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CCC PSYCHO PSYCHO

L L L KILLER KILLER
t b t b t b wr i t t en by wr i t t en by
r e W r r e W r r e W r Andr ew Kevi n Wal ker Andr ew Kevi n Wal ker
/ 7 / 7 / 7 09/ 25/ 07 09/ 25/ 07
R R R R R R FIRST DRAFT FIRST DRAFT
FADE IN: FADE IN:
T V T V T V POINT-OF-VIEW: POINT-OF-VIEW:
r a i f o H O n i r a i f o H O n i r a i f o H O n i We ar e seat ed i n a f ar cor ner BOOTH, LOOKI NG ar ound t hi s We ar e seat ed i n a f ar cor ner BOOTH, LOOKI NG ar ound t hi s
n C O N e s s t n C O N e s s t n C O N e s s t wel l l i t , cl ean TRUCK STOP DI NER. Our eyes seemsl i ght l y wel l l i t , cl ean TRUCK STOP DI NER. Our eyes seemsl i ght l y
i r t p l a u h i r t p l a u h i r t p l a u h sensi t i ve t o br i ght l i ght , especi al l y bar e bul bs, whi ch sensi t i ve t o br i ght l i ght , especi al l y bar e bul bs, whi ch
E e e g r . h O l E e e g r . h O l E e e g r . h O l w GLARE and l eave br i ef l i ght - t r ai l s. ( Thi s POV wi l l al ways GLARE and l eave br i ef l i ght - t r ai l s. ( Thi s POV wi l l al ways
c a h i I G T T n . c a h i I G T T n . c a h i I G T T n . be accompani ed by t he f ai nt RI NGI NG of TI NNI TUS i n our ear s. ) be accompani ed by t he f ai nt RI NGI NG of TI NNI TUS i n our ear s. )
A a e o L E U n r A a e o L E U n r A a e o L E U n r WE WATCH a t i r ed- l ooki ng MI DDLE- AGED COUPLE, at anot her WE WATCH a t i r ed- l ooki ng MI DDLE- AGED COUPLE, at anot her
h e e h e y k h e e h e y k h e e h e y k boot h, as t hey gat her t hei r t hi ngs t o l eave. They bi cker . boot h, as t hey gat her t hei r t hi ngs t o l eave. They bi cker .
A t H T E t T l i A t H T E t T l i A t H T E t T l i WE WATCH t he THREE TRUCK DRI VERS at t he COUNTER, l aughi ng WE WATCH t he THREE TRUCK DRI VERS at t he COUNTER, l aughi ng
s n a g a T n i W s n a g a T n i W s n a g a T n i W and smoki ng, t al ki ng t o a WAI TRESS i n an obvi ous WI G. and smoki ng, t al ki ng t o a WAI TRESS i n an obvi ous WI G.
A t a A G n e I h d A t a A G n e I h d A t a A G n e I h d WE WATCH t he sad, BALDI NG MAN behi nd t he REGI STER at t he end WE WATCH t he sad, BALDI NG MAN behi nd t he REGI STER at t he end
h u e d d a P B y . h u e d d a P B y . h u e d d a P B y . of t he count er as he r eads a dog- ear ed PAPERBACK. He yawns. of t he count er as he r eads a dog- ear ed PAPERBACK. He yawns.
A a e t s r F P n d A a e t s r F P n d A a e t s r F P n d WE WATCH as t he wai t r ess wal ks over , COFFEE POT i n hand. WE WATCH as t he wai t r ess wal ks over , COFFEE POT i n hand.
C O N - T U T C O N - T U T C O N - T U T INT. TRUCK STOP DINER -- CONTINUOUS -- NIGHT INT. TRUCK STOP DINER -- CONTINUOUS -- NIGHT
D R D R D R DI NER WAI TRESS DI NER WAI TRESS
n e u t ? n e u t ? n e u t ? Can I get you anyt hi ng el se? Can I get you anyt hi ng el se?
p e t e F U f u l " p e t e F U f u l " p e t e F U f u l " She pour s cof f ee i nt o t he COFFEE CUP bef or e us, al oof . " We" She pour s cof f ee i nt o t he COFFEE CUP bef or e us, al oof . " We"
a t l r s d , h g e n a t l r s d , h g e n a t l r s d , h g e n ar e a whi t e mal e, br oad- shoul der ed, wi t h l ong, gr eyi ng br own ar e a whi t e mal e, br oad- shoul der ed, wi t h l ong, gr eyi ng br own
, u t s l , u t s l , u t s i t l hai r , but t hr oughout t hi s ent i r e st or y, " We" wi l l most l y be hai r , but t hr oughout t hi s ent i r e st or y, " We" wi l l most l y be
n r m , n r m , n r m , a o A shot f r ombehi nd, or f r omt he neck down, because our FACE shot f r ombehi nd, or f r omt he neck down, because our FACE
R F A " H L R F A " H L R F A " H L WI LL NEVER BE FULLY REVEALED. " We" ar e PSYCHO KI LLER. WI LL NEVER BE FULLY REVEALED. " We" ar e PSYCHO KI LLER.
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
t . t . t . Not hi ng el se. Not hi ng el se.
h l i y n - , g b s h l i y n - , g b s h l i y n - , g b s Psycho Ki l l er i s maybe i n hi s l at e- 30' s, j udgi ng by hi s Psycho Ki l l er i s maybe i n hi s l at e- 30' s, j udgi ng by hi s
e l o n H a T h e l o n H a T h e l o n H a T h voi ce, a l ow monot one. He wear s a dar k WORK SHI RT wi t h voi ce, a l ow monot one. He wear s a dar k WORK SHI RT wi t h
h f d f T a s t w e C h f d f T a s t w e C h f d f T a s t w e C sl i ght l y f r ayed cuf f s. The wai t r ess put s down t he CHECK. sl i ght l y f r ayed cuf f s. The wai t r ess put s down t he CHECK.
D R D R D R DI NER WAI TRESS DI NER WAI TRESS
a y a u m s i a y a u m s i a y a u m s i What ' d you say your name was agai n? What ' d you say your name was agai n?
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
d t h a d t h a d t h a I di dn' t . Why do you ask? I di dn' t . Why do you ask?
D R D R D R DI NER WAI TRESS DI NER WAI TRESS
r . r . r . Bor edom. Bor edom.
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
p ) p ) p ) ( pause) ( pause)
m R r S . m R r S . m R r S . Name' s Ri char d. Susan. Name' s Ri char d. Susan.
w e l s n " N N A w e l s n " N N A w e l s n " N N A The wai t r ess gl ances down at " SUSAN" on her NAMETAG, The wai t r ess gl ances down at " SUSAN" on her NAMETAG,
p e S a n r f o t r p e S a n r f o t r p e S a n r f o t r uni mpr essed. She wal ks, t aki ng her cof f ee pot wi t h her . uni mpr essed. She wal ks, t aki ng her cof f ee pot wi t h her .
D R D R D R DI NER WAI TRESS DI NER WAI TRESS
a e g i a a e g i a a e g i a Yeah, wel l , goodni ght , Ri char d. Yeah, wel l , goodni ght , Ri char d.
i a i a i a Dr i ve saf e. Dr i ve saf e.
2. 2.
H L S : H L S : H L S : PSYCHO KILLER'S POV: PSYCHO KILLER'S POV:
A S a e t i e c i . A S a e t i e c i . A S a e t i e c i . PK WATCHES Susan t he wai t r ess r ej oi n t he Tr uck Dr i ver s. PK WATCHES Susan t he wai t r ess r ej oi n t he Tr uck Dr i ver s.
' l o e h n r ' l o e h n r ' l o e h n r They' r e gl ad t o have her back i n t hei r number . They' r e gl ad t o have her back i n t hei r number .
K O K O K O IN PK'S BOOTH IN PK'S BOOTH
h l s g n i p k h l s g n i p k h l s g n i p k Psycho Ki l l er ' s l ar ge hands pi ck up t he check. Psycho Ki l l er ' s l ar ge hands pi ck up t he check.
f r s e i i d u . f r s e i i d u . f r s e i i d u . Hi s f i nger nai l s ar e r agged, wi t h f i l t h deep under t hem. Hi s f i nger nai l s ar e r agged, wi t h f i l t h deep under t hem.
e a g N h c l h e a g N h c l h e a g N h c l h He wear s a l ar ge BANDAGE on t he back of hi s l ef t hand. He wear s a l ar ge BANDAGE on t he back of hi s l ef t hand.
a o n a a p D R d N a o n a a p D R d N a o n a a p D R d N PK t akes out and l eaves a f ew cr umpl ed DOLLARS and PENNI ES PK t akes out and l eaves a f ew cr umpl ed DOLLARS and PENNI ES
D . s d e i f , c K D . s d e i f , c K D . s d e i f , c K and DI MES. Hi s hands cl ench i nt o f i st s, knuckl es CRACKI NG. and DI MES. Hi s hands cl ench i nt o f i st s, knuckl es CRACKI NG.
h l p a s t P B E h l p a s t P B E h l p a s t P B E Psycho Ki l l er pul l s out a pr escr i pt i on PI LL BOTTLE. Psycho Ki l l er pul l s out a pr escr i pt i on PI LL BOTTLE.
m s e i h a E e , m s e i h a E e , m s e i h a E e , He empt i es t he cont ent s i nt o hi s pal m, EI GHT di f f er ent , He empt i es t he cont ent s i nt o hi s pal m, EI GHT di f f er ent ,
r P , c s o c e r P , c s o c e r P , c s o c e col or f ul PI LLS, whi ch he dr ops i nt o t he hot cof f ee. col or f ul PI LLS, whi ch he dr ops i nt o t he hot cof f ee.
c e d s s n i g K t e c e d s s n i g K t e c e d s s n i g K t e The cof f ee cur dl es, pi l l s di ssol vi ng, f i zzi ng. PK l i f t s t he The cof f ee cur dl es, pi l l s di ssol vi ng, f i zzi ng. PK l i f t s t he
O F M e G N R b d i h O F M e G N R b d i h O F M e G N R b d i h cup OUT OF FRAME, hear d GULPI NG. Remember , daunt i ng t hough cup OUT OF FRAME, hear d GULPI NG. Remember , daunt i ng t hough
c e m e P O L R c e m e P O L R c e m e P O L R t he chal l enge may seem, PSYCHO KI LLER' S FACE WI LL NEVER BE t he chal l enge may seem, PSYCHO KI LLER' S FACE WI LL NEVER BE
. s n y . . s n y . . s n y . SEEN. He sl ams down t he empt y cup. SEEN. He sl ams down t he empt y cup.
N A N A N A MOMENTS LATER MOMENTS LATER
O x o i h n a O x o i h n a O x o i h n a FOLLOWas PK exi t s. No one gi ves hi ma second gl ance. FOLLOWas PK exi t s. No one gi ves hi ma second gl ance.
C O N P N T N C O N P N T N C O N P N T N EXT. TRUCK STOP DINER, PARKING LOT -- NIGHT EXT. TRUCK STOP DINER, PARKING LOT -- NIGHT
h l p s E P O s i h e h l p s E P O s i h e h l p s E P O s i h e Psycho Ki l l er passes a NEWSPAPER BOX di spl ayi ng t he " Denver Psycho Ki l l er passes a NEWSPAPER BOX di spl ayi ng t he " Denver
s t E T R S " d . s t E T R S " d . s t E T R S " d . Ti mes" wi t h an " I NTERSTATE MURDER SPREE" headl i ne. Ti mes" wi t h an " I NTERSTATE MURDER SPREE" headl i ne.
h l c e e k l i g O A h l c e e k l i g O A h l c e e k l i g O A Psycho Ki l l er cr osses t he par ki ng l ot , i n baggy WORK PANTS Psycho Ki l l er cr osses t he par ki ng l ot , i n baggy WORK PANTS
h k , y K T d t d h k , y K T d t d h k , y K T d t d of t hi ck khaki , hi s heavy WORK BOOT cl ad f eet t r udgi ng on. of t hi ck khaki , hi s heavy WORK BOOT cl ad f eet t r udgi ng on.
e L u h p e p , e L u h p e p , e L u h p e p , The empt y PI LL BOTTLE bounces on t he asphal t as he dr ops i t , The empt y PI LL BOTTLE bounces on t he asphal t as he dr ops i t ,
h i d o h i d o h i d o cr ushi ng i t under f oot . cr ushi ng i t under f oot .
H L S : H L S : H L S : PSYCHO KILLER'S POV: PSYCHO KILLER'S POV:
H s D R l t r t a f H s D R l t r t a f H s D R l t r t a f WATCHI NG some DRI VERS mi l l i ng about over by t hei r vi l l age of WATCHI NG some DRI VERS mi l l i ng about over by t hei r vi l l age of
n G S k h e - l f h g n G S k h e - l f h g n G S k h e - l f h g i dl i ng BI G RI GS par ked shoul der - t o- shoul der f or t he ni ght . i dl i ng BI G RI GS par ked shoul der - t o- shoul der f or t he ni ght .
H a T W i n t e E H a T W i n t e E H a T W i n t e E WATCHI NG a STATI ON WAGON passi ng on i t s way t o t he DI NER, WATCHI NG a STATI ON WAGON passi ng on i t s way t o t he DI NER,
E d H n n W I N e n k E d H n n W I N e n k E d H n n W I N e n k wi t h MOTHER and FATHER i n f r ont , TWO CHI LDREN asl eep i n back. wi t h MOTHER and FATHER i n f r ont , TWO CHI LDREN asl eep i n back.
H a t i d o P I S H a t i d o P I S H a t i d o P I S WATCHI NG a t i nt ed- wi ndow SUV dr op of f a f ew PROSTI TUTES. WATCHI NG a t i nt ed- wi ndow SUV dr op of f a f ew PROSTI TUTES.
S E C S E C S E C AT PSYCHO KILLER'S CAR AT PSYCHO KILLER'S CAR
h l g o b C A f t h l g o b C A f t h l g o b C A f t Psycho Ki l l er gr abs a shor t , bl ack TRENCH COAT of f t he f r ont Psycho Ki l l er gr abs a shor t , bl ack TRENCH COAT of f t he f r ont
, s o H t c S S N , s o H t c S S N , s o H t c S S N seat , put s i t on. He get s i n t he car , STARTS t he ENGI NE. seat , put s i t on. He get s i n t he car , STARTS t he ENGI NE.
H A W R H A W R H A W R IN THE REARVIEW MIRROR IN THE REARVIEW MIRROR
l e c i ' i E p n o e t l e c i ' i E p n o e t l e c i ' i E p n o e t We gl i mpse Psycho Ki l l er ' s f l i nt y EYES peer i ng f r omdeep- set We gl i mpse Psycho Ki l l er ' s f l i nt y EYES peer i ng f r omdeep- set
, i o t U S , i o t U S , i o t U S br ow, unt i l he dons mi r r or ed, avi at or SUNGLASSES. br ow, unt i l he dons mi r r or ed, avi at or SUNGLASSES.
3. 3.
H U T A G H U T A G H U T A G IN THE TRUCK STOP PARKING LOT IN THE TRUCK STOP PARKING LOT
h l s , i e d U E e f h l s , i e d U E e f h l s , i e d U E e f Psycho Ki l l er ' s car , a si zabl e, ol d LUXURY SEDAN, dr i ves of f . Psycho Ki l l er ' s car , a si zabl e, ol d LUXURY SEDAN, dr i ves of f .
C O C O C O CUT TO: CUT TO:
H - G H - G H - G EXT. HIGHWAY -- NIGHT EXT. HIGHWAY -- NIGHT
h l s a r o t e e a o h l s a r o t e e a o h l s a r o t e e a o Psycho Ki l l er ' s sedan mer ges ont o t he deser t ed, mai n r oad. Psycho Ki l l er ' s sedan mer ges ont o t he deser t ed, mai n r oad.
S E C - M N S E C - M N S E C - M N IN PSYCHO KILLER'S CAR -- IN MOTION IN PSYCHO KILLER'S CAR -- IN MOTION
H S R h E E N E e H S R h E E N E e H S R h E E N E e ON THE DASHBOARD, t he SPEEDOMETER NEEDLE r i ses t o 55. ON THE DASHBOARD, t he SPEEDOMETER NEEDLE r i ses t o 55.
h l t s u h e g e h l t s u h e g e h l t s u h e g e Psycho Ki l l er t humbs a but t on on t he st eer i ng wheel . Psycho Ki l l er t humbs a but t on on t he st eer i ng wheel .
H S R h R R l s H S R h R R l s H S R h R R l s ON THE DASHBOARD, t he " CRUI SE CONTROL" l i ght comes on. ON THE DASHBOARD, t he " CRUI SE CONTROL" l i ght comes on.
S O R k d w m S O R k d w m S O R k d w m The SPEEDOMETER l ocks i n st eady at j ust bel ow 55 mph. The SPEEDOMETER l ocks i n st eady at j ust bel ow 55 mph.
H G H G H G ON THE HIGHWAY ON THE HIGHWAY
h l s d t i m e " d h l s d t i m e " d h l s d t i m e " d Psycho Ki l l er ' s headl i ght s br i ef l y i l l umi nat e a " Speed Psycho Ki l l er ' s headl i ght s br i ef l y i l l umi nat e a " Speed
t . r s s h o t . r s s h o t . r s s h o Li mi t 55" SI GN. No ot her car s i n si ght on t hi s l onel y Li mi t 55" SI GN. No ot her car s i n si ght on t hi s l onel y
t f d n b n o . t f d n b n o . t f d n b n o . st r et ch of r oad bounded by dense f or est . st r et ch of r oad bounded by dense f or est .
S E C - M N S E C - M N S E C - M N IN PSYCHO KILLER'S CAR -- IN MOTION IN PSYCHO KILLER'S CAR -- IN MOTION
h i l o y R C i ' n s h i l o y R C i ' n s h i l o y R C i ' n s The headl i ght l i t r oadway i s REFLECTED i n PK' s sungl asses. The headl i ght l i t r oadway i s REFLECTED i n PK' s sungl asses.
C O C O C O CUT TO: CUT TO:
H - R - H H - R - H H - R - H EXT. HIGHWAY -- FURTHER ON -- NIGHT EXT. HIGHWAY -- FURTHER ON -- NIGHT
h l s k g F , n w h l s k g F , n w h l s k g F , n w Psycho Ki l l er ' s br ake l i ght s FLASH, t he sedan sl owi ng. Psycho Ki l l er ' s br ake l i ght s FLASH, t he sedan sl owi ng.
e t E R h t e h e t E R h t e h e t E R h t e h Ther e' s a spar t an REST AREA ahead, of f t o t he r i ght . Ther e' s a spar t an REST AREA ahead, of f t o t he r i ght .
H L S : H L S : H L S : PSYCHO KILLER'S POV: PSYCHO KILLER'S POV:
W H , c i ' t t n A W H , c i ' t t n A W H , c i ' t t n A THRU THE WI NDSHI ELD, Psycho Ki l l er ' s i nt er est ed i n a CAR THRU THE WI NDSHI ELD, Psycho Ki l l er ' s i nt er est ed i n a CAR
e r a u h e e o e d e r a u h e e o e d e r a u h e e o e d par ked i n t he r est ar ea, a coupl e hundr ed f eet f r omt he r oad. par ked i n t he r est ar ea, a coupl e hundr ed f eet f r omt he r oad.
r C N G r e U P T r C N G r e U P T r C N G r e U P T Under FLI CKERI NG LI GHT f r oma f al t er i ng SODI UM- VAPOR STREET Under FLI CKERI NG LI GHT f r oma f al t er i ng SODI UM- VAPOR STREET
, A h f o h w g , A h f o h w g , A h f o h w g LAMP, a MAN i s bent at t he l ef t f r ont wheel - wel l , changi ng LAMP, a MAN i s bent at t he l ef t f r ont wheel - wel l , changi ng
a H o v s A E S v o a H o v s A E S v o a H o v s A E S v o a f l at . He l ooks over as PK ACCELERATES, movi ng on. a f l at . He l ooks over as PK ACCELERATES, movi ng on.
H A H A H A ON THE ROADWAY ON THE ROADWAY
r a e s e h r a e s e h r a e s e h J ust past t he r est ar ea, hi dden by f or est ' s edge, Psycho J ust past t he r est ar ea, hi dden by f or est ' s edge, Psycho
e s s t e . o T T e s s t e . o T T e s s t e . o T T Ki l l er ' s sedan pul l s t o t he medi an. St ops. LI GHTS OUT. Ki l l er ' s sedan pul l s t o t he medi an. St ops. LI GHTS OUT.
S E C S E C S E C IN PSYCHO KILLER'S CAR IN PSYCHO KILLER'S CAR
h l t s l s o t h h l t s l s o t h h l t s l s o t h Psycho Ki l l er t osses hi s sungl asses ont o t he f r ont dash. Psycho Ki l l er t osses hi s sungl asses ont o t he f r ont dash.
i h t l t l O e d i h t l t l O e d i h t l t l O e d He si t s t her e, br eat hi ng deepl y, st eadi l y. On t he r oad t o He si t s t her e, br eat hi ng deepl y, st eadi l y. On t he r oad t o
l h E E m . t d l h l h E E m . t d l h l h E E m . t d l h t he l ef t , anot her VEHI CLE zooms by. . . i t s r ed t ai l l i ght s t he l ef t , anot her VEHI CLE zooms by. . . i t s r ed t ai l l i ght s
i u y l a ' i g , e i u y l a ' i g , e i u y l a ' i g , e gr owi ng qui ckl y smal l er as i t ' s goi ng, goi ng, gone. gr owi ng qui ckl y smal l er as i t ' s goi ng, goi ng, gone.
C N C N C N CONTI NUED CONTI NUED
4. 4.
h l b n s n o p h e h l b n s n o p h e h l b n s n o p h e Psycho Ki l l er but t ons hi s t r ench coat up t o hi s neck. Psycho Ki l l er but t ons hi s t r ench coat up t o hi s neck.
e s e e n s e a a a e s e e n s e a a a e s e e n s e a a a He r eaches under t he f r ont passenger seat , t aki ng out a He r eaches under t he f r ont passenger seat , t aki ng out a
y i E J w n u m o y i E J w n u m o y i E J w n u m o hef t y, pl i abl e RUBBER OBJ ECT we can' t qui t e make out . hef t y, pl i abl e RUBBER OBJ ECT we can' t qui t e make out .
R H P o l s p h h M R H P o l s p h h M R H P o l s p h h M WE ARE BEHI ND Psycho Ki l l er as he pul l s on t hi s t hi ck MASK WE ARE BEHI ND Psycho Ki l l er as he pul l s on t hi s t hi ck MASK
u i E B B f s h e u i E B B f s h e u i E B B f s h e of vul cani zed, OLI VE- DRAB RUBBER; f ul l y encasi ng hi s head. of vul cani zed, OLI VE- DRAB RUBBER; f ul l y encasi ng hi s head.
s c c r d b S S s c c r d b S S s c c r d b S S PK' s hands r each back t o yank t wo r i bbed, r ubber STRAPS PK' s hands r each back t o yank t wo r i bbed, r ubber STRAPS
h h h i C , c m t . h h h i C , c m t . h h h i C , c m t . f ur t her t hr ough t hei r BUCKLES, ci nchi ng t he mask t i ght . f ur t her t hr ough t hei r BUCKLES, ci nchi ng t he mask t i ght .
H A E M T T H A E M T T H A E M T T ON THE ROADSIDE -- MOMENTS LATER ON THE ROADSIDE -- MOMENTS LATER
R H P O L s o s ' u R H P O L s o s ' u R H P O L s o s ' u WE ARE BEHI ND PSYCHO KI LLER as he opens t he sedan' s t r unk. WE ARE BEHI ND PSYCHO KI LLER as he opens t he sedan' s t r unk.
E i o u e M S E i o u e M S E i o u e M S We HEAR hi mr oot i ng t hr ough heavy METAL TOOLS. We HEAR hi mr oot i ng t hr ough heavy METAL TOOLS.
h s E G a h u h s E G a h u h s E G a h u He chooses SOMETHI NG, sl ams t he t r unk. He chooses SOMETHI NG, sl ams t he t r unk.
C O C O C O CUT TO: CUT TO:
H S E H S E H S E IN THE REST AREA IN THE REST AREA
u t e - t R s g t o u t e - t R s g t o u t e - t R s g t o The unf or t unat e, 20- somet hi ng MOTORI ST st r uggl es t o l oosen The unf or t unat e, 20- somet hi ng MOTORI ST st r uggl es t o l oosen
g T I t g T I t g T I t a l ug nut wi t h hi s TI RE I RON, gr unt i ng. a l ug nut wi t h hi s TI RE I RON, gr unt i ng.
M I M I M I MOTORI ST MOTORI ST
d N d N d N God DAMN i t ! God DAMN i t !
e e e h o W t g e n e e e h o W t g e n e e e h o W t g e n As he r i ses, we now see hi s young WI FE t hr ough t he open car As he r i ses, we now see hi s young WI FE t hr ough t he open car
o y o e n a r a o h y o y o e n a r a o h y o y o e n a r a o h y wi ndow, l yi ng on t he f r ont seat , ar mdr aped over her eyes. wi ndow, l yi ng on t he f r ont seat , ar mdr aped over her eyes.
M I M I M I MOTORI ST' S WI FE MOTORI ST' S WI FE
e ? e ? e ? Ar e you okay? Ar e you okay?
M I M I M I MOTORI ST MOTORI ST
a ' n a . a ' n a . a ' n a . Yeah, I ' mf i ne, babe. I t ' s j ust . . . Yeah, I ' mf i ne, babe. I t ' s j ust . . .
e e h b o h e e h b o h e e h b o h t hey t weak t hese bol t s on so t i ght . t hey t weak t hese bol t s on so t i ght .
e e a t . e e a t . e e a t . They use a r at chet gun. They use a r at chet gun.
r w t m h n t r w t m h n t r w t m h n t Mot or i st wi pes sweat f r omhi s f or ehead, squi nt i ng up at t he Mot or i st wi pes sweat f r omhi s f or ehead, squi nt i ng up at t he
T I c E h U f T S w T I c E h U f T S w T I c E h U f T S w ERRATI C LI GHT. We can HEAR t he SOUND of FOOTSTEPS gr owi ng ERRATI C LI GHT. We can HEAR t he SOUND of FOOTSTEPS gr owi ng
e O . t t i s e O . t t i s e O . t t i s cl oser , LOUDER. Mot or i st not i ces, t ur ns. . . cl oser , LOUDER. Mot or i st not i ces, t ur ns. . .
h l w i a t t e s s h l w i a t t e s s h l w i a t t e s s Psycho Ki l l er wal ks st r ai ght at Mot or i st . Her e i s PK seen Psycho Ki l l er wal ks st r ai ght at Mot or i st . Her e i s PK seen
u a r , c a s - f i u a r , c a s - f i u a r , c a s - f i i n f ul l ; a hor r i f i c, bl ack- cl ad vi si on - - i n hi s f r eaki sh, i n f ul l ; a hor r i f i c, bl ack- cl ad vi si on - - i n hi s f r eaki sh,
o e i A i O - , L E o e i A i O - , L E o e i A i O - , L E sensor y- depr i vi ng MASK wi t h GOGGLE- LI KE, YELLOWLENSED sensor y- depr i vi ng MASK wi t h GOGGLE- LI KE, YELLOWLENSED
I a e r l o d Z A r I a e r l o d Z A r I a e r l o d Z A r EYEPI ECES and a wi de, ver t i cal l y- not ched MUZZLE/ GAG ser vi ng EYEPI ECES and a wi de, ver t i cal l y- not ched MUZZLE/ GAG ser vi ng
i s i o e m o t t i s i o e m o t t i s i o e m o t t as vi ci ous maw - - l i ke some f ear some, got hi c monst r osi t y. as vi ci ous maw - - l i ke some f ear some, got hi c monst r osi t y.
H L S : H L S : H L S : PSYCHO KILLER'S POV: PSYCHO KILLER'S POV:
T D v n t U T D v n t U T D v n t U Wi t h PK' s BREATHI NG HEARD and hi s vi si on f i l t er ed THROUGH Wi t h PK' s BREATHI NG HEARD and hi s vi si on f i l t er ed THROUGH
M S N N t f M i a a . M S N N t f M i a a . M S N N t f M i a a . THE MASK' S ROUND LENSES: t he t er r i f i ed Mot or i st backs away. . . THE MASK' S ROUND LENSES: t he t er r i f i ed Mot or i st backs away. . .
H S E H S E H S E IN THE REST AREA IN THE REST AREA
h l a c b i G M e u h l a c b i G M e u h l a c b i G M e u Psycho Ki l l er advances, br i ngi ng a SLEDGEHAMMER pendul um- Psycho Ki l l er advances, br i ngi ng a SLEDGEHAMMER pendul um-
n s k n s k n s k l i ke f r ombehi nd hi s back. l i ke f r ombehi nd hi s back.
C N C N C N CONTI NUED CONTI NUED
5. 5.
M I M I M I MOTORI ST MOTORI ST
. O . O . O No. . . NO. . . ! No. . . NO. . . !
M i a a s e , P j . M i a a s e , P j . M i a a s e , P j . The Mot or i st backs agai nst t he car , TOPPLI NG t he j ack. . . The Mot or i st backs agai nst t he car , TOPPLI NG t he j ack. . .
H R H R H R IN THE CAR IN THE CAR
c U S l y o s W s u h c U S l y o s W s u h c U S l y o s W s u h The car LURCHES vi ol ent l y. Mot or i st ' s Wi f e si t s upr i ght . The car LURCHES vi ol ent l y. Mot or i st ' s Wi f e si t s upr i ght .
M I M I M I MOTORI ST' S WI FE MOTORI ST' S WI FE
a ? a ? a ? Char l i e?! Char l i e?!
I H R I H R I H R OUTSIDE THE CAR OUTSIDE THE CAR
h l s t t l h r b h , h l s t t l h r b h , h l s t t l h r b h , Psycho Ki l l er ' s hef t i ng t he sl edgehammer i n bot h hands, Psycho Ki l l er ' s hef t i ng t he sl edgehammer i n bot h hands,
G i . G i . G i . SWI NGI NG i t up i n a wi de ar ch. . . SWI NGI NG i t up i n a wi de ar ch. . .
s e e s s O ' A c n s e e s s O ' A c n s e e s s O ' A c n The sl edgehammer dest r oys MOTORI ST' S HEAD i n a si ckeni ng, The sl edgehammer dest r oys MOTORI ST' S HEAD i n a si ckeni ng,
n q X I f O R a K F E n q X I f O R a K F E n q X I f O R a K F E Savi ni - esque EXPLOSI ON of BLOOD, BRAI N and SKULL FRAGMENTS! Savi ni - esque EXPLOSI ON of BLOOD, BRAI N and SKULL FRAGMENTS!
p i C o s w f a p i C o s w f a p i C o s w f a The pi er ci ng SCREAM of Mot or i st ' s wi f e f i l l s t he ai r . The pi er ci ng SCREAM of Mot or i st ' s wi f e f i l l s t he ai r .
h l l e h l l e h l l e Psycho Ki l l er l ooks t o her . Psycho Ki l l er l ooks t o her .
h h i f r s e v h h h i f r s e v h h h i f r s e v h On t he ot her si de of t he car , Mot or i st ' s Wi f e shoves t he On t he ot her si de of t he car , Mot or i st ' s Wi f e shoves t he
e , l t e u . e , l t e u . e , l t e u . passenger door open, f al l i ng t o t he gr ound. . . passenger door open, f al l i ng t o t he gr ound. . .
s b u y i i s b u y i i s b u y i i She scr ambl es up, hyst er i cal , f l eei ng. She scr ambl es up, hyst er i cal , f l eei ng.
ACROSS THE REST AREA S E T A S E T A ACROSS THE REST AREA ACROSS THE REST AREA
r s e s n e e e y o r s e s n e e e y o r s e s n e e e y o Mot or i st ' s Wi f e r uns al ong t he t r ee l i ne, cr yi ng out , Mot or i st ' s Wi f e r uns al ong t he t r ee l i ne, cr yi ng out ,
i a o s w g i v e o r i a o s w g i v e o r i a o s w g i v e o r headi ng back t owar ds t he hi ghway, gl anci ng over her shoul der . headi ng back t owar ds t he hi ghway, gl anci ng over her shoul der .
h l s e t h l s e t h l s e t Psycho Ki l l er st r i des af t er . Psycho Ki l l er st r i des af t er .
r s e s d , m . r s e s d , m . r s e s d , m . Mot or i st ' s Wi f e r uns headl ong, st umbl es. . . Mot or i st ' s Wi f e r uns headl ong, st umbl es. . .
f h o L f h o L f h o L She f al l s t o t he gr ound, TUMBLI NG. She f al l s t o t he gr ound, TUMBLI NG.
h l a c b y d m h h l a c b y d m h h l a c b y d m h Psycho Ki l l er advances, bl oody sl edgehammer hel d. Psycho Ki l l er advances, bl oody sl edgehammer hel d.
r s e u s h e . r s e u s h e . r s e u s h e . Mot or i st ' s Wi f e st r uggl es t o her f eet . . . Mot or i st ' s Wi f e st r uggl es t o her f eet . . .
i t a f i t a f i t a f Runni ng, t ear s st r eami ng down her f ace. Runni ng, t ear s st r eami ng down her f ace.
H A H A H A ON THE ROADWAY ON THE ROADWAY
r s e e h g ' d i r s e e h g ' d i r s e e h g ' d i Mot or i st ' s Wi f e makes i t t o t he hi ghway' s medi an, r unni ng Mot or i st ' s Wi f e makes i t t o t he hi ghway' s medi an, r unni ng
r E G c g s ! r E G c g s ! r E G c g s ! back t owar ds HEADLI GHTS comi ng t hi s way! back t owar ds HEADLI GHTS comi ng t hi s way!
s s t n v s s t n v s s t n v She sees sal vat i on, begi ns wavi ng. She sees sal vat i on, begi ns wavi ng.
M I M I M I MOTORI ST' S WI FE MOTORI ST' S WI FE
l . l . l . Hel p. . . hel p me. . . ! ! Hel p. . . hel p me. . . ! !
h l f w n t d e . h l f w n t d e . h l f w n t d e . Psycho Ki l l er f ol l ows, undaunt ed, del i ber at e. Psycho Ki l l er f ol l ows, undaunt ed, del i ber at e.
g K i a r s e e r g K i a r s e e r g K i a r s e e r I t ' s a bi g r i g TRUCK comi ng f ast . Mot or i st ' s Wi f e waves her I t ' s a bi g r i g TRUCK comi ng f ast . Mot or i st ' s Wi f e waves her
t l u g o w t l u g o w t l u g o w ar ms f r ant i cal l y, r unni ng i nt o t he r oadway. ar ms f r ant i cal l y, r unni ng i nt o t he r oadway.
C N C N C N CONTI NUED CONTI NUED
6. 6.
M I M I M I MOTORI ST' S WI FE MOTORI ST' S WI FE
l l ! l l ! l l ! Hel p, pl ease! ! Hel p, pl ease! !
H L S : H L S : H L S : PSYCHO KILLER'S POV: PSYCHO KILLER'S POV:
h l l t M i h u h l l t M i h u h l l t M i h u Psycho Ki l l er l oses si ght of Mot or i st ' s Wi f e as t he t r uck Psycho Ki l l er l oses si ght of Mot or i st ' s Wi f e as t he t r uck
L S W v n t y e i L S W v n t y e i L S W v n t y e i HEADLI GHTS BLOWOUT hi s vi si on, but onl y moment ar i l y. HEADLI GHTS BLOWOUT hi s vi si on, but onl y moment ar i l y.
H A H A H A ON THE ROADWAY ON THE ROADWAY
r s e i e i s d t w h r s e i e i s d t w h r s e i e i s d t w h Mot or i st ' s Wi f e i s i n t he vehi cl e' s headl i ght s now. The Mot or i st ' s Wi f e i s i n t he vehi cl e' s headl i ght s now. The
l t S , c H a s t l t S , c H a s t l t S , c H a s t r umbl i ng t r uck HONKS i t s HORN, whi ch ECHOES acr oss t he ni ght . r umbl i ng t r uck HONKS i t s HORN, whi ch ECHOES acr oss t he ni ght .
r s e e h u b v t e u , r s e e h u b v t e u , r s e e h u b v t e u , Mot or i st ' s Wi f e gi ves a hopef ul sob, movi ng t o t he shoul der , Mot or i st ' s Wi f e gi ves a hopef ul sob, movi ng t o t he shoul der ,
o e c p o e c p o e c p out of t he t r uck' s pat h. out of t he t r uck' s pat h.
n s e i t l h r k n s e i t l h r k n s e i t l h r k Behi nd, Psycho Ki l l er br i ngs t he sl edgehammer back and Behi nd, Psycho Ki l l er br i ngs t he sl edgehammer back and
W a n h r h a i g . W a n h r h a i g . W a n h r h a i g . THROWS i t f or war d i nt o t he ai r wi t h of al l hi s mi ght . . . THROWS i t f or war d i nt o t he ai r wi t h of al l hi s mi ght . . .
d e b h r I E c o d e b h r I E c o d e b h r I E c o Ahead, t he r umbl i ng 18- wheel er ' s HI GH BEAMS come on as t he Ahead, t he r umbl i ng 18- wheel er ' s HI GH BEAMS come on as t he
K V i u u o s W K V i u u o s W K V i u u o s W TRUCK DRI VER' S peer i ng out i n conf usi on at Mot or i st ' s Wi f e. TRUCK DRI VER' S peer i ng out i n conf usi on at Mot or i st ' s Wi f e.
h l s . h l s . h l s . Psycho Ki l l er st ops. Psycho Ki l l er st ops.
s e e S I n i r . s e e S I n i r . s e e S I n i r . The sl edgehammer ' s SPI NNI NG i n a hi gh ar ch. . . The sl edgehammer ' s SPI NNI NG i n a hi gh ar ch. . .
r s e l n r s e l n r s e l n Mot or i st ' s Wi f e st i l l r uns. Mot or i st ' s Wi f e st i l l r uns.
M I M I M I MOTORI ST' S WI FE MOTORI ST' S WI FE
s t . s t . s t . Oh God, pl ease, st op. . . ! Oh God, pl ease, st op. . . !
s e e B i e c W H s e e B i e c W H s e e B i e c W H The sl edgehammer EMBEDS i n t he t r uck' s WI NDSHI ELD - - The sl edgehammer EMBEDS i n t he t r uck' s WI NDSHI ELD - -
T G T A n t T G T A n t T G T A n t SHATTERI NG t he SAFETY GLASS i nst ant l y! SHATTERI NG t he SAFETY GLASS i nst ant l y!
S K B S d n a S K B S d n a S K B S d n a The SHRI EK of BRAKES i s deaf eni ng as. . . The SHRI EK of BRAKES i s deaf eni ng as. . .
s i i g K F t h s e s i i g K F t h s e s i i g K F t h s e The swer vi ng bi g r i g J ACK- KNI FES, t i r es bel chi ng smoke whi l e The swer vi ng bi g r i g J ACK- KNI FES, t i r es bel chi ng smoke whi l e
d r a i o a d L T R d r a i o a d L T R d r a i o a d L T R t he dr i ver ' s cab t wi st s one way and t he huge GASOLI NE TANKER t he dr i ver ' s cab t wi st s one way and t he huge GASOLI NE TANKER
i o i k n a s d . i o i k n a s d . i o i k n a s d . i t ' s haul i ng goes si de- ski ddi ng shar pl y ont o t he shoul der . . . i t ' s haul i ng goes si de- ski ddi ng shar pl y ont o t he shoul der . . .
t e T R T I V o . t e T R T I V o . t e T R T I V o . The t hunder i ng GAS TANKER i s TOPPLI NG OVER now as. . . The t hunder i ng GAS TANKER i s TOPPLI NG OVER now as. . .
r s e C E n ! r s e C E n ! r s e C E n ! Mot or i st ' s Wi f e i s CRUSHED beneat h! Mot or i st ' s Wi f e i s CRUSHED beneat h!
h l i r b n a d d t h l i r b n a d d t h l i r b n a d d t Psycho Ki l l er i s mer el y backi ng away mi d- r oad as t he Psycho Ki l l er i s mer el y backi ng away mi d- r oad as t he
i p u e n s o i s h i p u e n s o i s h i p u e n s o i s h t er r i bl e, cacophonous wr eck unf ol ds bef or e hi m; as i f he t er r i bl e, cacophonous wr eck unf ol ds bef or e hi m; as i f he
n e a d e c h n e a d e c h n e a d e c h wer e unconcer ned t hat i t ever coul d have r eached hi m. wer e unconcer ned t hat i t ever coul d have r eached hi m.
t r c A S i a s g t r c A S i a s g t r c A S i a s g The t anker t r uck SMASHES TREES i n i t s pat h as i t goes The t anker t r uck SMASHES TREES i n i t s pat h as i t goes
H i t o i o l i . H i t o i o l i . H i t o i o l i . CRASHI NG i nt o t he woods, seemi ngl y unst oppabl e, t i l l . . . CRASHI NG i nt o t he woods, seemi ngl y unst oppabl e, t i l l . . .
T R L ! m v R L e T R L ! m v R L e T R L ! m v R L e The TANKER EXPLODES! A massi ve FI REBALL r i ses! The TANKER EXPLODES! A massi ve FI REBALL r i ses!
h a s e a S U D t L . h a s e a S U D t L . h a s e a S U D t L . On t he r oad, Psycho Ki l l er st ands SI LHOUETTED by t he FLAMES. On t he r oad, Psycho Ki l l er st ands SI LHOUETTED by t he FLAMES.
R T g t C " H R T g t C " H R T g t C " H INSERT TITLE against BLACK: "PSYCHO INSERT TITLE against BLACK: "PSYCHO
E E E KILLER" KILLER"
C O C O C O CUT TO: CUT TO:
7. 7.
T A N T A N T A N EXT. REST AREA -- NIGHT EXT. REST AREA -- NIGHT
D T T A D T T A D T T A INSIDE MOTORIST'S CAR INSIDE MOTORIST'S CAR
h l t s n e p e h l t s n e p e h l t s n e p e Psycho Ki l l er t hr ows open t he gl ove compar t ment . Psycho Ki l l er t hr ows open t he gl ove compar t ment .
i u s n . s O E i u s n . s O E i u s n . s O E He r i f l es t hr ough, scavengi ng. He t akes a POCKET KNI FE. He r i f l es t hr ough, scavengi ng. He t akes a POCKET KNI FE.
D E D E D E BESIDE THE CAR BESIDE THE CAR
h l p I E m c n h l p I E m c n h l p I E m c n Psycho Ki l l er pul l s open a SUI TCASE, dumpi ng t he cont ent s, Psycho Ki l l er pul l s open a SUI TCASE, dumpi ng t he cont ent s,
l O G i e c k u l O G i e c k u l O G i e c k u most l y CLOTHI NG, whi ch he qui ckl y ki cks t hr ough. most l y CLOTHI NG, whi ch he qui ckl y ki cks t hr ough.
h h i f h l r r s h h i f h l r r s h h i f h l r r s On t he ot her si de of t he car , Psycho Ki l l er r ol l s Mot or i st ' s On t he ot her si de of t he car , Psycho Ki l l er r ol l s Mot or i st ' s
s e s e n K e t g s s e s e n K e t g s s e s e n K e t g s cor pse over so i t i s f ace down. PK kneel s, t aki ng t he man' s cor pse over so i t i s f ace down. PK kneel s, t aki ng t he man' s
E T h l f r o B . E T h l f r o B . E T h l f r o B . WALLET. Then, Psycho Ki l l er f i nger s pool ed BLOOD. WALLET. Then, Psycho Ki l l er f i nger s pool ed BLOOD.
h d c P n p s e h d c P n p s e h d c P n p s e On t he si de of t he car , PK f i nger - pai nt s t he oval shape of On t he si de of t he car , PK f i nger - pai nt s t he oval shape of
Y d p d P G a e S Y d p d P G a e S Y d p d P G a e S an EYE, addi ng an upsi dedown PENTAGRAM as t he I RI S. an EYE, addi ng an upsi dedown PENTAGRAM as t he I RI S.
C O C O C O CUT TO: CUT TO:
E T E T E T EXT. MOTEL -- NIGHT EXT. MOTEL -- NIGHT
t a o v , c i ' d l t a o v , c i ' d l t a o v , c i ' d l On a qui et , smal l t own avenue, Psycho Ki l l er ' s sedan sl ows On a qui et , smal l t own avenue, Psycho Ki l l er ' s sedan sl ows
t s l E t o A Y G t t s l E t o A Y G t t s l E t o A Y G t as i t passes a smal l MOTEL wi t h neon " VACANCY" SI GN l i t . as i t passes a smal l MOTEL wi t h neon " VACANCY" SI GN l i t .
B R B R B R ON A NEARBY STREET ON A NEARBY STREET
h l s s o . l p h l s s o . l p h l s s o . l p Psycho Ki l l er ' s car t ur ns a cor ner . I t par al l el par ks Psycho Ki l l er ' s car t ur ns a cor ner . I t par al l el par ks
w o h o n s k e K C . w o h o n s k e K C . w o h o n s k e K C . hal f way down t he bl ock on t hi s dar k st r eet . CRI CKETS CHI RP. hal f way down t he bl ock on t hi s dar k st r eet . CRI CKETS CHI RP.
h l g o n n m d r . h l g o n n m d r . h l g o n n m d r . Psycho Ki l l er get s out , no l onger masked nor i n t r ench coat . Psycho Ki l l er get s out , no l onger masked nor i n t r ench coat .
o a d e s U S o e k t o a d e s U S o e k t o a d e s U S o e k t He l ooks ar ound. He get s a SUI TCASE f r omt he back seat . He l ooks ar ound. He get s a SUI TCASE f r omt he back seat .
C O C O C O CUT TO: CUT TO:
E T E T E T EXT. MOTEL -- NIGHT EXT. MOTEL -- NIGHT
h l c e s t h T e v . h l c e s t h T e v . h l c e s t h T e v . Psycho Ki l l er car r i es hi s sui t case t o t he MOTEL he dr ove by. Psycho Ki l l er car r i es hi s sui t case t o t he MOTEL he dr ove by.
E R D - G E R D - G E R D - G INT. MOTEL, FRONT DESK -- NIGHT INT. MOTEL, FRONT DESK -- NIGHT
h l s m ' G R l e w h l s m ' G R l e w h l s m ' G R l e w Psycho Ki l l er si gns t he mot el ' s REGI STER whi l e t he dr owsy, Psycho Ki l l er si gns t he mot el ' s REGI STER whi l e t he dr owsy,
r W i w n r u $ n h r W i w n r u $ n h r W i w n r u $ n h el der l y OWNER i n Hawai i an shi r t count s $50 i n cash. el der l y OWNER i n Hawai i an shi r t count s $50 i n cash.
C O C O C O CUT TO: CUT TO:
E T E T E T EXT. MOTEL -- NIGHT EXT. MOTEL -- NIGHT
h d s N I B G . h d s N I B G . h d s N I B G . ROOM " 9, " on t he end, has i t s " DO NOT DI STURB" SI GN on. ROOM " 9, " on t he end, has i t s " DO NOT DI STURB" SI GN on.
C I ' T O - H C I ' T O - H C I ' T O - H INT. PSYCHO KILLER'S MOTEL ROOM -- NIGHT INT. PSYCHO KILLER'S MOTEL ROOM -- NIGHT
n s a T O s n e C n s a T O s n e C n s a T O s n e C TV' s ON i n t hi s cheap MOTEL ROOM, showi ng an ear nest , Cabl e TV' s ON i n t hi s cheap MOTEL ROOM, showi ng an ear nest , Cabl e
O . O . O . News ANCHORMAN. News ANCHORMAN.
C N C N C N CONTI NUED CONTI NUED
8. 8.
i l N t g , I s i l N t g , I s i l N t g , I s ( As i t wi l l be wi t h al l NEWS t hr oughout , a TI CKER spews ( As i t wi l l be wi t h al l NEWS t hr oughout , a TI CKER spews
e n i w k t E I e n i w k t E I e n i w k t E I endl ess i nf o- bi t es whi l e bi g, bl ock- l et t er ed SEGMENT TI TLES endl ess i nf o- bi t es whi l e bi g, bl ock- l et t er ed SEGMENT TI TLES
r e M R T E A E T r e M R T E A E T r e M R T E A E T al t er nat e bet ween " MURDER I N THE HEARTLAND, " " I NTERSTATE al t er nat e bet ween " MURDER I N THE HEARTLAND, " " I NTERSTATE
E " T , c E " T , c E " T , c KI LLER, " " BODY COUNT: 15, " et c. ) KI LLER, " " BODY COUNT: 15, " et c. )
A R ( ) A R ( ) A R ( ) ANCHORMAN ( V. O. ) ANCHORMAN ( V. O. )
f T I ) f T I ) f T I ) ( f r omTELEVI SI ON) ( f r omTELEVI SI ON)
a v v o a v v o a v v o I t i s day f i ve of a wave of t er r or I t i s day f i ve of a wave of t er r or
d d n e t i c d d n e t i c d d n e t i c and sudden and unexpect ed vi ol ence and sudden and unexpect ed vi ol ence
a t l s t l d a t l s t l d a t l s t l d t hat l i t er al l y has a st r angl ehol d on t hat l i t er al l y has a st r angl ehol d on
e r i e r i e r i t he Amer i can publ i c. t he Amer i can publ i c.
H O B O H O B O H O B O IN THE ROOM'S BATHROOM IN THE ROOM'S BATHROOM
h l a s s T A O R h l a s s T A O R h l a s s T A O R Psycho Ki l l er , i n mask, st ar es I N THE BATHROOM MI RROR. Psycho Ki l l er , i n mask, st ar es I N THE BATHROOM MI RROR.
A R ( , . A R ( , . A R ( , . ANCHORMAN ( O. S. , V. O. ) ANCHORMAN ( O. S. , V. O. )
r s t , l r s t , l r s t , l Acr oss si x st at es, at l east 15 Acr oss si x st at es, at l east 15
c t h c t h c t h vi ct i ms have met t hei r f at e at t he vi ct i ms have met t hei r f at e at t he
n f d r k r n f d r k r n f d r k r hands of t he bl ood- t hi r st y ki l l er hands of t he bl ood- t hi r st y ki l l er
n e l t a c s n e l t a c s n e l t a c s many ar e cal l i ng t he Sat ani c Sl asher . many ar e cal l i ng t he Sat ani c Sl asher .
H L S : H L S : H L S : PSYCHO KILLER'S POV: PSYCHO KILLER'S POV:
I P i f d r . I P i f d r . I P i f d r . LOOKI NG UPON hi msel f , i n hi s di st ur bi ng mask. LOOKI NG UPON hi msel f , i n hi s di st ur bi ng mask.
E i E N d D R N e E i E N d D R N e E i E N d D R N e We HEAR hi s BREATHI NG and t he SOUND of RI NGI NG i n hi s ear s. We HEAR hi s BREATHI NG and t he SOUND of RI NGI NG i n hi s ear s.
A R ( , . A R ( , . A R ( , . ANCHORMAN ( O. S. , V. O. ) ANCHORMAN ( O. S. , V. O. )
l n N a a d z l n N a a d z l n N a a d z Cal i f or ni a, Nevada, Ut ah and Ar i zona, Cal i f or ni a, Nevada, Ut ah and Ar i zona,
e x a o d e x a o d e x a o d as wel l as New Mexi co and Col or ado, as wel l as New Mexi co and Col or ado,
v e t o . v e t o . v e t o . have seen a t r ai l of bodi es. . . have seen a t r ai l of bodi es. . .
s e t e t n d s e t e t n d s e t e t n d di smember ment s, decapi t at i ons and di smember ment s, decapi t at i ons and
t i t i t i mut i l at i ons. mut i l at i ons.
H T M H T M H T M IN THE BATHROOM IN THE BATHROOM
h l r S h i t h l r S h i t h l r S h i t Psycho Ki l l er r ear s back and SLAMS hi s head i nt o t he Psycho Ki l l er r ear s back and SLAMS hi s head i nt o t he
o N N e s o N N e s o N N e s mi r r or - - SPLI NTERI NG t he gl ass! mi r r or - - SPLI NTERI NG t he gl ass!
A R ( ) A R ( ) A R ( ) ANCHORMAN ( V. O. ) ANCHORMAN ( V. O. )
l n o m t a l n o m t a l n o m t a Pol i ce now conf i r mt hat sat ani c Pol i ce now conf i r mt hat sat ani c
m g i u e e m g i u e e m g i u e e symbol s and gr aphi c sl ur s wer e l ef t symbol s and gr aphi c sl ur s wer e l ef t
s s t u s t s s t u s t s s t u s t at t he scenes of t he mur der s, of t en at t he scenes of t he mur der s, of t en
i h c ' o i h c ' o i h c ' o wr i t t en i n t he vi ct i ms' bl ood. wr i t t en i n t he vi ct i ms' bl ood.
h l r e b g f h l r e b g f h l r e b g f Psycho Ki l l er r eaches t o t ear t he bandage of f t he back of Psycho Ki l l er r eaches t o t ear t he bandage of f t he back of
l h a s T : Y l h a s T : Y l h a s T : Y hi s l ef t hand, r eveal i ng wor ds TATTOOED: " NO MERCY. " hi s l ef t hand, r eveal i ng wor ds TATTOOED: " NO MERCY. "
H T O H T O H T O IN THE MOTEL ROOM IN THE MOTEL ROOM
A R ( ) A R ( ) A R ( ) ANCHORMAN ( V. O. ) ANCHORMAN ( V. O. )
n h i a o n h i a o n h i a o I n t he next hour , we wi l l t ake you I n t he next hour , we wi l l t ake you
s t i ' n p s t i ' n p s t i ' n p i nsi de t he ki l l er ' s mi nd as we speak i nsi de t he ki l l er ' s mi nd as we speak
t v r n t v r n t v r n wi t h sever al exper t s on t he wi t h sever al exper t s on t he
y o f s d s y o f s d s y o f s d s psychol ogy of mass mur der er s. . . psychol ogy of mass mur der er s. . .
C N C N C N CONTI NUED CONTI NUED
9. 9.
e y K r s t e D o n e e y K r s t e D o n e e y K r s t e D o n e Masked Psycho Ki l l er cr osses t o t he WI NDOW, openi ng t he Masked Psycho Ki l l er cr osses t o t he WI NDOW, openi ng t he
e r s t l , r o S t s e r s t l , r o S t s e r s t l , r o S t s cl osed cur t ai ns j ust a sl i ver , peer i ng out . ( NEWS cont i nues cl osed cur t ai ns j ust a sl i ver , peer i ng out . ( NEWS cont i nues
i H h G e t e i H h G e t e i H h G e t e dr oni ng, HEARD i n t he B. G. of t hese next f ew scenes. ) dr oni ng, HEARD i n t he B. G. of t hese next f ew scenes. )
H O D - T I H O D - T I H O D - T I AT THE ROOM'S DESK -- LATER NIGHT AT THE ROOM'S DESK -- LATER NIGHT
h l s d e t t A . h l s d e t t A . h l s d e t t A . Psycho Ki l l er ' s hands open Mot or i st ' s WALLET. Psycho Ki l l er ' s hands open Mot or i st ' s WALLET.
a o R S D R I E t a o R S D R I E t a o R S D R I E t PK t akes out CREDI T CARDS and t he DRI VER' S LI CENSE, set t i ng PK t akes out CREDI T CARDS and t he DRI VER' S LI CENSE, set t i ng
e e e t e E H n u e e e t e E H n u e e e t e E H n u t hemasi de. He t akes out some MONEY. He f i nger s t hr ough a t hemasi de. He t akes out some MONEY. He f i nger s t hr ough a
R P n D L N C R P n D L N C R P n D L N C f ew RECEI PTS and a DRY- CLEANI NG TI CKET. f ew RECEI PTS and a DRY- CLEANI NG TI CKET.
u o r T L i h h u o r T L i h h u o r T L i h h He pul l s out a cl ear PHOTO HOLDER, f anni ng t hr ough i t ; He pul l s out a cl ear PHOTO HOLDER, f anni ng t hr ough i t ;
y B E A a o H R . y B E A a o H R . y B E A a o H R . st udyi ng BUSI NESS CARDS and some PHOTOGRAPHS. . . st udyi ng BUSI NESS CARDS and some PHOTOGRAPHS. . .
E O r . r a i o E O r . r a i o E O r . r a i o CLOSE ON: PHOTOS of Mot or i st . . . of Mot or i st and Wi f e posed CLOSE ON: PHOTOS of Mot or i st . . . of Mot or i st and Wi f e posed
o r a a . T f m h i n o r a a . T f m h i n o r a a . T f m h i n on some t r opi cal beach. . . PHOTOS of t hemwi t h f ami l y and on some t r opi cal beach. . . PHOTOS of t hemwi t h f ami l y and
n s n d v r i g n n s n d v r i g n n s n d v r i g n f r i ends; smi l i ng and al i ve, f r ozen i n t i me. ( Li nger on t he f r i ends; smi l i ng and al i ve, f r ozen i n t i me. ( Li nger on t he
n o e w o v o n n o e w o v o n n o e w o v o n humani t y of t hese t wo who we' ve so cal l ousl y sl ai n. ) humani t y of t hese t wo who we' ve so cal l ousl y sl ai n. )
H D H D H D ON THE BED ON THE BED
h l t s n C e e l n h l t s n C e e l n h l t s n C e e l n Psycho Ki l l er t hr ows open hi s SUI TCASE, t osses t he wal l et i n. Psycho Ki l l er t hr ows open hi s SUI TCASE, t osses t he wal l et i n.
a t o o E Y E B N o e a t o o E Y E B N o e a t o o E Y E B N o e He t akes t wo t omes of THE ENCYCLOPEDI A BRI TANNI CA out of t he He t akes t wo t omes of THE ENCYCLOPEDI A BRI TANNI CA out of t he
c i h n U " n . c i h n U " n . c i h n U " n . sui t case, pl aci ng t hemon t he bed. VOLUMES " N" and " T. " sui t case, pl aci ng t hemon t he bed. VOLUMES " N" and " T. "
a o - d c p d O s - a o - d c p d O s - a o - d c p d O s - PK t akes out a snub- nosed, ni ckel - pl at ed REVOLVER and sawed- PK t akes out a snub- nosed, ni ckel - pl at ed REVOLVER and sawed-
S U i e r U P u h e S U i e r U P u h e S U i e r U P u h e of f SHOTGUN ( wi t h l eat her SHOULDER STRAP) , put s t hembesi de of f SHOTGUN ( wi t h l eat her SHOULDER STRAP) , put s t hembesi de
b . s P K G f e E b . s P K G f e E b . s P K G f e E t he books. He t akes out a ZI P- LOCK BAGGI E of a f ew CREDI T t he books. He t akes out a ZI P- LOCK BAGGI E of a f ew CREDI T
S E S s C e h d S E S s C e h d S E S s C e h d CARDS, CREDI T SLI PS and some CASH, t osses i t on t he bed. CARDS, CREDI T SLI PS and some CASH, t osses i t on t he bed.
a o L o d o o S a o L o d o o S a o L o d o o S He t akes out a ZI P- LOCK of a dozen or so col or f ul PI LLS. He t akes out a ZI P- LOCK of a dozen or so col or f ul PI LLS.
h l y m s c a - k h l y m s c a - k h l y m s c a - k Psycho Ki l l er yanks down hi s mask' s t hi ck, sal i va- sl i ck GAG Psycho Ki l l er yanks down hi s mask' s t hi ck, sal i va- sl i ck GAG
e l w e a e m e o e l w e a e m e o e l w e a e m e o so he may gobbl e down t hese l ast f ew of hi s menager i e of so he may gobbl e down t hese l ast f ew of hi s menager i e of
S e , s , l n e y S e , s , l n e y S e , s , l n e y PI LLS, chewi ng t hem, gnashi ng, swal l owi ng t hemdr y. PI LLS, chewi ng t hem, gnashi ng, swal l owi ng t hemdr y.
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H T O - E G H T O - E G H T O - E G IN THE MOTEL ROOM -- LATER NIGHT IN THE MOTEL ROOM -- LATER NIGHT
h l e s k t r w w e h l e s k t r w w e h l e s k t r w w e Psycho Ki l l er , masked, i s back at t he f r ont wi ndow, peeki ng Psycho Ki l l er , masked, i s back at t he f r ont wi ndow, peeki ng
f n H u h r . s f n H u h r . s f n H u h r . s out f or a l ong moment . He shut s t he cur t ai n. He cr osses, out f or a l ong moment . He shut s t he cur t ai n. He cr osses,
i p d g r h d i p d g r h d i p d g r h d pi cki ng up hi s sawed- of f shot gun f r omt he bed. pi cki ng up hi s sawed- of f shot gun f r omt he bed.
h l e s ' O h l e s ' O h l e s ' O Psycho Ki l l er ent er s t he r oom' s CLOSET. Psycho Ki l l er ent er s t he r oom' s CLOSET.
H O H O H O IN THE CLOSET IN THE CLOSET
h l p s g t O e e B h l p s g t O e e B h l p s g t O e e B Psycho Ki l l er pul l s t he st r i ng t o t ur n ON t he bar e BULB Psycho Ki l l er pul l s t he st r i ng t o t ur n ON t he bar e BULB
e e u h o H o s k e e u h o H o s k e e u h o H o s k above, t hen shut s t he door . He pr oceeds t o kneel down on above, t hen shut s t he door . He pr oceeds t o kneel down on
f h n u s y a e f h n u s y a e f h n u s y a e t he f l oor of t hi s, not sur pr i si ngl y, cr amped space. t he f l oor of t hi s, not sur pr i si ngl y, cr amped space.
a o c n t s u l o i u . a o c n t s u l o i u . a o c n t s u l o i u . PK l ays down, cur l i ng f et al , shot gun hel d, t o awai t sl umber . PK l ays down, cur l i ng f et al , shot gun hel d, t o awai t sl umber .
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10. 10.
E I E I E I EXT. MOTEL -- MORNING EXT. MOTEL -- MORNING
S G C a E R . b t S G C a E R . b t S G C a E R . b t BI RDS SI NG. A f ew CARS and PEDESTRI ANS pass. A br i ght , BI RDS SI NG. A f ew CARS and PEDESTRI ANS pass. A br i ght ,
e d u n t m h e e d u n t m h e e d u n t m h e peacef ul day bur geons out si de t he mot el PK chose, whi l e. . . peacef ul day bur geons out si de t he mot el PK chose, whi l e. . .
H T O L H T O L H T O L IN THE MOTEL ROOM CLOSET IN THE MOTEL ROOM CLOSET
m s P o l o o i s m s P o l o o i s m s P o l o o i s A t empest r i ses i n Psycho Ki l l er ' s subconsci ous mi nd as he A t empest r i ses i n Psycho Ki l l er ' s subconsci ous mi nd as he
h s o l n p r c . h s o l n p r c . h s o l n p r c . l ays wr i t hi ng spasmodi cal l y i n hi s sl eep; per chance t o. . . l ays wr i t hi ng spasmodi cal l y i n hi s sl eep; per chance t o. . .
M S E V N H M S E V N H M S E V N H DREAM / PSYCHO KILLER'S VISION OF HADES DREAM / PSYCHO KILLER'S VISION OF HADES
T E L o a t e m o l v n T E L o a t e m o l v n T E L o a t e m o l v n Mad TRUMPETS BLARE over a vast , Hi er onymus Bosch- l i ke vi si on Mad TRUMPETS BLARE over a vast , Hi er onymus Bosch- l i ke vi si on
E h h e f t D S a a r E h h e f t D S a a r E h h e f t D S a a r of HELL wher e hundr eds of best i al DEMONS i nhabi t a sur r eal , of HELL wher e hundr eds of best i al DEMONS i nhabi t a sur r eal ,
t s r C O t s r C O t s r C O ni ght mar e l andscape under BLACK CLOUDS. ni ght mar e l andscape under BLACK CLOUDS.
e d c l e s o h r k e d c l e s o h r k e d c l e s o h r k A f r enzi ed bacchanal i a seet hes acr oss t he bar r en, bl ackened A f r enzi ed bacchanal i a seet hes acr oss t he bar r en, bl ackened
n d e a m t , r l n d e a m t , r l n d e a m t , r l gr ound and beneat h and amongst t he bar e, gnar l ed l i mbs of gr ound and beneat h and amongst t he bar e, gnar l ed l i mbs of
t C E v t s D e t C E v t s D e t C E v t s D e gi ant BLACK TREES. At ever y t ur n, gr uesome DEMON hor des of gi ant BLACK TREES. At ever y t ur n, gr uesome DEMON hor des of
- h b t u n l n , - h b t u n l n , - h b t u n l n , hal f - man/ hal f - beast cr eat ur es t or t ur e and mol est naked, hal f - man/ hal f - beast cr eat ur es t or t ur e and mol est naked,
t A V f t A d e e t A V f t A d e e t A V f t A d e e pr ost r at e MORTALS. A RI VER of mol t en MAGMA di vi des t he pr ost r at e MORTALS. A RI VER of mol t en MAGMA di vi des t he
s . R a h u n a h o s . R a h u n a h o s . R a h u n a h o l andscape. FI RES r aze t he mount ai nous, vol cani c hor i zon. l andscape. FI RES r aze t he mount ai nous, vol cani c hor i zon.
U s n a f a , U s n a f a , U s n a f a , A THUNDER CLAP dr aws t he at t ent i on of many of t he squeal i ng, A THUNDER CLAP dr aws t he at t ent i on of many of t he squeal i ng,
e - t h r d k t h n e - t h r d k t h n e - t h r d k t h n shr i eki ng Hel l - beast s, who t ur n and l ook t o t he " heavens. " shr i eki ng Hel l - beast s, who t ur n and l ook t o t he " heavens. "
H A K A : r E A G H A K A : r E A G H A K A : r E A G I N THE BLACK SKI ES ABOVE: a gr eat , MOLTEN ORANGE GLOW I N THE BLACK SKI ES ABOVE: a gr eat , MOLTEN ORANGE GLOW
a r i r n o U A s a r i r n o U A s a r i r n o U A s appear s f r omwi t hi n t he r oi l i ng cl ouds. CLOUDS PART as. . . appear s f r omwi t hi n t he r oi l i ng cl ouds. CLOUDS PART as. . .
H L d n l M a R ) H L d n l M a R ) H L d n l M a R ) PSYCHO KI LLER descends sl owl y ( i n MASK and TRENCH COAT) , PSYCHO KI LLER descends sl owl y ( i n MASK and TRENCH COAT) ,
t h i L H R A h . t h i L H R A h . t h i L H R A h . ar ms out st r et ched wi t h SLEDGEHAMMER and PI CKAX i n hi s hands. ar ms out st r et ched wi t h SLEDGEHAMMER and PI CKAX i n hi s hands.
s d f y c n s d f y c n s d f y c n He i s hel d al of t as i f by f or ce of di vi ni t y. He i s hel d al of t as i f by f or ce of di vi ni t y.
o l a h l i U B S o l a h l i U B S o l a h l i U B S Fol l owi ng t he l evi t at i ng Psycho Ki l l er , bur ni ng HUMAN BEI NGS Fol l owi ng t he l evi t at i ng Psycho Ki l l er , bur ni ng HUMAN BEI NGS
n f f t l O a H E n f f t l O a H E n f f t l O a H E begi n t o f al l f r omt he cl ouds - - WOMEN, MEN and CHI LDREN, begi n t o f al l f r omt he cl ouds - - WOMEN, MEN and CHI LDREN,
h u l - i f i e s . h u l - i f i e s . h u l - i f i e s . cl ot hed but af l ame - - wai l i ng and f l ai l i ng hel pl essl y. . . cl ot hed but af l ame - - wai l i ng and f l ai l i ng hel pl essl y. . .
e s h g L R w e s h g L R w e s h g L R w To be consumed by t he r agi ng LAVA RI VER bel ow. To be consumed by t he r agi ng LAVA RI VER bel ow.
t e e l M H S b n m t e e l M H S b n m t e e l M H S b n m Fi r st a f ew of t hese newl y DAMNED HUMANS t umbl e i n f r omt he Fi r st a f ew of t hese newl y DAMNED HUMANS t umbl e i n f r omt he
e N R e e N R e e N R e hol e i n hel l ' s sky, t hen DOZENS. . . t hen HUNDREDS, whi l e hol e i n hel l ' s sky, t hen DOZENS. . . t hen HUNDREDS, whi l e
e e e i a E r h n w e e e i a E r h n w e e e i a E r h n w t her e r i ses up a gr eat , i nhuman CHEER f r omt he mi ni ons bel ow. t her e r i ses up a gr eat , i nhuman CHEER f r omt he mi ni ons bel ow.
t g c i h t k e t t g c i h t k e t t g c i h t k e t Levi t at i ng Psycho Ki l l er bows hi s head t o acknowl edge t hei r Levi t at i ng Psycho Ki l l er bows hi s head t o acknowl edge t hei r
i h f M L N l s i h f M L N l s i h f M L N l s l audi ng. Fl ashes of CRI MSON LI GHTNI NG l ance t he sky. l audi ng. Fl ashes of CRI MSON LI GHTNI NG l ance t he sky.
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/ D - E D / D - E D / D - E D EXT./INT. HARDWARE MEGA-STORE -- DAY EXT./INT. HARDWARE MEGA-STORE -- DAY
K H e L s e u g K H e L s e u g K H e L s e u g MUZAK i s HEARD as we FOLLOWPsycho Ki l l er , pushi ng a MUZAK i s HEARD as we FOLLOWPsycho Ki l l er , pushi ng a
P C s R S Y A R O P C s R S Y A R O P C s R S Y A R O SHOPPI NG CART, i nt o a busy WAREHOUSE- STYLE HARDWARE STORE. SHOPPI NG CART, i nt o a busy WAREHOUSE- STYLE HARDWARE STORE.
H L S : H L S : H L S : PSYCHO KILLER'S POV: PSYCHO KILLER'S POV:
h l S E e P n m h r h l S E e P n m h r h l S E e P n m h r Psycho Ki l l er STUDI ES t he SHOPPERS ar ound hi m. They ar e Psycho Ki l l er STUDI ES t he SHOPPERS ar ound hi m. They ar e
v i t o E n Y O . v i t o E n Y O . v i t o E n Y O . obl i vi ous t o hi s at t ent i ons. WORKERS and DAY- LABORERS pass. obl i vi ous t o hi s at t ent i ons. WORKERS and DAY- LABORERS pass.
t t Y L r A t t Y L r A t t Y L r A An at t r act i ve YOUNG COUPLE car r i es CANS of PAI NT. An at t r act i ve YOUNG COUPLE car r i es CANS of PAI NT.
C N C N C N CONTI NUED CONTI NUED
11. 11.
o , E M h e o s t a s T o , E M h e o s t a s T o , E M h e o s t a s T A st ooped, ELDERLY MAN shuf f l es al ong, squi nt i ng at hi s LI ST. A st ooped, ELDERLY MAN shuf f l es al ong, squi nt i ng at hi s LI ST.
T w f y o O o g s T w f y o O o g s T w f y o O o g s A FATHER wal ks wi t h hi s f i ve- year - ol d SON, hol di ng t he boy' s A FATHER wal ks wi t h hi s f i ve- year - ol d SON, hol di ng t he boy' s
. e s t a y K r . e s t a y K r . e s t a y K r hand. The boy t ur ns hi s head t o st ar e at Psycho Ki l l er . . . hand. The boy t ur ns hi s head t o st ar e at Psycho Ki l l er . . .
H R E R H R E R H R E R IN THE HARDWARE STORE IN THE HARDWARE STORE
k e s n c e n e a i k e s n c e n e a i k e s n c e n e a i The ki d keeps st ar i ng back as Fat her , unawar e, l eads hi m The ki d keeps st ar i ng back as Fat her , unawar e, l eads hi m
. y K r s s c . y K r s s c . y K r s s c away. Psycho Ki l l er goes, pushi ng hi s car t . away. Psycho Ki l l er goes, pushi ng hi s car t .
C O C O C O CUT TO: CUT TO:
H O S - E L H O S - E L H O S - E L IN THE TOOL AISLE -- MOMENTS LATER IN THE TOOL AISLE -- MOMENTS LATER
O h l g s e O h l g s e O h l g s e FOLLOWas Psycho Ki l l er gui des t he car t down t hi s ai sl e. FOLLOWas Psycho Ki l l er gui des t he car t down t hi s ai sl e.
m r T l . m r T l . m r T l . Al l manner of TOOLS hang di spl ayed. Al l manner of TOOLS hang di spl ayed.
H L S : H L S : H L S : PSYCHO KILLER'S POV: PSYCHO KILLER'S POV:
I V h p t c e A S W I V h p t c e A S W I V h p t c e A S W LOOKI NG OVER t he capt i vat i ng choi ces; HAMMERS, SAWS, LOOKI NG OVER t he capt i vat i ng choi ces; HAMMERS, SAWS,
A E n g N S S n s t A E n g N S S n s t A E n g N S S n s t PI CKAXES, SHOVELS and bi g PRUNI NG SHEARS. I n t hi s cont ext , PI CKAXES, SHOVELS and bi g PRUNI NG SHEARS. I n t hi s cont ext ,
u h e a r i . t u h e a r i . t u h e a r i . t t hr ough these eyes, al l appear si ni st er . Let hal . t hr ough these eyes, al l appear si ni st er . Let hal .
H O S H O S H O S IN THE TOOL AISLE IN THE TOOL AISLE
h l s d o a g C , h i h l s d o a g C , h i h l s d o a g C , h i Psycho Ki l l er ' s hands choose a l ar ge MACHETE, unsheat hi ng Psycho Ki l l er ' s hands choose a l ar ge MACHETE, unsheat hi ng
r , s b t E A , r , s b t E A , r , s b t E A , i t . PK gr unt s, put s i t back. He t akes down a SLEDGEHAMMER, i t . PK gr unt s, put s i t back. He t akes down a SLEDGEHAMMER,
i t l , n c t t h n r i t l , n c t t h n r i t l , n c t t h n r t est i ng i t s bal ance, t hen pl aces i t i n t he shoppi ng car t . t est i ng i t s bal ance, t hen pl aces i t i n t he shoppi ng car t .
C O C O C O CUT TO: CUT TO:
H U G L H U G L H U G L IN THE PLUMBING AISLE IN THE PLUMBING AISLE
h l p f l h C R E m h l p f l h C R E m h l p f l h C R E m Psycho Ki l l er pul l s a 3- f oot l engt h of COPPER PI PE f r oma Psycho Ki l l er pul l s a 3- f oot l engt h of COPPER PI PE f r oma
f e s i e c f e s i e c f e s i e c shel f , f eel i ng i t s sol i di t y. Pl aces i t i nt o hi s car t . shel f , f eel i ng i t s sol i di t y. Pl aces i t i nt o hi s car t .
C O C O C O CUT TO: CUT TO:
H L R H O H L R H O H L R H O AT THE SELF-SERVE CHECK-OUT AT THE SELF-SERVE CHECK-OUT
s e e d e h a g a s e e d e h a g a s e e d e h a g a The sl edgehammer and pi pe l i e on t he " baggi ng ar ea" of t he The sl edgehammer and pi pe l i e on t he " baggi ng ar ea" of t he
- E C T o i n a a H A - E C T o i n a a H A - E C T o i n a a H A SELF- SERVE CHECK- OUT, al ong wi t h an AX and l ar ge HANDSAW. SELF- SERVE CHECK- OUT, al ong wi t h an AX and l ar ge HANDSAW.
h l p e R " t h o o e h l p e R " t h o o e h l p e R " t h o o e Psycho Ki l l er pr esses " CREDI T CARD" on t he check- out consol e Psycho Ki l l er pr esses " CREDI T CARD" on t he check- out consol e
H E a o f e E C H E a o f e E C H E a o f e E C TOUCH SCREEN. He t akes one of a f ew CREDI T CARDS hel d i n TOUCH SCREEN. He t akes one of a f ew CREDI T CARDS hel d i n
m , D i r C T D D m , D i r C T D D m , D i r C T D D hi s meat y pal m, SLI DI NG i t t hr ough t he CREDI T CARD READER. hi s meat y pal m, SLI DI NG i t t hr ough t he CREDI T CARD READER.
r r C s T Z " n " I " r r C s T Z " n " I " r r C s T Z " n " I " The r eader ' s SCREEN r eads " AUTHORIZING, " t hen. . . " DECLINED. " The r eader ' s SCREEN r eads " AUTHORIZING, " t hen. . . " DECLINED. "
h l s h o I R h l s h o I R h l s h o I R Psycho Ki l l er swi t ches t o t he next CREDI T CARD. . . Psycho Ki l l er swi t ches t o t he next CREDI T CARD. . .
E i e o s A V E i e o s A V E i e o s A V SLI DES t hi s one t hr ough, wai t s. " APPROVED. " SLI DES t hi s one t hr ough, wai t s. " APPROVED. "
D - E D D - E D D - E D EXT. HARDWARE MEGA-STORE -- DAY EXT. HARDWARE MEGA-STORE -- DAY
h l c e s c s o r e h l c e s c s o r e h l c e s c s o r e Psycho Ki l l er car r i es hi s pur chases i n one ar mas he l eaves Psycho Ki l l er car r i es hi s pur chases i n one ar mas he l eaves
s n A ' s A A E s n A ' s A A E s n A ' s A A E t he st or e behi nd. As he' s passi ng a TRASH CANI STER. . . t he st or e behi nd. As he' s passi ng a TRASH CANI STER. . .
i d e I R e d i d e I R e d i d e I R e d He di scar ds t he TWO CREDI T CARDS he used. He di scar ds t he TWO CREDI T CARDS he used.
12. 12.
D - E K L - E L D - E K L - E L D - E K L - E L EXT. HARDWARE MEGA-STORE PARKING LOT -- MOMENTS LATER EXT. HARDWARE MEGA-STORE PARKING LOT -- MOMENTS LATER
h l a e s , c e r h l a e s , c e r h l a e s , c e r Psycho Ki l l er ar r i ves at hi s sedan, whi ch i s par ked i n a f ar Psycho Ki l l er ar r i ves at hi s sedan, whi ch i s par ked i n a f ar
e L a f o c e L a f o c e L a f o c cor ner of t he LOT, away f r omot her vehi cl es. cor ner of t he LOT, away f r omot her vehi cl es.
s t e e n s t e e n s t e e n He uses a key t o open t he t r unk. . . He uses a key t o open t he t r unk. . .
D E N - N A r i D E N - N A r i D E N - N A r i I NSI DE THE TRUNK: a wi de- eyed WOMAN' S FACE gr eet s us wi t h a I NSI DE THE TRUNK: a wi de- eyed WOMAN' S FACE gr eet s us wi t h a
n r t , s w e E D D n r t , s w e E D D n r t , s w e E D D si l ent scr eam; a r ot t i ng, pl ast i c- wr apped, SEVERED HEAD. si l ent scr eam; a r ot t i ng, pl ast i c- wr apped, SEVERED HEAD.
S Z h a e o a l f S Z h a e o a l f S Z h a e o a l f FLI ES BUZZ. The head l i es amongst PK' s al r eady pl ent i f ul FLI ES BUZZ. The head l i es amongst PK' s al r eady pl ent i f ul
e n H A M E o a s b i e n H A M E o a s b i e n H A M E o a s b i col l ect i on of HARDWARE I MPLEMENTS of deat h, some bl oodi ed. col l ect i on of HARDWARE I MPLEMENTS of deat h, some bl oodi ed.
h l t s w h s u s k h l t s w h s u s k h l t s w h s u s k Psycho Ki l l er t osses i n what he j ust bought , shut s t he t r unk. Psycho Ki l l er t osses i n what he j ust bought , shut s t he t r unk.
C O C O C O CUT TO: CUT TO:
C I ' D - M N D C I ' D - M N D C I ' D - M N D INT. PSYCHO KILLER'S SEDAN -- IN MOTION -- DAY INT. PSYCHO KILLER'S SEDAN -- IN MOTION -- DAY
H L S : H L S : H L S : PSYCHO KILLER'S POV: PSYCHO KILLER'S POV:
I H H N E P o l A i o f I H H N E P o l A i o f I H H N E P o l A i o f LOOKI NG THRU THE WI NDSHI ELD, Psycho Ki l l er PARKS i n f r ont of LOOKI NG THRU THE WI NDSHI ELD, Psycho Ki l l er PARKS i n f r ont of
a R T g o w h t e a R T g o w h t e a R T g o w h t e a chai n DRUG STORE. He get s out , wal ks t o t he ent r ance. . . a chai n DRUG STORE. He get s out , wal ks t o t he ent r ance. . .
H a H i e B R R t e H a H i e B R R t e H a H i e B R R t e WATCHI NG a MOTHER wi t h her BABY i n a STROLLER as t hey exi t WATCHI NG a MOTHER wi t h her BABY i n a STROLLER as t hey exi t
s ' t i o h l e s s ' t i o h l e s s ' t i o h l e s t he st or e' s aut omat i c door s. Psycho Ki l l er ent er s. . . t he st or e' s aut omat i c door s. Psycho Ki l l er ent er s. . .
H U O - I : H U O - I : H U O - I : IN THE DRUG STORE -- POV CONTINUES: IN THE DRUG STORE -- POV CONTINUES:
h l L N o t g a h h l L N o t g a h h l L N o t g a h Psycho Ki l l er LOOKS AROUND as he moves t hr ough, past t he Psycho Ki l l er LOOKS AROUND as he moves t hr ough, past t he
T I S r p n S R i . T I S r p n S R i . T I S r p n S R i . FRONT REGI STERS wher e i mpat i ent CUSTOMERS wai t i n l i ne. FRONT REGI STERS wher e i mpat i ent CUSTOMERS wai t i n l i ne.
O u c s o s h o h O u c s o s h o h O u c s o s h o h PK LOOKS up each ai sl e t owar ds t he back of t he st or e wher e PK LOOKS up each ai sl e t owar ds t he back of t he st or e wher e
" M o d e r p e o " M o d e r p e o " M o d e r p e o t he " PHARMACY" i s l ocat ed. He st ar t s up one ai sl e of over - t he " PHARMACY" i s l ocat ed. He st ar t s up one ai sl e of over -
c e D E E G A . c e D E E G A . c e D E E G A . t he- count er MEDI CI NES, PEERI NG AHEAD t o see. . . t he- count er MEDI CI NES, PEERI NG AHEAD t o see. . .
U H A Y D a y t e s L U H A Y D a y t e s L U H A Y D a y t e s L THROUGH THE PHARMACY WI NDOW, a gr ey- at - t he- t empl es, MALE THROUGH THE PHARMACY WI NDOW, a gr ey- at - t he- t empl es, MALE
M T u s E r i c i M T u s E r i c i M T u s E r i c i PHARMACI ST shoul der s t he PHONE, scr i bbl i ng a pr escr i pt i on. PHARMACI ST shoul der s t he PHONE, scr i bbl i ng a pr escr i pt i on.
C O C O C O CUT TO: CUT TO:
C I ' R I T C I ' R I T C I ' R I T INT. PSYCHO KILLER'S CAR -- IN MOTION INT. PSYCHO KILLER'S CAR -- IN MOTION
h l s a T a m a e h l s a T a m a e h l s a T a m a e Psycho Ki l l er st ops f or a RED LI GHT i n a commer ci al ar ea. Psycho Ki l l er st ops f or a RED LI GHT i n a commer ci al ar ea.
s e E T L C t s e E T L C t s e E T L C t Acr oss t he I NTERSECTI ON, a POLI CE CAR st ops. Acr oss t he I NTERSECTI ON, a POLI CE CAR st ops.
H L S : H L S : H L S : PSYCHO KILLER'S POV: PSYCHO KILLER'S POV:
A S c r t r c h r r A S c r t r c h r r A S c r t r c h r r PK WATCHES t he pol i ce car as t he t r af f i c l i ght t ur ns gr een. PK WATCHES t he pol i ce car as t he t r af f i c l i ght t ur ns gr een.
T A F R o e e t T A F R o e e t T A F R o e e t The TWO MALE OFFI CERS l ook over as t hey dr i ve past . The TWO MALE OFFI CERS l ook over as t hey dr i ve past .
h l L i I S E R e g h l L i I S E R e g h l L i I S E R e g Psycho Ki l l er LOOKS t o hi s DRI VER' S SI DE MI RROR: eyei ng t he Psycho Ki l l er LOOKS t o hi s DRI VER' S SI DE MI RROR: eyei ng t he
d , l s e n o f d , l s e n o f d , l s e n o f squad car , t i l l i t ' s gone amongst ot her t r af f i c. squad car , t i l l i t ' s gone amongst ot her t r af f i c.
C O C O C O CUT TO: CUT TO:
P E R - Y P E R - Y P E R - Y EXT. SHOPPING CENTER PARKING LOT -- DAY EXT. SHOPPING CENTER PARKING LOT -- DAY
h l s a u u c i i h l s a u u c i i h l s a u u c i i Psycho Ki l l er ' s sedan cr ui ses t hr ough, choosi ng a par ki ng Psycho Ki l l er ' s sedan cr ui ses t hr ough, choosi ng a par ki ng
e o r R T U O n s I L e o r R T U O n s I L e o r R T U O n s I L space acr oss f r oma " PHAR- MART" DRUG STORE i n t hi s MI NI - MALL. space acr oss f r oma " PHAR- MART" DRUG STORE i n t hi s MI NI - MALL.
13. 13.
R T R A R T R A R T R A INT. PHAR-MART PHARMACY -- DAY INT. PHAR-MART PHARMACY -- DAY
O y K r h l o s h O y K r h l o s h O y K r h l o s h FOLLOWPsycho Ki l l er as he wal ks t owar ds t he back of t he FOLLOWPsycho Ki l l er as he wal ks t owar ds t he back of t he
e e w o g a e e e w o g a e e e w o g a e st or e. He sl ows, l ooki ng ahead t o wher e. . . st or e. He sl ows, l ooki ng ahead t o wher e. . .
h P C , a c , d g e h P C , a c , d g e h P C , a c , d g e I n t he " APOTHECARY" ar ea, an at t r act i ve, mi ddl e- aged f emal e I n t he " APOTHECARY" ar ea, an at t r act i ve, mi ddl e- aged f emal e
M T d x n B E P n N M T d x n B E P n N M T d x n B E P n N PHARMACI ST ki ndl y expl ai ns a BOTTLE of PI LLS t o an OLD WOMAN PHARMACI ST ki ndl y expl ai ns a BOTTLE of PI LLS t o an OLD WOMAN
s e r T n a i a l s e r T n a i a l s e r T n a i a l acr oss t he phar macy COUNTER. Behi nd Phar maci st , a bur l y, acr oss t he phar macy COUNTER. Behi nd Phar maci st , a bur l y,
n M C R f c i n M C R f c i n M C R f c i apr oned, MALE CO- WORKER f i l l s pr escr i pt i ons. apr oned, MALE CO- WORKER f i l l s pr escr i pt i ons.
C O C O C O CUT TO: CUT TO:
R , K L - R , K L - R , K L - EXT. PHARMACY, PARKING LOT -- DAY EXT. PHARMACY, PARKING LOT -- DAY
h l c s o t . h l c s o t . h l c s o t . Psycho Ki l l er cl i mbs i nt o hi s car , st ar t s i t . Psycho Ki l l er cl i mbs i nt o hi s car , st ar t s i t .
r , d a d e f . r , d a d e f . r , d a d e f . He dr i ves, headi ng ar ound t he f ar end of t he mal l . He dr i ves, headi ng ar ound t he f ar end of t he mal l .
N E L N E L N E L BEHIND THE MALL BEHIND THE MALL
p s e E N C n p s e E N C n p s e E N C n PK' s car passes t he mal l st or es' REAR ENTRANCES and PK' s car passes t he mal l st or es' REAR ENTRANCES and
f n M R l a d o R f n M R l a d o R f n M R l a d o R over f l owi ng DUMPSTERS t o hi s l ef t , and a handf ul of PARKED over f l owi ng DUMPSTERS t o hi s l ef t , and a handf ul of PARKED
h g l a e h g l a e h g l a e CARS t o t he r i ght . He sl ows as he passes. . . CARS t o t he r i ght . He sl ows as he passes. . .
O t H A s i a s O t H A s i a s O t H A s i a s A DOOR wi t h " PHAR- MART" st enci l ed acr oss i t . A DOOR wi t h " PHAR- MART" st enci l ed acr oss i t .
H N H N H N FURTHER ON FURTHER ON
h l c e p n o a o h a h l c e p n o a o h a h l c e p n o a o h a Psycho Ki l l er chooses a par ki ng spot away f r omot her car s, Psycho Ki l l er chooses a par ki ng spot away f r omot her car s,
i o d I N i o d I N i o d I N pul l i ng f or war d and BACKI NG I N. pul l i ng f or war d and BACKI NG I N.
W H S E P W H S E P W H S E P THRU THE WINDSHIELD -- PSYCHO KILLER'S POV: THRU THE WINDSHIELD -- PSYCHO KILLER'S POV:
a h l c b e r a h l c b e r a h l c b e r Fr omt hi s di st ance, Psycho Ki l l er can obser ve t he " Phar - Fr omt hi s di st ance, Psycho Ki l l er can obser ve t he " Phar -
" k , w a r r a e r t " k , w a r r a e r t " k , w a r r a e r t Mar t " backdoor , as wel l as car s par ked adj acent f r omi t . Mar t " backdoor , as wel l as car s par ked adj acent f r omi t .
l . l . l . PK' s POV l ooks down t o. . . PK' s POV l ooks down t o. . .
C h r a a 4 " C h r a a 4 " C h r a a 4 " The CLOCK on t he car ' s dashboar d. " 3:34 pm. " The CLOCK on t he car ' s dashboar d. " 3:34 pm. "
N E L N E L N E L BEHIND THE MALL BEHIND THE MALL
a k t c i ' r b e a k t c i ' r b e a k t c i ' r b e We can make out Psycho Ki l l er ' s f or m, obscur ed by We can make out Psycho Ki l l er ' s f or m, obscur ed by
e n c i s l h e n c i s l h e n c i s l h r ef l ect i ons on t he car wi ndows, as he sl umps l ow, wat chi ng. r ef l ect i ons on t he car wi ndows, as he sl umps l ow, wat chi ng.
D L O D L O D L O DISSOLVE TO: DISSOLVE TO:
S D P O L S D P O L S D P O L THRU WINDSHIELD -- PSYCHO KILLER'S POV: THRU WINDSHIELD -- PSYCHO KILLER'S POV:
O N K C P M s k . e O N K C P M s k . e O N K C P M s k . e RADI O' S ON. PK WATCHES Phar - Mar t ' s backdoor . The RADI O' S ON. PK WATCHES Phar - Mar t ' s backdoor . The
a e r s m u S i g t a e r s m u S i g t a e r s m u S i g t at t r act i ve Phar maci st comes out . She l i ght s a ci gar et t e, at t r act i ve Phar maci st comes out . She l i ght s a ci gar et t e,
s t t o b R r O s t t o b R r O s t t o b R r O cr ossi ng t o get i nt o her near by CAR, an ol der 4- DOOR. cr ossi ng t o get i nt o her near by CAR, an ol der 4- DOOR.
R R ( ) R R ( ) R R ( ) RADI O REPORTER ( V. O. ) RADI O REPORTER ( V. O. )
f R ) f R ) f R ) ( f r omRADI O) ( f r omRADI O)
. s r r f o . s r r f o . s r r f o . . . f or est f i r e nor t h of Ki t Car son, . . . f or est f i r e nor t h of Ki t Car son,
l o s a r . l o s a r . l o s a r . Col or ado, yest er day mor ni ng. Col or ado, yest er day mor ni ng.
( ) ( ) ( ) ( mor e) ( mor e)
C N C N C N CONTI NUED CONTI NUED
14. 14.
R R ( . O R R ( . O R R ( . O RADI O REPORTER ( CONT. ; V. O. ) RADI O REPORTER ( CONT. ; V. O. )
l o t l d v l o t l d v l o t l d v Col or ado St at e Pol i ce di scover ed t he Col or ado St at e Pol i ce di scover ed t he
d o a P o d o a P o d o a P o bodi es of Char l es and Paul a Wi l son, bodi es of Char l es and Paul a Wi l son,
e l w t e s e l w t e s e l w t e s of Denver , al ong wi t h t he r emai ns of of Denver , al ong wi t h t he r emai ns of
e v f l t r e v f l t r e v f l t r t he dr i ver of t he gasol i ne t anker t he dr i ver of t he gasol i ne t anker
u w t h o t u w t h o t u w t h o t t r uck, whose i dent i t y has not yet t r uck, whose i dent i t y has not yet
e l d e l d e l d been r el eased. been r el eased.
h l W E m t v f h l W E m t v f h l W E m t v f Psycho Ki l l er WATCHES as Phar maci st dr i ves of f . Psycho Ki l l er WATCHES as Phar maci st dr i ves of f .
b K d 4 p b K d 4 p b K d 4 p Dashboar d CLOCK r eads, " 4:59 pm. " Dashboar d CLOCK r eads, " 4:59 pm. "
R R ( ) R R ( ) R R ( ) RADI O REPORTER ( V. O. ) RADI O REPORTER ( V. O. )
i i t u n i i t u n i i t u n Thi s br i ngs t he number of known Thi s br i ngs t he number of known
c h t a i c h t a i c h t a i vi ct i ms of t he I nt er st at e Ki l l er t o vi ct i ms of t he I nt er st at e Ki l l er t o
t d o M t d o M t d o M at l east 20. Monday' s Nat i onal Mega- at l east 20. Monday' s Nat i onal Mega-
c e r 5 c e r 5 c e r 5 J ackpot number s ar e 9, 11, 53. . . J ackpot number s ar e 9, 11, 53. . .
