3ABC04 Könige der Welt (englisches Transkript)
| Transcribed by MLibby
Edited by Libby, Used with kind permission from Libby (www.chelonium.plus.com)
MLM-304 3ABC04 Closure
A cemetery. It's misty, perhaps early morning. Hollis walks slowly through the cemetery, past gravestones. She's carrying flowers.
HOLLIS voice over: I spend my days looking for reasons. The reasons people do what they do. It's my job, it's my way. I want to know why. Why it's like this. Why good people die.
She kneels by a gravestone. She's upset.
Fade to black.
We hear snoring. The scene opens in a cheap, twin-bedded hotel room.
Light streams through a window. Both beds are occupied. One man, Peter, sighs at the snoring. The other man, Rick van Horn, throws off the covers, sits up and switches on a bedside light. He gets up and walks across the room, treading on empty drinks cans. He switches on the TV.
PETER: Horn, what's up?
Rick indicates the snoring from the room next door.
Rick changes the TV channels, repeatedly. Then he throws the remote onto his bed. He puts on a bullet-proof jacket.
PETER: You OK?
Rick loads a handgun.
RICK: Just a little tired.
PETER: You sure?
Rick opens the door.
RICK: Thanks for asking, though.
He goes out and closes the door. Peter, who has remained in bed, raises an eyebrow. Then closes his eyes with a sigh. He hears the sound of a door being broken down next door and the occupant calling out.
SNORING MAN: Hey! Who are you!
There are two gunshots. Peter sits up and swings his legs over the side of the bed and sits there, listening. The door opens and Rick comes back in. He pulls a squashed bullet out of his bullet-proof jacket. His hands have blood on them. He throws the bullet to Peter.
Peter catches it then drops it quickly because it's still hot.
Rick peels off his jacket and picks up a cloth to wipe the blood off his hands. He's much happier. He sits down his bed and switches off the bedside light.
RICK: Silence is golden.
He settles down to sleep, gun by his side. Peter also gets back into bed.
Day. Detective Cooper and Hollis walk down the hotel corridor.
DETECTIVE COOPER: The manager heard two shots, just after midnight. One round passed through the victim and lodged in the headboard, leaving a very nasty exit wound. The victim himself got off a shot with a 38 we found next to the bed. We were still looking for the slug when we got word you were on the way.
They stop outside the hotel room. There's 'crime scene' tape across the doorway.
DETECTIVE COOPER: Some reason the FBI's interested in the death of an unemployed baker from Miami? My guys just wonder.
HOLLIS: One mystery at a time, Detective.
Hollis ducks under the tape. Detectives in the room stop talking and look at Hollis.
HOLLIS: Gentlemen. Is that his ID?
Detective Cooper picks up an ID card.
DETECTIVE COOPER: His name's Daryl Norcott. Has two daughters in Newark. According to them he was en route for a visit. Stopped off at the Lincoln Memorial.
HOLLIS: Armed with a .38.
DETECTIVE COOPER: Hotel like this? It's not unusual.
Hollis pulls back the sheet covering the body.
DETECTIVE #1: Somebody pulled a John Wayne Bobbit. Post mortem.
HOLLIS: It's not an uncommon mutilation.
DETECTIVE #1: Well, that's comforting.
He takes the sheet from Hollis's hands and covers up the victim again.
DETECTIVE COOPER: M.E. says it looks a big sharp knife, a hunting knife. One clean slice, no tearing. We were thinking - mob, maybe. Bolivian necktie sort of thing.
HOLLIS: If it was ritualistic they would have left it at the scene.
DETECTIVE #1: Maybe he stiffed some chippy.
HOLLIS: Whoever it is, I want to make sure he doesn't do it again.
Hollis becomes aware of the noise from the TV in the next room.
HOLLIS: What about the neighbors?
In the corridor, Hollis knocks on the door of the next room.
HOLLIS: Mr. Larkin? Special Agent Hollis, FBI. May we come in?
Hollis and Detective Cooper are in the room. The TV is still on loud. A man, a transient, sits on the end of the bed.
HOLLIS: Would you mind turning this down?
