Mr. Brooks
Writers: Bruce A Evans, Raynold Gideon
Genres: Crime, Drama, Thriller
MR BROOKS
Written by
Bruce A Evans & Raynold Gideon
FADE IN:
CLOSE on a Polaroid of a dimly lit COUPLE locked in a sexual
embrace. We cannot see their faces.
MR. BROOKS (V.O.)
(tortured)
God grant me the Serenity to accept
the things I cannot change...
Our view travels sensuously down the Woman's naked torso to
find the Man's head buried between her legs.
MARSHALL (V.O.)
Why do you fight it so hard, Earl?
MR. BROOKS (V.O.)
Courage to change the things I
can...
MARSHALL (V.O.)
Come on, you've been a good boy for
a long time, you deserve a little
fun.
Our view moves back up to the Woman's breasts.
DISSOLVE THROUGH
THIS TO:
EARL BROOKS' reflection in a mirror. Earl, in his 40's, has
on a tuxedo. He's in front of a sink in a Public Bathroom and
he's whispering to his image.
MR. BROOKS
... and Wisdom to know the
difference.
Picking up speed against the hunger in his head:
MR. BROOKS (CONT'D)
Living one day at a time, Enjoying
one moment at a time, Accepting
hardship as a pathway to peace...
From far away comes the sound of applause.
INT. BALLROOM - NIGHT
MEN in tuxedos and WOMEN in gowns.
Mr. Brooks is seated at one of the front tables with his
wife, EMMA, also 40's.
(CONTINUED)
2.
CONTINUED:
The audience's hands are coming together for what a MAN at
the microphone has just said.
Mr. Brooks is smiling but not clapping; and although his lips
don't move we can hear:
MR. BROOKS (V.O.)
(even faster now)
... Taking, as He did, this sinful
world as it is, not as I would have
it. Trusting that He will make all
things right if I surrender to His
will. That I may be reasonably
happy in this life, And supremely
happy with Him forever in the next.
Amen.
The Man at the microphone raises his arms to quiet the
Audience.
MAN
I could go on and on about what a
great guy Earl is, how he cuts his
toe nails...
Everyone laughs.
MAN
... how he gives freely of his time
and money, but let's get Earl up
here to speak for himself. Ladies
and Gentlemen, I give you a
businessman, a philanthropist, a
great friend and the Evanston
Chamber of Commerce Man of the
Year... Mr. Earl Brooks.
Mr. Brooks kisses Emma, stands and after accepting
congratulations along the way, arrives at the podium.
MR. BROOKS
Thank you all very much. The first
thing I would like to say is... I
don't even know how I cut my toe
nails.
Applause and laughter from the Audience.
MR. BROOKS
Twenty years ago when I started the
Brooks Box Factory I never dreamed
I would one day be standing here.
3.
EXT. STREET - NIGHT
A silver Lexus LS 430 glides past us.
EMMA (V.O.)
Did you see Sis Wallace's dress?
INT. LEXUS Ñ NIGHT
Mr. Brooks is driving. Emma is in the passenger seat. They're
holding hands.
EMMA
You could see her nipples. At her
age she should keep those things
hidden.
Mr. Brooks is only listening to his Wife with one ear and
underneath what she is saying we can barely hear:
MR. BROOKS (V.O.)
God grant me the Serenity to
accept...
EMMA
The only thing that would have made
this evening more perfect is if
Jane had been here.
MR. BROOKS
She called. She has mid terms
coming up.
EMMA
She's dropping out, you know.
MR. BROOKS
We'll see.
EMMA
Nothing she does is wrong to you,
is it?...
Mr. Brooks doesn't rise to the bait.
EMMA
Well she missed a good party...
As she continues, we look at Mr. Brooks and Emma's voice
fades to a murmur.
(CONTINUED)
4.
CONTINUED:
In the back seat, a Man leans out from behind Mr. Brooks's
head. This is MARSHALL. He's 50 plus.
Emma can neither see nor hear him. Marshall exists only in
Mr. Brooks's mind.
MARSHALL
Come on, Earl, give yourself a
break, you know you want to do
this.
MR. BROOKS
No.
MARSHALL
You're the fucking 'man of the
year', you deserve it. It's not
like it's not set up. You already
know how to by-pass the alarm, you
know how to pick the locks.
Tonight's the perfect night.
MR. BROOKS
(over his shoulder)
No, Marshall, I said 'no'!
MARSHALL
I heard you, Earl, but you don't
mean 'no'.
Emma feels Mr. Brooks's distance.
EMMA
What's the matter?
Mr. Brooks pulls himself back into the moment.
MR. BROOKS
Nothing.
EMMA
You were frowning.
MR. BROOKS
I was thinking of what I didn't say
in the speech.
EMMA
They laughed, they were touched, I
don't think anyone felt left out.
(CONTINUED)
5.
CONTINUED: (2)
MARSHALL
(from the back seat)
They have their dance class
tonight. What if we go by and just
look at them. There's no harm in
just having a look.
MR. BROOKS
No means 'no', Marshall.
MARSHALL
Please... pretty please.
MR. BROOKS
(to Emma)
The food tonight was very good, but
I wasn't crazy about the dessert.
Would you like to stop somewhere
and get something sweet?
INT. ICE CREAM PARLOR Ñ NIGHT
In a booth, Mr. Brooks and Emma are sharing a Sundae. Mr.
Brooks steals a look at the Arthur Murray dance class that is
taking place behind the full-length windows fronting the
second floor of the Building across the street.
EMMA
... Labradors are supposed to be
nice, or maybe a rescue mutt...
MR. BROOKS
The Pound's a pretty sad place; if
you want me to, I'll go with you.
EMMA
There's an Irish Lab I read about,
and I think the breeder is...
Mr. Brooks turns his attention back to the Dancers and again
Emma's voice fades to a murmur.
Both Mr. Brooks and Marshall who is seated on the other side
of Emma are focused on one particular COUPLE.
The Man and Woman are not great dancers nor are they
especially attractive, but Mr. Brooks and Marshall are
fascinated with them.
Marshall leans forward and looking slyly around Emma at Mr.
Brooks:
(CONTINUED)
6.
CONTINUED:
MARSHALL
I bet your dick's getting hard,
isn't it, just imagining what they
would look like dead?
Savoring the ice-cream, Mr. Brooks nods.
EXT. BROOKS HOUSE Ñ NIGHT
Two story modern. Not ostentatious, but the elegance of the
line and the grounds say there's big money here.
INT. MASTER BEDROOM - NIGHT
Through the door of the DRESSING AREA, Emma can be seen
taking off her evening clothes.
Hidden by the darkness on the other side of the bed, Mr.
Brooks is hunched forward on a chair, his head in his hands.
His bow tie is undone, but he's still wearing his Tuxedo. In
obvious torment, he is whispering to himself.
MR. BROOKS
... I can't do this, I can't do
this, I can't do this, please don't
let me do this, God grant me the
Serenity to accept the things I
cannot change...
In the DRESSING AREA
Emma is putting on her sleep-wear. Mr. Brooks steps into the
doorway.
MR. BROOKS
I'm going to stay up a while, maybe
go to the studio and play with some
glazes.
EMMA
Okay, I'm going to read. If I'm not
awake, wake me when you come back.
Mr. Brooks comes forward, puts his arms around Emma and hugs
her, then easing back, kisses her.
MR. BROOKS
I thought you were wonderful
tonight.
7.
EXT. THE BROOKS HOUSE Ñ NIGHT
Mr. Brooks exits the back door and starts down a path that
leads away from the house.
MR. BROOKS
(to himself)
Don't do this, don't do this,
please don't do this, don't do
this, don't do, please don't do
this...
He passes through a screen of trees and arrives at a small
beautiful industrial-looking Building.
No windows except for a narrow strip on three sides just
under the edge of the roof.
Mr. Brooks lets himself in with a key.
INT. BUILDING Ñ NIGHT
Exquisitely unique handmade handglazed bowls, vases, cups,
plates are scattered haphazardly on shelves and tables around
the room.
This is Mr. Brooks's CERAMICS STUDIO.
Mr. Brooks turns on the big industrial kiln and sets the
temperature, then in a series of quick cuts changes out of
his tuxedo into his work clothes which he selects from a
dozen identical pairs of khaki shirts and pants hanging in a
closet.
Below the pants and shirts are a dozen pairs of identical
leather work shoes. The windbreaker he puts on is also from a
dozen identical windbreakers.
He takes a set of car keys off a hook next to a door which
opens into a garage. Under the light is an older model non-
descript Toyota.
EXT. CERAMICS STUDIO Ñ NIGHT
The Toyota backs into an alley and with the garage door
closing behind it, pulls away.
INT. TOYOTA Ñ NIGHT
Marshall is up front with Mr. Brooks.
(CONTINUED)
8.
CONTINUED:
MARSHALL
Oh Lordy, Earl my boy, I've missed
this! We are going to have so much
fun!
MR. BROOKS
This is the last time, Marshall.
Understand me?! The very last time!
EXT. RESIDENTIAL STREET Ñ NIGHT
A mixture of modest houses and apartment buildings. Mr.
Brooks's Toyota is parked in the semi-dark cast by a tree.
We rise over the car, over the trees, over the houses to the
other side of the block and come down to find Mr. Brooks
working the lock on the side door of a small BUNGALOW.
He has on surgical gloves.
The pick is extracted, the handle turned. The door opens.
There's a chain.
Mr. Brooks removes a pair of bent rubber tipped forceps from
a pocket, inserts it in the chain, pulls the door to, gives
the tool a twist and gently pushes the door inward.
The chain has been released.
INT. BUNGALOW Ñ NIGHT
Mr. Brooks quietly closes the door and holding his breath
stands very still and listens.
There's a faint indistinct sound coming from the recesses of
the house.
Mr. Brooks's feet glide out of the PANTRY. Now coming
slightly behind him is another pair of legs encased in dark
slacks.
Move up; the person in the black slacks is Marshall.
In the middle of the KITCHEN, the sound is now recognizable.
It's the moans of a Couple fucking. This disturbs Mr. Brooks,
he hesitates.
Marshall leans in and hisses fiercely in his ear.
(CONTINUED)
9.
CONTINUED:
MARSHALL
Don't you dare quit on me, you
piece of shit. I want to see what
they're doing.
Mr. Brooks's spine stiffens and he's going forward again.