D L O D L O D L O DISSOLVE TO: DISSOLVE TO:
S D P O L S D P O L S D P O L THRU WINDSHIELD -- PSYCHO KILLER'S POV: THRU WINDSHIELD -- PSYCHO KILLER'S POV:
A S P a ' R u n o f A S P a ' R u n o f A S P a ' R u n o f PK WATCHES as Phar maci st ' s CAR r et ur ns, comi ng ar ound f r om PK WATCHES as Phar maci st ' s CAR r et ur ns, comi ng ar ound f r om
o o e i l S r t t o o e i l S r t t o o e i l S r t t t he ot her end of t he st r i p mal l . She dr i ves r i ght past t he ot her end of t he st r i p mal l . She dr i ves r i ght past
h l s , d n o h i i h l s , d n o h i i h l s , d n o h i i Psycho Ki l l er ' s car , but she does not l ook t hi s di r ect i on. Psycho Ki l l er ' s car , but she does not l ook t hi s di r ect i on.
A ( ) A ( ) A ( ) ANGRY MAN ( V. O. ) ANGRY MAN ( V. O. )
f R ) f R ) f R ) ( f r omRADI O) ( f r omRADI O)
. n a a d . n a a d . n a a d . . . haven' t caught t hi s guy al r eady? . . . haven' t caught t hi s guy al r eady?
' t r n n U ' t r n n U ' t r n n U He' s out t her e r unni ng ar ound! Use He' s out t her e r unni ng ar ound! Use
r p t a a r p t a a r p t a a mor e cops. . . cal l out t he Nat i onal mor e cops. . . cal l out t he Nat i onal
a w v h e o a w v h e o a w v h e o Guar d, what ever t hey' ve got t o do! Guar d, what ever t hey' ve got t o do!
O d a e e i 5 p . O d a e e i 5 p . O d a e e i 5 p . PK LOOKS down at t he t i me agai n; " 5:03 pm. " Then. . . PK LOOKS down at t he t i me agai n; " 5:03 pm. " Then. . .
p a d m t u h a p a d m t u h a p a d m t u h a Near t he phar macy' s backdoor , Phar maci st r et ur ns her car t o Near t he phar macy' s backdoor , Phar maci st r et ur ns her car t o
r e h t t o , F n d r e h t t o , F n d r e h t t o , F n d a par ki ng space. She get s out , smoki ng, COFFEE i n hand. a par ki ng space. She get s out , smoki ng, COFFEE i n hand.
T R . T R . T R . TALK RADI O HOST ( V. O. ) TALK RADI O HOST ( V. O. )
a e ? d o o a e ? d o o a e ? d o o Yeah, geni us? And put up r oadbl ocks Yeah, geni us? And put up r oadbl ocks
l t a h a t l t a h a t l t a h a t al l on t he maj or hi ghways? St ar t al l on t he maj or hi ghways? St ar t
n y r g s t n y r g s t n y r g s t r andoml y sear chi ng car s? I t ' s a bi g r andoml y sear chi ng car s? I t ' s a bi g
u t , c y a u t , c y a u t , c y a count r y out t her e, i n case you hadn' t count r y out t her e, i n case you hadn' t
t . o D S r t . o D S r t . o D S r not i ced. Look at t he D. C. Sni per . not i ced. Look at t he D. C. Sni per .
o h n e n e o h n e n e o h n e n e Those shoot i ngs went on f or t hr ee Those shoot i ngs went on f or t hr ee
e i y h e i y h e i e y h weeks. That was i n one ci t y. These weeks. That was i n one ci t y. These
e d i g r e e d i g r e e d i g r e ar e r andomki l l i ngs acr oss ei ght ar e r andomki l l i ngs acr oss ei ght
a a o n T g t a a o n T g t a a o n T g t st at es and count i ng. Thi s guy, t he st at es and count i ng. Thi s guy, t he
a , i e g . a , i e g . a , i e g . Sl asher , i f i t even i s j ust one guy. . . Sl asher , i f i t even i s j ust one guy. . .
m t s S o t P M , e e m t s S o t P M , e e m t s S o t P M , e e Phar maci st uses KEYS t o open t he " Phar - Mar t " door , t akes one Phar maci st uses KEYS t o open t he " Phar - Mar t " door , t akes one
, s e g t d a r s , s e g t d a r s , s e g t d a r s l ast dr ag, t osses her ci gar et t e and di sappear s i nsi de. l ast dr ag, t osses her ci gar et t e and di sappear s i nsi de.
T R . T R . T R . TALK RADI O HOST ( V. O. ) TALK RADI O HOST ( V. O. )
' k n a s r d ' k n a s r d ' k n a s r d He' s l i ke a nat ur al di sast er , and God He' s l i ke a nat ur al di sast er , and God
v r n o n . v r n o n . v r n o n . have mer cy on anyone i n hi s pat h. have mer cy on anyone i n hi s pat h.
C O C O C O CUT TO: CUT TO:
15. 15.
T O T O T O INT. WHITE ROOM -- DAY INT. WHITE ROOM -- DAY
h l s K a l W L F , h l s K a l W L F , h l s K a l W L F , Psycho Ki l l er ' s MASKED f ace sl ams WHI TE LI NOLEUM FLOOR, Psycho Ki l l er ' s MASKED f ace sl ams WHI TE LI NOLEUM FLOOR,
i b - k p e s i o i b - k p e s i o i b - k p e s i o spewi ng bl ood- f l ecked spi t t l e, hi s gag hangi ng l oose. spewi ng bl ood- f l ecked spi t t l e, hi s gag hangi ng l oose.
U O i d - S h l s d U O i d - S h l s d U O i d - S h l s d A TRUNCHEON swi ngs down - - BASHI NG Psycho Ki l l er ' s head! A TRUNCHEON swi ngs down - - BASHI NG Psycho Ki l l er ' s head!
h e i o f T N E L s h e i o f T N E L s h e i o f T N E L s I n t hi s cel l - l i ke r oomof WHI TE CONCRETE WALLS, Psycho I n t hi s cel l - l i ke r oomof WHI TE CONCRETE WALLS, Psycho
e e R T E w K - e R e e R T E w K - e R e e R T E w K - e R Ki l l er l i es STRAI GHTJ ACKETED whi l e TWO Kaf ka- esque GUARDS, Ki l l er l i es STRAI GHTJ ACKETED whi l e TWO Kaf ka- esque GUARDS,
a t F w M , i i a t F w M , i i a t F w M , i i i n Haz- Mat UNI FORMS and wei r d GAS- MASKS, ar e beat i ng hi m i n Haz- Mat UNI FORMS and wei r d GAS- MASKS, ar e beat i ng hi m
a y h v l B S a y h v l B S a y h v l B S r epeat edl y wi t h heavy, bl ack BATONS. r epeat edl y wi t h heavy, bl ack BATONS.
g s i h s g s i h s g s i h s The guar ds r el i sh t he t ask. The guar ds r el i sh t he t ask.
h l c l T s I i h l c l T s I i h l c l T s I i Psycho Ki l l er cur l s i nt o a bal l . They st ar t KI CKI NG hi m. Psycho Ki l l er cur l s i nt o a bal l . They st ar t KI CKI NG hi m.
h l m e t s e t b . h l m e t s e t b . h l m e t s e t b . Psycho Ki l l er manages t o get t o hi s knees, st i l l bowed. Psycho Ki l l er manages t o get t o hi s knees, st i l l bowed.
' I G o a . ' I G o a . ' I G o a . They' r e KI CKI NG hi mover and over agai n. They' r e KI CKI NG hi mover and over agai n.
s - K e S f s K s - K e S f s K s - K e S f s K One st eel - t oed KI CK CRACKS t he LENSES of PK' s MASK. One st eel - t oed KI CK CRACKS t he LENSES of PK' s MASK.
e u e a S M a O O , e u e a S M a O O , e u e a S M a O O , PK r ear s up, head back, SCREAMI NG! Hi s scr eamGROWS LOUDER, PK r ear s up, head back, SCREAMI NG! Hi s scr eamGROWS LOUDER,
L m t O o e M A L m t O o e M A L m t O o e M A SHRI LLER, becomi ng t he SOUND of t he TRUMPETS of HADES! SHRI LLER, becomi ng t he SOUND of t he TRUMPETS of HADES!
g s k y r y t e o R E g s k y r y t e o R E g s k y r y t e o R E The guar ds back away f ear f ul l y as t he ver y r oomTREMBLES! The guar ds back away f ear f ul l y as t he ver y r oomTREMBLES!
K r d c w s e c s K r d c w s e c s K r d c w s e c s CRACKS f or mand qui ckl y wi den acr oss t he concr et e wal l s! CRACKS f or mand qui ckl y wi den acr oss t he concr et e wal l s!
e w M s t m e w M s t m e w M s t m Suddenl y, many si newy DEMONI C ARMS t hr ust out f r omt he Suddenl y, many si newy DEMONI C ARMS t hr ust out f r omt he
k w E I , K N k w E I , K N k w E I , K N cr acks i n t he wal l s - - RED- SKI NNED ARMS, and BLACK and GREEN cr acks i n t he wal l s - - RED- SKI NNED ARMS, and BLACK and GREEN
E M v E R R - o f r a g E M v E R R - o f r a g E M v E R R - o f r a g SCALED ARMS, even FEATHERED ARMS - - t al oned f i nger s gr aspi ng. SCALED ARMS, even FEATHERED ARMS - - t al oned f i nger s gr aspi ng.
d e b f b d e c a d e b f b d e c a d e b f b d e c a Bot h guar ds ar e gr abbed f r ombehi nd and pul l ed back agai nst Bot h guar ds ar e gr abbed f r ombehi nd and pul l ed back agai nst
w ! e r e , t o o a w ! e r e , t o o a w ! e r e , t o o a t he wal l s! They st r uggl e, i n vai n, as t he monst r ous hands t he wal l s! They st r uggl e, i n vai n, as t he monst r ous hands
h b n t A e a h b n t A e a h b n t A e a CLAWat t hem, begi nni ng t o TEAR t hemapar t ! CLAWat t hem, begi nni ng t o TEAR t hemapar t !
C O C O C O CUT TO: CUT TO:
N E I L T N E I L T N E I L T BEHIND THE STRIP MALL -- NIGHT BEHIND THE STRIP MALL -- NIGHT
S E C S E C S E C IN PSYCHO KILLER'S CAR IN PSYCHO KILLER'S CAR
w s m a , D E s f r w s m a , D E s f r w s m a , D E s f r PK awakens f r omdr eami ng, i n DARKNESS, si t s f or war d. PK awakens f r omdr eami ng, i n DARKNESS, si t s f or war d.
o h e r h i s o h r . o h e r h i s o h r . o h e r h i s o h r . He hol ds hi s head, r uns hi s f i nger s t hr ough hi s gr easy hai r . He hol ds hi s head, r uns hi s f i nger s t hr ough hi s gr easy hai r .
F E I S . F E I S . F E I S . FEMALE RADI O HOST ( V. O. ) FEMALE RADI O HOST ( V. O. )
f R ) f R ) f R ) ( f r omRADI O) ( f r omRADI O)
. s p e . s p e . s p e . . . how some peopl e say t hat t hi s . . . how some peopl e say t hat t hi s
r s n r s n r s n wor l d i s goi ng t o Hel l i n a hand wor l d i s goi ng t o Hel l i n a hand
s r l m s r l m s r l m basket ? We' r e al l doomed. I t ' s a basket ? We' r e al l doomed. I t ' s a
m r r t m r r t m r r t f ami l i ar r ef r ai n, amI r i ght ? f ami l i ar r ef r ai n, amI r i ght ?
b K s s 4 . b K s s 4 . b K s s 4 . Dashboar d CLOCK says i t ' s " 8:41 pm. " Dashboar d CLOCK says i t ' s " 8:41 pm. "
S D P O L S D P O L S D P O L THRU WINDSHIELD -- PSYCHO KILLER'S POV: THRU WINDSHIELD -- PSYCHO KILLER'S POV:
c t d h G o e R . W A c t d h G o e R . W A c t d h G o e R . W A No act i vi t y under t he LI GHTS of t he REAR LOT. FEWER CARS. No act i vi t y under t he LI GHTS of t he REAR LOT. FEWER CARS.
r l h c s t t . r l h c s t t . r l h c s t t . Mor e i mpor t ant l y, Phar maci st ' s car i s st i l l t her e. Mor e i mpor t ant l y, Phar maci st ' s car i s st i l l t her e.
C N C N C N CONTI NUED CONTI NUED
16. 16.
F E I S . F E I S . F E I S . FEMALE RADI O HOST ( V. O. ) FEMALE RADI O HOST ( V. O. )
u w t t r o u w t t r o u w t t r o You know what . . . t hey' r e wr ong. Dead You know what . . . t hey' r e wr ong. Dead
o u e a h o u e a h o u e a h wr ong. Because we ar e al r eady t her e, wr ong. Because we ar e al r eady t her e,
d a e m h o d a e m h o d a e m h o l adi es and gent l emen. I f t hi s wor l d l adi es and gent l emen. I f t hi s wor l d
' i s H ' i s H ' i s H we' r e l i vi ng i n i sn' t Hel l , t hen you we' r e l i vi ng i n i sn' t Hel l , t hen you
l e a l e a l e a t el l me what i s. We' ve got war and t el l me what i s. We' ve got war and
m a e d e e . m a e d e e . m a e d e e . f ami ne and genoci de over t her e. . . f ami ne and genoci de over t her e. . .
S E C S E C S E C IN PSYCHO KILLER'S CAR IN PSYCHO KILLER'S CAR
A H O A G E P o l A H O A G E P o l A H O A G E P o l BENEATH THE FRONT PASSENGER SEAT, Psycho Ki l l er ' s hand BENEATH THE FRONT PASSENGER SEAT, Psycho Ki l l er ' s hand
h r , l f i S d h h r , l f i S d h h r , l f i S d h r eaches ar ound, f eel i ng f or hi s MASK hi dden her e. r eaches ar ound, f eel i ng f or hi s MASK hi dden her e.
F E I S . F E I S . F E I S . FEMALE RADI O HOST ( V. O. ) FEMALE RADI O HOST ( V. O. )
. e e d e r . e e d e r . e e d e r . . . we' ve got mur der and r ape over . . . we' ve got mur der and r ape over
r P t a . l d r P t a . l d r P t a . l d her e. Pol l ut ed wat er . . . pol l ut ed her e. Pol l ut ed wat er . . . pol l ut ed
r p t i a n r p t i a n r p t i a n ai r . . . pol l ut ed mi nds. We ar e i n ai r . . . pol l ut ed mi nds. We ar e i n
r b p e r b p e r b p e ser i ous t r oubl e, peopl e. ser i ous t r oubl e, peopl e.
N E L N E L N E L BEHIND THE MALL BEHIND THE MALL
h l g o l n a e h l g o l n a e h l g o l n a e Psycho Ki l l er get s out , l ooks ar ound, mask hel d. Psycho Ki l l er get s out , l ooks ar ound, mask hel d.
o o n k k u C A H o o o n k k u C A H o o o n k k u C A H o He goes t o open t he t r unk, t akes out a CROWBAR. He cl oses He goes t o open t he t r unk, t akes out a CROWBAR. He cl oses
t , r a g a P a ' r t l t , r a g a P a ' r t l t , r a g a P a ' r t l t he t r unk, st ar t s wal ki ng t owar ds Phar maci st ' s car , wat chf ul . t he t r unk, st ar t s wal ki ng t owar ds Phar maci st ' s car , wat chf ul .
H C S H C S H C S AT PHARMACIST'S CAR AT PHARMACIST'S CAR
h l t d h i s e n h l t d h i s e n h l t d h i s e n Psycho Ki l l er t r i es t he door s on t he dr i ver ' s si de, f i ndi ng Psycho Ki l l er t r i es t he door s on t he dr i ver ' s si de, f i ndi ng
e H v r h s e d e H v r h s e d e H v r h s e d t heml ocked. He moves ar ound t o t he passenger si de. t heml ocked. He moves ar ound t o t he passenger si de.
H c a n w o e n h c H c a n w o e n h c H c a n w o e n h c PK SHOVES t he cr owbar ' s nar r ow, cl oven end i nt o t he back PK SHOVES t he cr owbar ' s nar r ow, cl oven end i nt o t he back
e ' a a T I n E N e e ' a a T I n E N e e ' a a T I n E N e passenger door ' s r ear seam. TWI STI NG and WRENCHI NG t he passenger door ' s r ear seam. TWI STI NG and WRENCHI NG t he
b P d t e s n e e t b P d t e s n e e t b P d t e s n e e t cr owbar , PK wi dens t he seam, seeki ng t he i nner l at ch. cr owbar , PK wi dens t he seam, seeki ng t he i nner l at ch.
S E S E S E FROM ACROSS THE LOT FROM ACROSS THE LOT
r e y n s P o l l i t r e y n s P o l l i t r e y n s P o l l i t We ar e t he onl y wi t nesses as Psycho Ki l l er sl i ps i nt o t he We ar e t he onl y wi t nesses as Psycho Ki l l er sl i ps i nt o t he
s o a i i h o u s o a i i h o u s o a i i h o u backseat of Phar maci st ' s car , pul l i ng t he door shut . backseat of Phar maci st ' s car , pul l i ng t he door shut .
D L O D L O D L O DISSOLVE TO: DISSOLVE TO:
H C S S E P H C S S E P H C S S E P IN PHARMACIST'S CAR -- PSYCHO KILLER'S POV: IN PHARMACIST'S CAR -- PSYCHO KILLER'S POV:
I r i d p h c w ' I r i d p h c w ' I r i d p h c w ' PEERI NG f r omhi s hi di ng pl ace i n t he back of t he woman' s PEERI NG f r omhi s hi di ng pl ace i n t he back of t he woman' s
e T H A E K C t h e T H A E K C t h e T H A E K C t h car , f i l t er ed THRU HI S MASK' S LENSES: PK WATCHES t he Phar - car , f i l t er ed THRU HI S MASK' S LENSES: PK WATCHES t he Phar -
. f A n M E Y e . f A n M E Y e . f A n M E Y e Mar t door . A f ew MALE and FEMALE EMPLOYEES exi t . Mar t door . A f ew MALE and FEMALE EMPLOYEES exi t .
h l O V s y b y e h l O V s y b y e h l O V s y b y e Psycho Ki l l er OBSERVES as t hey say goodbyes. They j oke and Psycho Ki l l er OBSERVES as t hey say goodbyes. They j oke and
e a g i p e s e a g i p e s e a g i p e s shar e a l augh, goi ng t hei r separ at e ways. shar e a l augh, goi ng t hei r separ at e ways.
D L O D L O D L O DISSOLVE TO: DISSOLVE TO:
H C S S E P H C S S E P H C S S E P IN PHARMACIST'S CAR -- PSYCHO KILLER'S POV: IN PHARMACIST'S CAR -- PSYCHO KILLER'S POV:
I U i a a c r i y e r I U i a a c r i y e r I U i a a c r i y e r LOOKI NG OUT st i l l , at t hat backdoor . Fi nal l y, t he door LOOKI NG OUT st i l l , at t hat backdoor . Fi nal l y, t he door
s m t e t s m t e t s m t e t opens and Phar maci st comes out . opens and Phar maci st comes out .
C N C N C N CONTI NUED CONTI NUED
17. 17.
s o i y y l - E h s o i y y l - E h s o i y y l - E h She' s accompani ed by t he bur l y, mal e CO- WORKER we saw her She' s accompani ed by t he bur l y, mal e CO- WORKER we saw her
r P a i S A s e r P a i S A s e r P a i S A s e wi t h bef or e. Phar maci st car r i es a DEPOSI T BAG, uses her wi t h bef or e. Phar maci st car r i es a DEPOSI T BAG, uses her
O P O P O P keys t o LOCK UP. keys t o LOCK UP.
i o p m n e s e T o i o p m n e s e T o i o p m n e s e T o Ducki ng t o keep f r ombei ng seen, Psycho Ki l l er WATCHES as Co- Ducki ng t o keep f r ombei ng seen, Psycho Ki l l er WATCHES as Co-
e l h c t e j e l h c t e j e l h c t r . e e j Wor ker wal ks Phar maci st t o her car . They' r e so near ; j ust Wor ker wal ks Phar maci st t o her car . They' r e so near ; j ust
h h i f o w h h n h h i f o w h h n h h i f o w h h n on t he ot her si de of t he wi ndow now. They chat a moment , on t he ot her si de of t he wi ndow now. They chat a moment ,
o a a o g w n a o a a o g w n a o a a o g w n a t hen Co- Wor ker at l ast says goodni ght , wal ki ng away. t hen Co- Wor ker at l ast says goodni ght , wal ki ng away.
H O E H O E H O E IN THE FRONT SEAT IN THE FRONT SEAT
m t s i h n p b e . m t s i h n p b e . m t s i h n p b e . Phar maci st get s i n, pl aci ng t he bank deposi t bag besi de her . Phar maci st get s i n, pl aci ng t he bank deposi t bag besi de her .
p h e n t i p C r p h e n t i p C r p h e n t i p C r She put s her keys i n t he i gni t i on, l ooki ng up at Co- Wor ker , She put s her keys i n t he i gni t i on, l ooki ng up at Co- Wor ker ,
i w v o n c m t e i w v o n c m t e i w v o n c m t e who i s now dr i vi ng of f i n hi s own car . Phar maci st waves. who i s now dr i vi ng of f i n hi s own car . Phar maci st waves.
m t s r i d h I T m t s r i d h I T m t s r i d h I T Phar maci st l et s out a t i r ed si gh. She di gs her CI GARETTES Phar maci st l et s out a t i r ed si gh. She di gs her CI GARETTES
P , c n t l P , c n t l P , c n t l f r omher PURSE, pl aces one bet ween her l i ps. f r omher PURSE, pl aces one bet ween her l i ps.
m t i s h r I R m t i s h r I R m t i s h r I R Phar maci st ' s f i nger pr esses t he car ' s LI GHTER. Phar maci st ' s f i nger pr esses t he car ' s LI GHTER.
m t s n e a t m t s n e a t m t s n e a t Phar maci st put s her head back agai nst her headr est , Phar maci st put s her head back agai nst her headr est ,
i o e h o t o i a i o e h o t o i a i o e h o t o i a wai t i ng f or t he l i ght er . She i s compl et el y obl i vi ous as. . . wai t i ng f or t he l i ght er . She i s compl et el y obl i vi ous as. . .
l i l s e m d a i l i l s e m d a i l i l s e m d a i Ver y sl owl y, si l ent l y, Psycho Ki l l er ' s masked vi sage r i ses Ver y sl owl y, si l ent l y, Psycho Ki l l er ' s masked vi sage r i ses
n r s e r h o r n r s e r h o r n r s e r h o r behi nd her ; j ust over her r i ght shoul der . behi nd her ; j ust over her r i ght shoul der .
o g o g o g PK' s yel l ow- goggl ed eyes l ook upon her . PK' s yel l ow- goggl ed eyes l ook upon her .
C O C O C O CUT TO: CUT TO:
INT. PHAR-MART PHARMACY -- NIGHT R T R I R T R I INT. PHAR-MART PHARMACY -- NIGHT INT. PHAR-MART PHARMACY -- NIGHT
d o . s P o l n , r s d o . s P o l n , r s d o . s P o l n , r s Backdoor opens. Masked Psycho Ki l l er ent er s, Phar maci st ' s Backdoor opens. Masked Psycho Ki l l er ent er s, Phar maci st ' s
n n d w i e e n n d w i e e n n d w i e e keys i n one hand and cr owbar i n t he ot her . keys i n one hand and cr owbar i n t he ot her .
R C A : R C A : R C A : SECURITY CAMERA POV: SECURITY CAMERA POV:
Y E a e y K r h s Y E a e y K r h s Y E a e y K r h s FUZZY VI DEO: capt ur es Psycho Ki l l er as he passes. FUZZY VI DEO: capt ur es Psycho Ki l l er as he passes.
i i L i A e i o N i i L i A e i o N i i L i A e i o N A t wi t t er i ng ALARM i s HEARD begi nni ng t o SOUND. A t wi t t er i ng ALARM i s HEARD begi nni ng t o SOUND.
H A Y T - M R H A Y T - M R H A Y T - M R IN THE PHARMACY SECTION -- MOMENTS LATER IN THE PHARMACY SECTION -- MOMENTS LATER
M t s s e A a R A T M t s s e A a R A T M t s s e A a R A T ALARM cont i nues. Psycho Ki l l er SMASHES a gl ass DRUG CABI NET. ALARM cont i nues. Psycho Ki l l er SMASHES a gl ass DRUG CABI NET.
r a v r E E r a v r E E r a v r E E He gr abs and over t ur ns a WASTEBASKET. He gr abs and over t ur ns a WASTEBASKET.
e w P R O T P I G e w P R O T P I G e w P R O T P I G He begi ns t hr owi ng PRESCRI PTI ON BOTTLES and PLASTI C BAGS He begi ns t hr owi ng PRESCRI PTI ON BOTTLES and PLASTI C BAGS
l n f L t e t k l n f L t e t k l n f L t e t k f ul l of al l ki nds of PI LLS i nt o t he wast ebasket . f ul l of al l ki nds of PI LLS i nt o t he wast ebasket .
N E R T N E R T N E R T BEHIND THE PHARMACY COUNTER BEHIND THE PHARMACY COUNTER
h l c a p e d e A h l c a p e d e A h l c a p e d e A Psycho Ki l l er cr owbar s open a l ar ge, padl ocked DRAWER. Psycho Ki l l er cr owbar s open a l ar ge, padl ocked DRAWER.
e e b d S T i e e b d S T i e e b d S T i He begi ns gat her i ng t he bagged PRESCRI PTI ONS f r omwi t hi n. He begi ns gat her i ng t he bagged PRESCRI PTI ONS f r omwi t hi n.
e w e a T P e w e a T P e w e a T P Above, on t he wal l , t her e i s a PHOTOGRAPH. . . Above, on t he wal l , t her e i s a PHOTOGRAPH. . .
a P h i , d g H C a P h i , d g H C a P h i , d g H C A f r amed PHOTO of t he smi l i ng, mi ddl e- aged PHARMACI ST; A f r amed PHOTO of t he smi l i ng, mi ddl e- aged PHARMACI ST;
B n a r s l g . B n a r s l g . B n a r s l g . " BARBARA, Your Fr i endl y and Pr of essi onal Dr uggi st . " " BARBARA, Your Fr i endl y and Pr of essi onal Dr uggi st . "
18. 18.
I H N L T I H N L T I H N L T EXT. BEHIND THE MINI-MALL -- NIGHT EXT. BEHIND THE MINI-MALL -- NIGHT
H A I H A I H A I IN THE PHARMACIST'S CAR IN THE PHARMACIST'S CAR
a h a i i p e r t a a a h a i i p e r t a a a h a i i p e r t a a Bar bar a t he phar maci st l i es spr awl ed acr oss t he backseat , Bar bar a t he phar maci st l i es spr awl ed acr oss t he backseat ,
h t e n r n s n h t e n r n s n h t e n r n s n her head t wi st ed at an unnat ur al angl e. Eyes open. her head t wi st ed at an unnat ur al angl e. Eyes open.
o d w N A e t r e . o d w N A e t r e . o d w N A e t r e . A bl oody, upsi de- down PENTAGRAM i s car ved i nt o her f or ehead. A bl oody, upsi de- down PENTAGRAM i s car ved i nt o her f or ehead.
D L O D L O D L O DISSOLVE TO: DISSOLVE TO:
O U O - H O U O - H O U O - H INT. MOTOR COURT ROOM -- NIGHT INT. MOTOR COURT ROOM -- NIGHT
E i y o a t I E i y o a t I E i y o a t I CLOSE- ON: a br i ght , candy- col or ed assor t ment of PI LLS. CLOSE- ON: a br i ght , candy- col or ed assor t ment of PI LLS.
R o L n Z o L T s d R o L n Z o L T s d R o L n Z o L T s d HUNDREDS of PI LLS and DOZENS of PI LL BOTTLES ar e sor t ed on HUNDREDS of PI LLS and DOZENS of PI LL BOTTLES ar e sor t ed on
B e I E n m t B e I E n m t B e I E n m t t he BED. PK' s cl osed SUI TCASE i s near , wi t h Phar maci st ' s t he BED. PK' s cl osed SUI TCASE i s near , wi t h Phar maci st ' s
e d i g t t e u e d i g t t e u e d i g t t e u pur se and t he deposi t bag on t op, t hei r cont ent s, i ncl udi ng pur se and t he deposi t bag on t op, t hei r cont ent s, i ncl udi ng
C T D P p d . N C T D P p d . N C T D P p d . N CASH and CREDI T CARD SLI PS, spi l l ed out . TV i s ON. CASH and CREDI T CARD SLI PS, spi l l ed out . TV i s ON.
F E O . F E O . F E O . FEMALE REPORTER ( V. O. ) FEMALE REPORTER ( V. O. )
f O T I ) f O T I ) f O T I ) ( f r omO. S. TELEVI SI ON) ( f r omO. S. TELEVI SI ON)
e r y r r t e r y r r t e r y r r t Ther e ar e ways f or you t o pr ot ect Ther e ar e ways f or you t o pr ot ect
u f m o S i u f m o S i u f m o S i your sel f f r ombecomi ng The Sat ani c your sel f f r ombecomi ng The Sat ani c
a ' x c p . a ' x c p . a ' x c p . Sl asher ' s next vi ct i m. For exampl e. . . Sl asher ' s next vi ct i m. For exampl e. . .
h l s t u n I , k o h l s t u n I , k o h l s t u n I , k o Psycho Ki l l er ' s at t he cur t ai ned WI NDOW, peeki ng out . Psycho Ki l l er ' s at t he cur t ai ned WI NDOW, peeki ng out .
s i s w a , k s i s w a , k s i s w a , k He i s, as i s hi s cust omwhen al one, masked. He i s, as i s hi s cust omwhen al one, masked.
F E O . F E O . F E O . FEMALE REPORTER ( V. O. ) FEMALE REPORTER ( V. O. )
e u o e i i e u o e i i e u o e i i When you' r e out , especi al l y at ni ght , When you' r e out , especi al l y at ni ght ,
w r n r w r n r w r n r al ways r emai n awar e of your al ways r emai n awar e of your
r d . o o r d . o o r d . o o sur r oundi ngs. Look ar ound. sur r oundi ngs. Look ar ound.
H L S : H L S : H L S : PSYCHO KILLER'S POV: PSYCHO KILLER'S POV:
I U r D O L i t i I U r D O L i t i I U r D O L i t i LOOKI NG OUT t hr ough a 2ND FLOOR BALCONY r ai l i ng, t o t hi s LOOKI NG OUT t hr ough a 2ND FLOOR BALCONY r ai l i ng, t o t hi s
p e T O M ' R b . p e T O M ' R b . p e T O M ' R b . di l api dat ed MOTOR COURT MOTEL' S PARKI NG LOT bel ow. di l api dat ed MOTOR COURT MOTEL' S PARKI NG LOT bel ow.
u O s s A i u O s s A i u O s s A i A dr unk COUPLE cr osses. A r ust y VAN i s par ki ng. A dr unk COUPLE cr osses. A r ust y VAN i s par ki ng.
F E O . F E O . F E O . FEMALE REPORTER ( V. O. ) FEMALE REPORTER ( V. O. )
d n ' o t h o d n ' o t h o d n ' o t h o And when you' r e home at ni ght , l ock And when you' r e home at ni ght , l ock
u o e t . u o e t . u o e t . your door s. Leave t he l i ght s on. your door s. Leave t he l i ght s on.
d l c s n d l c s n d l c s n And cal l t he pol i ce i f you see any And cal l t he pol i ce i f you see any
s o c t s o c t s o c t suspi ci ous act i vi t y. suspi ci ous act i vi t y.
H T O R H T O R H T O R IN THE MOTOR COURT ROOM IN THE MOTOR COURT ROOM
h l b w w o r h l b w w o r h l b w w o r Psycho Ki l l er backs f r omt he wi ndow, cr osses t he r oom. Psycho Ki l l er backs f r omt he wi ndow, cr osses t he r oom.
T o m M R T n b e T o m M R T n b e T o m M R T n b e The TV shows a bosomy FEMALE REPORTER i n l ow cut bl ouse. The TV shows a bosomy FEMALE REPORTER i n l ow cut bl ouse.
F E O . F E O . F E O . FEMALE REPORTER ( V. O. ) FEMALE REPORTER ( V. O. )
a n v a n v a n v What ki nd of act i vi t y? What ki nd of act i vi t y?
( ) ( ) ( ) ( mor e) ( mor e)
C N C N C N CONTI NUED CONTI NUED
19. 19.
F E O T . F E O T . F E O T . FEMALE REPORTER ( CONT. ; V. O. ) FEMALE REPORTER ( CONT. ; V. O. )
s o e k i s o e k i s o e k i I f you see someone l ur ki ng i n a I f you see someone l ur ki ng i n a
i r a f x e i r a f x e i r a f x e nei ghbor ' s yar d, f or exampl e; nei ghbor ' s yar d, f or exampl e;
p l f y w n m p l f y w n m p l f y w n m especi al l y i f t hey' r e wear i ng a mask especi al l y i f t hey' r e wear i ng a mask
y a o f p r y a o f p r y a o f p r or car r yi ng any sor t of weapon or or car r yi ng any sor t of weapon or
r p n r p n r p n f ar mi mpl ement . f ar mi mpl ement .
C O C O C O CUT TO: CUT TO:
H T M L T H T M L T H T M L T IN THE BATHROOM -- LATER NIGHT IN THE BATHROOM -- LATER NIGHT
h l s t t s o e n e l h l s t t s o e n e l h l s t t s o e n e l Psycho Ki l l er ' s on t he ot her si de of t he t r ansl ucent gl ass Psycho Ki l l er ' s on t he ot her si de of t he t r ansl ucent gl ass
h O D , n r y h a h O D , n r y h a h O D , n r y h a of t he SHOWER DOORS, st andi ng under t he spr ay of hot wat er . of t he SHOWER DOORS, st andi ng under t he spr ay of hot wat er .
H O H O H O IN THE SHOWER IN THE SHOWER
h l j s s e e w , d h l j s s e e w , d h l j s s e e w , d Psycho Ki l l er j ust st ands under t he shower ' s f l ow, head Psycho Ki l l er j ust st ands under t he shower ' s f l ow, head
d n i d h e e H a e f s d n i d h e e H a e f s d n i d h e e H a e f s bowed, l ong hai r hi di ng hi s f eat ur es. Hi s nakedness af f or ds bowed, l ong hai r hi di ng hi s f eat ur es. Hi s nakedness af f or ds
u r i f a T r h p u r i f a T r h p u r i f a T r h p us our f i r st vi ew of t he myr i ad TATTOOS cover i ng hi s upper us our f i r st vi ew of t he myr i ad TATTOOS cover i ng hi s upper
: a a Y S R n I P - : a a Y S R n I P - : a a Y S R n I P - body: st r ange, ar chai c SYMBOLS, WORDS i n LATI N, UPSI DE- DOWN body: st r ange, ar chai c SYMBOLS, WORDS i n LATI N, UPSI DE- DOWN
S n h e U E N T M S n h e U E N T M S n h e U E N T M CROSSES on bot h f or ear ms and UPSI DE- DOWN PENTAGRAMS on hi s CROSSES on bot h f or ear ms and UPSI DE- DOWN PENTAGRAMS on hi s
l . s g e h t a e l . s g e h t a e l . s g e h t a e shoul der s. ( He wear s l ong sl eeve shi r t s f or t he same r eason shoul der s. ( He wear s l ong sl eeve shi r t s f or t he same r eason
o M " h e a i a o M " h e a i a o M " h e a i a he cover s " No Mer cy" on hi s l ef t hand wi t h a bandage. ) he cover s " No Mer cy" on hi s l ef t hand wi t h a bandage. )
s s k P T e g i a i a r s s k P T e g i a i a r s s k P T e g i a i a r Acr oss hi s back, BAPHOMET, t he f r i ght eni ng Sabbat i c Goat , or Acr oss hi s back, BAPHOMET, t he f r i ght eni ng Sabbat i c Goat , or
e , d t i l e a f O e , d t i l e a f O e , d t i l e a f O Goat of Mendes, i s depi ct ed wi t h al l t he det ai l of an Ol d Goat of Mendes, i s depi ct ed wi t h al l t he det ai l of an Ol d
d h e a u i l a i d h e a u i l a i d h e a u i l a i Wor l d et chi ng. The wi nged, hal f - humanoi d/ hal f - goat , wi t h a Wor l d et chi ng. The wi nged, hal f - humanoi d/ hal f - goat , wi t h a
i o j n e w g r n i o j n e w g r n i o j n e w g r n bur ni ng t or ch j ut t i ng up f r ombet ween t wo huge hor ns on i t s bur ni ng t or ch j ut t i ng up f r ombet ween t wo huge hor ns on i t s
, s s g d i n n , s s g d i n n , s s g d i n n goat head, si t s cr oss- l egged, ar ms posed as i f conj ur i ng. goat head, si t s cr oss- l egged, ar ms posed as i f conj ur i ng.
r S C c h l s r S C c h l s r S C c h l s Many r aw, ul cer ous SORES and CUTS cover Psycho Ki l l er ' s Many r aw, ul cer ous SORES and CUTS cover Psycho Ki l l er ' s
r y . l s e h r y . l s e h r y . l s e h upper body and l egs. As he sl owl y t ur ns, keepi ng hi s head upper body and l egs. As he sl owl y t ur ns, keepi ng hi s head
d u g h t w n . d u g h t w n . d u g h t w n . bowed, put t i ng hi s back t o t he wat er , we can now see. . . bowed, put t i ng hi s back t o t he wat er , we can now see. . .
r e n t E E E i t I r e n t E E E i t I r e n t E E E i t I A l ar ge ver si on of t he " Evi l Eye; " t he EYE wi t h i t UPSI DE- A l ar ge ver si on of t he " Evi l Eye; " t he EYE wi t h i t UPSI DE-
A L o a s t A L o a s t A L o a s t DOWN PENTAGRAM PUPI L, i s t at t ooed acr oss hi s chest . DOWN PENTAGRAM PUPI L, i s t at t ooed acr oss hi s chest .
V s t l h h i r e V s t l h h i r e V s t l h h i r e " SOLVE" i s t at t ooed t he l engt h of hi s r i ght , i nner - f or ear m. " SOLVE" i s t at t ooed t he l engt h of hi s r i ght , i nner - f or ear m.
G l r e G l r e G l r e " COAGULA" r uns down hi s l ef t , i nner - f or ear m. The bend of " COAGULA" r uns down hi s l ef t , i nner - f or ear m. The bend of
i n r s e e r d e i n r s e e r d e i n r s e e r d e each of hi s i nner ar ms i s ext ensi vel y br ui sed and mar ked by each of hi s i nner ar ms i s ext ensi vel y br ui sed and mar ked by
n i n r o E S n n i n r o E S n n i n r o E S n an i ncr edi bl e number of ol d NEEDLE SCARS and mor e r ecent , an i ncr edi bl e number of ol d NEEDLE SCARS and mor e r ecent ,
r T - S t g n e m t n r T - S t g n e m t n r T - S t g n e m t n scabr ous TRACK- MARKS f est er i ng al ong t he pr omi nent vei ns. scabr ous TRACK- MARKS f est er i ng al ong t he pr omi nent vei ns.
O U O - E G O U O - E G O U O - E G INT. MOTOR COURT ROOM -- LATER NIGHT INT. MOTOR COURT ROOM -- LATER NIGHT
t , e s e t r s K t , e s e t r s K t , e s e t r s K Shi r t l ess, but masked, Psycho Ki l l er si t s i n t he r oom' s DESK Shi r t l ess, but masked, Psycho Ki l l er si t s i n t he r oom' s DESK
R t o f g a M R t o f g a M R t o f g a M CHAI R at t he f oot of t he BED, usi ng a l ar ge METAL FI LE on CHAI R at t he f oot of t he BED, usi ng a l ar ge METAL FI LE on
3 t g O c e T 3 t g O c e T 3 t g O c e T t he 3- f oot l engt h COPPER PI PE he acqui r ed. TV i s ON. t he 3- f oot l engt h COPPER PI PE he acqui r ed. TV i s ON.
T W P R O T W P R O T W P R O TV NEWS REPORTER ( V. O. ) TV NEWS REPORTER ( V. O. )
f T I ) f T I ) f T I ) ( f r omTELEVI SI ON) ( f r omTELEVI SI ON)
. o d e i h . o d e i h . o d e i h . . . Manson and " t he Fami l y, " as t he . . . Manson and " t he Fami l y, " as t he
l m e e v l m e e v l m e e v Cul t member s cal l ed t hemsel ves, Cul t member s cal l ed t hemsel ves,
l 7 p n m T l 7 p n m T l 7 p n m T ki l l ed 7 peopl e i n t he i nf amous Tat e- ki l l ed 7 peopl e i n t he i nf amous Tat e-
B a d o 6 B a d o 6 B a d o 6 LaBi anca mur der s of 1969. LaBi anca mur der s of 1969.
( ) ( ) ( ) ( mor e) ( mor e)
C N C N C N CONTI NUED CONTI NUED
20. 20.
T W P R N V T W P R N V T W P R N V TV NEWS REPORTER ( CONT. ; V. O. ) TV NEWS REPORTER ( CONT. ; V. O. )
s s e t t o e s s e t t o e s s e t t o e Messages wer e l ef t wr i t t en on t he Messages wer e l ef t wr i t t en on t he
l n o T i y a l n o T i y a l n o T i y a wal l s i n bl ood. To t hi s day, Char l es wal l s i n bl ood. To t hi s day, Char l es
n i l l n r . n i l l n r . n i l l n r . Manson i s hel d i n a Cal i f or ni a pr i son. Manson i s hel d i n a Cal i f or ni a pr i son.
n e h p h n i n n e h p h n i n n e h p h n i n PK' s f i l i ng one end of t he pi pe, shar peni ng i t at an angl e, PK' s f i l i ng one end of t he pi pe, shar peni ng i t at an angl e,
p e p a o i e r p e p a o i e r p e p a o i e r l i ke t he poi nt ed t i p of a hypoder mi c needl e, enl ar ged. l i ke t he poi nt ed t i p of a hypoder mi c needl e, enl ar ged.
T W P R O T W P R O T W P R O TV NEWS REPORTER ( V. O. ) TV NEWS REPORTER ( V. O. )
v o p t 1 v o p t 1 v o p t 1 Devi l wor shi p was al so a mot i ve 15 Devi l wor shi p was al so a mot i ve 15
a g h i d n a g h i d n a g h i d n year s ago, when Ri char d Leonar d year s ago, when Ri char d Leonar d
e c t t r i e c t t r i e c t t r i Reeves commi t t ed t he gr i sl y ki l l i ngs Reeves commi t t ed t he gr i sl y ki l l i ngs
s C c s C c s C c at Chr i st ' s Cr oss Chur ch i n at Chr i st ' s Cr oss Chur ch i n
r u P y i R s r u P y i R s r u P y i R s Har r i sbur g, Pennsyl vani a. Reeves Har r i sbur g, Pennsyl vani a. Reeves
r d r a i e r d r a i e r d r a i e mur der ed t hi r t een host ages i nsi de t he mur der ed t hi r t een host ages i nsi de t he
u u i e u u i e u u i e chur ch, i ncl udi ng a pr i est , whi l e chur ch, i ncl udi ng a pr i est , whi l e
r i h u i r r i h u i r r i h u i r per f or mi ng what aut hor i t i es descr i bed per f or mi ng what aut hor i t i es descr i bed
t s B . t s B . t s B . as a r i t ual i st i c Bl ack Mass. as a r i t ual i st i c Bl ack Mass.
h l l n a a e h l l n a a e h l l n a a e Psycho Ki l l er l ooks up a moment , bat hed i n cat hode- r ay t ube Psycho Ki l l er l ooks up a moment , bat hed i n cat hode- r ay t ube
T e d y l d t e i s T e d y l d t e i s T e d y l d t e i s LI GHT, t he TV doubl y r ef l ect ed i n t he l enses of hi s mask. LI GHT, t he TV doubl y r ef l ect ed i n t he l enses of hi s mask.
T W P R O T W P R O T W P R O TV NEWS REPORTER ( V. O. ) TV NEWS REPORTER ( V. O. )
t e c o a o t e c o a o t e c o a o Af t er near l y a decade on Deat h Row at Af t er near l y a decade on Deat h Row at
e e D t C r e e D t C r e e D t C r t he Feder al Det ent i on Cent er i n t he Feder al Det ent i on Cent er i n
i l , v a l i l , v a l i l , v a l Phi l adel phi a, Reeves was ki l l ed Phi l adel phi a, Reeves was ki l l ed
r a c a p y r a c a p y r a c a p y dur i ng an escape at t empt 5 year s ago. dur i ng an escape at t empt 5 year s ago.
i e - n - i e - n - i e - n - I t was i n t he mi d- sevent i es t hat sel f - I t was i n t he mi d- sevent i es t hat sel f -
o m a s a B w o m a s a B w o m a s a B w pr ocl ai med sat ani st , Davi d Ber kowi t z, pr ocl ai med sat ani st , Davi d Ber kowi t z,
l e T o " l e T o " l e T o " cal l i ng hi msel f " The Son of Sam, " cal l i ng hi msel f " The Son of Sam, "
r z l Y C . r z l Y C . r z l Y C . t er r or i zed al l of New Yor k Ci t y. . . t er r or i zed al l of New Yor k Ci t y. . .
C O C O C O CUT TO: CUT TO:
O U O - H O U O - H O U O - H INT. MOTOR COURT ROOM -- NIGHT INT. MOTOR COURT ROOM -- NIGHT
h l s k t i , r o h l s k t i , r o h l s k t i , r o Psycho Ki l l er ' s back at t he wi ndow, peer i ng out . Psycho Ki l l er ' s back at t he wi ndow, peer i ng out .
O U O - E G O U O - E G O U O - E G INT. MOTOR COURT ROOM -- LATER NIGHT INT. MOTOR COURT ROOM -- LATER NIGHT
h l s t r , d r A P h l s t r , d r A P h l s t r , d r A P Psycho Ki l l er ' s bent over t he DESK, st udyi ng a wor n ROAD MAP. Psycho Ki l l er ' s bent over t he DESK, st udyi ng a wor n ROAD MAP.
" O f C D s n c w e . " O f C D s n c w e . " O f C D s n c w e . The " N" BOOK of t he ENCYCLOPEDI A i s open, f ace- down, near by. The " N" BOOK of t he ENCYCLOPEDI A i s open, f ace- down, near by.
E O P j d l i o n A E O P j d l i o n A E O P j d l i o n A CLOSE- UP ON: PK' s j agged- nai l ed f i nger f ol l ows one ROADWAY CLOSE- UP ON: PK' s j agged- nai l ed f i nger f ol l ows one ROADWAY
h P m L O t S h P m L O t S h P m L O t S on t he MAP f r om" COLORADO" i nt o. . . " KANSAS. " on t he MAP f r om" COLORADO" i nt o. . . " KANSAS. "
C O C O C O CUT TO: CUT TO:
O U O - E G O U O - E G O U O - E G INT. MOTOR COURT ROOM -- LATER NIGHT INT. MOTOR COURT ROOM -- LATER NIGHT
y g u a T ' s ' o s a n y g u a T ' s ' o s a n y g u a T ' s ' o s a n Ever yt hi ng' s put away. Ther e' s j ust PK' s cl osed sui t case on Ever yt hi ng' s put away. Ther e' s j ust PK' s cl osed sui t case on
b M , T m i . b M , T m i . b M , T m i . t he bed. TV' s ON, MUTED, i t s LI GHT t he onl y i l l umi nat i on. . . t he bed. TV' s ON, MUTED, i t s LI GHT t he onl y i l l umi nat i on. . .
p G e g m e O p G e g m e O p G e g m e O Except LI GHT l eaki ng f r omt he cl osed CLOSET. Except LI GHT l eaki ng f r omt he cl osed CLOSET.
21. 21.
D E L O D E L O D E L O INSIDE THE SMALL CLOSET INSIDE THE SMALL CLOSET
h l i l e f b h l i l e f b h l i l e f b Psycho Ki l l er i s asl eep, seat ed on t he f l oor wi t h hi s back Psycho Ki l l er i s asl eep, seat ed on t he f l oor wi t h hi s back
h l n p d a s s s d h l n p d a s s s d h l n p d a s s s d t o t he wal l , knees pul l ed up agai nst hi s chest and hi s t o t he wal l , knees pul l ed up agai nst hi s chest and hi s
e a s i o . e a s i o . e a s i o . masked head r est i ng on hi s cr ossed ar ms. masked head r est i ng on hi s cr ossed ar ms.
M N C H D M N C H D M N C H D DREAM / INT. CHURCH -- DAY DREAM / INT. CHURCH -- DAY
G ' V G ' V G ' V YOUNG BOY'S POV: YOUNG BOY'S POV:
E r e o B a j n e E r e o B a j n e E r e o B a j n e WE SEE t hr ough t he eyes of a BOY, about 12, j udgi ng by wher e WE SEE t hr ough t he eyes of a BOY, about 12, j udgi ng by wher e
s l i t t e i O C C s l i t t e i O C C s l i t t e i O C C our si ght l i ne i s i n r el at i on t o t he 20- i sh YOUNG CLERI C our si ght l i ne i s i n r el at i on t o t he 20- i sh YOUNG CLERI C
d ' a o h n a h a d ' a o h n a h a d ' a o h n a h a ahead who' s l eadi ng us down t he cent er ai sl e of t hi s l ar ge, ahead who' s l eadi ng us down t he cent er ai sl e of t hi s l ar ge,
I U F t n O I U F t n O I U F t n O GOTHI C CHURCH. Our FOOTFALLS ar e t he onl y SOUND. GOTHI C CHURCH. Our FOOTFALLS ar e t he onl y SOUND.
O a m P a h p i L i t O a m P a h p i L i t O a m P a h p i L i t WE MOVE past empt y PEWS. Ahead, t he i mpr essi ve ALTER i s l i t WE MOVE past empt y PEWS. Ahead, t he i mpr essi ve ALTER i s l i t
T D S l d l , l o o . T D S l d l , l o o . T D S l d l , l o o . by STAI NED- GLASS f i l t er ed sunl i ght , whi l e f r omabove. . . by STAI NED- GLASS f i l t er ed sunl i ght , whi l e f r omabove. . .
r s S E J h O w n s r s S E J h O w n s r s S E J h O w n s The r eal i st i c STATUE of J ESUS on t he CROSS, wear i ng hi s The r eal i st i c STATUE of J ESUS on t he CROSS, wear i ng hi s
d o f r s a o u a . d o f r s a o u a . d o f r s a o u a . bl oody cr own of t hor ns, seems t o gaze mour nf ul l y at us. bl oody cr own of t hor ns, seems t o gaze mour nf ul l y at us.
I h g r o t g D A I h g r o t g D A I h g r o t g D A LOOKI NG ahead: Young Cl er i c moves t hr ough a DOORWAY t o t he LOOKI NG ahead: Young Cl er i c moves t hr ough a DOORWAY t o t he
t t l c g y k u t t l c g y k u t t l c g y k u r i ght of t he al t ar , gl anci ng gr i ml y back at us. r i ght of t he al t ar , gl anci ng gr i ml y back at us.
Y I Y I Y I YOUNG CLERI C YOUNG CLERI C
m o m o m o Come al ong. Come al ong.
O u l o A Y e n e R O u l o A Y e n e R O u l o A Y e n e R FOLLOWYoung Cl er i c down a shor t HALLWAY. He opens t he DOOR FOLLOWYoung Cl er i c down a shor t HALLWAY. He opens t he DOOR
O F d i e e W T s O F d i e e W T s O F d i e e W T s t o a RECTORY OFFI CE ahead, wai t i ng as we ent er . WE WATCH as t o a RECTORY OFFI CE ahead, wai t i ng as we ent er . WE WATCH as
c c t i e e , s t o c c t i e e , s t o c c t i e e , s t o t he cl er i c exi t s, hi s eyes aver t ed, cl osi ng t he door . The t he cl er i c exi t s, hi s eyes aver t ed, cl osi ng t he door . The
c - l d p r I G c - l d p r I G c - l d p r I G of f i ce i s wood- panel ed, dar k, except f or STAI NED GLASS of f i ce i s wood- panel ed, dar k, except f or STAI NED GLASS
O g S e V O g S e V O g S e V WI NDOWl i ght . Many BOOKS l i ne t he SHELVES. WI NDOWl i ght . Many BOOKS l i ne t he SHELVES.
M E S M E S M E S MAN' S VOI CE ( O. S. ) MAN' S VOI CE ( O. S. )
l h l h l h Hel l o t her e. Hel l o t her e.
U o i d E I a b w n U o i d E I a b w n U o i d E I a b w n WE TURN t o see a gr i zzl ed, AGED PRI EST at a bi g, wooden WE TURN t o see a gr i zzl ed, AGED PRI EST at a bi g, wooden
. s e e r e . s e e r e . s e e r e DESK. He r i ses, seemi ng ver y t al l as he appr oaches. DESK. He r i ses, seemi ng ver y t al l as he appr oaches.
A P T A P T A P T AGED PRI EST AGED PRI EST
u t o d e y u t o d e y u t o d e y You' r e t he f ost er chi l d, ar en' t you? You' r e t he f ost er chi l d, ar en' t you?
o y h r a o y h r a o y h r a Poor boy. What t r i bul at i on your l i f e Poor boy. What t r i bul at i on your l i f e
s n e s n e s n e has been al r eady. has been al r eady.
t s i e s . t s i e s . t s i e s . He st udi es us, smi l i ng a f at her l y smi l e. He st udi es us, smi l i ng a f at her l y smi l e.
A P T A P T A P T AGED PRI EST AGED PRI EST
h e n r h m a h e n r h m a h e n r h m a " Why di ed I not f r omt he womb?" asked " Why di ed I not f r omt he womb?" asked
b W i n i p b W i n i p b W i n i p J ob. " Why di d I not gi ve up t he J ob. " Why di d I not gi ve up t he
o h o e l o h o e l o h o e l ghost when I came out of t he bel l y?" ghost when I came out of t he bel l y?"
T f r r s E E i r s T f r r s E E i r s T f r r s E E i r s WE STARE f or war d at t he r oom' s FI REPLACE and si t t i ng ar ea as WE STARE f or war d at t he r oom' s FI REPLACE and si t t i ng ar ea as
s v r i c i e s v r i c i e s v r i c i e Aged Pr i est moves f r omvi ew, cr ossi ng behi nd us. Aged Pr i est moves f r omvi ew, cr ossi ng behi nd us.
A P T S A P T S A P T S AGED PRI EST ( O. S. ) AGED PRI EST ( O. S. )
c h o o c h o o c h o o Such a handsome boy. Such a handsome boy.
s m a n i o r e s m a n i o r e s m a n i o r e Aged Pr i est comes back i nt o vi ew t o our ot her si de. Aged Pr i est comes back i nt o vi ew t o our ot her si de.
C N C N C N CONTI NUED CONTI NUED
22. 22.
A P T A P T A P T AGED PRI EST AGED PRI EST
u t b r m r u t b r m r u t b r m r You must n' t be af r ai d. I amyour You must n' t be af r ai d. I amyour
i o h y i o h y i o h y f r i end. I won' t har myou. No. f r i end. I won' t har myou. No.
i h n y i h n y i h n y Qui t e t he cont r ar y. Qui t e t he cont r ar y.
A A P t s s e a I , A A P t s s e a I , A A P t s s e a I , WE WATCH Aged Pr i est cr oss t o t he st ai ned- gl ass WI NDOW, WE WATCH Aged Pr i est cr oss t o t he st ai ned- gl ass WI NDOW,
e p d , v U N O i s e p d , v U N O i s e p d , v U N O i s wher e he pul l s t he dust y, vel vet CURTAI NS CLOSED, l eavi ng us wher e he pul l s t he dust y, vel vet CURTAI NS CLOSED, l eavi ng us
A S F t P K , H . A S F t P K , H . A S F t P K , H . i n DARKNESS. Fr omt hat PI TCH BLACKNESS, we HEAR. . . i n DARKNESS. Fr omt hat PI TCH BLACKNESS, we HEAR. . .
A P T S A P T S A P T S AGED PRI EST ( O. S. ) AGED PRI EST ( O. S. )
w n a o w n a o w n a o I woul dn' t har ma hai r on your I woul dn' t har ma hai r on your
e s t h e s t h e s t h pr eci ous, l i t t l e head. pr eci ous, l i t t l e head.
KKK FROM BLACK... FROM BLACK...
u o U N D M V O O o . u o U N D M V O O o . u o U N D M V O O o . A t hunder ous RUMBLI NG i s HEARD as MASSI VE STONE DOORS open. . . A t hunder ous RUMBLI NG i s HEARD as MASSI VE STONE DOORS open. . .
M N S U I N A Y C N M N S U I N A Y C N M N S U I N A Y C N DREAM / INNER SANCTUM OF HIS INFERNAL MAJESTY -- CONTINUOUS DREAM / INNER SANCTUM OF HIS INFERNAL MAJESTY -- CONTINUOUS
e y K r a h o e s i e y K r a h o e s i e y K r a h o e s i Masked Psycho Ki l l er , dwar f ed by t he door s, ent er s a gi ant , Masked Psycho Ki l l er , dwar f ed by t he door s, ent er s a gi ant ,
y O O f s d s c e s y O O f s d s c e s y O O f s d s c e s f i er y THRONE ROOM of awesome di mensi on. He car r i es hi s f i er y THRONE ROOM of awesome di mensi on. He car r i es hi s
g m n c r a f M s d g m n c r a f M s d g m n c r a f M s d sl edgehammer and pi ckax. Whi r l i ng pi l l ar s of FLAME r i se and sl edgehammer and pi ckax. Whi r l i ng pi l l ar s of FLAME r i se and
g p h e L W . g p h e L W . g p h e L W . f al l al ongsi de t he pat h he t r eads. HELLI SH WI NDS howl . f al l al ongsi de t he pat h he t r eads. HELLI SH WI NDS howl .
z e r q E , a s i s z e r q E , a s i s z e r q E , a s i s A si zabl e gat her i ng of gr ot esque DEMONS, Sat an' s suppl i cant s A si zabl e gat her i ng of gr ot esque DEMONS, Sat an' s suppl i cant s
s m w o y K r s m w o y K r s m w o y K r al l , par t s t o make way f or Psycho Ki l l er . al l , par t s t o make way f or Psycho Ki l l er .
h l c s I e n h c k h l c s I e n h c k h l c s I e n h c k Psycho Ki l l er cl i mbs STAI RS hewn i nt o t he anci ent bl ack Psycho Ki l l er cl i mbs STAI RS hewn i nt o t he anci ent bl ack
e t p . t f s a s e t p . t f s a s e t p . t f s a s st one of t hi s pl ace. At t he t op of t hese st ai r s, he i s now st one of t hi s pl ace. At t he t op of t hese st ai r s, he i s now
e e g w i . e e g w i . e e g w i . al one, st eppi ng f or war d i nt o. . . al one, st eppi ng f or war d i nt o. . .
c r v P G h W b - c r v P G h W b - c r v P G h W b - The cent er of vast PENTAGRAM, whi ch GLOWS a bl ood- r ed, The cent er of vast PENTAGRAM, whi ch GLOWS a bl ood- r ed,
R G a o n a t c o R G a o n a t c o R G a o n a t c o ETHEREAL GLOWand cont ai ns el abor at e, occul t symbol s. ETHEREAL GLOWand cont ai ns el abor at e, occul t symbol s.
h l s s o r W o A h l s s o r W o A h l s s o r W o A Psycho Ki l l er st ands bef or e a t ower i ng WALL of FLAMES Psycho Ki l l er st ands bef or e a t ower i ng WALL of FLAMES
i i h t a . i i h t a . i i h t a . st or i es hi gh. He t hr ows hi s t ool s f or war d. . . st or i es hi gh. He t hr ows hi s t ool s f or war d. . .
B C s e e d k i e u B C s e e d k i e u B C s e e d k i e u The BLOOD DRENCHED sl edgehammer and pi ckax hi t t he gr ound. The BLOOD DRENCHED sl edgehammer and pi ckax hi t t he gr ound.
h l b l i m y e g h h l b l i m y e g h h l b l i m y e g h Psycho Ki l l er bows l ow, i n humi l i t y, speaki ng wi t h an Psycho Ki l l er bows l ow, i n humi l i t y, speaki ng wi t h an
u o o s e i u o o s e i u o o s e i el oquence he does not possess i n r eal l i f e. el oquence he does not possess i n r eal l i f e.
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
l t i w o n l t i w o n l t i w o n Al l t hat I di d. . . al l was done i n Al l t hat I di d. . . al l was done i n
u m l t a s n u m l t a s n u m l t a s n your name, al mi ght y Di abol us. Angel your name, al mi ght y Di abol us. Angel
B m i B m i B m i of t he Bot t oml ess Pi t . Let me si t at of t he Bot t oml ess Pi t . Let me si t at
u f n L e v u u f n L e v u u f n L e v u your l ef t hand. Let me ser ve you. . . your l ef t hand. Let me ser ve you. . .
l y t n n l y t n n l y t n n t i l l beyond t he end of et er ni t y. t i l l beyond t he end of et er ni t y.
i h e F S L D h A S i h e F S L D h A S i h e F S L D h A S He l i f t s hi s head, FLAMES REFLECTED i n hi s MASK' S " EYES. " He l i f t s hi s head, FLAMES REFLECTED i n hi s MASK' S " EYES. "
E e T o R s g L S E e T o R s g L S E e T o R s g L S ABOVE, t he CURTAI N of FI RE l essens enough so t hat a COLOSSUS ABOVE, t he CURTAI N of FI RE l essens enough so t hat a COLOSSUS
b e t i g b d s e b e t i g b d s e b e t i g b d s e can be seen wi t hi n, t er r i f yi ng t o behol d; Hi s I nf er nal can be seen wi t hi n, t er r i f yi ng t o behol d; Hi s I nf er nal
s a - h o o O E , s a - h o o O E , s a - h o o O E , Maj est y, a r ed- f l eshed monst r osi t y SI LHOUETTED i n hel l f i r e, Maj est y, a r ed- f l eshed monst r osi t y SI LHOUETTED i n hel l f i r e,
p i R E p n t m e a p i R E p n t m e a p i R E p n t m e a hi s pi er ci ngl y EMBEROUS EYES peer i ng out f r ombeneat h an hi s pi er ci ngl y EMBEROUS EYES peer i ng out f r ombeneat h an
s a u u t d l o S l s a u u t d l o S l s a u u t d l o S l al most beaut i f ul , mul t i - t i er ed col l ect i on of HORNS cur l i ng al most beaut i f ul , mul t i - t i er ed col l ect i on of HORNS cur l i ng
a n w f h o h a n w f h o h a n w f h o h out war d and upwar d f r omhi s hoar y head. out war d and upwar d f r omhi s hoar y head.
C N C N C N CONTI NUED CONTI NUED
23. 23.
W y K r n o d t e s W y K r n o d t e s W y K r n o d t e s BELOW, Psycho Ki l l er st ands. He l ooks down t o see hi s hands BELOW, Psycho Ki l l er st ands. He l ooks down t o see hi s hands
n h a m A o D . n h a m A o D . n h a m A o D . ar e now t he cl awed, i nhuman HANDS of a DEMON. ar e now t he cl awed, i nhuman HANDS of a DEMON.
h l r e E F s K h l r e E F s K h l r e E F s K Psycho Ki l l er r eaches up t o TEAR OFF hi s MASK. . . Psycho Ki l l er r eaches up t o TEAR OFF hi s MASK. . .
m m r D c s e i e l m m r D c s e i e l m m r D c s e i e l He' s become a monst r ous DEMON - - scal y- ski nned, wi t h best i al He' s become a monst r ous DEMON - - scal y- ski nned, wi t h best i al
s S t n o s e . s S t n o s e . s S t n o s e . eyes and smal l HORNS pr ot r udi ng f r omhi s f or ehead. He eyes and smal l HORNS pr ot r udi ng f r omhi s f or ehead. He
w s d k N a n t p ! w s d k N a n t p ! w s d k N a n t p ! t hr ows hi s head back, FANGS bar ed, gi vi ng a t r i umphant ROAR! t hr ows hi s head back, FANGS bar ed, gi vi ng a t r i umphant ROAR!
C O C O C O CUT TO: CUT TO:
E - Y E - Y E - Y EXT. FREEWAY -- DAY EXT. FREEWAY -- DAY
g T T I s e c a g T T I s e c a g T T I s e c a Amongst OTHER TRAFFI C, Psycho Ki l l er ' s car passes a Amongst OTHER TRAFFI C, Psycho Ki l l er ' s car passes a
c t N u r U W c t N u r U W c t N u r U W " Welcome to KANSAS" SI GN f eat ur i ng a l ar ge SUNFLOWER. " Welcome to KANSAS" SI GN f eat ur i ng a l ar ge SUNFLOWER.
S O Y D S O Y D S O Y D EXT. KANSAS ROADWAY -- DAY EXT. KANSAS ROADWAY -- DAY
f r l I n l , f r l I n l , f r l I n l , Not f ar f r oma smal l GAS STATI ON i n t he mi ddl e of f l at , Not f ar f r oma smal l GAS STATI ON i n t he mi ddl e of f l at ,
l s n r n b l b s P o l s n r n b l b s P o l s n r n b l b s P o desol at e, r oadsi de nowher e, under boundl ess bl ue sky, Psycho desol at e, r oadsi de nowher e, under boundl ess bl ue sky, Psycho
e i P H c H A e i P H c H A e i P H c H A Ki l l er ' s i n a PHONE BOOTH whi ch i s ver y t i ny I N THE FRAME. Ki l l er ' s i n a PHONE BOOTH whi ch i s ver y t i ny I N THE FRAME.
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
i P ) i P ) i P ) ( i nt o PHONE) ( i nt o PHONE)
i N o i a i N o i a i N o i a Thi s i s The New Yor k Ti mes? I want Thi s i s The New Yor k Ti mes? I want
i c i i c i i c i t o put i n a cl assi f i ed ad. t o put i n a cl assi f i ed ad.
l n l n l n ( l i st ens) ( l i st ens)
n t a n t a n t a Sunday. How much i s i t f or Sunday? Sunday. How much i s i t f or Sunday?
n n d n n d n n d A nat i onal ad. A nat i onal ad.
H O O H O O H O O IN THE PHONE BOOTH IN THE PHONE BOOTH
w h a o n E R C s w h a o n E R C s w h a o n E R C s PK, wi t h hi s back t o us, i s on t he PHONE. TRAFFI C passes. PK, wi t h hi s back t o us, i s on t he PHONE. TRAFFI C passes.
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
v n f a v n f a v n f a Fi ve hundr ed and f or t y dol l ar s. Wi l l Fi ve hundr ed and f or t y dol l ar s. Wi l l
u e r e u e r e u e r e you t ake a cr edi t car d number ? you t ake a cr edi t car d number ?
h l h i d D L h l h i d D L h l h i d D L Psycho Ki l l er hol ds a wr i nkl ed CREDI T SLI P. Psycho Ki l l er hol ds a wr i nkl ed CREDI T SLI P.
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
e s n , N e s n , N e s n , N The f i r st l i ne i s, " M N O. " The f i r st l i ne i s, " M N O. "
L S L t o n s s t L S L t o n s s t L S L t o n s s t PK' s SUNGLASSES REFLECT t he r oad and di st ant vani shi ng poi nt . PK' s SUNGLASSES REFLECT t he r oad and di st ant vani shi ng poi nt .
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
p p t , c p p t , c p p t , c Capi t al M, space, capi t al N, space, Capi t al M, space, capi t al N, space,
p U . T o p U . T o p U . T o capi t al O. Under t hat . . . " To t hose capi t al O. Under t hat . . . " To t hose
o o r i i u o o r i i u o o r i i u who al so shar e f ai t h. Seeki ng our who al so shar e f ai t h. Seeki ng our
t f d t f d t f d mut ual f r i end. " mut ual f r i end. "
p ) p ) p ) ( pause) ( pause)
e e s p t e e s p t e e s p t " Need hel p. Pl ease r epl y. " That ' s " Need hel p. Pl ease r epl y. " That ' s
. a w i e o . . a w i e o . . a w i e o . i t . That ' s what i t needs t o say. i t . That ' s what i t needs t o say.
C O C O C O CUT TO: CUT TO:
24. 24.
S O Y L D S O Y L D S O Y L D EXT. KANSAS ROADWAY -- LATE DAY EXT. KANSAS ROADWAY -- LATE DAY
s l g h y y K r e s l g h y y K r e s l g h y y K r e Wi t h t he sun bl azi ng l ow i n t he sky, Psycho Ki l l er ' s sedan Wi t h t he sun bl azi ng l ow i n t he sky, Psycho Ki l l er ' s sedan
e s c - K t g e i e s c - K t g e i e s c - K t g e i dr i ves a st r et ch of FOUR- LANE BLACKTOP t hr ough t he pl ai ns. dr i ves a st r et ch of FOUR- LANE BLACKTOP t hr ough t he pl ai ns.
S E C - M N S E C - M N S E C - M N IN PSYCHO KILLER'S CAR -- IN MOTION IN PSYCHO KILLER'S CAR -- IN MOTION
N e l n e y K r h e N e l n e y K r h e N e l n e y K r h e FROM BEHI ND, we' r e l ooki ng over Psycho Ki l l er ' s shoul der as FROM BEHI ND, we' r e l ooki ng over Psycho Ki l l er ' s shoul der as
r . s i N S n V M R r . s i N S n V M R r . s i N S n V M R he dr i ves. We can see hi s SUNGLASSES i n t he REARVI EWMI RROR. he dr i ves. We can see hi s SUNGLASSES i n t he REARVI EWMI RROR.
a , I Y R A r n n R a , I Y R A r n n R a , I Y R A r n n R Far ahead, a HI GHWAY PATROL CAR t ur ns ont o an ON- RAMP. Far ahead, a HI GHWAY PATROL CAR t ur ns ont o an ON- RAMP.
p t l r l r l i p t l r l r l i p t l r l r l i I t speeds up, t r avel i ng r oughl y par al l el unt i l . . . I t speeds up, t r avel i ng r oughl y par al l el unt i l . . .
H A H A H A ON THE ROADWAY ON THE ROADWAY
H a t C o m s h P s . H a t C o m s h P s . H a t C o m s h P s . The Hi ghway Pat r ol Cr own Vi ct or i a mer ges, behi nd PK' s sedan. The Hi ghway Pat r ol Cr own Vi ct or i a mer ges, behi nd PK' s sedan.
H L S : H L S : H L S : PSYCHO KILLER'S POV: PSYCHO KILLER'S POV:
H A W R t a w a H A W R t a w a H A W R t a w a I N THE REARVI EWMI RROR: t he Kansas Hi ghway Pat r ol car I N THE REARVI EWMI RROR: t he Kansas Hi ghway Pat r ol car
h s e s , e r g b h s e s , e r g b h s e s , e r g b mat ches Psycho Ki l l er ' s speed, a f ew car l engt hs back. mat ches Psycho Ki l l er ' s speed, a f ew car l engt hs back.
T A a e e T A a e e T A a e e A PATROLMAN' s at t he wheel . A PATROLMAN' s at t he wheel .
H A H A H A ON THE ROADWAY ON THE ROADWAY
h l d s l s m b e h l d s l s m b e h l d s l s m b e Psycho Ki l l er dr i ves f or t he l ongest t i me ( obscur ed by t he Psycho Ki l l er dr i ves f or t he l ongest t i me ( obscur ed by t he
n i s o o . e w c a n i s o o . e w c a n i s o o . e w c a sedan' s wi ndows) , not l ooki ng back. The Cr own Vi c r emai ns sedan' s wi ndows) , not l ooki ng back. The Cr own Vi c r emai ns
t i k n c t i k n c t i k n c r i ght behi nd, keepi ng pace. r i ght behi nd, keepi ng pace.
S E C - M N S E C - M N S E C - M N IN PSYCHO KILLER'S CAR -- IN MOTION IN PSYCHO KILLER'S CAR -- IN MOTION
H S R h R R i t H S R h R R i t H S R h R R i t ON THE DASHBOARD, t he " CRUI SE CONTROL" i s l i t . ON THE DASHBOARD, t he " CRUI SE CONTROL" i s l i t .
s o r d e r . s o r d e r . s o r d e r . The speedomet er needl e' s l ocked i n j ust under " 65. " The speedomet er needl e' s l ocked i n j ust under " 65. "
H A W R t t P l H A W R t t P l H A W R t t P l I N THE REARVI EWMI RROR: t he st oi c Pat r ol man. I N THE REARVI EWMI RROR: t he st oi c Pat r ol man.
h l s t d e f r w , h l s t d e f r w , h l s t d e f r w , Psycho Ki l l er ' s l ef t hand comes of f t he st eer i ng wheel , Psycho Ki l l er ' s l ef t hand comes of f t he st eer i ng wheel ,
k t U N T p k t U N T p k t U N T p f l i cki ng t he TURN I NDI CATOR up. f l i cki ng t he TURN I NDI CATOR up.
H S h G U R B S c . H S h G U R B S c . H S h G U R B S c . ON THE DASH, t he RI GHT TURN ARROWBLI NKS, t i cki ng. ON THE DASH, t he RI GHT TURN ARROWBLI NKS, t i cki ng.
H A H A H A ON THE ROADWAY ON THE ROADWAY
h l s s r o l h l s s r o l h l s s r o l Psycho Ki l l er ' s car eases over ont o t he shoul der . Psycho Ki l l er ' s car eases over ont o t he shoul der .
S E C S E C S E C IN PSYCHO KILLER'S CAR IN PSYCHO KILLER'S CAR
h l s s , c a m a h l s s , c a m a h l s s , c a m a Psycho Ki l l er st ops t he sedan, wat chi ng as Pat r ol man passes Psycho Ki l l er st ops t he sedan, wat chi ng as Pat r ol man passes
h f r g o a t . h f r g o a t . h f r g o a t . t o t he l ef t , dr i vi ng i nt o t he di st ance, but t hen. . . t o t he l ef t , dr i vi ng i nt o t he di st ance, but t hen. . .
C s K G B T o r C s K G B T o r C s K G B T o r The Cr own Vi c' s BRAKE LI GHTS BRI GHTEN. Pat r ol man U- t ur ns. The Cr own Vi c' s BRAKE LI GHTS BRI GHTEN. Pat r ol man U- t ur ns.
h l r e t s k t h h l r e t s k t h h l r e t s k t h Psycho Ki l l er r eaches i nt o hi s pocket , t akes out hi s Psycho Ki l l er r eaches i nt o hi s pocket , t akes out hi s
L c a t t e s h i L c a t t e s h i L c a t t e s h i REVOLVER. He conceal s i t j ust under hi s r i ght t hi gh. REVOLVER. He conceal s i t j ust under hi s r i ght t hi gh.
C p s t p t r o C p s t p t r o C p s t p t r o The Cr own Vi c passes i n t he opposi t e di r ect i on. The Cr own Vi c passes i n t he opposi t e di r ect i on.
25. 25.
H L S : H L S : H L S : PSYCHO KILLER'S POV: PSYCHO KILLER'S POV:
H R o t s t U n H R o t s t U n H R o t s t U n I N THE MI RROR: Pat r ol man negot i at es anot her U- t ur n. . . I N THE MI RROR: Pat r ol man negot i at es anot her U- t ur n. . .
n o t r h P s , H L N n o t r h P s , H L N n o t r h P s , H L N Comi ng ar ound t o par k behi nd PK' s sedan, LI GHTS FLASHI NG. Comi ng ar ound t o par k behi nd PK' s sedan, LI GHTS FLASHI NG.
H A H A H A ON THE ROADWAY ON THE ROADWAY
s e e G O , o s . s e e G O , o s . s e e G O , o s . The squar e- j awed HI GHWAY PATROLMAN, 35, get s out of hi s car . The squar e- j awed HI GHWAY PATROLMAN, 35, get s out of hi s car .
o i i n c e F t o i i n c e F t o i i n c e F t He l ooks i mposi ng i n hi s i mmacul at e UNI FORM. He t akes of f He l ooks i mposi ng i n hi s i mmacul at e UNI FORM. He t akes of f
S A , u g p A p c S A , u g p A p c S A , u g p A p c hi s SUNGLASSES, adj ust i ng hi s t r ooper HAT as he appr oaches. hi s SUNGLASSES, adj ust i ng hi s t r ooper HAT as he appr oaches.
r s t d t e d r i a r s t d t e d r i a r s t d t e d r i a He pr esses hi s r i ght hand t o t he r ear , dr i ver ' s si de panel , He pr esses hi s r i ght hand t o t he r ear , dr i ver ' s si de panel ,
i l t e , d . i l t e , d . i l t e , d . st ayi ng cl ose t o t he car , bends t o l ook i n. . . st ayi ng cl ose t o t he car , bends t o l ook i n. . .
W W K U S h c a o W W K U S h c a o W W K U S h c a o THRU THE WI NDOWS: PK' s SUI TCASE i s on t he back seat amongst THRU THE WI NDOWS: PK' s SUI TCASE i s on t he back seat amongst
, P e . e , P e . e , P e . e many f ast f ood BAGS, WRAPPERS and empt y SODA CUPS. Ther e' s many f ast f ood BAGS, WRAPPERS and empt y SODA CUPS. Ther e' s
H o e o p n o a E A H o e o p n o a E A H o e o p n o a E A CLOTHI NG on t he f l oor , spi l l i ng f r ompl ast i c GROCERY BAGS. CLOTHI NG on t he f l oor , spi l l i ng f r ompl ast i c GROCERY BAGS.
o h o s t d t h u o h o s t d t h u o h o s t d t h u Pat r ol man l et s t he heel of hi s l ef t hand r est on hi s gun as Pat r ol man l et s t he heel of hi s l ef t hand r est on hi s gun as
r s t r ' n h r . r s t r ' n h r . r s t r ' n h r . he ar r i ves at t he dr i ver ' s wi ndow, whi ch PK r ol l s down. he ar r i ves at t he dr i ver ' s wi ndow, whi ch PK r ol l s down.
P L P L P L PATROLMAN PATROLMAN
t o i W e l e t o i W e l e t o i W e l e Af t er noon, si r . What exact l y seems Af t er noon, si r . What exact l y seems
h o ? h o ? h o ? t o be t he pr obl em? t o be t he pr obl em?
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
o ? o ? o ? Pr obl em? Pr obl em?
P L P L P L PATROLMAN PATROLMAN
u l v u h w I u l v u h w I u l v u h w I You pul l ed over j ust t hen, when I was You pul l ed over j ust t hen, when I was
h y e ' a h y e ' a h y e ' a behi nd you. Maybe you' r e havi ng behi nd you. Maybe you' r e havi ng
g t l s t g t l s t g t l s t engi ne t r oubl e, i s t hat i t ? engi ne t r oubl e, i s t hat i t ?
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
... No. No.
H L S : H L S : H L S : PSYCHO KILLER'S POV: PSYCHO KILLER'S POV:
S D e h A m t p t y S D e h A m t p t y S D e h A m t p t y THRU WI NDSHI ELD: t her e' s anot her CAR comi ng t he opposi t e way. THRU WI NDSHI ELD: t her e' s anot her CAR comi ng t he opposi t e way.
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
m e T h s d r m e T h s d r m e T h s d r I ' mt i r ed. Thought I shoul d. . . r est . I ' mt i r ed. Thought I shoul d. . . r est .
H A E H A E H A E ON THE ROADSIDE ON THE ROADSIDE
P L P L P L PATROLMAN PATROLMAN
a i y o b a i y o b a i y o b What br i ngs you t o Col by? What br i ngs you t o Col by?
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
s u s u s u Passi ng t hr ough. Passi ng t hr ough.
P L P L P L PATROLMAN PATROLMAN
r O a r O a r O a Sur e. Okay. I ' d l i ke t o t ake a l ook Sur e. Okay. I ' d l i ke t o t ake a l ook
n n g a . n n g a . n n g a . at your l i cense and r egi st r at i on. at your l i cense and r egi st r at i on.
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
l h t n e l h t n e l h t n e I ' l l . . . have t o f i nd t hem. I ' l l . . . have t o f i nd t hem.
C N C N C N CONTI NUED CONTI NUED
26. 26.
P L P L P L PATROLMAN PATROLMAN
l t e a t c l t e a t c l t e a t c I ' l l be r i ght her e. Make i t qui ck. I ' l l be r i ght her e. Make i t qui ck.
o s t e o n r o s t e o n r o s t e o n r Pat r ol man l ooks up t o see t he appr oachi ng car . . . Pat r ol man l ooks up t o see t he appr oachi ng car . . .
h I Y R A t n r t o y h I Y R A t n r t o y h I Y R A t n r t o y Anot her HI GHWAY PATROL CAR, st oppi ng acr oss t he r oadway. Anot her HI GHWAY PATROL CAR, st oppi ng acr oss t he r oadway.
h F R a U S t l h F R a U S t l h F R a U S t l Anot her OFFI CER, i n HAT and SUNGLASSES, i s at t he wheel . Anot her OFFI CER, i n HAT and SUNGLASSES, i s at t he wheel .
o e H l o s e o e H l o s e o e H l o s e Pat r ol man smi l es. He wal ks t o t he r ear of Psycho Ki l l er ' s Pat r ol man smi l es. He wal ks t o t he r ear of Psycho Ki l l er ' s
n e y e h D I n e y e h D I n e y e h D I sedan, keepi ng an eye on PK. He keys t he RADI O MI C on hi s sedan, keepi ng an eye on PK. He keys t he RADI O MI C on hi s
l i h L T E h i l i h L T E h i l i h L T E h i shoul der , t ur ni ng a knob on t he WALKI E TALKI E on hi s hi p. shoul der , t ur ni ng a knob on t he WALKI E TALKI E on hi s hi p.
P L P L P L PATROLMAN PATROLMAN
i U R C i U R C i U R C ( i nt o UNI FORM MI C) ( i nt o UNI FORM MI C)
e o i l e o i l e o i l Wher e you goi ng, l ady? Wher e you goi ng, l ady?
H D R A H D R A H D R A IN THE 2ND PATROL CAR IN THE 2ND PATROL CAR
o a A H , y e e i r o a A H , y e e i r o a A H , y e e i r Pat r ol woman, J ANE THORNE, 30, wear y, pr et t y even i n her Pat r ol woman, J ANE THORNE, 30, wear y, pr et t y even i n her
i n m c n C ) e i h A i n m c n C ) e i h A i n m c n C ) e i h A manni sh uni f or m( i ncl udi ng NECKTI E) , speaks i nt o her RADI O manni sh uni f or m( i ncl udi ng NECKTI E) , speaks i nt o her RADI O
i c d t w c e u s e i c d t w c e u s e i c d t w c e u s e MI C. Thei r back and f or t h i s somewhat cl i pped, busi nessl i ke. MI C. Thei r back and f or t h i s somewhat cl i pped, busi nessl i ke.
JJJJ ANE J ANE
i R i R i R ( i nt o RADI O MI C) ( i nt o RADI O MI C)
m W a m W a m W a Home. What about you? Home. What about you?
P L ( ) P L ( ) P L ( ) PATROLMAN ( V. O. ) PATROLMAN ( V. O. )
f P E I f P E I f P E I ( f r omPOLI CE RADI O) ( f r omPOLI CE RADI O)
l y h l l y h l l y h l Wel l , my mot her al ways sai d I Wel l , my mot her al ways sai d I
o ' d t v . o ' d t v . o ' d t v . shoul dn' t j udge a book by i t s cover . . . shoul dn' t j udge a book by i t s cover . . .
H A E H A E H A E ON THE ROADSIDE ON THE ROADSIDE
o h h d o h h d o h h d Pat r ol man wat ches t he sedan. Pat r ol man wat ches t he sedan.
P L P L P L PATROLMAN PATROLMAN
i U R C i U R C i U R C ( i nt o UNI FORM MI C) ( i nt o UNI FORM MI C)
t s I b n t s I b n t s I b n But I ' mguessi ng I ' l l be r unni ng t hi s But I ' mguessi ng I ' l l be r unni ng t hi s
n a r h s a n a r h s a n a r h s a gent l eman i n on dr ug char ges i n al l gent l eman i n on dr ug char ges i n al l
t e n . t e n . t e n . of about t hr ee mi nut es. of about t hr ee mi nut es.
J ( ) J ( ) J ( ) J ANE ( V. O. ) J ANE ( V. O. )
f W E K f W E K f W E K ( f r omWALKI E TALKI E) ( f r omWALKI E TALKI E)
k y m o ' v l k y m o ' v l k y m o ' v l I know your momwoul dn' t have t ol d I know your momwoul dn' t have t ol d
u t n o n e n u t n o n e n u t n o n e n you t hat , si nce you can' t r ead and you t hat , si nce you can' t r ead and
e l u o e l u o e l u o she woul dn' t l i ke t o hur t your she woul dn' t l i ke t o hur t your
e s e e s n e s e e s n e s e e s n f eel i ngs. Need me t o st i ck ar ound? f eel i ngs. Need me t o st i ck ar ound?
R K m b e m a R K m b e m a R K m b e m a A CAR and TRUCK zoomby bet ween hi ma J ane. A CAR and TRUCK zoomby bet ween hi ma J ane.
P L P L P L PATROLMAN PATROLMAN
. v t . v t . v t No. I ' ve got i t . No. I ' ve got i t .
A O R A O R A O R IN JANE'S PATROL CAR IN JANE'S PATROL CAR
s l s o h d s l s o h d s l s o h d J ane t akes of f sungl asses, l ooki ng over at t he sedan. J ane t akes of f sungl asses, l ooki ng over at t he sedan.
s a a s f e s s a a s f e s s a a s f e s Al l she can r eal l y see of t he dr i ver of t he sedan i s a DARK Al l she can r eal l y see of t he dr i ver of t he sedan i s a DARK
R n e u b f r R n e u b f r R n e u b f r FI GURE si nce he' s t ur ned away and bent f or war d. FI GURE si nce he' s t ur ned away and bent f or war d.
C N C N C N CONTI NUED CONTI NUED
27. 27.
JJJJ ANE J ANE
k w s n t . k w s n t . k w s n t . We al l know what ' s goi ng on out t her e. We al l know what ' s goi ng on out t her e.
P L ( ) P L ( ) P L ( ) PATROLMAN ( V. O. ) PATROLMAN ( V. O. )
, e a e o a , e a e o a , e a e o a Go home, J ane. Make me a pot r oast , Go home, J ane. Make me a pot r oast ,
a s a s a s what do you say? what do you say?
JJJJ ANE J ANE
, r o l n , r o l n , r o l n Um, sor r y, honey, I ' l l be sl eepi ng by Um, sor r y, honey, I ' l l be sl eepi ng by
e e i T y h e e i T y h e e i T y h t he t i me you get i n. Tel l you what t he t i me you get i n. Tel l you what
o e z o o e z o o e z o t hough, I ' l l l eave you a pi zza coupon t hough, I ' l l l eave you a pi zza coupon
p . a e e p . a e e p . a e e by t he phone. What ar e t he pl at es? by t he phone. What ar e t he pl at es?
P L ( ) P L ( ) P L ( ) PATROLMAN ( V. O. ) PATROLMAN ( V. O. )
o e a o e a o e a ( of t he sedan) ( of t he sedan)
aaa Ut ah. Ut ah.
JJJJ ANE J ANE
n n n Run ' emyet ? Run ' emyet ?
P L ( ) P L ( ) P L ( ) PATROLMAN ( V. O. ) PATROLMAN ( V. O. )
o o l e d o o l e d o o l e d About t o, i f you l et me go do my j ob. About t o, i f you l et me go do my j ob.
, h y I . , h y I . , h y I . Oh, and by t he way. . . I can r ead. Oh, and by t he way. . . I can r ead.
JJJJ ANE J ANE
d h c l t t d h c l t t d h c l t t And wi t h pr act i ce you' l l get bet t er And wi t h pr act i ce you' l l get bet t er
d t y d t y d t y and bet t er . See you. Love you. and bet t er . See you. Love you.
P L ( ) P L ( ) P L ( ) PATROLMAN ( V. O. ) PATROLMAN ( V. O. )
v u . v u . v u . Love you t oo. Love you t oo.
e a i h r g a R G e a i h r g a R G e a i h r g a R G J ane smi l es, waves, put t i ng t he car i n gear and DRI VI NG. J ane smi l es, waves, put t i ng t he car i n gear and DRI VI NG.
a e s o h D R a e s o h D R a e s o h D R She accel er at es, l ooki ng i n t he SI DE MI RROR. She accel er at es, l ooki ng i n t he SI DE MI RROR.
H R o s k t e H R o s k t e H R o s k t e I N THE MI RROR: Pat r ol man wal ks back t o t he sedan. I N THE MI RROR: Pat r ol man wal ks back t o t he sedan.
s a r g h u t a s s a r g h u t a s s a r g h u t a s J ane l ooks ahead, dr i vi ng. She' s uncer t ai n, i l l at ease. J ane l ooks ahead, dr i vi ng. She' s uncer t ai n, i l l at ease.
H A H A H A ON THE ROADWAY ON THE ROADWAY
' o i A o t h e ' o i A o t h e ' o i A o t h e J ane' s Cr own Vi c BRAKES ont o t he shoul der . J ane' s Cr own Vi c BRAKES ont o t he shoul der .
A O R A O R A O R IN JANE'S PATROL CAR IN JANE'S PATROL CAR
i n v m r n n r i n v m r n n r i n v m r n n r Looki ng i n her r ear vi ew mi r r or , J ane consi der s. Looki ng i n her r ear vi ew mi r r or , J ane consi der s.
H A H A H A ON THE ROADWAY ON THE ROADWAY
s - , v b . s - , v b . s - , v b . J ane makes a U- t ur n, dr i vi ng back. . . J ane makes a U- t ur n, dr i vi ng back. . .
A O R A O R A O R IN JANE'S PATROL CAR IN JANE'S PATROL CAR
p h o r i a m c p h o r i a m c p h o r i a m c She pul l s t o t he shoul der behi nd Pat r ol man' s vehi cl e. She pul l s t o t he shoul der behi nd Pat r ol man' s vehi cl e.
W H : r n a o n r . W H : r n a o n r . W H : r n a o n r . THRU THE WI NDSHI ELD: Pat r ol man speaks t o t he sedan' s dr i ver . THRU THE WI NDSHI ELD: Pat r ol man speaks t o t he sedan' s dr i ver .
S t E R d m e P w S t E R d m e P w S t E R d m e P w J ane TYPES on t he KEYBOARD of her dash- mount ed LAPTOP wi t h J ane TYPES on t he KEYBOARD of her dash- mount ed LAPTOP wi t h
h s h A M i h h h s h A M i h h h s h A M i h h one hand, pi cks up her RADI O MI C wi t h t he ot her . one hand, pi cks up her RADI O MI C wi t h t he ot her .
C N C N C N CONTI NUED CONTI NUED
28. 28.
JJJJ ANE J ANE
i R i R i R ( i nt o RADI O MI C) ( i nt o RADI O MI C)
s h i 1 s h i 1 s h i 1 Di spat ch, t hi s i s car 15. Di spat ch, t hi s i s car 15.
D T . D T . D T . DI SPATCHER ( V. O. ) DI SPATCHER ( V. O. )
f P E I f P E I f P E I ( f r omPOLI CE RADI O) ( f r omPOLI CE RADI O)
d . d . d . Go ahead, 15. Go ahead, 15.
JJJJ ANE J ANE
m h n t 8 C m h n t 8 C m h n t 8 C I ' mwi t h car 48 on t hat 10- 81. Can I ' mwi t h car 48 on t hat 10- 81. Can
u p b h t u p b h t u p b h t you hel p me br i ng up t he l at est you hel p me br i ng up t he l at est
l n t n t h i l n t n t h i l n t n t h i bul l et i n on t he i nt er st at e homi ci des? bul l et i n on t he i nt er st at e homi ci des?
d D r w a t d D r w a t d D r w a t Di dn' t Denver f or war d a l i st of Di dn' t Denver f or war d a l i st of
o v l a f - o v l a f - o v l a f - st ol en vehi cl e pl at es f r om- - ? st ol en vehi cl e pl at es f r om- - ?
W H : r n u l l d W H : r n u l l d W H : r n u l l d THRU THE WI NDSHI ELD: Pat r ol man' s suddenl y pul l ed down THRU THE WI NDSHI ELD: Pat r ol man' s suddenl y pul l ed down
n h d o t l n n h d o t l n n h d o t l n agai nst t he sedan' s open wi ndow, st r uggl i ng, t r yi ng t o dr aw agai nst t he sedan' s open wi ndow, st r uggl i ng, t r yi ng t o dr aw
g u P P D a m e g u P P D a m e g u P P D a m e hi s gun. A l oud POP! POP! i s HEARD! Pat r ol man j er ks hi s gun. A l oud POP! POP! i s HEARD! Pat r ol man j er ks
w , g d h n w , g d h n w , g d h n backwar ds, st agger ed t o hi s knees. backwar ds, st agger ed t o hi s knees.
JJJJ ANE J ANE
!!! NO! ! NO! !
H A H A H A ON THE ROADWAY ON THE ROADWAY
w r r n m a w r r n m a w r r n m a J ane t hr ows her door open, j umpi ng out as. . . J ane t hr ows her door open, j umpi ng out as. . .
s S o E - A G r n a s S o E - A G r n a s S o E - A G r n a The sedan ROARS i nt o REVERSE - - SLAMMI NG Pat r ol man' s car ! The sedan ROARS i nt o REVERSE - - SLAMMI NG Pat r ol man' s car !
