4C17 Gesichter des Bösen (englisches Transkript)

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Copygif.gif Die Charaktere, Handlungen, Zitate usw., die im folgenden Transkript Erwähnung finden sind © Chris Carter/1013/Fox Entertainment und (in der deutschen Fassung) Cinephon Synchron. Diese Abschrift ist ohne explizite Erlaubnis von den Rechtehaltern von Fans für Fans als Hommage an MillenniuM erstellt worden, wir verfolgen keinerlei finanzielle Absichten. Die Texte selbst sind Eigentum des jeweiligen Autors.


Copygif.gif Transcribed by Maria Vitale

Edited by Libby, Used with kind permission from Libby (www.chelonium.plus.com)


MLM-117 4C17 Gesichter des Bösen

Written by Chris Carter
Directed by Winrich Kolbe
U.S. Air Date: 18. April 1997
Originaltitel: Lamentation

"Every man before he dies shall see the Devil." English Proverb, 1560


polaroid fade up

A hospital corridor. The doors automatically swing open as two armed FBI agents lead a team of nurses, orderlies and the patient on a gurney on the way to the operating room. Covering the rear are two equally-armed federal marshals.

As the procession reaches its destination, the patient is taken inside as one of the marshals stands guard outside.

Inside the O.R., the nurses prep the patient. He is lying on his right side as part of his back is disinfected and shaved for surgery. The surgeon is Dr. Willmore.

PATIENT: You're going to enjoy cutting me, I can just tell.

WILLMORE: Difference is you're going to wake up, doc, unlike those women you cut.

PATIENT to the nurse prepping him: Do you hate me?

NURSE: I'm just doing my job.

PATIENT: Hmmm, could you do me a favor? I've got an itch down past my iliac crest and as my hands are cuffed...

He licks his lips, smiling at her as she just ignores him and finishes shaving him.

PATIENT: I think there are far too many people here with sharp objects who find me detestable.

WILLMORE: You're in good hands, doc.

The surgeon nods, giving the anesthetist the go-ahead to begin putting the patient under.

The patient's heart beat can be heard on a monitor in the background. The pulse quickens as the patient begins to feel the effects of the anesthesia.

As he looks around the room, he sees all of the nurses, without their surgical masks on, draped in white gowns and glowing white light - each with their throats slashed. As the last one leans in over him - the screen fades to white.


Security Ward
10:54 PM


Another hospital corridor, sometime after the surgery. A federal marshal sits reading a newspaper outside of the patient's locked room, a loaded weapon leans against the wall by his chair.

A nurse with long dark hair walks down the corridor towards the marshal. She is carrying a tray.

MARSHAL: Hi. Need to get in there?

NURSE: Yes.

He rises, keys in hand, to unlock the door for the nurse.

MARSHAL: He's still supposed to be under a good two or three hours but you should be careful nonetheless. You know what he did to those nurses from Cedar Falls.

He opens the door and the nurse enters the room.

MARSHAL: I'm not trying to scare you. You're going to be fine. He's cuffed to the bed. You just holler if you need me.

He closes the door, looking briefly through the small round window before sitting down again.

Camera pulls in and lingers for a few seconds at the small window showing the nurse just standing at the foot of the patient's bed. Then cuts back to the corridor view of the agent reading the paper.

A metallic noise is heard from the room as if something has fallen. The marshal hears it, stands, checks both ends of the corridor for movement, then approaches the patient's room.

He peers through the window and sees that the curtains have been drawn around the bed. He unlocks the door, picks up his weapon and cautiously enters the room.

MARSHAL: Nurse?

He slowly walks up to the curtained bed.

MARSHAL: Nurse? You okay?

He tries to peek through the opening in the curtain but he's struck from behind - a blow to the head from a fire extinguisher by someone dressed in a nurse's uniform complete with a long wig.

On the ground, the marshal is struck twice more to the face and head until he is out cold.

The camera pans up from the prone marshal to the empty bed, revealing a pool of blood and discarded IVs.

fade to black


polaroid fade up


Mount Baker
North Cascades, Washington


A beautiful vista of snow-capped mountains and trees.

Frank Black, with snowshoes, jogs up to a crest ahead of Bob Bletcher, who walks up to join him. Both are heavily clothed against the cold, and are wearing backpacks and sunglasses. Frank stops and removes one glove and then his glasses to better enjoy the view.

BLETCHER: What'd I tell you, huh?

Bletcher's breathing is a bit more labored than Frank's.

BLETCHER: It's like standing on the edge of the world.

FRANK: Oh, yeah.

BLETCHER: My dad used to take me to the same spot. I come here once or twice a year. It's the only thing in my life that never changes. Just a little harder than it used to be.

FRANK: The air, the exercise. laughs

BLETCHER: Oh, yeah. Feels like you're a million miles from nowhere.

Frank's beeper buzzes. He looks at it.

BLETCHER: Something important?

FRANK: Yes, it is. sighs deeply

He turns to head back down, pausing to touch Bletcher's shoulder.


FBI Training Academy
Quantico, Virginia


Frank walks down a corridor at the Academy until he reaches the Behavioral Sciences Unit. He opens and enters a stairwell overlooking a large conference room.

