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Professor Stephen Haver Files
Episode Fourteen

(Air date Tuesday, February 17th, 2004)
Scene One: Back in her cell, Rae is stilling cross legged on the floor, propped up against a wall. She is dressed like some 60s hippie, with a floral shirt, bell bottoms, and wearing love beads. There is psychedelic music playing, and she appears to be drugged with some hallucinogen. Her lipstick and eye shadow are smudged. She wakes up and looks at her hands, and groans.
RAE: What?
A shadow appears and she groans. The camera sees through her eyes, and everything is distorted. The drugs are also making it difficult for her to speak.

RAE: Why.... why did you do this? Uh.

The person's face is distorted. But it looks like Stephen. A hand waves a small cloth under her nose.
RAE: Uh (groaning from the smell).
The hand grabs her chin firmly. And she groans in pain, and whimpers. He roughly rubs his fingers over her mouth and face. She pants.
RAE: No wai.... wait (swallowing).
The killer walks towards the door. He is wearing dark pants and shoes, we only see him from the knees down.
RAE: (Whispering) Wait!
But the killer walks out.
RAE: Please.... please (She rolls her head still suffering from the effects of the drugs) don't go.
The door shuts.
RAE: Don't go! Don't.... (almost sobbing) go.
The music has stopped, but now in the middle of the room a music box with ballerina, like the ones left by all the victims, is playing Tchaikovsky's Romeo et Juliet.

Scene Two: Jessica and Natalie are in the kitchen of their mother's house talking when Natalie's cell phone rings. She answers it and it is the killer, again using his voice distorter.

KILLER: Natalie, hello, I hope I didn't hurt your lovely neck.
Jessica walks over to Natalie.
JESSICA: Who is it?
Natalie does not answer.
KILLER: (Cont.) Please understand, all I was doing was making sure Agent McBain understood something important.
Jessica frowns, concerned by Natalie's odd behavior, she is frozen and is saying nothing.
KILLER: But don't worry.... you and I will get together again soon. I'm looking forward to spending time with you and that lovely sister of yours.
Natalie's eyes widen. Mechanically she puts the phone down, gasping in fear. Then she hangs up, closing her eyes. She looks over towards Jessica.

Scene Three: Rae is sitting, her legs crossed, still drugged; her bright lipstick smeared over her face. The voice of the killer is heard over some intercom, this time it sounds like Haver. He is speaking very hypnotically, and stretches out his words. The tiny music box sound of Romeo et Juliet can be heard playing.
KILLER: Hellloo, Raaeee! Glaadd you're feeellling bettterr!
Rae crawls on her hands and knees over to the center of the room where a music box is. She talks as she crawls.
RAE: If you are the Music Box Killer,.... (nearing the music box) why don't you just kill me? (Stopping) You're not going to get away with this (angrily slamming closed the lid, stopping the music). YOU'RE (slamming her hand down on the music box) NOT! PEOPLE ARE GOING TO START TO MISS MEEE!
She is panting and breathing heavily, and looking around.
KILLER: Liiiikkee wwwhhoo? Myrtle [Rae's mother]....

RAE: (Gasping) Uh....

KILLER: (Cont.) you never caallleedd! You never wrote! Your daughter Skye? She hates you!

RAE: (Shaking her head, upset by what he is saying; crying) Noooo, stop it (continuing to shake her head and silently sobbing)!

KILLER: Your sooo called familyyy couldn't care less

(Sobbing and shaking her head) I have friends uh... huh.... I have.... (gasping) I have patients.... and mee.... meetings! and--
She is about to say something more, but is upset and thus is having trouble talking. The Killer interrupts her.
KILLER: You have meeeee!
Rae is choking and sobbing, and continues to do so as he talks; she looks up towards the voice.
KILLER: (Cont.) Don't Worry! Rae, I'll take care of everything!
Scene Four: John McBain is searching through photos of press conferences for other serial killings when he gets a frantic call from Natalie about the call she just received from the killer. John and a team rush over there. Natalie tells him what the killer said. Jessica takes off secretly.

