Copycat

Copycat



COPYCAT

third draft by Frank Pierson Participating writers: Ann Biderman Jay Presson Allen




 INT. LECTURE HALL BERKELEY - DAY

    The hall is full.  On the stage, DR. HELEN HUDSON is
    speaking.  HELEN is a forensic psychologist.  Behind her is
    a projected diagram: PREDISPOSITION, DISSOCIATION, TRAUMA,
    FANTASY, VIOLENT FANTASY, FACILITATORS, MURDER, and
    TRAUMA-REINFORCEMENT which she can point to with a laser
    pointing device.  We see her from a considerable
    distance... the back of the balcony.  Her voice is crisp and
    assured.

             HELEN
        Our society creates these socially
        and psychically disenfranchised
        men, and their revenge on society
        is terrible.  They are hard to
        catch.  They are "the nice guy next
        door," their employers -- if they
        work at all -- find them quiet and
        uncomplaining.  Early abuse and
        rejection have taught them
        passivity.  Only in their violent
        fantasies do they feel alive.  What
        they seek in their frenzied
        assaults on their victims is relief
        from passivity.  For these men, ten
        minutes relief is worth far more
        than the life of another human
        being.  Torture, the pain they
        inflict, the screams of the victim,
        are all part of the ritual that
        gives them a brief respite from
        their own psychic pain.  And then
        the depression, the forgetting, the
        feeling of sadness and despair
        begins the cycle all over again.
        Like addicts seeking their drug,
        Albert DeSalvo, Bianchi and Buono,
        Berkowitz, Dahmer, Bundy -- they
        seek out their next victim.

    During the second half of this speech, the eye of the camera
    has moved slowly forward until it settles just behind the
    balcony railing.

 CLOSEUP: HELEN

             HELEN
        The cycle is endless until they are
        caught.  And they are caught by
        chance -- they run a red light, and
        a body is in the trunk.  A leaking  
        pipe brings a plumber to a basement
        where they is the smell of death.

    Her eyes have come to rest on the spot of the camera eye in
    the balcony... Her voice chokes off.  She stares.

 HELEN'S POV:

    Sitting in the front row of the balcony, a YOUNG RED-HEADED
    MAN (DARYLL LEE CULLUM) leans forward, resting his tattooed
    arms on the railing.  He smiles intimately at HELEN.

    HELEN cuts her eyes to the left.  She sees:

    Backstage, an overweight COP in plain clothes.  Instantly
    alert to HELEN'S alarm, he jumps up, comes within an inch of
    exposing his presence to the audience.  A SECOND COP, in the
    wings on the other side of the stage, also springs to
    attention.  FIRST COP'S eyes follow HELEN'S...

    Their POV:  THE BALCONY - YOUNG RED-HEADED MAN is no longer
    there.

    HELEN  Can she believe her eyes?  Resumes:

             HELEN
        At any time, right now, as you
        listen, the FBI estimates there are
        30 to 35 serial killers stalking
        their victims.  The serial killer is
        a plaque that must be addressed not
        only by the law, but by science.
        Florida spent eight million dollars
        to execute Ted Bundy.  It would
        have been better spent building a
        forensic penal facility devoted to
        research.

    Once again her eyes fix on the balcony to reassure herself
    that the smiling man is not there...

             HELEN
        Confined for life, without parole,
        and subjected to scientific study,
        these men's lives might finally, in
        some small measure, educate and
        thereby protect society.  Thank
        you.

    Applause as Helen warily checks for the TWO COPS.  They are
    carefully casing the crowd.

                             CUT TO:

 LATER:

    The crowd is breaking up.  FIRST COP walks HELEN to the
    ladies' room.  People reach to shake Helen's hand; she copes 
    as well as she can with her fear.  THEY LEAVE THE STAGE
 THROUGH A DOOR OPENING TO A CORRIDOR LEADING BACK TO
 DRESSING ROOMS AND A LADIES' ROOM...

                             CUT TO:

 INT. LADIES' ROOM - DAY

    THE COP, clearly embarrassed, pokes his head in and looks
    around.  Under one stall he sees a woman's HIGH HEELS.  He
    hastily ducks back into HALL and signals an okay to Helen.
    Before the door behind her closes, we see the COP prepare to
    stand guard outside.  HELEN walks past the stall with the
    high heels to a stall several doors down.

 CLOSE UP HIGH HEELS:

    And a tattoo that the cop missed seeing on one of the
    ankles.  The shoes are kicked off.  The feet disappear from
    view as

    HELEN, a few stalls away, methodically places toilet paper
    around the seat before raising her skirt.  A faint noise
    makes her freeze.  Her hand reaches for the door.  She is
    just able to unlock it, but no more, before a NOISE COMES
 DOWN FROM THE NEXT STALL.

    Like a lariat it falls over HELEN'S head and is violently
    yanked tight.  She kicks at the stall door.

    CORRIDOR: COP, leaning against outside door smoking, hears
    the clang of metal as the stall door bangs open. He
    reacts...

 INT. LADIES ROOM - CONTINUED

    The RED-HEADED MAN is struggling to secure the rope around a
    hook inside his own stall.  KNOCKING (o.s.)

                COP (o.s.)
        Doctor Hudson?  Are you okay in
        there?

    The MAN lets slip a little slack.

    HELEN'S fingers, thrusting between the rope and her neck,
    get just enough air for HELEN to let out a strangled little
    scream.

    CORRIDOR: COP, not certain what to do about the ambiguous
    sounds from inside.  Women stands nearby, inhibiting him for
    a split second from going in the Ladies' Room door.  Now
    there is more SOUND from inside...

 INT. LADIES ROOM - CONTINUOUS

    COP steps into the room, gun down.  Over the COP'S shoulder
    we see HELEN hanging in open booth, her hand fluttering at
    her throat.  She has one slippery shoeless foot on the
    toilet seat.

    COP takes a couple of steps forward.  Behind COP'S back we
    see a broom closet door opening.

    HELEN'S POV: CLOSE UP: The COP, taken from behind.  In a
    second, his throat is slit.  In a gush of  blood, he falls,
    his gun still in his hand.

    RED-HEADED MAN standing over the fallen COP, smiling at
 HELEN.

    COP'S BODY IS TWITCHING, JERKING.  The violent contractions
    in his fingers cause the gun to go off... ONE... TWO SHOTS,
    the sound reverberating against the tile walls.

 STAGE AREA

    The audience and SECOND COP react to the gunshots.
    HELEN, her eyes bulging, struggling against the rope.

                             SLAM CUT:

 INT. HELEN'S APT - SAN FRANCISCO - NIGHT

    As HELEN, in bed, bolts up from the nightmare, her hands try
    desperately to pull the dream rope from her neck.  She is now
    pale, her hair is dirty, there are deep circles under her
    eyes.  This is a woman in the throes of a breakdown.

             HELEN
        Andy!  Andy!

    She races through this LOFT APARTMENT (THE WALLS ARE EIGHT
    FEET UNDER A TWELVE-FOOT CEILING) to study opening off a
    hall.  She looks in, gasping for breathing...

 INT. STUDY - CONTINUOUS

    The room is neat -- nobody there.  (We will later see that it
    is used on and off by her computer, Andy.)

    HELEN whimpers in frustration; she is alone.  SHE TALKS TO
    HERSELF as she turns back and moves past a LIVING ROOM,
    where she turns on lights and the TV flicks on, (COURT TV.)
    The sound comes up, loud... She moves on... trying to calm
    herself with the sound of her own voice...

             HELEN
        It is October twelfth, 1994 in the
        city of San Francisco, California,
        U.S.A., the strongest, richest,
        most stable and happiest country in
        the world.  That is the sole place
        of life in the universe.  Under
        God.

    CLOSE: XANAX BOTTLE.  Two pills are shaken out into a palm,
    others scattering from the nervous haste...

    CLOSE: HELEN  Watching herself in BATHROOM mirror as she
    tosses down the pills, gulps water.  She regards her haggard
    reflection with a certain detachment...

             HELEN
        Good God.  What happened to you?

    She barks a rueful laugh... we are seeing a woman will
    herself from near-hysteria to relative calm...

                             CUT TO:

    HALL  As she exits the bathroom.  And moves into her OFFICE.
    She pours herself a brandy and stands before two computers.
    Of the side-by-side computer screens, one is blank.  The
    other shows a chess setup.  Flashing on the bottom of the
    screen comes a command.

             CHESSMASTER
        'It's almost seven.  Make a goddam
        move.'

    She studies the chess set-up for a moment, then makes a
    move.  She has not even hit the Keyboard of the other
    computer before CHESSMASTER sends another message.

             CHESSMASTER
        'Lousy move.  Not really into this
        game, Helen.  Let's drop it.  I've
        got a feeling about you.  Let's
        meet.  Like a date.'

    HELEN types the following to CHESSMASTER.

             HELEN
        'I'm a terrible date.  I'd mess up your
        life.'

             CHESSMASTER
        'Another romantic dream gone all to
        hell.'

             HELEN
        'Maybe it's better to just dream
        on; avoid the disappointments of
        life.  Come on, move.'

    She pushes a button on the remote, and we see the window
    curtains open.  BRIGHT SUNLIGHT STREAMS IN!  We see that the
    T-shirt HELEN wears says "Shrinks 'R' Us."  She crosses to
    the window with her glass of cognac, looks out.

 VIEW:

    A sweeping view of the bay, and across to Marin County.  The
    morning sun is dispelling the last of the night's fog.
    HELEN opens window, puts a hand outside, trying to feel the
    air, the freedom.  Feeling quite restored from the dream
    horror of the night...

 O.S., THE PHONE RINGS.  HELEN.  A FRISSON.

    CLOSE: PHONE  Her hand comes into FRAME and picks up the
    handset and carries CAMERA TO CLOSEUP HELEN.

             HELEN
            (carefully)
        Yes?
            (listens)
        You son-of-a-bitch!  Son of
        a bitch...

    Stiff with fear and rage, she slams down phone.

             HELEN
        You filthy... son of a bitch!

    On the computer screen behind her the Chessmaster makes his
    move: the computer speaks in its tiny computer voice:

             COMPUTER
            (filter)
        You Queen is in check.
        Protect your Queen.

 OVER CREDITS:

    HOME MOVIE of a young woman dressed in a seat suit.  It is
    morning, and she is jogging on a park path.  Her hair is in
    a long braid.  She is sweating, breathing heavily, clearly
    near the end of a satisfactory run.

 THE FILM REVERSES, THE FILM STARTS UP AGAIN IN EXTREMELY
 SLOW MOTION.  WE ARE NOW AWARE THERE IS ANOTHER POINT OF VIEW
 AT WORK HERE.

 NOW THE FRAME FREEZES AT A POINT WHERE IT MAKES THE JOGGER'S
 OPEN-MOUTHED DEEP BREATHING LOOK LIKE

 A SCREAM!

 END TITLE AND CREDITS:

 INT. RIFLE RANGE - DAY

 MUZZLE OF SEMI AUTOMATIC PISTOL BLASTS NINE SHOTS ALMOST
 DIRECTLY INTO CAMERA.  A BEAT OF SILENCE...

    THE TARGET: it is a silhouette of a man's head and torso;
    centered in the right side of the upper chest, near the
    shoulder, is a small red circle.  Still SMOKING, THE HOLES
    FROM THE BULLETS are scattered all over the chest, and none
    in the circle.

             M.J. (V.O.)
        My third grade teacher at the
        convent shot better than that.

 THE SHOOTER, RUBEN GOETZ, AND PARTNER M.J.

             RUBEN
        Yeah, but she had divine guidance.

    We now take in the shooter, RUBEN, and his companion M.J.
    HALLORAN.  M.J. is a small, deceptively vulnerable looking
    young woman.  She is neat, buttoned down, crisp.  M.J.
    appears to be about twenty-five.  She is, in fact,
    thirty-four and a homicide inspector with the rank of
    sergeant.  She is usually dressed in slacks and a loose
    sweater or an oversize jacket that helps make her appear
    even smaller and younger than she is.

    RUBEN GOETZ is also in homicide, about twenty-six and junior
    in authority to M.J.  RUBEN is good-looking, good-humored
    and laid back.  He has a cellular phone attached to his
    belt.

 M.J. PULLS THE LINE THAT DOLLIES THE TARGET BACK TO THEM,
 AND RUBEN REPLACES IT WITH ANOTHER AS THEY TALK.

             M.J.
        I'd feel a whole lot safer with
        Sister Loretta for my backup.  Look
        at this guy: you shredded him!

             RUBEN
        Well, he's dead, he can't hurt me
        now.

    The target is rigged; they pull the line that dollies it back 
    to shooting position.

             M.J.
        It's sloppy shooting.  It's in
        character, Ruben, but unnecessary.
        And bad for your career.

    RUBEN LETS OFF THREE QUICK SHOTS: they cluster nearer the
    circle.  M.J. looks at him in surprise.

             RUBEN
        I've been practicing.  Now can I
        kiss your tummy?

    M.J. hides her smile as she prepares her weapon for her turn.

             M.J.
        Perp's holding a hostage, the
        shoulder on his gun hand is gonna
        be exposed.

    SOUND: A CELLULAR PHONE (ON RUBENS' BELT).  M.J. holds her
    fire.

             M.J.
        Answer it.

             RUBEN
        I'm sure she thinks it is.  Aren't
        you at least interested in which
        one it is?

    She's lost her concentration lowered the gun; now as he
    answers, she raises her gun and aims...

             RUBEN
            (into phone)
        I'm here, where are you?...
        Heeeeyyy!  What a surprise!  No.  On
        duty, have to call you back... You,
        too, you too.  My God, you made my
        day.

    He hits the "end" button...

             M.J.
        You hit the brachial nerve...

    SHE FIRES!  The shots make a perfect heart around the circle,
    inside his looser pattern.  ONE FINAL SHOT STRIKES EXACTLY
 IN THE MIDDLE!

             M.J.
        You're good enough you'll never
        have to kill anyone.  I joined the
        cops to save lives, not waste them.

             RUBEN
        You know, M.J., when I watch you
        shoot, I realize I've got a little
        problem with my stance... could you
        just move over here and critique my
        legs?

    He slaps his thigh where he indicates the trouble might be.
    She is unloading her weapon...

             M.J.
        The problem is between your legs.
        You told your shrink about that?

    She is unloading and cleaning up.  Ruben doing the same...

             RUBEN
        I tell my shrink about you,
        Sergeant.  I tell him you're the
        top cop of my dreams.

    Ruben has been gathering up his box of doughnuts, from which
    he has nibbled during the preceding... he drops them, picks
    one up off the floor and sticks it in his mouth...

             M.J.
            (putting away her
             gear)
        Don't take that mess in the car.

    They're on the move; as they go away from us...

             RUBEN
        He's in love with you already...

                         CUT TO:

 EXT. CRIME SCENE - DAY

    They pull up in front of an apartment building in the
    Pacific Heights section.  Patrol cars flank the street, the
    thick yellow ticker tape "POLICE CRIME SCENE DO NOT CROSS"
    is already up.  M.J. double parks beside a blue-and-white.
    A couple of cars from the media are already there.  SUSAN
    SCHIFFER a bulldog of a woman, and her camera crew, waylay
    M.J. and Ruben as they cross the sidewalk...

             M.J.
        Oh, Christ, the Mouth is already
        here.

    She is, with a cameraman with a haircut and smile that speak
    of a life of orthodontics and dreams of TV anchorship.

             RUBEN
        Hey.  And there's the Haircut right
        behind.  If she stops short he's
        gonna be there feet up her ass...

             SUSAN
            (on camera)
        Inspector, can you...

             M.J.
        I just got here myself, Susan.

             SUSAN
        ...confirm this third murder adds
        up to a pattern?  Do we have a
        serial killer on the loose in the
        city?

             M.J.
        I just got here.  Talk to you
        later...

             M.J.
            (as they escape behind the
             barrier tape)
        What the hell does she want to do,
        scare everybody to death?

             RUBEN
        That's her job... Jesus, Quinn is
        here already.

    QUINN, a splenetic Irishman, a politician, Chief of Homicide
    stands at the top of the steps leading to the front door.
    As they climb up toward him...

             QUINN
        I been waiting... I have to do
        everything myself.  Photo, crime
        tech, the Coroner are already
        inside.  The Landlady calls it in;
        tenant is not answering when
        called, she sticks her head in,
        sees the body, uses the deceased's
        telephone to call 911.  Otherwise
        nothing disturbed.  It's all yours,
        kid.  I'll take care of the Mouth
        and the Haircut.

    M.J. and Ruben enter...

 INT. APARTMENT HOUSE - HALL - DAY

    Four uniformed cops stand in the hall securing the premises;
    at the back one cop stands by a stunned and tearful woman
    chain-smoking (the Landlady).

             M.J.
            (to cop)
        That the Landlady?
            (to Ruben)
        You wanna talk to her, Ruben?
            (back to cops)
        Who was first on the scene?

    Mike answers her question by answering to Ruben!

             MIKE
        I was.

             M.J.
            (forcefully)
        I'm over here?  What's your name,
        Officer?

             MIKE
        Michael Johnson.

             M.J.
        You touch anything, Mike?  Pick up
        anything?  Use the doorknob?  I
        don't want to find your prints on
        anything later and you tell me you
        forgot to tell me.

             MIKE
        No.  I didn't.

    She glances at him, at the SLIGHTLY OLD INFLECTION ON THE "I
    DIDN'T."  But moves on, as Ruben goes to the Landlady...

 INT. BATHROOM - DAY

    The same YOUNG WOMAN we saw jogging, is now dead.  Hair
    still in a long braid.  She wears only a blouse, open and
    pushed back.  She is on her back in the bathtub, with one
    leg dangling over the side of the tub.  The effect is
    slightly posed, but casual, relaxed.

    Bending over her is DOC, the Coroner, WITHDRAWING A HUGE
 MEAT THERMOMETER FROM HER SIDE.

    M.J. APPEARS IN THE BACK OF THE SHOT taking in the scene.
    Foreground, Doc reads the thermometer.  The photographer is
    finishing up his shots.  The room is crowded.  Two Coroner's
    men wait in the doorway, a stretcher standing on end between
    them; M.J. has to pass between them to come down to the
    body.  THROUGHOUT WE FOCUS ON M.J.'S FACE; HER REACTION TO
 THE SCENE, RATHER THAN DWELLING ON THE SCENE ITSELF.  
 
 ON M.J.:
 
             DOC (V.O.)
        Liver and rigor are telling me
        about eight hours.  I'm gonna take
        her out now if it's alright.

             M.J.
        I'm seeing ligature marks on her
        neck here, petechial hemorrhages in
        her eyes.  Strangled.

             DOC
        You got it.  Same as the other two.

 THE TELEPHONE RINGS.

             COP (V.O.)
        Tell whoever she can't come to the
        phone, she's all tied up.

    Nobody laughs...

             M.J.
        That's real old material, get a new
        writer...

    She picks up the phone after the second ring, holding
    it in tissue someone hands her...

             M.J.
        Hello?

             PHONE VOICE
            (extremely cheerful)
        Hello!  This is Geena Martinez, how
        are you this morning?

             M.J.
        What is this about, Ms Martinez?

             PHONE VOICE
        I'm conducting a telephone survey
        to determine whether you're
        satisfied with your insurance on
        your personal valuables...

    M.J. gently hangs up the phone.  She has been looking at the
    Dead Woman... They pick up where they left off.

             DOC
        He used something soft, like a
        stocking or a bathrobe tie.

             M.J.
        Anybody find it?

    No answer as the Coroner's men crowd in beside M.J. to begin
    lifting the body out of the tub.  M.J. takes one last look
    into the dead woman's eyes...

             M.J.
        Cover her up, please.

 INT. HALLWAY - DAY

    Ruben still talking to the Landlady and taking notes.  M.J.
    approaches Mike... takes him aside...

             M.J.
        Mike.  Why don't you tell me what's
        bothering you?

    Mike is acutely uncomfortable.

             M.J.
        Whatever it is, I'm gonna find out
        and sooner is a hell of lot better
        than later.

             MIKE
        Well, there's something missing in
        there.  There was something around
        her neck when I came in there, but
        it's gone now.

             M.J.
        Who came in after you?

             MIKE
        Lieutenant  Quinn.

    She seems relieved.  Brightly:

             M.J.
        Well, it's all right, then, Mike.
        Thanks.

 EXT. CRIME SCENE - DAY

    In the door, M.J. appears, looking out thoughtfully over the
    scene; Ruben appears behind her.  The photographer is coming
    out...

             M.J.
            (to Photographer)
        Get me good faces on the crowd
        here.  Get a couple of harness bulls
        to grab anybody who starts to
        run...

             PHOTOGRAPHER
        Don't tell your Grandmother how to
        suck eggs.  I only been doing this
        work since your junior prom,
        darling...

    But M.J. is already on to other things.

                         CUT TO:

 INT. HELEN'S OUTSIDE HALLWAY - DAY

 CLOSE ON A FOLDED NEWSPAPER THAT LIES ON THE FLOOR FIVE OR
 FIX FEET FROM THE DOOR TO HELEN'S APARTMENT.  HOLD DOOR IN
 B.G.

    The door opens and Helen looks out, wasted from cognac and
    Xanax.  She looks for the newspaper and sees it with a look
    of despair.

 HELEN'S POV

    The newspaper lies there, out of reach.

 HELEN

    As she stretches out her foot toward the paper, can't reach
    it.

    POV.  As she moves out into the hall her agoraphobia
    manifests itself: DISTORTED VISION THAT MAKES THE HALL
 STRETCH AND THE WALLS TAKE ON EXAGGERATED PERSPECTIVE;
    SICKENING -- VERTIGO!  The newspaper seems further away.

    HELEN  She drops to her knees and tries to lean out further
    into the hall...

    POV.  The floor seems to melt and roll in waves toward her.
    The newspaper melts like a Dali watch.

    HELEN sweats.  She lies flat on her stomach and crawls toward
    the newspaper... and with a supreme effort grabs it and
    squirms back inside.

 INT. APARTMENT - DAY

    As she slams the door shut on the hall, and sits gasping for
    breath.  After a moment she can bring herself to look at the
    newspaper... INSERT:

 POLICE BAFFLED IN DEATHS OF THE WOMEN

             HELEN (V.O.)
        Damn fools!

                         CUT TO:

 INT. QUINN'S OFFICE - DAY

    QUINN is watching a portable TV screen with profound distrust.
    Onscreen is SUSAN SCHIFFER.

             SUSAN
        ... continues to stonewall the
        public.  Now...

    There is a knock, but before QUINN can respond, M.J. enters.

             M.J.
        You messed with the scene.

             QUINN
        Shut up.

    He and M.J. both listen to SUSAN.

             SUSAN
        ... third Bay Area woman has been
        strangled, but the police continue
        to deny that this is the work of
        one killer.  Lt. Thomas Quinn
        declares that the murders will be
        treated as unrelated crimes, unless
        new evidence...

 M.J. TURNS OFF THE TV, FACES QUINN...

             M.J.
        You messed with the evidence.

             QUINN
        I tagged the goddamned stocking.
        It ain't lost.  We're sequestering
        that evidence.  That's the trap some
        son of a bitch is going to fall
        into...

             M.J.
        Am I in charge of this thing?  Or
        not.

             QUINN
        I said you were...

             NH
        Then I decided what evidence we
        choose to sequester.

             QUINN
            (a beat here)
        Okay.  What do you want to
        sequester?

             M.J.
        The stocking around the neck.

    A long moment of looking at each other.  Then...

             QUINN
        You didn't say serial killer and I
        didn't say serial killer.

             M.J.
        Right.

             QUINN
            (not satisfied she
             really means it)
        This is the anniversary of the
        summer of love and your city
        fathers have declared a Festival of
        Love.  The Mayor and Chamber of
        Commerce don't want TV announcing
        killers on the loose.

             M.J.
        Right.

    And she starts to go...

             QUINN
        We're gonna have a bunch of clapped
        out old hippies blissing on the
        Grateful Dead!  Sleeping in the
        park, smoking dope and sticking
        tulips up their ass.

             M.J.
            (exiting)
        Good.

                         CUT TO:

 INT. SQUAD ROOM - DAY

    This large room is very busy, many officers at work.  Known
    sexual offenders have been rounded up.  False confessors add
    to the crowd.  Detectives who are not dealing with these
    people are making and taking calls.  At this desk, a tall
    intense looking Detective, NICCOLETTI, interrogates a false
    confessor, a man who looks like a businessman...

             NIKKO
        Harvey, I don't want you in here no
        more, making false statements...

             CONFESSOR
        They are not false.  We pay for
        city government like this, you
        don't even care about the truth?!
        I killed her in the bathtub.

             NIKKO
        Why?

             CONFESSOR
        Because she was dirty, a dirty
        girl!

             NIKKO
        How?  How did you do it, Harvey?

             HARVEY
        With a knife?

             NIKKO
        Good guess, but not good enough.
        Get the fuck outta here...

    He has stood as M.J. passes coming from Quinn's office.  He
    falls into stride with her through the crowded scene... He
    is sweaty and sniffs his armpits as a matter of general
    hygiene checkup...

             NIKKO
        What am I wasting my time with this
        shit for?

             M.J.
        Because it's your job, that's all.

             NIKKO
        Not what I meant; why me?

             M.J.
            (cutting)
        Maybe it's something you did in
        this life, Nikko...

    It has the flavor of a spoiled intimacy, an unfinished
    argument... He pantomimes she got him with a poison dart.

             NIKKO
        Got me.  That really hurt!  You...