The room is barren except for a large U-shaped table, a podium in one corner and a large projection screen with the patient's photo prominently displayed. BSU agents are seated all around the table as Special Agent Tom Babich calls over to Frank and walks over to meet him.

BABICH: Frank, come on in. Everyone, this is Frank Black. I'm sure all of you are familiar with his work with this unit and with his profile of Dr. Ephraim Fabricant.

FRANK: How did he escape?

BABICH: We're still putting the facts together. You were aware that he was removed from prison to donate a kidney to his sister?

FRANK: Yes. Was the kidney removed?

BABICH: He was five hours post-op. His anesthetic should have lasted eight. I've got four doctors who say there's no way he could have walked out of that hospital room let alone break a federal marshal's jaw and crush his skull.

FRANK: Did the marshal survive?

BABICH: He's touch and go.

AGENT CUEVAS: What do you think Fabricant wants?

FRANK: Wants?

CUEVAS: Freedom? To avoid re-incarceration?

FRANK: If you'd read my profile on him you'd know that freedom to him is only the freedom to kill.

AGENT PIERCE: His operation would make him a much diminished man.

BABICH: Apparently not. After what he did to that marshal.

FRANK: Dr. Fabricant wouldn't have left him alive.

CUEVAS: He had short minutes in which to execute his escape. You saying he would've stopped to check?

FRANK: I know this man. I know what drives him. Dr. Fabricant told me as a boy he used to slit the stomachs of neighborhood cats, turn them loose, just to see how long they'd live. After med school, as a resident, he would respond to no-code patients just to see how they died. He said the medical profession had but one interest for him - the knowledge and the opportunity to rend death from life. His appetite for death eventually became overwhelming, ending in the murder/torture of the five nurses in Cedar Falls. It has been six years since he has touched, tasted or indulged his interests. He would have not let so easy an opportunity get away.

PIERCE: Someone helped him to escape.

FRANK: Someone who understood the disproportion of his needs - possibly someone who shared in it. This man should never have been allowed one minute out of his cell, never been allowed human contact again.

CUEVAS: That chance was passed up.

FRANK: I'm not here to discuss what might have been. I'm here to help catch him, just the way I helped catch him once before.

Long pause and silence.


A little later, Frank heads up a flight of stairs as two agents, one male, tall and fair, the other, short and red-haired, descend. They look remarkably like Fox Mulder and Dana Scully.

Peter Watts calls out to Frank from behind him.

WATTS: Frank.

FRANK: Peter, what are you doing here?

WATTS: I knew that you'd get the call on this and I anticipated what it would do to you.

FRANK: I'm fine.

WATTS: Yeah? They really gave it to you, didn't they, about Fabricant? About how you made sure he wouldn't go to the chamber?

FRANK: He would be dead, Peter, with no prospect of ever killing again.

WATTS: Frank, you can't let them lay all this on you. Your motives were right. You wanted to study him, tap his mind. We learned a lot from him. He was an asset to behavioral science. The judge agreed with you.

FRANK: Was it worth one life, Peter?

WATTS: I don't want either one of us to have to answer that question. That's why I'm here.

FRANK: Thank you.

WATTS: That's not necessary.


Fabricant awakens wherever he's been taken to. He reaches over and touches his surgical scar, then the IV tube in his neck as he looks up to see the various monitors and instruments he's hooked up to.

The same woman who had posed as a nurse at the hospital enters the room with a syringe and a small bottle. She sits by his side as she prepares an injection for Fabricant.

FABRICANT: You've got me on hemodialysis. Is there renal failure?

She doesn't respond but slaps his arm to find a vein and inserts the needle.

FABRICANT: You take good care of me, sweetness. I've got a whole lot of life left in me.

He goes under thanks to the injection.


Good Samaritan Medical Center
Arlington, Virginia


An intensive care unit room. Frank approaches a desk outside the room to speak with a nurse there.

FRANK: Miss Fabricant?

The nurse points to a room across from them where Sondra Fabricant lies resting after her kidney transplant operation. Frank enters.

FRANK: Miss Fabricant?

Frank sits down beside the bed.

FRANK: How are you feeling?

SONDRA: Sore. Very sore. Are you Frank Black?

FRANK: I'm here about your brother.

SONDRA: Is it true, that he escaped and put a man in a coma?

FRANK: Yes.

SONDRA: Dear God! And here I lie...

FRANK: Did he ever talk to you about a plan? Did he ever intimate anything to you?

SONDRA: Ephraim wanted me to live. That's all he said, over and over. He wanted me to have the transplant more than I did.

Peter Watts taps at the window to get Frank's attention. Frank goes out into the corridor to join him.

WATTS: Fabricant had a pen-friend in prison - a woman.

FRANK: They were tight?

WATTS: According to prison communications, they exchanged vows on the Internet a year ago.

FRANK: You have an address?

Watts nods and they leave.


Fredericksburg, Virginia


Night, outside the home of Fabricant's wife. Frank and Peter Watts walk up to the front door. Someone inside the house pulls back a curtain and watches as they approach. They knock and the same dark-haired woman we've seen before opens the door. She is wearing a dark robe.