Entering a HALLWAY, he reaches into his jacket. When his hand
reappears it's inside a Ziplock bag, his fingers around the
butt of a silenced pistol.
He brings the hand and bag to his mouth and tightens the
Ziplock against his wrist.
The two Men arrive at a door that's slightly ajar. Behind it
the sounds of the love-making are becoming more intense.
Mr. Brooks nudges the door with his foot. It opens enough for
he and Marshall to see the Couple inside.
The Man and Woman from the Arthur Murray dance class are
naked on the bed.
As much as Mr. Brooks hates himself for it he loves watching.
He can now hear his heart beating in his ears.
He begins to breathe in unison with the Couple, but his
expression is distant almost clinical.
When the Couple climaxes, when they come, Mr. Brooks's face
goes blank.
On the bed the Woman rolls off her Partner and the two of
them lie there basking in the afterglow.
Behind them Mr. Brooks pushes the door fully open and slips
into the ROOM. They don't know he's there until he speaks.
MR. BROOKS
Hello.
Both the Man and Woman jump with surprise and look. The Woman
screams and scrabbles at the sheet to cover herself.
MAN
What the fuck?!
Then he sees the gun.
MAN
Hey, man, don't...
(CONTINUED)
10.
CONTINUED: (2)
MR. BROOKS
(to the Woman)
Be quiet and sit up.
In an attempt to get away, the Woman pushes herself back
against the wall. She can't take her eyes off Mr. Brooks and
she can't stop screaming.
POP! A hole appears above her left eye. The impact of Mr.
Brooks's High Velocity .22 slug bounces her head off the
wall. The screaming stops.
The Man opens his mouth and begins to shake. POP! The bullet
through his brain makes him instantly dead and he crumples
onto the Girl.
Mr. Brooks looks at what he's done. His nostrils flare at the
scent of death. Then he moves, he's got work to do. On his
way to the bed, the pistol goes into his pocket.
MARSHALL (O.S.)
(barks)
Whoa, Earl, what the fuck is
this?!!
Mr. Brooks snaps a look.
The curtains of the bedroom window are open; and over half of
the Apartments in a four story Building on the other side of
an alley can see into this room.
Most of their windows are dark. And there's no one looking
out of the windows that are lit.
MARSHALL
These pigs liked to fuck with the
blinds open, you should have known
that, Earl. This is a big mistake
for you, Earl.
MR. BROOKS
(going to the window)
Almost like I want to get caught,
huh, Marshall?
MARSHALL
Well, don't fucking do that. I
don't think either of us would
enjoy spending the rest of our
lives in jail or a lethal
injection.
(CONTINUED)
11.
CONTINUED: (3)
MR. BROOKS
Yes, sir.
He grabs a side of cloth in either hand and yanks the
curtains closed.
CUT TO:
CLOSE on a Polaroid of the dance Couple in a sexual pose. The
attitude of the bodies is awkward and very reminiscent of the
ones in the Polaroid we opened the movie with.
INT. CERAMICS STUDIO Ñ NIGHT
Mr. Brooks is kneeling naked in front of the kiln where his
murder clothes are being reduced to ash.
Arranged on the floor are Polaroids of the dance Couple in
sexual positions.
MR. BROOKS
Please forgive me... Please forgive
me...
As we look closer at the Photographs we realize by a smear of
blood here and there and the distortion of the limbs that
these tableaus were arranged after the Couple was killed.
One by one, Mr. Brooks picks up his souvenirs. He lingers
over the last image; and from where he's sitting on the edge
of a table:
MARSHALL
Don't even think about it. You know
the rules.
Reluctantly Mr. Brooks throws the Polaroids into the fire of
the kiln.
MARSHALL
Now go up and make love to your
beautiful wife.
He leaves. In the kiln, the Polaroids burst into flame.
EXT. MURDER HOUSE Ñ AFTERNOON
The sunlight exposes its charm.
If it weren't for the Police tape, the UNIFORMED OFFICERS,
and the PLAINCLOTHES DETECTIVES, it looks like it would be a
cool place to live.
(CONTINUED)
12.
CONTINUED:
An OLDER DETECTIVE, an African-American, comes out on the
porch and calls to two other DETECTIVES who are drinking
coffee on the lawn:
OLDER DETECTIVE
Where the fuck is Atwood?!
YOUNG DETECTIVE
I called ten minutes ago, they said
she was on her way.
OLDER DETECTIVE
She doesn't get here soon, these
bodies won't even be dead anymore?
A Uniformed Cop standing guard at the tape:
COP
You looking for the lady Cop?
OLDER DETECTIVE
Yeah.
COP
She's here. She's been sitting in
her car right over there for the
last half hour.
OLDER DETECTIVE
Oh, Christ.
EXT. ATWOOD'S CAR Ñ AFTERNOON
Special Detective TRACY ATWOOD, somewhere in her 30's, is
behind the wheel. The door is open.
By the expression on her face we might guess that Detective
Atwood has simply forgotten to get out of the car.
On the seat next to her is a copy of the Chicago Tribune. The
headline of a middle article on the first page reads: THE
HANGMAN ESCAPES.
Move up to Atwood's face. The Older Detective followed by the
Younger Detective approaches.
OLDER DETECTIVE
You thinking of joining us anytime
soon, Atwood?
Atwood doesn't look at the Detectives for a long beat and
when she does her expression is not friendly.
(CONTINUED)
13.
CONTINUED:
DETECTIVE ATWOOD
I really hated yesterday, Snyder,
and then today came along.
As she gets out of the car, the Men notice the bandages on
her wrists and falling into step with her on the way to the
house.
SNYDER (OLDER DETECTIVE)
What happened to your wrists?
Atwood holds up her hands to reveal the extent of the
bandages.
DETECTIVE ATWOOD
I tried to commit suicide.
The Young Detective laughs. Atwood whirls on him.
DETECTIVE ATWOOD
What's so funny?
YOUNG DETECTIVE
Eh... I... I don't know, I heard it
was because you were drunk and got
into a fight with a fish tank.
Atwood sticks her finger into the Young Detective's chest.
DETECTIVE ATWOOD
Who are you gonna believe? Me or
the fucking fish?!
YOUNG DETECTIVE
Eh... you.
DETECTIVE ATWOOD
Good.
Atwood turns and leaves the Men.
YOUNG DETECTIVE
(under his breath)
She's nuts!
SNYDER
And rich.
They catch up to Atwood who has squatted down to examine the
lock on the front door.
(CONTINUED)
14.
CONTINUED: (2)
SNYDER
There are some scratches in the
side door cylinder. Other than that
no signs of forced entry. The alarm
was armed and we even had to cut
the security chains to get in.
DETECTIVE ATWOOD
(straightens up)
This guy hasn't been active for
over two years...
She enters the house.
INT. MURDER HOUSE Ñ AFTERNOON
From the way Atwood looks at her surroundings as she crosses
the Living Room we get the feel that this Woman misses
nothing.
DETECTIVE ATWOOD
... we think he's either dead or in
jail on some other charge. This is
probably a copycat.
Detective Snyder points her down the Hall toward the Bedroom
and follows.
SNYDER
That's why we called you. You're
the God that tells us peons if we
have a simple murder here or
something we can dump on you.
DETECTIVE ATWOOD
Bite yourself.
Atwood arrives in the doorway of the BEDROOM where the
murders took place and stops.
The Bodies of the dance Couple are now on the floor. The Man
is propped up against the bed in a sitting position. The
Woman has her head in the Man's crotch.
Almost like Mr. Brooks, Atwood's nostrils flare, but in
Atwood's case it's not the scent of death that arouses her
but it's like she's searching for the scent of her prey.
In a glance she memorizes the Room, then steps inside.
15.
INT. BEDROOM Ñ AFTERNOON
The Crime Scene TECHNICIANS shift to accommodate Atwood's
inspection.
DETECTIVE ATWOOD
(indicating the Victims)
He always rearranges the bodies,
but this is out of character. He
has never left them in such a crude
position. Usually it's more
romantic with their arms around
each other, kissing, their mouths
open, their tongues touching.
SNYDER
So we have a copycat?
DETECTIVE ATWOOD
Where are the thumbprints?
Snyder points to a bare space of wall above the bed. Atwood
leans in to look at two bloody 'thumbprints' placed side by
side.
DETECTIVE ATWOOD
One his one hers?
SNYDER
That's what it looks like.
DETECTIVE ATWOOD
What's that?
There are two holes gouged into the plaster of the wall.
SNYDER
The bullets went completely through
the victims. The killer recovered
the slugs.
Atwood unfolds and after another look around the room goes to
the window and cracks the curtains.
There's the four story Apartment Building across the alley,
its windows staring down at her.
DETECTIVE ATWOOD
Were these open or closed when you
got here?
(CONTINUED)
16.
CONTINUED:
SNYDER
Closed.
Atwood tries the cord, the curtains are stuck.
DETECTIVE ATWOOD
Hmm...
She returns her attention to the murder scene.
DETECTIVE ATWOOD
It has never been revealed to the
public that the Thumbprint Killer
retrieves the slugs.
SNYDER
So this one's yours.
DETECTIVE ATWOOD
I don't fucking need this.
She doubles back and cracks the curtains for another look at
the four story Apartment Building.
DETECTIVE ATWOOD
Have you checked the tenants of
that building?
SNYDER
Only a few of them are home, they
say they didn't see anything. We
checked the whole neighborhood, so
far nobody saw a thing.
Atwood nods and turns back to the bodies.
DETECTIVE ATWOOD
Leaving them like this, he must
have been angry at them for some
reason.
She reaches down and runs a hand over the carpet.
DETECTIVE ATWOOD
Where would they keep their vacuum
cleaner.
A puzzled Snyder follows her out of the room.
INT. PANTRY Ñ AFTERNOON
Atwood opens a service closet. There's the Vacuum Cleaner.
(CONTINUED)
17.
CONTINUED:
DETECTIVE ATWOOD
I'll bet you a hundred bucks,
Snyder, there is no bag in that
vacuum cleaner.
SNYDER
I have no idea what you're looking
for.
Atwood unzips the cover. There is no bag inside.
DETECTIVE ATWOOD
He vacuumed the house and took the
bag.
SNYDER
Oh, shit. That is scary smart.
EXT. ALLEY Ñ AFTERNOON
Detective Atwood is standing on an empty capped plastic
gallon milk carton looking over the fence into the back yard
of the Murder House. Snyder has his hand on her back to
steady her.
