3ABC21 Kreuzweg (englisches Transkript)
| Transcribed by Libby
Edited by Libby, Used with kind permission from Libby (www.chelonium.plus.com)
MLM-321 3ABC21 Via Dolorosa
polaroid fade up
TEACHER: Mr Black, you can't just take her!
May 21, 1999
Frank and Jordan keep running.
One Week Earlier
The blind is lifted onto an execution chamber. A number of people are sat in chairs in front of the window. One of them is Frank. A prisoner is brought in by two guards and strapped into the electric chair. Frank closes his eyes briefly. He is dressed rather uncharacteristically in a suit and tie.
MAN: The Honorable Anthony Bailey, judge of the Superior Court in and for Stanton County, has ordered that on May 14th, 1999, Mr Edward Sebastian Cuffle shall suffer the penalty of death within the walls of Stanton County Corrections Institute for the crime of murder in the first degree.
Frank has noticed that at one time during this recitation Cuffle's attention was focused on a person sitting in the viewing room.
WARDER: Mr Cuffle. Do you have any last words?
CUFFLE: I do.
The Warden nods.
CUFFLE: Use sunscreen.
WARDER: The execution shall now proceed.
Cuffle's glasses are removed. A black cap is put on his head. Just before the strap is put around his mouth, Cuffle mouths a word.
Frank notices this and leans forward, puzzled. A man sat behind Frank gets up and leaves. Frank looks around when he hears the door open.
The mask is now pulled down to cover Cuffle's eyes. His breathing becomes erratic. The guards leave the execution chamber. A prison officer pulls down the lever. The lights dim, there's a surge of electricity, Cuffle moans. A dial shows 900 volts. Cuffle groans as the dial goes round to 2000 volts. The prison officer pushes the lever back. Cuffle is slumped down in the chair, wisps of smoke coming from his body. Another observer puts his hand over his face, upset by what he has witnessed. An official comes over to check Cuffle's heart. This can be seen in the reflection of the observation window where Frank has turned around to look at where the man who left was sitting. Frank turns back and exhales, putting his hand to his face, emotionally affected.
polaroid fade up
Night. Someone walks towards a large house, carrying a small leather bag. He goes up to the front door and quietly tries the handle. The door opens. He goes in and closes it behind him. Upstairs, a couple, John and Cyndie Dryden, are asleep in bed. The woman wakes up. She isn't aware of the sound of the door, and strokes the man's head. He awakens and they begin to make love.
Downstairs, the intruder is looking around through night-vision goggles, which make his views tinged with green. He is breathing noisily. The dining room table has two place settings, which have not been cleared away after the evening meal.
Upstairs, the couple are continuing their love-making.
Downstairs, the intruder opens his leather briefcase. He takes out a pair of pliers and unscrews the end of the kitchen faucet. The water drips slowly into a wine glass placed in the sink. He takes a pen and scratches "II" on the top of a small table on which there is a framed photograph of the couple. Then he turns the photograph face down.
Upstairs, the couple are oblivious of anything happening downstairs.
The intruder starts going up the stairs. He trips. The couple don't hear anything. The intruder scratches "IX" on a stair rail. He uses the pliers to turn a door handle and opens the door to the bedroom. The night-vision goggles glow green and next to them is a pulsing red light from the video. The couple are oblivious as their love-making reaches a climax, and then just as they relax, they are startled by the weird-looking intruder.
Next day. Frank arrives in the FBI office. He goes over to his desk and picks up his mail. Behind him, Hollis is on the phone. He sorts through the envelopes and one in particular attracts his attention. The address is typed on a label. He pauses for a moment, then opens it. It contains a single polaroid. He looks at it, then scrunches it in his hand and drops it.
HOLLIS: Hey. Welcome back.
HOLLIS: How was it? Florida.
FRANK: It was... It was.
HOLLIS: Had you been to an execution before?
HOLLIS: What was it like?
FRANK: It was barbaric. It was what he wanted.
HOLLIS: It's over now. He's gone from your life.