The transient turns the sound down. Now they can hear the conversation from the crime scene next door.
DETECTIVE #1: ... FBI's interested.
DETECTIVE #2: It's her. She asked for this case.
Hollis turns the TV volume up a little.
HOLLIS: Where's your room-mate?
The transient shakes his head.
HOLLIS: What's your name? I'm having trouble reading it here.
TRANSIENT: You know, truth is I forget her name.
HOLLIS: Two men were checked in here.
Hollis moves a chair in front of the transient and sits down, talking gently.
HOLLIS: Can you help us out?
TRANSIENT: OK. These two guys say they got three more days paid in advance, do I want their key.
HOLLIS: And you did.
Hollis notices something metal on the carpet. She picks it up and shows it to Detective Cooper.
HOLLIS: Right around a .38.
DETECTIVE COOPER: What's it doing in here?
HOLLIS: I believe we're looking for two suspects, not one.
A park on a sunny day. People are jogging, etc.
PETER: Montana. Montana's cool. We could become cattle ranchers.
RICK: Too many crazies.
RICK: Now there's a thought.
Rick picks up a rifle and watches people through the telescopic sight.
RICK: Imagine how different a day in the park would be, if you knew you were being watched by a thirty aught six.
Rick sights on a young woman playing with her dog. He pulls slowly back on the trigger. It clicks.
RICK: Yes sir, I want me some of that.
A computer screen. Hollis is comparing an artist's impression of Rick with police photos on the computer.
FRANK: You're working hard.
Frank sits on the edge of Hollis's desk.
FRANK: The hotel shooting. The baker.
Hollis switches the monitor off.
FRANK: How's it going?
HOLLIS: Fine. I have two suspects.
Frank indicates the artist's impressions.
HOLLIS: Courtesy of a local derelict. Fortified wine isn't exactly brain food. Two shots were fired. One apparently at the perpetrator, stopped by a Specter Shield A350 assault vest.
FRANK: What else?
HOLLIS: The killer was armored. Prepared. The blade work was highly evolved. We're looking here at an extremely organized night stalker and he's probably out there now preparing his next attack. pause What do you think?
FRANK: I'd like to see the crime scene, if that's OK.
A bar. A woman sits alone, smoking. Rick and Peter enter and walk over to her.
RICK: Drinking alone ain't good for you.
He sits next to her. Peter sits in a chair nearby.
WOMAN: Who says I'm alone?
PETER: We've got the next round.
WOMAN: Not interested.
She gets up but Rick pulls her back down.
Another woman, Joni, walks towards them.
JONI: Leave her alone.
Rick goes over to Joni.
RICK: You want some?
JONI: You want some? You're two hours late.
Rick kisses the woman who responds. Peter then pushes Rick away and he and woman kiss passionately. Rick puts his arms around them both, smiling.
The hotel room. Sounds of sexual activity can be heard from the other adjacent room.
FRANK: Any prints?
HOLLIS: There were hundreds of odd latents. Probably been years since this place was cleaned last. Our transient contaminated anything useful.
The sounds of sex are more obvious. Hollis slams her hand on the wall. The sounds stop. Frank raises his eyebrows.
HOLLIS: I know - it's natural.
She walks over to between the two beds.
HOLLIS: I found this slug, right here.
FRANK: Right in the open?
HOLLIS: Yeah. I guess they didn't think anyone would find it.
FRANK: Maybe they didn't care.
The sounds from next door have resumed. Hollis goes over to the wall and again slams her hand on the dividing wall.
HOLLIS: What do you mean?
Frank has a vision - of Rick's face, smiling, holding a gun.
HOLLIS: What do you mean - they didn't care.
FRANK: These two men use a stolen credit card to pay for the room. They gave their key to an indigent after the event. It's very risky. I'd even call it cavalier.
HOLLIS: They'd be aware of the consequences.
FRANK: Killing is a human impulse unchecked. There are killers who obey that impulse. As naturally, as casually as any human act.
HOLLIS: But there's got to be a reason.
Frank sees markings on the headboard of one of the beds - it's the bed Rick was sleeping in.
FRANK: An outlaw named John Wesley Harden once killed a man for snoring.
