6C13 Teufels Braut (englisches Transkript)
| Transcribed by Libby
Edited by Libby, Used with kind permission from Libby (www.chelonium.plus.com)
MLM-313 6C13 Antipas
The "previously on" section is omitted on the DVD.
FRANK: Who is she?
FRANK: Lucy Butler.
FABRICANT: The base sum of all evil. The devil's liege. They think I'm evil, Frank. They don't know what that is.
FRANK: You had a child, a son.
LUCY: Yes. He died, four years ago.
WATTS: You were tried for his murder.
LUCY: I was found innocent.
FRANK: Who are you?
LUCY: I'm not the person you think I am.
From A Room With No View
FRANK: She's selling the idea that the devil is born again.
Vision: Demon, woman, demon.
LUCY: The soul expresses itself in so many amazing ways.
A very attractive, expensive house. The front door opens and a well-dressed couple, John and Una Saxum, come out accompanied by a small child.
UNA: It's chillier than I thought, John. Maybe she shouldn't go out, she's just over a cold.
The child, their daughter Divina, has a strange face - pale, unwell. She is wearing a thick fur coat and a fur hat.
JOHN: Just a quick walk in the garden before the rain starts back up. to Divina Are you ready, kiddo? You got your grizzly bear on.
UNA: Let's go then.
They walk off, watched by a woman. She turns - it's Lucy Butler.
Una, John and Divina walk down a path in their extensive gardens.
UNA: She has four new cavities since her last check-up. The dentist says there's nothing to be done. She was just born with bad teeth.
There's a flock of geese, and Divina is throwing food to them.
UNA: I know you don't like to hear these things about her John.
JOHN: My brother had health problems as a child. He grew up to be the biggest of all of us.
UNA: She's below the acceptable percentile on every chart.
JOHN: Aren't we doing all we can?
UNA: I know they want you to announce your candidacy, John, but I don't know if I can handle it. I don't know if I'm ready to be the Governor's wife.
JOHN: Is that what this is about?
UNA: No, it's about Divina. It's about our daughter.
While they talk about Divina, she has wandered after the geese, feeding them bread by the side of a small stream.
JOHN: We wanted this. You and me. It's all we worked for, all the choices we've made. All the countless social events, the good deeds.
UNA: I need help with her, John. I need a husband and she needs a father.
JOHN: I'm a good father, Una. And a good husband.
Una looks around for Divina.
UNA: Where is she? Where's Divina?
The geese are still there, but not the child.
They continue to call, looking around, until Una sees her.
UNA: Where is -- Oh, my god. She's over there.
Divina is standing in the bushes on the other side of the stream.
UNA: Sweetheart. You scared us. What didn't you answer Mummy?
Divina turns and runs away.
UNA: We scared her with our arguing.
JOHN: She's just playing a game.
They run down another path.
JOHN: Uh, she's just playing hide and seek.
UNA: She's going to get sick all over again.
JOHN: She's got her warm coat on. Look, I know where she's gone.
John turns and runs back.
There's a maze in the garden. Hedges much higher than an adult. John walks between the hedges, Una following.
JOHN: Divina! Come on out now! You scared your Mommy.
UNA: Sweetie! It's OK!
They go in different directions.
Divina is standing in the center of the maze, near a dead tree.
JOHN: Divina! Divina! Where are you, honey?
She watches as a large snake slides down the tree.
UNA: Divina! Answer your Mommy!
Divina backs away from the snake.
JOHN AND UNA: Divina!
Her parents are now frantic.
The snake is now on the ground, its body distorted by the prey it is consuming. All that can be seen are a child's legs and feet.
The parents, still calling Divina's name, round a corner in the maze and stop. Divina is there, with Lucy. Una goes over to Divina.
UNA: Oh, you scared us. You frightened Mummy and Daddy.
LUCY: You shouldn't be frightened.
JOHN: How did you get here, past us?
LUCY: I heard you calling her. She knows the maze well. Maybe you should let me teach you, too.
