chloroform to knock her out, and then you went out and committed the murders.  You used her own dark fantasy against her.  You put evidence in her room, and played with her mind.  With what you pulled, I might've been fooled.
BRIAN
You're stepping onto dangerous ground.
MITCH
But you fucked up with Josh.  You did that out of revenge. The escort was just a decoy.  The rest of the murders were nothing.  You have no score to settle. You kill because you like it.  When did you find that out?  Five?  Ten?
BRIAN
You think you know so much about me.
MITCH
I do!  You're all the same.  Mad at the world but you don't know why.  But why Claudia?  She was just an innocent girl who loved you.
BRIAN
I was helping her deal with her past.  Making the wrongs right.
MITCH
BULLSHIT!!  You're not that noble.  You killed, and you blamed it on her because you couldn't stand the thought of her leaving you.
BRIAN
Shut up.
MITCH
You figured that if she were scared enough, that she wouldn't leave your side.  Because you're the one that's really scared.
BRIAN
SHUT THE FUCK UP!!  Don't try to council me Doctor.  I don't want to end up splattered on a sidewalk somewhere.
MITCH
She wouldn't have needed my help if you hadn't fucked with her head.  Admit it Brian.  You killed the one woman who loved you.
BRIAN
STOP TALKING!!
MITCH
Where's the murder weapon Brian?  Police couldn't find it and I know you didn't get rid of it.  You like using it too much.  The police will be here any second.  If you hand over the knife, I'll do what I can to help you.  I can help you change your life around.
BRIAN
Go fuck yourself.
Mitch takes a step forward.  With a quick motion, Brian sucker punches him, sending him sprawling on the floor.  Brian takes off running down the hall.
Mitch picks himself up, and wipes blood away from his lip and runs after him.
EXT. COUrtyard - college - day
Mitch bursts out of the door of the main building just in time to see Brian disappear inside the theater, still under construction.
He bolts across the courtyard towards it.  Laura is walking down the sidewalk and hurriedly blocks his path.
LAURA
What's going on?
MITCH
Stay out here!  When the police come, send them to the theater!
LAURA
But Mitch-
MITCH
JUST DO IT!
He continues running towards the theater, leaving Laura in state of confusion.
INT. THEATER lobby - UNDER CONSTRUCTION
Mitch enters the dark entry way.  Flaps of plastic cover the high windows, and blow in the wind, sending occasional streaks of dim light inside.
He moves silently past the tools and debris on the ground.  He stops momentarily, listening for any sound.
Three entrances are ahead of him on the far left, center, and far right.  After a moment of thought, he enters the right entrance.
INT. THEATER - UNDER CONSTRUCTION
Mitch strains his eyes to see in the dark.  The stage at the front is dark and forboding.  Scaffolding is raised near it reaching almost all the way up to the high ceiling.  
The three sections of seats are all in stages of construction.  Some rows are still missing.  
He slowly moves down the right aisle, looking down each row.
CLOSE - BRIAN'S HANDS
Brian moves aside a plank from the floor with stealth and reaches into a dark hole.  He emerges with a wicked looking hunting knife.  
His shadow quietly moves away.
Mitch continues his search, trying not to make any noise.  Suddenly a soft CLANGING of something metal falling on the floor perks his attention up.  
He creeps towards the origin of the sound, still squinting in the dim light.  He stops near the scaffolding and strains to listen.
He doesn't see the shadow rising behind him.  Brian raises the knife.
A gust of wind blows through, raising the plastic flaps.  With the light coming in, Mitch sees Brian's reflection in the scaffolding bars.  
He jerks to the side as Brian comes down with the knife, but the blade slices him across the arm.  He grunts in pain and turns to face his attacker.
Brian brings the knife back up, but Mitch moves under scaffolding, taking refuge behind the bars.  They square off.
BRIAN
I'm gonna gut you like a fish.
MITCH
It doesn't have to end this way.
BRIAN
Yes it does.
He jabs the knife between the bars, and Mitch dodges him.  
MITCH
You're a smart kid.  Why this?
BRIAN
Like you said, I like it.
He reaches around the scaffolding and comes through, slicing into Mitch's shoulder.  Blood flows freely from the wound.
Mitch tries to run up the aisle, but Brian blocks his path.  Seeing no other way out, Mitch starts scaling the scaffolding.
Brian eagerly goes after him.
Mitch reaches the top and is surprised to see that Brian has gotten up at the same time.  They circle each other on the platform.
Brian slices at him, and Mitch moves out of the way.  The knife comes down again, but Mitch catches his arm and slams it down the scaffolding bars.  
With a painful yell, Brian releases his grip on the knife and it clatters noisily on the floor.  
Mitch punches Brian hard across the cheek sending him back to the end of the platform.  The bars catch him and he remains standing.
Enraged he runs forward and pushes Mitch to the other edge of the platform.  He wraps his hand around Mitch's throat and begins squeezing.  Mitch chokes and struggles to breathe.