' a . M m O o ' r ' a . M m O o ' r ' a . M m O o ' r J ane' s dr awi ng her . 357 MagnumREVOLVER when Pat r ol man' s car J ane' s dr awi ng her . 357 MagnumREVOLVER when Pat r ol man' s car
e R N c d t r , W r B . e R N c d t r , W r B . e R N c d t r , W r B . i s sent CRASHI NG backwar ds i nt o her car , BLOWS her AI RBAG. . . i s sent CRASHI NG backwar ds i nt o her car , BLOWS her AI RBAG. . .
' e o A e g d ' e o A e g d ' e o A e g d J ane' s open door SLAMS her t o t he gr ound! J ane' s open door SLAMS her t o t he gr ound!
d e a t w k I U d e a t w k I U d e a t w k I U Ahead, t he sedan' s t i r es t hr ow smoke as i t ' s PEELI NG OUT. . . Ahead, t he sedan' s t i r es t hr ow smoke as i t ' s PEELI NG OUT. . .
s i w n N ! M s i w n N ! M s i w n N ! M J ane r i ses, r ai si ng her weapon and FI RI NG - - BLAM! BLAM! J ane r i ses, r ai si ng her weapon and FI RI NG - - BLAM! BLAM!
S E C - M N S E C - M N S E C - M N IN PSYCHO KILLER'S CAR -- IN MOTION IN PSYCHO KILLER'S CAR -- IN MOTION
' L S P o l o - ' L S P o l o - ' L S P o l o - J ane' s BULLETS BLOWHOLES i n Psycho Ki l l er ' s wi ndows - - J ane' s BULLETS BLOWHOLES i n Psycho Ki l l er ' s wi ndows - -
I Y H h l d , e . I Y H h l d , e . I Y H h l d , e . MI SSI NG BY I NCHES! Psycho Ki l l er ducks, speedi ng of f . . . MI SSI NG BY I NCHES! Psycho Ki l l er ducks, speedi ng of f . . .
H A H A H A ON THE ROADWAY ON THE ROADWAY
d o d O G l s t d o d O G l s t d o d O G l s t J ane st r i des f or war d, SHOOTI NG t i l l her gun' s empt y! J ane st r i des f or war d, SHOOTI NG t i l l her gun' s empt y!
s ' n P o l e e s ' n P o l e e s ' n P o l e e The sedan' s gone. Psycho Ki l l er ' s made hi s escape. The sedan' s gone. Psycho Ki l l er ' s made hi s escape.
e o e l s k o e o e l s k o e o e l s k o J ane r ushes t o Pat r ol man as he col l apses back ont o t he J ane r ushes t o Pat r ol man as he col l apses back ont o t he
w c h h L a w c h h L a w c h h L a r oadway, cl ut chi ng hi s BLOODY t hr oat . r oadway, cl ut chi ng hi s BLOODY t hr oat .
JJJJ ANE J ANE
, . i . , . i . , . i . Oh, God. . . Mi ke. . . ! Oh, God. . . Mi ke. . . !
s h n b e a t g s h n b e a t g s h n b e a t g J ane f al l s t o her knees besi de her husband, t r yi ng J ane f al l s t o her knees besi de her husband, t r yi ng
e l f o O r h n e l f o O r h n e l f o O r h n desper at el y t o hel p st emt he f l ow of BLOOD f r omt he gunshot desper at el y t o hel p st emt he f l ow of BLOOD f r omt he gunshot
d n i o e n v i d n i o e n v i d n i o e n v i wounds i n hi s neck, pl aci ng bot h her hands over hi s. . . wounds i n hi s neck, pl aci ng bot h her hands over hi s. . .
C N C N C N CONTI NUED CONTI NUED
29. 29.
JJJJ ANE J ANE
e s o ! e s o ! e s o ! Keep. . . keep pr essur e on i t ! Keep. . . keep pr essur e on i t !
i U R C i U R C i U R C ( i nt o UNI FORM MI C) ( i nt o UNI FORM MI C)
- 9 h f . - 9 h f . - 9 h f . 10- 49! 10- 49! Shot s f i r ed. . . 10- 49! 10- 49! Shot s f i r ed. . .
o o t s o o t s o o t s Tr ooper i s down! Shoot er i s Tr ooper i s down! Shoot er i s
s n b 8 i s n b 8 i s n b 8 i east bound. . . east bound on 28! Mi l e east bound. . . east bound on 28! Mi l e
r 7 W e a b c r 7 W e a b c r 7 W e a b c mar ker 79! We need t hat ambul ance, mar ker 79! We need t hat ambul ance,
e s h e s h e s h pl ease! I t ' s Mi chael ! pl ease! I t ' s Mi chael !
o ' e e e s o o m g y o ' e e e s o o m g y o ' e e e s o o m g y Pat r ol man' s eyes ar e wi de, hi s bl oody mout h maki ng onl y Pat r ol man' s eyes ar e wi de, hi s bl oody mout h maki ng onl y
l s s a e h a p e e s l s s a e h a p e e s l s s a e h a p e e s gur gl i ng sounds. J ane keeps her hands pr essed over hi s. gur gl i ng sounds. J ane keeps her hands pr essed over hi s.
JJJJ ANE J ANE
m e n . s m e n . s m e n . s I ' mher e, honey. I t ' s me. . . i t ' s I ' mher e, honey. I t ' s me. . . i t ' s
n J . t g . n n J . t g . n n J . t g . n J ane. J ust . . . j ust hang on. . . don' t J ane. J ust . . . j ust hang on. . . don' t
y t y c g y t y c g y t y c g t r y t o t al k. They' r e comi ng. t r y t o t al k. They' r e comi ng.
e h w s u e h w s u e h w s u They' r e on t hei r way. Pl ease, j ust They' r e on t hei r way. Pl ease, j ust
n . o a . n . o a . n . o a . hang on. . . you hear me. . . ?! hang on. . . you hear me. . . ?!
' e e l w t . ' e e l w t . ' e e l w t . J ane' s eyes ar e f i l l i ng wi t h t ear s. J ane' s eyes ar e f i l l i ng wi t h t ear s.
c s R d C r l . c s R d C r l . c s R d C r l . Fr ombot h di r ect i ons, CARS and TRUCKS ar e hal t i ng. Fr ombot h di r ect i ons, CARS and TRUCKS ar e hal t i ng.
L e k . t f t c L e k . t f t c L e k . t f t c PEOPLE ar e l ooki ng. . . get t i ng out f r omt hei r vehi cl es. PEOPLE ar e l ooki ng. . . get t i ng out f r omt hei r vehi cl es.
JJJJ ANE J ANE
k l ! n e m k l ! n e m k l ! n e m Mi ke, pl ease! Don' t l eave me. . . Mi ke, pl ease! Don' t l eave me. . .
h n f g o e e l h n f g o e e l h n f g o e e l Her husband' s f adi ng, cl osi ng hi s eyes, whi l e t he puddl e of Her husband' s f adi ng, cl osi ng hi s eyes, whi l e t he puddl e of
D e h n n o w s o h p . D e h n n o w s o h p . D e h n n o w s o h p . BLOOD beneat h hi mand J ane sl owl y wi dens acr oss t he asphal t . BLOOD beneat h hi mand J ane sl owl y wi dens acr oss t he asphal t .
F T A F T A F T A FADE TO BLACK FADE TO BLACK
P , R Y M T A - G P , R Y M T A - G P , R Y M T A - G INT. HOSPITAL, EMERGENCY ROOM WAITING AREA -- NIGHT INT. HOSPITAL, EMERGENCY ROOM WAITING AREA -- NIGHT
h I , e e n r l h I , e e n r l h I , e e n r l I n t he WAI TI NG ROOM, J ane' s seat ed i n one cor ner , st i l l i n I n t he WAI TI NG ROOM, J ane' s seat ed i n one cor ner , st i l l i n
o h n e i e S d h o h n e i e S d h o h n e i e S d h uni f or m, hat on t he t abl e besi de her . She' s bowed wi t h her uni f or m, hat on t he t abl e besi de her . She' s bowed wi t h her
e n w b i o t e n w b i o t e n w b i o t head i n her hands, whi ch ar e bl oodi ed t o t he wr i st s. head i n her hands, whi ch ar e bl oodi ed t o t he wr i st s.
L M o t a a l L M o t a a l L M o t a a l An OLDER MAN comes t o pl ace a hand on J ane' s shoul der . An OLDER MAN comes t o pl ace a hand on J ane' s shoul der .
s w e r r r . e , E s w e r r r . e , E s w e r r r . e , E J ane l ooks up wi t h eyes r ed f r omcr yi ng. The man, J ANE' S J ane l ooks up wi t h eyes r ed f r omcr yi ng. The man, J ANE' S
E r a , t t a g s b e . E r a , t t a g s b e . E r a , t t a g s b e . FATHER, gr ey- hai r ed, sal t - of - t he- ear t h guy, si t s besi de her . FATHER, gr ey- hai r ed, sal t - of - t he- ear t h guy, si t s besi de her .
JJJJ ANE J ANE
d a . e o d a . e o d a . e o Dad. Dad. . . he' s. . . he' s gone. Dad. Dad. . . he' s. . . he' s gone.
' t t i s s ' t t i s s ' t t i s s J ane' s f at her t akes her i n hi s ar ms. J ane' s f at her t akes her i n hi s ar ms.
e r e i h c g e r e i h c g e r e i h c g J ane bur i es her f ace agai nst hi m, cr yi ng. J ane bur i es her f ace agai nst hi m, cr yi ng.
w a a d i e o t d w a a d i e o t d w a a d i e o t d She wr aps her ar ms ar ound her dad, bal l i ng her bl ood- st ai ned She wr aps her ar ms ar ound her dad, bal l i ng her bl ood- st ai ned
s o t b i a o s o t b i a o s o t b i a o hands i nt o f i st s as her body i s wr acked by sobs. hands i nt o f i st s as her body i s wr acked by sobs.
C O C O C O CUT TO: CUT TO:
S R Y D S R Y D S R Y D EXT. KANSAS FREEWAY -- DAWN EXT. KANSAS FREEWAY -- DAWN
e R A L S S , m n f f e R A L S S , m n f f e R A L S S , m n f f Thr ee PATROL CARS, LI GHTS FLASHI NG, zoomal ong a f ar of f Thr ee PATROL CARS, LI GHTS FLASHI NG, zoomal ong a f ar of f
w a s e i s m n o o g w a s e i s m n o o g w a s e i s m n o o g r oadway, agai nst t he hor i zon' s gl i mmer i ng pr omi se of mor ni ng. r oadway, agai nst t he hor i zon' s gl i mmer i ng pr omi se of mor ni ng.
30. 30.
E O E D O G E O E D O G E O E D O G INT. JANE'S HOUSE, MASTER BEDROOM -- MORNING INT. JANE'S HOUSE, MASTER BEDROOM -- MORNING
s k f m i a s y s k f m i a s y s k f m i a s y J ane gasps awake i n BED, as i f f r oma ni ght mar e, sweat y. J ane gasps awake i n BED, as i f f r oma ni ght mar e, sweat y.
s u o g u h o f s m s u o g u h o f s m s u o g u h o f s m She si t s up, l ooki ng ar ound t hi s r oomof her modest home. She si t s up, l ooki ng ar ound t hi s r oomof her modest home.
i i s m u h l u i i i s m u h l u i i i s m u h l u i Mor ni ng l i ght st r eams i n t hr ough t he hal f - shut bl i nds. Mor ni ng l i ght st r eams i n t hr ough t he hal f - shut bl i nds.
E n H . n t , T R d N E n H . n t , T R d N E n H . n t , T R d N VOI CES can be HEARD. J ane get s up, i n T- SHI RT and J EANS. VOI CES can be HEARD. J ane get s up, i n T- SHI RT and J EANS.
E O N O I E O N O I E O N O I INT. JANE'S HOUSE, LIVING ROOM -- MORNING INT. JANE'S HOUSE, LIVING ROOM -- MORNING
v r h l e t s i i v r h l e t s i i v r h l e t s i i J ane ar r i ves f r omt he hal l way t o see Fat her speaki ng wi t h a J ane ar r i ves f r omt he hal l way t o see Fat her speaki ng wi t h a
E O s i n t E O E O s i n t E O E O s i n t E O STATE TROOPER st andi ng i n t he open f r ont SCREEN DOOR. STATE TROOPER st andi ng i n t he open f r ont SCREEN DOOR.
e n r O o d P . t a e n r O o d P . t a e n r O o d P . t a Ther e' s anot her TROOPER out si de on t he PORCH. Fat her and Ther e' s anot her TROOPER out si de on t he PORCH. Fat her and
T e o l T e e n T e o l T e e n T e o l T e e n t he Tr ooper st op t al ki ng when t he Tr ooper sees J ane. t he Tr ooper st op t al ki ng when t he Tr ooper sees J ane.
s u o . s u o . s u o . J ane gi ves a quest i oni ng l ook. J ane gi ves a quest i oni ng l ook.
T e l y k i a T e l y k i a T e l y k i a The Tr ooper sol emnl y shakes hi s head. The Tr ooper sol emnl y shakes hi s head.
S P S P S P STATE TROOPER STATE TROOPER
e u t d d i e u t d d i e u t d d i He headed sout h, t owar ds Dodge Ci t y. He headed sout h, t owar ds Dodge Ci t y.
a e e a H a e e a H a e e a H Abandoned t he sedan. He. . . Abandoned t he sedan. He. . .
m a p ) m a p ) m a p ) ( mi ser abl e pause) ( mi ser abl e pause)
d t v m n d t v m n d t v m n We f ound anot her vi ct i m. A woman. We f ound anot her vi ct i m. A woman.
I v h w I v h w I v h w He t ook her I D, ever yt hi ng. No way He t ook her I D, ever yt hi ng. No way
t h e o w n t h e o w n t h e o w n t o i dent i f y her yet , so. . . we don' t t o i dent i f y her yet , so. . . we don' t
o a ' i o a ' i o a ' i know what he' s dr i vi ng now. know what he' s dr i vi ng now.
s k i t a y l s i s k i t a y l s i s k i t a y l s i J ane l eans back agai nst t he hal l way wal l , despai r i ng. J ane l eans back agai nst t he hal l way wal l , despai r i ng.
C O C O C O CUT TO: CUT TO:
R - R - R - EXT. CHURCH -- DAY EXT. CHURCH -- DAY
i C t ( l n l K s i C t ( l n l K s i C t ( l n l K s Out si de a CHURCH i n downt own ( smal l - t own) Col by, Kansas, Out si de a CHURCH i n downt own ( smal l - t own) Col by, Kansas,
W A P E I t m k W A P E I t m k W A P E I t m k many HI GHWAY PATROL and POLI CE VEHI CLES ar e t andempar ked. many HI GHWAY PATROL and POLI CE VEHI CLES ar e t andempar ked.
R - R - R - INT. CHURCH -- DAY INT. CHURCH -- DAY
C H p d n i e O S C C H p d n i e O S C C H p d n i e O S C The CHURCH i s packed; many uni f or med TROOPERS and POLI CE The CHURCH i s packed; many uni f or med TROOPERS and POLI CE
C e O i a E C e O i a E C e O i a E OFFI CERS. J ane, i n UNI FORM, i s at t he al t ar LECTERN. OFFI CERS. J ane, i n UNI FORM, i s at t he al t ar LECTERN.
JJJJ ANE J ANE
u t j e e ' u t j e e ' u t j e e ' You do t hi s j ob because you' ve You do t hi s j ob because you' ve
d e u f h n o d e u f h n o d e u f h n o dedi cat ed your sel f t o hel pi ng peopl e. dedi cat ed your sel f t o hel pi ng peopl e.
o i e . o m r o i e . o m r o i e . o m r Pr ot ect i ng peopl e. . . somet i mes f r om Pr ot ect i ng peopl e. . . somet i mes f r om
e v e v e v t hemsel ves. t hemsel ves.
n r l O J S B , n r l O J S B , n r l O J S B , Behi nd her , a l ar ge PHOTO of J ANE' S HUSBAND, MI KE, i s Behi nd her , a l ar ge PHOTO of J ANE' S HUSBAND, MI KE, i s
l g L S a e s O . l g L S a e s O . l g L S a e s O . di spl ayed amongst FLOWERS, near t he cl osed COFFI N. di spl ayed amongst FLOWERS, near t he cl osed COFFI N.
JJJJ ANE J ANE
a s h n H h g a s h n H h g a s h n H h g That was my husband. He' d have gi ven That was my husband. He' d have gi ven
u a t u a t u a d t you hi s l ast dol l ar and t he shi r t of f you hi s l ast dol l ar and t he shi r t of f
s k s k s k hi s back. hi s back.
( ) ( ) ( ) ( mor e) ( mor e)
C N C N C N CONTI NUED CONTI NUED
31. 31.
J ( . J ( . J ( . J ANE ( CONT. ) J ANE ( CONT. )
d p b a e h d p b a e h d p b a e h He coul dn' t possi bl y have been t he He coul dn' t possi bl y have been t he
s i t h s i t h s i t h best f r i end t o as many guys as t hose best f r i end t o as many guys as t hose
o u h s i s i o u h s i s i o u h s i s i who t hought he was t hei r best f r i end. who t hought he was t hei r best f r i end.
i d c , e a i d c , e a i d c , e a We met i n Cadet School , 8 year s ago. We met i n Cadet School , 8 year s ago.
e i a g t e i a g t e i a g t He pi cked me as hi s t r ai ni ng par t ner He pi cked me as hi s t r ai ni ng par t ner
f a e e a t f a e e a t f a e e a t bef or e anyone el se had a chance t o. bef or e anyone el se had a chance t o.
w h l m n r w h l m n r w h l m n r I was t he onl y woman i n t he pr ogr am I was t he onl y woman i n t he pr ogr am
a a I e m u a a I e m u a a I e m u t hat year . I asked hi mabout i t t hat year . I asked hi mabout i t
t o e u o e t o e u o e t o e u o e l at er . He t ol d me a bunch of t he l at er . He t ol d me a bunch of t he
h a r h a r h a r ot her cadet s sai d t hey wer e af t er me ot her cadet s sai d t hey wer e af t er me
r t e p r t e p r t e p as t hei r par t ner , si nce compar ed t o as t hei r par t ner , si nce compar ed t o
w , y e n w , y e n w , y e n a woman, t hey wer e bound t o l ook a woman, t hey wer e bound t o l ook
o M s i e r l o M s i e r l o M s i e r l good. Mi ke sai d i f t hey wer e al l good. Mi ke sai d i f t hey wer e al l
a u i h a u i h a u i h t hat st upi d, he di dn' t want anyt hi ng t hat st upi d, he di dn' t want anyt hi ng
i n . i n . i n . t o do wi t h any of t hem. t o do wi t h any of t hem.
U r h s e J n a e e n U r h s e J n a e e n U r h s e J n a e e n A LAUGH f r omt he assembl ed. J ane nods at t he r emembr ance. A LAUGH f r omt he assembl ed. J ane nods at t he r emembr ance.
r e a e o r e a e o r e a e o She r ef uses t o cr y, wi l l not al l ow her sel f t o. She r ef uses t o cr y, wi l l not al l ow her sel f t o.
JJJJ ANE J ANE
' e e e l ' e e e l ' e e e l He di dn' t t r eat me any di f f er ent l y He di dn' t t r eat me any di f f er ent l y
o y e ' o o y e ' o o y e ' o f r omanyone el se; di dn' t go out of f r omanyone el se; di dn' t go out of
s n t l j s n t l j s n t l j hi s way t r yi ng t o t r eat me l i ke j ust hi s way t r yi ng t o t r eat me l i ke j ust
e t u e n e e t u e n e e t u e n e one of t he guys. We' ve been cadet s one of t he guys. We' ve been cadet s
g r r s i , b g r r s i , b g r r s i , b t oget her , par t ner s, f r i ends, husband t oget her , par t ner s, f r i ends, husband
d e . j d . d e . j d . d e . j d . and wi f e. I . . . I j ust don' t . . . and wi f e. I . . . I j ust don' t . . .
p ) p ) p ) ( pause) ( pause)
d t n h ' d t n h ' d t n h ' I don' t exact l y know what I ' m I don' t exact l y know what I ' m
p d d t p d d t p d d t supposed t o do wi t hout hi m. supposed t o do wi t hout hi m.
C O C O C O CUT TO: CUT TO:
E A E A E A EXT. CEMETERY -- DAY EXT. CEMETERY -- DAY
F E A I a s e a i s u g F E A I a s e a i s u g F E A I a s e a i s u g The FUNEREAL GATHERI NG has assembl ed gr ave- si de, sur r oundi ng The FUNEREAL GATHERI NG has assembl ed gr ave- si de, sur r oundi ng
G h I i o l e G h I i o l e G h I i o l e t he GRAVE over whi ch t he COFFI N wai t s t o be l ower ed. t he GRAVE over whi ch t he COFFI N wai t s t o be l ower ed.
I p d r n o B . I p d r n o B . I p d r n o B . A PRI EST pr esi des, r eadi ng f r oma BI BLE. A PRI EST pr esi des, r eadi ng f r oma BI BLE.
P T P T P T PRI EST PRI EST
. s t a e l . s t a e l . s t a e l " . . . hi s t r ut h shal l be t hy shi el d " . . . hi s t r ut h shal l be t hy shi el d
d k u l t d k u l t d k u l t and buckl er . Thou shal l not be and buckl er . Thou shal l not be
r f h r b g N r f h r b g N r f h r b g N af r ai d f or t he t er r or by ni ght ; Nor af r ai d f or t he t er r or by ni ght ; Nor
r w t e y . r w t e y . r w t e y . f or t he ar r ow t hat f l i et h by day. . . " f or t he ar r ow t hat f l i et h by day. . . "
g h t n a a s o f e g h t n a a s o f e g h t n a a s o f e Amongst t he gat her i ng, J ane wat ches, st oi c, f l anked by Amongst t he gat her i ng, J ane wat ches, st oi c, f l anked by
e O , T a t F Y B e O , T a t F Y B e O , T a t F Y B Fat her , MOTHER, SI STER, and ot her FAMI LY MEMBERS. Fat her , MOTHER, SI STER, and ot her FAMI LY MEMBERS.
P T P T P T PRI EST PRI EST
o r i e t k o r i e t k o r i e t k " Nor f or t he pest i l ence t hat wal ket h " Nor f or t he pest i l ence t hat wal ket h
n f h s t n f h s t n f h s t i n dar kness; nor f or t he dest r uct i on i n dar kness; nor f or t he dest r uct i on
a s o y s a s o y s a s o y s t hat wast et h at noonday. A t housand t hat wast et h at noonday. A t housand
a a t , a a t , a a t , shal l f al l at t hy si de, and t en shal l f al l at t hy si de, and t en
o d t i h . o d t i h . o d t i h . t housand at t hy r i ght hand. . . " t housand at t hy r i ght hand. . . "
C O C O C O CUT TO: CUT TO:
32. 32.
E O N O E O N O E O N O INT. JANE'S HOUSE, LIVING ROOM -- DAY INT. JANE'S HOUSE, LIVING ROOM -- DAY
L M F D e h - r L M F D e h - r L M F D e h - r Some FAMI LY MEMBERS and FRI ENDS ar e gat her ed post - f uner al , Some FAMI LY MEMBERS and FRI ENDS ar e gat her ed post - f uner al ,
n d n , i n i r h t . n d n , i n i r h t . n d n , i n i r h t . eat i ng and dr i nki ng, comi ng and goi ng f r omt he ki t chen. eat i ng and dr i nki ng, comi ng and goi ng f r omt he ki t chen.
' t a a i o e . ' t a a i o e . ' t a a i o e . J ane' s Mot her and Fat her r ecei ve condol ences. J ane' s Mot her and Fat her r ecei ve condol ences.
, l o s s h E n d o , l o s s h E n d o , l o s s h E n d o J ane, st i l l i n uni f or m, st ands wi t h a BEER i n hand, l ooki ng J ane, st i l l i n uni f or m, st ands wi t h a BEER i n hand, l ooki ng
y l o l z r T I h y l o l z r T I h y l o l z r T I h at a dust y col l ect i on of a hal f - dozen or so TROPHI ES whi ch at a dust y col l ect i on of a hal f - dozen or so TROPHI ES whi ch
p B H g h e i P " B p B H g h e i P " B p B H g h e i P " B occupy a BOOKSHELF, al ong wi t h a f ew " Fi r st Pl ace" RI BBONS. occupy a BOOKSHELF, al ong wi t h a f ew " Fi r st Pl ace" RI BBONS.
a s s h e t y p y a s s h e t y p y a s s h e t y p y They ar e awar ds f or mar ksmanshi p, each t r ophy t opped by a They ar e awar ds f or mar ksmanshi p, each t r ophy t opped by a
l L A M i m s e i g a n l L A M i m s e i g a n l L A M i m s e i g a n smal l , GOLD- PLATED MAN, i n ai mi ng st ance, poi nt i ng a handgun. smal l , GOLD- PLATED MAN, i n ai mi ng st ance, poi nt i ng a handgun.
i , n s , e o t i , n s , e o t i , n s , e o t J ane consi der s, t hen put s her beer down, t akes t wo of t he J ane consi der s, t hen put s her beer down, t akes t wo of t he
h i n t s m h r T S . h i n t s m h r T S . h i n t s m h r T S . t r ophi es i n hand, st udi es t hem. She t ur ns, THROWS one. . . t r ophi es i n hand, st udi es t hem. She t ur ns, THROWS one. . .
t y S i t e , - k E E t y S i t e , - k E E t y S i t e , - k E E The t r ophy SMASHES i nt o t he near by, r ed- br i ck FI REPLACE. The t r ophy SMASHES i nt o t he near by, r ed- br i ck FI REPLACE.
w e o r r t w e o r r t w e o r r t J ane t hr ows t he second t r ophy af t er t he f i r st . J ane t hr ows t he second t r ophy af t er t he f i r st .
p e o t e l i U G h p e o t e l i U G h p e o t e l i U G h She pr oceeds t o empt y t he shel f - - angr i l y HURLI NG each one She pr oceeds t o empt y t he shel f - - angr i l y HURLI NG each one
h a i t i a o n r h a i t i a o n r h a i t i a o n r of t he awar ds i nt o t he f i r epl ace t o j oi n t he ot her s - - of t he awar ds i nt o t he f i r epl ace t o j oi n t he ot her s - -
i r a M N O i r a M N O i r a M N O vent i ng f r ust r at i on wi t h each FRAGMENTI NG TROPHY. vent i ng f r ust r at i on wi t h each FRAGMENTI NG TROPHY.
e a n e n e F r p . e a n e n e F r p . e a n e n e F r p . Al l eyes ar e on J ane, concer ned. Fat her st eps up. Al l eyes ar e on J ane, concer ned. Fat her st eps up.
J S H J S H J S H J ANE' S FATHER J ANE' S FATHER
nnn J ane. . . J ane. . .
, a g p e k e e r s e , a g p e k e e r s e , a g p e k e e r s e J ane, r egai ni ng composur e, t akes her beer , cr osses t o exi t . J ane, r egai ni ng composur e, t akes her beer , cr osses t o exi t .
H O O H O O H O O ON THE FRONT PORCH ON THE FRONT PORCH
s i S , s n . e s i S , s n . e s i S , s n . e J ane comes out t o si t on t he STEPS, put s down t he beer . She J ane comes out t o si t on t he STEPS, put s down t he beer . She
s u r T t s t s u r T t s t s u r T t s t pul l s of f her uni f or m' s TI E, t hr ows i t . She st ar t s pul l s of f her uni f or m' s TI E, t hr ows i t . She st ar t s
t n e r r t l f t n e r r t l f t n e r r t l f unbut t oni ng t he shi r t , t r yi ng i mpat i ent l y t o yank i t of f unbut t oni ng t he shi r t , t r yi ng i mpat i ent l y t o yank i t of f
h i t a i - T e h i t a i - T e h i t a i - T e over her head, t ear i ng i t , wear i ng a whi t e T- SHI RT beneat h. over her head, t ear i ng i t , wear i ng a whi t e T- SHI RT beneat h.
f l t e f t f o g a . f l t e f t f o g a . f l t e f t f o g a . She f i nal l y get s t he uni f or mt op of f , t ossi ng i t asi de. She f i nal l y get s t he uni f or mt op of f , t ossi ng i t asi de.
p e e r , e e e , h p e e r , e e e , h p e e r , e e e , h She pi cks up her beer , dr i nks, mi ser abl e. Behi nd, Fat her She pi cks up her beer , dr i nks, mi ser abl e. Behi nd, Fat her
d o t g e E O l i d o t g e E O l i d o t g e E O l i st ands l ooki ng out t hr ough t he SCREEN DOOR, l i kewi se. st ands l ooki ng out t hr ough t he SCREEN DOOR, l i kewi se.
C O C O C O CUT TO: CUT TO:
C R S I - N C R S I - N C R S I - N INT. PSYCHIATRIST'S OFFICE -- MORNING INT. PSYCHIATRIST'S OFFICE -- MORNING
a c c F . n e r f a a c c F . n e r f a a c c F . n e r f a A smal l , cl i ni cal OFFI CE. J ane i s seat ed acr oss f r oman A smal l , cl i ni cal OFFI CE. J ane i s seat ed acr oss f r oman
r l Y T , s s h n r l Y T , s s h n r l Y T , s s h n ol der , mal e PSYCHI ATRI ST, l egs cr ossed, who hol ds a penci l . ol der , mal e PSYCHI ATRI ST, l egs cr ossed, who hol ds a penci l .
P I S P I S P I S PSYCHI ATRI ST PSYCHI ATRI ST
e t a m n e t a m n e t a m n Ther e' s a pot ent i al , emot i onal Ther e' s a pot ent i al , emot i onal
d r a t d r a t d r a t under cur r ent her e t hat we haven' t under cur r ent her e t hat we haven' t
u . d t u . d t u . d t t ouched upon yet . . . and t hat i s, t ouched upon yet . . . and t hat i s,
r r u e e s r r u e e s r r u e e s Sur vi vor ' s Gui l t . I bel i eve i t ' s Sur vi vor ' s Gui l t . I bel i eve i t ' s
p n u a t s p n u a t s p n u a t s i mpor t ant you' r e awar e of i t . As a i mpor t ant you' r e awar e of i t . As a
m n r i l l m n r i l l m n r i l l woman i n a pr edomi nant l y mal e woman i n a pr edomi nant l y mal e
e . i w t e . i w t e . i w t f i el d. . . a f i el d wher e over t f i el d. . . a f i el d wher e over t
s n . s n . s n . mascul i ni t y. . . mascul i ni t y. . .
( ) ( ) ( ) ( mor e) ( mor e)
C N C N C N CONTI NUED CONTI NUED
33. 33.
P I S O P I S O P I S O PSYCHI ATRI ST ( CONT. ) PSYCHI ATRI ST ( CONT. )
m i h a e e m i h a e e m i h a e e An i nt i mi dat i ng physi cal pr esence and An i nt i mi dat i ng physi cal pr esence and
e g i e o a e g i e o a e g i e o a even aggr essi ve demeanor , can be even aggr essi ve demeanor , can be
n r i s u n r i s u n r i s u consi der ed vi r t ues, you may have consi der ed vi r t ues, you may have
r r i c o r r i c o r r i c o al r eady been exper i enci ng occasi onal al r eady been exper i enci ng occasi onal
e s i q . e e s i q . e e s i q . e f eel i ngs of i nadequacy. Whet her you f eel i ngs of i nadequacy. Whet her you
c z e o c z e o c z e o r ecogni ze t hemas such or not . r ecogni ze t hemas such or not .
e h l K t a e h l K t a e h l K t a J ane st ar es unhappi l y up at a CLOCK on t he wal l . J ane st ar es unhappi l y up at a CLOCK on t he wal l .
P I S P I S P I S PSYCHI ATRI ST PSYCHI ATRI ST
i o a u r g o i o a u r g o i o a u r g o Whi ch coul d add f ur t her wei ght t o t he Whi ch coul d add f ur t her wei ght t o t he
o a g t a f o a g t a f o a g t a f emot i onal baggage you t ake away f r om emot i onal baggage you t ake away f r om
v b a n t e t v b a n t e t v b a n t e t havi ng been a wi t ness t o t he deat h of havi ng been a wi t ness t o t he deat h of
u s . d w u s . d w u s . d w your husband. A deat h f or whi ch you your husband. A deat h f or whi ch you
e r y l g e r y l g e r y l g seem, wr ongl y, t o be bl ami ng seem, wr ongl y, t o be bl ami ng
u f t p u f t p u f t p your sel f , at l east i n par t . your sel f , at l east i n par t .
C S s a t s i k C S s a t s i k C S s a t s i k The CLOCK TI CKS. Psychi at r i st t aps t he penci l on hi s knee. The CLOCK TI CKS. Psychi at r i st t aps t he penci l on hi s knee.
P I S P I S P I S PSYCHI ATRI ST PSYCHI ATRI ST
e l o e u n w e l o e u n w e l o e u n w The r eal i t y of t he si t uat i on. . . what The r eal i t y of t he si t uat i on. . . what
h t l u e g h t l u e g h t l u e g I hope t o hel p you come t o gr i ps I hope t o hel p you come t o gr i ps
t s n t h a i t s n t h a i t s n t h a i wi t h, i s. . . no mat t er how many t i mes wi t h, i s. . . no mat t er how many t i mes
u l h a e c u l h a e c u l h a e c you r epl ay what happened back i n your you r epl ay what happened back i n your
n h t n p . n h t n p . n h t n p . mi nd, t he out come i s i nescapabl e. mi nd, t he out come i s i nescapabl e.
u t d a n u t d a n u t d a n You must f i nd a way t o begi n You must f i nd a way t o begi n
c n a A i l a c n a A i l a c n a A i l a accept i ng t hat . Addi t i onal l y, maybe accept i ng t hat . Addi t i onal l y, maybe
e r p n c e r p n c e r p n c even mor e i mpor t ant l y, your chance even mor e i mpor t ant l y, your chance
. e e r k a t . e e r k a t . e e r k a t at . . . r evenge, f or l ack of a bet t er at . . . r evenge, f or l ack of a bet t er
r s e e n s r s e e n s r s e e n s wor d, i s gone. Vengeance i s not a wor d, i s gone. Vengeance i s not a
a a n c l a a n c l a a n c l heal t hy f ant asy i n whi ch t o i ndul ge, heal t hy f ant asy i n whi ch t o i ndul ge,
e w v b t e w v b t e w v b t no mat t er how unavoi dabl y i t may no mat t er how unavoi dabl y i t may
c y t h h t c y t h h t c y t h h t occupy your t hought s. Whi ch i s t o occupy your t hought s. Whi ch i s t o
y a i o s s i y a i o s s i y a i o s s i say, t hat t hi ng you most desi r e i s say, t hat t hi ng you most desi r e i s
m n u r a s m n u r a s m n u r a s somet hi ng you can never at t ai n, so, somet hi ng you can never at t ai n, so,
a . e u i a . e u i a . e u i agai n. . . t he sooner you begi n t o agai n. . . t he sooner you begi n t o
c - c - c - accept - - accept - -
JJJJ ANE J ANE
e d e d e d Ar e we done? Ar e we done?
s s s s s s ( st ands) ( st ands)
' ? c ' ? c ' ? c We ar e, ar en' t we? Because i t ' s been We ar e, ar en' t we? Because i t ' s been
... an hour . an hour .
P I S P I S P I S PSYCHI ATRI ST PSYCHI ATRI ST
f n f n f n Of f i cer Thor ne. . . Of f i cer Thor ne. . .
JJJJ ANE J ANE
m e a t w a o m e a t w a o m e a t w a o I ' mher e because t hi s was mandat or y. I ' mher e because t hi s was mandat or y.
t y h s r t y h s r t y h s r I t ol d you. But , t he hour ' s over . . . I t ol d you. But , t he hour ' s over . . .
P I S P I S P I S PSYCHI ATRI ST PSYCHI ATRI ST
a g n a g n a g n An hour i s bar el y a begi nni ng. An hour i s bar el y a begi nni ng.
o n o o g o o n o o g o o n o o g o Though, I can i nf or myou r i ght now, Though, I can i nf or myou r i ght now,
w b c n c n w b c n c n w b c n c n I wi l l be r ecommendi ng you cont i nue I wi l l be r ecommendi ng you cont i nue
e . e . e . t her apy. t her apy.
C N C N C N CONTI NUED CONTI NUED
34. 34.
JJJJ ANE J ANE
n I e y e n I e y e n I e y e Fi ne. I f t hey say I ' ve got t o. Fi ne. I f t hey say I ' ve got t o.
h s , n b h s , n b h s , n b Ot her wi se. . . wel l , t hanks. Goodbye. Ot her wi se. . . wel l , t hanks. Goodbye.
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H P L N N - H P L N N - H P L N N - EXT. HIGHWAY PATROL HQ, FIRING RANGE -- DAY EXT. HIGHWAY PATROL HQ, FIRING RANGE -- DAY
n r p i T , " P N " n r p i T , " P N " n r p i T , " P N " I n one t ar get - pr act i ce STALL, J ane, i n " THE PRETENDERS" I n one t ar get - pr act i ce STALL, J ane, i n " THE PRETENDERS"
E - T S a L n R E - T S a L n R E - T S a L n R CONCERT T- SHI RT and J EANS, wear i ng GOGGLES and EAR CONCERT T- SHI RT and J EANS, wear i ng GOGGLES and EAR
E N r e 5 g - A L B E N r e 5 g - A L B E N r e 5 g - A L B PROTECTI ON, f i r es her . 357 Magnum- - BLAM! BLAM! BLAM! PROTECTI ON, f i r es her . 357 Magnum- - BLAM! BLAM! BLAM!
r e o , n , c a x l r e o , n , c a x l r e o , n , c a x l J ane l ower s t he r evol ver , opens i t , qui ckl y and exper t l y J ane l ower s t he r evol ver , opens i t , qui ckl y and exper t l y
a E O . e s h n O . a E O . e s h n O . a E O . e s h n O . r el oadi ng wi t h a SPEED LOADER. She r ai ses t he gun, SHOOTS. . . r el oadi ng wi t h a SPEED LOADER. She r ai ses t he gun, SHOOTS. . .
d t a e E p I - E a d t a e E p I - E a d t a e E p I - E a Far down t he r ange, wher e THREE paper FI GURE- TARGETS hang Far down t he r ange, wher e THREE paper FI GURE- TARGETS hang
i t e e t e l y e ) i t e e t e l y e ) i t e e t e l y e ) si de by si de, t he cent er t ar get ( i t s chest al r eady shr edded) si de by si de, t he cent er t ar get ( i t s chest al r eady shr edded)
i a d t E H i a d t E H i a d t E H r ecei ves a dead cent er HEAD SHOT. r ecei ves a dead cent er HEAD SHOT.
h a J a l - A h a J a l - A h a J a l - A I n t he st al l , J ane ai ms l ef t - - BLAM! I n t he st al l , J ane ai ms l ef t - - BLAM!
l t t e r . l t t e r . l t t e r . The l ef t t ar get r ecei ves a per f ect HEAD SHOT. The l ef t t ar get r ecei ves a per f ect HEAD SHOT.
t B t B t B J ane ai ms r i ght - - BLAM! J ane ai ms r i ght - - BLAM!
r e k e e S , l . r e k e e S , l . r e k e e S , l . The r i ght t ar get l i kewi se t akes a SKULL SHOT, f ol l owed by. . . The r i ght t ar get l i kewi se t akes a SKULL SHOT, f ol l owed by. . .
E E w s s l t h n i E E w s s l t h n i E E w s s l t h n i THREE HOLES down i t s chest i n a r ul er - st r ai ght l i ne; l i ke THREE HOLES down i t s chest i n a r ul er - st r ai ght l i ne; l i ke
b n i D s e h b n i D s e h b n i D s e h t he but t ons of a sui t . Dead sol i d per f ect shot s. t he but t ons of a sui t . Dead sol i d per f ect shot s.
C O C O C O CUT TO: CUT TO:
H P L T T F A H P L T T F A H P L T T F A INT. HIGHWAY PATROL HQ, LIEUTENANT'S OFFICE -- DAY INT. HIGHWAY PATROL HQ, LIEUTENANT'S OFFICE -- DAY
d C t N D L o i t d C t N D L o i t d C t N D L o i t I nsi de an OFFI CE wi t h WI NDOWED WALLS l ooki ng out i nt o t he I nsi de an OFFI CE wi t h WI NDOWED WALLS l ooki ng out i nt o t he
t y e H A T S , e t y e H A T S , e t y e H A T S , e r el at i vel y or der l y HI GHWAY PATROL SQUAD ROOM, J ane, i n r el at i vel y or der l y HI GHWAY PATROL SQUAD ROOM, J ane, i n
l c e i a g h a s m c l c e i a g h a s m c l c e i a g h a s m c ci vi l i an cl ot hes, si t s wai t i ng. She' s acr oss f r omt hi ck- ci vi l i an cl ot hes, si t s wai t i ng. She' s acr oss f r omt hi ck-
e u n n z t U N C , e u n n z t U N C , e u n n z t U N C , necked, sunbur ned and buzz- cut LI EUTENANT BUCKLEY, 50, i n necked, sunbur ned and buzz- cut LI EUTENANT BUCKLEY, 50, i n
o o e N e i m a E o o e N e i m a E o o e N e i m a E uni f or m, on t he PHONE, seat ed at hi s i mmacul at e DESK. uni f or m, on t he PHONE, seat ed at hi s i mmacul at e DESK.
L U Y L U Y L U Y LT. BUCKLEY LT. BUCKLEY
i P ) i P ) i P ) ( i nt o PHONE) ( i nt o PHONE)
o m m t h o m m t h o m m t h Show hi mt he document at i on. I f he Show hi mt he document at i on. I f he
i a p e a e k i a p e a e k i a p e a e k st i l l has a pr obl em, cal l me back. st i l l has a pr obl em, cal l me back.
r , s t a r , s t a r , s t a Bar r i ng t hat , t hi s i s t he l ast I want Bar r i ng t hat , t hi s i s t he l ast I want
t t t t o hear about i t . t o hear about i t .
l a u i o A O i P l a u i o A O i P l a u i o A O i P Buckl ey hangs up, f i l l s out PAPERWORK wi t h a BALLPOI NT PEN. Buckl ey hangs up, f i l l s out PAPERWORK wi t h a BALLPOI NT PEN.
L U Y L U Y L U Y LT. BUCKLEY LT. BUCKLEY
W N o o W N o o W N o o ( WRI TI NG, not l ooki ng up) ( WRI TI NG, not l ooki ng up)
a n o n a n o n a n o n What can I do f or you, Thor ne? What can I do f or you, Thor ne?
r r o s h f h r r r o s h f h r r r o s h f h r J ane cl ear s her t hr oat , sear chi ng f or t he wor ds. J ane cl ear s her t hr oat , sear chi ng f or t he wor ds.
JJJJ ANE J ANE
m I o t v o m I o t v o m I o t v o I ' m. . . I ' mgoi ng t o have t o be gone. I ' m. . . I ' mgoi ng t o have t o be gone.
r h r h r h For a whi l e. For a whi l e.
C N C N C N CONTI NUED CONTI NUED
35. 35.
l o u e i e r o . l o u e i e r o . l o u e i e r o . Buckl ey l ooks up, r egar di ng her f or a moment . Buckl ey l ooks up, r egar di ng her f or a moment .
L U Y L U Y L U Y LT. BUCKLEY LT. BUCKLEY
e u o ? e u o ? e u o ? When woul d you be back? When woul d you be back?
JJJJ ANE J ANE
m . m . m . I ' mnot sur e. I ' mnot sur e.
l l p h i i u s b l l p h i i u s b l l p h i i u s b Buckl ey cl i cks t he pen shut wi t h hi s t humb, si t s back. Buckl ey cl i cks t he pen shut wi t h hi s t humb, si t s back.
L U Y L U Y L U Y LT. BUCKLEY LT. BUCKLEY
u n u n u n You' l l never f i nd hi m. You' l l never f i nd hi m.
JJJJ ANE J ANE
o y . o y . o y . Pr obabl y not . Pr obabl y not .
L U Y L U Y L U Y LT. BUCKLEY LT. BUCKLEY
. t b . o y n . t b . o y n . t b . o y n No. Not pr obabl y. Pr obabl y bei ng a No. Not pr obabl y. Pr obabl y bei ng a
r i f b i w r i f b i w r i f b i w der i vat i ve of pr obabi l i t y, whi ch i n der i vat i ve of pr obabi l i t y, whi ch i n
i s e r . i s e r . i s e r . t hi s i nst ance t her e i s zer o. I t t hi s i nst ance t her e i s zer o. I t
u e e k f l u e e k f l u e e k f l woul d be l i ke l ooki ng f or a needl e i n woul d be l i ke l ooki ng f or a needl e i n
h a n i o t a h a n i o t a h a n i o t a a hayst ack i n a f i el d of a t housand a hayst ack i n a f i el d of a t housand
y k y k y k hayst acks. hayst acks.
JJJJ ANE J ANE
d i i S r d i i S r d i i S r I don' t have t o f i nd hi m. Sooner or I don' t have t o f i nd hi m. Sooner or
t i c o . l t i c o . l t i c o . l l at er hi s l uck' l l r un out . . . he' l l l at er hi s l uck' l l r un out . . . he' l l
t e . e r t p t e . e r t p t e . e r t p get boxed i n. Whenever t hat happens, get boxed i n. Whenever t hat happens,
e r a c e r a c e r a c wher ever . . . al l I want i s a chance t o wher ever . . . al l I want i s a chance t o
h n y h n y h n y be i n t he hunt i ng par t y. be i n t he hunt i ng par t y.
l u c , n o L B . l u c , n o L B . l u c , n o L B . Buckl ey pushes back hi s chai r , st ands, opens a FI LE CABI NET. Buckl ey pushes back hi s chai r , st ands, opens a FI LE CABI NET.
L U Y L U Y L U Y LT. BUCKLEY LT. BUCKLEY
' u u p s l v ' u u p s l v ' u u p s l v We' l l put you on pr ovi si onal l eave. We' l l put you on pr ovi si onal l eave.
e u d n l m e u d n l m e u d n l m Keep your badge on you at al l t i mes. Keep your badge on you at al l t i mes.
u ' v y h y u ' v y h y u ' v y h y You won' t have any aut hor i t y, You won' t have any aut hor i t y,
v l u t s v l u t s v l u t s obvi ousl y, but at l east you can show obvi ousl y, but at l east you can show
u n o . i g u u n o . i g u u n o . i g u you' r e not some P. I . di cki ng ar ound. you' r e not some P. I . di cki ng ar ound.
l i t O e g s d r t l i t O e g s d r t l i t O e g s d r t Buckl ey f i nds t he FORM he sought , shut s t he dr awer , si t s. Buckl ey f i nds t he FORM he sought , shut s t he dr awer , si t s.
L U Y L U Y L U Y LT. BUCKLEY LT. BUCKLEY
t a o k A , t a o k A , t a o k A , Let ' s say t wo weeks. Af t er t hat , Let ' s say t wo weeks. Af t er t hat ,
n o a h n u s n o a h n u s n o a h n u s don' t come back t hi nki ng you' r e st i l l don' t come back t hi nki ng you' r e st i l l
e u e u e u one of us. one of us.
JJJJ ANE J ANE
a o i n a o i n a o i n Thank you, Li eut enant . Thank you, Li eut enant .
L U Y L U Y L U Y LT. BUCKLEY LT. BUCKLEY
a e ' d h a e ' d h a e ' d h Thank me? I wasn' t under t he Thank me? I wasn' t under t he
p i o r k m p i o r k m p i o r k m i mpr essi on you wer e aski ng my i mpr essi on you wer e aski ng my
r i r i r i per mi ssi on. per mi ssi on.
l l p s s l o h r l l p s s l o h r l l p s s l o h r Buckl ey cl i cks hi s pen, st ar t s f i l l i ng out t he f or m. Buckl ey cl i cks hi s pen, st ar t s f i l l i ng out t he f or m.
C N C N C N CONTI NUED CONTI NUED
36. 36.
L U Y L U Y L U Y LT. BUCKLEY LT. BUCKLEY
c n m e t ' o c n m e t ' o c n m e t ' o I can onl y i magi ne what you' r e goi ng I can onl y i magi ne what you' r e goi ng
r . m t s e r . m t s e r . m t s e t hr ough. I ' mnot about t o si t her e t hr ough. I ' mnot about t o si t her e
y t n e i y t n e i y t n e i t r yi ng t o convi nce you t hat chasi ng t r yi ng t o convi nce you t hat chasi ng
t h u c p l t h u c p l t h u c p l af t er t hi s l unat i c i s poi nt l ess. I f af t er t hi s l unat i c i s poi nt l ess. I f
w y . e e w y . e e w y . e e I wer e you. . . I bel i eve I ' d al so need I wer e you. . . I bel i eve I ' d al so need
f y . f y . f y . t o f i nd t hat out f or mysel f . t o f i nd t hat out f or mysel f .
C O C O C O CUT TO: CUT TO:
E O - G E O - G E O - G EXT. JANE'S HOUSE -- NIGHT EXT. JANE'S HOUSE -- NIGHT
K F L f e T ' y K F L f e T ' y K F L f e T ' y BLI NKI NG FI REFLI ES f l ut t er . Ther e' s an ol d, r ed, Chevy BLI NKI NG FI REFLI ES f l ut t er . Ther e' s an ol d, r ed, Chevy
U t r p P H o e v . U t r p P H o e v . U t r p P H o e v . PI CKUP wi t h har d- t op CAMPER SHELL on t he dr i veway. PI CKUP wi t h har d- t op CAMPER SHELL on t he dr i veway.
E O O - H E O O - H E O O - H INT. JANE'S HOUSE, BEDROOM -- NIGHT INT. JANE'S HOUSE, BEDROOM -- NIGHT
' G P L l l T E I ' G P L l l T E I ' G P L l l T E I J ane' s MAGNUM PI STOL and neat l y f ol ded TROOPER UNI FORM ar e J ane' s MAGNUM PI STOL and neat l y f ol ded TROOPER UNI FORM ar e
h d i l T . n m o h d i l T . n m o h d i l T . n m o on t he bed besi de a smal l SUI TCASE. J ane comes t o l ay down on t he bed besi de a smal l SUI TCASE. J ane comes t o l ay down
n n I ( C a T n n I ( C a T n n I ( C a T a l ong r ange RI FLE ( w/ SCOPE) and a SHOTGUN. a l ong r ange RI FLE ( w/ SCOPE) and a SHOTGUN.
F R S F R S F R S FATHER ( O. S. ) FATHER ( O. S. )
e r t u r . e r t u r . e r t u r . Whenever you put t hat uni f or mon. . . Whenever you put t hat uni f or mon. . .
u h n r s u h n r s u h n r s you mi ght as wel l be anot her per son. you mi ght as wel l be anot her per son.
e s d g t n c H e s d g t n c H e s d g t n c H Fat her ' s seat ed, aggr avat ed. J ane begi ns packi ng CLOTHI NG. Fat her ' s seat ed, aggr avat ed. J ane begi ns packi ng CLOTHI NG.
l i e . T s n A C S . l i e . T s n A C S . l i e . T s n A C S . TV pl ays i n t he B. G. , MUTED, showi ng " SATANI C SLASHER" news. TV pl ays i n t he B. G. , MUTED, showi ng " SATANI C SLASHER" news.
F R F R F R FATHER FATHER
b i o u t b i o u t b i o u t A bi g pi ece of your . . . your hear t and A bi g pi ece of your . . . your hear t and
u l h H ' u l h H ' u l h H ' soul bel ongs t o t he K. H. P. That ' s soul bel ongs t o t he K. H. P. That ' s
o . o ' l o . o ' l o . o ' l who you ar e, J ane. Who you' ve al ways who you ar e, J ane. Who you' ve al ways
eee been. . . been. . .
JJJJ ANE J ANE
o o a g o o a g o o a g Look who' s t al ki ng. Look who' s t al ki ng.
F R F R F R FATHER FATHER
a e t y n ' a e t y n ' a e t y n ' Yeah, wel l , t hen you know I ' m Yeah, wel l , t hen you know I ' m
e g m e c T e g m e c T e g m e c T speaki ng f r omexper i ence. Ther e i s speaki ng f r omexper i ence. Ther e i s
c t i e g o c t i e g o c t i e g o such a t hi ng as di sappear i ng i nt o such a t hi ng as di sappear i ng i nt o
a i . k i s a i . k i s a i . k i s t hat uni f or m. Or t hi nki ng i t ' s some t hat uni f or m. Or t hi nki ng i t ' s some
n i r i s n i r i s n i r i s ki nd of a sui t of ar mor , whi ch i s ki nd of a sui t of ar mor , whi ch i s
nnn i sn' t . i sn' t .
JJJJ ANE J ANE
l , r e l , r e l , r e I ' l l be back soon, I pr omi se. A f ew I ' l l be back soon, I pr omi se. A f ew
e t t e t t e t t weeks at most . weeks at most .
F R F R F R FATHER FATHER
k d ' u u k d ' u u k d ' u u Mi ke' s dyi ng wasn' t your f aul t . Mi ke' s dyi ng wasn' t your f aul t .
s k s k s k J ane keeps packi ng. J ane keeps packi ng.
C N C N C N CONTI NUED CONTI NUED
37. 37.
F R F R F R FATHER FATHER
e i o u a o e i o u a o e i o u a o Ther e' s not hi ng you coul d have done Ther e' s not hi ng you coul d have done
a u a h d t . a u a h d t . a u a h d t . t hat woul d have changed anyt hi ng. t hat woul d have changed anyt hi ng.
t c t c t c Not hi ng you coul d have done Not hi ng you coul d have done
f n w d . f n w d . f n w d . di f f er ent l y woul d have saved hi m. di f f er ent l y woul d have saved hi m.
JJJJ ANE J ANE
k kk I know. I know.
F R F R F R FATHER FATHER
, t n , s . , t n , s . , t n , s . So, what t hen? I mean, t hi s i s. . . So, what t hen? I mean, t hi s i s. . .
a d a y a d a y a d a y cr azy. You do r eal i ze i t ' s cr azy? cr azy. You do r eal i ze i t ' s cr azy?
JJJJ ANE J ANE
' t I r a ' t I r a ' t I r a He' s not t he one I ' mt r yi ng t o save. He' s not t he one I ' mt r yi ng t o save.
r ? m e i f r ? m e i f r ? m e i f Al r i ght ? I mean, si nce. . . si nce f our Al r i ght ? I mean, si nce. . . si nce f our
y o f d t h f y o f d t h f y o f d t h f days ago. . . f our days t hat have f el t days ago. . . f our days t hat have f el t
k l i I t h o k l i I t h o k l i I t h o l i ke a l i f et i me, I ' ve t hought about l i ke a l i f et i me, I ' ve t hought about
e n T s e n T s e n T s one t hi ng. That shot . The shot I one t hi ng. That shot . The shot I
d d t o ' v d d t o ' v d d t o ' v had, and what I woul dn' t gi ve t o have had, and what I woul dn' t gi ve t o have
. c r g . . c r g . . c r g . i t back. Because you' r e r i ght . . . i t back. Because you' r e r i ght . . .
t ' r M b t ' r M b t ' r M b not hi ng' l l br i ng Mi ke back. So not hi ng' l l br i ng Mi ke back. So
a l t s t a l t s t a l t s t what ' s l ef t ? Anot her shot . Anot her what ' s l ef t ? Anot her shot . Anot her
a t e d a t e d a t e d chance. J ust one bul l et . . . coul d chance. J ust one bul l et . . . coul d
v w s d e v w s d e v w s d e save however many l i ves; and Mi ke save however many l i ves; and Mi ke
s n c n y . b s n c n y . b s n c n y . b r est s i n peace; and maybe. . . maybe I r est s i n peace; and maybe. . . maybe I
t s i t s i t s i get t o sl eep at ni ght . get t o sl eep at ni ght .
F R F R F R FATHER FATHER
n i . n i . n i . J ane, l i st en. . . J ane, l i st en. . .
JJJJ ANE J ANE
, . m r u m e , . m r u m e , . m r u m e No, dad. I ' msor r y, but I ' mdone No, dad. I ' msor r y, but I ' mdone
l . u w l a l . u w l a l . u w l a t al ki ng. You know me. Tel l me agai n t al ki ng. You know me. Tel l me agai n
t g T ' t e t g T ' t e t g T ' t e not t o go. Thi nk t hat ' l l st op me? not t o go. Thi nk t hat ' l l st op me?
e a s u a g e e a s u a g e e a s u a g e Fat her st ands, hol ds hi s t ongue, wal ki ng t o exi t . Fat her st ands, hol ds hi s t ongue, wal ki ng t o exi t .
e f b h e a g e f b h e a g e f b h e a g J ane i s r egr et f ul , but she keeps packi ng. J ane i s r egr et f ul , but she keeps packi ng.
C O C O C O CUT TO: CUT TO:
E O - W E O - W E O - W EXT. JANE'S HOUSE -- DAWN EXT. JANE'S HOUSE -- DAWN
c i l s w a s u s c i l s w a s u s c i l s w a s u s J ane ( i n ci vi l i an cl ot hes, as she wi l l al ways be unl ess J ane ( i n ci vi l i an cl ot hes, as she wi l l al ways be unl ess
r d c t i e n s e d r d c t i e n s e d r d c t i e n s e d ot her wi se not ed) packs i t ems i n t he f r ont passenger si de of ot her wi se not ed) packs i t ems i n t he f r ont passenger si de of
o r C U t m s . o r C U t m s . o r C U t m s . t he ol d, r ed, Chevy PI CKUP wi t h camper shel l . t he ol d, r ed, Chevy PI CKUP wi t h camper shel l .
w n b d l r w n b d l r w n b d l r She wal ks ar ound t o get behi nd t he wheel . Dr i ves of f . She wal ks ar ound t o get behi nd t he wheel . Dr i ves of f .
A - O A - O A - O IN JANE'S CAR -- IN MOTION IN JANE'S CAR -- IN MOTION
e e e h c u v e e e h c u v e e e h c u v J ane dr i ves, pensi ve. She deci des t o pul l over . J ane dr i ves, pensi ve. She deci des t o pul l over .
l a r f e n r w . l a r f e n r w . l a r f e n r w . She l eans f or war d, r est s her f or ehead on t he st eer i ng wheel . She l eans f or war d, r est s her f or ehead on t he st eer i ng wheel .
C N C N C N CONTI NUED CONTI NUED
38. 38.
JJJJ ANE J ANE
v q l v q l v q l ( ver y qui et l y) ( ver y qui et l y)
r h w r e r h w r e r h w r e Our Fat her , who ar t i n Heaven, Our Fat her , who ar t i n Heaven,
l d t a k o l d t a k o l d t a k o hal l owed be t hy name. Thy ki ngdom hal l owed be t hy name. Thy ki ngdom
m h l . n t m h l . n t m h l . n t come, t hy wi l l be done. . . on ear t h as come, t hy wi l l be done. . . on ear t h as
n v h a n v h a n v h a i t i s i n Heaven. Gi ve us t hi s day i t i s i n Heaven. Gi ve us t hi s day
r l e a o e o r l e a o e o r l e a o e o our dai l y br ead, and f or gi ve us our our dai l y br ead, and f or gi ve us our
e s . e s . e s . t r espasses. . . t r espasses. . .
G H S T D G H S T D G H S T D EXT. NEIGHBORHOOD STREET -- DAWN EXT. NEIGHBORHOOD STREET -- DAWN
m ' u r m ' u r m ' u r A moment , t hen J ane' s t r uck dr i ves on. A moment , t hen J ane' s t r uck dr i ves on.
C O C O C O CUT TO: CUT TO:
S N T - Y S N T - Y S N T - Y EXT. KANSAS INTERSTATE -- DAY EXT. KANSAS INTERSTATE -- DAY
' c c e n n W ' c c e n n W ' c c e n n W J ane' s pi ckup changes l anes on t he busy FREEWAY. J ane' s pi ckup changes l anes on t he busy FREEWAY.
a I L o e n s i a I L o e n s i a I L o e n s i Di st ant OI L WELLS dot t he boundl ess pl ai ns. Di st ant OI L WELLS dot t he boundl ess pl ai ns.
A U O A U O A U O IN JANE'S PICKUP -- IN MOTION IN JANE'S PICKUP -- IN MOTION
' C P . P E N a P V ' C P . P E N a P V ' C P . P E N a P V J ane' s on her CELL PHONE. A POLI CE SCANNER and GPS DEVI CE J ane' s on her CELL PHONE. A POLI CE SCANNER and GPS DEVI CE
m e d O M R o o e m e d O M R o o e m e d O M R o o e ar e mount ed on t he dash. Her LAPTOP COMPUTER i s open on t he ar e mount ed on t he dash. Her LAPTOP COMPUTER i s open on t he
e , n t b b w e L e , n t b b w e L e , n t b b w e L passenger seat , al ong wi t h r ubber band wr apped FI LES. passenger seat , al ong wi t h r ubber band wr apped FI LES.
JJJJ ANE J ANE
i C P ) i C P ) i C P ) ( i nt o CELL PHONE) ( i nt o CELL PHONE)
h o a i f T a h o a i f T a h o a i f T a I have our case f i l es f r omTopeka, I have our case f i l es f r omTopeka,
s t h t s t s t h t s t s t h t s t yes, but I t hought , i n t he spi r i t of yes, but I t hought , i n t he spi r i t of
o t m m k o t m m k o t m m k cooper at i on, you mi ght l et me t ake a cooper at i on, you mi ght l et me t ake a
o v t t o v t t o v t t l ook at what you' ve got on t he l ook at what you' ve got on t he
r i r . r i r . r i r . mur der s i n Ki t Car son. I . . . mur der s i n Ki t Car son. I . . .
l n l n l n ( l i st en) ( l i st en)
s l h g s l h g s l h g Yes, wel l , I was hopi ng, as a Yes, wel l , I was hopi ng, as a
o i t . o i t . o i t . pr of essi onal cour t esy. . . pr of essi onal cour t esy. . .
l n l n l n ( l i st ens) ( l i st ens)
e e e I k e e e I k e e e I k I s t her e someone el se I can speak t o? I s t her e someone el se I can speak t o?
I - O E I - O E I - O E EXT. GAS STATION -- DAY -- MONTAGE EXT. GAS STATION -- DAY -- MONTAGE
s h h w h F A A . s h h w h F A A . s h h w h F A A . J ane t al ks on her phone whi l e wat chi ng FREEWAY TRAFFI C pass. J ane t al ks on her phone whi l e wat chi ng FREEWAY TRAFFI C pass.
p p a e S i e F t o f p p a e S i e F t o f p p a e S i e F t o f Her pi ckup i s at t he GAS PUMPS behi nd her . Fr omt he l ook of Her pi ckup i s at t he GAS PUMPS behi nd her . Fr omt he l ook of
o e e c h h g l o e e c h h g l o e e c h h g l di scour agement on her f ace, she' s havi ng no l uck. di scour agement on her f ace, she' s havi ng no l uck.
D A A D A A D A A EXT. ROADSIDE REST AREA -- DAY -- MONTAGE EXT. ROADSIDE REST AREA -- DAY -- MONTAGE
L l I E J s o a L l I E J s o a L l I E J s o a FAMI LI ES l unch at PI CNI C TABLES. J ane' s at one t abl e, on FAMI LI ES l unch at PI CNI C TABLES. J ane' s at one t abl e, on
c p , h T D O f h c p , h T D O f h c p , h T D O f h her cel l phone, wi t h FAST FOOD and LAPTOP bef or e her . The her cel l phone, wi t h FAST FOOD and LAPTOP bef or e her . The
O R s N L R D S g O R s N L R D S g O R s N L R D S g LAPTOP SCREEN shows SATANI C SLASHER HEADLI NES. Agai n, LAPTOP SCREEN shows SATANI C SLASHER HEADLI NES. Agai n,
i y t s e g c r n i y t s e g c r n i y t s e g c r n j udgi ng by her r eact i on, she' s r ecei vi ng no cooper at i on. j udgi ng by her r eact i on, she' s r ecei vi ng no cooper at i on.
RRR LATER... LATER...
e L a h a . M a h O e L a h a . M a h O e L a h a . M a h O Di f f er ent FAMI LI ES at ot her t abl es. A MAN wal ks hi s DOG. Di f f er ent FAMI LI ES at ot her t abl es. A MAN wal ks hi s DOG.
C N C N C N CONTI NUED CONTI NUED
39. 39.
' s t , l p , i ' s t , l p , i ' s t , l p , i J ane' s at her same t abl e, st i l l on her phone, maki ng a J ane' s at her same t abl e, st i l l on her phone, maki ng a
t i s l n T K r s i t i s l n T K r s i t i s l n T K r s i not at i on i n a spi r al - bound NOTEBOOK, her f r ust r at i on not at i on i n a spi r al - bound NOTEBOOK, her f r ust r at i on
i h d s i h d s i h d s gr owi ng. She hangs up, di sgust ed. gr owi ng. She hangs up, di sgust ed.
E I N I - E O E E I N I - E O E E I N I - E O E INT. JANE'S PICKUP -- IN MOTION -- LATE DAY -- MONTAGE INT. JANE'S PICKUP -- IN MOTION -- LATE DAY -- MONTAGE
e v w l i o g e e v w l i o g e e v w l i o g e Lat e day. J ane dr i ves, wear i l y st i l l wor ki ng t he phone. Lat e day. J ane dr i ves, wear i l y st i l l wor ki ng t he phone.
JJJJ ANE J ANE
i C P ) i C P ) i C P ) ( i nt o CELL PHONE) ( i nt o CELL PHONE)
. h w e l n . h w e l n . h w e l n . . . anyt hi ng woul d be hel pf ul . Any . . . anyt hi ng woul d be hel pf ul . Any
f t a l t l r f t a l t l r f t a l t l r i nf or mat i on at al l on t he Sl asher i nf or mat i on at al l on t he Sl asher
l s L e . l s L e . l s L e . ki l l i ngs i n Las Vegas, or . . . ki l l i ngs i n Las Vegas, or . . .
l n i i l n i i l n i i ( l i st ens, di spi r i t ed) ( l i st ens, di spi r i t ed)
e s i y r c c e s i y r c c e s i y r c c The Kansas Hi ghway Pat r ol , cor r ect . The Kansas Hi ghway Pat r ol , cor r ect .
o , i n t o , i n t o , i n t To be honest , I ' ml ooki ng i nt o i t on To be honest , I ' ml ooki ng i nt o i t on
i u j . i u j . i u j . my own, but i f you' l l j ust . . . my own, but i f you' l l j ust . . .
l n l n l n ( l i st ens) ( l i st ens)
t l u , c y t l u , c y t l u , c y Let me l eave my number , i n case you Let me l eave my number , i n case you
a y m s - 1 a y m s - 1 a y m s - 1 change your mi nd. I t ' s 785- 555- 1322. change your mi nd. I t ' s 785- 555- 1322.
a h . a f o g a h . a f o g a h . a f o g Yeah, t hanks. Thanks f or not hi ng. Yeah, t hanks. Thanks f or not hi ng.
s e r i i s e r i i s e r i i J ane shut s t he phone, t hr ows i t asi de. J ane shut s t he phone, t hr ows i t asi de.
JJJJ ANE J ANE
t O t O t O ( t o PHONE) ( t o PHONE)
h y l h y l h y l I hat e you al l . I hat e you al l .
ON THE FREEWAY -- END MONTAGE H E N N H E N N ON THE FREEWAY -- END MONTAGE ON THE FREEWAY -- END MONTAGE
' c r r I h a n ' c r r I h a n ' c r r I h a n J ane' s pi ckup r oar s past a l ar ge SI GN whi ch announces: J ane' s pi ckup r oar s past a l ar ge SI GN whi ch announces:
c t S I e w S . c t S I e w S . c t S I e w S . " Welcome to MISSOURI, The Show Me State. " " Welcome to MISSOURI, The Show Me State. "
D L O D L O D L O DISSOLVE TO: DISSOLVE TO:
E O R - H E O R - H E O R - H INT. JANE'S MOTEL ROOM - NIGHT INT. JANE'S MOTEL ROOM - NIGHT
B s e i e c i t o t B s e i e c i t o t B s e i e c i t o t The BED i s cover ed i n t he Psycho Ki l l er r el at ed cont ent s of The BED i s cover ed i n t he Psycho Ki l l er r el at ed cont ent s of
' L P C D e o H C F , y ' L P C D e o H C F , y ' L P C D e o H C F , y J ane' s FI LES: PHOTOCOPI ED pages f r omK. H. P. CASE FI LES, many J ane' s FI LES: PHOTOCOPI ED pages f r omK. H. P. CASE FI LES, many
P P e e n U A P P P e e n U A P P P e e n U A P NEWSPAPER CLI PPI NGS f r omdi f f er ent st at es, and a US ROAD MAP NEWSPAPER CLI PPI NGS f r omdi f f er ent st at es, and a US ROAD MAP
e t T E E S T . e t T E E S T . e t T E E S T . mar ked wi t h DOTS, MEASUREMENTS and NOTATI ONS. mar ked wi t h DOTS, MEASUREMENTS and NOTATI ONS.
C O . V C O . V C O . V CABLE NEWS ANCHOR ( O. S. , V. O. ) CABLE NEWS ANCHOR ( O. S. , V. O. )
f T I ) f T I ) f T I ) ( f r omTELEVI SI ON) ( f r omTELEVI SI ON)
. m r o o d . m r o o d . m r o o d . . . di smember ed bodi es di scover ed 100 . . . di smember ed bodi es di scover ed 100
l a f s i h l a f s i h l a f s i h mi l es east of Kansas Ci t y. I n t he mi l es east of Kansas Ci t y. I n t he
r a i t n p r a i t n p r a i t n p t hr ee days si nce t hen, seven peopl e t hr ee days si nce t hen, seven peopl e
v e l i e t v e l i e t v e l i e t have been ki l l ed i n t he st at e of have been ki l l ed i n t he st at e of
l s n l s n l s n I l l i noi s al one. I l l i noi s al one.
e R c t r d o i e R c t r d o i e R c t r d o i J ane i s seat ed i n a CHAI R, f aci ng t he ar r ayed i nf or mat i on, J ane i s seat ed i n a CHAI R, f aci ng t he ar r ayed i nf or mat i on,
g a d s o r t g a d s o r t g a d s o r t usi ng t he bed as a desk. She t ypes on on her l apt op. usi ng t he bed as a desk. She t ypes on on her l apt op.
C N C N C N CONTI NUED CONTI NUED
40. 40.
C O . C O . C O . CABLE NEWS ANCHOR ( V. O. ) CABLE NEWS ANCHOR ( V. O. )
v e d i a n v e d i a n v e d i a n Havi ng el uded t he massi ve man- hunt Havi ng el uded t he massi ve man- hunt
i o e e t a i o e e t a i o e e t a whi ch f ol l owed t he deat h of Kansas whi ch f ol l owed t he deat h of Kansas
a r r c n t a r r c n t a r r c n t St at e Tr ooper , Mi chael Thor ne, i t ' s St at e Tr ooper , Mi chael Thor ne, i t ' s
l d h s i l d h s i l d h s i bel i eved t he Sl asher i s now headi ng bel i eved t he Sl asher i s now headi ng
r o d b r r o d b r r o d b r nor t h t o t he Canadi an bor der . nor t h t o t he Canadi an bor der .
s a e N A s a e N A s a e N A J ane l ooks up at t he TV NEWSCAST. J ane l ooks up at t he TV NEWSCAST.
V O o e e E V M o n V O o e e E V M o n V O o e e E V M o n ON TV: PHOTOS of t he l at est SEVEN VI CTI MS, most l y women, ON TV: PHOTOS of t he l at est SEVEN VI CTI MS, most l y women,
e E O O l m e n e E O O l m e n e E O O l m e n above t he TI TLE: " BODY COUNT: 32, " i n bl ood- mot t l ed f ont . above t he TI TLE: " BODY COUNT: 32, " i n bl ood- mot t l ed f ont .
C O . C O . C O . CABLE NEWS ANCHOR ( V. O. ) CABLE NEWS ANCHOR ( V. O. )
t t a a n t t t a a n t t t a a n t Aut hor i t i es ar e caut i oni ng t hose Aut hor i t i es ar e caut i oni ng t hose
v i e t e h v i e t e h v i e t e h l i vi ng i n t he Nor t her n Mi dwest t hat l i vi ng i n t he Nor t her n Mi dwest t hat
e s m a l y s e s m a l y s e s m a l y s t he Sl asher may have al r eady cr ossed t he Sl asher may have al r eady cr ossed
t s i i t s i i t s i i i nt o Wi sconsi n or Mi chi gan. i nt o Wi sconsi n or Mi chi gan.
r o s n r t n l r o s n r t n l r o s n r t n l J ane r et ur ns t o consul t i ng her l apt op and f i l es. J ane r et ur ns t o consul t i ng her l apt op and f i l es.
C O . C O . C O . CABLE NEWS ANCHOR ( V. O. ) CABLE NEWS ANCHOR ( V. O. )
w h s s t e e w h s s t e e w h s s t e e Now. . . her e' s Mi ssy wi t h t he l at est Now. . . her e' s Mi ssy wi t h t he l at est
N n e a t t N n e a t t N n e a t t on t he Nat i onal Mega- J ackpot Lot t er y. on t he Nat i onal Mega- J ackpot Lot t er y.
C O C O C O CUT TO: CUT TO:
H - R H - R H - R EXT. HIGHWAY -- MORNING EXT. HIGHWAY -- MORNING
' u o y , t s S O A ' u o y , t s S O A ' u o y , t s S O A J ane' s t r uck j our neys on, past t he maj est i c ST. LOUI S ARCH. J ane' s t r uck j our neys on, past t he maj est i c ST. LOUI S ARCH.
. S G D I - . S G D I - . S G D I - EXT. F.B.I., SPRINGFIELD OFFICE -- DAY EXT. F.B.I., SPRINGFIELD OFFICE -- DAY
e t P N T s G r e t P N T s G r e t P N T s G r J ane dr i ves i nt o a PARKI NG LOT, passi ng a SI GN f or t he J ane dr i ves i nt o a PARKI NG LOT, passi ng a SI GN f or t he
e B u I t i S g d l s e B u I t i S g d l s e B u I t i S g d l s " Feder al Bur eau of I nvest i gat i on; Spr i ngf i el d, I l l i noi s. " " Feder al Bur eau of I nvest i gat i on; Spr i ngf i el d, I l l i noi s. "
n o 4 r F B I i h n o 4 r F B I i h n o 4 r F B I i h An i nnocuous, 4- st or y OFFI CE BUI LDI NG l i es ahead. An i nnocuous, 4- st or y OFFI CE BUI LDI NG l i es ahead.
. U N T O A Y D . U N T O A Y D . U N T O A Y D INT. F.B.I. BUILDING, 4TH FLOOR HALLWAY -- DAY INT. F.B.I. BUILDING, 4TH FLOOR HALLWAY -- DAY
A R s o a m d l s t A R s o a m d l s t A R s o a m d l s t FBI AGENT RAMI REZ, so cool , handsome and wel l - dr essed t hat FBI AGENT RAMI REZ, so cool , handsome and wel l - dr essed t hat
f e e s s o i o e f e e s s o i o e f e e s s o i o e he' d st ar i n of someone el se' s ver si on of t hi s st or y, exi t s he' d st ar i n of someone el se' s ver si on of t hi s st or y, exi t s
o e H S D E N r o e H S D E N r o e H S D E N r hi s of f i ce. THREE SUBORDI NATE AGENTS t r ai l . hi s of f i ce. THREE SUBORDI NATE AGENTS t r ai l .
R E R E R E RAMI REZ RAMI REZ
. t h o i n . t h o i n . t h o i n . . . l et t he Chi cago of f i ce know. So . . . l et t he Chi cago of f i ce know. So
n ' e n , n ' e n , n ' e n , l ong as t hey' r e kept i n t he l oop, l ong as t hey' r e kept i n t he l oop,
y h l y u i y h l y u i y h l y u i maybe t hey' l l st ay out of our hai r . maybe t hey' l l st ay out of our hai r .
r e t a a g f a ' l . r e t a a g f a ' l . r e t a a g f a ' l . Rami r ez l eads t he way, wal ki ng as f ast as he' s t al ki ng. Rami r ez l eads t he way, wal ki ng as f ast as he' s t al ki ng.
s r h a h m s r h a h m s r h a h m J ane comes hur r yi ng f r omdown t he hal l way t o cat ch t hem. J ane comes hur r yi ng f r omdown t he hal l way t o cat ch t hem.
R E R E R E RAMI REZ RAMI REZ
C t ' y g h C t ' y g h C t ' y g h D. C. get s CC' d on ever yt hi ng. Those D. C. get s CC' d on ever yt hi ng. Those
O s i n I d , O s i n I d , O s i n I d , S. O. B. ' s. Ri ght now, I need t wo, S. O. B. ' s. Ri ght now, I need t wo,
u r g o u r g o u r g o equal l y i mpor t ant t hi ngs br ought t o equal l y i mpor t ant t hi ngs br ought t o
i e t m e i e t m e i e t m e me wi t hi n t he next 15 mi nut es. . . me wi t hi n t he next 15 mi nut es. . .
( ) ( ) ( ) ( mor e) ( mor e)
C N C N C N CONTI NUED CONTI NUED
41. 41.
R E O R E O R E O RAMI REZ ( CONT. ) RAMI REZ ( CONT. )
h E a h E a h E a ( hol ds up LEFT hand) ( hol ds up LEFT hand)
e i o i o p t e i o i o p t e i o i o p t The ent i r e f or ensi cs wor k- up on t he The ent i r e f or ensi cs wor k- up on t he
a . a . a . Sl asher . . . Sl asher . . .
h I h h I h h I h ( hol ds up RI GHT hand) ( hol ds up RI GHT hand)
d h n a n h d h n a n h d h n a n h And a chi cken sal ad sandwi ch. And a chi cken sal ad sandwi ch.
JJJJ ANE J ANE
, u e g R e ? , u e g R e ? , u e g R e ? Um, excuse me! Agent Rami r ez. . . ? Um, excuse me! Agent Rami r ez. . . ?
r n b n , t f a r n b n , t f a r n b n , t f a Rami r ez and subor di nat es st op, wai t i ng f or J ane. Rami r ez and subor di nat es st op, wai t i ng f or J ane.
JJJJ ANE J ANE
r . e n k f o r . e n k f o r . e n k f o Sor r y. . . I ' ve been l ooki ng f or you. Sor r y. . . I ' ve been l ooki ng f or you.
R E R E R E RAMI REZ RAMI REZ
d d d And you ar e? And you ar e?
JJJJ ANE J ANE
f n f a f n f a f n f a Of f i cer J ane Thor ne, of t he Kansas Of f i cer J ane Thor ne, of t he Kansas
a o . m d ' a o . m d ' a o . m d ' St at e Pol i ce. I ' mt ol d you' r e St at e Pol i ce. I ' mt ol d you' r e
a h a s t a h a s t a h a s t headi ng up t he Sl asher i nvest i gat i on. headi ng up t he Sl asher i nvest i gat i on.
a a o e D n o t a a o e D n o t a a o e D n o t As J ane t akes out her BADGE and shows i t . . . As J ane t akes out her BADGE and shows i t . . .
R E R E R E RAMI REZ RAMI REZ
y . y . y . May I . . . ? May I . . . ?
r a t a s h o s l r a t a s h o s l r a t a s h o s l Rami r ez t akes t he badge, bemused, hol ds i t f or hi s f el l ow Rami r ez t akes t he badge, bemused, hol ds i t f or hi s f el l ow
t i e i t k J t i e i t k J t i e i t k J agent s t o al so exami ne bef or e handi ng i t back t o J ane. agent s t o al so exami ne bef or e handi ng i t back t o J ane.
JJJJ ANE J ANE
d , o d , o d , o I f you don' t mi nd, I ' d l i ke t o l ook I f you don' t mi nd, I ' d l i ke t o l ook
e u o r y t e u o r y t e u o r y t over your shoul der f or a day or t wo. over your shoul der f or a day or t wo.
r z ' u e t r z ' u e t r z ' u e t I r eal i ze i t ' s an unusual r equest . . . I r eal i ze i t ' s an unusual r equest . . .
R E R E R E RAMI REZ RAMI REZ
e n e n e n Ar e you j oki ng? Ar e you j oki ng?
JJJJ ANE J ANE
. o ' e s u . o ' e s u . o ' e s u Uh. . . no. I ' mpr et t y ser i ous, Uh. . . no. I ' mpr et t y ser i ous,
t y t y t y act ual l y. act ual l y.
R E R E R E RAMI REZ RAMI REZ
l ' r m , e l ' r m , e l ' r m , e Wel l , I ' msor r y, ma' am, but we' ve got Wel l , I ' msor r y, ma' am, but we' ve got
r d l m t d r d l m t d r d l m t d our hands f ul l at t he moment , and I our hands f ul l at t he moment , and I
n a i o i n a i o i n a i o i don' t have t i me f or t hi s. don' t have t i me f or t hi s.
r a o e t l n r a o e t l n r a o e t l n Rami r ez wal ks on, f el l ow agent s f ol l owi ng. Rami r ez wal ks on, f el l ow agent s f ol l owi ng.
JJJJ ANE J ANE
y o a b O e c y o a b O e c y o a b O e c Maybe you hear d about Of f i cer Mi chael Maybe you hear d about Of f i cer Mi chael
o . T a m h s o . T a m h s o . T a m h s Thor ne. . . ? The pat r ol man who was Thor ne. . . ? The pat r ol man who was
l i l K s l i l K s l i l K s ki l l ed i n Col by, Kansas? ki l l ed i n Col by, Kansas?
r t s k r t s k r t s k Rami r ez st ops, l ooks back. Rami r ez st ops, l ooks back.
C N C N C N CONTI NUED CONTI NUED
42. 42.
JJJJ ANE J ANE
m s . w h . m s . w h . m s . w h . He was my husband. I was t her e. . . He was my husband. I was t her e. . .
s h i t s h i t s h i t was wi t h hi mwhen he di ed. I s i t so was wi t h hi mwhen he di ed. I s i t so
c . c . c . much t o ask. . . ? much t o ask. . . ?
h I h I h I ( hol ds up FI LES) ( hol ds up FI LES)
l h a l h a l h a Hel p me f i l l i n t he bl anks. Hel p me f i l l i n t he bl anks.
r a b t r e g r a b t r e g r a b t r e g Rami r ez wal ks back t o her , seet hi ng. Rami r ez wal ks back t o her , seet hi ng.
R E R E R E RAMI REZ RAMI REZ
f f o W l e w f f o W l e w f f o W l e w I f eel f or you. We al l her e. . . we' r e I f eel f or you. We al l her e. . . we' r e
r o u s K . r o u s K . r o u s K . sor r y f or your l oss. . . t he K. H. P. ' s sor r y f or your l oss. . . t he K. H. P. ' s
s B i u s , s B i u s , s B i u s , l oss. But wi t h due r espect , how l oss. But wi t h due r espect , how
c u v u e u c u v u e u c u v u e u f ucked up have you got t o be t o use f ucked up have you got t o be t o use
e o f r b t i e o f r b t i e o f r b t i t he memor y of your husband t o t wi st t he memor y of your husband t o t wi st
my ar m? my ar m?
JJJJ ANE J ANE
l g a g l g a g l g a g Al l I ' mdoi ng i s aski ng f or some Al l I ' mdoi ng i s aski ng f or some
s n o n n s n o n n s n o n n assi st ance. I f you' ve got not hi ng t o assi st ance. I f you' ve got not hi ng t o
f a p f o w d f a p f o w d f a p f o w d of f er , a si mpl e " f uck of f " wi l l do, of f er , a si mpl e " f uck of f " wi l l do,
e a z a o m ' e a z a o m ' e a z a o m ' Agent Rami r ez. Save your " ma' am' s" Agent Rami r ez. Save your " ma' am' s"
r r h n u f r r h n u f r r h n u f f or your mot her and your wi f e. f or your mot her and your wi f e.
R E R E R E RAMI REZ RAMI REZ
a e i o a e i o a e i o What ar e you even l ooki ng f or , What ar e you even l ooki ng f or ,
o ? i g ' o s o ? i g ' o s o ? i g ' o s Tr ooper ? Thi nki ng you' r e gonna show Tr ooper ? Thi nki ng you' r e gonna show
J W w a J W w a J W w a up and J ohn- Wayne t he whol e si t uat i on up and J ohn- Wayne t he whol e si t uat i on
r h t r h t r h t f or us, i s t hat i t ? f or us, i s t hat i t ?
JJJJ ANE J ANE
v t m r i h v t m r i h v t m r i h I ' ve got as much r i ght r unni ng t hi s I ' ve got as much r i ght r unni ng t hi s
w o , l w o , l w o , l down as anybody. Mor e, r eal l y. down as anybody. Mor e, r eal l y.
R E R E R E RAMI REZ RAMI REZ
a T a s t u t a T a s t u t a T a s t u t Yeah? The way I see i t , you' r e t wo Yeah? The way I see i t , you' r e t wo
a a f w b g a a f w b g a a f w b g st at es away f r omwher e you bel ong. st at es away f r omwher e you bel ong.
o h e y o h e y o h e y Ar ound her e, t hat badge of your s Ar ound her e, t hat badge of your s
g s l g s - t g s l g s - t g s l g s - t mi ght as wel l be gol d spr ay- pai nt ed mi ght as wel l be gol d spr ay- pai nt ed
r r S a l w r r S a l w r r S a l w car dboar d. So, t ake a ni ckl e' s wor t h car dboar d. So, t ake a ni ckl e' s wor t h
c o c o c o of f r ee advi ce. . . go home. of f r ee advi ce. . . go home.
r a a h s h u i s r a a h s h u i s r a a h s h u i s Rami r ez wal ks away. As he passes hi s subor di nat es. . . Rami r ez wal ks away. As he passes hi s subor di nat es. . .
a f e n G B I b l a f e n G B I b l a f e n G B I b l One, a bl ack, f emal e agent ; AGENT BECKY COLLI NS, br i ef l y One, a bl ack, f emal e agent ; AGENT BECKY COLLI NS, br i ef l y
s e a e o r s e a e o r s e a e o r meet s J ane' s gaze bef or e f ol l owi ng Rami r ez. meet s J ane' s gaze bef or e f ol l owi ng Rami r ez.
e l i e l d t e l i e l d t e l i e l d t J ane i s l ef t cl ut chi ng her f i l es, dej ect ed. J ane i s l ef t cl ut chi ng her f i l es, dej ect ed.
C O C O C O CUT TO: CUT TO:
I S A - E I S A - E I S A - E INT. CHAIN RESTAURANT -- LATE DAY INT. CHAIN RESTAURANT -- LATE DAY
a t e - a n s a t e - a n s a t e - a n s I n a busy r est aur ant bedecked wal l - t o- wal l i n ki t schy I n a busy r est aur ant bedecked wal l - t o- wal l i n ki t schy
i , e e H h g e s i , e e H h g e s i , e e H h g e s Amer i cana, J ane' s seat ed i n a BOOTH. She' s got her nose i n Amer i cana, J ane' s seat ed i n a BOOTH. She' s got her nose i n
l p u , i e A l p u , i e A l p u , i e A her l apt op as usual , poki ng a FORK at her MEAL. her l apt op as usual , poki ng a FORK at her MEAL.
C N C N C N CONTI NUED CONTI NUED
43. 43.
e e t s i n i v e e e t s i n i v e e e t s i n i v e J ane pushes t he l apt op asi de, l ooki ng unhappi l y over her J ane pushes t he l apt op asi de, l ooki ng unhappi l y over her
l u . e v t y w ' l u . e v t y w ' l u . e v t y w ' bar el y t ouched f ood. She shoves i t away as wel l . She' s bar el y t ouched f ood. She shoves i t away as wel l . She' s
t r h b . t r h b . t r h b . sweat y, dr i nks I CED TEA. She put s her head back, eyes shut . sweat y, dr i nks I CED TEA. She put s her head back, eyes shut .
T N O S M M T T T N O S M M T T T N O S M M T T INT. RESTAURANT, WOMEN'S ROOM -- MOMENTS LATER INT. RESTAURANT, WOMEN'S ROOM -- MOMENTS LATER
h N a p e l t n . e h N a p e l t n . e h N a p e l t n . e At t he SI NK, J ane spl ashes col d wat er on her f ace. She At t he SI NK, J ane spl ashes col d wat er on her f ace. She
s E r h s e i h a s E r h s e i h a s E r h s e i h a t akes TOWELS f r omt he di spenser , wi pes her f ace. She t akes TOWELS f r omt he di spenser , wi pes her f ace. She
i e f t I . e a i i e f t I . e a i i e f t I . e a i st udi es her sel f i n t he MI RROR. She' s pal e. Wor r i ed. st udi es her sel f i n t he MI RROR. She' s pal e. Wor r i ed.
C O C O C O CUT TO: CUT TO:
R A E N R A E N R A E N EXT. PHARMACY -- EARLY EVENING EXT. PHARMACY -- EARLY EVENING
' c p r o n l R T ' c p r o n l R T ' c p r o n l R T J ane' s pi ckup par ks i n f r ont of a neon- l i t DRUG STORE. J ane' s pi ckup par ks i n f r ont of a neon- l i t DRUG STORE.
C O C O C O CUT TO: CUT TO:
E O N E O N E O N INT. MOTEL ROOM - NIGHT INT. MOTEL ROOM - NIGHT
n A C D a e m B n A C D a e m B n A C D a e m B Si l ence. CURTAI NS CLOSED. J ane' s seat ed on t he made BED, Si l ence. CURTAI NS CLOSED. J ane' s seat ed on t he made BED,
i o e g t a e m a L E i o e g t a e m a L E i o e g t a e m a L E st ar i ng f or t he l ongest t i me at t he r oom' s bad WALLPAPER. st ar i ng f or t he l ongest t i me at t he r oom' s bad WALLPAPER.
l s o a r c l s o a r c l s o a r c Fi nal l y, she l ooks at her wat ch. Fi nal l y, she l ooks at her wat ch.
H T M H T M H T M IN THE BATHROOM IN THE BATHROOM
e k e G Y T t d f . e k e G Y T t d f . e k e G Y T t d f . Ther e' s a st i ck- t ype PREGNANCY TEST on t he edge of t he si nk. Ther e' s a st i ck- t ype PREGNANCY TEST on t he edge of t he si nk.
r i t e p o t r i t e p o t r i t e p o t J ane ent er s, pi cks t he t est up, l ooks at i t . J ane ent er s, pi cks t he t est up, l ooks at i t .
s t e r t o t a s t e r t o t a s t e r t o t a She' s di st r essed by t he r esul t , sl owl y t akes a seat on t he She' s di st r essed by t he r esul t , sl owl y t akes a seat on t he
e i ' y t c w s n e i ' y t c w s n e i ' y t c w s n cl osed t oi l et . She' s t r yi ng t o accept what she' s l ear ned, cl osed t oi l et . She' s t r yi ng t o accept what she' s l ear ned,
s i a p s b o e k s i a p s b o e k s i a p s b o e k l ooks at i t agai n, pl aces i t back on t he si nk. l ooks at i t agai n, pl aces i t back on t he si nk.
E T S D s n p b P S E T S D s n p b P S E T S D s n p b P S CLOSE ON: t he TEST' S WI NDOW, showi ng a pal e bl ue PLUS SI GN. CLOSE ON: t he TEST' S WI NDOW, showi ng a pal e bl ue PLUS SI GN.
s w i e a h . s w i e a h . s w i e a h . J ane bends f or war d, hol di ng her head i n her hands. J ane bends f or war d, hol di ng her head i n her hands.
C P t N C P t N C P t N Her CELL PHONE st ar t s RI NGI NG O. S. Her CELL PHONE st ar t s RI NGI NG O. S.
H T E M H T E M H T E M IN THE MOTEL BEDROOM IN THE MOTEL BEDROOM
s t a o o , a g s s t a o o , a g s s t a o o , a g s J ane comes t o t he bat hr oomdoor way, st eadyi ng her sel f . J ane comes t o t he bat hr oomdoor way, st eadyi ng her sel f .
E I G a r s p t h u E I G a r s p t h u E I G a r s p t h u CELL PHONE' S RI NGI NG. J ane cr osses t o pi ck t he phone up, CELL PHONE' S RI NGI NG. J ane cr osses t o pi ck t he phone up,
r n g m n r s . r n g m n r s . r n g m n r s . not r ecogni zi ng t he i ncomi ng number , answer s. not r ecogni zi ng t he i ncomi ng number , answer s.
JJJJ ANE J ANE
i C P ) i C P ) i C P ) ( i nt o CELL PHONE) ( i nt o CELL PHONE)
lll Hel l o? Hel l o?
W ' I V W ' I V W ' I V WOMAN' S VOI CE ( V. O. ) WOMAN' S VOI CE ( V. O. )
f C P ) f C P ) f C P ) ( f r omCELL PHONE) ( f r omCELL PHONE)
a e t T e o a e t T e o a e t T e o Yeah, hel l o. I s t hi s Tr ooper Thor ne? Yeah, hel l o. I s t hi s Tr ooper Thor ne?
n o n o n o J ane Thor ne? J ane Thor ne?
JJJJ ANE J ANE
o h o h o h Who' s t hi s? Who' s t hi s?
C O C O C O CUT TO: CUT TO:
44. 44.
E O R - T I E O R - T I E O R - T I INT. JANE'S MOTEL ROOM -- LATER NIGHT INT. JANE'S MOTEL ROOM -- LATER NIGHT
o K e e d o K e e d o K e e d Someone' s KNOCKI NG. J ane comes t o open t he door . Someone' s KNOCKI NG. J ane comes t o open t he door .
t l s s d a T A d E E t l s s d a T A d E E t l s s d a T A d E E Agent Col l i ns st ands hol di ng a LAPTOP BAG and BRI EFCASE. Agent Col l i ns st ands hol di ng a LAPTOP BAG and BRI EFCASE.