    Ruben joins them; Nikko stifles and turns away...

             M.J.
            (to Ruben)
        Get Mercer to run the medical,
        dental, legal bills, laundry and
        dry cleaning receipts, extermin-
        ators, mailmen, grocery and
        drugstore deliveries, handymen,
        plumbers...

             RUBEN
        It's mostly done, they got nobody
        in common, the three of them... No
        mutual friends -- the Landlady says
        nobody was ever there, she never
        saw her with anybody.

    They are approaching PACHULSKI'S desk.  PACHULSKI is on
    phone.  Pachulski is looking at M.J., grinning...

             PACHULSKI
            (into phone)
        Yes, ma'am, I know.  You can't talk
        her right now... because she's 
        busy, she's all tied up.
            (sotto to M.J.)
        Deep Throat's back.

    He hits the speaker phone...

             FEMALE PHONE VOICE
        This is the third one.  You've got
        a serial killer here.  When are you
        going to start warning people?

             PACHULSKI
            (whispering)
        Fourteen calls from this broad.
        And she ain't stupid.

    M.J. signals for GIGI to trace the call.  Takes the phone,
    switches off the speaker...

             M.J.
        Who is this?

 INT. HELEN'S OFFICE - DAY

    HELEN on phone

             HELEN
        Who is this?

             M.J.
        Inspector Halloran, Homicide.  I'm
        in charge here.

             PACHULSKI
            (amused)
        Ask her about the moon bike.

             M.J.
        I'm really interested in your
        ideas.  The moon bike.  What is
        that?

             HELEN
        What is wrong with you people?
        The first two, I thought he might
        be on a lunar cycle because they
        were 28 days apart, but obviously
        not.  This new one is only two
        weeks.

    Pachulski is delighted at the joke he's played on M.J., M.J.
    not so much... Gigi signals they're getting it.

                HELEN (cont'd)
        You want to joke about moonbikes?!

             M.J.
        No, ma'am.  This is no joke.  And
        neither is tying up telephone lines
        to police with crank calls while
        people in trouble are trying to get
        through for help.

             HELEN
        You're calling me a crank?

             M.J.
        Do you have any evidence to report,
        ma'am?  Do you know any of the
        victims...

             HELEN
        I think this is number three...

             M.J.
            (over her)
        That's an opinion, not evidence...

    Gigi hands her a slip of paper... M.J. reads it... glares
    at Pachulski who is still laughing.  M.J. knows the name on
    the slip of paper...

             M.J.
            (covers the phone)
        Helen Hudson.  Get Ruben back
        here?

    As she turns back to the phone...

                         CUT TO:

 INT. HELEN'S LIVING ROOM - DAY

    HELEN, now wearing slippers and shorts with the same T-shirts
    she slept in, is standing behind the living room curtains
    looking down at the street.  She hears a code knock, then a
    key turns in the lock.  She moves to greet ANDY her
    assistant and friend.  ANDY is laden down with groceries and
    mail.  HELEN immediately reaches a hand up to touch his
    face...

             HELEN
        Where were you?  Don't tell me.
        It's just under seventy, right?  The
        sun is strong but the air is dry
        and fresh...

             ANDY
        Would you please get your hands off
        my face, Tallulah?  What happened
        to the newspaper?

    He withdraws a popsicle from the bag, offers it to her.
    When she rejects it, he takes it for himself.

             HELEN
        I got it myself... I couldn't wait.

             ANDY
        Well!  Aren't we the daring one?
        What's morbid and ghastly enough in
        the news to make Doctor Helen set
        foot outside her door?  The antenna
        is gone off her car again.  I had
        no music, all the way to the
        market.  Let me find a garage for
        it?

    They're in the kitchen area; Andy unpacking stuff...
    expensive goodies...

             HELEN
        I've told you:  I can't afford to
        garage it.

             ANDY
        Are you kidding?  You buy enough
        gourmet junk every week... most of
        which rots... to garage a fleet of
        stretch limos.

             HELEN
        I had the dream again.
            (beat)
        And I got another call.  This time
        he spoke.  He said "You and me, you
        and me."

             ANDY
        A little heavy breathing is what
        most of us yearn for.  Forget it.

             HELEN
        He whispered, but it was him!  I
        know it was him!

    Andy now stops to address this seriously...

             ANDY
        He can't phone you unless the
        warden gets an okay from you.  Did
        you give him an approval?

             HELEN
        Andy?  When a three-year-old says
        there's a monster under the bed,
        you don't say 'forget it'.  You
        look under the bad.
            (beat)
        I'm three years old.  Call the
        prison.

    Her fear is so palpable, she is so nakedly vulnerable it
    breaks his heart.  He puts his arms around her.

             HELEN
        Oh God.  I'm really crazy.

             ANDY
        When was the last time you washed
        your hair?

             HELEN
            (shaky, but trying)
        Monsieur Andy, disapproves of my
        coiffure?

             ANDY
        Monsieur Andy can smell your
        coiffure.  And guess what else?

    He pats her thighs... she walks to the window as he talks...

             ANDY
        Cellulite.  What do you say I
        blindfold you and take you to the
        gym.  Aerobics with housewives...

 HELEN AT WINDOW

             HELEN
        Andy?

    Andy has heard this tone before:  panic attack alert.

             ANDY
        Here we go again.

 ANGLE AT WINDOW TO INCLUDE THEIR POV OF STREET

    In a parked car a man is reading a newspaper that hides his
    face.  Behind him is parked a slightly beat up red Saab.

             HELEN
        You parked right behind him.  The
        one I noticed earlier.  I didn't
        say anything, I thought he'd leave.
        Just take a look.

             ANDY
        Oh my God!  Help!  HE'S READING A
     NEWSPAPER!

             HELEN
        But earlier, he was staring up
        here.  Please, Andy.

             ANDY
        Okay.  You win.  'Dirty Harry'
        coming up.

    ANDY leaves the apartment.

 EXT. FRONT DOOR OF HELEN'S BUILDING - DAY

    The heavy old industrial door is pushed slightly open, ANDY
    peers out, sees:

    ANDY crosses behind the car and then sneaks back, coming
    up to Driver's side window, surprising the Driver.
 THE NEWSPAPER DROPS:  IT'S RUBEN.

             ANDY
        Excuse me, but would you mind
        explaining why you're watching the
        lady upstairs?

             RUBEN
        None of your fucking business.

    Usurping RUBEN'S aggressive attitude, ANDY leans his face
    close to RUBEN'S window.

             ANDY
        Listen, asshole, I've got a gun...

    RUBEN grabs ANDY by the collar and yanks his head inside the
    car.  With the other hand he pulls his gun and pushes it up
    ANDY'S nose.

             RUBEN
        I hate this...

             ANDY
        Only kidding!

    RUBEN pushes the 'up' button on the window, capturing ANDY'S
    head in a deadlock.  Then he opens the door, gets out, slams
    door, forcing the squawking ANDY into a helpless frisk
    position.  We HEAR HELEN scream, (O.S.).  Ignoring this,
    RUBEN begins to frisk ANDY.

 M.J. APPROACHING IN HER OWN CAR, SEES THE ACTION, BRAKES
 FAST AND GETS OUT.

    HELEN at window, shouting.

             HELEN
        I'm calling the police!

                         CUT TO:

 INT. HELEN'S LIVING ROOM - DAY

    Andy enters, followed by Ruben and M.J., who holds up her
    badge to Helen.

             M.J.
        Investigators Halloran and Goetz.  I
        apologize for Goetz, he's a
        firehouse dog.

             ANDY
            (trying to defuse)
        I'm okay.  I really kind of enjoyed
        it.

    Uncomfortable silence for a beat as they try to take in
    what's happening, who's who and what's what.  Helen is
    confused, fighting back fear...

             M.J.
            (trying to communicate
             here)
        Ring the gong, he goes.  Poor
        impulse control.

             HELEN
        Is he out?

             M.J.
        Who?

             HELEN
            (to Andy)
        If he's not out, why are they here?

             M.J.
        Because of your phone calls.

             HELEN
        What calls?  I haven't made any
        calls.

             ANDY
            (to distract)
        Are you staying long?  Shall I shut
        the door?  Make your coffee?  Make
        the beds?

             M.J.
            (to Helen)
        You talked to me.  Do you remember?

    The two women measure each other, Helen struggling to
    control herself.  A beat.

             HELEN
        You were the one that talked about
        moonbikes and called me a crank?
        Oh God, I am!
            (to Andy)
        Make them some coffee.
            (to M.J.)
        Halloran, is it?  Investigator
        Goetz?  I had a crank call myself--
        he said...
            (a moment of real
             fear)
        I thought it might be Daryll Lee
        Cullum.  I thought he might be out
        of prison.

             RUBEN
        Daryll Lee Cullum?  I don't think
        so.  If he's escaped we'd have the
        National Guard, cops'd be crawling
        through sewers.  You'd have a guard
        on your front door.

             M.J.
            (looking around)
        I want to tell you it's a great
        honor to meet you and talk to you.

             HELEN
        You don't admire me.  No police
        admire me.  I got one of you
        killed.  Why don't you say right
        out what you're here for?

             M.J.
        You called us, Doctor Hudson.

             HELEN
        Yes, I did.  Poor impulse control.
        The accounts of the firs two
        murders made it so clear they were
        the work of the same man, but you
        kept announcing they were
        unrelated.  You'll never catch him
        that way.

    M.J. regards her for a moment...

             M.J.
            (to Andy)
        Sugar and cream for Goetz; I take
        mine black.
            (beat)
        You're absolutely correct.  The
        politicians don't want panic
        headlines spoiling the Festival of
        Love.

             HELEN
        Well, let's thank God you and
        Inspector Goetz are on the case,
        then.

             M.J.
        Would you want to work with us on
        this?

             HELEN
        Oh, my God, no!  I'm a clinical
        hysteric, with panic syndrome, and
        anxiety neurosis, agoraphobic, I'm
        afraid of everything, real and
        imaginary.  I never leave this
        apartment now.  Nobody ever comes
        here.  I just wanted to get your
        attention.  I write and I used to
        lecture on these crimes, but... I'm
        not competent.

             M.J.
        I think you are.  I really admire
        everything you've done; it would be
        an honor to work with you, and we
        need all the help we can get,
        especially yours.

             HELEN
        Inspector Halloran, that is so much
        bullshit, you don't like or admire
        me, but the beautiful part is I
        don't give a fuck.  That's the
        upside of having a breakdown.

             M.J.
        Well, it's a hell of an apartment
        you got here.  I'm living one step
        away from the projects, myself, but
        I get to go to work every day,
        wading in blood and guts.  I guess
        the books you wrote about these
        sons of bitches paid off pretty
        good.

             HELEN
        Will you go.  Andy, make them go.

             M.J.
        You can't go out lecturing?  Tough
        shit.  Women are dying.  Where can
        I lay this stuff out?

    She dumps files of photos, etc., out on Helen's cocktail
    table.

             HELEN
        I don't want this.  What are they?

             RUBEN
        You called us, Doctor, if you don't
        want to look at them here, how
        about downtown.  I'll drive you
        down...

    She pushes the pictures off onto the floor, tries to get up
    to leave the room.  M.J. and Ruben are both appalled at the
    force of what is happening: an all-out panic attack...

    Andy races t o the kitchen; Ruben tries to help but Helen
    fights him off viciously, gasping for air... Andy races
    back in with a PLASTIC BAG HE PULLS OVER HELEN'S HEAD AND
    FACE...  She hyperventilates into the bag...

    THE PLASTIC BAG BALLOONS OUT AND BACK IN HELEN'S FACE until
    she faints.  Andy deals with it like an everyday event,
    treating her very gently...

             ANDY
            (to Ruben)
        Now look what you did.

             RUBEN
        What did I do?

             ANDY
        You threatened to drive her
        downtown.  She has agoraphobia.

             RUBEN
        Fear of what...

             ANDY
        Open space.  She hasn't been out of
        this apartment in three years.  I
        didn't used to think it was real...

    He's making her comfortable.

             M.J.
        We'll get the paramedics...

             ANDY
        Oh, God, uniforms, more stress.
        Let her sleep.  It's a self-limiting:
        she hyperventilates till she passes
        out, then her breathing goes back
        to normal, and she wakes up singing
        like a lark.
            (rocking the
             unconscious Helen)
        We know, don't we, Princess?
            (to them)
        Give her a couple of hours.  I know
        about this.

    M.J. starts to gather up the pictures and files.  She is
    angry and disgusted.

             M.J.
        Tell her we're sorry we bothered
        her.

             ANDY
        Hey, no.  Leave those here.  If you
        really want her help.  I mean if
        you really do, leave them.  Let her
        see them.  I'll see they're safe...

    M.J. takes in the scene; the now soundly sleeping Helen;
    Andy sitting over her protectively, the files and photos
    strewn around.  Makes a decision...

             M.J.
        Tell her to ask for me...

    She's handing Andy her card...

                         CUT TO:

 EXT. HELEN'S APARTMENT HOUSE - DAY

    M.J. AND RUBEN come out in the street...  CAMERA IN A HIGH
 ANGLE LOOKING DOWN ON THEM...

             M.J.
        Snotty neurotic bitch...

             RUBEN
            (amused)
        Classy madonna.

             M.J.
        Sure.  She likes you, Rube.  She
        likes the way you move.  She sure
        as hell isn't in love with me.

             RUBEN
        You came in there with this
        attitude...

             M.J.
            (over him)
        Order Chinese for us and meet me
        the library?  Anything but beef.

    She jumps in her car, still steaming, leaving Ruben to move
    to his car.  AS HE MOVES CAMERA FOLLOWS, BECOMING A WIDER
 ANGLE TO INCLUDE FACADE OF HELEN'S APARTMENT.

    We can SEE ANDY, SITTING WHERE WE LEFT HIM, HOLDING HELEN IN
 HIS ARMS.  SHE SLEEPS PEACEFULLY.  DISTANTLY WE HEAR THE
 PHONE RING.  ANDY SHOWS IMPATIENCE, THEN CAREFULLY
 DISENGAGES FROM HELEN SO AS NOT TO DISTURB HER SLEEP.

 HE MOVES ACROSS THE ROOM UNTIL HE IS OUT OF FRAME.  THE SHOT
 HOLDS ON HELEN FOR A BEAT.  PHONE RINGS.

 THEN THE CAMERA PANS LEFT (OUR FIRST CLUE THIS IS ANOTHER
 POINT OF VIEW) ACROSS TO A SECOND WINDOW WHERE IT CATCHES
 ANDY MOVING UNTIL WE AGAIN DISAPPEARS BEHIND THE BUILDING
 WALL AND THE CAMERA PANS SMOOTHLY TO THE THIRD WINDOW, WHERE
 ANDY ENTERS.  WE SEE HIM PICK UP THE PHONE AND SPEAK INTO
 IT.  HE SEEMS IMPATIENT.

 THEN CAMERA PANS DOWN TO A CELLULAR PHONE, F.G. AND FOCUS
 RACKS TO E.C.U. AS A FINGER PUSHES THE "END" BUTTON.

 CLOSE: ANDY

    Putting down the phone.  Irritated...

             ANDY
        Shit...

                         CUT TO:

 INT. POLICE LIBRARY - DAY

 CLOSE: AN ATTORNEY IN COURT

             ATTORNEY
        ... it was your feeling after
        careful evaluation that he was a
        sexual sadist who satisfied at
        least four out of ten criteria in
        the DMS III?

    SHOW M.J. and Ruben watching videotapes, and eating Chinese
    takeout.  HELEN is being interrogated by the ATTORNEY for
    Daryll Lee Cullum.  Helen sure of herself to the point of
    arrogance, which is her undoing...

             HELEN
        Yes.  Without question.

             ATTORNEY
        Without question?  He only scored
        40 percent, four out of ten
        criteria?  Couldn't another expert
        say he flunked the sexual sadist
        test?  What curve are you marking
        on, Doctor?

             HELEN
        The test criteria are only part of
        what we look at in evaluating
        subjects.

             ATTORNEY
        Only part.  What else?  What did
        you think of his claim that he tied
        this girl to the tree and set fire
        to her because Joan of Arc told him
        to do it.

             HELEN
        He was lying.

             ATTORNEY
        'Lying.  He was lying.'  I asked
        you what you thought, not what he
        did.

             HELEN
        I thought he was lying.

             ATTORNEY
        You said, first, he was lying.  How
        do you know that, Doctor?

             HELEN
        Because people who are suffering
        from aural hallucinations hear
        voices in both ears.  Daryll Lee
        told me that Joan of Arc always
        appeared beside him on his left
        side and spoke softly in his left
        ear.

    Murmur of subdued laughter in court.

             HELEN
            (emboldened)
        He took pains to hide his actions
        because he knew they were morally
        wrong.  He was not acting on mad
        impulse.  He was sane and acting
        out a pattern he carefully followed
        every time.

             ATTORNEY
            (playing causal)
        What pattern was that?

             HELEN
        The same as the first time...

    She catches herself.  The D.A. has leapt to his feet, but now
    tries to sit down as though nothing was happening, but
    Helen, the Attorney and the D.A. all are clearly disturbed
    by the line this questioning is taking.

             ATTORNEY
        The first what?
            (as she hesitates)
        Your Honor, she's got this far, I
        think she should finish.  I don't
        think this jury should be left
        wondering where the rest of her
        statement would lead.

             JUDGE
        I agree, Doctor.

             HELEN
        The first two murders.

             ATTORNEY
        What first two murders.  We don't
        know about them here, do we?

             HELEN
            (giving up)
        He told me he had done two others
        just like it.

             ATTORNEY
        When was that?

             HELEN
        When he was seventeen.

             ATTORNEY
        And you believed him when he told
        you he had done that.

             HELEN
        Yes.  I believed him.

    The D.A. is rushing to the bench to argue with the Judge.

             JUDGE (V.O.)
        Yes, I'll accept a call for a
        mistrial.  Evidence of that other
        crime when the defendant was a
        juvenile is inadmissible and never
        should have been heard by this
        jury...

 FREEZE FRAMES.

    NOW WE SEE M.J. AND RUBEN LOOKING AT HELEN on the TV screen,
 THINKING...

 THE DOOR OPENS AND QUINN ENTERS.

             QUINN
        There was no sperm.

             M.J.
        The same as the firs two.
        Definitely a serial.

             QUINN
            (seeing HELEN on
             video)
        What are you looking at that for?
        Helen Hudson.  Work the clues.

             M.J.
        What clues?  I'm going to work
        Helen Hudson.

             QUINN
        Would you step outside, Sergeant?

    M.J. leaves a cautiously silent RUBEN.  Once the door shuts,
    he turns tape back to 'play.'

 EXT. OUTSIDE DOOR TO LIBRARY - DAY

             QUINN
        I'm telling you.  Don't you ever
        address me publicly in that tone.
        You'll work what and who I tell you
        to work.

             M.J.
        Anybody in this department ever
        worked a serial killer case?  She's
        the expert.  I need help.

             QUINN
        How about I put Nikko on it?

             M.J.
        That's always your privilege, sir.

    QUINN snorts, starts on his way, then turns back.

             QUINN
        Sergeant?

             M.J.
        Yessir.

             QUINN
        You ever reflect how this big
        explosion in dead women coincides
        with the flowering of women's lib?

             M.J.
        Yessir.  I have reflected on that,
        sir.  Which explains my gushing
        deference to you, sir.

    QUINN is somehow cheered by this little exchange.

             QUINN
        Nikko's looking better by the
        minute, Inspector.

    He stomps off.

                         CUT TO:

 INT. HELEN'S LIVING ROOM - DAY

    HELEN on couch, ANDY is massaging her neck.

             HELEN
        Oh, God.  I must have looked
        horrible.

             ANDY
        No, dear.  You're at your best with
        a bag in front of your face.

             HELEN
        I want to die.

             ANDY
        I wouldn't.  He'll be back.  If you
        want him.  The cute brutal type
        with handcuffs.  Very sexy.

    HELEN grins, and ANDY starts to tickle her, she laughs.

             ANDY
        You thought he was cute too, didn't
        you?  Admit... admit...

    HELEN now laughing a little too hard.  Suddenly the laughter
    changes to tears.

             ANDY
        What?  What'd I do?

             HELEN
        Reminded me that I used to be
        attractive.  That men used to want
        me...

             ANDY
        You slut!  No sexy young cop for
        you unless you shampoo your hair.

    She clings desperately to him.  He rocks her as he would a
    small child.

             ANDY
        When are you going to call them?

             HELEN
            (big beat)
        About what?

    ANDY PRODUCES THE FILE M.J. LEFT WITH HIM.  Helen looks at
    it.  Andy watches her...

             HELEN
        I can't, Andy.

             ANDY
        Then, why don't you just die.  I'm
        going.  They'll find your body
        years later, the old recluse lady,
        she ate cat food, ten years of the
        New York Times, unread, piled on
        top of the unread mail, the TV
        still on.  Make up your mind.  Live
        or die.
            (beat)
        I'll get coffee.

    He exits.  After a moment fighting her fears, Helen reaches
    for the file.  She opens it and looks at the first picture.
    THE PHONE RINGS.  She freezes... Panic hangs in the air...
    Andy answers the phone in the kitchen...

             ANDY (O.S.)
        Yes?  Inspector Halloran, she's
        going through the material now.
            (beat)
        She'll call you... No, she'll be
        alright, I'll sleep over on the
        couch in case.  But now, I told
        you, singing like a lark.

    Hangs up.  After a moment Helen bends to her work...

                         CUT TO:

 INT. POLICE LIBRARY - NIGHT

    M.J. scanning microfilm newspaper & magazine clips.

 'COOL KILLER CULLUM'
 CONS COPS IN ESCAPE FROM CUSTODY

    Slew police bodyguard in attack on expert witness

    M.J. hears NIKKO entering, looks up, gives him a half-smile,
    returns her attention to the microfilm.

             NIKKO
        Working late.
            (no response)
        You're a damn fool.

             M.J.
            (preoccupied)
        Oh, I know.

 "ANOTHER ATTACK!"
 "HUDSON VICTIM OF BLOODY ATTACK.  BODYGUARD SLAIN!"

             NIKKO
        You're almost ten years older than
        he is.

    M.J. turns off the microfilm.  The last headline is retained
    on screen:

 "ESCAPE KILLER CLAIMS NEW VICTIM"

             NIKKO
        It's none of my business anymore...

             M.J.
        You got that right, Nikko, it's
        none of your business.

             NIKKO
        You're shitting ion your career.  You
        outrank hi...

    M.J. looks at him at last with wry amusement: he's jealous 
    of Ruben?
 
             M.J.
        Well, you outranked me, Nikko.

             NIKKO
        Yeah.  And you used that. Used me

             M.J.
        Don't put yourself down like that.
        I never used you.  I worked my way
        up like a marine grunt!

             NIKKO
        Yeah, you did that too.  You earned
        what you got; don't shit on it,
        that's all I'm saying.

             M.J.
            (maddeningly)
        God, you're cute when you're mad.

    The door opens and RUBEN enters, instantly takes in the
    scene:  M.J. sitting in front of a stalled machine, NIKKO,
    looming over her.  After an awkward beat, NIKKO heads for
    the door.  Ignoring RUBEN, he barks at M.J.

             NIKKO
        Think about it.

    RUBEN regards M.J., who busies herself examining the other
    tapes.

             RUBEN
        What's wrong with him?

             M.J.
        He's just mad he let me keep the
        espresso machine.  We heard from
        Doctor Hudson?

             RUBEN
        Nada.  Lemme make the call.

             M.J.
        Honest to God, Ruben!

             RUBEN
        I like women like that!

             M.J.
        Tell it to your shrink.

                         CUT TO:

 EXT. SAN FRANCISCO RESIDENTIAL AREA - LATE DAY

 IN THE UNMISTAKABLE STYLE OF THE CAMERA EYE WE HAVE SEEN
 SHOOTING HELEN'S PLACE, IN THE PARK, ETC.:  A YOUNG
    RED-HEADED WOMAN, wearing shorts and an open-necked shirt,
    kneels on the grass, weeding a lush flowerbed.  The CAMERA
    SWISHHPANS TO the back door of the house as a man comes out
    balancing a tray with drinks.  The woman gives the man a
    dazzling smile, removes her gardening glove and takes a
    glass.  Her husband bends down, gives her a little kiss.
    She beams.  FREEZE FRAME.

                         CUT TO:

 INT. HELEN'S LIVING ROOM - LATE DAY

    CLOSE UP:  early crime scene photos.

 WE SEE FOR THE FIRST TIME THE FIRST TWO MURDER VICTIMS, SO
 WE SEE THE PATTERN HELEN DESCRIBES AND ANALYZES.

             HELEN (V.O.)
        The way he's posed the bodies...
        he's flaunting his power to do
        whatever he wants to her.  This
        man... He probably seems perfectly
        normal.  These murders are organized
        and planned.

 WE ARE NOW SEEING THE ROOM:  M.J. AND RUBEN, HELEN AT A TABLE
    IN HER OFFICE LAYING OUT THE PICTURES.  Helen picks out one
    picture from the rest...

             HELEN
        Except for this one.  You put that
        one in to test me.

    M.J. nods, pleased with HELEN>

    INSERT: THE PICTURE.  The victim's body is covered with
    bruises.  But, unlike the others, her face has been covered.

             HELEN (V.O.)
        Is it an ongoing case?

 BACK TO SCENE...

             M.J.
            (nods)
        For months... last October.

             HELEN
        It was a lover or a husband.
        Someone close.  Somebody who knew
        her and cared about her.