DETECTIVE ATWOOD
Okay.
He releases her. She hops down and directs her attention at
the four story Apartment Building.
DETECTIVE ATWOOD
Our best hope is if someone in
there saw something.
A MAN comes out from behind the next door fence and strides
purposefully toward them.
MAN
Detective Tracy Atwood?
DETECTIVE ATWOOD
Yes.
MAN
This is for you.
She accepts the official looking document being offered.
MAN
You have been served.
(CONTINUED)
18.
CONTINUED:
DETECTIVE ATWOOD
You fucking asshole!! I'm in the
middle of a fucking murder
investigation!!
MAN
(backing away)
Hey, take it easy lady, I'm just
the messenger.
DETECTIVE ATWOOD
Goddamit!!
SNYDER
What is it?
DETECTIVE ATWOOD
My soon to be ex-husband's scumbag
lawyer is trying to show me how
painful she can make my life if I
don't give them what they want.
SNYDER
This is not the Doctor.
DETECTIVE ATWOOD
The doctor was a couple years ago.
This one is my stupid mistake.
INT. CHURCH HALL Ñ DAY
An AA Meeting is getting started. Mr. Brooks is one of the
ASSEMBLED. The LEADER steps into the semicircle of Men and
Women.
LEADER
Are there any new members?
A WOMAN comes forward.
WOMAN
Hi, my name is Vaughn and I'm an
alcoholic.
She rejoins the circle. Mr. Brooks separates himself from the
Others.
MR. BROOKS
Hi, my name is Earl and I'm an
addict.
When he rejoins the circle, Marshall is there to greet him.
(CONTINUED)
19.
CONTINUED:
MARSHALL
You're such a fucking hypocrite. If
you were honest you would step out
there and say 'Hi, I'm Earl. I
killed two people last night and I
really got off on it, but I need
your help to be cured.'
MR. BROOKS
I'm different Marshall, I won't
argue that with you. This is the
only place that has ever helped me
be normal and I've been straight up
until last night for the past two
years. I'm not going to kill again
and I'm not going to quit coming
here because it upsets you.
MARSHALL
Yeah but for the next 29 days
you're going to have to step out
there and say 'Hi, I'm Earl, I'm an
addict.' And everybody will know
you fell off the wagon. Don't you
feel stupid doing that?
MR. BROOKS
No. I feel good.
EXT. INDUSTRIAL SECTION OF CHICAGO Ñ DAY
A Cab arrives at the Front Entrance of the BROOKS BOX
FACTORY, a long three story brick Building.
A YOUNG WOMAN, 19, is dropped off along with an assortment of
luggage and boxes.
INT. BROOKS BOX FACTORY Ñ DAY
It's loud. We follow a thin piece of cardboard as one machine
deals it off the bottom of a stack into the maw of another
machine.
That machine prints one side of the cardboard blue.
It is handed off to the third machine which cuts the flaps.
The fourth machine folds and glues those flaps and spits the
piece of cardboard out onto a conveyor belt as a box.
Wearing safety glasses and ear protectors along with his
business suit, Mr. Brooks picks up the box and hands it to
one of three similarly attired MEN, standing nearby.
(CONTINUED)
20.
CONTINUED:
MR. BROOKS
This is not the top of the line or
the bottom, but for the money we're
talking about this is the quality I
can provide you.
As Mr. Brooks talks the Men pass the box between them.
MR. BROOKS
Your packaging is the first
impression your customers will have
of your product...
PA SYSTEM
Mr. Brooks, your daughter is
waiting for you in your office.
A surprised Mr. Brooks grabs a quick look at the PA Speaker,
then continues.
MR. BROOKS
... We'd love to work you with on
the design. It's fun to challenge
our machines. If you check around,
you'll find we're not the cheapest,
but we are the best.
INT. RECEPTION AREA - BROOKS BOX FACTORY Ñ DAY
On his way through to his office, Mr. Brooks smiles absently
at a MAN waiting on the couch. The pleasant-looking Man in
his early 30's, nods.
Mr. Brooks stops at his SECRETARY's desk.
MR. BROOKS
Sunday, did Jane call and say she
was coming?
SUNDAY
I would have given you that
message, Mr. Brooks. She has boxes
and suitcases downstairs.
MR. BROOKS
Hold my calls.
INT. MR. BROOKS' OFFICE Ñ DAY
MR. BROOKS
(coming in)
What are you doing here, Gorgeous?
(CONTINUED)
21.
CONTINUED:
The 19 year old Girl we saw arrive by cab stands up and
throws her arms around Mr. Brooks.
JANE
I'm sorry, Daddy, please don't be
angry with me.
Mr. Brooks kisses Jane on the forehead and goes to sit at his
desk.
MR. BROOKS
I can guess what you've done, but
why don't you tell me and then I'll
decide.
JANE
I dropped out of school.
MR. BROOKS
Okay. Have you told your mother
this?
JANE
No. I wanted to speak to you first.
MR. BROOKS
You'll have to tell her, I'm not
going to do that for you, and then
together the three of us will
decide where to go from here.
JANE
I've thought a lot about this, Dad.
College is a waste of time for me.
MR. BROOKS
I don't know how you know that half
way through your Freshman year,
but...
JANE
You didn't go to college, Dad, and
you're successful. I want to come
and work for you.
Sitting on the couch:
MARSHALL
She's not telling you everything,
she's hiding something.
(CONTINUED)
22.
CONTINUED: (2)
MR. BROOKS
I know.
(to Jane)
I'm not hiring right now.
JANE
Just listen to me. What would
happen to the business if, God
forbid, something happened to you?
Mom would probably have to sell to
strangers. I'm willing to start at
the bottom, you can treat me as a
regular employee, I want to learn
everything there is to know about
running the box business, and then
when the time comes, the business
would stay in the family.
MR. BROOKS
That's sweet, but you're talking
about emotion, not business. In
fact your mother and I came very
close to selling out last year.
JANE
What?!
MR. BROOKS
If we had been offered a little
more money, and they may come back
to us, we will sell.
JANE
What would you do without...?!
There's a knock on the door.
MR. BROOKS
Yes?
Sunday, the secretary, comes in and crossing to Mr. Brooks:
SUNDAY
I'm sorry, I know you didn't want
to be disturbed, the Man in the
waiting room insisted I give you
this.
She hands Mr. Brooks a letter-size envelope.
(CONTINUED)
23.
CONTINUED: (3)
SUNDAY
He said you would find what's
inside very interesting.
MR. BROOKS
What is he? A salesman?
SUNDAY
He won't say. I've never seen him
before. I can tell him to go away
if you want me to.
MR. BROOKS
That's okay.
She leaves. Slicing the flap of the envelope, Mr. Brooks
picks up with Jane.
MR. BROOKS
Part of spending the four years in
college is to...
Mr. Brooks can now see the contents of the envelope.
Two snapshot-size PHOTOS taken with a high speed digital
camera. One shows the right side of Mr. Brooks's cheek.
He is in no way identifiable, but that blur of flesh appears
to be looking at the dead dance Couple.
The second Photo is a clear shot of Mr. Brooks closing the
curtains with the dead dance Couple behind him.
Neither Mr. Brooks's voice or his face betray the enormity of
what he's looking at.
MR. BROOKS
... eh... to give yourself the
chance to find out who you are and
what you want to do.
JANE
I'll talk to Mom, but I'm not going
back to school.
MR. BROOKS
Where would you live?
JANE
To save money I would move back
home, but no rules, no curfew, I
want to be treated like an adult.
(CONTINUED)
24.
CONTINUED: (4)
Mr. Brooks allows himself a slight smile.
MR. BROOKS
Would you pay for your food, would
you pay rent?
JANE
No, dad, you're a very wealthy man,
you can afford to keep me.
Mr. Brooks presses his Intercom.
MR. BROOKS
Sunday, would you show the
gentleman who gave you the envelope
to the conference room, and tell
him I'll meet him there and...
(to Jane)
What happened to the BMW?
JANE
A friend is driving it across
country, it'll be here next
weekend.
MR. BROOKS
(to Sunday, through
Intercom)
And get Jane a cab.
He picks up the phone and holds it out to Jane.
MR. BROOKS
Call your mother.
JANE
Are you going to give me a job?
MR. BROOKS
If it were up to me, and I think
your mother will agree with this,
you should go back to school.
INT. HALLWAY - BROOKS BOX FACTORY Ñ DAY
Mr. Brooks comes around the corner. He's raving at Marshall
who's walking beside him.
MR. BROOKS
You see all of this?! The factory,
the houses, the cars, the money,
the respect!!...
(CONTINUED)
25.
CONTINUED:
A different angle in the same hallway shows Mr. Brooks
walking away from us. A passing EMPLOYEE crosses him. The Men
nod to each other. Marshall is nowhere in sight.
MR. BROOKS (V.O.)
... I like them! I don't want to
lose them!
And then we're back to the original angle and Marshall is
again in the picture.
MR. BROOKS
... That's why I didn't want to do
the dance Couple!
MARSHALL
Stop your fucking whining, Earl,
you enjoyed doing that Couple just
as much as I did, and look on the
bright side, he came to us he
didn't go to the Cops. If he tries
to shake us down we kill him.
Period. We make it fun but we kill
him. End of story.
INT. CONFERENCE ROOM - BROOKS BOX FACTORY Ñ DAY
The Man from the Reception Area is nervously admiring a
display of Mr. Brooks's ceramic pieces. He turns at the sound
of the door opening behind.
MR. BROOKS
What can I do for you, Mr...?
MAN
... Let's say, 'Smith'.
MR. BROOKS
Okay, Mr. Smith.
Mr. Brooks motions him to a seat.
MR. SMITH (MAN)
(sitting)
Before you get the wrong
impression, Mr. Brooks, I'm not
here to shake you down.
(CONTINUED)
26.
CONTINUED:
MR. BROOKS
(holding up the photos)
Then these are the only copies of
these photos and you have no
others.
MR. SMITH
No. I have other copies and other
photos, and if something were to
happen to me...
MR. BROOKS
How did you find me, Mr. Smith?
MR. SMITH
You're 'Man of the Year', Mr.
Brooks. Your picture was in the
paper. If it hadn't been, I don't
know what I would have done.
MR. BROOKS
Lucky me. What is it that I can
help you with?
MR. SMITH
I've been watching that Couple for
months, they liked to make love
with the blinds open. Sometimes I
would take pictures, you know,
visual aides for later. It was fun,
it was a great way to get off; I
thought, until I saw you kill them.