A I A I A I AGENT COLLI NS AGENT COLLI NS
y g B i y g B i y g B i Hey. Agent Becky Col l i ns. Hey. Agent Becky Col l i ns.
JJJJ ANE J ANE
e . e . e . Pl ease, come i n. . . Pl ease, come i n. . .
H T O - E L H T O - E L H T O - E L IN THE MOTEL ROOM -- MOMENTS LATER IN THE MOTEL ROOM -- MOMENTS LATER
y s b d h g l I y s b d h g l I y s b d h g l I Becky and J ane si t si de by si de, shar i ng t he smal l , WRI TI NG Becky and J ane si t si de by si de, shar i ng t he smal l , WRI TI NG
. n s s o s o r T f g . n s s o s o r T f g . n s s o s o r T f g DESK. J ane has her f i l es. Col l i ns i s on her LAPTOP, f i r i ng DESK. J ane has her f i l es. Col l i ns i s on her LAPTOP, f i r i ng
O H Z N h u s O H Z N h u s O H Z N h u s up GOOGLE EARTH. . . ZOOMI NG i n on t he Sout hwest er n U. S. up GOOGLE EARTH. . . ZOOMI NG i n on t he Sout hwest er n U. S.
JJJJ ANE J ANE
d e u e g t d e u e g t d e u e g t I ' d of f er you somet hi ng, but al l I I ' d of f er you somet hi ng, but al l I
v c o l l i v c o l l i v c o l l i have i s a bucket of hal f - mel t ed i ce. have i s a bucket of hal f - mel t ed i ce.
A I A I A I AGENT COLLI NS AGENT COLLI NS
t g L P t g L P t g L P ( t ypi ng on LAPTOP) ( t ypi ng on LAPTOP)
l b o f e w l b o f e w l b o f e w No pr obl em, but you def i ni t el y owe me No pr obl em, but you def i ni t el y owe me
d . r n d . r n d . r n a dr i nk. I f Rami r ez knew I was a dr i nk. I f Rami r ez knew I was
l t g i . l t g i . l t g i . wal ki ng you t hr ough t hi s. . . wel l . . . wal ki ng you t hr ough t hi s. . . wel l . . .
t s , s t s , s t s , s ( t r ai l s of f , pause) ( t r ai l s of f , pause)
r i r i r i Scr ew hi m. Scr ew hi m.
H P L R O i h C o . H P L R O i h C o . H P L R O i h C o . ON THE LAPTOP: GOOGLE EARTH ZOOMS i n on Sout her n Cal i f or ni a. ON THE LAPTOP: GOOGLE EARTH ZOOMS i n on Sout her n Cal i f or ni a.
A I A I A I AGENT COLLI NS AGENT COLLI NS
l o h r i g l o h r i g l o h r i g As we al l know, t he f i r st ki l l i ngs As we al l know, t he f i r st ki l l i ngs
r r e n r r e n r r e n wer e 16 days ago. Zabr i ski e Poi nt , wer e 16 days ago. Zabr i ski e Poi nt ,
l n e d g . l n e d g . l n e d g . Cal i f or ni a. Mot her and daught er . He Cal i f or ni a. Mot her and daught er . He
o e a H i v l o e a H i v l o e a H i v l t ook t hei r car . Hi s f i r st vehi cl e. t ook t hei r car . Hi s f i r st vehi cl e.
H P F E T e D H P F E T e D H P F E T e D ON THE LAPTOP: t he FI RST MURDER SI TE i s mar ked by a RED DOT ON THE LAPTOP: t he FI RST MURDER SI TE i s mar ked by a RED DOT
e u n D T r V d e u n D T r V d e u n D T r V d i n a r at her mount ai nous DESERT near t he CA/ NV bor der . i n a r at her mount ai nous DESERT near t he CA/ NV bor der .
i r L A H E N O i r L A H E N O i r L A H E N O Col l i ns br i ngs up BLACK AND WHI TE, CRI ME SCENE PHOTOS. Col l i ns br i ngs up BLACK AND WHI TE, CRI ME SCENE PHOTOS.
A I A I A I AGENT COLLI NS AGENT COLLI NS
e u s h l e u s h l e u s h l He headed sout heast t o Deat h Val l ey He headed sout heast t o Deat h Val l ey
n n a y c n n a y c n n a y c J unct i on. . . a t i ny pl ace. J unct i on. . . a t i ny pl ace.
s e a p e e s e a p e e s e a p e e Di smember ed a shopkeeper t her e. Di smember ed a shopkeeper t her e.
H P O s K R p e H P O s K R p e H P O s K R p e ON THE LAPTOP: PHOTOS of t he sl ai n SHOPKEEPER. . . open, empt y ON THE LAPTOP: PHOTOS of t he sl ai n SHOPKEEPER. . . open, empt y
S . ' I E B n l S . ' I E B n l S . ' I E B n l CASH REGI STER. . . PK' s EVI L EYE SYMBOL on t he wal l i n bl ood. CASH REGI STER. . . PK' s EVI L EYE SYMBOL on t he wal l i n bl ood.
A I A I A I AGENT COLLI NS AGENT COLLI NS
n h g n n h g n n h g n Si nce t he begi nni ng. . . he' s Si nce t he begi nni ng. . . he' s
a i y e c , a i y e c , a i y e c , scavengi ng. Money, cr edi t car ds, scavengi ng. Money, cr edi t car ds,
o g u i o g u i o g u i cl ot hi ng. Sur vi vi ng. cl ot hi ng. Sur vi vi ng.
' x , n o O t V Y M ' x , n o O t V Y M ' x , n o O t V Y M J ane' s f i xat ed, poi nt s t o t he PHOTO of t he EVI L EYE SYMBOL. J ane' s f i xat ed, poi nt s t o t he PHOTO of t he EVI L EYE SYMBOL.
C N C N C N CONTI NUED CONTI NUED
45. 45.
JJJJ ANE J ANE
v e a f v e a f v e a f I ' ve seen t hat bef or e. I ' ve seen t hat bef or e.
A I A I A I AGENT COLLI NS AGENT COLLI NS
' f l y m ' f l y m ' f l y m He' s l ef t i t at al most ever y cr i me He' s l ef t i t at al most ever y cr i me
e s t e s t e s t scene. I t ' s l i ke hi s si gnat ur e. scene. I t ' s l i ke hi s si gnat ur e.
JJJJ ANE J ANE
e t h o . h a e t h o . h a e t h o . h a The vi ct i ms he chooses. . . t her e ar e The vi ct i ms he chooses. . . t her e ar e
o f e o i n o o f e o i n o o f e o i n o t hose of pur e oppor t uni t y and t hose t hose of pur e oppor t uni t y and t hose
s e g c . s e g c . s e g c . he t akes somet hi ng speci f i c f r om. he t akes somet hi ng speci f i c f r om.
k e r s n o . k e r s n o . k e r s n o . Li ke t he phar maci st , i n Col or ado. Li ke t he phar maci st , i n Col or ado.
A I A I A I AGENT COLLI NS AGENT COLLI NS
a H i p i s a H i p i s a H i p i s Yeah. He' s i nt o pai nki l l er s and Yeah. He' s i nt o pai nki l l er s and
y r s e e e a y r s e e e a y r s e e e a psychot r opi cs. Per cocet , Per codan, psychot r opi cs. Per cocet , Per codan,
y n e n e y n e n e y n e n e OxyCot i n; i n l ar ge quant i t i es. OxyCot i n; i n l ar ge quant i t i es.
JJJJ ANE J ANE
d r s u o n a d r s u o n a d r s u o n a And t her e was a gun shop, i n Nevada? And t her e was a gun shop, i n Nevada?
A I A I A I AGENT COLLI NS AGENT COLLI NS
a e o e u a e o e u a e o e u That he br oke i nt o af t er hour s. He' s That he br oke i nt o af t er hour s. He' s
t l p l g t l p l g t l p l g got at l east one pi st ol . A shot gun. got at l east one pi st ol . A shot gun.
e o m A h d s e o m A h d s e o m A h d s Pl ent y of ammo. And t he bad news. . . ? Pl ent y of ammo. And t he bad news. . . ?
e p w w l r e p w w l r e p w w l r The shop' s owner was a " col l ect or . " The shop' s owner was a " col l ect or . "
d e h h g d d e h h g d d e h h g d Had a secr et st ash of hand gr enades. Had a secr et st ash of hand gr enades.
w s w s w s Now mi ssi ng. Now mi ssi ng.
JJJJ ANE J ANE
sss J esus. J esus.
A I A I A I AGENT COLLI NS AGENT COLLI NS
... Oh yeah. Oh yeah.
JJJJ ANE J ANE
l n F ) l n F ) l n F ) ( l ooki ng i n her FI LES) ( l ooki ng i n her FI LES)
a o h b ? d i a o h b ? d i a o h b ? d i What about t he l i br ar y? Cedar Ci t y, What about t he l i br ar y? Cedar Ci t y,
a H r d r g a H r d r g a H r d r g Ut ah? He mur der ed t he secur i t y guar d Ut ah? He mur der ed t he secur i t y guar d
d i i . d i i . d i i . and a l i br ar i an. . . and a l i br ar i an. . .
A I A I A I AGENT COLLI NS AGENT COLLI NS
' o r l a ' o r l a ' o r l a We' ve got sur vei l l ance f oot age. We' ve got sur vei l l ance f oot age.
H P i r f P G Y H P i r f P G Y H P i r f P G Y ON THE LAPTOP: Col l i ns br i ngs up a br i ef CLI P of GRAI NY ON THE LAPTOP: Col l i ns br i ngs up a br i ef CLI P of GRAI NY
h E T M V i s e a , h E T M V i s e a , h E T M V i s e a , ( ni ght ) SECURI TY CAMERA VI DEO showi ng Psycho Ki l l er , masked, ( ni ght ) SECURI TY CAMERA VI DEO showi ng Psycho Ki l l er , masked,
H a T A I X t g r . H a T A I X t g r . H a T A I X t g r . SMASHI NG a PLATE GLASS WI NDOWwi t h an AX, ent er i ng. Cr eepy. SMASHI NG a PLATE GLASS WI NDOWwi t h an AX, ent er i ng. Cr eepy.
h c e s a n W I h c e s a n W I h c e s a n W I J ane wat ches, chi l l ed, as t he cl i p r epl ays i n SLOW- MOTI ON. J ane wat ches, chi l l ed, as t he cl i p r epl ays i n SLOW- MOTI ON.
A I A I A I AGENT COLLI NS AGENT COLLI NS
a h h s r a h h s r a h h s r That ' s hi m. And her e' s t he Col or ado That ' s hi m. And her e' s t he Col or ado
u o o e u g l u o o e u g l u o o e u g l dr ug st or e f oot age. Fucki ng cabl e dr ug st or e f oot age. Fucki ng cabl e
w l y i o w l y i o w l y i o news i s st i l l pl ayi ng i t on a l oop. . . news i s st i l l pl ayi ng i t on a l oop. . .
H P - R F G o K s H P - R F G o K s H P - R F G o K s ON THE LAPTOP: Phar - Mar t SECURI TY FOOTAGE shows PK passi ng. ON THE LAPTOP: Phar - Mar t SECURI TY FOOTAGE shows PK passi ng.
C N C N C N CONTI NUED CONTI NUED
46. 46.
JJJJ ANE J ANE
i a p i . a d i a p i . a d i a p i . a d Wai t , back up a mi nut e. What di d he Wai t , back up a mi nut e. What di d he
n o p c r n o p c r n o p c r want f r oma publ i c l i br ar y? want f r oma publ i c l i br ar y?
A I A I A I AGENT COLLI NS AGENT COLLI NS
l t k r a l t k r a l t k r a Wel l , i t t ook f our st r ai ght days of Wel l , i t t ook f our st r ai ght days of
v r w z g v r w z g v r w z g i nvent or yi ng by t wo dozen agent s t o i nvent or yi ng by t wo dozen agent s t o
n t t s l a t n t t s l a t n t t s l a t f i nd out , but i t ' s no l ess a myst er y. f i nd out , but i t ' s no l ess a myst er y.
t w o f a t w o f a t w o f a He t ook exact l y t wo books, f r oma set He t ook exact l y t wo books, f r oma set
c d u N c d u N c d u N of encycl opedi as. Vol umes N and T. of encycl opedi as. Vol umes N and T.
JJJJ ANE J ANE
a ? a ? a ? N and T? N and T?
A I A I A I AGENT COLLI NS AGENT COLLI NS
' r i s ' r i s ' r i s We' r e t r yi ng t o f i gur e what wor ds We' r e t r yi ng t o f i gur e what wor ds
a g h s t t a g h s t t a g h s t t st ar t i ng wi t h t hose l et t er s mi ght st ar t i ng wi t h t hose l et t er s mi ght
v y s i g c . v y s i g c . v y s i g c . have any. . . sat ani c si gni f i cance. have any. . . sat ani c si gni f i cance.
e a m w e a m w e a m w Then agai n, maybe he' s j ust scr ewi ng Then agai n, maybe he' s j ust scr ewi ng
t r d t r d t r d wi t h our heads. wi t h our heads.
p s L P p s L P p s L P ( poi nt s at LAPTOP) ( poi nt s at LAPTOP)
d i e H r i d i e H r i d i e H r i And so i t goes. He mar ches mer r i l y And so i t goes. He mar ches mer r i l y
o h r i d o h r i d o h r i d al ong. Thi s i s t he f i r st ei ght days al ong. Thi s i s t he f i r st ei ght days
r a r d t . r a r d t . r a r d t . her e; Cal i f or ni a, Nevada, Ut ah. . . her e; Cal i f or ni a, Nevada, Ut ah. . .
A : S s , h r t a A : S s , h r t a A : S s , h r t a ON LAPTOP: a US MAP shows RED DOTS, each r epr esent i ng a ON LAPTOP: a US MAP shows RED DOTS, each r epr esent i ng a
e t r n e e o u o r e t r n e e o u o r e t r n e e o u o r mur der si t e, t r ai l i ng one af t er anot her t hr ough Sout her n mur der si t e, t r ai l i ng one af t er anot her t hr ough Sout her n
f a t u n a n e n . f a t u n a n e n . f a t u n a n e n . Cal i f or ni a, i nt o Sout her n Nevada and t hen Cent r al Ut ah. . . Cal i f or ni a, i nt o Sout her n Nevada and t hen Cent r al Ut ah. . .
A I A I A I AGENT COLLI NS AGENT COLLI NS
u a V e e u a V e e u a V e e Four dead i n Las Vegas al one. Seems Four dead i n Las Vegas al one. Seems
k l i g A h h k l i g A h h k l i g A h h l i ke a l i f et i me ago. And shows he' s l i ke a l i f et i me ago. And shows he' s
t i t i t t i t i t t i t i t not avoi di ng al l t he bi g ci t i es, not avoi di ng al l t he bi g ci t i es,
t o d b e e t o d b e e t o d b e e ei t her . 14 t ot al dead by t he t i me he ei t her . 14 t ot al dead by t he t i me he
e o . ' g e o . ' g e o . ' g even cr osses i nt o Ut ah. He' s zi ggi ng even cr osses i nt o Ut ah. He' s zi ggi ng
d g i e d g i e d g i e and zaggi ng, but i t doesn' t t ake a and zaggi ng, but i t doesn' t t ake a
n t e s d e n t e s d e n t e s d e geni us t o see he' s headi ng east . And geni us t o see he' s headi ng east . And
e r f r . m h e r f r . m h e r f r . m h t hen her e, of cour se. . . he made hi s t hen her e, of cour se. . . he made hi s
f s o h i f s o h i f s o h i i nf amous det our . Tr ue sout h. Hi s i nf amous det our . Tr ue sout h. Hi s
e k e k e k i dea of a j oke. . . i dea of a j oke. . .
H P I N t E T r a H P I N t E T r a H P I N t E T r a ON THE LAPTOP: ZOOMI NG I N on t he RED DOT wher e Ut ah, ON THE LAPTOP: ZOOMI NG I N on t he RED DOT wher e Ut ah,
r o n w i l a e r o n w i l a e r o n w i l a e Col or ado, Ar i zona and New Mexi co al l shar e a bor der . Col or ado, Ar i zona and New Mexi co al l shar e a bor der .
H T O O E I H T O O E I H T O O E I FLASHBACK / EXT. FOUR POINTS MARKER -- MORNING FLASHBACK / EXT. FOUR POINTS MARKER -- MORNING
C G F . U A n F S m f t C G F . U A n F S m f t C G F . U A n F S m f t POLI CE LI GHTS FLASH. SQUAD CARS and OFFI CERS f r omdi f f er ent POLI CE LI GHTS FLASH. SQUAD CARS and OFFI CERS f r omdi f f er ent
e r d T N T f e e r d T N T f e e r d T N T f e st at es sur r ound t he FOUR POI NTS MONUMENT; a f l at , r ai sed st at es sur r ound t he FOUR POI NTS MONUMENT; a f l at , r ai sed
n f c s d t s . n f c s d t s . n f c s d t s . expanse of concr et e wi t h st eps l eadi ng t o i t f r omal l si des. expanse of concr et e wi t h st eps l eadi ng t o i t f r omal l si des.
m e s i d y w I W N I , m e s i d y w I W N I , m e s i d y w I W N I , The monument i s enci r cl ed by yel l ow POLI CE " WARNI NG" RI BBON, The monument i s enci r cl ed by yel l ow POLI CE " WARNI NG" RI BBON,
u t e h t a " e a t u t e h t a " e a t u t e h t a " e a t because at i t s cent er , wher e t he l ar ge " X" desi gnat es t he because at i t s cent er , wher e t he l ar ge " X" desi gnat es t he
t r a o d r a M o t t r a o d r a M o t t r a o d r a M o t poi nt wher e Ut ah, Col or ado, Ar i zona and New Mexi co meet , i s poi nt wher e Ut ah, Col or ado, Ar i zona and New Mexi co meet , i s
r r m r e d m d A O r r m r e d m d A O r r m r e d m d A O a gor e- st r ewn mur der si t e; a di smember ed FEMALE CORPSE has a gor e- st r ewn mur der si t e; a di smember ed FEMALE CORPSE has
a i l - e a a i l - e a a i l o t c - e a been di scar ded speci f i cal l y so t hat pi eces - - sever ed ar ms, been di scar ded speci f i cal l y so t hat pi eces - - sever ed ar ms,
, d o n H T , d o n H T , d o l n H T l egs, head and t or so - - l i e i n EACH STATE. l egs, head and t or so - - l i e i n EACH STATE.
C N C N C N CONTI NUED CONTI NUED
47. 47.
A I V A I V A I V AGENT COLLI NS ( V. O. ) AGENT COLLI NS ( V. O. )
l o s i t . l o s i t . l o s i t . Tal k about a j ur i sdi ct i onal ni ght mar e. Tal k about a j ur i sdi ct i onal ni ght mar e.
C / E O R - H C / E O R - H C / E O R - H BACK TO SCENE / JANE'S MOTEL ROOM - NIGHT BACK TO SCENE / JANE'S MOTEL ROOM - NIGHT
JJJJ ANE J ANE
m r m d f d r m r m d f d r m r m d f d r A mur der commi t t ed i n f our di f f er ent A mur der commi t t ed i n f our di f f er ent
a s t u a s t u a s t u st at es si mul t aneousl y. st at es si mul t aneousl y.
A I A I A I AGENT COLLI NS AGENT COLLI NS
- u g v . - u g v . - u g v . Un- be- f ucki ng- l i evabl e. Un- be- f ucki ng- l i evabl e.
JJJJ ANE J ANE
e i g e l y e i g e l y e i g e l y He pr ef er s ki l l i ng women, cl ear l y. He pr ef er s ki l l i ng women, cl ear l y.
A I A I A I AGENT COLLI NS AGENT COLLI NS
d s l n ; d s l n ; d s l n ; And t hose he r eal l y f anci es; hi s And t hose he r eal l y f anci es; hi s
v e i . m . v e i . m . v e i . m . f avor i t e l adi es. . . he mar ks t hem. f avor i t e l adi es. . . he mar ks t hem.
H P I H s m t b H P I H s m t b H P I H s m t b ON THE LAPTOP: a CRI ME PHOTO shows Phar maci st , i n t he back ON THE LAPTOP: a CRI ME PHOTO shows Phar maci st , i n t he back
e r t e t m v n e r d e r t e t m v n e r d e r t e t m v n e r d of her car , wi t h t he pent agr amcar ved i nt o her f or ehead. of her car , wi t h t he pent agr amcar ved i nt o her f or ehead.
JJJJ ANE J ANE
k e e T l k e e T l k e e T l Li ke t hey' ve been chosen. To bel ong Li ke t hey' ve been chosen. To bel ong
i e e e i e e e i e e e t o hi mi n t he af t er l i f e. t o hi mi n t he af t er l i f e.
i r h P e a t g . i r h P e a t g . i r h P e a t g . Col l i ns br i ngs up t he MAP, t hen st ands, st r et chi ng her l egs. Col l i ns br i ngs up t he MAP, t hen st ands, st r et chi ng her l egs.
A I A I A I AGENT COLLI NS AGENT COLLI NS
v e n e u v e n e u v e n e u Movi ng east . I n no gr eat hur r y, mi nd Movi ng east . I n no gr eat hur r y, mi nd
u f m o t u f m o t u f m o t you. . . f r ommot el t o mot el , somet i mes you. . . f r ommot el t o mot el , somet i mes
e g l y p . e g l y p . e g l y p . spendi ng whol e days i n one pl ace. spendi ng whol e days i n one pl ace.
i t g i i t g i i t g i o e St i l l , t hi s guy' s headi ng somewher e. St i l l , t hi s guy' s headi ng somewher e.
a t i n d d a t i n d d a t i n d d He has a dest i nat i on i n mi nd, and I He has a dest i nat i on i n mi nd, and I
y e h s e a , y e h s e a , y e h s e a , say, wher e t her e' s a dest i nat i on, say, wher e t her e' s a dest i nat i on,
e r . m e e r . m e e r . m e t her e' s a pur pose. A mot i ve. t her e' s a pur pose. A mot i ve.
JJJJ ANE J ANE
g a r m g a r m g a r m Ri ght . No mat t er how r andomi t Ri ght . No mat t er how r andomi t
e . e . e . seems. . . seems. . .
A I A I A I AGENT COLLI NS AGENT COLLI NS
l s t a s r . l s t a s r . l s t a s r . Al l t hi s want on, ai ml ess car nage. . . Al l t hi s want on, ai ml ess car nage. . .
JJJJ ANE J ANE
e i p s h e i p s h e i p s h Ther e' s some hor r i bl e pur pose behi nd Ther e' s some hor r i bl e pur pose behi nd
e e o t r e e o t r e e o t r wher e he' s goi ng, i sn' t t her e? wher e he' s goi ng, i sn' t t her e?
p , k i p , k i p , k i ( pause, l ooks t o Col l i ns) ( pause, l ooks t o Col l i ns)
f e ' e v o f f e ' e v o f f e ' e v o f I f i gur ed he' s been l i vi ng out of hi s I f i gur ed he' s been l i vi ng out of hi s
h . a k o i e h . a k o i e h . a k o i e vehi cl e. What makes you t hi nk he' s vehi cl e. What makes you t hi nk he' s
a o ? a o ? a o ? st ayi ng i n mot el s? st ayi ng i n mot el s?
A I A I A I AGENT COLLI NS AGENT COLLI NS
l e T l e T l e T ( l ooks at her WATCH) ( l ooks at her WATCH)
w . c h o w . c h o w . c h o I f you want . . . I can show you. I f you want . . . I can show you.
C O C O C O CUT TO: CUT TO:
48. 48.
A T - H A T - H A T - H EXT. RURAL MOTEL -- NIGHT EXT. RURAL MOTEL -- NIGHT
t l s D , s T t t l s D , s T t t l s D , s T t Agent Col l i ns' s FBI SQUAD CAR, f l ashi ng BLUE LI GHT on t he Agent Col l i ns' s FBI SQUAD CAR, f l ashi ng BLUE LI GHT on t he
, n t d e c P N T t , n t d e c P N T t , n t d e c P N T t dash, t ur ns i nt o and speeds acr oss t he PARKI NG LOT of t hi s dash, t ur ns i nt o and speeds acr oss t he PARKI NG LOT of t hi s
p e - y E n R E l p e - y E n R E l p e - y E n R E l di l api dat ed, 2- st or y MOTEL, and SCREECHES t o a hal t . di l api dat ed, 2- st or y MOTEL, and SCREECHES t o a hal t .
i e u r h a e e m i e u r h a e e m i e u r h a e e m Col l i ns get s out , gr abs her l apt op bag, whi l e J ane cl i mbs Col l i ns get s out , gr abs her l apt op bag, whi l e J ane cl i mbs
p n s e l . p n s e l . p n s e l . f r omt he passenger si de. J ane f ol l ows. . . f r omt he passenger si de. J ane f ol l ows. . .
A I A I A I AGENT COLLI NS AGENT COLLI NS
h t e h t e h t e He was her e t hr ee days ago. Thr ee He was her e t hr ee days ago. Thr ee
y t e s y p y t e s y p y t e s y p days af t er he cr ossed your pat h. He days af t er he cr ossed your pat h. He
e n i e n i e n i checked i n i n t he dead of ni ght . On checked i n i n t he dead of ni ght . On
o P c k o P c k o P c k f oot . Pai d cash. The desk cl er k was f oot . Pai d cash. The desk cl er k was
t e C n i t e C n i t e C n i a t ot al st oner . Coul dn' t gi ve a a t ot al st oner . Coul dn' t gi ve a
s t ' e v m s t ' e v m s t ' e v m descr i pt i on; di dn' t even have hi m descr i pt i on; di dn' t even have hi m
g r o e g r o e g r o e r egi st er . Wor t hl ess. r egi st er . Wor t hl ess.
O e r N A n l n e O e r N A n l n e O e r N A n l n e FOLLOWt hemt hr ough an ENTRYWAY, i nt o a smal l , concr et e FOLLOWt hemt hr ough an ENTRYWAY, i nt o a smal l , concr et e
T r O r T t , k T r O r T t , k T r O r T t , k COURTYARD wi t h a di r t y POOL ar ea. GUESTS si t out , smoki ng. COURTYARD wi t h a di r t y POOL ar ea. GUESTS si t out , smoki ng.
A I A I A I AGENT COLLI NS AGENT COLLI NS
d o e t , d o e t , d o e t , Mi ddl e of t he next day, t he mai d Mi ddl e of t he next day, t he mai d
n " o s " n n " o s " n n " o s " n i gnor ed t he " Do Not Di st ur b" si gn on i gnor ed t he " Do Not Di st ur b" si gn on
e r , d t e r , d t e r , d t t he door knob, or di dn' t see i t t he door knob, or di dn' t see i t
m . e e n m . e e n m . e e n somehow. She l et her sel f i n. somehow. She l et her sel f i n.
h O r r h c e " h O r r h c e " h O r r h c e " At t he DOOR t o a cor ner r oom, whi ch i s cover ed i n FBI " NO At t he DOOR t o a cor ner r oom, whi ch i s cover ed i n FBI " NO
P N O S l K o P C P N O S l K o P C P N O S l K o P C TRESPASSI NG" NOTI CES, Col l i ns uses her KEYS on a PADLOCK. TRESPASSI NG" NOTI CES, Col l i ns uses her KEYS on a PADLOCK.
A I A I A I AGENT COLLI NS AGENT COLLI NS
g s . g s . g s . Huge mi st ake. Huge mi st ake.
H T O E N H T O E N H T O E N IN THE MOTEL ROOM / CRIME SCENE IN THE MOTEL ROOM / CRIME SCENE
i p t o t T t r i p t o t T t r i p t o t T t r Col l i ns opens t he door , t ur ns on a LI GHT, l et t i ng J ane ent er Col l i ns opens t he door , t ur ns on a LI GHT, l et t i ng J ane ent er
t a a t e t f , k a d t a a t e t f , k a d t a a t e t f , k a d f i r st . J ane wal ks t o t he cent er of t he r oom, l ooki ng ar ound. f i r st . J ane wal ks t o t he cent er of t he r oom, l ooki ng ar ound.
e D I c t L e w , e D I c t L e w , e D I c t L e w , Ther e' s a wi de BLOOD STAI N on t he car pet . BLOOD ever ywher e, Ther e' s a wi de BLOOD STAI N on t he car pet . BLOOD ever ywher e,
a s i , D e t g a s i , D e t g a s i , D e t g act ual l y. The bed' s st r i pped, but BLOOD made i t t hr ough t o act ual l y. The bed' s st r i pped, but BLOOD made i t t hr ough t o
m e i h t o e . m e i h t o e . m e i h t o e . t he mat t r ess. Col l i ns shut s t he door behi nd t hem. t he mat t r ess. Col l i ns shut s t he door behi nd t hem.
A I A I A I AGENT COLLI NS AGENT COLLI NS
x c e . x c e . x c e . He used an ax. . . cut her i n hal f . He used an ax. . . cut her i n hal f .
a e o e t i a e o e t i a e o e t i That seems t o have got t en hi s That seems t o have got t en hi s
e e c l g e e c l g e e c l g cr eat i ve j ui ces f l owi ng. cr eat i ve j ui ces f l owi ng.
e R G B h l " n " e R G B h l " n " e R G B h l " n " Ther e' s WRI TI NG i n BLOOD on t he wal l s: " Hail Satan!" " The Ther e' s WRI TI NG i n BLOOD on t he wal l s: " Hail Satan!" " The
t i t m d " n s " " t i t m d " n s " " t i t m d " n s " " Beast awaits!" "Let trumpets sound!" " Human pigs!" " 666, " Beast awaits!" "Let trumpets sound!" " Human pigs!" " 666, "
y e d w P D C E y e d w P D C E y e d w P D C E ever ywher e, and dr awi ngs of UPSI DEDOWN CROSSES. ever ywher e, and dr awi ngs of UPSI DEDOWN CROSSES.
A I A I A I AGENT COLLI NS AGENT COLLI NS
i h a t r i h a t r i h a t r Thi s i s how he l eaves t he cr i me Thi s i s how he l eaves t he cr i me
e i t n o r e i t n o r e i t n o r scenes, but i t ' s t he onl y mot el r oom scenes, but i t ' s t he onl y mot el r oom
' f i y t t ' f i y t t ' f i y t t he' s l ef t t hi s way, at l east t hat we he' s l ef t t hi s way, at l east t hat we
o . o . o . know of . know of .
C N C N C N CONTI NUED CONTI NUED
49. 49.
s r l . s r l . s r l . J ane wal ks over t o l ook. . . J ane wal ks over t o l ook. . .
e i l e " G ! e i l e " G ! e i l e " G ! Above t he bed, i n bi g, bl oody l et t er s: " OPEN THE GATES!" Above t he bed, i n bi g, bl oody l et t er s: " OPEN THE GATES!"
JJJJ ANE J ANE
e e e e e e e e e Open t he gat es. Open t he gat es.
s t e l e s t e l e s t e l e J ane l ooks up t o t he cei l i ng, wher e. . . J ane l ooks up t o t he cei l i ng, wher e. . .
e e s o y K r V Y M e e s o y K r V Y M e e s o y K r V Y M Ther e' s a l ar ge ver si on of Psycho Ki l l er ' s EVI L EYE SYMBOL. Ther e' s a l ar ge ver si on of Psycho Ki l l er ' s EVI L EYE SYMBOL.
A I A I A I AGENT COLLI NS AGENT COLLI NS
o e L ) o e L ) o e L ) ( of t he EVI L EYE) ( of t he EVI L EYE)
r l h o s i r l h o s i r l h o s i Our anal yst s say he' s obsessed wi t h Our anal yst s say he' s obsessed wi t h
v h c e s e v h c e s e v h c e s e havi ng hi s achi evement s " seen. " havi ng hi s achi evement s " seen. "
JJJJ ANE J ANE
n . r o o e n . r o o e n . r o o e Can I . . . bor r ow your comput er ? Can I . . . bor r ow your comput er ?
i a o h a e e e t i a o h a e e e t i a o h a e e e t Col l i ns hands over her l apt op bag. J ane t akes t he l apt op Col l i ns hands over her l apt op bag. J ane t akes t he l apt op
s o F N B e y e a . s o F N B e y e a . s o F N B e y e a . out , opens i t on a FOLDI NG TABLE l ef t by i nvest i gat or s. out , opens i t on a FOLDI NG TABLE l ef t by i nvest i gat or s.
A I A I A I AGENT COLLI NS AGENT COLLI NS
a ' i . w o a ' i . w o a ' i . w o What he' s doi ng. . . he want s i t t o be What he' s doi ng. . . he want s i t t o be
p a s i o r p a s i o r p a s i o r appr eci at ed. He' s t r yi ng t o i mpr ess appr eci at ed. He' s t r yi ng t o i mpr ess
e w t i o n e w t i o n e w t i o n t he Bi g Man wi t h t he pi t chf or k and t he Bi g Man wi t h t he pi t chf or k and
d t i t h d t i t h d t i t h r ed l eot ar d. " Hai l Sat an! " Ri ght ? r ed l eot ar d. " Hai l Sat an! " Ri ght ?
t t h u c g . t t h u c g . t t h u c g . At l east t hat ' s what Quant i co f i gur es. At l east t hat ' s what Quant i co f i gur es.
JJJJ ANE J ANE
o e T o e T o e T ( on t he LAPTOP) ( on t he LAPTOP)
k l h s f t k l h s f t k l h s f t Take a l ook her e. Thi s i s f r omt hose Take a l ook her e. Thi s i s f r omt hose
r a b s n r a b s n r a b s n mur der s i n Har r i sbur g, Pennsyl vani a. mur der s i n Har r i sbur g, Pennsyl vani a.
e r i g e a . e r i g e a . e r i g e a . The chur ch ki l l i ngs, year s ago. . . The chur ch ki l l i ngs, year s ago. . .
H P e i f S L H P e i f S L H P e i f S L ON THE LAPTOP: t her e' s a ver si on of t he EVI L EYE SYMBOL, ON THE LAPTOP: t her e' s a ver si on of t he EVI L EYE SYMBOL,
t n p D o a t n p D o a t n p D o a wr i t t en i n dr i ppi ng BLOOD, on a st one wal l . wr i t t en i n dr i ppi ng BLOOD, on a st one wal l .
JJJJ ANE J ANE
a a . c e a a . c e a a . c e He was a Sat ani st . Ri char d Reeves. . . He was a Sat ani st . Ri char d Reeves. . .
c a e . l l c a e . l l c a e . l l Ri char d Leonar d Reeves. Ki l l ed l i ke Ri char d Leonar d Reeves. Ki l l ed l i ke
d l H e o d l H e o d l H e o a dozen peopl e. He di ed i n pr i son. a dozen peopl e. He di ed i n pr i son.
A I A I A I AGENT COLLI NS AGENT COLLI NS
r s s o t r s s o t r s s o t Our Sl asher ' s a copycat ? Our Sl asher ' s a copycat ?
JJJJ ANE J ANE
r a p e . r a p e . r a p e . An admi r er maybe. I nspi r ed by Reeves. An admi r er maybe. I nspi r ed by Reeves.
E l p e h t V Y E l p e h t V Y E l p e h t V Y CLOSE ON: t he l apt op scr een shows t he EVI L EYE. CLOSE ON: t he l apt op scr een shows t he EVI L EYE.
C O C O C O CUT TO: CUT TO:
I I I INT. BAR -- NIGHT INT. BAR -- NIGHT
, e , l a a r O D S , e , l a a r O D S , e , l a a r O D S I n a dar k, di ve BAR, Col l i ns and J ane ar e i n a BOOTH, DRI NKS I n a dar k, di ve BAR, Col l i ns and J ane ar e i n a BOOTH, DRI NKS
r e t n t S r e t n t S r e t n t S bef or e t hem, st udyi ng a t hi ck ROAD ATLAS. bef or e t hem, st udyi ng a t hi ck ROAD ATLAS.
C N C N C N CONTI NUED CONTI NUED
50. 50.
A I A I A I AGENT COLLI NS AGENT COLLI NS
p s A ) p s A ) p s A ) ( poi nt s at ATLAS) ( poi nt s at ATLAS)
k g l w l g k g l w l g k g l w l g Take a good l ook wher e i t al l began. Take a good l ook wher e i t al l began.
a a . d t h . a a . d t h . a a . d t h . Deat h Val l ey. And what ' s t hi s. . . ? Deat h Val l ey. And what ' s t hi s. . . ?
JJJJ ANE J ANE
i a a A e s t i a a A e s t i a a A e s t Chi na Lake Naval Ai r Weapons Cent er . Chi na Lake Naval Ai r Weapons Cent er .
A I A I A I AGENT COLLI NS AGENT COLLI NS
d e r w . p c d e r w . p c d e r w . p c And her e, For t I r wi n. . . Deep Space And her e, For t I r wi n. . . Deep Space
m c n o . c m c n o . c m c n o . c Communi cat i ons Pr ogr am. Acr oss t he Communi cat i ons Pr ogr am. Acr oss t he
r N a t e e r N a t e e r N a t e e bor der ; t he Nevada Test si t e, wher e bor der ; t he Nevada Test si t e, wher e
e t e o f o e t e o f o e t e o f o t hey set of f nucl ear bombs f or f our t hey set of f nucl ear bombs f or f our
c . c . c . decades. decades.
JJJJ ANE J ANE
a e n a e n a e n What ar e you sayi ng? What ar e you sayi ng?
A I A I A I AGENT COLLI NS AGENT COLLI NS
s s a s s a s s a ( shr ugs i t away) ( shr ugs i t away)
' h v t h h ' h v t h h ' h v t h h I t ' s a hel l uva l ot of hush- hush I t ' s a hel l uva l ot of hush- hush
v e e s , a v e e s , a v e e s , a gover nment r eal est at e, i s al l . gover nment r eal est at e, i s al l .
d s d s d s ( dr i nks) ( dr i nks)
n l e e n l e e n l e e Want t o know what r eal l y keeps me up Want t o know what r eal l y keeps me up
t i p s h t i p s h t i p s h at ni ght ? Fi nger pr i nt s, of whi ch we at ni ght ? Fi nger pr i nt s, of whi ch we
v e e i n i v e e i n i v e e i n i have pl ent y. I mean, i t ' s not l i ke have pl ent y. I mean, i t ' s not l i ke
e s s r g s e e s s r g s e e s s r g s e t he Sl asher ' s wear i ng gl oves. We' ve t he Sl asher ' s wear i ng gl oves. We' ve
t e a i t y a t e a i t y a t e a i t y a got mor e cl ean pr i nt s t han you can got mor e cl ean pr i nt s t han you can
a k a a k a a k o a shake a st i ck at . Yet not one mat ch. shake a st i ck at . Yet not one mat ch.
t t . I s t t . I s t t . I s Not i n t he I . A. F. I . Syst em, not Not i n t he I . A. F. I . Syst em, not
r r e m t r r e m t r r e m t t hr ough I nt er pol . However many t i mes t hr ough I nt er pol . However many t i mes
h r , r n e h r , r n e h r , r n e we r un hi s pr i nt s, ever yt hi ng t he we r un hi s pr i nt s, ever yt hi ng t he
m r t t o b m r t t o b m r t t o b comput er spi t s out f or us t o eyebal l comput er spi t s out f or us t o eyebal l
d g a p i d g a p i d g a p i ends up bei ng a f al se posi t i ve. ends up bei ng a f al se posi t i ve.
JJJJ ANE J ANE
t l l n a w t l l n a w t l l n a w A t hr i l l - ki l l er on a nat i onwi de A t hr i l l - ki l l er on a nat i onwi de
r s . n t i r s . n t i r s . n t i mur der spr ee. . . and not a si ngl e mur der spr ee. . . and not a si ngl e
i u i d a i u i d a i u i d a pr i or put s hi mi n t he dat abase? pr i or put s hi mi n t he dat abase?
A I A I A I AGENT COLLI NS AGENT COLLI NS
e t m i e n e t m i e n e t m i e n As i f he j ust . . . mat er i al i zed, one As i f he j ust . . . mat er i al i zed, one
y a o a a y a o a a y a o a a day. Wal ked out of Deat h Val l ey and day. Wal ked out of Deat h Val l ey and
t i r t i r t i r i nt o t hi s wor l d. i nt o t hi s wor l d.
i l t e n R A , i n i l t e n R A , i n i l t e n R A , i n Col l i ns f l i ps t o t he f r ont of t he ROAD ATLAS, i ndi cat i ng a Col l i ns f l i ps t o t he f r ont of t he ROAD ATLAS, i ndi cat i ng a
w h R S E T w h R S E T w h R S E T U. S. MAP wher e each of t he MURDER SI TES i s RED DOTTED. U. S. MAP wher e each of t he MURDER SI TES i s RED DOTTED.
JJJJ ANE J ANE
a o i O h d a o i O h d a o i O h d Hear me out on t hi s. Once he made i t Hear me out on t hi s. Once he made i t
t K s s i r t K s s i r t K s s i r out of Kansas, he cr ossed Mi ssour i i n out of Kansas, he cr ossed Mi ssour i i n
d . e I o w d . e I o w d . e I o w a day. . . ent er ed I l l i noi s, wher e he a day. . . ent er ed I l l i noi s, wher e he
d y n e h d t d y n e h d t d y n e h d t suddenl y t ur ned l ef t ; headed nor t h. suddenl y t ur ned l ef t ; headed nor t h.
e e n e a n e e n e a n e e n e a n Ever yone t hi nks he' s maki ng a r un f or Ever yone t hi nks he' s maki ng a r un f or
e d e d e d t he bor der . t he bor der .
C N C N C N CONTI NUED CONTI NUED
51. 51.
A I A I A I AGENT COLLI NS AGENT COLLI NS
u ' u ' u ' You don' t ? You don' t ?
JJJJ ANE J ANE
a t h e n a t h e n a t h e n What i f he' s smar t er t han we t hi nk? What i f he' s smar t er t han we t hi nk?
o a f i o a f i o a f i Look. . . he' s l ef t a t r ai l of bodi es Look. . . he' s l ef t a t r ai l of bodi es
n . l v . n . l v . n . l v . up I l l i noi s. . . Col l i nsvi l l e. . . up I l l i noi s. . . Col l i nsvi l l e. . .
p i n ) p i n ) p i n ) ( poi nt i ng on MAP) ( poi nt i ng on MAP)
r i n l n . r i n l n . r i n l n . Spr i ngf i el d, Spr i ng Val l ey next . . . Spr i ngf i el d, Spr i ng Val l ey next . . .
n f h s i n f h s i n f h s i f i nal l y Rockf or d, on t he Wi sconsi n f i nal l y Rockf or d, on t he Wi sconsi n
r e o h f s r e o h f s r e o h f s bor der . Her e. Now, what i f he' s bor der . Her e. Now, what i f he' s
r a d k k r a d k k r a d k k t ur ned ar ound. . . ? Backt r acki ng t ur ned ar ound. . . ? Backt r acki ng
u h s e l , u h s e l , u h s e l , sout h. But he' s st opped ki l l i ng, so sout h. But he' s st opped ki l l i ng, so
a r z a a r z a a r z a t hat no one r eal i zes, as. . . t hat no one r eal i zes, as. . .
p e p e p e ( pokes f i nger on MAP) ( pokes f i nger on MAP)
r o e t . s r o e t . s r o e t . s He r et ur ns t o I nt er st at e 70. East . He r et ur ns t o I nt er st at e 70. East .
A I A I A I AGENT COLLI NS AGENT COLLI NS
n n o r r e n n o r r e n n o r r e Ki nd of a l ong shot , Tr ooper J ane. Ki nd of a l ong shot , Tr ooper J ane.
JJJJ ANE J ANE
o e ) o e ) o e ) ( of t he RED DOTS) ( of t he RED DOTS)
o k p r I a o k p r I a o k p r I a Look at t he ki l l pat t er n. I t ' s a Look at t he ki l l pat t er n. I t ' s a
f t t l i i f t t l i i f t t l i i saf e bet he t r avel ed si gni f i cant saf e bet he t r avel ed si gni f i cant
s e h h h s e h h h s e h h h di st ances on 70 t hr ough Ut ah, di st ances on 70 t hr ough Ut ah,
l o n o l o n o l o n o Col or ado, Kansas, Mi ssour i , even Col or ado, Kansas, Mi ssour i , even
l s e t r t . l s e t r t . l s e t r t . I l l i noi s. Never t oo pr edi ct abl y. I l l i noi s. Never t oo pr edi ct abl y.
' r . ' r . ' r . He' s car ef ul t hat way. . . He' s car ef ul t hat way. . .
s n s n s n ( showi ng on MAP) ( showi ng on MAP)
' r n u f e ' r n u f e ' r n u f e He' s nor t h and sout h of i t , t r avel i ng He' s nor t h and sout h of i t , t r avel i ng
r l u e t a o r l u e t a o r l u e t a o par al l el . But , never t oo f ar f r om par al l el . But , never t oo f ar f r om
t a 0 t a 0 t a 0 I nt er st at e 70. I nt er st at e 70.
A I A I A I AGENT COLLI NS AGENT COLLI NS
e b i o e e b i o e e b i o e The pr obl emi s. . . even i f you ar e The pr obl emi s. . . even i f you ar e
g i a d s a g i a d s a g i a d s a r i ght , i t ' s a wi l d goose chase. r i ght , i t ' s a wi l d goose chase.
JJJJ ANE J ANE
u d r , s n u d r , s n u d r , s n You sai d your sel f , he' s goi ng You sai d your sel f , he' s goi ng
m r 7 p i y m r 7 p i y m r 7 p i y somewher e. 70' s pr act i cal l y a somewher e. 70' s pr act i cal l y a
r t t t t d j r t t t t d j r t t t t d j st r ai ght shot east . . . t owar ds maj or st r ai ght shot east . . . t owar ds maj or
t i , t g h . t i , t g h . t i , t g h . ci t i es; Bal t i mor e, Pi t t sbur gh, Phi l l y. ci t i es; Bal t i mor e, Pi t t sbur gh, Phi l l y.
A I A I A I AGENT COLLI NS AGENT COLLI NS
w k y w k y w k y New Yor k Ci t y. New Yor k Ci t y.
JJJJ ANE J ANE
' t d f a . ' t d f a . ' t d f a . He' s not headi ng f or Canada. He' s not headi ng f or Canada.
s b a s b a s b a ( si t s back, emphat i c) ( si t s back, emphat i c)
' t n a ' t n a ' t n a He' s not r unni ng away. Not hi m. He' s not r unni ng away. Not hi m.
k C n o v h p b . k C n o v h p b . k C n o v h p b . J ane dr i nks. Col l i ns l ooks over t he map, dubi ous. J ane dr i nks. Col l i ns l ooks over t he map, dubi ous.
JJJJ ANE J ANE
e e h g h e e h g h e e h g h Ever yone' s chasi ng hi mnor t h. Ever yone' s chasi ng hi mnor t h.
c g e T v t c g e T v t c g e T v t Secur i ng t he bor der . They' ve got t o. Secur i ng t he bor der . They' ve got t o.
C N C N C N CONTI NUED CONTI NUED
52. 52.
A I A I A I AGENT COLLI NS AGENT COLLI NS
c t h h c t h h c t h h No one can st omach t he i dea of t hi s No one can st omach t he i dea of t hi s
y s i h h e y s i h h e y s i h h e psycho sl i ppi ng t hr ough our f i nger s. psycho sl i ppi ng t hr ough our f i nger s.
JJJJ ANE J ANE
a . a l a . a l a . a l Exact l y. Meanwhi l e. . . Exact l y. Meanwhi l e. . .
s c t g e D A e i . s c t g e D A e i . s c t g e D A e i . J ane pages qui ckl y t hr ough t he ROAD ATLAS, sear chi ng. . . J ane pages qui ckl y t hr ough t he ROAD ATLAS, sear chi ng. . .
JJJJ ANE J ANE
w d o a f t w d o a f t w d o a f t I wor ked i t out , and i f I ' mr i ght . . . I wor ked i t out , and i f I ' mr i ght . . .
d h s e ' e d h s e ' e d h s e ' e j udgi ng by t he di st ances he' s been j udgi ng by t he di st ances he' s been
e n n o o e n n o o e n n o o aver agi ng, i n t he next day or t wo. . . aver agi ng, i n t he next day or t wo. . .
p s M A p s M A p s M A ( poi nt s on MAP PAGE) ( poi nt s on MAP PAGE)
i e l t y i e l t y i e l t y Thi s i s wher e he' l l act ual l y be. Thi s i s wher e he' l l act ual l y be.
E t d t o P c o N T E t d t o P c o N T E t d t o P c o N T CLOSE ON: a det ai l ed por t i on of MAP whi ch shows I NTERSTATE CLOSE ON: a det ai l ed por t i on of MAP whi ch shows I NTERSTATE
i i o u h o s h i i o u h o s h i i o u h o s h 70 bi sect i ng Col umbus, Ohi o, on i t s way east t o t he 70 bi sect i ng Col umbus, Ohi o, on i t s way east t o t he
s n o . s o e a s n o . s o e a s n o . s o e a Pennsyl vani a bor der . 70 f eeds i nt o and i s f ed by myr i ad Pennsyl vani a bor der . 70 f eeds i nt o and i s f ed by myr i ad
c W e r l N c W e r l N c W e r l N br anchi ng ROADWAYS; passes t hr ough many smal l TOWNS. br anchi ng ROADWAYS; passes t hr ough many smal l TOWNS.
JJJJ ANE J ANE
m r t m , m r t m , m r t m , Somewher e bet ween Col umbus, Ohi o, and Somewher e bet ween Col umbus, Ohi o, and
e g s r a 1 l e g s r a 1 l e g s r a 1 l Wheel i ng, West Vi r gi ni a. 110 mi l es. Wheel i ng, West Vi r gi ni a. 110 mi l es.
s v . a t s v . a t s v . a t 25 exi t s, gi ve or t ake. That ' s t he 25 exi t s, gi ve or t ake. That ' s t he
s a a e h o l s a a e h o l s a a e h o l best chance anyone' l l have of pul l i ng best chance anyone' l l have of pul l i ng
i b o f i t i b o f i t i b o f i t t hi s r abbi t out of t hei r hat . t hi s r abbi t out of t hei r hat .
C O C O C O CUT TO: CUT TO:
E O - G E O - G E O - G EXT. JANE'S MOTEL -- NIGHT EXT. JANE'S MOTEL -- NIGHT
i I r l e e h i i I r l e e h i i I r l e e h i Col l i ns' s F. B. I . car pul l s up near wher e J ane' s Chevy i s Col l i ns' s F. B. I . car pul l s up near wher e J ane' s Chevy i s
e t o o s e . e t o o s e . e t o o s e . par ked i n f r ont of one r oom. J ane opens t he passenger door . par ked i n f r ont of one r oom. J ane opens t he passenger door .
JJJJ ANE J ANE
a f t n u c t a f t n u c t a f t n u c t Thanks f or st i cki ng your neck out . Thanks f or st i cki ng your neck out .
w I l p h v w I l p h v w I l p h v I wi sh I coul d r epay t he f avor . I wi sh I coul d r epay t he f avor .
A I A I A I AGENT COLLI NS AGENT COLLI NS
t r m n r t s t r m n r t s t r m n r t s Not a pr obl em. And f or what i t ' s Not a pr obl em. And f or what i t ' s
r I p y t i l r I p y t i l r I p y t i l wor t h, I ' l l pass your t heor i es al ong. wor t h, I ' l l pass your t heor i es al ong.
JJJJ ANE J ANE
a a . o c a a . o c a a . o c Thanks agai n. Good l uck. Thanks agai n. Good l uck.
A I A I A I AGENT COLLI NS AGENT COLLI NS
e n r r e n r r e n r r See you ar ound, Tr ooper . See you ar ound, Tr ooper .
s . e k w m s . e k w m s . e k w m J ane get s out , shut s t he door . She wal ks t owar ds her mot el J ane get s out , shut s t he door . She wal ks t owar ds her mot el
o s p n a T i R . o s p n a T i R . o s p n a T i R . r oomas Col l i ns i s pul l i ng away. Then, Col l i ns BRAKES. r oomas Col l i ns i s pul l i ng away. Then, Col l i ns BRAKES.
s C n V S l w w n s C n V S l w w n s C n V S l w w n J ane l ooks as Col l i ns REVERSES, r ol l i ng her wi ndow down. J ane l ooks as Col l i ns REVERSES, r ol l i ng her wi ndow down.
A I A I A I AGENT COLLI NS AGENT COLLI NS
m w o t n u m w o t n u m w o t n u I ' mnot al l owed t o be t el l i ng you I ' mnot al l owed t o be t el l i ng you
a m u a m u a m u what I ' mabout t o t el l you. what I ' mabout t o t el l you.
( ) ( ) ( ) ( mor e) ( mor e)
C N C N C N CONTI NUED CONTI NUED
53. 53.
A I C ) A I C ) A I C ) AGENT COLLI NS ( CONT. ) AGENT COLLI NS ( CONT. )
w ) w ) w ) ( waves J ane over ) ( waves J ane over )
' a d k t f ' a d k t f ' a d k t f We' ve managed t o keep t hi s f r om We' ve managed t o keep t hi s f r om
c g l n d f c g l n d f c g l n d f becomi ng publ i c knowl edge, f or becomi ng publ i c knowl edge, f or
v o e a l v o e a l v o e a l obvi ous r easons. Ther e i s a smal l obvi ous r easons. Ther e i s a smal l
n c d i a n c d i a n c d i a const r uct i on and demol i t i on company, const r uct i on and demol i t i on company,
a n C . o i a n C . o i a n C . o i near Kansas Ci t y. . . f r omwhi ch a near Kansas Ci t y. . . f r omwhi ch a
a y e s s n a y e s s n a y e s s n quant i t y of expl osi ves was st ol en. quant i t y of expl osi ves was st ol en.
JJJJ ANE J ANE
p v p v p v Expl osi ves? Expl osi ves?
A I A I A I AGENT COLLI NS AGENT COLLI NS
T w d g T w d g T w d g TNT. Twent y pounds or so. Enough t o TNT. Twent y pounds or so. Enough t o
i n m i n m i n m do si gni f i cant damage. do si gni f i cant damage.
o a o a o a ( of f J ane' s NOD) ( of f J ane' s NOD)
fff Be car ef ul . Be car ef ul .
C O C O C O CUT TO: CUT TO:
E O R - G E O R - G E O R - G INT. JANE'S MOTEL ROOM -- NIGHT INT. JANE'S MOTEL ROOM -- NIGHT
r r n e i e r r n e i e r r n e i e J ane ent er s, cr ossi ng t o pi ck up her sui t case. J ane ent er s, cr ossi ng t o pi ck up her sui t case.
b s k t a b s k t a b s k t a She begi ns packi ng t o l eave. She begi ns packi ng t o l eave.
E O - M R E O - M R E O - M R EXT. JANE'S MOTEL -- MOMENTS LATER EXT. JANE'S MOTEL -- MOMENTS LATER
, h e h w r t d e , h e h w r t d e , h e h w r t d e J ane, on her cel l phone, t hr ows her sui t case i nsi de t he J ane, on her cel l phone, t hr ows her sui t case i nsi de t he
e e f u h t i a e e f u h t i a e e f u h t i a camper shel l of her pi ckup, shut s t he l i f t gat e. camper shel l of her pi ckup, shut s t he l i f t gat e.
JJJJ ANE J ANE
i C P ) i C P ) i C P ) ( i nt o CELL PHONE) ( i nt o CELL PHONE)
r o l l , r o l l , r o l l , Sor r y t o cal l so l at e, dad. Hey, Sor r y t o cal l so l at e, dad. Hey,
m t h r h t m t h r h t m t h r h t mom. I t ' s t he f i r st chance I got . mom. I t ' s t he f i r st chance I got .
H C H C H C IN THE PICKUP IN THE PICKUP
n e e n e e n e e J ane get s behi nd t he wheel . J ane get s behi nd t he wheel .
JJJJ ANE J ANE
i C P ) i C P ) i C P ) ( i nt o CELL PHONE) ( i nt o CELL PHONE)
, , s ' r i , , s ' r i , , s ' r i No, I ' mf i ne, guys. I ' mt i r ed, i s No, I ' mf i ne, guys. I ' mt i r ed, i s
l ' n l l i l ' n l l i l ' n l l i al l . I ' mi n Spr i ngf i el d, I l l i noi s. al l . I ' mi n Spr i ngf i el d, I l l i noi s.
a O a O a O Leavi ng f or Ohi o. Leavi ng f or Ohi o.
l n l n l n ( l i st ens) ( l i st ens)
c . w I l u c . w I l u c . w I l u I can' t . I wi sh I coul d, but I I can' t . I wi sh I coul d, but I
n . n . n . can' t . . . can' t . . .
, t g o n , t g o n , t g o n J ane si t s back, l i st eni ng, agoni zi ng. J ane si t s back, l i st eni ng, agoni zi ng.
JJJJ ANE J ANE
i C P ) i C P ) i C P ) ( i nt o CELL PHONE) ( i nt o CELL PHONE)
o o y o k . u o o y o k . u o o y o k . u Look, you. . . you don' t know. . . you Look, you. . . you don' t know. . . you
n v a n e W a n v a n e W a n v a n e W a don' t even have any i dea. Wi t h al l don' t even have any i dea. Wi t h al l
e n n e n n e n n of my hear t , I want t o t ur n ar ound of my hear t , I want t o t ur n ar ound
d h . d h . d h . and go home. . . and go home. . .
C N C N C N CONTI NUED CONTI NUED
54. 54.
' e l t a n e e e a ' e l t a n e e e a ' e l t a n e e e a J ane' s eyes f i l l wi t h t ear s and she wi pes t hemaway. J ane' s eyes f i l l wi t h t ear s and she wi pes t hemaway.
JJJJ ANE J ANE
t i t t i t t i t But , i f I qui t . . . i f I qui t and t r y But , i f I qui t . . . i f I qui t and t r y
o o t ' o o t ' o o t ' t o go home now, i t won' t be home I ' m t o go home now, i t won' t be home I ' m
i a o r r d i a o r r d i a o r r d goi ng back t o. Tr y t o under st and goi ng back t o. Tr y t o under st and
a k s , a k s , a k s , t hat , okay? I ' msor r y, but I ' ve got t hat , okay? I ' msor r y, but I ' ve got
v w t v w t v w t t o go. I have a whol e ni ght of t o go. I have a whol e ni ght of
i d o i d o i d o dr i vi ng ahead. I have t o go. I l ove dr i vi ng ahead. I have t o go. I l ove
u o g n . u o g n . u o g n . you. Goodni ght . Goodni ght . you. Goodni ght . Goodni ght .
e e n u t d w w b e e n u t d w w b e e n u t d w w b J ane cl oses t he phone, put s i t asi de, swal l owi ng back J ane cl oses t he phone, put s i t asi de, swal l owi ng back
e s s k t e n i e s s k t e n i e s s k t e n i sadness. She st ar t s t he t r uck, put s i t i n gear and dr i ves. sadness. She st ar t s t he t r uck, put s i t i n gear and dr i ves.
C O C O C O CUT TO: CUT TO:
H - G H - G H - G EXT. HIGHWAY -- NIGHT EXT. HIGHWAY -- NIGHT
' c s e o H I f l n g ' c s e o H I f l n g ' c s e o H I f l n g J ane' s pi ckup' s r aces al ong, HEADLI GHTS br i ef l y i l l umi nat i ng J ane' s pi ckup' s r aces al ong, HEADLI GHTS br i ef l y i l l umi nat i ng
G W M A C r m a G W M A C r m a G W M A C r m a a SI GN: " WELCOME TO I NDI ANA, Cr ossr oads of Amer i ca. " a SI GN: " WELCOME TO I NDI ANA, Cr ossr oads of Amer i ca. "
A U O I A U O I A U O I IN JANE'S PICKUP -- IN MOTION -- NIGHT IN JANE'S PICKUP -- IN MOTION -- NIGHT
' c h a d D l g ' c h a d D l g ' c h a d D l g J ane' s f ocused on t he r oadway ahead, RADI O pl ayi ng. J ane' s f ocused on t he r oadway ahead, RADI O pl ayi ng.
M E T O M E T O M E T O MALE EXPERT ( V. O. ) MALE EXPERT ( V. O. )
f R ) f R ) f R ) ( f r omRADI O) ( f r omRADI O)
. e n h n n . e n h n n . e n h n n . . . at l east not t he ki nd of Sat ani sm . . . at l east not t he ki nd of Sat ani sm
r e n v a o r e n v a o r e n v a o por t r ayed i n TV and movi es and comi c por t r ayed i n TV and movi es and comi c
o e e , o o e e , o o e e , o books. Ther e ar e no secr et , bl ood- books. Ther e ar e no secr et , bl ood-
i l s n l i l s n l i l s n l t hi r st y Devi l Wor shi pi ng Cul t s t hi r st y Devi l Wor shi pi ng Cul t s
t A c a a t A c a a t A c a a dot t i ng t he Amer i can l andscape. dot t i ng t he Amer i can l andscape.
F E E V F E E V F E E V FEMALE EXPERT ( V. O. ) FEMALE EXPERT ( V. O. )
f R ) f R ) f R ) ( f r omRADI O) ( f r omRADI O)
c a h i c a h i c a h i On t he cont r ar y. Look at t he cr i me On t he cont r ar y. Look at t he cr i me
a i r h a o a a i r h a o a a i r h a o a st at i st i cs f r omt he smal l t owns and st at i st i cs f r omt he smal l t owns and
u s c e u s c e u s c e you' l l see a r i se i n occul t cr i mes; you' l l see a r i se i n occul t cr i mes;
a r n s e w i a r n s e w i a r n s e w i gr aveyar d vandal i sm, devi l wor shi p gr aveyar d vandal i sm, devi l wor shi p
a i t m i . a i t m i . a i t m i . gr af f i t i , cat t l e mut at i on. . . gr af f i t i , cat t l e mut at i on. . .
C C E C C E C C E J ane SWI TCHES CHANNELS. J ane SWI TCHES CHANNELS.
W ' I V W ' I V W ' I V WOMAN' S VOI CE ( V. O. ) WOMAN' S VOI CE ( V. O. )
. h . l a h . h . l a h . h . l a h . . . Sl asher . . . ki l l i ng al l t hose . . . Sl asher . . . ki l l i ng al l t hose
o n s o a l o n s o a l o n s o a l peopl e? When t hi s i s over and al l i s peopl e? When t hi s i s over and al l i s
i d e u t k w i d e u t k w i d e u t k w sai d and done, you want t o know who' s sai d and done, you want t o know who' s
n e g n . n e g n . n e g n . gonna behi nd i t ? The gover nment . gonna behi nd i t ? The gover nment .
M T S H ( ) M T S H ( ) M T S H ( ) MALE TALK SHOWHOST ( V. O. ) MALE TALK SHOWHOST ( V. O. )
a a k h i a a k h i a a k h i Yeah, l ady?! You t hi nk? What , i s i t Yeah, l ady?! You t hi nk? What , i s i t
f m o o t s h f m o o t s h f m o o t s h a f ul l moon out t oni ght or somet hi ng? a f ul l moon out t oni ght or somet hi ng?
a m r u . a m r u . a m r u . That i s t he most r i di cul ous. . . ! That i s t he most r i di cul ous. . . !
s , T G i s , T G i s , T G i She si ghs, SWI TCHI NG agai n. . . She si ghs, SWI TCHI NG agai n. . .
C N C N C N CONTI NUED CONTI NUED
55. 55.
M E O M E O M E O MAN' S VOI CE ( V. O. ) MAN' S VOI CE ( V. O. )
o k i f l o k i f l o k i f l As Dost oyevski sai d; i f t he devi l As Dost oyevski sai d; i f t he devi l
e l i a a e e l i a a e e l i a a e doesn' t r eal l y exi st , and man cr eat ed doesn' t r eal l y exi st , and man cr eat ed
m n a h n i . m n a h n i . m n a h n i . hi m, man cr eat ed hi mi n hi s own i mage. hi m, man cr eat ed hi mi n hi s own i mage.
R . R . R . RADI O HOST ( V. O. ) RADI O HOST ( V. O. )
o - - s w n o - - s w n o - - s w n Whose- a- what - ski sai d what now? Whose- a- what - ski sai d what now?
C y g u M w Z I A C y g u M w Z I A C y g u M w Z I A J ane SWI TCHES yet agai n, f ed- up. Mel l ow J AZZ MUSI C PLAYS. J ane SWI TCHES yet agai n, f ed- up. Mel l ow J AZZ MUSI C PLAYS.
' a l o t O N . ' a l o t O N . ' a l o t O N . J ane' s gr at ef ul . Soon, t he SONG ENDS. . . J ane' s gr at ef ul . Soon, t he SONG ENDS. . .
J R V J R V J R V J AZZ RADI O DJ ( V. O. ) J AZZ RADI O DJ ( V. O. )
i y . W n i y . W n i y . W n Thi s i s J azzy 102. 4. We' l l begi n Thi s i s J azzy 102. 4. We' l l begi n
o e l e c o e l e c o e l e c anot her commer ci al f r ee bl ock of anot her commer ci al f r ee bl ock of
o j i m t d l o j i m t d l o j i m t d l smoot h j azz i n a moment , and I ' l l smoot h j azz i n a moment , and I ' l l
v n ' g c e v n ' g c e v n ' g c e have t oni ght ' s Mega- J ackpot number s, have t oni ght ' s Mega- J ackpot number s,
t s s t t s s t t s s t but f i r st . . . l et ' s cont i nue wi t h but f i r st . . . l et ' s cont i nue wi t h
n ' w l p T n ' w l p T n ' w l p T t oni ght ' s Town Hal l Topi c; The t oni ght ' s Town Hal l Topi c; The
t h i o e t h i o e t h i o e Sat ani c Sl asher . Ar chi e' s on t he Sat ani c Sl asher . Ar chi e' s on t he
n r h o n r h o n r h o l i ne, f r omChi cago. . . l i ne, f r omChi cago. . .
A E O A E O A E O ARCHI E ( V. O. ) ARCHI E ( V. O. )
a s h t y d a s h t y d a s h t y d Yeah, I got somet hi ng t o say, and I Yeah, I got somet hi ng t o say, and I
p ' t r s n o p ' t r s n o p ' t r s n o hope he' s out t her e l i st eni ng t oo! hope he' s out t her e l i st eni ng t oo!
a G h , h a G h , h a G h , h What i s WRONG wi t h you, Mr . Sl asher ?! What i s WRONG wi t h you, Mr . Sl asher ?!
s O x r n s O x r n s O x r n J ane shut s t he RADI O OFF i n exasper at i on. J ane shut s t he RADI O OFF i n exasper at i on.
D L O D L O D L O DISSOLVE TO: DISSOLVE TO:
E I N I - E G E I N I - E G E I N I - E G INT. JANE'S PICKUP -- IN MOTION -- LATER NIGHT INT. JANE'S PICKUP -- IN MOTION -- LATER NIGHT
W H : d t l a h a D D W H : d t l a h a D D W H : d t l a h a D D THRU THE WI NDSHI ELD: headl i ght s i l l umi nat e t he r oad' s DOTTED THRU THE WI NDSHI ELD: headl i ght s i l l umi nat e t he r oad' s DOTTED
O N h f e y h y i y O N h f e y h y i y O N h f e y h y i y YELLOWLI NE, whi ch f l i cker s by wi t h a hypnot i c r hyt hm. YELLOWLI NE, whi ch f l i cker s by wi t h a hypnot i c r hyt hm.
' a g f i r g v ' a g f i r g v ' a g f i r g v J ane' s st ar t i ng t o f ade, eyel i ds gr owi ng heavy. J ane' s st ar t i ng t o f ade, eyel i ds gr owi ng heavy.
e s a e i o b h U f e s a e i o b h U f e s a e i o b h U f Her eyes shut and her chi n dr ops, but t he SOUND of her Her eyes shut and her chi n dr ops, but t he SOUND of her
S t H E u h o p k o t S t H E u h o p k o t S t H E u h o p k o t TI RES on t he SHOULDER causes her t o snap awake, cor r ect i ng. TI RES on t he SHOULDER causes her t o snap awake, cor r ect i ng.
H O H A H O H A H O H A FURTHER DOWN THE ROAD FURTHER DOWN THE ROAD
s r t h e a g a i c s r t h e a g a i c s r t h e a g a i c J ane pul l s over t o t he shoul der , par ki ng a saf e di st ance J ane pul l s over t o t he shoul der , par ki ng a saf e di st ance
r a S u t n h i r a S u t n h i r a S u t n h i f r omt he r oadway. She t ur ns t he engi ne and headl i ght s of f . f r omt he r oadway. She t ur ns t he engi ne and headl i ght s of f .
A U A U A U IN JANE'S PICKUP IN JANE'S PICKUP
h A c y a o t o M m h A c y a o t o M m h A c y a o t o M m Anot her CAR r aces by. J ane l ocks t he door s, get s her Magnum Anot her CAR r aces by. J ane l ocks t he door s, get s her Magnum
g a n u t t e e g a n u t t e e g a n u t t e e f r omt he gl ove compar t ment , put s i t on t he seat besi de her . f r omt he gl ove compar t ment , put s i t on t he seat besi de her .
l b s . s . l b s . s . l b s . s . Set t l i ng back, J ane shut s her eyes. Rest i ng. Set t l i ng back, J ane shut s her eyes. Rest i ng.
D L O D L O D L O DISSOLVE TO: DISSOLVE TO:
H - T I H - T I H - T I EXT. HIGHWAY -- LATER NIGHT EXT. HIGHWAY -- LATER NIGHT
' c s i r s ' c s i r s ' c s i r s J ane' s pi ckup si t s i n dar kness. J ane' s pi ckup si t s i n dar kness.
56. 56.
A U A U A U IN JANE'S PICKUP IN JANE'S PICKUP
' u s e n a s . ' u s e n a s . ' u s e n a s . J ane' s sl umped down acr oss t he f r ont seat , asl eep. J ane' s sl umped down acr oss t he f r ont seat , asl eep.
G e t a t f a G e t a t f a G e t a t f a She GASPS awake, si t t i ng up, as i f st ar t l ed f r oma She GASPS awake, si t t i ng up, as i f st ar t l ed f r oma
t . e k o f d i d t . e k o f d i d t . e k o f d i d ni ght mar e. She l ooks ar ound, f ear f ul , di sor i ent ed. ni ght mar e. She l ooks ar ound, f ear f ul , di sor i ent ed.
r e h A H n n t r r e h A H n n t r r e h A H n n t r She r eaches t o t ur n on t he HEADLI GHTS: not hi ng out t her e. She r eaches t o t ur n on t he HEADLI GHTS: not hi ng out t her e.
H A E H A E H A E ON THE ROADSIDE ON THE ROADSIDE
b o e s r e r t a . b o e s r e r t a . b o e s r e r t a . J ane cl i mbs f r omt he passenger si de, her pi st ol r ai sed. J ane cl i mbs f r omt he passenger si de, her pi st ol r ai sed.
s e a h d o w . l e y s e a h d o w . l e y s e a h d o w . l e y She' s ut t er l y al one i n t he mi ddl e of nowher e. Al l i s eer i l y She' s ut t er l y al one i n t he mi ddl e of nowher e. Al l i s eer i l y
t s l s u o h u . t s l s u o h u . t s l s u o h u . qui et as she sl owl y moves ar ound t o t he back of t he t r uck. . . qui et as she sl owl y moves ar ound t o t he back of t he t r uck. . .
d v n e r d v n e r d v n e r She di scover s no one t her e. She di scover s no one t her e.
s w t e o t e v . s w t e o t e v . s w t e o t e v . J ane edges f or war d t o peer ar ound t o t he dr i ver ' s si de. J ane edges f or war d t o peer ar ound t o t he dr i ver ' s si de.
t , t s y t e d d t , t s y t e d d t , t s y t e d d She t ur ns, gun poi nt ed, sur veyi ng t he near by f i el ds and She t ur ns, gun poi nt ed, sur veyi ng t he near by f i el ds and
s e . l l , t . n s s e . l l , t . n s s e . l l , t . n s f or est s beyond. Fol i age undul at es, r ust l i ng. Hundr eds of f or est s beyond. Fol i age undul at es, r ust l i ng. Hundr eds of
s n w o o r r p s n w o o r r p s n w o o r r p st ar s shi ne down f r omabove. J ane l ower s her weapon. st ar s shi ne down f r omabove. J ane l ower s her weapon.
l r w h m E m . l r w h m E m . l r w h m E m . She l ooks down t he r oad, t he way she came. Empt y f or mi l es. She l ooks down t he r oad, t he way she came. Empt y f or mi l es.
C O C O C O CUT TO: CUT TO:
E T A E T A E T A EXT. INTERSTATE 70 -- DAWN EXT. INTERSTATE 70 -- DAWN
O n r h O n r h O n r h FOLLOWJ ane' s r ed Chevy. FOLLOWJ ane' s r ed Chevy.
J ( ) J ( ) J ( ) J ANE ( V. O. ) J ANE ( V. O. )
' s t a ' s t a ' s t a We' r e aski ng al l t he maj or , East We' r e aski ng al l t he maj or , East
a o c s h u n a o c s h u n a o c s h u n Coast hot el chai ns t o hel p us f i nd Coast hot el chai ns t o hel p us f i nd
e s . e s . e s . t he Sl asher , yes, si r . . . t he Sl asher , yes, si r . . .
E I N I - N E I N I - N E I N I - N INT. JANE'S PICKUP -- IN MOTION -- DAWN INT. JANE'S PICKUP -- IN MOTION -- DAWN
e n e y e n e y e n e y J ane dr i ves, on her phone, as al ways. J ane dr i ves, on her phone, as al ways.
JJJJ ANE J ANE
i C P ) i C P ) i C P ) ( i nt o CELL PHONE) ( i nt o CELL PHONE)
' p l m a o s ' p l m a o s ' p l m a o s I t ' s especi al l y i mpor t ant you pass I t ' s especi al l y i mpor t ant you pass
i f t a n i f t a n i f t a n t hi s i nf or mat i on al ong t o any of your t hi s i nf or mat i on al ong t o any of your
t o f e t , t t o f e t , t t o f e t , t hot el s of f of I nt er st at e 70, east of hot el s of f of I nt er st at e 70, east of
l s i l s i l s i Col umbus, Ohi o. Col umbus, Ohi o.
W H : r a I G r L S W H : r a I G r L S W H : r a I G r L S THRU THE WI NDSHI ELD: t her e' s an EXI T SI GN f or " COLUMBUS. " THRU THE WI NDSHI ELD: t her e' s an EXI T SI GN f or " COLUMBUS. "
N M - W N M - W N M - W EXT. DOWNTOWN COLUMBUS -- DAWN EXT. DOWNTOWN COLUMBUS -- DAWN
' c s s n T ' c s s n T ' c s s n T J ane' s pi ckup speeds down t he exi t r amp ont o DOWNTOWN J ane' s pi ckup speeds down t he exi t r amp ont o DOWNTOWN
E c s k g E E s E c s k g E E s E c s k g E E s STREETS. The ci t y' s awakeni ng. A STREET CLEANER cr ui ses. STREETS. The ci t y' s awakeni ng. A STREET CLEANER cr ui ses.
J ( ) J ( ) J ( ) J ANE ( V. O. ) J ANE ( V. O. )
e p i m c i a e p i m c i a e p i m c i a The suspect i s al most cer t ai nl y a The suspect i s al most cer t ai nl y a
i a v e g i a v e g i a v e g whi t e mal e. Of aver age hei ght . whi t e mal e. Of aver age hei ght .
o b . a n o o b . a n o o b . a n o St ocky bui l d. Tr avel i ng al one. St ocky bui l d. Tr avel i ng al one.
( ) ( ) ( ) ( mor e) ( mor e)
C N C N C N CONTI NUED CONTI NUED
57. 57.
J ( . O J ( . O J ( . O J ANE ( CONT. ; V. O. ) J ANE ( CONT. ; V. O. )
a i o f a i o f a i o f He pays i n cash. He wi l l not of f er He pays i n cash. He wi l l not of f er
y n c n a . y n c n a . y n c n a . any i dent i f i cat i on i f asked. any i dent i f i cat i on i f asked.
' c p h r a ' c p h r a ' c p h r a J ane' s pi ckup pul l s over t o t he cur b, par ks. J ane' s pi ckup pul l s over t o t he cur b, par ks.
A U I S A U I S A U I S IN JANE'S PICKUP -- CONTINUOUS IN JANE'S PICKUP -- CONTINUOUS
JJJJ ANE J ANE
i C P ) i C P ) i C P ) ( i nt o CELL PHONE) ( i nt o CELL PHONE)
s k i e f s k i e f s k i e f Most l i kel y, he wi l l be on f oot , Most l i kel y, he wi l l be on f oot ,
v l h e e h v l h e e h v l h e e h havi ng l ef t hi s vehi cl e wi t hi n havi ng l ef t hi s vehi cl e wi t hi n
l a l u e l a l u e l a l u e wal ki ng di st ance. Woul d you l i ke me wal ki ng di st ance. Woul d you l i ke me
a y t a y t a y t t o r epeat any of t hi s? t o r epeat any of t hi s?
s o s G E T s o s G E T s o s G E T J ane wor ks her l apt op, usi ng GOOGLE EARTH. . . J ane wor ks her l apt op, usi ng GOOGLE EARTH. . .
I n a d y e M . I n a d y e M . I n a d y e M . ZOOMI NG i n on a bi r d' s- eye vi ew of COLUMBUS, OHI O. ZOOMI NG i n on a bi r d' s- eye vi ew of COLUMBUS, OHI O.
JJJJ ANE J ANE
a r d f a r d f a r d t f What ever you do, do not conf r ont t hi s What ever you do, do not conf r ont t hi s
n f s c n f s c n f s c man. I f you have any suspi ci ons man. I f you have any suspi ci ons
o t o t o t about a guest you f eel f i t s t hi s about a guest you f eel f i t s t hi s
s t i i y s t i i y s t i i y descr i pt i on, cal l 911 i mmedi at el y. descr i pt i on, cal l 911 i mmedi at el y.
H P h t U " w o a H P h t U " w o a H P h t U " w o a ON THE LAPTOP: as t he ci t y of "COLUMBUS" gr ows cl oser and ON THE LAPTOP: as t he ci t y of "COLUMBUS" gr ows cl oser and
e D S T m i s e e D S T m i s e e D S T m i s e cl oser - - BUI LDI NGS and STREETS comi ng i nt o shar p r el i ef - - cl oser - - BUI LDI NGS and STREETS comi ng i nt o shar p r el i ef - -
Z I E p h s i e a Z I E p h s i e a Z I E p h s i e a a DOZEN PI NK BEDS appear i n t he busy gr i d of st r eet s maki ng a DOZEN PI NK BEDS appear i n t he busy gr i d of st r eet s maki ng
h W N a c N O p n I h W N a c N O p n I h W N a c N O p n I up t he DOWNTOWN ar ea, each PI NK I CON r epr esent i ng LODGI NG. up t he DOWNTOWN ar ea, each PI NK I CON r epr esent i ng LODGI NG.
JJJJ ANE J ANE
d e e f a d e e f a d e e f a And i mmedi at el y af t er war ds, cal l t he And i mmedi at el y af t er war ds, cal l t he
l n e c s e b l n e c s e b l n e c s e b f ol l owi ng emer gency r esponse number ; f ol l owi ng emer gency r esponse number ;
5 - . d t 5 - . d t 5 - . d t 785- 555- 1322. Di d you get t hat ? 785- 555- 1322. Di d you get t hat ?
H P s o R v n H P s o R v n H P s o R v n ON THE LAPTOP: J ane moves t he cur sor ARROWover one ON THE LAPTOP: J ane moves t he cur sor ARROWover one
g , c e O " O O g , c e O " O O g , c e O " O O " l odgi ng" i con, whi ch opens a WORD BALLOON: " MIDTOWN MOTEL, " l odgi ng" i con, whi ch opens a WORD BALLOON: " MIDTOWN MOTEL,
i t o u H 2 p : - 4 " i t o u H 2 p : - 4 " i t o u H 2 p : - 4 " 10 High Street N, Columbus, OH, 43215, phone: 614-555-4302. " 10 High Street N, Columbus, OH, 43215, phone: 614-555-4302. "
l c b g e T K l c b g e T K l c b g e T K J ane shoul der s her cel l , scr i bbl i ng t he i nf o i n her NOTEBOOK. J ane shoul der s her cel l , scr i bbl i ng t he i nf o i n her NOTEBOOK.
JJJJ ANE J ANE
e b t r d e b t r d e b t r d Ther e' s a subst ant i al r ewar d, of Ther e' s a subst ant i al r ewar d, of
u i w o e h u i w o e h u i w o e h cour se. We i n l aw enf or cement t hank cour se. We i n l aw enf or cement t hank
u c y s e u c y s e u c y s e you si ncer el y f or your assi st ance and you si ncer el y f or your assi st ance and
o t o t o t cooper at i on. cooper at i on.
s r o k t a . s r o k t a . s r o k t a . J ane hangs up, r et ur ns t o wor ki ng t he l apt op. . . J ane hangs up, r et ur ns t o wor ki ng t he l apt op. . .
i o n a n o i o n a n o i o n a n o Copyi ng mor e i nf or mat i on i nt o her not ebook. Copyi ng mor e i nf or mat i on i nt o her not ebook.
E T L D - T E T L D - T E T L D - T EXT. "THE MIDTOWN" MOTEL -- DAY -- MONTAGE EXT. "THE MIDTOWN" MOTEL -- DAY -- MONTAGE
' c a e e g L ' c a e e g L ' c a e e g L J ane' s pi ckup ar r i ves at t hi s r at her haggar d MOTEL. J ane' s pi ckup ar r i ves at t hi s r at her haggar d MOTEL.
IN THE MOTEL'S LOBBY H T Y H T Y IN THE MOTEL'S LOBBY IN THE MOTEL'S LOBBY
, J T a b , n C E , J T a b , n C E , J T a b , n C E J ane, i n J ACKET, f l ashes her badge, l eans on t he COUNTER. J ane, i n J ACKET, f l ashes her badge, l eans on t he COUNTER.
F E E n S , r e F S F E E n S , r e F S F E E n S , r e F S The FEMALE OWNER, i n DRESSI NG GOWN, peer s over BI FOCALS. The FEMALE OWNER, i n DRESSI NG GOWN, peer s over BI FOCALS.
C N C N C N CONTI NUED CONTI NUED
58. 58.
JJJJ ANE J ANE
f n S a f n S a f n S a Of f i cer Thor ne. Speci al Of f i cer Thor ne. Speci al
v g n f o a o v g n f o a o v g n f o a o i nvest i gat i on. I f I coul d ask you a i nvest i gat i on. I f I coul d ask you a
w s s y a o l w s s y a o l w s s y a o l f ew quest i ons, maybe have you hel p us f ew quest i ons, maybe have you hel p us
e o o s c e o o s c e o o s c keep an eye out f or a suspect . . . keep an eye out f or a suspect . . .
M O M G M O M G M O M G COLUMBUS, OHIO -- MOTEL MONTAGE -- DAY COLUMBUS, OHIO -- MOTEL MONTAGE -- DAY
v u T n T O S v u T n T O S v u T n T O S - I n var i ous HOTEL and MOTEL LOBBI ES. . . - I n var i ous HOTEL and MOTEL LOBBI ES. . .
o a s C T . o a s C T . o a s C T . Acr oss var i ous CHECK- I N COUNTERS. . . Acr oss var i ous CHECK- I N COUNTERS. . .
e p s y w h a a p n e p s y w h a a p n e p s y w h a a p n J ane keeps casual l y showi ng her badge and speaki ng t o many J ane keeps casual l y showi ng her badge and speaki ng t o many
F T R n N o o y e n F T R n N o o y e n F T R n N o o y e n DI FFERENT CLERKS and OWNERS, al l of whompay at t ent i on, DI FFERENT CLERKS and OWNERS, al l of whompay at t ent i on,
e l e t t e e o a . e l e t t e e o a . e l e t t e e o a . mor e- or - l ess, t o her aut hor i t at i ve spi el , f or exampl e. . . mor e- or - l ess, t o her aut hor i t at i ve spi el , f or exampl e. . .
e k s l d t t A o e k s l d t t A o e k s l d t t A o - J ane t al ks at a di shevel ed, di si nt er est ed MAN who' s - J ane t al ks at a di shevel ed, di si nt er est ed MAN who' s
i I t g w a + . i I t g w a + . i I t g w a + . eat i ng a TV DI NNER and t r yi ng t o wat ch a smal l B+WTV. eat i ng a TV DI NNER and t r yi ng t o wat ch a smal l B+WTV.
e a o o F E K R o t e a o o F E K R o t e a o o F E K R o t - J ane speaks t o a young FEMALE DESK CLERK who l i st ens - J ane speaks t o a young FEMALE DESK CLERK who l i st ens
, w h u e l m t e u , w h u e l m t e u , w h u e l m t e u and nods, chewi ng her gumt he whol e t i me wi t h open mout h. and nods, chewi ng her gumt he whol e t i me wi t h open mout h.
e s I U T N a I e s I U T N a I e s I U T N a I - J ane i s shown a PRI NT- OUT of GUESTS by a MAN i n a PLAI D - J ane i s shown a PRI NT- OUT of GUESTS by a MAN i n a PLAI D
T h y O V n k t l d S T h y O V n k t l d S T h y O V n k t l d S SUI T wi t h a dyed COMB OVER and coke- bot t l e l ensed GLASSES. SUI T wi t h a dyed COMB OVER and coke- bot t l e l ensed GLASSES.
N M - Y M G N M - Y M G N M - Y M G EXT. DOWNTOWN COLUMBUS -- DAY -- MONTAGE EXT. DOWNTOWN COLUMBUS -- DAY -- MONTAGE
s s W N F e h o s s W N F e h o s s W N F e h o Ami dst busy DOWNTOWN TRAFFI C, J ane i s seat ed on t he hood of Ami dst busy DOWNTOWN TRAFFI C, J ane i s seat ed on t he hood of
p d k t g h a . p d k t g h a . p d k t g h a . her par ked pi ckup, t ypi ng on her l apt op. her par ked pi ckup, t ypi ng on her l apt op.
H P o h M Z V , H P o h M Z V , H P o h M Z V , ON THE LAPTOP: as Googl e Ear t h ZOOMS i n on " ZANESVILLE, " ON THE LAPTOP: as Googl e Ear t h ZOOMS i n on " ZANESVILLE, "
i n t P P n e E T . i n t P P n e E T . i n t P P n e E T . l odgi ng i ndi cat or s POP UP al ongsi de I NTERSTATE 70. l odgi ng i ndi cat or s POP UP al ongsi de I NTERSTATE 70.
E I N I - O E E I N I - O E E I N I - O E INT. JANE'S PICKUP -- IN MOTION -- DAY -- MONTAGE INT. JANE'S PICKUP -- IN MOTION -- DAY -- MONTAGE
e B e , o a l W O e B e , o a l W O e B e , o a l W O J ane dr i ves. Besi de her , her l apt op pl ays ol d NEWS FOOTAGE J ane dr i ves. Besi de her , her l apt op pl ays ol d NEWS FOOTAGE
i n V E o C S i n V E o C S i n V E o C S f r omt he i nt er net ; VI DEO I MAGES showi ng POLI CEMEN and SWAT f r omt he i nt er net ; VI DEO I MAGES showi ng POLI CEMEN and SWAT
C t g p i o d g c R C t g p i o d g c R C t g p i o d g c R OFFI CERS t aki ng up posi t i ons out si de a got hi c CHURCH. OFFI CERS t aki ng up posi t i ons out si de a got hi c CHURCH.
R T E O R T E O R T E O REPORTER' S VOI CE ( V. O. ) REPORTER' S VOI CE ( V. O. )
f L P f L P f L P ( f r omLAPTOP) ( f r omLAPTOP)
. b y , h o e . b y , h o e . b y , h o e . . . t r oubl ed yout h, wi t h a l ong r ecor d . . . t r oubl ed yout h, wi t h a l ong r ecor d
n o s h s a n o s h s a n o s h s a of j uveni l e of f enses, he was equal l y of j uveni l e of f enses, he was equal l y
o d a u o d a u o d a u t r oubl ed as an adul t . t r oubl ed as an adul t .
c o i n O c o i n O c o i n O J ane not i ces somet hi ng i n t he SI DE MI RROR. J ane not i ces somet hi ng i n t he SI DE MI RROR.
H R e c g v f . H R e c g v f . H R e c g v f . I N THE MI RROR: t her e' s a VAN comi ng up ver y f ast . . . I N THE MI RROR: t her e' s a VAN comi ng up ver y f ast . . .
g l , c v h A g e . g l , c v h A g e . g l , c v h A g e . Changi ng l anes, whi ch r eveal s anot her VAN r i ght behi nd. Changi ng l anes, whi ch r eveal s anot her VAN r i ght behi nd.
R T E O R T E O R T E O REPORTER' S VOI CE ( V. O. ) REPORTER' S VOI CE ( V. O. )
f L P f L P f L P ( f r omLAPTOP) ( f r omLAPTOP)
a g w r o e a g w r o e a g w r o e Cl ai mi ng he was t r yi ng t o conj ur e Cl ai mi ng he was t r yi ng t o conj ur e
t R s u g e t R s u g e t R s u g e Sat an, Reeves r i t ual l y sl aught er ed Sat an, Reeves r i t ual l y sl aught er ed
e m n m e e h e m n m e e h e m n m e e h t he 13 men and women he br i ef l y hel d t he 13 men and women he br i ef l y hel d
s d e r h a s d e r h a s d e r h a host age i nsi de t he chur ch t hat day. host age i nsi de t he chur ch t hat day.
c o t o c o t o c o t o J ane gl ances down at t he l apt op. . . J ane gl ances down at t he l apt op. . .
C N C N C N CONTI NUED CONTI NUED
59. 59.
H P A E D V s w T H P A E D V s w T H P A E D V s w T ON THE LAPTOP: RI CHARD LEONARD REEVES i s shown i n COURT, i n ON THE LAPTOP: RI CHARD LEONARD REEVES i s shown i n COURT, i n
K a r S h b a o t K a r S h b a o t K a r S h b a o t SHACKLES and pr i son J UMPSUI T, hi s head bowed f or war d so t hat SHACKLES and pr i son J UMPSUI T, hi s head bowed f or war d so t hat
l n r e s e l n r e s e l n r e s e hi s l ong, br own hai r hi des hi s f ace. hi s l ong, br own hai r hi des hi s f ace.
R T E O R T E O R T E O REPORTER' S VOI CE ( V. O. ) REPORTER' S VOI CE ( V. O. )
r a g c h l r a g c h l r a g c h l Dur i ng a si ege on t he chur ch, pol i ce Dur i ng a si ege on t he chur ch, pol i ce
f s a t p e f s a t p e f s a t p e of f i cer s managed t o capt ur e Reeves of f i cer s managed t o capt ur e Reeves
i o s o e i o s o e i o s o e al i ve. He conf essed t o hi s cr i mes al i ve. He conf essed t o hi s cr i mes
d t y t d d . d t y t d d . d t y t d d . and was event ual l y sent enced t o deat h. and was event ual l y sent enced t o deat h.
s t t i v a W H A l s t t i v a W H A l s t t i v a W H A l J ane l ooks l ef t as t he f i r st van, a FLOWER SHOP VAN, f l i es J ane l ooks l ef t as t he f i r st van, a FLOWER SHOP VAN, f l i es
s d C A o b f s s d C A o b f s s d C A o b f s by. The second, a CABLE TV VAN, zooms by i n t he f i r st van' s by. The second, a CABLE TV VAN, zooms by i n t he f i r st van' s
. e i l a , h h T I S . e i l a , h h T I S . e i l a , h h T I S wake. They swi t ch l anes i n t andem, bot h wi t h TI NTED WI NDOWS. wake. They swi t ch l anes i n t andem, bot h wi t h TI NTED WI NDOWS.
R T E O R T E O R T E O REPORTER' S VOI CE ( V. O. ) REPORTER' S VOI CE ( V. O. )
t w t l 3 t a t w t l 3 t a t w t l 3 t a But i t wasn' t t i l l 2003 t hat Sat ani st But i t wasn' t t i l l 2003 t hat Sat ani st
c a e l e c a e l e c a e l e Ri char d Leonar d Reeves f i nal l y met Ri char d Leonar d Reeves f i nal l y met
s , n w h n l s , n w h n l s , n w h n l hi s end, when he was shot and ki l l ed hi s end, when he was shot and ki l l ed
i t i o a i t i o a i t i o a whi l e at t acki ng a pr i son guar d. whi l e at t acki ng a pr i son guar d.
E T E P S - N E T E P S - N E T E P S - N EXT. INTERSTATE 70 -- HELICOPTER SHOT -- MONTAGE EXT. INTERSTATE 70 -- HELICOPTER SHOT -- MONTAGE
A O o s e i , w a n A O o s e i , w a n A O o s e i , w a n AERI AL SHOT: f ol l ows J ane' s pi ckup, f ar bel ow, t r avel i ng AERI AL SHOT: f ol l ows J ane' s pi ckup, f ar bel ow, t r avel i ng
0 t n t e t T P 0 t n t e t T P 0 t n t e t T P east on 70. . . t ur ni ng ont o t he next EXI T RAMP. east on 70. . . t ur ni ng ont o t he next EXI T RAMP.