HOLLIS: There'd be a stressor. Some kind of compelling factor. There's got to be, there always is.
The markings are two dots for eyes and a curved line for a smiley mouth. They are gouged into the headboard.
FRANK: You won't solve this case looking for a reason, Agent Hollis.
HOLLIS: Everyone has a reason.
FRANK: What's yours?
Frank looks at Hollis, then back at the markings.
Night. Rick is in a car outside a Shop Fast store. In the car next to him is Joni.
RICK: Honey, let's go shopping.
In the back seat of the car, Peter zips up a bag containing a rifle. The three get out and walk over to the store.
fade to black
polaroid fade up
A monitor is showing the video from a security camera. Frank is watching it. He and Hollis are in the store. Frank points to one of the figures on the security video.
FRANK: This one's the leader, he's directing the whole show from here.
Hollis goes to stand in the store in the same position as on the video.
FRANK: You're talking to the others.
HOLLIS: I've got a clear line on all three casualties. But I'm completely exposed.
Frank checks the video.
FRANK: The shopper's down, it's not from your shot though. Some other man brought her down, the second man.
HOLLIS: What am I doing?
FRANK: Standing there.
HOLLIS: With an off-duty cop twenty feet away. What's this guy doing? He can't just be standing here talking.
Hollis goes over to the monitor.
HOLLIS: There - he shoots.
FRANK: No, he just took a hit. There again. Square in the chest.
The next few frames of the video.
FRANK: There, he shoots the cop.
The next few frames.
HOLLIS: What's he doing now?
FRANK: Eating candy.
Hollis walks over to the candy stand.
She lifts up the lid of one of the containers and takes out a wrapper. The candies have 'smiley face' markings on them as on the headboard in the hotel.
FRANK: We'll have a name, that's all. These guys are on a high, moving fast. Looking for their next high.
HOLLIS: I'm notifying area supermarkets.
Frank holds open an evidence bag for the candy wrapper.
FRANK: It won't be a supermarket, it'll be random, something that won't make any sense.
HOLLIS: Thank you. I'm notifying area supermarkets.
Hollis walks off.
FRANK: Agent Hollis. You requested this case.
Hollis stops and turns.
HOLLIS: Yes, I did.
HOLLIS: That's the question, isn't it? The same one I'm asking you.
A man, Kyle, is riding a bicycle through a wooded area. He's riding fast, then stops on the edge of a ravine. He takes out a map.
RICK: Hey, neighbor. Dead end?
KYLE: Yeah, you're not kidding.
Behind him are Rick, Peter and Joni.
RICK: I think the trail you're after is up there. Hey, you want anything? Food, water. We got plenty.
KYLE: No, thanks, I'll be OK.
JONI: You want to get high?
Note: The next scene starts with approximately four minutes with no dialogue.
FBI office. Hollis and others are working. The scene changes to much later - everyone has gone except Hollis. Her computer beeps and shows 'Fingerprint match'. She hits a key and the screen displays the record of Richard Van Horn. Under the heading 'Certificate of Release or Discharge from Active Duty' is shown 'Honorable discharge. No criminal record.'
Another desk. Frank switches on a desk lamp and puts a folder on the desk - the name on the folder is Emma Hollis. In the folder is a school 'Report of Counseling', and an FBI psychological evaluation.
Hollis switches off her monitor. She picks up a photo of the smiley face marking. She's tired.
Frank looks through more papers from Hollis's file:
'Agent Hollis often extends herself beyond the expectations ...'
Requested by Agent:
A 1995 school shooting in Delaware ...
A 1996 kidnapping in Washington ...
A 1997 murder of a family ...
A 1998 rape murder ...
A 1998 multiple murder ...
A 1995 double homicide ...
Hollis making a list. Victims: Norcott, cop, cashier, shopper.
There's a brief black-and-white scene of a hallway.
Frank is reading: '... of possible effects of her childhood trauma.' Frank clicks the mouse button.
Hollis is writing: Crime type - disconnected.
Black-and-white scene. A child lying in bed, her arm hanging over the side, a streak of blood running down her arm. A man, standing, looks back at another girl standing in the doorway, dressed in a nightgown.