Scene Five: At the police station, an officer puts the finished photos on Bo's desk. Just then Jessica arrives. She makes an excuse to go to her Uncle Bo's office. Once there she sees he folder, and looks inside, examining the photos. It appears she sees something in them; then she secretly takes off.

Scene Six: Back in Rae's "cell" there is a black pantsuit with a wide collar cream shirt. She is still seated in the center of the room, and is fiddling with the music box.
RAE: (Gasping) Why? Why are you keeping me in here? You.... (picking up the music box and getting up) you really are a coward, you know that!
Walking around, waving the box around; still breathing heavily.
RAE: (Cont.) Your stupid little box, You.... you prey on innocent women who can't defend themselves. And you keep me locked in this room, and you won't even show your stupid face to me. You.... you really are a coward! With stupid little box.
Rae begins to smash the music box on a cabinet, panting. Just then all the lights come on. She looks around, then the killer's voice comes over the loud speaker, this time more distorted. As the killer talks Rae looks around.
KILLER: Rae,.... why are you deliberating goading me?
Rae looks around.

Scene Seven: Bo and John have returned to Bo's office. John sees the photos and goes over them. He notices something and shows the photos to Bo. Bo does not see what John sees. John points to someone with a mustache and wearing glasses. He thinks it is Haver in disguise. Bo thinks John is pushing it. John is positive that it is Haver. He says that Haver had contact with Troy MacIver, and he was associated with college campuses where the murders occurred. He then asks about Rae, what happened to her. No one has heard from her, she is not answering the phone, or her messages. He then wonders if maybe the White Rose, the killings in Illinois and the Music Box Killings were done by the same person; that person was Haver. Bo reluctantly agrees to having Haver's home investigated, but with only a "limited warrant." He says that he will send a copy of the photo of the press conference to the Illinois police to see if the recognize anyone in the photo.

Scene Eight: Rae is pacing round, kicking the clothes.

RAE: JUST SHOW YOURSELF TO ME! (Mumbling) Coward.... coward.... coward--

Haver reveals himself to Rae;
50sec; 1.8 Meg.

Just then the door opens and a bright light can be seen. Rae looks over startled.

OLTL014A: Haver reveals himself to Rae

STEPHEN: (In a chilling normal yet psychotic voice) Hello Rae, pay no more attention to the man behind the curtain.
Rae stumbles back by having seen that the killer is in fact Haver. Haver has a smug, pleased smile.

Scene Nine: Continues from the previous scene. Haver is acting as though it is a normal situation, though he is speaking rapidly, and at times smiling with an chillingily odd smile; his eyes do not appear to focus, but have a chillingily blank expression. Haver slams the door shut, the room now is dark.
STEPHEN: (As he talks he walks closer and closer to her) I really appreciate you (gesturing) helping an old colleague like this, Rae. Think about the exchange, (pointing to himself) you help me figure out why I'm doing what I'm doing and I (gesturing towards her) figure out a way to let you live. Well, just think, (gesturing rather wildly) if you could score enough analytic points getting me to change my ways....
He seems off in his own world. As he approaches Rae, she steps aside.
STEPHEN: (Cont.) ....I can get you to score the ultimate prize, a long, and ultimately happy life.
She backs away and nervously laughs.
OLTL014B: Stephen is really acting freakyRAE: Well now, let's be realistic, Stephen.
She is nervous and is breathing heavily. Stephen has this psychotic expression, chillingly calm and smiling. She backs towards the door.
RAE: (Cont.) I know too much. You can't allow me to live.

STEPHEN: Oh, come on, Rae, (smiling) at least we got to try.
Stephen's behavior is really freaking her out, she does not seem to know how to react to him without setting him off.

Scene Ten: Rae is nervously drinking from a small bottle of mineral water. She wipes her face, it appears a sign of her fear and nervousness, though she is trying not to show such signs. She recaps the bottle. She then tries to fish for clues.

RAE: Where are we? I mean.... is this a room in your house?