O H O A G - T O H O A G - T O H O A G - T VARIOUS OHIO MOTELS -- DAY/NIGHT -- MONTAGE VARIOUS OHIO MOTELS -- DAY/NIGHT -- MONTAGE
w d c o a u r . w d c o a u r . w d c o a u r . - Shown i n r api d successi on, J ane' s pi ckup ar r i ves at . . . - Shown i n r api d successi on, J ane' s pi ckup ar r i ves at . . .
i o L O , S E D . i o L O , S E D . i o L O , S E D . Var i ous ot her HOTELS, MOTELS, I NNS and TRAVEL LODGES. . . Var i ous ot her HOTELS, MOTELS, I NNS and TRAVEL LODGES. . .
e l , e e a a h t . e l , e e a a h t . e l , e e a a h t . Modest pl aces, some mor e r ur al t han ot her s, and t hen. . . Modest pl aces, some mor e r ur al t han ot her s, and t hen. . .
e . t o O k M e . t o O k M e . t o O k M - Lat e day. I n f r ont of one MOTEL, J ane speaks t o a FEMALE - Lat e day. I n f r ont of one MOTEL, J ane speaks t o a FEMALE
P O n - w s L E P O n - w s L E P O n - w s L E PROPRI ETOR, i n t i e- dye, who wat er s a FLOWER GARDEN. PROPRI ETOR, i n t i e- dye, who wat er s a FLOWER GARDEN.
k a t r o e I f h k a t r o e I f h k a t r o e I f h - Dusk. J ane st ands i n f r ont of t he OFFI CE of yet anot her - Dusk. J ane st ands i n f r ont of t he OFFI CE of yet anot her
E h p y e o W h a E h p y e o W h a E h p y e o W h a MOTEL, whose por t l y, gr egar i ous OWNER has a BEER i n hand. MOTEL, whose por t l y, gr egar i ous OWNER has a BEER i n hand.
e k h t N S f e N e k h t N S f e N e k h t N S f e N J ane l ooks up as t he mot el ' s bi g NEON SI GN f l i cker s ON. J ane l ooks up as t he mot el ' s bi g NEON SI GN f l i cker s ON.
h J e O E a n R G h J e O E a n R G h J e O E a n R G - Ni ght . J ane exi t s t he OFFI CE of a neon- l i t MOTOR LODGE, - Ni ght . J ane exi t s t he OFFI CE of a neon- l i t MOTOR LODGE,
e t b a e a e k e t b a e a e k e t b a e a e k t akes out her not ebook and r eads as she wal ks. . . t akes out her not ebook and r eads as she wal ks. . .
H R H R H R ON THE STREET ON THE STREET
e u l h e e e u l h e e e u l h e e J ane get s i n her t r uck. She l ooks down at what ever she' s J ane get s i n her t r uck. She l ooks down at what ever she' s
g d n a e l P L . g d n a e l P L . g d n a e l P L . doi ng, and soon her f ace i s bat hed i n t el l t al e LAPTOP LI GHT. doi ng, and soon her f ace i s bat hed i n t el l t al e LAPTOP LI GHT.
R E R E R E INSERT -- CLOSE-UP: INSERT -- CLOSE-UP:
A O o h o a I N A O o h o a I N A O o h o a I N ON J ANE' S LAPTOP: Googl e Ear t h i s once agai n ZOOMI NG I N - - ON J ANE' S LAPTOP: Googl e Ear t h i s once agai n ZOOMI NG I N - -
a B E h m L N O P . a B E h m L N O P . a B E h m L N O P . r eveal i ng " CAMBRIDGE, " wher e mor e LODGI NG I CONS APPEAR. r eveal i ng " CAMBRIDGE, " wher e mor e LODGI NG I CONS APPEAR.
B E F H - H A B E F H - H A B E F H - H A INT. CAMBRIDGE COFFEE SHOP -- NIGHT -- MONTAGE INT. CAMBRIDGE COFFEE SHOP -- NIGHT -- MONTAGE
H n s s h d e H n s s h d e H n s s h d e I N A BOOTH, J ane has her ar ms cr ossed, head down, asl eep. I N A BOOTH, J ane has her ar ms cr ossed, head down, asl eep.
I S p , i g e O I S p , i g e O I S p , i g e O A WAI TRESS st eps up, r ef i l l i ng J ane' s COFFEE CUP. A WAI TRESS st eps up, r ef i l l i ng J ane' s COFFEE CUP.
s t , e , s n s t , e , s n s t , e , s n J ane st i r s, si t s up, sheepi sh, nods t hanks. J ane st i r s, si t s up, sheepi sh, nods t hanks.
C N C N C N CONTI NUED CONTI NUED
60. 60.
W E W E W E WAI TRESS WAI TRESS
n u o n u o n u o Congr at ul at i ons. Congr at ul at i ons.
n n t r n t n n t r n t n n t r n t J ane doesn' t under st and. The wai t r ess nods t o. . . J ane doesn' t under st and. The wai t r ess nods t o. . .
' a t g t n r - a t d n ' a t g t n r - a t d n ' a t g t n r - a t d n J ane' s l eaf ed- t hr ough- wi t h- many- cor ner s- of - pages- t ur ned- down J ane' s l eaf ed- t hr ough- wi t h- many- cor ner s- of - pages- t ur ned- down
g y d A A n e g y d A A n e g y d A A n e " Pr egnancy Gui de" PAPERBACK on t he t abl e. " Pr egnancy Gui de" PAPERBACK on t he t abl e.
JJJJ ANE J ANE
. a a h . . a a h . . a a h . Oh. Thanks. Speaki ng of whi ch. . . Oh. Thanks. Speaki ng of whi ch. . .
u a s , a u a s , a u a s , a coul d I get a gl ass of mi l k, pl ease? coul d I get a gl ass of mi l k, pl ease?
r n . n k u s , l n r n . n k u s , l n r n . n k u s , l n Wai t r ess nods, goes. J ane t akes out a smal l , cel l ophane Wai t r ess nods, goes. J ane t akes out a smal l , cel l ophane
I N t n e t T p s I N t n e t T p s I N t n e t T p s pack of VI TAMI NS, st ar t s t aki ng t hemwi t h WATER. She pushes pack of VI TAMI NS, st ar t s t aki ng t hemwi t h WATER. She pushes
n o n l o s s o n o n l o s s o n o n l o s s o her not ebook and cel l phone asi de, opens her l apt op. her not ebook and cel l phone asi de, opens her l apt op.
E ' e T K e A a u f y E ' e T K e A a u f y E ' e T K e A a u f y CLOSE ON: J ane' s open NOTEBOOK, wher e PAGES ar e f ul l of many CLOSE ON: J ane' s open NOTEBOOK, wher e PAGES ar e f ul l of many
L E D S n O U S l S O L E D S n O U S l S O L E D S n O U S l S O MOTEL NAMES, ADDRESSES and PHONE NUMBERS, al l CROSSED OFF. MOTEL NAMES, ADDRESSES and PHONE NUMBERS, al l CROSSED OFF.
H P L . e e e H P L . e e e H P L . e e e ON THE LAPTOP: J ane GOOGLES. . . " open the gates. " ON THE LAPTOP: J ane GOOGLES. . . " open the gates. "
C S l A S s C h C S l A S s C h C S l A S s C h She CLI CKS one r esul t . A WEBSI TE shows t he COVER of t he She CLI CKS one r esul t . A WEBSI TE shows t he COVER of t he
M E E E , o t - , n M E E E , o t - , n M E E E , o t - , n ALBUM " OPEN THE GATES OF HELL, " f r omt ot al l y- 80' s, Spandex- ALBUM " OPEN THE GATES OF HELL, " f r omt ot al l y- 80' s, Spandex-
r b a E f Y A N r b a E f Y A N r b a E f Y A N at t i r ed, bi g- hai r ed MEMBERS of t he HEAVY METAL BAND, at t i r ed, bi g- hai r ed MEMBERS of t he HEAVY METAL BAND,
H , s r i y h t g l . H , s r i y h t g l . H , s r i y h t g l . " BAPHOMET, " posed dr amat i cal l y wi t h gui t ar s, amongst f l ames. " BAPHOMET, " posed dr amat i cal l y wi t h gui t ar s, amongst f l ames.
' e e s r t ' e e s r t ' e e s r t J ane' s bl ear y eyes st udy t he r esul t . J ane' s bl ear y eyes st udy t he r esul t .
H P K " B C " p e u H P K " B C " p e u H P K " B C " p e u ON THE LAPTOP: CLI CKI NG " See Back Cover " f l i ps t he al bum, ON THE LAPTOP: CLI CKI NG " See Back Cover " f l i ps t he al bum,
a K T l C h r a K T l C h r a K T l C h r r eveal i ng TRACK LI STI NGS over an ol d ETCHI NG of t he eer i e r eveal i ng TRACK LI STI NGS over an ol d ETCHI NG of t he eer i e
a G h v e t d o K a a G h v e t d o K a a G h v e t d o K a Sabbat i c Goat , whi ch we' ve seen t at t ooed acr oss PK' s back. Sabbat i c Goat , whi ch we' ve seen t at t ooed acr oss PK' s back.
F H A G O S E A F H A G O S E A F H A G O S E A EXT. COFFEE SHOP PARKING LOT -- MOMENTS LATER -- MONTAGE EXT. COFFEE SHOP PARKING LOT -- MOMENTS LATER -- MONTAGE
i e y a h r s i e y a h r s i e y a h r s Wal ki ng wear i l y t owar ds her t r uck, J ane st ops. Wal ki ng wear i l y t owar ds her t r uck, J ane st ops.
t , i f f U f E P t , i f f U f E P t , i f f U f E P She t ur ns, not i ci ng t he f ar of f SOUND of a HELI COPTER. She t ur ns, not i ci ng t he f ar of f SOUND of a HELI COPTER.
h g k n a L S a h g k n a L S a h g k n a L S a I n t he ni ght sky, i n t he di st ance, t he LI GHTS of a I n t he ni ght sky, i n t he di st ance, t he LI GHTS of a
C R e o d T E C R e o d T E C R e o d T E HELI COPTER can be seen. I t hover s st eadi l y, FAI NTLY HEARD. HELI COPTER can be seen. I t hover s st eadi l y, FAI NTLY HEARD.
n p n s o r k o n p n s o r k o n p n s o r k o J ane goes ar ound t o t he passenger si de of her pi ckup, opens J ane goes ar ound t o t he passenger si de of her pi ckup, opens
d a a o I L f t l c r t d a a o I L f t l c r t d a a o I L f t l c r t t he door and t akes out BI NOCULARS f r omt he gl ove compar t ment . t he door and t akes out BI NOCULARS f r omt he gl ove compar t ment .
' V ' V ' V JANE'S POV JANE'S POV
C S e h f b C R C S e h f b C R C S e h f b C R THRU BI NOCULARS: t he l i ght s of t he j et - bl ack HELI COPTER ar e THRU BI NOCULARS: t he l i ght s of t he j et - bl ack HELI COPTER ar e
t c l s s s r . a . t c l s s s r . a . t c l s s s r . a . pr et t y much al l she can see as i t ' s veer i ng. . . headi ng away. pr et t y much al l she can see as i t ' s veer i ng. . . headi ng away.
E O E E O E E O E END MONTAGE END MONTAGE
E T O G E T O G E T O G EXT. INTERSTATE 70 -- MORNING EXT. INTERSTATE 70 -- MORNING
' c t e , v r ' c t e , v r ' c t e , v r J ane' s pi ckup t akes a f r eeway exi t , " Havenhur st . " J ane' s pi ckup t akes a f r eeway exi t , " Havenhur st . "
L Y E N o L Y E N o L Y E N o A DELI VERY VAN wi t h TI NTED WI NDOWS f ol l ows. A DELI VERY VAN wi t h TI NTED WI NDOWS f ol l ows.
E S H - N E S H - N E S H - N EXT. HAVENHURST, OHIO -- MORNING EXT. HAVENHURST, OHIO -- MORNING
' u o t g i d s - e o ' u o t g i d s - e o ' u o t g i d s - e o J ane' s t r uck moves t hr ough t hi s medi um- si zed- at - best t own. J ane' s t r uck moves t hr ough t hi s medi um- si zed- at - best t own.
61. 61.
A U A U A U IN JANE'S PICKUP IN JANE'S PICKUP
e i o e i f e i o e i f e i o e i f J ane i s begi nni ng t o t ake not i ce of . . . J ane i s begi nni ng t o t ake not i ce of . . .
d e a M R a m o h I d e a M R a m o h I d e a M R a m o h I The del i ver y van i n her MI RROR. Can' t make out t he DRI VER. The del i ver y van i n her MI RROR. Can' t make out t he DRI VER.
H R H R H R ON THE STREET ON THE STREET
s i n t u E s i n t u E s i n t u E J ane t akes a r i ght , ont o Havenhur st ' s quai nt MAI N STREET. J ane t akes a r i ght , ont o Havenhur st ' s quai nt MAI N STREET.
d e a o m s t o . d e a o m s t o . d e a o m s t o . The del i ver y van sl owl y makes t he same t ur n, f ol l owi ng. The del i ver y van sl owl y makes t he same t ur n, f ol l owi ng.
A U A U A U IN JANE'S PICKUP IN JANE'S PICKUP
h h t g e n r h h h t g e n r h h h t g e n r h J ane wat ches whi l e t aki ng t he next cor ner , anot her r i ght . J ane wat ches whi l e t aki ng t he next cor ner , anot her r i ght .
H R d e a o . n f H R d e a o . n f H R d e a o . n f I N THE MI RROR: t he del i ver y van sl ows. . . t ur ns l ef t . I N THE MI RROR: t he del i ver y van sl ows. . . t ur ns l ef t .
s i d i o s i d i o s i d i o J ane seems sat i sf i ed, dr i ves on. J ane seems sat i sf i ed, dr i ves on.
C O C O C O CUT TO: CUT TO:
E S R O G E S R O G E S R O G EXT. HAVENHURST STREETS -- MORNING EXT. HAVENHURST STREETS -- MORNING
p w w F F J S R E n p w w F F J S R E n p w w F F J S R E n On a st r i p cr owded wi t h FAST FOOD J OI NTS and SUPERMARKETS i n On a st r i p cr owded wi t h FAST FOOD J OI NTS and SUPERMARKETS i n
d n J s k s k n e t d n J s k s k n e t d n J s k s k n e t t he di st ance, J ane' s pi ckup i s par ked on t he st r eet i n f r ont t he di st ance, J ane' s pi ckup i s par ked on t he st r eet i n f r ont
R . n i h n l r e R . n i h n l r e R . n i h n l r e of a MOTOR I NN. J ane exi t s t he i nn, wal ki ng t owar ds her of a MOTOR I NN. J ane exi t s t he i nn, wal ki ng t owar ds her
u " n t e s t d t o o e u " n t e s t d t o o e u " n t e s t d t o o e pi ckup. " Havenhur st Hot el " i s f ur t her down t he r oad, on t he pi ckup. " Havenhur st Hot el " i s f ur t her down t he r oad, on t he
r e a r s e a n r f r e a r s e a n r f r e a r s e a n r f ot her si de. J ane cr osses t he st r eet , wat chi ng f or t r af f i c. ot her si de. J ane cr osses t he st r eet , wat chi ng f or t r af f i c.
E S T O E M N E S T O E M N E S T O E M N INT. HAVENHURST HOTEL, OFFICE -- MORNING INT. HAVENHURST HOTEL, OFFICE -- MORNING
r A L r s I s r A L r s I s r A L r s I s J ane ent er s. A BELL over t he door gi ves a DI NG. J ane shows J ane ent er s. A BELL over t he door gi ves a DI NG. J ane shows
b h D E n a e C . b h D E n a e C . b h D E n a e C . her badge t o t he OLDER GENT i n BOWTI E at t he CHECK- I N DESK. her badge t o t he OLDER GENT i n BOWTI E at t he CHECK- I N DESK.
JJJJ ANE J ANE
t o i O e o t o i O e o t o i O e o Af t er noon, si r . Of f i cer Thor ne. Af t er noon, si r . Of f i cer Thor ne.
r o u y b u r o u y b u r o u y b u Sor r y t o t r oubl e you, but , um. . . I . . . Sor r y t o t r oubl e you, but , um. . . I . . .
s i ) s i ) s i ) ( st i f l i ng a YAWN) ( st i f l i ng a YAWN)
c m c m c m Excuse me. Excuse me.
O O O OLDER GENT OLDER GENT
r l W c o u r l W c o u r l W c o u Cer t ai nl y. What can I do f or you, Cer t ai nl y. What can I do f or you,
f ? o i o a f ? o i o a f ? o i o a Of f i cer ? Looks l i ke you' r e al r eady Of f i cer ? Looks l i ke you' r e al r eady
v o f s y v o f s y v o f s y havi ng one of t hose days. havi ng one of t hose days.
JJJJ ANE J ANE
l h n W l s h l h n W l s h l h n W l s h Al l ni ght l ong. We' d l i ke some hel p Al l ni ght l ong. We' d l i ke some hel p
t g I s e t g I s e t g I s e wat chi ng f or t he I nt er st at e Ki l l er . . . wat chi ng f or t he I nt er st at e Ki l l er . . .
e s . e s . e s . t he Sl asher . . . t he Sl asher . . .
O O O OLDER GENT OLDER GENT
... Oh. Oh.
JJJJ ANE J ANE
a t w o ' k a t w o ' k a t w o ' k What l i t t l e we know, I ' d l i ke t o r un What l i t t l e we know, I ' d l i ke t o r un
. s o u . s o u . s o u by you. . . al so i n case any of your by you. . . al so i n case any of your
e m p l H u e m p l H u e m p l H u guest s mat ch t he pr of i l e. He woul d guest s mat ch t he pr of i l e. He woul d
i a e e a i a e e a i a e e a be a whi t e mal e. Al one. He' d have be a whi t e mal e. Al one. He' d have
i , t e . i , t e . i , t e . pai d i n cash, most l i kel y. . . pai d i n cash, most l i kel y. . .
C N C N C N CONTI NUED CONTI NUED
62. 62.
O O O OLDER GENT OLDER GENT
s s s s s s TV news makes i t sound l i ke he' s not TV news makes i t sound l i ke he' s not
k t m o h a k t m o h a k t m o h a l i kel y t o come ar ound her e, I hear d. l i kel y t o come ar ound her e, I hear d.
JJJJ ANE J ANE
l t i h e b l t i h e b l t i h e b Wel l . . . I ' mt hi nki ng t hey' r e pr obabl y Wel l . . . I ' mt hi nki ng t hey' r e pr obabl y
g b t u . g b t u . g b t u . r i ght about t hat . Act ual l y. r i ght about t hat . Act ual l y.
O O O OLDER GENT OLDER GENT
w t t e a i w t t e a i w t t e a i I wasn' t on t he desk l ast ni ght , so I wasn' t on t he desk l ast ni ght , so
d h u c e d h u c e d h u c e I don' t know how hel pf ul I can be. . . I don' t know how hel pf ul I can be. . .
a a I r t o a a I r t o a a I r t o He t akes a REGI STER BOOK f r omunder t he count er , opens i t . He t akes a REGI STER BOOK f r omunder t he count er , opens i t .
O O O OLDER GENT OLDER GENT
l k l i e i . l k l i e i . l k l i e i . I ' l l t ake a l ook i n t he r egi st er . We I ' l l t ake a l ook i n t he r egi st er . We
i a u e s i i a u e s i i a u e s i st i l l have our guest s si gn i n. st i l l have our guest s si gn i n.
e n r o . e n r o . e n r o . Ther e' s no one her e al one. . . Ther e' s no one her e al one. . .
JJJJ ANE J ANE
u w y ' u e m u w y ' u e m u w y ' u e m You know, maybe I ' l l j ust l eave my You know, maybe I ' l l j ust l eave my
m . m . m . number . . . number . . .
e S o P n t s s g e S o P n t s s g e S o P n t s s g J ane pl aces a SLI P of PAPER on t he count er , st ar t s t o go. J ane pl aces a SLI P of PAPER on t he count er , st ar t s t o go.
JJJJ ANE J ANE
a o r r e a o r r e a o r r e Thank you f or your t i me. Thank you f or your t i me.
O O O OLDER GENT OLDER GENT
s i E E s i E E s i E E ( st udyi ng REGI STER) ( st udyi ng REGI STER)
, r g e c , r g e c , r g e c Oh, t her e i s one gent l eman. Checked Oh, t her e i s one gent l eman. Checked
t o . t o . t o . i n l ast ni ght , al one. . . i n l ast ni ght , al one. . .
' s e d - N S t ' s e d - N S t ' s e d - N S t J ane' s j ust openi ng t he door - - DI NG. She st ops. J ane' s j ust openi ng t he door - - DI NG. She st ops.
O O O OLDER GENT OLDER GENT
M r R s M r R s M r R s A Mi st er . . . Reeves. A Mi st er . . . Reeves.
JJJJ ANE J ANE
w d o y w d o y w d o y W- what di d you say? W- what di d you say?
O O O OLDER GENT OLDER GENT
e i l l n . e i l l n . e i l l n . Reeves. Ar r i ved l at e l ast ni ght . Reeves. Ar r i ved l at e l ast ni ght .
e . e . e . R. L. Reeves. R. L. Reeves.
b y i h a b y i h a b y i h a J ane can bar el y bel i eve her ear s. J ane can bar el y bel i eve her ear s.
JJJJ ANE J ANE
y e a y e a y e a May I see t hat ? May I see t hat ?
H G R e t w . v H G R e t w . v H G R e t w . v I N THE REGI STER: t her e i t i s, scr awl ed, " R.L. Reeves. " I N THE REGI STER: t her e i t i s, scr awl ed, " R.L. Reeves. "
JJJJ ANE J ANE
a o a o a o What r oom? What r oom?
O O O OLDER GENT OLDER GENT
. e . e . e 10. On t he end. 10. On t he end.
C N C N C N CONTI NUED CONTI NUED
63. 63.
JJJJ ANE J ANE
r n t k n u r n t k n u r n t k n u Si r , I need t hat key. I want you t o Si r , I need t hat key. I want you t o
c i o h m C t c i o h m C t c i o h m C t l ock t hi s door behi nd me. Cal l t he l ock t hi s door behi nd me. Cal l t he
l l m h l l m h l l m h pol i ce. Tel l t hemt he Sl asher ' s pol i ce. Tel l t hemt he Sl asher ' s
r T h . d d r T h . d d r T h . d d her e. Then, you hi de. . . hi de and her e. Then, you hi de. . . hi de and
n o u n o u n o u don' t come out . don' t come out .
C O C O C O CUT TO: CUT TO:
E S T - N E S T - N E S T - N EXT. HAVENHURST HOTEL -- MORNING EXT. HAVENHURST HOTEL -- MORNING
d s w o e I a u p n t d s w o e I a u p n t d s w o e I a u p n t J ane st ands j ust down f r omt he OFFI CE, anxi ousl y peer i ng out J ane st ands j ust down f r omt he OFFI CE, anxi ousl y peer i ng out
n S M N a n n S M N a n n S M N a n f r ombehi nd a SODA MACHI NE, wat chi ng. . . f r ombehi nd a SODA MACHI NE, wat chi ng. . .
o e , r e m I E D s o e , r e m I E D s o e , r e m I E D s ROOM 10, on t he end, wher e t he r oom' s PI CTURE WI NDOWi s ROOM 10, on t he end, wher e t he r oom' s PI CTURE WI NDOWi s
a . " O S " N g d k a . " O S " N g d k a . " O S " N g d k cur t ai ned. A " DO NOT DI STURB" SI GN hangs on t he door knob. cur t ai ned. A " DO NOT DI STURB" SI GN hangs on t he door knob.
s t t . n l s t t . n l s t t . n l J ane l ooks t o t he st r eet . No si gn of any pol i ce. J ane l ooks t o t he st r eet . No si gn of any pol i ce.
c s h u t c s h u t c s h u t She checks her wat ch, f r ust r at ed. She checks her wat ch, f r ust r at ed.
JJJJ ANE J ANE
c F c F c F Fuck. Fuck. Fuck. Fuck.
, i a o 6 d t , i a o 6 d t , i a o 6 d t J ane goes, movi ng past r ooms 6, 7, 8 and 9. She t akes her J ane goes, movi ng past r ooms 6, 7, 8 and 9. She t akes her
l f i e e r n o 0 l f i e e r n o 0 l f i e e r n o 0 r evol ver f r omi nsi de her j acket , cr eepi ng up on r oom10. r evol ver f r omi nsi de her j acket , cr eepi ng up on r oom10.
s y f r h Y t o . s y f r h Y t o . s y f r h Y t o . She sl owl y and car ef ul l y i nser t s t he KEY i n t he door ' s l ock. She sl owl y and car ef ul l y i nser t s t he KEY i n t he door ' s l ock.
c l r . k n i c l r . k n i c l r . k n i Cr ouchi ng l ow, J ane st eel s her sel f . As qui ckl y and qui et l y Cr ouchi ng l ow, J ane st eel s her sel f . As qui ckl y and qui et l y
o l h e h o w . o l h e h o w . o l h e h o w . as possi bl e, she opens t he door i nwar d. . . as possi bl e, she opens t he door i nwar d. . .
O 0 O 0 O 0 IN ROOM 10 IN ROOM 10
w n a c . w n a c . w n a c . J ane ai ms her weapon, st ayi ng l ow, sear chi ng. J ane ai ms her weapon, st ayi ng l ow, sear chi ng.
n t t a C i u e n t t a C i u e n t t a C i u e No one i n si ght . I t ' s dar k. PK' s SUI TCASE i s on t he unmade No one i n si ght . I t ' s dar k. PK' s SUI TCASE i s on t he unmade
e c e d l r t e c e d l r t e c e d l r t bed. J ane checks behi nd t he door , sl owl y st r ai ght ens. bed. J ane checks behi nd t he door , sl owl y st r ai ght ens.
s a t l R D a s . s a t l R D a s . s a t l R D a s . J ane eases t owar ds t he cl osed BATHROOM DOOR acr oss t he r oom. J ane eases t owar ds t he cl osed BATHROOM DOOR acr oss t he r oom.
s e c a s o d a s e c a s o d a s e c a s o d a Gun st i l l whi t e- knuckl ed f or war d, she l ooks down at . . . Gun st i l l whi t e- knuckl ed f or war d, she l ooks down at . . .
w L D d t o e n N w L D d t o e n N w L D d t o e n N A f ew PI LLS on t he DESK, besi de a t or n- out sect i on of NEW A f ew PI LLS on t he DESK, besi de a t or n- out sect i on of NEW
S S E w o D C i D . S S E w o D C i D . S S E w o D C i D . YORK TI MES CLASSI FI EDS, wi t h one AD CI RCLED i n RED PEN. . . YORK TI MES CLASSI FI EDS, wi t h one AD CI RCLED i n RED PEN. . .
M N O M N O
e e e To those who also To those who also
a a i a a i a a i share faith. Seeking share faith. Seeking
r u r . d r u r . d r u r . d our mutual friend. Need our mutual friend. Need
l l y l l y l l y help. Please reply. help. Please reply.
s t d e h , c L s t d e h , c L s t d e h , c L J ane eases her way t owar ds t he bat hr oom, not not i ci ng LI GHT J ane eases her way t owar ds t he bat hr oom, not not i ci ng LI GHT
i r h a f e O D i r h a f e O D i r h a f e O D seepi ng f r omt he seams of t he cl osed CLOSET DOOR. Gun up, seepi ng f r omt he seams of t he cl osed CLOSET DOOR. Gun up,
h i e h a w b e s h i e h a w b e s h i e h a w b e s J ane r eaches wi t h her ot her hand, whi ch t r embl es ever so J ane r eaches wi t h her ot her hand, whi ch t r embl es ever so
h . s t A O O E h . s t A O O E h . s t A O O E sl i ght l y. . . pushes t he BATHROOM DOOR OPEN. . . sl i ght l y. . . pushes t he BATHROOM DOOR OPEN. . .
r s t P o l G s p r s t P o l G s p r s t P o l G s p Bat hr oom' s empt y. Psycho Ki l l er ' s SHOTGUN i s pr opped Bat hr oom' s empt y. Psycho Ki l l er ' s SHOTGUN i s pr opped
n h l l e T T E S E n h l l e T T E S E n h l l e T T E S E agai nst t he t i l e wal l , besi de t he TOI LET PAPER DI SPENSER. agai nst t he t i l e wal l , besi de t he TOI LET PAPER DI SPENSER.
s y K H . s y K H . s y K H . J ane backs away. A l oud CREAK i s HEARD. . . J ane backs away. A l oud CREAK i s HEARD. . .
C N C N C N CONTI NUED CONTI NUED
64. 64.
lll J ane wheel s. . . J ane wheel s. . .
h o f K h o f K h o f K I t ' s onl y t he hal f - open f r ont door CREAKI NG. I t ' s onl y t he hal f - open f r ont door CREAKI NG.
a x s e S O e S a x s e S O e S a x s e S O e S As J ane exhal es, t he CLOSET DOOR behi nd her SLAMS open and As J ane exhal es, t he CLOSET DOOR behi nd her SLAMS open and
h l B S T ! h l B S T ! h l B S T ! Psycho Ki l l er BURSTS FORTH. . . ! Psycho Ki l l er BURSTS FORTH. . . !
h l e L i J f b d h l e L i J f b d h l e L i J f b d Psycho Ki l l er , masked, SLAMS i nt o J ane f r ombehi nd - - Psycho Ki l l er , masked, SLAMS i nt o J ane f r ombehi nd - -
i e d W h o d i e d W h o d i e d W h o d l i f t i ng her bodi l y, THROWI NG her f or war d. . . l i f t i ng her bodi l y, THROWI NG her f or war d. . .
H n h o o s i t t H n h o o s i t t H n h o o s i t t J ane SMASHES i nt o t he f r ont door , sl ammi ng i t shut . J ane SMASHES i nt o t he f r ont door , sl ammi ng i t shut .
h t l I . h t l I . h t l I . She hi t s t he f l oor , GASPI NG. . . She hi t s t he f l oor , GASPI NG. . .
d e n d n c i w w d e n d n c i w w d e n d n c i w w Her dr opped gun l ands beneat h t he cur t ai ned wi ndow Her dr opped gun l ands beneat h t he cur t ai ned wi ndow
h l c e e n r e h l c e e n r e h l c e e n r e Psycho Ki l l er char ges, r eachi ng f or J ane. . . Psycho Ki l l er char ges, r eachi ng f or J ane. . .
c g h l g e g K c g h l g e g K c g h l g e g K J ane sees hi mcomi ng. She r ol l s, gi ves a sweepi ng KI CK. . . J ane sees hi mcomi ng. She r ol l s, gi ves a sweepi ng KI CK. . .
k y K r e u H l k y K r e u H l k y K r e u H l Knocks Psycho Ki l l er ' s l egs out . He f al l s. Knocks Psycho Ki l l er ' s l egs out . He f al l s.
l b , a h u l b , a h u l b , a h u J ane cr awl s on her bel l y, t owar ds her gun. . . J ane cr awl s on her bel l y, t owar ds her gun. . .
h l g s e n h l g s e n h l g s e n Psycho Ki l l er gr asps J ane' s ankl e. Psycho Ki l l er gr asps J ane' s ankl e.
a h a a h a a h a He yanks her back. He yanks her back.
g s e i e o h g s e i e o h g s e i e o h J ane st r uggl es as Psycho Ki l l er gr i ps her f r ombehi nd. J ane st r uggl es as Psycho Ki l l er gr i ps her f r ombehi nd.
t , t J a g T I E t , t J a g T I E t , t J a g T I E He st ands, l i f t i ng J ane and agai n THROWI NG HER. . . He st ands, l i f t i ng J ane and agai n THROWI NG HER. . .
l a s , S M e l a s , S M e l a s , S M e J ane goes f l ai l i ng acr oss t he desk, SMASHI NG a LAMP, her J ane goes f l ai l i ng acr oss t he desk, SMASHI NG a LAMP, her
T G I E M w a T G I E M w a T G I E M w a f oot SHATTERI NG a PI CTURE FRAME on t he wal l as. . . f oot SHATTERI NG a PI CTURE FRAME on t he wal l as. . .
She' s sent spr awl i ng t o t he f l oor , st unned. s t a g t l n s t a g t l n She' s sent spr awl i ng t o t he f l oor , st unned. She' s sent spr awl i ng t o t he f l oor , st unned.
' y t a t , k P o l ' y t a t , k P o l ' y t a t , k P o l J ane' s t r yi ng t o shake i t of f , l ooks t o see Psycho Ki l l er J ane' s t r yi ng t o shake i t of f , l ooks t o see Psycho Ki l l er
n . e p , b e k o R n . e p , b e k o R n . e p , b e k o R advanci ng. She l eaps up, gr abs t he desk' s wooden CHAI R and advanci ng. She l eaps up, gr abs t he desk' s wooden CHAI R and
G s - e i L R G s - e i L R G s - e i L R SWI NGS i t wi t h al l she' s got - - t he chai r SPLI NTERS as i t SWI NGS i t wi t h al l she' s got - - t he chai r SPLI NTERS as i t
H s e S b e n H s e S b e n H s e S b e n SMASHES Psycho Ki l l er ! Sends hi mbackpedal i ng. . . SMASHES Psycho Ki l l er ! Sends hi mbackpedal i ng. . .
b b c a s s a s e k b b c a s s a s e k b b c a s s a s e k J ane st umbl es, of f bal ance, cat ches her sel f agai nst t he desk. J ane st umbl es, of f bal ance, cat ches her sel f agai nst t he desk.
h l P r s t e b h l P r s t e b h l P r s t e b Psycho Ki l l er PULLS DOWN t he r oom' s cur t ai ns as he t umbl es Psycho Ki l l er PULLS DOWN t he r oom' s cur t ai ns as he t umbl es
h o d D G L h o d D G L h o d D G L t o t he f l oor . Bl i ndi ng DAYLI GHT BLASTS i n. t o t he f l oor . Bl i ndi ng DAYLI GHT BLASTS i n.
s L S t e w s a o s L S t e w s a o s L S t e w s a o J ane gr abs a GLASS SHARD of f t he desk, wi el ds i t and moves J ane gr abs a GLASS SHARD of f t he desk, wi el ds i t and moves
r s e u m n t p r r s e u m n t p r r s e u m n t p r t owar ds Psycho Ki l l er , but somet hi ng out si de t he pi ct ur e t owar ds Psycho Ki l l er , but somet hi ng out si de t he pi ct ur e
o o e t s o o e t s o o e t s wi ndow st ops her i n her t r acks. wi ndow st ops her i n her t r acks.
s e r g n s t s e r g n s t s e r g n s t As Psycho Ki l l er ' s r i si ng, J ane' s st ar e of ut t er As Psycho Ki l l er ' s r i si ng, J ane' s st ar e of ut t er
m e n e m k r l . m e n e m k r l . m e n e m k r l . i ncompr ehensi on makes hi ml ook over hi s shoul der . . . i ncompr ehensi on makes hi ml ook over hi s shoul der . . .
U H N D E A i a l n U H N D E A i a l n U H N D E A i a l n THROUGH THE WI NDOW: t he DELI VERY VAN whi ch was f ol l owi ng THROUGH THE WI NDOW: t he DELI VERY VAN whi ch was f ol l owi ng
a , . O E R a , . O E R a , . O E R J ane i s par ked, i t s si de door open. TWO MEN i n DELI VERY J ane i s par ked, i t s si de door open. TWO MEN i n DELI VERY
A N M u u l y e n l s A N M u u l y e n l s A N M u u l y e n l s COMPANY UNI FORMS ( buzz- cut mi l i t ar y t ypes, i n bal l - caps, COMPANY UNI FORMS ( buzz- cut mi l i t ar y t ypes, i n bal l - caps,
l s t i ; h T l s t i ; h T l s t i ; h T sungl asses and Bl uet oot h ear pi eces; each man SPORTI NG sungl asses and Bl uet oot h ear pi eces; each man SPORTI NG
i v C H b i f i c s e i v C H b i f i c s e i v C H b i f i c s e di st i nct i ve FACI AL HAI R by whi ch, f or si mpl i ci t y' s sake, di st i nct i ve FACI AL HAI R by whi ch, f or si mpl i ci t y' s sake,
l n ) v j c e o e , l n ) v j c e o e , l n ) v j c e o e , he' l l be named) , havi ng j ust cl i mbed f r omt he van, ar e at he' l l be named) , havi ng j ust cl i mbed f r omt he van, ar e at
n p y d . n p y d . n p y d . t hi s ver y moment exper t l y r eadyi ng t he. . . t hi s ver y moment exper t l y r eadyi ng t he. . .
u t S T L h a t e . u t S T L h a t e . u t S T L h a t e . . . . aut omat i c ASSAULT RI FLES t hey have st r apped t o t hem. . . . aut omat i c ASSAULT RI FLES t hey have st r apped t o t hem.
65. 65.
H R H R H R IN THE PARKING LOT IN THE PARKING LOT
V Y n . T o c w s V Y n . T o c w s V Y n . T o c w s I t ' s MR. VAN DYKE and MR. GOATEE' s t ur n t o go sl ack- j awed as I t ' s MR. VAN DYKE and MR. GOATEE' s t ur n t o go sl ack- j awed as
o o a e g r e N o o a e g r e N o o a e g r e N t hey l ook up t o see t he onl y- a- moment - ago- cur t ai ned WI NDOW t hey l ook up t o see t he onl y- a- moment - ago- cur t ai ned WI NDOW
o 0 r h a n y o 0 r h a n y o 0 r h a n y t o r oom10 now af f or ds t hema vi ew of J ane and Psycho t o r oom10 now af f or ds t hema vi ew of J ane and Psycho
e n c r s b , a s e n c r s b , a s e n c r s b , a s Ki l l er , and vi ce ver sa, so i n t hat one br i ef , br eat hl ess Ki l l er , and vi ce ver sa, so i n t hat one br i ef , br eat hl ess
n l r c t t t l n l r c t t t l n l r c t t t l moment , al l par t i es ar e caught f l at - f oot ed. Unt i l . . . moment , al l par t i es ar e caught f l at - f oot ed. Unt i l . . .
V Y V Y V Y VAN DYKE VAN DYKE
iii Shi t . Shi t .
D a o r y s e e s D a o r y s e e s D a o r y s e e s Van Dyke and Goat ee sneer i ngl y r ai se t hei r weapons. . . Van Dyke and Goat ee sneer i ngl y r ai se t hei r weapons. . .
O 0 O 0 O 0 IN ROOM 10 IN ROOM 10
h l f w w a v h d h l f w w a v h d h l f w w a v h d Psycho Ki l l er f l ees f r omt he wi ndow, l eaps over t he bed. . . Psycho Ki l l er f l ees f r omt he wi ndow, l eaps over t he bed. . .
s a t i . s a t i . s a t i . J ane di ves t owar ds t he wi ndow. . . J ane di ves t owar ds t he wi ndow. . .
D a o r E - L D a o r E - L D a o r E - L Van Dyke and Goat ee OPEN FI RE wi t h t hei r SI LENCER- MUZZLED Van Dyke and Goat ee OPEN FI RE wi t h t hei r SI LENCER- MUZZLED
E E B R G o E E B R G o E E B R G o RI FLES - - BULLETS OBLI TERATI NG t he wi ndow! RI FLES - - BULLETS OBLI TERATI NG t he wi ndow!
s e t i , d r i a s e t i , d r i a s e t i , d r i a J ane l ands beneat h t he wi ndow, hi dden f r omvi ew, as J ane l ands beneat h t he wi ndow, hi dden f r omvi ew, as
T S n w T S n w T S n w SHATTERED GLASS r ai ns down on her . SHATTERED GLASS r ai ns down on her .
h l f n e U S C L n h l f n e U S C L n h l f n e U S C L n Psycho Ki l l er f al l s behi nd t he bed as BULLETS PUNCH HOLES i n Psycho Ki l l er f al l s behi nd t he bed as BULLETS PUNCH HOLES i n
w b o o w b o o w b o o t he wal l s and bat hr oomdoor . t he wal l s and bat hr oomdoor .
E e t n i g w D S E e t n i g w D S E e t n i g w D S BULLETS keep st r i ki ng, f i l l i ng t he ai r wi t h DEBRI S. BULLETS keep st r i ki ng, f i l l i ng t he ai r wi t h DEBRI S.
c f i y n t a a c f i y n t a a c f i y n t a a J ane sear ches f r ant i cal l y amongst t he f al l en cur t ai n. J ane sear ches f r ant i cal l y amongst t he f al l en cur t ai n.
h l p s a o e b u s h l p s a o e b u s h l p s a o e b u s Psycho Ki l l er pul l s hi s sui t case down behi nd t he bed j ust as Psycho Ki l l er pul l s hi s sui t case down behi nd t he bed j ust as
E I T e t . h n t e d E I T e t . h n t e d E I T e t . h n t e d BULLETS RI P I NTO t he mat t r ess. PK r eaches under t he bed and BULLETS RI P I NTO t he mat t r ess. PK r eaches under t he bed and
s U I h T S S G s U I h T S S G s U I h T S S G l i f t s - - UPENDI NG t he MATTRESS and BOX SPRI NG. . . l i f t s - - UPENDI NG t he MATTRESS and BOX SPRI NG. . .
n i v P o l r h u s n i v P o l r h u s n i v P o l r h u s Behi nd t hi s cover , Psycho Ki l l er gr abs hi s sui t case, Behi nd t hi s cover , Psycho Ki l l er gr abs hi s sui t case,
e g o r S n e g o r S n e g o r S n r et r eat i ng i nt o t he bat hr oom, KI CKS t he door shut behi nd. r et r eat i ng i nt o t he bat hr oom, KI CKS t he door shut behi nd.
U H N D a o n F G U H N D a o n F G U H N D a o n F G THROUGH THE WI NDOW: Van Dyke and Goat ee advance, FI RI NG! THROUGH THE WI NDOW: Van Dyke and Goat ee advance, FI RI NG!
b s c b d i e l G R b s c b d i e l G R b s c b d i e l G R The bed i s knocked back down i n t he hai l of GUNFI RE. The bed i s knocked back down i n t he hai l of GUNFI RE.
s o s o s o J ane f i nds her pi st ol . J ane f i nds her pi st ol .
i o s t D I u e d . i o s t D I u e d . i o s t D I u e d . St ayi ng down, she st ar t s BLI ND- FI RI NG out t he wi ndow. . . St ayi ng down, she st ar t s BLI ND- FI RI NG out t he wi ndow. . .
H R H R H R IN THE PARKING LOT IN THE PARKING LOT
o n s K o h g l o n s K o h g l o n s K o h g l One of J ane' s shot s STRI KES Goat ee i n t he l eg, f el l i ng hi m! One of J ane' s shot s STRI KES Goat ee i n t he l eg, f el l i ng hi m!
O 0 O 0 O 0 IN ROOM 10 IN ROOM 10
t r y t w , p . t r y t w , p . t r y t w , p . J ane shoot s her gun empt y, wi t hdr aws i t , f l i ps i t open. J ane shoot s her gun empt y, wi t hdr aws i t , f l i ps i t open.
e c h a s e o r l . e c h a s e o r l . e c h a s e o r l . On her back, she sear ches her pocket s f or mor e bul l et s. On her back, she sear ches her pocket s f or mor e bul l et s.
H R H R H R IN THE PARKING LOT IN THE PARKING LOT
D s n o t a s . D s n o t a s . D s n o t a s . Van Dyke st ops f i r i ng, goi ng t o Goat ee' s ai d. . . Van Dyke st ops f i r i ng, goi ng t o Goat ee' s ai d. . .
D d w e m r h n D d w e m r h n D d w e m r h n Van Dyke dr ags hi s wounded comr ade back t owar ds t he van. Van Dyke dr ags hi s wounded comr ade back t owar ds t he van.
66. 66.
H T M H T M H T M IN THE BATHROOM IN THE BATHROOM
h l u h u s H o a h h l u h u s H o a h h l u h u s H o a h Psycho Ki l l er uses hi s sui t case t o SMASH t hr ough a hi gh, Psycho Ki l l er uses hi s sui t case t o SMASH t hr ough a hi gh,
o o n W W v e W T e e o o n W W v e W T e e o o n W W v e W T e e nar r ow, hor i zont al WI NDOWabove t he SHOWER STALL, shoves t he nar r ow, hor i zont al WI NDOWabove t he SHOWER STALL, shoves t he
c o t i ' r l c o t i ' r l c o t i ' r l sui t case out . But t he wi ndow' s f ar t oo smal l f or PK. sui t case out . But t he wi ndow' s f ar t oo smal l f or PK.
h l g n y t h l g n y t h l g n y t Psycho Ki l l er gr abs hi s near by shot gun. Psycho Ki l l er gr abs hi s near by shot gun.
o p t i O - O h o p t i O - O h o p t i O - O h He poi nt s i t up at t he wi ndow - - BOOM! - - BLOWS a bi g hol e He poi nt s i t up at t he wi ndow - - BOOM! - - BLOWS a bi g hol e
u h n f d l u h n f d l u h n f d l t hr ough t he wi ndow f r ame and dr ywal l . t hr ough t he wi ndow f r ame and dr ywal l .
h l B S t s o f O h l B S t s o f O h l B S t s o f O Psycho Ki l l er BLASTS anot her sect i on of t he f r ame - - BOOM! ! Psycho Ki l l er BLASTS anot her sect i on of t he f r ame - - BOOM! !
o d e r u r w s t t o d e r u r w s t t o d e r u r w s t t He t osses t he doubl e- bar r el out , gr abs what ' s l ef t of t he He t osses t he doubl e- bar r el out , gr abs what ' s l ef t of t he
d g d r t o l N o d g d r t o l N o d g d r t o l N o smol der i ng wi ndow f r ame, st ar t s vi ol ent l y YANKI NG i t l oose. smol der i ng wi ndow f r ame, st ar t s vi ol ent l y YANKI NG i t l oose.
O 0 O 0 O 0 IN ROOM 10 IN ROOM 10
' u e l , e l n ' u e l , e l n ' u e l , e l n J ane' s f ound her bul l et s, speed- r el oadi ng. J ane' s f ound her bul l et s, speed- r el oadi ng.
r n g o r n g o r n g o She r i sks r i si ng up j ust enough t o t ake a l ook. . . She r i sks r i si ng up j ust enough t o t ake a l ook. . .
U H N D s e c v U H N D s e c v U H N D s e c v THROUGH THE WI NDOW: Van Dyke' s got Goat ee back i n t he van THROUGH THE WI NDOW: Van Dyke' s got Goat ee back i n t he van
u h d o l n r . u h d o l n r . u h d o l n r . t hr ough t he si de door , cl i mbi ng i n af t er hi mas. . . t hr ough t he si de door , cl i mbi ng i n af t er hi mas. . .
JJJJ ANE J ANE
o a I c o a I c o a I c Whoever you ar e, I ' ma pol i ce Whoever you ar e, I ' ma pol i ce
f ! l u r f ! l u r f ! l u r of f i cer ! Hol d your f i r e! of f i cer ! Hol d your f i r e!
D R l e a a n r D R l e a a n r D R l e a a n r The DRI VER pul l s t he van f or war d, angl i ng so t hat t he r ear The DRI VER pul l s t he van f or war d, angl i ng so t hat t he r ear
h n s . V T m . h n s . V T m . h n s . V T m . of t he van now f aces t he r oom. REVERSE LI GHTS come on. of t he van now f aces t he r oom. REVERSE LI GHTS come on.
JJJJ ANE J ANE
a c f a a a c f a a a c f a a I aman of f i cer of t he Kansas St at e I aman of f i cer of t he Kansas St at e
lll Pol i ce! Pol i ce!
s r o g w w s r o g w w s r o g w w J ane peer s over t he bot t omedge of t he wi ndow. . . J ane peer s over t he bot t omedge of t he wi ndow. . .
v V t i p h i u e v V t i p h i u e v V t i p h i u e Del i ver y Van st ar t s backi ng up wi t h Van Dyke l eani ng out t he Del i ver y Van st ar t s backi ng up wi t h Van Dyke l eani ng out t he
, n e c e O n , n e c e O n , n e c e O n si de door , usi ng t he van f or cover whi l e he OPENS FI RE agai n! si de door , usi ng t he van f or cover whi l e he OPENS FI RE agai n!
s k n s e s k n s e s k n s e J ane ducks back down, pi ssed. Gun hel d at r eady, she J ane ducks back down, pi ssed. Gun hel d at r eady, she
c f n a . k a s , c c f n a . k a s , c c f n a . k a s , c sear ches f or an escape. . . l ooki ng acr oss t he r oom, whi ch i s sear ches f or an escape. . . l ooki ng acr oss t he r oom, whi ch i s
g N S S c d h . g N S S c d h . g N S S c d h . bei ng TORN t o SHREDS, t o t he cl osed bat hr oomdoor . bei ng TORN t o SHREDS, t o t he cl osed bat hr oomdoor .
H T M H T M H T M IN THE BATHROOM IN THE BATHROOM
h l p w o a n , i h l p w o a n , i h l p w o a n , i Psycho Ki l l er pul l s t he whol e wi ndow f r ame i nwar d, t aki ng Psycho Ki l l er pul l s t he whol e wi ndow f r ame i nwar d, t aki ng
k T S a . s . k T S a . s . k T S a . s . chunks of wal l wi t h i t , THROWS i t asi de. He l eaps up. . . chunks of wal l wi t h i t , THROWS i t asi de. He l eaps up. . .
I B D L I B D L I B D L OUTSIDE, BEHIND THE HOTEL OUTSIDE, BEHIND THE HOTEL
h l s g o h h e l a h l s g o h h e l a h l s g o h h e l a Psycho Ki l l er st r uggl es out t hr ough t he r agged hol e, f al l s Psycho Ki l l er st r uggl es out t hr ough t he r agged hol e, f al l s
h o g u e v s a n o . h o g u e v s a n o . h o g u e v s a n o . t o t he gr ound. He get s up, r et r i evi ng sui t case and shot gun. t o t he gr ound. He get s up, r et r i evi ng sui t case and shot gun.
r s u t , t t i a . r s u t , t t i a . r s u t , t t i a . He cr osses a j unk- st r ewn, empt y l ot , st i l l masked. No one He cr osses a j unk- st r ewn, empt y l ot , st i l l masked. No one
r . r d t l o w r . r d t l o w r . r d t l o w el se i s ar ound. He scur r i es down t he sl ope of a wi de, el se i s ar ound. He scur r i es down t he sl ope of a wi de,
g N A n r k d g N A n r k d g N A n r k d over gr own DRAI NAGE AREA, wadi ng t hr ough t hi ck weeds. over gr own DRAI NAGE AREA, wadi ng t hr ough t hi ck weeds.
c l p s s , i p i e l c l p s s , i p i e l c l p s s , i p i e l PK scr ambl es up t he opposi t e sl ope, comi ng up behi nd sever al PK scr ambl es up t he opposi t e sl ope, comi ng up behi nd sever al
l M I U N q e r t l M I U N q e r t l M I U N q e r t smal l , COMMERCI AL BUI LDI NGS. He squeezes t hr ough t he t or n smal l , COMMERCI AL BUI LDI NGS. He squeezes t hr ough t he t or n
y I N N t o a . y I N N t o a . y I N N t o a . seamof a r ust y CHAI N- LI NK FENCE, t ur ns t o l ook back. . . seamof a r ust y CHAI N- LI NK FENCE, t ur ns t o l ook back. . .
67. 67.
H L S : H L S : H L S : PSYCHO KILLER'S POV: PSYCHO KILLER'S POV:
U I S s e T r o e U I S s e T r o e U I S s e T r o e THROUGH HI S MASK: Psycho Ki l l er WATCHES t he r ear of t he THROUGH HI S MASK: Psycho Ki l l er WATCHES t he r ear of t he
n t e h i w o i c a n t e h i w o i c a n t e h i w o i c a Havenhur st Hot el , whi ch i s now a good di st ance away. Havenhur st Hot el , whi ch i s now a good di st ance away.
a t h l m w a t h l m w a t h l m w J ane appear s at t he hol e Psycho Ki l l er made, l i kewi se J ane appear s at t he hol e Psycho Ki l l er made, l i kewi se
b o f h i i s R b o f h i i s R b o f h i i s R cl i mbi ng out . She f l ees anot her di r ect i on. PK i s HEARD cl i mbi ng out . She f l ees anot her di r ect i on. PK i s HEARD
T s n r , c p T s n r , c p T s n r , c p GRUNTI NG, al most as i f i n appr oval , wat chi ng J ane escape. GRUNTI NG, al most as i f i n appr oval , wat chi ng J ane escape.
E S S T S T M T T E S S T S T M T T E S S T S T M T T EXT. HAVENHURST RESIDENTIAL STREET -- MOMENTS LATER EXT. HAVENHURST RESIDENTIAL STREET -- MOMENTS LATER
y e f t l A M B I e y e f t l A M B I e y e f t l A M B I e On a shady st r eet of most l y ol der APARTMENT BUI LDI NGS, wher e On a shady st r eet of most l y ol der APARTMENT BUI LDI NGS, wher e
B L l y w S s t . B L l y w S s t . B L l y w S s t . TWO BI CYCLI STS pedal i dl y and a f ew CARS cr oss pat hs. . . TWO BI CYCLI STS pedal i dl y and a f ew CARS cr oss pat hs. . .
D T L h l ( m s D T L h l ( m s D T L h l ( m s FAR DOWN THE BLOCK, Psycho Ki l l er ( w/ o mask) wal ks out f r om FAR DOWN THE BLOCK, Psycho Ki l l er ( w/ o mask) wal ks out f r om
e w i g u s c e e e w i g u s c e e e w i g u s c e e bet ween t wo bui l di ngs, sui t case i n t ow. He cr osses t he bet ween t wo bui l di ngs, sui t case i n t ow. He cr osses t he
e s E o n e R e s E o n e R e s E o n e R st r eet , uses KEYS t o open t he door of a par ked CAR; a st r eet , uses KEYS t o open t he door of a par ked CAR; a
k s c O t s c i e k s c O t s c i e k s c O t s c i e bl ack, muscl e car COUPE. He t hr ows hi s sui t case i n, get s bl ack, muscl e car COUPE. He t hr ows hi s sui t case i n, get s
A I H . A I H . A I H . i n. DI STANT SI RENS ar e HEARD. i n. DI STANT SI RENS ar e HEARD.
h l s h n h r s u h l s h n h r s u h l s h n h r s u Psycho Ki l l er ' s car l ur ches i nt o t he st r eet , makes a qui ck, Psycho Ki l l er ' s car l ur ches i nt o t he st r eet , makes a qui ck,
E G n c a E G n c a E G n c a SCREECHI NG t ur n, r aci ng away. SCREECHI NG t ur n, r aci ng away.
D L O D L O D L O DISSOLVE TO: DISSOLVE TO:
A A A A A A A A A EXT. RURAL ROADWAY -- DAY EXT. RURAL ROADWAY -- DAY
h l s c u o d a i t h l s c u o d a i t h l s c u o d a i t Psycho Ki l l er ' s bl ack coupe r oar s down a sol i t ar y count r y Psycho Ki l l er ' s bl ack coupe r oar s down a sol i t ar y count r y
e b r c D e b r c D e b r c D r oad bor der ed by f ar r eachi ng FARM FI ELDS. r oad bor der ed by f ar r eachi ng FARM FI ELDS.
D L O D L O D L O DISSOLVE TO: DISSOLVE TO:
T G T G T G EXT. PITTSBURGH -- DUSK EXT. PITTSBURGH -- DUSK
I D G s e c r s I D G s e c r s I D G s e c r s I t ' s RAI NI NG. THUNDERI NG. Psycho Ki l l er ' s car cr osses t he I t ' s RAI NI NG. THUNDERI NG. Psycho Ki l l er ' s car cr osses t he
G t a n W N T G G t a n W N T G G t a n W N T G FORT PI TT BRI DGE i nt o cl amor i ng DOWNTOWN PI TTSBURGH. FORT PI TT BRI DGE i nt o cl amor i ng DOWNTOWN PI TTSBURGH.
- S H D - S H D - S H D EXT. MID-CITY PITTSBURGH -- DUSK EXT. MID-CITY PITTSBURGH -- DUSK
F p t s t A h l F p t s t A h l F p t s t A h l Some TRAFFI C. Few pedest r i ans i n t he RAI N. Psycho Ki l l er Some TRAFFI C. Few pedest r i ans i n t he RAI N. Psycho Ki l l er
s a n l c h n s s a n l c h n s s a n l c h n s par ks at a cor ner . He cl i mbs f r omt he car , hol di ng hi s par ks at a cor ner . He cl i mbs f r omt he car , hol di ng hi s
c a e m h l o w c a e m h l o w c a e m h l o w t r ench coat over hi mas he wal ks t o t he si dewal k. t r ench coat over hi mas he wal ks t o t he si dewal k.
R C R O R C R O R C R O RADI O NEWSCASTER ( V. O. ) RADI O NEWSCASTER ( V. O. )
f C A f C A f C A ( f r omCAR RADI O) ( f r omCAR RADI O)
i i u h o e i i u h o e i i u h o e No one i s qui t e sur e what t o make of No one i s qui t e sur e what t o make of
e i a n o r e i a n o r e i a n o r t he i nci dent i n east er n Ohi o, ear l i er t he i nci dent i n east er n Ohi o, ear l i er
d p w t w o d p w t w o d p w t w o t oday. We spoke wi t h t he owner of t oday. We spoke wi t h t he owner of
e e s t . e e s t . e e s t . t he Havenhur st Hot el . . . t he Havenhur st Hot el . . .
E S R E a o e P o l l E S R E a o e P o l l E S R E a o e P o l l THREE NEWSPAPER BOXES st and t oget her . Psycho Ki l l er pl ugs THREE NEWSPAPER BOXES st and t oget her . Psycho Ki l l er pl ugs
S t E R M o a a S R S t E R M o a a S R S t E R M o a a S R COI NS i n t he NEWYORK TI MES box, t akes a NEWSPAPER. COI NS i n t he NEWYORK TI MES box, t akes a NEWSPAPER.
S E C S E C S E C IN PSYCHO KILLER'S CAR IN PSYCHO KILLER'S CAR
N K m n r h o s N K m n r h o s N K m n r h o s FROM BEHI ND: PK cl i mbs i n, t hr ows hi s coat asi de. FROM BEHI ND: PK cl i mbs i n, t hr ows hi s coat asi de.
p t e r m s h i a p t e r m s h i a p t e r m s h i a He opens t he New Yor k Ti mes, sear chi ng i t s pages. He opens t he New Yor k Ti mes, sear chi ng i t s pages.
C N C N C N CONTI NUED CONTI NUED
68. 68.
O . O . O . OLDER GENT ( V. O. ) OLDER GENT ( V. O. )
f R ) f R ) f R ) ( f r omRADI O) ( f r omRADI O)
l n s i d l a l n s i d l a l n s i d l a Al l I know i s, t hi s l ady pol i ceman Al l I know i s, t hi s l ady pol i ceman
a t l r n h a t l r n h a t l r n h cl ai ms t he Sl asher ' s i n one of t he cl ai ms t he Sl asher ' s i n one of t he
o g e g o g e g o g e g r ooms. Next t hi ng, t her e' s a bi g r ooms. Next t hi ng, t her e' s a bi g
o u h l s a n o u h l s a n o u h l s a n shoot - out , t hey al l di sappear , and shoot - out , t hey al l di sappear , and
m t h o f o l m t h o f o l m t h o f o l I ' ml ef t wi t h a hot el f ul l of hol es! I ' ml ef t wi t h a hot el f ul l of hol es!
h l r h i r o e h l r h i r o e h l r h i r o e Psycho Ki l l er r uns hi s f i nger down t he r ows of t he Psycho Ki l l er r uns hi s f i nger down t he r ows of t he
S D , r g s h i . S D , r g s h i . S D , r g s h i . CLASSI FI ED ADS, sear chi ng. . . sear chi ng, t hen f i ndi ng. . . CLASSI FI ED ADS, sear chi ng. . . sear chi ng, t hen f i ndi ng. . .
M N O M N O
3 4 6 3 4 6 3 4 6 843 36544483633 843 36544483633
5 3 9 5 3 9 5 3 9 9352663 255 335569 9352663 255 335569
5 7 5 7 5 7 235438377. 235438377.
1 3 8 3 1 3 8 3 1 3 8 3 4813055357548696230 4813055357548696230
R C R O R C R O R C R O RADI O NEWSCASTER ( V. O. ) RADI O NEWSCASTER ( V. O. )
l h s r s l h s r s l h s r s Pol i ce have st i l l made no ar r est s, Pol i ce have st i l l made no ar r est s,
d r n r i i d r n r i i d r n r i i and t her e' s no wor d on t he i dent i t i es and t her e' s no wor d on t he i dent i t i es
o e t i v n o e t i v n o e t i v n of any of t he par t i es i nvol ved i n of any of t he par t i es i nvol ved i n
i s o u t w i s o u t w i s o u t w t hi s myst er i ous gun bat t l e whi ch t ook t hi s myst er i ous gun bat t l e whi ch t ook
a n a y t a n a y t a n a y t pl ace i n br oad dayl i ght . pl ace i n br oad dayl i ght .
H R H R H R ON THE STREET ON THE STREET
h l s s y h l s s y h l s s y Psycho Ki l l er ' s car pul l s away. Psycho Ki l l er ' s car pul l s away.
R C R O R C R O R C R O RADI O NEWSCASTER ( V. O. ) RADI O NEWSCASTER ( V. O. )
a l t e e a l t e e a l t e e Meanwhi l e, i t ' s been 3 days si nce t he Meanwhi l e, i t ' s been 3 days si nce t he
a m i s c a m i s c a m i s c Sl asher cl ai med hi s l ast vi ct i m, Sl asher cl ai med hi s l ast vi ct i m,
e h p a o e h p a o e h p a o f uel i ng f ur t her specul at i on as t o hi s f uel i ng f ur t her specul at i on as t o hi s
e o e o e o wher eabout s. And now, her e ar e wher eabout s. And now, her e ar e
d o M J o d o M J o d o M J o t oday' s Nat i onal Mega- J ackpot t oday' s Nat i onal Mega- J ackpot
m . 2 m . 2 m . 2 number s. 3, 19, 25. . . number s. 3, 19, 25. . .
D L O D L O D L O DISSOLVE TO: DISSOLVE TO:
T G V O - H T G V O - H T G V O - H EXT. PITTSBURGH RIVERFRONT -- NIGHT EXT. PITTSBURGH RIVERFRONT -- NIGHT
I e p d e a D w t I e p d e a D w t I e p d e a D w t RAI NI NG. PK' s coupe i s par ked beneat h a BRI DGE, wi t h t he RAI NI NG. PK' s coupe i s par ked beneat h a BRI DGE, wi t h t he
N L V n e y L i e . N L V n e y L i e . N L V n e y L i e . MONONGAHELA RI VER and t he ci t y SKYLI NE i n t he B. G. MONONGAHELA RI VER and t he ci t y SKYLI NE i n t he B. G.
Y A S s R Y A S s R Y A S s R HEAVY METAL MUSI C i s HEARD. HEAVY METAL MUSI C i s HEARD.
S E C S E C S E C IN PSYCHO KILLER'S CAR IN PSYCHO KILLER'S CAR
i I T H L e e t i I T H L e e t i I T H L e e t By di mCEI LI NG LI GHT and wi t h t he HEAVY METAL ( over t he next By di mCEI LI NG LI GHT and wi t h t he HEAVY METAL ( over t he next
s s o R , c i s s o R , c i s s o R , c i f ew scenes) boomi ng f r omt he RADI O, Psycho Ki l l er uses a f ew scenes) boomi ng f r omt he RADI O, Psycho Ki l l er uses a
E I o t L F A E I o t L F A E I o t L F A POCKET KNI FE t o cut out t he CLASSI FI ED AD. . . POCKET KNI FE t o cut out t he CLASSI FI ED AD. . .
M N O M N O
3 4 6 3 4 6 3 4 6 843 36544483633 843 36544483633
5 3 9 5 3 9 5 3 9 9352663 255 335569 9352663 255 335569
5 7 5 7 5 7 235438377. 235438377.
1 3 8 3 1 3 8 3 1 3 8 3 4813055357548696230 4813055357548696230
C N C N C N CONTI NUED CONTI NUED
69. 69.
A L s r g f s I B A L s r g f s I B A L s r g f s I B Wi t h a ROAD ATLAS as a wr i t i ng sur f ace, PK uses a PENCI L NUB Wi t h a ROAD ATLAS as a wr i t i ng sur f ace, PK uses a PENCI L NUB
e C N e s o o l s A e C N e s o o l s A e C N e s o o l s A t o begi n COPYI NG t he ad' s i nf o ont o a bl ank sheet of PAPER. t o begi n COPYI NG t he ad' s i nf o ont o a bl ank sheet of PAPER.
D L O D L O D L O DISSOLVE TO: DISSOLVE TO:
C I ' R N C I ' R N C I ' R N INT. PSYCHO KILLER'S CAR -- NIGHT INT. PSYCHO KILLER'S CAR -- NIGHT
E n n b R t . E n n b R t . E n n b R t . CLOSE ON: t he no l onger bl ank PAPER and what PK' s wr i t t en. . . CLOSE ON: t he no l onger bl ank PAPER and what PK' s wr i t t en. . .
4 3 3 3 5 5 3 . 4 3 3 3 5 5 3 . 4 3 3 3 5 5 3 . M N O 843 36544483633 9352663 255 335569 235438377. M N O 843 36544483633 9352663 255 335569 235438377.
g d d d j j d g d d d j j d g d d d j j d t gd dmj gggt dmdd wdj ammd aj j ddj j mw adj gdt dpp t gd dmj gggt dmdd wdj ammd aj j ddj j mw adj gdt dpp
h e e e k k e h e e e k k e h e e e k k e uhe enkhhhuenee xekbnne bkk eekknx bdkheueqq uhe enkhhhuenee xekbnne bkk eekknx bdkheueqq
i f f f l l f i f f f l l f i f f f l l f vi f f ol i i i vf of f yf l coof cl l f f l l oy cf l i f vf r r vi f f ol i i i vf of f yf l coof cl l f f l l oy cf l i f vf r r
z z ss z z ss
0 7 9 0 7 9 0 7 9 4813055357548696230 4813055357548696230
o p w o p w o p w gt doj j dj pj gt mwmado gt doj j dj pj gt mwmado
p q x p q x p q x hu epkkekqkhunxnbep hu epkkekqkhunxnbep
e r y e r y e r y i v f el l f l r l i voyocf e i v f el l f l r l i voyocf e
r s z r s z r s z r s z r r s z r
g b s c o r g n t g b s c o r g n t g b s c o r g n t He agai n br i ngs penci l t o bear , begi nni ng wi t h. . . M N O He agai n br i ngs penci l t o bear , begi nni ng wi t h. . . M N O
6 6 6 6 6 6
D L O D L O D L O DISSOLVE TO: DISSOLVE TO:
C I ' R N C I ' R N C I ' R N INT. PSYCHO KILLER'S CAR -- NIGHT INT. PSYCHO KILLER'S CAR -- NIGHT
O e K E s i r O e K E s i r O e K E s i r FOLLOWt he t i p of PK' s PENCI L f i ni shi ng wr i t i ng. We ar e. . . FOLLOWt he t i p of PK' s PENCI L f i ni shi ng wr i t i ng. We ar e. . .
E c e s i w n a o l E c e s i w n a o l E c e s i w n a o l CLOSE ON: hi s compl et ed sol ut i on ( we don' t have t o f ul l y CLOSE ON: hi s compl et ed sol ut i on ( we don' t have t o f ul l y
r d e t r d e t r d e t l e D T C E under st and t he syst emyet ) , al l t he BOLD LETTERS CI RCLED. . . under st and t he syst emyet ) , al l t he BOLD LETTERS CI RCLED. . .
O 8 3 4 3 5 5 2 8 O 8 3 4 3 5 5 2 8 O 8 3 4 3 5 5 2 8 M N O 843 36544483633 9352663 255 335569 235438377. M N O 843 36544483633 9352663 255 335569 235438377.
6 t d g d j j a t 6 t d g d j j a t 6 t d g d j j a t 6 6 6 tgd dmj gggtdmdd wdj ammd aj j ddj j mw adj gdt dpp 6 6 6 tgd dmj gggtdmdd wdj ammd aj j ddj j mw adj gdt dpp
u e h e k k b u u e h e k k b u u e h e k k b u uhe enkhhhuenee xekbnne bkk eekknx bekheueqq uhe enkhhhuenee xekbnne bkk eekknx bekheueqq
v f i f l l c v v f i f l l c v v f i f l l c v vi f f olii i vf of f yf lcoof cll ff lloy cf lif vf rr vi f f olii i vf of f yf lcoof cll ff lloy cf lif vf rr
z z ss z z ss
t e h d l l b v t e h d l l b v t e h d l l b v the enlightened welcome all fellow believers. the enlightened welcome all fellow believers.
8 5 4 2 8 5 4 2 8 5 4 2 4813055357548696230 4813055357548696230
t g t g t g t d j d p g mmd t d j d p g mmd
u h u h u h u e k e q h n n e u e k e q h n n e
v I v I v I v f l f r I o o f v f l f r I o o f
s z s z
t h t h t h t e l e p h o n e t e l e p h o n e
5 2 5 2 5 2 4 1 0 5 5 5 8 9 2 0 4 1 0 5 5 5 8 9 2 0
f l K c e b m t a . f l K c e b m t a . f l K c e b m t a . And f i nal l y, PK' s scr awl ed at t he bot t omof t he page. . . And f i nal l y, PK' s scr awl ed at t he bot t omof t he page. . .
6 6 6 6 6 6 6 6 6
h l e h l e h l e the enlightened the enlightened
e e o e e o e e o welcome all fellow welcome all fellow
e e e e e e believers. believers.
e o 4 5 2 e o 4 5 2 e o 4 5 2 telephone 410 555 8920 telephone 410 555 8920
C N C N C N CONTI NUED CONTI NUED
70. 70.
O s R N . I G t . O s R N . I G t . O s R N . I G t . A PHONE i s HEARD RI NGI NG. . . RI NGI NG, unt i l . . . A PHONE i s HEARD RI NGI NG. . . RI NGI NG, unt i l . . .
M V . M V . M V . MALE VOI CE ( V. O. ) MALE VOI CE ( V. O. )
t g L N t g L N t g L N ( t hr ough TELEPHONE) ( t hr ough TELEPHONE)
a e a e a e Yeah, hel l o? Yeah, hel l o?
P O L E O P O L E O P O L E O PSYCHO KI LLER' S VOI CE ( V. O. ) PSYCHO KI LLER' S VOI CE ( V. O. )
l . l . l . Hel l o. . . Hel l o. . .
T G T T T T G T T T T G T T T EXT. PITTSBURGH OUTSKIRTS -- NIGHT EXT. PITTSBURGH OUTSKIRTS -- NIGHT
l N a e o n a l a l N a e o n a l a l N a e o n a l a St i l l RAI NI NG. On a st r et ch of l onel y asphal t l eadi ng out St i l l RAI NI NG. On a st r et ch of l onel y asphal t l eadi ng out
o P c d r i h l s a o P c d r i h l s a o P c d r i h l s a of t own, PK' s car i dl es r oadsi de. Psycho Ki l l er ' s on a PAY of t own, PK' s car i dl es r oadsi de. Psycho Ki l l er ' s on a PAY
E f e r - t O A H E f e r - t O A H E f e r - t O A H PHONE i n f r ont of a cl osed- f or - t he- ni ght AUTO REPAI R SHOP. PHONE i n f r ont of a cl osed- f or - t he- ni ght AUTO REPAI R SHOP.
P O L C ) P O L C ) P O L C ) PSYCHO KI LLER ( CONT. ) PSYCHO KI LLER ( CONT. )
i P ) i P ) i P ) ( i nt o PHONE) ( i nt o PHONE)
. w r w . t e . w r w . t e . w r w . t e . . . I saw your answer . . . i n t he New . . . I saw your answer . . . i n t he New
r m y r m y r m y Yor k Ti mes. Today. Yor k Ti mes. Today.
M V . M V . M V . MALE VOI CE ( V. O. ) MALE VOI CE ( V. O. )
a S o o r a S o o r a S o o r Okay. So, you' r e one of our Okay. So, you' r e one of our
e n h o g o e n h o g o e n h o g o br et hr en, huh? Looki ng f or someone br et hr en, huh? Looki ng f or someone
a d h r u a d h r u a d h r u t o l end you a hand. Wher e' r e you at ? t o l end you a hand. Wher e' r e you at ?
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
n v . n v . n v . Pennsyl vani a. Pennsyl vani a.
M V . M V . M V . MALE VOI CE ( V. O. ) MALE VOI CE ( V. O. )
r . u n a a o r . u n a a o r . u n a a o Al r i ght . You' r e not f ar away f r om Al r i ght . You' r e not f ar away f r om
, u . t l , u . t l , u . t l us, act ual l y. Not f ar at al l . us, act ual l y. Not f ar at al l .
C O C O C O CUT TO: CUT TO:
H - G H - G H - G EXT. HIGHWAY -- NIGHT EXT. HIGHWAY -- NIGHT
o a h l s e e N o a h l s e e N o a h l s e e N No mor e r ai n. Psycho Ki l l er ' s car passes t he SI GN. . . No mor e r ai n. Psycho Ki l l er ' s car passes t he SI GN. . .
Y O Y E ! Y O Y E ! Y O Y E ! " MARYLAND WELCOMES YOU, Enjoy Your Stay!" " MARYLAND WELCOMES YOU, Enjoy Your Stay!"
D L O D L O D L O DISSOLVE TO: DISSOLVE TO:
D N S T D N S T D N S T EXT. PENDLETON HOUSE -- NIGHT EXT. PENDLETON HOUSE -- NIGHT
h l s s c a l u e e h l s s c a l u e e h l s s c a l u e e Psycho Ki l l er ' s car wai t s, f aci ng a smal l , r ur al est at e' s Psycho Ki l l er ' s car wai t s, f aci ng a smal l , r ur al est at e' s
S e g , a E m S e g , a E m S e g , a E m I RON GATES. Beyond t he gat es, a l ar ge, dar k HOUSE commands I RON GATES. Beyond t he gat es, a l ar ge, dar k HOUSE commands
a g A , V c a g A , V c a g A , V c t he acr eage. A MAN on a GOLF CART, MARVI N, comes down t he t he acr eage. A MAN on a GOLF CART, MARVI N, comes down t he
e i P H I . r p , s , e i P H I . r p , s , e i P H I . r p , s , dr i veway i nt o PK' s HEADLI GHTS. Mar vi n par ks, get s of f , dr i veway i nt o PK' s HEADLI GHTS. Mar vi n par ks, get s of f ,
g p t a n . g p t a n . g p t a n . goi ng t o pul l t he gat e i nwar d. goi ng t o pul l t he gat e i nwar d.
M N M N M N MARVI N MARVI N
s s a c ) s s a c ) s s a c ) ( shout s t owar ds coupe) ( shout s t owar ds coupe)
t b n . t b n . t b n . Gat e' s br oken, so. . . Gat e' s br oken, so. . .
a r s c p . ' i a r s c p . ' i a r s c p . ' i I t was Mar vi n' s voi ce on t he phone. He' s ski nny, 20- I t was Mar vi n' s voi ce on t he phone. He' s ski nny, 20-
t , - b , T R r t , - b , T R r t , - b , T R r somet hi ng, hi s hai r dyed- j et - bl ack, i n T- SHI RT, f r ayed somet hi ng, hi s hai r dyed- j et - bl ack, i n T- SHI RT, f r ayed
I a E u l n s t I a E u l n s t I a E u l n s t CARDI GAN and J EANS; a squi r r el l y, nebbi sh- Got h. CARDI GAN and J EANS; a squi r r el l y, nebbi sh- Got h.
C N C N C N CONTI NUED CONTI NUED
71. 71.
a P c m n t e n e I a P c m n t e n e I a P c m n t e n e I He waves PK' s coupe i n, mot i oni ng t o t he l awn, wher e FI VE He waves PK' s coupe i n, mot i oni ng t o t he l awn, wher e FI VE
R S e P o l a w i R S e P o l a w i R S e P o l a w i OTHER CARS ar e par ked. Psycho Ki l l er par ks whi l e Mar vi n OTHER CARS ar e par ked. Psycho Ki l l er par ks whi l e Mar vi n
s . s . s . shut s t he gat e. shut s t he gat e.
h l g o t s a r h r h l g o t s a r h r h l g o t s a r h r Psycho Ki l l er get s out , t akes hi s sui t case f r omt he car . Psycho Ki l l er get s out , t akes hi s sui t case f r omt he car .
M N M N M N MARVI N MARVI N
n e a r n e a r n e a r Can I get t hat f or you - - ? Can I get t hat f or you - - ?
a h o e t , c i e m a h o e t , c i e m a h o e t , c i e m As Mar vi n r eaches f or t he sui t case, Psycho Ki l l er shoves hi m. As Mar vi n r eaches f or t he sui t case, Psycho Ki l l er shoves hi m.
M N M N M N MARVI N MARVI N
i k s y n i k s y n i k s y n Oki e- doki e. I was onl y goi ng t o put Oki e- doki e. I was onl y goi ng t o put
h c . u w h c . u w h c . u w i t on t he back of t he. . . you know. . . i t on t he back of t he. . . you know. . .
m n ) m n ) m n ) ( mot i ons t o gol f car t ) ( mot i ons t o gol f car t )
t r m t r m t r m Not a pr obl em. Not a pr obl em.
i t h t h o e t s e i t h t h o e t s e i t h t h o e t s e Mar vi n get s behi nd t he wheel of t he car t . Psycho Ki l l er Mar vi n get s behi nd t he wheel of t he car t . Psycho Ki l l er
d t e t i p O a d t e t i p O a d t e t i p O a si t s besi de wi t h t he sui t case on hi s l ap. FOLLOWas Mar vi n si t s besi de wi t h t he sui t case on hi s l ap. FOLLOWas Mar vi n
e e r h u t P e e r h u t P e e r h u t P dr i ves t hemup t owar ds t he house at 5 MPH. dr i ves t hemup t owar ds t he house at 5 MPH.
M N M N M N MARVI N MARVI N
a y a e e n a y a e e n a y a e e n What ' d you say t he name was agai n? What ' d you say t he name was agai n?
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
c . c . c . Ri char d. Ri char d.
M N M N M N MARVI N MARVI N
l i d r f , a l i d r f , a l i d r f , a Wel l , Ri char d, f i r st of al l , I have Wel l , Ri char d, f i r st of al l , I have
t f y e n t f y e n t f y e n t o ask t hi s f or my own pr ot ect i on and t o ask t hi s f or my own pr ot ect i on and
r e n m p r r e n m p r r e n m p r f or t he pr ot ect i on of my empl oyer . f or t he pr ot ect i on of my empl oyer .
e p o m e p o m e p o m Ar e you a cop. . . ? A pol i ceman? Ar e you a cop. . . ? A pol i ceman?
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
... No. No.
M N M N M N MARVI N MARVI N
c o e s o c o e s o c o e s o Because i f you ar e and you say you' r e Because i f you ar e and you say you' r e
t a . u w k a t a . u w k a t a . u w k a not , t hat ' s. . . you know, l i ke agai nst not , t hat ' s. . . you know, l i ke agai nst
e y e w o e y e w o e y e w o t he l aw and you' r e not al l owed t o. t he l aw and you' r e not al l owed t o.
y e f r s w y e f r s w y e f r s w Anyway, I guess i f t her e' s some way Anyway, I guess i f t her e' s some way
h o o l r h o o l r h o o l r we can hel p out a f el l ow bel i ever . . . we can hel p out a f el l ow bel i ever . . .
. m k a . m k a . m k a we wi l l . I mean, you knew about we wi l l . I mean, you knew about
i h a i r l i h a i r l i h a i r l usi ng t he cl assi f i eds. We' r e al l i n usi ng t he cl assi f i eds. We' r e al l i n
i g r g i g r g i g r g t hi s t oget her , r i ght ? t hi s t oget her , r i ght ?
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
n i m n n i m n n i m n I need i nf or mat i on. I need i nf or mat i on.
M N M N M N MARVI N MARVI N
u t o i u t o i u t o i You want i nf or mat i on? Mr . You want i nf or mat i on? Mr .
n o a r n o a r n o a r Pendl et on' l l gi ve you an ear f ul . Pendl et on' l l gi ve you an ear f ul .
l e t r k H a l e t r k H a l e t r k H a Enl i ght enment , mor e l i ke. He' s a Enl i ght enment , mor e l i ke. He' s a
e a i e a i e a i gr eat magus. He i s. gr eat magus. He i s.
( ) ( ) ( ) ( mor e) ( mor e)
C N C N C N CONTI NUED CONTI NUED
72. 72.
M N N M N N M N N MARVI N ( CONT. ) MARVI N ( CONT. )
m e t o e n m e t o e n m e t o e n I mean, he keeps t hat on t he down- l ow I mean, he keeps t hat on t he down- l ow
e a b e d s e a b e d s e a b e d s t hese days, but he sai d he' s got a t hese days, but he sai d he' s got a
o e t . o o e t . o o e t . o good f eel i ng about you. Good good f eel i ng about you. Good
b o r s i b o r s i b o r s i vi br at i ons. You' r e hi s i nvi t ed vi br at i ons. You' r e hi s i nvi t ed
e . w e o I e . w e o I e . w e o I guest . . . he want s t o meet you. I ' m guest . . . he want s t o meet you. I ' m
r h y r h y r h y Mar vi n, by t he way. Mar vi n, by t he way.
h e h u M n p o K h e h u M n p o K h e h u M n p o K As t hey near t he house, Mar vi n keeps l ooki ng at PK. As t hey near t he house, Mar vi n keeps l ooki ng at PK.
M N M N M N MARVI N MARVI N
u w y o i f i . u w y o i f i . u w y o i f i . You know. . . you l ook ki nd of f ami l i ar . You know. . . you l ook ki nd of f ami l i ar .
D N S N - G D N S N - G D N S N - G INT. PENDLETON HOUSE, ENTRY -- NIGHT INT. PENDLETON HOUSE, ENTRY -- NIGHT
i h O O e , v e P o i h O O e , v e P o i h O O e , v e P o Cl osi ng t he FRONT DOOR behi nd t hem, Mar vi n l eads Psycho Cl osi ng t he FRONT DOOR behi nd t hem, Mar vi n l eads Psycho
e r d - E . r o h e r d - E . r o h e r d - E . r o h Ki l l er t hr ough t he di ml y- l i t ENTRY HALL. Thr oughout t he Ki l l er t hr ough t he di ml y- l i t ENTRY HALL. Thr oughout t he
r u t B A f d o l g h r u t B A f d o l g h r u t B A f d o l g h ent i r e house, t her e ar e BOOKCASES f i l l ed t o over f l owi ng wi t h ent i r e house, t her e ar e BOOKCASES f i l l ed t o over f l owi ng wi t h
S O L T ' w S C l n , S O L T ' w S C l n , S O L T ' w S C l n , BOOKS and PERI ODI CALS. Ther e' s a wi de STAI RCASE l eadi ng up, BOOKS and PERI ODI CALS. Ther e' s a wi de STAI RCASE l eadi ng up,
d i a T A N B N A . d i a T A N B N A . d i a T A N B N A . cr owded wi t h t al l STACKS of MAGAZI NES, BOOKS and NEWSPAPERS. cr owded wi t h t al l STACKS of MAGAZI NES, BOOKS and NEWSPAPERS.
M N M N M N MARVI N MARVI N
u h r n o u h r n o u h r n o You' ve hear d of Mr . Pendl et on, You' ve hear d of Mr . Pendl et on,
v e y t v e y t v e y t haven' t you? Made hi s money i n t he haven' t you? Made hi s money i n t he
p r b s . p r b s . p r b s . super mar ket bi z. Year s ago. super mar ket bi z. Year s ago.
o ' I E o ' I E o ' I E ( of PK' s SUI TCASE) ( of PK' s SUI TCASE)
u e t e w u e t e w u e t e w You can l eave t hat her e, i f you want . You can l eave t hat her e, i f you want .
, p w y w v . , p w y w v . , p w y w v . Or , keep i t wi t h you, what ever . . . Or , keep i t wi t h you, what ever . . .
h l s n a e h u s h l s n a e h u s h l s n a e h u s Psycho Ki l l er shows no i ncl i nat i on t o l eave hi s sui t case as Psycho Ki l l er shows no i ncl i nat i on t o l eave hi s sui t case as
g a L m r r r y e e g a L m r r r y e e g a L m r r r y e e t hey navi gat e a HALLWAY made r at her nar r ow by mor e l aden t hey navi gat e a HALLWAY made r at her nar r ow by mor e l aden
S E T o i n a n c t S E T o i n a n c t S E T o i n a n c t BOOKSHELVES. The house i s dank, dar k and decr epi t . BOOKSHELVES. The house i s dank, dar k and decr epi t .
I O - H I O - H I O - H INT. DINING ROOM -- NIGHT INT. DINING ROOM -- NIGHT
i d c i r N O M R i d c i r N O M R i d c i r N O M R Mar vi n and Psycho Ki l l er ent er t he DI NI NG ROOM. MI STER Mar vi n and Psycho Ki l l er ent er t he DI NI NG ROOM. MI STER
L , l ' s a u , y r L , l ' s a u , y r L , l ' s a u , y r PENDLETON, ear l y 70' s, a handsome and august , gr ey- hai r ed PENDLETON, ear l y 70' s, a handsome and august , gr ey- hai r ed
l i B O i a a e d t l i B O i a a e d t l i B O i a a e d t gent l eman i n di ngy BATHROBE, i s seat ed at t he head of t he gent l eman i n di ngy BATHROBE, i s seat ed at t he head of t he
N B t o s w h U ; N B t o s w h U ; N B t o s w h U ; l ong DI NI NG TABLE. He' s qui et l y conver si ng wi t h hi s GUESTS; l ong DI NI NG TABLE. He' s qui et l y conver si ng wi t h hi s GUESTS;
E D G E d G E r l E D G E d G E r l E D G E d G E r l THREE MI DDLE- AGED MEN and TWO YOUNG WOMEN, pr obabl y THREE MI DDLE- AGED MEN and TWO YOUNG WOMEN, pr obabl y
t e l i t - a r d t e l i t - a r d t e l i t - a r d pr ost i t ut es, al l of t heml ooki ng st r ung- out and dr ugged- up. pr ost i t ut es, al l of t heml ooki ng st r ung- out and dr ugged- up.
' a - C S O f w ' a - C S O f w ' a - C S O f w They' r e eat i ng TAKE- OUT CHI NESE. One of t he men wear s an They' r e eat i ng TAKE- OUT CHI NESE. One of t he men wear s an
f n E . . d n e m g f n E . . d n e m g f n E . . d n e m g i l l - f i t t i ng EVENI NG GOWN. Mr . Pendl et on r i ses, smi l i ng i l l - f i t t i ng EVENI NG GOWN. Mr . Pendl et on r i ses, smi l i ng
l p e i d c i . l p e i d c i . l p e i d c i . wi del y, upon seei ng Mar vi n and Psycho Ki l l er . wi del y, upon seei ng Mar vi n and Psycho Ki l l er .
M E T M E T M E T MR. PENDLETON MR. PENDLETON
l e . i s g l e . i s g l e . i s g Wel l , wel l . . . our di st i ngui shed guest Wel l , wel l . . . our di st i ngui shed guest
s i a d m . s i a d m . s i a d m . has ar r i ved. Pl ease, do come i n. . . has ar r i ved. Pl ease, do come i n. . .
k u f c k u f c k u f c make your sel f wel come. make your sel f wel come.
d r i t t I f B L d r i t t I f B L d r i t t I f B L The dar k r oomi s l i t by t he LI GHT f r omBLACK CANDLES. Al l The dar k r oomi s l i t by t he LI GHT f r omBLACK CANDLES. Al l
o e l L S R E a l o e l L S R E a l o e l L S R E a l ART on t he wal l s i s DEVI L WORSHI P RELATED, nat ur al l y. ART on t he wal l s i s DEVI L WORSHI P RELATED, nat ur al l y.
i e A u r c i . i e A u r c i . i e A u r c i . Mar vi n goes t o pul l a CHAI R out f or Psycho Ki l l er . Mar vi n goes t o pul l a CHAI R out f or Psycho Ki l l er .
h l s s c n y h l s s c n y h l s s c n y Psycho Ki l l er si t s, keeps hi s sui t case near by. Psycho Ki l l er si t s, keeps hi s sui t case near by.
C N C N C N CONTI NUED CONTI NUED
73. 73.
M E T M E T M E T MR. PENDLETON MR. PENDLETON
' o e o o o p ' o e o o o p ' o e o o o p We' ve got pl ent y of f ood, so hel p We' ve got pl ent y of f ood, so hel p
u f u f u f your sel f . your sel f .
a s t a s t a s t ( addr essi ng guest s) ( addr essi ng guest s)
d t n e n r d t n e n r d t n e n r Ladi es. Gent l emen. Meet anot her Ladi es. Gent l emen. Meet anot her
a r T e a a . a r T e a a . a r T e a a . t r avel er on The Lef t Hand Pat h. . . t r avel er on The Lef t Hand Pat h. . .
o y K r o y K r o y K r ( of Psycho Ki l l er ) ( of Psycho Ki l l er )
s . s . s . Mi st er . . . Mi st er . . .
M N M N M N MARVI N MARVI N
c . c . c . Ri char d. Ri char d.
s s s s s s ( shr ugs) ( shr ugs)
s a s a s a J ust . . . Ri char d. J ust . . . Ri char d.
M E T M E T M E T MR. PENDLETON MR. PENDLETON
c ! a o a . c ! a o a . c ! a o a . Ri char d! Thank you, Mar vi n. Ri char d! Thank you, Mar vi n.
o t t i e t . o t t i e t . o t t i e t . The ot her guest s mut t er i ncoher ent gr eet i ngs. The ot her guest s mut t er i ncoher ent gr eet i ngs.
i k i a t r h b e i k i a t r h b e i k i a t r h b e Mar vi n t akes hi s pl ace at t he ot her end of t he t abl e, eat s. Mar vi n t akes hi s pl ace at t he ot her end of t he t abl e, eat s.
M E T M E T M E T MR. PENDLETON MR. PENDLETON
t y K r t y K r t y K r ( t o Psycho Ki l l er ) ( t o Psycho Ki l l er )
' a q r e t ' a q r e t ' a q r e t I t ' s r eal l y qui t e r emar kabl e t hat I t ' s r eal l y qui t e r emar kabl e t hat
u h a l c , u h a l c , u h a l c , you' r e her e at al l , Ri char d, l et me you' r e her e at al l , Ri char d, l et me
l u i a n o l u i a n o l u i a n o t el l you. Li ke a message i n a bot t l e t el l you. Li ke a message i n a bot t l e
a m d e a m d e a m d e t hat somehow f ound t he shor e. t hat somehow f ound t he shor e.
sss ( si t s) ( si t s)
e r g h e r g h e r g h These ar en' t t he go- go days of t he These ar en' t t he go- go days of t he
i n e , r s i n e , r s i n e , r s Fai t h anymor e. I mean, t her e was a Fai t h anymor e. I mean, t her e was a
m e e s e f m e e s e f m e e s e f t i me when t he cl assi f i eds of t he t i me when t he cl assi f i eds of t he
t l s r d i a t l s r d i a t l s r d i a nat i onal newspaper s and per i odi cal s nat i onal newspaper s and per i odi cal s
r l w c o h r l w c o h r l w c o h wer e f i l l ed wi t h cr ypt ogr aphi c wer e f i l l ed wi t h cr ypt ogr aphi c
s s t k h t s s t k h t s s t k h t messages sent back and f or t h by t he messages sent back and f or t h by t he
e n e n e n Br et hr en. Br et hr en.
t e t e t e ( t o guest s) ( t o guest s)
t l t n s n t l t n s n t l t n s n Af t er al l , i t wasn' t as i f , movi ng t o Af t er al l , i t wasn' t as i f , movi ng t o
n i y o s y l n i y o s y l n i y o s y l a new ci t y, you coul d si mpl y di al up a new ci t y, you coul d si mpl y di al up
e a a h u o e a a h u o e a a h u o t he l ocal chapt er of t he Chur ch of t he l ocal chapt er of t he Chur ch of
t n k n i t n k n i t n k n i Sat an and ask when t he next meet i ng Sat an and ask when t he next meet i ng
s h a i o y s h a i o y s h a i o y was. Oh, we had al l ki nds of ways t o was. Oh, we had al l ki nds of ways t o
k n . s t o k n . s t o k n . s t o make cont act . Di scr eet l y. We coul d make cont act . Di scr eet l y. We coul d
w d d n h e w d d n h e w d d n h e al ways depend upon each ot her i n al ways depend upon each ot her i n
m f d r o p m f d r o p m f d r o p t i mes of need. Or f or f el l owshi p. t i mes of need. Or f or f el l owshi p.
u d u d u d Or debauch. Nowadays? Who el se i s Or debauch. Nowadays? Who el se i s
t r g ' t r g ' t r g ' out t her e at al l ? The ol d guar d' s out t her e at al l ? The ol d guar d' s
n r e t a n r e t a n r e t a gone, or gave up t he cause. And t he gone, or gave up t he cause. And t he
u f s n . T u f s n . T u f s n . T yout h of t hi s count r y. . . ? They yout h of t hi s count r y. . . ? They
r t a s o g r t a s o g r t a s o g wor shi p at ot her al t ar s. Don' t get wor shi p at ot her al t ar s. Don' t get
t a . t a . t a . me st ar t ed. I t ' s a t r agedy. me st ar t ed. I t ' s a t r agedy.
t y K r t y K r t y K r ( t o Psycho Ki l l er ) ( t o Psycho Ki l l er )
c o u r h a c o u r h a c o u r h a Lucky f or you, Mar vi n her e; my Man Lucky f or you, Mar vi n her e; my Man
i a a b r i a a b r i a a b r Fr i day, he makes a hobby of scour i ng Fr i day, he makes a hobby of scour i ng
e s e a s t e s e a s t e s e a s t t he cl assi f i eds, al ways on t he t he cl assi f i eds, al ways on t he
o a . c o a . c o a . c l ookout f or any. . . voi ce i n t he l ookout f or any. . . voi ce i n t he
l e h o l e h o l e h o wi l der ness. When he showed me your wi l der ness. When he showed me your
h w k e h w k e h w k e ad i n The New Yor k Ti mes, I was ad i n The New Yor k Ti mes, I was
a g d a g d a g d f l abber gast ed. f l abber gast ed.
