date Thursday, February 26th, 2004)
In Natalie's room, Haver is there. He is wearing surgical gloves
and is carrying a leather case. He opens it revealing what looks
like a miniature camera. He examines it in his hand, and scans
Scene Two: In the cabin, Jessica is horrified, realizing that
everyone was right about Haver.
Scene Three: Back in Natalie's room, the phone rings and answering
machine kicks in. It is Carlotta, Antonio's mother. She was just
checking on Natalie, worried about her "with this killer
running around." Haver listens in intrigued when he hears
Carlotta say that she has made arrangements for Cristian's memorial
-- Natalie and he had a very short lived wedding; he is also Carlotta's
son, and Antonio's brother. She also asks Natalie to have Jessica
call when she hears from her, because she is worried about her.
(Nods) I'll make sure she gets the message.
He looks round
with a evil smirk.
Scene Four: Jessica is able to find a phone. and gets in touch
with Antonio. He tells her to find some clue as to her location:
A phone number somewhere, a paper, mail, anything. Just then they
Scene Five: At Rodi's, Natalie is bartending and an obnoxious
customer is harrassing her about an order. Just then he is interrupted
by a voice, it is Stephen's.
fella, take it easy, the lady's having a rough day!
stares. She cannot believe Haver's brashness.
(Cont.) I tell you what, I'll get you another drink and you can
make it a double.(Nods and smiles at her) Make it a double.
customer hands her his glass. She goes to fill the drink, and
glares at Haver. Haver, has a pleased look on his face, knowing
he is making her anxious. She gives the jerk customer his drink
and he walks away. Haver, with a slight smirk, walks up to the
(With hate, in a soft voice) Where's Jessica?
STEPHEN: (Feigning ignorance and innocence) Jessica,
I don't know. She dropped me at the station.
NATALIE: (Raising her voice) Get out! (Shouting)
STEPHEN: (Calmly) I'm sorry, I can't
NATALIE: (Pointing) See that cop over there, do
you want me to call him over here?
STEPHEN: (A slight smile) I much rather you call
the FBI, I prefer John McBain's company. Very smart
many -- a little misguided, perhaps -- he has this
idea that I'm the Music Box Killer.
NATALIE: (Defiantly) I am not
afraid of you! And John sure as hell isn't!
STEPHEN: (Just looking at her) You have alot of
faith in John, don't you?
Just then John's
voice is heard.
Would you step away from the bar, and put your hands in the air!
to him, and with a slight smile looks at him, defiantly, and slightly
Scene Six: Back at the cabin, Jessica has been able to call Antonio
again. She finds a fuse box, and inside finds a number, "717-555-0115".
After a while, the police have tracked down the number. Antonio
calls her back and tells her that help is on the way.
Scene Seven: Back at the bar, Haver continues his innocent act,
taunting John further. He puts out his hands in humility.
McBain, it's a pleasure. Could I get you a drink--
With that John
lunges for Haver, and throws him against the bar.
He frisks him.
Temper, John, temper.
NATALIE: Get this low life out
of my bar!
Haver back around.
You know, I would love to. Besides, I think he's
had too much to drink.
STEPHEN: I haven't had anything
JOHN: Sure you have look at yourself....
He grabs have
and throws him around, knocking over chairs and things. The cop
guarding Natalie goes over to them.
(Cont.) ....you're stepping all over the place, Haver.
to toss him round, the cop tries to intervene, somewhat.
JOHN: Look at that public drunkenness...
JOHN: (Cont.) ....disorderly conduct.
him towards the exit.
JOHN: (Cont.) ....destroying private property.
STEPHEN: (Disheveled, though enjoying it all) Wait,
John.... Natalie.... I'll.... see you later....
JOHN: I'll think we'll go for a little walk! [hard
to understand] See this one outside.
Once in the
entrance way to the bar, John slams Haver against the brick wall
and "Rodi" sign. John grunts and groans. He then throws
him against the other wall. Haver groans. Haver pants.
Listen to me, you go into her place again, you're
a dead man! Do you got me?!
STEPHEN: (Panting, but pleased at how John blew
up in public) Go ahead, John, show me what you're capable of.
JOHN: Yeah, (jerks him free).
him Stephen in the stomach; Stephen groans and doubles over in
pain. Next John throws him against the wall again. Just then Bo
arrives, putting his hand on John's shouldering, stopping him.
[This interchange is hard to hear, I tried to get as much of the
dialogue as possible]
John, John, John let him go! Come on! Come on!
STEPHEN: (Gasping) I.... Commissioner.....
BO: If you just, back away.
STEPHEN: (Cont.) .... I have to file a complaint,
Commissioner. You saw that.
BO: (Puts out his arm, shrugs) Saw what?
I didn't see anything.
back at Bo, surprised. Haver is still panting.
(Motioning) Get out of here!