John picks up Divina and he and Una walk off. Over her father's shoulder, Divina smiles at Lucy. Lucy smiles back.
fade to black
polaroid fade up
Crime scene photographs of a man's body. Hollis is presenting the case in the briefing room.
HOLLIS: I've had this case six weeks. I've got no suspects. I can't seem to even get any traction. The victim you see here is a 39 year old federal prosecutor named Robert Ferry. He died as you see him, in this motel room in Pittsburgh. The result of three knife wounds to the chest and stomach.
The next slide shows the victim's face.
HOLLIS: Ferry checked into the motel at about 6.30 in the evening. He had gone out, returned about midnight. Time of death was 1.45 a.m. thereabouts.
AGENT #1: Gay?
HOLLIS: Yes. But not openly. I have one report of a long-haired male seen loitering in the area.
AGENT #2: Evidence of body fluids?
HOLLIS: Where the sun don't shine.
The next slide shows items on a table - wallet, phone directory for PA which has the word 'SAINT' written just above it.
HOLLIS: The victim's wallet was not taken, nor was five hundred cash nor three hundred in travelers checks left out on the dresser bureau.
FRANK: The word written on the phone book - saint. What was that written with?
HOLLIS: The victim's personal pen. So far I don't know its importance.
Frank writes the word 'SAINT' on a notepad.
HOLLIS: The pen was returned to the victim's pants pocket. His car and his house were left alone.
Now Frank has added '/PA'.
HOLLIS: The weapon was removed from the scene. Nothing else was disturbed. There was however something left at the scene. In the toilet, in the bathroom. Urine.
Frank is re-arranging the letters as an anagram.
FRANK: Was the seat left up or down?
The next slide shows the bathroom. The seat is down.
HOLLIS: The specimen I collected contained chorionic gonadotropines.
McCLAREN: It was a woman. Pregnant woman. Most likely someone who knew the victim. Maybe who visited him in his room some time prior to the commission of the crime.
Frank has these letter arrangements: 'TINPAN', 'PAINT AS', 'ANTIPAS'. He underlines the last one, tears off the page and gets to his feet.
McCLAREN: If we can identify her, she may have information that can lead us to our perp.
Frank leaves. Hollis watches, puzzled.
Later. Hollis is at her desk. She can see into McClaren's office where he and Frank are talking. Frank leaves, looking over at Hollis as he goes. McClaren comes over to Hollis and sits on the edge of her desk.
HOLLIS: What's going on?
McCLAREN: That was good work in there today.
HOLLIS: I'm dead in the water, sir.
McCLAREN: No, no, no. It's good, solid, investigative work. Impressed the hell out of Frank.
McCLAREN: I am going to transfer you off the case, Agent Hollis.
HOLLIS: Off the case?
McCLAREN: Frank has requested all your data and your files.
HOLLIS: Why? Does he know something?
McCLAREN: Apparently he does.
HOLLIS: And I can't work with him?
McCLAREN: Your files, Agent Hollis.
Hollis is not happy.
Saxum house. Outside, Una and Divina walk round a corner of the house. John is inside, in his study, on the phone.
JOHN: I think I've got things squared away somewhat more than I did previously here. My little girl really has taken a turn. Oh, complete turn around in her health. It's miraculous really. An omen, I'd say.
John watches through the window as Una and Divina run across the lawn.
JOHN: I think I want you to get everyone together tomorrow, Carl. I want to make all the preparations -
Lucy has entered the room.
LUCY: Excuse me, sir. I didn't mean to startle you.
JOHN: Sorry. put his hand over the phone No, what is it?
LUCY: Well, you asked me to have a suit pressed for you, and I'm afraid the shirt that goes with it is missing a button. I see the shirt that you're wearing is a match for that shirt. I was wondering if it might have a spare?
JOHN: Can it wait?
LUCY: Well, I don't know where I'm going to get another button.
He pulls out his shirt. Lucy smiles at him. Then she kneels down in front of him to cut off a button on the bottom of his shirt.