             M.J.
            (glancing at Ruben)
        How do you know that?

             HELEN
        He felt remorse.  He covered her.

    HELEN arranges and rearranges photos like tarot cards.

             HELEN
        The bodies have been carefully
        arranged... different positions,
        but somehow the same.  The
        positions are brutal... yet
        quite... artful.  It's like... a
        signature.  He's proud of his
        accomplishments.  There are early
        Picassos and late Picassos, but you
        always recognize the hand.  He
        wants us to recognize his hand.
        I've seen this hand before... what
        are you hiding?

             M.J.
            (taken aback)
        Nothing.

             HELEN
        Where are the stockings he
        strangled them with?

             M.J.
        How did you know they were
        stockings?

             HELEN
            (sarcastic)
        I sent Andy out on murder missions.
        For God's sake -- it's the Boston
        Strangler, Alber deSalvo.  He used
        their own stockings to strangle
        them.  Tied in a bow-knot.

    She gets down a file from her bookcase and flops it open to
    pictures of deSalvo's victims:  they are identical...

             HELEN
        Somebody is imitating his m.o.
        Look for a plumber or carpenter or
        handyman; that's how deSalvo got in
        the door and caught them off guard.

             RUBEN
        The Boston Strangler, when was
        that...?

             HELEN
        In the sixties.  He's dead --
        stabbed to death in prison.

             M.J.
        Why imitate a dead serial killer?

             HELEN
        If you knew why, you might know
        where to look for him.
        I don't envy you this; he's not
        done -- he's going to do them faster
        and faster to keep the adrenaline
        rush.  Now, I've done what you 
        asked me.

             M.J.
        Work with me.

             ANDY (O.S.)
        It's good for you.

    They are startled by his appearance!  A little unsettling.

             ANDY
        It's good medicine.

             RUBEN
        A little homeopathic cure for the
        willies.

             HELEN
            (exhausted)
        None of you know anything about it.
        Now go.  And Andy, if you persist
        in playing doctor, leave, with
        them.

             ANDY
        I'm the only friend you've got,
        darling, and I don't intend to stop
        doing what I think is good for us.

             HELEN
        Get out!  All of you!

    Andy helps M.J. and Ruben scoop up the files...

             RUBEN
        You said you don't give a fuck and
        that's the beauty of a breakdown?
        This doesn't look like not giving a
        fuck, you know that?

             M.J.
        Let's get out of here...

 INT. HALL - CONTINUOUS

    As they leave, Andy is still at the door...

             HELEN (V.O.)
            (small voice)
        Andy!  Please.  Don't you go!

 INT. QUINN'S OFFICE - NIGHT

             QUINN
        Aw, Jesus.  The Mouth gets a load
        of this and we got major headlines
        around the world.  deSalvo redux.
        The matter, you think they don't
        teach Latin in Catholic schools?

             M.J.
        Don't swear at me because we got
        problems.  I'm just giving you the
        news.  I went to a Catholic school;
        I'll tell you what they teach.  On
        the knuckles they teach.

             QUINN
        Who've I got to beat up except the
        messenger?  Does this give us
        anything to go on?

             M.J.
        I'm checking out anybody who lives
        like DeSalvo.  Records of arrests
        for rape, especially by a man
        wearing green.  Checking out
        psychiatric hospitals for his
        personality profile.  Cross check-
        ing names from arrests for sexual
        offenses, public fondling.  If
        they've got a German wife.  We can
        keep cops working on this kind of
        junk for years, and this guy's
        going to hit again, soon.

             QUINN
            (morose)
        I know.  Get out here.

             M.J.
        So.  Do we tell the media and hope
        for somebody to come forward with
        information?

             QUINN
        Or for some new nutcase to copycat
        the copycat.

             RUBEN
        What I love, the big fight, some
        girl, she drops the quarter on her
        boyfriend so the bastard spends the
        night in custody, just to teach him
        a lesson.  We'll get a shitload of
        those.

             QUINN
        Another country heard from.
            (deciding)
        No.  We're keeping it quiet, don't
        give the bastard the attention he's
        maybe begging for.

                         CUT TO:

 INT. HELEN'S APARTMENT - NIGHT

    HELEN sits at side-by-side computers.  The chess game is
    again in progress.

    HELEN makes a move.  Pleased with herself, she smiles,
    types, "I'm creaming you."

    Suddenly over HELEN'S shoulder, the other screen becomes
    active, we see 'Message for Helen Hudson.'

    Engrossed in her own chess game, she does not notice the
    screen until, tense from sitting too long, with waiting for
    CHESSMASTER'S move, HELEN begins to stretch her neck and
    toll her head.  Now, out of the corner of her eye, she sees
    the other screen.  Quickly, she clicks on this, and the
    screen prints out 'A GAME FOR DR. HUDSON PLEASE RUN THIS
 "TOMORROW.AVI" FILE ON YOUR PLAYER.'

 HELEN TYPES 'WIN' AND WINDOWS SCREEN COMES UP.  WITH THE
 MOUSE SHE CLICKS ON THE AVI PLAYER ICON, TYPES IN
 "TOMORROW.AVI" AND HITS ENTER.

 A PICTURE APPEARS: IT IS THE FACE OF THE WOMAN IN THE
 BATHTUB.  IT CHANGES AFTER A TENTH OF A SECOND MORPHING
    THROUGH A COLLAGE OF IMAGES OF TWO WOMEN.  A hand emerges
    from a breast of the other.  Two heads.  One, properly on
    its own neck, the other emerging from between two legs.
    Hands, feet, breasts, hair of two bodies mixed mischievously
    into one FINAL IMAGE OF A SECOND WOMAN ALIVE AND SMILING
    ECSTATICALLY AT THE CAMERA.  Both women wear their hair in
    long braids.

 INTERCUT WITH HELEN: APPALLED.

                         CUT TO:

 ANDY LIES WITH TV ON, NAKED, GIVING HIMSELF A PEDICURE.  HE
    HAS EARPHONES TO MUFFLE THE TV SOUND.  From the dark spaces
    of the loft there

    ECHOES A SCREAM OF SHEER TERROR FROM HELEN!  After a beat from he
    realizes, tears off the earphones and bolts into the
    darkness...

                         CUT TO:

 EXT. HELEN'S APARTMENT HOUSE - NIGHT

    POLICE CARS DRAW UP IN FRONT, DOUBLE PARKING.  M.J. and Ruben
    jump out and walk, fast, toward the building... (Shot from
    same high angle -- the secret watcher's POV -- from which we
    saw M.J. and Ruben leave after their first visit.)

 INT. HELEN'S HALLWAY

    AS HER DOOR IS OPENED, by Andy.  Ruben and M.J. enter...

             ANDY
        She's in the office...

 INT. HELEN'S OFFICE

    The computer glow, the unfinished chess game still up, and
    the RED-HEADED WOMAN'S joyful face on the other.  HELEN SITS
 IN A CHAIR WITH HER BACK TO THE SCREEN, ROCKING BACK AND
    FORTH, suppressing her fear by sheer will.  M.J. and Ruben
    enter with Andy...  they look at the face on the computer
    screen... (this is the only light in the room).

             HELEN
        That's the face of the next one
        he'll kill.

    She hasn't looked at them or the computer... SHE ROCKS...

             M.J.
        How do you know that?

             HELEN
            (can't look at it)
        Look at the bottom of the screen.
        You see the icon with the arrow
        pointing left?  Click on that...
        twice.

    RUBEN (FROM A MISSPENT YOUTH IN VIDEO ARCADES) expertly
    maneuvers the mouse and clicks on the icon as instructed.
 NOW THE ANIMATED COLLAGE PLAYS BACKWARD!  IN TENTH OF A
 SECOND STEPS WE SEE THE IMAGE OF THE RED-HEADED WOMAN MERGE
 BACKWARD THROUGH THE DISTORTED IMAGES AND BECOME

 THE DEAD WOMAN IN THE BATHTUB.

 M.J. AND RUBEN REACTING, LIGHTED BY THE GLOW FROM THE SCREEN.

             M.J.
        How did you do that?

             HELEN
        That computer's wired into
     INTERNET.

             RUBEN
        He's hacked into her Internet
        address.  He's a hacker.

             HELEN
            (rocking, rocking)
        He can get into my computer any
        time he likes!  This is exactly the
        kind of thing I didn't want to have
        happen.

             M.J.
        Can you make a copy we can show on
        our computers?

             HELEN
        It's too big a file to copy to a
        disk.

             RUBEN
        You got a tape backup, yeah, here
        lemme copy it on tape...

             M.J.
        Why would he send this to Helen
        Hudson...

             HELEN
        It's a game they like to play.
        Berkowitz -- "Son of Sam" -- hung
        around the crime scene, talking to
        the cops.  This one's probably
        watching you, laughing at you.

             RUBEN
        Let me get a little action started
        here.

    M.J. nods to him to get along... He calls on his cellular
    phone while simultaneously working the computer...

             M.J.
        I'm going to put a guard on your
        door.

             HELEN
        One officer already got killed
        trying to protect me.  Please, just
        take it all away.  Leave me alone.

             M.J.
        He won't.

             RUBEN
        Look at this...

 THE COMPUTER SCREEN HAS A LEGEND ON IT:
 NOW YOU SEE ME...

    As they watch, it is replaced by:

 NOW YOU DON'T...

    AND THEN IT FADES TO BLACK...  Helen goes to the machine and
    maneuvers with mouse and keyboard.

             HELEN
        It's gone.  The file's not here.
            (to Ruben)
        What did you do?

             RUBEN
        I just started it copying to tape,
        but the tape never ran.  It just
        did that...

             HELEN
            (respect)
        He's brilliant.  This one is
        brilliant.

             M.J.
        We'll show that to...

             HELEN
        Show what?  It's gone.  He wrote a
        self destruct virus into the code,
        so it would only play until we try
        to copy it.  Then it erased itself.
        Gone...
            (beat)
        Do you remember what you saw?

                         CUT TO:

 INT. POLICE HQ CORRIDOR - DAY

 M.J., RUBEN, QUINN, MAYBE OTHERS OF HIS STAFF STRIDE
 PURPOSEFULLY DOWN THE CORRIDOR, CAMERA MOVING WITH THEM...
    For a moment we won't know who Quinn is talking about...

             QUINN
        He's on the phone calling me like an
        insurance salesman soliciting my
        business, for Christ's sake.  I
        didn't tell him the three most
        over-rated things in life are young
        pussy, regular exercise and the
     F.B.I.

             M.J.
        Oh, maaaaan?!

             QUINN
        What?  I talk like a cop, this is
        the way I talk.  I can't believe
        this guy.  Saks.  He's a Deputy
        Assistant Director of the F.B.I.
        "Let me help you!"

             M.J.
        We could use a little help.

             QUINN
        With the F.B.I. there's no such
        thing as a little help.  They bury
        you with help.  Explain to me about
        this virus, no don't tell me about
        the virus.  Thing is, you saw it,
        the pictures.

    They pass through a door into a ROOM where the homicide team
    sit waiting... M.J. goes right into a briefing...

             M.J.
        We saw it.  The unknown target is
        kneeling, she's gardening.  Red
        hair, high cheekbones, mid-
        thirties, height I don't know,
        she's not overweight, she's
        zofting... She's in front of a
        house that looks like...

                         CUT TO:

 EXT. MARINA HOUSE - LATE DAY

    As she is speaking, her description becomes V.O. as we SEE
    police cars and an ambulance drawn up IN FRONT OF THE HOUSE
 SHE IS DESCRIBING...

             M.J. (V.O.)
        ... the Marina area, there was
        earthquake damage repair on the
        house it looked like, a little
        garden.  The light was late
        afternoon.  Say about cocktail
        hour.  He was bringing out drinks,
        margaritas by the look.  So we got
        a house facing west, on the east
        side of the street.  Full sun, so
        there's no high trees or buildings,
        residential both sides.

    SUSAN SCHIFFER and her crew arrive, leaping out of their van
    with their equipment, a makeup woman ADJUSTING SUSAN'S
 MAKEUP AND HAIR RIGHT THERE IN THE STREET...

                         CUT TO:

 INT. MARINA HOUSE - DAY

    M.J. and Ruben, Quinn, etc., trying to calm and/or question
    the HUSBAND, who is in shock.  He is the man we saw bringing
    drinks.

             HUSBAND
        Stupid goddam s-stupid p-poker
        game!  Always have to s-stay until
        Phil makes a c...comeback.  Am I
        stuttering?

    The husband's voice follows QUINN and others as another COP
    leads them toward the back of house.

    DOOR TO BEDROOM.  QUINN AND RUBEN have stopped just inside
    door.  M.J. forced to peer around them.

    M.J.'S POV: On the bed, the RED-HEADED WOMAN'S body is
    propped up against the headboard, her knees up, her head
    fallen onto a shoulder: her pajama top has been ripped open
    and pushed up.  Knotted around her neck is a pink scarf tied
    in a huge bow under her chin.  On her feet, secured between
    her toes, is a commercial flyer advertising the Festival of
    Love.  It is brightly printed with red hearts.  It has been
    hand-lettered:

 HELL IN THE FESTIVAL OF LOVE

                         CUT TO:

 EXT. FESTIVAL OF LOVE IN GOLDEN STATE PARK - NIGHT

    CAMCORDER capturing the audience of a ROCK CONCERT in full
    blast, in GOLDEN GATE PARK.  The audience, mostly young,
    some in 70's costume, sit and loll around on blankets.  Most
    seem to have some variety of refreshment... liquid or rolled.
    The CAMERA records the unsteady progress of a lovely YOUNG
    GIRL, weaving her way through the blankets and the bodies.
    She suddenly becomes aware of the camera being aimed at her.
    She stops, strikes a comically seductive pose and gives a
    big, gorgeous smile.  FREEZE FRAME.

                         CUT TO:

 INT. HELEN'S APARTMENT - NIGHT

    ANDY answers the door.  M.J. and Ruben...

             ANDY
        She just got to sleep.  Do you have
        to tell her about it now?

             M.J.
        Tell her about what?

             ANDY
            (mock admiration)
        Gaahhd!  What a cop!  You busted
        me!
            (real)
        The new one, in the Marina.
            (to their reaction)
        She has a police radio scanner.
        It's always on.  She turns it off,
        and then she has to turn it on
        again.  She's obsessed.  She can't
        not listen to it, but she can't
        listen to it, so she makes me
        listen to it.

 HELEN APPEARS IN WHATEVER SHE SLEEPS IN.

             HELEN
        I am not going to look at any more
        pictures.  They're like a disease.
        They get into my head.  I can't get
        them out.

             M.J.
        I don't look at pictures.  I look
        at the real thing.  I don't feel
        infected.

             HELEN
        Maybe that's why you can't catch
        him.  I know what she looks like --
        the red-headed woman in my
        computer.

             M.J.
        I just came from her... here's what
        you haven't seen.

    M.J. takes out a picture of the dead RED-HEADED WOMAN.  Her
    manner is that of cop with a witness.

                M.J. (cont'd)
        A forgery of the Mary Sullivan
        murder scene, he's done it perfect.
        Except for the sign.

             HELEN
            (looking at photo)
        She probably let him in the door
        without a thought.  Where are their
        mothers?!  Where are the mothers
        that are supposed to teach them to
        be wary and to tough and not afraid
        to fight?

             M.J.
        Look at the sign.  'Hell'?  In the
        Festival of Love?  You make any
        sense in that?

    HELEN stares at the picture.

                M.J. (cont'd)
        For 'Hell', read 'Helen'.  He's
        talking to you.

             HELEN
        It's anybody connected to author-
        ity.  They write, they even knock
        on your door.  They're fans.  It
        thrills them to flirt with getting
        caught.

             M.J.
        Nobody knows you have anything to
        do with this case; nothing has been
        on TV or the news... Why would he
        want to get in your computer?

             HELEN
        Because I'm his damned pin-up girl!
        His, all of them!  They know me.
        They're in prisons with libraries,
        they collect clippings, I'm their
        worthy opponent.  You keep my name
        out of this.

             RUBEN
        Absolutely.

             M.J.
        My promise.

    Andy, who has ducked out, now reappears, dressed for a date.

             ANDY
        The moon is up, my night to howl.
        Will you be okay?

             HELEN
        Oh, God, I forget.  Yes.  Yes.  You
        go.  Poor thing, you ought to get
        out.

             ANDY
            (to M.J.)
        Look out for her.  She's tougher
        than you think.

    He goes...

             HELEN
        I know 'Halloran.'  What's the rest
        of it?

             RUBEN
        MaryJane.  We call her M.J.

             HELEN
        MaryJane.  You think that logic and
        police procedure, order and science
        and method will hold back the
        horrors of a world gone mad and the
        sickness of the night.  I did once.
        But you know how he'll get caught?
        He'll have an accident, or some cop
        will get lucky.  You can't catch
        him by being intelligent and
        working hard.  Or the worst:  there
        are dozens of women slaughtered in
        the most horrible way, month after
        month.  The news stories grow more
        grotesque and bizarre and in the
        city people lock their doors and
        windows, and hurry home before
        dark.  And then, one day, there are
        no more.  What happened?  Did he
        just stop?  Get tired and disgusted
        and decide not to kill any more?
        Did he kill himself?  Did he die in
        an auto accident?  Or a fight.  Or
        get sick and die?  It's like the
        murderer walked off the edge of the
        earth.  And you never know.  But
        you keep asking yourself -- when you
        read about a new murder -- is he
        back?

    M.J. stands.  She has noted Ruben's reaction to Helen's
    story.  There is an edge of sarcasm in her voice...

             M.J.
        That's amazing.  A whole new book,
        thought up in a minute.  Very good.
            (beat)
        All I know how t do is get up,
        take a shower, and go to work.
        Hope, if he does another I'll nail
        the son of bitch, and they'll spell
        my name right in the newspaper.
        Where is Andy going?

             HELEN
        He's going home.  He slept over
        because I was a little anxious...

             M.J.
        I want a guard on you.  I'm worried
        about leaving you alone.

             RUBEN
            (to M.J.)
        We're through for the night, aren't
        we?  You go on.  Get some sleep.
        I'll stay until we can get a man
        out here and maybe catch a cab
        home.

             HELEN
        That would be much appreciated.
        Thanks.

             M.J.
            (to Helen)
        Somewhere down the line we're doing
        to find a connection between him
        and you.  I want you to worry that
        idea like a loose tooth.

    Three voices chime self-conscious 'Good-nights.'

                         CUT TO:

 EXT. HELEN'S BUILDING - NIGHT

    THE SILENT WATCHER'S POV through the eye of the
    CAMCORDER, we catch M.J. exit HELEN'S building.  She stops
    momentarily on the sidewalk to look up at Helen's window...
    The drapes swing open.  RUBEN CAN BE SEEN DOING SOMETHING AT
    THE WINDOWS... The Camcorder zooms to a close-up of M.J.
    She gets into her car and speeds off.

 INT. HELEN'S BEDROOM - CONTINUOUS

    Ruben is checking the windows...

             RUBEN
        You ought to get some decent locks
        on these.  A six-year-old could get
        in here.  Much less a motivated
        man.

    At the phrase 'motivated man', HELEN looks at him boldly in the
    eye.
                 HELEN
        You and MaryJane aren't lovers.

             RUBEN
        Not yet.

    HELEN laughs.  So does RUBEN.  Her boldness, her laughter,
    attracts him.  His honesty attracts HELEN.  He feels the
    heat.

             HELEN
        Are you always so bold?

             RUBEN
        No.  I'm shy and I'm selective.

    His grin says he'd select her anytime...

             RUBEN
        The problem for me is... you're in
        the witness category.
            (beat -- Jack
             Nicholson)
        Know what I mean?

             HELEN
        Well.  Another time, then.
            (beat)
        I'll be all right.  He's not going
        to attack me; what I' m rally
        afraid of is all in my own head,
        Ruben.

    They smile ruefully at one another, and without further
    conversation, leave the bedroom.

                         CUT TO:

 INT. HELEN'S FRONT DOOR - NIGHT

    RUBEN is outside the door.  HELEN just inside.

             RUBEN
        They'll have a guard here tomorrow.
        I know you have the idea, but it'll
        make me feel a lot better.

    She smiles, and RUBEN turns, walks away.  She stays in the
    doorway watching his retreat.  About ten feet away, he
    suddenly stops.

             RUBEN
        Hey!

    He turns around, she is still in the doorway.  He reaches
    for his wallet, withdraws a card, holds it up to her.

             RUBEN
        The number for my cellular.

             RUBEN
        Don't hesitate.  Anytime.  Night or
        day.  I mean that.

    He hods card out to her.  HELEN, holding onto the door
    frame, doesn't move.  RUBEN continues to extend his hand
    with the card in it.  It is a charged moment.  She is frozen
    in the doorway; RUBEN refuses to make a move towards her.
    HELEN summons all her nerve and lets go of the door frame,
    determined not to have any further mortification this night,
    she takes one shaky step out into the hallway to meet him.
    Then a second step and a third.

    Her hand touches the card, takes it.

    She turns her head to gauge the distance she must retreat.
    What she sees is that the door's Sureclose device has
    quietly and efficiently closed.  The door is locked.
    Frantic, she turns back toward RUBEN.

 HER POV:

    RUBEN, now seems a vast distance away from her.  He is just
    turning down the stairs and is gone... The hallway first
    narrows, squeezing her in, then expands.  She is lost in the
    miles and miles of space between the two walls.

             HELEN
        Oh, God!  Help me!

    RUBEN reappears, races toward her...

             RUBEN
        Tell me what to do!

             HELEN
        I'm falling!  I'm going to fall!

    She starts to pass out, to sink to her knees, but RUBEN
    catches her, puts her up against the wall, handling her like
    a suspect.  He puts one hand on the back of her neck,
    spreads her legs, gets her in frisk position.  Somehow, this
    is comforting to her, but she is still in full-blown
    panic...

             HELEN
        ...falling... FALLING!

    He pressed his body up against hers, his weight anchoring
    her against the feeling of free-fall.

             RUBEN
        I'm right here.  I won't let you
        fall.

    He still has a hand on the back of her neck.  Suddenly, the
    proximity effects him, makes him want to kiss her neck.  She
    begins to hyperventilate.

             HELEN
        Don't let go... I can't breathe...
        I'll die!

             RUBEN
        Shhh.  It's okay.  Just breathe.
        I'll fix it...

    RUBEN takes out his gun...

             RUBEN
        Put your hands over your ears.

    RUBEN shoots off the lock.  Then he picks HELEN up and
    carries her back into her apartment.

 INT. HELEN'S LIVING ROOM - CONTINUOUS

    RUBEN enters and puts HELEN down on the couch, pulls a throw
    up over her.  He sees her Xanax bottle on a table, hands it
    to her.  She takes out three as he pours her some seltzer
    water, then watches her take the pills.  After which he
    takes the bottle and pockets it.

             HELEN
        The lock...

             RUBEN
        I'll get a locksmith.

             HELEN
        Will you stay?  Please?  I'm afraid
        to sleep... I don't want...him...in
        my head...

    RUBEN pulls a big chair up beside the sofa.  As her eyes
    close, RUBEN comforts her.  TV features the antics of a
    nervous little prairie dog family.  He looks back at HELEN.

 CLOSE UP HELEN:

    We hear a faint but impatient voice call:

             V.O.
        Peter... Peter...

                         CROSS FADE TO:

 INT. BEDROOM (DALY CITY) - NIGHT

    Dim light.  The room is unattractive, over-furnished but not
    comfortably.  A WOMAN is sitting propped up in a double bed.
    She is in her mid-thirties, but drained and pale, she looks
    older.  A chronic invalid.  By her side is a NASTY LITTLE
    DOG, with ribbon bows in its fur.  Near the bed is a TV and
    video, on which a movie's final credits are running.

 THE WOMAN IS IMPATIENTLY PUSHING AN INTERCOM BUTTON

    PETER enters.  Younger than the woman, rather good-looking.
    Boyish and nondescript except for a patch of white skin near
    his hairline.  AN OLD SCAR.  He goes straight to TV and puts
    the tape on 'eject.'

             WOMAN
        Put in the Kevin Costner.

             PETER
        Why don't we save it for later?
        It's almost time for Letterman.

             WOMAN
        You know I don't like to watch talk
        shows by myself.  Where're you?

    He inserts the video she wants and pushes 'play.'  Then he
    approaches the bed, leans over his wife and gently pushes a
    lock of hair back from the forehead.

    She ignores him, staring at the screen.  The NASTY LITTLE
 DOG BARES ITS TEETH AND SNAPS AT HIM.

             WOMAN
        See, now you've annoyed her.  You
        know she doesn't like you to touch
        me.
            (to dog)
        Does she, widdle wee fing!  Wuhve
        you so much!
            (to Peter)
        Did you feed her?

             PETER
        Yes, I fed her.  If she says she's
        hungry, she's lying to you.  Again.

             WOMAN
        She doesn't lie!  You sure you fed
        her?

             PETER
        She lies all the time.  Why would I
        say I fed her if I didn't?

             WOMAN
        That's what I don't know.  Why
        would you lie?  That's the
        problem... I can't understand why
        anyone would lie.

    He leaves.  As he goes we can hear the Woman still talking
    to her dog over the TV soundtrack.

                WOMAN (cont'd)
        You wouldn't lie to Mummy, would
        you?  Just to get Dad in trouble?
        Such a naughty widdle dog...

    HER VOICE FADES AWAY AS WE FOLLOW HIM down the stairs into a
    small, ill-lit and dreary living room, into a messy kitchen,
    then through a door leading to the basement.  He locks the
    basement door behind him.

