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.
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.
why did you do this? Uh.
person's face is distorted. But it looks like Stephen. A hand
waves a small cloth under her nose.
Uh (groaning from the smell).
hand grabs her chin firmly. And she groans in pain, and whimpers.
He roughly rubs his fingers over her mouth and face. She pants.
No wai.... wait (swallowing).
killer walks towards the door. He is wearing dark pants and
shoes, we only see him from the knees down.
the killer walks out.
Please.... please (She rolls her head still suffering from the
effects of the drugs) don't go.
Don't go! Don't.... (almost sobbing) go.
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.
walks over to Natalie.
Who is it?
does not answer.
(Cont.) Please understand, all I was doing was making sure Agent
McBain understood something important.
frowns, concerned by Natalie's odd behavior, she is frozen and
is saying nothing.
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
eyes widen. Mechanically she puts the phone down, gasping in
fear. Then she hangs up, closing her eyes. She looks over towards
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.
Hellloo, Raaeee! Glaadd you're feeellling bettterr!
crawls on her hands and knees over to the center of the room
where a music box is. She talks as she crawls.
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!
is panting and breathing heavily, and looking around.
wwwhhoo? Myrtle [Rae's
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
RAE: (Sobbing and shaking her head) I have friends
uh... huh.... I have.... (gasping) I have patients.... and mee....
is about to say something more, but is upset and thus is having
trouble talking. The Killer interrupts her.
You have meeeee!
is choking and sobbing, and continues to do so as he talks;
she looks up towards the voice.
(Cont.) Don't Worry! Rae, I'll take care of
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.
(Gasping) Why? Why are you keeping me in here? You.... (picking
up the music box and getting up) you really are a coward, you
around, waving the box around; still breathing heavily.
(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.
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.
Rae,.... why are you deliberating goading me?
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.
JUST SHOW YOURSELF TO ME! (Mumbling) Coward....
the door opens and a bright light can be seen. Rae looks over
a chilling normal yet psychotic voice) Hello Rae, pay no more
attention to the man behind the curtain.
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.
(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....
seems off in his own world. As he approaches Rae, she steps
(Cont.) ....I can get you to score the ultimate
prize, a long, and ultimately happy life.
backs away and nervously laughs.
Well now, let's be realistic, Stephen.
is nervous and is breathing heavily. Stephen has this psychotic
expression, chillingly calm and smiling. She backs towards the
(Cont.) I know too much. You can't allow me to live.
STEPHEN: Oh, come on, Rae, (smiling) at least
we got to try.
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.
Where are we? I mean.... is this a room in your
is standing a few feet from her. He is very nonchalant, his
hands in his pocket.
Maybe. Maybe not. So, ready to play?
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.
(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?
something comes to him and he walks around her, gesturing.
(Cont.) No, No, not interesting! Let's make it....
(trying to think; finally thinking of something) extraordinary!
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.
(Cont.) Who knows, maybe one extraordinary
day will (gesturing to emphasize each word; smiling) lead to
another, and another, and
RAE: Until you get bored.... and then
you'll kill me.
Stephen tilts his head and looks at her, his expression is hard
(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?
has been staring at her. Then he looks at her, almost as if
he had not noticed about the clothing.
(Chuckle) Huh, what an interesting observation.
looks at him, confused (???). He continues to examine her dress,
as if he is surprised by the observation.
(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."
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
What is this? (Taking it)
STEPHEN: Think about it!
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.
These are the days that you murdered those women. (A slight
nodding of her head) with the red leotard.
his hands, applauding her for understanding.
to examine the date book.
And you know something, there's a mistake here, Stephen.
expression changes, no longer confident, he looks at her confused,
titling his head back and forth.
(Cont.) ....ummm, on January 23rd, (looking at him) the victim
lived! Sarah Roberts is alive in London, remember?
like a buzzer they have on game shows for wrong answers pointing
upwards with both his hands.
(With a metallic, robot-esque sounding voice) Wrong answer! (Shaking
his head, still affecting the voice) There are no mistakes.
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.
(Cont.) Danger! Danger! Will Robinson! (Obviously affected by
her saying he screwed up) There are no mistakes!
She lived because I let her live!
stares at him.
(Cont.) When I want someone to die....
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.
(Cont.) ....they die!
evil glee he moves towards her, and she backs up against the
wall, falling against it; as he puts the leotards up next to
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.
this is Professor Stephen Haver. Please leave a message and I'll
get back to you as soon as possible.
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.
How does that feel Rae? Soooft, isn't it?
RAE: Will you.... will you tell me something?
to move it back and forth, seductively, and looking down at
her almost like a lover.
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
changes, her remarks have affected him. He is just staring.
(Cont.) and.... (shaking her head) you never out of control, are
whips away the leotards. Then throws them to the side; then
walks off. She closes her eyes in relief.
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.
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.
(Cont.) Sarah Roberts was "# 3," that means you have
two more to go.... Am I one of them?
STEPHEN: What do you think--
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.
(Cont.) No, I don't think so! I.... I just interfered.
I don't believe I'm part of your master plan.
stares at her with a chilling look.
(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.
slight smile he leaves, as Rae realizes there is nothing she
can do to save the next victims. She closes her eyes and sighs.
Oh, oh boy.
walks toward the cabinet and sits on it, bending her head in