C N C N C N CONTI NUED CONTI NUED
74. 74.
h l j s i e f , d h h l j s i e f , d h h l j s i e f , d h Psycho Ki l l er j ust si t s i n t he shi f t i ng, candl e- t hr own Psycho Ki l l er j ust si t s i n t he shi f t i ng, candl e- t hr own
o s n o n m o e h o s n o n m o e h o s n o n m o e h shadows, st ar i ng f r ombeneat h hi s mane of gr easy hai r . shadows, st ar i ng f r ombeneat h hi s mane of gr easy hai r .
M E T M E T M E T MR. PENDLETON MR. PENDLETON
e g e g e g ( eat i ng) ( eat i ng)
o e t o e t o e t My Seer t ol d me t o expect a vi si t or . My Seer t ol d me t o expect a vi si t or .
v o o l v p u v o o l v p u v o o l v p u A vi si t or who woul d have a pr of ound A vi si t or who woul d have a pr of ound
f c i y e f c i y e f c i y e i nf l uence on my l i f e. Ar e you he, i nf l uence on my l i f e. Ar e you he,
c ? c ? c ? Ri char d? Ri char d?
M N M N M N MARVI N MARVI N
e y u ? ' e g e y u ? ' e g e y u ? ' e g Ar en' t you hungr y? I t ' s pr et t y good. Ar en' t you hungr y? I t ' s pr et t y good.
h l l a , k c l . h l l a , k c l . h l l a , k c l . Psycho Ki l l er l ooks over at Mar vi n, l ooks back at Pendl et on. Psycho Ki l l er l ooks over at Mar vi n, l ooks back at Pendl et on.
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
n i m n t w n i m n t w n i m n t w I need i nf or mat i on. I don' t know how I need i nf or mat i on. I don' t know how
i i i t o get i t . t o get i t .
M E T M E T M E T MR. PENDLETON MR. PENDLETON
, l v r h y i , l v r h y i , l v r h y i Oh, we' l l have Mar vi n hel p you wi t h Oh, we' l l have Mar vi n hel p you wi t h
a E y e h a t a E y e h a t a E y e h a t t hat . Easi l y done. What say l et ' s t hat . Easi l y done. What say l et ' s
a l e u u f o a l e u u f o a l e u u f o hear a l i t t l e about your sel f ? How hear a l i t t l e about your sel f ? How
n v u K e n v u K e n v u K e l ong have you had The Knowl edge? l ong have you had The Knowl edge?
h l t s e n s t n e a g h l t s e n s t n e a g h l t s e n s t n e a g Psycho Ki l l er t hi nks, cl enchi ng hi s f i st s, knuckl es cr acki ng. Psycho Ki l l er t hi nks, cl enchi ng hi s f i st s, knuckl es cr acki ng.
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
m m m As l ong as I r emember . As l ong as I r emember .
M E T M E T M E T MR. PENDLETON MR. PENDLETON
l d h y f y e l d h y f y e l d h y f y e Spl endi d. Then, your f ami l y wer e Spl endi d. Then, your f ami l y wer e
l r l r l r f ol l ower s? f ol l ower s?
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
h n m h n m h n m I have no f ami l y. I have no f ami l y.
M E T M E T M E T MR. PENDLETON MR. PENDLETON
w . , d e w . , d e w . , d e How sad. So, you f ound t he Fal l en How sad. So, you f ound t he Fal l en
e y o y i e y o y i e y o y i One on your own. I ' ve al ways sai d One on your own. I ' ve al ways sai d
e e e e r t e e e e r t e e e e r t t he t r uest bel i ever s ar e not t he t he t r uest bel i ever s ar e not t he
c s t s o g u c s t s o g u c s t s o g u r ecr ui t s, but t hose who sought out r ecr ui t s, but t hose who sought out
i n i n i n f ai t h. Hai l Sat an! f ai t h. Hai l Sat an!
y e r t e t " N y e r t e t " N y e r t e t " N Ever yone el se r epeat s t he mant r a, " HAI L SATAN! " Ever yone el se r epeat s t he mant r a, " HAI L SATAN! "
M N M N M N MARVI N MARVI N
m f f d m f f d m f f d ( mout hf ul of f ood) ( mout hf ul of f ood)
i t i t i t Hai l Sat an! Hai l Sat an!
M E T M E T M E T MR. PENDLETON MR. PENDLETON
s e n t s g s e n t s g s e n t s g Hi s power i s st r onger t han st r onger ! Hi s power i s st r onger t han st r onger !
s h a a o s h a a o s h a a o Hi s mi ght shal l l ast l onger t han Hi s mi ght shal l l ast l onger t han
n l a n l a n l a l onger ! Hai l Sat an. l onger ! Hai l Sat an.
o e n h l s y s o e n h l s y s o e n h l s y s Si l houet t ed i n dar kness, Psycho Ki l l er sl owl y nods. Si l houet t ed i n dar kness, Psycho Ki l l er sl owl y nods.
C N C N C N CONTI NUED CONTI NUED
75. 75.
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
l t r i I d o l t r i I d o l t r i I d o I l i ve t o ser ve hi m. I ' l l di e t o I l i ve t o ser ve hi m. I ' l l di e t o
r i r i r i ser ve hi m. ser ve hi m.
M E T M E T M E T MR. PENDLETON MR. PENDLETON
c n r e . c n r e . c n r e . Excel l ent wor ds. Wonder f ul . Excel l ent wor ds. Wonder f ul .
l t t G I d s p l t t G I d s p l t t G I d s p Pendl et on t oast s wi t h a GLASS of WI NE, dr i nks deepl y. Pendl et on t oast s wi t h a GLASS of WI NE, dr i nks deepl y.
M E T M E T M E T MR. PENDLETON MR. PENDLETON
c n e s c n e s c n e s I can' t hel p aski ng. . . si nce i t ' s al l I can' t hel p aski ng. . . si nce i t ' s al l
y s a o k u y s a o k u y s a o k u anyone seems t o want t o t al k about anyone seems t o want t o t al k about
t . a t h t . a t h t . a t h l at el y. . . what do you t hi nk of t he l at el y. . . what do you t hi nk of t he
n r k e i n r k e i n r k e i handi wor k of our ki ndr ed spi r i t , t he handi wor k of our ki ndr ed spi r i t , t he
a ? a ? a ? Sl asher ? Sl asher ?
h l l e t h l l e t h l l e t Psycho Ki l l er l ooks t o Pendl et on. Psycho Ki l l er l ooks t o Pendl et on.
M E T M E T M E T MR. PENDLETON MR. PENDLETON
e n d b a , e n d b a , e n d b a , Ther e' s a man l eadi ng by exampl e, eh? Ther e' s a man l eadi ng by exampl e, eh?
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
sss Yes. Yes.
M E T M E T M E T MR. PENDLETON MR. PENDLETON
e d d a o a e d d a o a e d d a o a The ki nd of dedi cat i on we coul d al l The ki nd of dedi cat i on we coul d al l
p t t s g i p t t s g i p t t s g i aspi r e t o, at l east i n t hought , i f aspi r e t o, at l east i n t hought , i f
t d t d t d not i n deed. not i n deed.
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
sss Yes. Yes.
l i f c O v l i f c O v l i f c O v Pendl et on nods t o hi msel f , pi cki ng up a HAND MI RROR cover ed Pendl et on nods t o hi msel f , pi cki ng up a HAND MI RROR cover ed
i o C . s e y R a n i o C . s e y R a n i o C . s e y R a n i n l i nes of COCAI NE. He t akes a heal t hy SNORT, passes i t on. i n l i nes of COCAI NE. He t akes a heal t hy SNORT, passes i t on.
M E T M E T M E T MR. PENDLETON MR. PENDLETON
r n s e r n s e r n s e ( r ubbi ng hi s nose) ( r ubbi ng hi s nose)
u w t t s u w t t s u w t t s You know. . . t her e ar e t hose who say You know. . . t her e ar e t hose who say
e t o o e t o o e t o o t he par t y' s over . For any of us t he par t y' s over . For any of us
d i e d i d i e d i d i e d i hi di ng i n t he shadows, i t ' s f ucki ng hi di ng i n t he shadows, i t ' s f ucki ng
b s ; s a t b s ; s a t b s ; s a t embar r assi ng; t hese cl andest i ne embar r assi ng; t hese cl andest i ne
s t . c h h s t . c h h s t . c h h assi gnat i ons. Secr et handshakes and assi gnat i ons. Secr et handshakes and
n n d W a e n n d W a e n n d W a e wi nks and nods. What ar e we, wi nks and nods. What ar e we,
e o f h s ? e o f h s ? e o f h s ? Fr eemasons, f or Chr i st sakes?! Fr eemasons, f or Chr i st sakes?!
l s l s l s ( l aughs) ( l aughs)
e l i y e - e e l i y e - e e l i y e - e The r eal i t y i s, my f r i ends - - t he The r eal i t y i s, my f r i ends - - t he
r n , k r n , k r n , k par t y' s j ust begun. I mean, l ook par t y' s j ust begun. I mean, l ook
o n t e s . o n t e s . o n t e s . ar ound. Tur n on t he t el evi si on. . . ar ound. Tur n on t he t el evi si on. . .
e n a a l v e n a a l v e n a a l v open a newspaper . Sat an r ul es over open a newspaper . Sat an r ul es over
i r t n i r t n i r t n t hi s wor l d. Can t her e be any t hi s wor l d. Can t her e be any
e n h l g r e n h l g r e n h l g r quest i on? The oi l congl omer at es and quest i on? The oi l congl omer at es and
e e n r n - e e e n r n - e e e n r n - e t he gover nment wor k hand- i n- gl ove t o t he gover nment wor k hand- i n- gl ove t o
g r r t l g r r t l g r r t l wage war and t o dr ai n t he pl anet of wage war and t o dr ai n t he pl anet of
e a e e l e e a e e l e e a e e l e ever y l ast vest i ge of l i f e, whi l e t he ever y l ast vest i ge of l i f e, whi l e t he
g r t h y g r t h y g r t h y mega- cor por at i ons cr ush t he ever yman mega- cor por at i ons cr ush t he ever yman
d o d o d o under f oot . under f oot .
( ) ( ) ( ) ( mor e) ( mor e)
C N C N C N CONTI NUED CONTI NUED
76. 76.
M E T C ) M E T C ) M E T C ) MR. PENDLETON ( CONT. ) MR. PENDLETON ( CONT. )
e e d r r t t e e d r r t t e e d r r t t The sci ence deni er s st r i ve t o set The sci ence deni er s st r i ve t o set
m n o c u . m n o c u . m n o c u . human endeavor back by cent ur i es. . . human endeavor back by cent ur i es. . .
l n s r e n l n s r e n l n s r e n mal i gni ng di scover y, t eachi ng mal i gni ng di scover y, t eachi ng
n c d o a n n c d o a n n c d o a n i gnor ance and bi got r y, and al l i n t he i gnor ance and bi got r y, and al l i n t he
m g m g m g name of Hol y Rel i gi on! And t he name of Hol y Rel i gi on! And t he
l i y n n a l i y n n a l i y n n a pol i t i ci ans? They pr ance and pr at t l e pol i t i ci ans? They pr ance and pr at t l e
t l i p s g t l i p s g t l i p s g wi t h al l t hei r puppet st r i ngs wi t h al l t hei r puppet st r i ngs
s , r g k t s , r g k t s , r g k t vi si bl e, par r ot i ng back what ever t he vi si bl e, par r ot i ng back what ever t he
g e y e g e y e g e y e hi ghest bi dder pays t hemt o say, and hi ghest bi dder pays t hemt o say, and
t n e e T i n t n e e T i n t n e e T i n yet . . . no one car es. The ci t i zenr y yet . . . no one car es. The ci t i zenr y
i s , i o e i s , i o e i s , i o e whi mper and shr ug, gi vi ng not one whi mper and shr ug, gi vi ng not one
o e s n o e s n o e s n hoot of pr ot est , so l ong as t hey hoot of pr ot est , so l ong as t hey
n e r v e e e n e r v e e e n e r v e e e cont i nue t o r ecei ve t hei r ceasel ess cont i nue t o r ecei ve t hei r ceasel ess
p o a n t i t p o a n t i t p o a n t i t suppl y of f l at ul ent ent er t ai nment s t o suppl y of f l at ul ent ent er t ai nment s t o
s t m m i r s t m m i r s t m m i r di st r act t hemf r omt hei r ver y di st r act t hemf r omt hei r ver y
i c i c i c exi st ence. exi st ence.
l d t n o t a l d t n o t a l d t n o t a Pendl et on st ands, st ar t s paci ng ar ound t he t abl e. Pendl et on st ands, st ar t s paci ng ar ound t he t abl e.
M E T M E T M E T MR. PENDLETON MR. PENDLETON
o n n i a o n n i a o n n i a Soon. . . human bei ngs wi l l have Soon. . . human bei ngs wi l l have
v d o - l r v d o - l r v d o - l r devol ved i nt o pod- dwel l i ng, cyber - devol ved i nt o pod- dwel l i ng, cyber -
v , f n o d c v , f n o d c v , f n o d c cavemen, hal f bl i nd f r omvi deo scr een cavemen, hal f bl i nd f r omvi deo scr een
d o J h , g d o J h , g d o J h , g r adi at i on. J ust human veal , pl ugged r adi at i on. J ust human veal , pl ugged
t e o e h w a t e o e h w a t e o e h w a i nt o t hei r comput er s whi ch wi l l al so i nt o t hei r comput er s whi ch wi l l al so
l e e s p h l e e s p h l e e s p h f i l l t hei r bel l i es, empt y t hei r f i l l t hei r bel l i es, empt y t hei r
w m r y w m r y w m r y bowel s, and mast ur bat e t hemever y bowel s, and mast ur bat e t hemever y
u h u h u h hour on t he hour . hour on t he hour .
i i n e t i i n e t i i n e t Mar vi n i s noddi ng i n agr eement . Mar vi n i s noddi ng i n agr eement .
M E T M E T M E T MR. PENDLETON MR. PENDLETON
r , e y g r , e y g r , e y g Al r eady, mor e and mor e ever y si ngl e Al r eady, mor e and mor e ever y si ngl e
y a a i i r y a a i i r y a a i i r day, Beaut y and Si ncer i t y ar e day, Beaut y and Si ncer i t y ar e
n r s s n o n r s s n o n r s s n o consi der ed usel ess t hi ngs t o be consi der ed usel ess t hi ngs t o be
c a h p l a c a h p l a c a h p l a mocked and shat upon! Mor al i t y and mocked and shat upon! Mor al i t y and
r g t e e r r g t e e r r g t e e r Vi r t ue, t hough of t r ef er enced, ar e Vi r t ue, t hough of t r ef er enced, ar e
a l h n n H i a l h n n H i a l h n n H i meani ngl ess hal f - not i ons. Humani t y meani ngl ess hal f - not i ons. Humani t y
s n y o . ' s n y o . ' s n y o . ' has been f l ayed t o t he bone. I t ' s has been f l ayed t o t he bone. I t ' s
s m r s n t s m r s n t s m r s n t j ust a mat t er of sucki ng out t he j ust a mat t er of sucki ng out t he
e a . n t e a . n t e a . n t sweet mar r ow. Can t he gr eat sweet mar r ow. Can t he gr eat
m d e n H S ! m d e n H S ! m d e n H S ! Ar mageddon be f ar behi nd? Hai l Sat an! Ar mageddon be f ar behi nd? Hai l Sat an!
g s n L A g s n L A g s n L A The guest s j oi n i n, " HAI L SATAN! " The guest s j oi n i n, " HAI L SATAN! "
M E T M E T M E T MR. PENDLETON MR. PENDLETON
l n V e e l n V e e l n V e e I f onl y Cr owl ey and LaVey wer e her e I f onl y Cr owl ey and LaVey wer e her e
r e f . r e f . r e f . t o exper i ence i t f i r st hand. To see t o exper i ence i t f i r st hand. To see
a l y f d a l y f d a l y f d t hat al l t hey pr of essed and t hat al l t hey pr of essed and
o t c t s y o t c t s y o t c t s y pr osel yt i zed has come t o pass beyond pr osel yt i zed has come t o pass beyond
e i t e i e i t e i e i t e i t hei r wi l dest expect at i ons! The t hei r wi l dest expect at i ons! The
m a s a h n e m a s a h n e m a s a h n e Human Race i s f i nal l y heedi ng t he Human Race i s f i nal l y heedi ng t he
a o d t 0 a o d t 0 a o d t 0 cl ar i on cal l we sounded i n t he 60' s cl ar i on cal l we sounded i n t he 60' s
d s D a o l d s D a o l d s D a o l and 70' s. " Do what t hou wi l t ! " and 70' s. " Do what t hou wi l t ! "
l l n o u s h a o l l n o u s h a o l l n o u s h a o Pendl et on f ondl es one pr ost i t ut e' s br east , t hen paces on. Pendl et on f ondl es one pr ost i t ut e' s br east , t hen paces on.
C N C N C N CONTI NUED CONTI NUED
77. 77.
M E T M E T M E T MR. PENDLETON MR. PENDLETON
t s s o t s s o t s s o Let t he Chr i st i ans and Cat hol i cs go Let t he Chr i st i ans and Cat hol i cs go
i n t h r d t i n t h r d t i n t h r d t sni vel i ng af t er t hei r r ewar d i n t he sni vel i ng af t er t hei r r ewar d i n t he
t f T i o p n t f T i o p n t f T i o p n af t er l i f e. The t i me f or expl or i ng af t er l i f e. The t i me f or expl or i ng
f s l v o s ! f s l v o s ! f s l v o s ! l i f e' s si nf ul per ver si ons i s now! l i f e' s si nf ul per ver si ons i s now!
e n a i g e n a i g e n a i g The pl anet r aper s have got i t r i ght ! The pl anet r aper s have got i t r i ght !
r s n s s r s n s s r s n s s Ear t h i s meant t o have our seed spi l t Ear t h i s meant t o have our seed spi l t
o , e d n o , e d n o , e d n upon i t , and t o be t r od upon and upon i t , and t o be t r od upon and
l d r y l l d r y l l d r y l pi l l aged; f or ci bl y vi ol at ed and pi l l aged; f or ci bl y vi ol at ed and
r u c m e r u c m e r u c m e vor aci ousl y consumed. How el se vor aci ousl y consumed. How el se
o w y b t r s o w y b t r s o w y b t r s shoul d we pay t r i but e t o our chosen shoul d we pay t r i but e t o our chosen
d ? d ? d ? godhead?! godhead?!
h l k i o d h l k i o d h l k i o d Psycho Ki l l er keeps st ar i ng f or war d. Psycho Ki l l er keeps st ar i ng f or war d.
y e c n e g d s i o e y e c n e g d s i o e y e c n e g d s i o e Ever yone el se cont i nues eat i ng f ood or snor t i ng cocai ne. Ever yone el se cont i nues eat i ng f ood or snor t i ng cocai ne.
M E T M E T M E T MR. PENDLETON MR. PENDLETON
, t u e e , t u e e , t u e e At l ong l ast , what val ues we have At l ong l ast , what val ues we have
n l a i o d n l a i o d n l a i o d l ong hel d dear - - f or ni cat i on and l ong hel d dear - - f or ni cat i on and
s t - e o s t - e o s t - e o dest r uct i on - - ar e becomi ng t he dest r uct i on - - ar e becomi ng t he
g l n o o g l n o o g l n o o r i ght f ul cor ner st ones of r i ght f ul cor ner st ones of
v a . o y v v a . o y v v a . o y v ci vi l i zat i on. I , per sonal l y, gi ve ci vi l i zat i on. I , per sonal l y, gi ve
a t s e s n a t s e s n a t s e s n t hanks t o Hi s I nf er nal Maj est y and t hanks t o Hi s I nf er nal Maj est y and
s r u l i o e s r u l i o e s r u l i o e hi s phar maceut i cal empi r e f or t hei r hi s phar maceut i cal empi r e f or t hei r
e n t l t e n e n t l t e n e n t l t e n cr eat i on of t he al mi ght y er ect i on cr eat i on of t he al mi ght y er ect i on
d i t o a d i t o a d i t o a medi cat i ons, f or t her e i s no gr eat er medi cat i ons, f or t her e i s no gr eat er
r l t h k i a r l t h k i a r l t h k i a f or et el l i ng t hat humanki nd i s headi ng f or et el l i ng t hat humanki nd i s headi ng
r c ! h r c ! h r c ! h i n t he r i ght di r ect i on! I t i s t he i n t he r i ght di r ect i on! I t i s t he
f g b r d v o f g b r d v o f g b r d v o def i ni ng har bi nger . . . deser vi ng of def i ni ng har bi nger . . . deser vi ng of
i m o a s i i m o a s i i m o a s i bei ng embl azoned acr oss t he Amer i can bei ng embl azoned acr oss t he Amer i can
a n n m i a n n m i a n n m i f l ag: a wi zened, naked ol d man wi t h f l ag: a wi zened, naked ol d man wi t h
s o l b n s o l b n s o l b n hi s engor ged cock f ai r l y vi br at i ng i n hi s engor ged cock f ai r l y vi br at i ng i n
t a ! t a ! t a ! ant i ci pat i on! ant i ci pat i on!
i c i a o i h n h g L i c i a o i h n h g L i c i a o i h n h g L Mar vi n cocks hi s head, ponder i ng t hat one, chewi ng a BLACK- Mar vi n cocks hi s head, ponder i ng t hat one, chewi ng a BLACK-
U e l e N A T o e k U e l e N A T o e k U e l e N A T o e k LACQUERED f i nger nai l . He has a PENTAGRAM TATTOO on t he back LACQUERED f i nger nai l . He has a PENTAGRAM TATTOO on t he back
i f n e K c , e r e i f n e K c , e r e i f n e K c , e r e of hi s l ef t hand, sees PK wat chi ng, gi ves an uncer t ai n smi l e. of hi s l ef t hand, sees PK wat chi ng, gi ves an uncer t ai n smi l e.
M E T M E T M E T MR. PENDLETON MR. PENDLETON
t o t m t t o t m t t o t m t So what i f i t ' s not Sat ani smt hat So what i f i t ' s not Sat ani smt hat
i a g g n i a g g n i a g g n br i ngs about t he gr eat Ar mageddon?! br i ngs about t he gr eat Ar mageddon?!
i e e i i e e i i e e i So i t wi l l be t he Cul t of Cel ebr i t y. So i t wi l l be t he Cul t of Cel ebr i t y.
e n p . s d n e n p . s d n e n p . s d n The por nogr apher s. Mass medi a and The por nogr apher s. Mass medi a and
e t b o r e t b o r e t b o r t he cul t ur al cel ebr at i on of i gnor ance t he cul t ur al cel ebr at i on of i gnor ance
d e b ! d e b ! d e b ! and cr uel t y. So be i t ! We wi l l r i se and cr uel t y. So be i t ! We wi l l r i se
s n s n s n up j ust t he same. The Sat ani c up j ust t he same. The Sat ani c
n a w h i a T n a w h i a T n a w h i a T Renai ssance wi l l have i t s day. The Renai ssance wi l l have i t s day. The
e e s r A n e e s r A n e e s r A n Gr eat Beast shal l r et ur n. And i n Gr eat Beast shal l r et ur n. And i n
a i d c e s a i d c e s a i d c e s t hat r ui nous wor l d whi ch l i es j ust t hat r ui nous wor l d whi ch l i es j ust
o t o , l e e o t o , l e e o t o , l e e ar ound t he cor ner , whi l e ever yone ar ound t he cor ner , whi l e ever yone
s a t g e b f s a t g e b f s a t g e b f el se cr awl s t hr ough t he r ubbl e of el se cr awl s t hr ough t he r ubbl e of
a c s u l a c s u l a c s u l what once was, you and I wi l l be what once was, you and I wi l l be
o c n t S ' o c n t S ' o c n t S ' amongst t he chosen el i t e. Sat an' s amongst t he chosen el i t e. Sat an' s
o r , i i i o r , i i i o r , i i i shock t r oops, l i vi ng l i ke ki ngs, shock t r oops, l i vi ng l i ke ki ngs,
i h m h i h m h i h m h whi l e t he zombi es ki ss our hi gh- whi l e t he zombi es ki ss our hi gh-
e n a s e n a s e n a s heel ed, pat ent l eat her boot s. heel ed, pat ent l eat her boot s.
( ) ( ) ( ) ( mor e) ( mor e)
C N C N C N CONTI NUED CONTI NUED
78. 78.
M E T C ) M E T C ) M E T C ) MR. PENDLETON ( CONT. ) MR. PENDLETON ( CONT. )
p ) p ) p ) ( pause) ( pause)
t h . o a e d t h . o a e d t h . o a e d Unt i l t hen. . . r ej oi ce and be gl ad. Unt i l t hen. . . r ej oi ce and be gl ad.
l g t o x n l g t o x n l g t o x n We ar e l i vi ng i n t he most exci t i ng We ar e l i vi ng i n t he most exci t i ng
m n e L e m n e L e m n e L e t i mes i n t he whol e of Luci f er i an t i mes i n t he whol e of Luci f er i an
s ! G n u s ! G n u s ! G n u hi st or y! A Gol den Age of human hi st or y! A Gol den Age of human
p t B a l a l p t B a l a l p t B a l a l depr avi t y! Be gr at ef ul we ar e al i ve depr avi t y! Be gr at ef ul we ar e al i ve
e t e t e t t o wi t ness i t . t o wi t ness i t .
C O C O C O CUT TO: CUT TO:
D N S S E B O T D N S S E B O T D N S S E B O T INT. PENDLETON HOUSE, PSYCHO KILLER'S BEDROOM -- NIGHT INT. PENDLETON HOUSE, PSYCHO KILLER'S BEDROOM -- NIGHT
i a s e t i r d B O i a s e t i r d B O i a s e t i r d B O Mar vi n l eads Psycho Ki l l er i nt o t hi s l ar ge, dar k BEDROOM. Mar vi n l eads Psycho Ki l l er i nt o t hi s l ar ge, dar k BEDROOM.
s i l t l r i u O E s i l t l r i u O E s i l t l r i u O E Not sur pr i si ngl y, i t ' s cl ut t er ed wi t h f ul l BOOKSHELVES and Not sur pr i si ngl y, i t ' s cl ut t er ed wi t h f ul l BOOKSHELVES and
m N A M I T . m N A M I T . m N A M I T . yet mor e NEWSPAPER, BOOK and MAGAZI NE STACKS. yet mor e NEWSPAPER, BOOK and MAGAZI NE STACKS.
M N M N M N MARVI N MARVI N
i . v l i . v l i . v l Thi s i s your r oom. Obvi ousl y. . . Thi s i s your r oom. Obvi ousl y. . .
h s y l e h s y l e h s y l e ot her wi se why woul d we be her e? ot her wi se why woul d we be her e?
i o , n A I L w i o , n A I L w i o , n A I L w Mar vi n cr osses, t ur ns on a BLACK- LI GHT LAMP whi ch Mar vi n cr osses, t ur ns on a BLACK- LI GHT LAMP whi ch
m e G N A I P I f O R m e G N A I P I f O R m e G N A I P I f O R i l l umi nat es a GLOWI NG BLACK- LI GHT PAI NTI NG of a YOUNGER i l l umi nat es a GLOWI NG BLACK- LI GHT PAI NTI NG of a YOUNGER
L . s a n - E D L . s a n - E D L . s a n - E D PENDLETON. PK put s hi s sui t case on t he FOUR- POSTER BED. PENDLETON. PK put s hi s sui t case on t he FOUR- POSTER BED.
M N M N M N MARVI N MARVI N
m n m w o m n m w o m n m w o I ' mgoi ng t o r emember wher e I know I ' mgoi ng t o r emember wher e I know
u m n . w h u m n . w h u m n . w h you f r om. Anyway. Now. . . what ' s t hi s you f r om. Anyway. Now. . . what ' s t hi s
n a " n o n a " n o n a " n o " i nf or mat i on" you keep aski ng about ? " i nf or mat i on" you keep aski ng about ?
h l r n o e o r y d h l r n o e o r y d h l r n o e o r y d Psycho Ki l l er r emai ns, you guessed i t , obscur ed by shadows. Psycho Ki l l er r emai ns, you guessed i t , obscur ed by shadows.
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
m e . m e . m e . Someone I need t o f i nd. Someone I need t o f i nd.
M N M N M N MARVI N MARVI N
i k F e c i k F e c i k F e c Oki e- doke. Fi ne. Ther e' s a det ect i ve Oki e- doke. Fi ne. Ther e' s a det ect i ve
. d n s e s . d n s e s . d n s e s Mr . Pendl et on uses somet i mes. Mr . Pendl et on uses somet i mes.
a o O D h h n h o . a o O D h h n h o . a o O D h h n h o . He t akes out NOTEPAD and PEN, t ouches t he pen t o hi s t ongue. He t akes out NOTEPAD and PEN, t ouches t he pen t o hi s t ongue.
M N M N M N MARVI N MARVI N
a t p n a i a t p n a i a t p n a i What ' s t hi s per son' s name? Looki ng What ' s t hi s per son' s name? Looki ng
a h r e g a h r e g a h r e g t o put a hex on t hemor somet hi ng? t o put a hex on t hemor somet hi ng?
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
d r e d r e d r e I don' t know t hei r name. I don' t know t hei r name.
M N M N M N MARVI N MARVI N
. w I p . w I p . w I p Uh huh. So. . . how amI supposed t o Uh huh. So. . . how amI supposed t o
n e n e n e f i nd t hem? f i nd t hem?
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
k w t d k w t d k w t d I know what t hey do. I know what t hey do.
M N M N M N MARVI N MARVI N
u l m u l m u l m You' ve l ost me. You' ve l ost me.
C N C N C N CONTI NUED CONTI NUED
79. 79.
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
k w c t r . k w c t r . k w c t r . I know what ci t y t hey' r e i n. I know what ci t y t hey' r e i n.
i t W E A i t W E A i t W E A Mar vi n si t s on a NEWSPAPER STACK. Mar vi n si t s on a NEWSPAPER STACK.
M N M N M N MARVI N MARVI N
. i o f w . i o f w . i o f w I . . . st i l l don' t f ol l ow. I . . . st i l l don' t f ol l ow.
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
e r . e r . e r . Ther e' s a cer t ai n ci t y. . . I need t o Ther e' s a cer t ai n ci t y. . . I need t o
o o r e b o o r e b o o r e i b know who t her e does t hi s j ob. know who t her e does t hi s j ob.
p ) p ) p ) ( pause) ( pause)
o y . e h i o y . e h i o y . e h i Who t hey ar e. Wher e t hey l i ve. Who t hey ar e. Wher e t hey l i ve.
C O C O C O CUT TO: CUT TO:
D N S T D N S T D N S T EXT. PENDLETON HOUSE -- NIGHT EXT. PENDLETON HOUSE -- NIGHT
a f m s s n h u s a h a f m s s n h u s a h a f m s s n h u s a h A near l y f ul l moon shi nes down. The house i s a dar k shape. A near l y f ul l moon shi nes down. The house i s a dar k shape.
D N S S E R - G D N S S E R - G D N S S E R - G INT. PENDLETON HOUSE, PSYCHO KILLER'S ROOM -- NIGHT INT. PENDLETON HOUSE, PSYCHO KILLER'S ROOM -- NIGHT
h l s s r s t i , k o h l s s r s t i , k o h l s s r s t i , k o Psycho Ki l l er st ands shi r t l ess at t he wi ndow, l ooki ng out , Psycho Ki l l er st ands shi r t l ess at t he wi ndow, l ooki ng out ,
e u h i h i f h a e u h i h i f h a e u h i h i f h a cl ose enough t hat hi s exhal at i ons f og t he gl ass. Pal e cl ose enough t hat hi s exhal at i ons f og t he gl ass. Pal e
L e t o r n r L e t o r n r L e t o r n r MOONLI GHT shi nes i n upon hi s t at t ooed ar ms and t or so. MOONLI GHT shi nes i n upon hi s t at t ooed ar ms and t or so.
s e m d l r d . d n h s e m d l r d . d n h s e m d l r d . d n h Acr oss t he r oom, a di mgl ow pr oceeds Mr . Pendl et on as he Acr oss t he r oom, a di mgl ow pr oceeds Mr . Pendl et on as he
e e r n g , n i t l A . e e r n g , n i t l A . e e r n g , n i t l A . pushes t he door open sl i ght l y, l eani ng i n wi t h a l i t CANDLE. pushes t he door open sl i ght l y, l eani ng i n wi t h a l i t CANDLE.
M E T M E T M E T MR. PENDLETON MR. PENDLETON
o g t e l o g t e l o g t e l Good ni ght , t hen. Sl eep wel l . Good ni ght , t hen. Sl eep wel l .
h l r n c t i . h l r n c t i . h l r n c t i . Psycho Ki l l er r emai ns f aci ng t he wi ndow. Psycho Ki l l er r emai ns f aci ng t he wi ndow.
M E T M E T M E T MR. PENDLETON MR. PENDLETON
u w t i f r o u w t i f r o u w t i f r o You know. . . t hi s i s a f ar cr y f r om You know. . . t hi s i s a f ar cr y f r om
o n a U t e o n a U t e o n a U t e who I once was. Used t o be qui t e t he who I once was. Used t o be qui t e t he
f s c e i o f s c e i o f s c e i o i nf amous, l ocal cel ebr i t y. No l onger i nf amous, l ocal cel ebr i t y. No l onger
o n l T , o n l T , o n l T , t hough. Thankf ul l y. These days, t hough. Thankf ul l y. These days,
o a o o d u e o a o o d u e o a o o d u e peopl e ar e mor e wor r i ed about t hei r peopl e ar e mor e wor r i ed about t hei r
i r o d i r o d i r o d nei ghbor hood sex of f ender s. nei ghbor hood sex of f ender s.
p ) p ) p ) ( pause) ( pause)
t t t t l l t t t t l l t t t t l l I t end t o my qui et , l i t t l e l i f e l i ke I t end t o my qui et , l i t t l e l i f e l i ke
e h g d t e h g d t e h g d t t he wi t her i ng gar den i t i s. You have t he wi t her i ng gar den i t i s. You have
u u t y l . u u t y l . u u t y l . your yout h st i l l , but you' l l see. I your yout h st i l l , but you' l l see. I
o m s a l l n o m s a l l n o m s a l l n know I must seema si l l y, ol d man. know I must seema si l l y, ol d man.
m r I g m r I g m r I g I n t he mi r r or . . . I t oo r ecogni ze a I n t he mi r r or . . . I t oo r ecogni ze a
r b q e l . r b q e l . r b q e l . cer t ai n Gat sby- esque r esembl ance. cer t ai n Gat sby- esque r esembl ance.
p ) p ) p ) ( pause) ( pause)
e n n u i e n n u i e n n u i I f t her e' s anyt hi ng you desi r e I f t her e' s anyt hi ng you desi r e
n . ' s e f n . ' s e f n . ' s e f t oni ght . . . I ' mj ust at t he end of t he t oni ght . . . I ' mj ust at t he end of t he
l . y g a l . y g a l . y g a hal l way. Anyt hi ng at al l . hal l way. Anyt hi ng at al l .
l s , R L . l s , R L . l s , R L . Pendl et on backs out , HEARD WALKI NG AWAY. Pendl et on backs out , HEARD WALKI NG AWAY.
C O C O C O CUT TO: CUT TO:
80. 80.
D N S S E B O I D N S S E B O I D N S S E B O I INT. PENDLETON HOUSE, PSYCHO KILLER'S BEDROOM -- MORNING INT. PENDLETON HOUSE, PSYCHO KILLER'S BEDROOM -- MORNING
h l o s a n n t s h l o s a n n t s h l o s a n n t s Psycho Ki l l er opens hi s sui t case on t he bed. Al ong wi t h hi s Psycho Ki l l er opens hi s sui t case on t he bed. Al ong wi t h hi s
a d b a n w f o , c a d b a n w f o , c a d b a n w f o , c vul cani zed- r ubber mask and sawed- of f shot gun, t he sui t case vul cani zed- r ubber mask and sawed- of f shot gun, t he sui t case
a a a H k M n e o a a a H k M n e o a a a H k M n e o cont ai ns at l east THI RTY st i cks of DYNAMI TE nest l ed amongst cont ai ns at l east THI RTY st i cks of DYNAMI TE nest l ed amongst
H I a t " n s H I a t " n s H I a t " n s PK' S CLOTHI NG, BAGS of PI LLS and ot her " bel ongi ngs. " PK' S CLOTHI NG, BAGS of PI LLS and ot her " bel ongi ngs. "
h l g s a l c f I f o h l g s a l c f I f o h l g s a l c f I f o Psycho Ki l l er gr asps a handf ul of col or f ul PI LLS f r omone Psycho Ki l l er gr asps a handf ul of col or f ul PI LLS f r omone
I h a o h f l h C R E I h a o h f l h C R E I h a o h f l h C R E BAGGI E, t hen t akes out t he 3- f oot l engt h of COPPER PI PE. BAGGI E, t hen t akes out t he 3- f oot l engt h of COPPER PI PE.
C O C O C O CUT TO: CUT TO:
T E W N E - R T E W N E - R T E W N E - R EXT. BALTIMORE, DOWNTOWN STREETS -- MORNING EXT. BALTIMORE, DOWNTOWN STREETS -- MORNING
h l s p u c i o s h l s p u c i o s h l s p u c i o s Psycho Ki l l er ' s coupe cr ui ses mi d- ci t y, dr i vi ng t owar ds. . . Psycho Ki l l er ' s coupe cr ui ses mi d- ci t y, dr i vi ng t owar ds. . .
z C e f e z C e f e z C e f e A si zabl e CHURCH at t he end of t he st r eet . A si zabl e CHURCH at t he end of t he st r eet .
R - N R - N R - N INT. CHURCH -- MORNING INT. CHURCH -- MORNING
e . y K r e i s n o e . y K r e i s n o e . y K r e i s n o Dar k and empt y. Psycho Ki l l er ent er s, i n hi s t r ench coat . Dar k and empt y. Psycho Ki l l er ent er s, i n hi s t r ench coat .
i I c s w t c r i I c s w t c r i I c s w t c r Out si de LI GHT cast s hi s shadow t he l engt h of t he cent er Out si de LI GHT cast s hi s shadow t he l engt h of t he cent er
e o e o u F S i i e o e o u F S i i e o e o u F S i i ai sl e' s pol i shed f l oor , unt i l t he FRONT DOORS behi nd hi m ai sl e' s pol i shed f l oor , unt i l t he FRONT DOORS behi nd hi m
e n a a e n a a e n a a cl ose and dar kness agai n pr evai l s. cl ose and dar kness agai n pr evai l s.
h l s s t i i E h h l s s t i i E h h l s s t i i E h Psycho Ki l l er st ar t s up t he ai sl e, passi ng PEWS, hi s Psycho Ki l l er st ar t s up t he ai sl e, passi ng PEWS, hi s
F I a , r a D R F I a , r a D R F I a , r a D R FOOTFALLS ECHOI NG. Far ahead, t her e' s an ELDER PRI EST on FOOTFALLS ECHOI NG. Far ahead, t her e' s an ELDER PRI EST on
A , a n e n E A , a n e n E A , a n e n E t he ALTAR, or gani zi ng i t ems on t he LECTERN. t he ALTAR, or gani zi ng i t ems on t he LECTERN.
E S E S E S ELDER PRI EST ELDER PRI EST
lll Hel l o? Hel l o?
h l c e r w a t h l c e r w a t h l c e r w a t Psycho Ki l l er cr osses t hr ough a r ow, headi ng f or t he Psycho Ki l l er cr osses t hr ough a r ow, headi ng f or t he
E N T g t . d r h E N T g t . d r h E N T g t . d r h CONFESSI ON BOOTHS agai nst one wal l . El der Pr i est wat ches. CONFESSI ON BOOTHS agai nst one wal l . El der Pr i est wat ches.
E S E S E S ELDER PRI EST ELDER PRI EST
n e o n e o n e o Can I hel p you? Can I hel p you?
h l e s o s l u h o h l e s o s l u h o h l e s o s l u h o Psycho Ki l l er ent er s a conf essi onal , shut s t he door . Psycho Ki l l er ent er s a conf essi onal , shut s t he door .
r o , e i a e r o , e i a e r o , e i a e Af t er a moment , El der Pr i est ar r i ves. Af t er a moment , El der Pr i est ar r i ves.
E S E S E S ELDER PRI EST ELDER PRI EST
l v m r f o l v m r f o l v m r f o Hel l o? You' ve come f or conf essi on? Hel l o? You' ve come f or conf essi on?
K O S B K O S B K O S B IN PK'S CONFESSION BOOTH IN PK'S CONFESSION BOOTH
h l w n s k t l c r h l w n s k t l c r h l w n s k t l c r Psycho Ki l l er , now wear i ng hi s mask, si t s hol di ng t he copper Psycho Ki l l er , now wear i ng hi s mask, si t s hol di ng t he copper
, h l l h n a s , h l l h n a s , h l l h n a s pi pe, wi t h one end l et hal l y shar pened, acr oss hi s l ap. pi pe, wi t h one end l et hal l y shar pened, acr oss hi s l ap.
r e s R T G h n o r e s R T G h n o r e s R T G h n o El der Pr i est i s HEARD ENTERI NG t he nei ghbor i ng boot h. El der Pr i est i s HEARD ENTERI NG t he nei ghbor i ng boot h.
E S . E S . E S . ELDER PRI EST ( O. S. ) ELDER PRI EST ( O. S. )
m t g o s r s m t g o s r s m t g o s r s I ' ml i st eni ng. Conf ess your si ns. I ' ml i st eni ng. Conf ess your si ns.
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
m a v . m a v . m a v . I ' maf r ai d. I l i ve i n f ear . I ' maf r ai d. I l i ve i n f ear .
P t I E c e n o t b i P t I E c e n o t b i P t I E c e n o t b i The Pr i est ' s SI LHOUETTE can be seen t hr ough t he obscur i ng The Pr i est ' s SI LHOUETTE can be seen t hr ough t he obscur i ng
E N C h r o t t o . E N C h r o t t o . E N C h r o t t o . CONFESSI ONAL SCREEN i n t he par t i t i on bet ween t he t wo boot hs. CONFESSI ONAL SCREEN i n t he par t i t i on bet ween t he t wo boot hs.
C N C N C N CONTI NUED CONTI NUED
81. 81.
E S . E S . E S . ELDER PRI EST ( O. S. ) ELDER PRI EST ( O. S. )
r o a r o a r o a Af r ai d of what ? Af r ai d of what ?
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
t n t b m n t n t b m n t n t b m n Not hi ngness. That maybe I ' mwr ong. . . Not hi ngness. That maybe I ' mwr ong. . .
a t t ' a t t ' a t t ' i n my f ai t h. What i f t her e' s no i n my f ai t h. What i f t her e' s no
a o , e i f a o , e i f a o , e i f pl ace f or me, af t er t hi s l i f e? pl ace f or me, af t er t hi s l i f e?
E S . E S . E S . ELDER PRI EST ( O. S. ) ELDER PRI EST ( O. S. )
u s . u d o u u s . u d o u u s . u d o u I under st and. You wonder how you can I under st and. You wonder how you can
l o i o n l o i o n l o i o n bel i eve i n somet hi ng you cannot bel i eve i n somet hi ng you cannot
e t o e k e t o e k e t o e k see. . . t r ust i n someone you speak t o see. . . t r ust i n someone you speak t o
o s a r e . o s a r e . o s a r e . who doesn' t answer di r ect l y. who doesn' t answer di r ect l y.
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
n e e u . l n e e u . l n e e u . l I f I don' t bel i eve enough. . . wi l l I I f I don' t bel i eve enough. . . wi l l I
o t d o o t d o o t d o be abl e t o do what needs t o be done? be abl e t o do what needs t o be done?
E S . E S . E S . ELDER PRI EST ( O. S. ) ELDER PRI EST ( O. S. )
B , n h t B , n h t B , n h t As t he Bi bl e says, even wi t h f ai t h as As t he Bi bl e says, even wi t h f ai t h as
a s u d d u a s u d d u a s u d d u smal l as a must ar d seed, you can say smal l as a must ar d seed, you can say
m a " m a " m a " t o t he mount ai n, " Move f r omher e t o t o t he mount ai n, " Move f r omher e t o
e t o i l v e t o i l v e t o i l v t her e, " and t he mount ai n wi l l move. t her e, " and t he mount ai n wi l l move.
t i r t i r t i r But you must r emai n st r ong. But you must r emai n st r ong.
p l n s d t , p l n s d t , p l n s d t , Especi al l y i n t hese moder n t i mes, Especi al l y i n t hese moder n t i mes,
e r w a p e r w a p e r w a p t her e ar e so many who wi l l at t empt t o t her e ar e so many who wi l l at t empt t o
i a l . n i a l . n i a l . n chi p away at your r esol ve. . . usi ng chi p away at your r esol ve. . . usi ng
g t c i w y g t c i w y g t c i w y ar gument s of l ogi c agai nst what you ar gument s of l ogi c agai nst what you
o r . o r . o r . know i s t r ue and r i ght . know i s t r ue and r i ght .
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
m e e e h a m e e e h a m e e e h a Some pr et end t o bel i eve. They make Some pr et end t o bel i eve. They make
y t n h e . y t n h e . y t n h e . me angr y. . . t he ones who pr et end. me angr y. . . t he ones who pr et end.
E S . E S . E S . ELDER PRI EST ( O. S. ) ELDER PRI EST ( O. S. )
d y l f i d y l f i d y l f i And t hey wi l l be f ound want i ng. And t hey wi l l be f ound want i ng.
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
s e l s e l s e l Yes, t hey wi l l . Yes, t hey wi l l .
E S . E S . E S . ELDER PRI EST ( O. S. ) ELDER PRI EST ( O. S. )
e d y e e d y e e d y e They and many ot her s. They wi l l be They and many ot her s. They wi l l be
f h f h f h l ef t behi nd. l ef t behi nd.
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
w t g w t g w t g I want t o be sur e I ' ve done enough. I want t o be sur e I ' ve done enough.
n e i t h n e i t h n e i t h Done ever yt hi ng I can t o be wor t hy. Done ever yt hi ng I can t o be wor t hy.
h l g c r e a e d h l g c r e a e d h l g c r e a e d Psycho Ki l l er gr i ps t he copper pi pe, shar pened end up. Psycho Ki l l er gr i ps t he copper pi pe, shar pened end up.
E S . E S . E S . ELDER PRI EST ( O. S. ) ELDER PRI EST ( O. S. )
t t s r v t t s r v t t s r v I t i sn' t what you can see or pr ove or I t i sn' t what you can see or pr ove or
e t o d a u e t o d a u e t o d a u even put i nt o wor ds t hat count s. even put i nt o wor ds t hat count s.
' a u r t ' a u r t ' a u r t I t ' s what you car r y i n your hear t . I t ' s what you car r y i n your hear t .
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
k kk I know. I know.
C N C N C N CONTI NUED CONTI NUED
82. 82.
E S . E S . E S . ELDER PRI EST ( O. S. ) ELDER PRI EST ( O. S. )
e i o , n e i o , n e i o , n Ther e wi l l come a t i me, soon Ther e wi l l come a t i me, soon
o . j m d . o . j m d . o . j m d . enough. . . a j udgement day. . . enough. . . a j udgement day. . .
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
s s s s s s Yes, yes. Yes, yes.
E S . E S . E S . ELDER PRI EST ( O. S. ) ELDER PRI EST ( O. S. )
d e d t d e d t d e d t And f or t hose who have f ound f ai t h And f or t hose who have f ound f ai t h
d r i t s d r i t s d r i t s and embr aced i t wi t hout quest i on or and embr aced i t wi t hout quest i on or
u t o e u t o e u t o e doubt , t her e wi l l be no mor e doubt , t her e wi l l be no mor e
e n n n s e n n n s e n n n s quest i ons, onl y answer s. quest i ons, onl y answer s.
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
eee Amen. Amen.
E S . E S . E S . ELDER PRI EST ( O. S. ) ELDER PRI EST ( O. S. )
eee Amen. Amen.
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
i t i t i t Hai l Sat an! Hai l Sat an!
E S . E S . E S . ELDER PRI EST ( O. S. ) ELDER PRI EST ( O. S. )
r m r m r m Par don me? Par don me?
h l T T e h l T T e h l T T e e a a e o Psycho Ki l l er THRUSTS t he pi pe upwar ds at an angl e t hr ough Psycho Ki l l er THRUSTS t he pi pe upwar ds at an angl e t hr ough
C S A R o , D H C S A R o , D H C S A R o , D H t he CONFESSI ONAL SCREEN! A hor r i d, wet SOUND i s HEARD - - t he CONFESSI ONAL SCREEN! A hor r i d, wet SOUND i s HEARD - -
S h a e p E G e i s S h a e p E G e i s S h a e p E G e i s t he SOUND of t he shar pened pi pe PI ERCI NG El der Pr i est ' s t he SOUND of t he shar pened pi pe PI ERCI NG El der Pr i est ' s
a P o l e a h i l h a P o l e a h i l h a P o l e a h i l h t hr oat . Psycho Ki l l er keeps a t i ght gr i p on t he l engt h of t hr oat . Psycho Ki l l er keeps a t i ght gr i p on t he l engt h of
e p i t e a h r e p i t e a h r e p i t e a h r copper pi pe as i t vi ol ent l y j er ks and shudder s. copper pi pe as i t vi ol ent l y j er ks and shudder s.
r e u e S D o r e u e S D o r e u e S D o El der Pr i est ' s gut t ur al , desper at e GASPS ar e HEARD t hr ough El der Pr i est ' s gut t ur al , desper at e GASPS ar e HEARD t hr ough
s n . O e I r h p s n . O e I r h p s n . O e I r h p t he scr een as. . . BLOOD begi ns POURI NG f r omt he pi pe. t he scr een as. . . BLOOD begi ns POURI NG f r omt he pi pe.
h l d t n k , n d t i h l d t n k , n d t i h l d t n k , n d t i Psycho Ki l l er does t he unt hi nkabl e, l eani ng down t o dr i nk Psycho Ki l l er does t he unt hi nkabl e, l eani ng down t o dr i nk
h r l g n h h i s h r l g n h h i s h r l g n h h i s f r omt he hot , r ed f l ow, gul pi ng i n mout hf ul s of t he pr i est ' s f r omt he hot , r ed f l ow, gul pi ng i n mout hf ul s of t he pr i est ' s
D a i t e . D a i t e . D a i t e . BLOOD, swal l owi ng i t gr eedi l y down. BLOOD, swal l owi ng i t gr eedi l y down.
I H N I O - M R I H N I O - M R I H N I O - M R OUTSIDE THE CONFESSION BOOTH -- MOMENTS LATER OUTSIDE THE CONFESSION BOOTH -- MOMENTS LATER
h l s b , e i O h l s b , e i O h l s b , e i O Psycho Ki l l er st eps f r omt he boot h, cover ed i n BLOOD. Psycho Ki l l er st eps f r omt he boot h, cover ed i n BLOOD.
a a u h r n O U h a a u h r n O U h a a u h r n O U h He wal ks away, t hr ough t he spr eadi ng BLOOD PUDDLE on t he He wal ks away, t hr ough t he spr eadi ng BLOOD PUDDLE on t he
r s t o s l a d O N r s t o s l a d O N r s t o s l a d O N f l oor out si de t he conf essi onal , l eavi ng bl oody FOOTPRI NTS. f l oor out si de t he conf essi onal , l eavi ng bl oody FOOTPRI NTS.
h l w c r l e n s h l w c r l e n s h l w c r l e n s Psycho Ki l l er wal ks down t he cent er ai sl e, r emovi ng hi s Psycho Ki l l er wal ks down t he cent er ai sl e, r emovi ng hi s
. s b e a o i s . s b e a o i s . s b e a o i s mask. He t akes of f hi s bl ood soaked coat , f ol ds i t i nsi de mask. He t akes of f hi s bl ood soaked coat , f ol ds i t i nsi de
o s e T O T R D , t o s e T O T R D , t o s e T O T R D , t out on i t sel f , pushes OUT THROUGH THE FRONT DOORS, exi t i ng out on i t sel f , pushes OUT THROUGH THE FRONT DOORS, exi t i ng
d D Y G U H d D Y G U H d D Y G U H i nt o t he day' s BLI NDI NGLY BRI GHT SUNLI GHT. i nt o t he day' s BLI NDI NGLY BRI GHT SUNLI GHT.
C O C O C O CUT TO: CUT TO:
D N S N - Y D N S N - Y D N S N - Y INT. PENDLETON HOUSE, ENTRY -- DAY INT. PENDLETON HOUSE, ENTRY -- DAY
O h l e s h U o S n O h l e s h U o S n O h l e s h U o S n FOLLOWas Psycho Ki l l er ent er s. The SOUNDS of MUSI C and a FOLLOWas Psycho Ki l l er ent er s. The SOUNDS of MUSI C and a
T a E f e h T a E f e h T a E f e h l oud CHANTI NG ar e HEARD f r omel sewher e. l oud CHANTI NG ar e HEARD f r omel sewher e.
83. 83.
A O V R - Y A O V R - Y A O V R - Y INT. GREAT ROOM/LIVING ROOM -- DAY INT. GREAT ROOM/LIVING ROOM -- DAY
h l e s s g a o h l e s s g a o h l e s s g a o Psycho Ki l l er ent er s t hi s l ar ge, dar k r oom. Psycho Ki l l er ent er s t hi s l ar ge, dar k r oom.
A a r o h o k i e A a r o h o k i e A a r o h o k i e CURTAI NS ar e dr awn. Acr oss t he r oom, a FI RE cr ackl es i n t he CURTAI NS ar e dr awn. Acr oss t he r oom, a FI RE cr ackl es i n t he
P . A A S n t - d P . A A S n t - d P . A A S n t - d FI REPLACE. BLACK CANDLES bur n i n t al l , f r ee- st andi ng FI REPLACE. BLACK CANDLES bur n i n t al l , f r ee- st andi ng
E A o h r c t a E A o h r c t a E A o h r c t a CANDELABRA. To t he l ef t of t he f i r epl ace, st ands a bl ack, CANDELABRA. To t he l ef t of t he f i r epl ace, st ands a bl ack,
d w O w h g s a , h d w O w h g s a , h d w O w h g s a , h upsi de- down CROSS, whi l e t o t he r i ght i s a r ai sed, r at her upsi de- down CROSS, whi l e t o t he r i ght i s a r ai sed, r at her
t l k T E I C r t e t l k T E I C r t e t l k T E I C r t e t heat r i cal l ooki ng THRONE CHAI R. Cl oser t o t he cent er of t heat r i cal l ooki ng THRONE CHAI R. Cl oser t o t he cent er of
r P e E A O e t r P e E A O e t r P e E A O e t t he r oom, Mr . Pendl et on, i n a HOODED BLACK ROBE, exhor t s t he r oom, Mr . Pendl et on, i n a HOODED BLACK ROBE, exhor t s
l N a g i n A n i f l N a g i n A n i f l N a g i n A n i f l oudl y i n LATI N, st andi ng behi nd an ALTAR consi st i ng of an l oudl y i n LATI N, st andi ng behi nd an ALTAR consi st i ng of an
t F n e S L I i d n t F n e S L I i d n t F n e S L I i d n or nat e COFFI N. Gr andi ose CLASSI CAL MUSI C ( Ri char d Wagner ) or nat e COFFI N. Gr andi ose CLASSI CAL MUSI C ( Ri char d Wagner )
s m O O " r s m O O " r s m O O " r pl ays f r oma BOOM- BOX on t he " al t ar . " pl ays f r oma BOOM- BOX on t he " al t ar . "
l ' u u , E D G E d l ' u u , E D G E d l ' u u , E D G E d Pendl et on' s house guest s, t he THREE MI DDLE AGED MEN and TWO Pendl et on' s house guest s, t he THREE MI DDLE AGED MEN and TWO
T E l e g C B a n d o T E l e g C B a n d o T E l e g C B a n d o PROSTI TUTES, al so wear i ng BLACK ROBES, ar e kneel ed bef or e PROSTI TUTES, al so wear i ng BLACK ROBES, ar e kneel ed bef or e
a h i H A E o f g a h i H A E o f g a h i H A E o f g t he al t ar on t he t hi ck SHAG CARPETED f l oor , f aci ng t he al t ar on t he t hi ck SHAG CARPETED f l oor , f aci ng
l . i o o o s l . i o o o s l . i o o o s Pendl et on. Thi s r oomi s obvi ousl y dual pur pose, si nce a Pendl et on. Thi s r oomi s obvi ousl y dual pur pose, si nce a
E B n v H a e o a E B n v H a e o a E B n v H a e o a COFFEE TABLE and sever al l ong COUCHES have been moved asi de COFFEE TABLE and sever al l ong COUCHES have been moved asi de
c o c o p d v y c o c o p d v y c o c o p d v y t o accommodat e t he cer emony. I t ' s al l pr esi ded over by a t o accommodat e t he cer emony. I t ' s al l pr esi ded over by a
e r P I f A o h n i e r P I f A o h n i e r P I f A o h n i l ar ge, gar i sh PAI NTI NG of SATAN above t he mant el pi ece. l ar ge, gar i sh PAI NTI NG of SATAN above t he mant el pi ece.
M E T M E T M E T MR. PENDLETON MR. PENDLETON
n a w t n a w t n a w t I n Sat an' s name, we gat her . I n I n Sat an' s name, we gat her . I n
t , w i L t , w i L t , w i L Sat an' s name, we wor shi p! Let Sat an' s name, we wor shi p! Let
t u h h s i t u h h s i t u h h s i not hi ng di sr upt t he unhol y sanct i t y not hi ng di sr upt t he unhol y sanct i t y
a e n a e n a e n of t hi s pr of ane cer emony! of t hi s pr of ane cer emony!
l i p e i S , p g l i p e i S , p g l i p e i S , p g Pendl et on goes t o pi ck up a f el t - t i pped DRUMSTI CK, pr epar i ng Pendl et on goes t o pi ck up a f el t - t i pped DRUMSTI CK, pr epar i ng
i n y G e c s e i n y G e c s e i n y G e c s e t o hi t a near by GONG, when he not i ces Psycho Ki l l er . t o hi t a near by GONG, when he not i ces Psycho Ki l l er .
M E T M E T M E T MR. PENDLETON MR. PENDLETON
, h . o o n , h . o o n , h . o o n Ah, Ri char d, come. . . come j oi n i n our Ah, Ri char d, come. . . come j oi n i n our
s P n i s P n i s P n i mass! Par don me, as I must cont i nue, mass! Par don me, as I must cont i nue,
t a . l c t a . l c t a . l c but pl ease. . . f eel wel come! but pl ease. . . f eel wel come!
l K h n h e s h l l K h n h e s h l l K h n h e s h l Pendl et on STRI KES t he gong, t hen r et ur ns t o hi s al t ar , Pendl et on STRI KES t he gong, t hen r et ur ns t o hi s al t ar ,
s a o l p r " F U a n s a o l p r " F U a n s a o l p r " F U a n choosi ng a " FoodWorld Supermarkets" COFFEE MUG f eat ur i ng a choosi ng a " FoodWorld Supermarkets" COFFEE MUG f eat ur i ng a
n r o z n s a E C n r o z n s a E C n r o z n s a E C f r i endl y, ant hr opomor phi zed and bespect acl ed GLOBE MASCOT. f r i endl y, ant hr opomor phi zed and bespect acl ed GLOBE MASCOT.
l s e g e o o a l s e g e o o a l s e g e o o a Pendl et on l i f t s t he cof f ee mug cer emoni ousl y i n bot h hands. Pendl et on l i f t s t he cof f ee mug cer emoni ousl y i n bot h hands.
M E T M E T M E T MR. PENDLETON MR. PENDLETON
i s c n i s c n i s c n Gui de us, O' Pr i nce of Dar kness, t hat Gui de us, O' Pr i nce of Dar kness, t hat
f w r h f f w r h f f w r h f we may f ol l ow your way on t he Lef t we may f ol l ow your way on t he Lef t
n t U l a n t U l a n t U l a Hand Pat h. Under t he l i ght of Mar s, Hand Pat h. Under t he l i ght of Mar s,
r r a i o r r a i o r r a i o we swear et er nal al l egi ance t o you! we swear et er nal al l egi ance t o you!
l s l h g t e A i g l s l h g t e A i g l s l h g t e A i g Pendl et on t ur ns, hol ds t he mug up t o t he SATAN pai nt i ng. Pendl et on t ur ns, hol ds t he mug up t o t he SATAN pai nt i ng.
M E T M E T M E T MR. PENDLETON MR. PENDLETON
G , e t i G , e t i G , e t i By t he Gr eat Goat , gi ve us t he vi si on By t he Gr eat Goat , gi ve us t he vi si on
h r i s e h r i s e h r i s e t o cal l f or t h your mi ni ons so t hey t o cal l f or t h your mi ni ons so t hey
y e h i . e u y e h i . e u y e h i . e u may at t end t hi s r i t ual . Beel zebub! may at t end t hi s r i t ual . Beel zebub!
m s r l e l e m s r l e l e m s r l e l e Asmodeus! Gr essi l ! We cal l t hee Asmodeus! Gr essi l ! We cal l t hee
r t a t u r r t a t u r r t a t u r f or t h, t o bear wi t ness t o our car nal f or t h, t o bear wi t ness t o our car nal
v n v n v n devot i ons. devot i ons.
C N C N C N CONTI NUED CONTI NUED
84. 84.
l s t e s t c e o w l s t e s t c e o w l s t e s t c e o w Pendl et on t ur ns t o t he member s of t he " congr egat i on, " who Pendl et on t ur ns t o t he member s of t he " congr egat i on, " who
s i p i r m s i p i r m s i p i r m ar e st andi ng up and f or mi ng a l i ne bef or e hi m. ar e st andi ng up and f or mi ng a l i ne bef or e hi m.
M E T M E T M E T MR. PENDLETON MR. PENDLETON
t e e a h a f t e e a h a f t e e a h a f Let ot her s cel ebr at e t he deat h of Let ot her s cel ebr at e t he deat h of
e i r . b e i r . b e i r . b t hei r hi ppi e super her o. We cel ebr at e t hei r hi ppi e super her o. We cel ebr at e
e e r m t e e r m t e e r m t t he l i f e and i nf er nal maj est y of t he t he l i f e and i nf er nal maj est y of t he
r F ! r F ! r F ! Lor d of t he Fl i es! Lor d of t he Fl i es!
M e d s k t u M e d s k t u M e d s k t u 1st Mi ddl e- Aged Man st eps up, st i cks out hi s t ongue. 1st Mi ddl e- Aged Man st eps up, st i cks out hi s t ongue.
l h n h f m t a l l h n h f m t a l l h n h f m t a l Pendl et on r eaches i nt o t he cof f ee mug, t akes out a smal l Pendl et on r eaches i nt o t he cof f ee mug, t akes out a smal l
r T A w a l S L C n r T A w a l S L C n r T A w a l S L C n squar e of BLOTTER PAPER wi t h a yel l ow " SMI LELY FACE" on i t ; squar e of BLOTTER PAPER wi t h a yel l ow " SMI LELY FACE" on i t ;
S S h h a o t d g a t e S S h h a o t d g a t e S S h h a o t d g a t e an LSD DOSE, whi ch he pl aces on 1st Mi ddl e- Aged Man' s t ongue. an LSD DOSE, whi ch he pl aces on 1st Mi ddl e- Aged Man' s t ongue.
M E T M E T M E T MR. PENDLETON MR. PENDLETON
e t ! e t ! e t ! Ave, Sat anas! Ave, Sat anas!
1 I - 1 I - 1 I - 1ST MI DDLE- AGED MAN 1ST MI DDLE- AGED MAN
e t ! e t ! e t ! Ave, Sat anas! Ave, Sat anas!
s , h h s e i r s , h h s e i r s , h h s e i r And so i t goes, wi t h each wor shi pper i n t ur n r ecei vi ng t hei r And so i t goes, wi t h each wor shi pper i n t ur n r ecei vi ng t hei r
" u , p n n o " n " u , p n n o " n " u , p n n o " n LSD " communi on, " r epeat i ng Pendl et on' s " Ave, Sat anas! " LSD " communi on, " r epeat i ng Pendl et on' s " Ave, Sat anas! "
L U L U L U IN CLOSE-UP: IN CLOSE-UP:
h l s G E F e c e h l s G E F e c e h l s G E F e c e Psycho Ki l l er ' s SUNGLASSES REFLECT a vi ew of t he candl e- l i t Psycho Ki l l er ' s SUNGLASSES REFLECT a vi ew of t he candl e- l i t
K S m o h o K S m o h o K S m o h o BLACK MASS f r omacr oss t he r oom. BLACK MASS f r omacr oss t he r oom.
R O E E E R O E E E R O E E E IN FRONT OF THE FIREPLACE IN FRONT OF THE FIREPLACE
m e d o r t n c d m e d o r t n c d m e d o r t n c d The mi ddl e- aged men and one pr ost i t ut e, havi ng r ecei ved The mi ddl e- aged men and one pr ost i t ut e, havi ng r ecei ved
r e t i c e w t u n r e t i c e w t u n r e t i c e w t u n t hei r doses, st and i n a ci r cl e bet ween t he sur r oundi ng t hei r doses, st and i n a ci r cl e bet ween t he sur r oundi ng
h f g h e h . h f g h e h . h f g h e h . couches, f aci ng each ot her , whi l e. . . couches, f aci ng each ot her , whi l e. . .
P i a t r i g P i a t r i g P i a t r i g 2nd Pr ost i t ut e i s l ast at t he al t ar , st i cki ng out her 2nd Pr ost i t ut e i s l ast at t he al t ar , st i cki ng out her
u d c a i y l ' l . u d c a i y l ' l . u d c a i y l ' l . t ongue and f l i cki ng i t l asci vi ousl y, t o Pendl et on' s del i ght . t ongue and f l i cki ng i t l asci vi ousl y, t o Pendl et on' s del i ght .
l r e t " S L S l r e t " S L S l r e t " S L S Pendl et on r ewar ds her wi t h a " ZEN SYMBOL" DOSE. Pendl et on r ewar ds her wi t h a " ZEN SYMBOL" DOSE.
M E T M E T M E T MR. PENDLETON MR. PENDLETON
e t ! e t ! e t ! Ave, Sat anas! Ave, Sat anas!
l s h f i W u L R l s h f i W u L R l s h f i W u L R Pendl et on makes a show of t aki ng TWO squar es of BLOTTER Pendl et on makes a show of t aki ng TWO squar es of BLOTTER
R m - B R a E S L R m - B R a E S L R m - B R a E S L PAPER f r omhi s mug - - a BUTTERFLY and PEACE SYMBOL - - PAPER f r omhi s mug - - a BUTTERFLY and PEACE SYMBOL - -
e e e d d l u e e e d d l u e e e d d l u pl aces t hemon hi s ext ended, di scol or ed t ongue. pl aces t hemon hi s ext ended, di scol or ed t ongue.
w w e i P i . w w e i P i . w w e i P i . He swal l ows, l eans i n t o ki ss 2nd Pr ost i t ut e. He swal l ows, l eans i n t o ki ss 2nd Pr ost i t ut e.
o s p i b r l t , t o s p i b r l t , t o s p i b r l t , t The ot her s dr op t hei r r obes, r eveal i ng t hei r nude, past y The ot her s dr op t hei r r obes, r eveal i ng t hei r nude, past y
e T b r r , v t h t f e T b r r , v t h t f e T b r r , v t h t f bodi es. They begi n t hei r " wor shi p, " movi ng t oget her ; t wo of bodi es. They begi n t hei r " wor shi p, " movi ng t oget her ; t wo of
m e d n o r l e m e d n o r l e m e d n o r l e t he mi ddl e- aged men begi nni ng t o mol est each ot her whi l e t he t he mi ddl e- aged men begi nni ng t o mol est each ot her whi l e t he
i o y n p s o u i o y n p s o u i o y n p s o u r emai ni ng f el l ow l ays hands upon 1st Pr ost i t ut e. r emai ni ng f el l ow l ays hands upon 1st Pr ost i t ut e.
P i s , e g , i P i s , e g , i P i s , e g , i 2nd Pr ost i t ut e dr ops her r obe, r eveal i ng her pal e, br ui sed- 2nd Pr ost i t ut e dr ops her r obe, r eveal i ng her pal e, br ui sed-
- t d . e m n h f - t d . e m n h f - t d . e m n h f her e- and- t her e nakedness. She cl i mbs ont o t he cof f i n, her e- and- t her e nakedness. She cl i mbs ont o t he cof f i n,
r h l l . n o A U e r h l l . n o A U e r h l l . n o A U e of f er i ng her sel f t o Pendl et on. Pendl et on CRANKS UP t he of f er i ng her sel f t o Pendl et on. Pendl et on CRANKS UP t he
E h u h e o t i t r E h u h e o t i t r E h u h e o t i t r WAGNER, t hen t ur ns hi s l echer ous at t ent i ons t o her . WAGNER, t hen t ur ns hi s l echer ous at t ent i ons t o her .
85. 85.
L U L U L U IN CLOSE-UP: IN CLOSE-UP:
h l s G E F o s i g h l s G E F o s i g h l s G E F o s i g Psycho Ki l l er ' s SUNGLASSES REFLECT t he or gy' s begi nni ngs, Psycho Ki l l er ' s SUNGLASSES REFLECT t he or gy' s begi nni ngs,
l t , k O F M x l t , k O F M x l t , k O F M x unt i l he t ur ns, wal ki ng OUT OF FRAME as he exi t s. unt i l he t ur ns, wal ki ng OUT OF FRAME as he exi t s.
C O C O C O CUT TO: CUT TO:
D N S S E R - Y D N S S E R - Y D N S S E R - Y INT. PENDLETON HOUSE, PSYCHO KILLER'S ROOM -- DAY INT. PENDLETON HOUSE, PSYCHO KILLER'S ROOM -- DAY
h l s s k o h n e h l s s k o h n e h l s s k o h n e Psycho Ki l l er st ands l ooki ng out t he wi ndow, wher e t he Psycho Ki l l er st ands l ooki ng out t he wi ndow, wher e t he
o r h R S s k o l o r h R S s k o l o r h R S s k o l nar r ow par t i ng of t he CURTAI NS he' s l ooki ng out al l ows a nar r ow par t i ng of t he CURTAI NS he' s l ooki ng out al l ows a
h L o w d r N i h L o w d r N i h L o w d r N i sl ash of LI GHT i nt o t he ot her wi se dar k r oom. A KNOCK i s sl ash of LI GHT i nt o t he ot her wi se dar k r oom. A KNOCK i s
D a s , e e i . D a s , e e i . D a s , e e i . HEARD. Mar vi n opens t he door , ent er s t ent at i vel y. HEARD. Mar vi n opens t he door , ent er s t ent at i vel y.
M N M N M N MARVI N MARVI N
l h e l h e l h e Hel l o? Oh, hey. Ther e you ar e. Hel l o? Oh, hey. Ther e you ar e.
s . g h o n s . g h o n s . g h o n Li st en. . . I got what you want ed. Li st en. . . I got what you want ed.
a i c c a i c c a i c c That pr i vat e det ect i ve guy came That pr i vat e det ect i ve guy came
r . e i t i r . e i t i r . e i t i t hr ough. Seems l i ke i t was no bi ggi e t hr ough. Seems l i ke i t was no bi ggi e
r i t . r i t . r i t . f or hi mt o f i nd i t out . . . f or hi mt o f i nd i t out . . .
i k u - D A o s . i k u - D A o s . i k u - D A o s . Mar vi n t akes out an 3- by- 5 I NDEX CARD, of f er s i t . . . Mar vi n t akes out an 3- by- 5 I NDEX CARD, of f er s i t . . .
h l s y t d t d c f t h l s y t d t d c f t h l s y t d t d c f t Psycho Ki l l er ' s " No Mer cy" t at t ooed l ef t hand r eaches f or i t . Psycho Ki l l er ' s " No Mer cy" t at t ooed l ef t hand r eaches f or i t .
E I , c a . S K E I , c a . S K E I , c a . S K CLOSE- ON: t he I NDEX CARD, whi ch r eads. . . LEWIS WILKES CLOSE- ON: t he I NDEX CARD, whi ch r eads. . . LEWIS WILKES
O v O v O v 213 Oak Avenue 213 Oak Avenue
h l s d d e e r o s h l s d d e e r o s h l s d d e e r o s Psycho Ki l l er ' s hand f ol ds t he i ndex car d, pocket s i t . Psycho Ki l l er ' s hand f ol ds t he i ndex car d, pocket s i t .
M N M N M N MARVI N MARVI N
s n s n s n ( sar doni c) ( sar doni c)
u w m u w m u w m You' r e wel come. You' r e wel come.
i t s e o c h o i t s e o c h o i t s e o c h o Mar vi n wat ches as Psycho Ki l l er cr osses and cr ouches down, Mar vi n wat ches as Psycho Ki l l er cr osses and cr ouches down,
h u b o r s a h u b o r s a h u b o r s a r eachi ng under hi s bed t o r et r i eve hi s sui t case. r eachi ng under hi s bed t o r et r i eve hi s sui t case.
D N S R L F O S E D N S R L F O S E D N S R L F O S E EXT. PENDLETON HOUSE, FRONT LAWN/FRONT GATE -- MOMENTS LATER EXT. PENDLETON HOUSE, FRONT LAWN/FRONT GATE -- MOMENTS LATER
O r d n s f t n e O r d n s f t n e O r d n s f t n e FOLLOWMar vi n dr i vi ng hi s gol f car t down t he dr i veway, FOLLOWMar vi n dr i vi ng hi s gol f car t down t he dr i veway,
l P o l w a s c l P o l w a s c l P o l w a s c t r ai l i ng Psycho Ki l l er , who car r i es hi s sui t case. t r ai l i ng Psycho Ki l l er , who car r i es hi s sui t case.
M N M N M N MARVI N MARVI N
, t t o a e , t t o a e , t t o a e So, t hat ' s i t ? You' r e out t a her e? So, t hat ' s i t ? You' r e out t a her e?
t s d t t s d t t s d t I t hi nk you shoul d wai t and say I t hi nk you shoul d wai t and say
o r n o o y o r n o o y o r n o o y goodbye t o Mr . Pendl et on, don' t you? goodbye t o Mr . Pendl et on, don' t you?
' e s u ' e s u ' e s u I t ' s t he l east you can do. I t ' s t he l east you can do.
h c i ' a o c i h c i ' a o c i h c i ' a o c i They r each Psycho Ki l l er ' s bl ack coupe. Psycho Ki l l er uses They r each Psycho Ki l l er ' s bl ack coupe. Psycho Ki l l er uses
p h u p n s t d p h u p n s t d p h u p n s t d keys t o open t he t r unk, pl aci ng hi s sui t case i nsi de. keys t o open t he t r unk, pl aci ng hi s sui t case i nsi de.
i r h r l i r h r l i r h r l Mar vi n par ks t he car t , cl i mbs out . Mar vi n par ks t he car t , cl i mbs out .
M N M N M N MARVI N MARVI N
' i o d h u t ' i o d h u t ' i o d h u t He' s goi ng t o wonder why you l ef t al l He' s goi ng t o wonder why you l ef t al l
s n h e s g s n h e s g s n h e s g of t he sudden wi t hout even sayi ng of t he sudden wi t hout even sayi ng
a o y g t u o a o y g t u o a o y g t u o t hanks or anyt hi ng. I t ' s j ust common t hanks or anyt hi ng. I t ' s j ust common
u y i a i u y i a i u y i a i cour t esy, i s al l i t r eal l y i s. . . cour t esy, i s al l i t r eal l y i s. . .
C N C N C N CONTI NUED CONTI NUED
86. 86.
h l t X A o e n r h l t X A o e n r h l t X A o e n r Psycho Ki l l er t akes an AX and PI CKAX f r omt he t r unk, dr ops Psycho Ki l l er t akes an AX and PI CKAX f r omt he t r unk, dr ops
h w H k u s t p h w H k u s t p h w H k u s t p t hemt o t he l awn. He t akes out hi s shot gun, st r aps i t on. t hemt o t he l awn. He t akes out hi s shot gun, st r aps i t on.
M N M N M N MARVI N MARVI N
a e . o a e . o a e . o What ar e you. . . doi ng? What ar e you. . . doi ng?
h l n t h a p i , u g h l n t h a p i , u g h l n t h a p i , u g Psycho Ki l l er next t akes out hi s mask, put s i t on, adj ust i ng Psycho Ki l l er next t akes out hi s mask, put s i t on, adj ust i ng
s s b s l s s b s l s s b s l t he st r aps i n back so i t f i t s snugl y. t he st r aps i n back so i t f i t s snugl y.
M N M N M N MARVI N MARVI N
a e l ? a e l ? a e l ? What t he hel l . . . ?! What t he hel l . . . ?!
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
u n i h l u n i h l u n i h l You' r e not l i ke t hem. I bel i eve you You' r e not l i ke t hem. I bel i eve you
l . l . l . bel i eve. bel i eve.
i b n a e a i i n i b n a e a i i n i b n a e a i i n Mar vi n' s backi ng away, r eal i zat i on hi t t i ng l i ke a si ckness. Mar vi n' s backi ng away, r eal i zat i on hi t t i ng l i ke a si ckness.
M N M N M N MARVI N MARVI N
u . u h . u . u h . u . u h . You' r e. . . you' r e hi m. . . You' r e. . . you' r e hi m. . .
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
a r k k e a r k k e a r k k e Leave. Never l ook back. Keep Leave. Never l ook back. Keep
l . r l d . l . r l d . l . r l d . si l ence. . . or I ' l l f i nd you. . . si l ence. . . or I ' l l f i nd you. . .
h t r s s v e M n h t r s s v e M n h t r s s v e M n PK shut s t he t r unk, t ur ns hi s f ear some vi sage t o Mar vi n. PK shut s t he t r unk, t ur ns hi s f ear some vi sage t o Mar vi n.
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
I wi l l . ww I wi l l . I wi l l .
i r o e n t d B o h o i r o e n t d B o h o i r o e n t d B o h o Mar vi n t ur ns t o f l ee, r uns i nt o and TUMBLES over hi s gol f Mar vi n t ur ns t o f l ee, r uns i nt o and TUMBLES over hi s gol f
. m s t a a s e . m s t a a s e . m s t a a s e car t . He scr ambl es up, spr i nt i ng away acr oss t he pr oper t y. car t . He scr ambl es up, spr i nt i ng away acr oss t he pr oper t y.
S E C S E C S E C IN PSYCHO KILLER'S CAR IN PSYCHO KILLER'S CAR
h l t s a d i e n h l t s a d i e n h l t s a d i e n Psycho Ki l l er t hr ows t he pi ckax and ax i n, get s i n. Psycho Ki l l er t hr ows t he pi ckax and ax i n, get s i n.
t e e t e s , K . t e e t e s , K . t e e t e s , K . He st ar t s t he engi ne, put s i t i n gear , st ops, LOOKI NG. . . He st ar t s t he engi ne, put s i t i n gear , st ops, LOOKI NG. . .
H L S : H L S : H L S : PSYCHO KILLER'S POV: PSYCHO KILLER'S POV:
U H N E a s i t L s U H N E a s i t L s U H N E a s i t L s THROUGH THE WI NDSHI ELD: acr oss a di st ant FI ELD, a VAN si t s THROUGH THE WI NDSHI ELD: acr oss a di st ant FI ELD, a VAN si t s
h e f i e . r d d h e f i e . r d d h e f i e . r d d at t he cr est of a hi l l . Whi t e van. Dar kened wi ndows. at t he cr est of a hi l l . Whi t e van. Dar kened wi ndows.
H O A H O A H O A AT THE FRONT GATE AT THE FRONT GATE
h l P n t o . h l P n t o . h l P n t o . Psycho Ki l l er PEELS OUT, spi nni ng t he coupe. . . Psycho Ki l l er PEELS OUT, spi nni ng t he coupe. . .
s r u w P r h u s r u w P r h u s r u w P r h u Ti r es t ear i ng up l awn as he SPEEDS t owar ds t he house. Ti r es t ear i ng up l awn as he SPEEDS t owar ds t he house.
S E N S E N S E N ACROSS THE LAWN ACROSS THE LAWN
h l S c , N a - t h l S c , N a - t h l S c , N a - t Psycho Ki l l er SKI DS t he coupe, TURNI NG a one- ei ght y. . . Psycho Ki l l er SKI DS t he coupe, TURNI NG a one- ei ght y. . .
I n n h h h r e c I n n h h h r e c I n n h h h r e c BRAKI NG i n f r ont of t he house so t hat t he car f aces back BRAKI NG i n f r ont of t he house so t hat t he car f aces back
r h o a T . s P o r h o a T . s P o r h o a T . s P o down t owar ds t he f r ont gat e. The TRUNK POPS. Masked Psycho down t owar ds t he f r ont gat e. The TRUNK POPS. Masked Psycho
e t t a i n , r n c e t t a i n , r n c e t t a i n , r n c Ki l l er get s out , l eaves i t r unni ng, car r yi ng ax and pi ckax. Ki l l er get s out , l eaves i t r unni ng, car r yi ng ax and pi ckax.
h t , e t A N R a h t , e t A N R a h t , e t A N R a He t hr ows t he t r unk open, t akes out a GAS CANI STER, shakes He t hr ows t he t r unk open, t akes out a GAS CANI STER, shakes
s G I E S I n s G I E S I n s G I E S I n i t , some GASOLI NE HEARD SLOSHI NG i nsi de i t . i t , some GASOLI NE HEARD SLOSHI NG i nsi de i t .
87. 87.
D N S N - Y D N S N - Y D N S N - Y INT. PENDLETON HOUSE, ENTRY -- DAY INT. PENDLETON HOUSE, ENTRY -- DAY
h l e s a G M R T h l e s a G M R T h l e s a G M R T Psycho Ki l l er ent er s, l eavi ng t he GLASS STORM DOOR and FRONT Psycho Ki l l er ent er s, l eavi ng t he GLASS STORM DOOR and FRONT
e k r f H A e k r f H A e k r f H A DOOR open as he wal ks pur posef ul l y down t he HALLWAY. DOOR open as he wal ks pur posef ul l y down t he HALLWAY.
H E O H E O H E O IN THE GREAT ROOM IN THE GREAT ROOM
E i L c i r o r E i L c i r o r E i L c i r o r WAGNER st i l l PLAYS. Psycho Ki l l er ent er s, movi ng t owar ds WAGNER st i l l PLAYS. Psycho Ki l l er ent er s, movi ng t owar ds
w i s - c - p m o k w i s - c - p m o k w i s - c - p m o k t he wr i t hi ng, sweat - dr enched, aci d- t r i ppi ng mass of naked, t he wr i t hi ng, sweat - dr enched, aci d- t r i ppi ng mass of naked,
r e d o e o a t o d r e d o e o a t o d r e d o e o a t o d i nt er t wi ned bodi es on t he f l oor t hat i s t he t r i o of mi ddl e- i nt er t wi ned bodi es on t he f l oor t hat i s t he t r i o of mi ddl e-
a t e a t e a t e aged men al ong wi t h bot h pr ost i t ut es. aged men al ong wi t h bot h pr ost i t ut es.
l o n i R b e l o n i R b e l o n i R b e Pendl et on si t s t hi s one out , naked i n hi s THRONE by t he Pendl et on si t s t hi s one out , naked i n hi s THRONE by t he
p , T G a l , s l a p , T G a l , s l a p , T G a l , s l a f i r epl ace, MUTTERI NG, head l ol l i ng, eyes r ol l ed back. f i r epl ace, MUTTERI NG, head l ol l i ng, eyes r ol l ed back.
h l w , p e s . h l w , p e s . h l w , p e s . Psycho Ki l l er wal ks, dr ops t he gas cani st er . . . Psycho Ki l l er wal ks, dr ops t he gas cani st er . . .
s o e s o e s o e Dr ops t he ax t o t he shag car pet . Dr ops t he ax t o t he shag car pet .
s e e n h d f v l s e e n h d f v l s e e n h d f v l As Psycho Ki l l er st eps i nt o t he mi dst of t he obl i vi ousl y As Psycho Ki l l er st eps i nt o t he mi dst of t he obl i vi ousl y
T a O G i y i p x i T a O G i y i p x i T a O G i y i p x i GRUNTI NG and MOANI NG mi ni - or gy, r ai si ng hi s pi ckax up i n GRUNTI NG and MOANI NG mi ni - or gy, r ai si ng hi s pi ckax up i n
s R W M F K Y H s R W M F K Y H s R W M F K Y H bot h hands, OUR VI EWI S MERCI FULLY BLOCKED BY ONE OF THE bot h hands, OUR VI EWI S MERCI FULLY BLOCKED BY ONE OF THE
E C h l i y K r m E C h l i y K r m E C h l i y K r m LARGE COUCHES, so t hat al l we see i s Psycho Ki l l er f r omt he LARGE COUCHES, so t hat al l we see i s Psycho Ki l l er f r omt he
t a t O G P f i y t a t O G P f i y t a t O G P f i y wai st up as he st ar t s CHOPPI NG and CHOPPI NG f r ant i cal l y - - wai st up as he st ar t s CHOPPI NG and CHOPPI NG f r ant i cal l y - -
g t i a y B T N d g t i a y B T N d g t i a y B T N d br i ngi ng t he pi ckax down r epeat edl y - - BLOOD SPLATTERI NG and br i ngi ng t he pi ckax down r epeat edl y - - BLOOD SPLATTERI NG and
T N e t S A T N e t S A T N e t S A FOUNTAI NI NG UP f r omO. S. whi l e what f ew CRI ES and SCREAMS FOUNTAI NI NG UP f r omO. S. whi l e what f ew CRI ES and SCREAMS
H q l l d H q l l d H q l l d ar e HEARD ar e qui ckl y si l enced. ar e HEARD ar e qui ckl y si l enced.
h l s e a h n o e n v h l s e a h n o e n v h l s e a h n o e n v Psycho Ki l l er st agger s back, heavi ng f r omexer t i on, cover ed Psycho Ki l l er st agger s back, heavi ng f r omexer t i on, cover ed
L n d i o f h o L n d i o f h o L n d i o f h o i n BLOOD, havi ng made qui ck wor k of t he heat hen hor de. i n BLOOD, havi ng made qui ck wor k of t he heat hen hor de.
h r l i o o s i a h r l i o o s i a h r l i o o s i a I n t he t hr one, Pendl et on r egai ns consci ousness, hi s head I n t he t hr one, Pendl et on r egai ns consci ousness, hi s head
i o d o e s g o a i o d o e s g o a i o d o e s g o a f al l i ng f or war d, st oned eyes st r uggl i ng t o f ocus as. . . f al l i ng f or war d, st oned eyes st r uggl i ng t o f ocus as. . .
h l a a , h i i A h l a a , h i i A h l a a , h i i A Psycho Ki l l er appr oaches, l i t by t he f l i cker i ng CANDLE and Psycho Ki l l er appr oaches, l i t by t he f l i cker i ng CANDLE and
P T b c b . P T b c b . P T b c b . FI REPLACE LI GHT, a bl ood dr enched beast . FI REPLACE LI GHT, a bl ood dr enched beast .
M E T M E T M E T MR. PENDLETON MR. PENDLETON
r n n n r n n n r n n n ( r ecogni t i on dawni ng) ( r ecogni t i on dawni ng)
z . a ! ! z . a ! ! z . a ! ! Pazuzu. . . Pazuzu! Be gone! Pazuzu. . . Pazuzu! Be gone!
l s a d p c n e . l s a d p c n e . l s a d p c n e . Pendl et on hol ds up a hand, as i f spel l - cast i ng t o di spel PK. Pendl et on hol ds up a hand, as i f spel l - cast i ng t o di spel PK.
M E T M E T M E T MR. PENDLETON MR. PENDLETON
e e e T a e e e e T a e e e e T a e They ar e seven! They ar e seven! I n They ar e seven! They ar e seven! I n
e t f n e e e t f n e e e t f n e e t he dept hs of t he ocean, t hey ar e t he dept hs of t he ocean, t hey ar e
v h i e . v h i e . v h i e . seven! I n t he hei ght s of heaven. . . ! seven! I n t he hei ght s of heaven. . . !
P S P o l P S P o l P S P o l ( POI NTS at Psycho Ki l l er ) ( POI NTS at Psycho Ki l l er )
e e n f e e e n f e e e n f e They ar e agent s of t he vengeance of They ar e agent s of t he vengeance of
e s a g d c e e s a g d c e e s a g d c e t he gods! Rai si ng up di f f i cul t i es. . . t he gods! Rai si ng up di f f i cul t i es. . .
t n w y l ! e t n w y l ! e t n w y l ! e obt ai ni ng power by vi ol ence! The obt ai ni ng power by vi ol ence! The
e ! e m e ! e m e ! e m enemi es! The enemi es! enemi es! The enemi es!
h l h p x h l h p x h l h p x Psycho Ki l l er hef t s hi s pi ckax. . . Psycho Ki l l er hef t s hi s pi ckax. . .
R H P E s O H a y K r R H P E s O H a y K r R H P E s O H a y K r WE ARE BEHI ND PENDLETON' s THRONE CHAI R as Psycho Ki l l er WE ARE BEHI ND PENDLETON' s THRONE CHAI R as Psycho Ki l l er
GGG SWI NGS! SWI NGS!
C N C N C N CONTI NUED CONTI NUED
88. 88.
c n U i A s a g t c n U i A s a g t c n U i A s a g t A si ckeni ng CRUNCH i s HEARD as t he pi ckax' s gor y, poi nt ed A si ckeni ng CRUNCH i s HEARD as t he pi ckax' s gor y, poi nt ed
e t s f t g e i c e t s f t g e i c e t s f t g e i c bl ade pr ot r udes hal f - way out t hr ough t he chai r back - - bl ade pr ot r udes hal f - way out t hr ough t he chai r back - -
T h n u e n a p T h n u e n a p T h n u e n a p SPLI TTI NG t he heavy t hr one as i t must cer t ai nl y have spl i t SPLI TTI NG t he heavy t hr one as i t must cer t ai nl y have spl i t
l ' u e a b d l ' u e a b d l ' u e a b d Pendl et on' s skul l . PK l eaves t he ax embedded. Pendl et on' s skul l . PK l eaves t he ax embedded.
D N S N - Y D N S N - Y D N S N - Y INT. PENDLETON HOUSE, ENTRY -- DAY INT. PENDLETON HOUSE, ENTRY -- DAY
h l b r h I . h l b r h I . h l b r h I . Psycho Ki l l er backt r acks f r omt he hal l , LOOKI NG. . . Psycho Ki l l er backt r acks f r omt he hal l , LOOKI NG. . .
H L S : H L S : H L S : PSYCHO KILLER'S POV: PSYCHO KILLER'S POV:
T R D s e n e t n s T R D s e n e t n s T R D s e n e t n s OUT THE FRONT DOOR: acr oss t he l awn, t he whi t e van he saw OUT THE FRONT DOOR: acr oss t he l awn, t he whi t e van he saw
i H h h G R A i H h h G R A i H h h G R A ( Del i ver y Van) SMASHES t hr ough t he WROUGHT I RON GATE! ( Del i ver y Van) SMASHES t hr ough t he WROUGHT I RON GATE!
H E O - E L H E O - E L H E O - E L IN THE GREAT ROOM -- MOMENTS LATER IN THE GREAT ROOM -- MOMENTS LATER
h l s e c r , r n g h l s e c r , r n g h l s e c r , r n g Psycho Ki l l er st r i des back t hr ough, r et r i evi ng ax and gas Psycho Ki l l er st r i des back t hr ough, r et r i evi ng ax and gas
s n , t l r . s n , t l r . s n , t l r . cani st er , movi ng on, past t he gr i sl y car nage. . . cani st er , movi ng on, past t he gr i sl y car nage. . .
H N R H N R H N R IN THE DINING ROOM IN THE DINING ROOM
h l c e h l c e h l c e Psycho Ki l l er cr osses. . . Psycho Ki l l er cr osses. . .
H J N T H J N T H J N T IN THE ADJOINING KITCHEN IN THE ADJOINING KITCHEN
n u h T ' I G R n u h T ' I G R n u h T ' I G R PK ent er s t hr ough t he KI TCHEN' S SWI NGI NG DOOR. PK ent er s t hr ough t he KI TCHEN' S SWI NGI NG DOOR.
o o e H N f a l o o o e H N f a l o o o e H N f a l o He goes t o sel ect a huge BUTCHER KNI FE f r oma col l ect i on of He goes t o sel ect a huge BUTCHER KNI FE f r oma col l ect i on of
E c e t a a y G E c e t a a y G E c e t a a y G KNI VES on one count er , i t s bl ade f ai nt l y RI NGI NG. KNI VES on one count er , i t s bl ade f ai nt l y RI NGI NG.
s e o h i n , h i e s e o h i n , h i e s e o h i n , h i e As Psycho Ki l l er st ows t he kni f e i n hi s bel t , on hi s hi p, he As Psycho Ki l l er st ows t he kni f e i n hi s bel t , on hi s hi p, he
c o i m O u e K R D . c o i m O u e K R D . c o i m O u e K R D . not i ces somet hi ng, moves t o LOOK out t he BACK DOOR WI NDOW. . . not i ces somet hi ng, moves t o LOOK out t he BACK DOOR WI NDOW. . .