    THE BASEMENT is brightly lighted, full of high tech, gadgets
    and computers.  As he approaches the bottom stair, we see a
    small TV/video set attached to a wall.  On its screen,
    freeze-framed and silent, is a video of a PRETTY GIRL at an
    outdoor rock concert, smiling seductively.

    PETER puts on a WHITE LAB COAT and then reaches over
    something to turn the video back on.

    The CAMERA PANS DOWN to what he has leaned across.  It is
    the YOUNG GIRL from the concert.  She is strapped onto a
    table, her mouth taped shut.  A plastic bag covers her head,
    but not tightly.  She is semiconscious.  She is being
    asphyxiated by slow degrees.

    PETER looks at her, gently pushes the bag up far enough to
    repeat the tender gesture with her damp hair that he made
    toward his wife.  He whispers:

             PETER
        Didn't I promise I'd come right
        back?

                         CUT TO:

 EXT. HILLSIDE - DAWN

    ALL NIGHT FESTIVAL REVELLERS dance across the skyline, of
    glorious misty green hills, hand in hand.  The Camera moves
    down, across verdant meadows, until we arrive at the bottom
    of the nearest hill which slopes finally to a highway.  A
    few festival up-all-night REVELERS, looking down at a new
    CRIME SCENE, where three blue-and-whites are parked, plus a
    number of unmarked cars.

 RUBEN ARRIVES IN A TAXI.

    As he moves past the ever-present SUSAN we THREAD THROUGH
    THE SCENE TO FIND M.J.  M.J. takes one look at RUBEN'S
    stubble, his yesterday's slept-in clothes, and she turns
    away.  Before RUBEN can catch up with her, NIKKO approaches.

             RUBEN
        Up all night with a sick friend.

    NIKKO'S face is tight with anger.

             NIKKO
        You dumb son of a bitch!  You don't
        even know how to treat a woman.

             RUBEN
        Who?  M.J.?  Hey, Nikko, explain to
        me why she gave you the boot...

    He moves to M.J. who stands beside the dead BODY OF THE
    WOMAN WE LAST SAW STRAPPED TO A TABLE.  The plastic bag is
    now tied tight around her neck.  She has been posed beneath
    a sign that says "NO DUMPING".  The usual technicians,
    photographers, Doc, the Coroner, etc.

             RUBEN
        Is Niccoletti assigned here?

             M.J.
            (angry about it)
        Quinn decided we should form a task
        force -- they're all one case, now.
        He wants all the senior detectives
        on it...
            (to Doc)
        She wasn't killed here.

             DOC
        Not likely.

    M.J. is kneeling, inspecting everything here; Ruben kneels
    beside her... to Ruben...

             M.J.
        Tell me what you see.

    He inspects the dead girl's fingernails.

             RUBEN
        She didn't fight back, no hair or
        skin under her fingernails.  I'm
        not seeing any bruises or
        contusions...

             M.J.
        What about her arms?

             RUBEN
        Needle marks, fresh, here.  look at
        this...

    Nikko appears, looming over her...

             NIKKO
        Probably so stoned she never knew
        what got her.  Like Goetz's sick
        friend.  Right Goetz?

    They ignore him.  M.J. stands...

             RUBEN
        She's blue as hell.  No marks on her
        neck.  Asphyxiated?  not the same --
        no ligature marks.  Outdoors...

             M.J.
        Look at her legs.

             RUBEN
        Spread out like she was sexually
        assaulted here.

             DOC
        After she was dead.

             RUBEN
        She was dragged up here from the
        road, you can see the tracks.  She
        was already dead or unconscious.
        Let's get plaster casts on any --
        all footprints.

             M.J.
        If this is just the dump site,
        where did he do the job?  Where did
        he pick her up?

             NIKKO
        Doped up kids all over town.  Park
        was full of them last night.  Very
        easy pickin'.  Goetz's type.

    Ruben hits him, Nikko reflexively throws a punch that grazes
    Ruben.  Everybody stops in astonishment.  M.J. steps between
    them.  Ready to get physical herself; they settle...

             M.J.
        What the hell are you doing?  The
        Mouth and the Haircut are right
        down there, thank God they didn't
        see that.

    Down below, Susan and the Haircut are interviewing Festival-
    of-Lovers.

             M.J.
        Niccoletti, they're on the wrong
        side of the tape, you want to push
        them back?  Now.

    Nikko trots off to Susan and the Haircut.  M.J. gestures for
    RUBEN, now on his feet and dabbing at a split lip, to follow
    her back to the cars.  As they move more slowly down the
    hillside to their cars...

             M.J.
        Ruben, my God, I ought to put you
        on report.

             RUBEN
        You're right.  I can't stand that
        bastard.  Sorry.
            (getting back to
             work)
        This is something new.  Not the
        same guy, that's for sure.

             M.J.
        Yeah, everything's different.

    But she seems unhappy... to techs standing by:

             M.J.
        Get the pictures, and casts of
        footprints.

             RUBEN
        Look at him, grandstanding...

    Nikko is talking to Susan Schiff...

             M.J.
        That's all we need...

    She strides toward them...

             M.J.
        Detective Niccoletti?

             SUSAN
        What's this about the Boston
        Strangler, M.J.?

    M.J. looks at Nikko.  He should know better.  She's also
    thinking: is this a good thing to have the media announce at
    this point -- or not?

             M.J.
        Hey, Susan -- I'm sorry, you're on
        the wrong side of the tape.  We're
        still trying to find any footprints
        or tire marks and we don't want to
        chew up the ground, okay?  I'll
        talk to you later.
            (to Nikko)
        You, too.

    She's got Susan outside the tape...

             SUSAN
        Inspector, will you confirm
        somebody is copying the Boston
        Strangler?  This is the fourth, is
        that correct?

             M.J.
        We're going to review all the
        evidence carefully before making
        any statement...

    She is getting into her car; Ruben jumps in on the other
    side.  Susan races for her silver Audi...

             M.J.
        Ruben, put the light on...

    From outside the car as they drive away we see Ruben's arm
    clap the magnetic flasher on the top of their unmarked car.

    M.J. switches it on... A CHASE ENSUES.  SUSAN has a faster
    car, but M.J. is a better driver.  Stomach dropping hills,
    trolley cars, the corkscrew turns of Lombard Street, all the
    familiar San Francisco chase scenes.

             M.J.
        Now listen up, Ruben.  You never,
        never, never mess with somebody
        inside the case!

             RUBEN
        Excuse me?  Excuse me?!  What do
        you...

             M.J.
        You damn well better start working
        on that impulse control.  A woman
        who is implicated in this case?
        Someone who's practically a piece
        of evidence?

             RUBEN
        It's against your rules that I try
        to help a witness who's scared
        shitless?  Who's...

             M.J.
        The woman's unstable.  You could
        wind up with a harassment charge.
        Anything.  You're like some horny
        little teenager.

    M.J. takes another two-wheel corner.  In the rear view
    mirror, M.J. watches SUSAN lose control of her car as she
    tries to make a tight turn, M.J. smiles in contempt.

             M.J.
        Anybody who's ever watched TV knows
        about that corner.

    Having lost SUSAN, M.J. slows down to a normal speed.

             M.J.
        Everybody could see you -- unshaved,
        same clothes from yesterday,
        reeking of sex.

    RUBEN'S eye-brows lift.  She peels into the HQ parking lot
    and jumps out.

             M.J.
            (going away)
        Park the car.  Call the lab.  Get
        Doc to lean on the coroner for a
        really fast prelim on the sperm.

    RUBEN gets out of the car to cross to the driver's side...

             M.J. (O.S.)
        When you get it, call me.

    RUBEN look after her, a smile of delight on his face.

             RUBEN
        She loves me.

                         CUT TO:

 INT. QUINN'S OFFICE - DAY

 QUINN, NICCOLETTI.

             QUINN
        I know; the kid hit you first.  He
        already told me.

             NIKKO
        He's not treating her right...

             QUINN
        She left you, Nikko.  She's not
        your responsibility.  She takes
        very good care of herself.  If she
        wants to romance the kid, it ain't
        your business.  Your business is to
        snap out of it.

             NIKKO
        We were together six years, sir!

             QUINN
        Don't give me six years!  You never
        divorced Patty, did you?  So what'd
        you expect from M.J.?

             NIKKO
        She knows I'm Catholic!  She never
        mentioned divorce!  Not once!

             QUINN
        Then you shoulda known she wasn't
        buying.  She was just long-term
        leasing' you.
            (beat)
        Ah, Nickie.  Except for that rare
        twenty-second twitch, there ain't
        nothin' about sex I don't hate.
        But of course, I'm Irish.
            (beat)
        Plus I got real problems.  I'm
        worried I might have to put you in
        over M.J.  There's something going on
        here, the Commissioner is targeting
        her now, I can't leave a woman in
        that position.  But the thing is,
        how can I move you in, if you go on
        acting like a teenage asshole?

             NIKKO
        I don't want the job.  Don't do
        that to her.  She's worked too
        damned hard for it.

             QUINN
        What's going down with the sting in
        Chinatown?  That gonna be off your
        plate in a week or what?

                         CUT TO:

 INT. TASK FORCE ROOM - DAY

 A ROOM IN THE BASEMENT OF THE POLICE HQ IS BEING SET UP TO
 HOUSE A NEW TASK FORCE, WITH CATERER'S TABLE FOR TEMP
    DESKS.  Bulletin boards with notices and pictures; telephone
    techs are still installing phones, cops are learning
    unfamiliar computer menus, etc.  M.J. IS EXAMINING HUGE
 BLOWUPS OF ONLOOKERS AT CRIME SCENES PINNED UP ON A WALL,
 WITH A MAGNIFYING LENS.

             QUINN (V.O.)
        Sergeant...

    She walks away BECKONS, BECKONS, COME ON, WALK AFTER ME!  He
    walks out of a door and they stand on the steps...

 EXT. STEPS POLICE HQ - DAY

    A couple of Cops, maybe male and female, are smoking there.
    Quinn gives them a look that sends them scuttling inside,
    flipping their butts into the shrubbery.  Quinn sighs and
    digs out a cigarette.  The looks between them tell the story
    of his trying to give it up and not being able to, etc.

             QUINN
        So what have we got?

             M.J.
        It's not the same guy.  It should be
        a self-solver.  No bow around the
        neck, left and body outdoors,
        completely different.  The others
        were housewives, secretaries, he
        talked his way inside, killed them
        in their own living room or bed- or
        bathroom.  This one didn't have a
        husband or a boyfriend, no family,
        temp waitress, 3 arrests for
        misdemeanor dope offenses, DUI,
        asphyxiation probably from a
        plastic bag over her head.  Sexually
        assaulted.  The others weren't
        molested that way.  We're waiting
        for the sperm tests...

             QUINN
        Christ.  How old are you?  You sure
        you want to be in this line of
        work?

             M.J.
        You're damn right I do.

             QUINN
        Okay, now what about your sidekick
        punching my favorite detective?
        What the hell is going on?  You got
        no discipline in your operation.

             M.J.
        I'm sorry it had to come to your
        attention.  I am dealing with it.

    She starts to go...

             QUINN
        Where you going?

             M.J.
        Helen Hudson...

             QUINN
        What the hell you need her for?

             M.J.
        Because I think I'm wrong.

                         CUT TO:

 INT. HELEN'S APARTMENT - DAY

 CLOSE: XANAX BOTTLE.  SHAKING HANDS DUMP OUT PILLS.  FOUR.
 SIX.  TWO, PUT BACK.  ONE MORE, PUT BACK.

 HELEN: RAVAGED.  WATCHING HERSELF IN MIRROR AS SHE GULPS THE
 REMAINING PILLS.

 DOOR BELL RINGS O.S.

             HELEN
        I'm not seeing anybody.

    We HEAR muffled voices -- ANDY and M.J.  HELEN, as she
    realizes Andy is letting M.J. in, goes to the bathroom door
    and tries to slam and lock it: Andy beats her to it,
    blocking with his foot in the door.

             HELEN
        You're fired.

             ANDY
        I know.  Do come and meet your
        guest.

    M.J. appears.  Taking in Helen's condition -- due to a wild
    night with Ruben?  Helen moves from the bathroom down the
    hall to her office, as...

             M.J.
        We've got another one.

             HELEN
        That's no surprise.

             M.J.
        But it's a different m.o.

             HELEN
        Then what do you need me for?

             M.J.
        She was killed somewhere else and
    dumped outdoors in an empty lot.
        Where it says "no dumping."  Her
        legs pulled apart in a kind of
        sexual pose.   It's all different
        but it seems so -- the same.
        Artificial and posed... Something's
        wrong with it.

             HELEN
        You're saying it's the same man,
        but he's changed his style?  That
        doesn't happen.  These men are
        robotic; the murder is like a
        ritual.  The method itself is part
        of the pleasure...

    They've turned into the office.  Something is wrong...

             M.J.
        Who turned off the Internet
        computer...

             HELEN
        I turned it off.  It's like an open
        window he can climb right in...

             M.J.
        He comes in the window, we maybe
        grab him.  Where's the on-switch?

             HELEN
        Have you got a warrant?  Get the
        hell out o here!  This is the
        only space I have left in the
        world!  Why can't you leave me out
        of it?

             M.J.
        Helen -- the killer directly
        contacted you.  His interest in you
        is intense.  I'm worried about you.
        I don't want to lose you.  I know
        this stirs up every monster under
        the bed, but this is the only
        direct contact we have with him.
        The only chance we have to trap
        him.
            (beat)
        So, you can turn Internet back on,
        or I do, and we put somebody here
        on a 24 hour shift and you can
        kick, scream and hyperventilate.

             HELEN
        That little Winona Ryder manner...
        you're more convincing as Clint
        Eastwood.

             M.J.
        Clint is putting a guard on you.
        But if you swear to leave the
        computer on, Winona will assign him
        to the hall outside.

    HELEN has to laugh.  The laugh turns to a hacking cough.

             ANDY
        She's smoking again.

    Andy leaves.  Helen sits, and with the care of someone
    handling a rattlesnake, turns the computer on.  Meanwhile...

 THE PHONE RINGS.

             HELEN
        Hello?... Oh...
            (a beat)
        ...yes, she's right here.

    HELEN hangs the phone to M.J.  The air is a little more
    charged... Helen goes back to the computer.

             HELEN
        Ruben.

             M.J.
        Hello, Ruben...
            (listens, nods)
        So that's that...

             HELEN
        Please thank Inspector Goetz for
        taking care of me last night.

    M.J. delivers the message straight-faced.

             M.J.
        Ruben, Dr. Hudson wants me to
        thank you for taking care of her
        last night.
            (hangs up)
        Lab report on the new one.  At
        least two guys penetrated her.
        There were two kinds of sperm.  The
        poor thing.  What it must have been
        like.

    Helen has come alert...

             HELEN
        She was near a sign that said "No
        Dumping?"  Two kinds of sperm --
        the lab said one was a secretor and
        the other was not?

    M.J. mumbles a surprised yes.  Helen is at computer.

             HELEN
        There were needle marks.  But no
        drugs in her blood.

             M.J.
        So far nothing they test for comes
        up positive.

    Helen has a Window type screen: she clicks icons...

             HELEN
        Is that it?

             M.J.
            (stunned)
        That's exactly... I could have
        taken that same picture, this
        morning.

 A RATHER GRAINY PICTURE OF A DEAD GIRL SPREAD OUT IN A
 SUGGESTIVE POSE IN AN EMPTY FIELD.  A SIGN RIGHT BY HER SAYS
 "NO DUMPING."

             HELEN
        He's switched from DeSalvo to the
        Hillside Strangler.  The Strangler
        was two men, that's why there are
        two kinds of sperm.  His idea of a
        joke, very witty our boy.

             M.J.
        That's not consistent... You said
        they never changed their style,
        they're robots...

             HELEN
        Consistency is the hobgoblin of
        little minds.  Tell them to test
        for the chemicals found in Windex.
        That's a product for cleaning
        with...

             M.J.
        I know Windex, for God's sake, I
        clean my own windows...

             HELEN
        It's what Bianchi and Buono
        injected into one of their victims.

             M.J.
            (sensing something
             appalling)
        Injected Windex!  Why would he
        switch to a new m.o.?

             HELEN
        Ah, if you knew that, you'd be half
        way to nailing him.  Serial killing
        is irrational and rigid and 
        compulsive.  This guy has a plan
        all thought out, flexible and
        complex.  He's playing a game with
        us.  Who will he imitate next?
        Maybe he's doing all the serial
        killers in history, the great
        innovators, the murderers' hall of
        fame.  Just to prove he's better
        than all of them.  They got caught;
        he didn't.

             M.J.
        He'll get caught.  If he has a plan
        that'll be what trips him up...

             HELEN
        Who's going to catch him?  You?
            (beat)
        And if you do, there'll be another
        one.  And one after that.

             M.J.
            (gently, surprised)
        You're afraid of him.

             HELEN
        This one, yes.  I was always
        curious about these twisted little 
        souls, but this is the first one
        I've felt personally terrified of.
        He's something new and unheard of.
        I don't know what he wants.

             M.J.
            (beat)
        I'm giving you Clint outside.

                         CUT TO:

 INT. PETER'S BEDROOM - NIGHT

    The room is empty, the messy unmade bed has covers thrown
    back.  Nasty Little Dog is sprawled asleep on it.  The TV is
    on: SUSAN SCHIFFER'S broadcast... Over SUSAN'S shoulder, big
    and bold, the legend:

 'KOPYCAT KILLER?'

             SUSAN
        ...to mimic the M.O. of the Boston
        Strangler.  The police here are
        rumored to be consulting Dr. Helen
        Hudson.

    O.S.  A TOILET FLUSHES, and Peter's WIFE emerges wearing a
    nightgown.  She shuffles back to the bed, and as she sits
    picks up the remote...

             SUSAN (ON TV)
        It was backstage at the McClusky
        Auditorium on the Berkeley campus
        that Dr. Hudson's police bodyguard
        was killed.  Daryll Lee Cullum,
        that...

    She zaps the remote and a program hyping the Summer of Love
    comes on...

 INT. PETER'S BEDROOM - NIGHT

    We see on HIS computer screen a picture of HELEN scanned
    from some newspaper or magazine.  PETER is building a morph:
    beside Helen on screen is another image -- of the RED-HEADED
    woman.  He is placing marks on one picture, on the exact
    corner of Helen's left eyes.  As he does so, a red dot
    appears near the corner of the left eye of the Red-headed
    woman.  Both pictures are dappled with similar dots.  It
    looks very odd, as though someone had stuck Post-its all
    over the images.  Around him, as he works are other pictures:
    ASPHYXIATED GIRL taken while she was strapped to the table.
    Of the sign "NO DUMPING."  M.J. leaving Helen's!  HE ALSO HAS
 A TINY TV ON, AND TURNS TO SEE AS:

             SUSAN (ON TV)
        ... convicted serial killer had
        escaped police custody during a
        court hearing, in a scandal that
        rocked the police and forced the
        resignation of four State
        Correction officers...

 INT. DEATH ROW CELL - NIGHT

    DARYLL LEE lies smoking and watching a tiny TV of his own.

             SUSAN (ON TV)
        ...Cullum attacked Doctor Hudson in
        apparent revenge for her testimony
        against him.  Doctor Hudson did not
        return our phone calls, today.  Our
        sources tell us that if police
        homicide detectives fail to move
        faster in their investigation the
        FBI will be called...

 INT. TASK FORCE ROOM - NIGHT

    M.J. striding, tight-lipped through the room to her
    workstation where she takes the phone from Ruben...

             M.J.
        Halloran.

 INTERCUT:

             HELEN
        You betrayed me!  Now every
        psychopath in the city knows I'm
        back in business... You lied to me!

             M.J.
        I did not; the Mouth -- that's what
        we call Susan Schiffer -- got it on
        her own.

             HELEN
        Why should I trust you?

             M.J.
        Because I'm all you've got.

 RUBEN HAS BEEN GIVEN NEWS: BIG PROBLEMS.  MEN AND WOMEN ARE
 GETTING UP, PUTTING ON HOLSTERS, ETC., MOVING OUT...

             HELEN
        How could you...

             M.J.
            (out of patience)
        I like the real smart Helen Hudson
        a lot, I'm Goddamned sick and 
        tired of the hysterical little
        girl, Helen.  You asked your way in
        -- I don't forget that.  You've got
        a nickname around here -- "Deep
        Throat" from all the phone calls, I
        wonder if you know that.  Go take a
        xanax, I've got to got to work.

                         CUT TO:

 INT. HELEN'S BEDROOM - NIGHT

    HELEN, her police scanner sounding distant tinny cries in
    the night:  Helen holding the phone, digesting that...

             SCANNER (VARIOUS VOICES)
        987...  Carol Meany, call your
        home?  We have...  don't step on
        me, damn it!  Go to channel 8...
        Code Red -- Homicide at 16th Avenue
        and Horgan, woman dead in car.  Can
        we have homicide?  All units go to
        channel 5.  Leave channel 3 clear
        for homicide... etc.

 EXT. HELEN'S STREET - NIGHT

    A MAN parks a car.  He gets out.  He is dressed entirely in
    black.  Glancing around to be sure he is not observed, the
    MAN moves to cars, banging them hard with his hand until he
    SETS OFF A CAR ALARM.  He trots silently to HELEN'S side of
    the street and merges into the dark side of her building.
    THE ALARM GOES INFURIATINGLY ON.  A light comes on in an
    upstairs window...

 INT. HELEN'S HALLWAY - NIGHT

    BURT, the cop on guard, marginally irritated by the car
    alarm, looks up briefly, then returns to his magazine.

                         CUT TO:

 EXT. RICHMOND DISTRICT - NIGHT

 CAR WHERE A WOMAN HAS BEEN SHOT DEAD.  KLIEG LIGHTS PAINT
    HER FEATURES A BLEAK WHITE ON BLACK.  M.J. and RUBEN work
    the scene along with the CRIME TECH CREW.

    One of the TECH GUYS holds up a bullet.

             TECH GUY
        Pulled this out of the door, it's
        bigger than a .38; it's a .44 or 9
        millimeter.

    CLOSE: M.J. is crawling along the floor, looking at
    everything she can find -- gum wrappers, hobby pins, loose
    change, etc.  She lifts her head and finds the car radio and
    tape player right in her face.

             M.J.
        Was this on?  When you found the
        car was the tape player on or off.

             COP (V.O.)
        It was on, auto-reverse, over and
        over.

    M.J. has rubber gloves on.  She switches on ignition and the
    tape player starts:  ABBA.  A phone rings...

    ON RUBEN standing beside the car; he answers his phone...

             RUBEN
        Yeah?... I can't talk now...
        What?... No.  There's no sexual
        assault, it's a drive-by, a woman
        in a car, it's not him.
            (mouths to M.J.)
        Helen.

    M.J. still pissed at the earlier phone call, turns away,
    dismissively...

             HELEN (V.O.)
        It's a woman shot in a car?

             RUBEN
        Yes.  I have to go...

             HELEN
        She on the passenger side?

             M.J.
            (shouting to be
             heard)
        Helen, hang up, let Ruben get on
        with his work...

             HELEN
        What's that music.  It's Abba.  I
        can hear it.  It's Abba.

             RUBEN
        What's Abba?

             M.J.
        Bunch of Swedish women.  You're too
        young.

    Dread clouds HELEN'S face.  She is calling up databases,
    screens scrolling across her computer monitor.

             HELEN
        Don't hang up!

             RUBEN
        What?...

             HELEN
        Listen to me.  Is there a gas
        station nearby?

    RUBEN look around, sees a gas station across the street and
    further down the block...

             RUBEN
        Yes.

             HELEN
        Is there a phone booth there?

             RUBEN
        They all have one...

             HELEN
        Go and look for a note.

    RUBEN hands the phone over to M.J.

             RUBEN
        She wants me to check the phone
        booth for a note.

             M.J.
        Helen... excuse me, we...

 ON HELEN'S SCREEN IS THE FACE OF BERKOWITZ... SHE CALLS UP
 ADDITIONAL FRAMES SHOWING SCENES OF HIS CRIMES.

             HELEN
        She was listening to Abba in her
        parked car when she was shot with a
        Bulldog .44.

    M.J. reacts:  the scene of what Helen is saying hits her
    hard.  This is repeating the pattern of yet another
    killer...

             M.J.
        Tony!

    The techie who pulled the bullet out of the door turns...

             M.J.
        Let me see the slug outta the door!

    He pulls a baggie out his pocket and hands it to her...

    RUBEN RUNNING across to the gas station.  He's alone now,
    the blazing lights of the crime scene recede.

 EXT. HELEN'S BUILDING - NIGHT

    A small annoyed crowd has gathered around the are whose
    alarm is still shrieking.

 INT. HELEN'S HALLWAY - NIGHT

    BURT finally gets up, goes to window, sees situation,
    decides to go and fix it.

 EXT. CRIME SCENE - NIGHT

    M.J. still on phone to HELEN.  She's just got the bullet out
    of the baggie; Tony stands watching.

             M.J.
        What's that siren?

             HELEN (V.O.)
        One of those goddamned car alarms.
        What's going...

             M.J.
        Ruben's gone to look... It's banged
        up but it looks like a .44.  It's
        Son of Sam.  Is it Son of Sam?

             HELEN
        Look in the crowd.  He liked to
        hang around and watch the cops at
        work...

 EXT. SHELL STATION - NIGHT

    Closed.  RUBEN at the phone booth.