I have to tell you I have never
ever felt a rush like that ever. I
know you're the Thumbprint killer,
you've done this before. What I
want is to go with you the next
time you kill someone. And I would
like that to be soon.
From the end of the table, Marshall cackles a laugh.
MARSHALL
And you were worried that this was
going to be unpleasant. The answer
is simple. Just tell him you've
decided never to kill again and
he'll go away.
MR. BROOKS
You enjoy watching me suffer, don't
you?
(CONTINUED)
27.
CONTINUED: (2)
MARSHALL
In a word, yes.
MR. BROOKS
Where do you think he has the other
pictures?
MARSHALL
He put them in a safety deposit box
but I'll bet the box is at the bank
where he has his checking account
and the key is on his keychain. He
really wants to do this, he's not
going to go to the cops.
Mr. Smith who has grown uneasy under Mr. Brooks's stare
swallows:
MR. SMITH
So do we have a deal?
MR. BROOKS
From the angle of these pictures...
(taps the envelope)
... you live on the third floor of
the apartment building across the
alley from the Couple's house.
MR. SMITH
Well... eh.
MR. BROOKS
Yes or no, Mr. Smith?
Mr. Smith nods 'yes'.
MR. BROOKS
What time do you get home from
work?
MR. SMITH
Six thirty, seven, depending on the
traffic.
MR. BROOKS
You can never come here again, you
can never call me. Do you
understand that?
MR. SMITH
Yes.
(CONTINUED)
28.
CONTINUED: (3)
MR. BROOKS
Tomorrow night, not tonight,
tomorrow night, at eight o'clock,
leave your apartment and walk east.
I'll pick you up.
MR. SMITH
If you're thinking of doing
anything to me, Mr. Brooks...
MR. BROOKS
We're both aware of the rules, Mr.
Smith, but I feel I must warn you.
If it turns out that you enjoy
killing, it can become very
addictive. It could ruin your life.
MR. SMITH
I want to do this.
MR. BROOKS
(looks at Marshall)
Have I covered everything?
MARSHALL
I can't think of anything else.
Mr. Brooks stands up and opens the door.
MR. BROOKS
I'll see you tomorrow night, Mr.
Smith.
On his way out, Mr. Smith nods. Mr. Brooks closes the door.
His chin drops on his chest and he sighs.
MR. BROOKS
(under his breath)
Please God, please help me find a
way not to do this.
EXT. DOWNTOWN CHICAGO Ñ DAY
Detective Atwood comes out of the CROWD on the sidewalk and
enters a Highrise.
INT. CONFERENCE ROOM - LAW OFFICES Ñ DAY
Atwood and her ATTORNEYS, a gray-haired Man in his 60's, and
an Asian Woman about the same age as Atwood are on one side
of the table.
(CONTINUED)
29.
CONTINUED:
JESSE, Atwood's soon to be ex-husband, very handsome,
slightly younger than Atwood, and SHEILA, his attractive
divorce lawyer, sit across from them.
ASIAN ATTORNEY
We've talked to our client and
we've come up with a number that we
feel is more than fair.
Atwood is not happy with this. The Attorney slides a sheet of
paper to Sheila. She turns it over. On it is written:
$750,000 -.
ASIAN ATTORNEY
We can have a check for that amount
in your office by 6 o'clock.
SHEILA
We told you at the beginning what
we want and that hasn't changed.
GRAY-HAIRED ATTORNEY
You know as well as I do,
Counselor, if we go to court you're
not going to get a million five.
SHEILA
I don't know. Let's see.
She holds up the front page of the Chicago Tribune. "THE
HANGMAN ESCAPES" story is circled in red.
SHEILA
This is the front page of
yesterday's paper...
(reads)
'Hangman Escapes'... eh... now,
here it is... 'after torturing the
young women, Thorton Meeks would
hang them in public places - church
steeples, balconies, Freeway
overpasses'... Your client captured
Mr. Meeks. This is just one example
of the cases my client lived
through when he was married to your
client.
ASIAN ATTORNEY
Your client knew Detective Atwood
was a homicide detective when he
married her.
(CONTINUED)
30.
CONTINUED: (2)
SHEILA
But he had no idea of the mental
anguish that being in close
proximity to her work would cause
him.
DETECTIVE ATWOOD
What about the mental anguish I
went through being in close
proximity to him. Who's gonna pay
me for that?
ASIAN ATTORNEY
We don't need to get into this,
Tracy.
DETECTIVE ATWOOD
Yes, we do. I was the one who paid
for everything while we were
married, and now I'm being asked to
give him a bonus for spending time
with me when I've already paid for
it in the first place.
JESSE
(to Atwood)
Tracy, this is not a lot of money
for you, and you know how upset I
was when Meeks said that he was
going to escape and he would come
back and kill you.
SHEILA
We're quite willing to find out
what a court would think that
mental anguish is worth.
DETECTIVE ATWOOD
Jesse... Darling?... you know the
best thing that could happen to me
right now? That you get hit by a
truck and die.
SHEILA
(smiles)
That's it! Mr. Vialo and I are
leaving.
(she and Jesse stand up)
You've threatened my client, we're
going to ask for a restraining
order, and we'll see you in court.
(CONTINUED)
31.
CONTINUED: (3)
The door closes behind them.
GRAY-HAIRED ATTORNEY
That's going to cost you, Tracy.
DETECTIVE ATWOOD
(standing up)
Fuck it. It felt good.
INT. APARTMENT Ñ NIGHT
Moonlight seeps around the blinds to reveal Mr. Smith asleep
in bed.
Beyond the open BEDROOM door down the hall is only darkness
until the eruption of illumination from a penlight
momentarily outlines the figure of a Man.
Then we're looking at what the penlight sees.
A keyring. Hands in surgical gloves isolate the - safety
deposit key - and press it into a soft wax block where it
leaves its impression. The light goes off.
In the BEDROOM at the end of the hallway, Mr. Smith begins to
snore. The Figure coasts silently toward the sound.
Mr. Smith's face is sideways on the pillow. The snores and a
little drool burbles out of the corner of his mouth.
WHOOMP!! The impact of something landing on the bed bounces
Mr. Smith upright and awake.
MR. SMITH
Ahhh!!! Ahhh!!! Ahhh!!!
The beam from the penlight hits him in the face. He raises
his hands to shield his eyes.
MR. BROOKS
Don't worry, if I were here to kill
you, you would already be dead.
The penlight leaves Mr. Smith and Mr. Brooks places it
deliberately under his own chin casting long sinister shadows
up his face. He's sitting on the bed next to Mr. Smith.
MR. BROOKS
After you left today, I realized
our friendship was a little one-
sided.
(MORE)
(CONTINUED)
32.
CONTINUED:
MR. BROOKS (CONT'D)
So when we meet tomorrow night
would you be so kind as to bring
all of the pictures and the memory
card from your camera. That way we
can like each other simply for who
we are. If you don't show up, I
will presume you've gone to the
police and I will kill you. Even if
I go to jail because of you,
someone will find you wherever you
are and kill you.
The penlight goes off. There's total silence.
MR. SMITH
(squeaks)
Mr. Brooks?...
He squints into the black.
MR. SMITH
Mr. Brooks?...
Finally he gathers the courage to extend a shaky hand. The
bedside lamp goes on. The room is empty. Cautiously Mr. Smith
swings his legs out of bed and stands up.
He forces himself to go to the door and from there curls his
arm around the jamb into the darkness.
The HALL light is dazzling.
A peek into the BATHROOM shows there is nobody there. He
continues on into the LIVING ROOM.
His camera equipment is on the table. The tripod is still set
up. There is no sign of Mr. Brooks.
Mr. Smith eyes the front door. It's closed and the 'security
chain' is in place!!
Another quick scan of the room. It sure seems that he's
alone.
He opens the front door the length of the chain and looks up
and down the hallway. It's empty. Slowly he closes the door.
Standing in the light of his LIVING ROOM, Mr. Smith is more
scared and strangely more excited than he's ever been in his
life.
MR. SMITH
Wow!...
33.
INT. BROOKS HOUSE Ñ NIGHT
In a robe and pajamas, Mr. Brooks comes down the HALLWAY
carrying a glass of milk. The door to his Daughter's ROOM is
partly open. By the nightlight in the plug at the head of the
bed he can see she's asleep.
INT. BEDROOM Ñ NIGHT
Mr. Brooks walks to the bed, leans over and kisses his
Daughter on the cheek.
MR. BROOKS
(quietly)
It's nice to have you home.
He leaves.
EXT. CHICAGO - MORNING
The early rays of the sun are moving down the tall buildings.
EXT. BROOKS HOUSE Ñ MORNING
A garbage truck is picking up the trash.
INT. BROOKS HOUSE Ñ MORNING
Dressed for work and a smile on his face, Mr. Brooks comes
down the stairs.
In the BREAKFAST ROOM, the mood is decidedly different. His
Wife and Daughter are leaning against opposite walls staring
at the floor.
MR. BROOKS
What's wrong?
EMMA
Ask your daughter what the real
reason is she dropped out of
school.
JANE
I keep telling you it's not the
reason.
(CONTINUED)
34.
CONTINUED:
EMMA
You wanted to go to college, you
had good grades in High School,
your father helped you get into
Stanford, we're paying a ton of
money, if this is not the reason,
then please dear God tell me the
reason.
MR. BROOKS
(picking up an orange
juice)
Why does your mother think you
dropped out of school?
JANE
I'm pregnant.
(to her Mother)
And it's not the reason I dropped
out. Being pregnant wouldn't stop
me from going to school if I wanted
to go.
MR. BROOKS
Who's the father?
JANE
Some guy I was seeing.
EMMA
Does he know?
JANE
Yes, he's a married man and he
doesn't want to have anything to do
with me.
EMMA
Oh, Honey, I'm so sorry.
JANE
I'm going to have an abortion
anyway, so there is nothing to get
upset about. I wasn't even going to
tell you guys.
Mr. Brooks looks directly at his Daughter.
MR. BROOKS
There will be no abortion.
(CONTINUED)
35.
CONTINUED: (2)
JANE
Daddy, you are not going to tell me
what to do. It's my body and I will
do what I want to do with it.
Mr. Brooks's eyes find Emma's. Almost imperceptibly she
shakes her head 'no'.