Frank is using the computer, searing on NCIC National Crime Information Center for information on Michael Wynter. He finds a Metro Police record on the man, including his photograph. It's the man in the black-and-white scenes.
Hollis is writing another list: Weapons - gun, rifle, knife.
A black-and-white scene of the girl in the nightgown.
Frank looks at Michael Wynter's record - 1st degree murder of Melissa Hollis, October 21st 1978.
Hollis is now becoming distressed.
Black-and-white view of Wynter walking towards the girl in the nightgown, walking past her.
Hollis writes: Why?
Black-and-white view of girl, fingering her bracelet.
Hollis fingering the same bracelet.
The door opens. Frank enters.
FRANK: I knew I'd find you here.
Hollis pulls herself together.
HOLLIS: I've been running the prints off the candy wrapper.
HOLLIS: I got a name. Rick Van Horn. Average IQ. High school education. Nothing past that. Eight years military education, three years special forces. His stepfather did manage a supermarket for a while.
HOLLIS: None. Which is meaningful, suggesting a release of over-controlled anger.
FRANK: We want to describe men like this with words that can make us feel we can know them.
HOLLIS: If we know them, we can find them.
FRANK: Twenty years ago you watched a man named Michael Wynter kill your sister. Two decades later you still wonder, could it have been different? Could she still be alive today? Why did it happen? You request cases like this on that anniversary. Hoping for answers. But no amount of detective work can close your sister's murder. Or tell you why. That all ended the day that Michael Wynter killed himself.
HOLLIS: I don't need you to profile me or to tell me what I hope for.
FRANK: You want reasons. You want to make sense of this case and hoping that there is sense to be made of what happened to your sister. You're looking for logic that isn't here.
HOLLIS: So are you.
FRANK: Take yourself off this case. I've been there. Walk away.
HOLLIS: If you want to apply your psychiatric talents, do it to psychos like Rick Van Horn. I don't need your help.
She stands, picks up her belongings, and leaves.
Night. Woods. Around a camp fire are sat Rick, Peter, Joni and Kyle.
KYLE: No, man, no. Bungee jumping is not hardcore. I mean, as for freefall with a climbing rope. 60 to 0, point three seconds.
JONI: That's wild.
KYLE: It's freedom. And once you accept that facing falling means facing death, you can climb up, jump off anything. Control the conditions that make you afraid, you're free, man.
RICK: So you're really hardcore, uh, Kyle?
Kyle smiles. Rick moves over and kneels by his side, picks up an apple.
RICK: Three grand in your pocket, if you shoot this apple off my head.
KYLE: Yeah, right.
Kyle doesn't take this seriously. Rick drops the apple, pulls a wad of notes from his pocket, then hold out his handgun to Kyle.
Rick stands against a tree, the apple on his head. Kyle aims the gun, hesitates, then lowers his hand.
KYLE: No way.
RICK: Three grand.
Rick is uncertain. Peter and Joni watch him, calmly. Kyle takes aim again.
RICK: Take a slow, deep breath. Then fire.
The bullet travels from the gun and hits with a squelching sound. Rick laughs.
KYLE: Hey, man, you OK?
Kyle runs over to Rick. Rick takes the gun.
RICK: That felt great, didn't it? The power, the control, life and death in your hands. You're God.
Kyle laughs with relief.
RICK: Double or nothing.
KYLE: No, man, I'd done.
RICK: No, I meant it's your turn.
KYLE: No thanks, man.
Rick has moved to stand where Kyle had taken aim. He fires the gun into the ground at Kyle's feet.
RICK: You run, I blow your stomach open. Against the tree. Apple on head, kid.
KYLE: I don't want to do this, man.
Rick puts a bullet into the gun.
RICK: You scared, Kyle?
RICK: That's exactly the wrong attitude. Control the conditions that make you afraid and you're free. That's what you said, right?
Kyle places the apple on his head. Rick takes aim.
RICK: Face death, you're free.
RICK: You're free.
fade to black
polaroid fade up
Day. Wooded area . A stretcher with a body bag.