H L S : H L S : H L S : PSYCHO KILLER'S POV: PSYCHO KILLER'S POV:
U H N s e r p , E M U H N s e r p , E M U H N s e r p , E M THROUGH THE WI NDOW: acr oss t he r ear pr oper t y, THREE ARMED THROUGH THE WI NDOW: acr oss t he r ear pr oper t y, THREE ARMED
r r O ' G e O l t u r r O ' G e O l t u r r O ' G e O l t u MEN r un f r omFOREST' S EDGE; men i n UNI FORMS l i ke t he guys MEN r un f r omFOREST' S EDGE; men i n UNI FORMS l i ke t he guys
s u e e o s a a R S s u e e o s a a R S s u e e o s a a R S who shot - up t he hot el , t ot i ng t he same aut omat i c RI FLES. who shot - up t he hot el , t ot i ng t he same aut omat i c RI FLES.
H T H T H T IN THE KITCHEN IN THE KITCHEN
h l p t a n t I N A e s h l p t a n t I N A e s h l p t a n t I N A e s Psycho Ki l l er put s t he gas can on t he KI TCHEN I SLAND, embeds Psycho Ki l l er put s t he gas can on t he KI TCHEN I SLAND, embeds
a t e c b g t i e a t e c b g t i e a t e c b g t i e t he ax i nt o t he but cher - bl ock t op. He goes t o gr i p t he t he ax i nt o t he but cher - bl ock t op. He goes t o gr i p t he
e d V A G f t a . p i e d V A G f t a . p i e d V A G f t a . p i l ar ge, ol d STOVE, YANKI NG i t f r omt he wal l . . . t i ppi ng i t . . . l ar ge, ol d STOVE, YANKI NG i t f r omt he wal l . . . t i ppi ng i t . . .
n e v h S E p d t n e v h S E p d t n e v h S E p d t Behi nd t he st ove, t he GAS LI NE i s pul l ed t aut . Behi nd t he st ove, t he GAS LI NE i s pul l ed t aut .
h l S h e n h o h l S h e n h o h l S h e n h o Psycho Ki l l er SLAMS al l hi s wei ght agai nst t he st ove, Psycho Ki l l er SLAMS al l hi s wei ght agai nst t he st ove,
K i d s h o d . K i d s h o d . K i d s h o d . KNOCKI NG i t si deways and f ur t her f or war d, so t hat . . . KNOCKI NG i t si deways and f ur t her f or war d, so t hat . . .
n h s e L E o e v c i n h s e L E o e v c i n h s e L E o e v c i Behi nd, t he gas l i ne PULLS FREE f r omt he st ove' s coupl i ng. Behi nd, t he gas l i ne PULLS FREE f r omt he st ove' s coupl i ng.
H S t e u f t a H S t e u f t a H S t e u f t a GAS HI SSES f or t h pl ent i f ul l y f r omt he wal l . GAS HI SSES f or t h pl ent i f ul l y f r omt he wal l .
h l g g a w t a e h l g g a w t a e h l g g a w t a e Psycho Ki l l er gr abs t he gas can, t wi st s of f t he cap, begi ns Psycho Ki l l er gr abs t he gas can, t wi st s of f t he cap, begi ns
I A N a g k s u h t I A N a g k s u h t I A N a g k s u h t POURI NG GASOLI NE, wal ki ng backwar ds ar ound t he ki t chen POURI NG GASOLI NE, wal ki ng backwar ds ar ound t he ki t chen
n o g r s t g y e n o g r s t g y e n o g r s t g y e i sl and, dousi ng t he f l oor . . . spl at t er i ng gas ever ywher e. i sl and, dousi ng t he f l oor . . . spl at t er i ng gas ever ywher e.
89. 89.
H N R H N R H N R IN THE DINING ROOM IN THE DINING ROOM
h l e s , s g t h l e s , s g t h l e s , s g t Psycho Ki l l er ent er s, ax hel d, l et s t he door swi ng shut . Psycho Ki l l er ent er s, ax hel d, l et s t he door swi ng shut .
t b t e l t e n t b t e l t e n t b t e l t e n He st ands wi t h hi s back t o t he wal l , wi t h t he swi ngi ng door He st ands wi t h hi s back t o t he wal l , wi t h t he swi ngi ng door
i f H i t t o s t o i i f H i t t o s t o i i f H i t t o s t o i t o hi s l ef t . He sl i des t he st r ap of hi s shot gun of f hi s t o hi s l ef t . He sl i des t he st r ap of hi s shot gun of f hi s
l y t a o n d i . l y t a o n d i . l y t a o n d i . shoul der , r eadyi ng t he sawed- of f i n hand, wai t i ng. shoul der , r eadyi ng t he sawed- of f i n hand, wai t i ng.
a t h E b a t h E b a t h E b He wai t s. Li st ens. The ki t chen' s BACK DOOR i s HEARD bei ng He wai t s. Li st ens. The ki t chen' s BACK DOOR i s HEARD bei ng
E , S A I a S C a E , S A I a S C a E , S A I a S C a KI CKED I N, GLASS SHATTERI NG. The ar med MEN' S VOI CES can be KI CKED I N, GLASS SHATTERI NG. The ar med MEN' S VOI CES can be
D n . U l t r t e O D n . U l t r t e O D n . U l t r t e O HEARD f ai nt l y. . . SOUNDS l i ke t hey' r e get t i ng cl oser . One HEARD f ai nt l y. . . SOUNDS l i ke t hey' r e get t i ng cl oser . One
E H i " ! l u r E H i " ! l u r E H i " ! l u r VOI CE i s HEARD war ni ng, " Wai t ! Hol d your f i r e! " VOI CE i s HEARD war ni ng, " Wai t ! Hol d your f i r e! "
P o l u t o i o h h P o l u t o i o h h P o l u t o i o h h Now Psycho Ki l l er t ur ns t o shove hi s shot gun i n t hr ough t he Now Psycho Ki l l er t ur ns t o shove hi s shot gun i n t hr ough t he
g d S h r - O g d S h r - O g d S h r - O swi ngi ng door , FI RES bot h bar r el s - - BOOM! ! swi ngi ng door , FI RES bot h bar r el s - - BOOM! !
h l s h i n c n o e h l s h i n c n o e h l s h i n c n o e Psycho Ki l l er ' s wi t hdr awi ng and r ecoi l i ng f r omt he Psycho Ki l l er ' s wi t hdr awi ng and r ecoi l i ng f r omt he
A E E S o T a A N . A E E S o T a A N . A E E S o T a A N . I NSTANTANEOUS EXPLOSI ON of NATURAL GAS and GASOLI NE as. . . I NSTANTANEOUS EXPLOSI ON of NATURAL GAS and GASOLI NE as. . .
s i o s W C E B s i o s W C E B s i o s W C E B The swi ngi ng door i s BLOWN BACK OPEN by t he BLAST - - a The swi ngi ng door i s BLOWN BACK OPEN by t he BLAST - - a
B I N R s d H N T B I N R s d H N T B I N R s d H N T FI REBALL I SSUI NG FORTH as t he ar med men ar e HEARD CRYI NG OUT! FI REBALL I SSUI NG FORTH as t he ar med men ar e HEARD CRYI NG OUT!
s i o L s w i i M s i o L s w i i M s i o L s w i i M The swi ngi ng door SLAMS shut , askew on i t s hi nges as SMOKE The swi ngi ng door SLAMS shut , askew on i t s hi nges as SMOKE
S M s r h t . y K r e S M s r h t . y K r e S M s r h t . y K r e and SCREAMS i ssue f r omt he ki t chen. Psycho Ki l l er moves t o and SCREAMS i ssue f r omt he ki t chen. Psycho Ki l l er moves t o
o e a I O o e a I O o e a I O t he ot her si de of a l ar ge, heavy DI NI NG CUPBOARD, put s hi s t he ot her si de of a l ar ge, heavy DI NI NG CUPBOARD, put s hi s
l t , V w a i g . l t , V w a i g . l t , V w a i g . shoul der t o i t , SHOVI NG wi t h al l hi s mi ght . . . shoul der t o i t , SHOVI NG wi t h al l hi s mi ght . . .
O S O s a H o n n O S O s a H o n n O S O s a H o n n He TOPPLES t he CUPBOARD so t hat i t CRASHES down i n f r ont of He TOPPLES t he CUPBOARD so t hat i t CRASHES down i n f r ont of
s i o b i h y s i o b i h y s i o b i h y t he swi ngi ng door , bl ocki ng t he way. t he swi ngi ng door , bl ocki ng t he way.
Psycho Ki l l er t hr ows t he shot gun back over hi s shoul der by h l t s g a v i o r h l t s g a v i o r Psycho Ki l l er t hr ows t he shot gun back over hi s shoul der by Psycho Ki l l er t hr ows t he shot gun back over hi s shoul der by
s , e n e I A s , e n e I A s , e n e I A i t s st r ap, moves t o duck down behi nd t he DI NI NG TABLE. i t s st r ap, moves t o duck down behi nd t he DI NI NG TABLE.
t h a h I p t a t h a h I p t a t h a h I p t a Ax st i l l hel d, he t akes hi s PI STOL f r omhi s pocket , st ayi ng Ax st i l l hel d, he t akes hi s PI STOL f r omhi s pocket , st ayi ng
n A N D H B s n A N D H B s n A N D H B s l ow, hi di ng, WATCHI NG UNDER THE TABLE as. . . l ow, hi di ng, WATCHI NG UNDER THE TABLE as. . .
L E E E M E n s L E E E M E n s L E E E M E n s The LOWER HALVES of THREE OTHER ARMED MEN can be seen The LOWER HALVES of THREE OTHER ARMED MEN can be seen
r f t r r h h i f r f t r r h h i f r f t r r h h i f ent er i ng f r omt he gr eat r oom, on t he ot her si de of t he ent er i ng f r omt he gr eat r oom, on t he ot her si de of t he
e h t h a c w k e e h t h a c w k e e h t h a c w k e t abl e. They st eal t hi l y advance t owar ds t he ki t chen. t abl e. They st eal t hi l y advance t owar ds t he ki t chen.
l a c h i f h u l a c h i f h u l a c h i f h u The l ast ar med man cr ouches r i f l e- f i r st t o check under t he The l ast ar med man cr ouches r i f l e- f i r st t o check under t he
e s n y - w P o l e s n y - w P o l e s n y - w P o l t abl e - - suddenl y eye- t o- eye wi t h Psycho Ki l l er . t abl e - - suddenl y eye- t o- eye wi t h Psycho Ki l l er .
h l S S h l S S h l S S Psycho Ki l l er SHOOTS! Psycho Ki l l er SHOOTS!
! e a . ! e a . ! e a . HEAD SHOT! The man col l apses. HEAD SHOT! The man col l apses.
h l k N s t R S I h l k N s t R S I h l k N s t R S I Psycho Ki l l er keeps FI RI NG hi s pi st ol ! CHAI R LEGS SPLI NTER Psycho Ki l l er keeps FI RI NG hi s pi st ol ! CHAI R LEGS SPLI NTER
h r i g T P O O i e g f h r i g T P O O i e g f h r i g T P O O i e g f as t he ear - spl i t t i ng SHOTS RI P BLOODY HOLES i n t he t hi ghs of as t he ear - spl i t t i ng SHOTS RI P BLOODY HOLES i n t he t hi ghs of
t e i e e g a e Y ! t e i e e g a e Y ! t e i e e g a e Y ! t he t wo r emai ni ng men, f el l i ng t he men as t hey CRY OUT! t he t wo r emai ni ng men, f el l i ng t he men as t hey CRY OUT!
h l r , p s , p n h l r , p s , p n h l r , p s , p n Psycho Ki l l er r i ses, dr ops hi s gun, st eppi ng up ont o a Psycho Ki l l er r i ses, dr ops hi s gun, st eppi ng up ont o a
n a h p n e f o s t n a h p n e f o s t n a h p n e f o s t di ni ng chai r whi l e pul l i ng t he kni f e f r omhi s bel t . . . di ni ng chai r whi l e pul l i ng t he kni f e f r omhi s bel t . . .
h l c e e l , a u r f h l c e e l , a u r f h l c e e l , a u r f Psycho Ki l l er cr osses t he t abl et op, ax and but cher kni f e Psycho Ki l l er cr osses t he t abl et op, ax and but cher kni f e
, k d u t w u o e o , k d u t w u o e o , k d u t w u o e o hel d, l ooki ng down upon t he t wo wounded men on t he f l oor . hel d, l ooki ng down upon t he t wo wounded men on t he f l oor .
o e A K r h t t , k o e A K r h t t , k o e A K r h t t , k One of t he men i s VAN DYKE, f r omt he hot el at t ack, l ooki ng One of t he men i s VAN DYKE, f r omt he hot el at t ack, l ooki ng
i y i o d r i y i o d r i y i o d r up wi t h eyes f i l l ed wi t h t er r or and f ear . up wi t h eyes f i l l ed wi t h t er r or and f ear .
p i f h o m p i f h o m p i f h o m He' s dr opped hi s r i f l e ahead of hi m. He' s dr opped hi s r i f l e ahead of hi m.
C N C N C N CONTI NUED CONTI NUED
90. 90.
D c s p e o w n a g D c s p e o w n a g D c s p e o w n a g Van Dyke cr awl s desper at el y t owar d hi s weapon, r eachi ng. . . Van Dyke cr awl s desper at el y t owar d hi s weapon, r eachi ng. . .
C O C O C O CUT TO: CUT TO:
D N S R R - M R D N S R R - M R D N S R R - M R INT. PENDLETON HOUSE, GREAT ROOM -- MOMENTS LATER INT. PENDLETON HOUSE, GREAT ROOM -- MOMENTS LATER
h l K d g m r n r h l K d g m r n r h l K d g m r n r Psycho Ki l l er KI CKS t he di ni ng r oomdoor open, mar ches back Psycho Ki l l er KI CKS t he di ni ng r oomdoor open, mar ches back
r h o f e e o i i s r h o f e e o i i s r h o f e e o i i s t owar ds t he f r ont of t he house. He' s pocket i ng hi s pi st ol , t owar ds t he f r ont of t he house. He' s pocket i ng hi s pi st ol ,
h h n a i o r n d h h n a i o r n d h h n a i o r n d has hi s shot gun st r apped t o hi s shoul der and ax i n hand. has hi s shot gun st r apped t o hi s shoul der and ax i n hand.
H T Y H T Y H T Y IN THE ENTRYWAY IN THE ENTRYWAY
s e a o t g e r l e g s e a o t g e r l e g s e a o t g e r l e g As Psycho Ki l l er agai n moves t hr ough t he ent r y hal l , headi ng As Psycho Ki l l er agai n moves t hr ough t he ent r y hal l , headi ng
r e n o . r e n o . r e n o v h g t O T . t owar d t he f r ont door , ever yt hi ng goes t o SLOWMOTI ON. . . t owar d t he f r ont door , ever yt hi ng goes t o SLOWMOTI ON. . .
L O : L o G E T L o L O : L o G E T L o L O : L o G E T L o I N SLOW- MOTI ON: a GLI NT of LI GHT REFLECTS i n one LENS of I N SLOW- MOTI ON: a GLI NT of LI GHT REFLECTS i n one LENS of
h l s k t F E a v b l h l s k t F E a v b l h l s k t F E a v b l Psycho Ki l l er ' s mask. . . t hen FLASHES agai n, ver y br i ef l y. . . Psycho Ki l l er ' s mask. . . t hen FLASHES agai n, ver y br i ef l y. . .
H L S : H L S : H L S : PSYCHO KILLER'S POV: PSYCHO KILLER'S POV:
L O : K o h e o o t L L O : K o h e o o t L L O : K o h e o o t L I N SLOW- MOTI ON: LOOKI NG out t he open f r ont door , t he GLASS I N SLOW- MOTI ON: LOOKI NG out t he open f r ont door , t he GLASS
M R a d t i R C s E M R a d t i R C s E M R a d t i R C s E STORM DOOR i s angl ed so t hat i t ' s REFLECTI NG a di st ant GROVE STORM DOOR i s angl ed so t hat i t ' s REFLECTI NG a di st ant GROVE
R t e t d m h h t s R t e t d m h h t s R t e t d m h h t s OF TREES t o t he east , and f r omwi t hi n t hose t r ees comes a OF TREES t o t he east , and f r omwi t hi n t hose t r ees comes a
H L ; e l c f t m r H L ; e l c f t m r H L ; e l c f t m r FLASH of LI GHT; l i ke sunl i ght bounced of f a t i ny mi r r or . FLASH of LI GHT; l i ke sunl i ght bounced of f a t i ny mi r r or .
H T Y H T Y H T Y IN THE ENTRYWAY IN THE ENTRYWAY
S O P o l e t h o w S O P o l e t h o w S O P o l e t h o w End SLO- MO as Psycho Ki l l er near s t he t hr eshol d, war y, End SLO- MO as Psycho Ki l l er near s t he t hr eshol d, war y,
y t E T i e S O y t E T i e S O y t E T i e S O st udyi ng t he REFLECTI ON i n t he GLASS DOOR. st udyi ng t he REFLECTI ON i n t he GLASS DOOR.
E ' n e e . t G . E ' n e e . t G . E ' n e e . t G . CLOSE- ON: PK' s mask' s l ensed eyepi ece. . . anot her GLI NT. CLOSE- ON: PK' s mask' s l ensed eyepi ece. . . anot her GLI NT.
D N S N O T E - E L D N S N O T E - E L D N S N O T E - E L INT. PENDLETON HOUSE, 2ND FLOOR STAIRWELL -- MOMENTS LATER INT. PENDLETON HOUSE, 2ND FLOOR STAIRWELL -- MOMENTS LATER
f I P o l p c a s f I P o l p c a s f I P o l p c a s On a 2nd f l oor LANDI NG, Psycho Ki l l er appr oaches an east - On a 2nd f l oor LANDI NG, Psycho Ki l l er appr oaches an east -
n N c . v i s n N c . v i s n N c . v i s f aci ng WI NDOW, cr ouchi ng. He r emoves hi s mask. f aci ng WI NDOW, cr ouchi ng. He r emoves hi s mask.
h l p t a n e i . h l p t a n e i . h l p t a n e i . Psycho Ki l l er put s t he mask on t he bl ade end of hi s ax. Psycho Ki l l er put s t he mask on t he bl ade end of hi s ax.
i i , s y d e k f h i i , s y d e k f h i i , s y d e k f h Keepi ng hi dden, he sl owl y hol ds t he mask i n f r ont of t he Keepi ng hi dden, he sl owl y hol ds t he mask i n f r ont of t he
o o e l a i u o o e l a i u o o e l a i u wi ndow, t o make i t l ook as i f he' s peer i ng out . wi ndow, t o make i t l ook as i f he' s peer i ng out .
d n A f I S i A h d n A f I S i A h d n A f I S i A h x The di st ant CRACK of a RI FLE SHOT i s HEARD! At t hat exact The di st ant CRACK of a RI FLE SHOT i s HEARD! At t hat exact
n B T E R t i B a n B T E R t i B a n B T E R t i B a moment a BULLET HOLE PI ERCES t he wi ndow and BLOWS a neat moment a BULLET HOLE PI ERCES t he wi ndow and BLOWS a neat
- e f e f s K C ! - e f e f s K C ! - e f e f s K C ! hol e dead- cent er i n t he f or ehead of PK' s MASK - - CLANK! - - hol e dead- cent er i n t he f or ehead of PK' s MASK - - CLANK! - -
i a n N o ' n i a n N o ' n i a n N o ' n sendi ng mask and ax FLYI NG f r omPK' s hand! sendi ng mask and ax FLYI NG f r omPK' s hand!
D N S O H E O D N S O H E O D N S O H E O EXT. PENDLETON HOUSE GROUNDS -- THAT VERY MOMENT EXT. PENDLETON HOUSE GROUNDS -- THAT VERY MOMENT
g h R o E J s e i h h g h R o E J s e i h h g h R o E J s e i h h Amongst t hat GROVE of TREES, J ane' s kneel ed, l ooki ng t hr ough Amongst t hat GROVE of TREES, J ane' s kneel ed, l ooki ng t hr ough
S R P s n F h t H s S R P s n F h t H s S R P s n F h t H s t he SNI PER SCOPE of her smoki ng RI FLE whi l e t he SHOT i s t he SNI PER SCOPE of her smoki ng RI FLE whi l e t he SHOT i s
l O r e l n a l O r e l n a l O r e l n a st i l l ECHOI NG. She l ower s t he r i f l e, uncer t ai n. st i l l ECHOI NG. She l ower s t he r i f l e, uncer t ai n.
C O C O C O CUT TO: CUT TO:
91. 91.
D N S I A D N S I A D N S I A INT. PENDLETON HOUSE, DINING ROOM -- DAY INT. PENDLETON HOUSE, DINING ROOM -- DAY
h l e i h L O n h l e i h L O n h l e i h L O n Psycho Ki l l er , masked ( wi t h a f r esh BULLET HOLE i n t he Psycho Ki l l er , masked ( wi t h a f r esh BULLET HOLE i n t he
' r d e r o g n ' r d e r o g n ' r d e r o g n mask' s f or ehead) , r eent er s, l ooki ng upon. . . mask' s f or ehead) , r eent er s, l ooki ng upon. . .
a d o e O l V y y a d o e O l V y y a d o e O l V y y Two ar med men dead on t he BLOODY f l oor , and Van Dyke l yi ng Two ar med men dead on t he BLOODY f l oor , and Van Dyke l yi ng
, l i w a i e n r , l i w a i e n r , l i w a i e n r f ace down, st i l l al i ve, wher e he was whi l e r eachi ng f or hi s f ace down, st i l l al i ve, wher e he was whi l e r eachi ng f or hi s
e i t t h e i t t h e i t t t e i p h r i f l e. Hi s out st r et ched r i ght f or ear mi s i mpal ed by t he r i f l e. Hi s out st r et ched r i ght f or ear mi s i mpal ed by t he
h n w b S E E i t l h n w b S E E i t l h n w b S E E i t l but cher kni f e whi ch has been STABBED DEEPLY i nt o t he f l oor . but cher kni f e whi ch has been STABBED DEEPLY i nt o t he f l oor .
a w e o h y D r s P o a w e o h y D r s P o a w e o h y D r s P o Mor t al l y wounded t hough he may be, Van Dyke r eact s t o Psycho Mor t al l y wounded t hough he may be, Van Dyke r eact s t o Psycho
e r n r n h n m e r n r n h n m e r n r n h n m Ki l l er ' s r et ur n, st r ai ni ng t o r each hi s l ef t hand behi nd hi m Ki l l er ' s r et ur n, st r ai ni ng t o r each hi s l ef t hand behi nd hi m
e d h l , l i t . e d h l , l i t . e d h l , l i t . whi l e bendi ng hi s bl oody, bul l et - r i dden r i ght l eg up. . . whi l e bendi ng hi s bl oody, bul l et - r i dden r i ght l eg up. . .
g g r N i K O R g g r N i K O R g g r N i K O R st r uggl i ng t o r each a HANDGUN i n hi s ANKLE HOLSTER. st r uggl i ng t o r each a HANDGUN i n hi s ANKLE HOLSTER.
h l S S V y ! h l S S V y ! h l S S V y ! Psycho Ki l l er STOMPS on Van Dyke' s back! Psycho Ki l l er STOMPS on Van Dyke' s back!
D N S R L - M R D N S R L - M R D N S R L - M R EXT. PENDLETON HOUSE, FRONT LAWN -- MOMENTS LATER EXT. PENDLETON HOUSE, FRONT LAWN -- MOMENTS LATER
' d e i s t r l i ' d e i s t r l i ' d e i s t r l i J ane' s r ed, Chevy pi ckup r aces up t he f r ont l awn, near i ng J ane' s r ed, Chevy pi ckup r aces up t he f r ont l awn, near i ng
e e n e e e e n e e e e n e e wher e t he Fl ower Van and PK' s coupe ar e par ked. wher e t he Fl ower Van and PK' s coupe ar e par ked.
h u t r y K r e h u t r y K r e h u t r y K r e At t he house' s open f r ont door , Psycho Ki l l er appear s, At t he house' s open f r ont door , Psycho Ki l l er appear s,
p V y n n w t u r f p V y n n w t u r f p V y n n w t u r f gr i ppi ng Van Dyke i n f r ont of hi mwi t h t he but cher kni f e gr i ppi ng Van Dyke i n f r ont of hi mwi t h t he but cher kni f e
s o ' r c i e s s o ' r c i e s s o ' r c i e s pr essed t o Van Dyke' s t hr oat . Psycho Ki l l er r ai ses hi s pr essed t o Van Dyke' s t hr oat . Psycho Ki l l er r ai ses hi s
o t s e d O G o t s e d O G o t s e d O G pi st ol wi t h hi s f r ee hand, SHOOTI NG. . . ! pi st ol wi t h hi s f r ee hand, SHOOTI NG. . . !
A U A U A U IN JANE'S PICKUP IN JANE'S PICKUP
E u g n o h o e s B E u g n o h o e s B E u g n o h o e s B J ane BRAKES, ducki ng down acr oss t he f r ont seat as - - BLAM! J ane BRAKES, ducki ng down acr oss t he f r ont seat as - - BLAM!
! M S C w h ! ! M S C w h ! ! M S C w h ! BLAM! BLAM! - - PK' s SHOTS PUNCTURE t he wi ndshi el d! BLAM! BLAM! - - PK' s SHOTS PUNCTURE t he wi ndshi el d!
H O A H O A H O A ON THE FRONT LAWN ON THE FRONT LAWN
' u a d r i a h . ' u a d r i a h . ' u a d r i a h . J ane' s t r uck hal t s, i t s dr i ver ' s si de f aci ng t he house. J ane' s t r uck hal t s, i t s dr i ver ' s si de f aci ng t he house.
l t t a g i t r i l t t a g i t r i l t t a g i t r i J ane cr awl s out on t he passenger si de, t akes cover behi nd J ane cr awl s out on t he passenger si de, t akes cover behi nd
t , d h a e t , d h a e t , d h a e t he t r uck, hol di ng her Magnumat r eady. t he t r uck, hol di ng her Magnumat r eady.
h o o h l k k h o o h l k k h o o h l k k On t he f r ont por ch, Psycho Ki l l er keeps t he kni f e t o On t he f r ont por ch, Psycho Ki l l er keeps t he kni f e t o
l V y a e h u v . l V y a e h u v . l V y a e h u v . hel pl ess Van Dyke' s t hr oat , keeps hi s gun l evel ed. hel pl ess Van Dyke' s t hr oat , keeps hi s gun l evel ed.
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
s e i u n s e i u n s e i u n Hi s l i f e i s i n your hands! Hi s l i f e i s i n your hands!
' e n e u c d g ' e n e u c d g ' e n e u c d g J ane' s pr essed agai nst her t r uck, consi der i ng. J ane' s pr essed agai nst her t r uck, consi der i ng.
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
r o u T a r o u T a r o u T a Thr ow your gun! Thr ow i t f ar ! Thr ow your gun! Thr ow i t f ar !
n o e r t a n o e r t a n o e r t a J ane has no choi ce, t osses her pi st ol a good di st ance. J ane has no choi ce, t osses her pi st ol a good di st ance.
h l f s a m g n h h l f s a m g n h h l f s a m g n h Psycho Ki l l er f or ces Van Dyke f or war d, movi ng down t he por ch Psycho Ki l l er f or ces Van Dyke f or war d, movi ng down t he por ch
s a k l a l h c i s a k l a l h c i s a k l a l h c i st eps. Van Dyke' s l ost a l ot of bl ood, but he' s consci ous. st eps. Van Dyke' s l ost a l ot of bl ood, but he' s consci ous.
JJJJ ANE J ANE
o a o a o a Who ar e you, Ri char d? Who ar e you, Ri char d?
( ) ( ) ( ) ( mor e) ( mor e)
C N C N C N CONTI NUED CONTI NUED
92. 92.
J ( . J ( . J ( . J ANE ( CONT. ) J ANE ( CONT. )
l t l t l t I s t hat what you l i ke t o be I s t hat what you l i ke t o be
l . R r W r u l . R r W r u l . R r W r u cal l ed. . . ? Ri char d? Who ar e you?! cal l ed. . . ? Ri char d? Who ar e you?!
s e d h , d s e d h , d s e d h , d As Psycho Ki l l er and Van Dyke r each t he l awn, PK does As Psycho Ki l l er and Van Dyke r each t he l awn, PK does
t e e a i . a G t e e a i . a G t e e a i . a G somet hi ng we' ve never hear d hi mdo. He l et s out a LAUGH. somet hi ng we' ve never hear d hi mdo. He l et s out a LAUGH.
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
l r l r l r Tel l her . Tel l her .
V Y V Y V Y VAN DYKE VAN DYKE
r o r o r o Scr ew you. Scr ew you.
h l p e e f r t n e u r h l p e e f r t n e u r h l p e e f r t n e u r Psycho Ki l l er pr esses t he kni f e har der t o Van Dyke' s j ugul ar . Psycho Ki l l er pr esses t he kni f e har der t o Van Dyke' s j ugul ar .
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
l r l r l r Tel l her ! Tel l her !
s a t r e f k s a t r e f k s a t r e f k J ane edges t owar ds t he f r ont end of her t r uck. J ane edges t owar ds t he f r ont end of her t r uck.
V Y V Y V Y VAN DYKE VAN DYKE
' e h L r e ' e h L r e ' e h L r e He' s Reeves. Ri char d Leonar d Reeves. He' s Reeves. Ri char d Leonar d Reeves.
JJJJ ANE J ANE
l t e e l t e e l t e e Bul l shi t ! Reeves i s dead. Bul l shi t ! Reeves i s dead.
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
l r l r l r Tel l her . Tel l her .
V Y V Y V Y VAN DYKE VAN DYKE
e t f d . e e t f d . e e t f d . e They. . . t hey f aked hi s deat h. They They. . . t hey f aked hi s deat h. They
n h l n h l n h l want ed hi mal i ve. want ed hi mal i ve.
h l s p V y e n J h l s p V y e n J h l s p V y e n J Psycho Ki l l er ' s keepi ng Van Dyke bet ween hi mand J ane, Psycho Ki l l er ' s keepi ng Van Dyke bet ween hi mand J ane,
l a g r h u l a g r h u l a g r h u sl owl y dr aggi ng Van Dyke t owar ds t he coupe. sl owl y dr aggi ng Van Dyke t owar ds t he coupe.
JJJJ ANE J ANE
c t c c t c c t c Fuck bot h of you! You expect me t o Fuck bot h of you! You expect me t o
l ? l ? l ? bel i eve t hat ?! bel i eve t hat ?!
V Y V Y V Y VAN DYKE VAN DYKE
e e s n r i e e s n r i e e s n r i They needed someone f or t hei r They needed someone f or t hei r
p e i , a g p e i , a g p e i , a g exper i ment s. A l i vi ng, br eat hi ng exper i ment s. A l i vi ng, br eat hi ng
m e u t m e u t m e u t human t est subj ect . . . human t est subj ect . . .
JJJJ ANE J ANE
e o T i r e o T i r e o T i r They who?! The mi l i t ar y. . . t he They who?! The mi l i t ar y. . . t he
I . I . I . C. I . A. . . . ? C. I . A. . . . ?
V Y V Y V Y VAN DYKE VAN DYKE
m i i h m i i h m i i h Same t hi ng. Same f ucki ng t hi ng! Same t hi ng. Same f ucki ng t hi ng!
e e m t t e e m t t e e m t t They used hi mt o t est t hei r new They used hi mt o t est t hei r new
u . t r a o e u . t r a o e u . t r a o e dr ugs. . . t r ut h ser ums and t or t ur e dr ugs. . . t r ut h ser ums and t or t ur e
u . r e l o , u . r e l o , u . r e l o , dr ugs. . . ai r bor ne hal l uci nogens, dr ugs. . . ai r bor ne hal l uci nogens,
n n , n n , n n , mi nd cont r ol , you name i t . mi nd cont r ol , you name i t .
C N C N C N CONTI NUED CONTI NUED
93. 93.
JJJJ ANE J ANE
y h m y h m y h m Why? Why hi m? Why? Why hi m?
V Y V Y V Y VAN DYKE VAN DYKE
o e e e . s o e e e . s o e e e . s Who el se? He' s dead. . . doesn' t Who el se? He' s dead. . . doesn' t
i e p o . i e p o . i e p o . exi st . They pi cked a psychopat h. . . exi st . They pi cked a psychopat h. . .
s e n d v s e n d v s e n d v a soul l ess ani mal who deser ved a soul l ess ani mal who deser ved
a o W l u m a o W l u m a o W l u m exact l y he got . Who el se but hi m?! exact l y he got . Who el se but hi m?!
r e r e v i r e r e v i r e r e v i For f i ve year s, he ser ved hi s For f i ve year s, he ser ved hi s
u . n c o u . n c o u . n c o count r y. . . a human pi ncushi on. . . count r y. . . a human pi ncushi on. . .
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
S ' l e S ' l e S ' l e I t was Sat an' s wi l l . . . my bei ng I t was Sat an' s wi l l . . . my bei ng
o f g e s g o f g e s g o f g e s g chosen. Suf f er i ng made me st r ong. chosen. Suf f er i ng made me st r ong.
h l s r t o h l s r t o h l s r t o Psycho Ki l l er ' s near i ng t he coupe. Psycho Ki l l er ' s near i ng t he coupe.
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
r d r d r d Pur i f i ed me. Pur i f i ed me.
n e c a o t e e n s n e c a o t e e n s n e c a o t e e n s Behi nd t he t r uck, J ane l ooks t o wher e her gun l i es. Behi nd t he t r uck, J ane l ooks t o wher e her gun l i es.
JJJJ ANE J ANE
, u r a t , u r a t , u r a t So, l et me guess. Secr et l abor at or y So, l et me guess. Secr et l abor at or y
m r f a d e m r f a d e m r f a d e somewher e i n Cal i f or ni a, and somehow somewher e i n Cal i f or ni a, and somehow
u h c h s ! u h c h s ! u h c h s ! you mot her f ucker s l et hi mescape! you mot her f ucker s l et hi mescape!
V Y V Y V Y VAN DYKE VAN DYKE
t h ' s e t h ' s e t h ' s e Not me, bi t ch. I ' mj ust t he Not me, bi t ch. I ' mj ust t he
n . o - e n . o - e n . o - e j ani t or . . . Cover t - Ops. Sweepi ng up j ani t or . . . Cover t - Ops. Sweepi ng up
m ' s m ' s m ' s someone el se' s mess. someone el se' s mess.
JJJJ ANE J ANE
u a e n o u a e n o u a e n o You' r e a gover nment st ooge. And t he You' r e a gover nment st ooge. And t he
o f r e h i s o f r e h i s o f r e h i s bl ood of ever y one of hi s vi ct i ms i s bl ood of ever y one of hi s vi ct i ms i s
s ! s ! s ! on your hands t oo! on your hands t oo!
s p o h l F ! s p o h l F ! s p o h l F ! J ane r i ses t o peer out . Psycho Ki l l er FI RES! J ane r i ses t o peer out . Psycho Ki l l er FI RES!
i a a o s S o u i a a o s S o u i a a o s S o u For ci ng J ane back down as t he shot THUDS i nt o her pi ckup. For ci ng J ane back down as t he shot THUDS i nt o her pi ckup.
D T T s e n P k , D T T s e n P k , D T T s e n P k , Van Dyke THRUSTS hi s ar mup bet ween hi s neck and PK' s kni f e, Van Dyke THRUSTS hi s ar mup bet ween hi s neck and PK' s kni f e,
n k e s e l s , K n k e s e l s , K n k e s e l s , K t r yi ng t o br eak f r ee. Psycho Ki l l er r el eases hi m, KI CKI NG t r yi ng t o br eak f r ee. Psycho Ki l l er r el eases hi m, KI CKI NG
f r g d f r g d f r g d hi mf or war d t o t he gr ound. hi mf or war d t o t he gr ound.
h l j c t s i g h l j c t s i g h l j c t s i g Psycho Ki l l er j umps i nt o hi s car , t hr ows i t i nt o gear , Psycho Ki l l er j umps i nt o hi s car , t hr ows i t i nt o gear ,
G n k f G n k f G n k f HI TS THE GAS and t akes of f . HI TS THE GAS and t akes of f .
s m n a r n r s m n a r n r s m n a r n r J ane l eaps f r omher hi di ng pl ace, r unni ng f or her gun. J ane l eaps f r omher hi di ng pl ace, r unni ng f or her gun.
V Y V Y V Y VAN DYKE VAN DYKE
t n t n t n ( t o J ane) ( t o J ane)
ooo St op. . . St op. . .
s e c s d a . s e c s d a . s e c s d a . As Psycho Ki l l er ' s car i s headi ng away. . . As Psycho Ki l l er ' s car i s headi ng away. . .
D s h n t a s l D s h n t a s l D s h n t a s l Van Dyke' s on hi s knees, abl e now t o dr aw hi s ankl e Van Dyke' s on hi s knees, abl e now t o dr aw hi s ankl e
t g w A t g w A t g w O A hol st er ed handgun, whi ch he POI NTS AT J ANE. hol st er ed handgun, whi ch he POI NTS AT J ANE.
C N C N C N CONTI NUED CONTI NUED
94. 94.
V Y V Y V Y VAN DYKE VAN DYKE
s S ! s S ! s S ! I sai d STOP! ! I sai d STOP! !
I a t w S t A e n e I a t w S t A e n e I a t w S t A e n e He FI RES a shot - - whi ch TEARS UP t he LAWN bet ween J ane and He FI RES a shot - - whi ch TEARS UP t he LAWN bet ween J ane and
g f n r h e r d u s g f n r h e r d u s g f n r h e r d u s her gun, f or ci ng her t o hal t . She r ai ses her hands, f ur i ous. her gun, f or ci ng her t o hal t . She r ai ses her hands, f ur i ous.
JJJJ ANE J ANE
' t . ' t . ' t . He' s get t i ng away. . . ! He' s get t i ng away. . . !
V Y V Y V Y VAN DYKE VAN DYKE
' t ' t ' t He' s not . He' s not .
JJJJ ANE J ANE
' t ! u l n ' t ! u l n ' t ! u l n He' s get t i ng away! You' r e l et t i ng He' s get t i ng away! You' r e l et t i ng
m . m . m . hi mgo. . . ! hi mgo. . . !
s r l . s r l . s r l . J ane l ooks over her shoul der . . . J ane l ooks over her shoul der . . .
s e n y K r r t u t e s e n y K r r t u t e s e n y K r r t u t e Acr oss t he l awn, Psycho Ki l l er r oar s out t hr u t he f r ont gat e. Acr oss t he l awn, Psycho Ki l l er r oar s out t hr u t he f r ont gat e.
V Y V Y V Y VAN DYKE VAN DYKE
t h h g . t h h g . t h h g . We know exact l y wher e he' s goi ng. We know exact l y wher e he' s goi ng.
JJJJ ANE J ANE
m I o t - m I o t - m I o t - I ' m. . . I ' mnot l et t i ng you - - I ' m. . . I ' mnot l et t i ng you - -
s a h u A e R s . s a h u A e R s . s a h u A e R s . J ane moves t owar ds her gun. Anot her WARNI NG SHOT st ops her . J ane moves t owar ds her gun. Anot her WARNI NG SHOT st ops her .
D t t f i s t D t t f i s t D t t f i s t Van Dyke t r i es t o st and, but f al l s back on hi s ass. I t ' s Van Dyke t r i es t o st and, but f al l s back on hi s ass. I t ' s
n e i e o g n e n e i e o g n e n e i e o g n e t aki ng ever yt hi ng he' s got t o keep t he gun on J ane. t aki ng ever yt hi ng he' s got t o keep t he gun on J ane.
V Y V Y V Y VAN DYKE VAN DYKE
u w t v u w t v u w t v You know you can' t l eave. You know you can' t l eave.
JJJJ ANE J ANE
a B s h . e e a B s h . e e a B s h . e e Yeah? Because, what . . . ? Because Yeah? Because, what . . . ? Because
u s s o e a o u s s o e a o u s s o e a o you' r e supposed t o make i t al l go you' r e supposed t o make i t al l go
a i o n s a i o n s a i o n s away, r i ght ? Bef or e anyone f i nds out away, r i ght ? Bef or e anyone f i nds out
a r y n . d l a r y n . d l a r y n . d l what ' s r eal l y goi ng on. And ki l l what ' s r eal l y goi ng on. And ki l l
y w e n r . y w e n r . y w e n r . anyone who get s i n your way. anyone who get s i n your way.
V Y V Y V Y VAN DYKE VAN DYKE
v t c e i A e v t c e i A e v t c e i A e I ' ve got no choi ce i n i t . Ask me; I I ' ve got no choi ce i n i t . Ask me; I
u n y i ! t u n y i ! t u n y i ! t doubt anybody' d gi ve a shi t ! But , I doubt anybody' d gi ve a shi t ! But , I
e , w I o . e , w I o . e , w I o . go wher e I ' mt ol d, do what I ' mt ol d. . . go wher e I ' mt ol d, do what I ' mt ol d. . .
JJJJ ANE J ANE
r o r H r o r H r o r H Sur e. . . j ust f ol l owi ng or der s. He' d Sur e. . . j ust f ol l owi ng or der s. He' d
l u s n e e n l u s n e e n l u s n e e n t el l you he' s doi ng t he same t hi ng. t el l you he' s doi ng t he same t hi ng.
V Y V Y V Y VAN DYKE VAN DYKE
u u t o u f o u u t o u f o u u t o u f o You br ought t hi s on your sel f ! How' d You br ought t hi s on your sel f ! How' d
u n w u i t t u n w u i t t u n w u i t t you even know about t hi s Sat ani st guy you even know about t hi s Sat ani st guy
a . e t d a . e t d a . e t d he cont act ed. . . Pendl et on? How' d you he cont act ed. . . Pendl et on? How' d you
t e t e t e get her e? get her e?
JJJJ ANE J ANE
n o . n o . n o . Long st or y. . . Long st or y. . .
95. 95.
H A - E E R H A - E E R H A - E E R FLASHBACK MONTAGE -- JANE'S REMEMBRANCE FLASHBACK MONTAGE -- JANE'S REMEMBRANCE
A F S S , c m . A F S S , c m . A F S S , c F m . I n RAPI D FI RE SUCCESSI ON, we cat ch BRI EF gl i mpses of . . . I n RAPI D FI RE SUCCESSI ON, we cat ch BRI EF gl i mpses of . . .
e i h h N T E O o g n e i h h N T E O o g n e i h h N T E O o g n -J ane movi ng t hr ough t he HAVENHURST HOTEL ROOM, l ooki ng down -J ane movi ng t hr ough t he HAVENHURST HOTEL ROOM, l ooki ng down
n c i ' r S D . n c i ' r S D . n c i ' r S D . upon Psycho Ki l l er ' s ci r cl ed CLASSI FI ED AD. . . upon Psycho Ki l l er ' s ci r cl ed CLASSI FI ED AD. . .
M N O M N O
e e e To those who also To those who also
a a i a a i a a i share faith. Seeking share faith. Seeking
r u r . d r u r . d r u r . d our mutual friend. Need our mutual friend. Need
l l y l l y l l y help. Please reply. help. Please reply.
e a R s o f e a R s o f e a R s o f -J ane i n a LI BRARY, gr abs a copy of t he -J ane i n a LI BRARY, gr abs a copy of t he
S e t a n S e t a n S e t a n NEWYORK TI MES, opens i t , sear chi ng. . . NEWYORK TI MES, opens i t , sear chi ng. . .
K o C I S d v g K o C I S d v g K o C I S d v g LOOKI NG over CLASSI FI EDS. . . di scover i ng LOOKI NG over CLASSI FI EDS. . . di scover i ng
D E A P n D E A P n D E A P n t he ENCODED REPLY AD we saw PK f i nd t he ENCODED REPLY AD we saw PK f i nd
l h w O : l h w O : l h w O : ear l i er , on whi ch we ZOOM I N: M N O ear l i er , on whi ch we ZOOM I N: M N O
3 4 6 3 4 6 3 4 6 843 36544483633 843 36544483633
5 3 9 5 3 9 5 3 9 9352663 255 335569 9352663 255 335569
5 7 5 7 5 7 235438377. 235438377.
1 3 8 3 1 3 8 3 1 3 8 3 4813055357548696230 4813055357548696230
h J s I i e e h J s I i e e h J s I R K R i e e -Ni ght . J ane si t s I N HER PARKED TRUCK, put t i ng penci l t o her -Ni ght . J ane si t s I N HER PARKED TRUCK, put t i ng penci l t o her
E , a y i o i R E , a y i o i R E , a y i o i R NOTEBOOK, unhappi l y t r yi ng t o deci pher t he REPLY AD. NOTEBOOK, unhappi l y t r yi ng t o deci pher t he REPLY AD.
' p t d U S d T a o o ' p t d U S d T a o o ' p t d U S d T a o o She' s copi ed t he ad' s NUMBERS, and WRI TTEN al l sor t s of She' s copi ed t he ad' s NUMBERS, and WRI TTEN al l sor t s of
o t T O A S t d A O o t T O A S t d A O o t T O A S t d A O i ncor r ect LETTER COMBI NATI ONS and f r ust r at ed SCRATCH OUTS. i ncor r ect LETTER COMBI NATI ONS and f r ust r at ed SCRATCH OUTS.
P t p i o . P t p i o . P t p i o . She CRUMPLES t hi s page, angr i l y t osses i t . . . She CRUMPLES t hi s page, angr i l y t osses i t . . .
l r M S e O I l r M S e O I l r M S e O I I t l ands wi t h MANY ot her CRUMPLED PAGES. Her PHONE RI NGS. I t l ands wi t h MANY ot her CRUMPLED PAGES. Her PHONE RI NGS.
e b r l n p i w i e b r l n p i w i e b r l n p i w i J ane gr abs her cel l phone, opens i t t o see who' s cal l i ng, J ane gr abs her cel l phone, opens i t t o see who' s cal l i ng,
e r f h s s e . e r f h s s e . e t r f h s s e . and suddenl y, i t ' s r i ght t her e bef or e her ast oni shed eyes. . . and suddenl y, i t ' s r i ght t her e bef or e her ast oni shed eyes. . .
M h Y s o s e . M h Y s o s e . M h Y s o s e . ZOOM I N: on t he KEYPAD, f ocusi ng on a si ngl e KEY. . . 6 ZOOM I N: on t he KEYPAD, f ocusi ng on a si ngl e KEY. . . 6
M M M MNO MNO
M : t n A M : t n A M : t n A ZOOM OUT: on t he ent i r e KEYPAD. . . 1 2 3 ZOOM OUT: on t he ent i r e KEYPAD. . . 1 2 3
ABC DEF ABC DEF
4 5 6 4 5 6
I I I GHI JKL MNO GHI JKL MNO
7 8 9 7 8 9
S S S PRS TUV WXY PRS TUV WXY
S : e T f u i t S : e T f u i t S : e T f u i t - CLOSE ON: J ane WRI TI NG f ur i ousl y, sol vi ng i t now t hat - CLOSE ON: J ane WRI TI NG f ur i ousl y, sol vi ng i t now t hat
' t r / e m t . ' t r / e m t . ' t r / e m t . she' s got t he numer i cal / l et t er combi nat i ons. . . she' s got t he numer i cal / l et t er combi nat i ons. . .
4 3 4 3 4 3 M N O 843 36544483633 M N O 843 36544483633
G D G D G D 6 6 6 TGD DMJ GGGTDMDD 6 6 6 TGD DMJ GGGTDMDD
H E H E H E UHE ENKHHHUENEE UHE ENKHHHUENEE
I F I F I F VI F FOLI I I VFOFF VI F FOLI I I VFOFF
C N C N C N CONTI NUED CONTI NUED
96. 96.
S : e c E N a r . S : e c E N a r . S : e c E N a r . - CLOSE ON: J ane qui ckl y ERASI NG, havi ng f i gur ed. . . - CLOSE ON: J ane qui ckl y ERASI NG, havi ng f i gur ed. . .
4 3 4 3 4 3 M N O 843 36544483633 M N O 843 36544483633
G G G 6 6 6 T G T D 6 6 6 T G T D
E E E HE EN H ENE HE EN H ENE
LI LI
S : e i B t . S : e i B t . S : e i B t . - CLOSE ON: J ane' s f i nal , SCRI BBLED sol ut i on. . . - CLOSE ON: J ane' s f i nal , SCRI BBLED sol ut i on. . .
G E L F W I S G E L F W I S G E L F W I S "THE ENLIGHTENED WELCOME ALL FELLOW BELIEVERS, "THE ENLIGHTENED WELCOME ALL FELLOW BELIEVERS,
E E 0 5 0 E E 0 5 0 E E 0 5 0 TELEPHONE (410) 555-8920" TELEPHONE (410) 555-8920"
C - N O U R L C - N O U R L C - N O U R L BACK TO SCENE -- PENDLETON HOUSE FRONT LAWN BACK TO SCENE -- PENDLETON HOUSE FRONT LAWN
JJJJ ANE J ANE
o o t ) o o t ) o o t ) ( of " l ong st or y" ) ( of " l ong st or y" )
. n h y . n h y . n h y . . . I don' t t hi nk you' d l i ve l ong . . . I don' t t hi nk you' d l i ve l ong
o f e t i o f e t i o f e t i enough f or me t o t el l i t . enough f or me t o t el l i t .
, n d n e p s a , n d n e p s a , n d n e p s a Weak, wounded, bl oody Van Dyke keeps hi s gun on J ane. Weak, wounded, bl oody Van Dyke keeps hi s gun on J ane.
V Y V Y V Y VAN DYKE VAN DYKE
l n l n l n I ' l l manage. I ' l l manage.
JJJJ ANE J ANE
u b i u I a r u b i u I a r u b i u I a r You' r e bl eedi ng out . I f what ever You' r e bl eedi ng out . I f what ever
c v l f e e c v l f e e c v l f e e back- up you' ve cal l ed f or hel p get s back- up you' ve cal l ed f or hel p get s
r i I a u c e r i I a u c e r i I a u c e her e qui ck, I ' d say you' r e chances her e qui ck, I ' d say you' r e chances
e b / t u e b / t u e b / t u ar e maybe 50/ 50. That monst er our ar e maybe 50/ 50. That monst er our
v e e o . k d v e e o . k d v e e o . k d gover nment l et l oose. . . he ki l l ed my gover nment l et l oose. . . he ki l l ed my
s . , i o s . , i o s . , i o husband. So, I ' mt el l i ng you. . . I ' m husband. So, I ' mt el l i ng you. . . I ' m
i o e s i o e s i o e s goi ng t o l ower my hands and go goi ng t o l ower my hands and go
t e w n t e w n t e w n r et r i eve my weapon. . . r et r i eve my weapon. . .
V Y V Y V Y VAN DYKE VAN DYKE
... No. No.
JJJJ ANE J ANE
d i u . d i u . d i u . And I ' mdr i vi ng out of her e. And I ' mdr i vi ng out of her e.
V Y V Y V Y VAN DYKE VAN DYKE
nnn Don' t ! Don' t !
JJJJ ANE J ANE
w y l a s w y l a s w y l a s I f you want your l ast act as a I f you want your l ast act as a
l e o n l e o n l e o n sol di er t o be shoot i ng me i n t he sol di er t o be shoot i ng me i n t he
c o . m v c o . m v c o . m v back. . . go f or i t . I ' ml eavi ng. back. . . go f or i t . I ' ml eavi ng.
h i o n r d d k o h i o n r d d k o h i o n r d d k o J ane does as she sai d, l ower i ng her hands and wal ki ng over J ane does as she sai d, l ower i ng her hands and wal ki ng over
e n a k e i n i i . e n a k e i n i i . e n a k e i n i i . t o her gun. Van Dyke keeps hi s gun t r ai ned, agoni zi ng. t o her gun. Van Dyke keeps hi s gun t r ai ned, agoni zi ng.
o e t s h i , n d o e t s h i , n d o e t s h i , n d Wi t hout hesi t at i on, J ane pi cks up her pi st ol , t ur ns and Wi t hout hesi t at i on, J ane pi cks up her pi st ol , t ur ns and
s k h r s t l e f l s k h r s t l e f l s k h r s t l e f l wal ks back t o her t r uck, r ef usi ng t o al l ow her sel f t o l ook wal ks back t o her t r uck, r ef usi ng t o al l ow her sel f t o l ook
a k i t y p t a a k i t y p t a a k i t y p t a at Van Dyke as he ai ms at her ever y st ep of t he way. at Van Dyke as he ai ms at her ever y st ep of t he way.
V Y V Y V Y VAN DYKE VAN DYKE
!!! No! No!
C N C N C N CONTI NUED CONTI NUED
97. 97.
D l s o a h e u e D l s o a h e u e D l s o a h e u e Van Dyke l ower s hi s weapon, hangs hi s head, unabl e. Van Dyke l ower s hi s weapon, hangs hi s head, unabl e.
b t e k b t e k b t e k J ane cl i mbs i nt o t he pi ckup. J ane cl i mbs i nt o t he pi ckup.
A U O A U O A U O IN JANE'S PICKUP -- IN MOTION IN JANE'S PICKUP -- IN MOTION
E F l d h s v E F l d h s v E F l d h s v J ane DRI VES OFF, r el i eved t o have sur vi ved. J ane DRI VES OFF, r el i eved t o have sur vi ved.
h r h o a w . h r h o a w . h r h o a w . She heads down t owar ds t he f r ont gat e. Meanwhi l e. . . She heads down t owar ds t he f r ont gat e. Meanwhi l e. . .
S C R E g n O S C R E g n O S C R E g n O The SOUND of a HELI COPTER can be HEARD gr owi ng CLOSER. The SOUND of a HELI COPTER can be HEARD gr owi ng CLOSER.
D N S V - Y D N S V - Y D N S V - Y EXT. PENDLETON HOUSE -- OVERVIEW -- DAY EXT. PENDLETON HOUSE -- OVERVIEW -- DAY
a a h s , L H O s o a a h s , L H O s o a a h s , L H O s o As J ane makes her escape, a BLACK HELI COPTER r i ses up over As J ane makes her escape, a BLACK HELI COPTER r i ses up over
p r h a , i g c e p r h a , i g c e p r h a , i g c e t he pr oper t y, hi gh above, begi nni ng t o ci r cl e. t he pr oper t y, hi gh above, begi nni ng t o ci r cl e.
C O C O C O CUT TO: CUT TO:
E - Y E - Y E - Y EXT. FREEWAY -- DAY EXT. FREEWAY -- DAY
i a u y F i a u y F i a u y F We f i nd J ane' s pi ckup i n heavy TRAFFI C. We f i nd J ane' s pi ckup i n heavy TRAFFI C.
A U O A U O A U O IN JANE'S PICKUP -- IN MOTION IN JANE'S PICKUP -- IN MOTION
h A h a s h h A h a s h h A h a s h J ane has her LAPTOP open on t he seat besi de her . J ane has her LAPTOP open on t he seat besi de her .
H P C A f C R . H P C A f C R . H P C A f C R . ON THE LAPTOP: mor e ol d COVERAGE of t he CHURCH MURDERS. . . ON THE LAPTOP: mor e ol d COVERAGE of t he CHURCH MURDERS. . .
D E Y R . D E Y R . D E Y R . DOCUMENTARY NARRATOR ( V. O. ) DOCUMENTARY NARRATOR ( V. O. )
f L P f L P f L P ( f r omLAPTOP) ( f r omLAPTOP)
. i b c a e . i b c a e . i b c a e . . . sl ayi ngs by Ri char d Leonar d Reeves . . . sl ayi ngs by Ri char d Leonar d Reeves
a t b a s a t b a s a t b a s t hat f at ef ul Oct ober day i n Chr i st ' s t hat f at ef ul Oct ober day i n Chr i st ' s
o h o n o h o n o h o n Cr oss Chur ch wer e per f or med i n an Cr oss Chur ch wer e per f or med i n an
f t n D e f t n D e f t n D e ef f or t t o cont act t he Devi l hi msel f . ef f or t t o cont act t he Devi l hi msel f .
h o o . h o o . h o o . J ane r eaches t o t he keyboar d. . . J ane r eaches t o t he keyboar d. . .
H P P D E o e A f H P P D E o e A f H P P D E o e A f ON THE LAPTOP: t he PAUSED VI DEO shows a f r ozen I MAGE of ON THE LAPTOP: t he PAUSED VI DEO shows a f r ozen I MAGE of
I n O C H L P H T I n O C H L P H T I n O C H L P H T WRI TI NG i n BLOOD on t he CHURCH WALL: " OPEN THE GATES!" WRI TI NG i n BLOOD on t he CHURCH WALL: " OPEN THE GATES!"
n p w o a s i l s r n p w o a s i l s r n p w o a s i l s r J ane begi ns t ypi ng wi t h one hand, st eal i ng gl ances over . J ane begi ns t ypi ng wi t h one hand, st eal i ng gl ances over .
h m r e G E s e e h m r e G E s e e h m r e G E s e e On t he comput er scr een, GOOGLE pops up. J ane t ypes. . . On t he comput er scr een, GOOGLE pops up. J ane t ypes. . .
H A B " s r c h r r H A B " s r c h r r H A B " s r c h r r I N THE SEARCH BOX: " christs cross church harrisburg. " I N THE SEARCH BOX: " christs cross church harrisburg. "
E - Y E - Y E - Y EXT. FREEWAY -- DAY EXT. FREEWAY -- DAY
' c p s W M S N S ' c p s W M S N S ' c p s W M S N S J ane' s pi ckup passes a " WELCOME TO PENNSYLVANIA" SI GN. J ane' s pi ckup passes a " WELCOME TO PENNSYLVANIA" SI GN.
C O C O C O CUT TO: CUT TO:
R R E W A L T D R R E W A L T D R R E W A L T D EXT. HARRISBURG OVERVIEW -- AERIAL SHOT -- DAY EXT. HARRISBURG OVERVIEW -- AERIAL SHOT -- DAY
E I G d E I G d E I G d FROM HI GH ABOVE, we l ook down upon HARRI SBURG, huddl ed on FROM HI GH ABOVE, we l ook down upon HARRI SBURG, huddl ed on
b h S A R . s , b h S A R . s , b h S A R . s , t he banks of t he SUSQUEHANNA RI VER. To t he sout h, t he t he banks of t he SUSQUEHANNA RI VER. To t he sout h, t he
I O h R I S E O P I O h R I S E O P I O h R I S E O P COOLI NG TOWERS of t he THREE MI LE I SLAND NUCLEAR POWER PLANT COOLI NG TOWERS of t he THREE MI LE I SLAND NUCLEAR POWER PLANT
m u r R S n r m u r R S n r m u r R S n r vent st eamcl ouds. Sever al BRI DGES span t he r i ver . vent st eamcl ouds. Sever al BRI DGES span t he r i ver .
V A G V A G V A G EXT. HARVEY TAYLOR BRIDGE -- DAY EXT. HARVEY TAYLOR BRIDGE -- DAY
e s t f l B E o r r e s t f l B E o r r e s t f l B E o r r PK' s coupe cr osses t hi s f our - l ane BRI DGE i nt o Har r i sbur g. PK' s coupe cr osses t hi s f our - l ane BRI DGE i nt o Har r i sbur g.
98. 98.
S E C - M N S E C - M N S E C - M N IN PSYCHO KILLER'S CAR -- IN MOTION IN PSYCHO KILLER'S CAR -- IN MOTION
N e k r c i ' o r t N e k r c i ' o r t N e k r c i ' o r t FROM BEHI ND, we l ook over Psycho Ki l l er ' s shoul der as t he FROM BEHI ND, we l ook over Psycho Ki l l er ' s shoul der as t he
I f N i g a n e m t I f N i g a n e m t I f N i g a n e m t SKYLI NE of DOWNTOWN Har r i sbur g, f eat ur i ng t he pr omi nent SKYLI NE of DOWNTOWN Har r i sbur g, f eat ur i ng t he pr omi nent
E I B I f w h . E I B I f w h . E I B I f w h . STATE CAPI TAL BUI LDI NG, f i l l s t he wi ndshi el d. STATE CAPI TAL BUI LDI NG, f i l l s t he wi ndshi el d.
C O C O C O CUT TO: CUT TO:
R R E N E - E Y R R E N E - E Y R R E N E - E Y EXT. HARRISBURG, RESIDENTIAL STREETS -- LATER DAY EXT. HARRISBURG, RESIDENTIAL STREETS -- LATER DAY
h l s l o h l s l o h l s l o Psycho Ki l l er ' s car sl owl y pr owl s. Psycho Ki l l er ' s car sl owl y pr owl s.
S E C - M N S E C - M N S E C - M N IN PSYCHO KILLER'S CAR -- IN MOTION IN PSYCHO KILLER'S CAR -- IN MOTION
h l s r g h e s t h l s r g h e s t h l s r g h e s t Psycho Ki l l er ' s sear chi ng bot h si des of t he st r eet . Psycho Ki l l er ' s sear chi ng bot h si des of t he st r eet .
h H a h T r E O h H a h T r E O h H a h T r E O Most of t hese HOMES ar e at t ached, TWO or THREE STORY Most of t hese HOMES ar e at t ached, TWO or THREE STORY
I e t a e E t o . I e t a e E t o . I e t a e E t o . AFFAI RS, except ahead. . . t her e' s a HOUSE on t he cor ner . . . AFFAI RS, except ahead. . . t her e' s a HOUSE on t he cor ner . . .
A E D A E D A E D EXT. 213 OAK AVENUE -- DAY EXT. 213 OAK AVENUE -- DAY
M O c r , 3 T o i M O c r , 3 T o i M O c r , 3 T o i The MAI LBOX at t he cur b r eads, " 213. " The house i s a The MAI LBOX at t he cur b r eads, " 213. " The house i s a
h e , Y L , a r e l h e , Y L , a r e l h e , Y L , a r e l weat her - beat en, TWO STORY DWELLI NG, on a spar e, weedy l ot . weat her - beat en, TWO STORY DWELLI NG, on a spar e, weedy l ot .
S E C - M N S E C - M N S E C - M N IN PSYCHO KILLER'S CAR -- IN MOTION IN PSYCHO KILLER'S CAR -- IN MOTION
h l c s X D W I h l c s X D W I h l c s X D W I Psycho Ki l l er checks hi s I NDEX CARD. . LEWIS WILKES Psycho Ki l l er checks hi s I NDEX CARD. . LEWIS WILKES
3 u 3 u 3 u 213 Oak Avenue 213 Oak Avenue
h l d s c a . h l d s c a . h l d s c a . Psycho Ki l l er dr i ves on, gl ances back. . . Psycho Ki l l er dr i ves on, gl ances back. . .
u a n w o h o h r u a n w o h o h r u a n w o h o h r He t ur ns a cor ner . Hal f way down t he bl ock, he par ks. He t ur ns a cor ner . Hal f way down t he bl ock, he par ks.
A E M T T A E M T T A E M T T EXT. 213 OAK AVENUE -- MOMENTS LATER EXT. 213 OAK AVENUE -- MOMENTS LATER
h l w , r s a t h t h l w , r s a t h t h l w , r s a t h t Psycho Ki l l er wal ks, car r yi ng hi s sui t case, t r ench coat Psycho Ki l l er wal ks, car r yi ng hi s sui t case, t r ench coat
e e . s a e T e e e . s a e T e e e . s a e T e dr aped over i t . He wai t s as a CAR passes. Then, PK l eaves dr aped over i t . He wai t s as a CAR passes. Then, PK l eaves
s a w n s v R A T o s a w n s v R A T o s a w n s v R A T o t he si dewal k, wal ki ng up 213' s gr avel DRI VEWAY. The home' s t he si dewal k, wal ki ng up 213' s gr avel DRI VEWAY. The home' s
c G E a , n y c G E a , n y c G E a , n y ol d, det ached GARAGE i s ahead, open and empt y. ol d, det ached GARAGE i s ahead, open and empt y.
r s y r h a h . r s y r h a h . r s y r h a h . He cr osses t he backyar d, t owar ds t he r ear of t he house. He cr osses t he backyar d, t owar ds t he r ear of t he house.
A E D A E D A E D INT. 213 OAK AVENUE -- DAY INT. 213 OAK AVENUE -- DAY
n A N o e s s e m n A N o e s s e m n A N o e s s e m At one REAR WI NDOWof t he house, Psycho Ki l l er ' s meat y hand At one REAR WI NDOWof t he house, Psycho Ki l l er ' s meat y hand
s o n i C , c u . s o n i C , c u . s o n i C , c u . t ear s a hol e i n t he out si de SCREEN, r eachi ng t hr ough. . . t ear s a hol e i n t he out si de SCREEN, r eachi ng t hr ough. . .
e h g t o e g i E e h g t o e g i E e h g t o e g i E As he pushes agai nst t he wi ndow, t est i ng. . . i t OPENS. As he pushes agai nst t he wi ndow, t est i ng. . . i t OPENS.
C O C O C O CUT TO: CUT TO:
A E W I A - A E W I A - A E W I A - INT. 213 OAK AVENUE, DOWNSTAIRS HALL -- DAY INT. 213 OAK AVENUE, DOWNSTAIRS HALL -- DAY
h l c n c r h l c n c r h l c n c r Psycho Ki l l er comes ar ound a cor ner . Psycho Ki l l er comes ar ound a cor ner .
e u s h g n r e u s h g n r e u s h g n r He' s masked, sui t case i n one hand, shot gun i n t he ot her . He' s masked, sui t case i n one hand, shot gun i n t he ot her .
PSYCHO KILLER'S POV: H L S : H L S : PSYCHO KILLER'S POV: PSYCHO KILLER'S POV:
E K R I n O L O T G e E K R I n O L O T G e E K R I n O L O T G e We HEAR PK' s BREATHI NG and FOOTFALLS as he MOVES THROUGH t he We HEAR PK' s BREATHI NG and FOOTFALLS as he MOVES THROUGH t he
W . K t y I O . W . K t y I O . W . K t y I O . HALLWAY. . . LOOKS i nt o an empt y DI NI NG ROOM. . . HALLWAY. . . LOOKS i nt o an empt y DI NI NG ROOM. . .
C N C N C N CONTI NUED CONTI NUED
99. 99.
C t I , n c A . I G C t I , n c A . I G C t I , n c A . I G SEARCHES t he LI VI NG ROOM, t hen pr oceeds UPSTAI RS. . . CLI MBI NG SEARCHES t he LI VI NG ROOM, t hen pr oceeds UPSTAI RS. . . CLI MBI NG
c y i . K t S G M l r c y i . K t S G M l r c y i . K t S G M l r t he cr eaky st ai r s. . . LOOKS i nt o a SEWI NG ROOM. . . l umber s t he cr eaky st ai r s. . . LOOKS i nt o a SEWI NG ROOM. . . l umber s
H H H down t he HALL. down t he HALL.
A E S B O N O - Y A E S B O N O - Y A E S B O N O - Y INT. 213 OAK AVENUE, MASTER BEDROOM (2ND FLOOR) -- DAY INT. 213 OAK AVENUE, MASTER BEDROOM (2ND FLOOR) -- DAY
h l s T S c h B O O h l s T S c h B O O h l s T S c h B O O Psycho Ki l l er ' s FOOTSTEPS pr oceed hi m. The BEDROOM DOOR i s Psycho Ki l l er ' s FOOTSTEPS pr oceed hi m. The BEDROOM DOOR i s
e e P t n s t o o e e P t n s t o o e e P t n s t o o pushed open. PK ent er s, ai mi ng hi s shot gun. No one home. pushed open. PK ent er s, ai mi ng hi s shot gun. No one home.
u o i i e e o e t a u o i i e e o e t a u o i i e e o e t a He put s down hi s sui t case, goes t o si t on t he neat l y made He put s down hi s sui t case, goes t o si t on t he neat l y made
w , t o s . e s t w , t o s . e s t w , t o s . e s t BED. He wai t s, shot gun on hi s l ap. The house i s qui et . BED. He wai t s, shot gun on hi s l ap. The house i s qui et .
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A A A EXT. GUN SHOP -- DAY EXT. GUN SHOP -- DAY
' c i r i o f O A S " ' c i r i o f O A S " ' c i r i o f O A S " J ane' s pi ckup i s par ked i n f r ont of " SPORTSMAN' S SHOP. " J ane' s pi ckup i s par ked i n f r ont of " SPORTSMAN' S SHOP. "
A A A INT. GUN SHOP -- DAY INT. GUN SHOP -- DAY
S p l d G a I . n b e S p l d G a I . n b e S p l d G a I . n b e CASES di spl ay l ocked- up GUNS and RI FLES. J ane' s by t he CASES di spl ay l ocked- up GUNS and RI FLES. J ane' s by t he
S B n u e c S S B n u e c S S B n u e c S REGI STER, her BADGE on a chai n ar ound her neck. She' s on REGI STER, her BADGE on a chai n ar ound her neck. She' s on
c p . h t O R f y r c c p . h t O R f y r c c p . h t O R f y r c her cel l phone. Behi nd t he COUNTER, a f r i zzy- hai r ed, camo- her cel l phone. Behi nd t he COUNTER, a f r i zzy- hai r ed, camo-
K n a n s I K n a n s I K n a n s I cl ad CLERK st ands wat chi ng hi s FAX MACHI NE. cl ad CLERK st ands wat chi ng hi s FAX MACHI NE.
JJJJ ANE J ANE
t e t e t e ( t o Cl er k) ( t o Cl er k)
e i t o n e i t o n e i t o n They' r e sendi ng i t t hr ough now. They' r e sendi ng i t t hr ough now.
i C P ) i C P ) i C P ) ( i nt o CELL PHONE) ( i nt o CELL PHONE)
' i . e r ' e ' i . e r ' e ' i . e r ' e He' s wai t i ng. Whenever you' r e r eady. He' s wai t i ng. Whenever you' r e r eady.
T L C R - Y T L C R - Y T L C R - Y INT. FBI AGENT COLLINS' OFFICE -- INTERCUT -- DAY INT. FBI AGENT COLLINS' OFFICE -- INTERCUT -- DAY
t l s s h E o e N t l s s h E o e N t l s s h E o e N Agent Col l i ns st ands at her DESK, on t he PHONE. Agent Col l i ns st ands at her DESK, on t he PHONE.
s v y k o v h p h U E s v y k o v h p h U E s v y k o v h p h U E She' s ner vousl y l ooki ng out over t he t op of her CUBI CLE. She' s ner vousl y l ooki ng out over t he t op of her CUBI CLE.
A I A I A I AGENT COLLI NS AGENT COLLI NS
i P ) i P ) i P ) ( i nt o PHONE) ( i nt o PHONE)
y i i h o u y i i h o u y i i h o u Why agai n amI doi ng t hi s f or you? Why agai n amI doi ng t hi s f or you?
J ( ) J ( ) J ( ) J ANE ( V. O. ) J ANE ( V. O. )
f P ) f P ) f P ) ( f r omPHONE) ( f r omPHONE)
c e u l B s c e u l B s c e u l B s Because I need your hel p. Because Because I need your hel p. Because
u s g l h u s g l h u s g l h you' r e savi ng my l i f e her e. you' r e savi ng my l i f e her e.
A I A I A I AGENT COLLI NS AGENT COLLI NS
d ' g l a d ' g l a d ' g l a And how' s i t not goi ng t o bl ow back And how' s i t not goi ng t o bl ow back
o h g h o o h g h o o h g h o on me, once he' s got t hi s f or m? on me, once he' s got t hi s f or m?
J ( ) J ( ) J ( ) J ANE ( V. O. ) J ANE ( V. O. )
t t t t t t t t t I t won' t . I won' t l et i t . Tr ust me. I t won' t . I won' t l et i t . Tr ust me.
i e s s s S e X H i e s s s S e X H i e s s s S e X H Col l i ns r esi gns her sel f , pr esses " SEND" on her FAX MACHI NE. Col l i ns r esi gns her sel f , pr esses " SEND" on her FAX MACHI NE.
IN THE GUN SHOP H N P H N P IN THE GUN SHOP IN THE GUN SHOP
F A E E S a s i u P F A E E S a s i u P F A E E S a s i u P The FAX MACHI NE SCREECHES, st ar t s spi t t i ng out a PAGE. The FAX MACHI NE SCREECHES, st ar t s spi t t i ng out a PAGE.
k t e n ' g e n . O k t e n ' g e n . O k t e n ' g e n . O Cl er k l i f t s t he pr i nt i ng page' s edge, sees an F. B. I . LOGO. Cl er k l i f t s t he pr i nt i ng page' s edge, sees an F. B. I . LOGO.
C N C N C N CONTI NUED CONTI NUED
. . . 100. 100.
A I V A I V A I V AGENT COLLI NS ( V. O. ) AGENT COLLI NS ( V. O. )
a e l e o o t a e l e o o t a e l e o o t What t he hel l ' s been goi ng on out What t he hel l ' s been goi ng on out
e t y l g e t y l g e t y l g t her e? Was t hat you bl azi ng up t her e? Was t hat you bl azi ng up
v r O v r O v r O Havenhur st , Ohi o? Havenhur st , Ohi o?
JJJJ ANE J ANE
l l u a c n l l u a c n l l u a c n I ' l l f i l l you i n as much as I can as I ' l l f i l l you i n as much as I can as
o n n n s o o n n n s o o n n n s o soon as I can. Anyt hi ng I say now. . . soon as I can. Anyt hi ng I say now. . .
u l e t l u l e t l u l e t l you woul dn' t bel i eve i t . I bar el y you woul dn' t bel i eve i t . I bar el y
l y . l y . l y . bel i eve i t mysel f . bel i eve i t mysel f .
A I V A I V A I V AGENT COLLI NS ( V. O. ) AGENT COLLI NS ( V. O. )
y y y Tr y me. Tr y me.
k n h X A a f l k F . k n h X A a f l k F . k n h X A a f l k F . Cl er k br i ngs t he FAXED PAGE, an of f i ci al l ooki ng F. B. I . Cl er k br i ngs t he FAXED PAGE, an of f i ci al l ooki ng F. B. I .
M g h m Y W M M g h m Y W M M g h m Y W M DOCUMENT, al ong wi t h a smal l YELLOWBOX of AMMO. DOCUMENT, al ong wi t h a smal l YELLOWBOX of AMMO.
G H L G H L G H L GUN SHOP CLERK GUN SHOP CLERK
r . o o . s i r . o o . s i r . o o . s i Al r i ght . . . l ooks kosher . J ust goi ng Al r i ght . . . l ooks kosher . J ust goi ng
e u n e u n e u n t o need t o see your I D agai n. t o need t o see your I D agai n.
o M X o M X o M X ( of AMMO BOX) ( of AMMO BOX)
' o u o t p ' o u o t p ' o u o t p We' r e not usual l y supposed t o suppl y We' r e not usual l y supposed t o suppl y
i n t t i n t t i n t t t hi s t o anyone but t he vet - t echs at t hi s t o anyone but t he vet - t echs at
e . n k t ' e . n k t ' e . n k t ' t he zoo. Mi nd i f I ask what you' r e t he zoo. Mi nd i f I ask what you' r e
i t ? i t ? i t ? usi ng i t f or ? usi ng i t f or ?
JJJJ ANE J ANE
p e l p e l p e l ( pol i t e smi l e) ( pol i t e smi l e)
m i y s e m i y s e m i y s e I ' mnot at l i ber t y t o say. Ther e' s I ' mnot at l i ber t y t o say. Ther e' s
p l r d p l r d p l r d a pi st ol I ' mal so i nt er est ed i n. Far a pi st ol I ' mal so i nt er est ed i n. Far
g i u p g i u p g i u p r i ght si de, up t op. . . r i ght si de, up t op. . .
' i g l n F n M X ' i g l n F n M X ' i g l n F n M X J ane' s poi nt i ng. Cl er k nods, put s t he FAX and AMMO BOX by J ane' s poi nt i ng. Cl er k nods, put s t he FAX and AMMO BOX by
r t g t t h S L R r t g t t h S L R r t g t t h S L R t he r egi st er , goes t o get a shor t STEP LADDER. t he r egi st er , goes t o get a shor t STEP LADDER.
JJJJ ANE J ANE
i C P ) i C P ) i C P ) ( i nt o CELL PHONE) ( i nt o CELL PHONE)
s y t i i o s y t i i o s y t i i o Li st en, Becky. . . t hi s i s goi ng t o Li st en, Becky. . . t hi s i s goi ng t o
u r t a e o u r t a e o u r t a e o sound cr azy, but t ake anot her l ook at sound cr azy, but t ake anot her l ook at
e g i a s r t e g i a s r t e g i a s r t t he f i nger pr i nt mat ches your syst em' s t he f i nger pr i nt mat ches your syst em' s
e m u t T e e m u t T e e m u t T e been comi ng up wi t h. Those f al se been comi ng up wi t h. Those f al se
s e s e s e posi t i ves. posi t i ves.
G C N F G C N F G C N F IN AGENT COLLINS' OFFICE IN AGENT COLLINS' OFFICE
i a t a h x p i t r E . i a t a h x p i t r E . i a t a h x p i t r E . Col l i ns t akes t he page she f axed, put s i t i nt o her SHREDDER. Col l i ns t akes t he page she f axed, put s i t i nt o her SHREDDER.
J ( ) J ( ) J ( ) J ANE ( V. O. ) J ANE ( V. O. )
u g i t i g u g i t i g u g i t i g You' r e goi ng t o f i nd i t ' s hi t t i ng on You' r e goi ng t o f i nd i t ' s hi t t i ng on
c a e , m c a e , m c a e , m Ri char d Leonar d Reeves, but t he mat ch Ri char d Leonar d Reeves, but t he mat ch
e e g c d c e e g c d c e e g c d c keeps get t i ng di scar ded, because he' s keeps get t i ng di scar ded, because he' s
c d c d c d deceased. deceased.
A I A I A I AGENT COLLI NS AGENT COLLI NS
d i o e e h d i o e e h d i o e e h And seei ng how he i s deceased, what ' s And seei ng how he i s deceased, what ' s
u i u i u i your poi nt ? your poi nt ?
. . . 101. 101.
H N P H N P H N P IN THE GUN SHOP IN THE GUN SHOP
k p t a , t d a p d T k p t a , t d a p d T k p t a , t d a p d T Cl er k' s up i n t he l adder , get t i ng down a di spl ayed PI STOL. Cl er k' s up i n t he l adder , get t i ng down a di spl ayed PI STOL.
' k u S o n n n ' k u S o n n n ' k u S o n n n J ane' s t aken out CASH, count i ng i t i n one hand. J ane' s t aken out CASH, count i ng i t i n one hand.
JJJJ ANE J ANE
i C P ) i C P ) i C P ) ( i nt o CELL PHONE) ( i nt o CELL PHONE)
s h i d t n s h i d t n s h i d t n J ust . . . i f t he pr i nt s do mat ch on J ust . . . i f t he pr i nt s do mat ch on
e t l o t e t l o t e t l o t Reeves, don' t t el l anyone. St ar t Reeves, don' t t el l anyone. St ar t
l i s h t d a l i s h t d a l i s h t d a col l ect i ng as much of t hat dat a as col l ect i ng as much of t hat dat a as
u y h i u y h i u y h i you can get your hands on. Put i t i n you can get your hands on. Put i t i n
s p . s p . s p . a saf e pl ace. a saf e pl ace.
u K i g u K i g u K i g ( up at CLERK, poi nt i ng) ( up at CLERK, poi nt i ng)
, r i h h . h , r i h h . h , r i h h . h No, sor r y, si r , t he ot her . . . up t her e. No, sor r y, si r , t he ot her . . . up t her e.
b i C P ) b i C P ) b i C P ) ( back i nt o CELL PHONE) ( back i nt o CELL PHONE)
a e k H u a e k H u a e k H u Okay, Becky, t hanks. Hopef ul l y Okay, Becky, t hanks. Hopef ul l y
u h f m o n y u h f m o n y u h f m o n y you' l l hear f r omme soon, one way or you' l l hear f r omme soon, one way or
e e e e e e t he ot her . t he ot her .
A I V A I V A I V AGENT COLLI NS ( V. O. ) AGENT COLLI NS ( V. O. )
y n Y o b a y n Y o b a y n Y o b a Hey, J ane. You gonna be okay? Hey, J ane. You gonna be okay?
JJJJ ANE J ANE
e ' t r . l t e ' t r . l t e ' t r . l t The day' s not over yet . I ' l l l et you The day' s not over yet . I ' l l l et you
o w t o w t o w t know how i t t ur ns out . know how i t t ur ns out .
s s m s C ' c d s s m s C ' c d s s m s C ' c d J ane hangs up, l ooks t o make sur e Cl er k' s occupi ed. J ane hangs up, l ooks t o make sur e Cl er k' s occupi ed.
e e e e s r t o e e e e e s r t o e e e e e s r t o e J ane l eaves t he money, r eaches over t he count er t o t ake t he J ane l eaves t he money, r eaches over t he count er t o t ake t he
t B X e T b e i . t B X e T b e i . t B X e T b e i . AMMO and t he FBI FAX, pr esses a BUTTON by t he r egi st er . AMMO and t he FBI FAX, pr esses a BUTTON by t he r egi st er .
h O O U , s u r h O O U , s u r h O O U , s u r As t he FRONT DOOR BUZZES, she makes a r un f or i t . As t he FRONT DOOR BUZZES, she makes a r un f or i t .
O S E O S E O S E EXT. GUN SHOP -- MOMENTS LATER EXT. GUN SHOP -- MOMENTS LATER
' c S C f t o i h r ' c S C f t o i h r ' c S C f t o i h r J ane' s pi ckup SCREECHES f r omt he l ot , hi t s t he st r eet . J ane' s pi ckup SCREECHES f r omt he l ot , hi t s t he st r eet .
C O C O C O CUT TO: CUT TO:
A E S B O D A E S B O D A E S B O D INT. 213 OAK AVENUE, MASTER BEDROOM - DUSK INT. 213 OAK AVENUE, MASTER BEDROOM - DUSK
d T E P o l i n d T E P o l i n d T E P o l i n The day' s LI GHT FADES. Psycho Ki l l er si t s on t he bed, j ust The day' s LI GHT FADES. Psycho Ki l l er si t s on t he bed, j ust
e w h e t . e N R H . e w h e t . e N R H . e w h e t . e N R H . wher e he was when we l ef t hi m. The SOUND of a CAR i s HEARD. wher e he was when we l ef t hi m. The SOUND of a CAR i s HEARD.
h l c o U E D w g h l c o U E D w g h l c o U E D w g Psycho Ki l l er comes t o l ook OUT THE WI NDOW: wher e a bi g, Psycho Ki l l er comes t o l ook OUT THE WI NDOW: wher e a bi g,
y A l n h r o , n y A l n h r o , n y A l n h r o , n r ust y SEDAN pul l s i nt o t he gar age. A moment , t hen t he r ust y SEDAN pul l s i nt o t he gar age. A moment , t hen t he
A n F m e L M E i A n F m e L M E i A n F m e L M E i HUSBAND and WI FE homeowner s, LEWI S and MARI E WI LKES, mi d- HUSBAND and WI FE homeowner s, LEWI S and MARI E WI LKES, mi d-
, t g a n O E h . , t g a n O E h . , t g a n O E h . 40' s, exi t t he gar age, car r yi ng GROCERI ES t o t he house. 40' s, exi t t he gar age, car r yi ng GROCERI ES t o t he house.
D L O D L O D L O DISSOLVE TO: DISSOLVE TO:
A E S B O T A E S B O T A E S B O T INT. 213 OAK AVENUE, MASTER BEDROOM -- NIGHT INT. 213 OAK AVENUE, MASTER BEDROOM -- NIGHT
h r s e s d t e h n h r s e s d t e h n h r s e s d t e h n I n t he dar k, Psycho Ki l l er ' s seat ed on t he bed, shot gun I n t he dar k, Psycho Ki l l er ' s seat ed on t he bed, shot gun
. e n i e N f V W f . e n i e N f V W f . e n i e N f V W f hel d. The uni nt el l i gi bl e SOUNDS of a TV SHOWdr i f t up FROM hel d. The uni nt el l i gi bl e SOUNDS of a TV SHOWdr i f t up FROM
S S n t y i a S M G A S S n t y i a S M G A S S n t y i a S M G A DOWNSTAI RS, punct uat ed by unmi st akabl e SI TCOM LAUGH TRACK. DOWNSTAI RS, punct uat ed by unmi st akabl e SI TCOM LAUGH TRACK.
E e R d D D S N t E e R d D D S N t E e R d D D S N t VOI CES ar e HEARD and t he SOUND of DI SHES CLI NKI NG t oget her . VOI CES ar e HEARD and t he SOUND of DI SHES CLI NKI NG t oget her .
o t b d A L 4 . o t b d A L 4 . o t b d A L 4 . PK l ooks t o a bedsi de ALARM CLOCK. " 7: 47 PM. " PK l ooks t o a bedsi de ALARM CLOCK. " 7: 47 PM. "
C N C N C N CONTI NUED CONTI NUED
. . . 102. 102.
O s R M u e i O s R M u e i O s R M u e i SOMEONE i s HEARD COMI NG up t he st ai r s. SOMEONE i s HEARD COMI NG up t he st ai r s.
L . L . L . LEWI S ( O. S. ) LEWI S ( O. S. )
S I o n r S I o n r S I o n r ( SHOUTI NG t o downst ai r s) ( SHOUTI NG t o downst ai r s)
. t w h n o l . t w h n o l . t w h n o l . . . don' t know. Why don' t you cal l . . . don' t know. Why don' t you cal l
r ! i ! r ! i ! r ! e o i ! her and f i nd out ?! She' s your si st er ! her and f i nd out ?! She' s your si st er !
h l s s h s ' A E G S . h l s s h s ' A E G S . h l s s h s ' A E G S . Psycho Ki l l er st ands. The husband' s HEARD GETTI NG CLOSER. . . Psycho Ki l l er st ands. The husband' s HEARD GETTI NG CLOSER. . .
L . L . L . LEWI S ( O. S. ) LEWI S ( O. S. )
t m ) t m ) t m ) ( t o hi msel f ) ( t o hi msel f )
r n t a e r n t a e r n t a e Chr i st , woman, l et ' s have a whol e Chr i st , woman, l et ' s have a whol e
n a t a s n a t a s n a t a s conver sat i on shout i ng acr oss t he conver sat i on shout i ng acr oss t he
d e y ' . d e y ' . d e y ' . goddamn house, why don' t we. . . ? goddamn house, why don' t we. . . ?
s e f s I O s e f s I O s e f s I O Lewi s ent er s, f l i cks a LI GHT ON. . . Lewi s ent er s, f l i cks a LI GHT ON. . .
h l i o m I G i t t a h l i o m I G i t t a h l i o m I G i t t a Psycho Ki l l er i s upon hi m, GRI PPI NG Lewi s' s t hr oat , l eani ng Psycho Ki l l er i s upon hi m, GRI PPI NG Lewi s' s t hr oat , l eani ng
l w s t h n L ' r d l w s t h n L ' r d l w s t h n L ' r d i n cl ose whi l e pr essi ng t he shot gun t o Lewi s' s f or ehead. i n cl ose whi l e pr essi ng t he shot gun t o Lewi s' s f or ehead.
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
w i . l y w w i . l y w w i . l y w Lewi s Wi l kes. Do you l ove your wi f e? Lewi s Wi l kes. Do you l ove your wi f e?
C O C O C O CUT TO: CUT TO:
I S R - A H - G I S R - A H - G I S R - A H - G EXT. CHRIST'S CROSS CHURCH -- ESTABLISHING -- NIGHT EXT. CHRIST'S CROSS CHURCH -- ESTABLISHING -- NIGHT
o e l I U i w g n d o e l I U i w g n d o e l I U i w g n d The once exempl ar y, GOTHI C CHURCH i s now l ong abandoned, The once exempl ar y, GOTHI C CHURCH i s now l ong abandoned,
S e A S D B E E S e A S D B E E S e A S D B E E wi t h DOORS and br oken STAI NED GLASS WI NDOWS BOARDED- OVER. wi t h DOORS and br oken STAI NED GLASS WI NDOWS BOARDED- OVER.
- I G R C I - I G R C I - I G R C I EXT. MID-CITY HARRISBURG, PARKING STRUCTURE ROOF -- NIGHT EXT. MID-CITY HARRISBURG, PARKING STRUCTURE ROOF -- NIGHT
d e o e F t M - I d e o e F t M - I d e o e F t M - I J ane st ands at t he edge of t he ROOF of t hi s MULTI - STORI ED J ane st ands at t he edge of t he ROOF of t hi s MULTI - STORI ED
I T U l n r h h O R S I T U l n r h h O R S I T U l n r h h O R S PARKI NG STRUCTURE, l ooki ng nor t h t hr ough BI NOCULARS. She' s PARKI NG STRUCTURE, l ooki ng nor t h t hr ough BI NOCULARS. She' s
a e w t i c f h u a e w t i c f h u a e w t i c f h u got an over vi ew of t he ni ght ci t y f r omher e. Her pi ckup' s got an over vi ew of t he ni ght ci t y f r omher e. Her pi ckup' s
e h h n r y k l . e h h n r y k l . e h h n r y k l . par ked behi nd her on t he ot her wi se empt y par ki ng l evel . par ked behi nd her on t he ot her wi se empt y par ki ng l evel .
' V T G N A ' V T G N A ' V T G N A JANE'S POV -- THROUGH BINOCULARS: JANE'S POV -- THROUGH BINOCULARS:
S n S C C h i S n S C C h i S n S C C h i J ane FOCUSES on t he dar k CHRI ST' S CROSS CHURCH, whi ch i s J ane FOCUSES on t he dar k CHRI ST' S CROSS CHURCH, whi ch i s
a a s D L S h e E . a a s D L S h e E . a a s D L S h e E . si t uat ed amongst OLD BUI LDI NGS and t r ash- st r ewn, EMPTY LOTS. si t uat ed amongst OLD BUI LDI NGS and t r ash- st r ewn, EMPTY LOTS.
J ( ) J ( ) J ( ) J ANE ( O. S. ) J ANE ( O. S. )
c e o a , h c e o a , h c e o a , h Back wher e you st ar t ed, Ri char d? Go Back wher e you st ar t ed, Ri char d? Go
t h a i a ? p t h a i a ? p t h a i a ? p out wi t h a bang, i s t hat i t ? " Open out wi t h a bang, i s t hat i t ? " Open
e e e e e e t he gat es. " t he gat es. "
C t e o e . C t e o e . C t e o e . J ane SEARCHES t he nei ghbor i ng st r eet s. . . J ane SEARCHES t he nei ghbor i ng st r eet s. . .
s H T H V a r h u s H T H V a r h u s H T H V a r h u Spot s a WHI TE TELEPHONE VAN par ked j ust up f r omt he chur ch. Spot s a WHI TE TELEPHONE VAN par ked j ust up f r omt he chur ch.
J ( ) J ( ) J ( ) J ANE ( O. S. ) J ANE ( O. S. )
d ' l e d ' l e d ' l e And t he gang' s al l her e. And t he gang' s al l her e.
k I . c s t W k I . c s t W k I . c s t W She keeps LOOKI NG. . . di scover s anot her WHI TE VAN, t hi s one She keeps LOOKI NG. . . di scover s anot her WHI TE VAN, t hi s one
B A k y t t s o e r B A k y t t s o e r B A k y t t s o e r a CABLE VAN, a bl ock away on t he ot her si de of t he chur ch. a CABLE VAN, a bl ock away on t he ot her si de of t he chur ch.
. . . 103. 103.
H O H O H O ON THE ROOFTOP ON THE ROOFTOP
r e o r e e r e o r e e r e o r e e J ane l ower s t he bi nocul ar s, pensi ve. J ane l ower s t he bi nocul ar s, pensi ve.
w e u l d e n s r w e u l d e n s r w e u l d e n s r She wal ks t o her t r uck, l eans i nsi de t he open passenger She wal ks t o her t r uck, l eans i nsi de t he open passenger
. e k w l n b . . e k w l n b . . e k w l n b . si de. She l ooks down, pl aces a hand on her bel l y. si de. She l ooks down, pl aces a hand on her bel l y.
JJJJ ANE J ANE
t b c ) t b c ) t b c ) ( t o unbor n chi l d) ( t o unbor n chi l d)
. h o k . h o k . h o k So. . . what do you t hi nk? So. . . what do you t hi nk?
l p ) l p ) l p ) ( l ong pause) ( l ong pause)
d k y a d k y a d k y a We coul d wal k away. Cal l a cop. Be We coul d wal k away. Cal l a cop. Be
n t i i y n t i i y n t i i y done wi t h t hi s, f i nal l y. done wi t h t hi s, f i nal l y.
e f n r e r m e e f n r e r m e e f n r e r m e J ane st ar es of f , consi der s, wear y. Tear s come t o her eyes. J ane st ar es of f , consi der s, wear y. Tear s come t o her eyes.
JJJJ ANE J ANE
' o i o t g ' o i o t g ' o i o t g We' r e not goi ng t o do t hat , t hough, We' r e not goi ng t o do t hat , t hough,
e . o y . e . o y . e . o y . ar e we? No. . . pr obabl y not . ar e we? No. . . pr obabl y not .
w t ) w t ) w t ) ( wi pes her t ear s) ( wi pes her t ear s)
e r . ' a e r . ' a e r . ' a I f we get t hr ough t hi s. . . I ' l l make I f we get t hr ough t hi s. . . I ' l l make
o d o . o d o . o d o . i t up t o you someday. I pr omi se. i t up t o you someday. I pr omi se.