Mitch slams his fists into Brian's stomach, but it barely fazes him.  Mitch falls to his knees, almost to the point of passing out.  In a last ditch effort he grabs Brian by the balls and puts his own squeeze on.
Brian howls in pain and releases Mitch from his grip.  He punches Mitch in the face and stumbles back holding his groin in agony.
BRIAN (cont'd)
You son of a bitch!
Brian rushes him, but Mitch rears back and with a sharp CRACK connects his fist to Brian's jaw.   
Brian flies up, and with a scream of rage plummets over the edge of the scaffolding.  He falls on the unfinished stage and breaks through the flimsy boards, disappearing into the darkness.
Mitch sinks down on the platform, catching his breath. He nurses the cut on his shoulder and sighs in pain.  He closes his eyes.
He opens them when the platform begins slightly shaking.  Puzzled he painfully gets to his feet.  He looks over the edge.
Brian is at the bottom, bloodied from his fall.  He is rocking the scaffolding, an evil look in his eyes.
The rocking becomes more violent, and Mitch is struggling to hang on.   With a final CREAK, the scaffolding gives way and tips over.
The scaffolding falls across the center section of chairs.  At the last minute, Mitch jumps off, but lands against a row of seats, breaking his arm.  The scaffolding hits the chairs sending up a big cloud of dust.
Mitch clears the dust from his eyes, and tries to move, but is too beaten.
Brian picks up his knife from the floor and advances slowly up the aisle.
BRIAN (cont'd)
I'm going to enjoy this.
MITCH
So you kill me.  Then what?  The police are on their way.
BRIAN 
You shrinks are all the same.  I'm gonna do the world a favor and cut your tongue out first.
Brian is almost upon him.  Suddenly the doors to the theater burst open.  Wes and a horde of cops are standing there.  A scowl crossed Brian's face.
WES
There he is!
The Cops advance, guns drawn.
COP
Put the knife down.  Now!
BRIAN
Fuck you!
COP
I mean it!  Do it now, or I will shoot you!
BRIAN
So shoot me.
MITCH
He's for real! 
The Cops keep their distance, but stand ready.
WES
Mitch?
MITCH
I'm all right!  Keep your distance!
BRIAN
Still trying to protect me?
MITCH
It doesn't have to end this way.  All it takes is the will.
BRIAN
Fuck you.  You can't change who I am.  You wanna see real willpower?
With great speed, Brain slices deeply across his own throat.  Blood spurts out of his neck.  He falls to his knees and shoots Mitch one more nasty look before falling to the ground face first.  A dark pool of blood spreads out from under him.
The Cops run up to him, kicking the knife away.  Wes talks into his radio.
WES
I need an ambulance here now!
He runs down to Mitch, who is laying there expressionless.
WES (cont'd)
Mitch.  Are you all right?
MITCH
I think my arm's broken.
WES
We have an ambulance on the way.
Laura is at the entrance of the lobby, trying to get past all the cops.
LAURA
Mitch!
Wes turns to the cops blocking her.
WES
Let her in.
They let her by and she runs down the aisle to Mitch. She hugs him, tears streaming down her face.  He winces in pain.
WES (cont'd)
His arm's broken.
Laura immediately lets go.
LAURA
Jesus, I'm sorry!
MITCH
It's all right.
She holds him around the neck.  Cops swirl around them.
dISSOLVE TO:
int. mitch's office - DAY
Mitch's wounds have been dressed.  He is sitting with Laura on the couch.  Wes walks in.
WES
We just got a confirmation on the murder weapon.  Brian was the man.  Your profile was dead on.
MITCH
At least I know I haven't lost it.
WES
So what now?
MITCH
Semester's over.  I take a vacation and then I'm back.
WES
By the way, Kemper sends his apologies.
MITCH
He's probably already gone back.  Gotta secure those book deals.
WES
Random House.  They called this morning.
MITCH
Huh.  I turned 'em down a couple of days ago.
WES
That's life I guess.  You take care now.  Diner on Monday?
MITCH
You bet.
Wes walks out.  Laura turns to him.
LAURA
Mitch....why did Brian kill himself?
MITCH
I don't know.  I think he was right.  You just can't change people sometimes.  I never thought a person was born evil...but I'm not so sure anymore.
dISSOLVE TO:
Ext. graveyard - day
It's raining again.  Mitch and Laura are standing near the Minister who is giving his eulogy.  Some students are gathered near as well.
Mitch takes a rose from his coat and places it gingerly on the grave as the Minister finishes.  As Mitch and Laura walk away, the gravestone FILLS THE SCREEN.  It reads:
CLAUDIA ENGLE  BORN APRIL 2, 1977, DIED DECEMBER 11, 1998.
The inscription below it is now what FILLS THE SCREEN.
FOR A SHORT TIME....AN ANGEL WALKED AMONG US....