JOHN into phone: Can you hold on, Carl. I'm being frisked for a button.
John is amused. Lucy looks up at him and smiles. John smiles back.
Outside, Una notices the scene taking place in the study. She runs to the house, leaving Divina. The gardener looks on. Una goes into the house and into the study.
UNA: Please watch Divina. She's out back.
Lucy gets to her feet, but stands still.
UNA: Now, Miss Butler.
LUCY: Yes, ma'am.
JOHN into phone: OK.
He hangs up as Lucy leaves. Una walks over to John as he tucks in his shirt.
JOHN: What? What is it?
UNA: What's going on here?
JOHN: Nothing's going on. Lucy was getting a button off my shirt.
UNA: It looked as if there was something - inappropriate.
Lucy looks embarrassed. She turns and leaves.
Outside. Lucy with Divina.
LUCY: Your Mommy's mad at your Daddy. Because she thinks he's been bad. That's because your Daddy likes me. Because I don't quarrel with him like your Mommy. I bet you wish I were your Mommy. pause What if I told you I were?
Lucy takes Divina's hand and they walk through the garden. Divina is looking up at Lucy. The gardener is watching them as they walk by. They walk into the maze. The gardener follows them. As he's walking through the maze, he's confronted by a large dog. Another dog appears behind him. The dogs start growling. He pulls a small garden fork from his pocket.
GARDENER: Get out of here now! Get!
The dogs attack. He runs but they jump and bring him down. Another figure appears - the Long Haired Main. He stands and watches while the gardener is savaged by the dogs.
The face of the Long Haired Man appears to change to Lucy Butler's face, but it's a photograph of her on her driver's license. Frank is doing a computer search on her, but the screen shows 'No current information', and then 'No current interstate information'. Then he searches on 'Antipas search all references'. He finds a web page and clicks on one of the pictures, a religious drawing. Then he searches again on 'Antipas - current references'. What this finds is a copy of a newspaper, the "Daily Madison Monitor' with the headline 'Scene of terror at State Attorney's Manse - dog attack critically injures gardener', with a photograph of the maze. What he sees is the name of the garden in the grounds of the house - Antipas Gardens.
Hollis walks into the room.
HOLLIS: You take my case. You take my files, all my hard work, and here I find you working on something else?
FRANK: You don't want this case.
HOLLIS: No. I want my case.
FRANK: This is your case, Agent Hollis.
She walks over and looks at the monitor.
HOLLIS reading: Antipas Gardens, Maddison, Wisconsin. A dog attack?
FRANK: Antipas. An anagram from the phone book at your crime scene. The word 'saint' was hand-written over the abbreviation 'PA'. Antipas. It's a biblical reference. An allusion to Satan from the Book of Revelation.
HOLLIS: Put there by whom?
Frank switches the screen to show Lucy Butler's driver's license.
HOLLIS: Well, my perpetrator's a male. Frank, come on.
FRANK: Leave it alone, Agent Hollis. Let it go. It's all right.
Saxum house. Night. Lightning repeatedly streaks across the sky. Divina is in bed, hands clasped in prayer. Una is sat on the bed, John standing near.
JOHN: We ask the lord to make the poor man well and to give him relief from his pain and injuries. And we ask him to give us help and mercy, and to watch over him in the hospital. Amen.
UNA: You going to be all right tonight, sweetie?
Thunder, lightning, rain.
JOHN: She's a big girl, aren't you?
Divina smiles. Una kisses her.
UNA: You sleep tight, now.
Divina nods. Her parents leave, John switches off the light and closes the door.
Divina gets out of bed and looks out the window. The rain is heavy, streaking the window. On the ground outside stands the Long Haired Man. He and Divina stare at each other. The Man moves towards the house. Divina goes over to the bedroom door and opens it. She walks quietly into a corridor and stands still. At the other end of the corridor, the Man walks into view. As the lightning flashes, the Man's face changes to Lucy's. Then a nearby door opens and Una, dressed in a nightgown, comes out.
Una looks down the corridor, but it's empty.