WATTS: Lucy Butler?

LUCY BUTLER: Yes?

WATTS: My name is Peter Watts. This is Frank Black. We'd like to speak with you.

LUCY BUTLER: Are you the Frank Black that Ephraim speaks about?

FRANK: I would assume.

She moves away from the door to let them enter.

LUCY BUTLER: I wasn't expecting visitors.

They follow Lucy into the living room.

WATTS: Did we catch you working?

LUCY BUTLER: No.

WATTS: I saw the computer on.

Lucy's laptop computer lies on a desk across the room. There is a lit candle by the computer.

LUCY BUTLER: I was in a chat room. I spend a lot of time there.

Frank pulls up a chair and sits across from Lucy.

FRANK: You must have some idea why we're here.

LUCY BUTLER: Yes. The police spoke with me earlier. I told them the night Ephraim escaped I was at home.

FRANK: You have no idea how much danger you're in.

LUCY BUTLER: Ephraim doesn't want to hurt anyone.

FRANK: Whatever your relationship with Dr. Fabricant, Lucy, whatever you might believe him to be, he is single-minded, unrepentant about what he did and what he is incapable of preventing himself from doing again.

LUCY BUTLER: You don't speak very well of him, and he speaks so highly of you.

WATTS: Lucy, it's important that we...

FRANK interrupts: It's all right, Peter. The man you call your husband is alive because we believed an understanding of his pathology would help us to catch other human predators - men who act without conscience on irresistible impulses.

LUCY BUTLER: I know what he did, Mr. Black, and I know what he's capable of doing. The soul expresses itself in so many amazing ways, especially when there's a comprehension of extremes. Ephraim said you and he share that ability.

FRANK: He should be in jail, Lucy.

LUCY BUTLER: He's given life to his sister. That's an act of redemption, isn't it? An act of conscience?

WATTS: He used it as an opportunity to escape and now a man is in the hospital in critical condition.

LUCY BUTLER: Did Ephraim do it?

Long pause.

WATTS: There might have been someone else.

FRANK: What do you think he wants, Lucy?

LUCY BUTLER: I think he wants the only other act of redemption he's capable of. I would think that you of all people, Mr. Black, would understand this.

FRANK: He wants to have a child.

Lucy's computer begins to 'ding' signaling.

LUCY BUTLER: E-mail.

She goes to her computer to read the mail.

LUCY BUTLER: I think you should look at this.

They both walk over to look at the screen. Watts reads the email aloud.

WATTS: 'Thy mother is like a vine in thy blood, planted by the waters. She was fruitful and full of branches by reason of many waters.-

FRANK: It's from the bible.

LUCY BUTLER: Mm-hmm.

WATTS: Do you know what it means?

FRANK: Do you have a bible?

She gets it for Frank who leafs through the book. He finds what he's looking for.

FRANK: I need to use the phone.

He hands the open book to Watts as he picks up the phone and dials.

WATTS: Ezekiel.

FRANK: Ezekiel, Chapter 19, Verse 10.

WATTS: 1910 Ezekiel. Your home address.

FRANK into the phone: Catherine?

The view cuts back and forth between the two during their conversation.

CATHERINE: Frank, what's wrong?

FRANK: Are you all right?

CATHERINE: Yes, we're fine.

FRANK: Where's Jordan?

CATHERINE: She's right here with me. Frank, what happened?

FRANK sighs: Nothing. Nothing happened.

CATHERINE: Frank, I know the sound of your voice.

FRANK: Have you picked up the mail this morning?

CATHERINE: Yes.

FRANK: Has anything come addressed to me in a plain envelope?

CATHERINE: Yes, actually something did. I've, I've got it right here.

She walks over to the table where Jordan is playing with her doll to get the envelope.

CATHERINE: Do you want me to open it?

Frank sighs heavily but doesn't respond.

CATHERINE: Frank?

FRANK: Yes, but away from Jordan.

She takes the envelope and walks away from Jordan.

JORDAN: Mommy, what is it?

CATHERINE: Uh, it's a letter to Daddy.

JORDAN: From who?

Catherine ignores her and tears open one end of the yellow envelope which is similar in appearance to the envelope which arrived just after their move to Seattle. There is nothing except for a postmark and a printed mailing address on the front of the envelope.

Inside are several Polaroids.

FRANK: Catherine? What is it?

CATHERINE: Polaroids.

FRANK: Of what?

CATHERINE: An asian man in judge's robes.

Frank hangs up the phone.

FRANK: Judge Park. He's dead.

fade to black

polaroid fade up


5:16 AM


The morgue. Judge Park's body is placed on the examination table.

PATHOLOGIST: Do you know this guy?

FRANK: Yes. He was a judge - a good and honest man who didn't deserve this.

PATHOLOGIST into a tape recorder: The victim is an asian male - age 56, weight 155, height 5 feet 10 inches, occupation federal judge. Medical records indicate good health. Eyes are clear. No pooling of blood in the cranium. No signs of stroke or trauma to the body. No clear cause of death in the preliminary exam.

He shuts off the recorder and places it down beside a tray of surgical instruments. Picks up a scalpel and returns to the body. He begins making some incisions as Frank walks over to speak with Watts.