Haver is standing a few feet from her. He is very nonchalant, his hands in his pocket.

Haver has a proposal for Rae;
1 min; 2.3 Meg.
STEPHEN: Maybe. Maybe not. So, ready to play?
He takes out some device. Clicks a button and the lights all come on. Startled, Rae instinctively looks around. He puts it back in his jacket pocket, and returns to acting chilling friendly. She continues to nervously fiddle with the cap to the water.
STEPHEN: (Cont.) Come on, Rae, (gesturing) think of it this way, if this truly is your dying day, (stepping closer to her) let's make it interesting! Huh?
Then something comes to him and he walks around her, gesturing.
OLTL014C: Haver taunts herSTEPHEN: (Cont.) No, No, not interesting! Let's make it.... (trying to think; finally thinking of something) extraordinary!
He turns back to Rae, and she steps back, disturbed by his completely unbalanced state. She gasps, and puts her fist to her mouth. Stephen's eyes are wild looking. The more he talks the more she freaks out, though trying not to show it; she tries to step away from him.

STEPHEN: (Cont.) Who knows, maybe one extraordinary day will (gesturing to emphasize each word; smiling) lead to another, and another, and another--

Until you get bored.... and then you'll kill me.

OLTL014D: Haver tilts his head
Stephen tilts his head and looks at her, his expression is hard to decern
RAE: (Cont.) Right? (Trying to affect him) Your brother told me that your mother.... (choking) real hippie.... (takes a sip of water) when you were little? (Pointing to her wardrobe) Is that why yo.... you've dressed me like this?
Haver has been staring at her. Then he looks at her, almost as if he had not noticed about the clothing.
STEPHEN: (Chuckle) Huh, what an interesting observation.
Rae looks at him, confused (???). He continues to examine her dress, as if he is surprised by the observation.
STEPHEN: (Cont.) Why would I do something like that? (Raising up his hand finger extended to emphasize) But, (waving his finger around; walking around; putting his hand to his face) then again, we did make a suggestion about that in our report to the police, didn't we. And (Abruptly turning around pointing) I quote, "With all these homicides," (gesturing) "the murderer is killing the same person over, and over, and over again."
He appears spastic, and has that freakish expression and grin.

Scene Eleven: The police to go to Haver's place, but of course, no one is home. John tells the forensic team to get casts of any footprints around the house, which they do. Bo tells him that the police in Illinois did not recognize Haver, nor anyone in the photo. However, Bo is now becoming suspicious. He remembers Rae's reaction the last time they saw her. How she might have had some information when she came back from seeing Troy. He tells John that she was like someone who was mulling over in their mind some information, as if she were worried about someone, possibly and "colleague." Could she have grown suspicious and did not want to believe that it could be Haver, not wanting to tell them this until she was sure, hoping she was wrong, Bo asks John.

Scene Twelve: Haver flips out a daily planner. He hands it to her.
RAE: What is this? (Taking it)

STEPHEN: Think about it!
Rae looks at it, and flips through it. On various days, about two weeks apart there are numbers, "#9," "#8," "#7." She flips a couple more pages and then looks over towards him realizing what the numbers mean.

RAE: These are the days that you murdered those women. (A slight nodding of her head) with the red leotard.

Rae tells Haver he made a mistake, Haver reacts;
40 sec; 1.4 Meg.

He claps his hands, applauding her for understanding.

OLTL014E: Brrraavvooo


Rae continues to examine the date book.

RAE: And you know something, there's a mistake here, Stephen.

OLTL014F: He reacts to her saying he doesn't make mistakes

Stephen's expression changes, no longer confident, he looks at her confused, titling his head back and forth.

RAE: (Cont.) ....ummm, on January 23rd, (looking at him) the victim lived! Sarah Roberts is alive in London, remember?

OLTL014G: Haver imitates the LOST IN SPACE robotSounding like a buzzer they have on game shows for wrong answers pointing upwards with both his hands.

