Background:
John and Michael are surprised to see their mother Eve McBain
at the dinner party Marcie threw for Michael. Al tried to access
Michael's memories but was not able to do so, he thinks that
for some reason Michael submerged them deep into his subconscious.
It appears that Eve prefers John. Also, Eve seems preoccupied
with her singing career.
After the party they all leave, but Natalie returns to John's
hotel room. When she is there she is attacked by the killer.
Later John finds her, she is still alive, and not badly hurt.
The killer has left him a note, "If I wanted her dead,
she'd be dead. Ditto 3 23. I control the case. I control your
life." It appears that he did not kill Natalie for a reason,
he is toying with John. However, the next time it will be for
real. It is evident that the killer is stepping up his plans
to fluster John, to get back at him.
Later John gets a phone call from the killer, again with a disguised
voice. The killer wonders if he received the note. John tries
to fluster him by feigning ignorance. The killer warns him not
to play games. John accuses him of being a coward and playing
games. The killer knows he is trying to get him angry so he
slips up. The killer wants John to feel how it is like when
someone else controls his life. John reminds the killer it is
not his life but his job, getting creeps and arresting them.
The killer tells him that he is soooo scared, and reminds John
that John has not found him but he has found John. Then he mentions
John's new girlfriend, and wonders if it hurts to know how easily
it is for him to get to Natalie. He then reminds John of Caitlin,
and her tragic end.
(Air
date Tuesday, February 3rd, 2004)
Scene
One: We see a photo of Jessica Buchanan, it looks like it is
some type of yearbook, a finger almost caresses the photo. Then
we see that it is Haver, intently looking at the yearbook. Rae
arrives.
He
looks up.
RAE:
Hi, um, listen (looking at her watch) I have a minute, ca....
can I sit.
STEPHEN: Please (motioning, then looking back
at the yearbook) Please do.
RAE: Good.
She
sits down. Looks at the year book.
RAE:
What are you looking at, the yearbook?
STEPHEN: Yes, just reading up on my new research
assistant. (Still fingering the page) Jessica is quite an impressive
young lady.
RAE: Yes, um, she's one of my best students
too.
STEPHEN: (Still appears engrossed in looking
at the yearbook) Um huh.
RAE: You're very lucky to have her.
STEPHEN: (Closing the book) Oh yes.
RAE: Listen, I wanted to ask you. Have you
heard anything from Bo or John McBain?
 STEPHEN:
No, no I haven't.
RAE: You know I just can't believe it, uh all
this time Troy MacIver had said he was framed by the killer,
and, of course none of us believed him.
STEPHEN: Yes, it's one of the most interesting
cases I've been consulted on, but, then again, that's all we're
doing consulting. You know I hate to say this, Rae, but I'm
beginning to get a feeling that the police are never
going to find the Music Box Killer.
Scene Two: Continuing their conversation.
RAE:
I think we have to have some faith in the police
and the FBI. They will catch this madman.
STEPHEN: I just wish there was more that we
could do. (Motioning) I....I... I have this feeling that he's
out there somewhere just laughing at them.
RAE: But he started to make mistakes.
STEPHEN: Yo.... you mean the attack the on
Sarah Roberts.
RAE: Yeesss! And I don't think it will be very
long before he slips up again.
STEPHEN: (Exhales, putting his hands together
to further his point) Rae did you consider for a moment that
perhaps the killer meant to leave Flash alive.
RAE: Why? Why.... why would he do that?
As
he talks she listens intently.
STEPHEN:
To taunt the police. To show that he has some power over them.
The power to.... to give life, as well as take
it away. I don't know. I mean, I've been thinking over each
one of the murders (motioning) one-by-one hoping that something,
anything, some kind of profile would jump out at me.
RAE: Has it?
STEPHEN: (Exhales, pauses, and nods his head)
Yes, I believe it has.
Scene
Three: Rae and Haver are still at the Palace Hotel bar. Haver
has just told her he believes he has a profile for the killings.
 STEPHEN:
(Thinking) The killer is a perfectionist, disciplined, fastidious.
RAE: (Leaning forward) Yes, like.... like he
(imitating the killer painting hearts) paints those little red
hearts on the cheeks of the victims, right?
STEPHEN: Yesss! He eats and dresses well, yet
he's too highly
disciplined to be
(motioning with his hands) extravagant or gluttonous. He has
an intellectual curiosity, and I venture to say.... that motivates
him to kill.
RAE: (Frowning) How?
STEPHEN: Well, just as a.... a pathologist
might use deadly bacteria on laboratory animals, our man kills
for the sake of knowledge. To.... prove a theory, simply put,
just to see what will happen.
Scene
Four: A manuscript is on the table, "THE THING HE LOVES
Comparative Analysis of Serial Murder In The Twentieth
Century Stephen Haver, Phd." Rae notices it, and
points to it.
RAE:
Hey is this .... is this your new book? (Reading the title)
"The Thing He Loves," (looking at Haver who is looking
at the manuscript) I like the title.
STEPHEN: Yes, it's from an Oscar Wilde poem,
one of my favorites.
REA: Really?
STEPHEN: The Ballad of Reading Gaol
(pauses and then begins to recite a passage, with almost a far
off look)
"Yet each man kills the thing he loves
Let each by this be heard
Some do it with a bitter look
Some with a flattering word
The coward does it with a kiss
(raising his eyebrows)
The brave man with a sword."
RAE:
Well! In the case of our Music Box Killer he does it with a
red leotard.
STEPHEN: Indeed!
Scene
Five: Jessica stops by John's hotel room to see Antonio, who
notices Haver's notes and files on other serial cases he studied.
They ask her if they could look at them and she agrees. They
discover a case wherein a doctor in Illinois was accused of
killing six women, who all had connections to his life. John
points out that it is very similar to MacIver and the Music
Box Murders. Antonio leaves, and so does Jessica. John remains
behind and continues to read the files. A CD of a 60s folk singer,
Janice Rivers [she is fictitious] is found near each of the
bodies. The investigators believed that the killer was leaving
behind each of Rivers' six CD by each victim -- the singer died
suddenly in 71, John reads. He notes that there were only six
records by the singer, and there were six murders.
Scene Six: John then calls for information on the killer. It
appears that while in prison, during his trial, he locked himself
in the infirmary, set a fire, and died. He hangs up, and sits
back to think this over, when his cell phone rings. He goes
to answer it and it is the killer, again using a voice distorter
to hide his voice.
JOHN:
McBain.
KILLER: Helllllloooo therrrreeee Johnny,
been thinking about me? I'vvee been thinking about you.
Hearing
the killer's voice again seems to throw him.
Scene Seven: He is on the phone with the killer. He regains
his composure, and tries to get the killer to talk enough so
that he can be located. He walks around his room.
JOHN:
Hey, thanks for sparing Natalie's life, I owe you one (sits down,
by the wall with all the Music Box Killer information).
KILLER: As I said in my note, if I wanted
her dead she'd be dead.
JOHN: Well you call the shots, right.
KILLER: It would serve you right, to kill
your new girlfriend.
John
is upset by this remark, and closes his eyes to control.
KILLER:
You tried to trick me with that bogus statement that Sarah Roberts
and Troy MacIver could identify me.
JOHN:
Yeah, I should've known you were too smart for that.
KILLER: Yeeessss, you should
have.
JOHN: (Slight smile) Yeah you know, it's almost
like you've done this before. Right down to leading the cops to
the wrong man.
KILLER: You're too smart for your own good,
Agent McBain. Lucky for me I'm smarter.
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