WATTS: Cause of death?

Frank shakes his head.

WATTS: You think it's Fabricant?

FRANK: You know it is, Peter.

WATTS: This took planning, Frank - perfect execution, pardon the pun. He's got to have help.

FRANK: I went through most of his correspondence. Unless an elaborate code is in use, I found no evidence of a plot.

WATTS: His wife - you think it's her?

FRANK: They wrote some of the most beautiful love letters you'll ever read.

WATTS: They say genius is the ability to hold two contradictory thoughts in your mind at the same time. What do you call a man who holds two contradictory personalities?

FRANK: The Devil.

WATTS: What about the Polaroids? You think he knew the effect they would have on you? That you'd been terrorized by someone sending them before?

FRANK shakes his head: I don't know. He might have. I'm not going to give it a chance.

Frank walks away. Watts catches up with him.

WATTS: You can't go home. Fabricant's here; he's not there. And you're the man who knows him. You know how to catch him.

FRANK: He's mocking me, Peter.

WATTS: No, he respects you. He's playing a game.

FRANK: What if he wins?

Frank sighs. Watts hands him an envelope.

WATTS: You're too good at this.

Frank opens the envelope and removes its contents. Inside are large photographs of the Judge Park crime scene. The top photo is of the judge's body carefully positioned on the floor of his office. Frank looks at the photo, recognizes the meaning of the pose and looks at Watts.

WATTS: You picked it up right off. Took me 45 minutes.


The Behavioral Sciences Unit at Quantico. The main room is darkened as the crime scene photos which Watts had shown Frank are displayed on the projection screen. The other agents are again present as are Frank and Watts.

FRANK: The body's been staged by the killer. The arms have been placed at angles representing the hands on a clock.

Frank uses a laser beam as a pointer.

FRANK: Two and seventeen. This is confirmed by the victim's watch and clock - 2:17. A time which does not correspond with the estimated time of death.

BABICH: Then what is 2-17?

WATTS: We think it's a biblical reference. Judges, Chapter 2, Verse 17, 'And yet they would not harken unto their judges but they went a-whoring after other gods and bowed themselves unto them.-

PIERCE: What's he trying to say?

FRANK: It's about what we do in Behavioral Science. The arrogance of trying to learn the nature of evil and stop it by studying it.

WATTS: This is the second bible verse we've seen on this case. They're being sent as a taunt to Frank.

BABICH: Like the Polaroids.

CUEVAS: And the other biblical reference?

WATTS: 'Thy mother is as a vine in thy blood, planted by the waters. She was fruitful and full of branches by reason of many waters.-

FRANK: The killer is saying that evil begets itself. Fabricant told the woman he married in prison that he wanted to have a child.

PIERCE: They removed the wrong organ.

FRANK: Cause of death was cyanide poisoning. The killer had to have access to the judge's chamber because poison was in the tea, and to stage the body. This couldn't have been done by Dr. Fabricant.

BABICH: Then who's he working with?

No one responds.


A moaning can be heard. Someone is in obvious pain. The view pans down from the ceiling past the light to the dialysis machine and finally to the source of the moan: Dr. Fabricant.

He is having great difficulty breathing and is in great pain as the dark-haired woman, Lucy, removes the surgical staples from his incision. From his visible distress, it is clear there has been no local anesthetic used.

Close-up of the incision as Lucy removes yet another of the staples while Fabricant grimaces and moans from the pain.


10:00 AM


Lucy's house. There's a knock; someone's at the door. Lucy comes down the stairs and is wearing the same dark robe.

As she opens the door, we see Frank, Peter Watts and several police detectives.

WATTS: Lucy, you're going to have to get dressed. We have a warrant to search your house.

LUCY BUTLER: What are you searching for?

FRANK: Evidence.

LUCY BUTLER: Of what?

FRANK: Your connection to the murder of a federal judge and the escape of Dr. Ephraim Fabricant.

She again moves away from the door to allow the others to enter the house.

WATTS: You're going to be placed under arrest, Lucy, to answer some questions.

LUCY BUTLER: Can't you ask them here?

FRANK: The man who was assaulted during Dr. Fabricant's escape was hospitalized in a coma. This morning he regained consciousness.

LUCY BUTLER: Has he given a description of who helped Ephraim?

WATTS: Yes.

Long pause as Lucy looks from Frank to Watts and back again. Generally, she addresses most of her conversation to Frank.

LUCY BUTLER: Was it a woman?

FRANK: Why do you ask?

LUCY BUTLER: The way you were looking at me.

FRANK: Lucy, there's a lot of things you didn't tell us about your personal history.

LUCY BUTLER: You never asked me.

FRANK: You worked for several years as a visiting nurse?

LUCY BUTLER: Was it a nurse that helped Ephraim escape?

WATTS: We think it was.

LUCY BUTLER: But you're not sure.

FRANK: Something else about your past has come to light. You had a child. A son.

LUCY BUTLER: Yes, he died four years ago.

WATTS: You were tried for his murder.

LUCY BUTLER snaps at Watts: I was found innocent.