FRANK: How are you doing? How's your dad?
HOLLIS: Uh, he's doing fine. He's fine. Thanks.
Hollis nods as Frank goes off to McClaren's office. She checks that he's gone, then bends down to pick up the crumpled photo. It's a photo of Ed Cuffle with a message as though written on glass in white paint - "Goodbye Frank".
A television, showing an atomic explosion. Watching it is Mr Hollis. The TV documentary shows the atomic blast blowing down some palm trees. Then there's static as the video recording ends. There's the sound of keys jangling and the front door is unlocked. Mr Hollis quickly takes out the video and hides it. Hollis enters the apartment.
MR HOLLIS: Did I teach you how to knock?
Hollis walks over to where her father is sat.
HOLLIS: Did you want to watch the TV?
MR HOLLIS: You're testing me. You think I can't remember. File 8649403/DOD/D3. File 8704...
Mr Hollis continues reciting file numbers as Hollis goes and kneels down close beside him.
HOLLIS: Daddy. Daddy, please. I don't care about any files.
MR HOLLIS: Why are you keeping me here?!
HOLLIS: I just want you to be well.
MR HOLLIS: Well, I'm not well! That's why they took my daughter away from me.
HOLLIS: Daddy, I'm here. I'll always be here.
MR HOLLIS: Who - who sent you here?
HOLLIS: Here is where we live. I'm going to go make some dinner.
She gets up and walks away. Mr Hollis has calmed down.
MR HOLLIS: That would be nice, sweetheart.
Next day. The Dryden house. The housekeeper runs up the steps to the front door and uses a key to open the door. She goes in and closes the door.
HOUSEKEEPER: Mrs Dryden?
There's no answer. She goes into the sitting room, checking around, straightening a cushion, then into the dining room, where the table has been cleared. She takes off her coat.
HOUSEKEEPER: Mrs Dryden?
She notices the framed photograph and turns it back up. She goes into the kitchen.
HOUSEKEEPER: There you are.
She walks into an adjoining area. The Drydens are sat at the kitchen table but are bound to the chairs with barbed wire, blood stains from head wounds, cereal from the breakfast bowls set on the table in their mouths. The housekeeper emerges from the adjoining area, tidying a seating area as she speak.
HOUSEKEEPER: Do you want me to -
She has turned and sees them clearly. She cries out repeatedly, sinking to the floor, holding a hand over her mouth.
Later. Law enforcement have arrived at the house.
RADIO: All units. 1-Robert-2-8, code six on battery.
Baldwin walks over to a hearse and watches coroner's officers wheel a body over. Frank drives up in his jeep and gets out. He buttons up his jacket. He goes over to the stretcher and speaks to one of the officers.
FRANK: Can I borrow a glove from you?
CORONER'S OFFICER: Sure.
Frank unzips the body bag. Inside is the body of John Dryden. Using the glove, Frank moves the head to look at the head wound.
Inside the Dryden house. Agents are examining the scene. Baldwin is giving a briefing to Frank and Hollis.
BALDWIN: The names are John and Cyndie Dryden. The cleaning lady, Suzy Chang, found them here tied to the chairs with barbed wire.
BALDWIN: Yeah. They were killed by a single bullet to the head, small bore, probably a .22. No exit wound. They probably bled to death. Must have taken nearly an hour. They couldn't cry out because their mouths were stuffed with rice.
FRANK: Have you been upstairs?
BALDWIN: Yes. Nothing. Bed hadn't been slept in. I think the killer surprised them during dinner.
FRANK: Then did the dishes.
Frank looks at the kitchen sink where the water drips slowly into the wine glass.
FRANK: Can you clear the scene?
FRANK: I'd like everybody out of here.
BALDWIN: Mr Black, this is my crime scene.
HOLLIS: Barry, please. Just, uh, do what he says.
FRANK: Thank you.
BALDWIN: Yeah, OK. All right, everybody, can we just get -
BALDWIN: Fifteen minutes, please. Everybody out.