    A note lies on the shelf, handwritten in felt-tip pen.  He
    puts on a rubber glove, picks note up by one corner.

 CRIME SCENE:

    RUBEN has taken phone back from M.J.  He is reading the note
    to HELEN.  M.J., agitated, stands by.

             RUBEN
        "Police: let me haunt you with
        these words:  I'll be back."

    M.J. notices that there is writing on the other side of the
    note.  She forces RUBEN'S gloved hand to turn note over.

             RUBEN
        Hold on a minute, Helen...

    By this time M.J. has seen that this part is addressed to
    HELEN.  M.J. takes phone from RUBEN, forcing herself to
    sound casual.

             M.J.
        Helen, Ruben's going to drop by.
        He's got some questions.

    She hangs up, RUBEN is already on his way.  M.J. calls a
    number...

             M.J.
        Answer me!!...

 EXT. HELEN'S APARTMENT - NIGHT

    The beeper on Burt's belt is beeping, but his head is under
    the hood of the car where the car alarm is blaring.  He
    can't hear the beeper...  

 BACK TO CRIME SCENE:

    M.J. ends the call, yells to another Detective.

             M.J.
        I need a unit at 19809 Lorenda
        Drive.  Tell them to approach code
        2 and wait for instruction.  Find
        the goddamn officer supposed to be
        on security.  Ruben's on his way.
        He'll go in alone.

 SHE TURNS AND SEES:

 BEHIND YELLOW CRIME SCENE TAPE THE NIGHT IS FULL OF THRILL
 SEEKERS AND CURIOUS.  WHICH OF THEM MIGHT BE THE KILLER?
 THE GUY IN THE BACK OF THE CROWD WHO FOR NO APPARENT REASON
 SUDDENLY BEGINS TO RACE ALONG BEHIND THE ONLOOKERS?  THE MEN
 WHO DUCKS TO TIE HIS SHOE WHEN A PHOTOGRAPHER SHOOTS A
 PICTURE?

 INT. FRONT DOOR OF HELEN'S APARTMENT - NIGHT

    The horn blares across the street, (O.S.).  No one notices
    the MAN at HELEN'S door, swiftly fiddling the lock with a
    ring full of burglars' keys and picks.

 INT. HELEN'S BATHROOM - NIGHT

    HELEN is putting on makeup (Ruben is coming).  A small but
    alarming noise at the front of the loft.  She listens
    carefully, and moves to the door looking down the hall
    toward the front door.  It is OPEN"  Burt is not there!

    She hesitates a moment, then turns off the lights and
    sprints for the front door, to escape.

 INT. LIVING ROOM

 THE MAN IS PULLING A BALACLAVA UP OVER HIS FACE.  AS HE HEARS
 HER HE STEPS TO THE...

 INSERT: TELEPHONE

 A HAND IN A FINE LEATHER BLACK GLOVE LIFTS THE RECEIVER OFF
 THE HOOK.

 HELEN RUNS DOWN THE HALL AND REACHES THE FRONT DOOR.  SHE
 RUNS RIGHT OUT INTO THE HALL A FEW STEPS BEFORE RECOILING:

 HER POV.  THE WALLS AND FLOOR WEAVING AND CONTRACTING...
 AGORAPHOBIA HAS HIT.

 HELEN FALLS.  SHE SCRAMBLES IN TERROR BACK TO THE "SAFETY"
 OF HER WALL, NOW A CAVE OF DARKNESS.

 SHE FALLS ON THE FLOOR OF THE HALL, GASPING FOR BREATH.

 LIVING ROOM.  THE MAN MOVES ACROSS THE ROOM TOWARD THE
 HALL.

                         CUT TO:

    RUBEN:  taking the hills fast.

 THE MAN: STEPS OUT INTO THE HALL.

 HELEN:  SHE HAS RUN BACK THE LENGTH OF THE HALL TO HER
 OFFICE.  SHE IS JUST VANISHING AS THE MAN STEPS TO WHERE HE
 CAN SEE HER.

 THE MAN STARTS TO FOLLOW, NOT FAST, BUT WITH TERRIFYING
 SURENESS...

 THE POLICE SCANNER SUDDENLY COMES UP LOUD.  HE HESITATES.

 HELEN:  HER REMOTE CONTROLS IN HAND SWITCHES ON TV SETS,
 LAMPS, ETC.

 THE MAN:  HE STARTS TO MOVE AGAIN, TOWARD WHERE HE BELIEVES
 SHE IS.  HE IS PASSING A WINDOW, WHEN THE CURTAINS SUDDENLY
 DRAW, RIGHT BESIDE HIM.  HE PAUSES AGAIN, LOOKS DOWN AND WE
 AND HE/WE SEE THE STREET SCENE: BURT AND NEIGHBORS TRYING TO
 SILENCE THE CAR ALARM.  THEN HE STARTS TO MOVE AGAIN.

 THE CURTAINS CLOSE.

 HIGH ANGLE OVER THE MAZE OF THE APARTMENT WALLS.  WE CAN SEE
 THE MAN MOVING ALONG THE HALLWAY AGAIN -- TOWARD ANDY'S DEN,
 AND DIRECTLY TOWARD WHERE WE LAST SAW HELEN.

 SUDDENLY, FOREGROUND, HELEN'S HEAD POPS UP, HUGE!  SHE IS
 WRESTLING HERSELF UP OVER THE WALL TOWARD CAMERA, INTO
 ANOTHER ROOM OUT OF HIS PATH.  WE PAN WITH HER AS SHE WIGGLES
 HERSELF OVER THE TOP OF THE WALL AND UNTIL SHE FALLS INTO
 FURNITURE, MAKING A HUGE NOISE.

 MAN STOPS, TRYING TO LOCATE DIRECTION.  HE DECIDES.  LEAPS
 WITH CATLIKE GRACE ONTO A PIECE OF FURNITURE AND FROM THERE
 ONTO THE TOP OF THE WALL!

 NOW HE STANDS ON THE PARTITION, LOOKING AROUND AT THE
 GROUNDPLAN (AS IT WERE) OF THIS APARTMENT MAZE FROM A HIGH
 ANGLE POV.

 HELEN:  SHE CROUCHES IN HIDING.  IN DEEP FOCUS, BEYOND HER,
 AND HIGH ABOVE HER, WE SEE THE MAN SILHOUETTED AS HE BEGINS
 TO WALK ALONG LIKE A CAT ON A GARDEN WALL, ABLE TO SEE ON
 BOTH SIDES INTO WHATEVER ROOMS HE IS PASSING.

 HE DROPS OFF THE WALL FOR A MOMENT INTO HER BEDROOM.
 INTERCUT MAN AND HELEN.  HE LOOKS FOR HER, PRODS THE BED
 COVERS.

 THEN LEAPS BACK UP TO THE TOP OF THE WALL.

 SHE TAKES A VASE AND THROWS IT OVER THE WALL INTO THE
 ADJACENT ROOM.  THE MAN'S FIGURE DOESN'T EVEN SLOW, HE'S
 ALREADY FIGURED IT OUT:  HE LEAPS CLEAR ACROSS AN OPENING
 ONTO THE WALL THAT LEADS DIRECTLY TO HER.

 SHE HITS THE REMOTE:  THE CURTAINS SWEEP OPEN, AND MORE LIGHT
 COMES IN NOW FROM THE STREET.

 CLOSE, THE MAN: HIS FACE TURNS TO THE LIGHT: FROM THIS HIGH
 ANGLE WE AND WE SEE DOWN INTO THE STREET, WHERE

    RUBEN'S CAR SCREECHES TO A STOP.  RUBEN charges into the
    building.

    BURT, COMING AWAKE, FOLLOWS RUBEN up the stairs three at a
    time.

 HALLWAY AND APARTMENT DOOR:  THE MAN COMES RACING OUT AND
 TURNS TOWARD THE STAIRS, JUST AS RUBEN REACHES HELEN'S
 FLOOR.  THE MAN TRIES TO DO A 180, BUT RUBEN THROWS A BODY
 BLOCK AND THE MAN FALLS BACK INSIDE THE APARTMENT.

 LIGHT FROM HALL GIVES US OUR FIRST LOOK AS RUBEN TEARS THE
    BALACLAVA OFF HIS FACE.  He is a middle-aged Afro-Asian with
    a knife-scarred face.

             MAN
        I can explain!

             RUBEN
        The fuck you can!
            (shouts)
        Helen!  Are you okay?  HELEN!

    Then he sees her.  In shock, she stares down at the MAN.

             RUBEN
        Did this animal touch you?

    She shakes her head, turns and runs out of the room, as
    RUBEN catches sight of BURT.

             RUBEN
        Turn on a light and call in the
        unit.  NOW!

    BURT rushes to okay.  RUBEN FRISKS THE MAN.

             MAN
        No gun!

             RUBEN
        Bullshit's gonna get your balls
        stomped on!  What's your name?

             MAN
        Chow.  Conrad Chow.

    The improbability of this name makes RUBEN deliver an angry
    kick to the man's side.

             MAN
        Swear to God!  Conrad Chow.  Never
        carry a gun.

             BURT
        Backup's here...

             RUBEN
            (to Burt)
        Then you get your ass outta here, I
        don't wanta see you again...

             CONRAD
        I brought a present for the lady,
        there.  I'm looking for her, to give
        her the present...

             RUBEN
        You break into her apartment to
        deliver a gift?  Where is it?

             CONRAD
        The door was open, swear to God,
        I'm just looking for her when you
        come charging up the stairs...

             RUBEN
        Where is it?

             CONRAD
        I'm trying to tell you.  It's on the
        lady's pillow...

    Ruben shoves Conrad into Backup Cop's hands.

 INT. BEDROOM - CONTINUOUS

    Ruben comes running in, sees a parcel lying on pillow... 
    scoops it up, and rips it open.  It's a book.  He returns
    to Conrad, who is now surrounded by police.  Ruben holds the
    book up like a question.

             CONRAD
        Daryll Lee Cullum, he wrote that
        book, he wanted the lady to have
        it.  They won't let him send it to
        her, so I'm getting out, he asks me
        to deliver it in person, he says,
        put it on her pillow.  It has all
        about how he tried to kill her.

             RUBEN
        He told you she was loaded, any-
        thing you could steal you could
        keep, Conrad?  You bought yourself
        a return ticket to Quentin,
        breaking and entering.

             CONRAD
        The door was already open...

             RUBEN
        We know...
            (to a cop)
        Send the book to evidence...

             CONRAD
        She's supposed to have it.

             RUBEN
        She don't want it.

 INT. HELEN'S BATHROOM - NIGHT

    HELEN is sitting on the floor, her knees pulled up to her
    chest.

             RUBEN (V.O.)
        Helen?  Open the door.  The guy's
        nothing.  A burglar.

    She sits there, says nothing.

             RUBEN (V.O.)
        Open the door.  Please.

             HELEN
        Why don't you shoot off the lock?

    She starts to laugh.  The sound is awful.  After a moment,
    she gets up on wobbly legs and opens the door.  RUBEN takes
    her to the sink, sort of sits her down on it.  Wets a
    washcloth, goes to sponge off her face.  She is trembling.

             HELEN
        He was in my apartment!

             RUBEN
        I know, baby.  I know.

    Without warning, in some sort of manic phase of a freak-out,
    she breaks away from him, ricochets through bedroom, down
    the hallway, RUBEN follows, tries to put his arms around
    her.

             RUBEN
        It's okay... you're safe with me!

    He pulls her down into a chair with him, his arms tight
    around her, holding her still.  He smoothes her hair, rubs
    her neck, pets her like a frightened and resistant cat.

             RUBEN
        When I was a little kid, and I'd be
        in a state, my father would hold me
        on his lap, until all the fight
        would go out of me...

    She breaks free and whacks him across his nose.

             HELEN
        You think you're my Daddy?

    There is something so perverse about this, so erotic, that
    RUBEN kisses her.  She goes limp, kisses him back, then
    she's suddenly sobbing.  His nose is bleeding, but she's
    smiling.  Something between them has finally connected.
    Been agreed upon.

             RUBEN
        Helen...honey, you know I gotta go.

    He digs out his sneaky gun from whenever he keeps it.

             RUBEN
        You know how to use this?

             HELEN
        They taught me at the FBI.  I was
        very good at it.  It scared me... I
        liked it.

             RUBEN
        You take it, hang on to it, it'll
        make you feel safer.  Stay put.

             HELEN
        What else?

    He goes.

 A SONG BEGINS, PRELAPPING THE FOLLOWING SCENES:  "MURDER BY
 NUMBERS" BY THE POLICE...

        "Once that you've decided on a killing
        First you make a stone of your heart
        And if you find that your hands are still willing
        You can turn murder into an art..."

 HELEN OPENS THE WEAPON, SEEMINGLY COMPETENT ENOUGH TO HANDLE
 IT WELL, AND EMPTIES OUT THE BULLETS.  SHE LOCKS IT UP AND
 HEAVES A SIGH OF RELIEF.

 THE SONG CONTINUES...

                         CUT TO:

 EXT. POLICE STATION - DAY

    THE FBI ARRIVES.  High angle, looking down: three identical
    cars draw in front, park with military precision: all four
    doors on the all three cars open at the same time and
    identically dressed men, in suits, get out, slam the doors
    in sync., and march toward the front steps to HQ, ignoring a
    couple of bemused cops smoking on the sidewalk...

 INT. POLICE HQ - CONTINUOUS

    As the parade of FBI, led by their Commander SAKS, walk down
    the corridor from the front door, toward CAMERA, performing
    a smart right angle turn, and (CAMERA PANNING TO FOLLOW)
    continue away from CAMERA down another corridor.  Through
    the glass partitions and in the halls they pass cops who
    pretend they aren't looking at them: no eye contact between
    cops and FBI.  The cops are at ease; bellies slop over
    belts; neatly pressed blouses strain over breasts; sweat
    stains; shirtsleeves.  The marching men wouldn't sweat.

    QUINN emerges from his office and sees them arriving.  He
    gets his jacket off a hook on the back of the door, signals
    a few top officers to follow.  He looks resigned...

 INT. TASK FORCE ROOM - DAY (LATER)

    M.J., RUBEN, NIKKO, and a number of other officers are being
    addressed by SAKS, an FBI agent.  At the back are three more
    FBI AGENTS, suited and tied.  QUINN stands off to one side.
 THE SONG IS JUST ENDING, ON A CD PLAYER IN THE ROOM.  A
    projector beams up a copy of the note RUBEN found in the
    phone booth.

        Dr. Hudson:  Don't lose your head.
        "Once that you've decided on a killing
        First you make a stone of your heart
        And if you find that your hands are still willing
        You can turn murder into an art.
        Well, if you have a taste for this experience
        You're flushed with your very first success
        Then you must try a twosome or a threesome
        Before your conscience bothers you much less.
        Then you can join the ranks of the illustrious
        In history's great dark hall of fame
        All of our greatest killers were industrious
        At least the ones that we all know by name."

    SAKS speaks...

             SAKS
        Hello.  I am (research title)
        Meryhew Saks.  The song is called
        "Murder By Numbers."  The
        performers are a group called The
        Police.  Adam here...
                ... from Behavioral Science is
        working out exactly what this
        perpetrator is trying to telegraph
        in the note.  This is an extremely
        complex case, and we have a lot of
        fancy theories floating around.
        We're not ruling out the possib-
        ility of three Copycat serial
        killers.  We have Quantico working
        on graphology, the Washington lap
        is cloning DNA from the secretor.
        It's our feeling that the best lead
        we have is the two sperm samples in
        one of the victims.  We have a team
        sweeping sperm banks.  Now I want
        to say a few word to you local
        people.  Your Commissioner asked
        for our assistance.  The Bureau
        does not send us in on these cases
        to lord it over the local police.
        We couldn't catch up on what you
        people know if we had a year.  We
        have nation-wide resources and hard
        state of the art forensic science;
        you have the local savvy.  Together
        we can be unbeatable.  Which one is
        Inspector Halloran?

             M.J.
        Over here.

    SAKS approaches M.J., guides her away from the others.
    TWO SHOT:  Saks is unctuous and insincere, self-confident.

             SAKS
        We don't see too many lady homicide
        detectives.  You have my respect.
        Have you discussed the note with
        Dr. Hudson?

             M.J.
        Someone broke into her place last
        night.  It wasn't connected to our
        case, but it shook her up pretty
        bad so I haven't...

    QUINN joins them, SAKS gives him a nod.

             SAKS
        I was just about to advise the
        Inspector here not to show Dr.
        Hudson the note.

             M.J.
        Sir, Doctor Hudson and I see a
        pattern develop...

             SAKS
            (riding over her)
        We know Helen.  She's not exactly a
        credible collaborator.  Especially
        late in the day...

             M.J.
        She takes tranquilizers her doctor
        prescribes.

             SAKS
        Who prescribes the brandy?

    M.J.'S look makes SAKS smile.  QUINN is called to the phone.

             M.J.
        How come you're so up on Dr.
        Hudson?

             SAKS
        She is a writer, writing best
        selling books about serial killing.
        Giving lectures she's well-paid
        for.  Her interests are not the
        interests of law enforcement.

             M.J.
        Okay.

             SAKS
        We've put a tap on Dr. Hudson's
        phone.  I know you won't mention
        it.

    So much for any trusting relationship, right?  QUINN has
    arrived, addresses SAKS.

             QUINN
        Sorry to interrupt.  I need a word
        with my officer...

    He turns to M.J.  Diplomatically, SAKS moves away.

             QUINN
        M.J., I'm going to have to borrow
        Ruben.  The alien-smuggling thing
        in Chinatown is going down tomorrow
        night and Jack's kid got hit by a
        car.  I gotta give Ruben to Nikko.

             M.J.
        What does this mean?  Now we got
        the FBI, my team is expendable?
        I'm working my ass off, is anybody
        listening?  Why Ruben, anyway?  He
        and Nikko don't even get on
        together...

             QUINN
        Teach both of them a lesson in
        cooperation and self-discipline.

             M.J.
        If this is a first step in kicking
        me off the case, just tell me, to
        my face, sir, don't waste time
        being diplomatic.

             QUINN
        Just, I need results.  And -- I am
        short-handed.  Who else am I gonna
        give him?

             M.J.
            (looking at Saks)
        Give him thatpompous son of a
        bitch.

    She turns and leaves, brushing past Saks as she goes... Gigi
    meets her...

             GIGI
        Lab called.  They got a result on
        the drug test you requested...?

    It takes a moment to remember what it was...

             GIGI
        They said it was Windex?

    If there was any residual doubt about what's happening, it's
    gone now.  She starts after Quinn, sees he is in spirited
    dialogue with SAKS and decides to wait.

                         CUT TO:

 INT. HELEN'S LIVING ROOM - DAY

    HELEN and M.J.  Helen unfolds a xerox copy of the note, that
    M.J. has just given her.

             HELEN
        ..."I'll be back..."

    As she looks at the back of the note... she looks up into
    M.J.'S face.

             M.J.
        Yeah.  Addressed to you.  "Don't
        lose your head."

    Helen puts down the note.  She is holding herself together
    by main will power... doesn't want to face that note...

             HELEN
        They put  Merry Saks on it?!

             M.J.
        He said to send you his regards and 
        to tell you that the Bureau holds
        you in the highest esteem.

             HELEN
        What I can't believe is that in an
        earlier life I slept with him!
        Christ!  Any God that loved his
        people would give women a rewind on
        their life and an erase button.
            (looks at M.J.)
        Just give me a minute here.  The
        letter is addressed to me...
            (she's breathing
             fast, controls it)
        You don't feel fear, do you?
        You're young.  You feel like you'll
        live forever.  How wonderful.

             M.J.
        I put my ass on the line, giving
        you that.

             HELEN
        They weren't going to show it to
        me?!  The arrogance!  It's my life!

             M.J.
        It's also the major piece of
        evidence, and it makes you a key
        part of his plan.  You can't run
        away from it anymore.
            (beat)
        Look at the order he's doing
    them... He did three as the Boston
        Strangler just to tell us a copycat
        serial killer was at work.  Then he
        did one like the Hillside Strang-
        ler.  And then one as Son of Sam.
        To lead us on -- to where and what
        end?  And he's doing more than that
        -- he's imitating each killer's
        method as closely as he can -- in
        details.  Injecting Windex.  Using
        .44.  Playing Abba.

             HELEN
        It's not chronological: Son of Sam
        was before Hillside.

    She begins to read.

             M.J.
        It's clear he thinks he knows me.
        He lives a fantasy.  'Helen, don't
        lose your head.'  Is that a threat?
        Does he want to cut off my head?
        Dahmer cut off heads.  Who else?
        Kemper.  Did Gacy?  Rivkind?  I
        think Rivkind did.

    She puts the note down on the table, smoothes it out.  She
    closes her eyes for a moment.  We begin to see certain
    filtered images.  As they come, we INTERCUT them.

             HELEN
        He attacks what he feels he can't
        have.  What he feels excluded
        from...

 EXT. UNIVERSITY CAMPUS - DAY

    Lush, pastoral green.  We see PETER sitting by himself.  He
    wears a WHITE LAB COAT, like one we saw hanging in his
    basement.

    HIS POV:  of students on the green, playing Frisbee,
    studying together, picnicking.  Women sunbathe, their straps
    pulled down on their shoulders, their tops rolled up to
    expose their midriffs.

             HELEN (V.O.)
        'First you make a stone of your
        heart.'... Oh yes!  He doesn't
        suffer.  That's past.  Now it's our
        turn.

    One of the sunbathing girls sits up and looks round, then
    takes her top off entirely.

             HELEN (V.O.)
        Kemper said in order to have the
        experience he wanted with them, he
        needed to evict them from their
        bodies.  By making the body a
        completely passive object, he
        releases himself from passivity.

 CLOSE:  HELEN, DEEP IN THOUGHT...

             HELEN
        But the relief he feels is only
        temporary.  '...Before your
        conscience bothers you much
        less...'  But the tension always
        comes back.
            (she now picks out
             the words:)
        'You can join the ranks of the
        illustrious...'  He wants to be
        like them.  The best.  To become
        the best.  But, he has his own
        desires, his own compulsions apart
        from theirs.'  His own horrors...

                         CUT TO:

 FLASHBACK: PETER'S CHILDHOOD HOME - DAY

    An incremental flash of a SMALL BOY standing by his bed
    which he has wet.  His pajamas are soaked.  His powerful
    MOTHER grabs him by the hair and drags him with her.

             HELEN (V.O.)
        Some horrors that are all his
        own...

    The SMALL BOY is flung into an under-stairs closet where
    firewood and stacked papers are kept.  The door is slammed
    hard.  He gropes around in the darkness, finds a big box of
    matches, lights one.  Then, angrily, he sets fire to a pile
    of newspapers.  They start to burn.  We see, but do not,
    hear, his screams for help.

             HELEN (V.O.)
        He needs to prove they don't
        control him, that he's the one in
        control.  But the feeling of power
        never lasts.  He can control his
        victims, but he can't control
        anything else... his place in the
        world.  He want s to be recognized.
        He puts messages in my computer; he
        sends me a letter...

 INT. HELEN'S APARTMENT - DAY

    She picks out the lines... "then you must try a twosome or a
    threesome."

             HELEN
        Of course he wants to do a
        threesome!  Only Bundy did three in
        one day.  Is Bundy next?  But Bundy
        should be last... the grand finale.
        What about Kemper and Ramirez?
        Gacy, Dahmer, Williams?  Rivkind?
        Who else is on his list?  In what
        order?

 EXT. CITY STREET - DAY

    PETER in his car.  Ahead, he see TWO GIRLS at a bus stop.
    We see PETER take a long bladed-knife and carefully conceal
    it under his right thigh.  The TWO GIRLS are wearing
    backpacks.  'FESTIVAL OF LOVE' stickers decorate the bags.
    PETER pulls his nondescript sedan up to them and says
    something.  They giggle, shake their heads.  He laughs,
    holds up his hands to level of his shoulders in a 'Not
    guilty!' gesture, then makes a peace sign.  The girls giggle
    again, but do not get in.

    PETER drives off.

 INT. HELEN'S APARTMENT - DAY

             HELEN
        '...great dark hall of fame... all
        our greatest killers...'  His
        greatest heroes?  He wants to be
        famous.  When they're caught and
        people like me write about them, we
        give them a kind of immortality.
        They get thousands of letters.
        Ramirez kills eight women and gets
        a hundred marriage proposals a
        month.  They're like film stars.

             M.J.
        They get fan letters...

                         CUT TO:

 INT. PRISON - DAY WARDEN FELIX MENDOZA IN HIS OFFICE

             FELIX
        We keep records of any threatening
        or illegal correspondence, like
        relatives of victims who might want
        to send the condemned man some
        strychnine cookies.  So it's only a
        partial list, but you're still
        looking at about forty pages...

 MONTAGE OF PICTURE AND SOUND:  WE BEGIN TO SEE MOVING LISTS
 OF NAMES -- LIKE SCHINDLER'S LIST -- SUPERIMPOSED OVER THE
 SHORT SNIPPETS OF SCENES... A WATERFALL OF NAMES...

 INT. HELEN'S OFFICE

 INSERT FAX MACHINE:  LISTS OF NAMES BEING EXCRETED.

             HELEN (V.O.)
        Would you fax those pages to me?

 INT. TASK FORCE ROOM - DAY

    M.J. on the phone.  On the desk in front of her, is a list
    of killers, complementary to HELEN'S.

             M.J.
        Thank you for your help, Warden
        Hillyer.  As soon as you can.

    She hangs up as GIGI puts a long fax sheet of names on
    M.J's desk.