STEPHEN: (With a metallic, robot-esque sounding voice) Wrong answer! (Shaking his head, still affecting the voice) There are no mistakes.
He then imitates the robot from the old Lost in Space TV show; moving his arms up and down like the robot used to do, and imitating its voice.
STEPHEN: (Cont.) Danger! Danger! Will Robinson! (Obviously affected by her saying he screwed up) There are no mistakes! She lived because I let her live!
She stares at him.
STEPHEN: (Cont.) When I want someone to die....
He reveals a pair of red leotards, which he whips around, then stretches it out taunt. He wraps it around his other hand, and moves toward her.
OLTL014H: Haver goes after Rae with the red leotards
STEPHEN: (Cont.) ....they die!
With evil glee he moves towards her, and she backs up against the wall, falling against it; as he puts the leotards up next to her throat.

Scene Twelve: John returns to see Natalie. However, she in bed, relaxing after what has happened. John warns Jessica to avoid Haver, and to not meet with him. After he leaves, apparently remembering what Haver told her the other day about McBain losing it, she picks up her cell phone and punches in a number. It is Stephen's and his answering machine is on.
STEPHEN: Hi, this is Professor Stephen Haver. Please leave a message and I'll get back to you as soon as possible.
There is the beep, and Jessica is about to leave a message but hesitates. Then decides not to do so.

Scene Thirteen: Rae is sitting on the low cabinet, and in tears. Haver is behind her, flush up against her. His face resting on the back of her head. He is moving the leotard back and forth over her throat. Talking almost seductively, making it more chilling. Rae is gasping and trying to swallow.
STEPHEN: How does that feel Rae? Soooft, isn't it?

RAE: Will you.... will you tell me something?
Continuing to move it back and forth, seductively, and looking down at her almost like a lover.

OLTL014I: Haver seductively and chillingly runs the leotards by Rae's throat

STEPHEN: Ssuurre. Why not.

RAE: First of all, uh, (swallowing) it.... it (shaking her head) wasn't a mistake. I know that I know that if you wanted Sarah Roberts to live, (breathing heavily) she would have lived. An.... and if you want m.... me dead yo--

STEPHEN: (Interrupting) You'd be cold by now.

RAE: Yes, uh, because you don't make mistakes, Stephen. (Swallowing) Because.... that would mean you are out of control....

His expression changes, her remarks have affected him. He is just staring.

OLTL014J: What Rae says affects hi.

RAE: (Cont.) and.... (shaking her head) you never out of control, are you?
He whips away the leotards. Then throws them to the side; then walks off. She closes her eyes in relief.
STEPHEN: Very good, Rae. (Turning back to her) Very good. You just bought yourself a little more time. (Becoming confident again) Now, the calendar. You know what the calendar means, don't you?!

RAE: (Turning to him, holding the date book) Yes. (Trying to be confident, putting her hand to her chest) And uh, so do the police, Stephen. You're counting down your victims.
Earlier the police discovered that each victim had a number itched into her skin, the first victim had a "10" and counting down. Haver raises an eyebrow, with an expression that implies he is impressed.
RAE: (Cont.) Sarah Roberts was "# 3," that means you have two more to go.... Am I one of them?

STEPHEN: What do you think--

RAE: No!
Haver cocks his head examining her. She continues to hold on to the date book. Her confidence has returned. She is back to being the shrink trying to manipulate and understand him.
RAE: (Cont.) No, I don't think so! I.... I just interfered. I don't believe I'm part of your master plan.
He stares at her with a chilling look.
RAE: (Cont.) Which means, (licks her lips and nods, figuring it out) that you are going to kill two more young women. (Swallows to get the nerve to ask) Who are they?

STEPHEN: I'll leave you to think about that, Rae. (Starting to walk away) While you're thinking, (walks backwards, stopping before the door) think on this, (opening the door) there's nothing you.... or anyone else can do now to stop this.

OLTL014: Stephen tells her no one can stop him now

With a slight smile he leaves, as Rae realizes there is nothing she can do to save the next victims. She closes her eyes and sighs.

RAE: Oh, oh boy.
She walks toward the cabinet and sits on it, bending her head in frustration.