Everyone leaves except Frank, who stands looking at the kitchen sink. He looks intently at the wine glass in the sink, full to the brim. He goes into the hall and starts walking slowly up the stairs. He stumbles, just at the point where the killer had. Vision: very blurred view of three people, two naked. He gets to his feet and continues up the stairs. He goes into the bedroom, where the bed is made. Vision: the couple making love. He goes over to the bed and notices scratches on the headboard.
The agents are now back in the house. Frank moves to stand a little apart from them.
FRANK: The killer preselected the couple. The front door was unlocked. He came in after they went to bed. He arranged things downstairs the way he wanted them. He reset the kitchen table. Then he went upstairs and watched them have sex.
BALDWIN: The beds were made.
FRANK: By him. He tied Mrs Dryden to the bed. Then he made her husband get dressed, he took him downstairs, and he forced him to eat. Then he returned upstairs and made her do the same. And then he killed them both. But not with a gunshot. The holes in their skull were made with a drill.
BALDWIN: How can you know?
FRANK: Examine the sheets, the bed, the stomach contents. You'll find your evidence.
BALDWIN: How do you know all this?
FRANK: The killer is Ed Cuffle.
HOLLIS: He died in the electric chair three days ago.
FRANK: It's him.
Frank walks away.
fade to black
polaroid fade up
Video of Ed Cuffle.
CUFFLE: I like rice. I thought they'd like it too. It's a humble food.
CUFFLE: It's humbling food. That's why I fed it to them. Is that what you wanted to hear?
Hollis and Baldwin are in the briefing room, watching the video of Frank's interview of Ed Cuffle.
FRANK: I'm just asking.
CUFFLE: I mean, rich people. I really hate them. Some slut in a German car. Fake lalas. Big diamond ring on her finger. I mean, who wouldn't want to hack it off and stuff it in her mouth. But ...
FRANK: Robson Avenue. Tell me about it.
FRANK: Come on! Why don't you stop lying?
Cuffle yells and launches himself toward Frank.
FRANK: Are you done?
Cuffle is silent now.
FRANK: Are you done?
Cuffle stares at him, then smiles.
Baldwin stops the video. Frank comes into the room behind them.
BALDWIN: So, that's the guy who gave Frank Black a one-way ticket to the psych ward.
FRANK: It wasn't one-way.
Baldwin closes his eyes as he realizes Frank overheard him. Frank walks over to the video screen.
HOLLIS: Robson Avenue. What is it?
FRANK: A street in a wealthy part of Madison where he grew up.
BALDWIN: So Cuffle did have a thing for rich people.
FRANK: Yeah, just not the way he said. His mother was a cleaning woman. Had half a dozen houses on Robson Avenue. She used to take him to work with her when he was young.
BALDWIN: So? My mother sold Avon. She used to take me to work sometimes.
FRANK: Yeah, but his mother was turning tricks with the men who owned the houses. They'd come home for lunch, she'd take them upstairs, leaving Ed downstairs where he could listen, imagine, and eat rice for lunch. Robson Avenue became etched in his mind. Every inch of it a reminder of the humiliation and pain he endured. It's literally what he saw when he chose his victims and killed them. A street from his childhood.
BALDWIN: He told you all that?
HOLLIS: On the tape you say it's how you found him.
FRANK: It was his second crime scene. Newlyweds. Very brutal. I'd gone back again and again because there something I knew I was missing. It was in that house that it came to me. All at once. The street in his head became a picture in mine.
BALDWIN: What, you just saw it? What he saw?
FRANK: Enough for me to make my way back to Robson Avenue. That's what I do. When I'm not in the psych ward.
Baldwin doesn't know what to make of this.
HOLLIS: This new guy. Is it the same thing? Robson Avenue? He knows everything about Cuffle. Details of his MO that were never released to the public, like the rice.
FRANK: It's not Robson Avenue. He'll find his own path.
BALDWIN: Still, it's likely these two have had contact.
HOLLIS: I'll check Cuffle's prison correspondence.
Hollis gets up to leave but turns back at Frank's next remark.