C O C O C O CUT TO: CUT TO:
A E V R - G A E V R - G A E V R - G INT. 213 OAK AVENUE, LIVING ROOM -- NIGHT INT. 213 OAK AVENUE, LIVING ROOM -- NIGHT
O f t V " - P N R e w O f t V " - P N R e w O f t V " - P N R e w NO SOUND f r omt he TV as " MEGA- J ACKPOT" NUMBERS ar e dr awn. NO SOUND f r omt he TV as " MEGA- J ACKPOT" NUMBERS ar e dr awn.
h ' r T s w n h ' r T s w n h ' r T s w n By t he TV' s er r at i c LI GHT, we f i nd Lewi s and hi s weepi ng By t he TV' s er r at i c LI GHT, we f i nd Lewi s and hi s weepi ng
, i y s e o O a A h , i y s e o O a A h , i y s e o O a A h wi f e, Mar i e, l yi ng secur el y r ope BOUND and GAGGED on t he wi f e, Mar i e, l yi ng secur el y r ope BOUND and GAGGED on t he
r c r K E O , l r c r K E O , l r c r K E O , l f l oor . Acr oss t he r oom, t he KI TCHEN DOOR i s shut , whi l e. . . f l oor . Acr oss t he r oom, t he KI TCHEN DOOR i s shut , whi l e. . .
H T H T H T IN THE KITCHEN IN THE KITCHEN
H H I F , c i e H H I F , c i e H H I F , c i e ON THE OTHER SI DE OF THE DOOR, Psycho Ki l l er i s seat ed at ON THE OTHER SI DE OF THE DOOR, Psycho Ki l l er i s seat ed at
K E B h u s e A e K E B h u s e A e K E B h u s e A e t he KI TCHEN TABLE, hi s sui t case open on a CHAI R besi de hi m. t he KI TCHEN TABLE, hi s sui t case open on a CHAI R besi de hi m.
h H N L I B T d h H N L I B T d h H N L I B T d He' s got hi s SHOTGUN and SHELLS, PI STOL and BULLETS and He' s got hi s SHOTGUN and SHELLS, PI STOL and BULLETS and
S o e l u ' f m e S o e l u ' f m e S o e l u ' f m e PI LLS al l l ai d out on t he t abl e, but he' s l ef t hi msel f space PI LLS al l l ai d out on t he t abl e, but he' s l ef t hi msel f space
g e I G C f A t g e I G C f A t g e I G C f A t enough t o wor k as he' s BI NDI NG STI CKS of DYNAMI TE t oget her , enough t o wor k as he' s BI NDI NG STI CKS of DYNAMI TE t oget her ,
, h T E , h T E , h T E f our at a t i me, wi t h DUCT TAPE. f our at a t i me, wi t h DUCT TAPE.
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K S T R - G K S T R - G K S T R - G EXT. PARKING STRUCTURE ROOF -- NIGHT EXT. PARKING STRUCTURE ROOF -- NIGHT
d h h i , t p A L d h h i , t p A L d h h i , t p A L J ane st ands behi nd her pi ckup, at t he open CAMPER SHELL, J ane st ands behi nd her pi ckup, at t he open CAMPER SHELL,
i n P N M h c e I T i n P N M h c e I T i n P N M h c e I T put t i ng on her TROOPER UNI FORM. She t ucks her UNI FORM SHI RT put t i ng on her TROOPER UNI FORM. She t ucks her UNI FORM SHI RT
D S h k u r i s D S h k u r i s D S h k u r i s i nt o her DRESS PANTS. She t akes out her mi l i t ar i st i c- i nt o her DRESS PANTS. She t akes out her mi l i t ar i st i c-
i R R K p i b n . i R R K p i b n . i R R K p i b n . l ooki ng TROOPER J ACKET, put s i t on and but t ons i t . l ooki ng TROOPER J ACKET, put s i t on and but t ons i t .
p o r L B a O R p o r L B a O R p o r L B a O R She put s on her UTI LI TY BELT and HOLSTER. She put s on her UTI LI TY BELT and HOLSTER.
h i p a a a H h i p a a a H h i p a a a H J ane t i es her hai r i n a ponyt ai l , and l ast l y dons a K. H. P. J ane t i es her hai r i n a ponyt ai l , and l ast l y dons a K. H. P.
B C s g s s e E h s B C s g s s e E h s B C s g s s e E h s BASEBALL CAP, st r ai ght ens i t . She adj ust s her TI E. She has BASEBALL CAP, st r ai ght ens i t . She adj ust s her TI E. She has
m o o n a A p g u m o o n a A p g u m o o n a A p g u become anot her per son, i n a way. An i mposi ng f i gur e. become anot her per son, i n a way. An i mposi ng f i gur e.
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. . . 104. 104.
U O E U O E U O E THROUGH A VIDEO CAMERA: THROUGH A VIDEO CAMERA:
I a s e V f t o l n w I a s e V f t o l n w I a s e V f t o l n w STATI C cr ackl es, t hen a VI EWf r omt he r oof , l ooki ng down on STATI C cr ackl es, t hen a VI EWf r omt he r oof , l ooki ng down on
C H p h D M b s " R C H p h D M b s " R C H p h D M b s " R t he CHURCH, appear s as t he VI DEO I MAGE begi ns t o " RECORD. " t he CHURCH, appear s as t he VI DEO I MAGE begi ns t o " RECORD. "
s O M n f s O M n f s O M n f J ane st eps I NTO FRAME, i n uni f or m. J ane st eps I NTO FRAME, i n uni f or m.
JJJJ ANE J ANE
a s O E a s O E a s O E ( addr essi ng VI DEO CAMERA) ( addr essi ng VI DEO CAMERA)
e a t . o o e a t . o o e a t . o o Ther e was a t i me. . . i f someone t ol d Ther e was a t i me. . . i f someone t ol d
g n d g n d g n d me t hat our gover nment f aked t he me t hat our gover nment f aked t he
a f s t m m r a f s t m m r a f s t m m r deat h of a psychot i c, mass- mur der i ng deat h of a psychot i c, mass- mur der i ng
t t t c h s t t t c h s t t t c h s Sat ani st so t hey coul d use hi mas a Sat ani st so t hey coul d use hi mas a
m u f h t m u f h t m u f h t human gui nea pi g f or t hei r t op- human gui nea pi g f or t hei r t op-
c t t r d d c t t r d d c t t r d d secr et , mi l i t ar y t or t ur e and mi nd- secr et , mi l i t ar y t or t ur e and mi nd-
c p e . w c p e . w c p e . w f uck exper i ment s. . . I woul d have f uck exper i ment s. . . I woul d have
u . w , a u . w , a u . w , a l aughed. I woul d have sai d, " t hat ' s l aughed. I woul d have sai d, " t hat ' s
a , s y a , s y a , s y cr azy. " But , t hese days. . . t hi s cr azy. " But , t hese days. . . t hi s
v e . v e . v e . gover nment . . . ? gover nment . . . ?
c d G c d G c d G ( consi der s, SHRUGS) ( consi der s, SHRUGS)
r c e r c e r c e Par f or t he cour se. Par f or t he cour se.
K S T R - N O - H K S T R - N O - H K S T R - N O - H EXT. PARKING STRUCTURE ROOF -- CONTINUOUS -- NIGHT EXT. PARKING STRUCTURE ROOF -- CONTINUOUS -- NIGHT
d d i h D A h o T D d d i h D A h o T D d d i h D A h o T D J ane st ands addr essi ng t he VI DEO CAMERA whi ch i s on a TRI POD. J ane st ands addr essi ng t he VI DEO CAMERA whi ch i s on a TRI POD.
JJJJ ANE J ANE
e a S e a e a S e a e a S e a The Sat ani c Sl asher i s Ri char d The Sat ani c Sl asher i s Ri char d
o e I ' o a o e I ' o a o e I ' o a Leonar d Reeves. I don' t know what Leonar d Reeves. I don' t know what
m n x y t I m n x y t I m n x y t I I ' mgoi ng t o do exact l y, but i f I get I ' mgoi ng t o do exact l y, but i f I get
c e I o t y t c e I o t y t c e I o t y t a chance. . . I ' mgoi ng t o t r y t o t ake a chance. . . I ' mgoi ng t o t r y t o t ake
m v O w w m v O w w m v O w w hi mal i ve. Ot her wi se, who wi l l hi mal i ve. Ot her wi se, who wi l l
l l l bel i eve me? bel i eve me?
Y W O a r u t Y W O a r u t Y W O a r u t Fr omt he YELLOWAMMO BOX we saw her acqui r e, she t akes out Fr omt he YELLOWAMMO BOX we saw her acqui r e, she t akes out
s A L , t y s n m s A L , t y s n m s A L , t y s n m and shows a TRANQUI LI ZER DART, of t he t ype used on ani mal s. and shows a TRANQUI LI ZER DART, of t he t ype used on ani mal s.
JJJJ ANE J ANE
o s s e ' i o s s e ' i o s s e ' i Whoever f i nds t hi s vi deo, I ' mgoi ng Whoever f i nds t hi s vi deo, I ' mgoi ng
e t o o e t o o e t o o t o t el l you ever yt hi ng I know, so t o t el l you ever yt hi ng I know, so
y h u a i e t y h u a i e t y h u a i e t maybe t he t r ut h can st i l l get out , maybe t he t r ut h can st i l l get out ,
e . e . e . even i f I ' m. . . even i f I ' m. . .
p ) p ) p ) ( pause) ( pause)
s s . s s . s s . Unsuccessf ul . Unsuccessf ul .
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A E V R - G A E V R - G A E V R - G INT. 213 OAK AVENUE, LIVING ROOM -- NIGHT INT. 213 OAK AVENUE, LIVING ROOM -- NIGHT
e y K r e r h t , h e y K r e r h t , h e y K r e r h t , h Masked Psycho Ki l l er ent er s f r omt he ki t chen, i n hi s Masked Psycho Ki l l er ent er s f r omt he ki t chen, i n hi s
o t e k n o s u e s u . o t e k n o s u e s u . o t e k n o s u e s u . but t oned- t o- t he- neck t r ench coat , shot gun over hi s shoul der . but t oned- t o- t he- neck t r ench coat , shot gun over hi s shoul der .
a o t o w o e n w n r a o t o w o e n w n r a o t o w o e n w n r He wal ks over t o l ook down upon t he bound Lewi s and Mar i e. He wal ks over t o l ook down upon t he bound Lewi s and Mar i e.
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
' m ' m ' m I t ' s t i me t o go. I t ' s t i me t o go.
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. . . 105. 105.
K S T R - G K S T R - G K S T R - G EXT. PARKING STRUCTURE ROOF -- NIGHT EXT. PARKING STRUCTURE ROOF -- NIGHT
v r R c h o v r R c h o v r R c h o The vi deo camer a i s RECORDI NG t he chur ch bel ow. The vi deo camer a i s RECORDI NG t he chur ch bel ow.
d s r u e n a d s r u e n a d s r u e n a J ane st ands besi de, obser vi ng t hr ough her bi nocul ar s. J ane st ands besi de, obser vi ng t hr ough her bi nocul ar s.
b u l o r k b u l o r k b u l o r k J ane l et s t he bi nocul ar s dangl e f r omher neck. J ane l et s t he bi nocul ar s dangl e f r omher neck.
t e l t r , e A L S t e l t r , e A L S t e l t r , e A L S She t akes up her bol t - act i on r i f l e, t akes TRANQUI LI ZER DARTS She t akes up her bol t - act i on r i f l e, t akes TRANQUI LI ZER DARTS
p t n a . p t n a . p t n a . f r omher pocket and begi ns l oadi ng t hem. f r omher pocket and begi ns l oadi ng t hem.
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R R R I R R R I R R R I EXT. HARRISBURG STREETS -- NIGHT EXT. HARRISBURG STREETS -- NIGHT
O w i ' R v t o y t O w i ' R v t o y t O w i ' R v t o y t FOLLOWLewi s Wi l kes' s CAR dr i vi ng t he most l y empt y, l at e- FOLLOWLewi s Wi l kes' s CAR dr i vi ng t he most l y empt y, l at e-
t e i h e i o l T t e i h e i o l T t e i h e i o l T ni ght st r eet s. Lewi s i s at t he wheel , i n shor t - sl eeve SHI RT ni ght st r eet s. Lewi s i s at t he wheel , i n shor t - sl eeve SHI RT
T s y T s y T s y a , r g . n and TI E, sweat y, f ear f ul , and most sur pr i si ngl y. . . al one. and TI E, sweat y, f ear f ul , and most sur pr i si ngl y. . . al one.
H T E H T E H T E AT THE CITY'S EDGE AT THE CITY'S EDGE
s n t T E p n d t e s n t T E p n d t e s n t T E p n d t e Lewi s t ur ns ont o N. FRONT STREET, pi cki ng up speed, wi t h t he Lewi s t ur ns ont o N. FRONT STREET, pi cki ng up speed, wi t h t he
i f d e u n r . i f d e u n r . i f d e u n r . ci t y t o hi s l ef t and t he bor der i ng Susquehanna t o hi s r i ght . ci t y t o hi s l ef t and t he bor der i ng Susquehanna t o hi s r i ght .
C O C O C O CUT TO: CUT TO:
' V T G N A ' V T G N A ' V T G N A JANE'S POV -- THROUGH BINOCULARS: JANE'S POV -- THROUGH BINOCULARS:
" p " t o a u a e r " p " t o a u a e r " p " t o a u a e r The " t el ephone" van i s st i l l on st ake- out near t he chur ch. The " t el ephone" van i s st i l l on st ake- out near t he chur ch.
H R C H R C H R C ON THE PARKING STRUCTURE ROOF ON THE PARKING STRUCTURE ROOF
JJJJ ANE J ANE
e r u a e r u a e r u a Wher e ar e you at , Ri char d? I s Wher e ar e you at , Ri char d? I s
n n ? n n ? n n ? t oni ght t he ni ght ? t oni ght t he ni ght ?
k r C o h e i o e a g k r C o h e i o e a g k r C o h e i o e a g J ane checks her WATCH, moves her head si de t o si de, cr acki ng J ane checks her WATCH, moves her head si de t o si de, cr acki ng
n s e u e n a t n s e u e n a t n s e u e n a t her neck. She t ur ns, peer i ng t hr ough her bi nocul ar s at t he her neck. She t ur ns, peer i ng t hr ough her bi nocul ar s at t he
r G o R U s Y P r G o R U s Y P r G o R U s Y P mor e moder n LI GHTS of HARRI SBURG' S modest SKYSCRAPERS. mor e moder n LI GHTS of HARRI SBURG' S modest SKYSCRAPERS.
' V T G N A ' V T G N A ' V T G N A JANE'S POV -- THROUGH BINOCULARS: JANE'S POV -- THROUGH BINOCULARS:
s y e Y E L h t i t s y e Y E L h t i t s y e Y E L h t i t She sur veys t he CI TYSCAPE. . . LOOKS sout h t o t he di st ant , She sur veys t he CI TYSCAPE. . . LOOKS sout h t o t he di st ant ,
o D s A T S h e O G o D s A T S h e O G o D s A T S h e O G bi l l owi ng CLOUDS of TMI ' s EXHAUST TOWERS. She keeps LOOKI NG bi l l owi ng CLOUDS of TMI ' s EXHAUST TOWERS. She keeps LOOKI NG
N u e k e s F H M N u e k e s F H M N u e k e s F H M AROUND, but t hen. . . qui ckl y r et ur ns t o FOCUS on THREE MI LE AROUND, but t hen. . . qui ckl y r et ur ns t o FOCUS on THREE MI LE
N t i l n t D H L N N t i l n t D H L N N t i l n t D H L N I SLAND; i t s whi t e cl ouds r i si ng, i t s RED LI GHTS BLI NKI NG. I SLAND; i t s whi t e cl ouds r i si ng, i t s RED LI GHTS BLI NKI NG.
H O H O H O ON THE ROOFTOP ON THE ROOFTOP
r r o r o i c i o . r r o r o i c i o . r r o r o i c i o . J ane l ower s her bi nocul ar s, somet hi ng occur r i ng t o her . J ane l ower s her bi nocul ar s, somet hi ng occur r i ng t o her .
JJJJ ANE J ANE
. o n . o n . o n No. No no no no no. No. No no no no no.
g e o r c , k a . g e o r c , k a . g e o r c , k a . J ane br i ngs t he bi nocul ar s back up, l ooki ng agai n. J ane br i ngs t he bi nocul ar s back up, l ooki ng agai n.
l s c s r d i . l s c s r d i . l s c s r d i . She l ower s t he bi nocul ar s, her mi nd r aci ng. . . She l ower s t he bi nocul ar s, her mi nd r aci ng. . .
. . . 106. 106.
H K R A / ' A T - N H K R A / ' A T - N H K R A / ' A T - N FLASHBACK -- PK'S PREPARATION/JANE'S REALIZATION -- MONTAGE FLASHBACK -- PK'S PREPARATION/JANE'S REALIZATION -- MONTAGE
E A Y k v e M . E A Y k v e M . E A Y k v e M . I MAGES FLASH BY, l i ke vi vi d memor y FRAGMENTS. . . I MAGES FLASH BY, l i ke vi vi d memor y FRAGMENTS. . .
h l s y N k h " U f h l s y N k h " U f h l s y N k h " U f Psycho Ki l l er ' s " No Mer cy" HAND t akes t he " N" VOLUME of an Psycho Ki l l er ' s " No Mer cy" HAND t akes t he " N" VOLUME of an
C D r A H . e e D e C D r A H . e e D e C D r A H . e e D e ENCYCLOPEDI A f r oma LI BRARY SHELF. . . t he same HAND t akes ENCYCLOPEDI A f r oma LI BRARY SHELF. . . t he same HAND t akes
" O . n O R H L i " O . n O R H L i " O . n O R H L i down t he " T" VOLUME. . . i n a HOTEL ROOM, PSYCHO KI LLER i s down t he " T" VOLUME. . . i n a HOTEL ROOM, PSYCHO KI LLER i s
p o d t R G K a O p o d t R G K a O p o d t R G K a O sl umped f or war d at t he WRI TI NG DESK, r eadi ng a BOOK. . . t he sl umped f or war d at t he WRI TI NG DESK, r eadi ng a BOOK. . . t he
S a C P T N I o S a C P T N I o S a C P T N I o PAGES of an ENCYCLOPEDI A ar e TURNI NG. . . TURNI NG t o t he PAGES of an ENCYCLOPEDI A ar e TURNI NG. . . TURNI NG t o t he
i n C R h n P s T i n C R h n P s T i n C R h n P s T sect i on on " NUCLEAR POWER, " wher ei n. . . PAGES shows PI CTURES sect i on on " NUCLEAR POWER, " wher ei n. . . PAGES shows PI CTURES
E O P i O L M o i E O P i O L M o i E O P i O L M o i of a NUCLEAR POWER PLANT and i t s CONTROL ROOM, al ong wi t h of a NUCLEAR POWER PLANT and i t s CONTROL ROOM, al ong wi t h
S T D A f T O n e A S T D A f T O n e A S T D A f T O n e A CROSS- SECTI ON DI AGRAMS of t he REACTOR CORE and t he STEAM CROSS- SECTI ON DI AGRAMS of t he REACTOR CORE and t he STEAM
L S . G h l r e W U L S . G h l r e W U L S . G h l r e W U SUPPLY SYSTEM. . . PAGES show i l l ust r at i ve DRAWI NGS of FUEL SUPPLY SYSTEM. . . PAGES show i l l ust r at i ve DRAWI NGS of FUEL
C O D d N A t N O . C O D d N A t N O . C O D d N A t N O . RODS and CONTROL RODS and URANI UM ATOMS spl i t by NEUTRONS. . . RODS and CONTROL RODS and URANI UM ATOMS spl i t by NEUTRONS. . .
E t b H B I E S E t b H B I E S E t b H B I E S I MAGES of t he t er r i bl e CHERNOBYL DI SASTER. . . mor e PAGES I MAGES of t he t er r i bl e CHERNOBYL DI SASTER. . . mor e PAGES
, t e g R I S " s n , t e g R I S " s n , t e g R I S " s n TURN, t o t he headi ng " THREE MILE ISLAND" . . . showi ng TURN, t o t he headi ng " THREE MILE ISLAND" . . . showi ng
O H . d a e T O P O O H . d a e T O P O O H . d a e T O P O PHOTOGRAPHS of TMI . . . and i n anot her HOTEL ROOM, PSYCHO PHOTOGRAPHS of TMI . . . and i n anot her HOTEL ROOM, PSYCHO
E n s a s B h l O E n s a s B h l O E n s a s B h l O KI LLER f i ni shes smear i ng wor ds i n BLOOD on t he wal l ; " OPEN KI LLER f i ni shes smear i ng wor ds i n BLOOD on t he wal l ; " OPEN
G ! a O R " O M G ! a O R " O M G ! a O R " O M THE GATES! " . . . on J ane' s LAPTOP SCREEN, t he " BAPHOMET" ALBUM THE GATES! " . . . on J ane' s LAPTOP SCREEN, t he " BAPHOMET" ALBUM
R c l c s P H T F L R c l c s P H T F L R c l c s P H T F L COVER pr act i cal l y scr eams, " OPEN THE GATES OF HELL! " COVER pr act i cal l y scr eams, " OPEN THE GATES OF HELL! "
C - R C - R C - R BACK TO SCENE -- ON THE ROOF BACK TO SCENE -- ON THE ROOF
JJJJ ANE J ANE
. G . G . G . . . my God. . . . my God.
r t r k c s L T r t r k c s L T r t r k c s L T She r uns t o her pi ckup, cl i mbs i n. PEELS OUT. She r uns t o her pi ckup, cl i mbs i n. PEELS OUT.
C O C O C O CUT TO: CUT TO:
, N C Y E N , N C Y E N , N C Y E N EXT. TMI, FRONT SECURITY GATE -- NIGHT EXT. TMI, FRONT SECURITY GATE -- NIGHT
g d e d A W T D C g d e d A W T D C g d e d A W T D C The gr ounds ar e bor der ed by RAZOR- WI RE- TOPPED FENCI NG. The gr ounds ar e bor der ed by RAZOR- WI RE- TOPPED FENCI NG.
s a r h i A H I s a r h i A H I s a r h i A H I Lewi s' s car ar r i ves at t he mai n GUARD SHACK. A SI GN Lewi s' s car ar r i ves at t he mai n GUARD SHACK. A SI GN
l , r i s r i . h s l , r i s r i . h s l , r i s r i . h s pr ocl ai ms, " Thr ee Mi l e I sl and Power Faci l i t y. " Ther e' s a pr ocl ai ms, " Thr ee Mi l e I sl and Power Faci l i t y. " Ther e' s a
m C A R o h d e i m C A R o h d e i m C A R o h d e i pneumat i c VEHI CLE BARRI ER beyond t he r ed and whi t e st r i ped, pneumat i c VEHI CLE BARRI ER beyond t he r ed and whi t e st r i ped,
g . u r G G s f t g . u r G G s f t g . u r G G s f t swi ng- ar mGATE. A uni f or med Gat e Guar d l ooks up f r omt he swi ng- ar mGATE. A uni f or med Gat e Guar d l ooks up f r omt he
- e a n o o i B . - e a n o o i B . - e a n o o i B . mi ni - TV he' s wat chi ng, comes out wi t h a CLI PBOARD. mi ni - TV he' s wat chi ng, comes out wi t h a CLI PBOARD.
G G G G G G GATE GUARD GATE GUARD
w ' u e w t ? w ' u e w t ? w ' u e w t ? Lewi s. Di dn' t you al r eady wor k t oday? Lewi s. Di dn' t you al r eady wor k t oday?
s e s a a a t e P D g n s e s a a a t e P D g n s e s a a a t e P D g n Lewi s wi pes hi s sweat y f ace, accept s t he CLI PBOARD, si gns i n. Lewi s wi pes hi s sweat y f ace, accept s t he CLI PBOARD, si gns i n.
LLLLEWI S LEWI S
t l a n K e t l a n K e t l a n K e Got cal l ed back i n by Kr ei ger . Got cal l ed back i n by Kr ei ger .
m ' n y . m ' n y . m ' n y . I ' m. . . I ' mki nd of i n a hur r y, so. . . I ' m. . . I ' mki nd of i n a hur r y, so. . .
H U r l f h i s w H U r l f h i s w H U r l f h i s w ANOTHER GUARD, ci gar et t e dangl i ng f r omhi s l i ps, sl eepwal ks ANOTHER GUARD, ci gar et t e dangl i ng f r omhi s l i ps, sl eepwal ks
u i u , n M R a E c u i u , n M R a E c u i u , n M R a E c t hr ough hi s r out i ne, usi ng a MI RROR on a POLE t o check t he t hr ough hi s r out i ne, usi ng a MI RROR on a POLE t o check t he
r i a s t e f i s r i a s t e f i s r i a s t e f i s under car r i age as he wal ks t o t he r ear of t he car . Lewi s has under car r i age as he wal ks t o t he r ear of t he car . Lewi s has
C I a g i i b s C I a g i i b s C I a g i i b s DRY CLEANI NG hangi ng behi nd hi mi n t he back seat . DRY CLEANI NG hangi ng behi nd hi mi n t he back seat .
G G G G G G GATE GUARD GATE GUARD
u d L . e t u d L . e t u d L . e t Your badge, Lewi s. Wher e' s i t at ? Your badge, Lewi s. Wher e' s i t at ?
LLLLEWI S LEWI S
, i w . s , i w . s , i w . s Oh, Chr i st , wher e. . . ? Her e i t i s. . . Oh, Chr i st , wher e. . . ? Her e i t i s. . .
C N C N C N CONTI NUED CONTI NUED
. . . 107. 107.
s d s a s P b e , p s d s a s P b e , p s d s a s P b e , p Lewi s f i nds hi s I D amongst PAPERS besi de hi m, cl i ps i t on. Lewi s f i nds hi s I D amongst PAPERS besi de hi m, cl i ps i t on.
G G G G G G GATE GUARD GATE GUARD
p k o o e l p k o o e l p k o o e l Pop t he t r unk. You know t he dr i l l . Pop t he t r unk. You know t he dr i l l .
h c c t R C S h c c t R C S h c c t R C S At t he back of t he car , t he TRUNK CLI CKS. At t he back of t he car , t he TRUNK CLI CKS.
G s . n t T L i G s . n t T L i G s . n t T L i 2nd Guar d opens i t . . . f i nds i t EMPTY, SLAMS i t . 2nd Guar d opens i t . . . f i nds i t EMPTY, SLAMS i t .
E S N I E S N I E S N I IN LEWIS'S CAR -- IN MOTION IN LEWIS'S CAR -- IN MOTION
c d e w h h l c d e w h h l c d e w h h l Wi t h a mocki ng bow, Gat e Guar d waves Lewi s t hr ough whi l e a Wi t h a mocki ng bow, Gat e Guar d waves Lewi s t hr ough whi l e a
D R s S B E h D R s S B E h D R s S B E h THI RD GUARD i n t he shack OPENS t he GATE and BARRI ER; t he THI RD GUARD i n t he shack OPENS t he GATE and BARRI ER; t he
i i g s t e e . i i g s t e e . i i g s t e e . w R , bar r i er si nki ng f l ush wi t h t he pavement . Lewi s DRI VES, bar r i er si nki ng f l ush wi t h t he pavement . Lewi s DRI VES,
i i n i p S A i i n i p S A i i n i p S A r ai si ng hi s wi ndow, headi ng up t he ACCESS ROAD. r ai si ng hi s wi ndow, headi ng up t he ACCESS ROAD.
h c d c h n m d i h c d c h n m d i h c d c h n m d i I n t he back of t he dar k car , hi dden f r omt he guar ds' vi ew I n t he back of t he dar k car , hi dden f r omt he guar ds' vi ew
n e g D L N O E n a k n e g D L N O E n a k n e g D L N O E n a k behi nd t he hangi ng DRY CLEANI NG, SOMEONE' S under a dar k behi nd t he hangi ng DRY CLEANI NG, SOMEONE' S under a dar k
K h l p s k f i p m K h l p s k f i p m K h l p s k f i p m BLANKET. Psycho Ki l l er pushes t he bl anket of f , si t s up f r om BLANKET. Psycho Ki l l er pushes t he bl anket of f , si t s up f r om
e s n r t a e P L d a e s n r t a e P L d a e s n r t a e P L d a wher e he' s l yi ng acr oss t he back seat , PI STOL hel d. Mar i e, wher e he' s l yi ng acr oss t he back seat , PI STOL hel d. Mar i e,
d e i a e t e o l d e i a e t e o l d e i a e t e o l bound and gagged, l i es capt i ve i n t he r ear f oot wel l . bound and gagged, l i es capt i ve i n t he r ear f oot wel l .
h l l s s h e h l l s s h e h l l s s h e Psycho Ki l l er l ooks over t he seat , over Lewi s' s shoul der . Psycho Ki l l er l ooks over t he seat , over Lewi s' s shoul der .
LLLLEWI S LEWI S
' l e l . ' l e l . ' l e l . We' r e al most t her e. Pl ease. . . We' r e al most t her e. Pl ease. . .
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
u e e i p n u e e i p n u e e i p n You saved t hei r l i ves. Keep doi ng You saved t hei r l i ves. Keep doi ng
a s n u s h a s n u s h a s n u s h what I say and you' l l save her s. what I say and you' l l save her s.
N - R I N - R I N - R I EXT. TMI GROUNDS -- OVERVIEW -- NIGHT EXT. TMI GROUNDS -- OVERVIEW -- NIGHT
s a a r C N W s a a r C N W s a a r C N W Lewi s' s car t r avel s past t ower i ng COOLI NG TOWERS. Lewi s' s car t r avel s past t ower i ng COOLI NG TOWERS.
N R I G I C - H N R I G I C - H N R I G I C - H EXT. FRONT STREET, HARRISBURG -- INTERCUT -- NIGHT EXT. FRONT STREET, HARRISBURG -- INTERCUT -- NIGHT
r s t m a d n o c r s t m a d n o c r s t m a d n o c The r oad' s most l y empt y, and a good t hi ng t oo, because The r oad' s most l y empt y, and a good t hi ng t oo, because
' c Z E c s S S ' c Z E c s S S ' c Z E c s S S J ane' s pi ckup ZOOMS past HOUSES on t he ci t y' s OUTSKI RTS, J ane' s pi ckup ZOOMS past HOUSES on t he ci t y' s OUTSKI RTS,
r e g D H i n . r e g D H i n . r e g D H i n . wi t h t he r i ver t o her r i ght . A RED LI GHT spi ns on her dash. wi t h t he r i ver t o her r i ght . A RED LI GHT spi ns on her dash.
A - A - A - IN JANE'S PICK-UP IN JANE'S PICK-UP
' c p . ' c p . ' c p . J ane' s on her cel l phone. . . J ane' s on her cel l phone. . .
JJJJ ANE J ANE
i P ) i P ) i P ) ( i nt o PHONE) ( i nt o PHONE)
i n ! u d s i n ! u d s i n ! u d s Thi s i sn' t a j oke! You need t o send Thi s i sn' t a j oke! You need t o send
f s h a o f s h a o f s h a o of f i cer s r i ght away, do you of f i cer s r i ght away, do you
d a r g e d a r g e d a r g e under st and?! Ther e' s goi ng t o be an under st and?! Ther e' s goi ng t o be an
t o r i s ! t o r i s ! t o r i s ! at t ack on Thr ee Mi l e I sl and! at t ack on Thr ee Mi l e I sl and!
S l a a l o S l a a l o S l a a l o J ane J ERKS t he wheel t o avoi d a near col l i si on! J ane J ERKS t he wheel t o avoi d a near col l i si on!
I C B S - T T N I C B S - T T N I C B S - T T N INT. LEWIS'S CAR, BACK SEAT -- INTERCUT -- NIGHT INT. LEWIS'S CAR, BACK SEAT -- INTERCUT -- NIGHT
e k f t u e e i o e k f t u e e i o e k f t u e e i o Mar i e l ooks up wi t h f ear f ul , t ear f ul eyes, yet st i l l bound Mar i e l ooks up wi t h f ear f ul , t ear f ul eyes, yet st i l l bound
g d t L T r c v e g d t L T r c v e g d t L T r c v e and gagged as t he BLANKET i s r epl aced over her . and gagged as t he BLANKET i s r epl aced over her .
. . . 108. 108.
I E S I E S I E S OUTSIDE LEWIS'S CAR OUTSIDE LEWIS'S CAR
h l s c o l n r h h l s c o l n r h h l s c o l n r h Psycho Ki l l er shut s t he car door , l eavi ng Mar i e t her e. Psycho Ki l l er shut s t he car door , l eavi ng Mar i e t her e.
s r t , u d K b w y s r t , u d K b w y s r t , u d K b w y Lewi s bear s wi t ness, angui shed. PK gr abs Lewi s by hi s t i e. Lewi s bear s wi t ness, angui shed. PK gr abs Lewi s by hi s t i e.
LLLLEWI S LEWI S
t g l . u y o t g l . u y o t g l . u y o Let me go, pl ease. You. . . you don' t Let me go, pl ease. You. . . you don' t
e o e o e o need me anymor e. need me anymor e.
h l p s n r n e s t h l p s n r n e s t h l p s n r n e s t Psycho Ki l l er pul l s Lewi s al ong, cr ossi ng t he " Rest r i ct ed Psycho Ki l l er pul l s Lewi s al ong, cr ossi ng t he " Rest r i ct ed
" e y p d t H h " e y p d t H h " e y p d t H h Ar ea" LOT wher e t hey' ve par ked i n t he SHADOWof t he. . . Ar ea" LOT wher e t hey' ve par ked i n t he SHADOWof t he. . .
C O N C O N C O N TMI CONTROL CENTER TMI CONTROL CENTER
R S a d u V a L R S a d u V a L R S a d u V a L CAMERA RI SES: af f or di ng us an OVERVI EWas PK and Lewi s head CAMERA RI SES: af f or di ng us an OVERVI EWas PK and Lewi s head
t N C e L . y t O L t N C e L . y t O L t N C e L . y t O L f or t he ENTRANCE of t hi s l ar ge BUI LDI NG. Beyond t he CONTROL f or t he ENTRANCE of t hi s l ar ge BUI LDI NG. Beyond t he CONTROL
E o t a e n e e A E o t a e n e e A E o t a e n e e A CENTER, l ooms t he massi ve, concr et e- domed REACTOR ONE. CENTER, l ooms t he massi ve, concr et e- domed REACTOR ONE.
C O N A S I H O - H C O N A S I H O - H C O N A S I H O - H INT. TMI CONTROL CENTER, ENTRANCE/SECURITY CHECKPOINT - NIGHT INT. TMI CONTROL CENTER, ENTRANCE/SECURITY CHECKPOINT - NIGHT
h l a e e F S v t h l a e e F S v t h l a e e F S v t Psycho Ki l l er and Lewi s ent er t he FRONT DOORS, movi ng t o a Psycho Ki l l er and Lewi s ent er t he FRONT DOORS, movi ng t o a
n t S S R h P o l e n t S S R h P o l e n t S S R h P o l e second set of STEELS DOORS, wher e Psycho Ki l l er peer s second set of STEELS DOORS, wher e Psycho Ki l l er peer s
u l r s i c I . u l r s i c I . u l r s i c I . t hr ough a smal l , wi r e- mesh r ei nf or ced WI NDOW. . . t hr ough a smal l , wi r e- mesh r ei nf or ced WI NDOW. . .
W W O R t t n L E S W W O R t t n L E S W W O R t t n L E S THRU THE WI NDOW: TWO GUARDS st and t al ki ng by METAL DETECTORS. THRU THE WI NDOW: TWO GUARDS st and t al ki ng by METAL DETECTORS.
h l r e t s t k t T h l r e t s t k t T h l r e t s t k t T Psycho Ki l l er r eaches i nt o hi s coat pocket , t akes out TWO Psycho Ki l l er r eaches i nt o hi s coat pocket , t akes out TWO
A i s o a A i s o a A i s o a HAND GRENADES. Lewi s i s queasy f r omf ear . HAND GRENADES. Lewi s i s queasy f r omf ear .
LLLLEWI S LEWI S
, d , d , d Oh, Lor d. Oh, Lor d.
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
a u . w o a u . w o a u . w o What you do. . . how you hel p me now, What you do. . . how you hel p me now,
c l i c l i c l i deci des who l i ves or di es. deci des who l i ves or di es.
i o r e h h l u t i o r e h h l u t i o r e h h l u t Hol di ng bot h gr enades i n one hand, Psycho Ki l l er uses t he Hol di ng bot h gr enades i n one hand, Psycho Ki l l er uses t he
L ' e p a d P B P L ' e p a d P B P L ' e p a d P B P hand he' s got Lewi s' s t i e wr apped ar ound t o PULL BOTH PI NS. hand he' s got Lewi s' s t i e wr apped ar ound t o PULL BOTH PI NS.
H C Y C N H C Y C N H C Y C N IN THE SECURITY CHECKPOINT IN THE SECURITY CHECKPOINT
s n R S t i h u n s n R S t i h u n s n R S t i h u n Ami dst many WARNI NG SI GNS r est r i ct i ng t hi s bui l di ng t o Ami dst many WARNI NG SI GNS r est r i ct i ng t hi s bui l di ng t o
h e r e l e T U , h h e r e l e T U , h h e r e l e T U , h " Aut hor i zed Per sonnel Onl y, " et c. , t he TWO GUARDS, wi t h AR- " Aut hor i zed Per sonnel Onl y, " et c. , t he TWO GUARDS, wi t h AR-
r u s a o r u s a o r u s a o 15' s over t hei r shoul der s, chat on t he ot her si de of 15' s over t hei r shoul der s, chat on t he ot her si de of
I B E D T d m g I B E D T d m g I B E D T d m g MULTI PLE BANKS of METAL DETECTORS. One guar d' s smoki ng, MULTI PLE BANKS of METAL DETECTORS. One guar d' s smoki ng,
h M C t P L Y h M C t P L Y h M C t P L Y l aughi ng, when t he METAL DETECTORS st ar t BEEPI NG LOUDLY. l aughi ng, when t he METAL DETECTORS st ar t BEEPI NG LOUDLY.
d o c r e C . d o c r e C . d o c r e C . Bot h guar ds l ook back t hr ough t he empt y DETECTORS. Bot h guar ds l ook back t hr ough t he empt y DETECTORS.
n t c s e n t c s e n t c s e An i nst ant of conf usi on, t hey l ook down t o see. . . An i nst ant of conf usi on, t hey l ook down t o see. . .
l h g d n r l l h g d n r l l h g d n r l Two l i ve hand gr enades on t he f l oor , r ol l i ng t o a st op Two l i ve hand gr enades on t he f l oor , r ol l i ng t o a st op
r e t s i l . r e t s i l . r e t s i l . bef or e t hem, st i l l spi nni ng sl owl y. bef or e t hem, st i l l spi nni ng sl owl y.
, N C Y E N , N C Y E N , N C Y E N EXT. TMI, FRONT SECURITY GATE -- NIGHT EXT. TMI, FRONT SECURITY GATE -- NIGHT
' c c e o e T . ' c c e o e T . ' c c e o e T . J ane' s pi ckup comes bar r el i ng up t o t he cl osed GATES. . . J ane' s pi ckup comes bar r el i ng up t o t he cl osed GATES. . .
C N C N C N CONTI NUED CONTI NUED
. . . 109. 109.
r G G , o r , C x t h r G G , o r , C x t h r G G , o r , C x t h An ar med GATE GUARD, a younger guy, MI TCH, exi t s t he shack, An ar med GATE GUARD, a younger guy, MI TCH, exi t s t he shack,
n r a S a p n r a S a p n r a S a p wavi ng f or her t o hal t . J ane SKI DS t o a st op. wavi ng f or her t o hal t . J ane SKI DS t o a st op.
h A g o i c h A g o i c h A g o i c Mi t ch has hi s AR- 15 sl ung acr oss hi s back. Mi t ch has hi s AR- 15 sl ung acr oss hi s back.
MMMMI TCH MI TCH
o h w t ' o h w t ' o h w t ' Whoa, whoa, whoa! What t he hel l ' s Whoa, whoa, whoa! What t he hel l ' s
i n ! i n ! i n ! goi ng on. . . ?! goi ng on. . . ?!
s , t o k n r d . s , t o k n r d . s , t o k n r d . J ane opens her door , get t i ng out , keepi ng her hands i n vi ew. J ane opens her door , get t i ng out , keepi ng her hands i n vi ew.
o d e t f a . o d e t f a . o d e t f a . The ot her Gat e Guar ds st ep out , r i f l es ai med. The ot her Gat e Guar ds st ep out , r i f l es ai med.
JJJJ ANE J ANE
m h P l i J m h P l i J m h P l i J I ' mHi ghway Pat r ol Of f i cer J ane I ' mHi ghway Pat r ol Of f i cer J ane
o t o . h e o t o . h e o t o . h e Thor ne. Li st en t o me. . . I have ever Thor ne. Li st en t o me. . . I have ever
a t l e b t a t l e b t a t l e b t r eason t o bel i eve t her e' s about t o be r eason t o bel i eve t her e' s about t o be
c t c t c t an at t ack on t hi s pl ant . . . an at t ack on t hi s pl ant . . .
MMMMI TCH MI TCH
a e i b a e i b a e i b What ar e you t al ki ng about ? What ar e you t al ki ng about ?
JJJJ ANE J ANE
l l u r n k l l u r n k l l u r n k I ' l l t el l you ever yt hi ng I know, but I ' l l t el l you ever yt hi ng I know, but
e s t n e e s t n e e s t n e t her e i sn' t t i me now. I ' ve cal l ed t her e i sn' t t i me now. I ' ve cal l ed
e i n n f y e i n n f y e i n n f y t he pol i ce. I don' t know i f t hey t he pol i ce. I don' t know i f t hey
l d o l d o l d o bel i eved me. You need t o go on bel i eved me. You need t o go on
e b e s e b e s e b e s al er t , bef or e i t ' s t oo - - al er t , bef or e i t ' s t oo - -
L i A O N d n h i , L i A O N d n h i , L i A O N d n h i , An ALARM i s HEARD SOUNDI NG i n t he di st ance, haunt i ngl y, An ALARM i s HEARD SOUNDI NG i n t he di st ance, haunt i ngl y,
h t n a o o c N S h t n a o o c N S h t n a o o c N S Mi t ch and J ane r eact . One guar d goes t o check MONI TORS. Mi t ch and J ane r eact . One guar d goes t o check MONI TORS.
JJJJ ANE J ANE
' r H a d r ' r H a d r ' r H a d r He' s her e. He' s al r eady her e. He' s her e. He' s al r eady her e.
h e s K A h e s s e h e s K A h e s s e h e s K A h e s s e Mi t ch t akes hi s WALKI E TALKI E of f hi s bel t , speaks ur gent l y Mi t ch t akes hi s WALKI E TALKI E of f hi s bel t , speaks ur gent l y
d t e c r d d t e c r d d t e c r d i nt o i t . Gat e Guar d exi t s t he shack, f r eaked. i nt o i t . Gat e Guar d exi t s t he shack, f r eaked.
G G G G G G GATE GUARD GATE GUARD
e t g a e t g a e t g a Ther e' s somet hi ng goi ng on at Ther e' s somet hi ng goi ng on at
n . a n . a n . a Cont r ol . React or One. Cont r ol . React or One.
JJJJ ANE J ANE
e i t o D ! e i t o D ! e i t o D ! Open t hi s gat e, now! Do i t ! Open t hi s gat e, now! Do i t !
t t t t t t ( t o Mi t ch) ( t o Mi t ch)
u d t . u d t . u d t . You, r i de wi t h me. You, r i de wi t h me.
MMMMI TCH MI TCH
l . l . l . Hol d on. . . Hol d on. . .
JJJJ ANE J ANE
k w e a l o k w e a l o k w e a l o I know who he i s. I can hel p st op I know who he i s. I can hel p st op
m t v t m m t v t m m t v t m hi m, but we' ve got t o move! hi m, but we' ve got t o move!
MMMMI TCH MI TCH
a e . a e . a e . Okay, yeah. . . Okay, yeah. . .
t h u ) t h u ) t h u ) ( t o ot her guar ds) ( t o ot her guar ds)
t t g h o t n t t g h o t n t t g h o t n Let us t hr ough, t hen l ock i t down and Let us t hr ough, t hen l ock i t down and
l l l cal l i t i n! cal l i t i n!
C N C N C N CONTI NUED CONTI NUED
. . . 110. 110.
h s c n e . h s c n e . h s c n e . Mi t ch r uns t o cl i mb i n on t he passenger si de. Mi t ch r uns t o cl i mb i n on t he passenger si de.
n i E I p m g . n i E I p m g . n i E I p m g . J ane get s i n and dr i ves. GATE and BARRI ER open, maki ng way. J ane get s i n and dr i ves. GATE and BARRI ER open, maki ng way.
R E , U K T N R E , U K T N R E , U K T N INT. TMI CONTROL CENTER, SECURITY CHECKPOINT -- NIGHT INT. TMI CONTROL CENTER, SECURITY CHECKPOINT -- NIGHT
M A h l s s o i e . M A h l s s o i e . M A h l s s o i e . ALARMS BLARE. Psycho Ki l l er st or ms t hr ough, pul l i ng Lewi s. . . ALARMS BLARE. Psycho Ki l l er st or ms t hr ough, pul l i ng Lewi s. . .
r s a n h n T E O n a r s a n h n T E O n a r s a n h n T E O n a Secur i t y' s a war zone; t he r ent METAL DETECTORS and shal l ow Secur i t y' s a war zone; t he r ent METAL DETECTORS and shal l ow
E f l L N s s n E f l L N s s n E f l L N s s n CRATER i n t he f l oor st i l l SMOLDERI NG, as ar e t he shr apnel - CRATER i n t he f l oor st i l l SMOLDERI NG, as ar e t he shr apnel -
D O S n e h a h t D O S n e h a h t D O S n e h a h t t or n GUARDS' CORPSES l yi ng wher e t he bl ast t hr ew t hem. t or n GUARDS' CORPSES l yi ng wher e t he bl ast t hr ew t hem.
H N C O N H A H N C O N H A H N C O N H A FURTHER ON -- CONTROL CENTER HALLWAY FURTHER ON -- CONTROL CENTER HALLWAY
s e d i i e u , t s e d i i e u , t s e d i i e u , t As Psycho Ki l l er and Lewi s exi t t he secur i t y ar ea, anot her As Psycho Ki l l er and Lewi s exi t t he secur i t y ar ea, anot her
D e o a n o i f i R . D e o a n o i f i R . D e o a n o i f i R . GUARD comes ar ound a cor ner t o t hei r l ef t , ai mi ng an AR- 15. . . GUARD comes ar ound a cor ner t o t hei r l ef t , ai mi ng an AR- 15. . .
h l F p l h l F p l h l F p l Psycho Ki l l er FI RES hi s pi st ol ! Psycho Ki l l er FI RES hi s pi st ol !
g ' O h S I h l a s g ' O h S I h l a s g ' O h S I h l a s The guar d' s SHOT i n t he hi p, SLAMMI NG t he t i l ed wal l as he The guar d' s SHOT i n t he hi p, SLAMMI NG t he t i l ed wal l as he
s s e R g d c s s e R g d c s s e R g d c f al l s. Psycho Ki l l er FI RES agai n! The guar d pi t ches f al l s. Psycho Ki l l er FI RES agai n! The guar d pi t ches
a o r u i n r b a o r u i n r b a o r u i n r b f or war d t o t he f l oor , shudder i ng uncont r ol l abl y. f or war d t o t he f l oor , shudder i ng uncont r ol l abl y.
h l g r , n c r h l g r , n c r h l g r , n c r Psycho Ki l l er goes r i ght , t ur ns a cor ner . . . Psycho Ki l l er goes r i ght , t ur ns a cor ner . . .
e a p L ' e L . e a p L ' e L . e a p L ' e L . PK keeps a gr i p on Lewi s' s t i e as Lewi s sobs. PK keeps a gr i p on Lewi s' s t i e as Lewi s sobs.
W a N W R a , W a N W R a , W a N W R a , DOWN THI S HALLWAY, a f ew ENGI NEERS and WORKERS scat t er , DOWN THI S HALLWAY, a f ew ENGI NEERS and WORKERS scat t er ,
i n F S C R e S M i n F S C R e S M i n F S C R e S M ducki ng i nt o OFFI CES and a LOCKER ROOM. Someone SCREAMS. ducki ng i nt o OFFI CES and a LOCKER ROOM. Someone SCREAMS.
h l a c p i a m v h l a c p i a m v h l a c p i a m v Psycho Ki l l er advances upon hi s goal . . . t he massi ve, Psycho Ki l l er advances upon hi s goal . . . t he massi ve,
f d N " R t n h f d N " R t n h f d N " R t n h r ei nf or ced " CONTROL ROOM" DOOR at t he end of t he hal l . r ei nf or ced " CONTROL ROOM" DOOR at t he end of t he hal l .
d e v N s d e v N s d e v N s Ahead, t he heavy CONTROL ROOM DOOR opens. . . Ahead, t he heavy CONTROL ROOM DOOR opens. . .
r G s , E H U r G s , E H U r G s , E H U An Ar med Guar d comes out , FI RES a HANDGUN at PK! An Ar med Guar d comes out , FI RES a HANDGUN at PK!
E H N , c i r I E H N , c i r I E H N , c i r I Wi t h BULLETS WHI ZZI NG by, Psycho Ki l l er r et ur ns FI RE! Wi t h BULLETS WHI ZZI NG by, Psycho Ki l l er r et ur ns FI RE!
d r H n r c . d r H n r c . d r H n r c . Ar med Guar d' s HI T i n t he upper ar mand chest . . . Ar med Guar d' s HI T i n t he upper ar mand chest . . .
H N H N H N IN THE CONTROL ROOM IN THE CONTROL ROOM
I L d r l a n w . I L d r l a n w . I L d r l a n w . SPEWI NG BLOOD, Ar med Guar d f al l s back i n t he door way. . . SPEWI NG BLOOD, Ar med Guar d f al l s back i n t he door way. . .
k t o l m r m s k t o l m r m s k t o l m r m s Bl ocki ng t he cont r ol r oomdoor f r omcl osi ng. Bl ocki ng t he cont r ol r oomdoor f r omcl osi ng.
h s u - R O a e R h s u - R O a e R h s u - R O a e R I n t he vast , bunker - l i ke CONTROL ROOM, a dozen WORKERS and I n t he vast , bunker - l i ke CONTROL ROOM, a dozen WORKERS and
N r L i S I S N r L i S I S N r L i S I S ENGI NEERS cower . ALARMS cont i nue SOUNDI NG. The SHI FT ENGI NEERS cower . ALARMS cont i nue SOUNDI NG. The SHI FT
R R s m C r t o d a . R R s m C r t o d a . R R s m C r t o d a . SUPERVI SOR r uns f r omhi s OFFI CE acr oss t he r oom, di st r aught . SUPERVI SOR r uns f r omhi s OFFI CE acr oss t he r oom, di st r aught .
S V S V S V SUPERVI SOR SUPERVI SOR
t t r l ! t t r l ! t t r l ! Get t hat door . . . ! Get i t cl osed! Get t hat door . . . ! Get i t cl osed!
l a m u s y a i D l a m u s y a i D l a m u s y a i D Too l at e as Ar med Guar d' s body' s yanked out , l eavi ng a BLOOD Too l at e as Ar med Guar d' s body' s yanked out , l eavi ng a BLOOD
L h o p d a . c i r L h o p d a . c i r L h o p d a . c i r TRAI L. The door ' s pushed i nwar d. . . Psycho Ki l l er ent er s. TRAI L. The door ' s pushed i nwar d. . . Psycho Ki l l er ent er s.
r r t a a r r t a a r r t a a Super vi sor hal t s, backs away. Super vi sor hal t s, backs away.
Y S z n r d l Y S z n r d l Y S z n r d l EVERYONE' S f r ozen i n f ear f ul di sbel i ef . EVERYONE' S f r ozen i n f ear f ul di sbel i ef .
h l t s i r h n e o h l t s i r h n e o h l t s i r h n e o Psycho Ki l l er t hr ows Lewi s f or war d t o t he concr et e f l oor . Psycho Ki l l er t hr ows Lewi s f or war d t o t he concr et e f l oor .
h l s p s e o w h l s p s e o w h l s p s e o w Psycho Ki l l er st eps up, pl aces one boot ed f oot down on Psycho Ki l l er st eps up, pl aces one boot ed f oot down on
s i t . e i s s i t . e i s s i t . e i s Lewi s' s t i e t o hol d hi mt her e. PK pocket s hi s pi st ol , Lewi s' s t i e t o hol d hi mt her e. PK pocket s hi s pi st ol ,
g s u f l . g s u f l . g s u f l . shr uggi ng hi s shot gun of f hi s shoul der . . . shr uggi ng hi s shot gun of f hi s shoul der . . .
C N C N C N CONTI NUED CONTI NUED
. . . 111. 111.
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
h G h G h G ( hef t s SHOTGUN) ( hef t s SHOTGUN)
e e . w e t e e . w e t e e . w e t Ever yone out . Now. Get out ! Ever yone out . Now. Get out !
E I N I - H E I N I - H E I N I - H INT. JANE'S PICKUP -- IN MOTION -- NIGHT INT. JANE'S PICKUP -- IN MOTION -- NIGHT
h r h n e i e l a h r h n e i e l a h r h n e i e l a As t hey ar r i ve at t he Cont r ol Cent er , Mi t ch eyebal l s J ane. As t hey ar r i ve at t he Cont r ol Cent er , Mi t ch eyebal l s J ane.
MMMMI TCH MI TCH
o r f o r f o r f ( of her uni f or m) ( of her uni f or m)
e a y n " a a e a y n " a a e a y n " a a Does t hat say " Kansas?" What st at e Does t hat say " Kansas?" What st at e
e p a e p a e p a ar e you a cop i n, anyway? ar e you a cop i n, anyway?
JJJJ ANE J ANE
e l t o e l t o e l t o Does i t r eal l y mat t er ? I ' mt he onl y Does i t r eal l y mat t er ? I ' mt he onl y
p ' o p ' o p ' o cop you' ve got . cop you' ve got .
I H N E I H N E I H N E OUTSIDE THE CONTROL CENTER OUTSIDE THE CONTROL CENTER
E r k n v o d T E r k n v o d T E r k n v o d T J ane BRAKES har d, ski ddi ng t o ar r i ve al ongsi de a TMI J ane BRAKES har d, ski ddi ng t o ar r i ve al ongsi de a TMI
R S R G S p m R S R G S p m R S R G S p m SECURI TY SUV. FOUR SECURI TY GUARDS j ump f r omt he SUV, SECURI TY SUV. FOUR SECURI TY GUARDS j ump f r omt he SUV,
o r z - r H i t u n o r z - r H i t u n o r z - r H i t u n f ol l owi ng t hei r gr i zzl ed- vet er an CHI EF i nt o t he bui l di ng. . . f ol l owi ng t hei r gr i zzl ed- vet er an CHI EF i nt o t he bui l di ng. . .
H C Y C N H C Y C N H C Y C N AT THE SECURITY CHECKPOINT AT THE SECURITY CHECKPOINT
g s e o w h d K e g s e o w h d K e g s e o w h d K e The guar ds move t hr ough whi l e f r i ght ened WORKERS exi t . The guar ds move t hr ough whi l e f r i ght ened WORKERS exi t .
m n G R s h u a o o f m n G R s h u a o o f m n G R s h u a o o f A l ament i ng ENGI NEER' s usi ng hi s sui t j acket t o cover one of A l ament i ng ENGI NEER' s usi ng hi s sui t j acket t o cover one of
g d v s h k s g d v s h k s g d v s h k s t he gr enade- r avaged cor pses. Mi t ch and J ane st i ck cl ose t o t he gr enade- r avaged cor pses. Mi t ch and J ane st i ck cl ose t o
p n d J c e r L p n d J c e r L p n d J c e r L t he phal anx of guar ds. J ane car r i es her RI FLE. t he phal anx of guar ds. J ane car r i es her RI FLE.
H A H A H A DOWN THE HALLWAY DOWN THE HALLWAY
r C s r t r o n r C s r t r o n r C s r t r o n Secur i t y Chi ef l eads t he way. Ther e' s t he gr oup of cont r ol Secur i t y Chi ef l eads t he way. Ther e' s t he gr oup of cont r ol
E h o c o E h o c o E h o i h O c o r oomWORKERS ahead, cl amor i ng out si de t he CLOSED cont r ol r oomWORKERS ahead, cl amor i ng out si de t he CLOSED cont r ol
. d l p ' n b c e . d l p ' n b c e . d l p ' n b c e r oomdoor . Mi d- hal l way, t he pl ant ' s l anky, bespect acl ed r oomdoor . Mi d- hal l way, t he pl ant ' s l anky, bespect acl ed
T E p s o t o o S W T E p s o t o o S W T E p s o t o o S W SHI FT FOREMAN pushes t hr ough t he door s of a STAI RWELL. SHI FT FOREMAN pushes t hr ough t he door s of a STAI RWELL.
S I H S I H S I H SECURI TY CHI EF SECURI TY CHI EF
a e d n t o a e d n t o a e d n t o What ar e we deal i ng wi t h, boss? What ar e we deal i ng wi t h, boss?
F A F A F A FOREMAN FOREMAN
. o k y y . . o k y y . . o k y y . I . . . I don' t know yet mysel f . I . . . I don' t know yet mysel f .
y v n a e l . y v n a e l . y v n a e l . They hur r y. Ever yone wear s a l ook of f ear f ul awe. . . They hur r y. Ever yone wear s a l ook of f ear f ul awe. . .
e . e t r S v e . e t r S v e . e t r S v di sbel i ef . The cont r ol r oomSuper vi sor r uns t hi s way. di sbel i ef . The cont r ol r oomSuper vi sor r uns t hi s way.
S V S V S V SUPERVI SOR SUPERVI SOR
t r ) t r ) t r ) ( t o For eman) ( t o For eman)
' c o o a ' c o o a ' c o o a He' s i n t he cont r ol r oom, Davi d! He' s i n t he cont r ol r oom, Davi d!
' k e h g ' k e h g ' k e h g He' s t aken Lewi s host age! He' s t aken Lewi s host age!
F A F A F A FOREMAN FOREMAN
s d g n W i s d g n W i s d g n W i J esus. How' d he get i n! ? Why di dn' t J esus. How' d he get i n! ? Why di dn' t
u e d u e d u e d you get i t secur ed! you get i t secur ed!
C N C N C N CONTI NUED CONTI NUED
. . . 112. 112.
S V S V S V SUPERVI SOR SUPERVI SOR
e r t n . n d e r t n . n d e r t n . n d The guar d, St ephenson. . . pani cked The guar d, St ephenson. . . pani cked
e e r n f a u e e r n f a u e e r n f a u when t he al ar mwent of f . Came out when t he al ar mwent of f . Came out
o g t . o g t . o g t . shoot i ng i nst ead. . . shoot i ng i nst ead. . .
E r o l m r B i a r F . E r o l m r B i a r F . E r o l m r B i a r F . WORKERS dr ag cont r ol r oomguar d' s BODY i nt o a near by OFFI CE. WORKERS dr ag cont r ol r oomguar d' s BODY i nt o a near by OFFI CE.
S I H S I H S I H SECURI TY CHI EF SECURI TY CHI EF
n t h a e ! n t h a e ! n t h a e ! I need t hi s hal l way, peopl e! I need t hi s hal l way, peopl e!
e e k e e k e e k Ever yone back t he hel l of f ! Ever yone back t he hel l of f !
W R e o e d k W R e o e d k W R e o e d k The WORKERS obey, movi ng away whi l e t he guar ds t ake up The WORKERS obey, movi ng away whi l e t he guar ds t ake up
t i h n , 1 a i t i h n , 1 a i t i h n , 1 a i posi t i ons out si de t he cont r ol r oomdoor , AK- 15' S al l ai med. posi t i ons out si de t he cont r ol r oomdoor , AK- 15' S al l ai med.
S V S V S V SUPERVI SOR SUPERVI SOR
p i t r ) p i t r ) p i t r ) ( poi nt i ng, t o For eman) ( poi nt i ng, t o For eman)
e r t w v h c e r t w v h c e r t w v h c The t er r or i st or what ever t he f uck he The t er r or i st or what ever t he f uck he
. e e i n n o . e e i n n o . e e i n n o i s. . . he made Lewi s punch- i n a Code i s. . . he made Lewi s punch- i n a Code
d h o n y o d d h o n y o d d h o n y o d Red. The door can onl y be opened Red. The door can onl y be opened
o s n o s n o s n f r omi nsi de now. f r omi nsi de now.
F A F A F A FOREMAN FOREMAN
a h i s s o a h i s s o a h i s s o Yeah, t hat ' s how i t ' s supposed t o Yeah, t hat ' s how i t ' s supposed t o
r x b u n r x b u n r x b u n wor k, except t he bad guy' s not wor k, except t he bad guy' s not
p d b s i . p d b s i . p d b s i . supposed t o be i nsi de! Al r i ght . . . supposed t o be i nsi de! Al r i ght . . .
o g w e u d t o g w e u d t o g w e u d t l ook. . . gr ab whoever you need, get t he l ook. . . gr ab whoever you need, get t he
e n r t i e n r t i e n r t i acet yl ene t or ches f r omconst r uct i on acet yl ene t or ches f r omconst r uct i on
d e t r n o d e t r n o d e t r n o and t ake t hat door down. Go! and t ake t hat door down. Go!
t h t h t h ( t o ot her s) ( t o ot her s)
y f o t y f o t y f o t Anyone f r omoper at i ons or Anyone f r omoper at i ons or
g r . m t . g r . m t . g r . m t . engi neer i ng. . . come wi t h me. . . engi neer i ng. . . come wi t h me. . .
m a a i a n h A L m a a i a n h A L m a a i a n h A L For eman backt r acks, r unni ng back i nt o t he STAI RWELL. . . For eman backt r acks, r unni ng back i nt o t he STAI RWELL. . .
i O f w y e t n r . i O f w y e t n r . i O f w y e t n r . Headi ng DOWN, f ol l owed by J ane, Mi t ch and wor ker s. Headi ng DOWN, f ol l owed by J ane, Mi t ch and wor ker s.
H N H N H N IN THE CONTROL ROOM IN THE CONTROL ROOM
h r i m e a h s s d h r i m e a h s s d h r i m e a h s s d The huge r oomi s domi nat ed by a gi ant , hor seshoe- shaped The huge r oomi s domi nat ed by a gi ant , hor seshoe- shaped
R A c e R o O B N A R A c e R o O B N A R A c e R o O B N A CONTROL PANEL cover ed i n HUNDREDS of KNOBS, BUTTONS, GAUGES CONTROL PANEL cover ed i n HUNDREDS of KNOBS, BUTTONS, GAUGES
l e N A . c r t o l e N A . c r t o l e N A . c r t o and l i ght ed ANNUNCI ATORS. At t he cent er of t he r oom, and l i ght ed ANNUNCI ATORS. At t he cent er of t he r oom,
e l U M O n Y D h e l U M O n Y D h e l U M O n Y D h t her e' s a ci r cl e of COMPUTER MONI TORS and KEYBOARDS; t he t her e' s a ci r cl e of COMPUTER MONI TORS and KEYBOARDS; t he
R O E i s r w s t a s R O E i s r w s t a s R O E i s r w s t a s CONTROL CONSOLE, whi ch i s wher e Lewi s i s seat ed, at hi s CONTROL CONSOLE, whi ch i s wher e Lewi s i s seat ed, at hi s
s , w t . s , w t . s , w t . wi t ' s end, hi s f ace wet wi t h t ear s. wi t ' s end, hi s f ace wet wi t h t ear s.
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
c e e c e e c e e I coul d have ki l l ed t hem. . . I coul d have ki l l ed t hem. . .
g s t o l e h a g s t o l e h a g s t o l e h a Al ong t he wal l opposi t e t he cont r ol panel , t he pl ant ' s Al ong t he wal l opposi t e t he cont r ol panel , t he pl ant ' s
U l m i U B - U l m i U B - U l m i U B - COMPUTERS hum; f our compl ex, monol i t hi c COMPUTER BANKS si de- COMPUTERS hum; f our compl ex, monol i t hi c COMPUTER BANKS si de-
i l g n i r r e i l g n i r r e i l g n i r r e by- si de, l i ke gi ant domi noes i n a r ow. I t ' s bef or e t hese by- si de, l i ke gi ant domi noes i n a r ow. I t ' s bef or e t hese
u h l s s h L . u h l s s h L . u h l s s h L . comput er s t hat Psycho Ki l l er st ands, behi nd Lewi s. comput er s t hat Psycho Ki l l er st ands, behi nd Lewi s.
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
u i . u f I u i . u f I u i . u f I Your f r i ends. Your wi f e. I l et t hem Your f r i ends. Your wi f e. I l et t hem
vvv l i ve. l i ve.
s s h a n . ' e s u . s s h a n . ' e s u . s s h a n . ' e s u . Lewi s pr esses hi s f ace i n hi s hand. PK' s over hi s shoul der . Lewi s pr esses hi s f ace i n hi s hand. PK' s over hi s shoul der .
C N C N C N CONTI NUED CONTI NUED
. . . 113. 113.
P O L P O L P O L PSYCHO KI LLER PSYCHO KI LLER
g ' e u g ' e u g ' e u Do t hi s l ast t hi ng. I ' l l l et you Do t hi s l ast t hi ng. I ' l l l et you
t o i i o u t o i i o u t o i i o u out . Your wi f e' s wai t i ng f or you. out . Your wi f e' s wai t i ng f or you.
p ) p ) p ) ( pause) ( pause)
t i I k y t i I k y t i I k y Or don' t do i t . . . and I ' l l ki l l you. Or don' t do i t . . . and I ' l l ki l l you.
, E A E I , E A E I , E A E I INT. TMI, BASEMENT COMMAND CENTER -- NIGHT INT. TMI, BASEMENT COMMAND CENTER -- NIGHT
r o d I S a n c n r o d I S a n c n r o d I S a n c n Sever al wor r i ed ENGI NEERS ar e al r eady i n pl ace at a l ong Sever al wor r i ed ENGI NEERS ar e al r eady i n pl ace at a l ong
A O E C T T N c a l A O E C T T N c a l A O E C T T N c a l COMMAND CONSOLE of COMPUTER STATI ONS f aci ng a wal l of COMMAND CONSOLE of COMPUTER STATI ONS f aci ng a wal l of
T S E i i y r n o T S E i i y r n o T S E i i y r n o MONI TORS, DI ALS and GAUGES whi ch di spl ay ever yt hi ng about MONI TORS, DI ALS and GAUGES whi ch di spl ay ever yt hi ng about
p ' a t . W R e T H p ' a t . W R e T H p ' a t . W R e T H t he pl ant ' s st at us. I n t he B. G. , WORKERS ar e on TELEPHONES t he pl ant ' s st at us. I n t he B. G. , WORKERS ar e on TELEPHONES
s h t G E S o n s h t G E S o n s h t G E S o n and sear chi ng t hi ck EMERGENCY PROCEDURE BOOKS. For eman and sear chi ng t hi ck EMERGENCY PROCEDURE BOOKS. For eman
e e r M u e e r M u e e r M u r ushes i n wi t h hi s ent our age, J ane and Mi t ch i ncl uded. r ushes i n wi t h hi s ent our age, J ane and Mi t ch i ncl uded.
F A F A F A FOREMAN FOREMAN
a v ? a v ? a v ? What have we got ! ? What have we got ! ?
M E E M E E M E E MALE ENGI NEER MALE ENGI NEER
a s r g 7 a s r g 7 a s r g 7 React or One' s oper at i ng at 75 React or One' s oper at i ng at 75
r . e b i r . e b i r . e b i per cent . The pr obl emi s. . . per cent . The pr obl emi s. . .
r O R o e T R f M P N . r O R o e T R f M P N . r O R o e T R f M P N . Sever al MONI TORS show t he CONTROL ROOM f r omMULTI PLE ANGLES. Sever al MONI TORS show t he CONTROL ROOM f r omMULTI PLE ANGLES.
M E E M E E M E E MALE ENGI NEER MALE ENGI NEER
w s s c w s s c w s s c Lewi s i s f l ushi ng t he cor e. Lewi s i s f l ushi ng t he cor e.
H N S w Y a e t e l s H N S w Y a e t e l s H N S w Y a e t e l s ON THE MONI TORS: Lewi s TYPES at one of t he cent r al consol e ON THE MONI TORS: Lewi s TYPES at one of t he cent r al consol e
o , n s t L V o e t p . o , n s t L V o e t p . o , n s t L V o e t p . keyboar ds, t hen cr osses t o PULL LEVERS on t he cont r ol panel . keyboar ds, t hen cr osses t o PULL LEVERS on t he cont r ol panel .
M E E M E E M E E MALE ENGI NEER MALE ENGI NEER
r t y . ' r t y . ' r t y . ' He over r ode t he syst em. He' s He over r ode t he syst em. He' s
m t o t m t o t m t o t dumpi ng al l t he cool ant . dumpi ng al l t he cool ant .
A E R A E R A E R ANOTHER WORKER ANOTHER WORKER
t e s l f t e s l f t e s l f Wat er l evel ' s f al l i ng f ast . Wat er l evel ' s f al l i ng f ast .
N R N I h t E R A L . N R N I h t E R A L . N R N I h t E R A L . ON ONE SCREEN: an ANI MATI ON shows t he REACTOR' S WATER LEVEL. ON ONE SCREEN: an ANI MATI ON shows t he REACTOR' S WATER LEVEL.
F E I F E I F E I FEMALE ENGI NEER FEMALE ENGI NEER
y h h i t y h h i t y h h i t Why? Why' s he doi ng i t ? Why? Why' s he doi ng i t ?
N R I h l g e o v N R I h l g e o v N R I h l g e o v ON ANOTHER MONI TOR: Psycho Ki l l er , shot gun hel d, obser ves. ON ANOTHER MONI TOR: Psycho Ki l l er , shot gun hel d, obser ves.
M E E M E E M E E MALE ENGI NEER MALE ENGI NEER
c c s g c c s g c c s g Because what choi ce has he got ?! Because what choi ce has he got ?!
F A F A F A FOREMAN FOREMAN
n a . n n a . n n a . n I t doesn' t mat t er . I t doesn' t I t doesn' t mat t er . I t doesn' t
t L s t h t L s t h t L s t h mat t er , and Lewi s knows t hat . The mat t er , and Lewi s knows t hat . The
e c s l c e c s l c e c s l c emer gency syst em' l l ki ck i n once t he emer gency syst em' l l ki ck i n once t he
r m t r e i r m t r e i r m t r e i cor e t emper at ur e r i ses above nomi nal . cor e t emper at ur e r i ses above nomi nal .
e l p c e l p c e l p c The cool ant pumps wi l l swi t ch on The cool ant pumps wi l l swi t ch on
t i y a h t t i y a h t t i y a h t aut omat i cal l y and r epl ace t he wat er aut omat i cal l y and r epl ace t he wat er
f t o a e t e f t o a e t e f t o a e t e bef or e t he cor e can over heat . Lewi s bef or e t he cor e can over heat . Lewi s
s t o t s s t o t s s t o t s has j ust got t o do what t hi s guy has j ust got t o do what t hi s guy
n o w n o w n o w want s f or now. . . want s f or now. . .
C N C N C N CONTI NUED CONTI NUED
. . . 114. 114.
JJJJ ANE J ANE
' i o l t ; i ' i o l t ; i ' i o l t ; i He' s goi ng t o ki l l t hat man; Lewi s. He' s goi ng t o ki l l t hat man; Lewi s.
o V N l o V N l o V N l ( of f EVERYONE' S l ook) ( of f EVERYONE' S l ook)
i n a i i i n a i i i n a i i Thi s i sn' t a host age si t uat i on. Thi s i sn' t a host age si t uat i on.
e g e e a . e g e e a . e g e e a . Ther e' s not goi ng t o be a negot i at i on. Ther e' s not goi ng t o be a negot i at i on.
F A F A F A FOREMAN FOREMAN
o h o h o h Who ar e you? Who i s t hi s?! Who ar e you? Who i s t hi s?!
JJJJ ANE J ANE
k h t n b h k h t n b h k h t n b h I know how i t sounds, but t hat ' s t he I know how i t sounds, but t hat ' s t he
a h e l a h e l a h e l Sl asher i n t her e. I ' ve f ol l owed hi m Sl asher i n t her e. I ' ve f ol l owed hi m
l s e n l s e n l s e n t hal f way acr oss t he count r y, and t hi s hal f way acr oss t he count r y, and t hi s
t h e e l n t h e e l n t h e e l n i s exact l y what he' s been pl anni ng. . . i s exact l y what he' s been pl anni ng. . .
p i o I ) p i o I ) p i o I ) ( poi nt i ng t o MONI TORS) ( poi nt i ng t o MONI TORS)
s c m o H l n s c m o H l n s c m o H l n Hi s sui ci de mi ssi on. He' s l ooki ng t o Hi s sui ci de mi ssi on. He' s l ooki ng t o
k l a o k l a o k l a o t ake as many peopl e as he can al ong t ake as many peopl e as he can al ong
t m e o v l e t m e o v l e t m e o v l e wi t h hi m. He' s got a ver y l i mi t ed wi t h hi m. He' s got a ver y l i mi t ed
o g t h o g t h o g t h knowl edge of t hi s pl ant , so al l he' s knowl edge of t hi s pl ant , so al l he' s
i o a t n i m i o a t n i m i o a t n i m goi ng t o be abl e t o manage i s some. . . goi ng t o be abl e t o manage i s some. . .
m r i t m r i t m r i t some sor t of pr i mi t i ve sabot age. I s some sor t of pr i mi t i ve sabot age. I s
e n w n e n w n e n w n t her e anyone her e who was i n t he t her e anyone her e who was i n t he
n . n . n . Cont r ol Room. . . ? Cont r ol Room. . . ?
r i A N E i h a r i A N E i h a r i A N E i h a A ner vous l ooki ng MAI NTENANCE WORKER r ai ses hi s hand. A ner vous l ooki ng MAI NTENANCE WORKER r ai ses hi s hand.
JJJJ ANE J ANE
s c i n n s c i n n s c i n n Was he car r yi ng anyt hi ng. . . a Was he car r yi ng anyt hi ng. . . a
i e y . i e y . i e y . sui t case, maybe. . . ? sui t case, maybe. . . ?
M E E K M E E K M E E K MAI NTENANCE WORKER MAI NTENANCE WORKER
... No. No.
JJJJ ANE J ANE
e ? ' t l e e ? ' t l e e ? ' t l e Ar e you sur e? He' s got expl osi ves. Ar e you sur e? He' s got expl osi ves.
g h g h g h He must have br ought t hem. He must have br ought t hem.
M E E K M E E K M E E K MAI NTENANCE WORKER MAI NTENANCE WORKER
a . d t a . d t a . d t He had a gun. I di dn' t see hi m He had a gun. I di dn' t see hi m
r g t . r g t . r g t . car r yi ng anyt hi ng el se. car r yi ng anyt hi ng el se.
F E I F E I F E I FEMALE ENGI NEER FEMALE ENGI NEER
w i o r w i o r w i o r ( wat chi ng moni t or s) ( wat chi ng moni t or s)
. w . . w . . w . Oh God. . . Lewi s. . . ! Oh God. . . Lewi s. . . !
y l s y l s y l s Ever yone l ooks up as. . . Ever yone l ooks up as. . .
H N S w a a r l n r H N S w a a r l n r H N S w a a r l n r ON THE MONI TORS: Lewi s backs away, cl ear l y pl eadi ng f or hi s ON THE MONI TORS: Lewi s backs away, cl ear l y pl eadi ng f or hi s
s e v o s . s e v o s . s e v o s . l i f e as Psycho Ki l l er moves t owar ds hi m. l i f e as Psycho Ki l l er moves t owar ds hi m.
I H N I H N I H N OUTSIDE THE CONTROL ROOM OUTSIDE THE CONTROL ROOM
r r W R r l r a e t r r W R r l r a e t r r W R r l r a e t Super vi sor and TWO WORKERS hur r i edl y ar r i ve at t he cont r ol Super vi sor and TWO WORKERS hur r i edl y ar r i ve at t he cont r ol
T C E n E C . T C E n E C . T C E n E C . r oomdoor wi t h TWO TANKS of ACETYLENE on WHEELED CARTS. r oomdoor wi t h TWO TANKS of ACETYLENE on WHEELED CARTS.
r C t o o g s k r C t o o g s k r C t o o g s k Secur i t y Chi ef and t he posi t i oned guar ds l ook on. Secur i t y Chi ef and t he posi t i oned guar ds l ook on.
r r m d n G , u h n r r m d n G , u h n r r m d n G , u h n Super vi sor and hi s men, donni ng GOGGLES, unf ur l t he t ank' s Super vi sor and hi s men, donni ng GOGGLES, unf ur l t he t ank' s
S F G t c e L O S S F G t c e L O S S F G t c e L O S HOSES. . . FI RI NG UP t he acet yl ene BLOWTORCHES. HOSES. . . FI RI NG UP t he acet yl ene BLOWTORCHES.
. . . 115. 115.
H M E H M E H M E IN THE COMMAND CENTER IN THE COMMAND CENTER
N N : i n e h N N : i n e h N N : i n e h ON ONE MONI TOR: Lewi s cont i nues t o back away f r omPsycho ON ONE MONI TOR: Lewi s cont i nues t o back away f r omPsycho
e e g v f v o i r . e e g v f v o i r . e e g v f v o i r . Ki l l er , beggi ng, movi ng f r omvi ew on t hi s scr een. . . Ki l l er , beggi ng, movi ng f r omvi ew on t hi s scr een. . .
. e g A E N . . e g A E N . . e g A E N . . . . appear i ng on ANOTHER MONI TOR. . . . appear i ng on ANOTHER MONI TOR.
N R h l S S t h n S N R h l S S t h n S N R h l S S t h n S ON ONE SCREEN: Psycho Ki l l er SHOOTS - - t he shot gun BLASTI NG ON ONE SCREEN: Psycho Ki l l er SHOOTS - - t he shot gun BLASTI NG
s . y t d f t t a M S . s . y t d f t t a M S . s . y t d f t t a M S . Lewi s O. S. ; beyond t he edge of t hat par t i cul ar CAMERA' S POV. Lewi s O. S. ; beyond t he edge of t hat par t i cul ar CAMERA' S POV.
M E E M E E M E E MALE ENGI NEER MALE ENGI NEER
. J . . J . . J . . . . oh, J esus. . . . . . oh, J esus. . .
Y s n b e d h e t n d Y s n b e d h e t n d Y s n b e d h e t n d EVERYONE' s st unned by t he mur der t hey' ve j ust wi t nessed. EVERYONE' s st unned by t he mur der t hey' ve j ust wi t nessed.
D E T R D E T R D E T R INSIDE THE CONTROL ROOM INSIDE THE CONTROL ROOM
M A h l t s i h n M A h l t s i h n M A h l t s i h n ALARMS BLARE. Psycho Ki l l er t hr ows t he smoki ng shot gun ALARMS BLARE. Psycho Ki l l er t hr ows t he smoki ng shot gun
e r o k k a t e h o e r o k k a t e h o e r o k k a t e h o asi de, t ur ns t o wal k back t owar ds t he cent er of t he r oom. asi de, t ur ns t o wal k back t owar ds t he cent er of t he r oom.
e h n o n e p s y e h n o n e p s y e h n o n e p s y Bet ween t he cent r al consol e and t he comput er banks, Psycho Bet ween t he cent r al consol e and t he comput er banks, Psycho
e k A r i e c e e k A r i e c e e k A r i e c e Ki l l er t akes a HAND GRENADE f r omhi s t r ench coat , pl aces i t Ki l l er t akes a HAND GRENADE f r omhi s t r ench coat , pl aces i t
n c l m o n c l m o n c l m o on one of t he consol e' s moni t or s. on one of t he consol e' s moni t or s.
h l u t h r . h l u t h r . h l u t h r . Psycho Ki l l er unbut t ons hi s t r ench coat . . . Psycho Ki l l er unbut t ons hi s t r ench coat . . .
a t o f e i h e H E n a t o f e i h e H E n a t o f e i h e H E n He t akes t he coat of f , r eveal i ng t hat he' s SHI RTLESS and He t akes t he coat of f , r eveal i ng t hat he' s SHI RTLESS and
h H - o C f h i h H - o C f h i h H - o C f h i a t hat al l hi s THI RTY- or - so STI CKS of TNT ar e hel d i n pl ace t hat al l hi s THI RTY- or - so STI CKS of TNT ar e hel d i n pl ace
n s - i n r e c i C P n s - i n r e c i C P n s - i n r e c i C P ar ound hi s mi d- sect i on and t or so, enci r cl ed i n DUCT TAPE. ar ound hi s mi d- sect i on and t or so, enci r cl ed i n DUCT TAPE.
H M E H M E H M E IN THE COMMAND CENTER IN THE COMMAND CENTER
F A F A F A FOREMAN FOREMAN
w i O R w i O R w i O R ( wat chi ng MONI TORS) ( wat chi ng MONI TORS)
l c l c l c Hol y f uck. Hol y f uck.
t m h i g t e n t m h i g t e n t m h i g t e n Al l t hose assembl ed wat ch, t hi nki ng t he exact same t hi ng. Al l t hose assembl ed wat ch, t hi nki ng t he exact same t hi ng.
H N H N H N IN THE CONTROL ROOM IN THE CONTROL ROOM
e d l e d s e k E e d l e d s e k E e d l e d s e k E Masked and expl osi ves- l aden Psycho Ki l l er t akes a POCKET Masked and expl osi ves- l aden Psycho Ki l l er t akes a POCKET
E m s k o b . S E m s k o b . S E m s k o b . S KNI FE f r omhi s pant s pocket , opens t he bl ade. He STABS t he KNI FE f r omhi s pant s pocket , opens t he bl ade. He STABS t he
e o , s p n I e o , s p n I e o , s p n I bl ade i nt o hi s l ef t hand, cut s deepl y and TWI STS. bl ade i nt o hi s l ef t hand, cut s deepl y and TWI STS.
a g e i e b n t a g e i e b n t a g e i e b n t Di scar di ng t he kni f e, PK get s t o hi s knees, begi nni ng t o Di scar di ng t he kni f e, PK get s t o hi s knees, begi nni ng t o
g O I n m f t o e g O I n m f t o e g O I n m f t o e dr aw a huge BLOOD CI RCLE ar ound hi m, bef or e t he comput er s. dr aw a huge BLOOD CI RCLE ar ound hi m, bef or e t he comput er s.
S E M A a L t e O n S E M A a L t e O n S E M A a L t e O n ACROSS THE ROOM, SPARKS and FLAMES f r omt he t or ches SHOOT i n ACROSS THE ROOM, SPARKS and FLAMES f r omt he t or ches SHOOT i n
u O S r D H t O u O S r D H t O u O S r D H t O t hr ough MOLTEN HOLES near t he t op DOOR HI NGE and t he LOCK! t hr ough MOLTEN HOLES near t he t op DOOR HI NGE and t he LOCK!
H M E H M E H M E IN THE COMMAND CENTER IN THE COMMAND CENTER
JJJJ ANE J ANE
i g u h i g u h i g u h Thi s i s i t . He' s goi ng t o use t hat Thi s i s i t . He' s goi ng t o use t hat
e n . e n . e n . gr enade as a det onat or . gr enade as a det onat or .
M E E M E E M E E MALE ENGI NEER MALE ENGI NEER
o e e t v o e e t v o e e t v Look wher e he' s at , Davi d. Look wher e he' s at , Davi d.
( ) ( ) ( ) ( mor e) ( mor e)
C N C N C N CONTI NUED CONTI NUED
. . . 116. 116.
M E E C ) M E E C ) M E E C ) MALE ENGI NEER ( CONT. ) MALE ENGI NEER ( CONT. )
e p s e r l e p s e r l e p s e r l The comput er s! He' s t r yi ng t o bl ow The comput er s! He' s t r yi ng t o bl ow
e c s i u t e c s i u t e c s i u t t he r eact or ' s br ai ns out . . . so i t t he r eact or ' s br ai ns out . . . so i t
n e e p ! n e e p ! n e e p ! won' t be abl e t o power down! won' t be abl e t o power down!
JJJJ ANE J ANE
t c h c e ! t c h c e ! t c h c e ! But he can' t do t hat , can he. . . ?! But he can' t do t hat , can he. . . ?!
F E I F E I F E I FEMALE ENGI NEER FEMALE ENGI NEER
a s w w a s w w a s w w I f he manages t o wr eck t he whol e I f he manages t o wr eck t he whol e
i m o e a s i m o e a s i m o e a s mai nf r ame. . . al l our r edundanci es, mai nf r ame. . . al l our r edundanci es,
f t o t p c . f t o t p c . f t o t p c . bef or e t he cool ant pumps ki ck i n. . . bef or e t he cool ant pumps ki ck i n. . .
F A F A F A FOREMAN FOREMAN
n e e b u i n e e b u i n e e b u i None of t he emer gency back- ups wi l l None of t he emer gency back- ups wi l l
c . t c t t c . t c t t c . t c t t ki ck- i n. Wi t hout t he comput er , t he ki ck- i n. Wi t hout t he comput er , t he
a t a t l s a t a t l s a t a t l s r eact or won' t be abl e t o t el l i t sel f r eact or won' t be abl e t o t el l i t sel f
w s i f w s i f w s i f how t o save i t sel f , or even t hat i t ' s how t o save i t sel f , or even t hat i t ' s
b c c b c c b c c i n t r oubl e. The cor e coul d be i n t r oubl e. The cor e coul d be
m e x d p e g m e x d p e g m e x d p e g compl et el y exposed, super - heat i ng, compl et el y exposed, super - heat i ng,
d l t d t . c d l t d t . c d l t d t . c and st i l l not r ead cr i t i cal . . . because and st i l l not r ead cr i t i cal . . . because
e l n n f r . e l n n f r . e l n n f r . t her e' l l be not hi ng l ef t t o r ecor d i t . t her e' l l be not hi ng l ef t t o r ecor d i t .
A E R A E R A E R ANOTHER WORKER ANOTHER WORKER
r n N ) r n N ) r n N ) ( r eadi ng MONI TOR) ( r eadi ng MONI TOR)
o l e 5 r o l e 5 r o l e 5 r Cool ant l evel s ar e at 50 per cent and Cool ant l evel s ar e at 50 per cent and
i r n i r n i r n st i l l dr oppi ng. st i l l dr oppi ng.
W R P W R P W R P WORKER ON PHONE WORKER ON PHONE
e i r r ! e i r r ! e i r r ! The pol i ce ar e on t hei r way! The pol i ce ar e on t hei r way!
F A F A F A FOREMAN FOREMAN
e o t e o t e o t They' l l be t oo l at e. . . They' l l be t oo l at e. . .
h l E A E e r t E h l E A E e r t E h l E A E e r t E On t he wal l , TEMPERATURE GAUGES ar e near i ng t he RED. On t he wal l , TEMPERATURE GAUGES ar e near i ng t he RED.
d T h P o l o t h I . d T h P o l o t h I . d T h P o l o t h I . Besi de, a MONI TOR shows Psycho Ki l l er compl et i ng hi s CI RCLE. Besi de, a MONI TOR shows Psycho Ki l l er compl et i ng hi s CI RCLE.
F A F A F A FOREMAN FOREMAN
' t r h d t ' t r h d t ' t r h d t We' r e 8 mi nut es f r omt he r ed on t hese We' r e 8 mi nut es f r omt he r ed on t hese
u . d o t u . d o t u . d o t gauges. . . and I don' t t hi nk he' s gauges. . . and I don' t t hi nk he' s
a g s i r . a g s i r . a g s i r . pl anni ng on st i cki ng ar ound t hat l ong. pl anni ng on st i cki ng ar ound t hat l ong.
JJJJ ANE J ANE
n o u , o e n o u , o e n o u , o e Can' t you shut i t down, bef or e he Can' t you shut i t down, bef or e he
e y g e y g e y g does anyt hi ng? does anyt hi ng?
M E E M E E M E E MALE ENGI NEER MALE ENGI NEER
t m s t o l m t m s t o l m t m s t o l m Not f r omout si de t he cont r ol r oom. Not f r omout si de t he cont r ol r oom.
F E I F E I F E I FEMALE ENGI NEER FEMALE ENGI NEER
d l r o d l r o d l r o We coul d ki l l t he power . Go on We coul d ki l l t he power . Go on
x r C a M x r C a M x r C a M auxi l i ar y. Cause a gr avi t y SCRAM. auxi l i ar y. Cause a gr avi t y SCRAM.
C N C N C N CONTI NUED CONTI NUED
. . . 117. 117.
F A F A F A FOREMAN FOREMAN
e c o d o h e c o d o h e c o d o h Even i f t he cont r ol r ods dr op, t hey Even i f t he cont r ol r ods dr op, t hey
n t h a n e n t h a n e n t h a n e won' t st op t he r eact i on once t he f uel won' t st op t he r eact i on once t he f uel
a d d t r w a d d t r w a d d t r w st ar t s degr adi ng. Cont r ol r ods wer e st ar t s degr adi ng. Cont r ol r ods wer e
e ' h e r e ' h e r e ' h e r i n pl ace i n ' 79 when React or Two i n pl ace i n ' 79 when React or Two
a w a w a w near l y went . near l y went .
JJJJ ANE J ANE
u t e e e e u t e e e e u t e e e e You must have some way t o r epl ace t he You must have some way t o r epl ace t he
t o l . t u . t o l . t u . t o l . t u . wat er your sel ves. . . t o do i t manual l y. wat er your sel ves. . . t o do i t manual l y.
M E E M E E M E E MALE ENGI NEER MALE ENGI NEER
t c t o n g t c t o n g t c t o n g Wi t hout t he comput er coor di nat i ng i t , Wi t hout t he comput er coor di nat i ng i t ,
t w t r l t w t r l t w t r l by t he t i me we got ever y val ve by t he t i me we got ever y val ve
e i i g e e i i g e e i i g e open. . . i t ' d be l i ke f i l l i ng a r ed open. . . i t ' d be l i ke f i l l i ng a r ed
t l t e e t l t e e t l t e e hot t ea ket t l e wi t h i ce wat er . hot t ea ket t l e wi t h i ce wat er .
a h h b e a h h b e a h h b e That ' s how Cher nobyl went . That ' s how Cher nobyl went .
F A F A F A FOREMAN FOREMAN
i t i e . ' i t i e . ' i t i e . ' Thi s. . . t hi s i sn' t happeni ng. He' s Thi s. . . t hi s i sn' t happeni ng. He' s
i o t d s n i o t d s n i o t d s n goi ng t o mel t us down! He' s goi ng t o goi ng t o mel t us down! He' s goi ng t o
l c f o o l c f o o l c f o o ki l l a ci t y f ul l of peopl e! ki l l a ci t y f ul l of peopl e!
m r a K A c l m r a K A c l m r a K A c l For eman gr abs a WALKI E TALKI E f r omt he consol e. For eman gr abs a WALKI E TALKI E f r omt he consol e.
F A F A F A FOREMAN FOREMAN
i W E K i W E K i W E K ( i nt o WALKI E TALKI E) ( i nt o WALKI E TALKI E)
c y ' u ! u c y ' u ! u c y ' u ! u Secur i t y, we' r e out of t i me! You' ve Secur i t y, we' r e out of t i me! You' ve
t g n r o ! t g n r o ! t g n r g o ! got t o get i n t her e r i ght now. . . ! ! got t o get i n t her e r i ght now. . . ! !
I H N I H N I H N OUTSIDE THE CONTROL ROOM OUTSIDE THE CONTROL ROOM
r C s I L f h e r C s I L f h e r C s I L f h e Secur i t y Chi ef pul l s hi s WALKI E- TALKI E f r omhi s bel t . Secur i t y Chi ef pul l s hi s WALKI E- TALKI E f r omhi s bel t .
F A o F A o F A o FOREMAN ( cont . ) FOREMAN ( cont . )
f W E K f W E K f W E K ( f r omWALKI E- TALKI E) ( f r omWALKI E- TALKI E)
u e g n o u e g n o u e g n o You have t o get i n and t ake hi mout ! You have t o get i n and t ake hi mout !
H m r a a T I H H H m r a a T I H H H m r a a T I H H DOWN THE HALL, t he men ar e f r ant i cal l y TORCHI NG THROUGH t he DOWN THE HALL, t he men ar e f r ant i cal l y TORCHI NG THROUGH t he
' N a O b h e n y g ' N a O b h e n y g ' N a O b h e n y g door ' s HI NGES and LOCK, but t hey' ve got a l ong way t o go. door ' s HI NGES and LOCK, but t hey' ve got a l ong way t o go.
H N H N H N IN THE CONTROL ROOM IN THE CONTROL ROOM
e e s l R , e l t s e e s l R , e l t s e e s l R , e l t s Whi l e For eman' s st i l l on t he RADI O, J ane pul l s Mi t ch asi de. Whi l e For eman' s st i l l on t he RADI O, J ane pul l s Mi t ch asi de.
JJJJ ANE J ANE
e t w n h n e t w n h n e t w n h n I s t her e anot her way i nt o t he cont r ol I s t her e anot her way i nt o t he cont r ol
o A t i y . o A t i y . o A t i y . r oom? A vent i l at i on syst em. . . ? r oom? A vent i l at i on syst em. . . ?
MMMMI TCH MI TCH
. ' c s n i . ' c s n i . ' c s n i No. I t ' s secur e. I t ' s even desi gned No. I t ' s secur e. I t ' s even desi gned
a i n k a i n k a i n k t o keep out a r adi at i on l eak. t o keep out a r adi at i on l eak.
F A F A F A FOREMAN FOREMAN
r , p l n e r , p l n e r , p l n e Al r i ght , peopl e, l i st en!