FRANK: He died of cyanide poisoning - the same thing the federal judge that tried Dr Fabricant died of.

LUCY BUTLER: Why won't you call him my husband?

WATTS: Legally, he's not your husband.

LUCY BUTLER snaps again at Watts: Legally, I'm not guilty. again to Frank You ask me to tell the truth, you won't tell it yourselves.

WATTS: About what?

LUCY BUTLER: The man you say was in a coma - the marshal. He hasn't given a description at all.

Meanwhile, some of the detectives have been poking around some of the rooms on the first floor. One of them knocks over a bottle in the kitchen.

LUCY BUTLER: Isn't this against the law?

FRANK: Isn't what against the law?

LUCY BUTLER: Well, how did you get a warrant? If you lied to the judge, doesn't that constitute an unlawful act?

WATTS interrupts: Dr. Fabricant, your husband, was removed from post-op under very dangerous conditions. Wouldn't you like to help us find him?

LUCY BUTLER: Instead of suing you for entrapment and invasion of privacy?


Frank and Watts next turn up at the hospital to check on the marshal's condition. Dr. Willmore, Fabricant's surgeon, is present.

WILLMORE: We thought we had some response to questions - some facial movement. But in fact his brain activity has actually diminished.

WATTS: Chance of recovery?

WILLMORE: Well, we can't ever predict these things. One day he could just wake up or he could just stop breathing. You haven't been able to find him yet, have you? Dr. Fabricant?

FRANK: No.

WILLMORE: Without proper medical care I think he could be dead, or near to it.

The phone rings. The doctor answers it.

WILLMORE: Hello? Frank Black? Yes. It's for you.

He hands the phone to Frank.

FRANK: Hello?

CATHERINE: Frank.

The view alternates between the two again during their conversation.

Thunder can be heard and lightening flashes seen throughout during Catherine's part of the conversation, as a storm develops in Seattle.

FRANK: What's wrong?

CATHERINE: Uh, nothing. You called me.

FRANK: I called you?

CATHERINE: No. A, a woman called and said that you'd been trying to reach me. She told me that you were at the hospital.

FRANK: A woman?

CATHERINE: She said that you found the man that you were looking for.

At the hospital, a nurse comes rushing in.

NURSE: You better come see this!

FRANK to Watts: Something going on here.

The surgeon runs to see what has happened.

FRANK to Catherine: Hi, can I call you back?

CATHERINE: Yeah, sure.

They both hang up and Watts and Frank hurry to catch up with the others.

In the hospital corridor, several doctors and nurses are trying to help a patient at the far end of the corridor. The patient is Dr. Fabricant.

WILLMORE: Dr. Fabricant! shouts Get me a saline IV, stat!

NURSE: Right away!

WILLMORE: Let's go. Get him up. Get him on here.

They lift him up onto a gurney. They begin wheeling the patient toward an emergency room. Frank walks alongside of Fabricant. Frank looks down at Fabricant. His hands are covered in blood as is his surgical gown. The surgeon lifts up the gown to examine what's underneath.

WILLMORE: We're going to need a dialysis setup.

FRANK: What?

WILLMORE: Someone took out his other kidney. Come on! Come on!

Frank drops back to join Watts who had been following along the journey down the corridor.


The Black home. The tea kettle whistles as Catherine is reading a book. The storm continues as thunder can be heard in the background.

As she rises to shut off the kettle, the lights go out throughout the house. Lightening flashes illuminate the room as she turns off the gas and removes the kettle from the burner.

In the darkness she notices the refrigerator door has been left slightly open. A light from within can be seen.

She walks over to it, opens the door wide and looks inside. There is a flashlight resting on a plate with something on it. It is a bloodied kidney - Dr. Fabricant's. Finally recognizing what it is, she backs away from the object.

fade to black

polaroid fade up

Still thunder and lightning as Jordan can be heard calling from above.

JORDAN: Mommy!

CATHERINE: Jordan!

She runs to the stairs off the kitchen.

JORDAN: Mommy!

CATHERINE: Jordan!

As she begins to climb, she sees a figure at the top of the stairs. The outline of the figure is of someone with long hair. Lightning flashes reveal the person's face - a man's.

CATHERINE: Who are you?

The man doesn't respond.

CATHERINE: Jordan?

Catherine turns and runs back down the stairs.

She opens the basement door and runs down to Frank's office. She goes to Frank's file cabinet, where he keeps his gun. The padlock, normally kept locked, has been left open. She removes it and searches for the gun. She finds the holster, but it's empty.

Frantic, she reaches for one of Frank's phones. She picks up the receiver but cannot get a dial tone. She tries the other phone - same result. She thinks for a moment, then gets an idea.


Meanwhile, at the hospital, the surgeon is trying to save Fabricant's life.

WILLMORE: We have an acute abdomen and a nicked bowel. Potassium is critical and his creatinine is through the roof. I want him on a full course of antibiotics and a morphine drip. And that dialysis better be oiled and lubed...

Frank and Watts can be seen in the O.R.'s observation area above the surgical theater.

WILLMORE looking up to Frank and Watts: ...because right now it's the only kidney he's got.


After the surgery, the surgeon leaves the scrub room and talks with Frank and Watts.