SHERIFF: Kyle Riley. Died around midnight last night. We found his mountain bike over there. Now, we assume he transported it but we haven't found the car.
HOLLIS: It's probably been stolen.
SHERIFF: You say you know who did this?
Hollis crouches down and looks at an apple lying in the ground. She gets up and looks at the tree, now blood-stained.
HOLLIS: Anybody have a tape measure?
SHERIFF to officer: Give me a tape measure.
HOLLIS: How tall was Kyle Riley?
SHERIFF: Just under six feet.
Hollis using the tape measure on the tree.
SHERIFF: Not sure I know what you're doing.
FRANK: Agent Hollis.
Frank has just arrived. He walks over to her, noticing the apple with bullet holes in it.
FRANK: What happened here?
HOLLIS: I think they were playing some sort of game. One miss, one hit. One guess who was behind the trigger.
Frank stands with the tree behind him. He has a vision - Rick smiling, the apple on Rick's head.
FRANK: Van Horn is an expert shot. He was a military sniper.
HOLLIS: First shot wasn't at the victim. William Tell, but with two players. First up was Van Horn.
FRANK: I think you're right.
HOLLIS: He stood here. Excited. Like we saw on the videotape from the supermarket. Shoot, be shot. Random, wild. Chance. All to impress the girl.
FRANK: She's nothing to him. Nobody is.
HOLLIS: No. That's why they follow him. That's his power. And his power is their disease.
Hollis walks off.
A small store. Joni is trying on a ring. Then she notices a news broadcast on display TVs. The screen shows photos of all three of them. She turns and sees a cop at the counter. She goes over to Rick who is examining a guitar.
JONI: We're on TV. We're everywhere.
RICK: Would you calm down.
JONI: Peter went to get ice cream. You go find him. I'll get the truck.
Joni leaves the store. Rick puts the guitar on the counter. He seems relaxed.
Outside. Joni is walking down the street, then runs to the car.
JONI: What are you doing! Leave my car!
Their car is hooked up to a tow truck.
TOW TRUCK DRIVER: Tell it to impound.
Joni opens the back door of the car and pulls out a handgun. Unnoticed by her, a police car has emerged from a side street and stops. Joni goes over to the tow-truck driver.
JONI: Lower the damn car! Now! Now!
TOW TRUCK DRIVER: OK.
The cops are out of their car, guns aimed.
COP: Drop the gun, lady. Drop it!
Joni puts the gun on the tow truck and puts her hands up. Rick and Peter walk round the corner.
COP: Take it easy. Take it easy.
Rick starts to go over to Joni, but Peter pulls him back.
PETER: Whoa, whoa, we got nothing. It would never work.
As Joni is being handcuffed, she sees that Peter and Rick have disappeared.
Fredericksburg Police Department
Joni is sat at a table in an interview room. Her hands are cuffed. Hollis enters with a police officer.
HOLLIS to officer: Let's get those off.
The police officer removes the cuffs. Hollis sits down.
HOLLIS: That should make it easier to talk.
JONI: I've nothing to say.
HOLLIS: There's a problem with that, Joni. You're the one with the record. Not Rick, not Peter.
Frank is watching through the one-way window.
HOLLIS: You've done time twice. That makes this three strikes for you.
JONI: Just shoplifting and a little dope.
HOLLIS: I'm not saying the law's fair. But they'll come after a repeat offender harder than they'll come after Rick. That's a fact.
The Police Captain joins Frank in the observation room.
CAPTAIN: She's lucky you guys are handling this. My response would be go one on one with them.
HOLLIS: Right now, my only concern is making sure no-one else gets hurt. If you'll help me, I'll help you.
JONI: I can't.
HOLLIS: Joni, you could have shot that tow truck driver but you didn't. You haven't killed anyone. That's not who you are. When they shot that man at the hotel, you weren't even there. Sometimes things happen. They get out of hand. Maybe someone pressures you.
Joni wipes tears from her face.
JONI: Have you ever had someone you'd do anything for? 'cause they're your whole world and your own life doesn't even really count? Only the life with them. And you're happy, you'd do anything they say because all that matters is being close with them? Have you ever loved somebody like that?
Hollis touches her bracelet.