             GIGI
        Hot off the fax.  Mr. Rivkind's
        fans.

    M.J. doesn't look at the Rivkind list, just crosses his name
    off the killer list and picks up the phone, dials, waits.

                         CUT TO:

 INT. HELEN'S OFFICE - LATE AFTERNOON

 CLOSE:  FAX OF A LIST OF NAMES AND ADDRESSES IS SCANNED BY A
 SCANNER; UNIQUE SOUND OF SCANNER AND FLASHING LIGHTS.
 ANOTHER PAGE IS SCANNED IN.

 COMPUTER SCREEN: CALERA WORDSCAN: SAME PAGE APPEARS AND IS
 READ BY COMPUTER (A FILM OF COLOR MOVES OVER THE PAGE
 SHOWING AREA SCANNED.)  PAGE THEN REAPPEARS WITH ERRORS
 MARKED BY COLOR;

 ON SCREEN THE NAMES AND ADDRESSES SCROLL BY -- THERE ARE
 HUNDREDS, MAYBE THOUSANDS OF NAMES... IMPOSSIBLE TO READ AND
 COMPARE...

 A COMPUTER SCREEN MIXES WITH THIS: -- BOOLEAN SEARCH TERMS
 BEING TYPED IN, MEANING "LOOKING FOR LAST NAMES, IGNORING CASE,
 OCCURRING ON MORE THAN ONE LIST, AND/OR MORE THAN ONCE,
 COUNT NUMBER OF HITS."

 THE COMPUTER SCREEN SCROLLS NAMES FASTER AND FASTER, EVERY
 ONCE IN WHILE HALTING A SPLIT SECOND ON A NAME, AND
 RESUMING.  SUPERIMPOSED IS A FLASHING LEGEND:

 PLEASE WAIT.  DO NOT TOUCH KEYS OR SEARCH DATA WILL BE LOST.

             HELEN (V.O.)
        If we keep going and work till
        midnight...

             ANDY (O.S.)
        Sorry, Luv.  I've got a date.

             HELEN (O.S.)
        You've got a date right here, Andy.
        This has got to...

    WE NOW SEE ANDY is feeding the scanner, he has a thick sheaf
    of faxed lists...

             ANDY
        It's almost six.  And guess what?
        Hall likes me bathed and shaved.

             HELEN
        Stop acting like a silly little
        fag!

    His eyebrows arch, but his smile stays in place.

             ANDY
        My life to live, darling, try to
        remember what it was like way, way
        back when you were young and sexy
        and alive.

    He gets up and walks toward the door.

             HELEN
        You bastard!

             ANDY
        But alive!

    THE DOOR SLAMS (O.S.)  HELEN angrily hits the keys:

                         CUT TO:

 THE ENDLESS LIST FLOWS LIKE MUDDY WATER ACROSS THE SCREEN...

 HELEN -- HER FACE REFLECTS THE SCROLL OF NAMES (AS THOUGH
 THEY WERE PROJECTED ON HER FACE IN REVERSE.)  SHE IS TOTALLY
 FOCUSSED, BUT NERVOUS; SHE LIGHTS A CIGARETTE AS

 CAMERA DOLLIES IN CLOSER AND CLOSER TO HER EYES AND THEN TO
 ONE EYE ONLY UNTIL THE EYE, THE IRIS AND FINALLY THE PUPIL
 FILL THE SCREEN:  IN THEM IS REFLECTED THOSE NAMES POURING
 PAST IN THEIR THOUSANDS, UNTIL WE HEAR A GASP.  A KEYSTROKE
 OFFSTAGE, AND THE NAMES STOP: ANOTHER KEYSTROKE AND ONE NAME
 AMONG THEM ALL SUDDENLY FREEZES IN HER PUPIL:

 PETER KURTEN

             HELEN (V.O.)
        The dirty bastard!  More games!

                         CUT TO:

 INT. HELEN'S APARTMENT - DAY

    M.J. is entering at front door, let in by a new Guard FRED.

             HELEN (O.S.)
        It's not a real name: it's the name
        of a mass murderer in Germany in
        the 1930s.  They called him the
        Monster of Dusseldorf.

    M.J. is turning into the Office; she carries a portfolio of
    lists of her own.

             HELEN
        Let's speed up the game plan...
        call all the living serials to ask
        if they've had contact with a Peter
        Kurten.  We could use some help on
        the phones...

             M.J.
        They're not talking to me.  Saks
        looks right through me.  I ask him
        for some bodies, for the phones --
        he's so encouraging: "you make that
        your little job."  Condescending
        bastard.
            (careful)
        Helen, on your lists to call is San
        Quentin.  Daryll Lee Cullum?

             HELEN
            (beat)
        You do that one, I don't want it...

                         CUT TO:

 INT. SAN QUENTIN WARDENS' OFFICE

             MITCHELL
        Sergeant Halloran is it?  I've
        got a list of Daryll Lee's
        correspondents.  There is a
        Peter Kurten among them.
        Daryll Lee claims he has
        information about Kurten, but
        he'll only talk to Dr. Hudson
        personally.  Nobody else.  The
        creep's been studying his
        amendments.  My guess is he
        doesn't have zip.  Just
        angling for a chance to ask if
        her bra size is still the
        same.  We get this shit all
        the time, but it's her call.

             M.J.
        Thanks, Warden.
            (determined)
        She'll talk to him.

 INT. HELEN'S OFFICE - NIGHT

    HELEN, M.J.  They are waiting, Helen tense, smoking,
    atmosphere charged...

             M.J.
        Do those things really help?

    Like she really wished they might, so she could have one.
    Helen looks at her cigarette as though she'd never seen one
    before... grinds it out...

             HELEN
        Not a damn bit...

    And unconsciously lights another during following...
 PHONE RINGS.  M.J. PICKS IT UP, LISTENS, HANDS IT TO HELEN...
    Gestures encouragement; fist in victory gesture...

                         INTERCUT TO:

 INT.  PENITENTIARY INTERVIEW ROOM

    DARYLL LEE CULLUM is on the phone, a Warden is attendance,
    but not on the phone line.  On this rare contact with the
    outside world HE IS MANIC...

             DARYLL LEE
        Hey, Doc!  How you doing?

    She turns on speakerphone.

             HELEN
        Hello, Daryll Lee.

             DARYLL
        You read my book which as you know,
        hit the stands a couple of weeks
        ago.  You read it yet.

             HELEN
        What book?

             DARYLL
            (indignant)
        I sent it by private courier, he
        didn't give it to you?  That son of
        a gun...!

    Helen looks at M.J., who indicates 'tell you later.'

             HELEN
        I'll look for it, Daryll Lee.

             DARYLL
        Bet you never figured I'd follow in
        your footsteps.  It's real well-
        written.  You should read it --
        you're in it.

             HELEN
        I will.  I'll call you, Daryll, and
        talk to you about it after I've
        read it.  Right now I have a
        question... Peter Kurten.

             DARYLL
        Kurten!  Is he bothering you?  I
        told that son I'd send him what he
        wanted if he leave you alone.

             HELEN
        Ah ha.  What did he want?

             DARYLL
        Something personal.  Is he bothering
        you?

             HELEN
        I don't know.  I'd like to know
        where he is.

             DARYLL
        Listen, you want my advice?  Steer
        clear.  He's writing me he's gonna
        finish 'my unfinished symphony.'
        He's gonna give me $550 for some of
        my cum, he says he's in a position
        to see that I will be immortal if
        he has some of my spunk.  I'm
        offended.  Right away I smell
        freak.  Writin' about him and me
        and you bein' joined and he's gonna
        finish my symphony?  I didn't care
        for his drift.  I sent some liquid
        soap in a sandwich baggie with a
        message from Jesus to mend his
        ways.  You hear I found Jesus?  And
        what's funny is, now I don't mind
        bein' inside.  If I was out, even
        Born Again, I'd probably get
        restless again.  It's maybe better
        I stay here, what do you think?

             HELEN
        I think whatever is best for you,
        Daryll.  And maybe you're right,
        that's the place.

             DARYLL
        You come and visit.

             HELEN
        Where did you send the message to
        Peter Kurten?

             DARYLL
        Damn!  I gave that to Conrad, too!
        That guy!  I told Conrad deliver to
        Kurten and keep the 500 bucks in
        return for getting my book to you.

    At this mention of Conrad, M.J. leaps to another phone...

             HELEN
        How was Conrad supposed to find
        Kurten?

             DARYLL
        Conrad has the phone number.
        Conrad, where is he?

             HELEN
            (from M.J.'s pantomime)
        In jail.

             DARYLL
        That Klutz.  They send him back
        here, I'll kick his ass good.

             DARYLL LEE
        Helen, how is life, you okay?  Come
        see me, talk to me.  I think about
        you, worry about you all the time.
        I am so glad Jesus didn't let me
        kill you.  You know -- you're
        blessed by Jesus.  That's why you
        need to come talk to me, because
        Jesus kept you alive for a reason,
        and I was his sacred instrument...
        In the moment Satan was in my heart
        raising my hand to kill you, Jesus
        took my hand to spare you.  I am
        both death and life to you...

    Helen hangs up.  M.J. has already left...

                         CUT TO:

 INT. SQUAD ROOM - NIGHT

    Pandemonium: the Chinatown raid has been carried off and
    NIKKO AND RUBEN and a dozen other cops are booking a group
    of Chinese gangsters of all ages, and a group of frightened
    and confused Chinese illegal aliens.  TOTAL UPROAR.

 THROUGH IT, WE MOVE WITH M.J.  SHE PASSES RUBEN WHO IS
 GRABBING A CHINESE KID STRUNG OUT ON SOMETHING, OUT OF A
 LINE OF SUSPECTS... HE ASIDES:

             M.J.
        I brought back a gin-seng popper
        for you.  Guaranteed all-night
        orgasms.

             M.J.
        Save it for Helen.

             RUBEN
            (enough already!)
        Wait a minute, wait a goddamn
        minute...

    He manhandles the KID INTO DOCILITY WHILE...

             RUBEN
        The woman was in shock.  She was
        totally out on ranks.  I stayed
        because I didn't want her to wake
        up alone in a place where she'd
        just been under attack.
            (to the Kid who is
             restless)
        Stop that, you son of a bitch!
            (back to her)
        The place wasn't secure.  I was
        doing my goddamn job!  And, for the
        second time, I slept in her living
        room.

             M.J.
        Don't try to lie, Ruben.  You don't
        have the face for it.  I need you
        to help interrogate the burglar in
        Hudson's place...

             RUBEN
        Talk to Nikko...!

 SHE MOVES ON TO FIND NIKKO

    NIKKO sites at his desk, processing the papers for the sullen
    YOUNG THUG who is handcuffed to a chain next to NIKKO'S
    desk.  Nikko  unholsters his gun... he shoves it into his
    desk drawer...

             NIKKO
        You speak English?
            (Chinese)
        You need an interpreter?

    QUINN, walking past the ILLEGALS, speaks to GIGI.

             QUINN
        I didn't want the Illigals, I wanted
        just the bastards dumping them in
        the harbor.  What's keeping those
        bums at Immigration?  Nightmare in
        here...

 M.J. STANDS OVER NIKKO

             M.J.
        I gotta have Ruben, and a...

 HARROWING SCREAM!!!  ILLEGAL WOMAN IS SCREAMING --
 PANDEMONIUM AMONG THE DETAINEES.  COPS RUSH TO CONTROL THE
 PROBLEM.

             NIKKO
        Outta your mind?  Look at this...

             M.J.
            (to Quinn)
        Lieutenant...?

    Just at that moment the kid Ruben was booking goes totally
    bananas; M.J. goes to his assistance, wrestling this wild
    kid.

    NIKKO starts from his chair, looking for the key to the
    drawer, but is isn't there... he goes to help Ruben get the
    kid under control.  Quinn steps in...

             M.J.
        The prowler in Hudson's apartment
        turns out to have a meeting with a
        suspect...

             QUINN
            (amazed)
        You got a suspect...

 THEY MOVE BACK TO NIKKO'S DESK.

             QUINN
        How'd you get in on the deal?

             M.J.
        I'm gonna drop charges on the
        break-and-enter at Hudson's...

             QUINN
        You have no authority to make a
        deal like that.  That' s for the
     D.A...

             M.J.
        Or the F.B.I.?

             QUINN
        Saks.  If he knew you did that!
        They're all asking me, 'what is she
        doing,' as it is.

             M.J.
        Give me Ruben back...

             QUINN
        Nikko?

             NIKKO
        We get through this shit, let 'em
        all go.

    NIKKO has stood and moved the handcuffed THUG toward the
    door to jail cells.  M.J. checks her time, (WALL CLOCKS HELP
 US HERE:  8:47)

             M.J.
        I'll talk to Conrad myself.  I'll
        be in the jail when you wind this
        up...

             RUBEN
        I gotta get something to eat, I
        haven't eaten all day.

    M.J. goes... RUBEN can't find a desk to work at, and
    commandeers Nikko's.  He slams the KID into NIKKO'S chair
    and cuffs him.  KID starts to rattle his chairs, spew
    Chinese epithets, then bends over the desk and, with his
    teeth picks up some paper, tries to shake it to shreds.

    RUBEN yanks the papers out of the KID'S mouth, pulls the
    KID'S chair from the side to the front of the desk, shoves
    the KID into place facing away from the desk, so that he
    can't do any more damage.  Then RUBEN can't figure out where
    he can work.  At the next desk, where he has been working,
    MAC rises.

             MAC
        Here... I'm finished...

             RUBEN
            (to Kid)
        I'm going to the coffee machine.
        Hold the fort.

    He moves off, the KID'S eyes move calculatingly around the
    room.  He twists against the cuffs, trying anything to get
    free, and discovers he can pull out the desk drawer.

    CLOSE UP:  The KID'S FREE HAND rifling through the drawer
    behind his back, finding the gun.  PULL BACK to show the
    KID.  He is as Ruben positioned him, his back pressed
    against the desk.

                         CUT TO:

 INT. CITY JAIL CELL - DAY

    CONRAD is brought in by a Guard.  Lightly shacked.  M.J.
    stands.  Conrad sits.

             CONRAD
        Who are you?

             M.J.
        Inspector Halloran.  Homicide.
        You were supposed to contact a
        Peter Kurten?

             CONRAD
            (cagey)
        I was?  How you spell that?

             M.J.
        Cut the crap.  You got a sheet the
        length of my arm...

             CONRAD
            (interrupting)
        I never hurt nobody...

             M.J.
        Shut up -- I'm talking.  You got
        felony breaking and entering,
        burglary, felonious...

             CONRAD
            (interrupting)
        I never carried a gun!

    She slaps him hard!  He is shocked.

             M.J.
        You don't listen very good.  This
        break in -- I can call it a felony --
        three strikes, and you got about
        sixteen strikes already, and you're
        in jail for the rest of your life,
        no parole.  Or I could see it gets
        forgotten.

             CONRAD
        You get me out first.

             M.J.
        Doesn't work that way.  You had your
        chance, now fuck yourself...

    She's walking to the door... Conrad holds out just one more
    beat to see if she's bluffing... her hand is on the door
    knob...

             CONRAD
        Tell me what you want me to say.
        Anything.

             M.J.
        You were going to make a delivery
        to Peter Kurten for Daryll Lee
        Cullum.  I want Kurten's phone
        number.

             CONRAD
        I don't have it...

    M.J. starts to open the door...

             CONRAD
        Wait... wait... I already called
        him, I threw it away.

             M.J.
        You already made the delivery?

             CONRAD
        No, that's still in my jacket I was
        wearing.  We were supposed to meet
        on the docks, that number 47 wharf,
        10 o'clock Friday.  He's gonna hand
        me 500 bucks.

             M.J.
        What Friday?

             CONRAD
        What day is this?  In jail you lose
        track.  This week.  Friday.

    M.J. is already on her way...

             CONRAD
        Don't forget me, please.  I told
        you what you wanted -- don't forget
        me.

                         CUT TO:

 EXT. WATERFRONT - NIGHT

 DESERTED.  A LONG SHADOW OF A MAN STRETCHES OUT ACROSS THE
 DOCK.  IT IS PETER, WALKING LEISURELY FROM THE WATERFRONT
 DRIVE TOWARD THE HUGE WATERHOUSE AT THE END OF THE DOCK.  HE
 STEPS INTO THE DEEP SHADOWS AND SEEMS TO VANISH.

 CLOSE:  PETER.  HE CHECKS HIS WATCH AND TURNS TO WATCH THE
 DOCK AND THE SHORE.  HE CAN SEE AND NOT BE SEEN.  HE IS 
 ENTIRELY ALONE NOW.

 INT. SQUAD ROOM - NIGHT

    RUBEN takes coffee and doughnuts out of a box, then leans
    over the KID who seems to have calmed down.  He uncuffs him
    from the chair.

             RUBEN
        Behave.  You refuse my hospitality,
        I'm putting you to bed.

    He pushes the coffee toward the Kid, who WHIPS NIKKO'S GUN
    OUT FROM UNDER THE DESK, where it was hidden, and lays it up
    under Ruben's ear.  KID moves behind RUBEN and puts a skinny
    arm around RUBEN'S neck, pulling him upright.  RUBEN still
    clutching the doughnut box.  It takes a moment for the
    others to SEE.  Then the room is absolutely motionless.

             NIKKO
        Take it easy, Kid.  Nobody's gonna
        do anything.  Just let the gun
        down, so it don't go off...

 A CHINESE DETECTIVE REPEATS THE SAME IDEA IN CHINESE...

             KID
            (screams)
        Nobody comes through the door...

    Behind the KID, as he backs through the door, across the
    corridor we LOOK STRAIGHT DOWN A CORRIDOR TO WHERE M.J. IS
    COMING ALMOST AT A RUN -- SHE SEES what is happening.

    The KID doesn't see her, yet, as he is backing away from the
    others... M.J. DRAWS HER GUN AND STANDS IN FIRING POSITION.

 IF SHE FIRES FROM HERE RUBEN IS DIRECTLY BEHIND THE KID, AND
 OTHER OFFICERS, IN THE LINE THE BULLET WOULD TAKE ARE STILL
 SCRAMBLING OUT OF HER LINE... SHE CAN'T FIRE.

             M.J.
        Hey, you...

    The KID turns, sees her, exposing his shoulder to her... SHE
 FIRES AND HITS THE KID.

 HE IS THROWN TO THE FLOOR AND TWISTED AROUND BY THE IMPACT,
 LANDING BEHIND RUBEN SO SHE CAN'T MAKE A SECOND SHOT.

 RUBEN GOES FOR HIS OWN GUN, BUT THE KID'S GUN THAT FELL FROM
 HIS HAND IS RIGHT BY HIM STILL.  THE KID GRABS IT AND FIRES
 BEFORE RUBEN HAS HIS GUN ALL THE WAY OUT OF HIS HOLSTER.  THE
 KID SHOOTS RUBEN IN THE THROAT AT AN ANGLE THAT TAKES THE
 BULLET STRAIGHT INTO HIS BRAIN.

 THEN THE KID THROWS THE GUN AWAY, AND STANDS, HIS HANDS UP
 IN SURRENDER, A GRIN ON HIS FACE.  THIS ENTIRE ACTION HAS
 TAKEN ABOUT SIX SECONDS.  THE KID GOES DOWN, FLATTENED BY
 BODIES OF THE COPS WHO HAVE RUSHED HIM.

             KID
        I'm a juvenile!  I'm a juvenile!

 M.J. RUSHES TO RUBEN.

 EXT. WATERFRONT - NIGHT

 PETER, STANDING AS BEFORE.  CHECKS HIS WATCH, LIGHTS A
 CIGARETTE.

 INT. SQUAD ROOM - NIGHT (LATER)

    The KID has been taken away.  PARAMEDICS are removing
    RUBEN'S body.  M.J. stands frozen as RUBEN'S stretcher is
    carried out of the room.  Her hand holds the doughnut box.

    Finally, M.J. blinks, her head turns as if she can't imagine
    what to do, where to go.  Then, suddenly conscious of the
    doughnut box, she clutches it tight against her chest.

 CLOSE:  M.J.

    She abruptly remembers: the rendezvous with Peter Kurten!

             M.J.
        Gigi!  Dock 47.  I need a couple
        units to drag the area...

                         CUT TO:

 EXT. WATERFRONT - NIGHT

 WIDE FULL SHOT:  DEEP SHADOWS AND HIGHLIGHTS.  IN THE BLACK
 CAVERN OF THE DOCK, FOOTSTEPS BEGIN TO ECHO, THEN OUT OF
 SHADOW INTO LIGHT COMES

 PETER.  HE WALKS AWAY INTO THE NIGHT.  FAR FAR AWAY SIRENS
 BEGIN TO SOUND -- THEY'LL BE TOO LATE.

                         CUT TO:

 INT. INTERVIEW ROOM - NIGHT

    NIKKO sits, numb.  If possible, NIKKO is more devastated than
    M.J.  She speaks to NIKKO, but does not look at him.

             M.J.
        Quinn will be here any minute.  What
        are you going to say?

             NIKKO
        Christ.  I didn't lock the fucking
        drawer!  You spend twenty years
        thinking some perp's gonna whack
        you... you'll crash your car... but
        what happens is, you fuck
        yourself...
            (a chocked laugh)
        You can't imagine how many times I
        saw you two... your head together,
        I wish him dead.  Every time...
        Want to hear something weird?  I
        feel like I'd give my life to bring
        him back.

             M.J.
        You're in terrible trouble, Nikko.

             NIKKO
        Who gives a fuck?  In all the years
        I never seen you cry.
            (beat)
        You loved him.

    M.J. looks away.

             M.J.
        Who gives a fuck?

    QUINN enters to find his two senior officers in tears.  Pays
    no attention to Conrad.

             QUINN
        Nikko.  My office?  M.J., I wanna
        see you later.

    Nikko stands, and he and Quinn exit.  M.J. SITS STARING INTO
 HER MISERY.

                         CUT TO:

 INT. GAY NIGHTCLUB - NIGHT

    Very crowded with a generally young clientele.  Big dance
    scene.  A number of men wear 70's costume... an occasional
    bit of drag.

    ANDY and HAL dancing... ANDY with great abandon.  HAL seems
    to need a break.  He leads a good-naturedly protesting ANDY
    back to their table.  They find a stranger sitting there.

 IT IS PETER.

                         CUT TO:

 INT. QUINN'S OFFICE - NIGHT

 M.J. ENTERS AND CROSSES TO HIS DESK.

    On his desk lie a badge and a gun -- Nikko's.  M.J. is
    looking at them as

             QUINN
            (nothing her look)
        He's on temp leave with pay.  I
        talked the Commissioner out of no
        pay.

    M.J. pulls her badge out and puts it down in front of Quinn.

             M.J.
        You want mine, too?  You take his,
        you take mine.  I'm the one fucked
        it up...

             QUINN
        So I'm maybe gonna lose three good
        cops?  You fucked up on this
        occasion, but don't be so hard on
        yourself.  There's something I want
        you to think about.  The book says
        if you use your gun, use it to
        kill, that's what it's meant to do.
        You tried to pick this punk off
        with fancy shooting, to keep him
        alive.  To what end?  You're not
        willing to kill, you can't be a
        cop.  Go get drunk.  I am.

                         CUT TO:

 INT. HELEN'S OFFICE - NIGHT

    Helen is lying wide awake.  THE PHONE RINGS.  HER ANSWERING
 MACHINE -- SHE CAN HEAR IT CLEARLY IN THIS LOFT APARTMENT...

             ANDY (V.O.)
        If yo dialed carefully you've
        reached your dream number.  Now,
        you know what to do.
            (beep)

 "THE POLICE" SINGING "YMCA" IS HEARD!

 INT. NIGHTCLUB PAYPHONE NEAR THE  MEN'S ROOM

 PETER IS THERE ON A PAYPHONE:  HE NOW HOLDS UP A WALKMAN
 TAPE RECORDER TO THE MOUTHPIECE... PRESSES A BUTTON...

 INT. HELEN'S BEDROOM

 HELEN'S OWN VOICE IS HEARD.  ECHOING THROUGH THE LOFT SPACE
    FROM THE OFFICE.  "YMCA" HEARD IN B.G.  Helen leaps out of
    bed and runs down the hall, as:

             HELEN (V.O.)
        ... their compulsion is less about
        sex than it is about control.
        Power.  Action.  Release from
        passivity.  Albert DeSalvo, Bianchi
        and Buono, Berkowitz, Dahmer...
    Dahmer killed his first victim
        because the boy just wanted to go
        home.  Bundy said he wanted to
        master life.  And death...

    She has reached the machine: she picks up the phone...

             HELEN
        Peter Kurten!

 INT. CLUB PAYPHONE - NIGHT

 PETER HANGS UP THE PHONE, SLIPS THE TAPE RECORDER IN HIS
 POCKET AND TAKES A FEW STEPS TO THE MAIN FLOOR OF THE
 NIGHTCLUB.  OVER HIS SHOULDER WE CAN SEE: ANDY AND HAL
    DANCING.  Andy is wearing a bright and distinctive jacket.

                         CUT TO:

 INT. HELEN'S APARTMENT - NIGHT

    A new guard, FRED, is letting M.J. in.  FOR THE FIRST TIME,
    HELEN IS GLAD TO SEE HER.  As M.J. walks down toward her...

             HELEN
        You were right!  He knew me!  He
        went to my lectures.  He recorded
        them!  Listen to this...