I'm telling you, John McBain is a alot more dangers
than you think!
toward him with a evil glare.
You have no idea how dangerous I can be!
John walks off;
Bo follows. Haver calls out to Nora who is just walking by.
NORA! Ah.... Ooh.... Uh, hopefully (gestures) we can, ah, pick up
where we left off. After (looking over) this silliness is all cleared
She gives him
a look, not believing his gall.
(Cont.) No? I.... I thought that we really hit
to stare at him in disbelief. He is still panting, and gasping.
She walks off and, looks back at him a couple of times.
He walks off
in another direction.
In some type of command center, there are close circuit screens,
and a lap top. A figure in dark sits down by the lap top, pressing
a couple of keys. The camera pans to Haver, who then types something
on the keyboard. The first two screens are dark, the third has
some messages on it, figures and things. He looks over at the
first screen which comes on, showing a room. It is the cabin where
he has Jessica.
Clever girl, you found the phone. But then, I knew
Jessica in the cabin.
Scene Nine: At Rodi's, Nora, Bo, Natalie and John are talking
about what happened. Bo warns John about not doing anything which
could get any information they have on Haver thrown out in court.
The guys leave. Natalie knows that Haver was just playing with
her, if he wanted her dead she would be dead. Natalie is furious,
her sister believed Haver and he used her. Nora says Haver is
a egomaniac, who thinks he is god. However, he *will* eventually
make a mistake, and when that happens they will have him.
Scene Ten: Back in Haver's "control center." Haver is
monitoring the screens. He is thinking about something, and then
we see a flashback.
It is the cabin, earlier. Jessica is holding
the cup of tea he had prepared for her. She puts her hands to
her head. She looks like she is drowsy. Haver is watching. He
leans forward and beings to speaks to her softly, calmly, soothingly,
It's okay. It's okay. I-I.... I just.... I just gave you something
to help you relax.
the cup from her.
I.... I don't.... I don't want it.
STEPHEN: (Exhaling) Haa.... Yo.... you know I can't
tell you how much your support means to mean, Jessica. Really! I-I....
It's more than I can say.
up and walks over to the cabinet. On it is a tape recorder, which
he turns on. Repetitive, freaky music begins to play.
Why are you doing this?
STEPHEN: Shh.... (as if starting a post hypnotic
suggestion) I trust you,.... Jessica. Always!
looks as if she is under hypnosis.
(Cont.) And you, you trust me, too! I'm
the only one you really can trust!
towards her, her head is buried in her hands. He sits next to
her, and continues his calm, soothing act.
(Cont.) It's okay. Just relax. If you feel any confusion, if you
feel any worry my voice will always calm you. (Motioning
to the music) This music will aallwaays calm you!
JESSICA: (Shaking her head trying to break the
suggestion) Nooo, no, no! (Trying to get away, softly) No, no....
STEPHEN: (Stopping her) It's okay, okay. It's okay!
Jessica, don't fight it. (Gently pulls her back
towards him) Just relax. Go deep, deep inside. To a place that's
saafe. Quiet. And warm.
nods slightly. She is back in his control. His head bobs up and
down, gently, hypnotically, as part of his brainwashing.
(Cont.) Yeeesss! Just feel it waasshh over you
like warm waves. (Smiles) You feel that? Yeeesss!
You trust me! Jessica! Always! I
trust you! You know the police are wrong!
There's no reason to be afraid of me. It's John McBain!
John McBain is Daangerous! Antonio Vega is Daangerous!
They will hurt you. Do you understand? Do you hear
to the present. Haver is pleased. He flips open his cell phone.
Then he hits a key, and then begins to type something on his lap
top's keyboard. The same music begins to play. He motions along
with his hand as if conducting. In the back the terminal has graphs
A phone rings.
On another of the screen we see Jessica reaching for the phone.
(In a formal voice) Hello Jessica!
has a strange expression on her face.
her on the closed circuit screen and continues to conduct the
music as he talks to her on his cell.
You've seemed to make a mess of things.
JESSICA: I'm sorry!
STEPHEN: It's all right! Who's the only
one you can trust?
JESSICA: You are, Dr. Haver!
STEPHEN: Good! Veerry Good!
Haver has a
smug, self-satisfied expression.
Scene Eleven: At Rodi's, Bo is talking to John to stop pushing
himself. Just then Antonio calls them with the news about locating
Jessica. Antonio says they have him now, this is holding her without
her consent. This will get him. Antonio and John are getting into
a car when John's cell rings. It is Haver, but his voice is disguised.
(Voice normal from Haver's perspective) Heeeellllllooooo, Johnny!
JOHN: Hey, look, don't even bother
changing your voice, Haver, I know who you are!
STEPHEN: Yoou know, what I want
you to know!
