Scene One: 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 the room.

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.

STEPHEN: (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 are disconnected.

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.

STEPHEN: Hey, fella, take it easy, the lady's having a rough day!

Natalie just stares. She cannot believe Haver's brashness.

STEPHEN: (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.

The obnoxious 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 bar.

NATALIE: (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) GET OUT!

STEPHEN: (Calmly) I'm sorry, I can't do that.

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.

JOHN: Would you step away from the bar, and put your hands in the air!

Haver turns to him, and with a slight smile looks at him, defiantly, and slightly smug.

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.

STEPHEN: Agent McBain, it's a pleasure. Could I get you a drink--

With that John lunges for Haver, and throws him against the bar.

JOHN: Shout up!

He frisks him.

STEPHEN: Temper, John, temper.

NATALIE: Get this low life out of my bar!

John swings Haver back around.

JOHN: You know, I would love to. Besides, I think he's had too much to drink.

STEPHEN: I haven't had anything to drink!

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.

JOHN: (Cont.) ....you're stepping all over the place, Haver.

John continues to toss him round, the cop tries to intervene, somewhat.

STPEHEN: Aaaahh, John....

JOHN: Look at that public drunkenness...

STEPHEN: John....

JOHN: (Cont.) ....disorderly conduct.

John pulls him towards the exit.

STEPHEN: John, please....

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.

JOHN: 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).

John punches 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]

BO: 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.

John looks back at Bo, surprised. Haver is still panting.

BO: (Motioning) Get out of here!

STEPHEN: I'm telling you, John McBain is a alot more dangers than you think!

John steps toward him with a evil glare.

JOHN: You have no idea how dangerous I can be!

John walks off; Bo follows. Haver calls out to Nora who is just walking by.

She gives him a look, not believing his gall.

STEPHEN: (Cont.) No? I.... I thought that we really hit it off.

She continues to stare at him in disbelief. He is still panting, and gasping. She walks off and, looks back at him a couple of times.

STEPHEN: Right! Right.

He walks off in another direction.

Scene Eight: 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.

STEPHEN: Clever girl, you found the phone. But then, I knew you would!

Haver watches 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, hypnotizing her.

Haver drugs and then hypnotizes Jessica; 2 min; 1.3 Meg.

STEPHEN: It's okay. It's okay. I-I.... I just.... I just gave you something to help you relax.

He takes the cup from her.

JESSICA: 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.

He gets up and walks over to the cabinet. On it is a tape recorder, which he turns on. Repetitive, freaky music begins to play.

JESSICA: Why are you doing this?

STEPHEN: Shh.... (as if starting a post hypnotic suggestion) I trust you,.... Jessica. Always!

Jessica looks as if she is under hypnosis.

STEPHEN: (Cont.) And you, you trust me, too! I'm the only one you really can trust!

He walks towards her, her head is buried in her hands. He sits next to her, and continues his calm, soothing act.

STEPHEN: (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.

Jessica nods slightly. She is back in his control. His head bobs up and down, gently, hypnotically, as part of his brainwashing.

STEPHEN: (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 me?

It returns 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 and figures.

A phone rings. On another of the screen we see Jessica reaching for the phone.

JESSICA: (Hopeful) Antonio!

STEPHEN: (In a formal voice) Hello Jessica!

Jessica has a strange expression on her face.

JESSICA: Hello!

Haver watches her on the closed circuit screen and continues to conduct the music as he talks to her on his cell.

STEPHEN: 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.

STEPHEN: (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 this!

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!

John does not want Antonio to know about the conversation, so John tells Antonio to go on. After Antonio has driven off, he continues his conversation.

JOHN: Yeah, all right, go ahead.

Scene Twelve: The scene continues.

JOHN: (Exhales) All right, what do you want, Haver?

STEPHEN: (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 him!

STEPHEN: Ahhh, don't kid yourself your losing focus!

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 baggage.

JOHN: You want me to catch you?

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 my time!

STEPHEN: You're not interested in avenging Caitlin's death?

JOHN: (Annoyed) You got a point to make?!

STEPHEN: Go back to your room, you'll see what I mean!

John takes off.

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.

STEPHEN: Do you have time for me now?

Scene Fourteen: The scene continues, John talks to Haver. The voice is now distorted as the conversation is from John's perspective.

STEPHEN: 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 life.

JOHN: She is, Haver!

STEPHEN: 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!

Stephen begins to quote Edgar Allen Poe's Leonore.

STEPHEN:
"Come! let the burial rite be read -- the funeral song be sung! --"

He skips a line.

"A dirge for her, the doubly dead in that she died so young."
Poe! Sweat dreams!"

He 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.

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 is 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.

"Is it good to be god?"; 10 sec; 95K.

STEPHEN: (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?

He looks back towards the monitors; then away. He seems pleased, everything is working as he planned.