MR. BROOKS
(to his Daughter)
You're right. I'm sorry. I said it
wrong. I'm not trying to tell you
what to do. I'm trying to say that
a grandchild would be a wonderful
gift for your mother and me.
EMMA
Please, Honey, don't have an
abortion.
JANE
Would you really want to have a
grandchild, even though I'm not
married?
MR. BROOKS
Yes. The child is what's important.
We would love it and cherish it
completely and help you raise it.
JANE
If it means that much to you, I'll
think about it.
INT. GARAGE - BROOKS HOUSE Ñ MORNING
Walking to the Lexus, Mr. Brooks notices Marshall waiting for
him on the passenger side.
MR. BROOKS
(smiles)
Well, we were right, she was hiding
something.
MARSHALL
(flat)
Pregnant's not all of it. She's
hiding something bigger. Much
bigger.
MR. BROOKS
You think so?
(CONTINUED)
36.
CONTINUED:
MARSHALL
I know so, and so do you.
INT. CRIME LAB Ñ AFTERNOON
Large and small Color Photographs pinned to a corkboard
create a Collage of the dance Couple murder scene.
Standing in front of this is CAPTAIN LISTER, a tall slim open-
faced Woman in her mid-fifties, and the lead Crime Scene
Technician we saw earlier at the Murder House.
TECHNICIAN
It's not what's here, it's what's
not here that's interesting.
There's not a trace of anything
foreign. If I didn't know better
I'd say these people were killed by
a ghost.
CAPTAIN LISTER
The autopsy found a tiny piece of
plastic in the female victim's
brain.
TECHNICIAN
We're checking with the ammunition
manufacturers.
DETECTIVE ATWOOD
(entering the room)
That's a dead end, he bags the gun.
TECHNICIAN
I don't understand.
DETECTIVE ATWOOD
He ziplocks a one gallon plastic
freezer bag to his wrist over the
gun. Bang. Bang. A little bit of
plastic is carried by the first
slug, the ejected shells go into
the bag and it limits the powder
residue.
(to Captain Lister)
I hear you were looking for me.
CAPTAIN LISTER
(to the Technician)
Sigy...
(CONTINUED)
37.
CONTINUED:
SIGY (TECHNICIAN)
Yeah, okay...
(to Atwood)
Did you find anything? Did they
have enemies, did they owe money,
did anybody ever notice someone
watching the house?
DETECTIVE ATWOOD
So far they are Mr. and Miss
Normal.
SIGY
(backing away)
If you find anything, call, it
might help me.
He's gone.
CAPTAIN LISTER
I received a subpoena from your
husband's lawyer for your work
records, where you were, date and
times for the past two years.
DETECTIVE ATWOOD
That's blackmail.
CAPTAIN LISTER
Almost three quarters of your cases
are current. I can't let that
information go into open court. So
until you settle your divorce, I'm
going to have to put you on a desk.
DETECTIVE ATWOOD
That's also blackmail.
CAPTAIN LISTER
That's one of your big problems,
Atwood, you don't know how to ask
for help.
DETECTIVE ATWOOD
Do you know what he did to me?
CAPTAIN LISTER
You can't grow old as a woman
without having at least one lousy
man in your life.
(CONTINUED)
38.
CONTINUED: (2)
DETECTIVE ATWOOD
I was so stupid. While we were
married, while I paid for him to
live, the son of a bitch fucked
every woman he could get his hands
on. He fucked my friends, he even
fucked a cousin of mine. Everyone
knew but me, and they were laughing
at me behind my back. He made me
look like an idiot. I was a joke.
CAPTAIN LISTER
And?...
DETECTIVE ATWOOD
And what?
CAPTAIN LISTER
Get over it.
DETECTIVE ATWOOD
I made him an offer. I'm not going
to give him one red cent more.
CAPTAIN LISTER
I hear what he's asking for, you
could take out of pocket change. Do
that and go on with your life.
DETECTIVE ATWOOD
I couldn't live with myself if I
did.
CAPTAIN LISTER
I'll spread your work among the
other guys and the FBI will be here
on thursday...
(motions to the pictures)
... they'll take over this case.
DETECTIVE ATWOOD
Please, these are my cases. Nobody
knows them like me. Don't give them
away and don't give the Thumbprint
Killer to the FBI. He's killed
people in twelve other states, let
them fuck up those investigations.
This one's mine.
(CONTINUED)
39.
CONTINUED: (3)
CAPTAIN LISTER
(opening the door to
leave)
You heard Meeks escaped?
DETECTIVE ATWOOD
Yeah.
CAPTAIN LISTER
Do you want a detail on you in case
he comes after you?
DETECTIVE ATWOOD
I can take care of myself.
CAPTAIN LISTER
You're a good cop, Tracy, I don't
want to lose you, but you have to
help me if you want me to help you.
INT. HALLWAY Ñ CRIME LAB Ñ AFTERNOON
Atwood is waiting for an elevator. It arrives. The doors
open. The car is empty.
INT. ELEVATOR Ñ AFTERNOON
Atwood gets in and presses the key for her destination, then
slumps into a corner for the ride. The doors close. The
elevator begins to move.
All at once Atwood screams. Her pent-up anger and frustration
rip the air and she goes nuts.
She punches the wall of the elevator, kicks it, throws
herself to the other side, bangs her head against that wall,
punches it, kicks it, all the while screaming.
Then the tears come. The screams stop and she settles upright
against the back wall, where she strikes her chest repeatedly
with the flat of her closed hand.
DETECTIVE ATWOOD
What is wrong with me? What is
wrong with me? What is wrong with
me?
EXT. MURDER HOUSE Ñ NIGHT
It's raining. The yellow Police tape that still circles the
yard snaps in the wind.
(CONTINUED)
40.
CONTINUED:
Up the driveway, out of sight of all the other homes, there's
a movement at the side door of the house.
A closer inspection reveals that it's Detective Atwood. From
under her umbrella she studies her surroundings and as if
she's speaking to the killer, she speaks to herself.
DETECTIVE ATWOOD
Did you choose them because of
where they lived or how they looked
or what jobs they had? Or did you
just pick them because at the
instant you saw them, you had
decided to kill someone? The side
door was perfect. No one could see
you pick the lock.
With a key she lets herself in.
EXT. STREET Ñ NIGHT
Parked against the curb opposite the driveway of the Murder
House is an old green Pontiac Convertible with the top up.
The driver's window is down and from inside a WOMAN, late
20's, is watching the house.
INT. MURDER HOUSE Ñ NIGHT
Atwood stops in the PANTRY almost in the exact spot where Mr.
Brooks stopped.
The quiet is filled by the rain drumming on the roof. The
wind rattles the windows.
DETECTIVE ATWOOD
How did you know where they were in
the house?
She steps into the KITCHEN. On the way across she bumps into
a chair.
DETECTIVE ATWOOD
It's darker tonight than it was on
your night. But still how did you
manage not to bump into the
furniture? Did you have a little
light? That would be too dangerous.
I'll bet you were in the house
before.
(MORE)
(CONTINUED)
41.
CONTINUED:
DETECTIVE ATWOOD (CONT'D)
So I should ask the neighbors if
they saw a meter reader around the
house or a telephone repairman or
someone from the gas company.
These musings take her through the LIVING ROOM to the
entrance of the HALLWAY where she pauses and looks both ways.
DETECTIVE ATWOOD
Once again, how did you know where
they were? Did you check the rooms
before you found them? She had his
semen in her vagina, they had just
made love, did you hear them or was
there a light on?
She steps into the HALL.
DETECTIVE ATWOOD
And when did you bag the gun?
Because even though I'm sure you're
an expert at it, there's still a
chance of noise from the plastic.
She continues down the HALL to the BEDROOM.
DETECTIVE ATWOOD
Was the door open or did you have
to open it?
She opens the door and goes in.
DETECTIVE ATWOOD
Were they asleep or awake? Was the
light on, or did you turn it on?
Because I know you, you wouldn't
risk a shot in the dark.
She turns on the overhead light.
DETECTIVE ATWOOD
Too bright. What if it wasn't that
light that was on, but this one?
She turns on a bedside light and goes back to the door and
turns off the overhead.
If the dance Couple were on the bed and their blood was not
on the wall, the room would look exactly the way it did when
Mr. Brooks said 'hello'.
(CONTINUED)
42.
CONTINUED: (2)
DETECTIVE ATWOOD
That's better... What thrill do you
get by killing people? Is it
sexual, is it hate, is it power? Do
you feel remorse? Probably that
part of your brain doesn't exist.
Do you have emotions of love or
affection or joy? Or have you
learned to fake them so you won't
stand out in a crowd.
She's at the window now, feeling the curtains.
DETECTIVE ATWOOD
What if these are stuck closed
because you yanked them closed?
Which means they were open when you
came into the room.
She separates the fabric and looks out the rain-streaked
window at the four story building across the alley. There are
lights on in almost all the apartment windows.
DETECTIVE ATWOOD
If Mr. and Miss Normal made love
with the curtains open and the
lights on, someone in that building
noticed them and may have seen you.
She allows the fabric to drop back into place and turns to
look at the bed.
DETECTIVE ATWOOD
Was that what you were angry about?
INT. APARTMENT BUILDING Ñ NIGHT
Moving slowly across a neutral colored wall.
DETECTIVE ATWOOD (O.S.)
Thank you for your time.
A door is closed. We come to the corner and are looking down
a HALLWAY at Atwood coming toward us. We move to her and
arrive just as she raises her fist to knock.
Before she can, the door opens and she and Mr. Smith who is
on his way out of his Apartment are surprised that the other
one is suddenly there. Each one takes a half step back.
Phwap! The manila envelope that was wedged under Mr. Smith's
left arm hits the floor.
(CONTINUED)
43.
CONTINUED:
MR. SMITH
Oh! You scared me.
DETECTIVE ATWOOD
I'm sorry...
(bends down and picks up
the envelope)
... I was about to knock. I'm
Detective Atwood with the Chicago
Police.
MR. SMITH
(accepting the envelope)
Thank you.
Through the open door, Atwood can see Mr. Smith's camera on a
table and the collapsed tripod leaning against the wall.
DETECTIVE ATWOOD
Are you a photographer...
(glances at her list)
Mr. Baffert?
MR. SMITH
No... eh, it's kind of a hobby, I
just started.
DETECTIVE ATWOOD
I don't know if you're aware but
there was a murder...
MR. SMITH
Oh, yes in the house across the
alley...