WILLMORE: I'd say it couldn't happen to a nicer guy but taking out anybody's remaining kidney without anesthetic is truly sadistic.

FRANK: Without anesthetic?

WILLMORE: Yeah, he was literally blind from the pain. And it's not because this was done without skill.

There is an armed federal marshal outside of the operating room. The doors open and Fabricant is wheeled out into the corridor past the three of them.

WILLMORE: The excision was done by someone who knew where to cut and how to stop the bleeding.

WATTS: A doctor?

WILLMORE: Well, a second-year med student could do it. In fact, you could probably get the information on the Internet these days.

FRANK: A nurse?

WILLMORE: If she spent any time around an O.R., yeah. It's someone who knows their way around a hospital, I can tell you that.

FRANK: What do you mean?

WILLMORE: Well, there was a sick little joke.

He reaches into his pocket for something.

WILLMORE: A. Nephric. 'Anephric' is a term that means 'without kidneys.-

He hands Frank a hospital I.D. bracelet. It reads:

>03-10-52 45M MED
A. NEPHRIC
DR. D. WILLMORE
206 555 1130 39871

WILLMORE: It looks like our bracelet but somebody's changed all the information.

Frank looks at the bracelet, then at Watts, then runs down the corridor to find a pay phone. Watts hurries after him. Frank picks up the receiver and dials the operator. He hands Watts the bracelet.

OPERATOR: Telegrid long distance operator.

FRANK: Operator, I'd like to make a long distance, person-to-person collect call to Catherine Black. It's two oh six, five fifty-five, eleven thirty. It's an emergency, please. to Watts It's got my phone number on there.

OPERATOR: I'm sorry, sir. That number does...

Frank slams down the phone in frustration. Then picks it up again, dials the operator again.

OPERATOR: Telegrid long distance operator.


Meanwhile, at the Black home, the lights are still out as Catherine continues to try and find Jordan.

She makes her way back to the rear stairs and no longer sees the man at the top so she begins to slowly climb up to the child's bedroom. The lightning and thunder continue.

CATHERINE: Jordan?

There is no reply. She begins to run up the stairs and continues to call her daughter's name.

She runs through the hallway, finally reaches the bedroom, but the child's bed is empty. She frantically looks around the room. Then runs back downstairs, continuing to search for Jordan.

She turns and screams as she runs into Bletcher.

BLETCHER: Catherine, it's okay.

CATHERINE: Jordan...

BLETCHER: We've got her. She's right outside. Come on.


Back at the hospital, the phone rings at the nurse's station and Frank picks it up.

FRANK: Yeah.

BLETCHER: They're safe, Frank.

The view cuts back and forth between the two during their conversation.

Giebelhouse has Jordan in his arms. Catherine rushes to her little girl.

JORDAN: Mommy!

CATHERINE: Jordan! Are you okay?

GIEBELHOUSE: She's just scared is all.

Catherine takes her into her arms as Bletcher continues to speak with Frank on the phone.

BLETCHER: No, they're here with us. Everything seems okay.

CATHERINE: There's someone in the house, Bob. A man. I saw him upstairs.

FRANK: What did she say, Bob?

BLETCHER: Uh, looks like somebody turned the power off to your house, Frank. The rest of the neighborhood seems okay.

FRANK: Did she say someone was in the house?

BLETCHER: Giebelhouse is with Catherine and Jordan. I'm going to have a look around.

FRANK: Bob...

BLETCHER: Now, Frank, everything's under control here. I've got your number there. I'll call you right back.

He disconnects his cell phone.


At the hospital.

FRANK: He hung up.

WATTS: What's happening there?

FRANK: Someone's in my house.


At Frank's house.

Bletcher readies his gun and cautiously enters the house. He makes his way to the rear stairs. Thunder and lightning continue.

He hears a sound and looks up. A figure is at the top of the stairs. He immediately points his weapon at the figure.

BLETCHER: All right, come on down here!

The figure slowly begins to climb down the stairs. Lightning flashes and reveals the person's face - it's Lucy Butler.

Bletcher seems frozen. He doesn't seem able to move or speak. The figure before him transforms into a horrific devilish vision in red complete with fangs, wings and pointed ears. It interchanges with Lucy several times as she continues to climb down closer to where Bletcher is standing, gun still in hand. He is clearly trembling, terrified.

Outside, Giebelhouse opens the car door for Catherine and Jordan to sit inside. Catherine, still carrying Jordan, places her on the seat next to her, in the rear of the car. Giebelhouse gets into the front.

CATHERINE: Here you go, sweetie.

Giebelhouse calls dispatch from the car radio.

GIEBELHOUSE: This is Detective Giebelhouse requesting backup at 1910 Ezekiel.

DISPATCHER: I'll get a unit on the way. Nature of the call?

GIEBELHOUSE: It's a break-in, possibly burglary.

CATHERINE: He may have Frank's gun.

GIEBELHOUSE into the mike: There's a possible armed suspect.

He replaces the mike, grabs a flashlight, gets out of the car, shuts the door and heads for the house.

DISPATCHER: Ten-four. Any units in the vicinity of one-nine-one-zero Ezekiel - backup officers on the scene.