FRANK: They're sending a tape of Cuffle's execution.
BALDWIN: Why is that?
FRANK: Well, the killer might have been there. He may have been sitting right behind me.
Frank turns back to the video screen and looks at the image of Cuffle.
Hollis goes into the elevator. Just as the door is about the close, a hand stops it and the door slides back. Peter Watts walks into the elevator. The door closes again.
HOLLIS: Are you on this case now?
WATTS: No. I wanted to talk to you.
HOLLIS: Next time, make an appointment.
WATTS: Your father suffers from Alzheimer's disease.
HOLLIS: That is none of your business. That's my personal life.
WATTS: We want to help.
HOLLIS: Sure. Right.
Hollis turns back to the elevator controls and sets the elevator moving.
WATTS: You know the Group's involved in biomedical research.
Hollis turns back to look at Watts.
HOLLIS: I've checked every website on the planet, Watts. There's no cure.
WATTS: Nothing public. Not yet. But we can help your father.
Hollis is perturbed by this statement.
WATTS: Think about it.
Watts reaches behind Hollis and presses a button on the elevator control panel.
WATTS: Remember, it's just between us.
The elevator stops and the door opens. Hollis gets out into a corridor where Frank and Baldwin are talking. Watts stays to one side of the elevator so he can't be seen. Hollis pauses outside the elevator and is then noticed by Frank.
FRANK: Emma. I've got something I want to show you.
Hollis turns back to the elevator, just as the door closes.
FRANK: You OK?
Video of Cuffle's execution. It's taken from the back of the viewing room.
FRANK: Just jump it forward, Doug.
DOUG: Say when.
The video is fast-forwarded.
FRANK: OK, slow it down. Down, down. There.
Doug stops the video. He's in his office, surrounded by his technical wizardry. Frank, Hollis and Baldwin are watching the video on one of monitors.
FRANK: There. That's him.
They all look closer at the stilled video showing the man who got up and left shortly before the execution. Doug steps through the video to the point where Cuffle mouths something.
FRANK: I thought he was saying "yes" to me.
Doug steps to another frame showing the reflection in the glass of the man who left.
FRANK: Now look in the reflection. There. That's our guy.
Doug enlarges the view. The man's face is very blurred.
DOUG: Could be anybody.
HOLLIS: Can you enhance it?
DOUG: There is only so much information in the image. I can clarify it.
Doug does so, but the face is still a little blurred.
FRANK: That's him.
Elsewhere. Night. A sports car draws up on a driveway outside a well-appointed house. As the driver gets out, another car draws quietly up to the kerbside. The driver is the killer. A woman gets out of the sports car and she and the man laugh. The woman sounds drunk.
WOMAN: Wow! What a big house.
MAN: You know what they say ...
They laugh as they go into the house. The killer watches and then huffs on the windscreen and angrily writes in the condensation. He sits back, then takes his keys and gets out of the car. He unlocks the trunk and takes out his leather case and something wrapped in cloth.
Inside the house. The view through the night-vision goggles. The killer is breathing heavily. From upstairs can be heard the sounds of love-making. The killer stands at the bottom of the stairs, carrying his leather case, then slowly climbs the stairs on to the landing. Using his gloved hand, he opens the door to the bedroom. He enters the room and approaches the bed where the man and woman are making love. The killer looks to the left, where he sees himself in a full-length mirror. The man notices the reflection.
The woman screams. The man leaps out of bed and attacks the killer, who backs away.
WOMAN: Tommy! Be careful!
The killer runs off, down the stairs, taking off his night-vision goggles. He stumbles as he runs. The man appears at the top of the stairs, clad in a robe.
MAN: Get out of my house!
The man runs out of the house onto the drive, followed by the woman.
MAN: Get the hell out of here!
WOMAN: Where'd he go?
MAN: He's gone.
WOMAN: That guy was weird.
MAN: Yeah. We should call the police.
They go back into the house. Lurking just around the entrance to the drive is the killer, shaking.
fade to black
polaroid fade up
Next day. Outside the house. Police cars in the drive. A detective, Krebbs, walks down the drive as Frank stops his car by the kerb. He and Hollis get out and Hollis greets the Detective Krebbs.