HOLLIS: Yes, I have.
Joni wipes away more tears. Then suddenly smirks at Hollis.
JONI: You see, I never did.
Hollis is taken aback by Joni's sudden change of tone. She gets up to leave.
JONI: Honey, you're in the wrong line of work.
HOLLIS to officer: Get her back to her cell.
JONI: Hey! Get a lawyer in here! You hear me! Lawyer!
Outside the police station.
FRANK: Let it go, Emma.
HOLLIS: You're right. I don't know them. I'll never understand.
Hollis gets into her car.
FRANK: Agent Hollis, you're not in the wrong line of work.
Hollis closes the door and drives off. She pauses at a junction and touches the bracelet. She drives off.
On the other side of the road a bus draws up. Rick and Peter get on. Peter is carrying a large holdall. He sits down and unzips it. Rick is standing by the driver.
RICK to driver: That phone. Does it do 911?
DRIVER: Yeah, is there an emergency?
Peter primes a rifle. He stands, aiming at the passengers. Rick takes out a handgun and points it at the driver.
RICK: We have another passenger to pick up. City Jail.
fade to black
polaroid fade up
Inside the police station, officers take rifles from a gun rack.
POLICE CAPTAIN: They want the girl on the steps waiting for them when they get here. What do we do?
FRANK: Cordon off the streets.
OFFICER: Captain, they're back on line asking for you.
FRANK: Keep them talking. Don't say yes or no. Just stall. Don't give them anything.
CAPTAIN: How long till State SWAT arrives?
COP: At least thirty minutes.
FRANK: You gotta stall them until then.
The bus is traveling down a street. Inside, Rick is on the phone.
RICK: Come on, come on. Is anyone there?
In the police station, Frank nods to the police captain.
CAPTAIN into phone: This is Captain Kevin Mann.
RICK into phone: Captain, my captain. to driver Turn right here now.
CAPTAIN: Is everyone there OK?
RICK: I can't speak for the others, but personally I've been better. 'cos I'm not seeing Joni outside like I said. to driver Stop right up there.
Armed police run into position on the building roof. The bus pulls up in the parking area by the police station.
CAPTAIN: How can we put an end to this, Rick?
RICK: I already told you, Kevin. Bring Joni out or I'll kill everybody aboard!
COP: All officers are back from patrol. Everyone's in position.
FRANK: How many?
COP: Twelve. Counting us, fourteen.
RICK: Is anyone there?
CAPTAIN: I'm here.
RICK: What - are you deaf or are you stupid. What's your damn problem.
The captain and Frank look out the window at the bus.
PETER: What's going on!
Rick hangs up the phone.
CAPTAIN: He just hung up.
FRANK: You'll hear from him again.
Rick fires his rifle, shooting out the windows of the bus. Passengers take cover.
'CAPTAIN into radio:' Snipers - prepare to fire.
FRANK: No. Tell them to hold their fire. Not to shoot.
Peter has joined in shooting out the windows. Then there's silence. Slowly passengers begin to sit up.
On a rural road, Hollis is driving, listening to the radio.
RADIO NEWSCASTER: The authorities were first alerted to the threat as the hijacked bus drove erratically through red lights, nearly hitting several motors. Again, avoid the area of the police station at the intersection of Madison and Highland where two heavily armed white males hold eleven hostages in an FRD bus. Stay tuned for street closures and other breaking news.
Hollis does a u-turn.
CAPTAIN: Let's put the woman on the phone. Have her talk to him. Try and buy some time.
FRANK: That won't fix it. He's on a spree. He wants a fire fight.
CAPTAIN: He's not going to try and blast his way into a police station.
'COP on radio:' Captain, we got movement.
Rick exits the bus backwards, holding a handgun. He's wearing his bulletproof vest. He hauls out a woman passenger and marches her over in front of the building. He can see the marksmen on the roof and armed cops in nearby cars. Frank is watching through the window. Rick slowly takes his arm away from the woman and pushes her away. She runs to safety. Rick backs away towards the bus.
FRANK: Tell your men to get ready.
CAPTAIN: For what?
Rick is back on the bus.