UNA: What are you doing? Mmm? Are you scared? Divina nods You want Mommy to sleep in your bed with you tonight? Divina nods OK, come on.
She picks Divina up and carries her off towards her room. In the bedroom Una has just left, Lucy appears and slides into bed next to the sleeping John.
fade to black
polaroid fade up
Next day, Frank drives up to the Saxum house. He rings the doorbell. The door is eventually opened by John.
FRANK: Pardon me for coming so unannounced, Mr Saxum. I just felt it was the right thing to do.
JOHN: I just got a call from the gate that said that you were with the FBI.
FRANK: My name is Frank Black. I do some consulting for the Bureau. I know you're a busy man.
JOHN: Is this about the gardener?
FRANK: In a manner of speaking, yes.
UNA: Who is it, John? insistent, as John doesn't answer John?
FRANK: My name is Frank Black. I'm here about Lucy Butler. I believe she's in your employ.
JOHN: Yes, that's right.
FRANK: May I come in?
UNA: Oh, please, of course.
John is not happy about this.
FRANK: Thank you. he enters What a beautiful house.
UNA: Thank you.
John's study. Frank and Una are seated. John closes the door.
JOHN: I don't understand the need for secrecy, Mr Black.
FRANK: Well, I'm here to help, you understand. I'm quite sure you'll thank me.
JOHN: You make it sound like we've employed some kind of criminal.
FRANK: Not some kind, a particular kind, the worse kind.
UNA: What on earth do you mean?
FRANK: I know Lucy Butler. I had her investigated for the death of a Seattle police detective. And there were no two ways about it. And for the murder of her own child.
UNA: The murder?
JOHN: Wait a minute. I have a staff that checks these things. Checks them thoroughly. If this woman had any kind of record, she wouldn't have been hired for this job. She would never have been considered.
FRANK: I checked her record, too. Somehow it was expunged.
JOHN: There is no somehow with charges like those.
FRANK: You don't know what kind of person you're dealing with here.
JOHN: She's a nanny, for god's sakes. And the truth is, a damn good one. Who put you up to this? Who sent you here?
FRANK: I'm on an investigation.
JOHN: Of who? For what?
FRANK: A murder. In Pittsburgh.
JOHN: Look, Mr Black. A man has enemies, no matter if he wants them, it's the nature of politics. I find your visit here rather curious and your story as well.
FRANK: I didn't come here to frighten you.
JOHN: Lucy is a godsend. Our child has never been better and we have Lucy to thank for this. My wife will agree with me. Our child was quite ill before --
UNA: Will you let him speak?
FRANK: I am not the only person that's harbored suspicions, Mr Saxum. Your gardener gave a statement about his attack.
JOHN: He was attacked by vicious dogs. Vicious dogs that had got onto the property.
FRANK: I went down to the hospital before I came here. I wanted to clear that up for myself. I never got a chance to talk to the man.
UNA: Oh my god.
JOHN: I'll thank you to leave our house and never come back. And I'll thank you not to test our intelligence or credulity with your ridiculous fabrications of truth and fictions. I'm going to have you investigated, Mr Black.
FRANK: I'd welcome it.
Frank leaves the house and walks down the steps to his car.
LUCY: Hello, Mr Black.
Frank turns. Lucy standing with Divina. Frank walks towards her.
LUCY: This is really such a surprise to see you.
FRANK: It isn't, Lucy. You know that. You asked me here. You did everything but send me a personal invitation. Antipas. An anagram. Saint PA. Did you just watch the murder, Lucy. Or did you do it yourself?
LUCY: The suspect that you speak of in this case is a male homosexual.
FRANK: How would you know that?
Lucy smiles. Then crouches down to speak to Divina.
LUCY: You go on inside, OK? And tell your Mommy and Daddy not to worry.
She and Divina kiss. Divina walks off, staring at Frank as she goes.
FRANK: They know enough to worry, at least the mother does.
LUCY: She's very jealous of me. He likes me, you know, John.
FRANK: You have him fooled.