    She is too full of her own shock to wonder why M.J. is here
    at this hour and to notice the state M.J. is in... she has
    turned back to the answering machine and hits the play
    button, M.J. standing beside her... She also has the text of
    the lecture on her computer screen:

             ANSWERING MACHINE
        ...Action.  Release from passivity.
        Albert DeSalvo, Bianchi and Buono,
        Berkowitz, Dahmer... Dahmer killed
        his first victim because the boy
        just wanted to go home.  Bundy said
        he wanted to master life.  And
        death...

 AND THE MUSIC FROM THE NIGHTCLUB BLARING IN THE B.G.
    Helen has turned and now sees M.J.'s condition.  SHE STOPS
 THE TAPE...

             HELEN
        What happened to you?!

             M.J.
        Ruben's dead.   So stupid, a cop
        thing, a crazy kid and a buncha
        dumb mistakes... I'm sorry...
        because you and he...

    Tears start again, just running down, no sobs, but she can't
    will them away.  She brushes at them angrily...

             M.J.
        I just thought it was so --
        unprofessional.  Of you both!

             HELEN
        He felt sorry for me.  It was so
        nice to flirt.  He was a darling
        man.

             M.J.
        A man?  I thought he was a boy.
            (bursting out)
        This last Christmas was the
        happiest Christmas I had in the
        last ten years... you know why?  It
        was the first Christmas in six
        years I was not in love.  Son of a
        bitch married men!  Who cares about
        marriage, the bed just gets crowded
        and noisy?!

             HELEN
        You're exhausted.  Let me get you a
        brandy.

             M.J.
        Where's the john?  Let me clean up
        this mess, and get back to work.

    Helen has stepped to her brandy decanter; M.J., too dejected
    to move, sits, staring now at the only thing to stare at: the
    computer screen.

             HELEN (O.S.)
        Who's the married man?

             M.J.
        What does it matter?  This guy, you
        checked your course records, who
        signed up?

    Helen returns with the brandy.  M.J. holds it, doesn't drink,
    just stares at the computer screen, emotionally dead...

             HELEN
        The University computer is down for
        maintenance, but I've been going
        through my own notes...

             M.J.
            (her voice is dead)
        Look.  There's the order:  you
        wrote it:  DeSalvo, Bianchi &
        Buono, Berkowitz and Dahmer.  It's
        going to be Dahmer next.  Which
        means he'll kill a man.

    With an effort of will M.J. moves to the phone, putting the
    brandy down.

             HELEN
        Yes.  Dahmer!  And after that...

             M.J.
            (dialing)
        Bundy.  That's the last one in your
        speech...

             HELEN
        Maybe you should...

             M.J.
        I'm working on it!  It's what I do.
            (into phone)
        Quinn...Halloran.  I'll wait.
            (to Helen)
        Where's Andy, can we get some
        coffee in here?

             HELEN
            (she's going through
             records)
        Out.  Where does he go?  Nowhere.
        What does he do?  Nothing.

                         CUT TO:

 EXT. BAYSIDE RESTAURANT - BELVEDERE OR SAUSALITO - DAY

 A BRIGHT LOVELY DAY, PEOPLE DINING AND DRINKING IN THE SUN,
    on a deck that faces the Bay and San Francisco's towers
    beyond.  Young people, drinks in hand, dressed to go to a
    summer wedding, mingle and laugh and chatter.  A young woman
    stands leaning back against the wooden rail, her back to the
    Baby.  A young man faces her, talking, laughing.  HE LEANS
 CLOSE TO WHISPER IN HER EAR AND SHE LEANS BACK, DRAWING HIM
 CLOSER TO HER -- SEXY!  AS HE WHISPERS HE CAN SEE OVER HER
 SHOULDER INTO THE WATER BELOW.

    REVERSE, CLOSE: YOUNG MAN -- His face registering horror at
    what he sees: he stops speaking, and the GIRL turns to look
    down to see what is it he's looking at, and begins to
 SCREAM...

 THEIR POV.

    Below, floating in the water is ANDY, wearing his bright
    jacket, except it's not all of Andy.  HIS HEAD IS MISSING.

                         CUT TO:

 REVERSE: (TIME HAS PASSED).  FROM WHAT WOULD BE ANDY'S POV
 -- FACES LOOKING DOWN.  M.J., QUINN, SAKS AND CORONER'S
 MEN...

 THEIR POV.  NOW RUBBER BOATS HAVE BEEN TIED IN A RING
 AROUND THE BODY.  DOC IS DOING HIS WORK, PREPARATORY TO
 LIFTING THE BODY OUT OF THE WATER...

 HE PULLS A WALLET OUT OF THE POCKET AND HOLDS IT UP TO THE
 PEOPLE ABOVE.

 M.J. TAKES IT.  BEGINS TO LOOK THROUGH IT.  SHE IS NUMB WITH
 EXHAUSTION AND SORROW.

                             CUT TO:

 INT. HELEN'S APARTMENT - DAY

    Her teeth chattering, HELEN tries to talk.

             HELEN
        I am not going to talk about it.
        How do you know it was Andy if the
        head was gone?  Where is the head?
        Are you looking for it?  Oh, God,
        why him?  Because of me.  I can't
        talk about it.  I write about
        things like this, stuff it all in
        books and bury it in libraries.
        This is the first person close to
        me who's ever died.  And it's
        because of me.  This monster killed
        him because I loved him.

             M.J.
        I've got to go.  I've got to go.

    M.J. hands HELEN her bottle of Xanax.

             M.J.
        How many do you need to sleep.
        Really sheep?

             HELEN
        W-We had a fight.  I called him...
        called him a name...

             M.J.
        Christ, Helen.  The first time,
        we're ahead of the son of a bitch!
        I can't leave you like this -- and
        there's no time.  Knock yourself
        out.

    Offers the Xanax again.  Helen looks at the bottle...

             HELEN
            (beat)
        Right.  Well.  He's going to do
        Bundy.  Bundy faked injuries, wore
        a plaster cast, or walked on
        crutches, and asked college girls
        for help -- carrying his books,
        pushing his car...

    M.J. starts for the door... Helen has turned to her
    computer and types... meanwhile we are HEARING.

             M.J. (V.O.)
        Like the others -- he'll pick the
        most extravagant murder -- Bundy's
        three murders in one night at a...

    And we SEE Helen's message on the computer screen...

 PETER KURTEN, PLEASE CONTACT INTERNET HUDSONHEL@UNIVOLD.COM.

                         CUT TO:

 INT. TASK FORCE - DAY

    M.J. IS MOVING FROM DESK TO DESK... ISSUING INSTRUCTIONS, in
    continuous segue from above...

             M.J.
        ...Chi Omega sorority house.  Find
        out how many Chi Omegas there are
        on college campuses this area.

             DETECTIVE
        How far out?

             M.J.
        Hundred mile radius.

    To the next...

             M.J.
        What are the FBI doing?

             DETECTIVE 2
        They were combing Fertility
        clinics.

             M.J.
        You want to get onto the DMV, we
        want records on all gold or yellow
        colored VW bugs, any year.  I want
        an in-person check on every
        registered owner.  If it's rental --
        check rental first -- get names and
        location of who is driving one now.

    Next station.  QUINN has appeared and is listening.

             M.J.
        Alert Campus Security on college
        campuses, all of them.  They should
        warn all female students with long
        straight dark hair parted exactly
        in the middle -- I'm serious! -- to
        avoid any strange male contacts and
        report any man with an apparent
        handicap who tries to get them to
        carry groceries or books, or push
        his car...

    SAKS has appeared and stands by Quinn: they both stare at
    her and she becomes more and more self conscious and aware
    of how impossible this is...

             M.J.
            (to them)
        That was Bundy.  He killed forty of
        them, identical, long hair, parted
        in the middle, alike as Barbie
        dolls.
            (breaks off)
        ...this is hopeless.  Let's try to
        get time for a police spokesman to
        appear on college radio and TV
        hookups and broadcast a warning?

             QUINN
        "Spokesperson."

             SAKS
        What about auto body and paint
        shops; any recent VW bug repainted
        to gold or yellow?

    M.J. is mildly surprised at help from this source.

             M.J.
        You or us gonna do it?

 QUINN AND SAKS TURN TO EACH OTHER: TURF WAR.

                         CUT TO:

 FERTILITY CLINIC - DAY

    NITROGEN FOG swirls as a Stainless steel tubule is lifted
    out its bath of liquid nitrogen, with a long pair of tongs.
    CAMERA FOLLOWS TO REVEAL PETER FOLEY, in white lab coat.
    Through a glass partition, he SEES two unmistakable FBI men
    enter and begin talking to the receptionist in an outside
    office.  HE CONTINUES ABOUT HIS WORK.  CAMERA STAYS ON THE
 FBI MEN AND RECEPTIONIST.  CUT BACK TO WHERE PETER WAS
 WORKING.  THERE IS ONLY A PAIR OF RUBBER GLOVES AND LAB COAT
 LYING ON THE WORK SPACE.  A BACK DOOR IS CLOSING...

                         CUT TO:

 INT. HELEN'S BEDROOM 

 HELEN'S BED IS EMPTY, COVERS THROWN BACK.  A GLORIOUS
 MORNING.  THE TV'S LEAP INTO LIFE.  WE HEAR OVER: HORRIBLY
 CHEERFUL VOICE:

             TV (V.O.)
        Welcome to weekend gridlock on the
        Freeways!  Everybody heading for
        the mountains and or the sea,
            (sings)
        "by the sea, by the sea, by the
        beautiful sea," and my-oh-my what a
        mess!  On 101 south of Burlington,
        we have a big rig over the side,
        blocking the on-ramp..."
            (etc., blah, blah)

 INT. HELEN'S OFFICE - CURTAINS DRAWN - STILL NIGHT HERE...

    Helen at her computer... which says

 BACK ON LINE -- SORRY FOR THE DELAY.

 THESE ARE CONFIDENTIAL UNIVERSITY RECORDS
 REQUIRING APPROVED AUTHORIZATION
 PLEASE TYPE YOUR PASSWORD:

    Helen types -- 'xxxx xxxx' appears on screen.  Then a
    message:

 DOCTOR HELEN HUDSON, YOUR ACCESS LEVEL IS THERE.

             HELEN
        Any student name registered in
        Crime-Psych 137 matched to titles
        of term papers with any mention of
        'Peter Kurten.'

    What she types on SCREEN is the text for a Boolean search
    for such items (research needed).  She waits for a second.

 SEARCH COMPLETED    STUDENT NAMES:  342
             CRIME-PSYCH 137  11
             TERM PAPERS     736
             PETER KURTEN           1

 MATCHING ALL CRITERIA: PETER FOLEY

 'PETER FOLEY, DOCTORAL CANDIDATE, 1991 TERM PAPER,
 'PSYCHOPATHOLOGY OF SERIAL KILLER PETER KURTEN AS A SYMPTOM
 OF SOCIAL UPHEAVAL AND POLITICAL VIOLENCE IN GERMANY CIRCA
 1936,' UNPUBLISHED.

             HELEN
        Peter Foley.  Good God.  You poor
        sad little bore.  I failed you, is
        this what...?

    SOUND:  HER FRONT DOOR OPENS.  She starts, turns.  Feet
    moving toward her, but quietly, cautiously.  As the
    footsteps turn into the hall.  She stands, reaching for
    anything to defend herself with: a paperknife.  She moves to
    the door, raising the knife... footsteps closer... A man
    turns into the office, and she launches herself, only
    stopping the stab of the knife at the last split second...

    ANDY.  She SCREAMS!

             ANDY
        Stop screaming!

    She screams again.  Then smothers him with kisses and
    hugs...

             ANDY
        For God's sake, stop -- my head!  I
        have the Iraqi mother of all hang-
        overs.  Very quiet in the hospital
        zone, please.

    She clings to him.

             HELEN
        Where have you been?  What happened
        to your wallet?

             ANDY
        Hal has it.

                         CUT TO:

 INT. SQUAD ROOM - NIGHT

    SAKS is sitting on edge of a desk.  M.J. is standing, and
    QUINN is sitting almost knee-to-knee with ANDY.

             ANDY
        ...then he gave me a popper and I
        started to feel really wild... all
        over the dance floor.  Then
        suddenly I was just s o stoned.  And
        sick?  I had to race for the
        john... horribly sick.  Over and
        over and over.  I was in there a
        very long time.  And when I came
        out they were gone.  So was my
        jacket which I'd tossed to Hal when
        I was dancing.  Hal was my...
        Could I have a glass of water?

    An FBI man intrudes... with a printout of a driver's
    license.  He shows to Andy...

             FBI
        Mister Saks.  We gotta Peter Foley,
        medical technician in a fertility
        clinic in Oakland.  We got a home
        address in Daly City.

             ANDY
            (looking at license)
        That's him.

             SAKS
        Got him!

 THE FBI AND THE COPS ALL RISE AND ARE ON THEIR WAY OUT.

             QUINN
        I called our SWAT Commander...
            (to Saks)
        He's ours now... You come watch
        our boys in action...

    And walks away...

             SAKS
            (under his breath)
        Well, thank you, too.

                         CUT TO:

 EXT. OLD FRAME HOUSE, DALY CITY - NIGHT

 SWAT TEAM SURROUNDING THE HOUSE, WITH GREAT QUIET AND EFFORT
    TO CONCEAL THE OPERATION.  QUINN in command over a SWAT
    COMMANDER -- JENSEN.  There are ambulances, a fire truck,
    search lights.  SWAT TEAM, AND FBI all wear bulky flack
    jackets, with yellow ID stencilled on the back.  Quinn sees
    M.J., huddled in her old oversize jacket, gestures M.J.
    should have a flack jacket like theirs.  She taps her chest,
    where she has a bullet-proof vest under her shirt.

 THE HOUSE:  VARIOUS SHOTS, SILHOUETTED FIGURES MOVING TO
 VANTAGE POINTS FOR THE ASSAULT.

 ON A VIEW INCLUDING A CELLAR WINDOW: LIGHT INSIDE.  AS
 CROUCHED SWAT MAN RUNS BY WE SEE: PETER INSIDE, PASSING BY,
 GLANCE OUT...

 INT. PETER'S BASEMENT

 PETER HESITATES, LOOKING OUT.  HE FLICKS OFF LIGHTS.  MOVES
 PURPOSEFULLY OUT OF FRAME... WE HEAR A MOAN (O.S.).

 A HAND GASPS THE HANDLE OF WHAT LOOKS LIKE A GUN; AS IT IS
 BROUGHT UP INTO A WIDER VIEW IT HAS A LONG BARREL WHICH
 SUDDENLY SHOOTS FLAME: A PROPANE BARBECUE LIGHTER...

 EXT. HOUSE

 THEY ARE ALMOST READY FOR THE FIRST MOVE; THREE SWAT MEN BY
 THE DOOR.  ANOTHER TWO PREPARING TO MOVE FORWARD AND
 ANNOUNCE THEMSELVES.

             SWAT COMM
            (on bullhorn)
        Peter Foley, we are the police.
        Will you please come to your front
        door, and come out with your hands
        above your head...(etc.)

 INSIDE A SMOKE ALARM BEGINS TO GO.  LIGHT FLICKERS IN CELLAR
 WINDOWS.

 SWAT MEN AT THE DOOR: THEY SMASH THE LOCK AND CHARGE IN.  M.J.
 AND OTHER DETECTIVES WITH THEM.

 INT. HOUSE

    A dozen men pour into the house from front and back,
    converging in the dimly lit living room.  SMOKE OBSCURES
    EVERYTHING.  The dining room and kitchen are empty.  M.J.
 FOLLOWS CONTINGENT THAT RACES UPSTAIRS.  OTHERS FAN OUT
 THROUGH THE WHOLE STRUCTURE.  FIREMEN COME BEHIND LOOKING
 FOR THE FIRE.

 INT. PETER'S BEDROOM - NIGHT

    SMOKE IS THINNER HERE.  The room lighted only by the
    glowing TV screen.  The WIFE still in bed, shot through the
    head.  Others crowd in, kicking in closet and bathroom
    doors.  M.J. IS BY THE  BED JUST TURNING TO START ABACK
 DOWNSTAIRS LOOKING FOR PETER.

    SWAT MAN emerges from the bathroom with the body of NASTY
    LITTLE DOG, holding it by the tail:

 THEN THE FIRE DEPARTMENT'S WARNING SIRES SHRIEK:  THEY MEAN
 EVERYBODY OUT... FIREMEN CHARGE FOR EXITS...

 AS THEY CHARGE THROUGH DOWNSTAIRS...

 M.J. CAN SEE TWO FIREMEN AT THE BASEMENT DOOR.  SMOKE BILLOWS
 FROM UNDER IT.  BEHIND IT WE HEAR SCREAMING.  THE FIREMEN
 SMASH THE DOOR, DROPPING TO THE FLOOR AS THEY DO...

 M.J'S POV: BLACK SMOKE BILLOWS OUT ACROSS THE CEILING
 THEN EXPLODES INTO WHITE HOT FLAME.  SHE HAS STEPPED FORWARD
 SO SHE CAN SEE OVER THE FIREMEN DOWN INTO THE BASEMENT: IN
 THE SUDDEN FLARE SHE SEES A MAN, WITH TIN-RIMMED GLASSES AND
 BLACK LEATHER CLOTHING ENTIRELY ENGULFED IN FLAME RUNNING UP
 THE BASEMENT STAIRS; BEHIND HIM THE BASEMENT IS BURNING.

 INT. BASEMENT

 LOW ANGLE LOOKING UP STAIRS: FLAME ALL AROUND -- PETER'S 
 PHOTO COLLAGES ON THE BULLETIN BOARD BURNING.  THE MAN 
 RUNNING UP THE STAIRS ALMOST MAKES IT TO THE TOP BEFORE
 HE FALLS BACK DOWN INTO THE CAMERA.  AT THE TOP, WE SEE M.J.
 AND THE FIREMEN'S APPALLED FACES.  THE SCREAMING DIES OFF...

 EXT. HOUSE

 FLAME NOW ENGULFING THE BASEMENT AND GROUND FLOOR: FIREMEN
 AND M.J. RACING OUT COUGHING AND CHOKING.

 THEN: A HUGE HOT FLOOM OF AN EXPLOSION: FLAMES THREATEN TO
 CONSUME THE ENTIRE HOUSE.  FIREMEN SWARM BACK TO KNOCK DOWN
 FLAME FROM OUTSIDE.

 M.J., QUINN, ETC., WATCHING THE EVIDENCE GO UP IN SMOKE.
 THEIR FACES LIGHTED BY THE FLAME.

                         CUT TO:

 INT. HELEN'S OFFICE - NIGHT

    She has now changed into a pair of sweat pants and a
    T-shirt.  SUSAN SCHIFFER IS ON TV: WITH SHOTS OF THE FIRE
 BEING SNUFFED OUT.

             SUSAN
        I am here with Lieutenant Quinn of
        the Homicide Division and (title)
        Saks of the FBI.  Can you tell us
        what happened here, tonight?

    During the following we move to PETER'S HOUSE where Quinn
    and Saks are being interviewed.

             QUINN
        Susan, the San Francisco Police
        Department, assisted by the FBI,
        developed evidence that the serial
        killer, referred to as the Copycat
        killer was an individual who
        resided at this address.  Upon
        being asked to step out of the
        house to be interviewed, the
        suspect set fire to the house
        possibly to destroy evidence of his
        wife's murder.  We found her dead
        of gunshot wounds in an upstairs
        bedroom.  He himself died in the
        fire.
            (to shouted
             questions)
        No, we'll wait until we've located
        any relatives who should be
        notified.  Witnesses saw the
        individual burn to death, they were
        unable to reach him in time to save
        him.  We're glad, as the entire
        city must be glad, this reign of
        terror is ended.  No, no more at
        this time.  Thank you...

 END OF HELEN STARING STONILY AT THE SCREEN:  SHE DOESN'T
 BELIEVE IT FOR A MOMENT.

                         CUT TO:

 INT. TASK FORCE ROOM - NIGHT

    M.J., wearily enters.  Others quietly entering, slipping out
    coats, talking and drinking at some distance.  M.J. takes
    off her shoulder holster and gun and puts them down on her
    workspace.  NIKKO is at little distance cleaning out his
    desk.  He comes down to her as she sits...

             NIKKO (V.O.)
        I heard. Good police work.

             M.J.
        Just horseshit luck.

             NIKKO
        Don't ever forget how good you are.

    He is standing behind her and leans over to almost touch her
    hair with his lips...

             NIKKO
        I love you.

    He goes.  M.J. twists in misery and fury... Her phone is
    ringing on another line; she punches it...

             NJ
        Halloran.

             HELEN
        I don't believe it.

             M.J.
        Helen.
            (beat)
        I saw him die.  I saw him burning on
        the basement stairs, he never
        reached the top.

             HELEN
        They never kill themselves.  How do
        you know it was him.  You never met
        him.  You never even saw a
        photograph...

             M.J.
        Helen -- let go.  You've got to let
        go.

             HELEN
        He hasn't done Bundy.  He's done
        every one of the others, hasn't he?
        If there are three dead Chi Omega
        college girls tomorrow, how will
        you feel?  Go there.  See if there
        could be any way for him to escape.

             M.J.
        This has been the worst 48 hours of
        my life.  I'm going home.  I'm going
        to try to get drunk.

             HELEN
        If there's a one percent possibil-
        ity, can you live with yourself
        when he kills again?

             M.J.
        Oh, shut up, and don't be so damn
        self righteous.

                         CUT TO:

 INT. M.J'S CAR - NIGHT

    M.J. is now almost dead with fatigue.  She barely misses
    hitting another car.  She drives on until she is forced to
    stop at a traffic light.  All during this:

             RADIO NEWS
        ...You're on the air, who's
        this...Ron, that's not my right
        name... that's okay, Ron. What are
        you afraid of?... I don't want
        anybody to know my name, because
        I'm a friend of Peter Foley?  I 
        know him from the gay community?  He
        was cruising the night...

    M.J. switches stations, channel surfing... bits of music,
    Rush Limbaugh, back to Ron droning on.

             RADIO NEWS
        ...that I resent the tone of the
        Police and their attitude?  That
        this is just some weird queer
        event, just because they couldn't
        stop this guy until he did himself,
        if you even believe that...

    M.J. turns off the radio... when light turns green,
    instead of moving ahead, she just sits for a moment.  Then,
    furious with HELEN, with everything, she swears and wheels
    the car into a tight illegal u-turn.

                         CUT TO:

 EXT. NIGHT BERKELEY CAMPUS - NIGHT

    It is extra time, which means party time or those who've
    finished and solitary and group study time for the rest.
    And there are celebrants of the Festival of Love, who were
    being born about the time of the original event.  TRACKING
 SHOT TO ESTABLISH THIS SCENE, MOVING, SEARCHING ALONG THE
 AVENUES, PASSING KNOTS OF STUDENTS AND PARTY-GOES... WE
 HAVE SEEN A PEACEFUL CAMPUS, QUIETLY CELEBRATING.  AND WE
 HAVE DRAWN UP BEFORE CHI OMEGA.  THERE IS NO PLACE TO PARK.
 M.J., WHOSE POV THIS HAS BEEN LOOKS AT HER WATCH.
 DECIDES: FUCK IT, THIS IS CRAZY AND IS ABOUT TO DRIVE AWAY,
 SHIFTING INTO GEAR WHEN SHE SPOTS:

 POV.  A GOLD COLORED VW BUG

    It is parked under a tree some distance across a parking lot
    jammed with student cars.  It is partly in shadow, so she
    could easily have missed it.  She jumps out of the car and
    moves fast up the steps through students, drinking, kissing,
    studying, arguing...

 INT. CHI OMEGA - NIGHT

    MAIN MEETING ROOM.  Full of people milling about.  Music is
    playing.  SEES THE BACK OF A TALL MAN ON CRUTCHES TALKING TO
 A COED.  HE HAS A LOAD OF BOOKS SHE TAKES FROM HIM; SHE IS
    LAUGHING.  M.J. moving fast toward them, she runs into a
    girl, spilling the girls' drink on her blouse...

             GIRL
        Goddamn it!  This is brand new!
        Where're you going?

    As M.J. continues to move the Girl grabs her...

             GIRL
        No, you don't spill all over
        somebody and just walk away, you
        damn well pay the cleaning bill...

             M.J.
        Police business -- take your heads
        off.

             GIRL
        Bullshit!

    M.J. holds up the badge...

             M.J.
        Don't make me pull the gun...

    She jerks away, almost knocking the Girl down.  The Girl is
    yelling, beginning to attract attention.  As M.J. turns back
    to SEE.

    PETER AND THE COED are just moving off, the Coed holding his
    books, he hobbling on the crutches.  M.J. runs through the
    crowd toward him, and those who notice are pissed... she is
    getting close when, just as he and the coed would pass from
    sight behind a wall, PETER looks around, straight at M.J..

 IT ISN'T PETER AT ALL.

 M.J. LOOKING AROUND, MOVES TO STAIRS TO SECOND FLOOR...

 M.J. EMERGING FROM STAIRS INTO THE CORRIDOR -- SHE RUNS DOWN
 THIS CORRIDOR OF ROOMS, PUSHING OPEN ANY THAT ARE SHUT.

 A SCARED COUPLE MAKING LOVE CONFRONT HER GUN.  SHE
 REHOLSTERS IT AND RACES DOWN THE HALLWAY...