KREBBS: Detective Krebbs.
He and Hollis shake hands.
KREBBS: Thanks for coming out.
FRANK: How did he get in?
KREBBS: The front door was unlocked.
The three walk toward the house.
Inside the house. The bedroom. The man and the woman show the three into the bedroom. The man is smartly dressed in shirt and tie. The woman is wearing jeans and what looks like a man's shirt.
WOMAN: Excuse the mess, but they said, "Leave everything."
FRANK: Where was he?
MAN: Uh, he was right around here.
He stands where the killer had stood.
MAN: And, uh, we were ... well, you know ... busy. Not exactly attentive to our surroundings. And he was right here. Holding a bag of something.
FRANK: Small? Large?
The man indicates the size of the bag with his hands.
MAN: Like so. Heavy. Felt like tools or something when he hit me.
WOMAN: And he had these weird things over his eyes.
MAN: Yeah, like, you know, goggles or something.
FRANK: Is it possible he was videotaping?
MAN: I certainly hope not.
WOMAN: You hope not?
Hollis has noticed something.
WOMAN: This is such a nightmare.
There are two lines on the floor - scratch marks from the free-standing mirror having been moved.
HOLLIS: Did you move something?
WOMAN: I told you.
The man hesitates, then speaks to the woman.
MAN: I didn't know he was a killer, OK?
He turns to Hollis.
MAN: A mirror. We moved a mirror.
FRANK: Could you move it back where it was, please?
Krebbs and Hollis move the mirror. Frank can see his reflection in it. Frank looks carefully around the scene. He looks back at his reflection and studies that. In the mirror can be seen a small statue on the bureau - a pieta.
FRANK: On the bureau. Was any of that moved?
MAN: I'm not sure. Like I say, we weren't overly attentive. So, who is this guy?
Frank goes over to the bureau and looks at the pieta. Vision: a nail being driven through a hand, bright light, Christ crucified.
FRANK: He won't be back.
Frank leaves the room. Hollis quickly goes to follow him.
HOLLIS: Excuse us.
Frank goes down the stairs and Hollis has caught up with him.
HOLLIS: Frank. What is it?
FRANK: Take statements. Every detail. Anything they can remember. I'm going back to the Dryden house. I think there's something we missed.
HOLLIS: But what do I tell them?
FRANK: Well, tell them they were very lucky.
He leaves the house and Hollis goes back upstairs.
Dryden house. Frank is looking around with the aid of a flashlight. Suddenly a gun is pointed at him.
MAN: Don't move.
Frank turns and shines the light in that direction.
FRANK: Agent Baldwin.
BALDWIN: Mr Black. I'm so sorry about that.
FRANK: What are you doing here in the dark?
BALDWIN: Well, you know, I was just, uh, you know, trying to get inside the guy's head. Forget about it.
Baldwin goes over and pulls back the curtains.
Frank looks over at the framed picture on the table. The light shining in from the window and falling on the table, makes a pattern.
FRANK: A cross.
BALDWIN: What's the matter. Do you see something?
Frank shines his flashlight on the table, illuminating the "II" the killer had scratched there.
BALDWIN: Two I's. He do that?
FRANK: I think so.
BALDWIN: What's it mean?
Frank and Baldwin are in the kitchen, looking at the dripping faucet. There is a mark scratched into the side of the faucet.
BALDWIN: Two I's again.
FRANK: No. X-I-I.
BALDWIN: What's the X mean?
FRANK: It's numbers, not letters.
BALDWIN: Roman numerals.
Frank stares at the dripping water. Vision: the full glass of water, a drop of blood falling into it, a knife or sword being pushed into flesh, blood dripping into water again, a wound in the side of a man's chest.
Frank goes into the hallway, and shines his flashlight up the stairs. He starts climbing.
BALDWIN: Mr Black, there's nothing up there.