LUCY: He wants me. And she knows it. He wants me like all men do.
FRANK: Leave these people be.
LUCY: I work for them.
FRANK: That's not your little girl.
LUCY: She is mine, Frank.
FRANK: Leave her alone!
LUCY: I don't like to share!
FRANK: Yeah, you want to see me go off. That's what you want.
Frank walks towards his car.
LUCY: I just want us to be together.
Frank, puzzled, goes to his car. Lucy smiles.
Inside the house.
UNA: She has designs on you, John. That much I know.
JOHN: Where's this coming from? From that FBI agent?
UNA: Women know these things.
JOHN: And I presume men are unable to think for themselves and that they'll just hump anything that moves.
UNA: So you admit an attraction?
JOHN: Don't lawyer me, Una.
UNA: She's evil, John. I'm telling you.
JOHN: She turned Divina around. She's the holy miracle worker, if you ask me.
UNA: You're only saying that because of what it means to your political career - admit it.
JOHN: How can you turn a simple statement of fact about our daughter's health into a selfish manipulation, Una? What would like to do - get rid of her? See what happens?
Lucy and Divina are in another room, eavesdropping on this conversation. Una and John's voices are muffled but clear.
JOHN: Divina has an attachment to her - can't you see that?
UNA: You say that as if it's my fault.
JOHN: I just don't think you can take care of her on your own, to be honest.
UNA: I have a life, too, John.
JOHN: And Lucy's not a threat to that. She's a gift from heaven.
Little Red Wagon Hotel
Frank is in his hotel room, researching on his laptop. He's printed off a number of photographs of crime scenes where items have been used or arranged to show 'antipas'.
Now the clock shows 2:13. Frank is asleep in bed. The lighting is low, red. He awakes. Lucy is sitting astride him, having sex with him. Then she digs her nails into Frank's hand. Frank looks at her and she has changed into a snarling demon. Frank frees his hands and grips the demon's throat.
Suddenly, there's a loud knocking at the door, awakening Frank from his nightmare.
FRANK: Who is it?
HOLLIS: It's Agent Hollis.
Frank goes to the door, but as he flips the light switch he notices bruises and scratches on his wrist.
HOLLIS: Is everything all right? Frank, are you OK?
He unlocks the door.
FRANK: It's open.
FRANK: What are you doing here?
HOLLIS: What are you talking about, Frank? What do you mean?
FRANK: I specifically asked you not to participate in this case.
HOLLIS: You called and told me to get out here. You said it was urgent.
FRANK: I didn't call you.
HOLLIS: You called me at home, Frank. I answered the phone. It was you. You said there was a murder, a woman. Una Saxum.
FRANK: Get on the phone. Call local the PD. Tell them to get out to Antipas Manor now.
Hollis picks up the phone, while Frank starts dressing.
Antipas Manor. Una is asleep. She awakened by Divina calling her in a sing-song voice.
DIVINA: Mommy. Mommy.
Una listens and hears Divina again.
DIVINA: Mommy. Mommy.
She gets out of bed and goes to Divina's room. It's empty.
DIVINA: Mommy. Mommy. Mommy. Mommy.
Una runs down the stairs and sees the front door standing open. She runs outside, through the garden.
UNA: Divina! Divina!
She hears a splash, something or someone has fallen into the stream.
UNA: Oh, my -
She runs to the water's edge and sees Divina lying under the water, calling her. She goes into the water and reaches for Divina who disappears. She is hit from behind and the water becomes still.
Flashlights of a search party.
FRANK: Mrs Saxum! Mrs Saxum! to the search party Hold it, hold it. Stay back.
Frank and Hollis advance. The geese on the water move away, revealing Una lying underwater, blood on her face.
fade to black
polaroid fade up
The stream. A body bag lying on the grass.
FRANK: I'm going to make an arrest.
HOLLIS: For what?
FRANK: Murder. Premeditated.
HOLLIS: Frank, you can't arrest anyone for this. There's no evidence. That woman drowned herself.