DETECTIVE ATWOOD
Did you happen to see anything
unusual or suspicious that night
around that house? Anything at all?
Mr. Smith puts on his thinking expression and pauses a little
bit before:
MR. SMITH
No... I wondered that when I heard
what happened, but... no.
(looks at his watch)
I'm sorry, I'm meeting someone and
I don't want to be late.
He moves into the Hallway closing the door behind him.
(CONTINUED)
44.
CONTINUED: (2)
DETECTIVE ATWOOD
Here's my card, if you hear
anything or remember anything.
MR. SMITH
(taking the card)
I wish I could be of more help, but
sorry.
Watching him walk away amid the crinkle of his raincoat,
Detective Atwood, maybe because of her woman's intuition or
maybe because she's a good cop, wonders what is in that
manila envelope under his arm.
The thought is gone almost as soon as it comes and she faces
about to the next door.
EXT. STREET Ñ NIGHT
Hunched against the rain, Mr. Smith is acutely aware of the
traffic. His eyes strain to see the Occupants of each passing
car. He doesn't give a second thought to the older non-
descript Toyota parked against the far curb.
INT. TOYOTA Ñ NIGHT
Mr. Brooks is in the driver's seat. Marshall is in the back.
They're both tracking the progress of Mr. Smith.
MR. BROOKS
He looks clean. He looks like he's
alone.
MARSHALL
No, I'm telling you he wants to do
this.
MR. BROOKS
I guess I should turn around and go
pick him up.
MARSHALL
Nah. Just honk. Maybe he'll get
killed crossing the street and save
us the mess of doing it.
EXT. STREET Ñ NIGHT
Honk!! Honk!! Mr. Smith looks around. He's not sure that
sound was for him. But when the Toyota honks again and
flashes it's lights, Mr. Smith waves and splashes to the
center of the street.
(CONTINUED)
45.
CONTINUED:
Even though he stops to let it pass, a car sounds its horn
and swerves to avoid him. Mr. Smith crosses behind the Toyota
and opens the passenger door.
INT. TOYOTA Ñ NIGHT
Mr. Smith flops into the seat.
MR. SMITH
Woof! It's really coming down out
there.
MR. BROOKS
They say it'll be sunny tomorrow.
Mr. Smith fumbles with the buttons and zipper on his
raincoat.
MR. SMITH
I never trust those guys, when they
say it's going to be clear it
always rains and when they say it's
going to rain, it's sunny.
He comes up with the manila envelope.
MR. SMITH
Here's what you asked for.
Mr. Brooks takes it and hefts it.
MR. BROOKS
The pictures and the memory card
all here?
MR. SMITH
Yeah.
MR. BROOKS
You and I both know that not all
the pictures are in here and you
made a copy of the Memory Card,
isn't that so?
MR. SMITH
But you understand my position.
Mr. Brooks favors him with a wolfish smile.
(CONTINUED)
46.
CONTINUED:
MR. BROOKS
Yes, I do. But it's my hope that
once you get to know me better
you'll feel comfortable in giving
me all that I've asked for.
MR. SMITH
That sounds fair. Oh, I almost
forgot. I thought you might be
interested in this.
His hand comes forward with a card.
MR. SMITH
It's the policewoman who's looking
for you.
Marshall snaps forward from the back seat.
MARSHALL
Wow! We've never known anyone who's
looking for us before.
Mr. Brooks pinches the rectangle of paper away from Mr. Smith
for a closer view.
MARSHALL
We've got to find out everything
there is to know about this woman.
MR. BROOKS
This is too close, Marshall, too
damn close.
Mr. Smith interrupts Mr. Brooks's focus on Detective Atwood's
card.
MR. SMITH
So, what do we do now? What's the
plan for the evening?
Mr. Brooks slips the envelope under the seat and starts the
car.
MR. BROOKS
We drive around until we see
someone we think we might enjoy
killing.
MR. SMITH
Really? That's it? I thought you
might already have someone in mind.
(CONTINUED)
47.
CONTINUED: (2)
MR. BROOKS
I don't enjoy this, Mr. Smith. I do
it because I'm addicted to it. And
before you entered my life I had
vowed I would never kill again. So
this is your party, you can chose
anyone you want and we'll do it
together.
MR. SMITH
Can it be someone I know?
MR. BROOKS
You never kill someone you know.
That's the easiest way to get
caught.
EXT. STREET Ñ NIGHT
The Toyota enters the traffic.
INT. APARTMENT BUILDING Ñ NIGHT
An older WOMAN in a Stewardess uniform is standing in the
doorway of her apartment. Atwood is in front of her in the
HALL.
STEWARDESS
I wasn't in town that night, my
roommate was, maybe he saw
something.
DETECTIVE ATWOOD
May I speak to him?
STEWARDESS
He's on his way to Tokyo now, he's
also a Flight Attendant.
DETECTIVE ATWOOD
Did the victims ever leave the
curtains in the bedroom open?
STEWARDESS
All the time. I don't know if they
thought we couldn't see them
"fucking" or they didn't care.
(CONTINUED)
48.
CONTINUED:
DETECTIVE ATWOOD
Here's my card, could you ask your
roommate to call me when he gets
back, the people at that number
will find me any hour of the day or
night.
STEWARDESS
I won't be here, but I'll leave him
a note.
EXT. STREET Ñ NIGHT
Mr. Brooks' Toyota is cruising in the flow of traffic.
MR. BROOKS (V.O.)
... maybe I already know how to
pick the locks on the house, if I
don't...
INT. TOYOTA Ñ NIGHT
MR. BROOKS
... I buy one of those locks and I
practice on it, same with the
alarm... some I know how to bypass,
some I have to study.
MR. SMITH
You don't mind me asking these
questions?
MR. BROOKS
No. This is your first time, you're
interested. And you should be if
you're...
A neutral-colored PICKUP swerves out of the next lane into
Mr. Brooks' lane.
MR. SMITH
Jesus Christ!!
Mr. Brooks is forced to slam on his brakes to avoid running
up the PICKUP'S tailpipe.
HOONKK!!! Mr. Brooks angrily lays on the horn.
The brake lights of the PICKUP flash in response causing Mr.
Brooks to brake again.
(CONTINUED)
49.
CONTINUED:
MR. SMITH
Fuck him!! It was his fault!! What
an asshole!!
MARSHALL
(leans forward)
Maybe Mr. Smith would like to kill
the driver of the pickup.
MR. BROOKS
(to Mr. Smith)
What about the driver of the
pickup? What if we killed him?
MR. SMITH
Oh, fuck, yes!! I've always wanted
to kill someone who fucked with me
in traffic.
The PICKUP makes a right onto a side street. Mr. Brooks
follows.
MR. BROOKS
Do you want to kill the driver of
the pickup or the owner, they may
not be the same.
MR. SMITH
The driver.
MR. BROOKS
Okay we'll follow until we get a
look at him, or her; would it
bother you to kill a woman?
MR. SMITH
No. An asshole's an asshole.
Mr. Brooks begins to slow down.
MR. SMITH
What are you doing?
MR. BROOKS
The asshole shouldn't know we've
decided to follow him, or her.
EXT. FOUR STORY APARTMENT BUILDING - NIGHT
Detective Atwood is on her way out the Outer Door when the
hair on the back of her neck stands on end.
(CONTINUED)
50.
CONTINUED:
Footsteps can be heard running toward her through the rain.
Her hand goes under her jacket and comes out holding a Glock
9mm.
She sidesteps out of the light into the grayness at the edge
of the doorway.
Now she sees the RUNNER. A hood hides the face. She can't
tell if it's a Man or a Woman.
Detective Atwood thumbs the Glock's safety to the 'off'
position.
The Runner passes, white breath coming from an unseen mouth.
She waits while the Figure recedes, then with the gun still
in hand she fishes into a pocket for a cell phone and heads
in the opposite direction.
A finger speedials a number. After a second ring a:
MALE VOICE
(answers)
Yes?
DETECTIVE ATWOOD
(puts the phone to her
ear)
It's Tracy. Can you carve out some
time for me tonight?... I'll be
home in an hour and a half. I'll
see you there.
The phone is shut, the umbrella unfurled and the darkness
swallows her up.
EXT. MINI MART Ñ NIGHT
The neutral-colored Pickup is parked in front. The DRIVER
gets out.
INT. TOYOTA Ñ NIGHT
It has stopped at the curb just beyond the Entrance to the
Mini-Mart parking lot.
Mr. Brooks and Mr. Smith watch the DRIVER come around the
front of another car before entering the store.
The light reveals the Driver to be a tall middle-age preppie
guy with close cropped dark hair and dark-rimmed glasses.
(CONTINUED)
51.
CONTINUED:
MR. BROOKS
Would you recognize him if you saw
his driver's license picture?
MR. SMITH
Yeah.
MR. BROOKS
I've memorized the license number,
you write it down. When you get
home go on the Internet and find
out everything you can about this
guy.
MR. SMITH
We aren't going to kill him
tonight?
MR. BROOKS
No. We could, but then we wouldn't
be in control. We could leave loose
ends, and we both know the danger
of that.
MR. SMITH
(squints at the Pickup's
license)
I got it.
MR. BROOKS
Look at me.
Mr. Smith does.
MR. BROOKS
Close your eyes. What's the number?
MR. SMITH
VF... eh...
Mr. Smith opens his eyes and grins sheepishly.
MR. BROOKS
Don't feel bad, I've been doing
this a long time...
(he points to a holder on
the dash)
Pen, paper. Write it down.
MR. SMITH
(copying the number)
What was your first time?
(CONTINUED)
52.
CONTINUED: (2)
MR. BROOKS
You really don't want to know that
much about me, Mr. Smith.
INT. INDOOR POOL Ñ NIGHT
The lane lines are in place.
Detective Atwood is the only one in the water. Up and down
she goes with a long smooth stroke flipping the turns. She's
not swimming for pleasure, she's working out.
The underwater lights cast rippling shadows on the walls and
ceiling and since they are the only illumination, the room
feels spooky.
Atwood's fingers touch the wall. She raises her head to check
her time, then takes off her goggles.
Hanging onto the gutter she tries to catch her breath, lowers
herself under the surface, blows a lungful of bubbles, comes
up to face LARRY, a Man slightly younger than she is, in a
beautiful suit, perched on the edge of the deck looking down
at her.
He has a dress on a hangar over one shoulder and a pair of
shoes dangling from the fingers of his other hand.