Frank pauses halfway, around the point where both he and the killer had stumbled. He shines his flashlight on the banister rail.
BALDWIN: What is it?
Baldwin looks as well.
FRANK: Nine. Christ falls for the third time. I-I. Two. Jesus receives his cross. X-I-I. Twelve. Blood flows as Christ's side is pierced by a spear.
BALDWIN: So our killer sees himself as Christ?
FRANK: No. He sees himself as suffering like Christ. Each step is agony. That's his path. The 14 stations of the cross.
BALDWIN: Oh, no.
FRANK: I know. It sounds like a fabrication.
BALDWIN: No, it's not that. Not at all. Yesterday, a Father Murray reported some weird guy down at St Matthew's, doing the stations of the cross. I didn't think it sounded germane, so I've been a little slow following it up.
FRANK: It is now.
Elsewhere, the killer sits, crying, his wrists bound together with wire, his hands in a praying position.
St Matthews's church. Frank and Baldwin show Father Murray the photo of the killer.
FATHER MURRAY: Yes, that's him. I found him stripped down to his underwear kneeling right over there.
FRANK: The tenth station of the cross. Jesus is stripped of his garments.
BALDWIN: So you saw him up close?
FATHER MURRAY: Oh, yes. We talked.
BALDWIN: In his underwear?
FATHER MURRAY: I minister to the human spirit, Agent Baldwin. It's not the strangest thing I've seen.
FRANK: Then what made you call us, Father?
FATHER MURRAY: I just mentioned it to our patrol officer. He must have passed it on to you. This man had extremely graphic, extremely violent thoughts. He was concerned he would hurt someone.
FRANK: He killed two people.
BALDWIN: He's nearly killed two more.
Father Murray crosses himself.
FATHER MURRAY: I suspected. He seemed in horrible pain.
FRANK: This man is unlike other killers I've seen. He suffers the act.
FATHER MURRAY: He told me he was possessed, performing acts dictated by someone else.
FRANK: He's telling you the truth.
BALDWIN: Meaning he just honestly believes he's being controlled by someone, right?
FRANK: No. Someone is.
Elsewhere, a faucet is dripping. There is the sound of someone breathing deeply. In another part of the room, Hollis is sleeping on a couch. A figure approaches her and points a gun at her. Hollis slowly opens her eyes.
MR HOLLIS: Who are you?
Hollis hits up and grabs her father's arm. The gun goes off, hitting the ceiling. She struggles with her father and he drops the gun. But he gets his arm around her, squeezing her. She manages to throw him to the floor, and she pins his arms to the floor.
HOLLIS: What are you doing, Daddy? What are you doing! Daddy!
MR HOLLIS: Why am I doing this?
Mr Hollis starts crying. She lets go of him and he sits up.
MR HOLLIS: What is, what is happening to me?
Hollis gently rubs his back.
fade to black
polaroid fade up
A medical facility. Mr Hollis sits in a wheelchair while Hollis and the doctor walk down a corridor.
DR ARNETT: I know it's hard. But you're doing the right thing.
HOLLIS: It doesn't feel right, leaving him here.
DR ARNETT: He's in the advanced stages of the disease. There will be moments of lucidity but few and far between. The chances of him repeating what he did last night are huge.
They've reached the waiting room where Mr Hollis is sat staring into the distance.
HOLLIS: Can I have a minute?
DR ARNETT: Of course.
He leaves her and she walks up to her father. She smiles at him and kneels down beside him.
HOLLIS: Dad? Daddy?
He looks at her.
HOLLIS: Hey. This is a really pretty place. And I, I saw your room, and you get your own TV. And I'm going to send for all your books.
Mr Hollis smiles and lifts her hand and kisses it.
HOLLIS: I'm so sorry.
MR HOLLIS: You're a pretty girl.
Hollis is crying.
HOLLIS: Don't you know who I am?
MR HOLLIS: I know you're someone I love.
Hollis takes his hand and holds it to her face.
HOLLIS: I'm Emma. And I love you too.
Dr Arnett has joined them.