FRANK: How do you drown yourself?
HOLLIS: OK, there are two sets of footprints in the wet mud. Yours and the wife's. Tell me who to arrest.
FRANK: The nanny. Lucy Butler. The one that called you out here. The suspect in your other case.
HOLLIS: Frank. I don't get it.
Frank turns to look at the people standing nearby. One of them is Lucy.
FRANK: You're not supposed to get it, Emma. It's about me.
FRANK: Yeah. She wants to be arrested, she's expecting it, but by me. But I want you to do it. I want you to hold her as long as the law will allow. But no interviews whatsoever, you understand?
FRANK: Because it would be pointless. And dangerous.
Saxum house. John goes into Divina's bedroom. She's sitting up in bed.
JOHN: What, sweetheart.
He sits on the bed.
DIVINA: Where's Lucy?
JOHN: Lucy's gone away for now.
DIVINA: Is she coming back?
JOHN: Divina. He takes her into his arms. It's your mommy. It's your mommy who's not coming back.
DIVINA: Lucy's my mommy!
She screams. John backs away, his hands over his ears.
Dane County Hospital
Frank walks down a corridor and calls to a nurse.
FRANK: Hello? Excuse me? I need your help.
NURSE: Are you all right, sir?
FRANK: I'm fine. I'm sorry. My name is Frank Black. I work for the Federal Bureau of Investigation.
NURSE: Is there a problem?
FRANK: Yes, I need some information.
FRANK: On a child who I believe was born at this hospital.
She shakes her head.
NURSE: And we don't provide.
FRANK: It has to do with the murder of her mother, Una Saxum.
NURSE: She's dead? Una was murdered? I helped deliver it. You mean Divina. Divina Saxum.
FRANK: I believe the child is in danger.
Police station. Hollis enters.
DETECTIVE: Agent Hollis? Emma Hollis?
HOLLIS: Yes, I'm Emma Hollis.
DETECTIVE: Detective Groskoff. Prepare yourself, you're about to meet a man named Selwyn Wassenaar. He'll be coming round the corner any minute. Speak of the devil.
A large, imposing man arrives.
WASSENAAR: Detective Groskoff. You have been avoiding me. Shame on you.
DETECTIVE: I don't have an answer for you, Selwyn, and I'll defer to Agent Hollis who made the arrest.
WASSENAAR: Agent Hollis. Well now, Abraham Lincoln would be proud. As a woman who's obviously benefited from this country's enlightenment in the area of civil rights, you will be so kind as to release my client from her bonds post-haste.
HOLLIS: If your client is Lucy Butler, she's being held for murder.
WASSENAAR: Habeas corpus. You understand what that means, Agent Hollis? Produce the body before the judge or let the slave free.
HOLLIS: I don't appreciate the insinuation, Mr Wassenaar.
WASSENAAR: And I don't appreciate the rape, torture and subjugation of my poor client, Miss Hollis.
HOLLIS: I assure you, sir, that your client has been neither raped, tortured nor subjugated.
WASSENAAR: Maybe not in the last few hours.
HOLLIS: I don't know what you're getting at, Mr Wassenaar. But your client is not the victim here.
WASSENAAR: Oh, she most certainly is, madam. And I have the evidence, unlike you, to disabuse you of your uppity notions to the contrary.
Frank is a darkened office. He is looking at documents. One of them is Divina's birth certificate with her footprints. The door opens and the nurse enters, switching on the light.
NURSE: You promised this would all be on the QT, Mr Black.
FRANK: Excuse me?
NURSE: I could get in big trouble letting you see those files.
FRANK: No-one's going to know I've been here.
NURSE: Well, there's someone on the phone who knows already.
She points to a phone and Frank picks it up. The nurse goes to leave.
FRANK to nurse: I'm very sorry. into phone Frank Black.
Hollis is using a payphone in the police station.
HOLLIS: Frank, you're there.
FRANK: Emma, I found something. Something you're not going to believe. Nobody's going to believe it.
FRANK: What Lucy Butler's up to.