Giebelhouse reaches the house, opens the front door and enters. He checks out the living room.

GIEBELHOUSE: Hey, Bletch!

No response. No movement of any kind. Except for thunder and lightning.

Giebelhouse goes up the main stairs by the front door. He checks out each room and finds nothing.

GIEBELHOUSE: Bob?

Outside, a patrol car has pulled up.

JORDAN: What's happening, Mommy?

CATHERINE: Shhh.

The two patrolmen approach the front door as Catherine watches from the car with Jordan sitting in her lap.

Inside, Giebelhouse, flashlight in hand, is seen at the top of the rear stairs, where the satanic vision had enthralled Bletcher moments before. He climbs down the stairs and slowly walks toward the basement door.

He turns the knob and Ben, the family pet dog, comes tearing out past the spooked detective. Giebelhouse continues to move forward into the basement.

Back at the hospital, the phone rings again at the nurse's station. Frank picks it up.

FRANK: Hello.

There is no response but heavy breathing can be heard.

FRANK: Who is this?

Still no response - this time only silence.

FRANK: Who's on the line?

Back at the Black house.

Giebelhouse reaches the bottom of the stairs and walks toward Frank's office. He continues to search when he hears Frank's voice on the phone on Frank's desk.

FRANK: Bob?

The receiver is lying on the desk. Giebelhouse puts down his flashlight and picks it the receiver.

GIEBELHOUSE: Who's this? Frank?

The view cuts back and forth between the two during their conversation.

FRANK: Giebelhouse, what's going on there?

GIEBELHOUSE: I don't know.

FRANK: Where's Bletcher?

GIEBELHOUSE: Didn't he call you?

He cradles the phone with his shoulder as he picks up his flashlight again and continues to look around the basement. He looks at a corner of the room and then up. He drops the phone.

GIEBELHOUSE: Oh, my God.

FRANK: Giebelhouse.

GIEBELHOUSE: Oh, my God.

He moves closer to what he's seen at the far end of the room. The soles of some work boots can be seen suspended far above the ground.

The flashlight and the view slowly pan upwards to reveal Bletcher's body hanging from the rafters of the unfinished basement. Blood can be seen covering his chest. His face is not yet visible.

GIEBELHOUSE: Bob? Oh, my God.

The view continues upward to finally reveal Bletcher's face. His throat has been slashed. His tie has been cut off, bits of it remain visible under the shirt collar.

GIEBELHOUSE: Holy mother of God.

fade to black

polaroid fade up

8:12 AM

Outside, the Seattle Public Safety Building.

Inside, the detectives' squad room.

Giebelhouse walks up to Bletcher's office. He pauses at the glass door with 'Lt. Robert Bletcher, Homicide' painted on it before opening and entering the room. Catherine is sitting on the couch inside. Jordan is asleep with her head on her mother's lap.

GIEBELHOUSE: You got a call coming through.

He picks up the phone and places it closer to Catherine so as to not disturb the sleeping child. He hands her the receiver.

CATHERINE: Thank you.

He nods and leaves the office.

CATHERINE: Frank.

Frank is still in Virginia, in the empty BSU room at the Academy. He looks very tired, barely able to keep his eyes open.

FRANK: How's Jordan?

The view cuts back and forth between the two during their conversation.

CATHERINE: She's fine. She's right here, sleeping.

FRANK: Does she know anything?

CATHERINE: She's a sensitive kid. She knows she didn't sleep in her bed last night. But I haven't told her anything.

FRANK: I'm coming home.

CATHERINE: I'm going to need some time, Frank. I can't go back to the house just yet.

The BSU room. Watts enters and stands at the top of the stairs. Frank turns to look at him, then returns to his phone conversation with his wife.

FRANK: I understand. whispers I'll call you back.

He hangs up the phone.

WATTS: I got you a flight.

FRANK: Thank you.

WATTS: He's asked to see you.

Frank stares up at Watts.


Fabricant's hospital room. Frank and Watts enter the room, led by the armed federal marshal guarding the door. He exits and returns to his post. Fabricant is hooked up to a dialysis machine and has several tubes and IVs running into him. He looks very weak. His hands are cuffed to the guard rails of his bed.

FABRICANT: Hello, Frank. You're mad at me. I understand.

Frank, barely able to contain his anger, approaches the bed, leans over Fabricant, grabbing hold of the guard rails by the side of the bed.

FRANK: What do you understand?

FABRICANT: All your mercy and good intentions, have brought you no return.

FRANK: You're dying now.

FABRICANT: Yes.

Frank nods.

FABRICANT: But not of old age as I'd hoped.

FRANK: Who is she?

FABRICANT: She?

FRANK: Lucy Butler.

FABRICANT: You had me commuted so you might learn the nature of evil. I can tell you now.

He reaches up his right hand to grab the lapel of Frank's jacket. He pulls Frank closer to him.

FABRICANT: You think I'm evil, Frank? You don't know what that is. It's greater than we are - you and me.

FRANK: Who did this to you?

FABRICANT: The base sum of all evil. The sleep of reason. The Devil's liege.

FRANK shouts: Who was in my house?!