 OVER THE PARTY NOISE AND MUSIC WE HEAR A SCREAM.  M.J. RACES
 DOWN CORRIDORS, TRYING TO FIND THE SOURCE.  ANOTHER SCREAM.
 IT SEEMS TO COME FROM BEHIND A CLOSED DOOR.  M.J. KICKS IT
 OPEN, BURSTING IN:

 INT. ROOM

 A BUNCH OF STONED STUDENTS PASSING A JOINT: ON A TV PLAYER
 IS THE IMAGE OF JAMIE LEE CURTIS IN AN EARLY SHOCKER: THEY
 ARE PLAYING AT WHO CAN OUT-SCREAM JAMIE LEE CURTIS.

 WHEN JAMIE LEE CURTIS SCREAMS --

 THEY ALL SCREAM BACK!  AND BURST INTO HOWLS OF LAUGHTER.  THE
 SIGHT OF M.J. WITH HER GUN OUT ONLY MAKES THEM HOWL LOUDER.

             STUDENT
        Swallow the joint!  It's Barney
        Phyfe -- in drag!

 THEN ALTOGETHER THEY SCREAM AT HER!  AND HOWL WITH LAUGHTER.

 THE HALL. 

    M.J. walks out of the room and down the corridor.

 EXT. CHI OMEGA FRONT STEPS

 SHE LOOKS OUT ACROSS THE PARKING LOT: THE GOLD VW BUG IS 
 GONE.

 SHE WALKS TO HER CAR, RELIEVED.  THE WHOLE THING SEEMS LIKE
 A NIGHTMARE FROM WHICH SHE HAS NOW AWAKENED.

 INT. M.J'S CAR

 AS SHE OPENS THE DOOR, REACHES IN AND GRABS HER PHONE.  SHE
 ACTIVATES PHONE, WHEN SHE IS BLINDSIDED BY PETER WHO SLAMS
 HER INTO THE CAR, FACE DOWN ACROSS THE FRONT SEAT.  HE 
 DISARMS HER, TWISTS HER INTO THE PASSENGER SEAT...

 THERE ARE STUDENTS AT SOME DISTANCE, BUT SHE CAN'T MAKE
 HERSELF BE HEARD.  SHE IS GROGGY FROM THE BLOW SHE'S TAKEN.
 HE HANDCUFFS HER TO THE CAR, FIND HER KEYS, AND BEGINS TO
 DRIVE AWAY... PETER'S HAIR IS NOW BRIGHT RED -- LIKE DARYLL
 LEE CULLUM'S.

                             CUT TO:

 INT. HELEN'S APARTMENT - NIGHT

    Helen lies wide awake in the dark.  PHONE RINGS.

 INT. TASK FORCE ROOM - NIGHT

 INSERT: TAPE RECORDER ATTACHED TO PHONE.  IT STARTS TO TURN.
 AT THE FAR END OF THE ROOM AN FBI DETECTIVE IS POURING HIMSELF
 SOME COFFEE.  HE WOULDN'T BE ABLE TO HEAR WHAT WE HEAR:

             HELEN (V.O.)
            (thinking it's M.J.)
        Where are you?

             PETER (V.O.)
        Hi.  It's your worst student, Peter
        Foley -- how do you grade me now,
        Doctor?

 HELEN ON PHONE

             HELEN
            (beat)
        Who was the man in the basement?

             PETER
        You like that action?  Didn't that
        cop on TV look solemn?  The guy in
        the basement doesn't matter,
        anyway, just another lonely heart.

             HELEN
        Where are you, Peter?

             PETER
        You thought I was going to do Ted
        Bundy next, so you sent your
        partner...

    Helen gasps with the implications of that...

             PETER
        What was that?  What am I hearing?
        The sound of an epiphany, a sudden
        blinding insight?

             HELEN
        It's Daryll Lee Cullum, isn't it?

             PETER
        Mm-hmm.  I can't get to you.  You
        have to come to me.

             HELEN
        You know I can't do that.

             PETER
        Oh, I think you will.

    Peter rips duct tape off M.J.'s mouth...

             M.J.
            (yelling)
        Call the police!  Now!  Call Qui...

    Peter punches M.J. who is handculled in her car; they are
    parked in front of the Lecture Hall.

             HELEN
        For God's sake Peter, leave her out
        of it.  You don't want her, you
        want me.

             PETER
        I need her; she's a cop.  I have to
        kill a cop, and then...

             HELEN
        You've been perfect.  Don't spoil
        the symmetry -- you have to have a
        male cop.

             PETER
        I don't care -- she's a cop.  That's
        the important thing.  Cop-ness, not
        sex-ness.  It won't be perfect, but
        it'll be good.

             M.J.
            (yells)
        Call Quinn and Saks.

             PETER
        I'm tired.  I want it to end
        tonight, don't you?

             HELEN
        Yes.  I do.  I want it to end now.
        Let her go.  I'll come -- just let
        her go.  She's not important.

             PETER
        You know where.

             HELEN
        Where it began -- McCluskey
        Auditorium.

    He hangs up.

 INSERT: TAPE MONITOR.  WE HEAR HELEN HANGING UP.  A SMALL
 COMPUTER CHIP VOICE IS HEARD.  THE FBI MAN IS MEASURING
 SUGAR INTO HIS COFFEE AT THE OTHER END OF THE ROOM.  HE CAN'T
 HEAR:

             COMPUTER VOICE
        Time Zero-hundred and twenty -- two
        minutes and sixteen seconds June
        twelve 1994 Helen Hudson 415 320
        1854 Court order Alpha Bravo
     9765910...

 BATHROOM DRAWER

    It is pulled open: metallic sounds of  bullets rolling on the
    wooden drawer: her hand bats away the usual bathroom drawer
    garbage and pull Ruben's gun out; HER TREMBLING FINGERS
 RELOAD IT.

 EXT. HELEN'S OUTSIDE HALL - NIGHT

    Helen wearing loose coat, jeans and sneakers opens the door.
    FRED snaps out of a sound sleep.

             HELEN
        It's all over, Fred.  They got the
        guy.  You go home to your own bed
        now.

             FRED
        I got to have that from my
        superior.  One guy fired off this
        job already.

             HELEN
        Call in.  Use my phone.  They'll
        tell you -- it's all over.

 FRED GOES.  HELEN STEPS RESOLUTELY INTO THE HALL, FOR
 REASSURANCE BRACES HERSELF WITH A HAND ON THE WALL.

 THE HALLWAY (HER POV).  IT SEEMS MILES LONG.  SOUND: HER
 FRONT DOOR CLICKING SHUT -- THE SAME ESSENTIAL EVENT AS SO
 LONG AGO WHEN RUBEN HAD TO SHOOT OFF THE DOOR LOCK...

 HELEN LOOKS BACK AT THE DOOR.  BRIDGES BURNED.  TURNS BACK.

 HER HAND ON WALL: AS SHE MOVES A TENTATIVE STEP HER HAND
 PRESSES HEAVILY, SLIDING ALONG THE WALL.  THEN HER HAND
 MOVES A LITTLE FASTER, AND FASTER.

 HER POV.  THE HALL SEEMS MORE NORMAL.  MOVING SHOT PICKS UP
 SPEED...

 HER HAND NOW BRUSHES THE WALL WITH ONLY FINGERTIPS.

 HELEN MOVES WITH MORE AND MORE CONFIDENCE: HER AGORAPHOBIA
 IS GONE... HER HAND DROPS TO HER SIDE...

 EXT. HER BUILDING - NIGHT

    The door opens and Helen appears in it.  She confronts the
    street and the night... One more threshold to cross...

 STREET: HER OLD SAAB IS PARKED.  THE ANTENNA IS GONE, AND
    IT'S COVERED WITH CITY GRIME.  The night seems to roar; the
    lights blur and flare.  A truck comes past too fast, 
    stirring up dust and buffeting her with wind.

    HELEN steeling herself and running the few steps to her car.

    INT. CAR as she slides into the driver's seat, slamming the
    door and locking it.  She drives off into the night.

 EXT. MULUSKEY AUDITORIUM -  NIGHT

    A broad view through shadowy trees shows it's lighted
    facade.  Parked in front of is M.J.'s car.  SUDDENLY FROM
 BEHIND THE TREES, SAKS STEPS OUT IN FRONT, BLOCKING THE WAY!

 REVERSE:  HELEN'S CAR IS COMING UP THE STREET TOWARDS US.
 SAKS (AND NOW WE SEE OTHER SWAT TYPES IN THE SHADOWS, HIDDEN
 FROM THE VIEW OF THE AUDITORIUM) STANDS IN THE STREET
 FLAGGING HER DOWN --

 SHE STOPS, PUTTING DOWN WINDOW.  SAKS RESTS HIS HAND ON THE
    DOOR... He shoves no sign of recognizing her...

             SAKS
        Ma'am, please get out of your
        vehicle...

             HELEN
        Merry, how... oh, Christ, of
        course, you had my phone tapped.

             SAKS
        Just get out of your vehicle...

             HELEN
        He's got Sergeant Halloran in
        there.  He'll kill her the minute
        he sees or hears your people...

             SAKS
        You've been very useful, Doctor, we
        appreciate all you've done, and now
        the professional will take over...

             HELEN
        He wants me, he doesn't care about
        her.  Let me...

 SAKS HAS THE DOOR OPEN AND IS REACHING TO PULL HER FROM THE
 DRIVER'S SEAT... HELEN SUCKS IN HER BREATH AND JAMS ON THE
 GAS.  SAKS IS ALMOST DRAGGED AWAY WITH HER, SPUN AROUND AND
 FALLING ON THE PAVEMENT.  SHE SLAMS THE DOOR AS SHE SPEEDS
 TOWARD THE AUDITORIUM...

 SAKS, CURSING, LEAPS TO HIS FEET; A SWAT TYPE AIMS HIS GUN
 AFTER HELEN, BUT SAKS PUTS HIS HAND ON THE WEAPON STOPPING
 HIM FROM SHOOTING.

    NEW ANGLE: Helen's Saab speeds out of the tree shadowed
    street into the bright plaza in front of the auditorium, and
    brakes behind M.J.'s car.

    CLOSE: HELEN.  Sudden silence when she kills the car engine.
    She gets out of the car.  As she walks even her sneakers
    make an echo from the silent stone facade... She walks up
    the wide stairs...

 INT. AUDITORIUM - NIGHT

    The huge doors creak open and Helen enters.  She stands,
    listening: light streams in from the exterior through tall
    windows, otherwise it's all back shadows, weird enough
    without the distorted vision, the vertigo that momentarily
    returns...

    Helen wills herself to move into the deep space before her.
    She stands listening: we HEAR the creaks and tiny snaps of a
    building cooling in the night air.  Or is the movement of
    Peter somewhere in the room?

    She whirls to face a distance sound that echoes in the
    auditorium...

    CLOSE: HELEN staring, trying to SEE.  NOTHING.

 THEN:

 PETER IS STARING BACK.  HIS FACE BECOMES DARYLL LEE.  THE
 VISION SNAPS.

 HELEN: SHE TURNS AND WALKS PAST THE ROSTRUM OF THE STAGE TO
 A DOOR UPSTAGE LEFT... OPENING INTO A LONG AND DARK
 CORRIDOR.  SHE GROPES FOR LIGHT SWITCHES, CAN'T FIND OUT ANY.
 THE CORRIDOR LEADS TO THE LADIES' ROOM ON THE RIGHT.  AS SHE
 WALKS DOWN THE HALLWAY, IT BEGINS TO RESEMBLE TO HER THE
 SAME WALK SHE TOOK AT THE BEGINNING: AND SUDDENLY AT THE
 DOOR TO THE LADIES' ROOM SHE SEEMS TO SEE THE FAT COP.  SHE
 SHAKES HER HEAD AND THE VISION IS GONE.

 REPLACED BY INT. LADIES' ROOM.  THE COP IS NOW HELD FROM
 BEHIND BY DARYLL LEE - SMILING AT HELEN.  IN REVERSE, WE SEE
 FOR THE FIRST TIME THAT HELEN HAS THE ROPE WELL AWAY FROM
 HER NECK.  WE REALIZE SHE HAS AMPLE TIME TO WARN THE COP,
 BUT SHE IS PARALYZED, FASCINATED BY WHAT IS HAPPENING IN
 TERRIBLE SLOW MOTION INTERCUTS BETWEEN DARYLL LEE GRINNING
 AT HER, HELEN'S HELPLESS HORROR, THE COP'S APPEALING LOOK TO
 HER AND BACK TO DARYLL LEE AS (BELOW THE FRAME) HE SLITS THE
 COP'S THROAT AND LETS HIM FALL TO THE FLOOR.

 HELEN (FLASHBACK) AT LAST BEGINS TO SCREAM!

 CLOSE: HELEN (PRESENT) RECOVERING.  (SHE HASN'T SCREAMED AT
 ALL.)  SHE PULLS RUBEN'S GUN FROM HER POCKET AND SHOVES OPEN
 THE DOOR INTO THE LADIES' ROOM.

 AS THE DOOR OPENS.  THE LIGHTS ARE ON: IT IS BRILLIANT,
 BLINDING IN HERE.  SHE STEPS IN.  THERE IS A SOUND THAT
 DRAWS HER ROUND, HER GUN COMING UP: BACK OF THE DOOR IS THE
 BROOM CLOSET... SHE FIRES TWO ROUNDS INTO THE CLOSET DOOR.
 IT SPRINGS OPEN AND MOPS AND PAILS FALL THUNDEROUSLY OUT
 ONTO THE TILE FLOOR.

 SHE WHIRLS TO COVER HER BACK; FACES THE STALLS.

 EXT. SAKS' ROADBLOCK - NIGHT

 THEY REACT TO ECHOES OF THE GUNFIRE.

             SWAT
        Oh, man?!  Let us in there.

             SAKS
        Go.  Go.  Go!

    Men begin moving cautiously out of the trees and shadows
    toward the Auditorium...

 INT. LADIES' ROOM

 HELEN MOVES ALONG THE STALLS PUSHING DOORS OPEN.  UNTIL SHE
 SHOVES ONE OPEN AND SEES:

 M.J. IS HANGING BY A NOOSE, DANGLING THE SAME WAY HELEN DID
 IN THE OPENING SEQUENCE.  SHE IS ALIVE, HOLDING THE NOOSE
 FROM HER NECK BY ONE HAND...

 HELEN STARTS TO RUSH TO HER ASSISTANCE, WHEN THE LIGHTS GO
 OUT.  PETER TAKES HER FROM BEHIND, SWIFTLY DISARMING HER,
 REGARDING THE GUN WITH AMAZEMENT.

             PETER
        You cheated!  You said you'd come
        die with me.

 WITHOUT PAUSE HE PUMPS TWO BULLETS INTO M.J. WHERE SHE
 HANGS.  HER BODY JUMPS FROM THE IMPACT OF THE BULLETS, HER
 HEAD FLIES BACK AND SHE SLUMPS, THE NOOSE TIGHTENS; THE DOOR
 OF THE STALL SWINGS SLOWLY SHUT, AS PETER TURNS ON HELEN,
 WHERE SHE LIES ON THE FLOOR, HORROR-STRUCK.

 EXT. AUDITORIUM - NIGHT

 WITH EFFICIENCY AND CAUTION FBI SWAT TYPES MOVE TOWARD THE
 AUDITORIUM.  A GRAPPLING HOOK IS THROWN HIGH OVER THE ROOF;
 THEY PREPARE FOR AN ASSAULT.  A HELICOPTER SWOOPS IN, BATHING
 THE SCENE IN ITS BRILLIANT LIGHT...

 INT. AUDITORIUM STAGE - NIGHT

 PETER HAS HELEN ON THE STAGE WHERE CHAIRS ARE RANDOMLY
 SCATTERED AND PUSHED HER TO A SEAT FACING HIM, ALMOST KNEE
 TO KNEE... HELEN WILL USE HER PSYCHOLOGICAL WILES TO TRY TO
 TAKE AWAY PETER'S CONTROL OF THE SITUATION... PETER LOOKS UP
 AT THE SOUND... HE IS PROUD AND THRILLED.

             PETER
        Listen to them!  We'll be on all
        three channels.

             HELEN
        Kill me, Peter, do it, now.

             PETER
        No.  Not yet.

             HELEN
        Do it.  If that's what all this
        carnage is about, then do it.  Have
        enough guts to do it.

             PETER
        Don't talk to me about courage.  I
        know death, what it's like to kill.
        You're not a killer -- you watched
        Daryll Lee kill that cop and you
        didn't make a peep, because you
        were paralyzed with fear.  You
        chocked.  I know something else about
        you.

    Peter is jerking about with amphetamine energy; he pops a
    pill into his mouth and swallows...

             PETER
        You want one?  No?  There was
        something in you that was
        fascinated, that wanted to see what
    it was like for a man to die.
        Everybody feels it.  Like every
        person who slows to see a bad
        accident, or runs to see a fire.
        That's true.  I see it in you...
        you're the same as me.

 THERE IS NOISE OUTSIDE... LIKE SOMEONE BREAKING IN.

             PETER
        Oh, no.

 HE GRABS HER, AND SHE MOVES WITH HIM, WITHOUT RESISTANCE, AS
 HE TURNS OUT THE LIGHTS INSIDE.

 FLOODLIGHTS SUDDENLY ILLUMINATE THE FACADE OUTSIDE,
 INCREASING THE BRILLIANCE OF THE LIGHT STREAMING IN AND
 DARKENING THE SHADOWS FURTHER.  GERMAN EXPRESSIONISM.

    He leads her back to the stage... he pushes her into a chair
    facing him... He looks into her face and smiles...

             PETER
        We'll keep talking.  Until they get
        here.  Then...
            (smiles)

             HELEN
        I have no life anymore.  I ruined
        your life, make me pay for it.

             PETER
        Why did you do that?  Didn't you
        have any idea how hard it was for
        me, to get that far?  I worshipped
        you.  You inspired me.  I thought
        you could understand me the way you
        understood the others.  I knew that
        about you -- the ones you admired
        were the great murderers; they
        fascinated you.

             HELEN
        That's not who I admire -- I admire
        people who are good at what they
        do, great artists, writers,
        thinkers...

             PETER
        I don't have the talent for any of
        those things.  All I have a talent
        for is death.  And I am one of a
        kind.  What do you think of your
        student now?  I have made you
        famous, I am your creation and your
        monument.

 BEHIND HIM A SHADOWY FIGURE DARTS FROM HIDING SPOT TO A
 VANTAGE POINT: WE CAN'T MAKE OUT THE FIGURE... HELEN SEES
 BUT PETER DOES NOT.

             HELEN
        If you let me, I can make you more
        famous than any of them.

             PETER
        Oh, please.  I know what's coming,
        now.  "Let me help you..."

             HELEN
        Do anything you want to me.  I give
        myself to you.  Only put the knife
        down.  Isn't this what you always
        wanted?  I know it's what we all
        want, to love and to loved.  I
        could love you.  You could work
        together in some safe place, learn
        to really understand you, help you,
        give you some peace of mind, some
        happiness...

             PETER
        Back in the driver's seat again,
        Doctor?  That old dream -- study us
        to see what makes us sick.  So you
        can find a cure -- they'd name it
        after you?  Death is the only cure
        for people like me.

    He leans toward her with the knife.  This might be the
    moment.  His gun lies on the floor beside him.

 HER EYES HAVE FLICKED TO THE SHADOW BEHIND HIM; HE SEES IT
 AND STOOPS TO PICK UP THE GUN AND FIRES INTO THE SHADOWS,
 TWO OR THREE QUICK ROUNDS.  HE TURNS BACK TO HELEN, DROPPING
 THE GUN TO REACH FOR THE KNIFE.

 HELEN HEAD BUTTS HIM WITH ASTONISHING STRENGTH, KNOCKING HIM
 BACKWARD.  SHE STANDS... HE COMES UP WITH GUN... AND AIMS AT
 HER...

 BEHIND HIM M.J. STEPS OUT OF THE SHADOWS HAVING NOW A CLEAN
 SHOT.

 HELEN DOESN'T GIVE A CLUE, JUST LOOKS INTO PETER'S EYES AS
 M.J. AND PETER IN SLOW MOTION DETAILS AS SHE LINES UP HER
 SHOT: SHE COULD KILL HIM OR GO FOR THE EXPOSED SHOULDER.

             HELEN
        Do it.  For God's sake, now...

 M.J. FIRES.

 PETER IS SPUN AWAY FROM HELEN BY THE IMPACT, STANDS THERE,
 SHAKING WITH THE SHOCK OF THE HIT... HE STARES AT HER.

             PETER
            (surprised, like a
             child)
        You hurt me!

 M.J. HOLDS HER GUN ON HIM, READY TO SHOOT AGAIN, BUT HE JUST
 GOES DOWN ON ONE KNEE, HIS BODY VIOLENTLY SHUDDERING... AS:

 THERE IS A HUGE SOUND OF BREAKING GLASS AND THEN AN ENORMOUS
 EXPLOSION THAT THROWS THEM TO THE GROUND.

 THE BIG FRONT DOORS ARE BLASTED OPEN, AND THE FLAK VESTED
 SWAT TEAM SWARMS THROUGH... SMOKE FROM THE CONCUSSION
 GRENADE SWIRLS IN THE CHIAROSCURO OF FLOODLIGHTS AND
 SHADOWS.

 OUT OF THE SMOKE COME SKI-MASKED SWAT MEN...

             M.J. & HELEN
        No!!

 PETER TURNS TO THE SWAT TEAM, OFFERING HIMSELF, AS THE WOMEN
 SCREAM TO THE SWAT MEN'S WOUNDED AND HARMLESS...

 A PATTERN OF RED DOTS FROM LASER BEAM SIGHTS ON THE SWAT
 TEAM RIFLES DAPPLE PETER'S HEAD AND TORSO.

 SWAT TEAM

 LIKE A FIRING SQUAD THE TEAM FIRES.

 PETER'S BODY FLIES THROUGH THE AIR FROM THE IMPACT AND
 SLIDES SPRAWLING ACROSS THE STAGE TO A STOP.

                         CUT TO:

 INT. AUDITORIUM - LATER

 M.J. SITS AS PARAMEDIC GENTLY PULL OFF HER SHIRT AND THE
 BULLET PROOF VEST THAT SAVED HER LIFE.

             M.J.
        Jesus that hurts.  You think the
        rib is busted?

             PARAMEDIC
        That looks like just a bad bruise.
        I'll tape it up if you want to...

             M.J.
        I'll take some Tylenol and codeine,
        instead, how about a lot of number
        six?

    The medic turns to his medicine bag.  Cops swarm around
    them.  Helen sits down next to M.J.  M.J. begins to put on
    her shirt, wincing at the movement.  Helen helps her.

             M.J.
            (it hurts)
        Oh, God.

 SAKS AND QUINN EMERGE THROUGH THE CHIAROSCURO OF SMOKE AND
    LIGHT AND SHADOW.  When M.J. sees him she takes out her gun
    and hands it to him.  It is what he expects, but she
    misunderstands -- she is offering it to him as her
    resignation from the cops.  He takes it only as a part of
    officer related shooting routine.  SHE LOOKS INTO HIS FACE
 AS HE SMELLS THE MUZZLE, KNOWS SHE FIRES IT, APPROVED.

             QUINN
        I'll take it, kid.  You take two
        weeks paid leave.  Don't waste a
        second thinking about that shitbag.
        Then come back.  You're a cop, M.J.

    He nods to Helen...

                QUINN (cont'd)
        Get the civilians outta here.

             M.J.
        She's in no shape to give her
        statement tonight...

             QUINN
        No, she can come in tomorrow...
        gonna want to know a lot of
        things...

    B.G. the cops have pulled PETER'S BODY BY THE FEET, LETTING
    HIM BUMPITY BUMPITY BUMPITY DOWN THE STEPS from the stage
    and lifted him onto a gurney.  The body is wheeled past
    them, as...

             HELEN
        The only one who could tell you
        what you really need to know is
        dead.

             QUINN
        Yeah, it's a thought...

    Of no importance to him, he turns away...

 INT. AUDITORIUM - NIGHT

    In the LOBBY area between the auditorium proper and the big
    exterior doors (now the worse for wear from the concussion
    grenades).  Outside, through the glass we SEE a media circus
    under the BRIGHT LIGHTS put up for the assault.  M.J. and
 HELEN SQUINT AGAINST THE LIGHT, AND TURN...

 THE AUDITORIUM (POV).

    The cops and technicians are working away; at one side is a
    small door -- easy escape.  They run toward it...

 EXT. MCCLUSKEY AUDITORIUM - NIGHT

    It is dark where they step out into the night.  Around the
    corner of the building we see the light from the MEDIA
 CIRCUS.  THEN HELEN STEPS OFF DOWN INTO THE DARK CAMPUS.
 M.J. LOOKS AT HER: REALIZING: HELEN IS NO LONGER AFRAID.
 SHE CATCHES UP TO HER.  HOLD ON THEIR BACKS AS THEY WALK
 AWAY...

             M.J.
        You could use a long hot bath, you
        know that?  You better get somebody
        to drive you home.

             HELEN
        Why can't I drive home?  I will.
        You.  Look at you.  You need a ride
        home.  And you don't even know it.

             M.J.
            (beat)
        Well, thanks.

    The two women continue down toward Helen's car, just outside
    the circle of media.  CAMERA RISES AND RISES TO A HIGH FULL
 SHOT.

    THE MOUTH AND THE HAIRCUT spot them and race toward them.

             SUSAN
        Hey!  Halloran!  What's the story
        here?

    On the two women getting in the car...

             HELEN
        If she has to ask, she's never
        gonna know.

 HIGH FULLSHOT OF THE CAMPUS AS THEY DRIVE AWAY INTO THE
 NIGHT.

             THE END

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