HOLLIS: Frank, listen to me.
FRANK: No, you listen to me. I found birth records. Footprints from Saxum's little girl. They're a perfect match.
HOLLIS: To what?
FRANK: Lucy Butler's dead child. I'm on my way there. I want to confront her with it.
HOLLIS: She's not here, Frank.
FRANK: What are you talking about?
HOLLIS: We were forced to let her go.
FRANK: Forced? By who?
HOLLIS: Her lawyer. He's got something you're not going to believe.
HOLLIS: A rape kit on Lucy Butler. And a request for a paternity test.
FRANK: From whom? John Saxum?
HOLLIS: No, Frank. From you.
Frank arrives at the police department. He is angry, hitting out at a door as he passes. He opens the door to an interview room. Mr Wassenaar is sat at a table. Also present are Hollis and the Detective.
WASSENAAR: Ah! The suspect, no doubt.
FRANK: Who's pushing this BS? You?
WASSENAAR: Oh, violent temper and all.
As Frank advances, the Detective and Hollis intervene.
HOLLIS: Stay calm.
FRANK: He's her lawyer - Lucy Butler. to Wassenaar You represent the devil.
WASSENAAR laughing: Oh, he's like a wild animal.
FRANK: If she kills again, the blood's going to be on your hands.
WASSENAAR: Ironically, it's your hands we are most concerned with, Mr Black.
He takes a document from his briefcase and puts it on the table. Frank looks at it - photographs of Lucy showing bruises on her neck.
FRANK: No. Those aren't mine. That's not from me. I never touched her.
WASSENAAR: Oh, you not only touched her, you impregnated her in a motel room.
FRANK: What are you saying?
DETECTIVE: Are you going to take the test or am I going to read you your rights.
McCLAREN: He'll take the test.
McClaren stands in the doorway.
McCLAREN: I'll make sure you get everything you need. Now, can we have a little bit of room here.
Wassenaar gets to his feet and walks to the door, but can't resist turning round for a parting jibe.
WASSENAAR: Make room for daddy.
Smirking, he leaves.
McCLAREN: Sit down, Frank.
FRANK: She's out there, Andy.
McCLAREN: I didn't fly all the way here to talk about your case, Frank. This is about you.
FRANK: We're talking about a woman whose dead child's footprints match those of the child she's entrusted to take care of.
McCLAREN: Yeah, well that's about as believable as you being a rapist.
FRANK: I'm telling you, Andy!
McCLAREN: I am telling you, Frank. Just take their test, clear this thing up and get out of here. You're off this case.
He leaves. Hollis looks at Frank who look back at her.
fade to black
polaroid fade up
Saxum house. John is talking on his cellphone as he walks towards the hallway.
JOHN: Go through my calendars. Start making calls. Tell them I'm going out of pocket on this, that the press conference will be rescheduled. pause I don't know when, Carl. I don't even know what day it is. All I know is, I've got to get out of this house.
There are bags packed, on the stairs. Upstairs, Divina and Lucy are playing cat's cradle.
JOHN calling: Let's go honey! Getting in the car - let's go!
John runs upstairs.
John goes into Divina's bedroom.
LUCY: Where are we going, John?
JOHN: What are you doing here?
LUCY: Now, what kind of question is that.
John moves towards his daughter to pick her up.
DIVINA: No! No! I don't want to go!
John glares at Lucy who looks at him calmly. He picks up Divina who struggles and shouts at him. He turns to leave.
John pauses in the doorway.
LUCY: Can we talk about this?
John turns and leaves. He carries Divina out to the car. Divina is still struggling and shouting.
JOHN: You can scream all you want, but I'm your father and you're coming with me!
He pushes her into the car seat.
JOHN: You're coming with me!
He slams the car door, turns round and is face to face with the Long Haired Man.
Police department. Outside. McClaren drives his car round to a side entrance where Frank is standing. McClaren gets out.
McCLAREN: How're you doing, Frank. They got what they wanted?
Frank doesn't answer.