DETECTIVE ATWOOD
Hi.
LARRY
Hi. I brought a dress and a pair of
shoes. I thought we could leave
from here.
DETECTIVE ATWOOD
Great idea.
She lifts herself to him and they kiss.
INT. EXCLUSIVE SUPPER CLUB Ñ NIGHT
Detective Atwood and Larry are at a balcony table overlooking
a well-populated dance floor. The Music is 40's and 50's
performed by a live BAND.
LARRY
... I gave him my driver's license,
my student ID, he didn't look
anything like me, luckily they
never checked.
(CONTINUED)
53.
CONTINUED:
DETECTIVE ATWOOD
I did something like that except I
was the one who took the test. It
wasn't math, a friend of mine was a
theology major and needed a second
language to get into the Master's
program...
LARRY
She started her career in theology
with a lie?!
DETECTIVE ATWOOD
Isn't that what all theology is
based on?
LARRY
Did you pass the test?
DETECTIVE ATWOOD
Oh yeah...
LARRY
Don't tell me she ended up as
Mother Teresa or the Pope.
DETECTIVE ATWOOD
No, she realized very quickly there
wasn't enough money in religion for
her, the last I heard she'd written
a diet book that was very
successful.
LARRY
She stayed in religion.
Atwood smiles, her fingers find Larry's and they intertwine.
The view floats over the balcony.
As it slowly drops, the PEOPLE on the dance floor, Couple by
Couple, disappear until there are only three Couples left,
one of them is Atwood and Larry. Her head is on his shoulder.
It's a slow dance.
Larry is very good and wherever he leads, Atwood easily
follows. The lights begin to dim and we move in.
Larry touches his lips to Atwood's neck. She arches back and
he kisses her neck again and again.
(CONTINUED)
54.
CONTINUED: (2)
His lips move up and find hers, and we are now close on the
kiss. Gently the lips separate and we slowly retreat.
Looking into her eyes, Larry traces her lips with a finger,
then replaces that finger with his tongue.
His lips brush a cheek, down her neck to where it meets her
shoulder, his teeth close softly on the muscle, by now we are
far enough away to realize that Atwood and Larry have no
clothes on and we are:
INT. HALLWAY - DETECTIVE ATWOOD'S CONDOMINIUM Ñ NIGHT
What light there is, is coming from a room we can't see.
Larry nibbles at Atwood collarbone, kisses a breast, strokes
his hands down her sides. She shivers. He brushes his lips
back and forth across her stomach and then down to where the
flesh of her belly meets her pubic hair.
She's watching all of this in a mirror on the opposite wall.
Then he sinks to his knees and buries his head between her
legs. From low in her throat, Atwood moans. We lose sight of
the Couple as we move around a corner.
INT. BEDROOM Ñ DETECTIVE ATWOOD'S CONDOMINIUM - NIGHT
It's dark. Atwood is propped up against the headboard, the
sheet pulled up over her breasts.
The door to the BATHROOM opens. Larry dressed in his suit,
minus the tie, comes out, kneels on the bed and kisses her.
LARRY
Thank you, this was wonderful.
DETECTIVE ATWOOD
For me too.
LARRY
I'll see you then?
DETECTIVE ATWOOD
I'd like that. The money is in the
usual place.
LARRY
It's not just the money, Tracy. I
like you.
(CONTINUED)
55.
CONTINUED:
DETECTIVE ATWOOD
I like you too, Larry. Send me a
bill for the dress and the shoes.
LARRY
I will. Good-night.
DETECTIVE ATWOOD
Good-night.
EXT. MR. BROOKS' CERAMICS STUDIO Ñ NIGHT
The rain is muffled by the trees.
Move slowly toward the Building then up the side to peek
through the narrow window that circles just below the roof
line.
In the center of the room, the kiln relieves the darkness
with a yellow red glow whose rim touches a slash of white
light coming from under a door tucked in a corner.
INT. CERAMICS STUDIO Ñ NIGHT
We creep through the white light across the floor that's
littered with splashes of paint and smears of clay to the
office door and peer under it.
In front of us are chair casters and two bare feet and legs.
MARSHALL (O.S.)
I think that was right. Go back.
MR. BROOKS (O.S.)
We're in.
MARSHALL (O.S.)
With the taxes we pay, you'd think
they could make it more difficult
to hack into the Police personnel
files.
We tip toe under the door.
INT. OFFICE - CERAMICS STUDIO Ñ NIGHT
It's crammed with file cabinets. Sketches for pottery pieces
are taped to the walls along with photos of Mr. Brooks, Jane
and Emma.
(CONTINUED)
56.
CONTINUED:
Mr. Brooks, clad only in a T-shirt and underwear, is sitting
in front of a computer. Marshall, dressed as he usually is,
is in a chair at his side.
They are both staring at the monitor where on one side of the
screen is Detective Atwood's Police ID photo, on the other
side of the screen, Mr. Brooks is scrolling through her
personnel file.
MR. BROOKS
.... Huh... her father's Gerald
Atwood, why does that ring a bell?
MARSHALL
Someone you did business with,
someone we killed?
MR. BROOKS
Not someone we killed... MBA...
College of William and Mary...
she's been a cop for eleven
years... Married Doctor Carlson,
divorced Dr. Carlson, married Jesse
Vialo... restaurateur... separated
from Jesse Vialo, sued for support
by Jesse Vialo, seeing a shrink
because of Jesse Vialo...
MARSHALL
Excellent fitness report though.
MR. BROOKS
She caught the Hangman, the guy
that escaped the other day...
MARSHALL
Oooh... She's caught a lot of
people... And look here, this isn't
the first time she's been hunting
for us.
MR. BROOKS
I wonder what the deal was with her
and Jesse Vialo?
Mr. Brooks taps a key that minimizes Atwood's file then drags
it to the right hand corner. In the middle of a key stroke it
hits him:
(CONTINUED)
57.
CONTINUED: (2)
MR. BROOKS
Ahhhh... now I remember. Her
father, Gerald Atwood, never did
business with him but Emma and I
met him a couple times, big
political fundraiser. He owns or
owned one of the largest insurance
groups in the country and a lot of
other stuff.
Tap, tap, tap. Jesse Vialo's Driver's license comes up.
MR. BROOKS
Jesse Vialo... Good looking, a
little younger than she is.
MARSHALL
Younger, restaurateur...
(snorts)
She married him on the rebound from
the doctor and I'll bet he married
her for her money and her
connections.
MR. BROOKS
The old man being rich doesn't mean
she's rich. Maybe he's one of those
guys who would rather give it to
the Opera than to his kids.
MARSHALL
Wouldn't she have to declare any
outside income and holdings to the
Police?
MR. BROOKS
Hmmm...
He restores Atwood's file. Tap, tap, tap, tap. Stop. The Men
study the screen then look at each other.
MR. BROOKS
The Opera didn't get much.
MARSHALL
Why would a woman with her
education and worth 60 plus million
dollars and probably more to come,
want to be a cop?
MR. BROOKS
I like that about her.
(CONTINUED)
58.
CONTINUED: (3)
MARSHALL
You're such a fucking snob, Earl.
You like her because she's rich.
MR. BROOKS
No, I like her because she found
something that's hers. It's not the
family business. And she's good at
it. I'd like Jane to find something
that's hers and that she could be
good at.
MARSHALL
That's exactly why Atwood scares
the shit out of me. She's a cop who
doesn't need the money and she's
looking for us. That's one fucking
dangerous human being.
MR. BROOKS
The fact that you're not wrong
doesn't make me admire her any
less.
INT. SUBURBAN STARBUCKS Ñ MORNING
At a table the Asian Attorney is going over a brief. There
are two foamy coffees in to-go cups in front of her.
Detective Atwood arrives at the table.
DETECTIVE ATWOOD
Hi...
She reaches out, the Women shake hands.
ASIAN ATTORNEY
Hi. I got you a Latte.
DETECTIVE ATWOOD
(sitting)
Thanks and thanks for meeting me
here.
ASIAN ATTORNEY
We got an injunction to quash the
subpoena for your work records
yesterday. They've already
appealed.
DETECTIVE ATWOOD
That doesn't help me does it?
(CONTINUED)
59.
CONTINUED:
ASIAN ATTORNEY
Your father has a lot of political
muscle.
DETECTIVE ATWOOD
My father does nothing for nothing.
ASIAN ATTORNEY
I understand. If you're willing to
play the game and ride a desk for a
year; I think we can settle for one
two five, one five.
DETECTIVE ATWOOD
No desk.
ASIAN ATTORNEY
Then the only other option is
money. Tell me how high you are
willing to go.
DETECTIVE ATWOOD
One five.
ASIAN ATTORNEY
I can try. If I were on the other
side I'd hold out for more.
DETECTIVE ATWOOD
How much more?
ASIAN ATTORNEY
Give me a cap and that's how high
we'll go.
DETECTIVE ATWOOD
Try and get a number out of them
first. I want to know what ballpark
I'm playing in and if it's a lump
sum, is it less than something
that's paid in installments.
ASIAN ATTORNEY
I'll call them today.
Atwood stands up with her coffee.
DETECTIVE ATWOOD
I'd like to get this done as soon
as possible.
(CONTINUED)
60.
CONTINUED: (2)
The Asian Attorney also stands and gathering her papers and
coffee.
ASIAN ATTORNEY
Are you working on the Thumbprint
Killer this time?
DETECTIVE ATWOOD
Yeah.
ASIAN ATTORNEY
That one's creepy to me. The doors
are locked, the alarms are armed
and the people are dead. It makes
you feel like you're not safe
anywhere.
Atwood nods and opens the front door then follows the
Attorney out.
EXT. SUBURBAN STARBUCKS Ñ MORNING
DETECTIVE ATWOOD
Where are you parked?
ASIAN ATTORNEY
I'm right over there.
DETECTIVE ATWOOD
I'm down the street. Call me as
soon as you have something.
She starts to walk away.
ASIAN ATTORNEY
Oh, Tracy... I almost forgot, your
husband says there's a picture of
him holding some trophy that you
still have.
DETECTIVE ATWOOD
He took all those pictures. He took
everything.
ASIAN ATTORNEY
He claims it's his favorite picture
and you put it up where you store
your suitcases.
DETECTIVE ATWOOD
I'll look.
(CONTINUED)
61.
CONTINUED:
ASIAN ATTORNEY
I know it's petty, but you're going
through a divorce.