JOHN: I don't have time for
STEPHEN: I suggest, you make
time! (The voice is distorted for John's perspective) There's somewhere
you need to go! (Voice back to normal from Haver's perspective)
Something you need to do! You must follow my instructions, unless
you wish for history to repeat itself!
not want Antonio to know about the conversation, so John tells
Antonio to go on. After Antonio has driven off, he continues his
Yeah, all right, go ahead.
The scene continues.
(Exhales) All right, what do you want, Haver?
(Normal voice from Haver's perspective) You don't
sound like yourself, Johnny. However, I feel your
pain. The loss of Caitlin. Doesn't take much to
bring it aaalllll rushing back, does it? (Distorted voice from John's
perspective) Desperation, despair, so deep it made you stop looking
for the White Rose Killer--
JOHN: (Scoffs) Oh, I found
STEPHEN: Ahhh, don't kid yourself your losing
JOHN: This game's almost over, Buddy!
STEPHEN: Truth be told, I want
you to find me! The the game begins again! But you need to build
the case. Without any holes! Not easy to do....
when you're weighed down by all that emotional
JOHN: You want me to catch
STEPHEN: This is a chance for you to make a clean
break from your past. How often.... does one get a chance like that?!
JOHN: You know what, you are wasting
STEPHEN: You're not interested in avenging
JOHN: (Annoyed) You got a point to make?!
STEPHEN: Go back to your room, you'll see what I mean!
Scene Thirteen: John arrives back at his room. He looks down at
the photos on his bed. Cautiously he walks around. He checks the
bathroom. However, nothing seems out of place, nothing new is
there. He returns to the bed, and this time he notices something,
he picks up one of the photos. It is a crime scene photo from
the night Caitlin was murdered and he was seriously injured. In
the photo is lying unconscious by the bed and Caitlin is lying
in bed. However, a cut out head shot of Natalie is taped over
Caitlin's head. Just then his cell rings and he answers it. Stephen
is on the other end. The voice is from Stephen's perspective so
it is not distorted.
Do you have time for me now?
The scene continues, John talks to Haver. The voice is now distorted
as the conversation is from John's perspective.
This your big chance, John! Maybe you can save
Natalie, the way you couldn't save Caitlin! (Voice
is now normal, since it is from Haver's perspective) I'm offering
you a rare and wonderful
opportunity. I hope you appreciate my generosity!
JOHN: You want to play? I'll play!
But leave Natalie out of this she's innocent!
STEPHEN: There are no innocents in this
JOHN: She is, Haver!
Why don't you call me, ahhh, oohhh, how about Poe!
JOHN: As in Edger Allen?
STEPHEN: Seems fitting. After all, I'm a master
of the macabre!
JOHN: (Not impressed by his theatrics) Whatever.
What about Natalie?
STEPHEN: You're going to have to figure that
out. Not to worry, I've provide the clues. Be patient!
to quote Edgar Allen Poe's Leonore.
"Come! let the burial
rite be read -- the funeral song be sung! --"
He skips a
"A dirge for her,
the doubly dead in that she died so young."
hangs up and John shouts, to no avail. At the instant there is a
knock at the door. John draws his gun, and goes to the door, believing
Haver is there. However, it is only his mother Eve McBain. Despite
it all, because of Natalie, Haver has gotten to him.
... Why would Dr. Haver been here?
Scene Fifteen: Bo and Nora have taken Natalie home.
Meanwhile, chillingly almost normal, Haver is eating a peanut butter
sandwich and drinking a milk -- is it something his twist mother
or grandmother, or both did for him. He punches in something on
his keyboard. He takes a bite of his sandwich as the middle screen
shows a footage of Natalie alone in her apartment. There is a knock
at her door. Apprehensively she calls out. Haver looks intrigued.
It is John. He informs her that he is "staying the night."
At the same time, Jessica is on the couch at the cabin. We hear
the music [it is not clear if it is actually playing or it is just
to symbolize her hypnosis]. There are sounds of sirens, and then
there is a knock at the door, and Antonio calls out to her. She
goes to open the door, and seems surprised to find it locked. Antonio
and two cops break open the door. Antonio is thrilled to find her
unharmed. He asks if she is fine. Confused, she replies that she
is. He tells the cops to check around, to surround the cabin and
to call Commissioner Buchanan and tell him that his niece is fine.
Jessica is perplexed, apparently Stephen's hypnosis is working.
ANTONIO: (Confused) What do you mean "why?"
He locked you in!
JESSICA: No, no he didn't! I don't
know who did!
even more confused.
Haver chillingly drinks his milk as he monitors
the two screens: One with Jessica and Antonio, the other with
Natalie and John.
(Sighing deeply) Haaa.... (Quoting Oscar Wilde's The Ballad
of Reading Gaol which he was using for a title to one of his
books) "Yet each man kills the thing he loves." (He smacks
his lips together) Well, Stephen, what do you think? Is it good
to be god?
looks back towards the monitors; then away. He seems pleased, everything
is working as he planned.