RICK: They're never going to let her go. We could kill every moron on board, they still wouldn't let her go.
PETER: So what do we do?
RICK: We power in there and grab her.
RICK: I saw them. We can do it. Look at us. We're unstoppable. You and me, king of the world!
Peter thinks, then smiles.
Hollis is driving back along the road.
Frank checks out the window. Both Rick and Peter exit, now dressed in full combat gear.
Inside the bus, the driver crawls towards the front of the bus.
CAPTAIN into radio: Snipers - hold fire until they're well clear of the hostages.
The driver climbs into the driving seat and drives the bus in reverse.
RICK: You and me, man.
They turn and open fire at the cops who fire back.
CAPTAIN into radio: Snipers - who's got a bead on them?
Police cars with many bullet holes. Rick runs out of ammunition and calmly puts another cartridge into his gun. Both men continue to walk slowly forward, constantly firing. A police marksman has them in his sights. He aims at Peter and shoots, hitting him.
COP on radio: Man down, hold your fire.
COP in distance: Subject down! Subject down!
Rick runs to Peter who has been hit in the neck.
Rick shoots him.
The marksman then fires at Rick but the bullet hits his bulletproof jacket. Rick opens fire again. He then runs around the side of the building just as Hollis drives up. He aims the gun at Hollis.
RICK: Stop the car!
Hollis puts the car into reverse, but Rick catches up with her and aims the gun at her through the side window. The car has stopped. He gets in.
RICK: Back up.
Hollis does so.
Armed police, followed by the Captain and Frank, exit the building.
In Hollis' car. Rick takes off his bulletproof jacket. He has a handgun. He picks up Hollis's ID.
RICK: Well, well. Looks like fate brought us together, didn't it, Miss FBI.
Hollis grimaces as Rick checks for and removes her gun. He resumes 'searching' Hollis.
RICK: You missed all the excitement, but maybe we can figure out something for the two of us.
He nuzzles and then kisses her neck. While he's doing this Hollis manages to hit some keys on her cellphone.
Frank's cellphone rings. The Captain is briefing his men.
CAPTAIN: All right, I want double cars on each of these perimeter bridges. I don't want anyone missing the interstate.
FRANK into phone: Yeah.
HOLLIS on phone: Keep away from me.
Frank clicks his fingers at the Captain.
FRANK: He's with Hollis. Give me a car.
RICK on phone: I'm trying, honey, but it's very hard.
HOLLIS: All fun and games, huh? You'll wind up dead.
RICK: They gave it their best shot. Pull over.
Outside police station.
FRANK: Triangulate this call.
COP: Yes, sir.
FRANK: I need a chopper over there and an AMG crew now!
COP: Yes, sir!
Frank gets into a car.
RICK: Pull over!
He yanks the steering wheel sending the car weaving across the road as Hollis fights to steer the car. Eventually Rick lets go.
RICK: Are you scared? Emma.
Rick loads his gun and puts it against Hollis's neck.
RICK: That's smart not to lie.
HOLLIS: People are dead. I don't have time for your games.
RICK: Pull over.
Rick moves the gun against her face. Hollis sees the road up ahead and a bridge spanning it.
HOLLIS: OK. But first, tell me why.
Rick stops to think. Hollis checks Rick's seat belt catch - it's empty, he's not wearing his seat belt.
RICK: You tell me.
Hollis slams the accelerator pedal to the floor. The car picks up speed rapidly. She aims the car at the bridge support. At the last minute she throws up her arms across the face. The car hits the bridge support.
Hollis climbs out of the wreck. Rick has gone through the windshield and is lying unmoving on the crumpled hood. Hollis looks at him.
RICK weakly: Help. Help.
Hollis looks at him. She has blood down the side of her face. She turns away and putting her back against the car slumps to the ground, then starts to weep.
The same cemetery as in the opening scene. Hollis kneels at a gravestone which reads "Our beloved Melissa Renee Hollis. January 7, 1967 - October 21, 1978."
HOLLIS voice over: What if there is no "why", Mel.
She puts the flowers in front of the gravestone.
HOLLIS: What if you can never know? What if there is no "why"?
fade to black