FABRICANT: It knows you, Frank. It feeds off your passion.

FRANK shouts: Who killed my friend?!

WATTS: Let's go, Frank.

Watts tries to pull Frank away from Fabricant. Frank's shouting has caused the marshal to enter and stand guard inside the room, to the rear by the door.

FABRICANT: Everything you hold sacred...

Frank pulls himself away from Fabricant's grasp and backs away from the bed in disgust.

FABRICANT: Frank.

Frank and Watts leave the room.

FABRICANT: Run. more weakly Run.


Seattle Public Safety Building
4:00 PM


Using a light box, Giebelhouse shows Frank a number of prints lifted from his house.

GIEBELHOUSE: We've got three sets of prints we can't I.D.

He tosses down three photos of where the prints were taken from.

GIEBELHOUSE: Here, here, and here.

FRANK: What about the murder weapon?

GIEBELHOUSE: Something the killer brought with him. We haven't been able to specify an exact style but from the wounds...

He walks over to get an envelope which he places before Frank.

GIEBELHOUSE: From the wounds, we believe it was a hunting-style knife.

As Frank is about to remove the contents of the envelope, Giebelhouse is visibly upset.

GIEBELHOUSE: I got to get out of here for a minute.

He leaves the room.

Frank removes the photos from the envelope. They are crime scene photos of Bletcher hanging from the rafters of Frank's basement.

The first photo is a full-shot of the corner of the unfinished corner of Frank's basement with Bletcher's body hanging high up on the rafters. The second, is a close-up of Bletcher's upper torso and head with an evidence tag labeled 'B' near his head.

Giebelhouse returns to the room.

GIEBELHOUSE: Frank. Lucy Butler, that the name?

FRANK: Yeah, why?

GIEBELHOUSE: We just arrested her on an outstanding traffic violation.

FRANK: Where? Here? In Seattle?

GIEBELHOUSE: Yeah.

They both leave to go see Lucy.

Giebelhouse leads Frank into an interrogation room where Lucy is sitting on the table with her back to the door. Giebelhouse remains in the room, and as Frank enters...

LUCY BUTLER without turning: Hi.

She stands up from the table, still with her back to Frank.

FRANK: You were in my house!

She finally turns and faces Frank.

LUCY BUTLER: When was that?

FRANK: You think you're going to get away with this, but you won't.

LUCY BUTLER: Do I fit the description of somebody you're looking for, Frank? Someone that was in your house?

FRANK: We have your fingerprints.

LUCY BUTLER: I think that you're going to be disappointed, Frank.

She leans across the table.

LUCY BUTLER: I'm not the person you think I am.

FRANK: Who are you?

She smiles but doesn't answer. She moves back and stands upright again. More serious, and apparently emotional, she finally offers a response.

LUCY BUTLER: I'm the widow of Dr. Ephraim Fabricant.

Another detective enters the room and whispers into Giebelhouse's ear.

GIEBELHOUSE whispers: Frank.

He pulls Frank out of the room and closes the door.

GIEBELHOUSE: We got no match on the prints, Frank. She pays her traffic fines, we got nothing to hold her on. Unless there's something else?

FRANK: No, there won't be.

GIEBELHOUSE: What do you want me to tell her?

FRANK: There's nothing she doesn't already know.

He turns and walks away through a crowd of officers, all standing around in stunned silence in the hallway, each turning to look at him as he passes.


Outside the Black residence. Inside, the Black bedroom.

CATHERINE: What do we do, Frank?

FRANK: You're angry with me.

CATHERINE: It's not anger. I don't know what it is.

FRANK: It's who I am.

CATHERINE: We were kidding each other. We were kidding ourselves thinking that we could come here and escape anything.

FRANK: It's not true.

CATHERINE: It is, Frank. You can't talk it away. You can't ask me to pretend or make believe. You can't make what happened in this house just go away.

Frank sits on the bed.

FRANK: You know I love you more than anything in the world. pause, sighs I don't know what to do.

Catherine sits next to him.

CATHERINE: I love you too. But it's not about that. It's about things that happen to us that don't happen to other people.

FRANK: I know.

He reaches over and tries to comfort her by rubbing her shoulder. She lowers her head towards him and he rubs her neck.


Mount Baker - revisited. The same gorgeous scenery which Bletcher introduced to his friend Frank at the start of the episode, Frank now introduces to his daughter, Jordan, whom he is carrying on his back, in addition to his backpack which he has resting on his chest.

JORDAN: Daddy?

FRANK out of breath: Yeah?

JORDAN: Are you tired?

FRANK: Yeah.

JORDAN: Do you need to rest?

FRANK: Yeah.

He continues to walk until he reaches the same crest he climbed with Bletcher.

JORDAN: How come we came so far?

He sits down in the snow and Jordan tumbles down behind him. He removes the backpack from his arms. He reaches around to his right to pick up the child...

FRANK: Here.

... but she crawls around to his left instead. He grabs her and scoops her up on his lap.

FRANK: I wanted you to see the view. Look.

She looks around and turns to her father.

JORDAN: I like it.

FRANK: It's the one thing in life that will never change. Look.

They continue to sit, looking at the view.


fade to black