DR ARNETT: Are you ready, Colonel?
Mr Hollis' face changes. He looks confused. Dr Arnett takes the handles of the wheelchair. Hollis stands up.
HOLLIS: Daddy? I'm going to be back in tomorrow, and I'm going to make sure you're all settled. OK?
Mr Hollis nods and Dr Arnett wheels him away to his room. Hollis watches him go. Then she gathers herself together and when she turns around, Watts is standing in the waiting room.
Hollis walks past him.
WATTS: It doesn't have to be this way.
HOLLIS: You have no right being here.
WATTS: Have you thought about what I said?
She turns to face him.
WATTS: His deterioration is not inevitable. He can be healed.
HOLLIS: You feed on other people's weaknesses, don't you?
WATTS: Do you want this for your father? Would you want this for anybody?
HOLLIS: What do you want?
WATTS: Frank Black has important work to do for the Group. He's wasted at the FBI. We want him out.
HOLLIS: I have no control over that.
WATTS: But you're interested.
Hollis looks back towards her father's room, then nods her head slightly.
FBI briefing room. On the wall are pinned representations of the stations of the cross.
BALDWIN: I mean, who even has the capabilities to turn some guy into Ed Cuffle?
FRANK: I'm not sure.
BALDWIN: And of the billions of people on the planet, why would you choose Ed Cuffle as your model?
FRANK: For us, that's the end, not the beginning. We have to first ask ourselves how they found their subject. That's how we'll find him.
BALDWIN: The killer?
FRANK: When they found him, he was a potential killer, sufficiently like Cuffle to adopt his MO.
BALDWIN: You are saying, though, that somebody created this guy?
Hollis is standing in the doorway.
FRANK: He doesn't understand why he's doing what he does. My guess is that the man has no prior criminal record.
BALDWIN: Based on what?
HOLLIS: We'd have found him by now.
BALDWIN: Where've you been, Hollis. I paged you a thousand times.
HOLLIS: I'm sorry.
FRANK: How's your father?
HOLLIS: Good. You know, up and down. So, what have we got?
BALDWIN: Well, he's Catholic. There's only about ten billion of those.
FRANK: He's white. In his 20s.
BALDWIN: One billion.
FRANK: Military background.
BALDWIN: Why? Because he wore those mil-spec goggles?
FRANK: No, he's modeled on Cuffle. Cuffle spent several years in the military.
BALDWIN: It's not exactly unique.
FRANK: Yeah, well. The killer will have the same background. Cuffle got an honorable discharge from the army for psych problems. There'll be a substantial psychological file there. The killer will have one too.
The killer is sat cracking his finger joints one by one. He takes off his glasses, polishes them and puts them back on. He's sat in front of the TV. A reflection in his glasses shows he watching the video he made.
FBI office. Doug is working on a laptop computer, Hollis sat on the desk beside him. Baldwin is giving a briefing to Frank and a couple of other agents..
BALDWIN: I started with the Department of Defense records for the last 15 years. Isolated all those born or resident in Washington, DC, then stripped away African-American, Latinos, etc., then I focused on the psych evaluations.
FRANK: How many?
BALDWIN: 336 individuals. Now, if you select Catholics, we're down to 128. You strip out anybody with a criminal record, we lose another 55. So much for "Be all you can be". For the remaining 73, we're doing a visual match on the composites we took off the glass at the execution chamber.
Doug is working on this task. The computer finds a match.
BALDWIN: It's a house of cards.
FRANK: This is great work, Barry.
Baldwin is very pleased.
BALDWIN: Yeah, well. We do what we can.
The computer has another match.
HOLLIS: Over here.
The rest of the agents walk over to the desk and looks at the computer screen.
HOLLIS: It's him. Lucas Francis Barr.
FRANK: Educated at St Ignatius. Columbia Heights.
DOUG: 245, Coeur d'Alene Drive, apartment 63. Got a Sears card sent there last fall.
He's written the details down on a piece of paper which he hands to Baldwin.
BALDWIN: Let's go!
Hollis looks closely at the picture on the screen, then turns to follow.