EXT. SIDEWALK Ñ MORNING
Atwood strides toward her car. The PEDESTRIAN traffic is
light. It's too early for the stores to be open.
Up ahead a BROWN VAN is idling at the curb, the sliding side
door is open. Atwood can see inside. Empty except for some
furniture blankets.
The Person in the Driver's seat turns to look into the back.
It's the Woman who was watching Atwood outside the Murder
House. Her hands are unseen in leather gloves.
She looks up and their eyes meet. Two strangers. The contact
is instantly broken.
Atwood takes a deep breath and smiles. After the rain, the
air is brisk and clean. It's good to be alive.
SLAM!!! Atwood is body-checked by a Man who springs out of
the recess of a doorway. His arms wrap around her, she's
lifted off her feet and the Man throws himself and her into
the Van.
INT. BROWN VAN - MORNING
Oooff!! The wind is knocked out of Atwood when she lands left
shoulder first on the furniture blankets, the Man on top of
her.
The Man is Thorton Meeks, the Hangman, six feet, a solid two
hundred pounds. He's also wearing tight leather gloves.
EXT. STREET Ñ MORNING
The Brown Van accelerates fast away from the curb.
INT. BROWN VAN Ñ MORNING
His body crushing hers, Meeks kisses Atwood's cheek.
MEEKS
Surprise, surprise, Tracy. I told
you I was coming back to get you.
He frees his right hand and pulls his gun.
(CONTINUED)
62.
CONTINUED:
MEEKS
I already know where I'm gonna hang
you. But first I'm gonna watch
her...
(indicates the Driver)
... have some fun with you, then
she's gonna watch me have some fun
with you.
He kisses her again and puts the gun to Atwood's head.
MEEKS
Now, don't move.
He raises up and straddles her.
MEEKS
You know the drill, I'm gonna put
the cuffs on.
With his left hand he fishes a pair of handcuffs from a back
pocket and snaps them on Atwood's right wrist.
MEEKS
Now the left.
He rolls Atwood on her back and with the chain of the
handcuff pulls her right arm toward her left.
All Meeks' talk has allowed Atwood to catch her breath and
suddenly she jerks her head up into the gun and screams at
the top of her lungs.
DETECTIVE ATWOOD
SHOOT ME!!!
At the same time she pulls hard against the handcuff with her
right wrist. A startled Meeks is thrown off balance. The gun
comes away from Atwood's head.
Her left arm now free, Atwood swings her palm with all of her
might into Meeks' right ear. POP!! His eardrum breaks.
Aaaggh!! He instinctually reaches to cover the damaged ear
with his gun hand.
The Driver doubles around to see what's happening. From
outside, HOONNNKK!! The Driver's attention returns to the
road.
(CONTINUED)
63.
CONTINUED: (2)
Atwood swings again. This time she snags the barrel of the
gun and using it as a lever bends Meeks' hand back on the
wrist.
BLAM! The gun goes off. Neither one of them is hit.
At the same time Atwood pulls hard on the handcuff that Meeks
is holding in his left hand and twists into him. This
dislodges Meeks and he's off of her.
Snarling like animals they fight for the gun.
CRACK! Atwood's leverage breaks Meeks' trigger finger. His
grip loosens on the weapon. She pulls it out of his hand.
A quick push skitters it across the floor. It drops through
the open side door into the street.
Atwood rolls away and reaches for her ankle gun. Now it's
Meeks' turn. A sharp tug on the chain of the handcuff stalls
her motion.
He flicks his other arm and a switchblade is delivered into
his right hand. Snap!! The blade comes out. Atwood is
reaching again for her ankle gun. She sees the flash of metal
and flings her head back.
Luckily all she receives is a deep gash above her right eye.
Blood immediately begins to cascade over her brow.
Meeks grins and gives another sharp tug on the handcuff to
pull Atwood into the range of his knife.
With one foot Atwood kicks at him, with the other she pushes
off and propels herself backward to grab a handful of the
Driver's hair.
Atwood's weight hinges the Driver's head back until she's
looking at the ceiling. Her scream is equal parts pain and
surprise.
EXT. STREET Ñ MORNING
The Brown Van veers into the on-coming traffic. The Driver of
the car dead ahead swerves. The Van solidly clips the rear of
that car.
INT. BROWN VAN - MORNING
The sudden deceleration of that impact slingshots Atwood and
Meeks forward. She hits the back of the Driver's seat.
(CONTINUED)
64.
CONTINUED:
Meeks has further to go. He loses his hold on the handcuffs
and smashes into the passenger seat.
Her right hand now free, Atwood scratches for the gun on her
hip.
EXT. STREET Ñ MORNING
Careening across its lane, the Van sideswipes a parked car.
INT. BROWN VAN Ñ MORNING
That impact rips Atwood's hand out of the Driver's hair and
sends her sliding on her knees toward the side door.
On her way she unclips her gun and is bringing it out of her
holster when Meeks who has managed to hang onto the passenger
seat sees this and slams a foot into her chest.
Atwood is launched backward out the side door.
EXT. STREET Ñ MORNING
In slow motion Atwood flies through the air while at normal
speed the Van is leaving her behind.
SMASH! Butt first, Atwood hammers into the back window of a
parked car. The shattering glass breaks her fall.
Groggily she rolls out of the indentation. Gun still in hand
and blood covering one side of her face she slides off the
car to stand in the street.
The Van is nowhere in sight.
INT. EMERGENCY ROOM Ñ DAY
Captain Lister is watching a DOCTOR sew up the gash on
Detective Atwood's forehead.
CAPTAIN LISTER
We found the van in an underground
lot about two miles from where they
left you. It was stolen last night.
Detective Snyder comes in and hands a packet of photographs
to Atwood.
SNYDER
These are the women we have
pictures of who know Meeks.
(CONTINUED)
65.
CONTINUED:
CAPTAIN LISTER
Meeks and the Woman, none of the
Attendants remember seeing them.
As Detective Atwood begins to go through the pictures.
DETECTIVE ATWOOD
That chiropractor, Alvin Griffin,
who sold Meeks his steroids, he
might know where he is.
CAPTAIN LISTER
His phone's been tapped since Meeks
escaped. No contact that way so far
and he's sure not going to talk to
us.
DETECTIVE ATWOOD
What about a warrant to search his
house? Get me in the door and he'll
talk to me.
CAPTAIN LISTER
How's your divorce going?
DETECTIVE ATWOOD
I took your advice and told my
lawyer to settle.
Stretching out her arm to return the photos:
DETECTIVE ATWOOD
None of these is the woman in the
van.
DOCTOR
Whoa... I'm sewing up your head
here.
DETECTIVE ATWOOD
Sorry.
CAPTAIN LISTER
And your ego can handle that?
DETECTIVE ATWOOD
It doesn't like any of the other
choices.
CAPTAIN LISTER
Until Meeks is caught, Snyder is
with you.
(CONTINUED)
66.
CONTINUED: (2)
DETECTIVE ATWOOD
Nothing personal, Snyder.
(to Lister)
He's not part of our team.
CAPTAIN LISTER
He's there to protect you. And
listen to him, he's been alive
longer than you have.
SNYDER
I didn't volunteer for this,
Atwood.
CAPTAIN LISTER
The Parking Lot has a security
camera. We're checking the tape. If
Meeks and the Woman left in a car
we'll have a license number. You
have two days then I want a
progress report on your divorce.
DETECTIVE ATWOOD
I think I have all the pieces on
the Thumbprint Killer, I'm just not
looking at them the right way.
CAPTAIN LISTER
Okay, you have three days.
She leaves.
DETECTIVE ATWOOD
(smiles sweetly at Snyder)
Every babysitter I ever had loved
me.
EXT. DRUG STORE PARKING LOT Ñ NIGHT
In the scattering of vehicles Mr. Brooks' Toyota is hidden in
plain sight in a row of cars.
INT. TOYOTA Ñ NIGHT
Behind the wheel, Mr. Brooks is again wearing his Pottery-
Throwing clothes. Mr. Smith is in the passenger seat and
Marshall is leaning forward from the back.
They're all focused to varying degrees on the Entrance to the
store. Mr. Smith raises his watch for a look at the time.
(CONTINUED)
67.
CONTINUED:
MR. SMITH
Maybe he went home with someone
else.
MR. BROOKS
Can you still see his pickup?
Mr. Smith looks.
MR. SMITH
Uh huh.
MR. BROOKS
This is not the kind of guy who
leaves his pickup in an unguarded
Lot overnight.
The silence returns.
All three Men idly observe an old green Pontiac convertible
with a frayed top and paint peeling, come into the Lot and
park two spaces away facing them. We saw this car last
watching Atwood from outside the Murder House.
The headlights go off.
The Driver's door opens. The Woman who was with Meeks in the
Van steps out and hurries toward the Drug Store.
She of course means nothing to Mr. Brooks but in the brief
seconds the domelight is on, he catches sight of the Man in
the passenger seat. A memory tickles his brain.
He turns to Marshall.
MR. BROOKS
Where do we know that guy from?
MARSHALL
You really should pay more
attention to what you read, Earl.
MR. BROOKS
That's what I have you for,
Marshall.
MARSHALL
His picture was on the front page
of the paper a couple days ago
because he escaped from jail. He's
the killer they call the Hangman.
(CONTINUED)
68.
CONTINUED: (2)
MR. BROOKS
Ahh...
MARSHALL
Remember that cop you like, Atwood,
who's chasing us, she's the one who
put him away. I think his name is
Thorton Meeks.
Mr. Brooks cocks his head at the vague outline of Meeks.
MR. BROOKS
Well, well, well... What would life
be without surprises?
Mr. Smith who, remember, cannot hear or see Marshall,
straightens up.
MR. SMITH
There he is!
The Man they are waiting for is coming down the steps of the
store. On the way to his Pickup he takes off a Manager's
smock.
MR. SMITH
You know what's weird? I'll bet he
has all these plans of what he's
going to do tonight and tomorrow
and he doesn't know he will already
be dead and won't be able to do any
of them.
Mr. Brooks nods absently. The Drug Store Manager arrives at
his truck.
MR. BROOKS
I don't think I want to kill this
guy.
MR. SMITH
What?! But you promised we would!
Marshall smiles.
MARSHALL
Oh, I love what you're thinking.
MR. BROOKS
You have no idea what I'm thinking.
(CONTINUED)
69.
CONTIN