McCLAREN: Look, I'm going to, uh, let you drive yourself to the airport. I'm fairly certain I can trust you.
He hands the keys to Frank.
McCLAREN: The detective in there wants to talk to me. Hollis has been bending his ear. Trying to convince him you're honest.
FRANK: What are you talking about?
McCLAREN: The connections you made. The word 'antipas'. She put on a show and tell for us. Seems to make some kind of cockeyed sense, so -
FRANK: Where is Hollis now?
McCLAREN: She went out to the house where the woman was murdered. Wanted to talk to her husband.
FRANK: She went back out there?
Frank starts the car and drives off.
Outside the Saxum house. Hollis arrives. John's car is parked by the side of the house, headlights on. Hollis scans the house, then gets out of the car. She goes over to John's car. She looks inside. The keys are still in the ignition and she tries the door, but it's locked. Then, startled, she notices Divina sitting quietly in the back.
HOLLIS: Are you all right?
HOLLIS: Can you open this?
Divina doesn't respond, but suddenly looks to her right. Hollis looks in that direction and see the Long Haired Man. He turns and runs. Hollis chases him.
HOLLIS: Hey! Stop!
She runs a short distance around a corner then stops as she is confronted by John. He has been hanged, his hands bound behind him. She sees the Long Haired Man disappearing into the garden and chases after him into the maze. She loads her gun and proceeds carefully through the maze. She stops again, and then realizes the python is about to encircle her leg. She yells in shock and backs away. She runs back in the direction she's come from, then sees a figure. She points the gun, but sees it's Frank.
FRANK: What did you come looking for?
FRANK: What I gave the bitch.
Hollis is puzzled.
FRANK: You want it too?
"Frank" leaps at her but transforms into a large, snarling dog. Hollis runs but is confronted by another growling dog. Hollis stands, looking from one dog to the other. Suddenly she's pulled backwards into the hedge. Frank has pulled her through to safety but she fights him.
HOLLIS: No! Stay away from me!
FRANK: Hollis, it's me. We've got to get out of here. Come on.
He pulls her to her feet and they run through the maze back to the house. They reach John's car. Divina is still there.
HOLLIS: It's locked.
Frank calls to Divina.
FRANK: It's OK. We're going to get out of here. It's OK, sweetie. Close your eyes, sweetheart.
He uses his elbow to smash in the driver's window. He unlocks the door, clears away the broken glass and gets in while Hollis gets in the other side. He starts the car and drives fast out onto the driveway. The Long Haired Man comes into view.
Frank wrenches the steering wheel over but collides with the Long Haired Man. The windscreen is shattered and the body is propelled back onto the ground. Frank and Hollis get out of the car.
FRANK: Call 911.
Now they see it is Lucy Butler lying on the ground. She has cuts on her face. Her eyes are open and sightless, a pool of blood around her head.
HOLLIS: Frank, I think she's -
FRANK: She's not. She never will be.
Hospital room. Lucy, her face bruised, is propped up in a bed, eyes closed. Frank enters the room. Lucy smiles.
LUCY: I was hoping you'd come see me.
She still hasn't opened her eyes. Frank walks closer to her bedside and now she slowly opens her eyes.
LUCY: We lost the baby, Frank.
FRANK: It wasn't ours. It wasn't mine.
LUCY: You came to me, Frank. All men come to me in time. The fruit of our union populates the earth.
She catches hold of his hand.
LUCY: We could rule the earth, Frank.
Frank, disgusted, pulls his hand away. Lucy is furious.
LUCY shouting: Where's my Divina!
FRANK: She's far away. She's safe from you.
LUCY: You think?
FRANK: You can corrupt men, but you cannot corrupt innocence.
LUCY: Is that what you came here to tell me?
FRANK: Fear is what you want in us. pause I came here to tell you I'm not afraid.
He turns away towards the door.
LUCY: Your daughter.
Frank stops and looks back.
LUCY: Jordan. You're not afraid - for her?
Lucy watches as he leaves.
fade to black