Outside the back of Barr's apartment block. It has windows on seven levels, five windows to each floor. The area seems rather derelict - there's an oildrum in which a fire has been lit. Baldwin in FBI gear is briefing other FBI agents including Hollis. Frank stands by.
BALDWIN: Target's name is Lucas Barr. Apartment 63 on the sixth floor. He's five-ten, 180 pounds, 27 years old, armed and dangerous. Now I will lead green section. We'll take the center staircase. We'll be point. The second floor - blue team split up, go up the back staircase. Hollis, you go with blue. White and red in reserve. Any questions?
Agents dressed in SWAT gear shake their heads.
BALDWIN: OK, the time is now 9.54. Positions in five. We move on my word. Let's go.
FRANK: Are you sure he's in there?
BALDWIN: No. It's an old building. The walls are too thick to get a heat signature.
FRANK: I think you should put this off till morning.
BALDWIN: Absolutely not. We've got him. We're going in.
The agents all get to their feet and check their weapons.
BALDWIN to Hollis: You ready?
Hollis nods. Frank stays back. Hollis, Baldwin and four of the SWAT team run toward the building. Four other SWAT team members take position nearby behind a car.
The SWAT team run up the stairs, followed by Baldwin and Hollis.
Outside, Frank uses binoculars to check out the windows. Most of the rooms are dark, but there's a lit room where the curtain has been tied up and the window is open.
Inside, the agents continue through the building.
Frank scans the area at the foot of the building. His view is somewhat obscured by the flames from the oildrum fire.
Inside, the team has split up: two SWAT members and Hollis go through a door off the staircase, while the other two plus Baldwin continue up the stairs.
Frank is thinking - looking at the flames from the oildrum fire.
Baldwin and two SWAT members emerge at the door from the staircase to the hallway. They take aim.
BALDWIN into radio: Blue, where are you?
He hears a noise behind him, as the other two SWAT members followed by Hollis, emerge at the end of the hallway. They stop and take aim, and a SWAT members nods to Baldwin. Baldwin taps the shoulder of a SWAT member and they all run down the hallway and stop in front of the door of apartment 63. Suddenly there's a beeping. Hollis backs away and takes out her pager. Simultaneously, Baldwin taps the shoulder of a SWAT member who shoots out the lock on the door. The SWAT team and Baldwin rush into the apartment. Two go towards another door. On the inside of that door is a small object with green flashing light.
Outside, Frank frowns, then suddenly runs forward.
Inside, Baldwin speaks into the radio microphone.
BALDWIN: It's empty. The bird has flown.
SWAT MEMBER: Roger. Copy that.
In the hallway, Hollis looks at her pager - it read "James Hollis 555-0114".
Frank has reached the car where two other SWAT members are in position. He grabs the radio.
FRANK: Baldwin, get out of there!
Hollis also hears this.
BALDWIN on radio: What?
Baldwin and the SWAT team are still in the apartment.
FRANK on radio: Get out now!
In the apartment, is a gadget wired to several glass containers. The gadget has seven red lights showing. The eighth light then lights up red, and then the ninth which is green. A continuous beep starts. Baldwin turns to look at Hollis. There is a huge explosion which knocks Hollis to the floor. Someone is hurled out of the apartment and along the floor.
Frank rushes up the stairs with the other SWAT members. They reach the hallway.
FRANK: Hollis! Are you hurt!
Hollis struggles to her feet.
HOLLIS: Barry was inside. Barry was in there. Barry ...
She falls to her knees. Frank has his arm around her. He sits her down. The SWAT members go into the apartment. This is a total wreck with shattered furniture. A small fire has started.
SWAT MEMBER: Get the fire truck hose. Get it up here, fast!
On the landing, Hollis is looking at Frank.
HOLLIS: You knew.
Frank doesn't respond.
A view of the inside of another house - seen through night-vision goggles. Sounds of lovemaking can be heard. A pair of pincers are used to turn the door handle and the door opens into a darkened room.
TO BE CONTINUED